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Birds on the Wire (10.06.2019)
_________________ Leonard Cohen - Teil I _________________
1. You Want it Darker
Leonard Cohen / Leonard Cohen: You Want it Darker (2016)
| Em |
| If you are the dealer, I'm out of the game. |
| G | Am |
If you are the healer, it means | I'm broken | and lame. |
| Em |
| If thine is the glory then mine must be the shame. |
| G | Am | | Em | G | Am |
You want it darker, | | | We kill the flame. | | | |
| Em |
| Magnified, sanctified, be thy holy name. |
| G | Am |
Vilified, crucified, in | the human fram | e. |
| Em |
| A million candles burning for the help that never came - You want it darker. |
| G | Am | C | G | D | Em | G | Am |
( | Ooh | Ooh | Ooh | Ooh) | Hineni, hineni - I'm ready, my lord | | | |
There's a lover in the story, But the story's still the same. | |
There's a lullaby for suffering - And a paradox to blame. | |
But it's written in the scriptures, And it's not some idle claim. | |
You want it darker - We kill the flame. | |
They're lining up the prisoners - And the guards are taking aim. | |
I struggled with some demons, They were middle class and tame. | |
I didn't know I had permission to murder and to maim - You want it darker. | |
(Ooh-Ooh-Ooh-Ooh) - Hineni, hineni - I'm ready, my lord | |
Magnified, sanctified, be thy holy name. | |
Vilified, crucified, in the human frame. | |
A million candles burning for the love that never came. | |
You want it darker - We kill the flame. | |
If you are the dealer, let me out of the game. | |
If you are the healer, I'm broken and lame. | |
If thine is the glory then mine must be the shame. | |
(Ooh-Ooh-Ooh-Ooh) - Hineni, hineni | |
(Ooh-Ooh-Ooh-Ooh) - Hineni, hineni - I'm ready, my lord | |
(Ooh-Ooh-Ooh-Ooh) - Hi-ne-ni - (Ooh-Ooh-Ooh-Ooh) - Hi-ne-ni | |
2. Tonight Will be Fine
Leonard Cohen : Songs from a Room (1969)
| A | E | A |
| Sometimes I find I get to | thinking of the | past. |
| A | E | A |
We | swore to each other then that our | love would surely | last. |
| E | A |
You kept right on loving, | I went on a | fast, |
| E | A |
Now I am too thin and your | love is too | vast. |
| D | A | D | A |
But I | know from your | eyes, And I | know from your | smile: |
| D | A |
That to | night will be | fine, will be fine, will be fine, |
| E | E7 | A |
Will be | fine | for a | while. |
| A | E | A |
| I choose the rooms that I | live in with | care. |
| A | E | A |
The | windows are small and the | walls almost | bare. |
| E7 | G | D7 | A |
There's only one bed and there's | only - | only | one | prayer. |
| C | E7 |
I listen all night for your | step on the | stair. |
| D7 | A7 | D7 | A7 |
But I | know from your | eyes, And I | know from your | smile: |
| D7 | A7 |
That to | night will be | fine, will be fine, will be fine, |
| E | E7 | A |
Will be | fine | for a | while. |
| A | E | A |
| Oh sometimes I see her un | dressing for | me. |
| A | E | A |
She's the | soft naked lady love | meant her to | be. |
| E | A |
And she's moving her body so | brave and so | free. |
| E | A |
If I've got to remember that's a | fine memo | ry. |
| D | A | D | A |
But I | know from your | eyes, And I | know from your | smile: |
| D | A |
That to | night will be | fine, will be fine, will be fine, |
| E | E7 | A |
Will be | fine | for a | while. |
3. The Guests
Leonard Cohen / Leonard Cohen: Recent Songs (1979)
| Em | D | C | D |
| One by one, | the guests arrive, | the guests are coming | through. |
| Em | D | C | E |
| The open-hearted m | any, | the broken-hearted | few. |
| A | D |
And | no one knows where the | night is going |
| A | D |
And | no one knows why the | wine is flowing |
| C |
| Oh love I need you, I need you, I need you, I need you |
| E7 | A |
| now - - I need you | now. |
And those who dance, begin to dance, those who weep begin | |
And "welcome, welcome" cries a voice "let all my guests come in." | |
And no one knows where the night is going | |
And no one knows why the wine is flowing | |
Oh love I need you, I need you, I need you, I need you | |
And all go stumbling through that house, in lonely secrecy | |
Saying "do reveal yourself", or "why has thou forsaken me? " | |
All at once, the torches flare, the inner door flies open | |
One by one, they enter there, in every style of passion | |
And here they take their sweet repast, while house and grounds dissolve | |
And one by one the guests are cast, beyond the garden wall | |
And those who dance, begin to dance, those who weep begin | |
Those who earnestly are lost, are lost and lost again | |
One by one, the guests arrive, the guests are coming through | |
The open-hearted many, the broken-hearted few | |
4. Lover Lover Lover
Leonard Cohen / Leonard Cohen: New Skin for the Old Ceremony (1974)
| Bm | Em | Bm |
| I asked my | father, I said, "Father change my | name." |
| Em | Bm |
The one I'm u | sing now it's covered up with fear and filth and cowardice and | shame. |
| G | D |
Yes and | lover, lover, lover, lover, lover, lover, lover come | back to me, |
| G | D |
yes and | lover, lover, lover, lover, lover, lover, lover come | back to me. |
| D | Em | Bm |
| He said, "I | locked you in this body,I meant it as a kind of | trial. |
| Em | Bm |
You can | use it for a weapon, or to make some woman | smile." |
| G | D |
Yes and | lover, lover, lover, lover, lover, lover, lover come | back to me, |
| G | D |
yes and | lover, lover, lover, lover, lover, lover, lover come | back to me. |
| D | Em | Bm |
| "Then let me | start again," I cried, "Please let me start a | gain. |
| Em | Bm |
I want a | face that's fair this time, I want a spirit that is | calm." |
| G | D |
Yes and | lover, lover, lover, lover, lover, lover, lover come | back to me, |
| G | D |
yes and | lover, lover, lover, lover, lover, lover, lover come | back to me. |
| D | Em | Bm |
| "I never | never turned aside," he said, "I never walked a | way. |
| Em | Bm |
It was | you who built the temple, it was you who covered up my | face." |
| G | D |
Yes and | lover, lover, lover, lover, lover, lover, lover come | back to me, |
| G | D |
yes and | lover, lover, lover, lover, lover, lover, lover come | back to me. |
| D | Em | Bm |
| And may the | spirit of this song, may it rise up pure and | free. |
| Em | Bm |
May it | be a shield for you, a shield against the ene | my. |
| G | D |
Yes and | lover, lover, lover, lover, lover, lover, lover come | back to me, |
| G | D |
yes and | lover, lover, lover, lover, lover, lover, lover come | back to me. |
5. First we Take Manhattan
Leonard Cohen
| Dm | Am |
They | sentenced me to twenty years of | boredom, |
| Dm | Am |
For | trying to change the system from | within. |
| Dm | Am |
I'm | coming now I'm coming to | reward them: |
| G | F | E | Am |
| First we take Man | hattan, | then we take Ber | lin. |
I'm guided by a signal in the heavens. I'm guided by this birthmark on my skin. | |
I'm guided by the beauty of our weapons: First we take Manhattan, then we take Berlin. | |
| C | G | F |
I'd | really like to live beside you, | baby. | |
| C | Am |
I love your | body and your spirit and your | clothes, |
| C | Am |
But you | see that line there moving through the | station. |
| G | F | E | Am |
I | told you - I | told you - I | told you I was one of | those. |
You loved me as a loser but now you're worried that I just might win. | |
You know the way to stop me but you don't have the discipline. | |
How many nights I prayed for this: to let my work begin: | |
First we take Manhattan, then we take Berlin. | |
I don't like your fashion business, mister. I don't like these drugs that keep you thin. | |
I don't like what happened to your sister: First we take Manhattan, then we take Berlin. | |
I'd really like to live beside you, baby. | |
I love your body and your spirit and your clothes. | |
But you see that line there moving through the station: | |
I told you - I told you - I told you I was one of those. | |
And I thank you for those items that you sent me. The monkey and the plywood violin. | |
I practiced every night and now I'm ready: First we take Manhattan, then we take Berlin. | |
Remember me, I used to live for music. Remember me, I brought your groceries in. | |
It's Father's Day and everybody's wounded: First we take Manhattan, then we take Berlin. | |
6. Dance Me To The End Of Love
Leonard Cohen
| |: | | Cm | | Gm | | :| | |: | | D7/A | | Gm | | :| |
| | | | | | | | | | | | | | |
| Cm | Gm |
| Dance me to your beauty with a | burning violin |
| Cm | Gm |
| Dance me through the panic 'til I'm | gathered safely in |
| Cm | Gm |
| Lift me like an olive branch and | be my homeward dove |
| |: | D7/A | Gm | :| | Cm | | Gm | | D7/A | | Gm | |
| |: | Dance me to the end of | love | :| | | | | | | | | |
Oh let me see your beauty when the witnesses are gone | |
Let me feel you moving like they do in Babylon | |
Show me slowly what I only know the limits of | |
Dance me to the end of love, Dance me to the end of love. | |
Dance me to the wedding now, dance me on and on | |
Dance me very tenderly and dance me very long | |
We're both of us beneath our love, we're both of us above | |
Dance me to the end of love, Dance me to the end of love. | |
Dance me to the children who are asking to be born | |
Dance me through the curtains that our kisses have outworn | |
Raise a tent of shelter now, though every thread is torn | |
Dance me to the end of love | |
Dance me to your beauty with a burning violin | |
Dance me through the panic till I'm gathered safely in | |
Touch me with your naked hand or touch me with your glove | |
| |: | D7/A | Gm | :| 3x |
| |: | Dance me to the end of | love. | :| |
7. There is a War
Leonard Cohen / Leonard Cohen: New Skin for the Old Ceremony (1974)
| Am |
There is a | war between the rich and poor a |
| G |
War be-tween the man and the | woman. |
| Am |
There is a | war be-tween the ones who say there is a |
| G |
war and the ones who say there | isn't. |
| D | C | G |
Why don't you | come on back to the | war, that's right, get | in it, |
| D | C | G |
Why don't you | come on back to the | war, it's just be | ginning. |
Well I live here with a woman and a child, | |
The situation makes me kind of nervous. | |
Yes, I rise up from her arms, she says "I guess you call this love"; | |
I call it service. Why don't you come on back to the war, don't be a tourist, | |
why don't you come on back to the war, before it hurts us, | |
Why don't you come on back to the war, let's all get nervous. | |
You cannot stand what I've become, | |
You much prefer the gentleman I was before. | |
I was so easy to defeat, I was so easy to control, | |
I didn't even know there was a war. | |
Why don't you come on back to the war, don't be embarrassed, | |
Why don't you come on back to the war, you can still get married. | |
There is a war between the rich and poor, | |
A war between the man and the woman. | |
There is a war between the left and right, | |
A war between the black and white, | |
A war between the odd and the even. | |
Why don't you come on back to the war, pick up your tiny burden, | |
Why don't you come on back to the war, let's all get even, | |
Why don't you come on back to the war, can't you hear me speaking? | |
8. The Future
Leonard Cohen / Leonard Cohen: The Future (1992)
| Dm |
Give me back my broken night, my | mirrored room, my secret life, |
| G6 | E7 | Am |
It's | lonely here, there's no | one left to | torture. |
| Dm |
Give me absolute control | over every living soul |
| G6 | Am |
And | lie beside me, baby, that's an | order! |
| Dm |
Give me crack and anal sex, | take the only tree that's left, |
| G6 | E7 | Am |
| stuff it up the | hole in your cul | ture. |
| Dm |
Give me back the Berlin Wall, | give me Stalin and St. Paul. |
| G6 | E7 | Am |
I've | seen the future, | brother: it is | murder. |
| Dm | C |
| Things are gonna slide, ( | slide) in all directions, |
| Dm | C |
Won't be | nothing (won't be) nothing you can't | measure anymore. |
| Dm | F |
The | blizzard, the blizzard of the | world has crossed the threshold |
| Fm | C |
and it's | overturned the order of the | soul. |
| |: | | G |
| |: | When they | said (they said) Repent (repent) Repent (repent) |
| Am | :| |
I wonder | what they meant. | :| (3x) |
You don't know me from the wind, you never will, you never did, | |
I'm the little jew who wrote the bible. | |
I've seen the nations rise and fall, I've heard their stories, heard them all, | |
But love's the only engine of survival. | |
Your servant here, he has been told to say it clear, to say it cold: | |
It's over, it ain't going any further. | |
And now the wheels of heaven stop, you feel the devil's riding crop, | |
Get ready for the future: it is murder. | |
Things are gonna slide, (slide) in all directions. | |
Won't be nothing, (won't be) nothing you can measure anymore. | |
The blizzard, the blizzard of the world has crossed the threshold | |
And it's overturned the order of the soul. | |
|: When they said (=) repent (=), repent (=) - I wonder what they meant. :| (3x) | |
| Am | Dm |
| There'll be the breaking of the ancient western code, Your | private life will suddenly explode. |
| Am | F7 | E |
There'll be | phantoms, there'll be fires on the road, And the white man | dancing. | |
| Am | Dm |
You'll see your | woman hanging upside down, her | features covered by her fallen gown. |
| Am | F7 | E |
and all the | lousy little poets coming around trying to sound like Charlie | Manson | |
| Am |
And the white man | dancing. |
| A | A | G | A | C | G | A | C | | G | C | A | A |
( | riff | jum | pin | g | jack | fla | sh | ) | | | | | |
Give me back the Berlin Wall, give me Stalin and St. Paul, | |
Give me Christ, or give me Hiroshima! | |
Destroy another fetus now, we don't like children anyhow, | |
I've seen the future, baby: it is murder. | |
Things are gonna slide, (slide) in all directions. | |
Won't be nothing, (won't be) nothing you can measure anymore. | |
The blizzard, the blizzard of the world has crossed the threshold | |
And it's overturned the order of the soul. | |
|: When they said (=) repent (=), repent (=) - I wonder what they meant. :| (3x) | |
_________________ Teil II _________________
9. Suzanne
Leonard Cohen
| E |
| Suzanne takes you down to her place near the river, |
| F#m |
You can | hear the boat go by, and you spend the night beside her. |
| E |
And you | know that she's half crazy, but that's why you want to be there |
| G#m | A |
And she | feeds you tea and oranges that come | all the way from China. |
| E | F#m |
And | when you mean to tell her that you | have no love to give her. |
| E |
Then she | gets you on her wave-length |
| F#m | E |
And she | lets the river answer that you’ve | always been her lover. |
| G#m | A |
And you | want to travel with her, and you | want to travel blind, |
| E | F#m |
And you | know she will trust you for you’ve | touched her perfect body |
And Jesus was a sailor when he walked upon the water. | |
And he spend a long time watching from his lonely wooden tower. | |
And when he knew for certain only drowning men could see him | |
He said: "All men will be sailors then until the sea shall free them". | |
But he himself was broken long bevor the sky war open | |
He sank beneath your wisdom like a stone. | |
And you want to travel with him, and you want to travel blind | |
And you think maybe you'll trust him for he's touched you perfect body | |
Now Suzanne takes your hand and she leads you to the river | |
She is wearing rags and feathers from Salvation Army counters. | |
And the sun pours down like honey for our lady of the harbour, | |
and she shows you where to look among the garbage and the flowers. | |
There are heros in the seaweed, there are children in the morning | |
They are leaning out for love | |
And they will lean that way forever, while Suzanne holds the mirror. | |
And you want to travel with her, and you want to travel blind, | |
And you know that you can trust her for she's touched your perfect body | |
10. Bird on the Wire
Leonard Cohen / Leonard Cohen: Sogs from a Room (1969)
| A | E | A | D |
Like a | bird on the | wire, like a | drunk in a midnight | choir, |
| A | E | A | Asus4 | A |
I have | tried in my | way to be | free. | | |
| A | E | A | D |
Like a | worm on a | hook, like a | knight from some old-fashioned | book, |
| A | E | A | Asus4 | A |
I have | saved all my | ribbons for | thee. | | |
| D | A |
| If I, if I have been un | kind, |
| Bm | A |
| I hope that you can just let it go | by. |
| D | A |
| If I, if I have been un | true, |
| Bm | E |
| I hope you know it was never to | you. |
| A | E | A | D |
Like a | baby still | born, like a | beast with his | horn, |
| A | E | A | Asus4 | A |
I have | torn every | one who reached out for | me. | | |
| A | E | A | D |
But I | swear by this | song and by | all that I have done | wrong! |
| A | E | A | Asus4 | A |
| I will make it | all up to | thee. | | |
| D | A |
| I saw a beggar leaning on his wooden | crutch. |
| Bm | A |
| He said to me, "You must not ask for so | much." |
| D | A |
| And a pretty woman leaning in her darkened | door, |
| Bm | E |
| She cried to me, "Hey, why not ask for | more?" |
| A | E | A | D |
Like a | bird on the | wire, like a | drunk in a midnight | choir, |
| A | E | D | A |
I have | tried in my | way to be | free | |
11. I'm Your Man
Leonard Cohen / Leonard Cohen: I'm Your Man (1988)
| | | Em | | | | | Bm | | | | | A | | | F#m | | | Bm | | |
| | | / / / / | | / / / / | | | / / / / | | / / / / | | | / / / / | | | / / / / | | | / / / / | | |
| Bm | Em | Bm |
| If you want a | lover, I'll do anything you | ask me to, |
| Em | D |
And if you want an | other kind of love, I'll wear a | mask for you. |
| Bm |
If you want a | partner, take my hand, |
| G | A |
Or if you want to | strike me down in anger, | |
| Bm |
Here I stand: I'm your | man! |
If you want a boxer, I will step into the ring for you, | |
And if you want a doctor, I'll examine every inch of you. | |
If you want a driver, climb inside, | |
Or if you want to take me for a ride, | |
You know you can: I'm your man! | |
| D | G |
Ah, the | moon's too bright, the | chain's too tight, |
| A | D |
The | beast won't go to | sleep. |
| F#m |
I've been | running through these promises to you |
| Bm |
That I | made and I could not keep. |
| F#m | Bm |
Ah, but | a man never got a woman back, not by b | egging on his knees; |
| G | A |
Or I'd | crawl to you baby, And I'd | fall at your feet, |
| G | A |
And I'd | howl at your beauty like a | dog in heat, |
| G | G# |
And I'd | claw at your heart, And I'd | tear at your sheet; |
| A | Bm |
I'd say | please: (please) I'm your | man! |
And if you've got to sleep a moment on the road, I will steer for you. | |
And if you want to work the street alone, I'll disappear for you. | |
If you want a father for your child, | |
Or only want to walk with me a while | |
Across the sand: I'm your man! | |
If you want a lover, I'll do anything you ask me to, | |
And if you want another kind of love, I'll wear a mask for you... | |
12. The Partisan (La Complainte du Partisan)
Bernard, Anna Marly, Hy Saret (engl. Text) /Leonard Cohen: Songs from a room (1969)
| Em | G | D | Em | G | D | Em |
| When they | poured a | cross the | border I was | cautioned | to sur | render, |
| G | D | C | G | B7 | Em |
This I | could not | do. | I took my gun and | vanished. | | |
I have changed my name so often, I've lost my wife and children, | |
But I have many friends. And some of them are with me. | |
An old woman gave us shelter, Kept us hidden in the garret. | |
Then the soldiers came: She died without a whisper. | |
There were three of us this morning, I'm the only one this evening. | |
But I must go on, the frontiers are my prison. | |
Oh, the wind, the wind is blowing Through the graves, the wind is blowing. | |
Freedom soon will come, Then we'll come from the shadows. | |
Les Allemands étaient chez moi. Ils me dirent: resigne-toi. | |
Mais je n'ai pas pu, J'ai repris mon arme. | |
J'ai changé cent fois de nom. J'ai perdu femme et enfants. | |
Mais j'ai tant d'amis, J'ai la France entière. | |
Un vieil homme dans un grenier Pour la nuit nous a cachés. | |
Les Allemands l'ont pris, Il est mort sans surprise. | |
Oh, the wind, the wind is blowing Through the graves, the wind is blowing. | |
Freedom soon will come, Then we'll come from the shadows. | |
13. Joan of Arc
Leonard Cohen / Leonard Cohen: Songs of Love and Hate (1971)
| G | D |
| Now the flames they followed Joan of | Arc |
| C | G |
| As she came riding through the | dark. |
| A | D |
| No moon to keep her | armour bright, |
| A | G | D |
No | man to get her through t | his (dark and) very smoky night. | |
She said, "I'm tired of the war. | |
I want the kind of work I had before, | |
A wedding dress or something white | |
To wear upon my swollen appetite." | |
| D/A | | D | Am |
| | La | la la, la la la, la la la la la | la, |
| | | C | G | D | G |
| | La la la la la | la, la la la la la | la, | la la la la la | la. |
Well, I'm glad to hear you talk this way, | |
You know I've watched you riding every day. | |
And something in me yearns to win | |
Such a cold and lonesome heroine. | |
"And who are you?" she sternly spoke | |
To the one beneath the smoke. | |
"Why, I'm fire," he replied | |
"And I love your solitude, I love your pride." - La la la... | |
"Then fire, make your body cold | |
I'm going to give you mine to hold," | |
Saying this she climbed inside | |
To be his one, to be his only bride. | |
And deep into his fiery heart | |
He took the dust of Joan of Arc. | |
And high above the wedding guests | |
He hung the ashes of her wedding dress. - La la la... | |
It was deep into his fiery heart | |
He took the dust of Joan of Arc. | |
And then she clearly understood: | |
If he was fire, oh then she must be wood. | |
I saw her wince, I saw her cry, | |
I saw the glory in her eye. | |
Myself I long for love and light, | |
But must it come so cruel, and oh so bright? - La la la... | |
14. Who by Fire
Leonard Cohen
| Am | G | Am | Am | G | Am |
And | who | by | fire, | who | by | water. |
| C | G7 | C | C | G7 | C |
| Who | in the | sunshine, | who | in the | nighttime. |
| Am | G | Am | Am | G | Am |
| Who | by high | ordeal, | who | by common | trial, |
| C | G7 | C |
Who | in your | merry, merry | month of May, |
| C | G7 | C | Am | Fmaj7 | E |
| Who by | various | slow decay and | who shall I | say is | callling. |
And who in her lonely slip, who by barbiturate, | |
who in these realms of love, who by something blunt, | |
who by avalanche, who by powder, | |
who for his greed, who for his hunger, | |
and who shall I say is calling? | |
And who by brave assent, who by accident, | |
who in solitude, who in this mirror, | |
who by his lady's command, who by his own hand, | |
who in mortal chains, who in power, | |
and who shall I say is calling? | |
15. Tower of Song
Leonard Cohen/Leonard Cohen: I'm your Man (1988)
| G |
Well my | friends are gone and my hair is grey, |
I ache in the places where I used to play, | |
| C | G |
And I'm | crazy for love but I'm not coming | on. |
| D | C | G |
I'm just | paying my rent every | day - In the Tower of | Song. |
I said to Hank Williams: How lonely does it get? | |
Hank Williams hasn't answered yet. | |
But I hear him coughing all night long. | |
A hundred floors above me - In the Tower of Song. | |
I was born like this, I had no choice. | |
I was born with the gift of a golden voice, | |
And twenty-seven angels from the Great beyond, | |
They tied me to this table right here - In the Tower of Song. | |
So you can stick your little pins in that voodoo doll. | |
I'm very sorry, baby, doesn't look like me at all. | |
I'm standing by the window where the light is strong. | |
They don't let a woman kill you, not - In the Tower of Song. | |
Now you can say that I've grown bitter, but of this you may be sure: | |
The rich have got their channels in the bedrooms of the poor, | |
And there's a mighty judgement coming. But I may be wrong: | |
You see, you hear these funny voices - In the Tower of Song. | |
| Em | D |
| I see you standing on the | other side. |
| Em | D |
| I don't know how the river | got so wide. |
| C | G |
I | loved you, baby, way back | when, |
| Em | D |
| And all the bridges are burning that we | might have crossed. |
| Em | D |
| But I feel so close to everything | that we lost, |
| C | D |
We'll | never have to lose it a | gain. |
I bid you farewell, I don't know when I'll be back. | |
They're moving us tomorrow to that tower down the track. | |
But You'll be hearing from me, baby, Long after I'm gone. | |
I'll be speaking to you sweetly from a window - In the Tower of Song. | |
16. So Long, Marianne
Leonard Cohen / Songs of Leonard Cohen (1967)
| G | Am | C | G |
Come | over to the window, my little | darling, | I'd like to try to read your | palm. |
| F | C | Em | D | Dsus4 | D |
| I used to think I was some kind of | Gypsy boy, | Before I let you take me | home. | | |
| D7 | G | Em |
| | So long, Marianne, | it's time that we began to |
| D | Dsus4 | D | D7 | D | Dsus4 | D | D7 | G | Gsus4 | G | Gsus4 | G |
| Laugh | and | cry | and | cry | and | laugh a | bout it all a | gain. | | | | |
Well you know that I love to live with you, but you make me forget so very much. | |
I forget to pray for the angels and then the angels forget to pray for us. | |
So long, Marianne, it's time that we began to | |
Laugh and cry and cry and laugh about it all again. | |
We met when we were almost young, deep in the green lilac park. | |
You held on to me like I was a crucifix, as we went kneeling through the dark. | |
So long, Marianne, it's time that we began to | |
Laugh and cry and cry and laugh about it all again. | |
So long, Marianne, it's time that we began to | |
laugh and cry and cry and laugh about it all again. | |
Your letters they all say that you're beside me now, Then, why do I feel alone? | |
I'm standing on a ledge and your fine spider web is fastening my ankle to a stone. | |
So long, Marianne, it's time that we began to | |
Laugh and cry and cry and laugh about it all again. | |
For now I need your hidden love, I'm cold as a new razor blade. | |
You left when I told you I was curious, I never said that I was brave. | |
So long, Marianne, it's time that we began to | |
Laugh and cry and cry and laugh about it all again. | |
Oh, you are really such a pretty one; I see you've gone and changed your name again. | |
And just when I climbed this whole mountainside, to wash my eyelids in the rain! | |
So long, Marianne, it's time that we began to | |
Laugh and cry and cry and laugh about it all again. | |
So long, Marianne, it's time that we began to | |
laugh and cry and cry and laugh about it all again. | |
Oh your eyes, well I forgot Your eyes; Your body's at home in every sea. | |
How come you gave away your news to everyone, that you said was a secret for me. | |
So long, Marianne, it's time that we began to | |
laugh and cry and cry and laugh about it all again. | |
__________________ Zugaben ___________________
17. Hallelujah
Leonard Cohen / Leonard Cohen: Various Positions (1984)
| C | Am |
Well, I | heard there was a | secret chord |
| C | Am |
That | David played, and it | pleased the Lord |
| F | G | C | G |
But | you don't really | care for music, | do ya? | |
| C | F | G |
Well, it | goes like this: the | fourth, the | fifth, |
| Am | F |
The | minor fall and the | major lift, |
| G | E | Am |
The | baffled king com | posing Halle | lujah |
| F | Am | F | C | G | C |
Halle | lujah, Halle | lujah, Halle | lujah, Halle | lu | | jah |
Well, your faith was strong, but you needed proof, | |
You saw her bathing on the roof | |
Her beauty and the moonlight overthrew ya | |
And she tied you to her kitchen chair, | |
And she broke your throne and she cut your hair, | |
And from your lips she drew the Hallelujah | |
Hallelujah, Hallelujah, Hallelujah, Hallelujah | |
You say, "I took the Name in vain, | |
I dont even know the Name". | |
But if I did, well really, what's it to you? | |
There's a blaze of light in every word | |
It doesnt matter which you heard | |
The holy or the broken Hallelujah | |
Hallelujah, Hallelujah, Hallelujah, Hallelujah | |
I did my best, but it wasn't much. | |
I couldn't feel, so I tried to touch. | |
I've told the truth, I didn't come to fool you. | |
And even though it all went wrong, | |
I'll stand before the Lord of song, | |
With nothing on my tongue but Hallelujah. | |
Hallelujah, Hallelujah, Hallelujah, Hallelujah, | |
Hallelujah, Hallelujah, Hallelujah, Hallelujah... | |
X:1
T:Saxofon Solo
M:3/4
L:1/4
K:C
%%barnumbers 0
C3-|C2 G,|C3-|C2 G,|C3-|C2 G,|C3-|C2 B,|C3-|C3|D3-|D3|
E3-|E3|D3-|D3|C3-|C3|C3|B,3|C3-|C2 B,|A,3-|A,3|
B,3-|B,3|B,3-|B,3|A,3-|A,3-|A,2 z|z3||A,3-|A,3|A,3-|A,3|A,3-|A,3|
A,3-|A,3|A,3-|A,3|A,3-|A,3|C3-|C3|B,3-|B,3|C3-|C3|
18. Closing Time
Leonard Cohen / Leonard Cohen: The Future (1992)
| G5 | D5 | | G |
| | | Ah, we're | drinking and we're dancing and the band is really happ'nin', |
| Em |
and the | Johnny Walker wisdom running high, |
| Bm |
And my | very sweet companion, she's the angel of compassion, |
| Em |
She's | rubbin' half the world against her thigh. |
| C |
And eve'y | drinker, every dancer lifts a happy face to thank her, |
| G | B | Em |
The | fiddler fiddles | somethin' so sub | lime. |
| | D |
| All the | women tear their blouses off, the men, they dance on the polka dots, |
| C |
And it's | partner found, it's partner lost, and it's hell to pay when the fiddler stops: |
| | C |
| Yeah the | women tear their blouses off, and the men, they dance on the polka dots, |
| G | B | Em | C |
And it's | partner found, and it's | partner lost, and it's | hell to pay when the | fiddler stops: |
| C5 | | G5 | D5 |
| | It's | closin' time. | |
| G |
Ah, We're | lonely, we're romantic, and the cider's laced with acid, |
| Em |
And the | Holy Spirit's crying, "Where's the beef?" |
| Bm |
And the | moon is swimming naked, and the summer night is fragrant |
| Em |
With a | mighty expectation of relief. |
| C |
So we | struggle and we stagger down the snakes and up the ladder |
| G | B | Em |
To the | tower where the | blessed hours | chime. |
| D |
And I | swear it happened just like this: A sigh, a cry, a hungry kiss; |
| C |
The | Gates of Love they budged an inch. I can't say much has happened since |
| G |
but | closing time. (|: closing time. :|) |
| C |
I | swear it happened just like this: A sigh, a cry, a hungry kiss; |
| G | B | Em | C |
The | Gates of Love they | budged an inch. I | can't say much has | happened since |
| C5 | G5 | D5 |
(|: | can't say much has happened since :|) but | closin' time. | closin' time. |
| Em |
I | loved you for your beauty but that doesn't make a fool of me; |
| Bm |
| You were in it for your beauty, too. |
| Em |
And I | loved you for your body, there's a voice that sounds like God to me, |
| A |
De | claring (declaring) declaring (declaring) |
| D |
De | claring that you're body's really you. (really really really really) |
| C |
And I | loved you when our love was blessed, and I love you now there's nothin' left |
| G | B | Em |
But | sorrow and a | sense of over | time. |
| D |
And I | missed you since the place got wrecked, and I just don't care what happens next. |
| C |
Looks | like freedom but it feels like death. it's something in between, I guess, |
| C |
Yeah, I | missed you since the place got wrecked by the winds of change and the weeds of sex, |
| G | B | Em | C |
And it | looks like freedom but it | feels like death, it's | something in | between, I guess. |
| G |
Yeah, we're | drinking and we're dancing, but there's nothing really happening, |
| Em |
And the | place is dead as Heaven on a Saturday night; |
| Bm |
And my | very close companion gets me fumblin', gets me laughin', |
| Em |
She's a | hundred but she's wearin' somethin' tight. |
| C |
And I | lift my glass to the Awful Truth which you can't reveal to the ears of youth, |
| G | B | Em |
Ex | cept to say it | isn't worth a | dime. |
| D |
And the | whole damn place goes crazy twice, And it's once for the Devil and it's once for Christ, |
| C |
But the | Boss don't like these dizzy heights, we're busted in the blindin' lights |
| G |
Of | Closin' Time. (Closing Time...) |
| C |
The | whole damn place goes crazy twice, And it's once for the Devil and it's once for Christ, |
| G | B | Em | C |
But the | Boss don't like these | dizzy heights, we're | busted in the | blindin' lights |
| C5 | G5 | D5 |
(|: | busted in the blindin' lights :|) Of | Closin' Time. | Closing Time. |
| G | D |
Oh, the | women tear their blouses off, and the men, they dance on the polka dots, it's | closin' time. |
And it's partner found, and it's partner lost, And it's hell to pay when the fiddler stops: it's closing time. | |
I swear it happened just like this: A sigh, a cry, a hungry kiss, it's closing time. | |
The gates of love, they budged an inch; I can't say much has happened since but closing time. | |
I loved you when our love was blessed, I love you now, there's nothing left but closing time. | |
And I missed you since our place got wrecked by the winds of change and the weeds of sex, it's closing time. | |
__________________ Reserve ___________________
19. Everybody Knows
Leonard Cohen, Sharon Robinson / Leonard Cohen: I'm Your Man (1988)
| Am |
Everybody | knows that the dice are loaded. |
| F |
Everybody | rolls with their fingers crossed. |
| Am |
Everybody | knows the war is over. |
| F |
Everybody | knows the good guys lost. |
| Dm | E |
Everybody | knows the fight was | fixed: |
| G | Am |
The poor stay | poor, the rich get | rich. |
| Bb | E | Am |
That's how it | goes. | Everybody | knows. |
Everybody knows that the boat is leaking, | |
Everybody knows that the captain lied. | |
Everybody got this broken feeling | |
Like their father or their dog just died. | |
Everybody talking to their pockets, | |
Everybody wants a box of chocolates | |
And a long-stem rose - Everybody knows. | |
Everybody knows that you love me baby, | |
Everybody knows that you really do. | |
Everybody knows that you've been faithful, | |
Ah, give or take a night or two. | |
Everybody knows you've been discreet | |
But there were so many people you just had to meet | |
Without your clothes - And everybody knows. | |
| C | G |
Everybody | knows, everybody | knows. |
| Am | G | C |
That's how it | goes | - Everybody | knows. |
| C |
Everybody | knows, everybody knows. |
| Am | G | C |
That's how it | goes | - Everybody | knows. |
And everybody knows that it's now or never, | |
Everybody knows that it's me or you. | |
And everybody knows that you live forever, | |
Ah, when you've done a line or two. | |
Everybody knows the deal is rotten, | |
Old Black Joe's still pickin' cotton - | |
For your ribbons and bows - And everybody knows. | |
And everybody knows that the Plague is coming, | |
Everybody knows that it's moving fast. | |
Everybody knows that the naked man and woman | |
Are just a shining artifact of the past. | |
Everybody knows the scene is dead | |
But there's gonna be a meter on your bed - | |
That will disclose - What everybody knows. | |
And everybody knows that you're in trouble; | |
Everybody knows what you've been through - | |
From the bloody cross on top of Calvary | |
Everybody knows it's coming apart, | |
Take one last look at this Sacred Heart - | |
Before it blows - And everybody knows. | |
Everybody knows, everybody knows. | |
That's how it goes - Everybody knows. | |
Everybody knows, everybody knows. | |
That's how it goes - Everybody knows. | |
Everybody knows, everybody knows. | |
That's how it goes - Everybody knows. | |
20. Hey, That’s No Way to Say Goodbye
Leonard Cohen / Leonard Cohen: Songs of Leonard Cohen (1967)
| F |
I | love you in the morning our kisses deep and warm, |
| Dm |
Your | hair upon the pillow like a sleepy golden storm. |
| Bb |
Yes, | many loved before us I know that we are not new, |
| F |
In | city and in forest they smiled like me and you. |
| Dm |
But | now it's come to distances and both of us must try |
| Bb |
Your | eyes are soft with sorrow |
| C | F | C |
| Hey, that's no way to say good | bye- | ye |
I'm not looking for another | |
Our steps will always rhyme | |
You know my love goes with you | |
As your love stays with me | |
It's just the way it changes | |
Like the shoreline and the sea | |
But let's not talk of love or chains | |
And things we can't untie | |
Your eyes are soft with sorrow | |
Hey, that's no way to say goodbye | |
I loved you in the morning | |
Your hair upon the pillow | |
Like a sleepy golden storm | |
Yes, many loved before us | |
I know that we are not new | |
They smiled like me and you | |
But let's not talk of love or chains | |
And things we can't untie | |
Your eyes are soft with sorrow | |
Hey, that's no way to say goodbye. | |
Bird on the Wire | 10 |
Closing Time | 18 |
Dance Me To The End Of Love | 6 |
Everybody Knows | 19 |
First we Take Manhattan | 5 |
Hallelujah | 17 |
Hey, That’s No Way to Say Goodbye | 20 |
I'm Your Man | 11 |
Joan of Arc | 13 |
Lover Lover Lover | 4 |
So Long, Marianne | 16 |
Suzanne | 9 |
The Future | 8 |
The Guests | 3 |
The Partisan (La Complainte du Partisan) | 12 |
There is a War | 7 |
Tonight Will be Fine | 2 |
Tower of Song | 15 |
Who by Fire | 14 |
You Want it Darker | 1 |
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