Songbook 328 (Cil) 1211

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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
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is the intellectual property of the author. Use of this document, whether in whole or abridged, for personal, private, noncommercial use is
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THE AMATEUR GUITAR PLAYER'S

CHORD-STRUMMIN' SONGBOOK
v328.1211
~~~~~~~
Introduction Main Index Chord Diagrams
WHAT'S RECENT AND NEW:
- Version 328 was uploaded 12/06/2023 with 4 new songs: “Break Up in the End” and “Middle of a Memory” by Cole Swindell, “Last Night” by Morgan Wallen,
and “You Know” by Corey Kent.
- Version 327 was uploaded on 09/19/2023 with 4 new songs: “All of Me” by John Legend, “Diamonds” by Rhianna, “Blues Man” by Alan Jackson, and “Come
Monday” by Jimmy Buffett.
- Version 326 was uploaded on 07/15/2023 with 6 new songs: “Beautiful Crazy” and “5 Leaf Clover” by Luke Combs, “This World is Not My Home” by Fern Jones,
“Come Unto Me” by The Front Porch String Band, “There One Morning” by Sweethearts of the Rodeo, and “Old Man” by Neil Young.
- Version 325 was upload on 05/23/2023 with 10 new songs, 7 by Dave Stamey: “Sell Me a Pony,” “Old Sierra Nevada,” “Night Rider’s Lament,” Mr. Shorty (also
by Marty Robbins),” “May the Trail Rise Up to Greet You,” “Mountains of the Heart,” and “McGee Creek,” as well as “The Last Thing on My Mind” by Tom Paxton,
“Fred Bear” by Ted Nugent, and “Leather and Lace” by Stevie Nicks and Don Henley.
- Version 324 was uploaded on 03/26/2023 with 4 new songs: “Forever Young” by Nitty Gritty Dirt Band, “The Story of My Life” by Marty Robbins, “Train in the
Distance” by Don Henley, and “The Long Way Around” by the Dixie Chicks.
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 (with Christopher Plummer)
The Andrews Sisters

In the Mood (Main)
The Animals
House of the Rising Sun
We Gotta Get Out of This Place
The Archies
Sugar Sugar
Louis Armstrong
What a Wonderful World
Eddy Arnold
Cattle Call
Gene Autry
Here Comes Santa Claus
Rudolph the Red-Nosed Reindeer
(Main)
- B -
Kevin Bacon
Here it is Christmastime (with The Old 97s)
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
Eleanor Rigby
Eight Days a Week
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
Please Mister Postman
P.S. I Love You (Main)
She Loves You
Something
This Boy (Ringo's Theme)
Twist and Shout
Two of Us
We Can Work it Out
When I’m Sixty-Four
Yellow Submarine
You've Got to Hide Your Love Away
Bee Gees
Tragedy – Bee Gees
Harry Belafonte
The Banana Boat Song (Day-O)
Benny Bell
Shaving Cream
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
(Main)
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
Rebel Rebel
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
Garth Brooks
The Dance
Friends in Low Places
In Lonesome Dove
Betty Buckley
Memory
(Main)
Buffalo Springfield
For What It's Worth
Jimmy Buffett
Boats to Build (with Alan Jackson)
Changes in Latitudes, Changes in Attitudes
Come Monday
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
Charmian Carr
Edelweiss (with Christopher Plummer)
The Carter Family

Keep on the Sunny Side of Life
Lulu Walls
Julian Casablancas
I Wish it was Christmas Today
(Main)
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)
Life’s Railway to Heaven (with The Nitty Gritty Dirt Band)
Long Black Veil
Ring of Fire
When the Man Comes Around
Will the Circle Be Unbroken (with The Nitty Gritty Dirt Band)
Eva Cassidy
Fields of Gold
Son of a Preacher Man
Take Me to the River
Casting Crowns
Scars in Heaven
Harry Chapin
A Better Place to Be
Cat's in the Cradle
Circle
Taxi
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
(Main)
Cowboy Jack Clement

Ballad of a Teenage Queen (with Johnny Cash)
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
Luke Combs
5 Leaf Clover
Beautiful Crazy
The Contours
Do You Love Me
Sam Cooke
Cupid
Wonderful World
Bradley Cooper
Maybe It's Time
Shallow (with Lady Gaga)
Coven
One Tin Soldier
(Main)
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
(Main)
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
Dion
A Teenager in Love
Runaround Sue
The Wanderer
Dire Straits
Walk of Life
The Dixie Chicks

Long Time Gone
Long Way Around
Traveling Soldier
Dixie Cups
Chapel of Love
Doctor Hook
Cover of the Rolling Stone
Sylvia's Mother
The Doors
People Are Strange
(Main)
The Drifters
Save the Last Dance for Me
This Magic Moment
Under the Boardwalk
Up on the Roof
The Dubliners
Whiskey in the Jar
Slim Dusty
A Pub With No Beer
Duncan
G’Day G’Day
I Can Still Hear Dad Swearing
Old Dan
Traveller’s Prayer
Waltzing Matilda
Bob Dylan (Also as Lucky Wilbury)

A Hard Rain's A Gonna Fall
Blowin' in the Wind
Don't Think Twice It's Alright
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
The Girl From Yesterday
Hotel California
How Long
The Last Resort
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
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
(Main)
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
(Main)
Tennessee Ernie Ford
Sixteen Tons
The Foundations
Build Me Up Buttercup
The Four Tops

I Can’t Help Myself (Sugar Pie, Honey Bunch)
David Frizell
You're the Reason God Made Oklahoma (with Shelly West)
Lefty Frizell
Long Black Veil
The Front Porch String Band

Come Unto Me
Bobby Fuller
I Fought the Law
(Main)
- 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
Cold Gray Light of Gone (with Del McCoury)
High Lonesome Sound (with Alison Krauss)
The Key to Life
My Kind of Woman/My Kind of Man (with Patty Loveless)
Real Mean Bottle
Sad One Comin’ On (A Song for George Jones)
This Old Guitar and Me
Vern Gosdin
This Ain’t My First Rodeo
Set 'Em Up Joe
Grand Funk Railroad

The Locomotion
Norman Greenbaum
Spirit in the Sky
(Main)
Green Day
Good Riddance (Time of Your Life)
Nanci Griffith
Across the Great Divide (with Emmylou Harris)
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)
Across the Great Divide (with Nanci Griffith)
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)
(Main)
This Old Guitar (with Neil Young)
To Know Him is to Love Him (Trio)
Wayfaring Stranger
George Harrison (Also as Nelson Wilbury)

If Not For You
Tim Hawkins
Sounds of Starbucks
Things You Don’t Say to Your Wife
Don Henley
Leather and Lace (with Stevie Nicks)
Train in the Distance
Herman's Hermits
Mrs. Brown You've Got a Lovely Daughter
There's a Kind of Hush
Highway 101
The Bed You Made for Me
Cry, Cry, Cry
Whiskey, If You Were a Woman
The Highway Men

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 (Main)
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
Billy Idol
Mony Mony
The Irish Rovers

Drunken Sailor
The Unicorn
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)
Blues Man
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
Michael Jackson
Beat It
Tommy James and the Shondells

Draggin the Line
Hanky Panky
Mony Mony
Jan and Dean

Dead Man's Curve
Jarvis, McDade & Ingram

The Ballad of Mrs. Begg
Jay and the Americans

This Magic Moment
(Main)
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)
Joan Jett & the Blackhearts

I Love Rock ‘N’ Roll
Jinder
Keep Me In Your Heart
Westcountry Love Song
Billy Joel
A Matter of Trust
Piano Man
Elton John
Can You Feel the Love Tonight
Candle in the Wind
Crocodile Rock
Daniel
Levon
Rocket Man
Roy Rogers
Tiny Dancer
Fern Jones
This World Is Not My Own
(Main)
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
Corey Kent
You Know
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?
(Main)
The Kinks
A Well Respected Man
All Day and All of the Night
Come Dancing
Lola
Mark Knopfler
All the Roadrunning (with Emmylou Harris)
Belle Starr (with Emmylou Harris)
Alison Krauss
The Angels Cried (with Alan Jackson)
Down to the River to Pray
Everytime You Say Goodbye (with Union Station)
High Lonesome Sound (with Vince Gill)
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
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
Led Zeppelin
Rock and Roll
Brenda Lee
Rockin' Around the Christmas Tree
The Left Banke

Walk Away Renee
John Legend
*All of Me
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'
(Main)
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
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 Know
Here I Am
I Don’t Want to Feel Like That
I'm That Kind of Girl
(Main)
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 (also 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
The Marvelettes
Please Mister Postman
Johnny Mathis
A Time for Us
Kathy Mattea
Eight 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
(Main)
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
Del McCoury
Cold Gray Light of Gone (with Vince Gill)
John McDermott
And the Band Played Waltzing Matilda
The Minstrel Boy
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
(Main)
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
The Monkees
Daydream Believer
I'm a Believer
Look Out Here Comes Tomorrow
Theme from The Monkees
Monty Python
The Lumberjack Song
(Main)
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 (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 (Main)
Juice Newton
Angel of the Morning
Addie Nicole
Wellerman (with Violet Orlandi and Audra Miller)
Stevie Nicks
Leather and Lace (with Don Henley)
Stop Draggin’ My Heart Around (with Tom Petty and the Heartbreakers)
Harry Nilsson
Spaceman
Nitty Gritty Dirt Band

Forever Young
Girl From the North Country
I Am A Pilgrim (with Merle Travis)
Life’s Railway to Heaven (with Johnny Cash)
Little Mountain Church (with Ricky Skaggs)
Mr. Bojangles
When It's Gone
Will the Circle Be Unbroken (with Johnny Cash)
You Ain't Goin' Nowhere
Ted Nugent
Fred Bear
(Main)
- O -
Oak Ridge Boys

American Made
The Old 97s

Here it is Christmastime (with Kevin Bacon)
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
Tom Paxton
The Last Thing on My Mind
The Penguins
Earth Angel
Carl Perkins
Blue Suede Shoes
(Main)
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)
Tom Petty (with and without The Heartbreakers (Also as Charlie Wilbury)
American Girl
Ankle Deep
Big Weekend
Down South
Learning to Fly
Runnin' Down a Dream
Stop Draggin’ My Heart Around (with Stevie Nicks)
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
(Main)
Christopher Plummer
Edelweiss (with Charmian Carr)
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)
Thurl Ravenscroft
You’re a Mean One Mr. Grinch
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
(Main)
Debbie Reynolds
Dominique
Tammy
Rihanna
Diamonds
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
Marty Robbins
A White Sport Coat and a Pink Carnation
Big Iron
Cool Water
El Paso
The Hanging Tree
Mr. Shorty
Singing the Blues
The Story of My Life
Streets of Laredo
Jimmy Rodgers
(Main)
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 Women
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'
You Can Tell the World
Whiskey in the Jar
Bob Seger
Against the Wind
Feel Like a Number
Like a Rock
Old Time Rock and Roll
(Main)
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
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 (with the NGDB)
(Main)
Kate Smith
God Bless America
Hank Snow
Reindeer Boogie
The Soggy Bottom Boys

I Am a Man of Constant Sorrow
Sonny & Cher

I Got You Babe
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
The Rising
The River
Thunder Road
Santa Claus is Coming to Town
(Main)
Jim Stafford
Cow Patti
Dave Stamey
Good Dog
May the Trail Rise Up to Greet You
McGee Creek (The Packer’s Song)
Mountains of the Heart
Mr. Shorty
Night Rider’s Lament
Old Sierra Nevada
Sell Me a Pony
Ringo Starr
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
Cat Stevens
Can't Keep It In
Father and Son
If You Want to Sing Out
Moonshadow
Morning Has Broken
Wild World
The Wind
(Main)
Al Stewart
On the Border
Rod Stewart
Handbags & Gladrags
Maggie May
Tom Traubert's Blues (Waltzing Mathilda)
Sting
Fields of Gold
Stompin' Tom Connors

The Hockey Song
Noel Paul Stookey

The Wedding Song
Storm Seeker
Wellerman
George Strait
Amarillo By Morning
Ocean Front Property
The Supremes
Where Did Our Love Go
The Surfaris
Wipe Out
Survivor
Eye of the Tiger
Sweethearts of the Rodeo

Midnight Girl/Sunset Town
There One Morning
(Main)
Cole Swindell
Break Up in the End
Middle of a Memory
(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
Just My Imagination
My Girl
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 (Main)
Traveling Wilburys
End of the Line
Handle With Care
Runaway
Wilbury Twist
Merle Travis
I am a Pilgrim (with The Nitty Gritty Dirt Band)
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
Dan Tyminski
I Am a Man of Constant Sorrow
Bonnie Tyler
It's a Heartache
The Turtles
Happy Together
- V -
Gene Vincent
Be Bop A Lula
Bobby Vinton
Mr. Lonely
(Main)
- W -
Loudon Wainwright III

Dead Skunk
Morgan Wallen
Last Night
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
(Main)
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
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 (Main)
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
Stevie Wonder
Uptight (Everything’s Alright)
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 -
Weird Al Yankovic
Alimony
Eat It
I Love Rocky Road
Lasagna
Rye or the Kaiser
Stop Draggin’ My Car Around
Yoda
Trisha Yearwood
Reindeer Boogie
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
Old Man
The Needle and the Damage Done
This Old Guitar (with Emmylou Harris)
The Youngbloods
Get Together
(Main)
- Z -
Zahida
Tonight You Belong to Me (with Sara & Julia Wee)
The Zombies
She's Not There
ZZ Top
Gimme All Your Lovin’
Tube Snake Boogie
Viva Las Vegas
(Main)
By Song Title/Genre
(Artist Index) (Main Index)
POP/ROCK A B C D E F G H I J K L M N O P Q R S T
U V W X Y Z
OLDIES & DOO WOP
FOLK SONGS
COUNTRY 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
SPIRITUAL
TRADITIONAL
KID FRIENDLY
CHRISTMAS
POP/ROCK
- A -
A Better Place to Be – Harry Chapin

A Hard Days Night – The Beatles
A Hard Rain's A Gonna Fall - Bob Dylan
A Horse With No Name - America
A Kiss At the End of the Rainbow – Mitch & Mickey
A Matter of Trust - Billy Joel
A Mighty Wind – The Folksmen, Mitch & Mickey, and The New Main Street Singers
A Pub With No Beer – Slim Dusty
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
After the Gold Rush – Neil Young
Against the Wind - Bob Seger
Alice's Restaurant - Arlo Guthrie
Alimony – Weird Al Yankovic
All Day and All of the Night - The Kinks
All I Have to Do Is Dream – The Everly Brothers
All My Loving – The Beatles
All of Me - John Legend
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
All You Need Is Love – The Beatles
Already Gone - Eagles
Always Look on the Bright Side of Life – Eric Idle
Amazing Grace – Judy Collins
(Main)
Amazing Journey - The Who
American Girl - Tom Petty
American Pie - Don McLean
American Trilogy – Elvis Presley
Amie - Pure Prairie League
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 – Mitch & Mickey
Ballad of John and Yoko – The Beatles
Ballad of the Green Beret – Barry Sadler
The Banana Boat Song (Day-O) - Harry Belafonte
The Ballad of Mrs. Begg – Jarvis, McDade & Ingram
Band on the Run - Paul McCartney and Wings
Bang a Gong (Get it On) - T. Rex
Barbara Ann - The Beach Boys
Battle of New Orleans – Johnny Horton
Be Bop A Lula - Everly Brothers
Be Bop A Lula - Gene Vincent
Bears – Lyle Lovett
Beat It – Michael Jackson
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
Blue Bayou - Roy Orbison/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
Bridge Over Troubled Water – Simon and Garfunkel
(Main)
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
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
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
Centerfield – John Fogerty
Centerfold - J. Geils Band
Changes in Latitudes, Changes in Attitude - Jimmy Buffett
Chapel of Love – Dixie Cups
Christian Island – Gordon Lightfoot
Circle – Harry Chapin
Circle of Steel – Gordon Lightfoot
City of New Orleans – Arlo Guthrie
The Cockroach That Ate Cincinnati - Rose & the Arrangement
Come Dancing – The Kinks
Come Monday - Jimmy Buffett
Comes a Time – Neil Young
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
Déjà Vu (All Over Again) – John Fogerty
Diamonds - Rihanna
Diamonds and Rust – Joan Baez
Different Drum - Linda Ronstadt (with The Stone Poneys)
Do Ron Ron - The Crystals
Do Wah Diddy - Manfred Mann
Do You Love Me – The Contours
Dominique – Debbie Reynolds as The Singing Nun
Don Quixote – Gordon Lightfoot
Don't Be Cruel - Elvis Presley
Don’t Let Me Down – The Beatles
Don’t Let the Sun Catch You Crying – Gerry and the Pacemakers
Don't Think Twice It's Alright - Bob Dylan
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.
Drunken Sailor - Irish Rovers
Duncan – Slim Dusty
Dust in the Wind – Kansas
(Main)
- E -
Early Morning Rain – Gordon Lightfoot

Early Morning Rain - Peter, Paul & Mary
Earth Angel – The Penguins
Eat it - Weird Al Yankovic
Edelweiss – Julie Andrews
Eight Days a Week – The Beatles
Eighth (8th) of November – Big & Rich
El Condor Pasa – Simon and Garfunkel
Eleanor Rigby – The Beatles
Electrolite - R.E.M.
End of the Line - Traveling Wilburys
End of the World - Skeeter Davis
Eve of Destruction - Barry McGuire
Everyday – Buddy Holly
Eye of the Tiger - Survivor
(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
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
Forever Young – Joan Baez
Forever Young – Nitty Gritty Dirt Band
Fortunate Son - C.C.R
Fred Bear - Ted Nugent
From Hell to Paradise - The Mavericks
Fun Fun Fun – The Beach Boys
(Main)
- G -
Garden Party - Rick Nelson

G’Day G’Day – Slim Dusty
Gentle on My Mind – Glen Campbell
Georgy Girl - The Seekers
Get a Haircut - George Thorogood
Get Back – The Beatles
Get Together - The Youngbloods
Gimme All Your Lovin’ – ZZ Top
Gimme Some Money – Spinal Tap
Girl – The Beatles
Girl From the North Country – Nitty Gritty Dirty Band
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

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
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
Help! - The Beatles
Help Me Make It Through the Night – Willie Nelson
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
Hotel California - Eagles
House of the Rising Sun - The Animals
How Long - Eagles
Humidity Built the Snowman - John Prine
(Main)
- I -
I Am a Rock - Simon & Garfunkel

I Can Still Hear Dad Swearing
I Can’t Help Myself (Sugar Pie, Honey Bunch) – The Four Tops
I Fought the Law - Bobby Fuller
I Get Around – The Beach Boys
I Got You Babe – Sonny & Cher
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 Love Rock ‘n’ Roll – Joan Jett and the Blackhearts
I Love Rocky Road – Weird Al Yankovic
I Saw Her Standing There – The Beatles
I Saw It On TV – John Fogerty
I Should Have Been True - The Mavericks
I Wanna Hold Your Hand – The Beatles
I Will – The Beatles/Alison Krauss
I Will Always Love You – Whitney Houston
I Will Follow Him - Peggy March/The movie Sister Act
I'll Never Find Another You - The Seekers
I'm a Believer - The Monkees
I'm Gonna Be (500 Miles) - The Proclaimers
I'm Happy Just to Dance With You - The Beatles
I'm On My Way - The Proclaimers
I’ve Got a Name – Jim Croce
I’ve Just Seen a Face – The Beatles
If - Bread
If I Fell - The Beatles
If I Had a Hammer - Trini Lopez
If I Needed You – Lyle Lovett/Emmylou Harris & Don Williams
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 – Lyle Lovett
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
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/Linda Rondstadt
It's Worth Believin' - Gordon Lightfoot
Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini - Brian Hyland
- 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
(Main)
- L -
L.A. County - Lyle Lovett

La Bamba - Los Lobos
Lady Madonna – The Beatles
Land of 1000 Dances - Wilson Pickett
Lasagna – Weird Al Yankovic
The Last Resort - Eagles
The Last Thing on My Mind - Tom Paxton
Learning to Fly - Tom Petty
Leather and Lace - Stevie Nicks & Don Henley
Leaving on a Jet Plane – John Denver/Peter, Paul, & Mary
Let It Be – The Beatles
Let It Be Me – The Everly Brothers
Let's Get Married - The Proclaimers
The Letter - The Box Tops
Letter From America - The Proclaimers
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 Pharohs
Little Deuce Coupe – The Beach Boys
Little Sister - Elvis Presley
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
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
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
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
Mean Woman Blues - Roy Orbison
Medicine Jar - Paul McCartney & Wings
Memories are Made of This - Dean Martin
Memory – Elaine Page/Betty Buckley
Mercedes Benz – Janis Joplin
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
The Mighty Quinn - Manfred Mann
Monty Got a Raw Deal - R.E.M.
Mony Mony – Billy Idol
Mony Mony – Tommy James and the Shondells
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
(Main)
Mr. Bojangles – Nitty Gritty Dirt Band
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
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 Guy - Mary Wells
My Hometown - Bruce Springsteen
My My Hey Hey - Neil Young
My Sweet Lady – John Denver
My Way – Frank Sinatra
- 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
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 Dan – Slim Dusty
Old Friends/Bookends - Simon and Garfunkel
Old Joe’s Place – The Folksmen
Old Man - Neil Young
Old Time Rock and Roll - Bob Seger
On the Border - Al Stewart
On the Turning Away - Pink Floyd
One - Three Dog Night
One Tin Soldier - Coven
The Only One – Roy Orbison
Only the Lonely - Roy Orbison
Ooby Dooby - Roy Orbison
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
Play with Fire - The Rolling Stones
Please Mister Postman – The Beatles
Please Mister Postman – The Marvelettes
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
Rebel Rebel – David Bowie
Return to Sender - Elvis Presley
Rhymes and Reasons – John Denver
Richard Cory - Paul McCartney & Wings/Simon & Garfunkel
Right Field - Peter, Paul and Mary
The Rising - Bruce Springsteen
The River - Bruce Springsteen
Rock 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
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
Rye or the Kaiser – Weird Al Yankovic
(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
Shambala - Three Dog Night
Shaving Cream - Benny Bell
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
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
Sounds of Starbucks – Tim Hawkins
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
Stop Draggin’ My Car Around – Weird Al Yankovic
Stop Draggin’ My Heart Around – Stevie Nicks (with Tom Petty and the Heartbreakers)
The Story in Your Eyes – Moody Blues
Strange Currencies - R.E.M.
Sugar Sugar – The Archies
Summertime Dream – Gordon Lightfoot
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
Tangled Up in Blue - Bob Dylan
Taxi - Harry Chapin
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 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
This Old Guitar – Neil Young & Emmylou Harris
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
(Main)
Tiny Dancer - Elton John
To Be With You - The Mavericks
To Know Him is To Love Him – Emmylou Harris
Tom Dooley – Kingston Trio
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
Train in the Distance – Don Henley
Travelin' Man - Rick Nelson
Traveller’s Prayer – Slim Dusty
Triangle – Gordon Lightfoot
Tube Snake Boogie – ZZ Top
Turn the Page - Bob Seger
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
Uptight (Everything’s Alright) – Stevie Wonder
- V -
Vincent - Don McLean

Viva Las Vegas – Elvis Presley/ZZ Top
The Voice – Moody Blues
(Main)
- 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
Waltzing Matilda – Slim Dusty
The Wanderer – Dion
Wayfaring Stranger - Emmylou Harris
We Are the Lonely - John Prine
We Can Work It Out – The Beatles
We Gotta Get Out of This Place - The Animals
Weave Me the Sunshine – Peter, Paul and Mary
We've Got Tonight - Bob Seger
We've Got Tonight - Kenny Rogers & Sheena Easton
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
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
Whiskey in the Jar – The Seekers
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
(Main)
The Wind - Cat Stevens
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
- Y -
Yellow Submarine – The Beatles
Yoda – Weird Al Yankovic
You Ain't Goin' Nowhere - The Byrds
You Ain’t Goin’ Nowhere – The 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
Your Wildest Dreams – Moody Blues
You're Sixteen - Ringo Starr
You've Got to Hide Your Love Away – The Beatles
(Main Index)
COUNTRY (Y'ALL)
- 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 and Nancy Griffith
Act Naturally - Buck Owens
Ain't That Lonely Yet - Dwight Yoakam
All These Years - Sawyer Brown
Amanda - Waylon Jennings/Don Williams
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
Atlanta Blue - The Statler Brothers
(Main)
- B -
Baby We're Really In Love - Hank Williams
Ballad of a Teenage Queen – Johnny Cash/Cowboy Jack Clement
Ballad of Jed Clampett (Beverly Hillbillys Theme) – Flatt & Scruggs
The Bargain Store - Dolly Parton
Beautiful Crazy - Luke Combs
The Bed You Made For Me – Highway 101
Belle Starr – Emmylou Harris and Mark Knopfler
Big Iron - Marty Robbins/Michael Martin Murphey
Big River – Johnny Cash
Big Rock Candy Mountain – Harry McClintock
Billy Bayou - Jim Reeves
The Blizzard - Jim Reeves
Blue Eyes Cryin’ In the Rain – Willie Nelson
Blue Moon of Kentucky – Roy Acuff/Patsy Cline
Blues Man - Alan Jackson
Boats to Build – Alan Jackson & Jimmy Buffett
Break Up in the End – Cole Swindell
(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
Cold Gray Light of Gone – Vince Gill & The Del McCoury Band
Come Unto Me - The Front Porch String Band
Cool Water - Marty Robbins/Sons of the Pioneers
Cotton Jenny – Anne Murray/Gordon Lightfoot
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
- 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 to the River to Pray - Alison Krauss
Dropkick Me Jesus – Bobby Bare
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
5 Leaf Clover - Luke Combs
Folsom Prison Blues – Johnny Cash
For the Good Times – Ray Price
Friends in Low Places – Garth Brooks
- G -
The Gambler - Kenny Rogers
Ghost Riders in the Sky – 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 and Willie Nelson
Good Ole Boys Like Me - Don Williams
Good Time Charlie's Got the Blues - Willie Nelson
Grandpa – The Judds
The Grandpa That I Know - 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 – Randy Travis
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
High Cotton - Alabama
High Lonesome Sound - Vince Gill (with Alison Krauss)
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 The 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
I Ride an Old Paint - Johnny Cash/Woody Guthrie/Michael Martin Murphey
I Saw the Light - Hank Williams
I Walk the Line - Johnny Cash
I Will Always Love You – Dolly Parton
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
I’ll Fly Away – Alison Krauss & Gillian Welch
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
It Must Be Love - Don Williams/Alan Jackson
It Only Hurts When I Cry - Dwight Yoakam
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
It Was Almost Like a Song – Ronny Milsap
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
The Key to Life – Vince Gill
Kids of the Baby Boom – The Bellamy Brothers
Kiss and Angel Good Morning - Charley Pride
Knockin' on Your Screen Door - John Prine
- L -
Last Night – Morgan Wallen
Life’s Railway to Heaven – Johnny Cash (with NGDB and Friends)
Little Mountain Church - Ricky Skaggs
Little Sister - Dwight Yoakam
Livin' on Love – Alan Jackson
Long Time Gone – Dixie Chicks
The Long Way Around – Dixie Chicks
Lord I Hope This Day Is Good - Don Williams
Lost Highway - Hank Williams
Louisiana Man - The Seekers
Love at the Five and Dime – Nanci Griffith/Kathy Mattea
Love Builds the Bridges (Pride Builds the Wall) – Patty Loveless
Love Can Build a Bridge – The Judds
Love Me Tonight – Don Williams
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
Mama Tried – Merle Haggard
May the Bird of Paradise Fly Up Your Nose - Little Jimmy Dickens
May the Trail Rise Up to Greet You - Dave Stamey
McGee Creek (The Packer’s Song) - Dave Stamey
Middle of a Memory – Cole Swindell
Midnight Girl/Sunset Town - Sweethearts of the Rodeo
Mind Your Own Business - Hank Williams
Mountains of the Heart - Dave Stamey
Move it on Over - Hank Williams
Mr. Man in the Moon – Patty Loveless
Mr. Shorty - Marty Robbins/Dave Stamey
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 – Dean Martin & Rick Nelson
My Rifle, My Pony, and Me – Don Williams
- N -
1982 - Randy Travis
Night Rider’s Lament - Dave Stamey
- O -
Ocean Front Property – George Strait

Oh, Lonesome Me – Don Gibson/Kentucky Headhunters
Okie From Muskogee – Merle Haggard
Old Sierra Nevada - Dave Stamey
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 (Trio)/Patty Loveless
Pancho and Lefty – Willie Nelson and Merle Haggard
Paradise – John Prine
Passing Train - Sawyer Brown
People are Crazy - Billy Currington
- Q -
Queen of My Heart – Hank Williams Jr.
- R -
Radio Land – Michael Martin Murphey
Rainbow Stew – Merle Haggard
Real Mean Bottle – Vince Gill
Red River Valley – Michael Martin Murphey
Remember When – Alan Jackson
Ridge Road Gravel – Norman Blake and Tony Rice
Ring of Fire - Johnny Cash
Rocky Top - Lynn Anderson
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
Sell Me a Pony - Dave Stamey
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
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
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
The Story of My Life – Marty Robbins
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 One Morning - Sweethearts of the Rodeo
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
This World is Not My Home - Fern Jones
Travelin’ Soldier – The Dixie Chicks
Tulsa Time - Don Williams
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
When a Cowboy Trades His Spurs for Wings (In G) - Willie Watson & Tim Blake Nelson
When a Cowboy Trades His Spurs for Wings - Gillian Welch & David Rawlings
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
- 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 Know How Lucky You Are – Patty Loveless
You Know – Corey Kent
Your Cheatin' Heart - Hank Williams
You’re the Reason God Made Oklahoma – David Frizell & Shelly West
(Main Index)
OLDIES & DOO WOP
(Granted, this category is subjective as to 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. ALL of
these songs are included in the Pop/Rock genre.)
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
Cupid – Sam Cooke
Do Ron Ron - The Crystals
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
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
Hello Mary Lou – Ricky Nelson
I Will Follow Him - Little Peggy March
Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini - Bryan Hyland
Johnny B. Goode – Chuck Berry
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 (Main)
Peggy Sue – Buddy Holly
Please Mister Postman – The Marvelettes
Rave On – Buddy Holly
Rock Around the Clock – Bill Haley & the Comets
Runaround Sue – Dion
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
Uptight (Everything’s Alright) – Stevie Wonder
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 other 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 Mighty Wind – The Folksmen, Mitch & Mickey, and The New Main Street Singers
Alice's Restaurant - Arlo Guthrie
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
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
I've Been Working on the Railroad
Keep on the Sunny Side of Life (Main)
King of the Road – Roger Miller
Kisses Sweeter Than Wine - Peter, Paul & Mary/Pete Seeger/The Weavers
The Last Thing on My Mind - Tom Paxton
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
Mary Danced With Soldiers - Emmylou Harris
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
The Pony Man – Gordon Lightfoot
Put a Little Love in Your Heart – Jackie DeShannon
Roll in My Sweet Baby’s Arms
Sixteen Tons - Tennesee Ernie Ford
South Australia - Fisherman's Friends
Stewball - Peter, Paul & Mary
Suzanne – Joan Baez
Suzanne - Leonard Cohen
Take a Message to Mary – The Everly Brothers
This Land is Your Land – Woodie Guthrie/Peter, Paul & Mary
The Times They Are A Changing - Bob Dylan/The Seekers
Tom Dooley – The Kingston Trio
Waltzing Matilda – Slim Dusty
When You’re Next to Me – Mitch & Mickey
Where Have All the Flowers Gone – The Kingston Trio/Peter, Paul, and Mary/Pete Seeger
Wreck of the Edmund Fitzgerald - Gordon Lightfoot
(Main Index) (Song/Genre Index)

SPIRITUAL
American Trilogy – Elvis Presley
Battle Hymn of the Republic
Come Unto Me - The Front Porch String Band
Dominique - Debbie Reynolds
God Bless America – Kate Smith
He’s Got the Whole World in His Hands
I Saw the Light - Hank Williams
In the Garden - Johnny Cash/John Prine & Max Wiseman
Jesus Loves Me
Life’s Railway to Heaven – Johnny Cash/NGDB
Little Mountain Church - Ricky Skaggs/NGDB
Lord I Hope This Day is Good - Don Williams
Rock My Soul (Three Part Sing-a-Long)
Scars in Heaven – Casting Crowns
Spirit in the Sky – Norman Greenbaum
Swing Low Sweet Chariot
This World Is Not My Own - Fern Jones
Traveller’s Prayer
Wayfaring Stranger – Emmylou Harris
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
God Bless America - Kate Smith
He’s Got the Whole World in His Hands
Home on the Range
I Ride an Old Paint - Johnny Cash
I've Been Working on the Railroad
Jesus Loves Me
Little Mountain Church - Ricky Skaggs/NGDB
Lulu Walls - Carter Family/John Prine
The Minstrel Boy - John McDermott
Oh, My Darling Clementine – Huckleberry Hound
Red River Valley – Michael Martin Murphey
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. - Beach Boys
Spanish Ladies - Quint
Stewball - Peter, Paul and Mary
(Main)
Streets of Laredo – Marty Robbins
Streets of Laredo – Michael Martin Murphey
Swing Low Sweet Chariot
This Land is Your Land – Woody Guthrie/Peter, Paul & Mary
Tom Dooley – Kingston Trio
Wabash Cannonball – Boxcar Willie
Wayfaring Stranger – Emmylou Harris
Wellerman - Storm Seeker
Whiskey in the Jar – The Dubliners/The Seekers
Will the Circle Be Unbroken – Nitty Gritty Dirt Band/Johnny Cash
You are My Sunshine – Norman Blake

KID FRIENDLY
Ballad of Jed Clampett (Beverly Hillbillys Theme) – Flatt & Scruggs
The Banana Boat Song (Day-O) - Harry Belafonte
Bears – Lyle Lovett
Big Iron - Marty Robbins/Michael Martin Murphey
Black and White - Three Dog Night
Blowin’ in the Wind – Peter, Paul and Mary
The Blizzard - Jim Reeves
Cattle Call – Eddy Arnold/Dwight Yoakum
Centerfield – John Fogerty
The Cockroach That Ate Cincinnati - Rose & the Arrangement
Cow Patti - Jim Stafford
The Crawdad Song - Traditional
Dead Skunk - Loudon Wainwright III
Don’t Worry, Be Happy – Bobby McFerrin
Ghost Riders in the Sky – Johnny Cash
High Cotton - Alabama
The Hockey Song – Stompin’ Tom Connors
Home on the Range – Traditional
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
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 Pony Man – Gordon Lightfoot
The Purple People Eater - Sheb Wooley
Right Field - Peter, Paul and Mary
(Main)
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
This Land is Your Land – Peter, Paul & Mary
Weave Me the Sunshine – Peter, Paul and Mary
Wellerman - TikTok Mashup/Storm Seeker
What a Wonderful World – Louis Armstrong
Yellow Submarine – The Beatles

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
Good King Wenceslas
Grandma Got Run Over By a Reindeer - Elmo & Patsy
Hallelujah
Hark! The Herald Angels Sing
Have a Holly Jolly Christmas - Burl Ives
Have Yourself a Merry Little Christmas
Here Comes Santa Claus - Gene Autry
Here It Is Christmastime – Kevin Bacon & The Old 97’s
I Saw Mommy Kissing Santa Claus
I Saw Three Ships
I Wish it was Christmas Today – Julian Casablancas
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/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
Reindeer Boogie – Hank Snow/Trisha Yearwood
Rockin' Around the Christmas Tree - Brenda Lee
(Main)
Rudolph the Red-Nosed Reindeer - Gene Autry/Burl Ives
Run Rudolph Run - Chuck Berry
Santa Claus Is Coming to Town (Traditional)
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
We Wish You a Merry Christmas - Peter, Paul & Mary
What Child Is This
White Christmas - Bing Crosby
You’re a Mean One Mr. Grinch – Thurl Ravenscroft
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 - and some of the chords aren't so friendly for the
beginner. This is NOT typical of Songbook!]
A BETTER PLACE TO BE
Harry Chapin
https://www.youtube.com/watch?v=MNz9MhrzDfo (Capo 0)(MC0)
TIP: This version is from Greatest Stories Live.
TIP: Chords in brackets are meant to be strummed just once. Play the opening acoustic riff softly
For the middle section with the |D|-|Dsus2|-|D| just lift your middle finger off the bottom
string/2nd fret and then back down again. So four strokes of |D| then off-on-off-on, repeat.
TIP: (Emsus2) will follow (Em) so just lift your bottom (ring) finger to play it. (Cm) is played
just once and is (Bm) played on the 3rd fret but include the pinky above the ring finger on the 4th
string/5th fret. It will appear as (Bm3). (A7sus4) and (Asus) will usually follow either an (A) or
an (A7). Just slide the bottom finger up one fret or add your pinky. (Em/G) will follow (G) so
just hold position and bring your middle finger down and under the index to the 4th string/2nd fret.
TIP: There's another short, delicate interlude after "...it's time that I move on." There's a (D)
followed by a quick (Bm)-(D). Just add your pinky to the 3rd string/4th fret and then remove it.
Then after playing the (Gm) add your pinky to the bottom string of the 5th fret (Gm/A) for one
strum, remove it and strum (Gm) again, and move to the (D). It's also the outro.
INTRO: |D|-|D|-|D|-|D|-|Dsus2|-|D|-|Dsus2|-|D|; |D|-|D|-|D|-|D|-|Dsus2|-|D|-|Dsus2|-|D|

|D|-|D|-|D|-|D|-|Dsus2|-|D|-|Dsus2|-|D|; |D|-|D|-|D|-|D|-|Dsus2|-|D|-|Dsus2|-|D|
It was an early morning (Dmaj7) bar room, and the (D7) place, just opened (G) up.
And the (Em) little man, came (Emsus2) in so fast, and he, (Em) started at his (A7) cups.
And the (D) broad who served the (Dmaj7) whiskey, she was a, (D7) big old friendly (G) girl,
Who (Em) tried to fight her (Emsus2) empty nights, by (Em) smilin' at the (A7) world.
And she (G) said "Hey Bub it's, it's (A) been a while, (F#m) since you been a (B7) round.
Where the (Em) hell you been (A7) hidin', and |G| why you look so |D| down?"
Well the (G) little man just (A) sat there, like he'd, (G) never (A) heard a (D) sound.
The (Bm3) waitress she give (G) out with a cough and,
(Bb) Acting not the (F) least put off she (Em) spoke, once (A) again. She said,
(D) "I don't want to (G) bother you, con (Em/G) sider it's under (Em) stood.
I know I'm not no (A7) beauty queen but I (Em) surrr-(A7)-rre, (A7sus4) can listen (D) good."
And the |G| little man, took his |A| drink in his hand and he |Em| raised it, to his |D| lips.
He |G| took a couple of |D| sips, and then he (Em) tolllld the wait (A) ress, his (D) story.
(D)-(G)-(A)-(A7)
"I (D) am, the midnight (Am) watchman, down at (C) Miller's (G) Tool and (D) Die.
And I (G) watch, the metal (F#m) rusting, I (Bm) watch the time go (Cmaj7) by.
A (G) week ago, at the (Em/G) diner, I (F#m) stopped to get a (B7) bite.
And (Em) this here lovely la (A) dy, she sat (G) two seats (Gadd) from my (D) right.
And (G) Lord (Em/G) Lord (A) Lord, (Gadd) Lord Lord (A) Lord, (A7sus4) she was al (D) right.
You see, she was so damned (Am) beautiful, that she could (C) warm a (G) winter (D) frost.
(D)(G)(A)(A7)(D) But (G) she looked long past (F#m) lonely, and (Bm) well nigh, onto (Cmaj7) lost.
Now (G) I'm not much of a (Em/G) mover, or a (F#m) pick-em-up easy (B7) guy,
But I de (Em) cided to glide on (A) over, and (G) give her one (Gadd) good (D) try.
And (G) Lord (Em/G) Lord (A) Lord, (Gadd) Lord Lord (A) Lord, (A7sus4) she was worth a (D) try.
Well I was, tongued-tied like a (Am) school boy, I (C) stammered (G) out some (D) words.
It (G) did not seem to (F#m) matter much, 'cause (Bm) I don't think she (Cmaj7) heard.
She (G) just looked clear on (Em/G) through me, to a (F#m) space back in my (B7) head.
It (Em) shamed me, into si (A) lence, as (G) quiet (Gadd) ly she (D) said:
'If you want me, to come (G) with you, then (Em/G) that's alright with (A) me.
Cause I (Em) know I'm going (A7) nowhere,
And (Em) anywhere's, a (A7) better (A7sus4) place to (D) be.'
(D)(G)(Em)(A), (Em)(A7)(Em) Anywhere's a (A7) better (A7sus4) place to (D) be.

|D|-|D|-|D|-|D|-|Dsus2|-|D|-|Dsus2|-|D|
Well I drove on, to my (Dmaj7) boarding house, and I (D7) took her up to my (G) room.
And I (Em) went to turn on the (Emsus2) only light, to (Em) brighten up the (A7) gloom.
But she (Dm) said, 'Please leave the light off, oh (Gm) I don't mind the dark.'
And as her (F) clothes all tumbled 'round her, (Asus) I could hear my (A) heart.
The (D) moonlight shone up (Am) on her, as she (C) lay back (G) in my (D) bed.
It was the (G) kind of scene I (F#m) only had (Bm) imagined in my (Cmaj7) head.
I (G) just could not be (Em/G) lieve it, to (F#m) think that she was (B7) real.
And (Em) as I tried to (A) tell her, she said (Gadd) "Shhhh, I know just how you (D) feel.
And if you want, to come here (G) with me, then (Em/G) that's alright with (A) me.
'Cause (Em) I've been oh so (A7) lonely,
Lovin' (Em) someone, is a (A7) better (A7sus4) way to (D) be.
(D)(G)(Em)(A)(Em)(A7)(Em) Anywhere's a (A7) better (A7sus4) place to (D) be. (D)(G)(A)(A7)
Well the (D) morning came so (Am) swiftly. I (C) held her (G) in my (D) arms.
And (G) she slept like a (F#m) baby, (Bm) snug and safe from (Cmaj7) harm.
I (G) did not want to (Em/G) share her, or (F#m) dare to break the (B7) mood,
So be (Em) fore she woke I (A) went out, to (G) buy us both some (D) food.
(Dm) I came back, with my paper bag, to (Gm) find, that she was gone.
She'd (F) left a six word letter, saying, 'It's |Gm| time, that I moved |D| on.
(D)(Bm)-(D),(Gm)-(Gm/A)-(Gm)-(D)
You know the waitress, she took her (Dmaj7) bar rag, and she (D7) wiped it across her (G) eyes.
And (Em) as she spoke, her (Emsus2) voice came out as, (Em) something, like a (A7) sigh.
She said "I (D) wish, that I was (Dmaj7) beautiful, or that (D7) you were halfway (G) blind.
And I (Em) wish I weren't so (Emsus2) goddamn fat, I (Em) wish that you were (A7) mine.
And I (G) wish, that you'd come with me-(A)-ee, (F#m) when I leave for (B7) home.
For we (Em) both know all about empti (A) ness, and (G) livin' all a (D) lone."
And the (G) little man, looked at the (F#m) empty glass in his hand.
And he (Em) smiled, a crooked (D) grin, He said "I, I (Em) guess I'm out of (D) gin.
And I (Em) know, we both have (D) been, so (G) lone (A) ly.
And if (A7) you (D) want, me to come (G) with you, then that's alright with (Em) me.
'Cause I know, I'm goin' (A7) nowhere,
And anywhere's, a (Em) better, (A7) place, to (D) be." (D)(Bm)-(D),(Gm)-|Gm/A|-|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)(MC1)
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).
To play the MC barre the 3rd fret and straddle the open D string with ring and pinky fingers.
Alternatively you can play an (FaddG). Or if two guitarists are present have each one play one
together. Just strike it once and let the sustain linger.
TIP: You have two options to alternate between the (Gadd) and the (CaddD) depending on how you
play the (G). You can play a natural (C) and just add your pinky to the 2nd string/3rd fret, or
you can lift off the pinky on the bottom strings while dropping the top two fingers down one
string. And if playing the (CaddD) is too cumbersome you can play a (D) instead, or just play the
(Gadd) right on through to the (F). Keep it simple.
TIP: For the instrumental bridge you can play either chords or individual notes. Both are shown.
The notes can be played without lifting from the (G) by using the middle finger to lay down across
the strings of the 3rd fret while picking out the notes.
TIP: For the outro tinkle (D7sus4) is just (D7) with with the ring finger slid up one fret. To
get to the (Dm7) from the (D7sus4) lift off the bottom string and roll back toward the nut with
your index finger to cover the bottom two strings like you're playing an (F), and reverse the
motion to get back to the (D7sus4).
INTRO: |MC| and/or |FaddG|
It's been a (Gadd) hard, (CaddD) day's, (Gadd) night, and I've been wor (F) king, like a (G) dog.
It's been a (Gadd) hard, (CaddD) day's, (Gadd) night, I should be slee (F) ping, like a (G) log.
But when I (C) get home to you, I find the (D) things that you do,
Will make me (G) feel (C) al (G) right.
You know I (Gadd) work, (CaddD) all, (Gadd) day, to get you mon (F) ey, to buy you (G) things.
And it's (Gadd) worth it just to (CaddD) hear you (Gadd) say,
You're gonna give (F) me, every (G) thing.
So why on (C) earth should I moan, 'cause when I (D) get you alone,
You know I (G) feel (C) o (G) kay.
When I'm (Bm) home, (Em) everything seems to be (Bm) right.

When I'm (G) home, (Em) feeling you holding me (Am) tight, (D) tight yeah.
Will make me (G) feel (C) al (G) right. Owwww.
(G)(C)(G),(F)(G); (G)(C)(G),(F)(G) . . . or <g,gbcbd, dededededdcb; g, gbcbd, dededededdcb>
So why on (C) earth should I moan, 'cause when I (D) get you alone,
You know I (G) feel (C) o (G) kay.
When I'm (Bm) home, (Em) everything seems to be (Bm) right.

When I'm (G) home, (Em) feeling you holding me (Am) tight, (D) tight yeah.
Will make me (G) feel (C) al (G) right. You know I feel (C) al (G) right.
You know I (Gadd) feel (CaddD) al (Gadd) right. (D7sus4)(Dm7), (D7sus4)(Dm7), (D7sus4)(Dm7) . . .
(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)(MC1)
TIP: Don't be skittish about the (D4) and (Dsus2), they're very easy to play. (D4) will always be
bracketed by the (D) so all you do is hold the (D) and place your pinky to the bottom string/3rd
fret. Then just remove the pinky to get back to (D). Easy-peasy. The (Dsus2) is similarly
bracketed by the (A). Assuming you're playing the (A) with your middle fingers in line, just slide
your bottom finger forward from the 2nd fret to the 3rd while lifting your index finger. To get
back to (A) just reverse the process.
TIP: If everything above is too much to deal with just play the major chords (D)(G)(A) --
substituting a (G) for the (D4) in the first line of each verse -- and it'll still sound just fine!
INTRO: (D) (D4) (D); (D) (D4) (D)
Oh where have you been my (D4) blue-eyed (D) son (D4)(D)?

And where have you been my (G) darling young (A) one (Dsus2)(A)?
I've (G) stumbled on the side of (A) twelve misty (D) mountains (D4)(D).
I've (G) walked and I've crawled on (A) six crooked (D) highways (D4)(D).
I've (G) stepped in the middle of (A) seven sad (D) forests (D4)(D).
I've (G) been out in front of a (A) dozen dead (D) oceans (D4)(D).
I've been (G) ten thousand miles in the (A) mouth of a (D) graveyard (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, it's a (G) hard.
It's a (D) hard ra-(A)-ain's a-gonna (D) fall (D4)(D); (D)(G)(D)
Oh what did you see my (D4) blue-eyed (D) son (D4)(D)?

And what did you see my (G) darling young (A) one (Dsus2)(A)?
I saw a (G) newborn baby with wild (A) wolves all a (D) round it (D4)(D).
I saw a (G) highway of diamonds with (A) nobody (D) on it (D4)(D).
I (G) saw a black branch with (A) blood that kept (D) drippin' (D4)(D).
I saw a (G) room full of men with their (A) hammers a (D) bleedin' (D4)(D).
I (G) saw a white ladder all (A) covered with (D) water (D4)(D).
I saw (G) ten thousand talkers whose (A) tongues were all (D) broken (D4)(D).
I saw (G) guns and sharp swords in the (A) hands of young (D) children (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, and it's a (G) hard.
What did you hear my (D4) blue-eyed (D) son (D4)(D)?

And what did you hear my (G) darling young (A) one (Dsus2)(A)?
I heard the (G) sound of a thunder that (A) roared out a (D) warnin' (D4)(D).
I heard the (G) roar of a wave that could (A) drown the whole (D) world (D4)(D).
I heard (G) one hundred drummers whose (A) hands were a (D) blazin' (D4)(D).
I heard (G) ten thousand whisperin' and (A) nobody (D) listenin' (D4)(D).
I heard (G) one person starve, I heard (A) many people (D) laughin' (D4)(D).
Heard the (G) song of a poet who (A) died in the (D) gutter (D4)(D).
Heard the (G) sound of a clown who (A) cried in the (D) alley (D4)(D).
Oh who did you meet my (D4) blue-eyed (D) son (D4)(D)?

And who did you meet my (G) darling young (A) one (Dsus2)(A)?
I (G) met a young child be (A) side a dead (D) pony (D4)(D).
I (G) met a white man who (A) walked a black (D) dog (D4)(D).
I (G) met a young woman whose (A) body was (D) burnin' (D4)(D).
I (G) met a young girl, she (A) gave me a (D) rainbow (D4)(D).
I (G) met one man who was (A) wounded in (D) love (D4)(D).
I met another (G) man who was (A) wounded with (D) hatred (D4)(D).
And what'll you do now my (D4) blue-eyed (D) son (D4)(D)?
And what'll you do now my (G) darling young (A) one (Dsus2)(A)?
I'm a (G) goin' back out 'fore the (A) rain starts a (D) fallin' (D4)(D).
I'll (G) walk to the depths of the (A) deepest dark (D) forest (D4)(D).
Where the (G) people are many and their (A) hands are all (D) empty (D4)(D).
Where the (G) pellets of poison are (A) flooding their (D) waters (D4)(D).
Where the (G) home in the valley meets the (A) damp dirty (D) prison (D4)(D).
And the ex-e-(G)-cutioner's face is (A) always well (D) hidden (D4)(D).
Where (G) hunger is ugly, where (A) souls are for (D) gotten (D4)(D).
Where (G) black is the color where (A) none is the (D) number (D4)(D).
And I'll (G) tell it and speak it and (A) think it and (D) breathe it (D4)(D).
And re (G) flect from the mountain so (A) all souls can (D) see it (D4)(D).
Then I'll (G) stand on the ocean un (A) til I start (D) sinkin' (D4)(D).
But I'll (G) know my song well be (A) fore I start (D) singin' (D4)(D).
And it's a hard, it's a (A) hard, it's a (D) hard, and it's a (G) hard.
(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)(MC0)
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). From there you keep the bottom
finger where it is but move the top finger back to where it was on the 5th string. That’s (Esus).
INTRO: (Em)(D6/9)(Esus), (Em)(D6/9)(Esus)
On the (Em) first part of the (D6/9) journey (Esus),

I was (Em) looking at all the (D6/9) life (Esus).
There were (Em) plants and birds and (D6/9) rocks and (Esus) things
There was (Em) sand and hills and (D6/9) rings.
The (Em) first thing I met was a (D6/9) fly with a (Esus) buzz
And the (Em) sky, with no (D6/9) clouds (Esus).
The (Em) heat was hot and the (D6/9) ground was (Esus) dry
But the (Em) air was full of (D6/9) sound.
I've (Em) been through the desert on a (D6/9) horse with no name
It felt (Em) good to be out of the (D6/9) rain.
In the (Em) desert, you can't re (D6/9) member your name
'Cause there (Em) ain't no one for to (D6/9) give you no pain.
(Em) La la la- (A) la la la la la la (Em) la, la (A) la.

After (Em) two days in the (D6/9) desert (Esus) sun my (Em) skin began to turn (D6/9) red (Esus).
And after (Em) three days in the (D6/9) desert (Esus) fun I was (Em) looking at a river (D6/9) bed.
And the (Em) story it told of a (D6/9) river that (Esus) flowed
Made me (Em) sad to think it was (D6/9) dead.
You see I've (Em) been through the desert on a (D6/9) horse with no name
'Cuz there (Em) ain't no one for to (D6/9) give you no pain.
La (Em) la la la- (A) la la la la la la (Em) la, la (A) la.

(Em)(A)(Em)(A), (Em)(D6/9)(Em)(A)
After (Em) nine days I let the (D6/9) horse run (Esus) free
Cuz the (Em) desert had turned to (D6/9) sea (Esus).
There were (Em) plants and birds and (D6/9) rocks and (Esus) things
There was (D6/9) sand and hills and (D6/9) rings.
The (Em) ocean is a desert with its (D6/9) life under (Esus) ground
And a (Em) perfect disguise a (D6/9) bove.
Under the (Em) cities, lies a (D6/9) heart made of (Esus) ground
But the (Em) humans will give no (D6/9) love.
You see I've (Em) been through the desert on a (D6/9) horse with no name
'Cuz there (Em) ain't no one for to (D6/9) give you no pain.

La (Em) La la la- (A) la la la la la la (Em) la, la (A) la.

La (Em) la la la- (A) la la la la la la (Em) la, la |A| la.
(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)(MC0)
[Two versions, the original here in [D] and afterwards in [G] mainly for fingerstyle.]
TIP: There's a (D) in front of and an (A) after the word "gold". Don't linger on the (A). Play
it and get ready for the next (D) and begin the chorus.
TIP: An (A) will follow the (A6) so either play the (A6) with four fingers and lift the pinky off
the bottom string, or play as a 4-string barre and lift the bottom pad of your index finger up and
off the bottom string.
TIP: The little twinkle at the end (see the last 3 diagrams) is chord (D), then (DaddA) which is
(D) with pinky extended to cover the bottom string/5th fret, then |Dmaj| played at the 7th fret so
an index finger barre across the 7th fret with pinky extended to cover the bottom string/10th fret -
- don’t strike the top two strings. If this is too difficult, just play a regular (D).
INTRO: (D)(A)(Bm)(G)(D)(Bm)(A) <pause>
(NC) Oh when the (D) veil, of (G) dreams, has (A) lifted,
And the (D) fairy tales have (G) all been (A) told.
There's a (Bm) kiss at the (G) end of the (A) rainbow,
More (G) precious than a (A6) pot (A) of (D) gold (A).
In (D) tales, of ancient, (A) glory, every (D) knight and (Bm) maiden (G) fair,
Shall be (A) joined when the (D) quest is (G) over,
And a (Bm) kiss is the oath that they (A) swear.
And when the (D) veil, of (G) dreams, has (A) lifted,
And the (D) fairy tales have (G) all been (A) told.
There's a (Bm) kiss at the (G) end of the (A) rainbow,
More (G) precious than a (A6) pot (A) of (D) gold (A).
My (D) sweet, my dear, my (A) darling, you're so (D) far a (Bm) way from (G) me.
Though an (A) ocean of (D) tears div-(G)-ides us,
Let the (Bm) bridge of our love span the (A) sea.
(D) (G) (A), (D) (G) (A), (Bm) (G) (A), (G) (A6)(A) (Bm)
Your kiss. There's a (G) kiss at the (Gadd) end of the (G) rain (A) bow |A| . . .
<slowly> . . . (D) more (G) precious than a |A6| pot, |A| of, |D| gold. |DaddA| |Dmaj@7|
(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)(MC0)
TIP: For all those strummers who wish they could fingerpick, but can’t, this song is good for
faking it and still have it sound half decent.
INTRO: (G)(D)(Em)(C)(G)(Em)(D) <pause>
(NC) Oh when the (G) veil, of (C) dreams, has (D) lifted,
And the (G) fairy tales have (C) all been (D) told.
There's a (Em) kiss at the (C) end of the (D) rainbow,
More (C) precious than a (Cmaj7) pot (D) of (G) gold (D).
In (Gadd) tales, (G) of (Gadd) an, (G) cient (D) glory,

Every (G) knight (Gadd) and (Em) maiden (C) fair,
Shall be (D) joined when the (G) quest is (C) over,
And a (Em) kiss is the oath that they (D) swear.
And when the (G) veil, of (C) dreams, has (D) lifted,
And the (G) fairy tales have (C) all been (D) told.
There's a (Em) kiss at the (C) end of the (D) rainbow,
More (C) precious than a (Cmaj7) pot (D) of (G) gold (D).
My (Gadd) sweet, (G) my (Gadd) dear, my (D) darling,

You're so (G) far (Gadd) a (Em) way from (C) me.
Though an (D) ocean of (G) tears di (C) vides us,
Let the (Em) bridge of our love span the (D) sea.
(G) (C) (D), (G) (C) (D), (Em) (C) (D), (C) (Cmaj7)(D) (Em)
Your kiss. There's a (C) kiss at the (CaddG) end of (C) the rain (D) bow |D| . . .
<slowly> . . . (G) more (C) precious than a |G| pot, |D|, of |G| gold. (Gadd) |G|
(Mitch & Mickey) (Artist Index) - (Main Index) - (Song Index) (This Song)
A MATTER OF TRUST
Billy Joel
https://www.youtube.com/watch?v=RaOZ3Gkoruw (C2)(MC2)
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.
INTRO: <g><a><g> |C| One, two, ah |C| one two three four. (C)(Am) (C)(Am)(C)
Some love is just a (Am) lie of the heart.

(C) The cold remains of what be (Am) gan with a passionate (Em) start.
And they may not want it to (G) end. But it will it’s just a question of (C) when.
I’ve lived long e (Am) nough to have learned,
(C) The closer you get to the (Am) fire the more you get (Em) burned.
But that won’t happen to (G) us, cuz it’s always been a matter of (C) trust. (C)(Am)(C)(Am)(C)
I know you’re an e (Am) motional girl.

(C) It took a lot for you to (Am) not lose your faith in this (Em) world.
But I can’t offer you (G) proof, but you’re gonna face a moment of (C) truth.
It’s hard when you’re (Am) always afraid.
(C) You just recover when a (Am) nother belief is be (Em) trayed.
So break my heart if you (G) must. It’s a matter of trust.
You (F) can’t go the distance with (Dm) too much (Em) resis (Am7) tance.
I (F) know you have (G) doubts, but for (Em) God’s sake don’t shut me (F) out (F). (G)-(G)-(C)
This time you’ve got (Am) nothing to lose.

(C) You can take it you can (Am) leave it whatever you (Em) choose.
I-won’t hold back any (G) thing, and I’ll walk away a fool or a (C) king.
Some love is just a (Am) lie of the mind.
(C) It’s make believe until it’s (Am) only a matter of (Em) time,
And some might have learned to a (G) djust, but then it never was a matter of (C) trust.
(C)(Am)(C)(Am)(Em)(Em)(G)(G)
I’m (F) sure you’re aware love, we’ve (Dm) both had (Em) our share (Am7) of,
Be (F) lieving too (G) long, when the (Em) whole situation was (F) wrong (F). (G)-(G)-(C)
Some love is just a (Am) lie of the soul.

(C) A constant battle for the (Am) ultimate state of con (Em) trol.
After you’ve heard lie upon (G) lie, there can hardly be a question of (C) why.
Some love is just a (Am) lie of the heart.
(C) The cold remains of what be (Am) gan with a passionate (Em) start.
But that can’t happen to (G) us, cuz it’s always been a matter of (C) trust (C)(Am).
It's a matter of (C) trust. (C)(Am)(C) It's (Am) always been a matter of (C) trust. (C)(Am)(C)(Am)
It's a matter of (C) trust. (C)(Am)(C) Cuz it's (Am) always been a matter of (C) trust. (Am)|C|
(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)(MC0)
As I (C) travel down the back roads, of this (Am) home I love so (F) much.
Every (C) carpenter and (Am) cowboy, every (Dm) lame man on a (G) crutch.
They’re all (F) talking about a (Em) feeling, ‘bout a (F) taste that’s in the (G) air.
They’re all (F) talking about this (C) mighty (Am) wind that’s (F) blowing eve (G) ry (C) where.
Oh a (Bb) mighty wind’s a (F) blowin’. It’s (Bb) kickin’ up the (F) sand.
It’s (Am) blowin’ out a message, to every (D7) woman child and (Bb) man (G).
Yes a (Bb) mighty wind’s a (F) blowin’, ‘cross the (C) land and (Cmaj7) cross the (Am) sea (G).
It’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ equal (G) it (C) y.
From a lighthouse in Bar Harbor, to a (Am) bridge called Golden (F) Gate.
From a (C) trawler down in (Am) Shreveport, to the (Dm) shore of one great (G) lake.
There’s a (F) star on the hor (Em) izon, and it’s (F) burning like a (G) flame.
It’s (F) lighting up this (C) mighty (Am) wind that’s (F) blowin’ eve (G) ry (C) where.
When the blind man sees the picture, when the (Am) deaf man hears the (F) word.
When the (C) fisherman stops (Am) fishing, when the (Dm) hunter spares the (G) herd.
We’ll still (F) hear the wondrous (Em) story, of a (F) world where people (G) care.
The (F) story of this (C) mighty (Am) wind that’s (F) blowin’ eve (G) ry (C) where.
Yes it’s (F) blowin’ peace and (C) free (Am) dom, it’s (F) blowin’ you (G) and (C) me. (C)
(The Folksmen) (Mitch & Mickey) (New Main Street Singers)

(Artist Index) (Folk) (Main Index) (Song Index) (This Song)
A PUB WITH NO BEER – Slim Dusty
(Parsons)
https://www.youtube.com/watch?v=e1l40SUGabg (Capo 1)(MC1)
TIP: The song ends with a trio of six single strums, the first beginning on the final word, which
is kind of trick because it’s fast and there are movements back and forth between the (C) and (F).
But you can play all (C)s, then all (F)s, and then all (C)s and get away with sounding okay.
INTRO: |C| |G| |C|
Oh it's a (C) lonesome away, from your (F) kindred and all,
By the (G) campfire at night, we'll hear the wild dingoes (C) call (G).
But there's a (C) nothing so lonesome, (F) morbid or drear,
Than to (G) stand in the bar, of a pub with no (C) beer (G).
Now the (C) publican's anxious, for the (F) quota to come,
And there's a (G) far away look on, the face of the (C) bum (G).
The (C) maid's gone all cranky, and the (F) cook's acting queer,
Oh what a (G) terrible place, is a pub with no (C) beer (G)(C)(G).
Then the (C) stockman rides up, with his (F) dry dusty throat.
He breasts (G) up to the bar, and pulls a wad from his (C) coat (G).
But the (C) smile on his face, quickly (F) turns to a sneer,
As the (G) barman says sadly, “The pub's got no (C) beer (G)(C)(G).”
Then the (C) swaggie comes in, smothered (F) in dust and flies.
He (G) throws down his roll, and rubs the sweat from his (C) eyes (G).
But (C) when he is told, he says (F) “What's this I hear,
I've trudged (G) fifty, flamin' miles, to a pub with no (C) beer (G)?”
Now there's a (C) dog on the v'randa, for his (F) master he waits,
But the (G) boss is inside, drinking wine with his (C) mates (G).
He (C) hurries for cover and he (F) cringes in fear,
It's no (G) place for a dog, 'round a pub with no (C) beer (G)(C)(G).
And old (C) Billy the blacksmith the first (F) time in his life,
Why he's (G) gone home cold sober to his darling (C) wife (G).
He (C) walks in the kitchen, she says you're (F) early Bill dear.
But then he (G) breaks down and tells her, <palm> (NC) “The pub's got no (C) beer (G)(C)(G).”
Oh it's (C) hard to believe, that there's (F) customers still,

But the (G) money's still tinkling, in the old ancient (C) till (G).
The (C) wine buffs are happy, and I (F) know they're sincere,
When they (G) say they don't care, if the pub's got no (C) beer (G).
So it's a (C) lonesome away, from your (F) kindred and all,
By the (G) campfire at night, we'll hear the wild dingoes (C) call (G).
But there's a (C) nothing so lonesome, (F) morbid or drear,
Than to (G) stand in the |G| bar, of that pub with-a no |C| beer. -|C|-|C|-|C|-|F|-|C|,
|F|-|F|-|F|-|F|-|C|-|F|, |C|-|C|-|C|-|F|-|C|-|F|, |C|
(Slim Dusty) (Artist Index) - (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)(MC0/1)
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) How many (D) tiiimes (E) have, you heard someone (A) say,
'If I had his (E) money, I could (D) do things my (A) way.'
But little they (E) know, that it's (D) so hard to (A) find,
One rich man in (E) ten, with a (D) satisfied (A) mind.
<Cash> Once I was (D) winn (E) ing, in fortune and (A) fame.
Everything that I (E) dreamed for, to get a (D) start in life's (A) game.
Then suddenly it (E) happened, I (D) lost every (A) dime.
But I'm richer by (E) far, with a (D) satisfied (A) mind.
<Willie> Once I was (E) wading, in (D) fortune and (A) fame.
Everything that I (E) dreamed for, to get a (D) start in life's (A) game.
Then suddenly it (D) happ-(E)-ened, I lost every (A) dime.
But I'm richer by (E) far, with a (D) satisfied (A) mind.
<Willie> (A)(E)(D)(A)
Money can't (D) buy (E) back, your youth when you're (A) old,
Or a friend when you're (E) lonely, or a (D) love that's grown (A) cold.
The wealthiest (E) person, is a (D) pauper at (A) times,
Compared to the (E) man, with a (D) satisfied (A) mind.
And when life has (E) ended, and my (D) time has run (A) out,
My friends and my (E) loved ones, I'll (D) leave there's no (A) doubt.
But one thing's for (D) cer (E) tain, when it comes my (A) time.
I'll leave this old (E) world, with a (D) satisfied (A) mind. <End Willie>
<Cash> How many (D) tiiimes (E) have, you heard someone (A) say,
'If I had his (E) money, I could (D) do things my (A) way.'
But little they (E) know, that it's (D) so hard to (A) find,
One rich man in (E) ten, with a (D) satisfied (A) mind. |A||A|
(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)(MC0)
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).
INTRO: (C) Oooooh, (Am) oooooh, whah (F) ooooh, (G) oooh
(C) Oooooh, (Am) oooooh, whah (F) ooooh, (G) oooh
(C) Each time we (Am) have a quarrel, (F) it almost (G) breaks my heart.
(C) 'Cause I'm (Am) so afraid, (F) that we will (G) have to part.
(C) Each night I (Am) ask the (F) stars up a (G) bove,
|C| Why must I |Am| be a teen |F| ager in (G) love?
(C) One day I (Am) feel so happy, (F) next day I (G) feel so sad.
(C) I guess I'll (Am) learn to take, (F) the good (G) with the bad.
Cuz (C) each night I (Am) ask the (F) stars up a (G) bove,
(F) I cried a (G) tear, (F) for nobody but (G) you.
(F) I'll be a (G) lonely one if (F) you should say we're (G) through.
(C) Well if you want to (Am) make me cry, (F) that won't be so (G) hard to do.
(C) If you should (Am) say goodbye, (F) I'll still go on (G) loving you.
(F) I cried a (G) tear, (F) for nobody but (G) you.
(F) I'll be a (G) lonely one if (F) you should say we're (G) through.
(C) Well if you want to (Am) make me cry, (F) that won't be so (G) hard to do.
(C) And if you should (Am) say goodbye, (F) I'll still go on (G) loving you.
(C) Why must I (Am) be a teen (F) ager in (G) love?

(C) Why must I (Am) be a teen (F) ager in (G) love? |C|
(Dion) (Artist Index)(Oldies) - (Main Index) - (Song Index) (This Song)

A THOUSAND MILES FROM NOWHERE
Dwight Yoakam
https://www.youtube.com/watch?v=Tu3ypuKq8WE (Capo 0)(MC4)
INTRO: (C) (Am) (C) (Am)
I'm a (C) thousand miles from (Am) nowhere. (C) Time don't matter to (Am) me.
Cause I'm a (C) thousand miles from (Am) nowhere, and there's (F) no place I wanna (G) be.
I got (C) heartaches in my (Am) pocket. I got (C) echoes in my (Am) head.
And (C) all that I keep (Am) hearing, are the (F) cruel cruel things that you (G) said.
Oh (F) I. Oh (G) I. Oh (F) I. (G) I-eye. (Am) I-eye-eye. (C)(Am)(C)(Am)(C)(Am)(F)(G)(G)

Oh (F) I. Oh (G) I. Oh (F) I. (G) I-eye. (Am) I-eye-eye.
I've got (C) bruises on my (Am) memories. I've got (C) tear stains on my (Am) hands.
And in the (C) mirror there's a (Am) vision, of what (F) used to be a (G) man.
(F)...(G)... Oh (F) I . . . (G) I . . . (C)(Am)(C)(Am)(C)(Am)(F)(G)

I'm a (C) thousand miles from (Am) nowhere. (C)(Am)(C)(Am)(F)(G)
I'm a (C) thousand miles from (Am) nowhere. (C)(Am)(C)(Am)(C)(Am)(F)(G);
(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)(MC0)
INTRO: (A single slow strum of) (Am)
A time for (Em) us, some day there'll (F) be.

When chains are (Em) torn, by courage (Dm) born of a love that's (Am) free.
A time when (Em) dreams, so long de (F) nied, can (Dm) flour (Em) ish.
As (Am) we unveil the love we now (Em) must (Am) hide.
A (C) time, for (G) us, at (Dm) last, to (Am) see.

A (Bb) life, worth (F) while, for (Em) you, and (Am) me.
And with our (Em) love, through tears and (F) thorns.
We will en (Em) dure, as we pass (Dm) surely through every (Am) storm.
A time for (Em) us, some day there'll (F) be, a (Dm) new, (Em) world.
A (Am) world of shining hope for you (Em) and (Am) me.
(C)(G)(Dm)(Am), (Bb)(F) for (Em) you, and (Am) me.
And with our (Em) love, through tears and (F) thorns.
We will en (Em) dure, as we pass (Dm) surely through every (Am) storm.
A time for (Em) us, some day there'll (F) be, a (Dm) new, (Em) world.
A (Am) world of shining hope for you (Em) and (Am) me.
A (Am) world of shining hope for you, (Em) and, (Am) me.
(Johnny Mathis) (Artist Index) - (Main Index) - (Song Index) (This Song)
A WELL RESPECTED MAN – The Kinks
(Davies)
https://www.youtube.com/watch?v=_bQsGiiPVFo (Capo 0)(MC3/4)
INTRO: <single strum> |G|
Cause he (C) gets up (Em) in the (Am) morning, and he (C) goes to (Em) work at (Am) nine,
And he (C) comes back (Em) home at (Am) five-thirty, gets the (C) same train (Em) every (Am) time,
Cause his (C) world is (Em) built on (Am) punctuali (C) ty it (Em) never (Am) fails.
And he’s (C) oh so (Am) good, and he’s (C) oh so (Am) fine,
And he’s (C) oh so (Am) healthy, In his (C) body (G) and his (Am) mind.
He’s a (F) well respected (Em) man about town,
(F) Doing the best things (G) so con (D) serva (G) tively.
And his (C) mother (Em) goes to (Am) meetings, while his (C) father (Em) paws the (Am) maid,
And she (C) stirs the (Em) tea with (Am) countenance,
While dis (C) cussing (Em) foreign (Am) trade,
And she (C) passes (Em) looks as (Am) well as bills, at (C) every (Em) suave young (Am) man.
Cause he’s (C) oh so (Am) good, and he’s (C) oh so (Am) fine,
And he’s (C) oh so (Am) healthy, in his (C) body (G) and his (Am) mind.
(F) Doing the best things (G) so con (D) serva (G) tively.
And he (C) likes his (Em) own back (Am) yard, and he (C) likes his (Em) fags the (Am) best,
Cause he’s (C) better (Em) than the (Am) rest, and his (C) own sweat (Em) smells the (Am) best,
And he (C) hopes to (Em) grab his (Am) father’s loot, when (C) pater (Em) passes (Am) on.
(F) Doing the best things (G) so con (D) serv a (G) tively.
And he (C) plays at (Em) stocks and (Am) shares, and he (C) goes to (Em) the re (Am) gatta,
And he (C) adores the (Em) girl next (Am) door, cause he’s (C) dying to (Em) get (Am) at her,
But his (C) mother (Em) knows the (Am) best about, the (C) matri (Em) monial (Am) stakes.
(F) Doing the best things (G) so con (D) serv a (G) tively. |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)(MC1)
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)
A (C) white, sport coat, and a (Dm) pink, car (G7) nation.
(F) I'm all dressed (G7) up for the (C) dance (Dm)(G).
A (C) white, sport coat, and a (Dm) pink, car (G) nation,
(F) I'm all a (G7) lone in ro (C) mance.
(G7) Once you told me long ago, (C) to the prom with me you'd go.
(D7) Now you've changed your mind it seems.
(G7) Someone else will hold my dreams a (C) white, sport coat,
And a (Dm) pink, car (G7) nation, (F) I'm in a (G7) blue blue (C) mood.
<capo +1>
A white, sport coat, and a (Dm) pink, car (G7) nation.

(F) I'm all dressed (G7) up for the (C) dance (Dm)(G).
A (C) white, sport coat, and a (Dm) pink, car (G) nation,
(F) I'm all a (G7) lone, in ro (C) mance.
(G7) Once you told me long ago, (C) to the prom with me you'd go.
(D7) Now you've changed your mind it seems.
(G7) Someone else will hold my dreams a (C) white, sport coat, and a (Dm) pink, car (G7) nation,
(F) I'm in a (G) blue blue (C) mood. (F)(C)(F)(C)
(Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
ACROSS THE GREAT DIVIDE – Nanci Griffith & Emmylou Harris
(Wolf)
https://www.youtube.com/watch?v=TyqgWYIVgQI (Capo 2)(MC2)
TIP: The intro begins with a six-note walk-up that’s pretty easy to play. If you form (G) in
preperation for the (Gadd) that ends the sequence you can use the front of your index finger to
play the notes (on/off) in the second fret. So it’s open 4th string, (finger on) covered 4th string;
(finger off) open 3rd string, (finger on) covered 3rd string; (finger off) open 2nd string, and then
(Gadd) to cover the final note <d>. If too cumbersome play a (G) for the sequence of notes until
the (Gadd).
INTRO: <d>-<e>-<g>-<a>--(Gadd), (C)(G), (G)(Em), (Em)(C)

(C)(G), (G)(Em), (Em)(C)(C)(D)(G)|G|
(NC) I've been (G) walkin', (C) in my (G) sleep.

Countin' (Em) trou-bles, 'stead of countin' (C) sheep.
Where the (G) years went, I can't (Em) say.
I just (C) turned around (D), and they've gone a (G) way.
And I've been siftin', (C) through the (G) lay-ers,

Of dusty (Em) books, and faded (C) pa-pers.
They tell a (G) story, I used to (Em) know,
And it was one that (C) happened (D), so long a (G) go.
It's gone away, (C) yester (G) day.

Now I (Em) fiiind myself on the mountain (C) side.
Where the (G) rivers change dir (Em) ection a (D) cross the Great Di (G) vide.
Now I heard, the (C) owl a (G) callin',

Softly (Em) as, the night was (C) fallin'.
With a (G) question, and I re (Em) plied.
But he's (C) gone, a (D) cross the border (G) line.
He’s gone away, (C) yester (G) day.
And now I (Em) fiiind myself on the mountain (C) side.
(G), (C)(G), (G)(Em), (Em)(C); (C)(G)(Em)(C)(D)(G)|G|
(NC) The finest (G) hour, that (C) I have (G) seen,
Is the (Em) one, that comes be (C) tween,
The edge of (G) night, and the break of (Em) day.
It's when the (C) darkness (D), rolls a (G) way.
And it's gone away, (C) yester (G) day.

And it's gone away, (C) yester (G) day.

It’s where the (G) rivers change dir (Em) ection a (D) cross the Great Di (G) vide. (G)|G|
(Nanci Griffith) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
ACROSS THE UNIVERSE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=90M60PzmxEE (Capo 1)(MC5)
TIP: There’s a quick one-count of (Cmaj7) and then a jump to (Am) in the 1st and 3rd lines of the
verse. Just lift off the index finger from the trailing (C) for the (Cmaj7) and then jump to the
(Am). If too cumbersome, play the (Am) where the (Cmaj7) appears.
INTRO: (C)(Em)(Em)(G)(G)
(C) Words are flowing (Cmaj7) out (Am) like endless (Em) rain into a paper cup.
They (Dm7) slither while they pass they slip a (G) way across the uni (G7) verse.
(C) Pools of sorrow (Cmaj7) waves (Am) of joy are (Em) drifting thorough my open mind,
Po (Dm7) ssessing and ca (Fm) ressing me. |Fm|-|Fm|
(C) Jai gu-ru-u da-ay-va. (G) Ohm. Nothing's gonna change my (G7) world.
(F) Nothing's gonna change my (C) world. (G) Nothing's gonna change my (G7) world.
(F) Nothing's gonna change my (C) world.
Images of (Cmaj7) bro (Am) ken light which (Em) dance before me
Like a million (Dm7) eyes they call me on and on a (G) cross the uni (G7) verse.
(C) Thoughts meander (Cmaj7) like (Am) a restless (Em) wind inside a letter box,
They (Dm7) tumble blindly as they make their (G) way across the univ (G7) erse.
Sounds of laughter (Cmaj7) shades (Am) of life are (Em) ringing through my open ears
In (Dm7) citing and in (Fm) viting me.
(C) Limitless un (Cmaj7) dy (Am) ing love which (Em) shines around me
Like a million (Dm7) suns it calls me on and on a (G) cross the uni (G7) verse.
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/The Beatles
(Russell/Morrison)
https://www.youtube.com/watch?v=yjJd8rZPcAQ The Beatles (Capo 0)(MC1)
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.
TIP: The intro lick also appears between the last verse and the reprise and again as the outro.
I'ts that step-down bomp-bomp-bomp-bomp and is pretty easy to play. Start with all four fingers
parallel to the fingerboard over frets 2-4. Pick the open 3rd string <g>, cover the 4th string/4th
fret <f#> with your pinky and pick once, cover the 4th string/2nd fret <e> with your index finger
and pick once, and pick the open 4th string <d> once followed by the chords indicated.
INTRO: <g>-<f#>-<e>-<d> (D), (G)-(G)
They'rrrrrre gonna put me in the (C) movies.

(G) They're gonna make a big star out of (D) me.
We'll (G) make a film about a man that's sad and (C) lonely.
And (D7) all I gotta do is, act natural (G) ly.
Well I'll (D) bet you, I'm gonna be a (G) big star.
Might (D) win an Oscar, you can never (G) tell.
The (D) movie's gonna make me a (G) big star.
'Cause (A) I can play the (A7) part so (D) well (D7).
Well I (G) hope you'll come and see me in the (C) movies.
(G) Then I'll know that you will plainly (D) see,
The (G) biggest fool that ever hit the (C) big time.
<g>-<f#>-<e>-<d> (D), (G)-(G); <g>-<f#>-<e>-<d> (D), (G)-(G)

We'll make the scene about a man that's sad and (C) lonely.
And (G) beggin' down upon his bended (D) knee.
I'll (G) play the part, but I won't need re (C) hearsing,
(D7) All I have to do is, act natural (G) ly.
Well I'll (D) bet you, I'm gonna be a (G) big star.
Might (D) win an Oscar, you can never (G) tell.
The (D) movie's gonna make me a (G) big star.
'Cause (A) I can play the (A7) part so (D) well (D7).
Well I (G) hope you'll come and see me in the (C) movies.
(G) Then I'll know that you will plainly (D) see,
The (G) biggest fool that ever hit the (C) big time.
<g>-<f#>-<e>-<d> (D), (G)-(G)
(Buck Owens) (The Beatles) (Artist Index) - (Main Index) - (Song Index) (This Song)
AFTER THE GOLD RUSH
Neil Young
https://www.youtube.com/watch?v=z9C2NxO_dJs (Capo 0)(MC0)
TIP: Whenever you do a song on guitar when the song has no guitar (in this case all piano with a
horn bridge) you “slippery” chord changes. (Dsus2) is just (D) without the bottom finger and (D4)
is just (D) with the pinky added to the bottom string/3rd fret.
INTRO: (D)(Dsus2)(Gadd), (D)(Dsus2)(Gadd)
Well I (D) dreamed I saw the knights (Dsus2) in ar (G) mor comin’
Sayin' (D) something abou- (Dsus2) -out a (G) queen.
There were (D) peasants (D4) sing (D) in' and drum (A) mers drummin’
And the (Bm) archer split the (A) tree.
There was a (Bm) fanfare blowin', to the (C) sun that was (Bm) floating on the (C) breeze (C).
(D) Look at mother (D4) na (D) ture on (A) the run in the (C) Nineteen Seven (G) ties.
(D) Look at mother (D4) na (D) ture on (A) the run in the (C) Nineteen Seven (G) ties.
I was (D) lyin' in a burned (Dsus2) out base (G) ment, with a (D) full moon in (Dsus2) my (G) eyes.
I was (D) hopin' (D4) for-(D)-or re (A) placement when the (Bm) sun burst through the (A) sky.
There was a (Bm) band, playin', in my (C) head and I (Bm) felt like getting (C) high (C).
I was (D) thinkin' a (D4) bout (D) what a friend (A) had said. I was (C) hopin' it was a (G) lie.
(D) Thinkin' a (D4) bout (D) what a friend (A) had said. I was (C) hopin' it was a (G) lie.
<horns> (D)(Dsus2)(G)(D)(G), (G)(D)(D4)-(D)(A)(Bm)(A), (A)(Bm)(C)(Bm)(C)(C)

(D)(D4)-(D)(A)(C)(Gadd), (D)(D4)-(D)(A)(C)(Gadd)
Well I (D) dreamed I saw the sil (Dsus2) ver space (G) ships flyin’
In the (D) yellow haze of the (G) sun.
There were (D) children (D4) cry (D) in’ and col (A) ors flyin’
All a (Bm) round the chosen (A) ones.
All in a (Bm) dream, alllll in a (C) dream, the (Bm) loading had be (C) gun (C).
(D) Flyin' mother (D4) na (D) ture's sil (A) ver seed to a (C) new home in the (G) sun.
(D) Flyin' mother (D4) na (D) ture's sil (A) ver seed to a new (CaddD) hooooo |Gadd| oome.
(Neil Young) (Artist Index) - (Main Index) - (Song Index) (This Song)
AGAINST THE WIND
Bob Seger
https://www.youtube.com/watch?v=PBJRD1VkxmI (Capo 0)(MC2)
INTRO: (G)(D7)-(D7)-(G); (D)(G)(D7)-(D7)-(G)(D7)(G)
It seems like yesterday, (Bm) but it was long ago.

(C) Janey was lovely she was the (G) queen of my nights,
(D) There in the darkness with the (C) radio, playing low (D) and (G),
And the secrets that we shared, (Bm) the mountains that we moved.
(C) Caught like a wildfire (G) out of control,
Til there was (C) nothing left to burn and nothing (D) left to prove. (D4)(D)
And I re (Em) member (D) what she said to (G) me.

How she (Em) swore that it (C) never would (Gadd) end.
I re (Em) member how she (D) held me, (C) oh so tight.
Wish I didn't know now what I (D) didn't know then.
(G) Against the (Bm) wind. (C) We were runnin' against the (G) wind.
We were (C) young and (Bm) strong we were (Am7) runnin' a (D) gainst the (G) wind.
<piano> (G)(D7)-(D7)-(G); (D)(G)(D7)-(D7)-(G)(D7)(G)
And the years rolled slowly past, (Bm) I found myself alone.
(C) Surrounded by strangers I (G) thought were my friends,
I (D) found myself further and further (C) from my home and I (D),
(G) Guess I lost my way. (Bm) There were oh so many roads.
I was (C) living to run and (G) running to live,
Never (C) worried about paying or even how (D) much I owed. (D4)(D)
Moving (Em) eight miles a (D) minute for months at a (G) time.
Breaking (Em) all of the (C) rules that would (Gadd) bend.
I be (Em) gan to (D) find myself (C) searchin'.
Searchin' for shelter a (D) gain and again.
(G) Against the (Bm) wind. (C) A little somethin' against the (G) wind.
I (C) found my (Bm) self seeking (Am7) shelter a (D) gainst the (G) wind.
<piano> (G)(G)(G)(G)(Bm)(Bm)(C)(G)(D)(C); (G)(G)(Bm)(Bm)(C)(G)(C)(D)(D)
Well those (Em) drifters (D) days are past me (G) now.
I've got (Em) so much (C) more to think a (Gadd) bout.
(Em) Deadlines (D) and (C) commitments. What to leave in, (D) what to leave out.
(G) Against the (Bm) wind. (C) I'm still runnin' against the (G) wind.
I'm (C) older (Bm) now and still (Am7) runnin', a (D) gainst the (G) wind.
Well I'm (C) older (Bm) now and I'm still (D) running, against the (C) wind.
Against the (G) wind.
Against the (C) wind (still runnin’).

Against the (G) wind (I’m still runnin’ against the wind).
Against the (C) wind (I’m still runnin’).
Against the (G) wind (I’m still runnin’ against the wind).
Against the (C) wind (still runnin’).
Against the (G) wind (runnin’ against the wind, runnin’ against the wind).
Against the (C) wind (see the young man run).
Against the (G) wind (watch the young man run).
Against the (C) wind (watch the young man runnin').
Against the (G) wind (he’ll be runnin’ against the wind).
Against the (C) wind (let the cowboys ride).
Against the (G) wind (Ohhhh).
Against the (C) wind (let the cowboys ride).
Against the (G) wind (they’ll be ridin’ against the wind).
Against the (C) wind (against the wind).
Against the (G) wind (ridin’ against the wind).
Against the (C) wind. Against the (G) wind. (Ride ride ride ride ride ride).
(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)(MC1)
[An easier, better sounding (to me) version without the (Bm) and (F#) follows afterward.]
INTRO: (D)(A)(Bm), (G)(A)(D)-|G|-|D|
(D) You keep calling me, (G) on the tele (D) phone.
You (A7) say you're all a (Bm) lone.
Well (G) that's, (A) real (D) sad.
And you keep leavin', (G) notes stuck on my (D) door.

Guess you're (A7) hungry for some (Bm) more.
Girl, (G) that's, (A) too (D) bad (G)-(D).
'Cause I (Bm) ain't that lonely (F#) yet. No I (G) ain't that (A) lonely (D) yet.
After (Bm) what you put me (F#) through, oh I (G) ain't that, (A) lonely (D) yet.
(D)(A)(Bm), (G)(A)(D)-|G|-|D|
Once there was this, (G) spider in my (D) bed.

I got (A7) caught up in her (Bm) web, of (G) love (A) and (D) lies.
She spun her chains a (G) round my heart and (D) soul.
(A7) Never to let (Bm) go. Oh but (G) I, (A) sur (D) vived (G)-(D).
'Cause I (Bm) ain't that lonely (F#) yet. No I (G) ain't that, (A) lonely (D) yet.
After (Bm) what you put me (F#) through, oh I (G) ain't that, (A) lonely (D) yet.
(F#) Nothing left, you can do to (G) try and bring me (D) 'round.
'Cause (G) everything you (E) do, just brings me (A) downnnn, oh-(F#)-oh and I . . .
(Bm) Ain't that lonely (F#) yet. No I (G) ain't that, (A) lonely (D) yet.
After (Bm) what you put me (F#) through, oh I (G) ain't that, (A) lonely (D) yet (G)-(D).
After (Bm) what you put me (F#) through, oh I (G) ain't that, (A) lonely (D) yet (G)-(D).
After (Bm) what you put me (F#) through, oh I (G) ain't that, (A) lonely (D) yet. (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)(MC2)
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|
You keep calling me, (F) on the tele (C) phone.

You (G) say you're all a (Am) lone.
Well (F) that's, (G) real (C) sad.
And you keep leavin', (F) notes stuck on my (C) door.

Guess you're (G7) hungry for some (Am) more.
Girl, (F) that's, (G) too (C) bad (F)-(C).
'Cause I (Am) ain't that lonely (E) yet (E7). No I (F) ain't that (G) lonely (C) yet.
After (Am) what you put me (E) through (E7), oh I (F) ain't that, (G) lonely (C) yet.
(C)(G)(Am), (F)(G)(C)-|F|-|C|
Once there was this, (F) spider in my (C) bed.

I got (G) caught up in her (Am) web, of (F) love (G) and (C) lies.
She spun her chains a (F) round my heart and (C) soul.
(G) Never to let (Am) go. Oh but (F) I, (G) sur (C) vived (F)-(C).
'Cause I (Am) ain't that lonely (E) yet (E7). No I (F) ain't that, (G) lonely (C) yet.
After (Am) what you put me (E) through (E7), oh I (F) ain't that, (G) lonely (C) yet.
(E) Nothing left, you can do to (F) try and bring me (C) 'round.
'Cause (F) everything you (D7) do, just brings me (G) downnnn, (E) oh-(E7)-oh and I . . .
(Am) Ain't that lonely (E) yet (E7). No I (F) ain't that, (G) lonely (C) yet.
After (Am) what you put me (E) through (E7), oh I (F) ain't that, (G) lonely (C) yet (F)-(C).
After (Am) what you put me (E) through (E7), oh I (F) ain't that, (G) lonely (C) yet (F)-(C).
After (Am) what you put me (E) through (E7), oh I (F) ain't that, (G) lonely (C) yet. (F)-(C)
ALICE'S RESTAURANT
Arlo Guthrie
https://www.youtube.com/watch?v=m57gzA2JCcM (Capo 2)(MC1)
TIP: Arlo of course is fingerpicking this song but we'll give it a whirl using chords.
TIP: Let's talk about those three notes at the beginning of the first two bars. First, they can
be ignored but they're just lead-in notes. The easy way out is to cover them with the chords (G)-
(C)-(G). But you can play the notes two ways. First, you can play them bass side (5th string/2nd
fret, 5th string/3rd fret, open 4th string). Start like you're getting ready to play a (C) but
hover over the fingerboard. Pick the 5th string/2nd fret with your middle finger, then pick the
5th string/3rd fret with your ring finger, and pick the open 4th string and strum (C). When it
comes time to repeat this you'll be coming off a (C) so just keep formation but lift off and repeat
the process. Or you can play it treble side (2nd string open, 2nd string/1st fret, 2nd string/3rd
fret). Form (C) with fingers on the fretboard, but before playing the first note lift off index
finger and pick open 2nd string, put your index finger back down and pick the 2nd string again,
keep your index finger where it is but add pinky to 3rd fret and pick, lift off pinky and strum
(C). Either will make more sense once you play it a few times.
TIP: You can play a (D7) instead of the (Fm) which you may find much easier. But as for the (Fm),
it will always follow the (F) so if you play the (F/C) with the bass note (5th string/3rd fret)
covered by your pinky all you have to do is lift off your middle finger while sneaking your index
finger up one additional string and you're there! Try it.
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><d>(C)(A)-(A7)(D7)(G)(C); <c><d>(C)(A)-(A7)(D7)(G7); (C)(C)-(C7),(F/C)(F/C)-(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><d> (C) You can get any (A) thing you (A7) want at (D7) Alice's (G) Restaur (C) rant.
<c><d> (C) You can get any (A) thing you (A7) want (D7), at Alice's (G7) Restaurant.
(C) Walk right in it's (C7) around the back, (F/C) just a half a mile from the (Fm) railroad track.
(C) You can get any (A) thing you (A7) want at (D7) Alice's (G) Restaur (C) ant.
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) You can get any (A) thing you (A7) want at (D7) Alice's (G7) Restaur (C) rant."
And walk out. You know if one person just one person does it they may think he's really sick and
they won't take him. And if two people two people do it, in harmony, they may think they're both
faggots and they won't take either of them. And three people do it, three can you imagine three
people walking in singin' a bar of Alice's Restaurant and walking out. They may think it's an
organization. And can you, can you imagine fifty people a day, I said fifty people a day walking
in singin' a bar of Alice's Restaurant and walking out. And friends they may think it's a
movement. And that's what it is, the Alice's Restaurant Anti-Massacree Movement and all you got to
do to join is sing it the next time it comes around on the guitar. With feelin'. So we'll wait
'til it comes around on the guitar here, and sing it when it does.
Here it comes.
<c><d> (C) You can get any (A) thing you (A7) want at (D7) Alice's (G) Restaur (C) rant.
<c><d> (C) You can get any (A) thing you (A7) want (D7), at Alice's (G7) Restaurant.
(C) Walk right in it's (C7) around the back, (F/C) Just a half a mile from the (Fm) railroad track.
And (C) You can get any (A) thing you (A7) want at (D7) Alice's (G) Restaur (C) ant.
That was horrible. If you want to end war and stuff you gotta sing loud. I've been singing this
song now for twenty-five minutes. I could sing it for another twenty five minutes. I'm not proud.
Or tired. So we'll wait till it comes around again and, this time with four part harmony and
feeling.
We're just waitin' for it to come around is what we're doing.
Alright now?
(C) You can get any (A) thing you (A7) want
At (D7) Alice's (G) Restaur (C) rant - excepting Al (G) ice.
(C) You can get any (A) thing you (A7) want, (D7) at Alice's (G) Restaurant.
(C) Walk right in it's (C7) around the back, (F/C) Just a half a mile from the (Fm) railroad track.
And (C) you can get any (A) thing you (A7) want at (D7) Alice's (G) Restaur (C) ant.
Da da da da da da da (D7) dum. At Ali (G7) ce's, Restaur (C) ant (C)(G7)-(C).
(Arlo Guthrie) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
ALIMONY – Weird Al Yankovic
(James/Gentry/Cordell/Bloom/Yankovic)
https://www.youtube.com/watch?v=aOwJTjyecTI& (Capo 3)(MC4)
TIP: At the end of the verse there’s a (D)(G)(D) punch. After the (D) on “Mony” strike the |D|
once, strum (D) and strike |G| and |D| and resume strumming (D). You’ll hear it immediately when
you play it.
INTRO: <bass thrum/drums> (D)(D)(D)(D)(D)(D)(D)(D)
Here she come now wants her (G) ali (D) mony. |D|(D)|G|-|D|(D)
Bleedin’ me dry as a (G) boney (D) boney. |D|(D)|G|-|D|(D)
Workin’ three jobs just to (G) stay in (D) debt now. |D|(D)|G|-|D|(D)
Well, first she took my (G) nest egg then she took the nest.
I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah
‘Cause she took my (D) house (ali (G) mo (D) ny), my car (ali (G) mo (D) ny),
My shoes (ali (G) mo (D) ny), and my toothbrush too, too (G) bad (alimony),
So sad (alimony), and she got (alimony), got the gift of grab.
I'm in (A) debt (debt), debt (debt), debt (debt) debt (debt) debt (debt) debt (debt). (D)(D)(D)(D)
Lawyer's callin' me on the (G) tele (D) phony. |D|(D)|G|-|D|(D)

Tryin' to squeeze some blood from a (G) stoney (D) stoney. |D|(D)|G|-|D|(D)
Ooh I took her for better (G) or for (D) worse yeah. |D|(D)|G|-|D|(D)
Then she took me for (G) everything yeah everything
She could (A) get (get), get (get), get (get) get (get) get
Well I’m out of (D) cash (ali (G) mo (D) ny), no dough (ali (G) mo (D) ny),
I'm broke (ali (G) mo (D) ny), it's no joke (ali (G) mo (D) ny),
The check's in the (G) mail (alimony), get off (alimony), my back (alimony),
Cut me some slack
I said (A) yeah (yeah), yeah (yeah), yeah (yeah) yeah (yeah) yeah (yeah) yeah (yeah).
(D)(D)(D)(D), (D)(G)(D)(G)(D)(G)(D)(G)
I want my (D) ali (C) mo-mo- (G) mon (Oh you (D) do?)
I want my ali (C) mo-mo- (G) mon (Is it (D) due?)
I want my ali (C) mo-mo- (G) mony (Or you'll (D) sue?)
I want my ali (C) mo-mo- (G) mony.
Ali (A) mony (yeah), mony (yeah), yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah).
(D) . . . Wow!
Ali (G) mo (D) ny, ali (G) mo (D) ny, ali (G) mo (D) ny, I said come on come on come on.
Ali (G) mo (D) ny, ali (G) mo (D) ny, ali (G) mo (D) ny, bleed me dry
I said (A) no (no), oh no (no), no (no) no (no) no (no) no (no) no (no)
(D) Alim (G) mo (D) ny, ali (G) mo (D) ny. |D|
(Weird Al Yankovic) (Artist Index) - (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)(MC0)
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.
TIP: The chord placement looks funky but is necessary to establish and define the pacing. You'll
see what I mean. The first movement from (C) to (D) is very quick. When the sequence repeats a
second time you can skip the first (C) and play a second (D).
INTRO: |C|-|D|, |D|-|C|, |C|-|F|-|F|-|F|-|D|; |C|-|D|, |D|-|C|, |C|-|F|-|F|-|F|-|D|
(C) I'm (D) not, (D) con (C) tent, (C) to (F) be with (D) you in the (D) daytime (D)-(C),
(C)-(F)-(F)-(F)-(D).
(D) Girl, (D) I (C) want, to (F) be with (D) you all of (D) the time |D|-|C|, |C|-|F|-|F|-|F|-|D|.
The (F) only time I (C) feel alright is by (E) your side. |D|-|C|, |C|-|F|-|F|-|F|-|D|.
(A) Girl, I (G) want, to (C) be with (A) you all of the time all (G) day, and (C) all of the
(A) night. (A)-(A)(A) All (G) day, and (C) all of the (A) night.
(A)-(A)(A) All (G) day, and (C) all of the (A) night.
(D) I, (D) be (C) lieve, (C) that (F) you and (D) me last for (D) ever |D|-|C|,
|C|-|F|-|F|-|F|-|D|.
(D) Oh yeah, (D) all (C) day, and (F) night time (D) yours, leave me (D) never |D|-|C|,
|C|-|F|-|F|-|F|-|D|. The (F) only time I (C) feel alright is by (E) your side.
(A) Girl, I (G) want, to (C) be with (A) you all of the time all (G) day,
and (C) all of the (A) night. (A)-(A)(A) All (G) day, and (C) all of the (A) night.
(A)-(A)(A)(G)(C)
(A) (G) (C) Oh (A) come on.
|C|-|D|, |D|-|C|, |C|-|F|-|F|-|F|-|D|; |C|-|D|, |D|-|C|, |C|-|F|-|F|-|F|-|D|

|C|-|D|, |D|-|C|, |C|-|F|-|F|-|F|-|D|
(D) I, (D) be (C) lieve, (C) that (F) you and (D) me last for (D) ever |D|-|C|,
|C|-|F|-|F|-|F|-|D|.
(D) Oh yeah, (D) all (C) day, and (F) night time (D) yours, leaves me (D) never |D|-|C|,
|C|-|F|-|F|-|F|-|D|. The (F) only time I (C) feel alright is by (E) your side.
(A) Girl, I (G) want, to (C) be with (A) you all of the time all (G) day,
and (C) all of the (A) night. (A)-(A)(A) All (G) day, and (C) all of the (A) night.
(A)-(A)(A) All (G) day, and (C) all of the (A) 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)(MC1)
INTRO: <single strum> |C|
(C) Dreee-(Am)-am, (F) dream dream (G) dream. (C) Dreee-(Am)-am, (F) dream dream (G) dream.
When (C) I want (Am) you (Dm), in my (G7) arms.

When (C) I want (Am) you (Dm), and all your (G) charms.
When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dre-(Am)-am.
(F) Dream dream (G7) dream.
When (C) I feel (Am) blue (Dm), in the (G7) night,

And (C) I need (Am) you (Dm), to hold me (G) tight.
When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dre-(F)-ee-(C)-am. (C7)
(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or (C) day (C7).
(F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G) way (G7).
I (C) need you (Am) so (Dm), that I could (G7) die.

I (C) love you (Am) so (Dm), and that is (G) why,
When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dre-(Am)-am.
(F) Dream dream (G7) dream. (C) Dre-(F)-ee-(C)-am. (C7)
(F) I can make you mine, (Em) taste your lips of wine, (Dm) any time (G7), night or (C) day (C7).
(F) Only trouble is, (Em) gee wiz, I'm (D7) dreamin' my life a (G) way (G7).
I (C) need you (Am) so (Dm), that I could (G7) die.

I (C) love you (Am) so (Dm), and that is (G) why,
When (C) ever I (Am) want you, (F) all I have to (G7) do, (C) dre-(Am)-am.
(F) Dream dream (G7) dream. (C) Dre-(Am)-am.
(F) Dream dream (G7) dream. (C) Dre-(Am)-am.
(F) Dream dream (G7) dream. (C) Dre-(F)-ee-(C)-am.
(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)(MC2)
[A version without the (Bm) comes afterwards.]
(NC) Close your (Em) eyes and I'll (A7) kiss you, to (D) morrow I'll (Bm) miss you.
Re (G) member I'll (Em) always be (C) true (A).
And then (Em) while I'm a (A7) way, I'll write (D) home ev'ry (Bm) day.
And I’ll (G) send all my (A7) loving to (D) you.
(NC) I'll pre (Em) tend that I'm (A7) kissing, the (D) lips I am (Bm) missing,
And (G) hope that my (Em) dreams will come (C) true (A).
And I'll (G) send all my (A7) loving to (D) you.
(NC) All my (Bm) loving, I will send to (D) you.

All my (Bm) loving, darling I'll be (D) true.
(D) (G) (D), (Em)-(A7), |D|
(NC) Close your (Em) eyes and I'll (A7) kiss you, to (D) morrow I'll (Bm) miss you.
Re (G) member I'll (Em) always be (C) true (A).
And I’ll (G) send all my (A7) loving to (D) you.
(NC) All my (Bm) loving, I will send to (D) you. All my (Bm) loving, darling I'll be (D) true.
All my (Bm) loving. All my (D) loving. Ooo-oooh all my (Bm) loving, I will send to (D) you.
ALL MY LOVING – The Beatles
(Lennon McCartney)
(MC1)
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) Close your (Am) eyes and I'll (D7) kiss you, to (G) morrow I'll (Em) miss you.
Re (C) member I'll (Am) always be (F) true (D).
And then (Am) while I'm a (D7) way, I'll write (G) home ev'ry (Em) day.
And I’ll (C) send all my (D7) loving to (G) you.
(NC) I'll pre (Am) tend that I'm (D7) kissing, the (G) lips I am (Em) missing,
And (C) hope that my (Am) dreams will come (F) true (D).
And I'll (C) send all my (D7) loving to (G) you.
(NC) All my (Em) loving, I will send to (G) you.

All my (Em) loving, darling I'll be (G) true.
(G) (C7) (G), (Am)-(D7), |G|
(NC) Close your (Am) eyes and I'll (D7) kiss you, to (G) morrow I'll (Em) miss you.
Re (C) member I'll (Am) always be (F) true (D).
And I’ll (C) send all my (D7) loving to (G) you.
(NC) All my (Em) loving, I will send to (G) you. All my (Em) loving, darling I'll be (G) true.
All my (Em) loving. All my (G) loving. Ooo-oooh all my (Em) loving, I will send to (G) you.
ALL OF ME - John Legend
(Stevens/Gad)
https://www.youtube.com/watch?v=450p7goxZqg (Capo 1)
INTRO: (Em)(C)(G)(D), (Em)(C)(G)(D), (Em)
What would I (C) do without your smart (G) mouth,

Drawing me (D) in and you kicking me (Em) out?
You got my (C) head spinnin’, (G) no kidding, I (D)can't pin you (Em) down.
What's going (C) on in that beautiful (G) mind?
I'm on your (D) magical mystery (Em) ride,
And I'm (C) so dizzy, don't (G) know what hit me, but (D) I'll be al (Am) right.
My head's under (G) water but, (D) I’m breathing (Am) fine.
You’re crazy and (G) I’m out of my (D) mind.
Cause (G) all of me, loves (Em) all of you.

Love your (Am) curves and all your edges, all your (D) perfect imperfections.
Give your (G) all to me, I’ll give my (Em) all to you.
You're my (Am) end and my beginning, even (D) when I lose I’m winning.
Cause I give you (Em) alll- (C) all of (G) me, (D)
And you give me (Em) alll- (C) all of (G) you, oh- (D) oh.
(Em) How many (C) times do I have to tell (G) you,

Even when you're (D) crying you’re beautiful (Em) too?
The world is (C) beating you (G) down I'm a (D) round, through every (Em) mood.
You're my (C) downfall you're my (G) muse,
My worst dis (D) traction my rhythm and (Em) blues.
I can't stop (C) singing it's (G) ringing in (D) my, head for (Am) you.
My head's under (G) water but, (D) I’m breathing (Am) fine.
You’re crazy and (G) I’m out of my (D) mind.
Give me all of (Am) you, cards on the (G) table we’re (D) both showing (Am) hearts.
Risking it (G) all though it’s (D) hard.

And you give me (Em) alll- (C) all of (G) you. (D)
I give you (Em) alll- (C) all of (G) me. (D)

(John Legend) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL SHOOK UP – Elvis Presley
(Blackwell)
https://www.youtube.com/watch?v=23zLefwiii4 (Capo 1)(MC0)
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: You can play (E) or (E7), or (D) or (D7) just about anywhere you wish. I prefer the (D) and
the (D7) where I have them but that's just my personal preference.
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) Well a (A) bless my soul what's wrong with me? I'm itching like a man on a fuzzy tree.
My friends say I'm actin' wild as a bug I'm in love. <slap> (NC) I'm all shook up.
Muh hoo (D) hoo, muh (E) hoo, (A) yay yay, yay.
Well my hands are shaky and my knees are weak. I can't seem to stand on my own two feet.
Who do you thank when you have such luck I'm in love. <slap> (NC) I'm all shook up.
Well a (D7) please don't ask me what's on my mind I'm a (A) little mixed up but I'm feelin' fine.
When (D7) I'm near that girl, that I love best, my (E7) heart beats so it (E) scares me to death.
When (A) she touched my hand what a chill I got. Her lips are like a volcano that's hot.
I'm proud to say she's my, buttercup. I'm in love. <slap> (NC) I'm all shook up.
My (D7) tongue gets tied when I try to speak. My (A) insides shake like a leaf on a tree.
There's (D7) only one cure for this body of mine
And that's to (E7) hound that 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.
I'm proud to say she's my, buttercup. I'm in love. <grunt "uh"> I'm all shook up.
Muh hoo (D) hoo, muh (E) hoo, (A) 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)(MC0)
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.
TIP: In the bridge there's a (C)(Em/C)(Em) voicing. From the (C) hold fast on the index finger on
the <c> and move to (Em) which is now (EmC). Then lift off the index finger and you're at (Em).
Piece o'cake.
INTRO: <Form (C)> 2 - 2 - 2 - 2 - 2/3 - 1 - (Gadd), (C)(G)|D|
(NC) I got a dollar in my (Gadd) pocket. (C) There ain't a cloud up a (Gadd) bove.
(D7) I got a picture in a (Gadd) locket. (C) That says baby I (D) love you.
Well if you didn't look (C) the-hen boys. Then fellas don't go lookin' (Gadd) now.
Well here she comes a (C) walkin' (C)(D) all that heaven will a (G) llow. (D7)
Say-hey-there mister (G) bouncer, (C) now all I want to do is (G) dance.
(D7) But I swear I left my (G) wallet, (C) back home in my workin' (D) pants.
C'mon Slim slip me (C) i-in man, I'll make it up to you some (G) how.
I can't be late I got a (C) date (C)(D7) with all that heaven will a (G) llow.
Rain and storm and (C) dark skies, well now (EmC) they don't mean a (Em) thing.
If you (C) got a girl that (Am) loves you (Am)(D7) and who wants to wear (G) your ring.
So c'mon mister (C) trouble, we'll make it through you some (Em) how.
We'll fill this house with all the (C) love (C)(D7) all that heaven will a (G) llow.
<Form (C)> 2 - 2 - 2 - 2 - 2/3 - 1 - (Gadd), (C)(G),(D7)(G),(C)(D),(D)-(C)(C)(G),(G)(C),(D7)(G)
Rain and storm and (C) dark skies, well now (EmC) they don't mean a (Em) thing.
If you (C) got a girl that (Am) loves you (Am)(D7) and who wants to wear (G) your ring.
So c'mon mister (C) trouble, we'll make it through you some (Em) how.
We'll fill this house with all the (C) love (C)(D7) all that heaven will a (G) llow.
(D7) Now some may want to die (G) young man, (C) young and glorious-(G)-ly.
(D7) Get it straight now (G) mister. (C) Hey buddy that ain't (D) me.
'Cause I got something on my (C) mi-ind yeah. That sets me straight and walkin' (G) proud.
And I want all the (C) time (C)(D7) all that heaven will a (G) llow.
And I want all the (C) time (C)(D7) all that heaven will a (C) llow (G). (G)(Am),(D)|G|
(The Mavericks) (Bruce Springsteen) (Artist Index) - (Main Index) - (Song Index) (This Song)
ALL THE BEST
John Prine
https://www.youtube.com/watch?v=e58y60Ozhxs (C5)(Young John) (MC3)
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: Of course John plays fingerstyle so to emulate this with a strum pattern the chords in
brackets (the |C| and |Bm|) are strummed just once. For the (D)-|Bm|-(D) don't come off the (D),
just add your pinky to the 3rd string/3rd fret and play a quick three-note (Bm) as shown in the
diagram, on-off. The intro and first instrumental bridge is played as |C|-|C|-(G) but for the
second bridge and the outro a second guitar comes in and there's an additional |C|-(G) played. So
instead of |C|-|C|-(G) it's |C|-|C|-(G),|C|-(G).
INTRO <Form (G)>: 6-6-(G),|C|-|C|-(G),|C|-|C|-(G), (D)-|Bm|-|D|-(G);

|C|-|C|-(G),|C|-|C|-(G),|C|-|C|-(G), (D)-|Bm|-|D|-(G)
I wish you love |C|-(G), and happiness |C|-(G).

I guess I wish, (D) you all the (G) best.
I wish you don't (C)-(G), do like I do (C)-(G),
And never fall in love with, (D) someone like (G) you.
Cause if you (C) fell, just like I (G) did,

You'd probably walk around the block like a little (D) kid (D7).
But kids don't (G) know |C|-(G), they can only guess |C|-(G).
How hard it is, (D) to wish you happi (G) ness (G).
|C|-|C|-(G),|C|-|C|-(G),|C|-|C|-(G), (D)-|Bm|-|D|-(G)
I guess that love |C|-(G), is like a Christmas card |C|-(G).
You decorate a tree, (D) you throw it in the (G) yard.
It decays and dies |C|-(G), and the snowmen melt |C|-(G).
Well I once knew love, (D) I knew how love (G) felt.
Yeah I knew (C) love, love knew (G) me.

And when I walked, love walked with (D) me (D7).
And I got no (G) hate |C|-(G), and I got no pride |C|-(G).
Well I got, so much (D) love that I cannot (G) hide.
Yeah I got, so much (D) love that I cannot (G) hide (G).
|C|-|C|-(G),|C|-(G); |C|-|C|-(G),|C|-(G); |C|-|C|-(G),(D)-|Bm|-|D|-(G)

Say you drive a Chevy |C|-(G), say you drive a Ford |C|-(G).
You say you drive around the (D) town 'till you just get (G) bored.
And then you change you mind |C|-(G), for something else to do |C|-(G).
And your heart gets bored with your (D) mind and it changes (G) you.
Well it's a doggone (C) shame, and it's an awful (G) mess.
I wish you love, (D) I wish you happi (G) ness.
I wish you love, (D) I wish you happi (G) ness.
I guess I wish, (D) you all the (G) best (good luck).

|C|-|C|-(G),|C|-(G); |C|-|C|-(G),|C|-(G); |C|-|C|-(G),(D)-|Bm|-|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)(MC1)
TIP: You’ll have a tendency to want to play too fast. Don’t. Keep the tempo down.
INTRO: (C)(C) (Gadd)(Am) (F) (C)
A million miles our (Gadd) vagabond (C) heels clocked (Am) up (F), beneath the (C) clouds.
They're (G) counting down, to (C) showti-(F)-ime, when we (C) do it for real with the (F) crowds.
(G) Air miles are owin', but they (C) don't come for (F) free,
And they (C) don't give you any for (F) pain.
(C) But if it's all for (G) nothin', (C) all the road (Am) runnin'(F), 'sbeen in (C) vain.
(C)(C) (Gadd)(Am) (F) (C)
The rimshots come down like, (Gadd) cannon (C) fire and (Am) thunder (F), off the (C) wall.
There's a (G) man in every (C) corner-(F)-er, and (C) each one is giving his (F) all.
(Dm) This is my fife, (C) this is my (F) drum so you (C) never will hear me com (F) plain.
(C) And if it's all for (G) nothing, (C) all the road (Am) runnin'(F), 'sbeen in (C) vain.
(F) All the road (G) runnin’. (F) All the road (C) runnin’.
Well-if you're inclined to go (Gadd) up on the (C) wall,

It can (Am) only be (F), fast and (C) high.
And (G) thooose who don't like the (C) danger
(F) Soon find (C) something, different to (F) try.
(G) And when there's only a (C) ring in your (F) ears and an (C) echo down memory (F) lane.
The show's packing up I, (Gadd) sit and (C) watch the (Am) convoy (F), leavin' (C) town.
And (G) there's no pretending, (C) I'm not a (F) fool for (C) riding around and a (F) round.
Like the (Dm) pictures you keep, of your (C) old wall of (F) death
You (C) showed me one time on a (F) plane.
(C) But if it's all, for (G) nothing, (C) all the road (Am) runnin'(F), has been in (C) vain.
(C)(C) (Gadd)(Am) (F) (C)
I’ve a million miles of (Gadd) vagabond (C) sky, clocked (Am) up (F), above the (C) clouds.
(G) I'm still your man, for the (C) roamin’(F), for as (C) long as there's roamin' a (F) llowed.
(Dm) There'll be a rider and (C) there'll be a (F) wall as (C) long as the dreamer re (F) mains.
(F) All the road (G) runnin’, (F) all the road (C) runnin’.
(C)(C) (Gadd)(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)(MC1)
TIP: For the intro, form (D) and pick the strings indicated (O5 and O4 is open 5th and open 4th
strings) and strum (D).
TIP: Keep it below 11.
INTRO <Form (D)>: O5-5/2-5/4-O4 (D), (D)
Well I'm sittin' here be (A) side the railroad (D) track.
And I'm waitin' for that train to bring her (A7) back.
If she's not (D) on the five-nine (D7) teen then I'm gonna (G) know what sorrow
(E7) means and I'm gonna (D) cry cry (A7) cry all the way (D) home.
All the way (G) home (all the way home). All the way (D) home (all the way home).
Yes I'm gonna cry cry (A7) cry all the way (D) home.
Now her daddy never (A) liked me this he (D) said.

And he could not get it through his old grey (A7) head.
That I (D) loved his daughter (D7) so. Did not (G) mean to see her (E7) go.
Now I'm gonna (D) cry cry (A7) cry all the way (D) home.
(D)-(A)-(D)(D), (D)(D)(A7) (here it come, here it come) (D)(D7)(G)(E7), (D)(A7)(D)
(One more time all the way home) (G) All the way home (all the way home). All the way (D) home.
And I'm gonna <slowly> cry cry (A7) cry all the way (G7) hooooooome (D7).
(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)(MC4)
INTRO: (Em)(D/A)-(D)-(D), (Em)(D/A)-(D)-(D), (Em)(D/A)-(D)-(D), (G)
(Em) She likes ad (Bm) venture with se (Em) curity (D),

(Em) And more than (Bm) one man can pro (G) vide (D).
(Em) She planned ad (Bm) venture feeling (Em) sure that he (D),
(Em) Would not be (Bm) home 'til afterrr (G) five.
(D) He turned on the lights and turned them (Am) off again,
And (C) said the one thing he could (Em) say.
"Through all these (G) years, where have I (D) been?

Well I've been (Em) down the road to (D) work and home a (C) gain.
And (D) I'm still (G) here, until I'm (D) gone,
And don't you (Em) rub it in too (D) hard that I've been (C) wrong,
(D) All these (G) years (G)(D)(Em)."
She said "You're (Bm) not the man you (Em) used to be (D)."
(Em) And he said (Bm) "Neither is thiiis (G) guy (D).
(Em) She said (Bm) "There's some things you re (Em) fuse to see (D),
(Em) But I guess (Bm) sometimes sooo do (G) I."
(D) She made no excuse why she was (Am) lyin' there.
(C) She said the one thing she could (Em) say.
(D) "Through all these (G) years, what have I (D) done?
I made your (Em) supper and your (D) daughter and your (C) son.
(D) Still I'm (G) here, and still con (D) fused,
But I can (Em) finally see how (D) much I stand to (C) lose.
(D) All these (G) years. (D)(Em)(D)(C)
(D) I'm still (G) here, and sooo con (D) fused,
But I can (Em) finally see how (D) much I stand to (C) lose.
(D) All these (G) years. (D)(Em)(D)(C)|G|
(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)(MC3)
TIP: The intro starts with a single (F#) that quickly jumps into a series of downstroke (G)s. It
can be skipped if too cumbersome to play but it's just the one stroke.
TIP: There's a little three note bass riff that opens the chorus (Bom bom bom). It's not terribly
difficult to hit and can be skipped in favor of keeping the (G). But it goes like this: You'll
end the verse on a (G), so keep the (G) and pick the top covered string <g> and as you transition
to (C) lift off the top string and pick the open 5th string <a>, and then use your index finger to
cover the 5th string/2nd fret before finishing/continuing on the (C). Sounds messy, it's not,
just takes a little quick finger movement during the transition.
INTRO: (F#)-(G)(G)(G)(G)(G)(G)(G)(G)(G)(G),(G)-(G)(G),(G)-(G)(G),(G)-(G)(G)
One, two, three, four, (D7) can I have a little more?

(G) Five, six, seven eight nine (D) ten, I love (G) you.
A, B, C, D, (D7) can I bring my friend to tea?
(G) E, F, G-H-I- |D| -J, I love (G) you.
<g> Bom <a> bom bom (C) bompa-bom. Sail the ship. (G) Bompa-bom. Chop the tree.
(C) Bompa-bom, skip the rope. (D) Bompa-bom. Look at (D7) me. (All together now.)
(G) All together now. (All together now.) All together now. (All together now.)
(D7) All together now. (All together now.) (G) All together now.
Black, white, green, red. (D7) Can I take my friend to bed?

(G) Pink, brown, yellow orange and |D| blue, I love (G) you. (All together now.)
All together now. (All together now.) All together now. (All together now.)
(D7) All together now. (All together now.) (G) All together now. (All together now.)
All together now. (All together now.) All together now. (All together now.)
(D7) All together now. (All together now.) (G) All together now.
<g> Bom <a> bom bom (C) bompa-bom. Sail the ship. (G) Bompa-bom. Chop the tree.
(C) Bompa-bom, skip the rope. (D) Bompa-bom. Look at (D7) me. (All together now.)
(G) All together now. (All together now.) All together now. (All together now.)
(D7) All together now. (All together now.) (G) All together now. (All togther now.)
<A little quicker> All together now. (All together now.) All together now. (All together now.)
(D7) All together now. (All together now.) (G) All together now. (All together now.)
<Quicker still> All together now. (All together now.) All together now. (All together now.)
(D7) All together now. (All together now.) All to (A7) geth (D7) er (G) nowwwwwwwwwwwwwww |G|.
<honk honk>
ALL YOU NEED IS LOVE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=_7xMfIp-irg (Capo 0)(MC4)
TIP: The intro is that bar of trumpet music for Les Marseille.
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 (D)-(Dsus2)-(D) where (Dsus2) is just a quick lifting
of the middle finger. Then move 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 that has a (D/A) for the
second "yeah" in which you just add your pinky to the 4th string/4th fret.
INTRO: (G) (D) (Gadd)(Em) (C)-(C) (D7)-(D7) <proceed into song>
(G) Love, (D) love, (Em) love. (G) Love, (D) love, (Em) love. (Am) Love, (G) love, (D7) love.
(D)(C)(G)-(G)-(D),(D)-(Dsus2)-(D)
There's (G) nothing you can (D) do that can't be (Em) done.
(G) Nothing you can (D) sing that can't be (Em) sung.
(Am) Nothing you can (G) say but you can (D) learn how to play the (D7) game.
It's eas |D| y |D|, |C|-|C|, |G|-|G|-|D|, |D|-|Dsus2|-|D|.
(G) Nothing you can (D) make that can't be (Em) made.
(G) No one you can (D) save that can't be (Em) saved.
(Am) Nothing you can (G) do but you can (D) learn how to be you in (D7) time.
(Gadd) All you (A) need is (D) love. (D)-(D7)-(G)
(Gadd) All you (B7) need is (Em) love, (G) love. (C) Love is (D) all you need (G).
(G)(D)(Em), (G)(D)(Em), (Am)(G)(D7); (D)(C)(G)-(G)-(D),(D)-(Dsus2)-(D)
(Gadd) All you (A) need is (D) love. (D7)-(G)

(Gadd) All you (A) need is (D) love. (D7)-(G)
There's nothing you can (D) know that isn't (Em) known.
(G) Nothing you can (D) see that isn't (Em) shown.
(Am) Nowhere you can (G) be that isn't (D) where you're meant to (D7) be.

(Gadd) All you (A) need is (D) love. (All together now)
(Gadd) All you (A) need is (D) love. (Everybody)
(G) Love is all you need. Love is all you need. (repeat . . .)
She (Em) loves you (G) yeah (D/A) yeah (Em) yeah, she loves you (G) yeah (D/A) yeah (Em) 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)(MC2)
TIP: In the intro, walk the final (C/G) down and then back up (start strum at top two strings and
end with emphasis on 3rd string open <g>).
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)(G),(D),(C); (G) (D), (C/G)
Well I (G) heard some people (D) talkin' just the (C) other day.
And they (G) said you were gonna (D) put me on a (C) shelf.
Let-me-tell-you-I (G) got some news for (D) you, and you'll (C) soon find out it's true,
And then you'll (G) have to eat your (D) lunch all by your (C) self.
'Cause I'm (G) all- (D) -ll ready (C) gone. And I'm (G) fee - (D) -eelin' (C) strong.
I will (G) sin - (D) ing this vict'ry (C) song, woo hoo (G) hoo, my (D) my, woo hoo (C) hoo.
The (G) letter that you (D) wrote me, made me (C) stop and wonder why.
But I (G) guess you felt like you (D) had to set things (C) right.
(G) Just remember (D) this my girl, when you (C) look up in the sky,
You can (G) see the stars and (D) still not see the (C) light (that's right).
And I'm (G) all- (D) -ll ready (C) gone. And I'm (G) fee - (D) -eelin' (C) strong.
I will (G) sin - (D) ing this vict'ry (C) song, woo hoo (G) hoo (D), woo hoo (C) hoo.
(G)(D)(C); (G)(D)(C); (G)(D)(C); (G)(D)(C)(CaddG)

Well I (G) know it wasn't (D) you who held me (C) down.
Heaven (G) knows it wasn't (D) you who set me (C) free.
So (G) often times it (D) happens, that we (C) live our lives in chains,
And we (G) never even (D) know we have the (C) key.
But me I'm (G) all- (D) -ll ready (C) gone. And I'm (G) fee - (D) -eelin' (C) strong.
I will (G) sin - (D) ing this vict'ry (C) song. 'Cause I'm (G) al - (D) -all ready (C) gone.
Yes I'm allllllll - (G) -all ready (F) gone. And I'm (C) fee - (G) -eelin' (F) strong.
I will (C) sin - (G) -ing this vict'ry (F) song. 'Cause I'm (C) al - (G) -all ready (F) gone.
Yes I'm (C) al - (G) -all ready (F) gone. (C) Al - (G) -all ready (F) gone.
All right, nighty-night.
(C) Al - (G) -all ready (F) gone. (C) Al - (G) -all ready (F) gone. |C|
(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)(MC1)
TIP: For the intro and first word of the first verse pick the open 2nd string . In the intro
strum each chord once where it appears and begin strumming on "always" after you pick the on
"And".
TIP: The (Em)-(Am)-(D7) series is the “whistling part”. After the key change at the end it’s
(F#m)-(D)-(E7).
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.
 Some |Am| things in life are |D| bad. They can |G| really make you |Em| mad.
|Am| Other things just |D| make you swear and |G| curse.
When you're |Am| chewing an life's |D| gristle, don't |G| grumble, give a |Em| whistle.
And |Am| this'll help things turn out for the |D7| best.
 And, (G) always (Em) look on the (Am7) bright (D7) side of (G) life. (Em)-(Am)-(D)
(G) Always (Em) look on the (Am7) light (D7) side of (G) life. (Em)-(Am)-(D)
If (Am) life seems jolly (D) rotten, there's (G) somethin' you've for (Em) gotten.
And (Am) that's to laugh and (D) smile and dance and (G) sing.
When you're (Am) feeling in the (D) dumps, (G) don't be silly (Em) chumps.
Just (Am) purse your lips and whistle - that's the (D7) thing.
And (G) always (Em) look on the (Am7) bright (D7) side of (G) life. (Em)-(Am)-(D) Come on.
(G) Always (Em) look on the (Am7) light (D7) side of (G) life. (Em)-(Am)-D)
For (Am) life is quite ab (D) surd, and (G) death's the final (Em) word.
You must (Am) always face the (D) curtain with a (G) bow.
For (Am) get about your (D) sin, give the (G) audience a (Em) grin.
(Am) Enjoy it it's your last chance any (D7) how.
So (G) always (Em) look on the (Am7) bright (D7) side of (G) death. (Em)-(Am)-(D)
(G) Just be (Em) fore you (Am7) draw your (D7) terminal (G) breath. (Em)-(Am)-(D)
(Am) Life's a piece of (D) shit, (G) when you look at (Em) it.
(Am) Life's a laugh and (D) death's a joke it's (G) true.
You'll (Am) see it's all a (D) show, keep'em (G) laughing as you (Em) go.
Just re (Am) member that the last laugh is on (D7) you.
And (G) always (Em) look on the (Am7) bright (D7) side of (G) life. (Em)-(Am)-(D)
(G) Always (Em) look on the (Am7) right (D7) side of (G) life. (Em)-(Am)-(D) (Come on boys, cheer
up.)
<key change>
(A) Always (F#m) look on the (D) right (E7) side of (A) life. (F#m)-(D)-(E)
(A) Always (F#m) look on the (D) bright (E7) side of (A) life. (F#m)-(D)-(E)
< 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)(MC0)
https://www.youtube.com/watch?v=0_Vw6UrEKq4 Don Williams (Capo 0)
TIP: The lyrics are slightly different between Waylon and Don. This is Waylon's version.
TIP: The intro is just (A) but you pick (or aim for) the open 5th string <a> followed by a strum,
then the 4th string (covered) <e> and strum. Do this twice and begin the song. Actually the whole
song has this cadence.
INTRO: <a>(A), <e>(A); <a>(A), <e>(A)
I've held it all inward, (D) God knows I've (A) tried.
But it's an awful awakening, in a (E) country boy's (A) life.
To look in the mirror in (D) total sur (A) prise,
At the hair on my shoulders and the (E) age in my (A) eyes.
Amanda, (D) light of my (A) life.

Fate should have made you, a (E) gentleman's (A) wife.

(A)(D)(A); (A)(E)(A)
It's a (A) measure of people, who (D) don't under (A) stand,
The pleasures of life, in a (E) hillbilly (A) band.
I got my first guitar, when (D) I was (A) fourteen.
Well I finally made forty, (E) still wearing (A) jeans.


(A)(D)(A), (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)(MC0)
INTRO: (CaddG) (Em) (F) (G); (CaddG) (Em) (F) (G7)
(C) Amarillo by (Em) mornin', (F) up from San An (C) tone.

Everything that (Em) I got, is (F) just what I've got (G7) on.
When that (F) sun is high in that (G) Texas sky, I'll be (C) buckin' at the (Em) county (F) fair.
(C) Amarillo by (G) mornin', Amar (F) illo (G7) I'll be (CaddG) there (Em)(F)(G7)
(C) They took my saddle in (Em) Houston, broke my (F) leg in Santa (C) Fe.
Lost my wife and a (Em) girlfriend, some (F) where along the (G7) way.
I'll be (F) lookin' for eight when they (G) pull that gate,
And I (C) hope that (Em) judge ain't (F) blind.
(C) Amarillo by (G) mornin', Amar (F) illo's (G7) on my (CaddG) mind (Em)(F)(Em)
<key change>
(D) Amarillo by (F#m) Mornin', (G) up from San An (D) tone.

Everything that (F#m) I got, is (G) just what I've got (A) on.
I ain't (G) got a dime but what I (A) got is mine. I ain't (D) rich, but (F#m) Lord I'm (G) free.
(D) Amarillo by (A) mornin', Amar (G) illo's (A7) where I'll (D) be.
(G)-(A7) (D) Amarillo by (A) mornin', Amar (G) illo's (A7) where I'll (D) 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)(MC1)
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. Nice, easy song to pick as well,
not so much here in [D] but more so in [A].
(D) A-a-ma, zi-ing Grace, how (G) sweet, the (D) sound, tha-at saved, a-a-a wretch, li-ike (A) me.
I-I (D) once, was lost, bu-ut (G) now, I'm (D) found. Wa-as blind, bu-ut now, (A) I (D) see.
T'wa-as Grace, that taught, my (G) heart, to (D) fear. A-and Grace, my fears, re (A) lieved.
Ho-ow (D) prec, ious did, tha-at (G) Grace, a (D) ppear, the-ee hour, I-I first, (A) be (D) lieved.
Throu-ough man, y-y dan, gers (G) toils and (D) snares, we-ee have, al-alread, dy-y (A) come.
T'wa-as (D) Grace, that brought, us (G) safe, thus (D) far,
A-and Grace, will-ill lead, (A) us (D) home.
Whe-en we've, be-en there, ten (G) thou, sand (D) years, bright shine-, -ing as, the (A) sun.
We've (D) no, less days, to-oo (G) sing, God's (D) praise,
The-en when, we've first, (A) be (D) gun.
(D) A-a-ma, zi-ing Grace, how (G) sweet, the (D) sound, tha-at saved, a-a-a wretch, li-ike (A) me.
I-I (D) once, was lost, bu-ut (G) now, I'm (D) found.
Wa-as blind, bu-ut now, (A) I see-(G)-ee-(D)-ee.
(Traditional)(Spiritual)(Judy Collins) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMAZING JOURNEY - The Who
(Townshend)
https://www.youtube.com/watch?v=ltSiHxxquNo (Capo 0)(MC1)
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: In most cases you can get away with playing (D) instead of (D/A) but when you do see the
(D/A) try to cover the 4th string/4th fret if you can.
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 but
here it's important (if you can) to hit cover <g> note on the 4th string/5th fret.
TIP: Opening note to sing is the (open 2nd string).
INTRO <Strike each chord once>:
|C|-|G|, |A|-|E|, |D|-|A|, |D/A|-|A|; |C|-|G|, |A|-|E|, |D|-|A|, |D/A|-|A|, |D/A|-|A|, |D/A|-|A|
|C|-(G) Deaf dumb and (A) blind boy (E) he's in a quiet (D) vi (A) bration land |D|-|A|.
|C|-(G) Strange as it (A) seems, his (E) musical dreams, (D) ain't (A) quite so bad |D|-|A|.
|G|, |E|; |A||A|-|D|, |A||A|-|D/A|; |G|,|E|; (A)

|C|-|G|, |A|-|E|, |D|-|A|; |C|-|G|, |A|-|E|, |D|-|A| |D/A|-|A|
|C|-(G) Ten years (A) old, with (E) thoughts as bold, (D) as (A) thoughts can be |D|-|A|.
|C|-(G) Loving (A) life, and be (E) coming wise, in (D) sim (A) plicity |D|-|A|.
(Dm) Sickness can surely take the (D4) mind, (Dm) where (Em) minds can't usually (E) go.
Come (D#) on the amazing journey, and (D) learn all you should know (D4)(D).
A vague (G) haze of delirium (D) creeps up on me.

All at (G) once a tall stranger I (D) suddenly see.
He's (G) dressed in a silver sparked (D) glittering gown,
And his (G) golden beard flows nearly (D) down to the (F) ground.
|A|-|E|, |D|-|A|, |D/A|-|A|; |C|-|G|, |A|-|E|, |D|-|A|, |D/A|-|A|, |D/A|-|A|, |D/A|-|A|
|C|-(G) Nothing to (A) say, (E) nothing to hear, (D) nothing to (A) see (D)(A).
|C|-(G) Each sensa (A) tion (E) makes a note in my (D) symphon (A) y (D)(A).
|G|, |E|; |A||A|-|D|, |A||A|-|D/A|; |G|,|E|; (A)
(Dm) Sickness can surely take the (D4) mind, (Dm) where (Em) minds can't usually (E) go.
Come (D#) on the amazing journey, and (D) learn all you should know (D4)(D).
His (G) eyes are the eyes that trans (D) mit all they know.
(G) Sparkle warm crystalline (D) glances to show.
He (G) is your leader, he (D) is your guide,
On the a (G) mazing journey to (D) gether you'll (F) ride.
|A|-|E|, |D|-|A|, |D/A|-|A|; |C|-|G|, |A|-|E|, |D|-|A|, |D/A|-|A|, |D/A|-|A|, |D/A|-|A|
(The Who) (Artist Index) - (Main Index) - (Song Index) (This Song)
AMERICA THE BEAUTIFUL – Traditional
(Bates/Ward)
(MC3)
(D7) O (G) beautiful for (D) spacious skies, for (D7) amber waves of (G) grain.
(D7) For (G) purple mountain (D) majesties, above the (A7) fruited (D) plain.
(D7) A (G) meri (D7) ca. (G) Ameri (D7) ca. God shed his grace on (G) thee.
And (C) crown thy good with (G) brotherhood from (C) sea to (D7) shining (G) sea.
(D7) O (G) beautiful for (D) pilgrim feet, whose (D7) stern impassion'd (G) stress.
(D7) A (G) thoroughfare for (D) freedom beat, across the (A7) wilder (D) ness.
(D7) A (G) meri (D7) ca. (G) Ameri (D7) ca. God mend thine ev'ry (G) flaw.
Con (C) firm thy soul in (G) self-control, thy (C) liber (D7) ty in (G) law.
(D7) O (G) beautiful for (D) heroes proved, in (D7) liberating (G) strife.
(D7) Who (G) more than self their (D) country loved, and (A7) mercy more than (D) life.
(D7) A (G) meri (D7) ca. (G) Ameri (D7) ca. May God thy gold re (G) fine,
Til (C) all success be (G) nobleness, and (C) ev'ry (D7) gain div (G) ine.
(D7) O (G) beautiful for (D) patriot dream, that (D7) sees beyond the (G) years.
(D7) Thine (G) alabaster (D) cities gleam, un (A7) dimmed by human (D) tears.
(D7) A (G) meri (D7) ca. (G) Ameri (D7) ca. God shed his grace on (G) thee,
And (C) crown thy good with (G) brotherhood, from (C) sea to (D7) shining (G) 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)(MC1)
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 first is the (D/A) with 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) <then> (D/A)...(E)...(G)...(A)...; (D/A)...(E)...(G)...(A)...
(D) Well she was an Am (E7) erican girl (G), raised on (A) promises (D).
She couldn't help (E7) thinkin' that there was a (G) little more to life, (A) somewhere else.
After all it was a (D) great big world (G), with lots of places to (Em) run to.
(A) Yeah-and-if-she-had-to-die, trying she, had one little promise she was gonna kee-ep (G).
Oh yeah (A), alright (D). Take it easy baby (Bm), make it last all night (G).
She was (A), an American (D) girl. (D)(D)(D)
Well it was kind of (E7) cold that night (G). She stood alone on her (A) bal-con-ny (D).
Yeah she could hear the (E7) cars roll by
Out on (G) four fourty-one, like waves, (A) crashin' on the beach.
And for one desperate (D) moment there (G), he crept back in her (Em) memory (A).
God it's so painful something that's so close, and still, so, far out of reach (G).
Oh yeah (A), alright (D).

Take it easy baby (Bm), make it last all night (G).
She was (A), an American (D) girl.
(G)(G)(G), (G)-(A)(A)(D); (G)(G)(G), (G)-(A)(A)(D);

(G)(G)(G), (G)-(A)(A)(D); (G)(G)(G), (G)-(A)(A)(A);
(D)(D)(D)(D)(D)(D) (D/A)...(E)...(G)...(A)...; (D/A)...(E)...(G)...(A)...;

(D)...(E)...(G)...(A)...; (D)...(E)...(G)...(A)...;
(D/A)...(E)...(G)...(A)...; (D/A)...(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)(MC1)
TIP: The intro and instrumental bridge into the second verse begins with a light strum of the
bottom 3 strings. That's what the "lsb3" means in the bridge.
INTRO: < Form (G) and lightly strum bottom 3 strings ("lsb3"), then: >
(G)(D)(G)(D) (G)-(C) (G)(D)(G)
(NC) Seems everything I (C) buy these days, has got a foreign (G) name.
From the kind of (C) car I drive, to my video (D) game.
I got a Nikkon (C) camera, a Sony color T. (G) V.
But the one that I (C) love is from the U.S. (D) A. and standing next to (G) me.
My baby is American made. (D) Born and bred in the U.S.A.

From her (G) silky long hair to her sexy long legs, my (D) baby is American (G) made.
"lbs3" (G)(D)(G)(D) (G)-(C) (G)(D)(G)
She looks good in her (C) tight blue jeans, she bought in Mexic (G) o.
And she loves wearing (C) French perfume, everywhere we (D) go.
But when it comes to the (C) lovin' part, one thing is (G) true.
My baby's (C) genuine U.S. (D) A., red white and (G) blue.



(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)(MC4)
TIP: Anytime you mix guitar and piano there’s gonna be some interesting variations to contend
with. There are several instances of twinkles within the (D) chord. They can be skipped in favor
of the major chord but they're not too hard to play and simply involve placing and lifting the
pinky. (D) to (D4): Add pinky to bottom string/3rd fret. (D) to (Dsus2): Lift middle finger off
bottom string. (D7) to (D7sus2): Lift ring finger off bottom string. (D7) to (D7sus4): Add
pinky to bottom string/3rd fret.
TIP: Wherever you see a chord in vertical brackets - |Am| - means strum just once at that
position.
TIP: In the first and final verse there are a series of notes. From the previous |G| keep your
bottom finger on the bottom string <g> and move your index finger down to cover the 4th string/2nd
fret. Now pick: open 3rd string <g>, covered 4th string/2nd fret <e>, open 3rd string again,
covered 4th string/2nd string again, open 3rd string again, now drop your index finger down to cover
and pick the 3rd string/2nd fret <a>, and finish with a pick of the open 2nd string and bottom
covered strings <b-g> together. Or skip the notes and just end with a strum of |G|.
TIP: February 3rd, 1959. (The day the music died.)
A |G| long |D| long |Em| time ago, |Am| I can still remem |C| ber how that music, |Em|
Used to make me (D) smile |D4|-|D|-|Dsus2|-|D|.
And |G| I knew |D| if I |Em| had my chance, that |Am| I could make those |C| people dance
And |Em| maybe they'd be |C| happy, for a |D| while |D4|-|D|-|Dsus2|-|D|.
But |Em| February |Am| made me shiver, |Em| with every paper |Am| I'd deliver.
|C| Bad news |G| on the |Am| doorstep, I |C| couldn't take one more |D| step.
I |G| can't remember |Em| if I cried when I |C| read about his |D| widowed bride.
|G| Something |D| touched me |Em| deep inside,
The |C| day, the |D| music, |G| died <g>-<e>-<g>-<e>-<g>-<a>-/<g>.
So (G) bye (C) bye Miss A (G) merican (D) Pie
Drove my (G) Chevy to the (C) levee but the (G) levee was (D) dry.
And them (G) good ole (C) boys were drinking (G) whiskey and (D) rye singin'
|Em| This'll be the day that I |A7| die |A|. |Em| This'll be the day that I
|D| Die -|D|-|D|-|Dsus2| |Dsus2|-|D|-|D| |D4|-|D4|-|D|-|Dsus2|-|Dsus2|.
(G) Did you write the (Am) book of love and do (C) you have faith in (Am) God above,
(Em) If the Bible (D) tells you so (D4)-(D)-(Dsus2)-(Dsus2)-(D)?
Now do (G) you believe in (D) rock and (Em) roll can (Am) music, save your (C) mortal soul and,
(Em) Can you teach me (A7) how to dance (D) real slow?
Well I |Em| know that you're in |C| love with him cause I |Em| saw you dancin' |C| in the gym.
(C) You both kicked off your (Am) shoes, man I (C) dig those rhythm and (D) blu-ues
I was a (G) lonely teenage broncin' (Em) buck, with a (Am) pink carnation and a (C) pickup truck.
But (G) I knew I was (Em) out of luck the (C) day, the (D) mu-sic (G) died (C)(G).
I started (D) singin'
(G) Bye (C) bye Miss A (G) merican (D) Pie

Them (G) good ole (C) boys were drinking (G) whiskey and (D) rye singin'
|Em| This'll be the day that I |A| die. |Em| This'll be the day that I (D) die (Dsus2)(D).
Now for (G) ten years we've been (Am) on our own
And (C) moss grows fat on a (Am) rolling stone but,
(Em) That's not how it (D) used to be (D4)-(D)-(Dsus2)-(Dsus2)-(D).
When the (G) jester sang for the (D) king and (Em) queen
In a (Am) coat, he borrowed (C) from James Dean and a (Em) voice,
That (A) came (A7) from you and (D) me (D4)-(D)-(Dsus2)-(Dsus2)-(D).
Oh and |Em| while the king was |C| looking dow-own the |Em| jester stole his |C| thorny crown.
The (C) courtroom was ad (Am) journed, (C) no verdict was re (D) turned.
And while (G) Lennon read a (Em) book on Marx, the (Am) quartet practiced (C) in the park,
And (G) we sang dirges (Em) in the dark the (C) day, the (D) mu-sic (G) died (C)(G).
We were (D) singin'
|Em| This'll be the day that I |A| die. |Em| This'll be the day that I (D) die (Dsus2)(D).
(G) Helter skelter (Am) in a summer swelter the (C) birds, flew off with a (Am) fallout shelter.
(Em) Eight miles high and falling (D) faaaaaaaa-(G)-ast it landed foul (Em) on the grass,
The (Am) players tried for a (C) forward pass with the (Em) jester, on the (A) sidelines,
In a (D) cast (D).
Now the |Em| half-time air was, |D| sweet perfume

While the |Em| sergeants played a |D| marching tune.
(C) We all got up to (Am) dance ohhhh but we, (C) never got the (D) chance.
Cause the (G) players tried to (Em) take the field, the (Am) marching band re (C) fused to yield.
(G) Do you recall what (Em) was revealed the (C) day, the (D) mu-sic (G) died (C)(G)?
We started (D) singin'

|Em| This'll be the day that I |A| die |A|-|A7|-|A|.
|Em| This'll be the day that I (D) die (Dsus2)(D).
Ohhhh (G) and there we were all (Am) in one place,

A (C) generation (Am) lost in space with (Em) no time left to (C) start a (D) gain.
So come on, (G) Jack be nimble, (Em) Jack be quick,
(Am) Jack Flash sat on a (C) candlestick cause (Em),
Fire is the (A) devil's only (D) friend (D4)-(D)-(Dsus2)-(Dsus2)-(D).
Ohhhh |Em| and as I watched him |D| on the stage my |Em| hands were clenched in |D| fists of rage,
(C) No angel (G) born in (Am) Hell, could (C) break that Satan's (D) spell.
And as the (G) flames climbed (D) high in (Em) to the night,
To (Am) whom light the sacri (C) ficial rite I saw (G) Satan laughing (Em) with delight
The (C) day, the (D) mu-sic (G) died (C)(G). He was (D) singin'
|Em| This'll be the day that I |A| die |A|-|A7|-|A|. |Em| This'll be the day that I
|D| Die. -|D|-|D|-|Dsus2| |Dsus2|-|D|-|D| |D4|-|D4|-|D|-|Dsus2|-|Dsus2|.
|G| I met a |D| girl who |Em| sang the blues, and |Am| I asked her for some |C| happy news,
But |Em| she just smiled and |D| turned away |D4|-|D|-|Dsus2|-|D|.
|G| I went |D| down to the |Em| sacred store,
Where I'd |Am| heard the mu- |G| -sic, |Am| years before,
But the |Em| man there, said the |C| music, wouldn't (Em) plaaaa-|D|-ay.
And |Em| in the streets the |Am| children screamed,

The |Em| lovers cried and the |Am| poets dreamed.
But |C| not a word was |Am| spoken, the |C| church bells all were |D| broken.
And the |G| three men |D| I admire |Em| most, the |Am| Father Son and, the |D| Holy Ghost,
|G| They caught the |D| last train |Em| for the coast,
The |C| day, the |D7| mu-sic |G| died <g>-<e>-<g>-<e>-<g>-<a>-/<g>. (NC) And they were singin'
<slower> (G) Bye (C) bye Miss A (G) merican (D) Pie,
|Em| This'll be the day that I |A7| die |A|-|A7|-|A|. |Em| This'll be the day that I
|D7| Die |D7|-|D7sus2|-|D7sus2|-|D7|-|D7sus4|. (D7sus4) They were (D7) singing
(G) Bye (C) bye Miss A (G) merican (D) Pie,

Them (G) good ole (C) boys were drinking (G) whiskey and (D) rye singin'
(C) This'll be the (D) day that I (G) die (C)(G).
(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)(MC1)
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.
INTRO: <single strum> |C|
Oh I wish I was, in the (Em) land of cotton.

(F) Old things they are not for (D7) gotten.
Look a (C) way, look a (Am) way, look a (G) way, Dixie (C) land.
Oh I wish I was in (F) Dixie, a (D) way, a (G) way.

In (C) Dixieland I (F) take my stand to (C) live and die in Dix (G) ie.
For (C) Dixieland, that's where I was born.

(F) Early Lord one (D7) frosty morn’.
Look a (C) way, look a (Am) way, look a (G) way, Dixie (C) land.
Glory glory, halleluuuujah. (F) Glory glory, halle (C) lujah.

Glory (E7) glory, halle (Am) luuuuu (F) jah.
His (Dm) truth, is, (G) mar, ching, (Am) on (F). (C)(C)
So hush, little baby, don't you (Gm) cry.

You (C) know your daddy's, (Am) bound to (F) die.
But (C) alll-(Am)-llll, my (Dm) trials Lord, (G7) soon will be (C) over.
(C)(C), (F)(F), (C)(Am)(G)(C); (C)-(G)-(F), (C)

Glory (E) glory, halle (Am) luuuu (F) jah.
His (Dm) truth, is, (G) mar, ching, (Am) on- (F) -on.
His (Dm) truth, is, (F) mar (Fmaj7) ching (C) onnnnnn. |C|
(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)(MC0)
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.
TIP: At the end the numbers are the strings to pick while holding the (A) before ending with a
single slow strum of |A|.
INTRO: 3-(A) x 8; (A)(A), (A)(E); (A)(A)(A)(A), 5-|A|, (G)(D)(A)|A|, (G)(D)
(A) I can see why (D) you think you be (A) long to me (G)(D).
I (A) never tried to (D) make you think or (A) let you see one thing for your (D) self.
But now you're (C) off with someone else and I'm a (D) lone.
You see I (C) thought that I might keep you for my (E) owwwwwwwn. (E)(E)
(A) Amieeeee (G) what you want to (D) dooo (A)?

I think (G) I could stay with (D) you, for a (Bm) while maybe longer if I (E) dooooo (E).
(A)|A|,(G)(D)(A)|A|, (G)(D)
(A) Don't you think the (D) time is right for (A) us to find (G)(D).
(A) All the things we (D) thought weren't proper (A) could be right in time and can you (D) see?
Which way (C) we should turn together or a (D) lone.
I can (C) never see what's right or what is (E) wronnnnng. Will it take to long to see?
(A) Amieeeee (G) what you want to (D) dooo (A)?

I think (G) I could stay with (D) you,
For a (Bm) while maybe longer if I (E) dooooo (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) Wellll, (A) Amieeeee (G) what you want to (D) dooo (A)?
For a (Bm) while maybe longer if I (E) dooooo (E). (A)|A|, (G)(D)
(A) Now it's come to (D) what you want you've (A) had your way (G)(D).
And (A) all the things you (D) thought before just (A) faded into gray and can you (D) see?
That I (C) don't know if it's you or if it's (D) me.
If it's (C) one of us I'm sure we'll both will (E) seeeee. Won't you look at me and tell me?
(A) Amieeeee (G) what you want to (D) do-oo (A)?

I think (G) I could stay with (D) you
For a (Bm) while maybe longer if I (E) longer than I dooo yeah now
(A) Amieeeee (G) what you want to (D) do-oo (A)?
For a (Bm) while maybe longer if I (E) doooo I keep
(A) Fallin' in and out of (D) love with you.
(A) Fallin' in and out of (D) love with you (A).

Don't know what I'm gonna doooo-(D)-ooo I keep,
(A) Fallin' in and out of (D) loooove with (F) you- oo-(Dm)-oo-(A)-ooooooooh. 5-4-2-3-2-3 |A|
(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)(MC2)
(On April 25th, 1915 troops from Australia and New Zealand landed at Anzac Cove in Gallipoli,
Turkey. By the time of their withdraw at year’s end they’d suffered over 35,000 dead and wounded.)
INTRO: (G) (G) (G) (G)
Now when I was a (C) young man, I (G) carried me (Em) pack,
And I (G) lived the free life (D) of a (G) rover.
From the Murray's green (C) basin, to the (G) dusty out (Em) back,
I (G) waltzed, my ma (D) tilda, all (G) over.
Then in (D) 1915, my (C) country said (G) "Son,

It's (D) time to stop ramblin', there's (C) work, to be (G) done".
So they gave me a (C) tin hat, and they (G) gave me, a (Em) gun |Em|,
And they (G) sent me a (D) way to the (G) war.
And the band, played (C) Waltzing Ma (G) tilda,

As our ship, pulled a (C) way from the (D) quay.
And a (C) mid all the cheers, flag (G) wavin' and (C) tears,
We (G) sailed off, to (D) Gal-lipo (G) li.
Well, I re (C) member, that (G) terr-ible (Em) day,

When our (G) blood, stained the (D) sand and the (G) water
And how, in that (C) hell that they (G) called Suvla (Em) Bay,
We were (G) butchered, like (D) lambs at the (G) slaughter.
Johnny (D) Turk, he was ready, aye he (C) primed himself (G) well.
He (D) rained us with bullets, and (C) shot out with (G) shell.
And in five minutes (C) flat, we were (G) all blown to (Em) hell |Em|.
Nearly (G) blew us, back (D) home, to Aus (G) tralia.
But the band, played (C) Waltzing Ma (G) tilda,
As we stopped, to (C) bury our (D) slain.
(C) We, buried ours, and the (G) Turks, buried (C) theirs,
Then we (G) started, all (D) over, a (G) gain.
Those who were (C) living, just (G) tried to sur (Em) vive,
In a (G) mad world, of (D) blood, death, and (G) fire.
And for ten, weary (C) weeks, I kept (G) myself a (Em) live,
While a (G) round me, the (D) corpses, piled (G) higher.
Then a (D) big Turkish shell, knocked me (C) arse, over (G) head.
And (D) when, I awoke, in me (C) hos-pital (G) bed,
I saw what, it had (C) done, and I (G) wished I were (Em) dead.
I never (G) knew, there were (D) worse things, than (G) dyin'.
For I'll go no more (C) Waltzing Ma (G) tilda.

All around the green (C) bush, far and (D) near.
For to (C) hump tent, and pegs, a (G) man needs both (C) legs.
No more (G) Waltzing, Ma (D) tilda, for (G) me.
They collected the (C) crippled, the (G) wounded, the (Em) maimed,
And they (G) shipped us, back (D) home, to Aus (G) tralia.
The armless, the (C) legless, the (G) blind, the in (Em) sane.
Those (G) proud, wounded (D) heroes, of (G) Suvla.
And (D) as our ship pulled into (C) Circular (G) Quay,
And I (D) looked at the place, where my (C) legs, used to (G) be,
I thanked Christ, there was (C) no one there (G) waiting, for (Em) me |Em|,
To (G) grieve, and to (D) mourn, or to (G) pity.
And the band played (C) Waltzing Ma (G) tilda.

As they carried us (C) down the gang (D) way.
But (C) nobody cheered, they just (G) stood there and (C) stared,
And they (G) turned all their (D) faces a (G) way.
So now, every (C) April, I (G) sit on my (Em) porch,

And I (G) watch, the pa (D) rade pass be (G) fore me.
I see my old (C) comrades, how (G) proudly they (Em) march.
Re (G) newing their (D) dreams, of past (G) glories.
I (D) see the old men, all (C) tired stiff and (G) sore.
The (D) weary old heroes, of a (C) forgotten (G) war.
And the young people (C) ask, "What are (G) they marching |Em| for . . . ?"
And (G) I ask, my (D) self the same (G) question.
And the band played (C) Waltzing Ma (G) tilda.

And the old men, still (C) answer the (D) call.
But (C) year after year, the (G) numbers grow (C) fewer.
Someday (G) no one, will (D7) march there, at (G) all. <pause>
|G| Waltzing Matilda, |C| Waltzing Matilda,

|G| Who'll come a |Em| Waltzing, Ma |Am| tilda with |D| me?
And their |G| ghosts, may be |D| heard, as you past |C| by, the |Em| billabong.
|G| Who'll come a |Em| Waltzing, Ma |Am| tilda |D|, with |G| me? |G|
(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)(MC1)
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.
TIP: There's a (Cm) which is played like a the (Bm) but on the third fret so when you come to it
in the lyrics I've noted it as (Bm3) as a reminder.
(NC) If you had not have (Bm) fallen. Then (C) I would not have (G) found you.
(C) Angel flying (D) too close, to the (G) ground (D).
And (G) I patched up your (Bm) broken wing, and (C) hung around a (G) while.
(A) Trying to keep your spirits up, (A7) and your (D) fever down. (D7)
I (G) knew someda -(Bm) -ayyy that you, would fly a (C) way.
(A) For love's the greatest healer, (A7) to be (D) found (D7).
(G) So leave me if you (Bm) need to. (C) I will still re (Bm3) member.
(G) Angel flying too (D) close, to the (G) ground. (D7).
(G)(Bm)(C)(G); (C)(D)(G)(D); (G)(Bm)(C)(G); (A)(A7)(D)(G)
So fly on, fly on (Bm) past, the speed of (C) sound.

(A) I'd rather see you up, than see you (D) down (D7).
(G) So leave me if you (Bm) need to. (C) I will still re (Bm3) member.
(G) Angel flying too (D) cloooose, to the (G) ground (D).
(G) Leave me, if you (Bm) need to. (C) I will still re (Bm3) member.
(G) Angel, flying (D) too close, to the (C) ground (G).
(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)(MC2)
https://www.youtube.com/watch?v=1T5NuI6Ai-o (John & Bonnie) (Capo 2)
[Two versions here, one of 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)
I am an old (G) woman, (D) named after my (G) mother.

(D) My old man is a (G) nother, (A) child that's grown (D) old (D).
If dreams were (G) lightnin', and (D) thunder were de (G) sire,
(D) This old house would have (G) burnt, down a (A) long time (D) ago.
Make me an (C) angel, that (G) flies from Mont (D) gomery.
Make me a (C) poster, of an (G) old rode (D) o (D).
Just give me (C) one thing, that (G) I can hold (D) on to.
To believe in this (G) livin' is just a, (A) hard way to (D) go. (D)(G)
(D) When I was a (G) young girl (D), I had me a (G) cowboy.
(D) He wadn't much to (G) look at, just (A) free ramblin' (D) man (D).
But that was a (G) long time, and (D) no matter how (G) I try,
The (D) years just (G) flow by, like a (A) broken down (D) dam (D).
Just give me (C) one thing, that (G) I can hold (D) on to.
To believe in this (G) livin', is just a (A) hard way to (D) go.
<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)
There's flies in the (G) kitchen, (D) I can hear 'em they're (G) buzzin'.
(D) And I ain't done (G) nothin', since I (A) woke up to (D) day (D).
How the hell can a (G) person, (D) go to work in the (G) mornin',
(D) And come home in the (G) evenin', and have (A) nothing to (D) say (D).
Just give me (C) one thing, that (G) I can hold (D) on to,
To believe in this (G) livin', is just a (A) hard way to (D) go (D).
To believe in this <rake>|G| livin', is just a <rake>|A7| harrrd way, to, <rake>|D| go (D)|D|
(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)(MC2)
TIP: The intro is a pretty walk-down where a particular string is emphasized within each chord.
With the (Em/G) and the (C) it's the bottom string, with the (Bm) and the (Em) it's the 2nd string.
Then within the first bar of (C) it's the 3rd string and in the second bar it's the top string.
The (D) and (G) begin the violin walkdown beginning again on the bottom string. Play the intro
gently and crash on the first (G) of the verse.
TIP: In the bridge there's a voicing tempo that consists of single strums of 1-2-3, 1-2-3, 1 with
a brief pause between the 3 count and the 1 count. It's just a little tricky because there's a
chord change between the second 2 count and 3 count. The second sequence starts with a (CaddG)
which is just (C) with your pinky added to the bottom string/3rd fret, followed by a (Cmaj7sus4) in
which you just lift off the bottom string and roll your index finger over to cover the <f> (bottom
string/1st fret). From there you lift off the same string while holding onto the <c> (2nd
string/1st fret) and you're back at (C). Simple. Alternatively you could play an (F) but the
(Cmaj7sus4) is actually easier to play since you're transitioning to a (C). Also notice the second
time you play this sequence you hold on the third (CaddG), without going to the (Cmaj7sus4),
allowing the sustain to carry, before busting into the (G) on "Baby". Speaking of which, emphasize
the top 4 strings on that (G).
TIP: At the end on "darlin" you come off a (D) and go to a (Cmaj7) and then to a (G). For that
(Cmaj7) just set up for a (C) but don't include the index finger on the 2nd string.
INTRO: (Em/G)(C),(Bm)(Em); (C)(C)(D)-(G)(G)(C)(C)(D)(D)(D)
(G) There'll be no strings to bind your (D) hands,

Not if my (C) love can't bind your (G) hearrrt (C)(D)(C).
(G) There's no need to, take a (D) stand, for it was (C) I who chose to (G) starrrt (C)(D).
|C|-|G|-|Am| I see no (C) need to, take me (D) home.
(Am) I'm old e (C) nough to face the (D) dawn.
(G) Just call me (C) angel of the (D) morning (C) an (D) gel.
(G) Just touch my (C) cheek before you (D) leave me, (C) ba (D) by.
(C) Then slowly, turn away, from (G) me. (C)(D)(C)
(G) Maybe the sun's light will be (D) dim, and it won't (C) matter any (G) howwww (C)(D)(C).
(G) If morning's echo says we (D) sinned, well it was (C) what I wanted (G) nowww (C)(D).
|C|-|G|-|Am| And if we're (C) victims of the (D) night,
(Am) I won't be (C) blinded by the (D) liiiight.
(C) Then slowly turn away. I won’t, beg you to stay, with (G) me. |G|-|G|-|G|-|G|,|C|-|C|-|G|,|G|
Through the (C) tears |CaddG|-|CaddG|-|CaddG|,|Cmaj7sus4|-|Cmaj7sus4|-|C|,|C|
Of the (G) day |G|-|G|-|G|,|C|-|C|-|G|,|G|
Of the (C) years |CaddG|-|CaddG|-|CaddG| <hold> . . . (G) ba-ay-ay-(D)-by.
(G) Just touch my (C) cheek before you (D) leave me, (C) darl (D) lin’.
(G) Just touch my (C) cheek before you (D) leave me, (Cmaj7) dar – ar - (G) 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)(MC2)
TIP: The intro is a bit tricky. It's meant to be fingerpicked but you can fake it with the
chords. Start with a single note <a> which is 3rd string/2nd fret, OR the harmonic at the 5th
string/12th fret (just barely touch the string directly over the fret bar so it rings like a bell).
Next play the (Am7) and (E7) as full chords as shown with your pinky on the bottom and/or 2nd
string. The trickiest part is the (Gadd)(Fsus)-(F) because there's little time to get the (Fsus)
down. It's just (F) with your pinky added beneath the ring finger (the pinky will cancel the
middle finger at 3rd string/2nd fret). Remove the pinky to get back to (F). Then it's another (F)
and a (C) but emphasize the top 3 strings as it's a brief two-note bass walk-down. Finish with a
quick (G)-(Am) which is the lead-in chord for the first verse of the song.
TIP: The (FaddD) in played throughout the verse but like (Fsus) all you do is play (F) but this
time place the pinky two strings below the ring finger, at 2nd string/3rd fret at <d>. Much easier
than the (Fsus) because you're already playing the (F).
; ; ; ;
INTRO: <a> or <5/12>; (Am)(Am7)-(Am); (E)(E7)(E7full); (Gadd)(Fsus)-(F); (F)(C),(G)-(Am)
Angie, (E) An (E7full) gie, (Gadd) when will those clouds (F) all disa (FaddD) ppear (C)?
(Am) Angie, (E) An (E7full) gie, (Gadd) where will it lead (F) us from (FaddD) here (C)?
With no (G) loving in our souls, and no (Dm) money in our (Am) coats,
(C) You can't (F) say we're satis (G) fied.
But (Am) Angie, (E) An (E7full) gie, (Gadd) you can't (F) say we never (FaddD) tried (C)?
(Am) Angie, you're (E) beauti (E7full) ful, yeah.

(Gadd) But ain't it time we (F) said good (FaddD) bye (C)?
(Am) Angie, I still (E) love (E7full) you,
(Gadd) Remember all those (F) nights we (FaddD) cried (C)?
All the (G) dreams we held so close, seemed to (Dm) all go up in (Am) smoke.
(C) Let me (F) whisper in your (G) ear:
"(Am) Angie, (E) Angie, (Gadd) where will it (F) lead us, from (FaddD) here (C)?"
(Am)(E)(E7full),(Gadd)(F)(FaddD)(C); (Am)(E)(E7full),(Gadd)(F)(FaddD)(C)
Ohhh (Gadd) Angie don't you weep, all your (Dm) kisses still taste (Am) sweet.
(C) I hate that (F) sadness in your (G) eyes.
But (Am) Angie, (E) An (E7full) gie, (Gadd) ain't it (F) time we said good (FaddD) bye (C)?
(Am)(E)(E7full),(Gadd)(F)(FaddD)(C)
With no (Gadd) loving, in our souls, and no (Dm) money in our (Am) coats,
(C) You can't (F) say were satis (G) fied.
But (Dm) Angie, I still love you (Am) baby. (Dm) Everywhere I look, I see your (Am) eyes.
(Dm) There ain't a woman that comes (Am) close to you. (C) Come on (F) baby dry your (G) eyes.
(Am) Angie, (E) An (E7full) gie, (Gadd) ain't it (F) good to be a (FaddD) live (C)?
(Am) Angie, (E) An (E7full) gie, (G) they can't (F) say we never (FaddD) tried (C).
(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)(MC0)
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: For the “whoo hoo hoo” strum the chord first and then the first “whoo”. And 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)
Suddenly (Am7) something has happened to (C) me, as I was (D) having my cup of (Em) tea.
Suddenly (Am7) I was feeling de (C) pressed. I was (D) utterly and totally (Em) stressed.
Do you (Am) know you made me (C) cry ee-eye- (D) eye? Whoa oh.
Do you (Am7) know you made me (C) die ee-eye- (D) eye?
And the (Em) thing that gets to (Am7) me, is you'll (C) never really (D) see.
And the (Em) thing that freaks me (Am7) out, is I'll (C) always be in (D) dou- (G) –oubt.
It is the (D) lovely thing that we (Em) have. It is the (D) lovely thing that we-(Gadd)ee.
It is the (D) lovely thing. The (C) animal, the animal (D) instinct.
(Em) Woo hoo hoo, (Am7) woo hoo hoo, (C) woo hoo hoo (D) ooh.
(Em)(Am7)(C)(D)(Em)
So take my (Am7) hands and come with (C) me, we will (D) change reality-(Em)y.
So take my (Am) hands and we will (C) pray, they won't (D) take you away-(Em)ay.
They will (Am) never make me (C) cry ee-eye- (D) eye. No oh ohh.
They will (Am7) never make me (C) die ee-eye- (D) eye.
And the (Em) thing that gets to (Am7) me, is you'll (C) never really (D) see.
And the (Em) thing that freaks me (Am7) out, is I'll (C) always be in (D) doubt.
The (Em) animal, the (Am7) animal, the (C) animal instinct in (D) me.
It's the (Em) animal, the (Am7) animal, the (C) animal instinct in (D) me.
<up> It's the (Em) animal, it’s the (Am7) animal, the (C) animal instinct in (D) me.
<up> It's the (Em) animal, it’s the (Am7) animal, it’s the (C) animal instinct in (D) me.
The (Em) animal, the (Am7) animal, the (C) animal instinct in (D) me.
<up> It's the (Em) animal, it’s the (Am7) animal, it’s the (C) animal instinct in (D) me-(Em)-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)(MC0/1)
TIP: There's a neat little riff that appears in the intro, outro, and between verses and is
important to the song. Fortunately it's not too hard to play but does require the proper attack.
Start with three strums of (C), then for the (Cmaj7sus4) roll your index finger down (or your whole
hand over if you find you're coming up off the 4th and 5th strings) to cover the bottom string of
the 1st fret and strum, lift off the bottom string (or roll right) to return to (C) and strum.
Next comes the (CaddD). Keep your index finger of the (C) where it is and drop your free pinky
straight down onto the 2nd string/3rd fret and strum, lift off to return to (C) and strum. Repeat
this sequence again. Just try it a few times until you get a nice clean exchange and have the
cadence down. One strum per chord.
INTRO: |C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|; |C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|;

|C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|; |C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|
Well they raised, that (G) horse, to be a (C) jumper.

He was (F) owned by a Midwest bible (C) thumper.
His (F) preacher was a Louisiana (Am) drummer.
Took all (G) winter, to get through the (C) summer.
The fieldhand, hit the (G) switch, and (C) stumbled.

Out (F) side, the big engine roared and (C) rumbled.
The (F) sto, len horse, spooked, and (Am) tumbled.
She didn't (G) speak, for a week, just kinda (C) mumbled. -|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|;
|C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|
(Am) Ankle deep, in (Em) love. (Am) Ankle deep, in (G) love.
(C)(G)(C), (F)(C), (G)(C), |C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|;
He was (C) caught up, in a (G) lie, he half be (C) lieved.

Found her (F) hiding high in the family (C) tree.
Washed his (F) hands, and put her cross his (Am) knee.
She said (G) "Daddy, you been a mother to (C) me." -|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|;
|C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|; |C|-|C|-|C|-|Cmaj7sus4|-|C|-|CaddD|-|C|
ANNIE’S SONG
John Denver
https://www.youtube.com/watch?v=RNOTF-znQyw (Capo 0)(MC3)
TIP: This isn’t as complicated as looks and many of the chords are complementary. If you need to,
you can omit all or most chords coming after a word at the end of a sentence (like the (F#m)(Bm)
and (Asus)(A) pairings).
TIP: The segue from the (Bm) to the next (G) is a little cumbersome. The syllables after the (Bm)
are quick so move quickly and “stab” the (G).
TIP: The mess in the middle are just the chords from the previous verse which leads into the next
abbreviated verse.
TIP: The (A)(Asus)(Asus2), and (D)(D4)(Dsus2) are all just minor variations of the major chord.
(Asus) is (A) with the ring finger slid forward one fret, and (Asus2) is (A) without the bottom
finger. Even easier, omit the whole sequence when it comes in the middle of a verse. Play the
trailing (A) but play a (G) instead of the (Asus) until the next (A). E.g., "Like a (G) storm in
the des (A) ert (Bm)...".
INTRO: (D)(D4)(D)(Dsus2), (D)(D4)(D)
You fill up me (G) sen (A) ses (Bm), like a (G) night in a (D) forest (F#m)(Bm).
Like the (A) mountains in (G) spring (F#m) time (Em), like a (G) walk in the (A) rain (Asus)(A).
Like a (Asus) storm (A) in (Asus2) the (G) des (A) ert (Bm),
Like a (G) sleepy blue (D) ocean (F#m)(Bm).
You (A) fill up my (G) sen (F#m) ses (Em), come (A7) fill me a (D) gain (D4)(D).
Come let me (G) love (A) you (Bm). Let me (G) give my life (D) to you (F#m)(Bm).
Let me (A) drown in your (G) laugh (F#m) ter (Em), let me (G) die in your (A) arms (Asus)(A).
Let me (Asus) lay (A) down (Asus2) be (G) side (A) you (Bm),
Let me (G) always be (D) with you (F#m)(Bm).
(A) Come let me (G) love (F#m) you (Em), come (A7) love me a (D) gain (D4)(D).
(D)(G)(A)(Bm), (G)(D)(F#m)(Bm), (A)(G)(F#m)(Em), (G)(A)(Asus)(A), (Asus)(A)(Asus2)(G)(A)(Bm)
Let me (G) give my life (D) to you (F#m)(Bm).

(A) Come let me (G) love (F#m) you (Em), come (A7) love me a (D) gain (D4)(D).
You fill up me (G) sen (A) ses (Bm), like a (G) night in a (D) forest (F#m) (Bm).
Like the (A) mountains in (G) spring (F#m) time (Em), like a (G) walk in the (A) rain (Asus)(A).
Like a (Asus) storm (A) in (Asus2) the (G) des (A) ert (Bm),
<gently> Like a (G) sleepy blue (D) ocean (F#m)(Bm).
You (A) fill up my (G) sen (F#m) ses (Em), come (A7) fill me a (D) gain (D4)(D)(D4)(D)(D4)(D).
(John Denver) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANOTHER DAY
Paul McCartney
https://www.youtube.com/watch?v=hFzEA7ZAfZQ (Capo 0)(MC5)
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). Now right
after the (B7) on the word “day” is an (EmG) which is just (Em) with your pinky added to the bottom
string/3rd fret. But the easiest way to play it is to just just lift off the ring finger and slide
index finger and pinky down one fret while keeping the middle finger planted in the 2nd fret where
it was when playing the (B7).
Every (G) day she takes a morning bath she (B7) wets her hair.
(Em) Wraps a towel around her as she’s (Am) heading for the bedroom chair.
It’s just a (D) nother (G) day.
(C) Slipping into (G) stockings, (C) stepping into (G) shoes, (C) dipping in the (G) pocket of her
(A) raincoat. (A)(A)(D) It’s just another (G) day.
At the office where the papers grow she (B7) takes a break.
(Em) Drinks another coffee and she (Am) finds it hard to stay awake.
It’s just a (D) nother (G) day. Du du du (C) du du (Am) du.
It’s just a (D) nother (G) day. Du du du (E7) du du (Am) du.
It’s just a (D) nother (G) day. (G)(D)(Em)
So sad, so (C) sad. (A) Sometimes she (C) feels, so (Em) sad.
Alone in her apartment she’d (C) dwell,
Til the man of her (A) dreams comes to (C) break, the (Em) spell. <strum Em quickly>
(E) Ahhhhh, (Am7) stay, don’t stand her (D) up,

And he (Daug) comes, and he (Bm) stays, but he (B7) leaves the next (Em/G) day.
So sa-(C)-ad. (A) Sometimes she (C) feels, so (Em) sad. <slap>
As she (G) posts another letter to the (B7) sound of five,

(Em) People gather ’round her and she (Am) finds it hard to stay alive.
It’s just a (D) nother (G) day. Du du du (C) du du (Am) du.
It’s just a (D) nother (G) day. (G)(D)(Em) <strum (Em) quickly>
So sad, so (C) sad. (A) Sometimes she (C) feels, so (Em) sad.
Alone in her apartment she’d (C) dwell,
Til the man of her (A) dreams comes to (C) break, the (Em) spell. <strum (Em) quickly>
(E) Ahhhh, (Am7) stay, don’t stand her (D) up,

And he (Daug) comes, and he (Bm) stays, but he (B7) leaves the next (Em/G) day.
So sa-(C)-ad. (A) Sometimes she (C) feels so (Em) sad. <slap>
Every (G) day she takes a morning bath she (B7) wets her hair.
(Em) Wraps a towel around her as she’s (Am) heading for the bedroom chair.
It’s just a (D) nother (G) day.
(C) Slipping into (G) stockings, (C) stepping into (G) shoes, (C) dipping in the (G) pocket of her
(A) raincoat. (A)(A)(D) It’s just another (G) day. Du du du (C) du du (Am) du.
It’s just a (D) nother (G) day (F)(C)(G).
(Paul McCartney) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANTS ON A LOG (In D) – Randy Travis
(Ewing/Kees)
https://www.youtube.com/watch?v=-_nek-pMz0w& (Capo 0)(MC0)
Afterwards is a version in (G) mainly for fingerstyle.
(NC) Ants on a (D) log (D), floatin' down a (A) river (A).
Runnin' arouuund but not gettin' any (D) where (A).
Powersteerin' (D) wheels (D), just ain't con (A) nected (A).
And we (G) can't jump off like (D) fleas on a dog,
(G) Can't fly away like (D) flies on a hog,
We're (G) really just along for the (A) ride like ants on a (D) log (D)|D|.
(D) I got an uncle, he plays a game he can't (A) win it (A).

He's got a mold tries to fit everybody else (D) in it (D).
When's he gonna learn he's bangin' his head on the (G) wall (G)?
He (E) ain't gonna change and he (E7) looks at me strange
When I (A) tell him that I think we’re |A| all
(NC) Just ants on a (D) log (D), floatin' down a (A) river (A).
We're (G) really just along for the (A) ride like ants on a (D) log.
(D)(A)(A)(A)(A)(D)|A|
(NC) We all know (D) people, we yell at the cars and the (A) traffic (A).
Folks in a hurry, life's full of heartache and (D) havoc (D).
I finally learned how to lay back and let life (G) happen (G).
(E) I just image the (E7) angels up in heaven (A) lookin' down at us and laughin'
At ants on a (D) log (D), floatin' down a (A) river (A).
We're (G) really just along for the (A) ride like ants on a (D) log (D).
Whoa and (G) just about the time you think you're rollin' in (A) clooover,
A (E) long comes a rabbit, and the world tips (A) over.
Ants on a (D) log (D), floatin' down a (A) river (A).

Runnin' arouuund but never gettin' any (D) where (A).
We're (G) really just along for the (A) ride like ants on a (D) log (D).
Yeah we're (G) really just along for the (A) ride like ants on a (D) log (E)-(A)-(D)|D|.
(Randy Travis) (Artist Index) - (Main Index) - (Song Index) (This Song)
ANTS ON A LOG (In G) – Randy Travis
(Ewing/Kees)
https://www.youtube.com/watch?v=-_nek-pMz0w& (Capo 7)(MC5)
(NC) Ants on a (G) log (G), floatin' down a (D) river (D).
Runnin' arouuund but not gettin' any (G) where (D).
Powersteerin' (G) wheels (G), just ain't con (D) nected (D).
And we (C) can't jump off like (G) fleas on a dog,
(C) Can't fly away like (G) flies on a hog,
We're (C) really just along for the (D) ride like ants on a (G) log (G)|G|.
(G) I got an uncle, he plays a game he can't (D) win it (D).

He's got a mold tries to fit everybody else (G) in it (G).
When's he gonna learn he's bangin' his head on the (C) wall (C)?
He (A) ain't gonna change and he (A7) looks at me strange
When I (D) tell him that I think we’re |D| all
(NC) Just ants on a (G) log (G), floatin' down a (D) river (D).
We're (C) really just along for the (D) ride like ants on a (G) log.
(G)(D)(D)(D)(D)(G)|D|
(NC) We all know (G) people, we yell at the cars and the (D) traffic (D).
Folks in a hurry, life's full of heartache and (G) havoc (G).
I finally learned how to lay back and let life (C) happen (C).
(A) I just image the (A7) angels up in heaven (D) lookin' down at us and laughin'
At ants on a (G) log (G), floatin' down a (D) river (D).
We're (C) really just along for the (D) ride like ants on a (G) log (G).
Whoa and (C) just about the time you think you're rollin' in (D) clooover,
A (A) long comes a rabbit, and the world tips (D) over.
Ants on a (G) log (G), floatin' down a (D) river (D).

Runnin' arouuund but never gettin' any (G) where (D).
We're (C) really just along for the (D) ride like ants on a (G) log (G).
Yeah we're (C) really just along for the (D) ride like ants on a (G) log (A)-(D)-(G)|G|.
APRIL, COME SHE WILL - Simon & Garfunkel
(Simon)
https://www.youtube.com/watch?v=HTzGfekWI50 (Capo 3)(MC1/6)
TIP: This is a pretty song to fingerpick, especially on the lower register. In fact, even if you
intend to strum the song the opening notes can be easily flat picked. Unless specified, the number
refers to the open string. Paul pick the intro using a D chord shape on the 10th fret but it's
easier to pick the G shape down in the 3rd.}
Part 1: 2 - 3 - 4 - 4th string/2nd fret - 3.

Part 2: 2 - 3 - 4 - 4th string/2nd fret.
Part 3: 2 - 3 - 4 - 4th string/2nd fret - 3.
Part 4: 3rd string/2nd fret - 3 - 4th string/4th fret - 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. Or like you're going to play a (C) but drop the top two fingers down one
extra string.
INTRO: (G)(C)-(G), (G)(C); (G)(C)-(G)(D)(G), (G)(C)-(G), (G)(C)-(G)
(G) A... (C) a-(G) pril, (C) come she (G) will (C)(G).
(Am) When streams are (Em) ripe and (Fmaj7) swelled with (Em) rain.
(C) Ma- (D) - y she will (G) sta - (Em) - y.
(Am) Resting (Em) in my (Am) arms a (Em) gain. (G)(C)-(G); (G)(C)-(G)
(G) Ju... (C) un-(G) une, (C) she´ll change her (G) tune (C)(G).
(Am) In restless (Em) walks she´ll (Fmaj7) prowl the (Em) night.
(C) July-(D)-y, she will (G) fly- (Em) -y.
(Am) And give no (Em) warning (Am) to her (Em) flight. (G)(C)-(G); (G)(C)-(G)
(G) Au... (C) au- (G) gust, (C) die she (G) must (C)(G).
(Am) The autumn (Em) winds blow (Fmaj7) chilly and (Em) cold.
(C) Septem (D) ber I´ll re (G) mem (Em) ber.
(Am) A love once (Em) new has (D) now, grown (G) old.
(G)(C)-(G), (G)(C); (G)(C)-(G)(D)(G)
(Simon and Garfunkel) (Artist Index) - (Main Index) - (Song Index) (This Song)
ARE THE GOOD TIMES REALLY OVER FOR GOOD
Merle Haggard
https://www.youtube.com/watch?v=sxLtXJzo3Ew (Capo 0)(MC0)
TIP: For the intro, form (C/G) which is just (C) with the pinky covering the top string note <g>,
and pick the 5th string and strum, then the 6th string and strum. Repeat.
TIP: The whole song has a bass vibe to it so while (C) is shown in the lyrics you want to cover
that top bass string when playing a (C). Same with the (F), hook your thumb over the 1st fret if
you can. That first (C7) in the chorus can be ignored if you want.
INTRO: <slowly> <5> (C/G), <6> (C/G); <5> (C/G), <6> (C/G)
I wish a buck was still silver. It was back, when the country was (F) strong.
Back before (G7) Elvis, and before, the Vietnam war, came a (C) long.
Before The Beatles and 'Yesterday'. When a man could still work, and still (F) would.
Is the best of the free life be (G) hind us now?
And are the (G7) good times really over for (C) good?
And are we rolling down hill like a snowball headed for (F) hell?
With (G) no kind of chance for the flag or the liberty (C) bell.
I wish a Ford and a Chevy, would (C7) still last ten years like they (F) should.
Are the (G7) good times really over for (C) good? (G7)
I wish (C) coke was still cola, and a joint, was a bad place to (F) be.
And it was back before (G7) Nixon, (G) lied to us, all on T (C) V.
Before microwave ovens, when a girl, could still cook, and still (F) would.
Is the best of the free life be (G) hind us now? Are the (G7) good times really over for (C) good?
Are we rolling down hill like a snowball headed for (F) hell?
With (G) no kind of chance for the flag, or the liberty (C) bell.
I wish a Ford and a Chevy, would still last ten years like they (F) should.
Are the (G7) good times really over for (C) good?
Stop rolling down hill like a snowball headed for (F) hell.
Stand (G) up for the flag and let's all ring the liberty (C) bell.
Let's make a Ford and a Chevy, that’ll still last ten years like they (F) should.
Cuz the best of the free life is (G) still yet to come,
And the (G7) good times ain't over for (C) 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)(MC0)
[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.
TIP: Take a look at the instrumental bridge. See that lonely (AA5) in place of an (A) in the
fourth couplet? There's a little treble zing to that (A). You can play the (A) like an (F5) but
in this case I think playing the barre (3rd diagram) is easier since you already have two fingers
in the 2nd fret from the preceding (D) and you can just collapse down onto the 2nd fret with your
index finger and then extend your pinky over to the 5th fret. Of course if you just don't want to
deal with it just play a regular (A).
or
INTRO: (A)(D), (A)(D), (A)(D), (A)(D)
Lord it's the (A) same old tune, (D) fiddle and guitar. (A) Where do we take it from (D) here?
(A) Rhinestone suits and (D) new shiny cars. (A) It's been the same way for (D) years (A).
We need a (D) change. (A)(D)
Some (A) body told me, when (D) I came to Nashville, (A) "Son you finally got it (D) made."
Old (A) Hank made it here, (D) we're all sure that you will but I (A) don't think Hank done it this
(D) way, naw, I (A) don't think Hank done it this (D) way. Okay.
(A)(D), (A)(D), (A)(D), (AA5)(D), (A)(D)
(A) Ten years on the road makin' (D) one-night stands. (A) Speedin' my young life a (D) way.
(A) Tell me one more time just so's (D) I'll understand are you (A) sure Hank done it this
(D) way? Did ol' (A) Hank really do it this (D) way? (A)(D)
Lord (A) I've seen the world with a (D) five-piece band, (A) lookin' at the back side of (D) me.
(A) Singing my songs one of (D) his now and then, but I (A) don't think Hank done 'em this
(D) way, no, I (A) don't think Hank done 'em this (D) 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)(MC3)
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: This is really picky and you can certainly play the whole song with (G) and (C) but I think
the song sounds better with the (C/G) rather than a regular (C). You just cover the top string
bass <g> note with your pinky.
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)
Lord it's the (G) same old tune, (C) fiddle and guitar. (G) Where do we take it from (C) here?
(G) Rhinestone suits and (C) new shiny cars. (G) It's been the same way for (C) years (G).
We need a (C) change. (G)(C)
Some (G) body told me, when (C) I came to Nashville, (G) "Son you finally got it (C) made."
Old (G) Hank made it here, (C) we're all sure that you will but I (G) don't think Hank done it this
(C) way, naw, I (G) don't think Hank done it this (C) way. Okay.
(G)(C), (G)(C), (G)(C), (G)(C), (G)(C)
(G) Ten years on the road makin' (C) one-night stands. (G) Speedin' my young life a (C) way.
(G) Tell me one more time just so's (C) I'll understand are you (G) sure Hank done it this
(C) way? Did ol' (G) Hank really do it this (C) way? (G)(C)
Lord (G) I've seen the world with a (C) five-piece band, (G) lookin' at the back side of (C) me.
(G) Singing my songs one of (C) his now and then, but I (G) don't think Hank done 'em this
(C) way, no, I (G) don't think Hank done 'em this (C) 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)(MC0)
TIP: There are inflection cues for singing the "Around the Sun" outro.
(E) I want, the (G) sun, to shine on (D) me (F#m).

(E) I want, the (G) truth, to set me (D) free (A).
(E) I wish the (G) followers would (D) lead (F#m),
With a (E) voice so strong it could (G) knock me to my (D) knees (A).
(G) Hold on world 'cause (Bm) you don't know what's (D) coming (E).
(G) Hold on world 'cause (Bm) I'm not jumpin' (D) off (E).
(G) Hold onto this (Bm) boy a little long (D) er (E).
(C) Take another (G) trip, around the (D) sun.
(E) If-I-jumped-into-the (G) ocean to be (D) lieve (F#m).

(E) If-I-climbed-a-mountain-would I (G) have to (D) reach (A)?
(E) Do I even dare to (G) speak, to dream, be (D) lieve (F#m)?
(E) Give me a voice so (G) strong, I can (D) question what I have (A) seen.
(G) Hold on world 'cause (Bm) you don't know what's (D) coming (E).
(G) Hold on world 'cause (Bm) I'm not jumping (D) off (E).
(G) Hold onto this (Bm) boy a little long (D) er (E).
(C) Take another (G) trip, around the (D) sun.
A (G) round the <up> (D) sun . . . around the <down> sun . . . Around the <up> sun . . .
A (G) round the <down> (D) sun . . . Around the <up> sun . . . . . . |D| <sustain>
Let my (F) dreams . . . set me (C) free (Em). Be (D) lieve (F). Be (C) lieve (G).
Na na na na, na na; na na na na na; na na na na, na na; na na na na na;
Na na na na, na na; na na na na na (F) -ah (G); na na na na na; (C) na na na na na (G) 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)(MC0)
TIP: The intro is the piano part that is played very quickly with two beats per chord. Prepare by
forming (Gadd) with ring finger on the 2nd string and the pinky below it on the bottom string. Now
lift off the 2nd string. So, two strums of (G), add the ring finger for two strums of (Gadd), lift
off the pinky/bottom finger for two strums of (Gadd-), pinky back on for two more strums of (Gadd),
lift off pinky again for two strums of (Gadd-), pinky back on for two more sturms of (Gadd), lift
off the ring finger for two strums of (G). Repeat.
TIP: The Chalypso was a dance popular in 1958. Yes, I had to look that up.
INTRO: (G)(G)(Gadd)(Gadd-)(Gadd)(Gadd-)(Gadd)(G); (G)(G)(Gadd)(Gadd-)(Gadd)(Gadd-)(Gadd)(G)
Bah, bah, bah, bah. (Em) Bah, bah, bah, bah. (C) Bah, bah, bah, bah.
(D) Bah, bah, bah, bah. At the (G) hop.
Well you can rock it you can roll it do the stomp and even stroll it at the hop (G7).
When the (C) record starts a spinnin' you chalypso when you chicken at the (G) hop.
Do the (D7) dance sensation that is (C) sweepin' the nation at the (G) hop.
Let's go to the hop. Let's go to the hop (G7) (oh baby). (C) Let's go to the hop (oh baby).
(G) Let’s go to the hop. (D) Come, (C) on, (G) let's go to the hop.
Well you can swing it you can groove it you can really start to move it at the hop (G7).
Where the (C) jockey is the smoothest and the music is the coolest at the (G) hop.
All the (D) cats and chicks can (C) get their kicks at the (G) hop. Let's go!
(G) Let’s go to the hop. (D) Come, (C) on, (G) let's go to the hop. Let’s go!
(G)(G)(G7), (C), (G), (D7)(C)(G)
Well you can rock it you can roll it do the stomp and even stroll it at the hop (G7).
When the (C) record starts a spinnin' you chalypso when you chicken at the (G) hop.
Do the (D) dance sensation that is (C) sweepin' the nation at the (G) hop.
Youuuuu can swing it you can groove it you can really start to move it at the hop (G7).
Where the (C) jockey is the smoothest and the music is the coolest at the (G) hop.
All the (D7) cats and chicks can (C) get their kicks at the (G) hop. Let's go!
(G) Let’s go to the hop. (D) Bah, (C) bah, (G) let's go to the hop.
Bah, bah, bah, bah. (Em) Bah, bah, bah, bah. (C) Bah, bah, bah, bah.
(D) Bah, bah, bah, bah. At the |G| hop.
(Danny & The Juniors) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
ATLANTA BLUE - The Statler Brothers
(Reid)
https://www.youtube.com/watch?v=QnghH9UvYVA (Capo 0)(MC2)
TIP: There's a key change for the final reprise. For the (EC#) play an (E) and tuck your pinky on
the 2nd string/2nd fret. Pretty easy if you just think about making the (E) formation first.
TIP: For the final (A) at the end strum the bottom 3 strings, then the middle 3 strings, then the
top 3 strings.
INTRO: (G)(Em)(C), (CaddG)(D7)
(G) I'm dreamin' of (Em) you- (C) -ou, and that makes (D7) me Atlanta (G) blu-ue.
(C) Blue-ue. (G) Blue-ue. (G)-(D)-(Em)
(Am) Just a name (D7) I re (G) member (G).

(D)-(Em)-(Am) Just some (D7) one I used to (G) know (G).
(D)-(Em)-(Am) Someone, I (D7) never quite got (G) over (Em).
(Am) A long, (D7) long, time a (G) go. (D7)
(G) I'm Atlanta (Em) blue- (C) -ue.

Wishin' (D7) I could be with (G) you-oo-oo-(Em) oo-oo- (C) -ou.
Summer (D7) time in Georgia (G) I'm dreamin' of (Em) you- oo-oo- (C) -ou,
And that makes (D7) me Atlanta (G) blu-ue. (C) Blue-ue. (G) Blue-ue. (G)-(D)-(Em)
(Am) Don't wipe a (D7) way, my (G) mem'ries (G).

(D)-(Em)-(Am) By makin' (D7) all my dreams come (G) true (G).
(D)-(Em)-(Am) The way it (D7) was always seems (G) better (Em).
(Am) So let me (D7) keep on missin' (G) you.
<key change> (E)
(A) I'm Atlanta (F#m) blue- (D) -ue.

Wishin' (EC#) I could be with (A) you-oo-oo-(F#m) oo-oo- (D) -ou.
Summer (EC#) time in Georgia (A) I'm dreamin' of (F#m) you- oo-oo- (D) -ou,
And that makes (EC#) me Atlanta (A) blue-ue.
(D) Blue-ue. (A) Blue-ue. Wooo-oo-oo- (F#m) -oo-oo- (D) -oooh.
And that makes (EC#) me Atlanta (A) blueeee - oooooh. (A)
(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)(MC0)
INTRO: (G)(G)(C)
If you're lovin' me like I'm lovin' you, baby we're really in (G) love.
If you're happy with me like I'm happy with you, old cupid just gave us a (C) shove.
If you're thinkin' of me like I'm thinkin' of you, then I know what you're thinkin' (G) of.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love (C7).
I (F) run around in (C) circles, and (F) turn in fire a (C) larms.
I'm (F) nutty as a (C) fruit cake, when (D) you're not in my (G) arms.
If (C) you're meant for me like I'm meant for you, baby we fit like a (G) glove.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love.
(F)(C), (F)(C), (F)(C)(D)(G), (C)(G), (G)(C)
If you're lovin' me like I'm lovin' you, baby we're really in (G) love.
If you're countin' on me like I'm countin' on you, old cupid just gave us a (C) shove.
If you're dreamin' of me like I'm dreamin' of you, then I know what you're dreamin' (G) of.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love (C7).
My (F) folks think I've gone (C) crazy, and (F) I don't feel too (C) sure.
And (F) yet there's nothin' (C) wrong with me that (D) weddin' bells won't (G) cure.
If (C) you go for me like I go for you, baby we fit like a (G) glove.
If you're lovin' me like I'm lovin' you, baby we're really in (C) love.
(Hank Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
BACK HOME AGAIN
John Denver
https://www.youtube.com/watch?v=bohTOHvz1G8 (Capo 2)(MC2)
TIP: The intro is a two-note strum of (D). Pick the 4th string and strum, hit the 5th string and
strum. Repeat.
TIP: Prior to entering the chorus there's a little walk up voicing denoted by 4- 4/4 -3. You're
coming off a (D) so hold form and pick the open 4th string, the 4th string/4th fret, and the
covered 3rd string, and move to the (G) of the chorus. You can also strum this sequence with
(D)-(D/A)-(D) in which you just add your pinky the the 4th string/4th fret.
INTRO: <4>(D), <5>(D); <4>(D), <5>(D); <4>(D), <5>(D); <4>(D), <5>(D)
There's a storm across the (D7) valley, (G) clouds are rollin' in.
The (A) afternoon is (A7) heavy on your (D) shoulders (A).
There's a (D) truck out on the (D7) four lane, a (G) mile or more away.
The (A) whinin' of his (A7) wheels just makes it (D) colder (A).
He's an (D) hour away from (D7) ridin', on your (G) prayers up in the sky.
And (A) ten days on the (A7) road are barely (D) gone (A).
There's a (D) fire, softly (D7) burning, (G) supper's on the stove.
But it's the (A) light, in your (A7) eyes, that makes him (D) warm. 4- 4/4 -3
(G) Hey it's good to (A) be back home a (D) gain (D7).
(G) Sometimes (A) this old farm (D) feels like a long lost (G) friend.
Yes 'n (A) hey it's good, to (A7) be back home a (D) gain.
There’s all the news to (D7) tell him: (G) How'd you spend your time?
And (A) what's the latest (A7) thing the neighbors (D) say (A).
And your (D) mother called last (D7) Friday, (G) Sunshine made her cry.
You (A) felt the baby (A7) move just yester (D) day. 4- 4/4 -3
(G) Hey it's good to (A) be back home a (D) gain, yes it (D7) is.
Yes 'n (A) hey it's good, to (A7) be back home a (D) gain.
And (G) oh the time that (A7) I can lay this (D) tired old body (G) down.
And (Em) feel your fingers, (A7) feather-soft up (D) on me (D7).
The (G) kisses that I live (A) for, the (D) love that lights my (G) way.
The (Em) happiness, that (G) livin' with you (A) brings me.
It's the (D) sweetest thing I (D7) know of, just (G) spending time with you.
It's the (A) little things, (A7) that make a house a (D) home (A).
Like a (D) fire softly (D7) burning and (G) supper on the stove.
The (A) light in your (A7) eyes that makes me (D) warm. 4- 4/4 -3
(G) Hey it's good to (A) be back home a (D) gain (D7).
Yes 'n (A) hey it's good, to (A7) be back home a (D) gain. 4- 4/4 -3
(G) Hey it's good to (A) be back home a (D) gain (you know it is) (D7).
'n (A) hey it's good, to (A7) be back home a (D) gain.
I said (A) hey it's good, to (A7) be back home a (G) gain (D).
BAD CASE OF LOVING YOU - Robert Palmer
(Martin)
https://www.youtube.com/watch?v=7z9DwMKvqcc (Capo 2)(MC2)
TIP: The (D) chords at the end of the line are simply rhythm placeholders.
INTRO: (D)(D)(D)(C), (D)(D)(D) Whoah-(C)-oh (D)(D)(C), (D)(D)
A hot summer night, fell like a net, (D)

I've gotta (G) fiiii- (A) -ind my baby (D) yet. (D)
I need you, to soothe my head, (D)
And turn my (G) blue- (A) - ue heart to (D) red. (D)(D)
|D| Doctor Doctor, gimme the news I got a (D), bad case of lovin' you.
(G) No pill's gonna cure my ill I got a (D), bad case of (A) lov-in' (D) you. (D)(D)
A pretty faaaaace don't make no pretty heart. (D)

I learned (G) that (A), buddy from the (D) start. (D)
You think I'm cute, a little bit shy. (D)
Mama (G) I-I-I (A) ain't that kind of (D) guy. (D)(D)
(G) No pill's gonna cure my ill I got a (D), bad case of (A) lov-in' (D) you. (D)(D)
Well-ell. (D)(D), (D)(G)(G), (A)(A), (G)
I know you like it (G)(D), you like it on top (D)(G).

Tell me (Bm) mamma (A), are you gonna stopppppppp? (D)(D)|D|
(NC) You had me (D) down, twenty-one to zip. (D)

Smile of (G) Juuuu- uu- (A) -uudas on your (D) lip. (D)
Shake my fist, knock on wood. (D)
I got it (G) baaa - (A) -aad and I got it (D) good. (D)(D)
(G) No pill's gonna cure my ill I got a (D), bad case of (A) lovvvvin' (D) you. (D)|G|-|D|
(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)(MC3)
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).
TIP: In the third verse there's a single (Asus2) sandwiched between a (G) and an (A). So when
moving from off the (G), play the (Asus2) with your index and middle fingers like you're going to
play an (A) but don't drop the ring finger. Then, when the (A) does come you drop the ring finger.
Or . . . you can forget the (Asus2) and just hold the (G), or play an (A) at this point through to
"steeple."
INTRO: <very lightly strum> (D); (D)(D) (D)-(G)-(G)-(A), (G)...
A (D) Public Service An (A) nouncement followed me (G) home the other day.
I (D) paid it never mi-(A)-ind (Em), go a (A) way.
(D) Shit's so thick you could (A) stir it with a stick free (G) Teflon white-washed presidency
We're (D) sick of being (A) jerked around, (Em) wear that on your sleeve.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord, count your (A) blessings,
We're sick of being (Bm) jerked, a, (G) round. We, (F#m) all, fall (A) down.
Have you (D) ever seen the (A) televised Saint (G) Vitus subcommittee prize
In (D) vestigation (A) dance those, (Em) ants-in-pants, glances.
Well (D) look behind the (A) eyes, it's a (G) hallowed hollow anesthesized,
(D) "Save my own ass (A) screw these guys", (Em) smoke and mirror lock, down.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord,

Count your (A) blessings, the papers wouldn't (Bm) lie, I, (G) sigh, not, (F#m) one, more
(A) It's been a (D) bad day, (A) please don't (Em) take your picture.
It's been a (D) bad day, (A) pleee - (Em) -eease.
It's been a (D) bad day, (A) please don't (Em) take a picture.
We're (D) dug in the deep the (A) price is steep the (G) auctioneer is such a creep.
The (D) lights went out the (A) oil ran dry we (Em) blamed it on the (A) other guy.
(D) Sure all men are (A) created equal, (G) here's the church, (Asus2) here's the (A) steeple.
(D) Please stay tuned we (A) cut to sequel, (Em) ashes ashes we all fall down.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord,

Count your (A) blessings, ignore the lower (Bm) fear, ugh, (G) this, means, (F#m) war.
It's been a (D) bad day, (A) please don't (Em) take your picture.
It's been a (D) bad day, (A) pleee - (Gadd) -eease. <gently> (D)...
(D) Ditt-it-it (G) dit (A) dit, (Em) ahh. (D) Ditt-it-it (G) dit (A) dit (Em) ooh-ooh-ooh-ooh.
(A) Broadcast me a joyful noise un (Bm) to the times (G) Lord, count your (A) blessings,
We're sick of being (Bm) jerked, a, (G) round, we (F#m) all, fall (A) down.
It's been a (D) bad day, (A) pleee - (Gadd) -eease.
It's been a (D) bad day, (A) pleee - (Gadd) -eease.
(D) Ditt-it-it (G) dit (A) dit, (Em) ahh. (D) Ditt-it-it (G) dit (A) dit, (Em) ooh-ooh-ooh-ooh.
(D) Ditt-it-it (G) dit (A) dit, (Em) ahh. (D) Ditt-it-it (G) dit (A) dit, (Em) ooh-ooh-ooh-ooh |D|

BADLANDS
Bruce Springsteen
https://www.youtube.com/watch?v=7T_6Ua6fd5s (Capo 2)(MC2)
TIP: Not the easiest song to sing as Bruce just runs everything together. If you don't see
punctuation just keep going.
INTRO: (D),(G)(Bm)-(A); (D),(G)(Bm)-(A); (D),(G)(Bm)-(A); (D),(G)(A)
Girl (D) lights out tonight, (G) trouble in the (Bm) heart (A) land
Got-a- (D) head-on collision, smashin' in my (A) guts man
I'm (D) caught in a crossfire, (G) that I don't (A) under (D) stand.
But there's one (G) thing I know for (A) sure girl
(D) I don't give a damn, for the (G) same old played out (A) scenes
Baby (D) I don't give a damn, for (G) just the in be (A) tweens.
(D) Honey I want the heart I want the (G) soul I want con (A) trol right (D) now.
You better (G) listen to me (A) baby.
(G) Talk about a dream, try to make it real,

You (A) wake up in the night, with a fear so real.
You (G) spend your life waitin' for a moment,
That just don't (A) come (G)-(A) don't waste your time (G) wait (A) in'.
(D) Badlands you gotta (G) live it every (A) day

Let the (D) broken hearts stand as the (G) price you've gotta (A) pay.
Keep (D) pushing till it's understood and these (G) badlands start (A) treating us (D) good (G)(A).
(D) Working in the field (G) till you get your (A) back burned,
(D) Working 'neath the wheels (G) till you get your (A) facts learned.
(D) Baby I got my facts, (G) learned real (A) good right (D) now.
You better (G) get it straight (A) darlin'.
(D) Poor man wanna be rich, (G) rich man wanna be (A) king,
And a (D) king ain't satisfied till he (G) rules every (A) thing.
I wanna (D) go out tonight, I wanna (G) find out (A) what I (D) got. (G)(A)
Well I be (G) lieve in the love, that you gave me I be (A) lieve in the faith,
That could save me I be (G) lieve in the hope and I pray, that some day (A) it,
(G) May raise (A) me, above these
(D) Badlands, you gotta (G) live it every (A) day

Keep (D) pushing till it's understood and these (G) badlands start (A) treating us (D) good.
(G) Whoa whoa whoa (A) 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)
<quietly> (D) Mmmmm (G) mmmm (A) mmmm; (D) Mmmmm (G) mmmm (A) mmmm
(D) Mmmmm (G) mmmm (A) mmmm; (D) Mmmmm (G) mmmm (A) mmmm
For the (D) ones who had a notion and a (G) notion deep in (A) side
That it (D) ain't no sin to be (G) glad you're a (A) live.
I wanna (D) find one face, that (G) ain't looking (A) through me.
I wanna (D) find one place I wanna (G) spit in the (A) face of these
(D) Badlands, you gotta (G) live it every (A) day

Keep (D) pushing till it's understood and these (G) badlands start (A) treating us (D) good.
(G) Whoa whoa whoa (A) whoa.
(D) Badlands, (G) whoa whoa (A) whoa whoa.

(D) Badlands, (G) whoa whoa (A) whoa whoa |D| 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)(MC0)
TIP: If it's too cumbersome, that (G) between the (A) and the (D) in the verse can be skipped.
Just play the (A) through to the (D).
INTRO: (D) (A)(G) (D)
I see, a (A) bad (G) moon a (D) rising. I see, (A) trouble (G) on the (D) way.
I see, (A) earth (G) quakes and (D) lightnin'. I see, (A) bad (G) times to (D) day.
(G) Don't go around tonight, well it's (D) bound to take your life.
(A) There's a (G) bad moon on the (D) rise.
I hear, (A) hurri (G) canes a (D) blowing. I know, the (A) end is (G) coming (D) soon.
(D) I fear, (A) rivers (G) over (D) flowing. I hear, the (A) voice of (G) rage and (D) ruin.
(D)(A)(G)(D), (D)(A)(G)(D), (G)(D)(A)(G)(D)
Hope you, (A) got your (G) things to (D) gether. Hope you, are (A) quite pre (G) pared to (D) die.
Looks like, we're (A) in for (G) nasty (D) weather. One eye, is (A) taken (G) for an (D) eye.
Wellll (G) don't go around tonight, well it's (D) bound to take your life.
(A) There's a (G) bad moon on the (D) rise. |D|
(CCR) (Artist Index) - (Main Index) - (Song Index) (This Song)

BALLAD OF A TEENAGE QUEEN – Cowboy Jack Clement/Johnny Cash
(Clement)
https://www.youtube.com/watch?v=hX48ztuZ3jw&t=16s Cowboy Jack/Johnny Cash (Capo 2)(MC2)
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 alternating between the and middle G (open 3rd string) and middle D (open 4th string).
So try strumming strings 4-3-2 and then 5-4-3 and then start the song with a full strum to include
the covered top string (bass G) on “There’s a story . . .”
INTRO (Duet): (G)(G)(G)(G)
INTRO (Johnny): (G) Dream on dream on (C) teenage (G) queen,

(C) Prettiest (G) girl we've (D) ever (G) seen.
There's a story (C) in our (G) town of the prettiest (D) girl a (G) round.
Golden hair and (C) eyes of (G) blue how those eyes could (D) flash at (G) you.
How those eyes could (D) flash at (G) you.
(C) Boys hung 'round her (G) by the score,

But she loved the (D) boy next (G) door who worked at the (D) candy (G) store.
Dream on dream on (C) teenage (G) queen (C) prettiest (G) girl we've (D) ever (G) seen. (G)(G)(G)
She was tops in (C) all they (G) said, never once went (D) to her (G) head.
She had every (C) thing it (G) seemed, not a care this (D) teenage (G) queen.
Not a care this (D) teenage (G) queen.
(C) Other boys could (G) offer more,
But she loved the (D) boy next (G) door, who worked at the (D) candy (G) store.
Dream on dream on (C) teenage (G) queen (C) you should (G) be a (D) movie (G) queen. (G)(G)(G)
He would marry (C) her next (G) spring saved his money up (D) bought a (G) ring.
Then one day a (C) movie (G) scout came to town to (D) take her (G) out.
Came to town to (D) take her (G) out.
(C) Hollywood could (G) offer more,

So she left the (D) boy next (G) door working at the (D) candy (G) store.
Dream on dream on (C) teenage (G) queen (C) see you (G) on the (D) movie (G) screen. (G)(G)(G)
Well very soon she (C) was a (G) star pretty house and (D) shiny (G) car.
Swimmin’ pool and a (C) fence a (G) round but she missed her (D) old home (G) town.
But she missed her (D) old home (G) town.
(C) All the world was (G) at her door,

All except for the (D) boy next (G) door who worked at the (D) candy (G) store.
Dream on dream on (C) teenage (G) queen (C) saddest (G) girl you've (D) ever (G) seen. (G)(G)(G)(G)
Then one day the (C) teenage (G) star sold her house and (D) all her (G) cars.
Gave up all her (C) wealth and (G) fame left it all and (D) caught a (G) train.
She left it all and (D) caught a (G) train.
----------
<Duet> (C) Next day she was (G) at the door,

Of the lonely (D) boy next (G) door who worked at the (D) candy (G) store. (G)(G)(G)
Now this story (C) has some (G) more you’ll
<slower> (C) Hear it (G) all at the (D) candy <rake> (G) store. <End Song>
<Johnny> (C) Do I have to (G) tell you more, she came back to the (D) boy next (G) door
Who worked at the (D) candy (G) store.
Now this story (C) has some (G) more you’ll (C) hear it (G) all at the (D) candy (G) 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)(MC0)
[Afterwards is a version in [G]. It won’t match the recording but may be a bit easier to play.]
TIP: (Dsus4) will always follow (D) so just add your pinky to the bottom string/3rd fret. In
verses three, four, and five there’s a transitionary (Em/G) between (G) and (D). From the (G) just
hold form and drop your middle finger from the top string to the 4th string on your way to the (D).
The last chord strike is a (DaddA). Strum (D) while extending your pinky over the the bottom
string of the 5th fret.
TIP: There are a couple of subtle tricky bits. Eugene plays the lead-in chord, usually the (Em),
prior to the word so it helps to play it after the trailing (D) in the line before. Also, in the
2nd line of each verse note the quick move from (Dsus4) to (A) instead of to (D).
INTRO: (D)(Dsus4)(D), (D)(Dsus4)(D), (D)(Em)
This is the (G) story of Bobby and (D) June (Dsus4)-(D). (D)(Em)
A boy and a (G) girl who kidnapped the (D) moon. (Dsus4)-(A)
But they fell in looove to the (G) souuund, of guns. (Em)
The year was (G) Eighteen Sixty (D) One (Dsus4)-(D). (D)(Em)
The army came (G) looking for men to re (D) cruit (Dsus4)-(D). (D)(Em)
Dressin' boys up like (G) soldiers in blue Union (D) suits. (Dsus4)-(A)
"Take this sword and cut dowwwwn Johnny (G) Reb", they said, (Em)
You'll come back a (G) hero or you'll come back (D) dead (Dsus4)-(D).
(G) Stayyyy with me (D) Bobby. Don't go a (G) wayyyy from me (D) now.
I want you (G) sayyyy that you (D) love me. Don't go a (G) wayyyy from me (D) now.
I (G) want you to (D) stay (Dsus4)(D), (D)(Dsus4)(D). (Em)
Now Bobby he (G) marched to the eye of the (D) storm (Dsus4)-(D). (D)(Em)
The blue coats were (G) falling, the blood was still (D) warm (Dsus4)-(A).
A battle was raging and the only thing (G) in, his eyes, (Em)
Was the thought of his (G) June, and making it (Em/G) hooooome a (D) live. (Em)
His army out (G) numbered they started to (D) run (Dsus4)-(D). (D)(Em)
When Bobby went (G) down with the crack of a (D) gun (Dsus4)-(A).
And as he lay still his face sinking (G) in, the rain. (Em)
He knew that he (G) never and ever would (Em/G) seeee June a (D) gain.
(G) Stayyyy with me (D) Bobby. Don't go a (G) wayyyy from me (D) now.
I (G) want you to (D) stay (Dsus4)(D), (D)(Dsus4)(D), (Em)
It was the morning of (G) Christmas when June heard a (D) sound (Dsus4)-(D). (D)(Em)
Of someone ap (G) proaching their boots scraping (D) on-the-gound (Dsus4)-(A).
As she looked out the window her heart pounded (G) in, her breast. (G)(Em)
A broken young (G) Bobby was clutching a (Em/G) wounded (D) chest. (Bm)
She ran out to help ease his pain (G). He looked up and whispered her name. (Bm)
Then she cradled his head in her arms then he |G| smiled, when he |A| heard his June say:
(G) “Stayyyy with me (D) Bobby. Don't go a (G) wayyyy from me (D) now.
I (G) want you to (D) stay (Dsus4)-(D), (D)(Dsus4)-(D)
I (G) want you to (D) stay (Dsus4)-(D), (D)(Dsus4)-|DaddA|.”
BALLAD OF BOBBY AND JUNE (In G) – Mitch & Mickey
(Levy)
(MC1)
[To play along with the recording try the verion in [D].]
TIP: (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).
TIP: There are a couple of subtle tricky bits. Eugene plays the lead-in chord, usually the (Am),
prior to the word so it helps to play it after the trailing (G) in the line before. Also, in the
2nd line of each verse note the quick move from (Dsus4) to (D) instead of to (G).
INTRO: (G)(G4)(G), (G)(G4)(G), (G)(Am)
This is the (C) story of Bobby and (G) June (G4)-(G). (G)(Am)
A boy and a (C) girl who kidnapped the (G) moon. (G4)-(D)
But they fell in looove to the (C) souuund, of guns. (Am)
The year was (C) Eighteen Sixty (G) One (G4)-(G). (G)(Am)
The army came (C) looking for men to re (G) cruit (G4)-(G). (G)(Am)
Dressin' boys up like (C) soldiers in blue Union (G) suits. (G4)-(D)
"Take this sword and cut dowwwwn Johnny (C) Reb", they said, (Am)
You'll come back a (C) hero or you'll come back (G) dead (G4)-(G).
(C) Stayyyy with me (G) Bobby. Don't go a (C) wayyyy from me (G) now.
I want you (C) sayyyy that you (G) love me. Don't go a (C) wayyyy from me (G) now.
I (C) want you to (G) stay (G4)(G), (G)(G4)(G), (Am)
Now Bobby he (C) marched to the eye of the (G) storm (G4)-(G). (G)(Am)
The blue coats were (C) falling, the blood was still (G) warm (G4)-(D).
A battle was raging and the only thing (C) in, his eyes, (Am)
Was the thought of his (C) June, and making it (Am) hooooome a (G) live. (Am)
His army out (C) numbered they started to (G) run (G4)-(G). (G)(Am)
When Bobby went (C) down with the crack of a (G) gun (G4)-(D).
And as he lay still his face sinking (C) in, the rain. (Am)
He knew that he (C) never and ever would (Am) seeee June a (G) gain.
(C) Stayyyy with me (G) Bobby. Don't go a (C) wayyyy from me (G) now.
I (C) want you to (G) stay (G4)(G), (G)(G4)(G), (Am)
It was the morning of (C) Christmas when June heard a (G) sound (G4)-(G). (G)(Am)
Of someone ap (C) proaching their boots scraping (G) on-the-gound (G4)-(D).
As she looked out the window her heart pounded (C) in, her breast. (C)(Am)
A broken young (C) Bobby was clutching a (Am) wounded (G) chest. (Em)
She ran out to help ease his pain (C). He looked up and whispered her name. (Em)
Then she cradled his head in her arms then he |C| smiled, when he |D| heard his June say:
(C) “Stayyyy with me (G) Bobby. Don't go a (C) wayyyy from me (G) now.
I (C) want you to (G) stay (G4)-(G), (G)(G4)-(G)
I (C) want you to (G) stay (G4)-(G), (G)(G4)-|Gadd|.”
BALLAD OF JED CLAMPETT (BEVERLY HILLBILLYS THEME) – Flatt & Scruggs
(Henning/Scoggins)
https://www.youtube.com/watch?v=0_XAPku7SgE (Capo 2)(MC3)
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.
INTRO: (G)(Am)-(D/A), (D)(G), (G)(C)-(A7), (D)(D7)-(G), (G)...
Come and listen to my story 'bout a (Am) man named (D) Jed.
A poor mountaineer barely (G) kept his family fed.
Then one day he was (C) shootin’ at some (A7) food,
And (D) up through the ground come a (D7) bubblin’ (G) crude.
(Oil that is, black gold, Texas tea.)
(G)(Am)-(D/A), (D)(G), (G)(C)-(A7), (D)(D7)-(G), (G)...
Well the first thing you know old (Am) Jed's a million (D) aire.
The kinfolk said “Jed (G) move away from there.”
They said “Californy is the (C) place you oughta (A7) be”
So he (D) loaded up the truck and they (D7) moved to Bever (G) ly.
(Hills that is, swimming pools, movie stars.)
(G)(Am)-(D/A), (D)(G), (G)(C)-(A7), (D)(D7)-(G), (G)...
Now it's time to say goodbye to (Am) Jed and all his (D) kin.
They would like to thank you folks for (G) kindly droppin’ in.
You're all invited back again to (C) this locali (A7) ty,
To (D) have a heapin’ helpin’ of their (D7) hospitali (G) ty.
(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)
THE BALLAD OF JOHN AND YOKO – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=vzd_DfGGx0I (Capo 2)(MC0/6)
TIP: The intro is a little 5-note lick that can be played along with a galloping (D). Or you can
add some pinky bits to pick out the notes, which all occur within (D). The numbers refer to the
string position of the pinky on the 3rd fret. Strum (D), add pinky to 4th string/3rd fret and
strum; lift off pinky and strum; add pinky to 3rd string/3rd fret and strum; lift off pinky and
strum. The song repeats this twice but you can repeat it another two times until you're ready for
the song.
INTRO: Galloping (D) 4-0-3-0, (D) 4-0-3-0
Standing in the dock at Southampton, trying to get to Holland or France.

The (D7) man in the mac said "You've got to turn back"
You know they didn't even give us a chance Christ you know it ain't (G) easy.
You know how hard it can (D) be.
The way things are (A7) goin', they're going to crucify (D) me |D|-|A7|-|A7|-(D).
Finally made the plane into Paris, honeymooning down by the Seine.
Peter (D7) Brown-called-to-say, "You can make it okay,
You can get married in Gibraltar near Spain" Christ you know it ain't (G) easy.
The way things are (A7) going, they're going to crucify (D) me |D|-|A7|-|A7|-(D).
Drove from Paris to the Amsterdam Hilton. Talking in our beds for a week.
The (D7) newspapers said "Say what you doing in bed?
I said "We're only trying to get us some peace" Christ you know it ain't (G) easy.
The way things are (A7) goin', they're going to crucify (D) me. |D|-|D|-|D|-|D|-|D|-|D|-|D|
(G) Saving up your money for a rainy day, giving all your clothes to charity.
Last night the wife said, "Oh boy when you're dead
You (A7) don't take nothing with you but your so-oul think!"
|A|-|A|-|A|-(D) Made a lightning trip to Vienna. Eating chocolate cake in a bag.

The (D7) newspapers said, "She's gone to his head,
They look just like two gurus in drag" Christ you know it ain't (G) easy.
The way things are (A7) goin', they're going to crucify (D) me. |D|-|D|-|D|-|D|-|D|-|D|-|D|
Caught the early plane back to London. Fifty acorns tied in a sack.
The (D7) men from the press said, "We wish you success,
It's good to have the both of you back" Christ you know it ain't (G) easy.
The way things are (A7) goin', they're going to crucify (D) me.
The way things are (A7) goin', they're going to crucify (D) me. (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)(MC2)
[Aye, for all me Scottish friends, ye jammy bastards.]
(Gadd) This (G) is the ballad of (C) Mrs. (Gadd) Begg,
Who doubt-(G)-ed Winston’s (C) dodg-(D)–y (G) leg.
(Gadd) Now (G) she waits on me (C) ‘round the (Gadd) clock.
Because she got fond of (G) old . . . (D) Bert’s . . . (G) 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)(MC0)
TIP: The intro is a snare drum over the top of bass note <c>. So cover the top string bass note
<g> with your pinky and strum the top three strings with a (down, down-up-down-down);
(down, down-up-down-down) pattern. Strum this pattern for four measures and then begin song. This
strumming pattern persists through the whole song.
INTRO: <Strum> (C/G), (C/G), (C/G), (C/G)
Fighting soldiers (G) from the (C) sky. Fearless (G) men, who jump and (C) die.
Men who (F) mean, just what they (C) say. The brave (G) men, of the Green Ber (C) et.
Silver wings, up (G) on their (C) chest. These are (G) men, America's (C) best.
One hundred (F) men, will test to (C) day, but only (G) three, win the Green Ber (C) et.
Trained to live, off (G) nature's (C) land. (G) Trained in combat, hand to (C) hand.
Men who (F) fight, by night and (C) day. Courage (G) taken, from the Green (C) Beret.
Silver wings, up (G) on their (C) chest. These are (G) men, America's (C) best.
One hundred (F) men, will test to (C) day, but only (G) three, win the Green Ber (C) et.
Back at home, a (G) young wife (C) waits. Her Green Ber (G) et, has met his (C) fate.
He has (F) died, for those o (C) ppressed. Leaving (G) her, his last re (C) quest.
Put silver wings, on (G) my son's (C) chest. Make him (G) one, of America's (C) best.
He'll be a (F) man, they'll test one (C) day. Have him (G) win, the Green Ber (C) et (F) (C).
(Barry Sadler) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BANANA BOAT SONG (DAY-O) - Harry Belafonte
(Burgie/Attaway)
https://www.youtube.com/watch?v=LVUcz6wPrCs (Capo 3)(MC0)
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| Day-o, |A| Day-ay-ay- |D| o. (D) Daylight come and me (A7) wan' go (D) home.
|D| Day. Me say |A| day, me say |G| day, me say |D| day, me say |G| day, me say |D| day-ay-ay-o.
(D) Daylight come and me (A7) wan' go (D) home.
Work all night on a drink o' rum. Daylight come and me (A7) wan' go (D) home.
Stack banana til the mornin' come. Daylight come and me (A7) wan' go (D) home.
|D| Come Mister |D| tally man |A7| tally me ba |A| nana.
|D| Six foot |D| seven foot |D| eight foot |D| bunch!
|D| Day. Me say day- |A| -ay-ay- |D| o. (D) Daylight come and me (A7) wan' go (D) home.
A beautiful bunch o' ripe banana. Daylight come and me (A7) wan' go (D) home.
Hide the deadly black tarantula. Daylight come and me (A7) wan' go (D) home.
|D| Day. Me say day- |A| -ay-ay- |D| o. (D) Daylight come and me (A7) wan' go (D) home.
|D| Day-o, |A| Day-ay-ay- |D| o. (D) Daylight come and me (A7) wan' go (D) home.
(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=yDzhrO5K02c (Capo 0)(MC0)
TIP: There are 3 different intros/transitions/bridges before you get to the main body of the song.
The first is that weepy opening instrumental followed by "Stuck inside these four walls . . . ").
The second is a transitional riff that leads into a second bridge ("If I ever get out of here . .
."), and then a "normal" instrumental intro for the main song. Once you get to actual freakin'
song the rest is pretty straight forward.
Part one: Emphasizing the bottom 3 strings you strike each chord (or note) once through the
first (Dmaj7) and pause. Then comes the first twiddle. "Twiddle" is that sing-song back, string
bending whatever it is Denny is playing there but to emulate it just strum the bottom three strings
of the chord just played. The first is the (Dmaj7), followed with one strum each of the
|Dmaj7||D||Em|. Another twiddle on the (Em). The whole sequence repeats. Then strike the |Gm|
purposefully once and slide quickly down and strike the |Dmaj7|, then lift off (all strings open)
and strike the open strings, and then a (D). Finish with one strike each of |D||Em||Gm|. Now
repeat that whole sequence and at the end hold and pause on the final (Gm). It sounds messier than
it is (thank God).
Part two: Mercifully straight forward. Like the mention above, when you come across (open)
it's one-strum with no fingers on the fingerboard (all strings open), but remember to hit the
bottom string. As for the (Am)(Asus2)(Asus2)(Am) bit the (Asus2) is just (Am) without the index
finger. Easy. Also has a (D)<open>-(Am). This is a transitional chord from the (D) you lift off
(no fingers) for just one strum and then immediately to the (Am).
Part three: Six hard strums on the (C/G), covering the top bass note with your pinky if you
can, and emphasizing the top 4 strings. The transition between (C) and (Fmaj7) and back isn't
hard, and you're going to have to get it down because it's played throughout the chorus as well.
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. In the chorus, if you can't deal with the (Fmaj7) in the "band on the
run" you can just play the (C) throughout.
; ;( )
INTRO: |G|-|D|-|G|-|D|-(Dmaj7)<twiddle on (Dmaj7)>; |Dmaj7|-|D|-|Em|<twiddle on (Em)>;

|G|-|D|-|G|-|D|-(Dmaj7)<twiddle on (Dmaj7)>; |Dmaj7|-|D|-|Em|<twiddle on (Em)>;
|Gm|-|Dmaj7|-<open>-|D|, |D|-|Em|-|Gm|; |Gm|-|Dmaj7|-<open>-|D|, |D|-|Em|-|Gm| <hold>;
(D) Stuck inside these four (Dmaj7) walls <twiddle>. (G) Sent inside forev-(Gm)-er <twiddle>.
(D) Never seeing (Dmaj7) no one <twiddle>, (G) nice again <twiddle>,
(Gadd) like (D) you-ou, (Em) ma (Gm) ma, (D) you-ou, (Em) ma (Gm) ma, (D) you-ou. <open>(Gm)
(Am)(Asus2)-(Asus2)(Am), (D)<open>-(Am), (Am)(Asus2)-(Asus2)(Am), (D)<open>-(Am),

(Am)(Asus2)-(Asus2)(Am)
(Am)(Asus2)-(Asus2)(Am), (D)<open>-(Am), (Am)(Asus2)-(Asus2)(Am), (D)<open>-(Am),
(Am)(Asus2)-(Asus2)(Am)
If I ever (Asus2) get out (Am) of here, (D) thought of giving it all <open> a (Am) way,
To a regis (Asus2) tered char (Am) ity. (D) All I need is a pint <open> a (Am) day
If I ever (Asus2) get out (Am) of here (If we ever (Asus2) get out (Am) of here).
|C/G|x6 |D|-|D|-|C|; |C/G|x6 |D|-|D|-|C|; |C/G|-|C/G|-|C/G|, |C/G|-|C/G|, (C)(Fmaj7), (C)(Fmaj7)
Well the (C) rain exploded with a (Fmaj7) mighty crash, as we fell into the (C) sun.
And the first one said to the (Fmaj7) second one there, "I hope you're having (Em) fun!"
(G) Band on the (C) run, (Em) band (C) on the (Am) run.
And the (F) jailer man, and (C) Sailor Sam, were |F| searching |F| every (Fmaj7) one.
For the (C) band on the run (Fmaj7). (C) Band on the (Fmaj7) run.
(C) Band on the run (Fmaj7). (C) Band on the (Fmaj7) run.
Well the (C) undertaker drew a (Fmaj7) heavy sigh, seeing no one else had (C) come.
And a bell was ringing in the (Fmaj7) village square, for the rabbits on the (Em) run.
And the (F) jailer man, and (C) Sailor Sam, were |F| searching |F| every (Fmaj7) one.
|Em|-|G|-|C|; |Em|-|C|-|Am|; (F)(C)(Fmaj7) ... Yeah the (C) band on the (Fmaj7) run.
(C) Band on the (Fmaj7) run. (C) Band on the run (Fmaj7). (C) Band on the (Fmaj7) run.
Well the (C) night was falling as the (Fmaj7) desert world, began to settle (C) down.
In the town they're searching for us (Fmaj7) everywhere, but we never will be (Em) found.
And the |F| County Judge, who |C| held a grudge, will |F| search for |F| ever (Fmaj7) more,
(C) Band on the run (Fmaj7). (C) Band on the (Fmaj7) run. |Em|-|G|-|C|
BANG A GONG (GET IT ON) - T. Rex
(Bolan)
https://www.youtube.com/watch?v=TVEhDrJzM8E (Capo 0)(MC0)
TIP: First of all, you can ignore all the weird (E) and (A) variations and just play good old (E)
and (A) throughout. But the sharped chords aren't that hard to play!
There are two recurring parts for the (E) series. Again, it looks complicated but it's not.
Listening to the song will help a lot.
The first is a bass accent with (EC#m) and occurs in the intro and again in the bridge. The
cadence goes 1, 1-2, 1-2; 1, 1-2, 1-2 and repeats. It starts with (E) and then you stretch the
pinky over to the 5th string/4th fret and tap it (that's EC#m) on the (2) count in the cadence. I
know this will be a stretch for many. Tucking your elbow into your side will improve the angle a
bit and since you want to play the top 3 strings it's okay if your palm rests a little on the
bottom three. If this is all too much, just strum the (EC#) mentioned below instead.
The second is a treble accent with (EC#) where you still hold the (E) formation but drop your
pinky down to cover the 2nd string/2nd fret which is (EC#). But note that the final (E) in the
line begins the sequence so it's quick in coming, otherwise you'll get thrown off. And you want to
be sure to strike the bottom string. This sequence occurs as a transition after every verse so
practice it. It's not hard but it has a slightly different cadence with a pause between the (E)s.
TIP: The (A6)(A6G#)(E) sequence is even easier. From the (A), release and quickly play one strum
of a barre using your index finger on the bottom four fingers of the 2nd fret - the (A6). Then,
extend your pinky to strum once covering the bottom string/4th fret - the (A6G#), and move quickly
to the (E). Just have to get the cadence. If this sequence screws up your timing to the trailing
(E) then play the (A6) and skip the (A6G#). Now get it on.
; ;
INTRO: (Bass) (E)(E)-(EC#m)-(E)-(EC#m); (E)(E)-(EC#m)-(E)-(EC#m);

(E)(E)-(EC#m)-(E)-(EC#m); (E)(E)-(EC#m)-(E)-(EC#m)
(E)-(EC#)-(E), (E)(E)(EC#)-(E); (E)-(EC#)-(E), (E)(E)(EC#)-(E)
Well you're dirty and sweet clad in (A) black don't look back and I (E) love you.
You're (A) dirty and (A6) sweet (A6G#) oh (E) yeah (EC#)-(E), (E)(E)(EC#)-(E).
Well you're slim and you're weak you've got the (A) teeth of a hydra up (E) on you.
You're (A) dirty sweet and (A6) you're (A6G#) my (E) girl (EC#)-(E), (E)(E)(EC#)-(E).
Get it (G-) on, bang a (A) gong, (A7) get-it (E) on (EC#)-(E), (E)(E)(EC#)-(E).
(E)-(EC#)-(E), (E)(E)(EC#)-(E)
Well you're built like a car you got a (A) hub cap diamond-star (E) halo.
You're (A) built like a (A6) car (A6G#) oh (E) yeah (EC#)-(E), (E)(E)(EC#)-(E).
Well you're an untamed youth that's the (A) truth with your cloak full of (E) eagles.
(E)-(EC#)-(E), (E)(E)(EC#)-(E)
Well you're windy and wild you've got the (A) blues in your shoes and your (E) stockings.
You're (A) windy and (A6) wild (A6G#) oh (E) yeah (EC#)-(E), (E)(E)(EC#)-(E).
Well you're built like a car you got a (A) hub cap diamond-star (E) halo.
(Bass) (E)(E)-(EC#m)-(E) x 4; (E)-(EC#)-(E), (E)(E)(EC#)-(E); (E)-(EC#)-(E), (E)(E)(EC#)-(E)
Well you're dirty and sweet clad in (A) black don't look back and I (E) love you.
You're (A) dirty and (A6) sweet (A6G#) oh (E) yeah (EC#)-(E), (E)(E)(EC#)-(E).
Well you dance when you walk so let's (A) dance take a chance under (E) stand me.
Get it (G-) on (E)(E)-(EC#m)-(E) x 4; (E)-(EC#)-(E), (E)(E)(EC#)-(E); (E)-(EC#)-(E),(E)(E)(EC#)-(E)
Take me. (G)(A)(E)-(EC#)-(E), (E)(E)(EC#)-(E); Meanwhile, I'm still thinking.

(E)-(EC#)-(E), (E)(E)(EC#)-(E); (E)-(EC#)-(E), (E)(E)(EC#)-|E|
(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)(MC3)
[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).
TIP: When you see <lift> lift off the bottom string of the (Gadd) but keep the 2nd string/3rd fret
and play until the next (C).
|C| Ba ba ba, Ba-ba-ra Ann. |C| Ba ba ba, ba ba-ba Ba - bara (C) Ann.
(CaddG) Take (C) my ha-(F)-nd, Barbara (C) Ann.
You got me (Gadd) rockin' and a-rollin' <lift> rockin' and a-reelin' Barbara (C) Ann ba ba,
ba Ba-bara Ann.
|C| Went to a dance, |C| lookin' for romance, |C| Saw Barbara Ann so I (Am) thought I'd (C) take a
chance Barbara (F) Ann Barbara Ann. Take my (C) hand.
ba Ba-bara Ann.
ba Ba-bara Ann.
(C)(C)(C)(Am)-(C) (F)(C) (Gadd) <lift> (C)
|C| Tried Peggy Sue, |C| tried Betty Lou, |C| tried Mary Lou but I (Am) knew she (C) wouldn't do.
Barbara (F) Ann Barbara Ann. Take my (C) hand.
ba Ba-bara Ann.
ba Ba-bara Ann.
Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann. (F) Barbara Ann. Barbara Ann.
(C) Barbara Ann. Barbara Ann.
ba Ba-bara Ann.
(The Beach Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
BARBARA ANN - The Beach Boys
(Fassert)
(MC4/5)
TIP: One strum for each of the |G| you see in brackets.
|G| Ba ba ba, Ba-ba-ra Ann. |G| Ba ba ba, ba ba-ba Ba - bara (G) Ann.
(G7) Take my (C) hand, Barbara (G) Ann.
You got me (D) rockin' and a-rollin' (D6) rockin' and a-reelin' Barbara (G) Ann ba ba,
ba Ba-bara Ann.
|G| Went to a dance, |G| lookin' for romance, |G| Saw Barbara Ann so I (G7) thought I'd take a
chance Barbara (C) Ann Barbara Ann. Take my (G) hand.
ba Ba-bara Ann.
ba Ba-bara Ann.
(G)(G)(G)(G7) (C)(G) (D)(D6)(G)
|G| Tried Peggy Sue, |G| tried Betty Lou, |G| tried Mary Lou but I (G7) knew she wouldn't do.
Barbara (C) Ann Barbara Ann. Take my (G) hand.
ba Ba-bara Ann.
ba Ba-bara Ann.
Barbara Ann. Barbara Ann. Barbara Ann. Barbara Ann.

(C) Barbara Ann. Barbara Ann. (G) Barbara Ann. Barbara Ann.
ba Ba-bara Ann.
THE BARGAIN STORE
Dolly Parton
https://www.youtube.com/watch?v=K94QvVXoHCY (Capo 0)(MC0/2)
TIP: Play the intro on the top 4 strings, especially the (G).
INTRO: (Am) (G), (Am) (G), (Am) (G), (Am) <hold and strum>
My life is likened (G) to a bargain (Am) store.

And I may have just (D) what you're looking (Am) for.
If you don't mind the fact that all the (D) merchandise is (Am) used,
With a little (D) mending it could (Am) be as (G) good as (Am) new.
Why you take for instance (G) this old broken (Am) heart.
If you will just re (D) place the missing (Am) parts.
You would be surprised to find how (D) good it really (Am) is.
Take it and you (D) never will be (Am) sorry (G) that you (Am) did.
The bargain store is (G) open come in (Am) side. You can easil (G) y afford the (Am) price.
Love is all you need to purchase (G) all the merchan (Am) dise,
And I can guaran (D) tee you'll be com (Am) pletely (G) satis (Am) fied.
(Am) (G), (Am) (G), (Am) (G), (Am)
Take these old used (G) memories from the (Am) past.
And-these broken dreams and (D) plans that didn't (Am) last.
I'll trade them for a future, I can't (D) use them any (Am) more.
I've wasted love but (D) I still have (G) some (Am) more.
The bargain store is (G) open come in (Am) side. You can easil (G) y afford the (Am) price.
Love is all you need to purchase (G) all the merchan (Am) dise,
And I can guaran (D) tee you'll be com (Am) pletely (G) satis (Am) fied.
My life is likened (G) to a bargain (Am) store.
And I may have just (D) what you're looking (Am) for.
The (Am) bargain store is (G) open come in (Am) side.

The bargain store is (G) open come in (Am) side.
(Dolly Parton) (Artist Index) - (Main Index) - (Song Index) (This Song)
BATTLE HYMN OF THE REPUBLIC – Traditional
(Howe)
(MC0)
(C) Mine eyes have seen the glory of the coming of the Lord.
He is (F) trampling out the vintage where the (C) grapes of wrath are stored.
He hath loosed the fateful lightning of His (E7) terrible swift (Am) sword.
His (Dm) truth is (C) march (G7) ing (C) on.
Glory glory hallelujah. (F) Glory glory hallelu (C) jah.

Glory glory halle (E7) lu (Am) jah. His (Dm) truth is (C) march (G7) ing (C) on.
I have seen Him in the watch-fires of a hundred circling camps.

They have (F) builded Him an altar in the (C) evening dews and damps.
I can read His righteous sentence by the (E7) dim and flaring (Am) lamps.
His (Dm) day is (C) march (G7) ing (C) on.

I have read a fiery gospel writ in burnished rows of steel.

"As ye (F) deal with my contemners so with (C) you my grace shall deal.
Let the Hero born of woman crush the (E7) serpent with his (Am) heel.
Since (Dm) God is (C) march (G7) ing (C) on."

He has sounded forth the trumpet that shall never call retreat.
He is (F) sifting out the hearts of men be (C) fore His judgment seat.
Oh be swift my soul to answer Him be (E7) jubilant my (Am) feet.
Our (Dm) God is (C) march (G7) ing (C) on.
In the beauty of the lilies Christ was born across the sea.
With a (F) glory in His bosom that trans (C) figures you and me.
As He died to make men holy let us (E7) die to make men (Am) free.
While (Dm) God is (C) march (G7) ing (C) on.

He is coming like the glory of the morning on the wave.

He is (F) Wisdom to the mighty, He is (C) succour to the brave.
So the world shall be His footstool and the (E7) soul of time His (Am) slave.
Our (Dm) God is (C) march (G7) ing (C) 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)(MC2/3)
TIP: For the intro, pick out the opening 12 notes of Dixie beginning with the open <e> (bottom)
string and then strum the chords.
INTRO: ("Dixie" through "cotton"); (A)(D)(E)(A)
In 1814 we (D) took a little trip,

A (E7) long with Colonel Jackson down the (A) mighty Mississip.
We took a little bacon and we (D) took a little beans
And we (E7) caught the bloody British in the (A) town of New Orleans.
We fired our guns and the British kept a'comin.

There wasn't nigh as many as there (E7) was a while a (A) go.
We fired once more and they began to runnin,'
On down the Mississippi to the (E7) Gulf of Mexi (A) co.
We looked down the river and we (D) see'd the British come.
And there (E7) must have been a hundred of'em (A) beatin' on the drum.
They stepped so high and they (D) made the bugles ring.
We (E7) stood beside our cotton bales and (A) didn't say a thing.

Old Hick'ry said we could (D) take 'em by surprise

If we (E7) didn't fire our muskets 'til we (A) looked 'em in the eye.
We held our fire 'til we (D) see'd their faces well
Then we (E7) opened up with squirrel guns and (A) really gave 'em well, we,
Fired our guns and the British kept a'comin.
Yeah they ran through the briars and they ran through the brambles
And they ran through the bushes where a (E7) rabbit couldn't (A) go.
They ran so fast that the hounds couldn't catch 'em,
Down the Mississippi to the (E7) Gulf of Mexi (A) co.
We fired our cannon 'til the (D) barrel melted down

So we (E7) grabbed an alligator and we (A) fought another round.
We filled his head with cannon balls and (D) powdered his behind,
And (E7) when we touched the powder off the (A) gator lost his mind.

Yeah they ran through the briars and they ran through the brambles
And they ran through the bushes where a (E7) rabbit couldn't (A) go.
They ran so fast that the hounds couldn't catch 'em,
On down the Mississippi to the (E7) Gulf of Mexi (A) co. (strum) (A); |A|
(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)(MC2)
[Two versions, Gene's original here from 1956 and afterwards the much quicker tempo 1958 version by
the Everly Brothers.]
(E) Well . . . be-bop-a- (E7) -lu (E) -la she's my baby.

Be-bop-a- (E7) -lu (E) -la I don't mean maybe. (A) Be-bop-a-lulu she's my baby.
(E) Be-bop-a- (E7) -lu (E) -la I don't mean maybe.
(B7) Be-bop-a-lula (A) she - ee - ee's my baby (E) doll my baby doll my baby doll (B7).
Well (E) -ell she's the (E7) gal in the (E) red blue jeans. She's the queen of all the teens.
She's the woman that I know. She's the woman that loves me so say.
(A) Be-bop-a-lula she's my baby. (E) Be-bop-a- (E7) -lu (E) -la I don't mean maybe.
(E)(E)(E)(E), (A)(A)(E)(E), (B7)(A)(E)(E), (B7)
Well - (E) -ell, she's the (E7) one that's (E) got that beat.
She's the woman with the flyin' feet. She's the woman walks around the store.
She's the one that gets more more more more.
(A) Be-bop-a-lula she's my baby. (E) Be-bop-a- (E7) -lu (E) -la I don't mean maybe.
(E)(E)(E)(E), (A)(A)(E)(E), (B7)(A)(E)(E), (B7)

(E) Well . . . be-bop-a- (E7) -lu (E) -la she's my baby.
Be-bop-a- (E7) -lu (E) -la I don't mean maybe. (A) Be-bop-a-lulu she's my baby.
(E) Be-bop-a- (E7) -lu (E) -la I don't mean maybe.
(B7) Be-bop-a-lulu (A) she - ee - ee's my baby (E) doll my baby doll my baby doll |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)(MC3)
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) Well-(G)-ell . . . (A) be-bop-a- (A7) -lu (A) -la she's my baby.
Be-bop-a- (A7) -lu (A) -la I don't mean maybe. (D) Be-bop-a-lulu she's my baby.
(A) Be-bop-a- (A7) -lu (A) -la I don't mean maybe.
(E) Be-bop-a-lula (D) she - ee - ee's my baby (A) doll my baby doll my baby doll (E).
|A| She's the woman in the red blue (A7) jeans.

|A| She's the woman that's the queen of the (A7) teens.
|A| She's the woman-woman that I (A7) know.
|A| She's the woman that (A) loves me so-oh-oh.
(D) Be-bop-a-lula she's my baby. (A) Be-bop-a- (A7) -lu (A) -la I don't mean maybe.
(A)(A)(A)(A), (D7)(D7)(A)(A), (E)(D)(A)(E),
|A| She's the one that's got that (A7) beat. |A| She's the woman with the flyin' (A7) feet.
|A| She's the woman-woman that I (A7) know. |A| She's the one that (A) loves me so-oh-oh.
(D) Be-bop-a-lula she's my baby. (A) Be-bop-a- (A7) -lu (A) -la I don't mean maybe.
(A)(A)(A)(A), (D)(D7)(A)(A), (E)(D7)(A)(A)

Be-bop-a- (A7) -lu (A) -la she's my baby. Be-bop-a- (A7) -lu (A) -la I don't mean maybe.
(D) Be-bop-a-lulu she's my baby. (A) Be-bop-a- (A7) -lu (A) -la I don't mean maybe.
(E) Be-bop-a-lulu (D) she - ee - ee's my baby (A) doll my baby doll my baby doll |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)(MC1)
TIP: The (Gsus4) 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.
INTRO: (G) (Em) (C), (Gsus4) (C) (G); (G) (Em) (C), (Gsus4) (C) (G)
Some folks say there (Em) ain’t no bears in (C) Arkansas.

(Gsus4) Some folks never (C) seen a bear at (G) all.
Some folks say that (Em) bears go around eatin’ (C) babies raw.
(Gsus4) Some folks got a (C) bear across the (G) hall.
Some folks say that (Em) bears go around (C) smellin’ bad.
(Gsus4) Others say that a (C) bear is honey, (G) sweet.
Some folks say this (Em) bear’s the best I (C) ever had.
(Gsus4) Some folks got a (C) bear beneath their (G) feet.
<Up> Some folks drive the (Em) bears out of the (C) wilderness.
(F) Some to see a (C) bear would pay a (G) fee.
Me I just bear (Em) up to my be (C) wil, dered, best.
And (Gsus4) some folks even (C) seen a bear in (G) me.
(G) (Em) (C), (Gsus4) (C) (G); (G) (Em) (C), (Gsus4) (C) (G)
Some folks drive the (Em) bears out of the (C) wilderness.
(F) Some to see a (C) bear would pay a (G) fee.
Me I just bear (Em) up to my be (C) wil, dered, best.
And (F) some folks even (C) seen a bear in (G) me.
So <up> meet a bear and (Em) take him on out to (C) lunch with you,
(F) Even though your (C) friends may stop and (G) stare.
Just-remember that’s a bear there (Em) in the (C) bunch with you.
And they just don’t come no (Gsus4) better than a (G) bear.
So <up> meet a bear and (Em) take him on out to (C) lunch with you,
(F) Even though your (C) friends may stop and (G) stare.
Just-remember that’s a bear there (Em) in the (C) bunch with you.
And they just don’t come no (Gsus4) better than a (G) bear.
No they (C) just don’t come no (Gsus4) better than a (G) bear.
No they (C) just don’t come no (Gssu4) better than no they
(C) Just don’t come no (Gsus4) better than no they
(C) Just don’t come no (Gsus4) better than a (G) bear.
(Lyle Lovett) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEAT IT
Michael Jackson
https://www.youtube.com/watch?v=oRdxUFDoQe0 (Capo 6)(MC5)
TIP: To play along with Jacko with these comfortable chords you’ll have to capo 6 which actually
doesn’t sound too bad. You can capo 4 if you don’t mind the (Bm).
TIP: For the intro, pick the 5th string/4th fret <c#> twice, then slide down and pick the 5th
string/1st fret <a#> twice, then the 5th string/1st fret twice again, and then lift up one string and
pick the 6th string/4th fret <g#> once and pause. Then begin the alternating (Am)(G).
INTRO: <5/4> - <5/4> - <5/1> - <5/1>, <5/4> - <5/4> - <6/4> . . .
(Am)(G), (Am)(G), (Am)(G), (Am)(G)
(Am) They told him "Don't you ever (G) come around here.
Don't (Am) wanna see your face you better (G) disappear."
The (F) fire's in their eyes, their (G) words are really clear,
So (Am) beat it, just (G) beat it.
(Am) You better run you better (G) do what you can.
Don't (Am) wanna see no blood don't be a (G) macho man.
You (F) wanna be tough better (G) do what you can,
So (Am) beat it, but you (G) wanna be bad.
Just (Am) beat it, (G) beat it, (Am) no one wants to be de (G) feated.
(Am) Showin' how funky and (G) strong is your fight
(Am) It doesn't matter (G) who's wrong or right
Just (Am) beat it, just (G) beat it. Just (Am) beat it, just (G) beat it.
(Am) They're out to get you better (G) leave while you can.
Don't (Am) wanna be a boy you wanna (G) be a man.
You (F) wanna stay alive better (G) do what you can,
So (Am) beat it, just (G) beat it.
(Am) You have to show them that you're (G) really not scared.
You're (Am) playin' with your life this ain't no (G) truth or dare.
They'll (F) kick you then they'll beat you, they'll (G) tell you it's fair,
So (Am) beat it, but you (G) wanna be bad.
(Am) Showin' how funky and (G) strong is your fight,
(Am) It doesn't matter (G) who's wrong or right,

(Am) It doesn't matter (G) who's wrong or right just (Am) beat it beat it beat it.
Beat it beat it beat it.
(Am)(Am)(Am)(Am) Beat it beat it. (Am)(Am) Beat it beat it.
(Am)(Am)(Am)(Am)(Am)(Am)(Am)(Am)
(Am)(G)(Am)(G)(F)(G)(Am)(G) (Am)(G)(Am)(G)(F)(G)(Am)(G)
(Am) Beat, (G) beat it, (Am) no one wants to be de (G) feated.
Just (Am) beat it (G) beat it, (Am) no one wants to be de (G) feated.

Just (Am) beat it, (G) beat it (Am) no one wants to be de (G) feated.



(Am) It doesn't matter (G) who's wrong or right, just |Am| beat it.
(Michael Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEAUTIFUL CRAZY - Luke Combs
(Durrette/Williford/Combs)
https://www.youtube.com/watch?v=wJXnqBWdMp8 (Capo 4)(MC4)
TIP: For the first three notes it’s open 2nd string, 3rd string/2nd fret, open 3rd string and then
strum (G), two measures for each.
INTRO: (gently) -<a>-<g> (G)(G)(G)(G)(G)
Her day starts with a coffee, and (D) ends with a wine
Takes for (Em) ever gettin' ready, so she's (D) never on time for (C) anything (C)(D)(D).
When she (G) gets that come-get-me (D) look in her eyes,
Well (Em) it kinda scares me the (D) way that she drives (C) me wild (C)(C),
And she drives me (D) wild (D)-|D|.
(G) Beautiful, (D) crazy she can't (Em) help but, a (D) maze me.
The (C) way that she dances, ain't a (D) fraid to take chances,
And (G) wears her (D) heart on her (Em) sleeve.
Yeah she's (Am7) crazy, but her (D) crazy's beautiful to (G) me (G)(D).
She makes (G) plans for the weekend, can't (D) wait to go out,
Til she (Em) changes her mind says "Let's (D) stay on the couch and watch (C) TV (C).”
And she falls a (D) slee-ee-eeee-ee-eep.
Yeah she's (Am7) crazy, but her (D) crazy's beautiful to (G) meeee-ee-ee-ee.
She's unpre (Am7) dictable unfor (G) gettable, it's un (C) usual, unbe (G) lievable.
How I'm (Am) such a fool, yeah I'm (G) such a fool for (C) her (C)-|D|.
Yeah she's (Am7) crazy, she’s (Gadd) crazy, she’s (C) crazy,
But her (D) crazy's beautiful to (G) meee- (D) eee-eee- (Em) ee.
Her (D) crazy’s beautiful to (C) me. <rake> |D| <rake> |G|
(Luke Combs) (Artist Index) - (Main Index) - (Song Index) (This Song)
BEAUTIFUL NOISE
Neil Diamond
https://www.youtube.com/watch?v=UVLv1El1vh4 (Capo 0)(MC0)
TIP: For the intro, form (D), pluck the open 5th string <a>, and then strum (D). Wrap your thumb
over the top string and cover the 2nd fret if you can and get a good train-like rhythm going, but
not too fast.
TIP: Neil wrote this with a transitional melody that can catch you off guard and make the chords
seem off if you don't follow along. The chords are correct. At the beginning of the second verse
to transition from the (D) to the (G) you need to raise up on "noise", which is note (open 2nd
string), and continue even higher to the (C) on "love." Then drop down for the (F) at "well,".
This happens again moving from the 3rd verse to the 4th. At the beginning of the 4th verse to
transition from the (C) to the (F) you need to raise up on "noise", which is note <a> and continue
even higher to the (G) on "love" which is note . 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: <a> strum (D), <a> strum (D), <a> strum (D), (D). . .
What a beautiful noise, comin' up from the (A) street.

Got a beautiful sound, it's got a beautiful (D) beat.
It's a beautiful noise, goin' on every (A) where.
Like the clickety-clack of a train on a track it's got a rhythm to (D) spare.
It's a beautiful (G) noise. And it's a sound that I (C) love.
And it fits me as (F) well, as a hand in a (G) glove. Yes it does, yes it does.
(NC) What a beautiful (C) noise, comin' up from the (G) park.
It's the song of the (G7) kids, and it plays until (C) dark.
It's the song of the cars, on their furious (G) flights.
But there's even romance in the way that they dance to the beat of the (C) lights.
It's a beautiful (F) noise. And it's a sound that I (G) love.
And it fits me as (F) good. Like a hand in a (G) glove.
Yes it does, yes it does. What a beautiful (C) noise. (C)(G)(G)(C)
It's a beautiful noise, made of joy and of (G) strife.

Like a symphony played by the passing parade it's the music of (C) life.
It's a beautiful (F) noise. And it's a sound that I (G) love.
And it makes me feel (F) good, just like a hand in a (G) glove. Yes it does, yes it does.
(NC) <slower> What a beautiful (C) noise, comin' into my (G) room.
And it's beggin' for (G7) me, <even slower> just to give it a (C) tune. (C) (G) (C)
(Neil Diamond) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BED YOU MADE FOR ME – Highway 101
(Carlson)
https://www.youtube.com/watch?v=o2AN8KoHKxM (Capo 1)(MC1)
INTRO: (G); (G)-(C)-(D)-(G)
Darling were you listenin’, when I (C) called you late last (G) night.
Or did the (C) sleep get in your (G) eyes, did it (A) blind me, from your (D) sight?
Or (G) was she lying with you, was it (C) hard for you to (G) speak?
And did you (C) tell her she was (G) sleepin’ in the (D) bed you made for (G) me?
And did you tell her she was sleepin’ in the (C) bed you made for (Gadd) me?
Did she (D) like my satin sheets, and did (C) you sing her to (D) sleep?
And my (G) pillow that she slept on did it (C) bring her sweet (Gadd) dreams?
Did you (C) tell her she was (G) sleepin’, in the (D) bed you made for (G) me?
The pillow that you made for me it was (C) soft with feather (G) down.
And the (C) headboard it came from an (G) old house, that was (A) ‘bout to be torn (D) down.
And the (G) songs you always sang to me, (C) ohhh as I fall (G) asleep.
Did they (C) sound the same to (G) her, in the (D) bed you made for (G) me?
(C)(G)(D)(G)
Now you can take my old pillow, and (C) throw it out the (G) door.
You can (C) buy another (G) bed, you can (A) find, another head (D) board.
Cause (G) I ain't gonna lie beneath those (C) satin sheets you (G) tore.
The (C) bed you made for (G) me, it isn't (D) mine, any (G) more.
Did you (C) tell her she was (G) sleepin', in the (D) bed you made for (C) me- (F) (C) -ee (G).
(G)-(C)-(D)-(G)
(Highway 101) (Artist Index) - (Main Index) - (Song Index) (This Song)
BELLE STARR – Emmylou Harris and Mark Knopfler
(Harris)
https://www.youtube.com/watch?v=dfid8XvIDfA (Capo 0)(MC1)
TIP: The (Fmaj7/A) is just (F) without the index finger barre. And since it follows the (F) and
precedes the (C) all you do is lift off the bottom finger/1st fret for one strum and jump up to play
the (C). Piece of cake.
TIP: The (FaddG) only appears once at the beginning and the end is sort of like the procedure
above but this time you keep (F) and just add your pinky to the bottom string/3rd fret for one strum
and then jump to the (C). This one can be skipped and just play with the (F) if you want.
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.
My (C) momma and my daddy told me (F) love is a two (Fmaj7/A) way (C) street.
But lately baby you've been finding (F) new ways of dragging (FaddG) your (C) feet.
So (E) come on make your best shot (F) you don't have to take the (Gadd) blame.
(C) I'll be your Belle Starr (G) you can be my Jesse (C) James.
There's lonely people everywhere from (G) Abilene to Arkan (C) sas.
The way they run for cover you'd think (G) love was against the (C) law.
Well (E) I don't need a pistol baby (F) you won't have to rob a (Gadd) train.
(C) You can be my Belle Starr and (G) I can be your, Jesse (C) James.
Ohhh (G7)(C). Ohhh (G7)(C).

I (F) know you've done some hard time (Fsus) baby and you've (F) got your (C) doubts.
(E) When you feel surrounded and it's (F) looking like there's no way (G) out.
I'll-come-(C)-riding to your rescue all you (F) gotta do is call- (Fmaj7/A) -all (C) my name.
I'll be your Belle Starr (G) you can be the Jesse (C) James.
Ohhh (G7)(C). Ohhh (G7)(C).
It don't take a genius baby (F) there ain’t no big myste (C) ry.
You can't, play it safe, and (F) still go down in his (FaddG) tor (C) y.
So (E) saddle up the horses 'cuz we're (F) headed for the hall of (G) fame.
(C) I'll be your Belle Starr (G) you can be my Jesse (C) James.
I'll be your Belle Starr (G) you can be my Jesse (C) James.
Ohhh (G7)(C). Ohhh (G7)(C). Ohhh (G7)(C). Ohhh (G7)|C|.
(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)(MC3)
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 . . .".
TIP: If you want, in the verse you can play a (D) instead of the (Bm) and it'll sound just fine.
But in the bridge where the (Bm) preceds a (D), e.g. "And she'll (Bm) tease you ... you need to
play the (Bm).
INTRO: (G)(Bm)(A), (G)(Bm)(A), (G)(Bm)(A), (G)(Bm)(A)
Her hair is Harlowe (G) gold (Bm)(A). Her lips sweet sur (G) prise (A)(D).
Her hands are never (G) cold (Bm).
(A) She's got Bette Davis (D) eyes she'll turn her music on (G) you (Bm)(A).
You won't have to think (G) twice (A). (Bm) She's pure as New York (G) snow (Bm).
(A) She got Bette Davis (D) eyes. (D)(D)
And she'll (Bm) tease you. She'll un (D) ease you. All the (G) better just to (D) please you.
She's pre (Bm) cocious, and (D) she knows just what it, (G) takes to make a (D) pro blush.
She got (G), Greta Garbo (Bm) stand off sighs she's got (A), Bette Davis (G) eyes (Bm)(A).
(G)(Bm)(A)
She'll let you take her (G) home (Bm)(A). It whets her appetite (G)(A)(D).
She'll lay you on her (G) throne (Bm).
(A) She got Bette Davis (D) eyes she'll take a tumble (G) on you (Bm)(A).
Rollll you like you were (G) dice (A)(Bm). Until you come out (G) blue (Bm).
(A) She's got Bette Davis eyes (D). (D)(D)
She'll ex (Bm) pose you, when she (D) snows you,
Off your (G) feet with the crumbs she (D) throws you.
She's fer (Bm) ocious, and she (D) knows just what it (G) takes to make a (D) pro blush.
(G) All the boys, (Bm) think she's a spy she's got (A), Bette Davis (G) eyes (Bm)(A).
(G)(Bm)(A), (G)(Bm)(A), (D)(D)
And she'll (Bm) tease you. She'll un (D) ease you. All the (G) bet-ter just to (D) please ya.
She's pre (Bm) cocious, and (D) she knows just what it, takes (G) to make a (D) pro blush.
(G) All the boys, (Bm) think she's a spy she's got (A), Bette Davis (G) eyes (Bm)(A).
(G)(Bm)(A), (G)(Bm)(A), (G)(Bm)(A)
She'll (G) tease you (Bm)(A). She'll un (G) ease you (Bm)(A). Just to (G) please you (Bm).
(A) She's got Bette Davis (G) eyes (Bm)(D).
She'll ex (G) pose you (Bm)(A), when she (G) snows you (Bm)(A).
She (G) knowwwws ya (A) she's got Bette Davis (G) eyes (D)(D)(D)|D|.
(Kim Carnes) (Artist Index) - (Main Index) - (Song Index) (This Song)
BIG IRON - Marty Robbins/Michael Martin Murphey
(Robbins)
https://www.youtube.com/watch?v=zzICMIu5zFY (Marty)(Capo 4)(MC2)
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>
To the (C) town of Agua Fria rode a (Am) stranger one fine day.
Hardly (C) spoke to folks around him didn't have too much to (Am) say.
No one (F) dared to ask his business no one (C) dared to make a slip,
For the stranger there among them had a (Am) big iron on his hip. (F) Big iron on his (C) hip.
It was early in the morning when he (Am) rode into the town.
He came (C) riding from the south side slowly lookin' all a (Am) round.
“He's an (F) outlaw loose and running” came the (C) whisper from each lip.
And he's here to do some business with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
In this town there lived an outlaw by the (Am) name of Texas Red.
Many (C) men had tried to take him and that many men were (Am) dead.
He was (F) vicious and a killer though a (C) youth of twenty four.
And the notches on his pistol numbered (Am) one and nineteen more. (F) One and nineteen (C) more.
Now the stranger started talking made it (Am) plain to folks around.
Was an (C) Arizona Ranger wouldn't be too long in (Am) town.
He came (F) here to take an outlaw back a (C) live or maybe dead.
And he said it didn't matter he was (Am) after Texas Red. (F) After Texas (C) Red.
Wasn't long before the story was re (Am) layed to Texas Red.
But the (C) outlaw didn't worry men that tried before were (Am) dead.
Twenty (F) men had tried to take him twenty (C) men had made a slip.
Twenty one would be the ranger with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
The morning passed so quickly it was (Am) time for them to meet.
It was (C) twenty past eleven when they walked out in the (Am) street.
Folks were (F) watching from their windows every (C) body held their breath.
They knew this handsome ranger was a (Am) bout to meet his death.
A (F) bout to meet his (C) death.
There was forty feet between them when they (Am) stopped to make their play.
And the (C) swiftness of the ranger is still talked about to (Am) day.
Texas (F) Red had not cleared leather when a (C) bullet fairly ripped.
And the ranger's aim was deadly with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
It was over in a moment and the (Am) folks had gathered round.
There be (C) fore them lay the body of the outlaw on the (Am) ground.
Oh he (F) might have went on living, but he (C) made one fatal slip.
When he tried to match the ranger with the (Am) big iron on his hip. (F) Big iron on his (C) hip.
Big (F) iron, big (C) iron. When he tried to match the ranger with the (Am) big iron on his hip.
(F) Big iron on his (C) hip. (C), (Am)(Am7)-(Am), (Am)(Am7)-(Am), (Am)(Am7)-(Am)
<repeat and fade or final> |Am|
(Marty Robbins) (Michael Martin Murphey) (Kid Friendly) (Artist Index)

(Main Index) - (Song Index) (This Song)
BIG IRON - Marty Robbins/Michael Martin Murphey
(Robbins)
(MC4)
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>
To the (G) town of Agua Fria rode a (Em) stranger one fine day.
Hardly (G) spoke to folks around him didn't have too much to (Em) say.
No one (C) dared to ask his business no one (G) dared to make a slip,
For the stranger there among them had a (Em) big iron on his hip. (C) Big iron on his (G) hip.
It was early in the morning when he (Em) rode into the town.
He came (G) riding from the south side slowly lookin' all a (Em) round.
“He's an (C) outlaw loose and running” came the (G) whisper from each lip.
And he's here to do some business with the (Em) big iron on his hip. (C) Big iron on his (G) hip.
In this town there lived an outlaw by the (Em) name of Texas Red.
Many (G) men had tried to take him and that many men were (Em) dead.
He was (C) vicious and a killer though a (G) youth of twenty four.
And the notches on his pistol numbered (Em) one and nineteen more. (C) One and nineteen (G) more.
Now the stranger started talking made it (Em) plain to folks around.
Was an (G) Arizona Ranger wouldn't be too long in (Em) town.
He came (C) here to take an outlaw back a (G) live or maybe dead.
And he said it didn't matter he was (Em) after Texas Red. (C) After Texas (G) Red.
Wasn't long before the story was re (Em) layed to Texas Red.
But the (G) outlaw didn't worry men that tried before were (Em) dead.
Twenty (C) men had tried to take him twenty (G) men had made a slip.
Twenty one would be the ranger with the (Em) big iron on his hip. (C) Big iron on his (G) hip.
The morning passed so quickly it was (Em) time for them to meet.
It was (G) twenty past eleven when they walked out in the (Em) street.
Folks were (C) watching from their windows every (G) body held their breath.
They knew this handsome ranger was a (Em) bout to meet his death.
A (C) bout to meet his (G) death.
There was forty feet between them when they (Em) stopped to make their play.
And the (G) swiftness of the ranger is still talked about to (Em) day.
Texas (C) Red had not cleared leather when a (G) bullet fairly ripped.
And the ranger's aim was deadly with the (Em) big iron on his hip. (C) Big iron on his (G) hip.
It was over in a moment and the (Em) folks had gathered round.
There be (G) fore them lay the body of the outlaw on the (Em) ground.
Oh he (C) might have went on living, but he (G) made one fatal slip.
When he tried to match the ranger with the (Em) big iron on his hip. (C) Big iron on his (G) hip.
Big (C) iron, big (G) iron. When he tried to match the ranger with the (Em) big iron on his hip.
(C) Big iron on his (G) hip. (G), (Em)(Em7)-(Em), (Em)(Em7)-(Em), (Em)(Em7)-(Em)
<repeat and fade or final> |Em|
(Marty Robbins) (Michael Martin Murphey) (Kid Friendly) (Artist Index)

BIG RIVER
Johnny Cash
https://www.youtube.com/watch?v=t_DSnfVNLwY (Capo 3)(MC3)
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,

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

And it tore me up every time I heard her (E) drawl southern (A) drawl.
Then I (D) heard my dream was back downstream, ca (G) vortin' in Davenport,
And I (D) followed you Big (A) River, when you (D) 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.
A freighter said she's been here, but she's (E) gone boy she's (A) gone.
I (D) found her trail in Memphis, but she (G) just walked up the bluff.
She raised a (D) few eyebrows and then (A) she went on down a (D) lone.
Now won't you bat it down by Baton Rouge, River Queen roll it on.
Take that woman on down to New Or (E) leans, New Or (A) leans.
Go (D) on I've had enough, dump my (G) blues down in the gulf.
(D) She loves you Big (A) River, more than (D) 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 cry cry.
And I showed the clouds how to cover, up a (E) clear blue (A) sky.
And the (D) tears that I cried for that woman, are gonna (G) flood you Big River.
And (D) I'm gonna sit right (A) here until I (D) die. (D)|D|
(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)(MC0)
[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)
One evening (C) as the (G) sun went (C) down and the (G) jungle (D) fire was (G) burn (Gadd) ing.
Down the (G) track came a (C) hobo (G) hikin’, and-he-said- "Boys (D) I'm not (G) turn (Gadd) ing.
I'm (C) headed-for-a (G) land that's (C) far a (G) way, be (C) sides the (G) crystal (D) fountains.
So (G) come with (C) me we'll (G) go and (C) see the (G) Big Rock (D) Candy (G) Mountains."
In the Big Rock (D) Candy (G) Mountains, there's a (C) land that's fair and (G) bright.
Where the (C) handouts grow on (G) bushes, and you (C) sleep (G) out every (D) night.
Where the (G) boxcars all are emp (Gadd) ty, and the (C) sun shines every (G) day,
On the (C) birds and the (G) bees and the (C) cigarette (G) trees,
The (C) lemonade (G) springs where the (C) bluebird (G) sings,
In the Big Rock Candy (D) Moun (G) tains.
In the Big Rock (D) Candy (G) Mountains, all the (C) cops have wooden (G) legs.
And the (C) bulldogs all have (G) rubber teeth, and the (C) hens (G) lay soft-boiled (D) eggs.
The (G) farmers' trees are full of (Gadd) fruit, and the (C) barns are full of (G) hay.
Oh I'm (C) bound to (G) go where there (C) ain't no (G) snow,
Where the (C) rain don't (G) fall the (C) winds don't (G) blow,
In the Big Rock (D) Candy (G) Mountains, you (C) never change your (G) socks.
And the (C) little streams of (G) alcohol, come (C) trick (G) ling down the (D) rocks.
The (G) brakemen have to tip their (Gadd) hats and the (C) railroad bulls are (G) blind.
There's a (C) lake of (G) stew and of (C) whiskey (G) too,
You can (C) paddle all a (G) round ‘em in a (C) big can (G) oe.
In the Big Rock (D) Candy (G) Mountains, the (C) jails are made of (G) tin.
And (C) you can walk right (G) out again, as (C) soon (G) as you are (D) in.
There (G) ain't no short-handled (Gadd) shovels, no (C) axes saws nor (G) picks.
I'm (C) goin’ to (G) stay where you (C) sleep all (G) day,
Where they (C) hung the (G) jerk that in (C) vented (G) work.
<whistle> (G) (C) (G), (C)(G) - (C)(G)
I'll (C) see you (G) all this (C) coming (G) fall in the Big Rock Candy (D) Moun (G) tains.
(Traditional)(Harry McClintock) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
BIG ROCK CANDY MOUNTAIN – Harry McClintock
(Traditional)
https://www.youtube.com/watch?v=KSGuBNopzBw (Capo 0)(MC1)
INTRO: (C) (F) (C) (F) (C) (G) (C)
One evening (F) as the (C) sun went (F) down and the (C) jungle (G) fire was (C) burn (CaddG) ing.
Down the (C) track came a (F) hobo (C) hikin’, and-he-said- "Boys (G) I'm not (C) turn (CaddG) ing.
I'm (F) headed-for-a (C) land that's (F) far a (C) way, be (F) sides the (C) crystal (G) fountains.
So (C) come with (F) me we'll (C) go and (F) see the (C) Big Rock (G) Candy (C) Mountains."
In the Big Rock (G) Candy (C) Mountains, there's a (F) land that's fair and (C) bright.
Where the (F) handouts grow on (C) bushes, and you (F) sleep (C) out every (G) night.
Where the (C) boxcars all are emp (CaddG) ty, and the (F) sun shines every (C) day,
on the (F) birds and the (C) bees and the (F) cigarette (C) trees,
The (F) lemonade (C) springs where the (F) bluebird (C) sings
In the Big Rock Candy (G) Moun (C) tains.
In the Big Rock (G) Candy (C) Mountains, all the (F) cops have wooden (C) legs.
And the (F) bulldogs all have (C) rubber teeth, and the (F) hens (C) lay soft-boiled (G) eggs.
The (C) farmers' trees are full of (CaddG) fruit, and the (F) barns are full of (C) hay.
Oh I'm (F) bound to (C) go where there (F) ain't no (C) snow
Where the (F) rain don't (C) fall the (F) winds don't (C) blow,
In the Big Rock (G) Candy (C) Mountains, you (F) never change your (C) socks.
And the (F) little streams of (C) alcohol, come (F) trick (C) ling down the (G) rocks.
The (C) brakemen have to tip their (CaddG) hats and the (F) railroad bulls are (C) blind.
There's a (F) lake of (C) stew and of (F) whiskey (C) too,
You can (F) paddle all a (C) round ‘em in a (F) big can (C) oe.
In the Big Rock (G) Candy (C) Mountains, the (F) jails are made of (C) tin.
And (F) you can walk right (C) out again, as (F) soon (C) as you are (G) in.
There (C) ain't no short-handled (CaddG) shovels, no (F) axes saws nor (C) picks.
I'm (F) goin’ to (C) stay where you (F) sleep all (C) day
Where they (F) hung the (C) jerk that in (F) vented (C) work.
<whistle> (C) (F) (C), (F)(C) - (F)(C)
I'll (F) see you (C) all this (F) coming (C) fall in the Big Rock Candy (G) Moun (C) tains.
(Traditional)(Harry McClintock) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
BIG WEEKEND
Tom Petty
https://www.youtube.com/watch?v=xBZr5nq0Yd0 (Capo 0)(MC0)
TIP: The (D) to (D4) to (D) bits are easy (actually there's also a (Dsus2) in there but we're
gonna forget about that until the outro). So just keep the (D) formation and add your pinky to the
bottom string/3rd fret for the (D4) and two notes that follow and then lift to return to (D).
TIP: Likewise, the (A) to (A6+) to (A6) to (A) series is also easy and fun to play. Keep the (A)
formation throughout. Add your pinky (don't play a barre) to the bottom string/3rd fret to play
the (A6+) and then just slide it back one fret for the (A6), then remove the pinky to get back to
the (A) before jumping to the (D). Easy cheesy.
TIP: You can emulate Tom's slide trill ("st" in the lyrics) that comes after the (A) on "end" and
"dust" by playing an (A) on the 5th fret (played like an (F)- 1st diagram), or, and I think this
one is easier, the (AA5) chord in which you barre the 2nd fret and stretch your pinky over the
cover the bottom string of the 5th fret (2nd diagram) and can then to complete the chorus tap the
bottom string/3rd fret with your middle finger for the (A6+), lift for the (A6), then lift up
slightly off the barre to open the bottom string for the (A), and finish with a regular (D).
As for the outro, you'll end the chorus in (D). Lift off the ring finger go to from (D) to
(Dsus2) and replace it to get back to (D). One strum each.
; (slide trill) or
INTRO: <strum> (D)
There's some friends (D4) that I (D) know, living (D4) in this (D) town and I've
Come (D4) far to (D) see them gonna (D4) track em' (D) down.
They (A) live in a brick house, (A6+) painted (A6) white (A) and (D) brown.
Left a tip (D4) for the (D) maid and I, packed up (D4) my gui (D) tar
Dropped my key (D4) on the (D) counter, rent (D4) ed a (D) car.
Gonna (A) hook up with em' later, and (A6+) go (A6) hit (A) the (D) bars.
I need a (G) big, (D) week, (A) end (st). (Em) Kick (D) up the (A) dust (st).
Yeah a (G) big (D) week (A) end (st). If you (A6+) don't (A6) run (A) you (D) rust.
Well I may (D4) shake your (D) hand but I, won't (D4) know your (D) name.
The joke (D4) in your (D) language don't come (D4) out the (D) same.
There's (A) times when I'm down and, there's (A6+) noth (A6) ing (A) to (D) blame.
I need a (G) big (D) week (A) end (st). (Em) Kick (D) up the (A) dust (st).
(D)(D4)(D), (D)(D4)(D), (D)(D4)(D), (D)(D4)(D), (A)(A6+)(A6)(A)(D)

(G)(D)(A)(st), (G)(D)(A)(st), (G)(D)(A)(st), (A6+)(A6)(A)(D)
I can work (D4) I can (D) travel, sleep (D4) any (D) where,
Cross (D4) every (D) border with nothing (D4) to de (D) clare.
(A) You can look back babe, but it's (A6+) best (A6) not (A) to (D) stare.
I need a (G) big (D) week (A) end (st). (Em) Kick (D) up the (A) dust (st).
|Dsus2|-|D|-|G| |D| |A|-|D|
BILLY BAYOU - Jim Reeves
(Miller)
https://www.youtube.com/watch?v=KfYnePV916o (Capo 0)(MC0/1)
TIP: "Bayou" is pronounced "Bye-yoh".
INTRO: (D)(G)(D)(G)(D)(Bm)(A7)(D)
(D) Back about (G) eighteen (D) hundred and (G) some,
A (D) Louisiana (Bm) couple had a (A7) red-headed (D) son.
No name (G) suited him (D) Jim Jack or (G) Joe,
(D) They just (Bm) called him (A7) Billy Bay (D) ou.
(G) Billy Billy (Gadd) Bay (G) ou (D) watch where you go.
You're (A7) walkin' on quick sand (D), walk slow.
(G) Billy Billy (Gadd) Bay (G) ou (D) watch what you say.
A (A7) pretty girl'll get you (D) one of these days. (D)(G)(D)(G)(D)(Bm)(A7)(D)
Billy was a (G) boy kinda (D) big for his (G) size,
(D) Red hair and (Bm) freckles and (A7) big blue (D) eyes.
Thirteen (G) years from the (D) day he was (G) born,
(D) Bill fought the (Bm) battles of the (A7) Little Big (D) Horn.
(G) Billy Billy (Gadd) Bay (G) ou (D) watch where you go. You're (A7) walkin' on quick
sand (D), walk slow. (G) Billy Billy (Gadd) Bay (G) ou (D) watch what you say.
A (A7) pretty girl'll get you (D) one of these days. (D)(G)(D)(G)(D)(Bm)(A7)(D)
One sad (G) day Billy (D) cried "Ho (G) Ho.
(D) I can whip the (Bm) feathers of (A7) Gee-roni (D) mo."
He smarted (G) off, the (D) chief got (G) mad.
(D) This nearly (Bm) ended our (A7) Louisiana (D) lad.
A (A7) pretty girl'll get you (D) one of these days. (D)(G)(D)(G)(D) (Bm)(A7)(D)
One day in (G) Eighteen (D) Seventy (G) Eight,

A (D) pretty girl (Bm) walked through (A7) Bill's front (D) gate.
He didn't (G) know whether to (D) stand there and (G) run.
He (D) wound up (Bm) married cause he (A7) did neither (D) one.
A (A7) pretty girl'll get you (D) one of these days.
(A7) Pretty girl'll get you (D) 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)(MC0)
TIP: There's a little bit of fingerwork with the pinky and index finger for the intro but it's not
hard. It's in two parts. The first is just (G) and (D/A). The (D/A) is a little awkward for some
and you can play a regular (D) if you like. The second part is a stair stepping piano kind of
thing. When you get to the (C) hold position and just add your pinky to the 2nd string/3rd fret to
get to (CaddD). Then lift off to return to (C). Then put it back on to get to the next (CaddD),
and lift for (C), but now you're going lift off the index finger for (Cmaj7), back down with the
index finger to return to (C), off again for another (Cmaj7) and then the final (D). It looks
messy but it's pretty easy.
TIP: At the end continue to play the alternating (C)(G) over the spoken gibberish.
INTRO: (G)(G)(D/A),(G)(D/A); (G)(G)(D/A),(G)(D/A);

(G)(G)(C)-(CaddD)-(C), (CaddD)-(C)-(Cmaj7)-(C)-(Cmaj7)(D)
The (G) ink is (D) black, the (G) page is (D) white.
To (G) gether we (C) learn, to (D) read and write.
A (G) child is (D) black, a (G) child is (D) white.
The (G) whole world (C) looks up (D) on the sight (D7). A beautiful (G) si-(C)-i-(G)-ight.
And (D) now a child, can (G) understand, that (D) this is the law, of (D7) all the land.
(D) All the land (D7).
The (G) world is (D) black, the (G) world is (D) white.
It (G) turns by (C) day, and (D) then by night.
To (G) gether they (C) grow, to (D) see the light (D7). To see the (G) li-(C)-i-(G)-ght.
And (D) now at last, we (G) plainly see. We'll (D) have a dance, of (D7) liberty.
(D) Liberty (D7).
The (G) world is (D) black, the (G) world is (D) white.
It (G) turns by (C) day, and (D) then by night.
The (G) whole world (C) looks, up (D) on the sight (D7). A beautiful (G) siiiiight.
The world is (D) black, the (G) world is (D) white.

It (G) turns by (C) day and (D) then by night.
To (G) gether they (C) grow, to (D) see the light (D7). To see the (G) li-(C)-i-(G)-ght.

The (G) whole world (C) looks, up (D) on the sight (D7). A beautiful (G) siiiight.

To (G) gether they (C) grow, to (D) see the light (D7).
To see the (G) liiiight
(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) - (Main Index) - (Song Index) (This Song)
THE BLIZZARD (In C) - Jim Reeves
(Howard)
https://www.youtube.com/watch?v=H2fyFumisiU (Capo 0)(MC2)
[A slightly easier version in the same key but capo'd for different chords follows.]
TIP: For the opening, form (G) and pick the covered 5th string and the note next to it, 5th
string/3rd fret <c>. Then strum (G), (G7), and (C).
INTRO: <c>(G)(G7)(C)
There's a blizzard comin' (C7) on, how I'm (F) wishin' I was (C) home,
For my pony's lame and he can't, hardly (G) stand.
Listen (C) to that norther (C7) sigh, if we (F) don't get home we'll (C) die,
But it's (G) only seven miles to Mary (Am) Ann's. It's (G) only seven miles to Mary (C) Ann's.
You can bet we're on her (C7) mind, for it's (F) nearly supper (C) time,
And I'll bet, there's hot biscuits, in the (G) pan.
Lord my (C) hands feel like they're (C7) froze, and there's a (F) numbness, in my (C) toes,
But it's (G) only five more miles to Mary (Am) Ann's.
It's (G) only five more miles to Mary (C) Ann's.
That wind's howlin' and it (C7) seems, mighty (F) like a woman's (C) screams,
And we'd best be movin' faster, if we (G) can.
Dan just (C) think about that (C7) barn, with that (F) hay so soft and (C) warm,
For it's (G) only three more miles to Mary (Am) Ann's.
It's (G) only three more miles to Mary (C) Ann's.
Dan get up, your ornery (C7) cuss, or (F) you'll be the death of (C) us.
I'm so weary but, I'll help you if I (G) can.
All right (C) Dan, perhaps it's (C7) best that we, just (F) stop a while and (C) rest,
For it's (G) still a hundred yards to Mary (Am) Ann's.
It's (G) still a hundred yards to Mary (C) Ann's.
<spoken> Late that night the storm was (C7) gone, and they (F) found him there at (C) dawn.
He'd have made it but, he just couldn't leave ol' (G7) Dan.
Yes they, (C) found him there on the (C7) plains, his (F) hands froze to the (C) reins.
He was (G) just a hundred yards from Mary (Am) Ann's.
He was (G) just a hundred yards from Mary (C) Ann's.
(Jim Reeves) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE BLIZZARD (In G) - Jim Reeves
(Howard)
https://www.youtube.com/watch?v=H2fyFumisiU (Capo 5)(MC5)
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)
There's blizzard comin' (G7) on, how I'm (C) wishin' I was (G) home,
For my pony's lame and he can't, hardly (D7) stand.
Listen (G) to that norther (G7) sigh, if we (C) don't get home we'll (G) die,
But it's (D) only seven miles to Mary (Em) Ann's. It's (D) only seven miles to Mary (G) Ann's.
You can bet we're on her (G7) mind, for it's (C) nearly supper (G) time,
And I'll bet, there's hot biscuits, in the (D7) pan.
Lord my (G) hands feel like they're (G7) froze, and there's a (C) numbness, in my (G) toes,
But it's (D) only five more miles to Mary (Em) Ann's.
It's (D) only five more miles to Mary (G) Ann's.
That wind's howlin' and it (G7) seems, mighty (C) like a woman's (G) screams,
And we'd best be movin' faster, if we (D7) can.
Dan just (G) think about that (G7) barn, with that (C) hay so soft and (G) warm,
For it's (D) only three more miles to Mary (Em) Ann's.
It's (D) only three more miles to Mary (G) Ann's.
Dan get up, your ornery (G7) cuss, or (C) you'll be the death of (G) us.
I'm so weary but, I'll help you if I (D7) can.
All right (G) Dan, perhaps it's (G7) best that we, just (C) stop a while and (G) rest,
For it's (D) still a hundred yards to Mary (Em) Ann's.
It's (D) still a hundred yards to Mary (G) Ann's.
<spoken> Late that night the storm was (G7) gone, and they (C) found him there at (G) dawn.
He'd have made it but, he just couldn't leave ol' (D7) Dan.
Yes they, (G) found him there on the (G7) plains, his (C) hands froze to the (G) reins.
He was (D) just a hundred yards from Mary (Em) Ann's.
He was (D) just a hundred yards from Mary (G) Ann's.
(Jim Reeves) (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)(MC0)
TIP: The intro looks messy but it's simple. The numbers indicate which string to pluck. Start by
forming the (Dm). The middle and ring finger stay put so the 2nd and 3rd string are always
covered. The index fingers lifts "off" or gets put back "on" the bottom string as indicated. Play
the sequence twice and end by strumming a full (Dm) capturing the 4th and 5th strings.
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: A chord in straight brackets |Dm| means strum the chord once at that position. At the end of
the song there's a long drawn out "coal" and you strum the chord slowly once at each position.
INTRO: (Form Dm) 3, 2, (1 off)(1 on)(1 off) 3, 2, (1 off)(1 on)(1 off) 3 (Dm)
It was (Dm) April 27th in the (C) year of '91.

'Bout a (Am) mile below the surface, in the (Dm) warm Kentucky sun.
The late shift was ending and the (C) early shift was late,
And the (Am) foreman ate his dinner from a (Dm) dirty tin plate.
Blood on the tracks, (C) blood in the mine.

(Am) Brothers and sisters what a (Dm) terrible time.
Old Ninety-Seven went (C) in the wrong hole now in,
(Am) Mine number Sixty there's (Dm) blood on the coal.
Blood on the coal, blood on the co (C) al (Am)(Dm).
Well the slag pits was steamin' it was (C) seven twenty-five.
Every (Am) miner worked the coal face every (Dm) one of them alive.
Train came round the corner you could (C) hear the trestle groan.
But the (Am) switcher wasn't listenin' so he |Dm| left the |Dm| switch a |Dm| lone.
(Dm) Blood on the tracks, (C) blood in the mine.

Old Ninety-Seven went (C) in the wrong hole now in,
(Am) Mine number Sixty, there's (Dm) blood on the coal.
Well the walls began to tremblin' and the (C) men began to yell.
They could (Am) hear that lonesome whistle like an (Dm) echo out of, well.
They dropped their picks and shovels as to (C) safety they did run,
For to (Am) stay amongst the living in the |Dm| year of |Dm| Ninety |Dm| One.

Old Ninety-Seven went (C) in the wrong hole now in
(Am) Mine number Sixty, there's (Dm) blood on the coal.
Now an Irishman named Murphy said "I'll (C) stop that iron horse."
As he (Am) stood athwart its passage, and it (Dm) crushed him dead of course.
And I hope he hears the irony when (C) e'er this tale is told that the (Am) train that took his
life was burnin' |Dm| good Ken |Dm| tucky |Dm| coal. (Hey!)

Old Ninety-Seven got (C) in the wrong hole now in,
(Am) Mine number Sixty there's (Dm) blood on the coal.
Blood on the coal, blood on the <slow down> co- |C| -oh- |Am| -oh- |Dm| -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)(MC0)
[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.]
TIP: For (Asus) simply play (A) and add the pinky to the 2nd string, 3rd fret. (Bm) always follows
a (D) so you can get away with just adding your pinky the the 3rd string/4th fret (or skip it in
the verse but not the chorus). For (D4) just add your pinky to the bottom string of the 3rd fret.
INTRO: (G)(A)(D)(Bm); (G)(A)(D)(D4)-(D)
How many (G) roads must a (D) man walk down, before they (G) call him a (A) man (Asus)-(A)?
(D) How many (G) seas must a (D) white dove (Bm) sail,
Be (D) fore she (G) sleeps in the (A) sand (Asus)-(A)?
(D) How many (G) times must the (D) cannon balls fly,
Before they're for (G) ever (A) banned (Asus)-(A)?
The (G) answer my (A) friend, is (D) blowin' in the (Bm) wind,
the (G) answer is (A) blowin' in the (D) wind (D4)-(D).
How many (G) years must a (D) mountain exist, before it is (G) washed to the (A) sea (Asus)-(A)?
(D) How many (G) years can some (D) people ex-(Bm)-ist,
Be (D) fore they're a (G) llowed to be (A) free (Asus)-(A)?
(D) How many (G) times can a (D) man turn his head
And pretend that he (G) just doesn't (A) see (Asus)-(A)?
The (G) answer is (A) blowin' in the (D) wind (D4)-(D).
How many (G) times must a (D) man look up, before he can (G) see the (A) sky (Asus)-(A)?
(D) How many (G) ears must (D) one man (Bm) have,
Be (D) fore he can (G) hear people (A) cry (Asus)-(A)?
(D) How many (G) deaths will it (D) take till he knows,
That too many (G) people have (A) died (Asus)-(A)?
The (G) answer is (A) blowin' in the (D) wind (D4)-(D). (G)(A)(D)(Bm)
The (G) answer is (A) blowin' in the (D) wind.
(Peter, Paul and Mary) (Kid Friendly) (Artist Index) (Folk)

BLOWIN’ IN THE WIND – Peter, Paul and Mary
(Dylan)
(MC0 or MC1)
TIP: For (D4) simply play (D) and add the pinky to the bottom string, 3rd fret. The (D)(D4)-(D)
series here is a one-note (the D4) trill. And for the (Cmaj7) just lift off the index finger on
the <c>.
INTRO: (C)(D)(G)(Em); (C)(D)(G)
How many (C) roads must a (G) man walk down, before you (C) call him a (D) man (D4)-(D)?
(G) How many (C) seas must a (G) white dove (Em) sail,
Be (G) fore she (C) sleeps in (Cmaj7) the (D) sand (D4)-(D)?
(G) How many (C) times must the (G) cannon balls fly
Before they're (C) forever (D) banned (D4)-(D)?
The (C) answer my (D) friend, is (G) blowin' in the (Em) wind,
The (C) answer is (D) blowin' in the (G) wind.
How many (C) years must a (G) mountain exist, before it is (C) washed to the (D) sea (D4)-(D)?
(G) How many (C) years can some (G) people ex-(Em)-ist,
Be (G) fore they're a (C) llowed to (Cmaj7) be (D) free (D4)-(D)?
(G) How many (C) times can a (G) man turn his head
And pretend that he (C) just doesn't (D) see (D4)-(D)?
the (C) answer is (D) blowin' in the (G) wind.
How many (C) times must a (G) man look up, before he can (C) see the (D) sky (D4)-(D)?
(G) How many (C) ears must (G) one man (Em) have,
Be (G) fore he can (C) hear peo-(Cmaj7)-ple (D) cry (D4)-(D)?
(G) How many (C) deaths will it (G) take till he knows,
That too many (C) people have (D) died (D4)-(D)?
The (C) answer is (D) blowin' in the (G) wind.
Oh the (C) answer my (D) friend, is (G) blowin' in the (Em) wind,
The (C) answer is (D) blowin' in the (C) win- (G) -nd (C)(G).
(Peter, Paul and Mary) (Kid Friendly) (Artist Index) (Folk)

BLOWIN’ IN THE WIND
Bob Dylan
https://www.youtube.com/watch?v=MMFj8uDubsE (Capo 0)(MC0)
TIP: For the intro, pick the 4th string and strum (D). Do this twice and begin the song. And at
the end of the chorus Bob leaps right into the harmonica part so don't dawdle after the (D).
INTRO: 4-(D), 4-(D)
How many (G) roads must a (A) man walk (D) down, before you (G) call him a (D) man?
How many (G) seas must a (A) white dove (D) sail, before she (G) sleeps in the (A) sand?
Yes'n (D) how many (G) times must the (A) cannon balls (D) fly,
Before they're (G) forever (D) banned?
The (G) answer my (A) friend, is (D) blowin' in the (G) wind,
The answer is (A) blowin' in the (D) wind. <harmonica> (G)(D)(A),(D)(D)(G),(G)(A)(D)
Yes'n how many (G) years can a (A) mountain ex-(D)-ist, before it is (G) washed to the (D) sea?
Yes'n how many (G) years can some (A) people ex-(D)-ist,
Before they're a (G) llowed to be (A) free?
Yes'n (D) how many (G) times can a (A) man turn his (D) head,
And pretend, that he (G) just doesn't (D) see?
Yes'n how many, (G) times must a (A) man look (D) up, before he can (G) seeee the (D) sky?
Yes'n how many (G) ears must (A) one man (D) have, before he can (G) hear people (A) cry?
Yes'n (D) how many (G) deaths will it (A) take till he (D) knows,
That too many (G) people have (D) died?
BLUE BAYOU - Roy Orbison
(Orbison/Melson)
https://www.youtube.com/watch?v=fGB9cvWdn04 (Capo 2)(MC3)
[Roy and Linda Ronstadt's versions are different enough (different key, different lyric order,
different presentation) that I created a separate version for Linda which follows.]
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: Roy ends the verse with a niftly little lick which I've notated as (4-5-5/4-4) and here's
what that means. It's 4 notes all played on the 4th and 5th strings. Pick the open 4th string,
then the open 5th string, then the 5th string/4th fret -- that's what the 5/4 means -- and the open
4th string again. Now, except for the very end the lead-in will be a (D) and the next line will
also be a (D). So one way to play the lick is to hold (D) and pick the open strings while using
your pinky to reach up and cover the 5th string/4th fret. You have plenty of time so if you want
you can come off the (D) completely and play it anyway you want. Another way to play it is with
chords on the lower register. Hold (D) and slide your ring finger down a fret so all three fingers
are in the 2nd fret (which is (Dmaj7) and then slide back up to return to (D).
INTRO: (strum) (D)
I feel so bad I got a (Dmaj7) worried mind. (A) I'm so lonesome, all the (A7) time.
(A) Since I left my baby be (A7) hind on (D) Blue Bayou (4 - 5- 5/4 - 4). (Oh boe boe)
(D) Saving nickels, (Dmaj7) saving dimes. (A) Working til, the sun don't (A7) shine.
(A) Looking forward to (A7) happier times on (D) Blue Bayou. (4 - 5 - 5/4 -4)
I'm going back someday, come what may to (A7) Blue Bayou.
Where you (A) sleep all day and the catfish play on (D) Blue Bayou.
All those fishing boats, with their (D7) sails afloat, if (G) I could only (Em) see.
That fam (D) iliar sunrise through (A) sleepy eyes, how (D) happy I'd be. (4 - 5 - 5/4 - 4)
(Boe boe boe) Oh to see my (Dmaj7) baby again. (A) And to be with (A7) some of my friends.
(A) Maybe I'll, be (A7) happy again, on (D) Blue Bayou. (4- 5 - 5/4 - 4)
I'm going back someday, gonna stay, on (A7) Blue Bayou.

Where the (A) folks are fine and the world is mine, (D) Blue Bayou.
Oh that girl of mine, (D7) by my side, (G) silver moon and the (Em) evening tide.
(D) Some sweet day, gonna (A) take away, this (D) hurting inside. (4- 5 - 5/4 - 4)
I'll (A7) never be blue, my dreams come (A) true, on (E) Blue, (A7) Bay, (D) you.
Doh doh doh dim dummy ay, Doh doh doh dim dummy ay,
Doh doh doh dim dummy ay, (4 - 5 - 5/4 - 4),(5 - 5/4 - 4).
(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)(MC0)
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: <ping> means to finish the |E|-|E|-|E| sequence with an upstroke on the open bottom string.
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
I (A) feel so bad I got a (Amaj7) worried mind. (E) I'm so lonesome, all the (E7) time.
(E) Since I left my baby be (E7) hind on (A) Blue Bayou. |E|-|E|-|E| <ping>
(A) Saving nickels, (Amaj7) saving dimes. (E) Working til, the sun don't (E7) shine.
(E) Looking forward to happier (E7) times on (A) Blue Bayou.
I'm going back someday, come what may to (E7) Blue Bay-(E)-you.
Where the folks are fine and the world is mine on (A) Blue Bayou.
Where those fishing boats, with their (A+) sails afloat, if (D) I could only (Dm) see.
That fam (A) iliar sunrise through (E) sleepy eyes, how (A) happy I'd be. |E|-|E|-|E| <ping>
(A) Gonna see my (Amaj7) baby again. (E) Gonna be with some of my (E7) friends.
(E) Maybe I'll feel better again, on (A) Blue Bayou.
Saving nickels, (Amaj7) saving dimes. (E) Working til, the sun don't (E7) shine.
(E) Looking forward to happier (E7) times on (A) Blue Bayou.
I'm going back someday, come what may to (E7) Blue Bay-(E)-you.
Where the folks are fine and the world is mine on (A) Blue Bayou.
Where those fishing boats, with their (A+) sails afloat, if (D) I could only (Dm) see.
That fam (A) iliar sunrise through (E) sleepy eyes, how (A) happy I'd be.
(A)(A)(E7)(E), (E)(E)(A)
With that boy of mine, (A+) by my side. The (D) silver moon and the (Dm) evening tide.
Oh (A) some sweet day, gonna (E) take away, this (A) hurting inside.
Well I'll (E) never be blue, my (E7) dreams come true, on (B) Blue, (E) Bay, (A) 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)(MC0)
TIP: (D4) is just (D) with the pinky added to the bottom finger/3rd fret while holding the (D).
Same thing with the (A) and (A6) with the pinky added (and removed) below the ring finger on the
bottom string/2nd fret. For the (G4), hold the bottom string and swing your index finger over to
the 2nd string/1st fret <c> note. The finger can come off the top string. Or just play a (C).
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)
(D) In (D4) the (D) twilight glow (D4) I (D) see her.
(A) Blue, (A6) eyes (A) crying, in the (D) rain (A).
(D) When (D4) we (D) kissed goodbye (D4) and (D) parted,
I (A) knew, (A6) we'd (A) never, meet a (D) gain.
(G) Love (G4) is (G) like, a dy (G4) ing (G) ember,

And (D) on - ly memories re (A) main (A7).
And (D) through, (D4) the (D) ages, I'll (D4) re (D) member,
(A) Blue, (A6) eyes (A) crying, in the (D) rain.
<Repeat chords from first verse>: (D)(D4)(D)(D4)(D), (A)(A6)(A)(D)(A); (D)(D4)(D)(D4)(D),

(A)(A6)(A)(D);
(G) Some (G4) day (G) when we meet (G4) up (G) yonder,
(D) We'll stroll hand in hand a (A) gain (A7).
(D) In, (D4) a (D) land, that knows (D4) no (D) parting,
(A) Blue (A6) eyes (A) crying, in the (D) rain (G)(D).
BLUE MOON - The Mavericks
(Rodgers/Hart)
https://www.youtube.com/watch?v=1yBc-Sajh38 (Capo 0)(MC0)
TIP: This is not the Marvel's version, it's the one by The Mavericks from the movie Apollo 13.
Remember, nice and slow.
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
<acapella/No Chords>: Blue moon. Ooo-ooh-ooh-ooh. Oooo-ooh-ooh-ooh-oooh.
Without a love of my (C) own. (Am)(F)(G)
Blue (C) moon (Am), (F) you saw me (G) standing a (C) lone (Am)(F).
Without a (G7) dream in my (C) heart (Am)(F). Without a (G7) love of my (C) own. (Am)(F)(G)
Blue (C) moon (Am), (F) you knew just (G) what I was (C) there for (Am)(F).
You heard me (G7) saying a (C) prayer for (Am)(F).
Someone I (G7) really could (C) care for. (Am)(F)(G)
(C) Blue . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F). Ooh- (G) -oooh (C) -oooh (Am)(F).
Without a (G7) love of my (C) own. (Am)(F)(G)
Blue (C) moon (Am), (F) you saw me (G) standing a (C) lone (Am)(F)?
Without a (G7) dream in my (C) heart (Am)(F). Without a (G7) love of my (C) own. (Am)(F)(G)
(C) Oooooooh . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F).
Ooh- (G) -oooh (C) -oooh (Am)(F). Without a (G7) love of my (C) own. (Am)(F)(G)
Blue (C) moon (Am)(F), Ooh- (G) -oooh (C) -oooh (Am)(F). Ooh- (G) -oooh (C) -oooh (Am)(F).
Without a (G7) love of my (C) own. (Am)(F)(G)
(C)(Am)(F)(G) <repeat and continue through spoken lines>: La luna. Esta, en el cielo.
Con todas las estrellas. Riendo, my remenante?
(C) Blue . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F).

(C) Blue . . . (Am)(F) . . . (G) oooooh - (C) -ooh-ooh (Am)(F).

(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)(MC0)
TIP: The intro notes are: <g> = top string/3rd fret, <f#> = top string/2nd fret, and
<e> = open top string, which are the same as "...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 cover the final <d> 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)
Help me fellas I'm (G) feelin' kind a (D) weak. The (G) way-I'm-livin' (D) just ain't (A) right.
I (D) need somebody to (G) watch over (D) me. (G) All my (A7) blue moon (D) nights.
I want a girl to (G) take me by the (D) hand. (G) Follow me (D) right down the (A) line.
(D) Hold me gently (G) while we (D) dance. (G) All my (A7) blue moon (D) nights.
(G) Heaven only knows I don't (D) want to be, (A7) just a fool, (D) passin' through.
(G) Won't you send an angel to (D) walk with me, (G) all my (A7) blue moon (D) nights?
(D)(G)(D); (G)(D)(A); (D)(G)(D); (G)(A7)(D); (G)(D)(A)(D)(G)(D),(G)(A)(D), (D)...
Help me fellas it's (G) gettin' kind a (D) late. (G) Runnin' out of (D) pre - cious (A) time.
(D) She might pass me (G) while I (D) waste, (G) all my (A7) blue moon (D) nights.
(G) Heaven only knows I don't (D) want to be, (A7) just a fool, (D) passin' through.
(G) Won't you send an angel to (D) walk with me, (G) all my (A7) blue moon (D) nights?
(G) All my (A7) blue moon (D) nights. (G) All my (A7) blue moon (D) nights. (D)(G)-(A7)-(D)
(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)(MC0/1)
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) I said blue (G) moon of Ken-(G7)-tucky keep on a (C) shinin'.

Shine (G) on the one that's gone and left me (D) blue (D7).
Blue (G) moon of Ken-(G7)-tucky keep on a (C) shinin'.
Shine (G) on the one that's (D) gone and left me (G) blue.
It was (C) on one moonlit night, (G) stars shinin' bright.

(C) Whispered on high, your (G) love said good (D) bye (D7).
I said blue (G) moon of Ken-(G7)-tucky keep on a (C) shinin'.

Shine (G) on the one that's (D) gone and left me (G) blue.
<capo +1/key change> (A)
Blue moon of Kentucky keep on a (D) shinin'.

Shine (A) on the one that's gone and left me (E) blue.
Blue (A) moon of Kentucky keep on a (D) shinin'.
Shine (A) on the one that's (E) gone and left me (A) blue.
Well it was (D) on one moonlit night, (A) stars shinin' bright.
(D) Whispered on high, your (A) love said good (E) bye.
I said blue (A) moon of Kentucky keep on a (D) shinin'.

Shine (A) on the one that's (E) gone and left me (A) blue.
Left me blue. Left me blue. Le-eft me <up> blue.
(Acuff) (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)(MC3)
https://www.youtube.com/watch?v=Bm5HKlQ6nGM Elvis the Pelvis (Capo 0)
TIP: The A in brackets |A| means strum once at that point.
TIP: For a zingy rendition, play the (A) as an (AA5) - barre 2nd fret and then extend your pinky
over to the bottom string two frets over from the barre to grab the treble <a>. Then you can
hammer/on/off the pinky while strumming. In the instrumental bridge you do the same for second (D)
by playing a (DaddA).
TIP: Carl plays a nice little twinkle lick at the end. Start with the (AA5) which is a barre on
the 2nd fret and a long pinky stretch to the 5th fret, then lift up while holding the barre (A6),
lift off the bottom string (A), play an (E), and then another (A). Finish with one strum of (A6+)
in which you keep the (A) and just add your pinky to the bottom string of the 3rd fret.
Well it's |A| one for the money. |A| Two for the show.
|A| Three to get ready now (A7) go cat go but (D7) don't you, step on my blue suede (A) shoes.
You can (E) do anything but lay (D7) off of my blue suede (A) shoes.
Well you can |A| knock me down, |A| step in my face. |A| Slander my name all |A| over the place.
|A| Do anything that you |A| want to do,
But |A| uh-uh Honey lay (A7) off of my shoes and (D7) don't you, step on my blue suede (A) shoes.
(A)(A),(D7),(A),(E)(D)(A)
Well you can |A| burn my house. |A| Steal my car. |A| Drink my liquor from an |A| old fruit jar.
|A| Do anything that you |A| want to do.
But |A| uh-uh Honey lay (A7) off of them shoes and (D7) don't you, step on my blue suede (A) shoes.
(A)(A),(D7),(A),(E)(D)(A)
Well it's |A| one for the money. |A| Two for the show.
|A| Three to get ready now (A7) go cat go but (D7) don't you, step on my blue suede (A) shoes.
Well it's blue blue, blue suede shoes. Blue blue, blue suede shoes.
Yeah (D) blue blue, blue suede shoes baby. (A) Blue blue, blue suede shoes.
You can (E) do anything but lay (D7) off of my blue suede (A) shoes. (AA5)(A6)(A)(E)-(A)|A6+|
(Carl Perkins) (Elvis Presley) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
BLUES MAN - Alan Jackson
(Williams Jr.)
https://www.youtube.com/watch?v=aDoHN3U8-70 (Capo 0)(MC1)
INTRO: (G)(G)(Am)-(Am7)(Am7)(D)(D)(G)|G|
(NC) He’s just a (G) singer, a natural born guitar (C) ringer (C).
Kind of a, (D) clinger (D), to sad old (G) songs (G).
He’s not a walk behinder (G), he’s a new note (Am7) finder (Am).
His name’s a re (D) minder, of a blues man that’s already (G) gone (G).
So he started drinkin’ (G), took some things that messed up his (C) thinkin’ (C).
He was sure (D) sinkin’ (D), when she came a (G) long.
He was alone in the spot light (G), not too much (Am7) left in sight (Am).
She changed all that, (D) one night, when she sang him this (G) song (G).
Hey baby I love you (G). Hey baby I (Am7) need (Am) you (Am).
Hey baby you (D) ain’t got to prove to me you’re some kind of macho (G) man (G).
You’ve wasted so much of your life (G), runnin’ through the (Am7) dark nights (Am).
Let me shine a little (D) love light, down on that blues (G) man. |G|
(G) (G) (C)
He got so sick from (G) speedin’, all the things they said he was (C) needin’ (C),
If he was to keep on (D) pleasin’ (D), all of his (G) fans (G).
He got cuffed on dirt roads (G). He got sued over (Am7) no shows (Am).
She came an took (D) all that old load, down off that old blues (G) man. And he sang,
Hey baby I love you too. Hey baby I (Am7) need you (Am).
Hey baby I (D) do get tired (D), of this travelin’ (G) band (G).
I’m over forty years old now (G), nights would be (Am7) cold now (Am),
If you hadn’t (D) stuck it out (D), with this blues (G) man (G).
He’s over forty years old now (G), nights would be so (Am7) cold now (Am),
If she hadn’t (D) hung around (D), with that blues (G) man (G).
(G)(G)(Am7)(Am)(D)(D)(G)(G), (G)(G)(Am7)(Am)(D)(D)(G)(G), (G)(G)(Am7)(Am)(D)(D)(G)(G)
(G)(G)(Am7)(Am)(D)(D)(G)(G), (G)(G)(Am7)(Am)(D)(D)(G)(G), (G)(G)(Am7)(Am)(D)(D)(G)(G)
(G)(G)(Am7)(Am)(D)(D)(G)(G), (G)(G)(Am7)(Am)(D)(D)(G)(G), (G)(G)(Am7)(Am)(D)(D)|G|
(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
BOATS TO BUILD – Jimmy Buffett & Alan Jackson
(Clark)
https://www.youtube.com/watch?v=Mdqxg-Ivr_w (Capo 2)(MC1)
TIP: The intro is an easy to play six-count: start with three strums of (D), then single strums
of |D4| (add your pinky to the bottoms string/3rd fret), |D| (lift off pinky), and |Dsus2| (lift
off middle finger from the bottom string). Repeat three more times.
TIP: Sort of the same pattern repeats at the end of the chorus but this time it's just (D) and
(D4) with the (D4) coming on "build".
INTRO: (D)|D4|-|D|-|Dsus2|; (D)|D4|-|D|-|Dsus2|; (D)|D4|-|D|-|Dsus2|; (D)|D4|-|D|-|Dsus2|;
It's (D) time, for a change. I'm tired, of that (G) same ol same.
The (A) same ol words, the (Bm) same ol lines, the (C) same ol tricks and the (A) same ol rhymes.
(D) Days, precious days. Roll, in and (G) out like waves.
I got (A) boards to bend, I got (Bm) planks to nail,
I got (C) charts to make, I got (A) seas to sail.
I'm gonna (G) build me a boat, with (A) these two hands
She'll be a (D), fair curve from a (G) noble plan.
(Em) Let the chips fall (A) where they will, cause I, got (D) boats to (D4) build (D4)
(D)(D)(D4)(D4).
(D) Sails, are just like wings. The wind, can (G) make 'em sing.
(A) Songs of life, (Bm) songs of hope, (C) songs to keep your (A) dreams afloat.
I'm gonna (G) build me a boat, with (A) these two hands.
She'll be a (D), Fair curve from a (G) noble plan.
(Em) Let the chips fall (A) where they will, cause I, got (D) boats to (D4) build.
<steel drum> (D)(G)(D)(G)(D)(A),(D)(D)(D4)(D4)

(D) Shores distant shores. There's, where I'm (G) headed for.
(A) I got the stars, to (Bm) guide my way, (C) sail into the (A) light of day.
I'm gonna (G) build me a boat, with (A) these two hands.
(Em) Let the chips fall (A) where they will, cause I . . .
Gonna (G) build me a boat, with (A) these two hands.
(Em) Let the chips fall (A) where they will, cause I, got (D) boats to (D4) build. (D)
(D4) I got (D) boats to (D4) build. (A) I got (D) boats to (D4) build. (D)(D)(D4)(D4), |D|
(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)(MC0)
TIP: For the |EC#| you just hold (E) and firmly plant the pinky on the 2nd string/2nd fret and
then single downstroke the |EC#| focusing on the bottom three strings.
TIP: In the verse the timing of the transition from the trailing |EC#| to the (D) is a little
tricky as the (D) blends into the first word of the next line. You'll see what I mean when you
play it.
TIP: For the guitar solos after 8 measures of (E) you'll have two downstokes of |E/G| in which you
just keep the (E) form and add your pinky to the bottom string/3rd fret, and then lift to get back
to the (E).
INTRO: (E)(E)|EC#|-|D|, (E)(E)|EC#|-|D|, (E)(E)|EC#|-|D|, (E)(E)|EC#|-|D|
(E) Get your motor runnin' (E)|EC#|-(D). Head out on the (E) highway (E)|EC#|-|D|.
(E) Lookin' for adventure (E)|EC#|, (D) and what (E) ever comes our way (E)|EC#|-|D|.
(G) Yeah (A) darlin' go (E) make it happen. (G) Take the (A) world in a (E) love embrace.
(G) Fire (A) all of your (E) guns at once and, (G) ex (A) plode into (E) space.
I like smoke and lightnin' (E)|EC#|-(D). Heavy metal thun-(E)-der (E)|EC#|-|D|.

(E) Racin' with the wind (E)|EC#|, (D) and the (E) feelin' that I'm under (E)|EC#|-|D|.
Like a true nature's child, we were (G) born, born to be wild. We can (A) climb so high.
(G) I never, wanna (E) die. Born to be (D) wild (E)(D). (E) Born to be (D) wild (E)(D).
(E)(E)(E)(E)(E)(E)(E)(E); |E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E),

|E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E); (E)(E)(E)(E),|E|
(E) Get your motor runnin' (E)|EC#|-(D). Head out on the (E) highway (E)|EC#|-|D|.
(E) Lookin' for adventure (E)|EC#|, (D) and what (E) ever comes our way (E)|EC#|-|D|.
Like a true nature's child, we were (G) born, born to be wild. We can (A) climb so high.
(G) I never, wanna (E) die. Born to be (D) wild (E)(D). (E) Born to be (D) wild (E)(D).
(E)(E)(E)(E)(E)(E)(E)(E); |E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E),

|E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E), |E/G|-|E/G|(E); |E|
(Steppenwolf) (Artist Index) - (Main Index) - (Song Index) (This Song)

BOTH SIDES NOW
Joni Mitchell
https://www.youtube.com/watch?v=Pbn6a0AFfnM (Capo 4)(MC4)
[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. For the (D)(Dsus2)(D) in the chorus hold (D) and remove and your middle
finger from the bottom string.
TIP: In the last line if the chorus you pause after “clouds” and play the (A)(Asus4)(A). Just
hold (A) and either slide the ring finger up one fret (and back down) or add and remove your pinky
to the 2nd string/3rd fret.
INTRO: (D)(Dsus4), (D)(Dsus4), (D)(Dsus4), (D)(Dsus4)
(D) Rows and (Em) floes of (G) angel (D) hair,

And ice cream (F#m) castles in the (D) air.
And feather (G) canyons (Em) everywhere.
I’ve looked at (G) clouds that (A) way.
But (D) now they (Em) only (G) block the (D) sun.
They rain and (F#m) snow on every (D) one.
So many (G) things I (Em) would have done,
But clouds got (G) in my (A) way.
I've (D) looked at (Dsus2) clouds (D) from (G) both sides (D) now,
From (G) up and (D) down, and (G) still some (D) how,
It's (F#m) cloud ill (G) usions (D) I recall.
I really don't (G) know clouds (A)(Asus4)(A), at (D) all (Dsus4), (D)(Dsus4),(D)(Dsus4),(D)(Dsus4).
(D) Moons and (Em) Junes and (G) Ferris (D) wheels.
The dizzy (F#m) dancing way you (D) feel.
As every (G) fairy (Em) tale comes real,
I've looked at (G) love that (A) way.
But (D) now it's (Em) just a (G) nother (D) show.
You leave 'em (F#m) laughin’ when you (D) go.
And if you (G) care, don't (Em) let them know,
Don't give your (G) self a (A) way.
I've (D) looked at (Dsus2) love (D) from (G) both sides (D) now,
From (G) give and (D) take, and (G) still some (D) how,
It's (F#m) love’s ill (G) usions (D) I recall.
I really don't (G) know love (A)(Asus4)(A), at (D) all (Dsus4), (D)(Dsus4),(D)(Dsus4),(D)(Dsus4).
(D) Tears and (Em) fears and (G) feeling (D) proud,
To say "I (F#m) love you" right out (D) loud.
Dreams and (G) schemes, of (Em) circus crowds.
I've looked at (G) life that (A) way.
But (D) now old (Em) friends are (G) acting (D) strange.
They shake their (F#m) heads, they say I've (D) changed.
Well something's (G) lost, but (Em) somethin's gained,
In living (G) every (A) day.
I've (D) looked at (Dsus2) life (D) from (G) both sides (D) now,
From (G) win and (D) lose, and (G) still some (D) how,
It's (F#m) life’s ill (G) usions (D) I recall.
I really don't (G) know life (A)(Asus4)(A), at (D) all (Dsus4), (D)(Dsus4),(D)(Dsus4),(D)(Dsus4).
I've (D) looked at (Dsus2) life (D) from (G) both sides (D) now,
From (G) up and (D) down, and (G) still some (D) how,
It's (F#m) life’s ill (G) usions (D) I recall.
I really don't (G) know life (A)(Asus4)(A), at (D) all (Dsus4), (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)(MC1)
TIP: A regular (G) can be played instead of the (Gadd), it just adds the high <d> to the sequence.
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: (Gadd)(C)(G)(C), (Gadd)(C)(G)(C)
(G) Bows and (C) flows of (G) angel hair,

And ice cream (Bm) castles (C) in the (G) air.
And feather (C) canyons (Am) everywhere,
I've (C) looked at clouds that (D) way.
But (G) now they (C) only (G) block the sun.
They rain and (Bm) snow on (C) every (G) one.
So many (C) things I (Am) would have done,
But (C) clouds got in my (D) way.
I've (G) looked at (Am) clouds from (C) both sides (G) now.
From (C) up and (G) down and (C) still some (G) how,
It's (Bm) cloud’s ill (C) usions (G) I recall.
I really don't know (C) clouuuuuds (D), at (G) all (C)(G)(C),(Gadd)(C)(G)(C).
(G) Moons and (C) Junes and (G) Ferris wheels.

The dizzy (Bm) dancing (C) way you (G) feel.
When every (C) fairy (Am) tale comes real,
I've (C) looked at love that (D) way.
But (G) now it's (C) just a (G) nother show.
You leave 'em (Bm) laughin’ (C) when you (G) go.
And if you (C) care don't (Am) let them know.
Don't (C) give yourself a (D) way.
I've (G) looked at (Am) love from (C) both sides (G) now.
From (C) win and (G) lose and (C) still some (G) how,
It's (Bm) love’s ill (C) usions (G) I recall.
I really don't know (C) looooove (D), at (G) all (C)(G)(C),(Gadd)(C)(G)(C)
(G) Tears and (C) fears and (G) feeling proud,

To say "I (Bm) love you" (C) right out (G) loud.
Dreams and (C) schemes and (Am) circus crowds,
I've (C) looked at life (D) that way.
But (G) now old (C) friends are (G) acting strange.
They shake their (Bm) heads, they (C) say I've (G) changed.
Well something's (C) lost but (Am) something's gained,
In (C) living every (D) day.
I've (G) looked at (Am) life from (C) both sides (G) now.
From (C) win and (G) lose and (C) still some (G) how,
It's (Bm) life’s ill (C) usions (G) I recall.
I really don't know (C) liiiiife (D), at (G) all (C)(G)(C),(Gadd)(C)(G)(C),
(Gadd)(C)(G)(C), (Gadd)(C)(G)(C), (Gadd)(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)(MC1)
[I normally prefer the key of [G] but this version just sounds off to me, maybe because it's capo 4
and loses a bit of bass. I think the version in [C] that follows afterwards just sounds better.]
TIP: For the intro pick the 3rd string and strum, then pick the 4th string and strum. Play this
cadence through to the first (Em) in the opening verse (actually whenever you launch from a (G).)
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.
TIP: The coda instrumental is a bit tricky. There’s a (D/A) in which you play (D) and add your
pinky to the 4th string/4th fret to cover the <f#> (and if you can hook your thumb over the top
string/2nd fret to cover the low <f#> as well).
INTRO: 3-(G), 4-(G); 3-(G), 4-(G)
I am just a poor boy though my story's seldom (Em) told, I have (D) squandered my resistance,
For a (C) pocket full of (D7) mumble such are (G) promises.
All lies and (Em) jest, still a (D) man hears what he (C) wants to hear
And disregards the (G) rest. Mmmm (D) mmmm, mmmm (G) mmmm.
When I left my home and my family I was no more than a (Em) boy in the (D) company of strangers,
In the (C) quiet of a (D7) railway station (G) running scared.
Laying (Em) low seeking (D) out the poorer (C) quarters where the ragged people (G) go,
Looking (D) for the places (C) only (Em) they (D) would (G) know.
Lie la (Em) lie. Lie la (D) lie lie la lie lie. La lie (Em) lie.
La lie (C) lie lie lie (D) lie, lie lie lie lie (G) lie.
Asking only workman's wages I come looking for a (Em) job but I get no (D) offers.
Just a (C) come-on from the (D7) whores on 7th (G) Avenue.
I do de (Em) clare, there were (D) times when I was (C) so lonesome I took some comfort (G) there.
Ooh lah (D) lah lah lah lah lah (D)(D)(G).
<flute> (G)(Bm),(G)-(D)-(Em)(D),(D); (G)(G),(G)(G)(Em)(D),(C)(C)(G)(D)(C)(G)
Then I'm laying out my winter clothes and wishing I was (Em) gone going (D) home.
Where the (C) New York city winters (D7) ar-ent (G) bleeding me.
Leading (Bm) me- (Em) -ee, going (D) home. (D)(G)
In the clearing stands a boxer and a fighter by his (Em) trade

And he (D) carries a reminderance, of (D7) ev’ry glove that laid him down
Or (G) cut him til he cried out, in his anger and his (Em) shame,
I am (D) leaving I am (C) leaving but the fighter still re (G) mains mmm-(D)-mmm (C)(G)(G)-(C)-(G).
La lie (C) lie lie lie (D) lie, lie lie lie lie (Em) lie.
Lie la (D) lie lie la lie lie. La lie (Em) lie.






(G)-(D/A)-(Em), (D)(D)(D), (G)(G)
(G)-(D/A)-(Em), (D)(C)(C)(G)|D|-|G|-|D|, (C)(G)|G|-|D|-|G|
THE BOXER – Simon and Garfunkel
(Simon)
(MC0)
TIP: Important! For the intro you must play the (C) with the top base note covered as shown in
the first (C) diagram. Pick the 5th string and strum, then pick the 6th string and strum. Play
this cadence through to the first (Am) in the opening verse (and whenever you launch from a (C).)
TIP: In the instrumental bridge there's a rest after the (G). At this point you play an (F3).
This is just another (G) voiced higher but since you play it like an (F) but on the 3rd fret I've
named it (F3).
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: 5-(C), 6-(C); 5-(C), 6-(C)
I am just a poor boy though my story's seldom (Am) told I have (G) squandered my resistance,
For a (F) pocket full of (G7) mumble such are (C) promises.
All lies and (Am) jest, still a (G) man hears what he (F) wants to hear
And disregards the (C) rest. Mmmm (G) mmmm, mmmm (C) mmmm.
When I left my home and my family I was no more than a (Am) boy in the (G) company of strangers,
In the (F) quiet of a (G7) railway station (C) running scared.
Laying (Am) low seeking (G) out the poorer (F) quarters where the ragged people (C) go,
Looking (G) for the places (F) only (Em) they (G) would (C) know.
Lie la (Am) lie. Lie la (G) lie lie la lie lie. La lie (Am) lie.
La lie (F) lie lie lie (G) lie, lie lie lie lie lie (C) lie.
Asking only workman's wages I come looking for a (Am) job but I get no (G) offers.
Just a (F) come-on from the (G7) whores on 7th (C) Avenue.
I do de (Am) clare, there were (G) times when I was (F) so lonesome I took some comfort (C) there.
Ooh lah (G) lah lah lah lah lah (G)(G)(C).
<flute> (C)(CaddG),(C)-(G)-(Am)(G),(F3); (C)(Am),(C)(C)(Am)(G),(F)(F)(C)(G)(F)(C)
La lie (F) lie lie lie (G) lie, lie lie lie lie lie (C) lie.
Then I'm laying out my winter clothes and wishing I was (Am) gone going (G) home.
Where the (F) New York city winters (G7) ar-en’t (C) bleeding me.
Leading (Em) me- (Am) -ee, going (G) home. (G)(C)
In the clearing stands a boxer and a fighter by his (Am) trade

And he (G) carries a reminderance, of (G7) ev’ry glove that laid him down
Or (C) cut him til he cried out, in his anger and his (Am) shame,
I am (G) leaving I am (F) leaving but the fighter still re (C) mains mmm-(G)-mmm (F)(C)(C)-(F)-(C).
La lie (F) lie lie lie (G) lie, lie lie lie lie (Am) lie.
Lie la (G) lie lie la lie lie. La lie (Am) lie.






La lie (F) lie lie lie (G) lie, lie lie lie lie (C) lie.
(C)-(G)-(Am), (G)(G)(G), (C)(C)
(C)-(G)-(Am), (G)(F)(F)(C)|G|-|C|-|G|, (F)(C)|C|-|G|-|C|
BREAK UP IN THE END – Cole Swindell
(Nite/Dillon/McGill)
https://www.youtube.com/watch?v=NhTulKznx_Y (Capo 1)(MC1)
TIP: For the intro opening, form (C) and pick the 2nd string, then add your pinky to the 2nd
string/3rd fret (note d) and then strum (C)(G) and (Am). Chords in |brackets| are strummed just
once.
TIP: The instrumental is/sounds like a combination of acoustic and electric guitar, electric
piano, and steel. It’s difficult to pick out the chords so I’d just let it play through and pick
up again with the fourth verse.
INTRO: 2-<d>-(C)(G)(Am), (Am)(C)(G)|C|-|G|
I still (C) walk in that (G) bar a little (Am) drunk.

I still (F) ask you what you're (C) drinkin’ what's your (G) name?
I still (C) kiss you by the (G) shuffleboard, last (Am) call at two a. (F) m.
Even (C) though, we break (G) up in the (C) end.
I'll introduce you to (G) my mom and (Am) dad.

Say "I (F) think I love her" (C) when you leave that (G) room.
I'd still (C) not take their ad (G) vice, when I (Am) say you're moving (F) in.
And (Am) even if I (G) knew you'd be the (C) one that got a (F) way,
I'd still go back and (C) gettt (G) you.
(Am) Even if I (G) knew you'd be my (C) best and worst mis (F) take,
Oh I'd still make it (C) wiiith (G) you.
(C) Over and (G) over, a (Am) gain and a (F) gain,
I'd still play my favorite (G) song in your (Am) car.
Let you (F) love me to it (C) 'til it felt like (G) ours.
Now (C) all I hear is (G) you in it, but (Am) I'd still let you (F) ruin it
And (Am) even if I (G) knew you'd be the (C) one that got a (F) way,
I'd still go back and (C) gettt (G) you.
And (Am) even if I (G) knew you'd be my (C) best and worst mis (F) take,
Girl I'd still make it (C) wiiith (G) you.
(C) Over and (G) over, a (Am) gain and a (F) gain,
[Instrumental] (C)-(Am), |C|-|G|-|Am|(C)(G), (C)(G)(Am)(F)(C)(G)(C)
You've just had one too (G) many to (Am) night.

You're just (F) calling 'cause you're (C) lonely that's o (G) kay.
But you (C) know if you come (G) over, I (Am) cannot not let you (F) in,
Even (C) though, we'll break (G) up in the (C) end.
I'd do it over and (G) over, a (Am) gain and a (F) gain,
Even |C| though we break |G| up <slow down> in the |C| end.
(Cole Swindell) (Artist Index) - (Main Index) - (Song Index) (This Song)
BRIDGE OVER TROUBLED WATER - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=4G-YQA_bsOU (Capo 1)(MC0)
[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)
When you're (D) weary, (G) feelin’ (D) small.

(G) When (C) tears (G) are (D) in, your (G) eyes, I will (D) dry them all.
I'm (A) on (Bm) your (A) side, (A7) oh, when times get (D) rough.
And (Bm) friends just (G) can't, (Em) be, (A) found.
(D) Like a (G) bridge (A7) o (G) ver troub (D) led water, (G) I will (A) lay me (Bm) down.
Like a (G) bridge (A7) o (G) ver troub (D) led water, (G) I will (A) lay me (D) down. (G) (D) (G)
When you're (D) down and out. (G) When you're on the (D) street.
(G) When (C) eve (G) ning (D) falls, so (G) hard, I will (D) comfort you.
I'll (A) take (Bm) your (A) part, (A7) oh, when darkness (D) comes.
And (Bm) pain is (G) all, (Em) a, (A) round.
(D) Like a (G) bridge (A7) o (G) ver troub (D) led water, (G) I will (A) lay me (Bm) down.
Like a (G) bridge (A7) o (G) ver troub (D) led (Bm) water, I will lay (G) me (Bm) down.
(D)(G)(Bm)(G)(D), (D)(G)(D)(G)(D)(G)
Sail on (D) Silver Girl. (G) Sail on (D) by. (G) Your (C) time (G) has (D) come, to (G) shine.
All your (D) dreams are on their (G) way (D). See (A) how (Bm) they (A) shine.
(A7) Ohhhh, if you (D) need a friend, I'm (Bm) sailing (G) right, (Em) be, (A) hind.
(D) Like a (G) bridge (A7) o (G) ver troub (D) led (Bm) water, (G) I will (A) ease your (Bm) mind.
(D) Like a (G) bridge (D) o (A) ver (D) trou-uh-bled wa-(Bm)-ter,
(G) I will (Bm) ease (Em) your (Bm) mind. (D)(G)(Bm)(Gadd)(Gadd)(D)
BRIDGE OVER TROUBLED WATER - Simon and Garfunkel
(Simon)
(MC1)
TIP: A lot of chord variations but that's all they are, just variations from the major. The
(D7sus2) will follow the (D7) so just lift the ring finger. The (CaddD) will follow the (C) so
just just play (C) and add pinky to second string/3rd fret. The (Cmaj7) will also follow the (C) so
just lift off the index finger. (CaddG) is just (C) with pinky added to bottom string/3rd fret and
emulates Art's voice raising on the same note to a higher octave.
TIP: In the instrumental bridge/outro there's a (Bm3) which is just (Bm) played on the 3rd fret.
INTRO: (G)(C)(D7)(D7sus2)(Gadd)(G)(Gadd)(C)(D)(G), (C)(G)(C)
When you're (G) weary, (C) feel (CaddD) in’ (G) small.
(C) When (F) tears (C) are (Gadd) in, your (C) eyes, I will (G) dry them all (CaddG).
(G) I'm (D) on (Em) your (D) side, (D7) oh, when times get (G) rough.
And (Em) friends just (C) can't, (Am) be, (D) found.
(G) Like a (C) bridge (D7) o (D7sus2) ver troub (Gadd) led (G) wat (Gadd) er,
(C) I will (D) lay me (Em) down.
Like a (C) bridge (D7) o (D7sus2) ver troub (Gadd) led (G) wat (Gadd) er,
(C) I will (D) lay me (G) down. (C) (G) (C)
When you're (G) down and out. (C) When you're on (CaddD) the (G) street.
(C) When (F) eve (C) ning (Gadd) falls, so (C) hard, I will (G) comfort you (CaddG).
(G) I'll (D) take (Em) your (D) part, (D7) oh, when darkness (G) comes.
And (Em) pain is (C) all, (Am) a, (D) round.
(G) Like a (C) bridge (D7) o (D7sus2) ver troub (Gadd) led (G) wat (Gadd) er,
(C) I will (D) lay me (Em) down.
Like a (C) bridge (D7) o (D7sus2) ver troub (G) led (C) water, I will lay (D7) me (G) down.
(G)(Em)(C)(Am)(Bm3)-(Bm3)(G), (G)(C)(G)(C)(G), (C)

Sail on (G) Silver Girl. (C) Sail (CaddD) on (G) by.
(C) Your (F) time (C) has (Gadd) come, to (C) shine.
All your (G) dreams are on their (C) way (G). See (D) how (Em) they (D) shine.
(D7) Ohhhh, if you (G) need a friend, I'm (Em) sailing (C) right, (Am) be, (D) hind.
(G) Like a (C) bridge (D7) o (D7sus2) ver troub (Gadd) led (C) water,
I will (D7) ease your (Em) mind.
Like a (C) bridge (Cmaj7) o (D) ver (G) trou-uh-bled wa-(C)-ter,
I will (B7) ease (Am) your (Em) mind.
(G)(Em)(C)(Am)(Bm3)-(Bm3)(Gadd)
BRIGHT SIDE OF THE ROAD
Van Morrison
https://www.youtube.com/watch?v=rCDZzf4ragg (Capo 0)(MC0)
TIP: The first time around the (Fmaj7) follows a (C) so just hold fast on the index finger and
drop the other two fingers down one string. The second time it'll follow an (F) so just lift off
the index finger from the mini-barre on the first fret.
INTRO: (C)(Em)(F)(G), (C)(F)(C)(G)(C)
From the (Em) dark end of the (F) street (G)(C), to the (Em) bright side of the (F) road (G)(C).
We'll be (Em) lovers once a (F) gain, on the (G) bright side of the (C) road (F)(C)(G)(C).
Little (Em) darlin' come with (F) me (G)(C). Won't you (Em) help me share my (F) load (G)(C).
From the (Em) dark end of the (F) street, to the (G) bright side of the (C) road (F)(C).
And (Fmaj7) into this life we're (F) born (F)(Fm).

Baby (C) sometime, sometime we don't know (C7) why (C7)(F).
And times seem to go by so (Fm) fast (Fm)(D).
In the (D7) twinkling of an (G) eye (G)(C).
Let's en (Em) joy it while we (F) can (let's (G) enjoy it while we (C) can).
Won't you (Em) help me share my (F) load (G) help me share my (C) load).
From the (Em) dark end of the (F) street, to the (G) bright side of the (C) road (F)(C)(G).
<harmonica> (C)(Em)(F)(G)(C)(C)(F)(G)(C)(Em)(F)(G)(C)(F)(C)(F)
And (Fmaj7) into this life we're (F) born (F)(Fm).

Baby (C) sometime, baby sometime we don't know (C7) why (C7)(F).
And time seems to go by so (Fm) fast (Fm)(D). In the (D7) twinkling of an (G) eye (G)(C).
Let's en (Em) joy it while we (F) can (let's (G) enjoy it while we (C) can).
(Em) Help me sing my (F) song (G) help me sing my (C) song).
Little (Em) darling come a (F) long, on the (G) bright side of the (C) road (F)(C)(G)(C).
On the (Em) dark end of the (F) street (on the (G) dark end of the (C) street).
To the (Em) bright side of the (F) road (to the (G) bright side of the (C) road).
Little (Em) darlin' come a (F) long, on the (G) bright side of the (C) road (F)(C)(G)(C).
On the (Em) dark end of the (F) street (on the (G) dark end of the (C) street)
To the (Em) bright side of the (F) road (to the (G) bright side of the (C) road)
We'll be (Em) lovers once a (F) gain, on the (G) bright side of the (C) road (F)(C)(G)
Well we'll be (C), (Em) lovers once a (F) gain. On the (G) bright side of the (C) road (F)(C)(G).
We'll be, (Em) Lovers once a (F) gain on the (G) bright side of the |C| 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)(MC0)
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. It begins with a strum of |G| on
the last word of the previous line and is followed by a single strum of |G|-|D|. Then there's sort
of a place holder to keep the timing indicated by the 5 which means come up and grab or strum the
5th string/5th-4th-3rd strings together. Again, this is just to keep the rhythm. 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)-(D4)-(D)-(Dsus2)-(D); (D),(D)-(D4)-(D)-(Dsus2)
(D) Hahhht August night and the leaves hangin' down and the grass on the ground smellin',
|G| Sweet |G|-|D|, 5 |G|-|G|-|D|, 5 |G|-|G|-|D|, 5 |G|-|G|-|D|
(D) Mooove up the road to the outside of town

And the sound of that good gospel |G| beat |G|-|D|, 5 |G|-|G|-|D|.
|G|(G) Sits a ragged tent |C|,(C) where there ain't no trees |G|,(G)
And that gospel group |C|,(C) tellin' you and me it's
(G) love Brother Love say Brother Love's Traveling (C) Salvation Show (D).
(G) Pack up the babies and grab the old ladies and (C) everyone goes, 'cause (G) everyone knows,
Brother Love's (D) show. (D)-(D4)-(D)-(Dsus2)-(D); (D),(D)-(D4)-(D)-(Dsus2)
The (D) roooom gets suddenly still and when you'd almost bet you could hear yourself sweat,
he walks |G| in |G|-|D|, 5 |G|-|G|-|D|, 5 |G|-|G|-|D|, 5 |G|-|G|-|D|.
(D) Eyyyyes black as coal and when he lifts his face
Every ear in the place is on |G| him |G|-|D|, 5 |G|-|G|-|D|.
|G|(G) Startin' soft and slow |C|,(C) like a small earthquake |G|,(G)
And when he lets go |C|,(C) half the valley shakes it's
(G) Love Brother Love say Brother Love's Traveling (C) Salvation Show (D).
(G) Pack up the babies and grab the old ladies and (C) everyone goes, 'cause (G) everyone knows,
That Brother Love's |D|-|D| show.
(D) Hallelujah, brothers |D|-|D|. (D) Halle - hallelujah I said brothers |D|-|D|(D) (Hallelujah)
Now you got yourself two good hands |D|-|D|(D) (Halle-hallelujah)
And when your brother is troubled you gotta |D|-|D|(D) reach out your one hand for him (Hallelujah)
'Cause that's what it's |D|-|D|(D) there for (Halle-hallelujah)
And when your heart is trouble you gotta |D|-|D|(D) reach out your other hand (Hallelujah)
Reach it out to the man up there |D|-|D|(D) (Halle-hallelujah) 'cause that's what he's there for.
|G|(G) Take my hand in yours |C|, (C) walk with me this day |G|.
(G) In my heart I know |C|, (C) I will never stray.
Halle halle, halle halle, (CaddG) halle halle, halle halle
(G) Love Brother Love say Brother Love's Traveling (C) Salvation Show (D).
(G) Pack up the babies and grab the old ladies and (C) everyone goes. (D)
I say (G) love Brother Love say Brother Love's Traveling (C) Salvation Show (D).
(G) Pack up the babies and grab the old ladies and (C) everyone goes. (D)
(G) Love Brother Love say Brother Love's Traveling (C) Salvation Show. (D) |G|.
BUILD ME UP BUTTERCUP - The Foundations
(D'Abo/Macaulay)
https://www.youtube.com/watch?v=hSofzQURQDk (Capo 0)(MC1)
TIP: In the intro emphasize the top bass strings on the final (G).
TIP: At the end of the verse (don't break my heart) you end on an (F), pause for a beat, and then
strum the remaining chords once, quickly.
INTRO: (C),(E),(F),(G); (C)(E)(E7)(F); (G)
Why do you (C) build me up (build me up), (E) Buttercup (E7) baby just to (F) let me down (let me
down), and (G7) mess me around and then (C) worst of all (worst of all), you (E) never call
(E7) baby when you (F) say you will (say you will), but (Dm) I love you (G) still.
I need (C) you, (I need you) more than (C7) anyone darlin'.
You (F) know that I have from the (Fm) start.
So (C) build me up (build me up), (G) Buttercup, don't break my (F) heart. |F|-|C|-|G|-|C|; (G)
"I'll be (C) over at (G) ten" you told me (Bb) time and a (F) gain but you're (C) late.
I wait a (F) round and then. (Bah dah (C) dah)
I went to the (G) door I can't (Bb) take any (F) more it's not (C) you.
You let me (F) down again hey hey (Dm) hey.
Baby baby, try to find. (G7) Hey hey (Em) hey. A little time, and (A7) I'll make you happy.
(Dm) I'll be home, I'll be be (D7) side the phone waiting for (G) you. Oooh-oo-oooh, oooh-oo-oooh.
So (C) build me up (build me up), (G) Buttercup, don't break my (F) heart. |F|-|C|-|G|-|C|; (G)
(C) You were my (G) toy but I (Bb) could be the (F) boy you a (C) dore. If you'd just (F) let me
know (bah dah (C) dah) Although you're un (G) true I'm a (Bb) ttracted to (F) you all the (C) more.
Why do I (F) need you so hey hey (Dm) hey.
Baby baby, try to find. (G7) Hey hey (Em) hey. A little time, and (A7) I'll make you happy.
(Dm) I'll be home, I'll be be (D7) side the phone waiting for (G) you. Oooh-oo-oooh, oooh-oo-oooh.
So (C) build me up (build me up), (G) Buttercup, don't break my (Am) heart.
I-I-I need (C) you-oo-oo more than (C7) anyone baby. You (F) know that I have from the (Fm) start.
So (C) build me up (build me up), (G) Buttercup, don't break my (F) heart (C).
(The Foundations) (Artist Index) - (Main Index) - (Song Index) (This Song)
BUSY BEING FABULOUS - Eagles
(Henley/Frey)
https://www.youtube.com/watch?v=hsDX5V1Jw-M (Capo 0)(MC2)
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) I came home to an (Am) empty house (C), and I found your little (Am) note (F):
"Don't wait up for (G) me tonight (F)." And that was all she (G) wrote.
Do you (C) think I don't know that you're (Am) out on the town (C),
With all of your high-rollin' (Am) friends (F)?
What do you do when you (G) come up empty (F)? Where do you go when the (G) party ends?
And you were (C) just too busy being (Am) fabulous (F). Too busy, to (G) think about us (C).
I don't know what you were (Am) dreaming of (F). Somehow you for (G) got about love and you were
(C) Just too busy being (Am) fabu (F) lous (G) uh (C) huh.
A little time in the (Am) country (C), a day or two to slowww (Am) down.
(F) A bottle of wine and a (G) walk in the moonlight. (F) Maybe some foolin' a (G) round (C).
But you think time, is just a (Am) magazine (C), and money's just a (Am) thrill (F).
I've waited so-long-for-you-to (G) change your way of livin' (F).
Now I realize that (G) you never will.
'Cause you were (C) just too busy being (Am) fabulous (F). Too busy, to (G) think about us (C).
Lookin' for something you'll (Am) never find (F). You'll never know what you (G) left behind
'Cause you were (C) just too busy being (Am) fabu (F) lous (G) uh (C) huh.
You tell a (Caug) joke, and (Am) everybody's (C) laughin'.

That's something you (Am) know how to (C) do.
You've always been, the (Am) life of the party, but (D7) now my baby, the (G) joke is on you.
'Cause you were (C) just too busy being (Am) fabulous (F). Too busy, to (G) think about us.
(C) Running after something that (Am) never comes (F). What in the world are you (G) runnin' from?
And you were (C) just too busy being (Am) fabulous (F). Too busy, to (G) think about us (C).
To drink the wine from your (Am) winner's cup (F). To notice, the child-ren were (G) growin' up
And you were (C) just too busy being (Am) fabulous (F). Too busy (G). Too busy.
(C)(Am)(F)(G); (uhhn-nn) (C)(Am)(F) (too busy) (G); (C)(Am) (now babe) (F)(G); |C|

BYE BYE LOVE – The Everly Brothers
(Bryant/Bryant)
https://www.youtube.com/watch?v=C9YMXXXh8BM (Capo 0)(MC0)
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) Bye bye (A) love. (D) Bye bye (A) happiness.
(D) Hello (A) loneliness. I think I'm a (E) gonna cry (A) -y.
(D) Bye bye (A) love. (D) Bye bye (A) sweet caress. (D) Hello (A) emptiness.
I feel like (E) I could di- (A) ie. Bye bye my (E) love goodby- (A) eye.
(NC) There goes my (E) baby, with a someone (A) new. She sure looks (E) happy, I sure am (A) blue.
She was my (D) baby, til he stepped (E) in. Goodbye to (E7) romance, that might have (A) been.
(NC) I'm a through with (E) romance. I'm a through with (A) love.
I'm through with a (E) countin', the stars a (A) bove.
And here's the (D) reason, that I'm so (E) free:
My lovin' (E7) baby, is a through with (A) me.
Bye bye my (E) love goodby- (A) ye. Bye bye my (E) love goodby- (A) ye.
(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=AB0ogv_DM9g (Capo 0)(MC0)
INTRO: <single strum> |D|
Working all (D) day, and the sun don't (G) shine.
Trying to get (A) by, and I'm just killin' (D) time.
I feel the rain, fall the whole night (G) through.
Far away from (Em) you (A), California (D) Blue.
(NC) California (G) Blue. Dreaming all a (D) lone. Nothing else to (A7) do. California (D) Blue.
Everyday I (G) pray, I'll be on my (D) way. Saving love for (A7) you. California (D) Blue.
One (G) sunny (A) day, I'll get (D) back again.
(G) Somehow some (A) way, but I (D) don't know when.
California (A) Blue. California (D) Blue.
(NC) Living my (D) life, with you on my (G) mind.

Thinking of (A) things, that I left far be (D) hind.
It's been so long, doing all I can (G) do, to get back to (Em) you (A). California (D) Blue.
California (G) Blue. Dreaming all a (D) lone. Nothing else to (A7) do. California (D) Blue.
Everyday I (G) pray, I'll be on my (D) way. Saving love for (A7) you. California (D) Blue.
One (G) sunny (A) day, I'll get (D) back again.
(G) Somehow some (A) way, but I (D) don't know when.
California (A) Blue. California (D) Blue.
Still missing (Em) you (A), California (D) Blue. Still missing (Em) you (A), California (D) Blue.
Still missing (Em) you (A), California (D) Blue.
CAN YOU FEEL THE LOVE TONIGHT – Elton John
(John/Rice)
https://www.youtube.com/watch?v=fTtgVSxfr5M (Capo 3)(MC0/3)
TIP: A fairly easy song to try out picking the notes along with the chords.
TIP: In the into and instrumental bridge, where you see the first double (G)(G) take four stabs
walking up the fingerboard from 2nd, 3rd, 4th, and 5th strings. At the second set it's 4th, 3rd,
4th, 5th (middle, lower, middle, up).
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) There's a calm surr (G) ender, (C) to the rush of (G) day.
(C) When the heat of a (G) rolling wind, (Am) can’t be turned a (D) way.
(C) An enchanted (G) moment, (C) and it sees me (G) through.
(C) It's enough for this (Gadd) rest (G) less (Em) warrior (Am) just to be with (D) you.
And (G) cannn you (D) feel the (Em) love to (C) night?
(G) It is (C) where (G) we (D) are.
(C) It's e-(G)-nough, for this (Gadd) wide (Em) eyed (C) wanderer,
(Am) That (G) we (C) got (Cmaj7) this (D) far.
And (G) cannn, you (D) feel the (Em) love to (C) night?
(G) How it's (C) laid (Cmaj7) to (D) rest.
(C) It's e-(G) nough, to make (Gadd) kings (Em) and (C) vagabonds,
Be (Am) lieve (G) the (D) ver-(C)-y (G) best.
(G) (D) (C) (G)(G) (C) (G)(G) (D)-(G)-(Am7)(D)

(C) There's a time for (G) everyone, (C) if they only (G) learn.
(C) That the twisting kal (G) eidoscope, (Am) moves us all in (D) turn.
(C) There's a rhyme and (G) reason, (C) to the wild out (G) doors.
(C) When the heart of this (Gadd) star- (G) crossed (Em) voyager,
(Am) Beats in time with (D) yours.
And (G) cannn you (D) feel the (Em) love to (C) night?
(G) It is (C) where (G) we (D) are.
(C) It's e-(G)-nough, for this (Gadd) wide (Em) eyed (C) wanderer,
(Am) That (G) we (C) got (Cmaj7) this (D) far.
And (G) cannn, you (D) feel the (Em) love to (C) night?
(G) How it's (C) laid (Cmaj7) to (D) rest.
(C) It's e-(G) nough, to make (Gadd) kings (Em) and (C) vagabonds,
(C) It's e-(G)-nough, to make (Gadd) kings (Em) and (C) vagabonds,
(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)(MC2)
[Also presented in [G] afterwards to avoid the (Bm)]
TIP: For the opening strum |A| once and then, still holding the (A), pick the covered 3rd, 2nd, and
1st strings followed by single strums of the chords until you get to the second D. This one-strum
pattern repeats at the end of the chorus.
TIP: Also in the chorus extend the chord to the back half of “wind” even though it’s one syllable.
INTRO: |A|, a - c# - e |G|-|G|-|G|-|D|, |D|-|Em|-|D| (D), (A)-(A7)
(D) Goodbye Norma Jean, though I never, (G) knew you at all you had the grace to (D) hold yourself,
While those around you (G) crawled. They crawled out of the (D) woodwork, and they whispered,
(G) Into your brain they set you on the (D) treadmill, and they made you change your (G) name.
And it (A) seems to me, you lived your life, like a (D) candle in the wi (G) nd.
Never (D) knowing who to cling to, when the (A) rain set in (A7).
And I (G) would have liked to have known you, but I was (Bm) just a kid.
Your candle burned out (A) long before, your (G) legend ever did. |G|-|G|-|G|-|D|, |D|-|Em|-|D|
(A)(A), |G|-|G|-|G|-|D|, |D|-|A|-|D|, (A7)
(D) Loneliness was tough, the toughest role, you (G) ever played Hollywood created a (D) superstar.
And pain was the price you (G) paid.
Even when you (D) died, oh the (G) press still hounded you, All the papers (D) had to say,
Was that Marilyn, was found (G) in the nude.
(A)(A), |G|-|G|-|G|-|D|, |D|-|A|-|D|, (A7)
(D) Goodbye Norma Jean, though I never, (G) knew you at all you had the grace to (D) hold yourself,
While those around you (G) crawled.
(D) Goodbye Norma Jean, from the young man in the (G) twenty-second row,
Who sees you as something more than (D) sexual. More than just our, Marilyn Mon (G) roe.
Your candle burned out (A) long before, your (G) legend ever did. |G|-|G|-|G|-|D|, |D|-|A|-|D|
CANDLE IN THE WIND - Elton John
(John/Taupin)
(MC3)
TIP: The opening is a single strum of |D| and then, still holding the (D), pick the open 4th
string, then reach up with your pinky to cover and pick the 4th string/4th fret, and then the covered
3rd string, followed by one strum of the chords until you get to the second D. 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|, d - f# - a |C|-|C|-|C|-|G|, |G|-|Am|-|G| G, (D)-(D7)
(G) Goodbye Norma Jean, though I never, (C) knew you at all you had the grace to (G) hold yourself,
While those around you (C) crawled.
They crawled out of the (G) woodwork, and they whispered,
(C) Into your brain they set you on the (G) treadmill, and they made you change your (C) name.
And it (D) seems to me, you (D7) lived your life, like a (G) candle in the wi (C) nd.
Never (G) knowing who to cling to, when the (D) rain set in (D7).
And I (C) would have liked to have known you, but I was (Em) just a kid.
Your candle burned out (D) long before, your (C) legend ever did. |C|-|C|-|C|-|G|, |G|-|Am|-|G|
(G)(G), |C|-|C|-|C|-|G|, |G|-|D|-|G|, (D7)
(G) Loneliness was tough, the toughest role, you (C) ever played Hollywood created a (G) superstar.
And pain was the price you (C) paid.
Even when you (G) died, oh the press (C) still hounded you, all the papers (G) had to say,
Was that Marilyn, was found (C) in the nude.
(G)(G), |C|-|C|-|C|-|G|, |G|-|D|-|G|, (D7)
(G) Goodbye Norma Jean, though I never, (C) knew you at all you had the grace to (G) hold yourself,
While those around you (C) crawled. (G) Goodbye Norma Jean, from the young man in the
(C) twenty-second row, who sees you as something more than (G) sexual. More than just our,
Marilyn Mon (C) roe.
Your candle burned out (D) long before, your (C) legend ever did. |C|-|C|-|C|-|G|, |G|-|D|-|G|
CAN’T GET ENOUGH – Patty Loveless
(Daly/BlazyRambeaux)
https://www.youtube.com/watch?v=oAgXRVI56pQ (Capo 0)(MC1)
INTRO: <drums> (D)(D)(G)-(D), (D)-(G)
(D) Wake up in the morning (G) start the coffee boilin’ I can't (D) get enough (D)(G).
(D) Throw the curtains open let the (G) sunshine in I can’t (D) get enough (D)(G).
Well I (D) work real hard for every (C) penny I make. Just (G) tryin’ to get the job done.
At the (D) end of the day I'm over (G) worked and underpaid I can't . . . (D) get enough.
When the week is done I like to (G) have some fun I can't (D) get enough (D)(G).
You can (D) find me hanging out where the (G) music's turned loud I can't (D) get enough (D)(G).
Yeah I'm (D) lookin' for a guy who can (C) light up my night. (G) Don't even have to be love.
A little (D) huggin' and kissin' I'm a (G) girl on a mission can't . . . (D) get enough.
(F) We only get one (C) time around you better (G) get it while you (D) can.
If you (F) let this old world go and (C) get you down
Life will (A7) slip right through your (A) hands.
(D)(D)(G)(D), (D)(D)(G)(D), (C)(G)(D)(D)(D)
So bring on the laughter, and (G) bring on the tears I can't (D) get enough (D)(G).
It's a (D) race against time just want to (G) live 'til I die I can't (D) get enough (D)(G).
Yeah I'm going to (D) take my turn gonna (C) love gonna learn, un (G) til my numbers up.
But for (D) now I gotta run the (G) parties just begun I can’t . . . (D) get enough.
(F) We only get one (C) time around you better (G) get it while you (D) can.
If you (F) let this old world go and (C) get you down
Life will (A7) slip right through your (A) hands.
Life will (A7) slip right through your (A) hands can't (D) get enough.
(G) Uh-uh I can't (D) get enough. (G) No no I can't (D) get enough.
(G) Oh I can’t . . . |D| 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)(MC2)
TIP: For the (Am)(Asus2)(Am) twinkle just lift the index finger and then replace it. Do the same
for the (Asus) using your pinky. For (CaddD) hold (C) and add pinky to the 2nd string/3rd fret.
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) Midnight, on the (Cmaj7) wa (Am) ter (Asus2)(Am).

I (C) saw, the ocean's (CaddD) daugh (Am) ter (Asus)(Am).
(F) Walking on a wave she (Dm) came. (F) Staring as she called my (Am) na - (G) ame.
And I (C) can't get it (G) out of my (F) head (G).

No I (C) can't get it (G) out of my (F) head (G).
Now my (C) old world is (G) gone for (F) dead (G).
Cuz I (C) can't get it (G) out of my (F) head (G).
(Am) Break (C) down, on the (Cmaj7) shore (Am) line (Asus2)(Am).
Can't (C) move, it's an (CaddD) ebb (Am) tide (Asus)(Am).
(F) Morning don't get here to (Dm) night, (F) searching for her silver (Am) li - (G) -ight.

Cuz I (C) can't get it (G) out of my (F) head (G) 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) Bank (C) job, in the (Cmaj7) ci-(Am)- ty (Asus2)(Am).

(C) Robin Hood and William Tell and Ivanhoe and Lancelot, they don't (Am) envy me yeah.
(F) Sitting til the sun goes (Dm) down.
In (F) dreams the world keep going (Am) round and (G) round.

Cuz I (C) can't get it (G) out of my (F) head (G) no-no.

Cuz I (C) can't get it (G) out of my (F) head (G) no-no (C) 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)(MC1/2)
TIP: Strike/strum each chord on the downstroke. Subsequent chord strumming patterns can then be
either alternating strokes or all downstrokes if you wish.
TIP: You finish the song on a (C). While holding (C), the numbers at the end and strings to be
picked with "P" meaning add the pinky to the bottom string/3rd fret. So you walk down the
fingerboard from the 3rd string, add your pinky, lift your pinky, walk back up the fingerboard to
the 3rd string, repeat, and end with a (CaddG).
INTRO: (C)(G)(C)(C)
Wise, (Em) men, (Am) say, only (F) fools, (C) rush, (G) in.
But (F) I, (G) can't, (Am) help, (Dm) falling in (C) love, (G) with, (C) you.
Shall, (Em) I, (Am) stay? Would it (F) be, (C) a, (G) sin,
If (F) I, (G) can't, (Am) help, (Dm) falling in (C) love, (G) with, (C) you?
(Em) Like a river (Am) flows, (Em) surely to the (Am) sea, (Em) darling so it (Am) goes.
(Em) Some things, are meant to (Dm) be (G7).
(C) Take, (Em) my, (Am) hand. Take my (F) whole, (C) life, (G) too.
For (F) I, (G) can't, (Am) help, (Dm) falling in (C) love, (G) with, (C) you.
(Em) Like a river (Am) flows, (Em) surely to the (Am) sea, (Em) darling so it (Am) goes.
(Em) Some things are meant to (Dm) be (G7).
(C) Take, (Em) my, (Am) hand. Take my (F) whole, (C) life, (G) too.
For (F) I, (G) can't, (Am) help, (Dm) falling in (C) love, (G) with, (C) you.
For (F) I, (G) can't, (Am) help, (Dm) falling in <slow down> (C) love, (G) with, (C) you.
3-2-1-P-1-2 3-2-1-P-1-2 (CaddG)
CAN'T KEEP IT IN
Cat Stevens
https://www.youtube.com/watch?v=0W_SGoBFJxs (Capo 0)(MC2)
TIP: To play the (Esus) and (Asus) first form (E) and (A) and then add your pinky to cover the
altered note. In other words, don't anticipate the (Esus) by playing it like an (A) with index,
middle and ring fingers in a row -- it'll just cause problems in the outro moving from (E) to
(Esus). Play (Esus) with your bottom three fingers so you can pivot your pinky off the 3rd string
while still covering the 3rd string/1st fret with your index finger.
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: The chords at the outro are a bit messy but are all simple additions of one finger to the
major chord. The only tricky bit is the suspended chords come first. For the (Cmaj7sus4) you just
play a (C) and roll your index finger down to cover the bottom <f> and then lift up. You can fake
it with the major chords just fine. And the last set of (E)s are struck forcefully.
INTRO: (A)(E)(D)(E)(Esus)-(E)
Oh I (A) can't keep it in. I can't keep it and I've (E) gotta let it out.
I've (D) got to show the world, world's got to see,
(E) See all the love, love that's in me I said
(A) Why walk alone, why worry when it's (E) warm over here.
You've got (D) so much to say, say what you mean,
(E) Mean what you're thinking and think anything oh (A) why,
Why must you (F#m) waste your life away?
You've got to (A) live (Asus2) for (A) to (E) day, then let it (G#m7) go, oh-(F#)-oh.
(A) Lover, I want to spend this (F#m) time with you.
There's nothing (A) I (Asus2) would-(A)-n't (E) do, if you let me (G#m7) know (F#) oh-(E)-oh.
And I (A) can't keep it in. I can't hide it and I (E) can't lock it away.
I'm (D) up for your love, love heats my blood,
(E) Blood spins my head and my head falls in love oh.
(A)(E)(D)(E)(F)-(G) No I (C) can't keep it in.

I can't keep it and I've (G) gotta let it out, whoa oh oh.
I've (F) gotta show the world, world's got to know,
(G) Know of the love, love that lies low so
(C) why can't you say? If you know then (G) why can't you say?
You've got (F) too much deceit, deceit kills the light,
(G) Light needs to shine I said (D) shine light (E) shine light (A) love,
That's no way to (F#m) live your life.

You allow too (A) much (Asus2) to (A) go (E) by, and that won't (G#m7) do, no (F#) no.
(A) Lover, I want to have you (F#m) here by my side.
Now don't you (A) run (Asus2) don't (A) you (E) hide, while I'm with (G#m7) you, (F#) oh-(E)-oh.
And I (A) can't keep it in, I can't keep it and I've (E) gotta let it out.
I've (D) got to show the world, world's got to see,
(E) See all the love, love that's in me I said (A) why walk alone,
Now why worry when it's (E) warm over here, mmm ah ha?
You've got (D) so much to say, say what you mean,
(E) Mean what you're thinking and think anything why not? (Asus)(A)(Asus)(A)
Now (E) why why not? (Esus)(E) (D4)(D)(D4)(D) (Cmaj7sus4)(C) (Esus)-(E) (Esus)-(E);
|A|-|E|-|D|-|Dsus2|-|E|; |E|-|E|-|E|
(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)(MC0)
TIP: The intro is all pinky work. For the (D) segment hold (D) and add pinky to bottom string 3rd
fret, lift to get back to (D) and then lift off the middle finger for (Dsus2). For (C)-|CaddD|-(C)
hold (C) and add pinky to 2nd string/3rd fret for one count and then lift. For (D)-(DaddA) add
pinky to bottom string/5th fret.
INTRO: (D)|D4|-(D)-(Dsus2)-(D), (C)|CaddD|-(C), (G)(G), (D)|D4|-(D);

<flute> (D), (C)(D)(G)(G)(D)|D4|-|D4|-(D); (D)|D|-(DaddA),(C),(G)(D);
(D)(C)(G)(D), (D)(C)(G)(D)
Gonna take a freight train (C), down at the station Lord (G), I don't care where it (D) goes.
Gonna climb a mountain (C), the highest (CaddD) mountain (G),
And jump off, nobody gonna (D) know.
Can't you see, whoa (C) can't you see, what that (G) woman Lord, she been doin' to (D) me?
Can't you see, can't you (C) see, what that (G) woman, she's been doin' to (D) me?
I'm gonna find me (C), a hole in the wall (G), I gonna crawl inside and (D) die.
'Cause my lady now, a mean ol' woman Lord (G), never tollld me good (D) bye.
Can't you see, whoooah (C) can't you see, what that (G) woman Lord, she been doin' to (D) me?
Can't you see, can't you (C) see, what that (G) woman Lord, she's been doin' to (D) me?
(D),(D)(C)(D), (G)(G)(D)(D); (D)-(D)-(D)-(D), (C)-(C)-(C), (G)-(G)-(G)-(G)-(D)
I'm gonna buy me a ticket now (C), as far as I can (G). Ain't a-never comin' (D) back.
Ride me a Southbound (C), all the way to (CaddD) Georgia now (G),
Till the train it run out of (D) track.
Can't you see, oh (C) can't you see, what that (G) woman Lord, she been doin' to (D) me?
Can't you see, can't you (C) see, what that (G) woman, she been doin' to (D) me? Oh Lord.
(D),(D),(G)(D); (D)-(D)-(D)-(D), (C)-(C)-(CaddD)-(CaddD), (G)-(G)-(G)-(G)-(D)
Can't you |D| see, whoa |C| can't you see, what that |G| woman Lord, she been doin' to (D) me?
Can't you |D| see, oh can't stand can't you |D| see,
What that |G| woman whoaa she been doin' to (D) me?
Can't you see (oh she's such a crazy (C) lady),

What that (G) woman (what a woman) she been doin' to (D) me?
Can't you see (lord I can't stand) can't you (C) see,
What that (G) woman, oh she been doin' to (D) me?
(Can't you see) I'm gonna take a freight train (can't you (C) see?)
I'm down at the station Lord (what that (G) woman) ain't neverrr comin' (D) back.
(Can't you see) gonna ride me the southbound (can't you (C) see?)
All the way to Georgia Lord (what that (G) woman) till the train run out of (D) 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)(MC2)
INTRO: <strum> (D)
I could tell the meaning of a (G) word like "ser (A) ene."
(D) I got some 'Oh' Grades when (G) I was six (A) teen.
(D) I can tell the difference 'tween (G) magarine and (A) butter.
(D) I can say "Saskatchewan" without (G) starting to (A) stutter.
But I can't under (D) stand why we (G) let someone (D) else rule our (A) land.
(NC) Cap in (D) hand.
I could get a broken jaw from (G) being in a (A) fight.

(D) I know it's evenin' when (G) day turns to (A) night.
(D) I can understand why Stran (G) raer lie so (A) lowly.
(D) They could save a lot of points by (G) signing Hibs' (A) goalie.
But I can't under (D) stand why we (G) let someone (D) else rule our (A) land.
(NC) Cap in (D) hand (G)(D).
(G) We (D) fight, (A) when they (D) ask us.

(G) We (D) boast, (A) then we (D) cower.
(G) We (D) beg, (A) for a (D) piece of,
(G) What's already (what), what's already (what), what's already (A) ours.
(D)(D)(G)(A), (D)(D)(G)(A), (A)(D)(G)(D)(A), (G)-(A)-(D)
(G) We (D) fight, (A) when they (D) ask us.

(G) We (D) boast, (A) then we (D) cower.
(G) We (D) beg, (A) for a (D) piece of,
(G) What's already (what), what's already (what), what's already (A) ours.
(D) Once I thought I could (G) make God a (A) bribe.
(D) So I said I was (G) in his lost (A) tribe.
(D) Getting handouts can (G) be so frust (A) rating.
(D) "Get in line son there's (G) five million (A) waiting."
I can't under (D) stand why you (G) let someone (D) else rule your (A) land. (NC) Cap in (D) hand.
No I (A) can't under (D) stand why we (G) let someone (D) else rule our (A) land.
(NC) Cap in (D) hand. Cap in (Bm) hand, cap in (G) hand, cap in (E) hand.
No I (A) can't under (D) stand why we (G) let someone (D) else rule our (A) land.
(NC) Cap in (D) hand. Cap in (G) hand. Cap in (D) hand. Cap in (G) hand. Cap in (D) hand.
Cap in (G) hand. Cap in (D) hand.
Umda latta latta, umda latta lataa, umda latta latta la.
(The Proclaimers) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CAR SONG (RIDING IN THE CAR)
Woody Guthrie
https://www.youtube.com/watch?v=DUDtFdnn9oQ (Capo 2)(MC2)
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)
Brrrm brm brm brm brm brm brm, (A) brrrm b' brrrm. Brrrm brm brm brm brm (D) brm brrrm b' brrrm.
Brrrm brm brm brm brm (G) brm brrrm b' brrrm. (D) Brrrm brm (A) brm brm brm brm (D) brrrm.
Take me riding in the (A) car car. Take me riding in the (D) car car.
Take you riding in the (G) car car. I'll (D) take you (A) riding in my (D) car.
Click clack open up the (A) door girls. Click clack open up the (D) door boys.
Front door back door (G) clickety clack (D) take you (A) riding in my (D) car.
Climb climb rattle on the (A) front seat. Spree I spraddle on the (D) backseat.
Turn my key, (G) step on my starter (D) take you (A) riding in my (D) car.
Engine it goes (A) brrm brrm. Engine it goes (D) brrm brrm.
Front seat backseat (G) boys and girls. (D) Take you (A) riding in my (D) car.
Trees and the houses (A) walk along. Trees and the houses (D) walk along.
Truck and a car and a (G) garbage can. I’ll (D) take you (A) riding in my (D) car.
Ships and the little boats (A) chug along. Ships and the little boats (D) chug along.
Brrrm brm brm brm brm brm (G) brrrm b' brrrm. (D) Take you (A) riding in my (D) car.
I'm a gonna send you (A) home again. I'm a gonna send you (D) home again.
Brrrm brm brm brm brm brm brrrm (G) rolling home (D) take you (A) riding in my (D) car.
I'm a gonna let you (A) blow the horn. I'm a gonna let you (D) blow the horn.
A oorah a oorah oo (G) rah oorah. I'll (D) take you (A) riding in my (D) car.
Brrrm brm brm brm brm brm brm, (D) brrrm b' brrrm. Brrrm brm brm brm brm (D) brm brrrm b' brrrm.
(Woody Guthrie) (Kid Friendly) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
CARELESS HEART - Roy Orbison
(Hammond/Orbison/Warren)
https://www.youtube.com/watch?v=rUCNEB7wivs (Capo 0)(MC2)
TIP: Both (F#) - which is just (F) moved up one fret - and (F#m) appear in this song.
TIP: You can play the (C#m) in whichever way is more comfortable to you but Roy sings the first
occurance in a lower register, so maybe play the (C#m) in frets 1-3 (first diagram - which is just
(D7) on the 1st fret), and then Roy sings it in an upper register the second time so play the (C#m)
in frets 4-7 like a (Bm) on the 4th fret. The chord will appears as (C#m/Bm4).
TIP: 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)
I had somebody, some (D) body who loved me, (E) someone so good to (A) me.
You were my angel, (D) you were my heaven. (E) But I-was too blind to (A) see.
(F#) I let you slip (D) away. (E) I guess I nev (A) er knew. (F#) I had the world (D) with you.
I'd be (Bm) there still be there in your (Dm) arms.
If not for my, (A) careless heart, (D) you'd still be loving me.
If not for my (A), careless heart, you'd still be (C#m/Bm4) mine (E).
I (A) wouldn't have this (F#m) hurt inside.
I (D) wouldn't have these (Dm) tears to cry if-not-for-my (A), careless heart.
If not for my (E), careless |E| heart.
(A) I had my chances, (D) I took advantage, (E) I took it all too (A) far.
So now you're gone and (D) I'm all alone. (E) Alone with my lonely (A) heart.
(F#) I let it fall (D) apart. (E) I didn't care e (A) nough. (F#) I lost your prec (D) ious love.
You'd be (Bm) here you'd be here in my (Dm) arms.
If not for my, (A) careless heart, (D) you'd still be loving me.
If not for my (A), careless heart, you'd still be (C#m/Bm4) mine (E).
I (D) wouldn't have these (Dm) tears to cry if-not-for-my (A), careless heart.
If not for my (E), careless heart, you'd still be (A) mine. (A)
|Dm| I'd be loving you, |A| I'd be holding you. |Dm| I'd be loving you ooh-|E|-ooh.
If not for my (A), careless heart. (D)(A)(C#m/Bm4)(E)

I (D) wouldn't have these (Dm) tears to cry-if-not-for-my (A), careless heart.
If not for my (E), careless heart. If not for my (A) careless heart,
(D) You'd still be loving me. If not for my (A) careless heart (C#m/Bm4)(E)(A).
CATCH A WAVE – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=yLgWbH-qhVo (Capo 0)(MC0)
TIP: Another Beach Boys tune with it’s overlapping harmonies. It’s helpful if you have a couple
of chums who can sing these which are denoted in parenthesis/italics beneath the main vocal.
INTRO: (A) Catch a (F) wave and you're (G) sittin’ on (A) top of the (D) world.
Don't be afraid to try the greatest sport around.

(Catch a wave, catch a wave.)
(Everybody tries it once.)
(A) Those who don't just have to (A7) put it (D) dow-own.
(Ooh wah ooh wah ooh waw.)
(G) You paddle out turn around and raise and baby (D),
That's all there is to the coastline craze you gotta (A),
Catch a (F) wave and you're (G) sittin' on (A) top of the (D) 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 strong.)
(A) They said it wouldn't (A7) last too (D) lo-onng.
(G) They'll eat their words with a fork and spoon and watch em (D),
They'll hit the road and all be surfin' soon and when they (A),
Catch a (F) wave they'll be (G) sittin' on (A) top of the (D) world.
(A)(A)(D)(D)(A)(A)(D)(D)(G)(G)(D)(D)
(A) Catch a (F) wave and your (G) sittin' on (A) top of the (D) world.
So take a lesson from a top-notch surfer boyyyy.

(Every Saturday boy.)
(A) But don't treat it (A7) like a (D) toyyyy.
(G) Just get away from the shady turf and baby (D),
Go catch some rays on the sunny surf and when you (A),
Catch a (F) wave you'll be (G) sittin' on (A) top of the (D) world.
(Way up above up on top of the world.)
(A) Catch a (F) wave and you'll be (G) sittin' on (A) top of the (D) world.
(A) Catch a (F) wave and you'll be (G) sittin' on (A) top of the (D) world.
(A) Catch a (F) wave and you'll be (G) sittin' on (A) top of the (D) world. (D) |D|
CAT'S IN THE CRADLE
Harry Chapin
https://www.youtube.com/watch?v=KUwjNBjqR-c&ab_ (Capo 1)(MC0)
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#>.
INTRO: (E), (EC#)-(A); (D), (G)-(D)-(E); (E)(E)(E)
My child arrived just the (G) other day.

He (A) came to the world in the (E) usual way.
But there were planes to catch, and (G) bills to pay.
(A) He learned to walk while I (E) was away.
And he was (D) talkin' 'fore I knew it, and (Bm) as he grew,
He'd say, (G) "I'm gonna be like (E) you, dad.
"You (G) know I'm gonna (Bm) be like (E) you." (E), |E|-|E|-|E|
And the cat's in the cradle and the (D) silver spoon.
(G) Little boy blue and the (E) man in the moon.
"When you coming home dad?"
"I (D) don't know when, but (G) we'll get together (E) then.
You (G) know we'll have a (Bm) good time (E) then."
(E), (EC#)-(A); (D), (G)-(D)-(E), (E)
My son turned ten just the (G) other day.

He said (A) "Thanks for the ball dad come (E) on let's play."
Can you teach me to throw?"
I said "Ah (G) not today I got a (A) lot to do" he said "(E) That's okay."
And he, he (D) walked away but his (Bm) smile never dimmed it said
(G) 'I'm gonna be like (E) him, yeah, you (G) know I'm gonna (Bm) be like (E) him.' |E|-|E|-|E|
"When you coming home dad?"
"I (D) don't know when, but (G) we'll get together (E) then.
(E), (EC#)-(A); (D), (G)-(D)-(E), (E)
Well he came from college just the (G) other day.

So (A) much like a man I just (E) had to say,
"Son I'm proud of you, can you (G) sit for a while?
He (A) shook his head, and he (E) said with a smile,
"What I'd (D) really like Dad is to (Bm) borrow the car keys.
(G) See you later can I (E) have them please?" |E|-|E|-|E|
"When you coming home son?"
"I (D) don't know when, but (G) we'll get together (E) then, Dad,
(C)(D)(E)(E), (C)(D)(E)(E)(E)(E)
I've long since retired my (G) son's moved away.

(A) I called him up just the (E) other day.
I said "I'd like to see you if (G) you don't mind."
He said "I'd (A) love to Dad if I could (E) find the time.
You see my (D) new job's a hassle and the (Bm) kids have the flu.
But it's (G) sure nice talkin' to (E) you Dad,
It's been (G) sure nice (Bm) talkin' to (E) you.
And as I (D) hung up the phone it o (Bm) ccurred to me,

He'd (G) grown up just like (E) me.
My (G) boy was just like (E) me. (E), |E|-|E|-|E|
"When you coming home son?"
"I (D) don't know when," but (G) we'll get together (E) then, Dad,
We're (G) gonna have a (Bm) good time (E) 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)(MC0)
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, and 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 Yoakum recording.
INTRO: (G)(A)(A)(D)
Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, ooo-oop-i-do-dee-do.

(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo, woo-oo ti (D) do.
The cattle are prowlin', the (G) coyotes are howlin', way (A) out where the doggies (D) bawl.
Where spurs are a jinglin', a (G) cowboy is singing, (A) his lonesome (A7) cattle (D) call.

(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo woo-oo ti (D) do.
He (G) rides in the sun til his (D) days work is done,
And he (E) rounds up the (E7) cattle each (A) fall.
(D) Woo-hoo, woo-ooo ti-do. (A) Singing his cattle (D) call.
For hours he’d ride on the (G) range far and wide. When the (A) night wind blew up a (D) squall.
His heart was a feather, in (G) all kinds of weather, as (A) he sings his (A7) cattle (D) call.
(D),(A),(D),(A)(D)
He's (G) browned as a fairy from (D) ridin' the prairie
And he (E) sings with an (E7) old western (A) drawl.
(D) Woo-hoo, woo-ooo ti-do. (A) Singing his (A7) cattle (D) call.



(D) Woo-hoo, woo-ooo ti-do. (A) Woo-hoo woo-oo ti (D) do (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)(MC2)
[Also in [G] afterwards]
TIP: The intro is awkward to play. Form (A) with your middle fingers and lightly rest your pinky
like a barre across strings so they’re muted. Now lift off the pinky and pick/strum the 3rd and
4th strings together, lay the pinky down again to mute all the strings and strum with a scraping
sound. Now lift briefly the pinky again and strum the 4th and 5th strings together. Pinky down
again. Repeat this second part 3 more times and proceed into the song.
INTRO <Form (A)>: <3>/<4> muted strum; <4>/<5> muted strum, <4>/<5> muted strum,
<4>/<5> muted strum, <4>/<5> muted strum
(A) Celia, you're (D) breaking my (A) heart, you're (D) shaking my (A) confidence (E) daily.
Oh Ce (D) cili (A) a, I'm (D) down on my (A) knees.
I'm (D) begging you (A) please to come (E) home.
(A) Celia, you're (D) breaking my (A) heart, you're (D) shaking my (A) confidence (E) daily.
I'm (D) begging you (A) please to come (E) home. Come on (A) home.
Making love in the (D) af (A) ter (E) noon with Ce (A) cilia (D) up (A) in (E) my bed (A) room.
I got up to (D) wash (A) my (E) face. When I (D) come back to (A) bed someone's (E7) taken my
(A) place.
Celia, you're (D) breaking my (A) heart, you're (D) shaking my (A) confidence (E) daily.
I'm (D) begging you (A) please to come (E) home. Come on (A) home.
(A) Bo bo (D) bo bo bo, bo bo bo bo bo bo-bo (E) bo bo bo bo.
(A)(D)(A)(D)(A)(E); (D)(A)(D)(A)(D)(A)(E)
Jubil (D) a (A) tion, she (D) loves me a (A) gain.

I (D) fall on the (A) floor and I'm (E) laughing.
Jubil (D) a (A) tion, she (D) loves me a (A) gain.
I (D) fall on the (A) floor and I'm (E) laughing.
Whoah (D) ohh (A) oh, whoa (D) ohh-oh (A) oh, (D) ohh-oh (A) oh-oh (E) oh.
Whoah (D) ohh (A) oh, whoa (D) ohh-oh (A) oh, (D) ohh-oh (A) oh-oh (E) oh.
Whoah (D) ohh (A) oh, whoa (D) ohh-oh (A) oh, (D) ohh-oh (A) oh-oh (E) oh. (E)-(E)-(A)
CECILIA - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=a5_QV97eYqM (Capo 4)(MC4/5)
TIP: The intro is awkward to play. Cover the 5th string/1st fret <a#> with your middle finger and
with your pinky hovering over, but not touching, the fretboard like you’re about to play a barre
with the pinky. Now pick/strum the 3rd and 4th strings together and drop your pinky down lightly to
mute all the strings. Strum the muted strings with a scraping sound. Now drop the index finger
onto the 4th string/1st fret - like an (Em) but in the first fret – and pick pick/strum the 4rd and
5th strings together. Mute the strings again with the pinky and strum a scraping sound again. Now
lift briefly the pinky again and strum the 4th and 5th strings together. Repeat this second part 3
more times and proceed into the song.
INTRO: <Form (A)>: <3>/<4> muted strum; <4>/<5> muted strum, <4>/<5> muted strum,
<4>/<5> muted strum, <4>/<5> muted strum
(G) Celia, you're (C) breaking my (G) heart, you're (C) shaking my (G) confidence (D) daily.
Oh Ce (C) cili (G) a, I'm (C) down on my (G) knees.
I'm (C) begging you (G) please to come (D) home.
I'm (C) begging you (G) please to come (D) home. Come on (G) home.
Making love in the (C) af (G) ter (D) noon with Ce (G) cilia (C) up (G) in (D) my bed (G) room.
I got up to (C) wash (G) my (D) face. When I (C) come back to (G) bed someone's (D7) taken my
(G) place.
I'm (C) begging you (G) please to come (D) home. Come on (G) home.
(G) Bo bo (C) bo bo bo, bo bo bo bo bo bo-bo (D) bo bo bo bo.
(G)(C)(G)(C)(G)(D); (C)(G)(C)(G)(C)(G)(D)
Jubil (C) a (G) tion, she (C) loves me a (G) gain.

I (C) fall on the (G) floor and I'm (D) laughing.
Jubil (C) a (G) tion, she (C) loves me a (G) gain.
I (C) fall on the (G) floor and I'm (D) laughing.
Whoah (C) ohh (G) oh, whoa (C) ohh-oh (G) oh, (C) ohh-oh (G) oh-oh (D) oh.
Whoah (C) ohh (G) oh, whoa (C) ohh-oh (G) oh, (C) ohh-oh (G) oh-oh (D) oh.
Whoah (C) ohh (G) oh, whoa (C) ohh-oh (G) oh, (C) ohh-oh (G) oh-oh (D) oh. (D)-(D)-(G)
CENTERFIELD
John Fogerty
https://www.youtube.com/watch?v=Xq3hEMUeBGQ (Capo 0)(MC1)
TIP: The intro repeats in the instrumental bridge. I've listed two ways to play it, one with the
individual notes and one with just the chords. The chords are pretty straight forward so let's
talk about the notes. First there’s the clapping part which either you know the cadence or you
don’t. Then the riff. Listed are the individual <notes> and where to find them so you can pick
them out. Notice the slight pause between the <c> and the <d> and between the <a> and the <g>.
You play the entire run three times and then finish with the chords. 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:
<g> = top str/3rd fret <a> = 5th str open = 5th str/2rd fret <c> = 5th str/3rd fret
<d> = 4th str open <e> = 4th str/2nd fret <f#> = 4th str/4th fret <g> = 3rd str open
<a> = 3rd str/2nd fret <g> = 3rd str open <a> = 3rd str/2nd fret = 2nd str open
<d> = 4th str open
TIP: The opening verse is carried in (G). But Fogerty wrote the song with a little sing-song
melody that sounds better if you alternate a (G) and a (G-add). The (G-add) is indicated with a
word in brackets, such as: “We’re <born> a <gain> . . .” The words “We’re and “a” are in natural
(G) and the words <born> and <gain> are in (G-add). See the chord diagram. If this is all too
messy just play (G).
< >
INTRO with notes: (Claps) <g> <a> <c> (ever-so-brief-pause) <d> <e> <f#> <g> <a> (ever so
brief pause) <g> <a> <d> - (repeat twice more) - (C)(G)(A)(D), (G)-(G4)-(G),
(G)(G)-(G4)-(G), (G)-(G4)-(G),(G)(G)-(G4)-(G)
INTRO with chords: (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)
Well <beat> the <drum>, and <hold> the <phone>. The (C) sun came out to (G) day.
We're <born> a <gain> there's (Em) new grass on the (D) field (D7).
(G) A <roun> din' <third>, and <headed> for home, it's a (C) brown-eyed handsome (G) man.
Any (C) one, can under (D) stand, the way I (G) feel. (G)-(G4)-(G), (G)(G)-(G4)-(G)
Oh put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach.
I'm ready to (C) play, to (G) day. Look at (D) me, I can (D7) be, Center (G) field.
(G)-(G4)-(G), (G)(G)-(G4)-(G); (G)-(G4)-(G), (G)(G)-(G4)-(G)
Well I spent some time in the Mudville Nine, (C) watchin' it from the (G) bench.
You know I took some lumps when the (Em) Mighty Case struck (D) out (D7).
So (G) Say Hey Willie, tell Ty Cobb, and (C) Joe DiMaggi (G) o.
Don't (C) say "it ain't so", you (D) know the time is (G) now. (G)-(G4)-(G), (G)(G)-(G4)-(G)
Oh put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach.
I'm ready to (C) play, to (G) day. Look at (D) me, I can (D7) be, Center (G) field.
(G)-(G4)-(G), (G)(G)-(G4)-(G); (G)-(G4)-(G), (G)(G)-(G4)-(G)
--------------
<g> <a> <c> (ever-so-brief-pause) <d> <e> <f#> <g> <a> (ever so brief pause) <g> <a> <d> -
(repeat twice more) - (C)(G)(A)-(A)-(A)-(A)...Yeah I (D) got it I got it!
or (G)(C)(D)(G), (C)(D)(G), (C)(D)(G); (C)(G)(A)-(A)-(A)-(A)...Yeah I (D) got it I got it!
--------------
(G)-(G4)-(G), (G)(G)-(G4)-(G), (G)-(G4)-(G), (G)(G)-(G4)-(G)
Got a beat up glove, a home made bat, and (C) brand new pair of (G) shoes.
You know I think it's time, to (Em) give this game a (D) ride (D7).
Just to (G) hit the ball, and touch 'em all, a (C) moment in the (G) sun.
<Pop> It's a (C) gone and you can (D) tell that one good (G) bye.
Oh put me in Coach. I'm ready to (C) play, to (G) day.

Put me in Coach. I'm ready to (C) play, to (G) day. Look at (D) me, I can (D7) be . . .
Oh (G) put me in Coach. I'm ready to (C) play, to (G) day. Put me in Coach.
I'm ready to (C) play, to (G) day. Look at (D) me, gotta (D7) be, Center (G) field. Yeah!
(C), (G), (A), (D), |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)(MC0)
TIP: Most of the song revolves around a (G)(F)(C) sequence. It's not hard but is a bit tricky to
play correctly. The intro is the same as the "Na na" part. The first half starts with two beats
of (G), then a brief pause, and then quickly one more beat of (G), then one beat of (F), and then
straight up to the (C) for two more beats. The second half is five beats of (C), one beat of (F),
and three more beats of (C). Think of that move to the (F) and (C) as a "hop". In the first half,
hop from the (G) to the (F) and hop from to (F) to the (C). In the second half, hop from the (C)
to the (F) and back to the (C).
TIP: That same "hop" from (C) to (F) to (C) also comes around in the chorus on the world
"centerfold". You'll lead with a (C) and then a one-count of |F| at "center" and return to the (C)
for "fold."
TIP: At the end of the verse line is a (F)(C) played as a two-count "bump-bump" with the first
chord on the last syllable of the word and the second chord played after the word. In the
prechorus is something similar with a (C)(D) played as a two-note walk-up. Both are quickly
followed by the first chord of the next line.
INTRO: (G)(F)-(C),(C)(C)(F)-(C); (G)(F)-(C),(C)(C)(F)-(C)

(G)(F)-(C),(C)(C)(F)-(C); (G)(F)-(C),(C)(C)(F)-(C)
(G) Does she walk? (F) Does she talk? (C) Does she come com (F) plete (C)?
My (G) homeroom homeroom (F) angel always (C) pulled me from my (F) seat (C).
(G) She was pure like (F) snowflakes no (C) one could ever (F) stain (C),
The (G) memory of my (F) angel, could (C) never cause me pain.
The (Em) years go by I'm lookin' through a (Am) girly maga (C) zine (D)
And (Em) there's my homeroom angel on the (Am) pages in be (C) tween (D).
My (G) blood runs (F) cold, my (C) memory has just been sold.
My (G) angel is the (F) centerfold, (C) Angel is the |F| center (C) fold.
(G) My (G) blood runs (F) cold, my (C) memory has just been sold. (G)(F)
(C) Angel is the |F| center (C) fold.
(G) Slipped me notes, (F) under the desk, while (C) I was thinkin' a (F) bout her (C) dress.
(G) I was shy I turned a (F) way be (C) fore she caught my (F) eye (C).
(G) I was shakin' (F) in my shoes when (C) ever she flashed those (F) baby-blues.
(G) Somethin' had a (F) hold on me when (C) angel passed close by.
Those (Em) soft, fuzzy sweaters too (Am) magical to (C) touch (D).
To (Em) see her in that negligee is (Am) really just too (C) much (D).
(C) Angel is the |F| center (C) fold.
(G) Na na, na |F| na (C) na na, na na na nana |F| na (C) na na na

(G) It's okay I (F) understand this (C) ain't no never-(F) never (C) land.
(G) I hope that when this (F) issue's gone I'll (C) see you when your clothes are (F) on.
(G) Take you car, (F) yes we will, we'll (C) take your car and (F) drive it.
We'll (G) take it to a (F) motel room and (C) take 'em off in (F) private.
A (Em) part of me has just been ripped, the (Am) pages from my (C) mind are (D) stripped.
(Em) Oh no, I can't deny it, (Am) oh yeah, I (C) guess I gotta (D) buy it.
My (C) angel is the |F| center (C) fold.
|G| Na na, na |F| na na na, |C| na na na nana na |G| na . . . Alright, alright, 1, 2, 3, 4

My (G) angel is the (F) centerfold, (C) Angel is the |F| center (G) fold. (G)(F)
(G) Angel is the (F) centerfold, (C) Angel is the |F| center (C) fold.
(G) Na na na |F| na (C) na na, na na na nana |F| na (C) na na na

(G) Na na na |F| na (C) na na, na na na nana |F| na (C) na na na
(G) Na na na |F| na (C) na na, na na na nana |F| na (C) na na |C| na
(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)(MC0)
INTRO: (D)(G)(C)-(G)-(D)
Bought a ticket to Seattle but I (G) can't get to the plane.

(D) Every time I leave you I keep (A) runnin’ out of chain.
I (D) hunger for your love it never (G) gives me any slack,
But if I (A) ever break away, I'm never coming back to these
(D) Chains, chains, (G) shackles and chains,

No (A) matter what it takes someday I'm gonna break these
These (D) love takin’ heartbreakin’ (C) cold hard (G) lonely making (D) chains (D)(D).
You never try to hold me 'til you (G) see me walking out.
I (D) guess you'd rather be with me than (A) ever be without.
You (D) call me back and kiss me and my (G) heart begins to sink
When I (A) know that all you're doin's taking up another link in these

These (D) love takin’ heartbreakin’ (C) cold hard (G) lonely making (D) chains. (G)(C)-(G)-(D)(D)
(G) Love was never meant to be a (D) one-way street.

(A) I was never meant to be (D) fallin’ at your feet.
You (G) got me where you want me and I (D) don't know what to do.
You (A) don't belong to me but I belong to you in these
These (D) love takin’ heartbreakin’ (C) cold hard (G) lonely making (D) chains.
Chains, chains, (G) shackles and chains,

These (D) love takin’ heartbreakin’ (C) cold hard (G) lonely making (D) chains (D)(D).
CHANGES IN LATITUDES, CHANGES IN ATTITUDE
Jimmy Buffett
https://www.youtube.com/watch?v=56nHBah7mdE (Capo 0)(MC0)
TIP: When moving from the (Bm) to the (F#m) hold fast on the pinky of the (Bm) and barre the 2nd
fret with your index finger while lifting off the middle and ring.
TIP: There's a rapid one-strum |G|-|D|-|A|-(D) chord pairing for the final "would go insane" part
at the end of the song. It's the same sequence as the last part of the intro. If too quick play
(G) through to the (D) like in the previous choruses.
TIP: The last word of the song is "sane" which starts as six strums of (G).
INTRO: (G),(D),(A),(D); (G)(D)(A), |G|-|D|-|A|-(D)(D)
I took off for a (G) weekend last month just to (A) try and recall the whole (D) year.
All of the faces and (G) all of the places (A) wonderin' where they all disa (D) ppeared.
(Bm) I didn't ponder the (F#m) question too long I was (G) hungry and went out for a (A) bite.
Ran (G) into a chum with a (D) bottle of rum and we (A) wound up (A7) drinkin' all (D) night.
It's those (G) changes in latitudes, (D) changes in attitudes

(A) Nothing remains quite the (D) same.
With (G) all of our running and (D) all of our cunning
If (A) we couldn't laugh we would (G) all go in (D) sane.(D)
Reading departure signs (G) in some big airport re (A) minds me of the places I've (D) been.
Visions of good times that (G) brought so much pleasure makes (A) me want to go back a (D) gain.
If it (Bm) suddenly ended to (F#m) morrow, I could (G) somehow adjust to the (A) fall.
(G) Good times and riches and (D) son of a bitches I've (A) seen more than (A7) I can re (D) call.
With these (G) changes in latitudes, (D) changes in attitudes
(A) Nothin' remains quite the (D) same.
Through (G) all of the islands and (D) all of the highlands
If (A) we couldn't laugh we would (G) all go in (D) sane. (D)
(G)(D)(A),|G|-|D|-|A|-(D)(D)
I think about Paris when I'm (G) high on red wine I (A) wish I could jump on a (D) plane.
So many nights I just (G) dream of the ocean God I (A) wish I was sailin' a (D) gain.
Oh (Bm) yesterdays are over my (F#m) shoulder, so (G) I can't look backward too (A) long.
There's just (G) too much to see waiting (D) in front of me
And I (A) know that I (A7) just can't go (D) wrong. With these
(G) Changes in latitudes (D) changes in attitudes (A) nothing remains quite the (D) same.
With (G) all of my running and (D) all of my cunning if (A) I couldn't laugh I just
|G| would |D| go |A| in (D) sane.
If (A) we couldn't laugh we just |G| would |D| go |A| in (D) sane.
If (A) we weren't all crazy we (G) woooold, (A) go in |G| sane. |G|-|G|-|G| |G|-|G|,
|D|-|D|-|D|-|D| |D|-|D|, |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)(MC1)
[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: It will really sound better if you can hit at least the pinky on the 4th string/4th fret of
the (F#m) as shown in the diagram. But if the (F#m) is too awkward you can just go back and play
another (A) instead.
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) Going to the (A) chapel and we're, (Em) gonna get (F#m) married.
(D) Gee I really love you and we're, gonna get married.
(Em) Goin’ to the (F#m) chapel of (D) love. (A)
(D) Spring is here, the-uh-uh, sky is blue.

Whoa-o-oh, (Em) birds all (A) sing as, (Em) if they (A) knew.
(D) Today's the day, we'll say "I (B) do."
And we'll (Em) never, be (F#m) lonely any (D) more (A).
Because we’re, (D) going to the chapel and we're, gonna get married.
(Em) Goin’ to the (F#m) chapel of (D) love. (A)
(D) Bells will ring, the-uh-uh, sun will shine.

Whoa-o-oh, (Em) I'll be (A) his and, (Em) he'll be (A) mine.
(D) We'll love until, the end of (B) time.
And we'll (Em) never, be (F#m) lonely any (D) more (A).
Because we’re, (D) going to the chapel and we're, gonna get married.
(Em) Goin’ to the (F#m) chapel of (D) love.
Yeah yeah yeah yeah, (Em) goin’ to the (F#m) chapel of (D) love.
Yeah yeah yeah yeah, (Em) goin’ to the (F#m) chapel of (D) love.
Yeah yeah yeah yeah, (Em) goin’ to the (F#m) chapel of (D) love. (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)(MC1)
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) Going to the (G) chapel and we're, (Dm) gonna get (G) married.
(C) Gee I really love you and we're, gonna get married.
(Dm) Goin’ to the (G) chapel of (C) love. (G)
(C) Spring is here, the-uh-uh, sky is blue.

Whoa-o-oh, (Dm) birds all (G) sing as, (Dm) if they (G) knew.
(C) Today's the day, we'll say "I (A) do."
And we'll (Dm) never, be (G) lonely any (C) more (G).
Because we’re, (C) going to the chapel and we're, gonna get married.
(Dm) Goin’ to the (G) chapel of (C) love. (G)
(C) Bells will ring, the-uh-uh, sun will shine.

Whoa-o-oh, (Dm) I'll be (G) his and, (Dm) he'll be (G) mine.
(C) We'll love until, the end of (A) time.
And we'll (Dm) never, be (G) lonely any (C) more (G).
Because we’re, (C) going to the chapel and we're, gonna get married.
(Dm) Goin’ to the (G) chapel of (C) love.
Yeah yeah yeah yeah, (Dm) goin’ to the (G) chapel of (C) love.
Yeah yeah yeah yeah, (Dm) goin’ to the (G) chapel of (C) love.
Yeah yeah yeah yeah, (Dm) goin’ to the (G) chapel of (C) love. (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)(MC0)
TIP: (Asus2) is just (A) with the ring finger lifted off the 2nd string/2nd fret. Up/down. You
can also pick out the individual notes for the intro which are all contained within the (A) and
(Asus2). Notice there's a slight pause between the two (Asus2)s, denoted by the comma.
INTRO: (Softly) |A|-|A|-|A|-|Asus2|,|Asus2|-|A|; |A|-|A|-|A|-|Asus2|,|Asus2|-|A|;

|A|-|A|-|A|-|Asus2|,|Asus2|-|A|; |A|-|A|-|A|-|Asus2|,|Asus2|-|A|;
I'm sail-in' down the summer (D) wind,

I got (A) whiskers on my (E) chin,
And I (D) like the mood I'm (A) in.
As I while away the (D) time of day in the (A) lee of Christian (E) Island.
(A) Tall and strong she dips and (D) reels.

I (A) call her Silver (E) Heels,
And she (D) tells me how she (A) feels.
She's a good old boat and she'll (D) stay afloat
Through the (A) toughest gale and keep (E) smilin'.
But for (A) one more day she would (D) like to stay in the (E) lee of Christian (A) Island.
|A|-|A|-|A|-|Asus2|,|Asus2|-|A|; |A|-|A|-|A|-|Asus2|,|Asus2|-|A|
I'm sail-in' down the summer (D) day,

Where (A) fish and seagulls (E) play.
I put my (D) troubles all a (A) way.
And when the gale comes up I'll (D) fill my cup,
With the (A) whiskey of the (E) Highlands.
She's a (A) good old ship and she'll (D) make the trip from the (E) lee of Christian (A) Island.
(A)(A)(D)(A)(E)(D)(A)(A)(D)(A)(E)(E)
(A) Tall and strong she slips a (D) long.
I (A) sing for her a (E) song,
And she (D) leans into the (A) wind.
She's a good old boat and she'll (D) stay afloat
Through the (A) toughest gale and keep (E) smilin'.
When the (A) summer ends we will (D) rest again in the (E) lee, of Christian (A) Island.
|A|-|A|-|A|-|Asus2|,|Asus2|-|A|; |A|-|A|-|A|-|Asus2|,|Asus2|-|A|;
|A|-|A|-|A|-|Asus2|,|Asus2|-|A|; |A|-|A|-|A|-|Asus2|,|Asus2|-|A|; |A|
(Gordon Lightfoot) (Artist Index) - (Main Index) - (Song Index) (This Song)
CIRCLE
Harry Chapin
https://www.youtube.com/watch?v=fW0vjZiu_rw (Capo 0)(MC0/4)
TIP: There's an 8-note riff or voicing, call it what you will, I think it's a piano, but it opens
the song and overlays much of it including the segue between verses. It's easy to play but you'll
want to practice it first to get it down. Do it slowly at first until you get the rhythm. Okay,
so it's four strums of (D), then you add your pinky too the bottom string/3rd fret for one strum
(D4), lift off to get back to (D) for one strum, now lift off your bottom finger for one strum
(Dsus2), and return your bottom finger for one more strum of (D). If you're going to go amiss it
will be with not playing that final (D). This sequence is played quite quickly and usually repeats
three times between verses although it goes on as long as needed while Harry calls up various
members of the band/crew to sing a verse.
INTRO: |D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|; |D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|
(D) All my life's a circle, sunrise and sun (Em7) down.

The (Em) moon rolls thru the (Em7) nighttime, til the day (A7) break comes a (D) round.
All my life's a circle, but I can't tell you (Gadd) why.
Season's spinning round a (A7) gain, the (G) years keep (A) rollin' (D) by.
|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|; |D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|;
|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|
It seems like I've been here before, I can't remember (Em7) when, yes I can.
And I (Em) got this funny (Em7) feeling, that we'll (A7) all be together a (D) gain.
There's no straight lines make up my life and all my roads have (Gadd) bends.
There's no clear-cut be (A7) ginnings, and (G) so far (A) no dead (D) ends.
|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|
I found you a thousand times. I guess you done the (Em7) same.
But (Em) then we lose each (Em7) other, it's just (A7) like a children's (D) game.
As I find you here again, a thought runs through my (Gadd) mind:
Our love is like a (A7) circle, let's (G) go 'round (A) one more (D) time.
|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|
All my life's a circle, sunrise and sun (Em7) down.

The season's spinning round a (A7) gain, the (G) years keep (A) rollin' (D) by.
|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|

|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|

|D|-|D|-|D|-|D|-|D4|-|D|-|Dsus2|-|D|

And the (Em) years (the years), keep on (A) rollin’ (keep on rollin’), (D) by-(G)-y-(A)-(D)-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)(MC0)
TIP: The intro consists of the chords from the first line and last of each verse.
TIP: Your going to see in the intro/outro and before the last word in each verse. It comes
after a (G) and before the (D) and means to "pull" or lift off the bottom string of the (G). This
is because there's an <e> that would usually be covered by a (Cmaj7) at this point but the
transition is so fast it's too cumbersome for most to play efficiently.
INTRO: (D)(C)(D)(G); (D)(G)(A)(Bm)(G)(D)
Rows of lights in a (C) circle of steel where you (D) place your bets on a (G) great big wheel.
(D) High windows flickerin' (C) down through the (G) snow. A time (D) you know.
Sights and sounds of the (G) people goin' (A) round
Every (Bm) body's in (G) step with the sea (D) son.
A child is born to a (C) welfare case where the (D) rats run around like they (G) own the place.
(D) The room is chilly the (C) building is (G) old. (D) That's how it goes.
The doctor’s found on his (G) welfare (A) rounds
And he (Bm) comes and he (G) leaves on the dou (D) ble.
"Deck the Halls" was the (C) song they played in the (D) flat next door where they (G) shout all
day. (D) She tips her gin bottle (C) back till it’s (G) gone. The child (D) is strong.
A week a day they will (G) take it a (A) way
Gor they (Bm) know about (G) all her bad hab (D) its.
(D)(G)(A)(Bm)(G)(D)
Christmas dawns and the (C) snow lets up and the (D) sun hits the handle of her (G) heirloom cup.
(D) She hides her face in her (C) hands for a (G) while. Says "Look (D) here child.
Your father's pride was his (G) means to pro (A) vide
And he's (Bm) servin' three (G) years for that rea (D) son."
Rows of lights in a (C) circle of steel where you (D) place your bets on a (G) great big wheel.
(D) High windows flickerin' (C) down through the (G) snow. A time (D) you know.
Sights and sounds of the (G) people goin' (A) round
Every (Bm) body's in (G) step with the sea (D) son.
(D)(G)(A)(Bm)(G)(D)
CITY OF NEW ORLEANS - Arlo Guthrie
(Goodman)
https://www.youtube.com/watch?v=TvMS_ykiLiQ (Capo 4)(MC0)
[Also in [G] afterwards.]
INTRO: (D)(A); (D)(A)
(D) Riding on the (A) City of New Or (D) leans.

(Bm) Illinois Central, (G) Monday morning (D) rail (A).
(D) Fifteen cars and (A) fifteen restless (D) riders,
Three con (Bm) ductors, (A) twenty-five sacks of (D) mail.
All a (Bm) long the south bound odyssey, the (F#m) train pulls out of Kankakee,
And (A) rolls along past houses farms and (E) fields.
(Bm) Passing trains that have no name, and (F#m) freight yards of old black men,
And the (A) graveyards of (A7) rusted automo (D) biles.
(G) Good morning Am (A) erica how (D) are you?

Say (Bm) don't you know me, (G) I'm your native (D) son (A).
I'm the (D) train they call the (A) City of New (Bm) Orleans.
I'll be (C) gone five (G) hundred (A) miles when the day is (D) done.
Dealing card games, with the (A) old men in the (D) club car.
(Bm) Penny a point ain't (G) no one keeping (D) score (A).
(D) Pass the paper (A) bag that holds the (D) bottle.
(Bm) Feel the wheels, (A) rumblin' 'neath the (D) floor.
And the (Bm) sons of Pullman porters, and the (F#m) sons of engineers,
Ride their (A) father's magic carpets, made of (E) steel.
(Bm) Mothers with their babes asleep, are (F#m) rocking to the gentle beat
And the (A) rhythm of the (A7) rails is all they (D) feel.
(G) Good morning Am (A) erica how (D) are you?
I'll be (C) gone five (G) hundred (A) miles when the day is (D) done.
Nightime on the (A) City of New (D) Orleans.

(Bm) Changing cars in (G) Memphis Tennes (D) see (A).
(D) Half way home, (A) we'll be there by (D) mornin',
Through the (Bm) Mississippi darkness (A) rolling down to the (D) sea.
But (Bm) all the towns and people seem, to (F#m) fade into a bad dream,
And the (A) steel rail, still ain't heard the (E) news.
The con (Bm) ductor sings his songs again, the (F#m) passengers will please refrain,
This (A) train got the disa (A7) ppearin' railroad (D) blues.
(G) Good night Am (A) erica how (D) are you?

I'll be (C) gone five (G) hundred miles (A) when the day is (D) done. (A)(D)(A)(D)
(Arlo Guthrie) (Artist Index) - (Main Index) - (Song Index) (This Song)
CITY OF NEW ORLEANS - Arlo Guthrie
(Goodman)
(MC1)
INTRO: (G)(D); (G)(D)
(Gadd) Riding on the (D) City of New Or (G) leans.

(Em) Illinois Central, (C) Monday morning (Gadd) rail (D).
(Gadd) Fifteen cars and (D) fifteen restless (G) riders,
Three con (Em) ductors, (D) twenty-five sacks of (G) mail.
All a (Em) long the south bound odyssey, the (Bm) train pulls out of Kankakee,
And (D) rolls along past houses farms and (A) fields.
(Em) Passing trains that have no name, and (Bm) freight yards of old black men,
And the (D) graveyards of (D7) rusted automo (G) biles.
(C) Good morning Am (D) erica how (G) are you?

Say (Em) don't you know me, (C) I'm your native (G) son (D7).
I'm the (G) train they call the (D) City of New (Em) Orleans.
I'll be (F) gone five (C) hundred (D) miles when the day is (G) done.
Dealing (Gadd) card games, with the (D) old men in the (G) club car.
(Em) Penny a point ain't (C) no one keeping (Gadd) score (D).
(Gadd) Pass the paper (D) bag that holds the (G) bottle.
(Em) Feel the wheels, (D) rumblin' 'neath the (G) floor.
And the (Em) sons of Pullman porters, and the (Bm) sons of engineers,
Ride their (D) father's magic carpets, made of (A) steel.
(Em) Mothers with their babes asleep, are (Bm) rocking to the gentle beat
And the (D) rhythm of the (D7) rails is all they (G) feel.
(C) Good morning Am (D) erica how (G) are you?
I'll be (F) gone five (C) hundred (D) miles when the day is (G) done.
(Gadd) Nightime on the (D) City of New (G) Orleans.

(Em) Changing cars in (C) Memphis Tennes (Gadd) see (D).
(Gadd) Half way home, (D) we'll be there by (G) mornin',
Through the (Em) Mississippi darkness (D) rolling down to the (G) sea.
But (Em) all the towns and people seem, to (Bm) fade into a bad dream,
And the (D) steel rail, still ain't heard the (A) news.
The con (Em) ductor sings his songs again, the (Bm) passengers will please refrain,
This (D) train got the disa (D7) ppearin' railroad (G) blues.
(C) Good night Am (D) erica how (G) are you?

I'll be (F) gone five (C) hundred miles (D) when the day is (G) done. (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)(MC0)
TIP: Harold and Don wrote this with a half-step key change which really presents some awkward
sharped chords so I've increased the change to a full step. It still introduces the (F#m) and (Bm)
but it's still easier than the half-step although it won't match the recording. Or you can just
ignore the key change completely and play the second half of the song with same chords as the first
half by moving the capo up one fret at the key change.
INTRO: (C)(Em)(Dm)(G)
(C) Tommy's sellin' (Em) used cars, (Am) Nancy's fixin' hair.
(F) Harvey runs a grocery store and (D7) Margaret doesn't care.
(C) Jerry drives a (Em) truck for Sears and (Am) Charlotte's on the make,
And (F) Paul sells life insurance, and (G7) part time real es (C) tate. (G)
(C) Helen is a (Em) hostess, (Am) Frank works at the mill.

(F) Janet teaches grade school and (D7) prob'ly always will.
(C) Bob works for the (Em) city, and (Am) Jack's in lab research,
And (F) Peggy plays organ at the (G7) Presbyterian (C) Church.
And the (F) class of '57 had its (C) dreams.

Oh (Am) we all thought we'd change the world with (D7) our great works and (G7) deeds.
Or (F) maybe we just thought the world would (C) change to (E7) fit our (Am) needs.
The (F) class of fifty (G7) seven had its (C) dreams.
(Key change/Capo +1) (A)
(D) Betty runs a (F#m) trailer park, (Bm) Jan sells Tupperware.
(G) Randy's on an insane ward, (E) Mary's on welfare.
(D) Charlie took a (F#m) job with Ford, (Bm) Joe took Freddie's wife.
(G) Charlotte took a millionaire, and (A7) Freddie, took his (D) life. (A)
(D) John is big in (F#m) cattle, (Bm) Ray is deep in debt. Where (G) Mavis finally wound up,
is (E) anybody's bet. (D) Linda married (F#m) Sonny, (Bm) Brenda married me. And the (G) class of
all of us is just a (A7) part of histor (D) y.
And the (G) class of '57 had its (D) dreams.

But (Bm) livin' life from day to day is (E) never like it (A) seems.
(G) Things get complicated, when (D) you get past eight (Bm) een
But the (G) class of fifty (A) seven had its (D) dreams (Bm).
Oh the (G) class of fifty (A) seven had its (D) dreams.
CLOSE ENOUGH TO PERFECT - Alabama
(Chambers)
https://www.youtube.com/watch?v=UVivkbmu3To (Capo 0)(MC0)
TIP: Play (F3) like an (F) on the 3rd fret. It's really just (G) with a slighly higher timber and
you can substitute a (G) wherever you see an (F3) if you'd rather not play it.
INTRO: (G)-(G)|Am|,|Bm|,|C|-|C|,(C)-(F3),(D)
(G) Sometimes her morning (D) coffee's way too (Am7) strong.
And (C) sometimes what she says, she (D) says all (G) wrong (D).
But right or (G) wrong she's there (D) beside me, like (C) only a (Am) friend would (C) be.
And that's (Am) close enough to (Bm3) perfect for (G) me. (D)
Now (G) she's been know to (D) wear her her pants too (Am7) tight.
And (C) drinking puts her out just (D) like a (G) light (D).
Heaven (G) knows she's not an (D) angel, but she'd (C) really (Am) like to (C) be.
And that's (Am) close enough to (Bm3) perfect for (G) me.
She (C) kisses me each (Am) morning, and (G) smiles her sleepy smile.
(C) She don't have to (Am) say it, I can (F) see it in her (D) eyes.
Don't you (G) worry about my (D) woman, or what you (C) think she (Am) ought to (C) be.
Cause she’s (Am) close enough to (Bm3) perfect for (G) me.
(G)-(G)|Am|,|Bm|,|C|-|C|,(C)-(F3),(D)
(G) Sometimes she gets (D) down and starts to (Am7) cry.
But (C) then again a lady (D) has the (G) right (D).
She's every (G) thing I've ever (D) wanted, she's (C) all I'll (Am) ever (C) need.
She's (Am) close enough to (Bm3) perfect for (G) me.
She (C) kisses me each (Am) morning, and (G) smiles her sleepy smile.
(C) She don't have to (Am) say it, I can (F) see it in her (D) eyes.
Don't you (G) worry about my (D) woman, or what you (C) think she (Am) ought to (C) be.
She’s (Am) close enough to (Bm3) perfect for (G) me.
Whoa she’s (Am) close enough to (Bm3) perfect . . . for (F3) me.
(G)(D)(Am), (C)(D)(G), (G)(D)(Am), (C)(D)(G),(F3)
(Alabama) (Artist Index) - (Main Index) - (Song Index) (This Song)

COAL MINER'S DAUGHTER
Loretta Lynn
https://www.youtube.com/watch?v=f9eHp7JJgq8 (Capo 1)(MC1)
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)
(D) Well I was born a (G) coal miner's (D) daughter.

In a cabin, on a (E7) hill in Butcher (A7) Holler.
We were (D) poor but we had (D7) love. That's the (G) one thing my daddy made (D) sure of.
He shoveled coal to (A7) make, a poor man's (D) dollar.
My daddy worked all (G) night in the Van Lear (D) coal mines.
All day long in a (E7) field a-hoein' (A7) corn.
Mommy (D) rocked the babies at night, and read the (G) Bible by the coal-oil (D) light.
And-everything would start all (A7) over come break of (D) morn.
<capo +1>
Daddy-loved and raised eight (G) kids on a miner's (D) pay.

Mommy scrubbed our clothes on a (E7) washboard every (A7) day.
Why-I'd (D) seen her fingers bleed (D7), to com (G) plain there was no (D) need.
She'd smile in mommy's (A7) understanding (D) way.
In the summer time we (G) didn't have shoes to (D) wear.

But in the winter time we'd (E7) all get a brand new (A7) pair.
From a (D) mail-order cata (D7) log, money (G) made from sellin' a (D) hog.
Daddy always managed to (A7) get, the money (D) somewhere.
<capo -1> [key change] Strum (E)
Yeah I'm proud to be a (A) coal miner's (E) daughter.

I remember well the (F#) well where I drew (B7) water.
The (E) work we done was (E7) hard. At-night we'd (A) sleep, 'cause we were (E) tired.
I-never-thought-of ever (B7) leavin' Butcher (E) Holler.
Well a lot of things have (A) changed since way back (E) then.
And it's so good, to (F#) be back home a (B7) gain.
Not much (E) left but the (E7) floor, nothin' (A) lives here, any (E) more.
Except the memories of a (B7) coal miner's (E) daughter |B7|-|E|.
(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)(MC0)
TIP: For the intro, form the chord, strike the string, and strum the chord. So form (G), strike
the top covered string (6) and strum (G); then strike the 5th string and strum (G); then strike the
4th string and strum (G); then form (C) and hit the 4th string and strum (C). Repeat a second time
and begin the first word "Back" on what would be the next (G).
TIP: The key change is about the easiest key change you'll ever have to deal with. Thanks, Dolly.
INTRO: Form (G): 6-(G), 5-(G), 4-(G), Form (C) 4-(C)

Form (G): 6-(G), 5-(G), 4-(G), Form (C) 4-(C)
(G) Back through the years I go wondering once again,

Back to the seasons of my (C) youth.
I re (G) call a box of rags that someone gave us,
And how my momma put the rags to (C) use.
There were (G) rags of many colors, and every piece was small,
And I didn't have a coat, and it was (D) way down in the fall.
Momma (G) sewed the rags together, sewing (C) every piece with love
She made my (G) coat of many colors that (D) I was so-oh (G) proud of.
As she sewed she told a story, from the Bible she had read.
About a coat of many colors, Joseph (D) wore and then she said,
"Per (G) haps this coat will bring you, good (C) luck and happiness"
And I just (G) couldn't wait to wear it and momma (D) blessed it with a (G) kiss.
My (C) coat of many colors that my (G) momma made for me.
(C) Made only from rags but I (G) wore it so proud (D7) ly.
Al (G) though we had no money, I was (C) rich as I could be,
In my (G) coat of many colors, my (D) momma made for (G) me.
<key change> Strum (E)
So with (A) patches on my britches, holes in both my shoes,

In my coat of many colors, I (E) hurried off to school.
Just to (A) find the others laughin', and (D) making fun of me
In my (A) coat of many colors, my (E) momma made for (A) me.
And (E) oh I (A) couldn't understand it, for I felt, I was rich.
And I told them of the love my momma (E) sewed in every stitch.
And I (A) told them all the story, momma (D) told me while she sewed
And how my (A) coat of many colors was worth (E) more than all-ll (A) their clothes.
But they (D) didn't understand it and I (A) tried to make them see,
That (D) one is only poor, only (A) if they choose to (E) be.
Now I (A) know we had no money, but I was (D) rich as I could be,
In my (A) coat of many colors, my (E) momma made for (D) me. Made just for (A) me.
(Dolly Parton) (Kid Friendly) (Artist Index) (Spiritual) - (Main Index) - (Song Index) (This Song)
THE COCKROACH THAT ATE CINCINNATI - Rose & the Arrangement
(Drill)
https://www.youtube.com/watch?v=NtEpqlrwX5c (Capo 3)(MC3)
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!
(Am) Aah aah (E7) aah (E) aah-aah-aah (Am) aah aah (E7) aah (E) aah-aah-aah
I must (Am) offer to you a con (E7) fession, I like movies that give (E) me a (Am) fright.
If the (Dm) subject is horror, I've (Am) got to see more or I (B) won't be contented all (E) night.
You may (Am) call it my ghoulish ob (E7) session. It's a subject on which (E) I get (Am) chatty.
But the (Dm) worst one it seems, haunting (Am) all of my dreams,
Was the (E) cockroach that ate Cincin (Am) nati.
Aah (E7) aah (E) aah-aah-aah (Am) aah aah (E7) aah (E) aah-aah-aah
I've (Am) seen ghouls and hobgoblins and (E7) witches,

And some moth-eaten were-(E)-wolves with (Am) fangs.
There were (Dm) creatures that chattered and (Am) others that clattered,
And (B) Japanese monsters with (E) fangs. (Ah-so).
(Am) Frankenstein gives me the (E7) shakes, and Count Dracula's dri-(E)-ving me (Am) batty.
But they're (Dm) not one a par with the (Am) worst one by far,
The (E) cockroach that ate Cincin (Am) nati.
(Am) Aah aah (E7) aah (E) aah-aah-aah (Am) aah aah (E7) aah (E) aah-aah-aah
Oh (Am) he must have needed a (E7) seltzer. It's amazing how much (E) he got (Am) down.
For (Dm) lunch he'd just chew up a (Am) suburb or two and for (B) dinner he ate the whole (E) town.
(BURP)
(Am) Willard just sent me out (E7) laughing.

I thought Ben looked a (E) little bit (Am) ratty (sorry about that).
But they're (Dm) not half as bad as the (Am) worst scare I've had,
The (E) Cockroach that ate Cincin (Am) nati.
Oh my (Dm) heart nearly stopped he will (Am) never be topped,

The (E) cockroach that ate Cincin (Am) nati. Ole! Ole? That's dumb.
(Rose & the Arrangement) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
COLD GRAY LIGHT OF GONE - Vince Gill & the Del McCoury Band
(Gill/Anderson/Kitsinger)
https://www.youtube.com/watch?v=BBNhz02qEdc (Capo 3)(MC0)
TIP: The intro begins with three quick draws of the fiddle so form (D) and strum quickly three
times beginning with an upstroke and then begin regular strumming.
INTRO: |D|-|D|-|D|-(D)(D)(G)(D), (D)(D)(A)(D), (D)
Oh I woke up this mornin’, (G) long before the (D) dawn.

I stumbled to the kitchen, and put some coffee (A7) on.
The (D) house was deathly quiet, I knew (G) some, thin’ was (D) wrong.
Then (G) suddenly it (D) dawned on me, the (A) cold gray light of (D) gone (D).
No there's nooothin' quiite as lonely, as the (G) cold gray light of (D) gone.
Waking up and findin' out, she's (E7) never comin' (A) home.
And the (D) noote that saaid it's over, Lord it (G) chills me to the (D) bone.
No there's nothin' quite as lonely, as the (A7) cold gray light of (D) gone (D).
<mandolin> (D)(D)(A)(D), (D)
Oh I saat and criied for hours, and I (G) tried to clear my (D) head.
I eeven wennt and laid back down, on her side of the (A) bed.
Her (D) perrfume linggered on the sheets, our (G) love once laid up (D) on.
Her (G) mem-ory's de (D) stroyin’ me, in the (A) cold gray light of (D) gone (D).
No there's nothin' quite as lonely, as the (A7) cold gray light of (D) gone.
<fiddle> (D)(D)(D)(G)(D), (D)(D)(D)(A7) <mandolin> (D)(D)(G)(D), (D)(D)(A7)(D), (D)

No there's nothin' quite as lonely, as the (A7) cold gray light of (D) gone.
No there's nothin' quite as lonely, as the (A) cold gray light of (D) gone (D). |D|
(Vince Gill) (Del McCoury) (Artist Index) - (Main Index) - (Song Index) (This Song)
COME DANCING – The Kinks
(Davies)
https://www.youtube.com/watch?v=xRUE0aAI5o8 (Capo 0)(MC2)
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)
They put a parking lot on a piece of land, (D) where the su-per market used to (G) stand.
Before that they put up a bowling alley, (D) on the site that used to be the local (G) palais.
(C) That's where the big bands (G) used to come and play.
(D) My sister went there on a Satur (G) day. Come (C) dancing.
All her boyfriends (G) used to come and call.
Why not come (D) dancing, it's (C) only natur (G) al.
(G),(D)(G); (G),(D)(G)
Another Satur-day another date. (D) She would be ready but she'd always make them (G) wait.
In the hallway in anticipation, (D) he didn't know the night would end up in frust (G) ration.
(C) He'd end up blowing all his (G) wages for the week.
(D) All for a cuddle and a (G) peck on the cheek. Come (C) dancing.
That's how they did it when (G) I was just a kid.
And when they said come (D) dancing, my (C) sister always (G) did.
(G),(D)(G); (G),(D)(G)
My (Em) sister should have (D) come in at (C) midnight.
And my (Em) mom would always (D) sit up and (C) wait (D).
It (Em) always ended (D) up in a big (C) row, when my (Em) sister used to (D) get home (C) late.
(G) [Spoken] Out of my window I can (D) see them in the moonlight.
(G) Two silhouettes saying goodnight by the garden (D) gate.
The (Em) day they (D) knocked down the (C) palais.
My (Em) sister (D) stood and (C) cried (D).
The (Em) day they (D) knocked down the (C) palais,
(Em) part of my (D) childhood (C) 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) And there's a car park where the palais used to (G) stand.
My sister's married and she lives on an estate.
(D) Her daughters go out now it's her turn to (G) wait.
(C) She knows they get away with (G) things she never could.
(D) But if I asked her I (G) wonder if she would come (C) dancing.
Come on sister (G) have yourself a ball.
Don't be afraid to come (D) dancing. It's (C) only natur (G) al.
(G),(D)(G); (G),(D)(G);
Come (C) dancing. Just like the palais (G) on a Saturday.

And all her friends will come (D) dancing, where the (C) big bands used to (Em) play.
(D#),(F6/Bb)-(D#); (D#),(F6/Bb)-(D#); (D#),(F6/Bb)-(D#);

(D#),(F6/Bb),|F6/Bb|-|F6/Bb|-|F6/Bb|-|D#|
or
(A),(E)-(A); (A),(E)-(A); (A),(E)-(A); (A),(E),|E|-|E|-|E|-|A|
COME MONDAY
Jimmy Buffett
https://www.youtube.com/watch?v=ut1NEhQA1fM (Capo 2)(MC2)
TIP: The chords come in early, at the end of the line for the next line. In the bridge play the
(A) before the “I” and “you’re”.
INTRO: (G)(C)-(G)(G), (G)(C)-(G)(G)
Headin' up to (C) San Francisco (D), for the Labor Day (G) weekend show (G).
I got my (C) Hush Puppies on I guess I (D) never was meant for glitter (G) rock and roll. (Am)
And honey (C) I didn't know (D), that I’d be missing you so.
Come (C) Monday, it'll (G) be all right.

Come (C) Monday, I’ll be (D) holding you tight.
I spent (G) four lonely (D) days in a (C) brown L.A. (D) haze
And I (C) just want you (D) back by my (G) side. (G)(C)-(G)(G)
Yes it's (C) been quite a summer (D), rent a cars and (G) west bound trains (G).
And now you're (C) off on vacation (D), something you (G) tried to explain. (Am)
And (Am7) Darlin' since I love you so, (D) that’s the reason I just let you go.

And I (C) just want you (D) back by my (G) side. (G)(C)-(G)(G)
(A) I can't (D) help it honey, (A) you’re that much a (D) part of me now. (A)
Remember that (D) night in Montana when we (C) said there’d be no room for (D) doubt (D)?
(F)(C)(G)(G)(G)
I hope you're en (C) joying the scen'ry (D), I know that it’s (G) pretty up there (G).
We can go (C) hiking on Tuesday (D), with you I’d (G) walk anywhere. (Am)
Cali (Am7) fornia has worn me quite thin, (D) I just can’t wait to see you again.

And I (C) just want you (D) back by my (G) side.
I spent four lonely (D) days in a (C) brown L.A. (D) haze
And I (C) just want you (D) back by my (F) si- (C) i- |G| ide.
COMES A TIME
Neil Young
https://www.youtube.com/watch?v=qxH_4e7W7hc (Capo 0)(MC4)
TIP: Note the chord change comes in a half beat early, ahead of the next part of the verse.
INTRO: <strings> (D)(D)-(G)(G)(G)(G)(G)(G)(G)(G)(G)
Comes a time (Bm), when you're driftin' (D), comes a time when you (Am) settle down (C)(G).
Comes a light (Bm), feelings liftin' (D), lift that baby right up (Am) off the ground (C).
(G) Oh-oh. (F) This old (C) world keeps (G) spinnin' 'round.
It's a (F) wonder tall (C) trees ain't (G) layin' down there comes a (Dm7) ti-ime (Dm7)(G)(G).
You and I (Bm), we were captured (D). We took our souls and we (Am) flew away (C)(G).
We were right (Bm), we were giving (D). That's how we kept what we (Am) gave away (C).
(G)(Bm)(D)(D)(Am)(C), (G)(Bm)(D)(D)(Am)(C)
There comes a (Dm7) ti-i (Dm7) -i (G) –ime (G). Comes a (Dm7) time (Dm7). Comes a (G) time (G).
Comes a (Dm7) ti-i (Dm7) –i (G) -ime. Comes a (Dm7) time (Dm7)(G)(G).
Comes a (Dm7) time (Dm7)(G)(G). Comes a (Dm7) time (Dm7)(G)|G|.
COME UNTO ME - The Front Porch String Band
(Lynch)
https://www.youtube.com/watch?v=XOFvT7uG1Qs (Capo 6)(MC5)
INTRO: (Em)(D)(G)|G|
I have (G) seen the Rock of Ages and He’s (C) living with us (G) still,
And he promised to forgive us when He (A) died upon the (D) hill.
Every (G) day my hopes grow dearer to be (C) blessed with Him some (G) day,
And I know that (D) day is (G) coming (C) when I (G) hear my (D) Savior (G) say:
Come unto me (come unto to me) reach up and (C) touch your Savior’s (G) face.
(Come unto me) come unto me for you have (D) known my saving grace.
We’ll rise a (G) bove (we’ll rise above) the only (C) foes of Jesus’ (G) love,
When He shall call his (C) children (G) home a (D) gain some (G) day- (C) ay- (G) ay.
(Em)(D)(G)(G)|G|
Does the (G) pain that he once suffered mean a (C) healing hope to (G) you?
Can you open up your heart and let His (A) light come shining (D) through?
He can (G) make your life worth living He can (C) hear your every (G) prayer,
Then He’ll call you (D) home to (G) live with (C) Him far (G) from all (D) worldly (G) care.
We’ll rise a (G) bove (we’ll rise above) the only (C) foes of Jesus’(G) love,
(Em)(D)(G)(G)|G|
Will you (G) stand before God’s judgement when old (C) Satan meets his (G) doom?
Will you be prepared my brother when there’s (A) blood upon the (D) moon?
For these (G) days will soon be over and we’ll (C) face eterni (G) ty.
You must heed the (D) voice that’s (G) calling (C) saying (G) “Now come (D) unto (G) me.”
We’ll rise a (G) bove (we’ll rise above) the only (C) foes of Jesus’ (G) love,
When He shall call his (C) children (G) home a (D) gain some (G) day some |C| bles |C| sed |G| day.
(Front Porch String Band) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
COMFORTABLY NUMB - Pink Floyd
(Waters)
https://www.youtube.com/watch?v=_FrOQC-zEog (Capo 0)(MC0)
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.
TIP: In the opening verse there's a movement from (G) to (Em/G) to (Em). From the (G) drop your
finger from the top string to the 4th string/2nd fret, so you're now forming what will become (Em)
with your top two fingers, but while still holding the bottom string. That's (Em/G). Now just
lift off the bottom for (Em) that starts the next line. Easy. If you'd rather not mess with it
then play (Em) where the (Em/G) appears.
TIP: No pass on the (Bm) for the rest of the song. It doesn't have to be barre'd but you really
should try to play it with 4 fingers so the <f#> is covered.
TIP: In the instrumental (D/A) is (D) with pinky added to 4th string/4th fret and (D4) is (D) with
pinky added to bottom string/3rd fret. So it's a double count on the first (D/A), then a quick one
stroke each for the second (D/A), the (D4), and the (D). So from the (D/A) just drop your pinky
from the 4th string/4th fret to the bottom string 3rd fret, lift, and move to (A). Easy. (CaddD)
is (C) with pinky added to 2nd string/3rd fret.
TIP: The "pinpick" is the bottom string/12th fret harmonic (touch directly above the fret ever so
lightly). You'll see it as <1/12> in the lyrics. If you don't want to come off the strings to
come up the fingerboard to grab it you can also play the bottom string on the 2nd fret (just below
the (A) but it won't sound as cool.
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)
Hello. Is there anybody (A) in there? Just nod if you can (G) hear me (Em/G).
(Em) Is there (Bm) anyone home? Come on, now. I hear you’re (A) feeling, down.
Well (G) I can ease your (Em/G) pain, (Em) get you (Bm) on your feet again.
Relax. I need some infor (A) mation, first. (G) Just the basic (Em/G) facts.
(Em) Can you (Bm) show me where it hurts?
(D) There is no pain you are re (A) ceding. (D) A distant ship’s smoke on the hor (A) izon.
(Em)-(C) You are only coming through in (Gadd) waves.
Your (C) lips, move, but I can’t hear what you're (Gadd) saying.
When (D) I was a child, I had a (A) fever. My (D) hands felt just like two ball (A) oons.
(C) Now I’ve got that feeling once a (G) gain I can’t explain, you would not (C) understand.
This is not how I (G) am. (A) I - . . . (Gadd) - I have become (G) comfortably (D) numb.
(D/A),|D/A|-|D4|-|D|-(A); (D/A),|D/A|-|D4|-|D|-(A); (C), (CaddD)-(Gadd); (C),(CaddD)-(Gadd);

(A) I - . . . (Gadd) - I have become (G) comfortably (D) numb.
(Bm) Okay. Just a little (A) pinprick. <1/12> There’ll be no more (G) aaaaaahh (Em) ahhh!
But you may (Bm) feel a little sick. Can you stand up? I do believe it's (A) working. Good.
That’ll keep you (G) going for the (Em/G) show. Come (Bm) on it’s time to go.
(D) There is no pain you are re (A) ceding.

(D) A distant ship’s smoke on the hor (A) izon.
(Em)-(C) You are only coming through in (Gadd) waves.
(C) Your lips, move, but I can’t hear what you're (Gadd) saying.
When (D) I was a child, I caught a (A) fleeting glimpse. (D) Out of the corner of my (A) eye.
(C) I turned to look but it was (G) gone, I cannot put my finger (C) on it now, the child is grown,
the (G) dream is gone. (A) I - . . . (Gadd) - I have become (G) comfortably (D) numb.
(D)-(D)-(D)-(D)-(D)-(D)
(D/A)(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/A|
(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)(MC4)
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) Hey (G7) Bungalow (C) Bill. (Fm) What did you (C) kill, (Fm) Bungalow (G7) Bill?
(A) Hey (E7) Bungalow (A) Bill. (Dm) What did you (A) kill, (Dm) Bungalow (E7) Bill?
He (Am) went out tiger (C) hunting with his (F) elephant and gun |G|-|G|-|Am|.
In case of (C) accidents he (F) always took his mum.
The (E) all American (G) bullet headed (Am) Saxon mother's (Fm) son. (NC) All dee children sing.
(Am) Deep in the (C) jungle where the (F) mighty tiger lies |G|-|G|-|Am|.
Bill and his (C) elephants were (F) taken by surprise.
(E) So Captain (G) Marvel zapped him (Am) right between the (Fm) eyes-za.
(NC) All the children sing.
The (Am) children (C) asked him if to (F) kill was not a sin |G|-|G|-|Am|.
"Not when he (C) looked so fierce” his (F) mummy butted in.
(E) "If looks could (G) kill it would have been (Am) us instead of (Fm) him".
(NC) All the children sing.
<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)(MC0)
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.
TIP: The lone (Gm) comes at the outro and a regular (G) can be played instead if you like.
INTRO: (D) (A7) (A7) (D)
All day I've faced a (A) barren waste, with (D) out the taste of (A7) water.
Cool, wat (D) er.
Old (G) Dan and I, with (A7) throats burnt dry and (D) souls, that (G) cry, for (D) water.
(A7) Cool, clear, wat (D) er.
The nights are cool and (A7) I'm a fool each (D) star's a pool of (A7) water.
Cool, wat (D) er.
And (G) with the dawn I'll (A7) wake and yawn and (D) carrr-ry (G) on, to (D) water.
(A7) Cool, clear, wat (D) er.
Keep a movin' Dan don't you (A7) listen to him Dan.

He's a (D) devil not a man and he (A7) spreads the burning sand with wa (D) ter.
(G) Dan can you see that (D) big green tree,
Where the (G) water's running free and it's (A7) waiting there for you and (D) meee-(G)-ee-ee.
(D) Water. (A7) Cool, clear wa (D) ter.
The shadows sway and (A7) seem to say, to (D) night we pray, for (A7) water. Cool, wa (D) ter.
And (G) way up there he'll (A7) hear our prayer and (D) showwww us (G) where, there's (D) water.
(A7) Cool, clear, wa (D) ter.
Keep a movin' Dan don't you (A7) listen to him Dan. He's a (D) devil not a man and he
(A7) spreads the burning sands with wa (D) ter.
(G) Dan can you see that (D) big green tree,
Where the (G) water's running free, and it's (A7) waiting there for you and (D) meee-(G)-ee-ee.
(D) Water. (A7) Cool, clear wa (D) ter.
(A7) Cool, (Gm) clear, wa (D) ter.
(Marty Robbins) (Sons of the Pioneers) (Artist Index) - (Main Index) - (Song Index) (This Song)
COTTON JENNY – Gordon Lightfoot/Anne Murray
(Lightfoot)
https://www.youtube.com/watch?v=ty2PUo2kPok Gordon (Capo 2)(MC0)
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)(Gadd)(C), (G)(C)(Gadd)(C), (G)(C)(Gadd)(C), (G)(C)(Gadd)(C)
There's a (G) house, on a hill, by a (C) worn down weathered old (G) mill in a valley be (D) low
where the river winds, there's no such thing as bad (G) times.
And a soft, southern flame, oh (C) Cotton Jenny's her (G) name she wakes me (D) up when the sun
goes down, and the wheel of love goes (G) round wheels of love go (C) round,
Love go (G) rou-uh-ow-ound. Love go (A7) round, a joyful (D) sou-uh-ow-ound.
I ain’t (G) got a penny for (C) Cotton Jenny to (D) spend, but then the wheel go (G) round
(C)(Gadd)(C), (G)(C)(Gadd)(C).
When the (G) new, day begins, I go (C) down to the cotton (G) gin and I make my (D) time worth
while to them. Then I climb back up a (G) gain.
And she waits, by the door, oh (C) Cotton Jenny I'm (G) sore and she rubs my (D) feet while the sun
(C)(Gadd)(C), (G)(C)(Gadd)(C).
In the (G) hot, sickly South, when they (C) say “Well shut my (G) mouth” I can never be (D) free
from the cotton grind, but I know I got what’s (G) mine.
With a soft, southern flame, oh (C) Cotton Jenny’s her (G) name she wakes me (D) up when the sun
(C)(Gadd)(C), (G)
The (C) wheel go (G) round (C)(Gadd) (C) Round and (G) round. (C)(Gadd)
(C) Um hmm (G) hmmm. (C) Um hmm (G) hmmm. (C) Um hmm (G) hmmm. (C) Um hmm (G) hmmm.
(C) Um hmm (G) hmmm. (C) Um hmm (G) hmmm. (C) Um hmm (G) hmmm. (C) Um hmm (G) hmmm.
(C)(Gadd)(C), (G)(C)(Gadd)(C); |G|
(Gordon Lightfoot) (Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
COULD I HAVE THIS DANCE – Anne Murray
(Holyfield/House)
https://www.youtube.com/watch?v=2wagjpWtRII (Capo 0)(MC5)
TIP: You can play a regular (D) instead of the (D/A) but all you do is add your pinky to the 4th
string/4th fret and the chord is only played in the intro and outro.
TIP: The (E7-full)(EC#)(E) in the final chorus is easy to play. (E7-full) is (E) with pinky added
to 2nd string/3rd fret. To get to (EC#) slide the pinky down one fret, and lift off to get to (E).
TIP: Not too fast.
INTRO: (A)(E)(D/A)(E)
I'll (A) always re (A7) member, the (D) song they were (E) playin',
The (D) first time we (E7) danced, and I (A) knew (E7).
As we (A) swayed to the (A7) music, and (D) held to each (E) other,
(D) I fell in (E) love with (A) you (E7).
Could (A) I have this (A7) dance, for the (D) rest of my life?
Would (E7) you be my partner, (D) every (E) night?
(A) When we're to (A7) gether it (D) feels so (Dm) right.
Could (A) I have this dance, for the (E7-full) rest of my (A) life? (E)
I'll (A) always re (A7) member, (D) that magic (E) moment,
When (D) I held you (E7) close to (A) me (E7).
As (A) we moved to (A7) gether, (D) I knew for (E) ever,
(D) You're all I'll (E) ever (A) need (E7).
Could (A) I have this dance, for the (E7-full) rest of my (A) life? (E)
Could (A) I have this dance, for the (E7-full) rest, (EC#) of, (E) my (A) life? (E)(D/A)(E)(A)
(Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
COUNTRY IS
Tom T. Hall
https://www.youtube.com/watch?v=tCZnBMDtQjQ (Capo 0)(MC0)
TIP: To pick out the 3 individual notes in the intro and instrumental bridge, form (C) but lift
off on your middle finger and position it above the 3rd string instead of the 4th. Now pick the
open 3rd string <g>, put your finger down on the 3rd string and pick the same 3rd string. That's
<a>. Now pick the 2nd string which is coverd by your index finger <c> while at the same time
moving your middle finger back to it's usual position on the 4th string, and strum (C) and finish
the rest of the chords. If you don't want to be bothered with the notes, play 3 extra (C)s.
INTRO: <g><a><c>(C)(C),(G)(G)(G)(C),|F|-|C|
(C) Country is (F), sittin' on the (C) back porch (F),

Listenin’ to the (C) whip-poorwills, late in the (G) day.
Country (C) is (F), mindin' your (C) business (F),
Helpin' a (C) stranger, if he (G7) comes your (C) way. (C7)
Country (F) is, livin' in the (C) city (F), knowin' your (C) people, knowin' your (G7) kind.
Country (C) is (F), what you (C) make it (F). Country (C) is (G7), all in your (C) mind.
<g><a><c>(C)(C),(G)(G)(G)(C),|F|-|C|
Country is, (F) workin' for a (C) living (F),

Thinkin' your (C) own thoughts, lovin' your (G) town.
Country (C) is (F), teachin' your (C) children (F),
Find out (C) what's right (G7), and stand your (C) ground. (C7)
And country (F) is, a havin' a (C) good time (F),
Listen to the (C) music, singin’ your (G7) part.
Country (C) is (F), walkin' in the (C) moonlight (F).
Country (C) is (G7), all in your (C) heart.
<g><a><c>(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)(MC1)
TIP: For the intro, the 5-(A) means to pick the 5th string and strum the (A) and repeat this
pattern through "Sugar". Then there's a quick (D)-(E)-(A) and you return to the 5-(A) pattern for
"tell them who we are". Then, while still holding (A), pick the covered 2nd string twice, lift off
the second string and pick it once (i.e. "lift"), and then pick the covered 3rd string.
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.
INTRO: <Spoken>: Oh huh huh I don't believe it. Uh, uh, uh, uh. 5-(A)...Don't touch me.
Hey Ray, hey Sugar, (D)-(E)-(A) 5-(A) tell them who we are. 2-2-lift-3
(NC) Well we're (A) big rock singers we got golden fingers
And we're loved everywhere we (E) go. (That sounds like us).
We sing about beauty and we sing about truth at (E7) ten-thousand dollars a (A) show right.
We take all kinds of pills that give us all kind of thrills but the thrill we've never (D) known.
Is the (E) thrill that'll gitcha when you get your picture
On the |E| cover of the Rollin’ (A) Stone.
Rollin’ (E) Stone. Gonna see my picture on the cover.

(A) Stone gonna buy five copies for my mother.
(E) Stone gonna see my smilin’ face on the (D) cover of the Rollin’ (A) Stone |D|-(A).
(A)|D|-(A), (That's a very very good idea.) (A)|D|-(A)
I got a freaky ol’ lady name a Cocaine Katy who embroideries on my (E) jeans.
I got my poor ol’ grey-haired daddy, (E7) drivin my limo (A) sine.
Now it's all decided to blow our minds but our minds won't really be (D) blown.
Like the (E) blow that'll gitcha when you get your picture

(E) Stone gonna see my smilin’ face on the (D) cover of the the Rollin’ (A) Stone |D|-(A).
(A)|D|-(A) (Hey, I know how. Rock and roll!) <Play 5 seconds of screaching nonsense, just come
back to (A)> (A) Ah, that's beautiful.
We got a lot of little teenage, blue-eyed groupies, who do anything we (E) say.
We got a genu-wine Indian Guru, who's (E7) teaching us a better (A) way.
We got all the friends, that money can buy, so we never have to be a (D) lone.
And we (E) keep getting richer but we can't get our picture

(E) Stone gonna see my smilin’ face on the (D) cover of the Rollin (A) Stooone,
On the (D) cover of the Rollin' - (E) stone gonna see my picture on the cover,
(E) Stone gonna see my smilin’ face on the (D) cover of the Rollin |A| Stone.
OUTRO: <Spoken>: Right up front man I can see it now. We'll be 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: For the intro, form (Am) and pick the open top string <e>, then with your pinky reach up and
cover and pick the top string/3rd fret <g>, and then strum (Am). Next strum (Am) in a rapid 7-
strum saw-like motion from treble to bass. Repeat.
INTRO: <Form Am>: <e>-<g>-(Am), (Am); <e>-<g>-(Am), (Am)
From the bad lands came the killer, he lived by the (G) knife and the (C) gun.
He'd (G) cut you just for standin', (Am) shoot ya if ya tried to run.
He was big as a tree and did as he pleased and everything he did was (C) bad.
And they (G) said if you was to kill him, it'd only make him (Am) mad.
From the good lands came the cowgirl, Patti (G) was her (C) name.
She was (G) hot on the trail of that killer, on a (Am) moped she called Flame.
'Cause the killer had killed her daddy, just for spittin' (G) in the (C) road.
And you (G) only had to kill her daddy once to (Am) get that gal P.O.'d.
|G|-(C) Yippee aye (G) ay Cow (C) Patti. Yippee aye (G) ay Cow (C) Patti.
(G) She rode into town to find the (E) man that killed her (Am) daddy.
|G|-(C) Yippee aye (G) ay . . . (Am) Cow Patti.
The killer hit town at daybreak, ate the door off the (G) local sa (C) loon.
He (G) started to drink you could tell he was thinkin' there'll (Am) be a showdown soon.
Patti hit town in a cloud of dust ol' Flame was buzzin' like a (C) saw.
And the (G) whole town got quiet as a church when the (Am) killer stepped out for the draw.
|G|-(Am) Forty shots rang out. |G|-(Am) |G|-(C) Forty people fell. |G|-(C)
|C|-(G) Patti and the killer missed each other but they (Am) shot that town to hell.
|G|-(C) Yippee aye (G) ay . . . (Am) Cow Patti.
The killer took a step towards Patti, said "It's time I gunned you (C) down."
But he |G| slipped in somethin' that was |G| layin' in the street and was |Am| 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| "You gotta watch your step, when you |Am| know the chips are down."
|G|-(C) Yippee aye (G) ay . . . (Am) Cow Patti. (Am) . . . (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 0)(MC0)
[A second version follows that is probably easier to play.]
TIP: This song has two key changes and is a mess to play, or at least play easily. The first
brings in the (C#) which is played like a (D/A) on the 1st fret and is how it's depicted. (F#) is
just (F) played up one fret, and (G#) is played like an (F) on the 4th fret and is depicted as
(F4). The other key change isn't so bad. If you don't want to deal with the key changes then you
can just stay in [C] and play the same chords for all verses.
TIP: The intro is just a strummed (C). Play it 8 times (or 4 times if you consider it a couplet)
then pick the bottom string (P1), play (C) twice more and pick the 2nd string (P2); play (C) twice
more and begin song. If you don't want to bother, just play (C)!
; ;
INTRO: (C) x 8 - P1; (C) x 2, P2; (C) x 2
Everyone considered him the (F) coward of the (C) county.

He'd never stood one single time to prove the county (G) wrong.
His (C) Mama named him Tommy, but (F) folks just called him (C) yellow.
Something always told me, they were (G) reading Tommy (C) wrong.
He was only ten years old when his (F) daddy died in (C) prison.
I looked after Tommy, cause he was my brother's (G) son.
I (C) still recall the final words my (F) brother said to (C) Tommy:
“Son my life is over, but (G) yours has just be (C) gun.
Promise me son not to (F) do the things I've (C) done.

(F) Walk away from (C) trouble if you (G) can.
(C) It don't mean you're weak, if you (F) turn the other (C) cheek.
I hope you're old e (F) nough to under (G) stand.
Son (G7) you don't have to fight to be a (C) man.”
<Key change>
There's (D/A1) someone for everyone, and (F#) Tommy's love was (D/A1) Becky.
In her arms he didn't have to prove he was a (F4) man.
One (D/A1) day while he was working, the (F#) Gatlin boys came (D/A1) callin’.
They took turns at Becky, (F4) ‘n' there was three of (D/A1) them.
Tommy opened up the door and (F#) saw his Becky (D/A1) cryin’.
The torn dress the shattered look, was more than he could (F4) stand.
He (D/A1) reached above the fireplace, and took (F#) down his daddy's (D/A1) picture.
As his tears fell on his daddy's face he (F4) heard these words a (D/A1) gain.
Promise me son not to (F#) do the things I've (D/A1) done.

(F#) Walk away from (D/A1) trouble if you (F4) can.
Now (D/A1) it won't mean you're weak if you (F#) turn the other (D/A1) cheek.
I hope you're old e (F#) nough to under (F4) stand.
Son you don't have to fight to be a (D/A1) man.”
<Key change>
The (D) Gatlin boys just laughed at him when he (G) walked into the (D) barroom.
One of them got up, and met him half way cross the (A) floor.
When (D) Tommy turned around they said “Hey (G) look old yeller's (D) leavin'.”
But you could've heard a pin drop, when Tommy (A) stopped and blocked the (D) door.
Twenty years of crawlin', was (G) bottled up in (D) side him.

He wasn't holding nothing back, he let 'em have it (A) all.
When (D) Tommy left the bar room, not a (G) Gatlin boy was (D) standin'.
He said “This one's for Becky”, as he (A7) watched the last one (D) fall. And I heard him say:
“I promised you Dad not to (G) do the things you've (D) done.
I (G) walk away from (D) trouble when I (A) can.
Now (D) please don't think I'm weak I didn't (G) turn the other (D) cheek.
And Papa I sure (G) hope you under (A) stand.
Some (A7) times you gotta fight when you're a (D) man.
Everyone considered him the (G) coward of the coun (D) ty. |D|
(Kenny Rogers) (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)(MC1/2)
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.
TIP: The intro is just a strummed (A) but it's an alternating strum first emphasizing the 3rd
string and then the 6th (top) string. Play it 8 times (or 4 times if you consider it a couplet)
then pick the bottom string (1), play (A) twice more and pick the 3rd string (3); play (A) twice
more and begin song. If you don't want to bother, just play (A)!
INTRO: (A) x 8 - P1; (A) x 2, P3; (A) x 2
Everyone considered him the (D) coward of the (A) county.

He'd never stood one single time to prove the county (E) wrong.
His (A) Mama named him Tommy, but (D) folks just called him (A) yellow.
Something always told me, they were (E) reading Tommy (A) wrong.
He was only ten years old when his (D) daddy died in (A) prison.
I looked after Tommy, cause he was my brother's (E) son.
I (A) still recall the final words my (D) brother said to (A) Tommy:
“Son my life is over, but (E) yours has just be (A) gun.
Promise me son not to (D) do the things I've (A) done.

(D) Walk away from (A) trouble if you (E) can.
(A) It don't mean you're weak, if you (D) turn the other (A) cheek.
I hope you're old e (D) nough to under (E) stand.
Son (E7) you don't have to fight to be a (A) man.”
<capo +1>
There's someone for everyone, and (D) Tommy's love was (A) Becky.
In her arms he didn't have to prove he was a (E) man.
One (A) day while he was working, the (D) Gatlin boys came (A) callin’.
They took turns at Becky, (E) ‘n' there was three of (A) them.
Tommy opened up the door and (D) saw his Becky (A) cryin’.
The torn dress the shattered look, was more than he could (E) stand.
He (A) reached above the fireplace, and took (D) down his daddy's (A) picture.
As his tears fell on his daddy's face he (E) heard these words a (A) gain.
Promise me son not to (D) do the things I've (A) done.

(D) Walk away from (A) trouble if you (E) can.
Now (A) it don't mean you're weak, if you (D) turn the other (A) cheek.
I hope you're old e (D) nough to under (E) stand.
Son (E7) you don't have to fight to be a (A) man.”
<capo -1> (Key change)
The (C) Gatlin boys just laughed at him when he (F) walked into the (C) barroom.
One of them got up, and met him half way cross the (G) floor.
When (C) Tommy turned around they said “Hey (F) look old yeller's (C) leavin'.”
But you could've heard a pin drop, when Tommy (G) stopped and blocked the (C) door.
Twenty years of crawlin', was (F) bottled up in (C) side him.

He wasn't holding nothing back, he let 'em have it (G) all.
When (C) Tommy left the bar room, not a (F) Gatlin boy was (C) standin'.
He said “This one's for Becky”, as he (G7) watched the last one (C) fall. And I heard him say:
“I promised you Dad not to (F) do the things you've (C) done.
I (F) walk away from (C) trouble when I (G) can.
Now (C) please don't think I'm weak I didn't (F) turn the other (C) cheek.
And Papa I sure (F) hope you under (G) stand.
Some (G7) times you gotta fight when you're a (C) man.
Everyone considered him the (F) coward of the coun (C) ty. |C|
COWBOY MAN
Lyle Lovett
https://www.youtube.com/watch?v=LIyhTNFsozo (Capo 1)(MC0)
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)
She wore glass slippers (D)(A). She held her head up (E) high (A).
She had that sparkle (D) at her feet, and that (A)(E), twinkle in her (A) eye.
She smiled at me (D)(A), as I wondered (E) why, she said (A),

I'm looking for a (D) cowboy (A), to (E) take me for a (A) ride.
And he can (D) rope me, on the (A) prarie. And he can (D) ri-ide me on the (A) plain.
And I will (D) be, his Cinder (F#m) ell-ella if he'll (A) be, my (E) cowboy (A) man. She said:
I gotta 40-gallon (D) Stetson hat with a (A), 38-foot (E) brim.
We could (A), dance around the (D) outside baby (A), 'til we (E) both fall (A) in.
And you can (D) rope me, on the (A) prarie. And you can (D) ri-ide me on the (A) plain.
And I will (D) be, your Cinder (F#m) ella if he'll (A) be, my (E) cowboy (A) man.
(A)(D)(A), (A)(D)A), (A)(D)(A), (A)(E)(A)
Now I ain't never been no (D) cowboy (A), heaven knows I’ve (E) tried.
I'll be (A), riding tall in my (D) saddle honey, with the, (A) Cinder (E) ella by my (A) side.
And I can (D) rope her, on the (A) prarie. And I can (D) ride her on the (A) plain.
And she will (D) be, my Cinder (F#m) ella and I’ll (A) be, her (E) cowboy (A) man.
I can (D) rope, rope her on the (A) prarie. And I can (D) ri-ide her on the (A) plain.
She will (D) be, my Cinder (F#m) ella, and I’ll (A) be, her (E) cowboy (A) man.
I can (D) rope, rope her on the (A) prarie. And I can (D) ri-ide her on the (A) plain.
She will (D) be, my Cinder (F#m) ella and I’ll (A) be, her (E) cowboy (A) man.
(Lyle Lovett) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE CRAWDAD SONG
Traditional
(MC2)
TIP: Lots of covers out there with many different versions and arrangements of the lyrics. 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)
You get a line and I'll get a pole honey. You get a line and I'll get a pole (D) babe.
(G) You get a line and I'll get a pole. (C) And we'll go down to the crawdad hole.
(G) Honey oh (D) ba-aby (G) mine.
Yonder come a man with a sack on his back honey. Yonder come a man with a sack on his back
(D) babe. (G) Yonder come a man with a sack on his back. (C) Look at them crawdads in that sack.
The man fell down and he broke that sack honey. The man fell down and he broke that sack (D) babe.
(G) The man fell down and he broke that sack. (C) Look at them crawdads crawlin’ back.
Get up old man you slept too late honey. Get up old man you slept too late (D) babe.
(G) Get up old man you slept too late. (C) Crawdad Man done passed your gate.
Sittin' on the bank 'til my feet get cold honey. Sittin' on the bank 'til my feet get cold
(D) babe. (G) Sittin' on the bank 'til my feet get cold. (C) Look at that empty crawdad hole.
(G) Honey oh (D) ba-aby (G) mine. (A)
What you gonna do when the lake runs dry honey? What you gonna do when the lake runs dry (E) babe?
(A) What you gonna do when the lake runs dry? (D) Sit on the bank and watch crawdads die.
(A) Honey oh (E) ba-aby (A) mine.
What did the duck say to the drake honey? What did the duck say to the drake (E) babe?
(A) What did the duck say to the drake? (D) Ain’t no crawdads in this lake.
So you get a line and I'll get a pole honey. You get a line and I'll get a pole (E) babe.
(A) You get a line and I'll get a pole. And (D) we'll go down to the crawdad hole.
Honey oh (E) ba-aby (A) mine. Honey oh (E) ba-aby (D) mine (D)(A)|A|.
(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)(MC4)
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: Patsy and Willie sing the song a little differently, Patsy more hauntingly, and it's Patsy's
version that appears here.
INTRO: (G), (C), (CaddG)-(C)(Bm)(Am)(D7)
(G) Crazy, I'm (E7) crazy for feeling so (Am) lonely.

I'm (D7) crazy, crazy for feeling so (G) blue (E7)(Am)(D7).
(G) I knew, you'd (E7) love me as long as you (Am) wanted.
And then (D7) someday, you'd leave me for some-body (G) new (C)(A7)(G7).
(C) Worry, why do I let myself (G) worry (G7)?

(A7) Wond'rin', what in the world did I (D7) do (Am7)(D7)?
Oh (G) crazy, for (E7) thinking that my love could (Am) hold you.
I'm (C) crazy for (Bm) trying, and (Am7) crazy for (E7) crying,
And I'm (Am7) crazy for (D7) loving (G) you.
(F4) Crazy, for (F) thinking that my love could (Bm1) hold you.
I'm (D/A1) crazy for (Bm3) tryin’, and (Bm1) crazy for (Bm3) cryin’,
And I'm (Bm1) crazy for (F) love - in', (F4) you. (D/A1)(F4)
>>> (G) Crazy, for (E7) thinking that my love could (Am) hold you.
I'm (C) crazy for (Bm) tryin’, and (Am7) crazy for (E7) cryin’,
And I'm (Am7) crazy for (D7) love - in', (G) you. (C)(G)
(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)(MC0)
TIP: In the step-down instrumental bit of the at the end of the chorus, and again in the bridge,
focus on the middle strings.
TIP: After the instrumental bridge the 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|
This thing, called love, I (G) just, can't (C) handle (G) it.
This (D) thing, called love, I (G) must, get (C) round to (G) it I ain't (D) ready.
(Bb) Crazy little (C) thing called (D) love. <palm>
This (D) thing, called love, it (G) cries, in a (C) cradle all (G) night.
It (D) swings, it jives, (G) shakes all over like a (C) jelly (G) fish I kinda (D) like it.
(Bb) Crazy little (C) thing called (D) love.
(NC) There goes my (G7) ba (G) by. She (C) knows how to rock n' (G) roll.
She drives me (Bb) crazy.
She gives me (E) hot and cold fever then she (A) leaves me in a cool cool sweat.
|C|-|G|-|D| |G|-|D|-|A| |E|-|E|-|E|-|E|-|E|-|E|-|A|

I gotta be (D) cool, relax, get (G) hip, get on (C) my (G) tracks.
Take a (D) back seat, hitchhike.
(G) Take a long ride on my (C) motor (G) bike until I'm (D) ready.
(Bb) Crazy little (C) thing called (D) love.
(D)(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|
<acapella/hand claps?> I gotta be (D) cool, relax, get (G) hip, get on (C) my (G) tracks.
Take a (D) back seat, hitch-hike. And (G) take a long ride on my (C) motor (G) bike.
Until I'm (D) ready (ready Freddie). (Bb) Crazy little (C) thing called (D) love.
This (D) thing, called love, I (G) just, can't (C) handle (G) it.
This (D) thing, called love, I (G) must, get (C) round to (G) it.
I ain't (D) ready. (Bb) Crazy little (C) thing called (D) love.
(Bb) Crazy little (C) thing called (D) love. (Bb) Crazy little (C) thing called (D) love.
Crazy little (Bb) thing called (D) love. Crazy little (Bb) thing called (D) love.
(Bb) Crazy little (C) thing called (D) love. Crazy little (Bb) thing called (D) love.
Crazy little (Bb) thing called (D) love. Crazy little (Bb) thing called (D) love.
(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)(MC0)
TIP: The intro looks strange but it very simple. Start with plucking three notes: open 3rd
string <g>, then the 2nd string/1st fret <c>, and the 3rd string/2nd fret <a> and strum the (Gadd).
TIP: Still talking about the intro, 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.
TIP: In the verse there's a (Bm). You can play an (Em) instead if you'd rather and it will sound
just fine.
; ; ; ;
INTRO: <g><c><a> (Gadd),(Gadd)-(G-)-(Gadd); (Em),(Em)-(EmF)-(Em); (C),(C)<roll>(C);

(D),(D)-(D4)-(D)
I re (G) member when rock was young. Me and (Bm) Suzie had so much fun,
Holding (C) hands and skimmin' stones.
Had an (D) old gold Chevy and a place of my own but the (G) biggest kick I ever got,
Was doing a (Bm) thing called the Crocodile Rock.
While the (C) other kids were rockin’ round the clock,
We were (D) hoppin' and boppin' to the Crocodile Rock well . . .
(Em) ‘Dile Rockin', is something shockin' when your (A) feet just can't keep still.
(D7) I never knew me a better time and I (G) guess I never will.
(E) Oh lawdy mama, those Friday nights, when (A7) Suzie wore her dresses tight and,
The (D7) 'Dile Rockin' was ou-ow-out of (C) si-i-i-i-ight.
(G) La, la-la-la-la (Em) la, la-la-la-la (C) la, la-la-la-la (D) la (D)(D)(D)(D)
But the (G) years went by and the rock just died.
(Bm) Suzie went and left us for some foreign guy.
(C) Long nights cryin’ by the record machine, (D) dreamin’ of my Chevy and my old blue jeans.
But they'll (G) never kill the thrills we got. Burnin’ (Bm) up to the Crocodile Rock.
Learning (C) fast as the weeks went past.
We really (D) thought the Crocodile Rock would last well . . .
I re (G) member when rock was young. Me and (Bm) Suzie had so much fun,
Holding (C) hands and skimmin' stones.
Had an (D) old gold Chevy and a place of my own but the (G) biggest kick I ever got,
Was doing a (Bm) thing called the Crocodile Rock.
While the (C) other kids were rockin’ round the clock,
We were (D) hoppin' and boppin' to the Crocodile Rock well ...
<slowly> |C|-|D|-|G|
CRUSH WITH EYELINER - R.E.M.
(Berry, Buck, Mills, Stipe)
https://www.youtube.com/watch?v=ycvJHQUqU1M (Capo 0)(MC0)
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) I, (G) know, (D) you. (A) I (G) know you've (D) seen her. (A) She's a (G) sad to (D) mato.
She's (A), three (G) miles (D) of bad road. (A) Walking (G) down the (D) street.
(A) Will I (G) never, (D) meet her? (A) She's a (G) real (D) woman child.
(A) Oh my (G) kiss-breath (D) turpentine.
(B)
(E) I, (D) am, smit (G) ten (A). (E) I'm the (D) real (G) thing (I'm the real (D) thing).
(E) Have you (D) seen her (G) come a (A) round? |G| My crush with eyeliner.
(A) I'm, (G) in, (D) like. (A) I'm in (G) fatu (D) ated. (A) It's (G) all too (D) much, pressure.
(A) She's all that (G) I can (D) take. (A) What position (G) should I (D) wear?
(A) Cop an (G) atti (D) tude? Fake her. (A) How can (G) I con (D) vince her? Fake her.
(A) That I'm in (G) vented (D) too. Yeah.
(B)
(E) We (D) all in (G) vent our (A) selves and (G) uh you know me.
(Bm)(A),(Bm)(A),(D),(E),(G)|G|
(G)-(A) She's a (G) sad to (D) mato. She's (A), three (G) miles (D) of bad road.
(A) She's her (G) own in (D) vention (she's her own (A) invention).
That (G) gets me (D) in the throat (A).
What (G) can I (D) make myself be (A)? Life (G) is (D) strange yeah life is (A) strange.
What (G) can I (D) make myself be fake her. (G) To make her (D) mine?
(B)
(E) I, (D) am, smit (G) ten (A). (E) I'll do (D) any (G) thing (I'll do any (D) thing).
(E) A kiss-breath (G) turpen (A) tine. |G| My crush with eyeliner.
(E) I, (D) am, (G) smitten (A). (E) You know (D) me (yeah (G) you know (D) me).
(E) I could (D) be your (G) Franken (A) stein. |G| My crush with eyeliner.
(E) Won't you (D) be my (G) valen (A) tine? |G| 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)(MC1/2)
TIP: (Em/G) only appears in the intro and it comes off the (G) so just hold the bottom string and
drop your top finger down.
INTRO: <d><e><d> (G)(Em/G)(C)-(G),(D)(D)(A)(A)(D)
It's just a little creek now but when the rain comes down, it's (G) gonna be a raging (D) river.
I just heard my baby, say good (A) bye.
He (D) left me here holding back my tears, (G) nowww he's gonnne for (D) ever.
The dam's gonna break and (A) I'm a gonna cry cry, (D) cry (G)-(D).
I'm a gonna (G) cry and I don't care who sees. I (D) wonder if he knows what he's done to me.
Gonna (G) love that boy till the day I die til the (D) day I do I'm gonna (A) cry cry, (D) cry.
(G)(G),(D)(C)(A)(D)
Now he's gone, the pain's comin' on I can (G) feel my whole body (D) shakin'.
Lookie here, now what's this, in my (A) eyes?
(D) All I hear ringing in my ear is the (G) sound of my heart (D) breaking.
The dam's gonna break and (A) I'm a gonna cry cry, (D) cry (G)-(D).
Til the day I do I'm gonna (A) cry cry, (D) cry.
CRYING
Roy Orbison
https://www.youtube.com/watch?v=HYdx9NiOaYE (Capo 0)(MC1)
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) and you simply add your pinky above your ring finger on the same
fret. No sweat. For the move from (Gm) to (Emsus4) just slide down and grab the 4th string/2nd
fret with your index finger. When the (Gm) comes around again at the end play a regular (G) in its
place if you want although its fairly easy to play th (Gm) off the (Bm) since your pinky is already
on or near the 4th string and you just have to slide up one fret while forming the barre.
INTRO: (D/A)
I was all (Bm) right, (D/A) for a (Bm) while, (D/A) I could (Bm) smile (F#m) for a (D) while.
But I saw you last night you held my (Daug) hand so tight as you (G) stopped,
to say hell (Gm) o- (Emsus4) -oh. Oh you (D) wished me well you, you (D6) couldn't (A7) tell,
That I've been (D) cryyying, (F#m) over you, (D) cryyying, (F#m) over you.
Then (G) you, said so (A) long. Left me stand (Gadd) ing, all a (A7) lone.
Alone and (D) crying, (Daug) crying, (G) crying, (Bm) cryyy (A) ing it's hard to
(D) unnn - derstand, but the (A) touch, (A7) of your hand, can start me (D) crying.
(D/A) I thought that (Bm) I, (D/A) was over (Bm) you,

(D/A) But it's (Bm) tru- (F#m) -ue so (D) true.
I love you even more than I (Daug) did before, but (G) darling what can I (Bm) do (Emsus4)?
For you (D) don't, love me, and I'll (A7) always (A) be,
(D) Cryyying, (F#m) over you, (D) cryying, (F#m) over you.
(G) Yes, now you're (A) gone, and (Gadd) from this moment (A7) on, I'll be (D) crying,
(Daug) Crying, (G) crying, (Bm) cryyyyy (A) ing.
I'm (D) cryyyying, (F#m) cryyyyy (Bm) ing, (Gm) o----(A)---ver (D) you (G)(D)(G)(D)(D)(D)(D).
CUPID
Sam Cooke
https://www.youtube.com/watch?v=S28tILqie1o (Capo 0)(MC1)
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)
Cupid (Em) draw back your bow, (G) and let (C) your arrow go.
(G) Straight to, my (D7) lover's heart, for (G) me, for (D7) me.
(G) Cupid (Em) please hear my cry (G), and let (C) your arrow fly (G),
Straight to my (D7) lover's heart for (C) me (G).
Now. I don't mean to bother you but (D7) I'm in distress.

There's danger of me losin' all of (G) my happiness.
For I love a girl who doesn't (C) know I exist. (D7) And this you can (G) fix. So.
Cupid (Em) draw back your bow- (G) ow and let (C) your arrow go (G).
Straight to, my (D7) lover's heart, for (G) me, no (D7) body but me.
(G) Cupid (Em) please hear my cry- (G) -y and let (C) your arrow fly (G),
Straight to, my (D7) lover's heart, for (C) me (G).
Now. Cupid if your arrow make a (D7) love strong for me,
I promise I will love her until (G) eternity.
I know between the two of us her (C) heart we can steal. (D7) Help me if you (G) will. So.
Cupid (Em) draw back your bow- (G) ow, and let (C) your arrow go (G).
Straight to, my (D7) lover's heart, for (G) me, no (D7) body but me.
(G) Cupid (Em) please hear my cry- (G) -y and let (C) your arrow fly (G),
Straight to, my (D7) lover's heart for (C) me (G).
Now. Cupid. Don't you (Em) hear me. (G) Callin' you. I (Em) need you. (G) Cupid.
(Em) Help me. I (G) need you. (Em) Cupid. Don't (G) fail me. |Em|
(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)(MC1)
TIP: The intro begins with a haunting piano piece. You can emulate this by playing (Em)(C) and
(D) and then do the guitar part. Or you can pick out the individual notes and then do the guitar
part. Here's how to play the notes. Just go slow and do it a few times first:
Part one, 8 notes: Form (Em) with your middle and ring finger (you'll never come off the (Em)
but will slide up from the 2nd fret to the 4th fret and back to the 2nd fret). Pick the 5th string
and the 4th string, still holding the (Em) form slide up to the 4th fret and pick the 4th string,
slide back down and pick the open 3rd string, add your pinky to the 3rd string/2nd fret and pick
the 3rd string, lift off and pick the now open 3rd string, slide back up to the 4th string and pick
the 4th string, slide down and pick the 4th string.
Part two, 6 notes: Form (C) and pick the 5th, 4th, and 3rd strings, now form (Am) and pick
the covered 3rd string, lift off the index finger and pick the open 2nd string, lift off the ring
finger and pick the open 3rd string.
Part three, 8 notes: Form (D) and pick the 4th string and then the 3rd string, lift off all
fingers and pick the open 2nd string, cover the 2nd string/1st fret <c> with your index finger and
pick it, lift off and pick the now open 2nd string again, pick the open 3rd string, cover the 3rd
string/3rd fret <a> and pick it, lift off and pick the now open 3rd string again.
Finish with four strums of (G) four times, pause briefly, and then strum (G) once and (CaddG)
once. Do it again. Finish with three strums of (G) and one strum of (D)(C)(G).
TIP: The (CaddG) will be easier to play if you play (G) with your pinky on the bottom string
instead of the ring finger. That way you can pivot from (G) to (C) while keeping the pinky
anchored.
INTRO: (Em): 5-4-(4/4)-O3-P3-O3-(4/4)-(4/2)
(C): 5-4-3 (Am)-3 O2 O3
(D): 4-3 O2 2/1 O2 O3 3/3 O3
(G)(G)(G)(G),(G)-(CaddG); (G)(G)(G)(G),(G)-(CaddG); (G)(G)(G),(D)-(C)-(G)
Looking back, on the (C) memory of,

The dance (D) we shared, beneath the (C) stars a (G) bove (D).
For a (G) moment, all the world (C) was right.
How could (D) I have known, you'd (Em) ever say good (D) bye?
And (C) now, I'm glad I didn't (D) know,

The way it all would (Bm) end, the way it all would (C) go-(D)-oo.
Our (C) lives, are better left to (D) chance.
I could have missed the (Bm) pain, but I'd of had to (C) miss, (D) the (G) dance.
(G)(G)(G)(G)(CaddG); (G)(G)(G)(G)(CaddG); (G)(G)(G)(D)-(C)-(G)
Holding you I held (C) everything. For a (D) moment, wasn't (C) I the (G) king (D)?
But if I'd (G) only known, how the (C) king would fall, hey (D) who's to say,
You know I (Em) might have changed it (D) all.
And (C) now, I'm glad I didn't (D) know,

The way it all would (Bm) end, the way it all would (C) go-(D)-oo.
Our (C) lives, are better left to (D) chance.
I could have missed the (Bm) pain, but I'd of had to (C) miss, (D) the, (G) dance. (C)(G)
Yes my (C) life, is better left to (D) chance.

I could have missed the (Bm) pain, but I'd of had to (C) miss, (D) the . . . |G| dance.
(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)(MC4)
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)
I get up in the (Em) evenin' (G). And I (Em) ain't got nothin' to (G) say.
I come home in the (Em) mornin'. (G) I go to bed, (Em) feelin' the same (C) way.
I ain't nothin' but (Am) tired (C). Man I'm just (Am) tired and bored with my (G) self.
Hey there (Em) baby (G), I could (Em) use just a little (D) help you can't start a fire.
You can't start a (Em) fire with out a (C) spark. This gun's for (Am) hire (C),
Even if we're just (Am) dancin' in the (G) dark. (G)(Em)(G)(Em)
(G) Messages keeps gettin' (Em) clearer (G). Radio's on and I'm (Em) movin' 'round my (G) place.
I check my look in the (Em) mirror. (G) Wanna change my (Em) clothes my hair my (C) face.
Man I ain't gettin' (Am) nowhere (C). I'm just (Am) livin' in a dump like (G) this.
There's somethin' happenin' (Em) somewhere (G). Baby (Em) I just know that there (D) is you can't
start a fire. You can't start a fire without a (C) spark. This gun's for (Am) hire (C),
Even if we're just (Am) dancin' in the (G) dark.
(G)(Em)(G)(Em)(G), (G)(Em)(G)(Em)
You sit around gettin' (G) older. (C) There's a joke here some (D) where and it's on (Em) me.
I'll shake this world off my (G) shoulders. (C) Come on baby this (D) laugh's on me.
(G) Stay on the streets of this (Em) town (G), and they'll be (Em) carvin' you up al (G) right.
They say you gotta stay (Em) hungry (G). Hey baby, I'm (Em) just about starvin' to (C) night.
I'm dyin' for some (Am) action. (C) I'm sick of sittin' 'round (Am) here tryin' to write this
(G) book. I need a love re (Em) action (G). Come on now baby (Em) gimme just one (D) look you
can't start a fire. Sittin' 'round crying over a broken (C) heart.
This gun's for (Am) hire (C), even if we're just (Am) dancin' in the (D) dark you can't start a
fire. Worryin' about your little world fallin' a (C) part. This gun's for (Am) hire (C),
Even if we're just (Am) dancin' in the (G) dark. (G)(Em)
(G) Even if we're just (Em) dancin' in the (G) dark. (G)(Em)
(G) Even if we're just (Em) dancin' in the (G) dark. (G)(Em)
(G) Even if we're just (Em) dancin' in the (G) dark. (G)(Em)(G)(Em)(G)
Hey (Em) baby. (G)(Em)(G)(Em),(G)(Em)(G)(Em),(G)(Em)(G)(Em),(G)(Em)(G)(Em),(G)(Em)(G)(Em)|G|
DANIEL – Elton John
(John/Taupin)
https://www.youtube.com/watch?v=UA78e27R_J4 (Capo 0)(MC0)
INTRO: (C) (F) (G) (F) (C)
Daniel is traveling tonight on a (Dm) plane.

(G) I can see the red tail lights (E7) headin' for Spa- (Am) -ain oh (G) and (F),
I can see (G) Daniel wavin’ good (Am) bye.
God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes. (C)(G)
(C) They say-Spain-is-pretty, though I've never (Dm) been.

(G) Well Daniel says-it's-the-best place, (E7) that he's ever (Am) seen oh (G) and (F),
He should (G) know he's been there e (Am) nough.
Lord (F) I miss Daniel, (G7) oh I (F) miss him so (C) much.
Ohhhh, (F) Daniel my brother, you are, (C) older than me do you still (F) feel the pain,
Of the (C) scars that won't heal your eyes have (Am) died, but you see more than (F) I.
(Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).
(C)(C)(Dm), (Dm)(E7)(Am), (Am)-(G)-(F)(G)(Am), (Am)(G)(F)(F)(G), (G)(F)-(C)-(G)-(C)
Ohhhh, (F) Daniel my brother, you are, (C) older than me do you still (F) feel the pain,
Of the (C) scars that won't heal your eyes have (Am) died, but you see more than (F) I.
(Fm) Daniel you're a (C) star, (A7) in the face of the (Dm) sky (G7).
(C) Daniel is traveling tonight on a (Dm) plane.

(G) I can see the red tail lights (E7) heading for Spa- (Am) -ain oh (G) and (F),
I can see (G) Daniel wavin’ good (Am) bye.
God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes.
Oh God it (F) looks like Daniel, (G7) must be the (F) clouds in my (C) eyes. (C) (F) (G) (F) (C)
DANNY BOY – Traditional
(Weatherly)
(MC3)
TIP: (Bm3) is really (Cm) but it looks like (Bm) played on the 3rd fret.
(NC) Oh Danny (G) boy, the pipes, the (Gadd) pipes are call (C) ing (Bm3).
From glen to (G) glen, and (Gadd) down the mountain (A7) side (D7).
The summer's (G) gone, and (G7) all the roses dy (C) ing (Bm3).
'Tis you 'tis (G) you, must (Am) go and (D) I must (G) bide. (C)(G)
(D) But (C) come (D7) ye (G) back, (D) when sum (C) mer's, in the (G) meadow.
(D) Or (C) when (D7) the (G) val (D) ley's (C) hushed, and (G) white with (A) snow (D).
And I'll be (G) here in sun (C) shine or in (G) shadow (Bm3).
Oh Danny (G) boy, oh Danny (Am) boy, I (D) love you (G) so. (C)(G)
But if you come, when all the (Gadd) roses dy (C) ing (Bm3).
And I am (G) dead, as (Gadd) dead I well may (A7) be (D7).
You'll come and (G) find, the (G7) place where I am ly (C) ing (Bm3).
And kneel and (G) say, an (Am) "Ave" (D) there for (G) me. (C)(G)
(D) And (C) I (D7) shall (G) feel, (D) tho' soft (C) you tread a (G) bove me.
(D) And (C) then (D7) my (G) grave, (D) will (C) richer, (G) sweeter (A) be (D).
For you will (G) bend and (C) tell me that you (G) love me (Bm3).
And I shall (G) rest in peace un (Am) til you (D) come, to, (G) me.
Oh Danny (C) boy I (D) love you (G) so.

DARCY FARROW – John Denver
(Gillete/Campbell)
https://www.youtube.com/watch?v=Itfg1DDAFmo&ab (Capo 3)(MC3)
TIP: John fingerpicks the opening but it can be emulated with chords. It looks like a mess but
isn’t too hard as long as you can get the (DaddA) down. It’s all a sequence consisting of the
combination of a variation of (D) and (G). So, start with (DaddA) by forming regular (D) and
extending your pinky over to the bottom string of the 5th fret. Then slide the pinky down to the 3rd
fret to form (D4) for one strum and then lift off to get back to (D). (Gadd) is just (G) with your
pinky added to the same position, bottom string/3rd fret. Then remove it to get to (G) for one
strum and then to (D). Next comes another bar of (D) and then an (F#m) and then a quick movement
from (DaddA) back to (D4) and to (A). Repeat the first part again and finish with alternating
strums of (G), (A), and (D). This sequence repeats in the instrumental bridge.
TIP: The entire sequence of chords above is played again in the verse. I’ve mostly shown just the
majors but if you’re comfortable with the sequence you can play it that way.
TIP: In the second line of each verse there’s that cumbersome move from (F#m) to (DaddA). You can
play regular (A) but the (DaddA) does sound better.
INTRO: (DaddA)(D4)-(D)(Gadd)(G)-(D), (D)(F#m)(DaddA)-(D4)-(A)

(DaddA)(D4)-(D)(Gadd)(G)-(D), (G)(A)(D)(D)(A)(D)
Where the Walker runs down through the (G) Carson Valley (D) plain,
There lived a (F#m) maiden Darcy (DaddA) Farrow was her (A) name.
The (D) daughter of old Dundee and a (G) fair one was (D) she.
The (G) sweet (A) est (D) flower, that bloomed (A) o'er the (D) range.
Her voice was as sweet as the (G) sugar can (D) dy.
Her touch, was as (F#m) soft, as a (DaddA) bed of goose (A) down.
Her (D) eyes shone bright like the (G) pretty (D) lights.
That (G) shine (A) in the (D) night out of Yerr (A) ington (D) town.
She was courted by (G) young Vanda (D) mere.
A fine lad was (F#m) he, as (DaddA) I am to (A) hear.
He (D) gave her silver rinnngs and (G) lacy (D) things.
She (G) prom (A) ised to (D) wed before the snows (A) came that (D) year.
But her pony did stumble and, (G) she did (D) fall.
Her dyin' touched the (F#m) hearts of us (DaddA) one and (A) all.
Young (D) Vandy in his pain put a (G) bullet through his (D) brain.
We (G) buried (A) them to (D) gether as the snows be (A) gan to (D) fall.
(DaddA)(D4)-(D)(Gadd)(G)-(D), (D)(F#m)(DaddA)-(D4)-(A)
(DaddA)(D4)-(D)(Gadd)(G)-(D), (G)(A)(D)(D)(A)(D)
They sing of Darcy Farrow where the (G) Truckee runs (D) through.
They sing of her (F#m) beauty in Vir (DaddA) ginia City (A) too.
At (D) dusky sundown to her (G) name they drink a (D) round.
(G) To (A) young (D) Vandy whose love (A) was (D) true.
(DaddA)(D4)-(D), (DaddA)(G)(A), (DaddA)(G)(A), (DaddA)(G)(A), |D|
DAY IS DONE - John Prine
(Prine/Nicholson)
https://www.youtube.com/watch?v=ZbpPUT56AzA (Capo 0)(MC1)
INTRO: (G)(D)(A)(D), (G)(D)(A)(D)
Do (G) you like me? Well I (D) hope you do.

Cause if (A) you like me, then I think I'm gonna to have to (D) like you too.
We'll (G) share our things, and (D) have some fun,
Then we'll (A) say goodbye and go back home when the (D) day is done.
If (G) you tell me, I'll (D) tell you too.

And we'll (A) say the things, and do the things that (D) lovers do.
We'll keep it (G) to ourselves, we won't (D) hurt no one.
Then we'll (A) say goodbye and go back home when the (D) day is done.
We'll (G) carve our names, (D) on a tree.

Then we'll (A) burn it down, so no one in the (D) world will see.
And (G) we'll make love, while we (D) watch the flame.
Then we'll (A) walk away as if we never (D) had no shame.
(G)(D)(A)(D), (G)(D)(A)(D)
Now (G) we must hide, to (D) be alone.

And (A) we can't say our sweet things on the (D) telephone.
If (G) we can't stop, what (D) we've begun.
We should (A) say goodbye and go back home when the (D) day is done.
Do you (G) still like me? Well I (D) hope you do.
Cause if you (A) still like me then I think I'm gonna have to (D) still like you.
We (G) shared our things, and (D) had some fun.
Now we'll (A) say goodbye and go back home when the (D) day is done.
Yeah we'll (A) say goodbye and go back home while we (D) still have one.
Let's (A) say goodbye and go back home now the (D) day is done. (D)(D)|D|
DAYDREAM BELIEVER - The Monkees/Anne Murray
(Stewart)
https://www.youtube.com/watch?v=9_SMJ-Uwmkg The Monkees (Capo 0)(MC0)
https://www.youtube.com/watch?v=RIrPU1yA90o Anne Murray (Capo 3)
TIP: The chords in little bridge between the verse and chorus are meant to be struck once each.
INTRO: (G)(D7), (G)(D7)
Oh I could (G) hide, ‘neath the (Am) wings, of the (Bm) bluebird as she (C) sings.
The (G) six o’clock a (Em) larm, would never (A7) ring (D7).
But it (G) rings, and I (Am) rise, wipe the (Bm) sleep out of my (C) eyes.
My (G) shavin’ (Em) razor’s (C) cold (D7) and it (G) stings.
|G|-|D|-|Em|-|Am|-|G|-|D|-|G|
(C) Cheer up (D) sleepy (Bm) Jean. (C) Oh what (D) can it (Em) mean?
(C) To a (G), daydream be (C) liever and a (G) homecom (Em) ing (A7) queen (D7).
(G) You once thought of (Am) me, as a (Bm) white knight on a (C) steed.
(G) Now you know how (Em) happy, I can (A7) be (D7).
Oh and our (G) good times starts and (Am) end, without (Bm) dollar one to (C) spend.
But (G) how much (Em) baby (C) do we (D7) really (G) need?
|G|-|D|-|Em|-|Am|-|G|-|D|-|G|
(C) To a (G), daydream be (C) liever and a, (G) homecom (Em) ing (A7) queen (D7).
(G)(D), (G)(D)
(C) To a (G), daydream be (C) liever and a, (G) homecom (Em) ing (A7) queen (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)(MC2)
TIP: In the intro you form and hold (D). Then you pick the strings indicated - all are open
strings until the last one in the second measure. The P4 means to cover the 4th string/4th fret
with your pinky. Then you play (D) the same way, all (D) for the first measure and then (D) again
with the last strum covering the 4th string/4th fret with your pinky for the (D/A).
TIP: In the verse, play the (D/A) if you can, otherwise a regular (D) works.
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 (F#m) that occurs in the little instrumental bridge after the chorus makes the transition
from the (A7) and back a little tricky. If you can't manage try playing a (D) instead or just
skipping it altogether.
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: Form (D): 4-5-4-5, 4-5-4-P4; 4-5-4-5, 4-5-4-P4; (D),(D)(D/A)
I was cruisin’ in my Stingray late one night,

When an (G) XKE pulled up on the right,
And (D/A) rolled down the window of his shiny new Jag,
And (A) challenged me then and there to a drag.
I (D/A) said-“You’re-on-buddy my mill’s runnin’ fine.
Let’s (G) come off the line now at Sunset and Vine.
But I’ll (D/A) throw you one better if you’ve got the nerve,
Let’s (Em) race all the way (A), to Dead Man’s...
(D) Dead Man’s Curve it’s no place to play.
(Bm) Dead Man’s Curve you best keep away.
(G) Dead Man’s Curve I can hear 'em say:
(A) “Won’t come (Bb) back from (G) Dead Man’s (A) Curve.” (A)-(A7)-(F#m)-(A)
The (D/A) street was deserted late Friday night.

We were (G) buggin’ each other while we sat out the light.
We (D/A) both popped the clutch when the light turned green.
You (A) should of heard the whine from my screamin’ machine.
I (D/A) flew past LaBrea Schwab’s and Crescent Heights,
And (G) all the Jag could see were my six tail lights.
He (D/A) passed me at Doheny then I started to swerve,
But I (Em) pulled her out and there we (A) were, at Dead Man’s . . .
(D) Dead Man’s Curve, it’s no place to play. (F) 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) Won’t come (Bb) back from (G) Dead Man’s (A) Curve. (A)-(A7)-(F#m)-(A)



(A) “Won’t come (Bb) back from (G) Dead Man’s (A) Curve.” (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)(MC0)
TIP: My profound apologies to anyone who finds this offensive. I know 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)
Dead (G) puppies, (Am) dead (E) puppies, (F) dead (C) puppies (G) aren't much (C) fun.
They don't come (G) when you call, (Am) they don't chase (E) squirrels at all.
(F) Dead puppies (C) aren't (G) much (C) fun. (G)
(C) My puppy died (G) late last fall, (Am) he's still rotting (E) in the hall.
(F) Dead puppies (C) aren't (G) much (C) fun. No no (G) no.
(C) Mom says puppy's (G) days are through, (Am) she's going to throw him (E) in the stew.
(F) Dead puppies (C) aren't (G) much (C) fuuu-(G)-unnn.
(C) Dead (G) puppies. Dead dead dead (Am) dead (E) puppies.
(F) Dead (C) puppies (G) aren't much (C) fun. Come on everybody out there (G) sing along okay?
(C) Dead, dead-dead-dead (G) puppies. Dead-dead-dead (Am) dead, dead-dead-dead (E) puppies.
(F) Dead (C) puppies (G) aren't much (C) fun. One more time for Roman Hruska.
Dead, dead-dead-dead-dead-dead (G) dead-dead-dead-dead-dead-dead-dead (Am) dead (E) puppies.

(F) Dead (C) puppies (G) aren't much (F) fuu-uu-u- (C) -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)(MC2)
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)
Crossin' the highway (D) late last night.

He (C) shoulda looked left and he (G) shoulda looked right.
He didn't see the station (D) wagon car. The (C) skunk got squashed and (G) there you are.
You got yer dead skunk in the (D) middle of the road.
(C) Dead skunk in the (G) middle of the road.
Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven. (G)(D)(C)(G)
Take a whiff on me that (D) ain't no rose. (C) Roll up yer window and (G) hold yer nose.
You don't have to look and you (D) don't have to see
'Cause you can (C) feel it in your ol (G) factory.
You got yer dead skunk in the (D) middle of the road.
(C) Dead skunk in the (G) middle of the road.
Dead skunk in the (D) middle of the road and it's (C) stinkin' to high (G) heaven.
(G)(D)(C)(G); (G)(D)(C)(G)
Yeah you got yer dead cat and you (D) got yer dead dog.
On a (C) moonlight night you got yer (G) dead toad frog.
You got yer dead rabbit and yer (D) dead raccoon.
The (C) blood and the guts they're gonna (G) make you swoon you got yer,
Dead skunk, (D) in the middle, (C) dead skunk in the (G) middle of the road.
Dead skunk in the (D) middle of the road, (C) stinkin' to high (G) heaven. Come on stink.
(G)(D)(C)(G); (G)(D)(C)(G)
You got it it's dead. (D) It's in the middle. (C) Dead skunk in the (G) middle.
Dead skunk in the (D) middle of the road (C) stinkin' to high (G) heaven. (D)(D)
All over the road. (C)(G) Technicolor man. (G)(D)(C)(G),
(G)(D)(C) Oh you got poll (G) ution, it's dead, it's in the (D) middle,
and it's (C) stinkin' to high high (G) heaven.
(G)(D)(C)(G); (G)(D)(C)(G); (G)(D)(C)(G)
(Loudon Wainwright III) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
DEEPER THAN THE HOLLER - Randy Travis
(Schlitz/Overstreet)
https://www.youtube.com/watch?v=hCgSbb_hJA0 (Capo 3)(MC3)
TIP: For the intro, form (D) and lift off the ring finger. Pick the covered 3rd string, then the
open 2nd string, replace your ring finger and pick the now covered 2nd string, and strum (D).
TIP: (D) can be played instead of (Bm) in most cases.
INTRO: <a>--<d>-(D)(G)(D)(G)(D)(G)(D)(G)
Well I've (D) heard those city (G) singers singin’ (D) 'bout how they can (G) love.
(D) Deeper than the (G) oceans higher (D) than the stars a (G) bove.
Well (D) I come from the (G) country and I (D) know I-ain't seen it (G) all.
But I (D) heard that ocean's (G) salty and the (D) stars they sometimes (G) fall.
And (Em) that would not do justice to the (F#m) way I feel for you.
So I (G) had to sing a (D) song about (Em7) all the things I (A) knew. (A)|A|
(NC) My love is (D) deeper than the (G) holler, (D) stronger than the (G) river,
(Bm) Higher than the (Em) pine trees growin' (G) tall upon the (A) hill.
My love is (D) purer than the (G) snowflakes, that (D) fall in late De (Bm) cember.
And (Em) honest as a (D) robin on a (G) springtime window sill.
And (Em) longer than the (A) song of a whippoorwill- (D) ill (Bm)(Em)(A).
From the (D) back roads to the (G) Broadway shows with a (D) million miles be (G) tween.
There's at (D) least a million (G) love songs, that (D) people love to (G) sing.
And (Em) every one is different, and (F#m) every one's the same.
And (G) this is just a (D) nother way, of (Em) sayin’ the same (A) thing (A)|A|.
And (Em) longer than the (A) song of a whippoorwill- (D) ill (Bm)(Em)(A). (D)(Bm)(Em7)|A|
And (Em) longer than the (A) song of a whippoorwill- (D) ill (Bm)(Em)(A).
A whippoorwill-(D)-ill (Bm)(Em) |Bm| |A| |D|.
DÉJÀ VU (ALL OVER AGAIN)
John Fogerty
https://www.youtube.com/watch?v=OZr07AYWLSo (Capo 2)(MC3)
TIP: A pretty song musically that's easy to play. Get the strumming cadence down and follow it
throughout the song.
TIP: Between the first and second verses there's an eight-measure pause where you just strum (G)
(begin counting with the downstroke on the (G) on "again" that ends the first verse). The ninth
downstroke begins "Day" on the next verse. You don't really have to count eight but whatever feels
right to you.
INTRO: (Em) (G) (Em) (G)
Did you (C) hear 'em talkin' (G) 'bout it, on the (Em) radio?
Did you (C) try to read the (G) writing, on the (Em) wall?
Did that (C) voice inside you (G) say, “I've heard it (Em) all before?”
It's like (C) Deja Vu all (D) over a (G) gain. (G)...x 8
Day by day, I hear the (D) voices (G) rising.

(C) Started with a (G) whisper, like it (D) did before.
(G) Day by day, we count the (D) dead and (Em) dying.
(C) Ship the bodies home, while the (D) networks all keep score.
Did you (C) hear 'em talkin' (G) 'bout it, on the (Em) radio?
Could your (C) eyes believe the (G) writing, on the (Em) wall?
Did that (C) voice inside you (G) say, “I've heard it (Em) all before?”
It's like (C) Deja Vu all (D) over a (G) gain.
(C) (G) (D); (C) (G) (Em); (C) (G) (Em) (D) (G)
One by one, I see the (D) old ghosts (G) rising.
(C) Stumblin' 'cross Big (G) Muddy, where the (D) light gets dim.
(G) Day after day, another (D) Momma's (Em) crying.
She's (C) lost her precious child, to a (D) war that has no end.
Did you (C) hear 'em talkin' (G) 'bout, it on the (Em) radio?
Did you (C) stop to read the (G) writing, at the (Em) wall?
Did that (C) voice inside you (G) say, “I've seen this (Em) all before?”
It's like (C) Deja Vu all (D) over a (Em) gain.
It's like (C) Deja Vu all (D) over a (G) gain.
(G)(Em)(G), (Em)(G), (Em) Ah (G) huh, (Em) ah (G) huh, (Em)(G)|G|
DESPERADO – Eagles/Linda Ronstadt
(Henley/Frey)
https://www.youtube.com/watch?v=aelpqWEBHR4 Eagles (Capo 0)(MC5)
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.
TIP: In the intro and in the verse, you can play an (A7) wherever you see the (Bm3) - which is
actually (Cm) - if you'd rather. Also note the chorus has a regular (Bm) - don't confuse it with
the (Bm3).
( or )
INTRO: (G)(G7), (C)(Bm3), (G)(Em), (A7)(D7)
(NC) Desper (G) ado (G7), why don't you (C) come to your (Bm3) senses?
You been (G) out ridin' (Em) fences, for (A) so long (D7) now.
Oh you're a (G) hard one (G7). I know that (C) you got your (Bm3) reasons.
These (G) things that are (Em) pleasin' you, can (A7) hurt you (D7) some (G) how. (D)
Don't you (Em) draw the queen of (Bm) diamonds boy. She'll (C) beat you if she's a (G) ble.
You know the (Em) queen of hearts is (C) always your best (G) bet (D).
Now it (Em) seems to me some (Bm) fine things have been (C) laid upon your (G) table.
But you (Em) only want the (A7) ones that you can't (Am) get (D7).
Desper (G) ado (G7), oh you ain't (C) gettin' no (Bm3) younger.
Your (G) pain and your (Em) hunger, they're (A) drivin' you (D7) home.
And (G) freedom, oh (G7) freedom, well-that's-just (C) some people (Bm3) talkin'.
Your (G) prison is (Em) walking through this (A7) world all (D7) a (G) lone. (D)
Don't your (Em) feet get cold in the (Bm) winter time?
The (C) sky won't snow and the (G) sun won't shine.
It's (Em) hard to tell the (C) night time from the (G) day (D).
You're (Em) losin' all your (Bm) highs and lows,
Ain't it (C) funny how the (G) feeling goes a (Am) way (D7)?
Desper (G) ado (G7), why don't you (C) come to your (Bm3) senses?
Come (G) down from your (Emsus4) fences, (A7) open the (D7) gate.
It may be (G) rainin' (G7), but there's a (C) rainbow a-(Bm3)-bove you.
You better (G) let somebody (Em) love you - (C) let somebody love (Am7) you
Better (G) let somebody (Em) love you ...
<slow down> Be (Am) fore it's (D7) too-ooh-ooh ... (G) late (G)(G7), (C)(Bm3)...|G|
(Eagles) (Linda Ronstadt) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIAMONDS - Rihanna
(Hermansen/Eriksen/Levin/Furler)
https://www.youtube.com/watch?v=lWA2pjMjpBs (Capo 2)
TIP: For the intro strum the chord in [brackets] once at that point.
|F| Shine bright like a diamond. |Am| |G| Shine bright like a diamond. |Am|
(G) Find light in the beautiful (Am) sea I choose to be hap (G) py.
You and I, you and I, we're like diamonds in the (F) sky.
You're a shooting star I (Am) see a vision of ecstasy, (G)
When you hold me, I'm alive, we're like diamonds in the (F) sky.
I knew that (Am) we'd become one (G) right away, oh right a (Em) way.
(F) At first sight (Am) I felt the energy of (G) sun rays.
I saw the life in (Em) side your (F) eyes, to (Am) night, you and (G) I.
We're beautiful like (Em) diamonds in the (F) sky.
Eye to (Am) eye, so a (G) live, we're beautiful like (Em) diamonds in the (F) sky.
Shine bright like a diamond (whoa-oh- (Am) oh). Shine bright like a diamond (whoa-oh- (G) oh).
Shining bright like a diamond, we're beautiful like (Em) diamonds in the (F) sky.
Palms rise to the uni (Am) verse, as we, moonshine and mol (G) ly.
Feel the warmth we'll never (Em) die. We're like diamonds in the (F) sky.
You're a shooting star I (Am) see a vision of ecsta (G) sy,
When you hold me, I'm alive, we're like diamonds in the (F) sky.
At first sight (Am) I felt the energy of (G) sun rays.
I saw the life in (Em) side your (F) eyes, to (Am) night, you and (G) I.
Shine bright like a diamond. (Am) Shine bright like a diamond. (G)
Shine bright like a diamond, so shine (F) bright, to (Am) night, you and (G) I,
Shining bright like a diamond. (Em) Oh-oh (F) yeah.
Shine bright like a diamond. Shine bright like a (Em) diamond.
(Rihanna) (Artist Index) - (Main Index) - (Song Index) (This Song)

DIAMONDS AND RUST
Joan Baez
https://www.youtube.com/watch?v=IrVD0bP_ybg (Capo 1)(MC2)
TIP: Joan of course fingerpicks the opening but you can just play (Em). Or you can play the first
part of what follows which is fairly easy to play. The middle part is a little more complicated
and not perfect but gives the general idea. There are two parts with the first and third part
repeating and a longer middle part. And all of this repeats again during the song.
Parts 1 and 3: Strum (Em) 6 times, add your pinky to the bottom string of the 2nd fret (Em2)
and strum it twice, lift off for another (Em), pick the covered 5th string/2nd fret. Play this
sequence again but without the pick of the 5th string at the end.
Part 2: The numbers are where you're going to place your pinky on the bottom fret. So it
starts with (Em2), move your pinky up to the 3rd fret still holding the (Em) shape, now from here
on out you're only going to strum the bottom two strings so you can release the top two fingers.
Come back to the 2nd fret, back to the 3rd fret, up to the 5th fret, back to the 3rd fret, up to
the 7th, then 8th (with capo 1 the 8th fret is usually marked, so you'll know how far to come up),
then back down the fingerboard from 8th to 7th to 5th, to 3rd to 2nd.
TIP: The first part of the above sequence repeats during the verse. And note it's played once in
the middle of the verse and twice at the end, and as the outro.
TIP: The one (Fmaj7) can be a little uncomfortable. Think (F) but without the bottom string. The
pinky-base note (5th string/3rd fret above the ring finger) is optional but sounds better if you can
include it. Don’t strike the top string in either case.
INTRO: (Em)(Em2)-(Em)5; (Em)(Em2)-(Em); (Em2)(Em3)(Em2)(Em3) 5 3 5 7 8 7 5 3 2 (Em);

(Em)(Em2)-(Em)5; (Em)(Em2)-(Em)
Well I'll be damned, here comes your (C) ghost again. But that's not un (G) usual.
It's just that the (D) moon is full, and you happened to (Em) call (Em)(Em2)-(Em)5.
And here I sit, hand on the (C) telephone. Hearing a (G) voice I'd known,
A couple of (D) light years ago, heading straight for a (Em) fall (Em)(Em2)-(Em)5, (Em)(Em2)-(Em).
As I remember your eyes were bluer than (C) robin's eggs. My poetry was (G) lousy you said.
Where are you (D) calling from? A booth in the (Em) midwest (Em)(Em2)-(Em)5.
Ten years ago I bought you some (C) cufflinks. You brought me (G) something.
We both know what (D) memories can bring. They bring diamonds and (Em) rust, (Em)(Em2)-(Em);
(Em2)(Em3)(Em2)(Em3) 5 3 5 7 8 7 5 3 2 (Em); (Em)(Em2)-(Em)5; (Em)(Em2)-(Em)
Well you burst on the scene already a (C) legend. The unwashed phen (G) omenon,
The original (D) vagabond. You strayed into my (Em) arms (Em)(Em2)-(Em)5.
And there you stayed, temporarily (C) lost at sea. The Madonna was (G) yours for free.
Yes the girl on the (D) half-shell, would keep you un (Em) harmed (Em)(Em2)-(Em)5; (Em)(Em2)-(Em)
Now I (Bm) see you standing with brown leaves falling around and snow in your (Am) hair.
Now you're (Bm) smiling out the window of that crummy hotel over Washington (Am) Square.
Our (C) breath comes out white clouds mingles and hangs in the (G) air.
Speaking (Fmaj7) strictly for me we both could have died then and (G) there. (B7)
(Em2)(Em3)(Em2)(Em3) 5 3 2 (Em); (Em)(Em2)-(Em)5; (Em)(Em2)-(Em)
Now you're telling me, you're not nos (C) talgic. Then give me another (G) word for it.
You who are (D) so good with words, and at keeping things (Em) vague (Em)(Em2)-(Em)5.
Because I-need-some-of-that-vagueness-now-it's-all come back too (C) clearly.
Yes I loved you (G) dearly, and if you're offering me (D) diamonds and rust,
I've already (Em) paid (Em)(Em2)-(Em)5, (Em)(Em2)-(Em)5, (Em)(Em2)-(Em)5, (Em)(Em2)-(Em)5 ...
<repeat and fade or finish on |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)(MC5)
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) is the 3-finger variety with
only the 3 lower strings played. Play it like a (C), which is the next chord inthe sequence. Also
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) You and (Bm) I (C) travel to the (D) beat of a (G) different dru-(Bm)-m.
Oh (C) can't you (D) tell by the (G) way I (Bm) run,
(C) Everytime (D) you make (G) eyes at me-(Bm)-e. (C) Whoa oh (D) oh.
(G) You cry-(Bm)-y, and (C) moan and (D) say it will (G) work ou-(Bm)-ut.
But (C) honey child (D) I've (G) got my (Bm) doubts.
You (C) can't see the (D) forest for the trees (D).
Oh (C) don't get me wrong, it's not that I knock it

It's (D) just that I, am not in the market
For a (C) boy who wants, to (D) love, only (G) me-hee.
Yes and (C) I ain't sayin', (D) you ain't pretty,
(G) All I'm sayin', (C) I'm not ready for (A) any person, place or thing,
To (Am) try and pull the reins, in on (D) me.
So-ohhhhh (G) goodby (Bm) -eye, (C) I'll be (D) leavin' I (G) see no (Bm) sense,
In this (C) cryin' and (D) grievin' we'll (G) both live a lot (Bm) longer
(C) If you (D) live with (G) out me (Bm)(C)(D).
<harpsichord> (G)(Bm)(C)(C)(D)(D)
Oh (C) don't get me wrong, it's not that I knock it

It's (D) just that I, am not in the market
For a (C) boy who wants, to (D) love, only (G) me-ee-ee.
Yes and (C) I ain't sayin', (D) you ain't pretty,
(G) All I'm sayin', (C) I'm not ready for (A) any person, place or thing,
To (Am) try and pull the reins, in on (D) me.
So-ohhhhh (G) goodby (Bm) -eye, (C) I'll be (D) leavin' I (G) see no (Bm) sense,
In this (C) cryin' and (D) grievin' we'll (G) both live a lot (Bm) longer
(C) If you (D) live with (G) out me (Bm)(C)(D).
(G)(Bm)(C)(D), (G)(Bm)(C)(D), |G|
DIFFERENT DRUM
Michael Nesmith
https://www.youtube.com/watch?v=jA5scf8RpCI (Capo 0)(MC0)
INTRO: (G)(C)-(D), (G)(C)-(D), (G)(C)-(D), (G)(C)-|D|
Well you and I, (C) travel to the (D) beat of a (G) different drum.
(C) Can't you (D) tell by the (G) way I run,
(C) Everytime (D) you make (G) eyes at me. (D)
Yes (G) you cry, and (C) moan and (D) say it will (G) work out.
But (C) honey chi-(D)-ild I've (G) got my doubts.
You (C) can't see the (D) forest for the (G) trees (G).
Now (C) don't get me wrong it's (D) not that I knock it,
It's (G) just that I am not in the market
For a (Am) girl who wants to (D) love, only (G) me.
And (C) I'm not sayin' that (D) you ain't pretty,
(G) All's I'm sayin' is (E7) I'm not ready for (A) any person place or thing,
To (Am) try and pull the reins, in on (D) meeeeeeeeeeeeeeee-(D7)-eee.
Wellll I (G) feel pretty sure that'll you'll, (C) find a (D) man who will (G) take a lot more than
I (C) ever-could-or- (D) can if you'll (G) settle down with him and I (C) know, that (D) you'll be
(G) happy. (C)(C)-(D)
So (G) goodbye, (C) I'll be (D) leavin' I (G) see no sense in you (C) cryin' and (D) grievin' 'n
we'll (G) both live a lot longer, (C) if you (D) live without (G) me babe.
(C)(D)(G)(Em)(Am)(D)(G)(G)(C)(D)(G)(E7)(A)(A)(Am)(Am)(D)(D)(D)(D)
Wellll I (G) feel pretty sure that'll you'll (C) find the (D) man who will (G) take a lot more than
I (C) ever-could-or- (D) can if you'll (G) settle down with him and I (C) know, that (D) you'll be
(G) happy. (C)(C)-(D)
So (G) goodbye, (C) I'll be (D) leavin' I (G) see no sense in you (C) cryin' and (D) grievin' we'll
(G) both live a lot longer, (C) if you (D) live without (G) me babe. (C) If you (D) live without
(G) me woman. (C) If you (D) live without (G) me. (G)|F3|
(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)(MC1)
TIP: For the intro form (C/G) which is (C) with the bass note covered. Now pick the strings
indicated and strum. Repeat.
; ;
INTRO: (Form (C/G): 2-3-2-3-4-3 (C/G); 2-3-2-3-4-3 (C/G)
Our little boy, is four years old (F), and quite a (G), little (C) man.
So we spell out, the words we don't, want (D7) him to under (G7) stand.
Like (C) T O Y or maybe, S U (C7) R (F) P R (G7) I S (C) E.
But the (F) words, we're hiding (C) from him now, tear the heart right (G7) out of (C) me.
Our D I V O R C (C7) E (F), becomes (G7) final to (C) day.

Me and little J O E (D7), will be goin' a (G7) way.
I (C) love you both-and-this-will- (C7) -be-pure H-E (F) double (G7) L for (C) me.
Oh I (F) wish, that we could (C) stop this D I V O (G7) R C (C) E.
<key change>: Strum (A)
(D) Watch him smile, he thinks it Christmas, (G) or his (A) 5th, birth (D) day.
And he thinks C U S T O D Y (E7) spells fun or (A7) play.
I (D) spell out all, the hurtin' (D7) words and (G) turn, my (A7) head when I (D) speak.
'Cause (G) I, can't spell a (D) way this hurt, that's drippin' (A7) down my (D) cheek.
Our D I V O R C (D7) E, (G) becomes (A7) final to (D) day.

Me and little J O E (E7), will be goin' a (A7) way.
I (D) love you both and-this-will- (D7) -be-pure H-E (G) double, (A7) L, for (D) me.
Oh I (G) wish, that we could (D) stop this D I V O (A7) R C (D) E.
(Tammy Wynette) (Artist Index) - (Main Index) - (Song Index) (This Song)
DIXIE - Traditional
(Emmett)
(MC1)
TIP: The intro is "look away, look away, look away, Dixie Land."
INTRO: (G)(G)(D)(G)
Oh I wish I was in the land of cotton. (C) Old times there are not forgotten.
Look a (G) way. Look away. Look a (D) way. Dixie (G) Land.
In Dixie Land where I was born in, (C) early on a frosty mornin'.
Oh I wish I was in (C) Dixie. Hoo (A7) ray. Hoo (D7) ray.
In (G) Dixie Land I'll (C) take my stand to (G) live and die in Dix (D7) ie.
A (G) way, a (D7) way. A (G) way down south in (D7) Dix (G) ie.
Oh-old Missus will-ill marry Bill the weaver. (C) William was a gay deceiver.
But when he put his arm around her, (C) smiled as fierce as a forty pounder.
There is buckwheat cakes and Injun batter, (C) makes you fat or a little fatter.
Then hoe it down and scratch your gravel, to (C) Dixie's land I'm bound to travel.

DOMINIQUE - Debbie Reynolds
(Deckers)
https://www.youtube.com/watch?v=Qkq0Ncf32cs (Capo 1)(MC1)
INTRO: (G)-(D7)-(G)
Dominique nique nique I will (C) tell of Dominique. His (G) goodness to a (D7) cclaim.
And I (G) pray the song I sing, will some (C) simple pleasure bring,
That the (G) world shall (D7) know his (G) name.
I will (C) tell of Domi (G) nique as I (D7) sing this little (G) song.
And (A) when I sing the chorus all the (A7) world will sing a (D) long.
Domi (G) nique nique nique it was (C) good Saint Dominique. He (G) lived for you and (D7) me.
From his (G) labors long ago, came a (C) better world I know,
And his (G) love shall (D7) always (G) be.
“Though I’m (C) poor” said Domi (G) nique as he (D7) spoke unto the (G) Lord:
“I will (A) be your humble servent and your (A7) love is my re (D) ward.”
Domi (G) nique nique nique I will (C) follow Dominique. His (G) burdens will I (D7) share.
For his (G) courage will I pray, his (C) teachings to obey.
His (G) words shall (D7) be my (G) prayer.
By the (C) kindness of his (G) heart and the (D7) labor of his (G) hand.
He brought (A) love and understanding as he (A7) wandered through the (D) land.
Domi (G) nique nique nique I will (C) tell of Dominique. His (G) goodness to a (D7) cclaim.
And I (G) pray the song I sing, will some (C) simple pleasure bring,
All the (G) world shall (D7) know his (G) name.
Domi (C) nique the mighty (G) warrior was a (D7) soldier of the (G) Lord.
His (A) armor was devotion and the (A7) Gospel was his (D) sword.
Domi (G) nique nique nique it was (C) good Saint Dominique. He (G) lived for you and (D7) me.
From his (G) labors long ago, came a (C) better world I know,
And his (G) love shall (D7) always (G) be.
Through the (C) blazing heat of (G) summer and the (D7) chill of winter (G) snow.
I will (A) follow Dominique in his (A7) footsteps I will (D) go.
Domi (G) nique nique nique I will (C) follow Dominique. His (G) burdens will I (D7) share.
For his (G) courage will I pray, his (C) teachings to obey.
His (G) words shall (D7) be my (G) 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)(MC1)
TIP: The (D/A) is nothing more than regular (D) with your pinky extended to the <f#> at 4th
string/4th fret. There’s enough time that you can hit the regular (D) and then hunt with your pinky
to find the right string/fret position. And if need be, you can just play regular (D) wherever you
see the (D/A).
TIP: There's one lonely (E7 full) which means add your pinky on the 2nd string/3rd fret.
INTRO: (A)(A)(D/A)(A), (A)(A)(E7)(A); (A)(A)(D/A)(A), (A)(A)(E7)(A)
Through the woodland (D/A) through the (A) valley comes a horseman (E) wild and (A) free.
Tilting at the (D/A) windmills (A) passing who can the brave young (E) horseman (A) be?
He is wild but (D/A) he is (A) mellow he is strong but (E) he is (A) weak.
He is cruel but (D/A) he is (A) gentle he is wise but (E) he is (A) meek (A)(D)(A).
(E) Reaching for his saddlebag he (D/A) takes a battered book into his (A) hand.
(E) Standing like a prophet bold he (D/A) shouts across the ocean to the (A) shore,
Til he can shout no (E) more.
(A) I have come o’er (D/A) moor and (A) mountain like the hawk up (E) on the (A) wing.
I was once a (D/A) shining (A) knight who was the guardian (E) of a (A) king.
I have searched the (D/A) whole world (A) over looking for a (E) place to (A) sleep.
I have seen the (D/A) strong sur (A) vive and I have seen the (E) lean grown (A) weak.
(A)(A)(D/A)(A), (A)(A)(E7)(A)
(A) See the children (D/A) of the (A) earth who wake to find the (E) table (A) bare.
See the gentry (D/A) in the (A) country riding off to (E) take the (A) air. (A)(A)(E7)(A)
(E) Reaching for his saddlebag he (D/A) takes a rusty sword into his (A) hand.
Then (E) striking up a knightly pose he (D/A) shouts across the ocean to the (A) shore,
Til he can shout no (E) more (E7 full).
(A) See the jailor (D/A) with his (A) key who locks away all (E) trace of (A) sin.
See the judge up (D/A) on the (A) bench who tries the case as (E) best he (A) can.
See the wise and (D/A) wicked (A) ones who feed upon life’s (E) sacred (A) fire.
See the soldier (D/A) with his (A) gun who must be dead to (E) be ad (A) mired.
(A)(A)(D/A)(A), (A)(A)(E7)(A)
See the man who (D/A) tips the (A) needle see the man who (E) buys and (A) sells.
See the man who (D/A) puts the (A) collar on the ones who (E) dare not (A) tell.
See the drunkard (D/A) in the (A) tavern stemming gold to (E) make ends (A) meet.
See the youth in (D/A) ghetto (A) black, condemned to life up (E) on the (A) street (A)(E7)(A).
(E) Reaching for his saddlebag he (D/A) takes a tarnished cross into his (A) hand.
Then (E) standing like a preacher now he (D/A) shouts across the ocean to the (A) shore.
Then (E) in a blaze of tangled hooves he (D/A) gallops off across the dusty (A) plain,
In vain to search a (E) gain, where no one will (D) hear.
<pause>
(A) Through the woodland (D/A) through the (A) valley comes a horseman (E) wild and (A) free.
Tilting at the (D/A) windmills (A) passing who can the brave young (E) horseman (A) be?
He is wild but (D/A) he is (A) mellow he is strong but (E) he is (A) weak.
He is cruel but (D/A) he is (A) gentle he is wise but (E) he is (A) meek.
(A)(A)(D/A)(A), (A)(A)(E7)(A); (A)(A)(D/A)(A), (A)(A)(E7)|A|
DON'T BE CRUEL - Elvis Presley
(Blackwell)
https://www.youtube.com/watch?v=ViMF510wqWA (Capo 0)(MC0/3)
TIP: The intro is all about the pinky hammering the 4th and 3rd string. Strum (D), add pinky to
the 4th string, lift off and play (D), hammer pinky on the 3rd string, lift off and play (D).
Repeat this four times.
TIP: For the outro strum (D) three times and then play an (F) on the 12th fret.
INTRO: (D) P4 (D) P3 (D); (D) P4 (D) P3 (D); (D) P4 (D) P3 (D); (D) P4 (D) P3 (D)
You know I can be found, sitting home all alone.

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

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

(G) Then you'll know you'll have me, and I (D) know that I'll have you.
I don't (G) want no other (A) love. (G) Baby it's just (A) you I'm, thinking (D) of.
I don't (G) want no other (A) love.
(G) Baby it's just (A) you I'm thinking |D| of. |D|-|D|-|D|, (F10)
DON’T LET ME DOWN - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=NCtzkaL2t_Y (Capo 2)(MC0)
TIP: For the intro: Strum (D). Still holding (D): (1) Add pinky to 4th string/4th fret and
pluck the 4th string <f#>. (2) Pluck the 3rd string <a>. (3) Move your pinky down to the 2nd
string/3rd fret and pick the 3rd string . (4) Lift off the pinky and pick 3rd string <a>.
(5) Move index finger to 4th string/2nd fret and pick 4th string <e>. (6) Pluck the open 3rd
string <g>. (7) Pinky back to 4th string/4th fret and pluck 4th string <f#>
TIP: That messy looking chord series is actually pretty simple to play. To move from (Em) to
(Em7) just lift off the bottom finger and replace it again to get back to the (Em). Play (GF#)
like you're going to play a (G7) except slide your bottom finger up into the 2nd fret, or like
you're going to play a regular (G) and slide everything into the 2nd fret, just don't hit the top
string. Not hard at all. And to go from (D) to (D4) and back just add and remove your pinky to
bottom string/3rd fret
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), <f#><a><a><e><g><f#>
(NC) Don't let me (Em) down (Em7)(Em), (GF#) don't let me (D) down (D4)(D).
Don't let me (Em) down (Em7)(Em), (GF#) don't let me (D) down (D4)(D).
(NC) Nobody |D| ever loved me like she (Em) does,

(Em7) Oooh she (Em) does, yes she (D) does (D4)(D).
(NC) And if |D| somebody loved me like she (Em) does.
Oooh she do me, yes she (D) does (D4)(D).
(NC) I'm in love for the (D) first time. Don't you know it's gonna (A) last?
It's a (A7) love that lasts for (A) ever. It's a (A7) love that had no (D) past (G)(D).
(NC) And from the |D| first time that she really (Em) done me,
(Em7) Oooh she (Em) done me, she done me (D) good (D4)(D).
I guess nobody ever really (Em) done me,
(Em7) Ooh she (Em) done me, she done me (D) good (D4)(D).
Yee-(Em) hee-ee (Em7)(Em)(GF#)(D)(D4)(D) Wee-(Em)-hee (Em7)(Em)(GF#)(D)(D4)(D)
Yee-(Em) hee-ee (Em7)(Em)(GF#)(D)(D4)(D) Wee-(Em)-hee (Em7)(Em)(GF#)(D)(D4)(D)
DON’T LET THE SUN CATCH YOU CRYING – Gerry and the Pacemakers
(Marsden)
https://www.youtube.com/watch?v=LKta_gRc2gA (Capo 1)(MC0)
TIP: (Cmaj7) is just (C) without the index finger and (Fmaj7) will always follow the (Cmaj7) so
from the (Cmaj7) keep the finger placement but drop down one string-set, kind of like you’re
playing a (C) and then add your pinky above the ring finger (you can even omit adding the ring
finger if you want). Easy!
INTRO: (Cmaj7) (Fmaj7); (Cmaj7) (Fmaj7)
(Cmaj7) Don't let the (Fmaj7) sun, catch you (Cmaj7) cryin' (Fmaj7).
(Cmaj7) The night's the (Fmaj7) time, for all your (G) tears (G7).
(Am) Your heart may be (Em) broken tonight. (Am) But tomorrow in the (Em) morning light.
(Dm7) Don't let the (G7) sun, catch you (Cmaj7) cryin' (Fmaj7) (Cmaj7)(Fmaj7).
(Cmaj7) The night time (Fmaj7) shadows, disap (Cmaj7) pear (Fmaj7).
(Cmaj7) And with them (Fmaj7) go, all your (G) tears (G7).
For the (Am) morning, will bring (Em) joy. For (Am) every, girl and (Em) boy.
So (Dm7), don't let the (G7) sun, catch you (Cmaj7) cryin' (Fmaj7)(Cmaj7)(Fmaj7).
(G) We know that cryin's, not a (Am) bad thi-ing.

(Dm) But stop your cryin', when the (G) birds sing.
(Cmaj7) It may be (Fmaj7) hard, to dis (Cmaj7) cover (Fmaj7).

(Cmaj7) That you've been (Fmaj7) left, for a (G) noth-oth- (G7) er.
But don't for (Am) get that love's a (Em) game. And it can (Am) always, come a (Em) gain.
Oh (Dm7), don't let the (G7) sun, catch you (Cmaj7) cryin' (Fmaj7).
Don't let the (Cmaj7) sun catch you cryin' oh (Fmaj7) no. Oh woe (Cmaj7) 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)(MC1)
[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)
Well it ain't no use to (A) sit and wonder (Bm) why babe,
(G) If'n you don't know by (D) now (A).
And it (D) ain't no use to (A) sit and wonder (Bm) why babe.
(E7) It'll never do some (A7) how.
(D) When your rooster, crows at the (D7) break, of dawn,

(G) Look out your window and, (Bm) I'll be gone.
(D) You're the, reason I'm, (Bm) traveling (G) on.
(D) Don't think (A) twice it's all (D) right. <harmonica> (D)(A)(Bm),(D)(G)(D)
And it ain't no use in (A) turnin' on your (Bm) light babe.

(G) That light I, never (D) knowed (A).
And (D) it ain't no use in (A) turnin' on your (Bm) light babe.
(E7) I'm on the dark side of the (A) road.
(D) But I wish there was somethin' you would, (D7) do or say,
(G) To try and make me change my (Bm) mind and stay.
(D) But we never did too much (Bm) talkin' any (G) way.
(D) Don't think (A) twice it's all (D) right. <harmonica> (A)(Bm)(D)(G)(D)
No it ain't no use in (A) calling out my (Bm) name gal,
(G) Like you never done be (D) fore (A).
And it (D) ain't no use in (A) calling out my (Bm) name gal.
(E7) I can't hear you any (A7) more.
I'm a (D) thinking and a-wond'rin' walkin' (D7) down the road.
(G) I once loved a woman, a (Bm) child I am told.
I'd (D) given my heart but she (Bm) wanted my (G) soul.
(D) But don't think (A) twice it's all (D) right. <harmonica> (D)(G)(D)
So lon-(A)-ong honey (Bm) babe.

Where I'm (G) bound, I can't (D) tell (A).
(D) Goodbye is (A) too good a (Bm) word babe.
(E7) So I'll just say, fare thee (A) well.
(D) I ain't a sayin' you treated (D7) me unkind.

(G) You could have done better but, (Bm) I don't mind.
(D) You just kinda wasted my, (Bm) precious (G) time.
(D) Don't think (A) twice it's all (D) 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)(MC3/4)
TIP: The intro is the chords from the first verse.
INTRO: (C)(G)(Am),(F)(G); (C)(G)(Am),(D7)(G7); (C)(C7),(F)(Am); (C)(G)(Am)(F), (C)(G)(C)
It ain't no use to (G) sit and wonder (Am) why babe,

(F) It don't matter any (G) how.
And it (C) ain't no use to (G) sit and wonder (Am) why babe.
(D7) If you don't know by (G7) now. When your (C) rooster, crows at the (C7) break of dawn,
(F) Look out your window and, (Am) I'll be gone.

(C) You're the reason I'm, (Am) traveling (F) on.
(C) Don't think (G) twice it's all (C) right. (G)
It (C) ain't no use in (G) turning on your (Am) light babe.

(F) That light I, never (G) knowed.
(D7) I'm on the dark side of the (G7) road.
Still I (C) wish there was somethin' you would, (C7) do or say,
(F) To try and make me change my, (Am) mind and stay.
(C) We never did too much (Am) talking any (F) way.
(C) So don't think (G) twice it's all (C) right. (G)
I'm (C) walkin' down that (G) long lonesome (Am) road babe.
Where I'm (F) bound, I can't (G) tell.
But (C) goodbye is (G) too good a (Am) word gal.
(D7) So I'll just say fare thee (G) well.
(C) I ain't saying you treated (C7) me unkind.
(F) You could have done better, but (Am) I don't mind.
(C) You just sorta wasted (Am) my precious (F) time.
(C) But don't think (G) twice it's all (C) right. (G)
It (C) ain't no use in (G) calling out my (Am) name gal,

(F) Like you never did be (G) fore.
It (C) ain't no use in (G) calling out my (Am) name gal.
(D7) I can't hear you any (G) more.
I'm a (C) thinking and a-wond'rin' all the (C7) way down the road.
(F) I once loved a woman, a (Am) child I'm told.
I've (C) given my heart but she (Am) wanted my (F) soul.
(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)
MC3/4
TIP: This sort of combines both Dylan and PPM's versions. It has PPM's opening but Dylan's chords
and lyrics.
INTRO: (C)(G)(Am),(F)(G); (C)(G)(Am),(D7)(G7); (C)(C7),(F)(Am); (C)(G)(Am)(F), (C)(G)(C)
It ain't no use to (G) sit and wonder (Am) why babe,

(F) If'n you don't know by (C) now (G).
And it (C) ain't no use to (G) sit and wonder (Am) why babe.
(D7) It'll never do some (G7) how.
When your (C) rooster, crows at the (C7) break of dawn,

(F) Look out your window and, (Am) I'll be gone.
(C) You're the (G) reason I'm, (Am) traveling (F) on.
(C) Don't think (G) twice it's all (C) right. (G)

(F) That light I, never (C) knowed (G).
(D7) I'm on the dark side of the (G7) road.
Still I (C) wish there was somethin' you would, (C7) do or say,
(F) To try and make me change my, (Am) mind and stay.
(C) But we never (G) did too much (Am) talking any (F) way.
(C) So don't think (G) twice it's all (C) right. (G)
I'm (C) walkin' down that (G) long lonesome (Am) road babe.
Where I'm (F) bound, I can't (C) tell (G).
But (C) goodbye is (G) too good a (Am) word gal.
(D7) So I'll just say fare thee (G7) well.
(C) I ain't saying you treated (C7) me unkind.
(F) You could have done better, but (Am) I don't mind.
(C) You just (G) sorta wasted (Am) my precious (F) time.
It (C) ain't no use in (G) calling out my (Am) name gal,

(F) Like you never did be (C) fore (G).
It (C) ain't no use in (G) calling out my (Am) name gal.
(D7) I can't hear you any (G7) more.
I'm a (C) thinking and a-wond'rin' all the (C7) way down the road.
(F) I once loved a woman, a (Am) child I'm told.
I'd (C) given my (G) heart but she (Am) wanted my (F) soul.
(C)(G)(Am),(F)(G)(C),|C|
(Bob Dylan)(Peter, Paul and Mary) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
DON’T WORRY, BE HAPPY
Bobby McFerrin
https://www.youtube.com/watch?v=d-diB65scQU (Capo 4)(MC4)
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)
Here's a little song I wrote, you (Am) might want to sing it note for note,
Don't (C) worry, be (G) happy.
In every life we have some trouble, but (Am) when you worry you make it double,
Don't (C) worry, be (G) happy. (Don't worry be happy now)
Ooh ooh ooh ooh ooh ooh ooh ooh ooh who- (Am) ooh. (Don’t worry)
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh (C) ooh-ooh (G) ooh. (Don’t worry be happy)
Ain't got no place to lay your head, (Am) somebody came and took your bed,
Don't (C) worry, be (G) happy.
The landlord say your rent is late, (Am) he may have to litigate.
But don't (C) worry, be (G) happy. (Look at me I’m happy.)
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh (C) ooh-ooh (G) ooh. (Don’t worry be happy.)
(Here I give you my phone number when you worry call me I make you happy.)
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh (C) ooh-ooh (G) ooh.
Ain't got no cash ain't got no style, (Am) ain't got no gal to make you smile,
But don't (C) worry, be (G) happy.
'Cause when you worry your face will frown, and (Am) that will bring everybody down,
So don't (C) worry, be (G) happy. (Don't worry, be happy now.)
Ooh ooh ooh ooh ooh ooh ooh ooh ooh who- (Am) ooh. (Don’t worry, don’t worry, don’t do it.)
Whooh ooh ooh ooh ooh who ooh. (Be happy) Ooh-ooh (C) ooh-ooh (G) ooh.
(Put a smile on your face. Don’t bring everybody down like this.)
Whooh ooh ooh ooh ooh who ooh. (It will soon pass whatever it is) Ooh-ooh (C) ooh-ooh (G) ooh.
(Don’t worry, be happy)
Ooh ooh ooh ooh ooh ooh ooh ooh ooh who- (Am) ooh. (I’m not worried)
Whooh ooh ooh ooh ooh who ooh. (I’m happy) (Am)-(C)-|G|
(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)(MC1)
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.
INTRO: (D), (D), (D), (D)
I met him on a Monday and my (G) heart stood still. Da (A) doo ron ron ron, da (D) doo ron ron.
Somebody told me that his (G) name was Bill. Da (A) doo ron ron ron, da (D) doo ron ron.
Yes, my (G) heart stood still. (D) Yes, his (A) name was Bill.
(D) And, when he (G) walked me home. Da (A) doo ron ron ron, da (D) doo ron ron. (D)(D)
He knew what he was doin' when he (G) caught my eye. Da (A) doo ron ron ron, da (D) doo ron ron.
He looked so quiet but (G) my oh my. Da (A) doo ron ron ron, da (D) doo ron ron.
Yes, he (G) caught my eye. (D) Yes, but (A) my oh my.

(D) And, when he (G) walked me home, Da (A) doo ron ron ron, da (D) doo ron ron.
(D)(G)(A) doo ron ron ron, da (D) doo ron ron; (D)(G)(A) doo ron ron ron, da (D) doo ron ron.
He picked me up at seven and he (G) looked so fine. Da (A) doo ron ron ron, da (D) doo ron ron.
Someday soon I'm gonna (G) make him mine. Da (A) doo ron ron ron, da (D) doo ron ron.
Yes, he (G) looked so fine. (D) Yes, I'll (A) make him mine.
(D) And, when he (G) walked me home. Da (A) doo ron ron ron da, (D) doo ron ron.
Da doo ron ron ron, da (G) doo ron ron. Da (A) doo ron ron ron, da (D) doo ron ron.
[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=1UingsUi0mI (Capo 4)(MC0)
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. First, there are notes prior to the
beginning of each line - which can be ignored - but if you play them the first ones can begin on
the open 3rd string while holding the trailing (C), then drop your middle finger down to cover the
3rd string/3rd fret <a>, lift off the index finger and pick the open 2nd string , and replace it
to play the <c>. Next, "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) There she was, just a walkin' down the street singin'
(C) "Do wah diddy diddy (F) dum diddy (C) do."
Snappin' her fingers and (F) shufflin' her (C) feet singin'
"Do wah diddy diddy (F) dum diddy (C) do."
She looked good, (|C| looked good), she looked fine, (|C| looked fine).
She looked good she (C) looked fine and I nearly lost my mind.
Before I knew it she was (F) walkin' next to (C) me singin'

Holdin' my hand just as (F) natural as can (C) be singin'
We walked on, (|C| walked on), to my door, (|C| my door).
We walked on to (C) my door then we kissed a little more.
<g><a><c> Whoa-oh ohh-ohh, I (Am) knew we was falling in lo-(C)-uh-uh-uh-ve.

<e><d><a><g> (F) Yes I did-and-so-I-told-her-all-the-things-I'd-been (G) dreamin' (G7) of.
Now (C) we're together nearly (F) every single (C) day singin'
A we're so happy and that's (F) how we're gonna (C) stay singin'
Well I'm hers, (|C| I'm hers), she's mine (|C| she's mine).
I'm hers (C) she's mine wedding bells are gonna chime.
<g><a><c> Whoa-oh ohh-ohh, I (Am) knew we was falling in lo-(C)-uh-uh-uh-ve.

<e><d><c><a><g> (F) Yes I did-and-so-I-told-her-all-the-things-I'd-been (G) dreamin' (G7) of.
Now (C) we're together nearly (F) every single (C) day singin'
A we're so happy and that's (F) how we're gonna (C) stay singin'
Well I'm hers, (|C| I'm hers), she's mine, (|C| she's mine).
I'm hers (C) she's mine wedding bells are gonna chime. Whoa (G) ho-oh-oh, oh yeah.
(C) Do wah diddy diddy (F) dum diddy C do.
Do wah diddy diddy (F) dum diddy (C) do.
Do wah diddy diddy (F) dum diddy |C| do.
(Manfred Mann) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DO WAH DIDDY – Manfred Mann
(Barry/Greenwich)
(MC1) or (MC2)
TIP: The intro chords echo the refrain "Do wah diddy . . ." Then, without chords (NC), sing the
opening line until you reach the first (G) in "Do wah".
TIP: The 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. First, there are notes prior to the
beginning of each line - which can be ignored - but if you play them the first ones can begin on
either the open 4th string while holding the trailing (G), or begin with a (D) and start with the
covered ring finger on the 2nd string/third fret, lifting and covering as necessary and then
switching back to the (G). If find the latter a bit easier. Next, "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.
(Gadd) (C) |Gadd|
(NC) There she was, just a walkin' down the street singin'
(G) "Do wah diddy diddy (C) dum diddy (G) do."
Snappin' her fingers and (C) shufflin' her (G) feet singin'
"Do wah diddy diddy (C) dum diddy (G) do."
She looked good, (|G| looked good), she looked fine, (|G| looked fine).
She looked good she (G) looked fine and I nearly lost my mind.
Before I knew it she was (C) walkin' next to (G) me singin'

Holdin' my hand just as (C) natural as can (G) be singin'
We walked on, (|G| walked on), to my door, (|G| my door).
We walked on to (G) my door then we kissed a little more.
<d><e><f#><g> Whoa-oh ohh-ohh, I (Em) knew we was falling in lo-(G)-uh-uh-uh-ve.

<a><g><e><d> (C) Yes I did-and-so-I-told-her-all-the-things-I'd-been (D) dreamin' (D7) of.
Now (G) we're together nearly (C) every single (G) day singin'
A we're so happy and that's (C) how we're gonna (G) stay singin'
Well I'm hers, (|G| I'm hers), she's mine (|G| she's mine).
I'm hers (G) she's mine wedding bells are gonna chime.
<d><e><f#><g> Whoa-oh ohh-ohh, I (Em) knew we was falling in lo-(G)-uh-uh-uh-ve.

<a><g><f#> (C) Yes I did-and-so-I-told-her-all-the-things-I'd-been (D) dreamin' (D7) of.
Now (G) we're together nearly (C) every single (G) day singin'
A we're so happy and that's (C) how we're gonna (G) stay singin'
Well I'm hers, (|G| I'm hers), she's mine, (|G| she's mine).
I'm hers (G) she's mine wedding bells are gonna chime. Whoa (D) ho-oh-oh, oh yeah.
(G) Do wah diddy diddy (C) dum diddy G do.
Do wah diddy diddy (C) dum diddy (G) do.
Do wah diddy diddy (C) dum diddy |G| 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)(MC1)
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) Saturday night and the moon is out I wanna (G) head on over to the Twist and Shout.
Find a (D) two-step partner and a Cajun beat. When it (G) lifts me up I'm gonna find my feet,
(C) Out in the middle of a big dance floor when I (G) hear that fiddle wanna beg for more.
Gonna (D) dance to a band from a-Lou'sian' to (G) night.
Well I (D) never have wandered down to New Orleans. (G) Never have drifted down a bayou stream.
But I (D) heard that music on the radio, and I (G) swore some day I was gonna go.
Down (Em) Highway 10 past Lafayette, to (A) Baton Rouge and I won't forget,
To (D) send you a card with my regrets, cuz I'm (D7) never gonna come back (G) home.
(C) Out in the middle of a big dance floor. When I (G) hear that fiddle wanna beg for more.
Wanna (D) dance to a band from a-Lou'sian' to (G) night. (G)(C)(G)(D)(G)
They got a (D) alligator stew and a crawfish pie. A (G) gulf storm blowin' into town tonight.
(D) Livin on the delta's quite a show. They got (G) hurricane parties every time it blows.
And (Em) here up north it's a cold cold rain and there (A) ain't no cure for my blues today,
Ex (D) cept when the paper says “Beausoleil is (D7) coming into town” baby (G) let's go down.
Wanna (D) dance to a band from a-Lou'sian' to (G) night. (G)(C)(G)(D)(G)
Bring your (D) mama bring your papa bring your sister too.
They got (G) lots of music and lots of room.
When they (D) play you a waltz from 1910 you (G) gonna feel a little bit young again.
Well you (Em) learned to dance with your rock'n'roll. You (A) learned to swing with a do-si-do.
But you (D) learn to love at the fais-so-do when you (D7) hear a little Jolie (G) Blon.
Wanna (D) dance to a band from a-Lou'sian' to (G) night. (G)(C)(G)(D)(G); (C)(G)(D)(G)
Wanna (D) dance to a band from a-Lou'sian' to (G) night.
(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=DkWn69VBslw (Capo 2)(MC0)
(NC) As I went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) Who shall wear, the starry crown good (A) Lord (G) show me the (D) way.
(A) O sisters (D) let's go down. (G) Let's go down, come on (D) down.
(A) O sisters (D) let's go down. (G) Down in the river to (D) pray.
As I (G) went (D) down in the river to pray, (A) studying about that (D) good ol' way (G) and
(D) Who shall wear, the robe and crown good (A) Lord (G) show me the (D) way.
(A) O brothers (D) let's down. (G) Let's go down, come on (D) down.
(A) Come on brothers (D) let's go down. (G) Down in the river to (D) pray.
(A) O fathers (D) let's go down. (G) Let's go down, come on (D) down.
(A) O fathers (D) let's go down. (G) Down in the river to (D) pray.
(A) Oh mothers (D) let's go down. (G) Come on down, don't you wanna go (D) down.
(A) Come on mothers, (D) let's go down. (G) Down in the river to (D) pray.
(A) O sinners (D) let's go down. (G) Let's go down, come on (D) down.
(A) O sinners (D) let's go down. (G) Down in the river to (D) pray.
(Traditional) (Spiritual) (Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOWN IN THE RIVER TO PRAY - Alison Krauss
Traditional
(MC0)
(NC) As I went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) Who shall wear, the starry crown good (D) Lord (C) show me the (G) way.
(D) O sisters (G) let's go down. (C) Let's go down, come on (G) down.
(D) O sisters (G) let's go down. (C) Down in the river to (G) pray.
As I (C) went (G) down in the river to pray, (D) studying about that (G) good ol' way (C) and
(G) Who shall wear, the robe and crown good (D) Lord (C) show me the (G) way.
(D) O brothers (G) let's down. (C) Let's go down, come on (G) down.
(D) Come on brothers (G) let's go down. (C) Down in the river to (G) pray.
(D) O fathers (G) let's go down. (C) Let's go down, come on (G) down.
(D) O fathers (G) let's go down. (C) Down in the river to (G) pray.
(D) O mothers (G) let's go down. (C) Come on down, don't you wanna go (G) down.
(D) Come on mothers, (G) let's go down. (C) Down in the river to (G) pray.
(D) O sinners (G) let's go down. (C) Let's go down, come on (G) down.
(D) O sinners (G) let's go down. (C) Down in the river to (G) pray.
(Traditional) (Spiritual) (Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
DOWN IN THE VALLEY
Traditional
(MC0/5)
TIP: The intro is the chords in the last line of the verse.
INTRO: (D)(D7),(D7)(G)(C)(G)
Down in the valley, the valley so (D) low.

Hang your head (D7) over, hear the wind (G) blow (C)(G).
Hear the wind blow dear, hear the wind (D) blow.
Hang your head (D7) over, hear the wind (G) blow (C)(G).
Roses love sunshine, violets love (D) dew.

Angels in (D7) heaven, know I love (G) you (C)(G).
Know I love you, dear, know I love (D) you.
Angels in (D7) heaven, know I love (G) you (C)(G).
If you don't love me, love whom you (D) please.

Put your arms (D7) round me, give my heart (G) ease (C)(G).
Give my heart ease love, give my heart (D) ease.
Put your arms (D7) round me, give my heart (G) ease (C)(G).
Write me a letter, send it by (D) mail.

Send it in (D7) care of, the Birmingham (G) Jail (C)(G).
The Birmingham Jail love, the Birmingham (D) Jail.
Send it in (D7) care of, the Birmingham (G) Jail (C)(G).
Build me a castle, forty feet (D) high.

So I can (D7) see her, as she rides (G) by (C)(G).
As she rides by love, as she rides (D) by.
So I can (D7) see her, as she rides (G) by (C)(G).
Down in the (G) valley, the valley so (D) low.
Hang your head (D7) over, hear the wind (G) blow (C)(G)(C)(G).

DOWN SOUTH
Tom Petty
https://www.youtube.com/watch?v=sQwvkeHGSH4 (Capo 0)(MC0)
TIP: Tom will play the next chord in the sequence a half-second or so before singing the lyric.
You'll notice this immediately.
TIP: For the (Asus4)-(A) you'll already be at (A) so just add your pinky to the 2nd string/3rd
fret (on/off) or slide your bottom finger up one fret (up/back). Between verses it's played twice
and ends on the (Asus4); between verse and chorus just once ending with an (A).
INTRO: (D)(D)(D)(D)
Headed (A) back down (D) south (G). Gonna see my daddy's (D) mistress (G).
Gonna buy back her for (D) giveness (Bm). Pay off every (A) witness (Asus4), (A)(Asus4).
(D) One more (A) time down (D) south (G). Sell the family (D) headstones (G).
Drag a bag of (D) dry bones (Bm). Make good on my (A) back loans (Asus4)(A).
So if I (G) come to your (D) door, let me (G) sleep on your (D) floor.
I'll give you all I (A) have and a little (D) more. (D)(D)
Sleep (A) late down (D) south (G). Look up my former (D) mentors (G).
Live off Yankee (D) winters (Bm). Be a landlord and a (A) renter (Asus4), (A)(Asus4).
(D) Create my (A) self down (D) south (G). Impress all the (D) women (G).
Pretend I'm Samuel (D) Clemens (Bm). Wear seersucker and white (A) linens (Asus4)(A).
I'll give you all I (A) have and a little (D) more. (D)(D)
(D)-(A)-(D), (G)(D), (G)(D)(Bm)(A)(A)

(D) Spanish (A) moss down (D) south (G). Find the heroes of my (D) childhood (G).
Who now can do me (D) no good (Bm). Carve their names in (A) dogwood (Asus4), (A)(Asus4).
(D) Chase a (A) ghost down (D) south (G). Spirits cross the (D) dead fields (G).
Mosquitoes hit the (D) windshield (Bm). All documents re (A) main sealed (Asus4)-(A).
I'll give you all I (A) have and a little (D) more. (D)
I'll give you all I (A) have and a little (D) more. (D)(D)(D)|D|
DO YOU LOVE ME – The Contours
(Gordy)
https://www.youtube.com/watch?v=3EoI-6lQFIE (Capo 3)(MC2)
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 ten seconds you're not doing it
right.
INTRO: |D| You broke my heart, |G| 'cause I couldn't dance.

|A| You didn't even, want me around |Bm|.
And now I'm back, to let you know, |A| I can really shake 'em down |D|. <pause>
(A7)-(A7)-(A7)-(A7)-(A7) Do you (D) love me? I can (G) really (A) move.
Do you (D) love me? I'm (G) in the (A) groove. Do you (D) love me? (G) Do you (A) love me.
(G) Now, that (Gm) I, can (A) dance, (A7) dance, dance. (NC) Watch me now hey.
(D) Work work. Ah (G) work it all ba (A) by.

(D) Work work. Well you're (G) drivin' me cra (A) zy.
(D) Work work. With just a (G) little bit of (A) soul now. (D) Work. (A7)-(A7)-(A7)-(A7)-(A7)
I can (D) mash potato. I can (G) mash po (A) tato.

I can (D) do the twist. I can (G) do the (A) twist.
Now (D) tell me baby. (G) Tell me (A) baby,
Do you (D) like it like this? Do you (G) like it like (A) this?
Tell me. Tell me. (A7) Tell me. (A)
Do you (D) love me? (G) Do you (A) love me?

Now do you (D) love me? (G) Do you (A) love me?
(G) Now, that (Gm) I, can (A) dance. (A7) Dance, dance. (NC) Watch me now hey.
(D) Work work. Ooahh, (G) shake it up (A) shake it.
(D) Work work. Ah (G) shake 'em shake 'em (A) down.
(D) Work work. Ah (G) little bit of (A) soul now. (D) Work.
Work work. Ah (G) get 'em little ba (A) by.

(D) Work work. Ah you're (G) driving me cra (A) zy.
(D) Work work. Ah (G) don't get la (A) zy. (D) Work. (A)
I can (D) mash potato. I can (G) mash po (A) tato.

And I can (D) do the twist. I can (G) do the (A) twist.
Well now (D) tell me baby. (G) Tell me (A) baby,
Do you (D) like it like this? Do you (G) like it like (A) this?
Tell me. Tell me. (A7) Tell me.
Do you (D) love me? (G) Do you (A) love me?

Now, <softer> now, <even softer> now . . .
(D) Work work. Ah I'm (G) working hard ba (A) by.

(D) Work work. Well you're (G) driving me cra (A) zy.
(D) Work work. And (G) don't you get la (A) zy. (D) Work. (A)
(D) Work work. Ah I'm (G) working hard ba (A) by.

(D) Work work. Well you're (G) driving me cra (A) zy.
(D) Work work. And (G) don't you get la (A) zy. (D) Work. (A) |D|
(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)(MC1)
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: -<d>-<e>, <e> x 6 <whole thing 9 times>
(E) Makin' a livin' the old hard way. Takin' and givin' my day-by-day.
I dig snow and a rain and a bright sun (D) shine.
Draggin' the (E) line (draggin' the line) <beep beep>.
My dog Sam eats purple flowers. We ain't got much but what we-got's ours.
We dig snow and rain and the bright sun (D) shine.
Draggin' the line (draggin' the line) <beep beep>.
I, (D) feel, (E) fine. I'm talkin' bout peace, (D) of, (E) mind.
I'm gonna take, (D) my, (E) time. I'm gettin' the (D) good sign.
Loving the free and feelin' spirit. Huggin' a tree when you get near it.
Diggin' the snow and the rain and the bright sun (D) shine.
I, (D) feel, (E) fine. I'm talkin' bout peace, (D) of, (E) mind.
I'm gonna take, (D) my, (E) time. I'm gettin' the (D) good sign.
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)(MC2)
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) Every night, I hope and pray (Am), a dream lover, will come my way (C).
A girl to hold, in my arms (Am), and know the magic, of her charms.
Because I (C) want, a (G7) girl, to (C) call, my (F) own.
I want a, (C) dream lov (Am) er, so (Dm7) I don't have to (G7) dream a (C) lone (G).
(C) Dream lover, where are you (Am)? With a love, oh so true (C).
And the hand, that I can hold (Am), to feel you near, as I grow old.
I want a, (C) dream lov (Am) ver, so (Dm7) I don't have to (G7) dream a (C) lone.
(F) Someday I don't know how (C), I hope she'll hear my plea (D7).
Some way I don't know how (G7), she'll bring her love to me.
(C) Dream lover, until then (Am), I'll go to sleep and dream again (C).
That's the only thing to do (Am), til all my lover's dreams come true.
I want a (C) dream lov (Am) er, so (Dm7) I don't have to (G7) dream a (C) lone.
<Capo +1>
(C) Dream lover, until then (Am), I'll go to sleep and dream again (C).
That's the only thing to do (Am), til all my lover's dreams come true.
I want a (C) dream lov (Am) er, so (Dm7) I don't have to (G7) dream a (C) lone (Am).
Please don't make me (C) dream alone (Am). I beg you don't make me (C) dream alone (Am).
No I don't want to (C) dream alone (Am). |C|
------------
(D) Dream lover, until then (Bm), I'll go to sleep and dream again (D).
That's the only thing to do (Bm), til all my lover's dreams come true.
Because I (D) want, a (A7) girl, to (D) call, my (G) own.
I want a (D) dream lov (Bm) er, so (Em7) I don't have to (A7) dream a (D) lone (Bm).
Please don't make me (D) dream alone (Bm). I beg you don't make me (D) dream alone (Bm).
No I don't want to (D) dream alone (Bm). |D|
(Bobby Darin) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
DRIVE - R.E.M.
https://www.youtube.com/watch?v=-UE7tXDKIus (Capo 0)(MC0)
TIP: There's a recurring riff, designated <riff> in the verse. It occurs in the intro and again
during the verses. You have three options.
The first and easiest is to simply play (Dm), especially in the verse.
The second is to play the chords: Strum (Dm) and then at the end move to a 3-count of
(F)(Esus4)and (Dm). But for the (F) to (Esus4) transition just lift off all finger except for the
ring finger from the (F) and slide that finger down one fret to the 4th string/3rd fret.
And the third is to play the notes (these are not exact but not too far off). Hold the (Dm)
for the entire sequence: Pick 4-3-2-1-2-4 (easy so far), then 1-2-4-1-2-4 (easy), now lift your
middle finger (M) and place it on the 4th string/3rd fret (M4/3) and pick, slide it down to the 4th
string/2nd fret (M4/2) and pick, lift off and pick the now open 4th string/2nd fret (O4/2) while
repositioning your ring finger back to the 3rd string/2nd fret. Now put it all together: 4-3-2-1-
2-4-1-2-4-1-2-4, M4/3-M4/2-O4/2.
TIP: Some people like a (C) right before the last word in the verse ("baby") but I prefer to use
the one-count as a transition to the (Dm). Or, if you're careful, you can hammer on the high <f>
note (1st string/1st fret) first, which you'll naturally hit when forming the (Dm).
INTRO: (Dm)...(F)-(Emsus4)-(Dm) x 4; or Form (Dm) 4-3-2-1-2-4-1-2-4-1-2-4, M4/3-M4/2-O4/2 x 4
(Dm) Smack, crack, bush, whacked. (G) Tie another one to your racks, ba (Dm) by. <riff><riff>
Hey, kids, rock and roll. (G) Nobody tells you where to go, ba (Dm) by. <riff><riff>
(F) What if I ride? What if you walk? (Am) What if you rock around the clock?
(Gadd) Tick. Tock. Tick. Tock.
(Em) What if you did? What if you walk?
What if you tried to get off, ba (Dm) by? <riff><riff>
Hey, kids, where are you? (G) Nobody tells you what to do, ba (Dm) by. <riff><riff>
Hey, kids, shake a leg. (G) Maybe you're crazy in the head, ba (Dm) by. <riff><riff>
(F) Maybe you did, maybe you walked. (Am) Maybe you rocked around the clock.
(Em) Maybe I ride, maybe you walk. Maybe I try to get off, ba (Dm) by. <riff><riff>
(C) Hey, kids, shake a leg. (G) Maybe you're crazy in the head, ba (Dm) by. (Dm)
(C) Ollie. Ollie. Ollie ollie ollie, ollie ollie in come free, ba (Dm) by. (Dm)
(C) Hey, kids, where are you? (G) Nobody tells you what to do, ba (Dm) by.
<riff> <riff> <riff> <riff>
Smack, crack, shack-a-lack. (G) Tie another one to your back, ba (Dm) by. <riff> <riff>
Hey, kids, rock and roll. (G) Nobody tells you where to go, ba (Dm) by. <riff><riff>
(F) Maybe you did, maybe you walked. (Am) Maybe you rocked around the clock.
(Em) Maybe I ride, maybe you walk. Maybe I try to get off, ba (Dm) by.
(C) Hey, kids, where are you? Nobody tells you what to do, ba (Dm) by. <riff> <riff>
(Em) Hey, kids, where are you? Nobody tells you what to go, ba (Dm) by. <riff> <riff>
(Em) Hey, kids, where are you? Nobody tells you what to do, ba (Dm) by. <riff> <riff>
(Em) Hey, kids, rock and roll. Nobody tells you what to go, ba (Dm) by. <riff>
Baby. <riff> Baby. <riff> Baby. <riff> (C)(C)|Dm|

DROPKICK ME JESUS - Bobby Bare
(Craft)
https://www.youtube.com/watch?v=jsWg0bt9kp4 (Capo 0)(MC0)
TIP: For the intro strum (C) but aim for the 2nd string, 3rd string, and 5th string on successive
strums. For the (C)-(C/G)-(C) bit just add your pinky to cover the top string/3rd fret.
TIP: Apparently “tempestion” is the collective of “tempest”.
INTRO: (C2)-(C3)-(C5), (G)(C)-(C/G)-(C), (G)
(C) Dropkick me Jesus through the goalposts of (G) life.

End over end neither left nor the (C) right.
Straight through the heart of them righteous up (F) rights.
Dropkick me (C) Jesus through the (G) goalposts of (C) life (G)(C)(G).
(C) Make me oh make me Lord (G) more than I am.

Make a piece in your master game (C) plan.
Free from the earthly tempestion be (F) low.
I've got the (C) will Lord if (G) you've got the (C) toe (C).
Dropkick me Jesus through the goalposts of (G) life.

(C) Bring on the brothers who've gone on be (G) fore.

And (G7) all of the (G) sisters who've knocked at your (C) door.
All the departed dear loved ones of (F) mine.
Stick 'em up (C) front in the (G) offensive (C) line (C).
A (C) lowly bench warmer I'm contented to (G) be,

Until the time when you have need of (C) me.
The flash on the big scoreboard that shines from on (F) high
And the big Super (C) Bowl way (G) up in the (C) sky (C).

Dropkick me (C) Jesus through the (G) goalposts of (C) life.
Yeah dropkick me Jesus through the goalposts of (G) life.

Dropkick me (C) Jesus through the (G) goalposts of (C) life (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)(MC4)
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) What will we do with a drunken sailor? (D) What will we do with a drunken sailor?
(Em) What will we do with a drunken sailor (G) erleye (D) in the (Em) morning.
Way hay and up she rises. (D) Way hay and up she rises.
(Em) Way hay and up she rises (G) erleye (D) in the (Em) morning.
Shave his belly with a rusty razor. (D) Shave his belly with a rusty razor.
(Em) Shave his belly with a rusty razor (G) erleye (D) in the (Em) morning.
Well put him in a long boat till he’s sober. (D) Put him in a long boat till he’s sober
(Em) Put him in a long boat till he’s sober (G) erleye (D) in the (Em) morning.
(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) Stick him in a scupper with a hosepipe on him (G) erleye (D) in the (Em) morning.
Put him in the bed with the captain's daughter.

(D) Put him in the bed with the captain's daughter.
(Em) Put him in the bed with the captain's daughter (G) erleye (D) in the (Em) morning.
That's what we do with a drunken sailor. (D) That's what we do with a drunken sailor.
(Em) That's what we do with a drunken sailor (G) erleye (D) in the (Em) morning.
(D)(D)(D)(A)-(D); (D)(D)(D)(A)-(D); (D)(D)(D)(A)-(D); (D)(D)(D)(A)-(D)
(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) - (Main Index) - (Song Index) (This Song)
DUKES OF HAZZARD THEME
Waylon Jennings
https://www.youtube.com/watch?v=qogVHlmFcx0 (Capo 3)(MC1)
TIP: The theme song from the television series 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)
Just a’good ol' boys. Never meanin' no (G) harm.

Beats (D) all you never saw been in (A) trouble with the law since the day they was (D) born.
Straightnin' the curves, flattenin’ the (G) hills.

Some (D) day, the mountain, might (A) get 'em but the law never (D) will.
Makin' their (A) way, the only way they know how.
That's just a little bit more than the law will a (D) llow.
(D)(D)(G)(G)(D)(A)(D)(D); (D)(D)(G)(G)(D)(A)(D)(D)
Makin' their (A) way, the only way they know how.
That's just a little bit more than the law will a (D) llow.
[Just a good ol' boys, wouldn't change if they (G) could.

(D) Fightin' the system like a (A) two modern day Robin (D) Hood.]
I'm a good ol' boy. You know my momma loves (G) me.
But she (D) don't understand they keep a (A) showin my hands and not my face on T (D) V.
(D)(D)(G)(G)(D)(A)(D)(D); (D)(D)(G)(G)(D)(A)(D)(D)
DUNCAN – Slim Dusty
(Alexander)
https://www.youtube.com/watch?v=hOML9zwoZn0 (Capo 3)(MC4)
INTRO: (C), (C)(F), (F)(Dm)(G)(C)-(G)
I (C) love to have a beer with Duncan. I love to have a beer with (G) Dunc.
We drink in moderation, and we never ever ever get (F) rollin' (G) drunk.
We (C) drink at the Town and Country, where the atmosphere is (F) great.
I love to have a beer with (Dm) Duncan, 'cause (G) Duncan's me (C) mate (G) yeah.
I (C) love to have a beer with Colin. I love to have a beer with (G) Col.
We drink in moderation, and it doesn't really matter if he (F) brings his (G) doll.
I love to have a beer with (Dm) Colin, ‘cause (G) Colin's me (C) mate. (G)-(F)-(C), (C)-(G)-(F)-(C)
I love to have a beer with Kevin. Oh I love to have a beer with (G) Kev.
We drink in moderation, and he drives me home in his (F) big old (G) Chev.
I love to have a beer with (Dm) Kevin, 'cause (G) Kevin's me (C) mate (G).
I (C) love to have a beer with Patrick. I love to have a beer with (G) Pat.
We drink in moderation, and it wouldn't really matter if the (F) beer was (G) flat.
I love to have a beer with (Dm) Patrick, 'cause (G) Patrick's me (C) mate. (G)-(F)-(C)-(C)
(“Change key”) (A)(A)
I (D) love to have a beer with Robert. I love to have a beer with (A) Bob.
We drink in moderation, just one more and (G) back on the (A) job.
We (D) drink at the Town and Country, where the atmosphere is (G) great.
I love to have a beer with (Em) Robert, ‘cause (A) Robert's me (D) mate (A).
I (D) love to have a beer with Duncan ohh I love to have a beer with (A) Dunc.
We drink in moderation, and we never ever ever get (G) rollin' (A) drunk.
We (D) drink at the Town and Country, where the atmosphere is (G) great.
I love to have a beer with (Em) Duncan, 'cause (A) Duncan's me (D) mate (A).
I (G) love to have a beer with (Em) Duncan 'cause (A) Duncan's me (D) mate. |D|
DUST IN THE WIND – Kansas
(Livgren)
https://www.youtube.com/watch?v=tH2w6Oxx0kQ (Capo 0)(MC1)
TIP: Don't be freaked by all the add chords, the song is actually pretty easy to play.
TIP: First the intro. You can strum the chords or, here's your chance to fingerpick. The intro
is pretty easy but it's in two parts with minor variations.
Part One: Start with (C), lift off the index finger to get to (Cmaj7), reform (C) but add
pinky to the 2nd string/3rd fret for (CaddD), and lift off the pinky and your back at (C). Next is
(Asus2) which is (Am) without the index finger. Play the (Asus) not as in the diagram but as (Am)
with your pinky added to 2nd string/3rd fret (the pinky will cancel the index finger). Now just
lift off the pinky and you'll be at (Am). Lift off the index finger and you're back to (Asus2).
Part Two: Like part one but you invert the order, beginning and ending with (Cadd) with (C)
and (Cmaj7) in between. Same thing with the (A) series, you start and end with (Am) with (Asus2)
an (Asus) in between. See the pattern? Clever boy, Kerry!
TIP: Next is 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) I (C) close, (G) my, (Am) eyes, (G) only for a (Dm) moment and the (Am) moment's gone.
(G)-(C) All, (G) my, (Am) dreams, (G) pass before my (Dm) eyes a curi (Am) osity.
(Gadd) Dust, (Cadd2) in (NC) the (Am) wind.
(Gadd) All they are is dust (Cadd2) in (NC) the (Am) wind.
(G)-(C) Same, (G) old, (Am) song. (G) Just a drop of (Dm) water in an (Am) endless sea.
(G)-(C) All, (G) we, (Am) do, (G) crumbles to the ground (Dm) though we re (Am) fuse to see.
(Gadd) Dust (Cadd2) in (NC) the (Am) wind.
(Gadd) All we are is dust in the (Am) wi-in, i- (G) -ind. (Dm) Oh... (G) oh- (Am) -oh.
<the violin part> (Am)(G); (F),(G)-(Am); (Am)(G); (F),(G)-(Am);

(Am)...(CaddG)...(G)-(Am); (Am)...(CaddG)...(G)-(Am)
(G) Now (C) don't, (G) hang, (Am) ah-on.

(G) Nothing lasts forev (Dm) er but the (Am) earth and sky.
(G) It (C) slips, (G) a, (Am) way.
And (G) all your money, (Dm) won't another, (Am) minute buy-eye.
(Gadd) Dust (Cadd2) in (NC) the (Am) wind. (Gadd) All we are is dust in the (Am) wind.
Dust, (G) in the (Am) wind. (G) Everything is dust in the (Am) wind. (CaddD)(C)(Cmaj7)(C)
(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)(MC1)
[This is Gordo's version which he does in [D]. Afterward is Peter, Paul & Mary's version which is
in [G] but has the (Bm). It also has some minor lyric differences. I think Gord's version is
easier to play.]
TIP: In the intro strike you'll see a double chord with the first one in brackets. This means
strum the first chord once followed by a very brief pause and then strum the chord again for a full
measure.
TIP: The flourish at the end of each lyric can be skipped if you wish.
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|(D)|G|(G)|A|(A)(G),(D)(G)(D)
In the early morning (A) rain, (G) with a (A7) dollar in my (D) hand (G)(D).
With an aching in my (G) heart (G)(A), and my (A7) pockets full of (D) sand (G)(D).
I'm a long way from (G) home(G)(A), Lord I (A7) miss my loved one (D) so (G)(D).
In the early morning (A) rain, (G) with (A7) no place to (D) go (G)(D).
Out on runway number (A) nine, (G) big seven oh (A7) seven set to (D) go (G)(D).
And I'm stuck here in the (G) grass (G)(A), where the (A7) pavement ever (D) grows (G)(D).
Now the liquor tasted (G) good (G)(A), and the (A7) women all look (D) fast (G)(D).
Now there she goes my (A) friend, (G) she'll be (A7) rollin’ down at (D) last (G)(A)(G)(D)(G)(D).
Hear the mighty engines (A) roar, (G) see the (A7) silver wing on (D) high (G)(D).
She's away and westward (G) bound (G)(A), far a (A7) bove the clouds she'll (D) fly (G)(D).
Where the morning rain don't (G) fall (G)(A), and the (A7) sun always (D) shines (G)(D).
She'll be flying o'er my (A) home, (G) in a (A7) bout three hours (D) time (G)(A)(G)(D)(G)(D).
This old airport's got me (A) down, (G) it's no (A7) earthly good to (D) me (G)(D).
And I'm stuck here on the (G) ground (G)(A), as cold and (A7) drunk as I can (D) be (G)(D).
You can't jump a jet (G) plane (G)(A), like you (A7) can a freight (D) train (G)(D).
So I'd best be on my (A) way, (G) in the (A7) early morning (D) rain (G)(D).
You can't jump a jet (G) plane (G)(A), like you (A7) can a freight (D) train (G)(D).
So I'd best be on my (A) way, (G) in the (A7) early morning (D) rain (G)(A)(G)(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)(MC3)
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)
In the early morning (Bm) rain, (Am) with a (D7) dollar in my (G) hand (C)(G).
And an aching in my (Am) heart (Am)(D), and my (D7) pockets, full of (G) sand (C)(G).
I'm a long way from (Am) home (Am)(D), and I (D7) miss my loved ones (G) so (C)(G).
In the early morning (Bm) rain, (Am) with (Am7) no place to (G) go (C)(G).
Out on runway number (Bm) nine, (Am) big seven oh (D7) seven set to (G) go (C)(G).
But I'm out here in the (Am) grass (Am)(D), where the (D7) pavement never (G) grows (C)(G).
Well the liquor tasted (Am) good (Am)(D), and the (D7) women all were (G) fast (C)(G).
There she goes my (Bm) friend, (Am) she's a (Am7) rollin’ down at (G) last (C)(G).
Hear the mighty engine (Bm) roar (hear the mighty engine (Am) roar),
see the (D7) silver wing on (G) high (see the (C) silver wing on (G) high).
She's away and westward (Am) bound (Am)(D), far a (D7) bove the clouds she'll (G) fly (C)(G).
Where the morning rain don't (Am) fall (Am)(D), and the (D7) sun always (G) shines (C)(G).
She'll be flying o'er my (Bm) home, (Am) in a (Am7) bout three hours (G) time (C)(G).
This old airport's got me (Bm) down, (Am) it's no (D7) earthly good to (G) me (C)(G).
Cuz I'm stuck here on the (Am) ground (Am)(D), cold and (D7) drunk as I might (G) be (C)(G).
You can't jump a jet (Am) plane (Am)(D), like you (D7) can a freight (G) train (C)(G).
So I'd best be on my (Bm) way, (Am) in the (Am7) early morning (G) rain (C)(G).
So I'd best be on my (Am) way (Am)(D), in the (D7) early morning (G) rain (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)(MC1)
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) Oh oh oh (Em) oh, wah-ah-ah (C) oh-oh-oh (D) oh.
Earth (G) angel, earth (Em) angel, (C) will you be (D7) mine.
(G) My darling (Em) dear, (C) love you all the (D7) time.
(G) I'm just a (Em) fool, (C) a fool in (D) love with (G) you (G)-(Em)-(Am)-(D).
Earth (G) angel, earth (Em) angel, (C) the one I a (D7) dore.
(G) Love you for (Em) ever, and (C) ever (D7) more.
(G) I'm just a (Em) fool, (C) a, fool in (D) love with (G) you (G)-(C)-(G).
I (C) fell, for you, (G) and I knew, the (D) vision of your (D7) love, loveli (G) ness (G7).
I (C) hope, and I (D7) pray, (G) that some day-(Em)-ay.
I'll be the (A) vision, of your hap, happi (D) ness. Oh-oh-oh-oh, oh.
Earth (G) angel, earth (Em) angel, (C) please be (D7) mine.
(G) I'm just a (Em) fool, (C) a, fool in (D) love with (G) you (G)-(C)-(G).
(C) I, fell-for-you, (G) and I knew, (D) the vision of your loveli (G) ness.
(C) I hope and pray, (G) that someday. That (Em) I'll be the vision of your happi (D) ness.
Oh-oh-oh-oh-oh-oh.
Earth (G) angel, earth (Em) angel, (C) please be (D7) mine.
(G) I'm just a (Em) fool (C), a-fool in (D) love, wi - ith, you- (Gadd) -ou. You, (G) you, you.
(The Penguins) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
EAT IT – Weird Al Yankovic
(Jackson/Yankovic)
https://www.youtube.com/watch?v=ZcJjMnHoIBI (Capo 5)(MC5)
TIP: The intro is two strums of |G#| - which is depicted as |F4|, then slide down and play two
strums of |F|, repeat, and a final strum of |D#| which is (D) moved up one string with your pinky
added to the 4th string/4th fret. And barre the (F4) and (F) if you can to bring in the bass. Then
it’s alternating (Em) and (D).
TIP: While not depicted within the lyrics, throughout the song wrap your thumb over the top
string/2nd fret to cover the bass <f#> and play (D/F#).
INTRO: |F4|-|F4|-|F|-|F|, |F4|-|F4|-|F|-|F|, |D#|
(Em)(D), (Em)(D), (Em)(D), (Em)(D)
(Em) How come you're always such a (D) fussy young man?
Don't (Em) want no Captain Crunch don't want no (D) Raisin Bran.
Well (C) don't you know that other kids are (D) starving in Japan?
So (Em) eat it, just (D) eat it.
(Em) Don't wanna argue I don't (D) wanna debate.

Don't (Em) wanna hear about what kind of (D) food you hate.
You (C) won't get no dessert 'till you (D) clean off your plate,
So (Em) eat it, don't you (D) tell me you're full.
Just (Em) eat it, (D) eat it, (Em) get yourself an egg and (D) beat it.
(Em) Have some more chicken, (D) have some more pie,
(Em) It doesn't matter if (D) it's broiled or fried,
Just (Em) eat it, just (D) eat it, just (Em) eat it, just (D) eat it, oooh.
(Em) Your table manners are a (D) cryy-in' shame,
You're (Em) playin' with your food this ain't some (D) kind of game.
Now (C) if you starve to death you'll just (D) have yourself to blame,
So (Em) eat it, just (D) eat it.
(Em) You better listen better (D) do what you're told,

You (Em) haven't even touched your tuna (D) casserole.
You (C) better chow down or it's (D) gonna get cold,
So (Em) eat it, I don't (D) care if you're full.
Just (Em) eat it, (D) eat it, (Em) open up your mouth and (D) feed it.
(Em) Have some more yogurt, (D) have some more Spam,
(Em) It doesn't matter if (D) it's fresh or canned.
Just (Em) eat it, (D) eat it, (Em) don't you make me re (D) peat it.
(Em) Have a banana, (D) have a whole bunch,
(Em) It doesn't matter what (D) you had for lunch.
Just (Em) eat it eat it eat it eat it. Eat it eat it eat it eat it.
(Em)(D)(Em)(D)(C)(D)(Em)(D)(Em)(D)(Em)(D)(C)(D)(Em)(D)
(Em) Eat it, (D) eat it, (Em) if it's gettin' cold re (D) heat it.
(Em) Have a big dinner, (D) have a light snack,
(Em) If you don't like it you (D) can't send it back,
Just (Em) eat it, (D) eat it, (Em) get yourself an egg and (D) beat it.
(Em) Have some more chicken, (D) have some more pie,
(Em) It doesn't matter if (D) it's broiled or fried,
Just (Em) eat it, (D) eat it, (Em) don't you make me re (D) peat it.
(Em) Have a banana, (D) have a whole bunch,

(Em) It doesn't matter what (D) you had for lunch.
Just |Em| eat it.
EDELWEISS – Christopher Plummer/Charmian Carr/Julie Andrews
(Rogers/Hammerstein)
https://www.youtube.com/watch?v=pjdbGNK8gSU (Plummer/Andrews) (Capo 1)(MC1)
https://www.youtube.com/watch?v=tu-lcwhZcEs (Plummer/Carr) (Capo 1)(MC1)
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) Edel (D7) weiss, (G) Edel (C) weiss. (G) Every (Em) morning you (Am7) greet (D7) me.
(G) Small and (D7) white, (G) clean and (C) bright, (G) you look (D7) happy to (G) meet me.
(D) Blossom of (D7) snow may you (G) bloom and grow. (C) Bloom and (A7) grow for (D) ev (D7) er.
(G) Edel (D7) weiss, (G) Edel (C) weiss. (G) Bless my (D7) homeland for (G) ever. (C)(D)
(G) Edel (D7) weiss, (G) Edel (C) weiss. (G) Every (Em) morning you (Am7) greet (D7) me.
(G) Small and (D7) white, (G) clean and (C) bright, (G) you look (D7) happy to (G) meet me.
(D) Blossom of (D7) snow may you (G) bloom and grow. (C) Bloom and (A7) grow for (D) ev (D7) er.
(G) Edel (D7) weiss, (G) Edel (C) weiss. (G) Bless my (D7) homeland for (G) e- (C) ver- (G) -er.
OUTRO: (G) 5 4 3/2/1
(Christopher Plummer) (Charmian Carr) (Julie Andrews) (Artist Index)

EIGHT DAYS A WEEK – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=kle2xHhRHg4 (Capo 0)(MC2)
[Also a version in [C] afterwards which doesn't have the (Bm) and is probably easier to play]
TIP: For the (DaddA) in the first chord of the intro/outro form a regular (D) but extend your
pinky over to the bottom string of the 5th fret. 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: (DaddA) (E7) (G) (D)
Ooh I need your (E7) love babe, (G) guess you know it's (D) true.
Hope you need my (E7) love babe, (G) just like I need (D) you.
(Bm) Hold me, (G) love me, (Bm) hold me, (E) love me.
I (D) ain't got nothin' but (E7) love babe, (G) eight days a (D) week.
Love you ev'ry (E7) day girl, (G) always on my (D) mind.
One thing I can (E7) say girl, (G) love you all the (D) time.
(Bm) Hold me, (G) love me, (Bm) hold me, (E) love me.
I (D) ain't got nothin' but (E7) love girl, (G) eight days a (D) week.
(A) Eight days a week, I |Bm| love you |Bm|-|Bm|.

(E) Eight days a week, is (G) not enough to (A) show I care.
(D) Ooh I need your (E7) love babe, (G) guess you know it's (D) true.
Hope you need my (E7) love babe, (G) just like I need (D) you.
Oh-oh-ho (Bm) hold me, (G) love me, (Bm) hold me, (E) love me.
(A) Eight days a week, I |Bm| love you Bm|-|Bm|.
(E) Eight days a week, is (G) not enough to (A) show I care.
(D) Love you ev'ry (E7) day girl, (G) always on my (D) mind. One thing I can (E7) say girl,
(G) love you all the (D) time. (Bm) Hold me, (G) love me, (Bm) hold me, (E) love me.
(G) Eight days a (D) week, (G) eight days a (D) week. (DaddA) (E) (G) |D|
EIGHT DAYS A WEEK – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=kle2xHhRHg4 (Capo 2)(MC2)
TIP: For the first (CaddG) chord of the intro/outro form a regular (C) but use your pinky to cover
the bottom string of the 2nd fret. 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: (CaddG) (D7) (F) (C)
Ooh I need your (D7) love babe, (F) guess you know it's (C) true.
Hope you need my (D7) love babe, (F) just like I need (C) you.
(Am) Hold me, (F) love me, (Am) hold me, (D) love me.
I (C) ain't got nothin' but (D7) love babe, (F) eight days a (C) week.
Love you ev'ry (D7) day girl, (F) always on my (C) mind.
One thing I can (D7) say girl, (F) love you all the (C) time.
I (C) ain't got nothin' but (D7) love girl, (F) eight days a (C) week.
(G) Eight days a week, I |Am| love you |Am|-|Am|.

(D) Eight days a week, is (F) not enough to (G) show I care.
(C) Ooh I need your (D7) love babe, (F) guess you know it's (C) true.
Hope you need my (D7) love babe, (F) just like I need (C) you.
Oh-oh-ho (Am) hold me, (F) love me, (Am) hold me, (D) love me.
(G) Eight days a week, I |Am| love you |Am|-|Am|.

(D) Eight days a week, is (F) not enough to (G) show I care.
(C) Love you ev'ry (D7) day girl, (F) always on my (C) mind.
One thing I can (D7) say girl, (F) love you all the (C) time.
(F) Eight days a (C) week, (F) eight days a (C) week. (CaddG) (D) (F) (C)
8TH OF NOVEMBER – Big & Rich
(Alpin/Rich)
https://www.youtube.com/watch?v=h_OyFoxp_uo (Capo 0)(MC0)
TIP: The intro is a bit cumbersome. It starts with an (A6+) which is (A) with the bottom
string/3rd fret covered. Then slide the pinky down one fret for the (A6) and lift off for (A).
Alernatively you can play the (A6+) as a barre of the bottom 4 strings with your pinky covering
bottom string/3rd fret, then lift off the pinky to play the (A6) and then lift off a little further
so the bottom string is open for the (A). You could also play the sequence as (Dsus4)(D) and then
either (A) or (Dsus2).
TIP: If you usually play the (F) as a barre or with your pinky covering the 5th string bass <c> you
want to come off that 5th string and leave it open for the word “Five” in “Nineteen Sixty-Five.”
or / ;
INTRO: (A6+)(A6)-(A), (A6+)(A6)-(A), (G)(D); (A6+)(A6)-(A), (A6+)(A6)-(A), (G)(D)
Said good (A) bye to his Momma, as he left South Dakota,

To (G) fight for the red white and (D) blue.
He was (A) nineteen and green, with a new M-16 just (G) doin’ what he had to (D) do.
He was (A) dropped in the jungle where the choppers would rumble
With the (G) smell of napalm in the (D) air.
Then the (A) sergeant saiiiiiid, look (G) up aheaaaaad.
Like a (A) dark evil cloud, twelve-hundred came down on (G) him and twenty-nine (D) more.
They (A) fought for their lives but most of them died in the (G) One-Se-ven-ty-Third Air (D) borne.
On the (A) eighth of November the angels were cryin’ as they (G) carried his brothers a (D) way.
With the (A) fire raining down and the hell all around
There were (G) few men left standin’ that (D) day.
Saw the (F) eagle fly, through a (G) clear blue sky,
(F) Nineteen Sixty-Five the eighth of No (A) vember (A)(G)(D).
Now (A) he's fifty-eight and his pony tail's grey but the (G) battle still plays in his (D) head.
He (A) limps when he walks, but he's strong when he talks,
About the (G) shrapnel they left in his (D) leg.
He puts (A) on a grey suit over his Airborne tattoo, and he (G) ties it on one time a (D) year.
And re (A) members the fallen, as he orders a tall one and (G) swallows it down with his (D) tears.
With the (A) fire raining down and the hell all around,
There were (G) few men left standing that (D) day.
Saw the (F) eagle fly, through a (G) clear blue sky,
(F) Nineteen Sixty-Five the eighth of No (A) vemberrrr – (G) rrrr – rr- (D) rrrr (D). (A)(A)(G)(D)
Saw the |F| eagle fly through a |G| clear blue sky |F| Nineteen Sixty |F| Five . . .
With the (A) fire rainin’ down and the hell all around
With the (A) fire rainin’ down and the hell all around
Saw the (F) eagle fly through a (G) clear blue sky (F) Nineteen Sixty-Five. <pause>
The eighth of No (A) vember (A)(G)(D). The eighth of No (A) vember (A)(G)(D).
Said good (A) bye to his Momma, as he left South Dakota,

To (G) fight for the red white and (D) blue.
He was (A) nineteen and green, with a new M-16, just (G) doing what he had to (D) do. |D|
(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=6ElCpHuiWkA (Capo 1)(MC2)
INTRO: (G)(G)(C)(G), (G)(G)(C)(G)
Charlie's got a gold watch. (Cmaj7) Don't seem like a whole lot,
After (D) thirty years of drivin', (C) up and down the inter (G) state.
But Charlie's had a good life, and (Cmaj7) Charlie's got a good wife.
And (Am) after tonight she'll no (C) longer be countin' the (D7) days.
Eighteen (C) wheels, and a dozen (G) roses. Ten more (Em) miles, on his (A7) four day (D) run.
A few more (C) songs, from the all night (Em) radio (C).
Then he'll (G) spend the rest of his (C) life with the (D7) one that he (G) loves. (G)(G)(C)(G),(G)
They'll buy a Winnebago. Set (Cmaj7) out to find America.

(D) Do a lot of catchin', (C) up, a little at a (G) time.
With pieces of the old dream, they're (Cmaj7) gonna light the old flame.
(Am) Doin' what they please leavin' (C) every other reason be (D7) hind.
Then he'll (G) spend the rest of his (C) life with the (D7) one that he (G) loves.
(G)(C)(C)(Am)(C)(D)
Then he'll (G) spend the rest of his (C) life with the (D7) one that he (G) loves.
(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)(MC4)
TIP: Paul and Artie recorded this song a few different ways. On their 1970 album of the same name
they sing half of the first verse and then the chorus, then the rest of the first verse, another
chorus, half of the second verse, the chorus, the rest of the second verse, and end with the chords
to the chorus but not the words. Later, on both the Bridge Over Troubled Water and Greatest Hits
albums, they record full verse number one, the chorus, full verse number two, and end with the
chords to the chorus. When performed live they (usually) sang the full verses and then (sometimes)
end with singing the words to the final chorus instead of just playing the chords. That version is
presented here. If you want to do it the way it was recorded on the latter albums just play the
chords in the final chorus without singing.
TIP: For the intro, you can play the chords or pick out the notes starting with the open bottom
string <e>. It's not hard if you remember <e>, , and <a> are the open 1st, 2nd, and 3rd
strings. Then use the side of your picking thumb to softly and rapidly (it's actually a mandolin)
strum the (Am) and (Em) ending with a final strum and a pause.
INTRO (Chords): (Em); (Em); (Em)(Em/G)(Em), (soft rapid strum) (Am)(Em)
INTRO (Notes): <e>, <d>-, <a>-<g>-<a>-; <e>, <d>-<e>-<d>-, <a>-<g>-<a>-;

<e>, <g>, <e>, (soft rapid strum) (Am)(Em)
I'd rather be a sparrow than a (G) snail.

Yes I would. If I could. I surely (Em) would. Mmm-hmm.
I'd rather be a hammer than a (G) nail.
Yes I would. If I only could, I surely (Em) would. Mmm-hmm.
A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone.
A (C) man, gets tied up to the ground. He gives the (G) world, its saddest sound.
It’s saddest (Em) sound. Mmm-hmm. Mmm-hmm.
I'd rather be a forest than a (G) street.
Yes I would. If I could. I surely (Em) would.
I'd rather feel the earth beneath my (G) feet.
Yes I would. If I only could, I surely (Em) would.
A (C) way, I'd rather sail away. Like a (G) swan, that's here and gone.
A (C) man, gets tied up to the ground. He gives the (G) world, its saddest sound.
It’s saddest (Em) sound. Oh yeah. (Em)|Em|
ELEANOR RIGBY – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=HuS5NuXRb5Y (Capo 0)(MC0)
TIP: The (Em)s at the end of the intro, and later in the bridge, are the quick violin draws.
TIP: Note there are two variations on the (Em7). The first is played in the verse and has been
renamed (Em/D) and is played with the pinky on note <d>. The other (Em7) leads off the chorus and
is played with one finger on note 5th string/2nd fret.
TIP: The verse is a walkdown within the (Em) as depicted in the second set of chord diagrams.
You’ll already be at (Em) so from there you hold the (Em) and add your pinky to the 2nd string/3rd
fret for the (Em/D), then slide down to the 2nd fret for (Em6), and lift off to get back to (Em).
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?
TIP: The coda is a set of single violin strums that begins on the final word “belong”. Instead of
an (Em) start the series with an |Em/G| in which you play (Em) but add your pinky to the bottom
string/3rd fret note <g>, lift off for a strum |Em|, then an |Asus4| which is (A) with your bottom
finger slid up one fret, then lift off for the |Esus4|, and finish with a |G| but don’t hit the top
two strings. Hardest part is the move from (Em) to (Asus4). Just drop the top two fingers down
one string-set and cover the <d> with your pinky.
; ;
INTRO: (C) Ah, look at all the lonely (Em) people. (Em)-(Em)-(Em)-(Em)-(Em)
(C) Ah, look at all the lonely (Em) people. (Em)-(Em)-(Em)-(Em)-(Em)
Eleanor Rigby, picks up the (Em/D) rice in the (Em6) church where a (Em) wedding has (Am) been.
(C) Lives in a dre- (Em) eam.
Waits at the window, wearing the (Em/D) face that she (Em6) keeps
In a (Em) jar by the (Am) door. (C) Who is it for- (Em) or?
(Em7) All the lonely (Em6) people, where (C) do they all come (Em) from?
(Em7) All the lonely (Em6) people, where (C) do they all be (Em) long?
Father McKenzie, writing the (Em/D) words of a (Em6) sermon that (Em) no one will (Am) hear.
(C) No one comes near- (Em) er.
Look at him working, darning his (Em/D) socks in the (Em6) night
When there's (Em) nobody (Am) there. (C) What does he care- (Em) are?
(Em7) All the lonely (Em6) people, where (C) do they all come (Em) from?
(Em7) All the lonely (Em6) people, where (C) do they all be (Em) long?

Eleanor Rigby, died in the (Em/D) church and was (Em6) buried a (Em) long with her (Am) name.
(C) Nobody ca- (Em) ame.
Father McKenzie, wiping the (Em/D) dirt from his (Em6) hands as he (Em) walks from the (Am) grave.
(C) No one was sa- (Em) aved.
(Em7) All the lonely (Em6) people,

(Ah, look at all the lonely people).
Where (C) do they all come (Em) from?
(Em7) All the lonely (Em6) people,

(Ah, look at all the lonely people).
Where (C) do they all be |EmG| long? |Em|-|Asus4|-|Esus4|-|G|
ELECTROLITE - R.E.M.
https://www.youtube.com/watch?v=1LewYq40Svw (Capo 0)(MC1)
TIP: You can get away with playing a (B7) in place of the (B) in the verse if you'd rather, but
not in the instrumental bridge, so you might as well just play the (B).
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) Your eyes are (C) burnin' holes through (G) me (C).
I'm gaso (G) line (C). I'm burnin' (G) clean (C)(G).
Twentieth (C) century go to (G) sleep (C).
You're plasti (G) cine (C). That is ob (G) scene (C). That is ob (D) scene.
You (Am) are the star to (D) night you shine e (Am) lectric outta (D) sight.
Your (B) light eclipsed the moon to (Em) night (G).
E (Am) lectro (Em) lite (G). You're (Am) outta (Em) sight (G)(D). (D4)(D)(G)
If I (C) ever want to (G) fly (C),

Mulholland (G) Drive (C). I am a (G) live (C)(G).
Holly (C) wood is under (G) me. (C)
I'm Martin (G) Sheen (C). I'm Steve Mc (G) Queen (C). I'm Jimmy (D) Dean.
You (Am) are the star to (D) night you shine e (Am) lectric outta (D) sight.
Your (B) light eclipsed the moon to (Em) night (G).
E (Am) lectro (Em) lite (G). You're (Am) outta (Em) sight (G)(D).
<piano/violin> (B)(B)(Am), (B)(B)(C)-(Am), (B)(B)(Am), (C)(C)(D), (D4)-(D)-(D4)-(G)

If you (C) ever want to (G) fly (C),
Mulholland (G) Drive (C). Up in the (G) sky (C)(G).
Stand on a (C) cliff and look down (G) there (C).
Don't be (G) scared (C). You are a (G) live (C). You are a (D) live.
You (Am) are the star to (D) night. You shine e (Am) lectric outta (D) sight.
Your light e (B) clipsed the moon to (Em) night (G).
E (Am) lectro (Em) lite (G). You're (Am) outta (Em) sight (G)-(D). (D4)-(D)-(D4)-(G)
Twentieth (C) century go to (G) sleep (C). Really (G) deep (C). We won't (G) blink (C)(G).
Your eyes are (C) burnin' holes through (G) me (C).
I'm not (G) scared (C). I'm outta (G) here (C).
I'm not <forcefully> |G| scared. I'm outta here.

EL PASO
Marty Robbins
https://www.youtube.com/watch?v=7UVVS5-9HvA (Capo 0)(MC0)
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.
TIP: The (D)(D4) twinkle is optional but easy to play. Just add your pinky to the bottom string
of the 3rd fret.
INTRO: (D)(Em)(A)(A7)(D)(D4)(D)
Out in the West Texas (Em) town of El Paso,

(A) I fell in love with a (A7) Mexican (D) girl(D4)(D).
Night time would find me in (Em) Rosa's cantina,
(A) Music would play and (A7) Felina would (D) whirl (D4)(D).
Blacker than night were the (Em) eyes of Felina,
(A) Wicked and evil while (A7) casting a (D) spell (D4)(D).
My love was deep for this (Em) Mexican maiden,
(A) I was in love, but in (A7) vain I could (D) tell (D4)(D).
(G) One night a wild young cowboy came in, wild as the West Texas (D) win - in- (D7) -ind.
Dashing and (D) daring a drink he was sharing with wicked Felina the (D7) girl that I (G) loved.
So in (A) an (A7) ger I
(D) Challenged his right for the (Em) love of this maiden.
(A) Down went his hand for the (A7) gun that he (D) wore (D4)(D).
My challenge was answered in (Em) less than a heart-beat,
The (A) handsome young stranger lay (A7) dead on the (D) floor (D4)(D).
Just for a moment I (Em) stood there in silence,
(A) Shocked by the foul evil (A7) deed I had (D) done (D4)(D).
Many thoughts raced through my (Em) mind as I stood there,
(A) I had but one chance and (A7) that was to (D) run (D4)(D).
(G) Out through the back door of Rosa's I ran. Out where the horses were (D) ti -i- (D7) ied.
I caught a (D) good one it looked like it could run. Up on its back and a (D7) way I did (G) ride.
Just as (A) fast (A7) as I
(D) Could from the West Texas (Em) town of El Paso.

(A) Out to the badlands of (A7) New Mexi (D) co (D4)(D).
Back in El Paso my (Em) life would be worthless.
(A) Everything's gone in life (A7) nothing is (D) left (D4)(D).
It's been so long since I've (Em) seen the young maiden.
(A) My love is stronger than (A7) my fear of (D) death (D4)(D).
(G) I saddled up and away I did go. Riding alone in the (D) dar - ar- (D7) -ark.
Maybe to (D) morrow a bullet may find me.
Tonight nothing's worse than this (D7) pain in my (G) heart. And at (A) last (A7) here I
(D) Am on the hill over (Em) looking El Paso.

(A) I can see Rosa's Can (A7) tina be (D) low (D4)(D).
My love is strong and it (Em) pushes me onward,
(A) Down off the hill to Fe (A7) lina I (D) go (D4)(D).
Off to my right I see (Em) five mounted cowboys,
(A) Off to my left ride a (A7) dozen or (D) more (D4)(D).
Shouting and shooting I (Em) can't let them catch me.
(A) I have to make it to (A7) Rosa's back (D) door (D4)(D).
(G) Something is dreadfully wrong for I feel, a deep burning pain in my (D) si -i- (D7) -ide.
Though I am (D) trying to stay in the saddle, I'm getting weary un (D7) able to (G) ride.
But my (A) love (A7) for
Fe (D) lina is strong and I (Em) rise where I've fallen,

(A) Though I am weary I (A7) can't stop to (D) rest (D4)(D).
I see the white puff of (Em) smoke from the rifle,
(A) I feel the bullet go (A7) deep in my (D) chest (D4)(D).
From out of nowhere Fe (Em) lina has found me,
(A) Kissing my cheek as she (A7) kneels by my (D) side (D4)(D).
Cradled by two loving (Em) arms that I'll die for,
(A) One little kiss and Fe (A7) lina . . . gooood (D) byyyye.
END OF THE LINE - Traveling Wilburys
(Petty, Lynne, Dylan, Harrison)
https://www.youtube.com/watch?v=UMVjToYOjbM (Capo 0)(MC2)
TIP: There's only three chords to the song but the intro and outro is challenging. I've included
three ways to play it, represented by the three lines of chord diagrams. The top line is easy.
Middle line: This is how George plays it, it'll be difficult to play on a small scale, 12-
fret guitar - better on a 14-fretter and better still with a cutaway - even then string spacing may
still be an issue for fat fingers. These are not the real names of the chords, (D@7) for example
is actually another way to play a (G) -- they're all just variations of (G)(A) and (D) -- but I've
changed their names so hopefully they'll make sense as to where on the fingerboard you're going and
how you'll be playing them. (D@7) means play the chord as you would a (D) but on the 7th fret (you
can forget about the note at the 4th string but if you can add the pinky all the better). You can
play the (F@12), (F@14), and (D@14) chords as indicated, or play them as a mini-barre with ring or
middle finger arched over the bottom string as shown below, except playing the (F) with the 3rd
string instead of the 2nd string, and playing the (D) as indicated.
Bottom line: This is just a hybrid of the two. Playing the D@7 is pretty easy, as is the D@9
as you simply slide up two frets. It's when you move even further up that finger spacing gets a
little difficult. If you can handle the F@10, fine, but if not then drop back down the fingerboard
and finish the sequence with a normal (D)(A)(D).
EASY: , ,
AS PLAYED BY G.H.: , ,
HYBRID: , ,
INTRO EASY: (G)(D), (G)(A)(D), (G)(A)-(D)-(A)-(D) or . . .
INTRO G.H.: (D@7)(D), (D@7)(D@9)(F@10), (D@7)(D@9)-(F@10)-(F@12)-(D@14) or . . .
INTRO ALT: (D@7)(D), (D@7)(D@9)(D), (D@7)(D@9)-(D)-(A)-(D)
(NC) Well it's (D) alllll right, riding a (A) round in the (G) breeze
Well, it's (D) alllll right, if you live the life (A) you (D) please
Well, it's alllll right, doing the (A) best you (G) can
Well, it's (D) all, right, as long as you lend (A) a (D) hand. (D)
(G) You can sit around and wait for the (D) phone to ring (at the end of the line).
(G) Waiting for someone to tell you (D) everything (at the end of the line).
(G) Sit around and wonder what to (D) morrow'll bring (at the end of the line).
Maybe a (A) diamond ring.
Well it's (D) alllll right, even if they (A) say you're (G) wrong
Well, it's (D) alllll right, sometimes you (A) gotta be (D) strong.
Well it's alllll right, as long as you-got (A) somewhere to (G) lay
Well, it's (D) alllll right, everyday is Judge (A) ment (D) Day. (D)
(G) Maybe somewhere down the (D) road aways (at the end of the line).
(G) You'll think of me and wonder where I (D) am these days (at the end of the line).
(G) Maybe somewhere down the road, when some (D) body plays, (at the end of the line)
(A) Purple haze.
Well it's (D) alllll right, even when (A) push comes to (G) shove.
Well it's (D) alllll right, if you got (A) someone to (D) love.
Well it's alllll right, everything'll (A) work out (G) fine.
Well it's (D) alllll right, we're going to the end (A) of the (D) line. (D)
(G) Don't have to be ashamed of the (D) car I drive (at the end of the line).
(G) I'm just glad to be here, happy to (D) be alive (at the end of the line).
(G) And it don't matter, if you're (D) by my side, (at the end of the line). I'm (A) satisfied.
Well it's (D) alllll right, even if you're (A) old and (G) gray
Well, it's (D) alllll right, you still got some (A) thing to (D) say.
Well it's alllll right, remember to (A) live and let (G) live
Well, it's (D) alllll right, the best you can do (A) is for (D) give.
Well it's alllll right, riding a (A) round in the (G) breeze
Well, it's (D) alllll right, if you live the life (A) you (D) please.
Well it's alllll right, even if the (A) sun don't (G) shine
Well, it's (D) alllll right, we're going to the end (A) of the (D) line.
OUTRO EASY: (G)(D), (G)(A)(D), (G)(A)-(D)-(A)-(D) or . . .
OUTRO G.H.: (D@7)(D), (D@7)(D@9)(F@10), (D@7)(D@9)-(F@10)-(F@12)-(D@14) or . . .
OUTRO HYBRID: (D@7)(D), (D@7)(D@9)(D), (D@7)(D@9)-(D)-(A)-(D)
(Traveling Wilburys) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE END OF THE WORLD - Skeeter Davis
(Connolly/Mybe/St.Louis/Williams/Angelo)
https://www.youtube.com/watch?v=sonLd-32ns4 (Capo 3)(MC2)
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. And you can play a
(D) instead of the (D/A) but all you do is add your pinky to the 4th string/4th fret, or even play
a (D7) instead.
INTRO: (G)(D)(Em)(D)
(G) Why does the sun go on (D) shining? (Em) Why does the sea rush to (Bm) shore?
(C) Don't they (Am) know it's the (Bm) end of the (E7) world?
'Cause (Am) you don't (C) love me any (Bm3) more (D7).
(G) Why do the birds go on (D) singing? (Em) Why do the stars glow a (Bm) bove?
It (Am) ended when I (D/A) lost your (G) love.
I (C) wake up in the morning and I (G) wonder, why (Am) everything's the (D) same as it (G) was?
I (Bm) can't understand, no I (E7) can't understand,
How (C) life goes (Am) on the way it (Bm3) does-(D7)-sss.
(G) Why does my heart, go on (D) beating? (Em) Why do these eyes of mine (Bm) cry?
It (Am) ended when you (D/A) said good (G) bye.
<capo +1>
<spoken> (G) Why, does my heart, go on (D) beating? (Em) Why, do these eyes of mine, (Bm) cry?
<sung> (C) Don't they (Am) know it's the (Bm) end of the (E7) world?
It (Am) ended when you (D/A) said, gooood (G) bye. (Bm)(C)(D7)|G|
(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)(MC0)
[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.]
INTRO: (D)(D)(D)(D4)-(A); (D)(D)(D)(D4)-(A); (D)(D)(D)(D4)-(A); (D)(D)(D)(D4)-(A)
The (D) eastern world, (G) it is ex (A7) plodin'.

(D) Violence flarin', (G) bullets (A) loadin'.
You're (D) old enough to kill, but (G) not for (A) votin'.
You (D) don't believe in war, but (G) what's that gun you're (A) totin'?
And (D) even the Jordan River has, (G) bodies (A) floatin' but cha,
(D) Tell me, (G) over and (A) over and (D) over again my (Bm) friend.
How you (G) don't believe, we're (A) on the eve of de (D) struction. (G)(A)(G)
(D) Don't-you-understand what I'm, (G) tryin' to say - (A) ay?

(D) Can't you feel the fears I'm, (G) feelin' to (A) day?
If the (D) button is pushed, there's no (G) runnin' a (A) way.
There'll be (D) no one to save, with the (G) world in a (A) grave.
Take a (D) look around you boy, it's (G) bound to scare you (A) boy and ya,
(D) Tell me, (G) over and (A) over and (D) over again my (Bm) friend.
How you (G) don't believe we're (A) on the eve of de (D) struction. (G)(A), (G)(A)(D)
Yeah my blood's so mad, feels (G) like coagu (A7) lating.

(D) I'm sitting here, (G) just, contem (A) platin'.
I (D) can't twist the truth, it (G) knows no regu (A) lation.
(D) Handful of senators don't (G) pass legis (A) lation.
And (D) marches alone, can't (G) bring inte (A) gration.
When (D) human respect is, (G) dis-inte (A) gratin'.
This (D) whole crazy world, is (G) just too frus (A) tratin' and you (D) tell me,
(G) Over and (A) over and (D) over again my (Bm) friend.
How you (G) don't believe, we're (A) on the eve of de (D) struction. (G)(A)(G)(A)(D)
Think of all the hate, there (G) is in Red (A7) China.

Then (D) take a look around, to (G) Selma Ala (A) bama.
(D) You may leave here, for (G) four days in spa- (A) -ace.
But (D) when you return it's the (G) same old (A) place.
The (D) pounding of the drums, the (G) pride and dis (A) grace.
You can (D) bury your dead, but (G) don't leave a (A) trace.
(D) Hate your next door neighbor, but (G) don't forget to (A) say-grace and (D) tell me,
(G) Over and (A) over and (D) over again my (Bm) friend.
You (G) don't believe we're (A) on the eve of de (D) struction?
Mmm no no you (G) don't believe, we're (A) on the eve of de (D) struction. (D)(D4)(A)(G)(A)(D)
(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)
The (C) eastern world, (F) it is ex (G7) plodin'.

(C) Violence flarin', (F) bullets (G) loadin'.
You're (C) old enough to kill, but (F) not for (G) votin'.
You (C) don't believe in war, but (F) what's that gun you're (G) totin'?
And (C) even the Jordan River has, (F) bodies (G) floatin' but cha,
(C) Tell me, (F) over and (G) over and (C) over again my (Am) friend.
How you (F) don't believe, we're (G) on the eve of de (C) struction. (F)(G)(F)
(C) Don't-you-understand what I'm, (F) tryin' to say - (G) ay?

(C) Can't you feel the fears I'm, (F) feelin' to (G) day?
If the (C) button is pushed, there's no (F) runnin' a (G) way.
There'll be (C) no one to save, with the (F) world in a (G) grave.
Take a (C) look around you boy, it's (F) bound to scare you (G) boy and ya,
(C) Tell me, (F) over and (G) over and (C) over again my (Am) friend.
How you (F) don't believe we're (G) on the eve of de (C) struction. (F)(G)(F)(G)(C)
Yeah my blood's so mad, feels (F) like coagu (G7) lating.

(C) I'm sitting here, (F) just, contem (G) platin'.
I (C) can't twist the truth, it (F) knows no regu (G) lation.
(C) Handful of senators don't (F) pass legis (G) lation.
And (C) marches alone, can't (F) bring inte (G) gration.
When (C) human respect is, (F) dis-inte (G) gratin'.
This (C) whole crazy world, is (F) just too frus (G) tratin' and you (C) tell me,
(F) Over and (G) over and (C) over again my (Am) friend.
How you (F) don't believe, we're (G) on the eve of de (C) struction. (F)(G)(F)(G)(C)
Think of all the hate, there (F) is in Red (G7) China.

Then (C) take a look around, to (F) Selma Ala (G) bama.
(C) You may leave here, for (F) four days in spa- (G) -ace.
But (C) when you return it's the (F) same old (G) place.
The (C) pounding of the drums, the (F) pride and dis (G) grace.
You can (C) bury your dead, but (F) don't leave a (G) trace.
(C) Hate your next door neighbor, but (F) don't forget to (G) say-grace and (C) tell me,
(F) Over and (G) over and (C) over again my (Am) friend.
You (F) don't believe we're (G) on the eve of de (C) struction?
Mmm no no you (F) don't believe, we're (G) on the eve of de (C) struction. (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)
The (G) eastern world, (C) it is ex (D7) plodin'.

(G) Violence flarin', (C) bullets (D) loadin'.
You're (G) old enough to kill, but (C) not for (D) votin'.
You (G) don't believe in war, but (C) what's that gun you're (D) totin'?
And (G) even the Jordan River has, (C) bodies (D) floatin' but cha,
(G) Tell me, (C) over and (D) over and (G) over again my (Em) friend.
How you (C) don't believe, we're (D) on the eve of de (G) struction. (C)(D)(C)
(G) Don't-you-understand what I'm, (C) tryin' to say - (D) ay?

(G) Can't you feel the fears I'm, (C) feelin' to (D) day?
If the (G) button is pushed, there's no (C) runnin' a (D) way.
There'll be (G) no one to save, with the (C) world in a (D) grave.
Take a (G) look around you boy, it's (C) bound to scare you (D) boy and ya,
(G) Tell me, (C) over and (D) over and (G) over again my (Em) friend.
How you (C) don't believe we're (D) on the eve of de (G) struction. (C)(D)(C)(D)(G)
Yeah my blood's so mad, feels (C) like coagu (D7) lating.

(G) I'm sitting here, (C) just, contem (D) platin'.
I (G) can't twist the truth, it (C) knows no regu (D) lation.
(G) Handful of senators don't (C) pass legis (D) lation.
And (G) marches alone, can't (C) bring inte (D) gration.
When (G) human respect is, (C) dis-inte (D) gratin'.
This (G) whole crazy world, is (C) just too frus (D) tratin' and you (G) tell me,
(C) Over and (D) over and (G) over again my (Em) friend.
How you (C) don't believe, we're (D) on the eve of de (G) struction. (C)(D)(C)(D)(G)
Think of all the hate, there (C) is in Red (D7) China.

Then (G) take a look around, to (C) Selma Ala (D) bama.
(G) You may leave here, for (C) four days in spa- (D) -ace.
But (G) when you return it's the (C) same old (D) place.
The (G) pounding of the drums, the (C) pride and dis (D) grace.
You can (G) bury your dead, but (C) don't leave a (D) trace.
(G) Hate your next door neighbor, but (C) don't forget to (D) say-grace and (G) tell me,
(C) Over and (D) over and (G) over again my (Em) friend.
You (C) don't believe we're (D) on the eve of de (G) struction?
Mmm no no you (C) don't believe, we're (D) on the eve of de (G) struction. (G)(C)(D)(C)(D)(G)
EVERYDAY - Buddy Holly
(Hardin/Petty)
https://www.youtube.com/watch?v=GMezwtB1oCU (Capo 1)(MC0)
TIP: For the intro you'll need to hit the 1st string/5th fret with your pinky while holding (D)
like in the diagram. This is a stretch for many. If you can't comfortably reach it from a
conventional (D) try this: Use your index finger to barre the bottom 3 strings of the 2nd fret as
close to the 2nd fret bar as you can and still get a nice clear sound. Now use your middle finger
to arch up and over the bottom string to the 2nd string/3rd fret. This should free up enough space
to reach the 5th fret with your pinky. Strum twice without the pinky in place and then tap that
bottom string with your pinky. It's not 2 beats and a pause, it's three quick beats. Do this 4
times and at the end of the 4th time keep the pinky on the bottom string and start the song through
"everyday" until you get to the first (Em).
TIP: That strange (DaddA) chord comes again at the outro but it's coming off a (D) and or some
reason it's easier to hit if you're already playing a (D). It's just a three-note twinkle with (D)
so strum the (DaddA) and then lift and clip the bottom string and finish on the 2nd string.
TIP: To play the (Emsus4) just lift off the bottom finger (you’ll already be playing (A7).
INTRO: (D)-(D)-(DaddA); (D)-(D)-(DaddA); (D)-(D)-(DaddA); (D)-(D)-(DaddA)
(D) Everyday, (Em) it's a-gettin' (A7) clos (Emsus4) er.

(D) Goin' faster (G) than a roller (A) coaster.
(D) Love like yours will, (G) surely (A7) come my (D) way. A (G) hey, a (D) hey (A) hey.
(D) Everyday, (Em) it's a-gettin' (A7) fast (Emsus4) er.

(D) Everyone said (G) go ahead and (A) ask her.
(D) Love like yours will, (G) surely (A7) come my (D) way. A (G) hey, a (D) hey hey.
(G) Everyday, seems a little longer. (C) Every way, love's a little stronger.
(F) Come what may, do you ever long for, (Bb) true love from (A) me (A7)?
(D)(Em)(A7)(Emsus4)(D)(G)(A)(D)(G)(A7)(D)(G)(D)(A)
(D)(Em)(A7)(Emsus4)(D)(G)(A)(D)(G)(A7)(D)(G)(D)(A)
(G) Everyday, seems a little longer. (C) Every way, love's a little stronger.
(F) Come what may, do you ever long for, (Bb) true love from (A) me (A7)?

(D) Love like yours will, (G) surely (A7) come my (D) way. (DaddA)-(D)-(D)
(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)(MC2)
TIP: The easiest way I found to pick those first three notes of the mandolin intro is to start
with your index finger on the 3rd string/2nd fret <a>. Pick the <a> and the open 2nd string just
below it, and then drop your index finger down to cover the 2nd string and pick the <f#>, then
release and form the first (D).
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: <a>--<f#>-(D)(A)(G)(A)(G)(A)(Bm)(A), (G)(A)(D)(G)(D)(A)(D)(D)(D)(D)
Look at the (A) sky baby. (G) What do you (A) see?
(G) Looks like the (A) tears that I (Bm) cry-(A)-y. (G)
Fallin' (A) down like (D) rain on the (G) ground. (D)
Every (A) time you say good (D) bye.
Take a look a (A) round now. (G) Why don't you (A) feel,
(G) The way that (A) cold wind stings and (Bm) bi-(A)-tes? (G)
And-your-words-just (A) are, like (D) arrows through my (G) heart. (D)
Every (A) time you say good (D) bye. (D)
There's a (A) restless feeling knocking (G) at my (D) door today.

There's a (A) shadow hanging 'round my (G) garden (D) gate.
I (F#) read between the lines of words you (Bm) can't disguise.
Love has (E) gone away, and put these (G) tears (D) in my (Em) eye-(D)eys.
<mandolin/banjo> (D)(A)(G)(A)(G)(A)(Bm)(A), (G)(A)(D)(G)(D)(A)(D)(D)

Look at the (A) sky baby. (G) See how it (A) cries?
(G) Ain't it (A) just like my (Bm) tear-(A)ears? (G)
Fallin' (A) down like (D) rain on the (G) ground. (D)
Every (A) time you say good (D) bye.
<fiddle> (D)(A)(G)(A)(G)(A)(Bm)(A), (G)(A)(D)(G)(D)(A)(D)(D)

Love has (E) gone away, and put these (G) tears (D) in my (A) eye-(D)eys.

Love has (E) gone away, and put these (G) tears (D) in my (Em) eye-eye- (D) eys.
<mandolin> (D)(A)(G)(A)(G)(A)(G)(D) |D|
(Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
EYE OF THE TIGER – Survivor
(Sullivan/Peterik)
https://www.youtube.com/watch?v=XxxfQ7-aMrE (Capo 3)(MC3)
TIP: In the intro and outro you can just lift off completely from the |Am| for one strum (NC) and
then go right back down for the next |Am|, or you can play a |G| if you want to get a little extra
bass in. But I find the |NC| easier and completely satisfactory. Notice in the outro that first
|Am| that starts the sequence comes on “tiger.”
INTRO: |Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|F|

|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|F|
|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|F|, (Am)(Am)(Am)(Am)
Rising up, (F) back on the street.

(G) Did my time, took my (Am) chances.
Went the distance now I'm (F) back on my feet.
Just a (G) man, and his will to sur (Am) vive.
So many times, it (F) happens too fast.

(G) You change your passion for (Am) glory.
Don't lose your grip, on the (F) dreams of the past.
You must (G) fight just to keep them a (Am) live.
It's the, (Dm) eye of the tiger it's the (C) thrill of the (G) fight,
Rising (Dm) up, to the challenge of our (G) rival.
And the (Dm) last known survivor stalks his (C) prey in the (G) night,
And he's (Dm) watching us (Em) all with the (F) eyyyye |F|, of the (Am) tiger (Am).
Face to face, (F) out in the heat,
(G) Hanging tough, stayin’ (Am) hungry.
They stack the odds, 'til we (F) take to the street,
For the (G) kill, with the skill to sur (Am) vive.
And he's (Dm) watching us (Em) all with the (F) eyyyye |F|, of the (Am) tiger (Am)(Am)(Am).
Rising up, (F) straight to the top.

(G) Had the guts, got the (Am) glory.
Went the distance now I'm (F) not going to stop,
Just a (G) man, and his will to sur (Am) vive.
And he's (Dm) watching us (Em) all with the (F) eyyyye |F|, of the (Am) tiger (Am).
(F) The eye of the |Am| tiger, |Am|-|NC|-|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|F|

(F) The eye of the |Am| tiger, |Am|-|NC|-|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|F|
(F) The eye of the |Am| tiger, |Am|-|NC|-|Am|, |Am|-|NC|-|Am|, |Am|-|NC|-|F|, (F)(F)|Am|
(Survivor) (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)(MC1)
TIP: The intro are the chords from the chorus, “Fare away . . .”
TIP: The bridge is the "penny whistle" part. It's kind of a you know it or you don't kind of
proposition. The notes at the end of the bridge are the first 7 notes to the "Old Spice"
commercial. Begin on the open 3rd string.
TIP: In the last verse the line that goes: "Come next April I'm sixty-three", this line is sung
on the up-inflection from start to finish so start "come" and finish "three" both on "high d".
TIP: The chorus that has two "wily"s you'll see a bracketed |D| meaning strum once at that point.
TIP: For the end notes on the outro you'll end on an (G) and that covered bottom string <g>. So
keep the bottom finger on that covered <g> and just slide down one fret to the <f#> and back up to
the <g> and the next note, <d> is right above it on the 2nd string/3rd fret and pick the <c> etc,
finishing with a single strum of |G|.
INTRO: (G)(G)(C)-(G), (C)(G)(D)(G)
Sun breaks over the (C) sprits'l (G) yard.

(C) Jib sheet's (G) hauling to (A) leeward (D) hard.
(G) Crosstree's hummin' a (C) morning (G) hymn.
(C) I'm the (G) cabin boy (D) call me (G) Jim. (D) His name's (G) Jim.
Fare away fare away under main (C) top (G) sail
To the (C) fur be (G) low of the (D) wily (C) wha - (G) ale.
Captain's stalking the (C) quarter (G) deck.
(C) Tells the (G) tale of his (A) first ship (D) wreck.
(G) Castaway with a (C) case of (G) rum.
(C) Hoped that (G) rescue would (D) never (G) come. (Never come).
To the (C) fur be (G) low of the |D|-|D| wily, |D|-|D| wily . . .
(G)(C)-(G); (G)-(Em)(D); (G)(C)(G); |C|-|C|-(G), |C|-|C|-(G), (C)(G)(D)(G), (C)(G)(D)|E|;

|C|-|C|-|C|-|C|-|C|-|D|-|D|, |D|-|D|, <pick> <g>-<g>-<a>--<g>--<d>
(G) First mate Peter's a (C) hardened (G) man.

(C) Says the (G) captain's a (A) charla (D) tan.
(G) Don't know tackle from (C) futtock (G) plates.
He'll (C) sail us (G) into the (D) Pearrrrr - ly (G) Gates.
Fare away fare away under main (C) top (G) sail,
I been sailing these (C) seven (G) seas,

Since (C) I's nigh (G) high to a (A) mermaid's (D) knees.
(G) Come next April I'm (C) sixty (Gadd) three.
I (C) can't ad (G) vance, I (C) like short (G) pants,
(C) Safe in the (G) cabin on the (D) open (G) sea.
(C) Safe in the (G) cabin on the (D) open (G) sea.
To the (C) fur be (G) low of the (D) wily (G) whale.
To the (C) fur be (G) low of the (C) fur be (G) low of the (C) fur be (G) low
Of the |D|-|D| wily, |D|-|D| wily, (C) wha - (G) ale.
<g>-<f#>-<g>-<d>-<d>, <d>-<c>--<c>--<c>-<a>-|G|
(The New Main Street Singers) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
FAT BOTTOMED GIRLS - Queen
(May)
https://www.youtube.com/watch?v=qBk8MnT-Tvk (Capo 0)(MC1)
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: (CaddD) always follows a (C) so just keep the (C) formation and add the pinky to 2nd
string/3rd fret. And while not shown in the lyrics whenever you play the (D) wrap your thumb over
the top string/2nd fret to grab the bass note as shown in the second diagram (although you can just
play just (D) if you want).
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| Are . . . you gonna |C| take me home to |Gadd| night?

|D| Ah . . . down be |C| side that |CaddD| red fireli- |A| -ight?
|D| Are . . . you gonna |G| let it all hang out fat bottomed |D| girls you make the
|A| rockin' world go |D| round.
<Pick open 5th string> (D)x7 (C)-(G)-(D); (D)x7 (C)-(G)-(D)

(D)x7 (C)-(G)-(D); (D)x7 (C)-(G)-(D)
Hey. I was just a skinny lad, never knew no good from bad, but I-knew life before I
left my nurser (A) y. Left a (D) lone with big fat Fanny, she was (G) such a naughty nanny.
Hey big (D) woman, you made a (A) bad boy out of (D) me. (C)-(G)-(D)
<strum> (D)x7 (C)-(G)-(D); Hey hey. <strum> (D)(D),(D)-(D)-(C)-(G)-(D);
<strum> (D)x7 (C)-(G)-(D); Whooo. <strum> (D)x7 (C)-(G)-(D); <clap clap>
<strum> (D)x7 <palm strings and pause>
(NC) I've been (D) singing with my band, across the wire, 'cross the land.
I seen ev'ry blue-eyed floozy on the (A) way, hey.
But their (D) beauty and their style went kind of (G) smooth after a while.
Take me (D) to them lardy (A) ladies every (D) time.
C'mon. Oh . . . won't you (C) take (CaddD) me home to (Gadd) night?

(D) Oh . . . down be (C) side (CaddD) your red fireli- (A) -ight?
(D) Oh . . . when you (G) give it all you got
Fat bottomed (D) girls you make the (A) rockin' world go (D) round (G).
Fat bottomed (D) girls you make the (A) rockin' world go (D) round.
(Gadd)(D)(A)(D); (Gadd)(D)(A)(D) Hey listen here.
Now I got mortgages on homes. I got stiffness in my bones.

Ain't no beauty queens in this locali (A) ty. I tell ya!
Oh but (D) I still get my pleasure, still (G) got my greatest treasure.
Heap big (D) woman, you done (A) made-a-big man of (D) me. Now get this.
Oh, I know, you gonna you (C) take (CaddD) me home to (Gadd) night? Please!
(D) Oh . . . down be (C) side that (CaddD) red fireli- (A) -ight?
(D) Oh . . . you (G) gonna let it all hang out? Fat bottomed (D) girls you make the
(A) rockin' world go (D) round (G).
Fat bottomed (D) girls you make the (A) rockin' world go (D) round.
Get on your bikes and ride!
<strum> (D)x3 (C)-(G)-(D); (D)x3 (C)-(G)-(D); (D)x3 (C)-(G)-(D); (D)x3 (C)-(G)-(D);

Fat bottomed girls.
<strum> (D)x3 (C)-(G)-(D); (D)x3 (C)-(G)-(D); (D)x3 (C)-(G)-(D); (D)x3 (C)-(G)-(D);

Fat bottomed girls.
<saw pattern rapidly> (D)x8 (C)-(G)-(D); (D)x8 (C)-(G)-(D); (D)x8 (C)-(G)-(D); (D)x8 (C)-(G)-(D);
(D)x8 (C)-(G)-(D); (D)x8 (C)-(G)-(D);
<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)(MC1)
TIP: The intro (which also repeats between verses) is three strums of (G) and one strum of (C).
Now from the (C) add your pinky to the bottom string (like you're playing a (CaddG)). Now pluck
the 2nd string, the covered bottom string, the 2nd string again, and lift off all but the pinky and
slide the pinky up to the 5th fret and pluck the covered bottom string. Repeat 3 more times, do
just the chords again and begin the song. Try it, it's really pretty easy.
INTRO: (G),(G)-(G)-(C), <c><g><c><a>; (G),(G)-(G)-(C), <c><g><c><a>;

(G),(G)-(G)-(C), <c><g><c><a>; (G),(G)-(G)-(C)
It's not (G) time to make a (D) change. Just re (C) lax, take it (Am7) easy.
You're still (G) young, that's your (Em) fault. There's so (Am) much you have to (D) know.
Find a (G) girl, settle (D) down, if you (C) want, you, can (Am7) marry.
Look at (G) me, I am (Em) old, but I'm (Am) happy (D).
I was (G) once like you are (D) now, and I (C) know that it's not (Am7) easy.
To be (G) calm, when you've (Em) found, something going (Am) on (D).
But take your (G) time, think a (D) lot, why think of (C) everything you've got (Am7) for you will
(G) still be here to (Em) morrow, but your (D) dreams may (G) not. (G)-(G)-(C), <c><g><c><a>;
(G),(G)-(G)-(C)
How can (Gadd) I try to ex (Bm) plain, when I (C) do he turns a (Am7) way again.
It's (G) always been the (Em) same, same old (Am) story (D).
From the (Gadd) moment I could (Bm) talk, I was (C) ordered to (Am7) listen now there's a (G) way,
And I (Em) know, that I (D) have to (G) go away.
I (D) know, I (C) have to (G) go. (G)-(G)-(C), <c><g><c><a>; (G),(G)-(G)-(C), <c><g><c><a>
<chords from verse just completed>: (Gadd)(Bm)(C)(Am7)(G)(Em)(Am)(D),

(Gadd)(Bm)(C)(Am7)(G)(Em)(D)(G)(G), (D)(C)(G); (G)-(G)-(C); (G),(G)-(G)-(C)
It's not (G) time to make a (D) change. Just sit (C) down, take it (Am7) slowly,
You're still (G) young, that's your (Em) fault. There's so (Am) much you have to go (D) through.
Find a (G) girl, settle (D) down, if you (C) want, you, can (Am7) marry.
Look at (G) me, I am (Em) old, but I'm (Am) happy (D).
All the (Gadd) times, that I (Bm) cried, keeping (C) all the things I (Am7) knew inside
It's (G) hard, but it's (Em) harder to ig (Am) nore it (D).
If they were (Gadd) right, I'd a (Bm) gree, but it's (C) them they know not (Am7) me now
There's a (G) way, and I (Em) know, that I (D) have to (G) go away.
I (D) know, I (C) have to |G| go.
FEEL LIKE A NUMBER
Bob Seger
https://www.youtube.com/watch?v=q1FRvwJP1pk (Capo 2)(MC0/1)
TIP: This song is all about the four-beat (D)(G)(A)(D) sequence. It's not hard but notice that
whenever the line ends in a (D), that (D) that just ended is the first (D) in the sequence. For
example "...the (D) mail (G)(A)(D)."
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) x 3; (G); (D)(G)(A)(D) x 3; (G); (D)
I take my card and I stand in line, to make a buck I work overtime.

(G) 'Dear Sir' letters keep (A) comin' in the (D) mail (G)(A)(D).
I work my back till it's racked with pain. The boss can't even recall my name.
I (G) show up late and I'm (A) docked it never (D) fails (G)(A)(D).
I (G) feel like just another, (D) spoke in a great big wheel.
Like a (G) tiny blade of <lift> grass in a great big (A) field. Whoa. (D)(G)(A)(D), (D)(G)(A)(D)
To workers I'm just another drone, to Ma Bell I'm just another phone.
I'm (G) just another sta (A) tistic on a (D) sheet (G)(A)(D).
To teachers I'm just another child, to IRS I'm just another file.
I'm (G) just another con (A) sensus on the (D) street (G)(A)(D).
Gonna (G) cruise out of this city. (D) Head down to the sea.
Gonna (G) shout out at the <lift> ocean, "Hey it's (A) me!"
And I feel like a num (D) ber (G)(A)(D). Feel like a number (D)(G)(A)(D).
Feel like a stranger (D)(G)(A)(D). A (G) stranger in this (A) land.
I feel like a num (D) ber (G)(A)(D). I'm not a number (D)(G)(A)(D).
I'm not a number (D)(G)(A)(D). (G) Dammit I'm a (A) man. I said I'm a (D) 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)
Gonna (G) cruise out of this city. (D) Head down to the sea.
Gonna (G) shout out at the <lift> ocean, "Hey it's (A) me!"
Feel like a num (D) ber (G)(A)(D). Feel like a number (D)(G)(A)(D).
Feel like a stranger (D)(G)(A)(D). A (G) stranger in this (A) land.
I feel like a num (D) ber (G)(A)(D). I'm not a number (D)(G)(A)(D).
I'm not a number (D)(G)(A)(D). (G) Dammit I'm a (A) man.
Feel like a num (D) ber (G)(A)(D). Feel like a number (D)(G)(A)(D). 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)(MC0)
TIP: The opening riff is a little awkward. It's a (D) followed by two (Am7) and then you pick
note <a> at the bottom string of the 5th fret, denoted as "b5" (actually the 7th fret with (C2)
with a gently upstroke. There's no easy way to pick that bottom string so you just come off the
(Am7) and get to it the best you can and then go back for the next (D).
TIP: The above pattern also permeates the song but a variation. You don't play the b5 again but
instead play one (Am7) and then an (Am) which will include a middle register <a> as a substitute
for the b5. If this is too messy you can also just play two (Am7)s or two (Am)s. Finally, notice
the pattern breaks at the end of the song. Just follow the chords. Groovy.
TIP: Remember to drop your voice going into the bridge to match the (Em).
INTRO: (D),(Am7)-b5; (D),(Am7)-b5; (D),(Am7)-b5; (D),(Am7)-b5
(D) Li- (Am7) -ife, goes on day after (D) day |Am7|-|Am|,(D)|Am7|-|Am|.
(D) Hearts (Am7), torn in every (D) way |Am7|-|Am|,(D)|Am7|-|Am|.
So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love.
And here I'll (D) stay |Am7|-|Am|,(D)|Am7|-|Am|.
(D) Peo- (Am7), -ple they rush every (D) where |Am7|-|Am|,(D)|Am7|-|Am|.
(D) Each (Am7), with their own secret (D) care |Am7|-|Am|,(D)|Am7|-|Am|.
So (D) ferry, 'cross the (F#m) Mersey, and (G) always take me (A) there.
The place I (D) love |Am7|-|Am|,(D)|Am7|-|Am|.
(Em) People a (G) round every (D) corner. (Em) They seem to (G) smile and (D) say.
(Em) “We don't (A) care what your (F#m) name is boy. (E) We'll never turn you a (A) way.”
(D) So (Am7), I'll continue to (D) say |Am7|-|Am|,(D)|Am7|-|Am|.
(D) Here (Am7), I-I always will (D) stay |Am7|-|Am|,(D)|Am7|-|Am|.
So (D) ferry, 'cross the (F#m) Mersey, 'cause (G) this land's, the place I (A) love.
And here I'll (D) stay (Am7)(Am7). And here I'll (D) stay (D)(Am7).
Here I'll (D) stay (D)(Am7)(Am). |D|
(Gerry and the Pacemakers) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
FIELDS OF GOLD - Eva Cassidy/Sting
(Sumner/Bogdanovic)
https://www.youtube.com/watch?v=9UVjjcOUJLE (Eva) (Capo 2)(MC1)
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.
INTRO: (Em/G) Whoooooh (C) oooooh (G) ooooooh
You'll re (Em) member me, when the (C) west wind moooves among the (D) fields of (G) barley.
You can (Em) tell the sun in his (C) jealous sky, when we (Am7) walked in (D) fields of (G) gold.
So she (Em) took her love for to (C) gaze awhile, among the (D) fields of (G) barley.
In his (Em) arms she (C) fell as her (G) hair came down, a (Am) mong the (D) fields of (G) gold.
Will you (Em) stay with me, will you (C) be my looove among the (D) fields of (G) barley?
And you can (Em) tell the sun in his (C) jealous (G) sky, when we (Am) walked in (D) fields of
(G) gold. (C)
<Sting> See the (Em) west wind move like a (C) lover so upon the fields of (G) barley.
Feel her (Em) body rise when you (C) kiss her (G) mouth a (C) mong the (D) fields of (G) gold
I never made (D) promises (G) lightly (C), and there have been (D) some that I've (G) broken (C).
But I swear in the (D) days still (Em) left, we will (C) walk in (D) fields of (Em) gold.
Weeee'll walk in (D) fields of (G) 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>

I never made (D) promises (G) lightly (C), and there have been (D) some that I've (G) broken (C).
But I-I swear in the (D) days still (Em) left, we will (C) walk in (D) fields of (Em) gold.
We'll (C) walk in (D) fields of (G) gold.
(Em) Whoooooh (C) whoooooh (G) ooooooh (G)
Many (Em) years have passed since (C) those summer dayyyys (D) among the fields of (G) barley.
Seee the (Em) children run as the (C) sun goes (G) down, as you (Am7) lie in (D) fields of
(G) gold.
You'll re (Em) member me, when the (C) west wind moooves among the (D) fields of (G) barley.
You can (Em) tell the sun in his (C) jealous (G) sky, when we (Am7) walked in (D) fields of
(G) gold.
When we (C) walked in (D) fields of (Em) gold, when (C) we walked in (D) fields of (G) gold.
(Em) Whoooooh (C) oooooh (G) ooooooh |C|-|D|-|G|
(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)(MC0)
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. Then there's a two-note (actually three but
the third is buried in the (Em)) step-down at the top string in which you pick the top string/3rd
fret <g> (already covered by the trailing (G), and then the top string/ fret <f#> and finish with
the (Em). Pretty easy and sounds sweet.
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: In the long instrumental which is a combination of steel guitar and flute the pace is fairly
quick. Hit the first chord somewhat hard and then rapidly strum for a bit before moving on to the
next. This only applies to the steel guitar part.
TIP: In the last verse and outro you'll see chords in |brackets| which means to strum the chord
once.
INTRO: |G|(G), |D|(D), |Am|(Am), |C|(C), |G|(G) <g><f#> (Em)(Em)(C)(C)(Em)(Em)(C)(C)
(Em) Took my fam'ly away from my (C) Carolina home.

(Em) Had dreams about the West and (C) started to roam.
(Em) Six long months on a (C) dust covered trail.
(Em) They say heaven's-at-the-end-but- so (C) far it's been hell and there's,
(Gadd) Fire on the mountain (D) lightnin' in the air,
(Am) Gold in them hills and it's (C) waitin' for me (Em) there. (Em)(C)(Em)(C)
(Em) We were diggin' and siftin' (C) from five to five.
(Em) Sellin'-everything-we-found, (C) just to stay ali-hive.
(Em) Gold flowed free like the (C) whiskey in the bar.
(Em) Sinnin'-was-the-big thing-lord-and, (C) Satan was his star and there's,
(Gadd)(D)(Am)(C)(G); (G)(Gadd)(D)(Am)(C)(Em); <flute part> (Em)(C)(Em)(C)(Em)(C)(Em)(C)
(Em) Dance hall girls were the, (C) evenin' treat.

(Em) Empty-cartridges-and-blood-lined-the (C) gutters of the stre-eet.
(Em) Men were shot-down-for-the, (C) sake of fun,
(Em) Or just to hear the noise of their (C) forty-four guns and there's,
|Em| Now my widow she, |C| weeps by my grave.

|Em| Tears flow free for-her-man, |C| she couldn't sa-ave.
|Em| Shot down in cold blood by a |C| gun that carried fame.
|Em| All for a useless and no good, |C| worthless claim and there's,
(Am) gold in them hills and it's (C) waitin' for me (Em) ther-(G)-ere.

(Am) Gold in them hills and it's (C) waitin' for me |Em| there |C|. Waitin' for me |G| there.
FISH AND WHISTLE
John Prine
https://www.youtube.com/watch?v=G487EDeXadA (Capo 0)(MC0)
INTRO: (G)(C)(G), (C)(G)(D), (G)(C), (G)(D)(G)
I've been thinkin' lately about the (C) people I (G) meet.
The (C) carwash on the (G) corner and the (D) hole in the street.
The (G) way my ankles hurt with (C) shoes on my (G) feet
And I'm wonderin' if I'm (D) gonna see to (G) morrow
Father forgive us for (C) what we must (G) do,

(C) You forgive (G) us, (D) we'll forgive you.
(G) We'll forgive each other 'til we (C) both turn blue
Then we'll (G) whistle and go (D) fishin' in the (G) heavens
(G)(C)(G), (C)(G)(D), (G)(C)(G), (G)(D)(G)
I was in the army but I (C) never dug a (G) trench.

(C) Used to bust my (G) knuckles on a (D) monkey wrench.
(G) I'd go to town and drink, (C) give the girls a pinch
But I (G) don't think they (D) ever even (G) noticed me
Father forgive us for (C) what we must (G) do.

Then we'll (G) whistle and go (D) fishing in the (G) heavens
(D) Fish and whistle, whistle and fish,

(G) Eat everything that they put on your dish.
And (C) when we get through, we'll (G) make a big wish
That we (A) never have to do this a (D) gain, a (D7) gain, a (D) gain.
On my (G) very first job I said (C) thank you and (G) please.
They made me scrub a parking lot (D) down on my knees.
(G) Then I got fired, for (C) being scared of bees
And they (G) only give me (D) fifty cents an (G) hour
Father forgive us for (C) what we must (G) do.

(G)(C)(G), (C)(G)(D), (G)(C)(G), (G)(D)(G)
(D) Fish and whistle, whistle and fish,

(G) Eat everything that they put on your dish.
And (C) when we get through, we'll (G) make a big wish
That we (A) never have to do this a (D) gain, a (D7) gain, a (D) gain. Ohhhh,
(G) Father forgive us for (C) what we must (G) do.

We'll whistle and go (D) fishing in the (G) heavens.

We'll whistle and go (D) fishing in the (G) 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)(MC1)
[Afterwards is The Seeker's version in [G] which is easier to play and I think prettier as well.]
TIP: For the intro, rather than pick out the individual notes (although this is a pretty song to
fingerpick if you're able) pluck the bass note string shown in front of the chord and then gently
use several light downstrokes at that level and below for each chord. The (Gadd) comes at the very
end of the (G) sequence.
TIP: The final one-strum chord is the |CaddG| in which you just add your pinky to the bottom
string of the 3rd fret.
INTRO: 5(C) 5(Am) 4(Dm) 4(F) 4(Dm) 6(G)-(Gadd); 5(C)5(C)
If you miss the train I'm (Am) on, you will (Dm) know that I am (F) gone.
You can (Dm) hear the whistle (Em) blow a (F) hundred (G) miles.
A hundred (C) miles a hundred (Am) miles a hundred (Dm) miles a hundred (F) miles.
You can (Dm) hear the whistle (G) blow a (F) hundred (C) miles.
Lord I'm one, Lord I'm (Am) two, Lord I'm (Dm) three, Lord I'm (F) four.
Lord I'm (Dm) five hundred (Em) miles (F) from my (G) home.
Five hundred (C) miles five hundred (Am) miles five hundred (Dm) miles five hundred (F) miles.
Lord I'm (Dm) five hundred (G) miles (F) from my (C) home.
Not a shirt on my (Am) back, not a (Dm) penny to my (F) name.

Lord I (Dm) can't go a (Em) home (F) this a (G) way.
This a (C) way, this a (Am) way, this a (Dm) way, this a (F) way.
Lord I (Dm) can't go back (G) home (F) this a (C) way.
If you miss the train I'm (Am) on, you will (Dm) know that I am (F) gone.
You can (Dm) hear the whistle (G) blow a (F) hundred (C) miles (C)(C)|CaddG|.
(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)(MC0)
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)
If you miss the train I'm (Em) on, you will (Am) know that I am (C) gone.
You will (Am) hear the whistle (D) blow, a hundred (G) miles.
A hundred miles a hundred (Em) miles a hundred (Am) miles a hundred (C) miles.
You will (Am) hear the whistle (D) blow, a hundred (G) miles.
Lord I'm one, Lord I'm (Em) two, Lord I'm (Am) three Lord I'm (C) four.
Lord I'm (Am) five hundred (D) miles away from (G) home.
Away from home away from (Em) home away from (Am) home away from (C) home.
Lord I'm (Am) five hundred (D) miles, away from my (G) home.
Not a shirt on my (Em) back, not a (Am) penny to my (C) name.

Lord I (Am) can't go a (D) home this a (G) way.
This a way, this a (Em) way, this a (Am) way, this a (C) way.
Lord I (Am) can't go back (D) home this a (G) way.
Lord I'm one (Lord I'm one), Lord I'm (Em) two (Lord I'm two),
Lord I'm (Am) three Lord I'm (C) four.
Lord I'm (Am) five hundred (D) miles away from (G) home.
Away from home away from (Em) home away from (Am) home away from (C) home.
Lord I'm (Am) five hundred (D) miles away from |G| home.
(The Seekers) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
5 LEAF CLOVER - Luke Combs
(Alexander/McGill/Combs)
https://www.youtube.com/watch?v=8bxs6O3ipLw (Capo 1)(MC1)
INTRO: (C)(G), (Am)(C), (F)(G)(C)(C); (C)(G), (Am)(C), (F)(G)(C)(C)
I go to (G) work every (Am) Monday (C),

And (F) get to do (G) something I (C) love (C).
And I make it (G) home every (Am) evening (C),
To an (F) angel God (G) sent from a (C) bove.
I got an eight point on (G) camera from (Am) last year (C),
That (F) this season (G) looks like a (C) ten (C).
I got a barn with a (G) fridge full of (Am) cold beer (C),
And on the (F) weekend it's (G) full of good (C) friends (C).
I know (G) I'm a (Am) lucky (C) man but I (F) ain't sure why I (C) am.
'Cause-it ain't like (G) any (Am) one de (C) serves the (F) world in the palm of their (G) hand.
Well-I've (C) hit my (G) knees, thank (Am) ful as can (C) be
But the (F) one thing I can't get (G) over,
Is how'd a (C) guy like (G) me, who'd have (Am) been fine with (C) three,
Wind (F) up with a (G) five leaf (C) clover.
(C)(G), (Am)(C), (F)(G)(C)
I got a half ton that's (G) parked in the (Am) driveway (C),
That my (F) dog wags his (G) tail when he (C) hears.
I grew up in a (G) good place to (Am) be from (C),
My folks (F) still got a (G) bunch of good (C) years (C).
But-I've (C) hit my (G) knees, thank (Am) ful as can (C) be
Wind (F) up with a (G) five leaf (C) clover (G)(Am)(C)(F)(G)(C)(C).
Well-I've (C) hit my (G) knees, thank (Am) ful as can (C) be
Wind (F) up with a (G) five leaf (C) clover.
How'd a guy like (G) me, who could've (Am) wound up with (C) weeds,
Wind (F) up with a (G) five leaf (C) clover (G)(Am)(C)(F)(G)|C|.
(Luke Combs) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOLLOW ME
John Denver
https://www.youtube.com/watch?v=VzykTaH5ZwM (Capo 0)(MC0)
[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 without the barre.
( -> )
It's by (Bm) far the hardest (A) thing I've ever (D) done.
To be (G) so in (D) love with (Em) you, and so a (A) lone (A7).
Follow (D) me where I (G) go, what I (D) do and who I (G) know.
Make it (D) part of you to (Em) be a part of (A) me (A7).
Follow (D) me up and (Em) down, all the (D) way and all a (G) round.
(D) Take my hand and (G) say you'll (A7) follow (D) me.
It's long been on my (A) mind you know it's, (G) been a long long (D) time.
I've (Bm) tried to find the (A) way that I can (G) make you under (A) stand.
The (G) way I feel a (D) bout you and (G) just how much I (D) need you.
To be (G) there where (D) I can (Em) talk to you, when (G) there's no one else a (A) round (A7).
Follow (D) me up and (Em) down, all the (D) way and all a (G) round.
(D) Take my hand and (G) say you'll (A7) follow (D) me.
You see I'd like to share my (A) life with you, and (G) show you things I've (D) seen.
(Bm) Places that I'm (A) going to, (G) places where I've (A) been.
To (G) have you there be (D) side me and (G) never be a (D) lone.
And (G) all the (D) time that (Em) you're with me, (G) we will be at (A) home.
Follow (D) me up and (Em) down, all the (D) wayyy-(G)-yy.
(D) Take my hand and (G) I will (A7) follow (D) you (A)(D).
FOLLOW ME
John Denver
https://www.youtube.com/watch?v=VzykTaH5ZwM (Capo 2)(MC1)
It's by (Am) far the hardest (G) thing I've ever (C) done.
To be (F) so in (C) love with (Dm) you, and so a (G) lone (G7).
Follow (C) me where I (F) go, what I (C) do and who I (F) know.
Make it (C) part of you to (F) be a part of (G) me (G7).
Follow (C) me up and (Dm) down, all the (C) way and all a (F) round.
(C) Take my hand and (F) say you'll (G) follow (C) me.
It's long been on my (G) mind you know it's, (F) been a long long (C) time.
I've (Am) tried to find the (G) way that I can (F) make you under (G) stand.
The (F) way I feel a (C) bout you and (F) just how much I (C) need you.
To be (F) there where (C) I can (Dm) talk to you, when (F) there's no one else a (G) round (G7).
Follow (C) me up and (Dm) down, all the (C) way and all a (F) round.
(C) Take my hand and (F) say you'll (G) follow (C) me.
You see I'd (C) like to share my (G) life with you, and (F) show you things I've (C) seen.
(Am) Places that I'm (G) going to, (F) places where I've (G) been.
To (F) have you there be (C) side me and (F) never be a (C) lone.
And (F) all the (C) time that (Dm) you're with me, (F) we will be at (G) home.
Follow (C) me up and (Dm) down, all the (C) wayyy-(F)-yyy.
(C) Take my hand and (F) I will (G) follow (C) you (F)(C).
FOLSOM PRISON BLUES
Johnny Cash
https://www.youtube.com/watch?v=_Xyp63MaSBs (Capo 2)(MC1)
TIP: The intro is a tad tricky. So start by forming an (E). Now place your index finger up one
string so it's on 4th string/1st fret and lift off the ring finger. Now pick the 5th string/2nd
fret twice (that's ), pluck the 4th string twice (that's <d#>), pluck the 5th string again. Now
grab the top string at the 2nd fret (which is <f#>) with your ring finger and pull/bend the string
downward and then let it slide back up. Release the top string and pluck it (this is <e>) along
with a strum of (E) and begin song. For that last part you have to remember to move your index
finger back down one string for the (E).
TIP: The bridge is meant to be played as notes on the frets 7-10 but you can play the opening
notes on the 2nd fret, and then just play chords, and have a pretty good substitute. You'll end
the verse on (E) so just keep the (E) formed throughout (1)-(4) below. Now stay with me:
(1) Pluck the 4th, 3rd, and 2nd, then add pinky to the 2nd string/3rd fret and pluck, remove
pinky and pluck, pinky back down and pluck, pinky off and pluck.
(2) Now do the same thing but end with the pinky down: Pluck the 4th, 3rd, and 2nd, then add
pinky to the 2nd string/3rd fret and pluck, remove pinky and pluck, pinky back down and pluck.
(3) Repeat (1) and (2)
(4) Now we're going to go in the opposite direction: Remove pinky from 2nd string and pluck,
pluck 3rd string, pluck 4th string.
(5) Lift all fingers and pluck the 5th string (open) once and immediately form and strum (A).
While strumming (A) strike the middle strings with downstrokes followed by alternating up and down
strums through the bottom strings.
(6) Move to (E) with the same strumming pattern. Then to (B7) with the same strumming
pattern, and back to (E) with the same strumming pattern.
TIP: If you don't want to mess around at all with the individual notes in the bridge then just
play (E) throughout steps (1)-(4) while adding/removing your pinky to the 2nd string/3rd fret at
the appropriate time until it's time to move to the (A) in step (5).
INTRO: <d#><d#><f#><bend><e>(E)
I hear the train a-comin', it's rollin' 'round the bend,

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

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

They're prob'ly drinkin' coffee, and (E7) smokin' big cigars.
Well I (A7) know I had it comin', I know I can't be (E) free (E)(E).
But those (B7) people keep a-movin', and that's what tortures (E) me.
<e><g#><d><d>; <e><g#><d><d>;
<e><g#><d><d>; <e><g#><d><d>; <g#><e><a> (A); (E); (B7); (E)
Well if they freed me from this prison if that railroad train was mine,
I bet I'd move it all a little (E7) farther down the line.
(A7) Far from Folsom Prison, that's where I'd want to (E) stay (E)(E).
And I'd (B7) let that lonesome whistle, blow my blues a (E) way.
OUTRO: <d#><d#><f#><bend><e>(E)|E|
FOR BABY
John Denver
https://www.youtube.com/watch?v=pgOU1h12G_w (Capo 0)(MC0)
INTRO: (G)(C)(G)
I’ll walk in the (C) rain by your (G) side. I’ll (C) cling to the (D7) warmth of your (G) hand.
I’ll (C) do any (D7) thing to keep you (G) sat, is (C) fied.
I’ll (G) love you more than (D) anybody (G) can.
And the (C) wind, will (D7) whisper your (G) name to me.
(C) Little birds will (D7) sing along in (G) time.
(C) Leaves will bow (D7) down, when (G) you walk (C) by. (C)
And (G) morning (D) bells will (G) chime.
I’ll be-there when (C) you’re, feelin’ (G) down. To (C) kiss away the (D7) tears if you (G) cry.
(C) I’ll, share with (D7) you, all the (G) happiness I’ve (C) found.
A re (G) flection of the (D) love in your (G) eyes.
And I’ll (C) sing you the (D7) songs of the (G) rainbow.
A (C) whisper of the (D7) joy that is (G) mine.
And (C) leaves, will bow (D7) down, when (G) you walk (C) by. (C)
And (G) morning (D) bells will (G) chime.
I’ll walk in the (C) rain by your (G) side.

I’ll (C) cling to the (D7) warmth of your tiny (G) hand.
I’ll (C) do any (D7) thing to help you (G) under (C) stand.
I’ll (G) love you more than (D) anybody (G) can.
And the (C) wind, will (D7) whisper your (G) name to me.
(C) Little birds will (D7) sing along in (G) time.
(C) Leaves will bow (D7) down, when (G) you walk (C) by. (C)
And (G) morning (D) belllls, will (G) chime. |G|
FOR EMILY, WHEREVER I MAY FIND HER - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=TVaisTSsDVA (Capo 3)(MC0)
[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: In the opening you strum (D) twice, extend your pinky over two frets to the <a>, and back to
(D). If you can't make the (DaddA) stretch try playing a barre on the bottom three strings of the
2nd fret and cover the 2nd string with your middle finger. That will free up some space to reach
the <a>. Or just play a regular (D). For the (Gadd), strum the middle strings and then the bottom
strings in the same pattern as the (D). You do this entire sequence twice. During the final
(Gadd) set slow down for the final strum in preparation for the beginning of the song.
TIP: For the (DaddA) to (D4) in the opening lyric just slide down your pinky to the bottom
string/3rd fret. For the (A) to (Asus) just slide your bottom finger up one fret, or cover the
string with your pinky. (Cmaj7) is just (C) without the index finger.
TIP: (Cmaj7) is just (C) with the bottom string open.
INTRO: (D)-(D)-(DaddA)-(D), (D)-(D)-(DaddA)-(D), (D)-(D)-(DaddA)-(D), (D)-(D)-(DaddA)-(D);

(Gadd), (Gadd), (Gadd), (Gadd);
(D)-(D)-(DaddA)-(D), (D)-(D)-(DaddA)-(D), (D)-(D)-(DaddA)-(D), (D)-(D)-(DaddA)-(D);
(Gadd), (Gadd), (Gadd), (Gadd)
(DaddA) What a dream (D4) I (D) had. (G) Pressed in organ (Em) dy,
(D) Clothed in crinoline, (Cmaj7) of smokey burgundy.
(G) Softer than (A) the rain (Asus).
(D) I wandered empty streets down, (G) past the shop dis (Em) plays.
(D) I heard cathedral bells, (Cmaj7) tripping down the alleyways,
(G) As I (A) walked on (Asus).
(D) And when you ran to me your, (Gadd) cheeks flushed with the (Em) night.
(D) We walked on frosted fields, (Cmaj7) of juniper and lamplight.
(G) I held (A) your hand (Asus).
(D),(G)(G)-(Em),(D),(Cmaj7),(G)(A)(Asus)
(D) And when I a (G) woke, and felt you warm and (Em) near, (D) I kissed your honey hair,
(Cmaj7) With my grateful tears.
(G) Oh I love (A) you, (Asus) girl (A).

(C) Ohhhh, (G) I, (D4) love, (D) you.
FOR EMILY, WHEREVER I MAY FIND HER - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=kOgmYFTZ2iU (Capo 0)(MC1)
TIP: Fingerpick the opening if you can, otherwise the sequence is four strums of the (G)/(Gadd)
covering the 2nd string/3rd fret on the 3rd strum. (CaddD) is just (C) with pinky added to the 2nd
string/3rd fret. Each sequence is played 4 time. During the final (C)(CaddD) set slow down for
the final strum to set up the opening of the song. Note to self: begin with the 2nd string on
both (Gadd) and (CaddD).
TIP: (D4) is just (D) with pinky added to the bottom string/3rd fret. (Fmaj7) is just (F) with
the bottom string open.
INTRO: (G)-(G)-(Gadd)-(G), (G)-(G)-(Gadd)-(G), (G)-(G)-(Gadd)-(G), (G)-(G)-(Gadd)-(G);

(C)-(C)-(CaddD)-(C), (C)-(C)-(CaddD)-(C), (C)-(C)-(CaddD)-(C), (C)-(C)-(CaddD)-(C);
(G)-(G)-(Gadd)-(G), (G)-(G)-(Gadd)-(G), (G)-(G)-(Gadd)-(G), (G)-(G)-(Gadd)-(G);
(C)-(C)-(CaddD)-(C), (C)-(C)-(CaddD)-(C), (C)-(C)-(CaddD)-(C), (C)-(C)-(CaddD)-(C);
(Gadd) What a dream (C) I (G) had. (C) Pressed in organ (Am) dy,
(G) Clothed in crinoline, (Fmaj7) of smokey burgundy. (C) Softer than the (D) rain (D4).
(Gadd) I wandered empty streets down, (C) past the shop dis (Am) plays.
(G) I heard cathedral bells, (Fmaj7) tripping down the alleyways, (C) as I walked (D) on (D4).
(Gadd) And when you ran to me your, (C) cheeks flushed with the (Am) night.
(G) We walked on frosted fields, (Fmaj7) of juniper and lamplight. (C) I held your (D) hand (D4).
(G),(C)(C)-(Am),(G),(Fmaj7),(C)(D)(D4)
(G) And when I a (C) woke, and felt you warm and (Am) near,
(G) I kissed your honey hair, (Fmaj7) with my grateful tears.
(C) Oh I love (CaddD) you, (Gadd) girl.

(F) Ohhhh, (C) I, (CaddD) love, (Gadd) you.
FOR LOVIN’ ME
Gordon Lightfoot
https://www.youtube.com/watch?v=WpkATS6mjbc (Capo 2)(MC1)
INTRO: (E)(D)-(D), (E)(D); (E)(D)-(D), (E)(G)
(D) That's what you (D7) get for lovin' (G) me.
(D) That's what you (D7) get for lovin' (C) me-(D)-ee.
(G) Everything you had is (Em) gone, as you can (A) see.
(D) I ain't the (D7) kind to hang a (G) round.

(D) With any (D7) new love that I've (C) fou-(D)-ound.
(G) Since movin' is my stock in (Em) trade. I'm movin (A) on.
(D) I won't think (D7) of you when I'm (G) gone.
(E)(D)-(D), (E)(D); (E)(D)-(D), (E)(G)
(D) So don't you (D7) shed a tear for (G) me.

(D) Cuz I ain't the (D7) love you thought I'd (C) be-(D)-ee.
(G) I've got a hundred more like (Em) you, so don't be (A) blue.
(D) I'll have a (D7) thousand 'fore I'm (G) through.
(D) Now there you (D7) go you're crying a (G) gain.

(D) Now there you (D7) go you're crying a (C) ga-(D)-in.
(G) But then someday when your poor (Em) heart is on the (A) mend.
(D) I just might (D7) pass this way a (G) gain.
(E)(D)-(D), (E)(D); (E)(D)-(D), (E)(G)

(D) That's what you (D7) get for lovin' (C) me-(D)-ee.
(D) That's what you (D7) get for lovin' (G) me. (C)-(G)
FOR LOVIN’ ME – Peter, Paul, and Mary
(Lightfoot)
https://www.youtube.com/watch?v=CzT3MNiH7s4 (Capo 4)(MC1)
INTRO: (D)(D7)(G), (D)(D7)(G)
(D) That's what you (D7) get for lovin' (Em) me-(D)-ee.
(D) I ain't the (D7) kind to hang a (G) round.

(D) With any (D7) new love that I've (Em) fou-(D)-ound.
(G) Movin' is my stock in (Em) trade, I'm movin (A) on.
(D) I won't think (D7) of you when I'm (G) gone.
(D) So don't you (D7) shed a tear for (G) me.

(D) I ain't the (D7) love you thought I'd (Em) be-(D)-ee.
(G) I've got a hundred more like (Em) you, so don't be (A) blue.
(D) I'll have a (D7) thousand 'fore I'm (G) through.
(D) Now there you (D7) go you're crying a (G) gain.

(D) Now there you (D7) go you're crying a (Em) ga-(D)-in.
(G) But then someday when your poor (Em) heart is on the (A) mend.
(D) I just might (D7) pass this way a (G) gain.
(D) That's what you (D7) get for lovin' (Em) me-(D)-ee.
(D) That's what you (D7) get for lovin' (G) me. (D)(D7)(G), (C)-(G)
(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)(MC0)
TIP: The additional (C)(C) after "lady" is the little calliope bit.
INTRO: (G)(Dm)(C)(G); (G)(Dm)(C)(Gadd)
My (G) boat sails stormy (Dm) seas. Battles (C) o, ceans filled with (G) tears.
At last, my port's in (Dm) view, now that (C) I've, discovered (G) you.
Oh I'd (C) give, my life, so (Em) lightly, for my (Am) gen, tle (Em) lady.
Give it (Dm) freely, and com (G7) pletely, to my (C) lady. (C)(C)
(G)(Dm)(C)(Gadd)
As (G) life goes drifting (Dm) by, like a (C) breeze, she'll gently (G) sigh.
And slowly bow her (Dm) head, then you'll (C) hear, her softly (G) cry.
Oh I'd (C) give, my life, so (Em) lightly, to my (Am) gen, tle (Em) lady.
(Fm) Words that you say, when we're (C) alone. But (Fm) actions speak lou, der than (C) words.
But (Fm) all I can say, is "I (C) love you (Am) so." (Dm) Drive away all my (Gadd) hurt.
(G)(Dm)(C)(G), (G)(Dm)(C)(Gadd)
Set (G) sail before, the (Dm) sun. Feel the (C) warmth, that's just be (G) gun.
Share-each, and every (Dm) dream, they be (C) long, to every (G) one.
Give it (Dm) freely, and com (G7) pletely, to my (C) lady. (C)(C)-|C|
(The Moody Blues) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR NO ONE – The Beatles
(Lennon/McCartney)
(MC0 or MC6)
[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) Your day breaks, (Em) your mind aches, (Am) you find that (C) all her words of (Fmaj7) kindness
linger (Gsus4) on when she no (C) longer needs you.
She wakes up, (Em) she makes up, (Am) she takes her (C) time and doesn't (Fmaj7) feel she has to
(Gsus4) hurry, she no (C) longer needs you.
And in her (Dm) eyes you see (A7) nothing,

(Dm) No sign of (A7) love behind the (Dm) tears, cried for (A7) no one.
(Dm) A love that (A7) should have lasted (Dm) years. (Gsus4)(G)
(C) You want her, (Em) you need her, (Am) and yet you (C) don't believe her (Fmaj7) when she says
her (Gsus4) love is dead. You (C) think she needs you.
(C)(Em)(Am)(C)(Fmaj7)(Gsus4)(C)

(C) You stay home, (Em) she goes out, (Am) she says that (C) long ago she (Fmaj7) knew someone,
but (Gsus4) now he's gone she (C) doesn't need him.
Your day breaks, (Em) your mind aches, (Am) there will be (C) times when all the (Fmaj7) things she
said will (Gsus4) fill your head. You (C) won't forget her.

FOR THE GOOD TIMES – Ray Price
(Kristofferson)
https://www.youtube.com/watch?v=phLlo_t-z-U (Capo 1)(MC1)
TIP: You can play an (Em) instead of the (Gm) if you'd rather.
INTRO: (Em/D)(A7)(D)
Don't look so (Em) sad (A7), I know it's (D) over.

But life goes (Em) on, and this old (A7) world, will keep on (D) turning.
Let's just be (G) glad, we had some (A7) time, to spend to (D) gether.
There's no (G) need, to watch the (Em) bridges, that we're burn (A7) ing.
Lay your (D) head, upon my (A7) pillow.

Hold your (A) warm and tender (A7) body, close to (D) mine (A7).
Hear the (D) whisper, of the rain (D7) drops, blowing (G) soft, against the (Gm) window.
And (A7) make believe you (Em) love me, (G) one more (A7) time.
For the good (D) times. (A7)(D)
I'll get a (Em) long (A7), you'll find a (D) nother.

And I'll be (Em) here, if you should (A7) find, you ever (D) need me.
Don't say a (G) word, about to (A7) morrow, or for (D) ever.
There'll be (G) time, enough for (Em) sadness, when you leave (A7) me.
Lay your (D) head, upon my (A7) pillow.

Hold your (A) warm and tender (A7) body, close to (D) mine (A7).
Hear the (D) whisper, of the rain (D7) drops, blowing (G) soft, against the (Gm) window.
And (A7) make believe you (Em) love me, (G) one more (A7) time.
For the good (D) times. (A7),(D)
(Ray Price) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOR WHAT IT'S WORTH - Buffalo Springfield
(Stills)
https://www.youtube.com/watch?v=80_39eAx3z8 (Capo 0)(MC1)
TIP: In the intro and at the end of the chorus you can play an (E) and then an (A) but try playing
the (A) in the form of an (F) up the neck at the 5th fret with your pinky added to cover the bottom
string to get that octave treble offset.
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.
TIP: The whole song can be played with just three chords, the (E)(A) and (D). In the chorus
there's a (C) before "goin'" which can be omitted if you want. Just play the (A) through to the
(E). Also the (G) in the verse "What a field day for the heat" can also be omitted. It just gives
it a funky bass vibe.
INTRO: (E),(F5/B) or (A); (E),(F5/B) or (A); (E)
There's somethin' happenin' (A) here. What it (E) is ain't exactly (A) clear.
There's a (E) man with a gun over (A) there. Telling (E) me, I got to be (A) ware.
I-think-it's-time-we (E) stop, children (D) what's that sound?

(A) Everybody look what's (C) goin' dow-(E)-own? (E),(A); (E),(A); (E)
There's battle lines being (A) drawn. Nobody's (E) right, if everybody's (A) wrong.
(E) Young people speakin' their (A) minds. Gettin' (E) so much resistance (A) from behind.
It's-time-we (E) stop, hey (D) what's that sound?

What a field day for the (A) heat (G). A (E) thousand people in the (A) street (G).
Singin' (E) songs and a carryin' (A) signs (G). Mostly (E) sayin' hooray for our (A) side.
It's-time-we (E) stop, hey (D) what's that sound?
Par-a-noia strikes (A) deep. (E) Into your life it will (A) creep.
It (E) starts when you're always a (A) fraid.
You step out of (E) line, the man come, and (A) take you away.
We better (E) stop, hey (D) what's that sound?

(A) Everybody look what's (C) going down-you-better (E) stop, hey (D) what's that sound?
(A) Everybody look what's (C) going down you-better (E) stop, now (D) what's that sound?
(A) Everybody look what's (C) going down (E) stop, children (D) what's that sound?
(A) Everybody look what's (C) going dow - (E) own.
(E)(A); (E)(A) repeat and fade or end on |E|.
(Buffalo Springfield) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOREVER YOUNG - Joan Baez
(Dylan)
https://www.youtube.com/watch?v=-4UoJ47SzjA (Capo 2)(MC2)
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. For a
bouncier version try the one by Nitty Gritty Dirt Band.
TIP: If you're not fond of the (Bm) you can play a (D) instead. And the (Gadd) and (CaddG) can be
omitted as well.
INTRO: (G)(C)(Gadd)(C)(G)
May God (Gadd) bless and keep you al (G) ways, may your (Bm) wishes all come true.
May you (Em) always do for others, and let (CaddG) others do for (Gadd) you.
(G) May you (Gadd) build a ladder to the stars, and (Bm) climb on every rung.
May you (C) sta-a-a- (D) -ay, forever (G) young (C)(CaddD)(C)(G).
May you (Gadd) grow up to be right (G) eous, may you (Bm) grow up to be true.
May you (Em) always know the truth, and see the (CaddG) lights surrounding (Gadd) you.
(G) May you (Gadd) always be courageous, stand (Bm) upright and be strong.
And may you (C) sta-a-a- (D) -ay, forever (G) young (C)(CaddD)(C)(G).
Forever (D) young, forever (Em) youn-un- (C) -ung.

May you (G) sta-a-a- (D) -ay (D4)(D), forever (Em) young (Em)(G).
May your (Gadd) hands always be (G) busy, may your (Bm) feet always be swift.
May you (Em) have a strong foundation, when the (CaddG) winds of changes (Gadd) shift.
(G) May your (Gadd) heart always be joyful, and may your (Bm) song always be sung.
And may you (C) sta-a-a- (D) -ay, forever (G) young (C)(CaddD)(C)(G).
Forever (D) young, forever (Em) youn-un- (C) -ung.
May you (G) sta-a-a- (D) -ay (D4)(D), forever (G) young. (C)(D)(C)(G); (G)(C)(D)(CaddG)(G)
(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
FOREVER YOUNG – Nitty Gritty Dirt Band
(Dylan)
https://www.youtube.com/watch?v=R5AizC8OU_c (Capo 0)(MC1/5)
TIP: The intro can be played with just the major chords but the adds bring in the sparkly treble.
TIP: The outro instrumental can be a bit tricky. The chords without a dash between them, e.g.
(G)(D)(G) are full measures and with the dash, e.g. (G)-(D)-(G) are half measures.
INTRO: (Gadd)(CaddG)(Gadd)(Dsus4)-(D), (Gadd)(CaddG)(G)-(D)-(G)(G)
May God bless and keep you always, may your (C) wishes all come (G) true.
May you always do for others and let (D) others do for you.
May you (G) build a ladder to the stars and (C) climb on every rung and may you (G) stay (D),
Forever (G) young (C). May you (G) stay (D), forever (G) young (G).
May your hands always be busy, may your (C) feet always be (G) swift.
May you have a strong foundation when the (D) winds of changes shift.
May your (G) heart always be joyful, may your (C) song always be sung and may you (G) stay (D),
Forever (G) young (C). May you (G) stay (D), forever (G) young.
Forever (D) younnnnnnnng. Forever (Em) younnnnnnng.

May you (G) stayyyyyyy (D), forever (G) young (G).
May you grow up to be righteous, may you (C) grow up to be (G) true.
May you always know the truth and see the (D) light surrounding you.
May you (G) always be courageous, stand (C) upright and be strong and may you (G) stay (D),
Forever (G) young (C). May you (G) stay (D), forever (G) young.
<electrical guitar> (G)(C)(G)(D) <harmonica> (G)(C) (G)-(D)-(G)-(C)-(G)-(D)-(G)(G)

Forever (D) younnnnnnnng. Forever (Em) younnnnnnng.
May you (G) stayyyyyyy (D), forever (G) young (G).
May you stayyyyyyy (D), forever (G) young.
<fiddle> (C)-(G), (G)(D)(G)(C), (G)-(D)-(G)
<harmonica/electric guitar> (G)(C)-(G), (G)(D)(G)(C), (G)-(D)-(G)
(G)(C)-(G), (G)(D)(G)(C), (G)-(D)-(G)
(G)(C)-(G), (G)(D)(G)(C), (G)-(D)-|G|
(Nitty Gritty Dirt Band) (Artist Index) - (Main Index) - (Song Index) (This Song)
FORTUNATE SON - Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=ec0XKhAHR5I (Capo 0)(MC1)
TIP: Three ways to play the opening riff. Way 1: Form (G), then pluck the 3rd and 6th strings
(3/6) together, and then downstroke (G), maybe just the bottom 3 or 4 strings with a flick of the
back of your bottom three fingers. Then form (F) and do the same with the 3rd and 4th strings
(3/4). Then do the (C) and the (Gadd) in the same way. Finish with plucking either the open 2nd
string and then the open 3rd string (2-3) OR the 5th string and 6th string while holding (G)
formation. It all sounds complicated but it's really not. Listen to the song and you'll get the
gist. Way 2: An even easier version is (if you notice the all begin with the 3rd string) to form
the chord as indicated and then pluck 3rd string, pause, and then rake the 2nd and 1st string
downward each time. Way 3: Easiest of all is to form the chord and just strike/stab the middle
three strings twice. This last way actually sets you up for the opening verse better than the
first two. No way; way. Party on Garth.
INTRO: (G - 3/6) (F - 3/4) (C - 3/5) (Gadd - 3/6), (2-3 open or (G) 5-6);
(G - 3/6) (F - 3/4) (C - 3/5) (Gadd - 3/6), (2-3 open or (G) 5-6)
(G) Some folks are born, (F) made to wave the flag. (C) Ooooh they're red white and (G) blue.
And when the band plays (F) "Hail to the Chief", (C) ooh they point the cannon at (G) you Lord.
It ain't me, (D) it ain't me, (C) I ain't no senator's (G) son son.
It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) one no.
Some folks are born, (F) silver spoon in hand. (C) Lord don't they help them (G) selves y'all.
But when the taxman (F) comes to the door, (C) Lord the house looks like a rummage (G) sale yeah.
It ain't me, (D) it ain't me, (C) I ain't no millionaire's (G) son no.
It ain't me, (D) it ain't me; (C) I ain't no fortunate (G) one no.
(G7)(C)(F)(G)-(Gadd), (G7)(C)(F)(G)-(Gadd)
Yeah, (G) some folks inherit (F) star spangled eyes. (C) Ooh they send you down to (G) war Lord.
And when you ask them (F) "How much should we give?"
(C) Ooh they only answer (G) more, more, more y'all.
It ain't me, (D) it ain't me, (C) I ain't no military (G) son son.
It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) one one.
It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) one, no no no.
It ain't me, (D) it ain't me, (C) I ain't no fortunate (G) son, no no no. |G|

FRED BEAR
Ted Nugent
https://www.youtube.com/watch?v=5V39poP1Hoc (Capo 0)(MC0)
TIP: For the intro strike the chords in brackets forcefully and then light strums. Then the
rhythm (Am)(F)(G)(G) begins which dominates the song.
INTRO: |Am|(Am), |F|(F), |G|(G)(G); |Am|(Am), |F|(F), |G|(G)(G)

(Am)(F)(G)(G), (Am)(F)(G)(G)
(Am) There I (F) was, back in the (G) wild again (G),
(Am) And I felt right at (F) home where I be (G) long (G).
(Am) I had that (F) feelin' comin' over (G) me again (G),
(Am) Just like it happened (F) so many times be (G) fore (G).
(Am)(F)(G)(G), (Am)(F)(G)(G)
(Am) The spirit of the (F) woods, is like an (G) old good friend (G).
(Am) It makes me feel (F) warm and good in (G) side (G).
(Am) And I knew his (F) name, and it was good to (G) see him again (G).
(Am) ‘Cause in the (F) wind he's still a (G) live (G).
Oh Fred (Am) Bear, walk with (F) me, down the (G) trails again (G).
Take me (Am) back, (F) back where I be (G) long (G).
Oh Fred (Am) Bear, I'm (F) glad to have you at my (G) side my friend.
And I'll (Am) join you in the (F) big hunt before too (G) long (G).
Before too (Am) long. (F)(G)(G), (Am)(F)(G)(G)
(Am) It was kinda (F) dark, another (G) misty dusk (G).
(Am) And it came from a (F) tangle down be (G) low (G).
(Am) Then I tried to re (F) member everything he (G) taught me so well.
(Am) I had to de (F) cide, which way to (G) go (G).
(Am) Was I a (F) lone, or in a (G) hunter's dream (G)?
(Am) ‘Cause the moment of (F) truth, was here and (G) now (G).
(Am) I felt his (F) touch, I felt his (G) guiding hand (G).
(Am) The buck was (F) mine, forever (G) more (G).
Because of Fred (Am) Bear, I’ll (F) walk, down these (G) trails again (G).
(Am) - Take me (F) back, where I be (G) long (G).
Fred (Am) Bear, I'm (F) glad to have you at my (G) side my friend (G).
And I'll (Am) join you, in the (F) big hunt before too (G) long (G).
(D)(C)(G)(D), (D)(C)(G)(D), (D)(C)(G)(D), (D)(C)(G)

(A)(A)(A)(A), (D)(C)(G)(D), (D)(C)(G)(D), (D)(C)(G)(D), (D)(C)(G),
|D|-|C|-|G|-|D|, |D|-|C|-|G|-|D|,
(Am)(F)(G)(G), (Am)(F)(G)(G)
(Am) We're not a (F) lone, when we're in the (G) great outdoors (G).
(Am) We got his (F) spirit, we got his (G) soul (G).
(Am) He will guide our (F) steps, he'll guide our (G) arrows home (G).
(Am) The restless (F) spirit forever (G) roams (G).
Fred (Am) Bear, walk with (F) me, down the (G) trails again (G).
And I'll (Am) join you on the (F) big hunt before too (G) long (G).
Oh Fred (Am) Bear, walk with (F) me, down the (G) trails again (G).
And I'll (Am) join you in the (F) big hunt before too (G) long (G).
In the (Am) wind, he's (F) still a (G) live (G).

In the (F) wind (F), I (G) hear, I hear Fred (Am) Bear (F). (Am)(F)
I hear ya (Am) Fred (F)(Am), talk to (F) me (Am)(F)(Am)(F),
(Am) It’s all (F) right (F), (Am) Yea, lets go (F) hunting baby (Am)(F)(Am)(F)
Say (Am) Fred (F), you go up that (Am) ridge (F), and I'll go down in the (Am) swamp (F).
We'll (Am) get that buck (F).
<Played over top> (Am)(F) . . .
FRED: If some of our teenage thrill seekers really want to go out and get a thrill, let them go up
into the north west and let them tangle with a Grizzly bear or Polar bear or brown bear and get
that effect that will cleanse the soul. (Am)(F) . . . . |Am|
(Ted Nugent) (Artist Index) - (Main Index) - (Song Index) (This Song)
FRIENDS IN LOW PLACES – Garth Brooks
(Blackwell/Lee)
https://www.youtube.com/watch?v=p0_der_5hRM (Capo 0)(MC0)
TIP: The intro and opening verse has a couple of funky chords but they're not hard to play and
once you get past the first verse you won't see them again. So first play the (A) with your middle
three fingers. For the (A#dim7) you leave the ring finger where it is and move your middle finger
up one string, like you're playing an (A7), and use your index finger to cover the 5th string/1st
fret. For the (Bm7) hold the finger formation but drop your ring and middle finger down one string
and slide your index finger up one fret. Easy! But if you just don't want to deal with any of it
in the first place then play an (A7) in place of the (A#dim7), and play a (Bm) in place of the
(Bm7) and it'll sound just fine (which is what you'll be doing for the rest of the song).
TIP: The chord/numbers combination in the intro means first form (but don't play) the chord and
then pick the strings indicated one at a time. "b5" means the bottom string/5th fret and "b4"
means bottom string/4th fret. Pause before going to the next chord/string combo which also gives
you time to move your fingers.
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) 5-4-3-2; (A#dim7) 5-4-2-1; (Bm7) 5-4-3-2-1-2-b5; (E) 6-4-3-2-b4
(NC) Blame it |A| all on my roots, I |A7| showed up in boots.

And |Bm7| ruined your black tie a |Bm| ffair.
The |E| last one to know, the |E7| last one to show
I was the |A| last one you thought you'd see there.
And I |A| saw the surprise, and the |A7| fear in his eyes,
When |Bm7| I took his glass of cham |Dm| pagne.
And (E) I toasted you said “Honey (E7) we may be through.
But you'll never hear me com (E) plain.”
'Cause (A) I got friends in low places where the whiskey drowns and the beer chases my
(Bm) blues away. And I'll (E) be okay.
Now (A) I'm not big on social graces think I'll slip on down to the (A7) oasis.
Oh (Bm) I got friends, (E) in low (A) places.
(A)....(Bm)(E)(A)
Well I guess I was wrong, I (A7) just don't belong. But (Bm) then, I've been there before.
Every (E) thing's all right. I'll (E7) just say goodnight and I'll (A) show myself to the door.
Hey I didn't mean, to (A7) cause a big scene. Just (Bm) give me an hour and (Dm) then.
Well (E) I'll be as high as that (E7) ivory tower, that you're livin' (E) in.
'Cause (A) I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues
away. And I'll (E) be okay.
Now (A) I'm not big on social graces think I'll slip on down to the (A7) oasis.
(A).....(Bm)(E)(A)
I guess I was wrong, I (A7) just don't belong. But (Bm) then, I've been there before.
Every (E) thing's all right. I'll (E7) just say goodnight and I'll (A) show myself to the door.
I didn't mean, to (A7) cause a big scene. Just (Bm) wait 'til I finish this (Dm) glass.
Then (E) sweet little lady I'll head (E7) back to the bar, and you can kiss my (E) ass.
'Cause (A) I got friends in low places where the whiskey drowns and the beer chases my
(Bm) blues away. And I'll (E) be okay.
(A) I'm not big on social graces think I'll slip on down to the (A7) oasis.
I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues away.
And I'll (E) be okay. (A) I'm not big on social graces think I'll slip on down to the (A7) oasis.
I got friends in low places where the whiskey drowns and the beer chases my (Bm) blues away.
And I'll (E) be okay. (A) I'm not big on social graces think I'll slip on down to the (A7) oasis.
(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)(MC2)
TIP: The whole song is just (G)(C)(D) with a strumming pattern that has a two-count on each chord.
The best way to play it is to attack the root note with the first strum. So for the sequence it
would be covered top string <g>/strum (G); covered 5th string <c>/strum (C), and open 4th <d>/strum
(D). Or simply 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)
For (G) thirty years they (C) sang the song of (D), promised victory.
But (G) who they've fought and (C) who has won didn't (D), matter much to me.
Well I (G) see them drivin' (C) down the streets in their (D), fancy shiny cars.
(G) Crowds of people (C) to their feet and their (D) faces full of scars.
And no (G) pleasantries no (C) luxuries and no (D), little children's milk.
While (G) minister's wives spent (C) all their lives in (D), China's finest silk.
Well my (G) back's been broken (C) many times but my (D), spirit lingers on.
The (G) day it comes my (C) way on freedom's (D) ship I will be gone.
From (G) hell to (C) para (D) dise. I'll (G) always (C) pay the (D) price.
From (G) hell to (C) para (D) dise. I'll (G) always (C) pay the (D) priiice.
(G)(C)(D)(D), (G)(C)(D)(D), (G)(C)(D)(D), (G)(C)(D)(D), <softly> (G)(C)(D)(D)

This (G) ninety mile (C) trip has taken (D), thirty years to make.
They (G) tried to keep for (C) ever what was (D) never theirs to take.
Well I (G) cursed and scratched the (C) Devil's hand as he (D), stood in front of me.
And (G) one last drag from his (C) big cigar and he (D) finally set me free.
(G)(C)(D)(D), (G)(C)(D)(D), (G)(C)(D)(D), (G)(C)(D)(D)
(G)(C)(D)(D)
(G) Con ojos (C) tiernos algun (D) dia te mi ra re.

(G) Con brasos a (C) biertos algun (D) dia abra sa re.
(G) Hay me Havana (C) dia cuando (D) pueda regre sa re.
<English translation> With (G) tender eyes (C) someday (D) I will look at you.
With (G) open arms (C) someday (D) I will embrace you.
My (G) old Havana (C) someday (D) 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)(MC1)
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)
Well she (D) got her daddy's car and she cruised through the hamburger (G) stand now.
Seems she for (D) got all about the library like she told her old (A) man now.
And with the (D) radio blasting goes cruising just as fast as she (G) can now.
And she'll have (D) fun fun fun til her (G) daddy takes the (A) T-bird a (D) way.
(Fun fun (G) fun 'til
her (A7) daddy takes the (A) T-bird a (D) way.)
|||
(A) Well the (D) girls can't stand her cause she walks looks and drives
like an (G) ace now.
(You walk like an ace now you walk like an ace)
She makes the (D) Indy 500 look like a Roman chariot (A) race now.
(You look like an ace now you look like an ace)
A lotta (D) guys try to catch her but she leads them on a wild goose (G) chase now.
(You drive like an ace now you
drive like an ace)
And she'll have (D) fun fun fun til her (G) daddy takes the (A) T-bird a (D) way.
(Fun fun
(G) fun 'til her daddy takes the (E) T-bird a (A) way.)
(A)(D)(D)(A)(A)(E)(A)
Well you (D) knew all along that your dad was gettin' wise to (G) you now.
(You shouldn't have lied now you
shouldn't have lied)
And since he (D) took your set of keys you've been thinking that your fun is all (A) through now
(You shouldn't have
lied now you shouldn't have lied.)
But you can (D) come along with me cause we gotta a lot of things to (G) do now.
(You shouldn't have lied now
you shouldn't have lied.)
And we'll have (D) fun fun fun now that (G) daddy took the (A) T-bird a (D) way.
(Fun fun
(G) fun now that (A7) daddy took the (A) T-bird
And we'll have (D) fun fun fun now that (G) daddy took the
(A) T-bird a (D) way
(Fun fun (G) fun now that (A7) daddy took the (E) T-bird)
Oooh (A) wee,
Ooh wee-ee-ee-ee-(D)-ee. Oooh (A) wee,

(Fun fun now her (G) daddy took the T-bird a (A) way)
Ooh wee-ee-ee-ee-(D)-ee. |D|
THE GAMBLER – Kenny Rogers
(Schlitz)
https://www.youtube.com/watch?v=7hx4gdlfamo (Capo 1)(MC0)
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)
On a (D) warm summers evenin’, on a (G) train bound for (D) nowhere.
I met up with the gambler, we were both too tired to (A7) sleep.
So (D) we took turns a starin’, out the (G) window at the (D) darkness.
Til (G) boredom over (D) took us, (A7) and he began to (D) speak.
He said son I've made a life, out of (G) readin' peoples (D) faces.
And knowin’ what their cards were, by the way they held their (A7) eyes.
So if (D) you don't mind my sayin’, I can (G) see you’re out of (D) aces.
For a (G) taste of your (D) whiskey, I'll (A7) give you some ad (D) vice.
So I handed him my bottle, and he (G) drank down my last (D) swallow.
Then he bummed a cigarette, and asked me for a (A7) light.
And the (D) night got deathly quiet, and his (G) face lost all ex (D) pression.
Said “If you’re (G) gonna play the (D) game boy, ya gotta (A7) learn to play it (D) right.
You got to know when to hold ‘em, (G) know when to (D) fold ‘em,
(G) know when to (D) walk away, and know when to (A7) run.
You never (D) count your money, when you’re (G) sittin’ at the (D) table.
There'll be time (G) enough for (D) countin, (A7) when the dealin’s (D) done.
<capo +1>
Every gambler knows, that the (G) secret to sur (D) vivin’,
Is knowin’ what to throw away, and knowing what to (A7) keep.
Cause (D) every hand’s a winner, and (G) every hands a (D) loser,
And the (G) best that you can (D) hope for is to (A7) die in your (D) sleep.”
And when he’d finished speakin’, he (G) turned back towards the (D) window.
Crushed out his cigarette, and faded off to (A7) sleep.
And |D| somewhere in the darkness, the |G| gambler he broke |D| even.
But |G| in his final |D| words I found an |A7| ace that I could |D| keep.
You got to (D) know when to hold ‘em, (G) know when to (D) fold ‘em,
There'll be time (G) enough for (D) countin, (A7) when the dealin’s (D) done.
There'll be (G) time enough for (D) countin, (A7) when the dealin’s (D) done.
There'll be (G) time enough for (D) countin, (A7) when the dealin’s (D) done.
GARDEN PARTY
Rick Nelson
https://www.youtube.com/watch?v=-JNcWvHTLjc (Capo 0)(MC0)
TIP: The intro notes are: open 5th string, 5th string/2nd fret, and 5th string/4th fret.
TIP: Where the (Bm) follows a (D) you can get away with just adding your pinky to the 3rd
string/4th fret above the ring finger.
TIP: The walk up notes that end the song are: top string/2nd fret, top string/3rd fret, top
string/4th fret, and then more quickly, open 5th string, 5th string/2nd fret, 5th string/4th fret,
and open 4th string.
INTRO: <a><c#> (D) Oooh (A) oooh (G) ooooh (Bm) oooo (D) oooh.
I went to a garden par (G) ty, to remin (D) isce with my old (G) friends.
And a (D) chance to (A) share old (D) memor (G) ies (A), and play our songs a (D) gain.
When I got to the garden par (G) ty, (D) they all knew my (G) name.
But (D) no one (A) recognized (G) me, (A) I didn't look the (D) same.
But it's, (G) all (A) right (D) now, I (G) learned my (A) lesson (D) well.
You see you, (G) can't please (D) everyone so ya, (G) got to (A) please your (D) self.
People came, from (A) miles a (G) round, (D) everyone was (G) there.
(D) Yoko (A) brought her wal (G) rus, there was (A), magic in the (D) air.
And over in the cor (G) ner, (D) much to my sur (G) prise,
(D) Mr. (A) Hughes hid in (D) Dylan's (G) shoes, wearing (A) his dis (D) guise.
(G) Lot n (A) da n (D) da (Bm), (G) la n (A) da da (D) da, (G)(D),(G)-(A)-(D)
Played them all the old (G) songs, (D) thought that's why they (G) came.
(D) No one (A) heard the mu (G) sic (A), we didn't look the (D) same.
I said hello, to "Mary (G) Lou", (D) she belongs to (G) me.
When I (D) sang a (A) song about a (D) honky (G) tonk, (A) it was time to (D) leave.
(G) Lot n (A) da n (D) da, la n (Bm) da da (G) da, la n (A) da da (D) da, (G)(D),(G)-(A)-(D)
Someone opened (A) up, the (D) closet (G) door, and (D) out stepped Johnny B. (G) Goode.
(D) Playin' gui (A) tar like a (D) ringin' a (G) bell (A), and (G) lookin' (A) like he (D) should.
If you gotta play at garden par (G) ties, I (D) wish you a lotta (G) luck,
But if (D) memor (A) ies, were (D) all I (G) sang, (A) I'd rather drive a (D) truck.
(G) Lot n (A) da n (D) da, la n (Bm) da da (G) da, la n (A) da da (D) da, (G)(D),(G)-(A)-(D)
And it's, (G) all (A) right (D) now, I (G) learned my (A) lesson (D) well.
OUTRO: T2 T3 T4 5O-5/2-5/4-4O
<which is:>
OUTRO: <f#> <g> <g#> <a>--<c#>-<d>
(Rick Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
G’DAY G’DAY – Slim Dusty
(Fairbairn)
https://www.youtube.com/watch?v=PT331BRkkP0 (Capo 0)(MC1)
INTRO: (G)(D), (G)(D), (G)(D), (G) |D|-|G|
G'day g' (G) day (D), how ya (G) goin' (D)?

What d'ya (C) know (C)? Well strike a (G) light (D).
G'day g' (G) day (D), and how ya (G) go-o-o- (Em) in'?
Just say g' (G) day g'day g' (D) day and you'll be (G) right |D|-|G|.
Isn't (G) great (D), to be an (G) Aussie (D)?

Takin' a (C) walk (C), along the (G) street (D).
Lookin' in (G) shops (D), or buyin' a (G) paper (Em),
|A| Stoppin' and havin' a |A| yarn with people |D| that you |D| meet.
Down at the (G) pub (D), or at a (G) party (D),

Whenever you're (C) stuck (C), for what to (G) say (D),
If you |G| wanna be |G| dinky |D| die, why |G| don't you |G| give it a |D| try?
|A| Look 'em right in the |A| eye and say g' |D| day.

Now (Em) when Italians (B7) meet they all go (Em) crazy (B7),
The (Em) blokes all like to (B7) hug each other (Em) too (B7).
The (C) Yanks invented “Hi" and "See you (G) later," (Em)
While the |A| Pommy will shake your |A| hand and say "How |D| do you |D| do?"
Now (Em) watch out for a (B7) Frenchmen or he'll (Em) kiss you (B7).
The (C) Spaniards go for "Olah" and "O (G) lay" (D).
But in the (G) land of the cocka |D| too, pole |G| cats and the |G| didgeri |D| doo,
|A| When you meet an |A| Aussie ten-to- |D| one here's what he'll |D| say:
“G'day g' (G) day (D), how ya (G) goin' (D)?

G'day g' (G) day (D), and how ya (G) go-o-o- (Em) in'?”
It's a |C| greeting, that you'll hear across Aus |G| tralia |C|-|G|,
From |C| Geraldton to |C| Goulburn Gunda |G| gai |C|-|G|.
It's as |C| dinkum as the |C| dingo and the |G| dahlia |G|-|D7|-|E7|.
And you |A| spell it with a G a |A7| postro |D| phe a D-A- |D7| Y.

Just say g' (G) day g'day g' (D) day and you'll be (G) right (D).

Just say g' (G) day g'day g' (D) day, (G)(G)(D),
Just say g' (G) day g'day g' (D) day and she'll be |G| right.
GENTLE ON MY MIND - Glen Campbell
(Hartford)
https://www.youtube.com/watch?v=mfMnNqn-hKg (Capo 1)(MC0)
[There are two versions here. This first, while certainly more complicated, is mostly just finger
work and actually fun to play. Give it a try. Afterwards is the same version with all the fluff
stripped out.]
TIP: Don’t be scared off by the unfamiliar chord sequences. They're fairly easy to play and the
pattern just repeats itself.
First the (D)(Dmaj7)(D6)(Dmaj7) sequence: The intro consists of the first two chords played 8
times. Play (D), then just slide your ring finger over so all three fingers are in the 2nd fret.
That's (Dmaj7). Slide the ring finger back to play (D) again. For the verse you do what you just
did, ending in (Dmaj7). To go to (D6) just lift off the ring finger. Replace it to go back to
(Dmaj7), and slide it back up one fret to get back to (D). Or, you can play the (Dmaj7) as a bar
with your index finger and then grab the (D6) with your middle and index fingers and then play the
barre again (or add your ringer back in there on the second fret and then slide it up one fret to
start the next (D)).
For the (E) sequence: You'll start with (Em), now lift the bottom finger (usually the ring
finger) while putting your pinky on the 2nd string/3rd fret. That’s (E7-). Now simply move the top
finger down one string. That's (A7sus4). Next is (A7) and from (A7sus4) just lift the pinky and
place the ring finger on the 2nd string/2nd fret like normal. It’s easy, give it a try.
INTRO: (D)(Dmaj7), (D)(Dmaj7), (D)(Dmaj7), (D)(Dmaj7),

(D)(Dmaj7), (D)(Dmaj7), (D)(Dmaj7), (D)(Dmaj7)
It's (D) knowin' that your (Dmaj7) door is always (D6) open and your (Dmaj7) path is free to
(Em) walk (E7-)(A7sus4)(A7).
That (Em) makes me tend to (E7-) leave my sleepin' (A7sus4) bag rolled up and (A7) stashed behind
your (D) couch (Dmaj7)(D6)(Dmaj7).
And it's (D) knowin' I'm not (Dmaj7) shackled by for (D6) gotten words and (Dmaj7) bonds
And the (D) ink stains that have (Dmaj7) dried upon some (Em) line (E7-)(A7sus4)(A7).
That (Em) keeps you in the (E7-) back roads, by the (A7sus4) rivers of my (A7) memory,
That (Em) keeps you ever (A7) gentle on my (D) mind (Dmaj7)(D6)(Dmaj7). (D)(Dmaj7)(D6)(Dmaj7)
It's not (D) clingin' to the (Dmaj7) rocks and ivy (D6) planted on their (Dmaj7) columns now that
(Em) bind me (E7-)(A7sus4)(A7).
Or (Em) something that some (E7-) body said be (A7sus4) cause they thought we (A7) fit together
(D) walkin' (Dmaj7)(D6)(Dmaj7).
It's just (D) knowing that the (Dmaj7) world will not be (D6) cursing, or for (Dmaj7) giving,
When I (D) walk along some (Dmaj7) railroad track and (Em) find (E7-)(A7sus4)(A7).
That you're (Em) movin' on the (E7-) back roads by the (A7sus4) rivers of my (A7) memory,
And for (Em) hours you're just (A7) gentle on my (D) mind (Dmaj7)(D6)(Dmaj7). (D)(Dmaj7)(D6)(Dmaj7)
Though the (D) wheat fields and the (Dmaj7) clothes lines and the (D6) junkyards and the
(Dmaj7) highways come be (Em) tween us (E7-)(A7sus4)(A7).
And some (Em) other woman's (E7-) cryin' to her (A7sus4) mother 'cause she (A7) turned and I was
(D) gone (Dmaj7)(D6)(Dmaj7).
I (D) still might run in (Dmaj7) silence, tears of (D6) joy might stain my (Dmaj7) face,
And the (D) summer sun might (Dmaj7) burn me till I'm (Em) blind (E7-)(A7sus4)(A7).
But (Em) not to where I (E7-) cannot see you (A7sus4) walkin' on the (A7) back roads,
By the (Em) rivers flowin' (A7) gentle on my (D) mind (Dmaj7)(D6)(Dmaj7). (D)(Dmaj7)(D6)(Dmaj7)
I (D) dip my cup of (Dmaj7) soup back from a (D6) gurglin' cracklin' (D) cauldron in some
(Em) train yard (E7-)(A7sus4)(A7).
My (Em) beard a rustlin' (E7-) coal pile, and a (A7sus4) dirty hat pulled (A7) low across my
(D) face (Dmaj7)(D6)(Dmaj7).
Through (D) cupped hands 'round a (Dmaj7) tin can I pre (D6) tend to hold you (Dmaj7) to my breast
and (Em) find (E7-)(A7sus4)(A7).
That you're (Em) waitin' from the (E7-) back roads by the (A7sus4) rivers of my (A7) memories,
Ever (Em) smilin' ever (A7) gentle on my (D) mind (Dmaj7)(D6)(Dmaj7).
(D)(Dmaj7), (D)(Dmaj7), (D)(Dmaj7), (D)(Dmaj7) <repeat and fade or end with final |D|>
(Glen Campbell) (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)(MC0)
INTRO: (D)
It's knowin' that your door is always open and your path is free to (Em) walk.
That makes me tend to leave my sleepin' bag rolled up and (A7) stashed behind your (D) couch.
And it's knowin' I'm not shackled by forgotten words and bonds,
And the ink stains that have dried upon some (Em) line.
That keeps you in the back roads, by the rivers of my (A7) memory,
That keeps you ever gentle on my (D) mind.
It's not clingin' to the rocks and ivy planted on their columns now that (Em) bind me.
Or something that somebody said because they thought we (A7) fit together (D) walkin'.
It's just knowing that the world will not be cursing, or forgiving,
When I walk along some railroad track and (Em) find.
That you're movin' on the back roads by the rivers of my (A7) memory,
And for (Em) hours you're just (A7) gentle on my (D) mind.
Though the wheat fields and the clothes lines

And the junkyards and the highways come be (Em) tween us.
And some other woman's cryin' to her mother 'cause she (A7) turned and I was (D) gone.
I still might run in silence, tears of joy might stain my face,
And the summer sun might burn me till I'm (Em) blind.
But not to where I cannot see you walkin' on the (A7) backroads,
By the (Em) rivers flowin' (A7) gentle on my (D) mind.
I dip my cup of soup back from a gurglin' cracklin' cauldron in some (Em) train yard.
My beard a rustlin' coal pile, and a dirty hat pulled (A7) low across my (D) face.
Through cupped hands 'round a tin can I pretend to hold you to my breast and (Em) find.
That you're waitin' from the backroads by the rivers of my (A7) memories,
Ever (Em) smilin' ever (A7) gentle on my (D) mind.
(D)... <repeat and fade or end with final |D|>
(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)(MC3)
TIP: If you're not comfortable playing the (Bm) you may have trouble with this version. I guess
the good news is you can play another strum of (G) where the (Bm) is (in the verse but not in the
bridge) and get away with it.
TIP: In the opening and in the instrumental bridge I've indicated a (CaddG) between the (C) and
(D). You can play a (D4) if you'd rather but I find it more comfortable to simply add my pinky to
the bottom string/3rd fret coming off the (C) before jumping to the (D), rather than try to hit the
(D4) strait away and then lift off. Whichever you find easier as they both work. There's also a
(Dsus2) at the end of a verse sandwiched in between two (D)s. Just lift off your bottom finger.
Finally at the end of the chorus there's a |D7| in brackets. Strum the (D7) once and hold, singing
"a little bit" with no chord.
INTRO: <the whistling bit> (G)(Bm)(C)(CaddG)-(D); (G)(Bm)(C)(CaddG)-(D)
(G) Hey (Bm) there, (C) Georgy (D) girl, (G) swingin' down the (Bm) street so (Am) fancy (D) free.
(G) Nobody you (Bm) meet could (C) ever see (Cmaj7) the loneliness (F) there |D7|, inside you.
(G) Hey (Bm) there, (C) Georgy (D) girl, (G) why do all the (Bm) boys just (Am) pass you (D) by?
(G) Could it be you (Bm) just don't (C) try or (F) is it the (D) clothes you wear (Dsus2)(D)?
(Em) You're always (Bm) window shopping but (C) never stopping to (G) buy.
(B7) So shed those (Em) dowdy (A) feathers and (D) fly |D7|, a little bit.
(G) Hey (Bm) there, (C) Georgy (D) girl, (G) there's another (Bm) Georgy (Am) deep in (D) side.
(G) Bring out all the (Bm) love you (C) hide and (D7) oh what a change there'd (Em) be.
The (C) world would see, (D) a new Georgy (G) girl (C)(G)(D).
(G)(Bm)(C)(CaddG)-(D); (G)(Bm)(C)(CaddG)-(D)
(G)(Bm)(C)(D), (G)(Bm)(Am)(D), (G)(Bm)(C)(C)(Cmaj7)(F),(D)
(G) Hey (Bm) there, (C) Georgy (D) girl (G) dreamin' of the (Bm) someone (Am) you could (D) be.
(G) Life is a re (Bm) ali (C) ty, you (F) can't always (D) run away (Dsus2)(D).
(Em) Don't be so (Bm) scared of changing and (C) rearranging your (G) self.
(B7) It's time for (Em) jumping (A) down from the (D) shelf |D7|, a little bit.
(G) Hey (Bm) there, (C) Georgy (D) girl, (G) there's another (Bm) Georgy (Am) deep in (D) side.
(G) Bring out all the (Bm) love you (C) hide and (D7) oh what a change there'd (Em) be.
The (C) world would see |D|, (NC) a new Georgy (G) girl (Bm)(C)
Wake (D) up Georgy (G) girl (Bm)(C) come (D) on Georgy (G) girl (Bm)(C)
Wake (D) up Georgy (G) girl (Bm)(C) come (D) on Georgy |G| Girl.
GET A HAIRCUT - George Thorogood
(Avery/Birch)
https://www.youtube.com/watch?v=a9qIPAdLhfI (Capo 0)(MC3)
TIP: The intro is nothing but a series of (G)s but - and this is important - you play all but the
last strum on the top 2 or 3 strings emphasizing the bass <g> of the top string. Then the last
strum of the sequence, indicated by (GB), you strike the "B"ottom" 2 or 3 strings emphasizing the
high <g> of the bottom string. The first sequence has a couple of extra (G)s at the beginning.
TIP: The last verse leads into a a slide riff with the (G) (G)-(Gadd)-(G) in which the first (G)
is on the last word and then it’s a strum of (G) and a quick hammer on/hammer off of the 2nd
string/3rd fret <d>, then the series repeats. Practice a few times as it does come quick.
INTRO: (G)-(G),(G)-(G)-(G)-(GB); (G)-(G)-(G)-(GB); (G)-(G)-(G)-(GB); (G)-(G)-(G)-(GB)
(G) I was a rebel from the day I left school. Grew my hair long and broke all the rules.
(C) I'd sit and listen to my records all day, (D) with big ambitions of when I could play.
(G) My parents taught me what life was about. So I grew-up the type they warned me about.
(C) They said my friends were just an unruly mob and I should |D|,
(NC) Get a haircut and get a real job.
(G) Get a haircut and get a real job. Clean your act up and don't be a slob.
(C) Get it together like your big brother Bob why don't you,
(D) Get a haircut and get a real job?
(G) I even tried that 9 to 5 scene. I told myself that it was all a bad dream.
(C) I found a band and some good songs to play and now I, (D) party all night I sleep all day.
(G) I met this chick she was my number one fan. She took me home to meet her mommy and dad.
(C) They took one look at me and said "Oh my God. |D| Get a haircut and get a real job."
(D) Get a haircut (D), and get a real (G) job (G)-(Gadd)-(G) (G)-(Gadd)-(G)?
Get a real (G) job. (G)-(Gadd)-(G) (G)-(Gadd)-(G)

Why don't you get a real (C) job (C)(C)?
Get a real (D) job (D)(D). Why don't you get a real (G) job (G)(G)(G), (C)(C)(D)(D)?
(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.
(D) Get a haircut, and get a real (G) job (G)-(Gadd)-(G) (G)-(Gadd)-(G)?
Get a real (G) job (G)-(Gadd)-(G) (G)-(Gadd)-(G).

Why don't you get a real (C) job (C)(C)?
Get a real (D) job (D)(D).
Why don't you get a real (G) job (G)(G)(G), (C)(C)(D(D)?
(G)(G)-(Gadd)-(G) (G)-(Gadd)-(G), (G)(G)-(Gadd)-(G) (G)-(Gadd)-(G), (C)(C)(D)(D)

(G)(G)-(Gadd)-(G) (G)-(Gadd)-(G), (G)(G)-(Gadd)-(G) (G)-(Gadd)-(G), (C)(C)(D)(D)
(G)(G)-(Gadd)-(G) (G)-(Gadd)-(G), (G)(G)-(Gadd)-(G) (G)-(Gadd)-(G), (C)(C)(D)(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)(MC0/2)
[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.
TIP: For the (A7)(A)(A7) it’s a quick hammer on/hammer off of the middle finger between the (A7)s.
INTRO <spoken>: Rosetta. Sweet Loretta Fart she thought she was a cleaner but she was a frying
pan. The picker, picks with her fingers burning. Ooooh. Okay.
INTRO: <thrumming> (A) (A) (A) (A) |G|-|D|
(A) Jo Jo was a man who (A7) thought he was a loner (D) but he knew it couldn't (A) last.
Jo Jo left his home in (A7) Tuscon Arizona (D) for some California (A) grass.
Get (A7) back, (A) get (A7) back, (A) get (A7) back to where you (D) once be (A) longed. |G|-|D|
Get (A7) back, (A) get (A7) back, (A) get (A7) back to where you (D) once be (A) longed (get back
Jo Jo).
<guitar> (A)(A)(D)(A) |G|-|D|, (A)(A)(D)(A) |G|-|D|
Get (A7) back, (A) get (A7) back, (A) get (A7) back to where you (D) once be (A) longed. |G|-|D|
Get (A7) back, (A) get (A7) back, (A) get (A7) back to where you (D) once be |A| longed . . .
Get back Jo.
<electric piano> (A)(A)(D)(A), (A)(A)(D)(A) |G|-|D|
(A) Sweet Loretta Martin (A7) thought she was a woman (D) but she was another (A) man.
All the girls around her (A7) say she's got it comin' (D) but she gets it while she (A) can.
Oh get (A7) back, (A) get (A7) back, (A) get (A7) back to where you (D) once be (A) longed. |G|-|D|
Get (A7) back, (A) get (A7) back, (A) get (A7) back to where you (D) once be (A) longed (Get back
Loretta).
<guitar> (A)(A)(D)(A) |G|-|D|, (A)(A)(D)(A) |G|-|D|
Oh get (A7) back, (A) yeah get (A7) back, (A) get (A7) back to where you (D) once be (A) longed.
Get back, get ba-a-ack, get (D) back to where you once be |A| longed. Get back. Ooooooh.
(Thanks folks. 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)(MC0/4)
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)-(Asus)-(A)
Love is but a song to sing. Fear's the way we (G) die.

(A) You can make the mountains ring, or make the angels (G) cry.
(A) Though the bird is on the wing, and you may not know (G) why.
(D) Come on people now, (E) smile on your brother every (A) body get together.
Try to (D) love one a (E) nother right (A) now. (A)
Some may come and some may go. We shall surely (G) pass.
(A) When the one that left us here, returns for us at (G) last.
(A) We are but a moment's sunlight, fading in the (G) grass.
(D) Come on people now, <up inflection> (E) smile on your brother every (A) body get together.
Try to (D) love one a (E) nother right (A) now.
(A)...(G)(G); (A)...(G)(G); (A)...(G)
(A), (G), (A), (G), (A)-(Asus)-(A)
If you hear the song I sing, you will under (G) stand. Listen.
(A) You hold the key to love and fear, in your trembling (G) hand.
(A) Just one key unlocks them both. It's there at your com (G) mand. (G)
I said (D) come on people now, <up> (E) smile on your brother every (A) body get together.
Try to (D) love one a (E) nother right (A) now. Right now. Right (A) now (Asus2)(Asus2)(A).
(The Youngbloods) (Artist Index) - (Main Index) - (Song Index) (This Song)
GHOST RIDERS IN THE SKY – Johnny Cash
(Jones)
https://www.youtube.com/watch?v=3LtmZM0OWO8 (Capo 1)(MC1)
TIP: In the intro the 6-P3-5 (Am) means to pluck the open top/6th string, then cover the Top
string with your Pinky at the 3rd fret (TP3), then pluck the open 5th string and strum (Am). Do
this 3 times. Then strum (Am) but target the bottom string, 2nd string, and 3rd strings in
sucession while holding the (Am).
TIP: The song is heavy on bass, especially the way Johnny sings it with his baritone voice. So
cover that top string/3rd fret above the ring finger with your pinky whenever you strum a (C) and
focus on the top 4 strings throughout.
TIP: The middle refrain of “sky” at the end is sung on the up-inflection and there's an indicator
to remind you.
TIP: At the end are four (Am), each one consisting of 7 quick strums. Walk those strums up from
the bottom of the fingerboard (treble strings) up to the top (bass strings).
INTRO: 6-TP3-5 (Am), 6-TP3-5 (Am), 6-TP3-5 (Am); (Am), (Am), (Am)
An old cowboy went ridin' out one (C) dark and windy day.
Up (Am) on a ridge he rested as he (C) went along his (E) way.
When (Am) all at once a mighty herd of red-eyed cows he saw,
(F) Plowin' through the ragged skies, and (Dm) up a cloudy (Am) draw.
Their brands were still on fire and their (C) hooves were made of steel.
Their (Am) horns were black and shiny and their (C) hot breath he could (E) feel.
A (Am) bolt of fear went through him as they thundered through the sky,
For he (F) saw the riders comin' hard, and he (Dm) heard their mournful (Am) cry.
Yipie i (C) ohhh-oh-oh, yipie i (Am) ay-ay ay-ay. (F) Ghost riders in the (Am) sky.
(Am)(C), (Am)(C)(E), (Am)(F)(Dm)(Am)
Their faces gaunt their eyes were blurred their (C) shirts all soaked with sweat.
He's (Am) ridin' hard to catch that herd but (C) he ain't caught 'em (E) yet'.
'Cause they've (Am) got to ride forever on that range up in the sky,
(F) On horses snorting fire, as they (Dm) ride on hear their (Am) cry.
As the riders loped on by him he (C) heard one call his name.
"If you (Am) want to save your soul from hell a (C) riding on our (E) range.
Then (Am) cowboy change your ways today or with us you will ride.
(F) Tryin' to catch the devil's herd, a (Dm) cross these endless (Am) skies."
Yipie i (C) ohhhh-oh, yipie i (Am) ay-ay ay-ay. (F) Ghost riders in the (Am) sky.
(F) Ghost riders in the <up inflection> (Am) sky. (F) Ghost riders in the (Am) sky.
(Am)(Am)(Am)(Am) . . .
(Johnny Cash) (Kid Friendly) (Artist Index)

GIMME ALL YOUR LOVIN’ – ZZ Top
(Beard/Hill/Gibbons)
https://www.youtube.com/watch?v=k4VFFBCa5Aw (Capo 3)(MC3)
TIP: In the intro riff there’s actually a brief (E) in there after the (D) but the change is so
rapid it’s easier to just play the (D)-(A).
TIP: For a little accent, when playing the string of (A) chords in the instrumentals you can bring
in a little treble by barreing the 2nd string and dropping your pinky over to cover the bottom
string of the 5th fret (8th if capo 3).
TIP: The outro goes on forever (in the song 29 bars til the fade). Play as many as you want and
fade or end with a strum of |A|.
INTRO: <drums> (D)-(A)(A), (D)-(A)(A), (D)-(A)(A), (D)-(A)(A)
(D) I got to have a (A) shot (A), 'cause what you got is oh so sweet.
(D) You got to make it ho-(A)-ot (A), like a boomerang I need a repeat.
(G) Gimme all your lovin,' (D) all your hugs and kisses too-(A)-oo (A).
(G) Gimme all your lovin,' (D) don't let up until we're (A) through (A).
(D) You got to whip it (A) up (A), and hit me like a ton of lead.
If I (D) blow-ow my (A) top (A), will you let it go to your head?
(G) Gimme all your lovin,' (D) don't let up until we're throu- (A) ough (A).
(G)(G)(A)(A)(A)(A)(A)(A)(A)(A)(D)(E)(A)(A), (D)(E)(A)(A)
(A)(A)(A)(A) (drink a lot you get me up what you have to do) (A)(A)
(D) You got to move it (A) up (A), and use it like a screwball would.
(D) You got to pack it (A) up (A), work it like a new boy should.
(G) Gimme all your lovin,' (D) don't let up until we're (A) through (A).
(G)(G)(G)(G)(A)(A)(A)(A)(A) . . . |A|
(ZZ Top) (Artist Index) - (Main Index) - (Song Index) (This Song)
GIMME SOME MONEY – Spinal Tap
(McKean/Guest/Shearer/Reiner)
https://www.youtube.com/watch?v=I-BYzaDwNoE (Capo 0)(MC0)
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) Stop wasting my (E) time. (A)-(D)-|E| <palm mute>

(NC) You know what I (E) want. (A)-(D)-|E| <palm mute>
(NC) You know what I (A) need. (D)-(C)-|A| <palm mute>
(NC) Or maybe you (E) don't. (A)-(D)-|E| <palm mute>
(NC) Do I have to come (B) right flat out and tell you everything.
(E) Gimme some (A) money-(E)-ey (A), (E) gimme some (A) money-(E)-ey (A).
(B)(B) <strum rapidly> (A) x 12 <palm mute>
(NC) I'm nobody's (E) fool. (A)-(D)-|E| <palm mute>

(NC) I'm nobody's (E) clown. (A)-(D)-|E| <palm mute>
(NC) I'm treating you (A) cool. (D)-(C)-|A| <palm mute>
(NC) I'm putting you (E) down. (A)-(D)-|E| <palm mute>
(NC) But baby I (B) don't intend to leave empty handed.
Oh (B) yeah! (B) <strum rapidly> (A) x 12 Go Nigel go!

(E)(A)(E)(A)(E)(A)(E)(A), (A)(Asus4)(A)(Asus4), (E)(A)(E)(A)(E)(B)(A)
(E) Gimme some (A) money-(E)-ey (A), (E) gimme some (A) money-(E)-ey. <palm mute>
(NC) Don't get me (E) wrong. (A)-(D)-|E| <palm mute>

(NC) Try getting me (E) right. (A)-(D)-|E| <palm mute>
(NC) Your face is o (A) kay. (D)-(C)-|A| <palm mute>
(NC) But your purse is too (E) tight. (A)-(D)-|E| <palm mute>
(NC) I'm looking for (B) pound notes loose change bad checks anything.
(E) Gimme some (A) money-(E)-ey (A), |E|
(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)(MC3)
Is there (Am) anybody (E7) going to listen (Am) to my story.

(Dm) All about the girl who came to (C) stay (E7)?
She's the (Am) kind of girl you (E7) want so much it (Am) makes you sorry.
(Dm) Still you don't regret a single (Am) day (E7).
Ah (C) gir- (Em) -rl (Dm) ssssss (G7). (C) Girl (Em) girl (Dm)-(G7).
When I (Am) think of all the (E7) times I've tried so (Am) hard to leave her,
(Dm) she will turn to me and start to (C) cry (E7).
And she (Am) promises the (E7) earth to me and (Am) I believe her.
(Dm) After all this time I don't know (Am) why (E7).
Ah (C) gir- (Em) -rl (Dm) ssssss (G7). (C) Girl (Em) girl (Dm)(G7).
(Dm) She's the kind of girl who puts you (A) down when friends are there you feel a (Dm) fool
Tit tit tit tit tit, (A) tit tit tit tit tit tit tit tit. (Dm) When you say she's looking good,
She (A) acts as if it's understood she's (Dm) cool, ooh, (F) ooh, ooh.
(C) Gir- (Em) -rl (Dm) ssssss (G7). (C) Girl (Em) girl (Dm)(G7).
Was she (Am) told when she was (E7) young that pain would (Am) lead to pleasure?
(Dm) Did she understand it when they (C) said (E7).
That a (Am) man must break his (E7) back to earn his (Am) day of leisure?
(Dm) Will she still believe it when he's (Am) dead (E7)?
Ah (C) gir- (Em) -rl (Dm) sssssss (G7). (C) Girl (Em) girl (Dm)(G7).
(Am)(E7)(Am7)(Am)-(Am7)(Dm)(C)(E7); (Am)(E7)(Am7)(Am)-(Am7)(Dm)(C)(E7)(E)
(C) Gir- (Em) -rl (Dm) sssss (G7). (C) Girl (Em) girl (Dm)(G7). |C|
GIRL FROM THE NORTH COUNTRY – Nitty Gritty Dirt Band
(Dylan)
https://www.youtube.com/watch?v=3Q3nTFnp0Fg (Capo 2)(MC4)
TIP: In the intro, play or snap the <e> note at the end of the (Gadd) sequence.
TIP: Notice the (C) comes early on lines where there is a pause, e.g. “border” in the 2nd line and
the (Em) that starts the next verse comes at the end of the previous verse. Simply a timing thing.
TIP: In the instrumental bits are there a couple of (Bm)s peppered about. To make things simpler,
in the bridge you can play an (Em) instead and in the outro a (D).
INTRO: (Gadd), (Gadd), (Em)
Well if you're travelin’, in the (D) north country (G) fair (G),
Where the (Em) winds hit heavy on the (C), border (G) line (G),
Re (Em) member me, to (C) one who lives (G) there (G).
(Em) She once (G) was a (C) true love of (G) mine (G). (Em)
Well if you go when the (D) snowflakes (G) storm (G),

When the (Em) rivers freeze and (C), summer (G) ends (G),
Please (Em) see if she has, a (C) coat so (G) warm (G),
To (Em) keep her (G) from the (C), howling (G) winds (G). (Em)
Please see for me if her (D) hair hangs (G) long (G),
If it (Em) rolls and flows all (C), down her (G) breast (G).
Please (Em) see for me, if her (C) hair hangs (G) long (G).
(Em) That's, the (G) way I re (C) mem-ber her (G) best (G).
<accordian/mandolin> (Em)(Em)(D)(G)(G), (Em)(Em)(C)(G)(G)

(Em)(Em)(C)(G)(G), (G)(Em)(C)(G)(G)
Now I'm (Em) wonderin’ if she re (D) members me at (G) all (G).
(Em) Many times I've (C), often (G) prayed (G),
(Em) Innn the darkness (C), of my (G) night (G),
And (Em) in, the (G) brightness (C), of my (G) day (G). (Em)
So if you're travelin’ in the (D) north country (G) fair (G),

Where the (Em) winds hit heavy on the (C), border (G) line (G),
Re (Em) member me, to (C) one who lives (G) there (G).
(Em) She once (G) was a (C) true love of (G) mine (G).
(Em)(Em)(D)(G)(G), (Em)(Em)(D)(G)(G), (Em)(Em)(C)(G)(G), (Em)(Em)(D)(G)(G)

(Em)(Em)(D)(G)(G), (Em)(Em)(D)(G)(G), (Em)(Em)(C)(G)(G), (Em)(Em)(D)(G)(G)
<softly> (Em)(Em)(D)(G)(G), (Em)(Em)(D)(G)(G), (Em)(Em)(C)(G)(G), (Em)(Em)(D)(G)|G|
THE GIRL FROM YESTERDAY - Eagles
(Tempchin/Frey)
https://www.youtube.com/watch?v=IVUK3soObGc (Capo 0)
https://www.youtube.com/watch?v=HBz2kAfxygY
TIP: Yeah, there are a lot of chords here but they're all easy. The intro is a bit jumpy with
single strums of the (C)(Bm)(Am) and (G). For (Dsus2) just lift off the bottom string from the
(D).
There's a single (Bm) in the chorus that's only played once so expect it and it'll be no problem.
The (E)-(Esus) in the bridge is simple as you're already playing the (E) so just add your pinky
below your ring finger.
TIP: The (Dsus2) is just (D) with the middle finger off the bottom string. Also there's a single
(D7sus4) which you'll play coming off the (Am7) so just keep your index finger planted on the 2nd
string/1st fret and play the (D7su4) like you're going to play a (D7) but slide your ring finger up
a fret to cover the bottom string/3rd fret. From there you can slide back to play a (D7) or shift
fingers to play a regular (D) - either is fine.
INTRO: |C|-|Bm|-|Am|-(G), (D)(Dsus2)-(D)(G), (D7)
It (G) wasn't really (G7) sad, the way they (C) said good-bye.
Or (D) maybe it just (D7) hurt so bad, she (G) couldn't cry (D)(Dsus2)(D).
He (Gadd) packed his things walked (G7) out the door, and (C) drove away.
(Am7) And (G) she became, the (D7) girl from yester (G) day (D7).
He (Gadd) took a plane a (G7) cross the sea, to some (C) foreign land.
She (D) stayed at home and (D7) tried so hard, to (G) understand (D)(Dsus2)(D).
How (Gadd) someone who had (G7) been so close, could (C) be so far away.
(Am7) And (G) she became, the (D7) girl from yester (G) day.
She (D) doesn't know what's right. She (C) doesn't know what's (G) wrong.
She (Bm) only knows the (G) pain that (Em) comes from (C) waiting for so (D7) long.
And she (C) doesn't count the (G) teardrops, that she's (C) cried while he's a (Gadd) way.
Be (Em) cause she knows deep (D) in her (G) heart that (Am7) he'll be back some (D) day (Am7)(D).
(G)(G7)(C); (Am7)-(G)(D)(Dsus2)-(D)(G); (E)(Esus)(E7)
The (A) light's on in the (A7) window, she's (D) waiting by the phone.
(E) Talking to a (E7) memory that's (A) never coming (E7) home.
She (A) dreams of his re (A7) turning, and the (D) things that he might say,
But she'll (A) always be, the (E7) girl from yester (A) day. (D)
Yeah she'll (A) always be, the (E7) girl from yester (D) day. |E|-|D|-|A|

GLORY DAYS
Bruce Springsteen
https://www.youtube.com/watch?v=nvUOgIgLqOQ (Capo 2)(MC2)
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) I had a friend was a big (C) baseball player, (G) back in high (C) school.
(G) He could throw that (C) speedball by you, (G) make you look like a (C) fool boy.
(D) Saw him the other night at this, roadside bar I was walking in, he was, walkin' (C) out.
We went (D) back inside sat down, had a few drinks, but (C) all he kept talkin' a (D) bout
Was glory (G) days, well they'll (C) pass you by.
Glory (G) days, in the wink of a (C) young girl's eye.
Glory (G) days, glory (D) daaa-aa-(G)-ayys.(C)-(G),(C)(F)-(C)
Well there's a (G) girl, that lives (C) up the block.

Back in (G) school she could turn all the boys' (C) heads.
Some (G) times on a Friday I'll (C) stop by and have a few drinks,
(G) After she put her kids to (C) bed.
Her (D), husband Bobby, well, they split up, I guess it's two (C) years gone by now.
We just (D) sit around, talkin' about the old times,
She says (C) when she feels like cryin' she starts laughin', thinkin' a (D) bout
Glory (G) days, yeah-they'll (C) pass you by.

Glory (G) days, glory (D) daaa-aa-(G)-ayys.(C)-(G),(C)(F)-(C),
(D)-(D4)-(D),(D)-(D4)-(D), (C)(F)-(C)|D|-|D|-|D| Whoo.

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

Glory (G) days, glory (D) daaa-aa-(G)-ayys.
Yeah they'll (C) pass you by.

Glory (G) days, in the wink of a (C) young girl's eye
Glory (G) days, glory (D) daaa-aa-(G)-ayys (G)(C)-(G),(C)(F)-(C)
Well alright (G)(C)-(G), Oooh yeah (C)(F)-(C); Well alright (G)(C)-(G), Come on now (C)(F)-(C);
Well alright (G)(C)-(G), Oooh yeah (C)(F)-(C); Alright (G)(C)-(G), Come on now (C)(F)-(C);
Whoo hoo (G)(C)-(G), whoo hoo (C)(F)-(C); Whoo hoo (G)(C)-(G), whoo hoo (C)(F)-(C);
Alright boys (G)(C)-(G), keep it rockin' now (C)(F)-(C);
Keep on goin' (G)(C)-(G), we're going on home now (C)(F)-(C);
(G)(C)-(G), (C)(F)-(C) We're nearly home. (G)(C)-(G), yeah hah (C)(F)-(C);
Bring it home (G)(C)-(G), oh oh (C)(F)-(C); Alright (G)(C)-(G), well alright (C)(F)-(C);
Well alright (G)(C)-(G), well alright (C)(F)-(C);
Well alright (G)(C)-(G), well alright (C)(F)-(C);
Alright (G)(C)-(G), alright (C)(F)-(C); Let's go. |G|
GOD BLESS AMERICA – Traditional/Kate Smith
(Berlin)
https://www.youtube.com/watch?v=6pZ1brENIjw&t=76s (Capo 5)(MC2)
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. (Cmaj7) is (C) without the index finger and (CaddG) is (C) with pinky on the
bottom string/3rd fret.
INTRO: (G)(C)(D)(D4)(D) <pause>
(G) God (D) bless (Dsus2) A (D) mer (Dsus2) i (D) ca, (D7) land that I (G) love.
Stand be (C) side her, and (G) guide her, thru the night with a (D) light from (G) above.
From the (D) mountains, to the (G) prairies, to the (C) oceans, (Cmaj7) white-(C)-with (Gadd) foam.
(C) God (G) bless (C) A (G) merica, (C) my (G) home, (D) sweet (G) home.
From the (D) mountains, to the (G) prairies, to the (C) oceans, (Cmaj7) white-(C)-with (Gadd) foam.
(C) God (G) bless (C) A (G) merica, (C) my (G) home, (D) sweet (Gadd) home.
(C) God (G) bless (C) A (G) merica, (C) my (G) home . . . (D) sweet . . . (G) home (CaddG)(Gadd)!
(Kate Smith) (Traditional) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOD WILL
Lyle Lovett
https://www.youtube.com/watch?v=oojVDRegR3o (Capo 3)(MC1)
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|
Who keeps on trustin’ you, (G) when you've been (D) cheatin’,
And spendin’ your nights on the (A) town?
(G) Who keeps on (D) sayin’, (G) that he still (D) wants you,
When you're through runnin’ a (A) round?
And (G) who keeps on (D) loving you, (G) when you've been (D) lyin’,
Sayin’ things ain't what they (A) seem?
Well (G) God does, but (A) I don't. (D) God will but (G) I won't
And that's the difference, be (A) tween God and |Gadd| me-|A|-|Em|-|D|.
(G) God does but (D) I don't. (G) God will but (D) I won't
And that's the (G) difference, be (A) tween God and |Gadd| me-|A|-|Em|-|D|.
(G)(A)(D)(G), (G)(A), |G|-|D|-|A|-|D|
So who (G) says he'll for (D) give you, and (G) says that he'll (D) miss you,
And dream of your sweet memo (A) ry?
Well (G) God does, but (A) I don't. (D) God will but (G) I won't
And that's the difference, be (A) tween God and |Gadd| me-|A|-|Em|-|D|.
Well (G) God does but (D) I don't. (G) God will but (D) I won't
And that's the (G) difference, be (A) tween God . . . and (D) me. |G|-|D|-|A|-|D|
GOING HOME – Mary Fahl
(Osborne/Douglas)
https://www.youtube.com/watch?v=8XtNTJhyEYo (Capo 2)(MC3)
TIP: The intro consists of the chords from the first and last lines of the verse. To go from the
(D) to (D-) to (G) just lift off your index finger from the 3rd string for one count before moving
on to the (G).
TIP: For (FaddG) hold the (F) and add your pinky to the bottom string of the 3rd fret.
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.
INTRO: (G)(D),(Em)(C), (G)(D)(D-)-(G), (G)(G)
They say there's a (D) place, where (Em) dreams have all (C) gone.
They (G) never said (Bm) where, but I (Am) think I (D) know.
It’s (Em) miles through the (Bm) night, just (Em) over the (C) dawn,
On the (G) road that will (D) take (D-) me (G) home.
I know in my (D) bones, I've (Em) been here be (C) fore.

The (G) ground feels the (Bm) same, though the (Am) land's been (D) torn.
I'm a (Em) long way to (Bm) go, the (Em) stars tell me (C) so,
On this (G) road that will (D) take (D-) me (G) home.
(FaddG) Love waits (Em) for me (G) round the (C) bend.
(FaddG) Leads me (Em) en-endlessly (C) on-(D)-on.
(FaddG) Surely (Em) sorrows shall (G) find their (C) end,
And (F) all, our (Em) troubles will be (D) gone.
And I’ll (G) know what I've (D) lost, and (G) all that I’ve (C) won,
When the (G) road finally (D) takes (D-) me (G) home. (F)
<strings> (Bb)(F),(Bb)(D#),(Bb)(Bb),(D#)(F)
(D#)(Gm),(Gm)(D#),(Bb)(F)(Bb),(D)(G)(C)(G)(C)
And (G) when I pass (D) by, don't (Em) lead me a (C) stray.
(G) Don't try and (Bm) stop me, don't (C) stand in my (D) way.
I'm (C) bound, for the (G) hills, where (Em) cool waters (C) flow,
On this (G) road that will (D) take (D-) me (G) home. (G)
(FaddG) Love waits (Em) for me (G) round the (C) bend.
(FaddG) Leads me (Em) en-endlessly (C) on-(D)-on.
(FaddG) Surely (Em) sorrows shall (G) find their (C) end.
And (F) all, our (Em) troubles will be (D) gone.
And we’ll (G) know what we've (D) lost, and (G) all that we’ve (C) won,
When the (G) road finally (D) takes (D-) me (G) home.
(F) I'm going (Gadd) hooooooome. (F) I'm going (Gadd) hoooo-(G)-ome.
(Gadd) IIIIIIII'm (C) going (G) 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)(MC1)
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?

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

I'm gonna (D) leave the city, got to get a (A) way.
All this (E7) fussin' and fightin' man you know I sure can't (A) stay.
Now-baby-packin'-up-the-truck-you-know-we've-got-to-leave-today.
Just-exactly-where-we're goin'-I-cannot-say but, (D7) we might even, leave the U.S. (A) A.
Well it's a (E) brand new game that (E7) I don't wanna (A) play.
(Whistle) (A),(A)(D); (D),(D)(A),(D)(A); (A)(E),(E)(A)
(A7) No use of you (D) running, or screaming and (A) cryin'.

Cause you've got a, (E) ho-ome man, long as I've got (A) 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)(MC0)
TIP: Play slowly, with a soft rhythm.
INTRO: For the intro, downstroke the (A) beginning with the 5th string, then pick the 5th string,
and the 6th string twice. Repeat this two more times. For the final (A) strum the top 3 strings.
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: (5/A), 5-6-6; (5/A), 5-6-6; (5/A), 5-6-6 (T3/A)
(NC) Rollin' with the (D) flow.

Goin' where the (A) lonely go.
Anywhere the (E) lights, are low.
(NC) Goin', where the (A) lonely go.
Making up things to (D) do.

Not runnin' in all directions tryin' to (A) find you.
I'm just rollin' with the (E) flow.
(NC) Goin' where the (A) lonely go.
And I've got to keep (D) goin’. I can't lay (A) down.
Sleep won't hardly (E) come, where there’s loneliness all a (A) round.
(NC) I've got to keep (D) goin'. Travlin' down this (A) lonesome road.
I'll be rollin' with the (E) flow. (NC) Goin’ where the (A) lonely go.
(D)(D)(A)(A)(E)(E7)(A)(A); (D)(D)(A)(A)(E)(E7)(A)(A)
(NC) I've got to keep (D) goin’. I can't lay (A) down.
Sleep won't hardly (E) come, where there’s loneliness all a (A) round.
I've got to keep (D) goin'. Travlin' down this (A) lonesome road.
I'll be rollin' with the (E) flow. (NC) Goin’ where the (A) 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)(MC1)
TIP: For the intro, strum (D) and (A) 7 times rapidly and then dwell on the (D).
TIP: The final third of the song has sharped chords so slide your capo up to the second fret where
indicated.
INTRO: (D) x 7, (A) x 7; (D)
In a pawn shop in Chicago, on a sunny summer day,

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

Waiting (A) there, (waiting there) for some (D) one to take you home.
By itself, (by itself) it's just a cold metallic thing.
Only love can make a (A) golden wedding (D) ring.
In a little wedding chapel later on that afternoon,

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

Shining (A) ring, (shining ring) now at (D) last it's found a home.
<capo +1>
In a small two room apartment, as they fought their final round,

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

Cast a (A) side (cast aside) like the (D) love's that dead and gone.
<slower> In a pawn shop in Chicago, on a sunny summer day,

A (A) couple gazes at the wedding (G) rings there on dis (D) play. 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)(MC0)
TIP: For the intro form (D) and pick the open 4th string and then (D), and then the open 5th string
and then (D). Repeat.
INTRO: 4-(D) 5-(D) 4-(D) 5-(D); 4-(D) 5-(D) 4-(D) 5-(D)
I got a good dog. (G) Follows me (A) everywhere (D) that I go.
A friendly dog, (G) glad to know (A) everybody (D) that I know.
The (G) truck’s his favorite (A) place, with (D) wind in his (Bm) face.
(G) Makes his big heart (A) race, cause he’s a (D) good dog. (D)(D)
And he’s a happy dog. (G) Thumps his tail (A) every time I (D) come in sight.
Not a yappy dog. (G) Barks a little (A) he don’t hardly (D) ever bite.
(G) He don’t work no (A) cows, (D) never did learn (Bm) how.
But I (G) take him along any (A) how, cause he’s a (D) good dog (D7).
(G) Gettin’ a little (A) grey around the (D) muzzle (D7).
But (G) then again (A), so am (D) I (D7).
(G) When I’m blue and (A) life has got me (D) puzzled (Bm).
He (G) puts his chin on my knee and he looks me in the (A) eye.
He’s a (D) my dog. (G) Right there any (A) tiiime I (D) need him (D).
A mighty fine dog. (G) Always ready for (A) me to get up and (D) feed him (D).
He (G) helps me with the (A) chores, then he (D) lays there on the (Bm) floor.
Case I (G) want him for something (A) more, cause he’s a (D) good dog (D7).
(G) Gettin’ a little (A) grey around the (D) muzzle (D7).
But (G) then again (A), so am (D) I (D7).
(G) When I’m blue and (A) life has got me (D) puzzled (Bm).
He (G) puts his chin on my knee and he looks me in the (A) eye.
I got a (D) good dog. (G) Follows me (A) everywhere (D) that I go (D).
A friendly dog, (G) glad to know (A) everybody (D) that I know (D).
The (G) truck’s his favorite (A) place, with the (D) wind in his (Bm) face.
(G) Makes his big heart (A) race cause he’s a (D) good dog (D7).
(G) He don’t chase no (A) sticks, he don’t (D) know many (Bm) tricks.
But he’ll (G) give you many (A) licks, cause he’s a (D) good dog. (D)-|D|
(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)(MC1)
TIP: For the intro emphasize the top four strings and sort of 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) Good golly Miss (G) Molly, sure like to ball-oooh.

Good golly Miss (C) Molly, sure like to (G) ball.
When you're rockin' and a (D) rollin', (C) can't hear your momma (G) call (G).
From the |G| early early mornin' till the |G| early early night
When I |G| caught Miss Molly rockin' at the |G| house of blue light.
(NC) Good golly Miss (C) Molly, sure like to (G) ball.
|G| Momma Poppa told me son you |G| better watch your step,
If they |G| knew about Miss Molly I'd have to |G| watch my Pop myself.
When you're rockin' and a (D) rollin', (C) can't hear your momma (G) call. Awwwwww.
(G)(G)(G)(G), (C)(C), (G)(G), (D)(C)(G) |G|

(NC) Good golly Miss (G) Molly, sure like to ball-oooh.
Good golly Miss (C) Molly, sure like to (G) ball.
I'm |G| going to the corner gonna |G| buy a diamond ring.
When she |G| hugs me and kiss-me-make-me |G| ting-a-ling-a-ling.
When you're rockin' and a (D) rollin', |C| can't hear your momma (G) call (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)(MC1)
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
A (D) long time forgotten with dreams that just (D7) fell by the (G) way.
The (A7) good life he promised, (A) ain't what she's living to (D) day. (Willie!)
But she never complains, of the bad times or the (D7) bad things he's (G) done Lord.
She just (A7) talks about the good times they've (A) had and all the good times to (D) come.
She's a good-hearted woman in love with a (D7) good-timin' (G) man.

She (A7) loves him in spite of his (A) ways she don't under (D) stand.
Through teardrops and laughter they'll pass through this (D7) world hand in (G) hand.
A (A7) good-hearted woman, (A) loving her good timing (D) man.
He likes the bright lights the night life and, (D7) good-timin' (G) friends.
And when the (A7) party's all over (A) she'll welcome him, back home a (D) gain.
Lord knows she don't understand him but, she does the (D7) best that she (G) can.
This (A7) good-hearted woman, (A) lovin’ her good timin' (D) man (D). |D|
(NC) She's a (E) good-hearted woman in love with a (E7) good-timin' (A) man.
She (B7) loves me in spite of my wicked ways that she don't under (E) stand.
Through teardrops and laughter they'll pass through this (E7) world hand in (A) hand.
A (B7) good-hearted woman, loving her good timing (E) man.
She's a good-hearted woman in love with a (E7) good-timin' (A) man.
She (B7) loves me in spite of my wicked ways that she don't under (E) stand.
Through teardrops and laughter they'll pass through this (E7) world hand in (A) hand.
A (B7) good-hearted woman, loving her good timing (E) man.
(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)(MC1)
INTRO: Uh-huh-(A7)-huh, uh-huh-(D7)-huh, uh-huh-(G)-huh, oh yeah.
Don't want a four leaf (C) clover. (G) Don't want an old horse (D7) shoe.
(G) Want your kiss 'cause I (C) just can't miss with a (D7) good luck charm like |G| you.
(NC) Come on and (D7) be my little good luck charm muh-huh (G) huh. You sweet delight.
I want a (D7) good luck charm a-hangin' on my arm,
To (A7) have (to have), to (D7) hold (to hold) to (G) night.
Don't want a silver (C) dollar, (G) rabbit's foot on a (D7) string.
The (G) happiness in your (C) warm caress no (D7) rabbit's foot can |G| bring.
Uh-huh-(A7)-huh, uh-huh-(D7)-huh, uh-huh-(G)-huh, oh yeah.

Uh-huh-(A7)-huh, uh-huh-(D7)-huh, to (G) night.
If I found a lucky (C) penny, I'd (G) toss it across the (D7) bay.
Your (G) love is worth all the (C) gold on earth no (D7) wonder that I |G| say.
Uh-huh-(A7)-huh, uh-huh-(D7)-huh, uh-huh-(G)-huh, oh yeah.
Uh-huh-(A7)-huh, uh-huh-(D7)-huh, to |G| night.
GOOD OLE BOYS LIKE ME - Don Williams
(McDill)
https://www.youtube.com/watch?v=d32h0TuSgEY (Capo 2)(MC1)
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: In the chorus there’s a chord triad after oak (C) trees. Begin the (Em) immediately after
the word “trees.” Don’t hesitate.
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|
When (G) I was a (D) kid Uncle (C) Remus would (G) put me to (C) bed. (D)
With a (G) picture of (D) Stonewall (C) Jackson a (G) bove my (C) head. (D)
Then (Em) Daddy came in to kiss his (D) little man,
With (Em) gin on his breath, and a (D) bible in his hand.
He (C) talked about hon (Cmaj7) or and (D) things I should know.
Then he'd (C) stagger a little (Cmaj7) as he (D) went out the door.
I can (G) still hear the soft southern (Em) winds in the live oak (C) trees (Em)(Am)(D).
And those (G) Williams boys they (Em) still mean a lot to (C) me, (Cmaj7) Hank and (Am) Tennessee.
I (C) guess we're all (Cmaj7) gonna (D) be what we're gonna (Em) be. (D)-(C)
So what do you do (Cmaj7) with (D) good ol' boys like |G| me? -|G|-|G|-|D| |D|-|D|
|G|-|G|-|G|-|D| |D|-|D|
(G) Nothin' (D) makes a (C) sound in the (G) night like the (C) wind does. (D)
But (G) you ain't a (D) fraid if you're (C) washed in the (G) blood like (C) I was. (D)
The (Em) smell of cape jasmine through the (D) window screen,
John (Em) R. and The Wolfman kept me, (D) company.
By the (C) light of the radi (Cmaj7) o (D) by my bed,
With (C) Thomas Wolfe whisper (Cmaj7) in' (D) in my head.
So what do you do (Cmaj7) with (D) good ol' boys like (G) me? (D),(C),(D)
When (G) I was in (D) school I (C) ran with a (G) kid down the (C) street. (D)
And I (G) watched-him (D) burn himself (C) up on (G) bourbon and (C) speed. (D)
But I was (Em) smarter than most, and (D) I could choose.
Learned to (Em) talk like the man on the (D) six o'clock news.
When (C) I was eighteen (Cmaj7) lord (D) I hit the road,
But it (C) really doesn't mat (Cmaj7) ter how (D) far I go.
So what do you do (Cmaj7) with (D) good ol' boys like (Em) me? (C)
Yeah what do you do (Cmaj7) with (D) good ol' boys like |G| me? -|G|-|G|-|D| |D|-|D|
|G|-|G|-|G|-|D| |D|-|D|; |G|-|G|-|G|-|D| |D|-|D|; |G|
(Don Williams) (Artist Index) - (Main Index) - (Song Index) (This Song)
GOOD TIME CHARLIE'S GOT THE BLUES - Willie Nelson
(O'Keefe)
https://www.youtube.com/watch?v=IKsPaJA3G-k (Capo 3)(MC0)
[The version in [G] which follows afterwards is easier to pick.]
TIP: There are several versions out there. This one's Willie's which means the intro is picked
although you can play the chords if you want. Also note there is a regular (D) and a (D/A) in
which the pinky covers the 4th string/4th fret.
TIP: Open with the <f#>, 4th string/4th fret.
INTRO: Pick the notes to the opening verse through "town" <or> (D/A)(D/A)(G)(A)(D)
(D/A) Everybody's gone away. Said they're moving to L. (G) A.

There's not a soul I know a (A) round. Everybody's leavin' (D) town.
(D/A) Some caught a freight some caught a plane. Find the sunshine leave the (G) rain.
They said this town'll waste your (A) time. I guess they're right it's wastin' (D) mine.
(D/A) Some gotta win, some gotta (G) looo-(A)-oose.

Good time Charlie's got the (D) blues. (A) Good time Charlie's got the (D) blues.
(D/A) You know my heart keeps telling me, you're not a kid at thirty (G) three.
You play around you lose your (A) wife. You play too long you lose your (D) life.
(D/A) I got my pills to ease the pain. Can't find a thing to ease the (G) rain.
I'd love to try and settle (A) down, but everybody's leavin' (D) town.
(D/A) Some gotta win, some gotta (G) looo-(A)-oose.

Good time Charlie's got the (D) blues. (A) Good time Charlie's got the (D) blues.
<Pick out the notes again> (D)(D)(G)(A)(D)
GOOD TIME CHARLIE'S GOT THE BLUES - Willie Nelson
(O'Keefe)
(MC4)
TIP: There are several versions out there. This one's Willie's which means the intro is picked
although you can play the chords if you want. To pick, open with the open 2nd string .
INTRO: Pick the notes to the opening verse through "town" <or> (G)(G)(Am)(D)(G)
Everybody's gone away. Said they're moving to L. (Am) A.

There's not a soul I know a (D) round. Everybody's leavin' (G) town.
Some caught a freight some caught a plane. Find the sunshine leave the (Am) rain.
They said this town'll waste your (D) time. I guess they're right it's wastin' (G) mine.
Some gotta win, some gotta (Am) looo-(D)-oose.

Good time Charlie's got the (G) blues. (D) Good time Charlie's got the (G) blues.
You know my heart keeps telling me, you're not a kid at thirty (Am) three.
You play around you lose your (D) wife. You play too long you lose your (G) life.
I got my pills to ease the pain. Can't find a thing to ease the (Am) rain.
I'd love to try and settle (D) down, but everybody's leavin' (G) town.
Some gotta win, some gotta (Am) looo-(D)-oose.

Good time Charlie's got the (G) blues. (D) Good time Charlie's got the (G) blues.
<Pick out the notes again> (G)(G)(Am)(D)(G)
GOODNIGHT, SWEETHEART – The Spaniels
(Hudson/Carter)
https://www.youtube.com/watch?v=egX9N8yOgaU (Capo 0)(MC0)
TIP: You can skip this tip and ignore the riff patterns in the song if you're doing a duet or are
in a group and have someeone else who can sing the riffs (the “doh, doh, doh, doh, doh”). But if
you're playing solo here are the individual notes. What follows will all look messy and
complicated but if you just go through it once you’ll see it all falls together easily. It might
help if you go You Tube an old version of the Spaniels doing it and you’ll hear the riffs.
1 - The first is the “low riff” in which "low" means bass and is abbreviated <LR>. The <LR> is 5
notes played from within the (G) with the top three strings: 4-4-5-4-6 where the 4th string will
be open, the 5th and 6th covered by the (G). The <LR> will come after either a (D) or a (G). If
it comes after a (D) you'll see the notation <(G)-LR> which is a reminder to move off the (D) and
to the (G) prior to playing the riff. If it comes after a (G) you're already set.
2 - The second is the “mid riff” abbreviated <MR>. The <MR> is four notes and always follows the
(D). So the notes are <d> <e> <f#> <g> and appear in the "mid"dle of the fingerboard on the 4th
and 3rd strings. So hold (D) and pick the open 4th string, then lift the index finger up to cover
the 4th string/2nd fret, and the pinky up to cover the 4th string/4th fret, and pick the open 3rd
string on your way from the (D) to the (G).
3 - The third one, played at the end of the chorus, is the “extra long riff” abbreviated
<(G)-XLR> as it too also follows a (D). The <XLR> is 11 notes and is just a stutter-step of the
<LR> in which the 4-4-5 repeats three times before finishing the sequence).
Now there’s a pattern to where the riffs appear in the song. Besides the intro, the <RR>
(besides the intro) comes at the end of the first and fourth lines of each verse. The <LR> comes
at the end of the second line of each verse. (The third line has no riff). The <XLR> as mentions
comes at the end of the chorus.
TIP: There's a (Cm) which is like (Bm) played on the 3rd fret so you'll see the notation (Bm3).
INTRO: <RR>: <form (G) and> 4-4-5-4-6
(G) Goodnight sweet (Em) heart wellll it's (Am) time to (D) go. <(G)-LR>
(G) Goodnight sweet (Em) heart wellll it's (Am) time to (D) go. <MR>
(G) I hate to (G7) leave you but I (Am) really must (Bm3) say,
Oh good (G) night sweet (Em) heart, (D7) goodni-(G)-ight. <LR>
(G) I hate to (G7) leave you, I (Am) really must (Bm3) say,
Oh good (G) night sweet (Em) heart, (D7) goodni-(G)-ight. (No Riff)
(G7) Wellll (Am) it's three o'clock, in the (G) morning.

(Am) Baby, I just can't (D7) get (G) ri-ight (G7).
Wellll, I (C) hate to leave you (Am) baby,
(G) Don't mean (E7) may (E) be, be (Cmaj7) cause I (Am) love (C) you (D) so. <(G)-XLR>
Oh good (G) night sweet (Em) heart, (D7) goodni-(G)-ight. <No Riff>
(Am) Mother, oh and your (G) father, (Am) won’t like it if I (D7) stay here too (G) long (G7).
One (C) kiss and we'll (Am) part, and (G) I'll be (E7) go (E) ing.
You (Cmaj7) know I (Am) hate (C) to (D) go. <(G)-XLR>
Oh good (G) night sweet (Em) heart, (D7) goodni-(G)-ight.
(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)(MC4)
[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) Another turning point a (C) fork stuck in the (D) road.
(G) Time grabs you by the wrist di (C) rects you where to (D) go.
(Em) So make the (D) best of this (C) test and don't ask (G) why.
(Em) It's not a (D) question but a (C) lesson learned in (D) time.
It's (Em) something unpre (G) dictable but (Em) in the end it's (G) right,
I (Em) hope you had the (D) time of your (G) life. (G)(C)(D), (G)(G)(C)(D)
(G) So take the photographs and (C) still frames in your (D) mind.
(G) Hang it on a shelf in (C) good health and good (D) time.
(Em) Tattoos of (D) memories and (C) dead skin on (G) trial.
(Em) For what it's (D) worth it was (C) worth all the (D) while.
I (Em) hope you had the (D) time of your (G) life. (G)(C)(D), (G)(G)(C)(D),
(G)(G)(C)(D), (G)(G)(C)(D), (Em)(D)(C)(G), (Em)(D)(C)(G)
I (Em) hope you had the (D) time of your (G) life. (G)(C)(D), (G)(G)(C)(D)
I (Em) hope you had the (D) time of your (G) life. (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=cmzd_Xa_2Cc (Capo 2)(MC0)
TIP: You can play the intro/outro as a series of plucked notes and a chord, or using just chords.
Both are presented. Here are the note locations:
<f#> = bottom string/2nd fret; <e> = bottom string open; <d> = 2nd string/3rd fret
 = 2nd string open; <a> = bottom string/5th fret and 3rd string/2nd fret
INTRO: <f#> <f#> <e> <d> <e> (Gadd); <e> <f#> <e> <d> <e> (D);
<f#> <f#> <e> <d> <e> (A); <f#> <a> <f#> <a> (D);
or (D)(Em)-(Gadd), (Em)(Em)-(D), (D)(A7), (A)(D)
Grandpa, tell me about the (G) good ol’ (Gadd) days.

Sometimes it (D) feels like, this world’s gone (A) crazy (A7).
(D) Grandpa, take me back to (G) yester (Gadd) day.
When the line between (D) right and wrong, (A7) didn't seem so (D) hazy. (D)|D|
Did lovers really (G) fall in love to stay, and stand beside each (Em) other come what (D) may?
Was a promise really (A7) something people (A) kept, not just something they would (D) say.
Did families really (G) bow their heads to pray? Did daddy's really (Em) never go a (D) way?
But whoa whoa (Em) grandpa, (A) tell me bout the (G) good ol (D) days. (D)|D|
(D)(Em)-(Gadd), (Em)(Em)-(D), (D)(A7), (A)(D)
Grandpa, everything is (G) changing (Gadd) fast.

We call it (D) progress, but I just don't (A) know (A7).
And (D) Grandpa, let's wander back in (G) to the (Gadd) past,
Then paint me the (D) picture, (A7) of long a (D) go. (D)|D|
Did lovers really (G) fall in love to stay,
And stand beside each (Em) other come what (D) may?
Was a promise really (A7) something people (A) kept,
Not just something they would (D) say and then for (D7) get?
Did families really (G) bow their heads to pray?
Did daddy's really (Em) never go a (D) way?
But whoa whoa (Em) grandpa, (A) tell me bout the (G) good ol (D) days.
Whoa whoa (Em) grandpa, |A| tell me bout the good ol |D| days.
(D)(Em)-(Gadd), (Em)(Em)-(D), (D)(A7), (A)(D)
Hmmmm-(G)-mmmm. Hmmmm-(D)-mmmm. (D)(A7)(D)
Did families really (G) bow their heads to pray?

Did daddy's really (Em) never go a (D) way?
Whoa whoa (Em) grandpa, |A| tell me bout the good ol |D| days.
(The Judds) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE GRANDPA THAT I KNOW - Patty Loveless
(Camp/Mensy)
https://www.youtube.com/watch?v=ELTaJnDT-vw (Capo 4)(MC2)
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)
Brand new shoes they (G) hurt my (D) feet. This lace collar's, (A) chokin' (D) me.
Cuttin' off my (G) air sup (D) ply, when I hang my (A) head to (D) cry.
When I hang my (A) head to (D) cry. (D)
I see tears on (G) daddy's (D) face. Someone's hummin' "Am (A) azing (D) Grace."
Rain beats on this (G) graveside (D) tier. Preacher says he (A) did re (D) pent.
Preacher says he (A) did re (D) pent. (D)
They've (A) got him layin' (D) there in pin stripes. (G) How'd they get him (D) in that (A) suit?
I (G) guess the Lord will (D) recognize him without his over (A) alls and (D) mule.
And (A) they all say he (D) looks so natural, but (G) all I see's a (D) cold dark (A) hole.
I (G) won't commit this (D) day to memory, that ain't the Grandpa (A) that I (D) know.
That ain't the Grandpa (A) that I (D) know (D)(G)-(D), (D)(A)-(D)(D).
Tractor never (G) pulled his (D) plow, he walked and cussed, and (A) loved that (D) ground.
His hand sowed each and (G) every (D) seed, and he'd pray for rain and (A) fight the (D) weeds.
He'd pray for rain and (A) fight the (D) weeds.
He said "The simple life it (G) suits me (D) fine." Never dreamed beyond the (A) County (D) line.
Grandma was his (G) boyhood (D) bride. He'll be there in her (A) arms to (D) night.
He'll sleep there in her (A) arms to (D) night (D).
They've (A) got him layin' (D) there in pin stripes. (G) How'd they get him (D) in that (A) suit?
I (G) guess the Lord will (D) recognize him, without his over (A) alls and (D) mule.
And (A) they all say he (D) looks so natural, but (G) all I see's a (D) cold dark (A) hole.
They (A) played a pretty (D) organ number. (G) Swore it was his (D) favorite (A) tune.
But (G) I know he pre (D) ferred a fiddle, playin' Carroll (A) County (D) Blues.
(A) They all say he (D) looks so natural, but (G) all I see's a (D) cold dark (A) hole.
That ain't the Grandpa (A) that I (D) know (D)(G)-(D), (D)(A)-|D|.
THE GRAND TOUR – George Jones
(Richey/Taylor/Wilson)
https://www.youtube.com/watch?v=9-hBAwaH6CI (Capo 2)(MC2)
TIP: The original changes key so you'll have to move the capo up one fret where indicated to match
the recording. The note to start singing the first "up" is the open 4th string <d>.
(NC) Step right |G| up, come on |G| in, if you'd (G) like, to take, the grand tour,
Of a (C) lonely house that once was home sweet (G) home.
I have nothing here to sell you, just some things that I will tell you.
Some (A) things I know will (A7) chill you, to the (D) bone.
Over |G| there, sits the |G| chair, where she'd (G) bring the paper to to me,
And-sit-down (C) on my knee and whisper, oh I (G) love you.
But (D) now she's gone forever, and (G) this old house will (C) never be the (G) same,
Without the (D) love, that we once (G) knew.
<capo +1>
(NC) Straight a |G| head, that's the |G| bed, where we (G) lay and love together.
And Lord (C) knows we had a good thing going (G) here.
See her picture, on the table? Don't it look like she'd be able,
Just to (A7) touch me, and say, “Good morning (D) dear?”
(NC) There's her |G| rings, all her |G| things, and her (G) clothes are in the closet,
Like she (C) left them when she tore my world a (G) part.
As you (D) leave you'll see the nursery. Oh she (G) left me without (C) mercy,
Taking (G) nothing but, our (D) baby and my (G) heart. (D)
Step right |G| up, |D| come on |G| in.
(George Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
GUITARS, CADILLACS
Dwight Yoakam
https://www.youtube.com/watch?v=9DkcQ09h2Vo (Capo 0)(MC2/3)
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)
Girl-you taught me how to hurt real bad and (E) cry myself to sleep.
And showed me how this (E7) town can shatter (A) dreams.
Another-lesson 'bout a naive fool who (E) came to Babylon.
And found out that the (E7) pie don't taste so (A) sweet.
(E) Now it's, (A) guitars Cadillacs, (E) hillbilly music.

Lonely lonely streets that I call (A) home.
(E) Yeah my, (A) guitars Cadillacs, (E) hillbilly music.
It's the only thing that (E7) keeps me hangin' (A) on.
(A)...(E)...(E)...(A)(E); (A)...(E)...(E)...(E7)(A)
Ain't-no glamour in this tinseled land of (E) lost and wasted lives.
Painful scars are (E7) all that's left of (A) me.
Oh-but thank you girl for teachin' me brand (E) new ways to be cruel.
If-I-can-find-my-mind now I guess I'll just (A) leave.
(E) And it's, (A) guitars Cadillacs, (E) hillbilly music.

(E) Yeah my, (A) guitars Cadillacs, (E) hillbilly music.
(A)...(E)...(E)...(A)(E); (A)...(E)...(E)...(E7)(A)
Oh it's, guitars Cadillacs, (E) hillbilly music.
(E) Yeah my, guitars Cadillacs, (E) hillbilly music.
It's the (E) only thing that (E7) keeps me hangin' (A) on.
It's the (E) only thing that (E7) keeps me hangin' (A) on. (A)(E)-(E7)-(A)
HALLELUJAH - Lind, Holm, Fuentes, Nilson
(Cohen)
https://www.youtube.com/watch?v=Qt2FWAbXinY (Capo 0)(MC0)
[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);
I (C) heard there was a (Am) secret chord,

That (C) David played and it (Am) pleased the Lord.
But (F) you don't really care for (G) music (C) do ya (G)?
Well it (C) goes like this: the (F) fourth, the (G) fifth,
The (Am) minor fall and the (F) major (G) lift.
The baffled king com (E) posing Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (Am)(C)(Am)
Your (C) faith was strong but you (Am) needed proof.
You (C) saw her, bathing (Am) on the roof.
Her (F) beauty, and the moon (G) light, over (C) threw ya (G).
Well she (C) tied you to a (F) kitchen (G) chair.

She (Am) broke your throne and she (F) cut your (G) hair.
And from your lips she (E) drew the Halle (Am) lujah.
(C) Maybe there's a (Am) God above,
But (C) all I've ever (Am) learned from love.
Is (F) how to shoot somebody (G) who out (C) drew ya (G).
It's (C) not a cry that you (F) hear at (G) night,
It's (Am) not somebody who's (F) seen the (G) light.
It's a cold and it's a (E) broken Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah,
Halle (C) lu (G) uuu Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) luuuuuuuuuujah.
Halle (Am) luuu (C) jah.
[Other popular lyrics]:
(C) Baby I've been (Am) here before.

I (C) know this room and I've (Am) walked this floor.
I (F) used to live alone be (G) fore I (C) knew you (G).
I've (C) seen your flag on the (F) marble (G) arch,
But (Am) love is not a (F) victory (G) march.
It's a cold and it's a (E) broken Halle (Am) lujah.
You (C) say I took the (Am) name in vain,

(C) I don't even (Am) know the name.
But (F) if I did, well really (G) what's it (C) to you (G)?
There's a (C) blaze of light in (F) every (G) word,

It (Am) doesn't matter (F) which you (G) heard,
The holy or the (E) broken Halle (Am) lujah.
There (C) was a time you (Am) let me know,

What's (C) really going (Am) on below.
But (F) now you never show it (G) to me (C) do you (G)?
And re (C) member when I (F) moved in (G) you,
The (Am) holy dove was (F) moving (G) too.
And every breath we (E) drew was Halle (Am) lujah.
I (C) did my best, it (Am) wasn't much.

I (C) couldn't feel so I (Am) tried to touch.
I've (F) told the truth I didn't (G) come to (C) fool you (G).
And (C) even though it (F) all went (G) wrong,

I'll (Am) stand before the (F) Lord of (G) Song.
With nothing on my (E) tongue but Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (Am)(C)(Am)|C|
(Lind, Holm, Fuentes, Nilson) (Artist Index) - (Main Index) - (Song Index) (This Song)
HALLELUJAH - Lind, Holm, Fuentes, Nilson
(Cohen)
https://www.youtube.com/watch?v=Qt2FWAbXinY (Capo 5)(MC1/2)
INTRO: (G)(Em); (G)(Em);
I (G) heard there was a (Em) secret chord

That (G) David played and it (Em) pleased the Lord.
But (C) you don't really care for (D) music (G) do ya (D)?
It (G) goes like this: the (C) fourth, the (D) fifth,
The (Em) minor fall and the (C) major (D) lift.
The baffled king com (B7) posing Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (Em)(G)(Em)
Your (G) faith was strong but you (Em) needed proof.
You (G) saw her bathing (Em) on the roof.
Her (C) beauty and the moon (D) light over (G) threw you (D).
She (G) tied you to a (C) kitchen (D) chair.

She (Em) broke your throne and she (C) cut your (D) hair.
And from your lips she (B7) drew the Halle (Em) lujah.
(G) Maybe there's a (Em) God above,

But (G) all I've ever (Em) learned from love.
Is (C) how to shoot somebody (D) who out (G) drew you (D).
It's (G) not a cry that you (C) hear to (D) night,
It's (Em) not somebody who's (C) seen the (D) light.
It's a cold and it's a (B7) broken Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah,
Halle (G) lu (D) uuu Halle (C) lujah, Halle (Em) lujah, Halle (C) jah, Halle (G) luuuuuuuujah.Halle
(Em) lu (G) jah.
[Other popular lyrics]:
(G) Baby I've been (Em) here before.

I (G) know this room and I've (Em) walked this floor.
I (C) used to live alone be (D) fore I (G) knew you (D).
I've (G) seen your flag on the (C) marble (D) arch,
But (Em) love is not a (C) victory (D) march.
It's a cold and it's a (B7) broken Halle (Em) lujah.
You (G) say I took the (Em) name in vain,

(G) I don't even (Em) know the name.
But (C) if I did, well really (D) what's it (G) to you (D)?
There's a (G) blaze of light in (C) every (D) word,

It (Em) doesn't matter (C) which you (D) heard,
The holy or the (B7) broken Halle (Em) lujah.
There (G) was a time you (Em) let me know,

What's (G) really going (Em) on below.
But (C) now you never show it (D) to me (G) do you (D)?
And re (G) member when I (C) moved in (D) you,

The (Em) holy dove was (C) moving (D) too.
And every breath we (B7) drew was Halle (Em) lujah.
I (G) did my best it (Em) wasn't much.

I (G) couldn't feel so I (Em) tried to touch.
I've (C) told the truth I didn't (D) come to (G) fool you (D).
And (G) even though it (C) all went (D) wrong
I'll (Em) stand before the (C) Lord of (D) Song.
With nothing on my (B7) tongue but Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (Em)(G)(Em)|G|
(Lind, Holm, Fuentes, Nilson)(Artist Index) - (Main Index) - (Song Index) (This Song)
HANDBAGS & GLADRAGS - Rod Stewart
(D'Abo)
https://www.youtube.com/watch?v=W4AaoM92CHY (Capo 3)(MC4)
TIP: For (CaddG) just keep (C) and add your pinky to the bottom string/3rd fret.
TIP: The instrumental bridge prior to the last verse moves quite rapidly.
INTRO: (G)(Gadd)(CaddG), (CaddG)(C)(G)(G)-(G), (Gadd)(C)-(C), (D)(G)(G)(C)(D)(G), (F)(C)(D)(G)
Ever seen a (F) blind man cross the (C) road, (D) trying to make the other (G) side (F)(C)(D)?
(G) Ever seen a (F) young girl growing (C) old, (D) trying to make herself a (G) bride (F)(C)(D)?
(Em) So what becomes of (D) you my love (D), (G) when they have finally (A) stripped you of,
The (C) handbags and the gladrags that your (D) poor old Grandad
(C) Had to sweat to (G) buy ya (F)(CaddG)(D)(G)(F)(CaddG)(D)?
(G) Once I was a (F) young man (C), and all I thought I (D) had to do was (G) smile (F)(C)(D).
(G) You are still a (F) young girl (C), and you bought (D) everything in (G) style (F)(C)(D).
(Em) But once you think you're (D) in you're out (D). (G)
But that don't mean a (A7) single thing without,
The (C) handbags and the gladrags that your (D) poor old Grandad (C) had to sweat to (G) buy ya.
(F)(CaddG)(D)(G)|D|-|D|(G), |D|-|D|
(G) Sing a song of (F) six-pence for your (C) sake,

And (D) take a bottle full of (G) rye (F)(C)(D).
(G) Four and twenty (F) blackbirds in a (C) cake, and (D) bake them all in a (G) pie (F)(C)(D).
(Em) They told me you missed (D) school today (D). (G)
So what I suggest you just (A7) throw them all away.
The (C) handbags and the gladrags that your (D) poor old Granddad (C) had to sweat to (G) buy ya.
|G|-|C|-|G|, |C|-|G|-|C|-|C|-|C|
|G|-|C|-|G|, |C|-|G|-|C|-|C|-|C|
|G|-|C|-|G|, |C|-|G|-|C|-|C|-|C|, (Em) <sustain>
They told me you missed (D) school today.

(G) So what I suggest you just, (A) throw them all away.
The (C) handbags and the gladrags that your (D) poor old Granddad (C) had to sweat to (G) buy ya.
(G)(Gadd)(CaddG), (CaddG)(C)(G)(G)-(G), (Gadd)(C)-(C), (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)(MC2)
TIP: For the Roy Orbison - sorry, Left Wilbury - part I've tabbed the (B7) but the (Gaug), (G+),
or (B) chord can be played as well. I just find the (B7) easier to play. If you do not, try the
(Gaug).
TIP: It really doesn't matter but George ... shit, I mean Nelson ... sings all the verses, and the
words in the first two lines of each verse all in the same note, <d>, with no down-inflection at
the end. For example, in the first verse ... "battered around" and ... "shot down" are all the
same note. You may want to sing "down" as note and play a (C) chord. But that's not the way
it goes, and the (C) starts the next line anyway. In the last verse of the song Nelson does sing
it with the note but by then the lead-in is a (D) and the (G) complements the anyway. Like
I said, it really doesn't matter. Ignore me, don't know why I mentioned it . . . God I miss Lefty.
or or or
INTRO (D)(C)(G)(G), (D)(C)(G)(G)
(D) Been beat up and (Gadd) battered around. (D) Been sent up and I've (Gadd) been shot down.
(C) You're the best thing that (G) I've ever (Em) found. (C) Handle me (Cmaj7) with (G) care.
(D) Reputations (Gadd) changeable. (D) Situations (Gadd) tolerable.

(C) But baby you're a (G) dora (Em) ble. (C) Handle me (Cmaj7) with (D) care.
(G) I'm so (B7) tired of (C) being (D) lonely. (G) I still (B7) have some (C) love to (D) give.
(G) Won't you (B7) show me (C) that you (D) really (G) care (G).
Every (C) body's, got somebody, to (Gadd) lean (G) on.

Put your (C) body, next to mine, and (D) dream on.
(Gadd) I've been fobbed off and I've (D) been fooled. (Gadd) I've been robbed and (D) ridiculed.
In (C) day care centers and (G) night (Em) schools. (C) Handle me (Cmaj7) with (G) care.
(D)(G), (D)(Gadd)(G)
(D) Been stuck in airports (Gadd) terrorized. (D) Sent to meetings (Gadd) hypnotized.
(C) Overexposed comm (G) ercial (Em) ized. (C) Handle me (Cmaj7) with (D) care.
(G) I'm so (B7) tired of (C) being (D) lonely. (G) I still (B7) have some (C) love to (D) give.
(G) Won't you (B7) show me (C) that you (D) really (G) care.
Every (C) body's, got somebody, to (Gadd) lean (G) on.

Put your (C) body, next to mine, and (D) dream on.
I've (Gadd) been uptight and (D) made a mess. But (Gadd) I'll clean it up my (D) self I (G) guess.
(C) Oh the sweet (G) smell of suc (Em) cess. (C) Handle me (Cmaj7) with (G) care.
(D)(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)(MC0/1)
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. I
elected to keep it simple and not change the chords at all.
TIP: For the intro you strum (C/G) which is just (C) with your pinky covering the bass <g> on the
top string, alternating striking the 5th string and then the 6th string. You do this for two
measures. Then drop your pinky off the top string to the bottom string (CaddG) for the horn bit.
Then two more measures like the first part and begin the song.
INTRO: (C/G) 5/6, (C)-(CaddG)-(CaddG); (C/G) 5/6
(C) I came to town, to (Am) search for gold,

And I (C) brought with me, a (G) memory.
And I seem (Am) to hear, the (Em) night wind (C) cry:
"Go (F) hang your dreams on the (C) hangin' tree,
Your (F) dreams of love that could (C) never be.
Hang your (G) faded dreams, on the (C) hangin' tree."
<capo +1> (C)-(CaddG)-(CaddG)
(C) I searched for gold, and I (Am) found my gold.

And I (C) found a girl, who (G) loved just me.
And I wished (Am) that I, could (Em) love her (C) too.
But I'd (F) left my heart on the (C) hangin' tree,
I'd (F) left my heart with a (C) memory.
And a faded (G) dream, on the (C) hangin' tree.
(C) Now there were men, who (Am) craved my gold,

And (C) meant to take, my (G) gold from me.
When a man (Am) is gone, he (Em) needs no (C) gold.
So they (F) carried me to the (C) hangin' tree,
To (F) join my dreams and a (C) memory.
Yes they carried (G) me, to the (C) hangin' tree.
(C) To really live, you must (Am) almost die,

And it (C) happened just, that (G) way with me.
They took (Am) the gold, and (Em) set me (C) free.
And I (F) walked away from the (C) hangin' tree.
I (F) walked away from the (C) hangin' tree.
And my own (G) true love, she (C) walked with me.
That's (F) when I knew, that the (G) hangin' tree,

Was a (F) tree of life, new (C) life for me.
A (F) tree of hope new (C) hope for me,
A (F) tree of love new (C) love for me.
The hangin' tree, the (F) hangin' tree, the (C) hangin' tree. (C)-(CaddG)-(C)-(CaddG)
HANG ON SLOOPY - The McCoys
(Farrell/Russell)
https://www.youtube.com/watch?v=TlTKhPkZSJo (Capo 0)(MC0)
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 “Hang 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) Ha-(C)-ng on (D) Sloopy, (C) Sloopy hang (G) on (C)(D)(C).

(G) Sloopy (C) lives in a (D) very (C) bad part of (G) town (C)(D)(C).
And (G) every (C) body (D) yeah tries to (C) put my Sloopy (G) down (C)(D)(C).
(G) Sloopy (C) I don't (D) care what (C) your daddy (G) do (C)(D)(C).
Cause' (G) you know (C) Sloopy (D) girl I'm in (C) love with (D) you-(C)-ou (D) and so I say now,

(G) Sloopy wears a (C) red dress (D) yeah as (C) old as the (G) hills (C)(D)(C).
But when (G) Sloopy wears that (C) red dress (D) yeah
You know it (C) gives me the (G) chills (C) oh (D) oh (C).
(G) Sloopy when I (C) see you (D) walkin' (C) walkin' down the (G) stree-(C)-eet (D)(C).
I say (G) "Don't worry (C) Sloopy (D) girl you be (C) long to (D) me-(C)-ee (D)" and so I sing out,

(G) Ha-(C)-ng on (D) Sloopy, (C) Sloopy hang (G) on (C) yeah yeah (D) yeah yeah (C) 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) Sloopy let your (C) hair down (D) girl let it (C) hang down on (G) me (C)(D)(C).
(G) Sloopy let your (C) hair down (D) girl let it (C) hang down on (G) me (C) yeah (D) yeah.
(C) Come on (G) Sloopy come (C) on come (D) on.

Well (C) come on (G) Sloopy come (C) on come (D) on.
Well it (C) feels so (G) good come (C) on come (D) on.
You know it (C) feels so (G) good come (C) on come (D) on.
Well shake it (C) shake it shake it (G) Sloopy come (C) on come (D) on.
Well shake it (C) shake it shake it (G) yeah come (C) on come |D| on |D|-|D|- x 16 . . .
(G) Ha-(C)-ng on (D) Sloopy, (C) Sloopy hang (G) on

Yeah (C) yeah yeah (D) yeah yeah (C) yeah yeah.
Aww (G) Ha-(C)-ng on (D) Sloopy, (C) Sloopy hang (G) on,
(C) Yeah yeah (D) yeah yeah (C) yeah yeah.
(G) Ha-(C)-ng on (D) Sloopy, (C) Sloopy hang |G| on |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)(MC0)
[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). Also, while completely optional, try playing that first |A| as an (F) on the 5th
fret (see diagram). That's still (A), just one octave up and it gives it a little twang. Plus
you've got time to regroup for the (E). Groovy.
(NC) My baby does the hanky pank (E7) y yeah (A).

My (A7) ba (A) by does the hanky (A7) pank (A) y.
(D) My baby does the hanky panky. (A) My (A7) ba (A) by does the hanky (A7) pank (A) y.
(E) Hey-my baby (D) does the hanky panky |A|...(E)x7 |A|
(NC) My baby does the hanky pank (E7) y yeah.

(A) My (A7) ba (A) by does the hanky (A7) pank (A) y.
(D) Hey-my baby does the hanky panky. (A) My (A7) ba (A) by does the hanky (A7) pank (A) y.
(E) Hey-my baby (D) does the hanky panky |A|...(E)x7 |A|
(NC) I saw her walking on down the line (E7) yeah.

(A) You know I (A7) saw her for the (A) very first (A7) time.
(D) A pretty little girl standing all alone. (A) Hey baby-(A7)-baby can I (A) take you (A7) home?
(E) I never saw her (D) never really saw her. |A|...(E)x7 |A|
(NC) My baby does the hanky pank (E7) y yeah.
(E) My baby (D) does the hanky panky. |A|. . . Ah let’s move it out let’s go. (E)x7
(A),(D),(A),(E7)(D)(A)(E)x7 |A|
(NC) I saw her walking on down the line (E7) yeah.

(A) You know I (A7) saw her for the (A) very first (A7) time.
(D) A pretty little girl standing all alone. (A) Hey baby-(A7) baby can I (A) take you (A7) home?
(E) I never saw her (D) never really saw her. |A| ... Get real low one time now, oh yeah. (E)x7 |A|
(NC) My baby does the hanky pank (E7) y.

(E) My baby (D) does the hanky panky |A|...(E)x7

My (A7) ba (A) by does the hanky (A7) pank (A) y yeah.
(E) My baby (D) does the hanky panky |A|.
HAPPY JACK - The Who
(Townshend)
https://www.youtube.com/watch?v=52cQeFBU2Kw (Capo 1)(MC0)
TIP: The intro is in two parts and each part repeats in the verse as well. It begins with a
climbing and descending riff denoted by the (D)(Em6)(D). If you play the (Em) like normal the
pinky will naturally follow up and land on the right string and fret. Then comes the "thump-thump"
parts which is just (D) but you want to strike the open 5th string on the first "thump" while
avoiding the top string so gently rest your thumb on the top string to mute it.
TIP: The "lied lied" part is easy as it's just finger movement among the (A)(Asus2) and (A7).
INTRO: (D)(Em6)(D); (D)-(D), (D)-(D), (D)-(D), (D)-(D)
Happy Jack wasn't old but he (A7) was a (D) man. (D)-(D), (D)-(D), (D)-(D)
He lived in the sand at the (A7) Isle of (D) Man. (D)-(D), (D)(Em6)(D); (D)-(D)
The kids would all sing he would (A7) take the wrong (D) key. (D)-(D), (D)-(D), (D)-(D)
So they rode on his head in a (A7) hurry on (D) quay. (D)-(D), (D)-(D), (D)-(D)
The (G) kids couldn't hurt Jack, they (A) tried (Asus2) tried (A) tried.
They (G) dropped things on his back, they (A) lied (Asus2) lied (A) lied (A7) lied (A) lied.
But they (D) couldn't stop Jack or the (A7) waters lap (D) ping. (D)-(D), (D)-(D), (D)-(D)
And they couldn't prevent Jack from (A7) feeling hap (D) py.
(A)(D), (A)(D), (A)(D), (D)-(D), (A)(D)-(D); (D)-(D)
They couldn't stop Jack or the (A7) waters lap (D) ping. (D)-(D), (D)-(D), (D)-(D)
And they couldn't prevent Jack from (A7) feeling hap (D) py.
(A)(D), (A)(D), (G)(A)(D)(G)(A) . . .

The (G) kids couldn't hurt Jack they (A) tried (Asus2) tried (A) tried.
They (G) dropped things on his back and (A) lied (Asus2) lied (A) lied (A7) lied (A) lied.
But they (D) couldn't stop Jack or the (A7) waters lap (D) ping. (D)-(D), (D)-(D), (D)-(D)
And they couldn't prevent Jack from (A7) feeling hap (D) py (D).
(D)(Em6)(D) (I saw ya!)
HAPPY TOGETHER - The Turtles
(Bonner/Gordon)
https://www.youtube.com/watch?v=9ZEURntrQOg (Capo 4)(MC0)
[Afterwards there's a version in [C] which avoids the (Bb) and may be easier to play. But you'd
have to capo too far up the neck (C9) to comfortably play along with the recording.]
TIP: For the intro, strum (Dm) once, lift off the the index finger and pick the now open bottom
string and the covered 2nd string. Then strum (Dm) and then extend your pinky up to cover the 5th
string/3rd string <c> and pick the covered 5th string and the open 4th string. Repeat.
TIP: In the chorus (Asus2) is just (A) with the bottom finger lifted. Aim for the bottom three
strings, maybe on an upstroke.
INTRO: |Dm|<e><d>, |Dm||Dm/C|-|Dm|; |Dm|<e><d>,|Dm||Dm/C|-|Dm|
Imagine (Dm) me and you, I do. I think about you (C) day and night, it's only right.
To think about the (Bb) girl you love, and hold her tight. So happy to (A) gether.
If I should (Dm) call you up, invest a dime. And you say you be (C) long to me, and ease my mind.
Imagine how the (Bb) world could be, so very fine. So happy to (A) gether.
(D) I can't see me (Am) loving no (Asus2) body but (D) you, for all my (F) life.
(D) When you're with me (Am) baby the (Asus2) skies will be (D) blue, for all my (F) life.
(Dm) Me and you, and you and me. No matter how they (C) tossed the dice, it had to be.
The only one for (Bb) me is you, and you for me. So happy to (A) gether.
(D) I can't see me (Am) loving no (Asus2) body but (D) you, for all my (F) life.
(D) When you're with me (Am) baby the (Asus2) skies will be (D) blue, for all my (F) life.
The only one for (Bb) me is you, and you for me. So happy to (A) gether.
(D) Ba ba ba ba (Am) ba ba ba (Asus2) ba ba ba (D) ba, ba ba ba (F) ba.
(D) Ba ba ba ba (Am) ba ba ba (Asus2) ba ba ba (D) ba, ba ba ba (F) ba.
The only one for (Bb) me is you, and you for me.
So happy to (A) gether (Dm). So happy to (A) gether (Dm).
And how is the (A) weather ba ba ba (Dm) ba? So happy to (A) gether ba ba ba (Dm) ba.
We're happy to (A) gether ba ba ba (Dm) ba. So happy to (A) gether ba ba ba (Dm) ba.
So happy to (A) gether ba ba ba (Dm) ba. So happy to (A) gether ba ba ba (Dm) ba.
So happy to (A) gether ba ba ba |Dm| ba.
(The Turtles) (Artist Index) - (Main Index) - (Song Index) (This Song)
HAPPY TOGETHER - The Turtles
(Bonner/Gordon)
(MC3 or MC2)
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: I think the chords work better for the intro but if you want to play the notes they're all
played within the (Am) on the 3rd and 4th strings, lifting off completely and then right back down
where necessary.
TIP: The chorus looks weird but is easy to play. The (GF#) is just a (G) with the note on the
bottom string slid from the 3rd fret to the 2nd. To play the (GF#) from (G), just slide them all
down one fret and don't hit the top string as your top finger will have ridden into the second fret
as well. Play the (A) with the middle three fingers, and the one-note upstroke of (A6) by adding
your pinky on the bottom string. Then to play the (Gadd) simply slide the bottom two fingers up to
the 3rd fret while repositioning the top two -- or you can play a (D4-) at this point and just
avoid the top two strings. Try it a couple of times. Pretty easy.
or
INTRO: (Am)(Asus2)-(Am), (Am)(NC)-(Am); (Am)(Asus2)-(Am), (Am)(NC)-(Am)
Imagine (Am) me and you, I do. I think about you (G) day and night, it's only right.
To think about the (F) girl you love, and hold her tight. So happy to (E) gether.
If I should (Am) call you up, invest a dime. And you say you be (G) long to me, and ease my mind.
Imagine how the (F) world could be, so very fine. So happy to (E) gether.
(A) I can't see me (G) loving no (GF#) body but (A) you, for all (A6) my (Gadd) life.
(A) When you're with me (G) baby the (GF#) skies will be (A) blue, for all (A6) my (Gadd) life.
(Am) Me and you, and you and me. No matter how they (G) tossed the dice, it had to be.
The only one for (F) me is you, and you for me. So happy to (E) gether.
(A) I can't see me (G) loving no (GF#) body but (A) you, for all (A6) my (Gadd) life.
(A) When you're with me (G) baby the (GF#) skies will be (A) blue, for all (A6) my (Gadd) life.
The only one for (F) me is you, and you for me. So happy to (E) gether.
(A) Ba ba ba ba (G) ba ba ba (GF#) ba ba ba (A) ba, ba ba (A6) ba (Gadd) ba.

(A) Ba ba ba ba (G) ba ba ba (GF#) ba ba ba (A) ba, ba ba (A6) ba (Gadd) ba.
The only one for (F) me is you, and you for me.
So happy to (E) gether (Am). So happy to (E) gether (Am).
And how is the (E) weather ba ba ba (Am) ba? So happy to (E) gether ba ba ba (Am) ba.
We're happy to (E) gether ba ba ba (Am) ba. So happy to (E) gether ba ba ba (Am) ba.
So happy to (E) gether ba ba ba (Am) ba. So happy to (E) gether ba ba ba (Am) ba.
So happy to (E) gether ba ba ba |Am| 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)(MC3)
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)
I want to (G) tell you all a story 'bout a Harper Valley widowed wife,
Who had a (C) teenage daughter who attended Harper Valley Junior High.
Well her (G) daughter came home one afternoon and didn't even stop to play.
And she said (C) "Mom I-got-a-note here from the (D) Harper Valley P. T. (G) A."
Well the note said "Mrs. Johnson, you're wearing your dresses way too high.
It's re (C) ported you've been drinking and a-runnin' 'round with men and going wild.
And we (G) don't believe you ought to be a bringin' up your little girl this way."
And it was (C) signed by the Secretary (D) Harper Valley P. T. (G) A.
(Capo +1) <strum (G)>
Well it happened that the P.T.A. was gonna meet that very afternoon,
And they were (C) sure surprised when Mrs. Johnson wore her mini-skirt into the room.
And as she (G) walked up to the blackboard I can still recall the words she had to say.
She said "I'd (C) like to address this meeting (D) of the Harper Valley P. T. (G) A."
Well there's Bobby Taylor sittin' there and seven times he's asked me for a date.
And Mrs. (C) Taylor sure seems to use a lot of ice whenever he's away.
And Mr. (G) Baker can you tell us why your secretary had to leave this town?
And shouldn't (C) widow Jones be told to keep her (D) window shades all pulled completely (G) down?
(Capo -1) <strum (A)>
Well Mr. Harper couldn't be here 'cause he stayed too long at Kelly's Bar again.
And if you (D) smell Shirley Thompson's breath you'll find she's had a little, nip of gin.
And then you (A) have the nerve to tell me, you think that as a mother I'm not fit.
Well this is (D) just a little Peyton Place and (E) you're all Harper Valley hypo (A) crites.
No I wouldn't put you on because it really did, it happened just this way.
The day my (D) Mama socked it to, the (E) Harper Valley P. T. (A) A.
The day my (D) Mama socked it to, the (E) Harper Valley P. T. (A) A. (A)(E7)(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)(MC1)
TIP: The recurring twinkle, |Am|-|C|-|Em|-|Em|-|G|-|C|, is played one strum each.
INTRO: (Am),(F),(C); |Am|-|C|-|Em|-|Em|-|G|-|C|, |C|-|C|-|Em|-|Em|-|G|-|C|
Someone told me long ago, there’s a calm before the storm I (G) know.
It’s been comin' (C) for some time.
When it’s over so they say, it’ll rain a sunny day I (G) know.
Shinin' down like (C) water.
(F) I want to (G) know. Have you (C) ever (Em) seen the (Am) rain (Am7)(F)? I want to (G) know.
Have you (C) ever (Em) seen the (Am) rain (Am7)(F), comin’ (G) down on a sunny (C) day?
|Am|-|C|-|Em|-|Em|-|G|-|C|
Yesterday and days before, sun is cold and rain is hard I (G) know.
Been that way for (C) all my time. |Am|-|C|-|Em|-|Em|-|G|-|C|
Til forever on it goes. Through the circle fast and slow I (G) know.
It can’t stop I (C) wonder?
Have you (C) ever (Em) seen the (Am) rain (Am7)(F), comin’ (G) down on a sunny (C) day? Yeah!
Have you (C) ever (Em) seen the (Am) rain (Am7)(F), comin’ (G) down on a sunny (C) day?
|Am|-|C|-|Em|-|Em|-|G|-|C|

HE STOPPED LOVING HER TODAY – George Jones
(Braddock/Putman)
https://www.youtube.com/watch?v=VExw77xJsBQ (Capo 0)(MC0)
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) He said “I'll love you, 'til I (G) die.” She told him “You'll, forget in (C) time.”
As the years went, slowly (D7) by, she still preyed upon his (G) mind.
He kept her picture, on his wall. Went half crazy, now and (C) then.
He still loved her, through it (D7) all, hoping she'd come back a (G) gain.
<Capo +1>
Kept some letters, by his bed. Dated Nineteen, Sixty (C) Two.
He had underlined in (D7) red, every single, I love (G) you.
I went to see him, just today. Oh but I didn't, see no (C) tears.
All dressed up, to go a (D7) way. First time I'd seen him smile in (G) years.
He stopped loving her today. They placed a (G7) wreath upon his (C) door.
And soon they'll carry, him a (D7) way. He stopped loving her to (G) day (C)(G).
<Spoken> You know, she came to see him one last time (G)(C).
Oh and we all wondered if she would (C)(D7).
And it kept runnin' through my mind (D7)(G): “This time, he's over her for good.”
He stopped loving her today. They placed a (G7) wreath upon his (C) door.
And soon they'll carry, him a (D7) way. He stopped loving, (D) her, to (G) day (D)(C)(G).
HE WALKED ON WATER (In D) – Randy Travis
(Shamblin)
https://www.youtube.com/watch?v=zyhR8uYg9Gg (Capo 0)(MC0)
[Also a version in (G) afterwards.]
TIP: The numbers at the end of the first verse as well as the coda are the frets to pick the
bottom string, followed by a single strum of |DaddA| which is just |D| with your pinky extended to
cover the bottom string/5th fret.
TIP: For the 2nd and 4th verse and the reprise there are single lead-in strums of |G| and |A|
followed by the first (D) of the line.
He |D| wore starched white shirts, |G| buttoned at the neck,

And he'd |D| sit in the shade and watch the |A| chickens peck.
And his |D| teeth were gone, but |G| what the heck,
|D| I thought (D), that |A| he walked (A), on |D| water. 7-5-3-2-|DaddA|
|G|-|A|-(D) Said he was a cowboy, (G) when he was young.

He could (D) handle a rope, and he was (A) good with a gun.
And (D) my mama's daddy was his (G) oldest son,
And (D) I thought, that (A) he walked, on (D) water.
If the story was (G) told (G), only heaven (D) knows (D),
But his hat seemed to (A) me (A), like an old ha (D) lo (D).
And though his (G) wings (G), they were never (D) seen (D),
I thought, that (A) he walked, on (D) water.
|G|-|A| Well (D) he tied a cord, to the (G) end of a mop,

And said (D) "Son here's a pony, (A) keep her at a trot."
And (D) I'd ride in circles while he (G) laughed a lot,
Then (D) I'd flop (A) down be (D) side him.
And he was (Bm) ninety years old in (A) Sixty-Three,
And (G) I loved him and (A) he loved me,
And (G) Lord I cried the (A) day he died,
'Cause (D) I thought, that (A) he walked, on (D) water.
If the story was (G) told (G), only heaven (D) knows (D),
But his hat seemed to (A) me (A), like an old ha (D) lo (D).
And though his (G) wings (G), they were never (D) seen (D),
I thought, that (A) he walked, on (D) water.
|G|-|A| Yeah (D) I thought, that (A) he walked |A| . . . on (D) water. 7-5-3-2-|DaddA|
HE WALKED ON WATER (In G) – Randy Travis
(Shamblin)
https://www.youtube.com/watch?v=zyhR8uYg9Gg (Capo 7)(MC5/7)
TIP: The numbers at the end of the first verse as well as the coda are the strings to pick. So
after the last strum of |G| lift off completely and pick the Open 1st string, 2nd string/3rd fret, 2nd
string/1st fret, Open 2nd string, followed by a single strum of |Gadd| which is just (G) with the 2nd
string/2nd fret covered.
TIP: For the 2nd and 4th verse and the reprise there are single lead-in strums of |C| and |D|
followed by the first (G) of the line.
He |G| wore starched white shirts, |C| buttoned at the neck,

And he'd |G| sit in the shade and watch the |D| chickens peck.
And his |G| teeth were gone, but |C| what the heck,
|G| I thought (G), that |D| he walked (D), on |G| water. O/3 - 2/3 - 2/1 – O/2 -|Gadd|
|C|-|D|-(G) Said he was a cowboy, (C) when he was young.

He could (G) handle a rope, and he was (D) good with a gun.
And (G) my mama's daddy was his (C) oldest son,
And (G) I thought, that (D) he walked, on (G) water.
If the story was (C) told (C), only heaven (G) knows (G),
But his hat seemed to (D) me (D), like an old ha (G) lo (G).
And though his (C) wings (C), they were never (G) seen (G),
I thought, that (D) he walked, on (G) water.
|C|-|D| Well (G) he tied a cord, to the (C) end of a mop,

And said (G) "Son here's a pony, (D) keep her at a trot."
And (G) I'd ride in circles while he (C) laughed a lot,
Then (G) I'd flop (D) down be (G) side him.
And he was (Em) ninety years old in (D) Sixty-Three,
And (C) I loved him and (D) he loved me,
And (C) Lord I cried the (D) day he died,
'Cause (G) I thought, that (D) he walked, on (G) water.
If the story was (C) told (C), only heaven (G) knows (G),
But his hat seemed to (D) me (D), like an old ha (G) lo (G).
And though his (C) wings (C), they were never (G) seen (G),
I thought, that (D) he walked, on (G) water.
|C|-|D| Yeah (G) I thought, that (D) he walked |D| ... on (G) water. O/3 - 2/3 - 2/1 – O/2 -|Gadd|
HE WAS IN HEAVEN BEFORE HE DIED
John Prine
https://www.youtube.com/watch?v=zDGr1GnXERc (Capo 5)(MC4)
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)
There's a rainbow of (C) babies draped (D) over the (G) graveyard,
Where (C) all the dead (G) sailors, wait for their (D) brides.
And the (G) cold bitter snow, has (C) strangled each (G) grass blade,
Where the (C) salt from their (G) tears washed (D) out with the (G) tide.
And I (C) smiled on the (D) Wabash the last time I (G) passed it
Yes I (C) gave her a (G) wink from the passenger (D) side.
And my (G) foot fell asleep as I (C) swallowed my (G) candy
Knowing (C) he was in (G) heaven, (D) before he (G) died.
Now the harbor's on (C) fire, with the (D) dreams and de (G) sires,
Of a (C) thousand young (G) poets who failed 'cause they (D) tried.
For a (G) rhyme without reason, floats (C) down to the (G) bottom,
Where the (C) scavengers (G) eat 'em and wash (D) in with the (G) tide.
Yes I (C) gave her a (G) wink, from the passenger (D) side.
Knowing (C) he was in (G) heaven, (D) before he (G) died.
The sun can play (C) tricks with your (D) eyes on the (G) highway.
The (C) moon can lay (G) sideways till the ocean stands (D) still.
But a (G) person can't tell, his (C) best friend he (G) loves him.
Till (C) time has stopped (G) breathing you're a (D) lone on the (G) hill.
Yes I (C) gave her a (G) wink from the passenger (D) side.
Knowing (C) he was in (G) heaven, (D) before he (G) died (G)|G|.
HEARD IT IN A LOVE SONG – Marshall Tucker Band
(Caldwell)
https://www.youtube.com/watch?v=SiLUTWcLCgU (Capo 2)(MC2)
TIP: At the end of some lines drag the chord for half a beat before playing the line that follows.
TIP: There’s a three-part instrumental bridge. The guitar part has a (C)(Em)-(G)-(F) movement.
Play the transition from (Em) to (G) to (F) very quickly, one strum each before resting on the (F)
for three bars. It then repeats resting on the (F) for two bars. Then two strokes on the next
(Em) before a single strum of |F|. Then a quick (G)-(C) and begin the next verse.
INTRO: (C)(C)(G)(G)(F)(F)(C)(C), (C)(C)(G)(G)(F)(F)(C)(C)
I ain't never been with a woman long enough (Em), for my boots to get old.
(F) We've been together so long now they (C) both need resoled.
If I ever settle down (Em), you'd be my kind,
And it's a (F) good time for me to (G) head on down the (C) line.
Heard it in a lo-(G)-ove (F) song (F)(F). Heard it in a (C) lo-(G)-ove (F) song (F).
Heard it in a (C) lo-(G)-ove |F| song. Can't be (C) wrong. (G)(F)(C)
I'm the kind of man (C), (Em) who likes to get away.
(F) Like to start dreaming about to (C) morrow today.
Never said that I love you even (Em) thooough it's so.
Where's that (F) duffle bag of (G) mine it's time to (C) go (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)(Em)-(G)-(F)(F)(F), (C)(Em)-(G)-(F)(F), (C)(Em)|F|
(G)-(C) I'm gonna be leavin’ (C), (Em) at the break of dawn.
(F) Wish you could come but I don't need no (C) woman taggin’ along.
Don’t sneak out that door-or couldn’t (Em) stand to see you cry.
I’d stay a (F) nother year if I saw a (G) tear drop in your (C) eye (C).
Heard it in a lo-(G)-ove (F) song (F) (F). Heard it in a (C) lo-(G)-ove (F) song (F).
I-never-had-a-damn-thing-but-what-I-had (Em) I had to leave it behind.

(F) You're the hardest thing I ever tri-(C)-ied to get off my mind.
Always somethin’ greener on the (Em) other side of that hill
I was born a (F) wrangler and a rounder and I (G) guess I always (C) will (C).
Heard it in a (C) lo-(G)-ove |F| song. Can't be (C) wrong. (C)(G)(G)(F)(F)(C)(C)|G|-|C|
HEART OF GOLD
Neil Young
https://www.youtube.com/watch?v=X3IA6pIVank (Capo 0)(MC1)
TIP: Neil made a couple of different versions. This one is from the album "Harvest".
TIP: In the intro, the (Em)s in the first, second, and last measures are downstrokes. Same thing
with the last measure in the bridge.
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 part>: (Em)(C)(D)(G), (Em)(CaddG)(D)(G),

(Em)(Em)(C)(D)(G); (Em)(Em)(D)(Em)
I want to (C) live. (D) I want to (G) give.

(Em) I’ve been a (C) miner for a (D) heart of (G) gold.
(Em) It’s these ex (C) pressions, (D) I never (G) give,
(Em) That keep me searching for a (G) heart of gold,
(C) And I’m getting (G) old |C|-|CaddD|-|C|-|G|.
(Em) Keeps me searching for a (G) heart of gold, (C) and I’m getting (G) old |C|-|CaddD|-|C|-|G|.
(Em)(Em)(C)(D)-(G), (Em)(CaddG)(D)(G), (Em)(Em)(C)(D)-(G); (Em)(Em)(D)(Em)
I’ve been to (C) Hollywood. (D) I’ve been to (G) Redwood.

(Em) I crossed the (C) ocean for a (D) heart of (G) gold.
(Em) I’ve been in (C) my mind, (D) it’s such a (G) fine line,
(Em) That keeps me searching for a (G) heart of gold,
(C) And I’m getting (G) old |C|-|CaddD|-|C|-|G|.
(Em) Keeps me searching for a (G) heart of gold, (C) and I’m getting (G) old |C|-|CaddD|-|C|-|G|.
(Em)(Em)(C)(G), (Em)(C)(D)(G), (Em)(Em)(C)(G)
(Em) Keep me searching for a (D) heart of (Em) gold.

You keep me searching and I'm (D) growin' (Em) old.
Keep me searching for a (D) heart of (Em) gold.
I've been a miner for a (G) heart of gold. (Em) Ahhh, |C| mmm-|CaddD|-mmm-|C|-mmm-|G|-mmm.
HEARTBREAK HOTEL – Elvis Presley
(Axton/Durden)
https://www.youtube.com/watch?v=e9BLw4W5KU8 (Capo 2)(MC0/1)
TIP: The (D) in brackets |D| means strike once on a down-stroke. So the verses begin with one
strum at the beginning and then two sharp strums at the end of the first line. Also, when playing
the (D7) and (D) wrap your thumb over the top string at the 3rd fret to cover the bass <f#>.
( )( )
Well |D| since my baby left me |D|-|D|, well-I-found a new place to dwell |D|-|D|.
Well it's down at the end of Lonely Street at, (D7) Heartbreak Hotel where (G7) I'll be,
I’ll be so lonely baby. I’ll be so lonely. (A) I’ll be so (A7) lonely I could (D) die.
Al |D| though it's always crowded |D|-|D|, you still can find some room |D|-|D|.
Where broken hearted lovers is to (D7) cry there in their gloom they'll (G7) be so,
They’ll be so lonely baby. They’ll be so lonely.
(A) They’ll be so (A7) lonely, they could (D) die.
Now the |D| bellhop's tears keep flowin' |D|-|D|. And the desk clerk's dressed in black |D|-|D|.
Well they been so long on lonely street they'll (D7) never they'll never look back and they'll
(G7) be so. They’ll be so lonely baby. Well they're so lonely.
(A) They’re be so (A7) lonely they could (D) die.
Well now |D| if your baby leaves you |D|-|D|, and you got a tale to tell |D|-|D|.
Well just take a walk down lonely street to, (D7) Heartbreak Hotel where (G7) you will be,
You make him so lonely, baby. Well he will be lonely.
(A) He'll be so (A7) lonely you could (D) die.
(D), (D), (D), (D7)...... (G7)(A)(A7)(D)

Al |D| though it's always crowded |D|-|D|, you still can find some room |D|-|D|.
For broken hearted lovers, to (D7) cry there in their gloom and they'll (G7) be so,
They’ll be so lonely baby. Well they’re so lonely.
(A) They’ll be so (A7) lonely they could (D) die. (D)(A)(D); |G|-|D|
HE’LL HAVE TO GO – Jim Reeves
(Allison)
https://www.youtube.com/watch?v=whxFcO3rFRo (Capo 1)(MC0/1)
[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.]
TIP: (C7) is just (C) with your pinky added to the 3rd string/3rd fret. At the end are five notes
and a high (C) played as an (F8). Hold the strum of |C| and then pick 2nd string/2nd fret <c>, the
open bottom string <e>, the <c> again, add your pinky to the bottom string/3rd fret <g>, lift off
<e>, and reposition the F shape on the 8th fret for the final strum of |F8|. An even easier way to
play it would be in the middle register by holding (C) throughout and picking strings 5-4-5-3-4-
|C|.
INTRO: (C)(G)(C)(G)
Put your (C) sweet lips, a little (F) closer, to the (C) phone.
Let’s pretend, that we're together, all a (G7) lone.
I'll tell the (C) man, to turn the (C7) juke-box, way down (F) low.
And you can (C) tell, your friend there (G7) with you, he’ll have to (C) go. (G)
Whisper (C) to me, tell me (F) do, you love me (C) true?
Or is he, holding you, the way I (G) do?
Though love is (C) blind, make up your (C7) mind, I've got to (F) know.
Should I (C) hang up, or will you (G7) tell him, he’ll have to (C) go? (C7)
You can't (F) say the words I want to hear, while you're (C) with, another (C7) man.
Do you (F) want me answer yes or no, darling (C) I, will under (G) stand.
Put your (C) sweet lips, a little (F) closer, to the (C) phone.
Let’s pretend, that we're together, all a (G7) lone.
I'll tell the (C) man, to turn the (C7) juke-box, way down (F) low.
And you can (C) tell, your friend there |G7| with you, <slower> he’ll have to |C| go.
<c><e><c><g><e>-|F8|
HE’LL HAVE TO GO – Jim Reeves
(Allison)
https://www.youtube.com/watch?v=whxFcO3rFRo (Capo 6)(MC3)
TIP: At the end are five notes and a |G|. Hold the strum of |G| and then pick the open 3rd string
<g>, the open 2nd string , the <g> again, lift your bottom finger off the bottom string up one
fret to the 2nd string/3rd <d>, replace your finger back to the bottom string and finish with a strum
of |G|.
INTRO: (G)(D7)(G)(D7)
Put your (G) sweet lips, a little (C) closer, to the (G) phone.
Let’s pretend, that we're together, all a (D7) lone.
I'll tell the (G) man, to turn the (G7) juke-box, way down (C) low.
And you can (G) tell, your friend there (D7) with you, he’ll have to (G) go. (D7)
Whisper (G) to me, tell me (C) do, you love me (G) true?
Or is he, holding you, the way I (D7) do?
Though love is (G) blind, make up your (G7) mind, I've got to (C) know.
Should I (G) hang up, or will you (D7) tell him, he’ll have to (G) go? (G7)
You can't (C) say the words I want to hear, while you're (G) with, another (G7) man.
Do you (C) want me answer yes or no, darling (G) I, will under (D7) stand.
Put your (G) sweet lips, a little (C) closer, to the (G) phone.
Let’s pretend, that we're together, all a (D7) lone.
I'll tell the (G) man, to turn the (G7) juke-box, way down (C) low.
And you can (G) tell, your friend there |D7| with you, <slower> he’ll have to |G| go.
<g><g><d><g>-|G|
HEAVEN’S JUST A SIN AWAY – The Kendalls
(Gillespie)
https://www.youtube.com/watch?v=Z0ZK1DvTBpw (Capo 4)(MC0)
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 slide the capo up one fret.
INTRO: (D), (D)(D/A)-(A)-(D)
Heaven's just a sin away oh (G) whoa just a sin away.

(D) I can't wait another day I (E) think I'm givin' (A7) in.
(D) How I'd love to hold you tight oh (G) whoa be with you tonight.
(D) That still won't make it right 'cause (A7) I belong to (D) him.
Oh (G) way down deep inside, I (D) know that it's all wrong.
Your (G) eyes keep tempting me, and I (A7) never was that (A) stron-on-ong (D).
Devil's got me now oh (G) whoa gone and got me now.
(D) I can't fight him anyhow I (E) think he's gonna (A7) win.
(D) Heaven's just a sin away oh (G) whoa just a sin away.
(D) Heaven help me when I say, I (A7) think I'm givin' (D) in.
(D),(G),(D); (A)(A)-(D)
Oh (G) way down deep inside, I (D) know that it's all wrong.
Your (G) eyes keep tempting me, and I (A7) never was that (A) stron-on-ong (D).
Devil's got me now oh (G) whoa gone and got me now.
(D) I can't fight him anyhow I (E) think he's gonna (A) win.
(D) Heaven's just a sin away oh (G) whoa just a sin away.
(D) Heaven help me when I say, I (A7) think I'm givin' (D) in.
[capo +1]
Heaven's just a sin away oh (G) whoa just a sin away.

(D) I can't wait another day I (E) think I'm givin' (A7) in.
(D) How I'd love to hold you tight oh (G) whoa be with you tonight.
(D) That still won't make it right 'cause (A7) I belong to (D) him.
(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)(MC1)
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)
Hel-(Em)-lo (G), it's (D) me (C). I was (Em) wondering if (G) after all these (D) years you'd like
to (C) meet. To go (Em) over (G), every (D) thing (C). They say that (Em) time's supposed to
(G) heal ya, but I ain't (D) done much (C) healing.
Hel-(Em)-lo (G), can you (D) hear me (C)? I'm in (Em) California (G) dreaming about (D) who we
used to (C) be, when we were (Em) younger (G), and (D) free (C). I've for (Em) gotten how it
(G) felt before the (D) world fell at our (C) feet there's such a (Em) differ (D) ence,
be (Bm) tween (C) us and a (Em) mill, (D) ion, (C) miles.
(Em) Hello from the (C) other (D) si-i-(C)-ide.

I (Em) must've called a (C) thousand (D) ti-i-(C)-imes.
To tell (Em) you-I'm, (C) sorry, for every (G) thing that I've (D) done but when (Em) I call you,
(C) never, (G) seem to be (D) home.
(Em) Hello from the (C) out (D) si-i-(C)-ide.
At (Em) least I (C) can say that I've (D) tri-i-(C)-ied.
To tell (Em) you-I'm, (C) sorry, for (G) breaking your (D) heart but it (Em) don't-matter-it,
(C) clearly, doesn't (G) tear you a (D) part any (Em) more (G)(D)(C).
Hel-(Em)-lo (G), how (D) are you (C)? It's so (Em) typical of (G) me to talk a (D) bout myself I'm
(C) sorry. I (Em) hope (G), that you're (D) well (C). Did you (Em) ever make it (G) out of that
town where (D) nothing ever (C) happened it's no (Em) se (G) cret, that the (Bm) both of (C) us,
are (Em) running (D) out of (C) time.
So (Em) hello from the (C) other (D) si-i-(C)-ide.


To tell (Em) you-I'm, (C) sorry, for (G) breaking your (D) heart but it (Em) don't matter-it,
(C) clearly, doesn't (G) tear you a (D) part any (Em) more (C).
(D) Oooo (G) ohh, any (Em) more (C). (D) Oooo (G) ohh, any (Em) more (C).
(D) Oooo (G) ohh, any (Em) more (C). Any (D) more (G).
(Em) Hello from the (C) other (D) si-i-(C)-ide.


To tell (Em) you-I'm, (C) sorry, for (G) breaking your (D) heart but it (Em) don't matter-it,
(C) clearly, doesn't (G) tear you a (D) part any (Em) more. (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=AMVQCHgpYmI (Ricky) (Capo 2)(MC1)
https://www.youtube.com/watch?v=6mZjy255MY8 (Statlers) (Capo 1)
[Afterwards there's a version in [C] which doesn't have the (B7)]
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)
Hello Mary Lou, (C) goodbye heart.

Sweet (G) Mary Lou I'm so in love with (D7) you.
I (G) knew, Mary Lou, (B7) we'd never (Em) part.
So hel (G) lo Mary (D7) Lou goodbye (G) heart (C)-(G).
You passed me by one sunny day, (C) flashed those big brown eyes my way
And (G) ooh I wanted you forever (D7) more.
Now (G) I'm not one that gets around. I (C) swear my feet stuck to the ground
And (G) though I never (D7) did meet you be (G) fore (C)-(G).
I said hello Mary Lou, (C) goodbye heart.

(G)(C), (G)(D7)(D7), (G)(B7)(Em)(G)(D7)(G)(C)-(G)

I saw your lips I heard your voice. Be (C) lieve me I just had no choice
Wild (G) horses couldn't make me stay a (D7) way.
I (G) thought about a moonlit night, my (C) arms about you good and tight
That's (G) all I had to (D7) see for me to (G) say.
Hey hey hello, Mary Lou, (C) goodbye heart.

So hello Mary (D7) Lou, goodbye (G) heart (C)-(G).

Yes hello Mary (D7) Lou, goodbye (G) heart (C)-(G). |C|-|G|
(Rick Nelson)(Statler Brothers) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
HELLO MARY LOU - Ricky Nelson/Statler Brothers
(Pitney/Mangiaracina)
(MC0)
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 . . . ").
INTRO: (C)(G)(C)(G)(C)(G)(C)
Hello Mary Lou, (F) goodbye heart.

Sweet (C) Mary Lou I'm so in love with (G) you.
I (C) knew, Mary Lou, (E7) we'd never (Am) part.
So hel (C) lo Mary (G) Lou goodbye (C) heart (F)(C).
You passed me by one sunny day, (F) flashed those big brown eyes my way
And (C) ooh I wanted you forever (G) more.
Now (C) I'm not one that gets around. I (F) swear my feet stuck to the ground
And (C) though I never (G) did meet you be (C) fore (F)(C).
I said hello Mary Lou, (F) goodbye heart.

(C)(F), (C)(C)(G), (C)(E7)(Am)(C)(G)(C)(F)(C)
I saw your lips I heard your voice. Be (F) lieve me I just had no choice
Wild (C) horses couldn't make me stay a (G) way.
I (C) thought about a moonlit night, my (F) arms about you good and tight
That's (C) all I had to (G) see for me to (C) say.
Hey hey hello, Mary Lou, (F) goodbye heart.
So hello Mary (G) Lou, goodbye (C) heart (F)(C).

Yes hello Mary (G) Lou, goodbye (C) heart (F)(C)(F)-(C).
(Rick Nelson)(The Statler Brothers)(Oldies)(Artist Index) - (Main Index) - (Song Index) (This Song)
HELP! - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=2Q_ZzBGPdqE (Capo 2)(MC2)
TIP: In the intro, strike the chords in brackets once.
TIP: Many tabs have the chorus beginning with (Am) but I just don't hear it. I hear a <d> which
doesn't sound right with the (Am). So the important part is to play the (Asus) like an (Am) but
with your pinky added to the 2nd string/3rd fret (2nd Asus diagram). Then simply lift it to get to
the (Am) that follows, then lift the middle finger to get to the (Am7). Also in the chorus there's
an (F)-(Em) step-down sequence of the bass line that overlaps with John singing the next line so
hit that last chord and move on to the (D).
; /
INTRO: |Am| Help! I need somebody. |F| Help, not just anybody.
|D| Help, you know I need someone. |G| Help!
(G) When I was younger so much (Bm) younger than today (Em),
I never needed anybody's (C) help in (F) any (G) way.
But now these days are gone I'm (Bm) not so self-assured (Em).
Now I find I've changed my mind, I've (C) opened (F) up the (G) doors.
(Asus) Help me if you can I'm feelin' (Am) down,

(Am)-(Am7) And I (Dm) do appreciate you being (F) 'round (F)-(Em)
(D) Help me get my feet back on the gro-ou-ound.
Won't you (G) please, please help me? (G)
And now my life has changed in (Bm) oh so many ways (Em).

My independence seems to (C) vanish (F) in the (G) haze.
But every now and then I (Bm) feel so insecure (Em).
I know that I just need you like I (C) never (F) done be (G) fore.
Won't you (G) please, please help me? (G)
When I was younger so much (Bm) younger than today (Em),

I never needed anybody's (C) help in (F) any (G) way.
But now these days are gone and I'm (Bm) not so self-assured (Em).
Now I find I've changed my mind, I've (C) opened (F) up the (G) doors.

Won't you (G) please, please help me?
(Em) Help me help (G) me-ee |Em| ooh.
HELP ME MAKE IT THROUGH THE NIGHT – Willie Nelson
(Kristofferson)
https://www.youtube.com/watch?v=1bCDWLSrlI4 (Capo 0)(MC0)
TIP: The lines in the verse has a complementary chord "twinkle" (e.g. "...(D) hair (G)(D)" ).
But the second lines have a sustain on the preceding chord, a dwell, and then the next chord to
lead into the next line (e.g. "...(G) fall (G)(Em)".
INTRO: (D)(G)(D)
(NC) Take the ribbon from your (D) hair (G)(D). Shake it loose and let it (G) fall (G)(Em).
Layin' soft upon my (A) skin (Asus)(A7). Like the shadows on the (D) wall (G)(D).
(NC) Come and lay down by my (D) side (G)(D), til the early morning (G) light (G)(Em).
All I'm takin' is your (A) time (Asus)(A7). Help me make it through the (D) night (G)(D).
I don't (D7) care what's right or (G) wrong, (Gadd) I won't try to under (D) stand.
Let the devil take to (E) morrow. (E7) Cuz tonight I need a (A) friend (E7)|A7|.
(NC) Yesterday is dead and (D) gone (G)(D), and tomorrow's out of (G) sight (G)(Em).
And it's sad to be a (A) lone (Asus)(A7). Help me make it through the (D) night (G)(D).
(D),(G)(D); (D)(G)(G)(Em); (Em)(A)(Asus)(A7); (A7)(D)(G)(D); (D)(D7)(G); (G)(A7)(D)(G)(D)
I don't (D7) care what's right or (G) wrong, (Gadd) I won't try to under (D) stand.
Let the devil take to (E) morrow. (E7) For tonight I need a (A) friend (E7)|A7|.
(NC) Yesterday is dead and (D) gone (G)(D), and tomorrow's out of (G) sight (G)(Em).
And it's sad to be a (A) lone (Asus)(A7). Help me make it through the (D) night (G)(D).
Well I don't (Em) wanna be a (A) lone (Asus)(A7). Help me make it through the (G) night (A7)(D).
HERE COMES THE SUN – The Beatles
(Harrison)
https://www.youtube.com/watch?v=xUNqsfFUwhY (Capo 7)(MC7)
[There are four versions here. The first two are capo'd at the 7th fret which is how George plays
it. There's one with quite a bit of finger work and a simplified version. Then there are two in
[A] with no capo, one a little complicated and then a simplified version. You can play along to
the recording in all four versions.]
TIP: The presentation here is for playing with chords but it's really not all that hard to
fingerpick if you're willing to give it a little effort. There's a pretty good tutorial on how to
play the opening here ----> http://www.youtube.com/watch?v=tHuTjl-NL2k
TIP: (Dsus2) is just (D) without the middle finger. Just lift and replace from the (D)
TIP: For no-chord (NC) don't hit the top two strings. (GF#) is just a finger (any finger) on the
bottom string/2nd fret and it’ll follow a (D) so just lift off your index and ring finger, keeping
your middle finger right where it is and don't hit the top two strings.
TIP: In the little trill voicing that goes (G)(D)(Gadd) all that's needed in the (Gadd) are the
bottom two strings. So since a (D) precedes it, an easier way to play it is, from the (D), remove
your index finger while at the same time adding your pinky on the bottom string beneath your ring
finger. For the lone (A7G) after the bridge just add your pinky to the bottom string/3rd fret.
TIP: If you want to fingerpick the outro, go here ----> http://www.youtube.com/watch?v=ebhnn1ids2w
; ;
INTRO: (D)(D)(Dsus2)(D)(D), (D)(Dsus2)(Dsus2)(G)(Gadd)(NC)(Gadd)(G) (A)(A7sus4)(A7);

(D)(D)(Dsus2)(D)(D), (D)(Dsus2)(Dsus2)(G)(GF#)(NC)(Am7sus4)(A7)
(D) Here (Dsus2) comes (D) the sun du du (Dsus2) du (D) du,
(GF#) here (NC) comes (GF#) the (E7) sun and I say, (D) it's (Dsus2) all (D) right.
(G)(D)(Gadd), (G)(D)(Gadd), (D)(D)(Dsus2)(D), (A)(Am7sus4)(A7)
(D) Little (Dsus2) dar (D) ling,
It's (Dsus2) been a (G) long cold (NC) lonely (A) winter (A7sus4)(A7).
(D) Little (Dsus2) dar (D) ling, it (Dsus2) feels like (G) years since (NC) it's been (A7) here.
(D) Here (Dsus2) comes (D) the sun du du (Dsus2) du (D) du,
(GF#) Here (NC) comes (GF#) the (E7) sun and I say, (D) it's (Dsus2) all (D) right.
(G)(D)(Gadd), (G)(D)(Gadd), (A)(Am7sus4)(Am7sus4)(A7)

The (Dsus2) smiles re (G) turning (NC) to the (A) faces (A7sus4)(A7).
(D) Little (Dsus2) dar (D) ling, it seems like (G) years since (NC) it's been (A7) here.
(D) Here (Dsus2) comes (D) the sun (D)(D)(Dsus2)(D),
(G)(D)(Gadd), (G)(D)(Gadd); (D)(D)(Dsus2)(D)(D), (F)(C)(G)(D),(A7)
(F) Sun (C) sun (G) sun here it com (D) es (A7). (F) Sun (C) sun (G) sun here it com (D) es. (A7)
(F) Sun (C) sun (G) sun here it com (D) es. (A) (A7sus4) (A7) (A7G)

I (Dsus2) feel that (G) ice is (NC) slowly (A) melting (A7sus4)(A7).
(D) Little (Dsus2) dar (D) ling, it seems like (G) years since (NC) it's been (A7) clear.
(D) Here (Dsus2) comes (D) the sun (D)(D)(Dsus2)(D),
(G)(D)(Gadd), (G)(D)(Gadd)
(D) Here (Dsus2) comes (D) the sun (D)(D)(Dsus2)(D), (GF#) here (NC) comes (GF#) the (E7) sun.
(D) It's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd)
(D) It's (Dsus2) all (D) right. (G)(D)(Gadd), (G)(D)(Gadd)(A7) (F)(C)(G) <slow down> |D|
(Harrison)
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) Here comes the sun du du du du, (G) here comes the (E7) sun and I say, (D) it's all right.
(G)(D)(G)(A7)
(D) Little darling, it's been a (G) long cold lonely (A) winter (A7sus4)(A7).
(D) Little darling, it feels like (G) years since it's been (A7) here.
(D) Here comes the sun du du du du, (G) here comes the (E7) sun and I say, (D) it's alright.
(G)(D)(G)(D); (D),(A)(A7sus4)(A7)
(D) Little darling, the smiles re (G) turning to the (A) faces (A7sus4)(A7).
(D) Little darling, it seems like (G) years since it's been (A7) here.
(D) Here comes the sun, (G) here comes the (E7) sun and I say, (D) it's alright. (G)(D)(G)(D);
(D),(F)(C)(G)(D),(A7)
(F) Sun (C) sun (G) sun here it com (D) es. (A) (A7sus4) (A7) (A7G)
(D) Little darling, I feel that (G) ice is slowly (A) melting (A7sus4)(A7).
(D) Little darling, it seems like (G) years since it's been (A7) clear.
(D) Here comes the sun, (G) here comes the (E7) sun and I say, (D) it's alright. (G)(D)(G)(D)(A7)
(D) Here comes the sun, (G) here comes the (E7) sun. (D) It's alright. (G)(D)(G)(D)(A7)
(D) It's alright. (G)(D)(G)(D)(A7) (F)(C)(G) <slow down> |D|
(Harrison)
TIP: (Asus2) is just (A) without the bottom finger. Just lift and replace from the (A).
TIP: To get to (Esus) from the preceding (E) just hold position and add your pinky to the 3rd
string/3rd fret under your ring finger.
TIP: For the lone (E7/D) after the bridge just add your pinky to the 2nd string/3rd fret.
INTRO: (A)(A)(Asus2)(A)(A), (A)(Asus2)(Asus2)(D)(D)(E)(Esus)(E);

(A)(A)(Asus2)(A)(A), (A)(Asus2)(Asus2)(D)(E)(Esus)(E7)
(A) Here (Asus2) comes (A) the sun du du (Asus2) du (A) du, (D) here comes the (B7) sun and I say,
(A) It's (Asus2) all (A) right. (D)(A), (D)(A), (E7)
(A) Little (Asus2) dar (A) ling, it's (Asus2) been a (D) long cold lonely (E) winter (Esus)(E7).
(A) Little (Asus2) dar (A) ling, it (Asus2) feels like (D) years since it's been (E7) here.
(A) Here (Asus2) comes (A) the sun du du (Asus2) du (A) du, (D) here comes the (B7) sun and I say,
(A) It's (Asus2) all (A) right. (D)(A),(D)(A); (A)(Asus2)(A),(E)(Esus)(E7)
(A) Little (Asus2) dar (A) ling, the (Asus2) smiles re (D) turning to the (E) faces (Esus)(E7).
(A) Little (Asus2) dar (A) ling, it seems like (D) years since it's been (E7) here.
(A) Here (Asus2) comes (A) the sun (A)(A)(Asus2)(A), (D) here comes the (B7) sun and I say,
(A) It's (Asus2) all (A) right. (D)(A), (D)(A), (A)(Asus2)(A), (C)(G)(D)(A),(E7)
(C) Sun (G) sun (D) sun here it com (A) es (E7). (C) Sun (G) sun (D) sun here it com (A) es. (E7)
(C) Sun (G) sun (D) sun here it com (A) es. (E) (Esus) (E7) (E7/D)
(A) Little (Asus2) dar (A) ling, I (Asus2) feel that (D) ice is slowly (E) melting (Esus)(E7).
(A) Little (Asus2) dar (A) ling, it seems like (D) years since it's been (E7) clear.
(A) Here (Asus2) comes (A) the sun (A)(A)(Asus2)(A), (D) here comes the (B7) sun and I say,
(A) It's (Asus2) all (A) right. (D)(A), (D)(A)
(A) Here (Asus2) comes (A) the sun (A)(A)(Asus2)(A), (D) here comes the (B7) sun.
(A) It's (Asus2) all (A) right. (D)(A), (D)(A)
(A) It's (Asus2) all (A) right. (D)(A), (D)(A)(E7)(C)(G)(D) <slow down> |A|
(Harrison)
TIP: To get to (Esus) from the preceding (E) just hold position and add your pinky to the 3rd
string/3rd fret under your ring finger. For the lone (E7/D) after the bridge just add your pinky
to the 2nd string/3rd fret.
INTRO: (A)(D)(E)(Esus)(E7), (A)(D)(E7);
(A) Here comes the sun du du du du, (D) here comes the (B7) sun and I say, (A) it's all right.
(D)(A)(E7)
(A) Little darling, it's been a (D) long cold lonely (E) winter (Esus)(E7).
(A) Little darling, it feels like (D) years since it's been (E7) here.
(A) Here comes the sun du du du du, (D) here comes the (B7) sun and I say, (A) it's alright.
(D)(A)(D)(A); (A),(E)(Esus)(E7)
(A) Little darling, the smiles re (D) turning to the (E) faces (Esus)(E7).
(A) Little darling, it seems like (D) years since it's been (E7) here.
(A) Here comes the sun, (D) here comes the (B7) sun and I say, (A) it's alright. (D)(A)(D)(A);
(A),(E)(Esus)(E7); (C)(G)(D)(A),(E7)
(C) Sun (G) sun (D) sun here it com (A) es. (E) (Esus) (E7) (E7/D)
(A) Little darling, I feel that (D) ice is slowly (E) melting (Esus)(E7).
(A) Little darling, it seems like (D) years since it's been (E7) clear.
(A) Here comes the sun, (D) here comes the (B7) sun and I say, (A) it's alright. (D)(A)(D)(A)(E7)
(A) Here comes the sun, (D) here comes the (B7) sun. (A) It's alright. (D)(A)(D)(A)(E7)
(A) It's alright. (D)(A)(D)(A)(E7) (C)(G)(D) <slow down> |A|
HERE I AM – Patty Loveless
(Arata)
https://www.youtube.com/watch?v=0i5WuOE8wAE (Capo 1)(MC2)
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.

You said you (G) didn't want to see me, but you've been lookin' for me every (D) where.
And you (A) know that you're gonna find me, if you (G) keep on drinkin' (D) fast.
'Cause (G) honey I'm (A) right there (Bm) waitin' on you at the (G) bottom of your (D) glass.
(G) Here (A) I (G) am (G). Here (A) I (D) am.

In the (G) bourbon and the (D) water, that (A) burn you just like a-a (G) brand.
Here (A) I (D) am.
It ain't workin' darlin', hard as you may try.

You keep (G) hearin' the words you told me, in everyone's good (D) bye.
And you (A) know that you're just one step, from a (G) nother one bein’ (D) gone.
I (G) know I've (A) seen 'em (Bm) all unravel I've been (G) watchin' it all a (D) long.
(G) Here (A) I (G) am (G). Here (A) I (D) am.

In (G) every lie you're (D) hearin', that (A) burn you just like a-a (G) brand.
Here (A) I (D) am.
And honey (Em) I got (D) over, you (G) passin' me (A) over, a (Bm) long, ti-(A)-ime, a (G) go.
And my (Em) pride was (D) stronger, when (G) I was (A) younger
Now (Bm) I'd rather have (A) you to (G) know |G|.
(NC) That here I (G) am (G). Here (A) I (D) am.
I still (G) carry a flame (D) for you, (A) burnin' me like a-a (G) brand.
Here (A) I (D) am. (G)(G)(D)(D), (G)(G)(D)(D)(D)|D|
HERE IN THE REAL WORLD – Alan Jackson
(Irwin/Jackson)
https://www.youtube.com/watch?v=3mKkTm38w3E (Capo 1)(MC1)
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)
Cowboys don't (G) cry (G)(A), and heroes don't (D) die (D).
Good always (G) wins (G)(A), again and a (D) gain (D).
And love is a (G) sweet dream (A), that always comes (D) true (D).
Oh if life were like the (G) movies (G)(A), I'd never be (D) blue (G)(D).
But here in the (G) real world, it's not that easy at (D) all (D).
'Cause when hearts get (A) broken, it's real tears that (D) fall (D).
And darlin' it's (G) sad but true (A), but the one thing I've (D) learned from you,
Is how the boy don't (Em) always (F#m) get the (G) girl, (A) here in the (G) real world (D).
|D|-|Dsus2|-(G)(G)(A)(A)(D)(G)(D)
I gave you my (G) love (G)(A), that wasn't e (D) nough (D),
To hold your (G) heart (G)(A), when times got (D) rough (D).
And tonight on that (G) silver screen (A), it'll end like it (D) should (D).
Two lovers will (G) make it through (A), like I hoped we (D) would (G)(D).
But here in the (G) real world, it's not that easy at (D) all (D).
'Cause when hearts get (A) broken, it's real tears that (D) fall (D).
And darlin' it's (G) sad but true (A), but the one thing I've (D) learned from you,
Is how the boy don't (Em) always (F#m) get the (G) girl, (A) here in the (G) real world (D).
No the boy don't (Em) always (F#m) get the (G) girl, (A) here in the (G) real world |D|-|A|-|D|.
HE’S GOT THE WHOLE WORLD IN HIS HANDS
Traditional
(MC1)
INTRO: (D) (D7) (G)
He’s got the whole, world, in His hands.

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

He’s got the (D7) wind and the rain, in His (D) hands.
He’s got the (G) wind and the rain, in His hands.
He’s got the little bitty baby, in His hands.

He’s got the (D7) little bitty baby, in His (D) hands.
He’s got the (G) little bitty baby, in His hands.
He’s got you and me brother, in His hands.

He’s got (D7) you and me brother, in His (D) hands.
He’s got (G) you and me brother, in his hands.
He’s got the whole, world, in His hands.

He’s got the (D7) whole, world, in His (D) hands.
He’s got the (G) whole, world, in His hands.
HEY GOOD LOOKIN’
Hank Williams
https://www.youtube.com/watch?v=HbBY8jIgEnU (Capo 0)(MC0)
INTRO: (D)(G)(C)(G7)
Say (C) hey, good lookin’, wha, tcha got cookin?

(D7) How’s about cookin’ (G7) somethin’ up with (C) me (G7)?
(C) Hey, sweet baby, don’t you think maybe,
We could (D7) find us, a (G) brand new reci (C) pe? (C7)
I got a (F) hot-rod Ford and a (C) two dollar bill.

And (F) I know a spot right (C) over the hill.
(F) There’s soda pop and the (C) dancin’s free so if you
(D7) Wanna have fun come a (G7) long with me.
And say (C) hey, good lookin’, wha, tcha got cookin’?
(D7) How’s about cookin’ (G7) something up with (C) me (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)
I’m (C) free, and ready, so we, can go steady.

(D7) How’s about saving (G7) all you time for (C) me (G7)?
(C) No more lookin’, I know, I been tooken.
(D7) How’s about keeping (G7) steady compa (C) ny? (C7)
I’m gonna (F) throw my date book (C) over the fence.
And (F) find me one for (C) five or ten cents.
(F) I’ll keep it til it’s (C) covered with age,
Cause I’m (D7) writin’ your name down on (G7) every page.
Say (C) hey, good lookin’, wha, tcha got cookin’?
(D7) How’s about cookin’ (G7) somethin’ up with (C) me? |C|
HIGH COTTON – Alabama
(Murrah/Anders)
https://www.youtube.com/watch?v=IhsbhbnKoR0 (Capo 5)(MC2)
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)
We didn't know that times were lean. A (F) round our home the grass was green.
It (C) didn't seem like things were all that (G) bad.
I (C) bet we walked a thousand miles, (F) choppin' cotton and pushin' plows,
And (C) learnin' how to (G) give it all we (C) had.
As life went on and years went by, I (F) saw the light in daddy's eyes,
And (C) felt the love in mama's (G) hands.
They (C) kept us warm and kept us fed. (F) Taught us how to look ahead.
(C) Now lookin' (G) back I under (C) stand.
(NC) We were walkin' in, (C) high cotton. Old times (F) there are not forgotten.
Those (C) fertile fields are never far a (G) way.
We were walkin' in, (C) high cotton. Old times (F) there are not forgotten.
Leavin' (C) home was the hardest (G) thing we ever (C) faced.
(C)(F)(C)(G)(C)
When Sunday mornings rolled around, (F) we dressed up in hand me downs.

(C) Just in time to gather with the (G) church.
Some (C) times I think how long it's been, (F) and how it impressed me then.
It was the (C) only day my (G) daddy, wouldn't (C) work.
(NC) We were walkin' in, (C) high cotton. Old times (F) there are not forgotten.
Those (C) fertile fields are never far a (G) way.
We were walkin' in, (C) high cotton. Old times (F) there are not forgotten.
Leavin' (C) home was the hardest (G) thing we ever (C) faced.
<key shift>
(NC) We were walkin' in, (D) high cotton. Old times (G) there are not forgotten.
Those (D) fertile fields are never far a (A) way.
We were walkin' in, (D) high cotton. Old times (G) there are not forgotten.
Leavin' (D) home was the hardest (A) thing we ever (D) faced.
We were walkin' in, high cotton. Old times (G) there are not forgotten.
Those (D) fertile fields are never far a (A) way.
We were walkin' in, (D) high cotton. Old times (G) there are not forgotten.
Leavin' (D) home was the hardest (A) thing we ever (D) faced.
(NC) Walkin' in, |D| high cotton . . . (D) <palm mute>
(Alabama) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
HIGH LONESOME SOUND - Vince Gill (with Alison Krauss)
(Gill)
https://www.youtube.com/watch?v=XcOdKprfZfM (Capo 0)(MC1)
TIP: The (CaddG) isn't necessary but accentuates Vince's high tenor voice.
INTRO: (G)(C)(G)(G), (C)(C)(G)(G), (G)(C)(G)(G)(F)(C)(G)(G)
Whenever my (C) soul is (G) lonely, when (C) ever I'm feeling (G) blue,
I-start thinkin' 'bout my (C) blue eyed (G) darlin',
And my (F) heart starts (C) pinin' for (G) you.
I wanna hear that (CaddG) high lonesome (G) sound, cause my (C) sweet baby ain't a (G) round.
When my (CaddG) life's got me (G) down, I want to hear that (F) hi-igh (C) lonesome (G) sound.
(G)(C)(G)(G), (C)(C)(G)(G), (G)(C)(G)(G)(F)(C)(G)(G)
When I'm lost in this (C) ocean of (G) darkness, not (C) knowing which way I should (G) turn,
And my eyes are (C) filled with (G) sadness, of (F) knowing you'll (C) never re (G) turn.
Gonna hear that (CaddG) high lonesome (G) sound, cause my (C) sweet baby ain't a (G) round.
(G)(C)(G)(G), (C)(C)(G)(G), (G)(C)(G)(G)(F)(C)(C)(G)(G)
Gonna hear that (C) high lonesome (G) sound, cause my (C) sweet baby ain't a (G) round.
When my (C) life's got me (G) down, I want to hear that (F) hi-igh (C) lonesome (G) sound.
I wanna hear that (CaddG) high lonesome (G) sound, cause my (C) sweet baby ain't a (G) round.
When my (CaddG) life's got me (G) down, I want to hear that |F| hi-igh |C| lonesome (G) sound.
(C) Whoo-hoo (G) hoo-hoo. (C) Whoo-hoo (G) hoo. (C)-|G|
(Vince Gill) (Alison Krauss) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE HOCKEY SONG
Stompin’ Tom Conners
https://www.youtube.com/watch?v=bg2G5gf9GHk (Capo 0)(MC1)
TIP: For the intro, pick the open 3rd string <g>, use your index finger to cover and pick the 3rd
string/2nd fret <a>, pick the open 2nd string , and strum the chords. And it's just how it
appears -- single strums of a double-chord (outro, too). And 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|
Hel-(C)-lo out there, we're on the air, it's Hockey Night to (G) night.
The tension grows the whistle blows, and the puck goes down the (C) ice.
The goalie jumps and the players bump and the fans all go in (F) sane.
Someone roars, (C) "Bobby Scores!" at the (G) good old hockey (C) game. |G| Oh!
The (C) good old hockey game, is the best game you can (G7) name.
And the best game you can name, is the good old hockey (C) game.
Second Period. Where players dash with skates a-flash the home team trails be (G) hind.
But they grab the puck and go bursting up and they’re down across the (C) line.
They storm the crease like bumblebees, they travel like a burning (F) flame.
We see them slide the (C) puck inside it’s a (G) one-one hockey (C) game. |G| Oh!
And the best game you can name, is the good old hockey (C) game.
Third Period. Last game in the play-offs too.

Oh (C) take me where, the hockey players, face off down the (G) rink.
And the Stanley Cup is all filled up for the champs who win the (C) drink.
Now the final flick, of a hockey stick, and a one gigantic (F) scream:
"The puck is in, the (C) home team wins!” the (G) good old hockey (C) game. |G| Oh!
And the best game you can name, is the good old hockey (C) game. |G| Oh!
And the best game you can name, is the good old hockey (C) game. |G| Oh!
And the best game you can name, is the good, old, (F) hock (G) ey (C) 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) - (Main Index) - (Song Index) (This Song)
HOLD MY HAND – Hootie and the Blowfish
(Bran/Felber/Rucker/Sonefeld)
https://www.youtube.com/watch?v=xoW3bqnr7tw (Capo 2)(MC2)
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. In the intro, focus on the 2nd and 4th strings when hitting the |D|. After Mark joins
with the electric on “peace” the emphasis then alternates between the 1st and 3rd strings and then
the 2nd and 4th strings when hitting the trailing |D|. But don’t overthink it.
INTRO: |A| |A|-|A| |D|, D |A|-|A| |D|, D |A|-|A| |D| D |A|-|A| |D|
With a little (A) love (D), and some (A) tenderness (D).
We’ll (A) walk upon the (D) water. We’ll (A) rise above the (D) mist.
With a little (A) peace (D), and some (A) harmony (D).
We’ll (A) take the world to (D) gether. We’ll (A) take ’em by the (D) hand.
(E) ’Cause I’ve got a (D) hand for (A) you. Ahh. (E) I wanna (D) run with (A) you.
(D) Yester (A) day (D), I saw you (A) standing there (D).
Your (A) head was down your (D) eyes were red. No (A) comb had touched your (D) hair.
I said get (A) up (D), and let me (A) see you smile (D).
We’ll (A) take a walk to (D) gether, (A) walk the road a (D) while, 'cause.
(E) ’Cause I’ve got a (D) hand for (A) you (I got a hand for you).
(E) ’Cause I wanna (D) run with (A) you (Won’t you let me run with you yeah).
Hold, (D) my, (E) hand (Want you to hold my hand).

(A) Hold, (D) my, (E) hand (I’ll take you to a place where you can be).
(A) Hold, (D) my, (E) hand (Anything you wanna be because). |D|
(NC) I wanna love you, the best that, the best that I |A| can. |A|-|D|, |A| |A|-|D|,
|A| |A|-|D|, |A| |A|-|D|

See I was (A) wasted (D), and I was a (A) wasting time (D).
’Til I (A) thought about your (D) problems, I (A) thought about your (D) crimes.
Then I stood (A) up (D), and then I (A) screamed aloud (D):
“I don’t wanna (A) be part of your (D) problems, don’t wanna (A) be part of your (D) crowd, no.
(E) ’Cause I’ve got a (D) hand for (A) you (I’ve got a hand for you).
(E) ’Cause I wanna (D) run with (A) you (Ah won’t you let me run with you?).

(A) Hold, (D) my, (E) hand (I’ll take you to the promised land).
(A) Hold, (D) my, (E) hand (Maybe we can’t change the world but). |D|
(NC) I wanna love you the best that, the best that I (A) can (D). Yeah.
(A)(D); (A)(D); (A)(D); (A)(D); (E)(D)(A)(A); (E)(D)(A)(A)

(A) Hold, (D) my, (E) hand (I’ll take you to a place where you can be).
(A) Hold, (D) my, (E) hand (Anything you wanna be because, |D| I...oh no, no, no, no, no)
(A) Hold, (D) my, (E) hand (I want you to hold my hand).
(A) Hold, (D) my, (E) hand (I’ll take you to the promised land).
(A) Hold, (D) my, (E) hand (Maybe we can’t change the world but). |D|
(NC) I wanna love you, the best that, the best that I |A| can. |A|-|D|
Oh-ohhhh |A|, |A|-|D| the best that I |A| caaaan- |A|-|D| annnnn. |A| |A|-|D|
(Hootie and the Blowfish) (Artist Index) - (Main Index) - (Song Index) (This Song)
HOME ON THE RANGE – Traditional
(Higley/Kelley)
(MC1)
TIP: The intro is the chords from "and the skies are not cloudy all day."
INTRO: (Am7)(G)(D7)(G)(D7)
Oh (G) give me a home, where the (C) buffalo roam,

Where the (G) deer and the (A7) antelope (D7) play.
Where (G) seldom is heard, a dis (C) couraging (Am7) word,
And the (G) skies are not (D7) cloudy all (G) day. (D7)
(G) Home, (C) home on the (G) range.

Where the (Em) deer and the (A7) antelope (D7) play.
And the (G) skies are not (D7) cloudy all (G) day.
How often at night, when the (C) heavens are bright,

With the (G) lights from the (A7) glittering (D7) stars.
Have I (G) stood there amazed, and (C) asked as I gazed,
If their (G) glory ex (D7) ceeds that of (G) ours. (D7)

Oh I love those wild flowers, in this (C) dear land of ours.

The (G) curlew, I (A7) love to hear (D7) scream.
And I (G) love the white rocks, and the (C) antelope flocks,
That (G) graze on the (D7) mountain so (G) green. (D7)
Where the air is so pure, and the (C) zephyrs so free.

The (G) breezes so (A7) balmy and (D7) light.
That I (G) would not exchange, my (C) home on the range,
For (G) all of the (D7) cities so (G) bright. (D7)

And the (G) skies are not (D7) cloudy all (G) day (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)(MC3)
You can play the intro/outro as chords but it's really meant to be picked. And it's easy! Pretty,
too.
TIP: If playing chords, strike the 3rd and 4th (C) in the sequence emphasizing the top three
strings.
TIP: To pick the intro/outro what we're gonna do is do a sort of on/off thing with the (F) chord
and then move to the (C), all while picking adjacent strings at the same time. So first, get ready
by forming (F) but hover over the fingerboard. Here we go:}
(1) Pick/pluck the open 2nd and 3rd strings together. (2) Form (F) and pick those same strings.
(3) Lift off and again pick the same 2nd and 3rd strings. (4) Back down with an (F) but this time
move your picking hand up one string-set and pick the 3rd and 4th strings together. (5) Now form
(C) and pick those same 3rd and 4th strings together. (6) Keeping the (C) move up a string-set and
pick the 4th and 5th strings together. (7) Still holding (C) drop down a string-set and pick the
3rd and 4th strings together. (8) Now form (G) and pick the top and 4th strings together. Bob's
your uncle. Nice, eh? And not too hard.
TIP: Don't sweat the (Am7) in the chorus. It's just a little voicing in which you lift off ring
finger from the (Am). Super easy.
TIP: While the chorus is jumpy, the verses are a bit throttled back so don't play them too fast.
INTRO chords: |G| |C| |G| |F| |C| |C| |C| |G|
INTRO picked: (2/3), (D7sus2), (2/3), (F-4/3)(C-4/3)(C-5/4)(C-4/3)(G-6/4)
I'm (G) sittin' in the railway station got a (Bm) ticket to my destinati-(E)-on. (Esus) Mmm (E7).
(Am) On a tour of one-night stands my (F) suitcase and guitar in hand,
And (G) ev'ry stop is neatly planned for a poet and a (D7) one man ban-(G)-nd.
Homeward (C) bound, I wish I (G) was. Homeward (C) bound.
(G) Home, where my (Am) thought's esca (Am7) ping (G) home,
Where my (Am) music's play (Am7) ing (G) home,
Where my (Am) love lies wait (Am7) in' (D) silently (D-) for (G) me.
Every day is an endless stream of (Bm) cigarettes and magazi-(E)-ines. (Esus) Mmm (E7).
And (Am) each town looks the same to me the (F) movies and the factories,
And (G) ev'ry stranger's face I see reminds me that I (D7) long to (G) be.
Homeward (C) bound, I wish I (G) was. Homeward (C) bound.

Where my (Am) love lies wait (Am7) in' (D) silently (D-) for (G) me.
Tonight I'll sing my songs again I'll (Bm) play the game and pre (E) tend. (Esus) Mmm (E7).
But (Am) all my words come back to me in (F) shades of mediocrity,
Like (G) emptiness in harmony I need someone to (D7) comfort (G) me.
Homeward (C) bound, I wish I (G) was, homeward (C) bound.

Where my (Am) love lies wait (Am7) in' (D) silently (D-) for (G) me. (D) Silently for (G) me.
OUTRO chords: |G| |C| |G| |F| |C| |C| |C| |G|
OUTRO picked: (2/3), (D7sus2), (2/3), (F-4/3)(C-4/3)(C-5/4)(C-4/3)(G-6/4), <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)(MC1)
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.
We'll go honky tonkin' (A7) 'round this (D) town.
(D).....(A7)(D)
When you and, your baby, have a fallin' out,

Call me up sweet mama and we'll go steppin' out
(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
(D).....(A7)(D)
We goin' honky tonkin' honky tonkin'. Honky tonkin' honey baby.

We goin' honky tonkin' (A7) 'round this (D) town. (A7)-(D)
HONKY TONK WOMEN – The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=61jfm219ArA (Capo 0)(MC3)
[There's another version in [A] which follows that I think sounds better.]
TIP: There is an easy twinkle on the (D)-(D4) chords in the first line of the verses. Simply keep
the (D) and pinky on/pinky off bottom string.
INTRO: (G), (G), (G)(C)(D)(G), (G)
I met a, gin-soaked bar room queen in (C) Memphis (F)(F)-(C).

She (G) tried to take me upstairs for a (D) ride (D4)(D4)-(D).
She (G) had to heave me right across her (C) shoulder (F)(F)-(C).
'Cause I (G) just can't seem to (D7) drink you off (D) my (G) mind.
It's the hon-(D)-onky tonk (G) woman. Gimme gimme (D7) gimme the (D) honky tonk (G) blues.
I played a, divorcee in New York (C) City (F)(F)-(C).

I (G) had to, put up some kind of a (D) fight (D4)(D4)-(D).
The (G) lady then she covered me with (C) roses (F)(F)-(C).
She (G) blew my nose and (D7) then she blew (D) my (G) mind.
(G)(C)(F)-(F)(F)-(C); (G)(A)(Asus)-(Asus)(Asus)-(A); (G)(C)(F)-(F)(F)-(C); (G)(D7)(D)(G)
(G)(C)(D7)(G)
HONKY TONK WOMEN – The Rolling Stones
(Richards/Jagger)
(MC4)
TIP: There are a couple of easy twinkles on the (D) and (E) chords in the first two lines of the
verses. The first is (D)(D4)(D) where you simply keep the (D) and pinky on/pinky off bottom
string. Same with the (E)(EC#)(E), hold the (E) and add pinky on/pinky off to the 2nd string/2nd
fret.
TIP: If you prefer, you can insert a (B) at "upstairs" and "some kind" although I think it sounds
fine without it. If you do, use your bottom three fingers on the preceding (A) and slide up.
INTRO: (A), (A), (A)(D)(E)(A), (A)
I met a, gin-soaked barroom queen in (D) Memphis (D4)(D4)-(D).

She (A) tried to take me upstairs for a (E) ride (EC#)(EC#)-(E).
She (A) had to heave me right across her (D) shoulder (D4)(D4)-(D).
'Cause I (A) just can't seem to (E7) drink you off (E) my (A) mind.
It's the hon-(E)-onky tonk (A) woman. Gimme gimme (E7) gimme the (E) honky tonk (A) blues.
I played a, divorcee in New York (D) City (D4)(D4)-(D).

I (A) had to, put up some kind of a (E) fight (EC#)(EC#)-(E).
The (A) lady then she covered me with (D) roses (D4)(D4)-(D).
She (A) blew my nose and (E7) then she blew (E) my (A) mind.
(A)(D)(D4)-(D4)(D4)-(D); (A)(E)(EC#)-(EC#)(EC#)-(E); (A)(D)(D4)-(D4)(D4)-(D); (A)(E7)(E)(A)

(A)(D)(E7)(A)
HOTEL CALIFORNIA -Eagles
(Felder/Frey/Henley)
https://www.youtube.com/watch?v=09839DpTctU (Capo 2)(MC2)
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).
TIP: You'll occasionally come across an (E)(E7)(E) voicing. This is due to Henley's subtle
downward inflection in which he turns a one-syllable word into two. An example is the word "night"
at the end of the first verse. It's a quick transition to the (E7) before the word and the (E)
that follows. Just lift off your middle finger briefly. If you'd rather not bother with it, just
play the (E) straight through.
INTRO: (Am), (E7)(E); (G), (D); (F), (C); (Dm), (E)

(Am), (E7)(E); (G), (D); (F), (C); (Dm), (E)
(Am) On a dark desert highway, (E) cool wind in my (E7) hair.

(G) Warm smell of colitas, (D) rising up through the air.
(F) Up ahead in the distance, (C) I saw a shimmering light.
(Dm) My head grew heavy and my sight grew dim, (E) I had to stop for the (E7) night (E).
(Am) There she stood in the doorway. (E) I heard the mission (E7) bell.
(G) And I was thinking to myself "This could be (D) heaven or this could be hell."
(F) Then she lit up a candle, (C) and she showed me the way.
(Dm) There were voices down the corridor, (E) I thought I heard them say:
(F) Welcome to the Hotel Cali (C) fornia.

Such a (E7) lovely place (such a lovely place) such a (Am) lovely face.
There’s (F) plenty of room at the Hotel Cali (C) fornia.
Any (Dm) time of year (any time of year) you can (E) find it here.
(Am) Her mind is Tiffany twisted. (E) She got the Mercedes (E7) Benz (E).
(G) She got a lot of pretty pretty boys, (D) she calls friends.
(F) How they dance in the courtyard, (C) sweeeeet summer sweat.
(Dm) Some dance to remember, (E) some dance to for (E7) get (E).
(Am) So I called up the Captain, (E) "Please bring me my (E7) wine (E)" and he said,
(G) "We haven't had that spirit here since (D) nineteen sixty nine."
(F) And still those voices are calling from (C) far away.
(Dm) Wake you up in the middle of the night, (E) just to hear them say:
(F) Welcome to the Hotel Cali (C) fornia.

Such a (E7) lovely place (such a lovely place) such a (Am) lovely face.
(F) Livin' it up at the Hotel Cali (C) fornia.
What a (Dm) nice surprise (what a nice surprise) bring your (E) alibis. <pause>
(Am) Mirrors on the ceiling. (E) The pink champagne on (E7) ice (E) and she said,
(G) "We are all just prisoners here, (D) of our own device."
(F) And in the master's chambers, (C) gathered for their feast.
(Dm) They stab it with their steely knives but they (E) just can't kill the beast.
(Am) Last thing I remember, I was, (E) running for the (E7) door (E).
(G) I had to find the passage back to the (D) place I was before.
(F) "Relax" said the night man, "We are, (C) programmed to receive.
(Dm) You can check out any time you like, (E) 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)(MC1)
TIP: The outro begins with an alternating (Dm)(Am) and is followed by a series of downstrokes
indicated by the chord in brackets |Dm| or |Am|. At the end hold (Am) and pick the strings
indicated ending with your pinky added to the bottom string/3rd fret, "P3".
INTRO: (Am)(C)(D)(F)(Am)(E)(Am)(E)
There (Am) is, a (C) house, in (D) New Orleans (F),

They (Am) call, the (C) Rising (E) Sun.
And it's (Am) been, the (C) ruin, of (D) many a poor (F) boy,
And (Am) God, I (E) know, I’m (Am) one. (C)(D)(F)(Am)(E)(Am)(E)
My (Am) moth, er (C) was, a (D) tailor (F),

(Am) sewed, my (C) new, blue (E) jeans.
My (Am) fa, ther (C) was, a (D) gam, blin' (F) man,
(Am) Down, in (E) New, Or (Am) leans. (C)(D)(F)(Am)(E)(Am)(E)
Now the (Am) on, ly (C) thing, a (D) gambler, (F) needs,
Is a (Am) suitcase (C) and, a (E) trunk.
And the (Am) on, ly (C) time, (D) he's, satis (F) fied,
Is (Am) when, he's (E) on, a (Am) drunk. (C)(D)(F)(Am)(E)(Am)(E)
(Am)(C)(D)(F)(Am)(C)(E); (Am)(C)(D)(F)(Am)(E)(Am), (C)(D)(F)(Am)(E)(Am)(E)
Oh (Am) mother (C), tell your (D) children (F),

Not to (Am) do, what (C) I, have (E) done.
(Am) Spend, your (C) life, in (D) sin, and miser-(F)-y,
In the (Am) house, of the (E) Rising (Am) Sun. (C)(D)(F)(Am)(E)(Am)(E)
Well I’ve got (Am) one, foot (C) on the (D) platform (F),
The (Am) other foot (C) on the (E) train.
I’m (Am) going (C) back to (D) New Orleans (F),
To (Am) wear that (E) ball and (Am) chain. (C)(D)(F)(Am)(E)(Am)(E)
Well there (Am) is, a (C) house, in (D) New Or (F) leans,
They (Am) call, the (C) Rising (E) Sun.
And it's (Am) been, the (C) ruin, of (D) many a poor (F) boy,
And (Am) God I (E) know I’m (Am) one. (C)(D)(F)(Am)(E)(Am),
(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|, 3-2-1-P3
(Animals) (Artist Index) - (Main Index) - (Song Index) (This Song)

HOW LONG - Eagles
(Souther)
https://www.youtube.com/watch?v=PUNv4Mv3lX8 (Capo 0)(MC1)
[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)
Like a blue bird with his heart removed, (F) lonely as a train.
I've (C) run, (F) just as (C) far as (G) I can (C) run.
If I never see, the good old days, (F) shinin' in the sun,
(C) I'll be doin' (G) fine and then (C) some.
(Am) How (G) long (F) how (C) long, woman will you (G) weep?
(Am) How (G) long (F) how (C) long? (G) Rock yourself to (C) sleep.
Well I been doin' time in lonesome prison, (F) where the sun don't shine.
(C) Just outside the freedom river (G) runs.
(C) Out there in that shiny night, with (F) blood hounds on your mind,
(C) Don't you know it's the (G) same sad situ (C) ation?
(Am) How (G) long (F) how (C) long, woman will you (G) weep?
(C),(F); (C)(F)(C)(G)
(C) Everybody feels alright you know I (F) heard some poor fool say.
(C) Everyone is out there on the (G) loose.
Well I (C) wish I lived in the land of fools, (F) no one knew my name.
But (C) what you get is (G) not quite what you (C) choose.
Tell me (Am) how (G) long (F) how (C) long, woman will you (G) weep?
(Am) How . . . (G) long . . . (F) how . . . (C) long. (Am) Muddy (D) River runs so (G) deep.
(Am) How . . . (G) long . . . (F) how . . . (C) long. Good night baby (G) rock yourself to . . .
(C) Sleep tight baby (G) rock yourself to . . .
(C) B-B-Bye bye baby (G) rock yourself to (F) sleeeeeeeee- (C) –eeep. |C|

HOW LONG - Eagles
(Souther)
https://www.youtube.com/watch?v=PUNv4Mv3lX8 (Capo 5)(MC5)
TIP: Get some mates together and harmonize that last verse of "howww lonnngs..."!
INTRO: (G),(C); (G)(C)(G)(D)(G)
Like a blue bird with his heart removed, (C) lonely as a train.
I've (G) run, (C) just as (G) far as (D) I can (G) run.
If I never see, the good old days, (C) shinin' in the sun,
(G) I'll be doin' (D) fine and then (G) some.
(Em) How (D) long (C) how (G) long, woman will you (D) weep?
(Em) How (D) long (C) how (G) long? (D) Rock yourself to (G) sleep.
Well I been doin' time in lonesome prison, (C) where the sun don't shine.
(G) Just outside the freedom river (D) runs.
(G) Out there in that shiny night, with (C) blood hounds on your mind,
(G) Don't you know it's the (D) same sad situ (G) ation?
(Em) How (D) long (C) how (G) long, woman will you (D) weep?
(G),(C); (G)(C)(G)(D)
(G) Everybody feels alright you know I (C) heard some poor fool say.
(G) Everyone is out there on the (D) loose.
Well I (G) wish I lived in the land of fools, (C) no one knew my name.
But (G) what you get is (D) not quite what you (G) choose.
Tell me (Em) how (D) long (C) how (G) long, woman will you (D) weep?
(Em) How . . . (D) long . . . (C) how . . . (G) long. (Em) Muddy (A) River runs so (D) deep.
(Em) How . . . (D) long . . . (C) how . . . (G) long. Good night baby (D) rock yourself to . . .
(G) Sleep tight baby (D) rock yourself to . . .
(G) B-B-Bye bye baby (D) rock yourself to (C) sleeeeeeeeee- (G) –eep. |G|

HUMIDITY BUILT THE SNOWMAN
John Prine
https://www.youtube.com/watch?v=TWXbxp_ebRQ (Older John) (Capo 0)(MC2)
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: There are two little 3-note walk-up voicings to contend with (if you wish). Note in both
you'll begin on an open string in the 2nd fret above the chord you're ending on, 5th string for the
(A) and 6th string for the (E). The first if from (A) to (D) and is the open 5th string <a>, 5th
string/2nd fret , 5th string/4th fret <c#>, notated by <a><c#>, followed by the open 4th
string which is covered by the strum of the next (D). The second voicing is from (E) to (A) and is
all on the top string: open 6th string, the 6th string/2nd fret, 6th string/4th fret, notated by
<6><6/2><6/4>, followed by the open 5th string which is covered by the strum of the next (A).
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) Does he still think a (E) bout her? (A) Why there was never really any (E) doubt.
(A) Every time he lights a (E) candle, or (A) blows a candle (E) out.
The (D) scientific (E) nature of the, (A) ordinary (D) man,
Is to (A) go on out, and (E) do, the best you (A) can. (A)<a><c#>
(D) I don't think that you know, that (A) I think you don't know.
That (D) old barometer goes crazy baby every (A) time it starts to (E) snow. <6><6/2><6/4>
(A) You won't find me (E) walking, (D) 'round your part of towwwn,
Humidity built the (A) snowman, (E) sunshine, brought him (A) down
|E|(E), |A|(A), |E|(E), |A|(A), |E|(E), |A|(A), |E|(E)
(A) This world is full of (E) people, (A) they never seem to (E) fall.
(A) Somebody said they (E) seen you, (A) you hadn't changed at (E) all.
(D) The fundamental (E) story of the, (A) contemporary (D) man,
Is to (A) walk away, and (E) someday, under (A) stand. (A)<a><c#>
================
<Older John>
That (D) old barometer goes crazy baby every (A) time, it starts to (E) snow. <6><6/2><6/4>
(A) You won't find me (E) walking, (D) 'round your part of towwwn,
Humidity built the (A) snowman, (E) sunshine brought him (A) down. (E)
Brought him (A) down (E). Brought him (A) down (E)|A|. <end song>
=========================
<Younger John>
(A) You won't find me (E) walking, (D) 'round your part of towwn,
Humidity built the (A) snowman, (E) sunshine, brought him (A) down.
|E|(E), |A|(A), |E|(E), |A|(A), |E|(E), |A|(A), |E|(E), |A|(A), |E|(E), |A|(A), |E|(E)
The (D) scientific (E) nature of the, (A) ordinary (D) man,
Is to (A) go on out and (E) do the best you (A) can. (A)<a><c#>
(A) You won't find me (E) walking, (D) 'round your part of towwn,
Humidity built the (A) snowman, (E) sunshine, brought him (A) down. <a><c#>
Hu (D) midity built the (A) Snowman, (E) sunshine . . . brought him (A) down |E|(E), |A|(A), |E|(E)
Brought him (A) down |E|(E), |A|(A), |E|(E) Brought him (A) down |E|(E), |A|(A), |E|(E), |A|(A).
I ALWAYS GET LUCKY WITH YOU - Merle Haggard/George Jones
(Powers/Church/Whitson/Haggard)
https://www.youtube.com/watch?v=cB2JiluN7zU (Capo 2)(MC1) (Merle)
https://www.youtube.com/watch?v=6dJz8xY0gvI (Capo 2) (George)
TIP: There are a couple of variations of the (A7) chord. The first is the (A7+) and it's only in
the intro. Play the (A7) and add your index finger to the 5th string/1st fret and pinky to the 1st
string/3rd fret. The pinky is the more important one. Then the (A7#) appears in the verse and
it's the same as the (A7+) but without the pinky.
TIP: There are a few differences between how Merle and No-Show sing the song. This is Merle's
version including his intro and the notation for that means this: Play (Gadd) and then lift off
the 2nd string and pick the 2nd string twice. Then strum strings 4 through 2 of the (B) and pick
the 3rd string twice. Next strum the bottom 3 strings of the (C) and pick the 2nd string twice.
Finally strum the (A7+) then lift off the 1st string and pick it twice. Then play (G)(D)(G)(D) as
normal.
INTRO: (Gadd lift 2) 2-2; (B 4/3/2) 3-3; (C 3/2/1) 2-2; (A7+ lift 1) 1-1; (G)(D)(G)(D)
I've had (G) good luck, and (B) bad luck, and (C) no, luck it's (A7#) true.
But I (G) always get (D) lucky, with (G) you (D7).
I've been (G) turned on, and (B) turned down, when the (C) bars close at (A7#) two.
But I (G) always get (D) lucky, with (G) you.
I keep (C) two strikes, a (A7) gainst me, most (G) all, of the time.
When it's (A7) down to, a phone call, I'm (Am) minus, a (D7) dime.
There’s been (G) good days, and (B) bad days, but when the (C) day, is all (A7#) through.
Hey I (G) always get (D) lucky, with (G) you. (G7)
I keep (C) two strikes, a (A7) gainst me, most (G) all, of the time.
When it's (A7) down to, a phone call, I'm (Am) minus, a (D7) dime.
There’s been (G) good days, and (B) bad days, but when the (C) day, is all (A7#) through.
Hey I (G) always get (D) lucky, with (G) you.
(G)(B)(C)(A7#)(G)(D)(G); (C)(A7)(G)(A7)(Am)(D7);
(G)(B)(C)(A7#) Oh I (G) always get (D) lucky with (C) you (G).
(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)(MC2)
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: The intro consists of a pick/pluck of <d>, two quick picks of <f#>, a pick of <g>. So form
(D) but lift off the index finger so the 3rd string is open. Pick the open 4th string, cover the
4th string/4th fret with your pinky and pick twice, pick the open 3rd string, and strum (D). Easy!
TIP: For (D/A) just add your pinky to the 4th string/4th fret and then release for the following
(D). And while not shown in the chord diagram if you can wrap your thumb over the top string of
the 2nd fret for the (D/A) that will help with the bass but it too should be released for the (D).
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 (G) comes at the end of the word, not the beginning of
the next word. This is more pronounced during last line of each verse but it's the same idea.
INTRO: <d><f#>-<f#><g> (D)(D),(G); (A)(G)-(D)
(In constant (A) sorrow- (G) -ow all through his (D) days.)
(D/A) I-I am a (D) ma-an of constant (G) sorrow.
I've seen (A) trouble (G) all my (D) day.
(D/A) I-I, bid fare (D) well-ell to old Ken (G) tucky.
The place where (A) I (G) was born and (D) raised.
(The (G) place where (A) he- (G) -ee was born and (D) raised.)
(D)(D),(G); (A)(G)-(D)
(D/A) For-or six long (D) year-ers I've been in (G) trouble.
No pleasure (A) here (G) on earth I (D) found.
(D/A) For-or-or in this (D) wor-rld I'm bound to (G) ramble.
I have no (A) friends (G) to help me (D) now.
(He (G) has no (A) frien- (G) -ends to help him (D) now.)
(D)(D),(G); (A)(G)-(D)
(D/A) Ih - it's fare thee (D) well-ell my old true (G) lover.
I never ex (A) pe-ect (G) to see you a (D) gain.
(D/A) For-or I'm bound to (D) ride, that northern (G) railroad.
Perhaps I'll (A) die (G) upon this (D) train.
(Per (G) haps he'll (A) die- (G) -ie upon this (D) train.)
(D)(D),(G); (A)(G)-(D)
(D/A) You, can bury (D) me, in some deep (G) valley.
For many (A) years (G) where I may (D) lay.
(D/A) The-eh-en you may (D) lear-ern to love a (G) nother,
While I am (A) slee-ping (G) in my (D) grave.
(While (G) he is (A) slee- (G) -eeping in his (D) grave.)
(D)(D),(G); (A)(G)-(D)
(D/A) May-ay-be your friends (D) thi-ink I'm just a (G) stranger.
My face you'll (A) nev-ver (G) see no (D) more.
(D/A) Bu-ut there is one (D) pro-mise that is (G) given.
I'll meet you (A) on (G) God's golden (D) shore.
(He'll (G) meet you (A) on- (G) -on God's golden (D) shore.) (G)-(D)
(Dan Tyminski)(The Soggy Bottom Boys) (Artist Index) - (Main Index) - (Song Index) (This Song)
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) I am a (D) pilgrim, and a (G) stranger,

Travelin’ (C) through, this wearisome (G) land.
And I've got a home in, that yonder (Gadd) city good (C) Lord.
And it's |G| not (NC) good Lordie and it’s (D) not not made by (G) hand (C)-(G).
I've got a (D) mother, a sister and a (G) brother,

Who have (C) gone, to that sweet (G) home.
And I’ve determined, to go and (Gadd) see them good (C) Lord.
Over |G| on (NC) good Lordie over (D) on that other (G) shore (C)-(G).
<d>-<d>-<e>-<g> - (D), (D)(G), (G)(C), (C)(G), (G)(G)(Gadd)(C), (C)(G)(D)(G)-(C)-|G|
(NC) As I go (D) down to, the river of (G) Jordan,

Just to (C) bathe, my weary (G) soul.
If I could touch but, just the hem of his (Gadd) garment good (C) Lord.
I be |G| lieve (NC) good Lordie I be (D) lieve that it would make me (G) whole (C)-(G).
Now when I’m (D) dead, layin’ in my (G) coffin.
All of my (C) friends, all gather (G) round.
They can say that he, just layin there (Gadd) sleeeepin’ good (C) Lord.
Sweet |G| peace (NC) Lord his sweet (D) peace his soul is (G) found (C)-(G).
<harmonica> (G)(D), (D)(G), (G)(CaddG), (CaddG)(G), (G)(G)(C), (C)(G)(D)(G)-(C)-(G)
I am a (D) pilgrim, and a (G) stranger,

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

I AM A ROCK - Simon & Garfunkel
(Simon)
https://www.youtube.com/watch?v=JKlSVNxLB-A (Capo 5)(MC1/2)
TIP: "Trill" means to strum the bottom three strings of the (C) six times quickly.
TIP: To play the (D)(D5)(D) simply hold the (D) and lift off the index finger (3rd string) while
at the same time hammering your pinky on the the bottom string (3rd fret) and then reversing the
process to get back to (D). Like a pivot. Practice a few times. If too uncomfortable then just
lift off/replace the index finger and forget about the pinky, or play an (Em) in place of the (D5).
INTRO: (G)(G)-(G),(C)-trill-(G),(G)-(G); (C)-trill-(G)(G)-(G)
A winter's day (trill)-(G), in a (C) deep and dark De (G) cember (trill)-(G).
(Am) I (D7) am a (C) lo-o-(G)-one.
(Am7) Gazing from my (D) window, (Am7) to the streets be (D) low,
On a (Am) freshly fallen (C) silent shroud of (D) snow.
(C) I am a (G) rock, (C) I am an (D) is . . . (G) land.
(G)(G)(G)(G)(C)-(G); (G)(G)(G)(G)(C)-(G)-(D)-(D5)-(D)-(G)
I've built (G) walls, a (C) fortress deep and (G) mighty.
That (Am) non-(D7)-ne may (C) pene (G) trate.
I (Am7) have no need of (D) friendship, (Am7) friendship causes (D) pain.
It's (Am) laughter and it's (C) loving I dis (D) dain.
Don't talk of (G) love. Well I've (C) heard the words be (G) fore.
It's (Am) sleep (D7) ing in my (C) memor (G) y.
I (Am7) won't disturb the (D) slumber of (Am7) feelings that have (D) died.
If I (Am) never loved I (C) never would have (D) cried.
I have my (G) books, and my (C) poetry to pro (G) tect me.
I am (Am) shield (D7) ed in my (C) arm (G) or.
(Am7) Hiding in my (D) room, (Am7) safe within my (D) womb.
I (Am) touch no one and (C) no one touches (D) me.
(G)(G)(G)(G)(C)-(G)
And a (Am7) rock (D7) feels no (G) pain. And an (Am7) island (D7) never (G) cries.
(G)-(G),(C)-trill-(G),(G)-(G); (C)-trill-(G) <pause> |G|-|G|
I CAN STILL HEAR DAD SWEARING – Slim Dusty
(Jewel)
https://www.youtube.com/watch?v=xyYDSIAlW9I (Capo 1)(MC1)
TIP: The intro is a bit much to play with chords. Start by quickly picking the top string/3rd fret
and then the open 5th string, a bar of (C) and then the chords shown in brackets once. The notes
are there if you want to/can pick them out. Parts or all of this sequence repeats after the
verses.
INTRO: <chords> 6/3-5/O-(C)(C)|F|-|C|-|G|-|C|(G), |G|-|G|-|G|-|C|, |F|-|C|-|G|-|C|, (G)
<notes> g–a–c–d–e–g–e–c-f#-e–d-c, d, g–a–b-c, f#-e–d-c, g
When (C) I was a kid, we (F) worked without (C) pay.

I loved best the harvest and (G) stookin’ the (C) hay (C).
Sisters and brothers in (F) knockabout (C) clothes,
They were the good days and (G) good times were (C) those (G).
I can (C) still hear dad (G) swearin’ when we (C) let down the (F) gap,
And the horses spread (C) out through the (G) stooks on the (C) flat.
And poor old mum (G) scoldin’ like a (C) bush woman (F) can:
“Pray the Lord He’s not (C) listenin’ to the (G) talk from that (C) man.” |F|-|C|-|G|-|C|, (G)
I (C) helped with the musterin’ for the (F) shearings in (C) June,
And worked in the shed, through the (G) long after (C) noons (C).
Pickin’ up fleeces and (F) sweepin’ the (C) board,
And fetchin’ the lunches I (G) did what I (C) could (G).
I can (C) still hear dad (G) swearin’ at the (C) stubborn old (F) ewes,
And we dared not re (C) peat any (G) words that he (C) used.
“Pray the Lord He’s not (C) listenin’ to the (G) talk from that (C) man.”
(C)(C)|F|-|C|-|G|-|C|(G), |G|-|G|-|G|-|C|, |F|-|C|-|G|-|C|, (G)
We (C) all learned to ride, on the (F) old pony (C) mare.
But the big rangy vealers were (G) more than a (C) dare (C).
We’d bring up the cows to the (F) old cattle (C) yard,
The ground where we rode them was (G) dusty and (C) hard (G).
I can (C) still hear dad (G) swearin’ when we (C) rode our old (F) bull,
Straight into the (C) chaff shed, and (G) out through the (C) wall.
“Pray the Lord He’s not (C) listenin’ to the (G) talk from that (C) man (C).”
Dad bought me a shotgun when (F) I was four (C) teen.

I soon got my chance, to (G) show I was (C) keen (C).
The dogs were all barkin’ so I (F) went for a (C) look,
And a mangy old fox was there (G) stealin’ the (C) chooks (G).
I can (C) still hear dad (G) swearin’ when I (C) splattered with (F) shot,
The rear of the (C) outhouse whilst (G) shootin’ that (C) fox.
“Pray the Lord He’s not (C) listenin’ to the (G) talk from that (C) man (G)(C)(G).”
(C)(C)|F|-|C|-|G|-|C|(G), |G|-|G|-|G|-|C|, |F|-|C|-|G|-|C|, (G)
‘Twas (C) many long hours we (F) spent with the (C) dogs,
Flushin’ out rabbits from the (G) old hollow (C) logs (C).
In the foothills and scrub, where the (F) gullies a (C) bound,
We knew all the places where (G) game could be (C) found (G).
I can (C) still hear dad (G) swearin’ as we (C) burnt that old (F) log,
The day the big (C) snake bit, his (G) best kelpie (C) dog.
“Pray the Lord He’s not (C) listenin’ to the (G) talk from that (C) man.” |F|-|C|-|G|-|C|, (G)
But (C) those days have vanished like (F) childhood they’ve (C) flown.
An abandoned old house, in the (G) bush stands a (C) lone (C).
Where a ghostly old figure, in a (F) big floppy (C) hat,
Still brings us our lunch through the (G) stooks on the (C) flat (G).
I can (C) still hear dad (G) swearin’ as we (C) buried old (F) mum.
As we stood by her (C) grave in the (G) warm autumn (C) sun.
And still hear her (G) scoldin’ like a (C) bush woman (F) can:
“Pray the Lord He’s not (C) listenin’ to the (G) talk from that |C| man.”
(C)(C)|F|-|C|-|G|-|C|
I CAN’T HELP MYSELF (SUGAR PIE, HONEY BUNCH) – The Four Tops
(Holland/Dozier/Holland)
https://www.youtube.com/watch?v=s3bksUSPB4c (Capo 0)(MC0)
INTRO: (C)(C)(C)(C)(C)(C) Ooooh
Sugar Pie Honey Bunch, you know that (G) I love you (G).
I can't (Dm) help myself, I love you and (F) nobody else (G).
(C) In and out my life, you come and you (G) go.
Leaving just your (Dm) picture behind, and I kissed it a (F) thousand times (G).
(C) When you snap your finger, or wink your eye I come a (G) running to you.
I'm tied to your (Dm) apron strings, and there's nothing that (F) I can do (G). Oooh.
<sax> (C)(C)(G)(G) Can’t (Dm) help myself, noooo I can’t (F) help myself (G). Oh.
(C) Sugar Pie Honey Bunch, I'm weaker than a (G) man should be (G).
I can't (Dm) help myself, I'm a fool in (F) love you see (G).
Wanna (C) tell you I don't love, you tell you that we're through, (G) and I've tried,
But every time I (Dm) see your face, I get all choked (F) up inside (G).
(C) When I call your name, girl it starts the flame, burning in my heart,
Tearin’ it all apart, no matter how I try, my love I cannot hide 'cause
Sugar Pie Honey Bunch, you know that I'm (G) weak for you (G).
Can't (Dm) help myself, I love you and (F) nobody else (G). Oooh.
(C) Sugar Pie Honey Bunch, do anything you (G) ask me to (G).
Can't (Dm) help myself, I want you and (F) nobody else (G). Oooh.
(C) Sugar Pie Honey Bunch, you know that (G) I love you (G).
Can't (Dm) help myself, no I can't (F) help myself (G).
(C) Sugar Pie Honey Bunch, you know that I'm (G) weak for you.
Can't (Dm) help myself, I love you and (F) nobody else (G) |C|.
(The Four Tops) (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)(MC1)
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: For the last line, strum once at the point where you see the chord in brackets |E|.
TIP: The song has a distinct strumming pattern of down, up-down; down, up-down, etc.
INTRO: <f#><g><a>
To (G) day, I sat a (D7) lone, at the (G) window.

And I watched, our little girl, outside at (D7) play.
With the (C) little boy, next door, like so (G) many times, before,
But, (A7) something, didn't seem quite right to (D7) day.
So I went (G) outside, to (D7) see, what they were (G) doing.
And then the teardrops made my (B7) eyes grow (Em) dim (G7).
'Cause I (C) heard him name, a game, and I (G) hung my head, in shame,
When I heard, our little (D7) girl, say to (G) him:
(NC) "I don't wanna play (C) house. I know, it can't be (G) fun.
I've watched (D7) mommy, and (C) daddy, and if (G) that's, the (D7) way it's (G) done
(G7) I don't wanna play (C) house. It makes, my mommy (G) cry.
'Cause when (D) she played house, my (C) daddy (D7) said, good (G) bye."
<key change>: |F#|-|F#|-|F#|-|F3|-|F3|-|F3|-|F5|
(NC) I don't wanna play (D) house. I know, it can't, be (A) fun.
I've watched (E) mommy, and (D) daddy, and if (A) that's, the (E7) way it's (A7) done
I don't wanna play (D) house. It makes, my mommy (A) cry.
'Cause when |E| she played house my |D| daddy |E7| said good (D) bye (A).
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) Cried myself to sleep last night, and I don't want to feel like that no (C) more (C)(C).
(G) Woke up before the morning light, and I don't want to feel like that no (C) more (C)(C).
(D) I couldn't think one thought that didn't (C) start with your name.
(D) I couldn't see one day that wasn't (C) more of the same.
(Am) And I don't want to feel like that. (C) I don't want to feel like that no (G) more (G)(G).
(C) I don't want to feel like that (C).
(G) I said I had to get it off my chest. I don't want to play that game no (C) more (C)(C).
(G) I could've lied a little more or less, but I don't want to play that game no (C) more (C)(C).
(D) If you're not willin’ to (C) hear what I have to say,
(D) It's too late 'cause now I've (C) said it anyway.
(Am) And I don't want to feel like that. (C) I don't want to feel like that no (G) more (G)(G).
(D) I don't want to feel like my life's (C) hanging by a string.

(D) I don't want to feel like I ain't (C) feelin’ anything.
<fiddle> (Em)(Em)(C)(C)(Em)(Em)(C)|C|
(G) Cried myself to sleep last night, and I don't want to feel like that no (C) more (C)(C).
(G) I said a prayer with all my might, said I don't want to feel like this no (C) more (C)(C).
(D) Got myself in this mess I can (C) get myself out,
(D) Starting right here and I'm (C) starting right now.
(Am) 'Cause I don't want to feel like that,
(C) I don't want to feel like that no (Em) more (Em)|Em|.
(G) I don't want to feel like that (G)(C). Mmmmm.
(G) I don't want to feel like that (G)(C). Ohhh.
(G) I don't want to feel like that (G)(C). No more.
(G) I don't want to feel like that (G)(C)(C)|G|.
I FALL TO PIECES – Patsy Cline
(Howard)
https://www.youtube.com/watch?v=iuZTk1hdpMs (Capo 3)(MC2)
TIP: There are several voicings to deal with, all are pretty easy.
- The first opens the song and comes again as a transition from verse-to-chorus. It's a walk-up
of three (piano) notes followed by three chords. You can play them at either the high register,
off the (C), or low register off the (G). I find it's easier to play the intro off the (C) and the
verse off the (G). Here's how to do both. Intro: Form (C) and lift off the index finger. Pick
open 2nd string, replace index finger and pick 2nd string, place pinky on 2nd string/3rd fret and
pick the 2nd string, lift off pinky and strum (C)(D)(G). Verse: You'll be coming off the (G) so
hold (G) and pick the 5th string, lay your middle (or ring depending on how you play the (G))
finger down to cover the 3rd fret and pick 5th string, lift off and pick the open 4th string, strum
(C)(D)(G).
- Next is the (Csus2) which is a one-note transition chord for the word "to". From the
preceding (C) at "fall" just lift off your middle finger and strum the middle strings.
- Following on the heels of the (Csus2) is the (D)-(Db)-(C) voicing which is equally easy to
play. Play (D), hold (D) and slide down one fret for one count, play (C).
INTRO: <c><d>(C)(D)(G),(D)
(G) I, (C) fall, (Csus2) to (D) pieces (D)-(Db)-(C),

Each time I (D) see you a (G) gain (D).
(G) I, (C) fall, (Csus2) to (D) pieces (D)-(Db)-(C).
How can I (D) be just your (G) friend?
You want me to (G7) act like we've (C) never kissed.

You want me (D) to forget (D7), pretend we've (G) never met.
And I've (C) tried, and I've (D) tried, but I (G) haven't yet.
You walk (C) by, and (D7) I, fall to (G) pieces. <c><d>(C),(D),(G),(D)
(G) I, (C) fall, (Csus2) to (D) pieces (D)-(Db)-(C),
Each time some (D) one speaks your (G) name (D).
(G) I, (C) fall, (Csus2) to (D) pieces (D)-(Db)-(C).
Time only (D) adds to the (G) flame.
You tell me to (G7) find someone (C) else to love.

Someone who'll (D) love me too (D7), the way you (G) used to do.
But each (C) time, I go (D) out, with (G) someone new,
You walk (C) by, and (D7) I, fall to (G) pieces.
You walk (C) by and (D7) I fall to (G) 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)(MC3)
TIP: For the intro start by forming up (A) by using the front third of your index finger across
strings 2-3-4, kind of like you're playing a barre but with the bottom and 4th strings open. Now
roll your wrist forward under the neck so you can tap the open 4th string note <f>. Yeah it's
awkward but you only have to do it for the intro. Now strum (A) hitting only the middle strings
and then put your pinky down on that 4th string/4th fret and strum again. So it's off/on, off/on
etc. Repeat this sequence seven times and then strum |E| quickly six times focusing on the bottom
3 strings. Move to the (A) for two measures, a quick (A7) to (A) and start the song. If all too
much just strum (A)(E)(A).
INTRO: (A)-<f#> x 7; |E| x 6 (A) (A) (A7)-(A)
Well I woke up this mornin' stumbled out of my rack.

I opened up the paper to the page in the back.
It (D7) only took me a minute for my finger to find,
My (A) daily dose of destiny under my sign.
My (E) eyes just about popped out of my (E7) head
It said "The |A| stars are stacked against you girl get back in bed."
I feel (D7) lucky. I feel (A) lucky (A7) yeah.

(E) No Professor Doom gonna (E7) stand in my way. |A| Hmm I feel lucky today. (A)(A)(A)(A7)
Well I (A) strolled down to the corner gave my numbers to the clerk.
The pot's eleven million so I called in sick to work.
I (D7) bought a pack of Camels, a burrito, and a Barq's,
(A) Crossed against the light made a beeline for the park.
The (E) sky began to thunder, wind began to (E7) moan
I heard a |A| voice above me sayin' "Girl you'd better get back home."
But I feel (D7) lucky. Oh oh oh I feel (A) lucky (A7) yeah.
No (E) tropical depression gonna (E7) steal my sun away. |A| Hmm I feel lucky today.
(D7)(A)(A)(E7)-(E)(E)(E)(A)(E)
Now e (A) leven million later I was sittin' at the bar.

I bought the house a double and the waitress a new car.
Dwight (D7) Yoakim's in the corner, tryin' to catch my eye
Lyle (A) Lovett's right beside me with his hand upon my thigh.
(E) Moral of this story, it's (E7) simple but it's true
Hey the (A) stars might lie but the numbers never do.
I feel (D7) lucky. Oh oh oh I feel (A) lucky (A7) yeah.

Hey (E7) Dwight, hey Lyle, boys, (E) you don't have to fight. (A) Hot dog I feel lucky tonight.
I feel (D7) lucky. I feel (A) lucky yeah.

(E) Think I'll flip a coin I'm a winner either way. (A) 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)(MC2)
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|
Breakin’ rocks in the, (C) hot (G) sun.

I fought the law and the, (C) law (G) won, I fought the law and the, (D7) law (G) won.
(G x 3)(C)(D); (G x 7)|D|-|G|-|D|-|G|
I needed money cause I, (C) had (G) none.

(G x 3)(C)(D); (G x 7)|D|-|G|-|D|-|G|
I (C) left my baby and it feels so sad, I (G) guess my race is run.
Well (C) she’s the best girl that I ever had.
(G) I fought the law and the, (C) law (G) won, I fought the law and the, (D7) law (G) won.
(G x 3)(C)(D), (G x 7)|D|-|G|-|D|-|G|;
|G|-|G|-|G|,|C|-|C|-|C|, |CaddG|-|CaddG|-|CaddG|-|C|; |G|-|G|-|G|,|C|-|C|-|C|,|G|-|C|-|G|-|D|;
|G|-|G|-|G|,|C|-|C|-|C|, |CaddG|-|CaddG|-|CaddG|-|C|;
(G x 7)(C)(D); (G x 7)|D|-|G|-|D|-|G|
Robbin’ people with a, (C) six (G) gun.

(G x 3)(C)(D); (G x 7)|D|-|G|-|D|-|G|
I miss by baby and the, (C) good (G) fun.
(G x 3) (C) (D) (G x 7)|D|-|G|-|D|-|G|
I (C) left my baby and it feels so sad. I (G) guess my race is run.
But (C) she’s the best girl that I ever had.
(G) I fought the law and the, (C) law (G) won, I fought the law and the, (D7) law (G) won.
(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)(MC1)
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) Round round get around (E7) I get around yeah.
(Am) Get around round round (F) I get a (D) round

Ooooooh . . . . . . . . . . . . . . . .
I get a (G) round,

Get around round round I get around.
From town to (E7) town.
I'm a real cool (Am) head,
I'm makin' real good (F) bread.
Get around round round (D) I get around.
I'm gettin' (Am) bugged driving (D) up and down the (Am) same old (D) strip.
I gotta (Am) find a new (D) place where the (Am) kids are (D) hip. (G)(G)(G)(G)
My (Am) buddies and (D) me are getting (Am) real well (D) known
Yeah the (Am) bad guys (D) know us and they (Am) leave us a (D) lone.
I get a (G) round,
I get a (E) round round (E7) get around-round-round (A) ooooooh.

Wah-wah- (D) ooooooh. Wah-wah- (A) ooooooh. Wah-wah-(E) ooh-(F)-ooh.
<capo +1>
We (Am) always take my (D) car 'cause it's (Am) never been (D) beat,
And we've (Am) never missed (D) yet with the (Am) girls we (D) meet. (G)(G)(G)(G)
None of the (Am) guys go (D) steady 'cause it (Am) wouldn't be (D) right
To leave their (Am) best girl (D) home now on (Am) Saturday (D) night.
I get a (G) round,

I get a (E) round round
(E7) ooh-ooh-ooh-ooh- (D) –ooh-ooh-ooh-ooh.
|G| Round round get around
(E) I get around yeah.
(Am) Get around round round (F) I get a (D) round.

Ooooooh . . . . . . . . . . . . . . . . .
(G) Get around round round I get around

wah-wah- (E7) ooh
Get around round round I get around
Oooh-ooh-ooh- (Am) ooh
Ooh-ooh-ooh- (F) ooh
Get around round round (D) I get around I get a (G) round round round I get around
I get a (E) round
Ooh-ooh-ooh- (Am) ooooh, oooh-ooh- (F) oooh. (E7) |Am|
I GOT YOU BABE – Sonny & Cher
(Bono)
https://www.youtube.com/watch?v=HKGjCPBSG38 (Capo 3)(MC0)
TIP: If you’re singing a duet, Cher’s part is red, Sonny’s is in blue, and black is both together.
TIP: The song changes key coming out of the middle eight at the (Bb) so you’ll need to play the
(Bb) and then slide the capo up one fret to continue playing with the recording. If you’re not
going to deal with the chord change than play the (Bb) and continue with the (D). And if you
remember to play that transitioning (A) with your bottom three fingers it’ll be easy to just slide
up one fret and add the index finger to play the (Bb).
TIP: Because Sonny sings the words “you babe” quickly the (D) comes on “you” rather than “babe”
but in the outro it comes on “babe” due to the trailing (A) instead of (G). Really, either
position works.
TIP: For the (A)(Asus4)-(A) just hold the (A) and either slide your bottom finger up one fret or
add your pinky to the 2nd string/3rd fret. On-off.
INTRO: (D)(G),(D)(G)
They (D) say we're young and (G) we don't know,

(D) Won't find out un (G) til-(C)-ill we (A) grow (A)(Asus4)-(A).
Well (D) I don't know, if (G) all that's true,
'Cause (D) you got me and (G) baby (C) I got (A) you (A)(Asus4)-(A).
(D) Babe (G), I got (D) you babe (G), I got (D) you babe (G).
They (D) say our love won't (G) pay the rent.
Be (D) fore it's earned our (G) money's (C) all been (A) spent (A)(Asus4)-(A).
I (D) guess that's so we don't (G) have a pot,
But at (D) least I'm sure of (G) all the (C) things we (A) got (A)(Asus4)-(A).
(D) Babe (G), I got (D) you babe (G), I got you (D) babe (D)|D|.
I got (Em) flowers (Em), in the (A) spring (A).

I (Em) got you (Em), to wear my (A) ring (A).
And when I'm (D) sad, you're a (G) clown.
And if I get (D) scared, you're always a (A) rou-(Bb)-ond.
<capo +1>
So (D) let them say your (G) hair's too long,

Cause (D) I don't care, with (G) you I (C) can't go (A) wrong (A)(Asus4)-(A).
Then (D) put your little (G) hand in mine.
(D) There ain't no hill or (G) mountain (C) we can't (A) climb (A)(Asus4)-(A).
(D) Babe (G), I got (D) you babe (G), I got (D) you babe (G). (D)(D)(D)(A)
(D) I got you, to (G) hold my hand, (D) I got you to (A) understand.
(D) I got you, to (G) walk with me, (D) I got you to (A) talk with me.
(D) I got you, to (G) kiss goodnight, (D) I got you to (A) hold me tight.
(D) I got you, (G) I won't let go, (D) I got you to (A) love me so.
(D)(G)(D)|A| I |G| gottt youu |D| babe. (D)(G)
I got you (D) babe (A). I got you (D) babe (G).
I got you (D) babe (A). I got you (D) babe (G).
I got you (D) babe (A). I got you (D) babe (G)(D). |A|
I got you |D| babe.
(Sonny & Cher) (Artist Index) - (Main Index) - (Song Index) (This Song)
I HOPE THAT I DON’T FALL IN LOVE WITH YOU – Hootie and the Blowfish
(Waits)
https://www.youtube.com/watch?v=xrf9Dkk96Ng (Capo 0)(MC1)
[Also presented afterward in the key of [G], mainly for fingerstyle.]
TIP: The (Gadd) that precedes the first word in each verse (except first and last) should be
played with that first word. In other words, there are only two chords, the (G) and (C), that open
each verse with the (Gadd) actually coming on the word. You’ll see what I mean when you play it
that way.
INTRO: (C) (F) (G); (C) (F) (G)
Well I (C) hope that I don't (F) fall in love with (Gadd) you.
(C) Fallin' in (F) love just makes me (G) blue.
Well the (F) music plays and (C) you display a (G) part for me to (C) see.
I (F) had a beer and (C) now I hear you (F) calling out for (Gadd) me.
Still I (C) hope that I don't (F) fall in (Gadd) love with (C) you.
|G|-|C| (Gadd) See the (C) room is crowded (F) people every (Gadd) where.
And I (C) wonder should I (F) offer you a (G) chair?
Well I (F) turn around to (C) look at you, you (G) light a cigar (C) ette.
I (F) wish I had the (C) guts to bum one (F) but we've never (Gadd) met.
And I (C) hope that I don't (F) fall in (Gadd) love with (C) you.
|G|-|C| (Gadd) See the (C) night does funny (F) things inside a (Gadd) man.
These old (C) tomcat feelings (F) you don't under (G) stand.
Well I (F) turn around to (C) look at you, (G) you look back at (C) me.
The (F) guy you're with has (C) up and split the (F) chair next to you’s (Gadd) free.
Now I (C) hope that you don't (F) fall in (Gadd) love with (C) me.
|G|-|C| (Gadd) Well it's (C) closing time . . . the (F) music's fading (Gadd) out.
Last (C) call for drinks I'll (F) have another (G) stout.
Well I (F) turn around to (C) look at you, you're (G) nowhere to be (C) found.
I (F) search the place for (C) your lost (F) face . . . guess I'll have another (Gadd) round.
Now I (C) think that I just (F) fell in (Gadd) love with (C) you. (F) (C)
I HOPE THAT I DON’T FALL IN LOVE WITH YOU – Hootie and the Blowfish
(Waits)
https://www.youtube.com/watch?v=xrf9Dkk96Ng (Capo 5)(MC4)
TIP: This is a lovely song to fingerpick but is easier to do so in the key [G] rather than the key
of [C] (at least for me it is). You can still chord strum this version if you wish.
TIP: Instead of chords to begin each verse, try picking the individual notes and begin strumming
with (G). <f#> is 4th string/4th fret, <g> is open 3rd string, <a> is 3rd string/2nd fret.
INTRO: (G) (C) (D); (G) (C) (D)
Well I (G) hope that (Gadd) I don't (C) fall in love with (D) you.
(G) Fall (Gadd) in' in (C) love just makes me (D) blue.
Well the (C) music (CaddG) plays and (Gadd) you display your (D) part for me to (Gadd) see.
I (C) had a (CaddG) beer and (Gadd) now I hear you (C) callin' out for (D) me.
Still I (G) hope that (Gadd) I don't (C) fall in (D) love with (G) you.
<f#><g><a> See the (G) room is (Gadd) crowded (C) people every (D) where.
And I (G) wonder (Gadd) should I (C) offer you a (D) chair?
Well I (C) turn a (CaddG) round to (Gadd) look at you, you (D) light a cigar (Gadd) ette.
I (C) wish I (CaddG) had the (Gadd) guts to bum one (C) but we've never (D) met.
Still I (G) hope that (Gadd) I don't (C) fall in (D) love with (G) you.
<f#><g><a> See the (G) night does (Gadd) funny (C) things inside a (D) man.
These old (G) tomcat (Gadd) feelings (C) you don't under (D) stand.
Well I (C) turn a (CaddG) round to (Gadd) look at you, (D) you look back at (Gadd) me.
The (C) guy you're (CaddG) with has (Gadd) up and split the (C) chair next to you’s (D) free.
Now I (G) hope that (Gadd) you don't (C) fall in (D) love with (G) me.
<f#><g><a> Now it's (G) closing (Gadd) time . . . the (C) music's fading (D) out.
Last (G) call for (Gadd) drinks I'll (C) have another (D) stout.
Well I (C) turn a (CaddG) round to (Gadd) look at you, you're (D) nowhere to be (Gadd) found.
I (C) search the place for (Gadd) your lost face . . . guess I'll (CaddG) have another (D) round.
Now I (G) think that I just (C) fell in (D) love with (G) you. (C)(G)
I KNOW YOU’RE OUT THERE SOMEWHERE – Moody Blues
(Hayward)
https://www.youtube.com/watch?v=cjImFYf2Vzc (Capo 0)(MC0/1)
TIP: About that two-part trill at the end of the chorus, it may look complicated but it's really
not. You start with a (G) and move to an (A5) and back to (G) and there are two ways to play it.
The first way is, from the (G), just extend your pinky to the bottom string of the 5th fret, play
the chord, and lift off to get back to (G). That might be a stretch (literally) for some so I find
a simpler way is to just pull off the top two strings of the (G) and slide your bottom finger up
two frets the the 5th fret (A5), play the chord, and then slide back down two frets and worry about
replacing the top strings of the (G). Very easy. For the second part you start with (CaddG) which
is nothing more than (C) with your pinky on the bottom string of the 3rd fret. Lift off the pinky
to get back to (C), put your pinky on the 2nd string/3rd fret (same place as before but just up one
string) to get (CaddD), and lift off the pinky to return to (C). Quite easy.
; ;
I (Em) know you're out there (Am) somewhere. (Gadd) Somewhere, (D) somewhere.
I (Em) know I'll find you (Am) somehow. And somehow I'll re (C) turn again to (G) you.
(G)(A5)-(G),(CaddG)(C)(CaddD)(C); (G)(A5)-(G),(CaddG)(C)(CaddD)(C)
The (G) mist is lifting slowly, I can (C) see the way ahead.
And I've (G) left behind, the empty streets that (C) once inspired my life.
And the (G) strength of the emotion, is like (C) thunder in the air,
Cuz the (G) promise that, we made each other (C) haunts me to the end.
I (Em) know you're out there (Am) somewhere. (C) Somewhere you can (D) hear my voice.
I (Em) know I'll find you (Am) somehow. (Gadd) Somehow, (D) somehow.
I (Em) know I'll find you (C) somehow. And (Am) somehow I'll re (C) turn again to (G) you.
(G)(A5)-(G),(CaddG)(C)(CaddD)(C); (G)(A5)-(G),(CaddG)(C)(CaddD)(C)
The (G) secret of your beauty, and the (C) mystery of your soul.
I've been (G) searching for in everyone I (C) meet.
And the (G) times I've been mistaken, it's im (C) possible to say.
And the (G) grass is growing underneath our (C) feet.
(G)(A5)-(G),(CaddG)(C) (CaddD)(C); (G)(A5)-(G),(CaddG)(C)(CaddD)(C)
Yes I (G) know it's going to happen, I can (C) feel you getting near.
And (G) soon we'll be returning to the (C) fountain of our youth.
And (G) if you wake up wondering, in the (C) darkness I'll be there.
My (G) arms will close around you and (C) protect you with the truth.
(G)(A5)-(G),(CaddG); (G)(A5)-(G),(CaddG); |Gadd|
I LIKE BEER
Tom T. Hall
https://www.youtube.com/watch?v=AOiyksNlrY0 (Capo 0)(MC0)
TIP: In the intro, after the (E) strum (E) three more times focusing on hitting the 3rd string,
2nd string, and first string.
TIP: (F#) is just (F) played up one fret. (E7full) is just (E) with your pinky added to the 2nd
string/3rd fret and doesn't come in until the last strum of the song. You can just play another
(E) if you'd rather.
INTRO: (F#)(B7)(E),(E-3)(E-2)(E-1)
In some of my songs I have (A) casually (E) mentioned,

The fact that I like to drink (B7) beer.
(E) This little song is (A) more to the (E) point,
(F#) Roll out the barrel and lend me your (B7) ears.
(NC) I like (A) beer. It makes me a jolly good (E) fellow. I like (A) beer.
It (F#) helps me unwind and sometimes it makes me feel (B7) mellow. (NC) Makes him feel mellow.
(E) Whiskey's too rough, cham (A) pagne costs too (E) much, vodka puts my mouth in (A) gear.
This little refrain should (E) help me explain as a (B7) matter of fact I like (E) beer.
(He likes beer).
My wife often frowns when we're (A) out on the (E) town,
And I'm wearing a suit and a (B7) tie.
She's (E) sipping vermouth and she (A) thinks I'm un (E) couth,
When I (F#) yell as the waiter goes (B7) by.
This little refrain should (E) help me explain as a (B7) matter of fact I like (E) beer.
(He likes beer).
Last night I dreamed, that I (A) passed from the (E) scene,
And I went to a place so sub (B7) lime.
Oh the (E) water was clear and (A) tasted like (E) beer,
Then (F#) they turned it all into (B7) wine. (Awww).
This little refrain should (E) help me explain as a (B7) matter of fact I love (E) beer.
( |E| Yes |F#| he |B7| likes |E7full| beer ).
I LOVE
Tom T. Hall
https://www.youtube.com/watch?v=65AuuFpNFxY&t=2s (Capo 2)(MC3)
[A version in [G] follows this one.]
TIP: The last verse of the song is sharped so you'll have to slide the capo up one fret where
indicated 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. This sequence is repeated at
the end of each verse but doesn't have to be played if you don't want. Notice at the end there's
one additional note.
INTRO <Form D/A>: 4-3-2-3-1-2-3; 4-3-2-3-1-2-3
(D) I love, (G) little baby (D) ducks, (G) old pick-up (D) trucks,
(A7) Slow moving trains, and (D) rain.
I love, (G) little country (D) streams, (G) sleep without (D) dreams,
(A7) Sunday school in May, and (D) hay. (D/A) 4-3-2-3-1-2-3; 4-3-2-3-1-2-3
And (G) I, (A) love, you (D) too.
I love, (G) leaves in the (D) wind, (G) pictures of my (D) friends,
(A7) Birds in the world, and (D) squirrels.
I love, (G) coffee in a (D) cup, (G) little fuzzy (D) pups,
(A7) Bourbon in a glass, and (D) grass. (D/A) 4-3-2-3-1-2-3; 4-3-2-3-1-2-3
And (G) I, (A) love, you (D) too.
<capo +1>
I love, (G) honest open (D) smiles, (G) kisses from a (D) child,
To (A7) matoes on the vine, and (D) onions.
I love, (G) winners when they (D) cry, (G) losers when they (D) try,
(A7) Music when it's good, and (D) life. (D/A) 4-3-2-3-1-2-3; 4-3-2-3-1-2-3
And (G) I, (A) love, you (D) too. (D/A) 4-3-2-3-1-2-3-2
I LOVE
Tom T. Hall
(MC0)
TIP: Tom sharps the last verse but rather than deal with the strange sharped chords I've increased
it by a full semi-tone, 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 skip it if you want.
INTRO <Form (G)>: 6-5-4-5-3-4-5; 6-5-4-5-3-4-5
(G) I love, (C) little baby (G) ducks, (C) old pick-up (G) trucks,
(D7) Slow moving trains, and (G) rain.
I love, (C) little country (G) streams, (C) sleep without (G) dreams,
(D7) Sunday school in May, and (G) hay. 6-5-4-5-3-4-5; 6-5-4-5-3-4-5
And (C) I, (D) love, you (G) too.
I love, (C) leaves in the (G) wind, (C) pictures of my (G) friends,
(D7) Birds in the world, and (G) squirrels.
I love, (C) coffee in a (G) cup, (C) little fuzzy (G) pups,
(D7) Bourbon in a glass, and (G) grass. 6-5-4-5-3-4-5; 6-5-4-5-3-4-5
And (C) I, (D) love, you (G) too.
<key change> Strum (A)
I love, (D) honest open (A) smiles, (D) kisses from a (A) child,
To (E7) matoes on the vine, and (A) onions.
I love, (D) winners when they (A) cry, (D) losers when they (A) try,
(E7) Music when it's good, and (A) life (A7). And (D) I, (E) love, you (A) too.
I LOVE ROCK ‘N’ ROLL – Joan Jett & the Blackhearts
(Merrill/Hooker)
https://www.youtube.com/watch?v=iC8oP4Z_xPw (Capo 2)(MC4)
TIP: In the lead in chorus to the several that end the song Joan sings a capella but I’ve left the
chords in.
INTRO: <snare> |D|-|D|, (D)(G)(A); |D|-|D|, (D)(G)(A), |D|-|D|, |D|-|D|, (D)
I saw him dancin’ (G) there by the record ma (D) chine.

I knew he must have (G) been about seven (A) teen.
The (G) beat was goin’ (A) strong, (D) playin’ my favorite (G) song (G).
And I could (A) tell it wouldn't be (G) long till he was with (A) me, yeah me.
And I could tell it wouldn't be (G) long till he was with (A) me, yeah me singin’
(D) I love rock and roll, so (G) put another dime in the (A) jukebox baby.
(D) I love rock and roll, so (G) come and take your time and (A) dance with (D) me (D). Ow! (D)
He smiled so I got (G) up and asked for his (D) name.

But that don't matter he (G) said 'cause it's all the (A) same.
He (G) said "Can I take you (A) home, where (D) we can be a (G) lone (G)?"
And (A) next we were movin’ (G) on he was with (A) me yeah me.
Next we were movin’ (G) on he was with (A) me yeah me singin’
(D) I love rock and roll, so (G) come and take your time and (A) dance with (D) me (D). Ow! (D)
<instrumental> (D)(D)(D)(D)(A)(D)
He (G) said "Can I take you (A) home, where (D) we can be a (G) lone (G)?"
And (A) next we were movin’ (G) on he was with (A) me yeah me.
And we’ll be movin’ on and (G) singin’ that same old (A) song yeah with me, singin’
< A capella > (D) I love rock and roll, so (G) put another dime in the (A) jukebox baby.
(D) I love rock and roll, so (G) come and take your time and (A) dance with (D) me.
I love rock and roll, so (G) put another dime in the (A) jukebox baby.
(D) I love rock and roll, so (G) come and take your time and (A) dance with
(D) I love rock and roll, so (G) come and take your time and (A) dance with |D| me.
(Joan Jett & the Blackhearts) (Artist Index) - (Main Index) - (Song Index) (This Song)
I LOVE ROCKY ROAD – Weird Al Yankovic
(Merrill/Hooker/Yankovic)
https://www.youtube.com/watch?v=beTsDOBRs8I (Capo 0)(MC5)
TIP: In the lead in chorus to the several that end the song Al sings a capella but I’ve left the
chords in.
INTRO: <snare> |D|-|D|, (D)(G)(A); |D|-|D|, (D)(G)(A), |D|-|D|, |D|-|D|, (D)
I hear those ice cream (G) bells and I start to (D) drool.
Keep a couple (G) quarts in my locker at (A) school.
Yeah but (G) chocolate's gettin' (A) old, va (D) nilla just leaves me (G) cold.
There's (A) just one flavor (G) good enough for (A) me yeah me.
Don't gimme-no crummy (G) taste spoon I know (A) what I need baby
(D) I love rocky road, so (G) won’t you go and buy half a (A) gallon baby.
(D) I love rocky road, so (G) have another triple (A) scoop with (D) me. Ow! (D)
They tell me ice cream (G) junkies are all the (D) same.
All the soda (G) jerkers know my (A) name.
When (G) their supply is (A) gone, then (D) I'll be movin' (G) on.
But (A) I'll be back on (G) Monday after (A) noon, you'll see.
Another truck load's (G) comin' in for (A) me, all for me I’m singin’
(D) I love rocky road, so (G) have another triple (A) scoop with (D) me. Ow!
<instrumental> (D)(D)(D) Oh make it talk. (D)(D)(A)
(G) When I'm all a (A) lone, I just (D) grab myself a (G) cone.
And if (A) I get fat and (G) loose my teeth that's (A) fine with me.
Just lock me in the (G) freezer and throw a (A) way the key singin’
< A capella > (D) I love rocky road, so (G) won’t you go and buy half a (A) gallon baby.
(D) I love rocky road, so (G) have another triple (A) scoop with (D) me.
I love rocky road, so (G) won’t you go and buy half a (A) gallon baby.
(D) I love rocky road, so (G) have another triple (A) scoop with
(D) I love rocky road, so (G) have another triple (A) scoop with
(D) I love rocky road, so (G) have another triple (A) scoop with |D| me.
I RIDE AN OLD PAINT - Johnny Cash
(Traditional)
https://www.youtube.com/watch?v=qUFbDqp28so (Capo 0)(MC0)
TIP: Johnny 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.

I'm (A) off to Montan' for to (D) throw the hoolian.
They (A) feed in the coulees, they (D) water in the draw.
Their (A7) tails are all matted, their (D) backs are all raw.
Ride a (A) round little dogies, (D) ride around slow,

The (A7) fiery and snuffy are a (D) rarin' to go. (A7)(D)(A)(D)
Bill Jones had two daughters, and a song.

(A7) One went to Denver, the (D) other went wrong.
His (A7) young wife died in a (D) pool room fight.
But he (A) tries to keep singin', from (D) morning till night.
Ride a (A) round little dogies, (D) ride around slow,

The (A7) fiery and snuffy are a (D) rarin' to go. (C)
<key change>
When I die, take my saddle from the wall.

(G) Strap it on my pony, lead him (C) out of the stall.
Throw my (G) bones on his back, turn our (C) faces to the west.
And (G) we'll ride the prairie, that (C) we love the best.
<key change>
(D) Ride a (A) round little dogies, (D) ride around slow,
The (A7) fiery and snuffy are a (D) rarin' to go. (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)(MC0)
[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.
INTRO: One, two, three, four!
(E7), (E7)-(E7)-(E7)-(E7), (E7). . . (E7)-(E7)-(E7)-(E7), (E7). . .
Well she was (E) just, seventeen, if you (A7) know, what I (E) mean,
And the way she looked, was way beyond com (B7) pare.
So (E) how could I (E7) dance with a (A) nother,
(C) (Oooh) when I (E) saw her (B7) standing (E) there. (E)
Well she, looked at me, and (A7) I, I could (E) see,

That before too long, I'd fall in love with (B7) her.
(E) She wouldn't (E7) dance with a (A) nother,
(C) (Whooh) when I (E) saw her (B7) standin' (E) there. (E)
Well my (A7) heart went (A) "boom",

When I (A7) crossed that (A) room,
And I (A7) held her (A) hand in (B7) mi-iiiiii- (A) -iiine.
Oh we (E) danced, through the night, and we (A) held each other (E) tight,
And before too long I fell in love with (B7) her.
Now (E) I'll never (E7) dance with a (A) nother,
(C) (Oooh) when I (E) saw her (B7) standing (E) there.
(E)(E)(E)(E)(E)(E)(B7)(B7)(E)(E)(A)(A)(E)(B7)(E7)
Well my (A7) heart went (A) "boom",
When I (A7) crossed that (A) room,
And I (A7) held her (A) hand in (B7) mi-iiiiii- (A) -iiine.
Oh we (E) danced, through the night, and we (A) held each other (E) tight,
And before too long I fell in love with (B7) her.
Now (E) I'll never (E7) dance with a (A) nother,
(C) (Oooh) when I (E) saw her (B7) standing (E) there. (E)
Oh since I saw her (B7) standing (E) there.

Yeah-well-since-I saw her (B7) standing (A) there (A). |E|-|E|-|E|-|E|, |E7|
I SAW HER STANDING THERE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=oxwAB3SECtc (Capo 2)(MC0)
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
INTRO: One, two, three, four!
(D), (D)-(D)-(D)-(D), (D). . . (D)-(D)-(D)-(D), (D). . .
Well she was just, seventeen, if you (Gadd) know, what I (D) mean,
And the way she looked, was way beyond com (A7) pare.
So (D) how could I (D7) dance with a (G) nother,
(Bb)(Oooh) when I (D) saw her (A) standing (D) there. (D)
Well she, looked at me, and (Gadd) I, I could (D) see,

That before too long, I'd fall in love with (A7) her.
(D) She wouldn't (D7) dance with a (G) nother,
(Bb) (Oooh) when I (D) saw her (A) standin' (D) there. (D)
Well my (G7) heart went (G) "boom",

When I (G7) crossed that (G) room,
And I (G7) held her (G) hand, in (A) mi-iiiii- (G) -iiine.
Oh we (D) danced, through the night, and we (G) held each other (D) tight,
And before too long I fell in love with (A7) her.
Now (D) I'll never (D7) dance with a (G) nother,
(Bb) (Oooh) when I (D) saw her (A) standing (D) there.
(D)(D)(D)(D)(D)(D)(A7)(A7)(D)(D)(G)(G)(D)(A7)(D7)
Well my (G7) heart went (G) "boom",
When I (G7) crossed that (G) room,
And I (G7) held her (G) hand, in (A) mi-iiiii- (G) -iiine.
Oh we (D) danced, through the night, and we (G) held each other (D) tight,
And before too long I fell in love with (A7) her.
Now (D) I'll never (D7) dance with a (G) nother,
(Bb) (Oooh) when I (D) saw her (A) standing (D) there. (D)
Oh since I saw her (A7) standing (D) there.

Yeah-well since I saw her (A7) standing (G) there (G). |D|-|D|-|D|-|D|, |D7|
I SAW IT ON TV
John Fogerty
https://www.youtube.com/watch?v=YwhxeaVfk3s (Capo 0)(MC2)
TIP: To play the intro, start by strumming (G) emphasizing the top 4 strings for 4 bars. Now
you're going to do 4 things: (1) Add your ring and pinky fingers to the bottom two strings and
using downstrokes strum (Gadd) twice. (2) Use another downstroke but this time lift off the bottom
two fingers and play one open chord (no fingers). (3) Now pick the bottom string once on an
upstroke. (4) Replace your fingers on the bottom two strings and pick the second string once with
an upstroke. You do this sequence twice. Note, this sequence only works if you play the (G) with
middle finger on the top string and index finger on the 2nd string.
TIP: This is another Fogerty song with the sing-song use of the alternating (G) and (Gadd). In
this song I didn’t bracket the words for the (Gadd) like I did in other Fogerty tunes (see
Centerfield or Déjà vu for example). But you should be able to pick them out. If I had done it,
an example in the first line would have been: <sent> us <home> to <watch> the <show> etc.
TIP: In the chorus get ready for three quick (Em)s right after "true". And the extra (C) is there
on purpose and means to play another measure before moving on to 'cause.
TIP: For the outro, play each (G) emphasizing the top strings and then a snap of the bottom
string. Then for the (CaddG) do the same thing, then while still holding the (CaddG) pick the 2nd,
3rd, and 1st string, pause and finish with a strum of (G).
INTRO: (G-T4)(G-T4)(G-T4)(G-T4); (Gadd)-(Gadd)-(NC)-1-(Gadd)/2; (Gadd)-(Gadd)-(NC)-1-(Gadd)/2
They sent us home, to watch the show, comin’ (C) on the little (G) screen.
A man named Ike, was in the White House. (C) Big black limou (G) sine.
(Em) There were many shows to (G) follow, from (Em) ’Hooter’ to ’Doody (G) ville’.
Though I (C) saw them all, I can’t recall, (D) which cartoon was real.
The (Gadd) coon-skin caps, Yankee bats, the (C) "Hound Dog" man’s big (G) start.
The A-bomb fears, Annette had ears, I (C) lusted in my (G) heart.
(Em) A young man from (G) Boston, set (Em) sail, the New Fron (G) tier.
And we (C) watched the dream, dead-end in Dallas, they (D) buried innocence that year.
(C) I know it’s (G) true (D), oh so (Em) true (Em)-(Em)-(Em)-(D)-(C)(C),

’Cause I (D7) saw it on T. (G) V.
We (Gadd) gathered round, to hear the sound, comin’ (C) on the little (G) screen.
The grief had passed, the old man laughed, and (C) all the girls (G) screamed.
(Em) ’Cause four guys from (G) England, (Em) took us all by the (G) hand.
It was (C) time to laugh, time to sing, (D) time to join the band.
But (Gadd) all too soon, we hit the moon, and (C) covered up the (G) sky.
They built their bombs, and aimed their guns, and (C) still I don’t know (G) why.
(Em) The dominoes (G) tumbled, (Em) and big business (G) roared.
Every (C) night at six, they showed the pic-tures and (D) counted up the score.

The (Gadd) old man rocks, among his dreams, a (C) prisoner of the (G) porch.
The light, he says, at the end of the tunnel, was (C) nothin’ but a burglar’s (G) torch.
(Em) And them that was (G) caught in the cover (Em), are all rich and (G) free.
But they (C) chained my mind, to an endless tomb, when they (D) took my only son from me.

(C) I know it’s (G) true (D), oh so (Em) true (Em)(D)-(C)(C),

OUTRO: (G),(G),(G),(G),(CaddG), 2-3-1 <pause> |G|
I SAW THE LIGHT
Hank Williams
https://www.youtube.com/watch?v=xtolv9kM1qk (Capo 0)(MC1)
TIP: For the intro play the first part in (G) like the first line of the verse (but without the
ending (G7)), and play the second part of the intro like last line of the first verse.
INTRO: (G); (Gadd)(G)(D)(G)
I wandered so aimless life filled with (G7) sin. (C) I wouldn't let my dear Saviour (G) in.
Then Jesus came like a stranger in the night. (Gadd) Praise the Lord (G) I saw (D) the (G) light.
I saw the light I saw the (G7) light. (C) No more darkness no more (G) night.
Now I'm so happy no sorrow in sight.
(Gadd) Praise the Lord (G) I saw (D) the (G) light. (Gadd)(G)(D)(G)
Just like a blind man I wandered a (G7) lone. (C) Worries and fears I claimed for my (G) own.
Then like the blind man that God gave back his sight.
(Gadd) Praise the Lord (G) I saw (D) the (G) light.
Now I'm so happy no sorrow in sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
(G)(G7), (C)(G), (G), (Gadd)(G)(D)(G)
I was a fool to wander and (G7) stray. For (C) straight is the gate and narrow's the (G) way.
Now I have traded the wrong for the right. (Gadd) Praise the Lord (G) I saw (D) the (G) light.
Now I'm so happy no sorrow in sight. (Gadd) Praise the Lord, (G) I saw (D) the (G) light.
(Gadd) (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)(MC0/5)
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)
You (C) held, my (Am) hand. I (Dm) was, your (G7) man.
I (C) know, that (Am) I, was (Dm) wrong, to (G7) lie.
If I could go (C) back in time, back when (CaddD) you were (Am) mine,
I could (F) hold you tight, a-a-nd (G7) be with you.
I (G) should have been (C) true. I should have been (Am) blue.
I shouldn't (Dm) wonder why you're gone. I should have (G7) known that I was wrong.
Your (C) eyes, your (Am) lips. Your (Dm) touch, I'll (G7) miss.
The (C) nights, so (Am) long, since (Dm) you've, been (G7) gone.
If I can go (C) back in time, back when (CaddD) you were (Am) mine,
I could (F) hold you tight, a-a-nd (G7) be with you.
I shouldn't (Dm) wonder why you're gone. I should have (G7) known that I was wrong.
I shouldn't (Dm) wonder why you're gone. I should have (G7) known that I was wrooong.
(C), (Am); (C), (Am); (C), (Am); |C|
I WALK THE LINE
Johnny Cash
https://www.youtube.com/watch?v=FyS12e4-zTs (Capo 3)(MC0)
TIP: There's a chord after the "Mmmmmm" because Johnny pauses and strums for a measure before
beginning the next verse.
TIP: Between each verse is a key change and a three-note (step-up or step-down) voicing to get you
there (if what follows is too complicated then just strum the chord you see on either side of the
"Mmmmmm"). The trick is to hold the last chord in the verse and look at the first number in the
voicing because that will tell you which string to pick first and it will be either open or covered
already covered from the previous chord.
1 - First change is a step-up from (D) to (G): Holding (D) pick the open 4th string, now lift
off the index finger and move it up one string and pick the 4th string, use your pinky to cover the
4th string/4th fret and pick the 4th string, strum (G).
2 - Second change is a step-up from (G) to (C): Holding (G) pick the open 3rd string, cover the
3rd string with your index finger and pick it, pick the open 2nd string and strum (C).
3 - Third change is a step-down from (C) to (G): Holding (C) pick the 2nd string, lift off your
index finger and pick open 2nd string, cover the 3rd string/2nd fret and pick 3rd string, strum
(G).
4 - Last change is a step-down from (G) to (D): Holding (G) pick the open 3rd string, use pinky
to cover the 4th string/4th fret and pick 4th string, use index finger to cover 4th string/2nd fret
and pick 4th string, strum (D).
INTRO: <d><e><f#>(G)(C)(G)(D)(A)(D) (D) Mmmmmmmmmmm. (D)
I keep a (A7) close watch on this heart of (D) mine.

I keep my (A7) eyes wide open all the (D) time.
I keep the (G) ends out for the tie that (D) binds.
Because you're (A) mine, I walk the (D) line.
<step up> open 4 - <e> - <f#> (G) Mmmmmmm. (G)
I find it (D7) very very easy to be (G) true.

I find my (D7) self, alone when-each-day is (G) through.
Yes I'll ad (C) mit, that I'm a fool for (G) you.
Because you're (D) mine, I walk the (G) line.
<step up> open 3- <a> -open 2 (C) Mmmmmmmm. (C)
As sure as (G) night is dark and day is (C) light.

I keep you (G) on my mind both day and (C) night.
And happi (F) ness I've known proves that it's (C) right.
Because you're (G) mine, I walk the (C) line.
<step down> 2 - open 2 - <a> (G) Mmmmmmmmm. (G)
You've got a (D7) way, to keep me on your (G) side.

You give me (D7) cause, for love that I can't (G) hide.
For you I (C) know I'd even try to turn the (G) tide.
Because you're (D) mine, I walk the (G) line.
<step down> open 3- <f#> - <e> (D) Mmmmmmmmm. (D)
I keep a (A7) close watch on this heart of (D) mine.

I keep my (A7) eyes wide open all the (D) time.
I keep the (G) ends out for the tie that (D) binds.
Because you're (A) mine, I walk the (D) line. (D) ... <fade>
I WANNA HOLD YOUR HAND - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=v1HDt1tknTc (Capo 0)(MC0)
[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/4th fret. On/off, on/off. And don't forget the (D7) at the end before jumping into the
song.
TIP: There's a (Bm) at the end of the second line and a (B7) at the end of the fourth line. You
can play either a (Bm) or a (B7) at both locations.
- ;
INTRO: |C|-|C|-(D); |C|-|C|-(D); |C|-|C|-(D)-(Bm)-(D)-(Bm)-(D)-(Bm)-(D7)
Oh yeah (G) I´ll, tell you (D7) somethin'. (Em) I think you'll under (Bm) stand.
When (G) I, say that (D7) somethin'. (Em) I wanna hold your (B7) hand.
(C) I wanna (D7) hold your (G) ha-a- (Em) -and, (C) I wanna (D) hold your (G) hand.
Oh please, say to (D7) me. (Em) And let me be your (Bm) man.
And (G) please, say to (D7) me. (Em) You’ll let me hold your (B7) hand.
(C) Now let me (D7) hold your (G) ha-a- (Em) -and, (C) I wanna (D) hold your (G) hand.
(Dm7) And when I (G) touch you I feel (C) happy, in (Am) side.
(Dm7) It's such a (G) feeling that my (C) love,
I can't (D) hide. (C) I can't (D) hide. (C) I can't (D) hide.
Yeah (G) you, got that (D7) somethin'. (Em) I think you'll under (Bm) stand.
When (G) I, say that (D7) somethin'. (Em) I wanna hold your (B7) hand.
(C) I wanna (D7) hold your (G) ha-a- (Em) -and, (C) I wanna (D) hold your (G) hand.
(Dm7) And when I (G) touch you I feel (C) happy, in (Am) side.
(Dm7) It's such a (G) feeling that my (C) love,
I can't (D) hide. (C) I can't (D) hide. (C) I can't (D) hide.
Yeah (G) you, got that (D7) somethin'. (Em) I think you'll under (Bm) stand.
When (G) I, feel that (D7) somethin'. (Em) I wanna hold your (B7) hand.
(C) I wanna (D) hold your (G) ha-a- (Em) -and, (C) I wanna (D) hold your (B7) hand.
(C) I wanna (D) hold your |C| ha- |C| a |C| a |C| a |C| a |C| a |G| -and.
I WANNA HOLD YOUR HAND - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=v1HDt1tknTc (Capo 7)(MC0)
TIP: In the intro, for the alternating (G)-(Em/G) bit keep the (G) and just bring your middle
finger down from the 5th string/2nd fret to the <e> note at the 4th string/2nd fret and alternate.
On/off, on/off. And don't forget the (G7) at the end before jumping into the song.
INTRO: |F|-|F|-(G); |F|-|F|-(G); |F|-|F|-(G)-(Em/G)-(G)-(Em/G)-(G)-(Em/G)-(G7)
Oh yeah (C) I´ll, tell you (G7) something. (Am) I think you'll under (Em) stand.
When (C) I, say that (G7) something. (Am) I wanna hold your (E7) hand.
(F) I wanna (G7) hold your (C) ha- a- (Am) -and, (F) I wanna (G) hold your (C) hand.
Oh please, say to (G7) me. (Am) And let me be your (Em) man.
And (C) please, say to (G7) me. (Am) You’ll let me hold your (E7) hand.
(F) Now let me (G7) hold your (C) ha- a- (Am) -and, (F) I wanna (G) hold your (C) hand.
(Gm) And when I (C) touch you I feel (F) happy, in (Dm) side.
(Gm) It's such a (C) feeling that my (F) love,
I can't (G) hide. (F) I can't (G) hide. (F) I can't (G) hide.
Yeah (C) you, got that (G7) something. (Am) I think you'll under (Em) stand.
When (C) I, say that (G7) something. (Am) I wanna hold your (E7) hand.
(F) I wanna (G7) hold your (C) ha- a- (Am) -and, (F) I wanna (G) hold your (C) hand.
(Gm) And when I (C) touch you I feel (F) happy, in (Dm) side.
(Gm) It's such a (C) feeling that my (F) love,
I can't (G) hide. (F) I can't (G) hide. (F) I can't (G) hide.
Yeah (C) you, got that (G7) something. (Am) I think you'll under (Em) stand.
When (C) I, feel that (G7) something. (Am) I wanna hold your (E7) hand.
(F) I wanna (G) hold your (C) hand (Am), (F) I wanna (G) hold your (E7) hand.
(F) I wanna (G) hold your |F| ha- |F| a |F| a |F| a |F| a |F| a |C| -and.
I WILL – The Beatles/Alison Krauss
(Lennon/McCartney)
https://www.youtube.com/watch?v=p-abNGP1BK4 (The Beatles) (Capo 5)(MC1)
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) on the 4th fret 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.
TIP: At the bottom I've indicated a different (fancy) way to play the outro using alternative
chord diagrams for the same chords - just another way to play (Dm)(G) and (C). The (Dm) is played
as usual, the (G) is played as an (F) on the 3rd fret, and the (C) is played either as an (F) on
the 8th fret or with an index finger barre on the 5th fret and a pinky stretch to the bottom string
of the 8th fret, whichever is more comfortable - maybe the (F8) since you're coming up the neck
from the (F3) anyway.
; /
(G) Who (C) knows how (Am) long I've (Dm) loved you (G)? You (C) know I (Am) love you (Em) still.
Will I (F) wait a (G) lonely (C) lifetime (Am)? If you (F) want me (G) to I (C) will (Am)(Dm7)(G).
For (C) if I (Am) ever (Dm) saw you (G), I (C) didn't (Am) catch your (Em) name.
But it (F) never (G) really (Am) mattered (C). I will (F) always (G) feel the (C) same.
(F) Love you for (G) ever, (C) and for (Am) ever. (Dm) Love you with (G) all my (C) heart.
(F) Love you when (G) ever, (C) we're to (Am) gether. (D7) Love you when we're a (G) part.
And (C) when at (Am) last I (Dm) find you (G). Your (C) song will (Am) fill the (Em) air.
Sing it (F) loud so (G) I can (C) hear you (Am). Make it (F) easy (G) to be (Am) near you.
For the (F) things you (G) do, en (C) dear you (Am) to me. (F) Oh you (G) know I (F4) will (F4).
I (C) will.
(F)Mmmmm(G)mmmmm(C)mmmmm(Am), (Dm)Lah dah dah dah (G) dah dah (C) dah.
or
(F)Mmmmm(G)mmmmm(C)mmmmm(Am)mmmmm, (Dm)Lah dah dah dah (F3) dah dah (F8)/(C5) dah.
(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)(MC1)
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.
INTRO: (A) (F#m) (D) (E)
If (A) I, (E) should (A) stay, I would (F#m) only be in your (D) way (E).
And so I'll (A) go, and (E) yet I (A) know,
That I'll think of (F#m) you each step of my (D) way (E).
And (A) I - (F#m) - I will (D) al (E) ways love (A) you, (F#m) I will (D) al (E) ways love (A) you.
(F#m) (D) (E)
Bitter (A) sweet (E) memor (A) ies. That is (F#m) all that I’m taking with (D) me (E).
Good (A) bye, (E) please don't (A) cry. We both (F#m) know that I'm not what you (D) need (E).
And (A) I - (F#m) - I will (D) al (E) ways love (A) you, (F#m) I will (D) al (E) ways love (A) you.
(E) I hope (A) life, will (E) treat you (A) kind.
And I (F#m) hope you’ll have all you ever (D) dreamed (E) of.
And (A) I, (E) wish you (A) joy and happiness.
But above (F#m) all of this, I wish you (D) love (E).
And (A) I - (F#m) - I will (D) al (E) ways love (A) you, oh
(F#m) I, will (D) al (E) ways love you (A). (F#m) I will (E) always love (D) you (A).
(Dolly Parton) (Whitney Houston) (Artist Index) - (Main Index) - (Song Index) (This Song)
I WILL ALWAYS LOVE YOU – Dolly Parton/Whitney Houston
(Parton)
https://www.youtube.com/watch?v=lKsQR72HY0s (Dolly)(Capo 2)(MC2)
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)
If (G) I, (D) should (G) stay, I would (Em) only be in your (C) way (D).
And so I'll (G) go, and (D) yet I (G) know,
That I'll think of (Em) you each step of my (C) way (D).
And (G) I - (Em) - I will (C) al (D) ways love (G) you, (Em) I will (C) al (D) ways love (G) you.
(Em) (C) (D)
Bitter (G) sweet (D) memor (G) ies. That is (Em) all that I’m taking with (C) me (D).
Good (G) bye, (D) please don't (G) cry. We both (Em) know that I'm not what you (C) need (D).
And (G) I - (Em) - I will (C) al (D) ways love (G) you, (Em) I will (C) al (D) ways love (G) you.
(D) I hope (G) life, will (D) treat you (G) kind.
And I (Em) hope you’ll have all you ever (C) dreamed (D) of.
And (G) I, (D) wish you (G) joy and happiness.
But above (Em) all of this, I wish you (C) love (D).
And (G) I - (Em) - I will (C) al (D) ways love (G) you, oh
(Em) I, will (C) al (D) ways love you (G). (Em) I will (D) always love (C) you (G).
(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)(MC1)
[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.]
TIP: The (CaddG) can be omitted to simplify things if need be.
INTRO: Da (C) doo doo, da doo doo, da doo doo;

Da doo doo doo da (Am) doo doo, da doo doo, da doo doo.
I (C) love him, I love him, I love him,
And where he goes I'll (Am) follow, I'll follow, I'll follow.
(NC) I will follow (C) him. Follow him wherever (CaddG) he may (G) go.
There (Am) isn't an ocean too (Em) deep, a (Am) mountain so high it (G) can keep me a (C) way. (G)
(NC) I must follow (C) him. Ever since he touched my (CaddG) hand I (G) knew.
That (Am) near him I always must (Em) be, and (Am) nothing can keep him from (G) me.
He is my (C) destiny.
I love him, I love him, I love him and where he goes I'll (Am) follow, I'll follow, I'll follow.
He'll always be my (C) true love, my true love, my true love,
From now until for (Am) ever, forever, forever.
(NC) I will follow (C) him. Follow him wherever (CaddG) he may (G) go.
There (Am) isn't an ocean too (Em) deep, a (F) mountain so high it can keep.
(G) Keep me a (C) way (Am). A (G) way from my (C) love.
I love him, I love him, I love him and where he goes I'll (Am) follow, I'll follow, I'll follow.
He'll always be my (C) true love, my true love, my true love
From now until for (Am) ever, forever, forever.
(NC) I will follow (C) him. Follow him wherever (CaddG) He may (G) go.
(G) Keep me a (C) way (Am). A (G) way from my (C) love.
I know I'll alway (C) love him, I love him, I love him.
[slow down] I will follow |C| 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)
(MC1)
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)(Gadd)
(NC) I will follow (C) Him. Follow Him wherever (CaddG) He may (G) go.
And (Am) near Him I always will (Em) be. For (F) nothing can keep me a (G) way.
He is my (C) destiny. (G)
(NC) I will follow (C) Him. Ever since He touched my (CaddG) heart I (G) knew.
There (Am) isn't an ocean too (Em) deep. A (F) mountain so high it can keep.
(G) Keep me a (C) way (Am). A (G) way from His (C) love.
<strum (C) upbeat tempo>
I love Him, I love Him, I love Him. And where He goes I'll (Am) follow, I'll follow, I'll follow.
(NC) I will follow (C) Him. Follow Him wherever (CaddG) He may (G) go.
There (Am) isn't an ocean too (Em) deep, a (Am) mountain so high it can (G) keep.
Keep me a (C) way.
(NC) I must follow (C) Him. Follow Him wherever (CaddG) He may (G) go.
(G) Keep us a (C) way (Am). A (G) way from His (C) love.
(G) I will follow (C) Him. Follow Him wherever (CaddG) He may (G) go.
(G) Keep us a (C) way (Am). A (G) way from His (C) love.
Oh yes I love him, and where He goes I'll (Am) follow. He'll always be my (C) true love.
From now until for (Am) ever. I (C) love him, and where He goes I'll (Am) follow.
(G) Keep us a (C) way (Am). A (G) way from His (F) love (C).
(Little Peggy March) (Artist Index) - (Main Index) - (Song Index) (This Song)
I’LL FLY AWAY (In D) – Alison Krauss & Gillian Welch
(Traditional/Brumley)
https://www.youtube.com/watch?v=lFamN-oXRMQ (Capo 0)(MC0)
TIP: This old traditional Christian spiritual has many versions. This is the one popularized in
the movie “O Brother, Where Art Thou?” There's also a version in (G) afterwards.
TIP: The opening sequence and instrumental bridges between verses are the same chords played for
the verse. For the opening 3 notes first form (D). Now pick the covered 3rd string, lift straight
off the (D) and pick the now open 2nd string, place the (D) back down and pick the covered 2nd
string, and then strum (D).
TIP: The DaddA is (D) with your pinky extended to the bottom string of the 5th fret. It’s also
completely optional if you can’t make the stretch and just brings in Gillian’s treble <a>.
INTRO: <a>--<d>-(D)(D)(G)(D)(D); (D)(D), (D)(A)(D)(D)
Some bright morning when this life is over, (G) I'll, fly a (D) way (D).
To that home on God's celestial shore, I (A) 'll, fly a (D) way.
I'll, fly away oh glory (G) I'll, fly a (D) way (in the morning).
When I die Hallelujah by and by, I (A) ‘ll, fly a (D) way.
When the shadows of this life have gone, (G) I'll, fly a (D) way (D).
Like a bird from these prison walls I’ll fly, I (A) 'll, fly a (D) way.
(DaddA) I'll fly away fly away (D) oh glory. (G) I'll, fly a (D) way (in the morning).
When I die Hallelujah by and by, I (A) 'll, fly a (D) way (D).
(D)(D)(G)(D)(D); (D)(D), (D)(A)(D)(D)
Oh how glad and happy when we meet, (G) I’ll, fly a (D) way (D).
No more cold iron shackles on my feet, I (A) ’ll, fly a (D) way.
When I die Hallelujah by and by, I (A) ‘ll, fly a (D) way (D).
(D)(D)(G)(D)(D); (D)(D), (D)(A)(D)(D)
When I die Hallelujah by and by, I (A) ‘ll, fly a (D) way.
Just a few more weary days and then, (G) I'll, fly a (D) way.
To a land where joys will never end, I (A) 'll, fly a (D) way.
(DaddA) I'll fly away fly away (D) oh glory. (G) I'll, fly a (D) way (in the morning).
When I die Hallelujah by and by, I (A) 'll, fly a (D) way. I (A) ’ll, fly a (D) way (D) (A)-(D).
(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=lFamN-oXRMQ (Capo 7)(MC4)
TIP: This old traditional Christian spiritual has many versions. This is the one popularized in
the movie “O Brother, Where Art Thou?”
TIP: The opening sequence and instrumental bridges between verses are the same chords played for
the verse. For the opening 3 notes first form (G). Now pick the open 4th string, fold the top part
of your index finger down to cover the 4th fret and pick the now covered 4th string <e>, lift up that
depressed index finger while still holding the (G) and pick the open 3rd string <g> and strum (G).
The Gadd is completely optional but just brings in Gillian’s treble <d>.
INTRO: <d>-<e>-<g>-(G)(G)(C)(G)(G); (G)(G), (G)(D)(G)(G)
Some bright morning when this life is over, (C) I'll, fly a (G) way (G).
To that home on God's celestial shore, I (D) 'll, fly a (G) way.
I'll, fly away oh glory (C) I'll, fly a (G) way (in the morning).
When I die Hallelujah by and by, I (D) ‘ll, fly a (G) way.
When the shadows of this life have gone, (C) I'll, fly a (G) way (G).
Like a bird from these prison walls I’ll fly, I (D) 'll, fly a (G) way.
(Gadd) I'll fly away fly away (G) oh glory. (C) I'll, fly a (G) way (in the morning).
When I die Hallelujah by and by, I (D) 'll, fly a (G) way (G).
(G)(G)(C)(G)(G); (G)(G), (G)(D)(G)(G)
Oh how glad and happy when we meet, (C) I’ll, fly a (G) way (G).
No more cold iron shackles on my feet, I (D) ’ll, fly a (G) way.
When I die Hallelujah by and by, I (D) ‘ll, fly a (G) way (G).
(G)(G)(C)(G)(G); (G)(G), (G)(D)(G)(G)
When I die Hallelujah by and by, I (D) ‘ll, fly a (G) way.
Just a few more weary days and then, (C) I'll, fly a (G) way (G).
To a land where joys will never end, I (D) 'll, fly a (G) way.
(Gadd) I'll fly away fly away (G) oh glory. (C) I'll, fly a (G) way (in the morning).
When I die Hallelujah by and by, I (D) 'll, fly a (G) way. I (D) ’ll, fly a (G) way (G) |D|-|G|.
(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)(MC3)
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 each verse with the first (G) on "you".
TIP: If you don't like the (Bm) you can get away with playing an (Em) instead.
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)
There's a (G) new world (C) somewhere, they (A7) call The Promised (D) Land.
And I'll (G) be there (Bm) someday, if (C) you will hold my (D) hand.
I still (Em) need you there be (C) side me, no (D) matter (C) what I (G) do.
(C) For I (G) know I'll (C) never (D7) find another (G) you (C) ooh (D) ooh.
There is (G) always (C) someone, for (A7) each of us they (D) say.
And you'll (G) be my (Bm) someone, for (C) ever and a (D) day.
I could (Em) search the whole world (C) over, un (D) til my (C) life is (G) through.
(C) But I (G) know I'll (C) never (D7) find another (G) you (C) ooh (D) ooh.
It's a (Em) long long (C) journey, so (G) stay (C) by my (G) side.
(D) When I (Em) walk through the (D) storm you'll (C) be my (G) guide, (C) be my (D7) guide.
If they (G) gave me a (C) fortune, my (A7) treasure would be (D) small.
I could (G) lose it all to (Bm) morrow, and (C) never mind at (D) all.
But if (Em) I should lose your (C) love dear, I (D) don't know (C) what I'll (G) do.
(G) (C) (A7) (D); (G) (Bm) (C) (D)

But if (Em) I should lose your (C) love dear, I (D) don't know (C) what I'll (G) do.
A (G) nother (D) you (C) ooh (D7) ooh. Another (G) you (C)|G|.
(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)(MC0)
TIP: The first two notes emulate the caliope. Form (F/C), pick the bottom string twice, lift off
(just) the bottom string and pick the bottom string again twice more, attack the middle strings of
the (F/C) avoiding the top and bottom. Or ignore the notes and just strum (F).
INTRO <Form (F/C)>: <f><f><e><e>(F/C)
(G) I thought love was (D) only true in (G) fairy tales.
Meant for someone (D) else but not for (G) me.
(C) Love was out to (G) get me (do do do do do (C) do),
That’s the way it (G) seemed (do do do do do (C) do).
Disappointment (G) haunted all my (D7) dreams |D7|.
(NC) Then I saw her (G) face (C)(G). Now (C) I’m a be (G) liever (C)(G).
Not a trace, (C)(G) of (C) doubt in my (G) mind (C)(G). I'm in love.
(C) I’m a be (G) liever I couldn’t (F) leave her if I (Dm7) tried. (Dm7)
(G) I thought love was (D) more or less a (G) given thing.
Seems the more I (D) gave, the less I (G) got.
(C) What’s the use in (G) tryin (do do do do do (C) do)?
All you get is (G) pain (do do do do do (C) do).
When I needed (G) sunshine I got (D7) rain |D7|.
Ahh. (G)(D)(G); (G)(D)(G)

Ahhhh (C) love was out to (G) get me (do do do do do (C) do),
That’s the way it (G) seemed (do do do do do (C) do).
Disappointment (G) haunted all my (D7) dreams |D7|.
Not a trace, (C)(G) of (C) doubt in my (G) mind (C)(G).
Then I'm a believer yeah (C) yeah yeah (G) yeah yeah I'm a be (C) liev (G) er.
Said I'm a be (C) liever (G) yeah. (C) I’m a be (G)liever yeah.
Said I'm a be (C) liever (G) yeah. (C) I’m a be (G)liever. |C|-|C|-|G|
(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)(MC1)
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,

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

Yes I know I'm gonna be I'm gonna (G) be the man who's (A) workin' hard for (D) you.
And when the money,
Comes in for the work I'll do, I'll pass (G) almost every (A) penny on to (D) you.
When I come home (when I come home),

Oh I know I'm gonna be I'm gonna (G) be the man who (A) comes back home to (D) you.
And if I grow old,
Well I know I'm gonna be I'm gonna (G) be the man who's (A) growing old with (D) you.
But I would walk five hundred miles and (G) I would walk five (A) hundred more,
Just to (D) be the man who walks a thousand (G) miles to fall down (A) at your door.
Ta da (D) la la (ta da la la), ta da la la (ta da la la).

Ta da (G) lun dunna lun dunna (A) lun dunna lun la (D) la.
Ta da la la (ta da la la), ta da la la (ta da la la).
|D| |D| |D|, |D|-|D|-|D|-|D|-|D|
When I'm lonely,

Well I know I'm gonna be I'm gonna (G) be the man whose (A) lonely without (D) you.
And when I'm dreaming,
Well I know I'm gonna dream I'm gonna (G) dream about the (A) time when I'm with (D) you.
When I go out (when I go out),

Yeah I know I'm gonna be I'm gonna (G) be the man who (A) goes along with (D) you.
And when I come home (when I come home),
Yes I know I'm gonna be I'm gonna (G) be the man who (A) comes back home with (Bm) you.
I'm gonna |G| be the man who |A| coming home . . . to (D) you. |D| |D| |D|, |D|-|D|-|D|-|D|-|D|
But I would walk five hundred miles and (G) I would walk five (A) hundred more.
Just to (D) be the man who walked a thousand (G) miles to fall down (A) at your door.
Ta da (D) la la (ta da la la), ta da la la (ta da la la).


And I would walk five hundred miles and (G) I would walk five (A) hundred more.
Just to (D) be the man who walked a thousand (G) miles to fall down (A) at your door - (D) -or.
I’M HAPPY JUST TO DANCE WITH YOU - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=B7X1oUfa8uE (Capo 4)(MC1)
INTRO: (Am)(Dm)(E7), (Am)(Dm)(E7), before this (Am) dance is through,

I think I'll (Dm) love you (E) too.
I'm so (F) happy when you (G) dance with (C) me. (G)
I don’t (C) want to kiss or (Em) hold your (G) hand.

If it's (C) funny try and (Em) under (G) stand (G7).
There is (F) really nothing else I'd rather (C) do (Am).
'Cause I'm (Dm) happy just to (G) dance with (C) you. (G)
I don't (C) need to hug or (Em) hold you hold you (G) tight.
I just (C) wanna dance with (Em) you all (G) night (G7).
In this (F) world there's nothing I would rather (C) do (Am).
'Cause I'm (Dm) happy just to (G) dance with (C) you.
Just to (Am) dance with you. (Dm) Oh (E7) oh.

Is (Am) everything I (Dm) nee- (E) -eed.
Before this (Am) dance is through I think I'll (Dm) love you (E7) too.
If some (C) body tries to (Em) take my (G) place.

Let's pre (C) tend we just can't (Em) see his (G) face (G7).
Cause I'm (Dm) happy just to (G) dance with (C) you.
Just to (Am) dance with you. (Dm) Oh (E7) oh.

Is (Am) everything I (Dm) nee- (E) -eed.
Before this (Am) dance is through I think I'll (Dm) love you (E7) too.
If some (C) body tries to (Em) take my (G) place.
Let's pre (C) tend we just can't (Em) see his (G) face (G7).
I've dis (Dm) covered I'm in (G) love with (Am) you. (Dm) Oh (E7) oh.
Cause I'm (F) happy just to (G) dance with (Am) you.
(Dm) Oh- (Em) -oh, (F) oh- (G) -oh, (C) oh!
I'M ON MY WAY - The Proclaimers
(Reid/Reid)
https://www.youtube.com/watch?v=TJ69svOtmAM (Capo 1)(MC2/3)
TIP: The second option for the intro includes the 4 piano notes and can all be played from within
the strum of (G). Strum (G) and then pick the open 2nd string twice, then the open 3rd string
once, now drop (or flatten) your index finger out so it covers the 3rd string and pick it once,
lift off and pick the 3rd string again. Resume strumming the (G).
TIP: (CaddD) comes between two (C) chords so just keep the (C) formation and add pinky to 2nd
string/3rd fret.
TIP: Try to wrap your thumb over the top string/2nd fret to cover the <f#> on the last (D) in the
verse.
INTRO: Strum (G) or Strum (G)...2-2-3-c3-3; (G)...2-2-3-c3-3; (G)
I'm on my way, from misery to happiness today. Uh-huh, uh-huh, uh-huh, uh-huh.
(D7) I'm on my way, from misery to happiness today. Uh-huh, uh-huh, uh-huh, uh-huh.
(G) I'm on my way, to (C) what I want from (CaddD) this (C) world.
(G) And years from now, you'll (C) make it to the (CaddD) next (C) world.
(G) And everything, that (C) you receive up (CaddD) yon (C) der.
(G) Is what you gave, to (C) me the day I (D) 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) I took the road, that (C) brought me to your (CaddD) home (C) town.
(G) I took the bus, to (C) streets that I could (CaddD) walk (C) down.
(G) I walked the streets, to (C) find the one I'd (CaddD) looked (C) for.
(G) I climbed the stair, that (C) led me to your (D) front door.
(C) And now, that (D) I don't want, for (G) anything. Oooh ooh ooh ooh ooh.
(C) I'd have Al (D) Jolson sing "I'm (G) sitting on top of the (D) world."
(G) I'll do my best, I'll do my best to do the best I can. Uh-huh, uh-huh, uh-huh, uh-huh.
(D7) Yeah I'll do my best, I'll do my best to do the best I ca-a-a-an.
(G) To keep my feet, from (C) jumpin' from the (CaddD) ground (C) dear.
(G) To keep my heart, from (C) jumping through my (CaddD) mouth (C) dear.
(G) To keep the past, the (C) past and not the (CaddD) pres (C) ent.
(G) To try and learn, when (C) you teach me a (D) lesson.
(C) And now, that (D) I don't want, for (G) anything. Oooh ooh ooh ooh ooh.
(C) I'd have Al (D) Jolson sing "I'm (G) sitting on top of the (D) world."
(G) I'm on my way, from misery to happiness today. Uh-huh, uh-huh, uh-huh, uh-huh.
(D7) Yeah I'm on my way, from misery to happiness today. Yay, yay, yay, yeah.
(G) Is what you gave, to (C) me the day I (CaddD) wan (C) dered.
(G) Is what you gave, to (C) me the day I (D) wandered.
(G) I'm on my way. I'm on my way. I'm on my way. I'm on my way.

I'm on my way. I'm on my way. I'm on my way. |G|
I’M SO LONESOME I COULD CRY
Hank Williams
https://www.youtube.com/watch?v=4WXYjm74WFI (Capo 2)(MC0)
[Also presented afterwards in (G) which is easier to fingerpick.]
TIP: To pick out the intro notes, open 5th string, 5th string/2nd fret, 5th string/4th fret.
Then, if you can, extend your pinky out to the 5th fret for the first (DaddA). Otherwise just play
(D). Same thing in the two instrumental bridges.
INTRO: <a><c#>(DaddA)(A)(D)
Hear that lonesome whippoorwill. He sounds too blue to fly.

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

And (G) as I won, der (D) where you are, I'm so lonesome (A) I could (D) cry. |D|
I’M SO LONESOME I COULD CRY
Hank Williams
(MC4)
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.
TIP: To pick out the intro notes, open 4th string, 4th string/2nd fret, 4th string/4th fret.
INTRO: <d><e><f#>(Gadd)(D)(G)
Hear that lonesome whippoorwill. He sounds too blue to fly.

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

And (C) as I won, der (G) where you are, I'm so (Gadd) lone (G) some (D) I could (G) cry. |G|
I'M THAT KIND OF GIRL - Patty Loveless
(Berg/Samoset)
https://www.youtube.com/watch?v=m-HVP01goE4 (Capo 1)(MC1)
TIP: The (A)(D)(G)(D) chord progression in the same tempo as the intro is played 80% of the time.
Get the cadence down and you're golden.
TIP: There's a little bit of (E) nonsense going on coming out of the last part of instrumental
bridge. Start with (E), then (E7), then play (E) again but with your pinky added to the 2nd
string/2nd fret (EC#), and then slide the pinky over one fret for the (E7full).
INTRO: (A)(D)(G)(D), (A)(D)(G)(D), (A)(D)(G)(D), (A)(D)(G)(D)
There's a (A) man in a (D) Stetson hat, (G) howlin' like an (D) alley cat,
(A) Outside my (D) window to (G) night (D).
Sayin' (A) "Baby put on (D) somethin' hot, (G) meet me in the (D) parkin' lot,
(A) About a (D) quarter to (G) nine (D)."
(E) I get the feelin' that he's never read (G), Romeo and Juliet.
(E) I'm gettin' tired of these one night stands |G| but if you want to make a (G) real romance
I'm (A) that kind of (D) girl (G)(D), I'm (A) that kind of (D) girl (G)(D).
I ain't the (A) woman in (D) red I ain't the (G) girl next (D) door
But if (A) somewhere in the (D) middle's what you're (G) lookin' (D) for
I'm (A) that kind of (D) girl (G)(D), yes I'm (A) that kind of (D) girl (G)(D).
Let me (A) tell you that I (D) like my lovin' (G) just as much as (D) any woman,
(A) But I'm (D) drawin' the (G) line (D).
A (A) little sensi-(D)-ivity (G) always seems to (D) get to me (A), (D) every (G) time (D).
(E) I'm a sucker for a love sick fool, (G) the kind that carries all your books in school.
(E) I'm gettin' tired of these one night stands, |G| but if you're lookin' for a (G) real romance
I'm (A) that kind of (D) girl (G)(D), yeah I'm (A) that kind of (D) girl (G)(D).
(E)(E7)(E7)(E), (E)(E7)(E7)(E), (E)(E7)(E7)(EC#)(E7full)
I'm (A) that kind of (D) girl (G)(D), yeah I'm (A) that kind of (D) girl (G)(D).
I'm (A) thaaaat (D) kind of (G) girl (D). (A) Oh-(D)-oh-(G)-oh (D).
Oh I'm (A) thaaaat (D) kind of (G) girl (D). (A) Oh-(D)-oh-(G)-oh (D).
(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)
(MC0)
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.
TIP: The majors can be played instead of the 7ths.
(G) I've been working on the railroad. (C) All the live-long (G) day.
I've been working on the railroad just to pass (A) the time a (D) way.
Don't you hear the whistle (G) blowin', (C) rise up so early in the (B7) morn.
(C) Don't you hear the captain (G) shouting, "Dinah (D) blow your (G) horn."
Dinah won't you blow, (C) Dinah won't you (Am) blow, (D7) Dinah won't you blow your (G) horn?
Someone's in the kitchen with Dinah. Someone's in the kitchen I (D) know.
(G) Someone's in the kitchen with (C) Dinah, (G) strummin' on the (C) old (D7) ban (G) jo.
Singin' fi fie fiddly-i-o. Fi fie fiddly-i- (D) o-o-o-o.
(G) Fi fie (C) fiddly-i-o. (G) Strummin' on the (C) old (D7) ban (G) jo.
I've been working on the trestle, (C) driving spikes that (G) grip.
I've been working on the trestle to be sure (A) the ties won't (D) slip.
Can't you hear the engine (G) coming? (C) Run to the stanchion of the (B7) bridge.
(C) Can't you see the big black (G) smokestack, coming (D) down the (G) ridge?
I've been living in the boxcars. (C) I'm a hobo (G) now.
I've been living in the boxcars which the yard (A) bulls won't al (D) low.
Brother can you spare a (G) quarter? (C) Buy me something good to (B7) eat?
(C) Brother can you spare a (G) nickel, til I'm (D) on my (G) feet?
I'll be owner of this railroad, (C) one of these here (G) days.
I'll be owner of this railroad and I swear (A) your pay I'll (D) raise.
I'll invite you to my (G) mansion, (C) feed you on goose and terra (B7) pin.
(C) I'll invite you to the (G) racetrack, when my (D) ship comes (G) in.
(G) Fi fie (C) fiddly-i-o. (G) Strummin' on the (C) old (D7) band (G) jo.
(Traditional) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
I'VE GOT A NAME
Jim Croce
https://www.youtube.com/watch?v=O_BEFyNNIvM (Capo 4) (MC2)
TIP: The opening riff is pretty easy to play and you just need to practice it a few times to get
the rhythm. The key is the quick one-note (Em)-(Em#)-(Em)-(G) transition. If you look at the (Em)
and (Em#) chords you see (Em#) is nothing more than keeping form on the (Em) and hammering on/off
your pinky (or ring finger depending on how you play the (Em)) on the 4th string/4th fret. Try to
hit the first (Em) with a downstroke and then the (Em#) with a downstroke as well. This makes the
final (Em) an upstroke and the ending (G) a downstroke. Try it a few times and you'll see what I
mean. If you still can't get the knack then play a single (Em) or (C) in place of the (Em)
sequence.
TIP: At the end of the chorus there's a bassline you can play or ignore. To play it, you're
coming off a (C) so just relax your hand. All notes are played in either the 1st or 3rd fret so
play the 1st fret notes with your index finger and 3rd fret notes with your pinky and you'll still
be in position to start the next verse with a (C). You start with the 5th string/1st fret (5/1).
Then it's the open 5th string (5), and the rest are all top strings "T" at the numerical fret
indicated, "O" meaning open. At the very end finish with a (C/G) which is just (C) with pinky
covering the bass <g> top string.
INTRO: (C)(G)(Em)-(Em#)-(Em)-(G); (C)(G)(Em)-(Em#)-(Em)-(G)
(C) Like the pine trees (G) lining the winding (Am) road.
I've got a (F) name (G), I've got a (C) name (G).
(C) Like the singing (G) bird and the croaking (Am) toad,
I've got a (D7) name. I've got a (G) name.
(Em) And I carry it (F) with me like my (C) daddy did,

(E) But I'm living the (Am) dream (D7), that he kept (G) hid.
(Em) Moving me down the high (F) way. (Em) Moving me down the (A) highway.
(F) Moving ahead so (G) life won't pass me (C) by.
5/1, 5, T3, T1, TO-T1-T3; 5/1, 5, T3, T1, TO-T1-T3
(C) Like the north wind (G) whistling down the (Am) sky,
I've got a (F) song (G), I've got a (C) song (G).
(C) Like the whippoor (G) whill and the baby's (Am) cry.
I've got a (D7) song, I've got a (G) song.
(Em) And I carry it (F) with me and I (C) sing it loud.

(E) If it gets me (Am) nowhere (D7), I'll go there (G) proud.
(Em) Moving me down the high (F) way. (Em) Moving me down the (A) highway.
5/1, 5, T3, T1, TO-T1-T3; 5/1, 5, T3, T1, TO-T1-T3
(C)(G)(Am), (Am)(F)(G)(C)(G), (C)(G)(Am), (Am)(D7)(D7)(G)
(C) And I'm gonna (G) go (C) there free . . .
Like the fool I (G) am and I'll always (Am) be,

I've got a (F) dream (G), I've got a (C) dream (G).
(C) They can change their (G) minds but they can't change (Am) me.
I've got a (D) dream, I've got a (G) dream.
(Em) I know I could (F) share it if you (C) want me to.

(E) If you're going (Am) my way (D7), I'll go with (G) you.
(Em) Moving me down the high (F) way. (Em) Rollin' me down the (A) highway.
5/1, 5, T3, T1, TO-T1-T3; 5/1, 5, T3, T1, TO-T1-T3
(Em) Moving me down the high (F) way. (Em) Rollin' me down the (A) highway.
(F) Moving ahead so (G) life won't . . . pass me (C) by.
5/1, 5, T3, T1, TO-T1-T3; 5/1, 5, T3, T1, TO-T1-T3 |C/G|
(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)(MC1)
TIP: The two lead-in notes are the top string/3rd fret <g> and top string/2nd fret <f#>. Then you
tickle the strings of each chord in a raking pattern each time focusing on a different part of the
fingerboard from the top of the fingerboard to the bottom. Four times for the (Em) and (C) and
twice for the (D) and (C).
TIP: In the instrumental, wrap your thumb over the top string/2nd fret <f#> on the (D). That's
what the (Dt) means.
INTRO: T3-T2-(Em)-(Em)-(Em)-(Em); (C)-(C)-(C)-(C); (D)-(D)-(C)-(C)
(G) I've just seen a face I can't forget the time or place where we just (Em) met,
She's just the girl for me and I want all the world to see we've (C) met.
Mmm hmm (D) hmm hmm hmm (G) hmm.
Had it been another day I might have looked the other way
And (Em) I’d of never been aware but as it is I’ll dream of her to (C) night.
La da (D) da la da (G) da.
(D) Falling, yes I am (C) fallin’, and she keeps (G) callin’, (C) me back a (G) gain. (D)
(G) I have never known the like of this I've been alone
And I have (Em) missed things and kept out of sight but other girls were never quite like (C) this.
La da (D) da la da (G) da.
(D) Fallin’, yes I am (C) fallin’, and she keeps (G) callin’, (C) me back a (G) gain.
(G) (Em) (C) (Dt) (G)

(D) Fallin’, yes I am (C) fallin’, and she keeps (G) callin’ (C) me back a (G) gain.
I've just seen a face I can't forget the time or place where we just (Em) met,
She's just the girl for me and I want all the world to see we've (C) met.
Mmm hmm (D) hmm la da (G) da.
<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)(MC1)
TIP: For the intro, form the chord, pick the string, and strum the strings at and below that
level. For example, (A)3-(A) means form (A), pick the 3rd string, and strum strings 3-2-1 while
holding the (A). (Dm)4-(Dm) means form (Dm), pick the 4th string, and strum strings 4-3-2-1 while
holding the (Dm).
TIP: (Bm4) is just (Bm) played on the 4th fret.
TIP: Not too fast.
INTRO: (A)3-(A); (A7)3-(A7); (D/A)4-(D/A), (A)4-(A); (Dm)4-(Dm); (A)4-(A); (Dm)4-(Dm); (E)4-(E7)
If a (A) picture paints a (A7) thousand words then (A) why can't (A7) I paint (D) you?
The (Dm) words will never (A) show, the (Dm) you I've come to (E) know.
If a (A) face could launch a (A7) thousand ships then (A) where am (A7) I to (D) go?
There's (Dm) no one home but (A) you. You're (Dm) all that's left me (E) too.
And (F#m) when my (Bm4) love for (A) life is running (Dm6) dry,
You (A7) come and (F#) pour your (Bm) self on (E7) me.
If a (A) man could be two (A7) places at one (A) time I'd (A7) be with (D) you.
To (Dm) morrow and to (A) day, be (Dm) side you all the (E) way.
If the (A) world should stop re (A7) volving spinning (A) slowly (A7) down to (D) die.
I'd (Dm) spend the end with (A) you, and (Dm) when the world was (E) through.
Then (F#m) one, by (Bm4) one, the (A) stars would all go (Dm6) out.
Then (A7) you, and (F#) I, would (Bm) sim, ply (E7) fly, a (A) way (D) (Dm) (A).
(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)(MC0)
TIP: The intro begins without chords (NC) but are followed by a three-note segment leading into
the first (G). So what you do is form (D) and sing the opening a capella. Then after “closed”
pluck the open 4th string <d>, add your pinky to the 4th string/4th fret <f#> and pick, and then
sing “it’s” while picking the covered 3rd string. In the second verse it’s just two notes followed
by a strum of (D) on “so”. If this is too much then just play the (D) in place of the notes.
(NC) The bars are all closed <d><f#> - <a> it’s (G) four in the (D) morning.
I must have shut’em all down, by the shape that I’m (A) in.
I lay my (D) head on the wheel, and the (G) horn begins (D) honkin'.
The whole neighborhood knows, that I’m (A) home (A7) drunk a (D) gain.
If drinking don’t (G) kill (D) me, her memory (A) will.
I can’t hold out much (G) long (A) er, the way that I (D) feel.
With the blood from my (G) bo (D) dy, I could start my own (G) still.
But if drinking don’t (D) kill me, her (A) memo (A7) ry (D) will. (G)(D)(A)(D)
(NC) These old bones they move slow <d><f#> but (D) so (G) sure of their (D) footsteps.
As I trip on the floor, and I lightly touch (A) down.
Lord it’s (D) been, ten bottles, since I (G) tried to for (D) get her,
But the memory still lingers lying (A) here on (A7) the (D) ground.
And if drinking don’t (G) kill (D) me, her memory (A) will.
I can’t hold out much (G) long (A) er, the way that I (D) feel.
With the blood from my (G) bod (D) y, I could start my own (G) still.
But if drinking don’t (D) kill me, her (A) memo (A7) ry (D) will |G|-|D|-|Em|-|D|.
IF I FELL - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=F_80s6S_7Vw (Capo 2)(MC2)
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 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.
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".
/ ;
INTRO: (NC) If I (Bm4) fell in love with you, would you (C) promise to be true,
And (B) help me (Fm4/G#m) understand.
'Cause I've (Bm4) been in love before, and I (C) found that love was more,
Than (Dm) just holding (G) hands.
If I (C) give, (Dm) my, (Em) heart, to (Dm7) you,

I must (G) be (Dm7) sure from the (C) ver-(Dm)-ry (Em) start, that (Dm7) you,
Would love (G) me (F) more than (C) her (Fm)(G7).
If I (C) trust, (Dm) in, (Em) you, oh (Dm7) please,
Don't run (G) and (Dm7) hide if I (C) love, (Dm) you, (Em) too, oh (Dm7) please,
Don't hurt (G) my (F) pride like (Fm3/Gm) her. 'Cause I couldn't stand the (F) pain.
And (Fm) I, would be sad if our new (C) love, was in (G7) vain.
So I (C) hope, (Dm) you, (Em) see, that (Dm7) I,

Would love (G) to (Dm7) love you (C) and, (Dm) that, (Em) she, will (Dm7) cry,
When she (G) learns (F) we are (Fm3/Gm) two. 'Cause I couldn't stand the (F) pain.
And (Fm) I would be sad if our new (C) love was in (G7) vain.
So I (C) hope, (Dm) you, (Em) see, that (Dm7) I,

Would love (G) to (Dm7) love you (C) and, (Dm) that, (Em) she, will (Dm7) cry,
When (G) she (F) learns we are (C) two.
If I (Fm) fell in love with (C) you. |Fm|-|Fm|-|Fm|-|Fm|-|Fm|-|C|
IF I HAD A BOAT
Lyle Lovett
https://www.youtube.com/watch?v=hpM8FjO4Vko (Capo 2)(MC0/1)
TIP: For every (Bm) you can just add your pinky to the 3rd string/4th fret. Or you can just skip
the (Bm) (in the verses) completely and play the (D) straight through to the (A).
TIP: The intro is tough to emulate as it's actually fingerpicking overlaying a steel guitar. So
try what's listed, three quick (D)s, then add the pinky to the 3rd string/4th fret for two quick
strums, and one more (D). Repeat this four times and then one strum each of (G)(A)(D).
TIP: In the instrumental bridge there's an (AA5) which follows an (A). Regardless of which three
fingers you use to play the (A) you want to barre the 2nd fret with your index finger and cover the
bottom string of the 5th fret with your pinky. Pretty easy. Alternatively you can play an (F5)
but it's the same (A) chord and I find it easier just to drop down and barre the fret.
( )
INTRO: |D|-|D|-|D|-|Bm|-|Bm|-|D|; |D|-|D|-|D|-|Bm|-|Bm|-|D|; |D|-|D|-|D|-|Bm|-|Bm|-|D|;

|D|-|D|-|D|-|Bm|-|Bm|-|D|; (G)-(A)-(D)
And (G) if I had a (D) boat, I'd (G) go out on the (D) ocean.
And if I had a pony, I'd (Bm) ride him on my (A) boat.
And (G) we could all to (D) gether, (G) go out on the (D) ocean.
I’d-sit me upon my (A) pony on my (D) boat.
And if I were Roy Rogers, I'd (G) sure enough be (D) single.
I couldn't bring myself to marryin’ o-old (A) Dale.
Well it'd (D) just be me and Trigger. We'd go (G) riding through them (D) movies.
And we'd buy a boat and (A) on the sea we'd (D) sail.
Now the mystery masked man was smart, he (G) got himself a (D) Tonto.
'Cause Tonto did the dirty work for (A) free.
But (D) Tonto he was smarter, and one (G) day said Kemo (D) Sabe:
“Kiss my ass I bought a boat and I'm (A) going out to (D) sea.”
(D)(A)(D), (G)(A)(D), (G)(D)(Bm)(A)(A),(AA5)
And (D) if I were like lightnin’, I (G) wouldn't need no (D) sneakers.
Well I'd come and go wherever I would (A) please.
And I'd (D) scare 'em by the shade tree, and (G) scare 'em by the (D) light pole.
But I would not scare my pony on my (A) boat out on the (D) sea.
I’d-sit me upon my (A) pony on my (D) boat. (A) |D|
IF I HAD A HAMMER - Trini Lopez
(Seger/Hays)
https://www.youtube.com/watch?v=y7INpfQEPkE (Capo 2)(MC2)
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.
TIP: There's a driving chord progression that starts with the intro and keeps going throughout the
entire song. Note that the "ooh ohhs" end in (F) and immediately go to the (G) in the verse.
INTRO: (C)(Am)(F)(G), (C)(Am)(F)(G), (C)(Am)(F)(G), (C)(Am)(F)(G)
(C) Oooh (Am) ooh (F) oooh (G) ooh, (C) Oooh (Am) ooh (F) oooh (G) ooh, (C) Oooh (Am) ooh (F) ooh
If (G) I had a (C) hammer (Am)(F), I'd (G) hammer in the (C) morning (Am)(F).
I'd (G) hammer in the (C) evening (Am)(F), all over this (G) land. (G)
I'd hammer out (C) danger. I'd hammer out a (Am) warning.
I'd hammer out (F) love be (C) tween, my (F) brothers and my (C) sisters, (F) ah (G) ah,
All over this (C) land (Am)(F)(G).
If (G) I had a (C) bell (Am)(F), I'd (G) ring it in the (C) morning (Am)(F).
I'd (G) ring it in the (C) evening (Am)(F), all over this (G) land (G).
I'd ring out (C) danger. I'd ring out a (Am) warning yeah.
I'd ring out (F) love be (C) tween, my (F) brothers and my (C) sisters, (F) ah (G) ah,
If (G) I had a (C) song (Am)(F), I'd (G) sing it in the (C) morning (Am)(F).
I'd (G) sing it in the (C) evening (Am)(F), all over this (G) world (G).
I'd sing out (C) danger, I'd sing out a (Am) warning yeah.
I'd sing out (F) love be (C) tween, my (F) brothers and my (C) sisters, (F) ah (G) ah,
(G) I got a (C) hammer (Am)(F), and (G) I've got a (C) bell (Am)(F).
And (G) I've got a (C) song to (Am) sing (F), all over this (G) land (G).
It's the hammer of (C) justice, it's the bell of (Am) freedom.
It's the song about (F) love be (C) tween, my (F) brothers and my (C) sisters, (F) ah (G) ah,
All over this (C) land (Am)(F)(G), (C)(Am)(F).
All (G) over this (C) land (Am)(F). All (G) over this (C) land (Am)(F).
All (G) over this (C) land (Am)(F)(G)(C)(Am)(F). All (G) over this (C) land (Am)(F).
All (G) over this (C) laaaa (Am)(F)(G)(C)(Am)(F)(G)(C)(C) 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)(MC0)
TIP: The intro and bridge are easy to play. To go from (A) to (Asus) and back either add your
pinky to the 2nd string/3rd fret or slide your ring finger up one fret. Reverse to go back to (A).
(D4) is (D) with the pinky added to the bottom string and when you lift it, you’re back at (D). For
(A) to (A6) just add your pinky to the bottom string and lift off to go back to (A).
INTRO: (G)(G)(G)(Gadd)-(A); (A)(Asus)-(A); (A)(A)(A)(A6)-(A)-(D)(D4)(D)
(NC) If I could (D) have you, I know what (A) I would do.
This time I'd (G) be true. (A) If I had (D) you (A).
If you could (D) be mine, I'd walk that (A) straight line.
There'd be no (G) bad times (A). If I had (D) you (A)(D).
I made the (G) worst mistake (A), one fool could (D) ever make.
Tell me it's (Bm) not too late (Em7). What can I (A) do?
(NC) If I could (D) hold you tight, I'd have the (A) world tonight.
Everything would (G) be alright (A). If I had (D) you. (A)
(D)-(A)-(D); (D)-(D4)(A); (A)(G)(A)(D)(A); (D)-(A)-(D); (D)-(D4)(A); (A)(G)(A)(D)
Well-I made (G) the worst mistake (A), one fool could (D) ever make.
Tell me it's (Bm) not too late (Em7). What can I (A) do?
(NC) If I could (D) hold you tight, I'd have the (A) world tonight.
Everything would (G) be alright (A). If I had (D) you.
Everything would (A) be alright (G). (NC) If I had (D) you (A)(D).
IF I NEEDED YOU (In C)
Lyle Lovett/Emmylou Harris & Don Williams
(Van Zandt)
https://www.youtube.com/watch?v=_7_B0Svzgwg (Lyle) (Capo 3)(MC0)
https://www.youtube.com/watch?v=ILfCEPL-9Oo (Emmylou & Don)(Capo 0)
TIP: There are slight differences between the two versions. Lyle plays the instrumental after the
2nd verse, Emmylou & Don after the 3rd. The arrangement here is based on the Don/Emmylou duet.
TIP: For the intro form (F) but lift off the bottom string. Pick the 2nd string and open bottom
string, replace the mini-barre and strum (F), etc.
TIP: The (CaddG) can be ignored completely if you prefer. It just adds a bright emphasis to the
high <g> note. And if you want to get fancy, play the first (CaddG) in the first and third lines
with a mini-barre of the 1st fret - like you would with an (F) - “come” and then lift off pinky for
the next strum “to” and lift off the bottom string for the strum after that “me”. For the (CaddG)
in the 2nd and 4th lines of each verse play the (CaddG) as normal “come” but lift off the pinky “to”
and then play the (F) “me”. Sounds messy but try it and you'll see it's almost natural.
TIP: There’s also a version in (G) afterwards which (I think) is easier to play.
INTRO: <c>-<e>-(F)(C), (C)(CaddG)(C), (C)(CaddG)(F)(G)(C)
If I (F) needed (C) you, would you (CaddG) come to (C) me?
Would you (CaddG) come to (F) me, for to (G) ease my (C) pain (C)?
If you (F) needed (C) me, I would (CaddG) come to (C) you.
I would (CaddG) swim the (F) sea, for to (G) ease your (C) pain (C).
Well the (F) night's for (C) lorn, and the (CaddG) morning's (C) born.
And the mornin’s (F) born with the (G) lights of (C) love (C).
And you'll (F) miss sun (C) rise, if you (CaddG) close your (C) eyes.
And (CaddG) that would (F) break my (G) heart in (C) two (C).
I would (CaddG) swim the (F) sea for to (G) ease your (C) pain (C).
(C)-(F)(C), (C)(CaddG)(C)(C)(CaddG)(F)(G)(C)(C)
(C)-(F)(C), (C)(CaddG)(C)(C)(CaddG)(F)(G)(C)|C|
(NC) Baby's (F) with me (C) now, since I (CaddG) showed her (C) how,
To (CaddG) layyyy, her (F) lily (G) hand in (C) mine (C).
Who could (F) ill a (C) gree, she's a (CaddG) sight to (C) see?
A (CaddG) treasure (F) for the (G) poor to (C) find (C).
I would (CaddG) swim the (F) sea for to (G) ease your (C) pain (C).
Mm-mm- (F) mm-mm- (C) mm, mm-mm- (CaddG) mm mm- (C) mm.
Mm-mm- (CaddG) mm mm (F) mm-mm-mm- (G) mm-mm- (C) mm (C)|C|.
(Lyle Lovett) (Emmylou Harris) (Don Williams) (Artist Index)

IF I NEEDED YOU (In G)
Lyle Lovett/Emmylou Harris & Don Williams
(Van Zandt)
https://www.youtube.com/watch?v=ILfCEPL-9Oo (Emmylou & Don) (Capo 5)
TIP: You can still play along with the Don and Emmylou version -- in fact it sounds pretty if one
guitarist plays the version in C and another this one in G -- but you’d have to capo too high (8th
fret) to play along with Lyle.
TIP: There are slight differences between the two versions. Lyle plays the instrumental after the
2nd verse, Emmylou & Don after the 3rd. The arrangement here is based on the Don/Emmylou duet.
TIP: For the intro form (C) but lift off the bottom string (like you’re playing a Cmaj). Pick the
open 3rd and 2nd strings and then replace the index finger and strum (C), etc.
TIP: The (Gadd) can be ignored completely if you prefer. It just adds a bright emphasis to the
high <d> note. And if you want to get fancy, after the (Gadd) in the first and third lines, e.g.
“come” lift off the ring finger and drop your index finger down and cover the 2nd string/1st fret
<c> on “to” and then play a regular (G) on “me.” For the (Gadd) in the 2nd and 4th lines of each
verse play the (Gadd) as normal “come” but lift off the ring finger on “to” and then play the (C)
on “me”. Sounds messy but try it and you'll see it's almost natural.
INTRO: <g>--(C)(G), (G)(Gadd)(G), (G)(Gadd)(C)(D)(G)
If I (C) needed (G) you, would you (Gadd) come to (G) me?
Would you (Gadd) come to (C) me, for to (D) ease my (G) pain (G)?
If you (C) needed (G) me, I would (Gadd) come to (G) you.
I would (Gadd) swim the (C) sea, for to (D) ease your (G) pain (G).
Well the (C) night's for (G) lorn, and the (Gadd) morning's born.
And the mornin’s (C) born with the (D) lights of (G) love (G).
And you'll (C) miss sun (G) rise, if you (Gadd) close your (G) eyes.
And (Gadd) that would (C) break my (D) heart in (G) two (G).
I would (Gadd) swim the (C) sea for to (D) ease your (G) pain (G).
(G)-(C)(G), (G)(Gadd)(G)(G)(Gadd)(C)(D)(G)(G)
(G)-(C)(G), (G)(Gadd)(G)(G)(Gadd)(C)(D)(G)|G|
(NC) Baby's (C) with me (G) now, since I (Gadd) showed her (G) how,
To (Gadd) layyyy, her (C) lily (D) hand in (G) mine (G).
Who could (C) ill a (G) gree, she's a (Gadd) sight to (G) see?
A (Gadd) treasure (C) for the (D) poor to (G) find (G).
I would (Gadd) swim the (C) sea for to (D) ease your (G) pain (G).
Mm-mm- (C) mm-mm- (G) mm, mm-mm- (Gadd) mm mm- (G) mm.
Mm-mm- (Gadd) mm mm (C) mm-mm-mm- (D) mm-mm- (G) mm (G)|G|.
(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)(MC5)
TIP: The (trill) is the little 7 note whistle between verses. It comes after a (Gadd) and before
the next (G) so keep the (G) configuration as you’re playing the trill. Okay so here’s how you
play it: (1) Lift off the (Gadd) with your bottom two fingers and play with the high <e> (open
bottom string). (2) Replace the fingers and play <d> (2nd string/3rd fret). (3) Lift again and play
 (open 2nd string). (4) Play <a> (3rd string/2nd fret) by laying down with the top third of your
index finger. (5) Play middle <g> (open third string) by lift up with the top of the index finger
used to play the <a> in preceding step 4. (6) Play middle <e> (4th string/2nd fret) by once again
laying down the index finger, and finally (7) Play <d> (open 4th string) by returning to regular (G)
configuration. You’ll then be positioned to continue with the next verse already in (G).
(D7) I could (G) wile away the hours, con (Cmaj7) ferrin' with the (C) flowers,
Con (G) sultin' (Gadd) with the rain (trill).
(G) And my (C) head I'd be scratchin' while my (D7) thoughts were busy hatchin'
If I (G) only (C) had a (G) brain.
(D7) I'd un (G) ravel any riddle, for (Cmaj7) any indi (C) vid'le,
In (G) trouble (Gadd) or in pain (trill).
(G) With the (C) thoughts you'd be thinkin' you could (D7) be another Lincoln
If you (G) only (C) had a (G) brain.
Oh (C) I, would tell you (Bm) why, the (Am7) ocean's near the (G) shore.
I could (D) think of things I (D7) never thunk be (Em) fore.
And then I'd (A7) sit, and think some (D) more (D7).
I would (G) not be just a nuffin', my (Cmaj7) head all full of (C) stuffin',
My (G) heart (Gadd) all full of pain (trill).
(G) I would (C) dance and be merry life would (D7) be a ding-a-derry
If I (G) only (C) had a (G) brain.
(Ray Bolger) (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)(MC5)
(D7) When a (G) man's an empty kettle, he (Cmaj7) should be on his (C) mettle,
And (G) yet I'm (Gadd) torn apart.
(G) Just be (C) cause I'm presumin', that I could (D7) be kind of human
If I (G) only (C) had (G) heart.
(D7) I'd be (G) tender, I'd be gentle, and (Cmaj7) awful sentim (C) ental,
Re (G) garding (Gadd) love and art.
(G) I'd be (C) friends with the sparrows and the (D7) boys who shoots the arrows
If I (G) only (C) had a (G) heart.
Picture (C) me, a balcon (Bm) y, a (Am7) bove a voice sings (G) low.
Wherefore (D) art thou Rome (Em) o? I hear a (A7) beat, (D) how sweet. (D7)
Just to (G) register emotion: (Cmaj7) jealousy, de (C) votion,

And (G) really (Gadd) feel the part.
(G) I could (C) stay young and chipper and I'd (D7) lock it with a zipper
If I (G) only (C) had a (G) heart.
(Jack Haley) (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)(MC5)
TIP: See “If I Only Had a Brain”
(D7) Yeah it's (G) sad believe me Missy, when you're (Cmaj7) born to be a (C) sissy,
With (G) out the (Gadd) vim and verve (trill).
(G) But (C) I could show my prowess be a (D7) lion not a mou-ess
If I (G) only (C) had the (G) nerve. (D7)
I'm a (G) fraid there's no denyin', I'm (Cmaj7) just a dande (C) lion,
A (G) fate I (Gadd) don't deserve (trill).
(G) I'd be (C) brave as a blizzard I'd be (D7) gentle as a lizard,
I'd be (C) clever as a (D7) gizzard, if the (C) Wizard is a Wizard who will serve (G).
Then I'm (Cmaj7) sure to get a (G) brain, (Cmaj7) a (G) heart, (Cmaj7) a (G) home,
(Cmaj7) the (G) nerve.
(D7) Ohhhhhh we're (G) off to see the wizard, the (Em) wonderful (D7) Wizard of (G) Oz.
We (Em) hear he is a (D) whiz of a (A7) wiz if (D7) ever a wiz there (D) was.
If (C) ever oh ever a (G) wiz there was the (C) Wizard of Oz is (Em) one be (G) cause.
Because because be (D) cause be (C) cause be (D7) cause.
Be (A7) cause of the wonderful things he (D7) does.
We're (G) off to see the wizard, the (Em) wonderful (D7) Wizard of (G) Oz.
(Bert Lahr) (Judy Garland) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF LOVE WAS A RIVER - Alan Jackson
(A. Wright/S. Wright)
https://www.youtube.com/watch?v=LQ2EH7KjKsg (Capo 2)(MC2)
TIP: The numbers in the intro are the frets in which to pick the bottom strings quickly before the
first (D), with 0 being the open <e>.
TIP: The (Bm) will follow (D) so you can just add your pinky to the 3rd string/3rd fret if you want.
INTRO: 5-3-2-0-(D)(D)(A)(A)(D)-(A)-(D)(D)|D|
(NC) If love was a (D) river, and I was a drownin’ (A) man (A),
Would you get in the (D) water, would you lend me a (G) hand (G)?
If love was a (D) river (A), would you sit on the (D) land (D)|D|?
(NC) If love was a (D) mountain, high above this (A) town (A),
Would you climb to the (D) top, would you never look (G) down (G)?
If love was a (D) mountain (A), would you go a (D) round (D)?
(G) Love may only (D) knock so many (A) times upon your (D) door.
And (G) heaven only (D) knows if it will come (Bm) back (Bm), any (A) more |A|.
(NC) If love was a (D) firefly, sittin’ in your (A) hand (A),
Would you laugh when it (D) twinkled, let it go a (G) gain (G)?
If love was a (D) firefly (A), would you under (D) stand (D)?
<mandolin> (D)(D)(A)(A)(D)(D)(G)(G)(D)(A)(D)(D)|D|
(NC) If love was a (D) party, with everyone you (A) know (A),
Would you dance if I (D) asked you, would you smile and say (G) “No” (G)?
If love was a (D) party (A), would you even (D) go (D)?
(G) Love may only (D) knock so many (A) times up on your (D) door.
And (G) heaven only (D) knows if it will come (Bm) back (Bm), any (A) more |A|.
(NC) If love was a (D) fast train, on a one-way (A) track (A),
Would you turn in your (D) ticket, would you never look (G) back (G)?
If love was a (D) fast train (A), would you even (D) pack (D)?
<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)(MC1)
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 Olivia Newton-John cover in 1971 but her's is a bit on the syrupy side.
TIP: The (G)-(D)-(C) drives the whole verse and it comes right on the heels of the last word in
the line so it's important to get the rhythm down.
TIP: There's a little step-down at the end of the bridge. End with a single strum of |D7| and
begin the next verse without a chord until (G) "you".
INTRO: (G),(G)-(D)-(C); (G),(G)-(D)-(C); (G),(G)-(D)-(C); (C)-(C)-(Am)(Am); (G),(G)-(D)-(C)
If not for (G) you (G)-(D)-(C), babe-I-couldn't-even (G) find the door (G)-(D)-(C).
I couldn't even (G) see the floor (G)-(D)-(C).
I'd be sad and (Am) blue, if not for (G) you (G)-(D)-(C). (G),(G)-(D)-(C)
If not for (G) you (G)-(D)-(C), babe the night-would-see-me (G) wide awake (G)-(D)-(C).
The day would surely (G) have to break (G)-(D)-(C).
It would not be (Am) new, if not for you if not for (G) you (G)-(D)-(C). (G),(G)-(D)-(C)
If not for you my (G) sky would fall. (D) Rain would gather (G) too.
(C) Without your love I'd be (G) nowhere at all I'd be (A7) lost if not for (D) you. (C)(Bm)|D7|
(NC) If not for (G) you (G)-(D)-(C), the winter would (G) hold no spring (G)-(D)-(C).
Couldn't hear a (G) robin sing (G)-(D)-(C).
I just wouldn't have a (Am) clue, if not for you (G) you (G)-(D)-(C). (G),(G)-(D)-(C)
I just wouldn't have a (Am) clue, if not for you (G) you (G)-(D)-(C). (G),(G)-(D)-(C)
(G),(G)-(D)-(C); (C)-(C)-(Am)(Am); (G),(G)-(D)-(C); (G),(G)-(D)-(C)

(G),(G)-(D)-(C); (C)-(C)-(Am)(Am); (G),(G)-(D)-(C); (G),(G)-(D)-(C)
I just wouldn't have a (Am) clue, if not for you (G) you (G)-(D)-(C).
If not for you-(G)-ou (G)-(D)-(C). (G),(G)-(D)-(C), |G|
(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)(MC0)
TIP: For the (A) to (Asus2) just lift off the bottom finger.
TIP: At the last line of each stanza there’s a transition from (D) to (F#m) to (D/A). The trick
is to keep that pinky in place after the (F#m) and form a regular (D) with your index, middle, and
ring fingers and you've got the (D/A). Try it a few times; it’s pretty easy.
TIP: The instrumental bridge and outro is quite fast. Start with (A) like you're repeating the
line "If you could read my mind love" but then it's a stacatto walk-down of chord strums. To go
from (D) to (Dsus2) just lift off the bottom finger.
INTRO: (A),(A)-(Asus2); (A),(A)-(Asus2); (A)
If you could read my mind love, (G) what a tale my (D/A) thoughts (A) could tell.
Just like an old time movie, (G) 'bout a ghost from a (D/A) wish (A) ing well.
In a castle (Em) dark, or a (D) fortress strong, with (E) chains upon my (F#m) feet.
You (D) know that ghost is (A) me. And (D) I will never (F#m) be set free,
As (D/A) long as I'm a (E) ghost that you can't (A) see. (A)(Asus2)(A)
If I could read your mind love, (G) what a tale your (D/A) thoughts (A) could tell.
Just like a paperback novel, (G) the kind the (D/A) drug (A) stores sell.
When you reach the (Em) part, where the (D) heartaches come, the (E) hero would be (F#m) me.
The (D) hero, often (A) fails. (D) You won't read that (F#m) book again
Be (D/A) cause the ending's (E) just too hard to (A) take.
(A),(Asus2)(A), (G)(D)(D)(Dsus2)-(A); (A),(Asus2)(A), (G)(D)(D)(Dsus2)-(A)

I'd walk a (A7) way, like a (D) movie star, who gets (E) burned in a three way (F#m) script.
(D) Enter, number (A) two. A (D) movie queen to (F#m) play the scene of (D/A) bringing all the
(E) good things out in (F#m) me. But for (D) now love let's be (A) real.
I (D) never thought I could (F#m) act this way and I've (D/A) got to say that I (E) just don't get
it. (D) I don't know where (F#m) we went wrong but the (D/A) feeling's gone and I (E) just can't
get it (A) back.
(A),(A)-(Asus2); (A),(A)-(Asus2); (A)
If you could read my mind love, (G) what a tale my (D/A) thoughts (A) could tell.
Just like an old time movie, (G) 'bout a ghost from a (D/A) wish (A) ing well.
In a castle (Em) dark, or a (D) fortress strong, with (E) chains upon my (F#m) feet.
The (D) story, always (A) end.
(D) If you read be (F#m) tween the lines you'd (D/A) know that I'm just (E) tryin' to
under (F#m) stand, the (D) feeling, that you (A) lack. I (D) never thought I could (F#m) feel this
way and I've (D/A) got to say that I (E) just don't get it. (D) I don't know where (F#m) we went
wrong but the (D/A) feelin's gone and I (E) just can't get it (A) back. (A),(Asus2)(A)
(G)(D)(D)(Dsus2)-(A)(Asus2)-(A)
IF YOU WANT TO SING OUT
Cat Stevens
https://www.youtube.com/watch?v=NDq36YD1ESM (Capo 0)(MC0)
TIP: First, in the intro, to transition from the (C) to (CaddD) to (Fmaj7) keep the index finger
planted on the 2nd string/1st fret the whole time. From (C) add your pinky to the 2nd string/3rd
fret for the (CaddD). Then lift off the pinky and drop the ring and middle fingers down one
string. Or even easier, play an (Am) instead of the (Fmaj7).
TIP: At the end of the verse there’s a quick strum of three (C)s and a (G) followed immediately by
two (C)s a (G) and another (C). Leading into the chorus the pattern ends with two quick (G)s.
TIP: In the chorus there's a little riff that precedes the line. It consists of 5 single note
plucks and the strum of a chord. It’s either <g><g><g><a>(C) or <g><g><g><a><c>(G). If the
notes are too much then focus on the chord at the end of the riff as it’s the first chord of the
line.
TIP: At the end there are quick strums of |FaddG|. It will follow an (F) so just hold form and
add your pinky to the bottom string/3rd fret to cover the note <g>.
INTRO: (C)(CaddD)(Fmaj7); (C)(CaddD)(Fmaj7)
(G) Well if you (C) want to sing (G) out sing (F) out |F|-|F|-|F|.
(F) And if you (C) want to be (G) free be (Am) free |Am|-|Am|-|Am|.
(Am) 'Cause there's a (Dm) million (Am) things to (G) be.
You (C) know that there (G) are |C|-|C|-|C|-|G|, |C|-|C|-|G|-|C|.
(C) And if you want to live (G) high live (F) high |F|-|F|-|F|.
(F) And if you (C) want to live (G) low live (Am) low |Am|-|Am|-|Am|.
(Am) 'Cause there's a (Dm) million (Am) ways to (G) go.
You (C) know that there (G) are |C|-|C|-|C|-|G|, |G|-|G|.
<g><g><g><a>(C) You can do what you (F) want.
<g><g><g><a><c>(G) The opportunity's (C) on.
<g><g><g><a>(C) And if you can find a new (F) way,
<g><g><g><a><c>(G) You can do it to (C) day.
<g><g><g><a>(C) You can make it all (Am) true.

<g><g><g><a><c>(G) And you can make it un (C) do, (Am) you (Em) see? <pause>
A hah (Am) hah. It's ea (Em) sy. A hah (Am) hah. You on (Em) ly,
Need to (G) know |C|-|C|-|C|-|G|, |C|-|C|-|G|-|C|.
(C) Well if you want to say (G) yes say (F) yes |F|-|F|-|F|.
(F) And if you (C) want to say (G) no say (Am) no |Am|-|Am|-|Am|.
(Am) 'Cause there's a (Dm) million (Am) ways to (G) go.
You (C) know that there (G) are |C|-|C|-|C|-|G|, |C|-|C|-|G|-|C|.
(G) And if you (C) want to be (G) me be (F) me |F|-|F|-|F|.

(F) And if you (C) want to be (G) you be (Am) you |Am|-|Am|-|Am|.
(Am) 'Cause there's a (Dm) million (Am) things to (G) do.
You (C) know that there (G) are |C|-|C|-|C|-|G|, |G|-|G|.
<g><g><g><a>(C) You can do what you (F) want.

<g><g><g><a><c>(G) The opportunity's (C) on.
<g><g><g><a>(C) And if you can find a new (F) way,
<g><g><g><a><c>(G) You can do it to (C) day.
<g><g><g><a>(C) You can make it all (Am) true.
<g><g><g><a><c>(G) And you can make it un (C) do, (Am) you (Em) see? <pause>
A hah (Am) hah. It's ea (Em) sy. A hah (Am) hah. You on (Em) ly,
Need to (G) know |C|-|C|-|C|-|G|, |C|-|C|-|G|-|C|.
(G) Well if you (C) want to sing (G) out sing (F) out |F|-|F|-|F|.
(F) And if you (C) want to be (G) free be (Am) free |Am|-|Am|-|Am|.
(Am) 'Cause there's a (Dm) million (Am) things to (G) be.
You (C) know that there (G) are, you (C) know that there (G) are,
You (C) know that there (G) are, (C) you (G) know that there (C) are (G)(F) |FaddG|-|FaddG|.
You (G) know that there (C) are (G)(F) |FaddG|-|FaddG|-|FaddG|; (C)(CaddD)(Fmaj7); |C|
(Cat Stevens) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
IF YOU WERE TO WAKE UP
Lyle Lovett
https://www.youtube.com/watch?v=ITgB8vcuIlE (Capo 3)(MC1)
TIP: Lyle plays uncapo'd in (F) but here it is in (D) to avoid the (Bb). 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).
TIP: This is quite a slow song; play it as such.
If (G) you were to (D) wake up (G), and I were be (D) side you.
Would (G) you gently (D) smile, dear, and whisper my (A) name?
And (G) would you re (D) member (G), the way that I (D) held you?
(G) And would you (D) want me (A), to hold you a (D) gain (G)(D)?
(G) Time reaches (D) to you (G), just like a (D) willow,
That (G) bends to the (D) water, and clings to the (A) shore.
And (G) there was a (D) time dear (G), that once you did (D) love me.
And (G) there was a (D) time (A), you loved me no (D) more (G)(D).
(G) Rain on your (D) window (G), light on your (D) pillow.
The (G) way you lie (D) sleeping, is it like be (A) fore?
For (G) there was a (D) time dear (G), that once you did (D) love me.
And (G) there was a (D) time (A), you loved me no (D) more (G)(D).
<violin> (D)(G)(D); (G)(D)(D)(A); (A)(D)(G)(D); (G)(D)(A)(D)(G)(D)

(G) Rain on your (D) window (G), light on your (D) pillow.
The (G) way you lie (D) sleeping, is it like be (A) fore?
For (G) there was a (D) time dear (G), that once you did (D) love me.
And (G) there was a (D) time (A), you loved me no (D) more (G)(G)|D|.
IF YOU WERE TO WAKE UP
Lyle Lovett
(MC5)
[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).
TIP: This is quite a slow song; play it as such.
If (C) you were to (G) wake up (C), and I were be (G) side you.
Would (C) you gently (G) smile, dear, and whisper my (D) name?
And (C) would you re (G) member (C), the way that I (G) held you?
(C) And would you (G) want me (D), to hold you a (G) gain (C)(G)?
(C) Time reaches (G) to you (C), just like a (G) willow,
That (C) bends to the (G) water, and clings to the (D) shore.
And (C) there was a (G) time dear (C), that once you did (G) love me.
And (C) there was a (G) time (D), you loved me no (G) more (C)(G).
(C) Rain on your (G) window (C), light on your (G) pillow.
The (C) way you lie (G) sleeping, is it like be (D) fore?
For (C) there was a (G) time dear (C), that once you did (G) love me.
And (C) there was a (G) time (D), you loved me no (G) more (C)(G).
<violin> (G)(C)(G); (C)(G)(G)(D); (D)(G)(C)(G); (C)(G)(D)(G)(C)(G)

(C) Rain on your (G) window (C), light on your (G) pillow.
The (C) way you lie (G) sleeping, is it like be (D) fore?
For (C) there was a (G) time dear (C), that once you did (G) love me.
And (C) there was a (G) time (D), you loved me no (G) more (C)(C)|G|.
IF YOU’RE GONNA PLAY IN TEXAS – Alabama
(Mitchell/Kellum)
https://www.youtube.com/watch?v=w6r4E514nJg (Capo 0)(MC3)
INTRO: <single strum of> |A|
(A) If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band.
That lead guitar is (E) hot but not for (D) "Lousiana (E) Man."
So (F#m) rosin up that (E) bow for "Faded (D) Love" and let's all (A) dance.
If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band. (D) (A)
I remember down in (E) Houston, we were (D) puttin' on a (A) show.

When a cowboy in the (E) back stood up and (D) yelled, "Cotton-Eyed (E) Joe"!
He said "We (A) love what you're (E) doin', (D) boys don't get us (A) wrong.
There's just somethin' (E) missin' in your (A) song."
If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (A) band.
That lead guitar is hot (E) but not for (D) "Lousiana (E) Man."
If you're gonna play in (E) Texas, you (D) gotta have a fiddle in the (F#m) band. (D)(A), (E)(D)(A)
So we dusted off our (E) boots and put our (D) cowboy hats on (A) straight.
Them Texans raised the (E) roof when Jeff (D) opened up his (E) case.
You say (A) y'all all wanna (E) two-step. You (D) say ya wanna doe-si (A) doe.
Well here's your fiddlin' (E) song before we (D) go (A).
(A)(E)(D)(A), (A)(E)(D)(E), (F#m)(E)(D)(A), (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)(MC1)
[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 (D/A1) is just (D) slid back into the 1st fret covering 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) Imagine there's (Amaj7) no (D) Heaven. (A) It's easy if (Amaj7) you try- (D) -y.
(A) No hell (Amaj7) be (D) low us. (A) Above us on- (Amaj7) -ly sky- (D) ey.
(F#m) Imagine all the peo- (Bm) -ple. (E) Living for (A) to |E| day. (NC) A-ha.
(A) Imagine there's (Amaj7) no (D) countries. (A) It isn't hard (Amaj7) to do- (D) -oo.
(A) Nothing to kill (Amaj7) or (D) die for. (A) And no reli (Amaj7) gion too- (D) -oo.
(F#m) Imagine all the peo- (Bm) -ple. (E) Living life (A) in |E| peace. (NC) You-hoo.
(D) You may (E) say that I'm a (A) dreamer (D/A1)(D), but I'm (E) not the only (A) one (D/A1)(D).
I hope some (E) day you'll (A) join us (D/A1)(D). And the (E) world will (A) be as one.
Imagine no (Amaj7) po (D) ssesions. (A) I wonder if (Amaj7) you can- (D) -an.
(A) No need for greed (Amaj7) or (D) hunger. (A) A brotherhood (Amaj7) of ma- (D) -an.
(F#m) Imagine all the peo- (Bm) -ple. (E) Sharing all (A) the |E| world. (NC) You-hoo.
(D) You may (E) say that I'm a (A) dreamer (D/A1)(D), but I'm (E) not the only (A) one (D/A1)(D).
I hope some (E) day you'll (A) join us (D/A1)(D). And the (E) world will (A) live as one.
(John Lennon) (Artist Index) - (Main Index) - (Song Index) (This Song)
IMAGINE
John Lennon
(MC0)
INTRO: (C)(Cmaj7)(F), (C)(Cmaj7)(F)
(C) Imagine there's (Cmaj7) no (F) Heaven. (C) It's easy if (Cmaj7) you try- (F) -y.
(C) No hell (Cmaj7) be (F) low us. (C) Above us on- (Cmaj7) -ly sky- (F) ey.
(Am) Imagine all the peo- (Dm) -ple. (G) Living for (C) to |G7| day. (NC) A-ha.
(C) Imagine there's (Cmaj7) no (F) countries. (C) It isn't hard (Cmaj7) to do- (F) -oo.
(C) Nothing to kill (Cmaj7) or (F) die for. (C) And no relig (Cmaj7) ion too- (F) -oo.
(Am) Imagine all the peo- (Dm) -ple. (G) Living life (C) in |G7| peace. (NC) You-hoo.
(F) You may (G) say that I'm a (C) dreamer (E)(F), but I'm (G) not the only (C) one (E)(F).
I hope some (G) day you'll (C) join us (E)(F). And the (G) world will (C) be as one.
Imagine no (Cmaj7) po (F) ssesions. (C) I wonder if (Cmaj7) you can- (F) -an.
(C) No need for greed (Cmaj7) or (F) hunger. (C) A brotherhood (Cmaj7) of ma- (F) -an.
(Am) Imagine all the peo- (Dm) -ple. (G) Sharing all (C) the |G7| world. (NC) You-hoo.
(F) You may (G) say that I'm a (C) dreamer (E)(F), but I'm (G) not the only (C) one (E)(F).
I hope some (G) day you'll (C) join us (E)(F). And the (G) world will (C) live as one.
(John Lennon) (Artist Index) - (Main Index) - (Song Index) (This Song)
IMITATION OF LIFE - R.E.M.
(Buck/Mills/Stipe)
https://www.youtube.com/watch?v=0vqgdSsfqPs (Capo 0)(MC0)
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) Charades pop (G) skill, water (Em) hyacinth (D),

Named by a (Em) poet, imita (Am) tion of (G) life (D)(C).
(Em) Like a (Am) koi in a (G) frozen pond. (D) Like a goldfish (Em) in a bowl.
(Am) I don't want to (G) hear you cry- (D) -y-y- (C) y-y-y-y-y.
That's (G) sugarcane, that (Em) tasted good. That's (C) cinna (Am) mon, that's (C) Holly (D) wood.
C' (G) mon, c' mon no (Em) one can see you (Am) try- y-y-y-y (C) -y-y-y (D) y (D)(D4)(D).
(Em) You want the (G) greatest (Am) thing, the (G) greatest thing since (D) bread came sliced.
(Em) You've got it (Am) all you've got it (G) sussed (D)(C).
(Em) Like a (Am) Friday fashion (G) show teenager (D) freezing in the (Em) corner,
(Am) Trying to look like (G) you don't try- (D) -y-y- (C) y-y-y-y-y.
That's (G) sugarcane, that (Em) tasted good. That's (C) cinna (Am) mon, that's (C) Holly (D) wood.
(C), (C)(C)(D), (D4)(D)(C), (C)(C)(D),

No one can (D4) see (D) you (C) cry-y-y-y-y- (C) y- (C) y- (D) y. (D)
That (G) sugarcane that (Em) tasted good.

That's (C) freezing (Am) rain that's, (C) what you (D) could.
<softer> This (G) sugarcane, this (Em) lemonade, this (Am) hurricane I'm, (C) not a (D) fraid.
C' (G) mon, c'mon no (Em) one can see me (Am) cry- y-y-y-y (C) -y-y-y (D) y.
This (G) lightning storm, this (Em) tidal wave, this (Am) avalanche I'm, (C) not a (D) fraid.
C' (G) mon, c' mon no (Em) one can see me (Am) cry- y-y-y-y (C) -y-y-y (D) y
That (G) sugar cane that (Em) tasted good. That's (C) who you (Am) are that's, (C) what you
(D) could. C' (G) mon, c' mon no (Em) one can see you (Am) try- y-y-y-y (C) -y-y-y (D) y.
That (G) sugarcane that (Em) tasted good. That's (Am) who you are that's, (C) what you (D) could.
C' (G) mon, c' mon no (Em) one can see you (Am) cry- y-y-y-y (C) -y-y-y (D) y (D)(D4)(D). |Em|

IN DREAMS
Roy Orbison
https://www.youtube.com/watch?v=MVRunwyoTMA (Capo 0)(MC1)
TIP: The lone (Emsus4) comes after a (Dm) so just move your middle finger up one string while
lifting the other two. Just add your pinky to the bottom string of the 3rd fret to go from (C) to
(CaddG). Just lift index finger to go form (C) to (Cmaj7).
TIP: Roy sings the opening verse with just a single strum where the chord appears in brackets.
A |C| candy-colored clown they call The |Am| Sandman,

|Dm| Tiptoes to my room every |G7| night.
|C| Just to sprinkle stardust and to |Am| whisper,
"Go to |F| sleep, every |G7| thing, is all |C| right."
(NC) I close my (C) eyes, then I drift a (Dm) way,

Into the (G7) magic night, I softly (C) say,
A silent prayer, like dreamers (Dm) do.
Then I fall a (G7) sleep to dream, my dreams of (C) you.
In dreams, I walk, with (G) you (G7). In (F) dreams, I (G7) talk, to (C) you.
In dreams you're mine, (D7) all of the time we're to (C) geth, (Dm) er, (G) in (C) dreams (Dm) in
(Emsus4) dreams.
But (C) just, be (Fm) fore, the (C) dawn. I awake, and (Fm) find, you (C) gone.
(NC) I can't help it |C|-|C|-|C|, (NC) I can't help it |C|-|C|-|C|, if I (Dm) cry.
(NC) I remember |G|-|G|-|G|, that you said |G|-|G|-|G|, good (C) bye.
It's too (CaddG) bad, that all, these (Gadd) things.

Can only (CaddG) happ,en in, my (Gadd) dreams.
(C) On - (Cmaj7) - ly in (D7) dreams. In (Dm7) beau- (G7) ti- ful (C) dreams.
IN LONESOME DOVE – Garth Brooks
(Limbaugh/Brooks)
https://www.youtube.com/watch?v=O0VZ4ns2Ts0 (Capo 0)(MC3)
https://drive.google.com/file/d/1cF9eOQMpZQGcRUVUejiNB2EC811clM3I/view?usp=sharing
TIP: For some reason Garth hasn’t made this song available on You Tube. The first link is to a
pretty decent cover. Even sounds like Garth. The second link is to an mp3 of the actual song off
of Ropin’ the Wind. Both are Capo 0.
INTRO: (G), (C)(C)-(G), (C)(C)-(G), (C)(C)-(G)
She (G) was a girl on a wagon train.

(C) Headed (G) west a-(D)-cross the (G) plains.
The (Em) train got lost in a (C) summer (D) storm.
They (Em) couldn't move west and they (C) couldn't go (D) home.
Then she (G) saw him ridin' through the rain.
He took (C) charge of the (G) wagons and he (D) saved the (G) train.
And (Em) she looked down and her (C) heart was (D) gone.
The (Em) train went west but (C) she stayed (D) on, in Lonesome (G) Dove.
A farmer's daughter with a gentle hand.

A (C) blooming (G) rose in a (D) bed of (G) sand.
She (Em) loved the man who (C) wore a (D) star.
A (Em) Texas Ranger known (C) near and (D) far.
So (G) they got married and they had a child.
But (C) times were (G) tough and the (D) West was (G) wild.
So it was (Em) no surprise the (C) day she (D) learned,
That her (Em) Texas man would (C) not re (D) turn, to Lonesome (G) Dove.
(Em) Back to back with the (G) Rio Grande, a (C) Christian woman in the (G) devil's land.
She (Em) learned the language and she (Bm) learned to fight.
But she (C) never learned how to beat the (Am) lonely nights (D),
In Lonesome (G) Dove. (D) Lonesome (G) Dove.
She watched her boy grow into a man.

He had an (C) angel's (G) heart and the (D) devil's (G) hand.
He (Em) wore his star for (C) all to (D) see.
He was a (Em) Texas lawman (C) lega (D) cy.
(G) Then one day word blew into town.
It seemed the (C) men that (G) shot his (D) father (G) down,
Had (Em) robbed a bank in (C) Cheri (D) co.
The only (Em) thing 'tween them and (C) Mexi (D) co, was Lonesome (G) Dove.
The shadows stretched across the land,

As the (C) shots rang (G) out down the (D) Rio (G) Grande.
And (Em) when the smoke had finally (C) cleared the (D) street,
The (Em) men lay at the (C) Ranger's (D) feet.
But (G) legend tells to this very day,
That (C) shots were (G) comin' from an (D) alley (G) way.
Though (Em) no one knows who (C) held the (D) gun,
There (Em) ain't no doubt if you (C) ask some (D) one, in Lonesome (G) Dove.
(Em) Back to back with the (G) Rio Grande,

A (C) Christian woman in the (G) devil's land.
She (Em) learned the language and she (Bm) learned to fight.
But she (C) never learned how to beat the (Am) lonely nights (D),
In Lonesome (G) Dove. (D) Lonesome (G) Dove.
(Garth Brooks) (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)(MC2)
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)
I come to the garden alone, while the (F) dew, is still on the (C) rose-es.
And the (G) voice I hear, falling (C) on my ear, the (D) Son of (D7) God dis (G) clos-es.
(NC) And He (C) walks with me, and He (G) talks, with me, and He (G7) tells me I am His (C) own.
And the joy we (E7) share as we (F) tarry (Fm) there, none (C) other has (G) ever (C) known.
He speaks, and the sound of His voice, is so (F) sweet, the birds hush their (C) sing-ing.
And the (G) mel-o-dy that He (C) gave to me, with (D) in my (D7) heart is (G) ring-ing.
(NC) And He (C) walks with me, and He (G) talks, with me, and He (G7) tells me I am, His (C) own.
And the joy we (E7) share as we (F) tarry (Fm) there, none (C) other has (G) ever (C) known.
<Cash only> I'll stay, in the garden, with Him, tho the (F) night, around me be (C) falling.
But He (G) bids me go, through the (C) voice of woe, His (D) voice to (D7) me is (G) calling.
<Prine/Wiseman> (C),(C)(F)(C), (G)(C)(D)(D7)(G)
(NC) And He (C) walks, with me, and He (G) talks, with me, and He (G7) tells me I am His (C) own.
The joy we (E7) share as we (F) tarry (Fm) there, none (C) other has (G) ever (C) known. |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)(MC2)
TIP: Trill the (D/A) in the intro and when you see it in combination with a (D/A)(A) in the verse.
(D/A) is just regular (D) with your pinky added to the 4th string/4th fret.
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. I find it helps to think "(D7)"
moved up one string-set.
TIP: Regular (D) can be played in place of (D/A) and also in place of the (Bm) if you wish.
INTRO: (A)(D/A)(A),(D/A)(A)
As the snow flies (D/A)(A). On a (Amaj7) cold and gray Chicago mornin'
A (Bm) poor little baby (E) child is born in the (A) ghetto (D/A)(A).
And his mama cries (D/A)(A).
'Cause if (Amaj7) there's one thing that she don't need

It's a (Bm) nother hungry (E) mouth to feed in the (A) ghetto (D/A)(A).
People don't you (E) understand? The child needs a (D) helping (A) hand,
Or (D) he'll grow to be an (E) angry young man some (A) day.
Take a look at (E) you and me, are we too (D) blind to (A) see?
(D) Do we simply (Amaj7) turn our heads and (Bm) look the other (E) way?
Well the (A) world turns (D/A)(A).

And a (Amaj7) hungry little boy with a runny nose (Bm)
Plays in the street as the (E) cold wind blows in the (A) ghetto (D/A)(A).
And his hunger burns (D/A)(A).
So he (Amaj7) starts to roam the streets at night and he (Bm) learns how to steal
And he (E) learns how to fight in the (A) ghetto (D/A)(A).
(E) Then one night in desperation the (D) young man breaks a (A) way.
He (D) buys a gun, (Amaj7) steals a car, (Bm) tries to run but he (E) don't get far
And his (A) mama cries (D/A)(A).
As a (Amaj7) crowd gathers 'round an angry young man

Face (Bm) down on the street with a (E) gun in his hand in the (A) ghetto (D/A)(A).
And as her young man dies (D/A)(A).
On a (Amaj7) cold and gray Chicago mornin'

A (Bm) nother little baby (E) child is born in the (A) ghetto (D/A)(A).
And his mama cries (D/A)(A).
(D/A)(A), (D/A)(A), (D/A)(A), (D/A)(A), |D|
IN THE JAILHOUSE NOW (In A)
Jimmie Rodgers/Tim Blake Nelson/Soggy Bottom Boys
(Traditional)
`
https://www.youtube.com/watch?v=GL7ZjFp1Z5s (Capo 2) (MC2) (Soggy Bottom Boys)
https://www.youtube.com/watch?v=p3L2qf3q-ok (Capo 3) (Jimmie)
[There’s also an easier version without the (B) chords afterwards.]
TIP: There are several versions of this venerable old blues classic. This is the one that
appeared in the film “O Brother Where Art Thou?”
TIP: In the intro, just add your pinky to the bottom string to go from (A) to (A6) and lift off
the bottom finger to go from (A) to (Asus2). No biggie. You can ignore both if you want.
INTRO: (A)(A6)-(A)(A), (A)(Asus2)(D), (E)(E), (E)(E7), (E7)(E)(A)
I had a friend named Ramblin' Bob. He used to steal gamble and rob.
He thought he was the (A7) smartest guy a (D) round.
But I found out last Monday, that Bob got locked up Sunday.
They've (B) got him in the (B7) jailhouse way down (E) town.
(NC) He's in the jailhouse (A) now. He's in the (A7) jailhouse (D) now.
Well I (E) told him once or twice, to stop playin' cards and a shootin' (E7) dice.
(E) He's in the jailhouse (A) now.
I dee oh-dee- (D) lay-he-hee de-oh-teeee . . .

Lah dee oh-dee-lay-ee-(A) ohh dee-loh-tee.
Dee-oh-dee- (E) lay-he-hee, dee-oh-dee-lay-he-tee, dee-oh-dee- (A) lay-heee.
Bob liked to play his poker, pinoccle wist and euochre.
But shooting dice (A7) was his favorite (D) game.
Well he got throwed in jail, with nobody to go his bail.
The (B) judge done said that (B7) he refused a (E) fine.
(NC) He's in the jailhouse (A) now. He's in the (A7) jailhouse (D) now.
Well I (E) told him once or twice, to stop playin' cards and a shootin' (E7) dice.
(E) He's in the jailhouse (A) now.
I dee oh-dee- (D) lay-he-hee heeee . . .

I dee oh-dee-lay-he- (A) hee heeee.
Dee-oh-dee- (E) lay-he-hee, dee-oh-dee-lay-he-hee, dee-oh-dee- (A) lay-heee.
Well I went out last Tuesday. I met a girl named Susie.

I said I was the (A7) swellest guy a (D) round.
Well we started to spendin’ my money, and she started to callin’ me honey.
We (B) took in every (B7) cabaret in (E) town.
(NC) We’re in the jailhouse (A) now. We’re in the (A7) jailhouse (D) now.
Well I (E) told that judge right to his face, I don’t like to see (E7) this place.
(E) We’re in the jailhouse (A) now.
I dee oh-dee- (D) lay-he-hee oh-eeee . . .

I dee oh-dee-lay-he- (A) hee heeee.
Dee-oh-dee- (E) lay-he-hee, dee-oh-dee-lay-he-hee, dee-oh-dee- (A) lay-heee.
(Jimmie Rodgers) (Tim Blake Nelson) (Soggy Bottom Boys) (Artist Index)
IN THE JAILHOUSE NOW (In C)
Jimmie Rodgers/Tim Blake Nelson & The Soggy Bottom Boys
(Traditional)
https://www.youtube.com/watch?v=p3L2qf3q-ok (Capo 0) (MC1) (Jimmie Rodgers)
TIP: There are several versions of this venerable old blues classic. The link is to Jimmie’s
version from 1928 which he does solo, but the version appearing here is still patterned after the
one that appeared in the film “O Brother Where Art Thou?” although to play along with the recording
you'd have to capo way too far up the neck.
TIP: In the intro, just move your index finger down to the 3rd string/2nd fret. Let the middle
finger come off the top string and just lift off the index finger for the second (G). To play the
(CaddD) just keep the (C) and add/remove your pinky to the 2nd string/3rd fret. Or you can ignore
both movements if you want and play the majors.
INTRO: (G)(G/A2)-(G)(C), (C)(CaddD)-(C)(F), (G)(G), (G)(G7), (G7)(C)
(C) I had a friend named Ramblin' Bob. He used to steal gamble and rob.
He thought he was the (C7) smartest guy a (F) round.
But I found out last Monday, that Bob got locked up Sunday.
They've (D) got him in the (D7) jailhouse way down (G) town.
(NC) He's in the jailhouse (C) now. He's in the (CaddD) jailhouse (F) now.
Well I (G) told him once or twice, to stop playin' cards and a shootin' (G7) dice.
He's in the jailhouse (C) now.
I dee oh-dee- (F) lay-he-hee de-oh-teeee . . .

Lah dee oh-dee-lay-ee-(C) ohh dee-loh-tee.
Dee-oh-dee- (G) lay-he-hee, dee-oh-dee-lay-he-tee, dee-oh-dee- (C) lay-heee.
Bob liked to play his poker, pinoccle wist and euochre.
But shooting dice (C7) was his favorite (F) game.
Well he got throwed in jail, with nobody to go his bail.
The (D) judge done said that (D7) he refused a (G) fine.
(NC) He's in the jailhouse (C) now. He's in the (CaddD) jailhouse (F) now.
Well I (G) told him once or twice, to stop playin' cards and a shootin' (G7) dice.
He's in the jailhouse (C) now.
I dee oh-dee- (F) lay-he-hee heeee . . .

I dee oh-dee-lay-he- (C) hee heeee.
Dee-oh-dee- (G) lay-he-hee, dee-oh-dee-lay-he-hee, dee-oh-dee- (C) lay-heee.
Well I went out last Tuesday. I met a girl named Susie.

I said I was the (C7) swellest guy a (F) round.
Well we started to spendin’ my money, and she started to callin’ me honey.
We (D) took in every (D7) cabaret in (G) town.
(NC) We’re in the jailhouse (C) now. We’re in the (CaddD) jailhouse (F) now.
Well I (G) told that judge right to his face, I don’t like to see (G7) this place.
We’re in the jailhouse (C) now.
I dee oh-dee- (F) lay-he-hee oh-eeee . . .

I dee oh-dee-lay-he- (C) hee heeee.
Dee-oh-dee- (G) lay-he-hee, dee-oh-dee-lay-he-hee, dee-oh-dee- (C) lay-heee.
(Jimmie Rodgers) (Tim Blake Nelson) (Soggy Bottom Boys) (Artist Index)
IN THE MIDNIGHT HOUR - Wilson Pickett
(Pickett/Cropper)
https://www.youtube.com/watch?v=FGVGFfj7POA (Capo 2)(MC2)
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)
I'm gonna (D) wait 'til the (G) midnight (D) hour (G).
That's when my (D) love come (G) tumblin' (D) down (G).
I'm gonna (D) wait 'til the (G) midnight (D) hour (G),
When there (D) no one (G) else a (D) round (G).
I'm gonna (A) take you, girl and (G) hold you,
And (A) do all the things I (G) told you in the midnight (D) hour (G).
Yes I (D) am, ohhh (G) yes I (D) am (D). One-more-thing-(C)-I-just-wanna-say-right-here (A).
I'm gonna (D) wait 'til the (G) stars come (D) out (G),
And see that (D) twinkle, (G) in your (D) eyes (G).
That's when my (D) love be (G) gin to (D) shine (G).
You're the (A) only, girl I (G) know,
That (A) really love me (G) so in the midnight (D) hour (G).
Oh (D) yeah, in the (G) midnight (D) hour (G). (C) Yeah (C).
Al (A) right, play-it-for-me-one-time-now (D)(G)(D)(G)(D)(C)(A), (A)(D)(G)(D)(C)(D)(G)(A)(A).
That's when my (D) love come (G) tumblin' (D) down (G).
I'm gonna (D) wait, (G) when the midnight (D) hour (G).
That's when my (D) love, be (G) gins to (D) shine, just (G) you and I (D)(G).
Oh baby now (D), just (G) you and (D) I (G).
Nobody a (D) round baby just (G) you and I (D), (G) alright, (D) you-know-what, (G) I'm gonna
(D) hold you (G), in my (D) arms just (G) you and (D) I, (G) ohhhhh (D) yeah in, the (G) midnight
(D) hour (G), oh baby (D) in the (G) midnight (D) hour (G)(D)(G)(D)(G)|D|
(Wilson Pickett) (Artist Index) - (Main Index) - (Song Index) (This Song)
IN THE MOOD – Glenn Miller
(Razaf/Garland)
https://www.youtube.com/watch?v=_CI-0E_jses (Capo 1)(MC1)
[This is an instrumental. The Andrews Sisters version follows.]
TIP: If you REALLY want to see how this could sound on an acoustic guitar
go here → https://www.youtube.com/watch?v=d6Nfp2Bgfa8
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: For the intro, form (F3) -- (F) on the 3rd fret - just another way to play (G) -- and hold
your pinky aloft over the 2nd string. Now pick the strings indicated beginning with the 4th string
and walk down to the 1st. Where you see (P2) that stands for "pinky on the 2nd string" so put your
pinky down and pick the 2nd string once, lift off your pinky and pick it again, and then the 3rd
string, then strum (F3). If you don't want to mess around with picking the individual notes then
just strum (G), then (A) for two measures, and end with (A)(D7)(G).
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: The (D/A3) is actually an (D#) but you play it like a (D) on the 3rd fret and cover the 4th
string/5th fret with your pinky if you can.
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: Form (F3): 4-3-2-1-1-1-1-1-1-1-1-(P2)-2-3-(F3); (A)(A); (A)(D7)(G)
(G)...(G!) (G)... (C)...(CaddG!) (G)...(G!) (D7)... (G)(C)(D/A3)-(G)

(G)...(G!) (G)... (C)...(CaddG!) (G)...(G!) (D7)... (G)(C)(D/A3)-(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=gOuLfqLS5Mc (Capo 1)(MC1)
TIP: (CaddG) will follow (C) so just add your pinky to the bottoms string/3rd fret.
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.
You (G) got to do some (C) dancin' to (CaddG) get in the (G) 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.
A (G) builder up with (C) that will put me (CaddG) in the (G) mood.
In the mood, (Am7) that's it I (D7) got it.

(G) In the mood, (Am7) your ear will (D) spot it.
(G) In the mood, (Am7) oh what a (D) hot hit.
(G) Be alive and get the jive you've (D) got to learn (G) how.
Hep hep hep, (Am7) hep like a (D7) hepper.
(G) Pep pep pep, (Am7) hot as a (D7) pepper.
(G) Step step step, (Am7) step like a (D) stepper.
We're (G) muggin' and huggin' we're (D) in the mood (G) 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.
You're (G) positively (C) absolutely (CaddG) in the (G) 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.
My (G) heart if full of (C) rhythm 'n and (CaddG) I'm in the (G) mood.
In the mood, (Am7) that's it cause I (D7) got it and

I'm (G) in the mood, (Am7) your ear will (D) spot it when you're
(G) In the mood, (Am7) bobbity bop a diddly (D) bop a bop a
(G) Be alive and get the jive you've (D) got to learn (G) how.
Hep hep hep, you’re (Am7) hep like a (D7) hepper full of
(G) Pep pep pep, (Am7) you're (D) hot as a pepper and you
(G) Step step step, (Am7) step like a (D) stepper.
We're muggin', and now we're (D/A3) huggin',
(D/A) Cause we're in the (G) 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)(MC5)
INTRO: (G)(Bm)(C)(D), (G)(Bm)(C)|D|
On the (G) first day on (D) January (Em) Eighteen Ninety (Bm) Two,
They (C) opened Ellis (G) Island and they (C) let the people (D) through.
And the (G) first to cross the (D) treshold of that (Em) isle of hope and (Bm) tears.
Was (C) Annie Moore from (Am) Ireland, who was (C) all of fifteen (D) years (Dsus4)(D).
Isle of (C) hope, isle of (D) tears, isle of (G) freedom, (D) isle of (Em) fears.
But it's (C) not the isle you (Am) left, be (D) hind (Dsus4)(D).
That isle of (C) hunger, isle of (D) pain, isle you'll (G) never see a (Em) gain.
But the (C) isle of home is (D) always on your (G) mind. (Bm)(C)|D|
In a (G) little bag she (D) carried, all her (Em) past and histor (Bm) y,
And her (C) dreams for the (G) future in the (C) Land of Liber (D) ty.
And (G) courage is the (D) passport when your (Em) old world, disa (Bm) ppears,
But (C) there's no future (Am) in the past (C) when you're fifteen (D) years (Dsus4)(D).
For the (C) isle of home is (D) always on your (G) mind. (G)(G)
<violin> (C)(D)(G)-(D)-(Em), (C)(D)(G)(G), (C)|D|
When they (G) closed down Ellis (D) Island, in (Em) Nineteen Fourty (Bm) Three,
(C) Seventeen million (G) people had gone (C) there for Sanctuar (D) y.
And (G) in the springtime (D) when I came there I (Em) stepped onto its (Bm) piers,
And I (C) thought of how it (Am) must have been, (C) when you're fifteen (D) years (Dsus4)(D).
For the (C) isle of home is (D) always on your (C) mind (G).
For the (C) isle of home is (D) always on your (Em) mind (Em).
Yes the (C) isle of home is (D) always on your (G) mind. (Bm)(C)(D) |G|
(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=umPKhs17DmE (Buddy)(Capo 0)(MC0/5)
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. You can still
play Linda’s but hers sounds better with the version appearing in the (SAL) format.
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)
There you go and baby, here am I well you, (D7) left me here so I could, sit and cry well,
(G) Golly gee what have you, done to me well I (D7) guess it doesn't matter any (G) more.
Do you remember baby, last September how you, (D7) held me tight each and, every night well,
(G) Oopsy-daisy how you, drove me crazy but I (D7) guess it doesn't matter any (G) more.
(Em) There's no use in me a, cryin' I've (G) done everything and now I'm, sick of tryin'.
I've (A) thrown away my nights, and wasted all my (A7) days over (D) you- (D7)-ou (D6)-ou (D)-ou.
(G) Well you go your way and, I'll go mine. (D7) Now and forever till the, end of time I'll find,
(G) Somebody new and baby, we'll say we're through and (D7) you won't matter any (G) more.
(G)(D)(G), (G)(C)(G)(B7)
(Em) There's no use in me a, cryin' I've (G) done everything and now I'm, sick of tryin'.
I've (A) thrown away my nights, and wasted all my (A7) days over (D) you- (D7)-ou (D6)-ou (D)-ou.
(G) Well you go your way and, I'll go mine. (D7) Now and forever till the, end of time I'll find,
(G) Somebody new and baby, we'll say we're through and (D7) you won't matter any (G) more.
(D7) You won't matter any (G) more. (G)(D7), (G)(D7)-(G)
(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)(MC2)
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)(Dsus2)-(D),(Am)(Am),(C)-(G)(D)(D4)-(D); (D)(Dsus2)-(D),(Am)(Am),(C)-(G)(D)(D4)-(D)
It don't come (Am) easy. You (C) know it don't come (D) easy.
It don't come (Am) easy. You (C) know it don't come (D) easy. <drums>
Got to pay your dues if you (Am) wanna sing the blues and you (C) know it don't come (D) easy.
You don't have to shout (Am) or leap about you can (C) even play them (D) easy.
For (F) get about the past, and all your (G) sorrows (G).
The (F) fu - ture won't last, it will (A) soon be your tomor (A7) row.
I (D) don't ask for much I (Am) only want your trust and you (C) know it don't come (D) easy.
And this love of mine keeps (Am) growing all the time and you (C) know it just ain't (D) easy.
(F) Open up your heart let's come to (G) gether (G).

(F) Use, a little love, and we will (A) make it work out bet (A7) ter.
(D) Ah . . . (Am) . . . (C) . . . (D). |D|-|D| Ooooh . . . (Am) . . . (C) . . . (D)

Got to pay your dues if you (Am) wanna sing the blues and you (C) know it don't come (D) easy.
You don't have to shout (Am) or leap about you can (C) even play them (D) easy.
(F) Please remember peace is how we (G) make it (G).

(F) Here within your reach, if you're (A) big enough to (A7) take it.
I (D) don't ask for much I (Am) only want trust and you (C) know it don't come (D) easy.
And this love of mine keeps (Am) growing all the time and you (C) know it don't come (D) easy.
(D)(Dsus2)-(D),(Am)(Am),(C)-(G)(D)(D4)-(D); (D)(Dsus2)-(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)(MC2DD)
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)
First I get cold and hot, (G) think I'm on fire but I'm not.
(D) Oh what a pain I've got. (A7) It must be (D) love.
There's nothing I can do. (G) All that I want is you.
(D) Look what I'm going through. (A7) It must be (D) love.
It must be love, (G) it must be (D) love.

I (G) fall like a (D) sparrow and (A) fly like a (D) dove.
You must be the dream I've (G) been dreaming (D) of.
(G) Oh what a (D) feeling (A7) it must be (D) love.
Something is wrong alright, (G) I think of you all night.

(D) Can't sleep 'til morning light, (A7) it must be (D) love.
Seeing you in my dreams (G) holding you close to me.
(D) Oh what else can it be? (A7) It must be (D) love.

(D)(G),(D)(A7); (D)(G),(D)(A)(D)




(Don Williams)(Alan Jackson) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT MUST BE LOVE - Don Williams/Alan Jackson
(McDill)
(MC0)
INTRO: (G)(C),(G)(D7); (G)(C),(G)(D)(G)
First I get cold and hot, (C) think I'm on fire but I'm not.
(G) Oh what a pain I've got. (D7) It must be (G) love.
There's nothing I can do. (C) All that I want is you.
(G) Look what I'm going through. (D7) It must be (G) love.
It must be love, (C) it must be (G) love.

I (C) fall like a (G) sparrow and (D) fly like a (G) dove.
You must be the dream I've (C) been dreaming (G) of.
(C) Oh what a (G) feeling (D7) it must be (G) love.
Something is wrong alright, (C) I think of you all night.

(G) Can't sleep 'til morning light, (D7) It must be (G) love.
Seeing you in my dreams (C) holding you close to me.
(G) Oh what else can it be? (D7) It must be (G) love.

(G)(C),(G)(D7); (G)(C),(G)(D)(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)(MC0)
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)
The only time I feel the (D) pain (E), is in the sunshine or the (A) rain.
And I don't feel no hurt at (D) all (E), unless you count when teardrops (A) fall.
I tell the truth 'cept when I (D) lie (E). It only hurts me when I (A) cry.
(NC) You couldn't tell it by the (E) smile, that my recovery took a (A) while.
I worked for days and nights on (E) end. Just to walk and talk a (A) gain.
You can't believe the time it (D) takes, to heal a heart once it (E) brea-e-aks.
The only time I feel the (D) pain (E), is in the sunshine or the (A) rain.
I tell the truth 'cept when I (D) lie (E). It only hurts me when I (A) cry. <palm>
(A)/2-1 (D)(E)(A), (A)(D)(E)(A)
Oh maybe every now and (E) then, I have a small heartache a (A) gain.
You wouldn't know when you look at (E) me, there's tiny scars that you can't (A) see.
It was a struggle to sur (D) vive. I'm probably lucky I'm a (E) li-i-ive.
(NC) The only time I feel the (D) pain (E), is in the sunshine or the (A) rain.
I tell the truth 'cept when I (D) lie (E). It only hurts me when I (A) cry.
I tell the truth 'cept when I (D) lie (E). It only hurts me when I (A) cry (A)...(E)-(A).
IT WAS A VERY GOOD YEAR – Frank Sinatra
(Drake)
https://www.youtube.com/watch?v=ydcUaTpiHgQ (Capo 0)(MC0)
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) When I was (Dm) seventeen, it was a (D#) very good year.
It was a (Dm) very good year for (F) small town girls, and (D#) soft summer nights.
We'd (D) hide from the lights, on the (C) vill age green.
When I was (D) seventeen. (Dm),(Dm)(D4)-(Dm)-(Dsus2),(Am),|A|
(NC) When I was (Dm) twenty-one, it was a (D#) very good year.
It was a (Dm) very good year for (F) city girls, who (D#) lived up the stair,
With all that (D) perfumed hair. And it (C) came undone,
When I was (D) twenty-one. (Dm),(Dm)(D4)-(Dm)-(Dsus2),(Am),|A|
(NC) When I was (Dm) thirty-five, it was a (D#) very good year.
It was a (Dm) very good year for (F) blue blooded girls of (D#) independent means.
We'd (D) ride in limousines, their (C) chauffeurs would drive.
When I was (D) thirty-five. (Dm),(Dm)(D4)-(Dm)-(Dsus2),(Am),|A|
(NC) But now the (Dm) days are short. I'm in the (D#) autumn of the year.
And now I (Dm) think of my life, as (F) vintage wine from (D#) fine old kegs.
From the (D) brim to the dregs, it (C) poured sweet and clear.
It was a (D) very good year.
(Dm),(Dm)(D4)-(Dm)-(Dsus2),(Am), |A|
(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)(MC0)
TIP: At the end of the intro/bridge sequence strike the |D| and |C| once each.
INTRO: (G),(C),(D),|D|-|C|-(G)
Up in the mornin', (C) work like a dog,

Is (D) better than sittin', like a (C) bump on a (G) log.
Mind all your manners, be (C) quiet as a mouse.
Some (D) day you'll own a home, that's as big as a (G) house.
I know a fella, he (C) eats like a horse.

(D) Knocks his old balls, round the (C) old golf (G) course.
You oughta see his wife, she's a (C) cute little dish.
She (D) smokes like a chimney, and drinks like a (G) fish.
There's a big old, goofy maaan dancin' with a (C) big old, goofy girl.
(D) Oooh baby, it's a big ollld goofy (G) world.
Elvis had a woman, with a (C) head like a rock.

I (D) wished I had a woman, that (C) made my knees (G) knock.
She'd sing like an angel, and (C) eat like a bird.
And (D) if I wrote a song, she'd know (C) ever single (G) word.
There's a big old, goofy maaan dancing with a (C) big old, goofy girl.
(D) Oooh baby, it's a big old goofy (G) world.
(G),(C),(D),|D|-|C|-(G); (G),(C),(D),|D|-|C|-(G)
Kiss a little baby, (C) give the world a smile.
And (D) if you take an inch, (C) give 'em back a (G) mile.
Cause if you lie like a rug, and you (C) don't give a damn.
You're (D) never gonna be, as happy as a (G) clam.
I'm sittin' in a hotel, (C) tryin' to write a song.

My (D) head is just as empty, as the (C) day is (G) long.
Why it's clear as a bell, I (C) should have gone to school.
I'd be (D) wise as an owl, instead of (C) stubborn as a (G) mule.
There's a big old, goofy maaan dancin' with a (C) big old, goofy girl.
(D) Oooh baby, it's a big ollld goofy (G) world.
(D) Oooh baby, it's a big old goofy (G) 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)(MC0)
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: At the end of the chorus leading into the next verse there’s a bass (G)(F)(Em)(G) step-down
where the first (G) is on the last word “you” in the chorus and then Bonnie drags the (Em) on “Ohh”
which actually is kind of broken up between ending the chorus and beginning the verse for the (G).
It’s a little tricky but you’ll see what I mean when you get there.
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)
It's a heartache, nothin' but a (Em) heartache.

Hits you when it's (F) too late. Hits you when you're (C) dow-(G)-own.
It's a (C) fool's game, nothin' but a (Em) fool's game.
Standing in the (F) cold rain. Feeling like a (C) clow-(G)-own.
It's a (C) heartache, nothin' but a (Em) heartache.
Love him till your (F) arms break, then he lets you (C) dow-(G)-own.
It ain't (F) right with love to (G) share,

When you (Em) find he doesn't (Am) care, for (G) you (F)(Em)(G).
It ain't (F) wise to need some (G) one, as much as (Em) I depended (Am) on, (G) you, (F) (Em) Oh-
(G) It's a (C) heartache, nothin' but a (Em) heartache.

Hits you when it's (F) too late. Hits you when you're (C) dow-(G)-own.
It's a (C) fool's game, nothin' but a (Em) fool's game.
Standing in the (F) cold rain. Feeling like a (C) clow-(G)-own.
(C)(Em), (Em)(F), (F)(C)(G)
It ain't (F) right with love to (G) share,

When you (Em) find he doesn't (Am) care, for (G) you (F)(Em)(G).
It ain't (F) wise to need some (G) one, as much as (Em) I depended (Am) on, (G) you. (F) (Em) Oh -
(G) It's a (C) heartache, nothin' but a (Em) heartache.

Love him till your (F) arms break, then he lets you (C) dow-(G)-own.
(CaddG)... It's a fool's game (Em). Standing in the cold rain.

(F)... Feelin' like a (C) clow-(G)-own.
It's a (C) hearrrrrrrtache (Em). Love him til your (F) arms break,
Then he lets you (C) dow-(G)-own. Oh yeah (C) down. |C|
(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)(MC2)
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).
TIP: There's a four-note step-down right before the first intro chord. Form up (C/G) which is
just (C) with your pinky added to the top string/3rd fret. Pick the covered 4th string <e>, lift
off your middle finger and pick the now open 4th string <d>, pick the covered 5th string <c> and
covered 6th string <g> and strum (C/G).
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: <Form (C/G)>: <e>-<d>-<c>-<g> (C/G) (F) (G) (C), (C)
The sun is hot and (G7) that old clock is (C) movin' slow, and (G) so am I.
(C) Workday passes (G7) like molasses in (Am) wintertime, but (G) it's July.
I'm gettin' (F) paid by the hour, and (C) older by the minute.
My (G) boss just pushed me (C) over the limit.
I'd like to (F) call him somethin', I (C) think I'll just call it a |G| day. |G|-|G|-|G|-|G|
(C) Pour me somethin' (F) tall and strong make it a (G) Hurricane before (C) I go insane.
It's only half past (F) twelve, but I don't (G) care (G)|G|. (NC) It's five o'clock (C) somewhere.
(F)(G)(C), (C)
Well this lunch break is (G7) gonna take all (C) afternoon, (G) half the night.
To (C) morrow morning (G7) I know there'll be (Am) hell to pay, hey but (G) that's alright.
I ain't (F) had a day off now, in (C) over a year.
My Ja (G) maican vacation's gonna (C) start right here.
If the (F) phone's for me you can (C) tell 'em I just sailed a |G| way. |G|-|G|-|G|-|G|
And (C) pour me somethin' (F) tall and strong make it a (G) Hurricane before (C) I go insane.
It's only half past (F) twelve, but I don't (G) care. It's five o'clock (C) somewhere. (F)(G)(C),
(C)(F)(G)(C)
I could (Am) pay off my tab pour my (F) self in a cab and be (Dm) back to (G) work before (C) two.
At a (Am) moment like this, I (F) can't help but wonder, |Dm| what would Jimmy Buffett |G| do?
Funny you should ask Alan.
I'd say (C) pour me somethin' (F) tall and strong make it a (G) Hurricane before I (C) go insane.
It's only half past (F) twelve but I don't (G) care.
(C) Pour me somethin' (F) tall and strong make it a (G) Hurricane before (C) I go insane.
It's only half past (F) twelve, but I don't (G) care. He don't care. I don't care |G|.
(NC) It's five o'clock (C) somewhere. (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)(MC play C)
TIP: There's a four-note step-down right before the first intro chord. It's 4th string/4th fret,
4th string/2nd fret, open 4th string, and open 5th string. Then wrap your thumb over the top
string of the 2nd fret and include that top string in the strum of (D/F#).
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: <f#>-<e>-<d>-<a> (D/F#) (G) (A) (D), (D)
The sun is hot and (A7) that old clock is (D) movin' slow, and (A) so am I.
(D) Workday passes (A7) like molasses in (Bm) wintertime, but (A) it's July.
I'm gettin' (G) paid by the hour, and (D) older by the minute.
My (A) boss just pushed me (D) over the limit.
I'd like to (G) call him somethin', I (D) think I'll just call it a |A| day. |A|-|A|-|A|-|A|
(D) Pour me somethin' (G) tall and strong make it a (A) Hurricane before (D) I go insane.
It's only half past (G) twelve, but I don't (A) care (A)|A|. (NC) It's five o'clock (D) somewhere.
(G)(A)(D), (D)
Well this lunch break is (A7) gonna take all (D) afternoon, (A) half the night.
To (D) morrow morning (A7) I know there'll be (Bm) hell to pay, hey but (A) that's alright.
I ain't (G) had a day off now, in (D) over a year.
My Ja (A) maican vacation's gonna (D) start right here.
If the (G) phone's for me you can (D) tell 'em I just sailed a |A| way. |A|-|A|-|A|-|A|
And (D) pour me somethin' (G) tall and strong make it a (A) Hurricane before (D) I go insane.
It's only half past (G) twelve, but I don't (A) care. It's five o'clock (D) somewhere. (G)(A)(D),
(D)(G)(A)(D)
I could (Bm) pay off my tab pour my (G) self in a cab and be (Em) back to (A) work before (D) two.
At a (Bm) moment like this, I (G) can't help but wonder, |Em| what would Jimmy Buffett |A| do?
Funny you should ask Alan.
I'd say (D) pour me somethin' (G) tall and strong make it a (A) Hurricane before I (D) go insane.
It's only half past (G) twelve but I don't (A) care.
(D) Pour me somethin' (G) tall and strong make it a (A) Hurricane before (D) I go insane.
It's only half past (G) twelve, but I don't (A) care. He don't care. I don't care |A|.
(NC) It's five o'clock (D) somewhere. (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)(MC1)
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)
Some day (G), some way (D), you'll realize that youuuu've, been (D7) blind (G).
Yes darlin', you're going to need me again.
(E7) It's just a matter of (A) time (A7)(A)(A). (A)-(A)-(A)
Go (D) on, go (G) on, til (D) you, reach the end of the (D7) line.
Cause (G) I - I - I know, you'll pass my way again.
(E7) It's just a ma (A7) tter of (D) time.
After I (G) gave you, every (Gm) thing I had, you (D) laughed and you called me a clown.
Re (G) member, in your search, for (Gm) fortune and fame,
What (E7) goes up, must come (A) down (A7)(A)(A). (A)-(A)-(A)
I (D) know, I (G) know, that (D) one day you'll wake up and (D7) fiiiind,
That (G) my love, is a true love. (E7) It's just a ma (A7) tter of (D) time.
<Spoken with chords played>: Someday (G), and someway (D), girl, you'll realize that you've been
(D7) blind (G). Yes darlin', I know, you're going to need me again (E7).
It's just a (A7) matter of (D) time.
After I (G) gave you, every (Gm) thing I had, you (D) laughed and you called me a clown.
But re (G) member, in your search, for (Gm) fortune and fame,
What (E7) goes up, must come (A) down (A7)(A)(A). (A)-(A)-(A)
I (D) know, I (G) know, that (D) one day you'll wake up and (D7) fiiind,
That (G) my love, was a true love.
(E7) It's just a ma (A7) tter . . . uh-of ti- (D) -ime. (D)(G)(D)
IT’S RAINING HERE THIS MORNING (In D)
Norman Blake & Tony Rice/Grandpa Jones
(Stanley)
https://www.youtube.com/watch?v=YXJHpgNymOA (Blake & Rice) (Capo 1)(MC0)
https://www.youtube.com/watch?v=cagkGWlYL74 (Grandpa Jones) (Capo 5)(MC5)
[Afterwards is a version in (G).]
[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.]
TIP: The (Gadd) is completely optional and just accentuates the rise to the high <d>.
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,

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

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

And I’m just as weary as can (A) be.
How I (D) wish I could follow all the (G) raindrops,
Down the (D) Mississippi (A) toward the silver (D) sea.
But (G) there's no way to prove I'm not (D) guilty,

So I’ll will have to suffer all the (A) shame.
(D) Go and tell her for me little (G) raindrops,
That they've (D) given me a (A) number for my (D) name. [End GP Jones version]
(D)(D), (D)(D)(A), (D)(D)(G), (D)(A)(D), (D)(D)

As I sit in jail and hang my head in (A) shame.
With a (D) smile I try to greet each early (G) dawnin’,
But they've (D) given me a (A) number for my (D) name.
(G) Many a little rain (Gadd) drops are (D) fallin’ close to me,
Makes (G) all the streams and ri (Gadd) vers as (D) muddy as can (A) be.
It's (D) rainin’ rainin’ rainin’ here this (G) mornin’,
As the (D) Mississippi (A) flows on to the (D) sea. |D|
(Norman Blake) (Tony Rice) (Grandpa Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT’S RAINING HERE THIS MORNING (In G)
Norman Blake & Tony Rice/Grandpa Jones
(Stanley)
https://www.youtube.com/watch?v=YXJHpgNymOA (Blake & Rice) (Capo 8)(MC4)
https://www.youtube.com/watch?v=cagkGWlYL74 (Grandpa Jones) (Capo 0)(MC4)
[It’s kind of fun for one person to play the version above in (D) and another play this version
here in (G). They’ll both be in the same key but an octave apart. And yes it’s a bit crowded way
up there on the 8th fret for the Blake & Rice version.]
[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.]
TIP: The (CaddG) is completely optional and just accentuates the rise to the high <d>.
INTRO (NB/TR): (G)(G)(G), (G)(G)(D), (G)(G)(C), (G)(D)(G), (G)
INTRO (GPJ): (G)(D)(G)

As I sit in jail and hang my head in (D) shame.
With a (G) smile I try to greet each early (C) dawnin’,
But they've (G) given me a (D) number for my (G) name.
(C) Many a little rain (CaddG) drops are (G) fallin’ close to me,
Makes (C) all the streams and ri (CaddG) vers as (G) muddy as can (D) be.
It's (G) rainin’ rainin’ rainin’ here this (C) mornin’,
As the (G) Mississippi (D) flows on to the (G) sea.
(G)(G), (G)(G)(D), (G)(G)(C), (G)(D)(G), (G)

How I wish-I could see my little darlin’,
And hold her in my arms as be (D) fore.
Well I (G) used to tell her every day I (C) loved her,
But (G) now she doesn't (D) love me any (G) more.
She (C) knew that I was guilty of this (G) one crime,
And she said she'd be waiting there for (D) me.
But (G) she has found somewhere else to (C) wander,
Where the (G) Mississippi (D) flows on to the (G) sea.
(G)(G), (G)(G)(D), (G)(G)(C), (G)(D)(G), (G)(G)
Oh it’s rainin’ rainin’ rainin’ here this mornin’,

And I’m just as weary as can (D) be.
How I (G) wish I could follow all the (C) raindrops,
Down the (G) Mississippi (D) toward the silver (G) sea.
But (C) there's no way to prove I'm not (G) guilty,

So I’ll will have to suffer all the (D) shame.
(G) Go and tell her for me little (C) raindrops,
That they've (G) given me a (D) number for my (G) name. [End GP Jones version]
(G)(G), (G)(G)(D), (G)(G)(C), (G)(D)(G), (G)(G)

As I sit in jail and hang my head in (D) shame.
With a (G) smile I try to greet each early (C) dawnin’,
But they've (G) given me a (D) number for my (G) name.
(C) Many a little rain (CaddG) drops are (G) fallin’ close to me,
Makes (C) all the streams and ri (CaddG) vers as (G) muddy as can (D) be.
It's (G) rainin’ rainin’ rainin’ here this (C) mornin’,
As the (G) Mississippi (D) flows on to the (G) sea. |G|
(Norman Blake) (Tony Rice) (Grandpa Jones) (Artist Index) - (Main Index) - (Song Index) (This Song)
IT’S SO EASY – Buddy Holly
(Holly/Petty)
https://www.youtube.com/watch?v=x2rU3W45wks (Capo 0)(MC0)
[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) It's so (E) easy to (D) fall in (E) love.

(A) It's so (D) easy to (E) fall in (A) love.
(A)(E)(D)(E), (A)(D)(E)(A)
People (E) tell me (D) love's for (E) fools,

So (A) here I (D) go breaking (E) all of the (A) rules.
It seems so (D) easy, (it's so easy it's so easy),

Ohhh-oh so doggone (A) easy (doggone easy doggone easy),
Mmmm-hmm it seems so easy, (seems so easy seems so easy seems so easy)
Where (B7) you're concerned my (E) heart has learned.
(A) It's so (E) easy to (D) fall in (E) love.

(A)(E)(D)(E), (A)(D)(E)(A); (D)(D)(A)(A)(D)(D)(B7)(E)

Look in (E) to your (D) heart and (E) see,

(A) What your (D) lovebook has (E) set-apart for (A) me.
It seems so (D) easy, (it's so easy it's so easy),


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


(A) It's so (D) easy to (E) fall in (A) love. |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)(MC2)
INTRO: (D)(A)(G)(A), (D)(G)(A)(D)
It's so (A) easy to (G) fall in (A) love.

(D) It's so (G) easy to (A) fall in (D) love.
People (A) tell me (G) love's for (A) fools,

(D) Here I (G) go breaking (A) all of the (D) rules.
It seems so (G) easy, (it's so easy, it's so)

Yeahhh, so doggone (D) easy, (it's so easy, it's so)
Ohhhh, (it seems so (G) easy, it's so easy, it's so)
Yeahh, where (E) you're concerned my (A) heart has learned.
Ohhh (D) it's so (A) easy to (G) fall in (A) love.

(D)(A)(G)(A), (D)(G)(A)(D)
Look in (A) to your (G) heart and (A) see,

(D) What your (G) lovebook has (A) set-aside for (D) me.

Yeahhh, (so doggone (D) easy, it's so easy, it's so)
Oohhhh, (it seems so (G) easy, it's so easy, it's so)
Yeahh, where (E) you're concerned my (A) heart has learned.
Oohhh (D) it's so (A) easy to (G) fall in (A) love.

(D)(A)(G)(A), (D)(G)(A)(D); (D)(A)(G)(A), (D)(G)(A)(D)

Ohhhh, (so doggone (D) easy, it's so easy, it's so)
Yeahhh, (it seems so (G) easy, it's so easy, it's so)
Ohhh, where (E) you're concerned my (A) heart has learned.
Ohhhh (D) it's so (A) easy to (G) fall in (A) love.

It's so (A) easy to (G) fall in (A) love.

(NC) It's so easy to fall in love. Ohhh-ohh.

IT'S WORTH BELIEVIN'
Gordon Lightfoot
https://www.youtube.com/watch?v=XeQJlV3EIEg (Capo 2)(MC2)
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 “ . . . believen’. Should I ask:”.
INTRO: (C)(C)(C)(C)(C)
There's a warm wind tonight and the (G) moon turns the (C) tide.
When the stars take their ride she'll be (Am) leavin'. Where she (G) goes,
I don't (C) know. She won't tell me what it (F) is, that makes her act like (C) this.
But I've got a funny (Am) feelin' that it's (G) me. It's worth be (Am) lievin'. Should I (G) ask:
"Do you (C) like to go walking on the (F) sand, and listen to the (C) sea?" Or could it (G) be,
Someone (C) kind could it be that I'm the (F) fool? There's somethin' wrong with (C) you.
I've got a funny (Am) feelin' that it's (G) me. It's worth be (Am) lievin'. (G)(G)
La la (C) la-la la la (F) la, la-la la la (C) la, La la la-la (Am) la-la la la (G) la. |G|
There's a (C) breeze from the shore, and the (G) waves over (C) lap.
When I've called in the cat she'll go (Am) walkin'. And she (G) cries,
To her (C) self, in the night when I'm a (F) sleep, she lies awake and (C) weeps. Could it (G) be,
Something (C) new, some one old who has re (F) turned? Or is it just a (C) game?
But I've got a funny (Am) feelin' that it's (G) me. It's worth be (Am) lievin' (G).
La la (C) la, la la la la la-la (F) la, la-la la la (C) la, La la la-la (Am) la-la la la (G) la.
|G|
There's a (C) warm wind tonight and the (G) moon turns the (C) tide.
When the stars take their ride she'll be (Am) leavin'. Where she (G) goes,
I don't (C) know, she won't tell me what it (F) is, that makes her act like (C) this.
Should I (G) ask:
"Do you (C) like, to go walking on the (F) shore, and listen to the (C) sea?" Could it (G) be,
Someone (C) kind? Could it be that I'm the (F) fool? There's somethin' wrong with (C) you.
I've got a funny (Am) feelin' that it's (G) me. It's worth be (Am) lievin' (G).
La la (C) la, la la (G) la, la la (C) la, la la (G) la, La la (C) la |C|
ITSY BITSY TEENIE WEENIE YELLOW POLKA DOT BIKINI - Brian Hyland
(Pockriss/Vance)
https://www.youtube.com/watch?v=geszde-039c (Capo 0)(MC1)
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.
INTRO: |D| Bop |D/A| bop |D| bop |D| bop (A) ba dum bum bum bop bop.
She was a (D) fraid to come out of the (A7) locker.

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

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

And I wonder what (A) she's gonna (D) do.
Now she's afraid to come out of the (G) water.
And the (D) poor little (A7) girl's turning |D| blue.
(A) So in the water she (A7) wanted to (D) stay.
From the locker to the (A7) blank-et. (A) From the blanket to the (D) shore.
From the shore to the (A7) wa-ter. (A) Guess there isn't (A7) any (D) more. |D|
(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)(MC0)
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: As for the (Fmaj7/A) chord, it will be preceded by a (C) so just keep your index finger where
it is and drop your middle and ring fingers down one string-set.
TIP: In this song, 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
strummed 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) Once in every (F) life (Fm). Someone comes a (C) long (G)-(Am).
And you came to (Dm) me (Dm7)-(G). It was almost like a (C) song.
You were in my (F) arms (Fm), right where you be (C) long (G)-(Am).
We were so in (Dm) love (Dm7)-(G7). It was almost like a (C) song.
(Fmaj7/A) January through, De (Em) cember (Dm7), we had such a per (G7) fect (C) year (E)(Am).
Then the flame became a (Em) dying ember. (Dm7) All at once, you weren't (G7) there. (G)(C)
Now my broken (F) heart (Fm), cries for you each (C) night (G)(Am).
And it's almost like a (Dm) song (Dm7)-(G), but it’s much too sad to (C) write.
(C)(F),(Fm); (Fm)(C)(Em)-(Am); (Am)(Dm),(G7); (G7)(C)
Now my broken (Dm) heart, (Fm) cries for you each (C) night (G)(Am).
And it's almost like a (Dm) song (Dm7)-(G7), but it’s much too sad to (Am) write (F)(D7)(Dm7).
It's too sad to (C) write (F)(C)(F)(C).
OUTRO: (C)(F),(Fm); <slowly> (Fm)(C) . . . (F8)
(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)(MC2)
[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. Then
pick the open 5th string <a>, 5th string/2nd fret , 5th string/4th fret <c#>, and strum (D) to begin
the first verse.
INTRO: <rake> |D|
I was |D| totin' my pack along the |D| dusty Winnemucca road.
When a |D| long came a semi with a |D| high and canvas covered load.
"If you're |G| goin' to Winnemucca Mack with |G| me you can ride."
And so I |D| climbed into the cab and then I |D| settled down inside.
He |A| asked me if I'd seen a road with |A| so much dust and sand.
And I said, |D| "Listen, I've traveled every |D| road in this here land."
<a>--<c#> (D) I've been everywhere man. I've been everywhere man.
(G) Crossed the deserts bare man. I've (D) breathed the mountain air man.
Of (A) travel I've had my share man. I've been every (D) where.
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.
I've been everywhere man. I've been everywhere man.

Of (A) travel I've had my share man. I've been every (D) where. (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.

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.

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.
Of (A) travel I've had my share man. I've been every (D) where. (D)(D)
I've been everywhere. (D)(D)(D)(D)(D) . . . |D|
=========================================================================================
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)(MC0)
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.

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

Go play your hand you big-talkin' man make a (C7) big fool of yourself.
(C) You're goin' to (F) Jackson? Go comb your (C) hair.
Honey-I'm-gonna (F) snowball Jackson. (G7) See if I (C) care.
When I breeze into that city, people gonna stoop and bow.
All them women gonna make me, (C7) teach 'em what they don't know how.
I'm goin' to (F) Jackson. You turn a loose of my (C) coat.
'Cos I'm goin' to (F) Jackson. (G7) "Goodbye" that's all she (C) wrote.
But they'll laugh at you in Jackson and I'll be dancin' on a pony keg.
They'll lead you 'round town like a scalded hound with your (C7) tail tucked between your legs.
(C) Yeah go to (F) Jackson. You big-talkin' (C) man.
And I'll be waitin' in (F) Jackson, (G7) behind my Jaypan (C) Fan.
Well now we got married in a fever, hotter than a pepper sprout.

We've been talkin' 'bout, Jackson, (C7) ever since the fire went out (C) I'm goin' to (F) Jackson.
And that's a (C) fact. Yeah we're goin' to (F) Jackson. Ain't never (G7) comin' (C) back.
JAMBALAYA
Hank Williams
https://www.youtube.com/watch?v=ajVDL2X28HM (Capo 0)(MC1/5)
INTRO: (G)(G7)(C)
Goodbye Joe, me gotta go, me oh (G) my oh (G7).

Me gotta go pole the pirogue down the (C) bayou.
My Yvonne, the sweetest one, me oh (G) my oh (G7).
Son of a gun we'll have big (G7) fun on the (C) bayou.
Jambalaya and a crawfish pie and a filet (G) gumbo (G7).

'Cause tonight I'm gonna (G) see my ma chez a (C) mio.
Pick guitar, fill fruit jar, and be (G) gay-oh (G7).
(C)(G7), (G7)(C), (C)(G7), (G7)(C)
The Thibodeauxs the Fontaineaus, the place is (G) buzzin' (G7).

Kinfolk come to see Yvonne by the (C) dozen.
Dress in style, go hog wild, me oh (G) my oh (G7).

(C)(G7), (G7)(C), (C)(G7), (G7)(C)

Son of a gun we'll have big (G7) fun on the (C) bayou. |C|
JESUS LOVES ME - Traditional
(Warner/Bradbury)
(MC0)
(C) Jesus loves me this I know.

(F) For the bible tells me (C) so.
Little ones to Him belong.
(F) They are (C) weak but (G7) He is (C) strong.
Yes Jesus (F) loves me.

(C) Yes Jesus (G7) loves me.
(C) Yes Jesus (F) loves me.
The (C) bible (G7) tells me (C) so.
Jesus loves me still today,

(F) Walking with me on my (C) way.
Wanting as a friend to give,
(F) Light and (C) love to (G7) all who (C) live.
Yes Jesus (F) loves me.

(C) Yes Jesus (G7) loves me.
(C) Yes Jesus (F) loves me.
The (C) bible (G7) tells me (C) so.
JOHNNY B. GOODE
Chuck Berry
https://www.youtube.com/watch?v=Uf4rxCB4lys (Capo 1)(MC2)
TIP: Johnny B. Goode acoustically? Heresy! But if Clapton can do Layla then let's give it a rip.
TIP: The intro is a (poor) imitation of the legendary Chuck Berry guitar riff but it gives a
(slight) flavor of the original. What we'll be calling (F5) is actually an (A) played up the neck
but since it looks like an (F) played on the 5th fret (your index finger plays the mini-bar on the
5th fret and ring finger on the 7th -- actually on the 6th/8th fret with capo 1) that's what we'll
call it. Okay, so we start with three quick strums of regular (A) and then move up to this (F5)
chord formation and then it's a 1,2-3 1,2-3 1,2-3 followed by a strum of the (A). Then it's just a
matter of strumming the chords shown.
TIP: Next comes the (A)-(Asus)-(A)-(Asus)-(A) bit in the chorus. This is all pinky work, adding
and removing to/from the 2nd string/3rd fret while holding the (A).
TIP: As for the bridge, begin by strumming (F5) 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 (F5)s are
truncated a bit. I know it all sounds complicated but it’s really not that difficult.
; ; ; ;
INTRO: |A|-|A|-|A|, |F5|-|F5|-|F5|, |F5|-|F5|-|F5|, |F5|-|F5|-|F5|, (A); (D) (A) (E7)(E) (A)
Deep down Louisiana close to New Orleans,

Way back up in the woods among the evergreens,
There (D) stood a log cabin made of earth and wood,
Where (A) lived a country boy named Johnny B. Goode.
Who (E) never ever learned to read or (E7) write so well
But he could (A) play the guitar just like a ringing a bell.
Go-go, |A|-|Asus|-|A|-|Asus|-|A| go Johnny go, go |A|-|Asus|-|A|-|Asus|-|A|.
Go Johnny go. (D) Go. Go Johnny go, (A) Go |A|-|Asus|-|A|-|Asus|-|A|.
Go Johnny go, (E) Go. (E7) Johnny B. (A) Goode.
He used to carry his guitar in a gunny sack,

Go sit beneath the tree by the railroad track.
Oh the (D) engineers would see him sitting in the shade,
(A) Strumming with the rhythm that the drivers made.
(E) People passing by they would (E7) stop and say,
“Oh (A) my that little country boy could play."
Go-go, |A|-|Asus|-|A|-|Asus|-|A| go Johnny go, go |A|-|Asus|-|A|-|Asus|-|A|.

Go Johnny go. (D) Go. Go Johnny go, (A) Go |A|-|Asus|-|A|-|Asus|-|A|.
Go Johnny go, (E) Go. (E7) Johnny B. (A) Goode.
<rapidly> (F5) x 7, (F5) x 7; (F5) x 4, (F5) x 4; |F5|-|F5|-|F5|-|F5|

(D)-(D4), (D)-(D4), (D)-(D4)-(D); (A)-(A6), (A)-(A6), (A)-(A6)-(A);
(E)-(Eb), (E)-(Eb), (E)-(Eb)-(E), (A)-(A6), (A)-(A6), (A)-(A6)-(A);
(F5) x 7, (F5) x 7; (F5) x 4, (F5) 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,
To (A) hear you play your music when the sun go down.
(E) Maybe someday your name will (E7) be in lights saying
(A) 'Johnny B. Goode tonight'."
Go-go, go Johnny go |A|-|Asus|-|A|-|Asus|-|A|. Go go go Johnny go |A|-|Asus|-|A|-|Asus|-|A|.

Go go (D) go Johnny go. Go go (A) Go Johnny go |A|-|Asus|-|A|-|Asus|-|A|.
(E) Go. (E7) Johnny B. (A) Goode. |A|-|A|-|A|, |A|-|A|-|A|, |A|-|A|-|E7|-|A|
(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)(MC0)
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 song) and then it's two strums of (E) followed by two strums of
(Esus) in which you just add your pinky below your ring finger on the 3rd string/2nd fret, two more
strums of (E) and one more of (Esus). Do this sequence again and begin the song. It really is a
bit much. This latter sequence is also buried within the song but you can get away with just
strumming (E) six times with an (Esus) thrown in at the end.
INTRO: |E| x 32 . . . <harmonica> then |E|-|E|-|Esus|-|Esus|-|E|-|E|-|Esus|;

|E|-|E|-|Esus|-|Esus|-|E|-|E|-|Esus|
When you (E) hear this sound a-comin', hear the drummers drumming
I want you to (D) join, to (A) gether with the (E) band (E)x6-(Esus) (E)x6-(Esus).
We don't (E) move in any 'ticular directions, and we don't make no collections
I want you to (D) join, to (A) gether with the (E) band.
(E)x6-(Esus), (E)x6-(Esus); (E)(E)(A)(E)x6-(Esus), (E)x6-(Esus)
Do you (E) really think I care, what you read or what you wear?
There's a (E) million ways to laugh, and every one's a path.
Come on and (D) join, to (A) gether with the (E) band.
(E)x6-(Esus), (E)x6-(Esus); (E)(E)(A)(E)x6-(Esus), (E)x6-(Esus)
Everybody (E) join, together. I want you to join, together.

Come on and (D) join, to (A) gether with the (E) band (E)x6-(Esus) (E)x6-(Esus).
We need you to (E) join, together. Come on and join, together.
<thrum bass note> (E) . . .
You don't have to play. You can follow or lead the way.
We (E) don't know where we're goin', but the season's right for knowin'.
I want you to (D) join, to (A) gether with the (E) band.
(E)x6-(Esus), (E)x6-(Esus), (E)x6-(Esus), (E)x6-(Esus)
It's the (E) singer not the song, that makes the music move along.
This is the (E) biggest band you'll find. It's as deep as it is wide.
Hey hey hey hey (E) join, together. Oh ev'rybody come on come on join, together.
Come on and (D) join to (A) gether with the (E) band (E)x6-(Esus) (E)x6-(Esus).
We need you to (E) join, together. Everybody come on join, together.
Hey, hey, hey (D) join to (A) gether, join together with the (E) band. (E).......... |E|
JOLENE
Dolly Parton
https://www.youtube.com/watch?v=Ixrje2rXLMA (Capo 4)(MC2/3)
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) Jolene, Jo (C) lene, Jo (G) lene Jo (Am) lene.

I'm (G) begging of you please don't take my (Am) man.
Jolene, Jo (C) lene, Jo (G) lene Jo (Am) lene.
(G) Please don't take him just because you (Am) can.
Your beauty is be (C) yond compare with (G) flaming locks of (Am) auburn hair
With (G) ivory skin and (Em) eyes of emerald (Am) green.
Your smile is like a (C) breath of spring your (G) voice is soft like (Am) summer rain
And (G) I cannot com (Em) pete with you, Jo (Am) lene.
He talks about you (C) in his sleep there's (G) nothing I can (Am) do to keep from (G) crying,
When he (Em) calls your name Jo (Am) lene.
And I can easily (C) understand how (G) you could easily (Am) take my man
But you (G) don't know what he (Em) means to me Jo (Am) lene.

(G) Please don't take him just because you (Am) can.
You could have your (C) choice of men, but (G) I could never (Am) love again.
(G) He's the only one (Em) for me, Jo (Am) lene.
I had to have this (C) talk with you my (G) happiness de (Am) pends on you
And (G) whatever, you de (Em) cide to do Jo (Am) lene.

(G) Please don't take him even though you (Am) can.
Jolene. Jo (G) le (Am) ne.
(Am)(Asus2)(Am)(Asus2); (Am)(Asus2)(Am)(Asus2); (Am)(Asus2)(Am)(Asus2); (Am)(Asus2)(Am)(Asus2)
(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)(MC0)
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 (or use your pinky to
cover the 4th string/3rd fret). 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| Jeremiah was a bullfrog |C#|-|C#|. |D| Was a good friend of mine. |C#|-|C#|
I (D) never under (D7) stood a single (G) word he said,
But I (D) helped him ta (A) drink his (D) wine. And he always had some (A) mighty fine (D) wine.
Singin' joy to the world. (A) All the boys and (D) girls now.
Joy to the (D7) fishes in the (G) deep blue sea. (D) Joy to (A7) you and (D) me. |C#|-|C#|
(D) If I were the king of the world |C#|-|C#| tell (D) you what I'd do |C#|-|C#|
I'd (D) throw away the (D7) cars and the (G) bars and the wars,
And (D) make sweet (A) love to (D) you. Sing now.
Joy to the world. (A) All the boys and (D) girls.
Joy to the (D7) fishes in the (G) deep blue sea. (D) Joy to (A7) you and (D) me.
(D)(D)(A)(D), (D)(D7)(G)(D)(A7)(D)
|C#|-|C#| You know (D) I love the ladies |C#|-|C#| love (D) to have my fun |C#|-|C#|
I'm a high night (D7) flier and a (G) rainbow rider, a (D) straight-shootin' (A7) son of a (D) gun.
I said a straight-shootin' (A7) son of a (D) gun.
(E) Joy to the (A) world. (E) All the boys and (A) girls.
(E) Joy to the (A) world. (E) Joy to you and (A) me.
(D) Joy to the world. (A) All the boys and (D) girls.
Joy to the world. Joy to (A7) you and (D) me.
(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)(MC3/4)
INTRO: (G),(F)(D)-(G); (G),(F)(D)-(G); <strum, emphasizing bass> (G)
(Gadd) You should have seen me with the (C) poker (G) man.
(Gadd) I had a honey and I (C) bet a (G) grand.
(F) Just in the nick of time I (Em) looked at his hand.
(Gadd) I was talking to an (C) Eski (G) mo.
(Gadd) Said he was hoping for a (C) fall of (G) snow,
When (F) up popped a sea lion (Em) ready to go.
Let's (Gadd) go let's go let's go let's go.

(F) Down to junior's farm where I (G) want to lay low.
(Gadd) Low life high life oh let's go.
(F) Take me down to junior's (G) farm. (Take me down Jimmy)
(G)(G)(F)(G), (G)(G)(F)(G)
(Gadd) At the Houses of (C) Parlia (G) ment,

(Gadd) Ev'rybody's talking 'bout the (C) Presi (G) dent.
We (F) all chip in for a (Em) bag of cement.
(Gadd) Ollie Hardy should have (C) had more (G) sense.
(Gadd) He bought a gee-gee and he (C) jumped the (G) fence,
(F) All for the sake of a (Em) couple of pence.

(F) Down to junior's farm where I (G) want to lay low.
(Gadd) Low life high life oh let's go. (F) Take me down to junior's (G) farm.
Let's (Gadd) go let's go. (F) Down to junior's farm where I (G) want to lay low.
(Gadd) Low life high life oh let's go. (F) Take me down to junior's (G) farm.
(F) Everybody tag a (G) long.
(G),(F)(D)-(G); (G),(F)(D)-(G); <strum, emphasizing bass> (G)
(Gadd) I took my bag into a (C) grocer's (G) store.

(Gadd) The price is higher than the (C) time be (G) fore.
(F) Old man asked me (Em) "Why is it more?"
I said (Gadd) you should have seen me with the (C) poker (G) man.
(Gadd) I had a honey and I (C) bet a (G) grand.
(F) Just in the nick of time I (Em) looked at his hand.

(F) Down to junior's farm where I (G) want to lay low (down to Junior's farm).
(Gadd) Low life high life oh let's go. (
F) Take me down to junior's (G) farm (down to Junior's farm).
Let's go let's go, (F) down to junior's farm where I (G) want to lay low.
(Gadd) Low life high life oh let's go.
(F) Take me down to junior's (G) farm (down to Junior's farm). (F) Everybody tag a (G) long.
(F) Take me down to junior's (Em) farm (Em)(G). (Em)(G)
(Em) Ahhh (D) Ahhh (Em) Ahhh (D) Ahhh (C) Ahhh (Bm) Ahhh (Am)(Am) (Take me back)
(Em) Ahhh (D) Ahhh (Em) Ahhh (D) Ahhh (C) Ahhh (Bm) Ahhh (Am)(C) |G|
JUST MY IMAGINATION – The Cranberrries
(O’Riordan/Hogan)
https://www.youtube.com/watch?v=ZHuPOVdkeKo (Capo 3)(MC3)
TIP: The intro starts with a sharp downstroke of |G| followed by four rapid strokes
down/up/down/up of |G|. Same pattern with |D|. Then the strumming pattern which permeates the
song takes hold and it’s kind of important. 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|, |G|-||G|-|G|-|G|; |D|, |D|-||D|-|D|-|D|; (D),(Am)(Am7)-(D)
(G) There was a game we used to (D) play.

We would (Am) hit the town on Friday night, (Am7) stay in bed un, (D) til Sunday (G).
We used to be so-oh (D) free.
We were-er (Am) living for the love we had, (Am7) living not for re (D) ality.
(G) Just my imagination. (D) Just my imagination. (Am7) Just my imagination.

(D) Ii- (Em) it (Am) was, (G) just my imagination. (D) Just my imagination.
(Am7) Just my imagination. (D) Ii- (Em) it (Am) was. (G),(D),(Am)(Am7)-(D)
(G) That was a time I used to (D) pray.

I have, (Am) always kept my faith in love it's the (Am7) greatest thing from the (D) man above (G).
The game I used to-oo (D) play.
I've always (Am) put my cards upon the table (Am7) never be said that I'd (D) be unstable.
(G) Just my imagination. (D) Just my imagination. (Am7) Just my imagination.

(D) Ii- (Em) it (Am) was (G) just my imagination. (D) Just my imagination.
(Am7) Just my imagination. (D) Ii- (Em) it (Am) was. (G),(D),(Am)(Am7)-(D); (G),(D),(Am)(Am7)-(D)
(G) There is a game I like to (D) play.

I like to (Am) hit the town on Friday night, (Am7) stay in bed un, (D) til Sunday (G).
We’ll always be this (D) free.
We will be (Am) living for the love we had, (Am7) living not for re (D) ality.
It’s (G) not my imagination. It’s (D) not my imagination. It’s (Am7) not my imagination.
(D) Ii- (Em) it (Am) was, (G) not my imagination. (D) Not my imagination.
(Am7) Not my imagination. (D) It . . . <up> was
(G) Not my not my not-my, (D) not my not my not-my, (Am) not my not my. (Am7)(D)
(G) Not my not my not-my, (D) not my not my not-my, (Am) not my not my. (Am7)(D)
(G) La la la la (D) la la la la (Am) la la la la. (Am7)(D)
(G) La la la la (D) la la la la (Am) la la la la. (Am7)(D)
(G). . . My imagin (D) ation, my imagi (Am) nation. (Am7)(D)

(G). . . My imagin (D) ation, my imagi (Am) nation. (Am7)(D)
(G). . . My imagin (D) ation, my imagi (Am) nation. (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)(MC2)
INTRO: (C)(G)(C)(C), (C)(G)(C)(C);
(C) Oooh (F) ooooh (C) ooooh (Dm)
Each (C) day through my window I (Dm) watch her as (F) she passes (C) by (F).
I (C) say to myself, "You're (Dm) such a (F) lucky (C) guy (F)."
(C) To have a girl like (F) her, is (C) truly a dream come (F) true.
Out of (CaddG) all of the fellas in the (F) world, she belongs to (C) you (F).
But it was (C) just my imagination (F), (C) running away with me (F).
It was (CaddG) just my imagina (F) tion, running a (C) way with me (F).
Oooh-oh-oh (C) Soon we'll be married, and (F) raise a fami (C) ly oh (F) yeah.
A (C) cozy, little home, out in the country, with (F) two children maybe (C) three (F).
I tell you (C) I . . . (F) I . . . can visual (C) ize it all (F).
This (C) couldn't, be a dream, for too (F) re-eal it all-all (C) seems (F).
But it was (C) just my imagination (F) once again, (C) running away with me (F).
Tellin’ me it was (C) just my imagina (F) tion, running a (C) way with me (F). (F)
(C) Every night, on my knees I pray: "Dear Lord, hear my plea. Don't ever let another (F) take
her love from (C) me or I will (Dm) surely (G7) die-eye-eye. Her love is, (C) heavenly.
When her arms enfold me. I hear a tender rhapsody. But in reality, she doesn't even know me.
Just my imagination (F) once again, (C) running away with me (F).
Oh ... tell you it was (C) just my imagina (F) tion, running a (C) way with me (F).
(C) Just my imagination, (F) yeah yeah yeah yeah (C) running away with me (F).
Oooh, (C) just my imagina (F) tion ... |C|
(The Temptations) (Artist Index) - (Main Index) - (Song Index) (This Song)
KEEP ME IN YOUR HEART
Jinder
https://www.youtube.com/watch?v=wt29T53iJU8 (Capo 0)(MC3)
[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)
Keep me (D) in your (Em) heart. Don't (C) let me (G), slip a (Am) way (D).
When the (C) morning (D) comes, and those (G) tears won't (Em) stop.
Please (C) keep me (D) in, your (G) heart.
Keep me (D) on your (Em) side. Well you (C) know, some (G) times I (Am) run (D).
And (C) even when the (D) tears, oh they (G) fall from your (Em) eyes.
Please (C) keep me (D) on, your (G) side.
And you (Am) know I'd (G) wait for you (C), a thousand (G) years.
(Am) Oh would you (G) do the same for (D) me?
And (C) I would (D) swim across the (G) loneliest (Em) sea,
If it (C) meant you (D) could be, (Em) free my (A) love.
Oh you (C) mean that (D) much, to (G) me.
Keep me (D) on your (Em) mind. Even (C) when I (G) am, far a (Am) way (D).
And (C) even though I (D) know, you may (G) tire of me some (Em) day.
Please (C) keep me (D) in, your (C) heart (D)(G)(Em)(C)(D)(G)(G).
And you (Am) know I'd (G) wait for you (C), a thousand (G) years.
(Am) Oh would you (G) do the same for (D) me (D)?
And (C) I would (D) swim across the (G) loneliest (Em) sea,
If it (C) meant you (D) could be, (Em) free my (A) love.
Oh you (C) mean that (D) much, to (G) me.
Keep me (D) in your-or (Em) heart. Don't (C) let me (G), get a (Am) way (D).
When the (C) morning (D) comes, and those (G) tears won't (Em) stop.
Please (C) keep me (D) in, your (Em) heart my (A) love.
How (C) ever (D) far, a (Em) part we may be (A) come,
Please (C) keep me (D) in your (G) hearrr- (D) rrrt- oh- (Em) oh.
Keep-me-in-your- (C) heart. (D) (G) Ahh-ahh-ahh-ahh, ahh-ahh-ahh- |G| ahh.
(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)(MC3)
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)
There's a dark and a (D) troubled side of (A) life.

But there's a bright and sunny side (E) too.
Though we (E7) meet with the (E) darkness and (A) strife.
The (E) sunny side we also may (A) view.
Keep on the sunny side (D) always on the sunny (A) side.
Keep on the sunny side of (E) life.
It will (A) help us ev'ry day. It will (D) brighten all the (A) way
If we'll keep (D) on the (A) sunny (E) side of (A) life.
(A)(D)(A), (A)(E), (E)(E7)(E)(A), (E)(A)
The storm and its (D) fury raged to (A) day,

Crushing hopes that we cherish so (E) dear.
Clouds and (E7) storms will in (E) time pass a (A) way.
The (E) sun-again will shine bright and (A) clear.
(A)(D)(A), (A)(E), (E)(E7)(E)(A), (E)(A)
Let us greet with a (D) song of hope each (A) day.

Though the moment be cloudy or (E) fair.
Let us (E7) trust in our (E) Saviour al (A) ways.
He’ll (E) keep us every one, in His (A) care.
(A)(D)(A), (A)(E), (E)(E7)(E)(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)(MC5)
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)
There's a dark and a (C) troubled side of (G) life.

But there's a bright and sunny side (D) too.
Though we (D7) meet with the (D) darkness and (G) strife.
The (D) sunny side we also, may (G) view.
(Gadd) Keep on the sunny side (C) always on the sunny (G) side.
Keep on the sunny side of (D) life.
It will (G) help us ev'ry day. It will (C) brighten all the (G) way
If we'll keep (C) on the (G) sunny (D) side of (G) life (C)(G).
(G)(C)(G), (G)(D), (D)(D7)(D)(G), (D)(G)
The storm and its (C) fury raged to (G) day,

Crushing hopes that we cherish so (D) dear.
Clouds and (D7) storms will in (D) time pass a (G) way.
The (D) sun-again will shi-ine bright and (G) clear.
(G)(C)(G), (G)(D), (D)(D7)(D)(G), (D)(G)
Let us greet with a (C) song of hope each (G) day.

Though the moment be cloudy or (D) fair.
Let us (D7) trust in our (D) Saviour al (G) ways.
He’ll (D) keep us every one in His (G) care.
(G)(C)(G), (G)(D), (D)(D7)(D)(G), (D)(G)
(Traditional) (Spiritual) (Folk) (Carter Family) (The Whites) (Artist Index)

THE KEY TO LIFE
Vince Gill
https://www.youtube.com/watch?v=qDHCt9ilowY (Capo 0)(MC0)
TIP: In the intro and outro try playing the (DaddA) for the first three sets of the (D) chord.
(DaddA), which is shown in the first chord diagram in parenthesis, is just (D) with your pinky
extended to cover the bottom string of the 5th fret. You can play regular (D) but the (DaddA) gets
the treble <a> note in there which is what Vince is playing.
TIP: The strumming pattern is quick and for each bar/measure is down, down up down up down up/
down, down up down up down up . . . with first downstroke coming on each chord in a new bar and/or
chord change.
( )
INTRO: (D)(D)(G)(G), (D)(D)(A)(A); (D)(D)(G)(G), (D)(A)(D)
I'd love to hear my daddy play (G) once again (G),

All the (D) songs that he taught me, when I (A) was a kid (A).
John (D) Henry, Ol' Shep, and (G) Faded Love (G),
I Fall To (D) Pieces, and (A) On The Wings, (D) Of A Dove (D).
Just a few chords on the banjo, that was (G) all he knew (G).
But in the (D) eyes of a child, man his (A) fingers flew (A).
I (D) practiced, and I practiced, til I (G) got it right (G).
I (D) packed up every (A) thing, and just took (D) off one night.
(D)(D)(G)(G), (D)(D)(A)(A); (D)(D)(G)(G), (D)(A)(D)(D)
I made it from the beer joints, to the (G) Opry stage (G).
He (D) said the only difference, is what you're (A) gettin' paid (A).
He (D) didn't care that everybody (G) knew my name (G).
He (D) said it's all for (A) nothin', if you don't (D) stay the same (D).
But when he died the preacher cried, and said (G) he's the lucky one (G).
He's (D) walkin' hand in hand in hand, with God's (A) only son (A).
My (D) faith, and common sense tell me the (G) preacher's right (G).
But I'd (D) love to hear the (A) banjo ring for (D) me tonight (D).
And I will (G) honor my father with these (D) words I write down.
And as (G) long as I remember him he'll (D) always be a (A) round (A).
And the (D) pain of losin' him cuts like a (G) Randall knife (G).
I learned a (D) few chords on the (A) banjo as the (D) key to life.
Yeah the pain of losin' him cuts like a (G) Randall knife (G).
I learned a (D) few chords on the (A) banjo as the (D) key to life.
(D)(D)(G)(G), (D)(D)(A)(A); (D)(D)(G)(G), (D)(A)(D)(D)

(D)(D)(G)(G), (D)(D)(A)(A); (D)(D)(G)(G), (D)(A)(D)(D) |D|
(Vince Gill) (Artist Index) - (Main Index) - (Song Index) (This Song)
KIDS OF THE BABY BOOM – The Bellamy Brothers
(Bellamy)
https://www.youtube.com/watch?v=xi5Lvr37bew (Capo 2)(MC0/1)
TIP: Between the (G) and the (Em) are three notes, the first two denoted by <6/3> and <6/2>. The
first note is <g> at the 6th string/3rd fret - which will already be covered by the preceding (G).
The second note is <f#> at 6th string/2nd fret so either slide down from the 3rd string to the 2nd
string or play the note independent. Now if you want to get fancy that 2nd note is also a bend
note so if you wish you can pull down on that string. The third note is the open 6th/top string
but it will be covered by strumming the (Em). It's really pretty easy.
TIP: Where you see <lift> you'll actually be playing a brief (Csus2) but rather than put that in
all you do is hold the (C) form and simply lift off your middle finger at the point where you see
<lift> and then put it back down for the next word. Very easy.
Intro: (Em)(G), <6/3>-<6/2>-(Em)(G), (C)
Our daddies won the war and came home <lift> to our (C) moms.
They gave them so much love that all us <lift> kids were (C) born.
We (F) all grew up on Mickey Mouse and hula-hoops.
Then we (C) all bought BMW's and brand new <lift> pickup (C) trucks.
And we (Em) watched John Kennedy die one after (G) noon. Kids of the ba (C) by boom. (C)
It was a time of new prosperity in the <lift> U.S. (C) A.

All the fortunate offsprings never <lift> had to (C) pay.
We had (F) Sympathy for the Devil and the Rolling Stones.
Then we (C) got a little older we found <lift> Haggard and (C) Jones.
A (Em) generation screaming for more (G) room. Kids of the ba (C) by boom. (C)
Kids of the (F) baby boom, we had freedom we had money.

(C) Baby boom, here in the land of milk and honey.
(Em) Counting our chickens way too (G) soon. Kids of the ba (C) by boom. (C)
Now we all can run computers and we <lift> all can (C) dance.
We all have Calvin Klein written on our <lift> under (C) pants.
And at (F) six-o'clock like robots we turn on the news.
(C) Watch those third world countries deal out <lift> more a (C) buse.
Re (Em) member the first man on the (G) moon. Kids of the ba (C) by boom. (C)

As our lives become a capsule they send <lift> to the (C) stars.
And our children look at us, like we <lift> came from (C) Mars.
As the (F) farms disappear, and the sky turns black.
We're a (C) nation full of takers, never <lift> giving (C) back.
We (Em) never stop to think what we con (G) sume. Kids of the ba (C) by boom. (C)

Our (Em) optimism mingles with the (G) doom. Kids of the ba (C) by boom. (C)|C|
(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)(MC1)
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|.
INTRO: |Em| Strumming my pain with his fing |Am7| ers. |D7| Singing my life with his |G| words.
|Em| Killing me softly with his song. |A| Killing me soft |D| ly, with his |C| song.
Telling my whole |G| life, with |C| his words. Killing me soft |F| ly, with his |E| song.
(Am)(D), (Am)(D), (Am)(D), (Am)(D)
(Am7) I heard he (Am) sang a (D7) good song, (G) I heard he (C) had a style.
(Am7) And so I (D) came to see him and (Em) listen for a while.
(Am7) And there he (D7) was this young boy, (G) a stranger (B7) to my eyes.
(Em) Strumming my pain with his (Am7) fingers. (D7) Singing my life with his (G) words.
(Em) Killing me softly with (A7) his song. (A) Killing me (D) softly, with (C) his song telling my
(G) whole life, with (C) his words killing me (Cmaj7) soft |Asus2| ly, with his |E| song.
(Am7) I felt all flushed with (D7) fever. (G) Embarrassed by the (C) crowd.
(Am7) I felt he (D) found my letters and (Em) read each one out loud.
(Am7) I prayed that (D7) he would finish, (G) but he just (B7) kept right on.
(Am7) He sang as if he (D7) knew me, (G) in all my dark de (C) spair.
(Am7) And then he (D) looked right through me as (Em) if I wasn't there.
(Am7) And he just (D7) kept on singing, (G) singing (B7) clear and strong.
(Em) Oh oh (Am7) oh oh oh (D) oh oh oh (G) oh,

(Em) La la la la (Am7) la la, (D) oh oh oh oh (C) oh oh, la (G) la ah ah (C) ahhhh.
(E) La ah-ah, ah-ah-ah-ah-ah-ah.
(Em) Killing me softly with (A7) his song. (A) Killing me (D) softly with his (C) song telling my
(G) whole life with (C) his words killing me (Cmaj7) soft (F) ly . . . |E|
(NC) He was (Em) strumming my pain (Am7). Yeah he was (D) singing my (G) life.
(Em) Killing me softly with (A7) his song (A) killing me (D) softly,
With (C) his song telling my (G) whole life, with (C) his words.
Killing me (Cmaj7) soft |Asus2| ly, with his |E| 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)(MC1)
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.
TIP: For the intro pick the string indicated twice. <T3> means top string/3rd fret. Then drop
down one string and pick it in the 2nd, 3rd, and 4th frets -- 5/2, 5/3, 5/4 - and then pick the
open 4th string. Repeat this sequence and begin the song in (G). Also note that the first two
notes can be played within (G) if you want to pick them that way using your middle finger to
flatten the third note and then slide up one.
INTRO: <softly> <T3>, <5/2>, <5/3>, <5/4>-<4>; <T3>, <5/2>, <5/3>, <5/4>-<4>
(G) Trailers for (Am) sale or (C) rent. (D) Rooms to let, (G) fifty cents.
No phone no (Am) pool no (C) pets. (D) I ain't got no (D7) cigarettes ah but,
(G) Two hours of (Am) pushin' (C) broom buys a, (D) eight by twelve (G) four-bit room I'm a,
Man of (C) means by no means (D). King of the (G) road.
Third boxcar (Am) midnight (C) train. (D) Destination (G) Bangor Maine.
Old worn out (Am) suits and (C) shoes. (D) I don't pay no (D7) union dues I smoke,
(G) Old stogies (Am) I have (C) found. (D) Short, but not too (G) big around I'm a,
Man of (C) means by no means (D). King of (G) road.
<capo +1>
I know every engineer on (C) every train. (D) All of their children and (G) all of their names.
And every handout in (C) every town,
And (D) every lock that (D7) ain't locked when (D) no one's a (D7) round I sing,
(G) Trailers for (Am) sale or (C) rent. (D) Rooms to let (G) fifty cents.
No phone no (Am) pool no (C) pets. (D) I ain't got no (D7) cigarettes ah but,
(G) Two hours of (Am) pushin' (C) broom buys an, (D) eight by twelve (G) four-bit room I'm a,
Man of (C) means by no means (D). King of the (G) road.
<softly> Trailers for (Am) sale or (C) rent. (D) Rooms to let (G) fifty cents.
No phone no (Am) pool no (C) pets. (D) I ain't got no (D7) cigarettes. |G|
(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)(MC2/3)
TIP: The intro is played quick, maybe two quick strums per chord. Notice it repeats in the verse
but can be omitted if you want.
INTRO: (D)(G)(A)(D), (D)(A)(G)(D), (D)...
Whenever I chance to meet, some (G) old friends on the street.

They (A) wonder how does a man get to be this (D) way (A).
I've (D) always got a smiling face, (G) any time and any place,
And (A) everytime they ask me why I just smile and (D) say (D)(G)(A)|D|.
(NC) You've got to, (D) kiss an angel good (A) mornin’,
And (G) let you know you think about her when you're (D) gone.
Kiss an angel good (A) mornin’,
And (G) love her like the devil when you get back (D) home (D)(G)(A)(D),(D)(A)(G).
Well (D) people may try to guess, the (G) secret of a happiness,
But (A) some of them never learn it's a simple (D) thing (A).
The (D) secret I'm speaking of, is a (G) woman and a man in love,
And the (A) answer is in this song that I always (D) sing (D)(G)(A)|D|.
(NC) You've got to, (D) kiss an angel good (A) mornin’,
And (G) love her like the devil when you get back (D) home (D)(G)(A).
(D) Kiss an angel good (A) mornin’,
And (G) love her like the devil when you get back (D) home (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)(MC5)
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)
When-I was a (G) young man and (F) never been (Em) kissed
I (Dm) got to thinkin' (G) over, (Am) what I had missed.
I (C) got me a (G) girl, I (F) kissed her and (G) then,
(Dm) Oh (Em) Lord, I (Am) kissed her again.
Oh-(G)-oh (Am) kisses (Em) sweeter than (Am) wine.

Oh-(Em)-oh-(G)-oh (Am) kisses (Em) sweeter than (A) wine. (A)
I (C) asked her to (G) marry and (F) be my sweet (Em) wife
And (Dm) we would be so (G) happy, the (Am) rest of our lives.
I (C) begged and I (G) pleaded like a (F) natural (G) man and then (Dm),
Oh (Em) Lord, she (Am) gave me her hand.

I (C) worked mighty (G) hard, and (F) so did my (Em) wife
Workin' (Dm) hand in (G) hand, to (Am) make a good life.
With (C) corn in the (G) field, and (F) wheat in the (G) bins I was (Dm),
Oh (Em) Lord, the (Am) father of twins.

Our (C) children they (G) numbered, (F) just about (Em) four.
They (Dm) all had (G) sweethearts (Am) knockin' at the door.
They (C) all got (G) married and they (F) didn't hesi (G) tate I was (Dm),
Oh (Em) Lord the grand (Am) mother of eight.

(C) Now that we're (G) old, and (F) ready to (Em) go
We get to (Dm) thinkin' what (G) happened, a (Am) long time ago.
We (C) had a lot of (G) kids, (F) trouble and (G) pain but then (Dm),
Oh (Em) Lord, we'd (Am) do it again.

Oh-(Em)-oh-(G)-oh (Am) kisses (Em) sweeter than |A| wine.
(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)(MC0)
INTRO: (G)(D)(Am)
(G) Ooo (D) ooo (C) ooh. (G) Ooo (D) ooo (Am) ooh. (G) Ooo (D) ooo (C) ooo.
(G) Mama take (D) this badge off of (Am) me.

(G) I can’t (D) use it any (C) more.
(G) It’s getting (D) dark, too dark to (Am) see.
(G) I feel I’m (D) knockin’ on heaven’s (C) door.
(G) Knock knock (D) knockin’ on heaven’s (Am) door.

(G) Knock knock (D) knockin’ on heaven’s (C) door.
(G) Mama put (D) my guns in the (Am) ground.

(G) I can’t (D) shoot them, any (C) more.
(G) That long black (D) cloud is comin’ (Am) down.
(G) I feel I’m (D) knockin’ on heaven’s (C) door.

(G) Ooo (D) ooo (Am) ooh. (G) Ooo (D) ooo (C) ooo.
(G) Ooo (D) ooo (Am) ooh. (G) Ooo (D) ooo (C) ooo. |G|
(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)(MC2)
INTRO: (A)(A)
I ain't got nobody, hangin' 'round my (D) doorstep.

Ain't got no (A) loose change, just a-hangin' 'round my (E) jeans.
If you see some (A) body, would you send em' over (D) my way?
I could use some (A) help here (E), with a can of pork and (A) beans.
I once had a family, but they up and (D) left me.

With nothing but an (A) 8-track, another side of George (E) Jones.
I was in high (A) cotton, just a-bangin' on my (D) six-string.
A-kickin' at the (A) trash can (E), walkin' skin and (A) bone.
I can see your (D) back porch, if I close my (A) eyes now.
I can hear the train tracks, through the laundry on the (E) line.
I'm thinking it's your (A) business, but you don't got to (D) answer.
I'm knockin' on your (A) screen door (E), in the summer (A) time. (A)(D)(A)(E)
Everybody's |A| out there, climbin' on the (D) trees now.

Swingin' in the (A) breeze now, a hangin' on the (E) vine.
I'm dreamin' 'bout a |A| sailboat, I don't need a (D) fur coat.
Underneath the (A) dashboard (E), got some sweet potato (A) wine.
I can see your (D) back porch, if I close my (A) eyes now.
I can hear the train tracks, through the laundry on the (E) line.
I'm thinkin' it's your (A) business, but you don't got to (D) answer.
I'm knockin' on your (A) screen door (E), in the summer (A) time.
I'm knockin' on your screen door (E), in the summer (A) time (A)|A|.
KODACHROME
Paul Simon
https://www.youtube.com/watch?v=8rlDTK6QI-w (Capo 2)(MC2)
[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)
When I think (D) back on all the (D7) crap I learned in (G) high school (G)(G),
(Em) It's a wonder (A) I can think at (D) all (Em)(A).
And though my (D) lack of edu (D7) cation hasn't (G) hurt me none (G)(G),
(Em) I can read the (A) writing on the (D) wall (D7).
Koda (G) chro- (B7)- oh - (E) -ome.

You (E7) give us those (Am) nice, bright (D) colors, you give us the (G) greens, of (C) summers,
Makes you think (A) all, the (D) world's a sunny (G) day (B7) oh (E) yeah.
(E7) I got a (Am) Ni,kon (D) camera, I love to take the (G) pho,to (C) graphs,
So Mama don't (A) take, my (D) Kodachrome a (G) way. (Bm)(Em)|A|
If you took (D) all the girls I (D7) knew when I was (G) single (G)(G),
(Em) And brought them all to (A) gether for one (D) night (Em)(A).
I know they'd (D) never match my (D7) sweet imagin (G) ation (G)(G),
(Em) And everything looks (A) worse in (A7) black and (D) white (D7).
Koda (G) chro- (B7)- oh - (E) -ome.
(E7) You give us those (Am) nice, bright (D) colors, you give us the (G) greens, of (C) summers,
Makes you think (A) all, the (D) world's a sunny (G) day (B7) oh (E) yeah.
(E7) I got a (Am) Ni,kon (D) camera, I love to take the (G) pho,to (C) graphs,
So Mama don't (A) take, my (D) Kodachrome a (G) way. (Bm)(Em)
Mama don't (G) take my (Bm) Kodachrome a (Em) way.

Mama don't you (G) take my (Bm) Kodachrome a (Em) way.
Mama don't (G) take my (Bm) Kodachrome a (Em) way.
(G) Mama don't take my Kodachrome, (Bm) mama don't take my Kodachrome,
(Em) Mama don't take my Kodachrome away.
(G) Mama don't take my Kodachrome, (Bm) leave your boy so far from home.
(Em) Mama don't take my Kodachrome away.
(G) Mama don't take my Kodachrome. (Bm) Ohhh wooo. (Em) 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
(MC1)
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); (C)(C)(Am)(D)(G)(Am)-(D)
When I think (G) back on all the (G7) crap I learned in (C) high school (C)(C),
(Am) It's a wonder (D) I can think at (G) all (Am)(D).
And though my (G) lack of edu (G7) cation hasn't (C) hurt me none (C)(C),
(Am) I can read the (D) writing on the (G) wall (G7).
Koda (C) chro- (E7)- oh - (A) -ome.

You (A7) give us those (Dm) nice, bright (G) colors, you give us the (C) greens, of (F) summers,
Makes you think (D) all, the (G) world's a sunny (C) day (E7) oh (A) yeah.
(A7) I got a (Dm) Ni,kon (G) camera, I love to take the (C) pho,to (F) graphs,
So Mama don't (D) take, my (G) Kodachrome a (C) way. (Em)(Am)|D|
If you took (G) all the girls I (G7) knew when I was (C) single (C)(C),
(Am) And brought them all to (D) gether for one (G) night (Am)(D).
I know they'd (G) never match my (G7) sweet imagin (C) ation (C)(C),
(Am) And everything looks (D) worse in black and (G) white (G7).
Koda (C) chro- (E7)- oh - (A) -ome.

You (A7) give us those (Dm) nice, bright (G) colors, you give us the (C) greens, of (F) summers,
Makes you think (D) all, the (G) world's a sunny (C) day (E7) oh (A) yeah.
(A7) I got a (Dm) Ni,kon (G) camera, I love to take the (C) pho,to (F) graphs,
So Mama don't (D) take, my (G) Kodachrome a (C) way. (Em)(Am)
Mama don't (C) take my (Em) Kodachrome a (Am) way.
Mama don't you (C) take my (Em) Kodachrome a (Am) way.
Mama don't (C) take my (Em) Kodachrome a (Am) way.
(C) Mama don't take my Kodachrome, (Em) mama don't take my Kodachrome,
(Am) Mama don't take my Kodachrome away.
(C) Mama don't take my Kodachrome, (Em) leave your boy so far from home.
(Am) Mama don't take my Kodachrome away.
(C) Mama don't take my Kodachrome. (Em) Ohhh wooo. (Am) Mama don't take my Kodachrome away.
(C)(Em)(Am)(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)(MC1)
[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)
Kumba ya my Lord, (D) kumba (A) ya.

Kumbaya my Lord, (D) kumba (E) ya.
Kumba (A) ya my Lord, (D) kumba (A) ya.
(D) Oh (A) Lord, (E) kumba (A) ya (D)(A).
Someone's crying Lord, (D) kumba (A) ya.

Someone's crying Lord, (D) kumba (E) ya.
Someone's (A) crying Lord, (D) kumba (A) ya.
Someone's singing Lord, (D) kumba (A) ya.

Someone's singing Lord, (D) kumba (E) ya.
Someone's (A) singing Lord, (D) kumba ya.
Kumba ya my Lord, (D) kumba (A) ya.

Kumbaya my Lord, (D) kumba (E) ya.
Kumba (A) ya my Lord, (D) kumba (A) ya.
Kumba |A| ya. <smores anyone?>

-----------------------------
<Other verses sometimes included>
Someone's (A) praying Lord, (D) kumba (A) ya.

Someone's praying Lord, (D) kumba (E) ya.
Someone's (A) praying Lord (D) kumba (A) ya.
Someone's (A) sleeping Lord, (D) kumba (A) ya.

Someone's sleeping Lord, (D) kumba (E) ya.
Someone's (A) sleeping Lord, (D) kumba (A) ya.
(Traditional)(Spiritual)(Folk)(The Seekers)(Artist Index) - (Main Index) - (Song Index) (This Song)

L.A. COUNTY
Lyle Lovett
https://www.youtube.com/watch?v=3uGyClRhGg0 (Capo 2)(MC0)
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)
She left (A) Dallas, for Cali (D) fornia, with an (A) old friend at her (D) side.
Well he did not (A) say much, but one year (D) later, he'd ask (A) her to, be his, (D) wife.
And the (A) lights of, L.A. (D) County, they look like (A) diamonds in the (D) sky.
When you're (A) drivin', through the (D) hours, with an (A) old friend at yourrr (D) side.
One year (A) later, I left (D) Houston, with an (A) old friend at my, (D) side.
Well it did not (A) say much, but it was a (D) beauty, of a (A) coal black fortyyy -(D) five.
And the (A) lights of, L.A. (D) County, they look like (A) diamonds in the (D) sky.
When you're (A) driving, through the (D) hours, with an (A) old friend at yourrr (D) side.
So I (A) drove on, all the (D) day long, and I (A) drove on through the (D) night.
And I (A) thought of, her a (D) waiting, for to (A) be his blushing, (D) bride.
And the |A| lights of, L.A. |D| County, they look like |A| diamonds in the |D| sky.
As I |A| drove in, to the |D| valley, with my |A| old friend at myyy |D| side.
And as she (A) stood there, at the (D) altar, all (A) dressed in her, gown of (D) white.
Lord her face was (A) bright as, stars a (D) shining, like I'd (A) dreamed of, all myy (D) life.
(A)(D)
And they kissed each (A) other, and they turned a (D) round and, they saw me (A) standing in the
(D) aisle. Well I did not (A) say much, I just stood there (D) watching, as that forty-(E) five
told them good (A) bye.
And the (D) lights of L.A. (A) County, look like (E) diamonds in the (A) sky.
When you're (D) kneeling at the (A) altar, with an (E) old friend at yourr (A) side.
And the (D) lights of L.A. (A) County, are a (E) mighty pretty (A) sight.
When you're (D) kneeling at the (A) altar, with an (E) old friend at your (A) side. |A|
LA BAMBA - Los Lobos
(Valens)
https://www.youtube.com/watch?v=Coy8Hoa1DNw (Capo 3)(MC2)
[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: Try to play the full (E7) chord as indicated to get that treble <d> note. It’s easy as it’ll
always follow the (E) so just add your pinky to the 2nd string/3rd fret.
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) Para bailar la (A) bamba (D)(E).

(E7) Para bailar la (A) bamba se (D) nece (E) sita una poca de (A) gracia (D)(E).
(E7) Una poca de (A) gracia para (D) mi-para (E) ti, arriba y (A) arriba (D)(E).
(E7) Arriba y (A) arriba por (D) ti se (E) ray. Por ti se (A) ray, por (D) ti se |E| ray.
(NC) Yo no soy mari (A) nero (D)(E).

(E7) Yo no soy mari (A) nero (D) soy capi (E) tán. Soy capi (A) tán, soy (D) capi (E) tán.
(A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba. Bam (A) ba (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), (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|
(E7) Arriba y (A) arriba por (D) ti se (E) ray. Por ti se (A) ray, por (D) ti se (E) ray.
(A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba.
(A) La (D) la (E) bamba. |A|
<rakingly> (A)(D)(E), (A)(D)(E), (A)(D)(E), (A)(D)(E); (A)(D)(A), (A)(D)(A);

(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) In order to dance the (A) Bamba (D)(E).

(E7) In order to dance the (A) Bamba a little (D) humor is (E) needed.
(E7) A little humor for (A) me (D) and for (E) you - faster and (A) faster (D)(E).
(E7) Faster and (A) faster, (D) I'll be for (E) you. I'll be for (A) you.
I'll (D) be for |E| you.
(NC) I'm not a (A) sailor (D)(E).

(E7) I'm not a (A) sailor I'm (D) cap (E) tain. I'm cap (A) tain. I'm (D) cap (E) tain.
(A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba. Bam (A) ba (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), (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|

(E7) Faster and (A) faster, (D) I'll be for (E) you. I'll be for (A) you.
I'll (D) be for (E) you.
(A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba. (A) La (D) ba (E) bamba.
(A) La (D) ba (E) bamba. |A|
<rakingly> (A)(D)(E), (A)(D)(E), (A)(D)(E), (A)(D)(E); (A)(D)(A), (A)(D)(A);

<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)
LADY MADONNA – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=uLRiGX3L-kw (Capo 0)(MC0)
TIP: Chords in brackets - |C||Bm||E7| - are meant to be struck just once.
TIP: (F5) is just another way to play (A) but it looks like an (F) played on the 5th fret. You
don't have to play it up there and can just play (A) if you want.
INTRO: (A)(D), (A)(D), (A)(D), (F)-(G)-(A)
(A) Lady Ma (D) donna, (A) children at your (D) feet.

(A) Wonder how you (D) manage to (F) make ends (A) meet.
Who finds the (D) money, (A) when you pay the (D) rent?
(A) Did you think that (D) money was (F) heaven (A) sent?
(Dm) Friday night arrives without a (G) suitcase,

(C) Sunday morning (Am) creeping like a nun |Em|-|C|.
(Dm) Monday's child has learned to tie his (G7) bootlegs.
|C| See, |Bm| how they |E7| ru-(E)-un.
(A) Lady Ma (D) donna, (A) baby at your (D) breast.

(A) Wonders how you (D) manage to (F) feed (G) the (A) re- e- (F5)-st.
|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) Pa pa pa pa, pa pa pa (G7) pa pa pa pa pa. (C) Pa pa pa pa pa, pa pa pa (Am) pa pa pa pa pa.

(Dm) Pa pa pa pa, pa pa pa (G7) pa pa pa pa pa. |C| See, |Bm| how they |E7| ru-(E)-un.
(A) Lady Ma (D) donna, (A) lying on the (D) bed,

(A) Listen to the (D) music playing (F) in your (A) he- e- (F5)-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) Tuesday afternoon is never (G) ending. (C) Wednesday morning papers didn't (Am) come.
(Dm) Thursday night your stocking needed (G7) mending. |C| See, |Bm| how they |E7| ru-(E)-un.
(A) Lady Ma (D) donna, (A) children at your (D) feet.

(A) Wonder how you (D) manage to (F) make ends (A) mee-ee-(D)-eet (F)(G)-(A).
|A|-|A|-|D|-|D|-|F|-|G|-|A|
LAND OF 1000 DANCES - Wilson Pickett
(Kenner)
https://www.youtube.com/watch?v=7fa4BfPQiKs (Capo 5)(MC3)
TIP: The whole song revolves around the |A|-|A|-|A7|-|A| sequence which is played over and over
through the entire song. You have to get the cadence down. It's doesn't appear after the opening
verse but that's what you're playing. The only exception is the (G) which sneaks in during the end
of the first set of "na-na's". The sequence is not hard to play -- all you do is pull off/hammer
on the middle finger from the (A) to the (A7) and back to the (A) -- and if you lose the rhythm you
can just play (A) anytime to recapture it. On/off, on/off, rinse and repeat.
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|.
- - ;
INTRO: One-two-three |F#m|. One-two-three |A|. <gentle trill of (A)>
Oww. |A|-|A|-|A7|-|A| . . . 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.
Na-na-na-na-na, na-na-na-na-na-(G)-na-na-na-(A)-na, na-na-na-na

I need somebody to help me say it one time.
Na-na-na-na-na, na-na-na-na-na-(G)-na-na-na-(A)-na, na-na-na-na, wowwww!
|A|-|A|-|A7|-|A|, |A|-|A|-|A7|-|A|, |A|-|A|-|A7|-|A|, |A|-|A|-|A7|-|A|
Owww! Uh. You know I feel alright? Huh. Feel pretty good y'all. Uh huh.
Na-na-na-na-na, na-na-na-na-na-(G)-na-na-na-(A)-na, na-na-na-na,

Come on y'all let's say it one more time.
Na-na-na-na-na, na-na-na-na-na-(G)-na-na-na-(A)-na, na-na-na-na. Owwwwww!
|A|-|A|-|A7|-|A| . . . <repeat>
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>
LASAGNA – Weird Al Yankovic
(Valens/Yankovic)
https://www.youtube.com/watch?v=BgKuKgpau2Y (Capo 3)(MC2)
TIP: Try to play the full (E7) chord as shown to get that treble <d> note. It’s easy as it’ll
always follow an (E) so just add your pinky added to the 2nd string/3rd fret.
INTRO: |Am| . . . |Dm| . . . |E| . . . |E|-|E|-(A)(D)(E)(E), (A)(D)|E|
(NC) La la la la la (A) sagna (D)(E).

(E7) You want-a some-a la (A) sagna mag (D) nifi (E) co?
(E7) Or a maybe spa (A) getti (D)(E)?
(E7) Ay you supper’s a (A) ready now (D) where you (E) go, mama mia bam (A) bino (D)(E)?
(E7) Mama mia bam (A) bino ‘sam (D) matta (E) you? ‘Sam matta (A) you, ‘sam (D) matta |E| you?
(NC) You should-a taste my la (A) sagna (D)(E).

(E7) Ay you no like-a la (A) sana that’s (D) okay (E) too.
(E7) How about the cal (A) zone (D)(E)?
(E7) Some-a nice mine (A) strone, ats (D) good for (E) you.
(E7) Have-a some mari (A) nara (D)(E). (E7) Have-a some mari (A) nara I (D) know you (E) like.
I know a you (A) like I (D) know a you (E) like.
(A) La (D) la (E) sagna. (A) La (D) la (E) sagna. (A) La (D) sa (E) sagna. (A)(D)|E|
(NC) Would you like some-a zuc (A) chini (D)(E)?

(E7) Or-a my homemade lin (A) guini it’s (D) hard to (E) beat?
(E7) Have-a more fettu (A) ccini (D)(E).
(E7) Ay you getting too (A) skinny you (D) got to (E) eat. Ay mange (A) mange (D)(E).
<Accordian> (A)(D)(E)(E), (A)(D)(E)(E), (A)(D)(E)(E), (A)(D)(E)(E)

(A)(D)(E)(E), (A)(D)(E)(E), (A)(D)(E)(E),
<Bouzouki> (A)(D)(E)(E), (A)(D)(E)(E), <gargle> (A)(D)(E)(E), (A)(D)|E|
(NC) Ay you-a pass the la (A) sagna (D)(E).
(E7) Ah don’t you get any (A) on ya you (D) sloppy (E) pig.
(E7) Have-a more ravi (A) oli (D)(E).
(E7) You-a get roly (A) poly a- (D) nice and-a (E) big, like you cousin Lu (A) igi (D)(E).
(E7) Luigi Lu (A) igi ca (D) pisce pai (E) san, capise pai (A) san ca (D) pisce pai (E) san?
(A) La (D) la (E) sagna. (A) La (D) la (E) sagna.

(A) La (D) la (E) sagna. (A) La (D) la (E) sagna. |A| - Hey |A| - hey <rake> (A)
LAST NIGHT – Morgan Wallen
(Gorley/Kasher/Vojtesak/Byron)
https://www.youtube.com/watch?v=bUjPPBxbQrQ (Capo 4)(MC4)
TIP: If you’re comfortable playing the (Bm) then play a (Bm). If not you can play a (D) and then
add your pinky the the 3rd string/4rd fret right afterwards which will get you to the 3-finger (Bm).
; ->
INTRO: (G)(A)(Bm)(Bm), (G)(A)(Bm)(Bm)
(G) Last night (A) we let the (Bm) liquor talk.

I can't remember (G) everything we (A) said but we (Bm) said it all.
You told me that you (G) wish I was some (A) body you (Bm) never met,
But baby baby (G) somethin's tellin' (A) me this ain't (Bm) over yet.
No way it was our (G) last night I (A) kissed your lips.
(Bm) Make you grip the sheets with your fingertips.
(G) Last bottle of Jack we (A) split a fifth
Just (Bm) talkin' 'bout life goin' sip for sip.
Yeah (G) you, you (A) know you love to (Bm) fight, and I say shit I don’t (G) mean.
But I'm (A) still gon' wake up (Bm) wantin' you and me I know that

No way it was our (G) last night. (A)(Bm)

No way it was the (G) last night that (A) we break up.
(Bm) I see your tail lights in the dust.
(G) You call your momma I (A) call your bluff.
And in the (Bm) middle of the night pull it right back up.
Yeah (G) my, my (A) friends say let her (Bm) go.
Your friends say what the (G) hell
I wouldn’t (A) trade your kind of (Bm) love for nothin’ else oh baby.

No way it was our (G) last night (A) we said we'd (Bm) had enough.
I can't remember (G) everything we (A) said but we (Bm) said too much.
I know you packed your (G) shit and slammed the (A) door right be (Bm) fore you left.

I know you said this (G) time you really (A) weren't coming (Bm) back again,

No way it was our (G) last night. (A)(Bm)|Bm|
(Morgan Wallen) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LAST RESORT - Eagles
(Henley/Frey)
https://drive.google.com/file/d/1ELxCYez4kB4LACaInQhoxqmcC3pEoey_/view?usp=sharing (Capo 0) (MC0)
TIP: It looks like there's a lot going on here but it's all pretty easy to play and sounds great.
TIP: For the intro piano part, cover the bottom string/4th fret (note <g#>) with any finger and
pluck the bottom string and then the open 2nd string (note ). Or, form (E) and pick the covered
3rd string and then the covered 5th string. Either way you repeat this sequence 8 times, then
strum (E) once 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 the open 2nd string <O2>. 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: <g#>-, <g#>-, <g#>-, <g#>-, <g#>-, <g#>-, <g#>-, <g#>-
(E) She came from (A) Providence, (B) the one in Rhode (E) Island.
Where the old world (A) shadows hang, (B) heavy in the (E) air.
She packed her (A) hopes and dreams, (B) like a refu (E) gee,
Just as her (A) father came, (B) across the (E) sea.
She heard a (A) bout a place, (B) people were (E) smilin'.
They spoke about the (A) red man's way, (B) how they loved the (E) land.
And they came from (A) everywhere, (B) to the Great Di (E) vide.
Seeking a (A) place to stand, (B) or a place to |E| hide |E|. (E) x 7
Down in the (A) crowded bars, (B) out for a (E) good time.
Can't wait to (A) tell you all, (B) what it's like up (E) there.
And they called it (A) paradise, (B) I don't know (E) why.
Somebody laid the (A) mountains low, (B) while the town got |E| high |E|. (E) x 7
|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) Then the chilly (A) winds blew down, (B) across the (E) desert,
Through the canyons (A) of the coast, (B) to the Mali (E) bu.
Where the pretty (A) people play, (B) hungry for (E) power,
To light their (A) neon way, and (B) give them things to |E| do |E|. (E) x 7
Some rich-men-came-and (A) raped the land. (B) Nobody (E) caught 'em.
Put up a bunch of (A) ugly boxes, and (B) Jesus people (E) bought 'em.
And they called it (A) paradise. (B) The place to (E) be.
They watched the (A) hazy sun, (B) sinking in the |E| sea |E|. (E) x 7
|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|
<still subdued> You can leave it (C) all behind, (D) sail to La (G) haina.
Just like the mission (C) aries did, (D) so many years a (G) go.
They even brought a (C) neon sign that said: (D) "Jesus is (G) coming."
Brought the white man's (C) burden down; (D) brought the white man's (G) reign.
<back to normal> Who will provide the (C) grand design? (D) What is yours and (G) what is mine?
'Cause there is no more (C) new frontier. (D) We have got to (G) make it here.
We satisfy our (C) endless needs, (D) justify our (G) bloody deeds,
In the name of (C) destiny, (D) and in the name of |G| God |G|. (G) x 7
And you can (Cadd) see them there, (D) on Sunday (G) morning.
They stand up and (C) sing about, (D) what it's like up (G) there.
They called it (C) paradise. (D) I don't know (G) why.
You call someplace (C) paradise. (D) Kiss it good |G| bye |G|. (G)x7, |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

|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; |G|-|G| (G) x 7, |Cmaj7|-|Cmaj7| (Cmaj7) x 7
|G|-|G| (G) x 7, |Cmaj7|-|Cmaj7| (Cmaj7) x 7; |Gadd|

THE LAST THING ON MY MIND
Tom Paxton
https://www.youtube.com/watch?v=7o146K6cGLk (Capo 2)(MC2)
INTRO: (G)(C)(G)(G)
It's a lesson too (C) late for the (G) learning (C),
Made of (G) sand (D), made of (G) sand.
In the wink of an (C) eye-my soul is (G) turnin' (C),
In your (G) hand (D), in your (G) hand.
Are you (D) going away with no (C) word of fare (G) well,
Will there (C) be not a (G) trace left be (D) hind?
Well I (G) could've loved you (C) better didn't (G) mean to be unkind.
You (D) know that was the (D7) last thing on my (G) mind.
You've got reasons a (C) plenty for (G) goin' (C),

This I (G) know (D), this I (G) know.
For the weeds have been (C) steadily (G) growin' (C).
Please don't (G) go (D), please don't (G) go.
You (D) know that was the (D7) last thing on my (G) mind.
(G)(C)(G), (C)(G), (D)(G); (G)(C)(G), (C)(G), (D)(G)

As I lie in my (C) bed in the (G) mornin' (C),
Without (G) you (D), without (G) you.
Each song in my (C) breast dies a (G) bornin' (C),
Without (G) you (D), without (G) you.
You know (D) that was the (D7) last thing on my (G) mind.
(D) That was the (D7) last thing on my (G) mind. (G)(D)(D)(G)|G|
(Tom Paxton) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
LEARNING TO FLY - Tom Petty
(Petty/Lynne)
https://www.youtube.com/watch?v=s5BJXwNeKsQ (Capo 0)(MC0/2/4)
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 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)
Well I (F) started (C) out (Am)(G), down a (F) dirty (C) road (Am)(G).
(F) Started (C) out (Am)(G), (F) all a (C) lone (Am)(G).
And the (F) sun went (C) down (Am)(G), as I (F) crossed the (C) hill (Am)(G).
And the (F) town lit (C) <d> up (Am)(G), the (F) world got (C) still (Am)(G).
I'm (F) learning to (C) fly (Am)(G), but I (F) ain't got (C) wings (Am)(G).
(F) Coming (C) down (Am)(G), is the (F) hardest (C) thing (Am)(G).
Well the (F) good old (C) days (Am)(G), may (F) not re (C) <d> turn (Am)(G).
And the (F) rocks might (C) melt (Am)(G), and (F) the sea may (C) <d> burn (Am)(G).
(G)(G)(G); (F)(C)(Am)(G), (F)(C)(Am)(G), (F)(C)(Am)(G), (F)(C)(Am)(G)

Well (F) some say (C) life (Am)(G), will (F) beat you (C) <d> down (Am)(G).
And (F) break your (C) heart (Am)(G), (F) steal your (C) crown (Am)(G).
So I (F) started (C) out (Am)(G), for (F) God knows (C) <d> where (Am)(G).
I (F) guess I'll (C) know (Am)(G), when (F) I get (C) there (Am)(G).
I'm (F) learning to (C) fly (Am)(G), a (F) round the (C) clouds (Am)(G).
But (F) what goes (C) up (Am)(G), (F) must come (C) down (Am)(G).
(G)(G)(G); (F)(C)(Am)(G), (F)(C)(Am)(G)
I'm (F) learning to (C) fly (Am)(G), a (F) round the (C) clouds (Am)(G).
But (F) what goes (C) up (Am)(G), (F) must come (C) down (Am)(G).
I'm (F) learning to (C) fly (Am)(G). (F)(C)(Am)(G).

I'm (F) learning to (C) fly (Am)(G). (F)(C)(Am)(G), (F)(C)(Am)(G), |C|
LEATHER AND LACE - Stevie Nicks & Don Henley
(Nicks)
https://www.youtube.com/watch?v=Ob4cgakHwsQ (Capo 1)(MC2)
TIP: The chords are easy enough but the rhythm is surprisingly tricky in spots, especially where
the chord for the next line comes in just a tick ahead of the Stevie’s vocal.
TIP: (Asus4) will always follow an (A) so just hold the (A) and slide your bottom finger up one
fret, or add your pinky to the 2nd string/3rd fret note to cover the <d>.
TIP: That (D) (Dsus2) (D) sequence is easy to play as ((Dsus2) is just (D) without the bottom
finger. And the (Dsus2) is always sandwiched between a leading and trailing (D) so it’s a just a
one-syllable lift off/replace. Or you could play a (D7) wherever you see the (Dsus2) right through
to the next (G).
INTRO: (D)(D7)(G)(D)(G)(D)(A)(Asus4)
(D) Is love so (Dsus2) fra (D) gile (G), and the heart so (D) holl-oll- (G) ow?
Shatter with (D) words, im (A) possible to fol (Asus4) low (D).
You're saying I'm (Dsus2) fra (D) gile (G), I try not to (D) be I search (G) only,
For (D) something I can't (A) see |Asus4|.
(D) I have my (Dsus2) own (D) life (G),

And I am (D) stronger than you (G) knooo (D) oow (A) |Asus4|.
(D) But I carry this (Dsus2) fee (D) lin’ (G), when you walked in (D) to my house (G),
That you won't be (D) walkin’ out the do (A) or |Asus4|.
(D) Still I carry this (Dsus2) fee (D) lin’, (G) when you walked in (D) to my house (G),
That you won't be (D) walkin’ out the do (A) or |Asus4|.
(G) Lovers for (A) ever (G), face to (A) face (G).
My city your (A) mountains (G), stay with me (A) stay (G).
I need you to (A) love me, (G) I need you to (A) day (G).
Give to me your (A) leather, take (G) from me my (A) lace (A)(A) |Asus4|.
(D) You in the (Dsus2) moon (D) light (G), with your (D) sleepy eyes (G).
Could you ever (D) love a man like (A) me (A)-|Asus4|?
(D) And you were (Dsus2) ri- (D) ight (G), when I walked in (D) to your house (G),
I knew I'd (D) never want to le- (A) -ave (A)-|Asus4|.
(D) Sometimes I'm a (Dsus2) strong (D) man,

(G) Sometimes cold and (D) scared and sometimes (G) I cry (D) (A) |Asus4|.
(D) But that time I (Dsus2) saw (D) you, (G) knew with you to (D) light my nights (G),
(D) Somehow I’d get (A) by (A) |Asus4|.
Give to me your (A) leather, take (G) from me my (A) lace (A).
Give to me your (A) leather, take (G) from me my (A) lace (A).
Take (G) from me (D), my (A) lace (Asus4).

Take (G) from me (D), my (A) lace (Asus4) |A|.
(Stevie Nicks) (Don Henley) (Artist Index) - (Main Index) - (Song Index) (This Song)
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)(MC4)
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)(CaddG)(G)(D)(D7)

JD INTRO: (D4)-(D)(D)(G)(D)(D)(D)(D7)(D7)(D7)
All my (G) bags are packed, I'm (C) ready to go.

I'm (G) standin' here out (C) side your door.
I (G) hate to wake you (Em) up, to say good (D) bye (D7).
But the (G) dawn is breakin' it's (C) early morn.
The (G) taxi's waitin', he's (C) blowin' his horn.
Al (G) ready I'm so (C) lonesome, I could (D) cry (D7).
So (G) kiss me and (C) smile for me. (G) Tell me that you'll (C) wait for me.
(G) Hold me like you'll (C) never let me (D) go (D7).
I'm (G) leaving (C) on a jet (G) plane. I don't know when (C) I'll be back a (G) gain.
Oh (C) babe, I hate to (Am) go (D).
There's so (G) many times I've (C) let you down. So (G) many times I've (C) played around.
I (G) tell you now (C) they don't mean a (D) thing (D7).
Every (G) place I go I (C) think of you. Every (G) song I sing, I (C) sing for you.
When (G) I come back, I'll (C) wear your wedding (D) ring (D7).
So (G) kiss me and (C) smile for me. (G) Tell me that you'll (C) wait for me.
I'm (G) leaving (C) on a jet (G) plane. I don't know when (C) I'll be back a (G) gain.
Oh (C) babe, I hate to (D) go (D7).
(G) Now the time has (C) come to leave you. (G) One more time, (C) let me kiss you.
Then (G) close your eyes, (C) I'll be on my (D) way (D7).
(G) Dream about the (C) days to come, when (G) I won't have to (C) leave alone.
A (G) bout the time (C) I won't have to (D) say (D7).
(G) Kiss me and (C) smile for me. (G) Tell me that you'll (C) wait for me.
I'm (G) leaving (C) on a jet (G) plane. I don't know when (C) I'll be back again.
(G) Leaving (C) on a jet (G) plane. I don't know when (C) I'll be back again.
(G) Leaving (C) on a jet (G) plane. I don't know when (C) I'll be back a (G) gain.
Oh (C) babe, I (Am) hate, to (D) go (D). |D|
(John Denver)(Peter, Paul & Mary) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
LET IT BE – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=QDYfEBY9NM4 (Capo 0)(MC0/5)
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) When I find myself in (G) times of trouble, (Am) mother Mary (F) comes to me,
(C) Speaking words of (G) wisdom, let it |F| be |C|-|G|-|C|.
And in my hour of (G) darkness she is (Am) standing right in (F) front of me,
(C) Speaking words of (G) wisdom, let it |F| be |C|-|G|-|C|.
Let it (Am) be, let it be-(G), let it be-(F)-e, let it (C) be.
Whisper words of (G) wisdom, let it |F| be |C|-|G|-|C|.
(C) And when the broken (G) hearted people (Am) living in the (F) world agree,
(C) There will be an an (G) swer, let it |F| be |C|-|G|-|C|.
But though they may be (G) parted, there is (Am) still a chance that (F) they will see,
(C) There will be an an (G) swer, let it |F| be |C|-|G|-|C|.
Yeah there will be an an (G) swer, let it |F| be |C|-|G|-|C|.
Whisper words of (G) wisdom, let it |F| be |C|-|G|-|C|.
|F|,|C|-|Bb|-|C|, |Em|-|Am|-|G|,|F|-|C|; |F|,|C|-|Bb|-|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)
Let it (Am) be, let it be-(G), let it be-(F)-e yeah let it (C) be.
Whisper words of (G) wisdom, let it (F) be (C).
And when the night is (G) cloudy, there is (Am) still a light that (F) shines on me.
(C) Shine until to (G) morrow, let it |F| be |C|-|G|-|C|-|C|-|C|-|C|-|C|-|C|.
I (C) wake up to the (G) sound of music, (Am) mother Mary (F) comes to me,
(C) Speaking words of (G) wisdom, let it |F| bee- |C|-|G|-|C| -ee yeah.
Oh there will be an an (G) swer, let it |F| be- |C|-|G| eeee -|C| eeee.
Oh there will be an an (G) swer, let it |F| be- |C|-|G| eeee -|C| eeee.
Whisper words of (G) wisdom, let it (F) be- (C) -eeeee.
|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)(MC0/4)
INTRO: (G)(D)(D)(Bm3)|D7|
(G) I bless the (D) day I found you. (Em) I want to (Bm) stay around you.
(C) And so I (G) beg you, (C) let it (D) be (G) me.
Don't take this (D) heaven from one. (Em) If you must (Bm) cling to someone (C),
Now and for (G) ever (C), let it (D) be (G) me.
(C) Each time we (Bm) meet love, (C) I find com (G) plete lo-o-ve.
(Am) Without your (G) sweet love, (C) what would life (B7) be?
(G) So never (D) leave me lonely. (Em) Tell me you (Bm) love me only.
(C) And that you'll (G) always, (C) let it (D) be (G) me.
(C) Each time we (Bm) meet love, (C) I find com (G) plete lo-o-ve.
(Am) Without your (G) sweet love, (C) what would life (B7) be?
(G) So never (D) leave me lonely. (Em) Tell me you (Bm) love me only.
(C) And that you'll (G) always (G)|C| <pause> |C| let . . . |C| it . . . |D7| be . . . |G| 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)(MC2)
TIP: (D4) is just (D) with your pinky added to the bottom string of the 3rd fret. The (Bm3) only
comes around once and is actually (Cm) but it looks like a (Bm) played on the 3rd fret which is
easier to remember, unless you play (Cm) a lot, which I don't. And you can skip it and just keep
the (C) if you'd rather.
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)(D4)(D)
(G) We've been, goin' together, too (C) long to be (D) vague,
When there's (C) somethin', to (D) say (D4)(D).
If it's (G) not now, then it's never.
So I'll (C) say it straight (D) out, 'cuz I (C) have no doubt, (D) noooo doubt.
Let's get (G) married. I love ya, and I want to stay with ya.
Let's get (C) married. Have kids, grow old and grey with ya.
Let's get (D) married. Hold hands, walk in the park.
Let's get (G) married (C), let's get (G) married (D).
(G) We know, other people, who (C) drifted a (D) part,

Who (C) broke each others (D) hearts (D4)(D).
But (G) we ain't, other people. So we'll (C) do things our (D) way.
We're (C) gonna be o, (Bm3) kay. We're gonna be (D) more, than okay.
Let's get (G) married. We're ready, for tyin' the knot.
Let's get (C) married. Set the seal, on the feelings we've got.
Let's get (D) married. We can make each other happy, or we can make each other blue.
Let's get (G) married. Yeah it's just a piece of paper, but it (D) says "I Love You."
For the (G) good times. For the days, when we can do no wrong.
For the (C) bad times. For the moments, when we think we can't go on.
For the (D) family. For the lives, of the children that we've planned.
Let's get (G) married c'mon (C) darlin' please take my (G) hand.
Oh and (D) I'll be the one, who's (C) by, your (G) side.
Yeah and (D) I'll be the one, still (C) ta-king (G) pride.
(Em) When we're old, if they ask me, "(Am) How do you define success?"
I'll say, "(C) You meet a woman and, you fall in love and, (D) you ask her if she says 'Yes'.
Ask her if she says 'Yes'."
Let's get (G) married. I love ya, and I want to stay with ya.
Let's get (C) married. Have kids, grow old, and grey with ya.
Let's get (D) married. Hold hands, when we walk, in the park.
Let's get (G) married. All right you can get a cat, just as (D) long as it barks.
For the (G) good times. For the days, when we can do no wrong.
For the (C) bad times. For the moments, when we think we can't go on.
For the (D) family. For the lives, of the children that we've planned.
Let's get (G) married. C'mon darlin', (C) please, take my (G) hand.
C'mon darlin', (C) please, take my (G) hand. C'mon darlin', (C) please, take my (G) 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)(MC1)
TIP: Here's how to pick the opening notes in the intro: Form (Em) and pick the 6th, covered 5th
and 4th strings, lift off the bottom finger and pick the now open 4th string <d>, slide your top
finger on the 5th string down from the 2nd fret to the 3rd fret and pick <b#>, slide the same
finger back up to the 2nd fret and pick , begin the song with an (Am). If you don't want to
play the notes then strum (Em).
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: <e><e><d><b#> or (Em)
(Am) Gimme a ticket for an (F) aeroplane. (G) Ain't got time to take a (Am) fast train.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just wrote me a (Am) letter.
I don't care how much money I (F) gotta spend. (G) Got to get back to (Am) baby again.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just wrote me a (Am) letter (Am).
Well she (C) wrote me a (G) letter said she (F) couldn't (C) live without (G) me no more.
(C) Listen mister (G) can't you see I (F) got to get (C) back to my (G) baby once a more.
(E7) Anyway (E) yeah.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just a wrote me a (Am) letter (Am).
Well she (C) wrote me a (G) letter said she (F) couldn't (C) live without (G) me no more.
(C) Listen mister (G) can't you see I (F) got to get (C) back to my baby (G) once a more.
(E7) Anyway (E) yeah.
Lonely days are gone, (F) I'm a-goin' home, my (E) baby just a wrote me a (Am) letter.
My (E) baby just a wrote me a (Am) 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)(MC1)
INTRO: (CaddG)(G)(Am)(G); (CaddG)(G)(Am)(G); (CaddG)(G)(Am)(G); (CaddG)(G)(Am)(G)
When you (C) go, will you send back, a (Dm) letter (G) from A (C) merica?
Take a look, up the railtrack, from Mi (Dm) ami (G) to Cana (C) da 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.
I (Am) wonder how it got on when it (G) reached the promised (F) land (G).
Take a look, up the railtrack, from Mi (Dm) ami (G) to Cana (C) da.
(F) I've looked at the ocean, tried hard to imagine

The (Am) way you felt the day you sailed from Wester Ross to Nova Scotia.
(F) We should have held you, we should have told ya but you (Am) know our sense of timing,
We (Em) always wait too (F) long (G).
Take a look, up the railtrack, from Mi (Dm) ami (G) to Cana (C) da.
(C)(G), (C)(G), (C)(G), (C)(G)
(C) Lochaber no (G) more, (Am) Sutherland no (G) more,

(C) Lewis no (G) more, (Am) Skye no (G) more.
(F) I wonder my blood, will you ever return,
(Am) To help us kick the life back, to a dying mutual frien-end?
(F) Do we not love her, I think we all tell you about (Am) do we have to roam the world to
(Em) prove how much it (F) hurts (G)?
Take a look, up the railtrack, from Mi (Dm) ami (G) to Cana (C) da. (Am)(G) (Am)(G)
(C) Bathgate no (G) more, (Am) Linwood no (G) more,

(C) Methil no (G) more, (Am) Irvine no (G) more.
(C) Methil no (G) more, Loch |C| hab ... |C| er . . . |Am| no . . . |Gadd| more.
<strum gently> (Gadd)
LEVON - Elton John
(Taupin/John)
https://www.youtube.com/watch?v=SEgEmTgAEUk (Capo 3)(MC2)
TIP: When moving from the (Bm) to the (F#m) hold fast with your pinky on the 4th string/4th fret
and then lift off the others and barre the 2nd fret with your index finger.
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...".
TIP: At the end of the verse there's a three- strum of |Em|-|F#/B|-|G|. |Em| ends the line and is
also the first strum, then move up one string with both fingers and downstroke the |F#/B| as the
top string <f#> is the important note. Finish with a (G) which also begins the chorus.}
TIP: When moving from the (Bm) to the (F#m) hold fast with your pinky on the 4th string/4th fret
and then lift off the others and barre the bottom three strings of the 2nd fret with your index
finger.
INTRO: |D/A|-|D/A|-|D/A|-|D| <pause> (D)(G)-(Gadd) <pause> |D|-|D|-|D|-|D/A|, (D/A)(G); (G)
(D) Levon wears his (G) war wound like a (D) crown (D)(G). He calls his child (D) Jesus (D)(A),
'Cause he likes the (Bm) name, and he (F#m) sends him to the (G) finest school in (Em) town.
(D) Levon, (G) Levon likes his (D) money (D)(G). He makes a lot they (D) say (D)(A).
Spends his days (Bm) counting, in a (F#m) garage by the (G) motor (Em) way. |Em|-|F#/B|-|G|
He was born a (Bm) pauper to a pawn on a (G) Christmas day,

When the (Em) New York (D) Times said (Em) God is dead and the (D) war's begun.
(G) Alvin Tostig (D) has a son to (Em) day.
And he shall be (G) Levon. And he shall be a (D) good man.

And he shall be (G) Levon. In tradition with the (D) family plan.
|G| He, shall (Gadd) be, Le (A) von (A). (D),(Gadd)|D|,|D|(D)(Gadd)
(D) Levon sells car (G) toon balloons in (D) town (D)(G). His family business (D) thrives (D)(A).
Jesus, blows up balloons all (Bm) day. Sits (F#m) on the porch swing (G) watching them (Em) fly.
And (D) Jesus, he (G) wants to go to (D) Venus (D)(G). Leaving Levon far be (D) hind (D)(A).
Take a balloon, and go (Bm) sailing, while (F#m) Levon, (G) Levon slowly (Em) dies. |Em|-|F#/B|-|G|
He was born a (Bm) pauper to a pawn on a (G) Christmas day,

When the (Em) New York (D) Times said (Em) God is dead and the (D) war's begun.
(G) Alvin Tostig (D) has a son to (Em) day.

And he shall be (G) Levon. In tradition with the (D) family plan, whoo.
|G| He, shall (Gadd) be, Le (A) von (A).

And he shall be (G) Levon. In tradition with the (D) family plan, whoo.
|G| He, shall (Gadd) be, Le (A) von (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|
LIFE’S RAILWAY TO HEAVEN
Johnny Cash (with The Nitty Gritty Dirt Band and Friends)
(Tillman/Abbey/Snow)
https://www.youtube.com/watch?v=ue8nEUWRjOY (Capo 2)(MC3)
[Afterwards is a version in (G) capo’d at the 4th fret.]
TIP: There are several versions of this old spiritual but this rendition is my favorite. The
video is from the 1989 recording used for the Nitty Gritty Dirt Band’s Circle II album. In this
case the “friends” include Earl Scruggs, Mark O’Connor, Jerry Douglas, Roy Huskey, and June Carter
Cash. There’s a bit of banter before the song begins.
TIP: For the opening two notes of the banjo form (A) and pick the covered 4th and covered 3rd
strings and then strum (A).
INTRO: <e>-<a>-(A)(A),(A)-(D)(A), (A)(A)(A)(E)-(A)
Life is like, a mountain railway, with an (D) ennngineer that's (A) brave.
We must make, the run successful, from the (B7) craaaadle to the (E) grave.
Heed the (A) curves, the hills and tunnels. Never (D) falllter never (A) fail.
Keep your hand, upon the throttle, and your eyy-(E)-eye upon the (A) rail.
Blessed (D) Saaavior Thou will (A) guide us, til we reeeach that blissful (E) shore.
Where the (A) aaaangels wait to (D) join us, in God’s (A) graaa-(E)-ace forever (A) more.
<banjo> (A)(A),(A)-(D)(A), (A)(A)(B7)(E), <fiddle> (A)(A)(A)-(D)(A), (A)(A)(A)(E)-(A)
As we rollll along the main line, there’ll be (D) storms, and there’ll be (A) night.
There’ll be sidetracks, unexpected, on the (B7) left, and on the (E) right.
But with the (A) straaaight always before us, and our (D) hearrrts upon the (A) prize.
There’ll be no, disembarkation until weee-(E)-ee reach Para (A) dise.
<dobro> (A)(A),(A)-(D)(A), (A)(A)(B7)(E)
<mandolin/accordian> (A)(A)(A)-(D)(A), (A)(A)(A)(E)-(A), (A7)
In God’s graaa-|E|-ace, forever |A| more. <rake> (A)
(Johnny Cash) (NGDB) (Artist Index) (Spiritual)

LIFE’S RAILWAY TO HEAVEN
Johnny Cash (with The Nitty Gritty Dirt Band and Friends)
(Tillman/Abbey/Snow)
https://www.youtube.com/watch?v=ue8nEUWRjOY (Capo 4)(MC5)
TIP: There are several versions of this old spiritual but this rendition is my favorite. The
video is from the 1989 recording used for the Nitty Gritty Dirt Band’s Circle II album. In this
case the “friends” include Earl Scruggs, Mark O’Connor, Jerry Douglas, Roy Huskey, and June Carter
Cash. There’s a bit of banter before the song begins.
TIP: For the opening two notes of the banjo form (G) and pick the open 4th and 3rd strings and then
strum (G).
INTRO: <d>-<g>-(G)(G),(G)-(C)(G), (G)(G)(G)(D)-(G)
Life is like, a mountain railway, with an (C) ennngineer that's (G) brave.
We must make, the run successful, from the (A7) craaaadle to the (D) grave.
Heed the (G) curves, the hills and tunnels. Never (C) falllter never (G) fail.
Keep your hand, upon the throttle, and your eyy-(D)-eye upon the (G) rail.
Blessed (C) Saaavior Thou will (G) guide us, til we reeeach that blissful (D) shore.
Where the (G) aaaangels wait to (C) join us, in God’s (G) graaa-(D)-ace forever (G) more.
<banjo> (G)(G),(G)-(C)(G), (G)(G)(A7)(D), <fiddle> (G)(G)(G)-(C)(G), (G)(G)(G)-(D)(G)
As we rollll along the main line, there’ll be (C) storms, and there’ll be (G) night.
There’ll be sidetracks, unexpected, on the (A7) left, and on the (D) right.
But with the (G) straaaight always before us, and our (C) hearrrts upon the (G) prize.
There’ll be no, disembarkation until weee-(D)-ee reach Para (G) dise.
<dobro> (G)(G),(G)-(C)(G), (G)(G)(A7)(D)
<mandolin/accordian> (G)(G)(G)-(C)(G), (G)(G)(G)-(D)(G), (G7)
In God’s graaa-|D|-ace, forever |G| more. <rake> (G)
(Johnny Cash) (NGDB) (Artist Index) (Spiritual)

LIKE A ROCK
Bob Seger
https://www.youtube.com/watch?v=9b4cW9sx47A (Capo 1)(MC0)
INTRO: (G)(G)(G)
Stood there boldly, sweatin' in the sun. (C) Felt like a million, felt like number one.
(F) The height of summer, I'd (C) never felt that strong, like a (G) rock (G).
I was eighteen, didn't have a care. (C) Workin' for peanuts, not a dime to spare.
(F) But I was lean and, (C) solid everywhere. Like a (G) rock. (G)
My hands were steady, my eyes were clear and bright.

(C) My walk had purpose, my steps were quick and light.
(F) And I held firmly, to (C) what I felt was right. Like a (G) rock (G).
Like a rock, I was strong as I could be. Like a (C) rock, nothin' ever got to me.
Like a (F) rock, I was (C) something to see. Like a (G) rock.
And I stood (Em) arrow-straight, unencumbered by the weight

Of all these (G) hustlers and their schemes.
I stood (C) proud I stood tall, high above it all.
I (Am) stillll believed in my (D) dreams.
(G)(G)(C)(C)(F)(C)(G)(G); (G)(G)(C)(C)(F)(C)(G)(G) <gently> (G)(G)
Twenty years now. Where'd they go? (C) Twenty years, I don't know.
(F) I sit and I wonder someti-(C)-mes, where they've (G) gone (G).
And sometimes late at night (C), ohh when I'm bathed in the firelight.
(F) The moon comes callin' a (C) ghostly white. And I re (G) call. I recall.
Like a rock, standin' arrow-straight. Like a (C) rock, chargin' from the gate.
Like a (F) rock, (C) carryin' the weight. Like a (G) rock (G).
Ohh like a rock, the sun upon my skin. Like a (C) rock, hard against the wind.
Like a (F) rock, I (C) see myself again. Like a (G) rock, ohh like a rock.
(G)(G)(C)(C)(F)(C)(G), Oh oh. (G)(G)(C)(C)(F)(C)(G)(G); (G)(G)(C)(C)(F)(C)|Gadd| <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)(MC2)
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. There’s a whole
litany of theories concerning this ballad. Google the song title sometime. Whatever theory you
like best is the right one.
TIP: To simply things, you can play (G) and (C) instead of (Gadd) and (CaddG), and skip the (Bm)
if you like, and play either the (Am7) or the (Am).
BAEZ INTRO: (G),(G)

DYLAN INTRO: (G)(C)(G); (G)(C)(G); (C)(G)(D)(G)(C)(G)(D)(G)(C)(D)
The festival was over and the (C) boys were all plannin' for a (G) fall.
The (Gadd) cabaret was quiet, ex (C) cept for the drillin' in the (G) wall.
The (CaddG) curfew had been (G) lifted and the (D) gamblin' wheel shut (G) down.
(C) Anyone with (G) any sense had (C) already left (D) town.
He was (G) standin' in the (Bm) doorway, (Am7) lookin' like the (D) Jack of Hear (G) arts (C)(G).
He moved across the mirrored room, (C) "Set em up, for everyone" he (G) said.
Then (Gadd) everyone commenced to do what (C) they'd been doin' before he moved their (G) heads.
He (CaddG) walked up to a (G) stranger and he (D) asked him with a (G) grin,
"Could you (C) kindly tell me (G) mister, what (D) time the show be (D7) gins?"
He (G) moved into the (Bm) corner, (Am7) face down like the (D) Jack of Hear (G) arts (C)(G).
Backstage the girls were playin' (C) five-card stud by the (G) stairs.
(Gadd) Lily had two queens and she was (C) hopin' for a third to match her (G) pairs.
Out (CaddG) side the streets were (G) fillin' up and a (D) window was open (G) wide.
A (C) gentle breeze was (G) blowin' you could (C) feel it from in (D) side.
(G) Lily called a (Bm) nother bet, and (Am7) drew up the (D) Jack of Hear (G) arts (C)(G).
Big Jim was no one's fool (C) he owned the town's only diamond (G) mine.
He (Gadd) made his usual entrance, (C) lookin' all so dandy and so (G) fine.
With his (CaddG) bodyguards and (G) silver cane and (D) every hair in (G) place,
He (C) took whatever he (G) wanted to and he (C) laid it all to (D) waste,
But his (G) bodyguards and his (Bm) silver cane they were (Am7) no match for the
(D) Jack of Hear (G) arts (C)(G).
Rosemary combed her hair and (C) took, the carriage into (G) town.
She (Gadd) slipped into the side door, (C) lookin' like a queen without a (G) crown.
She (CaddG) fluttered her false (G) eyelashes and (D) whispered in his (G) ear,
"I'm (C) sorry darlin' (G) that I'm late" but he (C) didn't seem to (D) hear.
He was (G) starin' into (Bm) space, (Am7) over at the (D) Jack of Hear (G) arts (C)(G).
"Well I know I've seen that face somewhere," (C) Big Jim was thinkin' to him (G) self.
(Gadd) "Maybe down in Mexico or a (C) picture upon somebody's (G) shelf."
But then the (CaddG) crowd began to (G) stamp their feet and the (D) house lights did (G) dim,
And (C) in the darkness (G) of the room there was (C) only Jim and (D) him.
(G) Staring at the (Bm) butterfly who (Am7) just up drew up the (D) Jack of Hear (G) arts (C)(G).
Lily was a princess, she was (C) fair-skinned and precious as a (G) child.
She (Gadd) had that certain something, (C) was a kind of a flash every time she (G) smiled.
She'd (CaddG) come away from a (G) broken home had (D) lots of strange a (G) ffairs,
With (C) men in every (G) walk of life who (C) took her every - (D) where.
But she'd (G) never met (Bm) anyone (Am7) quite like the (D) Jack of Hear (G) arts (C)(G).
The hangin' judge came in, un (C) noticed, and was being wined and (G) dined.
The (Gadd) drillin' in the wall kept up but (C) no one seemed to pay it any (G) mind.
It was (CaddG) known all a (G) round that Lily (D) had Jim's (G) ring,
And (C) nothing could ever (G) come between (C) Lily and the (D) king.
No (G) nothing ever (Bm) could, ex (Am7) cept maybe the (D) Jack of Hear (G) arts (C)(G).
Rosemary started drinkin' hard and (C) seein' her reflection in the (G) knife.
She was (Gadd) tired of the attention, (C) tired of playin' the role of Big Jim's (G) wife.
She had (CaddG) done a lot of (G) bad things even (D) once tried sui (G) cide.
Was (C) lookin' to do just (G) one good (C) deed before she (D) died.
She was (G) gazin' to the (Bm) future, (Am7) riding on the (D) Jack of Hear (G) arts (C)(G).
Lily took her dress off, (C) buried it a (G) way.
"Has your (Gadd) luck run out?" she laughed at him, "I (C) guess you must have known it would some
(G) day. Be (CaddG) careful not to (G) touch the wall there's a (D) brand-new coat of (G) paint.
I'm (C) glad to see you're (G) still alive and you're (C) lookin' like a (D) saint."
(G) Down the hallway (Bm) footsteps were (Am7) comin' for the (D) Jack of Hear (G) arts (C)(G).
The Backstage Manager was (C) pacing all around by his (G) chair.
"There's (Gadd) somethin' funny going on " I (C) know I can just feel it in the (G) air."
He (CaddG) went to get the (G) hangin' judge but the (D) hangin' judge was (G) drunk,
And the (C) leading actor (G) hurried by in the (C) costume of a (D) monk.
But there was (G) no actor (Bm) anywhere, (Am7) better than the (D) Jack of Hear (G) arts (C)(G).
Lily had her arms around the (C) man she dearly loved to (G) touch.
She for (Gadd) got all about the man she (C) hated who hounded her so (G) much.
I (CaddG) missed you so she (G) said to him and he (D) thought she was sin (G) cere,
But (C) in the hallway (G) he found (C) jealousy and (D) fear.
(G) Just another (Bm) night in the (Am7) life of the (D) Jack of Hear (G) arts (C)(G).
Well no one knew the circumstance but (C) they say that it happened pretty (G) quick.
The (Gadd) door to the dressing room burst (C) open and a cold revolver (G) clicked.
And (CaddG) Big Jim was (G) standin' there you (D) couldn't say sur (G) prised,
Rose (C) mary right be (G) side him, (C) steady in her (D) eyes.
She was (G) with Big Jim (Bm), but she was (Am7) leanin' to the (D) Jack of Hear - (G) arts (C)(G).
Two doors down, and the (C) boys finally made it through the (G) wall.
They (Gadd) cleaned out the bank safe, (C) said they got off with quite a (G) haul.
And in the (CaddG) darkness of the (G) riverbed they (D) waited on the (G) ground,
For (C) one more (G) member who had (C) business back in (D) town.
But they (G) couldn't go no (Bm) further, (Am7) without the (D) Jack of Hear (G) arts (C)(G).
Well the next day was hangin' day, the (C) sky was overcast and (G) black.
(Gadd) Big Jim lay covered up, (C) killed by a penknife in the (G) back.
And Rose (CaddG) mary on the (G) gallows Lord she (D) didn't even (G) blink.
The (C) hangin' judge was (G) sober Lord he (C) hadn't had a (D) drink,
And the (G) only person (Bm) on the scene (Am7) missing was the (D) Jack of Hear (G) arts (C)(G).
Well the cabaret was quiet now and a (C) sign said "Closed for Re (G) pair."
(Gadd) Lily had already taken (C) all of the dye out of her (G) hair.
She was (CaddG) thinkin' about her (G) father who she (D) very rarely (G) saw.
(C) Thinkin' about Rose (G) mary and (C) thinkin' about the (D) law.
But (G) most of all (Bm), she was (Am7) thinkin' about the (D) Jack of Hear (G) arts (C)(G).
|G|-|G|
(Bob Dylan)(Joan Baez) (Artist Index) - (Main Index) - (Song Index) (This Song)
LITTLE MOUNTAIN CHURCH HOUSE - Ricky Skaggs/Nitty Gritty Dirt Band
(Jackson/Rushing)
https://www.youtube.com/watch?v=YV95gRr6L_o (Capo 0)(MC3)
TIP: For the intro you play two notes and then the chords shown. Begin by forming the (D/A) which
is just (D) with your pinky added to the 4th string/4th, note <f#>. Now lift off the index finger
so the 3rd string is open <d>. You haven't played anything yet, you're just getting ready. Okay,
now pick the covered 4th string <f#> and the open 3rd string <d>, lift off the pinky and replace
the index finger to play a regular (D) etc.
INTRO: <f#><d>(D)(D)(Gadd)(G),(D)(A)(D)
There's a little mountain church, in my (G) thoughts of yesterday,

Where (D) friends and family gathered for the (A) Lord.
There an (D) old fashioned preacher, taught the (G) straight and narrow way
For-what-few (D) coins the congreg (A) ation could af (D) ford.
Dressed in all our Sunday best, we sat on (G) pews of solid oak,
And I re (D) member how our voices filled the (A) air.
How Mama (D) sounded like an angel, on those (G) high soprano notes
And "When the (D) Roll is Called Up (A) Yonder I'll Be (D) There."
Looking back now that little mountain (G) church house,

Has be (D) come, my life's corner (A) stone.
It was (D) there, in that little mountain (G) church house,
I first (D) heard the word I (A) based my life up (D) on.
(D)(G)(D)(A); (D)(G)(D)(A)(D)
At the all day Sunday singing, with (G) dinner on the ground.
(D) Many were the souls that were re (A) vived.
While the (D) brothers and the sisters who've gone (G) on to Gloryland
Slept in (D) peace in the (A) maple grove near (D) by.

(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)

LI'L RED RIDING HOOD - Sam the Sham and the Pharohs
(Blackwell)
https://www.youtube.com/watch?v=_FA85RO89HA (Capo 0)(MC0)
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
looking for tips).
TIP: The intro is easy. Form (Em) with your ring and middle fingers. Now reach up with your
pinky to cover the the top string/3rd fret <g> and pick once, then use your index finger to cover
the top string/2nd fret and pick once, and finish with one gentle strum of (Em) remembering to
strike the top string on the way down. Repeat were indicated.
INTRO: Owwww! <g><f#>|Em| <spoken> Who's that I see walkin'in these woods?
<g><f#>|Em| Why it's Little Red Riding Hood.
<g><f#> (Em) Hey there Little Red (G) Riding Hood, (A) you sure are lookin' good.
(C) You’re everything a (B7) big bad wolf could (Em) want. (B7) Listen to me!
(Em) Little Red (G) Riding Hood, (A) I don't think little big girls should,
(C) Go walkin’ in these (B7) spooky old woods a (Em) lone. (B7) Owwww!
(G) What big eyes you have. (Em) The kind of eyes, that drive wolves mad.
So (A) just to see that you don't get chased I think I (D) ought, to walk, with you for a ways.
(G) What cool lips you have. (Em) They're sure to lure, someone bad
So un (A) til you get to Grandma's place I think you (D7) ought, to walk, with me and be safe.
(Em) I'm gonna keep my (G) sheep suit sheep suit on, (A) til I'm sure that you've been shown,
That (C) I can be trusted, (B7) walkin' with you a (Em) lone. (B7) Owwww.
(Em) Little Red (G) Riding Hood, (A) I'd like to hold you if I could.
But (C) you might think I’m a (B7) big bad wolf so I (Em) won’t. (B7) Owwww!
(G) What a big heart I have. (Em) All the better to love you with.
(A) Little Red Riding Hood, (D) even bad wolves can be good.
(G) I’ll try to keep satisfied, (Em) just to walk close by your side.
(A) Maybe you'll see, things my way, be (D7) fore we get to grandma's place.
(Em) Little Red (G) Riding Hood, (A) you sure are lookin' good.
(C) You're everything a (B7) big bad wolf could (Em) want. (B7) Owwww!
I mean (Em) baaa (G). (A) Baaaa? (A) (C) Baaa. (B7) |Em|
(Sam the Sham & the Pharohs) (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)(MC2)
TIP: The chorus has overlapping melodies. Helps to have more than one person singing.
INTRO: (G) 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 (Gadd) I'm not braggin' babe so (G) don't pull me down,
But I've (Gadd) got the fastest set of (G) wheels in town.
When (C) something comes up to me he don't even try
‘Cause if it (G) had a (Gadd) set of wings man I (G) know she could fly.
She's my (D) little deuce coupe (D7), you don't know what I (G) got -
Just a (Gadd) little deuce coupe with a (G) flathead mill,

But she'll walk (Gadd) a Thunderbird like she’s (G) standing still.
She's (C) ported and relieved and she's stroked and bored
She'll do a (G) hundred (Gadd) and forty in the (G) top end floored.
She's got a (C) competition clutch with the four on the floor,
And she (G) purrs like a kitten til the lake pipes roar.
And (C) if that ain't enough to make you flip your lid,
There's (A) one more thing I got the |D| pink slip daddy.
And (Gadd) comin' off the line when the (G) light turns green.
Oh well she (Gadd) blows 'em outta the water like you (G) never seen
I get (C) pushed out of shape, and it's hard to steer,
When (G) I (Gadd) get rubber in (G) all four gears.
don’t know what I got. |G|
LITTLE SISTER - Dwight Yoakam/Elvis Presley
(Pomus/Shuman)
https://www.youtube.com/watch?v=-x70_ord3UQ Dwight (Capo 0)(MC0)
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. 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.
TIP: The (A)(Asus2)(Emsus4) voicing in the verse is quite easy and is just a sequential pulling
off from the (A), bottom finger, then middle finger - as shown in the diagram - and then finishing
with the (E). Then comes the alternating (A) and (Asus2) in which you just remove and replace the
bottom finger. Finally, notice at the end of the verse there's a single strum of |A| which
sustains through the end of the line and then comes the rapid strum of (E) right afterwards.
INTRO: <Strum (E) quickly 8 times followed by a palm mute>
(NC) Little sister don't you, (E). Little sister don't you, (E).
Little sister don't you (A) kiss me once or twice,
(A7) Tell me that's it nice and then you (E), ru - un.
Yeah-(B7)-yeah little sister don't you (C) do what your (B7) big sister (E) done.
You know I (A) da (Asus2) ted (Emsus4) your big (E) sister.
Oh I (A) took (Asus2) her (Emsus4) to the (E) show.
Hey I (A) went for (Asus2) some (A) candy (Asus2) and a (A) long came (Asus2) Jim (A) Dandy
(Asus2) And they |A| slipped right out the door. <Strum (E) quickly 8 times and palm mute>
(A7) Tell me that's it nice and then you, (E) ru - un.
Yeah-(B7)-ahh little sister don't you (C) do what your (B7) big sister (E) done.
(E),(E),(E)(A)(A7)(E), (E)(B7)(C)(B7)(E)
I used to (A) pull (Asus2) down (Emsus4) on your (E) pigtails.

Hey girl (A) pinch (Asus2) your (Emsus4) turned-up (E) nose.
Oh but (A) baby you've (Asus2) been (A) growin',
(Asus2) and (A) lately it's (Asus2) been (A) showin',
(Asus2) From your |A| head down to your toes. <Strum (E) quickly 8 times and palm mute>
Yeah-(B7)-ahh little sister don't you (C) do what your (B7) big sister (E) done (E).
(E),(E),(E)(A)(A7)(E), (E)(B7)(C)(B7)(E)
Every (A) time (Asus2) I (Emsus4) see your (E) sister,

Lord she's (A) with (Asus2) some (Emsus4) body (E) new.
Oh she's (A) mean and (Asus2) she's (A) evil (Asus2) like a (A) little old (Asus2) boll (A) weevil
(Asus2) Think I'll |A| try my love with you. <Strum (E) quickly 8 times and palm mute>
Yeah-(B7)-ahh little sister don't you (C) do what your (B7) big sister (E) done (E).
Well-(B7)- ell little sister don't you (C) do what your (B7) big sister (E) done (E).
Oh-(B7)-oh little sister don't you (C) do what your (B7) big sister (E) done.
CODA: <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)(MC0)
INTRO: (A) (E) (A) (D) (A) (E) (A) (E)
Two young (A) people, without a (E) thing, say some (A) vows, and spread their (D) wings.
Settle (A) down, with just what they need, livin’ on (E) love.
She don’t (A) care, 'bout what’s in (E) style. She just (A) likes, the way he (D) smiles.
It takes (A) more than marble and (E) tile, livin’ on (A) love.
Livin’ on (E) love, buyin’ on (A) time without some (D) body nothin' ain’t worth a (A) dime.
Just like an (D) old fashioned story book (A) rhyme, livin’ on (E) love.
It sounds (A) simple, that’s what you're (E) thinkin',
But love can (A) walk through fire without (D) blinkin'
It doesn’t take (A) much, when you get e (E) nough, livin' on (A) love (E).
(A)(E)(A)(D)(A)(A)(E)(E); (A)(E)(A)(D)(A)(E)(A)(E)
Two old (A) people, without a (E) thing. Children (A) gonnnne but still they (D) sing.
Side by (A) side in that front porch swing, livin’ on (E) love.
He can’t (A) see, any (E) more, she can (A) bare, ly sweep the (D) floor.
Hand in (A) hand they'll walk through that (E) door, just livin’ on (A) love.
Livin’ on (E) love, buyin’ on (A) time without some (D) body nothing ain’t worth a (A) dime.
It doesn’t take (A) much, when you get e (E) nough, livin' on (A) love.
Livin’ on (E) love, buyin’ on (A) time without some (D) body nothing ain’t worth a (A) dime.
It doesn’t take (A) much, when you get e (E) nough, livin' on (A) love (D).
No it doesn’t take (A) much, when you get e (E) nough, livin' on (A) love (D)-(E)-(A).
THE LOCOMOTION - Grand Funk Railroad
(Coffin/King)
https://www.youtube.com/watch?v=jxyU4W8iyeI (Capo 0)(MC1/3)
[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) Everybody's doin' a (Bm) brand new dance now.

(D) Come on baby, (Bm) do the Locomotion.
I (D) know you'll get to like it if you (Bm) give it a chance now.
My (G) little baby sister can (Em) do it with ease, it's (G) easier than learnin' your (E) ABCs.
So (D) come on come on and (A) do The Locomotion with (D) me.
You've got to swing your hips now (G). Come on. Jump (D) up, jump back.
Oh well I (A) think you've got the knack.
Whoa whoa (D) now that you can do it well (Bm) let's make a chain now.
A (D) chuga-chuga motion like a (Bm) railroad train now. (D) Come on baby, (Bm) do the Locomotion.
(G) Do it nice and easy now and (Em) don't lose control.
A (G) little bit of rhythm and a (E) lot of soul.
So (D) come on come on and (A) do the Locomotion with (D) me.
(D)(G)(D)(G)(D)(G)(D)(A)
Whoa whoa (D) move around the floor in a (Bm) locomotion.
(D) Do it holdin' hands if'n (Bm) you get the notion.
There's (G) never been a dance that's so (Em) easy to do.
It (G) even makes you happy when you're (E) feelin' blue.
So (D) come on come on and (A) do The Locomotion with (D) me.
Come on baby, (Bm) do the Locomotion.
(D) Come on baby, (Bm) do the Locomotion. (D) Come on baby, (Bm) do the Locomotion.
(D) Come on baby, (Bm) do the Locomotion. (D) Come on baby, (Bm) do the Locomotion. |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)(MC1/3)
[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)....
Everybody's doin' a (Bm) brand new dance now.

I (D) know you'll get to like it if you (Bm) give it a chance now.
My (G) little baby sister can (Em) do it with ease, it's (G) easier than learnin' your (E) ABC.
You've got to swing your hips now (G). Come on baby. Jump (D) up, jump back.
Oh well I (A) think you've got the knack.
Whoa whoa (D) now that you can do it (Bm) let's make a chain now.
A (D) chuga-chuga motion like a (Bm) railroad train now.
(G) Do it nice and easy now and (Em) don't lose control.
A (G) little bit of rhythm and a (E) lot of soul.
(D) Come on come on (A) do the Locomotion with (D) me.
(D)(G)(G)(D)(D)(A)
Yay yay yay yeah (D) move around the floor in a (Bm) locomotion.
(D) Do it holdin' hands if (Bm) you get the notion.
There's (G) never been a dance that's so (Em) easy to do.
It (G) even makes you happy when you're (E) feelin' blue.
So (D) come on come on (A) do the Locomotion with (D) me.
You've got to swing your hips now (G). Come on, that's right. You're doin' (D) fine.
Come on (G) baby. Mm-mm-mm jump (D) up. You're looking (G) good. Mm-mm-mm jump (D) 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)(MC4/5)
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) Everybody's doin' a (Em) brand new dance now.

(G) Come on baby, (Em) do the Locomotion.
I (G) know you'll get to like it if you (Em) give it a chance now.
My (C) little baby sister can (Am) do it with ease, it's (C) easier than learnin' your (A) ABCs.
So (G) come on come on and (D) do The Locomotion with (G) me.
You've got to swing your hips now (C). Come on. Jump (G) up, jump back.
Oh well I (D) think you've got the knack.
Whoa whoa (G) now that you can do it well (Em) let's make a chain now.
A (G) chuga-chuga motion like a (Em) railroad train now.
(C) Do it nice and easy now and (Am) don't lose control.
A (C) little bit of rhythm and a (A) lot of soul.
So (G) come on come on and (D) do the Locomotion with (G) me.
(G)(C)(G)(C)(C)(G)(C)(G)(D)
Whoa whoa (G) move around the floor in a (Em) locomotion.
(G) Do it holdin' hands if'n (Em) you get the notion.
There's (C) never been a dance that's so (Am) easy to do.
It (C) even makes you happy when you're (A) feelin' blue.
Come on baby, (Em) do the Locomotion.
So (G) come on come on and (D) do the Loocomotion with (G) me.
(G) Come on baby, (Em) do the Locomotion. (G) Come on baby, (Em) do the Locomotion.
(G) Come on baby, (Em) do the Locomotion. (G) Come on baby, (Em) do the Locomotion. |G|
(Little Eva)(Grand Funk Railroad) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
LODI – Creedance Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=yA7iGxV6rt4 (Capo 3)(MC4)
TIP: You can skip the (Bm) in the first three verses before the key change if you want. But in a
bit of a peculiarity, if you do play the (Bm) play it as shown in the first diagram, without the
pinky covering the 4th string/4th fret as usual. After the key change play the (Bm) with three or
(preferably) four strings.
TIP: At the key change forcefully strike the chords with the first downstroke.
( ) ;
INTRO: (G)(G)(C)(G)
Just about a year ago, I (C) set out on the (G) road.
Seekin my (Bm) fame and (Em) fortune, (Am) lookin' for a pot of (D) gold.
(G) Things got (Bm) bad and (Em) things got worse, I (C) guess you know the (G) tune.
Oh Lord, (D) stuck in Lodi (C) a-gain (G).
Rode in on the greyhound, I’ll be (C) walkin’ out if I (G) go.

I was just (Bm) passin' (Em) through, must be (Am) seven months or (D) more.
(G) Ran out of (Bm) time and (Em) money, (C) looks like they took my (G) friends.
(G)(G)(C)(G); (G)(G)(C)(G)
The man from the magazine, (C) said I was on my (G) way.
Somewhere I (Bm) lost conn (Em) ections, (Am) ran out of songs to (D) play.
I (G) came into town a (Em) one night stand, (C) looks like my plans fell (G) through.
<key change> (D)(A)(E)(A)
If I only had a dollar, for (D) ev’ry song I’ve (A) sung.
And ev’ry time I’ve (F#m) had to play while (Bm) people sat there (E) drunk.
You (A) know I’d catch the (F#m) next train, (D) back to where I (A) live.
Oh Lord, (E) stuck in Lodi (D) a-gain (A).
Oh Lord, (E) stuck in Lodi (D) a-gain (A).
(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)(MC0)
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. Whenever you start the riff, including the intro, include your pinky above
your ring finger on the top string to emphasize the bass <g-c> notes. Where you see this notation:
"<riff> (E)" you play the riff and then strum (E) afterwards for the walk-down. But at the end
you'll see this: "<riff>--->(E) Lola." It means the last (E) in the riff forms the first chord
(E) for "Lola". You'll see what I mean when you play them.
TIP: For the little twinkle of (Asus)(A) between some of the verses just keep the (A) and add (or
slide, depending on how you play (A)) your pinky to the 2nd string/3rd fret. Easy.
TIP: At the end of the arch there's an (F5) - (F) played on the 5th fret - which is just another
way to play (A) but you need it up there to cover the treble <a> and rise in Davies' voice.
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: The 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| <riff> (C)(C)(D)–(E); (E)
I met her in a club down in old Soho where you (A) drink champange
And it (D) tastes just like Coca (E) Cola. C-O-L-A (A) cola (Asus)(A).
She (E) walked up to me and she asked me to dance.
(A) Asked her her name and in a (D) dark brown voice she said (E) Lola.
L-O-L-A (A) Lola. (D) Lo lo lo lo (C) lo-La. <riff> (E)
Well I’m not the world’s most physical guy but when she (A) squeezed me tight
She nearly (D) broke my spine you know my (E) Lola. Lo lo lo lo (A) Lola (Asus)(A).
Well (E) I’m not dumb but I can’t understand
Why she (A) walked like a woman but (D) talked like a man oh my (E) Lola.
Lo lo lo lo (A) Lola. (D) Lo lo lo lo (C) Lola. <riff> (E)
Well we (B7) drank champagne and danced all night, (F#) under electric candle light.
She (A) picked me up and sat me on her knee, and said pretty boy won’t you (F5) come home with me?
Well (E) I’m not the world’s most passionate guy

But when I (A) looked in her eyes well I (D) almost fell for my (E) Lola.
Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La. <riff>--->(E) Lola.
Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La. <riff> (E).
I (A) pushed (E) her a (B) way. (E) I (A) walked (E) to the (B) door.
(E) I (A) fell (E) to the (B) floor. I got (E) down (F#m) on my (C#m/Bm4) knees.
Then (B) I looked at her and she at me.
Well (E) that’s the way that I want it to stay

And I (A) always want it to (D) be that way for my (E) Lola. Lo lo lo lo (A) Lola (Asus)(A).
(E) Girls will be boys and boys will be girls
It’s a (A) mixed up muddled up (D) shook up world except my (E) Lola. Lo lo lo lo (A) Lola.
Hey and (B7) I’d left home just a week before, and (F#) I’d never ever kissed a woman before.
Well (A) Lola smiled and took me by the hand. Said pretty boy gonna (F5) make you a man.
Well (E) I’m not the world’s most passionate man

But I (A) know what I am and I’m (D) glad I'm a man an so is (E) Lola.
Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La
<riff>--->(E) Lola. Lo lo lo lo (A) Lo-La. (D) Lo lo lo lo (C) Lo-La

<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)(MC1)
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.
TIP: In the harmonica bridge there's one lonely (Dsus4) coming off of the (Gadd). Play (D) with
your pinky added to the bottom string/3rd fret and then lift off the pinky to get to the next (D).
INTRO: (G)(Em)(Bm)(Bm); (G)(Em)(Bm)(D)(D); (C)(D)(G)-(D)-(Em)-(D)-(C),(D)(G)(D)
(G) This is for (Em) all the lonely (Bm) people,

(G) Thinking that (Em) life has passed them (Bm) by (D).
(C) Don't give (D) up until you, (G) drink from the (Em) silver cup (C),
And ride that (D) highway in the (G) sky. (D)
(G) This is for (Em) all the single (Bm) people,

(G) Thinking that (Em) love has left them (Bm) dry (D).
(C) Don't give (D) up until you, (G) drink from the (Em) silver cup (C).
You never (D) know until you (G) try.
Well I'm (C) on (G) my (Am) way. Yes I'm (C) back (G) to (Am) stay.
Well I'm (C) on (G) my (Am) way (D) back (G) home. (Hit it.)
<harmonica> (Gadd)(D)(C)(C)-(G), (Gadd)(Dsus4)-(D)(C)(G)(D) <piano> (Em)(Bm),(Em)(Bm),(Em)(Bm), (D)

(G) This is for (Em) all the single (Bm) people,
(G) Thinking that (Em) life has past them (Bm) by (D).
(C) Don't give (D) up until you, (G) drink from the (Em) silver cup (C).
She’ll never (D) take you down or, (G) never (Em) give you up (C).
You’ll never (D) know until you |Em| 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)(MC0)
TIP: For the intro (and for any (C) in the song for that matter) pick the 5th string and then
strum (C/G) - with the pinky on the top string bass <g> - then the 6th string and strum (C/G).
INTRO: 5-(C/G) 6-(C/G) 5-(C/G) 6-(C/G)
The lonesome friends of science say, (F) "The world will end most any day."
(C) Well if it does then that's okay, (G) 'cause I don't live here anyway.
(C) I live down deep inside my head, (F) where long ago I made my bed.
(C) I get my mail in Tennessee, (G) my wife my dog and my family mmm (C) hmmm. (C)(C)(C)
Now poor ol' planet Pluto now, (F) he never stood a chance no how.
(C) When he got uninvited to, (G) the interplanetary dance.
(C) Once a mighty planet there, (F) now just an ordinary star.
(C) Hangin' out in Hollywood, (G) in some ol' funky sushi bar.
(C) The lonesome friends of science say, (F) "The world will end most any day."
(C) I get my mail in Tennessee, (G) my wife my dog and my kids and me uh (C) humm. (C)(C)(C)(C)(C)
The Vulcan lives in Birmingham, (F) sometimes he just don't give a damn.
(C) His head is full of bumblebees, (G) his pride hangs down below his knees.
(C) Venus left him long ago, (F) for-a-guy-named Mars from Idaho.
(C) The Vulcan sent a wedding gift, (G) three-legged stool and a wheelchair lift mm (C) hmmm.
(C)(C)(C)
The lonesome friends of science say (F) "The world will end most any day."
(C) I get my mail in Tennessee, (G) my wife my dog my kids and me mmm (C) hmmm. (C)(C)
Uh-uh (Am) huh. Uh-uh (C) hun. Uh-uh (Am) huh. Uh-uh (C) huh.
Those bastards in their white lab coats, (F) who experiment with mountain goats,
(C) Should leave the universe alone. (G) It's not their business, not their home.
(C) I go to sleep and it never rains, (F) my dog predicts hurricanes.
(C) She can smell a storm a mile away, (G) that's all the news we have today mm (C) hmmm.(C)(C)(C)
The lonesome friends of science say (F) "The world will end most any day."
(C) I get my mail in Tennessee, (G) my wife my dog my kids and me mmm (C) hmmm. (C)(C)
Uh-uh (Am) huh. Uh-uh (C) hun. Uh-uh (Am) huh. Uh-uh |C| huh.
LONG BLACK VEIL – Lefty Frizell/The Chieftains with Mick Jagger
(Wilkin/Dill)
https://www.youtube.com/watch?v=50k18gL76AU (Lefty) (Capo 2)(MC2)
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,

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

If you were (A7) somewhere else, then you (G) won't have to (D) die.”
I spoke, not a word, though it meant my life,
For I had (A7) been in the arms of my (G) best friend's (D) wife.
She (G) walks these (D) hills, in a (G) long black (D) veil.
She (G) visits my (D) grave, when the (G) night winds (D) wail.
Nobody knows, (G) nobody (D) sees. (G) Nobody (A7) knows, but (D) me.
The scaffold is high, and eternity nears.

She (A7) stood in the crowd, and (G) shed not a (D) tear.
But sometimes at night, when the cold wind moans.
In a (A7) long black veil, she (G) cries over my (D) bones.
She (G) walks these (D) hills, in a (G) long black (D) veil.
She (G) visits my (D) grave, when the (G) night winds (D) wail.
Nobody knows, (G) nobody (D) sees. (G) Nobody (A7) knows, but (D) me.
(G) Nobody (A7) knows, but (D) me. (G) Nobody (A7) knows, but (D) 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)(MC4)
INTRO: <strum> (G)
Ten years ago, on a cold dark night,

(D7) Someone was killed 'neath the (C) town hall (G) light.
There were few at the scene, but they alllll agreed,
That the (D7) slayer who ran looked a (C) lot like (G) me.
She (C) walks these (G) hills, in a (C) long black (G) veil.
She (C) visits my (G) grave, when the (C) night winds (G) wail.
(Gadd) Nobody knows, (C) nobody (G) sees. (C) Nobody (D7) knows, but (G) me.
The Judge said son “What is your, alibi?

If you were (D7) somewhere else, then you (C) won't have to (G) die.”
I spoke not a word, though it meant my life,
I'd (D7) been in the arms of my (C) best friend's (G) wife.
Now the scaffold is high, and eternity is near.

She (D7) stood in the crowd, and (C) shed not a (G) tear.
But sometimes at night when the cold wind moans.
In a (D7) long black veil, she (C) cries over my (G) bones.
She (C) walks these (G) hills, in a (C) long black (G) veil.
She (C) visits my (G) grave, when the (C) night winds (G) wail.
(Gadd) Nobody knows, (C) nobody (G) sees. (C) Nobody (D7) knows, but (G) me.
LONG COOL WOMAN – The Hollies
(Clarke/Cook/Greenway)
https://www.youtube.com/watch?v=1l0xpkk0yaQ (Capo 0)(MC1)
TIP: Some rock and roll classics shouldn’t be performed acoustically - this is one of them. But
we'll try it if only to see the actual words that go with Allan Clarke's incomprehensible singing.
TIP: The intro comes in two parts, the opening riff that consists of individual notes, and then a
sequence of chords. So you start by forming (Em) and pick the string numbers shown, a walk down
from the top string to the 3rd string. The next mess of numbers refers to the string/fret of the
subsequent notes with "O" meaning open. So the next note is the 4th string/4th fret (you can hold
the (Em) and focus on the 4th string), then you slide down the same string on the 2nd fret, the
open 4th string, come up to the 5th string/2nd fret and so forth. There will be two beats of a
drum and you repeat the same sequence. After that 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. For a good tutorial on this see Marty Schwartz at
https://www.youtube.com/watch?v=cpWOc56ERnY
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#).
INTRO: <Form (Em)> 6-5-4-3-3 4/4 4/2 4/O 5/2 6/3 6/3 6/2 6/2 6/3 5/O 6/3 6/2 6/0 <drum>
<Form (Em)> 6-5-4-3-3 4/4 4/2 4/O 5/2 6/3 6/3 6/2 6/2 6/3 5/O 6/3 6/2 6/0 <drum>
|E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|,
|E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|
(E) Saturday night I was downtown, (Gadd) workin' for my (A) F.B. (E) I.
Sittin’ in a nest of bad men, (Gadd) whiskey bottles (A) pilin' (E) hi-i-igh.
Bootleggin’ boozer on the west side full of (Gadd) people who are (A) doin’ (E) wrong.
Just about to call up the D.A. man, when I (Gadd) heard this woman (A) singin’ a (E) so-o-ong.
A (A) pair of 45s made me open my eyes, my (B) temperature startin’ to (A) ri-ii-i-i-ise
(B) She was a (A) long cool woman in a (B#) black dress, just a (A) five nine beautiful (E) tall.
Well (A) just one look I was a (B#) bad mess, ‘cuz that (A) long cool (G) woman had it
(E) all-all-all.
|E||E|-|E|,(D)(A); |E||E|-|E|,(D)(A); |E||E|-|E|,(D)(A); |E||E|-|E|,(D)(A);

|E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A| (whoooh)
|E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|, |E|-|E||A|-|D|-|A|
(E) I saw her head up to the table, well a (Gadd) tall walkin' (A) big black (E) cat.
Then Charlie said "I hope that you're able boy, well I'm (Gadd) tellin' ya she (A) knows where it's
(E) at." Well suddenly we heard the sirens, and (Gadd) everybody (A) started to (E) run.
A jumpin' out of doors and tables, well I (Gadd) heard somebody (A) shootin' a (E) guh-uh-uhn.
Well the D.A. was pumpin' my left hand, uh ma (Gadd) she was a (A) hold of my (E) right.
Well I told her 'Don't get scared 'cuz you're (G) gonna be spared.'
I (A) gotta be forgiven if I wanna spend a livin’
With a long cool woman in a (B#) black dress, just a (A) five-nine beautiful (E) tall.
Yeah with (A) just one look I was a (B#) bad mess ‘cuz that (A) long cool (G) woman had it
(E) all-all-all.
(G) Had it (E) all-all-all. (G) Had it (E) 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)(MC3)
TIP: The pretty little intro and instrumental starts with (Gadd), then release the 2nd string for
a regular (G). After the (C) add your pinky to the bottom string/3rd fret and release.
TIP: At the end play an extra (G) and then pick the still-covered bottom string/third fret <g> to
end the song. That's what the <b3> means.
INTRO: (Gadd),(G),(C), (C)(CaddG)-(C); (Gadd),(G),(C), (C)(CaddG)-(C);

(Gadd),(G),(D), (D)-(G)-(D)-(C)(C)(G)
You and me, (C) sittin' in the back my (G) memory.

Like a honey bee, (C) buzzin' 'round a glass of (G) sweet Chablis.
The (D) radio's on, the (C) windows rolled up and my (G) mind's rolled down.
(D) Headlights shinin' like (C) silver moons rollin' (G) on the ground.
We made love, in (C) every way love (G) can be made.

And we made time, (C) look like time could (G) never fade.
(D) Friday Night, (C) we both made the (G) guitar hum.
(D) Saturday made (C) Sunday feel like it would (D) never come.
Gonna be a (Gadd) lonnng (G) Monday.

(C) Sittin' all alone on a mountain by a river that (G) has no end.
(D) Stuck like the tick of a clock, that's come un (C) wound (C), a (G) gain.
(Gadd),(G),(C), (C)(CaddG)-(C); (Gadd),(G),(C), (C)(CaddG)-(C);

(Gadd),(G),(D), (D)-(G)-(D)-(C)(C)(G)
Soul to soul, (C) heart to heart and (G) cheek to cheek.
Come on baby, (C) give me a kiss that'll (G) last all week.
The (D) thought of you, (C) leavin' again, (G) brings me down.
The (D) promise of, (C) your sweet love brings (D) me around.

(C) Sittin' all alone on a mountain by a river that (G) has no end.
(D) Stuck like the tick of a clock that's come un (C) wound (C), a (D) gain. And a (G) gain.
(Gadd),(G),(C), (C)(CaddG)-(C); (Gadd),(G),(C), (C)(CaddG)-(C);

(Gadd),(G),(D), (D)-(G)-(D)-(C)(C)(G)(G)-<b3>
LONG ROAD OUT OF EDEN - Eagles
(Henley, Frey, Schmit)
(MC2)
(No video available due to copyright restrictions - thanks Don – but if you find one or have the
song it’s Capo 0.)
TIP: To pick the intro notes form the chord in chevrons, e.g. <Am> and then pick the string
indicated, e.g. 4/3 means pick (or mini-strum) the 4th and 3rd strings together while holding the
(Am) form. "O3" means the open 3rd string. The |D| and |D/A| are full chords and you strum once.
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. For the (Am)(Am7)(Am) in the chorus just
add your pinky to the bottom string/3rd fret for one count and then release.
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.
TIP: To play the (F-D) in the outgoing verse just keep the (F) and place your pinky on the 2nd
string/3rd fret, and then lift to return to the (F).
NOTES INTRO: <Am>4/3, 2, 1 <D>4/3/2, 3, O3, <Am>4/3, 2, 1, |D|;

3, O3, <Am>4/3, 2, 1 <D>4/3/2, 3, O3, <Am>4/3, 2, O3, |D/A|
CHORD INTRO: (Am)(D), (Am)(D); (Am)(D), (Am)(G)(D/A)
(Am) Moon shinin', (D) down through the palms. (Am) Shadows moving on the (D) sand.
(Am) Somebody whispering the (D) twenty-third Psalm, (Am) dusty rifle in his (D) tremblin' hands.
(Am) Somebody trying just to (D) stay alive. (Am) He got promises to (D) keep.
(Am) Over the ocean in A (D) merica, (Am) far away and fast a (D) sleep.
(F) Silent stars (G) blinking in the (F) blackness of an (G) endless (Am) sky.
(F) Cold silver (G) satellites (F) ghostly (G) caravans (Am) pass (Am7) ing (Am) by.
(F) Galaxies un (G) folding, (F) new worlds being (G) born.
(F) Pilgrims and (G) prodigals (F) creeping toward the (G) dawn.
And it's a |C| lonnnng, |E7| road, out of (Am) Eden. (D), (Am)(D)
(Am) Music blasting from an (D) S.U.V., (Am) on a bright and sunny (D) day.
(Am) Rollin' down the (D) interstate, (Am) in the good ol' U. S. (D) A.
(Am) Having lunch at the pe (D) troleum club, (Am) smokin' fine cigars and swappin' (D) lies.
He said (Am) "Gimme 'nother slice o' that (D) barbecued brisket.
(Am) Gimme-'nother-piece of that (D) pecan pie."
(F) Freeways (G) flickering (F) cell phones (G) chiming a (Am) tune.
We're (F) riding to u (G) topia, (F) road map (G) says we'll be a (Am) rriv (Am7) ing (Am) soon.
(F) Captains of the (G) old order (F) clinging to the (G) reins,
A (F) ssuring us these (G) aches inside are (F) only growing (G) pains.
But it's a |C| lonnnnng, |E7| road, out of (Am) Eden.
(Am)(C)(G); (Am)(C),(Gadd)-(Am)-(NC)-(D); (Am)(C)(G); (Am)(C),(Gadd)-(Am)-(NC)-(D)
(F) Back home I was so (G) certain, the (F) path was very (G) clear.
But (F) now I have to (G) wonder "What (F) are we (G) doing (F) here?"
I'm not counting on to (G) morrow, and I (F) can't tell wrong from (G) right,
But I'd give any (Am) thing to be there, (F) in your (C) arms to (Am) night.
(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) Weaving down the A (D) merican highway (Am),

Through the litter and the wreckage, and the (D) cultural junk.
(Am) Bloated with entitlement, (D) loaded on propaganda,
(Am) And now we're driving (D) dazed and drunk.
Been down the (Am) road to Damascus, the road to Mandalay.
Met the ghost of Caesar on the (D) Appian way.
He said 'It's (Am) hard to stop this bingeing, (D) once you get a taste,
(Am) But the road to empire is a bloody stupid waste.'
Be (F) hold the bitten (G) apple, the (F) power of the (F-D) tools.
But all the knowledge in the world is (G) of no use to (F) fools.
And it's a |C| lonnnng, |E7| road, out of (Am) 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)(MC0)
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)
Daddy sits on the front porch a-swinging, looking out on a (G) va (D) cant (A) field.
Used to be filled with burley t'bacca now he knows it never (D) will.
My brother found work in Indiana, sister's a nurse at the (G) old (D) folks (A) home.
Mama’s still cookin’ too much for supper and me I been a long time (D) gone.
Been a (G) long (D) time (A) gone. No I (G) ain't hoed a (D) row since I (A) don't know when.
Long (D) time (G) gone and it (A) ain't coming back a (D) gain. (D),(D)(G)-(D)-(A); (A)(A)(D)
Deliah plays that ol' church piana, sittin’ out on her (G) dad (D) dy's (A) farm.
She always thought that we'd be together Lord I never meant to do her (D) harm.
Said she could hear me singin' in the choir. Me I heard a (G) noth (D) er (A) song.
I caught wind and hit the road runnin' and Lord I been long time (D) gone.
Been a (G) long (D) time (A) gone. No I (G) ain't had a (D) prayer since I (A) don't know when.
Long (D) time (G) gone and it (A) ain't coming back a (D) gain (E).
(E),(E)(A)-(E)-(B7); (B7)(B7)(E); (E),(E)(A)-(E)-(B7); (B7)(B7)(E)
Now (C) me I went to Nashville, tryin' to beat the big deal.

(D) Playin' down on Broadway, gettin' there the hard a (G) way.
(C) Living from a tip jar, sleepin’ in my car.
(D) Hocking my guitar yeah I’m gonna be a star-r-(E)-ar (A)-ar.
Now (D) me and Deliah singin’ every Sunday, watchin’ the children and the (G) gard (D) en (A) grow.
We listen to the radio to hear what's cookin’ but the music ain't, got no (D) soul.
Now they sound tired but they don't sound Haggard.
They got money but they (G) don't (D) have (A) Cash.
They got Junior but they don't have Hank. I think I think I think the rest is a
(G) Long (D) time (A) gone. No I (G) ain't hit the (D) roof since I (A) don’t know when.
Long (D) time (G) gone, and it (A) ain't coming back I said a (G) long (D) time (A) gone.
No I (G) ain't honked the (D) horn since I (A) don’t know when.
Long (D) time (G) gone, and it (A) ain't coming back (D) again. (D),(D)(G)-(D)-(A); (A)(A)(D)
I said a long time long time long time (A) gone. Well it’s been a long time.
(D) Long time long time long time (A) gone. Oh it's been a long, time, (D) gone.
Long time long time long time (A) gone yeah yeah. (A)(A)(D), (D),(D)(G)-(D)-(A); (A)(A)(D), |D|
(Dixie Chicks) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE LONG WAY AROUND – Dixie Chicks
(Maines/Wilson/Maguire/Robison)
https://www.youtube.com/watch?v=B1qgazBdKj8 (Capo 0)(MC0)
TIP: A couple of tricky bits to be aware of. First is the sing-song (CaddD)-(C). Not hard, just
requires a little concentration. Hold (C) the whole time with your pinky added to the 2nd string/3rd
fret to cover the <d> and strum the bottom four strings. On off.
TIP: Next, watch for the (CaddG) which is like the (CaddD) but your pinky goes on the bottom
string of the 3rd fret <g> instead. It comes at the beginning of the last line of the second verse
on the word “Six”. It comes ‘round again in the verse that follows the instrumental bridge.
TIP: Finally, the chorus chord progression is a simple (Am)(G)(F)(C). Stick with it and you’ll be
fine. It does vary just a smidge in the final chorus as the (F) drags and the (C) is omitted.
- ;
INTRO: (CaddD)-(C), (CaddD)-(C), (CaddD)-(C), (CaddD)-(C)
(CaddD) My friends from (C) high school (CaddD)-(C),

(CaddD) Married their (C) high school (CaddD) boy (C) friends.
(CaddD) Moved into (C) houses (CaddD)-(C),
In the (CaddD) same (C) ZIP codes where their (CaddD) parents (C) live.
But (Am) I-I (Am), I could never (CaddD) fol (C) low (CaddD)-(C).
No-oh (Am) I-I (Am), I could never (G) follow (G).
(CaddD) I hit the (C) highway (CaddD)-(C),

In a (CaddD) pink (C) RV with (CaddD) stars on the (C) ceiling.
(CaddD) Lived like a (C) gypsy (CaddD)-(C),
(CaddG) Six strong hands on a (C) steering wheel.
I've been a (Am) long, (G) time, (F) gone, (C) now.
Maybe (Am) someday some (G) day I'm gonna, (F) settle (C) down.
But I've (Am) always (G) found my (F) way some (C) how,
By (Am) takin' the (G) long way- (F) ay- (C) ay,
(Am) Takin' the (G) long way a (F) rou- (C) ound.
(Am) Takin' the (G) long way- (F) ay- (C) ay,
(Am) Takin' the (G) long way a (F) rouuu- (C) ound. (C)(C)(C)(C)
I met the queen of whatever,

Drank with the Irish, smoked with the hippies, moved with the shakers.
Wouldn't kiss all the asses that they told me to.
No-oh (Am) I-I (Am), I could never (C) follow (C).
No-oh (Am) I-I (Am), I could never (G) follow (G).
It's been (Am) two, (G) long, (F) years, (C) now,
Since the (Am) top of the (G) world came (F) crashing (C) down,
And I'm (Am) gettin' it (G) back on the (F) road (C) now,
But I'm (Am) takin' the (G) long way- (F) ay- (C) ay,
(Am) Takin' the (G) long way a (F) rouuuuuound the (G) long-long-long-long.
Oh-oh (F) I'll just take my time I won't lay (G) dow-ow-ow-own.
And (F) take the long way a (Am) rou- (G) ound (F)(C).
<fiddle> (Am)(G)(F)(C), (Am)(G)(F)(C), (Am)(G)(F)(F)(F)
Well I (CaddG) fought with a stranger and I met myself,

I opened my mouth and I heard myself,
It can get pretty lonely when you (C) show yourself,
Guess I (CaddG) could've made it easier on myself,
Bu-ut (Am) I-I (Am), I could never (CaddG) fol-low (CaddG).
No-oh (Am) I-I-I, I could never (G) follow (G)|G|.
Well I (Am) never seem to (G) do it like (F) anybody (C) else,
Maybe (Am) someday some (G) day I'm gonna (F) settle (C) down.
If you (Am) ever want to (G) find me I can (F) still be (C) found,
(Am) Takin' the (G) long way a (F) rou- (C) ounnd.
(Am) Takin' the (G) long way a (F) rouuuund.
Now I'm (Am) takin' the (G) long way- (F) ay- (C) ay,
(Am) Takin' the (G) long way- (F) ay- (C) ay.
I'm (Am) takin' the (G) long way- (F) ay- (C) ay,
(Am) Takin' the (G) long way a (F) rouuund.
I'm ta- (G) kin' the (F) long (C) way,

I'm (Am) takin' the (G) long way- (F) ay- (C) ay,
(Am) Takin' the (G) long way a (F) rou- (C) ound. (Am)(G)(F)|C|
(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)(MC1)
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. And yes, Neil Diamond wrote it.]
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)
Look out, (Am) here comes tomorrow (D7) that's when, (G) I'll have to choose.
How I, (Am) wish I could borrow (D7) someone else's (G) shoes.
(G) Mary, [Mary] (Am) oh what a sweet girl (D7) lips like, (G) strawberry pie.
Sondra, [Sondra] (Am) long hair and pig tails (D7) can't make up my (G) mind.
(Gadd) I see, (F) all kinds of sorrow (C) wish I, (F) only loved (G) one.
(C) Look out, (F) here comes tomorrow.
(C) Oh how I (F) wish to (C) morrow would (F) never (G) come. (D)
(G) Told them, [told them] (Am) both that I loved them (D7) sayin' it, (G) and it was true.
But I, [but I] (Am) can't have both of them (D7) don't know what to (G) do.
(Gadd) I see, (F) all kinds of sorrow. (C) Wish I, (F) only loved (G) one.
<Whispered> (G),(C), Mary, (D), I (G) love you. (G), (C), Sondra, (D) I love you (G).
Well (Gadd) I see, (F) all kinds of sorrow. (C) Wish I, (F) only loved (G) one.
(G)(C) [I love you] (D)(G); (G) [Darling] (C)[I love you](D)(G)
LOOK WHAT THEY’VE DONE TO MY SONG
Melanie Safka
https://www.youtube.com/watch?v=Gx_WQGp7YJg (Capo 3)(MC4/5)
[Occasionally Melanie recorded this song live capo'd at the 2nd fret.]
INTRO: (G), (G), (G), (G)
Look what they've done to my (Em) song Ma. (C) Look what they've done to my (C7) song.
Well it's the (G) only thing I could (A) do half right, and it's (C) turning out all wrong Ma.
(G) Look what they've (D) done to my (G) song. (D7)
(G) Look what they've done to my (Em) brain Ma. (C) Look what they've done to my (C7) brain.
Well they (G) picked it like a (A) chicken bone and I (C) think I'm half insane Ma.
(G) I wish I could find a good (Em) book, to live in. (C) Wish I could find a good (C7) book.
Well if (G) I could find a (A) real good book, I'd (C) never have to come out and look at,
(G) What they've (D) done to my (G) song. (D7)
(G) La la la la, la la (Em) la, la. (C) La la la la, la la (C7) la, la.
La la (G) la la, la (A) la la, la la (C) la la la la la.
(G) But maybe it'll-all be al (Em) right, Ma. (C) Maybe it'll all be o (C7) kay.
Well, (G) if the people are (A) buying tears, (C) I'll be rich some day, Ma.
(G) Ils ont change ma chan (Em) son, Ma. (C) Ils ont change ma chan (C7) son.
(G) C'est la seule chose (A) que je peux faire, (C) et ce n'est pas bon, Ma.
(G) Ils ont change ma chan (Em) son.
(G) Look, what they've done, to my (Em) song, Ma. (C) Look, what they've done, to my (C7) song,
Ma. Well they (G) tied it up in a (A) plastic bag, and (C) turned it upside down Ma.
(G) Ils ont change ma chan (Em) son, Ma. (C) Ils ont change ma chan (C7) son.
(G) C'est la seule chose (A) que je peux faire, (C) et ce n'est pas bon, Ma.
(G) Ils ont change ma chan (Em) son.
(G) Look what they've done to my (Em) song, Ma. (C) Look what they've done to my (C7) song.
It's the (G) only thing I could (A) do all right and they (C) turned it upside down.
(G) Look what they've (D) done to my (G) song.
(Melanie Safka) (Artist Index) (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)(MC0/3)
INTRO: <muted strums of (G)>, (G)(Em), (C)(G)(D7)(G)
Just got home from Illinois, (Em) lock the front door oh boy.
(C) Got to sit (G) down take a (D) rest on the (D7) porch.
Im (G) agination sets in, (Em) pretty soon I'm singing,
(C) Doo doo (G) doo lookin’ (D) out my back (G) door.
There's a giant doing cartwheels, a (Em) statue wearing high heels.

(C) Look at all the (G) happy creatures (D) dancing on the (D7) lawn.
A (G) dinosaur Victrola, (Em) listening to Buck Owens.
(D) Tambourines and elephants are (C) playing in the (G) band.
Won't you take a ride (Em) on the flying (D) spoon? Doo doo doo.
(G) Wond'rous apparition, pro (Em) vided by magician.
(G)(Em), (C)(G)(D)(D7), (G)(Em), (C)(G)(D7)(G)
(D) Tambourines and elephants are (C) playing in the (G) band.
Won't you take a ride (Em) on the flying (D) spoon? Doo doo doo.
(G) Bother me tomorrow, to (Em) day I'll buy no sorrows.
Forward troubles Illinois, (Em) lock the front door oh boy.
(C) Look at all the (G) happy creatures (D) dancing on the (D7) lawn.
<slow down> (G) Bother me tomorrow, to (Em) day I'll buy no sorrows.
(C) Doo doo (G) doo lookin’ (D) out my back (G) door. <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)(MC1)
TIP: For (CaddD) just 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)
Lord I hope this (Csus2) day (C) is good. I'm feelin' empty and mis (Csus2) un (C) derstood.
(G) I should be thankful Lord I know I should, but (F) Lord I hope this (G) day is (C) good.
Lord have you for (Csus2) got (C) ten me? I've been prayin' to you (Csus2) faith (C) fully.
(G) I'm not sayin' I'm a righteous man, but (F) Lord I hope you (G) under (C) stand.
(Am) I don't need (Em) fortune and I (F) don't need (C) fame.
(Am) Send down the (Em) thunder Lord (F) send down the (C) rain.
(Am) But when you're (Em) plannin' just (F) how it will (C) be, (Dm) plan a good day for (G) me.
(C) Lord I hope this (Csus2) day (C) is good. I'm feelin' empty and mis (Csus2) un (C) derstood.
(C)(C)(Csus2)-(C), (C)(C)(Csus2)-(C); (G)(G),(F)(G)(C)
(Am) You've been the (Em) King since the (F) dawn of (C) time.
(Am) All that I'm (Em) askin' is a (F) little less (C) crime.
(Am) It might be (Em) hard for the (F) devil to (C) do, but (Dm) it would be easy for (G) you.
(C) Lord I hope this (Csus2) day (C) is good. I'm feelin' empty and mis (Csus2) un (C) derstood.
(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)(MC0)
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."
Oh Lord it's hard to be humble, when you're perfect in every (A7) way.
I can’t wait to look in the (A) mirror, cuz I get better looking each (D) day.
To know me is to love me. I (D7) must be a hell of a (G) man.
Oh Lord it’s hard to be (D) humble, but I’m (A) doing the (A7) best that I (D) can (G)-(D). (D)(D)
I used to (G) have a (D) girlfriend, but I guess she just couldn't com (A7) pete,
With all of these love-starved (A) women, who keep clamoring at my (D) feet.
Well I prob'ly could find me another, but I (D7) guess they're all in awe of (G) me.
Who cares, I never get (D) lonesome, cuz I (A) treasure my (A7) own compan (D) y. (A) Ohhhhhhhhh,
(D) Lord it's hard to be humble, when you're perfect in every (A7) way.
Oh Lord it’s hard to be (D) humble, but we're (A) doing the (A7) best that we (D) can (G)-(D).
(D)(D)
I guess you could (G) say I'm a (D) loner. A cowboy outlaw tough and (A7) proud.
Oh I could have lots of friends if I (A) wanted, but then I wouldn’t stand out from the (D) crowd.
Some folks say that I’m egotistical. Hell I (D7) don't even know what that (G) means.
I guess it has something to (D) do with the way
That I (A) fill out my (A7) skin-tight blue (D) jeans. (A) Whoooooaaa,
(D) Lord it's hard to be humble, when you're perfect in every (A7) way.
Oh Lord it’s hard to be (D) humble, but we're (A) doing the (A7) best that we (D) can.
<slow down> We're (A) doin' the (A7) best that we (D) can <strum (D) rapidly> |D|.
(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)(MC1)
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.
INTRO: <spoken> |G|(G), |D|(D), |A|(A), "Yo baby, |D|(D) I wrote you this poem. |G|(G)
|D|(D) I'd like to dedicate it to ya." |A|(A),|D|(D)
I'm just a (G) white boy, I play the (D) guitar. I put my (A) pants on.
I drive a (D) shit car up into the (Gadd) valley, to see my (D) girlfriend.
She got a (A) big couch, she got a (G) Mercedes (D) Benz.
Sing halle (G) lujah, my glass is (D) half full.

She pours me (A) champagne, she drinks a (D) Red Bull.
And she says (Gadd) "Darling, one thing you (D) got to understand
As long as (A) I am satisfied well you will (Gadd) always be my (D) man."
You know that (G) I, I'll give you all the (D) love that I have.
I'll (A) empty all my pockets and I'll (D) give you what I can you know that (Gadd) I,
I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) have.
Los Ange (G) loo loo loo (D) ser. Los Ange (A) loo loo loo (D) ser.
Los Ange (Gadd) loo loo loo (D) ser. I'm gonna (A) give you all the love that I (D) can.
Oh (G) yeah, we got the (D) sunshine, we (G) got the (A) good friends.
We doe si (D) doe and all the time out in the (G) wilderness, she always (D) looks fine.
She's gonna (A) be the one to make it and I'll (G) be two steps be (D) hind.
Los Ange (G) loo loo loo (D) ser. Los Ange (A) loo loo loo (D) ser.
Los Ange (Gadd) loo loo loo (D) ser. I'm gonna (A) give you all the love that I (D) can.
<spoken> |G|(G) "Now (D) check this out.

I say this (A) with the deepest app (D) reciation for all you (G) ladies out there.
Es (D) pecially the ones who've shown a (A) little love for some (D) one such as my (G) self.
You believed in (D) me. You loved (A) me. Oh, so (D) friendly toward (G) me.
And if it wasn't, for (D) you there would (A) be, no (D) me."
I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
I'll give you all the (D) love that I have. I'll (A) give you all the love that I (D) can.
(G) I, I'll give you all the (D) love that I have.
I'll (A) empty all my pockets, I'll (D) give you what I can you know that (Gadd) I,
Oh I'll (A) give you all the love that I (D) have. I'll (A) give you all the love that I |D| have.
<spoken>: "If it wasn't for you there would be no me."
(Meat Loaf) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOSING MY RELIGION – R.E.M.
(Stipe/Buck)
https://www.youtube.com/watch?v=u036M7p6-ak (Capo 0)(MC5)
TIP: The intro can be played with chords or with a combination of chords and individual notes. To
play the notes form (Asus) as shown in the first diagram - (Am) with your pinky to cover the 2nd
string/3rd fret. (1) Pick the 2nd, 1st, 2nd, 3rd, (lift off pinky) and play (Am). Strum.
(2) Replace the pinky and pick the same strings and play an (F). Strum. Now repeat steps (1) and
(2) again. After the second (F) strum (G) and start the song. Play it through slowly the first
time and hear the mandolin in your head. Not too hard at all. Just go through it a few times.
TIP: Mandolin bridge: Form (Am) and pick: the 1st string 3 times, add you pinky to the 2nd
string/3rd fret (Asus) and the 2nd string once, brief pause, 2nd string 3 more times, lift off the
pinky and pick the 2nd string 3 times, the 3rd string once, brief pause, and 3rd string 3 more
times. Repeat the entire sequence again.
TIP: Mandolin outro: Strum (Am) for 4 bars and then, still holding (Am), pick out the final notes
which are: 1st string, 2nd string with pinky added to 2nd string/3rd fret (2/3) - like you're
playing the (Asus) - remove pinky and pick the 2nd string and 3rd string, pinky back on and pick
2nd string again, pinky off and second string, 3rd string, 2nd string, and finish with a strum or
pick of the 4th and 3rd strings together.
NOTES INTRO: Form Asus: 2 - 1 - 2 - 3 - (Am); Form Asus: 2 - 1 - 2 - 3 - (F)

Form Asus: 2 - 1 - 2 - 3 - (Am); Form Asus: 2 - 1 - 2 - 3 - (F); (G)
CHORDS INTRO: (Dm)-(G)-(Am)(Am), (Dm)-(G)-(F)(F); (Dm)-(G)-(Am)(Am), (Dm)-(G)-(F)
(G) Oh (Am) life, is bigger (Em). It's bigger, than you, and you are (Am) not me.
The lengths that I will (Em) go to. The distance in your (Am) eyes (Am)(Em).
Oh no I've said too (Dm) much. I set it (G) up.
That's me in the (Am) corner. That's me in the (Em) spot - light. Losing my re (Am) ligon.
Trying to (Em) keep, up, with you. And I (Am) don't know if I can do it (Em).
Oh no I've said too (Dm) much. I haven't said e (G) nough.
I thought that I heard you (F) laughing. I thought that I heard (G) you (Am) sing.
(F) I think I thought I saw (G) you (Am) try.
(G) Every (Am) whisper, of every waking (Em) hour. I'm, choosing my con (Am) fessions.
Trying to (Em) keep, an eye on you. Like a (Am) hurt lost and blinded fool, fool.
(Em) Oh no I've said too (Dm) much. I set it (G) up.
Consider (Am) this, consider this the (Em) hint of the century.
Consider (Am) this, the slip, that (Em) brought me to my knees. Pale.
(Am) What if all these fantasies come (Em), flailing around. Now I've (Dm) said, too (G) much.
I (F) think I thought I saw (G) you (Am) try. (G)
< Mandolin bridge > (Form Am): 1 - 1 - 1 <pinky on> 2/1 <pause> 2/1 - 2/1 - 2/1 <pinky off>
2 - 2 - 2 - 3 <pause> 3 - 3 - 3
1 - 1 - 1 <pinky on> 2/1 <pause> 2/1 - 2/1 - 2/1 <pinky off>

2 - 2 - 2 - 3 <pause> 3 - 3 - 3
But (C) that was just a (Am) dream. (C) That was just a (F) dream that's me in the (Am) corner.
That's me in the (Em) spot - light. Losing my re (Am) ligon.
Trying to (Em) keep, up, with you. And I (Am) don't know if I can do it (Em).
Oh no I've said too (Dm) much. I haven't said e (G) nough.
I (F) think I thought I saw (G) you (Am) try.
But (F) that was just a dream. (Am) Try, cry, fly, try.
(F) That was just a dream, (G) just a (Am) dream just a (G) dream. Dream.
<Mandolin outro>: (Am) (Am) (Am) (Am)
<hold (Am)> 1 - 2/3 - 2 - 3 - 2/3 - 2 - 3 - 2 - 4/3

LOST HIGHWAY
Hank Williams
https://www.youtube.com/watch?v=lCgicPdsxxg (Capo 0)(MC2)
[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) I'm a rollin' (D) stone, all a (G) lone and (D) lost.
For a life of sin, I have paid the (A) cost.
When I pass (Gadd) by, all the people (D) say,
"There goes another boy, down the (A) lost high (D) way (G)(D).
Just a deck of cards, and a (G) jug of (D) wine.

And a woman's lies, makes a life like (A) mine.
For the day we (Gadd) met, I went a (D) stray.
I started rolling down, that (A) lost high (D) way (G)(D).
<Repeat chords> (D),(G)(D); (D)(A), (A)(G)(D), (D)(A)(D)(G)(D)
I was just a lad, nearly (G) twenty (D) two.

Neither good nor bad, just a kid like (A) you.
And now I'm (Gadd) lost, too late to (D) pray.
Lord I've paid the cost, on the (A) lost high (D) way (G)(D).
Now boys don't start, to (G) ramblin' (D) round.

On this road of sin, are you sorrow (A) bound.
Take my ad (Gadd) vice, or you'll curse the (D) day,
You started rollin' down, that (A) lost high (D) way.
LOST HIGHWAY
Hank Williams
https://www.youtube.com/watch?v=lCgicPdsxxg (Capo 7)(MC4)
TIP: The intro are the chords from the last line of the verse.
INTRO: (G),(D)(G)
(NC) I'm a rollin (G) stone, all a (C) lone and (G) lost.
For a life of (Gadd) sin, I have paid the (D) cost.
When I pass (CaddG) by, all the people (Gadd) say,
"There goes another (G) boy, down the (D) lost high (G) way (C)(G).
Just a deck of cards, and a (C) jug of (G) wine.

And a woman's (Gadd) lies, makes a life like (D) mine.
For the day we (CaddG) met, I went a (Gadd) stray.
I started rolling (G) down, that (D) lost high (G) way (C)(G).
[Repeat chords] (G),(C)(G); (G)(Gadd)(D), (D)(CaddG)(Gadd), (Gadd)(G)(D)(G)(C)(G)
I was just a lad, nearly (C) twenty (G) two.

Neither good nor (Gadd) bad, just a kid like (D) you.
And now I'm (CaddG) lost, too late to (Gadd) pray.
Lord I've paid the (G) cost, on the (D) lost high (G) way (C)(G).
Now boys don't start, to (C) ramblin' (G) round.

On this road of (Gadd) sin, are you sorrow (D) bound.
Take my ad (CaddG) vice, or you'll curse the (Gadd) day,
You started rollin' (G) down, that (D) lost high (G) way.
LOUIE LOUIE - The Kingsmen
(Berry)
https://www.youtube.com/watch?v=1RZJ4ESU52U (Capo 0)(MC0)
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 the |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) Louie Lou (D) ie (D), (E) oh (D) no, sayin' (A) we gotta go, (D)
(E) Yeah yeah yeah (D) yeah yeah baby,
(A) Louie Lou (D)ie (D), (E) oh ba (D) by I said now (A) we gotta go (D)(E)(D)
A (A) fine little (D) girl, she (Esus) waits for (D) me.
Me (A) catch oh the (D) ship, a (E) cross the (D) sea.
Me (A) sailed that (D) ship now (Esus) all a (D) lone.
Me (A) never think (D) I'll, I'll (Esus) make it (D) home.
Ah (A) Louie Lou (D) ie (D), (E) no no no (D) no, sayin' (A) we gotta go, (D) (E) oh (D) no,
Sayin' (A) Louie Lou (D) ie (D), (E) oh ba (D) by sayin' (A) we gotta go (D)(E)(D).
Three (A) nights, and (D) days, I (Esus) sailed the (D) sea.
Me (A) think of the (D) girl, (E) oh constant (D) ly.
Oh (A) on that (D) ship, I (Esus) dream she (D) there.
I (A) smell the (D) rose, now (Esus) in her (D) hair.
Ah (A) Louie Lou (D) ie (D), (E) oh (D) no sayin' (A) we gotta go. (D)
(A) Louie Lou (D) ie (D), (E) oh ba (D) by I said now (A) we gotta go (D).
(E) Okay let's give it to 'em (D) 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)
Me (A) see Ja (D) maica, the (Esus) moon a (D) bove.

It (A) won't be (D) long, me (E) see me (D) love.
Me (A) take her (D) in, my (Esus) arms and (D) then,
I (A) tell her (D) I never (Esus) leave a (D) gain.
Ah (A) Louie Lou (D) ie (D), (E) oh (D) no sayin' (A) we gotta go. (D)
(A) Louie Lou (D) ie (D), (E) oh ba (D) by I said now (A) we gotta go, (D)(E)
(D) I said a (A) we gotta go now (D). (E)(D) Get on out of (A) here. (D)(E) Let's go |A|.
(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)(MC5)
INTRO: (Am) Oh yeah-ah-ah-ah. Cajun man do what he can,

(C) Gotta make a livin' he's a (G) Louisiana (C) Man oh (D) oh.
At (G) birth mom and papa called their (Em) little boy Ned.
(G) Raised him on the banks of the (D) river (G) bed.
A houseboat tied to a (Em) big tall tree,
A (G) home for my papa and my (D) mama and (G) me.
The clock strikes three and papa (Em) jumps to his feet.
Al (G) ready mama's cooking papa (D) somethin' to (G) eat.
At half past papa he's a (Em) ready to go.
He (G) jumps in his pirogue headed (D) down the bay (G) ou.
He's got a (C) fishing line strung across the Louisiana River,
Gotta catch a big fish for (G) us to (C) eat.
He's-sets-his-traps in the swamp catches anything he can.
Gotta make a livin' he's a (G) Louisiana (C) man.
Gotta make a livin' he's a (G) Louisiana (C) man oh (Am) yeah-ah-ah-ah.
Cajun man do what he can, (C) gotta make a livin' he's a (G) Louisiana (C) Man oh (D) oh.
They (G) call mama Rita and my (Em) daddy Jack,

(G) Little baby brother on the (D) floor is (G) Mack.
Bren and Lin are the (Em) family twins,
(G) Big brother Ed's on the (D) bayou fish (G) in'.
On the river floats papa's (Em) great big boat,

(G) That's how my papa goes (D) into (G) town.
Takes every bit of a (Em) night and a day,
To (G) even reach a place where the (D) people (G) stay.
Gotta make a livin' he's a (G) Louisiana (C) man ooh (D) ooh.
(G) I can hardly wait until to (Em) morrow comes round,

(G) That's the day my papa takes his (D) furs to (G) town.
Papa said "Son we've got (Em) lines to run,
We'll (G) come back again cuz there's (D) work to be (G) done"
Gotta make a livin' he's a (G) Louisiana (C) man oh (Am) yeah-ah-ah-ah.
Cajun man do what he can, (C) gotta make a livin' he's a (G) Louisiana (C) Man.
Gotta make a livin' he's a (G) Lousiana (C) Man. (C)|C|
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) Layin' on my (D) back, in the newly mown (A) grass.

(G) Rains comin' (D) down, but I know the clouds will (A) pass.
(D) You bring me tea, say 'The babe's a- (A) -sleeping.'
(C) Lay down be (G) side me. Love ain't for keep (A) ing. (A)-(A)-(A), (A)(D)(A), (A)
(G) Black ash from the (D) foundry, hangs, like a (A) hood.
(G) But the air is per (D) fumed, by the burnin' fire (A) wood.
(D) The seeds are bursting, the spring's a- (A) -seeping.
(C) Lay down my (G) darling. Love ain't for keep (A) ing. (A)(G)(A)
(C) Lay down be (G) side me. Love ain't for kee (A) ping. (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) Lay down be (G) side me. Love ain't for kee (A) ping. (A)(G)(A)(A)
(C) Lay down my (G) darling. Love ain't for keep (A) ing. <pause> (A)(D)(G)-(A)
LOVE AT THE FIVE AND DIME – Nanci Griffith/Kathy Mattea
(Griffith)
https://www.youtube.com/watch?v=OQH3ijRCY-o (Nanci studio) (Capo 1)(MC1)
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. And (D/A) is just (D)
with your pinky added to the the 4th string/4th fret to cover that middle <f#>. If the (D/A) is too
cumbersome you can play a (Bm) wherever you see the (D/A).
TIP: Nanci drags the last syllable in the chorus. So hold the (A) and (D/A) 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.
INTRO: (A)(Asus2)(D)(A)
Rita was sixteen years with (Asus2) hazel eyes and chestnut hair (D).
She made the Woolworth counter (A) shine.
And Eddie was a sweet romancer (Asus2), and a darn good dancer (D),
And they waltzed the aisles of the five and (A) dime.
And they'd sing, dance a little closer to (D/A) me. Dance a little closer (A) now.
Dance a little closer to (Bm) night (E7)(A). Dance a little closer to (D/A) me.
Cuz it's (E7) closing time and (Bm) love's on sale to (E) night at this five and (A) dime.
Eddie played the steel guitar and his (Asus2) mama cried 'cause he played in the bars (D).
He kept young Rita out late at (A) night.
Soon they married up in Abilene (Asus2), lost a child in Tennessee (D),
But still that love sur (A) vived.
Cuz they'd sing dance a little closer to (D/A) me. Dance a little closer (A) now.
One of the boys in Eddie's band (Asus2), took a shine to Rita's hand (D),
So Eddie ran off with the bass man's (A) wife.
Oh but he was back by June (Asus2), singin' a different tune (D),
Sportin’ Miss Rita back by his (A) side.
And he sang dance a little closer to (D/A) me. Dance a little closer (A) now.
(A)(Asus2)(D)(A), (A)(Asus2)(D)(A)
Eddie traveled with the barroom bands (Asus2), til arthritis took his hands (D).
Now he sells insurance on the (A) side.
Rita's got her house to keep (Asus2) dime store novels and a love so sweet (D),
They dance to the radio late at (A) night.
And they sing dance a little closer to (D/A) me. Dance a little closer (A) now.
Cuz Rita was sixteen years (Asus2) with hazel eyes and chestnut hair (D).
She really made the Woolworth counter (A) shine.
And Eddie was a sweet romancer (Asus2), and a darn good dancer (D),
And they’d waltz the aisles of the five and (A) dime (D).
And they’d waltz the aisles of the five and (A) dime (D).
And they’d walt the aisles of the five and (A) dime. |A|
(Nanci Griffith) (Kathy Mattea) (Artist Index) - (Main Index) - (Song Index) (This Song)
LOVE BUILDS THE BRIDGES (PRIDE BUILDS THE WALL) - Patty Loveless
(Salley/McBride)
https://www.youtube.com/watch?v=_zce5d18m1Y (Capo 3)(MC1)
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)
She's twistin' the ring on her finger,

She's watchin' the (G) clock on the (C) wall.
She's (F) hopin' when it finally (C) hits him he's (Am) wrong,
He'll (C) come to his senses and (G) give her a (C) call (C). (F)
A (C) cross town he's in a hotel room.

He can't keep his (G) eyes off the (C) phone.
He's (F) thinking that soon she will (C) break down and (Am) call
To (C) tell him she's sorry and (G) beg him back (C) home.
There's a (F) lonesome fool waiting on each (C) end of the line.
There's a measure of (D) blame on both (G) sides.
Until (C) each heart is willing there's no hope at (F) all,
'Cause (C) love builds the bridges but (G) pride builds the (C) wall. (C)(C)(C)(C)(Bb)(F)(F)
The (C) longer they wait on each other,

The harder it (G) gets to give (C) in.
They're (F) too proud to see they're just (C) one call a (Am) way
From (C) putting their world back to (G) gether a (C) gain.
There's a (F) lonesome fool waiting on each (C) end of the line.
There's a measure of (D) blame on both (G) sides.
Until (C) each heart is willing there's no hope at (F) all,
'Cause (C) love builds the bridges but (G) pride builds the (C) wall (C).
Until each heart is willing there's no hope at (F) all,

'Cause (C) love builds the bridges but (G) pride builds the (C) wall. (C)(Bb)(F)|C|
LOVE CAN BUILD A BRIDGE – The Judds
(N. Judd/Jarvis/Overstreet)
https://www.youtube.com/watch?v=IvjOnKqubJU (Capo 4)(MC4)
[A version in [D] follows which may be slightly easier to play but is capo'd too high to sing along
with the recording.]
TIP: The (F3)(F3/C) sequence is very easy to play. (F3) is actually just another way to play (G)
and looks like an (F) played on the 3rd fret, but notice the extra finger (pinky) covering the bass
note above the ring finger on the 5th string/5th fret. Now after the (F3) will always come the
(F3/C) so all you do is take that pinky from the 5th string above the ring finger to the 3rd string
below the ring finger. Your other fingers keep the (F) formation. Easy-peasy. Down/up. Also
note that this sequence appears in the first and last chorus in which the lead-in on "Don't you
think it's time?" begins the sequence with an (F3) instead of the (G) so be ready for it.
TIP: The last line of the song is repeated in the same melody as the line that preceded it.
INTRO: (F3)(F3/C),(F3)(D)
I'd gladly (G) walk across the desert, with no (C) shoes upon my feet,
To (D) share with you the last bite, of (C) bread I had to (G) eat (D).
I would (G) swim out to save you, in your (Em) sea of broken dreams.
When (C) all your hopes are (G) sinking, (D) let me show you what love means.
(G) Love can build (C) a (D) bridge, be (D7) tween your heart and (G) mine (C)(D7).
(G) Love can build a (C) bridge. Don't you think it's (G) time?
(D) Don't you think it's (F3) time? (F3/C); (F3)(F3/C)
I would (G) whisper love so loudly, every (C) heart could understand,
That (D) love and only love, can (C) join the tribes of (G) man (D).
I would (G) give my heart's desire, so (Em) that you might see.
The (C) first step is to (G) realize, that it (D) all begins with you and me.
(G) Love can build (C) a (D) bridge, be (D7) tween your heart and (G) mine (C)(D7).
(D) Don't you think it's (G) time?
<repeat chords> (G)(C)-(D), (D7)(G)(C)-(D7), (Gadd)(C), (C)(G), (D)(G)
(Em) When we stand together, (D) it's our finest hou-(G)-ur.

We can do (Am) anything (anything), (G) anything (anything).
(C) Keep believin' (D) in the power (G) love can build (C) a (D) bridge,
Be (D7) tween your heart and (G) mine (C)(D).
(D) Don't you think it's (G) time/yeahhhhh (C) yes I (D) do.
(G) Love can build (C) a (D) bridge (oh love and only love),
Be (D7) tween your heart and (G) mine (between your (C) heart and (D) mine).
(G) Love can build a (C) bridge (love and only love).
Don't you think it's (G) time? Oh (D) don't you think it's (F3) time? (F3/C); (F3)(F3/C)
Don't you think it's (F3) time? (F3/C); (F3)(F3/C), (F3)(F3/C), |F3|
LOVE CAN BUILD A BRIDGE – The Judds
(N. Judd/Jarvis/Overstreet)
(MC0)
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 repeated in the same melody as the line that preceded it.
INTRO: (D)(Gadd),(D)(Gadd)
I'd gladly (D) walk across the desert, with no (G) shoes upon my feet,
To (A) share with you the last bite, of (G) bread I had to (D) eat (A).
I would (D) swim out to save you, in your (Bm) sea of broken dreams.
When (G) all your hopes are (D) sinking, (A) let me show you what love means.
(D) Love can build (G) a (A) bridge, be (A7) tween your heart and (D) mine (G)(A7).
(D) Love can build a (G) bridge. Don't you think it's (D) time?
(A) Don't you think it's (D) time? (Gadd); (D)(Gadd)
I would (D) whisper love so loudly, every (G) heart could understand,
That (A) love and only love, can (G) join the tribes of (D) man (A).
I would (D) give my heart's desire, so (Bm) that you might see.
The (G) first step is to (D) realize, that it (A) all begins with you and me.
(D) Love can build (G) a (A) bridge, be (A7) tween your heart and (D) mine (G)(A).
(D) Love can build a (G) bridge. Don't you think it's (D) time?
(A) Don't you think it's (D) time?
<repeat chords> (D)(G)-(A), (A7)(D)(G)-(A), (D)(G), (G)(D), (A)(D)

(Bm) When we stand together, (A) it's our finest hou-(D)-ur.
We can do (Em) anything (anything), (D) anything (anything).
(G) Keep believin' (A) in the power (D) love can build (G) a (A) bridge,
Be (A7) tween your heart and (D) mine (G)(A). (D) Love can build a (G) bridge.
Don't you think it's (D) time? (A) Don't you think it's (D) time/yeahhhh (G) yes I (A) do.
(D) Love can build (G) a (A) bridge (oh love and only love),
Be (A7) tween your heart and (D) mine (between your (G) heart and (A) mine).
(D) Love can build a (G) bridge (love and only love). Don't you think it's (D) time?
Oh (A) don't you think it's (D) time? (Gadd); (D)(Gadd)
Don't you think it's (D) time? (Gadd); (D)(Gadd), (D)(Gadd), |D|
LOVE HURTS – Gram Parsons & Emmylou Harris
(Brant)
https://www.youtube.com/watch?v=mJAmQq8fTjM (Capo 0)(MC0)
[The Nazereth version follows.}
TIP: If you can, play (C/G) instead of (C). (C/G) is just a regular (C) with your pinky added to
cover the bass note <g> at the top string/3rd fret.
( )
INTRO: <slowly with bass emphasis> (G) (Em) (C) (D)
Love (G) hurts. Love (Em) scars. Love (C) wounds, and (D7) mars.
Ann-ny (G) heart, not (Em) tough, nor (C) strong, e (D7) nough.
To take a lot of (G) pain, (B7) take a lot of (Em) pain.
(G) Love is like a (C) cloud. (Am7) Holds a lot of (D7) rain.
Love (G) hurts (G). (F) Mmm, (C) mmm, love (G) hurts (G). (D)
I'm (G) young, I (Em) know, but (C) eeee-ven (D7) so.
I know-a (G) thing, or (Em) two, I (C) learned, from (D7) you.
I really learned a (G) lot, (B7) really learned a (Em) lot.
(G) Love is like a (C) stove, (Am7) burns you when it's (D7) hot.
Love (G) hurts (G). (F) Mmm, (C) mmm, love (G) hurts (Gadd).
(Em) Some fools think, of (B7) happi (Em) ness,

(B7) Bliss-ful (Em) ness, to (B7) gether (Em) ness.
(A7) Some fools (A) fool themselves I guess, but they're not (A7) fooling (D) me.
I know it (D7) isn't (G) true, (B7) know it isn't (Em) true.
(G) Love is just a (C) lie (Am7) made to make you (D7) blue.
Love (G) hurts. (F) Mmm, (C) mmm, love (G) hurts (G). (D)
(G)(Em)(C)(D) Love (G) hurts. (F) Mmm, (C) mmm, love (G) hurts.
(D) Oh-(F)-ohhhh-(C)-oh love (G) 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)(MC0)
TIP: For the intro hold (G) and pick the string numbers. This sequence also repeat after the 1st
and 2nd verses but the (G) on "hurts" takes the place of the first 6th string. If you don't want
to play them just strum (G). In the intro, 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)
Love hurts. Love (Em) scars. Love (C) wounds, and (D7) mars.
Ann-ny (G) heart, not (Em) tough, nor (C) strong, e (D) nough.
To take a (C) lot of (G) pain, (B7) take a lot of (Em) pain.
(G) Love is like a (C) cloud. Holds a lot of (D) rain (C).
Love (G) hurts (G). (F) Oooh (C) oooh love (G) hurts. 5-4-5-3-4-5, 6-5-4-5-3-4-5
I'm young, I (Em) know, but (C) eeee-ven (D7) so.

(C) I know-a (G) thing, or (Em) two, I (C) learned, from (D7) you.
I really learned a (G) lot, (B7) really learned a (Em) lot.
(B7) Love is like a (C) flame, it burns you when it's (D7) hot.
Love (G) hurts (G). (F) Oooh (C) oooh love (G) hurts. 5-4-5-3-4-5, 6-5-4-5-3-4-5
(Em) Some fools think, of (B7) happi (Em) ness, (B7) bliss-ful (Em) ness, to (B7) gether (Em) ness.
(A) Some fools fool themselves I guess, (A7) they're not fooling (D) me.
I (C) know it isn't (G) true, I (B7) know it isn't (Em) true.
(B7) Love is just a (C) lie, made to make you (D7) blue.
(C) Love (G) hurts. (F) Oooh (C) oooh love (G) hurts. (F) Oooh (C) oooh love (G) hurts. (G)(G)
(G),(Em),(G)-(C),(D); (D)(G),(Em),(G)-(C),(D)
I (C) know it isn't (G) true, I (B7) know it isn't (Em) true.
(B7) Love is just a (C) lie, made to make you (D7) blue. (C) Love (G) hurts.
(F) Oooh (C) oooh love (G) hurts. (F) Oooh (C) oooh love (G) hurts. (F) Oooh |C| 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)(MC1)
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.
TIP: For the (CaddG)(CaddF)(G) sequence in the bridge, (CaddG) is just (C) with your pinky added
to the bottom string/3rd fret and then just hold form and turn your wrist to roll your index finger
down to cover the <f> of the bottom string/1st fret. Lift off and form a regular (G) to complete.
INTRO: <harmonica> (G7)(C)(G)(G), (G7)(C)(G)(G), (G7)(C)(G)(G), (G)(G)(G4)-(G)
Love love me (C) do. You (G) know I love (C) you. I'll (G) always be (C) true.
So (CaddG) plee-ee-ee-ee |CaddG| -ease, (NC) love me (G7) do (C)(G)(G).
Whoa-oh (G7) love me (C) do (G)(G).
Love love me (C) do. You (G) know I love (C) you. I'll (G) always be (C) true.
So (CaddG) plee-ee-ee- |CaddG| -ease, (NC) love me (G7) do (C)(G)(G).
(D) Someone to love, (CaddG) some (CaddF) body (G) new.

(D) Someone to love, (CaddG) some (CaddF) one like (G) you. |G|
(G) Love love me (C) do. You (G) know I love (C) you. I'll (G) always be (C) true.
<harmonica> (D)(D), (C)(G); (D)(D), (C)(G); (G)(G)(G4)-(G), (G)|G| <drum/cymbal>

(G) Love love me (C) do. You (G) know I love (C) you. I'll (G) always be (C) true.
Whoa-oh (G7) love me (C) do (G)(G). Yeah (G7) love me (C) do (G)(G).
Whoa-oh (G7) love me (C) do (G)(G). (G7)(C)(G)|G|
LOVE ME TENDER – Elvis Presley
(Darby)
https://www.youtube.com/watch?v=-Y-bd3aDMGA (Capo 2)(MC0)
TIP: For the intro form (C/G) and pick the string indicated and strum (C/G).
TIP: In the first line of each verse there’s a quick (Cmaj7) in between two (C) chords. Just play
the (C) then remove the bottom index finger for one strum and hammer back on the next (C).
TIP: At the end the numbers are the strings to pick while still holding the (C), B3 meaning the
bottom string/3rd fret and BO meaning open bottom string.
INTRO: <Form (C/G)>: 5-(C/G), 6-(C/G)
Love me (Cmaj7) ten (C/G) der, (Dm) love me sweet. (G7) Never let me (C) go.
You have made my (Dm) life complete. (G7) And I love (C) so.
Love me (E) tender, (Am) love me (C7) true. (F) All, my (Fm) dreams, ful (C) filled.
For my, (A) darling, (Dm) I love you. (G7) And I always (C) will.
(C/G) Love me (Cmaj7) ten (C/G) der, (Dm) love me long. (G7) Take me to your (C) heart.
For it’s there that (Dm) I belong, (G7) and we’ll never (C) part.
For my, (A) darling, (Dm) I love you. (G7) And I always (C) will.
(C/G) Love me (Cmaj7) ten (C/G) der, (Dm) love me dear. (G7) Tell me you are (C) mine.
I’ll be yours through (Dm) all the years, (G7) till the end of (C) time.
For my, (A) darling, (Dm) I love you. (G7) And I always (C) will. 3-B3-B3-BO
LOVE ME TONIGHT
Don Williams
https://www.youtube.com/watch?v=-mwwPqJd8WA (Capo 0)(MC0/1)
TIP: There's an easy voicing surrounding the (D) which appears in the intro and after the chorus.
It's done in three parts: (1) Strum (D). (2) Still holding (D) pick the 2nd string, lift off the
bottom string and pick it, cover the bottom string and strum (D). (3) Pick the bottom string, lift
off the bottom string and pick it, pick the 2nd string, strum (D). Begin song. After the chorus
(denoted by (D)(D)) you play the same thing followed by (D)(A)(D) as in "kick off your shoes . . ."
INTRO: (D), 2-BO-(D), B-BO-(D),
I been lonesome, I been (G) empty. I gotta (D) achin', (A) way down inside.
I need (D) someone, someone to (G) hold me.
Pull down the (D) shade, turn out the (A) light, and love me to (D) night.
Don't (A) think about to (G) morrow it don't (D) matter anymore.
(A) We can turn the (G) key and lock the (D) world outside the (A) door.
I need you (D) so now, come on let (G) go now.
Kick off your (D) shoes, turn out the (A) light, and love me to (D) night. (D)(D),(D)(A)(D)
Now don't you worry, we're all a (G) lone now. Let your (D) hair down, (A) sit by my side.
Turn off the (D) TV, put on some (G) music,
Pull down the (D) shade, turn out the (A) light and love me to (D) night.
Don't (A) think about to (G) morrow it don't (D) matter anymore.
(A) We can turn the (G) key and lock the (D) world outside the (A) door.
I need you (D) so now, come on let (G) go now.
Kick off your (D) shoes, turn out the (A) light, and love me to (D) night.
(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)(MC0)
TIP: The intro has a distinct attack pattern and the 5-4-3 strings are the key. So what you want
to do is begin by forming (Asus2) and downstroke the 5-4-3 strings twice (without hitting the 2nd
string), and then pick once on the upstroke the bottom, 2nd, 3rd, and 4th string, then drop down
and pick the 3rd string again. Repeat this pattern again and do the same thing for the rest of the
chords in the intro.
INTRO: |Asus2|-|Asus2|-1-2-3-4-3, |Asus2|-|Asus2|-1-2-3-4-3, (F#m)(D)(E)
I was (A) standing, all alone against the (F#m) world outside.
You were (A) searching, for a place to (E) hide.
Lost and (A) lonely, now you've given me the (F#m) will to survive.
When we're (A) hungry, (D) love will (E) keep us a (A) live.
Don't you worry, sometimes you've just gotta (F#m) let it ride.
The world is (A) changing, right before your (E) eyes.
Now I've (A) found you, there's no more empti (F#m) ness inside.
I would (D) die for you. Climb the (F#m) highest mountain.
(Bm) Baby, there's nothing-I-wouldn't- (E) do.
Now I've (A) found you, there's no more empti (F#m) ess, in-side.
(A)(A)(F#m)(D)(A)
I would (D) die for you. Climb the (F#m) highest mountain.
(Bm) Baby, there's nothing-I-wouldn't (E) do.
I was (A) standing, all alone against the (F#m) world outside.
You were (A) searching, for a place to (E) hide.
Lost and (A) lonely, now you've given me the (F#m) will to survive.
When we're hungry, (D) love will (E) keep us a (A) live.
When we're hungry, (D) love will (E) keep us a (A) live.
|Asus2-|Asus2|-1-2-3-4-3, |Asus2|-|Asus2|-1-2-3-4-3, |Asus2|-|Asus2|-1-2-3-4-3,

|Asus2|-|Asus2|-|A|

LUCILLE – Kenny Rogers
(Bynum/Bowling)
https://www.youtube.com/watch?v=lnA1awjeAhI (Capo 3)(MC3)
[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)
In a bar in Toledo, across from the depot, on a barstool she took off her (D7) ring.
I (Am) thought I'd get closer, so (D7) I walked on over.
I (Am) sat down and (D7) asked her her (G) name.
When the drinks finally hit her, she said 'I'm no quitter,
But I finally quit (G7) living on (C) dreams.
I'm (D7) hungry for laughter, and here ever after, I'm after whatever the other life (G) brings.'
In the mirror I saw him, and I closely watched him. I thought how he looked out of (D7) place.
He (Am) came to the woman, who (D7) sat there beside me.
He (Am) had a strange (D7) look on his (G) face.
His big hands were calloused, he looked like a mountain,
For a minute I (G7) thought I was (C) dead.
But (D7) he started shakin', his big heart was breakin'. He turned to the woman and (G) said:
(NC) "You picked a fine time to leave me Lu (C) cille.

With four hungry children and a crop in the (G) field.
(C) I've had some bad times, lived through some sad times,
But this time your hurtin' won't (G) heal. You picked a (D7) fine time to leave me Lu (G) cille."
<key change> (A)
After he left us, I ordered more whiskey. I thought how she'd made him look (E7) small.
From the (Bm) lights of the barroom, to the (E7) rented hotel room,
We (Bm) walked without (E) talking at (A) all.
She was a beauty, but when she came to me, she must have thought (A7) I'd lost my (D) mind.
(E) I couldn't hold her, cuz the words that he told her, kept comin' back (E7) time after (A) time.
(NC) "You picked a fine time to leave me Lu (D) cille.

With four hungry children and a crop in the (A) field.
(D) I've had some bad times, lived through some sad times, this time your hurtin' won't (A) heal.
You picked a (E) fine time to (E7) leave me Lu (A) cille.
(NC) "You picked a fine time to leave me Lu (D) cille.

With four hungry children and a crop in the (A) field.
(D) I've had some bad times, lived through some sad times, this time your hurtin' won't (A) heal.
You picked a (E) fine time to (E7) leave me Lu (A) cille.
You picked a (E) fine time to (E7) leave me Lu (A) cille." |A|
LUCILLE – Kenny Rogers
(Bynum/Bowling)
(MC0)
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)
In a bar in Toledo, across from the depot, on a barstool she took off her (G7) ring.
I (Dm) thought I'd get closer, so (G7) I walked on over.
I (Dm) sat down and (G7) asked her her (C) name.
When the (C/G) drinks finally hit her, she said 'I'm no quitter,
But I finally quit (C7) living on (F) dreams.
I'm (G7) hungry for laughter, and here ever after, I'm after whatever the other life (C) brings.'
In the (C/G) mirror I saw him, and I closely watched him.

I thought how he looked out of (G7) place.
He (Dm) came to the woman, who (G7) sat there beside me.
He (Dm) had a strange (G7) look on his (C) face.
His (C/G) big hands were calloused, he looked like a mountain,
For a minute I (C7) thought I was (F) dead.
But (G7) he started shakin', his big heart was breakin'. He turned to the woman and (C) said:
(NC) "You picked a fine time to leave me Lu (F) cille.

With four hungry children and a crop in the (C) field.
(F) I've had some bad times, lived through some sad times,
But this time your hurtin' won't (C) heal. You picked a (G7) fine time to leave me Lu (C) cille."
<key change> (D)
After he left us, I ordered more whiskey. I thought how she'd made him look (A7) small.
From the (Em) lights of the barroom, to the (A7) rented hotel room,
We (Em) walked without (A) talking at (D) all.
She was a beauty, but when she came to me, she must have thought (D7) I'd lost my (G) mind.
(A) I couldn't hold her, cuz the words that he told her, kept comin' back (A7) time after (D) time.
(NC) "You picked a fine time to leave me Lu (G) cille.

With four hungry children and a crop in the (D) field.
(G) I've had some bad times, lived through some sad times, this time your hurtin' won't (D) heal.
You picked a (A) fine time to (A7) leave me Lu (D) cille.
(NC) "You picked a fine time to leave me Lu (G) cille.

With four hungry children and a crop in the (D) field.
(G) I've had some bad times, lived through some sad times, this time your hurtin' won't (D) heal.
You picked a (A) fine time to (A7) leave me Lu (D) cille.
You picked a (A) fine time to (A7) leave me Lu (D) cille." |D|
LUCKENBACK TEXAS – Waylon Jennings and Willie Nelson
(Emmons/Moman)
https://www.youtube.com/watch?v=xvZeYDBY4fw (Capo 0)(MC0)
TIP: For chords in brackets, e.g., |D|, |G|, etc. strum once and let sustain at that point.
INTRO: <one strum> |Gadd|
The only two things in |D| life that make it worth |G| livin’.
Is |C| guitars that tune, good and |D7| firm, feelin’ |G| women.
|C| I don’t need my |Am| name in the marquee |G| lights.
I |C| got my song, and I |D7| got you with me to |G| night.
|C| Maybe it’s |G| time we got |D| back, to the |D7| basics of |G| love.
Let’s go to (G) Luckenbach Texas, Waylon and Willie and the (C) boys.
This suc (D) cessful life we’re livin’s got us (D7) feudin’ like the Hatfields and Mc (G) Coys.
Betwee-een, Hank Williams pain songs, (G7) Newberry’s train songs and (Am) Blue Eyes Cryin’ in the
(C) Rain. Out in (D) Luckenbach Texas, ain’t nobody feelin’ no (G) pain (G). (Am)(Am7)(D7)
So |G| baby let’s sell your diamond ring, |Am| buy some boots and |D7| faded jeans and (G) go away.
This |G| coat and tie is chokin me, |C| in your high so |D7| ciety you (G) cry all day.
(G7) We’ve been so busy keepin’ up with the Jones.
(C) Four-car garage and were (Am) still buildin’ on.
(C) Maybe it’s |G| time we got |D| back, to the |D7| basics of (G) love.
Let’s go to Luckenbach Texas, Waylon and Willie and the (C) boys.
Betwee-een, Hank Williams pain songs and, (G7) Newberry’s train songs and (Am) Blue Eyes Cryin’ in
the (C) Rain. Out in (D7) Luckenbach Texas, ain’t nobody feelin’ no (G) pain.
Let’s go to, Luckenbach Texas, Willie and Waylon and the (C) boys.
Betwee-een, Hank Williams pain songs, and (G7) Jerry Jeff’s train songs and (Am) Blue Eyes Cryin’
in the (C) Rain. Out in (D7) Luckenbach (Am) Texas, there ain’t nobody (D) feelin’ no (G) pain.
(G)(G)(G)(D)(D)(G)|G|
(Waylon Jennings)(Willie Nelson) (Artist Index) - (Main Index) - (Song Index) (This Song)
LUCKY MAN – Emerson, Lake & Palmer
(Lake)
https://www.youtube.com/watch?v=89g1P_J40JA (Capo 0)(MC0)
TIP: This song is the very first song I ever learned to play way back in 1975. It’s easy to play,
especially if you skip all the little flourishes. But they're not hard to play at all.
TIP: In the intro, if you concentrate on twinkling the bottom three strings you can get pretty
close to what Greg Lake intended.
TIP: The "lucky man" flourish comes first: It's just a very quick one-stroke transition move from
(G) to (Gadd) between "luck" and "y". Play the bottom string (G) with your pinky and just hammer
and hold the ring finger on the 2nd string. Or skip the (G) completely and play (Gadd) prior to
"luck". Also note the very quick transition from the (Em) prior to "he" and the (D) prior to
"was". You can skip this (Em) completely if you want.
TIP: The (D)(D4)(Dsus2)-(D) part immediately follows: The (D) comes first with "was" followed by
the (D4) for which you just add your pinky to the bottom string/3rd fret. Lift off to get back to
(D) and then lift the middle finger off the bottom string/2nd fret for one stroke (that's what the
dash "-" between the (Dsus2) and (D) means) and replace it to return to (D). Couldn’t be easier!
TIP: At the end the lads play the "aww" outro 5 times followed by more Moog and Carl's drums.
I've included one way to end the song, the way I did when I played the O2 (yeah right).
TIP: If you have a friend to play the kazoo for the Moog part at the end that would be way cool.
INTRO: (Gadd)(D), (Gadd)(D)
(G) He, had white (D) horses, and (G) la-dies by the (D) score.
(G) All, dressed in (D) satin, and (G) waiting, by the (D) door.
(Am) Ooooh what a (G) luck-(Gadd)-y man, (Em) he (D) wa-as (D4)(D)(Dsus2)-(D).
(G) White lace, and (D) feathers, they (G) made up, his (D) bed.
A (G) gold, covered (D) mattress, on (G) which, he was (D) 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)
He (G) went, to fight (D) wars, for his (G) country, and his (D) king.
Of his (G) honor, and his (D) glory, the (G) people, would (D) sing.
A (G) bullet, had (D) found him, his (G) blood ran, as he (D) cried.
No (G) money, could (D) save him, so he (G) laid down, and he (D) died.
["Awwwww"s throughout]
(Am)(G)(D)(D4)(D)(Dsus2)-(D); (Am)(G)(D)(D4)(D)(Dsus2)-(D); (Am)(G)(D)(D4)(D)(Dsus2)-(D);

(Am)(G)(D)(D4)(D)(Dsus2)-(D); (Am)(G)(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)(MC4)
INTRO: (G)(D)(Em)(C)(G)(D)(C)(G)
You're the lucky one so I've been told, as (D) free as the wind blowin' down the road.
(G) Loved by many hated by none I'd (C) say you're lucky 'cause I know what you've done.
Not a (G) care in the world not a worry in sight.
(D) Everything's gonna be alright 'cause you're the (C) lucky one (C)(G).
You're the lucky one always havin' fun a (D) jack of all trades a master none.
You (G) look at the world with a smilin' eye and (C) laugh at the devil as his train goes by.
(G) Give you a song and a one night stand,
(D) You'll be looking at a happy man 'cause you're the (C) lucky one (C)(G).
Well you're (Am7) blessed I guess by never (D) knowin' which road you're choosin to you
The (Am7) neeext best thing, to playin and (D) winning is (B7) playin and (Em) losin'.
You're the (G) lucky one I know that now don't (D) ask you why when where or how.
You (G) look at the world through your smilin' eye, you (C) laugh at the devil as his train goes
by. (G) Give you a song and a one night stand and (D) you'll be looking at a happy man 'cause
you're the (C) lucky one (C)(G).
(G)(D)(G)-(G7)(C)(G)(D)(C)(G)
Well you're (Am7) blessed I guess by never (D) knowin' which road your choosin to you
The (Am7) neeext best thing, to playin and (D) winning is (B7) playin and (Em) losin'.
You're the (G) lucky one I know that now don't (D) ask you why when where or how.
No matter (G7) where you're at it's where you'll be you can (C) bet your luck won't follow me.
Just (G) give you a song and a one night stand, (D) you'll be looking at a happy man
'Cause you're the (C) lucky one (C)(G). (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)(MC0)
[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)
One evening getting dark, we (C) first met at the (G) park.
Just sitting by the fountain all a (D7) lone.
I (G) lifted up my hat, and (C) then began to (G) chat.
She said she'd-allow-me-to (D7) see her at her (G) home.
Such a (C) star I've never seen, she's as (G) pretty as the queen.
She's as perfect as an angel from a (D7) bove.
If she'd (G) only be my wife, I'd live (C) happy all me (G) life,
With that aggravating (D7) beauty Lulu (G) Walls.
(G)(C)(G), (G)(D7), (G)(C)(G), (G)(D7)(G)
If she were only mine, I'd (C) build a house so (G) fine,
And around it, so many fences (D7) tall.
It would (G) make me jealously, to (C) think that none but (G) me,
Could gaze upon that (D7) beauty Lulu (G) Walls.
She's as perfect as an angel from a (D) bove.
With that aggravating (D) beauty Lulu (G) Walls.
(G)(C)(G), (G)(D), (G)(C)(G), (G)(D)(G)
One evening getting late, well I (C) met her at the (G) gate.
I asked her if she'd wed me in the (D) fall.
But she (G) only turned away, and (C) nothing would she (G) say.
That aggravating (D) beauty Lulu (G) Walls.
She's as perfect as an angel from a (D) bove.
With that aggravating (D) beauty Lulu (G) Walls.
With that aggravating (D) beauty Lulu (G) Walls (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)(MC1)
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.
[Spoken]: "Well the weather for the whole area will continue much the same as the past few days.
Temperature 17 Centigrade, that's 49 Fahrenheit. Winds will freshen later tonight to southwest,
force 6 or 7, and there will be showers, sometimes heavy in many . . . oh sod it. I didn't want to
do this. I don't want to be a weather forecaster. I don't want to rabbit on all day about sunny
periods and patches of rain spreading from the west. I wanted to be . . . a Lumberjack!"
INTRO: (G)(D)(C); (D)-(D)-(D)(G)(D)(C), (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) Lah lah lah (G) lah (D), (D7) Lah lah lah (G) lah (D), (D7) Lah lah lah (G) lah (D) <repeat>
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) I'm a lumberjack and (C) I'm okay. I (D) sleep all night and I (G) work all day.
He's a lumberjack and (C) he's okay. He (D) sleeps all night and he (G) works all day.
I cut down trees. I (C) eat my (Am) lunch. I (D) go to the lava (G) tree (C)-(G).
On Wednesdays I go (C) shopping, and have (D) buttered scones for (G) tea (D)-(G).
He cuts down trees. He (C) eats his (Am) lunch. He (D) goes to the lava (G) tree (C)-(G).
On Wednesdays he goes (C) shopping, and has (D) buttered scones for (G) tea.
I'm a lumberjack and (C) I'm okay. I (D) sleep all night and I (G) work all day.
I cut down trees. I (C) skip and (Am) jump. I (D) like to press wild (G) flowers (C)-(G).
I put on women's (C) clothing, and (D) hang around in (G) bars (D)-(G).
He cuts down trees. He (C) skips and (Am) jumps. He (D) likes to press wild (G) flowers.
He puts on women's (C) clothing and (D) hangs around in (G) bars?
I'm a lumberjack and (C) I'm okay. I (D) sleep all night and I (G) work all day.
I cut down trees. I (C) wear high (Am) heels sus (D) pendies and a (G) bra.
I wish I'd been a (C) girlie, just (D) like my dear (G) Papa.
He cuts down trees. He (C) wears high (Am) heels, sus (D) pendies and a (G) bra . . . ?
He's a lumberjack and (C) he's okay. He (D) sleeps all night and he (G) works all day.
He's a lumberjack and (C) he's o- (Am) -kaaaaaaaaaaaaaaaaaaaaaaaaay.
<rapidly> (D) Sleeps all night and he (G) 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)(MC0)
[In 2018 Rhino/Elektra "remastered" this song and (for some reason) rearranged the verses (?!?).
What you see here 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) City girls just (GF#) seem to find out (C) early,
(Am) How to open doors with (Am7) just a (D7) smile.
A (G) rich old man, and (GF#) she won't have to (C) worry.
She'll (Am) dress up all in (C) lace, and go in (G) style.
Late at night, a (GF#) big old house gets (C) lonely.

I guess (Am) every form of refuge has its (D7) price.
And it (G) breaks her heart, to (GF#) think her love is (C) only,
Given (Am) to a man with (C) hands as cold as (G) ice (G)(C)(D).
So she (G) tells him she must (GF#) go out for the (C) evening,
To (Am) comfort an old friend who's (Am7) feelin' (D7) down.
But (G) he knows where she's (GF#) goin' as she's (C) leavin'.
She is (Am) headed for the (C) cheatin' side of (G) town (D)|G|.
(NC) You can't (G) hii-(C)-ide your lyin' (G) eyes (C)-(G).
And (D) your (Em) smi-(Bm)-le is a thin dis (Am) guise (D).
I thought by (Gadd) now-(G7)-ow you'd real (C) ize (A),
There (Am) ain't no way to (D) hide your lyin' (G) eyes. (D)(C)(C),(Am)(D)(G), (D)
On the (G) other side of (GF#) town a boy is (C) waiting,

With (Am) fiery eyes and dreams no one could (D) steal.
She (G) drives on through the (GF#) night antici (C) pating.
'Cause he (Am) makes her feel the (C) way she used to (G) feel (D).
She (G) rushes to his (GF#) arms, they fall to (C) gether.
She (Am) whispers that it's only for a (D7) while.
She (G) swears that soon she'll be (GF#) comin' back for (C) ever.
She (Am) pulls away and (C) leaves him with a (G) smile (C)-|G|.
There (Am) ain't no way to (D) hide your lyin' (G) eyes. (D)(C)(C),(Am)(D)(G), (D)
She gets up and (GF#) pours herself a (C) strong one,

And (Am) stares out at the stars up (Am7) in the (D7) sky.
A (G) nother night, it's (GF#) gonna be a (C) long one.
She (Am) draws the shade and (C) hangs her head to (G) cry (D).
She (G) wonders how it (GF#) ever got this (C) crazy.
She (Am) thinks about a (C) boy she knew in (D) school.
Did (G) she get tired or (GF#) did she just get (C) lazy?
She's (Am) so far gone she (C) feels just like a (G) fool (D).
(G) My oh my, you (GF#) sure know how to a (C) rrange things.
You (Am) set it up so well so (Am7) carefull (D7) y.
Ain't it (G) funny how your (GF#) new life, didn't (C) change things.
You're (Am) still the same old (C) girl you used to (G) be (C)|G|.
There (Am) ain't no way to (D) hide your lyin' (G) eyes (D).
There (Am) ain't no way to (D) hide your lyin' (G) eyes (D).
(Am) Honey you can't (D) hide your lyin' (G) eyes (G). (Am)(D)
<slow down> |G|, |C|-|G|-|D|-|C|-|G|

MAGGIE MAY - Rod Stewart
(Quittenton/Stewart)
https://www.youtube.com/watch?v=pj2EQRLm7Vc (Capo 0)(MC0)
TIP: In the intro, go from (Em) to (Em/D) but just adding your pinky to the 2nd string/3rd fret.
At the end of the first part you strum (G) and then three individual strums of |G||D| and |D-| in
which you just lift off the top string.
TIP: You can just play the chords but here's how to strum the notes of the mandolin part: Strum
(D) four times. Pull off the bottom string for one strum of (Dsus2), back on for one strum of (D).
Add pinky to bottom string/3rd fret for one strum of (D4), now still holding the (D) shape extend
the pinky over to the 5th fret for four strums of (DaddA). Now go backwards: pinky back down to
the 3rd fret for (D4), lift off for (D), lift off the bottom finger for (Dsus2), now jump to (G)
for four strums, back to (D), lift off the bottom string again for two quick strums of (Dsus2),
finish with strums of (D). Repeat as indicated. The key is to hit that first (Dsus2) in the
sequence. Practice it a few times, not too difficult, just looks messy.
<mandolin> - - - - - - - - - - -
INTRO: (D)(Em)-(Em/D)(G)|G||D||D-|; (D)(Em)-(Em/D)(G)|G||D|; |G||G|
(A) Wake up Maggie I (G) think I got something to (D) say to you (D).
It's (A) late September and I (G) really should be (D) back at school (D).
I (G) know I, keep you a (D) mused, but I (G) feel I'm being (A) used.
Oh (Em) Maggie I couldn't have (F#m) tried, any (Em) more (Asus)(A).
You (Em) led me away from (A) home, just to (Em) save you from being a (A) lone.
You (Em) stole my heart, and (A) that's what really (D) hurts (D).
The (A) mornin' sun when it's (G) in your face really (D) shows your age (D).
But (A) that don't worry me (G) none in my eyes you're (D) everything (D).
I (G) laughed at all of your (D) jokes, my (G) love you didn't need to (A) coax.
Oh (Em) Maggie I couldn't have (F#m) tried, any (Em) more (Asus)(A).
You (Em) led me away from (A) home, just to (Em) save you from being a (A) lone.
You (Em) stole my soul and that's a (A) pain I can do with (D) out (D).
(A) All I needed was a (G) friend, to lend, a (D) guiding hand (D).
But you (A) turned into a lover and (G) mother what a lover you (D) wore me out (D).
(G) All you did was wreck my (D) bed, and in the (G) morning kick me in the (A) head.
Oh (Em) Maggie I couldn't have (F#m) tried any (Em) more (Asus)(A).
You (Em) led me away from (A) home, 'cause you (Em) didn't wanna be a (A) lone.
You (Em) stole my heart I couldn't (A) leave you if I (D) tried (D).
(Em)(A)(D)(G)(Em)(G)(D)(D)
(A) I suppose I could col (G) lect my books and get on (D) back to school (D).
Or (A) steal my daddy's (G) cue and make a living out of (D) playing pool (D).
Or (G) find myself a rock 'n' roll (D) band, that (G) needs a helpin' (A) hand.
Oh (Em) Maggie I wished I'd (F#m) never, seen your (Em) face (Asus)(A).
You made a (Em) first class fool out of (A) me, but I'm as (Em) blind as a fool can (A) be.
You (Em) stole my heart but I (A) love you any (D) way (D).
(Em)(A)(D)(G)(Em)(G)(D)(D), (Em)(A)(D)(G)(Em)(G) <mandolin>
<this> |D|-|D|-|D|-|D|-|Dsus2|-|D|-|D4|-|DaddA|-|DaddA|-|DaddA|-|DaddA|-|D4|-|D|-|Dsus2|-
|G|-|G|-|G|-|G|-|D|-|Dsus2|-|Dsus2|(D) x 5
<or this> (D)(Em)(G)(D) x 5
(D) Maggie, I (Em) wished I'd, (G) never seen your (D) face.
|G|-|G|-|G|-|G|-|D|-|Dsus2|-|Dsus2|(D)
<or this> (D)(Em)(G)(D)

(D) I'll get on back, (Em) home, (G) one of these, (D) day-ay-ays. Ooh (Em) ooh ooh (G)(D)
|G|-|G|-|G|-|G|-|D|-|Dsus2|-|Dsuss2|(D) x 2 |D|
<or this> (D)(Em)(G)(D) x 2 |D|
MAGNOLIA WIND - John Prine & Emmylou Harris
(Clark/Camp)
https://www.youtube.com/watch?v=eCLZnCiH_k0 (Capo 4)(MC3/4)
INTRO: (A)
I'd rather sleep in a box, like a bum on the (E) street,

Than a fine feather (D) bed, without your little ol' cold (E) feet.
And I'd rather be (A) deaf (A), dumb and stone (E) blind,
Than to know that your (D) mornings (E), will never be (A) mine.
And I'd rather die young, than to live without (E) you.
And I'd rather go (D) hungry, than to eat lonesome (E) stew.
You know it's once in a (A) lifetime, and it won't come a (E) gain.
It's here and it's (D) gone (E), on a magnolia (A) wind.
And I'd rather not (G) walk (D), through the garden a (A) gain,
If I can't catch your (E) scent, on a magnolia (A) wind.
<mandolin> (A),(E),(D); (D)(D)(D)(E); <harmonium> (E)(A)(E)(D),(E)(A)
If it ever comes time, that it comes time to (E) go,

Pack up your (D) fiddles, Sis' pack up your (E) bow.
If I can't dance with (A) you (A), then I won't dance at (E) all.
I'll just sit this one (D) out (E), with my back to the (A) wall.
And I'd rather not (G) hear (D), pretty music a (A) gain,
If I can't get your (E) hopes, on a magnolia (A) wind. (A)(A)(E)
If I can't catch your (D) scent (E), on a magnolia (A) wind (A)|A|.
(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)(MC1)
TIP: The (G7/D) is an interesting chord. Get the (G7) down and then just add your pinky to the
2nd string/3rd fret. You'll have time.
INTRO: <gently> (G)(C)-(CaddG); (G)(C)-(CaddG); (G)(C)-(CaddG); (G)(C)-(CaddG)
(G) Mama, I found someone. (G7/D) Like you said would come a (C) long.
He's a sight, (G) so unlike, any man I've (D) known.
I (G) was afraid, to let him in, (G7/D) 'cause I'm not the trustin' (C) kind.
But now I'm convinced, that (G) he's heaven sent, and (D7) must, be out of his |G| mind. <pause>
(NC) Mama he's (C) crazy. Crazy over me.

And (G) in my life, is where he says, he always wants to (D) be.
I've (G) never been so loved. He beats (C) all I've ever seen.
(Am7) Mama he's (G) crazy (D7). He's crazy over (G) me (D)(G). (G)(C)(G),(D)
And (G) Mama, you've always said, (G7/D) "Better look before you (C) leap."
Maybe so, but (G) here I go. Lettin'-my heart lead (D) me.
He (G) thinks I hung, the moon and stars. (G7/D) I think he's a livin' (C) dream.
Well there are men, but (G) ones like him, are (D) few and (D7) far be (G) tween.
(NC) Mama he's (C) crazy. Crazy over me.

And (G) in my life, is where he says, he always wants to (D) be.
I've (G) never been so loved. He beats (C) all I've ever seen.
(Am7) Mama he's (G) crazy (D7). He's crazy over (G) me.
(C) Oh, and Mama he's (G) crazy (D7). He's crazy over (G) me (C)(G)(C)(G),(D)-(C)-(G).
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)(MC0)
[A version in the key of [C] follows which avoids the (B7).]
INTRO: (D)
Cowboys ain't easy to love and they're harder to (G) hold.

(A7) They'd rather give you a (A) song than diamonds or (D) gold.
Lonestar belt buckles and old faded Levis and (G) each night begins a new day.
If you (A7) don't understand him, and (A) he don't die young,
(A7) He'll prob'ly just ride (D) away.
Mamas, don't let your babies grow up to be (G) cowboys.

Don't (A7) let 'em pick guitars or (A) drive them old trucks.
Let 'em be doctors and lawyers and (D) such.
Cuz they'll (A7) never stay home and they're (A) always alone,
(A7) Even with someone they (D) love.
<key change>
(E) Cowboys like smokey old pool rooms and clear mountain (A) mornings.
(B7) Little warm puppies and children and girls of the (E) night.
Them that don't know him won't like him and them that do
(A) Sometimes won't know how to take him.
He ain't (B7) wrong he's just different but his pride won't let him
Do things to make you think he's (E) right.
Mamas, don't let your babies grow up to be (A) cowboys.
Don't (B7) let 'em pick guitars or drive them old trucks.
Let 'em be doctors and lawyers and (E) such.
Cuz they'll (B7) never stay home and they're always alone,
Even with someone they (E) love.

Don't (B7) let 'em pick guitars or drive them old trucks.
Let 'em be doctors and lawyers and (E) such.
Cuz they'll (B7) never stay home and they're always alone,
Even with someone they (E) love (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)(MC2)
INTRO: (C)
Cowboys ain't easy to love and they're harder to (F) hold.

(G7) They'd rather give you a (G) song than diamonds or (C) gold.
Lonestar belt buckles and old faded Levis and (F) each night begins a new day.
If you (G7) don't understand him, and (G) he don't die young,
(G7) He'll prob'ly just ride (C) away.
Mamas, don't let your babies grow up to be (F) cowboys.

Don't (G7) let 'em pick guitars or (G) drive them old trucks.
Let 'em be doctors and lawyers and (C) such.
Mamas, don't let your babies grow up to be (F) cowboys.
Cuz they'll (G7) never stay home and they're (G) always alone,
(G7) Even with someone they (C) love.
<key change>
(D) Cowboys like smokey old pool rooms and clear mountain (G) mornings.
(A7) Little warm puppies and (A) children and girls of the (D) night.
Them that don't know him won't like him and them that do
(G) Sometimes won't know how to take him.
He ain't (A7) wrong he's just different but (A) his pride won't let him
Do things to make (A7) you think he's (D) right.
(A7) Even with someone they (D) love.

(A7) Even with someone they (D) love (G)(D).
MAMA TRIED
Merle Haggard
https://www.youtube.com/watch?v=ZkQzP9D6vyg (Capo 0)(MC0)
TIP: The first part of the intro/outro is really meant to be picked, and it's pretty easy to do
so, but can be strummed as well. That (DaddA) is just (D) with your pinky stretched way over to
the 5th fret. You start there (holding (D) throughout), then slide (or lift and move) the pinky
down to the 3rd fret for (D4), lift off for (D) and repeat. Then for the slide part it's one
downstroke on the (D) and then a pause, one more downstroke and another pause, and then a quick
two-count downstroke of (D). This latter sequence repeats after the first chorus.
TIP: There's a lone (Bm) in the chorus that'll catch you out if you're not ready for it. From the
(D) you can just add your pinky to the 3rd string/4th fret and it'll sound fine, but since you're
not going back to (D) it will sound better if you can play the (Bm) with index, middle, ring, and
pinky on the 4th string/4th fret.
INTRO: (DaddA)(D4)(D),(DaddA)(D4)(D),(DaddA)(D4)(D); |D|, |D|, |D|-|D|
(NC) First thing (D) I remember (G) knowin, was a (D) lonesome whistle (G) blowin,
And a (D) young-un's dream of (G) growin up to (A) ride.
On a (D) freight train leaving (G) town, not (D) knowin' where I'm (G) bound.
No (D) one could change my (A7) mind but Mama (D) tried.
One and only rebel (G) child, from a (D) family meek and (G) mild.
My (D) Mama seemed to (G) know what lay in (A) store.
Despite (D) all my Sunday (G) learnin, towards the (D) bad I kept on (G) turnin,
Til (D) Mama couldn't (A7) hold me any (D) more.
And I turned twenty-one in (D7) prison doing (G) life without pa (D) role.
No (Bm) one could steer me right but Mama (A) tried, Mama (A7) tried.
Mama (D) tried to raise me (D7) better, but her (G) pleading I de (D) nied.
That leaves only me to (A7) blame 'cuz Mama (D) tried.
|D|,|D|, (G); (D)(A)(D)
Dear old Daddy rest his (G) soul, left my (D) Mom a heavy (G) load.
She (D) tried so very (G) hard to fill his (A) shoes.
Working (D) hours without (G) rest, wanted (D) me to have the (G) best.
She (D) tried to raise me (A7) right but I re (D) fused.
And I turned twenty-one in (D7) prison doing (G) life without pa (D) role.
No (Bm) one could steer me right but Mama (A) tried, Mama (A7) tried.
Mama (D) tried to raise me (D7) better, but her (G) pleading I de (D) nied.
That leaves only me to (A7) blame 'cuz Mama (D) tried.
OUTRO: (DaddA)(D4)(D),(DaddA)(D4)(D); |D|, |D|, |D|-|D|
MAN ON THE MOON - R.E.M.
https://www.youtube.com/watch?v=dLxpNiF0YKs (Capo 0)(MC0)
TIP: This song has several nuances to the voicing which, while not difficult, require a little
attention -- sorry for all the tips.
TIP: First is the intro, which is bass-focused so you have to play (C/G) which is just (C) with
the top string bass note <g> covered. Have to. And if you can play (C) this way throughout the
song, even better. The intro starts with a (C/G) and then there's a drop to (Am) to grab the <a>
before quickly moving to the (D). It'll catch you out if you're not ready for it. Listen to it.
TIP: You don't have to play the (D/A) but if you can add your pinky to the 4th string/4th fret for
(D/A) and then lift off for the (D).
TIP: A couple of lines in the verse are sung up-inflection (like "Monopoly") and are so indicated
by (up).
TIP: Okay, the notation I have for the chorus takes some 'splaining. For "man on the moon" you're
going to move from (C) to (G) and play two notes during the transition, the first being a and
the second being an <a>. First the . After the (C) on "man" you lift off the index finger and
you'll be playing a (Cmaj7) which will expose the for "on". Easy. Now the <a>. The <a> is
the 3rd string/2nd fret and you hit it with either your index finger during the transition from the
(Cmaj7) to the (G). Just remember to stay with the (Cmaj7) until you get to "on", don't jump
prematurely. The next line, "up his sleeve" is the same sort of thing but a little more straight
forward. Lift off the (C) on "his" and come right back down while pivoting the ring finger to
complete the (Am) on "sleeve." Just practice the sequence a few times and it'll seem natural.
TIP: In the instrumental bridge you strum (Em) three times and then that |Em| means to snap the
bottom two or three strings with an upstroke to emphasizing the treble and Peter's slide, followed
by two more (Em)s and then the (D)(D4) sequence. Just add your pinky to the bottom string of the
3rd fret for the (D4). You do this 3 times.
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)
Mott the Hoople and the (D/A) game of (D) Life. (C) Yeah yeah yeah yeah.
Andy Kaufman in the (D/A) wrestling (D) match. (C) Yeah yeah yeah yeah.
Mon- <up> -opoly Twenty-One (D) checkers and chess. (C) Yeah yeah yeah yeah.
Mister Fred Blassie in a (D/A) breakfast (D) mess. (C) Yeah yeah yeah yeah.
<up> Let's play Twister, (D) let's play Risk. (C) Yeah yeah yeah yeah.
See you in heaven if you (D/A) make the (D) list. (C) Yeah yeah yeah yeah.
Now (Am) Andy did you hear about (G) this one? (Am) Tell me are you locked in the (G) punch?
(Am) Andy are you goofing on (G) Elvis hey ba (C) by (D). Are we losing touch?
(G) If you be (Am) lieve, (C) they put a man (Cmaj7) on <a> the (G) moon, (Am) man on the (D) moon.
(G) If you be (Am) lieve, (C) there's nothing up (Cmaj7) his (Am) sleeve,
then nothing is cool (D/A).
(C) Moses went walking with the (D/A) staff of (D) wood. (C) Yeah yeah yeah yeah.
Newton got beaned by the (D/A) apple (D) good. (C) Yeah yeah yeah yeah.
<up> Egypt was troubled by the (D) horrible asp. (C) Yeah yeah yeah yeah.
Mister Charles Darwin had the (D/A) gall to (D) ask. (C) Yeah yeah yeah yeah.
Hey (Am) Andy are you goofing on (G) Elvis hey ba (C) by (D). Are you having fun?
(G) If you be (Am) lieve, (C) there's nothing up (Cmaj7) his (Am) sleeve, then nothing is cool.
(Em)x3-|Em|-(Em)x2, (D)x3|D4|D4|-(D); (Em)x3-|Em|-(Em)x2, (D)x3|D4|D4|-(D);

(Em)x3-|Em|-(Em)x2, (D)x3|D4|D4|-(D); (D)-(D)-(D4)-(D)
(C) Here's a little agit for the (D/A) never be (D) liever. (C) Yeah yeah yeah yeah.
Here's a little ghost for the (D/A) offer (D) ing. (C) Yeah yeah yeah yeah.
<up> Here's a truck stop in (Cmaj7) stead of Saint (D) Peter's. (C) Yeah yeah yeah yeah.
Mister Andy Kaufman's gone (D/A) wrest-el (D) ing. (C) Yeah yeah yeah yeah.
And (Am) Andy are you goofing on (G) Elvis hey ba (C) by (D). Are we losing touch?
(G) If you be (Am) lieve, (C) they put a man (Cmaj7) on <a> the (G) moon, (Am) man on the
(D) moon.
(G) If you be (Am) lieve, (C) they put a man (Cmaj7) on <a> the (G) moon, (Am) man on the
(D) moon.
|Em|

MANIC MONDAY - The Bangles
(Prince)
https://www.youtube.com/watch?v=SsmVgoXDq2w (Capo 0)(MC0)
TIP: That mess in the intro isn't hard, and you only play it in the intro. After the (G) hold
onto the bottom string and swing your middle finger down to play the (Em/G). Then, keeping the
(Em) portion, reposition the bottom two strings so your ring finger is on the second string and
pinky on the bottom string for the (Em/D). Finish with either a (Dmaj7), strumming just the bottom
three strings, or play an (F#m) and strum the bottom four. And (D4) is just (D) with your pinky
added to the bottom string. Easy.
/ ;
INTRO: (D)(G)(Em/G)(Em/D)(Dmaj7), (G); (D)(G)(Em/G)(Em/D)(Dmaj7), (G)|D|;
(D) Six o'clock al (D4) ready I was (Em) just in the middle of a (D) dream (D4)(G)(Em).
I was (D) kissin' Valen (D4) tino by a (Em) crystal blue Italian (D) stream (D4)(G)(Em).
But I (D) can't be (D4) late cause then I (Em) guess I just won't get (D) paid (D4)(G)(Em).
(D) These are the (D4) days when you (A) wish your bed was already (D) made.
It's |A| just another manic (D) Monday (G). I (Em) wish it was (D) Sunday (G).
'Cause (Em) that's my (D) fun day (G). My (Em) I don't have to (D) run day.
It's (A7) just another manic (D) Monday.
Have to catch an (D4) early train (Em) got to be to work by (D) nine (D4)(G)(Em).
And (D) if I had an (D4) air-o-plane I (Em) still couldn't make it on (D) time (D4)(G)(Em).
'Cause it (D) takes me so (D4) long just to (Em) figure out what I'm gonna (D) wear (D4)(G)(Em).
(D) Blame it on the (D4) train but the (A) boss is already (D) there.
'Cause (Em) that's my (D) fun day (G). (Em) I don't have to (D) run day.
It's (A7) just another manic (D) Monday.
(Bm) All of the nights why did my lover have to pick last (E) night to get down?
(G) Doesn't it matter that I (A) have to feed the both of us em (Bm) ployment's down.
He (G) tells me in his bedroom (E) voice, 'C'mon (A) honey, let's go make some (A7) noise.'
Time it goes so fast.
'Cause (Em) that's my (D) fun day (G). (Em) I don't have to (D) run day.
It's (G) just another (A) manic (D) Monday (G). I (Em) wish it was (D) Sunday (G).
'Cause (Em) that's my (D) fun day (G). It's just another (A) manic (D) Monday. (D)(D)(D)(D)|D|
(The Bangles) (Artist Index) - (Main Index) - (Song Index) (This Song)
MARGARITAVILLE
Jimmy Buffett
https://www.youtube.com/watch?v=ue2-ZVxpVjc (Capo 0)(MC0)
TIP: Here's a perfect example of where you can just play all the major chords and forget all about
the (D) and (A) variants (the steel drums) and everything will sound just fine. But this
"flavoring" isn't all that hard to play.
TIP: There are two ways to play the intro.
First way: You open with (DaddA) and transition to the (D4). You can play the (DaddA) as in
either of the first three diagrams. In the 1st you play a normal (D) and extend your pinky to the
bottom string of the 5th fret. This is a stretch for many. In the 2nd diagram you preposition
your index finger on the 3rd string/2nd fret, your middle finger on the 2nd string/3rd fret, and
ring finger below it on the bottom string/3rd fret. This allows an easier access for the pinky.
Then all you do is lift the pinky and you're already at the (D4). A variant to this 2nd diagram is
the 3rd diagram in which you barre the first three strings of the 2nd fret with your index finger
with the middle, ring, and pinky as before.
Second way: This way is easier but you lose a little bit of the treble zing of the steel drum
emulation. You move between the (D) and the (Dsus). Start with (D) and then it's a rocking move
where you simultaneously add your pinky to the bottom string of the 3rd fret while lifting off the
index finger from the 3rd string/2nd fret. Your middle finger stays put on the bottom string of
the 2nd fret. To get back to (D) just reverse the motion. Not hard but practice it a few times.
Bottom-top, bottom-top.
TIP: The (D-) appears in the first line of each verse and the outro. Just lift off the top/index
finger from the (D) and then replace it but try to avoid striking the bottom string. At the end of
the instrumental bridge there's a (Dsus2). Just lift off the bottom string.
TIP: The (A), (A6+), (A6) occurs in the verse and last part of the bridge. It's a little trickier
mainly because it gets crowded in the 2nd fret. There are two ways to play this sequence. (1):
Play (A) with your middle three fingers, then extend your pinky to cover the bottom string/3rd fret
(A6+), then slide your pink back into the 2nd fret for the (A6) and back onto the 3rd fret for
(A6+) again. (2): Play (A) with your middle three fingers, then play (A6+) as a barre with your
index finger and either your ring (or pinky) on the bottom string/3rd fret. Lift off the
ring/pinky to play (A6) and replace it to play the (A6+) again. You can then play the following
(A) as usual or by lifting off slightly the bottom of your index finger (roll your wrist up) so the
top half of your finger is forming the (A). If you're muffled then play (A) like usual.
or or - ; ; ;
INTRO: (DaddA)-(DaddA)-(DaddA)-(D4)-(DaddA), (DaddA)-(DaddA)-(DaddA)-(D4)-(DaddA),

(G)x4 (G)-(A7)-(D)
or
(D)-(D)-(D)-(Dsus)-(D), (D)-(D)-(D)-(Dsus)-(D), (G)x4 (G)-(A7)-(D)
(D) Nibblin’ on (D-) sponge (D) cake, watchin’ the (D-) sun (D) bake,
All of those tourists covered with (A) oil.
(A6+) Strummin’ my (A6) six (A6+) string, on my front (A6) porch (A6+) swing.
(A) Smell of shrimp dip beginning to (D) boil (D7).
(G) Wastin’ a (A) way again in Marga (D) ritaville (D7).

(G) Searchin' for my-(A)-y lost shaker of (D) salt (D7).
(G) Some people (A) claim that there’s a (D) wo-man to (G) blame,
But I (A) know, it’s nobodys (D) fault (D)-(A)-(D).
Don’t know the (D-) rea (D) son, stayed here all (D-) sea (D) son.
Nothin’ to show but this brand new tat (A) too.
(A6+) But it’s a real (A6) beau (A6+) ty, a Mexican (A6) cu (A6+) tie,
(A) How it got here I haven’t a (D) clue (D7).

(G) Searchin' for my-(A)-y lost shaker of (D) salt (D7).
(G) Some people (A) claim that there’s a (D) wo-man to (G) blame.
Now I (A) think, “Hell it could be my (D) fault (D)-(A)-(D).”
(D)-(D)-(D)-(D4)-(D); (D)-(D)-(D)-(D4)-(D); (D)(D)(A); (G)(A),(D)(A)(G); (A6+)(A6)(A);

(D)(Dsus2)(D)
I blew out my (D-) flip (D) flop, stepped on a (D-) pop (D) top.
Cut my heel had to cruise on back (A) home.
(A6+) But there’s booze in the (A6) blen (A6+) der, and soon it will (A6) ren (A6+) der,
(A) That frozen concoction that helps me hang (D) on (D7).
(G) Searching for my-(A)-y lost shaker of (D) salt (D7).
(G) Some people (A) claim that there’s a (D) wo-man to (G) blame.
But I (A) know, it’s my own damned (D) fault (D)-(A)-(D).
Yes and, (G) some people (A) claim that there’s a (D) wo-man to (G) blame.
And I (A) know, it’s my own damned (D) fault -(D)-(D)-(D-)-(D), (D)-(D)-(D)-(D-)-(D),
(G)-(G)-(G)-(G), (G)-(A7)-(D), |D|
THE MARVELOUS TOY - Peter, Paul, and Mary
(Paxton)
https://www.youtube.com/watch?v=LRQrZz9czec (Capo 0)(MC1)
TIP: In the intro cover the chord, pick the string indicated and then strum the chord five times.
One full measure for each. Don't worry too much about hitting the individual string but just
concentrate on getting that string covered with the first strum.
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: 4-(D), 4-(D), 4-(D), 3-(A), 4-(D), 3-(A), 6-(G), 4-(D), 4-(E), 3-(A)
When (D) I was just a (A) wee little lad, (D) full of health and (A) joy,
My (G) father homeward (D) came one night and (E) gave to me a (A) toy.
A (D) wonder to be (A) hold it was with (D) many colors (G) bright.
And the moment I laid (D) eyes on it it be (E) came my heart's de (A) light.
It went (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stood
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will. (D)
The first time that I (A) picked it up, (D) I had a big sur (A) prise,
Cuz (G) right on its bottom were (D) two big buttons that (E) looked like big green (A) eyes.
I (D) first pushed one and (A) then the other, and (D) then I twisted its (G) lid.
And when I set it (D) down again, (E) here is what it (A) did:
It first marched left and (A) then marched right, and (D) then marched under a (A) chair.
And (G) when I looked where (D) it had gone, it (E) wasn't even (A) there.
I (D) started to cry and my (A) daddy laughed, cuz he (D) knew that I would (G) find,
When I turned around my (D) marvelous toy would be (E) chugging from be (A) hind.
(G)(D)(G)(D)(A)(D)(D)
<slightly slower> The |D| years have gone by too |A| quickly it seems. I |D| have my own little
|A| boy. And |G| yesterday I |D| gave to him my |E| marvelous little |A| toy.
<back to normal tempo> His . . . (D) eyes nearly popped right (A) out of his head, and he (D) gave
a squeal of (G) glee. Neither-one-of-us-knows just (D) what it is but he (E) loves it just like
(A) me.
It still goes (D) "zip" when it moved and (A7) "bop" when it stopped and (D) "whirr" when it stands
(G) still. I never knew just (D) what it was and I (A7) guess I never (D) will. |D|
(Peter, Paul and Mary) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
MARY DANCED WITH SOLDIERS - Emmylou Harris
(Kennerly)
https://www.youtube.com/watch?v=RjiBgK1s7Q8 (Capo 1)(MC1)
[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.
TIP: You can play this song without the (CaddG) but it helps accentuate Emmylou's aching high
notes.
INTRO: <spoken softly> One, two, three, four. <strum> (C),(C)-(C),(C)
She'd slip away each (F) day with the (G) dimming (C) light.
And with the sweetest smile she'd (F) kiss the (G) child good (C) night.
At the (F) mill she worked her fingers till (G) they were (CaddG) raw.
For the (C) sake of her son and the (Bb) daddy he (G) never (C) saw.
(F) Mary danced with (C) soldiers, (F) she stepped a (G) light quad (C) rille.
(F) Shawl across her (C) shoulders, to keep a (G) way the (C) chill (F)(C),
To keep a (G) way the (C) chill.
It was a rebel boy who (F) brought her (G) joy they (C) say.
Though the years had passed-the-memor (F) ies stood (G) fast each (C) day.
Before a (F) bullet crushed the life of (G) their ro (CaddG) mance,
He (C) gave her a shawl and a (Bb) para- (G) -sol from (C) France.
(F) Shawl across her (C) shoulders, to keep a (G) way the (C) chill (F)(C),
To keep a (G) way the (C) chill (C).
(Bb)(Bb)(Am)(F); (G),(C)(F)(CaddG)(C)-(Gadd)
They (C) came around to the (F) tavern in (G) town that (C) night.
And with silent cries Mary (F) never (G) tried to (C) fight.
They (F) cut her hair and left her (G) body (CaddG) torn.
Her (C) spirit slipped a (Bb) way be (G) fore the (C) dawn.
(F) Mary danced with (C) soldiers, (F) but now her (G) body's (C) still.
(F) Shawl across her (C) shoulders, to keep a (G) way the (C) chill.
(F) Shawl across her (C) shoulders, to keep a (G) way the (C) chill-(F)-ill (C),
To keep a (G) way the (C) 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)(MC4)
TIP: You can play this song without the (Gadd) but it helps accentuate Emmylou's aching high
notes.
TIP: You can play (D) and (G) in place of the (CaddD) and (Gadd) combination in the first two
verses but it's easy to play as all you do from the leading (C) is "add" your pinky to the 2nd
string/3rd fret. Then rotate your wrist to play the upcoming (Gadd). Plus it sounds prettier.
INTRO: <spoken softly> One, two, three, four. <strum> (G),(G)-(G),(G)
She'd slip away each (C) day with the (D) dimming (G) light.
And with the sweetest smile she'd (C) kiss the (D) child good (G) night.
At the (C) mill she worked her fingers till (CaddD) they were (Gadd) raw.
For the (G) sake of her son and the (F) daddy he (D) never (G) saw.
(C) Mary danced with (G) soldiers, (C) she stepped a (D) light quad (G) rille.
(C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill (C)(G),
To keep a (D) way the (G) chill.
It was a rebel boy who (C) brought her (D) joy they (G) say.
Though the years had passed-the-memor (C) ies stood (D) fast each (G) day.
Before a (C) bullet crushed the life of (CaddD) their ro (Gadd) mance,
He (G) gave her a shawl and a (F) para (D) sol from (G) France.
(C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill (C)(G),
To keep a (D) way the (G) chill (G).
(F)(F)(Em)(C); (D),(G)(C)(C)(D)
They (G) came around to the (C) tavern in (D) town that (G) night.
And with silent cries Mary (C) never (D) tried to (G) fight.
They (C) cut her hair and left her (D) body (Gadd) torn.
Her (G) spirit slipped a (F) way be (D) fore the (G) dawn.
(C) Mary danced with (G) soldiers, (C) but now her (D) body's (G) still.
(C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill.
(C) Shawl across her (G) shoulders, to keep a (D) way the (G) chill-(C)-ill (G),
To keep a (D) way the (G) 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)(MC0)
TIP: The first chorus (only) ends with a down inflection (C). Follow this with a two-beat, thump-
thump on the top strings |C/G|-|C/G| with your pinky covering the base <g> note (2nd diagram).
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 other 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) Joan was quizzical, (A7) studied pataphysical (Dm) science in the home.
(G7) Late nights all alone with a test tube. (C) Oh, oh oh (G) oh.
(C) Maxwell Edison, (A7) majoring in medicine (Dm) calls her on the phone.
(G7) "Can I take you out to the pictures, (C) Joa, oa- oa- (G) oan?"
But |D| as she's getting ready to go, a |G7| knock comes on the (G7) door.
(C) Bang bang Maxwell's silver hammer came (D7) down upon her head.
(G7) Clang clang Maxwell's silver hammer made (Dm) sure that (G) she was (C) dead |C/G|-|C/G|.
(C)(E7)(Am)(C7),(F)(F)(G)(C)
Back in school again (A7) Maxwell plays the fool again. (Dm) Teacher gets annoyed.
(G7) Wishing to avoid an unpleasant (C) sce-, -e- -e- (G) -ene.
(C) She tells Max to stay (A7) when the class has gone away (Dm) so he waits behind.
(G7) Writing fifty times "I must not be (C) so, oh- oh- (G) -oh."
But |D| when she turns her back on the boy, he |G7| creeps up from be (G7) hind.
(C) Bang bang Maxwell's silver hammer came (D7) down upon her head.
(G7) Clang clang Maxwell's silver hammer made (Dm) sure that she was (G) dead.
(C),(D),(G),(Dm)(G)(C); (C)(E)(Am)(C7)(F)(F)(G)(C)
P.C. Thirty-One, (A7) said "We've caught a dirty one" (Dm) Maxwell stands alone.
(G7) Painting testimonial pictures (C) oh, oh- oh- (G) oh.
(C) Rose and Valerie, (A7) screaming from the gallery,
(Dm) Say he must go free (Maxwell must go free).
The (G7) judge does not agree and he tells them (C) so, oh- oh- (G) oh.
But |D| as the words are leaving his lips, a |G7| noise comes from be (G7) hind.
(C) Bang bang Maxwell's silver hammer came (D7) down upon his head.
(G7) Clang clang Maxwell's silver hammer made (Dm) sure that he was (G) dead. Whoa whoa-oh.
(C),(D7),(G7),(F)(F)(G)(C)
(C) Sil (E) ver (Am) Ham (C7) mer (F)-(F)-(F)-(F)-(F), (G)-(G)-(G)-(C).
MAYBE BABY – Buddy Holly
(Hardin/Petty)
https://www.youtube.com/watch?v=XR6BtPqED4k (Capo 0)(MC4)
INTRO: |A|-|A|-|A|-|A|-|A7|-|A7|-|A|-|A7|-(F#m); |A|-|A|-|A|-|A|-|A7|-|A7|-|A|-|A7|-(F#m);

|A|-|A|-|A|-|A|-|A7|-|A7|-|A|-(D)(E)(A)(D)(A)-(E)
(A) Maybe baby, (F#m) I'll have you. (A) Maybe baby, (F#m) you'll be true.
(A) Maybe baby, (F#m) I'll have (E) you for (A) me (D)(E).
(A) It's funny honey, (F#m) you don't care. (A) You never listen, (F#m) to my prayer.
(A) Maybe baby, (F#m) you will (E) love me some (A) day (D)(A).
Well (D) you are the one that, makes me glad, (A) and you are the one that, makes me sad.
(D) When someday, you want me well (E) I'll be there, wait and see.
(A)x7 Bupbudderup bup bupbudderup bup (F#m) bah dah dum;

(A)x7 Bupbudderup bup bupbudderup bup (F#m) bah dah dum;
(A)x7 Bupbudderup bup bupbudderup bup (F#m) bah dah dum; (A) ohh (D) ohh (A) ohh.
Well (D) you are the one that, makes me glad, (A) and you are the one that, makes me sad.
(D) When someday, you want me well (E) I'll be there, wait and see.
(A) Maybe baby, (F#m) I'll have (E) you for (A) me. (D)(A)|A|
(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)(MC0)
INTRO: (G), (G)
Maybe it's time to let the old ways die. (C) Maybe it's time to let the old ways (G) die.
It (C) takes a lot to change a man hell it (G) takes a (D) lot to (Em) try.
(D) Maybe it's time to let the (C) old ways (G) die.
Nobody knows what awaits for the dead. (C) Nobody knows what awaits for the (G) dead.
(C) Some folks just believe in the things they've (G) heard and the (D) thing they (Em) read.
(D) Nobody knows what a (C) waits for the (G) dead.
I'm (C) glad I can't go back to where I (G) came from.

I'm (C) glad those days are gone, gone for (G) good.
But (C) if I could take spirits from my (G) past and (D) bring-'em- (Em) here,
You know I (D) wou-ould, you know I (C) would.
(G) Nobody speaks to God these days. (C) Nobody speaks to God these (G) days.
I'd (C) like to think he's lookin' down and (G) laughin' (D) at our (Em) ways.
(D) Nobody speaks to (C) God these (G) days.
(C) When I was a child they tried to (G) fool me.

Said the (C) worldly man was lost and that the hell was (G) real.
Well (C) I've seen hell in Reno,
And (G) this world's (D) one (Em) big ol' Catherine (D) wheel, spinnin' (C) still.
(G) Maybe it's time to let the old ways die. (C) Maybe it's time to let the old ways (G) die.
It (C) takes a lot to change your plans and a (G) train to (D) change your (Em) mind.
(D) Maybe it's time to let the (C) old ways (G) die.
Oh-oh (D) maybe it's time to let the (C) old ways (G) 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)(MC1)
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 complete rubbish. In order to sing them
as Enya does they’re presented phonetically.
INTRO: <very gently strum> (G)
(NC) May it (Em) be, an evening (C) star, shines (G) down upon (D) you.
May it (Em) be, when darkness (C) falls, your (G) heart, will be (D) true.
You-ou (C) walk, a lonely (G) road. Oh how (Am) far, you are from (D) home.
(G) Mor, nee (Em) ay, ooh (C) too, (Am) lee aay-(D)-aay.
Be (G) lieve, and (D) you will-ill (C) find your (D) way.
(G) Mor-or nee (Em) ay, ah (C) lahn, (Am) tee aay-(D)-ayy.
A (Em) prom - ise (C) lives, with (D) in you, (G) now.
May it (Em) be, the shadows (C) call, will (G) fly-y a (D) way.
May it (Em) be, you journey (C) on, to (G) li-ight the (D) day.
When the (C) night, is over (G) come, you may (Am) rise, to find the (D) sun.
(G) Mor, nee (Em) ay, ooh (C) too, (Am) lee aay-(D)-aay.
Be (G) lieve, and (D) you will-ill (C) find your (D) way.
(G) Mor-or nee (Em) ay, ah (C) lahn, (Am) tee aay-(D)-ayy.
A (Em) prom - ise (C) lives, with (D) in you, (G) now.
A (Em) prom - ise (C) lives, with (D) in you . . . (Gadd) 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)(MC0)
TIP: For the intro, form (D) and then pick the open 5th string, reach up with your index finger to
cover and pick the 5th string/2nd fret, then the open 4th string, and strum the chords.
INTRO: <Form (D)> O5-5/2-O4 (D)(D)(G)(D)
One fine day as I was a (A7) walkin' down the (D) street,
Spied a beggar man with rags upon his (A) feet.
Took a (D) penny from my |D| pocket, in his |G| tin cup I did drop it,
And I (D) heard him say as (A) I made my re (D) treat:
"May the bird of paradise fly up your nose. May an elephant caress you with his (A) toes.
May your (D) wife be plagued with runners in her (G) hose.
May the (D) bird of para (A) dise fly up your (D) nose." (D)(G)(D)
My laundry man is (A7) really on his (D) toes,

Found a hundred-dollar bill among my (A) clothes.
When he (D) called me I came a |D| runnin', gave him |G| back his dime for phonin'.
And I (D) heard him sayin' (A) as I turned to (D) go:
"May the bird of paradise fly up your nose. May an elephant caress you with his (A) toes.
May the (D) bird of para (A) dise fly up your (D) nose." (D)...
I was way behind one (A7) day to catch the (D) train.
The taxi driver said "We'll make it just the (A) same."
The (D) speed cop made it |D| with us, and as |G| he wrote out the ticket,
I stood (D) by politely a (A) waitin' for my (D) change.
May the bird of paradise fly up your nose. May an elephant caress you with his (A) toes.
May the (D) bird of para (A) dise fly up your (D) nose.
May the bird of paradise fly up your nose. May an elephant caress you with his (A) toes.
May the (D) bird of para (A) dise fly up your (D) nose. |A|-|D|
(Little Jimmy Dickens) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
MAY THE TRAIL RISE UP TO GREET YOU
Dave Stamey
https://www.youtube.com/watch?v=XTryNT8Odto (Capo 0)(MC0)
INTRO: <fiddle> (Em)-(Em)(G)(A)(D)(D)
May the trail rise up to greet you as you ride.

May the stars reach down and touch you with their (A) eyes.
May the (G) tumbleweeds at (Gm) play, keep you (D) company by day.
And (E7) coyotes serenade you through the (A) night (A)|A7|.
May no (D) river be too rapid or too wide.

May no mountain be too high for you to (A) climb.
May your (G) pony serve you (Gm) well, and take you (D) home to your cor (B7) ral.
May the (G) spirit of the (A) prairie be your (D) guide.
Well (G) friends don’t let (Gm) friends, ride a (D) way without good wishes.
(G) Friends don’t let (Gm) friends, ride a (D) way without a song.
A (G) good wish or (Gm) two may come in (D) handy somewhere down the trail,
Just (E7) take mine with you now as you ride a (A) long (A)|A|.
May you (D) live a happy life on cowboy time.

May the winds of change be gentle as you (A) ride.
Someday (G) soon I don’t know (Gm) when, we’ll meet a (D) gain but until (B7) then,
May the (G) trail rise up to (A) greet you as you (D) ride.
<fiddle> (D)(D), (D)(D)(A), (G)(Gm)(D)(B7), (G)(A)(D)(D7)
Well (G) friends don’t let (Gm) friends, ride a (D) way without good wishes.
(G) Friends don’t let (Gm) friends, ride a (D) way without a song.
A (G) good wish or (Gm) two may come in (D) handy somewhere down the trail,
(E7) Take mine with you now as you ride a (A) long |A|.
May you (D) live a happy life on cowboy time.
May the winds of change be gentle as you (A) ride.
Someday (G) soon I don’t know (Gm) when, we’ll meet a (D) gain but until (B7) then,
May the (G) trail rise up to (A) greet you as you (D) ride. (D7)(G)(Gm)(D)(B7)(Em)(A)(D)(D)|D|
MCGEE CREEK (THE PACKER’S SONG)
Dave Stamey
https://www.youtube.com/watch?v=EXWRmSf7dW8 (Capo 3)(MC2)
INTRO: |Am| Ay-ee-ay-oooh, |G| ay-ee-ay-oooh,

(Am) Ee-dee-dee- (G) dee ay-dee- (Am) dee (Am)(Am)(Am)
Into the canyon with the (C) trail far below,

(Am) Down to the pinions where the (G) Sweetwater flows.
(Am) Axe string behind me in the (C) yellowin’ light,
(Am) Come to the meadow where we (G) wait, for the (Am) night (Am)(Am)(Am).
Mountains in shadow (C) silver with age,

(Am) Moonlight on aspens, (G) prancing.
(Am) Horses graze lonesome where the (C) aphalit pours down,
I (Am) roll out my blankets, and I (G) sleep on the (Am) ground.
Ay-ee-ay-oooh, (G) ay-ee-ay-oooh, (Am) ee-dee-dee- (G) dee ay-dee- (Am) dee (Am)
Ride, (C) ride, (G) ride on through (Am) time.

Pour off the cities, they’re (E) whistlin’ why (E7).
(Am) Dream like these hoof beats, (C) dream like this song,
(Am) Dream like this lifetime, as (G) I ride a (Am) long.
(Am)(C)(G)(Am), (Am)(Am)(E)(E7), (Am)(Am)(C)(C), (Am)(Am)(G)(Am), (Am)(Am)(Am)
Gray mist of dawning, (C) seep from the black,

(Am) Listen for the bale mare, (G) diamond packs.
(Am) Shiverin’ near the campfire and (C) wait for the sun,
A (Am) wrinkle of morning, and a (G) new day’s be (Am) gun.
Ride, (C) ride, (G) ride on through (Am) time.

Pour off the cities, they’re (E) whistlin’ why (E7).
(Am) Dream like these hoof beats, (C) dream like this song,
(Am) Dream like this lifetime, as (G) I ride a (Am) long.
Ee-dee-dee- (G) dee ay-dee- (Am) dee (Am)|Am|
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)(MC0)
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.

And-I-was feelin' near as faded as my (D7) jeans.
Bobby thumbed a diesel down, just before it rained,
And rode us all the way to New Or (G) leans (C)-(G).
I pulled my harpoon, and my dirty red bandana.

I was playin' soft while (G7) Bobby sang the (C) blues, nah-hah.
Windshield wipers slappin' time I was, (G) holdin' Bobby's hand in mine,
And (D7) we sang every song that driver (D) knew.
(C) Freedom's just another word for (G) nothin' left to lose.
(D7) Nothin', don't mean nothin' hon' if it ain't (G) free, no no.
And (C) feelin' good was easy Lor-hord, (G) when he sang the blues.
You know (D7) feelin' good was good enough for (D) me.
(D7) Good enough for me and my Bobby Mc (G) Gee. (A)
From the Kentucky coal mine, to the California sun.
Yeah Bobby shared the secrets of my (E7) soul.
Through all kinds of weather, through everything we done.
Yeah Bobby baby (E) kept me from the (A) cold world.
One day up near Salinas no-oh, I let him slip away.

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

Hey my Bobby oh my Bobby Mc (E7) Gee yeah.
La la la la la la la la. La la la la la la la la la. Hey my Bobby oh my Bobby Mc (A) Gee yeah.
Well I call him my lover, call him my man I said I call him my lover did the best I can c'mon.
Hey now Bobby now. Hey now Bobby Mc (E7) Gee yeah.
Lo lo lo lo lo lo lo lo lo lo lo lo lo. Hey, hey, hey, Bobby Mc (A) Gee 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)
Lo lo lo lo lo lo lo lo lo lo lo lo (E) lo. Hey, hey, hey, Bobby Mc (A) Gee. |A|
(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)(MC0/5)
TIP: The intro is actually in two parts. The first part alternates between (G) and (D) and you
want to aim for (emphasize) the middle <a> (3rd string) in the first (D). So after the opening (G)
don't hit the bottom string but do hit the bottom string on the second (D). It will help to pluck
the open 3rd string prior to beginning to get you centered. The second part alternates between (G)
and (C) and then the (G) and (C). Here you want to include the upper strings to add some bass.
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.
TIP: For the outro play the first 3 sets on the treble side with the 4 bottom strings. Then
emphasize the bass by adding your pinky to the bass note for the (C/G) and wrap your thumb over the
top string of the 2nd fret for the (D/F#). There's 9 sets of this second part to match how many
are on the recording but you can play as many as you want. End with a strum of (G).
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) The mama pajama rolled outa bed and she ran to the police (C) station (C).
When the (D) papa found out he began to shout and he started the investi (G) gation |G|.
(NC) It's against the (D) law. It was against the (G) law.
What the mama (D) saw, it was against the (G) law.
The mama looked down and spit on the ground every time my name gets (C) mentioned.
(D) Papa said 'Oy if I get that boy I'm gonna stick him in the house of deten (G) tion |G|.'
(NC) Well I'm on my (C) way. I don't know (G) where I'm going.
I'm on my (C) way. I'm takin' my (G) time but I don't know (D) where.
Goodbye to Ro-(C)-oh-sie the Queen of Cor (G) ona.
See me and (F) Julio (C) down by the (D) school (G) yard. (C)(G)(D)
See (G) me and (F) Julio (C) down by the (D) school (G) yard. (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| whoa oh
In a (G) couple of days they gonna take me away but the press let the story (C) leak (C).
And when the (D) radical priest come to get me released we was all on the cover of (G) Newsweek.
And I'm on my (C) way. I don't know (G) where I'm goin'.
I'm on my (C) way. I'm takin my (G) time but I don't know (D) where.
Goodbye to Ro-(C)-oh-sie the Queen of Cor (G) ona.
See me and (F) Julio (C) down by the (D) school (G) yard (C)(G)(D).
See (G) me and (F) Julio (C) down by the (D) school (G) yard (C)(G)(D).
See (G) me and (F) Julio (C) down by the (D) school (G) yard (C)(G)(D).
<bottom 4 strings> (G)(C)(G)(D); (G)(C)(G)(D); (G)(C)(G)(D);
<all strings> (G)(C/G)(G)(D/F#); (G)(C/G)(G)(D/F#); (G)(C/G)(G)(D/F#); (G)(C/G)(G)(D/F#);

(G)(C/G)(G)(D/F#); (G)(C/G)(G)(D/F#); (G)(C/G)(G)(D/F#); (G)(C/G)(G)(D/F#);
(G)(C/G)(G)(D/F#); |G|
ME AND YOU AND A DOG NAMED BOO – Lobo
(LaVoie)
https://www.youtube.com/watch?v=aTbBvPoxUkk (Capo 4)(MC2)
[Afterwards in [G] which is a little easier to play but it won't match the recording.]
TIP: First off, except for the intro, you can ignore all of the voicing sequences and just play
the major chords. But the voicings are not all that terribly hard to play if you just practice
them until they feel comfortable, because they repeat a lot. They’re all a 6-count beat that
begins with the last syllable of the line.
The first one is (D)-(D)-(D)-(D4)-(D)-(Dsus2). 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). (D) - on with the pinky - off with the pinky - off with the bottom finger.
The next one is a little more difficult because it gets crowded in the 2nd fret. It's
(A)-(A)-(A)-(A6)-(A)-(Asus4) and is played very similarly to the first one. It's 3 strums of (A),
add pinky to the bottom string/2nd fret to get to (A6) - so all your fingers are now jammed into
the 2nd fret - lift off your pinky to get back to (A), and move your pinky over to the 2nd
string/3rd fret while lifting your top finger off the 4th string and you're at (Asus4). And just
like the (D) sequence, it follow a leading (A) and that (A) is the first (A) in the sequence.
; ;
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)
I re (D) member to this day, the (G) bright red (A) Georgia (D) clay -(D)-(D)-(D4)-(D)-(Dsus2).
And (D) how it stuck to the tires,
After the (A) summer rain -(A6)-(A)-(Asus4), (A)-(A)-(A)-(A6)-(A)-(Asus4)
Will (D) power made that old car go.

A woman's (G) mind told (A) me that (D) so -(D)-(D)-(D4)-(D)-(Dsus2).
(D) Oh how I wish we were, (C) back on the road a (G) gain -(G)-(G)-(G)-(G)-(A),
(G)-(G)-(G)-(G)-(G)-(A).
(G) Me and (A) you and a (D) dog named Boo.
(G) Travellin' and (A) livin' off the (D) land -(D)-(D)-(D4)-(D)-(Dsus2).
(G) Me and (A) you and a (D) dog named Boo
How I love (C) bein' a (G) free-ee (D) man -(D)-(D)-(D4)-(D)-(Dsus2), (D)-(D)-(D)-(D4)-(D)-(Dsus2).
Now (D) I can still recall, the (G) wheat fields (A) of Saint (D) Paul -(D)-(D)-(D4)-(D)-(Dsus2).
And the (D) morning we got caught,
Robbing from an old (A) hen -(A)-(A)-(A6)-(A)-(Asus4), (A)-(A)-(A)-(A6)-(A)-(Asus4)
Old Mc (D) Donald he made us work,

But then he (G) paid us for (A) what it was (D) worth -(D)-(D)-(D4)-(D)-(Dsus2).
A (D) nother tank of gas and, (C) back on the road a (G) gain -(G)-(G)-(G)-(G)-(A).

How I love (C) bein' a (G) free (D) man. -(D)-(D)-(D4)-(D)-(Dsus2), (D)-(D)-(D)-(D4)-(D)-(Dsus2)
Now I'll (D) never forget the day,

We motored (G) stately into, big L. (D) A. -(D)-(D)-(D4)-(D)-(Dsus2).
The lights of the city put settlin' down in my (A) brain -(A)-(A)-(A6)-(A)-(Asus4),
(A)-(A)-(A)-(A6)-(A)-(Asus4)
Though-it's-only (D) been a month or so,

That old (G) car's buggin' (A) us to (D) go -(D)-(D)-(D4)-(D)-(Dsus2).
We've (D) gotta get away and get, (C) back on the road a (G) gain -(G)-(G)-(G)-(G)-(A).

How I love (C) bein' a (G) free (D) man -(D)-(D)-(D4)-(D)-(Dsus2).

How I love (C) bein' a (G) free (D) man -(D)-(D)-(D4)-(D)-(Dsus2).
How I love (C) bein' a (G) free (D) man -(D)-(D)-(D4)-(D)-(Dsus2). |D|
(Lobo) (Artist Index) - (Main Index) - (Song Index) (This Song)

ME AND YOU AND A DOG NAMED BOO – Lobo
(LaVoie)
(MC3)
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.
TIP: The (D)-(D)-(D)-(D4)-(D)-(Dsus2) and other voicings are played exactly as the version above.
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). (D) - on with the pinky - off with the pinky
- off with the bottom finger. It will always follow a leading (D) and that (D) is the first (D) in
the sequence.
; ;
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)
I re (G) member to this day, the (C) bright red (D) Georgia (G) clay.
And how it stuck to the tires, after the (D) summer rain -(D4)-(D)-(Dsus2),
(D)-(D)-(D)-(D4)-(D)-(Dsus2)
Will (G) power made that old car go. A woman's (C) mind told (D) me that (G) so.
Oh how I wish we were, (F) back on the road a (C) gain -(C)-(C)-(C)-(C)-(D),
(C)-(C)-(C)-(C)-(C)-(D).
(C) Me and (D) you and a (G) dog named Boo. (C) Travellin' and (D) livin' off the (G) land.
(C) Me and (D) you and a (G) dog named Boo.
How I love (F) bein' a (C) free-ee (G) man -(G)-(G)-(C)-(Cmaj7)-(D), (G)-(G)-(G)-(C)-(Cmaj7)-(D).
Now (G) I can still recall, the (C) wheat fields (D) of Saint (G) Paul.
And the (G) morning we got caught, robbin' from an old (D) hen -(D)-(D)-(D4)-(D)-(Dsus2),
(D)-(D)-(D)-(D4)-(D)-(Dsus2)
Old Mc (G) Donald he made us work, but then he (C) paid us for (D) what it was (G) worth.
Another tank of gas and, (F) back on the road a (C) gain -(C)-(C)-(C)-(C)-(D).
How I love (F) bein' a (C) free (G) man -(G)-(G)-(C)-(Cmaj7)-(D), (G)-(G)-(G)-(C)-(Cmaj7)-(D)
Now I'll (G) never forget the day, we motored (C) stately into, big L. (G) A.
The lights of the city put settlin' down in my (D) brain -(D)-(D)-(D4)-(D)-(Dsus2),
(D)-(D)-(D)-(D4)-(D)-(Dsus2)
Though-it's-only (G) been a month or so, that old (C) car's buggin' (D) us to (G) go.
We've gotta get away and get, (F) back on the road a (C) gain -(C)-(C)-(C)-(C)-(D).
(C) Me and (D) you and a (G) dog named Boo how I love (F) bein' a (C) free (G) man.
(C) Me and (D) you and a (G) dog named Boo how I love (F) bein' a (C) free (G) man.
How I love (F) bein' a (C) free (G) man -(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)(MC0)
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| Mmmmm-mmmmm. (NC) Well I got a woman mean as she can (A) be.
(A7) Welllll (D) I got a woman (D7) mean as she can (A) be.
Some a (E7) times I think she's (D) almost mean as (A) me. (E)
She gotta |A| ruby lips she got |A| shapely hips yeah.
|A| Boy she makes old (A7) Roy a-flip.
(D7) I got a woman, mean as she can (A) be.
Some a (E7) times I think she's (D) almost, mean as (A) me. (E7)
Yeah well |A| I ain't braggin', |A| it's understood.

|A| Everything I do well I (A7) sure do it good yeah.
(D) I got a woman, mean as she can (A) be.
Some a (E7) times I think she's (D) almost mean as (A) me.
Wellllll. (A)(A), (D), (A), (E), (A); (E7)
She gotta |A| ruby lips she got |A| shapely hips yeah.
|A| Boy she makes old (A7) Roy-a flip.
(D) I got a woman, mean as she can (A) be.
Some a (E7) times I think she's (D) almost, mean as (A) me.
(E7) Easy now a (A) huh-huh a huh. A huh-huh huh. A (D) huh-huh. Whoooo a (A) huh.
A (E7) huh-huh. (D) Yeah, (A) yea-yeah.
Ahhhhhhhhhhhhh-ah. (D) Oooooooooooh-oooh. (A) <growl> (E7) (D) Yeah. (A) Now let's go one time.
Well I got a woman - sha la la la. Yeah I got a woman sha la la la.
Yeah (D) I got a woman sha la la la. Well (A) I got a woman sha la la la.
Some a (E7) times I think she's (D) almost mean as (A) me. Sha la la la.
MEDICINE JAR - Paul McCartney & Wings
(McCulloch/Allen)
https://www.youtube.com/watch?v=QyjbVgP4nYo (Capo 0)(MC2)
TIP: There are very minor variations depending on the recording. This version is from the live
album Wings Over America. The intro riff repeats throughout the song. It can be skipped after the
intro but it's pretty easy to play once you get the cadence down. It's a 5-note, 2-bar affair with
a very quick change from (Am7) to (Am) in the first bar and then from (Am7) to (C) in the second
bar. It's all movement of the ring finger, first off and then to <c>.
INTRO: (Am)(Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am); (Am)(Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)

(Am)(Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am); (Am)(Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)
What's wrong with you? I wish I knew. (Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)

You say (Dm) time will tell. I hope that's (Am) true. (Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)
There's more to life than (Dm) blues and reds.

I say I (G) know how you feel now your (E) friends, (E7) are, (Am) dead. (Am)(Am)(Am7)-(Am),
(Am)(Am)(Am)(C)-(Am)
(Dm) Dead on your feet you won't get far

If you (E7) keep on sticking your (E) hand in the (E7) medicine (Am) jar (Am)(Am)(Am7)-(Am),
(Am)(Am)(Am)(C)-(Am); (Am)(Am)(Am)(Am7)-(Am), (Am)(Am)(Am)(C)-(Am)
Well now don't give up, whatever you do. You say (Dm) time will tell.
I hope that's (Am) true. (Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)
If you go down and (Dm) lose your head

If you (E7) keep on sticking your (E) hand in the (E7) medicine (Am) jar. (Am)(Am)(Am7)-(Am),
(Am)(Am)(Am)(C)-(Am); (Am)(Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)

(Am)(Am)(Am)(C)-(Am); (Am)(Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am);
(Am)(Am),(Dm)(Dm); (Am)(Am)(Dm)(G)(E)-(E7)-(Am)(Am)
What can I do? I can't let go.

You say (Dm) time will heal, but very (Am) slow. (Am)(Am)(Am7)-(Am),(Am)(Am)(Am)(C)-(Am)
So don't forget the (Dm) things you said.



If you (E) keep on sticking your hand in the (E7) medicine (Am) jar.
The medicine (Dm) jar, the medicine (Am) jar. Medicine (Dm) jar, the medicine (Am) jar.
The medicine (Dm) jar, the medicine (Am) jar. The medicine (Dm) 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)(MC2)
TIP: The intro opens with a series of notes. Start with the neck in your hand with all fingers
pointing up with pinky over the 4th fret (6th fret if capo 2). Start by plucking the open 4th
string <d> twice. Now walk down the scale -- pinky on <c#> (5th string/4th string), index finger
on the (5th string/2nd fret), open 5th string <a>, middle finger twice on the <g> (top
string/3rd fret), index finger on the <f#> (top string/2nd fret), open top string <e>, and open 5th
string <a>. The outro is the same series of notes finishing with a (D).
TIP: The (A7-) always follows the (A7) so just lift the bottom finger on your way to the (D).
INTRO: <d><d><c#><a><g><g><f#><e><a> (D) Sweet sweet, (A7) memories you gave to me.
(D) You-can't-beat, the (A7) memories you gave to me.
(D) Take, one (A7) fresh and (A7-) tender (D) kiss (A7).
(D) Add, one (A7) stolen (A7-) night of (D) bliss (A7).
(G) One girl, (D) one boy, (A7) some grief, (D) some joy.
Memor (A7) ies are, made of (D) this (A7).
(D) Don't, for (A7) get a (A7-) small moon (D) beam (A7).
(D) Fold, in (A7) lightly (A7-) with a (D) dream (A7).
(G) Your lips, (D) and mine, (A7) two sips, (D) of wine.
Memor (A7) ies are, made of (D) this (A7).
(G) Then add the wedding bells. (D) One house where lovers dwell.
(A7) Three little kids, for the (D) flavor (D7).
(G) Stir carefully through the days. (D) See how the flavor stays.
(E) These are the dreams, you'll (A7) sav (A) or.
(D) With, His (A7) blessings (A7-) from a (D) bove (A7).
(D) Serve, it (A7) generous (A7-) ly with (D) love (A7).
(G) One man, (D) one wife, (A7) one love, (D) through life.
Memor (A7) ies are made of (D) this (A7). (D) Memor (A7) ies are made of (D) this.
<d><d><c#><a><g><g><f#><e><a> |D|
(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)(MC3)
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: Form (G): 4-3-2,4-2, 4-3-2,4-2
(G) Mem'ry, turn your face to the (Em) moonlight.

Let your memory (C) lead you, open up, enter (Bm) in.
If you (D) find (Am) there the meaning of what (Em) happiness (Bm) is.
Then a (D) new life, (C) will be (G) gin.
(G) Mem'ry, all alone in the (Em) moonlight.

I can smile at the (C) old days, I was beautiful (Bm) then.
I re (D) mem (Am) ber a time I knew what (Em) happiness (Bm) was.
Let the (D) memory, (C) live a (G) gain.
(Bm) Burnt out (Am) ends of (Bm) smoky (Am) days. The (Bm) stale cold (G) smell of (D) morning.
A (Bm) streetlamp dies, another (A) night is over. A (D) nother day (E) is (A) dawning.
(G) Daylight, I must wait for the (Em) sunrise.
I must think of a (C) new life, and I musn't give (Bm) in.
When the (D) dawn (Am) comes, tonight will be a (Em) memory (Bm) too.
And a (D) new day (C) will be (G) gin.
(D/A3)(Bm3)(F4)(D/A3)
(Gm) Sunlight (F4) through, the (Gm) trees in sum (F4) mer, (Gm) endless (D/A3) masquer (Bb) ading.
(Gm) Like a flower, as the (F) dawn is breaking, the (Gm) memory (C7) is (F) fading.
(Bb) Touch me. It's so easy to (Gm) leave me,

All alone with the (D/A3) memory, of my days in the (Dm) sun.
If you touch (Bm3) me, you'll understand what (Gm) happiness (F) is.
Look, a new day has be (Bb) gun.
(Elaine Paige)(Betty Buckley) (Artist Index) - (Main Index) - (Song Index)(This Song)
MEMORY – Elaine Paige/Betty Buckley
(Eliot/Nunn/Webber)
(MC3)
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.
1st intro: Form (C) and walk down the strings beginning with the 5th string (low <c>) to the
2nd string (high <c>) and back up to the 4th string. Do this 4 times and begin the song.
2nd intro: Form and hold (C/G) which is just (C) with your pinky added to the top string/3rd
fret) and pick the strings one at a time starting with the covered 6th string. Or you can play
strings 3 - 2- 1, 3 - 1 if you'd rather.
TIP: There's a short instrumental bit two-thirds of the way through consisting of six chords. 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: Form (C): 5 - 4 - 3 - 2 - 3 - 4; 5 - 4 - 3 - 2 - 3 - 4

5 - 4 - 3 - 2 - 3 - 4; 5 - 4 - 3 - 2 - 3 - 4
(C) Daylight, see the dew on the (Am) sunflower.

And the rose that is (F) fading, roses wither a (Em) way.
Like the (G) sun (Dm) flower, I yearn to turn my (Am) face to the (Em) dawn.
I am (G) waiting, (F) for the (C) 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: Form (C/G): 6 - 5 - 4, 6 - 4; 6 - 5 - 4, 6 - 4
(C) Mem'ry, turn your face to the (Am) moonlight.

Let your memory (F) lead you, open up, enter (Em) in.
If you (G) find (Dm) there the meaning of what (Am) happiness (Em) is.
Then a (G) new life, (F) will be (C) gin.
(C) Mem'ry, all alone in the (Am) moonlight.

I can smile at the (F) old days, I was beautiful (Em) then.
I re (G) mem (Dm) ber a time I knew what (Am) happiness (Em) was.
Let the (G) memory, (F) live a (C) gain.
(Em) Burnt out (Dm) ends of (Em) smoky (Dm) days. The (Em) stale cold (C) smell of (Bm) morning.
A (Em) streetlamp dies, another (D) night is o (F#m) ver. A (G) nother day (A) is (D) dawning.
(C) Daylight, I must wait for the (Am) sunrise.

I must think of a (F) new life, and I musn't give (Em) in.
When the (G) dawn (Dm) comes, tonight will be a (Am) memory (Em) too.
And a (G) new day (F) will be (C) gin.
(C)(Am), (Am)(F), (F)(C)
(Em) Sunlight (Dm) through, the (Em) trees in (Dm) summer, (Em) endless (C) masquer (Bm) ading.
(Em) Like a flower, as the (D) dawn is break (F#m) ing, the (G) mem'ry (A) is (D) fading.
<with gusto> (C) Touch me. It's so easy to (Am) leave me,
All alone with the (F) memory, of my days in the (Em) sun.
If you (G) touch (Dm) me, you'll understand what (Am) happiness (Em) is.
Look, a (G) new day (F) has be (C) gun.
(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)(MC1)
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:”
<clapping> Oh (D) Lord, won't you buy me, a (G) Mercedes (D) Benz?
My friends all drive Porsches, I must make a (A) mends.
Worked (D) hard all my lifetime, no (G) help from my (D) friends.
So oh Lord, won't you buy me, a (A) Mercedes (D) Benz?
Oh Lord, won't you buy me, a (G) color T (D) V?

"Dialing for dollars" is trying to find (A) me.
I (D) wait for delivery, each (G) day until (D) three.
So oh Lord, won't you buy me, a (A) color T (D) V?
Oh Lord, won't you buy me, a (G) night on the (D) town?
I'm counting, on you Lord, please don't let me (A) down.
(D) Prove that you love me and (G) buy the next (D) round.
Oh Lord, won't you buy me, a (A) night on the (D) town?
Everybody oh (D) Lord, won't you buy, me a (G) Mercedes (D) Benz?
My friends all drive Porsches, I must make a (A) mends.
Worked (D) hard all my lifetime, no (G) help from my (D) friends.
So oh Lord, won't you buy me, a (A) Mer-ce-des (D) 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) (MC1)
[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)
Michael row the boat ashore, halle (F) lu (C) jah.

Michael (Em) row the boat a (Dm) shore, halle (C) lu (G) u (C) jah.
Sister help to trim the sails, halle (F) lu (C) jah.

Sister (Em) help to trim the (Dm) sails, halle (C) lu (G) u (C) jah.
The River Jordan is chilly and cold, halle (F) lu (C) jah.
Chills the (Em) body but not the (Dm) soul, halle (C) lu (G) u (C) jah.
The river is deep and the river is wide, halle (F) lu (C) jah.
Milk and (Em) honey on the other (Dm) side, halle (C) lu (G) u (C) jah.
<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)

Sister help to trim the sails, halle (F) lu (C) jah.

Sister (Em) help to trim the (Dm) sails, halle (C) lu (G) u (C) jah.
Jordan's river is deep and wide, halle (F) lu (C) jah.

And I've got a (Em) home on the other (Dm) side, halle (C) lu (G) u (C) jah.

Michael's boat is a music boat, halle (F) lu (C) jah.

Michael's (Em) boat is a music (Dm) boat, halle (C) lu (G) u (C) jah.

The trumpets sound the Jubilee, halle (F) lu (C) jah.

Trumpets (Em) sound for you and (Dm) me, halle (C) lu (G) u (C) jah.

Michael |C| row the boat ashore, hallelujah.

Michael |Em| row the boat a |Dm| shore, halle |C| lu |G| u |C| 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)(MC1/2)
[Two versions here, first for the Highwaymen, and afterwards one for Peter, Paul, & Mary which add
some verses the Highwaymen do not. There's also a version in C.]
TIP: If you want to get a little fancy and add some nice voicing which all involves simply lifting
and replacing an existing finger: (G) Michael (Gadd) row (lift off 2nd string/3rd fret) the
(replace) boat (lift off bottom string) a (replace) shore, (lift off) hal (replace) le (C) lu (G)
jah. Michael row the (C) boat (lift off index finger) a (D) shore, halle (G) lu (D) (G) jah.
<Highwaymen Version>
INTRO: <whistle> (C)(G); (G)(Bm),(G)(D)(G),(G)
Michael (Gadd) row the boat ashore, halle (C) lu (G) jah.
Michael (Bm) row the boat a (Am) shore, halle (G) lu (D) u (G) jah.
Sister (Gadd) help to trim the sails, halle (C) lu (G) jah.
Sister (Bm) help to trim the (Am) sails, halle (G) lu (D) u (G) jah.
The River (Gadd) Jordan is chilly and cold, halle (C) lu (G) jah.
Chills the (Bm) body but not the (Am) soul, halle (G) lu (D) u (G) jah.
The river is (Gadd) deep and the river is wide, halle (C) lu (G) jah.
Milk and (Bm) honey on the other (Am) side, halle (G) lu (D) u (G) jah.
<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),
Sister (Gadd) help to trim the sails, halle (C) lu (G) jah.
Sister (Bm) help to trim the (Am) sails, halle (G) lu (D) u (G) jah.
Jordan's (Gadd) river is deep and wide, halle (C) lu (G) jah.
And I've got a (Bm) home on the other (Am) side, halle (G) lu (D) u (G) jah.
Michael's (Gadd) boat is a music boat, halle (C) lu (G) jah.

Michael's (Bm) boat is a music (Am) boat, halle (G) lu (D) u (G) jah.
The trumpets (Gadd) sound the Jubilee, halle (C) lu (G) jah.
Trumpets (Bm) sound for you and (Am) me, halle (G) lu (D) u (G) jah.
Michael |Gadd| row the boat ashore, hallelujah.

Michael |Bm| row the boat a |Am| shore, halle |G| lu |D| u |G| 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)(MC3)
TIP: The intro and instrumental bridge emulates the banjo part that appears in the recording.
TIP: In the 2nd and 4th lines of the verse Darius is singing note (e.g. "lot to" and "made me"
etc.) and not <c> so (Cmaj7) is the appropriate chord. But, if you can, rather than play a regular
(Cmaj7), add your pinky to the bass string (top string/3rd fret) and play a (Cmaj7G) as shown in the
second diagram and include the top string on the strum.
( )
INTRO: (G)(Gadd)(C)-(C)-(Gadd), (Em)(C)-(C)-(G); (G)(Gadd)(C)-(C)-(Gadd), (Em)(C)-(C)-(G)
I met a girl just the (C) other (G) day.

(Em) Stopped to talk she had a (Cmaj7) lot to (G) say.
She told me all about (C) poli (G) tics.
(Em) She told us somethings that (Cmaj7) made me (G) sick.
(G)(Gadd)(C)-(C)-(Gadd), (Em)(C)-(C)-(G)
I don't want just to (C) call her (G) up.

(Em) Tell her I love her and (Cmaj7) tell her how (G) much.
She don't need that (C) any (G) way.
And (Em) what she don't need is a (Cmaj7) bigger (G) head.
Michelle Post knows (C) all a (G) bout it.

(Em) What she don’t want is to (Cmaj7) talk a (G) bout it.
She got everything that (C) she be (G) lieves in.
(Em) She got something and she (Cmaj7) won’t let (G) meee in.
(G)(Gadd)(C)-(C)-(Gadd), (G)(D)(Em), (Em)(C)-(C)-(G)
(G)(Gadd)(C)-(C)-(G) I met a girl just the (C) other (G) day.

(Em) Stopped to talk she had a (Cmaj7) lot to (G) say.
She told me all about (C) poli (G) tics.
(Em) She told us somethings that (Cmaj7) made me (G) sick.
Michelle Post knows (C) all a (G) bout it.

(Em) What she don’t want is to (Cmaj7) talk a (G) bout it.
She got everything that (C) she be (G) lieves in.
(Em) She got something and she (Cmaj7) won’t let (G) me in.
(Cmaj7) Won’t let (G) me in. (Cmaj7) Won’t let me (G) in, (Cmaj7) woe is (G) me.
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)(MC1)
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) Who's the leader of the club that's (A7) made for you and (D7) me?
(G) M, I, C; (C) K, E, Y; (G) M, O, (D7) U, S, (G) E.
Hey there hi there ho there, you're as (A7) welcome as can (D7) be.
Mickey (C) Mouse (Donald Duck). Mickey (G) Mouse (Donald Duck).
For (A7) ever let us hold our banner (D7) high (high high high).
(G) Come along and sing a song, and (A7) join the jambor (D7) ee.
(G) Mick-(D)-ey (C) Mouse (D) Club. (G) Mick-(D)-ey (C) Mouse (D) Club.
(G) We'll (D) have (C) fun, (D) we'll (G) meet (D) new (C) fa-(D)-ces,
(G) We'll (D) do (C) things (D) and (G) we'll (D) go (C) pla-(D)-ces,
(G) All (D) a-(C)-round (D) the (G) world (D) we're (C) mar-(D)-ching.
(G) Who's the leader of the club that's (A7) made for you and (D7) me?
Hey there hi there ho there, you're as (A7) welcome as can (D7) be.
Mickey (C) Mouse (Donald Duck). Mickey (G) Mouse (Donald Duck).
For (A7) ever let us hold our banner (D7) high (high high high).
(G) Come along and sing a song, and (A7) join the jambor (D7) ee.
Yay Mickey, yay Mickey, yay Mickey Mouse Club.
(The Mousketeers) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
<Closing Theme> <key change> <MUCH slower>
(D) Come along and sing our song and (E7) join our famil-(A7)-ly.
(D) M, I, C; (G) K, E, Y; (D) M, O, (A7) U, S, (G) E (D).
(D) Through the years we'll all be friends wher (E7) ever we may (A7) be.
(D) M, I, C; (G) K, E, Y; (D) M, O, (A7) U, S, (D) E.
Mickey (G) Mouse. Mickey (D) Mouse.
For (E7) ever let us hold our banner (A7) high.
(D) Now it's time to say goodbye to (E7) all our compa (A7) ny.
(D) M-I-C...see you real soon. (G) K-E-Y. Why? Because we like you.
(D) M, O, (A7) U, S, (G) E (D).
(The Mousketeers) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
MIDDLE OF A MEMORY – Cole Swindell
(Gorley/Swindell/Crowell)
https://www.youtube.com/watch?v=PS9Wo0iQUsg (Capo 4)(MC2)
TIP: For the (G) to (G/Em) in the intro just drop your middle finger down from the top string to
the 4th string below your index finger. For the (C) to (CaddG) hold the (C) shape and add your
pinky to the bottom string/3rd fret. Or just play (G)(Em)(D) and (C).
INTRO: (G)(G)-(Em/G), (Em/G)(G)-(Em); (D)(D)(C)-(CaddG)
(G) Baby it just took one look at (Em) you, for me to change my one drink order to (D) two
Like we already knew each other, (C) like we been talking allll night.
(G) About a minute into our first dance, (Em) we got blindsided by your friends,
(D) All in a hurry like you had to go. (C) Didn't they know you can't leave someone,
Girl you can't leave sommme-one.
(G) In the middle of a dance floor all a (D) lone,

In the middle of an (Em) old school country (C) song.
Right when I was (G) just about to lean on (D) in why'd you have to go then? Baby-(G)-y,
In the middle of the glow of the neon (D) light,

It shoulda coulda (Em) woulda been the night of our (C) lives.
Girl it ain't (G) right no how you gonna (D) leave me,
Right in the middle of a (C) memory? (G)(D)(D)(G)
We were gonna dance till they shut it (Em) down. People'd be staring while I spin you (D) 'round,
Thinking we were so in love yeah. (C) They wouldn't know we hadn't even hooked up.
(G) I'd get your number and I'd give you mine, (Em) and we'd be hanging out tomorrow night.
(D) But now I don't know where you are. I'm (C) under these lights right here in the da-(G)-ark.
In the middle of a dance floor all a (D) lone,

In the middle of an (Em) old school country (C) song.
Right when I was (G) just about to lean on (D) in, why'd you have to go then? Baby-(G)-y,
In the middle of a (C) memoryyy-(G)-yy? (D) Yeah. (D)(C)(G)(D)(D)
Yeah it's like you (C) walked right out,

In the (G) middle of a movie tore the (D) back half out of a (G) book,
And no you'll (C) never know, (G) girl what you did to me it ain't (D) riiight,
|D| Sayin’ goodbyyyye. (G)
In the middle of a dance floor all a (D) lone,

In the middle of (Em) what could be our (C) song.
Right when I was (G) just about to lean on (D) in why'd you have to go then? Baby-(G)-y,

Right in the middle of a (C) memory? (G)(D)(D)
In the middle of a (C) memory. (G)(D)(D) <softer> (G)(G)(Em)

In the middle of a (C) memory. (C)(C)|G|
(Cole Swindell) (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)(MC0/5)
TIP: For the intro pluck the top string and strum (G).
INTRO: <form (G)> 6-(G)(G); 6-(G)(G)
I was born in a small town, mama was a (D) farmer's (Em) wife.
We (C) knew everyone for (G) miles around we lived here all our (D) lives.
(G) It never even entered their minds, I might not (D) want to (Em) stay.
(C) But I'm young and (G) still got time, I (C) got to get a (D) way (D).
And there's (C) one stop (G) light blinkin' (C) on and (G) off,
(C) Everyone (G) knows when the (C) neighbors' (G) gone.
They (C) roll up the (G) streets when the (C) sun goes (D) down (D).
I'm a (C) midnight (G) girl in a (D) sunset (Em) town (Em).
I'm a (C) midnight (G) girl in a (D) sunset (G) town. (G)
Seen places on the TV, where they stay up (D) all night (Em) long.
(C) Around here it's (G) early to bed and they rise before the (D) dawn.
(G) They say the old ways are still the best, I can (D) not de-(Em)-ny it.
(C) But I can't (G) get no rest, 'cause it's just too (D) quiet (D).
I'm a (C) midnight (G) girl in a (D) sunset (G) town. (G)
(C)(C)(D)-(G)(G)
Now I lay me (D) down to (G) sleep. Pray the Lord my (C) soul to (G) keep.
If I should die before the (C) world turns (D) 'round.
(C) Lord don't (G) leave me in this (C) one horse (G) town.
[(C) Lord don't (G) leave me in this (C) one horse (G) town.]
(C) Lord don't (G) leave me in this (C) one horse (G) town.
[(C) Lord don't (G) leave me in this (C) one horse (G) town.]
I'm a (C) midnight (G) girl in a (D) sunset (G) town.
There's (C) one stop (G) light blinkin' (C) on and (G) off,
I'm a (C) midnight (G) girl in a (D) sunset (G) town. (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)(MC2)
TIP: Tune the top string down from <e> to <d>. When playing (G) either lift off the top finger so
the top string is open, or just strum the top 5 strings (or just don't worry about it, it'll get
lost in the bass if you do cover the top string). When playing (A7) don't strum the top string.
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| Wellllll you wake up in the mornin' |G|, you hear the work bell ring |D|.
And they march you to the table |A7|, you see the same old thang |D|.
Ain't no food upon the table |G|, and no fork up in the pan |D|.
But you'd better not complain boy |A7|, you'll get in trouble with the ma- |D| -an. (D)(D)
Let the midnight (G) special, shine the light on (D) me.
Let the midnight (A7) special, shine the light on (D) me.
Let the midnight (A7) special, shine the ever-lovin' light on (D) me.
Yonder come Miss (G) Rosie, how in the world did you (D) know?
By the way she wears her (A7) apron, and the clothes she (D) wore.
Umbrella on her (G) shoulder, piece of paper in her (D) hand.
She come to see the (A7) gov'nor. She want to free her (D) man.
If you're ever in (G) Houston, oh you'd better do (D) right.
You'd better not (A7) gamble, and you'd better not (D) fight.
Or the sheriff will (G) grab ya, and the boys'll bring you (D) down.
The next thing you (A7) know boy, oh you're prison (D) bound.
Well let the midnight (G) special, shine the light on (D) me.
Let the midnight (G) special shine, the light on (D) me.
Let the midnight (A7) special, shine the ever-lovin' (A) liii-iight, (A7) on, (G) meee-(D)-e.

MIGHTY MOUSE THEME - The Terrytooners & Mitch Miller Orchestra
(Sheib/Barer)
https://www.youtube.com/watch?v=fJvM8eYcpL0 (Capo 1)(MC1)
TIP: In the musical interlude you repeat the chords from the verse.
INTRO: (D)(D7)(D)(D)
Mister (G) Trouble never hangs around, when he (E) hears this Mighty (Am) sound:
“Here I come to save the day!” That means that (D) Mighty Mouse is on the (G) way.
Yes sir when there is a wrong to right, Mighty (E) Mouse will join the (Am) fight.
On the sea or on the land, he gets the (D7) situation well in (G) hand.
So though we are in danger, we (C) never despair,

‘Cause we (Am) know that where there’s danger he is (D) there.
He is there, on the land, on the sea, in the (D7) air.
(G) We’re not worryin’ at all. We’re just (E) listenin’ for his (Am) call:
“Here I come to save the day!” That means that (D) Mighty Mouse is on the (G) way.
(G)(G)(E)(Am), (Am)(Am), (D7)(G)
We’re not worryin’ at all, we’re just (E) listenin’ for his (Am) call:
“Here I come to save the day!” That means that (D) Mighty Mouse is on the (G) way! |G|
(The Terrytooners & Mitch Miller Orchestra) (Kid Friendly) (Artist Index)
THE MIGHTY QUINN - Manfred Mann
(Dylan)
https://www.youtube.com/watch?v=9oU2Rc1UzXk (Capo 2)(MC3)
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)
Come all without, (E) come all with (A) in.

You'll not see (E) nothing like the (D) mighty (A) Quinn.
You'll not see (E) nothing like the (D) mighty (A) Quinn. (A)(A)(D)(A)
Everybody's (D) building, (A) ships and (D) boats.

(A) Some are building (D) monuments, (A) others, jotting down (D) notes.
(A) Everybody's (D) in despair, (A) every girl and (D) boy.
But when |A| Quinn the Eskimo |E| gets here, every |D| body's gonna jump for |A| joy.
(A) Come all without, (E) come all with (A) in.
I like to go just (D) like the rest, I (A) like my sugar (D) sweet.
But (A) jumping queues and (D) makin' haste just (A) ain't my cup of (D) meat.
(A) Everyone's be (D) neath the trees feedin' (A) pigeons on a (D) limb.
But when |A| Quinn the Eskimo |E| gets here, all the |D| pigeons gonna run to |A| him.
Let me do what I (D) wanna do, I (A) can't decide 'em (D) all.
Just (A) tell me where to (D) put 'em, and I'll (A) tell you who to (D) call.
(A) Nobody can (D) get no sleep there's (A) someone on everyone's (D) toes.
But when |A| Quinn the Eskimo |E| gets here, every |D| body's gonna wanna |A| doze.
(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)(MC0)
[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,

'Cause me and that sweet woman's got a (E7) license to fight.
Why don't you (A7) mind your own business? (E) Mind your own business.
'Cause if you (B7) mind your business then you won't be mindin' (E) mine (B7).
Oh the (E) woman on our party line's the nosiest thing.

She picks up her receiver when she (E7) knows it's my ring.
Well if you (B7) mind your business then you won't be mindin' (E) mine.
(E)(E7)(A7)(E)(B7)(E)(B7)
I (E) got a little gal that wears her hair up high.

The boys all whistle when (E7) she walks by.
Well if you (B7) mind your own business you sure won't be minding (E) mine.
(E)(E7)(A7)(E)(B7)(E)(B7)
If I (E) want to honky tonk around 'til two or three,
Now brother that's my headache don't you (E7) worry 'bout me.
Just (A7) mind your own business. (E) Mind your own business.
If you (B7) mind your business then you won't be mindin' (E) mine.
(E)(E7)(A7)(E)(B7)(E)(B7)
(E) Mindin' other people's business seems to be high-toned.

I got all that I can do just to (E7) mind my own.
If you (B7) mind your own business you'll stay busy all the (E) time. |E|
MIND YOUR OWN BUSINESS
Hank Williams
https://www.youtube.com/watch?v=RZH2bmbUTl4 (Capo 2)(MC0)
INTRO: (A7)(A7)(D)
If the wife and I are fussin' brother that's our right,

'Cause me and that sweet woman's got a (D7) license to fight.
Why don't you (G7) mind your own business? (D) Mind your own business.
'Cause if you (A7) mind your business then you won't be mindin' (D) mine (A7).
Oh the (D) woman on our party line's the nosiest thing.

She picks up her receiver when she (D7) knows it's my ring.
Well if you (A7) mind your business then you won't be mindin' (D) mine.
(D)(D7)(G7)(D)(A7)(D)(A7)
I (D) got a little gal that wears her hair up high.

The boys all whistle when (D7) she walks by.
Well if you (A7) mind your own business you sure won't be minding (D) mine.
(D)(D7)(G7)(D)(A7)(D)(A7)
If I (D) want to honky tonk around 'til two or three,

Now brother that's my headache don't you (D7) worry 'bout me.
Just (G7) mind your own business. (D) Mind your own business.
If you (A7) mind your business then you won't be mindin' (D) mine.
(D)(D7)(G7)(D)(A7)(D)(A7)
(D) Mindin' other people's business seems to be high-toned.
I got all that I can do just to (D7) mind my own.
If you (A7) mind your own business you'll stay busy all the (D) time. |D|
THE MINSTREL BOY - Traditional/John McDermott
(Moore)
https://www.youtube.com/watch?v=0ssHxZABrpE (Capo 3)(MC1)
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: 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/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)
The Minstrel (Am) Boy to the (C) war is (F) gone.

In the (Am) ranks of death you will (Dm) find (C) him.
His father's (Am) sword he has (C) girded (F) on,
And his (Am) wild harp slung be (Dm) hind (C) him.
(Am) 'Land of (F) song' said the (G) warrior bard,

'Though (Am) all the (E) world be-(Am)-tra-(Asus2)-ays (F) thee.
One (C) sword at (Am) least thy (C) rights shall (F) guard.
One (Am) faithful harp shall (G) praise (C) thee.'
(C)(Am)(C)(F), (Am)(Am)(G)(C)
The Minstrel (Am) fell but the (C) foeman's (F) chain,
Could not (Am) bring his proud soul (Dm) un (C) der.
The harp he (Am) loved never (C) spoke a (F) gain,
For he (Am) tore its chords a (Dm) sun (C) der.
And (Am) said 'No (F) chains shall (G) sully thee,
Though (Am) soul of (E) love and (Am) bra-(Asus2)-ver-(F)-y.
Thy (C) songs were (Am) made for the (C) pure and (F) free,
They shall (Am) never sound in (G) slave (C) ry.'
(Am) 'Land of (F) song' said the (G) warrior bard,

'Though (Am) all the (E) world be-(Am)-tra-(Asus2)-ays (F) thee.
One (C) sword at (Am) least thy (C) rights shall (F) guard.
One (Am) faithful harp shall (G) praise (C) thee.'
(C)(Am)(C)(F), (Am)(Am)(G)(C)
The Minstrel (Am) Boy will re (C) turn we (F) pray.

When we (Am) hear the news we all will (Dm) cheer (C) it.
The minstrel (Am) boy will re (C) turn one (F) day,
Torn per (Am) haps in body not in (Dm) spir (C) it.
Then (Am) may he (F) play on his (G) harp in peace,

In a (Am) world such-as (E) Heaven in (Am) ten-(Asus2)-en-(F)-ded.
For (C) all the (Am) bitterness of (C) man must (F) cease,
And (Am) ev'ry battle must be (G) end (C) ed.
(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)(MC3)
TIP: There's a 10-note mandolin riff, here's how you emulate this with chords (right-side
diagrams): Strum (Em) five times, slight pause, then add your pinky to the bottom string/3rd fret
(EmG) for one stroke with another slight pause, and then quickly strum one stroke of (D), lift off
the bottom finger for one stroke of (Dsus2), back down for (D), and finish with (Em). BUT, this
final sequence of notes, after the (Em) strums, is also easy to pick out as they're all on the
bottom 2 strings. So try playing the (Em)s as a chord and pick the last 5 notes. Try it!
INTRO: (Em)(Gadd),(Em)(Gadd),(Em)(Gadd),(D)(A)(Em)
Monty this seems (Gadd) strange to me. The (Em) movies had that (Gadd) movie thing.
But (Em) nonsense has a (Gadd) welcome ring, and (D) heroes (A) don't come eas (Em) y.
Now nonsense isn't (Gadd) new to me. I (Em) know my head I (Gadd) know my feet.
But (Em) mischief knocked me (Gadd) in the knees. Said (D) "Just, (A) let, (Em) go.
(D) Just, (A) let, (Em) go."
I saw the ocean (Gadd) meet the man. I (Em) saw you buried (Gadd) in the sand.
A (Em) friend was there to (Gadd) hold your hand. Said (D) "Walk, (A) on, (Em) by."
So-I went walking (Gadd) through the street. I (Em) saw you strung up (Gadd) in a tree.
A (Em) woman knelt there (Gadd) said to me, said (D) "Hold, (A) your, (Em) tongue.
(D) Hold, (A) your, (Em) tongue."
(Em)-(Em)-(Em)-(Em)-(Em)(EmG)(D)-(Dsus2)-(D)-(Em)
(G) You don't (D) owe me an-(Em)-ything.

(G) You don't (A) want this (Em) sympathy. (G) Don't you (A) waste your (Em) breath.
(G) For the (A) silver |Em| screen. (Em)
That nonsense doesn't (Gadd) mean a thing. They (Em) tried to bust you (Gadd) in a sting.
But (Em) virtue isn't (Gadd) everything, so (D) don't, (A) waste, (Em) time.
Now here's a rhyme that (Gadd) you can steal. (Em) Put this on your (Gadd) reel to reel.
(Em) Mischief threw a (Gadd) rotten deal. (D) Monty's (A) layin' (Em) low.
(D) He is (A) layin' (Em) low. (D) Just, (A) let, (Em) go. (D) Just, (A) let, (Em) go.
(G) You don't (D) owe me an-(Em)-ything.
(G) You don't (A) want this (Em) sympathy. (G) Don't you (A) waste your (Em) breath.
(G) Monty (A) this seems (Em) strange to me. (G)(A)(Em)

MONY MONY – Billy Idol
(James/Gentry/Cordell/Bloom)
https://www.youtube.com/watch?v=IAmgTNATJkk (Capo 4)(MC4)
[Afterwards is the original by Tommy James and the Shondells. It’s in a different key.]
TIP: At the tend of most lines there’s a (D)(G)(D) punch. After the (D) on “Mony” strike the |D|
once, strum (D) and strike |G| and |D| and resume strumming (D). You’ll hear it immediately when
you play it.
INTRO: <bass thrum/drums> (D) (D) (D) (D)
Here she come now sayin' (G) "Mony (D) Mony." |D|(D)|G|-|D|(D)
Shoot 'em down turn around (G) come on (D) Mony. |D|(D)|G|-|D|(D)
Hey she give me love and I (G) feel all (D) right now. |D|(D)|G|-|D|(D)
You gotta toss and turn and (G) feel all right yeah I feel all right
I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah
'Cause you make me (D) feel (like I'm (G) wan (D) ted)
So good (like I'm (G) wan (D) ted). So good (like I'm (G) wan (D) ted).
So good (Mony (D) Mo (D) ny). So (G) fine (Mony Mony). So fine (Mony Mony).
It's all mine (Mony Mony). Well I feel all right
I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah) yeah.
(D)(D)(D)(D)
Wake it shake it (G) Mony (D) Mony. |D|(D)|G|-|D|(D)

Shotgun dead and I'll (G) come on (D) Mony. |D|(D)|G|-|D|(D)
Don’t you stop cookin’ ‘cause I (G) feel all (D) right now. |D|(D)|G|-|D|(D)
Don't stop now, (G) come on Mony, come on yeah
I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah yeah
'Cause you make me (D) feel (like I'm (G) wan (D) ted).
So good (like I'm (G) wan (D) ted). So (D) good (like I'm (G) wan (D) ted).
Well I feel all right. You’re so (G) fine (Mony Mony). You’re so fine (Mony Mony).
You’re so fine (Mony Mony) and I feel all right
I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah) yeah (yeah).
(D)(D)(D)(D)(G)(G)(G)(G)
I love you (D) Mony (C) mo-mo- (G) mony (D) ooh.
I love you Mony (C) mo-mon (G) mon said I (D) do.
I love you Mony (C) mo-mon (G) money.
(A) Yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah) yeah. |A|
(NC) Come (D) on (G), come (D) on (G), come (D) on (G), come (D) on (G),
Come on come on, come on come on, come on come on feel alright.
I said (A) yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah), yeah (yeah).
(D)(D)(D)(D)
Wake it shake it (G) Mony (D) Mony. |D|(D)|G|-|D|(D)

Up and down turn around (G) come on (D) Mony. |D|(D)|G|-|D|(D)
Hey she give love and I (G) feel all (D) right now. |D|(D)|G|-|D|(D)
I said don’t stop now (G) come on Mony, come on Mony,
I said (A) yeah (yeah), yeah (yeah) yeah (yeah) yeah (yeah) yeah,
'Cause you make me (D) feel (like I'm (G) wan (D) ted),
So good (like I’m (G) wan (D) ted). I feel all (G) right (Mony Mony).
All right (Mony Mony). You’re so fine (Mony Mony).
Well I feel all right I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah)
I wanna, (D) ride your (G) po (D) ny, ride your (G) po (D) ny, ride your (G) po (D) ny.
Come on come on, (come on) Mony Mony, (Mony Mony) feel all right (Mony Mony).
I said (A) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah,
'Cause you make me (D) feel (like I'm (G) wan (D) ted)
So good. Come (G) on, yeah, all right.
Well it feels so good I said (A) yeah, (yeah), yeah, (yeah),
Yeah (yeah) yeah (yeah) yeah (yeah) yeah (yeah). |D|
(Billy Idol) (Artist Index) - (Main Index) - (Song Index) (This Song)
MONY MONY – Tommy James & The Shondells
(James/Gentry/Cordell/Bloom)
https://www.youtube.com/watch?v=2L2jL9RXrRE (Capo 0)(MC0)
TIP: At the end of the verse there’s a (A)(D)(A) punch. After the (A) on “Mony” strike the |A|
once, strum (A) and strike |D| and |A| and resume strumming (A). You’ll hear it immediately when
you play it.
TIP: In the chorus there are two off-on patterns for “Mony Mony”. The first pattern has you
playing (A) leading through the first “Mony” and lifting off the middle finger of the 3rd string for
(A7) on the second “Mo-“ and back down for another (A) for the back end of “-ny”. The second
pattern is identical except you play a (D) heading in and lift off the index finger of the 3rd
string/2nd fret for the (D-) on “Mo-“ and back down for the (D) on “-ny”. It helps not to think
about it and just do it, off/on.
INTRO: <bass thrum/drums> (A) (A) (A) (A) (A) (A) (A) (A)
Here she come now sayin' (D) "Mony, (A) Mony." |A|(A)|D|-|A|(A)
Well shoot 'em down turn around (D) come on (A) Mony. |A|(A)|D|-|A|(A)
Hey she give me love and I (D) feel all (A) right now. |A|(A)|D|-|A|(A)
You gotta toss and turn and (D) feel all right yeah I feel all right
I said (E) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah)
Well you make me (A) feel (Mony (A7) Mo (A) ny),

So (Mony (A7) Mo (A) ny), good (Mony (A7) Mo (A) ny), yeah-ah (Mony (A7) Mo (A) ny),
So (D) good (Mony (D-) Mo-(D)-ny), all right (Mony (D-) Mo-(D)-ny),
Come on (Mony (D-) Mo–(D)-ny), alright baby (Mony (D-) Mo-(D)-ny),
Say (E) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah) yeah.
(A)(A)
Wake it shake it (D) Mony (A) Mony. |A|(A)|D|-|A|(A)
Shotgun get it done (D) come on (A) Mony. |A|(A)|D|-|A|(A)
Don’t you stop cookin’ it (D) feels so (A) good yeah. |A|(A)|D|-|A|(A)
Hey-ey well don't stop now hey (D) come on Mony well come on Mony
(E) Yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah
Well you make me (A) feel (Mony (A7) Mon (A) y),
So (Mony (A7) Mo (A) ny), good (Mony (A7) Mo (A) ny), yeah yeah (Mony (A7) Mo (A) ny),
(D) Yeah (Mony (D-) Mo-(D)-ny), come on (Mony (D-) Mo-(D)-ny),
So good (Mony (D-) Mo-(D)-ny), well alright (Mony (D-) Mo-(D)-ny),
I say (E) yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah) (A)-(G)-(D)-(A)
Oooh I love you Mony (G) mo-mo- (D) mon said I (A) do.
I love you Mony (G) mo-mon (D) mon said I (A) do.
I love you Mony (G) mo-mon (D) mon I (A) do.
I love you Mony (G) Mony, Mo (D) ny.
(E) Yeah, (yeah), everybody, (yeah), yeah (yeah) yeah (yeah) yeah (yeah)
(A) Come on, come on, come on, everybody, (D) alright, alright, come on, come on,
(E) Yeah, (yeah), yeah, (yeah), yeah (yeah) yeah (yeah) yeah (yeah) |A|
MOODY RIVER – John Fogerty/Pat Boone
(Bruce)
https://www.youtube.com/watch?v=AIwhPkZLRiM (Fogerty)(Capo 3)(MC0/5)
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: The recurring (Gadd)(Gadd)-(Em) voicing at the end of the line comes right after the leading
(G) of the last word so transition smoothly through that (G) to the first (Gadd).
TIP: Remember to back off the capo to give your room for the (B7).
INTRO (Fogerty): (Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em)
INTRO (Boone): (Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em)

(Gadd) Moody River (Gadd)-(Em), (Gadd) Moody River (Gadd)-(Em)
(G) Moody river (Em) more deadly, (G) than the vainest (Em) knife.
(G) Moody river your (Em) muddy water, (C) took my baby's (G) life (Gadd)(Gadd)-(Em).
Last Saturday (B7) evenin', (Em) came to the old oak (B7) tree,
It (Em) stands beside the (B7) river, where (C) you were to meet (G) me (Gadd)(Gadd)-(Em).
On the ground your (B7) glove I found with a (Em) note addressed to (B7) me.
It (Em) read "Dear love I've (B7) done you wrong
Now (C) I must, set you (G) free (Gadd)(Gadd)-(Em).
"No longer can I (B7) live, with this (Em) hurt and this (B7) sin,
I (Em) just couldn't (B7) tell you, that (C) guy was just a (G) friend (Gadd)(Gadd)-(Em)."
I looked into the (B7) muddy water, and (Em) what, could I (B7) see?
I (Em) saw a lonely (B7) lonely face just (C) lookin', back at (G) me (Gadd)(Gadd)-(Em).
Tears in his (B7) eyes, and a (Em) prayer on his (B7) lips,
(Em) And the glove of (B7) his lost love was (C) at his finger (G) tips (Gadd)(Gadd)-(Em).
(Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(Em)

(Gadd)(Gadd)-(Em), (Gadd)(Gadd)-(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)(MC3)
TIP: For the opening notes prior to the first (D) pick the open 5th string <a>, then the 4th
string/4th fret <f#>, then come down two frets to the 4th string/2nd fret <e>, then the open 4th
string <d>. Finish by strumming a (D) beginning with the open 5th string but be careful not to
include the top string (use your thumb to mute the top string or cover the top string/2nd fret).
INTRO: 5 - 4/4 - 4/2 - 4 - 5/(D), (D)(G), (G)(A), (A)(D), (D)|D|

INTRO: <a>-<f#> - <e>- <d>- a/(D), (D)(G), (G)(A), (A)(D), (D)|D|
(NC) The moon is (D) down, all over (G) town.

The forecast is (A) gray, now that she's gone a (D) way (G)(D).
The stars in the skies, fell out of her (G) eyes.
They shattered-when-they-hit the (A) ground. And now the moon is (D) down (G)(D).
The sun will be fine. It'll still shine allll the (G) time.
The sky will be (A) blue, and do what it's supposed to (D) do (G)(D).
You see gravity pulls, but it can't keep you a (G) round.
It'll be one lonnng (A) day, and now the moon is (D) down (G)(D).
(D)(D), (D)(G), (G)(A), (A)(D)(G)(D)
The moon is down, all over (G) town.

The stars in the (A) skies, fell out of her (D) eyes (G)(D).
The gravity pulls, but it can't hold you (G) down.
It'll be one lonnng (A) day. Now the moon is (D) down (G)(D).
It'll be one lonnng (A) day. Now the moon is (D) down (G)(D)|D|.
MOONSHADOW
Cat Stevens
https://www.youtube.com/watch?v=8L56rAG5aK0 (Capo 0)(MC1)
TIP: In the intro try stretching your pinky over to cover the bottom string of the 5th fret on the
1st (D). For the (A)-(A)-(Asus)-(A)-(D) bit just slide your ring finger up one fret or use your
pinky to cover the 3rd string/2nd fret.
TIP: If you'd rather not play the (Bm) at all you can play an (F#m) instead.
or
INTRO: (DaddA)(G)(D)(G)(A)(A)-(A)-(Asus)-(A)-(D)
Yes I'm bein' followed by a (G) moon (D) shadow, (G) moonshadow (A7) moon (D) shadow.
Leapin' on hoppin’ on a (A7) moon (D) shadow, (G) moonshadow (A7) moon (D) shadow.
And (G) if I (D) ever (G) lose my (D) hands, (G) lose my (D) plow, (Em) lose my (A) land.
Oh (G) if I (D) ever (G) lose my (D) hands,
Oh (Em) if (A7) (D) (Bm) I (Em) won't have to (A) work no (D) more.
And (G) if I (D) ever (G) lose my (D) eyes, (G) if my (D) colors (Em) all run (A) dry.
Yes (G) if I (D) ever (G) lose my (D) eyes,
Oh (Em) if (A7) (D) (Bm) I (Em) won’t have to (A) cry no (D) more.
Yes I'm bein' followed by a (G) moon (D) shadow, (G) moonshadow (A7) moon (D) shadow.
Leapin' on hoppin’ on a (G) moon (D) shadow, (G) moon shadow (A7) moon (D) shadow.
And (G) if I (D) ever (G) lose my (D) legs, (G) I won't (D) moan, and (Em) I won't (A) beg.
Oh (G) if I (D) ever (G) lose my (D) legs,
Oh (Em) if (A7) (D) (Bm) I (Em) won’t have to (A) walk no (D) more.
And (G) if I (D) ever (G) lose my (D) mouth, (G) all my (D) teeth, (Em) north and (A) south.
Yes (G) if I (D) ever (G) lose my (D) mouth,
Oh (Em) if (A7) (D) (Bm) I (Em) won't have to (A7) talk. (A7)(D).
(D)(G)(D)(G)(A)(A)-(A)-(Asus)-(A)-(D); (D)(G)(D)(G)(A)(A)-(A)-(Asus)-(A)-(D)
(E) Did it take long to (A) find me? I (E) asked the faithful (A) light.
(E) Oh did it take long to (A) find me? And (E7) are you gonna stay the (A) night?
(D) I'm bein' followed by a (G) moon (D) shadow, (G) moonshadow (A7) moon (D) shadow.
Leapin' and hoppin’ on a (G) moon (D) shadow, (G) moonshadow (A7) moon (D) shadow.
(G) Moonshadow moon (D) shadow, (G) moonshadow (A7) moon (D) shadow. |D|
MORNING HAS BROKEN - Cat Stevens
(Traditional/Farjeon)
https://www.youtube.com/watch?v=e0TInLOJuUM (Capo 0)(MC1)
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) Morning has (C) bro (Dm) ken, (G) like the first (F) morn (C) ing.
Blackbird has (Em) spo (Am) ken, (D) like the first (G) bird.
(C) Praise for the (F) sing-ing, (C) praise for the (Am) morn (D) ing.
(G) Praise for the (C) spring (F) ing, (G7) fresh from the (C) word.
(F) (G) (E) (Am) (G) (C) |G7/F|
(NC) Sweet the rain's (C) new (Dm) fall, (G) sunlit from (F) hea (C) ven.
Like the first (Em) dew, (Am) fall, (D) on the first (G) grass.
(C) Praise for the (F) sweet-ness, (C) of the wet (Am) gard (D) en.
(G) Sprung in comp (C) lete (F) ness, (G) where his feet (C) pass.
(F) (G) (E) (Am) (F#) (Bm) (G) (D) (A7) |D|
Mine is the (D) sun, (Em) light, (A) mine is the (G) morn (D) ing.
Born on the (F#m) one, (Bm) light, (E) eden saw (A) play.
(D) Praise with e (G) la-tion, (D) praise every (Bm) morn (E) ing.
(A) God's recre (D) a, (G) tion (A7) of the new (D) day.
(G) (A) (F#) (Bm) (G7) (C) (F) |C|
(NC) Morning has (C) bro (Dm) ken, (G) like the first (F) morn (C) ing.
Blackbird has (Em) spo (Am) ken, (D) like the first (G) bird.
(C) Praise for the (F) sing-ing, (C) praise for the (Am) morn (D) ing.
(G) Praise for the (C) spring (F) ing, (G) fresh from the (C) word.
(F) (G) (E) (Am) (F#) (Bm) (G) (D) (A) |D|
(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)(MC0)
TIP: This is a great song but there are a few tricky bits going on with the cadence and strum
patterns at the end of the lines in each verse. First, the end of the first two lines of the first
two verses end with a (C/G) which is regular (C) with your pinky covering the top string bass <g>.
It's followed by a double strum pattern of the same chord for two measures before moving to a quick
transition from (D) to (G). Then there's another two measures of (G). Next, in the third line of
each verse there's a (CaddG) in which you keep (C) and add pinky to the bottom string string/3rd
fret before ending with a (Gadd). It's not hard at all but practice it once or twice.
TIP: When singing melody on the "Oooooh Babe" part in the chorus you end the previous line (e.g.
"warm") on note but the next word, "Oooooh", is a middle <f#>. Playing the (D/A) instead of a
regular (D) will include both the low and middle <f#>.
TIP: In the instrumental bridge there's a single (CaddD) in the second bar sandwiched between two
(C)s. Just hold the (C) and add your pinky to the 3rd string/3rd fret.
TIP: The final line is a single strummed (G) and (C) - denoted by the |G| and |C| notation.
INTRO: (Audible exhale)
(G) Mother do you think they'll drop the (C/G) bomb (C/G)(C/G)(D)-(G)? (G)(G)
Mother do you think they'll like the (C/G) song (C/G)(C/G)(D)-(G)? (G)(G)
(C) Mother do you think they'll try to break (CaddG) my (Gadd) balls? (Gadd)(Gadd)
(D) Ooooooooh (C) ahh. Mother should I build the (G) wall? (G)(G)
Mother should I run for presi (C/G) dent (C/G)(C/G)(D)-(G)? (G)(G)

Mother should I trust the govern (C/G) ment (C/G)(C/G)(D)-(G)? (G)(G)
(C) Mother will they put me in the fire (CaddG) ing (Gadd) line? (Gadd)(Gadd)
(D) Oooooooh (C) ahh. Is it just a waste of (G) time? (G)(G)
(Gadd) Hush (G) now (Gadd) ba-(G)-by (Gadd) bay-(G)-by, (Gadd) don't you (C) cry. (C)(C)
(F) Mama's gonna make all of your (C) nightmares come true.
(F) Mama's gonna put all of her (C) fears into you.
(F) Mama's gonna keep you right here (C) under her wing.
She (F) won't let you fly but she (C) might let you sing.
(F) Mama's gonna keep baby (C) cozy and (G) warm. (G)(G)
(D/A) Oooooh (C) babe. (D/A) Oooooh (C) babe.

(D/A) Ooh babe, of (C) course Mama's gonna help build the (Gadd) wall. (C/G)(C/G);
(G),(C)-(CaddD)-(C); (G),(C/G)(C/G); (D)(D)(C/G)(C/G),(G)
Mother do think she's good e (C/G) nough (C/G)(C/G), for (G) me? (G)(G)
Mother do think she's danger (C/G) ous (C/G)(C/G), to (G) me? (G)(G)
(C) Mother will she tear your little boy (CaddG) a (Gadd) part? (Gadd)(Gadd)
(D) Ooooooooh (C) aah. Mother will she break my (G) heart?
(Gadd) Hush (G) now (Gadd) ba-(G)-by (Gadd) bay-(G)-by, (Gadd) don't you (C) cry. (C)(C)
(F) Mama's gonna check out all your (C) girlfriends for you.
(F) Mama won't let anyone (C) dirty get through.
(F) Mama's gonna wait up un (C) til you get in.
(F) Mama will always find (C) out where you've been.
(F) Mamma's gonna keep baby (C) healthy and (G) clean. (G)(G)
(D/A) Oooooh (C) babe. (D/A) Oooooh (C) babe.

(D/A) Ooh babe, you'll (C) always be a baby to (G) me. (G)(G)
|G| Mother did it need to be so |C| high?
MOUNTAINS OF THE HEART
Dave Stamey
https://www.youtube.com/watch?v=x3QXqQM_ypw (Capo 4)(MC2)
TIP: For the intro you need the bass <g> so form up (C) and add your pinky to the top string of
the 3rd fret and then pick the 5th string and strum, then the 6th string and strum. Repeat
TIP: For the final strum of (C) add your pinky to the bottom string of the 3rd fret.
INTRO: 5-(C/G) 6-(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), 5-(C/G) 6-(C/G), 5-(C/G) 6-(C/G), 5-(C/G) 6-(C/G)
Somewhere near the (Am) timberline he (F) feeds the fire (F),
As morning slowly (G) turns the sky to (C) gray (G).
(C) Choices made and (Am) trails all taken (F) he's alone (F),
She's with someone (G) else now far a (C) way.
And (Am) up there near the ridgeline the (F) trails all run to (C) gether,
And-then branch to different canyons over (F) creeks that run so (G) dark |G|.
And-(C)-if you take the (Am) wrong trail you can (F) wander on for (C) ever,
(F) Forever through the (G) mountains of the (C) heart (C)(C)(C).
Had the chance to (Am) make the change to (F) turn around (F).
Found that he just (G) could not pay the (C) price (G).
She-(C)-wanted more from (Am) life than just two (F) callused hands (F),
Rundown boots and (G) empty cow camp (C) nights (C).
So she (Am) packed up all her dishes all her (F) dreams and hopes and (C) longings,
Said they'd both be better off, (F) if they lived a (G) part |G|.
And the (C) memory of her (Am) going, and the (F) longin' for her (C) stayin'
Still (F) echo through the (G) mountains of the (C) heart (C).
The (Am) mountains of the (G) heart they are (C) haunted (C).
(Am) Filled with granite (G) shadows oh so (C) dark (C).
And the (F) ghosts of things that (G) might have been so (C) lonesome ever (Am) wandered (Am),
For (F) ever through the mountains of the (G) heart (G)|G|. (C)(C)
He shrugs it off and (Am) saddles up and (F) mounts his horse (F).
Circles 'round the (G) meadow to the (C) trees (G).
(C) All at once the (Am) wind kicks up and he (F) hears her voice (F).
A lonesome sound (G) carried on the (C) breeze (C).
He-(Am)-looks back toward the ridgeline and the (F) trails he could have (C) taken,
She's off huntin’ happiness, (F) he's out hunting (G) strays (G)|G|.
And the (C) voice it swells and (Am) calls again so (F) lonesome through the (C) pine,
He-(F)-shakes his head and (G) slowly rides a (C) way (C).
The (Am) mountains of the (G) heart they are (C) haunted (C).
(Am) Filled with granite (G) shadows deep and (C) stark (C).
And the (F) ghosts of things that (G) might have been so (C) lonesome ever (Am) wandered (Am),
For (F) ever through the Mountains of the (G) Heart (G).
For (F) ever through the (G) mountains of the (C) heart (C)(C)(C)|CaddG|.
MOVE IT ON OVER
Hank Williams
https://www.youtube.com/watch?v=-Lza3NVH6Ig (Capo 2)(MC0)
[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)
Came in last night about a half past ten that baby of mine she wouldn't (D7) let me in
So (G) move it on over (move it on over). (D) Move it on over (move it on over).
Move (A7) over little dog cause the (A) big dog's (A7) movin' (D) in.
She's changed the lock on our front door my door key don't (D7) fit no more
So (G) get it on over (move it on over). (D) Scoot it on over (move it on over).
Move (A7) over skinny dog cause the (A) fat dog's (A7) movin' (D) in.
This dog house here is mighty small but it's sure better than (D7) no house at all
So (G) ease it on over (move it on over). (D) Drag it on over (move it on over).
Move (A7) over old dog cause a (A) new dog's (A7) movin' (D) in.
(D)(D7)(G)(D)(A7)(A)(D)
She told me not, to play around but I done let the (D7) deal go down
So (G) pack it on over (move it on over). (D) Tote it on over (move it on over).
Move (A7) over nice dog cause a (A) mad dog's (A7) movin' (D) in.
She warned me once, she warned me twice, but I don't take no (D7) one's advice
So (G) scratch it on over (move it on over). (D) Shake it on over (move it on over).
Move (A7) over short dog cause a (A) tall dog's (A7) movin' (D) in.
(D)(D7)(G)(D)(A7)(A)(D)
She'll crawl back-to-me, on her knees, I'll be busy (D7) scratching fleas
So (G) slide it on over (move it on over). (D) Sneak it on over (move it on over).
Move (A7) over good dog cause a (A) bad dog's (A7) movin' (D) in.
Remember pup, before you whine, that side's yours and (D7) this side's mine
So (G) shove it on over (move it on over). (D) Sweep it on over (move it on over).
Move (A7) over cold dog cause a (A) hot dog's (A7) movin' (D) in. (D)(A7)-(D)
MOVE IT ON OVER - George Thorogood
(Williams)
https://www.youtube.com/watch?v=01-5YXVFqQo (Capo 0)(MC0)
(G) Came in last night about a half past ten that baby of mine she wouldn't let me in
So (C) move it on over. (G) Rock it on over.
Move (D) over little dog a (C) mean old dog is movin' (G) in. (G)(D)
She (G) told me not to mess around, but I done let the deal go down so (C) move it on over.
(G) Rock it on over. Move (D) over nice dog a (C) big bad dog is movin' (G) in. (G)(D)
She (G) changed the lock on my back door my door, now my key it won't fit no more
(C) Move it on over. (G) Rock it on over.
Move (D) over nice dog a (C) mean old dog is moving (G) in. (G)(D)
(G)(G)(C)(G),(D)(C)(G)(D); (G)(G)(C)(G),(D)(C)(G)(D)
She (G) threw me out just as pretty as you please, pretty soon I'll be scratchin' fleas.
(C) Move it on over. (G) Slide it on over.
Move (D) over nice dog a (C) mean old dog is movin' (G) in. (G)(D)
Yeah (G) listen to me dog before you start to whine, that side's yours and this side's mine
So (C) move it on over. (G) Rock it on over.
Move (D) over little dog a (C) big old dog is movin' (D) in. (G)(D)
Yeah she (G) changed the lock on my back door my door, now my key it won't fit no more.
(C) Move it on over. (G) Rock it on over.
Move (D) over little dog a (C) big old dog is moving (G) in. (G)(D)
(G) Move it on over. Move it on over. (C) Move it on over. Won't you (G) rock it on over?
Move (D) over cool dog a |C| hot dog's movin' in. (G)(G)(C)-(G7)
(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)(MC4)
[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: At the end of the intro you pick the open 4th string <d>, 4th string/2nd fret <e>, and 4th
string 4th fret <f#>, and begin the song with a (G).
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.
TIP: When you get to the (Em7)(C) just lift off the bottom finger of the (Em) and aim for the 4th
string.
INTRO: (G), (Bm), (Em), <d> <e> <f#>
I (G) knew a man Bo (Bm) jangles and he (Em) danced for you (Em7)(C), in worn out (D) shoes (D7).
(G) Silver hair a (Bm) ragged shirt and (Em) baggy pants (Em7)(C). The old soft (D) shoe (D)(C).
He jumped so (Bm) high, he jumped so (Em) high (Em7)(A). Then he lightly touched (D) down (D)(D7).
I (G) met him in a (Bm) cell in New Or (Em) leans I was (Em7)(C), down and (D) out (D7).
He (G) looked to me to (Bm) be, the (Em) eyes of age (Em7)(C), as he spoke right (D) out (D)(C).
He talked of (Bm) life, talked of (Em) life (Em7)(A).
He laughed clicked his heels and (D) stepped (D)(D7).
He (G) said his name Bo (Bm) jangles and he (Em) danced a lick (Em7)(C), across the (D) cell (D7).
He (G) grabbed his pants and (Bm) spread his stance oh he (Em) jumped so high (Em7)(C).
And then he clicked his (D) heels (D)(C). He let go a (Bm) laugh, let go a (Em) laugh (Em7)(A).
Shook back his clothes all a (D) round.
|Em| (Em) Mister Bo (D) jangles. (D)|Em| (Em) Mister Bo (D) jangles. (D)|Em|
(Em) Mister Bo (D) jangles, (G) dance. (Bm)(Em),(G)-(Em)-(Bm)
He (G) danced for those at (Bm) Minstrel shows and (Em) county fairs (Em7)(C),
Throughout the (D) south (D7).
He (G) spoke with tears of (Bm) fifteen years how his (Em) dog and him (Em7)(C),
Traveled a (D) bout (D)(C). The dog up and (Bm) died, he up and (Em) died (Em7)(A).
After twenty years he still (D) grieved (D)(D7).
He (G) said "I dance now at (Bm) every chance in (Em) Honky Tonks (Em7)(C),
For my drinks and (D) tips (D7).
But (G) most the time I (Bm) spend behind these (Em) country bars (Em7)(C),
Cuz I drinks a (D) bit" (D)(C). He shook his (Bm) head, and as he shook his (Em) head (Em7)(A),
I heard someone ask him (D) please. (D7) Pleeeease,
|Em| (Em) "Mister Bo (D) jangles. (D)|Em| (Em) Mister Bo (D) jangles. (D)|Em|
(Em) Mister Bo (D) jangles, (G) dance.
(Bm)(Em), |G| |Em| |Bm| |G|
MR. BOJANGLES – Nitty Gritty Dirt Band
(Walker)
https://www.youtube.com/watch?v=e-LVXR6rjXs (Capo 7)(MC0)
TIP: At the end of the intro you form (C) and then pick the 3rd string covered <g>, 2nd string
covered <c>, use pinky to cover 2nd string/3rd fret <d>, and begin the song.
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.
TIP: There's an extra measure that sits off by itself in the intro and the bridge with a little
<me> notation. That's for me and what I play when with a group (remember? it's my songbook). It's
not in the recording.
INTRO: (C), (Em), (Am), [hold (C)] <g> <c> <d> <me> (C)(Em)(Am),(C)-(Am)-(Em)-(C)<g><c><d>
I (C) knew a man Bo (Em) jangles and he (Am) danced for you (Am7)(F), in worn out (G) shoes (G7).
(C) Silver hair a (Em) ragged shirt and (Am) baggy pants (Am7)(F). The old soft (G) shoe (G)(F).
He jumped so (Em) high (E7), he jumped so (Am) high (Am7)(D7).
Then he lightly touched (G) down (G)(G7).
I (C) met him in a (Em) cell in New Or (Am) leans I was (Am7)(F), down and (G) out (G7).
He (C) looked to me to (Em) be, the (Am) eyes of age (Am7)(F), as he spoke right (G) out (G)(F).
He talked of (Em) life (E7), talked of (Am) life (Am7)(D7).
He laughed clicked his heels and (G) stepped (G)(G7).
He (C) said his name Bo (Em) jangles and he (Am) danced a lick (Am7)(F), across the (G) cell (G7).
He (C) grabbed his pants and (Em) spread his stance oh he (Am) jumped so high (Am7)(F).
And then he clicked his (G) heels (G)(F). He let go a (Em) laugh, let go a (Am) laugh (Am7)(D7).
Shook back his clothes all a (G) round.
|Am| (Am) Mister Bo (G) jangles. (G)|Am| (Am) Mister Bo (G) jangles. (G)|Am|
(Am) Mister Bo (G) jangles, (C) dance.
(Em)(Am),|C|-|Am|-|Em| <me> (C)(Em)(Am),(C)-(Am)-(Em)-(C)(Em)(Am)(C)-(Am)-(Em)
He (C) danced for those at (Em) Minstrel shows and (Am) county fairs (Am7)(F),
Throughout the (G) south (G7).
He (C) spoke with tears of (Em) fifteen years how his (Am) dog and him (Am7)(F),
Traveled a (G) bout (G)(F). The dog up and (Em) died, he up and (Am) died (Am7)(D7).
After twenty years he still (G) grieved (G)(G7).
He (C) said "I dance now at (Em) every chance in (Am) Honky Tonks (Am7)(F),
For my drinks and (G) tips (G7).
But (C) most the time I (Em) spend behind these (Am) country bars (Am7)(F),
Cuz I drinks a (G) bit" (G)(F). He shook his (Em) head, and as he shook his (Am) head (Am7)(D7),
I heard someone ask him (G) please. (G7) Pleeeease,
|Am| (Am) "Mister Bo (G) jangles. (G)|Am| (Am) Mister Bo (G) jangles. (G)|Am|
(Am) Mister Bo (G) jangles, (C) dance.
(Em)(Am), |C|-|Am|-|Em|-|C|
<me> (Em)(Am),(C)-(Am)-(Em)-(C)(Em)(Am)|C|-|Am|-|Em|-|C|
MR. LONELY - Bobby Vinton
(Vinton/Allen)
https://www.youtube.com/watch?v=djU4Lq_5EaM (Capo 4)(MC1)
TIP: The chords in the second verse are sharped. Either slide the capo up one fret or skip the
next verse/chorus and play the one afterwards. The chords look messy but they're just familiar
ones played on different frets. I've renamed them based on what they look like and where you play
them. There's also a "simple" version without sharped chords.}
INTRO: (C)(Em)(F)(G)
(C) Lonely. I'm Mister (Em) Lonely.

I have no (F) body, for-or my (G) own.
I am so (C) lonely. I'm Mister (Em) Lonely.
Wish I had (F) someone, to call on the (G7) pho-(G)-one.
Now I'm a (C) soldier, a lo-onely (C7) soldier.

Away from (F) home, through no wish of my (Fm) own (G).
That's why I'm (C) lonely. I'm Mister (Em) Lonely.
I wish that (F) I, could, (G) go, back, (C) home.
<capo +1>
(C) Letters, never a (Em) letter.

I get no (F) letters, i-in the (G) ma,-il.
I've been for (C) gotten, yes, for (Em) gotten.
Oh how I (F) wonder, how is it I (G7) fa,- (G) iled?

That's why I’m (C) lonely. I'm Mister (Em) Lonely.
I wish that (F) I, could, (G) go, back, (C) home. <end>
<or>
(D/A1) Letters, never a (Fm) letter. I get no (F#) letters, i-in the (F4) ma,-il.
I've been for (D/A1) gotten, yes, for (Fm) gotten.
Oh how I (F#) wonder, how is it I (F4) fa,-iled?
Now I'm a (D/A1) soldier, a lo-onely (Bm1) soldier.

Away from (F#) home, through no wish of my own (F4).
That's why I’m (D/A1) lonely. I'm Mister (Fm) Lonely.
I wish that (F#) I, could, (F4) go, back, (D/A1) home.
(Bobby Vinton) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. LONELY - Bobby Vinton
(Vinton/Allen)
(MC1)
INTRO: (C)(Em)(F)(G)
(C) Lonely. I'm Mister (Em) Lonely.

I have no (F) body, for-or my (G) own.
I am so (C) lonely. I'm Mister (Em) Lonely.
Wish I had (F) someone, to call on the (G) phone.

That's why I'm (C) lonely. I'm Mister (Em) Lonely.
(C) Letters, never a (Em) letter.

I get no (F) letters, i-in the (G) mail.
I've been for (C) gotten, yes, for (Em) gotten.
Oh how I (F) wonder, how is it I (G) failed?
Now I'm a (C) soldier, a lo-nely (C7) soldier.

That's why (C) I'm lonely. I'm Mister (Em) Lonely.
(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)(MC5)
INTRO: (G)(G)(Em)(Em)(C)(C)(G)|G|
Mr. (G) Man in the moon, are (Em) you really blue?
Are you (C) shedding a tear while you (G) shine?
If you feel like I do, Mr. (Em) Man in the Moon,
Then your, (C) heart must be, broken like (G) mine.
Are you (D) lonesome, there's not a (C) star in (G) sight
Well I'll be (C) right here, we're both up-for the (D) night.
<fiddle> (G)(G)(Em)(Em)(C)(C)(G)(G)
To the (D) whole world, you show a (C) smiling (G) face
I feel like the (C) dark side, that you hide a (D) way.
<fiddle> (G)(G)(Em)(Em)(C)(C)(G)|G|
MR. SHORTY - Marty Robbins/Dave Stamey
(Robbins)
https://www.youtube.com/watch?v=m5v5jSr2dHY (Dave) (Capo 4)(MC2/1)
https://www.youtube.com/watch?v=4bE6K6_u4DA (Marty) (Capo 2)
TIP: There are minor differences in the two versions, a word here or there, but the music is the
same. The pacing of this version is based on Dave’s version.
INTRO: (C)(C)(Am)(G), (C)(C)(Am)(G)
(C) Nobody knew where he (Am) came from,

(C) They only knew he came (Am) in.
(C) Slowly he walked to the (Am) end of the bar
And he (Dm) ordered up one slug of (G) gin.
I could (F) see, he wasn't a (G) large man.

I could tell, he wasn't too (C) tall.
I (E) judged him to be, a (Am) bout five-foot three,
And his (D) voice, was a (D7) soft Texas (G) drawl.
(C) Said he was needin' some (Am) wages,

Be (C) fore he could ride for the (Am) west.
(C) Said he could do, most (Am) all kind of work,
(Dm) Said he could ride with the (G) best.
(F) There in his blue eyes was (G) sadness,

That comes from the need of a (C) friend.
(E) And tho' he tried he (Am) still couldn't hide,
The (D) loneliness (D7) there deep with (G) in.
(C) Said he would work through the (Am) winter,
(C) Forty a month, and his (Am) board.
I (C) started to say where he (Am) might land a job
When a (Dm) fellow came in through the (G) door.
And I could (F) see, he was lookin' for (G) trouble,

By the way that he came stompin' (C) in.
He (E) told me to leave Shorty (Am) there by hisself,
(D) Come down and (D7) wait on a (G) man.
The (C) eyes of the little man (Am) narrowed.

The (C) smile disappeared from his (Am) face.
(C) Gone was the friendliness (Am) that I had seen
And a (Dm) wild look of hate took its (G) place.
But the (F) big one, continued to (G) mock him.

He told me that I'd better (C) go,
(E) Find him a couple of (Am) glasses of milk,
(D) Then maybe (D7) Shorty would (G) grow.
When the (C) little man spoke there was (Am) stillness.
He (C) made sure that everyone (Am) heard.
(C) Slowly he stepped, a (Am) way from the bar
And I (Dm) still, remember these (G) words.
“How it’s (F) plain, that you're lookin' for (G) trouble.
Trouble's what I try to (C) shun.
But if (E) that's what you want, (Am) that's what you'll get,
'Cause (D) cowboy we're (D7) both packin' (G) guns.”
His (C) hands already po (Am) sitioned,

His (C) feet wide apart on the (Am) floor.
(C) I hadn't noticed but (Am) there on his hip
Was a (Dm) short-barreled bad forty (G) four.
It was (F) plain he was ready and (G) waitin'.

He leaned a bit forward and (C) said,
“When (E) you call me Shorty say (Am) ‘Mister’ my friend;
(D) Maybe you'd (D7) rather be (G) dead?”
In the (C) room was a terrible (Am) silence,
As the (C) big one stepped out on the (Am) floor.
(C) All drinkin' stopped, and the (Am) tick of the clock,
Said (Dm) death would wait ten seconds (G) more.
He (F) cursed, once or twice, in a (G) whisper,

And he said with a snarl on his (C) lips:
(E) “Nobody's Mister to (Am) me little man!”
And he (D) grabbed for the (D7) gun on his (G) hip.
But the (C) little man's hand was like (Am) lightning.
The (C) bad forty-four was the (Am) same.
The (C) forty-four spoke and it (Am) sent lead and smoke,
(Dm) Seventeen inches of (G) flame.
Now the (F) big one, had never cleared (G) leather,
Beaten before he could (C) start.
A (E) little round hole had ap (Am) peared on his shirt.
The (D) bullet went (D7) clear through his (G) heart.
The (C) little man stood there a (Am) moment,

Then he (C) holstered the bad forty- (Am) four.
“It's (C) always this way, it’s (Am) why I never stay.”
(Dm) Slowly he walked out the (G) door.
(F) Nobody knew where he (G) came from.

They won't forget he came (C) by.
(E) They won't forget, how a (Am) forty-four gun,
One (D) night made the (D7) difference in (G) size.
As for (C) me, I'll remember the (Am) sadness,

(C) Shown in the eyes of the (Am) man.
If (C) we meet someday you can (Am) bet I will say,
That “It's (D) me Mr. |D7| Shorty . . . your <rake> (G) frie- (F) en- (G) nnnnnnn |G| nd.”
(Dave Stamey) (Marty Robbins) (Artist Index) - (Main Index) - (Song Index) (This Song)
MR. TAMBOURINE MAN - The Byrds
(Dylan)
https://www.youtube.com/watch?v=NyOzGPbn2tg&ab_ (Capo 0)(MC1)
TIP: From (A) to (Asus4) just slide your bottom finger up one fret or add your pinky. For (Dsus2)
life your middle finger off the bottom string while holding (D) and for (Dsus4) add your pinky to
the bottom string/3rd fret.
INTRO: (D)(E7)-(A), (D)(E7)-(A)
(G) Hey Mister (A) Tambourine Man, (D) play a song for (G) me.
I'm not (D) sleepy and, there (G) ain't no place I'm (A) goin' (Asus4) to (A)(Asus4).
In the (D) jingle jangle (G) morning I'll come (A) followin' (D) you (Dsus2)(D)(Dsus4).
(G) Take me for a (A) trip upon your (D) magic swirlin' (G) ship.
All my (D) senses have been (G) stripped, and my (D) hands can't feel to (G) grip,
And my (D) toes too numb to (G) step,
Wait (D) only for, my (G) boot heels to be (A) wanderin' (Asus4)(A)(Asus4).
I'm (G) ready to go (A) anywhere. I'm (D) ready for to (G) fade,
Onnnn (D) to my own pa (G) rade, cast your (D) dancin' spell my (G) way,
I-I promise to go (A) under it (Asus4)(A)(Asus4).
I'm not (D) sleepy and, there (G) ain't no place I'm (A) goin' (Asus4) to (A)(Asus4).
In the (D) jingle jangle (G) morning, I'll come (A) followin' (D) you. (D)(E7)-(A), (D)(E7)-(A)
(D)(E7)-(A), (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)(MC0)
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 (D/A3), that's (D#) but it looks like (D/A) played on the 3rd fret (and you really
kind of need that 4th string). 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. When moving from the (D/A3) hold fast on your pinky and just collapse your
index finger to barre the first three strings for (Gm).
TIP: The (C)-(Em)-(Dm)-(G7) chord sequence at the end of each line is a little tricky when the
last word is a one syllable word played with a two-count (like “rare). Just remember to move
quickly from the (C) to the (Em).
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) Mrs. (G) Brown you've (Dm) got a (G7) lovely (C) daugh (Em) ter (Dm)(G7).
(C) Girls as (G) sharp as (Dm) her are (G7) something (C) rare (Em)(Dm)(G7).
(Am) Butttt it's (C) sad, (Am) she doesn't (C) love me now.
(Am) She's made it (C) clear enough, it ain't no good to (G) pine.
(C) She wants (G) to re (Dm) turn those (G7) things I (C) bought (Em) her (Dm)(G7).
(C) Tell her (G) she can (Dm) keep them (G7) just the (C) same (Em)(Dm)(G7).
(Am) Things have (C) changed, (Am) she doesn't (C) love me now.
(Am) She's made it (C) clear enough, it ain't no good to (G) pine (Bb).
(D/A3) Walk-in' a (Gm) bout, (F4) even in a (F6) crowd well, (F2) you'll pick her (Bm1) out.
(Bb) Makes a bloke feel, (G) so proud.
(C) If she (G) finds that (Dm) I've been (G7) round to (C) see (Em) you (Dm)(G7).
(C) Tell her (G) that I'm (Dm) well and (G7) feelin' (C) fine (Em)(Dm)(G7).
(Am) Don't let (C) on, (Am) don't say she's (C) broke my heart.
(Am) I'd go down (C) on my knees but it's no good to (G) pine (Bb).
(D/A3) Walk-in' a (Gm) bout, (F4) even in a (F6) crowd well, (F2) You'll pick her (Bm1) out.
(Bb) Makes a bloke feel, (G) so proud.
(C) If she (G) finds that (Dm) I've been (G7) round to (C) see (Em) you (Dm)(G7).
(C) Tell her (G) that I'm (Dm) well and (G7) feelin' (C) fine (Em)(Dm)(G7).
(Am) Don't let (C) on, (Am) don't say she's (C) broke my heart.
(Am) I'd go down (C) on my knees but it's no good to (G) pine (Bb).
(C) Mrs. (G) Brown you've (Dm) got a (G) lovely (C) daugh-lovely (Dm) daugh (G) ter.
(C) Mrs. (G) Brown you've (Dm) got a (G) lovely (C) daugh-lovely (Dm) daugh (G) ter. |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)(MC3)
TIP: There’s a little bit of pinky work here but it’s all pretty manageable if you go through it a
couple of times beforehand.
TIP: The intro is in two parts, an opening guitar lick and the "Dee-dee and doo-doo" part.
First the lick: The lick consists of 6 notes, with the 6th note, <e>, absorbed by a strum of
(E). So it's: Open top string <e>; top string/3rd fret <g>; open 5th string <a>; 5th string/2nd
fret ; open 4th string <d>; and strum (E). Notice the sequence is open string, covered string,
open string, covered string, open string, and (E). And you pick each string twice. I use my middle
finger on the top string and index finger on the 5th string but however is the most comfortable for
you. You repeat this 4 times.
Second, the "Dee-dee": This is all a walk-down within the (E) using your pinky to augment the
(E) with individual strings/notes. So start by forming (E) and add your pinky to the bottom
string/2nd fret, (E/F#). Then lift off your pinky for (E), then add your pinky to the 2nd
string/3rd fret for (EaddD). Now simply slide your pinky down to the 2nd fret for (EC#), lift off
to get back to (E), then lift off the middle finger for (E7), and down for (E). Then for the “doo-
doo’s” there's (A) and (A7), and then just lift off the bottom finger for the lone (Emsus4). The
final line of the intro is straight forward.
TIP: After the verse that lick repeats but it's pretty difficult to hit because the transition is
so fast. You can fake it by playing (E) with a “raking” motion and by that I mean you 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. Same thing for the outro.
INTRO: <Lick>: <e>-<g>-<a>--<d>(E) 6O- 6/3 - 5O - 5/2 - 4O - (E)
<e>-<g>-<a>--<d>(E) 6O- 6/3 - 5O - 5/2 - 4O - (E)
<e>-<g>-<a>--<d>(E) 6O- 6/3 - 5O - 5/2 - 4O - (E)
<e>-<g>-<a>--<d>(E) 6O- 6/3 - 5O - 5/2 - 4O - (E)
(E/F#) Dee, dee (E) dee-dee, (EaddD) dee dee, (EC#) dee-dee, (E) dee dee, (E7) dee-dee, (E)dee.
(A) Doo, doo doo-doo, (A7) doo doo, doo-doo, (Emsus4) doo.
(D) Dee dee dee dee, (G) dee-dee, dee dee, (C) dee dee, (Cmaj7) dee-dee, (Am) dee.
(E)(D7)
And here's to (G) you Mrs. (Em) Robinson.

(G) Jesus loves you (Em) more than you will (C) know, wo wo (D) wo (D7).
God bless you (G) please Mrs. (Em) Robinson, (G) Heaven holds a (Em) place for those who (C) pray.
Hey hey (Am) hey. Hey hey (E7) hey. <lick x 2> or (E) <rake>, (E) <rake>
(E/F#) We'd like to (E) know a (EaddD) little (EC#) bit a (E) bout you (E7) for our (E) files.
We'd (A) like to help you learn to help your (A7) self.
(D) Look around you (G) all you see are (C) sympa (Cmaj7) thetic (Am) eyes.
(E) Stroll a (E7) round the grounds un (D7) til you feel at home.
And here's to (G) you, Mrs. (Em) Robinson.

God bless you (G) please, Mrs. (Em) Robinson, (G) Heaven holds a (Em) place for those who (C) pray.
(E/F#) Hide it (E) in a (EaddD) hiding (EC#) place where (E) no one (E7) ever (E) goes.
(A) Put it in your pantry with your cup (A7) cakes.
(D) It's a little (G) secret just the (C) Robin (Cmaj7) sons' a (Am) ffair.
(E) Most of (E7) all you've got to (D7) hide it from the kids.
Coo coo ca- (G) -choo, Mrs. (Em) Robinson.

God bless you (G) please, Mrs. (Em) Robinson, (G) Heaven holds a (Em) place for those who (C) pray.
(E/F#) Sitting (E) on a (EaddD) sofa (EC#) on a (E) Sunday (E7) after (E) noon.
(A) Going to the candidates debate.
(D) Laugh about it (G) shout about it (C) when you've (Cmaj7) got to (Am) choose.
(E) Ev'ry way you look at it you (D7) lose.
Where have you (G) gone Joe Di (Em) Maggio?

A (G) nation turns its (Em) lonely eyes to (C) you. Woo woo (D) woo (D7).
What's that you (G) say, Mrs. (Em) Robinson? (G) Joltin' Joe has (Em) left and gone (C) away.
Hey hey (Am) hey. Hey hey (E7) hey.
OUTRO: <Lick>: <e>-<g>-<a>--<d>(E) or (E) <rake>

<e>-<g>-<a>--<d>(E) or (E) <rake>
<e>-<g>-<a>--<d>(E); (A)(A7)(A)(A7) or (E) <rake>; (A)(A7)(A)(A7)
<e>-<g>-<a>--<d>(E) or (E) <rake>
MURDER INCORPORATED
Bruce Springsteen
https://www.youtube.com/watch?v=oshU-C5zTWE (Capo 0)(MC1)
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 a (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) Bobby's got a (D) gun that he (G) keeps beneath his (A) pillow. (E)(D)(G)(A)
(E) Out on the (D) street your (G) chances are (A) zero. (E)(D)(G)(A)
(E) Take a look around you (D) come on now, (G) it ain't too compli (A) cated.
You're messin' with (E) Murder (D)(G) In (A) corpor (E) ated. (D)(G)(A)
Now you (E) check over your (D) shoulder (G) everywhere that (A) you go. (E)(D)(G)(A)
(E) Walkin' down the (D) street there's (G) eyes in every (A) shadow. (E)(D)(G)(A)
You better (E) take a look around you (D) come on now
That e (G) quipment you got's so out (A) dated.
You can't compete with (E) Murder (D)(G) In (A) corpor (E) ated. (D)
(G) Everywhere you (A) look now (E) Murder (D)(G) In (A) corpor (E) ated. (D)(G)(A)
<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)
So you (Bm) keep a little secret down, (D) deep inside your dresser drawer
For (Bm) dealing with the heat you're feelin', (D) out on the killin' floor
No (Bm) matter where you step you feel you’re, (D) never out of danger
So the (C) comfort that you keep's gold (B7) plated snub-nose thirty-two I heard that you
You got a (E) job down (D) town, (G) man that leaves your (A) head cold. (E)(D)(G)(A)
(E) Everywhere you (D) look life (G) ain't got (A) no soul. (E)(D)(G)(A)
That a (G) partment you live in feels like it's (A) just a place to hide
When you're (G) walkin' down the street you won't meet (A) no one eye to eye
Now the (E) cops reported you as just a (D) nother homicide
But I can (G) tell that you were just frus (B7) trated from living with |B7| Murder Incorporated.
(E)(D)(G) In (A) corpor (E) ated. (D) It’s (G) everywhere you (A) look now,
(E) Murder (D)(G) In (A) corpor (E) ated. (D) (G) Come on now (A) baby,
(E) Murder (D)(G) In (A) corpor (E) ated. (D) It’s (G) everywhere you (A) turn,
It’s (E) Murder (D)(G) In (A) corpor (E) ated. (D) (G) Come on now (A) darlin’,
(E)(D)(G)(A), (E)(D)(G)(A), |E|
MUSTANG SALLY - Wilson Pickett
(Rice)
https://www.youtube.com/watch?v=h1FRrZD2y9Y (Capo 3)(MC3)
TIP: The notation for the intro means this: Strum (A) and then lift off your middle finger like
you're going to strum an (A7) but instead pick the 4th string, then the 3rd string, replace your
middle finger and strum another (A). Repeat. This pattern permeates the song but is replaced by
the (A7)(A) chord sequence.
INTRO: (A), (A7)4-3-(A); (A), (A7)4-3-(A)
Mustang Sally, (A7)(A) huh, guess you better slow your mustang down (A7)(A). Oh Lord (A7)(A).
What I said now (A7)(A). Mustang (D) Sally now baby, oh Lord.
Guess you better (D7) slow your (D) mustang (A) down (A7)(A). Oh yeah (A7)(A).
You been (E7) runnin' all over the (E) town now (E)|D|.
(NC) Oh I guess I'll have to put your flat (D) feet on the (A) ground (A7)(A).
What I said now (A7)(A)(A7)(A).
Listen all you want to do is ride around (A7) Sal-(A)-ly ride (A7) Sal-(A)-ly ride.
All you want to do is ride around (A7) Sal-(A)-ly ride (A7) Sal-(A)-ly ride.
(D) All you want to do is ride around Sally ride (D7) Sally (D) ride huh.
(A) All you want to do is ride around (A7) Sal-(A)-ly ride (A7) Sal-(A)-ly ride.
(E) One of these early mornings yeah (D) gonna be wiping your weepin' (A) eyes (A7)(A).
What I said now, look it here (A7)(A).
I bought you a brand new mustang, 'bout nineteen sixty five (A7)(A). Huh.
Now you come around signifyin' a woman, you don't want to let me ride.
Mustannnng (D) Sally now baby, oh Lord, guess you better (D7) slow that mustang (A) down (A7)(A).
Oh Lord (A7)(A). Lookit it. You been (E7) runnin' all over the (E) town (E). |D| Owwww.
(NC) I got to put your flat (D) feet on the (A) ground (A7)(A).
What I said now (A7)(A) let me say it one more time y'all.
Now all you want to do is ride around (A7) Sal-(A)-ly ride (A7) Sal-(A)-ly ride.
All you want to do is ride around (A7) Sal-(A)-ly ride (A7) Sal-(A)-ly |A| ride.
MY BACK PAGES - Bob Dylan and Friends (30th Anniversary Tribute)
(Dylan)
https://www.youtube.com/watch?v=rGEIMCWob3U (Capo 4)(MC5)
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) Crimson flames tied (Em) through my ears rollin' (F) high and (G) mighty (C) trap.
Pounced with (Am) fire on (Em) flaming roads using (F) ideas as my (G) maps.
"We'll (Am) meet on edges (Em) soon said I, (F) proud 'neath heated (G) brow.
Ah but (C) I was so much (F) older (C) then, I'm (F) younger (G) than that (C) now (F)(C)(F).
<Tom Petty lead>
(C) Half wracked prejudice, (Em) leaped forth, "rip (F) down all (G) hate" I (C) screamed (F).
(C) Lies that (Am) life is (Em) black and white, spoke (F) from my skull I (G) dreamed.
Ro (Am) mantic facts of (Em) musketeers foun (F) dationed deep, some (G) how.
<Neil Young lead>
Girls' (C) faces (Am) formed the (Em) forward path, (F) phony (G) jealou (C) sy.
To (Am) memorizing (Em) politics, of (F) ancient histor (G) ry.
Flung (Am) down by corpse, e (Em) vangelists un (F) thought of though some (G) how.
<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) Self or (Am) dained pro (Em) fessor's tongue, too (F) serious (G) to (C) fool (F).
(C) Spouted (Am) out that liber (Em) ty, is just e (F) quality in (G) school.
"E (Am) quality," I (Em) spoke the word, as (F) if a wedding (G) vow.
<Bob Dylan lead>
(C) In a soldier's (Am) stance I (Em) aimed my hand, at the (F) mongrel (G) dogs who (C) teach (F).
Fearing (C) not that I'd be (Am) come my (Em) enemy, in the (F) instant that I (G) preach.
My ex (Am) istence led by con (Em) fusion boats, (F) mutiny from stern to (G) bow.
<George Harrison lead>
It's my (C) guard stood (Am) hard when (Em) abstract threats too (F) noble (G) to ne (C) glect (F).
De (C) ceived me (Am) into thinking (Em) I, had (F) something to pro (G) tect.
(Am) Good and bad I de (Em) fine these terms, quite (F) clear no doubt some (G) how.
<Young solo> (C)-(Am)(Em)(Em)(F)(G)(C), (C)(Am)(Em)(Em)(F)(G), (Am)(Em)(F)(G)
But (C) I was so much (F) older (C) then, I'm (F) younger (G) than that (C) now (F),
(C)(F),(C)(F),(C)(F), |C| (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) Crimson (Am) flames tied (Em) through my ears rollin' (F) high and (G) mighty (C) trap (F).
(C) Countless (Am) fire on (Em) flaming roads using (F) ideas as my (G) maps.
"We'll (Am) meet on edges (Em) soon said I, (F) proud 'neath heated (G) brow.
Ah but (C) I was so much (F) older (C) then I'm (F) younger (G) than that (C) now (F)(C)(F).
(C) Half wracked (Am) prejudice (Em) leap forth, "rip (F) down all (G) hate" I (C) screamed (F).
(C) Lies that (Am) life is (Em) black and white, (F) spoke from my skull I (G) dreamed.
Ro (Am) mantic facts of (Em) musketeers, foun (F) datio deep, some (G) how.
In a (C) soldier's (Am) stance I (Em) aimed my hand, at the (F) mongrel (G) dogs who (C) teach (F).
Fearing (C) not that I'd be (Am) come my (Em) enemy, in the (F) instant that I (G) preach.
Ex (Am) istence led by con (Em) fusion boats, (F) mutiny from stern to (G) bow.
(C)-(Am)(Em)(F)(G)(C), (C)(Am)(Em)(Em)(F)(F)(G), (Am)(Am)(Em)(Em)(F)(G),
My (C) guard stood (Am) hard, when (Em) abstract threats, too (F) noble (G) to ne (C) glect (F).
De (C) ceived me (Am) into (Em) thinking, I had (F) something to pro (G) tect.
(Am) Good and bad I de (Em) fine these terms, quite (F) clear, no doubt, some (G) how.
Ah but (C) I was so much (F) older (C) then I'm (F) younger (G) than that (C) now (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)(MC1)
TIP: This is actually a waltz so for the intro form (D) and pick the open 4th string and strum
three times, then pick the open 5th string and strum three times.
INTRO: 4-|D|-|D|-|D|, 5-|D|-|D|-|D|; 4-|D|-|D|-|D|, 5-|D|-|D|-|D|
(D) Into the sunset the (G) old cowboy rides.

The (A) echo of hoofbeats, (G) fade with the (D) light.
As he rides down the canyon and (G) out of my sight,
I (A) picked up my guitar, and (G) sang to the (D) night.
Songwriters and poets have (G) told of your life.

(A) Sometimes we’re wrong, and (G) sometimes we’re (D) right.
If I sang you my sad song and (G) waltzes tonight,
(A) You’d be a cowboy be (G) fore morning’s (D) light. (D)
If you meet a true cowboy, (G) then you will know,

That he (A) don’t need no saddle, or (G) dusty old (D) clothes.
What he needs is some freedom, (G) space and some time,
He’s (A) always a lookin’, for a (G) mountain to (D) climb.
Songwriters and poets we’ve (G) told of his life.

(A) Sometimes we’re wrong and (G) sometimes we’re (D) right.
If I sang you my sad songs and (G) waltzes tonight,
Why (A) you’d be a cowboy be (G) fore morning’s |D| 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)(MC4/5)
[Afterwards in [G] which has a little more lilt to it but capo'd at the 5th fret.]
TIP: For the intro, form and hold (A); then pick the coverd 3rd string <a> and strum, then the
covered 4th string <e> (or the open top string <e> if you prefer) and strum. Repeat 3 times.
The (D/A)s in the chorus can be ignored in favor of regular (D) without consequence but all you do
is add your pinky to the 4th string/4th fret.
INTRO <Form (A)>: 3-(A), 4-(A); 3-(A), 4-(A); 3-(A), 4-(A)
Oh have you seen, my dear com (D) panion, for he was (A) all, this world to (E) me.
I hear he's (A) gone, to some far (D) country, and that he (A) cares, no (E) more for (A) me.
I wish I (D/A) were, a swallow (A) flying.

I'd fly to a high, and lonesome (E) place.
I'd join the (A) wild, birds in their (D/A) crying,
Thinking of (A) you, and (E) your sweet (A) face.
(A)(D); (A)(E); (A)(D); (A)(E)(A)
Oh have you seen, my dear com (D) panion, for he was (A) all, this world to (E) me.
But now the (A) stars, have turned a (D) gainst me, and he (A) cares, no (E) more for (A) me.
Oh when the (D/A) dark, is on the (A) mountain,

And all the world, has gone to (E) sleep.
I will go (A) down, to cold dark (D/A) waters,
And there I'll (A) lay, me (E) down and (A) weep.
Oh have you (D) seen (oh have you seen) my dear com (A) panion (my dear companion)?
Oh have you (D) seen (oh have you seen) my dear com (A) panion (my dear companion)?
Oh have you (D) seen (oh have you seen), my dear com (A) panion. <pause>
For he was (A) all, this (E) world, to-oo (A) me.
(E. Harris)(D. Parton)(L. Ronstadt) (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 5)(MC4/5)
TIP: All the (Gadd)s can be ignored in favor of regular (G) without consequence.
TIP: For the intro, form and hold (G); then pick the top string <g> and strum, then the open 4rd
string <d> and strum. Repeat 3 times.
INTRO: <Form (G)>: 6-(G), 4-(G); 6-(G), 4-(G); 6-(G), 4-(G)
Oh have you (Gadd) seen, my dear com (C) panion, for he was (Gadd) all, this world to (D) me.
I hear he's (Gadd) gone, to some far (C) country, and that he (Gadd) cares, no (D) more for (G) me.
I wish I (C) were, a swallow (G) flying. I'd fly to a high, and lonesome (D) place.
I'd join the (Gadd) wild, birds in their (C) crying,
Thinking of (Gadd) you, and (D) your sweet (G) face.
(G)(Gadd)(C); (Gadd)(D); (Gadd)(C); (Gadd)(D)(G)
Oh have you (Gadd) seen, my dear com (C) panion, for he was (Gadd) all, this world to (D) me.
But now the (Gadd) stars, have turned a (C) gainst me, and he (Gadd) cares, no (D) more for (G) me.
Oh when the (C) dark, is on the (G) mountain, and all the world, has gone to (D) sleep.
I will go (Gadd) down, to cold dark (C) waters,
And there I'll (Gadd) lay, me (D) down and (G) weep.
Oh have you (C) seen (oh have you seen) my dear com (G) panion (my dear companion)?
Oh have you (C) seen (oh have you seen) my dear com (G) panion (my dear companion)?
Oh have you (C) seen (oh have you seen), my dear com (G) panion. <pause>
For he was (Gadd) all, this (D) world, to-oo (G) me.
MY DING A LING - Chuck Berry
(Bartholomew)
https://www.youtube.com/watch?v=UO8aEdnHpwY (Capo 1)(MC0)
TIP: For the intro, form (D) and then pluck the open 4th string <d> and strum, then pluck the open
5th string <a> and strum. Repeat as often as you like and then start the song. You also might
want to rest your thumb on the top string to mute it during the intro.
INTRO: 4-(D), 5-(D) repeat . . .
(D) When I was, a (G) little bitty boy, my (A) grandmother bought me a (D) cute little toy.
Silver bells hangin' (G) on a string, she (A) told me it was my (D) ding a ling a ling.
My ding a ling, (G) my ding a ling. I (A) want to play with (D) my ding a ling.
And then mother took me to (G) Grammer School. But (A) I stopped all in the (D) vestibule.
Every time that (G) bell would ring, (A) catched me playin' with my (D) ding a ling a ling.
Once I was climbing the (G) garden wall. I (A) slipped and had a (D) terrible fall.
I fell so hard I (G) heard bells ring, but (A) held on to my (D) ding a ling a ling.
Once I was swimming cross (G) Turtle Creek, (A) man those snappers all a (D) round my feet.
Sure was hard swimming (G) cross that thing, with (A) both hands holdin' my (D) ding a ling a ling.
This here song, it (G) ain't so sad, the (A) cutest little song you (D) ever had.
Those of you who (G) will not sing, you (A) must be playin' with your (D) own ding a ling.
Your ding a ling. (G) Your ding a ling. We (A) saw you playin' with (D) your ding a ling.
My ding a ling, (G) everybody sing, (A) I want to play with (D) my ding a ling.
My (ding a ling). (G) My (ding a ling).

(A) I want to play with my . . . ding . . . a . . . (D) 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)(MC0)
TIP: For the (D4) just hold (D) and add pinky to the bottom string/3rd fret.
INTRO: (D)(D4)(D)(D4)(D)(D4)(D)
The first time we met is a (D7) favorite mem'ry of (G) mine.

They say (A7) time changes all it per (A) tains to.
But your memory, is stronger than (D) time.
I guess everything does change except what, you choose to re (G) call.
There's a (A7) million good daydreams to (A) dream on.
But baby, you are, my favorite (A7) mem'ry of (D) all. (D4)(D)
Like the night we made love in the (D7) hallway. Slept all night long on the (G) floor.
Like the (A7) winter, we spent at Lake (A) Shasta, alone, and closer, than ever be (D) fore.
And I remember that London va (D7) cation. It was you who made the whole thing a (G) ball.
There's a (A7) million good times I could (A) dwell on.
But baby, you are, my favorite (A7) mem'ry of (D) all.
The first time we met is a (D7) favorite mem'ry of (G) mine.

They say (A7) time changes all it per (A) tains to.
But your memory, is stronger than (D) time.
I guess everything does change except what, you choose to re (G) call.
There's a (A7) million good daydreams to (A) dream on.
But baby, you are, my favorite (A7) mem'ry of (D) all (A)(D).
MY GET UP AND GO – Pete Seeger
(Traditional/Seeger)
https://www.youtube.com/watch?v=Ol5taJE_W2k (Capo 1)(MC1)
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) How do I know my (A) youth is all spent?

My (E) get up and go has (A) got up and went.
But in (D) spite of it all I'm (A) able to grin,
And (E) think of the places my (E7) get up has (A) been.
Now old age is golden (E) so I've heard said,

But sometimes I wonder as I (A) crawl into bed,
With my (D) ears in a drawer my (A) teeth in a cup,
My (B7) eyes on the table until I wake (E) up.
As (A) sleep dims my vision I (E) say to myself,

“Is there anything else I should (A) lay on the shelf?”
But though (D) nations are warring and (A) business is vexed,
I’ll (E) still stick around to see (E7) what happens (A) next.

And (E) think of the places my (E7) get up has (A) been (A)(A).
When I was young my (E) slippers were red.
I could kick up my heels right (A) over my head.
(D) When I was older my (A) slippers were blue,
But (B7) still I could dance the whole night (E) thru.
(A) Now I am older my (E) slippers are black.

I huff to the store and I (A) puff my way back.
(D) But don’t you laugh I (A) don't mind at all.
I'd (E) rather be huffing than (E7) not puff at (A) all.

And (E) think of the places my (E7) get up has (A) been (A)(A).
Now I get-up in the morning and (E) dust off my wits.

Open the paper and (A) read the obits.
(D) If I'm not there I (A) know I'm not dead,
So I (E) eat a good breakfast and (E7) go back to (A) bed.

And (E) think of the places my (E7) get up has (A) been. |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)(MC0)
[Afterwards there's a version in [G]. To sing along it's a little high up the neck, capo at the
5th fret, and it also has the (Bm) to contend with, but I find the opening riffs easier to play.]
TIP: There are two parts to the intro, the first being the base bump-thump-thump. Form (C) and
pick the 3rd and then the 5th string accordingly. The second part is the familiar ascending note
lick. Still holding the (C) form, lift off your middle finger. You're going to use that middle
finger to alternate between the 4th and 3rd string. So start by picking the covered 5th string
<c>, pause briefly, then pick the open 4th string <d>, middle finger down on the 4rd string and
pick <e>, middle finger up and pick the open 3rd string <g>, middle finger down on the 3rd string
and pick <a>, middle finger up and pick covered 2nd string <c>. Now do it all again. (Note this
lick occurs again for two bars at the entry to the bridge before the key change.)
INTRO: <Form (C)>: <g><c>-<c>, <g><c>-<c>, <g><c>-<c>, <g><c>-<c>;

<g><c>,<d><e><g><a><c>; <c>,<d><e><g><a><c>
(NC) I've got (C) sunshine (F), on a cloudy (C) day (F).
When it's (C) cold outside (F), I've got the (C) month of May (F).
(C) I, (Dm) guess, (F) you'd, (G) say, (C) what can (Dm) make me (F) feel this (G) way?
(C) My girl, (my girl, my girl). Talkin' 'bout (Dm7) my girl, (G7) (my girl).
I've got (C) sooooo, much (F) honey the bees envy (C) me (F).
I've got a (C) sweeter song (F), than the birds, in the (C) trees (F).
Well-ell (C) I, (Dm) guess, (F) you'd, (G) say, (C) what can (Dm) make me (F) feel this (G) way?
(C) My girl, (my girl, my girl). Talkin' 'bout (Dm7) my girl, (G) (my girl).
Ooooo <g><c>-<c> -ooooh. <g><c>-<c>, <g><c>-<c>, <g><c>-<c>,
<c>,<d><e><g><a><c>; <c>,<d><e><g><a><c>; (C)(F), Hey hey (C) hey. (C)(F), Hey hey (Dm) hey.
(G) (Em) Ooooh (A) yeah.
I don't (D) need no money (G), for-tune or (D) fame (G).

I've got, (D) all the riches baby (G), one man can (D) claim (G).
Well-ell (D) I, (Em) guess, (G) you'd, (A) say, (D) what can (Em) make me (G) feel this (A) way?
(D) My girl, (my girl, my girl). Talkin' 'bout (Em) my girl, (A7) (my girl).
Talkin' 'bout (D) my girl.
I've got sunshine on a cloudy day with (G) my girl.

I've even got the month of May with (D) my girl.
Talkin' bout talkin' bout talkin' bout my (G) girl.
Oooh talkin' bout (D) my girl.
It's all I can talk about, my (G) girl. |D|
MY GIRL - The Temptations
(Robinson/White)
https://www.youtube.com/watch?v=bZh7nRw6gl8 (Capo 5)(MC0)
TIP: There are two parts to the intro, the first being the base bump-thump-thump. Hold the (G)
chord formation and pick the 4th and then the 6th (top) string accordingly. The second part is the
familiar ascending note lick. Start with your ring finger on the top string/3rd fret <g>. Pick it
once and pause briefly, then lift off and use your index finger to walk down strings 5, 4, and 3 in
the 2nd fret, each time alternating finger down and then finger off, finishing on the open 3rd
string <g>. Now replace your ring finger on the top string/3rd fret and repeat the sequence. Do
this twice. (Note this lick occurs again for two bars at the entry to the bridge before the key
change.)
INTRO: <Form (G)>: <d><g>-<g>, <d><g>-<g>, <d><g>-<g>, <d><g>-<g>;

<d><g>,<a><d><e><a>; <g>,<a><d><e><a>
(NC) I've got (G) sunshine (C), on a cloudy (G) day (C).
When it's (G) cold outside (C), I've got the (G) month of May (C).
(G) I, (Am) guess, (C) you'd, (D) say, (G) what can (Am) make me (C) feel this (D) way?
(G) My girl, (my girl, my girl). Talkin' 'bout (Am7) my girl, (D7) (my girl).
I've got (G) sooooo, much (C) honey the bees envy (G) me (C).
I've got a (G) sweeter song (C), than the birds, in the (G) trees (C).
Well-ell (G) I, (Am) guess, (C) you'd, (D) say, (G) what can (Am) make me (C) feel this (D) way?
(G) My girl, (my girl, my girl). Talkin' 'bout (Am7) my girl, (D) (my girl).
Ooooo <d><g>-<g> -ooooh. <d><g>-<g>,<d><g>-<g>,<d><g>-<g>
<d>,<g><a><d><e><g>; <g>,<a><d><e><g>; (G)(C), Hey hey (G) hey. (G)(C), Hey hey (Am) hey.
(D) (Bm) Ooooh (E) yeah.
I don't (A) need no money (D), for-tune or (A) fame (D).

I've got, (A) all the riches baby (D), one man can (A) claim (D).
Well-ell (A) I, (Bm) guess, (D) you'd, (E) say, (A) what can (Bm) make me (D) feel this (E) way?
(A) My girl, (my girl, my girl). Talkin' 'bout (Bm) my girl, (E7) (my girl).
Talkin' 'bout (A) my girl.
I've got sunshine on a cloudy day with (D) my girl.

I've even got the month of May with (A) my girl.
Talkin' bout talkin' bout talkin' bout my (D) girl.
Oooh talkin' bout (A) my girl. It's all I can talk about, my (D) girl. |A|
MY GUY - Mary Wells
(Robinson)
https://www.youtube.com/watch?v=4WT7nBGX5eU (Capo 3)(MC1/2)
TIP: There are two voicing runs that aren't that hard to play. The first is the
(Gadd)(NC)(Gb)(NC) and then to either (Gadd) or (B7) sequence. From the (Gadd) the (NC) means just
that, no chord, so come completely off the fingerboard and relax for a moment. Now use 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 (Gadd) or (B7).
TIP: The second is just 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)
(Gadd) Nothing you could (NC) say can (Gb) tear me a (NC) way from (Gadd) my (G) guy (Gadd)(G).
(Gadd) Nothing you could (NC) do 'cause I'm (Gb) stuck like (NC) glue to (B7) my guy.
I'm (Am) stickin' to my (Bm) guy like a (Am) stamp to a (Bm) letter
Like the (Am) birds of a (Bm) feather we, (Am) stick togeth (D) er
I'm (G) tellin' you from the (Gb) start I (Am) can't be torn a (D7) part from my (G) guy. (Am)-(D)
(Gadd) Nothing you can (NC) do could (Gb) make me un (NC) true to (Gadd) my (G) guy (Gadd) (my
(G) guy).
(Gadd) Nothing you could (NC) buy could (Gb) make me tell a (NC) lie to (B7) my guy (my guy).
I (Am) gave my (Bm) guy my (Am) word of (Bm) honor,

(Am) To be (Bm) faithful (Am) and I'm gon (D) na.
You (G) best be be- (Gb) -lieving I (Am) won't be de (D7) ceiving my (G) guy. (Am)-(D)
As a (Am) matter of o (D) pinion I (Am) think he's (D) tops.

(Am) My opinion (D) is he's the (G) cream of the crop.
As a (Em) matter of (Bm) taste to (Em) be ex (Bm) act, (A7) he's my ideal as a (D7) matter of fact.
No (Gadd) muscle bound (NC) man could (Gb) take my (NC) hand from (Gadd) my (G) guy (Gadd) (my
(G) guy).
No (Gadd) handsome (NC) face could ever (Gb) take the (NC) place of (B7) my guy (my guy).
He (Am) may not (Bm) be a (Am) movie (Bm) star

But when it (Am) comes to being (Bm) happy, (Am) we (D) are.
There's not a (G) man to (Gb) day who could (Am) take me a (D7) way from my (G) guy. (Am)-(D);
(G)(G)(G); <pause> (Am)-(D)
No (Gadd) muscle bound (NC) man could (Gb) take my (NC) hand from (Gadd) my (G) guy (Gadd) (my
(G) guy).
No (Gadd) handsome (NC) face could ever (Gb) take the (NC) place of (B7) my guy (my guy).
He (Am) may not (Bm) be a (Am) movie (Bm) star

But when it (Am) comes to being (Bm) happy, (Am) we (D) are.
There's not a (G) man to (Gb) day who could (Am) take me a (D7) way from my (G) guy.
(Am) What'd you (D) say?
(Am) Tell me (D) more.
(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)(MC0)
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: For the intro, form (D) and then pick the open 4th string letting the pick rest on the 3rd
string below and strum the lower 3 strings twice. Now pick the open 5th string letting the pick
rest on the 4th string and strum the lower 4 strings twice. Repeat and begin song.
TIP: You can play either the (E7)(A7) as shown or (E)(A) if you'd rather. Both sound fine.
INTRO: 4-(D), 5-(D); 4-(D), 5-(D)
I grew up a-dreamin', of bein' a cowboy, and (G) lovin' the cowboy (D) ways.
Pursuin' the life, of my high-ridin' heroes, I (E7) burned up my childhood (A) days.
I (D) learned all the rules, of the modern-day drifter.
Don't you (G) hold on to nothin' too (D) long.
Just (G) take what you need, from the (D) ladies then (G) leave them,
With the (D) words, of a (A7) sad country (D) song (D7).
My (G) heroes have always been (D) cowboys. (E7) And they still are it (A7) seems.
(G) Sadly in search of, and (D) one step in (G) back of,
Them (D) selves, and their (A7) slow-movin' (D) dreams.
Cowboys are special, with their own brand of misery, from (G) being alone too (D) long.
You could die from the cold, in the arms of a nightmare,
(E7) Knowin' well, that your best days are (A) gone.
(D) Pickin' up hookers, instead of my pen, I let the (G) words of my youth fade a (D) way.
(G) Old worn-out saddles, and (D) old worn-out (G) memories,
With (D) no one, and (A7) no place to (D) stay (D7).
My (G) heroes have always been (D) cowboys. (E7) And they still are, it (A7) seems.
Them (D) selves, and their (A7) slow-movin' (D) dreams.
Them (D) selves, and their (A7) slow movin' (G) dreams (G) (D).
MY HOMETOWN
Bruce Springsteen
https://www.youtube.com/watch?v=z6LABdHtkUA (Capo 0)(MC3)
[Here in the key of [D], also presented afterwards in [G] which you may find easier to play.]
TIP: The (Asus2) and (Esus) can be ignored in favor of just (A) and (E) but they’re easy to play
as (Asus) is just (A) without the bottom finger and (Esus) is just (E) with your pinky added to the
3rd string/2nd fret. The majors are played one syllable after the suspended.
TIP: Also note there’s an (Asus) in the bridge. Just slide your bottom finger up one fret or add
your pinky to the 2nd fret/3rd string.
TIP: (D) can be played instead of the (F#m) if you want.
INTRO: (Asus2)-(A)(A),(Asus2)-(A)(A),(D)(A)(E); (Esus)-(E)(E),(Esus)-(E)(E),(A)(E)(D)
I was (Asus2) eight (A) years old, and (Asus2) run (A) ning with, a (D) dime (A) in my (E) hand.
Into-the-(Esus)-bus-(E)-stop-to-pick, (Esus) up (E) a paper, for (A) my (E) old (D) man.
I'd (Asus2) sit (A) on his lap, in that (Asus2) big (A) old Buick,
(D) Steer as we (A) drove through (E) town.
He'd (Esus) tous-(E)-le my hair, and (Esus) say (E) son take, a (A) good (E) look a (D) round,
This is (A) your hometown. This is (D) your (A) home (E) town. (Esus) This-is-your (E) hometown.
This is (A) your (E) home (D) town.
In (Asus2) Six- (A) ty Five tension-was (Asus2) run (A) ning high, at (D) my (A) high (E) school.
There was a (Esus) lot (E) of fights between the (Esus) black (E) and white.
There was (A) nothing (E) you could (D) do.
Two (Asus2) cars (A) at a light, on a (Asus2) Sat (A) urday night,
In the (D) back-seat (A) there was a (E) gun.
(Esus) Words (E) were passed, a (Esus) shot (E) gun blast, troubled (A) times (E) had (D) come,
To (A) my hometown. To (D) my (A) home (E) town. (Esus) My (E) hometown.
(A) My (E) home (D) town. (A)
Now (F#m) Main Street's whitewashed windows, and (A) vacant stores.
Seems-(F#m)-like-there-ain't nobody, wants to come (A) down here no more.
They're (D) closing down, the textile mill, 'cross the (A) railroad tracks.
Foreman-(D)-says these jobs, are going boys, and (A) they ain't (Asus) com (A) ing (E) back,
To (A) your hometown. To (D) your (A) home (E) town. (Esus) Your (E) hometown.
(A) Your (E) home (D) town. (A)
Last (Asus2) night (A) me and Kate, we (Asus) laid (A) in bed,
(D) Talkin' about (A) getting (E) out.
(Esus) Pack (E) ing up, (Esus) our (E) bags maybe (A) head (E) ing (D) south.
I'm (Asus2) thir-(A)-ty five, we (Asus2) got (A) a boy, of (D) our (A) own (E) now.
Last night I (Esus) sat (E) him up, be (Esus) hind (E) the wheel,
Said (A) son take a (E) good look a (D) round, this is (A) your hometown. (A)(D)(A)(E)
(Esus)-(E),(Esus)-(E); (A)(E)(D)
(Asus2)-(A),(Asus2)-(A),(D)(A)(E); (Esus)-(E)-(Esus)(E); (A)(E)(D)
(Asus2)-(A),(Asus2)-(A),(D)(A)(E); |A|
MY HOMETOWN
Bruce Springsteen
https://www.youtube.com/watch?v=z6LABdHtkUA (Capo 2)(MC4)
TIP: This looks really sloppy, and the augmented chords can be ignored in favor of just (G) and
(D), but they’re not hard to play.
So there are three variations of (G) to contend with. The first is (G/A) which is just (G)
without the 2nd finger – with the 5th string open - emphasis on the low <a>. Next is the (G/A2)
which always comes after a (G) so just bring the finger off the 5th string and down to cover note
<a> at the 3rd string/2nd fret, emphasis on the middle <a>. You can release the top string as well
if it’s more comfortable but if so don’t strum the top string. Except for the intro/outro the
(G/A) is played at the beginning of the line followed by the (G/A2) with (G) played one syllable
after each augmentation. The third variation is (G4) which is only played once in the bridge and
is played in the same way as the (G/A2) except you drop down cover note <c> at the 2nd string/1st
fret.
The (D/A) can be ignored in favor of just the (D) but you just add your pinky to the 4th
string/4th fret. It’s played the same way as the (G/A)-(G) sequence.
INTRO: (G/A2)-(G),(G/A2)-(G),(C)(G)(D); (D/A)(D),(D/A)(D); (G)(D)(C)
I was (G/A) eight (G) years old, and (G/A2) run (G) ning with, a (C) dime (G) in my (D) hand.
Into-the-(D/A)-bus-(D)-stop-to-pick, (D/A) up (D) a paper, for (G) my (D) old (C) man.
I'd (G/A) sit (G) on his lap, in that (G/A2) big (G) old Buick,
(C) Steer as we (G) drove through (D) town.
He'd (D/A) tous (D) le my hair, and (D/A) say (D) son take, a (G) good (D) look a (C) round,
This is (G) your hometown. This is (C) your (G) home (D) town. (D/A) This-is-your (D) hometown.
This is (G) your (D) home (C) town.
In (G/A) Six (G) ty Five tension-was (G/A2) run (G) ning high, at (C) my (G) high (D) school.
There was a (D/A) lot (D) of fights between the (D/A) black (D) and white.
There was (G) nothing (D) you could (C) do.
Two (G/A) cars (G) at a light, on a (G/A2) Sat (G) urday night,
In the (C) back-seat (G) there was a (D) gun.
(D/A) Words (D) were passed, a (D/A) shot (D) gun blast, troubled (G) times (D) had (C) come,
To (G) my hometown. To (C) my (G) home (D) town. (D/A) My (D) hometown.
(G) My (D) home (C) town. (G)
Now (C) Main Street's whitewashed windows, and (G) vacant stores.
Seems-(C)-like-there-ain't nobody, wants to come (G) down here no more.
They're (C) closing down, the textile mill, 'cross the (G) railroad tracks.
Foreman-(C)-says these jobs, are going boys, and (G) they ain't (G4) com (G) ing (D) back,
To your (G) hometown. To (C) our (G) home (D) town. (D/A) Your (D) hometown.
(G) Your (D) home (C) town. (G)
Last (G/A) night (G) me and Kate, we (G/A2) laid (G) in bed, (C) talkin' about (G) getting (D) out.
(D/A) Pack (D) ing up, (D/A) our (D) bags maybe (G) head (D) ing (C) south.
I'm (G/A) thir (G) ty five, we (G/A2) got (G) a boy, of (C) our (G) own (D) now.
Last night I (D/A) sat (D) him up, be (D/A) hind (D) the wheel,
Said “(G) Son take a (D) good look a (C) round, this is (G) your hometown. (G)(C)(G)(D),
(D/A)(D)(D/A)(D), (G)(D)(C)
(G/A)-(G),(G/A2)-(G),(C)(G)(D); (D/A)(D),(D/A)(D),(G)(D)(C)
(G/A)-(G),(G/A2)-(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)(MC4/5)
TIP: You can just play (G) and (C) and skip the (Gadd) and (CaddG) if you wish. In both cases all
you’re doing is adding your pinky to the bottom string/3rd fret to accentuate the treble <e> to go
along with Vince and Patty’s high notes.
INTRO: (C)(G)(D)(G), (D)
(G) You don't need diamonds, or (C) big fancy (G) cars.
(Gadd) You say you're happy, (G) right where you (D) are (D).
(C) We're (CaddG) bound together, by a (C) little gold (G) band (G).
You're (C) my kind of (G) woman, and you're (D) my kind of (G) man (G).
Oh living without you, is (C) my only (G) fear.

You still (Gadd) drive me crazy, when (G) I hold you (D) near (D).
(C) My (CaddG) body trembles, with the (C) touch of your (G) hand (G).
You're (C) my kind of (G) woman, and you're (D) my kind of (G) man (G).
You're (C) my (CaddG) kind of (C) woman, you're my (CaddG) kind of (Gadd) man (Gadd).
A match made in Heaven, by (A) God's gentle (D) hands (D).
I'll (C) love (CaddG) you forever, together we'll (Gadd) stand (Gadd).
You're (C) my kind of (G) woman, and you're (D) my kind of (G) man.
<steel guitar> (G)(G)(C)(G), (G)(G)(G)(D)
<fiddle> (C)(C)(C)(G)(G), (C)(G)(D)(G)(G)

You're (C) my (CaddG) kind of (C) woman, you're my (CaddG) kind of (Gadd) man (Gadd).
A match made in Heaven, by (A) God's gentle (D) hands (D).
I'll (C) love (CaddG) you forever, together we'll (Gadd) stand (Gadd).
You're (C) my kind of (G) woman, and you're (D) my kind of (G) man.
You're (C) my (CaddG) kind of (G) woman, and you're (D) my kind of (C) man |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)(MC0/1)
TIP: In the intro and segue between verses the (Cmaj7G) is just (C) without the bottom finger but
heavy on the bass so add your pinky to the top string/3rd fret.
TIP: Neil hits the lead-in chord early so it may appear at the back-end of the previous line.
INTRO: (Em)(D)(Cmaj7G)(Cmaj7G); (Em)(D)(Cmaj7G)(Cmaj7G); (Em)(D)(Cmaj7G)(Cmaj7G);

(Em)(D)(Cmaj7G)(Cmaj7G), (Em)
My (D) my hey (C) hey (C), (Em). Rock and (D) roll is here to (C) stay (C),(G).
It's better to (Bm) burn out, (Em) than to fade a (C) way (Em). My (D) my hey (C) hey (C).
(Em)(D)(CmajG)(Cmaj7G), (Em)
Out of the (D) blue and into the (C) black (C),(Em).
They give you (D) this but you pay for (C) tha-at (C),(G).
And once you're (Bm) gone you can (Em) never co-ome (C) back,
When you're (Em), out of the (D) blue, and into the (C) black (C). (Em)(D)(Cmaj7G)(Cmaj7G);
(Em)(D)(Cmaj7G)(Cmaj7G)
<harmonica> (G)(D)(Em)(C)(Em) <guitar> (Em)(D)(Cmaj7G)(Cmaj7G), (Em)
The king is (D) gone but he's not for (C) gotten (C),(Em).
This is the (D) story of a Johnny (C) Rotten (C),(G).
It's better to (Bm) burn out (Em), than it is to (C) rust (Em).
The king is (D) gone but he's not for (C) gotten (C). (Em)(D)(Cmaj7G)(Cmaj7G), (Em)
Hey (D) hey my (C) my (C), (Em). Rock and (D) roll can never (C) die (C).
(G) There's more to the (Bm) picture (Em), than meets the (C) eye (Em). Hey (D) hey, my (C) my.
<harmonica/guitar> (Em)(D)(Cmaj7G)(Cmaj7G); (Em)(D)(Cmaj7G)(Cmaj7G);

(G)(Bm)(Em)(C)(Em) hey (D) hey my (C) my. |Em|
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)(MC1)
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) The sun is sinking in the |Em| west. The |Am| cattle go down to the |G| stream.
The |C| redwing settles in the |Em| nest. It's |Am| time, for a cowboy, to (C) dream. (C)(C)
Purple light, in the (F) canyons, that's where (C) I, long to (F) be.
With my (C) three, good com (F) panions, just my (C) rifle, pony, and (F) me.
Gonna (C) hang (gonna hang), my som (F) brero (my sombrero).
On the (C) limb (on the limb), of a (F) tree (of a tree).
Comin’ (C) home (comin’ home), sweetheart (F) darlin’ (sweetheart darlin’).
Just my (C) rifle, (F) pony, and (C) me. Just my rifle, my (F) pony, and (C) me.
Whippoorwill, in the (F) willow, sings a (C) sweet, melo (F) dy.
Ridin’ (C) to (ridin’ to), Ama (F) rillo (Amarillo). Just my (C) rifle, pony, and (F) me.
No more (C) cows (no more cows), to be (F) ropin’, (to be ropin’).
No more (C) strays (no more strays), will I (F) see.
Round the (C) bend (round the bend), she'll be (F) waitin’ (she'll be waitin’).
For my (C) rifle, (F) pony, and (C) me. For my rifle, my |F| pony, and |C| me. |F| |C|
(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)(MC5)
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. The (Bm) appears only in the intro
verse.
INTRO <Just Dean>: (G)(C)(G), (G)(C)|G|
(NC) The sun is sinking in the |Bm| west. The |Em| cattle go down to the |D7| stream.
The |G| redwing settles in the |Bm| nest. It's |Em| time, for a cowboy, to (G) dream. (G)(G)
Purple light, in the (C) canyons, that's where (G) I, long to (C) be.
With my (G) three, good com (C) panions, just my (G) rifle, pony, and (C) me.
Gonna (G) hang (gonna hang), my som (C) brero (my sombrero).
On the (G) limb (on the limb), of a (C) tree (of a tree).
Comin’ (G) home (comin’ home), sweetheart (C) darlin’ (sweetheart darlin’).
Just my (G) rifle, (C) pony, and (G) me. Just my rifle, my (C) pony, and (G) me.
Whippoorwill, in the (C) willow, sings a (G) sweet, melo (C) dy.
Ridin’ (G) to (ridin’ to), Ama (C) rillo (Amarillo). Just my (G) rifle, pony, and (C) me.
No more (G) cows (no more cows), to be (C) ropin’, (to be ropin’).
No more (G) strays (no more strays), will I (C) see.
Round the (G) bend (round the bend), she'll be (C) waitin’ (she'll be waitin’).
For my (G) rifle, (C) pony, and (G) me. For my rifle, my |C| pony, and |G| me. |C| |G|
(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)(MC2)
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) The sun is sinking in the |Bm| west. The |Em| cattle go |G| down to the |D7| stream.
The |G| redwings settles in their |Bm| nest. It's |C| time, for a cowboy, to (G) sing. (G)(G)
Purple light, in the (C) canyons, that's where (G) I, long to (C) be.
With my (G) three, good com (C) panions, just my (G) rifle, my (C) pony, and (G) me.
Whippoorwill, in the (C) willow, sings a (G) sweet, melo (C) dy.
Ridin’ (G) to, Ama (C) rillo. Just my (G) rifle, my (C) pony, and (G) me.
<harmonica> (G)(C)(G)(C), (G)(C),(G)(C)(G)
No more cows, to be (C) ropin’. No more (G) strays, will I (C) see.
Round the (G) bend, she'll be (C) waitin’, for my (G) rifle, my (C) pony, and (G) me.
For my rifle, my |C| pony . . . and (G) me. (G)(G)|G|
MY SWEET LADY
John Denver
https://www.youtube.com/watch?v=_3p1KFxzT5M (Capo 0)(MC0)
[This version is purely for chords. Afterwards there's a somewhat complicated version meant more
for a modified slow fingerpick.]
TIP: Strum sparingly through the verse, maybe even once per chord, and more normally through the
chorus.
TIP: In the chorus there's a weird (Em2) chord which is (Em) with your pinky added to the bottom
string of the 2nd fret.
INTRO: (D) (G) (D) (G)
(D) Lady (Dmaj7), are you (G) crying? Do the (D) tears, be (Dmaj7) long, to (Gadd) me (Gm)?
Did you (D) think, our (Dmaj7) time together, (D) was all (Em) gone (Em)(A7)?
(D) Lady (Dmaj7), you've been (G) dreaming. I'm as (D) close as (Dmaj7) I can (Gadd) be (Gm).
And I (D) swear to (Dmaj7) you, our (Em) time has (A) just be (D) gun. (D7)
(G) Close your eyes and (A) rest, your weary (D) mi-ind (D7).
I (G) promise, I will (A) stay right here be (D) side you (D7).
To (G) day, our lives were (A) joined, became en (D) twined.
I (Bm) wish, that you could know, how much I (Em2) love (A7) you.
(D) Lady (Dmaj7), are you (G) happy? Do you (D) feel the (Dmaj7) way I (Gadd) do (Gm)?
Are there (D) meanings, that you've (Dmaj7) never, (D) seen be (Em) fore (Em)(A7)?
(D) Lady (Dmaj7), my sweet (G) lady. I just (D) can't be (Dmaj7) lieve it's (Gadd) true (Gm).
And it's (D) like, I've (Dmaj7) never (Em) ever (A) loved be (D) fore. (D7)
(G) Close your eyes and (A) rest your weary (D) mi-ind (D7).
To (G) day, our lives were (A) joined, became en (D) twined.
I (Bm) wish, that you could know, how much I (Em2) love (A7) you.
(D) Lady (Dmaj7), are you (G) crying? Do the (D) tears, be (Dmaj7) long, to (Gadd) me (Gm)?
Did you (D) think, our (Dmaj7) time together, (D) was all (Em) gone (Em)(A7)?
(D) Lady (Dmaj7), my sweet (G) lady. I'm as (D) close as (Dmaj7) I can (Gadd) be (Gm).
And I (D) swear to (Dmaj7) you, our (Em) time, has (A) just be (D) gun.
MY SWEET LADY
John Denver
https://www.youtube.com/watch?v=_3p1KFxzT5M (Capo 0)(MC0)
TIP: Don't get weirded out by the (Dmaj7)/(EmD) sequences, it's all fingerwork.
TIP: Play (Dmaj7) as a barre with your index finger. For (Dmaj7/A) stretch your pinky way over to
the 5th fret and cover the bottom string. (Em/D) is no chord at all and (G/D) is just the bottom
string/3rd string--which ever finger is comfortable.
TIP: The verses are meant to be delicately strummed or picked, once where each chord is indicated,
up until the the last word of the verse at which time you begin strumming on the (D) and (D7). So
start with a single downward stroke (Dmaj7) on "La-" and then add your pinky and pick the bottom
string only on "-dy" (Dmaj7/A). Pick the bottom string again on "are", lift pinky off and pick the
bottom string again on "you", and then lift off completely (Em/D) and stroke down once on "cry-",
followed by a single upstroke pick of the bottom string on "-ing" (G/D). This is the pattern for
the lines that begin with "Lady...".
TIP: The (Gadd) can be omitted if you want, and the (Gm) will sound nicer if you can cover either
or both of the notes on the 4th/5th strings or the 5th fret. The (D6) can also be omitted if you
want to play (Dmaj7) straight through to the (D).
INTRO: (D) (G) (D) (G)
(Dmaj7) La-(Dmaj7/A)- dy, are you (Em/D) cry-(G/D)-ing?

Do the (D) tears, be (Dmaj7) long, to (Gadd) me (Gm)?
Did you (D) think, our (Dmaj7) time to (D6) gether, (D) was all (Em) gone (Em)(A7)?
(Dmaj7) La-(Dmaj7/A)-dy, you've been (Em/D) dream-(G/D)-ing.
I'm as (D) close as (Dmaj7) I can (Gadd) be (Gm).
And I (D) swear to (Dmaj7) you, our (Em) time has (A7) just be (D) gun. (D7)
(G) Close your eyes and (A) rest, your weary (D) mind (D7).
To (G) day our lives, were (A) joined, became en (D) twined.
I (Bm) wish, that you could know, how much I (Em2) love (A) you.
(Dmaj7) La-(Dmaj7/A)- dy, are you (Em/D) hap-(G/D)-py?

Do you (D) feel the (Dmaj7) way I (Gadd) do (Gm)?
Are there (D) meanings, (Dmaj7) that you've (D6) never, (D) seen be (Em) fore (Em)(A7)?
(Dmaj7) La-(Dmaj7/A)- dy, my sweet (Em/D) la-(G/D)-dy.
I just (D) can't be (Dmaj7) lieve it's (Gadd) true (Gm).
And it's (D) like, I've (Dmaj7) never (Em) ever (A7) loved be (D) fore. (D7)
(G) Close your eyes and (A) rest your weary (D) mind (D7).
To (G) day our lives, were (A) joined, became en (D) twined.
I (Bm) wish, that you could know, how much I (Em2) love (A) you.
(Dmaj7) La-(Dmaj7/A)- dy, are you (Em/D) cry-(G/D)-ing?

Do the (D) tears be (Dmaj7) long to (Gadd) me (Gm)?
Did you (D) think, our (Dmaj7) time to (D6) gether, (D) was all (Em) gone (A7)?
(Dmaj7) La-(Dmaj7/A)- dy, my sweet (Em/D) la-(G/D)-dy.
I'm as (D) close as (Dmaj7) I can (Gadd) be (Gm).
And I (D) swear to (Dmaj7) you, our (Em) time, has (A7) just, be (D) gun.
MY WAY - Frank Sinatra
(Anka)
https://www.youtube.com/watch?v=6E2hYDIFDIU (Capo 2)(MC0)
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.
TIP: If possible, when playing the (Fm), try to play at least one of the notes on the 3rd fret.
You're already playing an (F) so just keep your ring finger where it is on the 4th string and grab
the 3rd string/1st fret with your index finger while lifting off the middle finger.
TIP: For the (CaddG) and (C7) you're already playing a (C) so just add your pinky the the bottom
string/3rd fret and then move it up to the 3rd string to play the (C7). For the (G7addD), which
can be skipped if you want, you're already playing the (G7) so just hold chord and add your pinky
to the 2nd string/3rd fret. Finally, play the full (E7)(pinky covering the 2nd string/3rd fret) if
possible.
INTRO: <Form (C)>: 4-3-2-3, 4-3-2-3, 4-3-2-3
And now, the end is (Em) near, and so I (C) face, the final (A7) curtain.
My (Dm) friend, I'll say it (Dm7) clear. I'll state my (G7) case, of which I'm (C) certain.
I've (CaddG) lived, a life that's (C7) full. I traveled (F) each, and, every (Fm) highway.
And (C) more, much more than (G7) this, I did it (G7addD) my (C) way.
Regrets, I've had a (Em) few. But then a (C) gain, too few to (A7) mention.
I (Dm) did, what I had to (Dm7) do, and saw it (G7) through, without ex (C) emption.
I (CaddG) planned, each charted (C7) course, each careful (F) step, along the (Fm) byway.
And (C) more, much more than (G7) this, I did it (G7addD) my (C) way.
Yes there were times, I'm sure you (C7) knew, when I bit (F) off, more than I could chew.
But through it (Dm7) all, when there was (G7) doubt, I ate it (E7-full) up, and spit it (Am) out.
I faced it (Dm7) all, and I stood (G7) tall, and did it (G7addD) my (C) way.
I've loved, I've laughed and (Em) cried, I've had my (C) fill, my share of (A7) losing.
And (Dm) now, as tears sub (Dm7) side, I find it (G7) all, so a (C) musing.
To (CaddG) think, I did all (C7) that, and may I (F) say, not in a (Fm) shy way.
Oh (C) no, oh no not (G7) me. I did it (G7addD) my (C) way.
For what is a man? What has he (C7) got? If not him (F) self, then he has not.
To say the (Dm7) things, he truly (G7) feels, and not the (E7-full) words, of one who (Am) kneels.
The record (Dm7) shows, I took the (G7) blows, and did it (G7addD) my (C) way.
(C)(CaddG)(C7)(F)(Fm)(C)(G7) Yes, it was (G7addD) my, (C) 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)(MC0)
[This is the same version that's on Harvest but that one is so dry and sterile I went with Neil's
live version.]
TIP: That mess of an intro isn't that difficult if you just give it a try and the only tricky bit
is that alternative (Gm). There's kind of two parts. Notice the first three chord sets have a
pattern: <chord>/#(chord)(chord)-(variation)-(same chord). Form the chord in <chevrons> and the #
is the string that's picked. The whole first part is a walk-down of those picked strings: 4<d>
5<c> 5 5<a#>. So for the first set you form (D), pick the 4th string and strum (D). Then
another strum of (D), remove your bottom finger to expose the bottom string, strum (Dsus2), and
back to (D). Same pattern with the next two: For the (CaddD) keep the (C) and add pinky 2nd
string/3rd fret, and "LB" means "lift bottom string" off the (Gadd). Next comes the (Gm). From
the (Gadd) keep your finger on the 2nd string/3rd fret and your top string on the top string/3rd
fret and slide your index finger all the way over to the 1st fret. Yeah it's awkward but bring
your elbow all the way forward so it's almost parallel to the neck. (If it's too much just play
the (Gm) on the 3rd fret like usual.) For the final bit you start with (C) then another (C), an
(Am), now keep the (Am) form but slide your ring finger up one fret (or add your pinky) and then
come right back down/off to another (Am) and back to (C). All one strums. Finish with an (Esus),
which is like (A) up one string-set and end with (E). In the body play the (Gm) on the 3rd fret.
TIP: At the end of the verse there's a little sing-song with the (E)(Esus)-(E). From the (E) just
add your pinky to the 3rd string/2nd fret below your ring finger and then remove it. Try not to
hit the 5th string of the (Esus). Or just skip it completely.
INTRO: <D>/4 (D)(D)-(Dsus2)-(D), <C>/5 (C)(C)-(CaddD)-(C), <Cadd>/5(Gadd)(Gadd)-(LB)-(Gadd),

<Gm>/5 (Gm); (C)(C)-(Am)-(A#m)-(Am)-(C), (Esus) (E)
<D>/4 (D)(D)-(Dsus2)-(D), <C>/5 (C)(C)-(CaddD)-(C), <Cadd>/5(Gadd)(Gadd)-(LB)-(Gadd),

<Gm>/5 (Gm); (C)(C)-(Am)-(A#m)-(Am)-(C), (Esus) (E)
(D) I caught you knockin' at my (C) cell (CaddD) ar door (G).
I love you baby can I (Gm) have some more (C).
Ohhhh (F) oh the damage (Esus) done (E)(Esus)-(E).
(D) I hit the city and I (C) lost (Caddd) my band (G).
I watched the needle take a (Gm) nother man (C).
Gonnne (F) gone, the damage (Esus) done (E)(Esus)-(E).
(D)(D)-(Dsus2)-(D), (C)(C)-(CaddD)-(C), (G), (Gm), (C)(C)-(Am)-(A#m)-(Am)-(C), (Esus), (E)
(D) I sing the song because I (C) love (CaddD) the man (G).
I know that some of you don't (Gm) understand (C).
Milllk (F) blood to keep from (Esus) runnnnnin' (E) out (E)(Esus)-(E).
(D) I've seen the needle and the (C) dam (CaddD) age done (G).
A little part of it in (Gm) everyone (C).
But every junkie's like a (F) setting suu-(Esus)-uu-(E)-un (Esus)-(E).
(D) I've seen the needle and the (C) dam (CaddD) age done (G).
A little part of it in (Bb) everyone (C).
Every junkie's like a (F) setting suu-(Esus)-uu-(E)-un (Esus)-(E).
(D)(D)-(Dsus2)-(D), (C)(C)-(CaddD)-(C), (G), (Gm)|Gm|
NEVER BEEN TO SPAIN - Three Dog Night
(Axton)
https://www.youtube.com/watch?v=dm6qw_yeo6o (Capo 2)(MC2)
TIP: The first verse is sung (almost) a cappella. After "Spain" and "insane there" you'll see the
notation 7 5 |G|. The numbers refer to the fret number (from the nut or capo -- and 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: To find the right note to start the song, strum (D) from the last line of the first verse and
hum the Mmmhmm part.
TIP: There's a distinct strumming pattern which is hard to explain but which you'll figure out if
you remember to downstroke on the word with a chord and then strum a second down-up-down cadence.
So it's (G) down, down-up-down, down-up-down, down-up-down . . . (D) down, down-up-down, down-up-
down, down-up-down . . . etc. Try it coming off the (NC) in the second verse.
(NC) Well I've never been to Spain, 7 5 |G|, but I kinda like the music, 2 O |D|.
Say the ladies are insane there, 7 5 |G| and they sure know how to use it, 2 O |D|.
They don't a |A| buse it; never gonna |G| lose it. I can't re |D| fuse it. Mmm-hmm.
(NC) Well I've never been to (G) England, but I kinda like the (D) Beatles.
Well I headed for Las (G) Vegas, only made it out to (D) Needles.
Can you (A) feel it? Must be (G) near it. Feels so (D) good. Oh it feels so good.
Well I've never been to (G) heaven, but I've been to Okla (D) homa.
Oh they tell me I was (G) born there, but I really don't re (D) member.
In Okla (A) homa, not Ari (G) zona? What does it (D) matter? What does it matter?
(G)(G)(D)(D)(G)(G)(D)(D)(A)(G)(D)(D)|D|
(NC) Oh I've never been to (G) Spain, but I kinda like the (D) music.
Say the ladies are in (G) sane there, and they sure know how to (D) use it.
They don't a (A) buse it; never gonna (G) lose it. I can't re (D) fuse it. Oh-oh oh.
Well I've never been to (G) heaven, but I've been to Okla (D) homa.
Oh they tell me I was (G) born there, but I really don't re (D) member.
In Okla (A) homa, not Ari (G) zona? What does it (D) 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)(MC0)
TIP: The intro is in two parts, the opening notes and then the chord strums. You can play the
notes three ways.
In the first intro line you play all the notes on the bottom string; the numbers are the fret
number with "0" being open. The exception is "(2/3)" which means pick the 2nd string/3rd fret.
The middle intro line is how to pick the notes using the 2nd, 3rd, and 4th strings of the 2nd
fret. The number is the string number and "c" means to cover the note (I use my index finger) and
"o" means the string is open. So "<4c>" is 4th string/2nd fret and "<3o>" is open third string,
etc. It's just sort of an on/off deal as you move down and up the strings. Looks complicated but
it's pretty easy once you do it once along with the recording.
The last intro line is the same as the middle line, just showing the notes.}
Finally comes the chord voicing. It's one beat of (Em), then you lift off the (bottom) ring finger
momentarily for one beat of the (Emsus2) and then two more beats of the (Em). Also note this
sequence repeats in the song but the thing is, that first (Em) in the sequence begins with the last
word of the line. Actually pretty easy.
INTRO <bottom string>: 0-0-3-5-7-5-3-(2/3)-0-0-(2/3)-0-0; (2/3)-0-0-3-5-7-5-3-(2/3)-0;
INTRO <2nd fret/4-3-2>: <4c><4c><3o><3c><2o><3c><3o><4o><4c><4c><4o><4c><4c>;

<4o><4c><4c><3o><3c><2o><3c><3o><4o><4c>
INTRO <2nd fret/4-3-2>: <e><e><g><a><a><g><d><e><e><d><e><e>; <d><e><e><g><a><a><g><d><e>
(Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em)

My mama was the (D) cold north wind.
(Em) My-daddy was the (G) sonnnnn of a (Em) railroad man from (D) west of hell,
Where the (C) trains don’t (D) even (Em) run (Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em).
Never (G) heard the whistle of a (Em) southbound freight,

Or the (G) singin' of its driving (B7) wheeeel no I,
(Em) Never did no (D) wanderin’. (Em) Never did no (G) wanderin’.
(Em) Never did no (D) wanderin’ after (Em) all (Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em);
(Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em).
They-say-the-highway’s just (D) one big road.

And it (Em) goes, from here to (G) therrrre and they (Em) say you carry a (D) heavy load,
When you’re (C) rolling down the (D) line some (Em) where (Emsus2)-(Em)(Em);
(Em),(Emsus2)-(Em)(Em).
Never (G) seen the dance of the (Em) telephone poles,

As (G) they go whizzin’ (B7) byyyyyy no I,
(Em) Never did no (D) wanderin’ after (Em) all (Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em).
(Am) Never did no wanderin’, (Em) high. (Am) Never did no wanderin’ low. (B7)
(Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em)
Now a sailor’s life is a (D) life for him, but it (Em) never was for (G) me.
And I (Em) never soared where the (D) hawk may soar,
Or (C) see what the (D) hawk might (Em) see (Emsus2)-(Em)(Em); (Em),(Emsus2)-(Em)(Em).
Never (G) hiked to heaven on a (Em) mountain trail,

Never (G) rode on a river’s (B7) raaa-aaage no I,
Never did no (D) wanderin’. (Em) Never did no (G) wanderin’.

<One strum each> |Em| Never did no |D| wanderin’ after |E| 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)(MC5)
https://www.youtube.com/watch?v=WCrZ5CN7ymc (D & B)(Capo 0)
TIP: The two versions are very similar with only minor differences. If you play along to the
Delaney version skip the (G7). This is based on John’s more upbeat tempo which has a distinct
down, down-up-down pattern.
INTRO: (C)(C)(C)|C|
(NC) I've got a (C) never ending love for (G) you. From now on, that's all I want to (C) do.
From the first time we met I (G) knew, I'd have a never ending love for (C) you |C|.
(NC) I've got a (C) never ending love for (G) you. From now on, that's all I want to (C) do.
From the first time we met I (G) knew, I'd have a (G7) never ending love for (C) you.
After (F) all this time of being alone (F).

We can (C) love one another, feel for each other
From now (F) on (F)(F)(F), (G) feels so good I can, hardly stand it (G)(G).
I've got a (C) never ending love for (G) you. From now on, that's all I want to (C) do.
From the first time we met, I (G) knew, I'd sing my (G7) never ending song of love for (C) you
<fiddle> (C)(C)(G)(G), (G)(G)(C)(C), (C)(C)(G)(G), (G)(G)(G)(C)

<steel> (C)(C)(G)(G), (G)(G)(C)(C), (C)(C)(G)(G), (G)(G)(G)(C)
After (F) all this time of being alone (F).

We can (C) love one another, live for each other
From now (F) on (F)(F)(F), (G) feels so good I can, hardly stand it (G)(G)(G)(G).
I've got a (C) never ending love for (G) you. From now on, that's all I want to (C) do.
From the first time we met I (G) knew, I'd sing my (G7) never ending song of love for (C) you.
I've got a (G7) never ending love for (C) you (C)(C)(C)|C|.
(John Fogerty) (Delaney & Bonnie) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE NIGHT BEFORE - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=7tD40D7jk-Q&ab_&ab_ (Capo 0)(MC1)
INTRO: (D) (F) (G) (A)
(D) We said our good (C) bye-eye- (G) -eye the (A) night before.
(D) Love was in your (C) eye-eye- (G) -eye the (A) night before.
(Bm) Now today I (Em) find, (Bm) you would change your (Gm) mind.
(D) Treat me like you did the (G) night be (D) fore. (F),(F)-(G)
(D) Were you telling (C) lie-i- (G) -ies the (A) night before?
(D) Was I so un (C) wi-i- (G) -ise the (A) night before?
(Bm) When I held you (Em) near, (Bm) you were so sin (Gm) cere.
(D) Treat me like you (G) did the night be (D) fore (D).
(Am) Last night is a (D) night I will re (G) member, you by.
(Bm) When I think of (E7) things we (E) did it, (A) makes me want to cryyyyy.
(D) We said our good (C) bye-eye- (G) -eye the (A) night before.
(D) Love was in your (C) eye-eye- (G) -eye the (A) night before.
(Bm) Now today I (Em) find, (Bm) you would change your (Gm) mind.
(D) Treat me like you did the (G) night be (D) fore. (F),(F)-(G)
(D) (C) (G) (A) (D) (C) (G) (A)
(D) Treat me like you (G) did the night be (D) fore (D).
(Am) Last night is a (D) night I will re (G) member, you by.
(Bm) When I think, of (E7) things we (E) did, it (A) makes me want to cryyyyy.
(D) Were you telling (C) lie-i- (G) -ies the (A) night before?
(D) Was I so un (C) wi-i- (G) -ise the (A) night before?
(D) Treat me like you (G) did the night be (D) fore.
(F) Like the night (D) before. (D)|D|
THE NIGHT THEY DROVE OLD DIXIE DOWN – Joan Baez
(Robertson)
https://www.youtube.com/watch?v=wanJQC5KAfo (Capo 1)(MC3)
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: You can play the intro from within the bass (C) or the treble (C) although I find it easier
to start with an open palm rather than move fingers around from within (C).
Bass: Pick the open top string <g> twice followed quickly by the open 5th string <a> and then
cover the 5th string/2nd fret and strum (C/G) four times, alternating the emphasising between the
covered 5th string and the covered 6th string. Repeat this sequence again and then strum (C/G) twice
and (Am).
Treble: Pick the open 3rd string <g> twice followed quickly the 3rd string/fret <a>, open 2nd
string , and then like above, strum (C/G) four times, alternating the emphasising between the
covered 5th string and the covered 6th string. Repeat this sequence again and then strum (C/G) twice
and (Am).
Alternatively, if this is too tough, just strum (G), then (Em) in place of the individual
notes and then hit the (Am) and start the song.
TIP: At the end of the chorus there's a little step-down instrumental piece. You want to
emphasize the base notes so include the top string and for the (C/G) and concentrate on the top 4
strings.
INTRO: <g>-<g>-<a>--(C/G)(C/G)(C/G)(C/G)
<g>-<g>-<a>--(C/G)(C/G)(C/G)(C/G), (C/G)-(C/G)-(Am)
Virgil (C) Cain is my name and I (F) drove on the Danville (Am) train.
(C) Till so much (Am) cavalry came and (F) tore up the tracks a (Am) gain.
(F) In the winter of (C) ‘65, we were (Am) hungry just (F) barely alive.
(Am) I took the train to, (F) Richmond it fell it was a (C) time, I re (Am) member oh so (D) well.
The (C) night they (Am) drove old (F) Dixie (C) down, and all the (Am) bells were ringin’.
The (C) night they (Am) drove old (F) Dixie (C) down, and all the (Am) people were singin’
They (C) went: “Naa na-na (Am) na na na, (D) na-na na-naa na (F) na na na-na.”
(C/G)(Em)(Am)(G), (C/G)(Em)(Am)(G)
(Am) Back with my wife in (C) Tennessee, when (F) one day she called to (Am) me:
(C) “Virgil (Am) quick come see, (F) there goes Robert E. (Am) Lee.”
Now (F) I don’t mind I’m (C) choppin’ wood, and I (Am) don’t care if the (F) money’s no good.
Just (Am) take what you need and (F) leave the rest,
But they should (C) never, have (Am) taken the very (D) best.
They (C) went: “Naa na-na (Am) na na na, (D) na-na na-naa na (F) na na na-na.”
(C/G)(Em)(Am)(G), (C/G)(Em)(Am)(G)
(Am) Like my father be (C) fore me, (F) I’m a workin’ (Am) man.
(C) And like my brother be (Am) fore me, (F) I took a rebel (Am) stand.
Well he was (F) just eighteen, (C) proud and brave. But a (Am) Yankee laid him (F) in his grave.
I (Am) swear by the blood be (F) low my feet,
You can’t (C) raise a Cain back (Am) up when it’s in de (D) feat.
They (C) went: “Naa na-na (Am) na na na, (D) na-na na-naa na (F) na na na-na.” |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)(MC3/5)
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)
Nights in white (D) satin, (Em) never reaching the (D) end.
(C) Letters I've (G) written, (F) never meaning to (Em) send.
Beauty I'd (D) always missed, (Em) with these eyes be (D) fore.
(C) Just what the (G) truth is (F) I can't say any (Em) more.
'Cause I (A) love you. Yes I (C) love you. Oh, how I (Em) love you (D) (Em) (D).
(Em) Gazing at (D) people, (Em) some hand in (D) hand.

(C) Just what I'm (G) going through, (F) they can’t under (Em) stand.
Some try to (D) tell me, (Em) thoughts they cannot de (D) fend.
(C) Just what you (G) want to be, (F) you will be in the (Em) end.
And I (A) love you. Yes I (C) love you. Oh, how I (Em) love you (D).
(Em) Oh how I love (D) you (Em) |Em|. <brief pause>
<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)
(Em) Nights in white (D) satin, (Em) Never reaching the (D) end.
(C) Letters I've (G) written, (F) never meaning to (Em) send.
Beauty I'd (D) always missed, (Em) with these eyes be (D) fore.
(C) Just what the (G) truth is, (F) I can't say any (Em) more.
'Cause I (A) love you. Yes I (C) love you. Oh, how I (Em) love you (D).
(Em) Oh how I love (D) you (Em).
(Em)-(Em) Yes I (A) love you. Yes I (C) love you. Oh how I (Em) love you (D).
(Em) Oh how I love (D) you (Em). (Em)
1982 - Randy Travis
(Blackmon/Vipperman)
https://www.youtube.com/watch?v=EJRl5GrW_34 (Capo 2)(MC0)
INTRO: (G)-(D)(D)(C)(D)(G)
(NC) Operator please connect me, with (C) nineteen eighty-two.

I (D) need to make apolo (D7) gies for (C) what I (D) didn't (G) do.
I sure do need to tell her that I've (C) thought the whole thing (Am) through,
And (D) now it's clear that she is what I (D7) should have held on (G) to.
They say (D) hindsight's 20/20, but I'm (G) nearly (C) going (G) blind,
From (A) staring at her photograph and (D) wishing she was mine.
It's that (G) same old lost love story. It's (C) sad but it's (Am) true.
There (D) was a time when she was mine in (D7) nineteen eighty (G) two. (D)(D)(C)(D)(G), (E)
(A) Postman can you sell me a (D) special kind of stamp?

(E) One to send a letter from this (D) crazy (E) lonely (A) man.
Back into the wasted years (D) of my living (Bm) past.
I (E) need to tell her now I know how long my love will (A) last.
They say (E) hindsight's 20/20, but I'm (A) nearly (D) going (A) blind,
From (B) staring at her (B7) photograph and (E) wishing she was mine.
It's that (A) same old lost love story. It's (D) sad but it's (Bm) true.
There (E) was a time when she was mine in (E7) nineteen eighty (A) two.
(E) Losing my mind going back in time to (E7) nineteen eighty (A) two (D)(A)(E)(A).
19TH NERVOUS BREAKDOWN - The Rolling Stones
(Jagger/Richards)
https://www.youtube.com/watch?v=DEseb6-hssc (Capo 2)(MC0)
TIP: The intro is quite quick with one strum per chord. Holding the (D) form pick the covered 3rd
string, then two strums of (D4) - just add your pinky - and one more strum of (D). Repeat 3 more
times.
INTRO <Form (D)>: 3-(D4)-(D4)-(D); 3-(D4)-(D4)-(D); 3-(D4)-(D4)-(D); 3-(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.
Well it (G) seems to me that you have seen too much in too few years.
And (D) though you've try you just can't hide your eyes are edged with tears.
You better (A) stop, look a (G) round. (G)(C)

Here it (D) comes, here it comes. Here it (G) comes, here it comes.
Here (D) comes your nineteenth (D7) nervous break (D) down. (D)
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.
Your (G) mother who neglected you owes a million dollars tax.
And your (D) father's still perfecting ways of making sealing wax.

(A) Oh, who's to blame, that (D) girl's, just insane.

Well (G) nothing I do don't seem to work it, (A) only seems to make the matters worse.
Oh (D) 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.
On (G) our first trip I tried so hard to rearrange your mind.
But (D) after awhile I realized you were disarranging mine.

(D)-(D4)-(D4)-(D); (D)-(D4)-(D4)-(D); (D)-(D4)-(D4)-(D); (D)-(D4)-(D4)-(D);
(A) Oh, who's to blame, that (D) girl's, just insane.

Well (G) nothing I do don't seem to work it, (A) only seems to make the matters worse.
Oh (D) ple-e-e-ease.
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.
Your (G) mother who neglected you owes a million dollars tax.
And your (D) father's still perfecting ways of making sealing wax.
You better (A) stop, look a (G) round. (D)(D) Here it comes.
Here comes your nineteenth (D7) nervous break (D) down.
NIGHT RIDER’S LAMENT
Dave Stamey
https://www.youtube.com/watch?v=9PGh9-YuHHg (Capo 2)(MC0)
TIP: For the opening, and the little segue between chorus and verse, pick alternating open 4th and
5th strings and then strum (D).
TIP: The end of the song finishes with three picks, a strum, and a hammer on. So right after the
|A| reposition for a (D) but remove the bottom finger (that’s (Dsus2). Pick the 4th, 3rd, and 2nd
strings, strum (Dsus2) and hammer on the ring finger on the bottom string of the 2nd fret, note <f#>
- like completing the (D) - to end the song.
INTRO: 4-(D) 5-(D) 4-(D) 5-(D), 4-(D) 5-(D) 4-(D) 5-(D)
One night while I was (G) ridin’ (G),

The (D) graveyard shift midnight til (A) dawn (A),
The (G) moon was as bright as a (D) reading light,
For a (A) letter from an old friend back (D) home (D)(D).
He asked me (G) "Why do you (A) ride for your (D) money (D)?
(G) Why do you (A) rope for short (D) pay (D)?
You ain't (G) gettin' no (A) where and you're (D) losin' your (G) shar- (D) ar- (Em) are (Em).
You (A) must have gone crazy out (D) there." (D)(D)(D)
He said "Last night I run onto (G) Jenny (G).

She's (D) married and she has a good (A) life (A).
Boy you (G) sure missed the track, when you (D) never came back.
She's the (A) perfect, professional's (D) wife (D)(D).
She asked me (G) “Why does he (A) ride for his (D) money (D)?
(G) Why does he (A) rope for short (D) pay (D)?
He ain't (G) gettin' no (A) where and he's (D) losing his (G) shar- (D) ar- (Em) are (Em).
He (A) must have gone crazy out (D) there." (D)(D7)(D7)
But they've (G) never (A) seen the (D) Northern Lights.
They’ve (G) never seen a (A) hawk on the (D) wing (D).
They’ve (G) never seen a (A) spring hit the (D) great di (G) vi- (D) i- (Em) ide (Em).
They've (A) never heard old Camp Cookie (D) sing. (D)(D)(D)
I read up the rest of my (G) letter (G).

And I (D) tore off the stamp for Black (A) Jim (A).
(G) Billy rode up to re (D) lieve me (D).
He (A) looked at my letter and (D) grinned. (D)(D) He said:
(G) "Why do we (A) ride for our (D) money (D)?

(G) Why do we (A) rope for short (D) pay (D)?
We ain't (G) gettin' no (A) where and we’re (D) losing our (G) shar- (D) ar- (Em) are (Em).
Ah we (A) all must be crazy out (D) here. (D)(D7)(D7)
But they've (G) never (A) seen the (D) Northern Lights.
They’ve (G) never seen a (A) hawk on the (D) wing (D).
They’ve (G) never seen a (A) spring hit the (D) great (G) divi- (D) i- (Em) ide (Em).
They've (A) never heard old Camp Cookie (D) sing. (D)(D7)(D7)
Ay-oh-dee- (G) lay-ee, oh-doo-loh-ooh, oh (D) layee dee-ohhh,
Ee- (A) yodel-ohti, ee- (D) yodel-oh-ah-ti.
Ah-dee-oh- (G) lay-ay, oh-doo-loh-ooh, oh (D) layee dee-ohhh,
Ee- (A) yodel-oh-ti, ee-yodel- (D) ti. (D)(D)
Ay-dee-oh- |E7| low-oh- dee,
|A| Yay-dee-odle-dee, Yay-dee-odle- dee <d> - <a> - <d> - (Dsus2) - <hammer on---> <f#>
NOBODY HOME - Pink Floyd
(Waters)
https://www.youtube.com/watch?v=TIEma4NAc9w (Capo 0)(MC0)
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: (Fm) will usually follow (F) so regardless if you play (F) with just the 4th string covered
or with the bass <c> covered on the 5th string, if you give the audience the finger (lift up the
middle finger) while sneaking up the 1st fret barre to cover the 3rd string you'll now be playing a
full (Fm) chord. 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)
I've got a (C) little black book with my poems in.

I've got a (E) bag, got a toothbrush and a comb.
When (F) I'm a good dog they sometimes throw me a (C) boney.
(F) I got e (C) lastic bands keeping my shoes on.

Got those (E), swollen hand (E7) blues.
I got (F) thirteen channels of shit on the TV to (C) choose from.
I've got electric light. (C)(C7) And I got second sight.
I've got a (F) mazing, (Fm) powers of observ (C) ation (E7)(Am)(D)(G).
And that is how I (E) know.
(Am) When I try to get through (Am)(Ab+), on the telephone to you,

(D)(Fm) There'll be nobody (C) home (C). (F)(C)
(F) I've got the (C) obligatory, Hendrix perm.

And the (E) inevitable, pinhole (E7) burns,
(F) All down the front of my favorite satin (C) shirt.
(F) I've got (C) nicotine stains on my fingers,

I've got a (E) silver spoon, on a chain.
I've got a (F) grand piano to prop up my mortal re (C) mains.
I've got wild staring eyes, (C7) and I've got a strong urge to fly (C7)(F).
But (Fm) I've got nowhere to (C) fly to (G) fly to (Am) fly to (D) fly to
(G) Fly to fly to (E) fly to fly to.
(Am) Oooooooh Babe, (C) when I pick up the phone, (D)(F) there's still nobody (C) home (C).(F)(C)
(F) I've got a (C) pair of Gohills boots, and I've got, (E) fading (E7) roots.
NOWHERE MAN – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=RiTwf45cH6M (Capo 2)(MC0)
TIP: There's a voicing in the chorus some may find a bit cumbersome but it's all a slide and lift
sort of thing. Coming off the (F#m) it's (Em/D) which is just (Em) with the pinky added to the 3rd
fret/2nd string, then play (A), then lift up and move your top finger up one string to the 5th
string/2nd fret for the (Em7), and back to (A). And if you don't like that (Em7) with just the one
note you can also play (Emsus4) which is the note below it on the 4th string and all you have to do
is lift off the bottom two fingers from the preceding (A).
TIP: At the end there's a 5-note walk-down that goes, holding the (D) form: pick covered 3rd
string <a>, lift index finger and pick open 3rd string <g>, add pinky to 4th string/4th fret <f#>
and pick, lift off pinky and pick open 4th string <d>, pick open 5th string <a>. It also appears
between verses but might be a little busy to pick out the notes. But try it to end the song.
or
(NC) He's a real nowhere man, sitting in his Nowhere Land,

(Em) Making all his (Gm) nowhere plans for (D) nobody. (D)
Doesn't have a (A) point of view, (G) knows not where he's (D) going to.
(Em) Isn't he a (Gm) bit like you and (D) me? (D)
Nowhere (F#m) Man please (G) listen. You don't (F#m) know what you're (G) missing.
Nowhere (F#m) Man, the (Em/D) wor-r-(A)-r-ld is (Em7) at your com (A) mand.
(D) (A) (G) (D) (Em) (Gm) (D) (D)
He's as blind as (A) he can be, (G) just sees what he (D) wants to see.
(Em) Nowhere Man can (Gm) you see me at (D) all? (D)
Nowhere (F#m) Man, don't (G) worry. Take your (F#m) time, don't (G) hurry.
Leave it (F#m) all till (Em/D) somebody (A) else (Em7) lends you a (A) hand.
(D) Doesn't have a (A) point of view, (G) knows not where he's (D) going to.
(Em) Isn't he a (Gm) bit like you and (D) me? (D)
Nowhere (F#m) Man please (G) listen. You don't (F#m) know what you're (G) missing.
Nowhere (F#m) Man, the (Em/D) wor-r-(A)-r-ld is (Em7) at your com (A) mand.
(D) He's a real (A) nowhere man, (G) sitting in his (D) Nowhere Land,
(Em) Making all his (Gm) nowhere plans for (D) nobody. <a>- <g>-<f#>-<d>-<a>
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)(MC2)
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)
The (C) skies were pure and the (Am) fields were green.
The (Em) sun was brighter than it's (F) ever been
When I grew (Am) up with my best friend (Em) Kenny
We were close as any (Am) brothers that you (F) ever (G) knew.
It was (C) always summer and the (Am) future called.

We were (Em) ready for adventures and we (F) wanted them all.
There was (Am) so much left to (Em) dream,
And so much (Am) time to (F) make it (G) real.
But I can (Am) still recall the (Em) sting of all

The (F) tears when he was (G) gone.
They say he (Am) crashed and burned I know I'll (Em) never learn
Why any (F) boy should die so (G) young.
We were (F) racing we were soldiers of (G) fortune.

We got in (Am) trouble but we sure got a (F) round.
There are times-I-think-I-see-him-peeling (G) out of the dark.
I think he's (Am) right behind me (Em) now and he's gaining (F) ground. (F)
But it was (Em) long ago and it was far a (Am) way oh God it (F) seems so very (G) far.
And if (Em) life is just a (Am) highway, then the (F) soul is just a (G) car. |G7|,|C|-|Gadd|
And (C) objects in the rear view (Am) mirror may appear (G) closer than they (C) are.
And objects in the rear view (Am) mirror may appear (G) closer (F) than they (C) are.
And objects in the rear view (Am) mirror may appear (G) closer than they (C) are.
And objects in the rear view (Am) mirror may appear (G) closer (F) than they (C) are.(C)(Am)
They (F) are (G). They (C) are. (Am)(F)(G), (C)(Am)(F)(G), (C)(Am)(F)|G| . . . (G)
And when the (C) sun descended and the (Am) night arose
I (Em) heard my father cursing every (F) one he knows.
He was (Am) dangerous and drunk and de (Em) feated
And corroded by (Am) failure and (F) envy and (G) hate.
There were (C) endless winters and the (Am) dreams would freeze.
(Em) Nowhere to hide and no (F) leaves on the trees.
And my (Am) father's eyes were (Em) blank
As he hit me a (Am) gain and a (F) gain and a (G) gain.
I know I (Am) still believe he'd never (Em) let me leave I had to (F) run away a (G) lone.
So many (Am) threats and fears so many (Em) wasted years before my (F) life became my (G) own.
And though the (F) nightmares should be (G) over, some of the (Am) terrors are still in (F) tact.
I'll hear that ugly coarse and (G) violent voice
And then he (Am) grabs me from be (Em) hind and then he pulls me |F| back. (F)
And if (Em) life is just a (Am) highway, then the (F) soul is just a (G) car. |G7|,|C|-|Gadd|
And objects in the rear view (Am) mirror may appear (G) closer (F) than they (C) are. (Am)(F)(G)
They (C) are (Am)(F)(G).
(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|
There was a (C) beauty living on the (Am) edge of town.
She (Em) always put the top up and the (F) hammer down.
And she (Am) taught me everything I'll (Em) ever know
About the (Am) mystery and the (F) muscle of (G) love.
(C) Stars would glimmer and the (Am) moon would glow.
I'm in the (Em) back seat with my Julie like (F) Romeo.
And the (Am) signs along the (Em) highway all said (Am) “Caution! (F) Kids at (G) play.
Those were the (Am) rights of spring and we did (Em) everything.
There was sal (F) vation every (G) night.
We got (Am) dreams reborn and our up (Em) holstery torn
But every (F) thing we tried was (G) right.
She used her (F) body just like a (G) bandage,

She use my (Am) body just like a (F) wound.
I'll probably never know where she (G) disappeared
But I can (Am) see her rising up out of the (Em) back seat now
Just like an (Am) angel rising out of a (F) tomb. (F)
And if (Em) life is just a (Am) highway, then the (F) soul is just a (G) car.
|G7|,|C|-|Gadd|-|Gadd|; |G7|,|C|-|Gadd|
Objects in the rear view (Am) mirror may appear (G) closer than they (C) are.
Objects in the rear view (Am) mirror may appear (G) closer (F) than they (C) are.
(C)(Am)(G)(C), (C)(Am)(G)(F)(C)
She used her (F) body just like a (G) bandage,

She use my (Am) body just like a (F) wound.
I'll never know where she (G) disappeared
But I can (Am) see her rising up out of the (Em) back seat |Em| now.
OB-LA-DI, OB-LA-DA - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=_J9NpHKrKMw (Capo 3)(MC3)
TIP: Start the intro with a rapid strum sequence of (D) for a full measure and at the very end
lift off the bottom finger for the (Dsus2), jump back to (D) and then to the first (G). From there
it's a rhythmic three-note cadence of <g>,-<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).... (Dsus2)-(D)-(G),(G)-(G); (G),(G)-(G); (G),(G)-(G); (G),(G)-(G); (G),(G)-(G);

(G),(G)-(G); (G),(G)-(G); (G),(G)-(G)
Desmond had a barrow in the (D) market place. (D7) Molly is the singer in a (G) band (G).
Desmond says to (G7) Molly "Kid I (C) like your face"
And Molly (G) says this as she (D7) takes him by the (G) hand:
Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on.
Desmond takes a trolley to the (D) jeweler’s store. (D7) Buys a twenty carat golden (G) ring (G).
Takes it back to (G7) Molly waiting (C) at the door
And as he (G) gives it to her (D7) she begins to (G) sing.
Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on. Yeah.
(C) In a couple of years they have built a home sweet (G) home (D)-(Em)-(F)-(C)
With a couple of kids running in the yard, of (G) Desmond and Molly (D) Jones. (Ha ha ha ha ha)
(G) Happy ever after in the (D) market place, (D7) Desmond lets the children lend a (G) hand (G).
Molly stays at (G7) home and does her (C) pretty face,
And in the (G) evening she still (D7) sings it with the (G) band. Yes.
(C) In a couple of years they have built a home sweet (G) home (D)-(Em)-(F)-(C)
With a couple of kids running in the yard, of (G) Desmond and Molly (D) Jones.
(Ha ha ha ha ha) Hey.
(G) Happy ever after in the (D) market place, (D7) Molly lets the children lend a (G) hand (G).
Desmond stays at (G7) home and does his (C) pretty face,
And in the (G) evening she's a (D7) singer with the (G) band. Yeah.
Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (G) on. Yay.
Ob-la-di, ob-la-da, life goes (D) on, (Em) brah. (G) La la how the (D) life goes (Em) on.
Well if you want some fun. Take (D) Ob-la-di bla (G) da |G| ahh, thank you ooh ah-ha-ha.
OCEAN FRONT PROPERTY – George Strait
(Cochran)
https://www.youtube.com/watch?v=ioPa1URjZ_Y (Capo 0)(MC0)
INTRO: (D)-(D), (D)(F#m) (G)-(A)-(G)-(A) (D)(G) (G)-(A)-(D)
If you leave me (G), I won't (D) miss you (G). And I won't (D) ever take you (A) back (A). (D)
Girl your mem’ry, (G) won't ever (D) haunt me (G), 'cause I don't (D) love you,
And-now-if (G) you'll (A) buy (D) that. (D)|D|
(NC) I got some (D), ocean front (F#m) property in (G) Ar (A) i (G) zon (A) a (D).
From my (F#m) front porch you can (G) see the (A) sea.
I got some (D), ocean front (F#m) property in (G) Ar (A) i (G) zon (A) a.
If (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free. (D)
(D)(F#m) (G)-(A)-(G)-(A) (D)(F#m)(G)(A); (D)(F#m) (G)-(A)-(G)-(A) (D)(G) (G)-(A)-(D)
I don't worship, (G) the ground you (D) walk on (G). I never (D) have and that's a (A) fact. (D)
I won't follow, (G) or try to (D) find you (G), 'cause I don't (D) love you,
Now if (G) you'll (A) buy (D) that. (D)|D|
(NC) I got some (D), ocean front (F#m) property in (G) Ar (A) i (G) zon (A) a (D).
If (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free.
I got some (D), ocean front (F#m) property in (G) Ar (A) i (G) zon (A) a (D).
If (D) you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free.
Yeah if you’ll buy that I’ll (G) throw the Golden Gate (A) in (D) free. (D)(F#m) (G)-(A)-(D)
(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)(MC1)
TIP: In the intro, form (D11), then pick the 4th string (open) and strum (D11) six times bringing
the pinky down on the 2nd string/3rd fret - 2/3 - on the 6th strum. You can leave it there while
you reach up again for the next 4th string but lift off prior to the strum.
TIP: You can play with just the majors but the 7ths add a little bit of funky southern blues to
the song. And one strum and sustain where you see a chord in |brackets|.
INTRO: <form (D11)> 4-(D11)-2/3; 4-(D11)-2/3; 4-(D11)-2/3; 4-(D11)-2/3
It was the (D) third of June another sleepy dusty Delta day (D7).
I was (D) out choppin' cotton and my brother was balin' hay (D7).
And at (G) dinner time we stopped and walked back to the house to eat (G7).
And mama (D) hollered out the back door 'Y'all remember to wipe your feet (D7).'
And then she (G) said "I got some news this mornin' from Choctaw Ridge (G7).
Today |D| Billy Joe MacAllister jumped |C7| off the Tallahatchie (D7) Bridge."
And (D) papa said to mama as he passed around the blackeyed peas (D7).
"Well Billy (D) Joe never had a lick of sense -- pass the biscuits please (D7).
There's (G) five more acres in the lower forty I've got to plow (G7)."
And mama (D) said it was shame about Billy Joe anyhow (D7).
Seems like (G) nothin' ever comes to no good up on Choctaw Ridge (G7).
And now |D| Billy Joe MacAllister's jumped |C7| off the Tallahatchie (D7) Bridge.
And (D) brother said he recollected when he and Tom and Billie Joe (D7),
Put a (D) frog down my back at the Carroll County picture show (D7).
And wasn't (G) I talkin' to him after church last Sunday night (G7)?
"I'll have a (D) nother piece-a apple pie -- you know it don't seem right (D7).
I (G) saw him at the sawmill yesterday on Choctaw Ridge (G7).
And now ya |D| tell me Billie Joe's jumped |C7| off the Tallahatchie (D7) Bridge."
And (D) mama said to me "Child what's happened to your appetite (D7)?
I've been (D) cookin' all mornin' and you haven't touched a single bite (D7).
That (G) nice young preacher Brother Taylor dropped by today (G7).
Said he'd be (D) pleased to have dinner on Sunday. Oh by the way (D7),
He (G) said he saw a girl that looked a lot like you up on Choctaw Ridge (G7),
And she and |D| Billy Joe was throwin' somethin' |C7| off the Tallahatchie (D7) Bridge.
A (D) year has come and gone since we heard the news 'bout Billy Joe (D7).
And (D) brother married Becky Thompson 'n they bought a store in Tupelo (D7).
There was a (G) virus going 'round papa caught it and he died last spring (G7).
And now (D) mama doesn't seem to want to do much of anything (D7).
And (G) me I spend a lot of time pickin' flowers up on Choctaw Ridge (G7),
And drop them |D| in to the muddy water |C| off the Tallahatchie (D) Bridge (D), 4-(D), 4-(D),
|D11|.
(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)(MC4)
TIP: Strike chords in |brackets| just once.
|A| All of my love, |A| all of my kissin'.

(A) You don't know what you been a missin' oh (D) boy (oh boy),
When you're with me oh (A) boy (oh boy).
The world can see that (E) you, were meant, for (A) me (D)-(A)-(E).
|A| All of my life, (A) I been a waitin'.

Tonight there'll be no, hesitatin' oh (D) boy (oh boy),
The world can see that (E) you, were meant, for (A) me (D)-(A).
(E) Stars appear and the shadows are fallin'. (A) You can hear, my heart a callin'.
A (D) little bit of lovin' makes everything right. And (E) I'm gonna see my (E7) baby tonight.
(A) All of my love, all of my kissin'.

You don't know what you been a missin' oh (D) boy (oh boy),
(A) Dum, de-dum-dum, oh boy. Dum, de-dum-dum, oh boy. (D) Ah... (A) Ah... (E) Ah... (A) Ah...
|A| All of my love, |A| all of my kissin'.

(A) You don't know what you been a missin' oh (D) boy (oh boy)
(A) All of my life, I been a waitin'.
Tonight there'll be no hesitatin' oh (D) boy (oh boy)
The world can see that (E7) you, were meant, for (A) me (D)-(A).
(E) Stars appear and the shadows are fallin'. (A) You can hear my heart a callin'.
A (D) little bit of lovin' makes everything right. And (E) I'm gonna see my (E7) baby tonight.
(A) All of my love, all of my kissin'.

You don't know what you been a missin' oh (D) boy (oh boy)
The world can see that (E) you, were meant, for (A) me (A)(D)-(A).
OH, LONESOME ME
Don Gibson/Kentucky Headhunters
(Gibson)
https://www.youtube.com/watch?v=Xc-2eO8FJzk Don Gibson (Capo 3)(MC2)
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.
INTRO (Don Gibson): <strum> (C)(C)(C)(C)
INTRO (Kentucky Headhunters): (C)(C)(F)(F)(G)(G)(C)(C)
Everybody's going out and (G) havin’ (G7) fun.

I'm just a fool for staying home and (C) having none.
I can't get over how she (C7) set me (F) free. (G) Oh-(G7)-oh lonesome (C) me.
A bad mistake I'm making by just (G7) hanging round.

I know that I should have some fun and (C) paint the town.
A lovesick fool is blind and (C7) just can't (F) see. (G) Oh-(G7)-oh lonesome (C) me.
I'll (G) bet she's not like me. She's (D) out and fancy free.
(D7) Flirtin' with the boys with all her (G) charms.
But I still love her so, and (D7) brother don't you know,
I'd (D) welcome her right back here (D7) in my (G) arms.
Well there (C) must be some way I can lose these (G) lonesome (G7) blues.
Forget about the past and find some (C) body new.
I've thought of everything from (C7) A to (F) Z. (G) Oh-(G7)-oh lonesome (C) me.
DG: (C)(C)(G7), (G7)(G7)(C), (C7)(C7)(F), (G)(G)(C)
KHH: (C)(C)(F)(F)(G)(G)(C)(C)
Well I'll (G) bet she's not like me. She's (D) out and fancy free.
(D7) Flirtin' with the boys with all her (G) charms.
But I still love her so, and (D7) brother don't you know,
I'd (D) welcome her right (D7) back here in my (G) arms.
Well there (C) must be some way I can lose these (G) lonesome (G7) blues.
Forget about the past and find some (C) body new. I've thought of everything from (C7) A to (F) Z.
DG: (G) Oh-(G7)-oh lonesome (C) me. (G) Oh-(G7)-oh lonesome (C) me. (G)(G7)(C).
KHH: (G) Oh-(G7)-oh lonesome (C) me. (G) Oh-(G7)-oh lonesome (C) me.
(G) Oh-(G7)-oh lonesome (C) me. (C)(F)(G)(C)|C|
(Don Gibson) (Kentucky Headhunters) (Artist Index) - (Main Index) - (Song Index) (This Song)
OH, MY DARLING CLEMENTINE - Traditional
(Montrose)
(MC5)
In a (G) cavern, in a canyon, excavating for a (D7) mine,

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

OH PRETTY WOMAN
Roy Orbison
https://www.youtube.com/watch?v=3KFvoDDs0XM (Capo 0)(MC2/3)
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 both how to play that
riff with individual notes and the easier to emulate chords. Both appear in the body of the song.
The riff with notes: There are two riffs, a shorter 5-note one and a longer 8-note one. Both
are in the key of <E>. Place your index (or middle which I find easier) finger on note (5th
string/2nd fret) which never leaves position through the entire riff and also serves as a "hinge".
Then it's two plucks of the open top string <e>, and then the top string/4th fret <g#> with your
pinky. The next note is which is already covered so pluck the 5th string, and then the 4th
string open which is <d>. That's the shorter 5-note riff". The longer 8-note riff is just an
extension of the first one. You play the same 5 notes but when you reach the <d> you then "hinge",
lay your finger down on the fretboard to cover the 4th string - that's <e> - then lift off to get
back to <d>, and then pluck the 5th string (still covered by the index finger on 5th string/2nd
fret). That's it. Repeat as necessary.
The 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. And there's an
(E7full) - last diagram from the end - which is only played once and it's just (E) with your pinky
added to the 2nd string/3rd fret.
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 <notes>: <e><e><g#><d>; <e><e><g#><d>;

<e><e><g#><d><e><d>; <e><e><g#><d><e><d>;
<e><e><g#><d><e><d>; <e><e><g#><d><e><d>;
INTRO <chords>: |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|
Pretty (A) woman, walking (F#m) down the street.

Pretty (A) woman, the kind I'd (F#m) like to meet. Pretty (D) woman.
I don't be (E) lieve you, (E7) you're not the (E) truth.
No one could look as (E7) good as (E) you.
<notes> <e><e><g><d><e><d>; Mercy. <e><e><g><d><e><d>

<e><e><g><d><e><d>; <e><e><g><d><e><d>
<chords> |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|; Mercy. |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|

Pretty (A) woman, won't you (F#m) pardon me.

Pretty (A) woman, I couldn't (F#m) help but see. Pretty (D) woman.
That you look (E) lovely (E7) as can (E) be.
Are you lonely (E7) just like (E) me?
<notes> <e><e><g><d><e><d>; <Growl> <e><e><g><d><e><d>

<e><e><g><d><e><d>; <e><e><g><d><e><d>
<chords> |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|; <Growl> |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|

|E|-|Dm| (Dm) Pretty woman, (G7) stop a while. (C) Pretty woman, (Am) talk a while.
(Dm) Pretty woman, (G7) give your smile to (C) me (C).
(Dm) Pretty woman, (G7) yeah yeah yeah. (C) Pretty woman, (Am) look my way.
(Dm) Pretty woman, (G7) say you'll stay with (C) me. (A)
'Cause I (F#m) need you, (Dm) I'll treat you (E) right.
(A) Come with me (F#m) baby, (D) be mine to (E) ni - (E7) -i - (E) -ight.
<notes> <e><e><g#><d><e><d>; <e><e><g#><d><e><d>;
<chords> |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|; |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|
Pretty (A) woman, don't (F#m) walk on by. Pretty (A) woman, don't (F#m) make me cry.
Pretty (D) woman, don't (E) walk away hey.
Okay. If that's the way it (E7) must be, o (E) kay.

I guess I'll (Esus) go (E) on (Esus) home, it's (E) late.
There'll be tomor (E7full) row (E) night, but wait. What do I see?
<notes> <e><e><g#><d>; <e><e><g#><d>
<chords> |E|-|E|-|E|-|E|-|E7D|; |E|-|E|-|E|-|E|-|E7D|
Is she (E7) walking back to (E) me? Yeahhhh. She's (E7full) walking back to (E) me.
<notes> <e><e><g#><d><e><d>; <e><e><g#><d><e><d>;
<chords> |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|; |E|-|E|-|E|-|E|-|E7D|-|E7|-|E7D|-|E7|
(E) Oh, (E7) oh, pretty |A| wo- |A| -man.
OH WHAT A THRILL - The Mavericks
(Winchester)
https://www.youtube.com/watch?v=UYHOfd-wP3Y (Capo 2)(MC0)
INTRO: (G),(G)-(Gadd); (G),(G)-(Gadd)
(G) Oh girl, any (Em) moment, (G) I may, kiss your (Em) lips (Em).
(G) Oh it's, been a (Em) while, (Am) since I, (Am7) felt like (D) this (D).
Oh (G) girl please, don't re (Em) fuse me. Oh (Am) I'm so, (Am7) scared you (D) will. |D|-|D|
(NC) Oh what a thrill |G|. (NC) Oh what a (D) thrill, (D7) stars in the (G) sky |G|.
(NC) Stars stand (D) still, (D7) oh what a (G) thrill. (G),(G)-(Gadd); (G),(G)-(Gadd)
(G) Woman, wor-ords (Em) fail me. Your (G) skin is, sweet and (Em) warm (Em).
(G) I want, to con (Em) sole you, and (Am) hold you, (Am7) in my (D) arms (D).
Oh (G) once you, you were my (Em) baby. Oh (Am) you're my, (Am7) my baby (D) still. |D|-|D|
(NC) Oh what a thrill |G|. (NC) Oh what a (D) thrill, (D7) stars in the (G) sky |G|.
(NC) Stars stand (D) still, (D7) oh what a (G) thrill. (G),(G)-(Gadd)
(G) Oh what a (Gadd) thrill, (G) oh what a thrill.

Oh what a (Gadd) thrill, (G) oh what a thrill.
Oh what a (Gadd) thrill, (G) oh what a thrill. |G|
OKIE FROM MUSKOGEE
Merle Haggard
https://www.youtube.com/watch?v=D5K5l89mpV8 (Capo 0)(MC0)
TIP: There's a key shift after the chorus in which all the chords are sharped. Since it's only a
couple of chords it's not too uncomfortable as (D) becomes (D#) - shown here as (D3) - which is
just (D) moved up one fret (but you kind of need to include that 4th string), and (A) becomes (Bb).
Also notice there are two sets of chords, for example (A7)(Bb). If you're going to play the
sharped chords then play the second chord. If you don't care about singing along with the
recording, or are going to capo the 1st fret, then play the first chord, the one in italics.
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.

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

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

A place where even squares can have a (A) ball.
(A7) We still wave Old Glory down at the courthouse,
And white (A) lightnin's still the biggest thrill of (D) all.
<capo +1> (D) <or key change> (D3)
Leather boots are still in style for manly footwear.

Beads and Roman sandals won't be (A7)(Bb) seen.
Football's still the roughest thing on (A)(Bb) campus,
And the kids here still respect the college (D)(D3) dean.
And I'm proud to be an Okie from Muskogee.

A place where even squares can have a (A)(Bb) ball.
(A7)(Bb) We still wave Old Glory down at the courthouse,
And white (A)(Bb) lightnin's still the biggest thrill of (D)(D3) all.
And white (A)(Bb) lightnin's still the biggest thrill of (D)(D3) all.
In Mus (A)(Bb) kogee, Oklahoma, U. S. (D)(D3) A.
OLD DAN – Slim Dusty
(Parsons)
https://www.youtube.com/watch?v=5C8aNqF5HzY (Capo 1)(MC1)
INTRO: (F)-(F), (C)-(A), (D)(G)(C), (D)(G)(D), |G|-|G|-|G|-(C)(G)(C)(G)
I’m (C) just an old man, they call me old Dan, I live in a shack out of (F) town.
Just me and old Blue, got (C) nothin’ to (A) do, but wait for the (G) sun to go (C) down (G)(C)(G).
And (C) when it is gone, we don’t linger long, you don’t stay up late when you’re (G) old.
Oh I shuffle inside where old blue lies beside, the (D) fireplace when it is (G) cold.
I (C) blow out the light, there in the night, we dream of the days that are (F) gone.
I ride once again, a (C) cross the wide (A) plain, and (D) blue will be (G) diggin’ up (C) bones.
What a (A) dog, (D) Blue will be (G) diggin’ up (C) bones.
<whistle> (F)-(F)(C)-(A)(D)(G)(C)(G)(C)(G)
<guitar> (F)-(F)(C)-(A)(D)(G)(C), (D)(G)(D), |G|-|G|-|G|-(C)(G)(C)(G)
(C) Comes the new morn, I wake with the dawn, a habit since I was a (G) boy.
Kick the old fire together, check out the weather, while (D) waitin’ the billy to (G) boil.
Then (C) old Blue and me have our toast and our tea, and wait for the postman to (F) come.
With news of the day and a (C) cheery hoo (A) ray, he’ll (D) push off and (G) finish his (C) run.
What a (A) rider, (D) push off and (G) finish his (C) run. |G|-|G|-|G|-(C)(G)(C)(G)
And (C) then we go back, to our little old shack, and read all the news of the (G) day.
And the things that we read, about men that might lead,
Well I’m (D) glad that I’ve near had my (G) day.
My (C) day is near done and I’m tellin’ you son, this world’s changin’ too much for (F) me.
So I’ll stay here with Blue, with (C) nothin’ to (A) do,
But (D) wait for the (G) sun to go (C) down.
Whatdidya (A) say? (D) Wait for the (G) sun to go (C) down ah well.
What’s that you say I do nothin’ all day, sit here just lopin’ with (F) Blue.
Well I’m eighty-four and he’s (C) ten years and (A) four,
So there’s (D) not a lot (G) more we can (C) do.
What a (A) story, (D) not a lot (G) more we can (C) do. Here we go fellah.
<whistle> (C)(C)(C)(G), (G)(G)(D)(G), (C)(C)(C)(F), (F)(F)(C)-(A)(D)(G)(C)(A)(D)(G)(C)|C|
OLD FRIENDS/BOOKENDS - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=6YpK-qrGQrg (Capo 4)(MC3)
TIP: (Fmaj7) is (F) without the bottom string and (Cmaj7) is just (C) without the index finger.
To play the |Fmaj7|-|Cmaj7| sequence just lift up one string set and don't play the index finger.
INTRO: |Fmaj7| |Cmaj7|, |Fmaj7| |Cmaj7|, |Fmaj7| |Cmaj7|, |Fmaj7| |Cmaj7|
|Fmaj7| Old |Cmaj7| friends. |Fmaj7| Old |Cmaj7| friends.

(Dm) Sat on their (G7) park bench like (C) bookends (Am).
A (Dm) newspaper blown through the (Gadd) grass,
Falls on the (Am) round toes, of the (G) high shoes, of the (F) old (Am) friends. (Am)
|Fmaj7| Old |Cmaj7| friends. (G) Winter com (G7) panions the (C) old (G) men.
(Dm) Lost in their (G7) overcoats (C) waiting for the (Am) sun.
The (Dm) sounds of the (G7) city (Em7) sifting through (Am) trees,
Settles like (G) dust, on the (F) shoulders, of the (Am) old friends.
(G) Can you i (G7) magine us (C) years from today, (F) sharing a (G) park bench (C) quietly?
How (Dm) terribly (G) strange to be (Am) seventy (Am).
(Fmaj7) Old (Cmaj7) friends. (G) Memory (G7) brushes the (C) same (G) years.
Silently (G7) sharing the (C) same (Am) fears.
(Dm)(Dm)(Dm)(C); (C)(Dm)(F); (F)(C)
(Dm) Time it was and what a time it was it was (C).

A time of (Dm) innocence. A time of (C) confidences.
(Dm) Long ago it must be, I have a (C) photograph.
Preserve your (F) memories, they’re all that’s (C) left you. (Dm)(Dm)(Dm)(C)
OLD JOE’S PLACE – The Folksmen
(Guest/McKean/Shearer)
https://www.youtube.com/watch?v=Z4xHzqV3Ct (Capo 0)(MC0)
TIP: The key to playing the (CaddG)(FaddG) sequence, which emulates the banjo, is to keep your
index finger planted on the 2nd string/1st fret and pinky planted on the bottom string/3rd fret.
They never move off these frets and there's no reason to barre the bottom string on the 1st fret to
cover the <f> part of the (FaddG) since it's removed from play by the pinky on the 3rd fret. Just
shift your ring and middle fingers down one string for the (FaddG) and then back up for the
(CaddG). Then you can leave the pinky on the bottom string/3rd fret for the next (G). This
sequence is in the intro, and begins the song, but also notice it repeats after "Old Joe's Place"
so when you see it coming come off the (G) in front of "Old" get ready to include the pinky on the
bottom string of the (CaddG) for "place."
TIP: To play (Cmaj7) after the (C) just lift the index finger. The (Cmaj7) can be skipped over if
you prefer as it's just a pretty inconsequential transistion chord.
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); (CaddG)(FaddG)(CaddG)(FaddG)
When (CaddG) ever I'm out a (FaddG) wanderin, (CaddG) chasing a rainbow (FaddG) dream.
I (C) often stop (Cmaj7) and (Am) think about a (D7) place I've never (G) seen.
Where (Am) friendly folks can (Em) gather and (Am) raise the rafters (G) high.
With (C) songs and (Am) tales of yester (C) year, un (F) til they (G) say good (C) bye.
(NC) Well-ell. There's a (F) puppy in the (C) parlor and (F) skillet on the (C) stove
And a (F) smelly old (C) blanket that a (G) Navajo (C) wove.
There's a (F) chicken on the (C) table but you (F) gotta say (C) grace.
There's (F) always something (C) cooking at (G) Old Joe's (CaddG) Place (FaddG)(CaddG)(G).
Now (C) folks come by round (F) evening time, (C) soon as the sun goes (F) down.
(C) Some drop in from (Am) right next door and (D7) some from out of (G) 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> - - <c> |G|-|C|
There's (F) popcorn in the (C) popper and a (F) porker in the (C) pot.
There's (F) pie in the (C) pantry and the (G) coffee's always (C) hot.
There's a (F) chicken on the (C) table but you (F) gotta say (C) grace.
There's (F) always something (C) cooking at (G) Old Joe's (CaddG) Place (FaddG)(CaddG)(G).
Now (C) they don't allow no (F) frowns inside. (C) Leave 'em by the (F) door.
There's (C) apple bran- (Cmaj7) -dy (Am) by the keg, and (D7) sawdust on the (G) floor.
So (Am) if you've got a (Em) hankerin', I'll (Am) tell you where to (G) go.
Just (C) look for the bust (Cmaj7) ed (Am) neon (C) sign that |F| flashes . . . E, Ah, Oh's.
There's (F) popcorn in the (C) popper and a (F) porker in the (C) pot.
There's (F) pie in the (C) pantry and the (G) coffee's always (C) hot.
There’s (F) sausage in the (C) morning and a (F) party every (C) night,
There’s a (F) nurse on (C) duty if you (G) don’t feel (C) right.
There's a (F) chicken on the (C) table but you (F) gotta say (C) grace . . . Whew.
There's (F) always something (C) cooking at (G) Old, Joe's, (C) Place (F)(C). |G|-|C|
(The Folksmen) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
OLD MAN
Neil Young
https://www.youtube.com/watch?v=OuVIJlSDOs0 (Capo 0)(MC0)
TIP: As with many Neil Young songs there are nuanced variations of common chords that, while not
hard, require a little concentration as you’re probably not used to playing them.
TIP: In the intro good form is needed to alternate between the (Dm7) and then (D9). Once you hit
the first (Dm7) just lift off the bottom string to get to the (D9) and then back again in kind of a
sing-song fashion to open/cover the high <f> note. Alternatively, you could play an (Fmaj7)
instead of the (D9) since the (D9) is the same chord without the top string <f>.
TIP: At the end of the verse there’s an (Fmaj7) instead of a regular (F), the (Fmaj7) just being
(F) without the bottom string. You can play either one really but Neil plays the (Fmaj7) and it
follows a (C) so from there it’s easy to just drop down a string-set. Also in the 2nd and 4th lines
of the verse drag the trailing chord through the last word (e.g. “two” and “you”).
TIP: Note the two-note (E7) chord which comes into play in two places. For the little
instrumental seque bit between verse and chorus you move from an (Am) to (Am7) to (Em) to (E7) to
(G) to (D). This is done quickly so from the (Em) to the (E7) just lift off the bottom finger and
add your pinky to the <d> at the 2nd string/3rd fret and then move on to the (G). Then in the chorus
itself you do something similar with (Am7) to (E7) to (G). This time just lift your middle finger
up one string while placing your pinky on the <d>. Practice the sequence a few times - really not
too bad.
INTRO: |Dm7| (Dm7)-(D9) (Dm7)-(D9) (Dm7)-(D9), (D)-(Dsus4)-(D)

(Dm7)-(D9) (Dm7)-(D9) (Dm7)-(D9), (D)-(Dsus4)-(D)
(D9) Old man look at my life, I'm a lot like (D) you were (Dsus4)-(D).
(D9) Old man look at my life, I'm a lot like (D) you were (F)(C)(G), (D)(F)(C)(F).
(D) Old man (F) look at my life, (C) twenty-four and there's (G) so much more.
(D) Live alone in a (F) paradise that (C) makes me think of two- (F) oo.
(D) Love lost (F) such a cost, (C) give me things that (G) don't get lost,
(D) Like a coin that (C) won't get tossed, (Fmaj7) rolling home to you- (G) ou.
(D)-(Dsus4)-(D)(Am)-(Am7)(Em)-(E7)(G)-(D)
Old man take a look at my life I'm a (Am7) lot like (E7) you (G).
(D) I need someone to love me the (Am7) whole day (E7) through (G).
(D) Ah, one, look in my eyes and you can (Am7) tell that's (E7) true (G).
(D)(F)(C)(G), (D)(F)(C)(F)
(D) Lullabies (F) look in your eyes, (C) run around the (G) same old town.
(D) Doesn't mean that (F) much to me, to (C) mean that much to you- (F) ou.
(D) I've been (F) first and last, (C) look at how the (G) time goes past.
(D) But I'm all a (C) lone at last, (Fmaj7) rolling home to you- (G) -ou.
(D)-(Dsus4)-(D)(Am)-(Am7)(Em)-(E7)(G)-(D)
Old man take a look at my life I'm a (Am7) lot like (E7) you (G).
(D) I need someone to love me the (Am7) whole day (E7) through (G).
(D) Ah, one, look in my eyes and you can (Am7) tell that's (E7) true (G).
(Dm7)-(D9) (Dm7)-(D9) (Dm7)-(D9), (Dm7)(D)-(Dsus4)-(D)
(D9) Old man look at my life, I'm a lot like (D) you were (Dsus4)-(D).
(D9) Old man look at my life, I'm a lot like (D) you were (F)(C)(G)(G)-|D|.
OLD SIERRA NEVADA
Dave Stamey
https://www.youtube.com/watch?v=fbK1rr5B7JI (Capo 3)(MC2)
TIP: For the first two notes of the intro hold (C) and pick the covered 4th string, then place your
finger on the fourth string of the 3rd fret right underneath your ring finger and pick note <f>.
Release (now back to (C)) and strum the chords.
INTRO: <e>-<f>-(C)(C)(G)(C), (C)(C)(C)
Come along (G) boys, says a (Am) place that I know,

The (F) mountains are high and (C) covered in (G) snow (G)(G).
The (Am) sunsets put on a (Em) hell of a (F) show,
In the (C) old Sierra Ne (G) vada (G).
There’s (C) granite and (G) pine the (Am) old packer’s song.
The (F) haze afloats in the (C) canyons at (G) dawn (G)(G).
At (Am) ten thousand feet the (Em) whiskey is (F) strong,
In the (C) old Sierra Ne (G) va (C) da. (C)(C)(G)(C)
So (Am) gather your horses, (Em) wild as the deer.

If (F) challenge you want, there’s (C) plenty right (G) here (G)(G).
And (Am) live like you never have (Em) nothin’ to (F) fear,
In the (C) old Sierra Ne (G) va (C) da. (C)(C)(G)(C), (C)(C)
If it’s rainin’ or (G) snowin’ or (Am) blowin’ a gale,

(F) Pull up your latigo (C) clinch down your (G) nails (G)(G).
(Am) String up your mules and (Em) head for the (F) traaaail,
In the (C) old Sierra Ne (G) vada (G).
There’s a (C) cowgirl up (G) there, I’m (Am) longing to see,
(F) Tougher than leather and (C) soft as the (G) breeze (G)(G).
If (Am) I’m man enough she’s the (Em) gal for (F) meeee,

In the (C) old Sierra Ne (G) va (C) da. (C)(C)(G)(C), (C)(C)
And we’ll make our (G) camp, where the (Am) winds blow free,
The (F) farthest thing from (C) captivi (G) ty (G)(G).
In the (Am) only place we (Em) both need to (F) be,

In the (C) old Sierra Ne (G) va (C) da.
In the old Sierra Ne (G) va (C) da. (C)(C)(G)(C)(C)-|C|
OLD TIME ROCK AND ROLL
Bob Seger
https://www.youtube.com/watch?v=SoaAb5MnKtY (Capo 2)(MC2)
[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 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 at that location and resume normal chord strumming with the next refrain.
INTRO: <e><e><e><e><d><c#>; <e><e><e><e><d><c#>
(NC) Just take those old records (E) off the shelf. I'll sit and listen to 'em (A) by myself.
Today's music ain't (B7) got the same soul. I like that old time (E) rock 'n' roll. (B7)
Don't try to take me to a (E) disco. You'll never even get me (A) out on the floor.
In ten minutes I'll be (B7) late for the door. I like that old time (E) rock 'n' roll. (B7)
Still like that old time (E) rock 'n' roll. That kind of music just (A) soothes the soul.
I reminisce about the (B7) days of old. With that old time (E) rock 'n' roll. (B7) Owww.
(E)(E)(A)(A)(B7)(B7)(E)
(B7) Won't go to hear 'em play a (E) tango. I'd rather hear some blues or (A) funky old soul.
There's only one sure way to (B7) get me to go. Start playin' old time (E) rock 'n' roll.
Call me a relic call me what you will. Say I'm old-fashioned say I'm (A) over the hill.
Today's music ain't (B7) got the same soul. I like that old time (E) rock 'n' roll. (B7)
Still like that old time (E) rock 'n' roll. That kind of music just (A) soothes the soul.
I reminisce about the (B7) days of old. With that old time (E) rock 'n' roll. (B7) Owww.
(E)(E)(A)(A)(B7)(B7)(E)
(B7) Still like that old time (E) rock 'n' roll. That kind of music just (A) soothes the soul.
I reminisce about the (B7) days of old. With that old time (E) rock 'n' roll.
|B7| Still like that old time |E| rock 'n' roll. That kind of music just |A| soothes the soul.
I reminisce about the |B7| days of old. With that old time |E| rock 'n' roll.
(B7) Still like that old time (E) rock 'n' roll. That kind of music just (A) soothes the soul.
I reminisce about the (B7) days of old. With that old time (E) rock 'n' roll. (B7)
Still like that old time (E) rock 'n' roll. (E)(A)(B7)(E)
Bob Seger
https://www.youtube.com/watch?v=SoaAb5MnKtY (Capo 4)(MC2)
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 , 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
INTRO: <d><d><d><d><c><a>; <d><d><d><d><c><a>
(NC) Just take those old records (D) off the shelf. I'll sit and listen to 'em (G) by myself.
Today's music ain't (A7) got the same soul. I like that old time (D) rock 'n' roll. (A7)
Don't try to take me to a (D) disco. You'll never even get me (G) out on the floor.
In ten minutes I'll be (A7) late for the door. I like that old time (D) rock 'n' roll. (A7)
Still like that old time (D) rock 'n' roll. That kind of music just (G) soothes the soul.
I reminisce about the (A7) days of old. With that old time (D) rock 'n' roll. (A7) Owww.
(D)(D)(G)(G)(A7)(A7)(D)
(A7) Won't go to hear 'em play a (D) tango. I'd rather hear some blues or (G) funky old soul.
There's only one sure way to (A7) get me to go. Start playin' old time (D) rock 'n' roll.
Call me a relic call me what you will. Say I'm old-fashioned say I'm (G) over the hill.
Today's music ain't (A7) got the same soul. I like that old time (D) rock 'n' roll. (A7)
Still like that old time (D) rock 'n' roll. That kind of music just (G) soothes the soul.
I reminisce about the (A7) days of old. With that old time (D) rock 'n' roll. (A7) Owww.
(D)(D)(G)(G)(A7)(A7)(D)
(A7) Still like that old time (D) rock 'n' roll. That kind of music just (G) soothes the soul.
I reminisce about the (A7) days of old. With that old time (D) rock 'n' roll.
|A7| Still like that old time |D| rock 'n' roll. That kind of music just |G| soothes the soul.
I reminisce about the |A7| days of old. With that old time |D| rock 'n' roll.
(A7) Still like that old time (D) rock 'n' roll. That kind of music just (G) soothes the soul.
I reminisce about the (A7) days of old. With that old time (D) rock 'n' roll. (A7)
Still like that old time (D) rock 'n' roll. (D)(G)(A7)(D)
Bob Seger
(MC0)
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
INTRO: <g><g><g><g><f><e><d>; <g><g><g><g><f><e><d>
(NC) Just take those old records (G) off the shelf. I'll sit and listen to 'em (C) by myself.
Today's music ain't (D7) got the same soul. I like that old time (G) rock 'n' roll. (D7)
Don't try to take me to a (G) disco. You'll never even get me (C) out on the floor.
In ten minutes I'll be (D7) late for the door. I like that old time (G) rock 'n' roll. (D7)
Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D7) days of old. With that old time (G) rock 'n' roll. (D7) Owww.
(G)(G)(C)(C)(D7)(D7)(G)
(D7) Won't go to hear 'em play a (G) tango. I'd rather hear some blues or (C) funky old soul.
There's only one sure way to (D7) get me to go. Start playin' old time (G) rock 'n' roll.
Call me a relic call me what you will. Say I'm old-fashioned say I'm (C) over the hill.
Today's music ain't (D7) got the same soul. I like that old time (G) rock 'n' roll. (D7)
Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D7) days of old. With that old time (G) rock 'n' roll. (D7) Owww.
(G)(G)(C)(C)(D7)(D7)(G)
(D7) Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D7) days of old. With that old time (G) rock 'n' roll.
|D7| Still like that old time |G| rock 'n' roll. That kind of music just |C| soothes the soul.
I reminisce about the |D7| days of old. With that old time |G| rock 'n' roll.
(D7) Still like that old time (G) rock 'n' roll. That kind of music just (C) soothes the soul.
I reminisce about the (D7) days of old. With that old time (G) rock 'n' roll. (D7)
Still like that old time (G) rock 'n' roll. (G)(C)(D7)(G)
OLD WEAKNESS (COMING ON STRONG) – Patty Loveless
(Dipiero/Nicholson)
https://www.youtube.com/watch?v=c_QlK_7k3sU (Capo 0)(MC0)
INTRO: (C)(C)(C)(C)(G)(G)(C)(C)
Two in the mornin’, too hot to sleep, tossin' and turnin’ and twistin' the sheets
I feel an (G) ollllld weakness comin’ on (C) strong (C).
Window wide open in the back bedroom, smell of sweet honeysuckle in full bloom.
I feel an (G) ollllld weakness comin’ on (C) strong (C).
Feel like I'm (F) running real (G) low on, (C) willpower.
(F) Can't get you (G) out of this (C) heart of mine.
From the (F) break of (G) dawn till the (Am) midnight hour,
(G) I keep fightin’ to let you go, but your love is beyond my control-(C)-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
I feel an (G) olllld weakness comin’ on (C) strong (C).
Still got your number next to the phone, just when I believe I can leave it alone
I feel an (G) olllld weakness comin’ on (C) strong (C).
Feel like I'm (F) running real (G) low on, (C) willpower.
(F) Can't get you (G) out of this (C) heart of mine.
From the (F) break of (G) dawn till the (Am) midnight hour,
(G) I keep fightin’ to let you go, but your love is beyond my control.
It's an ollllld weakness comin’ on (C) strong (C).
I feel an (G) olllld weakness, an olllld weakness,

I feel an olllld weakness comin’ on (C) strong (C)(C)-|C|.
ON THE BORDER
Al Stewart
https://www.youtube.com/watch?v=z2L_OyS21lM (Capo 2)(MC0)
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 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.
TIP: The instrumental that goes (B7)(Am)(G)(F#m)(Em) at the end of the verse can be skipped but it
isn't as hard as it looks and is played very quickly, like you'd play it on a mandolin. And that
(B7) is actually a (B) so either can be played; I just prefer playing the (B7) to the (B).
; or ;
INTRO: <rapidly> (Em)(Em)(Em)(Em); (Em)(Em/D)-(Em) x 20
The (Em) fishing boats go out across the evening water.

(C) Smuggling guns and arms across the Spanish border.
The (Am) wind whips up the waves so (D) loud,
The (G) ghost moon sails a (F) mong the clouds
And (Em) turns the rifles (D) into silver (Em) on the border. (Em)(Em/D)-(Em) x 5
(Em) On my wall the colors of the maps are running.

(C) From Africa the winds they talk of changes coming.
The (Am) torches flare up in the night,
The (G) hand that sets the (F) farms alight
Has (Em) spread the word to (D) those who're waiting (Em) on the border. (Em)(E7)-(Em)
(G) In the village where I grew up (Dm) nothing seems the same
Still you (C) never see the change from day to (G) day.
No one (C) notices the customs slip (B7) away. (B7)(Am)(G)(F#m)(Em)
(Em),(Em)(D)-(Em), (Em)(Em)(C)(G)
(Em) Late last night the rain was knocking on my window.

I (C) moved across the darkened room and in the lamp-glow.
I (Am) thought I saw down in the (D) street, the (G) spirit of the (F) century,
(Em) Telling us that (D) we're all standing (Em) on the border. (Em)
(G) In the islands where I grew up (Dm) nothing seems the same.
It's just the (C) patterns that remain an empty (G) shell.
But there's a (C) strangeness in the air you feel too (B7) well. (B7)(Am)(G)(F#m)(Em);
(Em),(Em)(D)-(Em), (Em)(Em)(C)(G)
The (Em) fishing boats go out across the evening water.

(C) Smuggling guns and arms across the Spanish border.
The (Am) wind whips up the waves so (D) loud,
The (G) ghost moon sails a (F) mong the clouds
And (Em) turns the rifles (D) into silver (Em) on the border. (Em)
(C) On the border (C), (Em) on the border (Em). (C) On the border (C). (Em)(Em)(Em)|Em|
(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)(MC0)
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) On the |D| turning a |G| way, from the |C| pale and down |G| trodden.
And the |D| words that |G| they say which we |C| won’t understand.
|Em| Don’t accept that what’s |C| happen |G| ing, is |G| just a case of all the |G| suffer |C| ing.
|G| All you’ll find is you’re |C| joining |G| in, the |D| turning a |G| way.
|Em| It's a |D| sin that some (G) how, light is (C) changing to (G) shadow.
And (D) casting its (G) shroud over (C) all we have known.
(Em) Unaware (G) how the (C) ranks have (G) grown, (Em) driven on by a (G) heart (C) of stone.
(G) We could find that we're (C) all a (G) lone in the (D) dream of the (G) proud.
(Em) On the (D) wings of the (G) night. As the (C) day time is (G) stirring,
Where the (D) speechless u (G) nite in a (C) silent accord.
(Em) Using (G) words you will (C) find as (G) strange, (Em) mesmerized as they (G) light the (C)
flame. (G) Feel the new wind of (C) change, (Em) on the (D) wings of the (G) night (G).
(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) No more (D) turning a (G) way, from the (C) weak and the (G) weary.
No more (D) turning a (G) way from the (C) coldness inside.
(Em) Just a (G) world that we (C) all must (G) share.
(Em) It's not enough just to (G) stand and (C) stare.
(G) Is it only a (C) dream that there'll (G) be no more (D) turning a (G) way (G)(G).
(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)(MC3)
INTRO: (D)(D)(D)(D)
I heard you slippin' down the hall.

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

Come a-messin' round with my mind? Did you (G) think you could? You don't (D) know me.
(A) Where'd you get that alibi?

Did it fall out of a midnight sky or did you (G) find it, on the side of the (D) road?
And tell me, (A) did you have to make a deal,
Or wrestle for control of the wheel from your (G) conscience? I'd like to (A) know.
Where do you (Bm) go- (G) -oh on your way (D) home (D)(D)?
You know someday I'd like to fly,

Like a bat outta Nashville why don't you (G) help me? And tell me the (D) truth (D).
'Cause the truth is gonna set you free,
If you keep on lyin' to me I might (G) stay right here, just to (D) spite you.

Did it fall out of the midnight sky or did you (G) find it on the side of the (D) road?
Tell me, (A) did you have to make a deal
Or wrestle for control of the wheel from your (G) conscience? I'd like to (A) know.
Where do you (Bm) go- (G) oh- (D) -oh, where do you (Bm) go- (G) -oh on your way (D) home (D)(D)?
On your way (G) home? (D) Mmmmmm. Mmmmmmmmmmm- (G) hmmmmmm- (D) mmmm.
Did it drop out of a midnight sky or did you (G) find it, lyin’ on the side of the (D) road?
(A) Was it ever a long long drive?
Did you ever stop once to cry or was I (G) worth it? I'd think I (A) know.
Where do you (Bm) go- (G) -oh (D) -oh, where do you (Bm) go-oh (G) -oh (D) -oh.
Where do you (Bm) go- (G) -oh on your wayyyyy (D) home (D)(D)? On your way home. (D)(D)|D|
ONE - Three Dog Night
(Nilsson)
https://www.youtube.com/watch?v=d5ab8BOu4LE (Capo 1)(MC1)
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) One is the (G) loneliest number that you'll (A) ever do (C)-(B7).
(Em) Two can be as (G) bad as one,
It's the (A) loneliest number since the (C) number (B7) one- (Em) -un (G)(A)(C)-(B7)
(Em) No is the (G) saddest experience you'll (A) ever know (C)-(B7).
(Em) Yes, it's the (G) saddest experience (A) you'll ever know (C)-(B7).
'Cause (Am) one is the loneliest (G) number, that you'll (Am) ever (C) do (B7).
(Em) One is the loneliest (G) number, whoa-oh (A) worse than two (C)(B7).
|Em|-|Em|-|Em|-<f#>-|G| (G) It's just no (Bm) good anymore since you went away-(Em)-y.
Now I (C) spend my time just (Am) making rhymes of (Em) yesterday. 
One is the (G) loneliest a number (A) one is the (C) loneliest (B7) number (Em) onnnne is the
(G) loneliest number that you'll (A) ever do (C)-(B7).
(Em) One is the (G) loneliest. (A) One is the (C) loneliest (B7).
(Em) Onnne is the (G) loneliest number that you'll (A) ever do (C)(B7).
(Em) It's (G) just no (Bm) good anymore since you went a (Em) way. |Em| Number.
(Em) One is the (G) loneliest number. (A) One is the (C) loneliest (B7) number
(Em) Onnne is the (G) loneliest number that you'll (A) ever do (C)(B7) number
(Em) One is the (G) loneliest number. (A) One is the (C) loneliest (B7) number
(Em) One is the (G) loneliest number that you'll (A) ever do (C)(B7) number
(Em) Onnnne (G)(A)(C)(B7) number.
(Em) One is the (G) loneliest number that you'll (A) ever do (C)(B7) number
(Em) One is the (G) loneliest number that you'll (A) ever do (C)(B7).
|Em|-|Em|-|Em|-<f#>-|G|
ONE TIN SOLDIER – Coven
(Lambert/Potter)
https://www.youtube.com/watch?v=tPNDBEuKCdY (Capo 0)(MC0)
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: For (Fmaj7) you’ll already be playing (F) so just lift off the bottom string to play (Fmaj7).
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)(CaddG)-(Gadd), (Am)(Am)-(Em), (F)(C)(F)(Dm7)(C), (C)(CaddF)(C), (C)(CaddF)(C)
Listen children (G) to a story, (Am) that was written (Em) long ago.
A (F) bout a kingdom (C) on a mountain, (Am) and the Valley (Gadd) Folk below.
(C) On the mountain (G) was a treasure, (Am) buried deep be (Em) neath a stone,
(F) And the Valley (C) People swore, they'd (F) have it for (Fmaj7) their (G) very (C) own.
(C)(F)(C)
Go ahead and hate your (Em) neighbor. (F) Go ahead and cheat a (C) friend.
Do it in the name of (Em) heaven, you can (F) justify it in the (C) end.
There won't be any trumpets (Em) blowin,' (F) come the Judgement (C) Day.
On the bloody morning (F) after (Em) who (F) who. One tin (Em) soldier (F) rides a (C) way.
(C)(F)(C), (C)(F)(C)
So the people (G) of the valley, (Am) sent a message (Em) up the hill.
(F) Asking for the (C) buried treasure, (F) tons of gold for (Gadd) which they'd kill.
(C) Came an answer, (G) from the kingdom: (Am) "With our brothers, (Em) we will share,
(F) All the secrets (C) of our mountain, (F) all the rich (Fmaj7) es (G) buried (C) there."
(C)(F)(C)
<capo +1> (C)(F)(C)
Now the valley (Gadd) cried with anger, (Am) "Mount your horses, draw your sword."
And they (F) killed the (C) mountain people (F) sure they’d won their (G) just reward.
(C) Now they stood be (G) side the treasure, (Am) on the mountain (Em) dark and red.
(F) Turned the stone and (C) looked beneath it.
|F| "Peace on earth," was all it (C) said. (C)(F)(C)
On the bloody morning (F) after (Em) who (F) who. One tin (Em) soldier (F) rides a (C) way.
(C)(CaddF)(C), (C)(F)(C)
On the bloody morning (F) after (Em) who (F) who. One tin soldier rides a (C) way. (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)(MC0)
INTRO: (D)(G)(D)(G)(D)(G)(D)(G)(D)
Everyone you (G) know's been through it.

(D) You bite the bullet, (G) then you chew it.
(D) Ties a knot at the (G) end of your rope.
(Em) Buy a book, to (A) help you cope but,
(G) No consolation, (D) gonna come, (A) you're the only (D) one.
Take a look through (G) history.

(D) Recant some bits, of (G) poetry.
(D) You'll find the words, (G) still ring true.
(Em) Some things don't change (A) some things do and you’re the
(D) Only one with a (Bm) broken heart.

(D) The only one who's a (Bm) fraid of the dark.
(D) The only one in a (G) crowded room.
(Em) The only one who (A) sees the blue-ue (D) moon.
(D)(G)(D)(G)(D)(G)(Em)(A)
(Bm) What you wouldn't (G) give right now,

(Bm) To be another (Em) face in the (C) crowwww-(A)-wdd. And you’re the
(D) Only one who is (Bm) all alone.

(D) The only one who's (Bm) love is gone.
(D) The only one who has (G) given in.
(Em) The only one who will (A) give again and you’re the
(D) Only one with a (Bm) broken heart.
(D) The only one who’s a (Bm) fraid of the dark.
(D) The only one in a (G) crowded room.
(Em) The only one who (A) sees a blue-ue (D) 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)(MC3)
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) Dum dum dum (D) dumdy-do-wah. Oooh yay yay (Em) yay-yeah.
Oh whoa whoa (G) whoa-wah- (A7)-ah. Only the (D) lonely (A7). Only the (D) lonely. |D|
(NC) Only the (D) lonely (dum dum dum dumdy-do-wah),

Know the way I feel to (Em) night. (Oooh yay yay yay-yeah).
Only the (A7) lonely (dum dum dum dumdy-do-wah),
Know this (G) feeling ain't (D) right. (Dum dum dum dumdy-do-wah).
There goes my |D| baby |D|-|D|-|D|-|D|. (NC) There goes my heart |D7|-|D7|-|D7|-|D7|.
(NC) They're gone forever |G|-|G|-|G|-|G|. (NC) So far apart |E7full|-|E7full|-|E7full|-|A|.
But only the (D) lonely, know (G) why-y-y, (A) I cry.
(A7) Only the (D) lonely dum dum dum dumdy-do-wah. Oooh yay yay (Em) yay-yeah.
Oh whoa whoa (G) whoa-wah (A7). Only the (D) lonely (A7). Only the (D) lonely. |D|
(NC) Only the (D) lonely (dum dum dum dumdy-do-wah),

Know the heartaches, I've been (Em) through (oooh yay yay yay-yeah).
Only the (A7) lonely (dum dum dum dumdy-do-wah),
Know I (G) cry and cry for (D) you (dum dum dum dumdy-do-wah).
Maybe to |D| morrow |D|-|D|-|D|-|D|. (NC) A new romance |D7|-|D7|-|D7|-|D7|.
(NC) No more sorrow |G|-|G|-|G|-|G|. (NC) But that's the chance |E7full|-|E7full|-|E7full|-|A|.
(NC) Youuuuu gotta take, is you're (G) lonely, heart (A7) break.
Only the (D) lonely dum dum dum dumdy-do-wah.
OOBY DOOBY - Roy Orbison
(Moore/Penner)
https://www.youtube.com/watch?v=3TSktJeimjE (Capo 2)(MC2)
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|
Well a |D| hey baby, jump over here when you |D| do the ooby dooby, I |D7| want to be near.
Ooby (G) dooby (G7). Ooby (D) dooby. Ooby (A7) dooby ooby dooby.
(G) Ooby dooby do (D) wah do wah do wah.
Well you |D| wiggle to the left, you |D| wiggle to the right.
You |D| do the ooby dooby with (D7) all of your might ooby (G) dooby (G7).
Ooby (D) dooby. Ooby (A7) dooby ooby dooby. (G7) Ooby dooby do (D) 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)

Yeah you |D| wriggle and you shake like a |D| big rattle snake.
You |D| do the ooby dooby 'till you (D7) think you wanna break
(G7) Dooby dooby do (D) 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)
Well |D| you've been struttin' 'cause a |D| now you know
How to |D| do the ooby dooby now (D7) baby let's go
(G7) Ooby dooby do (D) wah do wah do wah. (G)(A7)(D)|D|
(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)(MC0)
TIP: At the end of the first line of the verse/chorus there's an (A6+). Just play the (A) and add
your pinky to the bottom string of the 3rd fret. Release the pinky for the (A) in the next line.
INTRO: (D)(A)-(A6+),(A)(D); (D)(G),(A)(D)
Why must you always seem, to criti (A) cize me (A6+)?

Seems like (A) everything I do just turns out (D) wrong.
Why don't you come on out, and de (G) spise me?
So I could (A) pack my bag and baby, I'd be (D) gone.
Remember when you used to call me (A) honey (A6+)?

Well I'd (A) turn around and call you, honey (D) too.
You might think it's a joke, but it ain't (G) funny,
To (A) hurt someone who's so in love with (D) you.
A clown puts his makeup on, (A) upside down (A6+),

So he (A) wears a smile even when, he (D) wears a frown.
You might think I'm here, when you (G) put me down,
But (A) actually, I'm on, the other (D) side of town.
My body's in this room with you just (A) catchin' hell (A6+),
While my (A) soul is drinkin' beer down the (D) road a spell.
You might think I'm listening to your (G) grocery list,
But I'm (A) leaning on the jukebox, and I'm a (D) bout half ... way there.

(D)(A); (A)(D); (D)(G); (A)(D)
I'm sittin' on a chair, just be (A) hind my ear (A6+),

Playing (A) dominoes and drinking, some (D) ice cold beer.
When you get done talking I'll come (G) back downstairs,
And a (A) ssume the body of the person you pre (D) sume who cares.

I'm a (A) cross the river on, the other (D) side of town.
(A) In my mind I'm goin' to the dog racin' (D) side of town (G)(D)(D)(A)-(D)|D|.
OVER THE RAINBOW - Judy Garland
(Arlen/Harburg)
https://www.youtube.com/watch?v=PSZxmZmBfnU (Capo 1)(MC1)
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: A (D) can be played instead of the (Bm) in the first line and the (Am) of the second line of
each verse if it sounds better to you. Likewise, a (C) can be played instead of the (E7) in the
second verse.
TIP: The (G)(Gadd) sequence is just adding and pull off the 2nd string. For the (C)(Cadd)
sequence just add and pull your pinky to/from the 2nd string/3rd fret while leaving your index
finger in place.
TIP: There's a (C#m) in the bridge. It's just like a (D7) played up one string-set.
TIP: For the lone (DaddA) play (D) and stretch your pinky over to the bottom string/5th fret.
INTRO: (G)(D),(G)(D7) <brief pause>
(G) Some, where, (Bm) over the rain (G) bow, (C) way up (Gadd) high.
(C) There's a (G) land that I heard (C) of, (Am) once in a (D7) lulla (G) by.
(G) Somewhere (Bm) over the rain (G) bow, (C) skies are (Gadd) blue.
(C) And the (G) dreams that you (E7) dare, to (Am) dream really (D7) do come (G) true.
(Gadd) Some, (G) day (Gadd) I'll (G) wish (Gadd) up (G) on (Gadd) a (G) star and (C) wake (CaddD)
up (C) where (CaddD) the (C) clouds (CaddD) are (C) far (CaddD) be (C) hind, me (D7).
Where (G) trou (Gadd) bles (G) melt (Gadd) like (G) lem (Gadd) on (G) drops (Gadd) a (C#m) way
above the chimney tops, that's (D) where, you'll, (DaddA) find, (Am7) me.
(G) Somewhere (Bm) over the rain (G) bow, (C) blue birds (Gadd) fly.
(C) Birds fly (G) over the rain (C) bow, (Am) why then, oh (D7) why, can't (G) I?
(G)(Gadd)(G)(Gadd)(G)(Gadd)(G)(Gadd)(C)(CaddD)(C)(CaddD)(C)(CaddD)(C)(CaddD)(C)(Gadd)
If (G) hap (Gadd) py (G) lit (Gadd) tle (G) blue (Gadd) birds (G) fly, (Gadd) be (C) yond
(CaddD) the (C) rain (CaddD) bow, (C) why (CaddD) oh (C) why, (D) can't, (Gadd) I?
(Judy Garland) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
OVER THE RAINBOW – Judy Garland
(Arlen/Harburg)
https://www.youtube.com/watch?v=PSZxmZmBfnU (Capo 1)(MC1)
TIP: This version is meant for playing fingerstyle.
TIP: The notes in chevrons, e.g., <g> or <a>, are meant as reminders that this note should be
picked/included at this time.
TIP: The notation <pull> (or lift/remove if you prefer) means a finger should be pulled off the
chord being played. This occurs while playing the (D). The first <pull> means lift the index
finger and the following <pull> means remove all fingers when transitioning to the (G).
TIP: In the bridge, (addP5) means extend your pinky to the bottom string/5th fret while holding
the (D).
INTRO: (G)(D),(G)(D7) <brief pause>
(G) Some, <g> where, (D) over <pull> the rain (D4) bow, (G) way (C) up (Gadd) high.
(C) There's a (G) land that <a> I heard (C) of, (D) once <f#> in <pull> a lull <pull> a (G) by.
(G) Some <g> where (D) over <pull> the rain (D4) bow, (G) skies (C) are (Gadd) blue.
(C) And the (G) dreams that <a> you dare, (C) to (D) dream <f#> rea- <pull> -lly do <pull> come
(G) true.
(Gadd) Some, (G) day (Gadd) I'll (G) wish (Gadd) up (G) on (Gadd) a (G) star and (C) wake
(CaddD) up (C) where (CaddD) the (C) clouds (CaddD) are (C) far (CaddD) be (C) hind, me (D).
Where (G) trou (Gadd) bles (G) melt (Gadd) like (G) lem (Gadd) on (G) drops a (C#m) way above the
chimney tops, that's (D) where, you'll, (DaddA) find, (Am7) me.
(G) Some <g> where (D) over <pull> the rain (D4) bow (G) blue, (C) birds (Gadd) fly.
(C) Birds fly (G) over <a> the rain (C) bow, (D) why <f#> then, <pull> oh why, <pull> can't (G) I?
(G)(Gadd)(G)(Gadd)(G)(Gadd)(G)(Gadd)(C)(CaddD)(C)(CaddD)(C)(CaddD)(C)(CaddD)(C)(Gadd)
If (G) hap (Gadd) py (G) lit (Gadd) tle (G) blue (Gadd) birds (G) fly,
(Gadd) Be (C) yond (CaddD) the (C) rain (CaddD) bow,
(C) Why (CaddD) oh (C) why, (D) can't, (Gadd) 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)(MC3)
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)
Oh the pain of (E) loving (A) you. Oh the (E) misery I go (A) through.
Never knowing (D) what to (A) do, (D) oh the (A) pain of (E) loving (A) you.
You just can't stand to (E) see me (A) happy. Seems you (E) hurt me all you (A) can.
Still I go on (D) loving (A) you, (D) but I'll (A) never (E) under (A) stand.
<Patty> (D)-(A)(E)(A)
<Trio> (A)(A)(A)(A)(E)(E)(A)(A), (A)(A)-(D)-(A),(A)(D)-(A),(A)(E)-(A)
To love and hate at (E) the same (A) time. The lines be (E) tween the two is (A) fine.
But too has bound my (D) heart and (A) soul, so strong that I (E) can't let you (A) go.
(D) Oh the (A) pain of (E) loving (A) you (A)|A|.
(Patty Loveless) (Emmylou Harris) (Dolly Parton) (Linda Ronstadt)

(Artist Index) - (Main Index) - (Song Index) (This Song)
PAINT IT BLACK - The Rolling Stones
(Richards/Jagger)
https://www.youtube.com/watch?v=O4irXQhgMqg (Capo 3)(MC3)
TIP: Alright I know this looks messy but it's surprisingly easy to play. (If you don't want to
bother with any of this you can just play the (Dm) at the beginning right through to the first (A)
and continue with it until the end of each verse. The chorus is played as indicated but it too is
easy.) Really though, just give it a try a few times and you'll see what I mean.
TIP: The intro is shown three ways. The first is with chords which is how you'll play it in the
verse. The second and third are the individual notes. 2/3 means 2nd string/3rd fret etc. Note
each one ends in a strummed (A).
TIP: In the verse there are two primary voicings, one surrounding the (Dm) and the other with the
(A). Starting with the (Dm), your middle and ring fingers stay achored in place and the pinky and
index finger do all the work, adding and lifting. From the (Dm), to get to (Dsus2) all you do is
lift off the index finger. To go from (Dsus2) back to (Dm) you replace the index finger. To go
from (Dm) to (D4) you keep the (Dm) form and simply add your pinky to the bottom string/3rd fret.
Lift off and you're back to (Dm). Easy, no? In a similar style, to go from (A) to (Asus) hold (A)
and add your pinky to the 2nd string/3rd fret. To get back to (A) from (Asus) just lift.
Tap/lift, tap lift. (Asus)(A), (Asus)(A). Piece of cake.
TIP: The chorus is easy. Just remember to quickly transition from the (A) at the last word to the
(A7) immediately afterwards.
TIP: Since each syllable in the verse pretty much gets it's own chord use downstroke strums for
each.
INTRO: <chords>: (Dm)(Dsus2)(Dm) (D4) (Dm) (Dsus2) (Dm) (Dm) (A) (Asus) (A)(Asus)(A); (Dm)(Dm)
INTRO: <notes> : 2/3 O1 1/1 1/3 1/1 O1 2/3 2/3 2/2 2/3 O1 2/2 (A); (Dm)(Dm)
INTRO: <notes> : <d> <e> <f> <g> <f> <e> <d> <d> <c#> <d> <e> <d> (A); (Dm)(Dm)
I (Dsus2) see (Dm) your (D4) red (Dm) door (Dsus2) and (Dm) I want (A) it (Asus) painted
bla- (A) -ack.
(Dm) No (Dsus2) col (Dm) ors (D4) an (Dm) y (Dsus2) more (Dm) I want (A) them (Asus) to turn
bla- (A) -ack.
(Dm) I (C) see the (F) girls walk (C) by dressed (Dm) in their summer clothes.
I (C) have to (F) turn my (C) head un (Dm) til my darkness (A) goes (A7).
(Dm) I (Dsus2) see (Dm) the (D4) line (Dm) of (Dsus2) cars (Dm) and they're (A) all (Asus) painted
bla- (A) -ack.
(Dm) With (Dsus2) flow (Dm) ers (D4) and (Dm) my (Dsus2) love (Dm) both nev (A) er (Asus) to come
ba- (A) -ck.
(Dm) I (C) see people (F) turn their (C) heads and (Dm) quickly look away.
Like-a (C) newborn (F) baby (C) it just (Dm) happens every (A) day (A7).
(Dm) I (Dsus2) look (Dm) in (D4) side (Dm) my (Dsus2) self (Dm) and see (A) my (Asus) heart is
bla - (A) ack.
(Dm) I (Dsus2) see (Dm) my (D4) red (Dm) door (Dsus2) I (Dm) must have (A) it (Asus) painted
bla- (A) -ck.
(Dm) Maybe (C) then I'll (F) fade a (C) way and (Dm) not have to face the facts.
(Dm) It's-not (C) easy (F) facing (C) up when (Dm) your whole world is (A) black (A7).
(Dm) No (Dsus2) more (Dm) will (D4) my (Dm) green (Dsus2) sea (Dm) go turn (A) a (Asus) deeper
(A) blue.
(Dm) I (Dsus2) could (Dm) not (D4) fore (Dm) see (Dsus2) this thing (Dm) hap- (A) -pen (Asus) ing
to you - (A) ou.
(Dm) If (C) I look (F) hard e (C) nough in (Dm) to the setting sun.
(Dm) My (C) love will (F) laugh with (C) me be (Dm) fore the morning (A) comes (A7).
(Dm) I (Dsus2) see (Dm) your (D4) red (Dm) door (Dsus2) and (Dm) I want (A) it (Asus) painted
bla- (A) -ack.
(Dm) No (Dsus2) col (Dm) ors (D4) an (Dm) y (Dsus2) more (Dm) I want
(A) them (Asus) to turn bla- (A) -ack.
(Dm) I (C) see the (F) girls walk (C) by dressed (Dm) in their summer clothes.
I (C) have to (F) turn my (C) head un (Dm) til my darkness (A) goes (A7).
<hum> Hmmm (Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A)

I want to see your (Dm) face, painted black, (A) black as night. Black as (Dm) coal.
I want to see the sun, blotted (A) out from the sky.
I want to see it (Dm) painted, painted, painted, painted (A) black. Yeah.
<hum>
Hmmm (Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A)
Hmmm (Dm)(Dsus2)(Dm)(D4)(Dm)(Dsus2)(Dm)(Dm)(A)(Asus)(A)(Asus)(A) |Dm|
PANCHO AND LEFTY – Willie Nelson & Merle Haggard
(Van Zandt)
https://www.youtube.com/watch?v=AbZ3VdYb90o (Capo 2)(MC2)
TIP: Each chord in the intro is strummed once. And several chord changes in the body of the song
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)
Living on the road my friend (G), is gonna keep you free and clean.
(F) Now you wear your skin like iron (C), your breath as hard as (G) kerosene.
(F) You weren't your mama's only boy, but her (C) favorite one it (F) seems. (Am)
She began to cry when (F) you-(C)-said (G), goodbye (G),
And-(F)sank into your (Am) dreams (Am). (Am)(G)-(C)
Pancho was a bandit boys (G), his horse was fast as polished steel.
(F) He wore his gun outside his pants (C), for all the honest (G) world to feel.
(F) Pancho met his match you know, on the (C) deserts down in (F) Mexico.
(Am) Nobody heard his (F) dy (C) in' (G) words (G), ah but (F) that's the way it (Am) goes (Am).
(Am)(G)-(F)
All the Federales say, (C) they could have had him (F) any day.
(Am) They only let him (F) slip (C) a (G) way (G), out of (F) kindness I sup-(Am)-pose (Am).
(C) Lefty he can't sing the blues, (G) all night long like he used to.
(F) The dust that Pancho bit down south (C), ended up in (G) Lefty's mouth.
(F) The day they laid poor Pancho low, (C) Lefty split for O (F) hio.
(Am) Where he got the (F) bread (C) to (G) go (G), there (F) ain't nobody (Am) knows. (Am)-(G)-(F)
(Am) They only let him (F) slip (C) a (G) way (G), out of (F) kindness I (Am) suppose.
(Am)(G)(F)(C)(C),(F)(F)(C)(F),(Am)(F)-(C)-(G)(G)(F)(Am); (Am)(G)-(C)
The poets tell how Pancho fell, (G) and Lefty's livin', in a cheap hotel.
(F) The desert's quiet, Cleveland's cold (C), and so the story (G) ends we're told.
(F) Pancho needs your prayers it's true (C), but save a few for (F) Lefty too.
(Am) He only did what he (F) had (C) to (G) do (G), and (F) now he's growing (Am) old. (Am)(Am)
(Am)-(G)-(F)
(Am) They only let him (F) go (C) so (G) long (G), out of (F) kindness I (Am) suppose. (Am)-(G)-(F)
A few gray Federales say, (C) they could have had him (F) any day.
(Am) They only let him (F) go (C) so (G) long (G), out of (F) kindness I (Am) suppose. (Am)
(Am)(Am)(F)(C)
(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)(MC0)
TIP: There’s really only two chords to the song but there are several variations on the (G) that
gives it flavor. In the intro and bridge (G/7) means this: From the leading (G) keep your bottom
finger on the bottom string and slide up to the 7th fret and strum the bottom 4 strings once before
returning to the 3rd fret. You can keep your fingers on the top two strings in the (G) shape if you
want – because the next chord is another (G) - but don’t hit those top two strings.
TIP: For the guitar riff that follow the above piece it’s a double beat of (G) and then a move to
a regular (G7) then pull off the bottom string (G-) and back to (G). Repeat.
INTRO: (C) Paperback wri (G) ter (G/7) wri (G) ter wri (Gadd) ter.
(G)(G)-(G7)-(G-)(G), (G)(G)(G7)(G-)(G)
Dear Sir or Madam will you read my book? It took me (G7) years to write will you (G) take a look?
It's based on a novel by a man named Lear
And I (G7) need a job so I (G) wanna be a paperback (C) writer. Paperback (G) writer.
It's a dirty story of a dirty man and his (G7) clinging wife doesn't (G) understand.
His son is working for the Daily Mail
It's a (G7) steady job but he (G) wants to be a paperback (C) writer. Paperback |G| wri |G| ter.
(C) Paperback wri (G) ter (G/7) wri (G) ter wri (Gadd) ter.
(G)(G)-(G7)-(G-)(G), (G)(G)(G7)-(G-)(G)
It's a thousand pages give or take a few I'll be (G7) writing more in a (G) week or two.
I could make it longer if you like the style
I can (G7) change it 'round and I (G) wanna be a paperback (C) writer. Paperback (G) writer.
If you really like it you can have the rights it could (G7) make a million for you (G) overnight.
If you must return it you can send it here
But I (G7) need a break and I (G) wanna be a paperback (C) writer. Paperback |G| wri |G| ter.
(C) Paperback wri (G) ter (G/7) wri (G) ter wri (Gadd) ter.
(G)(G)-(G7)-(G-)(G), (G)(G)(G7)-(G-)(G)
Paperback writer (Gadd) paperback wri (G) ter. Paperback writer (Gadd) paperback wri (G) ter.
Paperback writer (Gadd) paperback wri (G) ter. Paperback writer (Gadd) paperback wri (G) ter.
Paperback writer (Gadd) paperback wri (G) ter. < fade or |G| >
PARADISE
John Prine
https://www.youtube.com/watch?v=DEy6EuZp9IY&t=2s (Capo 0)(MC0)
INTRO: (D)(D)(G)(D), (D)(D)(A)(D); (D)(D)(G)(D), (D)(D)(A)(D), (A)(D)
When I was a child the (G) family would (D) travel,

Down to Western Kentucky where my (A) parents were (D) born.
And there's a backwards old town that's (G) often re (D) membered,
So many times that my (A) memories are (D) worn.
And daddy won't you take me back to (G) Muhlenberg (D) County,
Down by the Green River where (A) Paradise (D) lay.
Well I'm sorry my son but you're (G) too late in (D) askin’.
Mister Peabody's coal train has (A) hauled it a (D) way. (D)(D)
Well sometimes we'd travel right (G) down the Green (D) River,
To the abandoned old prison down (A) by Airdrie (D) Hill.
Where the air smelled like snakes and we'd (G) shoot with our (D) pistols.
But empty pop bottles was (A) all we would (D) kill.
Mister Peabody's coal train has (A) hauled it a (D) way.
(D)(D)(G)(D), (D)(D)(A)(D); (D)(D)(G)(D), (D)(D)(A)(D), (A)(D)
Then the coal company came with the (G) world's largest (D) shovel,
And they tortured the timber and (A) stripped all the (D) land.
Well they dug for their coal 'til the (G) land was for (D) saken,
Then they wrote it all down as the (A) progress of (D) man.
When I die let my ashes float (G) down the Green (D) River.
Let my soul roll on up to the (A) Rochester (D) Dam.
I'll be halfway to Heaven with (G) Paradise (D) waitin',
Just five miles away from where (A) ever I (D) am.
(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)(MC0)
[Afterwards in [G] which may be easier to play without the pinky stretch on the (DaddA) and without
the (Bm). But you'll have to capo 9 to play along with the recording.]
TIP: Transcribing piano to guitar can always be a bit dodgy but for the first part of the intro,
form (DaddA) by extending your pinky over to the bottom string of the 5th fret from normal (D).
Now strum the chord once downward from the 4th string to the 1st string. As soon as you hit the
bottom string lift off completely and include open bottom string while moving quickly over to the
(A) to mute the overtones. So there are 5 notes total. Then strum (A) once and quickly jump to
the (G) and back to the (A). For the second part of the intro just play the majors. If this is
all too messy and inconvenient just play the first part like the second using the major chords.
INTRO: <form (DaddA)>: 4-3-2-1-0,(A)-(G)(A); (D)(A),(G)(A)
I (D) hear you in the (G) distance, and I (A) see you in my (D) mind (DaddA)(G).
I wonder where you're (D) goin' to, when (G) you leave me be (A) hind.
I (D) wonder who waits (G) for you, (A) dreaming just like (Bm) I (A)(G).
And talkin' to that (A) passin' train in the (D) night (D).
And (C) tell me just how (G) far that I should (D) go.
And tell me (C) leavin ain't (G) meaning, I'll (D) always be (A) gone.
Can you (D) promise me to (G) morrow, when to (A) day's no longer (Bm) mine (A)(G).
And talking to that (A) passin' train in the (D) night. (A)(G)(A)
The (D) world lies out be (G) fore you, yet (A) you keep comin' (D) back (DaddA)(G).
And tellin' no (D) secrets, and (G) never losin' (A) track.
(D) This place you're (G) goin', do (A) you have to go a (Bm) lone (A)(G)?
And tell me passin' (A) train I gotta (D) know (D).
And (C) tell me just how (G) far that I should (D) go.
And tell me (C) leavin' ain't (G) meaning, I'll (D) always be (A) gone.
And can you (D) promise me to (G) morrow, when to (A) day's no longer (Bm) mine (A)(G)?
And talking to that (A) passin' train in the (Bm) night.
I see the wheels (G) turnin' (A)(Bm) and I feel a (D) fire inside me (E) burnin',
Am I (A) learnin'?
Guess I'll (D) never find to (G) morrow, till to (A) day's no longer (Bm) mine (A)(G).
And just like that (A) passin' train in the (Bm) night whoa (E7) whoa,
(G) Just like that (A) passin' train in the (D) night (A)(G)(A), (D)(A)(G)(A7)(D)|D|
PASSING TRAIN - Sawyer Brown
(Hubbard)
(MC3)
TIP: Transcribing piano to guitar can always be a bit dodgy but for the first part of the intro,
first form (D) but use your thumb to cover the top string/3rd fret and lift off your index finger
so you're forming (G/Dsus5) as shown in the first diagram. Now pick the 6th string, skip the 5th
string, and the 4th, 3rd, and 2nd strings. Once you get to the 2nd string relax and lift off the
thumb and form (D) and pick note <a> at the 3rd string/2nd fret. So there are 5 notes total. Then
strum (D) once and quickly jump to the (C) and back to the (D). For the second part of the intro
just play the majors. If this is all too messy and inconvenient just play the first part like the
second using the major chords.
INTRO: <form (G/Dsus5)>: 6-4-3-2-3/2,(D)-(C)(D); (G)(D),(C)(D)
I (G) hear you in the (C) distance, and I (D) see you in my (G) mind (Gadd)(C).
I wonder where you're (G) goin' to, when (C) you leave me be (D) hind.
(G) I wonder who waits (C) for you, (D) dreaming just like (Em) I (D)(C).
And talkin' to that (D) passin' train in the (G) night (G).
And (F) tell me just how (C) far that I should (G) go.
And tell me (F) leavin ain't (C) meaning, I'll (G) always be (D) gone.
Can you (G) promise me to (C) morrow, when to (D) day's no longer (Em) mine (D)(C).
And talking to that (D) passin' train in the (G) night. (D)(C)(D)
The (G) world lies out be (C) fore you, yet (D) you keep comin' (G) back (Gadd)(C).
And tellin' no (G) secrets, and (C) never losin' (D) track.
(G) This place you're (C) goin', do (D) you have to go a (Em) lone (D)(C)?
And tell me passin' (D) train I gotta (G) know (G).
And (F) tell me just how (C) far that I should (G) go.
And tell me (F) leavin' ain't (C) meaning, I'll (G) always be (D) gone.
And can you (G) promise me to (C) morrow, when to (D) day's no longer (Em) mine (D)(C)?
And talking to that (D) passin' train in the (Em) night.
I see the wheels (C) turnin' (D)(Em) and I feel a (G) fire inside me (A) burnin',
Am I (D) learning?
Guess I'll (G) never find to (C) morrow, till to (D) day's no longer (Em) mine (D)(C).
And just like that (D) passin' train in the (Em) night whoa (A7) whoa,
(C) Just like that (D) passin' train in the (G) night (D)(C)(D), (G)(D)(C)(D7)(G)|G|
PEACEFUL EASY FEELING – Eagles
(Tempchin)
https://www.youtube.com/watch?v=NjofshOBV5s (Capo 2)(MC2)
TIP: In the intro, play (D), then add your pinky to the bottom string/3rd fret for (D4), then
extend your pinky over to the bottom string of the 5th fret and then back to the 3rd fret, back
again to the 5th, back again to the 3rd, and then regular (D) to start the song.
INTRO: (D)(D4), (D)(D4)(DaddA)(D4)(DaddA)(D4)
(D) I like the (G) way your sparklin' (D) earrings (G) lay,
(D) Against your (G) ski-in so (A) brown (A7).
(D) And I wanna (G) sleep with you in the (D) desert to (G) night,
(D) With a billion (G) stars all a (A7) round (A).
Cuz I got a (G) peaceful easy (D) feeling, (G) and I know you won't let me (Em) down (A).
Cuz I'm (D) allllll (Em) ready (G) standing (A), on the (D) ground. (D)(G)(D)
And I found (G) out a long (D) tiiime a (G) go,

(D) What a woman can (G) do to your (A) sou-(A7)-oul.
(D) Ah but (G) she can't take you (D) any (G) way,
(D) You don't already (G) know how to (A7) go (A).
And I got a (G) peaceful easy (D) feeling, (G) and I know you won't let me (A) down (A7).
Cuz I'm (D) alllll (Em) ready (G) standing (A), on the (D) ground. (Em)(G)(A)
(D)(G)(D)(G)(D)(G)(D)(A); (D)(G)(D)(G)(D)(G)(A)(A); (G)(G)(D)(D)(G)(G)(A)(A); (D)(Em)(G)(A)
(D) I get this (G) feeling I may (D) knowww (G) you,
(D) As a (G) lover and a (A) friend (A7).
(D) But this voice keeps (G) whispering (D) in my other (G) ear,
Tells me (D) I may never (G) see you a (A7) gain (A).
Cuz I get a (G) peaceful easy (D) feelin', (G) and I know you won't let me (A) down (A7).
Cuz I'm (D) alllll (Em) ready (G) standin' (A), I'm (D) all-(G)-alll ready (Em) standin' (A),
Yes I'm (D) all-(Em)-all ready (G) standin' (A), on the (D) ground (D).
(G) Oooh (A7) ooh ooh. Whoa oh (D) oh (D).

(G) Woo hoo (A7) hoo ooh (D) ohh (D). (G) Woo (A7) hoo ooh |D| -ooh.

PEGGY SUE – Buddy Holly
(Holly/Allison/Petty)
https://www.youtube.com/watch?v=OUesbTObC9A (Capo 0)(MC0)
TIP: The intro is four quick evenly spaced strums for each chord.
TIP: The instrumental can be a bit tricky. Either you know it or you don’t.
TIP: In the outro verse “I want you Peggy Sue” is sung “down-voice.”
INTO: (A)(D)(A)(E); (A)(D)(A)(E)
(A) If you knew, (D) Peggy Sue, (A) then you’d (D) know why (A) I feel blue without (D) Peggy.
My Peggy (A) Sue (D)(A). Oh well I (E) love you gal yes I (D) love you Peggy (A) Sue (D)(A)(E).
(A) Peggy Sue, (D) Peggy Sue. (A) Oh how (D) my heart (A) yearns for you oh (D) Peggy,
My Pe-heggy (A) Sue (D)(A). Oh well I (E) love you gal yes I (D) love you Peggy (A) Sue (D)(A)(E).
(A) Peggy Sue, Peggy Sue. (F) Pretty pretty pretty pretty (A) Peggy Sue oh oh-ho (D) Peggy,
My Peggy (A) Sue (D)(A). Oh well I (E) love you gal and I (D) need you Peggy (A) Sue (D)(A)(E).
(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true oh-oh (D) Peggy,
My Peggy (A) Sue ooh-ooh, (D) ooh-ooh (A) hoo hoo-hoo
Well I (E) love you gal, I (D) want you Peggy (A) Sue (D)(A)(E).
(A)(D), (A)-(D)-(A)-(D)-(A), (D)(D)(D), (A)(D)(A), |E|(E)|D|(D), (A)(D)(A)(E)
(A) Peggy Sue, Peggy Sue. (F) Pretty pretty pretty pretty (A) Peggy Sue oh-oh (D) Peggy,
My Peggy (A) Sue-u-hoo (D)(A). Oh well I (E) love you gal yes I (D) need you Peggy (A) Sue
(D)(A)(E).
(A) I love you, (D) Peggy Sue, (A) with a (D) love so (A) rare and true oh-oh (D) Peggy,
My Peggy (A) Sue-u-hoo (D) hu ha-(A)-hu. Oh well I (E) love you gal and I (D) want you
Peggy (A) Sue (D) (A).
Oh well I (E) love you gal and I (D) want you Peggy (A) Sue (D)(A).
PENCIL NECK GEEK - Fred Blassie
(Margulies/Cicero)
https://www.youtube.com/watch?v=b1LmuCf3aJY (Capo 1)(MC1)
TIP: For the intro, form palm-up with your pinky aligned over the 4th fret and your index finger
over the 2nd fret (with capo 1 both should be marked). Pick the open top string <e>, now with your
pinky cover and pick the top string/4th fret <g#>, with your index finger cover and pick the 5th
string/2nd fret , now shift quickly to and strum (Am), then strum (Am) again first emphasizing
the 5th string and then the bottom string. Repeat.
INTRO: <e>-<g#>--(Am), (Am)-(Am); <e>-<g#>--(Am), (Am)-(Am)
Back when I was a kid, (E) life was going swell.

Til something happened, blew (Am) every thing to hell.
That night my |Dm| daddy stumbled in, all |Am| pale and weak,
Said "A |E| woman up the block, just gave birth to a (Am) geek."
Mom said "Sell it to the circus, (E) what the heck."

Dad said "Nope, this one's a (Am) pencil neck.
And if there's (Dm) one thing lower than a (Am) side show freak,
It's a (E) grit-eatin', scum-suckin', pencil neck (Am) geek." (Am)(C)
You (F) see if you take a pencil that won't (C) hold lead,
(G) Looks like a pipe cleaner, (C) attached to a head,
Add a (F) buggy-whipped body, with a (Am) brain that leaks,
(E) You got yourself a grit-eatin' pencil neck (Am) geek.
(F) Pencil neck geek, (C) grit-eatin' freak,

(G) scum-suckin' pea head with a (C) lousy physique.
He's a (F) one-man no-gut (Am) losing streak.
(E) Nothin' but a pencil neck (Am) geek. (Am) (E)Pencil neck (Am) geek.
Soon the geeks were poppin' up (E) all over town.
You couldn't hardly sneeze without (Am) knockin' one down.
After a (Dm) nice juicy steak, if you (Am) need a toothpick,
Just (E) reach for a |E| geek, they'll do the trick |C|-|E|-|Am|.
One day we cut one up for (E) fish bait.

Learned our lesson just a (Am) little bit late.
Soon as the (Dm) geek hit the drink, the (Am) water turned red.
(E) Next day sure enough, all the fish were (Am) dead.

(E) Nothin' but a pencil neck (Am) geek. (Am) |C|-|E|-(Am)(E)(Dm)(Am)
(Dm) Ahhh (Am) ahhh (E). (E)-(E)-(Am)
Most any night you know where (E) I can be found.

Yeah stomping some geek's head (Am) into the ground.
So (Dm) keep the faith 'cause in (Am) Blassie you can trust,
I (E) won't give up 'til the last geek bites the (Am) dust.

(E) Nothin' but a pencil neck (Am) geek. (Am) (E)Pencil neck (Am) geek.
They say these geeks come a dime a dozen. (G) Pencil neck (Am) geek.
I'm lookin' for the guy who's supplin' the dimes. (G) Pencil neck (Am) geek.
Its gonna be real hard times for all of these grit-eatin,' scum-suckin' (E) boot-lickin'
Drop-kickin' gut-grindin' nail-bitin' (Am) glue-sniffin' scab-pickin' butt-scratchin' egg-hatchin'
(E) Sleezy smelly pepper-bellied (Dm) dirty lousy rotten stinkin' (E) freaks.
Nothin' but a pencil neck (Am) geek. (E) Pencil neck (Am) geek. (E) Pencil neck (Am) geek.
<slower> (E) Pencil neck (Am) geek. |Am|
"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)(MC5)
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: The intro and outro are the same. For (CaddD) just keep the index finger from the preceding
(C) where it is and add your pinky to and then remove it from the 2nd string/3rd fret. Same for
the (Gadd) but instead of adding you're beginning with two fingers on the bottom two strings and
then removing/adding from/to the second string. Also, these two adds/lifts are delicate moves so
use a light touch. Get it down and then off again. This sequence also repeats after the first
"people are crazy" verse.
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)(C)-(CaddD)-(C), (Gadd)(Gadd)-(Gadd-)(Gadd)

(C)(C)-(CaddD)-(C), (Gadd)(Gadd)-(Gadd-)(Gadd)(C)
This old man and me (G), were at the bar and we (Am),
Were having us some beers and (F), swappin' I don’t cares (C).
Talkin' politics (G), blonde and red-head chicks (Am),
Old dogs and new tricks and (F), habits we ain't kicked (C).
We talked about God's grace (G), and all the hell we raised (Am).
Then I heard the ol' man (F) say (F)(C), "God is great, beer is (G) good (G)|G|,
(NC) And people are cra-(C)-zy. (C)(C)-(CaddD)-(C), (Gadd)(Gadd)-(Gadd-)(Gadd)(C)
He said "I fought two wars (G), been married and divorced (Am)."
What brings you to Ohio (F)? He said "Damned if I know (C)."
We talked an hour or two (G), ‘bout every girl we knew (Am).
What all we put ‘em through (F), like two old boys'll do (C).
We pondered life and death (G), he lit a cigarette (Am).

He-said "These damn things will kill me, (F) yet (F).” (C)
But God is great, beer is (G) good (G)|G|, (NC) and people are cra-(C)-zy (C).
(F) Last call it's two a.m. (Em), I said goodbye to him (Dm).
I never talked, to him a (G) gain (G)|G|. (C)
Then one sunny day (G), I saw the old man's face (Am).
Front page obituary (F), he was a millionaire he (C),
He left his fortune to (G), some guy he barely knew (Am).
His kids were mad as hell (F). But me, I’m doin' well (C).
And I dropped by today (G), to just say thanks and pray (Am).
And I left a six-pack, right there on his (F) grave (F). And I said (C),
"God is great, beer is (G) good (G), and people are (C) crazy (Gadd)-(F)(F).” (C)
God is great, beer is (G) good (G), and people are cra-(Am)-zy (Gadd)-(F)(F). (C)
God is great, beer is (G) good (G)|G|, and people are cra-(C)-zy.
(C)(C)-(CaddD)-(C), (Gadd)(Gadd)-(Gadd-)(Gadd)(C)
(C)(C)-(CaddD)-(C), (Gadd)(Gadd)-(Gadd-)(Gadd)|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)(MC0)
TIP: 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: 5th string/2nd fret note , open 5th string note <a>,
6th string/3rd fret note <g>, and 6th string/2nd fret note <f#>. They'll 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 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.
TIP: You can play either the (B7) or a (B), whichever you prefer.
INTRO: <a> <g>
(Em) People are strange, (Am) when you're a (Em) stranger,

(Am) Faces look (Em) ugly, (B7) when you're a (Em) lone.
Women seem wicked, (Am) when you're un (Em) wanted,
(Am) Streets are un, (Em) even, (B7) when you're (Em) down.
When you're (B7) strange, (G) faces come out of the (B7) rain |B7|. (E7) When you're strange.
(G) No one remembers your (B7) name |B7|, (B7) when you're strange. When you're strange.
When you're, stra-ange.
 <a> <g> <f#> (Em) People are strange, (Am) when you're a (Em) stranger,
(Am) Faces look (Em) ugly, (B7) when you're a (Em) lone.
Women seem wicked, (Am) when you're un (Em) wanted,
(Am) Streets are un, (Em) even, (B7) when you're (Em) down.
(Em)(Am)(Em)(Am)(Em)(B7)(Em)|Em|
When you're (B7) strange, (G) faces come out of the (B7) rain |B7|. (B7) When you're strange.
(G) No one remembers your (B7) name |B7|, (B7) when you're strange. When you're strange.
When you're, strange. Alright yeah.
(Em)(Am)(Em)(Am)(Em)(B7)(Em); (Em)(Am)(Em)(Am)(Em)(B7)(Em)
When you're (B7) stra-a-ange, (G) faces come out of the (B7) rain. When you're strange.
(G) No one remembers your (B7) name, when you're strange. When you're strange.
When you're, |B7| strange.
(The Doors) (Artist Index) - (Main Index) - (Song Index) (This Song)
PIANO MAN
Billy Joel
https://www.youtube.com/watch?v=gxEPV4kolz0 (Capo 0)(MC0)
TIP: This is a hard song to translate to guitar since no guitar is actually used in the song.
It’s all piano and harmonica. As such you’ll use your pinky to augment the (C) chord to emulate
the upper register of the harmonica parts and transitional piano bass notes. For example, for
(CaddG) play a regular (C) but add the pinky to the bottom string/3rd fret to cover the treble <g>.
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.
TIP: Some of the piano parts, like at the end of the intro, consist of a three-note bum-bum-bum.
Come off the (G) and pick the bottom string/1st fret <f>, open bottom string <e> and 2nd string/2nd
fret <d>.
TIP: There are also a few places (including the intro and the chorus) where there’s a (CaddG)
followed by (EmG). The key here during the transition between these chords is to keep your pinky
on the bottom string/third fret, then lift your ring finger and use your index and middle finger to
form the (Em) portion of (EmG), rather than your middle and ring fingers.
INTRO: <piano> |Dm| (Dm) . . . |Ddim| (Ddim) . . .
<harmonica> (CaddG)(EmG)(Am)(C), (F)(C)(D)(G), (CaddG)(EmG)(Am)(C)
(F)(G7)(C),(F)(G); <f>–<e>–<d> (C)(F)(G), <f>-<e>–<d>
It's (C) nine o' (Em) clock on a (Am) Saturday (C)(F).

The regular (C) crowd shuffles (D) in (G).
There's an (C) old man (Em), sittin' (Am) next to me (C),
Makin' (F) love to his (G7) tonic and (C) gin.
(C)(Em)(Am)(C), (F)(G7)(C)(C)(F)(F)
He says "(C) Son can you (Em) play me a (Am) memory (C).
I'm (F) not really (C) sure how it (D) goes (G).
But it's (C) sad and it's (Em) sweet and I (Am) knew it com (C) plete,
When (F) I wore a (G7) younger man's (C) clothes."
(Am) La la la la de (D) da (F)(Am). La la le de (G) daaaaad (F) da (G) dum (Gadd)(Em)(G7)
(CaddG) Sing us a (EmG) song, you're the (F) piano man (C).
(F) Sing us a (C) song to (D) night (G).
Well we're (C) all in the (Em) mood for a (Am) melody (C),
And (F) you've got us (G7) feelin' al (C) right.
(C)(Em)(Am)(C); (F)(G7)(C),(F)(G); <f>–<e>–<d> (C)(F)(G), <f>-<e>–<d>
Now (C) John at the (Em) bar is a (Am) friend of mine (C).
He (F) gets me my (C) drinks for (D) free (G).
And he's (C) quick with a (Em) joke, or to (Am) light up your (C) smoke,
But there's (F) someplace that (G7) he'd rather (C) be (C). (F)(G)
He says (C) "Bill, I be (Em) lieve this is (F) killing me" (C),
As the (F) smile ran a (C) way from his (D) face (G).
"But I'm (C) sure that I (Em) could be a (Am) movie star (G),
If (F) I could get (G7) out of this (C) place."
Oh (Am) la la la la de (D) da (F)(Am). La la le de (G) daaaaaah (F) da (G) dum (F)(C)(G)
Now (C) Paul is a (Em) real estate (Am) novelist (C),

Who (F) never had (C) time for a (D) wife (G).
And he's (C) talkin' with (Em) Davy, who's (F) still in the (Am) navy,
And (F) probably (G7) will be for (C) life.
(C)(Em)(Am)(C); (F)(G7)(C)(C)(F)(F)
And the (CaddG) waitress is (EmG) practicing (Am) politics (C),

As the (F) businessmen (C) slowly get (D) stoned (G).
Yes they're (CaddG) sharing a (EmG) drink they call (Am) loneliness,
But it's (F) better than (G7) drinkin' a (C) lone.
(Am)(C)(D)(F)(Am)(C)(D)(F)(Am)(C)(D)(D), (G)(F)(Em)(G7)
(C)(Em)(Am)(C); (F)(G7)(C),(F)(G); <f>–<e>–<d> (C)(F)(G), <f>-<e>–<d>
It's a (C) pretty good (Em) crowd for a (Am) Saturday (C),
And the (F) manager (C) gives me a (D) smile (G).
'Cause he (C) knows that it's (Em) me they've been (Am) coming to (C) see,
To for (F) get about (G7) life for a (C) while (C). (F)(F)
And the (CaddG) piano, it (EmG) sounds like a (F) carnival (C),
And the (F) microphone (C) smells like a (D) beer (G).
And they (CaddG) sit at the (EmG) bar and put (F) bread in my (C) jar and say
(F) "Man what are (G7) you doin' (C) here (C)?"
Oh (Am) La la la la de (D) da (F)(Am). La la le de (G) daaaaah (F) da (G) dum (Gadd)(Em)(G7)
(C)(Em)(Am)(C); (F)(G7)(C),(F)(G); <f>–<e>–<d> (C)(F)(G)
<Slow down and 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)(MC0)
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)
A grand old (D) painter (F) died last (G) night, his paintings on the (D) wall.
Be (Am) fore he went, he bade us well, and (D) said goodnight to us (G) all.
So drink to (Bm) me, (Em) drink to my (Am7) health.

You (G) know I can't (D) drink any (G) more (D).
(G) Drink to (Bm) me, (Em) drink to my (Am7) health.
You (G) know I can't (D) drink any (C) more (G).
(Bm) Three o'clock in the (Em) morning. (Bm) I'm getting ready for (Em) bed.
(Am) It came without a (G) warning, but I'll be (Bm) waiting for you babe.
I'll be (Am) waiting for you (D) there.
(G) So drink to (Bm) me, (Em) drink to my (Am7) health.

You (G) know I can't (D) drink any (G) more (D).
(G) Drink to (Bm) me, (Em) drink to my (Am7) health.
You (G) know I can't (D) drink any (C) more (G).
(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) They say that Richard Cory, owns one (D) half of this whole town.
With (Em) political connections, he (B7) spread his wealth around.
He was (A7) born into society, a banker's only child.
He had (Em) every (D) thing a (G) man could (A) want: (B7) money praise and style (B7).
(Em)(Em)(Em)(Em)
The papers print his picture almost (D) everywhere he goes:

Richard (Em) Cory at the opera, Richard (B7) Cory at the shows.
And the (A7) rumor of his parties and the orgies on his yacht.
He (Em) really (D) must be (G) happy with (A) everything he's (B7) got.
But (G) I, work in his (Em) factory. And I (Am) curse the life I'm (Em) living.
I (Am) curse my pover (Em) ty. I (Am) wish that I could (Em) be, I (Am) wish that I could (Em) be,
Oh I (Am) wish that I could (B7) be . . . John (Em) Denver. (Oh no yeah, I can't wait!) (Em)(Em)
He really gave to the charities - (D) had the common touch.

And they were (Em) thankful for his patronage so they, (B7) "Thank you very much."
So my (A7) mind was filled with wonder when the evening headlines read:
|Em| "Richard |D| Cory went |G| home last night . . . (NC)
And put a |Em| bullet through his head (Em)."
But (G) I, work in his (Em) factory. And I (Am) curse the life I'm (Em) living.
I (Am) curse my pover (Em) ty. I (Am) wish that I could (Em) be, I (Am) wish that I could (Em) be,
Oh I (Am) wish that I could (B7) beeeeee Richard (Em) Cory. (Em)(Em)(Em)|Em|
(Paul McCartney & Wings) (Artist Index) - (Main Index) - (Song Index) (This Song)
PINK HOUSES
John Mellencamp
https://www.youtube.com/watch?v=qOfkpu6749w (Capo 0)(MC1)
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).
TIP: In the intro, form the (G) and then pick the top/6th string <g>, 5th string , and the open
third string <g> - followed by the first (G).
INTRO: <g>--<g> (G)(C)(G); <g>--<g> (G)(C)(G); (G)(C)(G); (G)(C)(G)
There's a black man, with a black cat, livin' in a black neighborhood.

He's got a, interstate runnin' through his front yard you know he (F) thinks he's,
(C) Got it so (G) good.
And there's a woman, in the kitchen, cleanin' up evenin' slop.
And he (F) looks at her and says "Hey darlin' (C),
I can remember when you could, (G) stop a clock."
Oh but ain't that A (C) merica, for you and (G) me.
Ain't that A (C) merica, somethin' to (G) see baby.
Ain't that A (C) merica, home of the (D) free yeah.
Little pink houses for (C) you and me.
Oh yeah for you and (G) me. (G)(C)-(G); (G)(C)-(G)
Well there's a young man, in a T-shirt, listenin' to a rock 'n' roll station.
He's got a, greasy hair, greasy smile. He says (F) "Lord this must be, (C) my destin (G) ation."
'Cause they told me, when I was younger, said "Boy you're gonna be, President."
But just like (F) everything else those old (C) crazy dreams just kinda came and (G) went.
Little pink houses for (C) you and me.
Oh built baby for you and (G) me. (G)(C)-(G); (G)(C)-(G); (G)(C)-(G); (C)(C)(G)(G)
(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?
Go to work in some high rise, and va (C) cation down at the Gulf of Mexi (G) co. Oooh yeah.
And there's winners, and there's losers. But they ain't no big deal.
'Cause the (F) simple man baby pays the (C) thrills, the bills, the (G) pills that kill.
Little pink houses for (C) you and me. Ooooh. Oooh (G) yeah.
Ain't that A (C) merica, for you and (G) me.

Ain't that A (C) merica hey with somethin' to (G) see baby.
Ain't that A (C) merica oh the home of the (D) free yeah yeah yeah yeah yeah (C) yeah.
Little pink houses for you and (G) me.
(C) Oooh (G) yeah. (C) Ooooh (G) yeah. (G)(C)(G), (G)(G)(C)|G|
(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)(MC0)
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) Well (Em) you've got your (Emsus2) dia (Em) monds
And you've got your pretty (Emsus2) clo-(Em)-thes,
And the chauffeur drives your (Emsus2) car-(Em)-ar. You let everybody (Emsus2) kno-(Em)-ow.
But don't (G) play (D) with (G) me cause you're (C) playing with (Em) fire (Em).
Your mother she's an (Emsus2) heir-(Em)-ess, owns a block in Saint Johns (Emsus2) Wo-(Em)-od.
And your father'd be there (Emsus2) with (Em) her, if he only (Emsus2) cou-(Em)-uld.
But don't (G) play (D) with (G) me cause you're (C) playing with (Em) fire (Em).
(G)(D)(G)(C)(Em)(Em)
Your old man took her (Emsus2) dia (Em) monds, and tiaras by the (Emsus2) scor-(Em)-re.
Now she gets her kicks in (Emsus2) Step (Em) ney, not in Knightsbridge any (Emsus2) mor-(Em)-re.
So don't (G) play (D) with (G) me cause you're (C) playing with (Em) fire (Em).
Now you've got some (Emsus2) dia (Em) monds, and you will add some (Emsus2) oth (Em) ers.
But you'd better, watch your (Emsus2) step (Em) girl,
Or start living with your (Emsus2) moth-(Em)-er.
So don't (G) play (D) with (G) me cause you're (C) playing with (Em) fire (Em).
So don't (G) play (D) with (G) me cause you're (C) playing with |Em| fire.
PLEASE MISTER POSTMAN – The Beatles
(Holland/Gorman/Dobbins/Bateman/Garrett)
https://www.youtube.com/watch?v=v2Kk5IG2b8E (Capo 2)(MC3)
TIP: The original by The Marvelettes follows afterwards. That version can be done in the same key
as this one by capo’ing the 7th fret.
|Em| (Wait!) Oh yes wait a minute Mister Postman.

|A7| (Wait!) Way-hay-hay-hait Mister Postman.
(G) (Mister Postman look and see.) Oh (Em) yeah. (Is there a letter in your bag for me?)
Pleeease (C) please Mister Po-oh-oh-ostman, whoa-oh (D) yeah,
(Since I’ve heard from that gal of mine.)
(G) There must be some word today-yay-(Em)-ay from my girlfriend so far away.
(C) Please Mister Postman look and see, (D) if there’s a letter, a letter for me-he?
(G) I've been standin' here waitin' Mister Postman, (Em) so-oh-oh patiently,
(C) For just a card, or just a letter, (D) sayin' she's returnin' home to me.
Please Mister (G) Postman (Mister Postman look and see), ohhhh (Em) yeah-eah.
(Is there a letter in your bag for me?)
Pleeease (C) please Mister Po-oh-oh-ostman, oh-oh (D) yeah,
(Since I heard from that gal of mine.)
(G) So many days you passed me by-eye-(Em)-eye see the tears standin' in my eye.
(C) You didn’t stop, to make me feel better, (D) by leavin' me, a card or a letter.
Mister (G) Postman (Mister Postman) look and see-ee-ee (Em) is there a letter oh yeah for me-ee-ee?
(C) I’ve been waitin’, such a long time, (D) since I heard from that girlfriend of mine.
You gotta (G) wait a minute wait a minute, oh yeah (Em) wait a minute wait a minute.
Oh yeah you gotta (C) wait a minute wait a minute, oh yeah,
You gotta (D) check it and see, one more time for me.
You gotta (G) wait a minute wait a minute, oh yeah
(Em) Wait a minute wait a minute, oh yeah, Mister (C) Po-oh-ostman, oh yeah,
I said de (D) liver the letter, the sooner the better.
Oh yeah you gotta (C) wait a minute wait a minute, oh yeah, gotta (D) wait a minute wait a minute.
Oh yeah you gotta (C) wait a minute wait a minute, oh yeah,
You gotta (D) check it and see, one more time for me. |G|
PLEASE MISTER POSTMAN – The Marvelettes
(Holland/Gorman/Dobbins/Bateman/Garrett)
https://www.youtube.com/watch?v=UDZ6Zp_zGzg (Capo 2)(MC3)
TIP: If you want to play/sing this version in the same key as The Beatles’ version above capo the
7th fret and play those chords.
TIP: It’s a little tricky to sing along as Glady’s lead gets stepped on pretty good by the other
Marvelettes. Do your best.
Fun fact: The Marvelettes went to high school just 6 miles from the one I attended.
|C| (Wait!) Whoa yes wait a minute Mister Postman. |Am| (Wait!) Way-hay-hay-ait Mister Postman.
(C) (Hey Mister Postman, look and see.)

Whoa (Am) yeah. (Is there a letter in your bag for me?)
Please please Mister (F) Po-whoa-whoa-ostman, well (G) yeah,
(It’s a letter from this boyfriend of mine.)
(C) There must be some word today-ay, (Am) from my boyfriend so far away.
(F) Please Mister Postman look and see, (G) is there a letter, a letter for me?
(C) I've been standin' here waitin' Mister Postman, (Am) so-whoa so patiently,
(F) For just a card, or just a letter, (G) sayin' he's returnin' home to me.
Please Mister (C) Postman (Mister Postman look and see), ohhhh (Am) yeah-eah.
(Is there a letter in your bag for me?)
Please please Mister (F) Po-whoa-whoa-ostman, well (G) yeah,
(Since I heard from this boyfriend of mine.)
(C) So many days you passed me by-eye, (Am) you saw the tears standin' in my eye.
(F) You wouldn't stop, to make me feel better, (G) by leavin' me a card or a letter.
(C) Please Mister Postman look and see is there a (Am) letter oh yeah, in your bag for me?
You know it’s (F) been so long, yes since I (G) heard from this boyfriend, of mine.
You better (C) wait a minute wait a minute, whoa you better (Am) wait a minute.
Please, please Mister (F) Postman (wait a minute Mister Postman),
Please (G) check and see just one more time for me.
You better (C) wait wait a minute. Oh you better (Am) wait a minute wait a minute.
Please Mister (F) Po-ostman, don’t (G) pass me by you see the tears in my eyes.
You better (C) wait, (wait) wait a minute. Wait a minute (Am) wait a minute wait a minute.
Please Mister (F) Po-ostman, de (G) liver this letter, the sooner the better. |C|
(The Marvelettes) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE PONY MAN
Gordon Lightfoot
https://www.youtube.com/watch?v=YUHl9YktTHE (Capo 0)(MC0/4)
[Presented afterwards in (G) with capo 2, mainly for fingerpicking.]
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).
Going from (A) to (D4) may be a tad tricky. Simply play (D) and add your pinky to the bottom
string/3rd fret. The (E)(Esus)(E) trill is easier; just play (E) and add your pinky under your ring
finger on the third string/2nd fret while keeping your index finger where it is. Remove the pinky
to get back to (E). You can skip both the (D4) and (Esus) altogether and just play (D) and (E) if
you want.
INTRO: (A)(A)...(A)(A)...
When it's midnight on the meadow and the (D4) cats are (D) in the (A) shed.
And the river tells a (D) story at the (E) window by (Esus) my (E) bed.
If you (A) listen very closely be as (D4) quiet (D) as you (A) can.
In the yard you'll (D) hear him it (E) is the Pony (A) Man.
We're always there to greet him when he (D4) tumbles (D) into (A) town.
He leads a string of (D) ponies some are (E) white and some (Esus) are (E) brown.
And they (A) never seem to kick or bite, they (D4) only (D) want to (A) play.
They live on candy (D) apples in (E) stead of oats and (A) hay.
And when we are assembled he (D4) gives a (D) soft com (A) mand.
And we climb aboard our (D) ponies as (E) in a row (Esus) they (E) stand.
Then (A) down the road we gallop and a (D4) cross the (D) field we (A) fly.
And soon we all go (D) sailing off in (E) to the midnight (A) sky.
(A)(D)(A), (A)(D)(E)(A)
And as we gaily rock along be (D4) side a (D) ripplin' (A) sea.
There's Tom and Dick and (D) Sally and (E) Mary Jo (Esus) and (E) me.
The (A) Pony Man is leading 'cause he's (D4) traveled (D) here be (A) fore.
And he gives a whoop and a (D) holler at (E) Mister Moon's front (A) door.
And then we stop to rest awhile where the (D4) Soda (D) River (A) glides.
Up to the slip comes a (D) pirate ship to (E) take us for (Esus) a (E) ride.
And the (A) Pony Man's the captain and the (D4) children (D) are the (A) crew.
And we go in search of (D) treasure and (E) laugh the whole night (A) through.
And when the hold is filled with gold and the (D4) sails be (D) gin to (A) strain.
And the deck's piled high with (D) apple pie we (E) head for port (Esus) a (E) gain.
Then (A) down the whirling stair case so (D4) swift our (D) ponies (A) fly.
And we're safely in our (D) beds again when the (E) sunbeams kiss the (A) sky.
(A)(D)(A), (A)(D)(E)(A)
When it's midnight on the meadow and the (D4) cats are (D) in the (A) shed.
And the river tells a (D) story at the (E) window by (Esus) my (E) bed.
If you (A) listen very closely be as (D4) quiet (D) as you (A) can.
In the yard you'll (D) hear him it (E) is the Pony (A) Man. <a>
(Gordon Lightfoot) (Kid Friendly) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
THE PONY MAN
Gordon Lightfoot
https://www.youtube.com/watch?v=YUHl9YktTHE (Capo 2)(MC0)
TIP: In the intro aim for the 2nd string on the first (G) and the 3rd string for the second (G).
TIP: The <lift> you see while playing the (D) means to lift off the index finger at that position
and then replace it at the next (D). Easy.
INTRO: (G)(G)...(G)(G)...
When it's midnight on the meadow and the (F) cats are (C) in the (G) shed.
And the river tells a (C) story at the (D) window by <lift> my (D) bed.
If you (G) listen very closely be as (F) quiet (C) as you (G) can.
In the yard you'll (C) hear him it (D) is the Pony (G) Man.
We're always there to greet him when he (F) tumbles (C) into (G) town.
He leads a string of (C) ponies some are (D) white and some <lift> are (D) brown.
And they (G) never seem to kick or bite, they (F) only (C) want to (G) play.
They live on candy (C) apples in (D) stead of oats and (G) hay.
And when we are assembled he (F) gives a (C) soft com (G) mand.
And we climb aboard our (C) ponies as (D) in a row <lift> they (D) stand.
Then (G) down the road we gallop and a (F) cross the (C) field we (G) fly.
And soon we all go (C) sailing off in (D) to the midnight (G) sky.
(G)(C)(G), (G)(C)(D)(G)
And as we gaily rock along be (F) side a (C) ripplin' (G) sea.
There's Tom and Dick and (C) Sally and (D) Mary Jo <lift> and (D) me.
The (G) Pony Man is leading 'cause he's (F) traveled (C) here be (G) fore.
And he gives a whoop and a (C) holler at (D) Mister Moon's front (G) door.
And then we stop to rest a while where the (F) Soda (C) River (G) glides.
Up to the slip comes a (C) pirate ship to (D) take us for <lift> a (D) ride.
And the (G) Pony Man's the captain and the (F) children (C) are the (G) crew.
And we go in search of (C) treasure and (D) laugh the whole night (G) through.
And when the hold is filled with gold and the (F) sails be (C) gin to (G) strain.
And the deck's piled high with (C) apple pie we (D) head for port <lift> a (D) gain.
Then (G) down the whirling stair case so (F) swift our (C) ponies (G) fly.
And we're safely in our (C) beds again when the (D) sunbeams kiss the (G) sky.
(G)(C)(G), (G)(C)(D)(G)
When it's midnight on the meadow and the (F) cats are (C) in the (G) shed.
And the river tells a (C) story at the (D) window by <lift> my (D) bed.
If you (G) listen very closely be as (F) quiet (C) as you (G) can.
In the yard you'll (C) hear him it (D) is the Pony (G) Man. <g>
PROUD MARY - Creedence Clearwater Revival
(Fogerty)
https://www.youtube.com/watch?v=XfyEpmQM7bw (Capo 0)(MC1)
TIP: In the intro and in various places 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 the chords in |brackets| just once.
TIP: You’ll see some words in (parenthesis). Fogerty wanted to tickle the <e> note so when you
come to this word, lift on the bottom string of the (D) to play the (word) and then replace it
again immediately following the (word). This is the (Dsus2) chord but I didn’t want to put it in
and then out again on either side of the word. After the chorus there's the same pattern and the
(Dsus2) is included there. Again, it's bottom finger off and on.
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 (sleep) in,' worryin' 'bout the (way) things (might) have been.
(A) Big wheel keep on turnin'. (Bm) Proud Mary keep on burnin'.
(D) Rollin', rollin', rollin' (on) the (riv) er. |D|-|D|-|Dsus2|-|D|-|Dsus2|-(D)
Cleaned a lot of plates (in) Memphis. Pumped a lot of (‘tane) down in (New) Orleans.
But I never (saw) the good side of a (ci) ty, 'til I hitched a (ride) on the (river) boat queen.
(C)(A), (C)(A), (C)|A|-|G|,|F|-|F|-|F|-|NC|-|F|-(D); (D)(D)(D)(D)(A)(A)(Bm)(Bm)

(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 (wor) ry, 'cause you have no (mon) ey.
People on the (riv) er are (hap) py to give.
(D) Rollin', rollin', rollin' (on) the (riv) er. (D)(Dsus2)(D)(Dsus2)(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)(MC1)
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) As I write this (D) letter, (G) send my love to (D) you.
Re (G) member that I'll (D) always, be in (A) love with (D) you.
Treasure these few (Em) words 'till we're to (D) gether. Keep (A) all my love for (Bm) ever.
(A) P.S., I love (Bb) you. You (C) you (D) you.
I'll be coming (Em) home again to (D) you love. And (A) 'till the day I (Bm) do love.
(G) As I write this (D) letter, (G) send my love to (D) you.
Re (G) member that I'll (D) always, be in (A) love with (D) you.
Treasure these few (Em) words 'till we're to (D) gether. Keep (A) all my love for (Bm) ever.
(G) As I write this (D) letter, (ohhh-oh), (G) send my love to (D) you (you know I want you to)
Re (G) member that I'll (D) always, (yeah), be in (A) love with (D) you.
I'll be coming (Em) home again to (D) you love. And (A) 'till the day I (Bm) do love.
(A) P.S., I love (Bb) you. You (C) you (D) you. (Bb) You (C) you (D) you.
(C) I (A) love (D) you (D).
PUFF, THE MAGIC DRAGON - Peter, Paul & Mary
(Yarrow/Lipton)
https://www.youtube.com/watch?v=Y7lmAc3LKWM (Capo 2)(MC2)
TIP: Along with Gordon Lightfoot's "Pony Man" this is one of the great children’s songs. The next
to last stanza is played softly denoting Puff’s sadness, while the final stanza is played up-tempo
in recognition that Puff still lives and awaits the next child to love.
TIP: The (CaddG) is optional, and regular (G) can be played instead of the (Gadd). And you can
play a (D) in place of the (Bm) if you'd rather.
INTRO: (G)(Bm)(C)(CaddG)(G),(C)(G)(Em)(C)(D)(G)(D)
(G) Puff the magic (Bm) dragon (C) lived (CaddG) by the (Gadd) sea,
And (C) frolicked in the (G) autumn (Em) mist in a (C) land called Honah (D) Lee.
(G) Little Jackie (Bm) Paper, (C) loved that (CaddG) rascal (Gadd) Puff,
And (C) brought him strings and (G) sealing (Em) wax, and (C) other (D) fancy (G) stuff. (D) Oh,
And (C) frolicked in the (G) autumn (Em) mist in a (C) land called (D) Honah (G) Lee (D).
To (G) gether they would (Bm) travel, on a (C) boat with (CaddG) billowed (Gadd) sail.
(C) Jackie kept a (G) lookout (Em) perched on (C) Puff's gigantic (D) tail.
(G) Noble kings and (Bm) princes would (C) bow when (CaddG) e'er they (Gadd) came.
(C) Pirate ships would (G) lower their (Em) flags when (C) Puff roared (D) out his (G) name.
(D) Oh, (G) Puff the magic (Bm) dragon (C) lived (CaddG) by the (Gadd) sea,
And (C) frolicked in the (G) autumn (Em) mist in a (C) land called (D) Honah (G) Lee (D).
A (G) dragon lives for (Bm) ever but (C) not so (CaddG) little (Gadd) boys.
(C) Painted wings and (G) giants' (Em) rings make (C) way for other (D) toys.
(G) One gray night it (Bm) happened, Jackie (C) Paper (CaddG) came no (Gadd) more,
And (C) Puff that mighty (G) dragon, he (C) ceased his (D) fearless (G) roar (D).
His (G) head was bent in (Bm) sorrow, (C) green scales (CaddG) fell like (Gadd) rain.
(C) Puff no longer (G) went to (Em) play a (C) long the Cherry (D) Lane.
With (G) out his lifelong (Bm) friend, (C) Puff could (CaddG) not be (Gadd) brave.
So (C) Puff that mighty (G) dragon (Em) sadly (C) slipped in (D) to his (G) cave. (D) Oh,
<softly> (G) Puff the magic (Bm) dragon (C) lived (CaddG) by the (Gadd) sea,
<boldly> (G) Puff the magic (Bm) dragon (C) LIVES (CaddG) by the (Gadd) sea,
And (C) frolicks in the (G) autumn (Em) mist in a (C) land, called, (D) Hon, ah (G) Lee (G). |G|
(Peter, Paul & Mary) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE PURPLE PEOPLE EATER
Sheb Wooley
https://www.youtube.com/watch?v=m1th_v9cwRU (Capo 2)(MC1)
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)
Well I (C) saw the thing comin' out of the sky,

It had the (G7) one long horn, (C) one big eye.
I commenced to shakin' and I (F) said "ooh-eee,"
It (G) looks like a purple people (G7) eater to (C) me.
It was a one-eyed one-horned flyin' purple people eater.

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

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

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

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

I (G7) saw him last night on a (C) TV show.
He was blowing it out really (F) knockin' em dead,
Playin' |G7| rock and roll music through the horn in his head. (F)(C), (F)(C)|C| (Tequila)
(Sheb Wooley) (Kid Friendly) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
PUT A LITTLE LOVE IN YOUR HEART – Jackie DeShannon
(Holiday/Myers/DeShannon)
https://www.youtube.com/watch?v=RCXu6LRxzV4 (Capo 0)(MC2)
TIP: The song sharps midway through. To continue singing with the video either capo the 1st fret.
TIP: In the intro, (D6) is just (D) without the ring. If you find it difficult to get a clean
sound try forming up the (D) with the middle and ring fingers in the 2nd fret and your pinky on the
2nd string/3rd fret. For some reason you may get more separation over the B string using the pinky
instead of the ring finger. Hold through the first line of the song and then play (D) normally.
TIP: At the second chorus prior to the key change play (A) with the bottom three fingers, it'll
make the slide up to (Bb) easier.
INTRO: |D|-|D|-|D6|-|D|, |D6|-|D|; |D|-|D|-|D6|-|D|, |D6|-|D|
(D) Think of your fellow man, lend him a helping hand.

(G) Put a little love in your (D) heart.
You see it's getting late, oh please don't hesitate.
And the world, will be a (Em) better (A) place.

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

All the (D) world, will be a (Em) better (A) place,
For you, and me. You just wait, and see. Wait and (Bb) see.
<capo +1>
(D) Take a good look around, and if you're lookin' down.

I hope when you decide, kindness will be your guide.
And the world will be a (Em) better (A) place.

And the (D) world will be a (Em) better (A) place,
For you, and me. You just wait and see, people now.
(G) Put a little love in your (D) heart, each and every day.
(G) Put a little love in your (D) heart, there's no other way.
(G) Put a little love in your (D) heart, it's up to you.
Come on and (G) put a little love in your (D) heart. |D|
(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)
TIP: You only have to play the (E7full), with pinky at 2nd string/3rd fret, in the intro. If you
can cover the 4th string in the (D/A) fine, if not just play (D).
INTRO: (E)(E7); (E7)(E7full)(A)(A)
When I was just a little girl, I asked my mother, what will I (D/A) be?
Will I be pretty, will I be (E) rich? (E7) Here's what she (E) said to (A) me.
Que Se (D) ra, Sera. Whatever will (A) be will be. The future's not (E7) ours to (E) see.
Que Sera, Se (A) ra. (E7) What will (E) be will (A) be.
When I grew up and fell in love. I asked my sweetheart, what lies a (D/A) head?
Will we have rainbows, day after (E) day? (E7) Here's what my (E) sweetheart (A) said.
Que Sera, Se (A) ra. (E7) What will (E) be will (A) be.
Now I have children of my own. They ask their mother, what will I (D/A) be?
Will I be handsome, will I be (E) rich? (E7) I tell them (E) tender (A) ly.
Que Sera, Se (A) ra. (E7) What will (E) be will (A) be. Que Se (E7) ra Ser (A) ra. |A|-|A|
(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)(MC2)
TIP: The (A)(Asus4)(A)(Asus2) permeates the song but is easy to play and is all on/offs. Play (A)
with your middle three fingers, then 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. Note
during the verse the first (A) in the sequence starts with the last word of the line.
INTRO: (A)(Asus4)(A)(Asus2), (A)(Asus4)(A)(Asus2), (A)(Asus4)(A)(Asus2), (A)(Asus4)(A)(Asus2)
I just (A) wanted to tell you what (D) I think a (A) bout you
(Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
And I (A) don't wanna leave out some important (E) part (E).
Cuz (A) you know I love you and I (D) can't live with (A) out you
You (A) know that you are the (E) queen of my (A) heart (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
I've had (A) ladies of passion and (D) women of (A) beauty (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
But (A) you're the only girl I've opened up (E) to (E).
But (A) I closed up tight when you (D) left for a (A) nother (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
And (A) that's the part I've never (E) gotten used (A) to (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
And the (G) Queen's still in England, the (D) King's still in Spain.
(A) My love for you, (E) is still the same.
You (D) know that I want you till (A) death do us (D) part (D).
(A) You know that you are the (E) queen of my (A) heart (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
If (A) you get this letter, please (D) let me know (A) somethin'
(Asus)(A)(Asus2)(A)(Asus)(A)(Asus2).
If (A) you’re comin' back, or is it all (E) through?
Hey (A) just tell me yes or no, (D) don't keep me (A) hangin'
Cause (A) that's the part I could nev (E) er get used (A) to (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
And the (G) Queen is in England, and the (D) King is in Spain.
And (A) all the King's horses, and (E) all the Queen's men,
Could (D) never do one thing to (A) keep us a (D) part (D).
If (A) you'll just come back to me (E) queen of my (A) heart (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2).
I'm (A) telling' you you are the (E) queen of my (A) heart (Asus4)(A)(Asus2)(A)(Asus4)(A)(Asus2)
(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)(MC3)
INTRO: (G)(G)
I remember a country evening, when the (C) sun was goin’ (Am) down.
(D) Sittin' on the front porch, (C) listenin' to the (G) sounds.
While Mama did the dishes, (C) Daddy rolled a (Am) smoke,
From a (D) can of old Prince Albert, his (C) hands as (D) strong as (G) oak (G).
And the (C) sounds of the Grand Old Opry came (G) out of Ryman Hall.
Roy (D) Acuff played the fiddle, and sang (G) “Wabash Cannonball (G).”
(C) Hank Williams whispered, (G) “I Saw the (Em) Light,”
(G) And people everywhere, sat (D) listening in the (G) night (G).
Out in (C) radio land, out in (Em) radio land,

(D) We all closed our (B7) eyes, (Em) listen to the ba-(G)-and.
Out in (C) radio land, out in (G) radio land,
(Em) We all dreamed of (D) radio (G) land (G).
Then Wolfman Jack came a’ howlin,' from a (C) cross the Rio (Am) Grande.
(D) Layin' down the sounds that all the (C) kids could under (G) stand.
Mama and Daddy was sleepin', but the (C) kids were wide a (Am) wake,
(D) Listenin' to Bill Haley, (C) rattle (D) roll and (G) shake.
Ol' (C) Jerry Lee banged on the keys and (G) screamed, “Great Balls of Fire!”
(D) Elvis crooned out (D7) “Don't Be Cruel” the (G) girls swooned with desire.
(D) We all closed our (B7) eyes, (Em) listen to the ba-(G)-and.
(Em) We all dreamed of (D) radio (G) land (G).
I remember summer evenings, (C) late night rock and (Am) roll.
(D) Miles and miles of highway, with (C) just my radi (G) o.
I re (C) member a night when it felt so right, a (G) lover's moon a (Em) bove.
And the (G) songs that they were playin', the (D) night we fell in |G| love.
(NC) Out in (C) radio land, out in (Em) radio land,

(D) We both closed our (B7) eyes, (Em) listen to the ba-(G)-and.
We (Em) fell in love in (D) radio (G) land.

(D) We still close our (B7) eyes, (Em) listen to the ba-(G)-and.
(Em) We still dream of (D) radio (G) land |G|.
(Michael Martin Murphy) (Artist Index) - (Main Index) - (Song Index) (This Song)
RAINBOW STEW
Merle Haggard
https://www.youtube.com/watch?v=yRDOrCFIY4c (Capo 0)(MC0)
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)
There's a big brown cloud in the city, and the (D) countryside’s a (A) sin.
And the (D) price of life is too (A) high to give up; gotta come down a (E) gain.
When the (A) world wide war is (E7) over and (A) done and the dream of peace comes (D) true,
We'll all be drinkin' (A) free bubble-up, (E) eatin' that rainbow (A) stew.
When they find out how to burn water, and the (D) gasoline car is (A) gone.
When an (D) airplane flies with (A) out any fuel and the sunlight heats our (E) home.
(A) One of these days when the (E7) air clears (A) up and the sun comes shinin' (D) through.
We'll all be drinkin' (A) free bubble-up, and (E) eatin' that rainbow (A) stew.
Eatin' rainbow stew in a silver spoon under (D) neath that sky of (A) blue.
(D) All be drinkin' (A) free bubble-up and (E7) eatin' that rainbow (A) stew.
(A)(A)(D)(A)(D)(A)(A)(E7)(A)(E7)(A)(A)(D)(D)(A)(E7)(A)(A)
You don't have to get high to get happy. Just (D) think about what's in (A) store.
When (D) people start doin' what they (A) oughta be doin' then they won't be booin' no (E) more.
When a (A) President goes through the (E) White House (A) door and does what he says he'll (D) do,
We'll all be drinkin' (A) free bubble-up, (E) eatin' that rainbow (A) stew.
(D) All be drinkin' that (A) free bubble-up, (E7) eatin' some rainbow (A) stew.
(D) All be drinkin' that (A) free bubble-up, (E7) eatin' some rainbow (A) stew (A)(D)(D)(A).
RAINY DAY PEOPLE
Gordon Lightfoot
https://www.youtube.com/watch?v=JnmFPFQd9CI (Capo 4)(MC3/4)
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-(C),(D)-(G)
Rainy day people always seem to know when it's (Am) time to call.
(C) Rainy day people don't (D) talk they just listen till they've (G) heard it all.
(C) Rainy day lovers don't (D) lie when they tell 'ya, (C) they've been down like (G) you.
(C) Rainy day people don't (D) mind if you're cryin' a (C) tear or (G) two (G)(D)(G).
If you get lonely, all you really need is that (Am) rainy day love.
(C) Rainy day people all (D) know there's no sorrow they can't (G) rise above.
(C) Rainy day lovers don't (D) love any others, (C) that would not be (G) kind.
(C) Rainy day people all (D) know how it hangs on a (C) piece of (G) mind.
(G)(G)(Am), (C)(D)(G)
(C) Rainy day lovers don't (D) lie when they tell 'ya, (C) they've been down there (G) too.
(C) Rainy day people don't (D) mind if you're cry a (C) tear or (G) two (G)(D)(G)(G)(D)(G).
Rainy day people always seem to know when you're (Am) feelin' blue (Am).
(C) High stepping strutters who (D) land in the gutters sometimes (G) need one too.
(C) Take it or leave it, or (D) try to believe it. (C) If you've been down too (G) long.
(C) Rainy day lovers don't (D) hide love inside they just (C) pass it (G) on (G)(D)(G).
(C) Rainy day lovers don't (D) hide love inside they just (C) pass it (G) on. |G|-|G|-|D|-|G|
RAVE ON – Buddy Holly
(West/Tilghman/Petty)
https://www.youtube.com/watch?v=0IUV-QxwlRM (Capo 0)(MC0)
TIP: This is a fun little 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 .
(NC) A we-eh-heh-eh-ell the (Gadd) little things you (G) say and do,
(Gadd) Make me want to-oo (G) be with you-a-hoo.
(C) Rave on it's a crazy feelin' and, (G) I know it's got (Gadd) me (G) reelin' when (D) you say,
I love you-oo-hoo (G) rave (C) on (G)(D).
The (Gadd) way you dance a-and (G) hold me tight.

The (Gadd) way you kiss and (G) say goodni-hi-hight.
(C) Rave on it's a ca-razy feelin' and a, (G) I know it's got me reelin' when (D) you say,
I love you-oo-hoo (G) rave (C) on (G)(D).
A-well (C) rave on a-it's a crazy feelin' and (G) I know it's got (Gadd) me (G) reelin' I'm
(D) so, glad, that you're revealin' your (G) love (D) for (G) me.
(C) Rave on, rave on and tell me. (G) Tell me, not to (Gadd) be (G) lonely.
(D) Tell me, you love me only. (G) Rave (C) on to (G) me.
(C)(C)(G)(G)(D)(D)(G)(G)
Oh well-a (C) rave on a-it's a crazy feelin' and (G) I know it's got (Gadd) me (G) reelin' I'm
(D) so glad, that you're revealin' your (G) love (D) for (G) me.
(C) Rave on, rave on and tell me. (G) Tell me, not to (Gadd) be (G) lonely.
(D) Tell me, you love me only. (G) Rave (C) on to (G) me. (G)
(G) Ah (C) ha (G) ha (G). (G) Ah (C) ha (G) ha (G). (G) Ah (C) ha |G| ha.
REAL MEAN BOTTLE – Bob Seger & Kid Rock/Vince Gill
(Gill)
https://www.youtube.com/watch?v=vJ6uGf3HD3o (Seger)(Capo 2)(MC5)
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)
No man ever (A) sounded so (D) lonesome (D).

No (G) man ever made you feel such (D) pain (D).
(G) Lorrrrd it must have been a real mean (D) bottle (D),
That made, you (A) sing, that (D) way (D).
The stories you (A) told about (D) prison (D),

'Bout a (G) younnnng man gonnne a (D) stray (D).
(G) Lorrrd it must have been a real mean (D) bottle (D),
That maaade you (A) write the songs that (D) way (D).
(G) A real mean bottle poured (D) straight from the devil.
It's a miracle you're standin' here to (A) day (A).
(G) A real mean bottle made (D) youuu such a rebel.
<Seger> It (C) must have been a real mean (G) bottle made you sing that (D) way (D).
<Gill> It must have been a real mean (A) bottle made you sing that (D) way (D).
<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)
You spent most (A) all your life with (D) strangers (D),
With a (G) rammmmblin' fever in your (D) veins (D).
(G) Haaaag it must have been a real mean (D) bottle (D),
That maaaade you (A) write the songs (blues) that (D) way (D).
It's a miracle we’re (you're) standin' here to (A) day (A).
(G) A real mean bottle made (D) youuu such a rebel.
<Seger> It (C) must have been a real mean (G) bottle made you sing that (D) way (D).
<Gill> It must have been a real mean (A) bottle made you sing that (D) way (D).
<Seger>
(C) Must have been a real mean (G) bottle made you sing that (D) way (D).
It (C) must have been a real mean (G) bottle made you sing that (D) way (D). Hey hey. (D). . . |D|
<Gill>
It must have been a real mean (A) bottle made you sing that (D) way, (D), |D|-|D|.
(Bob Seger) (Kid Rock) (Vince Gill) (Artist Index)

(Main Index) - (Song Index) (This Song - Seger) (This Song - Gill)
REBEL REBEL
David Bowie
https://www.youtube.com/watch?v=Vy-rvsHsi1o (Capo 0)(MC0)
TIP: (Dsus2) is just (D) without the bottom finger. I find using the middle finger on the 3rd
string and ring finger on the 2nd string to be most comfortable when moving back and forth to the
(E). Just have to get in the back and forth rhythm.
TIP: Because of the rhythm of the song the change from (E) to (Dsus2) comes at end of the line
prior to the first word of the next line, even between verse and chorus. You’ll pick up the
cadence immediately.
TIP: The (Bm) is only played prior to entering the chorus and follows a (D) so you really don’t
have to come off the (D) and can just add your pinky to the 4th string/3rd fret.
INTRO: (Dsus2)(E), (Dsus2)(E), (Dsus2)(E), (Dsus2)(E), (Dsus2)

Doo doo doo (E) doo doo doo doo doo (Dsus2)(E), (Dsus2)
Doo doo doo (E) doo doo doo doo doo (Dsus2)(E), (Dsus2)
You've got your mother (E) in a whirl (Dsus2),

She's not sure if you're a (E) boy or a girl (Dsus2).
Hey babe, your (E) hair's alright (Dsus2). Hey babe, let's (E) go out tonight (Dsus2).
You like me and I (E) like it all (Dsus2). We like dancing and we (E) look divine (Dsus2).
You love bands when they're (E) playing hard (Dsus2). You want more and you (E) want it fast (A).
They put you down, they (D) say I'm wrong (Bm), you tacky thing, you (E) put them on (D).
Rebel rebel, you've (E) torn your dress (D). Rebel rebel, your (E) face is a mess (D).
Rebel rebel, how (E) could they know? |D| Hot tramp, I |E| love you so.
(Dsus2)(E), (Don't you?) (Dsus2)(E), (Dsus2)
Doo doo doo (E) doo doo doo doo doo. (Dsus2)(E), (Dsus2)
You've got your mother (E) in a whirl cuz she’s
(Dsus2) Not sure if you're a (E) boy or a girl (Dsus2).
Hey babe, your (E) hair's alright (Dsus2). Hey babe let's (E) stay out tonight (Dsus2).
You like me and I (E) like it all (Dsus2). We like dancing and we (E) look divine (Dsus2).
You love bands when they're (E) playing hard (Dsus2). You want more and you (E) want it fast (A).
They put you down, they (D) say I'm wrong (Bm), you tacky thing, you (E) put them on (D).
(Dsus2)(E), (Don't you?) (Dsus2)(E), (Dsus2)
Doo doo doo (E) doo doo doo doo doo. (Dsus2)
Doo doo doo (E) doo doo doo doo doo. (D)
(Dsus2)(E), (Dsus2)(E)
You've (Dsus2) torn your dress, your (E) face is a mess.

You (Dsus2) can't get enough, but e (E) nough ain't the test you've got your,
(Dsus2) Transmission and your (E) live wire you got your,
(Dsus2) Cue line and a (E) handful of ludes you wanna,
(Dsus2) Be there when they (E) count up the dudes.
And I (Dsus2) love your dress (E). You're a (Dsus2) juvenile success (E).
Because your (Dsus2) face is a mess (E). So (Dsus2) how could they know (E)?
I said (Dsus2) how could they know (E)?
So what you (Dsus2) wanna know, ca (E) lamity’s child chi-chi,

(Dsus2) Chi-chi where'd you wanna (E) go?
What can I (Dsus2) do for you looks like you've (E) been there too,
Because you've (Dsus2) torn your dress (E). And your (Dsus2) face is a mess (E).
Ooh, your (Dsus2) face is a mess (E). Ooh ooh so (Dsus2) how could they know (E)?
(Dsus2) How could they know (E)? (Dsus2)(E)|D|
(David Bowie) (Artist Index) - (Main Index) - (Song Index) (This Song)
RED RIVER VALLEY – Traditional/Michael Martin Murphey
(Kerrigan)
https://www.youtube.com/watch?v=z1-QLr6aBaw (Capo 2)(MC1)
[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
TIP: The opening is a harmonica playing the melody of the first three lines of the verse. You can
play the chords but it'll sound sweeter if you can pick out the notes on the high register (bottom
3 strings - largely from within the (D)) through "sunshine" and then finish with chord strums of
the final sequence beginning with (G).
INTRO: <slowly> (D)(A)(D),(D)(A7),(D)(D7)(G); <normal pace> (G)(A7)(A)(D)(D)-(A)-(D)
From this valley they say (A) you are (D) going.
I will miss your bright eyes and sweet (A7) smile.
They (D) say you are (D7) taking the sun (G) shine.
That has (A) brightened our (A7) pathway a (D) while.
Come and sit by my side (A) if you (D) love me.

Do not hasten to bid me a (A7) dieu.
But re (D) member the (D7) Red River (G) Valley,
And the (A) cowboy that (A7) loves you so (D) true.
(D)(D)(A7)(D); (D)(D)(A7); (D)(D7)(G); (G)(A7)(A7)(D)(D)-(A)-(D)
I’ve been thinking a long (A) time my (D) darling.

Of those sweet words you never would (A7) say.
Now a (D) las, all my (D7) fond hopes have (G) vanished,
For they (A7) say you are (A) going a (D) way (D)-(A)-(D).
But re (D) member the (D7) Red River (G) Valley,
And the (A) cowboy who (A7) loves you so (D) true.
(D)(A7)(A7)(D)(D)-(A)-(D), |D||D| <end Michael Martin Murphey version>
<additional traditional verse>
Do you think of the val-(A)-ley you’re (D) leaving,

And how lonely and dreary it will (A7) be?
Do you (D) think of the (D7) kind hearts you’re break (G) ing,
And the (A7) pain you are (A) causing to (D) me (D)-(A)-(D)?

But re (D) member the (D7) Red River Vall (G) ey,
And the (A) cowboy that (A7) loved you so (D) true.
(D)(A7)(A7)(D)(D)-(A)-(D), |D||D|
(Traditional) (Michael Martin Murphy) (Artist Index) - (Main Index) - (Song Index) (This Song)
RED RIVER VALLEY – Traditional
(Kerrigan)
(MC3)
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. You can play the chords but it'll sound sweeter if
you can pick out the notes on the middle register (strings 5, 4, and 3 - largely from within the
(G)) through "sunshine" and then finish with chord strums of the final sequence beginning with (C).
INTRO: <slowly> (G)(D)(G),(G)(D7),(G)(G7)(C); <normal pace> (C)(D7)(D)(G)(G)-(D)-(G)
From this valley they say (D) you are (G) going.
I will miss your bright eyes and sweet (D7) smile.
They (G) say you are (G7) taking the sun (C) shine.
That has (D) brightened our (D7) pathway a (G) while.
Come and sit by my side (D) if you (G) love me.

Do not hasten to bid me a (D7) dieu.
But re (G) member the (G7) Red River (C) Valley,
And the (D) cowboy that (D7) loves you so (G) true.
(G)(G)(D7)(G); (G)(G)(D7); (G)(G7)(C); (C)(D7)(D7)(G)(G)-(D)-(G)
I’ve been thinking a long (D) time my (G) darling.

Of those sweet words you never would (D7) say.
Now a (G) las, all my (G7) fond hopes have (C) vanished,
For they (D7) say you are (D) going a (G) way (G)-(D)-(G).
Come and sit by my side (D) if you (G) love me.

But re (G) member the (G7) Red River (C) Valley,
And the (D) cowboy who (D7) loves you so (G) true.
Do you think of the val-(D)-ley you’re (G) leaving,
And how lonely and dreary it will (D7) be?
Do you (G) think of the (G7) kind hearts you’re break (C) ing,
And the (D7) pain you are (D) causing to (G) me (G)-(D)-(G)?
Come and sit by my (D) side if you (G) love me.

But re (G) member the (G7) Red River Vall (C) ey,
And the (D) cowboy that (D7) loved you so (G) true.
(G)(D7)(D7)(G)(G)-(D)-(G), |G||G|

REMEMBER WHEN
Alan Jackson
https://www.youtube.com/watch?v=TTA2buWlNyM (Capo 0)(MC0)
TIP: For the mandolin opening in the intro begin by forming (D) but add your pinky to the bottom
string of the 3rd fret so you get that strange looking diagram of the first (D4). Now pick the
covered bottom string <g>, lift off the pinky and pick the still covered bottom string <f#> and
strum (G). This may seem counterintuitive but if you do it this way you'll be set up for the
second time around in which it comes off a (D). And later in the song there's a (D)(D4)(D) voicing
after the verse.
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) palyed 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><f#>-(G), (Em), (CaddG)(C)-(D); <g><f#>-(G), (Em), (CaddG)(C)-(D), (D)-(C)-(D)
(NC) Remember (G) when (Em), I was (C) young, and so were (D) you.
And ti-ime stood (G) still (Em), and (C) love was all we (D) knew.
You were the (G) first, so was (Em) I. We made (C) love and then you (D) cried.
Remember (G) when. (Em)(C)(D)(D4)|D|
Remember (G) when (Em), we vowed the (C) vows and walked the (D) walk.
We ga-ave our (G) hearts (Em), made the (C) start, and it was (D) hard.
We lived and (G) learned, life threw (Em) curves. There was (C) joy, there was (D) hurt.
Remember (G) when. (Em)(C)(D)(D4)|D|
Remember (G) when (Em), old ones (C) died, and new were (D) born.
Life was (G) changed (Em), disa (C) ssembled, rea (D) rranged.
We came to (G) gether, fell a (Em) part, and (C) broke each other's (D) hearts.
Remember (G) when.
(C)(G),(Am)-(G)-(C), (C)(Am),(F)(G)(C),(Am)(F)(G)(C)(Am)(F)(G)(C)(C)(Esus)(Esus)|E|
<key shift>
Remember (A) when (F#m), the (D) sound of little (E) feet,
Was the (A) music (F#m), we (D) danced to week to (E) week.
Brought back the (A) love, we found (F#m) trust. Vowed we'd (D) never give it (E) up.
Remember (A) when. (F#m)(D)(E)
Remember (A) when (F#m), (D) thirty seemed so (E) old.

Nowww lookin' (A) back (F#m), it's (D) just a steppin' (E) stone.
To where we (A) are, where we've (F#m) been, said we'd (D) do it all a (E) gain.
Remember (A) when. (F#m)(D)(E)|E|
(NC) Remember (A) when (F#m), we (D) said when we turned (E) gray.
When the (A) children (F#m), grow (D) up and move a (E) way.
We won't be (A) sad, we'll be (F#m) glad, for (D) all the life we've (E) had (E)|E|.
(NC) And we'll remember (A) when. (F#m)(D)(E)
Remember (A) when. (F#m)(D)(E) Re |E| member |A| when.
RETURN TO SENDER - Elvis Presley
(Scott/Blackwell)
https://www.youtube.com/watch?v=LZmUfUBqE-s (Capo 3)(MC3)
(C) Return to (Am) sender. (F) Return to (G) sender.
(C) I gave a letter to the (Am) postman. (Dm) He put it in his (G) sack.
(C) Bright and early next (Am) mornin', he (Dm) brought my (G) letter |C| back.
(NC) (She wrote upon it.)
(F) Return to (G) sender. (F) Address un (G) known.

(F) No such (G) number. (C) No such zone.
(F) We had a (G) quarrel, (F) a lover's (G) spat.
(D) I write I'm (D7) sorry but my letter keeps coming (G) back.
(C) So then I dropped it in the (Am) mailbox, (Dm) and sent it Special (G) D.
(C) Bright and early next (Am) morning, it (Dm) came right (G) back to |C| me.
(NC) (She wrote upon it.)

(F) No such (G) person. (C) No such zone.
(F) This time I'm gonna take it myself, and (C) put it right in her hand.
And (D7) if it comes back, the very next day, |G| then I'll understand.
(G) (The writing on it.)

(F) No such (G) number. (C) No such (C7) zone.
Ahh (F) return to (G) sender. (F) Return to (G) sender.
(F) Return to (G) sender. (F) Return to (G) sender. |C|
RHYMES AND REASONS
John Denver
https://www.youtube.com/watch?v=bqhH-hhW8i0 (Capo 5)(MC5)
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)
So you speak to me of (G) sadness, and the (F) coming of the (C) winter.
(Am) Fear that is with (Em) in you now it (F) seems to never (G) end.
And the (C) dreams that have es (G) caped you, and a (F) hope that you've for (C) gotten.
You (Am) tell me that you (C) need me now. You (G) want to be my friend.
And you (F) wonder where we're going where's the (C) rhyme, where's the (G) reason?
And it's (Am) you cannot ac (C) cept, it is (G) here we must begin to seek the (Dm) wisdom of the
children (Dm)(Dm). And the (C) graceful way of (F) flowers in the (G) wind.
For the (C) children and the (G) flowers are my (F) sisters and my (C) brothers.
Their (Am) laughter and their (Em) loveliness could (F) clear a cloudy (G) day.
Like the (C) music of the (G) mountains, and the (F) colors of the (C) rainbow.
They're a (Am) promise of the (C) future, and a (G) blessing for to (C) day. (C)(Dm)(Dm)(G)(G)
Though the (C) cities start to (G) crumble, and the (F) towers fall a (C) round us.
The (Am) sun is slowly (Em) fading, and it's (F) colder than the (G) sea.
It is (C) written 'From the (G) desert, to the (F) mountains they shall (C) lead us.'
By the (Am) hand and by the (C) heart, they will (G) comfort you and me.
In their (F) innocence and trusting they will (C) teach us to be (G) free.
For the (C) children and the (G) flowers are my (F) sisters and my (C) brothers.
Their (Am) laughter and their (Em) loveliness could (F) clear a cloudy (G) day.
And the (C) song that <up!> I am (F) singing is a (G) prayer to nonbe (C) lievers.
(Am) Come and stand be (C) side us, we can (G) find a better (F) way (F)(C)(C)(G)(G)(G)(G)|C|.
RIDGE ROAD GRAVEL – Norman Blake and Tony Rice
(Blake)
https://www.youtube.com/watch?v=HXqpUT55KdU (Capo 2)(MC2)
[There’s also a version in (G) afterwards.]
INTRO: (C)(F)(C)(G), (C)(F)(C)-(G)-(C)(C)
Sittin’ on the (F) river bank (C) nothin’ comin’ (G) down.
I (C) don't know why I (F) don't move on (C) out of (G) this ol' (C) town (C).
Snow's a falling (F) in the street the (C) winter's settin’ (G) in.
The (C) years of changes (F) say to me “You (C) can't go (G) home a (C) gain (C).
So (G) sing me a song that's (Am) not too long and (Em) take me home to (G) night.
Til a (C) round the (G) bend I (C) see a (F) gain
The (C) Ridge Road gravel and the (G) coal oil (C) light (C).
(C)(F)(C)(G), (C)(F)(C)-(G)-(C)(C); (C)(F)(C)(G), (C)(F)(C)-(G)-(C)(C)
I heard it on my (F) radio (C) bad times all a (G) round.

(C) Tell me something (F) I don't know. A (C) change could (G) help out (C) now (C).
Looking for a (F) good-time gal (C) searchin’ for a (G) friend.
(C) Mourning for those (F) good ol' days they (C) never (G) thought would (C) end (C).
(C)(F)(C)(G), (C)(F)(C)-(G)-(C)(C); (C)(F)(C)(G), (C)(F)(C)-(G)-(C)(C)

Til around the (G) bend I (C) see a (F) gain

The (C) Ridge Road gravel and the (G) coal oil |C| light.
(Norman Blake) (Tony Rice) (Artist Index) - (Main Index) - (Song Index) (This Song)
RIDGE ROAD GRAVEL – Norman Blake and Tony Rice
(Blake)
https://www.youtube.com/watch?v=HXqpUT55KdU (Capo 7)(MC4)
TIP: While it’s a little uncomfortable capo’d up that high, especially with the (Bm), it only
comes around once in the chorus and it’s kind of fun to have one player play the version in (C)
above and another this version here. Both will be in the same key an octave apart.
INTRO: (G)(C)(G)(D), (G)(C)(G)-(D)-(G)(G)
Sittin’ on the (C) river bank (G) nothin’ comin’ (D) down.
I (G) don't know why I (C) don't move on (G) out of (D) this ol' (G) town (G).
Snow's a falling (C) in the street the (G) winter's settin’ (D) in.
The (G) years of changes (C) say to me “You (G) can't go (D) home a (G) gain (G).
So (D) sing me a song that's (Em) not too long and (Bm) take me home to (D) night.
Til a (G) round the (D) bend I (G) see a (C) gain
The (G) Ridge Road gravel and the (D) coal oil (G) light (G).
(G)(C)(G)(D), (G)(C)(G)-(D)-(G)(G); (G)(C)(G)(D), (G)(C)(G)-(D)-(G)(G)
I heard it on my (C) radio (G) bad times all a (D) round.

(G) Tell me something (C) I don't know. A (G) change could (D) help out (G) now (G).
Looking for a (C) good-time gal (G) searchin’ for a (D) friend.
(G) Mourning for those (C) good ol' days they (G) never (D) thought would (G) end (G).
(G)(C)(G)(D), (G)(C)(G)-(D)-(G)(G); (G)(C)(G)(D), (G)(C)(G)-(D)-(G)(G)

Til around the (D) bend I (G) see a (C) gain

The (G) Ridge Road gravel and the (D) coal oil |G| light.
(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)(MC3)
TIP: You can substitute a regular (D) wherever you run across a (D/A) but (D/A) is just a (D) with
the pinky on the 4th string/4th fret. And when the (D/A) comes at the end of a line you have time
to play the (D) and then add the pinky.
TIP: When playing the (Am7) just lift off the ring finger from the preceding (C) and then hop down
to the (Am).
TIP: 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) Saturday summers when (Em) I was a (G) kid,

We'd (C) run to the (Am7) school yard and (Am) here's what we (D) did.
We'd (C) pick out the (D) captains, and we'd (C) choose up the (D) teams.
It was (G) always a (Em) measure of (Gadd) my self es (Em) teem.
Cuz the (C) fastest, the (Am) strongest played (C) shortstop and (Am) first.
The (C) last ones they (Am) picked, were the worst.
(F) I never needed to ask, it was sealed, I just (Dm7) took up my place, in right (D/A) field.
Playing (G) right (Em) field, it's easy you (Gadd) know.
(C) You can be (Am) awkward, You can be (D) slow
That's why (C) I'm here in (D) right field just (C) watching the (D) dandelions (G) grow (C)(G).
Playing right field, can be (Em) lonely and (G) dull.

(C) Little leagues (Am7) never, have (Am) lefties that (D) pull.
I (C) dream of the (D) day, when they (C) hit one my (D) way.
(G) They never (Em) did, but (Gadd) still I would (Em) pray,
That (C) I'd make a (Am) fantastic (C) catch on the (Am) run,
And (C) not lose the (Am) ball in the (D7) sun.
And (F) then I'd awake, from this long reverie,
And (Dm7) pray that the ball, never came out to me here in
(G) Right field, it's (Em) easy you (Gadd) know.

(C) You can be (Am) awkward, you can be (D) slow
That's why (C) I'm here in (D) right field
Just (C) watching the (D) dandelions (G) grow-(C)-ow-(G)-ow.
<whistle "take me out to the ballgame"> : (G)(D)-(G)(D)-(G)(C)(D)(C)(D)(Am)(D)(D) <puzzled look -

pause>
(G) Off in the distance, the (Em) game's dragging (G) on.
There's (C) strikes on the (Am7) batter, some (Am) runners are (D) on.
I (C) don't know the (D) inning, I've for (C) gotten the (D) score.
The (G) whole team is (Em) yelling, and I (Gadd) don't know what (Em) for.
Then (C) suddenly (Am) everyone's (C) looking at (Am) me.
My (C) mind has been (Am) wandering what could it (D) be?
They (F) point to the sky and I look up above
And the |Dm7| base |Dm7| ball |Dm7| falls |Dm7| in |Dm7| to |Dm7| my |D/A| glove.
|D/A| Here |D7| in (G) right field, it's im (Em) portant you (G) know.
You gotta (C) know how to (Am) catch, you gotta know how to (D) throw.
That's why (C) I'm here in (D) right field just (C) watching the (D) dandelions
(G) grow (C)-ow (G)-ow.
RING OF FIRE – Johnny Cash
(Carter/Kilgore)
https://www.youtube.com/watch?v=mIBTg7q9oNc (Capo 0)(MC1)
TIP: The intro is open 3rd string <g>, open 2nd string , and 2nd string/1st fret note <c>.
INTRO: <g><c> (G)(C)(G); (G)(C)-(D)-(G)
Love, is a (C) burning (G) thing, and it makes, a (C) firery (G) ring.
Bound, by (C) wild de (G) sire. I fell into a (D) ring of (G) fire.
(D) I fell into a (C) burnin' ring of (G) fire.

I went (D) down down down, and the (C) flames went (G) higher.
And it burns burns burns, the (C) ring of (G) fire, the (D) ring of (G) fire.
(G)(C)(G), (G)(C)-(D)-(G); (G)(C)(G), (G)(C)-(D)-(G)
(D) I fell into a (C) burning ring of (G) fire.

The taste, of (C) love is (G) sweet. When hearts, like (D) ours (G) meet.
I-fell-for-you (C) like a (G) child. (G) Ohhhh, but the (C) fire went (G) wild.

And it burns burns burns, the (C) ring of (G) fire, (D) the ring of (G) fire.

And it burns burns burns, the (C) ring of (G) fire, (D) the ring of (G) fire.
The (D) ring of (G) fire. The (D) ring of (G) fire.
THE RISING - Live Version
Bruce Springsteen
https://www.youtube.com/watch?v=A9LpsP0goJ8 (Capo 0)(MC3)
[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: You can play the intro by picking the individual notes or strumming chords. Both are pretty
simple. For notes: 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. For chords 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). Either way, do this sequence eight times and
hit the (F) that begins the song.
INTRO <notes>: <form (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>, <g><c><d><c>
INTRO <chords>: |C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|,

|C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|,
|C|-|C|-|C|-|CaddD|-|C|, |C|-|C|-|C|-|CaddD|-|C|
(F) Can't see nothin' in (C) front of me. (F) Can't see nothin' coming (C) up behind.
(F) I make my way through this (C) darkness. (F) I can't feel nothing but this (C) chain that
binds me.
(F) Lost track of how (C) far I've gone. (F) How far I've gone how (C) high I've climbed.
(F) On my back's a sixty (C) pound stone. (F) On my shoulder a (C) half mile of line.
(F) Come on up for the (C) rising. (F) Come on up lay your (C) hands in mine.
(F) Come on up for the (C) rising. (F) Come on up for the (C) rising tonight.
(F) Left the house this (C) morning. (F) Bells ringin' (C) filled the air.
(F) Wearin' the cross of my (C) calling. (F) On wheels of fire I come (C) rollin' down here.
(G) Li li li (C) -li-li-li- (F) li-li. Li li (G) li-li li (C) -li-li-li-li (F) li.
Li li (G) Li li li (C) -li-li-li- (F) li-li. Li li (G) li-li li (C) -li-li-li-li (Am) li.
(F)(C)(G)(Am)(F)(C)(G)
Spirits above and be (Am) hind me. (F) Faces gone black eyes, (C) burnin' (G) bright.
May their precious blood (Am) bind me, Lord as I (F) stand before your (C) fiery (G) light.
Li li li (C) -li-li-li- (F) li-li. Li li (G) li-li li (C) -li-li-li-li (F) li.
Li li (G) Li li li (C) -li-li-li- (F) li-li. Li li (G) li-li li (C) -li-li-li-li (F) li (F)|F|.
(C)(C)(C)(C)(C)
I (F) see you Mary in the (C) garden. In the (F) garden of a (C) thousand sighs.
(F) There's holy pictures of our (C) children. (F) Dancin' in a sky, (C) filled with light.
(F) May I feel your arms a (C) round me. (F) May I feel your blood, (C) mix with mine.
(F) A dream of life comes (C) to me. Like a (F) catfish dancin' on the (C) end of my line.
(F) Sky of blackness and (C) sorrow (dream of life).

(F) Sky of love, (C) sky of tears (dream of life).
(F) Sky of glory and (C) sadness (dream of life).
(F) Sky of mercy (C) sky of fear (dream of life).
(F) Sky of memory and (C) shadow (dream of life).
(F) Your burnin' wind fills my (C) arms tonight.
(F) Sky of longing and (C) emptiness (dream of life).
(F) Sky of fullness sky of (C) blessed life.
Li li (G) Li li li (C) -li-li-li- (F) li-li. Li li (G) li-li li (C) -li-li-li-li (Am) li.
Li li (G) Li li li (C) -li-li-li- (F) li-li. Li li (G) li-li li (C) -li-li-li-li (F) li.
THE RISING - Studio Version
Bruce Springsteen
https://www.youtube.com/watch?v=6i-fiRgbpr4 (Capo 3)(MC1)
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.
TIP: I like to include the Barcelona opening. To do so in this key, first form (C) but lift off
the middle finger. Now pick open 4th string <d>, open 3rd string <g>, middle finger down on 3rd
string/3rd fret <a>, lift off an pick open 3rd string <g>.
|C| Can't see nothin' in (G) front of me. (C) Can't see nothin' coming (G) up behind.
(C) I make my way through this (G) darkness. (C) I can't feel nothing but this (G) chain that
binds me.
(C) Lost track of how (G) far I've gone. (C) How far I've gone how (G) high I've climbed.
(C) On my back's a sixty (G) pound stone. (C) On my shoulder a half (G) mile of line.
(C) Come on up for the (G) rising. (C) Come on up lay your (G) hands in mine.
(C) Come on up for the (G) rising. (C) Come on up for the (G) rising tonight.
(C) Left the house this (G) morning. (C) Bells ringin' (G) filled the air.
(C) I was wearin' the cross of my (G) calling. (C) On wheels of fire I come (G) rollin' down here.
(C) Come on up for the (G) rising. (C) Come on up lay your (G) hands in mine.
(D) Li li li (G) -li-li-li- (C) li-li. Li li (D) li-li li (G) -li-li-li-li (C) li.
Li li (D) Li li li (G) -li-li-li- (C) li-li. Li li (D) li-li li (G) -li-li-li-li (Em) li.
(C)(G)(D)(Em)(C)(G)(D)
The spirits above and be (Em) hind me. (C) Faces gone black eyes, (G) bur-urnin' (D) bright.
May their precious blood (Em) bind me, Lord as (C) I stand before your-or (G) fiery (D) light.
Li li li (G) -li-li-li- (C) li-li. Li li (D) li-li li (G) -li-li-li-li (C) li.
Li li (D) Li li li (G) -li-li-li- (C) li-li. Li li (D) li-li li (G) -li-li-li-li |C| li.
<subdued> (NC) I see you (C) Mary in the (G) garden. (C) In the garden of a (G) thousand sighs.
(C) There's holy pictures of our (G) children. (C) Dancin' in a sky, (G) filled with light.
(C) May I feel your arms a (G) round me. (C) May I feel your blood, (G) mix with mine.
(C) A dream of life comes (G) to me. Like a (C) catfish dancin' on the (G) end of my line.
(C) Sky of blackness and (G) sorrow (dream of life).

(C) Sky of love, (G) sky of tears (dream of life).
(C) Sky of glory and (G) sadness (dream of life).
(C) Sky of mercy (G) sky of fear (dream of life).
(C) Sky of memory and (G) shadow (dream of life).
(C) Your burnin' wind fills my (G) arms tonight.
(C) Sky of longing and (G) emptiness (dream of life).
(C) Sky of fullness sky of (G) blessed life.
<normally> (C) Come on up for the (G) rising. (C) Come on up lay your (G) hands in mine.
(D) Li li li (G) -li-li-li- (C) li-li. Li li (D) li-li li (G) -li-li-li-li (C) li.
Li li (D) Li li li (G) -li-li-li- (C) li-li. Li li (D) li-li li (G) -li-li-li-li |C| li.
THE RIVER
Bruce Springsteen
https://www.youtube.com/watch?v=nAB4vOkL6cE (Capo 0)(MC0)
TIP: The intro is the harmonica part.
TIP: The (G/A) is just (G) with only the top and bottom strings (pull the index finger) and it's a
short transition chord to the (Em) so it's easy to play but when you do play it strum the top three
strings to get the open bass <a> string in.
TIP: The harmonica part in the bridge is just a repeat of the chords from the first verse with a
few added treble accents.
INTRO: (Em)(G)(D)(C); (G)-(D)-(Em)-(Am)-(C)(C)
I (Em) come from down in the (G) valley, where (D) mister when you're (C) young,
They (Em) bring you up to (Gadd) do, (C) like your daddy (G) done.
Me and (C) Mary we met in high school, when (G) she was just (G/A) seven (Em) teen.
We'd (Am) ride out of this valley, down to (G) where the fields were (C) green. <pause>
We'd go (Em) down to the (C) river, and (D) into the river we'd (G) dive.
Ohh-oh (Em) down to the (C) river we'd (D) ride (C).
Then (Em) I got Mary (G) pregnant, and (D) man that was all she (C) wrote.
And (Em) for my nineteenth (Gadd) birthday I got a union (C) card and a wedding (G) coat.
We (C) went down to the courthouse, and the (G) judge put it (G/A) all to (Em) rest.
No (Am) wedding day smiles no walk down the aisle, no (G) flowers no wedding (C) dress.
That night we went (Em) down to the (C) river, and (D) into the river we'd (G) dive.
Ohh-oh (Em) down to the (C) river we did (D) ride, ni-i-(Em)-ide.
(Em)(G)(D)(C),(Em)(Gadd)(C)(Gadd); (C)(CaddG)(G)(G/A)(Em); (Am)(Am)(G)(C)(C)

I (Em) got a job working con (G) struction, for the (D) Johnstown Compa (C) ny.
But (Em) lately there ain't been (Gadd) much work, on a (C) ccount of the econo (G) my.
Now (C) all-them-things that-seemed-so-important,
Well mister (G) they vanished right (G/A) into the (Em) air.
Now I just (Am) act like I don't remember, and Mary (G) acts like she don't (C) care.
But I re (Em) member us ridin' in my (G) brother's car,

Her body (D) tan and wet down at the (C) reservoir.
At (Em) night on them banks I'd (G) lie awake
And pull her (C) close just to feel each (G) breath she'd take.
Now those (C) memories come back to (CaddG) haunt me, they (G) haunt me (G/A) like a (Em) curse.
Is a (Am) dream a lie if it don't come true, or (G) is it something (C) worse?
That sends me (Em) down to the (C) river, though I (D) know the river is (G) dry
That sends me (Em) down to the (C) river to (D) ni-i-i- (Em) -ight.
Down to the (C) river my (D) baby and (G) I.
Ohh-oh (Em) down to the (C) river we (D) ri-i-i- (Em) -ide.
Ooh-ooh (C) ooh-ooh (D) ooh-ooh-ooh (G) ooh;

Ooh-ooh (Em) ooh-ooh (C) ooh-ooh (D) ooh-ooh-ooh (G) ooh;
Ooh-ooh (Em) ooh-ooh (C) ooh-ooh (D) ooh-ooh-ooh (G) ooh;
Ooh-ooh (Em) ooh-ooh (C) ooh-ooh (D) ooh-ooh-ooh (G) 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)(MC0)
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.
Ooh (D) let me get it back let me get it back let me get it back, baby where I come (A) from.
It's (E) been a long time been a long time been a long (D) lonely lonely lonely lonely lonely
(A) 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) Carry me back carry me back carry me back, baby where I come (A) from. Oh ho ho-oh.
It's (E) been a long time been a long time been a long (D) lonely lonely lonely lonely lonely
(A) time. (A)(A)
(A) Ah ah-ah ah-ah. (D)(A)(E)-(D)-(A);

(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.
Ah yeah (D) open your arms, opens your arms open your arms, baby let my love come (A) runnin'.
Yeah.
It's (E) been a long time been a long time been a long |D| lonely lonely lonely lonely lonely
(A) time.
Yay hay, yay hay, yay hay, yah hay. (D)(D)(D)(D) (A) Ooh yeah ooh yeah, ooh yeah, ooh yeah.
It's (E) been a long time been a long time been a long |D| lonely lonely lonely lonely lonely
|A| time. <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)(MC0)
TIP: You don't have to play any of the alternate chord positions but it adds a little flavor to
the horn emulation.
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: In some verses there is a run of (A) chords that starts with (A), goes to (A6), then to
(A6+), back to (A6) and finishes with (A). It’s easy to play. (A6) is just (A) with your pinky
added on the bottom string (don’t play it as a barre). Then, from (A6) to (A6+) just slide your
pinky up one fret and then back again to return to (A6). Finish with regular (A). Piece of cake.
TIP: The first intrumental is the “bumble-bee” bridge and is just the use of that same (A) series
with a little extra flourish with the last set.
TIP: The second instrumental is the “saxophone” bridge. You can play the majors but try playing
them up the fingerboard at their alternate positions which appear afterwards. The only tricky ones
are the (DaddA) which is a pinky stretch after forming (D) and the (Bb7) just because the (Bb)
sucks (but you can always revert back and play standard (E) and (A) when you get to it).
TIP: The outro comes immediately after the last verse so be prepared to jump to the first set of
(A)s. The major chords are listed but try the alternate positions which is just the (F) shape
chord, played at the 5th fret, then the 3rd, then the 2nd, and then the 1st. So start at 5 and
march down the fingerboard, skipping the 4th fret.
INTRO: |A| One two three o'clock four o'clock rock |A|-|A|.
|A| Five six seven o'clock eight o'clock rock |A|-|A|.
|A| Nine ten eleven o'clock twelve o'clock rock.
We're gonna |E| rock a |E| round the (E) clock tonight.
Well get your (A) glad rags on, join me hon.
We'll have some fun (A6) when the (A6+) clock (A6) strikes (A) one.
We're gonna (D) rock, around the clock tonight.
We're gonna (A) rock rock rock 'til broad daylight.
We're gonna (E7) rock gonna rock a (E) round the clock to (A) night (A)(A).
When the clock strikes two, three and four.

If the band slows down (A6) we'll (A6+) yell (A6) for (A) more.
We're gonna (D) rock around the clock tonight.
We're gonna (E7) rock gonna rock a (E) round the clock to (A) night (A)(A).
(A)-(A6)-(A6+)-(A6), (A)-(A6)-(A6+)-(A6), (A)-(A6)-(A6+)-(A6)-(A6+)-(A6)-(A6+)-(A6)

(D)(D)(A)(A)(E7)(E)(A)(A)
When the chimes ring five, six and seven, we'll be right (A6) in (A6+) sev (A6) enth (A) heaven.
We're gonna (D) rock around the clock tonight. We're gonna (A) rock rock rock 'til broad daylight.
We're gonna (E7) rock gonna rock a (E) round the clock to (A) night. (A)(A)
When it's eight nine ten, eleven too I'll be goin' strong and so will you.
We're gonna (D) rock around the clock tonight. We're gonna (A) rock rock rock 'til broad daylight.
We're gonna (E7) rock gonna rock a (E) round the clock to (A) night. (A)(A)
(A)(A), (A)(A); (D)(A); (E)(A) or (F5)(F5), (F5)(F5); (DaddA)(F5); (Bb7)(F5)
When the (A) clock strikes twelve we'll cool off then start a rockin' round, the clock again.
We're gonna (D) rock around the clock tonight.
We're gonna (E7) rock gonna rock a (E) round the clock to (A) night.
|A|-|A|, |G|-|G|, |F#|-|F#|, |F|-|F|-|E|; |E|-|E|-|E|-|A|, |A|
or
|F5|-|F5|, |F3|-|F3|, |F2|-|F2|, |F|-|F|-|E|; |E|-|E|-|E|-|A|, |A|
(Bill Haley & the Comets) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
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 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) Rock my soul in the bosom of Abraham, (A7) rock my soul in the bosom of Abraham,
(D) Rock my soul in the bosom of Abraham, (A) oh rock-a my (D) soul.
(Black and Blue)
(C) Rock my soul in the bosom of Abraham, (G7) rock my soul in the bosom of Abraham,
(C) Rock my soul in the bosom of Abraham, (G) oh rock-a my (C) soul.
(Everyone together)
(F) Rock my soul in the bosom of Abraham, (C7) rock my soul in the bosom of Abraham,
(F) Rock my soul in the bosom of Abraham, (C) oh rock-a my (F) soul.
(VERSE 2)
(Just Black)
(D) So high you can’t get over it, (A7) so low you can’t get under it,
(D) So wide you can’t get ‘round it, (A) oh rock-a my (D) soul.
(Black and Blue)
(C) So high you can’t get over it, (G7) so low you can’t get under it,
(C) So wide you can’t get ‘round it, (G) oh rock-a my (C) soul.
(Everyone together)
(F) So high you can’t get over it, (C7) so low you can’t get under it,
(F) So wide you can’t get ‘round it, (C) oh rock-a my (F) soul.
(Everyone together - bridge)
(D) Rock my soul. (A7) Rock my soul. (D) Rock my soul. Rock (A7) my (D) soul.
(C) Rock my soul. (G7) Rock my soul. (C) Rock my soul. Rock (G7) my (C) soul.
(F) Rock my soul. (C7) Rock my soul. (F) Rock my soul. Rock (C7) my (F) soul.
(Everyone together – combined verses and bridge)
(F) Rock my soul. (C7) rock my soul.
(F) Rock my soul. rock (C7) my (F) soul.
(Everyone together – Verse 1 Reprise)
(F) Rock my soul in the bosom of Abraham, (C7) Rock my soul in the bosom of Abraham,
(D) Rock my soul in the bosom of Abraham, (A) oh rock-a my |D| soul.
(C) Rock my soul in the bosom of Abraham, (G) oh rock-a my |C| soul.
(F) Rock my soul in the bosom of Abraham, (C) Oh rock-a my |F| soul.
(Traditional)(Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)

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) oh rock-a my (D) soul.
(G) oh rock-a my (C) soul.
(C) oh rock-a my (F) soul.
(Everyone together - Verse 1)
(F) Rock my soul in the bosom of Abraham, (C) oh rock-a my (F) soul.
(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) oh rock-a my (D) soul.
(G) oh rock-a my (C) soul.
(C) oh rock-a my (F) soul.
(Everyone together - Verse 2)
(F) So high you can’t get over it, (C7) so low you can’t get under it,
(F) So wide you can’t get ‘round it, (C) oh rock-a my (F) soul.
(Everyone together - verses and bridge together)
(F) Rock my soul. (C7) rock my soul.
(F) Rock my soul. rock (C7) my (F) soul.
(Everyone together – bridge)
(Everyone together - Verse 1 Reprise)
(D) Rock my soul in the bosom of Abraham, (A) oh rock-a my |D| soul.
(C) Rock my soul in the bosom of Abraham, (G) oh rock-a my |C| soul.
(F) Rock my soul in the bosom of Abraham, (C) Oh rock-a my |F| soul.
(Traditional)(Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)

ROCKET MAN - Elton John
(John/Taupin)
https://www.youtube.com/watch?v=DtVBCG6ThDk (Capo 3)(MC3)
TIP: Of course Reg is playing piano so be a little loosey-goosey with the chord timing.
TIP: (Dsus2) is just (D) without the bottom finger.
TIP: The brilliant lead-in from the verse to chorus starts 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 my index finger) on the 2nd string/1st fret <c> for (Cadd2) but strum just the
bottom 4 strings. Easy!
TIP: For the brilliant 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) but strum just the bottom
4 strings. Easy!
|Em7| She packed my bags last |Em7| night pre (A7) flight. (Em7) Zero hour nine a. (A) m. (A)
|G|-|C| (C) And I'm gonna be (G) hi-iii-(Am)-igh, as a (C) kite by (D) then (Dsus2)(D).
(Em7) I miss the earth so much I miss my (A7) wife (A) (Em7). It's lonely out in (A) space.
(C) On such a ti- (G) i-i-(Am)-imeless flight. (D)(D/A)(D)(Cadd2).
(G) And I think it's gonna be a long long (C) time,

Til touch down brings me round again to (G) find,
I'm not the man they think I am at (C) home oh no no (G) no. I’m a (A) rocket man.
(C) Rocket man burning out his fuse up (G) here alone (G). (C)
I'm not the man they think I am at (C) home oh no no (G) no. I'm a (A) rocket man.
(C) Rocket man, burning out his fuse up (G) here alone (G)(C)(CaddD).
(Em7) Mars ain't the kind of place to raise your (A7) kids (A). (Em7)
In fact it's cold as (A) hell. (A)
(C) And there's no one (G) there to (Am) raise them, (C) if you (D) did (Dsus2)(D).
(Em7) And all this science, I don't under (A7) stand. (Em7)
It's just my job five days a (A) week.
A rocket (C) ma-(G)-aa-aa-(Am)-an, a rocket (D) man. (D/A)(D)(Cadd2)

(C) Rocket man burning out his fuse up (G) here alone (G). (C)
(C) Rocket man, burning out his fuse up (G) here alone (G)(C).
And I think it's gonna be a (G) long long time (G)(C).
And I think it's gonna be a (G) long long time.
R.O.C.K. IN THE U.S.A.
John Mellencamp
https://www.youtube.com/watch?v=2dO_QKwtko4 (Capo 2)(MC2)
TIP: The movement from (D) to (CaddG) might be a little uncomfortable at first if you're not use
to playing (C) with your pinky on the bottom string. Keep your pinky on the bottom finger for the
rotation to the (G).
TIP: There's a definite cadence going 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)(CaddG)(G); (D)(D)(CaddG)(G); (D)(D)(CaddG)(G); (D)(D)(CaddG)(G)
They (D) come from the (G) cities and they (C) come from the (G) smaller (D) towns. (G)(C)(G)
(D) Beat up (G) cars and (C) guitars-and-drummers-(G) goin’ |D|(D) crack, |D|(D) boom, |D|(D) bam.
R.O. (G) C.K. in the (C) U.S. (G) A. (D) R.O. (G) C.K. in the (C) U.S. (G) A.
(D) R.O. (G) C.K. in the (C) U.S. (G) A yay (A) yeah. They're-|Asus|-rockin' in the U.S. (D) A.
(D)(D)(CaddG)(G); (D)(D)(CaddG)(G)
Well they (D) said good (G) bye to their (C) families said good (G) bye to their (D) friends.
(G)(C)(G)
With their (D) pipe dreams in their (G) heads and very (C) little money (G) in their (D) hands.
(G)(C)(G)
(D) Some are (G) black and (C) some are (G) white.
And they (D) ain't-too proud-to (G) sleep on your (C) floor to (G) night,
With their (D) blind faith in (G) Jesus you (C) know that (G) they just (A) miiiight
Be-|Asus|-rockin' in the U.S. (D) A. (G)(C) Hey. (D)(G)(C)(C)
(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) Voices from (G) nowhere and (C) voices from the (G) larger (D) towns (G)(C)(G).
(D) Filled our (G) head full of (C) dreams and turned the (G) world (D) upside (G) down (C)(G).
There was (D) Frankie Lyman (G) Bobby Fuller (C) Mitch Ryder (G) (they were rockin').
(D) Jackie Wilson (G) Shangrias (C) Young Rascals (G) (they were rockin').
(D) Spotlight on (G) Martha (C) Reeves let's don't for (G) get James (A) Brown.
|Asus| Rockin' in the U.S. (D) A. (G)(C) Hey.
(D) R.O. (G) C.K. in the (C) U.S. (G) A. (D) R.O. (G) C.K. in the (C) U.S. (G) A.
<repeat and fade>
<If playing live> (A) |Asus| Rockin' in the U.S. (D) A. (G)(C)(G)|D|
(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)(MC0)
TIP: (D6) is just (D) with the ring finger removed but it takes a little concentration.
INTRO: (D)(D)-(D6)-(D), (D)(D)-(D6)-(D), (D)(D)(D)(D), (D)(D)(D)(D)
Well ah hurry up hurry up here we go. (G) Four in the morn’ justa hittin’ the road
Here we (D) go-oh, (A) rockin’ all over the (D) world (D).
Well giddyup giddyup get away. (G) We’re goin’ crazy and we’re goin’ today
Hey I like it I like it I like it I like it I (G) la-la-like it, la-la-like

(D)(D) (G)(G) (D)(A)(D)(D); (D)(D)(G)(G)(D)(A)(D)(D)
Well I’m gonna tell your mama what I’m gonna do.
We’re (G) comin’ out tonight with our dancin’ shoes
Here we (D) go-oh, (A) rockin’ all over the (D) world.

Well I like it, I like it, I like it, I like it, I (G) la-la-like it, la-la-like,
Here we (D) go, (A) rockin’ all over the (D) world.
Here we (A) go-oh, rockin’ all over the (D) world (D). (D)(D)-(A)-(D)
ROCKY MOUNTAIN HIGH
John Denver
https://www.youtube.com/watch?v=eOB4VdlkzO4 (Capo 2)(MC0)
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)
He was (D) born in the summer of his (Em) twenty-seventh (C) year (A),
Coming (D) home to a place he'd never (Em) been before (G).
He left (D) yesterday behind him you might (Em) say he was born a (C) gain (A).
You might (D) say he found a key for every (Em) door (G).
When he (D) first came to the mountains his (Em) life was far a (C) way (A),
On the (D) road and hanging by a (Em) song (G).
But the (D) strings already broken and he (Em) doesn't really (C) care (A)
It keeps (D) changin' fast, and it don't last for (Em) long (G).
But the Colorado (A) Rocky Mountain hi-(D)-igh (D).

I've (G) seen it rainin' (A) fire in the (D) sky (D).
The (G) shadows from the (A) starlight are (D) softer than a lulla (G) byyyyyye (G)(G).
Rocky Mountain (D) high, in Colo (G) rado. Rocky Mountain (D) high, in Colo (G) rado.
He (D) climbed cathedral mountains, he saw (Em) silver clouds be (C) low (A).
He saw (D) everything as far as you can (Em) see (G).
And they (D) say that he got crazy once and that he (Em) tried to touch the (C) sun (A).
And he (D) lost a friend but kept the memo (Em) ry (G).
Now he (D) walks in quiet solitude, the (Em) forests and the (C) stream (A).
Seeking (D) grace, in every step he (Em) takes (G).
His (D) sight is turned inside himself to (Em) try and under (C) stand (A),
The (D) serenity of a clear blue mountain (Em) lake (G).
But the Colorado (A) Rocky Mountain hi-(D)-igh (D).

I've (G) seen it rainin' (A) fire in the (D) sky (D).
(G) Talk to God and (A) listen to the (D) casual re (G) plyyyyye (G)(G).
Now his (D) life is full of wonder, but his (Em) heart still knows some (C) fear (A),
Of the (D) simple things he can not compre (Em) hend (G).
Why they (D) try to tear the mountains down to (Em) bring in a couple (C) more (A).
More (D) people, more scars upon the (Em) land (G).
In the Colorado (A) Rocky Mountain hi-(D)-igh.

I've (G) seen it rainin' (A) fire in the (D) sky.
I (G) know he'd be a (A) poorer man if he (D) never saw an eagle (G) flyyyyy (G)(G).
Rocky mountain (D) high.
The (G) Colorado (A) Rocky Mountain hi-(D)-igh.

I've (G) seen it rainin' (A) fire in the (D) sky.
(G) Friends around the (A) camp fire, and (D) everybody's (G) hiiiiiigh (G)(G).
Rocky Mountain (D) High, in Colo (G) rado. Rocky Mountain (D) high, in Colo (G) rado.
Rocky Mountain (D) high, iiii- (Em) ii-(G) ii. Rocky Mountain (D) high, iiii- (Em) ii-(G) ii. |D|
ROCKY TOP - Traditional/Lynn Anderson
(Bryant)
https://www.youtube.com/watch?v=WROkIhZJLSY (Capo 5)(MC5)
TIP: There are lots of covers of this old bluegrass tune. This is Lynn Anderson's version.
INTRO: (G)(C)(G)(Em)(D)(G)
Wish that I was (C) on ol' (G) Rocky Top (Em) down in the (D7) Tennessee (G) hills.
Aint' no smoggy (C) smoke on (G) Rocky Top (Em) ain't no (D7) telephone (G) bills.
Once I had a (C) man on (G) Rocky Top (Em) half bear the (D7) other half (G) cat.
Wild as a mink but (C) sweet as (G) soda pop but (Em) I still (D7) dream about (G) that.
(Em) Rocky Top you'll (D) always be, (F) home sweet home to (C) me.
Good ol' (G) Rocky Top. Rocky Top (F) Tennes (G) see. Rocky Top (F) Tennes (G) see.
Once two strangers (C) climbed ol' (G) Rocky Top (Em) lookin' for a (D7) moonshine (G) still.
Strangers ain't come (C) down from (G) Rocky Top I (Em) reckon they (D7) never (G) will.
Corn won't grow at (C) all on (G) Rocky Top the (Em) dirt's too (D7) rocky by (G) far.
That's why all the (C) folks on (G) Rocky Top (Em) get their (D7) corn from a (G) jar.
(G)(C)(G)(Em)(D)(G); (G)(C)(G)(Em)(D)(G); (Em)(D)(F)(C),(C)(G),(G)(F)(G),(G)(F)(G)
I've had years of (C) cramped-up (G) city life (Em) trapped like a (D7) duck in a (G) pen.
All I know is (C) it's a (G) pity life (Em) can't be (D7) simple a (G) gain.
Rocky Top (C) Tenn (D7) es (G) see- (F) eee- (C) eee- (G) eee. (G)(G)|G|
(Traditional) (Lynn Anderson) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROLL IN MY SWEET BABY’S ARMS – Traditional/Boxcar Willie
(Flatt)
https://www.youtube.com/watch?v=jNOByWoZ5_Q (Capo 0)(MC0)
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)
Roll in my sweet baby's arms. Roll in my sweet baby's (D7) arms.

I’ll (G) lay around the shack til the (C) mail train comes back,
And (D7) roll in my sweet baby's (G) arms.
Well I ain't gonna work on the railroad. I ain't gonna work on the (D7) farm.
I'll (G) lay around the shack til the (C) mail train comes back,
(G) Roll in my sweet baby's arms. I'm roll in my sweet baby's (D7) arms.
I’ll (G) lay 'round the shack til the (C) mail train comes back,
(G)(D)(G)(C)(D7)(G)
Well where were you last Saturday night, while I was lyin' in a (D7) jail?
You (G) walkin' the streets with a (C) nother man, you (D7) wouldn't even go my (G) bail.
Roll in my sweet baby's arms. I'm roll in my sweet baby's (D7) arms.
I’ll (G) lay 'round the shack till the (C) mail train comes back,
(G)(D)(G)(C)(D7)(G)
Kid I know that your daddy don't like me, he drive me away from your (D7) door.
And (G) if I had it to (C) do once again, I'd (D7) never go there any (G) more.
Yeah I'm roll in my sweet baby's arms. Roll in my sweet baby's (D7) arms.
I’ll (G) lay around the shack til the (C) mail train comes back,
Lay around the shack til the (C) mail train comes back,
And (D7) roll in my sweet baby's (G) arms (F)(C)(C)(D)(G).
(Traditional) (Boxcar Willie) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
ROSE OF ALABAMA – Traditional/Tom Roush
(Steele)
https://www.youtube.com/watch?v=Pr1QnXGTk-o (Capo 5)(MC4/5)
TIP: If you can’t recall how this song goes, it was the one sung/performed in the film “The Outlaw
Josey Wales”.
TIP: The move from (D) to (G) to start the second line happens quickly. You can omit the (D)
completely if you want and move from the trailing (Em) to the (G).
TIP: Note the key change from [G] to [A] the end.
INTRO: (G)(C)(G)(Em)(D)(G)(C)(G)(D)(G)
Away from Missis (C) sippi's vale with (G) my ol' hat there (Em) for a sail
(D) I (G) crossed upon a (C) cotton bale, to (G) Rose of (D) Ala (G) bama.
(C) Oh brown Rosie, the Rose of Ala (G) bama.

A sweet tobacco (C) posey is the (G) Rose of (D) Ala (G) bama.
(G)(C)(G)(Em)(D)(G)(C)(G)(D)(G)
I landed on a (C) bar sand bank and (G) sat upon a (Em) holler plank
(D) And (G) there I made the (C) banjo twank for (G) Rose of (D) Ala (G) bama.

(G)(C)(G)(Em)(D)(G)(C)(G)(D)(G)
Oh arter directly (C) bye and bye the (G) moon rose white as (Em) Rosey's eye,
(D) Then (G) like a young coon (C) out so sly stole (G) Rose of (D) Ala (G) bama.

(G)(C)(G)(Em)(D)(G)(C)(G)(D)(G)
I ask her "sit down (C) where she please" to (G) cross my legs she (Em) took her ease,
"Good to go up (C) on the knees," says (G) Rose of (D) Ala (G) bama.

(G)(C)(G)(Em)(D)(G)(C)(G)(D)(G)
The river rolled the (C) crickets sing. The (G) lightnin' bug he (Em) flashed its wing,
(D) And (G) like a rope my (C) arms I fling 'round (G) Rose of (D) Ala (G) bama.

(G)(C)(G)(Em)(D)(G)(C)(G)(D)(G)
I kiss so long I (C) cannot tell, for (G) Rosey seemed to (Em) like it well
(D) My (G) banjo in the (C) river fell of (G) Rose of (D) Ala (G) bama.

<key change> |A|
(A) Like-a-alligator (D) ought to pray I (A) plunge in but it (F#m) float way but
(A) All the time it (D) seemed to say, "Oh (A) Rose of (E) Ala (A) bama.”
(D) Oh brown Rosie, the Rose of Ala (A) bama.

A sweet tobacco (D) posey is the (A) Rose of (E) Ala (A) bama.
A sweet tobacco (D) posey is the (A) Rose of (E) Ala (A) bama.
(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)(MC0)
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) Sometimes you dream, (G) sometimes it (G7) seems,

(G) There's nothing there at all (C).
You (Am) just seem older than (Em) yesterday,
And you're (F) waitin’ for tomorrow to (G) call.
You (C) draw to the curtains, and (G) one thing's for (G7) certain,
You're (G) cozy in your little room (C).
The (Am) carpet's all paid for God (Em) bless the T.V.
Let's (F) go shoot a hole in the (G) moon.
Oh-oh and (C) Roy Rogers is (D) ridin’ tonight.

Re (F) turning to our silver (C) screen.
(G) Comic book characters (C) never grow old.
(F) Evergreen heroes whose (D) stories were (G) told,
Oh the (Am) great sequin cowboy who (Em) sings of the plains,
Of (F) roundups, and rustlers, and (D) home on the (G) ra- (F) a- (G) ange.
(Am) Turn on the T.V., (Em) shut out the lights,

Roy (F) Rogers is (G) riding to (C) ni-i- (F) i– (C) ight. (G)(G)(C), (C)(C)(G), (G)(G)
(C) Nine o'clock mornin’s, (G) five o'clock (G7) evenin’s,
I'd (G) liven the pace if I (C) could.
Oh I'd (Am) rather have a ham in my (Em) sandwich than cheese,
But com (F) plainin’ wouldn't do any (G) good.
Lay (C) back in my armchair, (G) close eyes and (G7) think clear.
(G) I can hear hoof beats a (C) head.
(Am) Roy and Trigger have (Em) just hit the hilltop,
While the (F) wife and the kids are in (G) bed.
Oh-oh and (C) Roy Rogers is (D) ridin’ tonight.

Re (F) turning to our silver (C) screen.
(G) Comic book characters (C) never grow old.
(F) Evergreen heroes whose (D) stories were (G) told,
Oh the (Am) great sequin cowboy who (Em) sings of the plains,
Of (F) roundups, and rustlers, and (D) home on the (G) ra- (F) a- (G) ange.
(Am) Turn on the T.V., (Em) shut out the lights,

Roy (F) Rogers is (G) riding to (C) ni-i- (F) i– (C) 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)(MC0)
(NC) You've painted up your lips and rolled and curled your tinted (G) hair (G)(Dm).
(C) Ruby are you contemplating (F) going out some (G) where?
The (Dm) shadow on the wall tells me the (G) sun is going down (G)(Dm).
Oh (C) Ruuuuu (F) by (Am)(Dm7)|Dm|, (NC) don't take your love to (C) town (C).
It (Dm) wasn't me that started that old (C) crazy Asian war (C).
But (Dm) I was proud to go and do my (F) patriotic (G) chore (G7).
(Dm) Yes it's true that I'm not the (G) man I used to be (G)(Dm).
Oh (C) Ruuuuu (F) by (Am)(Dm7)|Dm|. (NC) I still need some compan (C) y (C).
It’s hard to love a man whose legs are (F) bent and para (G) lyzed (G)(Dm).
And the (C) wants and the needs of a woman your age (F) Ruby I real (G) ize (G7).
But it (Dm) won't be long I've heard them say un (G) til I not around (G7)(Dm).
She's (C) leaving now cause I just heard the (F) slamming of the (G) door (G).
The (C) way I know I've heard it slam one (F) hundred times be (G) fore (G).
And if (Dm) I could move I'd get my gun and (G) put her in the ground (G7)(Dm).
Oh (C) Ruuuuu (F) by (Am)(Dm7)|Dm|, (NC) for God's sake turn a (C) round (C)|C|.
RUBY TUESDAY - The Rolling Stones
(Richards/Jones)
https://www.youtube.com/watch?v=ADtnUC_ctNk (Capo 1)(MC1)
(Am) She would (G) never (F) say, where (G) she came (C) from (C).
(Am) Yester (G) day don't (F) matter, (C) if it's (G) gone (G).
(Am) While the (D7) sun is (G) bright, or (Am) in the (D7) darkest (G) night.
No one (C) knows (C). She comes and (G) goes (G7).
(C) Good (G) bye (F) Ruby (C) Tuesday. Who could (G) hang a (F) name on (C) you?
When you (G) change with (F) every new day. (G) Still I'm gonna (F) miss you |G|.
Don't (Am) question (G) why she (F) needs, to (G) be so (C) free (C).
She'll (Am) tell you (G) it's the (F) only, way to (G) be (G).
(Am) She just (D7) can't be (G) chained, to a (Am) life where (D7) nothing's (G) gained,
And nothing's (C) lost (C), at such a (G) cost (G7).
(Am) There's no (G) time to (F) lose, I (G) heard her (C) say.
(Am) Catch your (G) dreams be (F) fore, they slip a (G) way.
(Am) Dying (D7) all the (G) time. (Am) Lose your (D7) dreams and (G) you,
Will lose your (C) mind (C). Ain't life un (G) kind (G7)?
When you (G) change with (F) every new day. (G) Still I'm gonna (F) miss you (G).
(Am)(G)(F)(G)(C)(C)
RUNAROUND SUE – Dion
(DiMucci/Maresca)
https://www.youtube.com/watch?v=4NQLmUOgT5M (Capo 2)(MC1)
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| Here's my story it's sad but true. |Am| It's about a girl that I once knew.
|F| She took my love, then ran arounnnnd |G| with every single, guy in town.
(G)(C) Hey hey, whoa-oh-oh-(Am)-ohh. Whoa-oh-oh-(F)-ohh. Whoa-oh-oh-(G)-oh. Lop lop lop lop.
(C) Whoa-oh-oh-(Am)-ohh. Whoa-oh-oh-(F)-ohhhhhhhhh. |G| Ohhhhhhhhhhh, awwwwwwww.
(G) Yeahhhhh (C) I should have known it from the very start.
(Am) This girl will leave me with a broken heart.
(F) Now listen people what I'm telling you-ah, (G) a keep away from a Runaround Sue.
Yeahhhh (C) I miss her lips and the smile on her face.
(Am) The touch of her hair and this girl's warm embrace.
(F) So if you don't wanna cry like I do-ah, |G| a keep away from a Runaround Sue.
(C) Whoa-oh-oh-(Am)-ohh. Whoa-oh-oh-(F)-ohh. Whoa-oh-oh-oh |G| oh. Awwwwwwww,
(F) She likes to travel around yeah ah she'll (C) love you but she'll put you down.
Now (F) people let me put you wise, (G) a Sue goooes-uh (G7) out with other guys.
Here's the (C) moral and the story from the guy who knows.
(Am) I fell in love and my love still grows.
(F) Ask any fool that she ever knew they'll say, |G| a keep away from a Runaround Sue.
I met a (C) girl, yeah keep away from this (Am) girl.
I don't know what she'll (F) do. Keep away from |G| Sue. Awwwwwwww...
(F) She likes to travel around yeah ah she'll (C) love you and she'll put you down.
Now (F) people let me put you wise, (G) a she go-oes (G7) out with other guys.
Here's the (C) moral and the story from that guy who knows.
(Am) I fell in love and my love still grows.
(F) Ask any fool that she ever knew they'll say (G) a keep away from a Runaround Sue.
(C) Yeah-uh, stay away from that (Am) girl. Don't you know what they'll (F) do now.
Whoa-oh-oh-(G) oh. |C|
(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)(MC3)
https://www.youtube.com/watch?v=qEPx9bkpkh8 Traveling Wilburys (Capo 0)(MC0)
TIP: Del plays the song straight through while the Wilburys repeat the instrumental bridge and
chorus.
INTRO: (Am)(Am)(Am)(Am)
Assss I walk along I (G) wonder, a what went wrong with (F) our love.
A love that was so (E) strong (E7).
(Am) And as I still walk on I (G) think of, the things we've done to (F) gether,
While our hearts were (E7) young (E).
(A) I'm a-walkin' in the rain. (F#m) Tears are fallin' and I, feel the pain.
(A) Wishin' you were here by me, (F#m) to end this misery and I (A) wonder.
I wah-wah-wah-wah (F#m) wonder (F#m).
(A) Why? Why why why why (F#m) why she ran away. And I (D) wonder, where she will (E) stay.
My little (A) runaway. A (D) run run run run (A) runaway (E7)(E).
(Am)(Am), (G)(G)(G), (F)(F), (E7)(E); (Am)(Am), (G)(G)(G), (F)(F), (E7)(E)
(A) I'm a-walkin' in the rain. (F#m) Tears are fallin' and I, feel the pain.
(A) Wishin' you were here by me, (F#m) to end this misery and I (A) wonder.
I wah-wah-wah-wah (F#m) wonder (F#m).
(A) Why? Why why why why (F#m) why she ran away. And I (D) wonder, where she will (E) stay.
My little (A) runaway. A (D) run run run run (A) runaway.
A (D) run run run run (A) runaway. A (D) run run run run (A) runaway.
(Del Shannon)(Traveling Wilburys)(Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
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)
It was a beautiful day, the sun beat down. I had the (D) radio on, I was (E) drivin'.
The trees went by, me and Del were singin', "Little (D) Runaway", I was (E) flyin'.
Yeah (D) runnin' (G) down a (E) dream. That never would (G) come to (A) me.
(D) Workin' on a (G) myster (E) y. Goin' where (G) ever it (A) leads.
Runnin', (G) down a (E) dream. (E)(A)(G)(E)
I felt so good, like anything was possible. Hit (D) cruise control, and rubbed my (E) eyes.
The last three days, the rain was unstoppable. It was (D) always cold, no sun (E) shine.
Yeah (D) runnin' (G) down a (E) dream. That never would (G) come to (A) me.
Runnin', (G) down a (E) dream.
(E)(A)(G)(E) Woo (C) ooh (C), woo (D) ooh (D), woo (E) ooh (E). Woo (C) ooh (C), woo (D) ooh (D),
Woo-(E)-I rolled on, the sky grew dark. I put the (D) pedal down, to make some (E) time.
There's something good, waitin' down this road. I'm (D) pickin up, whatever is (E) mine.
I'm (D) runnin' (G) down a (E) dream. That never would (G) come to (A) me.
(D) Workin' on a (G) myster (E) y. I'm goin' where (G) ever it (A) leads.
Runnin', (G) down a (E) dream. (E)(A)(G)(E)
Yeah I'm (D) runnin' (G) down a (E) dream. That never would (G) come to (A) me.
I'm runnin', (G) down a (E) dream.
(E)(A)(G)(E); (E)(A)(G)(E)
Woo (C) ooh (C), woo (D) ooh (D), woo (E) ooh (E) (E)(A)(G)(E)
Woo (C) ooh (C), woo (D) ooh (D), woo (E) ooh (E)(E).
Woo (C) ooh (C), woo (D) ooh (D), woo |E| ooh.
RUNNING SCARED - Roy Orbison
(Orbison/Melson)
https://www.youtube.com/watch?v=WBAqXtaPZgQ (Capo 2)(MC2)
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 Just runnin' (G) scared 4, 4. (G)10 Each place we (Am) go 4, 4.

(Am)10 So a (Bm) fraid 4, 3-(D7). (D7)10 That he might (G) show 4, 3-(D7).
(D7)10 Yeah runnin' (G) scared 4, 4. (G)10 What would I (Am) do 4, 4.
(Am)10 If he came (Bm) back 4, 3-(D7). (D7)10 And wanted (G) you 4, 4?
(G)10 Just runnin' (G) scared 4, 4. (G)10 Feelin' (Am) low 4, 4.

(Am)10 Runnin' (Bm) scared 4, 4. (Bm)10 You love him (D) so 4, 4.
(D)10 Just runnin' (G) scared 4, 4. (G)10 Afraid to (Am) lose 4, 4.
(Am)10 If he came (Bm) back 4, 4. (Bm)10 Which one would you (G) choose? (G)8
(C) Then all at (Am) once, (Em) he was standing (Am) there (Em)(Am).
So (C) sure of him (Am) self, his (Em) head in the (Am) air (Em)(Am).
(C) My heart was (Am) breaking, (Em) which one would it (C) be?
You turned a (CaddD) round, and (C) walked a (D7) way with (G) me 10, 4, 3 |G|
RYE OR THE KAISER – Weird Al Yankovic
(Sullivan/Peterik/Yankovic)
https://www.youtube.com/watch?v=0iwedkOmTGc (Capo 3)(MC4)
TIP: In the intro and outro you can just lift off completely from the |Em| for one strum (NC)
focusing on the top three strings to bring in the basse. Or if you’d rather you can play a |D| but
I find the |NC| easier and completely satisfactory. Notice in the outro that first |Em| that
starts the sequence comes on “tiger.”
INTRO: |Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|C|

|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|C|
|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|C|, (Em)(Em)(Em)(Em)
Fat and weak, (C) what a disgrace.

(D) Guess the champ, got too (Em) lazy.
Ain’t gonna fly now he’s just (C) takin’ up space.
Sold his (D) gloves, threw his eggs down the (Em) drain.
But he’s no bum, he (C) works down the street.

(D) He bought the neighborhood (Em) deli.
Back on his feet now he’s (C) choppin’ up meat.
Come in (D) side maybe you’ll hear him (Em) say.
Try the, (Am) rye or the kaiser they’re on (G) special to (D) night,
If you (Am) want you can have an appe (D) tizer.
You might (Am) like, our salami and the (G) liver’s all (D) right,
And they’d (Am) really go (Bm) well with the (C) ryyyye |C|, or the (Em) kaiser (Em)(Em).
Never eats, (C) while on the job,
(D) He heard it’s good, to stay (Em) hungry.
But he makes a pretty (C) mean shishkabob.
Have a (D) taste they were made fresh to (Em) day.
Try the, (Am) rye or the kaiser or the (G) wheat or the (D) white,
Maybe (Am) I, can suggest an appe (D) tizer.
Stay a (Am) way from the tuna it smells (G) funny to (D) night,
But you (Am) just can’t go (Bm) wrong with the (C) ryyyye |C|,
Or the (Em) kaiser (Em)(Em)(Em)(Em)(Em)(Em)(Em)(Em).
So today, his (C) deli comes first still he (D) dreams of his past days of (Em) glory.
Goes in the back and beats up (C) on the liverwurst,
All the (D) while you can still hear him (Em) say.
It's the, (Am) rye or the kaiser it’s the (G) thrill of one (D) bite,
Let me (Am) please be your catering ad (D) visor.
If you (Am) want substitutions I won’t (G) put up a (D) fight,
You can (Am) have your roast (Bm) beef on the (C) ryyyyyyyye |C|, or the (Em) kaiser (Em).
(C) The rye or the |Em| kaiser, |Em|-|NC|-|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|C|

(C) The rye of the |Em| kaiser, |Em|-|NC|-|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|C|
(C) The rye of the |Em| kaiser, |Em|-|NC|-|Em|, |Em|-|NC|-|Em|, |Em|-|NC|-|C|, (C)(C)|Em|
SAD ONE COMIN’ ON (A SONG FOR GEORGE JONES)
Vince Gill
https://www.youtube.com/watch?v=-Mz14DcIJTs (Capo 4)(MC0)
INTRO: (C)(C)(C)(C)
This worn out old six-string, has (F) sure been a (C) good friend.
It's (F) neverrr let me (C) down, when my (D7) heart's on the (G) mend (G7).
(F) It's alllways (C) willin’, to (E7) play one more (Am) song,
And (F) I feeeel a (G) sad one, comin’ (C) on (G7).
Some (C) dingyyy old barroom is where (F) he used to (C) turn
Till the (F) bottllle was (C) empty, man that (D7) whiskyyy would (G) burn (G7).
The (F) life ooof the (C) party, till his (E7) friends were all (Am) gone.
(F) I feeeel a (G) sad one comin' (C) on (C).
Oh (G) sing (G7) meee the (G) sad ones, (F) don't liike the (C) fast ones.
Keep (F) pourinnn' me (C) something, reeal (G) strong (G7).
Oh I'm (F) drawn to the (C) blue side, since the (E7) king of broken (Am) hearts died,
And (F) I feeeel a (G) sad one, comin' (C) on (G)(C)(G).
Oh the (C) love oof a woman, (F) saved Jones' (C) life.
He (F) put down the (C) bottle, and he (D7) made her his (G) wife (G7).
(F) He'd tearrr your (C) heart out, when (E7) he sang a (Am) song.
(F) I feeeel a (G) sad one, comin' (C) on (C).
Oh (G) sing (G7) meee the (G) sad ones, (F) don't liike the (C) fast ones.
I (F) can't bearrr that (C) he's, really (G) gone (G7).
Oh I'm (F) drawn to the (C) blue side, since the (E7) king of broken (Am) hearts died.
And (F) I feel a (G) sad one comin' (C) on (C).
Oh (F) I'm drawn to the (C) blue side, since the (E7) king of broken (Am) hearts died,
And (F) I feeel a (G) sad one comin' . . . <rake> (C).
SALLY SIMPSON - The Who
(Townshend)
https://www.youtube.com/watch?v=I-u_EFyKAC8 (Capo 0)(MC2)
TIP: For the opening, strike each chord convincing and then strum the same chord lightly.
TIP: For the (G)(G4)(G)(G4)-(G) part just use your index finger to cover the 2nd string/1st fret
(and notice that Pete's acoustic strumming cadence is one beat longer on the first movement from
the leading (G) to the (G4) and back to (G) than the second set). Use your pinky to cover the
bottom string/3rd fret while holding the (D) in the (D)-(D4)-(D) sequence.
INTRO: |C|(C), |G|(G), |C|(C), |G|(G)
(C) Outside the house Mr. (G) Simpson announced that (C) Sally couldn't go to the (G) meeting.
He (C) went on cleaning his (G) blue Rolls Royce and (C) she ran inside a (G) weeping.
She (C) got to her room and (G) tears splashed the picture (C) of the new mess (G) iah.
She (C) picked up a book of her (G) father's life and (C) threw it on the (G) fire (G4)-(G).
She (F) knew from the start deep down in her heart, she and Tommy were (G) worlds
apart (G4)(G)(G4)-(G). But her (F) Mother said "Never (C) mind your part is to (D) beeee what
you'll (G) be." (G)(G4)(G)
The (C) theme of the sermon was (G) 'Come unto me and (C) love will find a (G) way.'
So (C) Sally decided to ig (G) nore her dad and (C) sneak out any (G) way.
She (C) spent all afternoon (G) gettin' ready and de (C) cided she'd try to (G) touch him.
(C) Maybe he'd see that (G) she was free and (C) talk to her this (G) Sunday.
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds
apart (G4)(G)(G4)-(G). But her (F) Mother said "Never (C) mind your part is to (D) beeee what
She a (C) rrived at six and the (G) place was swinging to (C) gospel music by (G) nine.
(C) Group after group a (G) ppeared on the stage and (C) Sally just sat there (G) crying.
She (C) bit her nails looking (G) pretty as a picture (C) right in the very front (G) row.
And then a (C) DJ wearing a (G) blazer with a badge ran (C) on and said 'Here we (G) go!'
The (D7) crowd went (G) crazy, as (D7) Tommy hit the (G) stage.
Little (D7) Sally got lost as the (G) police bossed, the (A7) crowd back in a (D) rage. (D4)(D)|D|
(C) Soon the atmos (G) phere was cooler and (C) Tommy gave a (G) lesson.
(C) Sally just had to let him (G) know she loved him and (C) leapt up on the (G) rostrum.
She (C) ran cross stage to the (G) spotlit figure and (C) brushed him on the (G) face.
(C) Tommy whirled around as a (G) uniformed man (C) threw her off the (G) stage (G).
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds
apart (G4)(G)(G4)-(G). But her (F) Mother said "never (C) mind your part is to (D) beeee what
Her (C) cheek hit a chair and (G) blood trickled down, (C) mingling with her (G) tears.
(C) Tommy carried on (G) preaching and his (C) voice filled Sally's (G) ears.
She (C) caught his eye, she (G) had to try but (C) couldn't see through the (G) lights.
Her (C) face was gashed and the (G) ambulance men had to (C) carry her out that (G) night.
The (D7) crowd went (G) crazy, as (D7) Tommy left the (G) stage.
Little (D7) Sally was lost for the (G) price of a touch and a (A7) gash across her (D) face (D4),
(D) ooooh!
(C) Sixteen stitches put her (G) right and her Dad said (C) "Don't say I didn't (G) warn ya."
(C) Sally got married to a (G) rock musician she (C) met in Cali (G) fornia (G)(G4)(G)-(G4).
(C) Tommy always (G) talks about the day the (C) disciples all went (G) wild.
(C) Sally still carries a (G) scar on her cheek to re (C) mind her of his
(G) smile (G4)-(G)(G)-(G4)-(G).
She (F) knew from the start deep down in her heart that she and Tommy were (G) worlds apart (G)(G).
But her (F) Mother said "never (C) mind your part is to (D) beeee what you'll (G) be."
(G4), (G), (C), |G|
SAME THING HAPPENED TO ME - John Prine
(Prine/Nicholson)
https://www.youtube.com/watch?v=pXOLa_r7paI (Capo 2)(MC2)
TIP: The (D/A) is completely optional. (D/A) is just (D) with your pinky added to the 4th
string/4th fret. You can play either just (A) or (A7) and omit the other through the last line.
INTRO: (D)(D), (D)(D), (A7)(A)(D)
(D/A) Moonlight, shinin' on the back of my (D) hand.

(D/A) Cat fight, rattlin' the garbage (D) can.
(G) Looks like, somethin' chased you up a (D) tree.
(A7) Same thing, (A) same thing happened to (D) me.
(D/A) Wild wind, blowin' down the neck of my (D) shirt.

(D/A) Old men, sittin' on a bench in the (D) dirt.
(G) Seems like, another ship has gone out to (D) sea.
(D)(D), (D)(D), (G)(D), (A7)(A)(D)
(D/A) Shoe shine, someone's got to tell ya the (D) news.

A (D/A) fine line, separates a boy from the (D) blues.
(G) Looks like, you could use some compa (D) ny.
(D/A) Runnin', runnin' just as fast as I (D) can.

(D/A) Someone, someone take a hold of my (D) hand.
(G) Looks like, somethin' chased you up a (D) tree.
(A7) Same thing, (A) same thing happened to (D) me. (A7)(A)(D)|D|
SAN ANTONIO ROSE - Bob Wills/Patsy Cline
(Wills)
https://www.youtube.com/watch?v=ljNKZWwOnWg Patsy Cline (Capo 2)(MC3)
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|
Deep with (D) in my heart lies a (G) melo (E7) dy, a (A) song of old San An (D) to-one.
Where in dreams I live with a (G) memo (E7) ry, be (A) neath the stars all a (D) lo-one.
Well it was there, I found, be (G) side the Ala (E7) mo,
En (A) chantment strange as the (D) blue up above.
For that moonlit pass, that only (G) he would (E7) know,
Still (A) hears my broken song of (D) lo-ove.
(A) Moon in all your splendor known (E7) only to my heart.

Call back my (E) rose Rose of (A) San Antone.
Lips so sweet and tender, like (E7) petals fallin' apart.
Speak once a (E) gain of my (A) love my (A7) own.
(D) Broken song empty (G) words I (E7) know, still (A) live in my heart all a (D) lone.
For that moonlit pass by the, (G) Alam (E7) o, and (A) rose my Rose of San An (D) tone.
(A),(E7),(E),(A); (A),(E7),(E)(E)(A)
(D) Broken song empty (G) words I (E7) know, still (A) live in my heart all a (D) lone.
For that moonlit pass by the (G) Alam (E7) o, and (A) rose my Rose of San An (D) tone (D).
And (A) rose my Rose of San An (D) tone (D). And (A) rose my Rose of San An (D) tone (D)|D|.
(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)(MC0)
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)
I can't get no, (A) satisfaction, (E) I can't get no, (A) satisfaction,
'Cause I (E) try, and I (B7) try, and I (E) try, and I (A) try.
I can't (E) get no (D), I can't (E) get no (D).
When I'm (E) drivin' in my (D) car, and the (E) man come on the (D) radio.
He's (E) tellin' me more and (D) more, about some (E) useless infor (D) mation,
Supposed to (E) fire my imagin (D) ation. I can't (E) get no (D), ah no no (E) no. (E)(E)
Hey hey (E) hey (E)(D). That's what I (E) say (E)(D). (E)
I can't get no, (A) satisfaction, (E) I can't get no, (A) satisfaction,
When I'm (E) watchin' my T. (D) V., and a (E) man comes on and (D) tells me,
How (E) white my shirts can (D) be,
But he (E) can't be a man 'cause he (D) doesn't smoke, the (E) same cigarettes as (D) me.
I can't (E) get no (D), ah no no (E) no. (E)(E)
Hey hey (E) hey (E)(D). That's what I (E) say (E)(D). (E)
I can't get no, (A) satisfaction. (E) I can't get no, (A) girl reaction,
When I'm (E) ridin' 'round the (D) world.
And I'm (E) doin' this and I'm (D) signin' that and I'm (E) tryin' to make some (D) girl,
Who tells me, ah (E) baby better come back (D) maybe next week,
Can't you (E) see I'm on, a (D) losing streak? I can't (E) get no (D), oh no no (E) no. (E)(E)
Hey hey (E) hey (E)(D). That's what I (E) say (E)(D).
I can't (E) get no (D), I can't (E) get no (D), I can't (E) get no (D),
Satis (E) faction (D). No satis (E) faction (D). No satis (E) faction (D).
No satis (E) faction (D). I can't (E) get no (D). (D)|E|
SAVE THE LAST DANCE FOR ME – The Drifters
(Pomus/Shuman)
https://www.youtube.com/watch?v=n-XQ26KePUQ (Capo 2)(MC0)
INTRO: (D)
You can dance, every dance with the guy who gives you the eye let him (A7) hold you tight.
You can smile, every smile for the man who held your hand 'neath the (D) pale moonlight.
But don't for (G) get who's taking you home and in whose arms you're (D) gonna be.
So (A7) darlin', save the last dance for (D) me. Mmmmm.
Oh I know, that the music is fine, like sparkling wine go and (A) have your fun.
Laugh and (A7) sing, but while we're apart don't give your heart to (D) anyone.
But don't for (G) get who's taking you home and in whose arms you're (D) gonna be.
So (A7) darlin', save the last dance for (D) me.
Mmm baby don't you know I (A) love you so? Can't you feel it when we (D) touch?
I will never never (A) let you go. I love you oh so (D) much.
You can dance, go and carry on til the night is gone and it’s (A7) time to go.
If he asks, if you’re all alone can he take you home you must (D) tell him “no.”
'Cause don’t for (G) get who’s taking you home and in whose arms you’re (D) gonna be.
So (A7) darlin', save the last dance for (D) me.
(D)(A),(A)(D),(D)(A)-(A7)(A)-(A7)(D)
'Cause don’t for (G) get who’s taking you home and in whose arms you’re (D) gonna be.
So (A7) darlin', save the last dance for (D) me. Mmmmm. (A7) Save, the last dance for (D) me.
Mmm-hmm. (A7) Save, the last dance for (D) me |D|-|D|-|D|.
(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)(MC1)
TIP: For the intro pick the open 4th string <d>, then cover and pick the 4th string/2nd fret <e>,
and the open 3rd string <g> and strum (G). Repeat.
INTRO: 4 - 4/3 - 3 (G), 4 - 4/3 - 3 (G)|G|
(NC) Oh all I (G) needed, was one (C) look.

One magic (G) moment (G), (C) was all it (D) took.
From that (G) moment, I loved you (C) so.
(G) Now (C) that I (G) found you, I'm (C) never gonna (D) let you |G| go.
(NC) So c'mon (G) say it. Say it a (C) gain.

It (G) sounds (C) so (G) good, say it (C) one more time and (D) then.
Whoa if you (G) mean it, say it a (C) gain.
The (G) hard (C) part's (G) over and the (C) lovin' (D) part be (G) gins (C)|G|.
(G),(C),(G),(C)(D)|G|
(NC) Oh hold me (G) clo-ser, make me (C) warm.

I feel (G) wanted (G), (C) here in your (D) arms.
I've been (G) lonely, for too (C) long.
I've (G) wait (C) ed a (G) lifetime, for (C) you to (D) come a |G| long.
(NC) So c'mon (G) say it. Say it a (C) gain.

The (G) hard (C) part's (G) over, and the (C) lovin' (D) part be (G) gins (C)|G|.
(NC) C'mon (G) say it. Say it a (C) gain.
The (G) hard (C) part's (G) over, and the (C) lovin' (D) part be (G) gins (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)(MC0)
TIP: The (Bm) in the intro and outro can be replaced with another (Em) if you'd rather not play
the (Bm).
TIP: At the end of the third line in each verse is (D4)-(D)-(D4)-(D) and it will always follow a
(D). Pick or strum the bottom string while placing your pinky on the bottom string/3rd fret.
On/off/on/off.
INTRO: (Em)(Bm)(D)(Em),(Em)(Em)
Are you goin' to (D) Scarborough (Em) Fair.

(G) Parsley (Em) sage rosemar (A) y and (Em) thyme (Em)(Em).
Remember (G) me to one (A) who (Em) lives (D) there (D4)-(D)-(D4)-(D).
(Em) She, once (D) was, (Em) a (D) true love of (Em) mine (Em)(Em).
Tell her to make me a (D) cambric (Em) shirt.

(G) Parsley (Em) sage rosemar (A) y and (Em) thyme (Em)(Em).
With out no (G) seems nor (A) nee (Em) dle (D) work (D4)-(D)-(D4)-(D).
(Em) Then, she'll (D) be, (Em) a (D) true love of (Em) mine (Em)(Em).
Tell her to find me an (D) acre of (Em) land.

(G) Parsley (Em) sage rosemar (A) y and (Em) thyme (Em).
Between the salt (G) water and (A) the (Em) sea (D) strands (D4)-(D)-(D4)-(D).
(Em) Then, she’ll (D) be, (Em) a (D) true love of (Em) mine (Em)(Em).
Tell her to reap it in a (D) sickle of (Em) leather.

(G) Parsley (Em) sage rosemar (A) y and (Em) thyme (Em).
And gather it (G) all in a (A) bunch (Em) of (D) heather (D4)-(D)-(D4)-(D).
(Em) Then, she'll (D) be, (Em) a (D) true love of (Em) mine (Em)(Em).
Are you goin' to (D) Scarborough (Em) Fair.
(G) Parsley (Em) sage, rosemar (A) y and (Em) thyme (Em).
Remember (G) me to one (A) who (Em) lives (D) there (D4)-(D)-(D4)-(D).
(Em) She, once (D) was, (Em) a (D) true love of (Em) mine (Em)(Em). (Em)(Bm)(D)(Em)
SCARS IN HEAVEN – Casting Crowns
(Hall/West)
https://www.youtube.com/watch?v=BCc7TCmKcwQ (Capo 3)(MC2DD)
TIP: For the (DaddA) in the intro and run out at the first chorus hold (D) and extend your pinky
over to the bottom string of the third fret.
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.
TIP: For the (D)(D)(D/A) at the end of the first line of the chorus hold the (D) shape and add
your pinky to the 4th string/4th fret.
INTRO: <piano> (D)(DaddA)(A7)
If I had (D) only known the (DaddA) last time would be the (G) last time,
I would've (D) put off all the (DaddA) things I had to (G) do.
I would've (Bm) stayed a little longer, held (G) on a little (D) tighter.
Now (G) what I'd give for (A7) one more day with (D) you (DaddA)(A7).
'Cause there's a (D) wound here in my heart where something's (G) missing,
And they (D) tell me that it's gonna heal with (G) time.
But I (Bm) know you're in a place, where all your (G) wounds have been e (D) rased,
And (G) knowin’ yours are (A7) healed is healin’ (D) mine.
The only scars in (G) Heaven, they won't belong to me and (D) you (D)(D/A).
There'll be no such thing as (A7) broken (A7)(G), and all the old will be made (D) new.
And the thought that makes me (G) smile now, even as the tears fall (Bm) down,
Is that the only scars in (Em) Heaven (Em)(G), are on the hands that hold you (D) now (DaddA)(A7).
I know the (D) road you walked was (DaddA) anything but (G) easy.
You picked (D) up your share of scars along the (Gadd) way.
Oh-but (Bm) now you're standing in the (A) sun,
You've (Asus4) fought your fight and your (G) race is run.
The pain is all a (A7) million miles a (D) way.
And the thought that makes me (G) smile now, even as the tears fall (Bm) down,
Is that the only scars in (Em) Heaven (Em)(G), are on the hands that hold you (D) now.
Halle (G) lu-ujah. Halle (D) lu-ujah. Halle (G) lu-ujah.

For the hands that hold you (D) now.
There's not a day goes (DaddA) by that I don't (G) see you.
You live (D) on in all the better parts of (G) me.
Until I'm (Bm) standing with you in the (A) sun,
I'll (Asus4) fight this fight and this (G) race I'll run.
Until I finally (A7) see what you can (D) see. Oh-oh.
And the thought that makes me (G) smile now, and even as the tears fall (Bm) dow-ow-own,
Is that the only scars in (Em) Heaven (Em)(G), are on the hands that hold you |D| now.
(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)(MC0)
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) There's a man who (Am) leads a life of (Em) danger (Em).
To everyone he meets, he stays a (B7) stranger.
With (Em) every move he makes, a (Am) nother chance he takes.
(Em) Odds are he won't (Am) live to see to (Em) morrow |Em|.
Secret (Bm) agent (Em) man, secret (Bm) agent (Em) man.
They've (Am) given you a number, and (B7) taken 'way your (Em) name -(C)-(A7/C)–(C);
(Em)-(C)-(A7/C)–(C)
Be (Em) ware of pretty (Am) faces that you (Em) find (Em).
A pretty face can hide, an evil (B7) mind.
Ahh be (Em) careful what you say, you’ll (Am) give yourself away.
(Em) Odds are you won't (Am) live to see to (Em) morrow |Em|.
(Em)-(C)-(A7/C)–(C).
(Em)(Am)(Em)(Em), (Em)(Em)(B7), (Em)(Am), (Em)(Am)(Em)

(Em)-(C)-(A7/C)–(C).
(Em) Swinging on the (Am) Riviera (Em) one day (Em).

And then laying in a Bombay alley (B7) next day.
Ahh no you (Em) let the wrong word slip, while (Am) kissing persuasive lips.
The (Em) odds are you won’t (Am) live to see to (Em) morrow |Em|.
(Em)-(C)-(A7/C)–(C); (Em)-(C)-(A7/C)–(C); |Em||Em| Secret agent man.
(Johnny Rivers) (Artist Index) (Oldies) - (Main Index) - (Song Index) (This Song)
SELL ME A PONY (In D)
Dave Stamey
https://www.youtube.com/watch?v=YDhLh4yok90 (Capo 1)(MC0)
TIP: Afterwards is a version in [C] in case you don’t like the (Bm).
TIP: For the opening play a regular (D) and extend your pinky over to the bottom string of the 5th
fret to cover note <a>. Strum aiming for the open 4th string <d> and then strum down to snap the
bottom string. Repeat. Or ignore it and just play (D).
INTRO: (DaddA)(DaddA)
Mister could you sell me a pony (G), to carry me (D) home (D).
I'm tired of being afoot, I'm (G) tired of being a (D) lone (D).
The (A) winds are gettin’ cold now, (G) hope I ain't waited too (D) long.
(A) Mister could you sell me a pony, to carry me (Bm) home.
(G) Oh-oh (D) sell me a (A) pony to carry me (D) home (D)(D)(D).
Make him deep in the heart girth, he's gotta (G) go many a (D) mile (D).
I need him to be good footed, I (G) need him just a little bit (D) wild (D).
We gotta (A) cross, many a mountain, before I (G) see my baby (D) smile.
(G) Oh-oh (D) sell me a (A) pony to carry me (D) home |D|.
Open the (Bm) gates (Bm), swing it (D) wiiide. No time to (Em) waste (Em),
My (G) baby’s waiting for me on the (A) other siiiide.
And (D) Mister do you have a saddle (G), that I could (D) ride (D)?
It’s been a long time since it was mounted, been a (G) long time since I (D) tried (D).
(A) Nothin’ like a good ol’ A-fork, to (G) get me back my (D) pride.
(G) Oh-oh (D) sell me a (A) pony to carry me (D) home |D|.
Open the (Bm) gate (Bm), swing it (D) wiiide. No time to (Em) waste (Em),
My (G) baby’s waiting for me on the (A) other siiiide.
(D) Could you show me the trail, (G) show me where I went (D) wrong (D).
Where was that turn, that left me (G) out here for so (D) long (D)(D).
(A) Show me the way, to (G) get me back my (D) song.
And (A) Mister could you sell me a pony, to carry me (Bm) home.
(G) Oh-oh (D) sell me a (A) pony to carry me (G) home (G). Oh (D) hooome (D)|D|.
SELL ME A PONY (In C)
Dave Stamey
https://www.youtube.com/watch?v=YDhLh4yok90 (Capo 3)(MC2)
TIP: For the opening play a regular (C) and cover the bottom string of the 3rd fret with your pinky
to 5th fret to cover note <g>. Strum aiming for the covered 5th string <c> and then strum down to
snap the bottom string. Repeat. Or ignore it and just play (C).
INTRO: (CaddG)(CaddG)
Mister could you sell me a pony (F), to carry me (C) home (C).
I'm tired of being afoot, I'm (F) tired of being a (C) lone (C).
The (G) winds are gettin cold now, (F) hope I ain't waited too (C) long.
(G) Mister could you sell me a pony, to carry me (Am) home.
(F) Oh-oh (C) sell me a (G) pony to carry me (C) home (C)(C)(C).
Make him deep in the heart girth, he's gotta (F) go many a (C) mile (C).
I need him to be good footed, I (F) need him just a little bit (C) wild (C).
We gotta (G) cross, many a mountain, before I (F) see my baby (C) smile.
(F) Oh-oh (C) sell me a (G) pony to carry me (C) home |C|.
Open the (Am) gates (Am), swing it (C) wiiide. No time to (Dm) waste (Dm),
My (F) baby’s waiting for me on the (G) other siiiide.
And (C) Mister do you have a saddle (F), that I could (C) ride (C).
It’s been a long time since it was mounted, been a (F) long time since I (C) tried (C).
(G) Nothin like a good ol’ A-fork, to (F) get me back my (C) pride.
(F) Oh-oh (C) sell me a (G) pony to carry me (C) home |C|.
Open the (Am) gate (Am), swing it (C) wiiiide. No time to (Dm) waste (Dm),
My (F) baby’s waiting for me on the (G) other siiiide.
(C) Could you show me the trail, (F) show me where I went (C) wrong (C).
Where was that turn, that left me (F) out here for so (C) long (C)(C).
(G) Show me the way, to (F) get me back my (C) song.
And (G) Mister could you sell me a pony, to carry me (Am) home.
(F) Oh-oh (C) sell me a (G) pony to carry me (F) home (F). Oh (C) hooome (C)|C|.
SET 'EM UP JOE
Vern Gosdin
https://www.youtube.com/watch?v=RGMDbOZlQfE (Capo 0)(MC0)
TIP: For the notes in the intro, form and hold (D). Pick the covered 3rd string <a>, extend your
pinky over to the 3rd fret/4th fret and pick again, lift the pinky and pick the covered 2nd
string <d> and strum (D).
TIP: The extra chords at the end of a line are timing place-holders. You'll see what I mean when
you play it. And the one (D/A) can be skipped if you wish.
TIP: "E.T."? Why Ernest Tubb of course.
INTRO: <a>--<d>-(D)(D)(G)(D), (D)(D)(G)(D), |D|...|D|...|D|
They got a (D) vintage Victrola Nineteen (G) Fifty (D) One (D)(D).
Full of my favorite records that I (G) grew up (D) on (D)(D).
They got ole Hank and Lefty and there's (G) B twenty (D) four.
Set 'em up Joe and play (G) "Walking the (D) Floor."
Set 'em up Joe and play (G) "Walking the (D) Floor (D)(D)."
I'm gonna (G) spend the (A) night like every (D) night before,
(A) Playin' E.T. and I'll (D) play 'em some more.
I've (G) gotta have a (A) shot of them (D) old Touba (Bm) dours (Bm)(Bm).
Yeah (D) Set 'em up Joe and play (G) "Walking the (D) Floor."
Set 'em up Joe and play (G) "Walking the (D) Floor (D)." (D)(D)(G)(D), (D)(D)(G)(D), (D)(D)
All my (D/A) neon (D) neighbors they (G) like what I (D) play (D)(D).
'Cause they've heard it every night since (G) you've walked a (D) way (D)(D).
Every day they replace old (G) B twenty (D) four
'Cause every night I run a needle through (G) "Walking the (D) Floor (D)."
Every night I run a needle through (G) "Walking the (D) Floor (D)(D)."
I'm gonna (G) spend the (A) night like every (D) night before,
(A) Playin' E.T. I'm gonna (D) play 'em some more.
I've (G) gotta have a (A) shot of them (D) old trouba (Bm) dours (Bm)(Bm).
(D) Set 'em up Joe and play (G) "Walking the (D) Floor."
Set 'em up Joe and play (G) "Walking the (D) Floor." (D)(D)
I said "Set 'em up Joe and play (G) "Walking the (D) Floor."
Set 'em up Joe and play (G) "Walking the |D| Floor."
(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)(MC5)
TIP: The intro is a smidge tricky but there's an easy way to play it. It starts by picking three
notes: 2nd string/3rd fret <d>, open bottom string <e>, and bottom string 2nd fret <f#>. Then you
play a (G) and a (G7) and then five single strummed chords. From the first (G7), hold form and add
your pinky to the bottom string/3rd fret for (G), then just lift off and you're right back at (G7),
next lift off the pinky and strum (G-) enroute to the (Gadd), and then the final (C). Pretty easy.
TIP: The chorus ends with a single strum of |G| followed by three picked notes. They're the same
notes as the intro but this time they're played in the middle register on the 4th string and that's
what the numbers after the notes mean: 4th string/Open <d>, 4th string/2nd fret <e>, and 4th
string/4th fret <f#>.
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: <d><e><f#> (G)(G7)(G)-(G7)-(G-)-(Gadd)-(C)
Comb your hair and paint and powder. (F) You act proud and I'll act prouder.
(G) You sing loud and I'll sing louder. Tonight we're settin' the woods on fire.
(C) You my gal and I'm your feller. (F) Dress up in your frock of yeller.
(G) I'll look swell but you'll look sweller. Settin' the woods on (C) fire.
We'll (F) take in all the honkey tonks. Tonight we're having (C) fun.
We'll (D7) show the folks, a brand new dance, that |G| never has been done.
<d><e><f#> (4/O, 4/2, 4/4)
(C) I don't care who thinks we're silly. (F) You be Daffy and I'll be Dilly.
We'll (G) order up two bowls of chili. Settin' the woods on (C) 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)
I'll gas up my hot rod stoker. (F) We'll get hotter than a poker.
(G) You'll be broke but I'll be broker. Tonight we're settin' the woods on fire.
(C) We'll sit close, to one another. (F) Up one street and down the other.
(G) Wee-e'll have a time oh brother. Settin' the woods on (C) fire.
We'll (F) put aside a little time, to fix a flat or (C) two.
My (D7) tires and tubes are doin' fine, but the |G| air is showin' through.
<d><e><f#> (4/O, 4/2, 4/4)
(C) You clap hands, and I'll start bowing. (F) We'll do all the law's allowin'.
To (G) morrow I'll be right back plowin'. Settin' the woods on (C) fire.
SEVEN BRIDGES ROAD - Eagles
(Young)
https://www.youtube.com/watch?v=NTvT4JNACss (Capo 0)(MC3)
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. And don't sweat the (CaddG) and (Gadd) in the bridge. They're just the
addition of one finger but the major chords can be played instead if too cumbersome.
|D| There, are |C| stars, in the |G| sou-thern |D| sky.
|D| South-ward, |C| as, you |G| go-|D|-oh.
|D| There, is |C| moon-light and |G| moss, in the |D| trees,
Down the |D| Se-ven |C| Bri-dges |G| Ro- |D| -oad.
(D)(C)(G)(D)(D)
Now I, have (C) lo-oved, (G) you, like a (D) baby.

Like, some (C) lone-some (G) chi- (D) ild.
And I, have (C) lo-oved, (G) you, in a (D) tame way,
And I, have (C) loved, you (G) wi- (D) -ld.
(CaddG) Sometimes, there's, a (D) part, of me,

Has to (CaddG) turn, from (Gadd) here, and (D) go.
(CaddG) Running, like a child, from (D) these, warm stars,
Down the Se-ven (C) Brid-ges (G) Ro- |D| -oad.
|D| There, are |C| stars, in the |G| sou-thern |D| sky.
And if |D| ever, you de- |C| -cide, you should |G| go- |D| -oh.
|D| There, is a |C| taste, of |G| thyme, sweetened |D| honey.
Down the |D| Se-ven |C| Brid-ges |G| Ro- |D| -oad.

SHALLOW - Bradley Cooper & Lady Gaga
(Wyatt/Rossomando/Ronson/Germanotta)
https://www.youtube.com/watch?v=bo_efYhYU2A (Capo 0)(MC2)
TIP: The intro really should be finger picked but (Em/D) is just (Em) with pinky added to the 2nd
string/3rd fret. And for the (C)-(Cadd)-(C)-(Cadd) it’s just (C) with the pinky added to and
removed from that same 2nd string/3rd fret.
INTRO: (Em/D)(D)(Gadd), (C)-(CaddD)-(C)-(Cadd) |Gadd|-|Gadd|, (D)(Gadd)(D)
(Em) Tell me some (D) thin' (G) girl, (C) are you happy in this mo (G) dern (D) world?
(Em) Or do you (D) need (G) more? (C) Is there somethin' else you're sear (G) chin' (D) for?
(Em) I'm, (D) fall (G) in'.
(CaddD) In all the good (C) times I (D) find myself a long (Em) in', (D) for (G) change.
(CaddD) And in the bad (C) times I (D) fear myself.
(Gadd)(D)(Gadd), (Gadd)(D)(Gadd)
(Em) Tell me some (D) thing (G) boy, (C) aren't you tired tryin' to fill (G) that (D) void?
(Em) Or do you (D) need (G) more? (C) Ain't it hard keepin' it so (G) hard (D) core?
(Em) I'm, (D) fall (G) ing.
(Cadd) In all the good (C) times I (D) find myself long (Em) ing, (D) for (G) change.
(Cadd) And in the bad (C) times I (D) fear myself.
(Am) I'm off the deep end (D) watch as I dive in. (G) I'll never (D) meet the (Em) ground.
(Am) Crash through the surface (D) where they can't hurt us.
We're (G) far from the (D) shallow (Em) now.
(Am) In the sha-ha (D) sha-ha-low. (G) In the sha (D) sha la-la (Em) la-low.
(Am) In the sha-ha (D) sha-ha-low. We're (G) far from the (D) shallow (Em) now. (Em)
(Bm) Oh. Ha ah ah (Em) ahh. (A) Ah, ha ah ah (Em) ah ah (Bm) ah, ah ah ah ah (D) ahhhh (A) ahhhh.
(Am) I'm off the deep end (D) watch as I dive in. (G) I'll never (D) meet the (Em) ground.
(Am) Crash through the surface (D) where they can't hurt us.
We're (G) far from the (D) shallow (Em) now.
(Am) In the sha-ha (D) sha-ha-low. (G) In the sha (D) sha la-la (Em) la-low.
(Am) In the sha-ha (D) sha-ha-low. We're (G) far from the (D) shallow (Em) now. |Em|
(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)(MC3)
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)
Wash a (E) way my troubles, (D) wash a (A) way my pain, with the (E) rain in Shamba (A) la.
Wash a (E) way my sorrow, (D) wash a (A) way my shame with the (E) rain in Shamba (A) la.
Ah-ah (E) ooh oooh (D) oooh oooh (A) yeah. (E) Yeah yeah (D) yeah yeah (A) yeah.
Every (E) one is helpful, (D) every (A) one is kind, on the (E) road to Shamba (A) la.
Every (E) one is lucky, (D) every (A) one is so kind on the (E) road to Shamba (A) la.
How does your light shine, in the (D) halls of Shamba (A) la?
How does your light shine, in the (D) halls of Shamba (A) la? (E)(D)(A); (E)(D)(A)
I can (E) tell my sister, (D) by the (A) flowers in her eyes on the (E) road to Shamba (A) la.
I can (E) tell my brother (D) by the flowers in his (A) eyes on the (E) road to Shamba (A) la.
How does your light shine in the (D) halls of Shamba (A) la?
How does your light shine in the (D) halls of Shamba (A) la?
Tell me howwww does your light shine in the (D) halls of Shamba (A) la?
Tell me howwww does your light shine in the (D) halls of Shamba (A) la?
Ah-ah (E) ooh oooh (D) oooh oooh (A) yeah on the (E) road to (D) Shamba (A) la.
Ah-ah (E) ooh oooh (D) oooh oooh (A) yeah. (E) Shamba Shamba (A) la.
Ahha (E) ooh oooh (A) oooh yeah. On the (E) road to (D) Shamba (A) la.
(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)(MC0)
INTRO: (F)(C)(F)(G)-(C)
I have a sad story to tell you. It may hurt your feelings a (Dm) bit.
Last (G) night when I walked into my (C) bathroom, I (D7) stepped in a (G) big pile of...
(C) Shhhaving cream, be nice and clean.

(F) Shave every (C) day and you'll (G) always look (C) keen. (C)(G),(C)(G)
I (C) think I'll break off with my girlfriend. Her antics are queer I'll ad (Dm) mit.
Each (G) time I say "Darling I (C) love you," she (D7) tells me that (G) I'm full of...

Our (C) baby fell out of the window. You'd think that her head would be (Dm) split.
But (G) good luck was with her that (C) morning. She (D7) fell in a (G) barrel of...

An (C) old lady died in a bathtub. She died from a terrible (Dm) fit.
In (G) order to fulfill her (C) wishes, she was (D7) buried in (G) six feet of...

When (C) I was in France with the Army, one day I looked into my (Dm) kit.
I (G) thought I would find me a (C) sandwich, but the (D7) darn thing was (G) loaded with...

And (C) now folks my story is ended. I think it is time I should (Dm) quit.
If (G) any of you feel off (C) ended, stick your (D7) head in a (G) barrel of...

(F) Shave every (C) day and you'll (G) always look (C) keen. (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)(MC3)
TIP: There’s an isolated (Bm) in the instrumental bridge and again in the last chorus. It can
catch you out if you’re not expecting it.
INTRO: (D)(G)-(D), (D)(A)-(D); (D)(G)-(D), (D)(A)-(D)(D)
You should have seen it coming now (G) it's too (D) late,
She bought the half-price ticket on the (A) midnight (D) train.
You wouldn't understand 'cause you, (G) lie and (D) cheat,
So she wrote it out in lipstick on your (A) satin (D) sheets.
She (G) drew a broken (D) heart (D). She (G) drew a broken (D) heart (D).
Torn (G) right down the (D) middle in a (A) red jagged (D) line,
She (G) drew a broken (D) heart and put your (A) name in (D) side (D)(D)(D)(D).
She had to draw you a picture had to (G) make it sink (D) in,
A Revlon rose was her, (A) poison (D) pen.
For God's gift to women you (G) ain't-got-a (D) clue,
That red broken heart be (A) longs to (D) you.
It ain't (G) no Cupid's (D) arrow it (A) ain't no Valen (D) tine,
She (G) drew a broken (D) heart and put your (A) name in (D) side.
(G)(D)(A)(D)(G)(D)(A)(A), (G)(D)(A)(Bm),(G)(D)(A)(D)(D)(D)
No lovesick word's gonna, (G) bring her (D) back,

The buck stops here buddy, (A) that's a (D) fact.
No matter who's right, no (G) matter who's (D) wrong,
Anyway you cut it (A), she's (D) gone.
Torn (G) right down the (D) middle in a (A) red jagged (D) line,
She (G) drew a broken (D) heart and put your (A) name in (D) side.
(G) Right down the (D) middle (A) right down the (Bm) line,
She (G) drew a broken (D) heart and put your (A) naaaame in (D) side (G)(D).
Whoa-oh, (D)(A)(D) She’s gone. (D)(G)(D),(D)(A)|D|
SHE LOVES YOU - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=nGbWU8S3vzs (Capo 0)(MC0)
[Afterwards in [C] which doesn't have the (Bm) but you'll have to capo 7 to play along with the
recording.]
TIP: Regarding that (Emsus4) on "you" of "she loves you" in the third line of the verse. It's
just one note strum and you'll be carrying forward a (D7) from the end of the previous line to the
next (G) of "you". So when you get to "loves" just lift your middle finger off the <a> and move it
up one string to the <e> and strum once on your way to the (G). It's one smooth motion and part of
the chord change from (D7) to (G). If too cumbersome just omit it completely.
TIP: The |G|-|Bm|-|Em| step-down after “bad/glad” comes right after the word so move right to the
(G) from the trailing (Em).
TIP: Remember to shake your head on the "Ooooh."
INTRO: She (Em) loves you yeah yeah yeah. She (A) loves you (A7) yeah yeah yeah.
She (C) loves you yeah yeah yeah (Gadd) yeahhhhh.
You (G) think you lost your (Bm) love. Well I (D) saw her yester (D7) day.
It's (G) you she's thinkin' (Bm) of, and she (D) told me what to (D7) say.
She says she (Emsus4) loves (G) you. And you know that can't be (Em) bad |G|-|Bm|-|Em|.
Yes she (Am) loves you, and you know you should be (D) glad (D7).
She (G) said you hurt her (Bm) so. She (D) almost lost her (D7) mind.
But (G) now she says she (Bm) knows, you're (D) not the hurting (D7) kind.
She says she (Emsus4) loves (G) you. And you know that can't be (Em) bad |G|-|Bm|-|Em|.
Yes she (Am) loves you, and you know you should be (D) glad. (D7) Ooooooh!
She (Em) loves you yeah yeah yeah. She (A) loves you (A7) yeah yeah yeah.
And with a |C| love |C| like |C| that, you (D) know you (D7) should be (G) glad. (G)
You know it's up to (Bm) you. I (D) think it's only (D7) fair.
(G) Pride can hurt you (Bm) too. A (D) pologize to (D7) her.
Because she (Emsus4) loves (G) you. And you know that can't be (Em) bad |G|-|Bm|-|Em|.
Yes she (Am) loves you, and you know you should be (D) glad. (D7) Oooooh!
She (Em) loves you yeah yeah yeah. She (A) loves you (A7) yeah yeah yeah.
And with a |C| love |C| like |C| that, you (D) know you (D7) should be (G) glad. (Em)
With a |C| love |C| like |C| that, you (D) know you (D7) should be (G) glad. (Em)
With a |C| love |C| like |C| that, you |D| know you |D7| shou-ou-ould... be (G) glad. |G|-|Bm|-|Em|
(Em) Yeah yeah yeah (C). Yeah yeah yeah |Gadd| yeah.
SHE LOVES YOU - The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=nGbWU8S3vzs (Capo 7)(MC0)
TIP: (Cmaj7) is just (C) without the index finger.
TIP: The |C|-|Em|-|Am| step-down after “bad/glad” comes right after the word so move right to the
(C) from the trailing (Dm7).
TIP: Begin singing the intro with "loves" on <a>, third string/third fret, and "you" on <c>, 2nd
string/2nd fret. And remember to shake your head on the "Ooooh."
INTRO: She (Am) loves you yeah yeah yeah. She (D) loves you (D7) yeah yeah yeah.
She (F) loves you yeah yeah yeah (C) yeahhhhh.
You think you lost your (Cmaj7) love. Well I (Em) saw her yester (G7) day.
It's (C) you she's thinking (Cmaj7) of, and she (Em) told me what to (G7) say.
She says she (Am) loves you. And you know that can't be (Dm7) bad |C|-|Em|-|Am|.
Yes she (Dm) loves you, and you know you should be (G) glad (G7).
She (C) said you hurt her (Cmaj7) so. She (Em) almost lost her (G7) mind.
But (C) now she says she (Cmaj7) knows, you're (Em) not the hurting (G7) kind.
She says she (Am) loves you. And you know that can't be (Dm7) bad |C|-|Em|-|Am|.
Yes she (Dm) loves you, and you know you should be (G) glad. (G7) Ooooh!
She (Am) loves you yeah yeah yeah. She (D) loves you (D7) yeah yeah yeah.
And with a |Dm7| love |Dm7| like {Dm7| that, you (G) know you (G7) should be (C) glad. (C)
You know it's up to (Cmaj7) you. I (Em) think it's only (G7) fair.
(C) Pride can hurt you (Cmaj7) too. A (Em) pologize to (G7) her.
Because she (Am) loves you. And you know that can't be (Dm7) bad |C|-|Em|-|Am|.
Yes she (Dm) loves you, and you know you should be (G) glad. (G7) Oooooh!
She (Am) loves you yeah yeah yeah. She (D) loves you (D7) yeah yeah yeah.
And with a |Dm7| love |Dm7| like |Dm7| that, you (G) know you (G7) should be (C) glad. (Am)
With a (Dm7) love like that, you (G) know you (G7) should be (C) glad. (Am)
With a |Dm7| love |Dm7| like |Dm7| that, you |G| know you |G7| sho-ou-ould . . .
be (C) glad |C|-|Em|-|Am|. (Am)
(Am) Yeah yeah yeah (F). Yeah yeah yeah (C) yeah.
SHE THINKS HIS NAME WAS JOHN - Reba McEntire
(Knox/Rosen)
https://www.youtube.com/watch?v=NJNWNsjHcvw (Capo 0)(MC1)
TIP: The (CaddG) can be ommitted in the third line alternating (CaddG) and (C) sequence but just
involves adding and removing the pinky to the bottom string/3rd fret to accentuate the upward
inflection at the point where Reba sings it.
TIP: At the very end is an (F8) to end the song. This is just (C) played up on the 8th fret and
is a high <c> on the piano. You can just play (C) if you want but if you play up the neck include
your pinky to cover the bass <c>.
INTRO: (C),(CaddG)(Am); (Am)(Gadd)(C); (CaddG)(Am), (G)(C)
She can account for, (Am) all of the men in (G) her (C) past.
Where they are now who they (Am) married, how many kids they (C) have.
(CaddG) She (C) knew their (Am) backgrounds, family and (C) friends.
A few (G) she (F) even talks (C) to now and (Am) then.
But (C) there is (F) one, she can't (C) put her finger on.
Ther-er is (F) o-(Am)-one, who (C) never leaves her (Am) thoughts.
And she thinks, his (F) name, (G) was (C) John. (Am)(C)
A chance meeting, a (Am) party a few (G) years (C) back.

Broad shoulders and (Am) blue eyes, his hair was so (C) black.
(CaddG) He (C) was a (Am) friend of a friend you could (C) say.
She let (G) his (F) smile just, (C) sweep her a (Am) way.
And in her (F) heart, though she (C) knew that it was wrong.
But too much (F) wi-(Am)-ine, and she (C) left his bed at (Am) dawn.
And she thinks, his (F) name (G) was (C) John.
(C)(CaddG)(F)(C); (C)-(F)(F)(C),(C)(F)
(C) Now each day, is (Am) one day, that's left in (G) her (C) life.
She won't know love, have a (Am) marriage, or sing lulla (C) bies.
(CaddG) She (C) lays a (Am) lone and cries herself to (C) sleep.
Cause she let a (G) stran (F) ger kill-her- (C) hopes and her (Am) dreams.
And all her (F) friends, say what a (C) pity what a loss.
And in the (F) en-(Am)-end, when she was (C) barely hangin' (Am) on.
All she could say-ay is she (F) thinks, his (G) name was (F) John.
She (C) thinks, his (F) name, (G) was, (C) John. <pause> (C),(CaddG)-(Am),(Am)(Gadd), |C| or |F8|
(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)(MC1)
TIP: The intro opens with three notes: Open 4th string <d>, 4th string/4th fret <f#>, and open
3rd string <g>.
INTRO: <d><f#><g> (G) She thinks (D) I still (G) care (C)(G).
Just because I (C) ask a friend a (G) bout her.

Just because I (D7) spoke her name some (G) where.
Just because I rang her (G7) number by mis (C) take today.
(G) She thinks (D) I still (G) care. (D)
(G) Just because I (C) haunt the same old (G) places.
Where the mem'ry of her (D7) lingers ev'ry (G) where.
Just because I'm not, the (G7) happy guy I (C) used to be.
(G) She thinks (D) I still (G) care. (D)
But (C) if she's happy thinking I still (G) need her.

Then let that silly notion bring her (D) cheer.
But (C) how could she ever be so (G) foolish?
Oh (A7) where would she get such an i (D7) dea?
(G) Just because I (C) ask a friend a (G) bout her.

And just because I (D7) spoke her name some (G) where.
Just because I saw her (G7) then went all to (C) pieces.
(G) She thinks (D7) I still (G) care. She thinks (D7) I still (C) care-(G)-are.
SHE'S IN LOVE WITH THE BOY - Trisha Yearwood
(Ims)
https://www.youtube.com/watch?v=mUFObCZtGWQ (Capo 1)(MC3)
TIP: Moving from (Bm) to (A) is a little quick. If need be you can play a (D) instead of (Bm).
INTRO: (D)(D)(G)(A), (D)(D)(G)(A)
(D) Katie's sittin' on her (A) old front (G) porch,

(D) Watchin' the chickens peck the (G) ground (A).
(D) There ain't a whole lot goin' (A) on to (G) night, (Bm) in this (A) one horse (G) town.
(D) Over yonder (A) comin' up the (G) road, (D) in a beat up Chevy (G) truck (A).
(D) Her boyfriend Tommy is (A) layin' on the (G) horn,
(Bm) Splashing through the (A) mud and the (G) muck.
(D) Her daddy say's, (G) he ain't worth a (A) lick.

(D) When it comes to brains he got the (G) short end of the (A) stick.
(D) But Katie's young and man she (G) just don't (A) care,
(D) She'd follow Tommy, (G) any (A) where.
She's in (D) love with the boy (G)(A). She's in (D) love with the boy (G)(A).
She's in (D) love with the boy (G)(A). And (Em) even if they (G) have to run a (A)way,
She's gonna (G) marry that (A) boy some (D) day. (D)(G)(A), (D)(G)(A)
(D) Katie and Tommy at the (A) drive in (G) movie, (D) parked in the very last (G) row (A).
(D) They're too busy holding (A) on to one a (G) nother, (Bm) to even (A) care about the (G) show.
(D) Later on outside the (A) Tasty (G) Freeze, (D) Tommy slips something on her (G) hand (A).
(D) He says my high school ring will (A) have to (G) do,
(Bm) 'Til I can (A) buy a wedding (G) band.
(D) Her daddy say's (G) he ain't worth a (A) lick.
(D) When it comes to brains he got the (G) short end of the (A) stick.
(D) But Katie's young and man she (G) just don't (A) care,
(D) She'd follow Tommy, (G) any (A) where.
She's in (D) love with the boy (G)(A). And (Em) even if they (G) have to run a (A)way,
She's gonna (G) marry that (A) boy some (D) day. (D)(G)(A), (D)(G)(A)(Em)(G)(D)(D)
(D) Her Daddy's waitin up 'til (A) half past (G) twelve,
(D) When they come sneakin' up the (G) walk (A).
(D) He says young lady get on (A) up to your (G) room,
(Bm) While me and (A) junior have a (G) talk.
(D) Momma breaks in (G) says don't lose your tem (A) per, (D) it wasn't very long a (G) go (A).
(D) You yourself was just a (G) hay seed (A) plow boy, (Bm) who didn't (A) have a row to (G) hoe.
(D) My daddy said you (G) wasn't worth a (A) lick.

(D) When it came to brains you got the (G) short end of the (A) stick.
(D) But he was wrong and honey (G) you are (A) too,
(D) Katie looks at Tommy like (G) I still look at (A) you.
She's in (D) love with the boy (G)(A). What's (Em) meant to be will (G) always find a (A)way.
She's in (D) love with the boy (G)(A). What's (Em) meant to be will (G) always find a (A)way,
She's gonna (G) marry that (A) boy some (D) day. (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)(MC0)
TIP: The chords aren't difficult, and it really doesn't matter if you play an (Am) or an (Am7), or
a (D) or (D6), or an (Em) or (Em7) but it's the rhythm that's everything. Just keep the (Am)(D)
sequences moving.
INTRO: (Am)(D)(Am)(D)(Am)-(D); (Am)(D)(Am)(D)(Am)-(D)
(Am) Well no one (D) told me a (Am7) bout (Am) her-(D)-er (Am), the (F) way she lied (Am)(D6)(Am).
Well no one (D) told me a (Am) bout her (D), how many (F) people cried (A)(A).
But it's too (Dm) late to say you're (Am) sorry. How would I (Em) know, why should I (Am) care?
Please don't (Dm) bother tryin' to (C) find her, she's not |E| there |E||E||E||E||E||E||E|.
Well (E7) let me tell you 'bout the (Am) way she looked,
(D) The way she (Am) acts and the (F) color of her (Am) hair.
(D) Her voice was (Am) soft and cool, (F) her eyes were (Am) clear and bright,
(D) But she's not |A| there |A||A||A||A||A||A||A||A|.
(Am)(D)(Am)(D)(Am)-(D); (Am)(D)(Am)(D)(Am)-(D)
(Am) Well no one (D) told me a (Am7) bout (Am) her-(D)-er (Am), what (F) could I do (Am)(D6)(Am)?
(Am) Well no one (D) told me a (Am) bout her (D), though (F) they all knew (A).
But it's too (Dm) late to say you're (Am) sorry. How would I (Em) know, why should I (Am) care?
Please don't (Dm) bother trying to (C) find her, she's not |E| there |E||E||E||E||E||E||E|.
(Am)(Am)(Am)(Am)(Am)(Am)(Am) |A| x 12
|A| But |A| it's |A| too (D) late to (Dm) say you're (Am) sorry.
How would I (Em) know, (Em7) why should I (Am) care?
Please don't (D) bother trying to (C) find her, she's not |E| there |E||E||E||E||E||E||E|.
(The Zombies) (Artist Index) - (Main Index) - (Song Index) (This Song)
SHOOTING STAR – Bad Company
(Rodgers)
https://www.youtube.com/watch?v=0kEDa6bXnA8 (Capo 0)(MC3)
TIP: The intro is a tad uncomfortable because of that (D/A) which is just (D) with the pinky added
to the 4th string/4th fret <f#>. You can get away with just playing (D) but the (D/A) does sound
better. BTW, 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|, |A|-|E|, |G|-|D|-|D/A|-|A|; |D/A|-|A|, |A|-|E|, |G|-|D|-|D/A|-|A|
(A) Johnny was a (E) schoolboy, when he (D) heard his first Beatle (A) song.
Love me (E) do I think it was and from (D) there it didn't take him (A) long.
Got himself a (E) guitar, used to (D) play, every (A) night.
Now he's in a (E) rock 'n' roll outfit and (G) every (D) thing's (G) all (A) right,
(D) Don't you (E) know (D)(E)?
(A) Johnny told his (E) Mama, ‘Hey (D) Mama I'm goin' a (A) way.
I'm gonna hit the (E) big time, gonna (D) be a big star some (A) day yeah.'
Mama came (E) to the door with a (D) teardrop in her (A) eye.
Johnny said (E) ‘Don't cry mama, (D) smile and wave good (A) bye.'
(D) Don't you (E) know, (D) yeah (E) yeah.
Don't you (D) know that you are a (A) shooting star.
(D) Don't you (E) know, (D) don't you (E) know.
And (G) all the world will love you just as (D) long, as long as you (E) are (D)(E).
(A) Johnny made a (E) record, went (D) straight up to number (A) one.
Suddenly (E) everyone loved to (D) hear him sing the (A) song.
Watching the (E) world go by, (D) surprising it goes so (A) fast.
Johnny looked a (E) round him and said 'Well I (D) made the big time at (A) last.'
(D) Don't you (E) know, (D) whoa, (E) yeah.
Don't you (D) know that you are a (A) shooting star yeah.
And (G) all the world will love you just as (D) long, as long as you (E) are,
(D) A shooting (E) star.
(Bm)(E), (F#m)(E), (Bm)(E), (F#)(E) Don't you (D) know that you are a (A) shooting star,
(D) Don't you (E) know, (D) ahhh-ah (E) hah.
Don't you (D) know that you are a (A) shooting star now.
And (G) all the world will love you just as (D) long, as long as you (E) are (E).
(A) Johnny died (E) one night, (D) died in his (A) bed.
Bottle of (E) whiskey, sleeping (D) tablets by his (A) head.
Johnny's life (E) passed him by like a (G) warm (D) summer (A) day.
If you listen to the (E) wind you can (D) still hear him (A) play.
(E) Whoa-(D)-oh-(E)-oh. Don't you (D) know that you are a (A) shooting star,
Don't you (D) know that you are a (A) shooting star, don't (E) youuu know.
(D)(E) Don't you don't you don't you don't you know don't you know.
Don't, you, (D) know-oh-oh that you (A) are, a shooting (E) star (E).
Oh-oh-oh, oh (D) oh woh woh woh woh, (A) oh woh woh woh woh (D) woh (E) woh. Woh.
Don't you don't you (D) know, that you are, a (A) shooting star, (D) don't you don't you (E) know.
Know know know know. Know know (D) know know know know know know know (A) know know know know
(E) know (E).
Nah nah (D) nah nah nah nah nah nah (A) nah nah nah nah (D) nah-nah (E) nah (E). (E) Whoo.
Nah (D) nah nah nah nah nah nah (A) nah nah nah nah nah nah (E) nah (A)(E) whoo.
Nah nah (D) nah nah nah nah nah nah (A) nah nah nah (D) nah-nah (E) nah (A)(E). (E) Whoo.
Nah nah (D) nah nah nah nah nah nah (A) nah nah nah nah nah (E) nah (E). (E) Whoo.
Nah nah (D) nah nah nah nah nah nah (A) nah nah nah nah nah (E) nah (E). |E|.
(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)(MC2)
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) Don't mean to (C) get a little (G) forward with you.
(D) Don't mean to (C) get ahead of (G) where we are.
(D) Don't mean to (C) act a little (G) nervous around you.
I'm (D) just a little (C) nervous a (G) bout my heart 'cause. (C)
It's been a (D) while since I (G) felt this feeling. (C)
If every (D) thing that you (G) do gives me. (C)
It's been too (D) long since (G) somebody whispered, (C)
Woo (D) oo (G) “Shut up and kiss me.” (D)(C)(G)(G), (D)(C)(G)(G)
(D) Didn't ex (C) pect to be in (G) this position.

(D) Didn't ex (C) pect to have to (G) rise a-bove.
(D) My reput (C) ation for (G) cynicism,
I've (D) been a jaded (C) lady when it (G) comes to love but. (C)
Whoa (D) baby just to (G) feel this feeling. (C)

That every (D) thing that (G) you do gives me. (C)
Oo (D) ooh (G) “Shut up and kiss me.” (A)
There's something about the silent type, (C) attracted (D) me to (G) you.
(A) All the business baby none of the hype,
(C) That no talker can live up to (D) ooh (C) ooh (G) 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) Come (C) closer baby (G) I can't hear you.

(D) Just a (C) nother whisper (G) if you please.
(D) Don't (C) worry 'bout the (G) details darlin',
You've (D) got the kind of (C) mind I (G) love to read.
(D) Talk is (C) cheap and baby (G) time's expensive,

(D) So why (C) waste another (G) minute more?
(D) Life's too (C) short to be so (G) apprehensive.
(D) Love's as much the (C) symptom darlin' (G) as the cure. (C)
Oh (D) baby when I (G) feel this feeling. (C)

It's like (D) genuine (G) voodoo hits me. (C)
Oo (D) ooh (G) hoo-ooh. (G)(C)
Oh (D) baby I can (G) feel this feeling, (C)

That every (D) thing that (G) you do gives me. (C)
Woo (D) oo (G) “Shut up and kiss me.” (C)
Oo (D) ooh (G) hoo-ooh. (G)(C)
Oo (D)ooh (G) “Shut up and kiss me.” (C)(D)|G|-|G|-|G|-|G|
SIGNS – Five Man Electrical Band
(Emmerson)
https://www.youtube.com/watch?v=oeT5otk2R1g (Capo 0)(MC2)
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.
TIP: In the intro it's basically (Am) for a bit then add single strums of |Am| and |Asus|
transitional (Asus) before moving on to the (D) sequence. For (Dsus2) just lift off the bottom
finger from the (D). For (D4) add your pinky to the bottom string/3rd fret while maintaing the (D)
form.
TIP: The (D) chord sequence in the intro repeats as a short instrumental bridge.
INTRO: <drums> (A)(A)(A)(A)(A)(A) |Am||Am||Asus|,|Asus|-|Asus|-|Asus|-|Asus|-|Asus|

(D)-(D),(Dsus2)-(D) (D)-(D), (D4)-(D) (D)-(D), (Dsus2)-(D) (D)-(D)
And the (Am) sign, said, (G) “Long haired freaky people, (D) needn't ought a (G) pply.”
So (D) I tucked my hair up (A) under my hat, and I (G) went in to ask him (A) why.
(Bm) He said “You look like a fine upstanding young (G) man, I think you'll do.”
So I (D) took off my hat I said (A) “Imagine that, huh, (Gadd) me working for (A) you. Whoa!”
(D) Sign, sign, (C) everywhere a (G) sign. (D) Blocking out the scenery (G) breaking my mind.
(D) “Do this don't do (A) that.
Can't you read the (C) si-iiiiii-(D)-ign?” (D)-(D),(Dsus2)-(D) (D)-(D), (D4)-(D) (D)-(D),
(D)-(D)(Dsus2)-(D)(D)-(D)
And the (C) sign said anybody (G) caught trespassin', (D) would be shot on (G) sight.
So I (D) jumped on the fence and (A) yelled at the house,
“Hey, (Gadd) what gives you the (A) right,
To (Bm) put up a fence to keep me out, or to (G) keep mother nature in?
If (D) God was here he'd (A) tell you to your face, (Gadd) man you're some kind of (A) sinner.”
(D) “Do this don't do (A) that.
Can't you read the (C) si-iiiiii-|D|-ign?” |D|-|D|-|D|-|G|-|G|-|G|-|G|-|A|-|A|
Now (A) hey you mister can't you read?

You (G) got to have a shirt and (D) tie to get a seat.
You can't even watch no (A) you can't eat. (G) You ain't suppose to (D) be, heeeeer-eeeere.
The (C) sign said “You (G) got to have a membership (D) card to get in (G) side.” Oooh!
(D)(C)(G), (D)(G)(D)(A)(C)(C), (D)-(D)(D4)-(D),(D)-(D), (D)(D)
And the (Am) sign said (G) “Everybody welcome, come (D) in, kneel down and (G) pray.”
But when they (D) passed around the plate at the (A) end of it all,
I (G) didn't have a penny to (A) pay.
So I (Bm) got me a pen and a paper, and I (G) made up my own little sign.
I said (D) “Thank you Lord for (A) thinking about me. I'm a (Gadd) live and doing (A) fine.”
(D) “Do this don't do (A) that. Can't you read the (C) siiiign?”
(D) Sign, sign, (C) everywhere a (G) sign. (D)(G)(D)(A)(C) Si-iiiiii-ign. (D) 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)(MC2)
INTRO: (A)(A)(A)-(E)-|A|
I don't (A) want your lonely mansion with a (D) tear in every room.
All I want's the love you (A) promised, beneath the haloed (E) moon.
But you (A) think I should be happy with your (D) money and your name,
And hide myself in (A) sorrow while you (E) play your cheatin’ (A) game |A|.
Silver (D) threads and golden needles cannot (A) mend this heart of mine.
And I dare not drown my sorrow, in the warm glow of your (G) wi-(E)-ne.
You can't (A) buy my love with money, cause I (D) never was that kind.
Silver threads and golden (A) needles cannot (E) mend this heart of (A) mine.
(A)(A)(D)(A); (A)(A)(G)(E); (A)(A)(D), (D)(A)(E)(A)
Silver (D) threads and golden needles cannot (A) mend this heart of mine.
And I dare not drown my sorrow, in the warm glow of your (G) wi-(E)-ine.
You can't (A) buy my love with money cause I (D) never was that kind.
Silver threads and golden (A) needles cannot (E) mend this heart of (A) mine.
Silver (D) threads and golden (A) needles cannot (G) mend, (D) this heart of (A) mi-(G)-ne (D)|A|.
SIMPLE SONG
Lyle Lovett
https://www.youtube.com/watch?v=UsKt9klQm0Y (Capo 5)(MC3)
[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)
It's a simple (C) song for simple (G) feeling.

(Am) You see the (C) moon and watch it (E) rise.
(F) Across the (C) continent, the (G) night bird sings.
(Am) And somewhere (E7) someone hears its (Am) cry (C)(G)(G). (Am)(E7)(Am)
So disill (C) usioned keep your (G) head down.

(Am) And if you (C) do they'll never (E) know.
(F) You'll have no (C) answers to their (G) questions.
(Am) They will (E7) have to let you (Am) go (Am).
And disen (C) franchised revol (G) ution.

(Am) They'll take a (C) way by right what's (E) yours.
(F) And make you (C) martyrs of your (G) own cause (Am),
When they don't (E7) know what cause it's (Am) for (Am).
And all de (C) serted stand a (G) lerted.

(Am) They'll love you (C) when you're all a (E) lone.
(F) But you find a (C) red rose in the (G) morning light (G) (Am),
You wait the (E7) night, and find it (Am) gone (C)(G)(G). (Am)(E7)(Am)
So hear my (C) words with faith and (G) passion.
(Am) For what I (C) say to you is (E) true.
(F) And when you (C) find the one you (G) might become (G)(Am).
Remember (E7) part of me is (Am) you (C) mmmm (G) mmm.
(Am) Remember (E7) part of me is (Am) you.
SIMPLE SONG
Lyle Lovett
https://www.youtube.com/watch?v=UsKt9klQm0Y (Capo 0)(MC0)
TIP: Play (A) with your bottom three fingers. It'll make the move to the (Bb) easier.
INTRO: (Dm)(F)(C), (Dm)(A7)(Dm)
It's a simple (F) song for simple (C) feeling.

(Dm) You see the (F) moon and watch it (A) rise.
(Bb) Across the (F) continent, the (C) night bird sings.
(Dm) And somewhere (A7) someone hears its (Dm) cry (F)(C)(C). (Dm)(A7)(Dm)
So disill (F) usioned keep your (C) head down.

(Dm) And if you (F) do they'll never (A) know.
(Bb) You'll have no (F) answers to their (C) questions.
(Dm) They will (A7) have to let you (Dm) go (Dm).
And disen (F) franchised revol (C) ution.

(Dm) They'll take a (F) way by right what's (A) yours.
(Bb) And make you (F) martyrs of your (C) own cause (Dm),
When they don't (A7) know what cause it's (Dm) for (Dm).
And all de (F) serted stand a (C) lerted.

(Dm) They'll love you (F) when you're all a (A) lone.
(Bb) But you find a (F) red rose in the (C) morning light (C)(Dm),
You wait the (A7) night, and find it (Dm) gone (F)(C)(C). (Dm)(A7)(Dm)
So hear my (F) words with faith and (C) passion.
(Dm) For what I (F) say to you is (A) true.
(Bb) And when you (F) find the one you (C) might become (C)(Dm).
Remember (A7) part of me is (Dm) you (F) mmmm (C) mmm.
(Dm) Remember (A7) part of me is (Dm) you.
SINGING THE BLUES - Marty Robbins
(Endsly)
https://www.youtube.com/watch?v=TNe-K2jwwWs (Capo 3)(MC3)
TIP: The intro is a three-note pick and a strum of (D). Start by forming (D/A) with your pinky on
the 4th string/4th fret <f>. Now lift off the index finger from the 3rd string/2nd fret so the 3rd
string is now open. Okay, now pick the covered 4th string <f#>, pick the open 3rd string <g> while
lifting off the pinky, replace the indes finger (chord (D)) and strum the bottom 3 strings, and
finish with a good thump of the open 4th string <d>.
INTRO: <f><g>(D)-<d>
(NC) Well, I, (D) never felt more like (G) singin' the blues,
'Cause (D) I never thought, that (A) I'd ever lose, your (G) love dear.
(A) Why'd you do me this (D) way?
Well I never felt more like (G) cryin' all night,

'Cause (D) everything's wrong, and (A) nothin' ain't right, with (G) out you.
(A) You got me singin' the (D) blues (D).
The (G) moon and stars no (D) longer shine.

The (G) dream is gone I (D) thought was mine.
There's (G) nothin' left for (D) me to do, but cry-y-y over (A) you (A).
Well I (D) never felt more like (G) runnin' away,

But (D) why should I go, 'cause (A) I couldn't stay with (G) out you.
(A) You got me singin' the (D) blues.
(D) (G) (D) (A) (G) (A) (D)(D); (D) (G) (D) (A) (G) (A) (D)(D)
Well I never felt more like (G) singin' the blues,

'Cause (D) I never thought, that (A) I'd ever lose, your (G) love dear.
(A) Why'd you do me this (D) way?
Well I never felt more like (G) cryin' all night,
'Cause (D) everything's wrong, and (A) nothin' ain't right with (G) out you.
(A) You got me singin' the (D) blues.
The (G) moon and stars no (D) longer shine.

And the (G) dream is gone that I (D) thought was mine.
There's (G) nothin' left for (D) me to do, but cry-y-y over (A) you (A).
Well I (D) never felt more like (G) runnin' away,

But (D) why should I go, 'cause (A) I couldn't stay with (G) out you.
(A) You got me singin' the (D) blues. |D|-|G|-|A|-|D|, |D|-|D|
SINNER MAN - The Seekers
(Hays/Hellerman/Darling/Gilbert/Traditional)
https://www.youtube.com/watch?v=YR1zvvysdB8 (Capo 0)(MC0)
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) Oh sinner man where you gonna run to, (D) oh sinner man where you gonna run to,
(Em) Oh sinner man where you gonna run to, all (D) on that (Em) day.
Oh sinner man where you gonna run to, (D) oh sinner man where you gonna run to,
Run from the light, Satan's gonna see you (D) run from the light, Satan's gonna see you,
(Em) Run from the light, Satan's gonna see you, all (D) on that (Em) day.
Oh don't make a sound the Devils' gonna hear you,

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

(D) Lord said "Sinner man you should'a been a prayin'."
(Em) Lord said "Sinner man you should'a been a prayin'." All (D) on that (Em) day.
The Devil said "Sinner man step right in." The (D) Devil said "Sinner man step right in."
The (Em) Devil said "Sinner man step right in." All (D) on that (Em) 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) Dig in the ground the Devil won't catch you. All (D) on that (Em) day.
Oh sinner man wherrre you gonna run, (D) oh sinner man wherrre you gonna run,
(Em) Oh sinner man wherrre you gonna run, all (D) on that (Em) day.
Oh sinner man where you gonna run to, (D) oh sinner man, where you gonna run to,
Where you goin', (D) sinner man; (Em) Where you goin', (D) sinner man;
(Em) Where you goin', (D) sinner man; (Em) Where you goin', (D) sinner man;
(Em) Where you goin', (D) sinner man; |Em|
(Traditional)(Spiritual) (The Seekers)(Artist Index) - (Main Index) - (Song Index) (This Song)
SIXTEEN TONS - Tennessee Ernie Ford
(Travis)
https://www.youtube.com/watch?v=zUpTJg2EBpw (Capo 2)(MC2)
INTRO: (Am)(Am)(E7)(Am)
|Am| Sommmmmmme (Am) people say a man is (F) made outta (E) mud.
A (Am) poor man's made outta (F) muscle and (E) blood.
(Am) Muscle and blood and (Dm) skin and bones,
A (Am) mind that's a-weak and a back that's (E) strong.
You load (Am) sixteen tons, (F) what do you (E) get?
A (Am) nother day older and (F) deeper in (E) debt.
Saint (Am) Peter don't you call me 'cause (Dm) I can't go.
I (Am) owe my soul to the (E7) company (Am) store. (Am)(Am)(E7)(Am)
|Am| I-iiiiiii was (Am) born one mornin' when the (F) sun didn't (E) shine.
I (Am) picked up my shovel and I (F) walked to the (E) mine.
I loaded (Am) sixteen tons of (Dm) number nine coal
And the (Am) straw boss said "Well a bless my (E) soul."
|Am| I-iiiiii was (Am) born one mornin', it was (F) drizzlin' (E) rain.
(Am) Fightin' and trouble are (F) my middle (E) name.
I was (Am) raised in the canebrake by an (Dm) old mama lion.
Cain't no-a (Am) high-toned woman make me walk the (E) line.
|Am| Iiiiiiiif you (Am) see me comin', better (F) step a (E) side.
A (Am) lotta men didn't, a (F) lotta men (E) died.
(Am) One fist of iron, the (Dm) other of steel.
If the (Am) right-one-don't-en-get-you then the left one (E) will.
Saint (Am) Peter don't you call me 'cause |Dm| I can't go-ooooooo. <pause>
I (Am) owwwwwwe myyy so-ou-oulllll, to the (E) company (Am) store.
(Am)(Am)(E7)(Am), <gently> (F5)
(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)(MC2/3)
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)
From the corners of the country, from the (D) cities and the (G) farms.
With (Em) years and years of (C) livin' tucked up, (G) underneath their (D) arms.
They (Em) walk away from (C) everything just to (G) see a dream come (C) true.
So God (G) bless the (D) boys who (Em) make the noise on (C) 16th (D) Ave (G) nue.
With a million dollar spirit, and an (D) old flattop gui (G) tar.
They (Em) drive to town with (C) all they own in a, (G) hundred dollar (D) car.
'Cause (Em) one time someone (C) told them about a (G) friend of a friend they (C) knew,
Who (G) owns you know a (Em) studio on (C) 16th (D) Ave (G) nue.
Now some were born to money, they've never (D) had to say "Sur (G) vive".
And (Em) others swing a (C) nine pound hammer, (G) just to stay a (D) live.
There's (Em) cowboys drunks and (C) Christians mostly (G) white and black and (C) blue.
They've all (G) dialed the phone col (Em) lect to home from (C) 16th (D) Ave (G) nue.
(G) T2-T1-TO (Em)(D)(G)
Ah but then one night in some empty room where no (D) curtains ever (G) hung,
Like a (Em) miracle some (C) golden words rolled, (G) off of someone's (D) tongue.
And after (Em) years of being (C) nothin' they're all (G) looking right at (C) you,
And there (G) for a (D) while they'll (Em) go in style on (C) 16th (D) Ave (G) nue.
It looks so uneventful, so (D) quiet and dis (G) creet.
But a (Em) lot of lives were (C) changed down on that, (G) little one way (D) street.
'Cause they (Em) walked away from (C) everything just to (G) see a dream come (C) true,
(G) T2-T1-TO (Em)(D)(G)
From the corners of the country, from the (D) cities and the (G) farms.
With (Em) years and years of (C) livin' tucked up, (G) underneath their (D) arms.
(Em) They walk away from (C) everything just to (G) sing to me and (C) you.
(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)(MC2)
TIP: The intro has four notes in quick succession that are a little tricky. Here's how I play it
(assuming you play (G) with the middle finger on the top string): Form (G). Pick the open 3rd
string <g>, now flatten the index finger to cover and pick the 4th string/2nd fret and pick <e>,
lift off and pick the open 4th string <d>, and pick the open 3rd string <g> again and strum (G).
Of course you can forget about picking the notes at all and just go with the chords.
INTRO: <g><e><d><g> (G)(D7)-(G); <g><e><d><g> (G)(D7)-(G)
Skip a rope, (G)(D7)-(G) skip a (D) rope (D)(D7)-(D).

Oh (G) listen to the children while they (Em) play.
Now (G) ain't it kinda funny what the (Em) children say skip a (G) rope. (G)(D7)-(G)
Daddy hates Mommy, Mommy hates (Em) Dad.

(G) Last night you should'a heard the (Em) fight they had.
(G) Gave little sister, another bad (Em) dream.
She (G) woke us all up with a (Em) terrible scream skip a (G) rope (G)(D7)-(G),
Skip a (D) rope (D)(D7)-(D). Oh (G) listen to the children while they (Em) play.
Now (G) ain't it kinda funny what the (Em) children say skip a (G) rope. (G)(D)-(G), (G)(D)-(G)
Cheat on your taxes don't be a (Em) fool.

Now (G) what was that they said about a (Em) Golden Rule?
(G) Never mind the rules just play to (Em) win,
And (G) hate your neighbor for the (Em) shade of his skin skip a (G) rope (G)(D7)-(G),
Skip a (D) rope (D)(D7)-(D). Oh (G) listen to the children while they (Em) play.
Now (G) ain't it kinda funny what the (Em) children say skip a (G) rope. (G)(D7)-(G)
Stab 'em in the back that's the name of the (Em) game,
And |G| Momma, and Daddy, are who's to |Em| blame.
Skip a (G) rope (G)(D7)-(G), skip a (D) rope (D)(D7)-(D).
Just (G) listen to your children while they (Em) play.
It's really |G| not, very funny, what the children |Em| say.
Skip a (G) rope (G)(D7)-(G). Skip a rope (G)(D7)-(G). Skip a rope (G)(D7)-(G).
Skip a rope (G)(D7)-(G). Skip a rope (G)(D7)-|G|.
(Henson Cargill) (Artist Index) - (Main Index) - (Song Index) (This Song)
SLEEP ON – Alison Krauss
(Mandrell)
https://www.youtube.com/watch?v=ZVr0jxdDOVs (Capo 2)(MC3)
TIP: After the intro play the (Bm) with just three strings (2nd (Bm) diagram).
INTRO: (D)(G)(Bm)(A), (D)(G)(Bm)(A)
Could your (D) hear- (G) -rrr- (Bm) -rrrt (A) ever be (D) mine (A)(G)(A)?
Your (G) arrrms (D) hold me so (Em) close to you (G) all through the (D) night (A)(G)(A).
Your (D) ey- (G) -yy- (Bm) -yyes (A) gaze into (D) mine (A)(G)(A).
Sayin' (Bm) I should be (D) lieve you I (Em) always do (G) I don't know (D) whyyy (D)(D)|D|.
Cause you (A) taught me a lesson the (D) hard way one time.
(A) Told me you loved me but (D) then changed your mind.
I (A) never told no one how I (D) hurt down inside until (G) now (Em)(C)(G).
Sleep on (D) on (D)(C)(G).
Could your (D) hear- (G) -rrr- (Bm) -rrrt (A) ever be (D) mine (A)(G)(A)?
My (G) arrrms (D) hold you so, (Em) close to me, (G) all through the (D) night (A)(G)(A).
My (D) hear- (G) -rrr- (Bm) -rrrt (A) warned me this (D) time (A)(G)(A).
But I (Bm) need to be (D) lieve you so (Em) I do, (G) just for to (D) niiight (D)(D)|D|.
But you (A) taught me a lesson the (D) hard way one time.
(A) Promised to love me but (D) then changed your mind.
I (A) never told no one how I (D) hurt down inside until (G) now (Em)(C)(G).
Sleep (D) on (D)(C)(G). Sleep (D) on (D)(C)(G). Sleep (D) on (D)(C)(G). |D|
SLIP SLIDING AWAY
Paul Simon
https://www.youtube.com/watch?v=iUODdPpnxcA (Capo 1)(MC3/4)
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.
TIP: For (CaddD) hold (C) and add pinky to 2nd string/3rd fret. And for (G4) just bring your
index finger down from the 5th string to cover the <c> and then back to (G).
INTRO: (G) Ooooooh (Em) oooh. (G) Ooooooh (Em) oooh.
Slip sliding a (G) way, slip sliding a (Em) way-ay.

You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way.
I know a (Em) man, he came from (G) my hometown.

He wore his (C) passion for his (D) woman like a (C) thorny crown (C)(CaddD).
He said Do (G) lore (Gadd) ressssss, I live in (Em) fear.
My love for (G) you's so over (D) powering I'm a (C) fraid that I-(D)-I will disa (G) ppear.
Slip sliding away, slip sliding a (Em) way-ay.

You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way-ay.
And I know a (Em) woman, became a (G) wife.

These are the (C) very words she (D) uses to de (C) scribe her life (C)(CaddD).
She said a (G) good (Gadd) dayyyy, ain't got no (Em) rain.
She said a (G) bad day is when I (D) lie in the bed and I think of things that might have (G) been.

You know the (G) nearer your destin (D) ation, the (C) more you slip (D) sliding a (G) way-ay.
(F)(C)(G)
And I know a (C) fa-(D)-ther who had a (G) son.
He longed to (C) tell him all the (D) reasons for the (C) things he'd done (C)(CaddD).
He came a (G) long (Gadd) wayyyy, just to ex (Em) plain.
He kissed his (G) boy as he lay (D) sleeping then he (C) turned around
And he (D) headed home a (G) gain.
He's slip slidin'. Slip sliding a (Em) way-ay.

You know the (G) nearer your destin (D) ation the (C) more you slip (D) sliding a (G) way-ay.
(F)(C)(G); (F)(C)(G)-(G4)-(G)-(G4)-(G)-(G4)
And (G) God only (Em) knows. And God makes his (G) plan.
The infor (C) mation's una (D) vailable to the (C) mortal man.
We're workin' our (G) jobs, collect our (Em) pay-ay.
Believe we're (G) gliding down the (D) highway when in (C) fact we're slip (D) sliding a (G) way.
Slip sliding a (G) way, slip sliding a (Em) way-ay.

You know the (G) nearer your destin (D) ation the (C) more you slip (D) sliding a (G) way.

You know the (G) nearer your destin (D) ation the (C) more you slip (D) sliding a (G) way-ay.
Mmmm (Em) hmm-hmm; oh (G) lah lah lah lah lah lah lah lah lah lah lah lah woh oh (Em) oh;
I wanna (G) lah lah lah lah lah lah lah lah lah lah lah lah woh oh (Em) oh;
I wanna (G) lah lah lah lah lah lah lah lah lah lah lah lah woh oh (Em) oh;
I wanna (G) lah lah mona a lah lah mona lah lah mona lah lah mona (Em) mona moan moan;
I wanna (G) lah lah lah lah lah lah lah lah lah lah lah lah lah lah moan (Em) mo-oan.
SLOOP JOHN B. - The Beach Boys
(Traditional-Sandburg/Jardine/Wilson)
https://www.youtube.com/watch?v=MWJXTdCVsKI (Capo 1)(MC1)
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: ,<c>--<g>-<d> [ 2, 2/1 2 3 4 ]
We (G) come on the sloop (C) John (G) B. My grandfather (C) and (G) me.
Around Nassau (Gadd) town we (G) did (D) roam.
(D7) Drinking all (G) night, got into a (C) fight.
Well I (G) feel so broke up, (D7) I wanna to go (G) home (G).
So hoist up the John (C) B's (G) sail. See how the main (C) sail (G) sets.
Call for the Captain a (Gadd) shore, let me (G) go (D) home.
(D7) Let me go (G) home. I wanna go (C) home, yeah (C/G) yeah.
Well I (G) feel so broke up, (D7) I wanna go (G) home. (didit n didit n ditit n dittin n).
The first mate he (C) got (G) drunk. And broke in the Cap (C) tain's (G) trunk.
The constable had to (Gadd) come and take him (G) a (D) way.
(D7) Sheriff John (G) Stone, why don't you leave me a (C) lone, yeah (C/G) yeah.
Well I (G) feel so broke up, (D7) I wanna go (G) home (G).
So hoist up the John (C) B. - (G) hoist up the John B. -
See how the main (C) sail - (G) see how the mainsail -
Call for the Captain a (Gadd) shore let me (G) go (D7) home - (D) let me go (D7) home.
I wanna go (G) home - let me go (Gadd) home - why don't you let me go -
(C) Hoist up the John B.'s - hoist up the John B.'s -
(G) Feel so broke up, (D7) I wanna go (G) home.
The poor cook he (C) caught the (G) fits, and threw away all (C) my (G) grits,
And then he took and he (Gadd) ate up all of (G) my (D) corn.
(D7) Let me go (G) home. Why don't they let me go (C) home (Am)?
This (G) is the worst trip, I've (D7) ever been (G) on (G).
So hoist up the John (C) B, - (G) hoist up the John B., -

See how the main (C) sail - (G) see how the mainsail -
Call for the Captain a (Gadd) shore let me (G) go (D7) home - (D) let me go home.
I wanna go (G) home - let me go (Gadd) home - why don't you let me go -
(C) Hoist up the John B.'s sails.
I (G) feel so broke up, (D7) I wanna go (G) home (G)|C|-|G|.
(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)(MC0)
TIP: To play the intro, first form (G7) using your index finger on the 1st string/1st fret of the
<f#>. Now add your pinky to cover the bottom string/3rd fret <g>. So now you have the 1st
diagram, both the (G) and the (G7) chords at the ready, playing (G7) by just lifting off the pinky.
So start the intro with two strums of (G), one more and then lift off the pinky to play the (G7),
move your pinky up one string to the 2nd string/3rd fret for the (G7addD), and then play a normal
(G) aiming for the 2nd and 3rd strings. If you're careful to avoid the bottom string you can even
keep the (G7) form after lifting off the (G7addD).
INTRO: (G)-(G),(G)-(G7)-(G7addD)-(G); (G)-(G),(G)-(G7)-(G7addD)-(G)
Boys and girls take warning, if (C) you go near the (G) lake.
(C) Keep your eyes wide (G) open, and (A) look for Sneaky (D) Snake.
Now (G) maybe you won't (G7) see him, and (C) maybe you won't (G) hear.
But (C) he'll sneak up be (G) hind you, and drink all of (D7) your root (G) beer.
And then Sneaky Snake, goes (C) dancing, (G) wigglin' and a (C) hissin'.
(G) Sneaky Snake, goes dancin', (A) gigglin' and a (D) kissin'.
(G) I don’t like old Sneaky Snake, he (C) laughs too much you (G) see.
When (C) he goes wigglin' (G) thru the grass, it (D7) tickles his under (G) neath.
Well Sneaky Snake, drinks root beer, and (C) he just makes me (G) sick.
(C) When he is not (G) dancin', he (A) looks just like a (D) stick.
Now (G) he doesn't have any arms or legs, you (C) cannot see his (G) ears.
And (C) while we are not (G) lookin', he's stealin' (D7) all of our (G) beer.
And then Sneaky Snake, goes (C) dancing, (G) wigglin' and a (C) hissin'.
(G) Sneaky Snake, goes dancin', a (A) gigglin' and a (D7) kissin'.
(G) I don’t like old Sneaky Snake, he (C) laughs too much you (G) see.
When (C) he goes wigglin' (G) thru the grass, it (D7) tickles his under (G) neath (G)-(D)-|G|.
(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)(MC0)
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)
Melinda was mine (Am) til the (D) time that I (Em) found her (G).
Holding (Am) Jim (G), and lovin' (Am) him.
(Em) Then Sue came along, loved me (D) strong, that's what (Em) I thought (G).
Me and (Am) Sue (G). But that died (Am) too (Am).
(G) Don't know that I (C) will but un (G) til I can (D) find me.
The girl who'll (C) stay and wo-on't (G) play games be (D) hind me.
I'll be what I (Em) am (D): A solitary (Em) man (D). Solitary (Em) man (Em).
I've had it to here (Am) bein' (D) where love's a (Em) small word (G).
Part-time (Am) thing (G). Paper (Am) ring.
(Em) I know it's been done having (D) one, girl who’ll (Em) love me (G).
Right or (Am) wrong (G). Weak or (Am) strong (Am).
The girl who'll (C) stay and won't (G) play games be (D) hind me.
I'll be what I (Em) am (D): A solitary (Em) man (D). Solitary (Em) man (Em).
(G)(Em)(G)(D)(Am)(Am), (Em)(G)(D)(D)(Am)(Am)
The girl who'll (C) stay and wo-on't (G) play games be (D) hind me.
I'll be what I (Em) am (D): A solitary (Em) man (D). Solitary (Em) man.
Mmmm (D) hmmm. Mmmm (Em) hmmm (D). Solitary (Em) man.
Mmmm (D) hmmm. Mmmm (Em) hmmm (D). Solitary (Em) man.
Mmmm (D) hmmm. Mmmm |Em| hmmm.
SOME BROKEN HEARTS NEVER MEND – Don Williams
(Holyfield)
https://www.youtube.com/watch?v=RqjDvEC1uVw (Capo 0)(MC2)
TIP: The intro is four measures of (A) and you can play them just like that but in the last strum
of the second measure there's a subtle accent of the treble <e> so just reach down and pick the
open bottom string using an upstroke pick.
TIP: Play all (E)s if you want - the (E7) just gives it a little color.
INTRO: (A), (A)-<e>, (A), (A)
(E) Coffee (A) black, cigar (E7) ette. Start this day (E) like all the (A) rest.
(D) First thing every morning that I (A) do, is start (E) missing you (E).
(A) Some broken (E) hearts never mend. Some (E7) mem'ries (A) never end.
Some tears will (D) never dry. (E7) My love for you will never (A) die.
(A)(E)-(E7),(E7)(A),(A)(D),(E)(A)(A)
(E) Rendez (A) vous, in the (E7) night. A willing (E) woman to hold me (A) tight.
(D) But in the middle of love's em (A) brace, I (E) see your face (E).
(A) Some broken (E) hearts never mend. Some (E7) mem'ries (A) never end.
Some tears will (D) never dry. (E7) My love for you will never (A) die (A).
Some broken (E) hearts never mend. Some (E7) mem'ries (A) never end.
Some tears will (D) never dry. (E7) My love for you will never (A) die.
(A)(E)-(E7),(E7)(A),(A)(D),(E7)(A); (A)(E)-(E7),(E7)(A),(A)(D),(E7)(A)(A)-|A|
SOMEDAY I WILL LEAD THE PARADE – Patty Loveless
(Miller/Arata)
https://www.youtube.com/watch?v=5kTFelRI69c (Capo 1)(MC1)
TIP: The (C7) can be skipped if you want – it’s just (C) with the pinky added to the 3rd string/3rd
fret.
INTRO: (C)(C)(C)(C)
After all my lonely (C7) nights, with (F) out an end in sight,
A (C) morning shining bright for me a (G) waits.
Where the (C) sweetest times will (C7) last, all's for (F) given from the past.
(C) Someday, (G) I will, (C) one day I know (F) I will,
(C) Someday I will (F) lead (G) the pa (C) rade (C).
Though they've scattered through the (C7) years, old (F) friends will gather near,
With (C) nothing but the kindest words to (G) say.
And the (C) sweetest times will (C7) last, all's for (F) given from the past.
(C) Someday I will (F) lead (G) the pa (C) rade.
<fiddle> (C)(C7),(F)(F), (C)(C)(G)(G), (C)(C7),(F)(F), (C)(C)(F)(G)(C)(C)
And the sweetest times will (C7) last, all's for (F) given from the past.
(C) Someday I will (F) lead (G) the pa (C) rade (C).
Someday, (G) I will, (C) one day I know (F) I will,

(C) Someday I will (F) lead (G) the pa (C) rade (C)|C|.
SOME PEOPLE THINK CHICKENS HAVE LIPS
Meyer & Drake
https://www.youtube.com/watch?v=0VxLtjPcBgA (Capo 0)(MC0)
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: (Bm)(Bm)-(G), (A)(A)-(Bm), (G)(A)(D),(G)(A)
There (D) once was a (A) swimmer who (G) ranked with the best.
He could (D) do the most (A) difficult (D) dives.
(G) Four somer (A) saults were too (D) easy a (Bm) test,
So (E7) one day he tried to do (A) five.
As he (D) jumped off the (A) platform, (G) something went (A) wrong.
His (D) timing just (A) got out of (D) whack.
When he (G) met with the (A) water be (D) fore very (Bm) long,
The poor (E7) guy landed flat on his (A) back.
(D) Some people think that it's funny and they grin, when someone gets hurt doing (G) flips.
Some people think he'll (D) try it again. Some (A) people think chickens have (D) lips.(G)-(A)
An (D) astronaut (A) has to be (G) brave as you (A) know,

And (D) faithful and (A) fearless and (D) fit.
In (G) telligence is a (A) quality that must (D) certainly (Bm) show,
Or an (E7) astronaut might as well (A) quit.
(D) One brave ex (A) plorer who (G) stood on the (A) moon,
Tried to (D) check out the (A) atmosphere (D) there.
When he (G) took off his (A) helmet, he (D) noticed too (Bm) soon,
A (E7) definite shortage of (A) air.
(D) Some people think that it's funny and they grin, cause this puts an end to his (G) trips.
Some people think he'll (D) try it again. Some (A) people think chickens have (D) lips.(G)-(A)
I was (D) sitting at (A) home eating (G) breakfast one (A) day.
My (D) radio was (A) tuned to the (D) news.
I (G) heard the re (A) porter ex (D) citedly (Bm) say,
"Go (E7) look at the sun don't re (A) fuse."
I (D) ran to the (A) closet to (G) get my tele (A) scope,
And (D) pointed it (A) straight at the (D) sun,
But the (G) rays burned my (A) eyes (D) far beyond (Bm) hope,
And (E7) this put an end to my (A) fun.
(D) Some people think that it's funny and they grin, when you're blinded by a solar e (G) clipse.
Some people think I'll (D) try it again. Some (A) people think chickens have (D) lips.
Some people are shocked, and truly aghast, when they hear a song written by (G) freaks.
Some people think this (D) song is our last. Some (A) chickens think people have (D) beaks.(D)-|D|
(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)(MC1)
TIP: For the intro, form (F). Pick the covered 3rd string, strum (F) twice, then strum |D#| and
|G7| once and then the (C). (D#) is just (D) on the 3rd fret with your pinky covering the the 4th
string/5th fret <f#> note. If that pinky bothers you then just strum the bottom three strings of
the (D#) being careful not to hit the 4th string.
TIP: The (Cmaj7) is simply (C) without the index finger. It will be followed by the (C7) so
replace it to form (C) and add the pinky to the 3rd string/3rd fret to complete the (C7).
TIP: When playing the transition chords - (F)(A7)(D) – between lines 1 and 2 of the verse the (D)
begins the first syllable of "Something" so don't dawdle. Likewise, at the end of line 2 ("woos
me" and "shows me") you go right into the (Am) from the previous (G), so again, don't dawdle.
TIP: In the chorus (Amaj7) is like a (D7) played up one string. Also in the chorus, the step-down
chords are a bit messy. The first one is the final chord on "know" in the line before. Just
strike them and move on.
TIP: In the long instrumental, begin with (C) and add your pinky to the bottom string/3rd fret for
(CaddG) and pull off to get back (C).
INTRO: <form (F)>: 3-|F|-|F|-|D#|-|G7|-(C)
Something in the way she (Cmaj7) moves, (C7) attracts me like no other (F) lover. |F|-|A7|
(D7) Something in the way she (G) woo-oohs me (Am)-(G).
I (Am) don't want to leave her now. You (Am7) know I believe and (D7) how. |F|-|F|-|F|-|D#|-|G|
(C) Somewhere in her smile she (Cmaj7) knows, (C7) that I don't need no other (F) lover. |F|-|A7|
(D7) Something in her style that (G) shows me (Am)-(G).
I (Am) don't want to leave her now. You (Am7) know I believe and (D7) how.
|F|-|F|-|F|-|D#|-|G|-(A)(A)
You're asking (Amaj7) me will my love (F#m) grow (A).
I don't (D) know, (G) I don't |A| know |A7|-|F#m|-|F|-|A|-|A|.
(A) Just stick a (Amaj7) round, and it may (F#m) show (A).
I don't (D) know, (G) I don't |C| know |Cmaj7|-|Am|-|G|-|G|-|G|-|C|.
(C)-(CaddG)-(C); (C)-|CaddG|-|CaddG|-(C); (C)(C7)(F)(F); (D7)(D7)(G)(G7);

(Am),(Am),(Am)-(D7)(F), |F|-|F|-|F|-|D#|-|G|
(C) Something in the way she (Cmaj7) knows, (C7) and all I have to do is (F) think of her. |F|-|A7|
(D7) Something in the things she (G) shows me (Am)-(G).
I (Am) don't want to leave her now. You (Am7) know I believe and (D7) how.
|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)(MC1)
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
TIP: When it comes time for the lone (DaddA) play a regular (D) and stretch your pinky way over to
the bottom string/5th fret.
INTRO: (D7)(D7)(D7)(D7); (D),(F3)-(D); (D),(F3)-(D)
Billy Ray was a preacher's son and when his (G) daddy would visit he'd (D) come along.
When they gathered around and started talkin',
(A) That's when Billy would take me (A7) walk (A) in',
Out through the backyard we'd go (A7) walk (A) in',
Then he'd look in to my (A7) eye-(A)-eys. Lord knows to my surprise.
The (D) only one who could ever teach me, (G) was the son of a (D) preacher man.
Only boy who could ever reach me, (G) was the son of a (D) preacher man yes he was, he (A) was,
(G) Ohhh you know he was. (D),(F3)-(D)
Bein' good isn't always easy, (G) no matter how (D) hard I try.
When he started sweet-talkin' to me, (A) telling me "everything is (A7) all (A) right",
He'd kiss and tell me "everything is all right, can I get away a (DaddA) gain tonight?"
And the (D) only one who could ever teach me, (G) was the son of a (D) preacher man.
(G) Ohhh you know he was.
(D),(F3)-(D); (D)(G)(D), (D)(A)(A7)-(A)(A)(A7)-(A)(A)(A)(A)
Oh the (D) only one who could ever teach me, (G) was the son of a (D) preacher man.
(G) Ohhh you know he was. (C)
How well, I remember, (G) the look was (C) in his (G) eyes,
Stealin' kisses from (C) me on the (G) sly, (A7) 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
The (G) only one who could ever teach me, (C) was the son of a (G) preacher man.
Only boy who could ever reach me, (C) was the son of a (G) preacher man. Yes he was, he (D) was,
(CaddG) Ohhh you know he was.
The (G) only one who could ever teach me, (C) was the son of a (G) preacher man.
Only boy who could ever reach me, (C) was the son of a (G) preacher man. Yes he was, he (D) was,
(C) Ohhh you know he was.
(G)(G)(C)(G), (G)(G)(C)(G), |G||D||C|(C) <pause> |G7|
(Eva Cassidy) (Dusty Springfield) (Artist Index) - (Main Index) - (Song Index) (This Song)
SONG SUNG BLUE
Neil Diamond
https://www.youtube.com/watch?v=ighSddnnaPE (Capo 0)(MC0)
TIP: In the intro, (CaddG) is just (C) with pinky added to bottom string/3rd fret. (C7) is just
(C) with pinky added to 3rd string/3rd fret. For (C7/F), which follows (C7), just roll your index
finger over to cover the bottom string/1st fret <f> like you do when playing a normal (F). So when
you're playing (C)(CaddG)(C)(C7)(C7/F) you start with (C), add pinky to bottom string, lift, then
to the 3rd string, and then roll over to mini-barred the <f>, then to the (Am).
INTRO: (C)(CaddG)(C),(C7)-(C7/F)-(Am); (C)(CaddG)(C),(C7)-(C7/F)-(Am);

(C)(CaddG)(C),(C7)-(C7/F)-(Am); (C)(CaddG)(C),(C7)-(C7/F)-(G)
(C) Song, sung, blue, everybody (G) knows one (G).

Song, sung, blue, every garden (C) grows one (C)(C7).
Me and you, are subject to, the (F) blues now and then |F|-|C|-|Dm|-|C|
But (G) when you take the blues and make a song, you sing them (C) out again (C).
Sing 'em (Dm) out again (G).
(C) Song, sung, blue, weeping like a (G) willow (G).

Song, sung, blue, sleepin' on my (C) pillow (C)(C7).
Funny thing, but you can sing it with a (F) cry in your voice |F|-|C|-|Dm|-|C|
And be (G) fore you know it get to feeling good, it simply (C) got no choice |G|-|G|-|G|.
(C)(C)(C)(G)(G), (G)(G)(G)(C)(C),
(C7) Me and you, are subject to, the (F) blues now and then |F|-|C|-|Dm|-|C|
But (G) when you take the blues and make a song, you sing them (C) out again |G|-|G|-|G|.
(C) Song, sung, blue, weeping like a (G) willow (G).

Song, sung, blue, sleepin' on my (C) pillow (C)(C7).
Funny thing, but you can sing it with a (F) cry in your voice |F|-|C|-|Dm|-|C|
And be (G) fore you know it start to feeling good, it simply (C) got no choice |G|-|G|-|G|.
(C) Song, sung, blue (C)(G). Song, sung, blue (G)(C).
(C7) Funny thing, but you can sing it with a (F) cry in your voice |F|-|C|-|Dm|-|C|
And be (G) fore you know it get to feeling good, it simply (C) got no choice |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)(MC1)
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)
Me and the boy's, (Am) cinched up our saddles and (F) rode to Sonora last (C) night.
Gun's hangin' proud, and (Am) daring out loud, for (F) anyone lookin' to (C) fight.
(F) Card cheats and rustlers would (C) run for their holes,
When the (F) boys from the Old Broken (G) "O",
(C) Rode up and reined on the (Am) street that they named (F), Sonora's Death (C) Row.
The Mescal is free, in (Am) Amanda's saloon, for the (F) boy's from the Old Broken (C) "O".
Saturday nights in the (Am) town of Sonora are the (F) best, in all Mexi (C) co.
They got (F) guitars and trumpets, and (C) sweet senoritas, who (F) won't want to let you (G) go.
You'd (C) never believe such a (Am) gay happy time,
On the (F) street called Sonora's Death (C) Row.
Inside Amanda's, (Am) we was a dancin', with (F) all of Amanda's (C) gals.
I won some silver at (Am) seven card stud, so (F) I was out doin' my (C) pals.
But the (F) whiskey and Mescal and (C) peso cigars, (F) drove me outside for some (G) air.
(C) Somebody whispered 'Your (Am) life or your money', I (F) reached but my gun wasn't (C) there.
(F) (C) (F) (G), (C) (Am) (F) (C)
<capo +1>
I woke up face down in (Am) Amanda's back alley, a (F) ware of the fool that I'd (C) been.
I rushed to my pony, (Am) grabbed my Winchester, and (F) entered Amanda's a (C) gain.
Where (F) I saw my partners, (C) twirling my pistols and (F) throwing my money a (G) round.
(C) Blinded by anger, (Am) I jacked the lever and (F) one of them fell to the (C) ground.
Amanda's got silent like (Am) night in the desert, my (F) friends stared in pure disbe (C) lief.
Amanda was kneeling be (Am) side the dead cowboy, (F) plainly expressing her (C) grief.
As (F) I bowed my head, a (C) tremble shot through me, my (F) six-gun was still at my (G) side.
(C) I felt my pockets and (Am) there was my money, I (F) fell to my knees and I (C) cried.
A nightmare of Mescal, was (Am) all that it was, (F) no one had robbed me at (C) all.
I wish I was dreamin', the (Am) sound of the gallows,
They're (F) testing, just outside the (C) wall.
(F) Mescal's still free in A (C) manda's saloon,
For the (F) boys from the old Broken (C) "O-(G)-O".
(C) I'd give a ransom, to (Am) drink there today, and be (F) free of Sonora's Death (C) Row.
(F) (C) (F) (G)
(C) I'd give a ransom to (Am) drink there today, and be (F) free of Sonora's Death (C) Row.
(Michael Martin Murphey)(Robert Earl Keen) (Artist Index) - (Main Index) - (Song Index) (This Song)
SONORA'S DEATH ROW
Michael Martin Murphey/Robert Earl Keen
(Farrell)
https://www.youtube.com/watch?v=Ys6U6cjSxYY Michael Martin Murphey (Capo 9)(MC4)
https://www.youtube.com/watch?v=52gzhQS0dg4 Robert Earl Keen (Capo 8)(MC7)
TIP: This version (lyrics, pacing) is based on Michael Martin Murphey's rendition but the music is
the same (except Robert capo's one fret lower) and the lyrics and pacing differences are 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) Me and the boy's, (Em) cinched up our saddles and (C) rode to Sonora last (G) night.
Gun's hanging proud, and (Em) darin' out loud, for (C) any one looking to (G) fight.
(C) Card cheats and rustlers would (G) run for their holes,
When the (C) boys from the Old Broken (D) "O",
(G) Rode up and reined on the (Em) street that they named (C), Sonora's Death (G) Row.
The Mescal is free, in (Em) Amanda's saloon, for the (C) boy's from the Old Broken (G) "O".
Saturday nights in the (Em) town of Sonora are the (C) best, in all Mexi (G) co.
They got (C) guitars and trumpets, and (G) sweet senoritas, who (C) won't want to let you (D) go.
You'd (G) never believe such a (Em) gay happy time,
On the (C) street called Sonora's Death (G) Row.
Inside Amanda's, (Em) we was a dancin' with (C) all of Amanda's (G) gals.
I won some silver at (Em) seven card stud, so (C) I was out doin' my (G) pals.
But the (C) whiskey and Mescal and (G) peso cigars, (C) drove me outside for some (D) air.
(G) Somebody whispered 'Your (Em) life or your money', I (C) reached but my gun wasn't (G) there.
(C) (G) (C) (D), (G) (Em) (C) (G)

<capo +1>
I woke up face down in (Em) Amanda's back alley, a (C) ware of the fool that I'd (G) been.
I rushed to my pony, (Em) grabbed my Winchester, and (C) entered Amanda's a (G) gain.
Where (C) I saw my partners, (G) twirling my pistols and (C) throwing my money a (D) round.
(G) Blinded by anger, (Em) I jacked the lever and (C) one of 'em fell to the (G) ground.
Amanda's got silent like (Em) night in the desert, my (C) friends stared in pure disbe (G) lief.
Amanda was kneeling be (Em) side the dead cowboy, (C) plainly expressing her (G) grief.
As (C) I bowed my head, a (G) tremble shot through me, my (C) six-gun was still at my (D) side.
(G) I felt my pockets and (Em) there was my money, I (C) fell to my knees and I (G) cried.
A nightmare of Mescal, was (Em) all that it was, (C) no one had robbed me at (G) all.
I wish I was dreamin', the (Em) sound of the gallows,
They're (C) testing, just outside the (G) wall.
(C) Mescal's still free in A (G) manda's saloon,
For the (C) boy's from the old Broken (G) "O-(D)-O".
(G) I'd give a ransom to (Em) drink there today, and be (C) free of Sonora's Death (G) Row.
(C) (G) (C) (D)
(G) I'd give a ransom to (Em) drink there today and be (C) free of Sonora's Death (G) Row.
(Michael Martin Murphey)(Robert Earl Keen) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE SOUND OF SILENCE - Simon and Garfunkel
(Simon)
https://www.youtube.com/watch?v=NAEppFUWLfc (Capo 7)(MC0)
[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]. Version 2 is probably slightly easier to play but lacks some of the nuanced
finger work. 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: It looks like a mess down there but it's not! It's pretty darn easy to play and sounds
wonderful. So just read through and give it a go.
TIP: 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| from the top string down to the 3rd string.
TIP: Okay so now there are 3 sets of voicings to get down and they're all easy. The first is the
(G)-(G4)-(G). From (G) just move your index finger from the 5th string to the 2nd string and back.
The ring finger can stay on the top string if you want. Next is the (Am)-(Asus2)-(Am). From the
(Am) just lift off the index finger and replace it. Finally there's the (C)-(Cmaj7)-(C). From the
(C) just remove your index finger and replace it. Freakin' easy, suggest downstrokes for each one.
; - - ; - - ; - -
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) Hello darkness my old (G) friend (G)-(G4)-(G),(G)-(G4)-(G)

I’ve come to talk with you a (Am) gain (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
Because a (C) vision softly-(F)-y creep (C) ing,
Left its seed while I wa-(F)-as sleep (C) ing.
And the (F) vision, that was planted in my (C) brain, still re (Am) mains,
(C) Within the (G) sound of (Am) silence (Am)-(Asus2)-(Am),(Am)-(Asus2)-|Am|.
(NC) In restless dreams I walked a (G) lone (G)-(G4)-(G),(G)-(G4)-(G),
Narrow streets of cobble (Am) stone (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
‘Neath the (C) halo of (F) a street (C) lamp (C)-(Cmaj7)-(C),
I turned my collar to the (F) cold and (C) damp (C)-(Cmaj7)-(C).
When my (F) eyes were stabbed by the flash of a neon (C) light (C)-(Cmaj7)-(C),
That split the (Am) night.
And (C) touched the (G) sound of (Am) silence (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
And in the naked light I (G) saw (G)-(G4)-(G),(G)-(G4)-(G),

Ten-thousand people maybe (Am) more (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
People (C) talking with (F) out speak (C) ing (C)-(Cmaj7)-(C).
People hearing with (F) out listen (C) ing (C)-(Cmaj7)-(C).
People writing (F) songs, that voices never (C) share (C)-(Cmaj7)-(C). And no one (Am) dared,
Dis (C) turb the (G) sound, of (Am) silence (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
"Fools" said I "you do not (G) know (G)-(G4)-(G),(G)-(G4)-(G).

Silence like a cancer (Am) grows (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
Hear my (C) words that I mi-(F)-ight teach (C) you (C)-(Cmaj7)-(C).
Take my arms that I mi-(F)-ight reach (C) you (C)-(Cmaj7)-(C)."
But my (F) words, like silent rain drops (C) fell (C)-(Cmaj7)-(C), (C)-(Cmaj7)-(Am)(Am),
And (C) echoed, in the (G) wells, of (Am) silence (Am)-(Asus2)-(Am), (Am)-(Asus2)-(Am).
And the people bowed and (G) prayed (G)-(G4)-(G),(G)-(G4)-(G),

To the neon god they (Am) made (Am)-(Asus2)-(Am),(Am)-(Asus2)-(Am).
And the (C) sign flashed (F) its warn (C) ing (C)-(Cmaj7)-(C).
In the words that it wa-(F)-as form (C) ing (C)-(Cmaj7)-(C).
And the signs said “The (F) words of the prophets
Are written on the subway (C) walls (C)-(Cmaj7)-(C), and tenement (Am) halls (Am)-(Asus2)-(Am).”
And (C) whisper'd, in the |G| sounds, of (Am) silence (Am)-(Asus2)-(Am), (Am)-(Asus2)-(Am),
(Am)-(Asus2)-(Am) |Am| |Am| |Am| |Am|
(Simon)
https://www.youtube.com/watch?v=NAEppFUWLfc (Capo 0)(MC0)
[Version 2, 1981 Concert in Central Park in [E].]
TIP: Very similar to the version above but we’ll only expand on the first voicing. 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.
Also note this same sequence repeats at the end so hit that final (Em) again with the index and
middle fingers. Might want to practice it a few times.
TIP: The other voicing is the (D)-(Dsus4)-(D). From (D) just add your pinky to the bottom
string/3rd fret and remove. 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) Hello darkness my old (D) friend (D)-(Dsus4)-(D),(D)-(Dsus4)-(D).

I’ve come to talk with you (Em) again (Em)(Em).
Because a (G) vision softly-(C)-y creep (G) ing,
Left its seed while I wa-(C)-as sleep (G) ing.
And the (C) vision that was (CaddG) planted in (C) my (G) brain, still re (Em) mains,
(G) Within the (D) sound, of (Em) silence (Em)(Em)|Em|.
(NC) In restless dreams I walked a (D) lone (D)-(Dsus4)-(D),(D)-(Dsus4)-(D).

Narrow streets of cobble (Em) stone (Em)(Em).
‘Neath the (G) halo of (C) a street (G) lamp,
I turned my collar to the (C) cold and (G) damp.
When my (C) eyes were stabbed by the flash of a neon (G) light, that split the (Em) night.
And (G) touched the (D) sound, of (Em) silence (Em)(Em).
And in the naked light I (D) saw (D)-(Dsus4)-(D),(D)-(Dsus4)-(D),
Ten-thousand people maybe (Em) more (Em)(Em).
People (G) talking with (C) out speak (G) ing.
People hearing with (C) out listen (G) ing.
People writing (C) songs, that (CaddG) voices nev (C) er (G) share. And no one (Em) dared,
Dis (G) turb the (D) sound, of (Em) silence (Em)(Em).
"Fools" said I "You do not (D) know (D)-(Dsus4)-(D),(D)-(Dsus4)-(D).

Silence like a cancer (Em) grows (Em)(Em).
Hear my (G) words that I mi-(C)-ight teach (G) you.
Take my arms that I mi-(C)-ight reach out to (G) you."
But my (C) words, like (CaddG) silent rain (C) drops (G) fell (Em),
And (G) echoed, in the (D) wells of (Em) silence (Em)(Em).
And the people bowed and (D) prayed (D)-(Dsus4)-(D),(D)-(Dsus4)-(D),

To the neon god they (Em) made (Em)(Em).
And the (G) sign flashed (C) its warn (G) ing.
In the words that it wa-(C)-as form (G) ing.
And the signs said “The (C) words of the prophets
Are (CaddG) written on the (C) subway (G) walls, and tenement (Em) halls.”
And (G) whispered, in the |D| sounds, of |Em| silence.
4- 2 - 4/4 - 2, 4 – 2 - 4/4 - 2, 4 –2 - 4/4 - 2, 4/4 - 2, 4/4 - 2 |Em| |Em| |Em| |Em|
(Simon)
https://www.youtube.com/watch?v=4fWyzwo1xg0 (Capo 4)(MC1)
[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 formation and at the end 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.”
TIP: At the end of the song, after the final |Bm| lift off and “manually” pick the 2nd string/2nd
fret <c#>, then the 2nd string/3rd fret <d>, and open 2nd string -- do this twice -- and finish
with single strum of |D|.
INTRO: <Form modified (Bm)> 3-1-2-1, 3-1-2-1, 3-1
Hello (Bm) darkness my old (A) friend, I’ve come to talk with you a (Bm) gain.
Because a (D) vision softly-(G)-y creep (D) ing, left its seed while I wa-(G)-as sleep (D) ing.
And the (G) vision, that was (Gadd) planted in (G) my (D) brain, still re (Bm) mains,
(D) Within the (A) sound of (Bm) silence (Bm)|Bm|.
(NC) In restless dreams I walked a (A) lone, narrow streets of cobble (Bm) stone.
‘Neath the (D) halo of a- (G) a street (D) lamp, I turned my collar to the (G) cold and (D) damp.
When my (G) eyes were stabbed by the (Gadd) flash of a (G) neon (D) light,
That split the (Bm) night. (D) And touched the (A) sound of (Bm) silence.
And in the naked light I (A) saw, ten-thousand people maybe (Bm) more.
People (D) talking with (G) out speak (D) ing. People hearing with (G) out listen (D) ing.
People writing (G) songs, that (Gadd) voices nev (G) er (D) share.
And no one (Bm) dared, (D) disturb the (A) sound, of (Bm) silence.
"Fools" said I "you do not (A) know. Silence like a cancer (Bm) grows.
Hear my (D) words that I mi-(G)-ight teach (D) you.
Take my arms that I mi-(G)-ight reach (D) you."
But my (G) words, like (Gadd) silent rain (G) drops (D) fell (Bm),
And (D) echoed, in the (A) wells, of (Bm) silence.
And the people bowed and (A) prayed, to the neon god they (Bm) made.
And the (D) sign flashed out (G) its warn (D) ing. In the words that it wa-(G)-as form (D) ing.
And the signs said “The (G) words of the prophets are (Gadd) written on the sub (G) way (D) walls,
And tenement (Bm) halls.” And (D) whisper'd, in the |A| sounds, of |Bm| silence.
<c#>-<d>-,<c#>-<d>- |D|
(Simon)
https://www.youtube.com/watch?v=4fWyzwo1xg0 (Capo 6)(MC6)
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.”
TIP: At the end of the song, after the final |Am| hold the (Am) but lift off the index finger and
pick the open 2nd string , then replace the index finger and pick the now covered the 2nd string
<c>, and pick the covered 3rd string <a> -- do this twice -- and finish with pick of the open 2nd
string and a strum of |Am|.
INTRO: <Form (Asus2)> 3-1-2-1, 3-1-2-1, 3-1
(Am) Hello darkness my old (Gadd) friend, I’ve come to (G) talk with you a (Am) gain.
Because a (C) vision softly-(F)-y creep (C) ing, left its seed while I wa-(F)-as sleep (C) ing.
And the (F) vision, that was planted in my (C) brain, still re (Am) mains,
(C) Within the (G) sound of (Am) silence (Am)|Am|.
(NC) In restless dreams I walked a (G) lone, narrow streets of cobble (Am) stone.
‘Neath the (C) halo of a- (F) a street (C) lamp, I turned my collar to the (F) cold and (C) damp.
When my (F) eyes were stabbed by the flash of a neon (C) light, that split the (Am) night.
(C) And touched the (G) sound of (Am) silence.
And in the naked light I (G) saw, ten-thousand people maybe (Am) more.
People (C) talking with (F) out speak (C) ing. People hearing with (F) out listen (C) ing.
People writing (F) songs, that voices never (C) share. And no one (Am) dared,
(C) Disturb the (G) sound, of (Am) silence.
"Fools" said I "you do not (G) know. Silence like a cancer (Am) grows.
Hear my (C) words that I mi-(F)-ight teach (C) you.
Take my arms that I mi-(F)-ight reach (C) you."
But my (F) words, like silent rain drops (C) fell (Am),
And (C) echoed, in the (G) wells, of (Am) silence.
And the people bowed and (G) prayed, to the neon god they (Am) made.
And the (C) sign flashed out (F) its warn (C) ing. In the words that it wa-(F)-as form (C) ing.
And the signs said “The (F) words of the prophets are written on the subway (C) walls,
And tenement (Am) halls.”
And (C) whisper'd, in the |G| sounds, of |Am| silence O2-2-3, O2-2-3, O2-|Am|.
SOUNDS OF STARBUCKS – Tim Hawkins
(Simon/Hawkins)
https://www.youtube.com/watch?v=zlc5Bii_Qf8 (Capo 5)(MC6)
TIP: For the intro form (Asus2) which is just (Am) without the index finger. Now pick the strings
indicated. At the end strum the top 5 strings of the |Am|.
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, |Am|
(NC) Hello coffee my old (G) friend, I’ve come to order you a (Am) gain.
I hear the (C) grinding of es (F) presso (C) beans, I need a double shot of (F) pure caf (C) feine.
And the (F) indie band on the speaker soothes my (C) brain, so I’ll re (Am) main,
(C) Within the (G) sounds of (Am) Starbucks (Am)|Am|.
(NC) Tried to brew my own at (G) home, but felt so quiet and a (Am) lone.
I need to (C) be amid the (F) morning (C) rush,
Where the leather chairs are (F) soft and (C) plush.
And I’ll (F) drink a grande cappacuino with a pumpkin (C) scone, and charge my (Am) phone.
And (C) listen to the (G) sounds, of (Am) Starbucks.
Then I heard an awful (G) scream, they had totes run out of (Am) cream.
A new em (C) ployee spilled the (F) coffee (C) grounds.
And the wi-fi went com (F) pletely (C) down.
And a lady in (F) yoga pants threw her latte at the (C) wall. The cops were (Am) called.
Then (C) came the (G) sound, of (Am) sirens.
In the drive-through lane I (G) saw, a thousand hipsters maybe (Am) more.
People (C) paying with (F) out drink (C) ing.
People waiting they were (F) all freak (C) ing.
People going (F) off, ‘cause they couldn’t get a caramel (C) frappe, holy (Am) crap.
A (C) riot (G) started, at (Am) Starbucks.
While a Bible study (G) prayed, barristas formed a barri (Am) cade.
The mana (C) ger cried out (F) a war (C) ning, to the angry mob that (F) was form (C) ing.
And he said “I (F) checked Google Maps there’s another one across the (C) street,
So we stam (Am) pede, and re (C) turned to the (G) sounds |G|, of (Am) Starbucks. (Am)|Am|
(Tim Hawkins) (Artist Index) - (Main Index) - (Song Index) (This Song)
SOUTH AUSTRALIA - Fisherman's Friends
(Traditional)
https://www.youtube.com/watch?v=p3afGi3REu8 (Capo 1)(MC0)
TIP: There's also a version in (C) afterwards.
(NC) Innnn South Australia I was born. (G) Heave a (D) way (G) haul a (A) way.
In (D) South Australia (A) 'round Cape (D) Horn, we're bound for South Aus (A) strali (D) a.
Haul a (G) way your (D) rolling king. (G) Heave a (D) way (G) haul a (A) way.
(D) Haul a (G) way you'll (D) hear me sing we're bound for South Aus (A) strali (D) a.
As I went out one (G) morning (D) fair. (G) Heave a (D) way (G) haul a (A) way.
'Twas (D) there I met Miss (A) Nancy (D) Blair. We're bound for South Aus (A) trali (D) a.
(D) Haul a (G) way you'll (D) hear me sing we're bound for South Aus (A) trali (D) a.
I shook her up I (G) shook her (D) down. (G) Heave a (D) way (G) haul a (A) way.
I (D) shook her 'round a (A) bout the (D) town. We're bound for South Aus (A) trali (D) a.
There was but one thing (G) creased me (D) mind. (G) Heave a (D) way (G) haul a (A) way.
Was to (D) leave Miss Nancy (A) Blair be (D) hind. We're bound for South Aus (A) trali (D) a.
As we went down a (G) round Cape (D) Horn. (G) Heave a (D) way (G) haul a (A) way.
You'll (D) wish to God you've (A) never been (D) born. We're bound for South Aus (A) trali (D) a.
In South Australia (G) I was (D) born. (G) Heave a (D) way (G) haul a (A) way
In (D) South Australia (A) 'round Cape (D) Horn. We're bound for South Aus (A) trali (D) a.
(D) Haullll a (G) way you'll (D) hear me sinnnnng . . . we're bound for South Aus (A) trali (D) a.
(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)(MC1)
(NC) Innnn South Australia I was born. (F) Heave a (C) way (F) haul a (G) way.
In (C) South Australia (G) 'round Cape (C) Horn, we're bound for South Aus (G) trali (C) a.
Haul a (F) way your (C) rolling king. (F) Heave a (C) way (F) haul a (G) way.
(C) Haul a (F) way you'll (C) hear me sing we're bound for South Aus (G) trali (C) a.
As I went out one (F) morning (C) fair. (F) Heave a (C) way (F) haul a (G) way.
'Twas (C) there I met Miss (G) Nancy (C) Blair. We're bound for South Aus (G) trali (C) a.
I shook her up I (F) shook her (C) down. (F) Heave a (C) way (F) haul a (G) way.
I (C) shook her 'round a (G) bout the (C) town. We're bound for South Aus (G) trali (C) a.
There was but one thing (F) creased me (C) mind. (F) Heave a (C) way (F) haul a (G) way.
Was to (C) leave Miss Nancy (G) Blair be (C) hind. We're bound for South Aus (G) trali (C) a.
As we went down a (F) round Cape (C) Horn. (F) Heave a (C) way (F) haul a (G) way.
You'll (C) wish to God you've (G) never been (C) born. We're bound for South Aus (G) trali (C) a.
In South Australia (F) I was (C) born. (F) Heave a (C) way (F) haul a (G) way
In (C) South Australia (G) 'round Cape (C) Horn. We're bound for South Aus (G) trali (C) a.
(C) Haullll a (F) way you'll (C) hear me sinnnnng . . . we're bound for South Aus (G) trali (C) a.
(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)(MC0)
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)
You (G) always said some (D) day you'd go to (G) live, in (C) southern Cali (G) fornia (G).
And (D) me I'd stay right here in Tennes (G) see (D).
You (G) always talked a (D) bout the better (G) days, in (C) southern Cali (G) fornia (G).
But (D) if you'll stay in (D7) Tennessee, I (D) promise there'll be better days with (G) me (D)(G).
It's (D) not that I don't (A) love you, but I (D) hear the call from (G) southern Cali (D) fornia.
There's (A7) something I can't (A) find in Tennes (D) see (A).
(D) Silver screens and (A) limousines, they (D) wait for me in (G) southern Cali (D) fornia (D).
(A7) Though you've been so (A) good to me the (A7) time has come you'll (A) have to, (A7) set me
(D) free (D).
To-(G)-morrow when you leave you'll take my heart, to (C) southern Cali (G) fornia (G).
But (D) just remember I'll be here to (D7) keep your heart, with me until you (G) see (G).
<capo 1> (D)(Am7)(D7)
<spoken> (G) "Well, it's been five years and, I guess I've cried a (C) million (G) tears, lookin'
out the window of this little room, right over that flashin' neon sign that says, (D7) 'Bar'.
It's almost midnight and, time to go downstairs and, (G) go to work.
<capo 0> I wonder how (E) he's doin', in Tennessee?"

(A) "Well here I sit by the window, of this big old lonely (D) mansion, lookin' (A) out over the
Smokies, and ownin' everything I can see. Oh I guess by (E) now she's found what she was lookin'
for, and as I look at this old faded photograph, of the girl that I still (A) love, I wonder, if
she (E) ever, thinks of (A) me."
But the weather's good, in (D) southern Cali (A) fornia.
SOUVENIRS
John Prine
https://www.youtube.com/watch?v=fZE4IqeXnT8 (Album version)(Capo 5)(MC2)
https://www.youtube.com/watch?v=2xhmPectY9U (Live version - starts at 1:25)(Capo 2)
TIP: At the end of the verse just prior to the chorus there's a little four-note step-down
voicing. You finish on (D) so pick the open 4th string <d>, then reach up with your pinky and
cover the 5th string/4th fret <c#> and pick, then with your index finger cover the 5th string/2nd
fret and pick, and finish by picking the open 5th string <a>.
INTRO: (D)(G)(A)(D); (D)(G)(A)(D)|D|
(NC) All the snow has turned to (G) water.

(A) Christmas days have come and (D) gone.
Broken toys and faded (G) colors,
(A7) Are all that's left, to linger (D) on.
I hate graveyards and old (G) pawn shops,

(A) For they always bring me (D) tears.
I can't forgive the way they (G) rob me,
(A7) Of my childhood souven (D) irs (D) <d>-<c#>--<a>.
(A7) Memories, they can't be (D) boughten.

They (A7) can't be won, at carnivals for (D) free.
Well it (A7) took me years, to (D) get those souvenirs,
And I (G) don't know how, they slipped, away from (A) me.
(D)(G)(A)(D); (D)(G)(A)(D)|D|
(NC) Broken hearts and dirty (G) windows,
(A) Make life difficult to (D) see.
That's why last night and this (G) mornin',
(A7) always look the same to (D) me.
And I hate reading old love (G) letters,

(A) for they always bring me (D) tears.
I can't forgive the way they (G) rob me,
(A7) of my sweetheart's souven (D) irs (D) <d>-<c#>--<a>.
(A7) Memories, they can't be (D) boughten.

They (A7) can't be won, at carnivals for (D) free.
Well it (A7) took me years, to (D) get those souvenirs,
And I (G) don't know how, they slipped, away from (A) me (D)(G)(A)(D)|A7|-|D|
SPACE ODDITY
David Bowie
https://www.youtube.com/watch?v=iYYRH4apXDo (Capo 0)(MC0)
TIP: (Fmaj7) is just (F) without the bottom string.
TIP: In the first two verses you can play (C) instead of (C/G) - just gives a little extra bass.
In the last verse you can play (C) and (G) and skip the add chords - just adds a little treble.
TIP: (Fm) will always follow (F) so to move from the (F) to the (Fm) just sneak your index finger
up a string to barre the lower three strings of the 1st fret while lifting off the middle finger.
TIP: The instrumental bridge is a little tricky because it’s played so fast.
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/G) Ground Control to Major (Em) Tom. (C/G) Ground Control to Major (Em) Tom.
(Am) Take your protein pills and (D7) put your helmet on (D7)(C/G). (Ten . . )
Ground Control to Major (Em) Tom (Em)(C/G). Commencing countdown engines (Em) on (Em)(Am).
Check ignition and may (D7) God's love be with |D7| you . . . <twizzle> (D7) . . .
(C/G) This is Ground Control to Major (E7) Tom. You've (E) really made the (F) grade.
And the (Fm) papers want to (C) know whose shirts you (F) wear.
Now it's (Fm) time to leave the (C) capsule if you (F) dare.
(C) This is Major Tom to Ground (E) Control. I'm (E7) stepping through the (F) door.
And I'm (Fm) floating in a (C) most p-p-peculiar (F) way.
And the (Fm) stars look very (C) different to (F) day.
For (Fmaj7) hereeee am I (Em) sitting in a tin can. (Fmaj7) Farrrr above the (Em) world.
(Bb) Planet Earth is (Am) blue and there's (G) nothing I can (F) do.
(C)(F)-(G), |A|-|A|; (C)(F)-(G), |A|-|A|; (Fmaj7)(Em), (A)(C)(D)(E)
(C) Though I'm past one hundred thousand (E7) miles, I'm feeling very (F) still.
And I (Fm) think my spaceship (C) knows which way to (F) go.
Tell my (Fm) wife I love her (C) very much, she (F) knows.
(G) Ground Control to (E7) Major Tom your (Am) circuit's dead, there's (Am7) something wrong
Can you (D) hear me Major Tom? Can you (CaddD) hear me Major Tom?
Can you (Gadd) hear me Major Tom? Can you (Fmaj7) hereee . . .
Am I (Em) floating ‘round my tin can? (Fmaj7) Farrrr above the (Em) moon?
(Bb) Planet Earth is (Am) blue and there's (G) nothing I can (F) 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)(MC3)
TIP: The intro notes are subtle and all about the strum pattern. It's two strums of |C|, brief
pause, four strums of |G|, and four strums of |C| in the same rhythm of the |G|. Then there is 8
beats of a tom-tom for which you can strum |G| emphasizing just the top three strings.
TIP: Harry sings the opening bit (bang bang) a capella but it helps to have single strums to keep
the rhythm.
INTRO: |C|-|C|,|G|-|G||G|-|G|; |C|-|C||C|-|C|, <drum> |G| x 8
|G| Bang bang |G| shoot 'em up |G| destin |G| y. |G|-|G|,|G|-|G||G|-|G|
|A| Bang bang |A| shoot 'em up |A| to the |A| moon. |A|-|A|,|A|-|A||A|-|A|
|D| Bang bang |D| shoot 'em up |D| one two |D| three (NC)(one two three four)
|D|-|D|-|D|-|D|,|D|-|D|
I (G) wanted to be a space (F) man, that's what I wanted to (G) be.
But now that I am a space (F) man, nobody cares about (G) me.
(C) Hey Mother Earth won't'cha (G) bring me back down (D) safely to the (G) sea?
A (C) round and around and a (G) round and around is (D) all she ever say to (G) me. (G)(G)(G)
I wanted to make a good (F) run, I wanted to go to the (G) moo-oon.

I knew that it had to be (F) fun. I told 'em to send me real (G) soon.
I wanted to be a space (F) man, I wanted to be it so (G) bad.
But now that I am a space (F) man I'd rather be back on the (G) pad.
(C) Hey Mother Earth won't'cha (G) bring me back down (D) safely to the (G) sea?
A (C) round and around and a (G) round and around is (D) just a lot of luna (G) cy.
(Yeah). (Yeah).
(C) 'Round and around and around and around and a |G| round. (NC) (So bring me back down).
(C) 'Round and around and around and around and a |D| round,
(NC) safe on the (D) grou - ou- (G) -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, owwwwwwww<two bars>wwwwwwwwoun.
(C) Hey Mother Earth better (G) bring me back down (D) safely to the (G) sea.
But a (C) round and around and a (G) round and around is (D) all she ever say to (G) me yeah.
(G)(G)
You know I wanted to be a space (F) man. That's what I wanted to (G) be.
But now that I am a space (F) man, nobody cares about (G) me.
Say (C) hey you Mother Earth you better (G) bring me back down,
I've (D) taken just as much as I (G) can.
A (C) round and around and a (G) round and around is the (D) problem of a space (G) man.
(C) Ow- ow- (G) -ow-ow (D) owww (G) oww. (C) Ahhh -ah-ah (G)-ah ah-ah (D) ahhh-(G)-ahh.
(C) Ahhh -ah-ah (G)-ah ah-ah (D) ahhh-(G)-ahh. (C) Ahhh -ah-ah (G)-ah ah-ah (D) ahhh-(G)-ahh.
(C) Ahhh -ah-ah (G)-ah ah-ah (D) ahhh-(G)-ahh. (C) (G) (D) (G), (C) (G) (D) |G|
(Harry Nilsson) (Artist Index) - (Main Index) - (Song Index) (This Song)
SPANISH LADIES – Quint
(Traditional/Chartier)
(MC4)
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'.
Fare (G) well and a (Em) dieu to you (C) fair Spanish (D) ladies.
Farewell and adieu to you (D7) ladies of (Gadd) Spain.
For we’ve received (Em) orders we're to (C) sail back to (D) Boston.
And so never more shall we see you a (G) gain (C)(G).
We’ll rant and we’ll (Em) roar like (C) true Yankee (D) sailors.
We’ll rant and we’ll rave a (D7) cross the salt (Gadd) sea.
Till we strike (Em) soundings in the (C) harbor of New (D) Bedford.
Nantucket to home is just a few (G) leagues (C)(G).
We hove our ship (Em) to with the (C) wind at the sou’ (D) west boys.
We hove our ship to for to (D7) take soundings (Gadd) clear.
In fifty five (Em) fathoms with a (C) fine sandy (D) bottom.
We filled main tops’l up channel did (G) steer (C)(G).
Til we strike (Em) soundings in the (C) harbor of New (D) Bedford.
Great Point to home is just a few (G) leagues (C)(G).
The first land we (Em) made was a (C) place called Nan (D) tucket.
Martha’s Vinyard, Woods Hole, then (D7) down Buzzards (Gadd) Bay.
We sailed then by (Em) Marion, Matta (C) poisett 'n Fair (D) haven.
Then bore straight away for New Bedford hoo (G) ray (C)(G).
The Vinyard to home is just a few (G) leagues (C)(G).
Now the Captain called (Em) out for our (C) grand ship to (D) anchor.
We clewed up our tops’ls stuck (D7) out tacks and (Gadd) sheets.
We stood by our (Em) stoppers, we (C) brailed in our (D) spankers.
And anchored ahead of the noblest of (G) fleets (C)(G).
Woods Hole to home is just a few (G) leagues (C)(G).
Let every man (Em) here drink (C) up his full (D) bumper.
Let every man here drink (D7) up his full (Gadd) bowl.
And let us be (Em) jolly and (C) drown melan (D) choly.
And drink-health to each jovial and true-hearted (G) soul (C)(G).
West Island to home is just a few (G) leagues (C)(G).
So fare (G) well and a (Em) dieu to you (C) fair Spanish (D) ladies.
Farewell and adieu to you (D7) ladies of (Gadd) Spain.
For we’ve received (Em) orders for to (C) sail back to (D) Boston.
And so never more shall we see you a (G) gain (C)(G)(C)(G)(C)(G).

SPEED OF THE SOUND OF LONELINESS
John Prine
https://www.youtube.com/watch?v=DZXgZGrVlL4 (Capo 0)(MC0)
TIP: There's a fairly simple alternating root strum that continues throughout the song. For the
(G) it's the 6th and 5th string, for the (C) it's the 5th and 4th strings, and for the (D) it's the
4th and 5th strings.
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)
You come home late and you come home (C) early (C)(D).
You come on big when you're feelin' (G) small (G).
You come home straight and you come home (C) curly (C)(D).
Sometimes you don't come home at (G) all (G).
So what in the worrrld's come (C) over you (C)(D)?

What in heaven's name have you (G) done (G)?
You've broken the speed of the sound of (C) loneliness (C)(D).
You're out there runnin' just to be on the (G) run.
Well I got a heart that burns with a (C) fever (C)(D).

And I got a worried and a jealous (G) mind (G).
Well how can a love that'll last for (C) ever (C)(D),
Get left so far be (G) hind (G)?
What in the worrrld's come (C) over you (C)(D)?

You're out there runnin' just to be on the (G) run.
(G)(C)(D)(G); (G)(C)(D)(G)
It's a mighty mean and a dreadful (C) sorrow (C)(D).

It's crossed the evil line to (G) day (G).
Well how can you ask about to (C) morrow (C)(D)?
We ain't got one word to (G) say (G).
So what in the worrrld's come (C) over you (C)(D)?

You're out there runnin' just to be on the (G) run (G)(D).
You're out there runnin' just to be on the (G) run (G)(D).

You're out there runnin' just to be on the (G) run |G|.
SPIRIT IN THE SKY
Norman Greenbaum
https://www.youtube.com/watch?v=AZQxH_8raCI (Capo 0)(MC2)
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|
When I die and they lay me to rest. Gonna go to the (D) place that's the best.
When I lay me (A) down to die goin' (E) up to the spirit in the (A) sky.
Goin' up to the spirit in the sky. That's where I'm gonna go (D) when I die.
When I die and they (A) lay me to rest I’m gonna (E) go to the place that's the (A) best.
Prepare yourself, you know it's a must. You gotta have a friend in (D) Jesus.
So you know that (A) when you die, he's (E) gonna recommend you to the spirit in the (A) sky.
Gonna recommend you to the spirit in the sky. That's where you're gonna go (D) when you die.
When you die and they (A) lay you to rest you're gonna (E) go to the place that's the (A) best.
(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);
Never been a sinner, I never sinned. I got a friend in (D) Jesus.

So you know that (A) when I die, He's (E) gonna set me up with the spirit in the (A) sky.
Gonna set me up with the spirit in the sky. That's where I'm gonna go (D) when I die.
When I die and they (A) lay me to rest I'm gonna (E) go to the place that's the (A) best.
(E) Go to the place that's the (A) best.
(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)(MC0)
TIP: (G/A) is just (G) with the 5th string open. At the end of the intro just use your index
finger to grab the <c> at the 2nd string/1st fret. The ring finger can come off the top string or
stay there, won't matter. Note the same pattern repeats at the end of the verse.
TIP: This song uses a (G)-(Gadd) pattern so when starting each verse, suggest playing (G) using
the pinky on the bottom string to complete the chord. Then, when it’s time for the (Gadd) simply
add the ring finger to the 2nd string/3rd fret. To go back to (G) simply lift the ring finger.
INTRO: |G/A| |D| |G| |D| |G/A| |D| |G| |D|, (G)(G4)-(G),(G)(G4)-(G),(G)(G)
Mama's got a squeeze box she wears on her (Gadd) chest

And when (G) Daddy comes (Gadd) home he never (G) gets no (Gadd) rest.
'Cause she's (D) playin' all night (D), and the (C) music's all right (C).
(D) Mama's got a squeeze box (C) Daddy never sleeps at (G) night (G4)-(G),(G)(G4)-(G),(G)(G)
Well the kids don't (Gadd) eat, and the (G) dog can't (Gadd) sleep
There's no es (G) cape from the music in the (Gadd) whole damn street.
Cause she's (D) playing all night (D). And the (C) music's all right (C).
She goes in and out and in and out and in and out and in and out.
She's (D) playin' all night (D). And the (C) music's all right (C).
She goes |G| squeeze me. Come on and |G| squeeze me.
Come on and |D| tease me like you do. I'm |C| so in love with you.
(D) Mama's got a squeeze box (C) Daddy never sleeps at (G) night.
(G)(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.
'Cause she's (D) playing all night (D). And the (C) music's all right (C).
(D) Mama's got a squeeze box (C) Daddy never sleeps at |G| night |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)(MC2)
TIP: The (G5) in the intro is formed like an (Em) on the 5th fret (7th if capo 2) but using your
ring finger and pinky with your index finger on the top string of the 3rd fret. You play two
strums of the (G5) and then 3 quick strums lifting off the top string in between. That's what the
<lift> denotation is for. If this is too messy just play (G).
INTRO: |G5||G5|,|G5|<lift>|G5|,|G5|; |G5|-|G5|-(Em)(Em), (C), (D), (G)
When the night, has (Gadd) come, (Em) and the land is dark.
And the (C) moon, is the (D) only, light we'll (G) see.
No I won't, be afraid. Oh I-I-I (Em) won't, be afraid.
Just as (C) long, as you (D) stand, stand by (G) me.
So darlin' darlin' stand, by me. Oh-ohh (Em) stand, by me.
Oh (C) stand, (D) stand by me, (G) stand by me.
If the sky, that we look u (Gadd) pon (Em), should tumble and fall.
Or the (C) mountain, should (D) crumble, to the (G) sea.
I won't cry, I won't cry, no I-I-I (Em) won't, shed a tear.
Just as (C) long, as you (D) stand, stand by (G) me.
And darlin' darlin' stand, by me. Oh-ohh (Em) stand, by me.
Whoa (C) stand now, (D) stand by me (G), stand by me.
(G)(G)(Em)(C)(D)(G), (G)(G)(Em)(C)(D)(G)
Darlin' darlin' stand, by me. Ohh (Em) stand, by me.

Oh (C) stand now, (D) stand by me, (G) stand by me.
Whenever you're in trouble won't you stand, by me. Oh (Em) stand, by me.
Whoa (C) stand now, oh (D) stand, stand (G) by me |G|.
(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)(MC3)
TIP: In the intro, the step-up at the end is open 4th string <d>, 4th string/2nd fret <e>, and 4th
string/4th fret <f#>.
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) <d>-<e>-<f#> (4O-4/2-4/4)
(G) Sometimes it’s hard, to be, a (D) woman (D)(D7).

(Am) Giving all your (D7) love, to just (G) one man (G)(G7).
(C) You'll have bad times (G), and he'll have good times (A7),
Doin' things that you don't under (D7) stand (D7)(G).
But if you love him, you'll for (D7) give him (D7).
(Am) Even though he's (D7) hard, to under (G) stand (G)(G7).
(C) And if you love him (G), oh be proud (C) of him,
(G) Cause, after (D7) all, he's just (G) a man (C)|G|-(D)(D)(D)(G).
Stand by your (B7) man. (C) Give him two arms to cling to,
(G) And, something (E7) warm, to come to, (A7) when nights, are |D| cold, and (D) lonely.
(G) Stand by your (B7) man. (C) And show the world you love hi-(G)-im.
Keep giving (D7) all, the love you (B7) can (E7).
(C) Stand (D7) by, your (G) man (C)|G|-(D)(D)(D)(G)
Stand by your (B7) man. (C) And show the world you love hi-(G)-im.
Keep giving (D) all, the (D7) love you (B7) caaaaaaan (E7)(C).
Stand (D7) by, your, (G) maaaaan (C)(G)(D)|G|.
STAR OF THE COUNTY DOWN
Van Morrison with The Chieftains
(Traditional/MacGarvey)
https://www.youtube.com/watch?v=6sMZ2bUv9Q4 (Capo 0)(MC1)
TIP: For a little flavor, replace the (D) in the first and third lines of each verse with a (Bm).
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)
Near Banbridge Town in the (G) County (D) Down one (Em) morning (C) last Ju (D) ly,
From a (Em) boreen green came a (G) sweet col (D) leen
And she (Em) smiled as she (C) passed me (Em) by.
She (G) looked so sweet from her (D) two bare feet to the (Em) sheen of her nut brown (D) hair.
Such a (Em) coaxin’ elf sure I (G) shook my (D) self for to (Em) see I was (C) really (Em) there.
From (G) Bantry Bay up to (D) Derry Quay and from (Em) Galway to Dublin (D) Town,
No (Em) maid I've seen like the (G) brown col (D) leen that I (Em) met in the (C) County (Em) Down.
(G)(D)(Em)(Em)
As she onward sped sure I (G) scratched my (D) head and I (Em) looked with a (C) feelin' (D) rare.
And I (Em) say's say's I to a (G) passer (D) by
"Whose the (Em) maid with the (C) nut brown (Em) hair"?
He (G) smiled at me and he (D) says say's he "That's the (Em) gem of Ireland's (D) crown.
Young (Em) Rosie McCann from the (G) banks of the (D) Bann
She's the (Em) star of the (C) County (Em) Down".
(Em)(Em)(G)(D)(Em)(C)(D), (Em)(Em)(G)(D)(G)(C)(Em)(Em)
At the Harvest Fair she'll be (G) surely (D) there
And I'll (Em) dress in my (C) Sunday (D) clothes,
With my (Em) shoes shone bright and my (G) hat cocked (D) right
For a (Em) smile from my (C) nut brown (Em) rose.
No (G) pipe I'll smoke no (D) horse I'll yoke till my (Em) plough turns rust-colored (D) brown.
Till a (Em) smilin’ bride by my (G) own fire (D) side
Sits the (Em) star of the (C) County (Em) Down.
No (Em) maid I've seen like the (G) brown col |D| leeeeen,
(D) That I (Em) met in the (C) County (Em) 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)(MC0)
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 intro is a two-beat walk-down beginning with the open 3rd string <g>. Then it's 4th
string/3rd fret, 2nd fret, 1st fret, open 4th fret; 5th string/3rd fret, 2nd fret, open 5th string
and (G) etc.
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><f><f><e><e><d#><d#><d><d><c><c><a><a>
(G)(G)(D)-(G), (G)(G)(D)-(G), (G)(C)(G)(D)-(G), (G)(G)(D7)-(G)
You ought to see my (C) blue-eyed Sally she (G) lives away down on (D) Shinbone (G) Alley.
The number on the gate is the (C) number on the door
And the (G) next house over is a (D) grocery (G) store.
Stay all night stay a little (C) longer (D7) dance all night dance a little (G) longer.
Pull off your coat, (C) throw it in the corner
(D) I don't see why I don't (C) stay a little long-(G)-er.

You can't go home if you're (C) goin' by the mill
Cause the (G) bridge's washed out at the (D) bottom of the (G) hill.
The big creek's up and the (C) little creek's level
I'll (G) plow my corn with a (D) double (G) shovel.
Stay all night stay a little (C) longer. (D7) Dance all night dance a little (G) longer.
Sittin' in the window (C) singin' to my love

The (G) slop bucket fell from the (D) window up a (G) bove.
Mule and the grasshopper (C) eatin' ice cream
The (G) mule got sick so they (D) laid him on the (G) green.
Grab your gal and (C) pat her on the head

If she (G) don't like biscuits (D) feed her corn (G) bread.
Gals around Big Creek a (C) bout half grown, (G) jump on a man like a (D) dog on a (G) bone.
Stay all night stay a little (C) longer.

(D7) Dance all night dance a little (G) longer.
Pull off your coat, (C) throw it in the corner (D)
I don't see why I don't (C) stay a little long-(G)-er.
(G)(F)(C)(E7)(A7)(D)(G), (G)(F)(C)(E7)(A7)(D7)(G)(G)(D7),
Pull off your coat, (C) throw it in the corner (D)
I don't see why I don't (C) stay a little long-, |G|-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)(MC0)
INTRO: (C)(C),(C)(Am)(C)(C)
Well I got my mail late last night. A letter from a girl who (C7) found the time to (F) write,
To her lonesome boy somewheres in the (C) night.
She (F) sent me a railroad ticket too, to take me to her lovin' (C) arms and the big steel
(Am) rail gonna carry me (G) home to the one I (C) love (G)(Am)(G).
Well I (C) been out here many long days. Haven't found a place that (C7) I could call my (F) own.
Not a two-bit bed to lay my body (C) on.
I (F) been stood up, I been shook down I been dragged into the (C) sand and the big steel
(Am) rail gonna carry me (G) home to the one I (C) love (G)(Am)(G).
(F) Ooooh, (Em) ooooh, (Am) ooh whee hee (C) hee.
(F) Oooh (Em) oooh (Am) oooh (G) oooh (C) oooh oooh ooh.
Well I been up tight, most every night, walkin' along the (C7) streets of this old (F) town.
Not a friend around to tell my troubles (C) to.
My (F) good old car she done broke down 'cause I drove it into the (C) ground
And the big steel (Am) rail gonna carry me (G) home to the one I (C) love (G)(Am)(G).
Well I (C) look over yonder across the plain.

The big drive wheels are (C7) poundin' along the (F) ground.
Gonna get on board and I'll be homeward (C) bound.
Now (F) I ain't had a home cooked meal, and Lord I need one (C) now
And the big steel (Am) rail gonna carry me (G) home to the one I (C) love (G)(Am)(G).
(F) Oooh (Em) oooh (Am) oooh (G) oooh (C) oooh oooh ooh.
Now here I am with my head in the sand, standin' on the broad high (C7) way will you give a
(F) ride, to a lonesome boy who missed the train last (C) night.
I (F) went in town for one last round and I gambled my ticket a (C) way
And the big steel (Am) rail won't carry me (G) home to the one I (C) love (G)(Am)(G).
(F) Oooh (Em) oooh (Am) oooh (G) oooh (C) oooh oooh, ooh.
(F) Oooh (Em) oooh (Am) oooh (G) oooh (C) oooh oooh, ooh. Weee, hee hee.
STEEL RAILS – Alison Krauss
(Branscomb)
https://www.youtube.com/watch?v=RX_YZD-r-Qc (Capo 2)(MC2)
INTRO: (A)(D), (D)(Em), (G)(A)(G)(D)
Steel rails, chasing (Em) sunshine round the bend.

(G) Winding through the (A) trees like a (G) ribbon in the (D) wind.
I don't mind, not knowing (Em) what lies down the track.
Cause I'm (G) looking out a (A) head to keep my (G) mind from turning (D) back.
It's not the first time, I've found my (Em) self alone at dawn.
If I (G) really had you (A) once then I'd (G) have you when I'm (D) gone.
Whistle blowin’, blowin' (Em) lonesome in my mind.
(G) Calling me a (A) long that never (G) ending metal (D) line.

(G) Winding through the (A) trees like a (G) ribbon in the (D) wind.
(D) (Em) (G) (A) (G) (D), (D) (Em) (G) (A) (G) (D)
Sun is shining, through the (Em) open boxcar door.

(G) Lying in my (A) mind with the (G) things I've known be (D) fore.
I've lost count, of the (Em) hours days and nights.
The (G) rhythm of the (A) rails keeps the (G) motion in my (D) mind.
(G) Winding through the (A) trees, like a (G) ribbon in the (D) wind.
Cause I'm (Em) looking out a (A) heaaaaaaad, to keep my (G) mind from turning (D) back.
STEWBALL - Peter, Paul and Mary
(Traditional-Herald/Rinzler/Yellin/Auffray)
https://www.youtube.com/watch?v=hXdQB-mR4tg (Capo 1)(MC1)
[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)
Oh Stewball was a (G) racehorse, and I (Em) wish he were (Am) mine.
He never drank (D) water, he always drank (G) wine (C)(D).
His bridle was (G) silver, his (Em) mane it was (Am) gold.
And the worth of his (D) saddle, has never been (G) told (C)(D).
Oh the fairgrounds were crowded, and (Em) Stewball was (Am) there.
But the betting was (D) heavy, on the bay and the (G) mare (C)(D).
And a-way up (G) yonder, a (Em) head of them (Am) all,
Came a-prancin' and a- (D) dancin', my noble Stew (G) ball (C)(D).
I bet on the (G) grey mare. I (Em) bet on the (Am) bay.
If I'd have bet on ol' (D) Stewball, I'd be a free man to (G) day (C)(D).
For the (G) hoot owl she hollers, and the (Em) turtle dove (Am) moans.
I'm a poor boy in (D) trouble, I'm a long way from (G) home (C)(D).
Oh (G) Stewball was a racehorse, and I (Em) wish he were (Am) mine.
He never drank (D) water, he always drank (G) wine (C)(G). (G)(G)
(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)(MC0)
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. And while you can
play a regular (C) instead of the (C/G), in which you just add your pinky to cover the top string,
Joan plays with an alternating root string on all the chords (i.e, 5th and 6th strings on the (C)
and 4th and 5th strings on the (Dm)).
TIP: Carry the (C/G) 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/G)(Am)
even though the lead-in is already a (C/G). 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
unless you don't like the (Bm) in which case you can cheat and just add your pinky while holdin the
(D). At the end there's little (Dsus4)(D)(Dsus2) twinkle. From (D) add pinky for the (Dsus4),
remove index finger for the (Dsus2). Easy.
INTRO: <single strum of> |C|
(NC) Stewball was a (C/G) racehorse (C/G)(Am), he wore a high (Dm) head.
And the mane on his (G) foretop, was as fine as silk (C/G) thread.
Yeah his mane it was silver (C/G)(Am), and his bridle was (Dm) gold.
And the worth of his (G) saddle, has never been (C/G) told.
He was ridden in England (C/G)(Am), was ridden in (Dm) Spain.

And he never did (G) lose boys, he always did (C/G) gain.
So come all you gamblers (C/G)(Am), wherever you (Dm) are.
And don't place your (G) money, on that little gray (C/G) mare.
She's likely to stumble (C/G)(Am), she's likely to (Dm) fall.
But you never will (G) lose boys, on my noble Stew (C/G) ball.
(C/G)(Am), (Am)(Dm), (Dm)(G7), (G)(C/G)
Aw the fairgrounds were crowded (C/G)(Am), and Stewball was (Dm) there.
But the betting was (G) heavy, on the little grey (C/G) mare-(D)-are.
<Key change>
Aw the hoot owl she hollers (D)(Bm), and the turtle dove (Em) moans.
I'm a poor boy in (A) trouble (A)(A7), and a long ways from (D) home.
Cuz I bet on the grey mare (D)(Bm), and some on the (Em) bay.
I'd a bet on ol' (A) Stewball (A)(A7), I'd be a rich man to (D) day.
Cuz they were a riding (D)(Bm), about halfway a (Em) round,

That grey mare she (A) stumbled (A)(A7), and fell on the (D) ground.
And away up yonder (D)(Bm), ahead of them (Em) all,
Came a-prancin' and (A) dancing (A)(A7), my noble Stew (D) ball.
And the grey mare was a racehorse (D)(Bm), and her heart it was (Em) gold.
She lies dead on the (A) infield (A)(A7),
But her story's been (G) told (G)(G)(D)(Dsus4)(D)(Dsus2)-(D).
(Traditional)(Folk) (Joan Baez) (Artist Index) (Main Index) (Song Index) (This Song)
STOP DRAGGIN’ MY CAR AROUND – Weird Al Yankovic
(Petty/Campbell/Yankovic)
https://www.youtube.com/watch?v=fmfc67NfwOw (Capo 1)(MC4)
TIP: There’s a sing-song (F)(C)(F)(C) in the back end of the “stop draggin’ my car around.” It
can catch you out if you’re not ready for it.
TIP: The whole song is just a chord progression of (Am)(C)(D) where (Am) gets two beats. Gets a
little stupid at the end.
INTRO: (D)(D), |F|-|C|-|F|

(Am)(Am)(C)(D), (Am)(Am)(C)(D)
(Am) Had to park my car for (C) just five (D) minutes.
(Am) I had to go inside to (C) use the (D) phone.
(Am) When-I-came-back-again my (C) car was (D) gone well.
(Am) I didn’t know it was a (C) loading (D) zone.
(F) What a bummer I was (G) so brought down,

(F) I had to chase that tow truck (G) all over town yellin’
(F) Stop draggin' my, (G) stop draggin' my, (F) stop (C) draggin' my (F) car a (C) round.
(Am)(Am)(C)(D), (Am)(Am)(C)(D)
(Am) Took my baby to the (C) local (D) disco.

(Am) I was jumpin’ like a (C) mani (D) ac.
(Am) But the owner came and (C) pulled me off the (D) floor then he,
(Am) He took me to his little (C) office in the (D) back.
(Am) He said “I really like your (C) snaggletooth (D) necklace.
(Am) Your pants are groovy and you (C) hair’s o (D) kay.
(F) But man that car of yours is (G) so uncool.
(F) Like wow I’m sorry but we (G) towed it away.
<accordian> (Am)(Am)(C)(D)
(G)(G)(F)(C), (G)(G)(F)(C), (G)(G)(F)(C), (D)(D)(F)-(C)-(F)
(Am) Now I’m at home I’m watchin’ (C) Gilligan’s (D) Island.
(Am) Guess it’s time to trade my (C) my old car (D) in.
(Am) For twenty dollars and my (C) ‘64 (D) Plymouth.
(Am) Maybe I could get a (C) second-hand (D) Schwin.
(Am) Look out the window there’s a (C) tow truck in the (D) driveway.
(Am) I grabbed the driver and I (C) asked him (D) why.
(F) He said “I’m sorry kid you’re (G) late with the payments.
(F) It’s time to kiss your little (G) car goodbye.”
(Am) Stop draggin' my (C) car a (D) round. (Am)(Am)(C)(D)

(Listen the check’s in the mail. No really.)
(Oh man I just had the hub caps painted.)
(Hey, hey I left a sandwich in the back seat.)
(Am) Stop draggin’ my (C) car a (D) round. (Am)(Am)(C)(D), |Am|
STOP DRAGGIN’ MY HEART AROUND
Stevie Nicks (with Tom Petty and the Heartbreakers)
(Petty/Campbell)
https://www.youtube.com/watch?v=H5i7j0VhEHw (Capo 0)(MC0)
TIP: The |CaddG|-|G|-|Cadd| appears in the intro and the instrumental and is a little tricky. The
key is to keep your pinky planted on the bottom string when moving to and from the |G|. If a bit
much just play |C|.
TIP: Otherwise the whole song is just a chord progression of (Em)(G)(A) where (Em) gets two beats.
INTRO: (A)(A), |CaddG|-|G|-|CaddG|

(Em)(Em)(G)(A), (Em)(Em)(G)(A), (Em)(Em)(G)(A), (Em)(Em)(G)(A)
Baby (Em) you'll come knocking on (G) my front (A) door.

(Em) Same old line you used to (G) use be (A) fore.
(Em) I said "Hey well (G) what-am-I-supposed to (A) do?"
(Em) I didn't know what I was (G) getting in (A) to.
(C) So you've had a little (D) trouble in town,

(C) Now you're keeping some (D) demons down.
(C) Stop draggin' my, (D) stop draggin' my, (C) stop draggin' my heart around.
(Em)(Em)(G)(A), (Em)(Em)(G)(A)
(Em) It's hard to think about (G) what you (A) wanted.
(Em) It's hard to think about (G) what you (A) lost.
(Em) This doesn't have to be the (G) big get (A) even.
(Em) This doesn't have to be (G) anything at (A) all.
(Em) I know you really want to (G) tell me good (A) bye.
(Em) I know you really want to (G) be your own (A) girl.
(C) Baby you could never (D) look me in the eye.

(C) Yeah you buckle with the (D) weight of the words.
<instrumental> (Em)(Em)(G)(A)
(D)(Dsus4)-(D)(C)-(G), (D)(Dsus4)-(D)(C)-(G)
(D)(Dsus4)-(D)(C)-(G), (A)(A)|CaddG|-|G|-|CaddG|
(Em) There's people running 'round (G) loose in the (A) world.
(Em) Ain't got nothin’ (G) better to (A) do
(Em) Make a meal of some (G) bright-eyed (A) kid
(Em) You need someone lookin’ (G) after (A) you.
(Em) I know you really want to (G) tell me good (A) bye.
(Em) I know you really want to (G) be your own (A) girl.
(C) Baby you could never (D) look me in the eye.

(C) Yeah you buckle with the (D) weight of the words.
(Em) Stop draggin' my (G) heart a (A) round. (Em)(Em)(G)(A)

(Em) Stop draggin' my (G) heart a (A) round. (Hey hey hey) (Em)(Em)(G)(A)
(Em) Stop draggin' my (G) heart a (A) round. (Hey hey hey) (Em)(Em)(G)(A)
(Em) Stop draggin' my (G) heart a (A) round. (Em)(Em)(G)(A), |Em|
(Stevie Nicks) (Tom Petty) (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)(MC2)
TIP: The opening notes of the intro is tricky. They're the open top string <e>, top string/2nd
fret <f#>, top string/3rd fret <g> followed immediately by the first (Am) of the chord riff. You
can just pick the strings with an open hand or you can try this: Form (Am). Now pick the open top
string, wrap your thumb over to cover the top string/2nd fret - and here comes the hard part -
extend your pinky way up to cover the top string/3rd fret. Try it a few times and use whichever
method you can. In either case you start the riff immediately. Also, in the intro and outro play
the (Bm) with just three fingers as shown in the first (Bm) diagram.
TIP: Note in the chorus the first line ends with an (F#m) and the second line with an (F#). And
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: <e><f#><g>-(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|
I've been (Am) thinking about our (D) fortune,

And I've de (Am) cided that we're really not to (D) blame.
For the (Am) love that's deep in (D) side us now, is (G) still the (C) same (G).
And the (Am) sounds we make to (D) gether,

Is the (Am) music to the story in your (D) eyes.
It's been (Am) shining down up (D) on me now I (G) real (C) ize (G).
(Em) Listen to the tide slowly (F#m) turning.

(G) Wash all our heartaches a (F#) way.
We're (A) part of the fire that is (Bm) burning (A),
And from the (G) ashes we can (D) build another (E) day.
But I'm (Am) frightened for you (D) children,
That the (Am) life that we are living is in (D) vain.
And the (Am) sunshine we've been (D) waiting for, will (G) turn to (C) rain (G).
(Am)(D), (Am)(D), (Am)(D), (G)(G)
(Em) Listen to the tide slowly (F#m) turning.

(G) Wash all our heartaches a (F#) way.
We're (A) part of the fire that is (Bm) burning (A),
From the (G) ashes we can (D) build another (E) day.
But I'm (Am) frightened for you (D) children,

That the (Am) life that we are living is in (D) vain.
And the (Am) sunshine we've been (D) waiting for, will (G) turn to (C) rain (G).
When the (Am) final line is (D) over,

And it's (Am) certain that the curtain's gonna (D) fall.
I can (Am) hide inside your (D) sweet sweet love, for (G) ever (C) more (G).
(Am)(Bm)(Am7)(D), (Am)(Bm)(Am7)(D), (Am)(Bm)(Am7)(D);

(Am)(D)(Am)(D) <repeat and fade> .........
[or if playing live]---> ....... <slow down> |Em| |C| |Am|
THE STORY OF MY LIFE (In A) – Marty Robbins
(Bacharach/David)
https://www.youtube.com/watch?v=BrHZCmVQnNA (Capo 3)(MC2)
TIP: If you don’t like that (B7), which is only played twice, there’s an easier version afterwards
in (G) which is capo’d at the 5th; or if you don’t like capo’ing that high, uncapo’d in (C) using
(C)(G)(F) and (D) -– (plus 2 for each chord shown here).
TIP: There’s a sing-song whistle that’s present in the verse and denoted by |D|-(D). Strum once
on the up-inflection.
INTRO: (A) <whistle> (A)(E), (E)(A), (A)(D), (D)(A), (A)(E)
Some (A) day I'm going to (D) write |D|-(D), the (A) story of my (D) life |D|-(D).
I'll (A) tell about the (E) night we met, (D) and how my heart (E) can't forrrget
The (A) way, you (D) smiled, (E) at (A) me (A)-(D)-(E).
I (A) want, the world to (D) know |D|-(D), the (A) story of my (D) life |D|-(D).
The (A) moment when your (E) lips met mine, (D) and that first ex (E) citing time
I (A) held, you (D) close, (E) to (A) me (A)-(E).
The (D) sorrow when our love was (A) breakin' up. The (D) mem'ry of a broken (A) heart.
Then (D) later on the joy of (A) makin' up, |B7| never never more to (E) part.
There's (A) one thing left to (D) do |D|-(D), be (A) fore my story's (D) through |D|-(D).
I've (A) got to take you (E) for my wife, (D) so the story (E) of my life
Can (A) start, and (D) end, (E) with (A) you (A)-(E).
The (D) sorrow when our love was (A) breakin' up. The (D) mem'ry of a broken (A) heart.
Then (D) later on the joy of (A) makin' up, |B7| never never more to (E) part.
There's (A) one thing left to (D) do |D|-(D), be (A) fore my story's (D) through |D|-(D).
I've (A) got to take you (E) for my wife, (D) so the story (E) of my life
Can (A) start, and (D) end, can (A) start, and (D) end,
Can (A) start, and (D) end, (E) with (A) you.
<whistle> (A)(E), (E)(A), (A)(D), (D)(A), (A)(E), (E)(A), |A|-|A|
THE STORY OF MY LIFE (In G) – Marty Robbins
(Bacharach/David)
https://www.youtube.com/watch?v=BrHZCmVQnNA (Capo 5)(MC4)
TIP: This is probably the easiest version but if you don’t like capo’ing this high you can play
uncapo’d (C)(G)(F) and (D) –- (each chord plus 3 from what’s shown here).
TIP: There’s a sing-song whistle that’s present in the verse and denoted by |C|-(C). Strum once
on the up-inflection.
INTRO: (G) <whistle> (G)(D), (D)(G), (G)(C), (C)(G), (G)(D)
Some (G) day I'm going to (C) write |C|-(C), the (G) story of my (C) life |C|-(C).
I'll (G) tell about the (D) night we met, (C) and how my heart (D) can't forrrget
The (G) way, you (C) smiled, (D) at (G) me (G)-(C)-(D).
I (G) want, the world to (C) know |C|-(C), the (G) story of my (C) life |C|-(C).
The (G) moment when your (D) lips met mine, (C) and that first ex (D) citing time
I (G) held, you (C) close, (D) to (G) me (G)-(D).
The (C) sorrow when our love was (G) breakin' up. The (C) mem'ry of a broken (G) heart.
Then (C) later on the joy of (G) makin' up, |A| never never more to (D) part.
There's (G) one thing left to (C) do |C|-(C), be (G) fore my story's (C) through |C|-(C).
I've (G) got to take you (D) for my wife, (C) so the story (D) of my life
Can (G) start, and (C) end, (D) with (G) you (G)-(D).
The (C) sorrow when our love was (G) breakin' up. The (C) mem'ry of a broken (G) heart.
Then (C) later on the joy of (G) makin' up, |A| never never more to (D) part.
There's (G) one thing left to (C) do |C|-(C), be (G) fore my story's (C) through |C|-(C).
I've (G) got to take you (D) for my wife, (C) so the story (D) of my life
Can (G) start, and (C) end, can (G) start, and (C) end,
Can (G) start, and (C) end, (D) with (G) you.
<whistle> (G)(D), (D)(G), (G)(C), (C)(G), (G)(D), (D)(G), |G|-|G|
STRANGE CURRENCIES - R.E.M.
(Barry, Buck, Mills, Stipe)
https://www.youtube.com/watch?v=XMazs2N1CQ0 (Capo 0)(MC2)
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.
TIP: The intro starts with 4 picked notes. Form (C) and pick the 4th string. Then lift off the
middle finger so the 4th string is now open. Pick the 4th string, 5th string, 4th string, return
the middle finger and play (C). That's what the 4 <lift> 4-5-4 means. And note it repeats again
after the first chorus but there's a brief pause to let you come off the (G) to get in position.
INTRO: <Form (C)>: 4 <lift> 4-5-4 (C) (F) (C) (F) (C)
I don't (F) know, why you're (C) mean to me (C)(F).

When I (C) call (C)(F), on the tele (Dm) phone (Gadd).
And (C) I don't knowwww (C)(F), what you (C) mean to me (C)(F).
But I want to turn you (C) on, turn you up, figure you (F) out,
I (C) want to, take you (Dm) on (Gadd).
These (C) words (G)(F)(C)(F), you will be (Gadd) mine.

These (C) words (G)(F), you (C) will be (Dm) mine (Dm), all the (G) time.
<Form (C)> 4 <lift> 4-5-4 (C)
The fool might (F) be, my (C) middle name (C)(F)(C).

But I'd be (F) foolish, not to (Dm) say (Gadd).
(C) I'm-going-to-make-whatever-it-(F) takes,
Ring you up, (C) call you down sign your name (F) secret love, make it (C) rhyme,
Take you (F) in, and make you (Dm) mine (Gadd).
These (C) words (G)(F)(C)(F), you will be (G) mine."
These (C) words (G)(F), you will be (Dm) mine (Dm). All the (G) time, oh.
(Am) I tripped and (G) fell (Am). Did I-I (G) fall (Am)?
What I want to feel (F)(C)(Dm), I want to feel it (G) now (Gadd).
(C) You know with (F) love, comes strange (C) currencies (C)(F)(C).
(F) Here, is my a (Dm) ppeal (Gadd)(C).
I need a (F) chance a second chance a third (C) chance a fourth chance a final (F) signal a nod a
little breath, to (C) fool myself, to (F) catch myself, to make it (Dm) real, (G) real.
These (C) words (G)(F)(C)(F), you will be (G) mine.

These (C) words (G)(F), you will be (Dm) mine (Dm). All the (G) time, oh.
These (C) words (G)(F)(C)(F), you will be (Gadd) mine.

These (C) words, (G) they (F) haunt, (C) hunt me down (Dm) catch in my throat make me pray,
Say, love's con (G) fined, 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)(MC3)
[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)
As I walked (A7) out in the (D) streets of La (A) redo.

As (D) I walked, (A) out in, La (D) redo one (A) day.
I (D) spied a young (G) cowboy wrapped (D) all wrapped in white (A) linen.
(D) Wrapped up in white (A) linen as (A7) cold as the (D) clay.
"Oh beat the drum (A7) slowly and (D) play the fife (A) lowly.
(D) Sing the dead (A) march as you (D) carry me a (A) long.
Take (D) me to the (A7) valley there (D) lay the sod (A) o'er me,
(D) I'm a young (A) cowboy and (A7) know I’ve done (D) wrong."
I see by your (A7) outfit, that (D) you are a (A) cowboy."
These (D) words he did (A) say as I (D) boldly walked (A) by.
"Come (D) sit down be (A7) side me and (D) hear my sad (A) story.
Got (D) shot in the (A) breast and I (A7) know I must (D) die.
Go fetch me some (A7) water, a (D) cool cup of (A) water,

To (D) cool my parched (A) lips" then the (D) poor cowboy (A) said.
Be (D) fore I re (A7) turned his (D) spirit had (A) left him,
And (D) gone to his (A) maker the (A7) cowboy was (D) dead.
"Oh beat the drum (A7) slowly and (D) play the fife (A) lowly.
(D) Sing the dead (A) march as you (D) carry me a (A) long.
Take (D) me to the (A7) valley there (D) lay the sod (A) o'er me,
(D) I'm a young (A) cowboy and (A7) know I’ve done (D) 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)(MC2DD)
INTRO: (D)(Em)(A7)(D)
As I walked (G) out, on the (D) streets of La (A) redo.

As (D) I walked (A) out, in La (D) redo one (A) day.
I (D) spied a young (G) cowboy, wrapped (D) up in white (A) linen.
Wrapped (Bm) up in white (Em) linen, and cold (A7) as the (D) clay (D).
"I see by your (A7) outfit, that (D) you are a (A) cowboy."
These (D) words he did (A) say as I (D) boldy walked (A7) by.
"Come (D) sit down be (A7) side me, and (D) hear my sad (A) story.
I'm (Bm) shot in the (Em) breast, and I (A7) know I must (D) die.
Oh beat the drum (A7) slowly and (D) play the fife (A) lowly,
(D) Play the dead (A) march, as you (D) carry me a (A7) long.
Take me (D) to the green (A7) valley and (D) lay the sod (A) o'er me,
For (Bm) I'm a young (Em) cowboy, and I know (A7) I’ve done (D) wrong.
It was once in the (G) saddle, I (D) used to go (A) dashing.

It was (D) once in the (A7) saddle, I (D) used to go (A) gay.
(D) First to the (A7) dram house and (D) then to the (A) card house.
Got (Bm) shot in the (Em) breast, and I'm dy (A7) ing to (D) day.
Go gather a (A7) round you a (D) group of young (A) cowboys.

(D) Tell them the (A7) story, of (D) this my sad (A) fate.
Tell (D) one and the (A7) other, be (D) fore they go (A) further,
To (Bm) stop wild (Em) roving, be (A7) fore it's too (D) late.
We beat the drum (A7) slowly and (D) play the fife (A) lowly,
And (D) bidder thee (A) well, as we (D) bore him a (A) long.
For we (D) all loved our (A7) comrade, so (D) brave young and (A) handsome,
We (Bm) all loved our (Em) comrade, al (A7) though he done (D) wrong.
(D)(A)(D)(A)(D)(G)(D)(A7), (D)(A)(D)(A)(Bm)(Em)(A7)(D)(D)(D)
<Other traditional verses>
"Get six jolly (A7) cowboys, to (D) carry my (A) coffin.

Get (D) six pretty (A) maidens, to (D) bear up my (A) pall.
Put (D) bunches of (A7) roses, all (D) over my (A) coffin.
(Bm) Roses to (A) deaden, the (A7) clods as they (D) fall.
Then swing your rope (A7) slowly, and (D) rattle spurs (A) lowly.
And (D) give a wild (A) whoop as you (D) bear me a (A) long.
And (D) in the grave (A7) throw me, and (D) roll the sod (A) o'er me.
For (Bm) I'm a young (A) cowboy and I (A7) know I've done (D) wrong.
Go bring me a (A7) cup, a (D) cup of cold (A) water,

To (D) cool my parched (A) lips, the (D) cowboy then (A) said.
Be (D) fore I re (A7) turned, his (D) soul had de (A) parted,
And (Bm) gone to the (A) round up, the (A7) cowboy was (D) dead.
(Michael Martin Murphey) (Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUGAR SUGAR - The Archies
(Kim/Barry)
https://www.youtube.com/watch?v=JywK_5bT8z0 (Capo 0)(MC0)
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 the Single of the Year for 1969. Groovy.
INTRO: (D)(G)(D)(G)
(D) Sugar (D)(G), ah honey (D) honey (D)(G).

You are my (D) candy (G) girl (A), and you got me (D) wanting you (G)(A).
(D) Honey, (D)(G) ah sugar (D) sugar (D)(G).
You are my (D) candy (G) girl (A), and you got me (D) wanting you (D).
I just can't believe the (C) loveliness of (D) loving you.

(I just can't be (G) lieve it's (D) true).
I just can't believe the (C) one to love this (D) feeling to.
(I just can't be (G) lieve it's (A) true).
Ahh (D) sugar (D)(G), ah honey (D) honey (D)(G).

You are my (D) candy (G) girl (A), and you got me (D) wanting you (G)(A).
Ahh (D) honey (D)(G), ah sugar (D) sugar (D)(G).
You are my (D) candy (G) girl (A), and you got me (D) wanting you (D).
When I kissed you girl I (C) knew how sweet a (D) kiss could be.
(I know how sweet a (G) kiss can (D) be).
Like the summer sunshine (C) pour your sweetness (D) over me.
(Pour your sweetness (G) over (A) me oh oh oh oh oh.)
(D) Pour a little sugar on it (G) honey. (D) Pour a little sugar on it (G) baby.
(D) I'm gonna make your (G) life so sweet, (A) hey yeah yeah.
(D) Pour a little sugar on it, (G) oh (A) yeah.

(D) Pour a little sugar on it (G) honey.
(D) Pour a little sugar on it (G) baby.
(D) I'm gonna make your (G) life so sweet, (A) hey hey yeah.
(D) Pour a little sugar on it honey.
Ah Sugar (D)(G), ah ah honey (D) honey (D)(G).

You are my (D) candy (G) girl (A), and you got me (D) wanting you (G) oh oh oh (A) oh oh
(D) Honey (D)(G), ah sugar (D) sugar (D)(G).
You are my (D) candy (G) girl (A)(D)|D|.
(The Archies) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUMMERTIME DREAM
Gordon Lightfoot
https://www.youtube.com/watch?v=kMtrKia4rI8 (Capo 2)(MC0)
INTRO: (C)(C)(C)(C)
Where the road runs down by the (G) butternut grove to (C) old Bill Skinner’s (F) stream.
(C) Do tell at the (F) noon day bell it's (G) time for a summertime (C) dream.
In a lunch pail town in a (G) one horse way you can (C) live like a king and (F) queen.
Let's (C) steal away in the (F) noon day sun it's (G) time for a summertime (C) dream.
(Am) Birds in all creation will be (C) twitterin' in the trees.

And (Am) down below there's a pond I know you can (C) swim in it if you (Gadd) please.
And if (C) you come 'round when the (G) mill shuts down you can (C) see what chivalry (F) means.
(C)(G)(C)(F),(C)(F)(G)(C)
On a (Am) trip on down to wonderland in (C) love among the flowers.

Where (Am) time gets lost with no straw boss (C) tallyin' up the (Gadd) hours.
Where the (C) road runs down by the (G) butternut grove to (C) old Bill Skinner’s (F) stream.
(C) Do tell at the (F) noon day bell it's (G) time for a summertime (C) dream.
(C)(G)(C)(F),(C)(F)(G)(C)
(Am) Birds in all creation will be (C) twitterin' in the trees.

And (Am) down below there's a pond I know you can (C) swim in it if you (Gadd) please.
So if (C) you come 'round when the (G) mill shuts down you can (C) see what chivalry (F) means.
(C)(G)(C)(F),(C)(F)(G) time for a summertime (C) dream.

(C)(G)(C)(F),(C)(F)(G) time for a summertime (C) dream |C|.
SURFIN’ SAFARI – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=IMChBJZUDK8 (Capo 2)(MC2)
TIP: There are overlapping melody lines shown in parenthesis/italics. Helps to have another
singer cover them.
INTRO: |D| Let's go surfin' now |C| everybody's learning how

|A| Come on and sa |A| fari with |D| me |D|-|D|-|D|. (D) Come on and safari with . . .
(G) Early in the morning we'll be (C) startin' out, some (D) honeys will be coming a (G) long.
We're loading up our Woody with our (C) boards inside and (D) headin' out singin’ our (G) song.
Come on baby wait and see yes, I'm gonna take you surfin' with me.
(Surfin’ surfin’ safai, surfin’ surfin’ safari)
A (C) long surf baby, wait and see yes, (G) I'm gonna take you surfin' with me.
(Surfin’ surfin’ safai surfin’ surfin’ safari)
|D| Let's go surfin' now |C| everybody's learning how

At (G) Huntington and Malibu they're (C) shooting the pier,

At (D) Rincon they're walking the (G) nose.
We're going on safari to the (C) islands this year
So if you're (D) coming get ready to (G) go.
|A| Come on and sa |A| fari with |D| me |D|-|D|-|D|. (D) Come on and safari.
(G)(C)(D)(G)(G)(C)(D)(G)
They're anglin' in Laguna in (C) Cerro Azul,

They're (D) kickin out in Doheny (G) too.
I tell you surfing's mighty wild it's getting (C) bigger every day
From Ha (D) waii to the shores of Pe (G) ru.

(G) Surfin’ safari, surfin’ safai, surfin’ safari,

(Me, yeah me, with me)
Surfin’ safari, surfin’ safari . . . |G|

(Yeah me, with me . . .)
SURFIN’ U.S.A. – The Beach Boys
(Wilson/Berry/Love)
https://www.youtube.com/watch?v=EDb303T-B1w (Capo 1)(MC4)
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>
If everybody had an (A) ocean, <palm> across the U. S. (D) A. <palm>

Then everybody'd be (A) surfin', <palm> like Californi- (D) a <palm>.
You'd seem 'em wearing their (G) baggies, <palm> huarache sandals (D) too <palm>.
A bushy bushy blonde (A) hairdo, <palm> surfin' U. S. (D) A.
You'd catch 'em surfin' at (A) Del Mar,

(Inside outside U.S.A.)
Ventura County (D) line.
Santa Cruz and (A) Trestle,
Austrailia’s Narra (D) been.
All over Man (G) hattan,
And down Dohey (D) Way.
(Inside outside)
Everybody's gone (A) surfin', surfin' U.S. (D) A. (D) <palm>
We'll all be planning out a (A) route, <palm> we're gonna take real (D) soon <palm>.
We're waxing down our (A) surfboards. <palm> We can't wait for (D) June <palm>.
We'll all be gone for the (G) summer. <palm> We're on surfari to (D) stay <palm>.
Tell the teacher we're (A) surfin'. <palm> Surfin' U. S. (D) A.
Haggerties and (A) Swamies,

(Inside outside U.S.A.
Pacific Pali (D) sades.
San Onofre and (A) Sunset,
Redondo Beach L. (D) A.
All over La (G) Jolla,
At Wa’imea (D) Bay.
(Inside outside)
Everybody's gone (A) surfin'. Surfin' U.S. (D) A.
(D)(A)(D)(A)(D)(G)(D)

Yeah everybody's gone (A) surfin'. Surfin' U.S. (D) A.

Yeah everybody's gone (A) surfin'. Surfin' U.S. (D) A. |D|
SURRENDER - Cheap Trick
(Nielsen)
https://www.youtube.com/watch?v=1sAm5UCJ9vA (Capo 4)(MC4)
TIP: The song sharps for the second half so move the capo up one fret where indicated.
TIP: (D) or (Dsus4) works.
INTRO: (E)(E)(F#)(F#), (E)(E)(F#)(F#)
(G) Mother told me (D) yes she told me (C) I'd meet girls like (G) you.
She also told me (D) "Stay away you'll (C) never know what you'll (G) catch.
(C) Just the other (D) day I heard of a (G) soldier's falling off.
Some (C) Indonesian (D) junk that's going (G) round."
Mommy's alright, (Em) daddy's alright, they (Dsus4) just seem a little (C) weird.
Sur (G) render, sur (Em7) render, but (Dsus4) don't give yourself a (C) way,
Ay, ay - (CaddD) -ay-ay.
(F)(F)(G)(G), (F)(F)(G)(G)
Father says "Your (D) mother's right she's (C) really up on (G) things.
Before we married (D) mommy served in the (C) WACS in the Philip (G) pines.
Now (C) I had heard the (D) WACS recruited (G) old maids for the war.
But (C) mommy isn't (D) one of those, I've (G) known her all these years."
(F)(F)(G)(G), (F)(F)(G)(G)
<capo +1>
(G) Whatever happened to (D) all this season's (C) losers of the (G) year?
Every time I (D) got to thinking (C) "Where'd they disa (G) ppear?"
(C) Then I woke up, (D) mom and dad, are (G) rolling on the couch.
(C) Rolling numbers (D) rock and rollin' got (G) my Kiss records out.
A (G) way-(C)-ay-(G)-ay-(D). A (G) way-(C)-ay-(G)-ay-(D).
(G) Mommy's alright, (Em) daddy's alright, but (Dsus4) don't give yourself a (C) way.
(G) Bun is alright, (Em) Tommy's alright, (G) Robin's alright, (Em) Rick's alright.
(G) Bun is alright, (Em) Tommy's alright, we're-(C)all-all right, we're-(D)-all-all right.
Sur (G) render, sur (Em7) render, but (Dsus4) don't give yourself a (C) way. |G|
(Cheap Trick) (Artist Index) - (Main Index) - (Song Index) (This Song)
SUSPICIOUS MINDS - Elvis Presley
(James)
https://www.youtube.com/watch?v=RxOBOhRECoo (Capo 0)(MC2)
TIP: The intro has a bass line of alternating 6th string <g> and 5th string <c> so cover the bass
<g> by playing a (C/G). This little run repeats at the end of the 2nd line but then kind of fades
away for the rest of the song. Of course you can just play (C) too.
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),(G)(C/G)
(G) We're caught in a trap (G)(C). I can't walk out (C)(D),

Because I (C) love you too much (G) baby (G)(C/G)(G)(C/G)(G).
Why can't you see (G)(C), what you're doin' to me (C)(D),
When you don't be (C) lieve a word I (D) say? (C)-(Bm)-(D7)
(C) We can't go (G) on together, (Bm) with suspicious (C) minds (D)(Em).
And we can't (Bm) build our dreams, (C) on suspicious (D) minds (D7).
(G) So if an old friend I know, (C) stops by to say hello,

(D) Would I still (C) see suspicion (G) in your eyes?
Here we go again, (C) askin' where I've been (D).
You can see the (C) tears for real I'm (D) cryin'. (C)-(Bm)-(D7)
(C) We can't go (G) on together, (Bm) with suspicious (C) minds (D)(Em).
And we can't (Bm) build our dreams, (C) on suspicious (B7) mi-inds |Em|.
<sparingly> Oh let our |Bm| love survive.
(C) I'll dry the (D) tears from your eyes |Em|.
Let's don't let a |Bm| good thing die (C),
When honey, you (D) know I've never, <pause> (G) lied to you.
(C) Mmm (G). Yeah <robustly> (D7) yeah.
(G) We're caught in a trap (G)(C). I can't walk out (C)(D),

Because I (C) love you too much (G) baby (G).
Why can't you see (G)(C), what you're doin' to me (C)(D),
When you don't be (C) lieve a word I (G) say? (C)-(G)
Well (C) don't you know I'm (G), caught in a trap (G)(C). I can't walk out (C)(D),
Because I (C) love you too much (G) baby (G). Well (C) don't you know I'm (G),
Caught in a trap (G)(C). I can't walk out (C)(D), because I (C) love you too much (G) baby (G).
Well (C) don't you know I'm (G), caught in a |G| trap.
SUZANNE
Leonard Cohen
https://www.youtube.com/watch?v=svitEEpI07E (Capo 4)(MC4)
[Two versions here, same key but capo'd differently. 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. 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.

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

And He (Dm) spent a long time watching from His lonely wooden tower.
And (C) when He knew for certain, only drowning men could see Him,
He said (Em) "All men shall be sailors then un (F) til the sea shall free them."
But (C) He Himself was broken, long (Dm) before the sky would open,
For (C) saken, almost human, He (Dm) sank beneath your wisdom like a (C) stone.
<e>-<f>-<e> (C), <e>-<f>-<e> (C)
And you (Em) want to travel with him, and you (F) want to travel blind
And you (C) think maybe you'll trust him for he's (Dm) touched your perfect body with his (C) mind.
<e>-<f>-<e> (C), <e>-<f>-<e> (C).
Now Suzanne takes your hand and she leads you to the river.
She's (Dm) wearing rags and feathers from Salvation Army counters,
And the (C) sun pours down like honey, on our lady of the harbor.
And she (Em) shows you where to look among the (F) garbage and the flowers
There are (C) heroes in the seaweed, there are (Dm) children in the morning,
They are (C) leaning out for love, they will (Dm) lean that way forever
While (C) Suzanne holds the mirror.
And you (Em) want to travel with her, and you (F) want to travel blind
And you (C) know you can trust her for she's (Dm) touched your perfect body, with her (C) mind.
<e>-<f>-<e> (C), <e>-<f> |C|.
(Leonard Cohen) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
SUZANNE - Joan Baez
(Cohen)
https://www.youtube.com/watch?v=39eFrEzZmYE (Capo 6)(MC6)
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.
TIP: There's a rather complicated looking riff that forms the intro/outro and repeats after the
chorus. It's because Joan plays fingerstyle rather than strums. You concentrate on the top 4
strings and hold the (C) formation for the entire sequence. Start with a (C/G) which is just (C)
with the bass <g> top string covered by the pinky. From there you move the pinky off the top
string to the fourth string <f> while still holding the (C). So the pinky goes over the top of the
ring finger and then underneath it. You repeat this once more and for the rest it's just on/off of
the pinky on the 4th string.
INTRO: (C/G)<f>-(C); (C/G)<f>-(C)-<f>-(C)-<f>-(C)-<f>-(C)
Suzanne takes you down, to her place by the river.

You can (Dm) hear the boats go by, you can spend the night forever.
And you (C) know that she's half crazy, and that's why you want to be there.
And she (Em) feeds you tea and oranges, that come (F) all the way from China.
And (C) just when you mean to tell her, you have no love to give her,
She (Dm) gets you on her wave-length, and she lets the river answer,
That you've (C) always been her lover.
And you (Em) want to travel with her, and you (F) want to travel blind,
And you (C) think you maybe trust her, cuz she's (Dm) touched your perfect body,
With herrrr (C) mind.
(C/G)<f>-(C); (C/G)<f>-(C)-<f>-(C)-<f>-(C)-<f>-(C)
Jesus was a sailor, when He walked upon the water,
He (Dm) spent a long time watching, from a lonely wooden tower.
And (C) when he knew for certain, only drowning men could see him,
He said (Em) "All men shall be sailors then, un (F) til the sea shall free them."
But (C) He himself was broken, long before the sky would open,
For (Dm) saken, almost human, he sank beneath your wisdom like a (C) star.
And you (Em) want to travel with him, and you (F) want to travel blind,
And you (C) think you maybe trust him, cuz He's (Dm) touched your perfect body, with his (C) mind.
(C/G)<f>-(C); (C/G)<f>-(C)-<f>-(C)-<f>-(C)-<f>-(C)
Suzanne takes your hand, and she leads you to the river.
She's (Dm) wearing rags and feathers, from Salvation Army counters
And the (C) sun pours down like honey, on our lady of the harbor.
And she (Em) shows you where to look, among the (F) garbage and the flowers.
There are (C) heroes in the seaweed, there are children in the morning,
They're (Dm) leaning out for love, and they will lean that way forever,
While (C) Suzanne holds the mirror.
And you (Em) want to travel with her, and you (F) want to travel blind,
And you (C) think you maybe trust her, cuz she's (Dm) touched your perfect body with her (C) mind.
(C/G)<f>-(C); (C/G)<f>-(C)-<f>-(C)-<f>-(C)-<f>-|C/G|
(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)(MC0)
INTRO: (F),(Dm),(G)(G)
There (C) is a young (G) cowboy, he (F) lives on the (Em) range (Em).
His (Am) horse and his (F) cattle are his (C) only com (Em) panions (Em).
He (Am) works in the (F) saddle, and he (C) sleeps in the (Em) canyons.
(F) Waiting for (C) summer, his (G) pastures to (Dm) change (Dm)(G).
And (F) as the moon rises he (G) sits by his (C) fire,
(Am) Thinking about (F) women and (C) glasses of (G) beer.
And (F) closing his eyes as the (G) dogies re (C) tire,
He (Am) sings out a (F) song which is (C) soft but it's clear,
As (Dm) if maybe someone could (G) hear (G)(G7)(G7).
(C) Goodnight you (F) moonlight (G) la (C) dies.

(Am) Rockabye (F) sweet baby (C) James (C).
(Am) Deep greens and (F) blues are the (C) colors I choose.
Won't you (Dm) let me go down in my (G) dreams (G),
And (F) rockabye (G) sweet baby (C) James (C).
Now the first of De (G) cember, was (F) covered with (Em) snow (Em).
And (Am) so was the (F) turnpike from (C) Stockbridge to (Em) Boston (Em).
Though the (Am) Berkshires seemed (F) dream-like on a (C) ccount of that (Em) frosting.
With (F) ten miles be (C) hind me and (G) ten thousand (Dm) more to go (Dm)(G7).
There's a (F) song that they sing, when they (G) take to the (C) highway.
A (Am) song that they (F) sing when they (C) take to the (G) sea.
A (F) song that they sing of their (G) home in the (C) sky.
Maybe (Am) you can be (F) lieve it if it (C) helps you to sleep,
But (Dm) singing works just fine for (G) me (G)(G7)(G7).
So (C) goodnight you (F) moonlight (G) la (C) dies.
(Am) Rockabye (F) sweet baby (C) James (C).
(Am) Deep greens and (F) blues are the (C) colors I choose.
Won't you (Dm) let me go down in my (G) dreams,
And (F) rockabye (G) sweet baby (C) James (C)|C|.
(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)(MC3)
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)
Oh do you remember Sweet (D7) Betsy from (G) Pike,

Who crossed the wide (Em) prairie with (D) her lover (D7) Ike.
With (C) two yoke of (D) oxen, an (Am) old yellow (G) dog,
A tall Shanghai rooster and a (D) one spotted (G) hog.
Singin' dang for dee die doe singin' (D) dang for de (G) day. (G)(G)
One evenin' quite early they (D7) camped on the (G) Platte,
Was near by the (Em) road on a (D) green shady (D7) flat.
Where (C) Betsy sore (D) footed, lay (Am) down to re (G) pose,
With wonder Ike gazed on that (D) Pike County (G) rose. (G)(G)
The Shanghai ran off and their (D7) cattle all (G) died.
That morning the (Em) last piece of (D) bacon was (D7) fried.
Poor (C) Ike was dis (D) couraged, (Am) Betsy got (G) mad.
The dog drooped his tail and looked (D) wonderously (G) sad. (G)(G)
They soon reached the desert where (D7) Betsy gave (G) out.
And down in the (Em) sand she lay (D) rolling a (D7) bout.
While (C) Ike half dis (D) tracted, looked (Am) on with sur (G) prise,
Sayin' "Betsy get up you'll get (D) sand in your (G) eyes."
Singin' dang for dee die doe singin' (D) dang for de (G) day.
The terrible desert was (D7) burning and (G) bare,
And Isaac he (Em) drank from the (D) death lurkin' (D7) there.
(C) "Dear old Pike (D) County I'll (Am) come back to (G) you".
Says Betsy "You'll go by your (D) self if you (G) do." (G)(G)
They suddenly stopped on a (D7) very high (G) hill.

With wonder looked (Em) down on (D) old Plasser (D7) ville.
Ike (C) sighed when he (D) said, as he (Am) cast his eyes (G) down,
"Sweet Betsy my darlin' we've (D) got to Hang (G) town." (G)(G)
They swam the wild rivers and (D7) climbed the tall (G) peaks.
Camped on the (Em) prairies for (D) weeks upon (D7) weeks.
Star (C) vation and (D) cholera, (Am) hard work and (G) slaughter,
They reached California de (D) spite hell-and-high (G) water.
(G)(G)(D7)(G), (G)(Em)(D)(D7), (C)(D)(Am)(G)(G)(D)(G)(G)
Long Ike and Sweet Betsy a (D7) ttended a (G) dance.

Ike wore a (Em) pair of his (D) Pike County (D7) pants.
Sweet (C) Betsy was (D) dressed up in (Am) ribbons and (G) rings.
Says Ike, "You're an angel but (D) where are your (G) wings?" (G)(G)
Was out on the prairie one (D7) bright starry (G) night.
They broke out the (Em) whiskey and (D) Betsy got (D7) tight.
She (C) sang and she (D) howled and she (Am) danced o'er the (G) plains,
And showed her bare legs to the (D) whole wagon (G) train.
A miner said Betsy will (D7) you dance with (G) me?
I will you old (Em) hoss if you (D) don't make two- (D7) three.
(C) Don't dance me (D) hard, do you (Am) wanna know (G) why?
Dol gone ye I'm chalked full of (D) strong alka (G) li. (G)(G)
Long Ike and sweet Betsy got (D7) married of (G) course,
But Ike getting (Em) jealous ob (D) tained a di (D7) vorce.
While (C) Betsy well (D) satisfied (Am) said with a (G) shout,
"Goodbye you old lummox I'm (D) glad you backed (G) out.
Singin' dang for dee die doe singin' (D) dang for de |G| day.
<Other popular lyrics>
Their wagon broke down with a (D7) terrible (G) crash,

And out on the (Em) prairie rolled (D) all kinds of (D7) trash.
A (C) few little (D) baby clothes (Am) done up with (G) care,
Was rather suspicious but (D) all on the (G) square.
Tru low low, oooh low low, (D) oooh low low (G) lah.
The Injuns came down in a (D7) thundering (G) horde.

And Betsy was (Em) scared they would (D) scalp her a (D7) dored.
So (C) under the (D) wagon bed (Am) Betsy did (G) crawl,
And she fought off the Injuns with (D) musket and (G) ball.
They stopped at Salt Lake to in (D7) quire on the (G) way,

When Brigham de (Am) clared that sweet (D) Betsy should (D7) stay.
(C) Betsy got (D) frightened and (Am) ran like a (G) deer,
While Brigham stood pawing the (D) ground like a (G) steer.
Sweet Betsy got up in a (D7) great deal of (G) pain.

Declared she'd go (Am) back to Pike (D) County a (D7) gain.
But (C) Ike gave a (D) sigh and they (Am) fondly em (G) braced.
They traveled along with his (D) arm 'round her (G) waist.
This Pike County couple got (D7) married of (G) course.

Ike built a log (Am) cabin and (D) got them a (D7) horse.
(C) Besty panned (D) gold in a (Am) river near (G) by.
They lived in that valley til the (D) day that they (G) died.
Tru low low, oooh low low, (D) oooh low low |G| lah.
(Suzy Bogguss) (Traditional) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
SWEET BETSY FROM PIKE
(Traditional/Stone)
(MC3)
INTRO: (G)(Em)(C)(D)-(G)(G)(G)
Oh do you remember Sweet (D7) Betsy from (G) Pike,

Who crossed the wide (Em) prairie with (D) her lover (D7) Ike.
With (C) two yoke of (D) oxen, an (Am) old yellow (G) dog,
A tall Shanghai rooster and a (D) one spotted (G) hog.
One evenin' quite early they (D7) camped on the (G) Platte,
Was near by the (Em) road on a (D) green shady (D7) flat.
Where (C) Betsy sore (D) footed, lay (Am) down to re (G) pose,
With wonder Ike gazed on that (D) Pike County (G) rose. (G)(G)
Their wagon broke down with a (D7) terrible (G) crash,

And out on the (Em) prairie rolled (D) all kinds of (D7) trash.
A (C) few little (D) baby clothes (Am) done up with (G) care,
Was rather suspicious but (D) all on the (G) square. (G)(G)
The Shanghai ran off and their (D7) cattle all (G) died.
That morning the (Em) last piece of (D) bacon was (D7) fried.
Poor (C) Ike was dis (D) couraged, (Am) Betsy got (G) mad.
The dog drooped his tail and looked (D) wonderously (G) sad. (G)(G)
The Injuns came down in a (D7) thundering (G) horde.

And Betsy was (Em) scared they would (D) scalp her a (D7) dored.
So (C) under the (D) wagon bed (Am) Betsy did (G) crawl,
And she fought off the Injuns with (D) musket and (G) ball.
Was out on the prairie one (D7) bright starry (G) night.
They broke out the (Em) whiskey and (D) Betsy got (D7) tight.
She (C) sang and she (D) howled and she (Am) danced o'er the (G) plains,
Much to the amusement of the (D) whole wagon (G) train. (G)(G)
A miner said Betsy will (D7) you dance with (G) me?
I will you old (Em) hoss if you (D) don't make two- (D7) three.
(C) Don't dance me (D) hard, do you (Am) wanna know (G) why?
Dol gone ye I'm chalked full of (D) strong alka (G) li.
(G)(G)(D7)(G), (G)(Em)(D)(D7), (C)(D)(Am)(G)(G)(D)(G)(G)
They stopped at Salt Lake to in (D7) quire on the (G) way,

When Brigham de (Am) clared that sweet (D) Betsy should (D7) stay.
(C) Betsy got (D) frightened and (Am) ran like a (G) deer,
While Brigham stood pawing the (D) ground like a (G) steer. (G)(G)
Sweet Betsy got up in a (D7) great deal of (G) pain.

Declared she'd go (Am) back to Pike (D) County a (D7) gain.
But (C) Ike gave a (D) sigh and they (Am) fondly em (G) braced.
They traveled along with his (D) arm 'round her (G) waist. (G)(G)
They soon reached the desert where (D7) Betsy gave (G) out.
And down in the (Em) sand she lay (D) rolling a (D7) bout.
While (C) Ike half dis (D) tracted, looked (Am) on with sur (G) prise,
Sayin' "Betsy get up you'll get (D) sand in your (G) eyes." (G)(G)
The terrible desert was (D7) burning and (G) bare,

And Isaac he (Em) drank from the (D) death lurkin' (D7) there.
(C) "Dear old Pike (D) County I'll (Am) come back to (G) you".
Says Betsy "You'll go by your (D) self if you (G) do."
They suddenly stopped on a (D7) very high (G) hill.

With wonder looked (Em) down on (D) old Plasser (D7) ville.
Ike (C) sighed when he (D) said, as he (Am) cast his eyes (G) down,
"Sweet Betsy my darlin' we've (D) got to Hang (G) town." (G)(G)
They'd swam the wild rivers and (D7) climbed the tall (G) peaks.
Camped on the (Em) prairies for (D) weeks upon (D7) weeks.
Star (C) vation and (D) cholera, (Am) hard work and (G) slaughter,
They'd reached California de (D) spite hell and high (G) water. (G)(G)
Long Ike and Sweet Betsy a (D7) ttended a (G) dance.

Ike wore a (Em) pair of his (D) Pike County (D7) pants.
Sweet (C) Betsy was (D) dressed up in (Am) ribbons and (G) rings.
Says Ike, "You're an angel but (D) where are your (G) wings?" (G)(G)
Long Ike and sweet Betsy got (D7) married of (G) course,
Ike built a log (Am) cabin and (D) got them a (D7) horse.
(C) Besty panned (D) gold in a (Am) river near (G) by.
They lived in that valley til the (D) day that they (G) died.
Singin' dang for dee die doe singin' (D) dang for de (G) day. (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)(MC4)
TIP: In the intro/outro and instrumental bridge you play (Am7) like an (Am) with your pinky added
to the bottom string/3rd fret (4th chord diagram below). In the chorus you play it with two
fingers (8th chord diagram below) or, you can not play it at all.
TIP: The (C6) is just (Am) with your pinky added to the 5th string/3rd fret. So in the intro you
play start with (D) and quickly move to (Am), then add your pinky, then remove it to get back to
(Am), etc.
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),(C6)(C6); (Am)(Am); (Am)-(Am7),(Am)-(Am7)(D)(G)(D); |G||G|
(G) Where it began (G), |C||C|(C) I can't begin to knowin',

|G||G|(G) But then I know it's growin' (D) strong (D).
|G||G|(G) Was in the spring (G), |C||C|(C) then spring became the summer.
|G||G|(G) Who'd a believed you'd come a (D) long (D)?
(G) Hand. (Em) Touchin' hands. (D) Reachin' out.

(C) Touchin' me. Touchin' (D) you. (C)-(D)
(G) Sweet Carol (C) ine |C||C||C|.

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

(C) Touchin' me. Touchin' (D) you. (C)-(D)
(G) Sweet Carol (C) ine, |C||C||C|

(C) Good times never (Am7) seemed so (D) good (D)(C)-(D).
(G) I've been in (C) clined, |C||C||C|
(C) To believe they (Am7) never (D) would (C) oh (Bm) no (Am) no.
(D)-(Am),(C6)(C6); (Am)(Am); (Am)-(Am7),(Am)-(Am7)(D)(G)(D)
(G) Sweet Carol (C) ine, |C||C||C| (C) good times never (Am7) seemed so (D) good (D)(C)-(D).
(G) Sweet Carol (C) ine, |C||C||C| (C) I believe they (Am7) never (D) could (D)(C)-(D)
(G) Sweet Carol (C) ine, |C||C||C| (C) good times never (Am7) seemed so (D) good (D)(C)-(D)-(G).
SWING LOW SWEET CHARIOT
Traditional
(MC5)
TIP: Several different versions of the lyrics exist.
TIP: Either the (D7) or a (D) will work.
Swing (G) low sweet (C) chari (G) ot, coming forth to carry me (D7) home.
Swing (G) low, sweet (C) chari (G) ot, coming forth to carry (D7) me (G) home.
I looked over Jordan and (C) what did I (G) see, coming forth to carry me (D7) home?
A (G) band of angels (C) coming after me - (G) -ee, coming forth to carry (D7) me (G) home.
Sometimes I'm up, and (C) sometimes I'm (G) down, coming forth to carry me (D7) home.
But (G) still my soul feels (C) heavenly bou- (G) -ound, coming forth to carry (D7) me (G) home.
The brightest day, that (C) I can (G) say, coming forth to carry me (D7) home.
When (G) Jesus washed my (C) sins a way- (G) -ay, coming forth to carry (D7) me (G) home.
If I get there, be (C) fore you (G) do, coming forth to carry me (D7) home.
(G) I'll cut a hole and (C) pull you through- (G) -oooh, coming forth to carry (D7) me (G) home.
If you get there, be (C) fore I (G) do, coming forth to carry me (D7) home.
(G) Tell all my friends (C) I'm coming too- (G) -ooh, coming forth to carry (D7) me (G) home.
(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)
TIP: There's a lot of fluffery here that can be skipped in favor of the major chords (A, E, and D)
but it's not hard to play and all involves momentary placement of the pinky:
For the (Asus)-(A)-(Asus) twinkle in the intro just add your pinky to the 2nd string/3rd fret
while holding the (A). On/off/on/off. For the (E7-full) just do the same thing while holding the
(E) form.
For the (DaddA) extend your pinky over to the bottom string of the 5th fret while holding (D).
For (Eb) add your pinky to the bottom string/2nd fret while holding the (E).
INTRO: (A),(Asus)-(A)-(Asus)-(A)(A); (A),(Asus)-(A)-(Asus)-(A)(A)
Sylvia's mother, says Sylvia's busy. Too busy to come to the (E) phone.
(E7-full) Sylvia's mother (E) says, (E7-full) Sylvia's tryin', to start a new life of her (A) own.
(D) Sylvia's mother says, (A) Sylvia's happy.
So (E) why don't you (Eb) leave (E) her a (A) lone?
And the (E) op,erator says 40 cents more, for the next, three, minutes.
(D) Pleee-(DaddA)-eease Mrs Avery I (A) just gotta talk to her.
(E) I'll only (Eb) keep her a (A) while.
(DaddA) Please Mrs Avery I, (A) just wanna tell 'er, good (E) bye.
(A) Sylvia's mother says, Sylvia's packin'. She's gonna be leavin' to (E) day.
(E7-full) Sylvia's mother, (E) says (E7-full) Sylvia's marryin', a fella down Galveston (A) way.
(D) Sylvia's mother says, (A) please don't say nothin',
To (E) make her start (Eb) cry (E) in' and (A) stay.
And the (E) operator says 40 cents more, for the next, three, minutes.
(D) Pleee-(DaddA)-eease Mrs Avery I, (A) just gotta talk to her.
(A) Sylvia's mother says, Sylvia's hurryin'. She's catchin' the nine o'clock (E) train.
(E7-full) Sylvia's mother (E) says, (E7-full) take your umbrella.
'Cause Sylvia it's startin' to (A) rain.
And (D) Sylvia's mother says, (A) thank you for callin'.
And (E) sir won't you (Eb) call (E) back a (A) gain?
And the (E) operator says 40 cents more, for the next, three, minutes.
(D) Pleee-(DaddA)-eease Mrs Avery I, (A) just gotta talk to her.
Tell her goodbye. Please, tell her goodbye. Tell her good (A) bye.
(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)(MC2)
TIP: In the intro, one strum each for the chords in |brackets|.
INTRO: |C| These are the words of a |C| frontier lad,

who |Em| lost his love, when |G| he turned ba–ad. (C)
Take a message to Mary, but (G7) don't tell ‘er where I (C) am.
Take a message to Mary, but (G7) don't say I'm in a (C) jam.
You can (Am) tell her I had to (Em) see the world,
Or (Am) tell ‘er that my (D7) ship set (G) sail (G7).
You can (C) say she (Em) better not (F) wait for (C) me
But (Am) don't tell her I'm (G) in (Am) jail. Oh (C) don't tell her (G7) I'm in (C) jail.
Take a message to Mary, but (G7) don't tell ‘er what I've (C) done.
Please don't mention the stagecoach, and the (G7) shot from a careless (C) gun.
You can (Am) tell her I had to (Em) change my plans,
And (Am) cancel out the (D) wedding (G) day (G7).
But (C) please don't (Em) mention my (F) lonely (C) cell,
Where (Am) I'm gonna pine (G) a (Am) way. Un (C) til my (G7) dying (C) day.
Take a message to Mary, but (G7) don't tell ‘er all you (C) know.
My heart's achin’ for Mary, Lord (G7) knows I miss her (C) so.
Just (Am) tell her I went to (Em) Timbuktu. (Am) Tell her I'm (D) searchin’ for (G) gold (G7).
You can (C) say she (Em) better find (F) someone (C) new,
To (Am) cherish and (G) to (Am) hold. Oh (C) Lord this (G7) cell is (C) cold.
Marrr-ry, (Am) Marrr-arr-ry. Oh (C) Lord this (G7) cell is (C) 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)(MC3)
TIP: The intro is strike once and strum. Strike |G|, then strum (G) lightly; then strike |CaddG|,
and strum (CaddG) 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.
TIP: The (G-) comes only at the outro during the up-tone middle "e" on "easy" in which you simply
lift off the bottom string.
INTRO: |G|(G), |CaddG|(CaddG), |D|(D); |G|(G), |CaddG|(CaddG), |D|(D)

|G| |G| |G|-|G|-|G|-|G|-|G|
Well I'm (Gadd) runnin' down the road tryin' to loosen my load
I've got seven women (D) on my (C) mind.
(G) Four that wanna own me (D) two that wanna stone me (C) one says she's a friend of (G) mine.
Take it (Em) ea (G) sy, take it (C) ea (G) sy.

Don't let the (Am) sound of your own (C) wheels drive you (Em) crazy.
Lighten (CaddG) up while you still (G) can, don't even (C) try to under (G) stand.
Just find a (Am) place to make your (C) stand, and take it (G) easy. |G| |G| |G|-|G|-|G|-|G|-|G|
Well I'm a standing on a corner in Winslow Arizona it's such a fine (D) sight to (C) see.
It's a (G) girl my Lord in a (D) flatbed Ford slowin' (C) down to take a look at (G) me.
Come on (Em) ba (G) by, don't say (C) may (G) be.
I gotta (Am) know if your sweet (C) love is gonna (Em) save me.
We may (CaddG) lose and we may (G) win, but we will (C) never be here a (G) gain.
So open (Am) up I'm climbin' (C) in. So take it (G) easy.
(G)(G)(G)(D)-(C),(G)(D)(C)(G),(Em)(D)(C)(G)(Am)(C)(Em)(Em)-(D)
Well I'm (G) runnin' down the road trying to loosen my load
Got a world of trouble (D) on my (C) mind.
(G) Lookin' for a lover who (D) won't blow my cover she's (C) so hard to (G) find.
Take it (Em) ea (G) sy, take it (C) ea (G) sy.

Don't let the (Am) sound of your own (C) wheels make you (Em) crazy.
Come on (C) ba (G) by, don't say (C) may (G) be.
I gotta (Am) know if your sweet (C) love is gonna |G| saaaave me.
(C) Oooh ooh, oooh ooh. (G) Oooh ooh, oooh oh.
(C) Oooh ooh, oooh oh we got it (G) ea - (G-) e - (C) sy.
We ought to take it (G) ea - (G-) e - (C) sy. |C|-|C|-|C|-|D|-|Em|

TAKE IT TO THE LIMIT - Eagles
(Meisner/Frey/Henley)
https://www.youtube.com/watch?v=tJkW0Clsvrk (Capo 4)(MC3/4)
INTRO: (G),(G)(C)(C); (G),(G)(D)(C)
All a (Gadd) lone at the (G) end of the of the (C) evening.
And the (Gadd) bright lights have (G) faded to (C) blue.
I was (G) thinkin' 'bout a (B7) woman who might have (Em) loved me, and I never (D) knew.
You know I've always been a (G) dreamer, spent my life (C) running around.
And it's so hard to (G) change. Can't seem to (C) settle down.
But the dreams I've seen (Am) lately (Am)(C),
Keep on (Am) turnin' (D) out, and (C) burnin' (D) out, and turnin' out the (C) sa-(D)-ame.
So (C) put me on a (G) highway, and (C) show me a (G) sign.

And |C| take it, to the |D| limit, one more (G) time (G)(C),(C)(G),(G)(D)(C).
You can (Gadd) spend all your (G) time makin' (C) money.
You can (Gadd) spend all your (G) love making (C) time.
If it (G) all fell to (B7) pieces to (Em) morrow, would you-still be (D) mine?
And when you're looking for your (G) freedom, nobody (C) seems to care
If you can't find the (G) door. Can't find it (C) anywhere.
When there's nothing to be (Am) lieve in (Am)(C),
Still you're (Am) comin' (C) back, you're (C) runnin' (D) back,
You're comin' back for (C) mor-(D)-ore.
So (C) put me on a (G) highway, and (C) show me a (G) sign.

And |C| take it, to the |D| limit, one more (Em) ti-(D)-ime.
(C) Take it, to the (D) limit, (C) take it, to the (D) limit,
|C| Take it, to the |D| limit, one more (G) time.
(C) Take it, to the (D) limit (pleeeease), (C) take it, to the (D) limit.
Come on (C) take it, to the (D) limit, one more (G) time.
(C) Take it, to the (D) limit, (C) take it, to the (D) limit,
(C) Take it to the (D) limit one more (G) time.

TAKE ME HOME COUNTRY ROADS
John Denver
https://www.youtube.com/watch?v=1vrEljMfXYo (Capo 2)(MC0/2)
TIP: For the start of the intro, and pick the top string and strum, then the 4th string and strum,
in an alternating bass rhythm. For |Gadd-| just lift off the bottom string from the (Gadd) for one
strum and then right back down again.
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-|-(Gadd)(G)
Almost heaven, (Em) West Virginia. (D) Blue Ridge Mountains, (C) Shenandoah Ri (G) ver.
Life is old there, (Em) older than the trees.
(D) Younger than the mountains, (C) growin’ like a (G) breeze.
Country Roads, take me (D) home, to the (Em) place, I be (C) long.
West Vir (G) ginia, mountain (D) Momma, take me (C) home, country (G) roads.
All my mem'ries, (Em) gather 'round her. (D) Miner's lady, (C) stranger to blue (G) water.
Dark and dusty, (Em) painted on the sky. (D) Misty taste of moonshine (C) teardrop in my (G) eye.
Country Roads, take me (D) home, to the (Em) place, I be (C) long.
(Em) I hear her (D) voice in the (G) mornin' hour as she calls me.
The (C) radio re (G) minds me of my (D) home far away.
And (Em) drivin' down the (F) road
I get a (C) feelin' that I (G) should have been home (D) yesterday, yester (D7) day.
Country (G) roads, take me (D) home, to the (Em) place, I be (C) long.
Country roads, take me (D) home, to the (Em) place, I be (C) long.
Take me (D) home, country (G) roads. Take me (D) home, country (G) roads (D)(G)-(C)-(G).
TAKE ME TO THE RIVER - Eva Cassidy
(Green/Hodges)
https://www.youtube.com/watch?v=bQJxRRv3R_c (Capo 0)(MC0)
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) I don't know why, I love you like I (D) do (A)-(E),

After all the changes you put me (D) through (A)-(E).
You stole my money, my cigar (D) ettes (A)-|E|.
I haven't seen the worst of it yet I want to (C) know, boy now won't you tell (G) me.
Tell me (D) how, how can I (E) stay, here with (A) you (A)?
Won't you (E) take me to the river (D)-(A)(E), wash me down (D)-(A)(E),
Take me to the river (D)-(A) (D) put my feet (A) back on the (E) ground yeah yeah. |D||A|
(E) I don't know why you (D) treat me so (A) bad (D)-(E).
After all the good times, (A) that we've had (D)-(E).
Your sixteen candles that (D) burn on my (A) wall.
|A| Now who's the biggest fool of us all I want to (C) know, won't you (G) tell me,
(D) Tell me how, can I stay, here with (A) you (A)?
Take me to the river (D)-(A) (D) put my feet (A) back on the (E) ground yeah yeah.
(Bm4) Hold me, (A) squeeze me, (Bm4) love me, and you can (A) tease me,
(G) Til I can't, take no (B) more. Hold me til I can't yeah. (E)(E)(E)(E)
I don't know why, I love you like I (D) do (A)-(E).

After all the changes, (A) you put me (D) through (A)-(E).
Love is a notion (D) I can't for (A) get.
|A| My sweet sixteen I would never regret I want to (C) know, won't you (G) tell me,
(D) Tell me how, can I stay, here with (A) you (A).
Take me to the river (D)-(A) (D) put my feet (A) back on the (E) ground yeah yeah (D)-(A)(E)
Take me to the river (D)-(A)(E) wash me down (D)(D) won't you (E) take me to the river (D)-(A)(D)
Put my feet (A) back on the (E) ground yeah yeah (D)(A)-(E), (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)(MC3)
[Afterwards in [C] which may be easier to play but 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".
INTRO: (E)(A)(Gm)(Am)(Am7)
(G) I hear the (Bm) cottonwoods (C) whisperin' a (G) bove.

(Bm) Tammy, (Em) Tammy, (Am) Tammy's in (D7) love.
The (G) ol’ hooty (Bm) owl hooty (C) hoos to the (G) dove.
(Bm) Tammy, (Em) Tammy, (D7) Tammy's in (G) love.
Does my lover feel, (C) what I feel, (A) when he comes (D7) near?
My (B7) heart beats so (Em) joyfully, (C) you'd (Bm) think that he, (Em) could (D) hear.
Wish, (G) I knew, if (Bm) he knew, what (C) I'm dreamin' (G) of.
(Em) Tammy, (Bm) Tammy, (D7) Tammy's in (G) love. (G)(C)(G)(Am7)(D7)
(G) Whippoorwill (Bm) whippoorwill (C) you and I (G) know.

(Bm) Tammy, (Em) Tammy, (Am) can't let him (D7) go.
The (G) breeze from the (Bm) bayou keeps (C) murmuring (G) low.
(Bm) Tammy, (Em) Tammy, (Am) you love him (G) so.
When the night is warm, (C) soft and warm, (A) I long for his (D7) charms.
I'd (B7) sing like a (Em) violin, (C) if, (Bm) I were in (Em) his (D) arms.
Wish, (G) I knew if (Bm) he knew what (C) I'm dreamin' (G) of.
(Em) Tammy, (Bm) Tammy, (D7) Tammy's in (G) love. (G)(Bm)(C)(G)(Em)(Bm)(D7)(D)(G)
(Debbie Reynolds) (Artist Index) - (Main Index) - (Song Index) (This Song)
TAMMY - Debbie Reynolds
(Livingston/Evans)
(MC1)
TIP: The (Bm) appears only in the intro.
INTRO: (A)(D)(Bm)(Dm)(Dm7)
(C) I hear the (Em) cottonwoods (F) whisperin' a (C) bove.

(Em) Tammy, (Am) Tammy, (Dm) Tammy's in (G7) love.
The (C) ol’ hooty (Em) owl hooty (F) hoos to the (C) dove.
(Em) Tammy, (Am) Tammy, (G7) Tammy's in (C) love.
Does my lover feel, (F) what I feel, (D) when he comes (G7) near?
My (E7) heart beats so (Am) joyfully, (F) you'd (Em) think that he, (Am) could (G) hear.
Wish, (C) I knew, if (Em) he knew, what (F) I'm dreamin' (C) of.
(Am) Tammy, (Em) Tammy, (G7) Tammy's in (C) love. (C)(F)(C)(Dm7)(G7)
(C) Whippoorwill (Em) whippoorwill (F) you and I (C) know.

(Em) Tammy, (Am) Tammy, (Dm) can't let him (G7) go.
The (C) breeze from the (Em) bayou keeps (F) murmuring (C) low.
(Em) Tammy, (Am) Tammy, (Dm) you love him (C) so.
When the night is warm, (F) soft and warm, (D) I long for his (G7) charms.
I'd (E7) sing like a (Am) violin, (F) if, (Em) I were in (Am) his (G) arms.
Wish, (C) I knew if (Em) he knew what (F) I'm dreamin' (C) of.
(Am) Tammy, (Em) Tammy, (G7) Tammy's in (C) love. (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)(MC2)
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 |A|(A)(Asus) parts downstroke the (A) once then a brief pause, strum (A) and then
(Asus). For the (Asus) you can either slide your ring finger up one fret or simple add and remove
your pinky. In the verse you can play another (Asus) instead of the (G) if you'd rather, and note
that in the last line of the verse that first |A| comes on "blue".
TIP: At the end the harmonica just repeats the chords.
INTRO: |A|(A)(Asus), |A|(A)(Asus), |A|(A)(Asus), |A|(A)(Asus)
(A) Early one mornin' the (G) sun was shinin'. (A) I was layin' in (G) bed.
(A) Wonderin' if she'd (G) changed at all if her (D) hair was still red.
(A) Her folks they said our (G) lives together, (A) sure was gonna be (G) rough.
They (A) never-did-like mama's (G) homemade dress papa's (D) bank book wasn't big enough.
And (E) I was standin' on the (F#m) side of the road, (A) rain fallin' on my (D) shoes.
(E) Heading out for the (F#m) east coast Lord (A) knows I've paid some (D) dues gettin'
(E) through.
|G| Tangled |D| up in |A| blue (A)(Asus), |A|(A)(Asus), |A|(A)(Asus), |A|(A)(Asus)
(A) She was married when (G) we first met. (A) Soon to be di (G) vorced.
I (A) helped her out of a (G) jam I guess but I (D) used a little too much force.
(A) We drove that car as (G) far as we could a (A) bandoned it out (G) west.
(A) Split up on a (G) dark sad night both a (D) greeing it was best.
(E) She turned around to (F#m) look at me as (A) I was walkin' a (D) way.
(E) I heard her say over (F#m) my shoulder we'll (A) meet again some (D) day on the aven (E) ue.
(A) I had a job in the (G) great north woods, (A) working as a cook for a (G) spell.
But I (A) never did like it (G) all that much and one (D) day the axe just fell.
So I (A) drifted down to (G) New Orleans where I was (A) looking for to be em (G) ployed.
(A) Workin' for a while on a (G) fishin' boat right (D) outside of Delacroix.
But (E) all the while (F#m) I was alone the (A) past was close be (D) hind.
(E) I seen a lot of (F#m) women, but she (A) never escaped my (D) mind and I just (E) grew.
(A) She was workin' in a (G) topless place and (A) I stopped in for a (G) beer.
I (A) just kept lookin' at the (G) side of her face in the (D) spotlight so clear.
And (A) later on as the (G) crowd thinned out I's (A) just about to do the (G) same.
She was (A) standing there in (G) back of my chair said (D) to me "Don't I know your name?"
(E) I muttered somethin' (F#m) under my breath she (A) studied the lines on my (D) face.
I (E) must admit I felt a (F#m) little uneasy when she (A) bent down to tie the (D) laces of my
(E) shoe.
|G| Tangled |G| up in |A| blue (A)(Asus), |A|(A)(Asus), |A|(A)(Asus), |A|(A)(Asus)
(A) She lit a burner (G) on the stove and (A) offered me a (G) pipe.
I (A) thought you'd never say hel (G) lo she said you (D) look like the silent type.
Then she (A) opened up a (G) book of poems and (A) handed it to (G) me.
(A) Written by an I (G) talian poet from the (D) thirteenth century.
And (E) everyone of them (F#m) words rang true and (A) glowed like burnin' (D) coal.
(E) Pourin' off of (F#m) every page like it was (A) written in my (D) soul from me to (E) you.
I (A) lived with them on (G) Montague Street in a (A) basement down the (G) stairs.
There was (A) music in the ca (G) fés at night and revol (D) ution in the air.
Then (A) he started into (G) dealing with slaves and (A) somethin' inside of him (G) died.
(A) She had to sell every (G) thing she owned and (D) froze up inside.
And (E) when finally the (F#m) bottom fell out (A) I became with (D) drawn.
The (E) only thing I knew (F#m) how to do was to (A) keep on keepin' (D) on like a bird that
(E) flew.
So (A) now I'm goin' (G) back again, I (A) got to get to her some (G) how.
(A) All the people we (G) used to know they're an il (D) lusion to me now.
(A) Some are mathema (G) ticians, (A) some are carpenters' (G) wives.
Don't (A) know how it all got (G) started I don't (D) know what they're doin' with their lives.
But (E) me I'm still (F#m) on the road, (A) headin' for another (D) joint.
(E) We always did (F#m) feel the same we just (A) saw it from a different (D) point of (E) view.
|G| Tangled |D| up in |A| bluuuueee (A)(Asus), |A|(A)(Asus), |A|(A)(Asus), |A|(A)(Asus)
<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: There are some sequences to deal with. They’re not hard but go through it once.
The first is played in the intro and first two verses before the cello changes the key. It
alternates between single strums of the |C| and |CaddD| and to get there and back just add/remove
your pinky to the 2nd string/3rd fret. The sequence is three single strums of |C| and a single strum
of |CaddD|, a brief pause, and three more single strums of |CaddD|. Repeat. After the intro the
first |C| in the sequence begins with the last word, i.e., “light” and “lane.”
The second sequence is the |D| and |Dsus2| in which you just remove/add your middle finger from
the bottom string. It’s played the same as above: three single strums of |D| and a single strum
of |Dsus2|, a brief pause, and three more single strums of |Dsus2| with the first |D| beginning
with the last word, i.e. “more” and “far” and “lawn” etc.
Finally, the most awkward sequence is a seque after Big John’s solo. It begins with (DaddA)
which is just (D) but with your pinky extended over to cover the <a> at the bottom string/3rd fret.
Strum this three times, lift off the pinky for one strum of |D|, pinky down to cover the <g> at the
bottom string/3rd fret and strum once, lift off the pinky to return to (D) and strum twice. This
chord progression begins the next verse starting with the (DaddA) again: “(DaddA) There was not
much more (D4) for us to talk (D) about . . .”
TIP: To go from (C) to (C7) just add your pinky to the 3rd string/3rd fret.
TIP: When you get to the single-strum chords, e.g., “She got in at the light” don't overthink it.
Just drop your pick across the strings. Also note the last chord starts the sequence mentioned
above. (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|-|C|-|C|-|CaddD| |CaddD|-|CaddD|-|CaddD|, |C|-|C|-|C|-|CaddD| |CaddD|-|CaddD|-|CaddD|

|C|-|C|-|C|-|CaddD| |CaddD|-|CaddD|-|CaddD|, |C|-|C|-|C|-|CaddD| |CaddD|-|CaddD|-|CaddD|
It was (C) raining hard, in 'Frisco. I needed (C7) one more fare to make (C) my night.
A lady up ahead waved to flag me down.
|Bb| She got |F4| in at the |C| light -|C|-|C|-|CaddD| |CaddD|-|CaddD|-|CaddD|,
|C|-|C|-|C|-|CaddD| |CaddD|-|CaddD|-|CaddD|.
Oh (C) where you going to, my lady blue? It's a (C7) shame you ruined your gowwwn in (C) the rain.
She just looked out the window, she said |Bb| "Sixteen |F4| Parkside |C| Lane -|C|-|C|-|CaddD|.
<cello> <firmly> |C|, (C)(Bb)(D), (C)(CaddD)(D7)
(D) Somethin' about her was familiar, I could (D7) swear I'd seen her face be (D) fore.
But she said, "I'm sure you're mistaken,”
And she |C| didn't say |Bb| anything |D| more. -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
|D|-|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
It took a (D) while, but she looked in the mirror.

Then she (D7) glanced at the license for my (D) name.
A smile seemed to come to her slowly.
It was a |C| sad |Bb| smile just the |D| same. -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2| D D
And she (G) said, "How are ya (D) Harry?" I (C) said, (G) "How are ya (D) Sue?
Through the (G) too many (Em) miles and the (D) too little (Bm) smiles,
I (Em) still-(A)-ll remember (D) you.” <cello> (D)(D)(D7)(D7)(D)(D), (C)-|Bb|-(D)(D)
It was somewhere, in a fairy tale, I (D7) used to take her home in my (D) car.
We learned about love in the back of the Dodge,
The |C| lesson hadn't |Bb| gone too |D| far. -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
|D|-|D|-|D|-|Dsus2|
You see, (G) she was gonna be an (Em) actress, and (D) I was gonna learn to (Bm) fly.
(G) She took off to find the (D) footlights, and |C| I took |Bb| off to find the (D) sky.
<cello> (D)(D)(C)(C), <galloping> (C)(C)
Whoa I've got, something inside me, (Bm) to drive a princess (E7) blind.
There's a (Am) wild (Asus2) man (Am) wiz (Asus2) ard he's (Am) hiding in me,
Ill (D) uminating my (Em) mind. (Em)
Oh (C) I've got, something inside me, (Bm) not what my life's a (E7) bout.
'Cause (Am) I've (Asus2) been (Am) lettin' (Asus2) my (Am) outside tide me
(F) Over 'till my time, runs (Gm) out.
<cello> (Gm)(Gm)(F)(F)(F)
Baby's so high that she's (C) skyin'. (Cmaj7) Yes she's (Gm) flyin', afraid to (C7) fall.
(F) I'll tell you why baby's (Em) cryin', 'cause she's (Am) dyin', aren't we (Gm) all?
|DaddA|-|DaddA|-|DaddA|-|D|-|D4|-|D|-|D|, |DaddA|-|DaddA|-|DaddA|-|D|-|D4|-|D|-|D|
|DaddA|-|DaddA|-|DaddA|-|D|-|D4|-|D|-|D|
(DaddA) There was not much more (D4) for us to talk (D) about,
What (D7) ever we had once was (D) gone. So I turned my cab into the driveway,
Past the |C| gate and the |Bb| fine trimmed |D| lawn. -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
And she (D) said, “We must get together,” but I (D7) knew it'd never be a (D) rranged.
And she handed me twenty dollars for a two-fifty fare she said,
|C| "Harry, |Bb| keep the |D| change.” -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
Well a (D) nother man mighta been angry, and a (D7) nother man mighta been (D) hurt.
But another man never woulda let her go.
|C| I stashed the |Bb| bill in my |D| shirt -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
|D|-|D|-|D|-|Dsus2|
And she (G) walked away in (D) silence. It's (C) strange how you never kno-(D)-oww.
But (G) we'd both gotten what we'd (D) asked for,
Such a (Em) lonnnn-(A)-nng long time a |D| go -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
You see, (D) she was gonna be an actress, and (D7) I was gonna learn to (D) fly.
She took off to find the footlights.
|C| I took |Bb| off for the |D| sky. -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2| D D
And (G) there, she's actin' (Em) happy, (D) inside her handsome (Bm) home.
And (G) me, I'm flying in my (D) taxi, taking |C| tips |Bb|, and getting (D) stoned. (D)
I go (Em) flyy-(Em7)-in' so (A) high, when I'm |D| stoned. -|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
|D|-|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|, |D|-|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|
|D|-|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2|, |D|-|D|-|D|-|Dsus2| |Dsus2|-|Dsus2|-|Dsus2| . . . |D|
TEACH YOUR CHILDREN – Crosby, Stills, Nash & Young
(Nash)
https://www.youtube.com/watch?v=EkaKwXddT_I (Capo 0)(MC0)
TIP: The (Asus) will always follow and precede an (A) so just slide your bottom finger up one fret
and then back (or add and remove your pinky).
INTRO: (D), (G), (D), (A)|A|
(D) You, who are on the (G) road, must have a (D) code,
That you can (A) live by (Asus)-(A).
And (D) so, become your (G) self,
Because the (D) past, is just a good (A) bye.
(D) Teach, your children (G) well, their father’s (D) hell,
Did slowly go (A) by (Asus)-(A).
And (D) feed, them on your (G) dreams.
The one they (D) picks, the one you’ll know (A) by (Asus)-(A).
(D) Don’t you ever ask them (G) why.

If they told you you will (D) cry.
So just look at them and (Bm) sigh-igh-(G)-igh (A).
And know they love (D) you (D).
(G)(G)(D)(D)(A)|A|
And (D) you, of tender (G) years, can’t know the (D) fears,
That your elders (A) grew by (Asus)-(A).
And so please (D) help, them with your (G) youth.
They seek the (D) truth, before they (A) can die.
(D) Teach your parents (G) well, their children’s (D) hell,
Will slowly go (A) by (Asus)-(A).
And (D) feed, them on your (G) dreams.
The one they (D) picks, the one you’ll know (A) by (Asus)-(A).
(D) Don’t you ever ask them (G) why.

If they told you you would (D) cry.
So just look at them and (Bm) sigh-igh-(G)-igh (A).
And know they love (D) you (D).
(G)(G)(D)(A)(A)(D)|D|
(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)(MC0)
TIP: The first set of intro chords are played as rapidly as you can.
INTRO: (G)-(F)-(C)-(F)-(G)
Ah (C) baby let me be, your (F) lovin' Teddy (C) Bear.
(F) Put a chain around my neck, and lead me any (C) where.
Oh let me |G7| be, your-or Teddy (C) Bear.
I (F) don't wanna be your (G) tiger, 'cause (F) tigers play too (G) rough.
I (F) don't wanna be your (G) lion, 'cause (F) lions ain't the (G) kind you, love e (C) nough. |C|
(NC) Just wanna (C) be, yourrr Teddy Bear.

Oh let me |G7| be, your-or Teddy (C) Bear.
Baby let me be, a (F) round you every (C) night.

(F) Run your fingers through my hair, and cuddle me real (C) tight
Oh let me |G7| be, your Teddy (C) Bear.
I (F) don't wanna be your (G) tiger, 'cause (F) tigers play too (G) rough.
I (F) don't wanna be your (G) lion, 'cause (F) lions ain't the (G) kind you, love e (C) nough |C|.
(NC) Just wanna (C) be, your Teddy Bear.

Oh let me |G7| be, your, Teddy (C) Bear.
Oh let me (G7) be, (oh let him be your Teddy (C) Bear).
I just want to be your Teddy Bear |C|.
THE TENNESSEE WALTZ – Patsy Cline/Tom Jones/Anne Murray
(Stewart/King)
https://www.youtube.com/watch?v=L_PRWKS1his Patsy Cline (Capo 2)(MC1)
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 this old classic. 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 are slightly different but the music is the same. Both versions end
before the reprise included here.]
INTRO: (C)(G)(C)
I was dancin', with my darlin', to the (C7) Tennessee (F) Waltz.

When an (C) old friend I (Am) happened to (D7) see (G).
Intro (C) duced him, to my darlin', and (C7) while they were (F) dancin',
My (C) friend stole my sweet (G7) heart, from (C) me.
I remember the (E7) night and the (F) Tennessee (C) Waltz.
Now I know just how much, I have (D7) lost (G).
Yes I (C) lost my, little darlin', the (C7) night they were (F) playin',
The (C) beautiful (G7) Tennessee (C) Waltz.
(C)(C7)(F)(C)(Am)(D7)(G), (C)(C7)(F)(C)(G7)(C)
I remember that (E7) night and the (F) Tennessee (C) Waltz.
Now I know, just how much, I have (D7) lost (G).
Yes I (C) lost my, little darlin', the (C7) night they were (F) playin',
(C)(C7)(F)(C)(Am)(D7)(G)
Yes I (C) lost my little darlin' the (C7) night they were (F) playin',
The (C) beautiful, the (G) wonderful, the (C) marvelous, the (F) glorious,
(Patsy Cline)(Tom Jones)(Anne Murray) (Artist Index) - (Main Index) - (Song Index) (This Song)
TEQUILA SUNRISE - Eagles
(Henley/Frey)
https://www.youtube.com/watch?v=1K0N7UaZpz8 (Capo 0)(MC0/5)
INTRO: (G)(Em),(G)(Em),(G)(Em),(G)(Em), (Am), (D), (G)(Em), (G)(Em)(G)
It's another tequila sunrise (D), starin' slowly 'cross the (Am) sky (D).
Said good (G) bye (Em)(G)(Em)(G).
He was just a hired hand, (D) workin' on the dreams he planned to (Am) try (D).
The (D7) days go (G) by (Em)(G).
(Em) Ev'ry night when the (C) sun goes down, (Em) just another (C) lonely boy in (Em) town,
And (Am) she's out runnin' (D) 'rou-(D7)-ond.
(G) She wasn't just another woman (D), and I couldn't keep from comin' (Am) on (D).
It's been so (G) long (Em)(G)(Em)(G).
Oh and it's a hollow feelin' (D), when it comes down to dealin' (Am) friends (D).
It (D7) never (G) ends (Em)(G).
(Gadd)(Gadd)(D)(D)(Am)(D)(G)(D)
(Am) Take another (D) shot of courage, (Bm) wonder why the (E) right words never (Am) come (B7).
You just get (Em) numb (A).
(G) It's another tequila sunrise (D), this old world still looks the (Am) same (D7).
Another (G) frame (G)(G)(G). (Gadd) Mmmm. |Gadd|

TEXARKANA - R.E.M.
https://www.youtube.com/watch?v=jP--MxYzTuo (Capo 0)(MC2)
TIP: The opening to the intro are 4 bass notes played quickly: Top string open <TO>, top string/
2nd fret <T2>, top string/3rd fret <T3>, and 5th string open <5/O> followed by the (Em). Note this
little bass run appears again in the song.
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: <TO>-<T2>-<T3>-<5/O>-(Em)(G)(Bm)(Bm), (Em)(A)(G)(G); (Em)(G)(Bm)(Bm), (Em)(A)(G)(G)
(Em) Twenty-thousand (G) miles to an o (Bm) asis.

(Em) Twenty-thousand (A) years will I (G) burn (G).
(Em) Twenty-thousand (G) chances I (Bm) wasted (Bm).
(Em) Waiting for the (A) moment to (G) tur-urn G.
(C) I would give my (D) life to find it, (Bm) I would give it all.
(C) Catch me if I (D) fall. <TO>-<T2>-<T3>-<5/O>-(Em)(D), (Em)(D)
(Em) Walking through the (G) woods I have (Bm) faced it (Bm).
(Em) Looking for (A) something to (G) learn (G).
(Em) Thirty-thousand (G) thoughts have re (Bm) placed it (Bm).
(Em) Never in my (A) time to re (G) tur-urn (G).
(C) I would give my (D) life to find it, (Bm) I would give it all.
(C) Catch me if I (D) fall. <TO>-<T2>-<T3>-<5/O> (Em)(D), (Em)(D),
(A)(A)(G)(G)(A)(A)(G)(G)-(A) All a (D) lone (D)(G).

Waiting to (D) fall (D)(E). <TO>-<T2>-<T3>-<5/O>
(Em) Forty-thousand (G) stars in the (Bm) evening (Bm).
(Em) Look at them (A) fall from the (G) sky (G).
(Em) Forty-thousand (G) reasons for (Bm) living (Bm).
(Em) Forty-thousand (A) tears in your (G) eye-eye (G).
(C) I would give my (D) life to find it, (Bm) I would give it all. (C) Catch me if I (Am) fall.
<TO>-<T2>-<T3>-<5/O>-(Em)(D), (Em)(D) Catch me if I (Em) fall (Em)(D)(Em).

(D) Catch me if I (Em) fall/Catch me if I (D) fall.
(Em) Catch me if I (D) fall/Catch me if I (Em) fall/Catch me if I (D) fall <down>.
(Em) Catch me if I (D) fall <up>. (Em) Catch me if I (D) fall <down>.
(Em) Catch me if I (D) fall <up> (D)(D).

TEXAS RIVER SONG
Lyle Lovett
https://www.youtube.com/watch?v=syQRcMjISYw (Capo 1)(MC0)
We (D) crossed the wild Pecos, we (G) forded the Nu (D) eces,
We swum the Guadalupe and we (A) followed the Brazos.
Red (D) River runs rusty, the (G) Wichita (D) clear.
But down by the Brazos I (A) courted my (D) dear.
Singing lie da lie lee da lee, (G) lend me your (D) hand.
Lie da lie lee da lee, (A) lend me your (D) hand.
Lie lie lie lee lee lee, (G) lend me your (D) hand,
There's many a river that (A) waters the (D) land.
Now the fair Angelina, runs (G) glossy and (D) gliding.
The crooked Colorado runs (A) weaving and (A7) winding.
The (D) slow San Antonio, (G) courses the (D) plains,
But I never will walk by the (A) Brazos a (D) gain.
Lie lie lie lee lee lee, (A) lend me your (D) hand.
Lie lie lie lee lee lee (G) lend me your (D) hand,
Well she kissed me and she hugged me. She (G) called me her (D) dandy.
The Trinity is muddy but the (A) Brazos quick (A7) sandy.
She (D) kissed me and she hugged me. She (G) called me her (D) own.
But down by the Brazos she (A) left me a (D) lone.
(D)(G)(D)(D)(A)(D),(D)(G)(D)(D)(A)(D)(D)
Now the girls of Little River, they're (G) plump and they're (D) pretty.
The Sabine and the Sulphur hold (A) beauties a (A7) many.
The (D) banks of the Neches, there's (G) girls by the (D) score.
But down by the Brazos I'll (A) wander no (D) more.
Singing lie da lie lee da lee (G) lend me your (D) hand.
Singing lie lie lie lee lee lee (G) lend me your (D) hand.
Lie lie lie lee lee lee (A) lend me your (D) hand.
There's many a river, that (A) waters the (D) land.
THANK GOD FOR THE RADIO – Alan Jackson/The Kendalls
(Barnes/Jones)
https://www.youtube.com/watch?v=naA57eeGVns Alan Jackson (Capo 0)(MC0)
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| On the wrong end of the highway. |Bm| When the long night has no end.
|G| When there's no one there beside me, |A7| 'til I hold you once a gain.
(NC) Thank God for the (D) radio. When I'm (A) on the road.
When I'm (G) far from home (A), and feelin' (D) blue (A).
Thank God for the (D) radio. Playin' (A) all night long.
Playin' (G) all the songs that (A) mean so much, to (D) me and you.
There's a (A) song, that we first (D) danced to.

And there's a (A) song, they played the night we (D) met.
And there's a (Bm) song (G), we first made (D) love to.
That's a (G) song, I'll (A) never for (D) get.
So thank God for the (D) radio. When I'm (A) on the road.
When I'm (G) far from home (A), feelin' (D) blue (A).
(D)(A),(G)(A)(D)(A); (D)(A),(G)(A)(D)
Thank God for the radio. When I'm (A) on the road.
When I'm (G) far from home (A), feelin' (D) blue (A).
Thank God for the radi- |D| -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)(MC1)
TIP: Note here the (E7) in this case is played with the pinky covering the 2nd string/3rd fret.
INTRO: (A)(A)
Well that's all right mama. That's all right for you.
That's all right mama just (A7) anyway you do that's all (D) right. That's all right.
That's all (E) right now (E7) mama anyway you (A) do.
Well Mama she done told me, Papa done told me too,
“Son that gal you're foolin' with she (A7) ain't no good for you” but that's all (D) right.
That's all right. That's all (E) right now (E7) mama anyway you (A) do.
(A)(A)(A)(A7), (D)(D)(E)(E7)(A)
I'm leaving town here baby. I'm leaving town for sure.
Well then you won't be bothered with me (A7) hangin' round your door but that's all (D) right.
That's all right. That's all (E) right now (E7) mama anyway you (A) do.
Ah da da dee, de de de dee. Dee, de de de dee. Dee de de de dee I'll meet you (D) up there,
That's all right, that's all (E) right now (E7) mama anyway you (A) do (A)(A)(A)|A|.
THAT’S AMORE – Dean Martin
(Warren/Brooks)
https://www.youtube.com/watch?v=OnFlx2Lnr9Q (Capo 0)(MC0)
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 chord in brackets once and then lighter downstrokes on the same
chord.
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) In Napoli, where love is |Dm|(Dm) king, when boy meets |Am|(Am) girl,
Here's what they |E| E say |E|. (E)(A)(A)(A)
(E) When the (A) moon hits your eye like a big pizza pie that's a (E) more.
(E7) When the (E) world seems to shine like you've had too much wine that's a (A) more.
Bells will ring ting-a-ling-a-ling ting-a-ling-a-ling and you'll sing (B7) "Vita (E) bella."
Hearts will (E7) play tippy-tippy-tay tippy-tippy-tay like a gay taran (A) tella.
(E) When the (A) stars make you drool just like a pasta fazool that's a (E) more.
(E7) When you (E) dance down the street with a cloud at your feet you're in (F#7) love (F#).
When you (Bm) walk in a (D) dream but you (Dm) know you're not dreamin' sign (A) ore (B7).
Scuzza (E7) me but you see back in old Napoli that's a (A) more. (F)
<capo +1>
(E) When the (A) moon hits your eye like a big pizza pie that's a (E) more.
(E7) When the (E) world seems to shine like you've had too much wine that's a (A) more.
Bells will ring ting-a-ling-a-ling ting-a-ling-a-ling and you'll sing (B7) "Vita (E) bella."
Hearts will (E7) play tippy-tippy-tay tippy-tippy-tay like a gay taran (A) tella. Lucky fella.
(E) When, the, (A) stars make you drool just like a pasta fazool that's a (E) more.
(E7) When you (E) dance down the street with a cloud at your feet you're in (F#7) love (F#).
When you (Bm) walk, in a (D) dream, but you (Dm) know, you're not dreaming sign (A) ore (B7).
Scuzza (E7) me but you see back in old Napoli that's a (A) more.
A (F) more, that's a-(E)-mor-(A)-e. (E)(E)-|A|
(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)(MC1)
INTRO: (D)(D)(G)(G)(D)(D)(A)(A); (D)(D)(G)(G)(D)(A)(D)
I know a guy that's got a lot to lose he's a (G) pretty nice fellah, kind of confused.
He's got (D) muscles in his head, ain't never been used. Thinks he own half of this (A) town (A).
(D) Starts drinkin' heavy gets a big red nose. (G) Beats his old lady with a, rubber hose then he
(D) takes her out to dinner, buys her new clothes.
That's the (A) way that the world goes (D) 'round.
That's the way that the world goes 'round. You're (G) up one day, the next you're down.
It's (D) half an inch of water and you think you're gonna drown.
That's the way that the (A) world goes (D) 'round.
(D)(D)(G)(G)(D)(D)(A)(A); (D)(D)(G)(G)(D)(A)(D)
I was sittin' in the bathtub, countin' my toes when the (G) radiator broke, water all froze.
I got (D) stuck in the ice, without my clothes, naked as the eyes of a (A) clown (A).
I was (D) cryin' ice cubes, hoping I'd croak when the (G) sun come through the window,
the ice all broke. I (D) stood up and laughed, thought it was a joke.
That's the (A) way that the world goes (D) 'round.
(D)(D)(G)(G)(D)(D)(A)(A); (D)(D)(G)(G)(D)(A)(D)
That's the way that the (A) world (A), goes (D) '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)(MC0)
TIP: The (Dsus2) will always follow a (D) enroute to the (Em) so just lift off the bottom string.
TIP: The outro consists of single strum chords. The (D#) will follow a (D) so just slide up one
fret and add your pinky to the 4th string/5th fret.
INTRO: (Em)(D),(Em)-(Em); (Em)(D),(Em)-(Em)
This one goes out (D) to the one I (Em) love.

This one goes out (D) to the one (Dsus2) I've (Em) left behind (Em)(G).
A simple (D) prop to (Am) occupy my (C) time.
(Em) This one goes out (D) to the one I (Em) love.
Fire-(D)(Dsus2)(Em)-re (Em). Fire-(D)(Dsus2)(Em)-re (Em).

This one goes out (D) to the one (Dsus2) I've (Em) left behind (Em)(G).
A simple (D) prop to (Am) occupy my (C) time.
(G)(D)(Am)(C)(Em)(D)(Em)(Em)

This one goes out (D) to the one (Dsus2) I've (Em) left, behind (Em)(G).
Another (D) prop to (Am) occupy my (C) time.
|Em|, |Em|-|Em|-|Em|-|D|, |D#|, |Em|

THEME FROM DETECTORISTS
Johnny Flynn
https://www.youtube.com/watch?v=Q5LbTeti0sw (Capo 4)(MC3)
[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.
TIP: The intro consists of two sets of (C) lead-in chords. For chords, play the first set of (C)
chords on strings 5 - 2 avoiding the bottom string. Play the (G) on the way to the (Am). Play the
second set of (C) chords on strings 6 - 2. For fingerstyle, the very first note is a bass <g> so
start with your thumb on the top string of the (C/G) and your index finger on the 2nd string. Snap
your thumb down to the 5th string and pick the 5th and 2nd strings together. Hit the <c> on the
way to the (Am). For the second set start the same way but this time pick your thumb and index on
the 5th and bottom strings together, and hit the <d> on the way to the (Am).
INTRO: (C/G)(C/G)(C/G)(G)-(Am), (C/G)(C)(C)(G)-(Am)
Will you (C) search through the lonely earth for me, (F) climb through the brier and (C) bramble?
I'll be your-(G)-er treasure. (G)(G)
I felt the (Am) touch of the (C) kings and the (Am) breath of the (C) wind
I knew the (Am) call of all the (C) song birds, (Am) they sang all the (C) wrong wor-(G)-ords.
I'm waiting for (Am) you. I'm waiting for (C) you.
(Am) Mmmm (G) mmm (C) mmm (F) mmm, (Am) mmmm (G) mmm (C) mmm.
Will you swim through the briney sea for me, (F) roll along the ocean's (C) floor?
I'm with the (Am) ghost of the (C) men who can (Am) never sing a (C) gain,
There's a (Am) place follow (C) me where a (Am) love lost at se-(C)-e-(G)-ea.
Is waiting for (Am) you. Is waiting for (C) you-ou.
Would you drift o'er the rollin' fields for me, (F) hoard-me in the highest (C) bough?
But in (Am) history's (C) rhyme there's a (Am) place and a (C) time
And a (Am) truth to the (C) gold that the (Am) folds cannot ho-(C)-oh-(G)-old.
I'm waiting for <slow down> |Am| you. <gently> (Am) I'm waiting for (C) 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
(MC4)
TIP: This version may be a little easier for fingerpicking but you can strum it too, although you
won't be able to play along with the recording as you'd have to capo at the 9th fret.
TIP: The intro consists of two sets of (G) lead-in chords.
Chords: Play the first set of (G) chords on the top 4 strings. Play the (D/A) on the way to
the (Am). Play the second set of (C) chords on the bottom 4 strings and play the (D) on the way to
the (Am).
Fingerstyle: The very first note is a middle <d> so start with your thumb on the top string
and pick the open 4th string and then the top string and open 3rd string together. Hit the <f#> on
the way to the (Em). For the second set start again with the open 4th string and the pick the
thumb and index on the top and 2nd strings together, and hit the <a> on the way to the (Em).
INTRO: (G)(G)(G)(D/A)-(Em), (G)(G)(G)(D)-(Em)
Will you (G) search through the lonely earth for me, (C) climb through the brier and (G) bramble?
I'll be your-(D)-er treasure. (D)(D)
I felt the (Em) touch of the (G) kings and the (Em) breath of the (G) wind
I knew the (Em) call of all the (G) song birds, (Em) they sang all the (G) wrong wor-(D)-ords.
I'm waiting for (Em) you. I'm waiting for (G) you.
(Em) Mmmm (D) mmm (G) mmm (C) mmm, (Em) mmmm (D) mmm (G) mmm.
Will you swim through the briney sea for me, (C) roll along the ocean's (G) floor?
I'm with the (Em) ghost of the (G) men who can (Em) never sing a (G) gain,
There's a (Em) place follow (G) me where a (Em) love lost at se-(G)-e-(D)-ea.
Is waiting for (Em) you. Is waiting for (G) you-ou.
Would you drift o'er the rollin' fields for me, (C) hoard me in the highest (G) bough?
But in (Em) history's (G) rhyme there's a (Em) place and a (G) time
And a (Em) truth to the (G) gold that the (Em) folds cannot ho-(G)-oh-(D)-old.
I'm waiting for <slow down> |Em| you. <gently> (Em) I'm waiting for (G) 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)(MC0)
TIP: The opening notes to the song are the covered 5th string/2nd fret , open 4th string <d>,
and 4th string/2nd fret <e>. So for the intro just flick the (E) aiming for the 5th string and
then the (Am) on "come" in which the top string is the <e>.
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|
Here we (Am) come, walkin' down the (F) street.

We get the funniest (D) looks from, everyone we (G) meet.
Hey hey we're the (C) Monkees, and (F) people say we (G) monkey a (C) round.
But (F) we're too (G) busy (C) singin', to (F) put any (G) body |Am| down.
We go wherever we (Am) want to. Do what we like to (F) do.

We don't have time to get (D) restless. There's always something (G) new.
But (F) we're too (G) busy (C) singin', to (F) put any (G) body (A) down.
(D) We're just trying to be friendly. (G) Come watch us (A) sing and (D) play.
(G) We're the (A) young gener (D) ation, and (G) we've got (A) something to (Em) say. (E) Ahh.
Any (Am) time, or any (F) where, just look over your (D) shoulder.
Guess who'll be standing (G) there?
But (F) we're too (G) busy (C) singin', to (F) put any (G) body (C) down (F)(G).
(C) <15 measures>
But (F) we're too (G) busy (C) singin', to (F) put any (G) body (A) down.
We're just trying to be (D) friendly. (G) Come watch us (A) sing and (D) play.
(G) We're the (A) young gener (D) ation, and (G) we got (A) something to (D) say.
Hey hey we're the Monkees. (G) Hey hey we're the (D) Monkees. (G)|D|
THERE ONE MORNING - Sweethearts of the Rodeo
(Gill)
https://www.youtube.com/watch?v=9LbZ0CKoIN4 (Capo 0)(MC0)
TIP: There’s a not difficult sequence for the intro and again at the end of the first verse and
first chorus. It begins with strums of (G), followed by a three-stroke combination that starts
with another (G), then while keeping the bottom finger on the low <g> note come down to cover the
2nd string/1st fret <c>, and then lift off to get back to (G). If too messy just play 8 bars of (G)
for the intro and 4 bars for the interlude.
INTRO: (G),(G)-(G4)-(G); (G),(G)-(G4)-(G); (G),(G)-(G4)-(G); (G),(G)-(G4)-(G)
Well I walked, one morning the (C) moment I rose,

The (G) sun was so warm but, my (D) heart, it was cold.
(G) Grasses were sway-ay-in’ (C) ever so slight,
Like the (G) wind, in the willows,
Like a (D) breeze, in the (G) night (G)-(G4)-(G); (G),(G)-(G4)-(G).
And as I walked, down the path I re (C) membered a man,

I (G) knew long ago, when (D) he held my hand.
And I (G) just, couldn’t stop where my (C) mind took me then,
To the (G) mem-ories of a (D) love that you (G) had (G).
(Em) There one morning these (G) thoughts came to me,

(Em) There one morning-I-thought (G) “Where could he (D) be?”
Well (G) I was a (C) thinkin’, of (G) all that could be,
Ther-ere one (C) morning these (D) thoughts came to (G) me (G)-(G4)-(G); (G),(G)-(G4)-(G).
Well I wonder, if ever he (C) recalls the days,

The (G) hours we spent lost in (D) each other’s gaze?
And so the (G) nights, I lay thinkin’ to the (C) gray morning light,
How (G) many like me he has (D) held in the (G) night (G).
(Em) There one morning these (G) thoughts came to me,
(Em) There one morning-I-thought (G) “Where could he (D) be?”
Well (G) I was a (C) thinkin’, of (G) all that could be,
Ther-ere one (C) morning these (D) thoughts came to (G) me (G).
(A)(A)(D)(D),(A)(A)(E)(E),(A)(A)(D)(D),(A)(A)(E)(A)(A), (G)(G)(G)(G)
Well wherever he is and who (C) loves him this hour,

It’s (G) surely gonna happen of his (D) new love he’ll tire.
And some (G) night he’ll be lonely then (C) who can he blame?
When he (G) lie-hies in light all a (D) lone and in (G) pain (G).
When he cries in night all a (D) lone and in (C) pa-a- (G) a- |G| ain.
(Sweethearts of the Rodeo) (Artist Index) - (Main Index) - (Song Index) (This Song)
THERE SHE GOES – The La’s
(Mavers)
https://www.youtube.com/watch?v=eu2iv-vMKT8 (Capo 0)(MC0)
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.
TIP: I've included two ways to play the intro. Version 2 is just chords while version 1 is a bit
more complicated but is more accurate. Right, so for version 1 start with (G) and then go right to
the (A5) which is just the bottom string on the 5th fret. There are two ways to get there. If you
play (G) with your pinky on the bottom string just slide over from the 3rd fret to the 5th and
strike the bottom 3 or 4 strings. If you play (G) with your ring finger you can do the same thing
or you can keep your ring finger planted on the bottom string and extend your pinky over to the 5th
fret to cover that note. Either way, you next jump immediately to the (D) and then add your pinky
to the bottom string/3rd fret for the (D4). Then on to two measures of (C). At the end there are
seven quick strums of |D|.
TIP: 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 V1: (G)-(A5)(D)-(D4)(C)(C), (G)-(A5)(D)-(D4)(C)(C), (G)-(A5)(D)-(D4)(C)(C),

(G)-(A5)(D)-(D4)(C)(C), (G)-(A5)(D)-(D4)(C)(C), (G)-(A5)(D)-(D4)(C)(C),
(G)-(A5)(D)-(D4)(C)(C), (Am)(G)(C)(C) <brief pause> |D|-|D|-|D|-|D|-|D|-|D|-|D|
INTRO V2: (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) There (D) she (CaddG) goes. (G) There she (D) goes a (CaddG) gain.
(G) Racing (D) through my (CaddG) brain. And (Am) I just (G) can't con (C) tain.
This (Am) feeling (G) that re (C) ma-a-ains. |D|-|D|-|D|-|D|-|D|-|D|-|D|
(G) Pulsing (D) through my (CaddG) veins. And (Am) I just (G) can't con (C) ta-ain.
This (Am) feeling (G) that re (C) ma-a-ains. |D|-|D|-|D|-|D|-|D|-|D|-|D|
V1: (G)-(A5)(D)-(D4)(C)(C), (G)-(A5)(D)-(D4)(C)(C), (G)-(A5)(D)-(D4)(C)(C), (Am)(G)(C)(C),

(Am)(G)(C)(C) <brief pause> |D|-|D|-|D|-|D|-|D|-|D|-|D|
V2: (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|
She calls (D) my (G) name, she pulls (D) my (C) train. No (D) one (G) else could heal my (C) pain.
But (Am) I just (G) can't con (C) ta-ain. This (Am) feeling (G) that re (C) ma-a-ains.
(G) Chasing (D) down my (CaddG) lane. And (Am) I just (G) can't con (C) tain.
This (Am) feeling (G) that re (C) ma-a–ains. |D|-|D|-|D|-|D|-|D|-|D|-|D|
(G) There (D) she (CaddG) goes. (G) There (D) she (CaddG) goes.
(G) There (D) she (CaddG) goes. |G|
(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)(MC2)
TIP: The (F) sequence 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.
TIP: After the bit above there's "For (G7) ev <lift> er (G7) and <lift> ev (G) er." The <lift> in
this sequence means to lift off the index finger from the bottom string of note <f>.
Off/on/off/on. Easy.
; ;
INTRO: |F|-|C||C|, |C||G||C||CaddG|; |F|-|C||C|, |C||G||C||CaddG|
(NC) There’s a (C) kind of hush (E7), all over the (Am) world, to (C7) night.
All over the (F) world you can hear the (G) sounds of lovers in (C) love.
You (G) know what I mean.
Just the (C) two of us (E7), and nobody (Am) else, in (C7) sight.
There’s nobody (F) else and I’m feeling (G) good, just holding you (C) tight. (C7)
So (F) listen very (FaddD) carefully,

Get (Fmaj7) closer now and (FaddD) you will see what I (C) mean.
It (F) isn’t a (C) dream (C).
The (F) only sound that (FaddD) you will hear,

Is (Fmaj7) when I whisper (FaddD) in your ear “I love (G) you (G).”
For (G7) ev <lift> er (G7) and <lift> ev (G) er.
There’s a (C) kind of hush (E7), all over the (Am) world, to (C7) night.
All over the (F) world you can hear the (G) sound, of lovers in (C) love.
La-la la la-la-la (E7) la, la la (Am) la la la-la-la (C7) la,

La la la la (F) la, la la la (G) la, la la la la (C) la (C7).
So (F) listen very (FaddD) carefully,

Get (Fmaj7) closer now and (FaddD) you will see what I (C) mean.
It (F) isn’t a (C) dream (C).
The (F) only sound that (FaddD) you will hear,

Is (Fmaj7) when I whisper (FaddD) in your ear “I love (G) you (G).”
For (G7) ev <lift> er (G7) and <lift> ev (G) er.
There’s a (C) kind of hush (E7), all over the (Am) world, to (C7) night.
All over the (F) world people just like (G) us are falling in (C) love.
(G) Yeah falling in (C) love. (G) Hush falling in (C) love. (G) Hushhhhhhh (C).
(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)(MC1)
https://www.youtube.com/watch?v=O5ksJz0BMlM Hank Williams Sr.
INTRO: |C|
(NC) There's a (C) tear in my beer, 'cause I'm cryin' for you dear.
You are on my lonely (G) mind.
Into these last few beers I have shed a million tears.
You are on my lonely (C) mind (C7).
I'm (F) gonna keep drinkin' un (C) til I'm petrified.

(D7) Annnd, then maybe, these (G) tears will leave my eyes.
There's a (C) tear in my beer, cause I'm crying for you dear.
(D7) You are (G) on my lonely (C) mind.
Last night I walked the floor, and the night before.

You are on my lonely (G) mind (G7).
It seems my life is through and (G) I'm so doggone (G7) blue.
You are (G) on my lonely (C) mind (C7).
I'm (F) gonna keep drinkin' till (C) I can't move a toe,
(D) Aannnd, then maybe, my (G7) heart won't hurt me so.
There's a (C) tear in my beer cause I'm cryin' for you dear.
(D7) You are (G) on my lonely (C) mind.
Lord I've tried and I've tried but my tears I can't hide.
You are on my lonely (G) mind (G7).
All these blues that I've found, have really got me down.
You are on my lonely (C) mind (C7).
I'm (F) gonna keep drinkin' till (C) I can't even think,
(D) Cause in the (D7) last week, (G) I ain't slept a (G7) wink.
There's a (C) tear in my beer cause I'm crying for you dear.
(D7) You are (G) on my lonely (C) mi-ind |F|-|C|.
(Hank Williams) (Hank Williams Jr.) (Artist Index) - (Main Index) - (Song Index) (This Song)
THINGS YOU DON’T SAY TO YOUR WIFE – Tim Hawkins
(Hawkins/Armstrong)
https://www.youtube.com/watch?v=FigEdtFHpq8 (Capo 0)(MC4)
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) Hey honey have you gained some (C) weight in your rear (D) end.
(G) The dress you’re wearin’ reminds me (C) of my old girl (D) friend.
(Em) And where’d you (D) get those shoes I (C) think they’re pretty (G) lame.
(Em) Would you stop (D) talking cuz I’m (C) trying to watch the (D) game.
If (Em) you’re a man who (G) wants to live a (Em) long and happy (G) life,
These (Em) are the things you (D) don’t say to your (G) wife. (G)(C)(D), (G)(G)(C)(D)
(G) I planned a hunting trip next (C) week on your birth (D) day.
(G) I didn’t ask you but I (C) knew it’d be o (D) kay.
(Em) Go make some (D) dinner while I (C) watch this fishing (G) show.
(Em) I taped it (D) over our old (C) wedding vide (D) o.
These (Em) are the things you (D) don’t say to your (G) wife. (G)(C)(D), (G)(G)(C)(D)
(G) Your cooking is okay but (C) not like mother (D) makes.
(G) The diamond in the ring I (C) bought you is a (D) fake.
(Em) Your eyes look (D) puffy dear (C) are you feeling (G) ill?
(Em) Happy anni (D) versary I (C) bought you a tread (D) mill.
These (Em) are the things you (D) don’t say to your (G) wife. (G)(C)(D)
If (Em) you’re a man who (G) doesn’t want to (Em) get killed with a (G) knife,
These (Em) are the things you (D) don’t say to your (G) wife. (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)(MC0)
TIP: This one requires a little work so over the tips here first.
TIP: First off, 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 and the
last part is played the same in either case. There are two ways to play the first part. The first
part is with picked strings. Form (Eadd) by forming (E) and adding your pinky to the 3rd fret/3rd
string <a#>. Now just pick the strings shown. The second way is the same but 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. Prior to the last verse the (Eadd) is played again.
TIP: In most cases you can play either a (B), (B7) or the (Bm) for the "thirty thousand pounds"
line, whichever you're most comfortable with.
TIP: Prior to the capo change there is a transition chord. First it's a (C) and then an (F).
TIP: In the final two verses there is a series of picked notes after the |Bm| on “pounds.” From
the preceding |Bm| pick the bottom string <f#>, lift off the index finger and pick the now open
bottom string <e> and the still covered 2nd string <d> and strum |E| including the 2nd string but not
the bottom string. On “ba (E) nanas” emphasize the base strings. The first time around you then
go into an immediate sing-song of the (E) and (Eadd).
TIP: The ending of the song is an ascending (F) shape right up the fretboard ending with a single
strum of (F) played on the 8th fret (11th if you're shifting capo as noted). If you’re not playing
a cutaway you can come back down the neck after the (F4) and play (F5) as (A) – but play it with
your bottom three fingers – and then (F6) as (Bb), (F7) as (B) and (F8) as (C).
INTRO: (Form Eadd): 5-6-4, 6-3-2-3-2-3-2; 6-5, 6-3-2-3-2-3-2;
(E7)-(E)(E), (E7)-(E)(E), (E7)-(E)(E), (E7)-(E)(E)
(or)
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,

The (A) hill that leads into Scranton Pennsyl (E) vania.
Carrying (D) thirty (A) thousand (Bm) pounds, of ba (E) nanas.
Carrying (D) thirty (A) thousand (B) pounds, hit it Big John |B|, of ba (E) nanas. (E)
He was a young driver, (A) just out on his (Am) second job
And he was (E) carrying the next day's pasty fruits, for (B) everyone in that coal-scarred city.
Where (E) children play, without despair, in (A) backyard slag-piles
(Am) And folks manage to (E) eat each day, about (D) thirty (A) thousand (Bm) pounds,
Of ba (E) nanas.
Yes just about (D) thirty (A) thousand (B) pounds scream it again John |B|, of ba (E) nanas. (E)
He passed a sign that he should have seen,

Sayin' (A) "Shift to low gear a (Am) fifty dollar (E) fine my friend."
He was (B7) thinking perhaps about the warm-breathed woman
Who was (E) waiting at the journey's end.
He (A) started down the (Am) two mile drop,
The (E) curvin' road that wound from the top of the (B7) hill.
He was pushing on through the shortenin' miles that (E) ran down, to the depot.
Just a few more miles to go,
Then (A) he'd go home and (Am) have her ease his (E) long cramped day away
And the smell of (D) thirty (A) thousand (Bm) pounds, of ba (E) nanas.
Yes the smell of (D) thirty (A) thousand (Bm) pounds, of ba (E) nanas.
(C) <capo +1> (E)
He was pickin' speed as the city spread its (A) twinkling (Am) lights, be (E) low him.
But he paid no heed as the shiverin' thoughts of the (A) nights, de (Am) lights,
Went (E) through him.
His (B) foot nudged the brakes to slow him down.
But the (B7) pedal floored easy without a sound. He said "Cha- (E) -rist!"
It was funny how he had named the only man, who could (B7) save him now.
He was trapped inside a dead-end hell (E) slide ridin' on his (E7) fear-hunched back
Was (A) every one of (Am) those, yellow (E) green.
I'm telling you (D) thirty (A) thousand (Bm) pounds, of ba (E) nanas.
Yes there were (D) thirty (A) thousand (Bm) pounds, of ba (E) nanas.
(F) <capo +1> (E)
He barely made the sweepin' curve that (A) led in (Am) to, the (E) steepest grade.
And he missed the thankful passing bus at (A) ninety (Am) miles, an (E) hour.
And he said "Godddddd make it a (Bm) dream!" as he (G) rode his (D) last ride (E) down.
He said "Goddddd make it a (Bm) dream!" as he (G) rode his (D) last ride (A) dow-own.
And he (Am) sideswiped nineteen neat parked cars (E) clipped off thirteen telephone poles
(A) Hit two houses (Am) bruised eight trees and (E) Blue-Crossed seven people.
It was (B) then he lost his head, not to mention an arm or two before he (E) stopped.
And he (B) smeared for four hundred yards,

Along the hill that leads into Scranton Pennsyl (E) vania.
All those |D| thirty, |A| thou-sand |Bm| pounds <f#>-<e>-<d>-|E|,
(NC) Of ba (E) nanas (Eadd), (E)(Eadd), (E)(Eadd), (E)(Eadd), (E)(Eadd), (E)(Eadd),(E)(E)
You know the man who told me, about it on the bus
Says it (A) went up the hill out of (Am) Scranton Pennsyl (E) vania.
He (B) shrugged his shoulders, he shook his (E) 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.
Yes there were |D| thirty, |A| thou-sand |Bm| pounds, <f#>-<e>-<d>-|E| (NC) of mashed ba (E) nanas.
Of bananas. Of bananas. Just ba (F) nanas. Thirty (F#) thousand pounds. Of Ba (F3) nanas.
Not no (F4) driver now. Just (F5) banana - a - (F6) a – a - (F7) a – a - |F8| -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)(MC3)
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.

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

Could it be you wear your cloths too (D7) tight?
Since you don't seem to hear a single (D) thing I say or do,
Then I know there's nothing (D7) I can do for (G) you (G).
This ain't my (C) first rode (G) o (G).

This ain't the first time this old (D) cowboy's been (D7) throwed.
This ain't the first I've seen this (D) dog and pony show.
This ain't my first rode (G) o (G).
(D)(D)(D)(D)(D)(G)
You're telling me you lost you're wedding band?

Somehow you say it slipped right off you're (D7) hand.
And when I asked about those boxes stacked there (D) by the door,
You say it's just some old things (D7) you don't wear no (G) more (G).
I didn't make it all the way through school,
But my mama, didn't raise any (D7) fool.
I may not be the Einstein, of our (D) time,
But honey I'm not (D7) dumb and I'm not (G) blind (G).

This ain't the first I've seen this (D) dog and pony show. Honey,
This ain't my first rode (G) o (G).

This ain't the first I've seen this (D) dog and pony show.
This ain't my first rode (G) o (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)(MC0)
TIP: There's a (D)(Bm)(Em) sequence and if you need to you can just add your pinky to complete the
(Bm) chord from (D).
TIP: On the second (Em) on "a (Em) ga-(D)-in (Em)(A)" emphasize the bottom string.
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).
TIP: The outro has a three-note step down after the (Bm). The chord that's a little tricky to hit
is the (Em/D) from the (Bm) as you need your pinky to hit the <d> on the 2nd string/3rd fret. Then
just slide your pinky down one fret for the (Em6) and lift off for the (Em) on your way to the (A).
INTRO: |D||D||D| (D)(Bm)(Em)(A)
(D) That boy (Bm)(Em), took my (A7) love a (D) way (Bm)(Em).
He’ll re (A7) gret it, some (D) day (Bm).
But |G| this boy, |A| wants you back a (Em) ga-(D)-in (Em)(A).
(D) That boy (Bm)(Em), isn’t (A7) good for (D) you (Bm)(Em),
Though he may (A7) want, you (D) too (Bm).
|G| This boy, |A| wants you back a (Em) ga-(D)-in (D7).
Oh and (G) this boy, would be (F#7) happy, just to (Bm) love you.
But oh (D7) my hi hi hi (G) that boy, won’t be (E) happy,
(A) Till, he’s seen you (A7) cry hi hi hi.
(D) This boy (Bm)(Em), wouldn’t (A7) mind the (D) pain (Bm)(Em),
Would always (A7) feel, the (D) same (Bm).
If |G| this boy, |A| gets you back a (Em) ga-(D)-in (Em)(A).
(D) This boy (Bm),(Em/D)-(Em6)-(Em)-(A).

(D) This boy (Bm),(Em/D)-(Em6)-(Em)-(A).
(D) This boy (Bm),(Em/D)-(Em6)-(Em)-(A). |D|
THIS LAND IS YOUR LAND
Woody Guthrie
https://www.youtube.com/watch?v=wxiMrvDbq3s (Capo 0)(MC0)
[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 recorded 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)
This land is (G) your land, this land is (D) my land.

From Cali (A) fornia, to the New York (D) Island.
From the redwood (G) forest, to the gulf stream (D) waters.
(A) This land was (A7) made for you and (D) me. (D)
As I went (G) walking that ribbon of (D) highway

And I saw a (A) bove me that endless (D) skyway.
I saw be (G) low me that golden (D) valley.
(A) This land was (A7) made for you and (D) me.
(D)(G)(D)(A)(D)(G)(D)(A)(A7)(D)
I roamed and (G) rambled and I follered my (D) footsteps.

To the sparkling (A) sands, of her diamond (D) deserts.
All a (G) round me a voice was a (D) sounding,
(A) “This land was (A7) made for you and (D) me.” (D)
There was a big high (G) wall there that tried to (D) stop me.
A sign was (A) painted, said "Private (D) Property."
But on the (G) back side it didn't say (D) nothin'.
(A) This land was (A7) made for you and (D) me.” (D)
When the sun come (G) shining, then I was (D) strolling.
The wheat fields (A) waving, and the dust clouds (D) rolling.
A voice was (G) chanting, as the fog was (D) lifting,
This land is (G) your land, and this land is (D) my land.
From Cali (A) fornia, to the New York (D) Island.
From the redwood (G) forest, to the gulf stream (D) waters.
(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)(MC0/4/5)
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.
I've roamed and I’ve |C| rambled, and followed my |G|, footsteps,
From the sparkling |D|, sands of her diamond |G| desert.
And all a |C| round me I heard a voice, |G| calling, calling, singing
|D| “This land was made for you and (G) me.”
This land is (C) your land, this land is (G) my land.

From Cali (D) fornia, to the New York (G) Islands.
From the redwood (C) forests, to the gulf stream (G) waters.
(D) This land was (D7) made for you and (G) me.
I roamed and I (C) rambled, and I followed my (G) footsteps,

To the sparkling (D) sands of, her diamond (G) deserts.
And all a (C) round me, a voice was, (G) sing-in',
(D) “This land was made for you and (G) me.”

Well I went (C) walkin', and the sun was (G) shining.
The wheat fields (D) waving and the dust clouds (G) rolling.
The fog was (C) lifting, and I heard this voice (G) singin' (it might have been Woody!)
(D) “This land was (D7) made for you and (G) me.”

As I went (C) walking, that ribbon of (G) highway.

I saw a (D) bove me, that endless (G) skyway.
I saw be (C) low me, a golden (G) val-ley.

(D) This land was (D7) maaaade, for you and, <trill> (G) 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)(MC3)
https://www.youtube.com/watch?v=pKfASw6qoag Jay and the Americans (Capo 0)
INTRO: (C) (Am) (F) (G)|G|
(NC) This magic (C) moment, so (Am) different and so new was like any (F) other,
Until (G) I kissed you |G|.
(NC) And then it (C) happened. It (Am) took me by surprise I knew that you (F) felt it too,
By the (G) look in your eye |G|.
(NC) Sweeter than (Am) wine, softer than the (F) summer night.
Everything I (C) want I have, whenever I (G) hold you tight.
This magic (C) moment, while your (Am) lips are close to mine, will last for (F) ever.
For (G) ever till the end of (C) time.
Hoa-oh-oh (Am) oh-oh. Oh-oh-oh (F) oh-oh. Mm-mm-mm (G) mm.
(C)(C)(Am)(F)(G)|G|
(NC) Sweeter than (Am) wine, softer than the (F) summer night.
Everything I (C) want I have, whenever I (G) hold you tight.
This magic (C) moment, while your (Am) lips are close to mine, will last for (F) ever.
For (G) ever til the end of (C) time.
Hoa-oh-oh (Am) oh-oh. Magic (F) moment. Magic (G) moment. Magic (C) moment.
Hoa-oh-oh (Am) oh-oh. Oh-oh-oh (F) oh-oh. Oh-oh-oh (G) oh. |C|
(The Drifters)(Jay and the Americans)(Artist Index)(Oldies) - (Main Index)(Song Index)(This Song)
THIS OLD GUITAR – Neil Young & Emmylou Harris
(Young)
https://www.youtube.com/watch?v=lrKVuKCD7Qo (Capo 0)(MC0)
TIP: Neil has the top string tuned down to <d> in order to get that low <d> first note in the
intro. If you elect to tune down then you’ll need to miss the top string on all the strums of (G).
If you prefer to stay in standard tuning then instead of playing that tuned down top string play
the middle <d> which is the open 4th string.
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> - |D|(Dsus2)(D)(Dsus2); <d> - |D|(Dsus2)(D)(Dsus2)
This (D) old gui (Dsus2) tar ain't (D) mine to (Dsus2) keep (D)(Dsus2),
Just (D) takin’ care of it (G) now (G)(A).
It's (D) been a (Dsus2) round, for (D) years and (Dsus2) years (D)(Dsus2),
Just (D) waitin’ in its old (G) case (G)(G).
It's been (D) up and (Dsus2) down, the (D) country (Dsus2) roads (D)(Dsus2).
It's (D) brought a tear and a (G) smile (G)(A).
It's (D) seen its (Dsus2) share, of (D) dreams and (Dsus2) hopes (D)(Dsus2),
And (D) never went out of (G) style (G)(G).
The (D) more I (Dsus2) play it, the (D) better it (Dsus2) sounds (D)(Dsus2).
It (D) cries when I leave it a (G) lone (G)(A).
(D) Silent (Dsus2) ly, it (D) waits for (Dsus2) me (D)(Dsus2),
Or (D) someone else I sup (G) pose (G)(G).
This (D) old gui (Dsus2) tar (D)(Dsus2)(D)(Dsus2)(D)(Dsus2). This old gui (G) tar (G)(A).
This (D) old gui (Dsus2) tar (D)(Dsus2)(D)(Dsus2)(D)(Dsus2). (G)(G)
(D)-(Bm)(D)-(Bm), (D)(D)-(Dsus2), (D)-(Bm)(D)-(Bm), (D)(D)-(Dsus2)

(D)(Dsus2)(D)(Dsus2), (D)(Dsus2)(D)(Dsus2)
This (D) old gui (Dsus2) tar, has (D) caught some (Dsus2) breaks (D)(Dsus2),
But it (D) never searched for (G) gold (G)(A).
It (D) can't be (Dsus2) blamed, for (D) my mis (Dsus2) takes (D)(Dsus2).
It (D) only does what it's (G) told (G)(G).
It's (D) been a (Dsus2) messenger, in (D) times of (Dsus2) trouble (D)(Dsus2).
In (D) times of hope and (G) fear (G)(A).
When (D) I get (Dsus2) drunk, and (D) seeing (Dsus2) double (D)(Dsus2),
It (D) jumps behind the wheel and (G) steers (G)(G).
This (D) old gui (Dsus2) tar ain't (D) mine to (Dsus2) keep (D)(Dsus2).
It's (D) mine to play for a (G) while (G)(A).
This (D) old gui (Dsus2) tar ain't (D) mine to (Dsus2) keep (D)(Dsus2).
It's (D) only mine for a (G) while (G)(G).
This (D) old gui (Dsus2) tar (D)(Dsus2)(D)(Dsus2)(D)(Dsus2). This old gui (G) tar (G)(G).
(D)-(Bm)(D)-(Bm), (D)(D)-(Dsus2), (D)-(Bm)(D)-(Bm), (D)(D)-(Dsus2)

(D)(Dsus2)(D)(Dsus2), (D)(Dsus2)(D)(Dsus2)
This (D) old gui (Dsus2) tar (D)(Dsus2)(D)(Dsus2)(D)(Dsus2). |D|
(Neil Young) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
THIS OLD GUITAR AND ME
Vince Gill
https://www.youtube.com/watch?v=alBaSfZTSUo (Capo 1)(MC0)
TIP: Except for the instrumental bridge the (Bm) will always follow (D) so in those cases you can
just add your pinky to the 4th string/4th fret if you don’t want to come off the (D).
INTRO: (D)(D)(D)(D)
This old guitar and me, the (G) things that we've been (D) through.
C. F. Martin (Bm) built it, back in (G) nineteen fourty- (A) two.
And I re (D) member when we met, I was (G) only seven (D) teen.
I spent all my college (Bm) money, on a (G) half a dozen (D) strings (D).
I thought my folks would kill me, I (G) found out I was (D) wrong.
They said your future's written (Bm) on your face when you (G) sing those travelin' (A) songs.
So we (D) headed for Kentucky, with a (G) suitcase full of (D) dreams.
My rough out boots, a (Bm) few t-shirts, a (G) worn out pair of (D) jeans (D).
(G) Ooooh- (D) ooh. (G) Ooooh hooo- (Bm) hooo.

(G) Ooooh- oooh - (D) hoooh (Bm). (G) (A) (D)
This old guitar and me, we spent a (G) lot of nights a (D) lone.
Sometimes we'd get (Bm) lucky, and (G) take a barmaid (A) home.
(D) One night stands for breakfast, two (G) strangers with the (D) blues.
We'd wake up in the (Bm) mornin’, and (G) both feel a little (D) used (D).
Home was just a highway, we'd (G) roam from town to (D) town.
Just me and that old (Bm) flattop, not (G) caring where we're (A) bound.
From (D) Maine to California, with a (G) five piece travelin' (D) band.
Singin' songs about the (Bm) hard times, that (G) face the common (D) man (D).
(G) Ooooh- oooh - (D) hoooh (Bm). (G) (A) (D)
This old guitar and me, Lord we (G) did the best we (D) could.
One was born a (Bm) sinner, and (G) one a piece of (A) wood.
God (D) sent a wooden angel, to (G) guide me on my (D) way.
We were meant to be to (Bm) gether, un (G) til my dyin' (D) day (D).
Now my dearest old companion, lies (G) underneath my (D) bed.

Well our travelin' days are (Bm) over, man but the (G) memories fill my (A) head.
Well I've (D) settled with my family, here in the (G) hills of Tennes (D) see.
To teach my children's (Bm) children, 'bout this (G) old guitar and (D) me (D).

(G) Ooooh- oooh - (D) hoooh (Bm). (G) (A) (D) |D|
THIS WORLD IS NOT MY HOME - Fern Jones
Traditional
https://www.youtube.com/watch?v=hjCVZNm4Prs (Capo 3)(MC3)
[Like many traditional gospel songs verses are added and changed over the years. The version here
is by Fern Jones but at the end are some additional verses sometimes included in other versions.]
TIP: For the intro form (D) and pick the covered 3rd string <a>, then lift up and pick the now open
2nd string and strum (D), adding your pinky onto the bottom string 5th fret for (DaddA) and off
again to get back to (D). You can skip the whole (DaddA) if you want.
INTRO: <a>--(D)(DaddA)(D)(A)(D)
This world is not my home, I'm (G) just a passing (D) through.
My treasures are laid up, some (E) where beyond the (A) blue.
The (D) angels beckon me, from (G) Heaven's open (D) door,
And I can't feel at home in this (A) world any (D) more.
Oh Lord, you know, I (G) have no friend like (D) you.

If Heaven's not my home, then (E) Lord what will I (A) do?
(D)(D)(G)(D), (D)(D)(E)(A), (D)(D)(G)(D), (D)(D)(A)(D)
They’re all expecting me, and (G) that's one thing I (D) know.
I fixed it up with Jesus, a (E) long long time a (A) go.
I (D) know He'll take me through, though (G) I am weak and (D) thorn,
And I can't feel at home in this (A) world any (D) more. (D)(D)(A)(D)|D|
[ALTERNATE VERSES]:
I have a loving mother, just (G) over in glory (D) land.

And I don’t expect to stop, un (E) til I shake her (A) hand.
She’s (D) waiting now for me, in (G) Heaven’s open (D) door,
And I can’t feel in this (A) world any (D) more.
Just over in Glory Land, we’ll (G) live eternal (D) ly.
The Saints on every hand, are (E) shouting victor (A) ry.
Their (D) songs of sweetest praise, drift (G) back from Heaven’s (D) door,
And I can’t feel at home in this (A) world any (D) more.

And I can't feel at home in this (A) world any (D) more. (D)(D)(A)(D)|D|
(Fern Jones) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
THOSE WERE THE DAYS - Mary Hopkins
(Raskin/Russian Traditional)
https://www.youtube.com/watch?v=QptZ8tYZAkE (Capo 2)(MC2)
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: There are quite a bit of pinky movements complementing the (E) chords but they're not hard to
play: 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 work. 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)
Once upon a (Esus) time there was a (Em) tavern,

(E) Where we used to raise a glass or (Am) two.
Remember how we laughed away the (Em) hours,
And (F#) think of all the great things we would (B7) do?
(Em3) Those were (Em2) the days my (Em) friend, (E) we thought they'd (Am) never end.
We'd sing and (D) dance, for (D7) ever and a (G) day.
We'd live the (Am) life we choose, we'd fight and (Em) never lose.
For we were (B7) young and sure to have our (Em) way.
La la la la la la. La la la (Am) la la la. La la la (B7) lah, la la la la la (Em) lah.

Then the busy (Esus) years went rushing (Em) by us,
We (E) lost our starry notions on the (Am) way.
If by chance I'd see you in the (Em) tavern, we'd (F#) smile at one another, and we'd (B7) say.
We'd sing and (D) dance for (D7) ever and a (G) day.
Those were the (B7) days oh yes those were the (Em) days.
La la la la la la. La la la (Am) la la la. La la la (B7) lah, la la la la la (Em) lah.
Just tonight I (Esus) stood before the (Em) tavern.

(E) Nothing seemed the way it used to (Am) be.
In the glass I saw a strange re (Em) flection. (F#) Was that lonely woman really (B7) me?
Those were the (B7) days, oh yes those were the (Em) days.
La la la la la la. La la la (Am) la la la. La la la (D) lah, la (D7) la la la la (G) lah.

La la la (Am) la la la, la la la (Em) la la la. La la la (B7) lah, la la la la la (Em) lah.
(Em)(Em)
<capo +1> (Em)
Through the door there (Esus) came familiar (Em) laughter.

I (E) saw your face and heard you call my (Am) name.
Oh my friend we're older but no (Em) wiser,
For (F#) in our hearts the dreams are still the (B7) same.
Those were the (B7) days, oh yes those were the (Em) days.
La la la la la la. La la la (Am) la la la. La la la (D) lah, la (D7) la la la la (G) lah.
La la la (Am) la la la, la la la (Em) la la la. La la la (B7) lah, la la la la la (Em) lah.
La la la la la (G) la. La la la la la (A) la. La (C) la la la la (E) lah.
(Mary Hopkins) (Artist Index) - (Main Index) - (Song Index) (This Song)
THUNDER ROAD
Bruce Springsteen
https://www.youtube.com/watch?v=JGBXnw86Mgc (Capo 3)(MC3)
INTRO: (D)(Bm)(D), (D)(G), (D)(F#m), (G)(A)
The (D) screen door slams, (G) Mary's (D) dress sways.
Like a vision she dances across the porch as the (G) radio plays.
Roy Orbison singing for the (A) lonely, hey that's (D) me and I want you (G) only.
Don't turn me home again I (D) just can't face my (A) self alone again.
Don't (D) run back inside darling (G) you know just what I'm (D) here for (Bm)-(D).
(A) So you're (D) scared and you're thinkin' that (A) maybe we ain't that (G) younnng anymore.
Show a little faith there's magic in the (A) night,
You ain't a (D) beauty but hey you're al (G) right (G).
Ohhh and (D) that's alright with (A) me.
You can (D) hide 'neath your covers and (Bm) study your pain.
Make (D) crosses from your lovers throw (G) roses in the rain.
(D) Waste your summer (F#m) praying in vain for a (G) savior to rise from these (A) streets.
Well now (D) I'm no hero that's under (Bm) stood,
All the re (D) demption I can offer girl is (G) beneath this dirty hood.
(D) With a chance to make it (F#m) good somehow, hey (G) what else can we do (A) now.
Except (D) roll down the window and (G) let the wind blow (D) back your hair |G|-(D).
Well the night's busting open these (F#m) two lanes will take us (G) an-y-where.
We got one last chance to make it (A) real, to (D) trade in these wings on (G) some wheels.
Climb in back (D) heaven's waiting down (A) on the tracks.
(D) Oh oh come (Bm) take my hand, (D) riding out tonight to (G) case the promised land.
(D) Oh oh oh (F#m) oh Thunder Road, (G) oh Thunder Road, (A) oh Thunder Road.
(D) Lying out there like a (Bm) killer in the sun,
(D) Hey I know it's late we (G) can make it if we run.
(D) Oh oh oh (F#m) oh Thunder Road sit (G) tight, take (A) hold, Thunder (D) Road.
Well I (G) got this guitar and I (A) learned how to make it (D) talk (Bm)-(D).
And my (Bm) car's out back if you're ready to take that (G) lonnnng (A) walk,
From your (G) front porch to my front (A) seat.
The door's (F#m) open but the ride it ain't (Bm) free.
And (G) I know you're (Bm) lonely for words that (Em) I ain't (G) spoke.
To (A) night we'll be free all the promises will be broken there were (D) ghosts in the eyes of
(G) all the boys you (D) sent away |G|-(D).
They haunt this dusty beach road in the (F#m) skeleton frames of (G) burned-out Chevrolets.
They scream your name at night in the (A) street.
Your graduation (D) gown lies in rags at their (G) feet.
And in the (F#m) lonely cool before dawn, you hear their (G) engines roaring on.
But when you (Em) get to the porch they're (A) gone on the (G) wind (G), so Mary climb (Em) in.
It's a (G) town full of losers, I'm (A) pulling out of here to (D) 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)(MC0)
INTRO: (A)(A)(D)(E), (A)(A)(Bm)(E), (A)(A)(D)(E), (A)(A)(Bm)(E), (A)(A)(D)(E), (A)(A)(D)(E)
The (A) tide is high but I'm (D) holdin' (E) on. (A) I'm gonna be your (D) number (E) one.
(A) I'm not the kinda girl (D) who gives up (E) just like (A) that, oh (D) no-oh-oh-(E)-oh.
It's (A) not the things you do that tease and (D) hurt, me (E) bad.
(A) But it's the way you do the things you (D) do, to (E) me.
The (A) tide is high but I'm (D) holdin' (E) on. (A) I'm gonna be your (D) number (E) one,
(D) Nuuuum-ber (E) one, (D) nuuuum-ber (E) one (E).
(A) Ev'ry girl wants you to (D) be, her (E) man.
(A) But I'll wait my dear till it's (D) my-y (E) turn.
(D) Nuuuum-ber (E) one, (D) nuuuum-ber (E) one (A)-(E)-(D)-(E).
(A)(A)(D)(E), (A)(A)(Bm)(E), (A)(A)(D)(E), (A)(A)(D)(E)
(A) Ev'ry girl wants you to (D) be, her (E) man.
(A) But I'll wait my dear till it's (D) my-y (E) turn.
(A) I'm not the kinda girl (D) who gives up (E) just like (A) tha-hat, oh (D) no-oh-oh-(E)-oh.
(D) Nuuuum-ber (E) one, (D) nuuuum-ber (E) one, (D) nuuuum-ber (E) one (A)-(E)-(D)-(E).
The (A) tide is high, I'm (D) holdin' (E) on. (A) I'm gonna be your (D) number (E) one.
The (A) tide is high, I'm (D) holdin' (E) on.
(A) I'm-gonna-be-your-number-one-your (D) number (E) 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)(MC0)
TIP: Chords in |brackets| you strike once. Gets a little messy at the end with the refrain. Just
stick with it.
TIP: If you can't remember to pull the top finger on the (Asus4) you can play an (Asus) instead
and just slide the bottom finger up one fret.
or
INTRO: |D|(D)(G)(A)(G); |D|(D)(G)(A)(G)
(D) I've been around for you, (A) been up and down for you
But (G) I just can't get any re (D) lief (D).
I've swallowed my pride for you, (A) lived and lied for you
But (G) you still make me feel like a (D) thief. (D)(G)-(D)
You-got-me (A) stealin' your love away 'cause (G) you never (D) give it.
(A) Peeling the years away and (G) we can't re (D) live it.
Oh (G) I make you (D) laugh, and (G) you make me (D) cry.
|A| I believe it's time for me to fly-(D)-y-(G)-(A)-y. (D)(G)-(A)
(D) You said we'd work it out, you (A) said that you had no doubt,
That (G) deep down we were really in (D) love (G)(D).
Oh but I'm tired of holding on to a (A) feeling I know is gone.
(G) I do believe that I've had e (D) nough (G)(D).
I've had e (A) nough of the falseness of a (G) worn out re (D) lation,
E (A) nough of the jealousy and the (G) intoler (D) ation.
Oh (G) I make you (D) laugh, and (G) you make me (D) cry.
|A| I believe it's time for me to fly-(D)-y-(G)-(A)-(D)-y |D| <palm mute>.
(NC) Time for me to (A) fly- (Asus4)(A)-y oh I've got to (G) set myself (D) free.
Time for me to (A) fly-(Asus4)(A)-y and that's just how (G) it's got to-oo (D) be.
(G) I know it hurts to say good (A) bye,
But it's time for me to fly-(D)-y-(G)-y-(A)-y-eye-yy-(D)-ey.
(D)(A); (D),(A); (G)(Gadd); (A)(A), (D)(D)
Oh don't you know it's time for me to (A) fly-(Asus4)(A)-y oh I've got to (G) set myself (D) free
Time for me to (A) fly-(Asus4)(A)-y oh babe that's just how (G) it's got to (D) be.
Oh oh-oh (G) I know it (D) hurts to say good (A) bye,
But it's time for me to fly-(G)-y-y-y-y-(A)-y. It's time for me to fly-(G)-y-y-yiy-y-(A)-yiy.
It's time for me to fly-(D)-y-(G)-(A)-y. It's time for me to fly-(G)-y-(D)-(G)-y-(A)-y.

It's time for (G) me to fly-(D)-y-(G)-(A)-y. It's time for (G) me to |D| 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)(MC0)
TIP: First the (D) sequence. 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 by lifting off everything but the index
finger on the bottom string/1st fret <f>. Note you can also play a (G) if you want.
TIP: Next is the (A) sequence trill which appears in the intro and the verse. From the (Gm) you
end on an (A). The next step is to cover the 2nd string/3rd fret <d> for one strum. You can
either use your pinky or slide your ring finger up one fret. Back to the (A) and then it's a two
finger slide/cover of the bottom two strings/3rd fret for one strum of the (Asus4/G), then back
down to cover the 4 bottom strings of the 2nd fret, then lift off the bottom finger to finish with
a normal (A). Now if you find moving to and from the (Asus4/G) try picking the bottom string
instead.
TIP: (F11) is a brief chord that follows the (Dm7) enroute to the (Gm). So all you have to do,
since you’re already playing (Dm7) is simply add your pinky to the 3rd string/3rd fret while lifting
off the middle finger from the 2nd fret. And the pinky is already in place to slide up to the 3rd
fret for the covered (Gm).
TIP: The chorus ends with a (D)(Em/D)(A)-(Asus)-(A). For the transition from (D) to (Em/D) leave
your ring finger 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)-(Asus4/G)-(A6)-(A)
If (Dm) I could save (Dm#7) time in a (Dm7) bottle (Dm-),

The (Gm) first thing that I'd like to (A) do (Asus)-(A)-(Asus4/G)-(A6)-(A).
Is to (Dm) save every (Dm7) day til e (F11) ternity (Gm) passes a (Dm) way,
Just to (Gm) spend them with (A) you (Asus)-(A)-(Asus)-(Asus2)-(A).
If (Dm) I could make (Dm#7) days last for (Dm7) ever (Dm-),
If (Gm) words could make wishes come (A) true (Asus)-(A)-(Asus4/G)-(A6)-(A).
I'd (Dm) save every (Dm7) day like a (F11) treasure and (Gm) then,
A (Dm) gain, I would (Gm) spend them with (A) you (Asus)-(A)-(Asus)-(Asus2)-(A).
But there (D) never seems to (Dmaj7) be enough time

To (Bm) do the things you (D) want to do once you (G) find them (D)(Em/D)(A)-(Asus)-(A).
I've (D) looked around e (Dmaj7) nough to know,
That (Bm) you're the one I (D) want to go through (G) time with (D)(Em/D)(A)-(Asus)-(A).
(D)(Dm)(Dm7)(G)(Gm)(Gm)(A)-(Asus)-(A)-(Asus4/G)-(A6)-(A)
If (Dm) I had a (Dm#7) box, just for (Dm7) wishes (Dm-),

And (Gm) dreams that had never come (A) true (Asus)-(A)-(Asus4/G)-(A6)-(A).
The (Dm) box, would be (Dm7) empty except (F11) for the (Gm) memory of (Dm) how,
They were (Gm) answered by (A) you (Asus)-(A)-(Asus)-(Asus2)-(A).
But there (D) never seems to (Dmaj7) be enough time

To (Bm) do the things you (D) want to do once you (G) find them (D)(Em/D7)(A)-(Asus)-(A).
I've (D) looked around e (Dmaj7) nough to know,
That (Bm) you're the one I (D) want to go through (G) time with (D)(Em/D)(A)-(Asus)-(A)(Dm)3-2,
(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)(MC4)
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)
Come (G) gather 'round (Em) people, where (D) ever you (G) roam.
And (Gadd) admit that the (Em) waters a (C) round you have (D) grown
And ac (G) cept it that (Em) soon you’ll be (C) drenched to the (G) bone.
If your (Gadd) time to (Am) you is worth (D) saving,
Then you’d better start (D7) swimming or you’ll (C) sink like a (D) stone,
For the (G) times they (C) are a (D) chang (G) in'. (G)(Em)(C)(G)(G)
Come writers and (Em) critics who (D) prophesize with your (G) pen.
And (Gadd) keep your eyes (Em) wide the chance (C) won’t come a (D) gain,
And (G) don’t speak too (Em) soon for the (C) wheel's still in (G) spin.
And there’s (Gadd) no telling (Am) who that it’s (D) namin'.
Oh the loser (D7) now will be (C) later to (D) win
For the (G) times they (C) are a (D) chang (G) in'. (G)(Em)(C)(G),(Gadd)(D)(C)(D)(D)
Come (G) senators, (Em) congressmen (D) please heed the (G) call.
Don’t (Gadd) stand in the (Em) doorway don’t (C) block up the (D) hall.
For (G) he that gets (Em) hurt will be (C) he who has (G) stalled (G).
The (Gadd) battle (Am) outside (D) ragin',
Will soon shake your (D7) windows and (C) rattle your (D) walls
For the (G) times they (C) are a (D) chang (G) in'. (G)(D)(C)(D)(G)
Come mothers and (Em) fathers (D) throughout the (G) land.
And (Gadd) don’t critic (Em) ize what you (C) can’t under (D) stand.
Your (G) sons and your (Em) daughters are be (C) yond your com (G) mand.
Your (Gadd) old road is (Am) rapidly (D) agin'.
Please get out of the (D7) new one if you (C) can’t lend your (D) hand
For the (G) times they (C) are a (D) chang (G) in'.
(G)(Em)(C)(G), (Gadd)(D)(C)(D), (G)(C)(D)(G)(G)
The line it is (Em) drawn, the (D) curse it is (G) cast.

The (Gadd) slow one (Em) now will (C) later be (D) fast
As the (G) present (Em) now, will (C) later be the (G) past (G).
The (Gadd) order is (Am) rapidly (D) fading.
And the first one (D7) now will (C) later be (D) last,
For the (G) times, they (C) are a (D) chang (G) in'. (G)(Em)(C)(G), (G)(Em)(C)|G|
(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)(MC0)
TIP: Piano to guitar; always a little tough. Okay, so it's not denoted, cuz it'd get real messy
adding the (CaddD) in there, but whenever you come across the (C) (F) doublet (like in the intro
and little instrumental bridge) that (C) (F) series goes 1-2-3-4, 5-6 on the (C) and then 1-2-3-4,
5-6 again on the (F). Now on that first (C) series you want to add your pinky to the 2nd
string/3rd fret to cover the <d> on the 5-6. So it's (C) 1-2-3-4 (CaddD) 5-6; (F) 1-2-3-4, 5-6.
Don't come in too early, wait for the 4th beat and add it on the 5th. It's real picky, and you can
skip it if you like, but it'll sound more like what Reg is playing.
TIP: Note the lead-in chords in the verse trail so they're played at the end of the previous
line/word.
TIP: The bridge is a bit 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) but since we're already up the
fretboard just slide two frets up and play the (F) shape on the 6th fret (F6). Then down to (Gm)
on the 3rd fret, then (Cm) which we're calling (Bm3) for similar reasons - (Bm) on the 3rd fret.
Then back up to (F4) and (F6) but then come down to play a (G7) but add your pinky to the 2nd
string/3rd fret covering the <d> for the first "softly", remove the pinky for a regular (G7) for
the second "softly" and so forth. Yeah, I know.
INTRO: (C)(F); (C)(F); (C)(F); (C)(F), C
Blue jean (F) baby (C), L.A. (F) lady (C), seamstress for the (F) band. (F)(G)-(C)
Pretty (F) eyed (C), pirate (F) smile (C), you'll marry a music (F) man. (F)(G)-(F)
Baller (Em) ine (Em7) ah - (Am) ah, you must have (D) seen her (Dm7),
(Em) Dancing in the (Am) sand. (G7)(C)
And now she's (F) in me (C), always (F) with me (C),
Tiny dancer in my (G) hand (F)-(Em)-(Gadd). (C)(F), (C)(F), C
Jesus (F) freaks (C), out in the (F) street (C), handing tickets out for (F) God. (F)(G)-(C)
Turning (F) back (C), she just (F) laughs (C), the boulevard is not that (F) bad. (F)(G)-(F)
Piano (Em) ma ha (Am) an, he makes his (D) stand (Dm7), in the (Em) auditori (Am) um. (G7)(C)
Looking (F) on (C), she sings the (F) songs (C),

The words she knows, the tune she (G) hums (F)-(Em)-(Gadd). (C)(F), (C)(F)
(F4) But oh how it (F6) feels so real, (Gm) lying here, with (Bm3) no one near.
(F4) Only you, and you can (F6) hear me, when I say (G7addD) softly, (G7) slowly,
(F) "Hold me (C) closer tiny (Dm) dancer." (F) Count the (C) headlights on the (Am) high (G) way.
(F) Lay me (C) down in sheets of (Dm) linen. (F) You had a (C) busy day to (Am) day-(G)-ay.
(F)(F)(G)(G)(F)(F); (C)(F), (C)(F), (C)
Blue jean (F) baby (C), L.A. (F) lady (C), seamstress for the (F) band. (F)(G)-(C)
Pretty (F) eyed (C), pirate (F) smile (C), you'll marry a music (F) man. (F)(G)-(F)
Baller (Em) ine (Em7) ah - (Am) ah, you must have (D) seen her (Dm7),
(Em) Dancing in the (Am) sand. (G7)(C)
And now she's (F) in me (C), always (F) with me (C),
Tiny dancer in my (G) hand (F)-(Em)-(Gadd). (C)(F), (C)(F)
(F4) But oh how it (F6) feels so real, (Gm) lying here, with (Bm3) no one near.
(F4) Only you, and you can (F6) hear me, when I say (G7addD) softly, (G7) slowly,
(F) Lay me (C) down in sheets of (Dm) linen. (F) You had a (C) busy day to (Am) day-(G)-ay.(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)(MC0/5)
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)
A shoulder to (Em) cry-y on (G). Someone to (Em) lean on (G).

Someone to (Am) take, you a (D) way. (D)
(G) Someone to (Em) ta-alk to (G). And somewhere to (Em) wa-al-alk to- (G) -oo.
I need to re (Am) mind (Em) you, some (Am) way (D).
(Em) Whenever you (B7) need me (C), I'll make the (Bm3) ti-ime to (G) be with you. (G)
To (D) be with you. (D)
(G) A night to re (Em) member (G). The rain in Sep (Em) tem-em-ber-er- (G) -er.
I want to (Em) share it, wi-ith (Am) you (D).
(G) The month by the (Em) ocean (G). We swore our de (Em) vo-o-tion- (G) -ion,
Would make all our (Em) wishes, come (Am) true (D).
(Em) Whenever you (B7) need me (C), I'll make the (Bm3) ti-ime to (G) be with you. (G)
(C) I want you to know, (Bm3) I've never before, felt this (G) way.
No other words can (E) say. I was lost just yester (Am) day-yay.
Until I found (G) you- (D) -ou.
(G)(Am)(G), (G)(Em)(Em)(G), (G)(Am)-(G)-(Am)(Am)(D), (Em)

Whenever you (B7) need me (C), I'll make the (Bm3) ti-ime to (G) be with you. (G)
(G) A night to re (Em) member (G). The rain in Sep (Em) tem-em-ber-er- (G) -er.
I want to (Em) share it, wi-ith (Am) you (D).
(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)(MC1)
[Phil wrote this with two key changes which makes the bridge a little messy. Afterwards is another
version that keeps common chords but requires a capo change.]
TIP: For the intro it's covered 5th string <c>, strum (C); covered top string <g>, strum (G).
Repeat.
TIP: The “lilt” is 6 notes that can be easily plucked without any chords. The notes are: (all
bottom string) 3rd fret, 5th fret, 3rd fret, 1st fret, 1st string open; and then 3rd fret/2nd string.
If you don't want to pick the lilt then play a (G) after the (C).
INTRO: <c>(C),<g>(G); <c>(C),<g>(G)
To (C) know know know him is to (G) love love love him.
(Am) Just to see him smile, (F) makes my life worthwhile.
To (C) know know know him is to (G) love love love him and I (C) do (F)(C). <lilt>
(C) I'll be good to him, (G) I'll bring love to him.

(Am) Everyone says there'll come a day, when (F) I'll walk alongside of him.
(C) Yes just to know him, is to (G) love love love him and I (C) do-(F)-oo-(C)-oo.
(D/A3) Why, can't he (Bb) see, (F4) how, blind can he (Gadd) be?
(D/A3) Some, (C) day, he will (Fm) see (Bm3), that (D7) he, was meant, for (G) me. Ohh-oh-oh.
(C)(C)(G)(G)(Am)(Am)(F)(F)(C)(C)(G)(G)(C)(F)(C)(A)
To (D) know know know him is to (A) love love love him.
(Bm) Just to see him smile, (G) makes my life worthwhile.
To (D) know know know him is to (A) love love love him and I (D) do-(G)-oo-(D)-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)

TO KNOW HIM IS TO LOVE HIM
Emmylou Harris/Dolly Parton/Linda Ronstadt (Trio)
(Specter)
https://www.youtube.com/watch?v=XNBUuYOJg10 (Capo 1)(MC1)
TIP: For the bridge move the capo up 3 frets (from 1 to 4) and then back down 3 frets (from 4 to
1) for the instrumental and final verse. Thanks Phil.
TIP: For the intro it's covered 5th string <c>, strum (C); covered top string <g>, strum (G).
Repeat.
TIP: The “lilt” is 6 notes that can be easily plucked without any chords. The notes are: (all
bottom string) 3rd fret, 5th fret, 3rd fret, 1st fret, 1st string open; and then 3rd fret/2nd string.
If you don't want to pick the lilt then play a (G) after the (C).
INTRO: <c>(C),<g>(G); <c>(C),<g>(G)
To (C) know know know him is to (G) love, love, love him.
(Am) Just to see him smile, (F) makes my life worthwhile.
To (C) know know know him is to (G) love love love him and I (C) do (F)(C). <lilt>
(C) I'll be good to him, (G) I'll bring love to him.

(Am) Everyone says there'll come a day, when (F) I'll walk alongside of him.
(C) Yes just to know him, is to (G) love love love him and I (C) do-(F)-oo-(C)-oo.
<capo +3>
Why, can't he (G) see, (F) how, blind can he (E7) be?
(C) Some, (A7) day, he will (Dm) see (Am), that (B7) he, was meant, for (E) me. Ohh-oh-oh.
<capo -3>
(C)(C)(G)(G)(Am)(Am)(F)(F)(C)(C)(G)(G)(C)(F)(C)(A)
To (D) know know know him is to (A) love love love him.
(Bm) Just to see him smile, (G) makes my life worthwhile.
To (D) know know know him is to (A) love love love him and I (D) do-(G)-oo-(D)-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|
TOM DOOLEY – The Kingston Trio
(Land/Traditional)
https://www.youtube.com/watch?v=VhXuO4Gz3Wo (Capo 2)(MC0)
[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. (D)
Hang down your head Tom, Dooley. Hang down your head and (A7) cry.
Hang down your head Tom, Dooley. (A) Poor boy you're bound to (D) die.
I met her on the mountain. There I took her (A7) life.

Met her on the mountain, stabbed her with my (D) knife.
This time tomorrow, reckon where I'll (A7) be.

Hadn't a been for Grayson, I'd a been in Tennes (D) see.
This time tomorrow, reckon where I'll (A7) be.

Down in some lonesome valley, hangin' from a white oak (D) tree.
Hang down your head Tom, Dooley. Poor boy you're bound to (D) die.
(A) Poor boy you're bound to (D) die. (A7) Poor boy you're bound to (D) die.
(A) Poor boy you're bound to, (D) die.
(Traditional) (Folk) (The Kingston Trio) (Artist Index) - (Main Index) - (Song Index) (This Song)
TOM DOOLEY
(Land/Traditional)
(MC0)
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: <strum> (G) <or pick out the notes from the chorus>
(G) Hang down your head Tom, Dooley. Hang down your head and (D) cry.
Hang down your head Tom, (D7) Dooley. Poor boy, you're bound to (G) die.
I met her on the mountain. I swore she’d be (D) my wife.

But the gal re (D7) fused me, so I stabbed her with my (G) knife.
I left her by the roadside, I begged to be ex (D) cused.
I left her by the (D7) roadside, then I hid her clothes and (G) shoes.
Hang down your head Tom, Dooley. Hang down your head and (D) cry.
I dug the grave four feet long, and I dug it three feet (D) deep.
I rolled the cold clay (D7) over her, and tromped it with my (G) feet.
Trouble, oh it's trouble. A-rollin' through my (D) breast.
As long as I'm a (D7) livin', boys, they ain't a-gonna let me (G) rest.
In this world and one more, then reckon that’s where I'll (D) be.
If it wasn't for Sheriff (D7) Grayson, I'd be in Tenne (G) see.
I know they're gonna hang me, tomorrow I'll be (D) dead.
Though I never even (D7) harmed a hair, on poor little Laurie's (G) head.
Take down my old violin, and play it all you (D) please.
For at this time to (D7) morrow boys. It'll be of no use to (G) me.
This here time tomorrow, I know just where I'll (D) be.
In some lonesome (D7) valley, hanging from a white oak (G) tree.
(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)(MC3)
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) Wasted and wounded, and it (G) ain't what the moon did.
I (Am7) got what I (D7) paid for (G) now (G)-(D7)-(G).
(C) See you tomorrow. Hey (G) Frank, can I borrow, a (A7) couple of (Asus2) bucks from (D7) you.
To, go, (G) waltzing Ma (D7) thilda. (G) Waltzing Ma (C) thilda.
(G) You'll, go waltzing Ma (Am7) thilda with (D7) me.
I'm an (C) innocent victim, of a (G) blinded alley,

And I'm (Am7) tired of all these (D7) soldiers (G) here (G)-(D7)-(G).
(C) No one speaks English, and (G) everything's broken,
And my (A7) strength, is (Asus2) soaking a (D7) way.
To, go, (G) waltzing Ma (D7) thilda. (G) Waltzing Ma (C) thilda.
(G) You'll go waltzing Ma (Am7) thilda with (D7) me.
Now the (C) dogs they are barking, and the (G) taxi cab's parking.
A (Am) lot they can (D7) do for (G) me-ee (G)-(D7)-(G).
I (C) begged you to stab me. You (G) tore my shirt open,
And I'm (Am) down on my (Asus2) knees to (D7) night.
Old (C) bushmills I staggered. You (G) buried the dagger.
Your (Am) silhouette window (D) light.
To go, (G) waltzing Ma (D7) thilda. (G) Waltzing Ma (C) thilda.
Now I've (C) lost my St. Christopher, (G) now that I kissed her,
And the (Am7) one-arm, (D) bandit (G) knows (G)-(D7)-(G).
And the (C) maverick Chinaman, with the (G) cold-blooded sigh,
And the (A7) girls, down, (Asus2) by, the, (D7) striptease shows go.
(G) Waltzing Ma (D7) thilda. (G) Waltzing Ma (C) thilda.
No I (C) don't want your sympathy, (G) fugitives say,

That the (Am) streets aren't for (D) dreaming (G) now (G)-(D7)-(G).
(C) Manslaughter dragnets, and the (G) ghost that sell memories,
Want a (A7) piece of the action, (D7) anyhow go.
And you can (C) ask any sailor, and the (G) keys from the jailor,
And the (Am7) old men in (D7) wheelchairs (G) know (G)-(D7)-(G).
That Ma (C) tilda's the defendant. She (G) killed about a hundred,
And she (Am) follows wherever, (D7) you may go.
And it's a (C) battered old suitcase, in a (G) hotel someplace,

And a (Am7) wound that will (D7) never (G) heal (G)-(D7)-(G).
(C) No prima donnas, the (G) perfume is on,
An old (Am) shirt that is (D7) stained with (G) blood (Am) and (G) whiskey.
And (C) goodnight to the street-sweepers, the night (G) watchmen, flame-keepers,
And (Am) goodnight, Ma (D7) tilda, (G) too.
(G)(C)(G) (Am) Goodnight, Ma (D7) tilda, (G) too (G)|G|.
TOMMY CAN YOU HEAR ME - The Who
(Townshend)
https://www.youtube.com/watch?v=bXTe3K7BllM (Capo 0)(MC0)
TIP: You'll play the (F) and then the (Fsus) so keep the (F) formation and just tuck your pinky
under the ring finger on the 3rd string/3rd fret and then release to get back to the (F). For the
(Em)-(Esus) sort of the same thing. Hold the (Em) form and add your pinky to the 3rd string/2nd
fret.
INTRO: (G)(C)-(G); (G)(C)-(G)
Tommy can you (C) hear (G) me (C)-(G)? Can you feel me (C) near (G) you (C)-(G)?
(F) Tommy can you (Fsus) see (F) me? (Em) Can I help to (Esus) cheer (Em) you.
Oooh (D) Tommy. Tommy. Tommy. Tommy.
(G) Tommy can you (C) hear (G) me (C)-(G)? Can you feel me (C) near (G) you (C)-(G)?
Oooh (D) Tommy. Tommy. Tommy. Tommy.
(G) Tommy can you (C) hear (G) me (C)-(G)? Can you feel me (C) near (G) you (C)-(G)?
Oooh (D) Tommy. Tommy. Tommy. Tommy. Tommy. Tommy. Tommy. Tommy.
|D| Tommy? |D| Tommy? |D| 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)(MC2)
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. For the (Gm) you can just play
the bottom 3 strings.
INTRO (Z,S&H): (D)(D7)(G)(Gm)(D)(A7)(D)|A7|
INTRO (SM/BP): (D)(D4)-(D), (D)(D4)-(D)
(NC) I (D) know, you be (D7) lo-o-ong to (G) so-o-ome body (Gm) new-ew-ew.
I (D) know you be (D7) long, to (G) some, body (Gm) new.
But to (D) night, you be (A7) lo-ong, to (D) me. (D)
But to (D) night, you be (A7) lo-ong, to (D) me. (D)
Although, we're a (D7) par-ar-art, you're (G) pa-ar-art of my (Gm) hear-ar-art.

Although we're a (D7) part, you're (G) part, of my (Gm) heart.
But to (D) night, you be (A7) lo-ong, to (D) me. (D7)
But to (D) night, you be (A7) lo-ong, to (D) me. (D7)
Wait (Gm) down, by the stream, how sweet, it will seem.
Wait (Gm) down, by the stream, how sweet, it will seem.
Once (D) more just to (B7) dream, in the (E7) moonlight |A| my honey I (D) know,
Once (D) more just to (B7) dream, in the (E7) moonlight |A|
With the (D7) daw-aw-awn, that (G) you-ou-ou, will be (Gm) go-on-one.
I (D) know with the (D7) dawn, that (G) you, will be (Gm) gone.
But to (D) night, you be (A7) lo-ong, to (D) me. (D7) <SM/BP> Just to little (A) old (D) me.
But to (D) night, you be (A7) lo-ong, to (D) me. (D7) <SM/BP> Just to little (A) old (D) me.
<SM/BP coronet>: (D)(D7)(G)(Gm)(D)(A)(D) <end song>
Wait (Gm) down (wait down) along the stream. How very very sweet it will seem.
Wait (Gm) down (wait down) along the stream. How very very sweet it will seem.
Once (D) more just to (B7) dream, in the (E7) silvery moonlight |A| my honey I (D) know
Once (D) more just to (B7) dream, in the (E7) silvery moonlight |A|
With the (D7) daw-aw-awn, that (G) you-ou-ou, will be (Gm) go-on-one.
I (D) know with the (D7) dawn, that (G) you, will be (Gm) gone.
But to (D) night, you be (A7) lo-ong, to (D) me just to little (A) old (D) me (D)|D|.
But to (D) night, you be (A7) lo-ong, to (D) me just to little (A) old (D) me (D)|D|.
(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)(MC1)
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 change from (Am) to (Em) the words “fee (Em) ling” and “mor (Em) ning” and “lose (Em)
control” are very quick. So you’ll hold on to the (Am) for the first syllable but then just sort
of snap your middle and ring fingers up one string to finish off the word and continue.
TIP: The (CaddG) - pinky added to bottom string/3rd fret - can be skipped if you want.
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)(F), (G)(C)(F)-(C); (C)-(C) x 8
Here I lie, in a lost and lonely part of town.

(CaddG) Held in time, in a world of tears I slowly (C) drown.
(D) Goin' home, I just can't make it (E) all alone.
I really should be (D) holding you, holding you, (F) loving you, loving youuuuuuuuuuuuuuuu.
(Am) Tragedy. When the fee (Em) ling's gone and you can't go on it's (Am) tragedy.
When the mor (Em) ning cries and you don't know why it's (Dm7) hard to bear.
With (G) no one to love you you're (Am) goin' nowhere (F)-(E).
(Am) Tragedy. When you lose (Em) control and you got no soul it's (Am) tragedy.
With (G) no one beside you you're (Am) goin' nowhere (F)-(E).
(Am)(Am)(Dm)-(C)-(Em)-(Am), (Em), (Em)(F), (G)(C)(F)-(C); (C)-(C) x 8
Night and day, there's a burning down inside of me.

Oh-oh. (CaddG) Burning love, with a yearning that won't let me (C) be.
(D) Down I go, and I just can't take it (E) all alone.
I really should be (D) holding you, holding you, (F) loving you, loving youuuuuuuuuuuuuuuu.
With (G) no one beside you you're (Am) goin' nowhere (F)-(E). Ahhhh.
(Am)(Am)(Dm)-(C)-(Em)-(Am), (E); (Am)(Am)(Dsus4)-(Dm)-(Dsus2)(E)(E)(Am)-(F)(F)(F)
With (G) no one beside you you're (Am) goin' nowhere (F)-(E). Ahhhhhhhh.
With (G) no one beside you you're (Am) goin' nowhere (F)-(E). Ahhhhhhhh.
With (G) no one to love you you're (Am) goin' nowhere (F)-(E). |Am|
(Bee Gees) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRAIN IN THE DISTANCE – Don Henley
(Henley/Lynch)
https://www.youtube.com/watch?v=N-1poC9IGSc (Capo 2)(MC0)
TIP: For the intro, pick the open 4th string <d>, downstroke/upstroke the (D) and repeat and total
of sixteen times. Between versus it’s eight times.
INTRO: 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D)

4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D)
When I was a young boy, roamin' on the railroad tracks.

Put copper pennies on the rails, locomotive come and squash 'em flat.
We'd (Bm) run to fetch 'em back, we'd (D) run to fetch 'em back.
4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D)
Summer nights at Gramma's house, cozy in my bed.

Dreams of far off places, other lives to be led.
(Bm) Swirling in my head, (D) swirling in my head (D)(D).
And there's a (G) train in the distance (G)(G). There's a whistle a calling (G)(G).
There's a train in the distance (G)(G). Silver moonlight falling. |G| |A| |G| |A|
4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D), 4-(D)
Now I am a grown man, turning in my sleep.

Debts and obligations, family ties run deep.
(Bm) Promises to keep, (D) promises to keep (D)(D).
But there's a (G) train in the distance (G)(G). There's a whistle calling (G)(G).
There's a train in the distance (G)(G). There's a (Bm) light rain falling (Bm)(Bm).
<Slide> (D)(D)(A)(A)(D)(D)(G)(G)(D)(D)(A)(A)(D)(D)(D)(D)
You can (Am7) ride that train, to the (D) far end of creation. (Am7)
Away from everything and (D) everyone you know.
(Bm) Youuu better make friends with your (D) angels and your demons.
They (E) will be riding with you, where (G) ever you may go. (D)
Yeah but you have to (A) go |A|.
There's a (G) train in the distance (G)(G). There's a whistle calling (G)(G).
There's a train in the distance (G)(G). Autumn (Bm) leaves are fallin’. (Bm)(Bm)(Bm) . . . |Bm|
(Don Henley) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRAVELIN' MAN - Rick Nelson
(Fuller)
https://www.youtube.com/watch?v=k0vFdCdNQP4 (Capo 2)(MC1)
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: Bo bo bo (C) bo ooh-ooh (Am) ooh (Am); (C) ooh-ooh (Am) ooh
I'm a (C) travelin' man, (Am) made a lotta stops, (C) all over the (G) world (G7).
And in (Am) every port I (F) own the heart of at (C) least one (G) lovely (C) girl (G)-(G).
I've a (C) pretty senorita, (Am) waitin' for me, (C) down in old Mexi (G) co (G7).
If you're (Am) ever in Alaska (F) stop and see my (C) cute little (G) Eski (C) mo.
Oh my (F) sweet fraulien down in (Em) Berlin town, (F) makes my heart start to (C) yearn.
And my (F) China doll down in (Em) old Hong Kong, (D7) waits for my re (G) turn.
Pretty (C) Polynesian baby, (Am) over the sea, (C) I remember the (G) night (G7),
When we (Am) walked in the sands of (F) Waikiki and I (C) held you (G) oh so (C) tight (G)-(G).
(C)(Am)(C)(Am)(C)(F)(C)-(G)-(C)
Oh my (F) sweet fraulien down in (Em) Berlin town, (F) makes my heart start to (C) yearn.
And my (F) China doll down in (Em) old Hong Kong, (D7) waits for my re (G) turn.
Pretty (C) Polynesian baby, (Am) over the sea, (C) I remember the (G) night (G7),
When we (Am) walked in the sands of (F) Waikiki and I (C) held you (G) oh so (C) tight.
Road I'm a (Am) travelin' man. (C) Yes I'm a (Am) travelin' man.
(C) Yes I'm a (Am) travelin' man. (C) Road I'm a (Am) travelin' man.
(C) Mmmm (Am) hmmmm (Am) |C|-|C| |G|-|G| |C|.
(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)(MC1)
(Gadd) Two days past eighteen he was waitin' for the bus in his Army greens
Sat (C) down in a booth, in a cafe there gave his (G) order to a girl with a bow in her hair.
(Gadd) He's a little shy so she give him a smile
And he said would you mind sittin' down for a while and (C) talking to me,
I'm feeling a little (G) low?
She said I'm (F) off in an hour and (C) I know where we can (G) go. (G)(G)
So they (Gadd) went down and they sat on the (G) pier
He said I (Gadd) bet you got a boyfriend but I don't care I (C) got no one,
To send a letter (G) to. Would you (F) mind if I sent (C) one back here to (G) you?
(Em) How-ow-ow I (D) cried (C) never gonna hold the hand of another guy-(G)-y.
Too (Gadd) young for him they told her (D) waitin' for the love of a travelin' soldier.
(Em) Our love will never (D) end (C) waitin' for the soldier to come back aga-(G)-in.
(Gadd) Nevermore to be a (G) lone, when the (D) letter said a soldier's comin' (G) ho-ome.
So the (Gadd) letters came from an Army camp in California then Vietnam
And he (C) told her of his heart, it might be love and (G) all of the things he was so scared of.
He (Gadd) said when it's getting kinda rough over (G) here,
I (Gadd) think of that day sittin' down at the pier
And I (C) close my eyes, and see your pretty (G) smile.
Don't (F) worry but I won't be (C) able to write for a (G) while.
(Em) I-i-I cried (C) never gonna hold the hand of another guy-(G)-y.
(Em) Our love will never (D) end (C) waitin' for the soldier to come back aga-(G)-in.
(Gadd) Nevermore to be a (G) lone, when the (D) letter said, a soldier's coming (G) home (G).
(Gadd)(Gadd)(C)(C)(G); (G)(G)(C)(C)(F)(C)(G)(G)
One (Gadd) Friday night at a football (G) game,

The (Gadd) Lord's prayer said and the Anthem sang a (C) man said folks,
Would you bow your heads for a (G) list of local, Vietnam dead (D)?
(Gadd) Crying all alone under the (G) stands was a (Gadd) piccolo player in the marching band and
(C) one name read and nobody really (G) cared (G),
But a (F) pretty little girl, (C) with a bow in (G) her hair.
(Em) Our love will never (D) end (C) waitin' for the soldier to, come back aga-(G)-in.
(Gadd) Nevermore to be a (G) lone, when the (D) letter said, a soldier's comin'
(Em) Our love will never (D) end (C) waitin' for the soldier to, come back aga-(G)-in.
(Gadd) Nevermore to be a (G) lone, when the (D) letter said a soldier's coming (G) hoooo-ome (G).
(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)
TRAVELLER’S PRAYER – Slim Dusty
(Boucher)
https://www.youtube.com/watch?v=YvOyLY4hhLQ (Capo 0)(MC0)
TIP: For the opening series of (G)s aim for the coverd 6th string and then the open 4th string.
INTRO: 6-(G) 4-(G) 6-(G) 4-(G), 6-(G) 4-(G) 6-(G)
May the road, rise up to (C) meet you.

May the (G) wind, be always at your (D) back.
May the (G) sun, shine warm up (C) on your face.
And the (G) rain, fall (D) soft, upon your (G) tracks.
And un (D) til, until we meet a (G) ga-a-ain,

May (D) God, hold you (C) safely in the palm of His (G) hand |G|.
May the (G) hills, come down to (C) greet you.

May the (G) rocks, give shelter in the (D) storm.
May the (G) dust, be soft be (C) neath your feet.
And the (G) dark, give (D) rest, before the (G) dawn.

May (D) God, hold you (C) safely in the palm of His (G) hand.
In the palm of His (C) ha-and, in the palm of his (Em) ha-and.
In the palm of his (D) hand, (C) safely in the palm of his (G) hand.
<Instrumental> (G)(C)(G)(D),(G)(C)(G)-(D)-(G)|G|
May your (G) life, have many (C) memories.
May your (G) death, be sweet and full of (D) peace.
May your (G) hope, last an e (C) ternity,
And your (G) joy, carry (D) on and never (G) cease.


In the palm of his (D) hand, (C) safely in the palm of his (G) hand.
In the palm of his (D) hand, (C) safely in the palm of his (G) hand. (G)-|D|-|G|
(Slim Dusty) (Spiritual) (Artist Index) - (Main Index) - (Song Index) (This Song)
TRIANGLE
Gordon Lightfoot
https://www.youtube.com/watch?v=LV5dTPjYF6I (Capo 2)(MC2)
TIP: If you’ve got a 12-string, now’s the time.
TIP: For the (Dsus4) just add your pinky to the bottom string of the 3rd fret. And notice
some lines end with a (D)(Dsus4) twinkle with following (D) on the next line.
INTRO: (D)(Dsus4)(D)(D)
Oh the gist of it all is the first day of fall is the day when my ship will set (G) sail.
And the (A7) best of all friends will say good-bye again
There's still (A) time for one last glass of (D) ale (Dsus4).
We'll (D) sail away proudly our backs to the wall on a southwind and lots of good (G) cheer.
And (A7) when we've looked over the white cliffs of Dover
We'll (A) be in Bahama next (D) year (Dsus4)(D)(D).
From Bermuda on down the Triangle around us will teach us a lesson or (G) two.
There's (A7) many a mate who unevenyly stated
That the (A) course he had charted was (D) true (Dsus4).
"Don't (D) worry 'bout me" he said "Go down below give a certified sailor a (G) turn,
Just (A7) sip on your rum or I'll give you my thumb
And say (A) son you got something t' (D) learn (Dsus4)."
It's a (D) mighty hard (A) way to come (D) down, and a mighty fine way to be (A) fou-ound.
So (D) hand me my (G) grip, from an (D) old sailing (G) ship,
Put the (D) kiss of the (G) dawn on my (A) lips.
With some luck tonight I might (A7) have her at my finger (D) tips (Dsus4)(D)(D).
Oh the best of all things is the first day of spring when when the water runs heavy and (G) fast.
The (A7) mermaids have all gone to Davy Jones' Ball
And I (A) swear their first trip was their (D) last (Dsus4).
They (D) had so much fun they don't wish to return to the beach where they lay all day (G) long.
They'd (A7) rather stay under and boy it's no wonder
When (A) all the rock lobsters roll (D) on (Dsus4).
It's a (D) mighty fine (A) way to be (D) found (Dsus4)(D)(D).
Triangle Triangle oh see my ship dangle we're bound for Bahama my (G) friend.
Like (A7) lovers like danger like babies like mangers
But (A) that's where my storybook (D) ends (Dsus4).
Like (D) soldiers of fortune believers in God and all kings without crosses to (G) bear.
All (A7) sweepers and cleaners with no misdemeanors
Should (A) try the triangle out (D) there (Dsus4).
Put the (D) kiss of the (G) dawn on my (A) lips.
With some luck tonight I might (A7) have her at my finger (D) tips (Dsus4)(D)(D).
When she took her last tumble the sea bottom rumbled there was no confusion or (G) blame.
The (A7) captain said "Men we must answer again
To the (A) sea so ye may not com (D) plain (Dsus4)."
And (D) as they lay sleeping down there in the deep with their faces turned up to the (G) stars,
A (A7) tuna fish turned to a mermaid in bed and said (A) "There goes another sand (D) bar (Dsus4)."
Put the (D) kiss of the (G) dawn on my (A) lips (A)(A).
With some luck tonight I might (A7) have her at my finger (D) tips (Dsus4)(D)|D|.
TUBE SNAKE BOOGIE – ZZ Top
(Beard/Hill/Gibbons)
https://www.youtube.com/watch?v=CAxccK-KgBI (Capo 2)(MC2)
TIP: In the intro for the (G7addD) form regular (G7) and add your pinky to the 2nd string/3rd fret.
You can play a regular (G) if you’d rather.
INTRO: <drums> (D)(D)(D)(D),(G7addD)(G7addD)(G7addD)(G7addD),(D)(D)(D)(D)(A)(G)(D)(A)
(D) I got a gal she lives cross town,

She's the one that really gets down when she (G) boogie (G).
She do the (D) tube snake boogie (D).
Well now (A) boogie little baby, (G) boogie-woogie all night (D) long (D).
I got a gal she lives on the block.

She kinda funky with her pink and black socks she likes to (G) boogie (G).
Well now (A) boogie-woogie baby, (G) boogie-woogie all night (D) long (D).
(D)(D)(D)(D)(G)(G)(D)(D)(A)(G)(D)(D), (D)(D)(D)(D)(G)(G)(D)(D)(A)(G)(D)(D)(A)
(D) I got a gal she lives on the hill,

She won't do it but her sister will when she (G) boogie (G).
Well now (A) boogie little baby, (G) boogie-woogie all night (D) long (D).
Blow your top blow your top blow your top.
(D)(D)(D)(D)(G)(G)(D)(D)(A)(G)(D)(D), (D)(D)(D)(D)(G)(G)(D)(D)(A)(G)(D)(D)
(D)(D)(D)(D)(G)(G)(D)(D)(A)(G)(D)|D|
(ZZ Top) (Artist Index) - (Main Index) - (Song Index) (This Song)
TULSA TIME - Don Williams
(Flowers)
https://www.youtube.com/watch?v=DlnE2vNqpTw (Capo 2)(MC4)
TIP: For the intro, hit strings 5-4-3 on the (D) and (C/G), then for the (A) use your index
finger, or your thumb over the top, and pick the top string/2nd fret, the open top string, and (D).
INTRO: (D)(C/G), (G)(A), T2-T0 (D)(D)
I left Oklahoma, drivin' in a Pontiac, just about to lose my (A) mind.

I was (A7) goin' to Arizona maybe on to California, where the (A) people all live so (D) fine.
My baby said I'd's crazy, my momma called me lazy, I was goin' to show 'em all this (A) time.
'Cause you know I ain't no fool an' I don't need no more schoolin'.
I was born to just walk the (D) line.
Livin' on Tulsa time. Livin' on Tulsa (A) time.

Well you (A7) knowww I've been through it, when I set my watch back to it.
(A) Livin' on Tulsa (D) time. (D)(D)(D)(A), (A7)(A7)(A)(D)
Well there I was in Hollywood, wishin' I was doin' good, talkin' on the telephone (A) line.
But they don't (A7) need me in the movies and nobody sings my songs.
(A) Guess I'm just a wastin' (D) time. Well then I got to thinkin', man I'm really sinkin',
And I really had a flash this (A) time. I had no business leavin' and nobody would be grievin'
If I went on back to Tulsa (D) time.

Gonna (A7) set my watch back to cuz you know I've been through it,
(A) Livin' on Tulsa (D) time.
Gonna (A7) set my watch back to cuz you know I've been through it,
(A) Livin' on Tulsa (D) 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)(MC0)
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| Driftin' along with the tumblin', tumble (D) weeds. (D)
I'm a rovin' cowboy, (G) ridin' all day (D) long.

(A7) Tum,bleweeds around me, (D) sing their lonely (D7) song.
(G) Nights underneath the prairie (D) moon. (E7) I'll ride alone and sing a (A) tune.
(G) Seeee them tumblin' down. (F#) Pledg,ing their love to the ground.
(G) Lone,ly but free I'll be (D) fou-ound, (A) drifting along with the tumblin' tumble (D) weeds.
(G) Carrres of the past are behind. (F#) No,where to go but I'll find,
(G) Juuust where the trail will (D) wi-ind. (A) Drifting along with the tumblin' tumble (D) weeds.
I (A) know, when (A7) night has (D) gone. That a (E) new, day's, born at (A) dawn.
(G) I'll keep rolling along. (F#) Deeeeep in my heart is a song.
(G) Heeeeere on the range I be (D) long,
<slowly> (A) Driftin' along with the tumblin', tumble weee-(D)-eeds |D|.
(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)(MC0/3)
TIP: So Dwight is playing an electric and not an acoustic so the opening bend of the top string is
a little tough to pull off. You can play either an <f#> on the top string/2nd fret and then just
lift off for the <e>, followed by the open 4th string <d>. Or start with the 4th string/4th fret
and slide down to the 2nd fret and then the <d>.
TIP: There's a distinct strumming cadence which you'll pick up immediately. But don't play too
fast.
INTRO: <f#>-<e> <f#>-<e>, <d>; (D)
Well I'm back again, for a (A) nother night,

Of trying to break free from this sadness that I can't lay to (D) rest.
This old honky tonk, sure does (A) feel like (A7) home,
And the music with the laughter seem to soothe my loneli (D) ness.
Turn it (G) on, turn it up, turn me loose, from her memory, (D) driving me lonely, crazy and blue.
It (G) helps me forget her so the, louder the better.
Hey (D) mister turn it on, turn it (A) up, turn me (D) loose (D).
(D)(D),(D)(A)(A7),(A7)(A)(A7)(A)(D); (D)(D),(D)(A)(A7),(A7)(A)(A7)(A)(D)(D)
If a tear should fall. If I should (A) whisper her (A7) name,

To some stranger I'm holdin' while we're dancin' to an old Buck Owens (D) song.
I know she won't mind. She won't (A) even (A7) know.
She'll be dancing with a memory cryin' teardrops of her (D) own.
Hey (D) mister turn it on, turn it (A) up, turn me (D) loose.
Hey (D) mister turn it on, turn it (A) up, turn me (D) loose.
Hey mister turn it on, turn it (A) up, turn me (D) loose. (D)|D|
(Dwight Yoakum) (Artist Index) - (Main Index) - (Song Index) (This Song)
TURN THE PAGE
Bob Seger
https://www.youtube.com/watch?v=GONmFCkCGCc (Capo 0)(MC0)
TIP: The intro/outro emulates the saxophone that begins and ends the song. It looks like a mess
but just go through it a couple of times and it's not so bad. The first line are the individual
notes and the second line is how to play them from within chords. In either case the sax note <a>
begins the song. Using chords, here's how to play it:
Part 1: Start with a single strum of |Dsus4|. Now lift off the pinky and - now holding the
(D) form - pick strings 1, 2, and 3 and strum (Em) once.
Part 2: Still holding the (Em) add your pinky to and pick the 3rd string/3rd fret <a>, and
the open 2nd string below it . Then reform the (Dsus4) and repeat the same sequence from above
ending in the strum of (Em).
Part 3: The last part is a walk-down of picked strings starting at the 3rd string/3rd fret
<a>, open 3rd string <g>, 4th string/4th fret <f#>, open 4th string, and open 5th string <a> and on
this <a> you begin the song with "On" followed by the (Em) on "long." The same sequence, but
without the middle part 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 (notes): <g>-<f#>,<d>-<a>-; <a>-, <g>-<f#>-<d>-<a>-, <a>-<g>-<f#>-<d>-<a>
INTRO (chords): |D4|-<lift>-1, 2-3-|Em|, 3/3-2; |D4|-<lift>-1, 2-3-|Em|, 3/3-3-4/4-4-5
On a (Em) long and lonesome highway, east of Omaha,

You can (D) listen to the engine moanin' out his one note song.
You can (Am) think about the woman, or the girl you knew the night before (Em).
But your thoughts will soon be wandering, the way they always do,
When you're (D) ridin' sixteen hours and there's nothin' much to do.
And you (Am) don't feel much like ridin'. You just wish the trip was through (Em)(Em).
Say here I (D) am, on the (Em) road again. There I (D) am, up on the (Em) stage.
Here I (D) go, playin' (Em) star again. There I (C) go (D), turn the (Em) pa-aaaa-jah (Em)(Em).
Well you walk into a restaurant, strung out from the road,
And you (D) feel the eyes upon you, as you're shakin' off the cold.
You pre (Am) tend it doesn't bother you, but you just want to explode (Em).
Most times you can't hear 'em talk, other times you can.
All the (D) same old cliches, "Is that a woman or a man?"
And you (Am) always seem outnumbered, you don't dare make a stand (Em)(Em).
Here I (D) am, on the (Em) road again. There I (D) am, up on the (Em) stage.
Here I (D) go, playin' (Em) star again. There I (C) go (D), turn the (Em) pa-aaaa-jah (Em)(Em).
Out there in the spotlight you're a million miles away.

(D) Every ounce of energy, you try to give away
As the (Am) sweat pours out your body like the music that you play (Em)(Em).
|Em| Later in the evening as you |Em| lie awake in bed,

With the |D| echoes from the amplifiers |D| ringin' in your head.
You |Am| smoke the day's last cigarette, re |Am| memberin' what she said |E|,|E|.
Now here I (D) am, on the (Em) road again. There I (D) am, up on the (Em) stage.
Here I (D) go, playin' (A) star again. There I (C) go (D), turn the (Em) page.
Now here I (D) am, on the (Em) road again.

There I (D) am, up onnnnn the (Em) stage here I (D) go, playin' (A) star again.
There I (C) go, (C)(D) there IIIIIII (Em) go.
OUTRO (notes): <g>-<f#>,<d>-<a>-; <g>-<f#>,<d>-<a>--<a>-<g>-<f#>-<d>-<a>-
OUTRO (chords): |D4|-<lift>-1, 2-3-(Em); |D4|-<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)(MC2)
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) To every (C) thing (F) turn (Em) turn (G) turn.
There is a (C) season (F) turn (Em) turn (G) turn.
And (F) a time (Em) to every (Dm) purpose (G), under (C) heaven (G)(C).
A time to be (G) born, a time to (C) die, a time to (G) plant, a time to (C) reap.
A time to (G) kill, a time to (C) heal.
A time to (F) lau (Em) augh a (F) ti- (G) -ime to (C) weep (G)|C|.
(NC) To every (C) thing (F) turn (Em) turn (G) turn.
A time to build (G) up, a time to break (C) down, a time to (G) dance, a time to (C) mourn (C).
(G) A time to cast away (C) stones,
A time to (F) ga- (Em) -ather (Dm) sto- (G) -ones to (C) gether (G)|C|.
A time of (G) love, a time of (C) hate, a time of (G) war, a time of (C) peace (C).
(G) A time you may em (C) brace,
A time to (F) re (Em) frain (Dm) fro- (G) -om em (C) bracing (G)|C|.
(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|
A time to (G) gain, a time to (C) lose, a time to (G) rend, a time to (C) sew.
A time for (G) love, a time for (C) hate.
A time for (F) pe- (Em) -eace I (Dm) swear it's (G) not too (C) late (G)|C|.
(C)-(G)-(Em)-(Dm)|C|-|G|; (C)-(G)-(Em)-(Dm)|C|-|G|; (C)-(G)-(Em)-(Dm)|C|-|G|;

(C)-(G)-(Em)-(Dm)|C|-|G|; (C)-(G)-(Em)-(Dm)|C|-|G|; (C)-(G)-(Em)-(Dm)|C|-|G|;
(C)-(G)-(Em)-(Dm)|C|-|G|; (C)-(G)-(Em)-(Dm)|C|-|G|; |C|
TUTTI FRUTTI - Little Richard
(LaBostrie/Penniman)
https://www.youtube.com/watch?v=F13JNjpNW6c (Capo 3)(MC3)
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
Tutti (D) Frutti, oh Rudy. Tutti Frutti, oh Rudy.

Tutti (G) Frutti, oh Rudy. Tutti (D) Frutti, oh Rudy.
Tutti (A) Frutti, oh (G) Rudy. A |D| whop-bop-a-loom-om-a-lop-bop-bom.
I got a (D) girl, named Sue. She knows just what to do.
I got a (G) girl, named Sue. She (D) knows just what to do.
She |D| rock to the east, she |D| rock to the west.
But |D| she's the gal that |D| I love the best.
(D) Tutti Frutti, oh Rudy. Tutti Frutti, oh Rudy - oooh.

Tutti (A) Frutti, oh (G)Rudy. A |D| whop-bop-a-loom-om-a-lop-bop-bom.
I got a (D) gal, named Daisy. She almost drive me crazy.

Got a (G) gal named Daisy. She (D) almost drive me crazy.
She |D| knows how to love me, |D| yes indeed. |D| Boy you don't know she do to me.

Tutti (A) Frutti, oh (G) Rudy. A |D| whop-bop-a-loom-om owwwwww.
(D)(D), (G7)(D); (A),(G)(D)

Tutti (D) Frutti, oh Rudy. Tutti Frutti, oh Rudy - ohhh.
Tutti (A) Frutti, oh (G) Rudy. A |D| whop-bop-a-loom-om-a-lop-bop-bom.
Got a (D) gal, named Daisy. She almost drive me crazy.

Got a (G) gal, named Daisy. She (D) almost drive me crazy.
She |D| knows how to love me |D| yes indeed. |D| Boy you don't know she do to me.

Tutti (A) Frutti, oh (G) Rudy. A |D| whop-bop-a-loom-om-a-lop-bap-|D|-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)(MC0)
TIP: It helps if you can play the complete barre on the (F#) and (F) in the intro to cover the
bass <f> note. Okay if you can't, just sounds better since it's a bass oriented riff.
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) Waiting (C) for the break of (Dm) day (F)(E7)(Am).

Searching (C) for something to (Dm) say (F)(E7)(Am).
Flashing (C) lights against the (Dm) sky-y (E)(E7)(Am).
Giving (C) up I close my (Dm) eyes (F)(E)(F).
Sitting cross-legged on the (C) floorrrrrrrr (G).
Twenty-five or six to (F) four-or.
(Am)(C)(D)(F)(E), (Am)(F),(Am)(F)
(Am) Staring (C) blindly into (Dm) space (F)(E7)(Am).

Getting (C) up to splash my (Dm) face (F)(E7)(Am).
Wanting (C) just to stay a (Dm) wa-ake (E)(E7)(Am).
Wond'ring (C) how much I can (Dm) take (F)(E7)(F).
Should I try to do some (C) morrrre (G).
Twenty-five or six to (F) 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)

(Am) Feeling (C) like I ought to (Dm) sleep (F)(E7)(Am).
Spinning (C) room is sinking (Dm) deep (F)(E7)(Am).
Searching (C) for something to (Dm) say-ay (E)(E7)(Am).
Waiting (C) for the break of (Dm) day (F)(E7)(F).
Twenty-five or six to (C) fourrrr (G).
Twenty-five or six to (F) 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)(MC1)
TIP: The intro starts with three notes and three chords. Those three notes are open 5th string
(5O), 5th string/2nd fret (5/2), and 5th string/4th fret (5/4).
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>. Then comes (A6+) which is just (A)
with your pinky extended to the bottom string/3rd fret (or play a barre).
TIP: In the bridge and the final chord of the song is something I made up called (AA5). Play a
barre on the second fret and reach over with your pinky to play the bottom string/5th fret. Easy.
Also notice in the outro there's a series of (A) chords endit with an |A|-|Asus2|-|A|-|D|. Just
lift off the bottom finger of the (A) and then replace it.
TIP: Remember to shake your head on the "woooh." "Bueller . . . Bueller . . . Bueller . . . "
INTRO: 5O - 5/2 - 5/4 - (D)(G)(A); (A)(A)(D)(G)(A)
Well shake it up (D) baby now. (G) Shake it up (A) baby.

(A7) Twist and (D) shout. (G) Twist and (A) shout.
(A7) C'mon c'mon c'mon c'mon (D) baby now. (G) Come on (A) baby.
(A7) Come on and work it on (D) out. (G) Work it on (A) out. Wooooh.
(A7) Well work it on (D) ouuu-ut. (G) Work it on (A) out.

(A7) You know you look so (D) good. (G) Look so (A) good.
(A7) You know you got (D) me goin' now. (G) Got me (A) goin'.
(A7) Just like I knew you (D) would. Like I (G) knew you (A) would. Woooooh.
Well shake it up (D) baby now. (G) Shake it up (A) baby.
(A7) Twist and (D) shout. (G) Twist and (A) shout.
(A7) Come on and work it on (D) out. (G) Work it on (A) out. Wooooh.
(A7) You know you twist you little (D) girl. (G) Twist little (A) girl.
(A7) You know you twist so (D) fine. (G) Twist so (A) fine.
(A7) Come on and twist a little (D) closer now. (G) Twist a little (A) closer.
(A7) And let me know that you're (D) mine. Let me (G) know you're (A) mine. Ooooh.
(D)(G)(A), |G|-|G|-(D)(G)(A), |G|-|G|(D)(G)(A), |G|-|G|-(D)(G)(A), |G|-|G|
<base> (A) Ahhh, <mid> (A) Ahhh, <treble> (A) Ahhh, (A6+) Ahhh, (AA5) Whoa-ahhhh
(D) Baby now (G) shake it up (A) baby. (A7) Twist and (D) shout. (G) Twist and (A) shout.
(A7) Come on and work it on (D) out. (G) Work it on (A) out. Woooh.
(A7) You know you twist you little (D) girl. (G) Twist little (A) girl.
(A7) You know you twist so (D) fine. (G) Twist so (A) fine.
(A7) Come on and twist a little (D) closer now. (G) Twist a little (A) closer.
(A7) And let me know that you're (D) mine. Let me (G) know you're (A) mine. Woooh.
(A7) Well shake it shake it shake it (D) baby now. (G) Shake it up (A) baby.
<bass> (A) Ahhh, <mid> (A) ahhh, <treble> (A) ahhh, |A|-|A|-|A|-|A|-|Asus2|-|A|-|D|-|AA5|
TWO OF US – The Beatles
(Lennon/McCartney)
https://www.youtube.com/watch?v=cLQox8e9688 (Capo 5)(MC2)
TIP: The intro is a tad much as Paul plays notes and John comes in on top with a strum of (D). So
try forming (D6) - which is just (D) without the ring finger - and picking the strings indicated
and then strum (D) before beginning the verse. And it repeats between verses but you’ll already be
at |D| from the previous verse so just lift off the ring finger.
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 <Form (D6)>: 3-1-3-1, 1-3-2-3-1-3-1, 1-3-2-3 (D) (D)
Two of us riding nowhere, spending someones, (G) hard, (D) earned, (Em) pay (Em).
(D) You and me Sunday driving, not arriving, (G) on, (D) our, (Em) way, back, |D| home (D)(A).
We're on our way |D| home (D)(A). We're on our way |D| home (D)(A). We're (G) going |D| home.
<Form (D6)>: 3-1-3-1, 1-3-2-3-1-3-1, 1-3-2-3 (D) (D)
Two of us sending postcards, writing letters, (G) on, (D) my, (Em) wall (Em).
(D) You and me burning matches, lifting latches, (G) on, (D) our, (Em) way, back, |D| home (D)(A).
<drums> |D| x 8 . . . .
(F) You and I have (Am) memories,

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

(Dm7) Longer than the (Dm) road that stretches (Em) out ahead (A).
(D) Two of us wearing raincoats, standing solo, (G) in, (D) the, (Em) sun (Em).
(D) You and me chasing paper, getting nowhere, (G) on, (D) our, (Em) way, back, |D| home (D)(A).
<Form (D6)>: 3-1-3-1, 1-3-2-3-1-3-1, 1-3-2-3 (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)(MC1)
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)
We always wanted a (G7) big two story (C) house,

Back when we lived in that (G7) little two room (C) shack.
We wanted fame and fortune, and we'd live life the (C7) way the rich folks (F) do.
We (C) knew some how we'd make it, to (G7) gether me and (C) you.
With dreams and hopes of things to come we (G7) worked and never (C) stopped.
Not much time for you and me we (G7) had to reach the (C) top.
We bought that big two story house and soon became the (C7) envy of the (F) town.
With (C) all our work behind us, we'd (G7) finally settle |C| down |C||C|(C).
Now we live (yes we live) in a, (F) two story (G) house,

Whoa what (C) splendor, but there's (F) no love a (G) bout.
(C) I've got my (G7) story and (C) I've got mine (F) too.
How sad it (C) is, (F) we now (C) live, in a, (G7) two story (C) house.
<capo +1> (C)
The house is filled with rare antiques there's (G7) marble on the (C) floor.
Beauty all around us like we've (G7) never seen be (C) fore.
There's chandeliers in every room imported silks and (C7) satin all a (F) bout.
We (C) filled the house with everything but (G7) somehow left love |C| out |C||C|(C).
Now we live (yes we live) in a, (F) two story (G) house,
Whoa what (C) splendor, but there's (F) no love a (G) bout.
(C) I've got my (G7) story and (C) I've got mine (F) too.
How sad it (C) is, (F) we now live, in a, (G7) two story (C) house.
(F) How sad it (C) is, we now live, in a, (G7) two story (C) house (F)(C).
UNCHAINED MELODY - The Righteous Brothers
(North/Zaret)
https://www.youtube.com/watch?v=qiiyq2xrSI0 (Capo 0)(MC3)
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) Whoa, my-(Am)-y love, my (F) darlin'.

I've (G) hungered for, your (C) touch, a (Am) long, lonely (G) time (G).
And (C) time, go-(Am)-oes by, so (F) slowly, and (G) time, can do so (C) much.
Are-(Am)-are you, still (G) mi-i-ine (G)?
I (C) need your love (G), (Am) I-I-I-I (Em) need your love.
(F) God, speed your love, (G) to-oo-oo-oo (C) me-ee. (C7)
(F) Lonely rivers (G) flow, to the (F) sea, to the (D#) sea.
(F) To the open (G) arms, of the (C) sea-ea yeah.
(F) Lonely rivers (G) sigh, wait for (F) me, wait for (D#) me.
(F) I'll be coming (G) home, wait for (C) me-ee-ee.
(C) Whoa, my-(Am)-y love, my (F) darling.

I've (G) hungered, hungered for your-or (C) touch, a (Am) long, lonely (G) time time (G).
And (C) ti-i-ime go-(Am)-oes by, so (F) slowly, and (G) time, can do, so (C) much.
Are-are (Am) you, still (G) mi-i-ine (G)?
I-I-I (C) ne-eed your love (G), (Am) I-I-I-I, I need your (Em) love.
God (F) speed your love (G), to-oo-oo-oo (C) me-ee-ee. (Am) (F) (C)
(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)(MC0)
TIP: Unfortunately, you can't play that nifty opening bass line in standard tuning since the
fourth note <d> is "below" the top string so you you have to play it in the middle register but
it's super easy to play. 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
Oh when the (G) sun beats down and burns the tar up on the (D) roof.
And your (D7) shoes get so hot you wish your tired (D) feet were fire (G) proof (G7).
Under the (C) boardwalk, down by the (G) sea-ee, ee-ee-yeah.

On a blanket with my baby (D) is where I'll (G) be.
Under the (Em) boardwalk, out of the sun.

Under the (D) boardwalk, we'll be having some fun.
Under the (Em) boardwalk, people walking above.
Under the (D) boardwalk, we'll be falling in love under the (Em) boardwalk, boardwalk.
From the (G) park you hear the happy sound of the carou (D) sel.
Mmmmm you can (D7) almost taste the hot dogs and (D) French fries they (G) sell.
Under the (C) boardwalk, down by the (G) sea-ee, ee-ee-yeah.

(C)(G), (G)(D), (D)(D7)(G)
Ohhhh under the (C) boardwalk, down by the (G) sea-ee, ee-ee-yeah.

THEME FROM UNDERDOG - Robert Ragaini
(Harris/Covington/Biggars/Stover)
https://www.youtube.com/watch?v=tEVsRLhet2k (Capo 1)(MC1)
TIP: Either (B7) or (B) works.
INTRO: There's no need to fear, Underdog is here.
(E) Oooh, ah ooh, ah ooh, ah ooh, ah (B7) ooh, ah ooh

When (E) criminals in this world appear and (B7) break the laws that they should fear
And frighten all who see or hear the (E) cry goes up both far and near for (B7) Underdog!
(F) Underdog! (E) Underdog! (F) Underdog!
(E) Speed of lightning, (G) roar of thunder, (E) fighting all who (G) rob or plunder,
(B7) Underdog. (B7) (E) Underdog!
(E) Oooh, ah ooh, ah ooh, ah ooh, ah (B7) ooh, ah ooh

When (E) in this world the headlines read of (B7) those whose hearts are filled with greed
Who rob and steal from those who need
To (E) right this wrong with blinding speed goes (B7) Underdog!
(F) Underdog! (E) Underdog! (F) Underdog!
(E) Speed of lightning, (G) roar of thunder, (E) fighting all who (G) rob or plunder,
(B7) Underdog. (B7) (E) 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)(MC0)
TIP: A regular (A) can be played in place of the (A7).
TIP: It's not terribly important but the final verse begins with a subtle little three note walk-
up. The notes are 5th string open <a>, 5th string/2nd fret , and 4th string open <d> with the
<d> on the word "You'll" to start the final verse.
INTRO: (D)(D)(A)(D)
A long time ago when the (Em) earth was still green,
There was (A7) more kinds of animals, than (D) you've ever seen.
They'd run around free, while the (G) earth was being born.
But the (D) loveliest of them all was the (A) uni (D) corn.
There was green alligators and (Em) long-necked geese,

Some (A) humpty-backed camels and some (D) chimpanzees.
Some cats and rats and elephants, but (G) sure as you're born,
The (D) loveliest of all was the (A) uni (D) corn. (D)(D)(A)(D)
Now God seen some sinnin', and it (Em) gave Him pain.
And He (A7) says "Stand back, I'm going to (D) make it rain."
He says "Hey brother Noah, I'll (G) tell you what to do.
(D) Build me a (A) floating (D) zoo."
And take some of them green alligators and (Em) long-necked geese.
Some cats and rats and elephants, but (G) sure as you're born,
(D) Don't you forget my (A) uni (D) corn." (D)(D)(A)(D)
Old Noah was there, to (Em) answer the call.
He (A7) finished up making the Ark, just as the (D) rain started fallin'.
He marched in the animals (G) two by two,
And he (D) called out as (A) they went (D) through.
“Hey Lord, I got yer green alligators and (Em) long-necked geese.
Some cats and rats and elephants but (G) Lord I'm so forlorned,
I (D) just can't see no (A) uni (D) corn." (D)(D)(A)(D)
Then Noah looked out, through the (Em) driving rain.

Them (A7) unicorns was hiding, (D) playin' silly games.
Kickin' and splashin', while the (G) rain was (Em) pouring.
(D) Oh them silly, (A) uni (D) corns.
There was green alligators and (Em) long-necked geese.

Noah cried "Close the door, 'cause the (G) rain is fallin',
And we (D) just can't wait, for (A) no uni (D) corn." (D)(D)(A)(D)
The Ark started movin', it (Em) drifted with the tides.

Them (A7) Unicorns looked up, from the (D) rocks and they cried.
And the waters came down and sorta (G) floated them away,
<spoken> And that's why you've never see a unicorn, to this very day.
5O-5/2 4O You'll see (D) green alligators and (Em) long-necked geese.
Some (A7) humpty-backed camels and some (D) chimpanzees.
Some cats and rats and elephants but (G) sure as you're born,
You're (D) never gonna see no (A) u- ni- (D) -corn. (D)(D)(A)(D)|D|
(The Irish Rovers) (Kid Friendly) (Artist Index) (Folk) - (Main Index) - (Song Index) (This Song)
UP ON THE ROOF – The Drifters
(King/Coffin)
https://www.youtube.com/watch?v=puM1k-S86nE (Capo 1)(MC0/5)
[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)
When (G) this old world starts (Em) getting me down,

And (C) people are just too (Am) much for (D) me to (G) face (G).
I climb way up to the (Em) top of the stairs,
And (C) all my cares just (Am) drift right (D) into (G) spaaaaaace.
(C) On the roof it's peaceful as can be.

And (G) there the world be (Em) low can't bother (C) me |D|.
(NC) Let me tell you now when (G) I come home feelin' (Em) tired and beat,
I (C) go up where the (Am) air is (D) fresh and (G) sweet.
I get away from the (Em) hustling crowd,
And (C) all that rat-race (Am) noise, down (D) in the (G) streeeeeet.
(C) On the roof the only place I-I know,

Where (G) you just have to (Em) wish to make it (C) so let's (D) go up on the (G) roof.
(G)(Em)(C)(Am)(D)(G)
At (C) night the stars put on a show for freeeee,
And (G) darling you can (Em) share it all with (C) meeee |D|.
(NC) I keep a-tellin' you (G) right smack dab in the (Em) middle of town,
I've (C) found a para (D) dise, that's trouble (G) proof.
And if this world starts (Em) getting you down,
There's (C) room enough for two, (D) up on the (G) rooooof.
Up on the (Em) roof. Oh come on (G) baby. Oh come on (Em) on it.
Ev-erything is (G) alright. I'm up on the roof. |G|
UP ON THE ROOF – James Taylor
(King/Coffin)
https://www.youtube.com/watch?v=tDqS1d7tE8o (Capo 3)(MC2)
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)
When (D) this old world, starts a (Bm) getting me (A) down,
And (Em) people are just too (A) much, for me to (D) face (A)(D)(G)(A).
I'll (D) climb way up, to the (Bm) top of the (A) stair,
And (Em) all my cares just (A) drift, right into (D) spa-a-ace (A)(D)(G)(A).
(G) On the roof, it's peaceful as can be (D)(G)(A).

And (Bm) there the world below don't bother (Em7) me, no (A) no.
So when (D) I come home, feelin' (Bm) tired and (A) beat,
I'll (Em) go up where the (A) air, is fresh and (D) sweet (A)(D)(G)(A).
I'll (D) get away from the (Bm) hustling (A) crowd
And (Em) all that rat-race (A) noise, down in the (D) street (A)(D)|G|-|A|(D)-(D).
(G) On the roof, that's the only, place I know,

(Bm) Look at the city baby, where (D) you just have to (Bm) wish, to make it (Em7) so,
Let's (A) go-oh up on the (D) roof (A)(D)(Bm)(Bm)(Em7)(D)(G)(A), (D)(A)(D)|G|-|A|(D)-(D)
At (G) night the stars, they (Bm) put on a (G) show for free (D)(G)(A),
And (D) darlin', you can (Bm) share it all with (Em7) me, just what I (A) said.
'Keep on tellin' you that (D) right smack dab, in the (Bm) middle of (A) town,
I (Em) found a (G) para (A) dise, that's trouble (D) proof (A)(D)(G)(A).
And if (D) this old world, starts a (Bm) getting you (A) down,
There's (Em) room enough for (A) two, up on the (D) ro-oof (A)(D)(D)(A)(D).
Up on the roo-(Em7)-oof (D)(G)(A) up on the (D) rooof (Bm)(Em)(D)(G)(A)(D)

Everything is all (Bm) right, anything is all (Em) right (Em7)(G)(A).
Come (D) on (A)(D)(Bm)(Bm)(Em)(D)(G)(A).
Stop what you're doin' tonight and (Bm) climb up the stairs be and (Em) see me (D)(G)(A).
We got the (D) stars above and the (Bm) city lights below,
Ohh (Em) ohh (A) oh (G) oh (A) on every (D) roof now (A)(D)(Bm)(Bm)(Em7),(D),(G),(A),(D).
(James Taylor) (Artist Index) - (Main Index) - (Song Index) (This Song)
UPTIGHT (EVERTHING’S ALRIGHT) – Stevie Wonder
(Cosby/Wonder/Moy)
https://www.youtube.com/watch?v=rXXmeYQRifc (Capo 4)(MC5)
TIP: The horn emulation in the intro and instrumental bridge can be a little tricky but doesn’t
have to be. In the intro play the first four bars of (A) – the first two buried under the snare
and bass riff – by strumming the top three strings. Then there’s three sets of (A)(Dsus4)(D). The
movement from (A) to (Dsus4) can be a little cumbersome but just focus on hitting the (D) and then
adding your pinky to the bottom string 3rd fret. Then pull off the pinky and repeat the sequence.
At the very end move up to play (E7full) which is just a full (D) with your pinky covering the <d>
at the 2nd string/3rd fret. You can also just play a (D) if you’d rather (or an (Asus4) which is (A)
with your pinky covering 2nd string/3rd fret).
TIP: The chord progression varies between (A) and (D) and (A) and (E) depending on whether Stevie
sings the latter part of the verse/chorus with a down-inflection (D) or up-inflection (E). Simple.
INTRO: (A)(A)(A)(A), (A)(Dsus4)(D), (A)(Dsus4)(D), (A)(Dsus4)(D), (A)(E7full)
(A) Baby, (D) everything is alright, (A) uptight, (D) out of sight.
(A) Baby, (D) everything is alright, (A) uptight, (D) out of sight.
I'm a (A) poor man's son from across the, (D) railroad tracks.
The (A) only shirt I own is (E) hangin' on my back.
But (A) I'm the envy of (D) every single guy,
Since (A) I'm the apple of (E) my girl's eye.
When we (A) go out steppin’ on the (D) town for a while,

My (A) money's low and my, (E) suit's out of style.
But it's (A) all right, if my (D) clothes aren't new,
(A) Out of sight, because my (D) heart is true.
She says (A) baby, (D) everything is alright, (A) uptight, (E) out of sight.
(A) Baby, (D) everything is alright, (A) uptight, (E) clean out of sight.
(A)(Dsus4)(D), (A)(Dsus4)(D), (A)(Dsus4)(D), (A)(E7full)
She's a (A) pearl of a girl I guess that's (D) what you might say.
I (A) guess her folks brought her (E) up that way.
The right (A) side of the tracks she was (D) born and raised,
In a (A) great big old house full of (E) butlers and maids.
She says (A) no one is (D) better than I,

(A) I know I'm just an (D) average guy.
No (A) football hero or (D) smooth Don Juan,
Got (A) empty pockets you see I'm a (E) poor man's son.
Can't (A) give her the things that, (D) money can buy,
But I'll (A) never never never make my (D) baby cry.
And it's (A) all right, what (D) I can't do,
(A) Out of sight, because my (D) heart is true.
She says (A) baby, (D) everything is alright, (A) uptight, (E) clean out of sight.
(A) Baby, (D) everything is alright, (A) uptight, (E) clean out of sight.
(A) Baby, (D) everything is alright, (A) uptight, ha ha ha (E) ha-ha yeah
(A) Baby, (D) everything is alright, (A) uptight, (E) wayyyyy out of sight
(A) Baby, (D) everything is alright, (A) uptight, (E) cleeean out of sight. |A|
(Stevie Wonder) (Oldies) (Artist Index) - (Main Index) - (Song Index) (This Song)
VINCENT
Don McLean
https://www.youtube.com/watch?v=oxHnRfhDmrk (Capo 0)(MC0)
TIP: There are a couple of chords only played once. The (Bm3) is played in the bridge on the word
"starry". 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 . (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.
Starry starry (G) night (C)(G). Paint your palette (Am) blue and grey.
Look out on a summer's (C) day, with (D7) eyes that know the darkness in my (G) soul.
Shadows on the hills (C)(G). Sketch the trees and the (Am) daffodils.
Catch the breeze and the winter (C) chills, in (D7) colors on the snowy linen (G) land (C)(G).
Now I under (Am) stand (D7), what you tried to (G) say to me.
(Em) How you suffered for your (Am) sanity (D7), and how you tried to set them |Em| free.
(NC) They would not listen they did (Am) not know how (Am7). Per (D7) haps they'll listen (G) now.
Starry starry night (C)(G). Flaming flowers that (Am) brightly blaze.
Swirling clouds in violet (C) haze, re (D7) flect in Vincent's eyes of China (G) blue.
Colors changing hue (C)(G), morning fields of (Am) amber grain.
Weathered faces lined in (C) pain, are (D7) soothed beneath the artist's loving (G) hand.
Now I under (Am) stand (D7), what you tried to (G) say to me.
And (Em) how you suffered for your (Am) sanity (D7), and how you tried to set them |Em| free.
(NC) They would not listen they did (Am) not know how (Am7). Per (D7) haps they'll listen (G) now.
For they could not (Am) love you (D7). But still your love was (G) true (Em).
And when no |Am| hope was left in sight on that |Bm3| starry starry night,
You (G) took your life as (E7) lovers often (E) do. But I (Am) could have told you Vincent,
This (C) world was never meant for one as (D7) beautiful as (G) you (C)(G).
Starry starry (G) night (C)(G). Portraits hung in (Am) empty halls.
Frameless heads on nameless (C) walls, with (D7) eyes that watch the world and can't for (G) get.
Like the strangers that you've met (C), the (G) ragged men in the (Am) ragged clothes.
The silver thorn a bloody (C) rose, lie (D7) crushed and broken on the virgin (G) snow.
Now I think I (Am) know (D7), what you tried to (G) say to me.
And (Em) how you suffered for your (Am) sanity (D7), and how you tried to set them |Em| free.
They would not listen they're not (Am) listening (Asus2) still (Am).
Per (D7) haps they never (Gadd) willllll. (Gadd) <d>-<e>-<g>-<a>-, <g>
(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)(MC0)
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: <spoken> Y'all still want me to come with ya? (G)(G)(G)(G)
Bright light city gonna set my soul, gonna set my soul on fire.
There’s a whole lot of money that's ready to burn, so get those stakes up higher.
There's a (Em) thousand pretty women, awaitin' out there.
They're all livin', devil may care. And I'm just the devil with a love to spare.
(C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. |G| Hey now. (G) 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.
Oh there's (Em) 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) Viva Las (G) Vegas, (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas, (C) Viva Las (G) Vegas.
(C) Viva Las Vegas with your, neon flashin' and your, one arm bandits crashin' (G) all those hopes
down the drain. (C) Viva Las Vegas turnin', day into nighttime turnin', night into daytime if you
(A) see it once, you'll never come home a (D) gain (D).
(G)(Gadd)(G)(B13),(G)(Gadd)(G)(G),(B13)(B13)(B13)(B13),(G)(G)(D)
I'm gonna (G) 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,
Let me shoot a seven with a every shot. (C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas.
(C) Viva Las (G) Vegas. (C) Viva Las (G) Vegas. (C) Viva, (D) Viva |D| 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)(MC0)
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) Won't you take me (G) back to school? I (C) need to learn the golden rule.
(Em) Won't you lay it (G) on the line? I (C) need to hear it, just one more time.
(G) Oh-oh won't you (Am) tell me again? (G) Oh-oh can you (F) feel it?
(G) Oh-oh won't you (Am) tell me again to (Em) night (C)?
(Em) Each and every (G) heart it seems, is (C) bounded by, a world of dreams.
(Em) Each and every (G) rising sun, is (C) greeted by, a lonely one.
(G) Oh-oh won't you (Am) tell me again to (Em) night (C)? To (Em) night (C).
Cuz (D) out on the (Am) ocean of (D) life my love,

There's (Bm) so many (E7) storms, we must (Am) rise above.
Can you (F) hear the spirit calling, as it's (A) carried across the waves?
You're (Dm) already (C) falling it's (G) calling you (F) back to face the music,
And the (A) song that is coming through.
You're (Dm) already (C) falling, the (Bb) one that is (Am) calling, is (D) you.
(Em) Make a promise, (G) take a vow, and (C) trust your feelings, it's easy now.
(Em) Understand, the (G) voice within, and (C) feel the change, already beginning.
(G) Oh-h won't you (Am) tell me again? (G) Oh-oh can you (F) feel it?
(Em)(G)(C)(C)(Em)(G)(C)(C)
(G) Oh-oh won't you (Am) tell me again, to (Em) night (C)? To (Em) night.
And (D) how many (Am) words have I (D) got to say?
And (Bm) how many (E7) times, will it (Am) be this way?
With your (F) arms around the future, and your (A) back up against the past.
You're (Dm) already (C) falling it's (G) calling you (F) off to face the music,
And the (A) song that is coming through.
You're (Dm) already (C) falling, the (Bb) one that is (Am) calling is (D) you.
(Em) Each and every (G) heart it seemed, is (C) bounded by a world of dreams.
(Em) And each and every (G) rising sun, is (C) greeted by, a lonely lonely (G) one.
Won't you (Am) tell me again? (G) Oh, can you (F) feel it?
(G) Oh won't you (Am) tell me again? (G) Oh can you (F) feel it?
(G) Oh-oh won't you (Am) tell me again to (Em) night (C)? To (G) night (Am).
(G) Oh-oh can you (F) feel it? (G) Oh-oh won't you (Am) tell me again to (Em) night (C)?
(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)(MC0)
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 intro begins with a three note walk-up picked quickly on the 5th string at the 2nd, 3rd,
and 4th frets before the first (G).
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: 5/2-5/3-5/4-(G)(G)(C),(D)(D7)(G)
From the great Atlantic ocean to the wide Pacific (C) shore.
To the (D) green ol' flowin' mountain by the south built by the (G) shore.
Hear the mighty rush of the engine hear the lonesome hobo's (C) call.
We're (D) riding through to Dixie on the (D7) Wabash Cannon (G) ball.
Our Eastern states are dandy so the people always (C) say.
From (D) New York to St. Louis and Chicago by the (G) way.
From the hills of Minnesota where the rippling waters (C) fall,
No (D) changes can be taken on the (D7) Wabash Cannon (G) ball.
Well listen to the jingle the rumble and the (C) roar,
As she (D) glides along the woodland by the hills and by the (G) shore.
Hear the mighty rush of the engine hear that lonesome hobo's (C) call.
We're (D) travelin' though the jungle on the (D7) Wabash Cannon (G) ball.
(G)(G)(C)(D)(D7)(G), (G)(G)(C)(D)(D7)(G)
She rolled into Birmingham one cold December (C) day,

As she (D) pulled into the station you could hear all the people (G) say.
There's a gal out there from Texas, she's long and she's (C) tall.
(D) She's a combination on the (D7) Wabash Cannon (G) ball.
We're (D) travelin' though to Dixie on the (D7) Wabash Cannon (G) ball.
(G)(G)(C)(D)(D7)(G), (G)(G)(C)(D)(D7)(G)
Well here's to Daddy Claxton may his name forever (C) stand.
And (D) always be remembered throughout this great (G) land.
Is earthly race is over and we'll bury him to the (C) drawl.
And we'll (D) carry him up to Heaven on the (D7) Wabash Cannon (G) ball.
We're (D) travelin' though to Dixie on the (D7) Wabash Cannon (G) ball.
We're (D) ridin' though the jungle on the (D7) Wabash Cannon (G) ball.
(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)(MC4)
TIP: This is a gorgeous song but the pacing can be difficult to follow as everything tends to run
together. I've spaced the pacing out to keep the strum pattern intact 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 (D)(Dsus)(D) flourish that's easy to play. From the (D) just add your pinky
to the bottom string/3rd fret while at the same time lifting off your index finger. Like a rocking
motion. You can also play a (D4) if it's easier.
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 3rd fret while lifting off the pinky –
or reposition the middle and ring fingers in sort of a scrunched up (Am) shape - and avoid playing
the 4th string, then release and 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) It's comin' on, the end of (Em) August.

A (G) nother summer's (Gadd) promise, almost (Em) gone.
And though I (Gadd) heard some wise man (C) say,
That every (G) dog will have his (Em) day.
He never (F) mentioned that these dog days, get so (Am) long (D).
I don't know (G) when I realized, the dream was (Em) over.
Well there was (G) no particular hour, no given (Em) day.
You know it (Gadd) didn't go (G) down in (C) flame,
There was no (G) final scene, no frozen (Em) frame.
(F) I just watched it slowly fade a (Am) way (D)(Dsus)-(D).
(Em) I've been waiting in the (G) weeds,

Waiting for my (Am) time to commmme a (C) round, again (D) and
(Em) Hope is floating on the (G) breeze,
Carrying my (Am) soul high uuuuup a (C) bove the ground and
(Em) I've been keepin' to my (G) self,
Knowin' that the (Am) seasonnnnns are (C) slowly chang-(D)-ing
(Em) You-and-though-you're with somebody (G) else,
He'll never love you-(Am)-like-I do-ooh-(C)-ooh. (C)|C| <pause> (D).
(G) I've been biding time, with the crows and (Em) sparrows.
While (G) peacocks prance and strut, upon the (Em) stage.
If finding (Gadd) love is just a (C) dance, (G) proximity and (Em) chance,
You will ex (F) cuse me if I skip the masquer (Am) aaaaade (D)(Dsus)-(D).
And (Em) I've been waiting in the (G) weeds,

Waiting for the (Am) dussst to settttle (C) down along (D) the
(Em) Back roads running through the (G) fields,
Lying on the (Am) outskirrts of this (C) lonesome town
And I-i (Em) magine sunlight in your (G) hair, you're at the county (Am) fair,
You're holding (C) hands and laugh-(D)-ing and (Em) now the ferris wheel has (G) stopped.
You're swinging on the (Bm) top, suspended (F#) there with him
And (G) he's that darling of the (D) chic, the flavor of the (Bm) week, is (F#) mel-tiiinng
(G) Down your pretty summer (D) dress, baby what a (F#) mess,
You'rrre maaa-king (Bm)(Daug)(D)(Daug); (Bm)(Daug)(D)(Daug)
(Bm) I've been stumbling through some (Daug) dark places.

(D) Now I'm following the (Daug) plow.
(Bm) I know I've fallen out of (Daug) your good graces (Am).
It's alright (D) now.
Waiting for the (Am) summer raaaaain to (C) fall upon (D) the
(Em) Wild birds scattering the (G) seeds.
Answering the (Am) call-ing of the (C) tide's eter (D) nal (Em) tune,
The phases of the (G) moon, the chambers of the (Am) heart, the egg and (C) dart,
Of small (D) grey (Em) spiders spinning in the (G) dark,
In spite of all the (Am) tiimes the webbb is (C) torn apart (D) and

Waiting for the (Am) time-to-commme a (C) round again (D) and
(Em) Hope is floating on the (G) breeze, carrying my (Am) soul high up
A (C) bove the ground (D) and (Em) I've been keeping to my (G) self,
Knowing that the (Am) seasonnnnns are (C) slowly chang-(D)-ing
(Em) You-and-though-you're with somebody (G) else,
He'll never love you-(Am)-like-I do-ooh-(C)-ooh.
(Em)(G)(Am)(C); (Em)(G)(Am)(C);
(Em)(G)(Am) ah ah (C) ah; (Em)(G)(Am) ah ah (C) ah;
(Em)(G)(Am) ah ah (C) ah; (Em)(G)(Am) ah ah (C) 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)(MC0)
TIP: The intro starts with muted strums and then a rapid double strum of |G|.
TIP: For the (C) to (Am7) just hold the (C) and lift off the ring finger.
TIP: It’s picky but in the chorus the (Em) comes on the word “on” so hold “dance” for an extra
beat and then slide quickly to the (Em).
INTRO: <muted strum x 4> |G|-|G|-(G)(G)(C)(G)(C)(G)(C)(G)(C)
Well the sun is sinking and (Am7) I'm still dragging this (G) bag of bones (C).
Like a homesick beggar with a (Am7) rockstar swagger and a (G) heart of stoooone.
My (Em) feet are on the riverbed, my (C) hands are far from innocent.
Have (D) mer, cy, on, my (D7) souuuuul.
(G) Where did (C) I go wrong (C)? Well I (G) lost my (D) head (D).
I want to (C) dannce (Em) on fire, and be (D) born a (C) gain.
I can hear the voice that's waking up the (G) dead. (C)(G)(C)
Yeah well everything changes and the (Am7) color start fading and the (G) stars go dim (G).
And the (C) clock keeps tickin’ while the (Am7) rattlesnake's shakin’ as he (G) sheds his skiiiin.
Kill your (Em) heart, and never take a chance, lock it (C) up inside a picket fence.
The ill (D) u, sions, of, con (D7) trollll.
(G) Where did (C) I go wrong (C)? Well I (G) lost my (D) head (D).
I want to (C) dannce (Em) on fire, and be (D) born a (C) gain.
I can hear the voice that's wakin’ up the (G) dead. (C)(G)(C)
Oh and a (Em) wooo – ooh- (G) –ooh (G). And a (Em) wooo – ooh- (G) –ooh (G).
(Em) Wooo – ooh- (C) ooh (C).
Where did |C| I go wrong? <gently> Well I (G) lost my (D) head.
I want to (C) dance (Em) on fire, and be (C) born again.
(G) Where did (C) I go wrong (C)? Ho I (G) lost my (D) head (D).
I want to (C) dannce (Em) on fire, and be (C) born again.
I can hear the voice that's wakin’ up the (G) dead. (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)(MC0)
INTRO: (D)(A)(Bm)(A)
And when I (E) see the sign that (G), points "One (Bm) Way".
(Dm) The lot we (A) used to pass by (D), every (B7) day.
(A) Just walk a (F#m) way Renee, you (D) won't see me follow (A) you back (E) home.
(A) The empty (F#m) sidewalks on my, (D) block are not the (Bm4) same.
(D) You're not to (A) blame.
From deep in (E) side the tears that (G), I'm forced to (Bm) cry.
(Dm) From deep in (A) side the pain I (D), I chose to (B7) hide.
(A) Now as the (F#m) rain beats down, up (D) on my weary (Bm4) eyes. (D) For me it (A) cries.
<flute solo> (F#m)(A)(B7), (D)(A),(D)(B7)
Now (A) as the (F#m) rain beats down, up (D) on my weary (Bm4) eyes. (D) For me it (A) cries.
Your name and (E) mine inside a (G) heart, upon a (D) wall.
(Dm) Still finds a (A) way to haunt me, (D) though they're so (B7) small.
(A) The empty (F#m) sidewalks on my, (D) block are not the (Bm4) same.
(D) You're not to (A) 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)(MC2)
TIP: Okay, there's a wee bit of silliness going on here with the intros.
INTRO 1: Uses major chords. The first part is the organ which is played subdued. Then the
familiar doo-doo but takes place but it's still played somewhat restrained. The second time around
the drums kick it and you play it with much more energy.
INTRO 2 adds some pinky to get the twinkly treble <a> note in there. It starts the same.
Then, after the first (D)(G) you play the (A) as a four-string barre with your index finger across
the 2nd fret and your pinky extended to the bottom string of the 5th fret for strums of (AA5).
Still holding the barre, lift off the pinky for a strum of |A6|, back down for another for a strum
of |AA5|, lift off for another strum of |A6| and onto the (G) and (A). Pinky down, pinky up, pinky
down, pinky up, (G), (A). Next comes the same thing except this time you start with a (D) with
your pinky going to the same note on the bottom string (DaddA). Then you repeat the (AA5) sequence
again and finish with major chords.
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 (easy): <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), woo-hoo (D)(G) woo-hoo, (A)(G),(A)
INTRO (fancy): <subdued> |D|,|A|-|G|, |D|-|A|, |A|-|G|, |D|-|A|;

<restrained> (D)(G); (AA5),|A6|-|AA5|-|A6|-(G),(A); (DaddA),|D|-|DaddA|-|D|-(G);
(AA5),|A6|-|AA5|-|A6|-(G),(A);
<yeah baby> (D)(G),(A)(G),(A); (D), woo-hoo (D)(G) woo-hoo, (A)(G),(A)
(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) He got the action he got the motion, (D) oh yeah the boy can play.
(G) Dedication, devotion |D| turning all the night time |D| into the day.
Do-the-(D)-song-about-the sweet lovin' (A) woman. He do the (D) song about the knife (G).
He do the (D) walk, (A) do the walk of (G) life. (A) Yeah he do the walk of (D) life.
(D)(G),(A) woo-hoo, (G),(A)
(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) He got the action he got the motion, (D) yeah the boy can play.
(G) Dedication, devotion they |D| turning all the night time |D| into the day.
The (D) song about a sweet lovin' (A) woman. They do the (D) song about the knife (G).
Yeah they do the (D) walk, (A) do the walk of (G) life. (A) Hey you do the walk of (D) life.
(D)(G),(A)(G),(A); (D)(G) woo-hoo, (A)(G),(A)
(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) He got the action, he got the motion, (D) oh yeah the boy can play.
(G) Dedication, devotion he |D| turning all the night time |D| into the day.
And (D) after all the violence and (A) double talk,
There's just a (D) song in all the trouble and the (G) strife.
You do the (D) walk, (A) hey you do the walk of (G) life, (A) mmm you do the walk of (D) life.
(D)(G) Woo-hoo, (A)(G),(A)
(D)(G),(A)(G),(A)
Woo-hoo-(D)-hoo (G),(A)(G),(A)
Woo-hoo-(D)-hoo, (G) Woo-hoo, (A)(G),(A)
Woo-hoo-(D)-hoo (G) yeah you do the walk on (A) life, (G),(A); |D|
(Dire Straits) (Artist Index) - (Main Index) - (Song Index) (This Song)
WALTZING MATILDA (In D) – Slim Dusty
(Paterson/MacPherson/Cowan)
https://www.youtube.com/watch?v=CwvazMc5EfE (Capo 0)(MC0)
(Also in (G) afterwards, capo’d at the 7th fret but avoids the (Bm).)
TIP: For all my Aussie mates. For those of us unlucky to be Australian, “Waltzing Matilda”
roughly means travelling about on foot with your belongings slung over your shoulder in a bed roll
or “swag”. So a “swagman” is a wanderer who answers to no one, a “billy” is a can for boiling tea,
a “jumbuck” is a sheep, and a “billabong” is an oasis or watering hole. Considered the unofficial
anthem of Australia and emblematic of Aussie pride.
TIP: For the intro, pick the open 5th and 4th strings before strumming the first (D) and then
alternate picking the open 5th and 4th strings in conjunction with strumming the (D).
INTRO: 5-4-(D)(D), <fiddle> (D)(D)(A)-(D), (D)(D)(D)
Once a jolly (A) swagman (D) camped by a (G) billabong,

(D) Under the shade of a (A) coolibah tree.
He (D) sang as he (A) watched and (D) waited 'til his (G) billy boiled:
(D) “You'll come a-Waltzing Ma (A) tilda with (D) me."
Waltzing Matilda (G) Waltzing Matilda,

(D) You'll come a- (Bm) Waltzing Ma (Em) tilda with (A) me.
He (D) sang as he (A) watched and (D) waited 'til his (G) billy boiled:
(D) “You'll come a-Waltzing Mat (A) ilda with (D) me." (D)(D)(A)(D), (D)(D)(D)
Down came a (A) jumbuck to (D) drink at the (G) billabong.

(D) Up jumped the swagman and (A) grabbed him with glee.
He (D) sang as he (A) shoved that (D) jumbuck in his (G) tucker bag:
He (D) sang as he (A) shoved that (D) jumbuck in his (G) tucker bag:
(D) “You'll come a-Waltzing Mat (A) ilda with (D) me." (D)(D)(A)(D), (D)(D)(D)
Up rode the (A) squatter, (D) mounted on his (G) thoroughbred.

(D) Up rode the troopers (A) one two three.
(D) “With that jolly (A) jumbuck that (D) you've got in your (G) tucker bag,
(D) You'll come a-Waltzing Ma (A) tilda with (D) me."

(D) With that jolly (A) jumbuck that (D) you've got in your (G) tucker bag,
(D) “You'll come a-Waltzing you (A) scoundrel with (D) me." (D)(D)(A)(D), (D)
Up jumped the (A) swagman, and (D) sprang into the (G) billabong.
(D) "You'll never take me <slow down> a (A) live" said |A| he.
And his |D| ghost may be |A| heard, as you |D| pass by that |G| bill a |Gadd| bong:

His (D) ghost may be (A) heard as you (D) pass by that (G) billabong:
(D) “You'll come a-Waltzing Ma (A) tilda with (D) me/everybody!"

His (D) ghost may be (A) heard as you (D) pass by that (G) billabong:
<fiddle> (D)(A)(D),(D)(D)(A)(D),(D)(D)(D)
|D| “You'll come a |Bm| Waltzing Ma |A| tilda with <rake> (D) me.” |D|
(Slim Dusty) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
WALTZING MATILDA (In G) – Slim Dusty
(Paterson/MacPherson/Cowan)
https://www.youtube.com/watch?v=CwvazMc5EfE (Capo 7)(MC5)
TIP: Here in (G). You have to capo at the 7th fret to match the recording but if you don’t care
about that this version has easier chords to play.
TIP: For all my Aussie mates. For those of us unlucky to be Australian, “Waltzing Matilda”
roughly means travelling about on foot with your belongings slung over your shoulder in a bed roll
or “swag”. So a “swagman” is a wanderer who answers to no one, a “billy” is a can for boiling tea,
a “jumbuck” is a sheep, and a “billabong” is an oasis or watering hole. Considered the unofficial
anthem of Australia and emblematic of Aussie pride.
TIP: For the intro, pick the open 4th and 3rd strings before strumming the first (G) and then
alternate picking the open 4th and 3rd strings in conjunction with strumming the (G).
TIP: For the lone (CaddG) you’ll be playing a (C) so just add your pinky to the bottom string/3rd
fret.
INTRO: 4-3-(G)(G), <fiddle> (G)(G)(D)-(G), (G)(G)(G)
Once a jolly (D) swagman (G) camped by a (C) billabong,

(G) Under the shade of a (D) coolibah tree.
He (G) sang as he (D) watched and (G) waited 'til his (C) billy boiled:
(G) “You'll come a-Waltzing Ma (D) tilda with (G) me."
Waltzing Matilda (C) Waltzing Matilda,

(G) You'll come a- (Em) Waltzing Ma (Am) tilda with (D) me.
He (G) sang as he (D) watched and (G) waited 'til his (C) billy boiled:
(G) “You'll come a-Waltzing Mat (D) ilda with (G) me." (G)(G)(D)(G), (G)(G)(G)
Down came a (D) jumbuck to (G) drink at the (C) billabong.
(G) Up jumped the swagman and (D) grabbed him with glee.
He (G) sang as he (D) shoved that (G) jumbuck in his (C) tucker bag:

He (G) sang as he (D) shoved that (G) jumbuck in his (C) tucker bag:
(G) “You'll come a-Waltzing Mat (D) ilda with (G) me." (G)(G)(D)(G), (G)(G)(G)
Up rode the (D) squatter, (G) mounted on his (C) thoroughbred.

(G) Up rode the troopers (D) one two three.
(G) “With that jolly (D) jumbuck that (G) you've got in your (C) tucker bag,
(G) You'll come a-Waltzing Ma (D) tilda with (G) me."

(G) With that jolly (D) jumbuck that (G) you've got in your (C) tucker bag,
(G) “You'll come a-Waltzing you (D) scoundrel with (G) me." (G)(G)(D)(G), (G)
Up jumped the (D) swagman, and (G) sprang into the (C) billabong.
(G) "You'll never take me <slow down> a (D) live" said |D| he.
And his |G| ghost may be |D| heard, as you |G| pass by that |C| bill a |CaddG| bong:

His (G) ghost may be (D) heard as you (G) pass by that (C) billabong:
(G) “You'll come a-Waltzing Ma (D) tilda with (G) me/everybody!"
His (G) ghost may be (D) heard as you (G) pass by that (C) billabong:
<fiddle> (G)(D)(G),(G)(G)(D)(G),(G)(G)(G)
|G| “You'll come a |Em| Waltzing Ma |D| tilda with <rake> (G) me.” |G|
(Slim Dusty) (Folk) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WANDERER - Dion
(Maresca)
https://www.youtube.com/watch?v=0FFtht9k87k (Capo 0)(MC1/2)
TIP: Note the three-finger (Bm) in the intro. 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.
I (G) kiss'em and I love'em 'cause to me they're all the same.
I (D) hug'em and I squeeze'em, they don't even know my name.
They call me the (A) wanderer, yeah the (G) wanderer.
I roam a (D) round 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.
And (G) when she asks me, which one I love the best.
I’ll (D) tear open my shirt and I show her "Rosie" on my chest
Cuz I'm a (A) wanderer, yeah a (G) wanderer.
Well I (A) roam from town to town. I go through life, without a care.
And I'm as happy as a clown. And with my |B7| two fists of iron but I'm (E7) going on and (A7) on.
(D) Oh yeah I'm the type of guy, that likes to roam around.
I'm never in one place, I roam from town to town.
And (G) when I find myself, I'm fallin' for some girl yeah
I (D) hop right into that car of mine and I drive around the world.
Yeah I'm a (A) wanderer, yeah the (G) wanderer.
<sax solo> (D), (D), (G), (D), (A), (G), (D)
(A) Oh yeah (D) I'm the type of guy that likes to roam around
I'm never in one place I roam from town to town.
And (G) when I find myself I've fallin' for some girl
I (D) hop right into that car of mine, drive around the world
Cuz I'm a (A) wanderer, yeah a (G) wanderer. I roam a (D) round around around around.
Cuz I'm a (A) wanderer, yeah a (G) wanderer. I roam a (D) round around around around.
Cuz I'm a (A) wanderer, I'm a (G) wanderer. I roam a (D) round around around around. |D|
(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=AOjgLptZCn0 (Capo 4)(MC4)
TIP: The strumming pattern is <chord> down, down-up-down, down-up-down, down-up-down . . .
INTRO: (G)(C), (C)(G)
I lived in a place called Okfus (C) kee, and I had a little girl in a holler (G) tree (G).
I said "Little girl it's plain to (C) see,
Ain't nobody that can sing like (G) me (D) ain't nobody that can sing like (Em) me." (Em)(Em)(Em)
She (G) said "It's hard for me to (C) see, how one little boy got so ug (G) ly (G)."
Yes my little girly that might (C) be,
But there ain't nobody that can sing like (G) me (D) ain't nobody that can sing like (Em) me."
(Em)(Em)
(C) Way over yonder in the minor (G) key (G), (Am) way over yonder in the minor (G) key.
There (D) ain't nobody that can sing like (Em) me. (Em)(Em)(Em)
We (G) walked down, by the Buckeye (C) Creek, to see the frog eat the goggle-eye (G) bee (G).
To hear that west wind whistle-to-the (C) east,
There ain't nobody that can sing like (G) me (D) ain't nobody that can sing like (Em) me." (Em)(Em)
(G) Oh my little girly will you let me (C) see, way over yonder where the wind blows (G) free?
Nobody can see in our holler (C) tree,
And there ain't nobody that can sing like (G) me (D) ain't nobody that can sing like (Em) me." (Em)
There (D) ain't nobody that can sing like (Em) me.
<fiddle> (Em)(C)(G), (D)(G), (D)(Em)(Em)(Em)
Her (G) mama cut a switch from a cherry (C) tree, and laid it on to she and (G) me.
It stung lots worse than a hive of (C) bees,
But there ain't nobody that can sing like (G) me
(D) Ain't nobody that can sing like (Em) me." (Em)(Em)
Now (G) I have walked a long long (C) ways, still look back to my Tanglewood (G) days (G).
I've led lots of girls since then to (C) stray,
Sayin’ ain't nobody that can sing like (G) me (D) ain't nobody that can sing like (Em) me."
(D) Ain't nobody that can sing like (Em) me.
(D) Ain't nobody that can sing like (Em) me. (D) Ain't nobody that can sing like (Em) me.
(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)(MC2)
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 afterwards
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.
TIP: In the chorus that (Bm5) is just (F) played with a (Bm) shape for a nice treble lilt. You
can just play a regular (F) if you’d rather.
INTRO: 5-(Am), 6-(Am), 5-(Am), 6-(Am), 5-(Am), 6-(Am), 5-(Am)
(Am) I am a poorrrrrr, wayfaring stranger,

While traveling (Dm) throooough, this world of (Am) woe.
Yet there's no siiiickness toil or danger,
In that bright (Dm) worrrrld to (Em) which I (Am) go.
I'm going (Bm5) therrrrre, to see my (C) father.

I'm going (Bm5) therrre-(C)-er no more to (E) roam.
I'm only (Am) gooooooing over Jordan.
I'm only (Dm) gooooooing (Em) over (Am) home.
(Am)(Am),(Am)(Dm)(G)(Am);(Am)(Am),(Am)(Dm)(G)(Em)(Am)
I know dark clouuuds, will gather round me.

I know my (Dm) wayyyyyy is rough and (Am) steep.
Yet beauteous fieeeelds, lie just before me,
Where God's re (Dm) deeeeemed their (Em) vigils (Am) keep.
I'm going (Bm5) therrrrre to see my (C) mother.
She said she'd (Bm5) meeee-(C)-eet me when I (E) come.
I'm only (Am) gooooooing over Jordan.
(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,

When I get (Dm) hooome to that good (Am) land.
Well I want to shouuuuut Salvation's story,
In concert (Dm) wiiiith all the blood (Em) washed (Am) band.
I'm going (Bm5) therrrrre, to see my (C) Saviour.

I'm going (Bm5) therrrr-(C)-ere no more to (E) roam.
I'm only (Am) goooooing over Jordan.
Well I'm only (Dm) goooooing (Em) over (Am) home.
(Traditional) (Spiritual) (Emmylou Harris) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WAYWARD WIND – Patsy Cline
(Newman/Lebowsky)
https://www.youtube.com/watch?v=lmEMvISUSLE (Capo 1)(MC3)
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.
TIP: The (Bm3) - actually a (Cm) - can be skipped but it is there.
INTRO: (G)(G)(F)(F)(G)|G|
(NC) Oh the wayward (G) wind, is a restless (C) wind.

A restless (G) wind, that yearns to (D7) wander.
And he was (G) borrr-(G7)-rn the next of (C) kin (Bm3).
The next of (G) kin, (D7) to the wayward (G) wind.
In a lonely (D) shack by a (G) railroad track,

He spent his (D) younger (G) days.
And I guess the sound of the outward bound,
(D) Made him a (D7) slaaaave to his wandering (G) ways. |G|
(NC) Oh the wayward (G) wind, is a restless (C) wind.

The next of (G) kin, (D7) to the wayward (G) wind.
<capo +1>
(G) Oh I met him (D) there in a (G) border town.

He vowed we'd (D) never (G) part.
Though he tried his best to settle down,
(D) Now I'm a (D7) loooone with a broken (G) heart.
|G| Oh the wayward (G) wind, is a restless (C) wind.
The next of (G) kin, to the wayward (G) wind.
The next of kin |G|, (NC) to the wayward (G) wind (G).
(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)(MC0/up)
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) Down the hall upstairs from me (C), there's a (G) girl I swear I never see (C).
I (G) hear the ringing of her phone (C), she (G) must live up there all alone (C).
She (G) hangs her clothes out on the line (C), they're (G) hanging there right next to mine (C).
And (G) if the wind should blow just right (C), she (G) could be in my arms tonight (C).
We are the (F) lonely, all to (G) gether. All to (F) gether, we're all a (G) lone.
We are the (F) lonely, all to (G) gether. All to (F) gether, we're all a (G) lone. (G)(C)(G)(C)
The (G) cashier at the 'Pump And Pay' (C), knows (G) everything's gonna be okay (C).
The (G) all night all right rent a cop (C), is a (G) cross the street at the donut shop (C).
The (G) waitress waits with a whiskey sour (C), at the (G) single-mingle happy hour (C).
The (G) one man band begins to sing (C), a (G) ccompanied by a drum machine (C).
(G)(C)(G)(C), (G)(C)(G)(C)
(G) White divorced swinging male (C), seeks (G) company to no avail (C).
(G) Worthless ruthless toothless man (C), wants (G) wealthy woman with a plan (C).
(G) S W F with a P h D (C), seeks (G) T L C at the A & P (C).
(G) G W M nice and trim (C), seeks (G) S E X at the G Y M (C).
(G) Ugly man treats girls like dirt (C), wants (G) buttons sewn upon his shirt (C).
(G) D U I at the B A R (C), seeks (G) M A N with C A R (C).
We are the (F) lonely, all to (G) gether. All to (F) gether, we're all a (G) lone. (G)(C)(G)(C)
(G) Toothy gal with breasts so large (C), takes (G) Visa Amex Master Charge (C).
Dial (G) one nine-hundred girls for fun (C), you (G) lonely little hot dog bun (C).
(G) Straight but curious thirty-three (C), (G) seeks survivor of Wounded Knee (C).
(G) Farmer's daughter nympho Rose (C), will (G) do it till the cows come home (C).
We are the (F) lonely, all to (G) gether. All to (F) gether, we're all a |G| lone.
(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)(MC0)
[Afterwards there's a version in (G) which elimates the (Bm) and (F#) in favor of (Em) and (B7) or
(B). To play with the recording you'll have to capo at the 7th fret but if you don't care about
that you may find that version easier to play - although 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 and cover
the 4th string with your pinky.
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) Try to see it my way.

Do I have to (Dsus2) keep on talking (C) till I can't go (D) on?
Why-do-you-see-it your way,
Tun the risk of (Dsus2) knowing that our (C) love may soon be (D) gone?
(G) We can work it (D) out. (G) We can work it (A) out.
(D) Think of what you're saying.
You can get it (Dsus2) wrong and still you (C) think that it’s all (D) right.
Think of what I'm saying.
We can work it (Dsus2) out and get it (C) straight or say good (D) night.
(Bm) Life is very short, and there's no (G) ti-i-i-i-(F#)-ime.

For fussing and (Bm) fighting my friend (G)(Bm).
I have always thought, that it's a (G) cri-i-i-i-(F#)-ime.
So I will (Bm) ask you once a (G) gain (Bm).
(D) Try to see it my way.

Only time will (Dsus2) tell if I am (C) right or I am (D) wrong.
While you see it your way,
There's a chance that (Dsus2) we might fall a (C) part before too (D) long.
(Bm) Life is very short, and there's no (G) ti-i-i-i-(F#)-ime.

For fussing and (Bm) fighting my friend (G)(Bm).
I have always thought, that it's a (G) cri-i-i-i-(F#)-ime.
So I will (Bm) ask you once a (G) gain (Bm).
(D) Try to see it my way.

Only time will (Dsus2) tell if I am (C) right or I am (D) wrong.
There's a chance that (Dsus2) we might fall a (C) part before too (D) long.
(G) We can work it (D) out. (G) We can work it (A) out. |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)(MC0)
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) Try to see it my way.

Do I have to (F) keep on talking till I can't go (G) on?
Why-do-you-see-it your way,
Run the risk of (F) knowing that our love may soon be (G) gone?
(C) We can work it (G) out. (C) We can work it (D) out.
(G) Think of what you're saying.

You can get it (F) wrong and still you think that it’s all (G) right.
Think of what I'm saying.
We can work it (F) out and get it straight or say good (G) night.
(Em) Life is very short, and there's no (C) ti-i-i-i-(B7)-ime.

For fussing and (Em) fighting my friend (C)(Em).
I have always thought, that it's a (C) cri-i-i-i-(B7)-ime.
So I will (Em) ask you once a (C) gain (Em).
(G) Try to see it my way.
Only time will (F) tell if I am right or I am (G) wrong.
There's a chance that (F) we might fall apart before too (G) long.
(Em) Life is very short, and there's no (C) ti-i-i-i-(B7)-ime.

For fussing and (Em) fighting my friend (C)(Em).
I have always thought, that it's a (C) cri-i-i-i-(B7)-ime.
So I will (Em) ask you once a (C) gain (Em).
(G) Try to see it my way.

Only time will (F) tell if I am right or I am (G) wrong.
There's a chance that (F) we might fall apart before too (G) long.
(C) We can work it (G) out. (C) We can work it (D) out. |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)(MC3)
TIP: The opening bass riff is tricky until you play it a few (or several) times. There are a
couple of ways to play it. I do it using just my index finger and pinky. Here's how. First, it's
all played on the 5th and 4th strings. Let the neck rest across your palm (which will help your
pinky reach the 5th fret). Now peg your index finger to the 4th string/2nd fret and leave it there
-- it never comes off through the whole riff. Okay, here we go: The first note is the open 5th
string <a>. Next is that covered 4th string/2nd fret <e>. Come back up to where you were to play
another <a> at the open 5th string. Now your pinky does the rest. The fourth note is 4th
string/5th fret <g>. From there slide the pinky down one fret to play the <f#> at the 4th
string/4th fret. Now lift off the pinky and play the <e> at the 4th string still covered by your
index finger on the 2nd fret. Now, still with your pinky, jump up one fret and play the <c#> at
the 5th string/4th fret. So the pinky work is hammer, slide, lift, hammer. Repeat four times.
Just practice it until you get it down. If you just don't want to deal with it then just play (A).
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.
TIP: In the last two chorus Eric talks over the chord pairings. Doesn't really matter when you
speak the words, just keep the chords going.
INTRO: <a><e><a><g>-<f#>-<e>-<c#>; <a><e><a><g>-<f#>-<e>-<c#>;

<a><e><a><g>-<f#>-<e>-<c#>; <a><e><a><g>-<f#>-<e>-<c#>
(A) In this dirty old (A7) part of the (A) city. When the sun re (A7) fused to shine (A).
People tell me there (A7) ain't no use in (A) tryin'. (A)
Now my girl you're so (A7) young and (A) pretty. And one thing I (A7) know is true (A).
You'll be dead be (A7) fore your time is (A) due. I know. (A)
Watch my daddy in (A7) bed and (A) dyin'. Watch his hair been (A7) turnin' grey (A).
He's been workin' and (A7) slavin' his life a (A) way. Oh yes I know.
He's been (A7) workin' so (A) hard. I've been workin' too baby.
Every night and day yeah, yeah, yeah, yeah.
(D) We gotta get (G) out of this (A) place.

(D) If it's the last thing we (E) ever (A) do.
Cuz |Bm| girl there's a better life for me and (D) you (C)(G)(A); (D)(C)(G)(A).
Now my girl you're so (A7) young and (A) pretty. And one thing I (A7) know is true (A) yeah.
You'll be dead be (A7) fore your time is (A) due. I know it. (A)
Watch my daddy in (A7) bed and (A) dyin'. Watch his hair been (A7) turning grey (A).
He's been workin' and (A7) slavin' his life a (A) way. I know he's been (A7) workin' so (A) hard.
I've been workin' too baby. Every day baby. Whoaowwwwwwwwww. Yeah, yeah, yeah, yeah.
(D) We gotta get (G) out of this (A) place. (D) If it's the last thing we (E) ever (A) do.
|Bm| Girl there's a better life for me and (D) you (C)(G)
Some (A) where baby (D)(C) some (G) how I (A) know it.
(D) We gotta get (G) out of this (A) place. (D) If it's the last thing we (E) ever (A) do.
|Bm| Girl there's a better life for me and (D) you (C) be (G) lieve me (A) baby;
(D)(C) I know it baby (G)(A), you know it too. (D)(C)(G)|A|
(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)(MC3)
[Also recorded by Johnny Cash and Crystal Gale. And that’s Rachel Peer singing harmony.]
INTRO: (D) x 8
Mad is the captain of (G) Alpha Cen (D) tauri.

We must be (G) out of our (D) minds. (D)(D)(D)
Though we are shipmates and (G) bound for to (D) morrow,
Everyone here's flying (A) blind. (A)(A)(A)
But (D) we must be (G) lieve in (D) magic.

We must believe in the (G) guiding (D) hand.
Cuz if you be (G) lieve in (D) magic,
You have the universe (A) at your com (D) mand.
(D)(D)(D)(D)(D)(D)(D)
Mad is the crew bound for (G) Alpha Cen (D) tauri,
Dreamers and (G) poets and (D) clowns. (D)(D)(D)
But bold is the ship bound for (G) Alpha Cen (D) tauri,
And nothing can turn it a (A) round. (A)(A)(A)
(D) We must be (G) lieve in (D) magic.

You have the universe (A) at your com (D) mand. (D)(D)(D)
(D)(G)(D), (D)(G)(D), (D)(G)(D), (D)(D)(A)(A)(A)(A)

(D) We must be (G) lieve in (D) magic.
You have the universe (A) at your com (D) mand. (D)(D)(D)
Da-da da-la-da da (G) da-da da (D) da-da. Da-da da (G) la-da da (D) da.
Da-da da-la-da da (G) da-da da (D) da-da. Da-da da la-da da (A) da. (A)(A)(A)
But (D) we must be (G) lieve in (D) magic.

You have the universe (A) at your com (D) mand. (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)(MC2)
INTRO: (A)(E)(D)(E); (A)(E)(D)(E)
I know it's (A) late (E), I know you're (A) weary (E).
I know your (A) plans, (D) don't include (A) me (E).
Still here we (A) are (D), both of us (A) lonely.
Longing for shelter (D), from all that we (A) see (E).
Why should we (A) worry (D), no one will (A) care girl (E).
Look at the (A) stars (D), so far a (A) way (E).
We've got to (A) night (D), who needs to (A) morrow?

We've got tonight babe (D), why don't you (A) stay? (A)
Deep in my soul (E), I've been so (A) lonely (E).

All of my (A) hopes (D), fading a (A) way (E).
I've longed for (A) love (D), like everyone (A) else does.
I know I'll keep searching (D), even after to (A) day (E).
So there it (A) is girl (D), I've said it (A) all now (E).
And here we (A) are babe (D), what do you (A) say (E)?
We've got to (A) night (D), who needs to (A) morrow?

We've got tonight babe (D), why don't you (A) stay? (A)(C)
I know it's late, I know you're (A) weary. (Weary).

(C) Mmmmm I know your plans don't in (A) clude me.
Still here we (D) are (F), both of us (A) lonely (D).
Both of us (A) lonely (D)(A)(A).
We've got tonight (D), who needs to (A) morrow?
Let's make it last (D), let's find a (A) way (E).
Turn out the (A) light (D). Come take my (A) hand now.
<gently> We've got tonight (D), who needs to (A) morrow?

We've got tonight babe (D), why don't you (A) stay ohhhh
We've got tonight (D), who needs to (A) morrow?

(D) Ohhh oh, (A) ohhh-(E)-oh why don't you |A| stay.
WE'VE GOT TONIGHT - Kenny Rogers & Sheena Easton
(Seger)
https://www.youtube.com/watch?v=533wrou5ONw (Capo 1)(MC2)
TIP: There's a single (D#) in the bridge. It's just (D) played up one fret with your pinky added
to the 4th string/4th fret.
INTRO: (G)(Bm)(C)(D); (G)(Bm)(C)(D)
I know it's (G) late (Bm), I know you're (C) weary (D).
I know your (G) plans (C), don't include (G) me (D).
Still here we (G) are (C), both of us (G) lonely.
Longing for shelter (C), from all that we (G) see (D).
Why should we (G) worry (C), no one will (G) care girl (D).
Look at the (G) stars now (C), so far a (G) way (D).
We've got to (G) night (Bm), who needs to (C) morrow (D)?
We got to (G) night babe (C), why don't you (G) stay?
Deep in my soul (D), I've been (C) so lonely (D).

All of my (G) hopes (C), fading a (G) way (D).
I've longed for (G) love (C), like everyone (G) else does.
I know I'll keep searching (C), after to (G) day (D).
So there it (G) is girl (C), we got it (G) all now (D).
And here we (G) are babe (C), what do you (G) say (D)?
We've got to (G) night (C), who needs to (G) morrow?

We got tonight babe (C), why don't we (G) stay? (G)
(Bb) I know it's late and I know you're (G) weary.

(Bb) I know your plans don't in (G) clude me.
Still (Bm) here we (C) are (C)(D#), both of us (G) lonely (C).
Both of us (G) lonely (G)(D).
We got to (G) night (Bm), who needs to (C) morrow (D)?
Let's make it (G) last (C), let's find a (G) way.
(D) Turn out the (G) light (C). Come take my (G) hand now (C).
We got to (G) night babe (C), why don't we (G) stay (C)?
We got to (G) night babe (C), why don't we, (G) stay (G)(C)(D7)(G)?
(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)(MC0/5)
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) They sayyy that the |E| tree of loving are |F| shinin’ on |G| me a |C| gain.
They say it |Am| grows on the bank of the |D7| river of suffering, |G| shine on me a |Gadd| gain.
And (F) weave (G) weave (C) weave me the (Am) sunshine (F) out of the (G) falling (C) rain (Am).
(F) Weave me the (G) hope of a (C) new to (Am) morrow and (D) fill my cup a (G) gain.
Oh (F) weave (G) weave (C) weave me the (Am) sunshine (F) out of the (G) falling (C) rain (Am).
(F) Weave me the (G) hope of a (C) new to (Am) morrow and (D7) fill my cup a (G) gain.
If (Am) only I could (E) heal your sorrow (F) shine on (G) me a (C) gain.
I'd (Am) help you to find your (D) new tomorrow (G) shine on me a (Gadd) gain.
(F) Weave (G) weave (C) weave me the (Am) sunshine (F) out of the (G) falling (C) rain (Am).
Oh (F) weave (G) weave (C) weave me the (Am) sunshine (F) out of the (G) falling (C) rain (Am).
I've (Am) seen the steel and the (E) concrete crumble (F) shine on (G) me a (C) gain.
The (Am) proud and the mighty (D7) all have stumbled, <up> |Gadd| shine on (G7) me again.
(Am) Only you can (E) climb that mountain (F) shine on (G) me a (C) gain.
If you |Am| want to drink from the |D7| golden fountain, <up> |Gadd| shine on (G7) me again.
(F) Weave me the (G) hope of a (C) new to (Am) morrow and (D) fillllll my |G| cup,
once a (F) gaaaain (G)-|C|.
THE WEDDING SONG
Noel Paul Stookey
https://www.youtube.com/watch?v=hR051uCNrAw (Capo 1)(MC1)
[Afterwards is the song in the key of [G] with notation meant for fingerstyle.]
TIP: You can cheat with the (Bm) since it follows a (D) by adding your pinky to the 3rd string/3rd
fret.
TIP: The (D4) can be skipped but all you do is add your pinky to the bottom string/3rd fret while
holding the (D).
INTRO: (D)(D)(D)(D)(E)(E7)(G)(G)(D)(D)
He is now to be among you, at the (A) calling of your hearts.

(G) Rest assured this troubadour is acting on His (D) part.
The union of your (A) spirits here has (G) caused Him to re (D) main.
For when (Bm) ever two or (D) more of you, are (A) gathered in His name,
There is (G) love (G)(G). There is (D) love (D)(E)-(E7)(E7)(G)(G)(D)-(D4)-(D).
Well a man shall leave his (A) mother, and a (G) woman leave her (D) home.
(Bm) They shall travel (D) on to where the (A) two shall be as one.
As it (D) was in the be (A) ginning, is (G) now and til the (D) end.
(Bm) Woman draws her (D) life from man and (A) gives it back again
And there is (G) love (G)(G). There is (D) love (D)(E)-(E7)(E7)(G)(G)(D)-(D4)-(D).
Well then (G) what's to be the (Em) reason, for be (A) coming man and (D) wife?
Is it (G) love that brings you (Em) here or (A) love that brings you (D) life?
For if loving is the (A) answer, then (G) who's the giving (D) for?
Do (Bm) you believe in (D) something, that you've (A) never seen before?
Aw there is (G) love (G)(G). Ohhh there's (D) love (D)(E)-(E7)(E7)(G)(G)(D)-(D4)-(D).
Mmm hmmm mmmm (A) mmmm. (Bm) Mmmm hmmm mmmm (A) mmm.
Oh the (D) marriage of your (A) spirits here has (G) caused Him to re (D) main.
For when (Bm) ever two or (D) more of you are (A) gathered His name.
There is (G) love (G)(G). Aw there's (D) love (D)(E)-(E7)(E7)(G)(G)(D)-(D4)-|D|.
(Noel Paul Stookey) (Artist Index) - (Main Index) - (Song Index) (This Song)
THE WEDDING SONG
Noel Paul Stookey
(MC3)
TIP: This version (which will not match the recording as it's in the easier to play key of [G]) is
for fingerstyle and is pretty easy to play. The notations in brackets with small case letters,
like <g> or <pull> are meant as a reminder to pluck a note or remove a finger.
TIP: The intro is repeated at the end of each verse. (A7G) is simply (A7) with pinky on the bottom
string (<g> note). The (A7sus4) is sandwiched between two (Am7)s and is struck just once so just
keep the (Am7) position and put your pinky on the 2nd string/3rd fret.
TIP: To play the (CaddD) just keep the (C) formation and add pinky to 2nd string/3rd fret. In the
second line - only time it occurs - you start with (CaddD) then go to (C) by removing the pinky,
then to (Cmaj7) by removing the index finger. Easy.
TIP: It's important to add the bass <g> (top string) when playing the (C/G) at the end of the
verse after "love".
TIP: In the third verse there is a (Em)(C/B)(E7full)(Em) progression. Note the (C/B) and (E7)
diagram. When moving from (Em) to (C/B) you just add the index finger to 2nd string/1st fret.
Then to play the (E7) you can keep your index finger as is and put your pinky on 2nd string/3rd
fret while removing your ring finger (but it also sounds just fine if you leave the ring finger
where it is in the (Em) position as you're going right back to that chord anyway). Suggest you
rehearse this line a couple of times.
INTRO: (G)-(Gadd), (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G)(G)(G)
He is (Gadd) now to be among you, at the (D) calling of <g> your hearts.
(CaddD) Rest (C) assured this (Cmaj7) trou (D) badour, is (G) acting on (Gadd) His (G) part.
The (Gadd) union of your (D) spirits here, has (CaddD) caused Him to <g> re (Gadd) main.
For when (Em) ever two <g> or (D) more of you (NC) are (C) gath <pull> ered <a> in His (D) name,
<pull> There is (C/G) love <linger>. There is (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
Well a (Gadd) man shall leave his (D) mother, and a (CaddD) woman leave <g> her (Gadd) home.
(G) They shall tra <c> vel (Gadd) on to where the (D) two shall be (NC) as (C) one.
(CaddD) As it (Gadd) was in the be (D) ginning, is (CaddD) now and til <g> the (Gadd) end.
(Em) Woman draws <g> her (D) life from man (NC) and (C) gives <pull> it <a> back a (D) gain.
<pull> And there is (C/G) love <linger>. There is (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
Well then (C) what's to be the reason for (D) becoming man and (G) wife?
Is it (C) love that brings you here or (D) love that brings you (G) life?
For if (Gadd) loving is the (D) answer, then (CaddD) who's the giving (Gadd) for?
Do (Em) you believe (C/B) in (E7-full) something that (Em) you've (D) never seen (NC) be (C) fore?
<pull> Oh there is (C/G) love <linger>. Oh there's (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-(G).
Oh the (Gadd) marriage of your (D) spirits here, has (CaddD) caused Him to <g> re (Gadd) main.
For when (Em) ever two <g> or (D) more of you (NC) are (C) gath <pull> ered <a> in His (D) name.
<pull> There is (C/G) love <linger>. Ah there's (G) love (A7)-(A7G), (Am7)-(A7sus4)-(Am7)-|G|.
(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)(MC2)
TIP: TIP: For the intro, single strum 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.
TIP: (CaddD) is just (C) with a pinky added to the 3rd fret/2nd string.
INTRO: |G|-|G|-|C|-|CaddG|-|C|-|G|-|Am|-|C|-|Am|-|C|-|C|, (C)(G)(G)
I pulled into (Bm) Nazareth, was (C) feelin' about half past (G) dead.
I just need some (Bm) place, where (C) I can lay my (G) head.
"Hey mister can you (Bm) tell me, where a (C) man might find a (G) bed?"
He just grinned and (Bm) shook my hand, (C) "No" was all he (G) said.
(Gadd) Take a load off (C) Fannie. (Gadd) Take a load for (C) free.
(Gadd) Take a load off (C) Fannie.
And and (CaddD) and you put (put the load) right on (G) me (D)(Em)(D)(C),|C|-|C|.
(G) I picked up my (Bm) bag, I went (C) lookin' for a place to (G) hide.
When I saw, (Bm) Carmen and the Devil (C) walkin' side by si-(G)-ide.
I said "Hey (Bm) Carmen, come (C) on let's go down (G) town."
She said, "(Bm) I-gotta-go but my (C) friend can stick a (G) round."
(G) Go down Miss (Bm) Moses, there's (C) nothin' you can (G) say.
It's just ol' (Bm) Luke and Luke's (C) waitin' on the Judgement (G) Day.
"Well Luke my (Bm) friend, what a (C) bout young Anna (G) Lee?"
He said "Do me a (Bm) favor son won’tcha (C) stay an' keep Anna Lee (G) company?"
(G) Crazy Chester (Bm) followed me, and he (C) caught me in the (G) fog.
He said "I will (Bm) fix your rack, if (C) you'll take Jack my (G) dog."
I said "Wait a minute (Bm) Chester, you (C) know I'm a peaceful (G) man."
He said "That's o-(Bm)-kay boy, won't you (C) feed him when you (G) can."
And and (CaddD) and you put (put the load) right on (G) me (D)(Em)(D)(C),|C|-|C|;
(G)(D)(Em)(D)(C),|C|-|C|.
(G) Catch a (Bm) Cannonball now it'll (C) take me down the (G) line.
My bag is (Bm) sinkin' low, and I (C) do believe it's (G) time.
To get back to Miss (Bm) Fannie, you know (C) she's the only (G) one.
Who sent me (Bm) here with her re (C) gards for every (G) one.
And and (CaddD) and you put (put the load) right on (G) me (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)(MC1)
[Afterwards is Elvis' version in [G].]
INTRO: (D)(G),(A),(A)(D)
Welcome to my (G) world (A), won't you come on (D) in?

Miracles I (G) guess (A), still happen now and (D) then.
Step into my (G) heart (A), leave your cares be (D) hind.
Welcome to my (G) world (A), built with you in (D) mind (G)(D).
(A) Knock, and the door will (D) open. (A) Seek, and you will (D) find.
(A) Ask and you'll be (D) given, the (E) key to this (E7) world of (A) mine.
(D) I'll be waiting (G) here (A), with my arms un (D) furled.
Waiting just for (G) you (A). Welcome to my (D) world (G)(D).
(D)(G),(A)(D)
Waiting just for (G) you (A). Welcome to my (D) world (G)(D).
WELCOME TO MY WORLD - Elvis Presley
(Hathcock)
https://www.youtube.com/watch?v=MSLO5kZvCf4 (Capo 2)(MC2)
TIP: For the little horn accent at the end of the bridge you strum once |D/A|-|G|-|A| with the
|D/A| simply being |D| with your pinky added to the 4th string/4th fret. You can play a regular
(D) if you want or skip the horn part entirely.
INTRO: (G)(Am),(D),(D)(G)(C)(G)
Welcome to my (Am) world (D), won't you come on (G) in (Em)?

Miracles I (Am7) guess (D7), still happen now and (G) then.
Step into my (Am) heart (D), leave your cares be (G) hind (Em).
Welcome to my (Am) world (D), built with you in (G) mind (C)(G).
(D) Knock, and the door shall be (G) open. (D) Seek, and you will (G) find.
(D) Ask, and you'll be (G) given (Em), the (A) key to this heart of (D) mine. |D/A|-|G|-|D|
(G) I'll be waiting (Am) there (D), with my arms un (G) furled (Em).
Waiting just for (Am) you (D). Welcome to my (C) world (G)(Am)(G).
(G)(Am), (Am)-(C)-(D), welcome to my (G) world (C)(G).
WELLERMAN
TikTok Mashup/Storm Seeker
Violet Orlandi, Addie Nicole & Audra Miller
(Traditional)
https://www.youtube.com/watch?v=Em2xxSPQO0A (Storm Seeker) (Capo 3)(MC1)
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 from (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.
There (Am) once was a ship that put to sea and the (Dm) name of the ship was the (Am) Billy o' Tea.
The winds blew hard her bow dipped down (E) "Blow me bully boys (Am) blow.” (Huh!)
(F) Soon may the (C) Wellerman come to (Dm) bring us sugar and (Am) tea and rum.
(F) One day when the (C) tonguin' is done we'll (E7) take our leave and (Am) go. <TikTok repeats>
She had-not-been two weeks from shore when (Dm) down on her a (Am) right whale bore.
The captain called all hands and swore he'd (E) take that whale in (Am) tow. (Huh!)
(F) One day when the (C) tonguin' is done we'll (E7) take our leave and (Am) go.
Before the boat had hit the water the (Dm) wha-ale's tail came (Am) up and caught her.
All hands to the side, harpooned and fought her (E) when she dived down be (Am) low. (Huh!)
<TikTok returns to beginning>
No line was cut no whale was freed, the (Dm) Captain's mind was (Am) not on greed.
But he belonged to the whaleman's creed, she (E) took that ship in (Am) tow. (Huh!)
For forty days or even more the (Dm) line went slack then (Am) tight once more.
All boats were lost there were only four but (E) still that whale did (Am) go.
As far as I've heard the fight's still on the (Dm) line's not cut and the (Am) whale's not gone.
The Wellerman makes his a regular call to en (Dm) courage the Captain (Am) crew and all.
(F)(C)(Dm)(Am), (F)(C)(E)(Am) (Huh!)
(F) One day when the (C) tonguin' is done we'll (E7) take our leave and |Am| go.
(Storm Seeker) (Violet Orlandi) (Addie Nicole) (Audra Miller)

(Kid Friendly) (Traditional) (Artist Index) - (Main Index) - (Song Index) (This Song)
WENDY – The Beach Boys
(Love/Wilson)
https://www.youtube.com/watch?v=XCEUOfiZsnA (Capo 3)(MC3)
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 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) Wendy, (Em) Wendy what went (D) wrong, oh so (G) wrong.
(D) We went, to (G) gether for so (C) long-on-on-on-(A)-ong.
(Bm) Ooooh I never thought a (E) guy could cry,
(Bm) Til you made it with a (G) nother guy oh (D) Wendy,
(G) Wendy left (A7) me a (D) lone hurts so (G) bad.
(D) Wendy, (Em) Wendy don't lose your (D) head lose your (G) head.
(D) Wendy, (G) don't believe a word he (C) sah-ah-ah-ah-(A)-ays.
(Bm) Oooh I can't picture (E) you with him,
(Bm) Oooh his future looks (G) awful dim oh (D) Wendy,
(G) Wendy left (A7) me a (D) lo-(C)-one hurts so (Bm) bad.
(E)(Bm)(G)(D)(Bm)(Em)(A7)
(D) Wendy, I (Em) wouldn’t hurt you like (D) that, no no (G) no.
(D) I thought, we (G) had our love down (C) pat guess I was (A) wrong.
(Bm) Oooh the farthest thing (E) from my mind,
(Bm) Oooh was the day that I'd (G) wake up to find my (D) Wendy,
(G) Wendy left me (A7) a (D) looone. |D| <pause> |D|, |G|
(D) Wendy, (Em) Wendy left me a (D) lone hurts so (G) bad.
(D) Wendy, (Em) Wendy left me a (D) lone hurts so (G) bad.
(D) Wendy, (Em) Wendy left me a (D) lone. (D) |D|
WESTCOUNTRY LOVE SONG – Jinder
(Dewhurst)
https://www.youtube.com/watch?v=5iorMSO2znE (Capo 4)(MC2)
TIP: There are a couple little tricky bits with the (D) variations. In the intro, the movement
from (D) to (Dsus) is a rocking motion in which you add your pinky to the bottom string/3rd fret
while at the same time lifting off the index finger. Reverse the process to get back to (D). And
for the bit that comes after “good (D) bye” from that (D) keep your ring finger in place while
lifting your index finger up one string and lifting the middle finger off the bottom string. Then
back to (D) and then add your pinky to the bottom string/3rd fret again for (D4). Repeat.
INTRO: (D)(Dsus), (D)(Dsus), (D)(Dsus), (D)(Dsus)
You can (A) almost touch Heaven, coming (G) over the hill.
And (Bm) down in the valley, the (G) sea looks so still.
And (A) there goes the ploughman tasting (G) salt in the breeze.
He (Bm) hangs on for dear life, as the (G) wind bends the (A) trees.
Sing a (D) Westcountry love song, a (G) sweet lullaby.

The (A) leaves of the autumn, are like the (G) tears in your eyes.
The (D) birds of the springtime, (G) home would they fly.
Sing a (A) Westcountry love song.
(G) This, is (A) not, good (D) bye (A7sus4)(D)(D4)(D)(A7sus4)(D)(D4).
No (A) one’s in a hurry, this (G) far from the smoke.

(Bm) This is our kingdom, we (G) sail our own boats.
We’ll (A) lend it for a moment, so (G) come rest your bones.
(Bm) We’ll almost miss you, (G) when you go (A) home.
Sing a (D) Westcountry love song, a (G) sweet lullaby.

Sing a (A) Westcountry love song. (G) This, is (A) not, good (D) bye (A7sus4)(D)(A7sus4).
I’ll be (D) gone, in the morning, but I’m (G) still here today.
So let’s (A) dance, and be merry, be (G) fore I’m a (A) way.
We’ll sing a (D) Westcountry love song, a (G) sweet lullaby.

(G) This, is (A) not, good (D) bye (A7sus4)(D)(D4)(D)(A7sus4)(D)(D4).
(A) All the little children, get the (G) best of both worlds,
The (Bm) beach in the summer, the (G) snow in the fields.
And we’re (A) shaped by the landscape, of (G) where we grow up.
And you (Bm) know when you’re leaving you’ll (G) always come (A) back.
To sing a (D) Westcountry love song, a (G) sweet lullaby.

(G) This, is (A) not, good (D) bye. (A7sus4)(D)(D4)(D)(A7sus4)(D)(D4) <rake> |D|
(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)(MC0)
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)
Wasn't I (D) good to (C) you (G)? Didn't I (D) show (C) it (G)?
And if I (D) ever hurt (C) you (G), I didn't (D) know (C) it (G).
If you think (D) I don't (C) care (G), then you're mis (D) ta (C) ken (G).
My love was (D) always (C) there (G), but now my heart's (D) brea (C) kin'.
Oh (G) baby, (D) oh what a (C) cryin' (G) shame, to (D) let it all (C) slip a (G) way,
And (D) call it (C) yester (G) day-yay (D)(C).
Oh (G) baby, my (D) life would (C) be so (G) blue. My (D) heart would (C) break in (G) two.
(D) Oh what a (C) cryin' (G) shame (G)(D)(C)(G).
'Cause I be (D) lieved in (C) you (G), from the be (D) ginn (C) ing (G).
I thought our (D) love was (C) true (G), but now it's all (D) end (C) ing.
(D) Oh what a (C) cryin' (G) shame (G)(G)(G).
(A)(A), (C)(C), |Em|-(A)(A), (C)(D)
(D) Oh what a (C) crying (G) shame (G)(D)(C)(G)(G).
(D) Oh what a (C) cryin' (G) shame (G)(D)(C)(G)(G).
(D) Oh what a (C) crying (G) shame (G).
(D) One two (C) three four. (G)(G)(D)(C)(G)(G)(D)(C)|G|
WHAT A WONDERFUL WORLD – Louis Armstrong
(Weiss/Douglas)
https://www.youtube.com/watch?v=A3yCcXgbKrE (Capo 5)(MC3)
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)
I see (C) trees of (Em) green, (F) red roses (Em) too.
(Dm) I see them (C) bloom, (E7) for me and (Am) you.
And I (F) think to myself (G7), “What a wonderful (C) world (Am)(F)(G).”
I see (C) skies of (Em) blue, and (F) clouds of (Em) white.
The (Dm) bright blessed (C) day, the (E7) dark sacred (Am) night.
And I (F) think to myself (G7), “What a (G) wonderful (C) world (F)(F)(C).”
The (G) colors of the rainbow, so (C) pretty in the sky.

Are (Dm) also on the (G) faces, of (C) people going by.
I see (Am) friends shaking (Em) hands, saying (Am) “How do you (Em) do?”
(Am) They're really (Em) saying: (Dm) “I (Am) love (Gadd) you.”
I hear (C) babies (Em) crying. (F) I watch them (Em) grow.
(Dm) They'll learn much (C) more, than (E7) I'll never (Am) know.
And I (F) think to myself, “What a (G) wonderful (C) world (A)(A7).”
Yes I (Dm7) think to myself (G7), “What a wonderful (C) world (F)(C). 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)(MC2)
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)
I can (G) make it, for a day or two, with (Am) out you.
And (D) maybe I, can (D7) make it, through the (G) night.
I can laugh, and I can drink, and prob’ly be al (G7) right, until (C) morning (Am).
But (G) what am I gonna do, with the (D) rest, of my (G) life?
I've got (C) things that I can do. I've got places I can go-hoe to this (G) evening.
I've got (D) whiskey, I can drink, that'll help me not to (D7) think about your (G) leaving.
Yes I can (C) smoke and I can drink, prob’ly be alright till the (G) morning.
But what am I gonna do, with the (D) rest, of my (G) life.
(G)(Cmaj7),(C)(G)(G)(D)(D)(G)(G), (C)(C)(G)(G), (G)(D)(G)(G)
I've got (C) things that I can do. I've got places I can go to, this (G) evening.
I've got (D) whiskey, I can drink, that'll help me not to (D7) think about your (G) leaving.
Yes I can (C) smoke and I can drink, prob’ly be alright till (G) morrrning.
But what am I gonna do, with the (D7) rest, of my (G) life (G).
Honey, what am I gonna do, with the (D) rest, of, my (G) life |Gadd|-|G|.
WHATEVER HAPPENED TO RANDOLPH SCOTT - The Statler Brothers
(Reid)
https://www.youtube.com/watch?v=I6tF6AT5ZSA (Capo 0)(MC1)
INTRO: (G)(E7)(Am)(D); (G)(E7)(Am)(D)
(G) Everybody knows when you go to the show you (C) can't take the kids a (G) long.
You've gotta read the paper and know the code of (A) "G" “P" (A7) "G” and (D) “R” and “X”
And you (G) gotta know what the movie's about be (C) fore you even (G) go.
Tex (C) Ritter's gone and (G) Disney's (E7) dead and the (A7) screen is (D) filled with (G) sex.
|D|
(G) Whatever happened to (B7) Randolph Scott, (C) ridin' the trail a (G) lone?
Whatever happened to Gene and Tex and (A) Roy and (A7) Rex the Du (D) rango Kid
Oh (G) whatever happened to (B7) Randolph Scott his (C) horse plain as could (G) be?
(C) Whatever happened to (G) Randolph (E7) Scott has (A7) happened to the (D) best of (G) me.
(G)(E7)(Am)(D); (G)(E7)(Am)(D)
(G) Everybody's tryin' to make a comment a (C) bout our doubts and (G) fears.
True Grit's the only movie I've really (A) under (A7) stood in (D) years.
You (G) gotta take your analyst along to (C) see if it's fit to (G) see.
(C) Whatever happened to (G) Randolph (E7) Scott has (A7) happened to the (D) indus (G) try.
|D|
(G) Whatever happened to (B7) Johnny Mack Brown and (C) Alan Rocky (G) Lane?
Whatever happened to Lash LaRue I'd (A7) love to see them a (D) gain.
(G) Whatever happened to (B7) Smiley Burnette Tim (C) Holt and Gene Aut (G) ry?
(C) Whatever happened to (G) all of (E7) these has (A7) happened to the (D) best of (G) me.
(C) Whatever happened to (G) Randolph (E7) Scott has (A7) happened to the (D) indus (G) try.
(G)(E7)(Am)|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)(MC0)
https://www.youtube.com/watch?v=1HJjeyn-uOM Rawlings & Welch (Capo 5)
[Afterwards there’s 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)
Let me (C) tell you buddy, there's a faster gun,

Comin' over yonder, when (D7) tomorrow (G) comes.
Let me (C) tell you buddy, and it won't be (F) long,
Til you (C) find yourself singin' your (G) last cowboy (C) song.
Yippee (G) ki-i-ay when the (F) round-up (C) ends.

Yippee (G) ki-i-ay and the (F) campfire (G) dims.
Yippee (C) ki-i-ay, he shouts and he (F) sings,
When a (C) cowboy trades his (G) spurs for (C) wings. (C)(F)
When they (C) wrap my body, in the bindlin' sheet,
And they take my six irons pull-the-(D7) boots from my (G) feet.
Un (C) saddle my pony, she'll be itching to (F) roam.
I'll be (C) halfway to heaven, under (G) horsepower o' my (C) own.
(WWTN)

When a (C) cowboy trades his (G) spurs for (C) wings
Yippee (G) ki-i-ay I'm (F) glory (C) bound.
No more (G) jingle jangle I'll (F) lay my guns (G) down.
When a (C) cowboy trades his (G) spurs for (C) wings. (C)(F), (C)(F)
When a (C) cowboy trades his (G) spurs for (C) wings.
======
(DRGW)

When a (C) cowboy trades his (G) spurs for (C) wings. (C)(F),(C)(F)
Yippee (G) ki-i-ay I'm (F) glory (C) bound.

No (G) more jingle jangle I'll (F) lay my guns (G) down.
When a (C) cowboy trades his (G) spurs for (C) wings |C|.
(Tim Blake Nelson)(Willie Watson) (David Rawlings)(Gillian Welch)

(Artist Index) - (Main Index) - (Song Index) (This Song)
WHEN A COWBOY TRADES HIS SPURS FOR WINGS (In G)
Willie Watson & Tim Blake Nelson
(Rawlings/Welch)
(MC2)
INTRO: (G)(C)
Let me (G) tell you buddy, there's a faster gun,

Comin' over yonder, when (A) tomorrow (D7) comes.
Let me (G) tell you buddy, and it won't be (C) long,
Til you (G) find yourself singin' your (D7) last cowboy (G) song.
Yippee (D) ki-i-ay when the (C) round-up (G) ends.

Yippee (D) ki-i-ay and the (C) campfire (D) dims.
Yippee (G) ki-i-ay, he shouts and he (C) sings,
When a (G) cowboy trades his (D7) spurs for (G) wings. (G)(C)
When they (G) wrap my body, in the bindlin' sheet,

And they take my six irons pull-the-(A) boots from my (D7) feet.
Un (G) saddle my pony, she'll be itching to (C) roam.
I'll be (G) halfway to heaven, under (D7) horsepower o' my (G) own (G).
Yippee (D) ki-i-ay when the (C) round-up (G) ends.

Yippee (D) ki-i-ay and the (C) campfire (D) dims.
When a (G) cowboy trades his (D7) spurs for (G) wings
Yippee (D) ki-i-ay I'm (C) glory (G) bound.
No more (D) jingle jangle I'll (C) lay my guns (D) down.
When a (G) cowboy trades his (D7) spurs for (G) wings. (G)(C), (G)(C)
When a (G) cowboy trades his (D7) spurs for (G) wings.
(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)(MC1)
TIP: The (Fm) can be skipped but you’ll already be playing the (F) so just hold fast on the ring
(and pinky if you cover the bass) and lift off the middle finger while sliding the index finger up
a string. Similarly, either (G) or (G7) can be played.
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)
When I get old and losing my hair, many years from (G7) now.
Will you still be sending me a Valentine, birthday greetings (C) bottle of wine.
If I'd been out till quarter to three, (C7) would you lock the (F) door?
Will you still (Fm) need me, (C) will you still (A) feed me,
(D7) When I'm (G) sixty- (C) four |C|-|C|?
(Am)(Am)(G)(Am) You'll be older (E) too (E7). (Am)

And if you (Dm) say the word, (F) I could (G) stay, with, (C) you. (C) |G| |G|-|G| (G)
(C) I could be handy mending a fuse, when your lights have (G7) gone.
You can knit a sweater by the fireside, Sunday mornings (C) go for a ride.
Doing the garden digging the weeds, (C7) who could ask for (F) more?
(D7) When I'm (G) sixty- (C) four |C|-|C|?
(Am) Every summer we can rent a cottage in the Isle of (G) Wight if it's not too (Am) dear.
We shall (we shall scrimp) scrimp and (E) save (E7).
(Am)(Am) Grandchildren (Dm) on your knee: (F) Vera, (G) Chuck, and, (C) Dave. (C) |G| |G|-|G| (G)
(C) Send me a postcard drop me a line, stating point of (G7) view.
Indicate precisely what you mean to say, yours sincerely (C) wasting away.
Give me your answer, fill in a form, (C7) mine for ever (F) more.
(D7) When I'm (G) sixty- (C) four |C|-|C|? 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)(MC1)
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: At the end of the first verse there's a little walk-down that's all played on the 5th string:
Open 5th string <a>, 5th string/2nd fret , and 5th string/4th fret <c#>. It's pretty quick and
the word "I" of the next line beginning on that last note of <c#>.
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.
TIP: After the key change there's a (C#m) which isn't played often. It looks like a (Bm) played
up on the 4th fret and you can play it that way but you can also play an (Amaj7) which is a much
easier transition since it follows an (E) and your index finger is already in place. 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 either a (B) or a (B7).
; or or
INTRO: (D/A)(D/A),(D)
I want to stand upon a rock, and watch the river flow

With the (G) blue sky above me and the valley down be (D) low.
I want to hold my head up high, and listen to the (Bm) wind.
Cause (D) when it's gone it (A) won't be (G) back a (D) gain. 5/O-5/2-5/4
I want to (D) sing the kind of songs, that my dad sang to me,
And (G) try to be the man, he hoped that I would (D) be.
He-said you only get one chance, you'd better do the best you (Bm) can,
Cause (D) when it's gone it (A) won't be (G) back a (D) gain.
I want to (A) wear my Sunday coat, and (G) hold your hand in (D) mine.
And (A) hear you say you'll love me, un (G) til the end of (A) ti-ime.
I (D) want to find forever, in every moment that we (Bm) spend
Cause (D) when it's gone it (A) won't be (G) back a (D) gain.
(D)(D)(G)(D), (D)(Bm)(D)(A)(G)(D)
I want to (A) wear my Sunday coat, and (G) hold your hand in (D) mine.
And (A) hear you say you'll love, me un (G) til the end of (A) ti-ime |B|.
<key change>
I want to |E| stand upon a rock, like I (E) did when I was young
And (A) hold you close beside me, and watch our children (E) run.
Cause you only get one chance, to listen to the (Bm4/Amaj7) wind,
And (E) when it's gone it (B) won't be back a (E) gain.
We only get one chance, so listen to the (Bm4/Amaj7) wi-i-ind.

Cause (E) when it's gone it (B) won't be back a (E) gain.
Yeah when it's gone it (B) won't be back a (E) gain (E)|E|.
WHEN THE MAN COMES AROUND
Johnny Cash
https://www.youtube.com/watch?v=k9IfHDi-2EA (Capo 0)(MC1)
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.
There'll be a golden ladder, reaching (Am) down (Am)(F).
When the (G) man comes a (C) round. (C)(C)(C)(C)
The hairs, on your arm, will stand up.

At the terror, in each sip, and in each sup.
Will you partake of that last offered cup,
Or disappear, into the potter's (Am) ground (Am)(F)?
When the (G) man comes a (C) round. (C)
(CaddG) Hear the trumpets hear the pipers. One hundred million angels singing.
Multitudes are marching, to the (F) big (C) kettle (G) drum.
(G7) Voices callin' voices (G) cryin'. (G7) Some are born and some are (G) dyin'.
It's (G7) Alpha and Omega's Kingdom (C) come.
And the (F) whirlwind, is in the (C) thorn tree. The virgins, are all trimming their wicks.
The (F) whirlwind, is in the (C) thorn tree. It's hard for thee to kick, against the pricks.
Til Armageddon, no Shalam, no Shalom.

Then the father hen will call his chickens home.
The wise men will bow down before the throne.
And at his feet, they'll cast their golden (Am) crowns (Am)(F).
Whoever, is unjust, let him be, unjust still.

Whoever is righteous, let him be righteous still.
Whoever, is filthy, let him be filthy still.
Listen to the words long written (Am) down (Am)(F),
(CaddG) Hear the trumpets hear the pipers. One hundred million angels singing.
Multitudes are marching, to the (F) big (C) kettle (G) drum.
(G7) Voices callin' voices (G) cryin'. (G7) Some are born and some are (G) dyin'.
It's (G7) Alpha and Omega's Kingdom (C) come.
And the (F) whirlwind, is in the (C) thorn tree. The virgins, are all trimming their wicks.
The (F) whirlwind, is in the (C) thorn tree. It's hard for thee to kick, against the pricks.
In measured hundredweight, and penny (Am) pound (Am)(F).

When the (G) man comes a (C) round. (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)(MC2)
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: For the intro, form (D) and pick the open 4th string, then the chords shown, those in
|brackets| just once.
TIP: Because of Keith's drawl the chords will lag the word so you want to 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 you'll see what I'm babbling on about.
INTRO: <form (D)> 4, |D|-|A|,|A|-|Gadd|; (G)(A)(D); |D|-|A|,|A|-|Gadd|; (Gadd)
(D) It's amazing how (G) you, can speak (A) right to my (D) heart (A)(G)(A).
(D) Without sayin' a (G) word, you can (A) light up the (D) dark (A),(G)(A).
(G) Try as I may I could (A) never explain, (D) what I (A) hear when you (G) don't say a (A) thing.
The (D) smile on your (A) face lets me (G) know that you (A) need me.
There's a (D) truth in your (A) eyes saying (G) you'll never (A) leave me.
A (D) touch of your (A) hand says you'll (G) catch me if ever I (A) fall (A),(G)(A).
Now (G) you say it best (G)|A| when you say nothing at (D) all.
|D|-|A|,|A|-|G|; (G)(A)(D); |D|-|A|,|A|-|G|; (Gadd)

(D) All day long I can (G) hear, people (A) talking out (D) loud (A)(G)(A).
(D) But when you hold me (G) near, you (A) drown out the (D) crowd (A),(G)(A).
(G) Old Mister Webster could (A) never define,
(D) What's being (A) said between (G) your heart and (A) mine.
There's a (D) truth in your (A) eyes sayin' (G) you'll never (A) leave me.
A (D) touch of your (A) hand says you'll (G) catch me if ever I (A) fall (A)(G)(A).
Now (G) you say it best (G)|A| when you say nothing at (D) all-(A)-ll-(G)-ll.
|D|,|D|-|A|,|A|-|G|, (A)
There's a (D) truth in your (A) eyes saying (G) you'll never (A) leave me.
A (D) touch of your (A) hand says you'll (G) catch me if ever I (A) fall (A)(A)(A).
Now (G) you say it best (G)|A| when you say nothing at (D) all.
|D|-|A|,|A|-|G|; (G)(A)(D); |D|-|A|,|A|-|G|; (Gadd); (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)(MC0)
[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.
TIP: In the bridge there are single strums of the |A|-|Asus4|-|A|. While playing (A) just add
your pinky to the 2nd string/3rd fret (or slide your ring finger up fret) and then reverse. On/off
(or up/down).
TIP: The last chord is a (D). If you can reach it and want to get fancy play an (F) form up on
the 10th fret.
; ;
INTRO: (D)(D4)(D)(A), (D)(G)(D)(Gadd), (D)(D@7)(D)(G), |D|,|G|-|D|-|A|
When I’m (D) sta- (G) a- (D) anding (A) next to (D) you (G)(D),
(A) There’s a (G) sonnng to (D) sing. I know (G) evvvery (D) thing’s feeling (A) right |A|.
When I’m (D) sta- (G) a- (D) anding (A) next to (D) you (G)(D),
(A) Steeple (G) bells (D) ring, only (G) go-od (D) things do I (A) see |A|.
When you’re next to (D) me (G)(D).
(A) When I (D) hol- (G) ol- (D) old your (A) hand in (D) mine (G)(D),
(A) Different (G) worrrld (D) wakes, a new (G) morrrning (D) breaks with the (A) sun |A|.
(A) When I (D) hol- (G) ol- (D) old your (A) hand in (D) mine (G)(D),
(A) Children's (G) dreams take (D) flight,
Through a (G) star-lit (D) night that’s what I (A) see |A|.
This (G) love for you I’m feeling, has a (Bm) power that is (D) healing.
It can (Bb) mend the darkest hour, with (D) glor-or-orious (A) light |A|.
When I (D) ta- (G) a- (D) aste your (A) lips so (D) sweet (G)(D),
(A) I see (G) beggggars (D) dine, and the (G) sannnds of (D) time up and (A) stop |A|.
When I (D) ta- (G) a- (D) aste your (A) lips so (D) sweet (G)(D),
(A) Black and (G) whiiite (D) bend, every (G) do-ove (D) lands at your (A) feet |A|.
(D)(G)(D)(D), (G)(D)(G)(D)(A); |A|-|Asus4|-|A|-(D)
This (G) love for you I’m feeling, has a (Bm) power that is (D) healing.
It can (Bb) mend the darkest hour, with (D) glor-or-orious (A) light |A|.
When I’m (D) ly- (G) y- (D) ying (A) next to (D) you (G)(D),
(A) I feel (G) moonbeams (D) burn I see (G) rainbows (D) turning to (A) gold |A|.
When I’m (D) ly- (G) y- (D) ying (A) next to (D) you (G)(D),
(A) I hear (G) aaangels (D) play, I see (G) sweeterrr (D) days,
I see (G) riverrrs (D) wind through the (G) ennnd of (D) time,
I see (G) haaatred (D) fall, from the (G) hiiighest (D) hill,
I see (G) God’s good (D) grace, shining (G) in-(Gadd)-in-innn-inn-innn (G) your (D) eyes.
That’s what I (A) see |A|. When you’re next to (D) me (G)(D)(A)(D)(D) |D| or |F10|.
WHEN YOU’RE NEXT TO ME – Mitch & Mickey
(Levy)
https://www.youtube.com/watch?v=a4sVu0z5Qo8 (Capo 7)(MC5)
TIP: To play the (CaddG), (Em/G), and (D4) just add the pinky to the bottom string/3rd fret when
playing the (C), (Em) and (D).
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). And if the
rapid (C)(G) chord changes between the (G) and (D) are too much, just play the (G) straight through
to the first (D).
INTRO: (G)(C)(G)(D), (G)(C)(Gadd)(C), (G)(CaddG)(F)(C), |Gadd|,|C|-|G|-|D|
When I’m (G) sta- (C) a- (G) anding (D) next to (G) you (C)(G),
(D) There’s a (C) sonnng to (G) sing. I know (C) evvery (G) thing’s feeling (D) right |D|.
When I’m (G) sta- (C) a- (G) anding (D) next to (G) you (C)(G),
(D) Steeple (C) bells (G) ring, only (C) go-od (G) things do I (D) see |D|.
When you’re next to (G) me (C)(G).
(D) When I (G) hol- (C) ol- (G) old your (D) hand in (G) mine (C)(G),
(D) Different (C) worrrld (G) wakes, a new (C) morrrning (G) breaks with the (D) sun |D|.
When I (G) hol- (C) ol- (G) old your (D) hand in (G) mine (C)(G),
(D) Children's (C) dreams take (G) flight, through a (C) star-lit (G) night.
That’s what I (D) see |D|. When you’re next to (G) me (C)(G).
This (C) love for you I’m feeling, has a (Em/G) power that is (G) healing.
It can (D#) mend the darkest hour, with (G) glor-or-(Em)-orious (D) light |D|.
When I (G) ta- (C) a- (G) aste your (D) lips so (G) sweet (C)(G),
(D) I see (C) beggggars (G) dine, and the (C) sannnds of (G) time up and (D) stop |D|.
When I (G) ta- (C) a- (G) aste your (D) lips so (G) sweet (C)(G),
(D) Black and (C) whiiite (G) bend, every (C) do-ve (G) lands at your (D) feet |D|.
When you’re next to (G) me (C)(G).
(G)(G)(C)(G), (C)(G)(C)(G)(D), |D|-|D4|-|D|-(G)
This (C) love for you I’m feeling, has a (Em/G) power that is (G) healing.
It can (D#) mend the darkest hour, with (G) glor-or-(Em)-orious (D) light |D|.
When I’m (G) ly- (C) y- (G) ying (D) next to (G) you (C)(G),
(D) I feel (C) moonbeams (G) burn I see (C) rainbows (G) turning to (D) gold |D|.
When I’m (G) ly- (C) y- (G) ying (D) next to (G) you (C)(G),
(D) I hear (C) aaangels (G) play, I see (C) sweeterrr (G) days,
I see (C) riverrrs (G) wind through the (C) ennnd of (G) time,
I see (C) haaatred (G) fall, from the (C) hiiighest (G) hill.
I see (C) God’s good (G) grace, shining (C) in-(CaddG)-innn-inn-inn-in your (G) eyes.
That’s what I (D) see |D|. When you’re next to (G) me (C)(G)(D)(G)(G)|Gadd|.
WHERE DID OUR LOVE GO - The Supremes
(Holland/Dozier/Holland)
https://www.youtube.com/watch?v=qTBmgAOO0Nw (Capo 0)(MC1)
TIP: The (Emsus4) and (Asus) chords are very easy (and both can be omitted if you'd rather). The
(Asus) will always come after a (Dm) so all you do is stay on the (Dm) and move your index finger
from bottom string/1st fret to the position above the middle finger on the 2nd fret/4th string.
The (Emsus4) is one finger on the 4th string/2nd fret and is often follows an (F) so all you have
to do is move the middle finger up one string.
INTRO: <4 hand claps>
(C) Baby baby. Baby don't (G) leave me.

Oooh please don't (Dm) leave me, all (Asus) by my (G) self (F).
(Emsus4) I've got this (C) burnin' burnin' yearnin', feeling in (G) side me.
Oooh deep in (Dm) side me, and (Asus) it hurts so (Gadd) bad.
(Emsus4) You came into my (C) heart. So tender (G) ly.

With a burnin' (Dm) love, that (F) stings like a (G) bee (F).
(Emsus4) Now that I sur (C) render, so helpless (G) ly.
You now wanna (Dm) leave. (Asus) Oooh you wanna leave (Gadd) me.
(F) Ooh-ooh (C) baby baby. Where did our (G) love go?
Ooh don't you (Dm) want me? (Asus) Don't you want me no (G) more? (F) Oooh baby.
(C),(C)(G)(G)(Dm)(Dm)(G)(F)
(C) Baby baby. Where did our (G) love go?

And all your (Dm) promises, (Asus) of a love forever (G) more?
(Emsus4) I've got this (C) burnin' burnin' yearnin', feeling in (G) side me.
Oooh deep in (Dm) side me, (Asus) and it hurts so (Gadd) bad.
(Emsus4) Before you won my (C) heart, you were a perfect (G) guy.
But now that you (Dm) got me, (Asus) you wanna leave me be (G) hind.
Oooh (C) baby baby. Baby don't (G) leave me.

Ooh please don't (Dm) leave me, (Asus) all by my (Gadd) self.
(F) Ooh-ooh, (C) baby baby. Where did our (G) love go?
Oooh don't you (Dm) want me, (Asus) don't you want me no (Gadd) more. (F) 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)(MC2)
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 3 perform the song quite similarly although in different keys. This version is based
largely on the Kingston Trio. Peter, Paul & Mary (PPM) sing an extra verse, 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.
TIP: At the outro there's a |D|-|Bm|-|D| sequence. Don't lift off the (D), just add your pinky to
the 3rd string/4th fret and then lift off again.
INTRO: KT: (G)(G)(Em)(C)(D)

INTRO: PPM: (G)(G4+)(G), (G)(G4+)(G), (G)(G4+)(G), (G)(G4+)(G)
(G) Where have all the (Em) flowers gone, (C) long time (D7) passing?
(G) Where have all the (Em) flowers gone, (C) long time a (D) go?
(G) Where have all the (Em) flowers gone? (C) Young girls picked them (D7) every one.
(C) When will they (G) ever learn? (C) When will they (D) ever (G) learn? (D)
(G) Where have all the (Em) young girls gone, (C) long time (D7) passing?
(G) Where have all the (Em) young girls gone, (C) long time a (D) go?
(G) Where have all the (Em) young girls gone? (C) Gone to young men (D7) everyone.
(G) Where have all the (Em) young men gone, (C) long time (D7) passing?
(G) Where have all the (Em) young men gone, (C) long time a (D) go?
(G) Where have all the (Em) young men gone? (C) Gone for soldiers (D7) everyone.
(G) Where have all the (Em) soldiers gone, (C) long time (D7) passing?
(G) Where have all the (Em) soldiers gone, a (C) long long time a (D) go?
(G) Where have all the (Em) soldiers gone? (C) Gone to graveyards (D7) everyone.
(G) Where have all the (Em) graveyards gone, (C) long time (D7) passing?
(G) Where have all the (Em) graveyards gone, (C) long time a (D) go?
(G) Where have all the (Em) graveyards gone? (C) Gone to flowers (D7) everyone.
(C) When will they (G) ever learn? (C) When will they (D) ever (G) learn? (D)(G)(D)-|Bm|-|D|-|G|
--------------
<PPM extra verse>
(G) Where have all the (Em) flowers gone, (C) long time (D7) passing?
(G) Where have all the (Em) flowers gone, (C) long time a (D) go?
(G) Where have all the (Em) flowers gone? (C) Young girls have picked them (D7) everyone.
(C) When will they (G) ever learn? (C) When will they (D) ever (G) learn?
(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)(MC1)
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)
Can you (C) hear it 'cross the (G) valley? Can you (C) hear that mournful (G) sound?
I'm (C) ridin' rails of (G) silver, goin' to (D) where I'm (G) bound.
High a (C) bove the fields of (G) clover, on a (C) lazy hot Ju (G) ly,
When I (C) get to where I'm (G) goin', I'll hold my (D) head up (G) high.
(C)(G), (C)(G), (C)(G), (G)(D)(G)
I will (C) roll across these (G) mountains. I will (C) take the last train (G) out.
(C) Ridin' rails of (G) silver, goin' to (D) where I'm (G) bound.
(C) Roses dust and (G) ashes, (C) throw them where I (G) lay.
And (C) if by chance you (G) see me, there'll be no sorrow (D) on my (G) face.
For (C) I will see the beauty. I only (CaddG) wish that you could (G) see. (G)
(C) I'll leave my body weak (G)ened. I'll (C) leave my (CaddG) soul to wander (G) freeee-eee.
So free-ee.
So if (C) you should see a (G) diamond, (C) fall down from the (G) sky.
(C) It is just a (G) teardrop, from the corner (D) of my (G) eye.
As good-byyyyyye. As I flyyy-(D)-yy. To where I'm (C) bound (G), (C)(G), (C)(G), (G)(D)|G|
WHERE WERE YOU (WHEN THE WORLD STOPPED TURNING)
Alan Jackson
https://www.youtube.com/watch?v=gPHnadJ-0hE (Capo 0)(MC0)
TIP: Even after all these years I still have a hard time getting through this song without choking
up. I tell myself "don't think about the meaning and just sing the words." Never forget.
INTRO: (CaddG)
(C) Where were you when the world stopped turning, (G) on that September (C) day?
Were you out in the yard, with your wife and children, or (G) working on some stage in L. (C) A?
Did you (F) stand there in shock, at the (C) site of that black smoke,
(F) Risin’ against that blue (C) sky.
Did you (F) shout out in anger in (C) fear for your neighbor
Or (Am) did you just sit down and (F) cry? (G)
Did you (C) weep for the children, who lost their dear loved ones,
(G) Pray for the ones who don't (C) know?
Did you rejoice for the people who walked from the rubble,
And (G) sob for the ones left be (C) low?
Did you (F) burst out with pride for the (C) red white and blue,
And the (F) heroes who died just (C) doin’ what they do?
Did you (F) look up to heaven for (C) some kind of answer,
And (Am) look at yourself, and (F) what really matters?
I'm just a singer of (C) simple songs I'm not a, (F) real political (C) man.
I watch (F) CNN but I'm (C) not sure I can tell you, the (Am) difference in Iraq and I (F) ran.
But I know Jesus and (C) I talk to God and I re (F) member this from when I was (C) young:
(F) Faith hope and love are some (C) good things He gave us (G),
And the greatest is (F) love. (F)(G)
(C) Where were you when the world stopped turnin', (G) that September (C) day?
Teaching a class full of innocent children, or (G) driving down some cold inter (C) state?
Did (F) you feel guilty cause (C) you're a survivor?
In a (F) crowded room did you feel a (C) lone?
Did you (F) call up your mother and (C) tell her you loved her?
Did you (Am) dust off that bible at (F) home? (G)
Did you (C) open your eyes, hope it never happened? (G) Close your eyes and not go to (C) sleep?
Did you notice the sunset, the first time in ages? (G) Speak with some stranger on the (C) street?
Did you (F) lay down at night, and (C) think of tomorrow? (F) Go out and buy you a (C) gun?
Did you (F) turn off that violent old (C) movie you're watching,
And (Am) turn on "I Love Lucy" re (F) runs?
Did you go to a church and hold (C) hands with some strangers?
(F) Stand in line and give your own (C) blood?
Did you (F) just stay home and cling (C) tight to your family?
Thank (Am) God you had somebody to (F) love. (F)(F)
I watch (F) CNN but I'm (C) not sure I can tell you, the (Am) difference in Iraq and I (F) ran.
(F) Faith hope and love are some (C) good things He gave us (G), and the greatest is (F) love.
I watch (F) CNN but I'm not (C) sure I can tell you, the (Am) difference in Iraq and I (F) ran.
(F) Faith hope and love are some (C) good things He gave us (G), and the greatest is (F) love.
And the (G) greatest is (F) love. And the (G) greatest is (F) love.
(C) Where were you when the world stopped turning, (G) on that September, |C| day?
WHICH WAY DOES THAT OLD PONY RUN
Lyle Lovett
https://www.youtube.com/watch?v=ZVhx536i-jM (Capo 2)(MC1)
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)
When (C) I was a very young (G) man. I was a (C) cowboy, the (G) best in the land.
But then she settled me (G7) down, with a (C) touch of her (A) ha-and.
Now I'm (G) begging you (D) mister, tell (C) me if you (G) can:
Which (C) way does that old pony (G) run? Which (C) way, does that ol-old pony (G) run?
And how much, is that (G7) saddle, and a (Em) straight, shooting (A) gun?
Which (G) way, does that (D) old, po-ony (G) run?
Now a (C) young girl she don't know when she's (G) lying.
But a (C) woman, great God, she (G) knows how it's done.
So Mama, be-fore I (G7) go, there's just one (C) thing on my (A) mind:
Which (G) way, does that (D) old, pony (G) run?
Which (C) way does that olld pony (G) run? Which (C) way does that ollllld pony (G) run?
And how much, is that (G7) saddle, and a (Em) straight, shootin' (A) gun?
Which (G) way, does that (D) old, po-ony (G) run?
(C)(G)(C)(G)(Em)(A)(G)(D)(C)(G)
So this (C) good life you know I must (G) leave. Your (C) new car and your, (G) color TV.
But what's riches to (G7) you, just ain't (Em) riches to (A) me,
If (G) you're staying out (D) here, then I'm (C) headed back (G) east.
Which (C) way does that olld pony (G) run? And which (C) way does that ollllld pony (G) run?
And how much, is that (G7) saddle, and a (Em) straight, shootin' (A) gun?
Which (G) way does that (D) old po-ony (G) run?
How much, is that (G7) saddle, and a (Em) straight shootin' |A| gun?
And which (G) way, does that (D) old, pony (C) run (G)? (C) Mmmm (G) mmmm (C)(G)
WHISKEY, IF YOU WERE A WOMAN – Highway 101
(Morrison/Macrae/Francis)
https://www.youtube.com/watch?v=eFkQdaI1GCU (Capo 0)(MC1/2)
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)
He's told me, a (G) million times he's (A) sorry.

I (D) always take him (G) back, though soon I (A) know.
He'll (D) spend the night with you, and leave me (G) cryin'.
(Em) You don't love him but you won't let him (A) go |A|.
Oh-oh (D) whiskey (G), if you were a (D) woman (G),

I'd (D) fight you and I'd (G) win, Lord knows I (D) wou-(A)-ould.
Oh-oh (D) whiskey (G), if you were a (D) wo-o- (Bm) man
I'd (G) drive you from his (A6) tangled mind for (D) good. (D)|G|-|G|(D)(A)(D)(D)
No matter, what you (G) do, I'll do it (A) better (A).

You'll (D) never be, the (G) woman, I could (A) be.
But (D) you don't have a heart or any (G) feelings.
So (Em) I can't even ask for sympa (A) thy |A|.
Oh-oh (D) whiskey (G), if you were a (D) woman (G),

I'd (D) fight you and I'd (G) win, Lord knows I (D) wou-(A)-ould.
Oh-oh (D) whiskey (G), if you were a (D) wo-o- (Bm) man
I'd (G) drive you from his (A6) tangled mind for (D) good (D).
(G) Oh-oh |D| whiskey |D|-|G|, if you were a |D| woman |D|-|G|,
I'd (Em) drive you from his (A6) tangled mind for (D) good (D). (D)-(A)-|D|
WHISKEY IN THE JAR – The Dubliners
(Traditional)
https://www.youtube.com/watch?v=hlWTASnnft4 (Capo 0)(MC0)
[Afterwards there’s a version by The Seekers and after that a couple of hybrid versions.]
TIP: The opening three notes are top string/3rd fret, open 5th string, and 5th string/2nd fret. Then
pick the 5th string and strum (C/G) followed by the top string and strum (C/G). Repeat.
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: <g> – <a> – 5-(C/G), 6-(C/G), 5-(C/G), 6-(C/G)
As (C) I was goin over the (Am) far-famed Kerry mountains,

I (F) met with Captain Farrell and his (C) money he was (Am) countin’.
I (C) first produced me pistol and I (Am) then produced my rapier,
Sayin' (F) "Stand and deliver for he (C) were a bold de (Am) ceiver."
Musha (G) ringum du dum da. (C) Whack fall the daddy-o, (F) whack fall the daddy-o,
There's (G) whiskey in the (C) jar.
I counted out his money and it (Am) made a pretty penny.

I (F) put it in me pocket and I (C) took it home to (Am) Jenny.
She (C) sighed then and she swore, that she (Am) never would deceive me
But the (F) devil take the women for they (C) never can be (Am) easy.
I went unto my chamber all (Am) for to take a slumber.
I (F) dreamt of gold and jewels and for (C) sure it was no (Am) wonder.
But (C) Jenny blew me charges and she (Am) filled them up with water,
Then (F) sent for Captain Farrell to be (C) ready for the (Am) slaughter.
It twas early in the morning just be (Am) fore I rose to travel,

Up (F) comes a band of footmen and (C) likewise Captain (Am) Farrell.
I (C) first produced me pistol for she (Am) stole away me rapier.
But I (F) couldn't shoot the water so a (C) prisoner I was (Am) taken.
Now there’s some take delight in the (Am) carriages a rollin,

And (F) others take delight in the (C) hurling and the (Am) bowlin’.
But (C) I take delight in the (Am) juice of the barley,
And (F) courtin' pretty fair maids in the (C) morning bright and (Am) early.
If anyone can aid me tis me (Am) brother in the army.

If (F) I can find his station in (C) Cork or in Kil (Am) larney,
And (C) if he'll go with me we'll go (Am) rovin' through Killkenney,
And I'm (F) sure he'll treat me better than me (C) own a-sporting (Am) Jenny.
There's (G) whiskey in the (C) jar. |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)(MC0)
[There’s also a version by the Dubliners.]
TIP: This version is in (C) to play along with the recording by The Seekers. While I prefer the
musical arrangement of the Seekers I prefer the more traditional lyrics in the Dubliner’s version
as it’s more complete. Also, afterwards there are a couple of hybrid versions, one in (C) and one
in (G), keeping the Seeker’s music but with the Dubliner’s lyrics.
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)
As (C) I went a-walkin', (Am) on Kilgary Mountain,

I (F) spied Colonel Pepper and his (C) money he was (Am) countin'.
I (F) rattled out my pistols and I (C) drew forth my (Am) saber,
Cryin' (F) "Stand and deliver for I (C) am a bold de (Am) ceiver."
Musha (G7) ringum duram da. (C) Whack fol the daddy-o, (F) whack fol the daddy-o,
There's (C) whiskey (G) in the (C) jar. (C)
The gold and silver coins, they (Am) looked so bright and shiny
Oh I (F) took them home straightway and I (C) gave 'em to my (Am) Molly.
She (F) vowed and she promised that she (C) never would de (Am) ceive me,
But the (F) devil's in the women oh you (C) never can be (Am) lieve 'em.
But when I awoke, bet (Am) ween six and seven,
The (F) guards were all around me in (C) numbers odd and (Am) even.
I (F) reached for my pistols but a (C) las I was mis (Am) taken.
My (F) pistols had been fired and a (C) prisoner I was (Am) taken.
They put me in the jail, with (Am) out judge or writin',

For (F) robbing Colonel Pepper oh (C) on Kilgary (Am) Mountain.
But they (F) didn't take my fists so I (C) knocked the sentry (Am) down,
And (F) bade farewell to the (C) jail, in Sli-igo (Am) town.
Some people take delight, in (Am) fishin' and in bowlin'

Oh (F) others take delight in the (C) carriages a (Am) rollin'.
But (F) I take delight in the (C) juice of the (Am) barley,
And (F) courtin' pretty girls 'til the (C) morning so (Am) early.
There's (C) whiskey (G) in the (C) jar.
There's (C) whiskey- (F) ey, a whiskey (G) in the (C) jar. (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)
(MC0)
TIP: This is a hybrid with The Seekers music and The Dubliners lyrics. This one is in (C), the
one that follows is in (G). If there are two guitarists play this version uncapo’d and play the
other in (G) capo’d at the 5th fret. They’ll both be in (C) an octave apart. It’ll sound terrific.
INTRO: (C)(Am)(C)(Am)
As (C) I was goin’ over, the (Am) far-famed Kerry mountains,

I (F) met with Captain Farrell and his (C) money he was (Am) countin’.
I (F) first produced me pistol and I (C) then produced my (Am) rapier,
Sayin' (F) "Stand and deliver, for he (C) were a bold de (Am) ceiver."
I counted out his money, and it (Am) made a pretty penny.

I (F) put it in me pocket and I (C) took it home to (Am) Jenny.
She (F) sighed then and she swore that she (C) never would de (Am) ceive me
But the (F) devil take the women for they (C) never can be (Am) easy.
I went unto my chamber, all (Am) for to take a slumber.

I (F) dreamt of gold and jewels and for (C) sure it was no (Am) wonder.
But (F) Jenny blew me charges and she (C) filled them up with (Am) water,
Then (F) sent for Captain Farrell to be (C) ready for the (Am) slaughter.
It twas early in the morning, just be (Am) fore I rose to travel,
Up (F) comes a band of footmen and (C) likewise Captain (Am) Farrell.
I (F) first produced me pistol for she (C) stole away me (Am) rapier.
But I (F) couldn't shoot the water so a (C) prisoner I was (Am) taken.
Now-there’s-some take delight, in the (Am) carriages a rollin,

And (F) others take delight in the (C) hurling and the (Am) bowlin’.
But (F) I take delight in the (C) juice of the (Am) barley,
And (F) courtin' pretty fair maids in the (C) morning bright and (Am) early.
If anyone can aid me tis me (Am) brother in the army.

If (F) I can find his station in (C) Cork or in Kil (Am) larney,
And (F) if he'll go with me we'll go (C) rovin' through Kill (Am) kenney,
And I'm (F) sure he'll treat me better than me (C) own a-sporting (Am) Jenny.
There's (C) whiskey (G) in the (C) jar.
There's (C) whiskey- (F) ey, a whiskey (G) in the (C) jar. (C) (C)-(G)-(C) |C|
(The Seekers) (The Dubliners)(Artist Index) (Traditional) - (Main Index) - (Song Index) (This Song)
WHISKEY IN THE JAR (In G) – The Seekers/The Dubliners
(Traditional)
(MC5)
TIP: This is a hybrid with The Seekers music and The Dubliners lyrics. This one is in (G), the
other above is in (C). If there are two guitarists play this version capo’d at the 5th fret and the
other (C) uncapo’d. They’ll both be in (C) an octave apart. It’ll sound terrific.
INTRO: (G)(Em)(G)(Em)
As (G) I was goin’ over, the (Em) far-famed Kerry mountains,

I (C) met with Captain Farrell and his (G) money he was (Em) countin’.
I (C) first produced me pistol and I (G) then produced my (Em) rapier,
Sayin' (C) "Stand and deliver, for he (G) were a bold de (Em) ceiver."
Musha (D7) ringum duram da. (G) Whack fol the daddy-o, (C) whack fol the daddy-o,
There's (G) whiskey (D7) in the (G) jar. (G)
I counted out his money, and it (Em) made a pretty penny.

I (C) put it in me pocket and I (G) took it home to (Em) Jenny.
She (C) sighed then and she swore that she (G) never would de (Em) ceive me
But the (C) devil take the women for they (G) never can be (Em) easy.
I went unto my chamber, all (Em) for to take a slumber.

I (C) dreamt of gold and jewels and for (G) sure it was no (Em) wonder.
But (C) Jenny blew me charges and she (G) filled them up with (Em) water,
Then (C) sent for Captain Farrell to be (G) ready for the (Em) slaughter.
It twas early in the morning, just be (Em) fore I rose to travel,
Up (C) comes a band of footmen and (G) likewise Captain (Em) Farrell.
I (C) first produced me pistol for she (G) stole away me (Em) rapier.
But I (C) couldn't shoot the water so a (G) prisoner I was (Em) taken.
Now-there’s-some take delight, in the (Em) carriages a rollin,

And (C) others take delight in the (G) hurling and the (Em) bowlin’.
But (C) I take delight in the (G) juice of the (Em) barley,
And (C) courtin' pretty fair maids in the (G) morning bright and (Em) early.
If anyone can aid me tis me (Em) brother in the army.

If (C) I can find his station in (G) Cork or in Kil (Em) larney,
And (C) if he'll go with me we'll go (G) rovin' through Kill (Em) kenney,
And I'm (C) sure he'll treat me better than me (G) own a-sporting (Em) Jenny.
There's (G) whiskey (D7) in the (G) jar.
There's (G) whiskey- (C) ey, a whiskey (D7) in the (G) jar. (G) (G)-(D7)-(G) |G|
(The Seekers)(The Dubliners) (Artist Index) (Traditional) - (Main Index) - (Song Index) (This Song)
WHITE RABBIT – Jefferson Airplane
(Slick)
https://www.youtube.com/watch?v=pnJM_jC7j_4 (Capo 0)(MC0)
TIP: There are two ways to play the (F#) and the (G). The first is to play the (F#) as an (F#)
and the (G) as an (F3) but barre the 2nd fret completely. The F# will be played for two bars so
even if you start without the bar you’ll have time to extend the index finger to complete the bar
as you play. (First two chord diagrams.) The other is to play the (F#), with or without the
barre, and then (G) as a regular (G) and not an (F3). (Third and fourth diagrams.) There is a
certain logic to playing (G) as (F3) since you just slide up and back one fret with the same chord
formation rather than come off the (F#) to play a traditional (G) only to go back to the (F#) -
although it's this latter notation that is shown in the body of the song. Your choice.
; ;
INTRO: (F#)(F#),(F3)(F3); (F#)(F#),(F3)(F3); (F#)(F#),(F3)(F3)
(F#) One pill makes you larger, and (G) one pill makes you small,
And the (F#) ones that mother gives you, don't (G) do anything at all.
Go ask (A) Alice (C), when she's (D) ten feet (A) tall.
And if (F#) you go chasing rabbits, and you (G) know you're going to fall.
Tell 'em a (F#) hookah smoking caterpillar, ha-(G)-as given you the call.
Call (A) Alice (C), when (D) she was just (A) small (A).
(E) When men on the chessboard, get up and (A) tell you where to go.
And you've (E) just had some kind of mushroom, and your (A) mind is moving slow.
Go ask (F#) Alice, I think she'll know. When logic, and proportion, have (G) fallen sloppy dead.
And the (F#) White Knight is talking backwards, and the (G) Red Queen's "Off with her head!"
Re (A) member (C), what the (D) dormouse (A) said (A):
(E) "Feed your (A) head (A). (E) Feed your (A) head (A)(A)|A|."
(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)(MC3)
TIP: For the intro and outro emphasize the bottom string on the 4th upstroke of each (G), similar
to the added <g> strummed on the (EmG).
TIP: If you don't like the (Bm) you can play an (Em) or play the (G) straight through to the (C).
INTRO: (G)(G); (Em)-(EmG),(Em)-(EmG); (G)(G)
Long as I remember, the (C) rain been comin' (G) down.

Clouds of mystery pourin', con (C) fusion on the (G) ground.
(C) Good men through the (G) ages, (C) tryin' to find the (G) sun.
(C) And I wonder, (D) still I wonder, (Em) who'll stop the ra (G) in? (G)
I went down Virginia, seekin' (C) shelter from the (G) storm.
Caught up in the (Bm) fable, I (C) watched the tower (G) grow.
(C) Five year plans and (G) new deals, (C) wrapped in golden (G) chains,
(C) And I wonder, (D) still I wonder, (Em) who'll stop the ra (G) in? (G)
(C)-(G)-(D)(D), (Am)-(C)-(Em)(Em), (Em)-(G)(G)
Heard the singers playing, (C) how we cheered for (G) more.
The crowd had rushed to (Bm) gether, (C) tryin' to keep (G) warm.
(C) Still the rain kept (G) pourin', (C) fallin' on my (G) ears.
(C) And I wonder, (D) still I wonder, |Em| who'll stop the rain?
(G)(G);(Em)-(EmG),(Em-EmG); (G)(G),(Em)-(EmG),(Em)-(EmG); (G)(G);(Em)-EmG),(Em)-EmG); |G|

WHY DON'T WE GET DRUNK AND SCREW
Jimmy Buffett
https://www.youtube.com/watch?v=LL9O0B0gzZE (Capo 0)(MC0)
INTRO: (A)-(A)-(A)-(A)-(A)-(D) (D)(D) . . .
I really do, appreci (D7) ate, the (G) fact you’re, sittin’ (D) here.
Your voice it sounds so wonderful but your (E7) face don’t, look too (A) clear (A).
So (G) bar maid bring a pitcher, a (D) nother round o’ brew.
Honey (G) why don't we (A) get drunk, and (D) screw?
(G) Why don’t we get drunk and (D) screw (D)?

(E7) I just bought a water bed it’s filled (A) up for me and you.
They (G) say you are a snuff queen. Honey (D) I don’t think that's true.
So (G) why don’t we (A) get drunk and (D) screw (D)?
(D)(D)(G)(D), (D)(D)(E)(A), (A)(G)(G)(D)(D), (G)(A)(D)(D)
(G) Why don’t we get drunk and (D) screw (D)?

(E7) I just bought a water bed it’s filled (A) up for me and you.
They (G) say you are a snuff queen. Honey (D) I don’t think that's true.
So (G) why don’t we (A) get drunk and (D) screw?
Yes now baby I said (G) why don't we (A) get drunk and (D) screw. (D)(D)|D|
WILBURY TWIST - The Traveling Wilburys
(Lynne/Petty/Harrison/Dylan)
https://www.youtube.com/watch?v=VrwIoIGfFIU (Capo 0)(MC0)
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).
Then you (C) hop around the room (hop around the room). In your (G) underwear (in your underwear).
There (D) ain't never been nothin quite like this. (G) 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) Get back up (get back up). Put your (G) teeth in a glass (teeth in a glass).
There (D) ain't never been nothin quite like this it's a (G) magical thing called the Wilbury
Twist. (F)(F)(C)(C) (G) Everybody's trying to do the Wilbury Twist. (Gadd)
(F) China Belgium France Japan, (C) Thailand Poland (Bb) Pakis-(G)-tan.
Everybody's trying to do the Wilbury Twist. (Gadd)
(G) Roll up your rug (roll up your rug). Dust your broom (dust your broom).
(C) Ball the jack (ball the jack). (G) Howl at the moon (at the moon).
(D) Ain't ever been nothin quite like this. (G) Everybody's talking bout the Wilbury Twist.
<bottom to top> (G), (G), (C), (G), (G)(D), (G);

(F)(F)(C)(C)(G) Everybody's trying to do the Wilbury Twist. (Gadd)
(F) Puerto Rico USA, (C) England Cam-er-(Bb)-roon Nor (G) way.
Everybody's trying to do the Wilbury Twist. (Gadd)
(G) Turn your lights down low (turn your lights down low).
Put your blindfold on (put your blindfold on).
(C) You'll never know (you'll never know).
When your (G) friends have gone (when your friends have gone).
It (D) could be years before you're missed. (G) 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) Spin your body (very versatile). Like a (G) screw (spin your body like a screw).
(D) Better not forget it on your shopping list.
(G) You can stop and buy one it's the Wilbury Twist.
(D) Ain't never been nothin' quite like this. (G) Better come and get it it's the Wilbury Twist.
I (D) guess by now you've got the gist. (G) Everybody's crazy bout the Wilbury Twist.
<bottom to top> (G) Ohhhhhhh-up. (G)|G|
WILD WORLD
Cat Stevens
https://www.youtube.com/watch?v=k_0U3DlLFSU (Capo 0)(MC0)
TIP: For the intro, form (Am) and pick the 5th string and then the 6th before strumming the first
(Am). Thump-thump-strum.
TIP: (Cmaj7) is just (C) without the index finger on the lower string <c>.
TIP: To play the (E)(Esus)(E)(Am) sequence keep the (E) shape and simply add your pinky to the 3rd
string/2nd fret <a> and then remove it - on/off - and then move to the (Am). Easy.
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: 5-6 (Am) La la la la (D7) la la la la (G) la, la la la la (Cmaj7) la la la la (F) la,

la la la (Dm) la la la la la (E) la, la (E)-(Esus)-(E)-(Am)
Now that I've (D7) lost everything to (G) you,

You say you (Cmaj7) wanna start something (F) new.
And it's (Dm) breakin' my heart you're (E) leav-in' baby I'm (Esus) grie (E) vin (Am).
But if you wanna (D7) leave, take good (G) care.
Hope you have a (Cmaj7) lot of nice things to (F) wear.
But then a (Dm) lot of nice things turn (E) bad out (G) there. (G7)-(Em)-(G)-(C)
Oooh (G) baby baby it's a (F) wild world. (F)x7-(G)

It's hard to get (F) by just upon a (C) smile. (C)x4-(G)x4-(C)
I'll always re (F) member you like a (C) child, girl (Dm)(E)(Am).
You know I've seen a (D7) lot of what the world can (G) do.
And it's (Cmaj7) breakin' my heart in (F) two,
Because I (Dm) never wanna see you (E) sad, girl. Don't be a (Esus) bad (E) girl (Am).
But if you wanna (D7) leave, take good (G) care.
Hope you make a (Cmaj7) lot of nice friends out (F) there.
But just re (Dm) member there's a lot of bad (E) and be (G) ware. (G7)-(Em)- (G) Well - (C) ell.

And I'll always re (F) member you like a (C) child, girl (Dm)(E)(Am).
(Am)(D7)(G), (G) la la la la (Cmaj7) la la la la la (F) la,

La la la (Dm) la la la la la la (E) la, la,
Baby I (Esus) love (E) you (Am). But if you wanna (D) leave, take good (G) care.
Hope you make a (Cmaj7) lot of nice friends out (F) there.
Just re (Dm) member there's a lot of bad (E) and be (G) ware. (G7)-(Em)- (G) Well - (C) ell.

And I'll always re (F) member you like a (C) child, girl (Dm)(E)(C).

And it's hard to get (F) by just upon a (C) smile. (C)x4-(G)x4-(C)
And I'll always re (F) member you like a (C) child girl.
WILL THE CIRCLE BE UNBROKEN – Johnny Cash/Nitty Gritty Dirt Band
(Traditional)
https://www.youtube.com/watch?v=7bRJLkNqNXI (Capo 2)(MC4)
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)
I was standing, by my window, (G7) on one (C) cold and cloudy (G) day.
When I saw that, hearse come roll-ol-(Em)-in’, for to (G) carry my (D) mother a (G) way.
Will the circle, be unbrok (G7) en, by and (C) by Lord by and (G) by.
There’s a better, home a wai-a-(Em)-ting, in the (G) sky Lord (D) in the (G) sky.
I said to that, undertak (G7) er, under (C) taker, please drive (G) slow.
For this lady, you are carr-y-(Em)-ing, Lord I (G) hate, to (D) see her (G) go.
There’s a better, home a wai-a-(Em)-tin’, in the (G) sky, Lord, (D) in the (G) sky.
(G)(G)(C)(G), (G)(G)(Em)(G)(D)(G)
Oh I followed, close behind (G7) her. I tried to (C) hold up and be (G) brave.
But I could not, hide my sor-r-(Em)-row, when they (G) laid her (D) in the (G) grave.
I went back home, my home was lone (G7) some, cuz my (C) mother she was (G) gone.
Saw my brothers, sisters cry-y-(Em)-in'. What a (G) home so (D) sad and a (G) lone.
(G)(G)(C)(G), (G)(G)(Em)(G)(D)(G)
We sanng, the songs of child (G7) hood, hymns of (C) faith that made us (G) strong.
Ones that Mo - ther Maybelle taught (Em) us. Hear the (G) angels (D) sing a (G) long.
There’s a better, home a (D) wai-a-(Em)-in’ <pause>
In the-huh-uh-uh (G) sky Lord (D) in the, (C) sky- (G)(Am)(G) -y.
(Johnny Cash) (NGDB) (Artist Index) (Traditional) (Spiritual)

WILL YOU STILL LOVE ME TOMORROW – Carole King/Linda Ronstadt
(Coffin/King)
https://www.youtube.com/watch?v=GLA7sanwnN8 (Carole) (Capo 0)(MC0)
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.
INTRO: (C)(C)(F)(G)
(C) Tonight you're mine, com (Am) plete (Dm) ly (Dm)(G).

(C) You give your (Am) love, so (Dm) sweet (G) ly.
To (E) night, the (E7) li-ight, of (Am) love is in your eyes (G)(F),
But will you (G) love me, to (G7) morrrr (C) row? (G)(C)
Is this a lasting, (Am) treas (Dm) ure (Dm)(G)?

(C) Or just a (Am) moment's, (Dm) pleas (G) ure?
Can (E) I-I be (E7) lieve, the (Am) magic of your sighs (G)(F)?
Will you still (G) love me, to (G7) morrr (C) row? (C)
(F) Tonight with words, unspok (Em) en (Em),

(F) You say that I'm the (G) only (C) one (C).
(F) But will my heart, be bro (Em) ken,
When the (Am) night (when the night), meets the (D) morr (D7) ning (Dm7) suuu-(G)-unnn?
(C) I'd like to know, that (Am) your (Dm) love (G),
(C) is love I (Am) can, be (Dm) sure (G) of.
So (E) tell me (E7) now-ow and (Am) I won't ask again (G)(F),
Will you still (G) love me to (G7) mor (C) row? (C)
(F) Will you still (G) love me, to (C) morrow (Cmaj7)? (F)(G)(C)(C)(F)(G)(C)(C)(F)|C|
(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)(MC0)
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: Next comes the lick that appears at the end of the intro but also and at the end of the verse
and the outro. Start with (D), add pinky to the bottom string/3rd fret (Dsus4), lift off to get
back to (D), lift off the bottom string (Dsus2), then to (G) and (A). It all moves right along.
Practice it a few times as it needs to come naturally.
TIP: Finally 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)-(Dsus4)-(D)-(Dsus2)-(G)(A), (D)-(Dsus4)-(D)-(Dsus2)-(G)(A)
(D) I listen to the (G) wind, to the (A) wind of my (D) soul (D)-(Dsus4)-(D)-(Dsus2)-(G)(A).
(D) Where I'll end up well I (G) think,
Only (A) God really (D) knows (D)-(Dsus4)-(D)-(Dsus2)-(G)(A).
(G) I've (A) sat upon the (G) set (A) ting (D) sun (Em).
But (G) never (Em) ne-ver (G) ne-ver (A) never (G).
I (A) never wanted (G) wa (A) ter (D) once (Em).
No never (G) ne (A) ever ne (D) ver. (D)-(Dsus4)-(D)-(Dsus2)-(G)(A);
(D)-(Dsus4)-(D)-(Dsus2)-(G)(A)
(D) I listen to my (G) words but they (A) fall far be (D)low (D)-(Dsus4)-(D)-(Dsus2)-(G)(A).
(D) I let my music (G) take me where my (A) heart wants to (D) go (D)-(Dsus4)-(D)-(Dsus2)-(G)(A).
(G) I (A) swam upon the (G) De (A) vil's (D) lake (Em).
But (G) never (Em) ne-ver (G) ne-ver (A) never (G).
I'll (A) never make the (G) same (A) mis (D) ta |Dsus| -ake. (Em)
No never (G) ne (A) ever ne (D) ver. (D)-(Dsus4)-(D)-(Dsus2)-(G)(A);
(D)-(Dsus4)-(D)-(Dsus2)-(G)(A); |D|
WIPE OUT - The Surfaris
(Berryhill/Connolly/Fuller/Wilson)
https://www.youtube.com/watch?v=xTJRYiWOhV8 (Capo 3)(MC3)
TIP: An instrumental, cool! There are a couple of "original" versions. This one is "the short
version" from 1963 which fades out and the one I remember every kid playing on their desks at
school. Then there's a longer version which repeats the "verse" (so indicated). Of course you'll
need a drummer who can at least fake it. Add thinking of Annette while you're playing is optional
(but can't hurt).
TIP: The first (E) at the beginning of the (A) sequence is very quick. You can ignore it
completely if you want. Each sequence is just a major chord with a brief lift of one finger. For
the (A) it's the middle finger for the (A7); for the (D) is the ring finger for the (D6); and for
the (E) it's the ring finger for the (E7). If you think about it that way it becomes pretty easy.
TIP: In the bridge there's an (F5) which is just another way to play (A) with a higher timbre.
With capo 3 the index finger mini-barre will be in the 8th fret, between two position markers. You
can play a regular (A) if you'd rather.
TIP: Strike each chord in |brackets| once firmly.
INTRO: <laugh> "Wipe Out." <drums> <drums> <drums>
(E)-(A)-(A7)-(A), (A)(A7)-(A), (A)(A7)-(A), (A)(A7)-(A); (D)(D6)-(D), (D)(D6)-(D)
(A)(A7)-(A), (A)(A7)-(A); (E)(E7)-(E); (D)(D6)-(D), (A)(A7)-(A), (E)
|A| <drums> |A| <drums> |D| <drums> |A| <drums> |E| <drums> |D| <drums> |A| <drums>
(E)-(A)-(A7)-(A), (A)(A7)-(A), (A)(A7)-(A), (A)(A7)-(A); (D)(D6)-(D), (D)(D6)-(D)
(A)(A7)-(A), (A)(A7)-(A); (E)(E7)-(E); (D)(D6)-(D), (A)(A7)-(A), (E)
(E)-(A)(F5)(F5)(F5); (D)(D)(A)(A)(E)(D)(A)(E)(E7)
(E)-(A)-(A7)-(A), (A)(A7)-(A), (A)(A7)-(A), (A)(A7)-(A); (D)(D6)-(D),

<short version fades out> (D)(D6)-(D) . . .
<long version continues> . . . (A)(A7)-(A), (A)(A7)-(A); (E)(E7)-(E); (D)(D6)-(D), (A)(A7)-(A), (E)
(A)-(A7)-(A), (A)(A7)-(A), (A)(A7)-(A), (A)(A7)-(A); (D)(D6)-(D), (D)(D6)-(D);

(A)(A7)-(A), (A)(A7)-(A); (E)(E7)-(E); (D)(D6)-(D), (A)(A7)-(A), (A)(A7)-(A), (A)(A7)-(A),
<softer> (A)(A7)-(A), (A)(A7)-(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)(MC0)
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 a not very good chord version.
TIP: The intro has two parts, the soft background picking and then the picking on top.
PART ONE itself has two parts. (1) Start by forming (G). Pick the open 3rd string <g>, then
the open 2nd string , now drop your ring finger down onto the 2nd string/3rd fret <d> like
you're playing a (Gadd) and pick the 2nd string and then play an (Em). Now add your pinky to the
bottom string while still holding (Em) which is (EmG). (2) Now stum (EmG) again, lift off the
pinky to play (Em) and then play (Gadd). Repeat this whole sequence again. Now the third time
through you do the same thing but end on an (A) instead of the (Gadd) focusing on strings 5-4-3.
This entire opening repeats again as a bridge in the middle of the song and as the outro.
PART TWO of the intro uses the same chords (you'll have to remember how the notes go). At the
end of the first section you'll end on a (G). Hold the (G) and pick the 5th string and the 4th
string twice.
INTRO: <Form (G)> 3-2-(2/3)-(Em)(EmG),(EmG)-(Em)(Gadd); 3-2-(2/3)-(Em)(EmG); (EmG)-(Em)(Gadd);

3-2-(2/3)-(Em)(EmG);(EmG)-(Em)(A); 3-2-(2/3)-(Em)(EmG); (EmG)-(Em)(A); (A)(G)(G)
(G)-(Em),(EmG)-(Em),(Em)-(G),5-4-4; |A|-|Em|-|A|-|G|,|A|-|G|(G);
(Em)(Em)(A),(A); (Em)(Em)(A),(A); (G)(G)
(C) So, so you think you can (D) tell,

Heaven from (Am) hell, blue skies from (G) pain?
Can you tell a green (D) field, from a cold steel (C) rail,
A smile from a (Am) veil, do you think you can (G) tell?
Did they get you to (C) trade, your heroes for (D) ghosts?
Hot ashes for (Am) trees? Hot air for a (G) cool breeze?
Cold comfort for (D) change. And did you ex (C) change,
A walk-on part in the (Am) war, for a lead role in a (G) cage?
3-2-(2/3)-(Em)(EmG),(EmG)-(Em)(Gadd); 3-2-(2/3)-(Em)(EmG); (EmG)-(Em)(Gadd);

3-2-(2/3)-(Em)(EmG);(EmG)-(Em)(A); 3-2-(2/3)-(Em)(EmG); (EmG)-(Em)(A); (A)-(G)(G)
(C) How I wish, how I wish you were (D) here.

We're just (Am) two lost souls swimmin' in a fishbowl, (G) year after year.
(D) Runnin' over the same old ground, (C) what have we fou-ound,
The same old (Am) fears? Wish you were (G) here.

3-2-(2/3)-(Em)(EmG);(EmG)-(Em)(A); 3-2-(2/3)-(Em)(EmG); (EmG)-(Em)(A); (A)-(G)(G);(G)(G)

3-2-(2/3)-(Em)(EmG);(EmG)-(Em)(A); 3-2-(2/3)-(Em)(EmG); (EmG)-(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: One of the easiest, loveliest songs to pick. Play it slowly. To maintain cadence with Eric
some of the chords that lead into the next line are played at the end of the preceding line.
TIP: Don't dawdle on the last (G) leading into the instrumental segue, 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)
It's late in the (D) evening (D)(C), she's wondering what (D) clothes to wear (G).
She puts on her (D) make up (D)(C), and brushes her (D) long blonde hair (C).
And then she (D) asks me (D)(G), "Do I look (D) all (Em) right?"
And I say (C) "Yes, you look (D) wonderful to (G) night." (G)(D)(C)(D)(D)(G)
We go to a (D) party (D)(C), and everyone (D) turns to see (G),

This beautiful (D) lady (D)(C), that's walking a (D) round with me (C).
And then she (D) asks me (D)(G), "Do you feel (D) all (Em) right?"
And I say (C) "Yes, I feel (D) wonderful to (G) night." (G)
I feel (C) wonderful, be (D) cause I see the (G) love light in (D) your (Em) eyes.
And the (C) wonder, of it (D) all, is that you (C) just don't real |D| ize how much I (G) love you.
(G)(D)(C)(D)(D); (G)(D)(C)(D)(D)(G)
It's time to go (D) home now (D)(C), and I've got an aching (D) head (D)(G).
So I give her the (D) car keys (D)(C), and she helps me to (D) bed (C).
And then I (D) tell her (D)(G), as I turn out (D) the (Em) light,
I say "My (C) darling, you are (D) wonderful to (G) night (D)(Em)(G).
Oh my (C) darling, you are (D) wonderful to (G) night." (G)(D)(C)(D)(D); (G)(D)(C)(D)(D)(G)
(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)(MC4)
[This is the original Sam Cooke version. There's an awesome version by Simon and Garfunkel with
James Taylor which follows afterwards.]
TIP: A (C) can be played instead of the (Am7). And the (D7) at the end of the verse is a quick
transition and can be skipped if you'd rather.
INTRO: (G)(Em)
(G) Don't know much about (Em) history. (Am7) Don't know much bi (D) ology.
(G) Don't know much about a (Em) science book. (Am7) Don't know much about the (D) French I took.
(G) But I do know that (C) I love you. (G) And I know that if you (C) love me too,
What a (D) wonderful world (D7) this would (G) be.
(G) Don't know much about ge (Em) ography. (Am7) Don't know much trigon (D) ometry.
(G) Don't know much about (Em) algebra. (Am7) Don't know what a slide (D) rule is for.
(G) But I do know one and (C) one is two. (G) And if this one could (C) be with you
Now (D) I don't claim, to (G) be an 'A' student. (D) But I'm trying to (G) be.
For (A) maybe by being an (G) "A" student baby, (A) I could win your (D) love for me.
(G) Don't know much about (Em) history. (Am7) Don't know much bi (D) ology.
(G) Don't know much about a (Em) science book. (Am7) Don't know much about the (D) French I took.
(G) But I do know that (C) I love you. (G) And I know that if you (C) love me too,
La ta ta ta ta ta (Em) history. (Am7) Mmmmmm bi (D) ology.
(G) La ta ta ta ta ta (Em) science book. (Am7) Mmmmmm (D) French I took.
Yeah, (G) but I do know that (C) I love you. (G) And I know that if you (C) love me too,
What a (D) wonderful world this would (G) be (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)(MC4)
TIP: The (Bm)(Am) is kind of a little step-down thump-thump.
TIP: Helps if you can harmonize like Art Garfunkel, which, of course nobody can. Don't play too
fast.
INTRO: What a (Em) wonderful (C) wonderful (D) world this could (G) be.
What a (Em) wonderful (C) wonderful (Am) wonderful (D) wonderful (G) world. (Em)(D)
(G) Don't know much about (Em) history.

(Am7) Don't know much bi (D) ology.
(G) Don't know much about a (Em) science book.
(Am7) Don't know much about the (D) French I took.
(G) But I do know that (C) I love you.
(G) And I know that if you (C) love me too |Bm|-(Am),
What a (Em) wonderful (C) wonderful (D) world this could (G) be. (Em)(D)
(G) Don't know much about ge (Em) ography-y.

(Am) Don't know much trigon (D) ometry-y-(G)-y.
Don't know much about (Em) algebra |D|
(Am7) I don't know what a slide (D7) rule is for.
(G) But I do know one and (C) one is two.
(G) And if this one could (C) be with you (Am) wonderful world
What a (Em) wonderful (C) wonderful (D) world this would (G) be.
What a (Em) wonderful (C) wonderful (D) wonderful (G) world. (G)
Now (D) I don't claim to (G) be an “A” student. (D) But I'm tryin' to (G) be.
I think that (Em) maybe by being an “A” student (Am7) baby-baby
(Am) I could win your (D) love for mee-eee-(G)-ee.
Don't know much about the (Em) middle ages.
(Am7) Look at the pictures and I (D) turn the pages.
(G) Don't know nothing 'bout no (Em) rise and fall.
(Am) Don't know nothin' 'bout (D) nothin' at all.
(G) Girl it's you that I've been (C) thinking of.
(G) And if I could only (C) win your lo-o-(Am)-ve,
What a (Em) wonderful (C) wonderful (D) world this could (G) be.
What a (Em) wonderful (C) wonderful (D) world this could (G) be.
What a (Em) wonderful (C) wonderful (Am) wonderful (G) wonderful world.
What a (Em) wonderful (D) wonderful (C) wonderful (D) wonderful (G) world.
(Simon and Garfunkel)(James Taylor)(Artist Index) - (Main Index) - (Song Index) (This Song)
THE WRECK OF THE EDMUND FITZGERALD
Gordon Lightfoot
https://www.youtube.com/watch?v=9vST6hVRj2A (Capo 2)(MC0)
[Afterwards is the song in [G] which I think just sounds better and is easier for fingerstyle
although it won't match the recording.]
TIP: 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)
The legend lives on from the (Em) Chippewa on down

Of the (G) big lake they (D) call Gitcha (A)(d) Gumee (A).
The lake it is said never (Em) gives up her dead
When the (G) skies of No (D) vember turn (A)(d) gloomy (A).
With a load of iron ore twenty-six (Em) thousand tons more
Than the (G) Edmund Fitz (D) gerald weighed (A)(d) empty (A),
That big ship and true was a (Em) bone to be chewed
When the (G) gales of No (D) vember came (A)(u) early (A).
The ship was the pride of the A (Em) merican side

Comin' (G) back from some (D) mill in Wis (A)(d) consin.
As the big freighters go it was (Em) bigger than most,
With a (G) crew and good (D) Captain well (A)(u) seasoned.
Concluding some terms with a (Em) couple of steel firms
When they (G) left fully (D) loaded for (A)(d) Cleveland (A).
And later that night when the (Em) ship's bell rang,
Could it (G) be the north (D) wind they'd been (A)(u) feeling?
(A) (Em) (G) (D) (A) (A)

The wind in the wires made a (Em) tattletale sound
And a (G) wave broke (D) over the (A)(d) railing (A).
And every man knew as the (Em) Captain did too
T'was the (G) Witch of No (D) vember come (A)(u) stealin' (A).
The dawn came late and the (Em) breakfast had to wait
When the (G) gales of No (D) vember came (A)(u) slashin'.
When afternoon came it was (Em) freezing rain,
In the (G) face of a (D) hurricane (A)(u) westwind.
(A) (Em) (G) (D) (A), (G) (D) (A)
When supper time came the old (Em) cook came on deck
Sayin' (G) "Fellas it's (D) too rough to (A)(d) feed ya (A)."
At 7 p.m. a main (Em) hatchway caved in
He said (G) "Fellas it's (D) been good to (A)(u) know ya (A)."
The Captain wired in he had (Em) water comin' in
And the (G) good ship and (D) crew was in (A)(d) peril.
And later that night when his (Em) lights went out of sight
Came the (G) wreck of the (D) Edmund Fitz (A)(u) gerald.
(A) (Em) (G) (D) (A), (G) (D) (A)(A)(A)
Does anyone know where the (Em) love of God goes

When the (G) waves turn the (D) minutes to (A)(d) hours (A)?
The searchers all say they'd have (Em) made Whitefish Bay
If they'd (G) put fifteen (D) more miles be (A)(u) hind her (A).
They might have split up or they (Em) might have capsized.
They (G) may have broke (D) deep and took (A)(d) water.
And all that remains is the (Em) faces and the names
Of the (G) wives and the (D) sons and the (A)(u) daughters.
(A) (Em) (G) (D) (A), (G) (D) (A)

Lake Huron rolls Su (Em) perior sings,
In the (G) ruins of her (D) icewater (A)(d) mansion.
Old Michigan steams like a (Em) young man's dreams
The (G) islands and (D) bays are for (A)(u) sportsmen (A).
And farther below Lake On (Em) tario,
Takes (G) in what Lake (D) Erie can (A)(d) send her.
And the iron boats go as the (Em) mariners all know
With the (G) gales of No (D) vember re (A)(u) membered.
(A) (Em) (G) (D) (A), (G) (D) (A)

(A) (Em) (G) (D) (A), (G) (D) (A)(A)(A)
In a musty old hall in De (Em) troit they prayed

In the (G) Maritime (D) Sailors' Ca (A)(d) thedral.
The church bell chimed 'til it rang (Em) twenty-nine times
For each (G) man on the (D) Edmund Fitz (A)(u) gerald (A).
The legend lives on from the (Em) Chippewa on down

Of the (G) big lake they (D) call Gitcha (A)(d) Gumee (A).
Superior they said never (Em) gives up her dead
When the (G) gales of No (D) vember come (A)(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
(MC0)
TIP: 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)
The legend lives on from the (Am) Chippewa on down

Of the (C) big lake they (G) call Gitcha (D)(d) Gumee (D).
The lake it is said never (Am) gives up her dead
When the (C) skies of No (G) vember turn (D)(d) gloomy (D).
With a load of iron ore twenty-six (Am) thousand tons more
Than the (C) Edmund Fitz (G) gerald weighed (D)(d) empty (D),
That big ship and true was a (Am) bone to be chewed
When the (C) gales of No (G) vember came (D)(u) early (D).
The ship was the pride of the A (Am) merican side

Comin' (C) back from some (G) mill in Wis (D)(d) consin.
As the big freighters go it was (Am) bigger than most,
With a (C) crew and good (G) Captain well (D)(u) seasoned.
Concluding some terms with a (Am) couple of steel firms
When they (C) left fully (G) loaded for (D)(d) Cleveland (D).
And later that night when the (Am) ship's bell rang,
Could it (C) be the north (G) wind they'd been (D)(u) feeling?
(D) (Am) (C) (G) (D) (D)

The wind in the wires made a (Am) tattletale sound
And a (C) wave broke (G) over the (D)(d) railing (D).
And every man knew as the (Am) Captain did too
T'was the (C) witch of No (G) vember come (D)(u) stealin' (D).
The dawn came late and the (Am) breakfast had to wait
When the (C) gales of No (G) vember came (D)(u) slashin'.
When afternoon came it was (Am) freezing rain,
In the (C) face of a (G) hurricane (D)(u) westwind.
(D) (Am) (C) (G) (D), (C) (G) (D)
When supper time came the old (Am) cook came on deck
Sayin' (C) "Fellas it's (G) too rough to (D)(d) feed ya (D)."
At 7 p.m. a main (Am) hatchway caved in
He said (C) "Fellas it's (G) been good to (D)(u) know ya (D)."
The Captain wired in he had (Am) water comin' in
And the (C) good ship and (G) crew was in (D)(d) peril.
And later that night when his (Am) lights went out of sight
Came the (C) wreck of the (G) Edmund Fitz (D)(u) gerald.
(D) (Am) (C) (G) (D), (C) (G) (D)(D)(D)
Does anyone know where the (Am) love of God goes

When the (C) waves turn the (G) minutes to (D)(d) hours (D)?
The searchers all say they'd have (Am) made Whitefish Bay
If they'd (C) put fifteen (G) more miles be (D)(u) hind her (D).
They might have split up or they (Am) might have capsized.
They (C) may have broke (G) deep and took (D)(d) water.
And all that remains is the (Am) faces and the names
Of the (C) wives and the (G) sons and the (D)(u) daughters.
(D) (Am) (C) (G) (D), (C) (G) (D)

Lake Huron rolls Su (Am) perior sings,
In the (C) ruins of her (G) icewater (D)(d) mansion.
Old Michigan steams like a (Am) young man's dreams
The (C) islands and (G) bays are for (D)(d) sportsmen (D).
And farther below Lake On (Am) tario,
Takes (C) in what Lake (G) Erie can (D)(d) send her.
And the iron boats go as the (Am) mariners all know
With the (C) gales of No (G) vember re (D)(u) membered.
(D) (Am) (C) (G) (D), (C) (G) (D)

(D) (Am) (C) (G) (D), (C) (G) (D)(D)(D)
In a musty old hall in De (Am) troit they prayed

In the (C) Maritime (G) Sailors' Ca (D)(d) thedral.
The church bell chimed 'til it rang (Am) twenty-nine times
For each (C) man on the (G) Edmund Fitz (D)(u) gerald (D).
The legend lives on from the (Am) Chippewa on down

Of the (C) big lake they (G) call Gitcha (D)(d) Gumee (D).
Superior they said never (Am) gives up her dead
When the (C) gales of No (G) vember come (D)(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)(MC0)
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)
I feel a (G) cold wind blowin' all (C) over me, I feel the (G) dark clouds startin' to (C) form.
The (G) trees are bare, the (C) grass is brown. Another (D) early winter Michigan (C) storm.
(G) Everything I do is just a (C) little wrong. (G) Every day for me is the (C) same.
Every (G) one I know is getting (C) in my face and I (D) only got myself to (C) blame.
I think I'm gonna (G) wreck, (F) this (C) heart. (G) Wreck, (F) this (C) heart.
(G) Wreck, (F) this (C) heart, after a (G) while.
(G)(C), (G)(C)
The (G) big boss tells me my (C) work is off, my (G) wife wants me to come (C) home.
I (G) miss my kids, I (C) miss my dog, I've been (D) spendin' too much time a (C) lone.
I've got (G) bills to pay, (C) promises to keep, and it's (G) all hangin' over my (C) head.
I got (G) miles to go, before I sleep. I'd (D) rather be with her in (C) stead.
I think I'm gonna (G) wreck, (F) this (C) heart. (G) Wreck, (F) this (C) heart.
(G)(C), (G)(C)
There's (Am) time to work, (F) time to live. There's (C) only so much time a (G) round.
And if you (Am) lean too far, over the (F) wishing well, you (C) might fall in and (G) drown.
(G)(C), (G)(C), (G)(C), (G)(C)

Am I (G) talkin' too fast am I (C) hard to hear? Have you (G) understood a word that I've (C)
said? Let me (G) put it, to you (C) this way, and (D) under-line in (C) red.
(G) Order me a case of your (C) southern soul, and (G) let me out to (C) night.
I need a (G) good long ride on your (C) rodeo, and (D) everything will be al (C) right.
And then I'm gonna (G) wreck, (F) this (C) heart. (G) Wreck, (F) this (C) heart.
(G)(C)
I'm gonna (G) wreck, (F) this (C) heart. I'm gonna (G) wreck, (F) this (C) heart.
(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)(MC0)
INTRO: (D/A), (D)
I'm gonna take you down to the riverside, where the water runs slow and wide
There's a (G) big ol' rock, out in the middle, and I took my hammer and chisel
And (D) worked all night so you could see, just how much you mean to me.
I (G) carved your name right next to mine, and it'll be there til the end of time.
(A) And-my love will (Em) last at least that (A) long (A)|A|.
It's (D) written in (G) stone how I feel for you. It's written in (D) stone what I want to do.
Spend my (Em) life and life here (C) after loving (D) you.
And darlin' if we (G) live to be a hundred or if we don't (D) make it half that long,
I want you to (Em) know what I feel for (C) you is written in (D) stone. (D)(D)
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) When all the spoken (Em) words have come and (A) gone.
It's (D) written in (G) stone how I feel for you. It's written in (D) stone what I want to do.
Spend my (Em) life and life here (C) after loving (D) you.
I want you to (Em) know what I feel for (C) you is written in (D) stone. (D)(D)
(A) And when this (Em) life has come and (A) gone (A)(A), our love will (D) still be
Written in (G) stone how I feel for you. Written in (D) stone what I want to do.
Spend my (Em) life and life here (C) after lovin' (D) you.
I want you to (Em) know what I feel for (C) you is written in (D) stone.
I want you to (Em) know how I feel for (C) you is written in (D) stone.
Is (C) written in (D) stone. Is (C) written in (D) 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)(MC1)
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)
I re (A) member the year that (E7) Clayton Delaney (A) died (A7).
They (D) said for the last two weeks that he suffered and (A) cried (A).
It (D) made a big impression on me, although I was a barefoot (A) kid.
They said he got religion at the (E7) end and I'm glad that he (A) did (A).
Clayton was the best gui (E7) tar picker in our (A) town (A7).
I (D) thought he was a hero and I used to follow Clayton a (A) round (A).
I (D) often wondered why Clayton, who seemed so good to (A) me.
Never took his guitar and (E7) made it down in Tennes (A) see (A).
Well Daddy said he drank a lot but (E7) I could never under (A) stand (A7).
I (D) knew he used to pick up in Ohio with a five piece (A) band (A).
(D) Clayton used to tell me son you better put that old guitar a (A) way.
There ain't no money in it, it'll (E7) lead you to an early (A) grave (A).
I guess if I'd admit it (E7) Clayton taught me how to drink (A) booze (A7).
I can (D) see him half stoned pickin’ up the Lovesick (A) Blues (A).
When (D) Clayton died I made him a promise, I was gonna carry on some (A) how.
I'd give a hundred dollars, if (E7) he could only see me (A) now (A).
I remember the year that (E7) Clayton Delaney (A) died (A7).
No (D) body ever knew it but I went out in the woods and I (A) cried (A).
Well I (D) know there's a lotta big preachers, that know a lot more than I (A) do.
But it could be that the good Lord (E7) likes a little picking (A) too (A).
[Tom]: Yeah I remember the year that (E7) Clayton Delaney (A) died (A) |A|.
[Waylon]: Yeah I remember the year that (E7) Clayton Delaney (A) died. (A)(D)(D)(A)(A)
(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)(MC2)
[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: (Em2) is just (Em) with the pinky added to the bottom string/2nd fret.
TIP: For (DaddA) play (D) and extend your pinky to cover the bottom string/5th fret.
TIP: The (D)(Bm)(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.
In the (A) town where I was (D) born, (Bm) lived a (Em) man who (Em2) sailed to (A) sea.
(D) And he (A) told us of his (D) life, (Bm) in the (Em) land of (Em2) submar (A) ines.
(D) So we (A) sailed on to the (D) sun, (Bm) till we (Em) found a sea of (A) green.
(D) And we (A) lived beneath the (D) waves, in our (Em) yellow submar (A) ine.
(D) We all live in a (A) yellow submarine, (A7) yellow submarine, (D) yellow submarine.
(DaddA) We all live in a (A) yellow submarine, (A7) yellow submarine, (D) yellow submarine.
And our (A) friends are all a (D) board, (Bm) many (Em) more of them (Em2) live next (A) door.
(D) And the (A) band begins to (D) play. (D)(D)-(Bm)(G)(G)-(A)
|D|-|A|, |A|-|D|, |D|-|Em|, |Em|-|A|; |D|-|A|, |A|-|D|, |D|-|Em|, |Em|-|A|

(D) As we (A) live, a life of (D) ease. (Bm) Every (Em) one of us, has (Em2) all we (A) need.
(D) Sky of (A) blue and sea of (D) green. In our (Em) yellow submar (A) ine.
We all live in a (A) yellow submarine, (A7) yellow submarine, (D) yellow submarine.
(DaddA) We all live in a (A) yellow submarine, (A7) yellow submarine, (D) yellow submarine. |D|
(The Beatles) (Kid Friendly) (Artist Index) - (Main Index) - (Song Index) (This Song)
YELLOW SUBMARINE - The Beatles
(Lennon/McCartney)
(MC2)
TIP: (Cmaj7) is just (C) without the ring finger.
TIP: The (G)(Em)(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.
In the (D) town where I was (G) born, (Em) lived a (Am) man who (Cmaj7) sailed to (D) sea.
(G) And he (D) told us of his (G) life, (Em) in the (Am) land of (Cmaj7) submar (D) ines.
(G) So we (D) sailed on to the (G) sun, (Em) till we (Am) found a sea of (D) green.
(G) And we (D) lived beneath the (G) waves, in our (Am) yellow submar (D) ine.
(G) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.
(Gadd) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.
And our (D) friends are all a (G) board, (Em) many (Am) more of them (Cmaj7) live next (D) door.
(G) And the (D) band begins to (G) play. (G)(G)-(Em)(C)(C)-(D)
|G|-|D|, |D|-|G|, |G|-|Am|, |Am|-|D|; |G|-|D|, |D|-|G|, |G|-|Am|, |Am|-|D|
(G) As we (D) live, a life of (G) ease. (Em) Every (Am) one of us, has (Cmaj7) all we (D) need.
(G) Sky of (D) blue and sea of (G) green. In our (Am) yellow submar (D) ine.
We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine.
(Gadd) We all live in a (D) yellow submarine, (D7) yellow submarine, (G) yellow submarine. |G|
YODA – Weird Al Yankovic
(Davies/Yankovic)
https://www.youtube.com/watch?v=-IUMCyAR6U0 (Capo 0)(MC0)
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. Whenever you start the riff, including the intro, include your pinky above
your ring finger on the top string to emphasize the bass <g-c> notes. Where you see this notation:
"<riff> (E)" you play the riff and then strum (E) afterwards for the walk-down. But at the end
you'll see this: "<riff>--->(E) Lola." It means the last (E) in the riff forms the first chord
(E) for "Lola". You'll see what I mean when you play them.
TIP: For the little twinkle of (Asus)(A) between some of the verses just keep the (A) and add (or
slide, depending on how you play (A)) your pinky to the 2nd string/3rd fret. Easy.
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) which is played
like a (D7) but up one string-set.
; ;
INTRO: |C|-|C| <riff> (C)(C)(D)–(E); (E)
I met him in a swamp down in Dagobah,

Where it (A) bubbles all the time like a (D) giant carbonated (E) soda.
S - O - D - A (A) soda (Asus)(A).
I (E) saw the little runt sitting there on a log.

I (A) asked him his name and in a (D) raspy voice he said (E) "Yoda." Y - O - D – A (A) Yoda.
(D) Yo-yo-yo- (C) yo Yoda. <riff> (E)
Well I've been around but I ain't never seen

A guy who (A) looks like a Muppet but he's (D) wrinkled and green oh my (E) Yoda.
Yo-yo-yo-yo (A) Yoda (Asus)(A).
Well (E) I'm not dumb but I can't understand
How he can (A) lift me in the air just by (D) raising his hand oh my (E) Yoda.
Yo-yo-yo-yo (A) Yoda. (D) Yo-yo-yo-yo (C) Yoda. <riff> (E)
Well (B7) I left home just a week before, and (F#) I've never ever been a Jedi before.
But (A) Obi Wan he set me straight of course,
He said "Go to Yoda and he'll show you the force."
Well (E) I'm not the kind that would argue with Ben,
So it (A) looks like I'm gonna start all (D) over again with my (E) Yoda.
Yo-yo-yo-yo (A) Yoda. (D) Yo-yo-yo-yo (C) Yoda. <riff>----> (E) Yoda.
Yo-yo-yo-yo (A) Yoda. (D) Yo-yo-yo-yo (C) Yoda. <riff> (E)
So (A) I (E) used the (B) force. (E) I (A) picked (E) up a (B) box.
(E) I (A) lif (E) ted some (B) rocks. While I (E) stood (F#m) on my (C#m) head.
Well (B) I won't forget what Yoda said.
He said (E) "Luke stay away from the darker side.

And if you (A) start to go astray let the (D) force be your guide" oh my (E) Yoda.
Yo-yo-yo-yo (A) Yoda.
I (E) know Darth Vader's really got you annoyed,

But re (A) member if you kill him then you'll (D) be unemployed oh my (E) Yoda.
Yo-yo-yo-yo (A) Yoda.
Well I (B7) heard my friends really got in a mess,

So (F#) I’m gonna have to leave Yoda I guess.
But I (A) know that I'll be coming back some day,
I'll be playing this part 'till I'm old and gray.
The (E) long-term contract I had to sign

Says I'll be (A) making these movies till the (D) end of time though with my (E) Yoda.
Yo-yo-yo-yo (A) Yoda. (D) Yo-yo-yo-yo (C) Yoda.
<riff>----> (E) Yoda. Yo-yo-yo-yo (A) Yoda. (D) Yo-yo-yo-yo (C) Yoda.
<riff>----> |E|
YOU AIN'T GOIN' NOWHERE - The Byrds
(Dylan)
https://www.youtube.com/watch?v=s2JnDKvuNzw (Capo 0)(MC0)
[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.]
TIP: There are a couple of ways to play those opening 5 intro notes, depending on whether you
prefer a treble sound or a bass sound. Both are pretty easy.
Treble: Place your middle or ring finger on the 2nd string of the 3rd fret (note <d>). Now
pick the 2nd string twice quickly, pick the open bottom string <e>, drop your finger down to the
bottom string/2nd fret and pick the bottom string <g> and then slide your finger from the 2nd fret
up to the 4th fret and pick <a> and then lift off a play a regular (G).
Bass: All played on the 4th and 3rd strings. Begin with an open fretboard and pick the open
4thstring twice, place your index finger down on the 4th string/2nd fret and pick, pick the open 3rd
string, drop your finger down one string and pick the 3rd string/2nd fret once and play a regular
(G).
INTRO: <d>-<d><e><g><a>(G)(Am)(C)(G)
Clouds so swift, the (Am) rain won't lift, the (C) gate won't close, the (G) railing's froze.
Get your mind off (Am) wintertime. (C) You ain't goin' no (G) where.
Whoo-ee, (Am) ride me high, to (C) morrow's the day my (G) bride's gonna come.
Oh oh, are (Am) we gonna fly, (C) down in the easy (G) chair.
I don't care how many (Am) letters they sent. The (C) morning came, the (G) morning went.
Pack up your money, (Am) pick up your tent. (C) You ain't goin' no (G) where.
(G)(Am)(C)(G); (G)(Am)(C)(G)
Buy me a flute, and a (Am) gun that shoots, (C) tailgates, (G) substitutes.
Strap yourself to the (Am) tree with roots. (C) You ain't goin' no (G) where.
Now Genghis Khan, he (Am) could not keep, (C) all his kings, sup (G) plied with sleep.
We'll climb that hill, no (Am) matter how steep, (C) when we get up (G) to it.
YOU AIN'T GOIN' NOWHERE - Nitty Gritty Dirt Band
(Dylan)
https://www.youtube.com/watch?v=xwetPaL9ND0 (Capo 0)(MC0)
[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."]
TIP: The opening notes are just slightly different from the Byrds version:
Treble: Pick the open bottom string <e>, then place your middle or finger on the 2nd
string/3rd fret (note <d>) and pick that 2nd string, pick the open bottom string <e> again, drop
your finger down to the bottom string/2nd fret and pick the covered bottom string <g>, slide up to
the 5th fret to cover the <a>, and strum (G) etc. Still pretty easy.
Base: Still all within the 2nd fret but start by picking the covered 4th string/2nd fret <e>,
lift off and pick the now open 4th string <d>, replace the finger and pick the 4th string/2nd fret
<e> again, lift off and pick the open 3rd string <g>, move your finger down one string and pick the
3rd string/2nd fret <a> and strum (G) etc.
INTRO: <e><d><e><g><a>(G)(Am)(C)(G); (G)(Am)(C)(G)
Clouds so swift, (Am) rain won't lift, the (C) gate won't close, the (G) railin's froze.
Get your mind off (Am) wintertime. (C) You ain't goin' no (G) where.
Buy me a flute, and a (Am) gun that shoots, (C) tailgates, (G) substitutes.
Strap yourself to a (Am) tree with roots. (C) You ain't goin' no (G) where.
(G)(Am)(C)(G); (G)(Am)(C)(G)
Well I don't care how many (Am) letters they sent. The (C) mornin' came and the (G) mornin' went.
Pack up your money, (Am) pick up your tent Dylan. (C) You ain't goin' no (G) where.
Genghis Khan he (Am) could not keep, (C) all his men, sup (G) plied with sleep.
We'll climb that hill no (Am) matter how steep, (C) when we get up (G) to it.
Oh ho, are (Am) we gonna fly, (C) down in the easy (G) chair.
(G)(Am)(C)(G); (G)(Am)(C)(G); (G)(Am)(C)(G); (G)(Am)(C)(G)
Oh ho, are (Am) we gonna fly, (C) down in the easy (G) chair. |G|
YOU ARE MY SUNSHINE – Traditional/Norman Blake
(Davis/Mitchell)
https://www.youtube.com/watch?v=dkNbMZhEGEw (Capo 4)(MC1)
[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)
The other night dear as (A) I lay (D) sleeping, I dreamed I (G) held you in my (D) arms.
But when I (G) woke dear I was mis (D) taken. And I hung my (A) head and I (D) cried.
You are my sunshine my only sunshine. You make me (G) happy when skies are (D) gray.
You'll never (G) know dear how much I (D) love you. Please don't-take-my, (A) sunshine a (D) way.
(D)(D), (D)(G)(D), (D)(G)(D), (D)(A)(D)
I'll always love you and (A) make you (D) happy, if you will (G) only say the (D) same.
But if you (G) leave me and love a (D) nother, you'll regret, it-(A)-allll some (D) day.
You'll never (G) know dear how much I (D) love you. Please don't-take-my, (A) sunshine a (D) way.
(D)(D), (D)(G)(D), (D)(G)(D), (D)(A)(D)
You told me once dear you (A) really (D) loved me. And no (G) one could come be (D) tween.
But now you've (G) left me to love a (D) nother. You have sha-ttered (A) all of my (D) dreams.
You'll never (G) know dear, how much I (D) love you. Please don't-take-my, (A) sunshine a (D) way.
(D)(D), (D)(G)(D), (D)(G)(D), (D)(A)(D)
In all my dreams dear you (A) seem to (D) leave me. When I a (G) wake my poor heart (D) pains.
So when you (G) come back and make me (D) happy.
I'll forgive dear I'll (A) take all the (D) blame.
You'll never (G) know dear how much I (D) love you.
Please don't-take-my, (A) sunshine a (D) way. (D)(A)(D) |D|
(Traditional)(Norman Blake) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU ARE MY SUNSHINE – Traditional/Norman Blake
(Davis/Mitchell)
(MC4)
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)
The other night dear as I lay sleeping, I dreamed I (C) held you in my (G) arms.
But when I (C) woke dear I was mis (G) taken. And I hung my (D) head and I (G) cried.
You are my sunshine my only sunshine. You make me (C) happy when skies are (G) gray.
You'll never (C) know dear how much I (G) love you. Please don't-take-my, (D) sunshine a (G) way.
(G)(G), (G)(C)(G), (G)(C)(G), (G)(D)(G)
I'll always love you and (D) make you happy, if you will (C) only say the (G) same.
But if you (C) leave me and love a (G) nother, you'll regret, it-(D)-allll some (G) day.
You'll never (C) know dear how much I (G) love you. Please don't-take-my, (D) sunshine a (G) way.
(G)(G), (G)(C)(G), (G)(C)(G), (G)(D)(G)
You told me once dear you (D) really (G) loved me. And no (C) one could come be (G) tween.
But now you've (C) left me to love a (G) nother. You have sha-ttered (D) all of my (G) dreams.
You'll never (C) know dear, how much I (G) love you. Please don't-take-my, (D) sunshine a (G) way.
(G)(G), (G)(C)(G), (G)(C)(G), (G)(D)(G)

In all my dreams dear you seem to leave me. When I a (C) wake my poor heart (G) pains.
So when you (C) come back and make me (G) happy.
I'll forgive dear I'll (D) take all the (G) blame.
You'll never (C) know dear how much I (G) love you.
Please don't-take-my, (D) sunshine a (G) way. (G)(D)(G) |G|
(Traditional)(Norman Blake) (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)(MC1)
TIP: You might consider throwing another (C)(G) in there during "hearrrt".
INTRO: |G|-|C|-|G|-|C| (G)(C)(G)(C)(G)(C)(G)(C)(G)(C)(G)(C)
(G) You- (C)(G)(C)(G)(C) (G)-ou can tell the world about this,
You can tell the (C) nations about (G) that.
Tell 'em what the (C) Master has (G) done.
Tell 'em that the (C) gospel has (G) come.
Tell 'em that the (C) victory's been (G) won.
He brought joy (D) joy (G) joy in (D) to my (G) hearrrrrt.
(C) Oh (G) you- (C)(G)(C)(G)(C) (G)-ou can tell the world about this,
Tell 'em that the (C) victory's been (G) won
(D) Heard the Lord he spoke to me, (C) yes he (G) did (C) yes he (G) did.
(D) Told about a man from Galilee, (C) yes he (G) did (C) yes he (G) did.
(Em) Heard the Lord he spoke so well, (C) yes he (G) did (C) yes he (G) did.
He (Em) told about the fires that flame in hell, (C) yes he (G) did (C) yes he (G) did.
(Em) I don't know but I've been told, (C) yes he (G) did (C) yes he (G) did.
The (Em) streets of heaven are paved with gold, (C) yes he (G) did (C) yes he (G) did.
(G) You- (C)(G)(C)(G)(C) (G)-ou can tell the world about this,
Tell 'em that the (C) victory's been (G) won.
(D) Heard the Lord he spoke to me, (C) yes he (G) did (C) yes he (G) did.
(D) Told about a man from Galilee, (C) yes he (G) did (C) yes he (G) did.
(Em) Heard the Lord he spoke so well, (C) yes he (G) did (C) yes he (G) did.
He (Em) told about the fires that flame in hell, (C) yes he (G) did (C) yes he (G) did.
(Em) I don't know but I've been told, (C) yes he (G) did (C) yes he (G) did.
The (Em) streets of heaven are paved with gold, (C) yes he (G) did (C) yes he (G) did.
He brought joy, oh he brought (C) joy in (D) to my (G)hear- (C)(G)(C)(G)(C) |G| -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)(MC5)
TIP: The whole song can be played with just (G), (C), and (A). But the (CaddG) in the intro and
the (Gadd) in the outro are easy to play. (CaddG) is just (C) with your pinky added to the bottom
string/3rd fret. In the intro it comes immediately before the first word in the line and then you
move quickly on to the (G).
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>: I (G) saw her today at the re (C) ception.

(CaddG) A (G) glass of wine in her (C) hand.
(CaddG) I (G) knew she would meet her con (C) nection.
(CaddG) At her (G) feet was a, footloose (C) man.
(CaddG) Now you (G) can't always get what you (C) want.
(CaddG) You (G) can't always get what you (C) want.
(CaddG) You (G) can't always get what you (C) want.
But if you (A) try sometime, (C) you'll find, you get what you (G) need.
(G)(C)(G)(C)(G)(C)(G)(C)
I (G) saw, her today at the re (C) ception. A (G) glass of wine, in her (C) hand.
I (G) knew, she was gonna meet her con (C) nection. At her (G) feet, was, a footloose (C) man.
You (G) can't always get what you (C) want. You (G) can't always get what you (C) want.
You (G) can't always get what you (C) want. But if you (A) try sometimes, well you might (C) find,
You get what you (G) need. Ahhh-(C)-ahhh yeah-ahh, hey (G) hey, oh-(C)-hoh.
And I (G) went down, to the demon (C) stration, to (G) get my, fair share of a (C) buse.
Singin' (G) "We're, gonna vent, our frus (C) tration.
If we (G) don't, we're gonna blow, a 50-amp (C) fuse." Sing it to me.
You (G) can't always get what you (C) want. But if you (A) try sometimes,
Well you (C) just might find, you get what you (G) need. Ahhh-(C)-ohh baby yeah-(G)-ah, aw-(C)-aw.
I (G) went down, to the Chelsea (C) drugstore, to (G) get your, prescription (C) filled.
I was (G) standing in line, with Mr. (C) Jimmy, and (G) man did he look, pretty (C) ill.
We de (G) cided, that we would have a (C) soda. My (G) favorite, flavor, cherry (C) red.
I (G) sung my song, to Mr. (C) Jimmy. Yeah, and he (G) said one word to me and that was (C) dead.
I said to him:
You (G) can't always get what you (C) want. No. You (G) can't always get what you (C) want.
You (G) can't always get what you (C) want. But if you (A) try sometimes you just might find (C),
You get what you (G) need. Ohhhh (C) yes. Whoo.
(A)(A)(C)(C)(C)(D); (G)(C)(G)(C)(G)(C), (A)(C)
You get what you (G) need. (C) Yes. Oh (G) babe. Ohh (C) yes.
I (G) saw her today at the re (C) ception. In her (G) glass, was a, bleeding (C) man.
She was (G) practiced at the art of de (C) ception.
Well I could (G) tell, by her, blood-stained (C) hands.
You (G) can't always get what you (C) want. But if you (A) try sometime, you just might find,
You (C) just might find, you get what you (G) need. Ahhh (C) yeah. Awww (G) yeah. (C)
Aww you (G) can't always get what you (C) want.
No no baby you (G) can't always get what you (C) want.
You (G) can't always get what you (C) want.
But if you (A) try sometime you just might find, you (C) just might find that,
You get what you (G) need. Awww (C) yeah.
(G)(C)(G)(C)(G)(C)(G)(C)(G)(C)(G)(C)(Gadd)(CaddG)(Gadd)(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)(MC2/3)
[A version in [G] follows. You'll have to play it capo'd at the 6th fret but it's much easier to
play, and I think prettier, too.]
TIP: The (G)(D7sus4)-(G) is a little awkward but in this case is really an augmentation of the
(G). Just keep the bottom finger planted on the bottom string and bring your index and ring
fingers down to the 2nd string/1st fret and 3rd string/2nd fret respectively. Move the index
finger sort of like you're setting up for a (C) and the middle finger will naturally follow. Then
return to the (G) like a pivot.
TIP: The (FaddG) will follow an (F) so just keep form and add your pinky to the bottom string/3rd
fret.
INTRO: (F)(C)(G)(C)(F)(C)(G)(D7sus4)-(G); (F)(C)(G)(C)(F)(C)(G)(D7sus4)-(G)
(F) She left the (C) car, in the (G) driveway (C).
(F) She left the (C) key in the (G) door (D7sus4)-(G).
(F) She left the (C) kids, at her (G) mama's (C).
And the (F) laundry piled (C) up on the (G) floor (D7sus4)-(G).
(F) She left her (C) ring, on the (G) pillow (C).
(F) Right where it (C) wouldn't be (G) missed (D7sus4)-(G).
(F) She left a (C) note, in the (G) kitchen (C).
(F) Next to the (C) grocery (G) list (D7sus4)-(G).
It said "You (F) don't even know (FaddG) who I (C) am |C|-|Am|-|C|.
You (Am) left me a (G) long time a (F) go.
You don't even know (FaddG) who I (Am) am (G).
|G| So what do you care if I (F) go (C)(G)(C)(F)(C)(G)(D7sus4)-(G)?"
(F) He left the (C) ring, on the (G) pillow (C).
(F) He left the (C) clothes on the (G) floor (D7sus4)-(G).
And-he (F) called her to (C) say, he was (G) sorry (C).
But he (F) couldn't re (C) member what (G) for (D7sus4)-(G).
So he (F) said I've been (C) doin', some (G) thinkin' (C).
I've been (F) thinkin' that (C) maybe you're (G) right (D7sus4)-(G).
(F) I go to (C) work, every (G) mornin' (C).
And I (F) come home to (C) you every (G) night (D7sus4)-(G).
And you (F) don't even know (FaddG) who I (C) am |C|-|Am|-|C|.
You (Am) left me a (G) long time a (F) go.
You don't even know (FaddG) who I (Am) am (G).
|G| So what do I care if you (F) go? (C)(G)(C)
You (F) don't even know (FaddG) who I (Am) am (G).

|G| So what do I care if you (F) go (C)(G)(C)(F)(C)(G)(D7sus4)-(G)-(C)?
YOU DON'T EVEN KNOW WHO I AM - Patty Loveless
(Peters)
https://www.youtube.com/watch?v=kfrJvZamYns (Capo 6)(MC6)
TIP: The (Dsus2) will follow a (D) so just lift off the bottom string and then replace it. Same
thing for the (CaddD), keep the (C) form and add your pinky to the 2nd string/3rd fret.
INTRO: (C)(G)(D)(G)(C)(G)(D)(Dsus2)-(D); (C)(G)(D)(G)(C)(G)(D)(Dsus2)-(D)
(C) She left the (G) car, in the (D) driveway (G).
(C) She left the (G) key in the (D) door (Dsus2)-(D).
(C) She left the (G) kids, at her (D) mama's (G).
And the (C) laundry piled (G) up on the (D) floor (Dsus2)-(D)
(C) She left her (G) ring, on the (D) pillow (G).
(C) Right where it (G) wouldn't be (D) missed (Dsus2)-(D).
(C) She left a (G) note, in the (D) kitchen (G).
(C) Next to the (G) grocery (D) list (Dsus2)-(D).
It said "You (C) don't even know (CaddD) who I (G) am |G|-|Em|-|G|.
You (Em) left me a (D) long time a (C) go.
You don't even know (CaddD) who I (Em) am (D).
|D| So what do you care if I (C) go (G)(D)(G)(C)(G)(D)(Dsus2)-(D)?"
(C) He left the (G) ring, on the (D) pillow (G).

(C) He left the (G) clothes on the (D) floor (Dsus2)-(D).
And-he (C) called her to (G) say, he was (D) sorry (G).
But he (C) couldn't re (G) member what (D) for (Dsus2)-(D).
So he (C) said I've been (G) doin', some (D) thinkin, (G).
I've been (C) thinkin, that (G) maybe you're (D) right (Dsus2)-(D).
(C) I go to (G) work, every (D) mornin' (G).
And I (C) come home to (G) you every (D) night (Dsus2)-(D).
And you (C) don't even know (CaddD) who I (G) am |G|-|Em|-|G|.
You (Em) left me a (D) long time a (C) go.
You don't even know (CaddD) who I (Em) am (D).
|D| So what do I care if you (C) go? (G)(D)(G)
You (C) don't even know (CaddD) who I (Em) am (D).

|D| So what do I care if you (C) go (G)(D)(G)(C)(G)(D)(Dsus2)-(D)-(G)?
YOU DON’T KNOW HOW LUCKY YOU ARE – Patty Loveless
(Jackson/Willis)
https://www.youtube.com/watch?v=B96fMzj4sdY (Capo 1)(MC1)
INTRO: (D)(D)(G)(G),(D)(A)(D)(A7)
Most (D) people, use money, to (G) measure success,

The (D) big car they're drivin', and the (A) way that they dress.
If there's (D) someone, who loves you you're (G) richer by far,
You don't (D) knowww how (A) lucky you (D) are. (A7)
So (D) ciety's pages she (G) never may grace,

Or (D) dress in fine garments of (A) satin and lace.
But if (D) comfort, awaits you in the (G) warmth of her arms.
You don't (D) knowww how (A) lucky, you (D) are.
Just (A) under, the surface, lie (G) riches untold,

More (A) precious than diamonds more (G) treasured than (A) gold (A).
(D) Priceless is (A) true love in a (G) good woman's (Bm) heart.
You don't (D) knowww how (A) lucky, you (D) are. (A7)
<steel> (D)(D)(G)(G), (D)(D)(A)(A), <piano> (D)(D)(G)(Bm),(D)(A)(D)(D)
Just (A) under, the surface lie (G) riches untold,

More (A) precious, than diamonds, more (G) treasured than (A) gold (A).
(D) Priceless is (A) true love in a (G) good woman's (Bm) heart.
You don't (D) knowww how (A) lucky, you (D) are. (A7)
(D) Priceless is (A) true love in a (G) good woman's (Bm) heart (Bm).
You don't (D) know, how (A) lucky, you (D) are. |D|
YOU DON’T MESS AROUND WITH JIM
Jim Croce
https://www.youtube.com/watch?v=QF_mUtno-p8 (Capo 2)(MC2)
TIP: For the (D) to (D-) to (D) sequence just lift off the index finger and then replace it. Or
skip it and just play (D).
INTRO: (D)(D)(D)(D), (D-) (D)(D)(D)(D), (D-)
(D) Uptown (D-) got it's hus (D) tlers. The Bowery (D-) got it's (D) bums.
Forty-second (D-) street got (D) Big Jim (D-) Walker he a (D) pool-shootin' (D-) son of a (D) gun.
Yeah he (G) big and dumb as a man can come, but he stronger than a country hoss.
And when the (A) bad folks all get to (G) gether at night
You know they (A) all call Big Jim (G) “Boss,” just be (D) cause (D).
And they say you don't (G) tug on Superman's (D) cape. You don't (G) spit into the (D) wind.
You don't (G) pull, the mask off that old Lone Ranger and you (A) don't mess around with (D) Jim.
Ah dout douten doubt day dayden dee dee (A) dee. (A)(A)(A)
Well outta (D) south Ala (D-) bama come a (D) country boy,
He said I'm lookin' for a (D-) man named (D) Jim.
I am a pool shootin' (D-) boy my name a (D) Willie McCoy but down home they (D-) call me (D) Slim.
Yeah I'm (G) lookin' for the king of 42nd street he drivin' a drop-top Cadillac.
Last week he (A) took all my money and it (G) may sound funny
But I (A) come to get my money (G) back. And everybody (D) say “Jack, don't you know:
You don't (G) tug on Superman's (D) cape. You don't (G) spit into the (D) wind.
You don't (G) pull, the mask off that old Lone Ranger and you (A) don't mess around with (D) Jim.”
Ah dout douten doubt day dayden dee dee (A) dee. (A)(A)(A)
Well a (D) hush fell (D-) over the (D) pool room Jimmy come boppin' in (D-) off the (D) street.
And when the cuttin' were (D-) done the only (D) part that wasn't (D-) bloody
Was the (D) soles of the (D-) big man's (D) feet.
Yeah he were (G) cut in about a hundred places, and he were shot in a couple more.
And you (A) better believe they sung a (G) different kind of story
When (A) Big Jim hit the (G) floor oh oh (D) oh.
Now they say you don't (G) tug on Superman's (D) cape. You don't (G) spit into the (D) wind.
You don't (G) pull, the mask off that old Lone Ranger and you (A) don't mess around with (D) 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.
Yeah you don't (G) tug on Superman's (D) cape. You don't (G) spit into the (D) wind.
You don't (G) pull, the mask off that old Lone Ranger and you (A) don't mess around with (D) 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. |D|
YOU GOT IT - Roy Orbison
(Lynne/Orbison/Petty)
https://www.youtube.com/watch?v=7Xc_8AkmKfo (Capo 2)(MC0)
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. It’s three strums of |D|
beginning with the one on “|D| do” and then three |D/A| in which you just add your pinky to the 3rd
string/3rd fret, and one strum of |G| before immediately going into the chorus.
INTRO: (G)(G)(F)(C),(G)(G)(F)(C)
(G) Every time I look in (F) to your (C) loving (G) eyes (G)(F)(C),
(G) I see a love that (F) money (C) just can't (D) buy (D)(F)(F).
One (G) look, from (Em) you, I (Bm) drift, a (D) way.
I (G) pray, that (Em) you, are (Bm) here, to (D) stay.
(G) Any (B7) thing you (Em) want, you (C) got it.
(G) Any (B7) thing you (Em) need, you (C) got it.
(G) Any (B7) thing at (Em) all, you (C) got it. (G) Ba – (D)(D) -by (C)(C)(G)(G)(D)(D).
(G) Every time I hold you (F) I begin to (C) under (G) stand (G)(F)(C),
(G) Everything about you (F) tells me (C) I'm your (D) man (D)(F)(F).
I (G) live, my (Em) life, to (Bm) be, with (D) you.
No (G) one, can (Em) do, the (Bm) things, you (D) do.
(G) Any (B7) thing at (Em) all, you (C) got it. (G) Ba - (D)(D) by (C)(C)(G)(G)(D)(D).
Anything you want (you got it). Anything you need (you got it). Anything at all-all (G).
Da (B7) doo-doo (Em) doo (C)(G), da (B7) doo-doo (Em) do (C)(G),

Da (B7) doo-doo (Em) do (you (C) got it). (D)(D), (D)(D)(C)(C)(G)(G)(D)(D)
I'm (G) glad, to (Em) give, my (Bm) love, to (D) you.

I (G) know, you (Em) feel, the (Bm) way, I |D| do. -|D|-|D|-|D/A|-|D/A|-|D/A|-|G|
(G) Any (B7) thing at (Em) all, you (C) got it. (G) Ba – (D)(D) by (C)(C)(G)(G)(D)(D).
(G) Any (B7) thing at (Em) all, you (C) got it. (G) Ba – (D)(D) by (C)(C)(G)(G)(D)(D).
Anything at all (you got it). Ba-(D7)-by, you |G| got |G| it.
YOU KNOW (In C) – Corey Kent
(Kent/Goodloe)
https://www.youtube.com/watch?v=Ovjft22uffo (Capo 3)(MC3)
[Afterwards are versions in D and G.]
TIP: The opening note pairs are c-d#, g#-d#, and d#-d# an octave apart. Begin with a capo on the
third fret and form the (F/C) chord shape which is just (F) with your pinky covering the 5th
string/3rd fret (with capo 3 this is actually a (G#) chord). To play the opening, pick the 3rd and
2th strings twice, alternating between the two, then do the same with the 4th and 2nd strings, and
the 5th and 2nd strings four times. Repeat.
TIP: This sequence is played in the verse and chords for the chorus but you may find it (much)
easier to play chords entirely after the intro. Of course you can play the intro with chords as
well and it’ll sound fine.
TIP: Can also be played capo 1 with (Bm) (G) and (D); and capo 8 for (Em) (C) and (G).
INTRO (Notes): (Form F/C) 3-2 3-2, 4-2 4-2, 5-2 5-2 5-2 5-2 (repeat)
INTRO (Chords): (Am) (F) (C) (C), (Am) (F) (C) (C)
I know (Am) when you (F) shoot te (C) quila,

You cut it (Am) with a (F) slice of (C) orange.
And I know (Am) red wine (F) hangs you (C) over,
So you don’t (Am) drink it (F) any (C) more.
And I (Am) know he broke your (F) heart last (C) summer,
And I (Am) know that you still (F) need some (C) time,
And I (Am) know this thing (F) might sound (C) crazy,
But we both (Am) know it’s more than (F) friends to (C) night.
You know how to (Am) get this (F) heartbeat (C) racin’.
(Am) You know how to (F) drive me (C) wi-ild.
You know when we (Am) kiss it’s e (F) lectric (C) baby.
You (Am) know I can’t re (F) sist your (C) smile.
Yeah I mean (Am) we’re already (F) spendin’, (C) all our time to (F) gether,
Maybe (Am) we should let the (F) good times (C) roll.
Yeah I ain’t (Am) sayin’ that we (F) gotta, (C) tie it down for (F) ever,
I’m just (Am) sayin’ when you (F) know you (C) know.
And I (Am) know (F)(C), (Am)(F)(C).
Yeah I (Am) know you hate the (F) sound of the (C) thunder,
And I (Am) know that you hate (F) sleepin’ a (C) lone.
I (Am) know you call your (F) Mom on (C) Sundays.
I (Am) know you love New (F) York when it (C) snows.
I (Am) know I’ve (F) never, (C) felt this (F) way-a (Am) bout no- (F) body (C) else,
And (Am) all our (F) friends can, (C) see it (F) too so, (Am) why lie (F) to our (C) selves?
You know how to (Am) get this (F) heartbeat (C) racin’.
Yeah- (Am) you know how to (F) drive me (C) wild.
You know when we (Am) kiss it’s e (F) lectric (C) baby.
I mean (Am) we’re already (F) spendin’, (C) all our time to (F) gether,
I ain’t (Am) sayin’ that we (F) gotta, (C) tie it down for (F) ever,
And I (Am) know (F)(C). Yeah I (Am) know (F)(C).
Yeah (Am) you know that no (F) body knows you (C) like I know ya (F) baby,
(Am) I just wanted (F) you to know (C).
Yeah (Am) you know that no (F) body knows you (C) like I know ya (F) baby,
(Am) I just wanted (F) you to know (C).
You know how to |Am| get this |F| heartbeat |C| racin’.
Yeah |Am| you know how to |F| drive me |C| wild.
You know when we |Am| kiss it’s e |F| lectric |C| baby.
Hey I mean (Am) we’re already (F) spendin’, (C) all our time to (F) gether,
Hey-I ain’t (Am) sayin’ that we (F) gotta, (C) tie it down for (F) ever,
And I (Am) know (F)(C). And you (Am) know (F)(C).
And I (Am) know (F)(C), (Am)(F)|C|.
(Corey Kent) (Artist Index) - (Main Index) - (Song Index) (This Song)
YOU KNOW (In D) – Corey Kent
(Kent/Goodloe)
[Also available in the key of C (above) and G (below).]
TIP: The opening note pairs are c-d#, g#-d#, and d#-d# an octave apart. Begin with a capo on the
first fret and form the (F3) chord which is just the (F) shape with your pinky covering the 5th
string/5th fret – (with Capo 1 this is actually a (G#) chord). Pick the 3rd and 2th strings twice,
alternating between the two, then do the same with the 4th and 2nd strings, and the 5th and 2nd
strings four times. Repeat.
TIP: The (Bm) will follow (D) so you can hold the (D) shape and just extend your pinky to cover
the 3rd string/4th fret to play the (Bm) before moving on to the (G).
TIP: Can also be played capo 3 with (Am) (F) and (C), or capo 8 with (Em) (C) and (G).
INTRO (Notes): (Form F3) 3-2 3-2, 4-2 4-2, 5-2 5-2 5-2 5-2 (repeat)
INTRO (Chords): (Bm) (G) (D) (D), (Bm) (G) (D) (D)
I know (Bm) when you (G) shoot te (D) quila,

You cut it (Bm) with a (G) slice of (D) orange.
And I know (Bm) red wine (G) hangs you (D) over,
So you don’t (Bm) drink it (G) any (D) more.
And I (Bm) know he broke your (G) heart last (D) summer,
And I (Bm) know that you still (G) need some (D) time,
And I (Bm) know this thing (G) might sound (D) crazy,
But we both (Bm) know it’s more than (G) friends to (D) night.
You know how to (Bm) get this (G) heartbeat (D) racin’.
(Bm) You know how to (G) drive me (D) wi-ild.
You know when we (Bm) kiss it’s e (G) lectric (D) baby.
You (Bm) know I can’t re (G) sist your (D) smile.
Yeah I mean (Bm) we’re already (G) spendin’, (D) all our time to (G) gether,
Maybe (Bm) we should let the (G) good times (D) roll.
Yeah I ain’t (Bm) sayin’ that we (G) gotta, (D) tie it down for (G) ever,
I’m just (Bm) sayin’ when you (G) know you (D) know.
And I (Bm) know (G)(D), (Bm)(G)(D).
Yeah I (Bm) know you hate the (G) sound of the (D) thunder,
And I (Bm) know that you hate (G) sleepin’ a (D) lone.
I (Bm) know you call your (G) Mom on (D) Sundays.
I (Bm) know you love New (G) York when it (D) snows.
I (Bm) know I’ve (G) never, (D) felt this (G) way-a (Bm) bout no- (G) body (D) else,
And (Bm) all our (G) friends can, (D) see it (G) too so, (Bm) why lie (G) to our (D) selves?
You know how to (Bm) get this (G) heartbeat (D) racin’.
Yeah- (Bm) you know how to (G) drive me (D) wild.
You know when we (Bm) kiss it’s e (G) lectric (D) baby.
I mean (Bm) we’re already (G) spendin’, (D) all our time to (G) gether,
I ain’t (Bm) sayin’ that we (G) gotta, (D) tie it down for (G) ever,
And I (Bm) know (G)(D). Yeah I (Bm) know (G)(D).

Yeah (Bm) you know that no (G) body knows you (D) like I know ya (G) baby,
(Bm) I just wanted (G) you to know (D).
Yeah (Bm) you know that no (G) body knows you (D) like I know ya (G) baby,
(Bm) I just wanted (G) you to know (D).
You know how to |Bm| get this |G| heartbeat |D| racin’.
Yeah |Bm| you know how to |G| drive me |D| wild.
You know when we |Bm| kiss it’s e |G| lectric |D| baby.
Hey I mean (Bm) we’re already (G) spendin’, (D) all our time to (G) gether,
Hey-I ain’t (Bm) sayin’ that we (G) gotta, (D) tie it down for (G) ever,
And I (Bm) know (G)(D). And you (Bm) know (G)(D).
And I (Bm) know (G)(D), (Bm)(G)|D|.
YOU KNOW (In G) – Corey Kent
(Kent/Goodloe)
[Also available in the key of C and G (above).]
TIP: These are the friendliest chord shapes but in order to match the recording you need to capo
at the 8th fret. If you don’t want to capo that high, you can capo anywhere you want and play the
exact same thing -- but it will no longer match the recording.
TIP: Start by forming (G#) which has an (E) chord shape but played on the top string (i.e. up a
fret and up a string-set). To play the opening, pick the 4th and 3rd strings twice, alternating
between the two, then do the same with the 5th and 3rd strings, and the 6th and 3rd strings four
times. Repeat.
TIP: Can also be played capo 1 with (Bm) (G) and (C), and capo 3 with (Am) (F) and (C).
INTRO (Notes): (Form G#) 4-3 4-3, 5-3 5-3, 6-3 6-3 6-3 6-3 (repeat)
INTRO (Chords): (Em) (C) (G) (G), (Em) (C) (G) (G)
I know (Em) when you (C) shoot te (G) quila,

You cut it (Em) with a (C) slice of (G) orange.
And I know (Em) red wine (C) hangs you (G) over,
So you don’t (Em) drink it (C) any (G) more.
And I (Em) know he broke your (C) heart last (G) summer,
And I (Em) know that you still (C) need some (G) time,
And I (Em) know this thing (C) might sound (G) crazy,
But we both (Em) know it’s more than (C) friends to (G) night.
You know how to (Em) get this (C) heartbeat (G) racin’.
(Em) You know how to (C) drive me (G) wi-ild.
You know when we (Em) kiss it’s e (C) lectric (G) baby.
You (Em) know I can’t re (C) sist your (G) smile.
Yeah I mean (Em) we’re already (C) spendin’, (G) all our time to (C) gether,
Maybe (Em) we should let the (C) good times (G) roll.
Yeah I ain’t (Em) sayin’ that we (C) gotta, (G) tie it down for (C) ever,
I’m just (Em) sayin’ when you (C) know you (G) know.
And I (Em) know (C)(G), (Em)(C)(G).
Yeah I (Em) know you hate the (C) sound of the (G) thunder,
And I (Em) know that you hate (C) sleepin’ a (G) lone.
I (Em) know you call your (C) Mom on (G) Sundays.
I (Em) know you love New (C) York when it (G) snows.
I (Em) know I’ve (C) never, (G) felt this (C) way-a (Em) bout no- (C) body (G) else,
And (Em) all our (C) friends can, (G) see it (C) too so, (Em) why lie (C) to our (G) selves?
You know how to (Em) get this (C) heartbeat (G) racin’.
Yeah- (Em) you know how to (C) drive me (G) wild.
You know when we (Em) kiss it’s e (C) lectric (G) baby.
I mean (Em) we’re already (C) spendin’, (G) all our time to (C) gether,
I ain’t (Em) sayin’ that we (C) gotta, (G) tie it down for (C) ever,
And I (Em) know (C)(G). Yeah I (Em) know (C)(G).

Yeah (Em) you know that no (C) body knows you (G) like I know ya (C) baby,
(Em) I just wanted (C) you to know (G).
Yeah (Em) you know that no (C) body knows you (G) like I know ya (C) baby,
(Em) I just wanted (C) you to know (G).
You know how to |Em| get this |C| heartbeat |G| racin’.
Yeah |Em| you know how to |C| drive me |G| wild.
You know when we |Em| kiss it’s e |C| lectric |G| baby.
Hey I mean (Em) we’re already (C) spendin’, (G) all our time to (C) gether,
Hey-I ain’t (Em) sayin’ that we (C) gotta, (G) tie it down for (C) ever,
And I (Em) know (C)(G). And you (Em) know (C)(G).
And I (Em) know (C)(G), (Em)(C)|G|.
YOU TOOK THE WORDS RIGHT OUT OF MY MOUTH – Meat Loaf
(Steinman)
https://www.youtube.com/watch?v=HRZTRTPiIT4 (Capo 2)(MC4)
TIP: For the quick transition in the intro from (G) to (G/F#)-(C), from the (G) just slide down
one fret while lifting off the 5th string and move quickly to the (C). Or, keep the (G) shape and
just use your pinky to cover the <f#> at the 4th string/4th fret. For the (C)(Cmaj7)-(D) just lift
off the index finger from the (C) and move to the (D).
(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)(G/F#)-(C), (C)(Cmaj7)-(D); (G)(G/F#)-(C), (C)(Cmaj7)-(D)
It was a (G) hot summer night and a (C) beach was burning,
There was (G) fog (Gadd) crawling over the (C) sand.
Oh when I (G) listen to your heart I hear the (C) whole world turning.
I (F) see the shooting stars falling (Am) through your (C) trem (D) bling (G) hands (G).
While you were lickin’ your lips and (C) lipstick shining
I was (G) dying (Gadd) just to ask for a (C) taste.
Oh we were (G) lyin’ together in a (C) silver lining
By the (F) light of the moon you know there's (Am) not another (C) moment,
(Am) Not another (C) moment, not another (D) moment to (G) waste (G).
Oh will you (Am) hold me so (G) close and my (F) knees grow (G) weak,
But my (Am) soul is flyin’ high a (C) bove the (G) ground.
I'm (Am) trying to (G) speak but no (F) matter what I (G) do,
I (Em) just can't seem to make any (D) sound. (D)(D)
And then you (C) took the words right out of my (G) mouth.
Oh it (F) must have been while you were (G) kissin’ me.
You (C) took the words right out of my (G) mouth.
Oh and I (Am) swear it's (C) true I was (Em) just about to say I (C) love you. (Em) Love (D) you.
Now my (G) body is shakin’ like a (C) wave on the water

And I (G) guess that (Gadd) I'm beginning to (C) grin.
Oh we're (G) finally alone and we can (C) do what we want to
Oh the (F) night is young and ain't (Am) no one gonna (C) know where-ya
(Am) No one gonna (C) know where-ya, no one's (D) gonna know where you've (G) been (G).
While you were lickin’ your lips and (C) lipstick shinin’
I was (G) dying (Gadd) just to ask for a (C) taste.
Oh we were (G) lying together in a (C) silver lining
By the (F) light of the moon you know there's (Am) not another (C) moment (D) to (G) waste.
And then you (G) took the words right <up> (Gadd) out of my (CaddD) mouth.
(Must have been while you were kissing me.)
Oh you (G) took the words right out of my (C) mouth. (Must have been while you were kissing me.)
You (G) took the words right out of my (C) mouth. (Must have been while you were kissing me.)
Whoa you (G) took the words right out of my (C) mouth. (Must have been while you were kissing me.)
Whoa (G) whoa yeah yeah yeah (C). (Must have been while you were kissing me.)
Whoa you (G) took the words right out of my (C) mouth.
You took the words right out of my (G) mouth, <clap clap>
Whoa it (F) must have been while you were (G) kissin’ me.

Oh it (F) must have been while you were (G) kissing me.

Oh it (C) must have been while you were kissing (G) me.
You (C) took the words right out of my |G| mouth.
YOUR CHEATIN’ HEART
Hank Williams
https://www.youtube.com/watch?v=cS4LCoh0VGQ (Capo 0)(MC0)
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: The (Fm6) is easy; froom the preceding (F) 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)
Your cheatin' heart, will make you (F) weep.

You'll cry and (G7) cry, and try to (C) sleep.
But sleep won't come, the (C7) whole night (F) through (Fm6).
Your cheatin' (G7) heart, will tell on (C) you (C)(C7).
When tears come (F) down, like fallin' (C) rain.

You'll toss a (D7) round, and call my (G7) name.
You'll walk the (C) floor (C7), the way I (F) do (Fm6).
Your cheatin' (G7) heart, will tell on (C) you.
(C)(F)(F)(C),(C)(D7)(D7)(G7),(G7)(C)(C)(F),(F)(G7),(G7)(C)
Your cheatin' heart, will pine some (F) day.

And crave the (G7) love, you threw a (C) way.
The time will come, when (C7) you'll be (F) blue (Fm6).
Your cheatin' (G7) heart, will tell on (C) you (C)(C7).
When tears come (F) down, like falling (C) rain.
You'll toss a (D7) round, and call my (G7) name.
You'll walk the (C) floor (C7), the way I (F) do (Fm6).
Your cheatin' (G7) heart, will tell on (C) you (C)|C|.
YOUR WILDEST DREAMS – Moody Blues
(Hayward)
https://www.youtube.com/watch?v=kmmPFrkuPq0 (Capo 0)(MC0)
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) Once upon a (C) time, once when you were (D) mi-ine (G) I remember (C) skies,
Reflected in your (D) eye-eyes I (F) wonder where you (C) are.
I (F) wonder if you (C) think about me.
(G) Once upon a (C) time, in your (D7) wildest (G) dre-(C)-eams. (C)(G)-(D)
(G) Once the world was (C) new,

Our bodies felt the (D) morning dew that (G) greets the brand new (C) day.
We couldn't tear our (D) selves away I (F) wonder if you (C) care.
I (F) wonder if you (C) still remember (G) once upon a (C) time,
In your (D7) wildest (G) dreams (C)-(G).
And when the music (C) plays. And when the words are (D7) touched with (G) sorrow.
When the music (C) plays, I hear the sound I (D7) had to follow. (G) Once upon a (D7) time.
(G) Once beneath the (C) stars, the universe was (D) our-r-rs (G) love was all we (C) knew,
And all I knew was (D) you-ou I (F) wonder if you (C) know.
I (F) wonder if you (C) think about it.
(G) Once upon a (C) time, in your (D7) wildest (G) dre-(C)-eams. (C)(Em)-(D)
(G) Ahh-ahhh-(C)-ahh. Ahhh-(D)-ahh-ahh-(G)-ahh ahh-(C)-ahh. Ahhhhh-(Em)-ahh-(D)-ahh.

(F) Ahh-ahh-(C)-ahh. (F) Ahh-ahh-(C)-ahh-ahh-(G)-ahh-ahh-(C)-ahh-ahh-(D7)-ahhhhh-(G) ahh.
And when the music (C) plays. And when the words are (D7) touched with (G) sorrow.
When the music (C) plays. (C)(C)
And (G) when the music (C) plays, I hear the sound I (D7) had to follow.
(G) Once upon a (D7) time (D7).
(G) Once upon a (C) time, once when you were (D) mi-ine (G) I remember (C) skies,
Mirrored in your (D) eye-eyes I (F) wonder where you (C) are.
I (F) wonder if you (C) think about me. (G) Once upon a (C) time,
In your (D7) wildest (G) dre-(C)-eams. (C)
In your (D) wild (D7) est (G) dre-(C)-eams. (C)

In your (D) wi-i-ldest (G) dre-(C)-eams. (C)
In your (D) wildest (G) dre-(C)-eam. (C)(D)(D)
(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)(MC1)
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)
You come (C) on like a dream, (E7) peaches and cream. (F) Lips like strawberry (C) wine.
You're six (D7) teen, you're (G) beautiful, and you're (C) mine (all mine). (G)--(G)
You're all (C) ribbons and curls, (E7) ooh what a girl. (F) Eyes that sparkle and (C) shine.
You're six (D7) teen, you're (G) beautiful, and you're (C) mine (all (F) mine mine (C) mine).
(E7) You're my baby, you're my pet. (Am7) We fell in love on the (Am) night we met.
You (D7) touched my hand, my heart went pop. (G7) Ooh when we kissed, I could not stop.
You walked (C) out of my dreams, and (E7) into my arms. (F) Now you're my angel di (C) vine.
You're six (D7) teen, you're (G7) beautiful, and you're (C) mine (C). (G)--(G)
<kazoo> (C)(E7)(F)(C)(D7)(G7)(C)(C)
(E7) You're my baby, you're my pet. (Am7) We fell in love on the (Am) night we met.
You (D7) touched my hand, my heart went pop. (G7) Ooh when we kissed, I could not stop.
You walked (C) out of my dreams, and (E) into my (E7) car. (F) Now you're my angel di (C) vine.
You're six (D7) teen, you're (G7) beautiful, and you're (C) mine (C).
You're six (D7) teen, you're (G) beautiful, and you're (C) mine (C).
You're six (D) teen, you're (G7) beautiful, and you're (C) mine (C).
All (D7) mine, all (G7) mine, all (C) mine (C).
All (D) mine, all (G) mine, all (C) mine (C).
All (D7) mine (all mine), all (G7) mine (all mine), and I (C) do (C). (D)(G7)(C)(C), (D)(G)|C|
(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)(MC2)
TIP: Originally done uncapo'd in [D] which includes the [B] so here it is in [C] with easier
chords with 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.
TIP: For the intro, cover the top string bass <c> for the first (C/G), then lift off the pinky for
a regular (C) but give the top two strings a good thump for both the (C/G) and the (C). Then comes
the (F), followed by two single strums, first of an |Fsus| in which you just sneak your pinky under
your ring finger without breaking the (F) form. Lift off for the second (F). Repeat.
INTRO: (C/G)(C)(F)|Fsus|-|F|; (C/G)(C)(F)|Fsus|-|F|
(C) There's a full moon (F) over (C) Tulsa. I hope that it's (G) shining on (C) you (C).
The nights are getting cold, in (F) Cherokee (C) county
There's a Blue Norther, (G) passin' (C) through (C).
I remember green eyes, and a (F) ranchers (C) daughter but remember, is (G) all that I (C) do (C).
Losing you left, a (F) pretty good (C) cowboy with nothing, to (G) hold on (C) to.
(F) Sundown came and I drove to tow-own and drank a drink or two-oo-oo.
(C) You're the reason God (F) made Okla (C) homa. You're the reason God (F) made Okla (C) homa.
And I'm sure (G) missin' (C) you (C). I'm sure (G) missing (C) you |D|.
<harmonica> (G)(G)(C)(C)(G)(G)(C)(C)
(G) Here the city lights (C) outshine the (G) moon I was just now (D) thinking of (G) you.
Sometimes when the wind blows you can (C) see the (G) mountains and all the way to (D) Mali (G) bu.
Everyone's a star here in (C) L.A. (G) County. You ought to see the (D) things that they (G) do.
All the cowboys down on the (C) Sunset (G) Strip, wish that they could (D) be like (G) you.
(C) The Santa Monica Freeway, sometimes makes a country girl blue-hoo-ooh.
(G) You're the reason God (C) made Okla (G) homa. You're the reason God (C) made Okla (G) homa.
And I'm sure (D) missing (G) you |A|.
I (D) work ten hours on a (G) John Deere (D) tractor just thinkin', of (A) you all (D) day.
I've got a calico cat and a (G) two-room (D) flat, on a street in (A) West L. (D) A.
You're the reason God (G) made Okla (D) homa. You're the reason God (G) made Okla (D) homa.
And I'm sure (A) missing (D) you. I'm sure |A| missing, |D| you.
(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)(MC0/4)
TIP: There's a trickly little three-note step-down at the end of the verse where you end in (D) on
"say" and then the step-down goes (D7)(Bm)(D). The notes you're emphasizing is 2nd string/1st fret
<c> on the (D7), 3rd string/4th fret on the (Bm), and 3rd string/2nd fret <a> on the (D). If
you don't like the (Bm) you can ring with a (G) instead. And if you don't like any of it, skip
it completely.
TIP: In the chorus, rather than end with a (D) you end on a (D4) on "way" which is just (D) with
your pinky added to the bottom string/3rd fret (so play a (D) and add your pinky). Then you lift
off the pinky for regular (D), and lift off the bottom (middle) finger for (Dsus2) and then right
back down with the middle finger for regular (D) again. The chord diagrams at the right. Easy.
TIP: The step down above leads to the chorus where John sings "Hey" as two syllables, the first
high on the bottom string/3rd fret treble <g> and then quickly to the open 3rd string middle <g>.
; - - -
INTRO: (G)-(G)
(G) Here I (D) stand (F) head in (G) hand. (C) Turn my face to the (F) wall (C).
(G) If she's (D) gone I (F) can't go (G) on, (C) feelin' two foot (F) small-(C)-all-(D)-all.
(G) Every (D) where (F) people (G) stare, (C) each annnd every (F) day (C).
(G) I can (D) see them (F) laugh at (G) me, (C) and I hear them (F) say-(C)-ay-(D)-ay (D7)(Bm)(D).
(G) Hey you've got to (C) hide your love a (D4) way (D)(Dsus2)(D).
(G) How can (D) I (F) even (G) try. (C) I cannn never (F) win (C).
(G) Hearing (D) them, (F) seeing (G) them, (C) in the state I'm (F) i-(C)i-(D)-in.
(G) How could (D) she (F) say to (G) me, (C) “Love will find a (F) way (C).”
(G) Gather (D) round (F) all you (G) clowns,
(C) Let mee hear you (F) say-(C)-ay-(D)-ay (D7)(Bm)(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)(MC1)
INTRO: (D)(C)(G)(A), (D)(C)(G)(A)
They (D) came from near, they (A) came from far,
(Bm) Following a (A) distant star, to (G) where He lay (G).
Not (D) being sure, of (A) what it meant,
But (Bm) knowing it, was (A) heaven sent, they (G) made their way (G).
And the (Em) creatures gathered round, and (G) didn't make a sound,
And the (D) an (C) gels (Gadd) cried.
The (D) angels knew, what (A) was to come,

The (Bm) reason God, had (A) sent his son, from (G) up above (G).
It (D) filled their hearts, with (A) joy to see,
And (Bm) knowing of, his (A) destiny, came (G) tears of love (G).
And the (D) an (C) gels (Gadd) cried.
(G)(D)(C)(G)(G)(D)(C)(G)(A)
I've (D) often thought, a (A) bout that night,

And (Bm) wondered if, they (A) realized, that (G) star so bright (G),
Was (D) sent to tell, (A) all the land,
The (Bm) son of God, would (A) soon become, the (G) son of man (G).
And the (D) an (C) gels (Gadd) cried (Gadd).
And the (D) an (C) gels (Gadd) cried (Gadd). And the |D| an |C| gels |G| cried.
(Main Index) - (Christmas Song Index) (This Song)

ANGELS WE HAVE HEARD ON HIGH - Traditional Carol
(Smart/Traditional)
(MC3)
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)
Angels we (Gadd) have (D) heard on (G) high, sweet (D) ly (G) sing (D) ing (G) o’er the plains.
And the moun (Gadd) tains (D) in re (G) ply, ech (D) o (G) ing (D) their (G) joyous strains.
Glo (E) (Am) (D) (G) (C) (D) oria. (G) In (D) ex (G) cel (C) sis (G) De (D) o.
(G) Glo (E) (Am) (D) (G) (C) (D) oria. (G) In (D) ex (G) cel (C) sis (G) De (D7) (G) o.
Shepherds, why (Gadd) this (D) jubil (G) ee? Why (D) your (G) joy (D) ous (G) songs prolong?
What the glad (Gadd) some (D) tidings (G) be? Which (D) in (G) spire (D) your (G) heav’nly song?
Come to Beth (Gadd) le (D) hem and (G) see, Christ (D) whose (G) birth (D) the (G) angels sing.
Come adore (Gadd) on (D) bended (G) knee, Christ (D) the (G) Lord (D) the (G) newborn King.
See him in (Gadd) a (D) manger (G) laid, whom (D) the (G) choirs (D) of (G) angels praise.
Mary, Jo (Gadd) seph, (D) lend your (G) aid, while (D) our (G) hearts (D) in (G) love we raise.

AWAY IN A MANGER
Traditional Carol
(MC1/0)
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)
A (D) way in a manger, no (G) crib for a (D) bed.

The (A) little Lord Je (A7) sus laid (G) down his sweet (D) head.
The stars in the bright sky looked (G) down where He (D) lay.
The (A7) little Lord (D) Jesus a (A7) sleep on the (D) hay. (D)(Gadd)(D)(D)
The cattle are lowing, the (G) poor baby (D) wakes.
But (A) little Lord Je (A7) sus no (G) crying he (D) makes.
I love the Lord Jesus, look (G) down from the (D) sky.
And (A7) stay by my (D) cradle 'till (A7) morning is (D) nigh. (D)(Gadd)(D)(D)
Be near me Lord Jesus, I (G) ask Thee to (D) stay.

Close (A) by me for (A7) ever, and (G) love me I (D) pray.
Bless all the dear Children in (G) thy tender (D) care.
And (A7) fit us for (D) heaven to (A7) live with Thee (D) there. (D)
(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)(MC0/5)
[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.
Children |D| go where I send thee. |D| How shall I send thee?
Wellll (D) I'm gonna send thee one by one. One for the little bitty baby.
Who was born, (G) born, (D) born in (A) Bethle (D) hem.
He was born, (G) born, (D) born in (A) Bethle (D) hem.
Well Children |D| go where I send thee. |D| How shall I send thee?
(D) I'm gonna send thee two by two. Two for Paul and Silas. One for the little bitty baby.
(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. Who was born, (G) born, (D) born in (A) Bethle (D) hem.
(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.
(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. Two for Paul and Silas.
And he was |D| born - |A| born - |D| born, (D) born in (A) Bethle (D) hem.
(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.
|D| I'm gonna send thee seven by seven. |D| Seven for the seven that never got to heaven.
|D| Six for the six that never got fixed. |D| Five for the five that stayed alive.
|D| Four for the four that stood at the door. |D| Three for the Hebrew children.
|D| Two for Paul and Silas. |D| One for the little bitty baby.
Who was (D) born, (G) born, (D) born in (A) Bethle (D) hem.
(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.
And he was |D| born - |A| born - |D| born, (D) born in (A) Bethle (D) hem.
(D) I'm gonna send thee nine by nine. Nine for the nine all dressed so fine.
Eight for the eight that stood at the gate. Seven for the seven that never got to heaven.
Six for the six that never got fixed. Five for the five that stayed alive.
Well children |D| go where I send thee. |D| How shall I send thee?
Welllllll (D) I'm gonna send thee ten by ten. Ten for the ten commandments.
Nine for the nine all dressed so fine. Eight for the eight that stood at the gate.
Seven for the seven that never got to heaven and six for the six that never got fixed.
And he was |D| born - |A| born - |D| borrrrrn; |D| born |D| in, |A| Beth- |A| le, |D| hem.
In |G| Beth |Gadd| le- |D| hem.
---- <additional verses> ----
(D) I'm gonna send thee eleven by eleven. Eleven for the eleven deriders.
Ten for the ten commandments. Nine for the nine all dressed so fine.
Eight for the eight that stood at the gate. Seven for the seven that never got to heaven.
Six for the six that never got fixed. Five for the five who stayed alive.
(D) I'm gonna send thee twelve by twelve. Twelve for the twelve Apostles.
Eleven for the eleven deriders. Ten for the ten commandments.
Seven for the seven that never got to heaven. Six for the six that never got fixed.
Five for the five who stayed alive. Four for the four that stood at the door.
And he was |D| born - |A| born - |D| borrrrrn; |D| born |D| in, |A| Beth- |A| le, |D| hem.
In |G| Beth |Gadd| le- |D| hem.

CHILDREN GO WHERE I SEND THEE - Peter, Paul & Mary
(Traditional)
https://www.youtube.com/watch?v=gLd0ZsyAQd8 (Capo 2)(MC0/5)
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].
Finally, a non-guitar-playing singer serves in the role as page scroller.
[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.
[1-2-3] Children |D| go where I send thee.
[4] |D| How shall I send thee?
[1] Wellll (D) I'm gonna send thee one by one.
[1-4] One for the little bitty baby. He was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] He was born,
[1] born,
[4] (G) born,
[1] born,
[1-4] (D) born in (A) Bethle (D) hem.

[2] Well children |D| go where I send thee.
[4] How shall I send thee?
[2] (D) I'm gonna send thee two by two.
[2-4] Two for Paul and Silas.
[1] One for the little bitty baby.
[1-2-4] He was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] He was born,
[1-2-3] born,
[4] (G) born,
[1-2-3] born
[1-2-3-4] (D) born in (A) Bethle (D) hem.

[3] Children |D| go where I send thee.
[3] (D) I'm gonna send thee three by three.
[3-4] Three for the Hebrew children.
[2-4] Two for Paul and Silas.
[1-4] One for the little bitty baby.
[1-2-3-4] He was born, (G) born, (D) born in (A) Bethle (D) hem.
[4] He was born,
[1-2-3] born,
[4] (G) born,
[1-2-3] born,
[4] (D) born in (A) Bethle (D) hem.

[1-2-3] (D) I'm gonna send thee four by four. Four for the four that stood at the door.
[3] Three for the Hebrew children.
[2] Two for Paul and Silas.
[1] One for the little bitty baby.
[1-2-3] He was born,
[4] born,
[1-2-3] (G) born,
[4] born,

[1-2-3] How shall I send thee?
[4] (D) I'm gonna send thee five by five.
[1-2-3] Five for the five that
[4] stayed alive.
[1-2-3] Four for the four that
[4] stood at the door.
[3] Three for the Hebrew
[4] children.
[2] Two for Paul and
[4] Silas.
[1] One for the little bitty
[4] baby.
[1-2-3] Who was born,
[4] born,
[1-2-3] (G) born,
[4] born,
[4] <ascending> He was |D| born - |A| born - |D| born, born in (A) Bethle (D) hem.
[1] (D) I'm gonna send thee six by six
[1-4] Six
[1] for the six that never got fixed.
[1-4] Five
[1] for the five that stayed alive.
[1-4] Four
[1] for the four that stood at the door.
[1-4] Three
[1] for the Hebrew children.
[1-4] Two
[1] for Paul and Silas.
[1-4] One
[1] for the little bitty baby.
[4] Who was born,
[1] born
[4] (G) born
[1] born

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

[4] Who was (D) born,
[2] born
[4] (G) born
[2] born

[3] Well (D) 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
[4] (G) born
[3] born
[4] <ascending> He was |D| born - |A| born - |D| born, born in (A) Bethle (D) hem.
[1-2-3-4] (D) I'm gonna send thee nine by nine
[1-2-3-4] Nine
[1-2-3] for the nine all dressed so fine.
[1-2-3-4] Eight
[1-2-3] for the eight that stood at the gate,
[1-2-3-4] Seven
[1-2-3] for the seven that never got to heaven.
[1-2-3-4] Six
[1-2-3] for the six that never got fixed.
[1-2-3-4] Five
[1-2-3] for the five that stayed alive.
[1-2-3-4] Four
[1-2-3] for the four that stood at the door.
[1-2-3-4] Three
[1-2-3] for the Hebrew children.
[1-2-3-4] Two
[1-2-3] for Paul and Silas.

[1-2-3-4] One
[1-2-3] for the little bitty baby.
[1-2-3] He was born,
[4] born
[1-2-3] (G) born
[4] born
[4] He was born,
[1-2-3] born
[4] (G) born
[1-2-3] born

[1-2-3] Well children |D| go where I send thee.
[4] |D| How shall I send thee?
[1-2-3-4] Wellllll (D) I'm gonna send thee ten by ten. Ten for the ten commandments.
Seven for the seven that never got to heaven and six for the six that never got fixed.
[4] <ascending> He was |D| born - |A| born - |D| borrrn . . .
[1-2-3] |D| born |D| in . . . |A| Beth |A| le . . . (D) hem.
[4] In |G| Beth |Gadd| le . . .
[1-2-3-4] . . . |D| hem.
<high-fives, towel off, grab some eggnog>

DECK THE HALLS
(Traditional Carol)
(MC1)
TIP: The intro consists of the chords from the last line in the verse, "Fa la la la la ..."
And you can play (D) in place of the (D7) if you’d rather.
INTRO: (C)(G)(D7)(G)
Deck the halls with boughs of holly. (D7) Fa-la-la-la (G) la, la-la (D7) la (G) la.
'Tis the season to be jolly. (D7) Fa-la-la-la (G) la, la-la (D7) la (G) la.
(D) Don we now our (G) gay ap (D) parel. (G) Fa-la-la, (Em) la-la-la, (D) la (A7) la (D) la.
(G) Troll the ancient Yuletide carol. (C) Fa-la-la-la (G) la, la-la (D7) la (G) la.
See the blazing Yule before us. (D7) Fa-la-la-la (G) la, la-la (D7) la (G) la.
Strike the harp and join the chorus. (D7) Fa-la-la-la (G) la, la-la (D7) la (G) la.
(D) Follow me in (G) merry (D) measure. (G) Fa-la-la, (Em) la-la-la, (D) la (A7) la (D) la.
(G) While I tell of Yuletide treasure. (C) Fa-la-la-la (G) la, la-la (D7) la (G) la.
Fast away the old year passes. (D7) Fa-la-la-la (G) la, la-la (D7) la (G) la.
Hail the new ye lads and lasses. (D7) Fa-la-la-la (G) la, la-la (D7) la (G) la.
(D) Sing we joyous (G) all to (D) gether. (G) Fa-la-la, (Em) la-la-la, (D) la (A7) la (D) la.
(G) Heedless of the wind and weather. (C) Fa-la-la-la (G) la, la-la (D7) la (G) la.
(C) Fa-la-la-la (G) la, la-la . . . |D7| la . . . |G| la.

DO YOU HEAR WHAT I HEAR
(Menotti)
(MC0)
TIP: The intro consists of the chords from "Do you hear what I hear". Play twice.
INTRO: (C)(F)-(C); (C)(F)-(C)
Said the night wind to the (G) little (C) lamb: Do you see what (F) I (C) see?
'Way up in the sky, (G) little (C) lamb. Do you see what (F) I (C) see?
A (Am) star, a star, (Em) dancing in the night, with a (F) tail as (G) big as a (Am) kite.
With a (F) tail as (G7) big as a (C) kite.
Said the little lamb to the (G) shepherd (C) boy: Do you hear what (F) I (C) hear?
Ringing thru the sky, (G) shepherd (C) boy. Do you hear what (F) I (C) hear?
A (Am) song, a song, (Em) high above the tree, with a (F) voice as (G) big as the (Am) sea.
With a (F) voice as (G7) big as the (C) sea.
Said the shepherd boy to the (G) mighty (C) king: Do you know what (F) I (C) know?
In your palace warm, (G) mighty (C) king. Do you know what (F) I (C) know?
A (Am) child, a child, (Em) shivers in the cold. Let us (F) bring Him (G) silver and (Am) gold.
Let us (F) bring Him (G7) silver and (C) gold.
Said the king to the people (G) every (C) where: Listen to what (F) I (C) say.
Pray for peace, people (G) every (C) where. Listen to what (F) I (C) say.
The (Am) child, the child, (Em) sleeping in the night.
He will (F) bring us (G) goodness and (Am) light.
He will (F) bring us (G7) goodness and (C) light.

THE FIRST NOEL
(Traditional English Carol)
(MC1)
TIP: The intro is the chords from the last line of the chorus, "Born is the King of Israel."
INTRO: (C)(Bm)(C)(G)
The first No (D) el, the (C) Angel did (G) say.
Was to (C) certain poor (Bm) shepherds in (C) fields as they (G) lay.
In fields where (D) they lay (C) keeping their (G) sheep,
On a (C) cold winter's (Bm) night that (C) was so (G) deep.
Noel, No (Bm) el, No (C) el, No (G) el- (D) -el.

(C) Born is the (Bm) King of (C) Isra (G) el.
Theyyyy looked (D) up, and (C) saw a (G) star,

Shining (C) in the (Bm) East be (C) yond them (G) far.
And to the (D) earth it (C) gave great (G) light,
And (C) so it con (Bm) tinued both (C) day and (G) night.

And by the (D) light of (C) that same (G) star,

(C) Three Wise men (Bm) came from (C) country (G) far.
To seek for a (D) King (C) was their in (G) tent,
And to (C) follow the (Bm) star where (C) ever it (G) went.

This star drew (D) nigh (C) to the north (G) west,
O'er (C) Bethle (Bm) hem it (C) took its (G) rest.
And there it (D) did (C) both pause and (G) stay,
Right (C) o'er the (Bm) place where (C) Jesus (G) lay.

Then entered (D) in (C) those Wise men (G) three,

Full (C) reverent (Bm) ly up (C) on their (G) knee.
And offered (D) there (C) in His pres (G) ence,
Their (G) gold and (Bm) myrrh and (C) frankin (G) cense.

Then let us (D) all (C) with one a (G) ccord.

Sing (C) praises to (Bm) our (C) heavenly (G) Lord,
That hath (D) made (C) Heaven and earth of (G) nought.
And (G) with his (Bm) blood (C) mankind has (G) bought.


GOD REST YE MERRY GENTLEMEN
(Traditional)
(MC1)
TIP: The intro is the chords from the last line of the chorus, "...tidings of comfort and joy."
INTRO: (C)(E)(Am)
God rest ye merry gentlemen (Em) let (Am) nothing you dis (E) may.
Re (Am) member Christ our Saviour (Em) was (Am) born on Christmas (E) day.
To (G7) save us all from (C) Satan's power when (Am) we were gone a (D) stray.
Oh (C) tidings of (E) comfort and (Am) joy, comfort and (D) joy.
Oh (C) tidings of (E) comfort and (Am) joy.
In Bethlehem in Israel (Em) this (Am) blessed Babe was (E) born.
And (Am) laid within a manger (Em) up (Am) on this blessed (E) morn.
On (G7) which His Mother (C) Mary did (Am) nothing take in (D) scorn.
From God our Heavenly Father (Em) a (Am) blessed Angel (E) came.
And (Am) unto certain shepherds (Em) brought (Am) tidings of the (E) same.
How (G7) that in (C) Bethlehem was born the (Am) Son of God by (D) name.
"Fear not then" said the Angel (Em) "Let (Am) nothing you a (E) fright.
This (Am) day is born a Saviour (Em) of (Am) a pure Virgin (E) bright.
To (G7) free all those who (C) trust in Him from (Am) Satan's power and (D) might."
The shepherds at those tidings (Em) re (Am) joiced with much in (E) mind.
And (Am) left their flocks a-feeding (Em) in (Am) tempest storm and (E) wind.
And (G7) went to Bethle (C) hem straightway the (Am) Son of God to (D) find.
And when they came to Bethlehem (Em) where (Am) our dear Saviour (E) lay.
They (Am) found Him in a manger (Em) where (Am) oxen feed on (E) hay.
His (G7) Mother Mary (C) kneeling down un (Am) to the Lord did (D) pray.
Now to the Lord sing praises (Em) all (Am) you within this (E) place.
And (Am) with true love and brotherhood (Em) each (Am) other now em (E) brace.
This (G7) holy tide of (C) Christmas all (Am) others doth de (D) face.

GOOD KING WENCESLAS
(Traditional)
(MC5)
TIP: Many chords can be omitted. For example, the first three lines of each verse can be played
as (G)(C)(G). The final line in each verse can be played as (G)(Em)(D)(G)(C)(G).
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)
Good King Wen (D) ces (G) las looked out, (C) on the Feast (D7) of (G) Stephen.
When the snow (D) lay (G) 'round about, (C) deep and crisp (D7) and (G) even.
Brightly shone the moon (D) that (Em) night, (C) though the frost (D7) was (G) cruel.
When a (Em) poor (D) man (Em) came in (D) sight,
(G) Gath'ring win (D7) ter (Em) fu- (C) -u- (G) -el.
"Hither page (D) and (G) stand by me, (C) if thou know'st (D7) it (G) telling.
Yonder peas (D) ant (G) who is he? (C) Where and what (D7) his (G) dwelling?"
"Sire he lives a good (D) league (Em) hence, (C) underneath (D7) the (G) mountain.
Right a (Em) gainst (D) the (Em) forest (D) fence,
(G) By Saint Ag (D7) nes' (Em) fou- (C) -ou- (G) -ntain."
"Bring me flesh (D) and (G) bring me wine. (C) Bring me pine (D7) logs (G) hither.
Thou and I (D) shall (G) see him dine. (C) When we bear (D7) them (G) thither."
Page and monarch forth (D) they (Em) went, (C) forth they went (D7) to (G) gether.
Through the (Em) rude (D) wind's (Em) wild lam (D) ent,
(G) And the bit (D7) ter (Em) wea- (C) -ea- (G) -ther.
"Sire the night (D) is (G) darker now, (C) and the wind (D7) blows (G) stronger.
Fails my heart (D) I (G) know not how, (C) I can go (D7) no (G) longer."
"Mark my footsteps good (D) my (Em) page, (C) tread thou in (D7) them (G) boldly.
Thou shall (Em) find (D) the (Em) winter's (D) rage,
(G) Freeze thy blood (D7) less (Em) co- (C) -old- (G) -ly."
In his mas (D) ter's (G) steps he trod, (C) where the snow (D7) lay (G) dinted.
Heat was in (D) the (G) very sod, (C) which the Saint (D7) had (G) printed.
Therefore Christian men (D) be (Em) sure, (C) wealth or rank (D7) po (G) ssessing.
Ye who (Em) now (D) will (Em) bless the (D) poor,
(G) Shall yourselves (D7) find (Em) ble (C) -ess- (G) -ing.

GRANDMA GOT RUN OVER BY A REINDEER - Elmo & Patsy
(Brooks)
https://www.youtube.com/watch?v=MgIwLeASnkw (Capo 2)(MC1)
[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 slight 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.
TIP: From the (Bm) hold the pinky and lift off the other fingers while barre-ing the bottom three
strings of the 2nd fret with your index finger.
INTRO: (Pick out notes from first line of jingle bells) or (D/A)(D/A)(D)(D)-(D/A)
(D) Grandma got run over by a reindeer, walking home from our house Christmas (G) eve.
You can say there's no such thing as (D) Santa,
But (A) as for me and Grandpa, we be (D) lieve. |C|-|G|-|D|
She'd been drinking too much egg (A) nog. (A7) And we'd begged her not to (D) go.
But she forgot her medi (G) cation, and she (A) staggered out the door into the (D) snow.
(Bm) When we found her Christmas (F#m) mornin', (A7) at the scene of the a (D) ttack.
She had hoof prints on her (G) forehead,
And in (A) criminating claw marks on her (D) back |D|-|G|-|A|.
Now were all so proud of Grand (A7) pa. He's been takin' this so (D) well.
See him in there watching (G) football. Drinkin' (A) beer and playin' cards with cousin (D) Mel.
(Bm) It's not Christmas without (F#m) Grandma. (A7) All the family's dressed in (D) black.
And we just can't help but (G) wonder,
Should we (A) open up her gifts or send them (D) back |D|-|G|-|A|?
Now the goose is on the ta (A7) ble, and the pudding made of (D) fig (ahh).
And the blue and silver (G) candle, that would (A) just have matched the hair in Grandma's (D) wig.
(Bm) I've warned all my friends and neigh (F#m) bors. (A7) Better watch out for your (D) selves.
They should never give a (G) license,
To a (A) man who drives a sleigh and plays with (D) elves |D|-|G|-|A|.
But (A) as for me and Grandpa, we be (D) lieve (sing it grandpa).
(E) Grandma got run over by a reindeer, walking home from our house Christmas (A) eve.
You can say there's no such thing as (E) Santa,
But (B7) as for me and Grandpa, we be-(E)-lee-(B7)-ee-(E)-ieve.
(Pick first line from Jingle Bells, all in (E))
(Main Index) (Kid Friendly) - (Christmas Song Index) (This Song)

GRANDMA GOT RUN OVER BY A REINDEER - Elmo & Patsy
(Brooks)
(MC3)
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: (Pick out notes from first line of jingle bells) or (G)(Gadd)(G)(D)(G)
(G) Grandma got run over by a reindeer, walking home from our house Christmas (C) eve.
You can say there's no such thing as (G) Santa,
But (D) as for me and Grandpa, we be (G) lieve. |F|-|C|-|G|
She'd been drinking too much egg (D) nog. (D7) And we'd begged her not to (G) go.
But she forgot her medi (C) cation, and she (D) staggered out the door into the (G) snow.
(Em) When we found her Christmas morn (Bm) in', (D7) at the scene of the a (G) ttack.
She had hoof prints on her (C) forehead,
And in (D) criminating claw marks on her (G) back |G|-|C|-|D|.
Now were all so proud of Grand (D) pa. (D7) He's been takin' this so (G) well.
See him in there watching (C) football. Drinkin' (D) beer and playin' cards with cousin (G) Mel.
(Em) It's not Christmas without Grand (Bm) ma. (D7) All the family's dressed in (G) black.
And we just can't help but (C) wonder,
Should we (D) open up her gifts or send them (G) back |G|-|C|-|D|?
Now the goose is on the ta (D) ble, (D7) and the pudding made of (G) fig.
And the blue and silver (C) candle, that would (D) just have matched the hair in Grandma's (G) wig.
(Em) I've warned all my friends and neigh (Bm) bors. (D7) Better watch out for your (G) selves.
They should never give a (C) license,
To a (D) man who drives a sleigh and plays with (G) elves |G|-|C|-|D|.
You can say there's no such thing as (G) Santa, but (D) as for me and Grandpa, we be (G) lieve.
(A) Grandma got run over by a reindeer, walking home from our house Christmas (D) eve.
You can say there's no such thing as (A) Santa, but (E) as for me and Grandpa,
We be-(A)-lee-(E)-ee-(A)-ieve.
(Pick first line from Jingle Bells, all in (A))
(Main Index) (Kid Friendly) - (Christmas Song Index) (This Song)

HALLELUJAH
(Cohen)
(MC0)
[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)
I've (C) heard about this (Am) baby boy who's (C) come to earth to (Am) bring us joy.
And (F) I just want to sing (G) this song (C) to ya (G).
It (C) goes like this the (F) fourth the (G) fifth, the (Am) minor fall and the (F) major (G) lift.
With every breath I'm (E7) singing Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)
A (C) couple came to (Am) Bethlehem. Ex (C) pecting child they (Am) searched the inn.
To (F) find a place for You (G) were coming (C) soon (G).
There (C) was no room for (F) them to (G) stay. So (Am) in a manger (F) filled with (G) hay
God's only Son was (E7) born oh Halle (Am) lujah.
The (C) shepherds lift their (Am) flocks by night. To (C) see this baby (Am) walked in light.
A (F) host of angels led (G) them all (C) to You (G).
It (C) was just as the (F) angels (G) said, you'll (Am) find Him in a (F) manger (G) bed.
Emannuel and (E7) Savior Halle (Am) lujah.
A (C) star shown bright up (Am) in the east, to (C) Bethlehem the (Am) wise men three.
Came (F) many miles and jour (G) neyed long to (C) see You (G).
And (C) to the place at (F) which You (G) were, their (Am) frankincense and (F) gold and (G) myrrh.
They gave to You and (E7) cried out Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah.
(C)(Am)(C)(Am), (F)(G)(C)(G), (C)(F)(G)(Am)(F)(G), (G)(E7)(Am)
I (C) know You came to (Am) rescue me. This (C) baby boy would (Am) grow to be.
A (F) man and one day die (G) for me and (C) you (G).
My (C) sins would drive the (F) nails in (G) You. That (Am) rugged cross was (F) my cross (G) too.
Still every breath You (E7) drew was Halle (Am) lujah.
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu . . .
Halle (F) lujah, Halle (Am) lujah, Halle (F) lujah, Halle (C) lu (G) uuu (C) jah. (C)(Am)(C)(Am)(C)

HALLELUJAH
(Cohen)
(MC5)
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)
I've (G) heard about this (Em) baby boy who's (G) come to earth to (Em) bring us joy.
And (C) I just want to sing (D) this song (G) to ya (D)?
It (G) goes like this the (C) fourth the (D) fifth, the (Em) minor fall and the (C) major (D) lift.
With every breath I'm (B7) singing Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)
A (G) couple came to (Em) Bethlehem. Ex (G) pecting child they (Em) searched the inn.
To (C) find a place for You (D) were coming (G) soon (D).
There (G) was no room for (C) them to (D) stay. So (Em) in a manger (C) filled with (D) hay
God's only Son was (B7) born oh Halle (Em) lujah.
The (G) shepherds lift their (Em) flocks by night. To (G) see this baby (Em) walked in light.
A (C) host of angels led (D) them all (G) to You (D).
It (G) was just as the (C) angels (D) said, you'll (Em) find Him in a (C) manger (D) bed.
Emannuel and (B7) Saviour, Halle (Em) lujah.
A (G) star shown bright up (Em) in the east, to (G) Bethlehem the (Em) wise men three.
Came (C) many miles and jour (D) need long to (G) see you (D).
And (G) to the place at (C) which You (D) were, their (Em) frankincense and (C) gold and (D) myrrh.
They gave to You and (B7) cried out Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah.
(G)(Em)(G)(Em), (C)(D)(G)(D), (G)(C)(D)(Em)(C)(D), (D)(B7)(Em)
I (G) know You came to (Em) rescue me. This (G) baby boy would (Em) grow to be.
A (C) man and one day die (D) for me and (G) you (D).
And (G) sins would drive the (C) nails in (D) You.
That (Em) rugged cross was (C) my cross (D) too.
Still every breath You (B7) drew was Halle (Em) lujah.
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu . . .
Halle (C) lujah, Halle (Em) lujah, Halle (C) lujah, Halle (G) lu (D) uuu (G) jah. (G)(Em)(G)(Em)(G)

HARK! THE HERALD ANGELS SING
(Wesley/Mendelssohn)
(MC3)
TIP: The intro consists of the chords from the last line of the verse, "Glory to the newborn
King."
INTRO: (D7)(G)(D7)(G)
Hark the herald angels si-(D)-ing: (G) "Glory to the new (D7) born (G) King!"
Peace on earth and mercy mi-(D)-ld. God and sinners re (A7) con (D) ciled.
(G) Joyful all ye (D7) na (G) tions ri-(D)-ise. (G) Join the triumph (D7) of (G) the ski-(D)-ies.
(C) With angelic (Am) host (E7) pro (Am) claim: (D7) "Christ is (G) born in Beth (D) le (G) hem."
(C) Hark the herald (Am) an (E7) gels (Am) sing: (D7) “Glory (G) to the new (D7) born (G) King!"
Christ by highest heaven ador-(D)-ed. (G) Christ the everlast (D7) ing (G) Lord.
Late in time behold him co-(D)-me. Offspring of the fav (A7) ored (D) One.
(G) Veiled in flesh the (D7) God (G) head see-(D)-ee. (G) Hail incarnate (D7) de (G) ity-(D)-y.
(C) Pleased as man with (Am) men (E7) to (Am) dwell. (D7) Jesus (G) our Eman (D) u (G) el.
Hail the heaven-born Prince of Pe-(D)-ace. (G) Hail the son of right (D7) eous (G) ness.
Light and life to all he bri-(D)-ings. Risen with healing in (A7) his (D) wings.
(G) Mild he lays His (D7) glor (G) y by-(D)-y. (G) Born that man no (D7) more (G) may die-(D)-ie.
(C) Born to raise the (Am) sons (E7) of (Am) earth.
(D7) Born to (G) give them sec (D) ond (G) birth.

HAVE A HOLLY JOLLY CHRISTMAS - Burl Ives
(Marks)
https://www.youtube.com/watch?v=P_dI6fVZwd0 (Capo 0)(MC0)
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)
Have a holly jolly Christmas, it's the best time of the (G) year.
I don't know if there'll be snow but (G7) have a cup of (C) cheer.
Have a holly jolly Christmas, and when you walk down the (G) street,
Say hello to friends you know and (G7) every one you (C) meet.
(F) Ho ho the (Em) mistletoe, (Dm) hung where (G) you can (C) see.
(Dm) Somebody (Am) waits for you, (D7) kiss-herrr once for (G) me.
Have a (C) holly jolly Christmas and in case you didn't (G) hear.
Oh by golly have a (C) holly jolly (D7) Christmas (G) this (C) year.
<capo +1>
Have a holly jolly Christmas, it's the best time of the (G) year. (G)(G)(G)(G)(C)
Have a holly jolly Christmas, and when you walk down the (G) street,
Say hello to friends you know and (G7) every one you (C) meet.
(F) Ho ho the (Em) mistletoe, (Dm) hung where (G) you can (C) see.
(Dm) Somebody (Am) waits for you, (D7) kiss-herrr once for (G) me.
Have a (C) holly jolly Christmas and in case you didn't (G) hear.
Oh by golly have a (C) holly jolly (D7) Christmas (G) this (C) year.
Ding (G) dong (Am) ding (G) dong. (C) Ding (G) dong (Am) ding (G) dong.
(C) Ding (G) dong (Am) ding (G) dong. |C|

HAVE YOURSELF A MERRY LITTLE CHRISTMAS
(Martin/Blane)
(MC1)
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) Have your (Gadd) self a (Am7) merry little Christ (D7) mas.
(G) Let your (Gadd) heart be (Am7) light (D7).
(G) From now (Em) on our (Am7) troubles will be (D7) out of (B7) sight (E7)(A7)(D7).
(G) Have your (Gadd) self a (Am7) merry little Christ (D7) mas.
(G) Make the (Gadd) Yuletide (Am7) gay (D7).
(G) From now (Em) on our (Am7) troubles will be (B7) miles a (Em) way. (G7)
(Cmaj7) Here were are as in (Bm) olden days, happy (Am7) golden days of (D7) yore.
(C) Faithful (Bm3) friends who are (Bm) dear to us, gather near to (A7) us once (D) more (D7).
(G) Through the (Gadd) years we (Am7) all will be to (D7) gether,
(G) If the (Gadd) Fates a (Am7) low (D7).
(G) Hang a (Em) shining (Am7) star upon the (B7) highest (Em) bough (G7).
And (C) have your (Am) self a (D7) merry little (Am7) Christ (D7) mas (G) now.
(Cmaj7) Here were are as in (Bm) olden days, happy (Am7) golden days of (D7) yore.
(C) Faithful (Bm3) friends who are (Bm) dear to us, gather near to (A7) us once (D) more (D7).
(G) Through the (Gadd) years we (Am7) all will be to (D7) gether,
(G) If the (Gadd) Fates a (Am7) low (D7).
(G) Hang a (Em) shining (Am7) star upon the (B7) highest (Em) bough (G7).
And (C) have your (Am) self a (D7) merry little (Am7) Christ (D7) mas (G) now. (C) (G)

HERE COMES SANTA CLAUS - Gene Autry
(Autry/Haldeman)
https://www.youtube.com/watch?v=JhcLpwlA-ZA (Capo 1)(MC0/1)
TIP: The intro is the chords from the last two lines of the verse, "Bells are ringin' . . . "
TIP: To play the (C) (CaddD) (C) series in “Here comes Santa Claus” just play (C) and add your
pinky to the 2nd string/3rd fret and then remove it again.
TIP: It helps to think of the Griswolds.
INTRO: (F)(Em)(G7)(C), (F)(C)-(Am)(G7)(C)
Here comes (CaddD) Santa (C) Claus here comes (CaddD) Santa (C) Claus
Right (G7) down Santa Claus Lane.
Vixen and Blitzen and all his reindeers (C) pullin' on the reins.
(F) Bells are ringin' (Em) children singin' (G7) all is merry and (C) bright.
So (F) hang your stockin's and (C) say your (Am) prayers
'Cause (G7) Santa Claus comes to (C) night.
He's got a bag that's filled with toys for the (C) boys and girls again.
(F) Hear those sleigh bells (Em) jingle jangle (G7) oh what a beautiful (C) sight.
So (F) jump in bed and cover (C) up your (Am) head
‘Cause (G7) Santa Claus comes to (C) night.
(C)(G7),(G7)(C),(F)(Em)(G7)(C),(F)(C)-(Am)(G7)(C)
He doesn't care if you're rich or poor he (C) loves you just the same.
(F) Santy Clause knows we're (Em) all God's children (G7) that makes everything (C) right.
So (F) fill your hearts with (C) Christmas (Am) cheer 'cause (G7) Santy Claus comes to (C) night.
He'll come around when chimes ring out that it's (C) Christmas morn again.
(F) Peace on earth will (Em) come to all if (G7) we just follow the (C) light.
So (F) let's give thanks to the (C) Lord a (Am) bove, 'cause (G7) Santa Claus comes to (C) night.
(C)(G7),(G7)(C),(F)(Em)(G7)(C),(F)(C)-(Am)(G7)(C)
Vixen and Blitzen and all his reindeers (C) pullin' on the reins.
(F) Bells are ringin' (Em) children singin' (G7) all is merry and (C) bright.
(F) Hang your stockin's and (C) say your (Am) prayers 'cause (G7) Santa Claus comes to (C) night.

HERE IT IS CHRISTMASTIME – Kevin Bacon & The Old 97’s
(Bethea/Hammond/Peeples/Miller)
https://www.youtube.com/watch?v=OiAoeRAIwzc (Capo 0)(MC0)
TIP: The (Gadd) in the intro can be ignored in favor of just (G) but adds a little treble zing.
INTRO: (Gadd)(Gadd)(Gadd)(Gadd)
(G) When we are born we are swaddled and snuggled,

(C) Whispered to fussed over tickled and cuddled.
(G) When we grow up, things get muddled, and (D) here it is Christmas (G) time.
Will you stop by for a piece of delicious,

(C) Peach pie while I tell you my yuletide wishes?
(G) You can help me, do the dishes ‘cause (D) here it is Christmas (G) time.
And we all want (C) someone (C), who will love us and (G) hold us (G).
To curl up a (D) longside (D), when nights are the (G) coldest (G).
And we all want (C) someone (C), who will hug us and (G) kiss us (F)(C).
(G) All I (D) want, is (C) you for Christmas (C).
(G) Let us examine the holiday spirit,

(C) Let the small kids sing so we can all hear it.
(G) Light up a fire and pull the chair near it 'cause (D) here it is Christmas (G) time.
(G) All I (D) want, is (C) you for Christmas (C).
<instrumental> (G)(G)(C)(C)(G)(G)(D)(G), (G)(G)(C)(C)(G)(G)(D)(G)

When we are born we are swaddled and snuggled,
(C) Whispered to fussed over tickled and cuddled.
And (G) when we grow up, things get muddled, and (D) here it is Christmas (G) time.
(G) All I (D) want, is (C) you for Christmas. (G) All I (D) want, is (C) you for Christmas.
(G) All I (D) want, is (C) you for Christmas (C)(C)(C)(C)(G)(G)(G)(G)|G|.

I SAW MOMMY KISSING SANTA CLAUS
(Conn)
(MC0/1)
INTRO: Strum (C)
I (G) saw (C) Mommy (Am) kissing (Em) Santa (Am) Claus,
(C) Underneath the mistletoe last (G) night.
She didn't see me (G7) creep, down the (C) stairs to have a peep.
She (D7) thought that I was tucked up in my (G) bedroom fast a (G7) sleep.
Then (C) I, (G) saw (C) Mommy (Am) tickle (Em) Santa (Am) Claus,
(C) Underneath his (C7) beard so snowy (F) white (A7).
Oh what a (F) laugh it would have (B7) been, if (C) Daddy had (A7) only (Dm) seen,
(G7) Mommy (C) kissing (F) Santa Claus (G7) last (C) night (Fm)(C).
(C)(G)(C)(Am)(Em)(Am), (C)(C)(G), (G)(G7), (G7)-(C)(C), (C)-(D7)(D7)(G)(G7)
Then (C) I, (G) saw (C) Mommy (Am) tickle (Em) Santa (Am) Claus,
(C) Underneath his (C7) beard so snowy (F) white (A7).
Oh what a (F) laugh it would have (B7) been, if (C) Daddy had (A7) only (Dm) seen,
(G7) Mommy (C) kissing (F) Santa Claus (G7) last (C) night (Fm)(C).

I SAW THREE SHIPS
(Traditional)
(MC2)
TIP: Playing the (A4) is just “finger management,” lifting and replacing the bottom finger to
bring out the 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)
I saw three (A4) ships (A) come sailing (A4) in on (A) Christmas Day on (E) Christmas Day.
I (A) saw three (A4) ships (A) come sailing (A4) in
On (A) Christmas Day in the (E) morn (A) ing. (A)-(A)-(A)-(A)
And what was (A4) in (A) those ships all (A4) three on (A) Christmas Day on (E) Christmas Day.
And (A) what was (A4) in (A) those ships all (A4) three
The Virgin (A4) Mary (A) and Christ were (A4) there on (A) Christmas Day on (E) Christmas Day.
The (A) Virgin (A4) Mary (A) and Christ were (A4) there
Pray whither (A4) sailed (A) those ships all (A4) three on (A) Christmas day on (E) Christmas day.
Pray (A) whither (A4) sailed (A)those ships all (A4) three
On (A) Christmas day in the (E) morn (A) ing. (A)-(A)-(A)-(A)
They sailed (A4) in (A) to Bethle (A4) hem on (A) Christmas day on (E) Christmas day.
They (A) sailed (A4) in (A) to Bethle (A4) hem
And all the (A4) bells (A) on earth shall (A4) ring on (A) Christmas day on (E) Christmas day.
And (A) all the (A4) bells (A) on earth shall (A4) ring
And all the (A4) Angels (A) in Heaven shall (A4) sing, on (A) Christmas day, on (E) Christmas day.
And (A) all the (A4) Angels (A) in Heaven shall (A4) sing
And all the (A4) souls (A) on earth shall (A4) sing on (A) Christmas day on (E) Christmas day.
And (A) all the (A4) souls (A) on earth shall (A4) sing
Then let us (A4) all (A) rejoice a (A4) main on (A) Christmas day on (E) Christmas day.
Then (A) let us (A4) all (A) rejoice a (A4) main on (A) Christmas day in the (E) morn |A| ing.

I WISH IT WAS CHRISTMAS TODAY – Julian Casablancas
(Fallon/Sanz)
https://www.youtube.com/watch?v=1wS-k66MKgs (Capo 1)(MC1)
INTRO: <bells/snare> (D)(D)(G)(D)
I don't care what the neighbors say, Christmas time is near.

(G) I don't care what anyone says, (D) Christmas is full of cheer.
(A) All I know is that Santa's sleigh, is (G) makin' its way to the U.S.A.
I (D) wish it was Christmas today (D).
I wish it was Christmas today. I wish it was Christmas today oh-oh.

I (G) wish it was Christmas today. I (D) wish it was Christmas today oh-oh.
(A) All I know is that Santa Claus don't (G) care about breakin’ or applyin’ laws.
I (D) wish it was, I wish it was, wish it was, wish it was oh-oh.
(D)(D)(G)(D)
I don't care about anything else, Christmas is almost here.

And (G) I don't care what the newsman said, (D) Christmas is full of cheer.
(A) I don't care about anything except (G) hearing those sleigh bells a-ring-a-ding-ding.
I (D) wish it was Christmas today, in the good old U.S. of A.

I wish it was Christmas today. I wish it was Christmas today oh-oh.
I (G) wish it was Christmas today. I (D) wish it was Christmas today oh-oh.
(A) Santa's bringing goodies to the boys and girls,
In (G) every nook and cranny of this crazy-ass world.
I (D) want it, I want it, I want it, I want it.
(D)(D)(G)(G)(D)(D)(A)(A)(G)(G)(D)(D)(D)(D)(D)(D)(D)
(G)(G)(D)(D)(A)(A)(G)(G)(D)(D)(D)(D)(D)(D)(D)(D)(D)(D)(D)(D)|D|

IT CAME UPON A MIDNIGHT CLEAR
(Sears/Willis)
(MC2)
TIP: The intro emulates "To hear the angels sing."
INTRO: (C)(F)(G7)(C)
It came up (F) on a (C) midnight clear, that (F) glorious (D7) song of (G) old.
From (C) angels (F) bending (C) near the earth, to (F) touch their (G7) harps of (C) gold.
"Peace (E7) on the earth, good (Am) will to men, from (G) heavens all (D7) gracious (G) King!"
The (C) world in (F) solemn (C) stillness lay, to (F) hear the (G7) angels (C) sing.
Still through the (F) cloven (C) skies they come, with (F) peaceful (D7) wings un (G) furled.
And (C) still their (F) heavenly (C) music floats, o'er (F) all the (G7) weary (C) world.
A (E7) bove its sad and (Am) lowly plains, they (G) bend on (D7) hovering (G) wing.
And (C) ever (F) o'er its (C) Babel sounds, the (F) blessed (G7) angels (C) sing.
Oh ye be (F) neath life's (C) crushing load, whose (F) forms are (D7) bending (G) low.
Who (C) toil a (F) long the (C) climbing way, with (F) painful (G7) steps and (C) slow.
Look (E7) now for glad and (Am) golden hours. Come (G) swiftly (D7) on the (G) wing.
Oh (C) rest be (F) side the (C) weary road, and (F) hear the (G7) angels (C) sing.
For (C) lo the (F) days are (C) hastening on, by (F) prophets (D7) seen of (G) old.
When (C) with the (F) ever (C) circling years, shall (F) come the (G7) time fore (C) told.
When (E7) the new heaven and (Am) earth shall own, the (G) Prince of (D7) Peace, their (G) King.
And the (C) whole (F) world send (C) back the song, which (F) now the (G7) angels (C) sing.

JINGLE BELLS
(Pierpont)
(MC0)
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)
(G) Dashing through the snow, in a one horse open (C) sleigh.
(Am) O'er the fields we (D7) go, (D) laughing all the (G) way.
Bells on bob-tails ring, making spirits (C) bright.
What (Am) fun it is to (D) ride and sing a (D7) sleighing song to (G) night.
Oh, jingle bells, jingle bells, jingle all the way.

(C) Oh what fun it is (G) to ride in a one (A7) horse open (D7) sleigh.
(G) Jingle bells, jingle bells, jingle all the way.
(C) Oh what fun it is (G) to ride in a (D) one horse (D7) open (G) sleigh.
A day or two ago, I thought I'd take a (C) ride.

And (Am) soon Miss Fanny (D7) Bright, was (D) seated by my (G) side.
The horse was lean and lank, misfortune seemed his (C) lot.
We (Am) got into a (D) drifted bank and (D7) then we got up (G) sot.

A day or two ago, the story I must (C) tell.

I (Am) went out on the (D7) snow, and (D) on my back I (G) fell.
A gent was riding by, in a one-horse open (C) sleigh.
He (Am) laughed as there I (D) sprawling lie but (D7) quickly drove a (G) way.
Now the ground is white. Go it while you're (C) young.

(Am) Take the girls to (D7) night, and (D) sing this sleighing (G) song.
Just get a bob-tailed bay, two-forty as his (C) speed.
(Am) Hitch him to an (D) open sleigh and (D7) crack! you'll take the (G) lead.


JOLLY OLD SAINT NICHOLAS
(Hanby)
(MC0)
TIP: Another (G) can be played instead of the (Bm) if you prefer.
INTRO: (G)(D)(C)(G), (G)(D)(C)(G)
Jolly ol' Saint (D7) Nicholas, (Em) lean your ear this (Bm) way.
(C) Don't you tell a (G) single soul (A) what I'm going to (D7) say.
(G) Christmas Eve is (D7) coming soon, (Em) now you dear old (Bm) man.
(C) Whisper what you'll (G) bring to me. (D7) Tell me if you (G) can.
(G)(D)(C)(G), (G)(D)(C)(G)
When the clock is (D7) striking twelve, (Em) when I'm fast a (Bm) sleep.
(C) Down the chimney, (G) broad and black, (A) with your pack you'll (D7) creep.
(G) All the stockings (D7) you will find (Em) hanging in a (Bm) row.
(C) Mine will be the (G) shortest one, (D7) you'll be sure to (G) know.
(G)(D)(C)(G), (G)(D)(C)(G)
Bobby wants a (D7) pair of skates, (Em) Suzy wants a (Bm) sled.
(C) Nellie wants a (G) picture book, (A) yellow, blue, and (D7) red.
(G) Now I think I'll (D7) leave to you, (Em) what to give the (Bm) rest.
(C) Choose for me, dear (G) Santa Claus, (D7) you will know the (G) best.

JOY TO THE WORLD
(Watts/Handel)
(MC0)
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)
Joy (D) to the (G) world, the Lord (D7) is (G) come.
Let (C) earth, re (D) ceive, her (G) King.
Let eve (C) ry (G) heart, prepare (C) Him (G) room.
And heaven and nature sing. And (D) heaven and nature (D7) sing.
And (G) heaven, (C) and (G) heaven, (C) and (G) na (D7) ture (G) sing.
(G)(D)(G), (G)(D)(G), (G)(D)(G), (G)(D)(G)
Joy (D) to the (G) world, the Sav (D7) ior (G) reigns.
Let (C) men, their (D) songs, em (G) ploy.
While fie (C) lds and (G) floods, rocks (C) hills, and, (G) plains.
Repeat the sounding joy, re (D) peat the sounding (D7) joy.
Re (G) peat, (C) re (G) peat, (C) the (G) sound (D7) ing (G) joy.
(G)(D)(G), (G)(D)(G), (G)(D)(G), (G)(D)(G)
He (D) rules the (G) world, with truth (D7) and (G) grace.
And (C) makes, the (D) nations, (G) prove.
The glor (C) ies (G) of, His right (C) eous (G) ness.
And wonders of His love. And (D) wonders of His (D7) love.
And (G) wonder-(C)-ers (G) wonder-(C)-ers (G) of (D7) His (G) love.

LIGHT ONE CANDLE - Peter, Paul and Mary
(Yarrow)
https://www.youtube.com/watch?v=StB_ehpZyN4 (Capo 0)(MC0)
TIP: Yes, I know this is actually a Hanukka song but it's so pretty I wanted to include it here in
the "Holiday" section.
TIP: The intro is pretty easy, and part of it is also played again, when indicated, as a
transition between chorus and the next verse. To play (G4) lift the top two fingers, moving one to
the <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) Light one candle for the Maccabee children, with thanks their light didn't (Em) die.
And (C) light one candle for the pain they endured, when their right to exist was de (B7) nied.
(Em) Light one candle for the terrible sacrifice (C) justice and freedom de (A) mand.
And (G) light one candle for the (Em) wisdom to know
That the (C) peacemaker's (D) time is at (G) hand (B7)(E).
Don't let the (Am) light go out. It's (D) lasted for so many (G) years (B7).
(E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7).
(Em)-(EmF), (Em)-(EmF)
(G) Light one candle for the strength that we need, to never become our own (Em) foe.
And (C) light one candle for those who are suff'ring, a pain they learned so long a (B7) go.
(Em) Light one candle for all we believe in, that (C) anger not tear us a (A) part.
And (G) light one candle to (Em) bind us together
With (C) peace as the (D) song in our (G) heart (B7)(E).
(E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7).
(E) Don't let the (Am) light go out. It's (D) lasted for so many (G) years (B7).
(E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(Em).
(Em)-(EmF), (Em)-(EmF) (Em)-(EmF), (Em)-(EmF)
(G) What is the memory that's valued so highly, that we keep it alive in that (Em) flame?
(C) What's the commitment to those who have died? We cry out "they've not died in (B7) vain."
(Em) We have come this far, always believing, that (C) justice will somehow pre (A) vail.
(G) This is the (Em) burden, (G) this is the (Em) promise,
(C) This is why (D) we will not (G) fail (B7)(E).
(E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(E).
(E) Don't let the (Am) light go out. Let it (D) shine through our love and our (G) tears (B7)(E).
Don't let the (Am) light go out. (E) Don't let the (Am) light go out.
(E) Don't let the light go (Am) out |E|-|E|-|E|-|Am|.
(Peter, Paul & Mary)(Christmas Song Index)(Artist Index)(Folk)

(Main Index)
(Song Index) (This Song)
LITTLE DRUMMER BOY
(Davis/Onorati/Simeone)
(MC0)
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) Come, they told me pa (A7) rup a pum (D) pum.

A new born king to see pa (A7) rup a pum (D) pum.
(A) Our finest gifts we bring (G) pa (D) rup a pum (A) pum.
To lay be (D) fore the King (G) pa (D7) rup a pum (G) pum, rup a pum (D) pum, rup a pum (A) pum.
(D) So, to honour Him Pa (A7) rup a pum (D) pum. (A7) When we (D) come.
Ba-by Jesus pa (A7) rup a pum (D) pum.

I am a poor boy too pa (A7) rup a pum (D) pum.
(A) I have no gifts to bring (G) pa (D) rup a pum (A) pum.
That's fit to (D) give our King (G) pa (D7) rup a pum (G) pum, rup a pum (D) pum,
rup a pum (A) pum. (D) Shall I play for you Pa (A7) rup a pum (D) pum, (A7) on my (D) drum?
Mar-y nodded pa (A7) rup a pum (D) pum.

The ox and lamb kept time pa (A7) rup a pum (D) pum.
(A) I played my best for Him (G) pa (D) rup a pum (A) pum.
I played my (D) best for him (G) pa (D7) rup a pum (G) pum, rup a pum (D) pum, rup a pum (A) pum.
(D) Then He smiled at me pa (A7) rup a pum (D) pum. (A) Me and my (D) drum.
(A) Me and my (D) drum. (A) Rup a pum (D) pum.

MARY DID YOU KNOW? - Kathy Mattea
(Green/Lowry)
https://www.youtube.com/watch?v=VXK50lsrdq4 (Capo 2)(MC0)
[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) Mary did you (Em) know, that your (D) baby boy, would (Am) some day walk on (B7) water?
Mary did you (Em) know, that your (D) baby boy, would (Am) save our sons and (B7) daughters?
Did you (Am) know, that your (D) baby boy has (G) come to (D) make you (Em) new?
This (Am) child that you delivered, will (B7) soon deliver you.
Mary did you (Em) know, that your (D) baby boy, will (Am) give sight to a (B7) blind man?
Mary did you (Em) know, that your (D) baby boy, will (Am) calm a storm with (B7) his hand?
Did you (Am) know, that your (D) baby boy has (G) walked where (D) angels (Em) trod?
When you (Am) kissed your little baby, then you (B7) kissed the face of God?
(B7)(Em)(D)(Am)(B7) Mary did you (Em) know? (D)(Am) Mary did you (B7) know?
The (C) blind will see, the (D) deaf will hear, the (Em) dead will (D) live a (C) gain.
The (Am) lame will leap, the (D) dumb will speak, the (Em) praises of the (B7) lamb.
Mary did you (Em) know, that your (D) baby boy, is (Am) Lord of all cre (B7) ation?
Mary did you (Em) know, that your (D) baby boy, will (Am) one day rule the (B7) nations?
Did you (Am) know, that your (D) baby boy is (G) heaven's (D) perfect (Em) lamb?
This (Am) sleeping child you're holding, is the (Em) greaaaat (B7) I-I (Em) ammmm (D)(Am)(B7)|Em|.

MARY DID YOU KNOW? - Pentatonix
(Green/Lowry)
https://www.youtube.com/watch?v=ifCWN5pJGIE (Capo 0)(MC0)
TIP: With all the overlapping harmonies just do the best you can.
INTRO: (Bm)(Bm)(A), (A)(Bm)(F#)
(Bm) Mary did you know, that your (A) baby boy would (G) some day walk on (F#) water?
Mary did you (Bm) know, that your (A) baby boy, would (G) save our sons and (F#) daughters?
Did you (G) know, that your (A) baby boy has (D) come to make you (Bm) new?
This (G) child that you delivered, will (F#) soon deliver you.
(Bm) Mary did you know, that your (A) baby boy will (G) give sight to a (F#) blind man?
Mary did you (Bm) know, that your (A) baby boy, will (G) calm the storm with (F#) his hand?
Did you (G) know, that your (A) baby boy has (D) walked where angels (Bm) trod?
When you (G) kiss your little baby, you (F#) kiss the face of God?
Mary did you (Bm) know (A)? Mary did you (G) know (F#)?
Mary did you (Bm) know (A)? Mary did you (G) know (F#)?
The (G) blind will see, the (A) deaf will hear, the (Bm) dead will live a (G) gain.
The (Em) lame will leap, the (A) dumb will speak, the (Bm) praises of the (F#) lamb.
Mary did you (Bm) know, that your (A) baby boy is (G) Lord of all cre (F#) ation?
Mary did you (Bm) know, that your (A) baby boy, will (G) one day rule the (F#) nations?
Did you (G) know, that your (A) baby boy is (F#m) heaven's perfect (Bm) lamb?
That (G) sleeping child you're (Em) holding, is the (Bm) greaaaat (F#) I-I (Bm) ammmm.
Mary did you know (G)(F#)? Mary did you (Bm) know, Mary did you (A) know, oh-oh (G) oh-oh (F#).
<pause> Mary did you |Bm| know?

O COME, ALL YE FAITHFUL
(Reading)
(MC0)
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|
Oh (G) come, all ye (D) faithful, (G) joy (D) ful (G) and (C) tri (G) um (D) phant.
(Em) Oh come (D) ye (A7) oh (D) co-(G)-me (D) ye (G) to (D) Be-(A7)-eth le (D) hem.
(G) Come (Am) and (G) be (D7) hold (G) him, (D) born (G) the (Em) king (Am) of (D) angels.
Oh (G) come (D) let (G) us (D7) a (G) dore him. Oh come (D) let (G) us (D7) a (G) dore (D) him.
(G) Oh (D7) come (G) let (D) us (A7) a (D) dore (G) hi-(C)-im. (G) Chri-(D7)-ist (G) the Lord.
Sing, choirs of (D) angels, (G) sing (D) in (G) ex (C) ul (G) ta (D) tion.
(Em) Sing (D) all (A7) ye (D) ci (G) ti (D) zens (G) of (D) heav (A7) en a (D) bove.
(G) Glor (Am) y (G) to (D7) Go-(G)-od, (D) in-(G)-nn-(Em)-nn (Am) the (D) highest.
Yay, Lord we (D) greet thee. (G) Born (D) this (G) hap (C) py (G) morn (D) ing.
(Em) Je (D) sus (A7) to (D) Thee-(G)-ee(D)-ee (G) be (D) glo (A7) ry giv (D) en.
(G) Word (Am) of (G) the (D7) Fath (G) er, (D) now (G) in (Em) flesh (Am) a (D) ppearing.

O HOLY NIGHT
(Adam)
(MC0)
TIP: The intro is the last part of the last line of the chorus, "O night, o night divine." (Asus2)
comes after (Am). Just lift the index finger from (Am).
INTRO: (C)(F)(G7)(C)
O holy night, the (F) stars are brightly (C) shining.

It is the night of the (G) dear (G7) Saviors (C) birth (G).
(C) Long lay the world in (F) sin and error (C) pining,
Till He ap (Em) peared and the soul (Am) felt (Asus2) its (Em) worth.
A (G) thrill of hope, the (C) weary soul rejoices.
For (G) yonder breaks a (C) new and glorious morn.
(Am) Fall on your (Em) knees, O (Dm) hear the angel (Am) voices.
O (C) ni (G7) ght di (C) vine (F), O (C) night (G) when Christ was (C) born.
O (G7) night, di (C) vine (C7), O (F) night (G7), o night di (C) vine.
Led by the light, of (F) faith serenely (C) beaming,

With glowing hearts by His (G) cra (G7) dle we (C) stand (G).
(C) So led by light of a (F) star sweetly (C) gleaming.
Here came the (Em) wise men from Or (Am) i (Asus2) ent (Em) land.
The (G) King of kings, lay (C) thus in lowly manger.
In (G) all our trials (C) born to be our friend.
O (C) ni (G7) ght di (C) vine (F), O (C) night (G) when Christ was (C) born.
Truly He taught us to (F) love one a (C) nother.
His law is love and His (G) Gos (G7) pel is (C) peace (G).
(C) Chains shall He break for the (F) slave is our (C) brother,
And in His (Em) Name all oppress (Am) ion (Asus2) shall (Em) cease.
Sweet (G) hymns of joy, in (C) grateful chorus raise we.
Let (G) all within us (C) praise His holy Name.
O (C) ni (G7) ght di (C) vine (F), O (C) night (G) when Christ was (C) born!

O LITTLE TOWN OF BETHLEHEM
(Brooks/Redner)
(MC0)
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. As for (A6), if you have small fingers try
playing it like you would an (A) but with four fingers on the same fret, and then just lift the
index and pinky to play (A7). Otherwise play a barre, and you can just lift off the bottom string
and play an (A) instead of the (A7).
O (D) little (Db) town (D) of Bethle (Em) hem. How (D) still we (A7) see thee (D) lie.
Above thy (B7) deep and (Em) dreamless sleep, the (D) silent (A6) stars (A7) go (D) by.
Yet in thy dark streets (F#) shineth, the (G) everlasting (F#) Light.
The (D) hopes and (Db) fears (D) of all the (Em) years, are (D) met in (A6) thee (A7) to (D) night.
For Christ is (Db) born (D) of Mar (Em) y, and (D) gathered (A7) all a (D) bove.
While mortals (B7) sleep, the (Em) angels keep, their (D) watch of (A6) wonder (A7) ing (D) love.
O morning stars to (F#) gether, pro (G) claim the holy (F#) birth.
And (D) praises (Db) sing (D) to God the (Em) King, and (D) peace to (A6) men (A7) on (D) earth.
How silent (Db) ly, (D) how silent (Em) ly, the (D) wondrous (A7) gift is (D) given.
So God im (B7) parts to (Em) human hearts, the (D) blessings (A6) of (A7) His (D) heaven.
No ear may hear His (F#) coming, but (G) in this world of (F#) sin.
Where (D) meek souls (Db) will (D) receive him (Em) still,
The (D) dear Christ (A6) en (A7) ters (D) in.
O holy (Db) Child (D) of Bethle (Em) hem, de (D) scend to (A7) us, we (D) pray.
Cast out our (B7) sin and (Em) enter in. Be (D) born to (A6) us (A7) to (D) day.
We hear the Christmas (F#) angels, the (G) great glad tidings (F#) tell.
O (D) come to (Db) us, (D) abide with (Em) us, our (D) Lord E (A6) mman (A7) u (D) el.
(G) A (D) men.

OLD CITY BAR - Trans-Siberian Orchestra
(O'Neill)
https://www.youtube.com/watch?v=KKc06R-zNvk (Capo 3)(MC1)
[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 section.]
TIP: For the intro the number that appears before the chord is the string to pick/attack with the
first strum. The first (D) is with your thumb hooked over to cover the top string at the 2nd fret
(6/2).
TIP: Depending on the word and how it's sung, you play either a (D) or a (D/A). Play the (D) on
the down-inflection (...old city (D) bar...) and the (D/A) on the up-inflection "...snow it was
(D/A) falling..." Just add your pinky to the 4th string/4th fret.
INTRO: 6(G) 6/2(D) 6(Em) 4(G) 5(C) 3(Bm) 3(D)
In an (G) old city (D) bar, that's (Em) never too (G) far,
From the (C) places that (Bm) gather, the (Am) dreams that have (D) been.
In the (G) safety of (D) night, with its (Em) old neon (G) light,
It (C) beckons to (Bm) strangers and they (Am) always come (D) in.
And the (G) snow it was (D/A) falling. The (Em) neon was (G) calling.
The (C) music was (Bm) low, and the (Am) night, Christmas (D) Eve.
And (G) here was the (D/A) danger, (Em) even with (G) strangers,
In (C) side of this night, it's eas-i-(D)-er, to be (G) lieve (D)(Em)(G)(C)(G)(D/A)|D|.
(NC) Then the (G) door opened (D) wide, and a (Em) child came in (G) side,
That no (C) one in the (Bm) bar, had (Am) seen there be (D) fore.
And he (G) asked did we (D) know, that out (Em) side in the (G) snow,
That (C) someone was (Bm) lost, standing (Am) outside our (D) door.
Then the (G) bartender (D) gazed, through the (Em) smoke and the (G) haze,
Through the (C) window and (Bm) ice, to a (Am) corner street (D) light.
Where (G) standing a (D) lone, by a (Em) broken pay (G) phone,
Was a (C) girl the child (Bm) said, could no (G) longer get (D) home.
And the (G) snow it was (D/A) falling, the (Em) neon was (G) calling,
The (C) bartender (Bm) turned, and said, |Am| not that I |D| care.
But (G) how would you (D/A) know this? The (Em) child said, I've (G) noticed,
If (C) one could be home (C)|D|, (NC) they'd be |D| already (C) there (G)(D)(G)(C)(G)(D)(G).
Then the (C) bartender (G) came out, from (D7) behind the (G) bar.
And in (C) all of his (G) life, he was (D) never that (G) far.
And he (C) did something (G) else, that he (D) thought no one (G) saw.
When he (C) took all the (G) cash, from the (C) register (G) drawer.
Then he (D) followed the child to the (C) girl 'cross the (G) street,
And we (D) watched from the bar as they (C) started to (G) speak.
Then he (C) called for a (G) cab then he (C) said, "J.F. (G) K,"
Put the (C) girl in the (G) cab then the (C) cab drove a (G) way.
And we (C) saw in his (G) hand, that the (C) cash was all (G) gone,
From the (C) light that she had wished up (D) onnnnnn.
If you (G) want to arrange it, this (Em) world you can change it.
If (C) we could some (Bm) how, make this (Am) Christmas thing (D) last.
By (G) helping a (D) neighbor, or (Em) even a (G) stranger,
To (C) know who needs help (C)|D|,
(NC) You need |D| only just (G) ask. (D/A)(Em)(G)(C)(G)(D/A)|D/A|
(NC) Then he (G) looked for the (D) child, but the (Em) child wasn't (G) there.
Just the (C) wind and the (Bm) snow, waltzing (Am) dreams through the (D) air.
So he (G) walked back in (D) side, somehow, (Em) different I (G) think.
For the (C) rest of the (Bm) night, no one (Am) paid for a (D) drink.
And the (G) cynics will (D) say, that some (Em) neighborhood (G) kid,
Wandered (C) in on some (Bm) bums, in the (Am) world where they (D) hid.
But (G) they were-ent (D) there, so (Em) they couldn't (G) see,
By an (C) old neon (Bm) star, on that (Am) night Christmas (D) Eve.
When the (G) snow it was (D/A) falling, the (Em) neon was (G) calling,
In (C) case you should (Bm) wonder, in (Am) case you should (D) care.
Why (G) we on our (D/A) own, (Em) never went (G) home, on that (C) night of all nights (C)|D|,
(NC) We were already (C) there (G)(D/A)(G). (C) There (G)(Am),|G|.

PROMISES TO KEEP - Trans-Siberian Orchestra
(O'Neill/Kinkel)
https://www.youtube.com/watch?v=MJuYY7wHq8w (Capo 3)(MC0)
TIP: In the bridge there are three (F#m)s. The first two follow a (Bm) so unless you're already
playing a full (Bm) with a barre (not shown) to go from the (Bm) to the (F#m) all you do is take
your index finger off the bottom string and fling it up across the second fret to completely barre
it and cover the top two strings while holding the middle, ring, and pinky where they are. If too
cumbersome just ignore the (F#m) and hold (Bm) through to the (G). You do have to play it the
third time and it'll follow a (G) so play it any way you like but cover the 4th string/4th fret.
INTRO: (D)(D)(D/A)(D)
Christmas time on a (G) cold December (A) morning.

(D) All is calm and the (G) world is still a (A) sleep.
(D) Christmas lights that have (G) been-caught without (A) warning,
(G) Gently (A) glitter on (Bm) stars to (A) wish upon (D) all the (A) world is at (D) peace.
(D)(D)(D/A)(D)
Christmas time and the (G) year will soon be (A) leaving.
(D) Cloaked in time till it's (G) just a memor (A) y.
(D) Christmas stays if we (G) don't forget its (A) meaning.
(G) Days go (A) quickly by (Bm) years they (A) multiply and (D) we go (A) searching for (D) thee.
And the (Bm) dreeeeam is still a (F#m) live, from that (G) first December (A) morning.
And it (Bm) alllways will sur (F#m) vive, as (G) long as we can (A) see.
That the (G) dre-eams-that, we (F#m) find in life, are the (Em) dreams we tend to (A) seek.
And (G) Christmas has its (A) promises to (D) keep. (D)(D)(D/A)(D)
Christmas time and the (G) moment's just be (A) ginning.
(D) From last night when we (G) wished upon ther (A) star.
And (D) if this kindness we (G) feel is just pre (A) tending
If (G) we pretend (A) long enough, (Bm) never (A) giving up
(D) It just might (A) be who we (D) are. (D)(D)(D/A)(D)|D|

REINDEER BOOGIE – Hank Snow/Trisha Yearwood
(Snow/Volkmar/Faircloth)
https://www.youtube.com/watch?v=YbRaHKHmO7o& (Hank Snow)(Capo 1)(MC1)
https://www.youtube.com/watch?v=5hMceDdYOlM (Trisha Yearwood)(Capo 0)
TIP: The music is nearly identical with the pacing just a little different. Hank jumps
immediately from the verse to chorus while Trisha lingers just a bit. And the instrumental
passages are a bit different but so indicated.
INTRO (Trisha): (D)(D)(D)(D)(D)(D)(D)(D)
INTRO (Hank): <sleigh bells> (D)(D)(D)(D)
Santa had a cup of coffee and he ate a little snack, threw his old pack right over his back.
Open the windows of his little shack and (E) shouted “On (A) Dasher and Dancer.
(D) Vixen and Blitzen come on here, were gonna get a-going and spread some cheer.
So limber your legs and sharpen your hooves
Cause to (A) night is the night were gonna jump on the (D) roof (D).”
Well the (G) reindeer they were so proud and grand,

To (D) take another trip all over the land.
They (A) jumped right into their proper place,
To (D) get hepped up for that (A) midnight (D) race (D).
<Trisha>: <guitar> (G)(G)(D)(D)(A)(A)(D)(D)(D)(D)
<Hank>: <fiddle> (D)(D)(D)(D)(D)(E)(A)(D)(D)(D)(D)(D)(D)(A)(D)(G)(G)(D)(D)(A)(A)(D)(D)

Ol' Santa he shook off the ice and snow, boarded his sleigh and then yelled "Lets go!"
All the little toys were happy too be (E) cause they were so (A) bright and new.
A (D) little piano then started to play, Santa began to swing and sway.
Thought he heard a toy drum starting to beat
But he (A) found it was just the rhythm of the reindeer (D) feet (D).
The (G) reindeer boogied in the middle of the road.

To (D) night we have a mighty big load.
Don't (A) boogie to the left now boogie to the right,
Do the (D) reindeer boogie this (A) Christmas eve (D) night (D).
<Trisha>: <steel> (D)(D)(D)(D)(D)(D)(E)(A)(D), <fiddle> (D)(D)(D)(D)(D)(A)(A)(D)(D)
<Hank>: <guitar> (D)(D)(D)(D)(G)(G)(D)(D)(A)(A)(D)(D)(D)(D)(D)(D)(G)(G)(D)(D)(A)(A)(D)(D)
The (G) reindeer boogied in the middle of the road.

To (D) night we have a mighty big load.
Don't (A) boogie to the left now boogie to the right,
Do the (D) reindeer boogie this (A) Christmas eve (D) night (D).
<Hank> <guitar> (D)(D)(D)(D)(D)(D)(D)(D)(D)|D| <end song>
<Trisha>: <electric> (G)(G)(D)(D)(A)(A)(D)(D)(D)(D)(D)
Santa had a cup of coffee, and he ate a little snack.

Mmm-hmm, mmm-hmm. Vixen and Blitzen come on in. Mmm-hmm, mmm-hmm. |D|

ROCKIN' AROUND THE CHRISTMAS TREE - Brenda Lee
(Marks)
https://www.youtube.com/watch?v=is4NQkUN3AI (Capo 1)(MC1)
TIP: To move from the (D7) to the (Am7) and back hold fast on the index finger on the <c> and move
the middle finger up one string and back while lifting on and off of the ring finger on the bottom
string. If the (Am7) feels cumbersome you can play an (Am) instead.
INTRO: (G)(Em)(C)(D7)
(G) Rockin' around, the Christmas tree at the (D7) Christmas party hop.
(Am7) Mistletoe (D7) hung where (Am7) you can (D7) see every (Am7) couple (D) tries to (G) stop.
Rockin' around, the Christmas tree let the (D7) Christmas spirit ring.
(Am7) Later we'll (D7) have some (Am7) pumpkin (D7) pie and we'll (Am7) do some (D) caro (G) ling.
(C) You will get a sentimental (Bm) feeling, when you hear:
(Em) Voices singing (G) let's be jolly |A7| deck, the halls with (D) boughs of holly.
(G) Rockin' around, the Christmas tree have a (D7) happy holiday.
(Am7) Everyone (D7) dancin' (Am7) merri (D7) ly in the (Am7) new old (D) fashioned (G) 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) You will get a sentimental (Bm) feeling, when you hear:
(Em) Voices singing (G) let's be jolly |A7| deck, the halls with (D) boughs of holly.
(G) Rockin' around, the Christmas tree have a (D7) happy holiday.
(Am7) Everyone (D7) dancin' (Am7) merri (D7) ly
In the (D) new, old, (Am7) fash (D) ioned (G) way (Em)(C)(G)|G|.

RUDOLPH THE RED-NOSED REINDEER - Gene Autry/Burl Ives
(Marks)
https://www.youtube.com/watch?v=bMletImQ_cs Burl Ives (Capo 5) (MC0)
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|
INTRO: You know |C| Dasher and |Bm| Dancer and |Am| Prancer and |G| Vixen.
|C| Comet and |Bm| Cupid and |Am| Donder and |G| Blitzen.
(Em) But do you re (A7) call, the most (C) famous (A7) reindeer of (D) all?
(G) Rudolph the red-nosed reindeer, had a very shiny (D7) nose.
And if you ever saw him, you would even say it (G) glows.
All of the other reindeer, used to laugh and call him (D) names.
They never let poor Rudolph, join in any reindeer (G) games (G7).
(C) Then one foggy (G) Christmas Eve, (Am) Santa (D7) came to (G) say,
(D) "Rudolph (A) with your (D) nose so (D7) bright,
(Em) Won't you (A) guide my (D7) sleigh tonight?"
(G) Then how the reindeer loved him, as they shouted out with (D) glee,
“Rudolph the red-nosed reindeer, you'll go down in histor (G) y.
< 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) Rudolph the red-nosed reindeer, had a very shiny (D) nose.
And if you ever saw it, you would even say it (G) glows.
All of the other reindeer, used to laugh and call him (D) names.
They never let poor Rudolph, join in any reindeer (G) games (G7).
(C) Then one foggy (G) Christmas Eve, (Am) Santa (D7) came to (G) say,
(D) "Rudolph (A) with your (D) nose so (D7) bright,
(Em) won't you (A) guide my (D7) sleigh tonight?"
(G) Then how the reindeer loved him, as they shouted out with (D) glee,
“Rudolph the red-nosed reindeer, you'll go down in histor (G) y.
(D) You'll go down in hist-or-(G)-y."

RUN RUDOLPH RUN - Chuck Berry
(Marks/Brodie)
https://www.youtube.com/watch?v=SqVtqbzTdVs (Capo 3)(MC3)
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) Out of all the reindeers you know you are the master (A) mind. (A)
(E7) Run run Rudolph (E) Randolph ain't too (E7) far be (A) hind. (A)
Run run Rudolph, (D) Santa's gotta make it to (A) town. (A)
(D) Santa make him hurry tell him he can take the freeway (A) down. (A)
(E7) Run run Rudolph 'cause I'm (E) reelin' like a (E7) merry-go-(A) round. (A)
Said Santa to a boy child (D) "What have you been longin' (A) for?" (A)
(D) "All I want for Christmas is a rock 'n' roll 'lectric gui (A) tar." (A)
And then a (E7) way went Rudolph whizzin' like a shootin' (A) star. (A)
(E7) Run run Rudolph (E) reelin' like a (E7) merry-go-(A) round. (A)
(A)(A)(D)-(A)-(D)-(A)(D)(D)(A)(A)(D)(D)(A)(A)-(E)
(A) Run run Rudolph, (D) Santa's gotta make it to (A) town. (A)
(E7) Run run Rudolph I'm (E) reelin' like a (E7) merry-go-(A) round. (A)
Said Santa to a girl child (D) "What would please you most to (A) get?" (A)
"A (D) little baby doll that can cry sleep (D7) drink and (A) wet." (A)
And then a (E7) way went Rudolph whizzin' like a, Saber (A) jet. (A)
(E7) Run run Rudolph I'm (E) reelin' like a (E7) merry-go-(A) round. (A)
(A7)(A7)(A7)(A7)(D7)(D7)(A7)

SANTA CLAUS IS COMING TO TOWN
(Gillespie/Coots)
(MC0)
TIP: The intro is the chords from the last line of the verse, "Santa Claus is coming to town."
INTRO: (G)(Em)(Am),(D)(G)
You better watch (Gadd) out, you (C) better not cry.
(G) Better not (Gadd) pout, I'm (C) telling you why.
(G) Santa (Em) Claus is (Am) coming (D) to (G) town (D7).
He's (G) making a (Gadd) list, and (C) checking it twice.

(G) Gonna find (Gadd) out who's (C) naughty and nice.
(G) Santa (Em) Claus is (Am) coming (D) to (G) town.
He (G7) sees you when you're (C) sleeping, he (G7) knows when you're a (C) wake.
He (A7) knows if you've been (D) bad or good so be (A7) good for goodness (D) sake.
Oh, you (G) better watch (Gadd) out. You (C) better not cry.
(G) Santa (Em) Claus is (Am) coming (D) to (G) town (D7).
With (G) little tin (Gadd) horns and (C) little toy drums.
(G) Rooty toot (Gadd) toots and (C) rummy tum tums.
With curly head (Gadd) dolls that (C) toddle and coo,
(G) Elephants (Gadd) boats and (C) kiddie cars too.
The (G7) kids in Girl and (C) Boy Land, will (G7) have a jubi (C) lee.
They're (A7) gonna build a (D) Toyland Town all a (A7) round the Christmas (D) tree.
So, you (G) better watch (Gadd) out. You (C) better not cry.
(G) Santa (Em) Claus is (Am) coming, (G) Santa (Em) Claus is (Am) coming,
(G) Santa (Em) Clause is (Am) coming (D), to (G) town.

SANTA CLAUS IS COMING TO TOWN - Bruce Springsteen
(Gillespie/Coots)
https://www.youtube.com/watch?v=GYIVYxZOWwo (Capo 0)(MC0)
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."
Yeah you (C) better watch out you (F) better not (G) cry.
You (C) better not pout I'm (F) telling you (G) why.
(C) Santa Claus is (F) coming to (G) town (C). Santa Claus is (F) coming to (G) town.
(C) Santa (Am) Claus is (F) comin' (G), to-oo tow-(C)-own (F)(G).
He's (C) making a list he's (F) checkin' it (G) twice.

He's (C) gonna find out who's (F) naughty or (G) nice.
(C) Santa Claus is (F) coming to (G) town (C). Santa Claus is (F) coming to (G) town.
(C) Santa (Am) Claus is (Dm) comin' (G) to-oo tow-(C)-own (C7).
He (Gm) sees you (C) when you're (F) sleeping, he (Gm) knows when (C) you're a (F) wake.
He (D) knows if you've been bad or good. You (G) better be good for goodness sake.
Better be good for goodness sake.
Oh you (C) better watch out you (F) better not (G) cry.
You (C) better not pout I'm (F) telling you (G) why.
(C) Santa Claus is (F) coming to (G) town. (C) Santa Claus is (F) coming to (G) town.
(C) Santa (Am) Claus is (Dm) comin' (G) to-oo tow-(C)-own.
<sax> (C)(F), (C)(F), (C)(F)(G), (C)(F)(G), (C)(Am)(F)(G)(C)(C7)
He (Gm) sees you (C) when you're (F) sleeping, he (Gm) knows when (C) you're a (F) wake.
He (D) knows if you've been bad or good. You (G) better be good for goodness sake.
Better be good for goodness sake.
You (C) better watch out you (F) better not (G) cry.
(C) Better not pout I'm (F) telling you (G) why.
(C) Santa Claus is (F) coming to (G) town yeah-ah. (C) Santa Claus is (F) coming to (G) town.
(C) Santa (Am) Claus is (Dm) coming (G) to (C) town.
|C|-|C|-|C|-|C|-|Am|-|Am|-|Am|-|Am|-|Dm|-|Dm|-|Dm|-|Dm|-|Gadd|-|Gadd|-|Gadd|-|Gadd|
(ho ho ho ho)
|C|-|C|-|C|-|C|-|Am|-|Am|-|Am|-|Am|-|Dm|-|Dm|-|Dm|-|Dm|-|Gadd|-|Gadd|-|Gadd|-|Gadd| (ho ho ho ho)
(strike once each): |C| |Am| |Dm| |G| <(C) pick first line of jingle bells> |F8|

SILENT NIGHT
(Gruber)
(MC0)
TIP: The intro is the chords from the last line of the verse, "Sleep in heavenly peace."
INTRO: (G)(D)(G)
Silent night, holy night.

(D) All is (D7) calm, (G) all is bright.
(C) Round yon virgin (G) mother and child.
(C) Holy infant so (G) tender and mild.
(D) Sleep in (D7) heavenly (G) peace.
Sleep in (D) heavenly (G) peace.

(D) Shepherds (D7) quake, (G) at the sight.
(C) Glories stream from (G) heaven afar.
(C) Heavenly hosts sing (G) alleluia.
(D) Christ the (D7) Savior is (G) born.
Christ the (D) Savior is (G) born.

(D) Son of (D7) God, (G) love's pure light.
(C) Radiant beams from (G) Thy holy face.
(C) With the dawn of (G) redeeming grace.
(D) Jesus (D7) Lord at Thy (G) birth.
Jesus (D) Lord at Thy (G) birth.

SILVER AND GOLD - Burl Ives
(Marks)
https://www.youtube.com/watch?v=azcj749wMIU (Capo 0)(MC0)
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) Silver and (Am) gold, (Dm) silver and (G) gold.
(C) Everyone (Am) wishes, for (Dm7) silver and (G7) gold.
(C) How do you (Em) measure its (Am) worth?
(D7) Just by the pleasure, it (G) gives, here on (G7) earth.
(C) Silver and (Am) gold, (Dm) silver and (G) gold.
(C) Means so much (C7) more when I (F) see (A7).
(F) Silver and (D7) gold décor (C) a (Am) tions, on (Dm7) every (G7) Christmas (C) tree.
Silver and (Am) gold, (Dm) silver and (G7) gold.

(C) Everyone (Am) wishes for (Dm7) silver and (G7) gold.
(C)(Em)(Am), (D7)(G)(G7)
(C) Silver and (Am) gold, (Dm) silver and (G7) gold.
(C) Means so much (C7) more when I (F) see (A7).
(F) Silver and (D7) gold decor (C) a (Am) tions, on (Dm7) ev,ery (G7) Chris,tmas, (C) tree. (C)

SILVER BELLS
(Livingston/Evans)
(MC0)
TIP: The intro is the chords from the last line of the verse, "Soon it will be Christmas day." In
the second chorus the bits in parentheses are from the version by Bing Crosby and Carol Richards.
INTRO: (E7)(E)(A)
City sidewalks, busy sidewalks, dressed in (D) holiday style.

In the (E7) air there's a feeling of (A) Christmas (E7).
Children (A) laughing, people passing, meeting (D) smile after smile.
And on (E) every street (E7) corner you'll (A) hear.
Silver bells, (D) silver bells. (E7) It's Christmas (E) time in the (A) city.
Ring-a-ling, (D) hear them sing. (E7) Soon it will (E) be Christmas (A) day.
Strings of street lights, even stop lights, blink a (D) bright red and green,
As the (E7) shoppers rush home with their (A) treasures (E7).
Hear the (A) snow crunch, see the kids bunch. This is (D) Santa's big scene.
And a (E) bove all this (E7) bustle you'll (A) hear.
Silver bells, (the corner Santa Claus) (D) silver bells (is busy now because).
(E7) It's Christmas (E) time in the (A) city (E7).
Ring-a-(A)-ling, (it fills the winter air), (D) hear them sing (you hear it everywhere).
(E7) Soon it will (E) be Christmas (A) day.
City sidewalks, busy sidewalks, dressed in (D) holiday style.

In the (E7) air there's a feeling of (A) Christmas (E7).
Children (A) laughing, people passing, meeting (D) smile after smile.
And on (E) every street (E7) corner you'll (A) hear.
Silver bells, (D) silver bells. (E7) It's Christmas (E) time in the (A) city.
Ring-a-ling, (D) hear them sing. (E7) Soon it will (E) be Christmas (A) day.
(E7) Soon it will (E) be Christmas (A) day.

TAKE A WALK THROUGH BETHLEHEM - Trisha Yearwood
(Cleveland/Jarvis/Wilson)
https://www.youtube.com/watch?v=E5bv8DjVbzs (Capo 1)(MC1)
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) City's decorated (G) up for (C) Christmas (F).

All the stores are open (Am) late (G) to (C) night (F).
People hurry through the (G) frozen (C) streets I take a (F) walk. (F)
|C|-|F| (F) Every child has a (G) thousand (C) wishes (F).
Every window has a (Am) thou (G) sand (C) lights (F).
Every soul has a (G) need for (C) peace, I take a (F) walk. (F)
(G) There's a (Am) star that still out (G) shines the (C) night.
(D) You can (E) find it if you (F) close your eyes, (G) see the light.
Take a (C) walk through Bethlehem. Come and (Am) kneel before the Lamb.
Good (F) news for (G) every (Am) man.
(Dm7) Walk through (G) Bethle (Am) hem. (Am)(Am), (G)-(C)(C), (Am)(Am), (G)-(C)
(F) Every night another (G) TV (C) special (F).

Merchants counting down the (Am) shop (G) ping (C) days (F).
But something's missing under (G) neath the (C) tree, I take a (F) walk. (F)
|C|-|F| (F) 'Cause every heart longs for (G) more than (C) tinsel (F).
Something more than just a (Am) hol (G) i (C) day (F).
Come and celebrate the (G) baby (C) King, let's take a (F) walk. (F)
(G) You don't (Am) have to travel (G) any (C) where.
(D) Faith and (E) hope and love will (F) bring you there, (G) bring you there.
Take a (C) walk, through Bethlehem. Come and (Am) kneel, before the Lamb.
Good (F) news for (G) every (Am) man. (Dm7) Walk through (G) Bethle (C) hem (G).
Take a (C) walk, through Bethlehem. Come and (Am) kneel before the Lamb.
(F) Good news, for (G) every (Am) man. (Dm7) Walk through (G) Bethle (C) hem (G).
Take a (C) walk, through Bethlehem. Come and (Am) kneel, before the Lamb.
Good (F) news, for (G) every (Am) man. (Dm7) Walk through (G) Bethle (C) hem.
(G) Take a (C) walk, through Bethlehem. Come and (Am) kneel before the Lamb.
(F) Good news for (G) every (Am) man. (Dm7) Walk through (G) Bethle (C) hem.
(G) Take a (C) walk, (C) through Bethlehem. Come and (Am) kneel before the Lamb.
(F) Good news for (G) every (Am) man. (Dm7) Walk through (G) Bethle (C) hem.

THE TWELVE DAYS OF CHRISTMAS
(Traditional English/French Carol)
(MC1)
TIP: The intro are the chords to "...and a partridge in a pear tree."
INTRO: (C)-(F)-(C)-(G)-(C)
On the first day of Christmas my (G) true love (G7) sent to (C) me:
A par (F) tridge (C) in a (G7) pear (C) tree.
On the second day of Christmas my (G) true love (G7) sent to (C) me:
(G) Two turtle (G7) doves and a (C) par (F) tridge (C) in a (G7) pear (C) tree.
On the third day of Christmas my (G) true love (G7) sent to (C) me:
(G) Three French hens, two turtle (G7) doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree.
On the fourth day of Christmas my (G) true love (G7) sent to (C) me:
(G) Four calling birds, three French hens, two turtle (G7) doves,
And a (C) par (F) tridge (C) in a (G7) pear (C) tree.
On the fifth day of Christmas my (G) true love (G7) sent to (C) me: Five (D7) golden (G) rings.
(C) Four calling birds, (F) three French hens, (G) two turtle (G7) doves,
And a (C) par (F) tridge (C) in a (G7) pear (C) tree.
On the sixth day of Christmas my (G) true love (G7) sent to (C) me:
(G) Six geese a (G7) laying, (C) five (D7) golden (G) rings. (C) Four calling birds,
(F) Three French hens, (G) Two turtle (G7) doves,
And a (C) par (F) tridge (C) in a (G7) pear (C) tree (F)(C).
On the seventh day of Christmas my (G) true love (G7) sent to (C) me:
(G) Seven swans a swimming, Six geese a laying, (C) five (D7) golden (G) rings.
(C) Four calling birds, (F) three French hens, (G) Two turtle (G7) doves,
On the eighth day of Christmas my (G) true love (G7) sent to (C) me:
(G) Eight maids a milking, seven swans a swimming, six geese a laying,
(C) Five (D7) golden (G) rings. (C) Four calling birds, (F) Three French hens,
(G) Two turtle (G7) doves, and a (C) par (F) tridge (C) in a (G7) pear (C) tree (F)(C).
On the ninth day of Christmas my (G) true love (G7) sent to (C) me:
(G) Nine ladies dancing, eight maids a milking, seven swans a swimming, six geese a laying,
(C) Five (D7) golden (G) rings. (C) Four calling birds, (F) three French hens,
On the tenth day of Christmas my (G) true love (G7) sent to (C) me:
(G) Ten Lords a leaping, nine ladies dancing, eight maids a milking, seven swans a swimming,
Six geese a laying, (C) five (D7) golden (G) rings. (C) Four calling birds, (F) three French hens,
On the eleventh day of Christmas my (G) true love (G7) sent to (C) me:
(G) Eleven pipers piping, Ten Lords a leaping, nine ladies dancing, eight maids a milking,
Seven swans a swimming, six geese a laying, (C) five (D7) golden (G) rings.
(C) Four calling birds, (F) three French hens, (G) Two turtle (G7) doves,
On the twelfth day of Christmas my (G) true love (G7) sent to (C) me:
(G) Twelve drummers drumming, eleven pipers piping, ten Lords a leaping, nine ladies dancing,
Eight maids a milking, seven swans a swimming, six geese a laying, (C) five (D7) golden (G) rings.
(C) Four calling birds, (F) three French hens, (G) two turtle (G7) doves,

THERE'S ALWAYS TOMORROW - Janis Orenstein
(Marks)
https://www.youtube.com/watch?v=QBgJknKEgEE (Capo 0)(MC1)
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 of course it won't match the recording at this point. Or
you can (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 on a capo at the 1st fret and play the chords like you did. All three options are presented
when you get to the ------ line.
INTRO: (C)(F)|G7|
There's (C) always to (Am) morrow for (F) dreams to come (G) true.
Believe in your (G7) dreams, come what (C) may (G).
There's (C) always to (Am) morrow with (Dm7) so much to (G) do,
And so little (G7) time in a (C) day.
We (F) all, pretend, the (Em) rainbow has an end,

And (F) you'll be there my (D7) friend, some (G7) day.
There's (C) always to (Am) morrow for (F) dreams to come (G) true.
Tomorrow is (G7) not far a (C) way.
We (F) all, pretend, the (Em) rainbow has an end,

And (F) you'll be there my (D7) friend, some (G7) day.
1 - <same> There's (C) always to (Am) morrow for (F) dreams to come (G) true.
Tomorrow is (G7) not far a (C) way (F)(C).
------
2 - <sharps> (D/A1) There's always to (Bm1) morrow for (F#) dreams to come (F4) true.
Tomorrow is not far a (D/A1) way (F#)(D/A1).
------
3 - <capo 1> There's (C) always to (Am) morrow for (F) dreams to come (G) true.
Tomorrow is (G7) not far a (C) way (F)(C).

UP ON THE HOUSETOP
(Hanby)
(MC0)
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: (G)(C), (G)(D7)(G)
Up on the housetop reindeer paws.

(C) Out jumps (G) good old (D) Santa Claus.
(G) Down thru' the chimney with lots of toys.
(C) All for the (G) little one’s (D7) Christmas (G) joys.
(C) Ho ho ho. (G) Who wouldn't go. (D7) Ho ho ho. (G) Who wouldn't go.
Up on the housetop (C) click click, click.
(G) Down thru' the chimney with (D7) good Saint (G) Nick. (G)(G)
First comes the stocking of little Nell.

(C) Oh dear (G) Santa (D) fill it well.
(G) Give her a dolly that laughs and cries.
(C) One that will (G) open and (D7) shut her (G) eyes.
(C) Ho ho ho. (G) Who wouldn't go. (D7) Ho ho ho (G) Who wouldn't go.
Up on the housetop (C) click click click.
(G) Down thru' the chimney with (D7) good Saint (G) Nick. (G)(G)
Next comes the stocking of little Will.

(C) Oh just (G) see what a (D) glorious fill.
(G) Here is a hammer and lots of tacks,
(C) Also a (G) ball and a (D7) whip that (G) cracks.
(C) Ho ho ho. (G) Who wouldn't go. (D7) Ho ho ho. (G) Who wouldn't go.
Up on the housetop (C) click click click.
(G) Down thru' the chimney with (D7) good Saint (G) Nick.
Down thru' the chimney with (D7) good, Saint, (G) Nick.

WE ARE SANTA'S ELVES
(Marks)
https://www.youtube.com/watch?v=KxHRA3k5-_U&t=19s (Capo 3)(MC1)
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.
INTRO: (F) Ho ho ho. (Em) Ho ho ho. (G) We are (G7) Santa's (C) elves.
We are Santa's elves, (Dm) filling Santa's (G7) shelves,

(C) With a toy for (F) each girl and boy oh (G) we are (G7) Santa's (C) elves.
We work hard all day, (Dm) but our work is (G7) play.
(C) Dolls we try out (F) see if they cry out (G) we are (G7) Santa's (C) elves.
(F) We've a special (Em) job each year. (Dm) We don't (G) like to (C) brag.
(G) Christmas (E7) Eve we (A7) always fill (D7) Santa's (G) bag.
(C) Santa knows who's good, (Dm) do the things you (G7) should.
(C) And we bet you (F) he won't forget you (G) we are (G7) Santa's (C) elves.
(C)(Dm)(G7), (C)(F)(Fm)(C)(G7)(C); (C)(Dm)(G7), (C)(F)(Fm)(C)(G7)(C)
(F) We've a special (Em) job each year. (Dm) We don't (G) like to (C) brag.
(G) Christmas (E7) Eve we (A7) always fill (D7) Santa's (G) bag.
(C) Santa knows who's good, (Dm) do the things you (G7) should.
(C) And we bet you (F) he won't forget you (G) we are (G7) Santa's (C) elves.
(Dm) Ho ho (Em) ho, (F) ho ho (G) ho, (Dm) we are (G7) Santa's (C) 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)(MC0)
TIP: In the intro the orchestra plays three notes before the choir begins singing. Form and hold
(Gadd) and pick the 4th, 3rd, and 2nd strings, then play (G) at the first note of singing.
INTRO <choir>: <hold (Gadd)> 4-3-2 Once in a (Em) year it is (Am) not thought a (D) miss,
To (G) visit our (C) neighbors and (A) sing out like (D) this.
We (G) wish you a merry (C) Christmas. We (Am) wish you a merry (D) Christmas.
We (G) wish you a merry (C) Christmas and a (Am) happy (D7) New (G) Year.
We wish you a merry (C) Christmas. We (Am) wish you a merry (D) Christmas.
We (G) wish you a merry (C) Christmas and a (Am) happy (D7) New (G) Year.
Good tidings we (D) bring to (A7) you and your (D) kin.
We (G) wish you a merry Christmas and a (Am) happy (D7) New (G) Year.
We all want some figgy (C) pudding. We (A) all want some figgy (D) pudding.
We (G) all want some figgy (C) pudding, and a (Am) cup of (D7) good (G) cheer.
And we won't go until we (C) get some. We (A) won't go until we (D) get some.
We (G) won't go until we (C) get some so (Am) bring it (D7) right (G) here.
Good tidings we (D) bring to (A7) you and your (D) kin.
We (G) wish you a merry Christmas and a (Am) happy (D7) New (G) Year.
A hap, (C) py, (D) new, (G) year.
Once in a (Em) year it is (Am) not thought a (D) miss,
To (G) visit our (C) neighbors and (A) sing out like (D) this.
Of (G) friendship and (Em) love, good (Am) neighbors a (D) bound.
And (G) peace and good (C) will the (D) whole year a (G) round.
Watchay, (C) Shanti, (A) Saluuu (D) Shalom.
The (G) words mean the (Em) same, what (Am) ever your (D) home.
Why (G) can't we have (C) Christmas the (D7) whole arou-(G)-ound.
Why (G) can't we have (Am) Christmas the (D) whole year-
We (G) wish you a merry (C) Christmas. We (A) wish you a merry (D) Christmas.
We (G) wish you a merry (C) Christmas and a (D) happy New (G) Year.
We (G) wish you a merry (C) Christmas. We (A) wish you a merry (D) Christmas.
We (G) wish you a merry (C) Christmaaaaas, and a (G) happy (D) New (G) Year-(C)-ear (D). |D|-|G|

WHAT CHILD IS THIS
(Dix)
(MC2)
TIP: (C) can be played in place of the (CaddG) which just adds the treble <g> note.
TIP: The intro is the chords from the last line of the chorus, "The Babe, the son of Mary."
INTRO: (G)-(F)(E7)(Am)
What child is this who (G) laid to rest on (F) Mary's lap is (E) sleeping?
Whom (Am) angels greet with (G) anthems sweet while (F) shepherds (E7) watch are (Am) keeping.
(CaddG) This, this is (G) Christ the King. Whom (Am) shepherds (F) guard and (E) angels sing.
(CaddG) Haste, haste to (G) bring him laud. The (F) Babe, the (E7) son of (Am) Mary.
Why lies He in such (G) mean estate where (F) ox and ass are (E) feeding?
Good (Am) Christians fear, for (G) sinners here. The (F) silent (E7) Word is (Am) pleading.
Nails spear, shall (G) pierce Him through. The (F) cross be borne for (E) me, for you.
(Am) Hail, hail the (G) Word made flesh. The (F) Babe, the (E7) Son of (Am) Mary.
So bring Him incense (G) gold and myrrh. Come (F) peasant king to (E) own Him.
The (Am) King of kings sal (G) vation brings. Let (F) loving (E7) hearts en (Am) throne Him.
Raise, raise a (G) song on high. The (F) virgin sings her (E) lullaby.
(Am) Joy, joy for (G) Christ is born. The (F) Babe, the (E7) son of (Am) Mary.

WHITE CHRISTMAS – Bing Crosby
(Berlin)
https://www.youtube.com/watch?v=A9ibhWgMlso (Capo 2)(MC0)
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). Also note the (Bm3) although you can skip it if
you want.
INTRO: |Gadd| |Em| |D| |D7|-|D7|; |Gadd| |Em| |D/A| |D|-|D|
(G) I'm, (G4) dream (G) ing, of a (Am7) white, (D7) Christ (D) mas.
(Am7) Just like the (D7) ones, I used to (G) know (D7)(G).
Where the tree, tops, glis (Em) ten, and (C) children, lis (CaddD) ten,
(C) To (G) hear, (Am) sleigh bells (A7) in the (D) snow (D7).
(G) I'm, (G4) dream (G) ing, of a (Am7) white, (D7) Christ (D) mas.
(Am7) With every (Am) Christmas (D7) card I (G) write.
May your days, be mer (Em) ry and (C) bright (Bm3).
And may (G) all, your, (C) Christma (D7) ses be (G) white.
(G) I'm, (G4) dream (G) ing of a (Am7) white, (D7) Christ (D) mas.
(Am7) Just like the (D7) ones I used to (G) know (D7)(G).
Where the tree, tops glis (Em) ten, and (C) children lis (CaddD) ten,
(C) To (G) hear, (Am) sleigh bells (A7) in the (D) snow (D7).
(G) I'm, (G4) dream (G) ing of a (Am7) white, (D7) Christ (D) mas.
(Am7) With every (Am) Christmas (D7) card I (G) write.
May your days, be mer (Em) ry, and (C) bright (Bm3).
And may (G) all, your, (C) Christma (D7) ses be (G) white (G)(CaddG)(Gadd).

YOU’RE A MEAN ONE MR. GRINCH – Thurl Ravenscroft
(Hague/Geisel)
https://www.youtube.com/watch?v=3Hj3U18FHgQ (Capo 5)(MC5)
TIP: The timing is a bit tricky with the (G) and (F) in the first line of each verse coming early,
after the preceding word, e.g., “ (D) mean one (G), Mr. Grinch (F).”
TIP: For the two syllable “Gri-inch” aim for the middle strings (open 4th string <d>) on the first
(D) and the bottom three strings (covered <d>) for the second. Same thing with the two |A|-|A|
strums at the end of the second line. Top three strings and then bottom three strings.
TIP: The little sing-song with the alternateing (D)(G) emulating the clarinet at the end of the
verse is a bit of a mess/abrupt. Just hang in there.
TIP: For the “stink, stank, stunk” part you strike the chord once after the word. After “stunk”
first downstroke the bottom three stings aiming for the covered 2nd string <d> and then upstroke
aiming for the open 4th string <d>.
INTRO: (D)(D)(G)|A|
(NC) You're a (D) mean one (G), Mr. (C) Grinch (F).
You (D) really (E) are a (A) heel |A|-|A|.
(A) You're as (D) cuddly as a (G) cactus
You're as (C) charming as an (F) eel Mr. (D) Gri-|D|-inch.
|E| You're a bad banana with a |A|-|A|,
(A) Greasy (A7) black (D) peel. (D)(G),(D)(G)(D)(G), (E7)(A7)|A|
(NC) You're a (D) monster (G), Mr. (C) Grinch (F).

Your (D) heart's an (E) empty (A) hole |A|-|A|.
(A) Your (D) brain is full of (G) spiders
You've got (C) garlic in your (F) soul Mr. (D) Gri-|D|-inch.
|E| I wouldn't touch you with a (A), thirty-nine and a (A7) half foot (D) pole. (D)-(G)-|A|
(NC) You're a (D) vile one (G), Mr. (C) Grinch (F).
You have (D) termites (E) in your (A) smile |A|-|A|.
(A) You have (D) all the tender (G) sweetness
Of a (C) seasick croco (F) dile Mr. (D) Gri-|D|-inch.
|E| Given the choice between the two of you
I'd take the (A) seasick croco (D) dile. (D)(G)(D)(G)|A|
(NC) You're a (D) foul one (G), Mr. (C) Grinch (F).
You're a (D) nasty (E) wasty (A) skunk |A|-|A|.
(A) Your (D) heart is full of (G) unwashed socks
Your (C) soul is full of (F) gunk Mr. (D) Gri-|D|-inch.
The |E| three words that best describe you are as follows, and I quote:
"Stink |E|, stank |A|, stunk |D|-|D|."
(NC) You're a (D) rotter (G), Mr. (C) Grinch (F).

You're the (D) king of (E) sinful (A) sots |A|-|A|.
(A) Your (D) heart's a dead to (G) mato splotched
With (C) moldy purple (F) spots Mr. (D) Gri-|D|-inch.
|E| Your soul is an appalling dump heap,
Overflowing with the most disgraceful assortment of deplorable rubbish imaginable,
Mangled up in (A) tangled up (D) knots. (D)-(G)-|A|
(NC) You nausea (D) ate me (G), Mr. (C) Grinch (F).
With a (D) nauseous (E) super (A) naus |A|-|A|.
(A) You're a (D) crooked jerky (G) jockey
And you (C) drive a crooked (F) horse Mr. (D) Gri-|D|-inch.
|E| You're a three-decker sauerkraut and toadstool sandwich,
With (A) arsenic (D) sauce. (D),(C)(C),(G)(G),(D)(D)(D) |D|

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 aAnd 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 47 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.
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 1000 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:
Conventional sheet music format usually takes one of two forms. In the first and most common, chords are placed above the
corresponding lyrics. Depending on the number of verses, this can take up several pages. In the other format, chords are placed
within the lyrics themselves, as in: “Oh (G) give me a home, where the (C) buffalo roam . . .” and it’s this latter
format I elected to use, slightly modified so you can follow the entire song from start to finish without backtracking to repeat a chorus,
refrain, or verse (a version with the chords over the lyrics is in the works). 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.
The margin settings for the format used here is for computer viewing and therefore set in “Landscape” format as opposed to
“Portrait.” So reformatting margins and adjusting page breaks and such will be necessary if you wish to print any of the songs in
portrait. The result may be less than ideal and you may be better off printing from the PDF version.
Also, I'm using a very old version of MS-Word - you stick with what you know - that may or may not translate well to newer versions.
When opening this .doc file into a newer version of Word the margins and spacing and format may be a bit wishy-washy. And the
"clicks" used to activate the hyperlinks may be different. Sorry. If you can open it as a .doc file rather than a .docx that might help. I
was pleased to see that the hyperlinks still work after converting to .pdf format. BTW, if you have MS-Word 2016 or later (or can find
someone that does) there's a built in .pdf converter. Download the Word version of Songbook, do whatever editing you like, then
choose the "save as" function for your .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 2 nd 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:
Oh (G) give me a home, where the (C) buffalo roam, where the (G) deer and the (A7) antelope
(D7) play.
There’s a full chord chart at the end of the Songbook. 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'll put that diagram in 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:
A |G| long |D| long |Em| time ago . . .
Hyphenated chords. Chords with a hyphen between them usually means it's a shorter transition than usual, or a one-beat transition.
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 in any format, but often 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: <d#><d#><f#><e>(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
the next 30-odd years. 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 added them which
meant revisiting and listening to each and every song, one at a time, either on CD/mp3 or YouTube to see if I could 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:
When (C) I want (Am) you (Dm7) in my (G7) arms. When (C) I want (Am) you (Dm) and all your (G7)
charms. When (C) ever I (Am) want you, (F) all I have to (G7) do is (C) dream (Am). (F) Dream,
dream, (G7) dream.
Melodically:
When (C) I want (Am) you (Dm7), in my (G7) arms. When (C) I want (Am) you (Dm), and all your
(G7) charms. When (C) ever I (Am) want you, (F) all I have to (G7) do, is (C) dream (Am).
(F) Dream dream (G7) dream.
It 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. and
Springsteen.
ABOUT the whole Martin vs Taylor vs Gibson, and Martin vs D'Addario vs Elixer debate: I own both Martins and Taylors. To me
Martins sound better but Taylors are easier to play. Gibsons always sounded 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 328 (Cil) 1211

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If you're new to Songbook: Songbook is a compilation of songs, stitched together from many sources over many years.

You can find more about

THE AMATEUR GUITAR PLAYER'S

WHAT'S RECENT AND NEW:

The Andrews Sisters

The Beach Boys

The Bellamy Brothers

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

The Four Tops

The Front Porch String Band

Gerry and the Pacemakers

Grand Funk Railroad

Bill Haley & the Comets

George Harrison (Also as Nelson Wilbury)

The Highway Men

Hootie and the Blowfish

The Irish Rovers

Tommy James and the Shondells

Jan and Dean

Jarvis, McDade & Ingram

Jay and the Americans

Joan Jett & the Blackhearts

Matthew Perryman Jones

Robert Earl Keen Jr.

The Kingston Trio

The Left Banke

Lind, Holm, Fuentes, Nilson

Little Peggy March

Marshall Tucker Band

Meyer & Drake

Mitch and Mickey

Michael Martin Murphey

Tim Blake Nelson

The New Main Street Singers

Nitty Gritty Dirt Band

Oak Ridge Boys

The Old 97s

Roy Orbison (Also as Lefty Wilbury)

Pure Prairie League

David Rawlings (with Gillian Welch)

The Righteous Brothers

The Rolling Stones

Rose & the Arrangement

Sam the Sham & The Pharaohs

Simon and Garfunkel

The Soggy Bottom Boys