Jürgens Lagerfeuerlieder Teil 2
Creedence Clearwater Revival
51. Proud Mary
John Fogerty / Creedence Clearwater Revival (1969)
| C / / - / | A / - | C / / - / | A / - | C / / - / | A / | G / | F / / - / / | D / |
| | | | | | | | | |
| D |
| Left a good job in the city, Workin for the man every night and day |
And I never lost a minute of sleepin', Worryin' 'bout the way things might have been. | |
| A | Bm |
| Big wheel keep on turnin' - | Proud Mary keep on burnin', |
| D | A | D | C | | A | | C | | A | | C | | A | | G | | F | | D |
| Rollin', rollin', rollin' on a | ri- | ver. | | | | | | | | | | | | | | | | | |
Cleaned a lot of plates in Memphis, Pumped a lot of 'tane down in New Orleans, | |
But I never saw the good side of the city, 'Til I hitched a ride on a river boat queen. | |
Big wheel a-keep on turnin' - Proud Mary keep on burnin', | |
Rollin', rollin', rollin' on the river. | |
If you come down to the river, Bet you gonna find some people who live, | |
You don't have to worry 'cause you have no money, People on the river are happy to give. | |
Big wheel a-keep on turnin' - Proud Mary keep on burnin', | |
Rollin', rollin', rollin' on the river. | |
52. Bad Moon Rising
John Fogerty/Creedence Clearwater Revival: Green River (1969)
| |: | D | A | G | D | D6 | D | D6 | D | D6 | :| |
| | // / | / | / | // | / | / | / | / | / | |
| D | A | G | D | D | D6 | D | D6 | D |
| I see a | bad | moon a- | risin'. | | | | | |
| D | A | G | D | D | D6 | D | D6 | D |
| I see | trouble's | on the | way. | | | | | |
| D | A | G | D | D | D6 | D | D6 | D |
| I see | earth | quakes and | lightnin'. | | | | | |
| D | A | G | D | D | D6 | D | D6 | D |
| I see | bad | times | today. | | | | | |
| G | D |
| Don't go round tonight, it's | bound to take your life, |
| A | G | D | D | D6 | D | D6 | D |
| There's a | bad moon on the | rise! | | | | | |
I hear hurricanes a blowin' | |
I know the end is comin' soon. | |
I feel the river's overflowin' | |
I hear the voice of rage and ruin. | |
Don't go round tonight, it's bound to take your life, | |
There's a bad moon on the rise! | |
| Solo: | |: | D | A | G | D | D6 | D | D6 | D | :| |
| | | | | | | | | | | |
| G | D | A | G | D | D6 | D | D6 | D | Intro riff |
| | | | | | | | | | |
Hope you got your things together. | |
Hope you're quite well prepared to die. | |
Looks like we're in for nasty weather. | |
One eye is taken for an eye. | |
Don't go round tonight, it's bound to take your life, | |
There's a bad moon on the rise! | |
| G | D |
| Don't go round tonight, it's | bound to take your life, |
| A | G | D | A | G | D | (Intro Riff) |
| There's a | bad moon on the | rise! | | | | |
53. Looking Out my Backdoor
J.C. Fogerty / Creedence Clearwater Revival: Cosmo's Factory (1970)
| G | Em |
| Just got home from Illinois - | Lock the front door, oh boy, |
| C | G | D |
| Got to set | down take a | rest on the porch. |
| G | Em |
| Imagination sets in - | Pretty soon I'm singing: |
| C | G | D | G |
| Doo doo | doo looking | out my back | door. |
| G | Em |
There's a | giant doing cartwheels, a | statue wearing high heels. |
| C | G | D |
| Look at all the | happy creatures | dancing on the lawn. |
| G | Em |
| Dinosaur victrola list' | ning to Buck Owens; |
| C | G | D | G |
| Doo doo | doo looking | out my back | door. |
| D | C | G |
| Tambourines and elephants are | playing in the | band. |
| Em | D |
Won't you take a ride | on the flying | spoon - doo doo doo doo. |
| G | Em |
| Wondrous apparitions pro | vided by a magician: |
| C | G | D | G |
| Doo doo | doo looking | out my back | door. |
| D | C | G |
| Tambourines and elephants are | playing in the | band. |
| Em | D |
Won't you take a ride | on the flying | spoon - doo doo doo doo. |
| G | Em |
| Wait until tomorrow to | day I'll buy no sorrow: |
| C | G | D | G |
| Doo doo | doo looking | out my back | door. |
| G | Em |
| Just got home from Illinois - | lock the front door, oh boy. |
| C | G | D | (slow down) |
| Look at all the | happy creatures | dancing on the lawn. | |
| G | Em |
| Wait until tomorrow to | day I'll buy no sorrow: |
| C | G | D | G | C | | G | | D | | G |
| Doo doo | doo looking | out my back | door. | | | | | | | |
Bob Dylan
54. Blowin' in the Wind
Bob Dylan
| G | C | G | Em | G | C | D |
| How many | roads must a | man walk | down be | fore you | call him a | man? |
| G | C | G | Em | G | C | D |
| How many | seas must a | white dove | sail be | fore she | sleeps in the | sand? |
| G | C | G | Em | G | C | D |
| How many | times must the | cannonballs | fly be | fore they are | forever | banned? |
| C | D | G | Em |
The | answer, my | friend, is | blowin' in the | wind, |
| C | D | G | C | G |
The | answer is | blowin' in the | wind. | | |
How many years can a mountain exist before it is washed to the sea? | |
How many years can some people exist before the're allowed to be free? | |
How many times can a man turn his head, pretending he just doesn't see? | |
The answer, my friend, is blowin' in the wind, | |
The answer is blowin' in the wind. | |
How many times must a man look up before he can see the sky? | |
How many ears must one man have before he can hear people cry? | |
How many deaths will it take 'till he knows that too many people have died? | |
The answer, my friend, is blowin' in the wind, | |
The answer is blowin' in the wind. | |
55. Knockin' on Heaven's Door
Bob Dylan
| |: | | G | D | Am7 | | | G | D | C | | :| |
| | | Oooh | Oooh | Oooh | - | | Oooh | Oooh | Oooh | | |
| G | D | Am7 |
| Mama take this | badge off of | me, |
| G | D | C |
| I can't | use it any | more. |
| G | D | Am7 |
| It's getting | dark, too dark for me to | see; |
| G | D | C | D |
| I feel I'm | knockin' on heaven's | door. | |
| G | D | Am7 |
| Knock, knock, | knockin' on heaven's | door. |
| G | D | C | D |
| Knock, knock, | knockin' on heaven's | door. | |
| G | D | Am7 |
| Knock, knock, | knockin' on heaven's | door. |
| G | D | C | D |
| Knock, knock, | knockin' on heaven's | door. | |
| G | D | Am7 |
| Mama, put my | guns in the | ground. |
| G | D | C |
| I can't | shoot them any | more. |
| G | D | Am7 |
| That long black | cloud is comin' | down. |
| G | D | C | D |
| I feel I'm | knockin' on heaven's | door. | |
| G | D | Am7 |
| Knock, knock, | knockin' on heaven's | door. |
| G | D | C | D |
| Knock, knock, | knockin' on heaven's | door. | |
| G | D | Am7 |
| Knock, knock, | knockin' on heaven's | door. |
| G | D | C | D |
| Knock, knock, | knockin' on heaven's | door. | |
| G | D | Am7 | G | D | C |
| Ooh - | ooh - | ooh - ooh | Ooh - | ooh - | ooh ... |
56. Mr. Tambourine Man
Bob Dylan
| F | G | C | F |
| Hey, Mr. | Tambourine Man, | play a song for | me, |
| C | F | G |
I'm not | sleepy and there | is no place I'm | going to. |
| F | G | C | F |
| Hey, Mr. | Tambourine Man, | play a song for | me, |
| C | F | G | C | C4 | C |
In the | jingle jangle | morning I'll come | followin' | you | | |
| F | G | C | F | C | F |
Though I | know that evenin's | empire has | returned into | sand, | Vanished from my | hand, |
| C | F | G |
Left me | blindly here to | stand but still not | sleeping. |
| F | G | C | F | C | F |
My | weariness a | mazes me, I'm | branded on my | feet, -- I | have no one to | meet, |
| C | F | G |
And the | ancient empty | street's too dead for | dreaming. |
Hey, Mr. Tambourine Man... | |
Take me on a trip upon your magic swirlin' ship, my senses have been stripped, | |
My hands can't feel to grip, my toes too numb to step, | |
Wait only for my boot heels to be wanderin'. | |
I'm ready to go anywhere, I'm ready for to fade into my own parade, | |
Cast your dancing spell my way, I promise to go under it. | |
Hey, Mr. Tambourine Man... | |
Though you might hear laughin', spinnin', swingin' madly across the sun, | |
It's not aimed at anyone , it's just escapin' on the run, and but for the sky there are no fences facin'. | |
And if you hear vague traces of skippin' reels of rhyme to your tambourine in time, | |
It's just a ragged clown behind, I wouldn't pay it any mind, | |
It's just a shadow you're seein' that he's chasing. | |
Hey, Mr. Tambourine Man... | |
Then take me disappearin' through the smoke rings of my mind, | |
Down the foggy ruins of time, far past the frozen leaves, the haunted, frightened trees, | |
Out to the windy beach, far from the twisted reach of crazy sorrow. | |
Yes, to dance beneath the diamond sky with one hand waving free, | |
Silhouetted by the sea, circled by the circus sands, with all memory and fate, | |
Driven deep beneath the waves, let me forget about today until tomorrow. | |
Hey, Mr. Tambourine Man... | |
57. It's All Over Now, Baby Blue
Bob Dylan
| G | C |
You | must leave now, take what you need you | think will last. |
| G | C |
But | whatever you wish to keep you better | grab it fast! |
| Dm | F | C |
| Yonder stands your | orphan with his | gun; |
| Dm | F | C |
| Crying like a | fire in the | sun. |
| E7 | G |
| Look out the Saints are comin' | through: |
| Dm | F | C |
And - | It's all over | now, Baby | Blue. |
The highway is for gamblers, better use your sense. | |
Take what you have gathered from coincidence. | |
The empty handed painter from your streets | |
Is drawing crazy patterns on your sheets. | |
This sky too, is folding under you: | |
And - It's all over now, Baby Blue. | |
All your seasick sailors, they are rowing home. | |
All your reindeer armies, are all going home. | |
The lover who just walked out your door | |
Has taken all his blankets from the floor. | |
The carpet too, is moving under you: | |
And - It's all over now, Baby Blue. | |
Leave your stepping stone behind, something calls for you. | |
Forget the dead you've left, they will not follow you. | |
The vagabond who's rapping at your door | |
Is standing in the clothes that you once wore. | |
Strike another match, go start anew: | |
And - It's all over now, Baby Blue. | |
58. Don't Think Twice, It's All Right
Bob Dylan / The Freewheelin' Bob Dylan (1963)
| C | G7 | Am | F | C | G7 |
It | ain't no use to | sit and wonder | why, babe, | if you don't know by | now. | |
| C | G7 | Am | D7 | G |
And it | ain't no use to | sit and wonder | why, babe, | It'll never do, some | how. |
| C | C7 |
When your | rooster crows at the | break of dawn, |
| F | D7 |
| Look out your window and | I'll be gone. |
| C | G | Am | F | C | G | C |
| You're the | reason I'm | travelling | on, But, | don't think | twice, it's all | right. |
| C | G7 | Am | F | C | G7 |
And it | ain't no use in | turnin' on your | light, babe, | The light I never | knowed. | |
| C | G7 | Am | D7 | G |
And it | ain't no use in | turnin' on your | light, babe, | I'm on the dark side of the | road. |
| C | C7 |
But I | wish there were something you would | do or say; |
| F | D7 |
| To try and make me change my | mind and stay. |
| C | G | Am | F | C | G | C |
| We never | did too much | talkin' any | way. | Don't think | twice, it's all | right. |
| C | G7 | Am | F | C | G7 |
No it | ain't no use in | callin' out my | name, gal, | Like you never done be | fore. | |
| C | G7 | Am | D7 | G |
And it | ain't no use in | callin' out my | name, gal, | I can't hear you any | more. |
| C | C7 |
I'm a- | thinkin' and a-wonderin' | Walking down the road, |
| F | D7 |
I | once loved a woman, a | child I am told. |
| C | G | Am | F | C | G | C |
I | give her my | heart but she | wanted my | soul, | Don't think | twice, it's all | right. |
| G7 | Am | F | C | G7 |
So lo-o- | ong, honey | babe, | Where I'm bound, I can't | tell. | |
| C | G7 | Am | D7 | G |
| Goodbye is | too good a | word, babe, | So I'll just say, "fare thee | well". |
| C | C7 |
I ain't | sayin' you treated | me unkind, |
| F | D7 |
You | could have done better, but, | I don't mind. |
| C | G | Am | F | C | G | C |
| You just kinda | wasted my | precious | time, | Don't think | twice, it's all | right. |
59. I Shall Be Released
Bob Dylan/Bob Dylan: Greatest Hits Vol. II (1970)
| E | F#m | G#m | F#m | B | E |
| They say ev’rything can be re | placed, | Yet ev’ry | distance | is not | near; |
| E | F#m | G#m | F#m | B | E |
| So I remember ev’ry | face, | Of ev’ry | man who | put me | here. |
| E | F#m | G#m | F#m | B | E |
I | see my light come | shining, | from the | west un | to the | east |
| E | F#m | G#m | F#m | B | E |
| Any day now, | any day now, | I | shall | be re | lased |
| E | F#m | G#m | F#m | B | E |
| They say ev’ry man needs pro | tection, | They say | ev’ry | man must | fall. |
| E | F#m | G#m | F#m | B | E |
| Yet I swear I see my re | flection, | Some | place so high | above this | wall. |
| E | F#m | G#m | F#m | B | E |
I | see my light come | shining, | from the | west un | to the | east |
| E | F#m | G#m | F#m | B | E |
| Any day now, | any day now, | I | shall | be re | lased |
| E | F#m | F#m | B | E |
| Standing next to me in this | lonely crowd, Is a man | who swears | he’s not to | blame. |
| E | F#m | F#m | B | E |
| All day long I hear him shout | so loud, Crying | out that | he was | framed. |
| E | F#m | G#m | F#m | B | E |
I | see my light come | shining, | from the | west un | to the | east |
| E | F#m | G#m | F#m | B | E |
| Any day now, | any day now, | I | shall | be re | lased |
60. Lay Lady Lay
Bob Dylan
| G | Bm | F | Am | G | | Bm | | F | | Am |
| Lay, lady, | lay, | lay across my | big brass bed | | | | | | | |
| G | Bm | F | Am | G | | Bm | | F | | Am |
| Lay, lady, | lay, | lay across my | big brass bed | | | | | | | |
| D | Em | G |
| Whatever | colours you have | in your mind |
| D | Em | G |
| I'll show them | to you | and you'll see them shine |
Lay, lady, lay, lay across my big brass bed | |
Stay, lady, stay, stay with your man awhile | |
Until the break of day, let me see you make him smile | |
His clothes are dirty but his hands are clean | |
And you're the best thing that he's ever seen | |
Stay, lady, stay, stay with your man awhile | |
| Bm | D | G |
| Why wait any longer for the | world to | begin |
| Bm | Am | G |
| You can have your cake and eat | it | too |
| Bm | D | G |
| Why wait any longer for the | one you | love |
| Bm | Am |
When he's stan | ding in front of | you |
Lay, lady, lay, lay across my big brass bed | |
Stay, lady, stay, stay while the night is still ahead | |
I long to see you in the morning light | |
I long to reach for you in the night | |
| G | Bm | F | Am | |: | G | | Bm | | F | | Am | :| |
| Stay, lady, | stay, | stay while the night is | still ahead | | | | | | | | | |
61. All Along The Watchtower
Bob Dylan / Jimi Hendrix: Electric Ladyland (1967)
| |: | Am | | | G | F | G | | :| |
| | //// | / | | / | //// | / | / | |
| Am | G | F | G | Am |
| "There must be some | kind of way | out of here," | / / / / | / |
| G | F | G | Am |
Said the | joker to the | thief: | / / / / | / |
"There's too much confusion, | |
Businessmen, they drink my wine; | |
None of them along the line - | |
Know what any of it is worth!” | |
All along the watchtower, | |
While all the women came and went, | |
“No reason to get excited,” | |
The thief, he kindly spoke: | |
“There are many here among us | |
Who feel that life is but a joke. | |
But you and I, we’ve been through that, | |
And this is not our fate! | |
So let us not talk falsely now, | |
the hour is getting late!” | |
All along the watchtower, | |
While all the women came and went, | |
Two riders were approaching, | |
And the wind began to howl. | |
While all the women came and went | |
62. Just Like a Woman
Bob Dylan: Blonde on Blonde (1966)
| C | F | G | C | C | F | G7 | C |
| Nobody | feels | any | pain - | Tonight as I | stand | inside the | rain |
| F | G | F | G |
| Everybody | knows that | baby's got new | clothes |
| F | Em | Dm | C | G7 |
But | late | ly | I | see her | ribbons and her bows |
| Am | C/G | G7sus4 | G7 | G7sus2 | G7 |
Have | fallen | from her | curls | | | |
| C | Em/B | G9/A | F |
She | takes | just | like a | woman, yes she does |
| C | Em/B | G9/A | F |
She | makes love | just | like a | woman, yes she does |
| C | Em/B | G9/A | F |
And she | aches | just | like a | woman |
| G7sus4 | G7 | G7sus2 | G7 | C |
But she | breaks | just like a | little | girl | . |
Queen Mary, she's my friend. Yes, I believe I'll go see her again. | |
Nobody has to guess that baby can't be blessed | |
Till she sees finally that she's like all the rest | |
With her fog, her amphetamine and her pearls. | |
She takes just like a woman, yes she does; She makes love... | |
| E7 |
| It was rainin' from the first and I was dying there of thirst |
| C | Csus4 | C |
So I | came in here | | |
| E7 |
| And your longtime curse hurts but what's worse |
| G7sus4 | G7 | G7sus2 | G7 | G7sus4 | G7 | G7sus2 | G7 |
Is this pain in here, | | I can't stay | in here, | | Ain't it | | clear that | |
I just can't fit - Yes, I believe it's time for us to quit | |
When we meet again introduced as friends | |
Please don't let on that you knew me when | |
I was hungry and it was your world. | |
She takes just like a woman, yes she does; She makes love... | |
63. Alberta
Bob Dylan / Bob Dylan: Self Portrait (1970)
| G | C/g | G |
| / / | / / | / / (repeat) |
| Em | D | G | C/g | G |
Al | berta let your | hair hang | low | | |
| C | G | C/g | G |
Alberta let your | hair hang | low | | |
| C | G |
I'll | give you more | gold |
| G | G/f# | Em |
Than your | apron | can | hold |
| G | D | G | C/g | G |
If you'd | only let your | hair hang | low | | |
Alberta what's on your mind | |
Alberta what's on your mind | |
You keep me worried and bothered | |
Alberta what's on your mind | |
Alberta don't you treat me unkind | |
Alberta don't you treat me unkind | |
Alberta don't you treat me unkind | |
Alberta let your hair hang low | |
Alberta let your hair hang low | |
If you'll only let your hair hang low | |
64. Hurricane
Bob Dylan
| Am | F |
| Pistol shots ring out in the bar | room night |
| Am | F |
| enter Patty Valentine from the | upper hall |
| Am | F |
| She sees the bartender in a | pool of blood |
| Am | F |
| Cries out "My God they killed | them all!" |
| C | F |
| Here comes the story of the | Hurricane, |
| C | F |
| The man the authorities | came to blame |
| Dm | C |
| for something that he never | done |
| Dm | C |
| Put in a prison cell but | one time |
| Em | Am | F | C | G | F | Am | F |
| he could have been | the | champion of the | world | | | | |
Three bodied lying there does Patty see | |
and another man named Bello moving mysteriously | |
"I didn't do it" he says, and he throws up his hands | |
"I was only robbin the register, I hope you understand | |
I saw them leavin," he says and he stops | |
One of us had better call the cops | |
and they arrive on the scene with their red lights flashin | |
in the hot New Jersey night | |
Meanwhile somewhere in another part of town | |
Rubin Carter and a couple of friends are driving around | |
number one contender for the middleweight crown | |
had no idea what kind of shit was about to go down | |
when a cop pulled him over on the side of the road | |
just like the time before and the time before that | |
in Paterson that just the ways things go | |
If you black you might as well not show up on the streets | |
Less you wanna draw the heat | |
Alfred Bello had a partner and he had a rap for the cops | |
Him and Arthur Dexter Bradley were just out prowlin around | |
He said "I saw two men runnin out, they looked like middleweights | |
They jumped into a white car with out of state plates" | |
And Miss Patty Valentine just nodded her head | |
Cop said "Wait a minute boys, this one's not dead" | |
so they took him to the infirmary | |
and although this man could hardly see | |
they told him that he could identify the guilty men | |
Four in the morning and they haul Rubin in | |
Take him to the hospital and bring him upstairs | |
the wounded man looks up though his one dying eye | |
says "why'd you bring him here for? he ain't the guy!" | |
Yes, here the story of the Hurricane | |
The man the authorities came to blame | |
for something that he never done | |
put in a prison cell but one time he could've been | |
the champion of the world | |
Four months later the ghetto's in flame | |
Rubin's in South America fightin for his name | |
while Arthur Dexter Bradley's still in the robbery game | |
and the cops are puttin the screw to him looking for somebody to blame | |
"Remember that murder that happened in a bar?" | |
"Remember you said you saw the getaway car?" | |
"You think you'd like to play ball with the law?" | |
"Think it might have been that fighter that you saw running that night?" | |
"Don't forget that you are white" | |
Arthur Dexter Bradley said "I'm really not sure" | |
Cops said "A poor boy like you could really use a break | |
We got you for the motel job and were talking to your friend Bello | |
Now you don't want to ave to go back to jail, be a nice fellow | |
You'll be doin' society a favor | |
That son of a bitch is brave and getting braver | |
We want to put his ass in the stir | |
We want to pin this trip murder on him | |
He ain't ne Gentleman Jim" | |
Rubin could take a man out with just one punch | |
he never did like to talk about it all that much | |
It's my work he'd say, I do it for pay | |
and when it's over I'd just as soon go on my way | |
where the trout streams flow and the air is nice | |
and ride a horse along a trail | |
but then they took him to the jail house | |
where they try to make a man into a mouse | |
All of Rubin's card were marked in advance | |
The trial was a pig-circus, he never had a chance | |
the judge made Rubin's witnesses drunkards from the slums | |
to the white folks who watched he was a revolutionary bum | |
but to the black folks he was a crazy nigger | |
no one doubted that he pulled the trigger | |
and though they could not produce the gun | |
the D.A. said he was the one who did the deed | |
And the all-white jury agreed | |
Rubin Carter was falsely tried | |
the crime was murder "one", guess who testified? | |
Bello and Bradley and the both badly lied | |
and the newspapers all went along for the ride | |
how can the life of such a man | |
be in the palm of some fool's hand? | |
to see him obviously framed | |
couldn't help but be ashamed to live in a land | |
Now all the criminal in their coats and their ties | |
are free to drink martinis and watch the sun rise | |
while Rubin sits like Buddha in a ten foot cell | |
and innocent man in a living hell | |
that's the story of the Hurricane | |
but it won't be over till they clear him name | |
and give him back the time he's done | |
put in a prison cell but one time he could've been | |
the champion of the world | |
65. Days of 49
Bob Dylan/Self Portrait
| Am | G | Am | G | Am |
I'm | old Tom Moore from the | bummer's shore in the | good old | golden | days. |
| G | Am | G | Am |
They call me a bummer and a | gin-sot, too, but | what cares | I for | praise |
| C | Am | C | Am |
I | wander 'round from | town to town, just | like a roving | sign, |
| C | Am | G | Am |
And | the people all say "There | goes Tom Moore in the | days of ' | 49. |
| Am | F | C | F | C |
| In the | days of old, in the | days of gold, how | oftentimes I re | pine |
| F | C | Am |
For the | days of old when we | dug up the gold, In the | days of '49. |
There was Nantuck Bill, I knew him well, a feller fond of tricks. | |
At a poker game he was always there and heavy with his bricks. | |
He would ante up and draw his cards and go in a hatfull blind. | |
In a game of bluff, Bill lost his breath in the days of '49. | |
There was New York Jake, a butcher boy he was always getting tight. | |
And every time that he got full he was always hunting a fight. | |
One night he run up against a knife in the hands of old Bob Kline: | |
And over Jake they held a wake In the days of '49. | |
There was poor old Jess, the old lame cuss; He never would relent. | |
He never was known to miss a drink Or ever spend a cent. | |
At length old Jess, like all the rest, who never would decline, | |
In all his bloom went up the flume in the days of '49. | |
There was roaring Bill from Buffalo; I never will forget. | |
He would roar all day and he'd roar all night and I guess he's roaring yet. | |
One night he fell in a prospector's hole in a roaring bad design, | |
And in that hole roared out his soul in the days of '49 | |
the Kinks
66. A Well Respected Man
R. D. Davies / the Kinks (1965)
| G | | C | C/B | Am | C | C/B | Am |
| | 'Cause he | gets up | in the | morning, and he | goes to | work at | nine. |
| C | C/B | Am | C | C/B | Am |
And he | comes back | home at | five thirty, gets the | same train | every | time |
| C | C/B | Am | C | C/B | Am |
'Cause his | world is | built on | punctuali- | ty it | never | fails |
| C | C/B | Am | C | C/B | Am |
'Cause he's | oh | so | good, and he's | oh | so | fine, |
| C | C/B | Am | C | C/B | Am |
And he's | oh | so | healthy in his | body | and his | mind |
| F | Em | F | D | G | G/C | G |
He's a | well respected | man about town | Doing the best things | so conserva | tively. | | |
And his mother goes to meetings while his father pulls the maid. | |
And she stirs the tea with councilors while discussing foreign trade. | |
And she passes looks as well as Bill's at every suave young man. | |
Cos he's oh so good, and he's oh so fine, | |
And he's oh so healthy in his body and his mind. | |
He's a well respected man about town Doing the best things so conservatively- | |
And he likes his own backyard, and he likes his fags the best, | |
'Cause he's better than the rest, and his arm sweat smells the best, | |
And he hopes to grab his father's loot when big foot passes on. | |
Cos he's oh so good, and he's oh so fine, | |
And he's oh so healthy in his body and his mind. | |
He's a well respected man about town Doing the best things so conservatively- | |
And he plays at stocks and shares, and he goes to the regatta. | |
He adores the girl next door 'cause he's dying to get at her, | |
But his mother knows the best about the matrimonial stakes. | |
Cos he's oh so good, and he's oh so fine, | |
And he's oh so healthy in his body and his mind. | |
He's a well respected man about town Doing the best things so conservatively- | |
67. Apeman
R. D. Davies / the Kinks
| D | D | D | D | D | D | A | E | - | D | E | E | A |
| | | | | | | | | | | | | |
| A | E |
| I think I'm sophisticated 'cause I'm living my life just like a | good homo sapiens. |
| A | E |
But | all around me everybody's multiplying and they're | walking round like flies man. |
| D | A |
So | I'm no better than the animals sitting in the | cages in the zoo man. |
| E | A |
Cause compared to the flowers and the birds and the trees | I am an ape | man. |
I think I'm so educated and I'm so civilized 'cause I'm a strict vegetarian. | |
But with the over-population and inflation and starvation and the crazy politicians: | |
I don't feel safe in this world no more, I don't want to die in a nuclear war. | |
I want to sail away to a distant shore and make like an apeman. | |
| A | E |
| I'm an apeman, I'm an ape, apeman, oh I'm an | apeman! |
| A | E |
I'm a | King Kong man, I'm a voodooh man, oh I'm an | apeman! |
| D | A |
'Cause | compared to the sun that sits in the sky, Com | pared to the clouds as they roll by, |
| E | A |
Compared to the bugs and the spiders and flies | I am an ape | man. |
| A | E |
| In man's evolution he's created the city and the | motor traffic rumble. |
| A | E |
But | give me half a chance and I'd be taking off my clothes and | living in the jungle. |
| D | A |
'Cause the | only time that I feel at ease Is | swinging up and down in the coconut trees. |
| E | A |
Oh what a life of luxury to | be like an ape | man. |
I'm an apeman, I'm an ape, apeman, oh I'm an apeman | |
I'm a King Kong man, I'm a voodooh man, oh I'm an apeman | |
I look out the window but I can't see the sky, The air pollution is a-fucking up my eyes, | |
I want to get out of this city alive and make like an apeman. | |
| A | E | A | E | A |
| Oh come on and | love me, be my apeman | girl, And we'll be so | happy in my apeman | world. |
I'm an apeman, I'm an ape, apeman, oh I'm an apeman | |
I'm a King Kong man, I'm a voodooh man, oh I'm an apeman | |
I'll be your Tarzan, you'll be my Jane, I'll keep you warm and you'll keep me sane, | |
We'll sit in the trees and eat bananas all day, just like an apeman. | |
I'm an apeman, I'm an ape, apeman, oh I'm an apeman | |
I'm a King Kong man, I'm a voodooh man, oh I'm an apeman | |
I don't feel safe in this world no more, I don't want to die in a nuclear war. | |
I want to sail away to a distant shore and make like an apeman. | |
68. Sunny Afternoon
R. D. Davies / the Kinks: Face to Face (1966)
| |: | Dm | Dm/C | Dm/B | Dm/Bb | A | A/G | A/F | A/E | :| |
| | | | | | | | | | |
| Dm | C7 | F | C7 |
The | taxman's taken | all my dough And | left me in my | stately home, |
| A | A/G | A/F | A/E | Dm |
| Lazin' | on a | sunny | after | noon. |
| Dm | C7 | F | C7 |
| And I can't | sail my yacht, He's | taken every | thing I've got, |
| A | A/G | A/F | A/E | Dm |
| All I've | got's this | sunny | after | noon. |
| D7 | G7 | C7 | F | A7 |
| Save me, save me, save me from this gr | eed; I got a big | fat mama tryin' to break | me. | |
| Dm | G7 | Dm | G7 | C7 |
And I | love to live so | pleasantly - | Live this life of | luxu | ry; |
| F | A7 | Dm | Dm/C | Dm/B | Dm/Bb | A | A/G | A/F | A/E |
| Lazin' on a | sunny after | noon | | | - In the | summer | time. | | |
My girlfriend's run off with my car And gone back to her ma and pa, | |
Tellin' tales of drunkenness and cruelty. | |
Now I'm sittin' here, Sippin' at my ice-cooled beer; | |
Lazing on a sunny afternoon. | |
Help me, help me, help me sail away. Who give me two good reasons why I are to stay? | |
'Cause I love to live so pleasantly - Live this life of luxury; | |
Lazin' on a sunny afternoon - In the summertime. | |
Save me, save me, save me from this greed, I got a big fat mama tryin' to break me. | |
And I love to live so pleasantly - Live this life of luxury; | |
Lazin' on a sunny afternoon - In the summertime. | |
69. Death of a Clown
Ray Davies, Dave Davies / the Kinks: Something Else by the Kinks (1967)
| C | G | G7 |
My | makeup is dry and it | cracks on my | chin |
| F | C | G |
I'm | drowning my sorrows in | whiskey and | gin |
| C | G | G7 |
The | lion tamer's whip doesn't | crack any | more |
| F | C | G |
The | lions they won't bite and the | tigers won't | roar |
| F | Dm | Bb | Eb | Dm | C | G |
| La la la | La la la | La la la | La - So | let's all drink to the | death of a | clown |
| C | G | G7 | F | C | G |
| Won't someone help me to | break up this | crown - | Let's all drink to the | death of a | clown |
| F | Dm | Bb | Eb | Dm | C | G |
| La la la | La la la | La la la | La - | Let's all drink to the | death of a | clown |
| C | G | G7 |
The | old fortune teller | lies dead on the | floor |
| F | C | G |
| Nobody needs fortunes | told any | more |
| C | G | G7 |
The | trainer of insects is | crouched on his | knees |
| F | C | G |
And | frantically looking for | runaway | fleas |
| F | Dm | Bb | Eb | Dm | C | G |
| La la la | La la la | La la la | La - So | let's all drink to the | death of a | clown |
| C | G | G7 | F | C | G |
| Won't someone help me to | break up this | crown - | Let's all drink to the | death of a | clown |
| F | Dm | Bb | Eb | Dm | C | G |
| La la la | La la la | La la la | La - | Let's all drink to the | death of a | clown |
| C | G | G7 |
| La la la la la la | la la la | la |
| F | C | G |
| La la la la la la | la la la | la |
| F | Dm | Bb | Eb | F | C | G |
| La la la | La la la | La la la | La - | let's all drink to the | death of a | clown |
70. I'm Not Like Everybody Else
R.D. Davies / the Kinks (1966)
| Am | E-3-2-3p2 | Em |
(Intro) | / | | / |
| G | D | Dsus4 | D |
| I won't take all that they | ha | nd me | down |
| Am | Em |
And | make up a smile though I | wear a frown |
| G | D | Dsus4 | D |
And I'm | not gonna take it a | life | time | |
| Am | Em |
'Cause | once I get started I'll | go to town |
| Em | D | Dsus4 | D | | Am | Em |
| I'm not like everybody | els | e; | | | I'm not like everybody | else! |
| Em | D | Dsus4 | D | | Am | Em |
| I'm not like everybody | els | e; | | | I'm not like everybody | else! |
| Em | D | A |
| And I don't want to talk around like | everybody | else |
| Em | D | A |
| And I don't want to live my life like | everybody | else |
| Em | D | A |
| And I won't say that I've gone by like | everybody | else |
| Am | Em | Am | Em |
'Cause | I'm not like everybody | else - | I'm not like everybody | else |
My little darling I love you true | |
And do all the things you want me to | |
Confess all my sins if you want me to | |
But there's one thing I'll keep saying: | |
I'm not like everybody else... | |
| Em | Em |
| Like everybody else - | Like everybody else |
| Em |
| Like everybody else... |
If you all want me to settle down | |
there's no way to stop all my goin' 'round | |
I'll do everything that you want me to | |
But there's one thing I'll keep saying: | |
I'm not like everybody else; I'm not like everybody else! | |
I'm not like everybody else; I'm not like everybody else! | |
And I don't want to talk around like everybody else | |
And I don't want to live my life like everybody else | |
And I don't want to say goodbye like everybody else | |
'Cause I'm not like everybody else - I'm not like everybody else | |
| Em | Em | Em |
| Like everybody else - | Like everybody else - | Like everybody else... |
71. Where Have all the Good Times Gone?
R. D. Davies / The Kinks
| Intro: | G | F | D | G | F | D | / / / / / (crashing) |
| | | | | | | | |
| G | F | G | F |
Well, | in my life I | never stopped to | worry 'bout a | thing |
| G | F | G | F |
| Open up and | shout it out and | never try to | sing |
| C | A | G |
| Wondering if I done | wrong | |
| F | D |
Will | this impression last too | long? But - |
| G | F | G | F | G | F |
Won't you | tell me | - | Where have all the | good times | gone? | |
| G | F | G | F |
| Where have all the | good times | gone? | |
| G | F | G | F |
Well, | once we had an | easy ride and | always felt the | same |
| G | F | G | F |
| Time was on my | side and I had | everything to | gain |
| C | A | G |
| Let it be like | yesterday | |
| F | D |
| Please let me have happy | days And - |
Won't you tell me - Where have all the good times gone? Where have all the good times gone? | |
| G | F | G | F |
| Ma & Pa look | back at all the | things they used to | do |
| G | F | G | F |
| Didn't have no | money and they | always told the | truth |
| C | A | G |
| Daddy didn't have no | toys | |
| F | D |
| And Mommy didn't need no | boys. |
Won't you tell me - Where have all the good times gone? Where have all the good times gone? | |
| G | F | D | G | F | D | / / / / / (crashing) |
| | | | | | | |
| G | F | G | F |
| Yesterday was | such an easy | game for you to | play |
| G | F | G | F |
| But lets face it - | things are so much | easier | today |
| C | A | G |
| Guess you need some bringin' | down | |
| F | D |
| And get your feet back on the | ground |
Won't you tell me - Where have all the good times gone? Where have all the good times gone? | |
| G | F | D | G | F | D | / / / / / (crashing) | G |
| | | | | | | | |
72. Dandy
R. D. Davies/the Kinks: Face to Face (1967)
| D |
| Dandy, Dandy, Where you gonna go now? Who you gonna run to? |
| G | Bm | Em | G | Bm | Em |
| All your | little | life - You're | chasing | all the | girls. |
| G | Bm | Em | G | C | D |
They | can't | resist your | smile. | Ohoh, they | long for - | Dandy, Dandy. |
Checkin' out the ladies, Tickelin' their fancy, | |
Pouring out your charm - To meet your own demands, | |
And turn it off at will. Ohoh, they long for - Dandy, Dandy. | |
Knockin' on the back door, Climbing through the window, | |
Hub' is gone away, And while the cat's away, | |
The mice are gonna play. Ohoh, you're low down - Dandy, Dandy. -- Dandy | |
| F# | B | C#7 |
| Dandy, you know you're | moving much too | fast, |
| F# | B | C#7 |
| And Dandy, you know you | can't escape | the past. |
| A | Bm | E |
Look | around thee and see the | people settle | down, |
| A | A/G | A/F# | A7 |
And | when you're old and | grey you will re | member what they | said, |
| A | A/G | A/F# | A7 |
That | two girls are too | many, three's a | crowd and four your | dead. |
| D |
Oh | Dandy, Dandy, When you gonna give up? Are you feeling old now? |
| G | Bm | Em | G | Bm | Em |
You | always | will be | free, You | need | no sympa | thy, |
| G | Bm | Em | G | C | G |
A | bachelor | you will | stay, and | Dandy, | you're | all right. |
| |: | C | D | C | D | :| |
| | You're all | right. -- | You're all | right. | |
| C | D | D | Dsus4 | D |
| You're all | right. | | | |
73. Dead End Street
Raymond Douglas Davis / the Kinks (1967)
| Am | C | G |
| There's a crack up in the | cei | ling, |
| Dm | F | Am |
| And the kitchen sink is | lea | king. |
| Am | C | G |
| Out of work and got no | mo | ney, |
| Dm | F | Am |
| A Sunday joint of bread and | ho | ney! |
| Am | G | F | E7 |
| What are we living for? | | Two roomed apartment on the | second floor! |
| Am | G | F | E7 |
| No money comin' in, | | the rent collector's out and | try'n to get in! |
| A | Dm | E |
| We are strictly second class, and we | don't under | stand! |
| Am | G | F | E |
| Dead end! (Why) | We should be in | dead end | street. |
| Am | G | F | E |
| Dead end! | People are livin' in | dead end | street. |
| Am | G | F | E |
| Dead end! I'm | gonna die in | dead end | street. |
| C | F | C | F |
| Dead end | street (yeah!) | Dead end | street (yeah!) |
On a cold and frosty morning, Wipe my eyes and stop me yawning. | |
And my feet are nearly frozen, Boil the tea and put some toast on. | |
What are we livin' for? Two roomed apartment on the second floor! | |
No chance to emigrate, I'm deep in debt and now it's much too late! | |
We both worked to work so hard, but we can't get a chance! | |
Dead end! People live in dead end street! | |
Dead end! People are dyin' at dead end street! | |
Dead end! I'm gonna die at dead end street! | |
Dead end street (yeah!) Dead end street (yeah!) | |
Dead end! People live on dead end street. | |
Dead end! People are dyin' at dead end street. | |
Dead end! I'm gonna die on dead end street. | |
Dead end street (yeah!) Dead end street (yeah!) | |
Dead end street (yeah!) Head to my feet (yeah!) | |
Dead end street (Yah!)... | |
74. Waterloo Sunset
R. D. Davies / the Kinks: Something else (1967)
| A7 | D | A | | G |
| (Guitar-Bass-Line) (Guitar- | Melody) | | | |
| G | D | A | G |
| Dirty old | river, must you keep | rolling, rolling in | to the night! |
| D | A | G |
People so | busy make me feel | dizzy, taxi lights | shine so bright! |
| Em | B | G | A |
But I | don't | need no | friend, | |
| D | A | G |
As long as I | gaze on Waterloo | Sunset, I am in | paradise. |
| E | A | | D |
(la-la- | la) Every day I look at the world from | my window | | |
| G | E | A7 |
( | la-la- | la) But chilly, chilly it's evening time, | Waterloo sunset's fine. |
| D | A | G |
Terry meets | Julie, Waterloo | Station, every | Friday night. |
| D | A | G |
But I am so | lazy, don't want to | wander, I stay at | home at night. |
| Em | B | G | A |
But I | don't | feel a | fraid, | |
| D | A | G |
As long as I | gaze on Waterloo | Sunset, I am in | paradise. |
| E | A | | D |
(la-la- | la) Every day I look at the world from my | window | | |
| G | E | A7 |
( | la-la- | la) But chilly, chilly it's evening time, | Waterloo sunset's fine. |
| D | A | G |
Millions of | people swarming like | flies round Waterloo | underground. |
| D | A | G |
But Terry and | Julie cross over the | river where they feel | safe and sound. |
| Em | B | G | A |
And they | don't | need no | friends, | |
| D | A | G |
As long as they | gaze on Waterloo | Sunset, they are in | paradise. |
| D | A | | G | | A |
| (guitar | solo) | | | | (piano-chords) |
| A |
| Waterloo sunset's fine... |
75. Lola
Ray Davies / the Kinks: Lola vs. Powerman and the Moneygoround, Part I (1970)
| E |
I | met her in a club down in old Soho where you |
| A | D | E | A | Asus4 |
| drink champagne and it | tastes just like cherry | cola C-O-L-A | co | la |
| E |
She | walked up to me and she asked me to dance |
| A | D |
I | asked her her name and in a | dark brown voice she said |
| E | A | D | C | C////// | D/ | E | (riff) |
| Lola L-O-L-A | Lola | Lo lo lo lo | Lo - la | | | | |
Well I'm not the world's most physical guy, but when she squeezed me tight she nearly broke my spine | |
You know my Lola; Lo Lo Lo Lo Lola! | |
Well I'm not dumb but I can't understand - Why she walked like a woman but talked like a man: | |
Oh, my Lola, Lo Lo Lo Lo Lola, Lo Lo Lo Lo Lola | |
| B7 | F#7 |
Well we | drank champagne and danced all night | under electric candle light |
| A | A | A7 |
She | picked me up and sat me on her knee and | said " | Dear boy won't you come home with me?" |
Well, I'm not the world's most passionate guy, but when I looked in her eyes, well I almost fell for my | |
Lola Lo lo lo lo Lo - la Lo lo lo lo Lo - la -- Lola Lo lo lo lo Lo - la Lo lo lo lo Lo - la | |
| A | E | B | A | E | B | A | E | B |
I | pushed | her a | way I | walked | to the | door I | fell | to the | floor |
| E | G#7 | C#m | B | B13 | E |
I got | down | on my | knees Then | I looked at her and she at | me | |
Well, that's the way that I want it to stay, And I always want it to be that way for | |
my Lola - Lo Lo Lo Lo Lola | |
Girls will be boys and boys will be girls, It's a mixed up muddled up shook up world, | |
Except for Lola - Lo Lo Lo Lo Lola | |
Well I left home just a week before, And I've never ever kissed a woman before | |
But Lola smiled and took me by the hand, Said: Dear boy, I'm gonna make you a man. | |
Well I'm not the world's most passionate man, | |
But I know what I am and I'm glad I'm a man and so is Lola. | |
Lola Lo lo lo lo Lo - la Lo lo lo lo Lo - la | |
Lola Lo lo lo lo Lo - la Lo lo lo lo Lo - la | |
76. Shangri-La
R. D. Davies/the Kinks: Arthur (1969)
| Am | G | E7 | Am | Am | C | G | E7 |
| Now that you've | found your | para | dise, | This is your | kingdom | to com | mand. |
| Am | C | G | E7 | Am | C | E7 | Am |
You can | go out | side and | polish your | car Or | sit by the | fire in your | Shangri- | La. |
| Am | G | E7 | Am | Am | C | G | E7 |
| Here's your re | ward for | working so | hard - | Gone are the | lavatories | in the back | yard; |
| Am | C | G | E7 | Am | C | E7 | Am |
| Gone are the | days when you | dreamed of that | car - You | just want to | sit in your | Shangri- | La! |
| D | Dmaj7 | D7 | G | G/F# | Em |
| Put on your slippers and | sit by the fire, You've | reached your top and you | just can't | get any | higher. |
| C | C/B | Am | Am/G | F | F/E | Dm | Dm/C |
You're in your | place and you | know where you | are. | In your | Shangri- | La. | | |
| D | Dmaj7 | D7 | G | G/F# |
| Sit back in your | old rockin' chair, You | need not worry you | need not care. | |
| Em | C | C/B | Am |
| You can't go any | where. | | |
| F | A | F | A | Bb | F | C | A |
Shangri- | La- | a, Shangri- | La- | a, Shangri- | La- | ah-ah- | ah! | |
| D | Dmaj7 | D7 | G | G/F# | Em |
The | little man | who gets the train Got a | mortgage hanging | over his head. | | |
| C | C/B | Am | Am/G | F | F/E | Dm | Dm/C |
But he's too | scared to com | plain | - | Cause he's con | ditioned that | way; | | |
| D | Dmaj7 | D7 | G | G/F# | Em | C | C/B | Am |
| Time goes by and he | pays off his debts - Got a | T.V. set and a | radio | - | for seven | shillings a | week. | |
| |: | F | A | F | A | Bb | F | C | :| |
| Shangri- | La- | ah, Shangri- | La- | ah, Shangri- | La- | ah-aah- | ah! | |
| Bb | F | C | Bb | F | C | Bb | F |
| / | / | / - /// /// // | / | / | / - /// /// // | / | / |
| Dm | Dm/C | Dm/B | Dm/Bb |
| And all the | houses in the | street have got a | nam, |
| Dm | Dm/C | Dm/B | Dm/Bb |
' | Cause all the | houses in the | street they look the | same, |
| A | D | Dm |
| ame chimney pots, same little | cars, same window | panes. |
| Dm | Dm/C | Dm/B | Dm/Bb |
| The neighbors | call to tell you | things that you should | know, |
| Dm | Dm/C | Dm/B | Dm/Bb |
| They say their | lines they drink their | tea and then they | go , |
| A | D | Dm |
| They tell your business in | another Shangri- | La. |
| Dm | Dm/C | Dm/B | Dm/Bb |
| The gas bills and the | water rates and | payments on the | car , |
| Dm | Dm/C | Dm/B | Dm/Bb |
| Too scared to | think about how | insecure you | are , |
| A | D |
| Life ain't so happy in your | little Shangri-La |
| G | C | F | Bb | |: | G | C | F | Bb | :| | A |
Shangri- | La- Shangri- | la la la la | la la la la | la; | - - | La- la la | la la la la | la la la la | la; | | |
| D | Dmaj7 | D7 | G | G/F# | Em |
| Put on your slippers and | sit by the fire - You've | reached your top and you | just can't | get any | higher, |
| C | C/B | Am | Am/G | F | F/E | Dm | Dm/C |
You're in your | place and you | know where you | are - | In your | Shangri- | La! | | |
| D | Dmaj7 | D7 | G | G/F# | Em |
| Sit back in your | old rockin' chair you | need not worry you | need not | care | |
| C | C/B | Am |
You can't go | anywhere | - | |
| |: | F | A | F | A | Bb | F | C | A | :| |
| Shangri- | La- | ah, Shangri- | La- | ah, Shangri- | La- | ah-aah- | ah! | | |
77. Autumn Almanac
R.D. Davies / The Kinks (1967)
| B | C# | F# | B | C# | F# | Bm | E | A |
| / / | / / / / | / / | / / | / / / / | / / From the | dew soaked hedge creeps a | crawly caterpillar | |
| E | D | E | A | E | A | E |
The | dawn begins to crack, | it's | all | part | of my | autumn alma | nac! |
| Bm | E | A |
| Breeze blows leaves of a | musty colored yellow | |
| E | D | E | A | E | A | E |
So I | sweep them in my sack, | yes, | yes, | yes, | it's my | autumn alma | nac |
| F# | B | C# | F# | B | C# | F# |
| Friday evening | pe- | ople get to | gether, | hi- | iding from the | weather |
| D#m | D#m/D | F# |
| Tea and | toasted buttered currant | buns |
| G# | B | Bb |
Can't | compensate for lack of | sun because the | summer's all gone |
| Bm | E | A | E |
La-la- | la la-la, la la | la-la la la-la-la | ohh! my | poor rheumatic back |
| D | E | A | E | A | E |
| Yes, | yes, | yes, | it's my | autumn alma | nac |
| Bm | E | A | E |
| La-la-la la-la, | la la la-la la la - | ohh! my | autumn almanac |
| D | E | A | E | A | E |
| Yes, | yes, | yes, | it's my | autumn alma | nac |
| A | E | D | E | A | E | D | A |
| I like my | football | on a | Saturday, | roast beef on | Sunday's | al- | right |
| A | E | D | E | A | E | D | A |
| I'm goin' to | Blackpool | for my | holidays, | sit in the | open | sun | light |
| Am | C | F | G |
| This is my street | and I'm never gonna | leave it | |
| C | B | Bb | A |
And I'm always gonna | stay if I | live to be | ninety- | nine |
| Am | D7 | A | A7 |
'Cause all the people I | meet | seem to come from my | street | |
| B | C# | F#m | B |
And I can't get | away, | because it's calling me ( | come on | home) |
| A | B |
Hear it calling me ( | come on | home) |
| Bm | E | A | E |
La-la- | la la-la, la la la- | la la la-la-la | ohh! my | autumn almanyac |
| D | E | A | E | A | E |
| Yes, | yes, | yes, | it's my | autumn alma | nac |
| Bm | E | A | E |
| La-la-la la-la, | la la la-la la la - | ohh! my | autumn almanac |
| D | E | A | E | D | E | A | E | D | E | A |
| Yes, | yes, | yes, | yes, | yes, | yes, | yes, | yes | | | |
| D | E | A | (repeat and fade out) |
| Bop bop | bop-m bop-m | ba -ohh! | |
78. Celluloid Heroes
Raymond Douglas Davies / The Kinks: Everybody's in Show-Biz (1972)
| D | A | G | D |
| Everybody's a | dreamer, and | everybody's a | star, |
| F#m | Bm | G | A |
And | everybody's in | movies, it doesn't | matter who you | are! |
| Bm | F#m | G | A |
There are | stars in every | city - In ev'ry | house and on ev'ry | street, |
| D7 | G | A | D |
And if you | walk down Hollywood | Boulevard - Their names are | written in con | crete. |
| D | A | G | D |
Don't | step on Greta | Garbo as you | walk down the Boule | vard; |
| F#m | Bm | G | A |
She | looks so weak and | fragile that's why she | tried to be so | hard. |
| Bm | F#m | G | A |
But they | turned her into a | princess - And they | sat her on a | throne. |
| D7 | G | A | D |
But she | turned her back on | stardom - Because she | wanted to be a | lone. |
| C | G | D |
You can | see all the stars as you | walk down Hollywood | Boulevard. |
| C | G | D |
| Some that you recognize, | some that you've hardly even | heard of. |
| C | G | D |
| People who worked and | suffered and struggled for | fame, |
| C | G | D |
| Some who succeeded and | some who suffered in | vain. |
| D | A | G | D |
| Rudolph Valen | tino looks | very much a | live, |
| F#m | Bm | G | A |
And he | looks up ladies | dresses as they | sadly pass him | by. |
| Bm | F#m | G | A |
Avoid | stepping on Bela | Lugosi - 'Cause he's | liable to turn and | bite! |
| D7 | G | A | D |
But stand | close by Bette | Davis - Because | hers was such a lonely | life. |
| D | A | G | D |
If you | covered him with | garbage George | Sanders would still have | style, |
| F#m | Bm | G | A |
And if you | stamped on Mickey | Rooney He would | still turn round and | smile. |
| Bm | F#m | G | A |
But please don't | tread on dearest | Marilyn - 'Cause | she's not very | tough. |
| D7 | G | A | D |
She | should have been made of | iron or steel - But she was | only made of flesh and | blood. |
| C | G | D |
You can | see all the stars as you | walk down Hollywood | Boulevard |
| C | G | D |
| Some that you recognize, | some that you've hardly even | heard of |
| C | G | D |
| People who worked and | suffered and struggled for | fame |
| C | G | D |
| Some who succeeded and | some who suffered in | vain |
| D | A | G | D |
| Everybody's a | dreamer, and | everybody's a | star, |
| F#m | Bm | G | A |
And | everybody's in | show biz, it doesn't | matter who you | are! |
| Bm | F#m | G | A |
And those who | are success | ful - Be | always on your | guard, |
| D7 | G | A | D |
Suc | cess walks hand in | hand with failure - Along | Hollywood Boule | vard. |
| C | G | D |
I | wish my life was | non-stop Hollywood | movie show. |
| C | G | D |
A | fantasy world of | celluloid villains and he | roes. |
| C | G | D |
Because | celluloid heroes | never feel any | pain, |
| C | G | D |
And | celluloid heroes | never really | die! |
| C | G | D |
You can | see all the stars as you | walk down Hollywood | Boulevard |
| C | G | D |
| Some that you recognize, | some that you've hardly even | heard of |
| C | G | D |
| People who worked and | suffered and struggled for | fame |
| C | G | D |
| Some who succeeded and | some who suffered in | vain |
| |: | C | G | D | :| |
| La la | la la la - la la | la la la - la la | la la la | |
| C | G | D | C | G | D |
Oh, | celluloid heroes | never feel any | pain - Oh, | celluloid heroes | never really | die. |
| C | G | D |
I | wish my life was | non-stop Hollywood | movie show. |
| C | G | D |
A | fantasy world of | celluloid villains and he | roes. |
| C | G | D |
Because | celluloid heroes | never feel any | pain, |
| C | G | D |
And | celluloid heroes | never really | die! |
79. 20th Century Man
Ray Davies/the Kinks: Muswell Hillbillies (1971)
| A | A | A | A#-A | A | D | D | A | E | E | A | (riff1 2x) | A | D | G | D | G | D | A | (riff1 2x) |
| | | | | | | | | | | | | | | | | | | | |
| A | E |
| This is the age of machinery, a mechanical | nightmare; |
| A | D | G | D | A | (riff) |
A | wonderful world of technology, | Napalm, hydrogen | bomb, bio | logical | warfare! | |
| A | E |
| This is the twentieth century, too much aggra | vation! |
| A | D | G | D | A | (riff) |
| It's the age of insanity, | What has become of the | green pleasant | fields of | Jeruselem? | |
| A | G | G | A | G |
| Ain't got no ambiti | on | , | I'm just disillusioned. | |
| D | (no chord) | A | (riff1) | A | D | G | D | G | D | A | (riff1) |
I'm a | twentie | th century man but I don't want, don't wanna | be here | | | | | | | | | |
| A | G | G# | A | E |
| My mama says she can't unders | tand m | e, | Can't see me moti | vation! |
| A | D | G | D | A | (riff1) |
| Just give me some security, I'm a pa | ranoid schizoid | product of the | 20th | century | ! |
| A | G | G# | A | E |
| You keep all your smart modern | wri | ters | , Give me William | Shakespeare. |
| A | D | G | D | A | (riff) |
| You keep all your smart modern painters, | I'll take Rembrandt, | Tizian, | Da Vinci and | Gainsbo | rough! |
| A | G | G# | A | G |
G | irl, we gotta get out of h | er | e, w | e gotta find a solution! | |
| D | (no chord) | A | (Riff1) |
I'm a | twentieth | century man but I don't want, don't wanna | die here | |
| A | G | G# | A | G |
| Well, we gotta get outta | he | re, | we've gotta find a solution. | |
| D | (no chord) | A |
I'm a | twent | ieth century man but I don't want, don't wanna be | here! |
| Em | A5 | Em | G | G/F# | Em |
I was | born in a wellfare | state, | ruled by burea | ucr | acy; | |
| D | Am | C | C/B | A5 |
Con | trolled by civil | servants and | people | dressed in | grey. |
| A5 | Am | A5 | G | G/F# | Em |
| Got no pri | vacy, | got no li | ber | ty, | |
| D | A5 | C | C/B | A | (Riff1) |
'Cause the | twentieth century | people took it | all | away from | me. | |
| A | (no chord) | G | D | A |
| Do | n't wanna get myself shot down | | | |
| (no chord) | G | D | A |
| By some trigger happy policeman, | | | |
| (no chord) | G | D |
| Gotta keep a hold of my sanity | | |
| D | F | C | G | A |
I'm a | twentieth | century | man but I | don't wanna | die here... |
| (no chord) | G | D | A | (no chord) | G | D | A |
| My mama says she can't under | sta | nd | me, | Can't see my motivation | . | | |
| (no chord) | G | D | D | F | C | G | A |
| Ain't got no security | , | I'm a | twentieth | century | man but I | don't wanna | die here... |
I don't want twentieth century man, I don't want twentieth century man, | |
I don't want twentieth century man, I don't want twentieth century man. | |
| A | G | D | A | G | D | A |
| This is the twentieth centur | y | | Too much aggravation! | | | |
| G | D | D | F | C | G | A |
This is the age of insani | ty | , I'm a | twentieth | century | man but I | don't wanna | be here... |
Riff1: | Riff2:
---------------------------- |-(A)-----(G)--------(G/F#)-(Em)----
-------------------3-3-3-2-- |----3-3-2---------0------0---------
-------------------2-2-2-2-- repeat |----2-2-2---------0------0---------
-------------------4-4-4-2-- |----4-4-2---0---0------0------0----
----0-5p0-5p0---0----------- |--0-------0------------------------
--------------0------------- |--------------3------2------0------
80. Complicated Life
Ray Davies / the Kinks: Muswell Hillbillies (1971)
| (intro:) | | D | A | A7 | D | G | D | D | A | A7 | D | G | D |
| | | | | | | | | | | | | | |
| A | D |
Well I | woke up this morning with a pain in my neck, A | pain my heart, and a pain my chest, |
| A |
I | went to the doctor and the good doctor said: |
| D |
You gotta | slow down your life or you're gonna be dead, |
| G | D | A7 | D |
" | Cut out the struggle and | strife, It only | complicates your | life." |
| A |
Well I | cut down women, I cut down booze, |
| D |
Stopped | iron' my shirts, cleaning my shoes, |
| A |
Stopped | going to work and stopped reading the news, |
| D |
Sitting | twiddling my thumbs 'cos I got nothing to do, |
| G | D | A | D |
| Minimal exer | cise To help un | complicate my | life, |
| N.C. |
| Gotta stand and face it, life is so complicated! |
| D | A |
Ladi dah di | dah dah, Ladi dah di | dah dah, |
| A7 | D | G | D |
Got to get a | way from the complicated | life | son! | |
| D | A |
Life is over | rated, life is compli | cated |
| A7 | D | G | D |
Must alev | iate this complicated | life | | |
| G | D | A7 | D |
" | Cut down the struggle and | strife, It's such a | complicated | life." |
| A |
Like | old Mother Hubbard I got nothin' in the cupboard, |
| D | A |
| Got no dinner and I got no supper, | Holes in my shoes I got holes in my socks, |
| D |
I | can't go to work 'cos I can't get a job, |
| G | D | A7 | D |
The | bills are rising sky | high, It's such a | complicated | life, |
| N.C. |
| Gotta stand and face it, Life is so complicated |
Ladi dah di dah dah, Ladi dah di dah dah, Got to get away from the complicated life son! | |
Life is overrated, life is complicated Must aleviate this complicated life! | |
Ladi dah di dah dah(Life is overrated), Ladi dah di dah dah(Life is complicated), | |
Got to get away from(Got to get away) the complicated life son! | |
Life is overrated, life is complicated, Must aleviate this complicated life! | |
| A7 | D | G | D |
Got to get a | way from the complicated | life | son... | |
the Rolling Stones
81. Angie
Jagger & Richards / the Rolling Stones
| Am | E | G | F | C |
| Angie, | Angie, | when will those | clouds all disap | pear? |
| Am | E | G | F | C |
| Angie, | Angie, | where will they | lead us from | here? |
| G | Dm | Am |
With no | loving in our souls and no | money in our | coats, |
| C | F | G | Am | E | G | F | C |
| You can't | say we're satis | fied. | Angie, | Angie | you can't | say we never | tried . |
| Am | E | G | F | C |
| Angie, you're | beautiful, | but ain't it | time we said good | bye? |
| Am | E | G | F | C |
| Angie, I still | love you, | remember | all those nights we | cried. |
| G | Dm | Am |
All the | dreams we held so close seem to | all go up in | smoke, |
| C | F | G | Am | E | G | F | C |
| Oh let me | whisper in your | ear: | Angie, | Angie | where will they | lead us from | here? |
| G | Dm | Am |
Oh | Angie don't you weep; all your | kisses still taste | sweet. |
| C | F | G | Am | E | G | F | C |
| I hate that | sadness in your | eyes! But | Angie, | Angie | ain't it | time we said good | bye? |
| G | Dm | Am | C | F | G |
With no | loving in our souls and no | money in our | coats; | Oh you can't | say we're satis | fied! |
| Am | E | G | F | C |
But | Angie, I still love you | baby, | everywhere I | look I see your | eyes. |
| Dm | Am | C | F | G |
| There ain't a woman that comes | close to you; | come on | baby dry your | eyes! |
| Am | E | G | F | C | Am | E | G | F | F | E | Dm | C |
| Angie, | Angie | ain't it | good to be a | live? | Angie, | Angie | they can't | say we never | tr | ie | d! | |
82. Brown Sugar
Jagger & Richards / the Rolling Stones: Sticky Fingers (1971)
| |: | Esus4 | E | | | A | Asus4 | A | :| |
| |: - - | / | / | | | / / | /' /' | /' /' | :| (3x) |
| |: | C | Csus4 | C | A | Asus4 | A | F | G | A | Asus4 | A | :| |
| |: | / | / / / | / / | / | / / / | / / | / / / | / / / | / | / / / | / / | :| |
| A | D |
| Gold coast slave ship bound for cotton fields, | sold in a market down in New Orleans. |
| A | G | A |
| Scarred old slaver know he's doin' alright, | hear him whip the women | just around midnight: |
| E | | A | Asus4 | A | Asus4 | | A |
| | Brown Sugar | - how come you | taste so | good. | | | |
| E | | A | Asus4 | A | Asus4 | | A |
| | Brown Sugar | - just like a | young girl | should. | | | |
| C | Csus4 | C | A | Asus4 | A | F | G | A | Asus4 | A |
| / | / / / | / / | / | / / / | / / | / / / | / / / | / | / / / | / / |
Drums beating, cold English blood runs hot, lady of the house wond'ring where it's gonna stop. | |
Houseboy knows that he's doin' alright, you should have heard him just around midnight: | |
Brown Sugar - how come you taste so good. Brown Sugar - just like a young girl should. | |
| |: | A | C | Csus4 | C | A | Asus4 | A | F | G | A | Asus4 | A | :| | G | A |
| |: | / | / | / / / | / / | / | / / / | / / | / / / | / / / | / | / / / | / | :| (4x) | / | / / / |
Brown Sugar - how come you taste so good. Brown Sugar - just like a young girl should. | |
I bet your mama was a tent show queen and all her boyfriends were sweet sixteen. | |
I'm no schoolboy but I know what I like, you should have heard me just around midnight: | |
Brown Sugar - how come you taste so good. Brown Sugar - just like a young girl should. | |
83. As Tears go By
Jagger, Richards, & Oldham / the Rolling Stones (1965)
| C | D | F | G | Gsus4 | G |
| It is the | evening of the | da- | ay. | | |
| C | D | F | G | Gsus4 | G |
| I sit and | watch the children | pla- | ay. | | |
| F | G | C/C | C/B | C/A | Am | C/G |
| Smiling faces | I can see, | but | not | for | me; | |
| F | G |
| I sit and watch as tears go | by. |
| C | D | F | G | Gsus4 | G |
| My riches | can't buy ev'ry | thi- | ing | | |
| C | D | F | G | Gsus4 | G |
| I want to | hear the children | si- | ing | | |
| F | G | C/C | C/B | Am | C/G |
| All I hear | is the sound | of | rain falling | on the | ground; |
| F | G |
| I sit and watch as tears go | by. |
| C | D | F | G | Gsus4 | G | C | D | F | G | Gsus4 | G | F | G | C/C | C/B | Am | C/G | F | G |
| | | | | | | | | | | | | | | | | | | | |
| C | D | F | G | Gsus4 | G |
| It is the | evening of the | da- | ay. | | |
| C | D | F | G | Gsus4 | G |
| I sit and | watch the children | pla- | ay. | | |
| F | G | C/C | C/B | Am | C/G |
| Doin' things I | used to do | they | think are | new; | |
| F | G |
| I sit and watch as tears go | by. |
| C | D | F | C |
| Mmmm | Mmmm | Mmmm | Mmmm |
84. Sitting on a Fence
Jagger, Richard / the Rolling Stones (1965)
| C | D | C | G |
| Since I was | young I've been | very hard to | please |
| C | D | G | G7 |
| And I | don't know wrong from | right | |
| C |
| But ther is one thing I could never understand |
| D |
| Some of the sick things that a girl does to a man |
| G | C | D | G | C | D |
| So I'm just | sitting on a | fence, | you can | say I got no | sense. |
| G | A | D | G | C | D | G |
| Tryin' to make | up my mind, it | really is so | hard to find, | I'm just | sitting on a | fence. |
| C | D | C | G |
| All of my | friends at school grew | up and settled | down. |
| C | D | G | G7 |
| And they | mortgaged up their | lives | |
| C |
| One things not said too much, but I thin it's true: |
| D |
| They just get married 'cause there's nothing else to do! |
So I'm just sitting on a fence, you can say I got no sense. | |
Tryin' to make up my mind, it really is so hard to find, I'm just sitting on a fence. | |
So I'm just sitting on a fence, you can say I got no sense. | |
Tryin' to make up my mind, it really is so hard to find, I'm just sitting on a fence. | |
| C | D | C | G |
| The day may come when | you get old and | sick and tired of | life; |
| C | D | G | G7 |
| You just | never rea | lized: | |
| C |
| Maybe the choice you made wasn't really right, |
| D |
| but you go out and you don't come back at night. |
So I'm just sitting on a fence, you can say I got no sense. | |
Tryin' to make up my mind, it really is so hard to find, I'm just sitting on a fence. | |
85. The Last Time
Jagger, Richards / the Rolling Stones
| E | D | A | E | D | A |
Well I | told you once and I | told you | twice | | | |
| E | D | A | E | D | A |
But you | never listen to | my ad | vice | | | |
| E | D | A | E | D | A |
You | don't try very | hard to | please me | | | |
| E | D | A | E | D | A |
For | what you know it | should be | easy | | | |
| A |
| Well this could be the last time. This could be the last time. |
| D | A | E | D | A | E | D | A |
| Maybe the last time I don't | know! Oh | no | | Oh | no. | | |
| E | D | A | E | D | A |
Well | I'm sorry girl but I | can't | stay | | | |
| E | D | A | E | D | A |
| Feelin' like I | do to | day | | | |
| E | D | A | E | D | A |
| There's too much pain and | too much | sorrow | | | |
| E | D | A | E | D | A |
| Guess I'll feel the | same to | morrow | | | |
| A | E | D | A | E | D | A |
| Well I | told you once and I | told you | twice | | | |
| E | D | A | E | D | A |
| Someone will have to | pay the | price | | | |
| E | D | A | E | D | A |
| Here's a chance to | change your | mind | | | |
| E | D | A | E | D | A |
| Cause I'll be gone a | long, long | time | | | |
86. Ruby Tuesday
Jagger & Richards / Rolling Stones
| Am | C | F | C |
| She would | never | say where she came | from |
| Am | C | F | G |
| Yesterday | don't | matter if it's | gone |
| Am | D7 | G |
| While the | sun is | bright |
| Am | D7 | G |
| Or in the | darkest | night |
| C | G | G7 |
No one | knows she comes and | goes | |
| C | G | F | G |
| Good | bye | Ruby | Tuesday, |
| C | G | F | G |
| Who could | hang a | name on | you? |
| C | G | F | C |
| When you | change with | ev'ry | new day, |
| G | G |
| Still I'm gonna miss you! | |
Don't question why she needs to be so free | |
She'll tell you it's the only way to be | |
She just can can't be chained | |
To a life where nothing's gained | |
And nothing's lost at such a cost | |
Goodbye Ruby Tuesday, Who could hang a name on you? | |
When you change with ev'ry new day, Still I'm gonna miss you! | |
There's no time to loose I heard her say | |
Cash your dream before they slip away | |
will loose your mind ain't life unkind | |
Goodbye Ruby Tuesday, Who could hang a name on you? | |
When you change with ev'ry new day, Still I'm gonna miss you! | |
87. Get Off Of My Cloud
Jagger & Richards / the Rolling Stones
| E | | A | | B | | A |
| / / | | / / / / | | / / | | / / / / |
| E | A | B | A | E | E A B A |
I | live in an | apparmtent on the | ninety-ninth | floor of my | block | |
| E | A | B | E | E A B A |
I | sit at home lookin' | out my window i | magining the world has | stopped | |
| E | A | B | E | E A B A |
Then | in flies a | guy who's all dressed | up just like a Union | Jack | |
| E | A | B | E | E A B A |
He | says "I'd 've won five | pounds if I | had this kind of detergent | pack" | |
| E | G#m | A | B |
Said I " | Hey | you get | off of my | cloud |
| E | G#m | A | B |
| Hey | you get | off of my | cloud |
| E | G#m | A | B |
| Hey | you get | off of my | cloud |
| D | B | E | E A B A |
| Don't hang around, 'cause two's a | crowd on my | cloud! | |
The telephone is ringing I say "Hi who's there on the line?" | |
A voice says "Hi hello how are you?" "Well I guess I am doin' fine!" | |
He says "It's three a.m. there's too much noise don't you people want to go to bed? | |
Just cause you feel so good, do you have to drive me out of my head?" | |
I was sick and tired, fed up with things and decided to take a drive down town. | |
It was so very quiet and peaceful, there was nobody, not a soul around. | |
I laid myself down, I was so tired and I started to dream. | |
In the morning the parking tickets were just like flags stuck on my windscreen! | |
88. 19th Nervous Breakdown
Jagger, Richards / the Rolling Stones
riff 1 (E) riff 2 (B) riff 3 (A) riff 4 (A)
e |-------------| |-----------| |-----------| |---------|
b |---10-10-9---| |---5-5-4---| |---3-3-2---| |-----5s3-|
G |---11-11-9---| |---6-6-4---| |---4-4-2---| |-4s6-----|
D |-9---------9-| |-4-------4-| |-2-------2-| |---------|
A |-------------| |-----------| |-----------| |---------|
E |-------------| |-----------| |-----------| |---------|
| E |
You're | the kind of person you meet at certain dismal dull affairs, |
Centre of a crowd talking much to loud running up and down the stairs. | |
| A |
Well it | seems to me that you have seen too much in too few years |
| E |
And | though you've tried you just cant hide your eyes are edged with tears. |
| B | (riff 2) | | A | (riff 4) | | E |
You'd better | stop | - | - look a | round | - | - Here it | comes - here it comes - |
| A | E |
here it | comes - here it comes - Here | comes your nineteenth nervous breakdown! |
When you were a child you were treated kind but never brought up right. | |
You were overspoilt with a thousand toys and still you cried all night. | |
Your mother who neglected you owes a million dollars tax, | |
Your fathers still perfecting ways of making sealing wax. | |
You'd better stop - - look around - - Here it comes - here it comes - | |
here it comes - here it comes - Here comes your nineteenth nervous breakdown! | |
| B | E |
| Oh who's to blame; that | girls just insane! |
| A | (riff 3) | B | (riff 2) | E |
| Well | nothing I do don't seem to work it | only | seems to make matters worse; Oh | please! |
You were still in school when you had that fool who really messed youre mind | |
And after that you turned your back on treating people kind. | |
On our first trip I tried so hard to rearrange you mind | |
But after while I realised you were disarranging mine! | |
You'd better stop - - look around - - Here it comes - here it comes - | |
here it comes - here it comes - Here comes your nineteenth nervous breakdown! | |
89. Satisfaction
Jagger, Richards / the Rolling Stones
E-|-----------------------------------------------------------|
B-|-----------------------------------------------------------|
G-|-----------------------------------------------------------|
D-|-----------------------------------------------------------|
A-|-2--2----2--4--5----5--5--4--2--2--------------------------|
E-|-----------------------------------------------------------|
| E | A | E | A |
| I can't get no | satisfaction | I can't get no | satisfaction |
| E | B7 | E | A |
Cause I try__ | and I try___ | and I try__ | and try__ | |
| A | E | (start riff) | A | D | A | E | A | D |
| I can' | t get no | | | I | can't g | et no | | |
| A | E | A | D | A | E | A | D |
| When | I'm driving in | my | car and | the | man comes on | the | radio |
| A | E | A | D | A | E | A |
| he's | telling me more | and | more | about | some useless in | formation |
| A | E | A | D | A | E | A | D |
| supposed | to fire my | ima | gination | I can't | get no | | |
| A | E | (tacet) | E | A | D | A | E | A | D |
Oh no | no | no | hey hey | hey | | | That's | what I say | | |
When I'm watchin' my TV and that man comes on to tell me | |
how white my shirts can be Well he can't be a man 'cause he doesn't smoke | |
the same cigarettes as me | |
I can't get no oh no no no | |
Hey hey hey that's what I say | |
When I'm ridin' 'round the world and I'm doin' this and I'm signing that | |
And I'm tryin' to make some girl who tells me "Baby better come back, maybe next week | |
'cause you see I'm on a losers street" | |
I can't get no oh no no no | |
Hey hey hey that's what I say | |
90. Mother's Little Helper
Jagger & Richards / the Rolling Stones
| C | Am | D | Em | (Riff) |: E6 ---0--2--2/3----3--2--0--- :| |
| What a | drag it | is getting | old | |
| Em |
" | Kids are different today," - I hear every mother say |
| F |
Mother needs something today to calm her | down. |
| G | C |
And though | she's not really ill - There's a | little yellow pill |
| Am | Asus2 | Am | Asus2 |
She goes | running for the | shelter - Of a | mother's little | helper |
| Em | (riff) |
And it | helps her on her way - Gets her through her busy day | |
"Things are different today," - I hear every mother say | |
Cooking fresh food for a husband's just a drag! | |
So she buys an instant cake - And she burns her frozen steak | |
And goes running for the shelter - Of a mother's little helper | |
And two help her on her way - Get her through her busy day. | |
| C | D | G | C |
Doctor | please - Some more of | these - Outside the | door - She took four | more |
| Am | D | Em | (riff) |
What a | drag it | is getting | old | |
"Men just aren't the same today - I hear every mother say | |
They just don't appreciate that you get tired! | |
They're so hard to satisfy - You can tranquilise your mind | |
So go running for the shelter - Of a mother's little helper | |
And four help you through the night - Help to minimise your plight. | |
Doctor please - Some more of these - Outside the door - She took four more | |
What a drag it is getting old | |
"Life's just much too hard today," - I hear every mother say | |
The pursuit of happiness just seems a bore! | |
And if you take more of those - You will get an overdose | |
No more running to the shelter - Of a mother's little helper | |
| (riff) | | G | C | G | G |
They just helped you on your way - Through your busy dying day | | | | | | Hey! |
91. Sympathy For The Devil
Jagger, Richards / The Rolling Stones
| E | D | A | E |
| Please allow me to intro | duce myself, I'm a | man of wealth and | taste. |
| D | A | E |
I've been around for | long, long years, stolen | many a man's soul and | faith. |
| D | A | E |
I was 'round when | Jesus Christ had his | moments of doubt and | pain. |
| D | A | E |
Made damn' sure that | Pilate washed his | hands and sealed his | fate. |
| B | E |
| Pleased to meet you, hope you guess my | name, |
| B | E |
But what's | puzzling you is the nature of my | game! |
I stuck around St. Petersburg when I saw it was the time for a change. | |
Killed the Tsar and his ministers, Anastasia screamed in vain. | |
I rode a tank, held a general's rank, when the blitzkrieg raged, and the bodies stank. | |
Pleased to meet you, hope you guess my name, | |
But what's puzzling you is the nature of my game! | |
I watched with glee how your kings and queens fought for ten decades for the gods they made. | |
I shouted out: "Who killed the Kennedys?", when after all, it was you and me. | |
Let me please introduce myself, I'm a man of wealth and taste, | |
And I lay traps for troubadours, who get killed before they reach Bombay. | |
Pleased to meet you, hope you guess my name, | |
But what's puzzling you is the nature of my game! | |
| |: | | E | D | A | E | :| (x4) |
| | ( | so | lo) | | | |
Pleased to meet you, hope you guess my name, | |
But what's puzzling you is the nature of my game! | |
Just as every cop is a criminal, and all the sinners saints. | |
As heads is tails, just call me Lucifer, 'cos I'm in need of some restraint. | |
So if you meet me have some courtesy, have sympathy and some taste. | |
Use all your well-learned politesse, or I'll lay your soul to waste. | |
Pleased to meet you, hope you guess my name, | |
But what's puzzling you is the nature of my game! | |
92. Time is on My Side
Norman Meade / the Rolling Stones (1964)
| C | Em | A7 | D7 |
| / / / / | / / / / | / / / / | / / / / |
| G | C | D |
| Time is on my | side, yes it | is! |
| G | C | D |
| Time is on my | side, yes it | is! |
| Em | D7 | Em | A7 |
| Now you always | say | that you want to be | free |
| D | C |
| But you'll come runnin' | back - |
| D | C |
| But you'll come runnin' | back - |
| D | C | D7 |
| But you'll come runnin' | back - To | me |
Time is on my side, yes it is! | |
Time is on my side, yes it is! | |
You're searchin' for good times, but just wait and see | |
| C7 |
| Go ahead, baby, go ahead |
| G7 |
| Go ahead and lay it on the town. |
| C7 | G7 |
| And baby, do anything your | heart desires |
Remember I'll always be around. | |
| C7 | Em |
| And I know, I know, like I told you so many times be | fore |
| A7 |
You're gonna come back, yeah, | you're gonna come back baby |
| D7 |
| Knockin', yeah, knockin' right on my door. |
Time is on my side, yes it is! | |
Time is on my side, yes it is! | |
'Cause I got the real love, the kind that you need | |
But you'll come runnin' back (3x) | |
| G | C | D |
| Time, time, time, is on my | side, yes it | is |
93. Love in Vain
R. Johnson, Jagger & Richards / Rolling Stones: Let it Bleed (1969)
| G | G7 | G | G7 | C | C7 | G | G7 | D | D7 | C | C7 | G | G7 | D | D7 |
| / / / / | / / / / | / / / / | / / / / | / / / / | / / / / | / / / / | / / / / | / / | / / | / / | / / | / / | / / | / / | / / |
| G | G7 | G | G7 |
Well, I | followed her to the | station with a | suitcase in my | hand. |
| C | C7 | G | G7 |
Yeah, I | followed her up to the | station | with a suitcase in my | hand, |
| D | D7 | C |
Well, it's | hard to tell, it's | hard to tell | |
| C7 | G | G7 | | D | | D7 |
all your | love's in | vain. | | | | | |
When the train came into the station - I looked her in the eye, | |
Well, the train came into the station - I looked her in the eye, | |
Well, I felt so sad and lonesome - I could not help but cry. | |
When the train left the station, it had two lights on behind | |
Yeah, the train left the station, it had two lights on behind | |
Yeah, the train left the station, it had two lights on behind | |
Well, the blue light was my baby and the red light was my mind. | |
94. Country Honk
Jagger & Richards / the Rolling Stones: Let it Bleed (1969)
| G | C | G | D | D7 | G |
| //// //// //// //// | //// //// //// //// | //// ///// | // | // | //// |
| G | C |
| I'm sittin' in a bar tippling a jar in | Jackson |
| G | A | D | D7 |
And | on the street the | summer sun it | shines | |
| G | C |
There's | many a bar-room queen I've had in | Jackson |
| G | D | D7 | G |
But I | just can't seem to | drink you | off my | mind |
| G | D | D7 | G |
| It's the | ho-ho-ho- | honky tonk | women |
| D | D7 | G |
Gimme, gimme, | gimme the | honky tonk | blues |
| G | C |
| I laid a divorcee in New York | City |
| G | A | D | D7 |
I h | ad to put up | some kind of a | fight | |
| G | C |
The | lady she all dressed me up in | roses |
| G | D | D7 | G |
She | blew my nose and | then she | blew my | mind |
| G | D | D7 | G |
| It's the | ho-ho-ho- | honky tonk | women |
| D | D7 | G |
Gimme, gimme, | gimme the | honky tonk | blues |
| G | D | D7 | G |
| It's the | ho-ho-ho- | honky tonk | women |
| D | D7 | G |
Gimme, gimme, | gimme the | honky tonk b | lues |
| G | D | D7 | G |
| It's the | ho-ho-ho- | honky tonk | women |
| D | D7 | G | C | G |
Gimme, gimme, | gimme the | honky tonk | blues | | |
95. You Can't Always Get What You Want
Jagger-Richards / the Rolling Stones: Let it Bleed (1969)
| |: | C | Cadd9 | C | F | Fadd9 | F | :| |
| | | | | | | | |
| C | F | C | F |
I | saw her today at the re | ception, | - a glass of wine in her | hand |
| C | F | C | F |
I | knew she was gonna meet her con | nection, - at her | feet was a footloose | man |
| C | F | C | F |
You | can't always get what you | want, You | can't always get what you | want |
| C | F |
You | can't always get what you | want, |
| D | F | C | F | C | Cadd9 | C | F | Fadd9 | F |
But if you | try sometimes, you just might | find, you get what you | need! | | | | | | | |
I went down to the demonstration, - To get my fair share of abuse. | |
Singing: "We're gonna vent our frustration! - If we don't we're gonna blow a fivty amp fuse!" | |
You can't always get what you want, You can't always get what you waant, | |
You can't always get what you want, | |
But if you try sometimes, you just might find, you get what you need! | |
I went down to the Chelsea Drug Store, - To get your prescription filled. | |
I was standing in line with Mister Jimmy, - And man did he look pretty ill! | |
We decided that we would have a soda, - my favorite flavour - cherry red. | |
I sung my song to Mister Jimmy, - and he said one word to me and that was "dead". | |
I said: You can't always get what you want, You can't always get what you waant, | |
You can't always get what you want, | |
But if you try sometimes, you just might find, you get what you need! | |
| |: | C | Cadd9 | C | F | Fadd9 | F | :| | D | | F | C | Cadd9 | C | F | Fadd9 | F | C | Cadd9 | C |
| | | | | | | | | | | you get what you | need! | | | | | | | | |
I saw her today at the reception, - in her glass was a bleeding man. | |
She was practiced at the art of deception, - I could tell by her bloodstained hands. | |
You can't always get what you want, You can't always get what you waant, | |
You can't always get what you want, | |
But if you try sometimes, you just might find, you get what you need! | |
Peter, Paul & Mary
96. Five Hundred Miles
Hedy West
| C | Am | Dm | Dm7 |
If you | miss the train I'm | on, you will | know that I am | gone. |
| Dm | Dm7 | G |
You can | hear the whistle | blow a hundred | miles. |
| C | Am | Dm | Dm7 |
A hundred | miles, a hundred | miles, a hundred | miles, a hundred | miles, |
| Dm | G | C |
You can | hear the whistle | blow a hundred | miles. |
Lord I'm one, Lord I'm two, Lord I'm three, Lord I'm four, | |
Lord I'm five hundred miles away from home. | |
Away from home, away from home, away from home, away from home, | |
Lord I'm five hundred miles away from home. | |
Not a shirt on my back, not a penny to my name, | |
Lord I can't go back home this a way. | |
This a way, this a way, this a way, this a way, | |
Lord I can't go back home this a way. | |
If you miss the train I'm on, you will know that I am gone. | |
You can hear the whistle blow a hundred miles. | |
A hundred miles, a hundred miles, a hundred miles, a hundred miles, | |
You can hear the whistle blow a hundred miles. | |
97. Puff (The Magic Dragon)
Peter Yarrow, Leonard Lipton (1963) / Peter, Paul & Mary
| C | Em | F | C |
| Puff, the magic | dragon | lived by the | sea |
| F | C | Am | D7 | G7 |
And | frolicked in the | autumn | mist in a | land called Honah | Lee, |
| C | Em | F | C |
| Little Jackie | Paper | loved that rascal | Puff |
| F | C | Am | D7 | G7 | C | G7 |
And | brought him strings and | sealing | wax and | other | fancy | stuff. | Oh! |
| C | Em | F | C |
| Puff, the magic | dragon | lived by the | sea |
| F | C | Am | D7 | G7 |
And | frolicked in the | autumn | mist in a | land called Honah | Lee, |
| C | Em | F | C |
| Puff, the magic | dragon | lived by the | sea |
| F | C | Am | D7 | G7 | C |
And | frolicked in the | autumn | mist in a | land called | Honah | Lee. |
Together they would travel on a boat with billowed sail, | |
Jackie kept a lookout perched on Puff's gigantic tail, | |
Noble kings and princes would bow whene'er they came, | |
Pirate ships would low'r their flag when Puff roared out his name. Oh! | |
A dragon lives forever but not so little boys, | |
Painted wings and giant rings make way for other toys, | |
One grey night it happened, Jackie Paper came no more | |
And Puff that mighty dragon, he ceased his fearless roar. Oh! | |
His head was bent in sorrow green scales fell like rain, | |
Puff no longer went to play along the cherry lane, | |
Without his lifelong friend Puff could not be brave | |
So Puff that mighty dragon, sadly slipped into his cave. Oh! | |
| D7 | G7 | C | F | C | G7 | C |
... in a | land called | Ho - nah - | Le | - | - | - | -e. |
98. Leaving on a Jetplane
John Denver / Peter, Paul & Mary
| D7 | G | C | G | C |
| All my | bags are packed, I'm | ready to go, I'm | standing here out | side the door |
| G | Em | D | D7 |
I | hate to wake you | up to say good | bye. | |
| G | C | G | C |
But the | dawn is breakin', it's | early morn', The | Taxi's waitin', he's | blowin' his horn. |
| G | Em | D | D7 |
Al | ready I'm so | lonesome I could | die. | |
| G | C | G | C |
So | kiss me and | smile for me, | Tell me that you'll | wait for me, |
| G | Em | D | D7 |
| Hold me like you | never let me | go. | |
| G | C | G | C |
'Cause I'm | leaving | on a jet plane, | Don't know when | I'll be back again. |
| G | | Em | | D | D7 |
| | Oh babe, | | I hate to | go. | |
There's so many times I've let you down, So many times I've played around, | |
I tell you now they don't mean a thing. | |
Ev'ry place I go I'll think of you, Ev'ry song I sing I sing for you. | |
When I come back I'll bring your wedding ring. | |
Now the time has come to leave you, One more time let me kiss you, | |
Then close your eyes, I'll be on my way. | |
Dream about the days to come, When I won't have to leave alone, | |
About the times I won't have to say. | |