#------------------------------------------------------------------------------## From uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Fri Sep 4 16:03:18 PDT 1992 Article: 2022 of alt.guitar.tab Path: nevada.edu!uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Newsgroups: alt.guitar.tab Subject: Tab : Oh Sister - Dylan Message-ID: <1992Sep4.183404.657@csc.canterbury.ac.nz> From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn) Date: 4 Sep 92 18:34:02 +1200 Reply-To: k.osborn@cantua.canterbury.ac.nz Organization: University of Canterbury, Christchurch, New Zealand. Nntp-Posting-Host: cantua.canterbury.ac.nz X-Newsreader: Tin 1.1 PL3 Lines: 43 Oh Sister words and music by Bob Dylan & Jacques Levy errors are mine B^) G Bm C G Oh sister when I come, to ly in your arms. G Bm C G You should not treat me like a stranger. G Bm C G Our father would not like the way that you act, G Bm C G And you must realize the danger. Oh sister am I not a brother to you. And one deserving of affection. And is our purpose not the same on this earth, To love and follow his direction. F C G We grew up together from the cradle to the grave. F C G D G We died and were reborn and left mysteriously saved Oh sister when I come to knock on your door Don't turn away, you'll create sorrow. Time is an ocean, but it ends at the shore. You may not see me tomorrow. one_more.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uunet!comp.vuw.ac.nz!canterbury.ac.nz!cctr128 Wed Aug 26 16:51:44 PDT 1992 Article: 1866 of alt.guitar.tab Path: nevada.edu!uunet!comp.vuw.ac.nz!canterbury.ac.nz!cctr128 From: cctr128@csc.canterbury.ac.nz (Kelwyn Osborn, CSC Uni of Canterbury) Newsgroups: alt.guitar.tab Subject: Tab: One More Cup of Coffee Message-ID: <1992Aug27.094626.548@csc.canterbury.ac.nz> Date: 27 Aug 92 09:46:25 +1200 Organization: University of Canterbury, Christchurch, New Zealand Lines: 84 This is from memory so there could be a mistake or two... One More Cup of Coffee Bob Dylan and Jacques Levy Am Your Breath is sweet, your eyes are like G Two jewels in the sky F Your back is straight your hair is smooth E On the pillow where you lie. Am But I don't sense affection G No gratitude or love. F E Your loyalty is not me but to the stars above Chourus : F E One more cup of coffee for the road. F E One more cup of coffee for I go, NC Am G F E To the valley below. Your daddy he's an outlaw And a wanderer by trade. He'll teach you how to pick an choose And how to throw the blade. And he oversees his kingdom So no stranger does intrude. His voice it trembles as he calls out For another plate of food Chorus Your sister sees the future Like your momma and yourself. You've never learned to read or write There's no books upon your shelf. And your pleasure know no limits Your voice is like a meadow larks. But your heart is like an ocean Mysterious and dark. Chours: Kelwyn He said thats alright Babe I love you too. But we were tangled up in blue. one_of_u.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) One of Us Must Know - Bob Dylan --------------------------------- ('Blonde on Blonde' album) F Bb F Bb F Bb F Bb ---- #1: F Bb F Bb F I didn't mean to treat you so bad Bb F Dm C7 You shouldn't take it so personal F Bb F Bb F I didn't mean to make you so sad Bb F Dm C7 F C7 You just happened to be there, that's all Dm Am When I saw you say "goodbye" to my friend and smile Gm F I thought that it was well understood Dm Am That you'd be comin' back in a little while Gm Bb I didn't know that you were sayin' "goodbye" for good ---- Chorous: C7 C11 C7 Gm7 C11 But, F Bb F sooner or later, one of us must know Bb F C7 You just did what you're supposed to do F Bb F Sooner or later, one of us must know Bb F C7 That I really did try to get close to you F Bb F Bb ---- #2: I couldn't see what you could show me Your scarf had kept your mouth well hid I couldn't see how you could know me But you said you knew me and I believed you did When you whispered in my ear And asked me if I was leavin' with you or her I didn't realize just what I did hear I didn't realize how young you were [Chorous] F Bb F Bb ---- #3: I couldn't see when it started snowin' Your voice was all that I heard I couldn't see where we were goin' But you said you knew an' I took your word And then you told me later, as I apologized That you were just kiddin' me, you weren't really from the farm An' I told you, as you clawed out my eyes That I never really meant to do you any harm [Chorous] F C Bb F Bb F C7 F ------- Typed by Petter Larsson , larpe@nts.mh.se percys_s.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: BJCURRY@MECHANICAL.watstar.uwaterloo.ca (B Curry) PERCY'S SONG by Bob Dylan G C Bad news, bad news, come to me where I sleep, G D Turn, turn, turn again, G C Sayin' one of your friends is in trouble deep, G C D Em7 D Em7 D Turn, turn to the rain and the wind. Tell me, the trouble tell once to my ear, Turn, turn, turn again, Joliet prison and ninety-nine years. Turn, turn to the rain and the wind. Oh what's the charge of how this came to be, Turn, turn, turn again, Manslaughter in the highest of degree. Turn, turn to the rain and the wind. I sat down and wrote the best words I could write, Turn, turn, turn again, Explaining to the judge I'd be there on Wednesday night. Turn, turn to the rain and the wind. Without a reply I left by the moon, Turn, turn, turn again, And was in his chambers by the next afternoon. Turn, turn to the rain and the wind. Could ya tell me the facts? I said without fear, Turn, turn, turn again, That a friend of mine would get ninety-nine years. Turn, turn to the rain and the wind. A crash on the highway flew the car to a field, Turn, turn, turn again, There was four persons killed and he was at the wheel. Turn, turn to the rain and the wind. But I knew him as good as I'm knowin' myself, Turn, turn, turn again, And he wouldn't harm a life that belonged to someone else. Turn, turn to the rain and the wind. The judge spoke out of the side of his mouth, Turn, turn, turn again, Sayin' the witness who saw he left little doubt. Turn, turn to the rain and the wind. That may be true he's got a sentence to serve, Turn, turn, turn again, But ninety-nine years he just don't deserve. Turn, turn to the rain and the wind. Too late, too late for his case it is sealed Turn, turn, turn again, His sentence is passed and it cannot be repealed. Turn, turn to the rain and the wind. But he ain't no criminal and his crime it is none, Turn, turn, turn again, What happened to him could happen to anyone. Turn, turn to the rain and the wind. And at that the judge jerked forward and his face it did freeze, Turn, turn, turn again, Sayin' "Could you kindly leave my office now, please." Turn, turn to the rain and the wind. Well his eyes looked funny and I stood up so slow, Turn, turn, turn again, With no other choice except but for to go. Turn, turn to the rain and the wind. I walked down the hallway and I heard his door slam, Turn, turn, turn again, I walked down the courthouse stairs and I could not understand. Turn, turn to the rain and the wind. And I played my guitar through the night to the day, Turn, turn, turn again, And the only tune my guitar could play Was "Old cruel rain and the wind." CHORDS C x32010 G 320003 D xx0232 Em7 020000 ------------------------------------------------------------------------------ B Curry positiv.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uunet!decwrl!world!rogers Sat Jul 18 13:21:55 PDT 1992 Article: 857 of alt.guitar.tab Newsgroups: alt.guitar.tab Path: nevada.edu!uunet!decwrl!world!rogers From: rogers@world.std.com (roger j selverstone) Subject: CRD:Positively 4th Street Message-ID: <BrLHvx.D0p@world.std.com> Organization: The World Public Access UNIX, Brookline, MA Date: Sat, 18 Jul 1992 17:28:44 GMT Lines: 35 Positively 4th Street - Dylan ============================= G Am C G You got a lotta nerve to say you are my friend D C Em7 D When I was down you just stood there grinning G Am C G You got a lotta nerve to say you got a helping hand D C Em7 D You just want to be on the side that's winning You say I let you down you know it's not like that If you're so hurt why then don't you show it You say you lost your faith but that's not where it's at You had no faith to lose and you know it I know the reason that you talk behind my back I used to be among the crowd you're in with Do you take me for such a fool to think I'd make contact With the one who tries to hide what he don't know to begin with You see me on the street you always act surprised You say, "How are you?" "Good luck" but you don't mean it When you know as well as me you'd rather see me paralyzed Why don't you just come out once and scream it No, I do not feel that good when I see the heartbreaks you embrace If I was a master thief perhaps I'd rob them And now I know you're dissatisfied with your position and your place Don't you understand it's not my problem I wish that for just one time you could stand inside my shoes And just for that one moment I could be you Yes, I wish that for just one time you could stand inside my shoes You'd know what a drag it is to see you positive.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from nevada.edu (animal-farm.nevada.edu) by redrock.nevada.edu (5.65c/M1.4) with SMTP id <AA26220>; Tue, 20 Oct 1992 18:19:51 -0700 Received: from mailrus.cc.umich.edu by animal-farm.nevada.edu. id aa26084; 20 Oct 92 18:17 PDT Received: from um.cc.umich.edu by mailrus.cc.umich.edu (5.65/1123-1.0) id AA00554; Tue, 20 Oct 92 21:17:41 -0400 Date: Tue, 20 Oct 92 21:14:54 EDT From: Dirk.Rutabaga.Queen.Elvis.Schulze@um.cc.umich.edu To: jamesb@nevada.edu Message-Id: <16711535@um.cc.umich.edu> X-Mts-Userid: 699B Subject: "Positively Fourth Street" by Bob Dylan "Positively Fourth Street" by Bob Dylan You've got a lot of nerve to say you are my friend G C Cm G When I was down you just stood there grinning G D C G D You've got a lot of nerve to say you got a helping hand to lend G C Cm G You just want to be on the side that's winning G D C G D All verses follow same pattern. Cm can be played (xx1013) if desired. queen_ja.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from animal-farm.nevada.edu by redrock.nevada.edu (5.65c/M1.4) with SMTP id <AA17360>; Mon, 28 Jun 1993 18:33:00 -0700 Received: from post1.INRE.ASU.EDU by animal-farm.nevada.edu id <AA06093@animal-farm.nevada.edu>; Mon, 28 Jun 1993 18:32:58 -0700 Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF V4.2-12 #2382) id <01GZX6RJS6QO8ZDVLN@asu.edu>; Mon, 28 Jun 1993 18:32:54 MST Received: from ASUACAD (AUDSM) by ASUVM.INRE.ASU.EDU (Mailer R2.10 ptf000) with BSMTP id 4461; Mon, 28 Jun 93 18:34:33 MST Date: Mon, 28 Jun 1993 18:34:01 -0700 (MST) From: Paul Zimmerman <AUDSM@asuvm.inre.asu.edu> Subject: CRD: Queen Jane Approximately - Dylan To: jamesb@animal-farm.nevada.edu Message-Id: <01GZX6RJS6QQ8ZDVLN@asu.edu> Content-Transfer-Encoding: 7BIT QUEEN JANE APPROXIMATELY Bob Dylan Dm9 Em F C When your mother sends back all of your invitations Dm9 Em F G7 And your father to your sister, he explains C F C Am That you're tired of yourself and all of your creations C F C F Won't you come see me Queen Jane C F C Won't you come see me Queen Jane Now when all of the flower ladies want back what they have lent you And the smell of their roses does not remain And all of your children start to resent you Won't you come see me Queen Jane Won't you come see me Queen Jane Now when all the clowns that you have commissioned Have died in battle or in vain And you're sick of all this repetition Won't you come see me Queen Jane Won't you come see me Queen Jane When all of your advisors heave their plastic At your feet to convince you of your pain Trying to prove that your conclusions should be more drastic Won't you come see me Queen Jane Won't you come see me Queen Jane Now when all the other bandits that you turned the other cheek to All lay down their bandanas and complain And you want somebody you don't have to speak to Won't you come see me Queen Jane Won't you come see me Queen Jane Dm9 - XX2211 Thanks to the original poster. Peace, Paul Z rainy_d.crd #----------------------------------PLEASE NOTE--------------------------------# #This file is the author's own work and represents their interpretation of the# #song. You may only use this file for private study, scholarship, or research.# #-----------------------------------------------------------------------------# From: Nicholas Sprague <nws103@psu.edu> To: guitar@olga.net Subject: tab correction: Rainy Day Woman #12 and 35 by Bob Dylan Date: Sat, 04 Jan 1997 15:30:21 -0500 From: "Peter L. Spain (remote)" <pspain@smtp.aed.org> "Rainy Day Women #12 & 35" by Bob Dylan from "Blonde on Blonde" F* Do C7/E F A* F#o E7/G# A --- --- --- --- --- --- --- --- e-5 4 3 1 9 8 7 5 B-6 3 1 1 10 7 5 5 G-5 4 3 2 9 8 7 6 D-x 3 2 3 x 7 6 7 A-x x x x x x x x E-x x x x x x x x F* Do C7/E F They'll stone you when you're tryin to be so good F* Do C7/E F They'll stone you just like they said they would A* F#o E7/G# A They'll stone you when you're tryin to go home F* Do C7/E F They'll stone you when you're there all alone A* F#o E7/G# A But I would not feel so all alone F* Do C7/E F Everybody must get stoned repeat until bored. CORRECTION TO RAINY DAY WOMAN #12 and 35 BY Bob Dylan: Submitted by: Nick Sprague (nws103@psu.edu) The A* progression should be moved up one fret it since it is A# not A. This makes the F#* into G* and so on for the rest of the progression. The line "But I would not feel so all alone" is also slightly off. The progression for that is moved up to a C* to start it. This means that the first chord is C* (10,11,10,x,x,x) the second chord is (11,10,11,10,x,x), the third chord is (10,8,10,9,x,x) and the fourth is (8,8,9,10,10). rainy_da.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from animal-farm.nevada.edu by redrock.nevada.edu (5.65c/M1.4) with SMTP id <AA23937>; Mon, 15 Feb 1993 17:36:30 -0800 Received: from post2.INRE.ASU.EDU by animal-farm.nevada.edu id <AA07731@animal-farm.nevada.edu>; Mon, 15 Feb 1993 17:36:24 -0800 Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF #2382 ) id <01GURE4RVZGW96WJUH@asu.edu>; Mon, 15 Feb 1993 18:36:16 MST Received: from ASUACAD (IFSXM) by ASUVM.INRE.ASU.EDU (Mailer R2.08) with BSMTP id 7009; Mon, 15 Feb 93 18:38:36 MST Date: 15 Feb 1993 18:38:02 -0700 (MST) From: Paul Zimmerman <IFSXM@asuvm.inre.asu.edu> Subject: CRD: Rainy Day Women - Bob Dylan To: jamesb@animal-farm.nevada.edu Message-Id: <01GURE4RVZGY96WJUH@asu.edu> Content-Transfer-Encoding: 7BIT RAINY DAY WOMEN #12 & 35 Bob Dylan F C F Well, they'll stone you when you're trying to be so good C F C They'll stone you just like they said they would Bb F Bb They'll stone you when you're trying to go home F C F And they'll stone you when you're there all alone C But I would not feel so all alone F C F Everybody must get stoned Well, they'll stone you when you're at the breakfast table They'll stone you when you are young and able They'll stone you when you're riding in your car And they'll stone you when you're playing your guitar But I would not feel so all alone Everybody must get stoned Well, they'll stone you when you're walking on the street They'll stone you when you're tryin' to keep your seat They'll stone you when you're tryin' to make a buck Then they'll stone you and then they'll say "good luck" But I would not feel so all alone Everybody must get stoned instrumental verse: |C B Bb | A A Bb B | C B Bb | A D Eb E | |F E Eb | D A Bb B | C B Bb | A | |CCC C C C C C C | CCC C C C C A Bb B | C B Bb | A | Well, they'll stone you when you're at the breakfast table They'll stone you when you are young and able They'll stone you and they'll say that you are brave They'll stone you when you're sent down in your grave But I would not feel so all alone Everybody must get stoned Peace, love, and soul, Paul Zimmerman rambling.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: boogieboy@aol.com (BoogieBoy) Date: 25 Jun 1995 22:34:43 -0400 Subject: CRD: Dylan "Ramblin Gamblin Willie" Rambling, Gambing Willie Bob Dylan First line of verse vocals low, 2nd and 3rd vocals go up. C and F 2 medium downstrokes w/ C then 4 down & up fast and hold a C before the first verse C C F C Come round you rovin gamblers thereôs a story I will tell C C F C About the greatest gambler you all should know him well C C F C His name was Willie OôConnelly and he gambled all his life F C F Heôs had 27 children yet heôs never had a wife C F C F C F C F And itôs ride Willie ride, roll Willie roll, F C F C F C F hold C Where ever youôre a gamblinô now nobody knows Well he gambled in the white house and in the railroad yards Where ever there was people there was Willie and his cards He had the reputation as the gamblinest man around Wives would keep their husbands home when Willie came town Sailin down the Mississippi to a town called New Orleans Theyôre still talkin about that card game on that Jackson Queen õIôve come to win some money,æ gamblin Willie says When the game finally ended up, the whole darn boat was his Up in the Rocky Mountains in a town called Cripple Creek There was an old poker game lasted about a week 900 miners had laid their money down When Willie finally left the room he owned the whole darn town. (verse with harp) Well Willie had a heart of gold and this I know is true He supported all his children and all their mothers too He wore no wings and fancy things that other gamblers wore He spread his money far and wide to help the sick and poor When you played your cards with Willie you never really knew Whether he was bluffin or whether he was true He won a fortune from a man who folded in his chair The man he left a diamond flush Willie didnôt even have a pair It was late one evening during a poker game A man lost all his money said Willie was to blame He shot poor Willie through the head which was a tragic fate Willieôs cards fell on the floor they were aces backed with eights So all you ramblin gamblers where ever you might be The moral of the story is very plain to see Make your money while you can before you have to stop Cause when you pull that dead manôs hand your gamblin days are up. Boogieboy@aol.com restless.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# # Date: Thu, 18 Jan 1996 14:06:58 +0000 (HELP) From: Andrew Mullins <MULLINS%ARTSCI@VAX2.CONCORDIA.CA> Subject: CRD: Restless Farewell - Bob Dylan RESTLESS FAREWELL Bob Dylan from the album The Times They Are A-Changin' Capo at 4th fret Played very freely C/G F C/G Oh all the money that in my whole life I did spend G G6 G7 Csus4 C Csus4 C g Be it mine right or wrongfully C Csus4 C F C/G I'd let it slip gladly to my friends G G6 G7 C Csus4 C To tie up the time most forcefully C F/C C C/G F C But the bottles are done, we've killed each one Gsus4/B Am Am/G f G G6 G7 C g And the table is full and overflowed C F C/G F C/G And the corner sign says it's closing time F C G G6 G7 C Csus4 C So I'll bid farewell and be down the road harmonica break: F C G G6 G7 C C/G Oh every girl that ever I've touched I did not do it harmfully And every girl that ever I've hurt I did not do it knowingly But to remain as friends, you need the time To make amends and stay behind And since my feet are now fast And point away from the past I'll bid farewell and be down the line Oh every foe that ever I faced The cause was there before we came And every cause that ever I fought I fought it full without regret or shame But the dark does die as the curtain is drawn And somebody's eyes must meet the dawn And if I see the day I'd only have to stay So I'll bid farewell in the night and be gone Oh every thought that strung a knot in my mind I might go insane if it couldn't be sprung But it's not to stand naked under unknown (unknowin'?) eyes It's for myself and my friends my stories are sung But the time ain't tall if on time you depend And no word is possessed by no special friend And though the line is cut it ain't quite the end I'll just bid farewell till we meet again Oh a false clock tries to tick out my time To disgrace, distract and bother me And the dirt of gossip blows into my face And the dust of rumors covers me But if the arrow is straight and the point is slick It can pierce through the dust no matter how thick So I'll make my stand and remain as I am And bid farewell and not give a damn C/G=332010 G6 =3X200X G7 =3X300X Csus4=X33010 F/C=X33211 Gsus4/B=X2001X Am/G=3X2210 f=1XXXXX passing note g=3XXXXX passing note Harmonica played cross harp (blues style)--use key of A Note: played with no strict time, very freely. Also played freely are the strings strummed or picked for each chord, varying from chord to chord and verse to verse. Occasionally some chords are left out, played with a different root, notes hammered etc. ALTERNATE VERSION The version Dylan played on the Sinatra birthday tribute recently goes something like this: no capo, in C C F C All the money that in my life I did spend G C Csus4 C Be it mine right or wrongfully C F C I'd let it slip gladly to my friends G C Csus4 C To tie up the time most forcefully C F/C C F/C C But the bottles are done, we've killed each one C F C And the table is full and overflowed F C F C And the corner sign says it's closing time F C G C Csus4 C So I'll bid farewell and be down the road (lots of C - Csus2 - C - Csus4 etc. thrown in during C chords) Csus2=X30010 submitted by Andrew Mullins mullins@artsci.concordia.ca sad_eyed.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) Sad-Eyed Lady of the Lowlands - Bob Dylan ------------------------------------------- ('Blonde on Blonde' album) D A G Em7 A7 With your mercury mouth in the missionary times, D A G Em A7 And your eyes like smoke and your prayers like rhymes, G F#m Em7 A7 D And your silver cross, and your voice like chimes, Em7 A Em A7 Oh, who among them do they think could bury you? D A G Em7 A7 With your pockets well protected at last, D A G Em A7 And your streetcar visions which you place on the grass, G F#m Em7 A7 D And your flesh like silk, and your face like glass, Em7 A Em A7 Who among them do they think could carry you? ---- Chorous: Em D A7 Sad eyed lady of the lowlands, Em D A7 Where the sad eyed prophet says that no man comes, F#m G D G D Em7 A7 My warehouse eyes, my Arabian drums, Em Em7 A Em A Should I leave them by your gate, Em D A7 D Or sad eyed lady, should I wait? ---- With your sheets like metal and your belt like lace, And your deck of cards missing the jack and the ace, And your basement clothes and your hollow face, Who among them can think he could outguess you? With your sillouette when the sunlight dims Into your eyes where the moonlight swims, And your match-book songs and your gypsy hymns, Who among them would try to impress you? [Chorous] The kings of Tyrus with their convict list Are waiting in line for their geranium kiss, And you wouldn't know it would happen like this, But who among them really wants just to kiss you? With your childhood flames on your midnight rug, And your Spanish manners and your mother's drugs, And your cowboy mouth and your curfew plugs, Who among them do you think could resist you? [Chorous] Oh, the farmers and the businessmen, they all did decide To show you the dead angels that they used to hide. But why did they pick you to sympathize with their side? Oh, how could they ever mistake you? They wished you'd accepted the blame for the farm, But with the sea at your feet and the phony false alarm, And with the child of a hoodlum wrapped up in your arms, How could they ever, ever persuade you? [Chorous] With your sheet metal memory of Cannery Row, And your magazine-husband who one day just had to go, And your gentleness now, which you just can't help but show, Who among them do you think would employ you? Now you stand with your thief, you're on his parole With your holy medallion which your fingertips fold, And your saintlike face and your ghostlike soul, Oh, who among them do you think could destroy you? [Chorous] . Pheew ! ........ ------- Typed by Petter Larsson , larpe@nts.mh.se santa_fe.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# # Date: Wed, 24 Jan 1996 23:35:33 -0500 (EST) From: "Kelvin W. Sherlock" <ksherloc@moose.uvm.edu> Subject: bob dylan: Santa Fe crd Santa Fe, off the bootleg series #2 Intro: A A Santa Fe D E7 A Dear, dear, dear, dear, dear Santa Fe D A My woman kneels every day D A She promises to let me stay D A E She's ropin' up a knot to pray to light the way E She's in.. Santa Fe Dear, dear, dear, dear, dear Santa Fe Now she'll open up to let me home she crys but she needs to roam She's warpin up a happy home She thinks every day will be warm in Santa Fe Santa Fe Dear, dear, dear, dear Santa Fe Dishonor never needs to roam And never never far from home I'll never ever ever roam to sail away She's all feel bad Oh, no, no, no, no, no, no don't feel bad She's the worst thing he's ever had And the mad man, he's so glad His older brother had it bad His aunt made me feel so bad I went away Santa Fe Dear, dear, dear, dear, dear Santa Fe My home hearts in L.A. I won't have a day to wait And I'm planning every day to run away >From the Santa Fe Dear, dear, dear, dear, dear Santa Fe My woman's never sittin' at home She's packin' a valise unknown She crying like I need been stone She leavin that under and roam But she ain't gonna find her room and the tears send her on her own every day. A Right chords, wrong words. sara.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) Sara - Bob Dylan ------------------ ('Desire' album) Em Am D Em I laid on a dune I looked at the sky When the children were babies And played on the beach Am D Em You came up to behind me I saw you go by You were always so close and still within' reach G Bm C Sara, Sara D C Em Whatever made you want to change you mind G Bm C Sara, Sara D C Em So easy to look at, so hard to define. I can syill see them playin' With their pails in the sand They run to the water Their buckets to fill I can still see the shells Fallin' out of their hands As they follow each other Back up the hill Sara, Sara Sweet virgin angel, sweet love of my life Sara, Sara Radiant jewel, mystical wife Sleepin' in the woods By a fire in the night Drinkin' white rum In a Portugal bar Them playin' leap-frog And hearin' about Snow White You in the market place In Savanna-la-Mar Sara, Sara It's all so clear, I could never forget Sara, Sara Lovin' you is the one thing I'll never regret I can still hear the sounds Of those Methodist bells I'd taken the cure And had just gotten through Stayin' up for days In the Chelsea Hotel Writin' "Sad-Eyed Lady Of the Lowlands" for you Sara, Sara Wherever we travel we're never apart Sara, oh Sara Beautiful lady, so dear to my heart How did I meet you I don't know A messenger sent me In a tropical storm You were there in the winter Moonlight on the snow And on Lily Pond Lane When the weather was warm Sara, oh Sara Scorpio Sphinx in a calico dress Sara, Sara You must forgive me my unworthiness Now the beach is deserted Except for some kelp And a peice of an old ship That lies on the shore You always responded When I needed your help You gimme a map And a key to your door Sara, oh Sara Glamorous nymph with an arrow and bow Sara, oh Sara Don't ever leave me, don't ever go ------- Typed by Petter Larsson , larpe@nts.mh.se senor.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Date: Fri, 29 Sep 95 16:39:38 EDT From: Winston Campbell <jieuryli@eden.rutgers.edu> Subject: SENOR (Tales of Yankee Power) by Bob Dylan This is the sixth song off of Dylan~s underrated -Street Legal- album. I happen to love the song (and some of the album, itself) to death. Anyway, what one should remember about this is that there are a lot of bass walk- downs in this song, and they are slow, as is the song. What I mean, for example, is that, say the song moves from C to Am, the bass goes C, B, A (like with what any normal bassist would do). I know you may be thinking, what does this have to do with chord progression that he is about to transcribe. Well, sometimes there is a feeling in the song that more than one chord is being played and that is normally the bass walking down. I may seem silly stating this but trust me... Or you could just ignore this whole paragraph (as would what I would do if I were reading it). Another thing about this transcription is that I had a very hard time understanding Mr. Dylan~s lyrics especially in the bridges. So the lyrics are not exactly what they appear to be. For a more better interpretation of the lyrics, one should buy or take out of the library the Bob Dylan lyric book (which was featured in that awful movie, you know what I~m talking about). Anyway: Am Senor, Em Senor, F C Can you tell me where we heading? Am Lincoln County Road or Armageddon? G F Seems like I been down this way before Dm Am Is there any truth in that, Senor? Am Senor, Em Senor, F C Do you know where she~s hiding? Am How long are we gonna be riding? G F How long must I keep my eyes glued to the door? Dm Am Will there be any comfort here, Senor? C Em There~s a wicked wind still blowing on that upper deck F Am* There~s an iron cross still hanging down from around her neck C Em There~s a marching band still playing in their vacant lot F Am* Where she held me in her arms one time and said -forget what we got- Am Senor, Em Senor, F C I can see the painted wagon Am Smell the tail of a dragon G F Can~t stand the suspense anymore Dm Am Can you tell me who to contact here, Senor? Instrumental: all of the verse chords with the cool mandolin C Em Well the last thing I remember before they stripped and kneeled F Am* Was a train load of fools born down in a Maganatic(?) field C Em The gypsy, where he broke a pike and a flashing ring F Am* He say, -Son this ain~t a dream no more, it~s the real thing- Am Senor, Em Senor, F C You know their hearts here are hard as leather Am Well give me a minute, let me get it together G F Just gotta pick myself up off the floor Dm Am I~m ready when you are, Senor? Another Instrumental like the First Instrumental Am Senor, Em Senor, F C Let~s overturn these tables Am Disconnect these cables G F This place don~t make sense to me no more Dm Am Can you tell me what we~re waiting for, Senor? The song fades out and ends on the verse chords and that is about it. The Am* chords are played by striking the Am chord, then you release all your fingers so that you strike all open strings (except for the low E and A strings), then you strike back on the Am chord. It may not be accurate but that is how I make sense out of that part of the song). Feel free to email me and we can discuss why Bob Dylan rushes his lyrics while playing in concert, making his songs lose all of their bite. (Or maybe it's just me). Oh yeah, I must not disrespect the Spanish language by not nothing that there is a tilda over the "n" in Senor. That is all. series_o.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: Harlan L Thompson <harlant@uhunix.uhcc.Hawaii.Edu> SERIES OF DREAMS- Bob Dylan C G C I was thinkin' of a series of dreams C G C Where nothing comes up to the top C G C Everything stays down where it's wounded F And comes to a permanent stop C Wasn't thinking of anything specific F Like in a dream when someone wakes up and screams C Nothing too very scientific G C Just thinkin' of a series of dreams Thinkin' of a series of dreams Where the time and the tempo drag (fly)* And there's no exit in any direction Except the one that you can't see with your eyes Wasn't makin' and great connection Wasn't fallin' for any intricate scheme Nothing that would pass inspection I's just thinkin' of a series of dreams CHORUS: Am F C Dreams where the umbrella is folded Am F C And into the path you are hurled Am F C And the cards are no good that you're holdin' G Unless they're from another world In one, the surface was frozen In another, I witnessed a crime In one, I was running, and in another All I seemed to be doing was climb Wasn't lookin' for any special assistance Not going through any great extremes I'd already gone the distance Just thinkin' of a series of dreams CHORUS C G C C F C I'd already gone the distance G C C G C Just thinkin' of a series of dreams C G C Just thinkin' of a series of dreams C G C Just thinkin' of a series of dreams NOTE: I saw one version of lyrics that had "fly" instead of "drag". Fly would make it rhyme, but Dylan obviously says drag. FROM: The Bootleg Series 1-3, this song recorded 1989. seven_da.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from LUGA.latrobe.edu.au (luga.latrobe.edu.au [131.172.2.2]) by post-office.nevada.edu (8.6.4/8.6.4) with SMTP id IAA00204 for <jamesb@nevada.edu>; Thu, 10 Mar 1994 08:54:50 -0800 Received: from lux.latrobe.edu.au by LUGA.latrobe.edu.au with SMTP id AA13715 (5.67a/IDA-1.5/LTU-1.0 for <jamesb@nevada.edu>); Fri, 11 Mar 1994 01:40:28 +1000 Received: by lux.latrobe.edu.au (5.67a/Ultrix3.0-C) id AA29348; Fri, 11 Mar 1994 01:40:25 +1000 Date: Fri, 11 Mar 1994 01:40:25 +1000 From: cscsj@lux.latrobe.edu.au ( Junacko) Message-Id: <199403101540.AA29348@lux.latrobe.edu.au> To: jamesb@nevada.edu Subject: Bob Dylan - Seven Days From: James Henning <ujhennin@uxa.ecn.bgu.edu> Subject: Re: Woody (and Bob's) Seven Days In article <9302191800.AA15317@snowhite.cis.uoguelph.ca> you write: > I am wondering if anyone knows how to play "Seven Days" written by >Bob Dylan, and recorded by Ronnie Wood way back when for Gimme Some Neck. >I think Dylan also released it on the Bootleg Series. > > It's really a great song, I'd love some pointers on how to play it... > >Steve Hi Steve, I love that song too. I'll try to roughly TAB/TALK you through it. The opening riff is off the opening E minor chord and goes roughly like this E-----2-3-0-2--0--------------- B----------------3--0---------- G------------------------------ repeat for intro D--2----------------------2--2- A--2----------------------2--2- E--0----------------------0--0- So... The intro is a held out E minor. Emin C G B Emin Seven more days, she'll be coming. I'll be waiting at the station Amin B For her to arrive. Seven more days all I got to do is survive. and the other change is Amin Amin There's kissing in the valley, thieving in the alley B Emin Fighting every inch of the way. Amin Amin Trying to be tender with somebody I remember B Emin In a night that's allways brighter than the day. Seven Days. Hope this helps. All off the top of my head and I haven't played this one in a couple of years. BTW, how's your open tuning playing going? Check out my sig for a good riff. -Jim >From: david@cats.ucsc.edu (David Michael Wright) >Subject: Seven Days --- Dylan Version Here are some chords, the way Wood does it is similiar but not the same. (anyone have any ideas?) sevan days EM C G sevan days , sevan long days she'll be comin' B7 EM I'll be waitin' at the station AM for her to arrive B7 EM sevan long days, all I gotta do is survive She been gone, ever since I been a child, ever since I seen her smile I've never forgotten her eyes She had a face that outshined the sun and the sky I've been good, i've been good while i've been waitin' forgive for hesitating, but i've been hangin on sevan more days and all that will be gone there's kissin' in the alley, theiving in the alley fightin' every inch of the way trying to get a lead on, providing the feat on the nights are always sadder than the days sevan days , sevan days the wind is knowin' the whistle will be blowin' and I know she'll be coming for my beautifull comrade from the north. repeat last first. -- "There is nothing in the marginal conditions that distinguish a mountain from a mole hill" Kenneth Boulding All comments are mine---(David Wright) david@cats.ucsc.edu. shelter_.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Article 2023 of alt.guitar.tab: Path: nevada.edu!uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Newsgroups: alt.guitar.tab Subject: Tab : Shelter From The Storm - Dylan Message-ID: <1992Sep4.183735.658@csc.canterbury.ac.nz> From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn) Date: 4 Sep 92 18:37:33 +1200 Reply-To: k.osborn@cantua.canterbury.ac.nz Organization: University of Canterbury, Christchurch, New Zealand. Nntp-Posting-Host: cantua.canterbury.ac.nz X-Newsreader: Tin 1.1 PL3 Lines: 132 Shelter From the Storm By Bob Dylan D 'Twas in another life time, G D One of toil and blood. When blackness was a virtue G And the road was full of mud. D I came in from the wilderness, G A creature void of form. D "Come in" she said, "I'll give you, G Shelter from the storm." And if I pass this way again, You can rest assured, I'll always do my best for her On that I give my word. In a world of steel eyed death and men Who are fighting to be warm, Come in she said, I'll give you Shelter from the storm. Not a word was spoke between us. There was little risk involved. everything up to that point, Had been left unresolved. Try imagining a place Where it's always safe and warm Come in she said I'll give you Shelter from the storm. I was burned out from exhaustion I was buried in the hail. Poisoned in the bushes An' blown out on the trail Hunted like a crocodile, Ravaged in the corn Come in she said I'll give you Shelter from the storm Suddenly I turned around And she was standing there With silver bracelets on her wrists And flowers in her hair. She walked up to me so gracefully And took my crown of thorns Come in she said I'll give you, Shelter from the storm. Now there's a wall between us Something has been lost. I took too much for granted I got my signals crossed Just to think that all began On an uneventfull morn Come in she said I'll give you Shelter from the storm Well the deputy walks on hard nails And the preacher rides a mount But nothing really matters It's doom alone that counts And the one-eyed undertaker He blows a futile horn Come in she said I'll give you Shelter from the storm I've heard newborn babies wailin' Like a mornin' dove And old men with broken teeth Stranded without love. Do I understand your question, man Is it hopeless and forlorn. Come in she said I'll give you Shelter from the storm. In a little hill top village I gambled for my clothes I bargained for salvation And they gave me a leathal dose. I offered up my innocence And got repaid with scorn Come in she said I'll give you Shelter from the storm Well I'm livin' in a foreign country But I'm bound to cross the line. Beauty walk a razors edge, Someday I'll make it mine. If I could only turn the clock back To when God and her were born Come in she said I'll give you Shelter from the storm. Be seeing you, Kelwyn. _________ He said that's alright babe, I love you too. But we were Tangled Up In Blue. - Bob Dylan sign_lan.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## # Date: Wed, 28 Feb 1996 16:40:04 -0600 From: davies@ils.nwu.edu (Brian Davies) Subject: TAB: Sign Language by Bob Dylan SIGN LANGUAGE by Bob Dylan Transcribed by Brian Davies Comments / Corrections to davies@ils.nwu.edu This is a beautiful Clapton / Dylan duet off of EC's 1976 album, "No Reason To Cry". Don't think Bob has ever recorded it for one of his own releases. INTRO: (e) |-10----------------------|-------------10----------| (B) |-------------------12\8--|-12-------------12\8-----| (G) |-------------------------|-------------------------| (D) |-------------------------|-------------------------| (A) |-------------------------|-------------------------| (E) |-------------------------|-------------------------| 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & [G] You speak to [D] me [C] in sign [Em/B] language, [Em/B] As I'm eating a [D/A] sandwich [D/A] in a small ca[Em/B]fe [C] At a quarter to [G] three. [G] But [G] I can't re[D]spond [C] to your sign [Em/B] language. [Em/B] You're taking ad[D/A]vantage, [D/A] bringing me [Em/B] down. [C] Can't you make any [G] sound? [G] [G] 'Twas there by the [D] bakery, [C] surrounded by [Em/B] fakery. [Em/B] This is my [D/A] story, [D/A] still I'm still [Em/B] there. [C] Does she know I still [G] care? [G] Solo on Verse [G] Link Wray was [D] playing on a [C] jukebox, I was [Em/B] paying [Em/B] For the words I was [D/A] saying, [D/A] so misunder[Em/B]stood. [C] He didn't do me no [G] good. [G] First Verse Second Verse Solo on Verse *************************************************************************** * Brian Davies (davies@ils.nwu.edu) * There are three kinds of lies: * * http://www.ils.nwu.edu/~davies/ * Lies, damned lies, and release * * Institute For The Learning Sciences * dates. * * 1890 Maple Ave, Evanston, IL, 60201 * - guess who * *************************************************************************** sign_on_.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uhunix.uhcc.Hawaii.Edu!harlant Thu Jan 26 04:30:20 1995 Return-Path: <harlant@uhunix.uhcc.Hawaii.Edu> Received: from alf2.tcd.ie by sadhbh.scrg.cs.tcd.ie with smtp (Smail3.1.28.1 #3) id m0rXLqc-00058BC; Thu, 26 Jan 95 04:30 WET Received: from post-office.nevada.edu by alf2.tcd.ie; (5.65/1.1.8.2/28Sep94-0239PM) id AA06758; Thu, 26 Jan 1995 04:30:12 GMT Received: from relay1.Hawaii.Edu (relay1.Hawaii.Edu [128.171.41.53]) by post-office.nevada.edu (8.6.9/8.6.4) with SMTP id UAA21105 for <guitar@nevada.edu>; Wed, 25 Jan 1995 20:30:09 -0800 Received: from uhunix.uhcc.Hawaii.Edu ([128.171.41.54]) by relay1.Hawaii.Edu with SMTP id <11412(7)>; Wed, 25 Jan 1995 18:27:31 -1000 Received: by uhunix.uhcc.Hawaii.Edu (4.1/Sun690) id AA14704; Wed, 25 Jan 95 18:24:46 HST Date: Wed, 25 Jan 1995 18:24:46 -1000 From: Harlan L Thompson <harlant@uhunix.uhcc.Hawaii.Edu> To: guitar <guitar@nevada.edu> Message-Id: <Pine.SUN.3.91.950125182322.12593G-100000@uhunix4.uhcc.Hawaii.Edu> Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Status: RO SIGN ON THE WINDOW- Bob Dylan G Em F G Sign on the window says "lonely" G Em F C Sign on the door said "no company allowed" G Em F C Sign on the street says "y' don't own me" G Bm Em G C G Am Sign on the porch says "three's a crowd" G Bm Em G A C G C G C G C G C G Sign on the porch says "three's a crowd" Her and her boyfriend went to California Her and her boyfriend done changed their tune My best friend said "now didn't I warn ya Brighton girls are like the moon Brighton girls are like the moon" BRIDGE: C D Eb Dm C Looks like a-nothing but the rain G Bm C Am Sure gonna be wet tonight on main street Em D Am G Am7 G Em F G Hope that it don't sleet Build me a cabin in Utah Marry me a wife, catch rainbow trout Have a bunch of kids who call me "Pa" That must be what it's all about That must be what it's all about Riff: E ------- B ------- G -----0- C C G D -0h2--- A ------- E ------- (from New Morning, 1970) (sent by Harlan at harlant@hawaii.edu) simple_t.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Date: Tue, 5 Sep 1995 20:57:59 -1000 From: Harlan L Thompson <harlant@hawaii.edu> SIMPLE TWIST OF FATE- Bob Dylan TUNING: E B E G# B E E5 They sat together in the park E5/Eb As the evening sky grew dark E5/D She looked at him and he felt a spark C#7/E Tingle to his bones Am 'Twas then he felt alone E5 E5/Eb Esus4 And wished that he'd gone straight E(2) Esus2/A E5 And watched out for a simple twist of fate They walked along the old canal A little confused, I remember well And stopped into a strange hotel With the neon burning bright He felt the heat of the night Hit him like a freight Train moving with a simple twist of fate A saxaphone someplace far off played As she was walking down by the arcade As the light burst through a beat up shade Where he was waking up She dropped a coin into the cup Of a blind man at the gate And forgot about a simple twist of fate He woke up, the room was bare He didn't see her anywhere He told himself he didn't care Pushed the window open wide Felt an emptiness inside To which he just could not relate Brought on by his simple twist of fate He hears the ticking of the clocks And walks along with a parrot that talks Hunts her down by the waterfront docks Were the saliors all come in Maybe she'll pick him out again How long must he wait? One more time for his simple twist of fate People tell me its a sin To know and feel too much within I still believe she was my twin But I lost the ring She was born in spring But I was born too late Blame it on a simple twist of fate CHORDS: E5 E5/Eb E5/D C#7/E Am Esus4 Esus2/A E(2) E E -0---0-----0----0-----5----0-----0-----0----0-- B -0---0-----0----0-----5----0-----0-----0----0-- G# -3---3-----3----3-----4----1-----1-----3----0-- E -0---0-----0----0-----5----0-----2-----4----0-- B -5---4-----3----2-----x----2-----0-----0----0-- E -0---0-----0----0-----5----0-----0-----0----0-- Subject: Tab : Simple Twist Of Fate - Dylan From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn) Date: 4 Sep 92 18:40:23 +1200 Simple Twist of Fate By Bob Dylan D | G D They sat together in the park. F#m As the evening sky grew dark. D D7 She look at him and he felt a spark, G Tingle to his bones. Gm 'Twas then he felt alone, D A G And wished that he'd gone straight. D G D And watched out for a simple twist of fate. They walked along by the old canal. A little confused I remember well. Stopped into a strange hotel, With the neon burning bright. He felt the heat of the night, Hit him like a frieght, Train moving with a simple twist of fate. A saxaphone someplace far off played. As she was walking down by the arcade. As the light burst through a beat up shade, Were he was waking up. She dropped a coin into the cup, Of a blind man at the gate. And forgot about a simple twist of fate. He woke up the room was bare. He didn't see her anywhere. He told himself he did not care, Threw the window open wide. He felt an emptyness inside, To which he just could not relate. Bought on by a simple twist of fate. He hears the ticking of the clocks. And walks along with a parrot that talks. Hunts her down by the waterfront docks, Were the saliors all come in. Maybe she'll pick him out again. How long must he wait? Once again for a simple twist of fate. People tell you its a sin. To know and feel too much within. I still believe she was my twin, But I lost the ring. She was born in spring, But I was born to late. Blame it on a simple twist of fate. somethin.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) Something There Is About You - Bob Dylan ------------------------------------------ ('Planet waves' album) G C Am G Something there is about you That strikes a match in me. G C Am G Is it the way your body moves Or is it the way your hair blows free. Bm Em C Am Or is it because you remind me Of somethin' that used to be G7 C Am G Somethin' that's crossed over From another century. G C Am G Thought I'd shaken the wonder And the phantoms of my youth. G C Am G Rainy days on the Great Lakes Walkin' the hills of old Duluth. Bm Em C Am G There was me and Danny Lopez Cold eyes, black night and then there was Ruth G7 C Am G Somethin' there is about you That bring back a long forgotten truth. G C Am G Suddenly I found you And the spirit in me sings. G C Am G Don't have to look no further You're the soul of many things. Bm Em C Am G I could say that I'd be faithful I could say it in one sweet, easy breath. G7 C Am G But to you that would be cruelty And to me it surely would be death. G C Am G Something there is about you That moves with style and grace. G C Am G I was in a whirlwind Now I'm in some better place. Bm Em C Am G My hand's on the sabre And you've picked up on the baton G7 C Am G Somethin' there is about you That I can't quite put my finger on. ------- Typed by Petter Larsson , larpe@nts.mh.se stop_cry.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# # Date: Sun, 28 Jan 96 15:57:52 EST From: Winston Campbell <jieuryli@eden.rutgers.edu> Subject: BABY, STOP CRYING by Bob Dylan That opening riff (which I call the "F riff") is: E --3-----3-5~---| B ----4----------| the (3) just indicates that the bass plays an F note G ------5--------| throughout the "F riff". Actually the bass plays D -(3)-----------| octaves of the F note. A ---------------| E ---------------| NOTE: The lyrics are the vocals that only Dylan sings and not the back-up singers, so don't be confused with the chording. Intro: F riff (8x) Bb Bb Dm Eb You been down to the bottom with a bad man, babe, F Bb Dm Eb F But you're back where you belong. Bb Dm Eb Go get me my pistol, babe, F Bb Dm Eb F Honey, I can't tell right from wrong Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Baby, please stop crying. F riff (8x) You know, I know, the sun will always shine Bb Dm Eb F So baby, please stop crying 'cause it's tearing up my mind. Bb Dm Eb Go down to the river, babe, F Bb Dm Eb F Honey, I will meet you there. Bb Dm Eb Go down to the river, babe, F Bb Dm Eb F Honey, I will pay your fare. Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Baby, please stop crying. F riff (8x) You know, I know, the sun will always shine Bb Dm Eb F So baby, please stop crying 'cause it's tearing up my mind. Bb Dm Eb If you're looking for assistance, babe F Bb Dm Eb F Or if you just want some company Bb Dm Eb Or if you just want a friend you can talk to, F Bb Dm Eb F Honey, come and see about me. Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Baby, please stop crying. F riff (8x) You know, I know, the sun will always shine Bb Dm Eb F So baby, please stop crying 'cause it's tearing up my mind. (Sax Break: Bb Dm Eb F Bb Dm Eb F) Bb Dm Eb You been hurt so many times F Bb Dm Eb F And I know what you're thinking of. Bb Dm Eb Well, I don't have to be no doctor, babe, F Bb Dm Eb F To see that you're madly in love. Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Bb Dm Eb Baby, please stop crying, stop crying, stop crying F Baby, please stop crying. F riff (8x) You know, I know, the sun will always shine Bb Dm Eb F So baby, please stop crying 'cause it's tearing up my mind. Bb Dm Eb F (2x) Bb stuck_in.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Fri Sep 4 16:04:27 PDT 1992 Article: 2025 of alt.guitar.tab Path: nevada.edu!uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Newsgroups: alt.guitar.tab Subject: Tab : Stuck Inside Of Mobile With The Memphis Blues Again - Dylan Message-ID: <1992Sep4.184135.660@csc.canterbury.ac.nz> From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn) Date: 4 Sep 92 18:41:33 +1200 Reply-To: k.osborn@cantua.canterbury.ac.nz Organization: University of Canterbury, Christchurch, New Zealand. Nntp-Posting-Host: cantua.canterbury.ac.nz X-Newsreader: Tin 1.1 PL3 Lines: 164 Stuck Inside of Mobil with the Memphis Blues Again By Bob Dylan F Dm Oh the rag-man draws circles F Dm Up and down the block. F Dm I'd ask him what the matter was Bb C7 But I know that he don't talk. Bb F And the ladies treat me kindly Dm F And furnish me with tape Dm F But deep inside my heart Bb F I know I can't escape Am Oh Mama, Can this really be the end F C Dm To be stuck inside of Mobile F Bb F with the Memphis blues again Well, Shakespear, he's in the alley With his pointed shoes and his bells. Speaking to a french girl, Who says she knows me well. And I would send a message To find out if she's talked, Post the post office has been stolen And the mail box is locked. Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Mona tried to tell me To stay far away from the train line. She said that all the railroad men Drink your blood like wine. An' I said "Oh, I didn't know that But then again there's only one I've met An' he just smoked my eyelids An' punched my cigarette" Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Grandpa died last week And now he's buried in the rock But everybody talk about How badly they were shocked. But me I expected it to happen I knew he'd lost control When he built a fire on main street And shot it full of holes. Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Now the senator can down here Showing everyone his gun. Handing out free tickets To the wedding of his son. An' me I nearly got busted An wouldn't it be my luck To get caught without a ticket And be discovered beneath a truck Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Now the preacher looked so baffled When I asked him why he dressed With twenty pounds of headlines Stapled to his chest But he cursed when I proved to him Then I whispered not even you can hide. You see you're just like me I hope your satisfied Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Now the rainman gave men two cures Then he said "Jump right in" The one was Texas medicine The other railroad gin. An like a fool I mixed them An' it strangled up my mind An' now people just get uglier An' I have no sense of time. Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. When Ruthie says come see her In her honkey-yonk lagoon, Where I can watch her waltz for free 'Neath her Panamanian moon. An' I say, "Aw come on now You must know about my dedutante." An' she says, "Your debutante knows just what you need But I know what you want." Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Now the bricks lay on Grand Street Where the neon madmen climb They all fall there so perfectly. It all seems so well timed. An' here I sit so patiently Waiting to find out what price You have to pay to get out of Going through all these things twice Oh Mama Can this really be th end To be stuck inside of Mobile With the Memphis blus again. Be seeing you, Kelwyn. _________ He said that's alright babe, I love you too. But we were Tangled Up In Blue. - Bob Dylan subterra.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## # Date: Fri, 25 Oct 1996 11:28:17 -0700 (PDT) From: Sacha Mallais <sacha@global-village.net> Subject: CRD: Subterranean Homesick Blues by Bob Dylan Cut away the chaffe and this should fit one one page. This is a fairly difficult song to get to sound right. The chords are simple, though (blues progression in A). I strum the chords, alternating the bass line throughout (play A with an an A and E bass, D with a D and A bass, E with an E and B bass) ----------8<-------------------8<--------------------------- Subterranean Homesick Blues by Bob Dylan A A Johnny's in the basement mixin' up the medicine, I'm on the pavement, thinkin' 'bout the government The man in a trenchcoat badge (??) got laid off, Says he's got a bad cough, wants to get it paid off D D Look out kid, theres something you did, A God knows when, but you're doin' it again. You better duck down the alleyway, lookin' for a new friend. E The man in the 'coonskin cap in a pigpen A Wants 11 dollar bills, you only got 10. Maggie calls fleetfoot (??) face full 'o black soot, Talking at the heat, put (??) plants in the bed, but (??) The phones tapped anyway, Maggie says the man he say, They must bust in early May, orders from the DA. Look out kid, don't matter what ch' ya did, Walk on your tiptoes, don't tie no bows Better stay away from those 'ho carry 'round a fire hose. Keep a clean nose, 'n wash of plain clothes, You don't need a weather man to know which way the wind blows. Uhh..Get sick, get well, hang around the inkwell, Hang bail, hot tail, if anything its gonna sell, Try hard, get bought, get back, write braille, Get jail, jump bail, join the army if ya fail. Look out kid, your gonna get hit, by Losers, cheaters, six time users, hangin' round the theaters, Girl by the whrilpool's lookin' for a new fool, Don't follow leaders or watch the parkin' meters. Ohh..Get born, keep warm, short pants, romance, Learn to dance, get dressed, get blessed, try to be a success, Please her, please him, buy 'er gifts, don't steal, don't lift Twenty years o' schoolin' and they put ya on the day shift, Look out kid, they keep it all hid, Better jump down a manhole, light yourself a candle, Don't wear sandles, and try to force a scandal, Don't want to be a bum, you'd better chew gum, The pump don't work cuz the vandals took the handle. ---------------------------------------------------------------------------- Sacha Michel Mallais sacha@global-village.net http://www.global-village.net/sacha The bird of paradise alights only upon the hand that does not grasp. tambouri.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: Scott A. Yanoff <yanoff@csd4.csd.uwm.edu> C D G C hey mister tambourine man, play a song for me G Am D D i'm not sleepy and there is no place i'm going to C D G C hey mister tambourine man, play a song for me G C Am D D G D in the jingle jangle morning i'll come followin you C D G C though i know that evening's empire has returned into sand G C vanished from my hand G C left me blindly here to stand Am, D but still not sleepin C D G C my weariness amazes me - i'm branded on my feet G C i have no one to meet G C and my ancient empty street's Am D too dead for dreamin Please answer me at all events, thank you. If you know some other server, who do this, so tell me. My adress is Alex arothmun@sparc1.ntb.ch I am Austrian, but i am studing in switzerland. Alex tangled_.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Date: Tue, 5 Sep 1995 13:55:46 -1000 From: Harlan L Thompson <harlant@hawaii.edu> TANGLED UP IN BLUE (Bootleg Series Version)- Bob Dylan TUNING: D A D F# A D or E B E G# B E E(2) E11 E(2) E11 Early one morning the sun was shinin' he was layin' in bed E(2) E11 E(3) Emaj7 Esus4 Wondering if she'd changed at all, if her hair was still red E(2) E11 E(2) E11 Her folks they said that their lives together sure was gonna be rough E(2) E11 E(3) Emaj7 Esus4 They never did like mama's home-made dress, papa's bank book wasn't big enough Esus2/A E6 E(3) Emaj7 Esus4 And he was standing on the side of the road, rain falling on his shoes Esus2/A E6 E(3) Emaj7 Esus4 Heading out for the old east coast, Lord knows he's paid some dues Esus2/A E(4) F#m11 E(1) E(3) Esus4 E(3) Esus4 Getting through, tangled up in blue She was married when they first met, soon to be divorced He helped her out of a jam I guess but he used a little too much force And they drove that car as far as they could, abandoned it out west And split up on a dark sad night, both agreeing it was best And she turned around to look at him as he was walking away She said "This can't be the end, we'll meet on another day On the avenue, tangled up in blue" He had a job in the old north woods, working as a cook for a spell But he never did like it all that much and one day the axe just fell When he drifted down to L.A., where he reckoned to try his luck Workin' for a while in an airplane plant loading cargo onto a truck But all the while he was alone, the past was close behind He's seen alot of women, but she never escaped his mind And he just grew, tangled up in blue She was working in topless place, I stopped in for a beer I just kept looking at the side of her face in the spotlight so clear And later on as the crowd thinned out, I's about to do the same She was standing there in back of my chair said to me "What's your name?" I muttered something underneath my breath, she studied the lines on my face I must admit I felt a little uneasy, when she bent down to tie the laces Of my shoe, tangled up in blue She lit a burner on the stove and offered me a pipe "I thought you'd never say hello" she said, "You look like the silent type" Then she opened up a book of poems and handed it to me Written by an Italian poet from the thirteenth century And every one of them words rang true and glowed like burning coal Pourin' off of every page like it was written in my soul >From me to you, tangled up in blue He was always in a hurry, too busy or too stoned And everything she ever planned just had to be postponed He thought they were successful, she thought they were blessed With objects and material things but I never was impressed And when it all came crashing down, I became withdrawn The only thing I knew how to do was to keep on keeping on Like a bird that flew, tangled up in blue So now I'm going back again, I got to get to her somehow All the people we used to know, they're an illusion to me now Some are mathematicians, some are doctor's wives Don't know how it all got started Don't know what they're doin' with their lives But me, I'm still on the road, headin' for another joint We always did feel the same, we just saw it from a different point Of view, tangled up in blue CHORDS: E11 E(2) E(3) Emaj7 Esus4 Esus2/A E6 E(4) F#m11 E(1) E -5---7----0-----0-----0-----0------0---4-----2----0--- B -7---9----0-----0-----0-----1------2---0-----0----0--- G# -6---8----3-----3-----1-----2------0---3-----1----0--- E -0---0----4-----0-----0-----0------0---4-----2----0--- B -0---0----5-----4-----2-----0------2---0-----0----0--- E -0---0----0-----0-----0------------0---0-----0----0--- Subject: Tab : Tangled up in Blue - Dylan From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn) Date: 4 Sep 92 18:42:53 +1200 Tangled Up In Blue By Bob Dylan A | Asus4 sus2 | A | Asus4 sus2 A G Early one morning the sun was shinin' A G I was layin' in bed. A G Wondering if she'd changed at all D If her hair was still red. A G Her folks they said that our lives together, A G Sure was gonna be rough. A G They never did like Mama's home-made dress, A Papa's bank book wasn't big enough. E F#m And I was standing on the side of the road, A D Rain falling on my shoes. E F#m Heading out for the old east coast, A D Lord knows I've paid some dues, E Getting through, G D A | Asus4 sus2 | A | Asus4 sus2 Tangled up in blue. She was married when we first met Soon to be divorced I helped her out of a jam I guess But I used a little too much force We drove that car as far as we could Abandoned it out west Split up on a sad dark night Both agreeing it was best She turned around to look at me As I was walking away I heard her say over her shoulder We'll meet again some day On the avenue Tangled up in Blue I had a job in the great north woods Working as a cook for a spell But I never did like it all that much And one day the axe just fell So I drifted down to New Orleans Where I was lucky to be employed Workin' for a while on a fishing boat Right outside of Delacroix But all the while I was alone The past was close behind I seen alot of women But she never escaped my mind And I just grew Tangled up in blue She was working in topless place And I stopped in for a beer I just kept looking at the side of her face In the spotlight so clear And later on when the crowd thinned out I was just about to do the same She was standing there in back of my chair Said to me Don't I know your name I muttered something undernaeth my breath She studdied the lines on my face I must admit I felt a little uneasy When she bent down to tie the laces Of my shoe Tangled up in blue She lit a burner on the stove And offered me a pipe I thought you'd never say hello she said You look like the silent type Then open up a book of poems And handed it to me Written by an Italian poet >From the thirteenth century And every one of them words rang true And glowed like burning coal Pourin' off of every page Like it was written in my soul >From me to you Tangled up in blue I lived with them on Montague Street In a basement down the stairs There was music in the cafes at night And revolution in the air Then he started dealing in slaves And something inside of died She had to sell everything she owned And froze up inside. And when the bottom finally feel out I became withdrawn The only thing I knew how to do Was to keep on keeping on Like a bird that flew Tangled up in blue So now I'm going on back again I got to get to her some how All the people we used to know They're an illusion to me now Some are mathematicians Some are carpenters wives Don'ty know how it all got started I don't know what they're doing with their lives But me, I'm still on the road Headin' for another joint We always did feel the same We just saw it from a different point Of view Tangled up in blue. Be seeing you, Kelwyn. _________ He said that's alright babe, I love you too. But we were Tangled Up In Blue. - Bob Dylan temporar.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) Temporary like Achilles - Bob Dylan ------------------------------------- ('Blonde on Blonde' album) G C D7 G Standing on your window, honey, Yes I've been here before. G C D7 G Feeling so harmless, I'm looking at your second door. D7 G How come you don't send me no regards ? G7 C D7 You know I want your lovin' (no chord) G Bbo7 Ao7 G D7 Honey, why are you so hard ? G C D7 G Kneeling 'neath your ceiling, Yes, I guess I'll be here for a while. G C D7 G I tryin' to read your portrait, but, I'm helpless, like a rich man's child. D7 G How come you send someone out to have me barred ? G7 C D7 You know I want your lovin' (no chord) G Bbo7 Ao7 G D7 Honey, why are you so hard ? Em Bm Like a poor fool in his prime, Yes, I know you can hear me walk, Em Bm But is your heart made of stone, or is it lime, D7 Or is it just solid rock ? G C D7 G Well, I rush into your hallway, Lean against your velvet door. G C D7 G I watch upon your scorpion Who crawls across your circus floor. D7 G Just what do you think you have to guard ? G7 C D7 You know I want your lovin' (no chord) G Bbo7 Ao7 G D7 Honey, but you're so hard. G C D7 G Chiles is in your alleyway, He don't want me here, He does brag. G C D7 G He's pointing to the sky And he's hungry like a man in drag. D7 G How come you get someone like him to be your guard ? G7 C D7 You know I want your lovin' (no chord) G Bbo7 Ao7 G D7 G7 Honey, but you're so hard. ------- Typed by Petter Larsson , larpe@nts.mh.se the_ball.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: Harlan L Thompson <harlant@uhunix.uhcc.Hawaii.Edu> THE BALLAD OF A THIN MAN- Bob Dylan Bm Bm/Bb You walk into the room with your pencil in your hand Bm/A Bm/G# You see somebody naked and you say "who is that man?" G Em You try so hard but you just don't understand D F# Bm Just what you will say when you get home D A Because something is happening here Bm G Bm And you don't know what it is, do you, Mister Jones You raise up your head and you ask "is this where it is?" And somebody points to you and says "its his" And you say "what's mine?" and somebody else says "well WHAT is" And you say "oh my god - am i here all alone?" But something is happening here And you don't know what it is, do you, Mister Jones You hand in you ticket and you go watch the geek Who immediately walks up to you when he hears you speak Saying "how does it feel to be such a freak?" And you say "impossible" as he hands you a bone And something is happening here But you don't know what it is, do you, Mister Jones Bm Bm/A You have many contacts among the lumberjacks G Bm To get you facts when someone attacks your imagination Bm Bm/A But nobody has any respect, anyway they already expect you G Em A A7 To all give a check to tax-deductable charity organizations You've been with the professors, and they all liked your looks With great lawyers you have discussed lepers and crooks You've read all of F. Scott Fitzgerald's books You're very well read, its well known But something is happening here And you don't know what it is, do you, Mister Jones Well, the swordswallower comes up to you and then he kneels He crosses himself and he clicks his high heels And without further notice he asks you how it feels And he says "here is your throat back, thanks for the loan" And you know something is happening But you don't know what it is, do you, Mister Jones Now you see this one-eyed midget saying the word "now" And you say "for what reason?" and he says "how?" And you say "what does this mean?" and he screams back "you're a cow! Give me some milk - or else go home!" And you KNOW somethings happening here But you dont know what it is, do you, Mister Jones Well, you walk into the room like a camel and then you frown You put your eyes in your pocket and your nose on the ground There oughtta be a law against you coming around You should be made to wear earphones Cause something is happening here And you don't know what it is, do you, Mister Jones Bm: x 2 2 4 4 3 2 Bm/Bb: x 1 2 4 4 3 2 Bm/A: x 0 2 4 4 3 2 Bm/G#: 4 2 2 4 4 3 2 NOTE: I stole the lyrics from the lyrics database, thanks. This song is perhaps not meant to be played on the guitar since itbased song, but these are the chords anyways. Maybe itmaybe not. Also, the fingering of some of the above chords may be difficult. Play only part of the chord if you can't reach the whole thing, but the important thing is to keep the bass line going down. (from Highway 61 Revisited, 1965) (sent by Harlan at harlant@hawaii.edu) the_gate.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: Harlan L Thompson <harlant@uhunix.uhcc.Hawaii.Edu> THE GATES OF EDEN- Bob Dylan D C G D G D Of war and peace the truth just twists, its curfew gull it glides C G D G D Upon 4-legged forest clouds the cowboy angel rides A7 D G C G A With his candle lit into the sun, though its glow is waxed in black D F G D G D All except when 'neath the trees of Eden The lampost stands with folded arms, its iron claws attached To curbs 'neath holes where babies wail though it shadows metal badge All in all can only fall with a crashing but meaningless blow No sound ever comes from the gates of Eden This savage soldier sticks his head in sand and then complains Unto the shoeless hunter who's gone deaf but still remains Upon the beach where hounddogs bay at ships with tattooed sails Heading for the gates of Eden With a time-rusted compass blade, Aladdin and his Lamp Sits with utopian hermit monks, side-saddle on the Golden Calf And on their promises of paradise you will not hear a laugh All except inside the gates of Eden Relationships of ownership they whisper in the wings To those condemned to act accordingly and wait for succeeding kings And I try to harmonize with songs the lonesome sparrow sings There are no kings inside the gates of Eden The motorcycle black madonna two-wheeled gypsy queen And her silver studded phantom cause the grey-flanneled dwarf to scream As he weeps to wicked birds of prey who pick up on his breadcrumbs sins And there are no sins inside the gates of Eden The kingdoms of experience in the precious winds they rot While paupers change possessions each one wishing for what the other has got And the princess and the prince discuss what's real and what is not It doesnt matter inside the gates of Eden The foreign sun it squints upon a bed that is never mine As friends and other strangers from their fates try to resign Leaving men wholly totally free to do anything they wish to do but die And there are no trials inside the gates of Eden At dawn my lover comes to me and tells me of her dreams With no attempts to shovel the glimpse into the ditch of what each one means At times I think there are no words but these to tell what's true And there are no truths outside the gates of Eden (from Bringing it All Back Home, 1965) (sent by Harlan at harlant@hawaii.edu) the_lone.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## # #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# Date: Thu, 09 Jan 1997 23:19:27 -0800 From: lisa&scott <carmfox@mail.idt.net> Subject: Chrdpro : The Lonesome Death of Hattie Carroll Bob Dylan The Lonesome Death of Hattie Carroll by Bob Dylan chordpro by Lisa (carmfox@mail.idt.net) These are just the basic chords. He walks the bass notes around during the chorus. (capo on 4th fret) E X32010 A X33211 G#m 022000 C#m7 C02010 B 320003 (6/8 time ^ö ONE -two -three -FOUR -five -six . . . ^ö two measures per line) E A E G#m William Zantzinger killed poor Hattie Carroll E A E G#m With a cane that he twirled around his diamond ring finger E G#m E G#m At a Baltimore hotel society gath'rin'. E G#m E G#m And the cops were called in and his weapon took from him E G#m E G#m As they rode him in custody down to the station E G#m E G#m B And booked William Zantzinger for first-degree murder. A B E G#m A B E But you who philosophize disgrace and criticize all fears, A B E C#m7 Take the rag away from your face. A B E Now ain't the time for your tears. William Zantzinger, who at twenty-four years Owns a tobacco farm of six hundred acres With rich wealthy parents who provide and protect him And high office relations in the politics of Maryland, Reacted to his deed with a shrug of his shoulders And swear words and sneering, and his tongue it was snarling, In a matter of minutes on bail was out walking. But you who philosophize disgrace and criticize all fears, Take the rag away from your face. Now ain't the time for your tears. Hattie Carroll was a maid of the kitchen. She was fifty-one years old and gave birth to ten children Who carried the dishes and took out the garbage And never sat once at the head of the table And didn't even talk to the people at the table Who just cleaned up all the food from the table And emptied the ashtrays on a whole other level, Got killed by a blow, lay slain by a cane That sailed through the air and came down through the room, Doomed and determined to destroy all the gentle. And she never done nothing to William Zantzinger. But you who philosophize disgrace and criticize all fears, Take the rag away from your face. Now ain't the time for your tears. In the courtroom of honor, the judge pounded his gavel To show that all's equal and that the courts are on the level And that the strings in the books ain't pulled and persuaded And that even the nobles get properly handled Once that the cops have chased after and caught 'em And that the ladder of law has no top and no bottom, Stared at the person who killed for no reason Who just happened to be feelin' that way without warnin'. And he spoke through his cloak, most deep and distinguished, And handed out strongly, for penalty and repentance, William Zantzinger with a six-month sentence. Oh, but you who philosophize disgrace and criticize all fears, Bury the rag deep in your face. For now's the time for your tears. the_man_.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From jfair@vt.edu Tue Oct 31 23:20:07 1995 Received: from post-office.nevada.edu (root@post-office.nevada.edu [131.216.1.11]) by mailhost.tcs.tulane.edu (8.6.12/8.5) with ESMTP id RAA37804; Tue, 31 Oct 1995 17:20:02 -0600 Received: from holodeck.cc.vt.edu (holodeck.cc.vt.edu [128.173.16.28]) by post-office.nevada.edu (8.6.12/8.6.4) with ESMTP id PAA20585 for <guitar@nevada.edu>; Tue, 31 Oct 1995 15:19:34 -0800 Message-Id: <199510312319.PAA20585@post-office.nevada.edu> Received: from as2511-26.sl015.cns.vt.edu by holodeck.cc.vt.edu with SMTP (8.6.12/16.2) id SAA18074; Tue, 31 Oct 1995 18:19:32 -0500 X-Sender: jfair@mail.vt.edu X-Mailer: Windows Eudora Version 1.4.4 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Date: Tue, 31 Oct 1995 18:18:34 +0500 To: guitar@nevada.edu From: jfair@vt.edu (John Fair) Subject: Man In the Long Black Coat Status: RO Hi. It's been too long since my last one...... Man In the Long Black Coat Bob Dylan 3/4 time fool around in F#m F#m A E C#m F#m A E F#m F#m A E C#m Crickets are chirpin' the water is high F#m A E F#m There's a soft cotton dress? on the line hangin' dry F#m A E C#m Windows wide open African trees F#m A E F#m Bent over backwards from a hurricane breeze E Not a word, a goodbye, not even a note F#m A E F#m She gone with the man in the long black coat Somebody singing hangin' around At the old dance hall on the outskirts of town He looked into her eyes when she stopped him to ask If he wanted to dance he had a face like a mask Somebody said, from the Bible he quote There was dust on the man in the long black coat Preacher was talkin' there's a sermon he gave He said every man's conscience is vile and depraved You cannot depend on him to be your guide And it's you who must keep it satisfied It ain't easy to swallow, it sticks in the throat To give her heart to the man in the long black coat D A There are no mistakes in life some people say F#m E F#m And it's true sometimes you can see it that way D A People don't live or die, people just float F#m E F#m She went with the man in the long black coat There's smoke on the water its been there since June Tree trunks uprooted neath the high passing moon Feel the pulse and vibrations and the rumblin' force Somebody is out there beating on a dead horse She never said nothin', there was nothin' she wrote She went with the man in the long black coat the_migh.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uunet!mcsun!Germany.EU.net!news.netmbx.de!mailgzrz.TU-Berlin.DE!math.fu-berlin.de!news.belwue.de!eratu.rz.uni-konstanz.de!hikos.rz.uni-konstanz.de!rzlucy Sun Oct 25 14:28:00 PST 1992 Article: 3114 of alt.guitar.tab Newsgroups: alt.guitar.tab Path: nevada.edu!uunet!mcsun!Germany.EU.net!news.netmbx.de!mailgzrz.TU-Berlin.DE!math.fu-berlin.de!news.belwue.de!eratu.rz.uni-konstanz.de!hikos.rz.uni-konstanz.de!rzlucy From: rzlucy@hikos.rz.uni-konstanz.de (Dierk Lucyga) Subject: TAB: The Mighty Quinn - Bob Dylan Message-ID: <rzlucy.49.719696748@hikos.rz.uni-konstanz.de> Sender: usenet@eratu.rz.uni-konstanz.de Organization: Universitaet Konstanz Rechenzentrum Date: Wed, 21 Oct 1992 19:45:48 GMT Lines: 57 Does anybody have the chords for