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101. Working Class Hero

John Lennon

	Am	G	Am
As	soon as you're born they	make you feel	small

	Am	G	Am
By	giving you no time in	stead of it	all

	Am	G	Am
'til the	pain is so big you feel	nothing at	all

	Am	G	Am
A	working class hero is	something to	be

	Am	G	D	Am
A	working class	hero is	something to	be

They hurt you at home and they hit you at school

They hate you if you're clever and they despise a fool

'til youre so fucking crazy you can't follow their rules

A working class hero is something to be

When they've tortured and scared you for twenty odd years

Then they expect you to pick a career

When you cant really function you're so full of fear

A working class hero is something to be

Keep you doped with religion and sex and tv

and you think you're so clever and classless and free

But youre still fucking peasants as far as I can see

A working class hero is something to be

There's room at the top they're telling you still

but first you must learn to smile as you kill

If you want to be like the folks on the hill

A working class hero is something to be

	Am	G	Am
If you	want to be a hero well	just follow	me

	Am	G	D	Am
If you	want to be a	hero	just follow	me

102. Bring On The Lucie (Freda People)

John Lennon/Mind Games (1974)

	E	B	A	B	A	E

	E	B	A	B	A	E
	We don't care what	flag you're	waving

We don't even want to know your name

We don't care where you're from or where you're going

All we know is that you came

You're making all our decisions

We just have one request of you

That while you're thinking things over

Here's something you just better do

Free the people now! - Do it do it do it do it now!

Well we were caught with our hands in the air

Don't despair paranoia is everywhere

We can shake it with our love when we're scared

So let's shout it aloud like a prayer

Free the people now! - Do it do it do it do it now!

We understand your paranoia

But we don't want to play your game

You think you're cool and know what you're doing

666 is your name

So while you're jerking off each-other

You better bear this thought in mind

Your time is up, you better know it

But maybe you don't read the signs

Free the people now! - Do it do it do it do it now!

Well you were caught with your hands in the kill

And you still got to swallow your pill

As you slip and slide down the hill

On the blood of the people you killed

Stop the killing now! - Do it do it do it do it now!

Bring on the lucie ...

C/G

103. Imagine

John Lennon / John Lennon: Imagine (1971)

	C	F	C	F

	C	Cmaj7	F	C	Cmaj7	F
	Imagine	there's no	heaven,	it's	easy if you	try.

	C	Cmaj7	F	C	Cmaj7	F
	No	hell below	us,	above us	only	sky.

	F	Am	Dm7	Dm7/C		G	C/G	G7
	Imagine	all the	people			living	for to	day.

	C	Cmaj7	F	C	Cmaj7	F
	Imagine	there's no	countries,	it isn't	hard to	do.

	C	Cmaj7	F	C	Cmaj7	F
	No	greed or	hunger,	and no	religion	too.

	F	Am	Dm7	Dm7/C		G	C/G	G7
	Imagine	all the	people			living	life in	peace.

	G7	F	G	C	E7		F	G	C	E7
	You -	You may	say I'm a	dreamer,			but I'm	not the only	one;

	F	G	C	E7		F	G	C
	I hope some	day you'll	join us,			and the	world will	live as one.

	C	Cmaj7	F	C	Cmaj7	F
	Imagine	no po	sessions,	I wonder	if you	can.

	C	Cmaj7	F	C	Cmaj7	F
	Nothing	to kill or	die for,	a brother	hood of	man.

	F	Am	Dm7	Dm/7		G	C/G	G7
	Imagine	all the	people			sharing	all the	world

	G7	F	G	C	E7		F	G	C	E7
	You -	You may	say I'm a	dreamer,			but I'm	not the only	one;

	F	G	C	E7		F	G	C
	I hope some	day you'll	join us,			and the	world will	live as one.

Em#5

Em7

Dm/F

D/F#

Bb/A

C(1)
³

C(2)
⁸

104. Jealous Guy

John Lennon

	G	Em	D	D7	Em

	G	Em	D	D6
	I was	dreaming of the	past

	D7	Em	Em#5
	and my heart was beating	fast.

	Em6	D	Dsus	D
	I began to lose con	trol,

	Em	Em7	C	C(1)	C(2)	C(1)
	I be	gan to lose con	trol.

	G	Dm/F	C	Dsus
	I didn't	mean to hurt	you,

	G	Dm/F	Bb	Bb/A
	I'm sorry tha	t I	made you cry.

	G	D/F#	Em	Em7
	I didn't	mean to hurt	you,

	C	G
	I'm just a jealous	guy.

I was feeling insecure, you might not love me anymore.

I was shivering inside, I was shivering inside.

I didn't mean to hurt you, I'm sorry that I made you cry.

Oh no, I didn't mean to hurt you, I'm just a jealous guy.

whistle on verse

I didn't mean to hurt you, I'm sorry that I made you cry.

Oh no, I didn't mean to hurt you, I'm just a jealous guy.

I was trying to catch your eyes, thought that you was trying to hide.

I was swallowing my pain, I was swallowing my pain.

I didn't mean to hurt you, I'm sorry that I made you cry.

Oh no, I didn't mean to hurt you, I'm just a jealous guy, watch out,

I'm just a jealous guy, look out, babe, I'm just a jealous guy.

105. Moon Shadow

Cat Stevens

	D	G	D
	Oh, I'm bein' followed by a moon shadow,	moon shadow, moon	shadow.

	D	G	D
	Leapin' and hoppin' on a moon shadow,	moon shadow, moon	shadow.

	G	D	G	D	G	D	Em	A7
And	if I	ever	lose my	hands,	lose my	plaugh,	lose my	land.

	G	D	G	D	Em	A7	D	Bm	Em	A7	D
Oh,	if I	ever	lose my	hand, oh	I - -	I - -	i - -	i - -	won't have	to work no	more.

And if I ever lose my eyes, if my colours all run dry.

Yes if I ever lose my eyes, oh I - - i - - i - - i - - won’t have to cry no more.

Oh, I'm bein' followed by a moon shadow, moon shadow, moon shadow.

Leapin' and hoppin' on a moon shadow, moon shadow, moon shadow.

And if I ever lose my legs, I won’t moan and I won’t beg.

yes, if I ever lose my legs, oh I - - i - - i - - i - - won’t have to walk no more.

And if I ever lose my mouth, all my teeth north and south,

Yes if I ever lose my mouth, oh I - - i - - i - - i - - won’t to have to talk no more

Bridge:

	E7	A	E	A
	Did it take long to	find me? I	ask the faithful	light.

	E	A	E7	A		D
	Did it take long to	find me and	are you gonna stay the		-	night?

Oh, I'm bein' followed by a moon shadow, moon shadow, moon shadow.

Leapin' and hoppin' on a moon shadow, moon shadow, moon shadow.

106. Wild World

Cat Stevens

	(intro)	Am		D/G		Cmaj7/F		Dm/E

	Am	D	G
	Now that I've	lost every thing to	you,

	Cmaj7	F
You say you	want to start something	new,

	Dm	E
And it's	breaking my heart you're	leaving - baby I'm grieving.

	Am	D	G
	But if you want to	leave take good	care

	Cmaj7	F
Hope you have a	lot of nice things to	wear

	Dm	E	G	G
But then a	lot of nice things turn	bad out	there

	C	G	F
	Ooh	baby baby it's a	wild world

	G	F	C
	It's hard to get	by just upon a	smile

	C	G	F
	Ooh	baby baby it's a	wild world

	G	F	C	Dm	E
And	I'll always re	member you like a	child girl

	Am	D	G
	You know I've seen a	lot of what the world can	do

	Cmaj7	F
And it's	breaking my heart in	two

	Dm	E
Cause I	never want ot see you	sad girl - Don't be a bad girl

	Am	D	G
	But if you want to	leave take good	care,

	Cmaj7	F
Hope you make a	lot of nice friends out	there

	Dm	E	G
But just re	member there's a lot of bad	and be	ware

	C	G	F
	Ooh	baby baby it's a	wild world

	G	F	C
	It's hard to get	by just upon a	smile

	C	G	F
	Ooh	baby baby it's a	wild world

	G	F	C	Dm	E
And	I'll always re	member you like a	child girl

	Am	D	G		Cmaj7		F		Dm		E
	(Break)	(solo)

Baby I love you . . .

	Am	D	G
	But if you want to	leave take good	care,

	Cmaj7	F
Hope you make a	lot of nice friends out	there

	Dm	E	G
But just re	member there's a lot of bad	and be	ware

	C	G	F
	Ooh	baby baby it's a	wild world

	G	F	C
	It's hard to get	by just upon a	smile

	C	G	F
	Ooh	baby baby it's a	wild world

	G	F	C
And	I'll always re	member you like a	child girl

107. Father and Son

Cat Stevens

Father:

	G	D	C	Am7
It's not	time to make a	change, just re	lax, take it	easy

	G	Em
you're still	young, that's your	fault,

	Am	D
there's so	much you have to	know

	G	D	C	Am7
Find a	girl, settle	down, if you	want, you can	marry

	G	Em	Am	D
Look at	me, I am	old, but I'm	happy

	G	B	C	Am7
I was	once like you are	now, and I	know that it's not	easy

	G	Em	Am	D
to be	calm when you've	found something	going on

	G	B
But take your	time, think a	lot,

	C	Am7
think of	everything you've	got

	G	Em
for you will	still be here to	morrow,

	D	G	C
but your	dreams may	not

Son:

	G	B
How can	I try to ex	plain,

	C	Am7
when I	do he turns a	way again

	G	Em	Am	D
It's	always been the	same, same old	story.

	G	B	C	Am7
From the	moment I could	talk, I was	ordered to	listen

	G	Em	D	G
now there's a	way and I	know that I	have to	go away.

	D	C	G	C
I	know I	have to	go

Father:

	G	D	C	Am7
It's not	time to make a	change, just re	lax, take it	slowly

	G	Em
you're still	young, that's your	fault,

	Am	D
there's so	much you have to	go through

	G	D	C	Am7
Find a	girl, settle	down, if you	want, you can	marry

	G	Em	Am	D
Look at	me, I am	old, but I'm	happy

Son:

	G	B
All the	times that I've	tried keeping

	C	Am7
	all the things I	knew inside

	G	Em	Am	D
It's	hard but it's	harder to i	gnore it

	G	B
If they were	right, I'd a	gree,

	C	Am7
but it's	them they know not	me

	G	Em	D	G
now there's a	way and I	know that I	have to	go away.

	D	C	G
I	know I	have to	go

108. Sailing

Gavin Sutherland / Rod Stewart

	C	Am	F	C
I am	sailing, I am	sailing home a	gain 'cross the	sea.

	D	Am	Dm	G	C	G7
I am	sailing stormy	waters, to be	near you,	to be	free.

	C	Am	F	C
I am	flying, I am f	lying like a	bird 'cross the	sea.

	D	Am	Dm	G	C	G7
I am	flying passing	high clouds, to be	near you,	to be	free.

	C	Am	F	C
Can you	hear me, can you	hear me, thru the	dark night far	away?

	D	Am	Dm	G	C	G7
I am	dying, forever	trying to be	with you;	who can	say?

	C	Am	F	C
Can you	hear me, can you	hear me, thru the	dark night far	away?

	D	Am	Dm	G	C	G7
I am	dying, forever	trying to be	with you;	who can	say?

	C	Am	F	C
We are	sailing, we are	sailing home	again 'cross the	sea.

	D	Am	Dm	G	C	G7
We are	sailing stormy	waters, to be	near you,	to be	free.

	G7	Dm	G	C
	To be	near you,	to be	free.

	G7	Dm	G	C
	To be	near you,	to be	free.

109. I Don't Want to Talk About It

Rod Stewart

	C	Dm	G	C
	I can	tell by your eyes That you've	probably been crying for	ever

	Dm	G	C	C7
And the	stars in the sky Don't mean	nothing, to you they're a	mirror

	F	G	C	Em	Am	Am/G
	I don't wanna	talk about it	How you	broke my	heart

	F	G
	If I stay here just a	little bit longer

	F	G
	If I stay here won't you	listen

	Dm	G	C
To my	heart	Oh my	heart

	Dm	G	C
If I s	tand all alone Will the	shadows hide the colours of my	heart

Blue for the tears Black for the nights fears

	Dm	G	C	C7
The	stars in the sky Don't mean	nothing, to you they're a	mirror

	F	G	C	Em	Am	Am/G
	I don't wanna	talk about it	How you	broke my	heart

	F	G
	If I stay here just a	little bit longer

	F	G
	If I stay here won't you	listen

	Dm	G	C
To my	heart	Oh my	heart

solo

	G	C	Em	Am	Am/G
I don't wanna	talk about it	How you	broke my	heart

	F	G
	If I stay here just a	little bit longer

	F	G
	If I stay here won't you	listen

	Dm	G	C
To my	heart	Oh my	heart

My heart, Oh my heart

solo

110. The Killing of Georgie (Part I and II)

Rod_Stewart

	C	Em
	In these days of changing ways,	so called liberated days

	F	C
A	story comes to mind of a friend of	mine...

	C	Em
	Georgie boy was gay I guess,	nothin' more or nothin' less

	F	C
The	kindest guy I ever	knew...

	C	Em
His	mother's tears fell in vain, the	afternoon George tried to explain

	F	C
That he	needed love like all the	rest

	C	Em
Pa	said there must be a mistake, how	can my son not be straight

	F	C
After	all I've said and done for	him?

	C	Em
	Do do, da do do, da do do doo,	do do, da do do, da do do doo

	F	C
	Do do, da do do, da do do doo, doo	do

	C	Em
	Leavin' home on a Greyhound bus,	cast out by the ones he loves

	F	C
A	victim of these gay days it	seems

Chorus

	C	Em
	Georgie went to New York town,	where he quickly settled down

	F	C
And	soon became the toast of the great white	way

	C	Em
	Accepted by Manhattan's elite, in	all the places that were chic

	F	C
No	party was complete without	George

	C	Em
	Along the boulevards he'd cruise, and	all the old queens blew a fuse

	F	C
Every	body loved Georgie	boy

Chorus

	C	Em
	The last time I saw George alive,	was in the summer of seventy-five

	F	C
He	said he was in love I said I'm	pleased

	C	Em
	George attended the opening night, of	another Broadway hype

	F	C
but	split before the final curtain	fell

	C	Em
	Deciding to take a short cut home,	arm in arm they meant no wrong

	F	C
A	gentle breeze blew down Fifth Ave	nue

Chorus

	C	Em
	Out of a darkened side street came, a	New Jersey gang with just one aim

	F	C
To	roll some innocent passer-	by

	C	Em
	There ensued a fearful fight,	screams rang out in the night

	F	C
Georgie's	head hit a sidewalk corner	stone

	C	Em
	A leather kid, a switchblade knife, he	did not intend to take his life

	F	C
He	just pushed his luck a little too far that	night

	C	Em
	The sight of blood dispersed the gang, a	crowd gathered, the police came

	F	C
An	ambulance screamed to a halt on Fifty-third and	Third

	C	Em
	Georgie's life ended there,	but I ask who really cares?

	F	C
	George once said to me and I	quote

	C	Em
	He said "Never wait or hesitate,	Get in kid, before it's too late

	F	C
	You may never get another	chance

	C	Em
'	Cos youth's a mask but it don't last,	live it long and live it fast"

	F	C
	Georgie was a friend of	mine

Oh Georgie stay, don't go away Georgie please stay you take our breath away

Oh Georgie stay, don't go away Georgie, Georgie please stay you take our breath away

Oh Georgie stay...

111. Where Have All the Flowers Gone

Pete Seeger

	C	F	G
	Where have all the flowers gone,	Long time	passing?

	C	F	G
	Where have all the flowers gone,	Long time a	go?

	C	F	G
	Where have all the flowers gone?	Young girls picked them,	every one;

	F	C	F	G	C
	Oh, when will	you ever learn,	Oh, when will	you ever	learn?

Where have all the young girls gone, Long time passing?

Where have all the young girls gone, Long time ago?

Where have all the young girls gone? They've taken husbands, every one;

Oh, when will you ever learn, Oh, when will you ever learn?

Where have all the young men gone, Long time passing?

Where have all the young men gone, Long time ago?

Where have all the young men gone? They're all in uniform;

Oh, when will we ever learn, Oh, when will we ever learn?

112. Sag mir, wo die Blumen sind

deutsche Version / Marlene Dietrich

Sag mir, wo die Blumen sind, Wo sind sie geblieben?

Sag mir, wo die Blumen sind, Was ist gescheh'n?

Sag mir, wo die Blumen sind, Mädchen pflückten sie geschwind.

Wann wird man je versteh'n, Wann wird man je versteh'n?

Sag mir, wo die Mädchen sind...Männer nahmen sie geschwind. Wann...

Sag mir, wo die Männer sind...zogen fort, der Krieg beginnt. Wann...

Sag, wo die Soldaten sind...über Gräbern weht der Wind. Wann...

Sag mir, wo die Gräber sind...Blumen weh'n im Sommerwind. Wann...

113. Guantanamera

Jose Marti, Pete Seeger

Intro |: D Em A A :|

	D	Em	A	D	Em	A
Yo soy un	hombre sin	cero,	de donde	crece la	palma

	D	Em	A	G	A
Yo soy un	hombre sin	ce	ro, de donde	crece la palm	a

	D	Em	A	D	Em	A
Y antes de	morirme	quie	ro echar mis	versos de	alm	a

	G	A	D	A
	Guantanamera,	guajira	guantaname	ra

	D	Em	A	D	Em	A
	Guantana	me-e-e	ra, guajira	guantana	me-e-	ra

|: Mi verso es de un verde claro y de un carmin encendido :|

Mi verso es un ciervo herido que busca en el monte amparo

Chorus

|: Con los pobres de la tierra quiero yo mi suerte echar :|

El arroyo de la sierra me complace mas que el mar

Chorus

114. Turn, Turn, Turn

Pete Seeger

	A	D	A	E	A	D	A	E
To every	thing,	turn,	turn,	turn, There is a	season,	turn,	turn,	turn,

	D	E7	A
And a	time for every pur	pose under	heaven.

	E	A	E	A
A time to be	born, a time to	die; A time to	plant, a time to	reap;

	E	A	D	E7	A
A time to	kill, a time to	heal; A time to	laugh, a	time to	weep.

	A	E
To everything, turn, turn, turn, There is a season, turn,	turn,	turn,

	D	E7	A
And a	time for every pur	pose under	heaven.

A time to build up, a time to break down; A time to dance an time to mourn;

A time to cast away stones, A time to gather stones together.

To everything...

A time of love, a time of hate; A time of war, a time of peace;

A time you may embrace, A time to refrain from embracing.

To everything...

A time to gain, a time to lose; A time to rend a time to sew;

A time to love, a time to hate; A time for peace, I swear it's not too late.

To everything...

115. If I had a Hammer

Pete Seeger

	G	Em	C	D	G	Em	C
If I had a	hammer,		I’d	hammer in the	morning,

	D	G	Em	C	D
	I’d hammer in the	evening		all over this	land.

	G	Em
I’d hammer out	danger, I’d hammer out a	warning,

	C	G	C	G	C
I’d hammer out	love be	tween my	brothers and	my sis	ters,

	G	D	G, Em, C
ah		all over this land.

If I had a bell, I’d ring it in the morning,

I’d ring it in the evening all over this land.

I’d ring it out danger, I’d ring it out a warning,

I’d ring it out love between my brothers and my sisters,

ah all over this land.

If I had a song, I’d sing it in the morning,

I’d sing it in the evening all over this land.

I’d sing it out danger, I’d sing it out a warning,

I’d sing it out love between my brothers and my sisters,

ah all over this land.

Now I‘ve got a hammer, and I’ve got a bell,

and I’ve got a song to sing all over this land.

It’s a hammer of justice, it’s a bell of freedom,

it’s a song about love between my brothers and my sisters,

all over this land.

F

C/E

G/D

Gsus2

Gsus4

Bb

F/A

Gsus4

Csus2

Csus4

Dm7

116. The Bells Of Rhymney

Pete Seeger (1963 - Melbourne)

	C	F	C/E	G/D	C
	Oh what can you give me? Say the	sad	bells of	Rhym	ney.

	C	Bb	F/A	G	Gsus2		Gsus4		G
Is there hope for	the future? Cry the	brown	bells of	Merthyr.

	C	Bb	F/A	G	Gsus2		Gsus4		G
Who	made the mine owner? Say the	black	bells of	Rhondda.

	C	F	C	Dm7	G	C	Csus2		Csus4		C
And	who robbed the	mi	ner? Cry the	grim bells of	Blai	na.

They will plunder willy-nilly, Cry the bells of Caerphilly.

They have fangs, they have teeth, Shout the loud bells of Neathe.

Even God is uneasy, Say the moist bells of Swansea.

And what will you give me? Say the sad bells of Rhymney.

	C	F	C/E	G/D	C
Put the	vandals in court, Say the	bells	of	New	port.

	C	Am	Bb	F/A	G
All would be	well if, if, if,	if, if, if, Say the	green	bells of Car	diff.

	C	Bb	Am	C
Why so	worried, sis	ters,	why? Sang the silver bells of	Wye.

	C	F	C/E	G/D	C
Oh,	what will you give me? Say the	sad	bells of	Rhym	ney.

Solo

Oh what will you give me? Sang the sad bells of Rhymney.

Is there hope for the future? Cry the brown bells of Merthyr.

Who made the mine owner? Say the black bells of Rhondda.

And who robbed the miner? Cry the grim bells of Blaina.

Put the vandals in court, Say the bells of Newport.

All would be well if, if, if, Say the green bells of Cardiff.

Why so worried, sisters, why? Sang the silver bells of Wye.

Oh, what will you give me? Sang the sad bells of Rhymney.

whistle

	F		C/E		D		C

117. The Wizard

Mark Clarke, Ken Hensley / Uriah Heep: Demons and Wizards (1972)

	D		C		G		D

	D	C	G	D
	He was the wizard of a	thous	and	kings

	D	C	G	D
	And I chanced to meet him one night	wan	de	ring

	C	G	C	G
	He told me	tales and he	drank my	wine,

	D	C	G	D
	Me and my magic man kinda	fee	lin'	fine.

He had a cloak of gold and eyes of fire,

And as he spoke I felt a deep desire:

To free the world of its fear and pain,

And help the people to feel free again.

Bridge

	A	G
	Why don't we listen to the voices in our	heart,

	A	G
	Cause then I know we'd find we're not so far a	part.

	A	G
	Everybody's got to be happy, everyone should	see,

	A	G
	For we know the joy of life, what peace and love can	bring.

So spoke the wizard in his moun-tain home

The vision of his wisdom means we'll never be alone.

And I will dream of my magic night

And the million silver stars that guide me with their light.

	D		C	G	D
			Ahh	Ahh	Haah

	D		C	G	D
			Ahh	Ahh	Haah

118. Come Away, Melinda

Hellerman, Minkoff / Uriah Heep: Very 'eavy, Very 'umble (1970)

riff

B

A

B

E

F#

G

E

|

A

G

A

F#

|

B

A

B

E

F#

G

E

|

	Ebm	Db	B	Db
	Daddy,	daddy, come and look!	See what	I have found

	Ebm	Db
	A little ways	away from here,

	B	Ebm	Ebm7+
	While d	igging in the ground.

	F#	Db	Bbm	Fm
	Come a	way Melinda.	Come in and	close the door.

	F#	Db	Bbm	Fm	Bbm
	It's nothing,	just a picture book		they had before	the war.

	Ebm	Db	B	Db
	Daddy,	daddy, come and see!	Daddy	come and look!

	Ebm	Db
	Why there's four or	five little Melinda girls

	B	Ebm	Ebm7+
	Inside	my picture book.

	F#	Db	Bbm	Fm
	Come a	way Melinda.	Come in and	close the door.

	F#	Db	Bbm	Fm	Bbm	Bm
	There were lots	of little girls like you		before they had	the w	ar

	Em	D	C	D
	Oh daddy,	daddy, come and see!	Daddy	hurry do!

	Em	D
	Why there's som	eone in a pretty dress,

	C	Em	Em7+
	She's all grown	up like you. Won't you	tell me why?

	G	D	Bm	F#m
	Come a	way Melinda.	Come in and c	lose the door.

	G	D	Bm	F#m	Bm
	That som	eone is your mommy	you	had before the	war.

	Em	D	C	D
	Daddy, d	addy,	tell me	if you can.

	Em	D	C	Em	Em7+
	Why can't things be	the way they were	be	fore the war began?

	G	D	Bm	F#m
	Come a	way Melinda.	Come in and c	lose the door.

	G	D	F#m	Bm
	The answer lies	in yesterday	before they had the	war.

119. Rain

Ken Hensley / Uriah Heep: The Magician's Birthday (1972)

	C	G	F	Am
	It's raining out	side,	but that's not un	usual

	C	G	F	Am	G
	but the way that I'm	feeling'	s becoming	usual

	F	G
	I guess you could	say

	C	Am
the	clouds are moving a	way...

	G	Gsus	G	F7	C
	away from	your	days, and	into	mine

solo

	C	Bb	Ab	C	...

	C	F	G	Am
	Now it's raining	inside	and that's a	shame

	C	F	G	Am	G
	and it's	getting to me	...a happy	man

	F	G	C	Am
	Why would would	want to	waste all my	time?

	G	Gsus	G	F7	C
	The worl	d is	yours, but	I am	mine

	C	F	G
	Rain, rain,	rain	in my tears

	C	F	G
	measuring	carefully	my years

	C	F	G	Bm7
	shame, shame,	shame	in my	mind

	Eb	Bb	C
	see what you've	done to my	life

repeat...

120. Lady in Black

Hensley / Uriah Heep: Salisbury (1971)

	Am
She	came to me one morning, one lonely sunday morning,

	G	Am
Her	long hair flowing in the	mid-winter wind.

	Am
I	know not how she found me, for in darkness I was walking,

	G	Am
And	destruction lay around me from a	fight I could not win.

	Am	G	Am	G	Am
	Ahahaaa	Haahah,	Ahahaaa	Haha	Ha!

She asked me: "Name my foe then". I said: "The need within some men

To fight and kill their brothers without thought of love or God".

And I begged her give me horses to trample down my enemies,

So eager was my passion to devour this waste of life.

Ahahaaa Haahah, Ahahaaa Haha Ha!

But she would not think of battle that reduces men to animals,

So easy to begin and yet impossible to end.

For she the mother of all men had counciled me so wisely that

I feared to walk alone again and asked if she would stay.

Ahahaaa Haahah, Ahahaaa Haha Ha!

"Oh lady lend your hand," I cried, "Oh let me rest here at your side."

"Have faith and trust in me," she said and filled my heart with life.

There is no strength in numbers. I've no such misconception.

But when you need me be assured I won't be far away.

Ahahaaa Haahah, Ahahaaa Haha Ha!

Thus having spoke she turned away and though I found no words to say

I stood and watched until I saw her black cloak disappear.

My labor is no easier, but now I know I'm not alone.

I find new heart each time I think upon that windy day.

And if one day she comes to you drink deeply from her words so wise.

Take courage from her as your prize and say hello for me.

Ahahaaa Haahah, Ahahaaa Haha Ha!

Ahahaaa Haahah, Ahahaaa Haha Ha...

121. Hey Joe

Jimi Hendrix

	C	G	D	A	E	E	E/G	E	E/G	E
	Hey	Joe	where ya'	goin' with that	gun in your hand?

	C	G	D	A	E	E7
I said	hey	Joe	where ya	goin' with that	gun in your hand?

	C	G
	I'm goin' out to	find my woman now,

	D	A	E	E7
	She's been	runnin' round with some	other man

	C	G
	I said I'm goin' out to	find my woman now!

	D	A	E	E7
	She's been	runnin' 'round with some	other man

Hey Joe tell me what are you gonna do?

Well I guess I'll shoot my woman,

That's what I'll do!

Well I guess I'll shoot them both

Before I'm through.

Hey Joe tell me where are you gonna go?

Well I think I'll go down to my favourite place Mexico,

Well I think I'll go down to where a man can be free.

And there ain't gonna be no hangmans ropes

Gonna be put around me.

122. The Wind Cries Mary

Jimi Hendrix

Intro

|:

F

(I.)

F#

G

- - -

F

(octave)

E

F

- - -

:|

	D	C	G
	After all the	jacks are in their	boxes

	D	C	G
And the	clowns have	all gone to	bed

	D	C	G
You can hear	happiness	staggering on	down the street

	A	C	F	F#	G
	Footsteps	dressed in	red

	A	C	Eb	E	F	- - -	Eb	E	F
And the	wind	whispers	Mar	y

	D	C	G
A	broom is	drearily	sweeping

	D	C	G
	Up the broken	pieces of yesterday's	life

	D	C	G
	Somewhere a	queen is	weeping

	A	C	F	F#	G
	Somewhere a	king has no	wif	e

	A	C	F	F#	G	- - -	F	F#	G
And the	wind	cries	Mar	y

Solo

	D	C	G
	The traffic lights turn	blue to	morrow

	D	C	G
	And shine the	emptyness down on my	bed.

	D	C	G
	The tiny island	sags	downstream

	A	C	F	F#	G
'	Cause the life that	lived is	dea	d.

	A	C	F	F#	G	- - -	F	F#	G
And the	wind	screams	Mar	y

	D	C	G
	Will the wind	ever re	member

	D	C	G
The	names it has	blown in the	past.

	D	C	G
With it's	crutch, it's	old age, and it's	wisdom,

	A	C	F	F#	G
It whispers	no, this will	be the	las	t.

A

C

F

F#

G

- - -

F

F#

G

- - -

F

F#

G

- - -

F

F#

G

And the

wind

cries

Mar

y

123. Horse With No Name

America

	Em	D6add9
	On the first part of the	journey

I was lookin at all the life

There were plants and birds and rocks and things

There were sand and hills and rings

The first thing I met was a fly with a buzz

and the sky with no clouds

the heat was hot and the ground was dry

but the air was full of sound

	Em9	Dmaj9
	I've been through the desert on a	horse with no name

it felt good to be out of the rain

in the desert you can remember your name

'cause there ain't no one for to give you no pain

la la la la lalala la la la la la

After two days in the desert sun

my skin began to turn red

After three days in the desert fun

I was looking at a river bed

And the story it told of a river that flowed

made me sad to think it was dead

I've been through the desert ...

After nine days I let the horse run free

'cause the desert had turned to sea

there were plants and birds and rocks and things

there were sand and hills and rings

The ocean is a desert with it's life underground

and the perfect disguise above

Under the cities lies a heart made of ground

but the humans will give no love

I've been through the desert ...

D+

F#dim7

A7b9

G6A7b9

124. What A Wonderful World

George David Weiss & Bob Thiele / Louis Armstrong

	D	F#m	G	F#m
I see	trees of	green,	red roses	too

	Em7	D	F#7	Bm
	I see them	bloom,	for me and	you,

	Bb	Em7/A	A7	D	D+	Gmaj7	A7
And I	think to myself,	What a	wonderful	world	.

	D	F#m	G	F#m
I see	skies of	blue and	clouds of	white,

	Em7	D	F#7	Bm
	The bright blessed	day, the	dark sacred	night,

	Bb	Em7/A	A7	D	G	G	D
And I	think to myself,	what a w	onderful w	orld

	A7	D
The	colors of the rainbow, so	pretty in the sky

	A7	D
Are	also on the faces of	people goin' by

	Bm	F#m	Bm	F#m
I see	friends shaking	hands, saying, "	How do you	do?"

	Em7	F#dim7	Em7	F#dim7	Em7
	They're really	saying,	"I	love	you."

	A7	D	F#m	G	F#m
	I hear	babies	cry, I	watch them	grow

	Em7	D	F#7	Bm
	They'll learn much	more	than I'll ever	know,

	Bb	Em7/A	A7	D	F#m7b5	B7
And I	think to myself	what a wo	nderful wo	rld

	Em7	Em7/A	A7b9	D	G6	D
Yes I	think to myself,	what a	wonderful	world	.

125. Hymn

Barclay James Harvest

	E	E4	A2	E	E4
	Valley’s deep	and the	mountains so	high,

	A2	E E4
if you	want to see god you’ve got to move on the other side.

	E	E4	A2	E	E4
	You stand up there	with your	head in the	clouds,

	A2	E	E4
don’t	try to fly you know you might not come	down.

	A2	E	E4
Don’t	try to fly dear god you might not come	down.

Jesus came down from heaven to earth.

The people said it was a virgin birth.

Jesus came down from heaven to earth.

The people said it was a virgin birth.

The people said it was a virgin birth

He told great stories of the Lord

and said he was the saviour of us all.

He told great stories of the Lord

and said he was the saviour of us all.

For this we killed him, nailed him up high.

He rose again as if to ask us why.

Then he ascended into the sky.

As if to say in god alone you soar.

As if to say in god alone we fly.

Valley’s deep and the mountains so high,

if you want to see god you’ve got to move on the other side.

You stand up there with your head in the clouds,

don’t try to fly you know you might not come down.

Don’t try to fly dear god you might not come down.

126. Sloop John B.

Beach Boys

	D
We	come on the Sloop John B.

	D
My	grandfather and me.

	A
Around Nassau town we did	roam.

	D
Drinkin' all	night,

	G
Got into a	fight.

	D	A
Well I	feel so broke	up,

	D
I want to go	home.

So hoist up the John B's sail

See how the mainsail sets

Call for the captain ashore

Let me go home, let me go home

I wanna go home, yeah yeah

Well I feel so broke up

I wanna go home

The first mate he got drunk

Broke up the captain's trunk.

The constable had to come and take him away.

Sheriff John Stone,

Why don't you leave me alone,

I feel so broke up -

I want to go home.

So hoist up the John B's sail...

The poor cook he caught the fits,

threw 'way all my grits.

Then he took and ate up all of my corn.

Let me go home, I want to go home.

This is the worst trip I've ever been on!

So hoist up the John B's sail...

127. Morning of my Life

Bee Gees

	G	C	G
In the	morning when the	moon is at it's	rest,

	Em	C	G
you will	see me at the	time I love the	best,

	Am	Bm
watching	rainbows, play on	sunlight,

	Am	Bm	Am
pools of	water iced from	cold night, in the	morning.

	C		D	C	G
		'Tis the morning of my	life. 'tis the	morning of my	life.

In the daytime I will meet you as before.

You will find me waiting by the ocean floor,

building castles in the shifting sands

in a world that no one understands, in the morning.

	C		D	C	G
		'Tis the morning of my	life. 'tis the	morning of my	life.

	G	Am
In the	morning of my	life

	C	D	G
the	minutes take so	long to drift a	way.

	G	Am
Please be	patient with your	life,

	C	D	G
it's only	morning and you're	still to live your	day.

In the evening I will fly you to the moon,

to the top right hand corner of the ceiling in my room,

where we'll stay until the sun shines,

another day to swing on clothes lines, I'll be yawning.

	C	D	C	G
It is the	morning of my	life. It is the	morning of my	life.

	G
In the	morning, In the morning.

128. Speedy Gonzales

Kaye, Hill, Lee / Pat Boone (1962)

It was a moonlight night in old Mexico

I walked along between some old adobe haciendas

Suddenly, I heard the plaintive cry of a young Mexican girl:

	D	Bm		G		A7
La la	la, la la la la la la	la	La la la la la la	la	La la la la la la	la

	D	Bm
You'd better come home, Speedy Gon	zales - Away from Cannery	Row

	G	A7
Stop all your	drinkin' - With that floozie named	Flo

	D	Bm
Come on home to your a	dobe - And slap some mud on the	wall

	G	A7		D
The roof is leakin' like a	strainer	-	There's lots of roaches in the	hall

	G	D
Speedy Gon	zales (Speedy Gonzales) - Why don't you come	home?

	G	A
Speedy Gon	zales (Speedy Gonzales) - How come you leave me all a	lone?

Hey, Rosita! I have to go shopping downtown for my mother. She needs some tortillas and chili peppers!

	D	Bm		G		A7
La la	la, la la la la la la	la	La la la la la la	la	La la la la la la	la

	D	Bm
Your dog is gonna have a	puppy - And we're runnin' out of	Coke

	G	A7
No enchiladas in the	icebox - And the television's	broke

	D	Bm
I saw some lipstick on your	sweatshirt - I smell some perfume in your	ear

	G	A7		D
Well, if you're gonna keep a-	messin'	-	Don't bring your business back-a	here

	G	D
Speedy Gon	zales (Speedy Gonzales) - Why don't you come	home?

	G	A
Speedy Gon	zales (Speedy Gonzales) - How come you leave me all a	lone?

Hey, Rosita, come quick! Down at the Cantina they've got some green stamps with tequila!

	D	Bm		G		A7
La la	la, la la la la la la	la	La la la la la la	la	La la la la la la	la

129. The Letter

Wayne Carson Thompson / the Box Tops (1967); Joe Cocker (1970)

	(n.c.)
	Give me a ticket for an aeroplane, Ain't got time to take the fastest train.

	Am
Lonely days are gone, I'm a-goin' home, My baby just wrote me a	letter.

	Intro:		perc.	Am	(Bass-Intro)
		\|	/ / / / \|	/	/ / / \|

	Am	F	G	D
	Give me a ticket for an	aeroplane,	Ain't got time to take the	fastest train.

	Am	F	E7	Am
	Lonely days are gone,	I'm a-goin' home, My	baby just wrote me a	letter.

	Am	F	G	D
	I don't care how much money I	gotta spend,	Got to get back to my	baby again!

	Am	F	E7	Am
	Lonely days are gone,	I'm a-goin' home, My	baby just wrote me a	letter.

	C	G	F	C	G	G
Well she	wrote me a	letter Said she	couldn't	live with	out me no more.

	C	G	F	C	G	E7
	Listen mister	can't you see I	got to get	back to my	baby once more. -	Anyway.

	Am	F	G	D
	Give me a ticket for an	aeroplane,	Ain't got time to take the	fastest train!

	Am	F	E7	Am
	Lonely days are gone,	I'm a-goin' home, My	baby just wrote me a	letter.

	C	G	F	C	G	G
Well she	wrote me a	letter Said she	couldn't	live with	out me no more.

	C	G	F	C	G	E7
	Listen mister	can't you see I	got to get	back to my	baby once more.	Anyway.

	Am	F	G	D
	Give me a ticket for an	aeroplane,	Ain't got time to take the	fastest train

	Am	F	E7	Am
	Lonely days are gone,	I'm a-goin' home, My	baby just wrote me a	letter!

	Am	F	G	D
	I don't care how much money I	gotta spend,	Got to get back to my	baby again.

	Am	F	E7	Am
	Lonely days are gone,	I'm a-goin' home, My	baby just wrote me a	letter - I said,

	(n.c.)	Am
My	baby just wrote me a	letter.

130. Hit The Road, Jack

Percy Mayfield / Ray Charles (1961)

	Am	G	F	E
	/ /	/ /	/ /	/ / (repeat)

	Am	G	F	E	Am	G	F	E
Hit the	road,	Jack and	don't you come	back no	more, no	more, no	more, no	more

	Am	G	F	E	Am	(...)
Hit the	road,	Jack and	don't you come	back no mo-	o-o-o-	ore

What'd you say?

Hit the road, Jack and don't you come back no more, no more, no more, no more

Hit the road, Jack and don't you come back no more

Woo!

Woman, oh woman, don't treat me so mean

You're the meanest old woman that I've ever seen

I guess if you say so

I'd have to pack my things and go

That's right!

Hit the road, Jack and don't you come back no more, no more, no more, no more

Hit the road, Jack and don't you come back, no more

What'd you say?

Hit the road, Jack and don't you come back no more, no more, no more, no more

Hit the road, Jack and don't you come back no more

Now baby, listen, baby, don't ya treat me this way

Cause I'll be back on my feet some day

Don't care if you do 'cause it's understood

You ain't got no money you just ain't no good

Well, I guess if you say so

I'd have to pack my things and go

That's right!

Hit the road, Jack and don't you come back no more, no more, no more, no more

Hit the road, Jack and don't you come back no more

What you say?

Hit the road, Jack and don't you come back no more, no more, no more, no more

Hit the road, Jack and don't you come back no more

Well

Don't you come back no more - Uh, what'd you say?

Don't you come back no more - I didn't understand you!

Don't you come back no more - You can't mean that!

Don't you come back no more - Oh, no baby, please!

Don't you come back no more - What you tryin' to do to me?

Don't you come back no more - Oh, don't treat me like that!

Don't you come back no more - ...

131. Summertime Blues

Eddie Cochran

	E	A	B7	E	A	B7	E
	/ / /	/	/ / /	/ / / /	/	/ / /	/

	E	E	A	B7	E
	I'm a-gonna raise a fuss, I'm a-gonna raise a holler.

	E	E	A	B7	E
About a-	workin' all summer, just to try to earn a dollar.

	A
	Every time I call my baby, try to get a date;

	-	E	-
My boss says:	No dice son, you gotta work late.	/ /

	A
	Sometimes I wonder what I'm a-gonna do,

	E	-
But there	ain't	no cure for the summertime blues!

	E	A	B7	E	A	B7	E
	/ / /	/	/ / /	/ / / /	/	/ / /	/

	E	E	A	B7	E
	Well my ma' and pappa told me: Son, you gotta make some money

	E	E	A	B7	E
	If you wanna use the car to go a-ridin' next sunday.

	A
	Well I didn't go to to work, told the boss I was sick!

	-	E	-
So	you can't use the car 'cause you didn't work a lick!	/ /

Sometimes I wonder what I'm a-gonna do,

But there ain't no cure for the summertime blues!

	E	E	A	B7	E
	I'm gonna take two weeks, gonna have a fine vacation.

	E	E	A	B7	E
	I'm gonna take my problem to the United Nations.

	A
	Well I called my congressman and he said; quote:

	-	E	-
I'd	like to help you son, but you're too young to vote!	/ /

Sometimes I wonder what I'm a-gonna do,

But there ain't no cure for the summertime blues!

132. Les champs élysées

Pierre Delanoe / Joe Dassin

intro:

Dm

G7

C

Am

Dm

G

C

	C	E7	Am	C7
Je m'	baladais sur l'	avenue,	le coeur ouvert à l'	inconnu.

	F	C	D7	G7
J'	avais envie de	dire bonjour à n'	importe	qui

	C	E7	Am	C7
N'	importe qui et	ce fut toi, je	t'ai dit n'	importe quoi,

	F	C	Dm	G7	C
Il	suffisait de	te parler, pour t'	appri	voi	ser.

	C	E7	Am	C7	F	C	D7	G7
	Aux	Champs-Ély	sées,	--	aux	Champs-Ély	sées!

	C	E7	Am	C7
	Au soleil,	sous la pluie,	à midi ou	à minuit,

	F	C	Dm	G7	C
	Il y a tout ce que	vous voulez aux	Champs-	Ély	sées.

	C	E7	Am	C7
	Tu m'as dit "J'ai	rendez-vous dans	un sous-sol a	vec des fous,

	F	C	D7	G7
Qui	vivent la	guitare à la main, du	soir au ma	tin".

	C	E7	Am	C7
A	lors je t'ai ac	compagnée, on	a chanté, on	a dansé

	F	C	Dm	G7	C
Et l'	on n'a même	pas pensé à	s'em	bras	ser

Aux Champs-Élysées, -- aux Champs-Élysées!

Au soleil, sous la pluie, à midi ou à minuit,

Il y a tout ce que vous voulez aux Champs-Élysées.

	C	E7	Am	E7
Hi	er soir deux	inconnus et	ce matin sur l'	avenue,

	F	C	D7	G7
Deux	amoureux tout	étourdis par	la longue	nuit.

	C	E7	Am	C
Et	de l'Étoile à	la Concorde, un	orchestre à	mille cordes,

	F	C	Dm	G7	C
Tous	les oiseaux du	point du jour, chan	tent	l'a	mour

Aux Champs-Élysées...

133. Light my Fire

The Doors/The Doors (1967)

	Am7	F#m7	Am7	F#m
You	know that it would be un	true - You	know that I would be a	liar

	Am7	F#m	Am7	F#m7
	If I was to say to	you -	Girl we couldn't get much	higher

	G	A	D	G	A	D	E	G	F#m	E
	Come on baby	light my	fire -	Come on baby	light my	fire	-	Try to set the	night on	fire!

	Am7	F#m7	Am7	F#m7
The	time to hesitate is	through - no	time to wallow in the	mire

	Am7	F#m	Am7	F#m7
	try now we can only	loose - and our	love become a funeral	pyre

	G	A	D	G	A	D	E	G	F#m	E
	Come on baby	light my	fire -	Come on baby	light my	fire	-	Try to set the	night on	fire!

The time to hesitate is through - no time to wallow in the mire

try now we can only loose - and our love become a funeral pyre

Come on baby light my fire - Come on baby light my fire - Try to set the night on fire!

You know that it would be untrue - You know that I would be a liar

If I was to say to you - Girl we couldn't get much higher

Come on baby light my fire - Come on baby light my fire!

	G	A	D	G	A	D	E	G	F#m	E7
	try to set the	night on	fire -	try to set the	night on	fire	-	try to set the	night on	fire

Em6

Em7

Em9

B/A

C/A

D/A
⁵

134. Riders On The Storm

Jim Morrison, Robby Krieger, Ray Manzarek, John Densmore / The Doors: L.A. Woman (1971)

	Em	Em6	Em7	Em6	Em	Em6	Em7	Em6	Em
	Riders on the	storm			- Riders on the	storm

	Am	B/A	C/A	D/A		Em	Em6	Em7	Em6	Em
In	to this house we're	born			- In	to this world we're	thrown

	D		C
Like	dog without a bone	- An	actor out on loan -

	Em	Em6	Em7	Em6	Em
	Riders on the	storm.

There's a killer on the road - His brain is squirming like a toad.

Take a long holiday - Let your children play.

If you give this man a ride - Sweet family will die -

Killer on the road.

	Em	Em6	Em7	Em6	Em	Em6	Em7	Em6	Em

Gotta love your man - Girl, you gotta love your man.

Take him by the hand - Make him understand.

The world on you depends - Our life will never end -

You gotta love your man.

	Em	Em6	Em7	Em6	Em	Em6	Em7	Em6	Em

	Em9	A	Em9		Em9	A	Em9
	Riders	on the	storm	-	Riders	on the	storm - ...

135. Hotel California

Felder, Henley & Frey / the Eagles

	Bm	F#
	On a dark desert highway,	cool wind in my hair;

	A	E
	Warm smell of colitas,	rising through the air.

	G	D
	Up ahead in the distance,	I saw a shimering light.

	Em	F#
	My head grew heavy and my sight grew dim,	I had to stop for the night.

	Bm	F#
	There she stood in the doorway;	I heard the mission bell,

	A	E
	And I was thinking to myself: this could be	heaven or this could be hell!

	G	D
	Then she lit up a candle	and she showed me the way;

	Em	F#
	There were voices down the corridor;	I thought I heard them say:

	G	D
"	Welcome to the Hotel Califor	nia!

	F#	Bm
	Such a lovely place (such a lovely place), such a	lovely face.

	G	D
	Plenty of room at the Hotel Califor	nia!

	Em	F#
Any	time of year (any time of year), you can	find it here."

Her mind is Tiffany twisted, she got the Mercedes Benz.

She got a lot of pretty, pretty boys, that she calls friends.

How they dance in the courtyard, sweet summer sweat

Some dance to remember, some dance to forget!

So I called up the captain, "Please bring me my wine." He said:

"We haven't had that spirit here since nineteen sixty-nine."

And still those voices are calling from far away,

Wake you up in the middle of the night, just to hear them say:

"Welcome to the Hotel California!

Such a lovely place (such a lovely place), such a lovely face.

They're livin' it up at the Hotel California;

What a nice surprise (what a nice surprise), bring your alibis-"

Mirrors on the ceiling, the pink champagne on ice, and she said:

"We are all just prisoners here, of our own device."

And in the master's chambers, they gathered for the feast.

They stab it with their steely knives - but they just can't kill the beast!

Last thing I remember, I was running for the door.

I had to find the passage back to the place I was before.

"Relax," said the night man, "We are programmed to receive.

You can check out any time you like, but you can never leave!"

"Welcome to the Hotel California!

Such a lovely place (such a lovely place), such a lovely face.

They're livin' it up at the Hotel California;

What a nice surprise (what a nice surprise), bring your alibis-"

136. Lucky Man

Emerson Lake and Palmer

	G	D
	He had white	horses,

	G	D
and	ladies by the	score,

	G	D
	All dressed in	satin

	G	D
And	wating by the	door...

	Am	Em	D
	Oooh, what a	lucky man he	was!

	Am	Em	D
	Oooh, what a	lucky man he	was!

White lace and feathers

They made up his bed

A gold covered mattress

On which he was laid

Oooh, what a lucky man he was!

He went to fight wars

For his country and his king

Of his honor and his glory

The people would sing

Oooh, what a lucky man he was!

A bullet had found him

His blood ran as he cried

No money could save him

So he laid down and he died

Oooh, what a lucky man he was!

137. Indian Reservation

John D. Loudermilk / Don Fardon

	Am	Dm
	They took the whole Cherokee	Nation

	Am
And put us on this reser	vation.

	Dm
They took away our ways of	life,

	Am
The tomahawk and the	bow and knife.

	Am	Dm
	They took away our native	tongue

	Am
And taught their English to	our young.

	Dm
And all the beads we made by	hand

	Am
Are nowadays made in	Japan.

	Dm	Am
	Cherokee people --	Cherokee tribe.

	Dm	E
	So proud to life --	so proud to die!

	Am	Dm
	They took the whole Indian	Nation

	Am
And locked us on this reser	vation.

	Dm
And though I wear a shirt and	tie,

	Am
I'm still a red man deep in	side!

	Dm	Am
	Cherokee people --	Cherokee tribe.

	Dm	E
	So proud to life --	so proud to die!

	Am	Dm
	But may be someday when they	learn

	Am
Cherokee nation will re	turn! Will return -- will return -- will return. Will Return!

138. Take me Home, Country Roads

John Denver

	G	Em	D	C	G
Almost	heaven,	West Virginia,	Blue Ridge Mountains,	Shenandoah	River.

	Em	D	C	G
Life is old there,	older than the trees,	Younger than the mountains	growing like a	breeze.

	G	D	Em	C
Country	roads, take me	home, to the	place I be	long!

	G	D	C	G
West Vir	ginia mountain	momma, take me	home, country	roads!

	G	Em	D	C	G
All my	memories	gather 'round her;	Miner's lady,	stranger to blue	water.

	Em	D	C	G
Dark and dusty	painted on the sky -	Misty taste of moonshine	teardrop in my	eye.

	G	D	Em	C
Country	roads, take me	home to the	place I be	long!

	G	D	C	G
West Vir	ginia, mountain	momma, take me	home, country	roads

bridge

	Em	D	G
	I hear her	voice, in the	morning hour she calls me!

	C	G	D
The	radio re	minds me of my	home far away.

	Em	F	C
And	drivin' down the	road I get a	feelin'

	G	D	D7
that I	Should have been home	yesterday, yester	day:

	G	D	Em	C
Country	roads, take me	home to the	place I be	long!

	G	D	C	G
West Vir	ginia, mountain	momma, take me	home, country	roads

139. Annie's Song

John Denver / John Denver: Goodbye Again (1970)

	Intro:	D		D4		D		D4		D

	D4	G	A		Bm
You	fill up my	sen	ses

	G	D	D/C#		D/B
Like a	night in a	forest

	D/A	G	F#m	Em
Like the	mountains in	spring	time

	G	A	A7
Like a	walk in the	rain

	G	A	Bm
Like a storm in the	de	sert

	G	D	D/C#, D/B
Like a	sleepy blue	ocean

	D/A	G	F#m		Em
You	fill up my	sen	ses

	A7	D	D4		D		D4		D
come	fill me a	gain.

Come let me love you

Let me give my life to you

Let me drown in your laughter

Let me die in your arms

Let me lay down beside you

Let me always be with you

Come let me love you come love me again

You fill up my senses...

140. Black Magic Woman

Peter Green / Fleetwood Mac

	A7	Dm	A
	Got a black magic	woman,got a black magic wo	man,

	Dm	Gm
Yes, I've got a	black magic woman, got me so blind I can't	see,

	Dm	A	Dm
that she's a	black magic woman and she's	try'in to make a devil out of	me.

Don't turn your back on me baby, don't turn your back on me baby,

Yes, don't turn your back on me baby, stop messin' around with your tricks.

Don't turn your back on me baby, 'cause you just might pick up my magic sticks.

solo

You got your spell on me baby, you got your spell on me baby,

Yes, you got your spell on me, baby, turnin' my heart into stone.

I need you so bad, magic woman, I can't leave you alone.

	Dm
	Yes, I need you so bad; I need you, darlin'; I need you, darlin'.

Yes, I want you to love me; I want you to love me. Oh, Yeah! Oh-oh, yeah;

Yes, I need your love; Oh, I need your love so bad, I need your love...

141. Alice's Restaurant

Arlo Guthrie

This song is called Alice's Restaurant.

It's about Alice, and the restaurant, but Alice's Restaurant

is not the name of the restaurant, that's just the name of the song.

That's why I called the song Alice's Restaurant.

	G	Am7	G
	-	-

C

A7

D7

G7

C

G

Am7

G

C

A7

D7

G7

C

C7

F

F#dim7

-

- ´

-

You can get anything you want at Alice's Restaurant

Walk right in it's around the back

Just a half a mile from the railroad track

You can get anything you want at Alice's Restaurant

Now it all started two Thanksgivings ago - that's 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 since they took out

all the pews, they got a lot 'a room downstairs where the pews used to be in

and havin all that room, seen as 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, found all the garbage, and we figured 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 and put it in the back of

a red VW microbus, took shovel's 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 saying closed on Thanksgiving.

We'd 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 there was another pile of garbage. And we decided

one big pile is better than two little piles, and rather than bring

that one up we decided to throw our's down.

That's what we did, and 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. 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 bout it". I said "Yes Sir Officer Obie, I cannot tell a

lie, I put that envelope under that garbage."

After speaking to Obie for about fourty-five minutes on the telephone

we finally came to 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 to the police officer's station.

Now friends,there was only one or two things Obie could a done

at the police station and the first was 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 see driving garbage about 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

counted upon, and we was both imediately arrested, handcuffed, and I

said "Obie, I don't think I can pick up the garbage with these handcuffs on."

He said "Shutup 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 won't tell you about

the town of Stockbridge Massachusets where this is all happened here,

they got three stop signs, two police officers, and one police car, but

when we got to the 'Scene of the crime' there was five police officers

and three police cars, being the biggest crime of the last fifty

years, and everybody wanted to get in the newspaper story about it.

And they was using up all kinds of cop equipment they had hanging

around the police officer's station. They was taking plastic tyre

track, foot prints, dog smelling prints, and they took twenty seven

eight-by-ten colour glossy photographs with circles and arrows and a

paragraph on the back of each one explaining what each one was to be

used in evidence against us. They took picture's 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." I said "Obie, I can understand you

wanting my wallet so I don't have any money to spend in the cell, but

why do you want my belt?" 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,

throw out the roll of toilet paper out the window, slide down the roll

and have an escape. Obie was making sure, and it was about four or five

hours later that Alice, (remember Alice? This is a song about Alice),

Alice came by and with a few nasty words to Obie on the said, 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

colour glossy photographs with circles and arrows and a paragraph on the

back of each one, sat down. Man came in, said: All rise. We stood up,

and Obie stood up with the twenty-seven eight-by-ten colour glossy pictures

and the judge walked in sat down with the 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 colour glossy photographs with circles and arrows and a paragraph

on the back of each one, and looked at the seeing eye dog.And then at

twenty-seven eight-by-ten colour glossy photographs with circles and

arrows and a paragraph on the back of each one and began to cry, cause

Obie had cometo the realisation that this 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 colour glossy

photographs with the circles and arrows and a paragraph on the back of

each one explaining what each one was to be used in evidence against us.

And we was fined fivty dollars and had to pick up the garbage in the snow,

but thats not what I came to tell you about.

Came to talk about the draft.

We got a building down New York City, it's called Whitehall street,

where you get injected, inspected, detected infected negleced and selected.

I went down and got my physical examination one day, and I walked in,

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, mean I had to feel like the, I wanted to

BE the all American kid from New York, and I walked in and I was

hungdown, brungdown, hungup, and all kinds o' mean nasty ugly things.

And I walked in and sat down and they gave me a pice of paper said

"Kid, see the phsychiatrist, room sixhundred-four."

I went up there said "Shrink, I want to kill, I wanna I wanna kill. KILL.

I wanna, 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 seargent came over, pinned a medal on me, sent me down the

hall, said "you're our boy".

Didn't feel too good about it.

Proceded on down the hall gettin all sorts of injections, inspections,

detections, neglections and all kinds of stuff that they was doin' to

me at the thing there, and I was there two hours, three hours, four

hours! I was there for a long time going through all kind's 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, I walked up and said "what do you want?" - "Kid, we only

got one question. Have you ever been arrested?"

And I proceeded to tell him the story of Alice's Restaurant Massacree,

with full orchestration and five part harmony and stuff like that and

suddenly he stopped me right there and said "Kid,did you ever go to court?"

I proceeded to tell him the story of the twenty-seven eight-by-ten colour

glossy pictures with the circles and arrows and the paragraph on the back

of each one, and he stoped me right there and said "Kid, I want you to go

and sit down on that bench that says 'Group W' - - NOW kid!"

And I walked over to the bench there, and there's Group W, which is

where they put you if you may not be moral enough to join the army

after committing your special crime, and there was all kinds of mean

nasty ugly looking people on the bench there. Mother rapers. Father

stabbers. Father rapers! Father rapers sitting right there on the

bench next to me! And they was mean and nasty and ugly and horrible

crime-type guys sitting bench next to me. And the meanest nastyest

uglyest one, the meanest father raper of them all, was coming over to

me and he was mean 'n' nasty 'n' ugly 'n' horrible and all kind of

things and he sat down next to me and said "Kid, what ya get?". I

said "I didn't get nothing, I had to pay fivty dollars and pick up the

garbage.". He said "What were you arrested for?" and I said "Littering".

And they all moved away from me on the bench there,and a hairy eyeball

and all kinds of mean nasty things, till I said "And creating a

nuisance." They all came back, shook my hand, and we had a great time

on the bench, talkin about crime, mother stabbing, father raping all

kinds of groovy things that we was talking about on the bench. And

everything was fine, we was smoking cigarettes and all kinds of things,

until the seargent came over, had some paper in his hand said.

"Kids,this-piece-of-paper's-got-47-words-37-sentences-58-lines

we-wanna-know-details-of-the-crime-time-of-the-crime-all-the-things

you-gotta-say-things-about-the-crime-arresting-officer's-name-all-the

things-you-gotta-say", and talked for fourty-five minutes and nobody

understood a word that he said, but we had fun filling out the form

and playing with the pencils on the bench there, and I filled out the

massacre with the four part harmony, wrote it down there, just like it

was, and I put down the pencil,and 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 the seargent, said "Seargent, you got a lot a damn'

gall to ask me if I've rehabilitated myself, I mean, I mean I'm just

sittin' here, sittin' on the Group W bench cause you want to know

if I'm moral enough join the army to burn women, kids, houses, and

villages after bein' a litterbug." He looked at me 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 your in a situation like that there's only one thing

you can do and that's: walk into the shrink whereever you are, just

walk in, say "Shrink, You can get anything you want, at Alice's

restaurant." And walk out. You know,if one person, just one person

does it they may think he's really sick and 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 if three people, 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 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 thinks 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 come's around

on the guitar. With feeling. So we'll wait for it to come around on the

guitar, here, and sing it when it does. Here it comes.

You can get anything you want, at Alice's Restaurant.

Walk right in it's around the back,

Just a half a mile from the railroad track,

You can get anything you want, at Alice's Restaurant.

That was horrible. If you want to end war and stuff you got to sing loud.

I've been singing this song now for twenty five minutes. I could sing it

for another twenty five minutes. I'm not proud ... or tired.

So we'll wait till it comes around again, and this time with four part

harmony and feeling.

We're just waitin' for it to come around is what we're doing.

All right now.

You can get anything you want, at Alice's Restaurant - "Excepting Alice"

You can get anything you want, at Alice's Restaurant

Walk right in it's around the back,

Just a half a mile from the railroad track,

You can get anything you want, at Alice's Restaurant

At Alice's Restaurant.

	C	A7	D7	G7	C	A7	D7	G7	C
	-	-		At	Alice's Restau	rant!	-	-

142. This Land is Your Land

Woody Guthrie

	D	G	D
	This land is	your land, this land is	my land,

	A7	D
From Calif	ornia to the New York	Island,

	G	D
From the Redwood F	orests to the Gulf Stream wa	ters;

	A7	D
	This land was made for you and	me.

As I was walking that ribbon of highway,

I looked above me, there in the skyway,

I saw below me, the Golden Valley;

This land was made for you and me.

This land is your land, this land is my land,

From California to the New York Island,

	G
From the Redwood F	orests to the Gulf Stream waters;

This land was made for you and me.

I roamed and rambled, and followed my footsteps

Through the sparkling sands of her diamond deserts,

And all around me this voice kept saying:

"This land was made for you and me".

This land is your land, this land is my land,

From California to the New York Island,

	G
From the Redwood F	orests to the Gulf Stream waters;

This land was made for you and me.

As the Sun was shining, and I was strolling

Through the wheat fields waving and the dust clouds rolling,

I could feel inside me and see all around me,

This land was made for you and me.

This land is your land, this land is my land,

From California to the New York Island,

	G
From the Redwood F	orests to the Gulf Stream waters;

This land was made for you and me.

143. Rock Around the Clock

Max C. Freedman / Bill Haley and the Comets (1954)

	A
	One, two, three o'clock, four o'clock, rock!

	A
	Five, six, seven o'clock, eight o'clock, rock!

	A
	Nine, ten, eleven o'clock, twelve o'clock, rock

	E7/9
We're gonna	rock around the clock tonight!

	A
	Put your glad rags on, join me, hon'

We'll have some fun when the clock strikes one

	D7/9
We're gonna	rock around the clock tonight

	A
We're gonna	rock, rock, rock till broad daylight

	E7/9	A
We're gonna	rock, rock around the clock to	night

When the clock strikes two, three and four

If the band slows down we'll yell for more

We’re gonna rock around the clock tonight

We’re gonna rock, rock, rock till broad daylight

We’re gonna rock, gonna rock around the clock tonight

Guitar Solo

When the chimes ring five, six and seven

We'll be right in seventh heaven

We’re gonna rock around the clock tonight

We’re gonna rock, rock, rock till broad daylight

We’re gonna rock, gonna rock around the clock tonight

When it's eight, nine, ten, eleven too

I'll be goin' strong and so will you

We’re gonna rock around the clock tonight

We’re gonna rock, rock, rock till broad daylight

We’re gonna rock, gonna rock around the clock tonight

Saxophone solo

When the clock strikes twelve, we'll cool off then

Start rockin' round the clock again

We’re gonna rock around the clock tonight

We’re gonna rock, rock, rock till broad daylight

We’re gonna rock, gonna rock around the clock tonight

Guitar solo:

144. Sylvias Mother Say's

Dr. Hook & the Medicine Show

	G
	Sylvias mother say's, Sylvi is busy,

	D7
too busy to come to the	phone.

Sylvias mother say's, Sylvi is trying

	G
to start a new live on her	own.

	C	G
	Sylvias mother say's,	Sylvi is happy,

	D7	G
so	why don't you leave her a	lone.

	D7
And the	operater say's forty cence more - for the next three minutes.

	C	G	D7	G
	Please Misses Apriel I	just got to talk to her,	I only keep her a	while.

	C	G	D7
	Please Misses Apriel,	I just want to tell her good	bye.

Sylvias mother say's, Sylvi is packing

she's going and be leaving today.

Sylvias mother say's, Sylvi is marrying

a fellow done Calvestone way.

Sylvias mother say's, please don't say nothing

no make her start crying and stay.

And the operater say's forty cence more - for the next three minutes.

Please Misses Apriel I just got to talk to her, I only keep her a while.

Please Misses Apriel, I just want to tell her goodbye.

Sylvias mother say's, Sylvi is hurrying,

she's catching the nine o'clock train.

Sylvias mother say's, take your umbrella,

cause Sylvi it is starting to rain.

And Sylvias mother say's, thank you for calling

and Sir, won’t you call back again.

And the operater say's forty cence more - for the next three minutes.

Please Misses Apriel I just got to talk to her, I only keep her a while.

Please Misses Apriel, I just want to tell her goodbye.

145. It never rains in Southern California

Albert Hammond

	Gm	C	F
Got on	board a west-bound	seven-forty-	seven,

	Gm	C	F
didn't	think before de	ciding what to	do.

	Gm	C
All, that	talk of oppor	tunities,

	F	Dm	Gm	C	F
	TV-breaks and	movies rang	true,	sure rang	true.

	Gm	C	F
Seems it	never rains in	Southern Cali	fornia.

	Gm	C	F
Seems I've	often heard that	kind of talk be	fore.

	Gm	C	F	Dm
It never	rains in Cali	fornia, but	girl don't they	warn you,

	Gm	C	F
it	pou-	ours, man, it	pours.

	Gm	C	F	Dm
Out of	work I'm out of my	head, out of	self-respect, I'm out of	bread,

	Gm	C	F
I'm under	talked, I'm under	fed, I wanna go	home.

	Gm	C	F	Dm
It never	rains in Cali	fornia, but	girl don't they	warn you,

	Gm	C	F
it	pou-	ours, man, it	pours.

Will you tell the folks at home, I nearly made it.

Got offers but don't know which one to take.

Please don't tell'em, how you found me,

don't tell me how they found me,

gimmie a break, gimmie a break.

Seems it never rains in Southern California.

Seems I've often heard that kind of talk before.

It never rains in California, but girl don't they warn you,

it pours, man, it pours.

Out of work I'm out of my head, out of self-respect, I'm out of bread,

I'm undertalked, I'm underfed, I wanna go home.

It never rains in Califonia, but girl don't they warn you,

it pours, man, it pours.

146. I'm a Train

Albert Hammond

Intro:

	C		D		G		C		D		G

	C	D	G
Look at	me I'm a	train I'm a	track I'm a train

	C	D	G	C D G C D G
I'm a	Train I'm a	ticke Train	Yahaha.

Look at me get it low I'm a track I'm a train

I'm a train I'm a ticke train Yahaha.

Look at me I'm going somewhere I'm a train

I'm a train I'm a ticke train Yahaha

Look at me I'm going somewhere I'm a train

I’m a train I’m a ticke train Yahaha

	C	G
Been a	hard	day Yes it has

	C	G
Been a	hard	day Yes it has

	C	G
Been a	hard	day Yes it has

	G

a capella

I'm a Train, I'm a ticke train, I'm a Train, I'm a ticke train,

I'm a Train, I'm a ticke train, ticke train Yahaha

	C		D		G		C		D		G

Look at me I'm a train, I'm a lion, I'm a train. I'm a train, I'm a ticke train Yahaha.

Look at me for the very last time, I'm a train, I'm a train, I'm a ticke train Yahaha.

Didn't like this smog in hard, I'm a train, I'm a train, I'm a ticke train Yahaha.

Oh in dark to the deepest yard, I’m a train, I'm a train, I'm a ticke train Yahaha.

Refrain

Bridge:

Brrrrrrrrr I’m a Train I’m a Train

	C D G C D G C D G C D G C D G C D G C D G C D G C D G C D G C D G C D G

	C D G C D G C D G C D G C D G C D G C D G C D G C D G C D G C D G C D G

Didn’t like this smog in hard, I’m a train I’m a train I’m a ticke train Yahaha.

Oh in dark to the deepest yard, I’m a train I’m a train I’m a ticke train Yahaha.

Refrain

147. Locomotive Breath

Ian Anderson / Jethro Tull: Aqualung (1971)

Intro:

	\|:	Em	G	D	Em	:\|
	x x x x x x x x x	/ / / /	/	/	/

	Em	Em			G		D		Em
	In the shuffling madness

	Em	Em			G		D		Em
	Of Locomotive Breath.

	Em	Em			G		D		B
	Runs the all-time loser

	B	B		D		Em
	Headlong to his death.

	Em	Em			G		D		Em
	Oh! He feels the pistons scraping,

	Em	Em			G		D
	Steam Breaking on his brow:

	G	A	B	D	A	B
Old	Charlie stole the	handle - And the	train, it	won't	stop	going:

	B	A	G	Em
	no way	to	slow	down.

He sees his children jumping off

At stations one by one.

His woman and his best friend

In bed and having fun.

Oh! He's crawling down the corridor,

On his hands and knees.

Old Charlie stole the handle - And the train, it won't stop going:

No way to slow down.

He hears the silence howling

Catches angels as they fall.

And the all-time winner

Has got him by the balls.

Oh he picks up gideon's Bible

Open at page one.

I thank God he stole the handle - And the train, it won't stop going:

No way to slow down!

148. Tainted Love

Edward Cobb / Soft Cell : Non-Stop Erotic Cabaret (1981)

	Gm	A#	D#	A#	C	Gm	A#	D#	A#	C
Some	times,	I	feel,	I've	got to		Run a	way,	I've	got to

	Gm	A#	D#	A#	C	Gm	A#	D#	A#	C
		Get a	way, From	the	pain you	drive in	to the	heart	of	me.

	Gm	A#	D#	A#	C	Gm	A#	D#
The	love	we	share,		seems to		Go no	where.

A#

C

Gm

A#

D#

A#

C

Gm

A#

D#

A#

C

Gm

A#

D#

A#

C

And

I've

lost

my

light,

For I

toss

and

turn;

I

can't

sleep

at

night.

	Gm	A#	D#
	Once I ran to you,	now I run from you,	This tainted love you've given,

	C
I	give you all a girl could give you. Take my tears and that's not nearly

Gm

A#

D#

A#

C

Gm

A#

D#

A#

C

Gm

A#

D#

A#

C

All,

Tain

ted

love,

Oh,

oh,

Tainted

love.

Now I know, I've got to Run away, I've got to Get away.

You don't really want any more from me. To make things right,

You need someone to hold you tight.

And you think love is to pray, But I'm sorry, I don't pray that way.

Once I ran to you, now I run from you, This tainted love you've given,

I give you all a girl could give you. Take my tears and that's not nearly

All, Tainted love, oh, oh, oh, Tainted love.

Don't touch me, please, I can not stand the way you tease.

I ove you, though you hurt me so, Now I'm going to pack my things and go.

|: Tainted love, oh, oh, oh, Tainted love, oh, oh, oh. :|

|: Touch me, baby, tainted love, :|

|: Tainted love, oh, oh, oh, :|

149. Ghost Riders In The Sky

Stan Jones / Johnny Cash: Silver (1979)

	Am	C
An	old cowboy went ridin' out one	dark and windy day.

	Am	C
U	pon a ridge he rested as he	went along his way.

	Am
	When all at once a mighty herd of red eyed cows he saw:

	F	Am
	Plowin' through the ragged skies, and	up a cloudy draw.

	Am	C
	Their brands were still on fire and their	hoofs were made of steel.

	Am	C
Their	horns were black and shiny and their hot	breath he could feel.

	Am
A	bolt of fear went through him as they thundered through the sky;

	F
For he	saw the riders comin' hard, and he heard their mournful cry:

	Am	C	Am	C	F	Am
	Yippie-I-	ay,	yippie-I-	oh -- The	ghost riders in the	sky!

solo

	Am	C
Their	faces gaunt, their eyes were blurred, their	shirts all soaked with sweat.

	Am	C
He's	ridin' hard to catch that herd, but he	ain't caught 'em yet'.

	Am
'Cause they	got to ride forever on that range up in the sky,

	F	Am
On	horses snorting fire as they	ride on hear their cry!

	Am	C
As the	riders loped on by him he	heard one call his name:

	Am	C
"If you	wanna to save your soul from hell a-	ridin' on our range,

	Am
Then	cowboy change your ways today, or with us you will ride,

	F	Am
Tryin' to	catch the devil's herd a	cross these endless skies!"

Yippie-I-ay, yippie-I-oh - Ghost riders in the sky (3x)...

-

Jürgens Lagerfeuerlieder Teil 3

John Lennon

101. Working Class Hero

John Lennon

102. Bring On The Lucie (Freda People)

John Lennon/Mind Games (1974)

103. Imagine

John Lennon / John Lennon: Imagine (1971)

104. Jealous Guy

John Lennon

Cat Stevens

105. Moon Shadow

Cat Stevens

106. Wild World

Cat Stevens

107. Father and Son

Cat Stevens

Rod Stewart

108. Sailing

Gavin Sutherland / Rod Stewart

109. I Don't Want to Talk About It

Rod Stewart

110. The Killing of Georgie (Part I and II)

Rod_Stewart

Pete Seeger

111. Where Have All the Flowers Gone

Pete Seeger

112. Sag mir, wo die Blumen sind

deutsche Version / Marlene Dietrich

113. Guantanamera

Jose Marti, Pete Seeger

114. Turn, Turn, Turn

Pete Seeger

115. If I had a Hammer

Pete Seeger

116. The Bells Of Rhymney

Pete Seeger (1963 - Melbourne)

Uriah Heep

117. The Wizard

Mark Clarke, Ken Hensley / Uriah Heep: Demons and Wizards (1972)

118. Come Away, Melinda

Hellerman, Minkoff / Uriah Heep: Very 'eavy, Very 'umble (1970)

119. Rain

Ken Hensley / Uriah Heep: The Magician's Birthday (1972)

120. Lady in Black

Hensley / Uriah Heep: Salisbury (1971)

Jimi Hendrix

121. Hey Joe

Jimi Hendrix

122. The Wind Cries Mary

Jimi Hendrix

Oldies, insbes. 60er und 70er Jahre

123. Horse With No Name

America

124. What A Wonderful World

George David Weiss & Bob Thiele / Louis Armstrong

125. Hymn

Barclay James Harvest

126. Sloop John B.

Beach Boys

127. Morning of my Life

Bee Gees

128. Speedy Gonzales

Kaye, Hill, Lee / Pat Boone (1962)

129. The Letter

Wayne Carson Thompson / the Box Tops (1967); Joe Cocker (1970)

130. Hit The Road, Jack

Percy Mayfield / Ray Charles (1961)

131. Summertime Blues

Eddie Cochran

132. Les champs élysées

Pierre Delanoe / Joe Dassin

133. Light my Fire

The Doors/The Doors (1967)

134. Riders On The Storm

Jim Morrison, Robby Krieger, Ray Manzarek, John Densmore / The Doors: L.A. Woman (1971)

135. Hotel California

Felder, Henley & Frey / the Eagles

136. Lucky Man