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Late Monday Setliste kurz (Stand: 11.12.2012)
________________ Programm ________________
1. 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 ... | |
G--------------|-------------|
D--------------|-------------|
A--7--5--7--5--|-7-----5-----|
E--------------|----7-----5--|
2. Joanna
Jon Allen / Sweet Defeat (2011)
| G | | C | | G | | C | | G | C |
| | | | | | | | | From the dying arms of twilight, let's | run into the night. |
| G | C |
Let's | fly like straight shot arrows across the | sky. |
| G | C |
From the | ashes of an old life, let's | catch this newborn flame; |
| G | C |
| Hold it close and never let it | die. |
| Am7 | D | G | C |
| Go with me Jo | anna, | go with me in | time; |
| Am | D | G |
A | pair of chancers | on an open | road. |
| Am7 | D | G | C |
| We'll train our feet to | follow the | footprints of our | dreams. |
| Am | D | G | G | | C | | G | | C |
| Put your hand in | my hand and let's | go. | | | | | | | |
Let's sail upon the evening, now the wind is getting high. | |
Let's go outside and drink the air like wine. | |
This time we'll make a clean break; there'll be no looking back. | |
We'll leave these streets of sorrow far behind. | |
Go with me Joanna, go with me in time; | |
Let's get away before we get too old. | |
We'll cut across the border, into unclaimed land. | |
Put your hand in my hand and let's go. | |
| Em | C | D | Em | C | D |
| Somewhere there's a | place to | be; | Where all we have is | all we | need. |
| G | C |
| Maybe there's a reason that | lies beyond these walls; |
| G | C |
| Maybe there's a meaning to be | found. |
| G | (+bass) | C |
' | Cause I | can't escape this feeling, this | vision in my mind, |
| G | C |
Of the | day we put down roots in virgin | ground. |
Go with me Joanna, go with me in time; | |
I'll take you where the wild flowers grow. | |
We'll ride on through the darkness, and get there with the dawn; | |
Put your hand in my hand - let's go. | |
3. The Mighty Quinn
Bob Dylan/Bob Dylan: Self Portrait (1970)
Manfred Mann: Mighty Garvey! (1968)
| n.c. | G |
| Come all without, come all within - You'll not see nothing like the Mighty Quinn | |
| G | D | G | D | C | G |
| Come all without, | come all with | in - You'll not see n | othing like the | Mighty | Quinn |
| G | C | G | C |
| Ev'rybody's | building | ships and | boats |
| G | C | G | C |
| Some are building | monuments, | others jotting down | notes. |
| G | C | G | C |
| Ev'rybody's | in despair, | ev'ry girl and | boy |
| G | D | C | G |
But when | Quinn the Eskimo | gets here, Ev'ry | body's gonna jump for | joy. |
Come all without, come all within - You'll not see nothing like the Mighty Quinn | |
| G | C | G | C |
I | like to do just | like the rest, I | like my sugar | sweet |
| G | C | G | C |
But | jumping queues and | making haste, just | ain't my cup of | meat. |
| G | C | G | C |
| Ev'ryone's | beneath the trees, feeding | pigeons on a | limb |
| G | D | C | G |
But when | Quinn the Eskimo | gets here, All the | pigeons gonna rum to | him. |
Come all without, come all within - You'll not see nothing like the Mighty Quinn | |
| |: | G | / | / | / | | C | / | / | / | | G | / | / | / | | C | / | / | / | | G | / | / | / | | C | / | / | / | :| | G | / | / | / | | D | / | / | / | | C | / | / | / | | G | / | / | / | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Oh, |
Come all without, come all within - You'll not see nothing like the Mighty Quinn | |
| G | C | G | C |
| Let me do what I | wanna do, I | can recite 'em | all |
| G | C | G | C |
Just | tell me where it | hurts and I'll | tell you who to | call. |
| G | C | G | C |
| Nobody can | get no sleep, there's | someone on ev'ryones | toes. |
| G | D | C | G |
But when | Quinn the Eskimo | gets here, Ev'ry | body's gonna wanna | doze. |
Come all without, come all within - You'll not see nothing like the Mighty Quinn | |
| n.c. | G |
| Come all without, come all within - You'll not see nothing like the Mighty | Quinn |
4. 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 | |
5. White Room
Jack Bruce, Pete Brown / Cream: Wheels of Fire (1968)
| Dm | C | Am | G | Dm | C | Am | G | Em |
| Ah | Ah | Ah | Ah - | Ah A | h | Ah | Ah | Ah |
| Am | C | D | F | - | G | Am | C | | D |
In the | white room | with black | curtains | | | near the | stations. | | | |
| F | - | G | Am | C | D | F | - | G | Am | C | | D |
| | | Blackroof | country, | no gold | pavements | , | | tired | starlings, | | | |
| F | - | G | Am | C | D | F | - | G | Am | C | | D |
| | | Silver | horses | run down | moonbeams | | | in your | dark eyes. | | | |
| F | - | G | Am | C | D | F | - | G | Am | C | | D |
| | | Dawnlight | smiles | on your | leaving | , | | my con | tentment. | | | |
| F | G | D | F | E |
| I'll | wait in this | place where the | sun never | shines. |
| G | D | F | G | A | A |
| Wait in this | place where the | shadows | run from them | selves. | |
You said no strings could secure you at the stations. | |
Platform ticket, restless diesels, goodbye windows. | |
I walked into such a sad time at the station. | |
As I walked out felt my own need just beginning. | |
I'll wait in the queue when the trains come back. | |
I'll wait for you where the shadows run from themselves. | |
| Dm | C | Am | G | Dm | C | Am | G | Em |
| Ah | Ah | Ah | Ah - | Ah A | h | Ah | Ah | Ah |
At the party she was kindness in the hard crowd. | |
Consolation from the old wound now forgotten. | |
Yellow tigers crouched in jungles in her dark eyes. | |
She's just dressing, goodbye windows, tired starlings. | |
I'll sleep in this place with the lonely crowd, | |
Lie in the dark where the shadows run from themselves. | |
| Dm | C | Am | G | Dm | C | Am | G | Em | Am |
| Ah | Ah | Ah | Ah - | Ah | Ah | Ah | Ah | Ah | Ah |
6. I Shall Be Released
Bob Dylan / the Band: Music from Big Pink (1968)
| A | Bm | C#m | Bm | E | A |
| They say everything can be re | placed - | That every | distance | is not | near. |
| A | Bm | C#m | Bm | E | A |
| So I remember every | face - | Of every | man who | put me | here. |
| |: | | A | Bm | C#m | Bm | E | A |
| | I | see my light come | shining - | From the | west un | to the | east. |
| A | Bm | C#m | Bm | A | :| |
| Any day now, | Any way now, | I shall | be re | leased! | |
| A | Bm | C#m | Bm | E | A |
| They say every man needs pro | tection, | They say every | man must | rise and | fall. |
| A | Bm | C#m | Bm | E | A |
| Yet I swear I see my re | flection, | Placed so | high a | bove this | wall. |
| A | Bm | C#m | Bm | E | A |
I | see my light come | shining - | From the | west un | to the | east. |
| A | Bm | C#m | Bm | A |
| Any day now, | Any way now, | I shall | be re | leased! |
| |: | | A | Bm | C#m | Bm | E | A |
| | I | see my light come | shining - | From the | west un | to the | east. |
| A | Bm | C#m | Bm | A | :| |
| Any day now, | Any way now, | I shall | be re | leased! | |
| A | Bm | C#m | Bm | E | A |
| Right here next to me in this | lonely crowd, | There's a | man who | swears he's not to | blame. |
| A | Bm | C#m | Bm | E | A |
| All day long I hear him | cry so loud, | Callin' | out that | he's been | framed. |
| |: | | A | Bm | C#m | Bm | E | A |
| | I | see my light come | shining - | From the | west un | to the | east. |
| A | Bm | C#m | Bm | A | :| |
| Any day now, | Any way now, | I shall | be re | leased! | |
| A | Bm | C#m | Bm | A |
| Any day now, | Any way now, | I shall | be re | leased! |
7. Hurt
Trent Reznor / Nine Inch Nails: The Downward Spiral (1994); Johnny Cash (2002)
| Bm | | D | E | Bm | D | E | Bm |
| | I | hurt my | self to | day - to | see if | I still | feel. |
| D | E | Bm | D | E | Bm |
I | focus | on the | pain - the | only | thing that's | real. |
| D | E | Bm | D | E | Bm |
The | needle | tears a | hole - the | old fa | miliar | sting. |
| D | E | Bm | D | E | A | Bm |
Try to | kill it | all a | way - but I re | member | every | thing | ! |
| Bm | G | D | A |
| What have I be | come - | my sweetest | friend? |
| Bm | G | D | A |
| Everyone I | know - goes a | way in the | end! |
| Bm | G | D | A |
| And you could have it | all - | my empire of | dirt. |
| Bm | G | D | A | D |
| I will let you | down - | I will make you | hurt | ! |
| D | E | Bm | D | E | Bm |
| I wear this | crown of | thorns - u | pon my | liars | chair |
| D | E | Bm | D | E | Bm |
| Full of | broken | thoughts - | I can | not re | pair |
| D | E | Bm | D | E | Bm |
Be | neath the | stains of | time - the | feelings | disap | pear |
| D | E | Bm | D | E | A | Bm |
| You are | someone | else - | I am | still right | here | . |
| Bm | G | D | A |
| What have I be | come - | my sweetest | friend? |
| Bm | G | D | A |
| Everyone I | know - goes a | way in the | end! |
| Bm | G | D | A |
| And you could have it | all - | my empire of | dirt. |
| Bm | G | D | A |
| I will let you | down - | I will make you | hurt! |
| Bm | G | D | A |
| If I could start a | gain - | A million miles a | way |
| Bm | G | D | A |
| I would keep my | self - | I would find a | way |
8. From Hank to Hendrix
Neil Young / Neil Young: Harvest Moon (1992)
| G | Bm | C | Am |
| From Hank to | Hendrix, I | walked these streets with | you. |
| Em | G | C | Am |
| Here I am with this | old guitar, | doing what I | do. |
| G | Bm | C | Am |
| I always ex | pected that | you would see me | through. |
| Em | G | C | Am | G |
| I never believed in | much, but | I believed in | you. | |
| F | C | G |
| Can we get it together, can we | still stand side by | side. |
| F | C | G |
| Can we make it last, | like a musical | ride? |
| G | Bm | C | Am |
| From Marilyn to | Madonna, I | always loved your | smile, |
| Em | G | C | Am |
| Now we're headed for the | big divorce, | California | style. |
| G | Bm | C | Am |
| I found myself | singin' | like a long lost | friend |
| Em | G | C | Am | G |
| The same thing that | makes you live can | kill you in the | end. | |
| F | C | G |
| Can we get it together, can we | still stand side by | side. |
| F | C | G |
| Can we make it last, | like a musical | ride? |
| harp solo: | G | Bm | | C | | Am | | Em | | G | | C | | Am |
| | | | | | | | | | | | | | | |
| G | Bm | C | Am |
| Sometimes it's dis | torted | not clear to | you. |
| Em | G | C | Am |
| Sometimes the | beauty of love just | comes ringin' | through. |
| G | Bm | C | Am |
| New glass in the | window, | new leaf on the | tree, |
| Em | G | C | Am | G |
| new distance | between us | you and | me. | |
| F | C | G |
| Can we get it together, can we | still stand side by | side. |
| F | C | G |
| Can we make it last, | like a musical | ride? |
9. Bad Moon Rising
John Fogerty/Creedence Clearwater Revival: Green River (1969)
| |: | F# | C# | B | F# | F#6 | F# | F#6 | F# | F#6 | :| |
| | // / | / | / | // | / | / | / | / | / | |
| F# | C# | B | F# | F# | F#6 | F# | F#6 | F# |
| I see a | bad | moon a- | risin'. | | | | | |
| F# | C# | B | F# | F# | F#6 | F# | F#6 | F# |
| I see | trouble's | on the | way. | | | | | |
| F# | C# | B | F# | F# | F#6 | F# | F#6 | F# |
| I see | earth | quakes and | lightnin'. | | | | | |
| F# | C# | B | F# | F# | F#6 | F# | F#6 | F# |
| I see | bad | times | today. | | | | | |
| B | F# |
| Don't go round tonight, it's | bound to take your life, |
| C# | B | F# | F# | F#6 | F# | F#6 | F# |
| 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: | |: | F# | C# | B | F# | F#6 | F# | F#6 | F# | :| |
| | | | | | | | | | | |
| B | F# | C# | B | F# | F#6 | F# | F#6 | F# | 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! | |
| B | F# |
| Don't go round tonight, it's | bound to take your life, |
| C# | B | F# | C# | B | F# | (Intro Riff) |
| There's a | bad moon on the | rise! | | | | |
G--------------------------|
D--4--4--------4--4--2--4--|
A--------4--2--------------|
E--------------------------|
10. The Spanish Lady
Paddy Reilly
| F# | D#m | B | F# | G#m | C# |
| As I went down to | Dublin City | At the | hour of | twelve at | night; |
| F# | D#m | B | F# | G#m | C# |
| Who should I see but a | Spanish Lady, | Washing her | feet by | candle | light |
| F# | C#7 | F# | C#7 |
| First she washed them, | then she dried them | Over a fire of | amber coals |
| F# | D#m | B | F# | G#m | C# |
In | all my life I | never did see a | maid so | sweet a | bout the | soul! |
| F# | D#m | B | F# | G#m | C# |
| Whack for the Toora | Loora Laddy - | Whack for the | Toora | Loora | Lay! |
| F# | D#m | B | F# | C# | F# |
| Whack for the Toora | Loora Laddy - | Whack for the | Toora | Loora | Lay! |
| F# | D#m | B | F# | G#m | C# |
| As I came back through | Dublin city | at the | hour of | half past | eight; |
| F# | D#m | B | F# | G#m | C# |
| Who should I see but the | Spanish lady, | brushing her | hair in | broad day | light |
| F# | C#7 | F# | C#7 |
| First she tossed it, | then she combed it | on her lap was a | silver comb |
| F# | D#m | B | F# | G#m | C# |
| In all my life I | never did see a | maid so | fair since | I did | roam! |
Whack for the Toora Loora Laddy - Whack for the Toora Loora Lay... | |
| F# | D#m | B | F# | G#m | C# |
| As I went back through | Dublin city | as the | sun be | gan to | set; |
| F# | D#m | B | F# | G#m | C# |
| Who should I see but the | Spanish lady, | catching a | moth in a | golden | net! |
| F# | C#7 | F# | C#7 |
| When she saw me | then she fled me | lifting her pettycoat | over her knee |
| F# | D#m | B | F# | G#m | C# |
| In all my life I | never did see a | maid so | shy as the | Spanish La | dy! |
Whack for the Toora Loora Laddy - Whack for the Toora Loora Lay... | |
As I was leaving Dublin city On that morning sad of heart; | |
Lonely was I for the Spanish lady, Now that forever we must part! | |
But still I always will remember All the hours we did enjoy | |
But then she left me sad at parting Gone forever was my joy! | |
Whack for the Toora Loora Laddy - Whack for the Toora Loora Lay... | |
11. Wagon Wheel
Bob Dylan, Ketcham Secor / Old Crow Medicine Show: Old Crow Medicine Show (2004)
| G | D | Em | C |
| Headed down south to the | land of the pines, And I'm | thumbin' my way into | North Caroline. |
| G | D | C |
| Starin' up the road - And pray to | God I see | headlights. |
| G | D | Em | C |
I | made it down the coast in | seventeen hours, | Pickin' me a bouquet of | dogwood flowers, |
| G | D | C |
And I'm a | hopin' for Raleigh - I can | see my baby to | night. |
| G | D | Em | C | G | D | C |
So | rock me mama like a | wagon wheel; | Rock me mama any | way you feel - | Hey, | mama | rock me! |
| G | D | Em | C |
| Rock me mama like the | wind and the rain; | Rock me mama like a | south-bound train - |
| G | D | C | G | D | Em | C | G | D | C |
| Hey, | mama | rock me! | | | | | | | |
| G | D | Em | C |
| Runnin' from the cold | up in New England I was | born to be a fiddler in an | old-time stringband. |
| G | D | C |
My | baby plays the guitar - | I pick a banjo | now. |
| G | D | Em | C |
Oh, the | North country winters keep a | gettin' me now, Lost my | money playin' poker so I | had to up and leave. |
| G | D | C |
But I | ain't a turnin' back - To | livin' that old life | no more! |
| G | D | Em | C | G | D | C |
So | rock me mama like a | wagon wheel; | Rock me mama any | way you feel - | Hey, | mama | rock me! |
| G | D | Em | C |
| Rock me mama like the | wind and the rain; | Rock me mama like a | south-bound train - |
| G | D | C | |: | G | D | Em | C | G | D | C | :| |
| Hey, | mama | rock me! | | | | | | | | | |
| G | D | Em | C |
| Walkin' to the south | out of Roanoke - I caught a | trucker out of Philly. Had a | nice long talk. |
| G | D | C |
But | he's a headed west from the | Cumberland Gap - To | Johnson City, Tennessee |
| G | D | Em | C |
And I | gotta get a move on | before the sun, I hear my | baby callin' my name and I | know that she's the only one. |
| G | D | C |
And | if I die in Raleigh - At | least I will die | free! |
| G | D | Em | C | G | D | C |
So | rock me mama like a | wagon wheel; | Rock me mama any | way you feel - | Hey, | mama | rock me! |
| G | D | Em | C | G | D | C | G |
| Rock me mama like the | wind and the rain; | Rock me mama like a | south-bound train - | Hey, | mama | rock me! | |
12. Copper Kettle
Albert Frank Beddoe / Bob Dylan: Self Portrait (1970)
| G | Am7 | G | Am7 | | G | Am7 | G | | Am7 |
| Get you a | copper | kettle, | | | get you a | copper | coil, | | |
| G | Am7 | G | | Am7 | | C | Cmaj7 | Am |
| Fill it with | new-made | corn mash | | | and | never | more you'll | toil. |
| C | G | C | G |
You'll just | lay there by the | juniper, | while the moon is | bright, |
| C | Cmaj7 | Am | Am7 | G | | Am7 | | G | | Am7 | | G |
| Watch them | jugs a- | filling - in the | pale moon | light. | | | | | | | | |
| G | Am7 | G | Am7 | | G | Am7 | G | | Am7 |
| Build you a | fire with | hickory, | | | hickory, | ash and | oak, | | |
| G | Am7 | G | Am7 | | C | Cmaj7 | Am |
| Don't use no | green or | rotten wood; | | they'll | get you | by the | smoke. |
| C | G | C | G |
We just | lay there by the | juniper, | while the moon is | bright, |
| C | Cmaj7 | Am | Am7 | G | | Am7 | | G | | Am7 | | G |
| Watch them | jugs a- | filling - in the | pale moon | light. | | | | | | | | |
| G | Am7 | G | Am7 | | G | Am7 | G | | Am7 |
My | daddy, | he made | whiskey; | | | my granddaddy, | he did | too. | | |
| G | Am7 | G | Am7 | C | Cmaj7 | Am |
| We ain't | paid no | whiskey | tax since | seventeen- | ninety- | two. |
| C | G | C | G |
We just | lay there by the | juniper, | while the moon is | bright, |
| C | Cmaj7 | Am | Am7 | G |
| Watch them | jugs a- | filling - in the | pale moon | light, |
| Am7 | G | | Am7 | | G | | Am7 | | G | ... |
In the | pale moon | light. | | | | | | | | | |
_________________ Zugabe _________________
13. Get Back
Lennon & McCartney / the Beatles: Let it Be (1970)
| Intro: | | D | D | C | G | |
| | | : | / / / / | | / / | / | / : | | |
| D | G | D | C | G |
| Jojo was a man who thought he was a loner, | But he knew it couldn't | last. | | |
| D | G | D | C | G |
| Jojo left his home in Tuscon, Arizona | For some California | grass. | | |
| D | G | D | C | G |
| Get back, get back! Get | back to where you once be | longed | | |
| D | G | C | G |
| Get back, get back! Get | back to where you once belonged | | |
| Bass Solo: | | D | D | G | D | C | G |
| | | : | / / / | | / / / | | / / / | | / / | / | / : | |
G|------------9-7-9/10-9/7-|
D|---4-5/9-10--------------|
A|-5-----------------------|
E|-------------------------|
| D | G | D | C | G |
| Get back, get back! Get | back to where you once be | longed | | |
| D | G | C | G |
| Get back, get back! Get | back to where you once belonged | | |
| Flute Solo: | | D | D | G | D | C | G |
| | | : | / / / | | / / / | | / / / | | / / | / | / : | |
| D | G | D | C | G |
| Sweet Loretta Martin thought she was a woman, | But she was another | man. | | |
| D | G | D | C | G |
| All the girls around her said she's got it comin', | But she gets it while she | can. | | |
| D | G | D | C | G |
| Get back, get back! Get | back to where you once be | longed | | |
| D | G | C | G |
| Get back, get back! Get | back to where you once belonged | | |
| Guitar Solo: | | D | D | G | D | C | G |
| | | : | / / / | | / / / | | / / / | | / / | / | / : | |
| D | G | D | C | G |
| Jojo was a man who thought he was a loner, | But he knew it couldn't | last. | | |
| D | G | D | C | G |
| Jojo left his home in Tuscon, Arizona | For some California | grass. | | |
| D | G | D | C | G |
| Get back, get back! Get | back to where you once be | longed | | |
| D | G | C | G |
| Get back, get back! Get | back to where you once belonged | | |
All Along The Watchtower | 4 |
Bad Moon Rising | 9 |
Copper Kettle | 12 |
From Hank to Hendrix | 8 |
Get Back | 13 |
Horse With No Name | 1 |
Hurt | 7 |
I Shall Be Released | 6 |
Joanna | 2 |
The Mighty Quinn | 3 |
The Spanish Lady | 10 |
Wagon Wheel | 11 |
White Room | 5 |
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