Trent Reznor / Nine Inch Nails: The Downward Spiral (1994); Johnny Cash (2002)
Am
C
D
Am
C
D
Am
I
hurt my
self to
day - to
see if
I still
feel.
C
D
Am
C
D
Am
I
focus
on the
pain - the
only
thing that's
real.
C
D
Am
C
D
Am
The
needle
tears a
hole - the
old fa
miliar
sting.
C
D
Am
C
D
G
Am
Try to
kill it
all a
way - but I re
member
every
thing
!
Am
F
C
G
What have I be
come -
my sweetest
friend?
Am
F
C
G
Everyone I
know - goes a
way in the
end!
Am
F
C
G
And you could have it
all -
my empire of
dirt.
Am
F
C
G
C
I will let you
down -
I will make you
hurt
!
Solo
Am
...
C
C
D
Am
C
D
Am
I wear this
crown of
thorns - u
pon my
liars
chair
C
D
Am
C
D
Am
Full of
broken
thoughts -
I can
not re
pair
C
D
Am
C
D
Am
Be
neath the
stains of
time - the
feelings
disap
pear
C
D
Am
C
D
G
Am
You are
someone
else -
I am
still right
here
.
Am
F
C
G
What have I be
come -
my sweetest
friend?
Am
F
C
G
Everyone I
know - goes a
way in the
end!
Am
F
C
G
And you could have it
all -
my empire of
dirt.
Am
F
C
G
I will let you
down -
I will make you
hurt!
Am
F
C
G
If I could start a
gain -
A million miles a
way
Am
F
C
G
I would keep my
self -
I would find a
way
Unknown directive {newpage}
17. I Shall Be Released
Bob Dylan
Capo II
Intro: harp
G
Am
Bm
Am
D
G
They say every man needs pro
tection,
that every
man must
rise and
fall.
G
Am
Bm
Am
D
G
Yet I swear I see my re
flection,
somewhere so
high a
bove this
wall,
G
Am
Bm
Am
D
G
I
see my light come
shining,
from the
west un
to the
east;
G
Am
Bm
Am
D
G
Any day now,
any way now,
I
shall
be re
lased!
G
Am
Bm
Am
D
G
Next to me in this
lonely crowd,
a man who
swears he's
not to
blame.
G
Am
Bm
Am
D
G
All day long I hear him
shouting so loud,
he's crying
out that
he was
framed.
G
Am
Bm
Am
D
G
I
see my light come
shining,
from the
west un
to the
east;
G
Am
Bm
Am
D
G
Any day now,
any way now,
I
shall
be re
lased!
G
Am
Bm
Am
D
G
I
see my light come
shining,
from the
west un
to the
east;
G
Am
Bm
Am
D
G
Any day now,
any way now,
I
shall
be re
lased!
Unknown directive {newpage}
18. It never rains in Southern California
Albert Hammond
Bm
E
A
Got on
board a west-bound
seven-forty-
seven,
Bm
E
A
didn't
think before de
ciding what to
do.
Bm
E
All, that
talk of oppor
tunities,
A
F#m
Bm
E
A
TV-breaks and
movies rang
true,
sure rang
true.
Bm
E
A
Seems it
never rains in
Southern Cali
fornia.
Bm
E
A
Seems I've
often heard that
kind of talk be
fore.
Bm
E
A
F#m
It never
rains in Cali
fornia, but
girl don't they
warn you,
Bm
E
A
it
pou-
ours, man, it
pours.
Bm
E
A
F#m
Out of
work I'm out of my
head, out of
self-respect, I'm out of
bread,
Bm
E
A
I'm under
talked, I'm under
fed, I wanna go
home.
Bm
E
A
F#m
It never
rains in Cali
fornia, but
girl don't they
warn you,
Bm
E
A
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.
Unknown directive {newpage}
19. 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.
Bridge:
Em
C
D
Em
C
D
Somewhere there's a
place to
be;
Where all we have is
all we
need.
only guitar
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.
Unknown directive {newpage}
MB Capo II
20. Keep the Customer Satisfied
Paul Simon / Simon & Garfunkel: Bridge Over Troubled Water (1970)
E
n.c.
E
E7
Gee but its great to be back
home - Home is where I want to
be.
A
I've been on the road so
long,
E
F#m
A
And if you came along - I
know you couldn't
disa-
gree.
E
It's the same old
story!
A
E
B7
E
E7
A
Everywhere I
go, I get
slandered,
libelled, I hear
words I never
heard in the
bible,
E
C#m
E
C#m
And I'm
one step ahead of the
shoe shine,
Two steps away from the
county line,
E
E7
A
E
Just
trying to keep my
customers
satisfied, satis
fied!
n.c.
E
E7
Deputy sheriff said to
me: "Tell me what you come here
for, boy?
A
You better get your
bags and flee.
E
F#m
A
You're in trouble boy and
now you're headed
into
more,
E
It's the same old
story!"
A
E
B7
E
E7
A
Everywhere I
go, I get
slandered,
libelled, I hear
words I never
heard in the
bible,
E
C#m
E
C#m
And I'm
one step ahead of the
shoe shine,
Two steps away from the
county line,
E
E7
A
E
Just
trying to keep my
customers
satisfied, satis
fied!
E
A
E
F#m
A
E
Oh-ho-ho, Oh-ho-ho, Oh-ho-ho, Oh-ho-
ho
It's the same old sto
ry!
A
E
B7
E
E7
A
Everywhere I
go, I get
slandered,
libelled. I hear
words I never
heard in the
bible,
E
C#m
E
C#m
And I'm
so -
tired! I'm
oh - oh -
oh - tired!
E
E7
A
E
Just
trying to keep my
customers
satisfied, satis
fied!
solo
|:
E
A
E
A
:|
B7
|:
E
A
E
A
:|
E
E7
A
E
Just
trying to keep my
customers
satisfied, satis
fied!
E
E7
A
E
Just
trying to keep my
customers
satisfied, satis
fied!
Unknown directive {newpage}
21. Knockin' on Heaven's Door
Bob Dylan
G
D
Am7
G
D
C
|:
G
D
Am7
G
D
C
:|
Oooh
Oooh
Oooh
-
Oooh
Oooh
Oooh
G
D
Am7
Mama take this
badge off of
me,
G
D
C
I can't
use it any
more.
G
D
Am7
It's getting
dark, too dark for me to
see;
G
D
C
D
I feel I'm
knockin' on heaven's
door.
G
D
Am7
Knock, knock,
knockin' on heaven's
door.
G
D
C
D
Knock, knock,
knockin' on heaven's
door.
G
D
Am7
Knock, knock,
knockin' on heaven's
door.
G
D
C
D
Knock, knock,
knockin' on heaven's
door.
G
D
Am7
Mama, put my
guns in the
ground.
G
D
C
I can't
shoot them any
more.
G
D
Am7
That long black
cloud is comin'
down.
G
D
C
D
I feel I'm
knockin' on heaven's
door.
G
D
Am7
Knock, knock,
knockin' on heaven's
door.
G
D
C
D
Knock, knock,
knockin' on heaven's
door.
G
D
Am7
Knock, knock,
knockin' on heaven's
door.
G
D
C
D
Knock, knock,
knockin' on heaven's
door.
G
D
Am7
G
D
C
Ooh -
ooh -
ooh - ooh
Ooh -
ooh -
ooh ...
Bass
G / / / D / / / Am7 / / / G / / / D / / / C / / D
G-0---0-0-|---------|------------|-0---0-0-|---------|-------------|
D---------|-0---0-0-|------------|---------|-0---0-0-|----------0--|
A---------|---------|-0----2-3-2-|---------|---------|-3--2--0-----|
E---------|---------|------------|---------|---------|-------------|
Unknown directive {newpage}
Capo III
22. Matty Groves
trad. / Fairport Convention: Liege & Lief (1969)
Em
1.
A holiday a holiday and the first one of the year.
D
Em
D
Em
_ Lord Arnold's wife came
into the church, the
gospel
for to
hear.
Em
2.
When the meeting it was done she cast her eyes about,
D
Em
D
Em
_ And there she saw little
Matty Groves,
walking
in the
park.
Lady
3. "Come home with me, little Matty Groves, come home with me tonight.
_ Come home with me, little Matty Groves and sleep with me 'til light."
Matty
4. "Oh I can't come, I won't come and sleep with you tonight.
_ By the rings on your fingers I can tell you are Lord Arnold's wife."
Lady
5. "What if I am Lord Arnold's wife, Lord Arnold is not at home,
_ He is out in the far corn fields, bringing the yearlings home."
6. And a servant who was standing by and hearing what was said,
_ He swore Lord Arnold he would know before the sun would set.
7. And in his hurry to carry the news, he filled his breast and ran,
_ And when he came to the broad mill stream he took off his shoes and swam.
solo I
8. Little Matty Groves, he lay down and took a little sleep.
_ When he awoke, Lord Arnold he was standing at his feet.
9. Saying "How do you like my feather bed and how do you like my sheets?
_ And how do you like my lady, who lies in your arms asleep?"
Matty
10. "Oh well I like your feather bed, and well I like your sheets.
_ But better I like your lady gay who lies in my arms asleep."
Em
11. "
Well Get Up! Get Up!" Lord Arnold cried, "Get Up as quick as you can!
D
Em
D
Em
_ It'll never be said in
fair England I
slew a
naked
man!"
Matty
Em
12. "
Oh I won't get up, I won't get up, I can't get up for my life.
D
Em
D
Em
_ For you have two long
beaten swords and
I not a
pocket
knife."
13. "Well it's true I have two beaten swords, they cost me deep in the purse.
_ But you will have the better of them and I will have the worst.
solo II
14. "And you will strike the very first blow and strike it like a man.
_ I will strike the very next blow and I'll kill you if I can."
15. So Matty struck the very first blow and he hurt Lord Arnold sore.
_ Lord Arnold struck the very next blow and Matty struck no more.
16. And then Lord Arnold he took his wife and sat her on his knee,
_ Saying "Who do you love the best of us, Your Matty Groves or me?"
Lady
17. And then spoke up his own dear wife never heard to speak so free:
_ "I'd rather a kiss from dead Matty's lips than you or your finery."
18. Lord Arnold he jumped up and loudly he did bawl,
_ He stuck his wife right through the heart and pinned her against the wall.
19. "Oh, a grave! A grave!" Lord Arnold cried, "To put these lovers in.
_ But bury my lady at the top for she was of noble kin."
Unknown directive {newpage}
Capo I
23. Midnight Special
Huddie Leadbetter
G
C
G
Well, you wake up in the
morning Hear the ding-dong
ring
D7
G
G7
Go marching to the
table, See the same old
thing!
G
C
G
Well, it's on the
table, Knife and fork and a
pan!
D7
G
G7
If you say anything a-
bout it You're in trouble with the
man
C
G
|: Let the minight
special Shine it's light on
me;
D7
G
G7
Let the midnight
special Shine it's everloving light on
me!
:|
G
C
G
If you ever go to
Houston, Boy you'd better walk
right.
D7
G
G7
You better not
stagger And you better not
fight.
C
G
'Cause the Sheriff will ar
rest you And he'll carry you
down;
D7
G
G7
You can bet your bottom
dollar: You're Sugarland
bound!
Let the minight special ...
G
C
G
Yonder came Doc'
Melton, Just the day
before,
C
G
And he gave me a
tablet, when he opend the
door.
G
C
G
But there never was a
doctor Trav'llin' over the
land,
G
C
G
that could cure the
fever of a convict
man.
Let the minight special ...
G
C
G
Yonder comes Miss
Rosie, Tell me, how do you
know?
D7
G
I can tell it by her
apron And the dress she
wore.
C
G
Umbrella on her
shoulder, Piece of paper in her
hand.
D7
G
She's a-sayin' to the
captain: "I want my lifetime
man!"
Let the minight special ...
Unknown directive {newpage}
KD: Capo V
24. 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
Bass-Solo
|:
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
Unknown directive {newpage}
Capo V
25. One too many Mornings
Bob Dylan / Bob Dylan: The Times They Are A-Changin' (1964)
G
Em
C
G
G
Em
D7
G
G
Em
C
G
Down the
street the dogs are
barkin' - And the
day is a-gettin'
dark.
G
Em
C
D7
As the
night comes in a-
fallin', The
dogs'll lose their
bark.
G
D7
C
G
An' the
silent night will
shatter - From the
sounds inside my
mind,
G
Em
C
D7
G
C
D7
G
For I'm
one too many
mornings - And a
thousand
miles be
hind.
G
Em
C
G
From the
crossroads of my
doorstep - My
eyes they start to
fade,
G
Em
C
D7
As I
turn my head back
to the room - Where my
love and I have
laid.
G
D7
C
G
An' I
gaze back to the
street, The
sidewalk and the
sign;
G
Em
C
D7
G
And I'm
one too many
mornings - An' a
thousand
miles be
hind.
harp solo
G
Em
C
G
It's a
restless hungry
feeling - That don't
mean no one no
good,
G
Em
C
D7
When
ev'rything I'm a-
sayin' - You can
say it just as
good.
G
D7
C
G
You're
right from your
side, I'm
right from
mine.
G
Em
C
G
C
D7
G
We're both
just too many
mornings - An' a
thousand miles
behind.
Unknown directive {newpage}
Capo: MB III
26. Rockin' In the Free World
Frank Sampedro, Neil Young / Neil Young: Freedom (1989)
|:
Em
|
D
C
:|
|
/ / / / / / / /
|
/ -
/ -
|
Em
D
C
Em
D
C
There's colors on the street,
-
Red, white, and blue.
Em
D
C
Em
D
C
People shufflin' their feet,
-
People sleepin' in their shoes.
Em
D
C
There's a warning sign on the
road
ahead.
Em
D
C
There's a lot of people saying we'd be
better off
dead.
Em
D
C
Don't feel like Satan, but I
am to
them.
Em
D
C
So I try to forget it any
way I
can.
|:
G
D
C
C
C/B
C/A
G
:|
Keep on
rockin' in the free world
-
|:
G
D
C
C
C/B
C/A
G
:|
A
|:
Em
D
C
:|
Keep on
rockin' in the free world
-
Em
D
C
D
C
I see a woman in the night
- With a baby in her hand.
Em
D
C
D
C
Under an old street light
- Near a garbage can.
Em
D
C
Now she puts the kid away cause she's
gotta get a
hit.
Em
D
C
She hates her life and what she's
done with
it.
Em
D
C
That's one more kid that'll never
go to
school,
Em
D
C
Never get to fall in love, never
get to be
cool.
|:
G
D
C
C
C/B
C/A
G
:|
Keep on
rockin' in the free world
-
|:
G
D
C
C
C/B
C/A
G
:|
A
|:
Em
D
C
:|
Keep on
rockin' in the free world
-
Em
D
C
Em
D
C
We gotta thousand points of light
-
for the homeless man.
Em
D
C
Em
D
C
We've got a kinder, gentler,
machine gun
hand.
Em
D
C
We've got department stores and
toilet
paper,
Em
D
C
Got styrofoam boxes for the
ozone
layer,
Em
D
C
Got a man of the people, says
keep hope
alive.
Em
D
C
Got fuel to burn, got
roads to
drive.
|:
G
D
C
C
C/B
C/A
G
:|
Keep on
rockin' in the free world
-
|:
G
D
C
C
C/B
C/A
G
:|
A
|:
Em
D
C
:|
Keep on
rockin' in the free world
-
Unknown directive {newpage}
Capo II
27. Slip Slidin' Away
Paul Simon (1977)
intro:
|:
G
Em
:|
C
D
G
G
Em
Slip sliding a
way, slip sliding a
way
G
D
C
D
G
You know the
near your desti
nation, the
more you slip
sliding a
way
Em
G
Whoah and I know a
man, he came from my
hometown.
C
D
C
C7
He wore his
passion for his
woman like a thorny
crown.
G
Em
He said
Dolores, I live in
fear.
G
D
C
D
G
My love for
you's so over
powering, I'm
afraid that I
will dis
appear.
G
Em
Slip sliding a
way, slip sliding a
way!
G
D
C
D
G
You know the
near your desti
nation, the
more you slip
sliding a
way.
I know a woman, (who) became a wife;
These are the very words she uses to describe her life.
She said a good day ain't got no rain
She said a bad day is when I lie in the bed; And I think of things that might have been
Slip sliding away, slip sliding away.
You know the nearer your destination, the more you slip sliding away.
And I know a father who had a son.
He longed to tell him all the reasons for the things he'd done.
He came a long way just to explain;
He kissed his boy as he lay sleeping, Then he turned around and he headed home again
Slip sliding away, slip sliding away.
You know the nearer your destination, the more you slip sliding away.
Slip sliding away, slip sliding away.
You know the nearer your destination, the more you slip sliding away.
harp solo
Whoah God only knows, God makes his plan.
The information's unavailable to the mortal man.
We're workin' our jobs, collect our pay.
Believe we're gliding down the highway, when in fact we're slip sliding away.
Slip sliding away, slip sliding away.
You know the nearer your destination, the more you slip sliding away.
Slip sliding away, slip sliding away.
You know the nearer your destination, the more you slip sliding away.
Unknown directive {newpage}
Capo I
|Einsatz
While they're
standing in the ...
Cadd9
Dsus4
28. Talkin' 'Bout A Revolution
Tracy Chapman: Tracy Chapman (1988)
G
Cadd9
D
Dsus4
G
Cadd9
D
Dsus4
Don't you
know -
They're talkin' about
a revolu
tion (It
sounds -
like
a whisper).
G
Cadd9
D
Dsus4
G
Cadd9
D
Dsus4
Don't you
know -
They're talkin' about
a revolu
tion (It
sounds -
like
a whisper).
While they're standing in the welfare lines
Crying at the doorsteps of those armies of salvation
Wasting time in the enemployment lines
Sitting around waiting for a promotion
Don't you know - They're talkin' about a revolution (It sounds - like a whisper).
Don't you know - They're talkin' about a revolution (It sounds - like a whisper).
Poor people gonna rise up - And get their share.
Poor people gonna rise up - And take what's theirs.
Don't you know - You better Run, run, run, run, ...
Oh I said - You better - Run, run, run, run, ...
Cause Finally the tables are starting to turn - Talking about a revolution
Yes, Finally the tables are starting to turn - Talking about a revolution, oh no.
Talking about a revolution, oh no.
While they're standing in the welfare lines
Crying at the doorsteps of those armies of salvation
Wasting time in unemployment lines
Sitting around waiting for a promotion
Don't you know you're talking about a revolution (It sounds - like a whisper).
And finally the tables are starting to turn - Talking about a revolution.
Yes, Finally the tables are starting to turn - Talking about a revolution, oh no.
Talking about a revolution, oh no. Talking about a revolution, oh no!
Unknown directive {newpage}
Capo II
G7sus4
29. The Rose
Amanda McBroom / Bette Midler: The Rose (1980)
Intro:
C
G
F
G
C
C
G
F
G
C
Some say
love it is a
river that
drowns the ten
der
reed,
C
G7
F
G
C
Some say
love it is a
razor that
leeds your
soul to
bleed.
Em
Am7
F
G7sus4
G7
Some say
love it is a
hunger an
endless aching
need,
G7
C
G
F
G
C
I say
love it is a
flower and
you it's
only
seed.
C
G
F
G
C
It's the
heart afraid of
breaking that
never
learns to
dance,
G
F
G
C
It's the dream afraid of
waking but
never
takes the
chance.
Em
Am7
F
G7sus4
G7
It's the
one who won't be
taken who
cannot seem to
give,
C
G
F
G
C
And the
soul afraid of
dying that
never
learns to
live
C
G
F
G
C
When the
night has been too
lonely and the
road has
been too
long,
C
G
F
G
C
And you
think that love is
only for the
lucky
and the
strong.
Em
Am7
F
G7sus4
G7
Just
remember in the
winter, far
beneath the bitter
snows,
C
G
F
G
(n.c.)
C
Lies the
seed that with the
sun's love in the
spring
bec
omes the
rose.
Unknown directive {newpage}
CAPO IV
30. The Spanish Lady
Paddy Reilly
D
Bm
G
D
Em
A
As I went down to
Dublin City
At the
hour of
twelve at
night;
D
Bm
G
D
Em
A
Who should I see but a
Spanish Lady,
Washing her
feet by
candle
light
D
A7
D
A7
First she washed them,
then she dried them
Over a fire of
amber coals
D
Bm
G
D
Em
A
In
all my life I
never did see a
maid so
sweet a
bout the
soul!
D
Bm
G
D
Em
A
Whack for the Toora
Loora Laddy -
Whack for the
Toora
Loora
Lay!
D
Bm
G
D
A
D
Whack for the Toora
Loora Laddy -
Whack for the
Toora
Loora
Lay!
D
Bm
G
D
Em
A
As I came back through
Dublin city
at the
hour of
half past
eight;
D
Bm
G
D
Em
A
Who should I see but the
Spanish lady,
brushing her
hair in
broad day
light
D
A7
D
A7
First she tossed it,
then she combed it
on her lap was a
silver comb
D
Bm
G
D
Em
A
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...
D
Bm
G
D
Em
A
As I went back through
Dublin city
as the
sun be
gan to
set;
D
Bm
G
D
Em
A
Who should I see but the
Spanish lady,
catching a
moth in a
golden
net!
D
A7
D
A7
When she saw me
then she fled me
lifting her pettycoat
over her knee
D
Bm
G
D
Em
A
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...
Unknown directive {newpage}
Capo II
31. 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.
