* SONGS WITH CHORDS AND TABS *
a_hard_r.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. #
#------------------------------------------------------------------------------##
From: Harlan L Thompson
A HARD RAIN'S A GONNA FALL- Bob Dylan
E A E
Oh, where have you been, my blue eyed son?
E B
Oh, where have you been, my darling young one?
A E
I've stumbled on the side of twelve misty mountains
A E
I've walked and I've crawled on six crooked highways
A E
I've stepped in the middle of seven sad forests
A E
I've been out in front of a dozen dead oceans
A E
I've been ten thousand miles in the mouth of a graveyard
E B E A
And it's a hard, and it's a hard, it's a hard, and it's a hard
E B E A E
And it's a hard rain's a gonna fall
Oh, what did you see, my blue eyed son?
Oh, what did you see, my darling young one?
I saw a newborn baby with wild wolves all around it
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin'
I saw a room full of men with their hammers a bleedin'
I saw a white ladder all covered with water
I saw ten thousand talkers whose tongues were all broken
I saw guns and sharp swords in the hands of young children
And it's a hard, and it's a hard, it's a hard, it's a hard
And it's a hard rain's a gonna fall
And what did you hear, my blue eyed son?
And what did you hear, my darling young one?
I heard the sound of a thunder, it roared out a warnin'
Heard the roar of a wave that could drown the whole world
Heard one hundred drummers whose hands were a blazin'
Heard ten thousand whisperin' and nobody listenin'
Heard one person starve, I heard many people laughin'
Heard the song of a poet who died in the gutter
Heard the sound of a clown who cried in the alley
And it's a hard, and it's a hard, it's a hard, it's a hard
And it's a hard rain's a gonna fall
Oh, who did you meet, my blue eyed son?
Who did you meet, my darling young one?
I met a young child beside a dead pony
I met a white man who walked a black dog
I met a young woman whose body was burning
I met a young girl, she gave me a rainbow
I met one man who was wounded in love
I met another man who was wounded with hatred
And it's a hard, it's a hard, it's a hard, it's a hard
It's a hard rain's a gonna fall
Oh, what'll you do now, my blue eyed son?
Oh, what'll you do now, my darling young one?
I'm a goin' back out 'fore the rain starts a fallin'
I'll walk to the depths of the deepest black forest
Where the people are many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
Where the executioner's face is always well hidden
Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I'll tell it and think it and speak it and breathe it
And reflect it from the mountain so all souls can see it
Then I'll stand on the ocean until I start sinkin'
But I'll know my song well before I start singin'
And it's a hard, it's a hard, it's a hard, it's a hard
It's a hard rain's a gonna fall
(from The Freewheelin' Bob Dylan, 1963)
(sent by Harlan at harlant@hawaii.edu)
From: slehman@MIT.EDU
Received: by pesto.MIT.EDU (5.57/4.7) id AA13580; Mon, 10 Jun 96 18:51:56 -0400
Date: Mon, 10 Jun 1996 18:51:55 EDT
(forwarded message)
I have downloaded the song of Bob Dylan A hard rain's gonna fall,
and I think it has a problem
I send you the (I think so) good one.
Ibon
ibongz@arrakis.es
A HARD RAIN'S A GONNA FALL- Bob Dylan
E A E
Oh, where have you been, my blue eyed son?
E B
Oh, where have you been, my darling young one?
A B E
I've stumbled on the side of twelve misty mountains
A B E
I've walked and I've crawled on six crooked highways
A B E
I've stepped in the middle of seven sad forests
A B E
I've been out in front of a dozen dead oceans
A B E
I've been ten thousand miles in the mouth of a graveyard
E B E A
And it's a hard, and it's a hard, it's a hard, and it's a hard
E B E A E
And it's a hard rain's a gonna fall
And so on ....
abandone.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: erndog@leland.stanford.edu (Ernest Lee)
Date: 30 Jun 1995 17:29:12 GMT
I was right, I missed a verse. Here's a corrected version.
Abandoned Love by Bob Dylan (from Biograph collection)
Intro:
G D G
My heart is telling me, I love you still
Verses:
G Em
I can see the turning of the key
C D
I've been deceived by the clown inside of me
Bm C
I thought that he was righteous but he's vain
G D G
Something's telling me, I wear the ball and chain
(same chords throughout)
My patron saint is a-fighting with a ghost
He's always off somewhere when I need him most
The Spanish moon is rising on the hill
But something's telling me, I love you still
I come back to the town from the flaming ruins
But when I see you in the street I begin to swoon
I love to see you dress before the mirror
Won't you let me in your room one time, before I finally disappear
Everybody's wearing a disguise
To hide what they've got left behind their eyes
But me I can't cover what I am
Wherever their children go, I'll follow them
I'm marching the parade of liberty
But as long as I love you I'm not free
How long must I suffer such abuse
Won't you let me see you smile, before I turn you loose
I've given up the game I've got to leave
The pot of gold is only make believe
The treasure can't be found by men who search
Who's gods are dead and whose queens are in the church
We sat in an empty theater and we kissed
I asked you please to cross me off your list
My head tells me it's time to make a change
But my heart is telling me, I love you but you're strange
(Harmonica solo, same chords as verse)
So one more time at midnight near the wall
Take off your heavy makeup and your shawl
Won't you descend from the throne from whence you sit
And let me feel your love one more time, before I finally abandon it
-ern.
absolute.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)
Absolutely Sweet Marie - Bob Dylan
('Blonde on Blonde' album)
D
D G A7 D
Well, your railroadgate, you know I just can't jump it.
G D A7
Sometimes it gets so hard, you see.
D G A7 D Bm
I'm just sitting here beating on my trumpet,
F#m D A7
with all these promises you left for me.
G A7 D
But where are you tonight, sweet Marie ?
D G A7 D
Well, I waited for you when I was half sick.
G D A7
Yes I waited for you when you hated me.
D G A7 D Bm
Well, I waited for you inside of the frozen traffic
F#m D A7
When you knew I had some other place to be.
G A7 D
Now, where are you tonight, sweet Marie ?
Bb D
Well, anybody can be just like me, obviosly,
Bb D A7
But then, now again, not too many can be like you, fortunately.
D G A7 D
Well, six white horses that you did promise me
G D A7
Where finaly delivered down to the penitentiary.
D G A7 D Bm
But to live outside the law, you must be honest.
F#m D A7
I know you always say that you agree,
G A7 D
But where are you tonight, sweet Marie ?
D G A7 D
Now, I been in jail when all my mail showed
G D A7
That a man can't give his address out to bad company,
D G A7 D Bm
And now I stand here lookin' at your yellow railroad
F#m D A7
In the ruins of your balcony,
G A7 D
Wond'ring where are you tonight, sweet Marie ?
Bb D
Well I don't know how it happened,But the riverboat captain,he knows my fate
Bb D A7
But ev'rybody else, even yourself, they're just gonna have to wait.
D G A7 D
Well, I got the fever down in my pockets,
G D A7
The Persian drunkard, he follows me.
D G A7 D Bm
Yes, I can take him to your house, but I can't unlock it.
F#m D A7
You see, you forgot to leave me with the key.
G A7 D
Oh, where are you tonight, sweet Marie ?
Typed by Petter Larsson , larpe@nts.mh.se
aint_goi.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 ; Mon, 5 Apr 1993 07:29:08 -0700
Received: from maserati.eng.umd.edu by animal-farm.nevada.edu id ; Mon, 5 Apr 1993 07:29:06 -0700
Received: by maserati.eng.umd.edu (5.65c/IDA-1.4.4)
id AA21512; Mon, 5 Apr 1993 10:29:03 -0400
Rcpt to:mailed to jamesb@nevada.edu
Date: Mon, 5 Apr 1993 10:29:03 -0400
From: Ugo Piomelli
Message-Id: <199304051429.AA21512@maserati.eng.umd.edu>
To: jamesb@animal-farm.nevada.edu
Subject: Bob Dylan - You Ain't Going Nowhere (chords)
You ain't going nowhere
Bob Dylan
G Am
Clouds so swift, the rain won't lift
C G
The gates won't close, the railings froze
Am
Get your mind off wintertime
C G
You ain't going nowhere
Ooo-wee, ride me high
Tomorrow's the day my bride's gonna come
Ooh, ooh, are we gonna fly
Down in the easy chair
I don't care how many letters they sent
The morning came and the morning went
Pick up your money, pack up your tent,
You ain't going nowhere
Ooo-wee...
Buy me a flute and a gun that shoots
Tailgates and substitutes
Strap yourself to the tree with roots
You ain't going nowhere
Ooo-wee...
Gengis Khan he could not keep
All his kings supplied with sleep
We'll climb that hill no matter how steep
When we get up to it
Ooo-wee...
*************************************************************************
Ugo Piomelli "Teachers, are my lessons done?
Associate Professor I cannot do another one"
Dept. of Mechanical Engineering They laughed and laughed and said
University of Maryland "Child, are your lessons done?"
College Park, MD 20742 Leonard Cohen
*************************************************************************
all_alon.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 stevep@snowhite.cis.uoguelph.ca (Steve Portigal)
Subject: CRD: Watchtower (Dylan) & REQ: Watchtowr (Jimi)
Date: 27 Feb 1993 20:39:42 -0600
here's the chords for Dylan's All Along the Watchtower. Could someone
please substitute the Hendrix chords instead? Personally, that's my
favourite version.
Steve
Title: ALL ALONG THE WATCHTOWER (Bob
Dylan)
Am G F G Am
(play it forever)
There must be some kind of way out of here
Said the joker to the thief
There's too much confusion
I can't get no relief
Buisness men they drink my wine
Plowmen dig my earth
None would ever compromise
Nobody of this world
No reason to get excited
The thief he kindly spoke
There are many here among us
Who feel that life is but a joke
But you and I we've been through that
And this is not our place
So let us stop talking falsely now
The hour's getting late
All along the watchtower
Princess kept the view
While all the women came and went
Barefoot servants too
Outside in the cold distance
A wildcat did growl
Two riders were approaching
And the wind began to howl
All along the watchtower
All along the watchtower
All along the watchtower
From: larpe@oden.nts.mh.se (Petter Larsson)
ALL ALONG THE WATCHTOWER - Bob Dylan
('John Wesley Harding' album)
Bm/A G A Bm
There must be some way out of here,
Bm/A G A Bm
said the joker to the thief,
etc etc
baby_ain.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. #
#------------------------------------------------------------------------------#
>From: davies@ils.nwu.edu (Brian Davies)
>Subject: CRD: Dylan's "Baby Ain't That Fine"
>Date: Wed, 18 Dec 1996 16:58:42 -0600
Here's guitar tablature for another outtake from "The Basement Tapes".
For those of you scoring at home, this is piece number 5, not including a
newer version of Rock Salt And Nails, which should supplant the previous
version.
Question marks indicate lyrics that I'm unsure of. Any help on that front
would be greatly appreciated. (I'm also still missing pieces of "One
Single River" and "I Don't Hurt Anymore", if there are any good samaritans
out there.)
I you find this useful, please drop me a line.
- Brian
BABY AIN'T THAT FINE by Bob Dylan (?)
Transcribed by Brian Davies
Comments and corrections to davies@ils.nwu.edu
[Bb] . . . ???
[Bb] The bells are golden chimes
[Bb] The sun is going to shine
[Bb] Before this ???
Baby ain't that [F] fine.
Baby ain't that [Bb] fine.
Baby ain't that [F] fine.
Baby ain't that [Bb] fine.
[Bb]
[Bb]
[Bb]
[Bb] Hey, la la la
Baby ain't that [F] fine.
Baby ain't that [Bb] fine.
[Eb] I get a little ? tingle up and down my [Bb] spine.
[C] I ??? every time you say you're [F] mine.
[Bb] You're gonna be my baby,
[Bb] I'm a-gonna be your guy.
[Bb] We're gonna cook some lovin'.
[Bb] It's a-gonna sizzle and fry.
Chorus
baby_im_.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: Andrew Mullins
Subject: CRD: Baby I'm in the Mood for You
Baby I'm in the Mood for You Bob Dylan
from the album Biograph (previously unreleased song)
G
Sometimes I'm in the mood I wanna milk my milk cow low
C G
Sometimes I'm in the mood I wanna leave my lonesome home
G B7 C
Sometimes I'm in the mood I wanna hit that highway road
G D G C
But then again and again I said oh oh oh
G D G
Oh Babe I'm in the mood for you
Sometimes I'm in the mood I wanna turn my back to the wall
Sometimes I'm in the mood I wanna live in my pony stall
Sometimes I'm in the mood I ain't gonna do nothin at all
But then again and again I said oh I said oh I said
Oh babe, I'm in the mood for you
Sometimes I'm in the mood I wanna change my house around
Sometimes I'm in the mood I wanna change the things in the town
Sometimes I'm in the mood I wanna change the whole world around
But then again and again I said oh I said oh I said
Oh babe, I'm in the mood for you
Sometimes I'm in the mood I'm gonna give away all my sins
Sometimes I'm in the mood I wanna walk the road again
Sometimes I'm in the mood and I'm bound to lose again
But then again and again I said oh I said oh I said
Oh babe, sometimes I'm in the mood for you
The intro if I remember is a hammering/picking thing
between G, G6, G/B.
The harmonica part is a riot (it's the only reason I play this fairly
silly tune), if you have a G harp.
mullins@artsci.concordia.ca
blind_wi.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
BLIND WILLIE McTELL- Bob Dylan
Dm A Dm
Seen the arrow on the doorpost
Dm A Dm
Saying this land is condemned
A C G Bb C Dm
All the way from New Orleans to Jeruselem
Dm A Dm
I travelled to East Texas
Dm A Dm
Where many martyrs fell
A C G
And I know no one can sing the blues
Bb C Dm
Like Blind Willie McTell
Well I heard that hooter singing
As they were taking down the tents
The stars above the barren trees
Were his only audience
Them charcoal gypsy maidens
Can strut their feathers well
But nobody can sing the blues like Blind Willie McTell
See them big plantations burning
Hear the cracking of the whips
Smell that sweet magnolia blooming
See the ghosts of slavery ships
I can hear them tribes a moaning
Hear that undertaker's bell
Nobody can sing the blues like Blind Willie McTell
There's a woman by the river
With some fine young handsome man
He's dressed up like a squire
Bootleg whiskey in his hand
There's a chain gang on a highway
I can hear them rebels yell
But I know no one can sing the blues like Blind Willie McTell
Well God is up in Heaven
And we are what was his
But power,greed and corruptable seed
Seem to be all that there is
I'm gazing out the window
of the St. James Hotel
And I know no one can sing the blues like Blind Willie McTell
(originally done around 1983, released as part of The Bootleg
Series, 1-3)
(sent by Harlan at harlant@hawaii.edu)
blowin_i.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: HCHA8904593X@lust1.latrobe.edu.au (PERRETT, ANDREW)
Blowing in the wind; Bob dylan
D G D G
How many roads must a man walk down before you can call him a
A4 A D G D
man ? Yes n how many seas must a white dove sail before she
C A4 A D G D
sleeps in the sand Yes n ahow many times must the cannon
G A4 A
balls fly before they're forever banned
Chorus
G A D F# Bm G
The answer my friend is blowing in the wind the answer is
A D
blowing in the wind
D G D G A4
How many times must a man look up before he can see the sky
A D G D G
Yes n how many ears must one man have before he can hear
A4 D G D
people cry Yes n how many deaths will it take till he know
G A4 A
that too many people have died
Chorus
D G D G
How many years can a mountain exist before its washed to the
A4 A D G D
sea Yes n how many years can some people exist before
G A4 A D G D
they're allowed to be free? Yes n how many times can a man
G A4 A
turn his head pretending he just didnt see?
Chorus
slowly
G A D
The answer is blowing in the wind
(yup here it is!)
From: "Dag Rambraut,o92a"
Blowing in the wind
Bob Dylan
Verse 1
C F C Am
How many roads must a man walk down
C F G7
Before you can call him a man?
C F C Am
How many seas must a white dove sail
C F G7
Before she sleeps in the sand?
C F C Am
And how many times must the cannonballs fly
C F G7
Before they've forever banned?
Chorus
F G7 C E7 Am
The answer my friend is blowing in the wind
F G7 C
The answer is blowing in the wind.
(The 2. and 3. verse goes just the same as the 1.)
Verse 2
How many times must a man look up
Before ha can see the sky?
How many tears must hehave shed
Before he vcan hear the peopla cry?
How many wars will it take till he learns
that too many peopla have died.
(Repeat Chorus)
Verse 3
How many years can a mountain exist
Before it is washed to the sea?
How many years can some people exist
Before they're allowed to be free?
And how many times can a man turn his head
Pretending he just doesn't see?
(Repeat Chorus)
|---------------------------------------------------------------|
| //---\ //----// //-----\ | |
| // // //____// // ___ | dagr@edb.tih.no |
| //____// // // //______// | |
|---------------------------------------------------------------|
| A journey of a thousand miles begins with one single step | |
|---------------------------------------------------------------|
IF ANNYBODY HAS SOME STUFF OF THESE AND SIMILAR GROUPS, MAIL'EM TO
ME, THANKS. TESLA, METALLICA, EXTREME, MANOWAR and so on........
From: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
BLOWIN' IN THE WIND by Bob Dylan
C F C
How many roads must a man walk down
C F G
Before you call him a man
C F C
Yes, 'n' how many seas must a white dove sail
F G
Before she sleeps in the sand?
C F C
Yes, 'n' how many times must the cannonballs fly
F G
Before they are forever banned?
F G
The answer my friend
C
Is blowin' in the wind
F G C
The answer is blowin' in the wind.
How many times must a man look up
Before he can see the sky?
Yes, 'n' how many ears must one man have
Before he can hear people cry?
Yes, 'n' how many deaths will it take till he knows
That too many people have died?
How many years can a mountain exist
Before it is washed to the sea?
Yes, 'n' how many years can some people exist
Before they're allowed to be free?
Yes, 'n' how many times can a man turn his head
Pretending he just doesn't see?
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
buckets_.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: pjoe@charon.muc.de (Peter Eybert)
Buckets of rain (Bob Dylan, Blood on the tracks)
G6 D G6 D
Buckets of rain, buckets of tears,
G6 D G6 D
got all them buckets comin' out of my ears.
G D
Buckets of moonbeams in my hand,
A G F#m A7/E D
I got all the love, honey baby, you can stand.
I been meek and hard like an oak,
I seen pretty people disappear like smoke.
Friends will arrive, friends will disappear,
if you want me, honey baby, I'll be here.
Like your smile and your fingertips,
like the way that you move your lips.
I like the cool way you look at me,
everything about you is bringing me misery.
Little red wagon, little red bike,
I ain't no monkey but I know what I like.
I like the way you love me strong and slow,
I'm taking you with me, honey baby, when I go.
Life is sad, life is a bust,
all you can do is do what you must.
You do what you must do and you do it well,
I'll do it for you, honey baby, can't you tell.
Hope this helps, Peter.
--
____________________________________________________________
Peter Eybert pjoe@charon.muc.de (NeXTMail welcome)
--
From: Harlan L Thompson
BUCKETS OF RAIN- Bob Dylan
TUNING: D A D F# A D or E B E G# B E
E Esus E2 Esus E
Buckets of rain, buckets of tears
E Esus E2 Esus E
Got all them buckets coming out of my ears
A E A/E E
Buckets of moonbeams in my hand
B A G#m11 F#m11 E A/E E
You got all the love honey baby I can stand
I've been meek, and hard like an oak
I've seen pretty people disappear like smoke
Friends will arrive, friends will disappear
If you want me, honey baby I'll be here
I like the smile in your fingertips
I like the way that you move your hips
I like the cool way you look at me
Everything about you is bringing me misery
Little red wagon, little red bike
I ain't no monkey but I know what I like
I like the way you love me strong and slow
I'm taking you with me honey baby when I go
Life is sad, life is a bust
All you can do is do what you must
You do what you must do, and you do it well
I'll do it for you, honey baby can't you tell?
CHORDS:
E Esus E2 A A6 B C#m11 F#m11 D6+9 Abm7+5
E 0 2 4 5 5 7 4 2 10 12
B 0 0 0 5 7 7 0 0 7 9
G# 0 1 3 5 5 7 3 1 9 10
E 0 0 0 5 5 7 4 2 0 0
B 0 0 0 5 5 7 0 0
E 0 0 0 5 5 7 0 0
NOTE: I'm not really that sure about this one, I just know it sounds
much better than playing it in standard version. This is just a general
outline- listen to the record to really get it. Also, it's hard to
explain, but you need to slide on and off the 000102 and 000304 shapes
when they appear.
FROM: Blood on the Tracks, 1975.
changing.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 15:33:49 EST
From: Winston Campbell
Subject: CHANGING OF THE GUARDS by Bob Dylan
Intro: Ab
Fm
Sixteen years,
Ab Eb Fm
Sixteen banners united over the fields
Db Eb
While the good shepherd grieves
Fm Ab Eb
Desperate men, desperate women divided,
Fm Db Eb Ab
Spreading their wings 'neath the falling leaves.
Fm
Fortune calls.
Ab Eb Fm
I stepped forth from the shadows, to the marketplace,
Db Eb Fm
Merchants and thieves, hungry for power, my last deal gone down.
Ab Eb Fm
She's smelling sweet like the meadows where she was born,
Db Eb Ab
On midsummer's eve, near the tower.
(Interlude)
Fm
The cold-blooded moon.
Ab Eb
The captain waits above the celebration
Fm Db Eb
Sending his thoughts to a beloved maid
Fm Ab Eb
Whose ebony face is beyond communication.
Fm Db Eb Ab
The captain is down but still believing that his love will be repaid.
Fm
They shaved her head.
Ab Eb
She was torn between Jupiter and Apollo.
Fm Db Eb
A messenger arrived with a black nightingale.
Fm Ab Eb
I seen her on the stairs and I couldn't help but follow,
Fm Db Eb Ab
Follow her down past the fountain where they lifted her veil.
(Interlude)
Fm
I stumbled to my feet.
Ab Eb
I rode past destruction in the ditches
Fm Db Eb
With the stitches still mending 'neath a heart-shaped tattoo.
Fm Ab Eb
Renegade priests and treacherous young witches
Fm Db Eb Ab
Were handing out the flowers that I'd given to you.
Fm
The palace of mirrors
Ab Eb
Where dog soldiers are reflected,
Fm Db Eb
The endless road and the wailing of chimes,
Fm Ab Eb
The empty rooms where her memory is protected,
Fm Db Eb Ab
Where the angels' voices whisper to the souls of previous times.
(Interlude)
Fm
She wakes him up
Ab Eb
Forty-eight hours later, the sun is breaking
Fm Db Eb
Near broken chains, mountain laurel and rolling rocks.
Fm Ab Eb
She's begging to know what measures he now will be taking
Fm Db Eb Ab
He's pulling her down and she's clutching on to his long golden locks.
Fm
Gentlemen, he said,
Ab Eb Fm
I don't need your organization, I've shined your shoes,
Db Eb
I've moved your mountains and marked your cards
Fm Ab Eb
But Eden is burning, either get brave for elimination
Fm Db Eb Ab
Or else your hearts must have the courage for the changing of the guards.
(Interlude)
Fm
Peace will come
Ab Eb Fm
With tranquility and splendor on the wheels of fire
Db Eb Fm
But will offer no reward when her false idols fall
Ab Eb Fm
And cruel death surrenders with its pale ghost retreating
Db Eb Ab
Between the King and the Queen of Swords.
Fm Ab Eb
Fm...
The "Interlude" (that the sax plays) is:
Ab Eb Db Ab
E -6-8-9-8-8~----6-6~----4-4~--(repeat 3 times)---||-6p4-4---4~--||
B ------------------------------------------------||-------6-----||
G ------------------------------------------------||-------------||
D ------------------------------------------------||-------------||
A ------------------------------------------------||-------------||
E ------------------------------------------------||-------------||
One word of note: It is much easier to play this song with a capo on the
first fret (i.e. play Em G D Em C D... while the 1st fret is fretted). This
makes it more easier and does not make the guitar sound too choppy.
Also:
(DON'T YOU JUST LOVE THOSE LYRICS)
chimes_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: Len Moskowitz
Subject: CRD: "Chimes of Freedom" (Dylan/Byrds version, full lyrics)
Chimes of Freedom
(Bob Dylan)
Lyrics are from Dylan's "Another Side of Bob Dylan." This version is
from Roger McGuinn's latest (5/23/95) live shows, per my recollection.
The 12-string guitar is tuned down 1/2 step. The variations between
Dylan and The Byrds are shown in brackets -- square for Dylan's lyrics
that The Byrds/McGuinn left out and pointy for those they added.
Chord Tab:
G C9 C9/B C D Am
E 3 3 3 0 2 0
B 3 3 3 1 3 1
G 0 0 0 0 2 2
D 0 2 0 2 0 2
A 2 3 2 3 x 0
E 3 x x x x x
Intro: G C C/B D Dsus4
C D G (notes: B C D G...)
G C9
Far between the sundown's finish
G C9
and midnights broken toll
G
we ducked inside
C9 D G (notes: B C D G...)
the doorway [as] thunder [went] crashing
G C9
As majestic bells of bolts
G C9
struck shadows in the sounds
G C9 D G
seeming to be the chimes of freedom flashing
(notes on low E string and open D: G F# E D...)
D
Flashing for the warriors
G C9 G
whose strength is not to fight
C9 C9/B
flashing for the refugees
Am D
of the unarmed road of flight
G C9
and for each and every underdog
G C9
soldier in the night
G C9 D G (notes: B C D G...)
and we gazed upon the chimes of freedom flashing
[The Byrds skipped the next few verses]
There are cities melted furnace
unexpectedly we watched
with faces hidden as the walls were tightening
As the echo of the wedding bells
before the blowing rain
dissolved into the bells of the lightning
Tolling for the rebel
tolling for the rake
tolling for the luckless
they are bound and damned forsaked
tolling for the outcasts
burning constantly at stake
and we gazed upon the chimes of freedom flashing
Through the mad mystic hammering
and the wild ripping hail
the sky cracked its farms in naked wonder
As the clanging of the church bells
blew far into the breeze
leaving only bells of lightning and its thunder
Striking for the gentle
striking for the kind
striking for the guardians and protectors of the mind
and the poet and painter
far behind his rightful time
and we gazed upon the chimes of freedom flashing
In the wild cathedral evening
the rain unravelled tales
for a disrobed faceless farms of no position
Tolling for the tongues
with no place to bring their thoughts
all down and taken for granted situations
Tolling for the deaf and blind
tolling for the mute
for a mistreated maidless mother, a mistitled prostitute
for the misdemeanor outlaw
chained and cheated by pursuit
and we gaze upon the chimes of freedom flashing
[The Byrds pick it up here]
Even though the cloud's white curtain
in a far off corner [flowered]
and the hypnotic splattered mist was slowly lifting
Electric light<s> still struck like arrows
fired but [further ones] <for the ones>
condemned to drift or else be kept from drifting
Tolling for the searching ones
on their speechless seeking trail
for the lonesome hearted lovers with too personal a tale
and for each unharmful gentle soul
misplaced inside a jail
and we gazed upon the chimes of freedom flashing
[Byrds/McGuinn:
C C9/B D
dee dee dee dee dee dee dee dee dee
C C9/B D G
dee dee dee dee dee dee dee dee dee-duh]
Starry eyes and laughing
as I recall when we were caught
[trapped] <can't find> no track [for] <of> ours for they hang suspended
As we listened one last time
and we watched with one last look
spellbound and swallowed 'til the tolling ended
Tolling for the aching <ones>
whose wounds cannot be nursed
or the countless confused accused misused
strung out ones and worse
and for every hung up person
in the whole wide universe
and we gazed upon the chimes of freedom flashing
[Byrds: dee dee...]
dear_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. #
#------------------------------------------------------------------------------##
From: zeroy@netcom.com (Roy M. Randall)
DEAR LANDLORD
Bob Dylan, 1968
C E7
Dear Landlord, please don't put a price on my soul,
Am Am/G F Em Dm
My burden is heavy, my dreams are beyond control.
F F7
When that steamboat whistle blows,
Bb
I'm gonna give you all I got to give,
C Dm7 C C7
And I do hope you receive it well,
F Gm Dm F G
Depending on the way you feel that you live.
Dear Landlord, please heed these words that I speak,
I know you've suffered much, but in this you are not so unique.
All of us at times we might work too hard
To have it too fast and too much,
And anyone can fill his life up with things he can see
But he just cannot touch.
Dear Landlord, please don't dismiss my case,
I'm not about to argue, I'm not about to move to no other place.
Now each of us has his own special gift,
And you know this was meant to be true,
And if don't underestimate me,
I won't underestimate you.
--
Roy M. Randall, FG |
Inconsequential Systems, Inc. | MORONS! I've got MORONS on my team!
zeroy@netcom.com |
desolati.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: cctr128@cantua.canterbury.ac.nz (Mr K Osborn)
Desolation Row
words and music by Bob Dylan
D
They're selling postcards of the hanging.
G D
They're painting the passports brown.
A7
The beauty parlour's filled with sailors.
G D
The circus is in town.
Here comes the blind commissoner.
G D
They've got him in a trance.
A7
One hand's tied to the tightrope walker.
G D
The other is in his pants.
G
And the riot squad they're restless
D
They need some where to go.
D A7
As lady and I look out tonight
G D
On Desolation Row.
Cinderella she seem so easy.
It takes on to know one she smiles.
Then puts her hand in her back pocket,
Betty davis style.
Then in comes Romeo he's moaning.
You Belong to me I believe.
And someone says your in the wrong place my friend
You better leave.
And the only sound that's left
After the ambulances go.
Is Cinderella sweeping up
On Desolation Row.
Now the moon is almost hidden
The stars are beginning to hide
The fortune telling lady
Has already taken all her things inside.
All except for Cane and Able
And the Hunch Back of Notre Dame
Everyone is making love
Or else expecting rain
And the good samaritan he's dressing
He's gettin ready for the show.
He's going to the carinval
Tonight on Desolation Row.
Now Ophelia she's 'neath the window.
For her I feel so afraid.
On her twenty-second birthday
She already is an old maid.
To her death is quite romantic.
She wears an iron vest.
Her profession's her religion,
Her sin is her lifelessness.
And though her eyes are fixed upon
Noah's great rainbow
She spends her time peeking
Into Desolation Row.
Einstien disguised as Robin Hood
With his memories in a trunk
Passed this way an hour ago
With his friend a jealous monk.
He looked so frightful
As he bummed a cigarette
Then went off sniffing drain pipes
And reciting the alphabet.
No you would not think to look at him
That he was famous long ago
For playing electric violin
On Desolation Row.
Doctor filth he keeps his word
Inside a leather cup
But all his sexless patients
Are trying to blow it up.
Now his nurse a local looser
She's in charge of the cyanaide hole
And she also keeps the cards that read
Have mercy on his soul.
They all play on penny whistles
You can hear them blow
If you lean your head out far enough
>From Desolation Row
Across the street they've nailed the curtains
They're gettin ready for the feast
The phantom of the opera
A perfect image of a priest
They're spoon feedin Casonova
To get him to feel more assured
Then they'll killed him with self confidence
After poisoning him with words
And the phantom shouting to skinning girls
Get outta her don't you know
Casanova is just being punished
For going to Desolation Row.
Now at midnight all the agents
And the superhuman crews
Round up everyone
That knows more than they do.
Then they bring them to the factory
Where the heart attack machines
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men that go
Check to see that nobody is escaping
To Desolation Row
Praise be to Nero's Neptune
The Titanic sails at dawn
And everybody shouting
Which side are you on
And Ezra Pound and T.S. Eliot
Fighting in the captains tower
While calypso signers laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row
Yes I received your letter yesterday
About the time the door knob broke.
When you asked me how I was
Was that some kind of joke.
All those people that you mention
Yes I know them they're quite lame.
I had to rearrange their faces
And give them all another name.
Right now I can't read too good
Don't send me no more letters no.
Not unless you mail them from
Desolation Row.
Be seeing you,
Kelwyn.
_________
He said that's alright babe,
I love you too.
But we were Tangled Up In Blue.
- Bob Dylan
From: jim@truleigh.demon.co.uk (James Fryer)
Subject: CRD: Dylan, Desolation Row
D
They're selling postcards of the hanging
D G D
They're painting the passports brown
D A
The beauty parlour's filled with sailors
G D
The circus is in town
D
Here comes the blind commissioner
D G D
They got him in a trance
D A
One hand is tied to the tightrope walker
G D
The other is in his pants
D G
And the riot squad they're restless
D G
They need somewhere to go
D A
As lady and I look out tonight
A G D
On desolation row
Use Dsus4 as appropriate.
Jim
--
James Fryer / jim@truleigh.demon.co.uk / jim@cix.compulink.co.uk
"The cat is the only H-bomb to drop and this robustness must stop"
-- Lord Invader
dignity.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, 19 Jan 1996 15:02:17 -1000
From: Harlan Leslie Thompson <harlant@hawaii.edu>
DIGNITY- Bob Dylan
TUNING: D A D F# A D
D G D D7
Fat man lookin' in a blade of steel, thin man lookin' at his last meal
G D G D
Hollow man lookin' in a cottonfield for dignity
Wise man lookin' in a blade of grass, young man lookin' in the shadows that pass
Poor man lookin' through painted glass for dignity
CHORUS #1:
A
Somebody got murdered on New Year's Eve
G D
Somebody said dignity was the first to leave
G F#m
I went into the city, went into the town
Em A A(2)
Went into the land of the midnight sun
Searchin' high, searchin' low, searchin' everywhere I know
Askin' the cops wherever I go, "Have you seen Dignity?"
Blind man breakin' out of a trance, puts both his hands in the pocket of chance
Hopin' to find one circumstance of dignity
I went to the wedding of Mary-lou, she said I don't want nobody see me talkin to you
Said she could get killed if she told me what she knew about dignity
CHORUS #2:
I went down where the vultures feed
I would've gone deeper, but there wasn't any need
Heard the tongues of angels and the tongues of men, wasn't any difference to me
Chilly wind sharp as a razor blade, house on fire, debts unpaid
Gonna stand at the window, gonna ask the maid, "Have you seen dignity?"
Drinkin' man listens to the voice he hears
In a crowded room full of covered up mirrors
Lookin' into the lost forgotten years for dignity
Met Prince Phillip at the home of the blues
Said he'd give me information if his name wasn't used
He wanted money up front, said he was abused by dignity
CHORUS #3:
Footprints runnin' cross the silver sand, steps goin' down into tatoo land
I met the sons of darkness and the sons of light, in the bordertowns of despair
Got no place to fade, got no coat, I'm on the rollin' river in a jerkin' boat
Tryin' to read a note somebody wrote about dignity
Sick man lookin' for the doctor's cure, lookin' at his hands for the lines that were
And into every masterpiece of literature for dignity
Englishman stranded in the blackheart wind
Combin his hair back his future looks thin
Bites the bullet and he looks within for dignity
CHORUS #4:
Someone showed me a picture and I just laughed, dignity never been photographed
I went into the red, went into the black, into the valley of dry bone dreams
So many roads, so much at stake, so many dead ends, I'm at the edge of the lake
Sometimes I wonder what it's gonna take to find dignity
CHORDS:
D D D7 G G A A(2) F#m Em
D -7--0---4--12-5--7--12----4----2----
A -9--0---5--14-5--7--10----4----2----
F# -8--0---6--13-5--7--10----3----1----
D -0--0---0--0--5--7--0-----4----2----
A -0--0---0--0--5--7--0-----x----x----
D -0--0---0--0--5--7--0-----4----2----
From: jfair@vt.edu (John Fair)
Dignity
Words and Music By Bob Dylan
Capo 1
D
Fat man lookin' in a blade of steel
Thin man lookin' at his last meal
G D
Hollow man lookin' in a cottonfield
G D
For dig-ni-ty
D
Wise man lookin' in a blade of grass
young man lookin' in the shadows that pass
G D
poor man lookin' through painted glass
G D
For dignity
A
Somebody got murdered on New Year's Eve
G D
Somebody said dignity was the first to leave
G F#m
I went into the city, went into the town
Em A
went into the land of the midnight sun
D
Searchin' high, searchin' low
Searchin' everywhere I know
G
Askin' the cops wherever I go
G D
Have you seen Dignity?
(et al.)=7F
Blind man breakin' out of a trance
Puts both his hands in the pocket of chance
Hopin' to find one circumstance
Of dignity
I went to the wedding of Mary-lou
She said " I don't want nobody see me talkin' to you"
Said she could get killed if she told me what she knew
About dignity
I went down where the vultures feed
I would've gone deeper, but there wasn't any need
Heard the tongues of angels and the tongues of men
Wasn't any difference to me
Chilly wind sharp as a razor blade
House on fire, debts unpaid
Gonna stand at the window, gonna ask the maid
Have you seen dignity
Drinkin' man listens to the voice he hears
In a crowded room full of covered up mirrors
Lookin' into the lost forgotten years
For Dignity
Met Prince Phillip at the home of the blues
Said he'd give me information if his name wasn't used
He wanted money up front, said he was abused
By dignity
=09
Footprints runnin' cross the silver sand
Steps goin' down into tatoo land
I met the sons of darkness and the sons of light
In the bordertowns of despair
Got no place to fade, got no coat
I'm on the rollin' river in a jerkin' boat
Tryin' to read a note somebody wrote
About dignity
Sick man lookin' for the doctor's cure
Lookin' at his hands for the lines that were
And into every masterpiece of literature=7F
For dignity
Englishman stranded in the blackheart wind
Combin' his hair back, his future looks thin
Bites the bullet and he looks within
For dignity
Someone showed me a picture and I just laughed
Dignity never been photographed
I went into the red, went into the black
Into the valley of dry bone dreams
So many roads, So much at stake
So many dead ends, I'm at the edge of the lake
Sometimes I wonder what it's gonna take
To find dignity
Roofing:
John Fair jfair@vt.edu
B-O-B rgilchri@vt.edu
dirge.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)
Dirge - Bob Dylan
('Planet waves' album)
Gm Cm Gm Cm
Dm Gm Dm Gm
I hate myself for lovin' you And the weakness that I showed ...
Dm Gm Dm Am
You were just a painted face On a trip down Suicide Road.
Bb Dm Gm
The stage was set, the lights went out All around the old hotel
Bb Eb Bb Cm Gm
I hate myself for lovin' you And I'm glad the curtain fell.
Dm Gm Dm Gm
I hate that foolish game we played And the need that was expressed
Dm Gm Dm Am
And the mercy that you showed to me Whoever would have guessed
Bb Dm Gm
I went out on Lower Broadway And I felt that place within
Bb Eb Bb Cm Gm
That hollow place where martyrs weep And angels play with sin
Dm Gm Dm Gm
Heard your songs of freedom And man forever stripped
Dm Gm Dm Am
Acting out his folly While his back is being whipped
Bb Dm Gm
Like a slave in orbit He's beaten 'til he's tame
Bb Eb Bb Cm Gm
All for a moment's glory And it's dirty, rotten shame
Dm Gm Dm Gm
There are those who worship loneliness I'm not one of them
Dm Gm Dm Am
In this age of fiberglass I'm searching for a gem
Bb Dm Gm
The crystal ball up on the wall Hasn't shown me nothing yet
Bb Eb Bb Cm Gm
I've paid the price of solitude But at least I'm out of debt
Dm Gm Dm Gm
Can't recall a useful thing You ever did for me
Dm Gm Dm Am
'Cept pat me on the back one time When I was on my knees
Bb Dm Gm
We stared into each other's eyes 'Til one of us would break
Bb Eb Bb Cm Gm
No use to apologize What diff'rence would it make
Dm Gm Dm Gm
So sing your praise of progress And of the Doom Machine
Dm Gm Dm Am
The naked truth is still tabu Whenever it can be seen
Bb Dm Gm
Lady Luck who shines on me Will tell you where I'm at
Bb Eb Bb Cm Gm
I hate myself for lovin' you But I should get over that
Typed by Petter Larsson , larpe@nts.mh.se
dont_thi.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: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
DON'T THINK TWICE, IT'S ALRIGHT by Bob Dylan
G D Em
It ain't no use to sit and wonder why, babe
C G D
It don't matter anyhow
G D Em
And it ain't no use to sit and wonder why, babe
A7 D D7
If you don't know by now.
G G7
When the rooster crows at the break of dawn
C A7
Look out your window and I'll be gone
G D Em C
You're the reason I'm travellin' on
G D G D
Don't think twice, it's alright.
It ain't no use in turnin' on you light, babe
A light I never knowed
It ain't no use in turnin' on your light, babe
I'm on the dark side of the road
Still I wish there were something you would do or say
To try and make me change my mind and stay
We never did too much talkin' anyway
So don't think twice, it's alright.
I'm walkin' down that long lonesome road, babe
Where I'm bound, I can't tell
Goodbye is too good a word, gal
So I'll just say, fare thee well.
I'm not sayin' you treated me unkind
You could have done better but I don't mind
You just kinda wasted my precious time
But don't think twice, it's alright.
It ain't no use in callin' out my name, gal
Like you never done before
It ain't no use in callin' out my name, gal
I can't hear you anymore
I'm a-thinkin' and a-wonderin' all the way down the road
I once loved a woman, a child I am told
I'd give her my heart but she wanted my soul
But don't think twice, it's alright.
From: brandinius@aol.com (Brandinius)
Subject: Re: CRD: Don't Think Twice It's Alright by Bob Dylan
In article <Jul16.175140.73472@acs.ucalgary.ca>, jgoffin@acs.ucalgary.ca
(Jeffrey Goffin) writes:
>DON'T THINK TWICE, IT'S ALRIGHT by Bob Dylan
Uhh, I don't know how much of a purist you are, but those lyrics are sort
of a combination of Peter, Paul and Mary's version and Dylan's. Here's the
lyrics I have for Dylan's, straight off "The Freewheelin'"
-
Well it ain't no use to sit and wonder why, baby
If'n you don't know by now
And it ain't no use to sit and wonder why, babe
It'll never do somehow
When your rooster crows at the break of dawn,
look out your window and I'll be gone
you're the reason I'm a travelling on
But don't think twice, it's all right
And it ain't no use in turning on your light babe
the light I never knowed
and it ain't no use in turning on your light babe
I'm on the dark side of the road
Well I wish there was something you would do or say
to try and make me change my mind and stay
we never did too much talking anyway
But don't think twice, it's all right
So it ain't no use in calling out my name, gal
like you never done before
and it ain't no use in calling out my name, gal
I can't hear you any more
I'm a thinkin' and a wonderin', walkin' down the road
I once loved a woman, a child I am told
I give her my heart but she wanted my soul
Don't think twice, it's all right
So long honey babe
where I'm bound, I can't tell
goodbye is too good a word babe
so I'll just say fare the well
I ain't a sayin' you treated me unkind
you coulda done better but, I don't mind
you just kinda wasted my precious time
Don't think twice, it's all right
From: Paul Zimmerman <AUDSM@asuvm.inre.asu.edu>
Don't Think Twice
(by Bob Dylan)
INTRO:
C G Am Am C G C C
VERSE 1:
C G Am
Well it ain't no use to sit and wonder why, babe,
F C G
If'n you don't know by now.
C G Am
It ain't no use to sit and wonder why, babe.
D7 G7
It'll never do, some-how.
C C7
When the rooster crows at the break of dawn
F D7
look out your window and I'll be gone
C G Am F
You're the reason I'm travelin' on,
C G C
but don't think twice, it's al-right.
VERSE 2:
Ain't no use in turnin' on your light, babe,
That light I never knowed.
Ain't no use in turnin' on your light, babe,
I'm on the dark side of the road.
Still I wish there was somethin' you would do or say,
To try & make me change my mind and stay.
We never did too much talkin' anyway,
So don't think twice, it's all right.
VERSE 3:
It ain't no use in callin out my name, gal
Like you never done before.
It ain't no use in callin out my name, gal
I can't hear anymore
I'm sittin & a wonderin, walkin down the road
I once loved a woman - a child I am told
I give her my heart, but she wanted my soul
but don't think twice, it's alright.
VERSE 3:
So lo-ong honey babe
where I'm bound, I can't tell.
Goodbye is too good a word babe.
So I'll just say, "Fare thee well."
I ain't sayin you treated me unkind
You coulda done better but, I don't mind
You just kind of wasted my precious time
but don't think twice, it's alright.
Thanks to the original poster.
Peace,
Paul Z
From: jim@truleigh.demon.co.uk (James Fryer)
Subject: CRD: Don't think twice it's alright (Bob Dylan)
Don't Think Twice It's Alright
Bob Dylan
C G Am
Well it ain't no use to sit and wonder why babe
F C G
If you don't know by now
C G Am
And it ain't no use to sit and wonder why babe
D7 G G7
It don't matter any how
C C7
When your rooster crows at the break of dawn
F D7
Look out your window and I'll be gone
C G/B Am F
You're the reason I'm travelling on
C G C
But don't think twice it's alright
And it ain't no use in turning on your light babe
That light I never knowed
And it ain't no use in turning on your light babe
I'm on the dark side of the road
I wish there was something you would do or say
To try and make me change my mind and stay
But we never did too much talking anyway
So don't think twice it's alright
And it ain't no use in calling out my name babe
Like you never did before
Ain't no use in calling out my name babe
I can't hear you any more
I'm thinking and a-wondering, walking down the road
I once loved a woman, a child I'm told
I gave her my heart but she wanted my soul
But don't think twice it's alright
I'm walking down that long lonesome road babe
Where I'm bound I can't tell
But goodbye is too good a word babe
So I'll just say fare thee well
I ain't saying you treated me unkind
You could have doen better but I don't mind
You just kinda wasted my precious time
But don't think twice it's alright
Jim
--
James Fryer
jim@truleigh.demon.co.uk
jim@cix.compulink.co.uk
emotiona.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 <AA14262>; Sat, 14 Aug 1993 13:03:36 -0700
Received: from oosik.sprl.umich.edu by animal-farm.nevada.edu id <AA26580@animal-farm.nevada.edu>; Sat, 14 Aug 1993 13:03:34 -0700
Received: by oosik.sprl.umich.edu (NX5.67c/NX3.0M)
id AA02731; Sat, 14 Aug 93 16:00:55 -0400
Date: Sat, 14 Aug 93 16:00:55 -0400
From: Paul M. Miller <miller@oosik.sprl.umich.edu>
Message-Id: <9308142000.AA02731@oosik.sprl.umich.edu>
Received: by NeXT.Mailer (1.87.1)
Received: by NeXT Mailer (1.87.1)
To: jamesb@animal-farm.nevada.edu
Subject: EmotionallyYours.CRD by Dylan.Bob
Cc: scooter@pitts.sprl.umich.edu
Emotionally Yours Bob Dylan
Intro: C C/B Am F / C C/B F F
C C/B Am F C C/B F F
Come baby, find me, come baby, remind me of where I once begun.
C C/B Am F C C/B F F
Come baby, show me, show me you know me, tell me you're the one.
Am F C F C G G11 G
I could be learning, you could be yearning to see behind closed doors.
C C/B Am F C G11 C C
But I will always be emotionally yours.
Come baby, rock me, come baby, lock me into the shadows of your heart.
Come baby, teach me, come baby, reach me, let the music start.
I could be dreaming but I keep believing you're the one I'm living for.
And I will always be emotionally yours.
Fmaj7 Fmaj7 C C
It's like my whole life never happened,
Fmaj7 Fmaj7 C C
When I see you, it's as if I never had a thought.
E7 E7 Am Am
I know this dream, it might be crazy,
D7 D7 G11 G
But it's the only one I've got.
Come baby, shake me, come baby, take me, I would be satisfied.
Come baby, hold me, come baby, help me, my arms are open wide.
I could be unraveling wherever I'm traveling, even to foreign shores.
But I will always be emotionally yours.
_________
(note: G11= 3x3211)
everythi.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>
EVERYTHING IS BROKEN- Bob Dylan
E7
Broken lines, broken strings, broken threads, broken springs
A7 E7
Broken idols, broken heads, people sleeping in broken beds
B7 A7
Ain't no use jivin', ain't no use jokin'
E7
Everything is broken
Broken bottles, broken plates, broken switches, broken gates
Broken dishes, broken parts, streets are filled with broken hearts
Broken words never meant to be spoken
Everything is broken
E7
Seems like every time you stop and turn around
A7
Something else has just hit the ground
Broken cutters, broken saws, broken buckles, broken laws
Broken bodies, broken bones, broken voices on broken phones
Take a deep breath, feel like you're chokin'
Everything is broken
E7
Every time you leave and go off some place
A7
Things fall to pieces in my face
Broken hands on broken plows, broken treaties, broken vows
Broken pipes, broken tools, people bending broken rules
Hound dog howlin', bullfrog croakin'
Everything is broken
(from Oh Mercy!, 1989)
(sent by Harlan at harlant@hawaii.edu)
forever_.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>
FOREVER YOUNG- Bob Dylan
G
May God bless and keep you always
C G
May your wishes all come true
May you always do for others
A A/G D
And let others do for you
G
May you build a ladder to the stars
C Am
And climb on every rung
G D C
And may you stay forever young
G D C G
May you stay forever young
May you grow up to be righteous
May you grow up to be true
May you always know the truth
And see the lights surrounding you
May you always be courageous
Stand upright and be strong
And may you stay forever young
May you stay forever young
May your hands always be busy
May your feet always be swift
May you have a strong foundation
When the winds of changes shift
May your heart always be joyful
May your song always be sung
May you stay forever young
May you stay forever young
(originally from Planet Waves, 1973. I listened to the
version on Biograph to get these chords)
(sent by Harlan at harlant@hawaii.edu)
fourth_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. #
#------------------------------------------------------------------------------##
From: larpe@oden.nts.mh.se (Petter Larsson)
Fourth Time Around - Bob Dylan
('Blonde on Blonde' album)
F Bb F Bb
F Bb F Bb F Bb F
When she said, "Don't waste your words, they're just lies," I cried she was deaf.
Bb F Bb F Bb F
And she worked on my face until breaking my eyes, Then said, "What else you got left?"
Am Gm
It was then that I got up to leave But she said, "Don't forget,
F Bb F Bb F Bb F Bb
Ev'rybody must give something back For something they get."
F Bb F Bb F Bb F
I stood there and hummed, I tapped on her drum and asked her how come.
Bb F Bb F Bb F
And she buttoned her boot, And straightened her suit, Then she said, "Don't get cute."
Am Gm
So I forced my hands in my pockets And felt with my thumbs,
F Bb F Bb F Bb F Bb
And gallantly handed her My very last peice of gum.
F Bb F Bb F Bb F
She threw me outside, I stood in the dirt where ev'ry-one walked.
Bb F Bb F Bb F
And after finding I'd Forgotten my shirt, I went back and knocked.
Am Gm
I waited in the hallway, she went to get it, And I tried to make sense,
F Bb F Bb F Bb F Bb
Out of that picture of you in your wheelchair That leaned up against...
F Bb F Bb F Bb F
Her Jamaican rum And when she did come, I asked her for some.
Bb F Bb F Bb F
She said, "No, dear." I said, "Your words aren't clear, You'd better spit out your gum."
Am Gm
She screamed till her face got so red, Then she fell on the floor,
F Bb F Bb F Bb F Bb
And I covered her up and then Thought I'd go look through her drawer.
F Bb F Bb F Bb F
And when I was through, I filled up my shoe And brought it to you.
Bb F Bb F Bb F
And you, you took me in, You loved me then, You didn't waste time.
Bb F Bb F Bb F Bb F
And I, I never took much, I never asked for your crutch, Now don't ask for mine.
Typed by Petter Larsson , larpe@nts.mh.se
froggie_.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 rec.music.makers.guitar.tablature Sat Sep 10 14:13:40 1994
From: steevess@shore.net (Scott E. Steeves)
Date: 9 Sep 1994 22:05:17 -0400
Newsgroups: rec.music.makers.guitar.tablature
Subject: CRD: Dylan's "Froggie went..."
This is Dylan's version of "Froggie went a courtin"
I tried to get all the words corrected, but trying to figure
out what Dylan is saying at any given time is not an easy task.
I just hope I got them all right, if not well sorry.
Have fun.
C
1) Froggie went a-courtin' and he did ride, ah hah
G7
Froggie went a-courtin' and he did ride, ah hah
C
Froggie went a-courtin' and he did ride,
F C G7 C
With a sword and a pistol by his side, ah hah, ah hah, ah hah
2) He road right up to Miss Mousie's door, ah hah, (repeat)
Gave three loud raps, and a bad big roar, ah hah, ah hah, ah hah
3) Said Miss Mouse, are you within' ah hah, (repeat)
Yes I am, I sit and spin' ah hah, ah hah, ah hah
4) Took Miss Mousie on his knee' ah hah (repeat)
Said Miss Mousie, will you marry me' ah hah, ah hah, ah hah
5) Without my Uncle Rat's concent' ah hah (repeat)
I wouldn't marry the president' ah hah, ah hah, ah hah
6) Uncle Rat laughed, and he shook his fat sides' ah hah (repeat)
To think his niece, would be a bride' ah hah, ah hah, ah hah
7) Uncle Rat went runnin, down town' ah hah (repeat)
To buy his niece, a wedding gown' ah hah, ah hah, ah hah
8) Where shall the wedding supper be' ah hah (repeat)
Way down yonder, in the hollow tree' ah hah, ah hah, ah hah
9) What shall the wedding supper be' ah hah (repeat)
Fried Msquito, and a Black Eyed pea, ah hah, ah hah, ah hah
10) First to come in was a Flyin Moth' ah hah (repeat)
She layed out, the table cloth' ah hah, ah hah, ah hah
11) Next to come in was a Juney Bug' ah hah (repeat)
She brought, the water jug' ah hah, ah hah, ah hah
12) Next to come in was a Bumbly Bee' ah hah (repeat)
Sat Ms,Qutio on his Knee' ah hah, ah hah, ah hah
13) Next to come in was a Broken Back Flea' ah hah (repeat)
Danced a jig, with the Bumbly bee' ah hah, ah hah, ah hah
14) Next to come in was Mrs. Cow' ah hah (repeat)
She tried to dance, but she didn't know how' ah hah, ah hah, ah hah
15) Next to come in was a Little Black Tic' ah hah (repeat)
She ate so much, made her sick ah hah, ah hah, ah hah
16) Next to come in was the Big Black Snack' ah hah (repeat)
Ate up all of the wedding cake' ah hah, ah hah, ah hah
17) Next to come in was the Old Gray Cat' ah hah (repeat)
Swallowed the mouse, and ate up the rat' ah hah, ah hah, ah hah
18) Mr.Frog went a-hoppin, up over the broke' ah hah (repeat)
A Lily White Dove, came and swallowed him up' ah hah, ah hah, ah hah
19) Little piece of Corn Bread, layin on the shelf' ah hah (repeat)
If you want anymore, you can sing it yourself' ah hah, ah hah, ah hah
george_j.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!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Fri Sep 4 15:56:27 PDT 1992
Article: 2017 of alt.guitar.tab
Path: nevada.edu!uunet!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128
Newsgroups: alt.guitar.tab
Subject: Tab : George Jackson - Dylan
Message-ID: <1992Sep4.182503.652@csc.canterbury.ac.nz>
From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn)
Date: 4 Sep 92 18:25:01 +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: 60
George Jackson
By Bob Dyaln
G D
I woke up this morning,
C Am
There were tears in my bed.
G D
They killed a man I really loved,
C Am
Shot him through the head.
G D C Am
Lord, Lord they cut George Jackson down.
G D C G
Lord, Lord they laid him in the ground.
Sent him off to prison,
For a seventy dollar robbery.
Closed the door behind him,
And they threw away the key.
Lord, Lord they cut George Jackson down.
Lord, Lord they laid him in the ground
He wouldn't take shit from noone,
He wouldn't bow down or kneel.
The authorities they hated him,
Beacuse he was just too real.
Lord Lord so they cut George Jackson down.
Lord Lord they laid him in the ground.
The prison guards they cursed him,
As they watched him from above.
But they were frightened of his power,
They were scared of his love.
Lord, Lord they cut George Jackson down.
Lord, Lord they laid him in the ground.
Sometimes I think this whole world,
Is one big prison yard.
Some of us are prisoners,
The rest of us are guards.
Lord Lord they cut George Jackson down.
Lord Lord they laid him in the ground.
Be seeing you,
Kelwyn.
_________
He said that's alright babe,
I love you too.
But we were Tangled Up In Blue.
- Bob Dylan
girl_fro.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. #
#------------------------------------------------------------------------------##
From: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
GIRL FROM THE NORTH COUNTRY by Bob Dylan
G C D G
Well, if you're travellin' in the north country fair,
G
Where the winds hit heavy on the borderline
C G
Remember me to one who lives there
G C D G
She once was a true love of mine.
Well, if you go in the snowflake storm
When the rivers freeze and summer ends
Please see she has a coat so warm
To keep her from the howlin' winds.
Please see for me if her hair hangs long
If it rolls and flows all down her breast,
Please see for me if her hair hangs long,
That's the way I remember her best.
I'm a wonderin' if she remembers me at all
Many times I've often prayed
In the darkness of my night
In the brightness of my day.
So if you're travellin' in the north country fair,
Where the winds hit heavy on the borderline
Remember me to one who lives there,
She once was a true love of mine.
Date: Fri, 23 Feb 1996 16:08:58 -0500 (EST)
From: "Kelvin W. Sherlock" <ksherloc@gnu.uvm.edu>
Subject: CRD. Bob Dylan-Girl from the North Country
Girl from the North Country, from the 30th anniversary concert and 'Real
Live'
C/G Dsus4 (C moved up two frets)
e-3----x-
B-1----3-
G-0----0-
D-2----4-
A-x----5-
E-3------
Dsus4 C G C/G G
If you're travellin' in the north country fair
Dsus4 C G C/G G
Where the winds hit heavy on the borderline
Em C G C/G G
Remember me to one who lives there
Dsus4 C G C/G G
She once was a true love of mine
If you go when the snowflakes storm
Where the rivers freeze and summer ends
See for me if she's wearing a coat so warm
To keep her from the howling winds
See for me if her hair is hangin' long
If it rolls and flows all down her breast
See for me if her hair is hangin' long
That's the way I remember her best
Wonderin' if she remembers me at all
Many times, I've often prayed
In the darkness of my night
In the brightness of my day
instrumental
So if you're travellin' in the north country fair
Where the winds hit heavy on the borderline
Remember me to one who lives there
She once was a true love of mine
doubly long instrumental
hard_rai.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 <AA25764>; Sun, 18 Oct 1992 16:15:59 -0700
Received: from mailrus.cc.umich.edu by animal-farm.nevada.edu. id aa04669;
18 Oct 92 16:06 PDT
Received: from um.cc.umich.edu by mailrus.cc.umich.edu (5.65/1123-1.0)
id AA09560; Sun, 18 Oct 92 19:06:38 -0400
Date: Sun, 18 Oct 92 19:05:38 EDT
From: Dirk.Schulze.Consultant@um.cc.umich.edu
To: jamesb@nevada.edu
Message-Id: <16636207@um.cc.umich.edu>
X-Mts-Userid: LPMR
Subject: "A Hard Rain's A-Gonna Fall" by Bob Dylan
"A Hard Rain's A-Gonna Fall" by Bob Dylan
Oh where have you been my blue eyed-son
G
Where have you been my darling young one
D
I've stumbled on the side of twelve misty mountains...
C G
CHORUS: And it's a hard, and it's a hard, and it's a hard, and it's a hard
G D G C
It's a hard rain's a-gonna fall
G D G C G
house_of.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: Sat, 24 Jun 1995 12:09:02 -0400
From: gw222@cleveland.Freenet.Edu (Kelvin W. Sherlock)
House of the Risin' Sun (1961)
Bob Dylan
Play it kind of like this:
Am C
E---------------------------------------------
B----1-1-1-1----1-1-1-1----1-1-1-1----1-1-1-1-
G----2-2-2-2----2-2-2-2----0-0-0-0----0-0-0-0-
D----2-2-2-2----2-2-2-2----2-2-2-2----2-2-2-2-
A-0----------0----------3----------3----------
E---------------------------------------------
Dm F
E---------------------------------------------
B----3-3-3-3----3-3-3-3----1-1-1-1----1-1-1-1-
G----2-2-2-2----2-2-2-2----2-2-2-2----2-2-2-2-
D-0----------0----------3----------3----------
A---------------------------------------------
E---------------------------------------------
Am C
E---------------------------------------------
B----1-1-1-1----1-1-1-1----1-1-1-1----1-1-1-1-
G----2-2-2-2----2-2-2-2----0-0-0-0----0-0-0-0-
D----2-2-2-2----2-2-2-2----2-2-2-2----2-2-2-2-
A-0----------0----------3----------3----------
E---------------------------------------------
Em
E-----------------------
B----0-0-0-0----0-0-0-0-
G----0-0-0-0----0-0-0-0-
D----2-2-2-2----2-2-2-2-
A-----------------------
E-0----------0----------
Intro: Am C Dm F Am Em Am
Am C Dm F
There is a house down in New Orleans
Am C Em
They call the Risin' Sun
Am C Dm F
And it's been the ruin of many poor girl
Am Em Am C Dm F Em
And me, oh God, I'm a-one
2)
My mother was a taylor
She sewed these new blue jeans
My sweetheart was a gambler, Lord
Down in New Orleans
3)
Now the only thing a gambler needs
Is a suitcase and a trunk
And the only time he's satisfied
Is when he's on a drunk
4)
He fills his glasses up to the brim
And he'll pace the cards around
And the only pleasure he gets out of life
Is ramblin' from town to town
5)
Oh tell my baby sister
Not to do as I have done
But to shun that house in New Orleans
They call the Risin' Sun
6)
Well, it's one foot on the platform
And the other foot on the train
I'm goin' back to New Orleans
To wear that ball and chain
7)
I'm a-goin' back to New Orleans
My race is almost run
I'm goin' back to end my life
Down in the Risin' Sun
8)
There is a house in New Orleans
They call the Risin' Sun
It's been the ruin of many poor girl
And me, oh God, Im a-one
hurrican.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: Steve Vetter <vetters@vax1.elon.edu>
Hurricane - Bob Dylan
CRDs by Steve Vetter & TSOBD
Am F Am F
Am F
Pistol shots ring out in the barroom night
Am F
enter Patty Valentine from the upper hall
Am F
She sees the bartender in a pool of blood
Am F
Cries out "My God they killed them all!"
C F
Here comes the story of the Hurricane,
C F
The man the authorities came to blame
Dm C
for something that he never done
Dm C
Put in a prison cell but one time
Em Am F C G Am F Am F
he could have been the champion of the world
Three bodied lying there does Patty see
and another man named Bello moving mysteriously
"I didn't do it" he says, and he throws up his hands
"I was only robbin the register, I hope you understand
I saw them leavin," he says and he stops
One of us had better call the cops
so Patty calls the cops
and they arrive on the scene with their red lights flashin
in the hot New Jersey night
Meanwhile somewhere in another part of town
Rubin Carter and a couple of friends are driving around
number one contender for the middleweight crown
had no idea what kind of shit was about to go down
when a cop pulled him over on the side of the road
just like the time before and the time before that
in Paterson that just the ways things go
If you black you might as well not show up on the streets
Less you wanna draw the heat
Alfred Bello had a partner and he had a rap for the cops
Him and Arthur Dexter Bradley were just out prowlin around
He said "I saw two men runnin out, they looked like middleweights
They jumped into a white car with out of state plates"
And Miss Patty Valentine just nodded her head
Cop said "Wait a minute boys, this one's not dead"
so they took him to the infirmary
and although this man could hardly see
they told him that he could identify the guilty men
Four in the morning and they haul Rubin in
Take him to the hospital and bring him upstairs
the wounded man looks up though his one dying eye
says "why'd you bring him here for? he ain't the guy!"
Yes, here the story of the Hurricane
The man the authorities came to blame
for something that he never done
put in a prison cell but one time he could've been
the champion of the world
Four months later the ghetto's in flame
Rubin's in South America fightin for his name
while Arthur Dexter Bradley's still in the robbery game
and the cops are puttin the screw to him looking for somebody to blame
"Remember that murder that happened in a bar?"
"Remember you said you saw the getaway car?"
"You think you'd like to play ball with the law?"
"Think it might have been that fighter that you saw running that night?"
"Don't forget that you are white"
Arthur Dexter Bradley said "I'm really not sure"
Cops said "A poor boy like you could really use a break
We got you for the motel job and were talking to your friend Bello
Now you don't want to ave to go back to jail, be a nice fellow
You'll be doin' society a favor
That son of a bitch is brave and getting braver
We want to put his ass in the stir
We want to pin this trip murder on him
He ain't ne Gentleman Jim"
Rubin could take a man out with just one punch
he never did like to talk about it all that much
It's my work he'd say, I do it for pay
and when it's over I'd just as soon go on my way
up to some paradise
where the trout streams flow and the air is nice
and ride a horse along a trail
but then they took him to the jail house
where they try to make a man into a mouse
All of Rubin's card were marked in advance
The trial was a pig-circus, he never had a chance
the judge made Rubin's witnesses drunkards from the slums
to the white folks who watched he was a revolutionary bum
but to the black folks he was a crazy nigger
no one doubted that he pulled the trigger
and though they could not produce the gun
the D.A. said he was the one who did the deed
And the all-white jury agreed
Rubin Carter was falsely tried
the crime was murder "one", guess who testified?
Bello and Bradley and the both badly lied
and the newspapers all went along for the ride
how can the life of such a man
be in the palm of some fool's hand?
to see him obviously framed
couldn't help but be ashamed to live in a land
where justice is a game
Now all the criminal in their coats and their ties
are free to drink martinis and watch the sun rise
while Rubin sits like Buddha in a ten foot cell
and innocent man in a living hell
that's the story of the Hurricane
but it won't be over till they clear him name
and give him back the time he's done
put in a prison cell but one time he could've been
the champion of the world
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Steve Vetter % I'm not the same %
% vetters@vax1.elon.edu % As I was long ago %
% Elon College % I've learned some new things %
% Love School of Business % And I hope that it shows... %
% Alpha Kappa Psi % - Neil Young %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
i_and_i.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!cs.utexas.edu!sdd.hp.com!spool.mu.edu!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Fri Sep 4 16:00:36 PDT 1992
Article: 2019 of alt.guitar.tab
Path: nevada.edu!uunet!cs.utexas.edu!sdd.hp.com!spool.mu.edu!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128
Newsgroups: alt.guitar.tab
Subject: Tab : I and I - Dylan
Message-ID: <1992Sep4.182719.654@csc.canterbury.ac.nz>
From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn)
Date: 4 Sep 92 18:27:18 +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: 66
I and I
-Bob Dylan.
Am C G
Been so long since a strange woman slept in my bed,
D
See how sweet she sleeps,
Am C,G
How free must be her dreams.
Am C G
In another lifetime she must of owned the world,
G
Or been faithfully wed,
D
To some righteous king who wrote love songs,
Am C,G
Beside moonlit streams,
Am G D Am C G
I and I, in Creation where one's nature neither honors nor forgives,
Am G D Am
I and I, One said to the other, no mans sees my face and lives.
Took an untrodden path once where the swift don't win the race,
It goes to the worthy,
Who can can divine the word of truth.
It took a stranger to see teach me,
To look into justices' beautiful face.
And to see an eye for an eye, and a tooth for a tooth.
I and I, in Creation where one's nature neither honors nor forgives,
I and I, One said to the other, no mans sees my face and lives.
Think I'll go out,
An' go for a walk.
Not much happening here,
But then again nothin' ever does.
Besides if she wakes up now,
She'll just want me to talk,
An I got nothing to say,
Specially about what ever it was.
I and I, in Creation where one's nature neither honors nor forgives,
I and I, One said to the other, no mans sees my face and lives.
Be seeing you,
Kelwyn.
_________
He said that's alright babe,
I love you too.
But we were Tangled Up In Blue.
- Bob Dylan
i_shall_.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: cctr128@cantua.canterbury.ac.nz (Mr K Osborn)
I Shall Be Released
By Bob Dylan
A Bm
They say everything can be replaced
C#m Bm A E7
Yet every distance is not near
A Bm
So I remember every face
C#m Bm A E7
Of every man who put me here.
A Bm
I see my light come shining
C#m Bm A
From the west unto the east.
A
Any day now,
Bm
Any day now,
C#m Bm A
I shall be released
They say every man needs protection.
They every man must fall.
Yet I swear I see my reflection,
Somewhere so high above the wall.
I see my light come shining,
>From the west unto the east.
Any day now,
Any day now,
I shall be released.
Well onder stands a man in this lonely crowd,
A man who swears he not to blame.
All day long I hear him cry shouting loud,
Calling out that he's been framed.
I see my light come shining,
>From the west unto the east.
Any day now,
Any day now,
I shall be released.
Be seeing you,
Kelwyn.
_________
He said that's alright babe,
I love you too.
But we were Tangled Up In Blue.
- Bob Dylan
From: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
I SHALL BE RELEASED by Bob Dylan
C Dm
They say every man needs protection
Em Dm C
They say every distance is not near
C Dm
But I remember every face
Em Dm C
Of every man who put me here
C Dm
I see my light come shinin'
Em Dm C
From the west down to the east
C Dm
Any day now, any day now
Em Dm C
I shall be released
They say every man can be replaced
They say every man must fall
But I swear I see my reflection
Some place so high above the wall
Standing next to me in this lonely room
Is a man who swears he's not to blame
All day long I hear him shout so loud
Callin' out that he's been framed
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
i_want_y.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 (John Fair)
I Want You
Dylan
F
The guilty undertaker sighs,
Am
The lonesome organ grinder cries,
Dm C
The silver saxophones say I should refuse you.
Bb
The cracked bells and washed-out horns
C
Blow into my face with scorn,
Dm
But it's not that way,
C
I wasn't born to lose you.
F Am
I want you, I want you,
Dm C
I want you so bad,
F
Honey, I want you.
F
The drunken politician leaps
Am
Upon the street where mothers weep
Dm
And the saviors who are fast asleep,
C
They wait for you.
Bb
And I wait for them to interrupt
C
Me drinkin' from that broken cup
Dm
And ask me to
C
Open up the gate for you.
F Am
I want you, I want you,
Dm C
I want you so bad,
F
Honey, I want you.
Am
Now all my fathers, they've gone down,
Dm
True love they've been without it.
Am
But all their daughters put me down
Bb C
'Cause I don't think about it.
F
Well, I return to the Queen of Spades
Am
And talk with my chambermaid.
Dm
She knows that I'm not afraid
C
To look at her
Bb
She is good to me
C
And there's nothing she doesn't see.
Dm
She knows where I'd like to be
C
But it doesn't matter.
F Am
I want you, I want you,
Dm C
I want you so bad
F
Honey, I want you.
F
Now your dancing child with his Chinese suit,
Am
He spoke to me, I took his flute.
Dm
No, I wasn't very cute to him,
C
Was I?
Bb
But I did it, though, because he lied
C
Because he took you for a ride
Dm
And because tine was on his side
C
And because I...
F Am
I want you, I want you,
Dm C
I want you so bad
F
Honey, I want you.
John Fair jfair @vt.edu Roofing
id_have_.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>
I'D HAVE YOU ANYTIME- George Harrison and Bob Dylan
Gmaj7 Bmaj7
Let me in here, I know I've been here
Cm7 G Am Em D
Let me into your heart
Gmaj7 Bmaj7
Let me know you, let me show you
Cm7 G Am Em D
Let me roll it to you
CHORUS:
A E D
All I have is yours
C G F A
All you see is mine
D D/C
And I'm glad to hold you in my arms
D/B D/Bb A Asus4 A
I'd have you anytime
Let me say it, let me play it
Let me lay it on you
Let me know you, let me show you
Let me grow upon you ...CHORUS
Let me in here, I know I've been here
Let me into your heart
Let me know you, let me show you
Let me roll it to you ...CHORUS
Gmaj7: x x 5 4 3 2 Bmaj7: x x 8 7 6 5
Cm7: x 3 5 3 5 3 Asus4: x 0 2 2 3 0
D/C: x 3 0 2 3 2 D/B: x 2 0 0 3 2 D/Bb: x 1 0 0 3 2
(from All Things Must Pass, 1970. P.S. does anyone know the chords to
the song Apple Scruffs from this album?)
(sent by Harlan at harlant@hawaii.edu)
idiot_wi.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>
IDIOT WIND- Bob Dylan
Am B E
Someone's got it in for me, they're planting stories in the press
Am B E
Whoever it is I wish they'd cut it out but when they will I can only guess
C#m G#m F#m E
They say I shot a man named Gray and took his wife to Italy
C#m G#m F#m E
She inherited a million bucks and when she died it came to me
G#m A
I can't help it if I'm lucky
People see me all the time and they just can't remember how to act
Their minds are filled with big ideas, images and distorted facts
Even you, yesterday you had to ask me where it was at
I couldn't believe after all these years
You didn't know me better than that, sweet lady
CHORUS #1:
E A E
Idiot wind, blowing every time you move your mouth
A B
Blowing down the backroads headin' south
E A E
Idiot wind, blowing every time you move your teeth
A B E
You're an idiot babe, it's a wonder that you still know how to breathe
I ran into the fortune teller, who said beware of lightning that might
strike
I haven't known peace and quiet for so long I can't remember what it's
like There's a lone soldier on the cross, smoke pourin' out of a boxcar door
You didn't know it, you didn't think it could be done
In the final end he won the war after losin' every battle
I woke up on the roadside, daydreamin' 'bout the way things sometimes are
Visions of your chestnut mare shoot through my head and are makin' me see
stars You hurt the ones that I love best and cover up the truth with
lies
One day you'll be in the ditch, flies buzzin' around your eyes
Blood on your saddle
CHORUS #2:
Idiot wind, blowing through the flowers on your tomb
Blowing through the curtains in your room
Idiot wind, blowing every time you move your teeth
You're an idiot, babe, it's a wonder that you still know how to breathe
It was gravity which pulled us down and destiny which broke us apart
You tamed the lion in my cage but it just wasn't enough to change my
heart
Now everything's a little upside down
As a matter of fact the wheels have stopped
What's good is bad, what's bad is good
You'll find out when you reach the top, you're on the bottom
I noticed at the ceremony, your corrupt ways had finally made you blind
I can't remember your face anymore, your mouth has changed
Your eyes don't look into mine
The priest wore black on the seventh day
And sat stone faced while the building burned
I waited for you on the running boards, near the cypress trees
While the springtime turned slowly into autumn
CHORUS #3:
Idiot wind, blowing like a circle around my skull
>From the Grand Coulee Dam to the Capitol
Idiot wind, blowing every time you move your teeth
You're an idiot, babe, it's a wonder that you still know how to breathe
I can't feel you anymore, I can't even touch the books you've read
Every time I crawl past your door, I been wishin' I was somebody else
instead Down the highway, down the tracks, down the road to ecstasy
I followed you beneath the stars, hounded by your memory
And all your ragin' glory
I been double crossed now for the very last time and now I'm finally free
I kissed goodbye the howling beast on the borderline
Which separated you from me
You'll never know the hurt I suffered nor the pain I rise above
And I'll never know the same about you, your holiness or your kind of love
And it makes me feel so sorry
CHORUS #4:
Idiot wind, blowing through the buttons of our coats
Blowing through the letters that we wrote
Idiot wind, blowing through the dust upon our shelves
We're idiots, babe, it's a wonder we can even feed ourselves
(from Blood On the Tracks, 1974)
(sent by Harlan at harlant@hawaii.edu)
if_not_f.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: B51MC@aol.com
Date: Sat, 30 Sep 1995 00:30:45 -0400
SONG: "If Not For You"
COMPOSER: Bob Dylan
FROM: "All Things Must Pass" Apple LP (1970)
ARTIST: George Harrison
"If Not For You" - Bob Dylan 1970
*Intro: G-D-C, G-D-C...
*verse*
If Not For (G) You (D)(C) Babe, I couldn't even find (G) the door (D)(C)
I couldn't even (G) see the floor (D)(C) I'd be sad and (Am) blue
If Not For You (G)(D)(C) (G)(D)(C)
*verse*
If Not For (G) You (D)(C) Babe the night would see me (G) wide awake (D)(C)
The day would surely (G) have to break (D)(C) It would not be (Am) new
If Not For You (G)(D)(C) (G)(D)(C)
*bridge*
If Not For You my sky (G) would fall,
(D7) rain would gather too. (G)
(C) without your love I'd be no-(G)-where at all, I'd be lost
(A7) If Not For You (D7//)(Bm)*-picked from high to low-*
*verse*
(D7) If Not For (G) You (D)(C) The winter would hold (G) no spring (D)(C)
Couldn't hear a (G) robin sing (D)(C) I just wouldn't have a (Am) clue
If Not For (G) You (D)(C)
[repeat bridge and last verse; end with repeat of G-D-C chords]
Submitted by Bob McCarthy (b51mc@usa1.com)
Corrections welcomed (and fully expected)
if_you_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. #
#------------------------------------------------------------------------------##
Date: Tue, 12 Sep 1995 14:04:00 -1000
From: Harlan L Thompson <harlant@hawaii.edu>
IF YOU SEE HER, SAY HELLO- Bob Dylan
TUNING: D A D F# A D
A G A G D(2) DaddG D(2) A G A G A G A G D(2)
D(2) G D(2) A D(3)
If you see her say hello, she might be in Tangiers
G D(2) Em Em/D A
She left here last early spring, is living there I hear
Bm G D G
Say for me that I'm alright, though things get kind of slow
Bm A
She might think that I've forgotten her
G D(2) DaddG D(2) riff D(3)
Don't tell her it isn't so
We had a falling out, like lovers often will
And to think of how she left that night, it still brings me a chill
And though our separation, it pierced me to the heart
She still lives inside of me, we've never been apart
If you get close to her, kiss her once for me
I always have respected her, for doin' what she did and gettin free
Whatever makes her happy, I won't stand in the way
Though the bitter taste still lingers on
>From the night I tried to make her stay
I see a lot of people, as I make the rounds
And I hear her name here and there as I go from town to town
And I've never gotten used to it, I've just learned to turn it off
Maybe I'm too sensitive, or else I'm gettin' soft
Sundown, yellow moon, I replay the past
I know every scene by heart, it all went by so fast
If she's goin' by this way, I'm not that hard to find
Tell her she can look me up if she's got the time
A G A G A G D(2) Dsus4 D(2) A G A G A G D(3)
CHORDS:
D G A D(2) DaddG D(3) Em Em/D Bm RIFF:
D -0--5--7---4-----5----4-----2---2----0---------(4)--
A -0--5--7---0-----0----0-----2---2----2---------(0)--
D -0--5--7---3-----3----3-----1---1----0---------(3)--
F# -0--5--7---0-----0----0-----2---0----0---------(0)--
A -0--5--7---0-----0----5-----x---x----2----0-2-4-5---
D -0--5--7---0-----0----0-----x---x----0---------(0)--
NOTE: This is taken more from the Bootleg Series version, since that
guitar part is easier to hear, but the chords (i.e. intro and outro)
follow the Blood on the Tracks version. D, D(2) and D(3) are pretty much
interchangable; its pretty impossible to tell which fingering is being
used at any one given time. By the way, Up to Me and You're Gonna Make
Me Lonesome When You Go also sound like they're in open D or open E.
From weekes@swell.actrix.gen.nz (peter weekes)
Subject: CRD If you see her Dylan[D[D[D[D[D[D-
Date: Fri, 3 Dec 1993 04:39:29 GMT
If you see her - Bob Dylan
weekes@swell.actrix.gen.nz
The intro is played at the 9th and 7th frets
AGAGAGetc until
D
The little run is just a scale in D
using the open string D, formed with fingers 132, play first the open A,
then on the same string, use finger 1 to play the B, then the little
finger to play the C# then play the D as part of the chord.
D-----0-------
A-024---------
The D/C and D/B (that's probably not their correct name....)
E-0--0-------------
B-3--3------------
G-0--0-----------
D-2--0-----------
A-3--2------------
E-x--x-----------
Any correction, suggestions welcome !
D G D A D
If you see her say hello, she might be in Tangiers
G D D/C D/B A
She left here last early spring, is living there I hear
Bm G D G
Say for me that I'm alright, tho things get kind of slow
Bm A
She might think that I've forgotten her,
G D
Don't tell her it isn't so
We had a falling out, like lovers often will
And to think of how she left that night, it still brings me a chill
And tho' our separation, it pierced me to the heart
She still lives inside of me, we've never been apart
If you get close to her, kiss her once for me
I always have respected her, for doin' what she did and gettin free
Whatever makes her happy, I won't stand in the way
Tho' the bitter taste still lingers on
>From the night I tried to make her stay
I see a lot of people, as I make the rounds
And I hear her name here and there as I go from town to town
And I've never gotten used to it, I've just learned to turn it off
Maybe I'm too sensitive, or else I'm gettin soft
Sundown, yellow moon, I replay the past
I know every scene by heart, it all went by so fast
If she's goin' by this way, I'm not that hard to find
Tell her she can look me up if she's got the time
--
\ Peter Weekes weekes@swell.actrix.gen.nz
/ Box 7163 Wellington South
/ New Zealand
ill_be_y.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>
I'LL BE YOUR BABY TONIGHT- Bob Dylan
F
Close your eyes, close the door
G G7
You don't have to worry any more
Bb C F C
I'll be your baby tonight
Shut the light, shut the shade
You don't have to be afraid
I'll be your baby tonight
BRIDGE:
Bb
Well, that mockingbird's gonna sail away
F
We're gonna forget it
G
That big, fat moon is gonna shine like a spoon
C
But we're gonna let it, you won't regret it
Kick your shoes off, do not fear
Bring that bottle over here
I'll be your baby tonight
(from John Wesley Harding, 1968)
(sent by Harlan at harlant@hawaii.edu)
isis.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. #
#------------------------------------------------------------------------------##
Subject: CRD: Isis - Bob Dylan
From cctr128@cantua.canterbury.ac.nz (Kelwyn Osborn)
Date: Thu, 1 Apr 1993 07:02:28 GMT
Nntp-Posting-Host: cantua.canterbury.ac.nz
X-Newsreader: TIN [version 1.1 PL8]
Isis, words by Bob Dylan & Jacques Levy
music by Bob Dylan
Bb Ab Eb Bb
I married Isis on the fifth day of May
Ab Eb Bb
But I could not hold on to her very long
Ab Eb Bb
So I cut off my hair and I rode straight away
Ab Eb Bb
For the wild unkown country where I could not go wrong
I came to a high place of darkness and light
The dividing line ran through the centre of town
So I hitched up my pony to a post on the right
Went into a laundry to wash my clothes down
A man in the corner approached me for a match
I knew right away he was not ordinary
He said "Are you lookin' for something easy to catch?"
I said "I ain't got no money",He said "That ain't necessary".
We set out that night for the cold in the North.
I gave him my blanket, he gave me his word
I said, "Where are we goin'?" He said we'd be back by the fourth.
I said "That's the best news I ever heard."
I was thinking about turquiose I was thinking about gold.
I was thhinking about diamonds and the worlds biggest necklace.
As we rode through the canyons, through the devilish cold,
I was thinking about Isis, how sh thought I was so reckless.
How she told me that one day we'd meet up again,
And thing would be different the next time we wed.
If I only hang on and just be her friend.
I still can't remember all the best things she said.
We came to the pyramids all embedde in ice.
He said "There's a body I'm trying to find,
If I carry it out it'll fetch a good price."
Twas then that I knew what he had on his mind.
The wind it was howling and the snow was outrageous.
We chopped throught he night and we chopped throught he dawn.
When he died I was hopong that it wasn't contagious,
But I made up my mind that I had to go on.
I broke into the tomb but the casket was empty
There were no jewels no nothing, I felt I'd been had.
When I saw that my partner was just being friendly,
When I took up his offer I must-a been mad
I picked up his body and I dragged it inside,
Threw down into the hole and I put back the cover.
I said a quick prayer and I felt satified
Then I rode back to Isis just to tell her I love her.
She was there in the meadow where the creek used to rise.
Blinded by sleep and in need of a bed.
I came in from the East with the sun in my eyes.
I cursed one time then rode on ahead.
She said "Where ya been?" I said "No place special."
She said "You look different." I said "Well I guess."
She said "You been gone." I said "That's only natural."
She said "You gonna stay." I said "Well if you want me to yes."
Isis oh Isis you're a mystical child
What drives me to you is what drives me insane
I still can remember the way that you smiled
On the fifth day of May in the drizziling rain.
it_aint_.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: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
IT AIN'T ME BABE by Bob Dylan
G C G D G
Go 'way from my window leave at your own chosen speed
G C G D G
I'm not the one you want, Babe, I'm not the one you need.
Bm Am Bm Am
You say you're looking for someone never weak but always strong
Bm Am Bm Am
To protect you and defend you whether you are right or wrong
C D
Someone to open each and every door
G
But it ain't me, Babe,
C D G
No, no, no, it ain't me, Babe,
C D G
It ain't me you're looking for, Babe.
Go lightly from the ledge, Babe, go lightly on the ground,
I'm not the one you want, Babe, I will only let you down.
You say you're looking for someone
who will promise never to part
Someone to close his eyes for you, someone to close his heart
Someone who will die for you and more
But it ain't me, Babe,
No, no, no, it ain't me, Babe,
It ain't me you're looking for, Babe.
Go melt back in the night, Babe,
everything inside is made of stone,
There's nothing in here moving and anyway I'm not alone
You say you're looking for someone
Who'll pick you up each time you fall,
To gather flowers constantly and to come each time you call
A love of your life and nothing more
But it ain't me, Babe,
No, no, no, it ain't me, Babe,
It ain't me you're looking for, Babe.
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
it_takes.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 <AA02422>; Thu, 11 Mar 1993 19:51:01 -0800
Received: from post1.INRE.ASU.EDU by animal-farm.nevada.edu id <AA15330@animal-farm.nevada.edu>; Thu, 11 Mar 1993 19:50:58 -0800
Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF #2382 ) id
<01GVP1SXR6U89EDA3U@asu.edu>; Thu, 11 Mar 1993 20:50:50 MST
Received: from ASUACAD (IFSXM) by ASUVM.INRE.ASU.EDU (Mailer R2.10 ptf000) with
BSMTP id 7513; Thu, 11 Mar 93 20:50:22 MST
Date: 11 Mar 1993 20:49:07 -0700 (MST)
From: Paul Zimmerman <IFSXM@asuvm.inre.asu.edu>
Subject: CRD: It Takes a lot to Laugh, It Takes a Train to Cry - Dylan
To: jamesb@animal-farm.nevada.edu
Message-Id: <01GVP1SXRGHE9EDA3U@asu.edu>
Content-Transfer-Encoding: 7BIT
IT TAKES A LOT TO LAUGH,
IT TAKES A TRAIN TO CRY
Bob Dylan
A... A... A... A... A...
Well, I ride on a mail train, baby, can't buy a thrill
A... A... A... A...
I been up all night, leanin' on the window sill
A. A/G. D. E... E...
Well, if I die on top of the hill
A... A... A...
Well, if I don't make it mama, you know my baby will
Don't the moon look good mama, shinin' through the trees
Don't the brakemen look good mama, flaggin' down the double E's
Don't the sun look good goin' down over the sea
But don't my gal look fine when she's comin' after me
Now the wintertime is coming, the windows are filled with frost
I went to tell everybody, but I could not get across
I wanna be your lover baby, I don't wanna be your boss
Don't say I never warned you when your train gets lost
Each quarter note is donated by a .
Therefore, A... equals one whole bar.
Peace, love, and soul,
Paul Zimmerman
its_all_.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: John Blair <jwblair@ix.netcom.com>
Subject: CRD: It's All Over Now, Baby Blue by Bob Dylan
It's All Over Now, Baby Blue
Bob Dylan
The transcription is my own, as are any mistakes.
I figured this out a few years back when I bought the video
"Don't Look Back". You see Dylan detune and some fingerings
when he plays "Baby Blue" for Donovan in the hotel. (By the
way, in "Don't Look Back" Dylan capos 2, but Donovan's guitar
is tuned 1/2 tone below concert, so capo 1 to play along
with the video.)
Subteranean Homesick Blues version
Capo 4, top E tuned down to C
Note-> CADGBe
++++++
C: 032010
Csus4: 033010 (add the little finger on the 4th string)
G: 220000 (actually an Em7, but this is what he plays for G)
F: 003211
Dm: 200231 (use the thumb to fret the 6th string)
E: x22100 (or maybe E7: x22130)
(Be sure to strum the 6th string to keep the
distinctive droning C note going.)
Intro: C and Csus4
(hammering onto the 4th string at the 2nd fret)
G F C
You must leave now, take what you need, you think will last
G F C
But whatever you wish to keep, you better grab it fast
Dm F C
Yonder stands your orphan with his gun
Dm F C
Crying like a fire in the sun
E(7) F G
Look out the saints are coming through
Dm F C
And it's all over now, Baby Blue.
The highway is for gamblers, better use your sense.
Take what you have gathered from coincidence.
The empty-handed painter from your streets
Is drawing crazy patterns on your sheets.
This sky, too, is folding under you
And it's all over now, Baby Blue.
All your seasick sailors, they are rowing home.
Your empty handed armies, they're all going home.
The lover who just walked out your door
Has taken all his blankets from the floor.
The carpet, too, is moving under you
And it's all over now, Baby Blue.
Leave your stepping stones behind, something calls for you.
Forget the dead you've left, they will not follow you.
The vagabond who's rapping at your door
Is standing in the clothes that you once wore.
Strike another match, go start anew
And it's all over now, Baby Blue.
its_alri.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 <AA23925>; Mon, 15 Feb 1993 17:35:13 -0800
Received: from post2.INRE.ASU.EDU by animal-farm.nevada.edu id <AA07720@animal-farm.nevada.edu>; Mon, 15 Feb 1993 17:35:11 -0800
Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF #2382 ) id
<01GURE39PLCG96WJUH@asu.edu>; Mon, 15 Feb 1993 18:35:03 MST
Received: from ASUACAD (IFSXM) by ASUVM.INRE.ASU.EDU (Mailer R2.08) with BSMTP
id 6997; Mon, 15 Feb 93 18:37:22 MST
Date: 15 Feb 1993 18:36:25 -0700 (MST)
From: Paul Zimmerman <IFSXM@asuvm.inre.asu.edu>
Subject: CRD: It's Allright Ma - Bob Dylan
To: jamesb@animal-farm.nevada.edu
Message-Id: <01GURE39PUZM96WJUH@asu.edu>
Content-Transfer-Encoding: 7BIT
IT'S ALLRIGHT MA
Bob Dylan
Darkness at the break of noon shadows even the silver spoon
The hand made blade, the child's balloon exlipses both the sun and moon
To understand you know too soon there is no sense in trying
Pointed threats they bluff with scorn, suicide remarks are torn
>From the fool's gold mouthpiece, the hollow horn
Plays wasted words, proves to warn that he not busy being born is busy dying
Watch waterfalls of pity roar, you feel to moan but unlike before
You discover that you'd just be one more person crying
So don't fear, if you hear, a foreign sound to your ear
It's allright ma, I'm only sighing
As some warn victory, some downfall, private reasons great or small
Can be seen in the eys of those that call
To make all that shoulc be killed to crawl
While others say don't hate nothing at all except hatred
Disillusioned words like bullets bark as human gods aim for their mark
Make everything from toy guns that spark
To flesh colored Christs that glow in the dark
It's easy to see without looking too far that not much is really sacred
While preachers preach of evil fates, teacherrs teach that knowledge waits
Can lead to hundred dollar plates, goodness hides behind its gates
But even the president of the United States must sometimes have to stand naked
And though the rules of the road have been lodged
It's only people's games that you've got to dodge
And it's allright ma, I can make it
Advertising signs that con you into thinking you're the one
That can do what's never been done, that can win what's nver been won
Meantime life outside goes on all around you
You lose yourself, you reappear you suddenly find you've got nothing to fear
Alone you stand with nobody near when a trembling distant voice unclear
Startles your sleeping ears to hear that somebody thinks they really found you
A question in your nerves is lit yet you know there is no answer fit
To satisfy, ensure you not to quit to keep it in your mind and not forget
That it is not he or she or them or it that you beling to
Although the masters make the rules for the wise men and the fools
I've got nothing ma, to live up to
For them that must obey authority that they don not respect in any degree
Who despise their jobs, their destinies Speak jealously of them that are free
Cultivate their flowers to be nothing more than something they invest in
While unprinciples baptize too strict party platform ties
Social clubs in drag disguise, outsiders they can freely criticize
Tell nothing except who to idolize and say 'God bless him'
While one who sings with his tongue on fire gargles in the rat race choir
Bent out of shape from society's pliers, cares not to come up any higher
But rather get you down in the holw that he's in
But I mean no harm nor put fault on anyone that lives in a vault
But it's allright ma, if I can't please him
Old lady judges watch people in paird, limited in sex they dare
To push fake morals, insultant stares while money doesn't talk, it swears
Obscenity, who really cares, propaganda all is phony
While them that defend what they cannot see with a killer's pride, security
It blows the mind most bitterly for them that think death's honesty
Won't fall upon them naturally life sometimes must get lonely
My eyes collide head on with stuffed graveyards, false goals, I scuff
At pettiness which plays so rough, walk upside down inside handcuffs
Kick my legs to crash it off, say OK I've had enough
What else can you show me and if my thought dreams could be seen
They'd probably put my head in a guillotine
But it's allright ma, it's life and life only
tune both E strings to D, capo on 2nd fret
-2---- -00230 x4 ...break of noon
0----- -00230 x4 ...silver spoon
-3---- -00230 x4 ...child's balloon
-2---- -00230 x4 ...sun and moon
-1---- -00230 x4 ...know too soon
0----- 000230 0------ 00230-00230 000233/55-33
there's no sense in trying
000230 202222 000230 020033
so don't fear if you hear a foreign sound to your ear
0----- -0---- -2---- -0---- -02222 000230
its all right ma I'm only sighing
great song - Good luck with it!
Peace, love, and soul,
Paul Zimmerman
john_bro.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: Mon, 15 Jan 1996 23:02:37 -0500
From: aspanber@freenet.vcu.edu (Adam Spanberger)
Subject: John Brown by Bob Dylan
Off of MTV Unplugged
John Brown
Bob Dylan
This song is kind of randomly picked with a lot of bass notes.
Am Am/G Am/F# Am
The words are in the CD
Am
John Brown went off to war to fight on a foreign shore
Am Am/G Am/F# Am
His mama sure was proud of him
And so on
Dylan really has some feeling and power behind this song.
If anyone has Shooting Star Music off the CD just e-mail me at
aspanber@freenet.vcu.edu
or put it up here
jokerman.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 16:02:05 PDT 1992
Article: 2020 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 : Jokerman - Dylan
Message-ID: <1992Sep4.183018.655@csc.canterbury.ac.nz>
From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn)
Date: 4 Sep 92 18:30:16 +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: 99
Jokerman
By Bob Dylan
Bb BbM7
Standin' on the water casting your bread,
Cm/Bb F/Bb Bb Eb/Bb
While the eyes of the idol with the iron head are glowing.
Bb BbM7
Distant ships sailin' into the mist,
Cm/Bb F/Bb
You were born with a snake in both of your fists,
Bb
While a hurricane was blowing.
Cm7 F Bb
Freedom, just around the corner for you.
Cm7 F Bb Eb
But with truth so far off, what good would it do?
Chorus
F Eb
Jokerman dance to the nightingale's tune.
Bb F/A Eb/G Eb
Bird fly high by the light of the moon.
Bb/D Eb6 F Bb
Oh, oh, oh Jokerman.
So swiftly the sun sets in the sky,
You rise up and say goodbye to no one.
Fools rush in where angels fear to tread,
Both of their futures so full of dread,
You don't show one.
Shedding off one more layer of skin.
Keeping one step ahead of the persecutor within.
Chorus
You're a man of the mountains, you can walk on the clouds,
Manipulator of crowds,
You're a dream twister.
You go to Sodom and Gomorrah, but what do you care?
Ain't nobody there would want to marry your sister.
A friend to the martyr, a friend to the woman of shame.
You look into the fiery furnace - see the rich man without any name.
Chorus
Well the book of Leviticus and Deuteronomy,
The law of the jungle and the sea,
Are your only teachers.
In the smoke of the twilight --- on a milk-white steed,
Michelangelo indeed could have carved out your features.
Resting in the fields far from the turbulent space.
Half asleep neath the stars with a small dog licking your face.
Chorus
Well the (mafia?) man stalkin' the sick and the lame,
Preacher man seeks the same,
Who'll get there first is uncertain.
Matchsticks and water cannons --- teargas, padlocks,
Molotav cocktails and rocks,
Behind every curtain.
False-hearted judges dyin' in the webs that they spin.
Only a matter of time til night comes steppin' in.
Chorus
It's a shadowy world - skies are slippery grey,
A woman just gave birth to a prince today,
And dressed him in scarlet.
He'll put the priest in his pocket - put the blade to the heat,
Take the motherless children off the street,
And place them at the feet of a harlot.
Oh Jokerman you know what he wants.
Oh Jokerman you don't show any response.
Chorus
Be seeing you,
Kelwyn.
_________
He said that's alright babe,
I love you too.
But we were Tangled Up In Blue.
- Bob Dylan
just_li.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 <AA14321>; Fri, 12 Mar 1993 13:35:31 -0800
Received: from post2.INRE.ASU.EDU by animal-farm.nevada.edu id <AA16054@animal-farm.nevada.edu>; Fri, 12 Mar 1993 13:35:29 -0800
Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF #2382 ) id
<01GVQ2SL4JJ49D4EUV@asu.edu>; Fri, 12 Mar 1993 14:29:36 MST
Received: from ASUACAD (IFSXM) by ASUVM.INRE.ASU.EDU (Mailer R2.10 ptf000) with
BSMTP id 2753; Fri, 12 Mar 93 14:29:03 MST
Date: 12 Mar 1993 14:28:05 -0700 (MST)
From: Paul Zimmerman <IFSXM@asuvm.inre.asu.edu>
Subject: CRD: Just Like Tom Thumb's Blues - Dylan
To: jamesb@animal-farm.nevada.edu
Message-Id: <01GVQ2SL4JJ69D4EUV@asu.edu>
Content-Transfer-Encoding: 7BIT
JUST LIKE TOM THUMB'S BLUES
Bob Dylan
Intro:
D9 D D D C C C G C C G
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G C G
When you're lost in the rain, in Juarez, and it's Eastertime too
G C G
When your gravity fails, and negativity don't pull you through
C G
Don't put on any airs when you're down on Rue Morgue Avenue
D C G
They've got some hungry women there and they'll really make a mess out of you
intro (2x)
If you see Saint Annie, please tell her thanks a lot
I cannot maove and my fingers, they are all in a knot
I don't have the strength to get up and take another shot
And my best, my doctor, won't even say what it is that I've got
Sweet Melinda, the peasants call her the goddess of gloom
She speaks good English, and she invites you up into her room
And you're so kind and careful not to go to her too soon
And she takes your voice, and leaves you howling at the moon
Up on housing project hill, it's either fortune or fame
You must pick one or the other, though neither fo them ought to be what they
claim
And if you're lookin' to get silly, you better go back to from where you came
Cause the cops don't need you, and man, they expect the same
Now all the authorities, they just stand around and boast
How they blackmailed the sergeant at arms into leaving his post
And picking up Angel, who just arrived here from the coast
Who looked so fine at first, but left looking just like a ghost
I started out on burgundy, but soon hit the harder stuff
Everybody said they'd stand behind me when the game got rough
But the joke was one me, there was nobody there to even bluff
I'm going back to New York City, I do believe I've had enough
Peace, love, and soul,
Paul Zimmerman
just_lik.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: cctr128@cantua.canterbury.ac.nz (Mr K Osborn)
Just Like A Woman
By Bob Dylan
F Bb C7 F
Nobody feels any pain
Bb C7 F
Tonight as I stand inside the rain
Bb C7
Everybody knows
B7 C7
That Baby's got new clothes
Bb Am Gm F C7
But late-ly I see her ribbons and her bows
Dm F Bb C11 | C7 | C9 | C7
Have fallen from her curls
Chorus:
C7 F Am Gm F Bb
She takes just like a woman, yes, she does
F Am Gm F Bb
She makes love just like a woman, yes, she does
F Am Gm F B
And she aches just like a woman
C11 C7 C9 C7 F
But she breaks just like a little girl.
Verse 2
Queen Mary, she's my friend.
Yes I believe I'll go see her again.
Noboby has to guess,
That baby can't be blessed,
'Till she finally sees that she's like all the rest.
With her fog,
Her amphetamines
And her pearls
Chorus
Bridge :
A7
It was raining from the first
And I was dying of thirst
F
So I came in here
A7
And you long time curse hurts
Bb
But whats worse is this pain in here
C11 C7 C9 C6
I can't stay in here
C11 C7 C9 C7
Ain't it clear that
Verse 3
I just can't fit.
Yes I believe it's time for us to quit.
And when we meet again,
Introduced as friends,
Please don't let on that you knew me when,
I was hungry,
And it was your world then.
Chorus | Bb F Bb C | F
Be seeing you,
Kelwyn.
_________
From: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
JUST LIKE A WOMAN by Bob Dylan
C F G C
Nobody feels any pain
C F G C
Tonight as I stand inside the rain
F G F G
Everybody knows that baby's got new clothes
F Em Dm C F G
But lately I see her ribbons and her bows
Am C G
Have fallen from her curls
C Em F
She takes just like a woman, yes she does
C Em F
She makes love just like a woman, yes she does
C Em F
And she aches just like a woman
G C
But she breaks just like a little girl.
Queen Mary, she's my friend
Yes, I believe I'll go see her again
Nobody has to guess that baby can't be blessed
Till she sees finally that she's like all the rest
With her fog, her amphetamine and her pearls.
CHORUS
E7
It was rainin' from the first and I was dying there of thirst
C
So I came in here
E7
And your longtime curse hurts but what's worse
F Dm
Is this pain in here, I can't stay in here,
F
Ain't it clear
That I just can't fit
Yes, I believe it's time for us to quit
When we meet again introduced as friends
Please don't let on that you knew me when
I was hungry and it was your world.
CHORUS
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
knockin_.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: Barrie McCombs <bmccombs@acs.ucalgary.ca>
KNOCKIN' ON HEAVEN'S DOOR Time: 4/4 (sync) Tenor: G Bass: G
- Bob Dylan, 1973
- Record: Bob Dylan, ??
- Record: Eric Clapton, Timepieces
INTRO: G-D, C
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___
CHORUS:
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___
ENDING: CHORUS, THEN REPEAT AND FADE
G D Am7 (G)
Oo - oo - oo - oo
NOTES:
- "." in lyric line represents 1/8 bar rest
- "*" in chord line represents a new bar, play same chord
- V1L3: Clapton omits "for me"
- V1L4, C1L2: (D) is an optional added chord
- END: (G) is optional (return to tonic chord)
From: LIVENGOOD.MIKE@A1GW.GENE.COM (Lost in the Shuffle)
Subject: Knockin' on Heaven's Door (Plus some)
We always use this tune as a cool jam tune on stage.
A slow melodic solo in Em pentatonic can really get the crowd
into it. We also use it for guest vocalists, if we can't find
any other song to do together.
The problem has been that the tune is too short...with only two
lyrics. So I've added two more lyrics to finish it off a little
better.
The tune was originally from a movie and is sung while the sheriff
lay dying. So picture the good guy with his white hat on the dusty
ground in his final moments of life...reflecting on the life he
knew.
The two extra verses are phrased exactly like the previous two.
Forget about other versions of the tune you've heard...make it
your own version...with your own style and flare.
Knocking on Heaven's Door
-Bob Dylan
G D Am7
Mama, take this badge off of me...
G D C
I can't use it anymore...
G D Am7
It's getting dark, too dark to see...
G D C
Feel I'm knocking on heaven's door...
G D C
Knock..knock..knocking on heaven's door...
G D C
Knock..knock..knocking on heaven's door...
G D C
Knock..knock..knocking on heaven's door...
Mama put my guns in the ground...
I can't shoot them anymore...
That long black cloud is coming down...
I feel I'm knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Baby stay right here with me...
'Cause I can't see you anymore...
This ain't the way it's supposed to be...
I feel I'm knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Son won't you remember me?...
I can't be with you anymore...
A lawman's life is never free...
I feel I'm knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Knock..knock..knocking on heaven's door...
Knock..knock..knocking on heaven's door...
knocking.bta
#----------------------------------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 Christian HINAULT (Paris - FRANCE)
Christian.Hinault@andra.fr
Subject: Knocking on heaven's door by Bob Dylan (Bass)
mamma takes this badge from me
------------5------------5------------------------------------------------------
-3-------3-------------------5--5--5--5--5--5--5--5--5--------------------------
I can't use it anymore it's getting dark to dark to see
------------5----5--3--3--3--3-----------------5------------5-------------------
3--------3----------------------5---3--------3------------------5--5--5--5--5--5
feels like I'm knockin on heaven's door knock knock knocking
-------------5------------5--3--3--3--3--3---------------5----------------------
3--------3----------------------------------3--------3--------------------------
on heaven's door.....
-------5-----3------------------------------------------------------------------
Mama, put my guns in the ground
I can't shoot them anymore
that cold black cloud is coming down
feels like I'm knocking on heaven's door
Have a nice Day! :)
lay_lady.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: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
LAY LADY LAY by Bob Dylan
G Bm F Am G Bm F Am
G Bm F Am G Bm F Am
Lay, lady, lay, lay across my big brass bed
G Bm F Am G Bm F Am
Lay, lady, lay, lay across my big brass bed
D Em G
Whatever colours you have in your mind
D Em G
I'll show them to you and you'll see them shine
G Bm F Am G Bm F Am
Lay, lady, lay, lay across my big brass bed
Stay, lady, stay, stay with your man awhile
Until the break of day, let me see you make him smile
His clothes are dirty but his hands are clean
And you're the best thing that he's ever seen
Stay, lady, stay, stay with your man awhile
Bm D G
Why wait any longer for the world to begin
Bm Am G
You can have your cake and eat it too
Bm D G
Why wait any longer for the one you love
Bm Am
When he's standing in front of you
Lay, lady, lay, lay across my big brass bed
Stay, lady, stay, stay while the night is still ahead
I long to see you in the morning light
I long to reach for you in the night
Stay, lady, stay, stay while the night is still ahead
G Bm F Am Bm C G
From: olav.torvund@jus.uio.no (Olav Torvund)
I think this song originally is played in the key of A, so one have to transpose
it up one whole step. Note also that it is played with chords moving down the
frets in the "Lay lady lay"-part:
A in 5th fret
C#m in 4th fret
G in 3rd
Bm in 2nd.
One should also note the use of Asus4 in the B-part.
******************************
leopard-.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>
LEOPARD-SKIN PILL-BOX HAT- Bob Dylan
A D7 A
Well, I see you got your brand new leopard-skin pill-box hat
D7 A
Yes, I see you got your brand new leopard-skin pill-box hat
E7
Well, you must tell me, baby
A
How your head feels under somethin' like that
Co7 Bo7 Bbo7 A E7
Under your brand new leopard-skin pill-box hat
Well, you look so pretty in it
Honey, can I jump on it sometime?
Yes, I just wanna see
If it's really that expensive kind
You know it balances on your head
Just like a mattress balances on a bottle of wine
Your brand new leopard-skin pill-box hat
Well, if you wanna see the sun rise
Honey, I know where
We'll go out and see it sometime
We'll both just sit there and stare
Me with my belt wrapped around my head
And you just sittin' there
In your brand new leopard-skin pill-box hat
Well, I asked the doctor if I could see you
It's bad for your health, he said
Yes, I disobeyed his orders
I came to see you but I found him there instead
You know, I don't mind him cheatin' on me
But I sure wish he'd take that off his head
Your brand new leopard-skin pill-box hat
Well, I see you got a new boyfriend
You know, I never seen him before
Well, I saw you makin' love with him
You forgot to close the garage door
You might think he loves you for your money
But I know what he really loves you for
It's your brand new leopard-skin pill-box hat
Co7: x x 5 0 5 x
Bo7: x x 4 0 4 x
Bbo7: x x 3 0 3 x
(from Blonde On Blonde, 1966)
(sent by Harlan at harlant@hawaii.edu)
let_me_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. #
#------------------------------------------------------------------------------#
#
Date: Wed, 24 Jan 1996 23:33:47 -0500 (EST)
From: "Kelvin W. Sherlock" <ksherloc@moose.uvm.edu>
Subject: bob dylan: let me die in my foot steps crd
Let Me Die In MY Footsteps, from the Bootleg Series #1
Capo first fret (play Ab, Db, Eb)
Intro:G
G
I will not go down under the ground
G C
'Cause somebody tells me that death's coming 'round
C G
And I will not carry myself down to die
G C
When I go to my grave, my head will be high
C G C G D C G
Let me die in my footsteps, before I go down under the ground
e---------------------
B---------------------
G---------------------
D-0---2---0-----------
A-------------2-------
E-----------------3---
There's been rumors of war and wars that have been
The meaning of life has been lost in the wind
And some people thinkin' that the end is close by
'Stead of learning to live, they are learning to die
Let me die in my footsteps, before I go down under the ground
I don't know if I'm smart, but I think I can see
When someone is pulling the wool over me
And if this war comes and death's all around
Let me die on this land 'fore I die underground
Let me die in my footsteps, before I go down under the ground
There's always been people that have to cause fear
They've been talkin' about a war now for many long years
I've read all their statements and I've not said a word
But now, Lord God, let my poor voice be heard
Let me die in my footsteps, before I go down under the ground
Let me drink from the waters where the mountain streams flood
Let the smell of wild flowers flow free through my blood
Let me sleep in your meadows with the green grassy leaves
Let me walk down the highway with my brother in peace
Let me die in my footsteps, before I go down under the ground
Go out in your country where the land meets the sun
See the craters and the canyons and where the waterfalls run
Nevada, New Mexico, Arizona, Idaho
Let every state in this union see deep down in its soul
And you'll die in your footsteps, before you go down under the ground
license_.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: eermih@dct.ac.uk
License To Kill by Bob Dylan
--------------- ------------
Transcribed by MH from Bob Dylan's (best!) album, "Infidels".
I have written this in the key of C so it can be easily transposed: to
play it in the original key (F#) put a capo on fret 6.
Modifications/discussions welcome.
** The chords marked Fmaj7 and Csus4 I play as (xx3210) and (x33010),
respectively.
*** The chord sequences for verses 2, 3 and 4 are the same as verse 1.
VERSE 1
C Am
Man thinks 'cause he rules the earth
G C
He can do with it as he please
C Am G
And if things don't change soon, he will
F C
Oh, man has invented his doom
C C G F
First step was touching the moon
Am F Am F
Now there's a woman on my block
Am F Am F
She just sit there as the night grow still
C G C Fmaj7 Csus4 C **
She say who gonna take away his license to kill
VERSE 2 ***
Now, they take him and they teach him
And they groom him for life
And they set him on a path where he's bound to get ill
Then they bury him with stars
Sell his body like they do used cars
Now there's a woman on my block
She just sit there facin' the hill
She say who gonna take away his license to kill
VERSE 3
Now, he's hell bent for destruction
He's afraid and confused
And his brain has been mismanaged with great skill
All he believes are his eyes
And his eyes they just tell him lies
But there's a woman on my block
Sitting there in a cold chill
She say who gonna take away his license to kill
Am
May be noisemaker, spirit maker
C
Heartbreaker, backbreaker
F C
Leave no stone unturned
Am
May be an actor in a plot
C
That might be all that you got
Dm G
Till your error you clearly learn
VERSE 4
Now he worships at an altar of a stagnant pool
And when he sees his reflection he's fulfilled
Oh, man is opposed to fair play
He wants it all and he wants it his way
Now, there's a woman on my block
She just sit there as the night grow still
She say who gonna take away his license to kill
(instrumental verse)
_______________________________________________________________________
Malcolm Hannah (eermih@dct.ac.uk) Dundee, Scotland
like_a_r.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: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
LIKE A ROLLING STONE by Bob Dylan
G Am7
Once upon a time, you dressed so fine,
Em7 C D D
Threw the bums a dime, in your prime, didn't you?
G Am7 Em7
People call, say "Beware, doll, you're bound to fall."
C D D
You thought they were all kiddin' you.
C D C D
You used to laugh about Everybody that was hangin' out,
C Em7 Am7 G C Em7 Am7 G
But now you don't talk so loud, Now you don't seem so proud,
Am D D
About havin' to be scroungin' your next meal.
D G C D D G C D
How does it feel? How does it feel.
D G C D D G C D
To be on your own. With no direction home.
D G C D D G C D
A complete unknown. Like a rollin' stone.
You've gone to the finest schools, alright, Miss Lovely,
But you know you only used to get juiced in it.
You never had to live out on the street,
But now you're gonna have to get used to it.
You used to ride on the chrome horse with your diplomat
Who carried on his shoulders a Siamese cat.
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.
You never turned around to see the frowns
On the jugglers and the clowns when they all did tricks for you.
Never understood that it ain't no good.
You shouldn't let other people get your kicks for you.
You said you'd never compromise
With the Mystery Tramp but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And he says, "Do you want to make a deal?"
Princess on the steeple and all the pretty people
They're all drinkin', thinkin' that they've got it made.
Exchanging all kinds of precious gifts,
You'd better lift your diamond ring, you'd better pawn it babe.
You used to be so amused
At Napolean in rags and the language that he used
Go to him now he calls you you can't refuse
When you got nothin' you got nothin' to lose
Your invisible now you've got no secrets to conceal.
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
From: moses20@aol.com (Moses20)
I remember requesting Like a Rolling Stone a few weeks back; since then a
few other people have done the same. I got this response after I posted on
rec.music.dylan. It sounds right to me. The only thing I need are the
complete lyrics; there not at Nevada. If someone could please post or send
them to me I'd appreciate it. Here it is..
C Dm
Once upon a time you dressed so fine
Em F
You threw the bums a dime in your prime
G
Didn't you?
(repeat above sequence)
F G F G
You used to laugh about everybody that was hanging out
F Em Dm C
Now you don't talk so loud
F Em Dm C
Now you don't seem so proud
Dm7 F G
About having to be scrounging for your next meal
C F G
How does it feel
and so on...
Thanx to howells@netcom.com (John Howells) for the original post. Lyrics
please, anyone?
Thanx-
Aaron Bernay
moses20@aol.com
From: Harlan L Thompson <harlant@uhunix.uhcc.Hawaii.Edu>
LIKE A ROLLING STONE- Bob Dylan
G Am7
Once upon a time, you dressed so fine
G/B C D D7
Threw the bums a dime, in your prime, didn't you?
G Am7 G/B
People call, say "Beware, doll, you're bound to fall"
C D D7
You thought they were all kiddin' you
C D C D
You used to laugh about Everybody that was hangin' out
C G/B Am7 G C G/B Am7 G
But now you don't talk so loud, Now you don't seem so proud
Am C D D7
About havin' to be scroungin' your next meal
D G C D D G C D
How does it feel? How does it feel
D G C D D G C D
To be without a home Like a complete unknown
D G C D7
Like a rollin' stone
You've gone to the finest schools, alright, Miss Lonely
But you know you only used to get juiced in it
You never had to live out on the street
But now you're gonna have to get used to it
You used to ride on the chrome horse with your diplomat
Who carried on his shoulders a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal
How does it feel? How does it feel?
To be on your own, with no direction home
A complete unknown, like a rolling stone
You never turned around to see the frowns
On the jugglers and the clowns when they all did tricks for you
Never understood that it ain't no good
You shouldn't let other people get your kicks for you
You said you'd never compromise
With the Mystery Tramp but now you realize
He's not selling any alibis, as you stare into the vacuum of his eyes
And he says, "Do you want to make a deal?"
How does it feel? How does it feel?
To have to be on your own, with no direction home
Like a complete unknown, like a rolling stone
Princess on the steeple and all the pretty people
They're all drinkin', thinkin' that they've got it made
Exchanging all kinds of precious gifts
But you'd better lift your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now he calls you you can't refuse
When you got nothin' you got nothin' to lose
You're invisible now you've got no secrets to conceal
How does it feel? Aaah, how does it feel?
To be on your own, with no direction home
Like a complete unknown, like a rolling stone
NOTE: Just a squished up version of previous postings. Believe it or
not, with the powers of word processor margin manipulation I can get
this onto one page.
(from Highway 61 Revisited, 1965)
(sent by Harlan at harlant@hawaii.edu)
love_min.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>
LOVE MINUS ZERO/NO LIMIT- Bob Dylan
D A G
My love, she speaks like silence
D A
Without ideals or violence
G D
She doesn't have to say she's faithful
Em7 A A6 A7
Yet she's true like ice, like fire
D A G
People carry roses
D A
And make promises by the hour
G D
My love she laughs like the flowers
Em A7 D
Valentines can't buy her
In the dime stores and bus stations
People talk of situations
Read books, repeat quotations
Draw conclusions on the wall
Some speak of the future
My love, she speaks softly
She knows there's no success like failure
And that failure's no success at all
The cloak and dagger dangles
Madams light the candles
In ceremonies of the horsemen
Even the pawn must hold a grudge
Statues made of matchsticks
Crumble into one another
My love winks she does not bother
She knows too much to argue or to judge
The bridge at midnight trembles
The country doctor rambles
Bankers' nieces seek perfection
Expecting all the gifts that wise men bring
The wind howls like a hammer
The night wind blows cold n' rainy
My love, she's like some raven
At my window with a broken wing
Em7: 0 2 2 0 3 0 A6: x 0 2 2 2 2
A7: x 0 2 2 2 3
(from Bringing It All Back Home, 1965)
(sent by Harlan at harlant@hawaii.edu)
maggies_.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, 19 Jan 1996 18:22:25 -0500 (EST)
From: "Kelvin W. Sherlock" <ksherloc@moose.uvm.edu>
Subject: bob dylan crd: Maggie's Farm
Intro: G
G
I ain't gonna work on Maggie's farm no more
G
No I ain't gonna work on Maggie's farm no more
G
Well, I wake up in the morning, hold my hands and pray for rain
G
I got a head full of ideas that are driving me insane
Em D
It's a shame the way she makes me scrub the floor
G
I-- ain't gonna work on Maggie's farm no more
I ain't gonna work for Maggie's brother no more
No I ain't gonna work for Maggie's brother no more
Well he hands you a nickel, he hands you a dime
He asks you with a grin if you're having a good time
Then he fines you every time you slam the door
I ain't gonna work for Maggie's brother no more
I ain't gonna work for Maggie's pa no more
I ain't gonna work for Maggie's pa no more
Well he puts his cigar out in your face just for kicks
His bedroom window, it is made out of bricks
The National Guard stands around his door
I ain't gonna work for Maggie's pa no more
I ain't gonna work for Maggie's ma no more
I ain't gonna work for Maggie's ma no more
Well she talks to all the servants about Man and God and Law
Everybody says she's the brains behind Pa
She's sixty-eight, but she says she's fifty-four
I ain't gonna work for Maggie's ma no more
I ain't gonna work on Maggie's farm no more
I ain't gonna work on Maggie's farm no more
Well I try my best to be just like I am
But everybody wants you to be just like them
They say sing while you slave, but I just get bored
I ain't gonna work on Maggie's farm no more
Kelvin Sherlock
ksherloc@moose.uvm.edu
masters_.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. #
#------------------------------------------------------------------------------##
~From: jgladman@uoguelph.ca (Julie R Gladman)
corrected lyrics: "Benjamin L. Weiss" <weis0010@gold.tc.umn.edu>
This is my approximation of how this song is played:
Masters of War -- Bob Dylan
Am Am7 Am
Am Am Am7 Am
Come you masters of war
Am Am Am7 Am
You that build the big guns
Am Am Am7 Am
You that build the death planes
Am Am Am7 Am
You that build all the bombs
Am Am Am7 Am
You that hide behind walls
Am Am Am7 Am
You that hide behind desks
Am C G F Am Am7 Am
I just want you to know I can see through your masks
And the song just continues in that vein for the rest of the
verses:
You that never have done nothin' but build to destroy
You play with my world like it's your little toy
You put a gun in my hand then you hide from my eyes
Then you turn and run farther when the fast bullets fly
Like Judas of old you lie and deceive
A world war can't be won, and you want me to believe
But I see through your eyes and I see through your brain
Like I see through the water that runs down my drain
You that fasten all the triggers for the others to fire
Then you sit back and watch while the death count gets
higher
You hide in your mansions while the young people's blood
Flows out of their bodies and gets buried in the mud
You've thrown the worst fear that can ever be hurled
Fear to bring children into the world
For threatening my baby, unborn and unnamed
You ain't worth the blood that runs in your veins
How much do I know to talk out of turn
You might say that I'm young, you might say I'm unlearned
But there's one thing I know, though I'm younger than you
Even Jesus would never forgive what you do
Let me ask you one question: is your money that good?
Will it buy you forgiveness? Do you think that it could?
I think you will find when your death takes its toll
All the money you made won't ever buy back your soul
And I hope that you die and your death will come soon
I'll follow your casket through the pale afternoon
And I'll watch while you're lowered into your death bed
Then I'll stand over your grave till I'm sure that you're
dead
*Corrections to lyrics or chords would be most welcome.*
--
*"Do you ever get the feeling that the story's too damn real
and*
*in the present tense? Or that everybody's on the stage
and it*
*seems like you're the only person sitting in the
audience?"*
* -Ian Anderson
*
* Something to think about,
*
* Julie Gladman jgladman@uoguelph.ca
*
Date: Tue, 9 Apr 96 21:24:06 PDT
From: np95fc@mail.telepac.pt (Dolo)
Subject: TAB: Masters of War by Bob Dylan
Masters of War
I tried playing the version on Harmony Central.
This is my own representation from that.
Still, it's very simplified.
Key:
P - pull off from previous note
H - hammer
on
^ - upstroke
" - downstroke
The cords are generally the same all through the song, they
are:
" " " ^ " ^ "+H " " ^ " ^ "+H
-------|--------------------------------------------
-----1-|-1--1--0--0--0--1-------1--1--0--0--0--1----
-----2-|-2--2--2--2--2--2-------2--2--2--2--2--2---- etc.etc.
-----2-|-2--2--2--2--2--2-------2--2--2--2--2--2----
-------|--------------------------------------------
-------|--------------------------------------------
^Play this only ^On this one,
Hammer on the first fret on the
once at the second string.
beggining
Open in WordPad.
meet_me_.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>
MEET ME IN THE MORNING- Bob Dylan
TUNING: D A D F# A D or E B E G# B E
A/E E riff A/E E riff A/E E riff A/E E riff 2
E A/E A E riff 2 A/E E riff 2 A/E
Meet me in the morning, 56th and Wabashaw
A Asus A E E riff A/E E riff A/E
Meet me in the morning, 56th and Wabashaw
B B Bb A
Honey we could be in Kansas
E E riff A/E E riff A/E
By the time the snow begins to thaw
They say the darkest hour is right before the dawn
They say the darkest hour is right before the dawn
Honey you wouldn't know it by me
Every day's been darkness since you've been gone
Little rooster crowing, there must be something on his mind
Little rooster crowing, there must be something on his mind
Well I feel just like that rooster
Honey you treat me so unkind
Well I struggled through barbed wire, felt the hail fire from above
Well I struggled through barbed wire, felt the hail fire from above
Well you know I even outrun the hound dog
Honey you know I earned your love
Look at the sun sinkin' like a ship
Look at the sun sinkin' like a ship
Ain't that just like my heart babe
When you kiss my lips
E riff: E riff 2:
E -3(bend up)-0---0- -3/12-12-12--
B --------------3--- -------------
G# ------------------ -3/12--------
E ------------------ -------------
B ------------------ -------------
E ------------------ -------------
CHORDS:
E A/E A B Bb Asus
E 0 0 5 7 6 5
B 0 2 5 7 6 5
G# 0 1 5 7 6 6
E 0 0 5 7 6 5
B 0 2 5 7 6 7
E 0 0 5 7 6 5
FROM: Blood on the Tracks, 1975.
moonshin.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>
MOONSHINER- Bob Dylan
Bm G D A
I've been a moonshiner for seventeen long years
Bm G D A
I've spent all my money on whiskey and beer
G A D G
I go to some hollow and set up my still
Bm G D
And if whiskey don't kill me
A
Then I don't know what will
I go to some barroom and drink with my friends
When the women can't follow and see what I spent
God bless them pretty women
How I wish they was mine
Their breath is as sweet as
The dew on the vine
Let me eat when I'm hungry
Let me drink when I'm dry
Give me dollar when I'm hard up
Religion when I die
The whole world's a bottle
And life's just a dram
When a bottle gets empty
It sure ain't worth a damn
(originally done around 1963 as a cover, this was released
on the Bootleg Series, 1-3)
(sent by Harlan at harlant@hawaii.edu)
most_lik.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)
Most Likely You Go Your Way and I'll Go Mine - Bob Dylan
('Blonde on Blonde' album)
G G G G
Am G
You say you love me And you're thinkin' of me, But you know you could be wrong.
Am G
You say you told me That you wanna hold me, But you know you're not that strong.
Bm Am
I just can't do what I done before, I just can't beg you anymore.
G
I'm gonna let you pass
D
And I'll go last.
G Bm C G C D D9
Then time will tell just who fell And who's been left behind,
(no chord) G
When you go yor way and I go mine.
Am G
You say you disturb me And you don't deserve me, But you know sometimes you lie.
Am G
You say you're shakin' And you're always achin', But you know how hard you try.
Bm Am
Sometimes it gets so hard to care, It can't be this way ev'ry-where.
G
And I'm gonna let you pass,
D
Yes, and I'll go last.
G Bm C G C D D9
Then time will tell just who fell And who's been left behind,
(no chord) G
When you go yor way and I go mine.
Em D
The judge, he holds a grudge, He's gonna call on you.
Em D
But he's badly built And he walks on stilts, Watch out he don't fall on you.
Am G
You say you're sorry For tellin' stories That you know I believe are true.
Am G
You say ya got some Other kinda lover And yes, I believe you do.
Bm Am
You say my kisses are not like his, But this time I'm gonna tell you why that is.
G
I'm just gonna let you pass,
D
Yes, and I'll go last.
G Bm C G C D D9
Then time will tell who fell And who's been left behind,
(no chord) G G G
When you go yor way and I go mine.
Typed by Petter Larsson , larpe@nts.mh.se
most_of_.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 16:11:18 EDT
From: Winston Campbell <jieuryli@eden.rutgers.edu>
Subject: MOST OF THE TIME by Bob Dylan
Most of the Time (from -Oh Mercy-)
(by Bob Dylan)
Intro: C F C F
C F
Most of the time, I~m okay, focused all around
C F
Most of the time, I can keep both feet on the ground
Am
I can follow the path
F
I can read the sign
Am
Stay right with it
F
When the road unwinds
C F
I can handle whatever I stumble upon
Am F
I don~t even notice, she gone
C F C F
Most of the time
C F
Most of the time, it~s well understood
C F
Most of the time, I wouldn~t change it if I could
Am
I can make it all magic
F
I can hold my own
Am
I can deal with this situation
F
Right down to the bone
C F
I can survive and I can endure
Am F
And I don~t even think about her
C F C F
Most of the time
C F
Most of the time, my head is on straight
C F
Most of the time, I~m strong enough not to hate
Am
I don~t build up illusion
F
Til it makes me sick
Am
I ain~t afraid of confusion
F
No matter how thick
C F
I can smile in the face of mankind
Am F
Don~t even remember what her lips felt like on mine
C F C F
Most of the time
Am
Most of the time
C
She ain~t even in my mind
Am
I wouldn~t know if I saw her
C
She~s that far behind
E
Most of the time
Am
I can~t even be sure
E
If she was ever with me
Am G
Or if I was ever with her
C F
Most of the time, I~m half ways content
C F
Most of the time, I know exactly where it all went
Am
I don~t cheat on myself
F
I don~t run and hide
Am
Hide from the feelings
F
That are buried inside
C F
I don~t compromise and I don~t pretend
Am F
I don~t even care if I ever see her again
C F C F
Most of the time
(fade to end chords: C F C F)
mr_bojan.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: Rabea Brauer <rbrauer@runet.edu>
Subject: Mr Bojangles
Date: Sun, 18 Feb 1996 22:19:10 -0500 (EST)
This is what my friend Antje (who has no clue that I am posting it) and I
got out of the great, greater, the greatest Bob Dylan version (from the
"Dylan" album:
C Em
I knew a man Bojangles
Am A7
And he'd dance for you
F G G7
In worn out shoes
C Em
The silver hair, a ragged shirt
Am A7
And baggy pants
F G G7
The old soft shoe
F G E7 Am A7
He'd jump so high, jump so high
D9 G G7
Then he'd lightly touch down
Am G Am G Am G C Em Am C
Mr. Bojangles, Mr. Bojangles, Mr. Bojangles, dance
The rest of the song follows the same pattern. The lyrics I am posting
are the original J.J. Walker lyrics, Dylan made a slight change here
and there.
I met him in a cell in New Orleans
I was down and out
He looked to (Dylan: at) me to be the eyes of age
As he spoke right out
He talked of life, he talked of life
Then he laughed - slepped his leg a step
He said the name Bojangles then he danced a lick
'Cross the cell
He grabbed his pants,(Dylan: for) a better stance
Oh (Dylan: then) he jumped so high
He clicked his heels
He let go laugh, let go laugh
Shook back his cloth all around
Mr. Bojangles (3x)
Dance
He danced for those at minstrel shows and county fairs
Throughout the south
Spoke with tears of 15 years
How his dog 'n him travelled about
His dog up and died, his dog up and died
After 20 years he still grieves
He said I dance now at every chance in honky tonks
For drinks and tips
But most the time I spend behind these county bars
'Cause (Dylan: For) I drinks a bit
He shook his head, and he shook his head
I heard someone ask "Please"
Mr. Bojangles (3x)
Dance
Dance
mr_tambo.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: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
MR. TAMBOURINE MAN by Bob Dylan
F G C F
Hey, Mr. Tambourine Man, play a song for me,
F C F G
I'm not sleepy and there ain't no place I'm going to.
F G C F
Hey, Mr. Tambourine Man, play a song for me,
C F G C
In the jingle jangle morning I'll come following you.
F G C F
Though I know that evenings empire has returned into sand,
C F
Vanished from my hand,
C F G
Left me blindly here to stand but still not sleeping.
F G C F
My weariness amazes me, I'm branded on my feet,
C F
I have no one to meet,
C F G
And the ancient empty street's too dead for dreaming.
Take me on a trip upon your magic swirling ship.
My senses have been stripped,
May hands can't feel to grip,
My toes too numb to step,
Wait only for my bootheels to be wandering.
I'm ready to go anywhere, I'm ready for to fade,
Into my own parade.
Cast your dancing spell my way, I promise to go under it.
Though you might hear laughing, spinning, swinging madly across the sun,
It's not aimed at anyone,
It's just escaping on the run,
And but for the sky there are no fences facing.
And if you hear vague traces of skipping reels of rhyme,
To your tambourine in time.
It's just a ragged clown behind,
I wouldn't pay it any mind,
It's just a shadow you're seeing that he's chasing.
Take me disappearing through the smoke rings of my mind.
Down the foggy ruins of time,
far past the frozen leaves,
The haunted frightened trees,
Out to the windy bench,
Far from the twisted reach of crazy sorrow.
Yes to dance beneath the diamond sky with one hand waving free,
Silhouetted by the sea,
Circled deep beneath the waves,
Let me forget about today until tomorrow.
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
From: Harlan L Thompson <harlant@uhunix.uhcc.Hawaii.Edu>
MR. TAMBOURINE MAN- Bob Dylan
CHORUS:
G A D G
Hey, Mr. Tambourine Man, play a song for me
G D G Em A
I'm not sleepy and there ain't no place I'm going to
G A D G
Hey, Mr. Tambourine Man, play a song for me
D G Em A D
In the jingle jangle morning I'll come following you
G A D G
Though I know that evenings empire has returned into sand
D G
Vanished from my hand
D G Em A
Left me blindly here to stand but still not sleeping
G A D G
My weariness amazes me, I'm branded on my feet
D G
I have no one to meet
D G Em A
And the ancient empty street's too dead for dreaming ...CHORUS
Take me on a trip upon your magic swirling ship
My senses have been stripped
My hands can't feel to grip
My toes too numb to step
Wait only for my bootheels to be wandering
I'm ready to go anywhere, I'm ready for to fade
Into my own parade
Cast your dancing spell my way, I promise to go under it...CHORUS
Though you might hear laughing, spinning, swinging madly across the sun
It's not aimed at anyone
It's just escaping on the run
And but for the sky there are no fences facing
And if you hear vague traces of skipping reels of rhyme
To your tambourine in time
It's just a ragged clown behind
I wouldn't pay it any mind
It's just a shadow you're seeing that he's chasing ...CHORUS
Take me disappearing through the smoke rings of my mind
Down the foggy ruins of time
Far past the frozen leaves
The haunted frightened trees
Out to the windy bench
Far from the twisted reach of crazy sorrow
Yes to dance beneath the diamond sky with one hand waving free
Silhouetted by the sea
Circled by the circus sands
With all memory and fate driven deep beneath the waves
Let me forget about today until tomorrow ...CHORUS
(from Bringing It All Back Home, 1965)
(sent by Harlan at harlant@hawaii.edu)
my_back_.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: macon@gallifry.Berkeley.EDU (Glen Macon)
Title: MY BACK PAGES (B. Dylan)
E E5 E E5
E C#m G#m A B E E5
Crimson flames run through my years, flowing high & mighty trapped
E C#m G#m A B
Countless fire and flaming rope, using ideas as my map
C#m G#m A B
We'll meet our own edges soon said I, proud me beaded brow
E A E
CHORUS: Ah but I was so much older then
A B E E5 E E5
I'm younger than that now.
E C#m G#m A B E E5
Half ripe prejudice leapt forth, rip down all hate I scream
E C#m G#m A B
Lies that life is black and white, spoke from my skull I dreamed
C#m G#m A B
Romantic flanks of musketeers, foundation deep somehow
CHORUS
E C#m G#m A B E E5
In a soldiers stance I aim my hand at the mongrel dogs who teach
E C#m G#m A B
During night I become my enemy in the instant that I preach
C#m G#m A B
Sisters fled by confusion boats, mutiny from stern to bow
CHORUS
E C#m G#m A B E E5
The guard stood hard when abstract prints too nobel to neglect
E C#m G#m A B
Deceived me into thinking, I had something to protect
C#m G#m A B
Good and bad I define these terms, why clear, no doubt, somehow.
From: tash@warp.atcon.com (Tony Ash)
Subject: Re: Bob Dylan\My Back Pages
MY BACK PAGES (Dylan)
D Bm G D
Crimson flames tied through my ears
G D Em7 A7
Rollin' high and mighty traps...
D Bm G D
Pounced with fire on flaming roads
G D Em7 A7
Using i-deas as my maps...
D F#m G D
"We'll meet on edges, soon said," I,
Em7 A7 Em7 A7
Proud 'neath heated brow...
D D7 G D
Ah, but I was so much older then
Em7 A7 G D
I'm young-er than that now.
Half-wracked prejudice leaped forth,
"Rip down all hate," I screamed,
Lies that life is black and white
Spoke from my skull I dreamed.
Romantic facts of musketeers
Foundationed deep, somehow,
Ah, but I was so much older then,
I'm younger than that now.
Girl's faces formed the forward path
>From phony jealousy,
To memorizing politics
Of ancient history.
Flung down by corpse evangelist
Unthought of, though, somehow,
Ah, but I was so much older then,
I'm younger than that now.
A self-ordained professor's tongue
Too serious to fool
Spouted out that liberty
Is just equality in school.
"Equality," I spoke the word
As if a wedding vow
Ah, but I was so much older then,
I'm younger than that now.
In a soldier's stance I aimed my hand
At the mongrel dogs who teach
Fearing not that I'd become my enemy
In the instant that I preach.
My pathway led by confusion boats
Mutiny from stern to bow
Ah, but I was so much older then,
I'm younger than that now.
Yes, my guards stood hard when abstract threats
Too noble to neglect
Deceived me into thinking
I had something to protect.
Good and bad, I define these terms
Quite clear, no doubt, somehow,
Ah, but I was so much older then,
I'm younger than that now.
....I think Dylan did it in Eb...
....The Byrds left out the 3rd and 4th verse in their
rendition...
....Amazing isn't it; a song thirty years old and still
just as relevant today.
Compliments of Tony Ash(tash@warp.atcon.com)
--=====================_799358827==_
Content-Type: text/plain; charset="us-ascii"
Regards---Tony Ash
--=====================_799358827==_--
new_morn.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>
NEW MORNING- Bob Dylan
A D A D
Can't you hear that rooster crowin'?
A G#m
Rabbit runnin' down across the road
A/G F#m D A
Underneath the bridge where the water flowed through
CHORUS:
Bm C#m
So happy just to see you smile
Bm7 E
Underneath the sky of blue
A D A D
On this new morning, new morning
A D A D A D
On this new morning with you
Can't you hear that motor turnin'?
Automobile comin' into style
Comin' down the road for a country mile or two
BRIDGE:
G F#m7
The night passed away so quickly
G E
It always does when you're with me
Can't you feel that sun a shinin'?
Ground hog runnin' by the country stream
This must be the day that all of my dreams come true
CHORUS TWICE
New morning . . .
F#m7: 2 4 2 2 2 2 A/G: 3 0 2 2 2 0
Bm7: 2 2 4 2 3 2
(from New Morning, 1970)
(sent by Harlan at harlant@hawaii.edu)
nobody_c.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>
NOBODY 'CEPT YOU- Bob Dylan
F C F
There's nothing 'round here to me that's sacred
Dm Bb
'Cept you, yeah you
F C F
There's nothing 'round here to me that matters
Dm Bb
'Cept you, yeah you
Bb
You're the one that reaches me
F
You're the one that I admire
Bb
Every time we meet together
F
I feel like I'm on fire
Bb
Nothing matters to me
F Dm
And there's nothing I desire
Bb Gm
'Cept you, yeah you
Nothing 'round here I care to try for, 'cept you, yeah you
Got nothing here to live or die for, except you, yeah you
There's a hymn I used to hear
In the churches all the time
Make me feel so good inside
So peaceful, so sublime
And there's nothing that reminds me of that
Old familiar chime, except you, yeah you
BRIDGE:
Bb
Used to run in the cemetery
F
Dance and run and sing but I was a child
C F
And it never seemed strange
Bb
But now I just pass mournfully
F
By that place where bones of life are piled
C F
I know somethin' has changed
I'm a stranger here and no one sees me, except you, yeah you
Nothing any more seems to please me,except you, yeah you
Nothing hypnotizes me
Or holds me in a spell
Everything runs by me
Just like water from a well
Everybody wants my attention
Everybody's got something to sell
Bb Gm
Except you, yeah you
F
I'm in love with you!
(originally done around the time of Planet Waves, 1973. Finally
released in The Bootleg Series, 1-3)
(sent by Harlan at harlant@hawaii.edu)
north_co.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 1996 20:01:22 -0500 (EST)
From: "Kelvin W. Sherlock" <ksherloc@moose.uvm.edu>
Subject: bob dylan: north country blues crd
North Country Blues
Capo third fret (Cm and Bb)
Simplified Intro:
Am
e-------------|-------------|-------------|
B-----1---1---|-----1-------|-----1---1---|
G-----2---2---|-----2-------|-----2---2---|
D-----2---2---|-----2-------|-----2---2---|
A-0-----------|-------------|-0-----------|
E-------------|-0-------3---|-------------|
Am | | G | | |
Come and gather round friends and I'll tell you a tale
Am G Am |** |
Of when the red iron ore pits run a-plenty
| | G | | |
But the cardboard filled windows and old men on the benches
Am G Am |**
Tell ya now that the whole town is empty
In the north end of town my own children are grown
But I was raised on the other
In the wee hours of youth my mother took sick
And I was brought up by my brother
The iron ore poured as the years passed the door
The drag lines and shovels, they was hummin'
'Til one day my brother failed to come home
The same as my father before him
With a long winters wait from the window I watched
My friends, they couldn't have been kinder
And my school it was cut as I quit in the spring
To marry John Thomas, a miner
Oh the years passed again and the giving was good
With a lunch bucket filled every season
But with three babies born, the work was cut down
To half a day's shift with no reason
An' the shaft was soon shut and my work was cut
And the fire in the air, it felt frozen
'Til a man come to speak and he said in one week
That number eleven was closing
They complain in the east they payin' to high
They say that your ore ain't worth diggin'
That it's much cheaper down in the South American towns
Where the miners work almost for nothin'
So the minin' gates locked and the red iron rotted
And the room smelled heavy from drinkin'
When the sad silent song made the hour twice as long
As I waited for the sun to go sinking
I lived by the window as he talked to himself
The silence of tongues, it was building
'Til one morning's wake, the bed it was bare
And I's left alone with three children
The summer is gone, the ground's turning cold
The stores one by one they are folding
My children will go as soon as they grow
For there ain't nothin' here now to hold them
** Simplified Interversal thing:
Am
e-------------|
B-----1---1---|
G-----2---2---|
D-0h2-2---2---|
A-------------|
E-------------|
obviousl.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>
OBVIOUSLY FIVE BELIEVERS- Bob Dylan
A7
Early in the mornin', early in the mornin'
D7
I'm callin' you to, I'm callin' you to
A7
Please come home
E7
Yes, I guess I could make it without you
D7 A7 (riff 2x)
If I just didn't feel so all alone
Don't let me down ,don't let me down
I won't let you down, I won't let you down
No I won't
You know I can if you can, honey
But honey, please don't
I got my black dog barkin', black dog barkin'
Yes it is now, yes it is now
Outside my yard
Yes, I could tell you what he means
If I just didn't have to try so hard
Your mama's workin',your mama's moanin'
She's cryin' you know, she's tryin' you know
You better go now
Well, I'd tell you what she wants if I
But I just don't know how
Fifteen jugglers, fifteen jugglers
Five believers, five believers
All dressed like men
Tell your mama not to worry because
Yes they're just my friends
Early in the mornin', early in the mornin'
I'm callin' you to, I'm callin' you to
Please come home
Yes, I could make it without you honey
If I just did not feel so all alone
RIFF:
E -----------------------
B -----------------------
G ----------------------- (rpt)
D -----0-2-0-------------
A -0h2-------0h2-0-------
E ------------------3p0--
(from Blonde on Blonde, 1966)
(sent by Harlan at harlant@hawaii.edu)
oh_siste.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 16:03:18 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 "Love in Vain"?
The Mighty Quinn - Bob Dylan
G D G
Come all without, come all within
D C G
You'll not see nothing like the Mighty Quinn
G D G
Come all without, come all within
D C G
You'll not see nothing 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
But when Quinn the Eskimo gets here,
C G
Ev'rybody's gonna jump for joy.
Come all without...
G C G C
I like to go 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
But when Quinn the Eskimo gets here,
C G
All the pigeons gonna rum to him.
Come all without...
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
But when Quinn the Eskimo gets here,
C G
Ev'rybody's gonna wanna doze.
Why did the crowd go "Booo!" for Sinnead? Anyway I love this crowd... :-)
/Dierk
Dierk Lucyga | Internet: Dierk.Lucyga@popserver.uni-konstanz.de
Infomation Manager | Bitnet: RZLUCY@DKNKURZ1
Universitaet Konstanz |
Postfach 5560 |
D-W7750 Konstanz | Tel.: +49 7531 88 2404
the_time.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. #
#------------------------------------------------------------------------------##
Mike Mongeau Raytheon Equipment Division
mongeau@iatc.ed.ray.com Marlboro, MA
The Times They Are A-Changin'
Words and Music by Bob Dylan
G Em C G
Come gather 'round people wherever you roam
G Am C D
And admit that the waters around you have grown
G Em C G
And accept it that soon you'll be drenched to the bone
G Am D
If your time to you is worth savin'
D D7 Gmaj7 D
Then you better start swimmin' or you'll sink like a stone,
G C D G
For the times, they are a chang - in'
(4 additional verses)
Come writers and critics who prophecies with your pen
And keep your eyes wide the chance won't come again
And don't speak too soon for the wheel's still in spin
And there's no tellin' who that it's namin'
For the loser now will be later to win
For the times they are a-changin'
Come mothers and fathers throughout the land
And don't criticize what you don't understand
Your sons and your daughters are beyond your command
Your old road is rapidly agin'
Please get out of the new one if you can't lend a hand
For the times they are a-changin'
Come senators, congressmen please heed the call
Don't stand in the doorway, don't block up the hall
For he that gets hurt will be he who has stalled
There's a battle outside and it's ragin'
It'll soon shake your windows and rattle your walls
For the times they are a-changin'
The line it is drawn the curse it is cast
The slow one now will later be fast
As the present now will later be past
The order is rapidly fadin'
And the first one now will later be last
For the times they are a-changin'
(Notes)
Chords used:
E A D G B e
+-----------+
C 0 3 2 0 1 0
D x 0 0 2 3 2
D7 x 3 0 2 3 2
Em 0 2 2 0 0 0
G 3 2 0 0 0 3
Gmaj7 x 2 0 0 3 2
Am 0 0 2 2 1 0
+-----------+
********************************************************************
"The Blues had a baby and they called it Rock-n-Roll" -Muddy Waters
Mike Mongeau Raytheon Equipment Division
mongeau@iatc.ed.ray.com Marlboro, MA
********************************************************************
time_pas.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>
TIME PASSES SLOWLY- Bob Dylan
E D A F#m
Time passes slowly up here in the mountains
E D A F#m
We sit beside bridges and walk beside fountains
G#m A G#m A
Catch the wild fishes that float through the stream
E D A F#m E
Time passes slowly when you're lost in a dream
E D A F#m
Once I had a sweetheart she was fine and good lookin'
E D A F#m
We sat in her kitchen while her mama was cookin A B
A B
Stared out the window to the stars high above
A G#m Bsus4 B E7
Time passes slowly when you're searchin' for love
BRIDGE:
A7 E7
Ain't no reason to go in a wagon to town
A7 E7
Ain't no reason to go to the fair
A7 E7
Ain't no reason to go up, ain't no reason to go down
B Bsus4 B Bsus4 B Bsus4
Ain't no reason to go anywhere
E D A F#m
Time passes slowly up here in the daylight
E D A F#m
We stare straight ahead and try so hard to stay right
Bsus4 A Bsus4 A
Like the red rose of summer that blooms in the day
Bsus4 A G#m F#m E
Time passes slowly and fades away
Bsus4: 2 2 4 4 5 2
(from New Morning, 1970)
(sent by Harlan at harlant@hawaii.edu)
to_make_.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: Mon, 22 Dec 1997 13:05:19 -0500
From: Allison Polans <polans@erols.com>
To: guitar@olga.net
Subject: CRD: To Make You Feel My Love by Bob Dylan
To Make You Feel My Love
Words and Music by Bob Dylan
From: Mike Polans (polans@erols.com)
Here is a revised version of the version that is in the chord archive.
I looked at the chords for the Billy Joel version to catch some of the
inversions and bass notes, and then arranged it in Db for the guitar and
to my tastes.
CHORDS ARE NOTED AT THE BOTTOM OF THE PAGE...
(Verse)
Ab -> Db Ab/C
When the rain is blowing in your face
Db7/Cb Gb/Bb
And the whole world is on your case
Gbmi/Bbb Db/Ab
I could offer you a warm embrace
Eb9/Bb Gb/Ab Db
To make you feel my love
(Verse)
When evening shadows and the stars appear
And there is no one there to dry your tears
I could hold you for a million years
To make you feel my love
(Bridge)
Gb Db
I know you haven't made your mind up yet
Eb9/Bb Gb Db
But I would never do you wrong
Gb Db
I've known it from the moment that we met
Eb7 Ab
No doubt in my mind where you belong
(Verse)
I'd go hungry I'd go black and blue
I'd go crawling down the avenue
No there's nothing that I wouldn't do
To make you feel my love
(instrumental)
(Bridge)
The storms are raging on the open seas
And on the highway of regret
The winds of change are blowing wild and free
You ain't seen nothing like me yet
(Verse)
I could make you happy make your dreams come true
Nothing that I wouldn't do
Go to the ends of the earth for you
To make you feel my love
Ab Db Ab/C Db7/Cb Gb/Bb Gbmi/Bbb Db/Ab Eb9/Bb Gb/Ab Gb Eb7
e--4------------------------------------------------2----2---6--------
b--4---6----4-----6-----7-------7------6------6-----2----2---8--------
g--5---6----5-----6-----6-------6------6------6-----3----3---6--------
d--6---6----6-----6-----4-------4------6------5-----4----4---8--------
a--6---4----3-----x-----x-------x------4------x-----x----4---6--------
e--4--------------7-----6-------5------4------6-----4----2------------
tomorrow.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: jgoffin@acs.ucalgary.ca (Jeffrey Goffin)
TOMORROW IS A LONG TIME by Bob Dylan
G C G
If today was not an endless highway
G C G
If tonight was not a crooked trail
C D G
If tomorrow wasn't such a long time
C D G
Then lonesome would mean nothing to you at all
C D G
Yes, and only if my own true love was waitin'
C D G
Yes, and if I could hear her heart a-softly poundin'
C D G
Only if she was lyin' by me
C D G
Then I'd lie in my bed once again.
I can't see my reflection in the water
I can't speak the sounds that show no pain
I can't hear the echo of my footsteps
Or can't remember the sound of my own name
There's beauty in the silver, singing river
There's beauty in the sunrise in the sky
But none of these and nothing else can touch the beauty
That I remember in my true love's eyes.
************************************************************************
* "Here's a song that I like to play. *
* Print it out, play it and pass it around. *
* If you like it, send me one of your favourites." *
* *
* Jeffrey Goffin Internet: jgoffin@acs.ucalgary.ca *
* Calgary, Alberta, Canada FidoNet: 1:134/160 *
************************************************************************
tonight_.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>
TONIGHT I'LL BE STAYING HERE WITH YOU- Bob Dylan
G C G
Throw my ticket out the window
C G
Throw my suitcase out there too
C Bm C
Throw my troubles out the door
Bm Am
I don't need them any more
G C G G
'Cause tonight I'll be staying here with you
I should have left this town this morning
But it was more than I could do
Oh, your love comes on so strong
And I've waited all day long
For tonight when I'll be staying here with you
BRIDGE:
Cm G
Is it really any wonder
Cm G
The love that a stranger might receive
Ab C
You cast your spell and I went under
Am D C Bm Am D
I find it so difficult to leave
(n.c.) G C G
I can hear that whistle blowin'
I see that stationmaster, too,
If there's a poor boy on the street
Then let him have my seat
'Cause tonight I'll be staying here with you
REPEAT FIRST VERSE
(from Nashville Skyline, 1969)
(sent by Harlan at harlant@hawaii.edu)
visions_.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)
Visions of Johanna - Bob Dylan
('Blonde on Blonde' album)
A D E7 A
Ain't it just like the night to play tricks when you're tryin' to be so quiet?
D E7 A
We sit here stranded, though we're all doin' our best to deny it
E A
And Louise holds a handful of rain, temptin' you to defy it
D A
Lights flicker from the opposite loft
D A
In this room the heat pipes just cough
D
The country music station plays soft
A E7
But there's nothing, really nothing to turn off
A D E7 A
Just Louise and her lover so entwined
D A E7 A D A
And these visions of Johanna that conquer my mind.
A D E7 A
In the empty lot where the ladies play blind man's bluff with the key chain
D E7 A
And the allnight girls, they whisper of escapades out on the "D" train
E
We can hear the night watchman click his flashlight
A
Ask himself if it's him or them that's realy insane
D A
Louise, she's allright, she's just near
D A
She's delicate and seems like the mirror
D
But she just makes it all too concice and too clear
A E7
That Johanna's not here
A D E7 A
The ghost of 'lectricity howls in the bones of her face
D A E7 A D A
Where these visions of Johanna have now taken my place.
A D E7 A
Now, little boy lost, he takes himself so seriously
D E7 A
He brags of his misery, he likes to live dangerously
E A
And when bringing her name up He speaks of a farewell kiss to me
D A
He's sure got a lotta gall
D A
to be so useless and all
D
Muttering small talk at the wall
A E7
while I'm in the hall
A D E7 A
How can I explain? Oh, it's so hard to get on
D A E7 A D A
And these visions of Johanna, they kept me up past the dawn.
A D E7 A
Inside the museums, Infinity goes up on trial
D E7 A
Voices echo this is what salvation must be like after a while
E A
But Mona Lisa musta had the highway blues You can tell by the way she smiles
D A
See the primitive wallflower freeze
D A
When the jellyfaced women all sneeze
D A E7
Hear the one with the mustache say, "Jeeze, I can't find my knees"
A D E7 A
Oh, jewels and binoculars hang from the head of the mule
D A E7 A D A
But these visions of Johanna they make it all seem so cruel.
A D E7 A
The peddler now speaks to the countess who's pretending to care for him
Sayin' "Name me someone that's not a parasite
D E7 A
and I'll go out and say a prayer for him." But like Louise
E
always says, "Ya can't look at much, can ya man?" As she, herself, pre
A
-pares for him
D A
And Madonna, she still has not showed
D D
We see this empty cage now corrode
D A
Where her cape of the stage once had flowed
D A
The fiddler, he now steps to the road
D A
He writes ev'rything's been returned which was owed
D A E7
On the back of the fish truck that loads While my conscience explodes
A D E A
The harmonicas play the skeleton keys and the rain
D A E7 A
And these visions of Johanna are now all that remain.
Typed by Petter Larsson , larpe@nts.mh.se
watching.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, 29 Nov 1995 14:51:35 -1000
From: Harlan L Thompson <harlant@hawaii.edu>
Subject: watching the river flow- bob dylan
WATCHING THE RIVER FLOW- Bob Dylan
TUNING: E B E G# B E
A E A TURNAROUND 1
A D
What's the matter with me? I don't have much to say
A B
Daylight's sneaking' through the window
E
And I'm still in this all night cafe
A
Walking to and fro beneath the moon
D
Out to where the trucks are rolling slow
A E A TURNAROUND 2
Sit out on this bank of sand and watch the river flow
Wish I was back in the city instead of this ol' bank of sand
With the sun beatin' down over the chimney tops
And the one I love so close at hand
If I had wings and I could fly, I know where I would go
But right now I just sit here so contentedly
And watch the river flow TURNAROUND 3
BRIDGE #1:
E
People disagreein' on just about everything, yep
A
Makes you stop and wonder why
F#m B
Why only yesterday I saw someone on the street
E
Who just couldn't help but cry
CHORUS:
A
Wo, but this old river keeps on rollin' though
D
No matter what gets in the way and which was the wind does blow
A E
And as long as it does I just sit here
A TURNAROUND 1 (1ST TIME, 2ND TIME TO OUTRO)
And watch the river flow
SOLO (OVER VERSE CHORDS, END WITH TURNAROUND 3)
BRIDGE #2:
People disagreein' everywhere you look
Makes you want to stop and read a book
Why only yesterday I saw somebody on the street
That was a-really shook ...CHORUS
OUTRO:
D A D A D
Watch the river flow, watching the river flow
A D
Watching the river flow
A E
Well, I just sit out on this bank of sand
A TURNAROUND 1, BUT END ON A7
And watch the river flow
CHORDS: TURNAROUND 1:
A D E B F#m A7 A E7
E -5--10--0--7---2---5--- ---5---5---5--------7--
B -5--10--0--7---2---8--- --5---5---5------5--5--
G# -5--10--0--7---1---5--- -8---7---6------5-5-6--
E -5--10--0--7---2---5--- -------------5-5----7--
B -5--10--0--7-------5--- -----------------------
E -5--10--0--7---2---5--- -----------------------
TURNAROUND 2
A E A
E -----5-----5-----5----5<b>-5<b>-3p0------------------------------------------
B ---5-----5-----5--------------------0-3-5------------------------------------
G# -8-----7-----6---------------------------------------------------------------
E -------------------5----------------------0-0--------------------------------
B ----------------------------------------------3-3-0-0------------------------
E ------------------------------------------------------4-4--0-0-2-2-3-3-4-4-5-
TURNAROUND 3
A E
E -----5-----5-----5-----------------------
B ---5-----5-----5-------------------------
G# -8-----7-----6---------------------------
E ------------------5-----5-----4-----2----
B ----------------------5-----4-----2------
E --------------------5-----4-----2------0-
what_can.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: 14 Mar 96 09:47:02 EST
From: LEE KIRBY <101557.3330@compuserve.com>
Subject: CRD: What_can_i_do_for_you BY Bob Dylan
Hope you enjoy this offering it's taken from the LP Saved - an album I feel
doesn't get enough credit, so I decided to give it a plug. Its a song about
Dylan's conversion to christianity and what it means (meant!) to him.
If you have any comments or find it useful please e-mail me to let me know.
101557.3330@compuserve.com
Enjoy...Lee Kirby, Sunday March 3rd 1996 12:05, Manchester, England.
WHAT CAN I DO FOR YOU? - Bob Dylan
(Play with a bit of phase effect on guitar)
Intro
Dbm B A Dbm
Chord sequence 1
E Dbm A B
You have given everything to Me
A Abm F#m E (Play chords 1 strum each in descending sequence)
What can I do for you?
E Dbm A B
You have given me eyes to see
A Abm F#m E
What can I do for you?
Chord sequence 2
Dbm B A Abm
???????????????????? and you made me renewed inside
Dbm B E F#m
Filled up the hunger where'd it'd always been denied
Dbm B A Abm F#m
Opened up the door no man can shut and you opened it up so wide
Dbm B A
And you chosen me to be among the few
A Abm F#m E (Play chords 1 strum each in descending sequence)
What can I do for you?
Use Chord sequence 1
You have laid down you life for Me
What can I do for you?
You have explained every Mystery
What can I do for you?
Use Chord sequence 2
Soon as a man is born you know the sparks begin to fly
He gets wise in his own eyes and he's made to believe a lie
Who would deliver him from the death he's bound to die?
Well, youv'e done it all and there's no more any one can be dared enough to do
What can I do for you?
Interlude
Chord sequence 1
You have given all there is to give
What can I give to you?
You have given me life to live
How can I live for you?
Chord sequence 2
I know all about poison
I know about fiery doubts
I don't care how rough the road is
Show me where to start
What ever please you tell it to my heart
Well I don't deserve it but I did make it through
What can I do for you?
when_i_p.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>
WHEN I PAINT MY MASTERPIECE- Bob Dylan
A D A
Oh, the streets of Rome are filled with rubble
D A E A
Ancient footprints are everywhere
D A D A
You can almost think that you're seein' double
D A E A
On a cord, dark night on the Spanish Stairs
E7 A D
Got to hurry on back to my hotel room
E7 A
Where I've got me a date with Botticelli's niece
D A D A
She promised that she'd be right there with me
D A E A
When I paint my masterpiece
Oh, the hours I've spent inside the Coliseum
Dodging lions and wastin' time
Oh, those mighty kings of the jungle
I could hardly stand to see 'em
Yes, it sure has been a long, hard climb
Train wheels runnin' through the back of my memory
When I ran on the hilltop following a pack of wild geese
Someday, everything is gonna be smooth like a rhapsody
When I paint my masterpiece
BRIDGE:
Dm A
Sailin'round the world in a dirty gondola
C#m D E D A B7 E7
Oh to be back in the land of Coca Cola!
I left Rome and landed in Brussels
On a plane ride so bumpy that I almost cried
Clergymen in uniform and young girls pullin' muscles
Everyone was there to greet me when I stepped inside
Newspapermen eating candy had to be held down by big police Someday,
everything is gonna be different
D A E D A Bm A
When I paint my masterpiece
(from Bob Dylan's Greatest Hits Vol. 2, done around 1971)
(sent by Harlan at harlant@hawaii.edu)
when_the.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: Andrew Mullins <MULLINS@artsci.concordia.ca>
When the Ship Comes In Bob Dylan
from the album The Times They Are A-Changin'
Chords: G D11? (x54030) C Em C/B D/A D
G D11 C G
Oh the time will come up when the winds will stop
Em C G
And the breeze will cease to be a-breathin
G D11 C G
Like the stillness in the wind before the hurricane begins,
G D G
The hour that the ship comes in
D11 C G
And the sea will split and the ships will hit
D11 C G
And the sands on the shoreline will be shaking
D11 C G
And the tide will sound and the waves will pound
G C C/B D/A G
And the morning will be a-breaking
Oh the fishes will laugh as they swim out of the path
And the seagulls will be a-smilin'
And the rocks on the sand will proudly stand
The hour that the ship comes in
And the words that are used for to get the ship confused
Will not be understood as they're spoken
Oh the chains of the sea will have busted in the night
And be buried on the bottom of the ocean
A song will lift as the main sail shifts
And the boat drifts unto the shoreline
And the sun will respect every face on the deck
The hour that the ship comes in
And the sands will roll out a carpet of gold
For your wearied toes to be a-touchin'
And the ship's wise men will remind you once again
That the whole wide world is watchin'
Oh the foes will rise with the sleep still in their eyes
And they'll jerk from their beds and think they're dreamin'
But they'll pinch themselves and squeal
And they'll know that it's for real,
The hour that the ship comes in
And they'll raise their hands
Sayin' we'll meet all you demands
But we'll shout from the bow
Your days are numbered
And like Pharoah's tribe they'll be drownded in the tide
And like Goliath they'll be conquered
submitted by Andrew Mullins
mullins@artsci.concordia.ca
with_god.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: Alfredo <folini@dsi.unimi.it>
Subject: CRD: God on Our Side by Bob Dylan
Date: Wed, 22 Nov 1995 18:12:28 MET
WITH GOD ON OUR SIDE - Bob Dylan [MTV-unplugged version]
[C F C F C F G F C]
[C]Oh my name it is [F]no[G]thin' my age [F]it mean [C]less
The country I come from [F]is called the Mid[C]west
I's taught and brought up there [F]The laws to [C]abide
and that land that I [F]li[G]ve in Has god [F]on its [C]side.
Oh the history book [F]tell i[G]t they tell it [F]so [C]well
The cavalries charged and [F]the Indians [C]fell
The cavalries charged and [F]the Indians [C]died
Oh the country was [F]yo[G]ung with god [F]on its [C]side.
Oh the Spanish-[F]Ameri[G]can war had [F]its [C]day
And the Civil War too was [F]soon laid [C]away
and the names of the heroes [F]I was made to [C]memorize
with guns in their [F]ha[G]nds and god [F]on their [C]side.
The First World [F]War, [G]boys it closed out [F]its [C]fate
The reason for fighting [F]I never got straig[C]t
but I learned to accept it, [F]accept it with [C]pride
and you don't count the [F]de[G]ad when god's on [F]your [C]side.
[... Additional lyrics ...]
But now we got [F]wea[G]pons of the chemic[F]al [C]dust
if fire them we're forced to, [F]then fire we [C]must
one push of the button [F]and shot the world [C]wide
and you never ask [F]quest[G]ions when God's [F]on his [C]side
[ Repeat without words ]
In a many dark [F]hou[G]r I've been thinkin' ab[F]out [C]this
that Jesus Christ was [F]betrayed by a [C]kiss
But I can't think for you, [F]you'll have to [C]decide
wheter Judas Is[F]cari[G]ot, had God [F]on [C]his side.
So now as I'm [F]leavi[G]n', I'm [F]weary as [C]hell
the confusion I'm feelin' [F]ain't no tongue can [C]tell
Who words fill my head and [F]fall to the [C]floor
If God's on [F]our si[G]de he'll stop [F]the next [C]war.
[... Additional lyrics ...]
When the Second World War came to an end
we forgave the Germans and we were friends
Though they murdered six million in the ovens they fried
the Germans now too have god on their side.
I've learned to hate Russians all through my wole life
if another war starts It's them we must fight
To hate them and fear them to run and to hide
and accept i all bravely with god on our side.
------------------------------- CUT HERE -----------------------------------
Additional lyrics are not included in the MTV-unplugged
ny correction would be appreciated.
Bye
Folini Carlo
Any correction will be apreciated Bye. Carlo
you_belo.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: Mon, 18 Dec 1995 10:42:58 +0100
From: klaus.tauber@balu.kfunigraz.ac.at (Tauber Klaus)
Subject: Corr:CRD:You Belong To Me by Bob Dylan
Somebody send me some corrections for the lyrics. Sorry, can't remember who.
Anyhow- Thank you!!
YOU BELONG TO ME
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
by Bob Dylan
C Em
1. See the pyramids along the Nile
F C
Watch the sunrise from a tropic isle
F Em Am
Just remember darling all the while
Dm G
You belong to me
C Em
2. See the market place in old Algiers
F C
Send me photographes and souvenirs
F Em Am
Just remember when a dream appears
Dm G
You belong to me
C F
B: I'd be so alone without you
Dm G
Maybe you'd be lonesome too
G7
in blue
C Em
3. Fly the ocean in a silver plane=7F
F C
See the jungle when it's wet with rain
F Em Am
Just remember till you're home again
Dm G
You belong to me
INTRO
C F
B: I'd be so alone without you
Dm G
Maybe you'd be lonesome too
G7
in blue
C Em
3. Fly the ocean in a silver plane
F C
See the jungle when it's wet with rain
F Em Am
Just remember till you're home again
Dm G
You belong to me
youre_go.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!stanford.edu!agate!darkstar.UCSC.EDU!ucscb.UCSC.EDU!indigo Mon Oct 19 18:26:13 PDT 1992
Article: 2957 of alt.guitar.tab
Path: nevada.edu!uunet!stanford.edu!agate!darkstar.UCSC.EDU!ucscb.UCSC.EDU!indigo
From: indigo@ucscb.UCSC.EDU (Adam Schneider)
Newsgroups: alt.guitar.tab
Subject: CRD: Dylan "You're Gonna Make Me Lonesome When You Go"
Date: 15 Oct 1992 21:47:13 GMT
Organization: University of California, Santa Cruz
Lines: 54
Message-ID: <1bkot1INN1gf@darkstar.UCSC.EDU>
NNTP-Posting-Host: ucscb.ucsc.edu
One of my favorite Dylan songs, from his _Blood_on_the_Tracks_ album.
YOU'RE GONNA MAKE ME LONESOME WHEN YOU GO (Bob Dylan)
A C#m D D
I've seen love go by my door, it's never been this close before
A C#m D D
Never been so easy or so slow
A C#m D D
I've been shooting in the dark too long, when something's not right, it's wrong
A D A A
You're gonna make me lonesome when you go
Dragon clouds so high above, I've only known careless love
It always has hit me from below
But this time 'round it's more correct, right on target, so direct
You're gonna make me lonesome when you go
Purple clover, Queen Anne Lace, crimson hair across your face
You could make me cry if you don't know
Can't remember what I was thinking of, you might be spoiling me too much, love
You're gonna make me lonesome when you go
D D A A
Flowers on the hillside blooming crazy
D D A A
Crickets talking back and forth in rhyme
B B B B
Blue river running slow and lazy
Esus Esus E E
I could stay with you forever, and never realize the time
Situations have ended sad, relationships have all been bad
Mine have been like Verlaine and Rimbaud
But there's no way I can compare all those scenes to this affair
You're gonna make me lonesome when you go
You're gonna make me wonder what I'm doing
Staying far behind without you
You're gonna make me wonder what I'm saying
You're gonna make me give myself a good talking to
I look for you in old Honolulu, San Francisco, Ashtabula
You're gonna have to leave me now, I know
But I'll see you in the sky above, in the tall grass and the ones I love
You're gonna make me lonesome when you go
==-=--=---=----=-----=-------=---------=---------=-------=-----=----=---=--=-==
Adam Schneider indigo@ucscb.ucsc.edu U.C. Santa Cruz
"Your actions will follow you full circle 'round..."
==-=--=---=----=-----=-------=---------=---------=-------=-----=----=---=--=-==
youre_no.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: Sat, 24 Jun 1995 12:07:26 -0400
From: gw222@cleveland.Freenet.Edu (Kelvin W. Sherlock)
Subject: Bob Dylan: You're No Good crd
You're No Good (Jesse Fuller)
from the album "Bob Dylan" (1962)
Intro: C F C G
C F C G
Well I don't know why I love you like I do
C F C
Nobody in the world can get along with you.
F C G
You got the ways of a devil sleeping in a lion's den
F C
I come home last night you wouldn't even let me in.
Em F
Oh sometimes you're as sweet as anybody want to be
G C N.C.
When you get a crazy notion, jumpin' all over me
C F C G
Well you give me the blues because you're satisfied
C F C
An' you give me the blues I wanna lay down and die.
I helped you when you had no shoes on your feet, pretty mama
I helped you when you had no food to eat.
You're the kind of woman I just don't understand
You're takin' all my money and give it to another man.
Well you're the kinda woman makes a man lose his brain
You're the kinda woman drives a man insane
You give me the blues because you're satisfied
You give me the blues I wanna lay down and die
Well you give me the blues, I wanna lay down and die
* Bob Dylan FAQ *
*********************************************************************
Frequently Asked Questions (FAQ), part 1 of 2
for newsgroup rec.music.dylan
Please email corrections and suggestions to:
howells@csd.sgi.com
*********************************************************************
Copyright 1994, 1995 Adam K. Powers
This electronic document may be copied and distributed freely,
provided that this notice remains intact.
CONTENTS:
Part 1 - What is available on Internet? (this article):
0. What has been changed since the previous posting of the
FAQ?
1. Who is Bob Dylan?
2. What is rec.music.dylan?
3. Are you certain your e-mail address works?
4. Is there a rec.music.dylan etiquette?
5. How do I access rec.music.dylan?
6. Glossary of terms and acronyms common to this newsgroup.
7. Is there a Bob Dylan discography available online, or some
way to order Dylan CDs via Internet?
8. Where can I find lyrics, tablature and other Bob Dylan
information via Internet?
9. Is there some way that I can get lists of Bob Dylan
concert tapes and unreleased recordings from past
years?
10. When and where will Bob Dylan be performing next?
11. What is EDLIS?
12. What if I want to talk about Dylan on-line at all hours?
Part 2 - Where else can I get information, off-line? (next article):
1. Where can I buy Bob Dylan collectors' items?
2. What books about Dylan's life and music are available?
a. Bob Dylan biographies
b. Studies of Dylan as a performer, lyricist, etc.
c. Reference books
3. Are there magazines about Dylan to which I could
subscribe?
4. I just read an article about Bob Dylan in my newspaper...
5. What are bootlegs, and how do I find them?
6. Has Bob Dylan appeared in any movies or film
documentaries?
*********************************************************************
0. What has been changed since the previous posting of the FAQ
(7 July 1995)?
A new system for identifying changes is being tested for this outing
of the FAQ. Any line which is different has as its first character
"#". (This particular section is exempt :-)
Part 1:
- added details of a mail address tester to "3. Are you certain your
e-mail address works?"
Part 2:
- Added the new Wanted Man contact address to "1. Where can I buy Bob
Dylan collectors' items?"
- Added URL of Library of Congress library system to "2. What books about
Dylan's life and music are available?"
Many thanks to Ron Lamers for a significant number of corrections and
additions.
1. Who is Bob Dylan?
====================
Bob Dylan is a singer, a guitar player, a song writer and a recording
artist. Born Robert Allen Zimmerman in Hibbing Minnesota in 1941, his
earliest circulating recordings date from 1958! His earliest
recordings on an unofficial bootleg LP date from 1960, his first
commercial release dates from 1962. He continues to write, record and
perform to this day.
2. What is rec.music.dylan?
===========================
Welcome! This Usenet newsgroup is devoted to the discussion of Bob
Dylan, his music, and things Dylan-related. We welcome your
constructive comments on nearly any issue, even if it's only
tangentially associated with Bob Dylan.
There is no official Dylan fan club, so small packs of Dylan fans
band together to stay informed and carry on general discussion. This
particular Usenet newsgroup was founded mid-1989 by Tom Buckley.
Sometimes it seems that all we're interested in are upcoming tour
dates and clarification of fact regarding old recordings, but there
is often very interesting discussion of Dylan's lyrics themselves, a
reason that no doubt many of you read this newsgroup. If you don't
see the sort of discussion you want, you're encouraged to bring it up
yourself!
Many people criticise the content and tenor of postings on
rec.music.dylan but few praise those they like. If you see a posting
which is just what you like to see why not e-mail the poster
privately and say so. Many good posters stop posting because they say
they do not know if anyone is reading or liking what they do. The way
to shape rec.music.dylan to what you want is to encourage what you
like to see, and to contribute good postings yourself too!
3. Are you certain your e-mail address works?
=============================================
98% of new posters who comment that nobody has answered a query
they made on rec.music.dylan turn out to have displayed an
e-mail address that does not function. This is so common that
it is very unlikely a correspondent answering your query will
do anything once they see that mail to you bounces. One of the
# best ways to test your address is to send mail to the "robot" at
# bouncer@nic.near.net You should be sent two replies. If this
# does not work then contact the postmaster at your site.
4. Is there a rec.music.dylan etiquette?
========================================
You should already be familiar with Usenet etiquette. If not, the
newsgroups to read are news.newusers.questions and
news.announce.newusers. A particularly useful document is "Emily
Postnews Answers Your Questions on Netiquette" by Mark Moraes
<netannounce@deshaw.com>, stored at rtfm.mit.edu in a document
called "part1" in the directory
/pub/usenet/news.answers/usenet/emily-postnews/
As with all newsgroups, the best recommendation is for you to sit
back and read for a while before you make your first posting. That
way you can get a proper feel for the newsgroup. Then you will see
which postings you think are valuable and which are wasting space or
preventing good discussion.
rec.music.dylan is not moderated, so within reason anything goes.
However, certain types of postings are generally frowned upon. These
include:
o Tirades against other readers of the newsgroup for their
opinions.
o Failure to edit subject heading when replying via the digestified
mailing list [HWY61-L, see later]. Please ensure you edit the
subject line when posting a followup. Anyone seeing a posting
headed:
SUBJECT: Re: HWY61-L Digest - 5 Mar 1995
may well choose to ignore it altogether.
o Lists of favourite songs/albums, including Top Tens. This is a
discussion that reappears gradually more frequently as more and more
people discover rec.music.dylan. It is hard to imagine a posting
with less value and information content than:
My top 20 favourite Bob Dylan albums, in order of preference,
are:
1. Blonde On Blonde
2. Highway 61 Revisited
3. The Times They Are A-Changin'
.
.
20. The Basement Tapes
Tell me what yours are!
If you are interested in lists of favourite song or album titles then
please do NOT post them to rec.music.dylan. You are instead directed
to the ALLMUSIC GUIDE [see later for details] for the views of past
and present readers on this issue. Polls on favourite albums and
songs are already available for hundreds of artists, including Bob
Dylan. And should you wish to add your vote to those already cast
then you are free to do so. [A Web page has been set up for this very
task! - see later].
This is NOT to say constructive discussions about WHY you place
certain songs in such high regard are not of interest. Far from it -
what are we all here for if not to discuss the songs?
o Using rec.music.dylan as a easy substitute for personal research.
There are many resources available at your local library and over the
Internet (via FTP, GOPHER, the World Wide Web and Telnet). The
numerous Dylan-related areas are detailed later on in this FAQ. You
are strongly encouraged to consult this extensive material before
asking on the newsgroup. For example, instead of asking hundreds of
people for the setlist for 12 November 1981, you could simply look it
up yourself in Olof Bjorner's 1981 yearly summary (via FTP, GOPHER or
the WEB) or the three or four books available at your library. If the
research material proves inadequate then of course you should post your
question to the newsgroup stating this is so. In such cases you are
much more likely to get a response!
[See later for instructions on how to access this information via the
Internet].
o Bootlegs. From time to time someone posts a request for contact
details of bootleg dealers. Answers to these questions should be sent
by private e-mail only. To post full details to the very public forum
of rec.music.dylan is to put the dealers at risk. This may be an
hysterical over-reaction to the real situation, but is it not best to
avoid Bob Dylan's work being the most likely target when those greedy
copyright lawyers finally hit the Internet in force? We all know Bob
Dylan always says yes when his lawyers ask him if they should
proceed, be it a computer company, a transit authority, or a ...
The objection to the posting of full trade listings is more along the
lines of bandwidth wastage. If you wish to set up a trade you are
best advised to send a polite e-mail message [see later].
o Lists of names of other artists in which you are also interested.
This thread began a very long time ago and still odd postings appear
on the subject. For those who may be interested Steven Zawid
zawid@eden.rutgers.edu
conducted a major poll on favourite other artists and he would be
interested to hear from you in e-mail as he builds up his statistics.
Steven asks that you include one choice as to who your favourite
non-Dylan artist is.
5. How do I access rec.music.dylan?
===================================
If you have no access to Usenet News but you do have Internet access
then you could join a FreeNet in order to make use of free Usenet
News access. For example:
telnet yfn2.ysu.edu
username: visitor
follow the instructions for becoming a registered user and then read
rec.music.dylan whenever you please.
The majority of readers access this group through a newsreader (such
as rn, trn, tin or the like on Unix systems), but there is also a
digestified format that is sent to many others via email. If you'd
rather read in that format (a long email sent to you once or twice
daily) this information will be of use to you:
--
"HWY61-L Digest".
The mailing list is owned and maintained by Maureen LeBlanc. (If you
experience any problems with the list or have any questions then
e-mail Maureen at HWY61-L-Request@UBVM.cc.buffalo.edu)
To post an article to rec.music.dylan you need to use this address:
hwy61-l@ubvm.cc.buffalo.edu
This is the ONLY address via which your messages will appear on
rec.music.dylan and the mirroring Digest.
There is a third address of which users of the Mailing list need to
be aware.
listserv@ubvm.cc.buffalo.edu
It is via this address that users communicate with the automated
LISTSERV to subscribe, unsubscribe and alter options.
ALL commands should be sent to THIS address. Leave the 'subject'
blank and on the first line of the body of the message type your
command. (If you experience problems try omitting your ".sig"
because the Listserv may be trying to interpret it as commands.)
Here are the various commands you can send (all to the above
address):
(a) To receive a help file on how to work with the listserv:
HELP
(b) To subscribe to the mailing list:
SUBSCRIBE HWY61-L firstname lastname
(c) To unsubscribe from the mailing list:
SIGNOFF HWY61-L
(d) The default setting is to send out the list in digestified
format. If you would prefer to be sent rec.music.dylan as-it-happens,
ie. each posting is sent to you as an individual message, then issue
this command:
SET HWY61-L MAIL
To return to digestified format, issue:
SET HWY61-L DIGEST
(e) If you wish to suspend receipt of messages from the list for any
period of time you do not need to unsubscribe. Simply set your
selected option to 'no mail' by issuing:
SET HWY61-L NOMAIL
To resume delivery again, issue:
SET HWY61-L DIGEST
--
If you lack Usenet news access and want to post (without having to
subscribe to the mailing list), simply e-mail your posting to:
hwy61-l@ubvm.cc.buffalo.edu
or
rec-music-dylan@cs.utexas.edu
^ ^
N.B. - NOT . or _ / hyphens not full stops or underscores!
6. Glossary of terms and acronyms common to this newsgroup.
===========================================================
All areas of knowledge develop jargon and acronyms which inevitably
serve to keep outsiders out and to confuse newcomers. Medical doctors
complicate the simplest things with needlessly difficult terms and
abbreviations, computer experts often make the easy inaccessible to
newcomers with obscure terms and abbreviations by trying to
'simplify' communications, management consultants... Well, you get
the picture. People with a serious and debilitating Dylan habit can
also develop these tendencies. Watch for the following obscure
terms...
#Dylan = The name of the Dylan channel on irc.
BoB = Blonde on Blonde [1966] [not a typo for "Bob"!]
BotT = Blood on the Tracks [1974]
BIABH = Bringing It All Back Home [1965]
boot = bootleg
bootleg = circulating copy of officially unreleased material in any
form. The term is probably derived from 'bootleg' liquor, which was
sometimes smuggled in bottles strapped to one's leg during
Prohibition in the United States, 1918-1933.
Bootleg Series = The Bootleg Series 1961-1991, Rare and Unreleased,
Volumes 1-3 [1991] - not to be confused with 'bootleg' above, this is
an official release that reveals many songs and performances from
throughout Dylan's career that were previously available only on
bootleg media. The liner notes of this boxed set mention that
further volumes would be released, but no reliable source has been
able to determine if and when this might actually happen...
BTW = By the way...
EDLIS = Exchange of Dylan Lyrics - Internet Service
[see question 8, below, for more information on EDLIS]
GAIBTY = Good As I Been To You [1992]
H61R = Highway 61 Revisited [1965]
Hurricane = The lead-off single from Desire [1976], which tells
Dylan's rather loose interpretation of the murder trial of boxer
Rubin "Hurricane" Carter; Carter is today a free man in Canada after
having endured a convoluted series of mistrials and legal wrangling.
IMO = In my opinion...
IMHO = In my humble opinion...
irc = Internet Relay Chat, an international live real-time
conferencing system with a channel called #Dylan.
[see question #9, below]
JWH = John Wesley Harding [1967] This album (and its title track)
were mis-named after outlaw John Wesley Hardin. Dylan's song has
very little to do with the story of the real Hardin; instead, it's
basically just a spin-off of Woody Guthrie's "Pretty Boy Floyd." Some
Dylan fans note the religious bent of this album and claim that the
initials 'JWH' really refer to the Judeo-Christian deity...
Krogsgaard = Krogsgaard's 1991 reference book, Positively Bob Dylan
[listed below in question 10c]. A Krogsgaard number would be in a
form such as [7/201]. This refers to item seven in the Krogsgaard
listing for event 201. Badly addicted rec.music.dylan readers can be
told such a number and then immediately sing the relevant item
without reference to the Krogsgaard book itself!
pirate = Illegal copy of officially released material. Also known as
a "counterfeit".
smiley = An unusual punctuation device, presumably employed only by
computer-users, which looks like a sideways smiley-face: :-) A
smiley usually means that a comment or article has been written in
jest, and should be read accordingly. A common variant is ;-) with
the 'winking' eye. There are many, many variants on the smiley, and
most are used to represent the flairs of spoken language that are
often hard to perceive in text. :-(
tape tree = A 'pyramid' method of distributing tapes organized by
someone with a good or unusual tape that begs to be circulated. That
person posts an announcement to the newsgroup, asking people to send
email to him to sign up. He collects the names of those interested,
and creates a 'tree' such that no one has to make an excessive number
of copies, and people with better tape decks make copies for those
without, etc. The original tape is the 'seed'. Those who receive
copies from the seed and make further copies are 'branches', and
those who receive copies from branches but don't copy for anyone else
are the 'leaves'. Sometimes a person who makes copies is called a
'parent' and one who receives copies is a 'child'. Each person who
receives tapes is expected to send tapes of other events in return to
their branch. If blanks are sent in lieu of recorded tapes, the
person sending blanks is expected to send double the number of blank
tapes to recorded tapes. A less common method is that the person sendng
blanks is expected to pay postage for both the tapes that sent and
the ones received. If trading with a DAT collector who is supplying
you with an analogue cassette, one blank DAT is adequate double
compensation should they not want any blank analogue cassettes from
you.
T-999 = Numbers like these are Townsend numbers.
Townsend number = A three figure number identifying a specific
bootleg CD as cited by Phill Townsend in his Strangers And Prophets
[listed above], or as cited in Isis [listed above].
UTRS = Under The Red Sky [1990]
WGW = World Gone Wrong [1993]
WWW = World-Wide-Web [see question 5, below]
ZZ = someone used to the vi editor in Unix posting from a different
and unfamiliar editor trying to end their posting...
7. Is there a Bob Dylan discography available online, or some way to
order Dylan CDs via Internet?
====================================================================
It is beyond the scope of this document to give a true discography
for Bob Dylan, but here is a list of the standard U.S. release full-
length Bob Dylan albums:
Title Released CD Order #
===== ======== ==========
Bob Dylan March 1962 CK 8579
The Freewheelin' Bob Dylan May 1963 CK 8786
The Times They Are A-Changin' January 1964 CK 8905
Another Side of Bob Dylan August 1964 CK 8993
Bringing it All Back Home March 1965 CK 9128
Highway 61 Revisited August 1965 CK 9189
Blonde on Blonde May 1966 CK 841
Greatest Hits March 1967# CK 9463
John Wesley Harding December 1967 CK 9604
Nashville Skyline April 1969 CK 9825
Self-Portrait June 1970 C2K 30050
New Morning October 1970 CK 30290
Greatest Hits, Vol. 2 November 1971# C2K 31120
Pat Garrett & Billy the Kid July 1973 CK 32460
Dylan November 1973^ CK 32747
Planet Waves January 1974 CK 37637
Before the Flood June 1974' C2K 37661
Blood on the Tracks January 1975 CK 33235
The Basement Tapes June 1975* C2K 33682
Desire January 1976 CK 33893
Hard Rain September 1976 CK 34349
Street Legal June 1978 CK 35453
At Budokan July 1978'~ C2K 36067
Slow Train Coming August 1979 CK 36120
Saved June 1980 CK 36553
Shot of Love August 1981 CK 37496
Infidels November 1983 CK 38819
Real Live December 1984' CK 39944
Empire Burlesque June 1985 CK 40110
Biograph October 1985# C3K 38830
Knocked Out Loaded August 1986 CK 40439
Down in the Groove May 1988 CK 40957
Traveling Wilburys Vol. 1 October 1988 Warner Bros. 9 25796-1
Dylan and the Dead February 1989' CK 45056
Oh Mercy September 1989 CK 45281
Under the Red Sky September 1990 CK 46794
Traveling Wilburys Vol. 3 October 1990 Warner Bros. 9 26324-1
Bootleg Series Vols. 1-3 March 1991@ C3T 47382
Good As I Been to You October 1992 CK 53200
World Gone Wrong October 1993 CK 57590
Greatest Hits III
Unplugged April 1995 478374 2 (European)
This is NOT intended to be a complete discography by any means. Check
the discography file at ftp.cs.pdx.edu for more details on Bob Dylan
releases available on compact disc.
[see question 5 for help].
Notes:
' Live album
# 'Greatest Hits' collection - *most* songs previously released
^ Recorded in 1970, outtakes from Self-Portrait
* Recorded in 1967!
~ This is the Japanese release date - U.S. release was December 1978
@ Collection of previously unreleased material spanning 1961-1991...
Also of interest are the 30th Anniversary Tribute Concert double-CD
set; and Masterpieces, a triple-CD import collection that contains a
few songs not available elsewhere on CD.
To actually order CDs online, you can try the Compact Disc
Connection, a California-based mail-order company.
telnet cdconnection.com
No password is necessary.
Once you're logged in, the menus are fairly self-explanatory, and you
can make purchases with your credit card.
If you have a Web browser such as Netscape, Mosaic or Lynx and wish
to look at CD shops on the Internet, use these URLs:
ftp://netcom11.netcom.com/pub/howells/dylan.html
http://cdnow.com
There have been several 'best album' polls done on the music
newsgroups - the most comprehensive were the 'Usenet Artist Polls'
and are available by anonymous FTP from ftp.uwp.edu in /pub/music/uap
(many polls done on individual artists, not just Dylan).
The Dylan albums most frequently recommended by readers of r.m.d are
_Highway 61 Revisited_, _Blonde on Blonde_, _Blood on the Tracks_,
and _The Bootleg Series, Vols. 1-3_, although you'll find staunch
fans of nearly every album...
The Dylan you might like depends more on you than on the opinions of
others. You could describe in reasonable detail your musical,
political, religious and sexual tastes, post that on rec.music.dylan,
and ask for advice...
Additional material may be found at the various FTP archives
[see question 5, below].
8. Where can I find lyrics, tablature and other Bob Dylan information
via Internet?
=====================================================================
There are three archive sites from which information regarding Bob
Dylan may be obtained by FTP [If the term "ftp" is meaningless to you
then ask a local computer guru to show you what to do...]:
ftp.cs.pdx.edu (Portland State University)
ftp.uwp.edu (University of Wisconsin, Parkside)
ftp.nevada.edu (University of Nevada)
Olof's yearly summaries of Bob Dylan concerts and recordings, plus a
number of transcribed interviews, concert/tape reviews, and similar
documents are available by anonymous FTP from ftp.cs.pdx.edu, in the
directory /pub/dylan, and are maintained by Trent Fisher. This site
originated as a replacement to Anthony Kapolka's archives from the
early days of rec.music.dylan, but now includes all of Olof's
archives and other recent files.
Lyrics to a limited number of Bob Dylan songs, plus some guitar tabs
and other information by be found by anonymous FTP from ftp.uwp.edu,
in pub/music/artists/d/dylan.bob.
Guitar tablature to many of Dylan's songs is available by anonymous
FTP from the alt.guitar.tab archives at ftp.nevada.edu, in
/pub/guitar/d/Dylan.Bob, and also /pub/guitar/d/Bob.Dylan (the
separate directories are probably due to an oversight or change).
An anonymous FTP session begins like this - at your prompt, type:
ftp ftp.uwp.edu [or whatever site you'll be getting files from]
Enter 'anonymous' (without the quotes) when prompted for a login
name, give your E-mail address as the password. Use either 'ls' or
'dir' and 'cd' to find your way to the proper directory.
There are also a number of Dylan-related World Wide Web (WWW) pages.
If you do not know what WWW is then you are best advised to ask a
friend or computer technician at your site. You will need appropriate
software (known as Web Browsers). Some examples: Netscape, Mosaic and
Lynx (a text only version).
WWW PAGES DEDICATED TO BOB DYLAN
http://reality.sgi.com/employees/howells/dylan.html
- "Bringing It All Back Home Page" (John Howells)
- Contains tour dates, setlists and concert reviews, yearly
chronicles from 1960 through 1993 (updated yearly), Frequently
Asked Questions about Dylan and the internet, EDLIS Dylan Covers
listing, etc.
http://bob.nbr.no
- "Expecting Rain" (Karl Erik Anderson)
- The Bob Dylan Who's Who, The Dylan Atlas, Jokerman, 1995 setlists
and concert reports, pictures, some sound clips, this FAQ, list of
EDLIS agents, etc.
http://www.ncl.ac.uk/~n246543/
- "Ragged Clown" (Ben Taylor)
- Contains interviews, old postings to the newsgroup rec.music.dylan,
EDLIS Civil Rights articles on "Hattie Carroll" etc., links to all
Dylan areas on the Web, etc.
http://www.music.sony.com/Music/ArtistInfo/BobDylan.html
- Sony's Bob Dylan page. Sparse but worth checking every now and
then.
http://www.cs.columbia.edu/~gv/project_home.html
- "Broken Words" (Giuseppe Valetto)
- A textual analysis of Bob Dylan's lyrics
http://www.cen.uiuc.edu/~bdonalds/bob.html
- "Bob Dylan's 15th Dream" (Bryan Donaldson)
- You can vote for your favourite albums and songs here, etc.
http://www-bprc.mps.ohio-state.edu/cgi-bin/hpp?bobby.html
- "Bobby Page" (Tim Dixon)
- Currently under construction..
ftp://ftp.netcom.com/pub/mi/michel/Dylan/Dylan.html
- Graphics etc. (Steve Michel)
http://www.well.com/www/yudel/Dylan.html
- Bob Dylan: Tangled up in Jews (Larry Yudelson)
DYLAN-RELATED PAGES:
ftp://ftp.netcom.com/pub/brooklyn/WWW/People/JackKerouac.html
- Jack Kerouac home page (Marc Stein)
http://pubweb.parc.xerox.com/digitrad
- "Digital Tradition"
- This is a searchable text database of folk lyrics. It is updated
every few months and, as of April '94, contained over 4500 items.
The latest edition is Oct '94. There are countless Dylan-related
songs in this archive.
- People can download their own copy of the entire archive for their
Mac, PC, or a plain ASCII version:
ftp.parc.xerox.com (California) or
ftp.uwp.edu (Wisconsin) or
(PC version only) send three
formatted HD disks (5-1/4 or 3-1/2 inch) and a STAMPED, SELF-
ADDRESSED mailer to Dick Greenhaus at:
The Digital Tradition
28 Powell Street
Greenwich, CT 06831
Phone: 203/531-7314
E-Mail: digitrad@world.std.com
http://lcweb.loc.gov/homepage/lchp.html
- Library of Congress.
http://www.cm.cf.ac.uk/Movies/
- Internet Movie Database
- Can look up films such as "Don't Look Back" and, as with many
of these sources, you can add information to improve what they
list based on your expertise or reference books...
GOPHER SITE:
gopher://allmusic.ferris.edu/00/pop/d/dy/dylan.b
- All Music Guide.
- This is the location of the Bob Dylan entry. It includes a mini-
bio', list of albums and their tracks, reviews and ratings.
If you cannot find transcribed music online, you should be able to
find music to all the released albums from good music stores and
suppliers. The most recommended book source is "Lyrics 1962-1985".
The lyrics 'database' on "Highway 61 Interactive" CDROM, released
1995, covers virtually all of the lyrics from this book, plus all
albums up to 1995. Many songbooks can also be purchased, for example
the book for Good As I Been to You is available from Special Rider
Music Sales, 8/9 Frith St., London W1V 5TZ, England.
9. Is there some way that I can get lists of Bob Dylan concert tapes
and recordings from past years?
====================================================================
There is currently one electronic document that makes a good
reference guide, plus one essential book:
#1 - If you've got a little disk space to spare [approx. 1.5
megabytes], you can download Olof's year-by-year Bob Dylan archive -
which lists Dylan's public appearances and recordings, gives handy
reference tables of songs played on tour, and even lists recommended
tapes by tour! The best part is that it's free for your own personal
use. Don't try printing it out unless you've got the time & ribbons
- the combined total of all the files would be on the order of 600
pages... How do you get it? ftp ftp.cs.pdx.edu, in the /pub/dylan
directory, the 1960.Z through 1993.Z files (they are compressed).
#2 - There is a book called "Positively Bob Dylan" by Michael
Krogsgaard (this book is frequently referred to simply as
'Krogsgaard' on this newsgroup). This tome numbers Dylan's
circulating performances and lists the songs performed at each and
every known circulating Bob Dylan recording through early 1991.
There are always gaps and changes as new tapes surface, but this book
is essential to the serious collector! It provides a fast, easy
reference for identifying tapes and so on. The main disadvantage
of such a serious book is that it costs about US$55. See item 11c
below for more information.
There will shortly be a third option:
#3 - If you have an IBM PC compatible "DylanBase" may be of interest.
This is a DOS computer program designed by Keith Charles Marsh, with
data collated by Chris Cooper. Its objective is the same as
Krogsgaard's book, to detail all circulating (and uncirculating)
recordings. Regular updates are planned to maintain the accuracy and
completeness of the database. To find out more you can purchase a
demo disk, the price of which is fully refundable against the final
product. For this or other information write to: Keith Charles Marsh,
17 Stanley Road, Wellingborough, NN8 1DY, ENGLAND. At time of writing
(4 July 1995) the release of "DylanBase" is "imminent".
10. When and where will Bob Dylan be performing next?
=====================================================
Since official announcements from Dylan's publicity office regarding
tour dates are rare, we have to rely on local people to look for
advertisements or call ticket agencies and then to inform the rest of
us. If you hear of an upcoming concert in your area, please tell us!
Set-lists from shows that you have seen recently are also
appreciated, even if you don't know the titles of all the songs that
were played.
Tour dates are usually posted piece-meal to the newsgroup, and
sometimes these postings will contain conflicting or confusing
information. If your local ticket agency has no knowledge of a
concert date that you saw announced here, don't give up hope.
Agencies such as TicketMaster frequently do not know about particular
shows until a few days before they are authorized to sell tickets for
that show. Some concert dates start out as rumors and never
materialize, but many rumors do become fact. Be patient.
There is no mail-order for Bob Dylan concert tickets.
There are also Dylan hotlines you can ring on the telephone for the
latest information on Bob Dylan events:
USA: 303-243-8025 (The Rolling Tomes Hotline - the operator will ask
you to enter the "hotline access number" located in the lower right
corner of the back cover of the current Rolling Tomes catalogue. So
you must either have seen the catalogue or have contact with someone
who has... See question 10, below. A touch-tone telephone is
required. The recording is updated at least weekly, more often when
news warrants it.)
UK: The Homer 'Warmline', maintained by Andrew Muir. Although this
used to be subscription-only, it is now open to all, free of charge.
The number is 0171 385 6119 (if dialling from the UK) or +44 171 385
6119 (if dialling from abroad).
UK: Wanted Man offers a hotline service to Telegraph subscribers
[see part two of the FAQ for subscription details].
The EDLIS Tours & Tickets agent compiles all the above info and
posts updated tour schedules to rec.music.dylan.
11. What is EDLIS?
==================
The Exchange Dylan Lyrics - Internet Service is an Internet wide
conspiracy to make available Dylan lyrics for the purposes of
research and/or private study. Lyrics available are restricted to a
reasonable proportion. Any copying to evade purchase is wrong.
EDLIS consists of a number of loosely affiliated individuals who have
chosen to horde and distribute Bob Dylan information. This service
includes, but is not limited to, information regarding: Bob Dylan
song lyrics, versions of Bob Dylan songs performed by other artists,
bootleg recordings, and tape trees.
If you post a request for specific lyrics (or for detailed boot CD
information) on rec.music.dylan you might find an EDLIS agent answers
your needs magically in your e-mail box. In return, EDLIS is always
in need of transcribed lyrics and information on compact discs, old
and new. If you are able to type in or scan Dylan lyrics not
presently available on the Internet, please do so - the only reason
that EDLIS sends you anything is because others have contributed in
the past!
12. What if I want to talk about Dylan on-line at all hours?
============================================================
If no one in the same room as you wants to chat about Dylan 24 hours
a day, seven days a week, 365 days a year you might think you have an
insatiable desire. But there is relief! IRC! Internet Relay Chat. On
Internet Relay Chat there is always an international live real-time
Dylan conference - usually in English - waiting for you to join it.
At your Unix prompt type:
irc
and once irc is up and running type:
/join #Dylan
and what you type after that will be seen by all the others on that
channel. If all is quiet simply wait until the lull ends or learn how
to invite others in (/invite), change the topic (/topic) and so on.
Many arrange to meet at #dylan by prior arrangement through e-mail,
setting a time to rendezvous. Bear in mind the time zones -
discussion tends to ebb and flow with New Zealanders and Australians
starting the day, as they begin to flag Europeans join, and Americans
are last to come in, though some #dylan people keep very odd hours
indeed.
Treat #dylan like a Paris street cafe. If you want to be certain
that stimulating, interesting people are there when you are there,
bring them with you.
If Bob Dylan is performing in a country you can try to see who is on
from that country, such as Japan:
/who *.jp
And then use /invite to invite in unsuspecting irc-ers and ask them
about media coverage, whether they are going to the concerts or know
anyone who is, will they be taking a DAT recorder with them, etc etc
etc.
As with all esoteric computer matters, if the command irc is not
available on your computer, simply ask a local computer guru how to
ftp and compile what you need.
You could also logon by telnet to a limited version of irc:
telnet sci.dixie.edu 6668
Here are some other public access telnet sites for IRC on the
Undernet, which is NOT the main irc but will give you a feel for a
limited irc network:
telnet wildcat.ecn.uoknor.edu 6677
telnet wildcat.ecn.uoknor.edu 7766
telnet skywarrior.ecn.uoknor.edu 7766
telnet skyhawk.ecn.uoknor.edu 7766
telnet skyraider.ecn.uoknor.edu 7766
telnet intruder.ecn.uoknor.edu 7766
EUROPEAN SITES
telnet telnet1.eu.undernet.org 6677
telnet telnet2.eu.undernet.org 6677
VAX/VMS Users: use "telnet host.name /PORT=6677"
telnet sci.dixie.edu 1 | sh
So long as you have full Internet access something should be
possible, and you can join in on the Dylan discussion via irc...
The standard #dylan teatime in London meeting in irc is daily at:
Kangerlussuaq
Fairbanks 13:00 Reykjavik
07:00 16:00 Petropavlovsk
Trondheim 04:00
St John's 17:00
13:30 Helsinki
Charlottetown LONDON 18:00
Hibbing 12:00 16:00 Moscow Irkutsk
10:00 19:00 00:00
Greenwich Paris
San Francisco Village 17:00
08:00 11:00 Lisbon Bombay Kyoto
16:00 21:30 01:00
Gallup Monrovia Singapore Honolulu
09:00 16:00 00:00 06:00
Lagos Perth
Quito Rio de 17:00 00:00
11:00 Janeiro Harare Adelaide
13:00 18:00 01:30
Santiago Hobart Dunedin
12:00 02:00 04:00
(end part 1 of 2)
*********************************************************************
*********************************************************************
Frequently Asked Questions (FAQ), part 2 of 2
for newsgroup rec.music.dylan
Please email corrections and suggestions to:
howells@csd.sgi.com
************************************************************************
Copyright 1994, 1995 Adam K. Powers
This electronic document may be copied and distributed freely,
provided that this notice remains intact.
CONTENTS:
Part 1 - What is available on Internet? (previous article):
0. What has been changed since the previous posting of the
FAQ?
1. Who is Bob Dylan?
2. What is rec.music.dylan?
3. Is there a rec.music.dylan etiquette?
4. How do I access rec.music.dylan?
5. Glossary of terms and acronyms common to this newsgroup.
6. Is there a Bob Dylan discography available online, or some
way to order Dylan CDs via Internet?
7. Where can I find lyrics, tablature and other Bob Dylan
information via Internet?
8. Is there some way that I can get lists of Bob Dylan
concert tapes and unreleased recordings from past
years?
9. When and where will Bob Dylan be performing next?
10. What is EDLIS?
11. What if I want to talk about Dylan on-line at all hours?
Part 2 - Where else can I get information, off-line? (next article):
1. Where can I buy Bob Dylan collectors' items?
2. What books about Dylan's life and music are available?
a. Bob Dylan biographies
b. Studies of Dylan as a performer, lyricist, etc.
c. Reference books
3. Are there magazines about Dylan to which I could
subscribe?
4. I just read an article about Bob Dylan in my newspaper...
5. What are bootlegs, and how do I find them?
6. Has Bob Dylan appeared in any movies or film
documentaries?
************************************************************************
1. Where can I buy Bob Dylan collectors' items?
===============================================
Some of us have the good fortune to live in places that have an
adequate supply of record stores, well informed collectors with the
latest gab on your favorite artists, and record shows; if you aren't
in such a location, you may feel out of touch. Don't fret! Even the
most avid record hounds use mail-order as a reliable way to purchase
books, posters, and memorabilia (not to mention information regarding
new records, tours, etc...)
Here are a few recommended sources:
U.S.: Rolling Tomes - P.O. Box 1943, Grand Junction, Colorado 81502.
Phone: 303-245-4315 Monday through Friday 10-6 Mountain time,
24 hr. fax: 303-243-8025. They accept Mastercard, Visa, checks,
money orders, and international money orders drawn from a U.S. bank
in U.S. funds. This is an essential source for Dylan fans in the
United States and across the world - their inventory covers everything
from back issues of fan magazines to books to records and videotapes.
Rolling Tomes is also the distributor for several Dylan magazines,
namely Homer, Isis, Look Back, On the Tracks, Rolling Thunder, and
Telegraph [see question 12 for details and subscription rates].
U.S.: Goldmine Magazine - 700 E. State St., Iola, WI 54990-0001.
This is a collectors forum with advertising from record dealers all
over the world, published biweekly. They will send a free trial
issue to you if you request one... Goldmine contains loads of
mail-order information, so you'll need a few hours poring over an
issue (often with a magnifying glass) to sort it all out.
U.K.: My Back Pages - P.O. Box 117, Carlisle CA1 2UL.
Accepts pounds sterling or US dollars by check, postal money order,
or international money order. Another good source for books,
and also distributes the magazine Isis.
# U.K.: (New address!) Wanted Man: PO Box 307, Richmond, Surrey TW10 5AQ
Distributes The Telegraph magazine.
2. What books about Dylan's life and music are available?
=========================================================
The number of publications about Bob Dylan continues to grow rapidly:
Here is a three-part overview of some of the better-known books,
divided by subject material. This is only the tip of the iceberg -
better to check a catalog or your local libraries and bookstores for
greater detail.
If you read the following list and think you might want to read many of
these books but could never afford them, do not despair! Inform your
local library of the vast, untapped multitude of popular music resources
by recommending some of these titles to them. Do not be afraid; most
librarians do not bite. After all, what good is a public library that
does not take suggestions from its public? These books are, for the most
part, well-written commentary on the life and music of one of the most
significant popular songwriters of this century, and are a worthy addition
to a library collection...
Also, library catalogues will help you get an overview of published
monographs related to Bob Dylan. A good first catalogue to check is
found in California, and access is easy if you already have full
Internet access.
telnet melvyl.ucop.edu
If this union catalogue proves inadequate investigate the "use"
command by typing in "help use" from within melvyl.
# Another source to check is the Library of Congress. There is a
# good z39.50 www-gateway to locis (lcc) on:
# http://lcweb.loc.gov/z3950/mums2.html
If the hundreds of free online public access catalogues available
on the Internet are not enough for you there are more
sophisticated sources such as CURL, OCLC, First Search, RLIN,
UTLAS, NACSIS and the like... But you will need a password and
someone must pay the bill!
--
2(a). Bob Dylan biographies
===========================
Bob Dylan has never been accused of over-publicizing his private life.
Consequently, you will find that most of the biographies concerning
him are rather spotty for large periods of time, and often contradict
one another on important details. Most of the older biographies focus
heavily on the years up to 1966, and are pretty thin from there onward.
_Bob Dylan: An Intimate Biography_ by Anthony Scaduto, New York:
New American Library, 1979 [originally published 1972]. 366 p.
ISBN: 0451086090 LCCN: 4040-7214 79-316819 /MN
[Good basic coverage of the sixties Dylan, not without errors]
_No Direction Home: The Life and Music of Bob Dylan_ by Robert Shelton.
New York: Ballantine Books, 1987 [reprint of 1986 edition]. 661 p.
ISBN: 0345347218 LCCN: 85-26781
[a good overview of the early years, but many errors have been
cited by other writers]
_Dylan: A Biography_ by Bob Spitz. New York: McGraw-Hill, 1991
[update of 1989 edition]. 639 p.
ISBN: 0070603308 LCCN: 88-12912
[Probably the least-loved of the biographies - Spitz tends to be
both mean-spirited and inaccurate in his reporting]
_Behind the Shades: A Biography_ by Clinton Heylin, New York:
Summit Books, 1991. 498 p.
ISBN: 0671738941 LCCN: 91-8858 /MN
[The only biography to provide good, detailed coverage of Dylan's career
through the 1970's and 1980's]
_Hard Rain: A Dylan Commentary_ by Tim Riley, New York: Knopf, 1992. 356 p.
ISBN: 0394578899 LCCN: 91-52808
[Riley provides a decent overview through 1976, but dismisses Dylan's
more recent career]
_Song and Dance Man_ by Michael Gray
ISBN: 052520685-X
[currently out of print in the USA, but a new, updated edition will be
published soon]
_Blood on the Tracks: The Story of Bob Dylan_, Chris Rowley.
Proteus Publishing, New York, 1984.
ISBN: 0862761271
2(b). Studies of Dylan as a performer, lyricist, etc, and related works.
========================================================================
_Performing Artist, Vols. 1 & 2_ by Paul Williams.
Vol. 1 (1960-1973) - Novato, CA: Underwood-Miller, 1991. 310 p.
ISBN: 0887331319 LCCN: 89-20527
Vol. 2 (1974-1986) - Novato, CA: Underwood-Miller, 1992. 334 p.
ISBN: 0887331432 LCCN: 92-1769 /MN
[Probably the best general studies of Dylan that have yet appeared.
Williams largely eschews lyric analysis and biography in favor of an
admittedly nebulous look at Dylan the "performer:" singer, songwriter,
movie maker, song and dance man. You might not agree with everything
Williams says, but there's no better survey of his output]
_Dylan_ by Jonathan Cott. Garden City, NJ: Doubleday, 1984. 244 p.
ISBN: 0385191618 LCCN: 84-4049
_A Man Called Alias_ by Richard Williams. New York: Holt, 1992. 192 p.
ISBN: 0805022554 LCCN: 92-14992
[Both are good picture books, with adequate looks at Dylan's opus]
_On the Road with Bob Dylan_ by Larry Sloman. 1978, out of print.
[Highly recommended by readers of this newsgroup for its excellent
coverage of the 1975 Rolling Thunder tour and its avoidance of the
usual rock journalism cliches. Out of print, but a new printing
is possible within the next year or so]
_The Rolling Thunder Logbook_ by Sam Shepard. New York: Limelight
Editions, 1987 [reprint of 1977 ed.]. 184 p.
ISBN: 0879100699 LCCN: 86-27366
[Contains great photos of the 1975 tour]
_Wanted Man - In Search of Bob Dylan_ edited by John Bauldie. New York:
Citadel Press, 1991. 224 p.
ISBN: 0806512660 LCCN:
[A collection of interviews with other performers and personalities who
have worked with Dylan over the years. Many of these interviews have
been quoted in part by the major biographers, and give an interesting,
scattershot but effective portrait of Dylan as seen through the eyes of
his collaborators]
_A Darker Shade of Pale: a Backdrop to Bob Dylan_ by Wilfrid Mellers.
New York, Oxford Univ. Press, 1985. 255 p.
ISBN: 0195036220 LCCN: 85-272 /MN
[Serious musical analysis of Dylan through 1970 - recommended for fans
with a strong background in music theory and history]
_Across the Great Divide: The Band and America_ by Barney Hoskyns.
New York: Hyperion Press, 1993. 439 p.
ISBN: 1562828363 LCCN: 93-17243
[A bio of long-time Dylan collaborators, The Band; contains a good
deal of information on Dylan's work with them, especially on the 1966
and 1974 tours]
_Alias Bob Dylan_ by Steven Scobie. Red Deer, Alberta: Red Deer
College Press, 1991. 192 p.
ISBN: 0889950695 LCCN: 91-188326 /MN
[Lyric analysis]
_Voice Without Restraint: A Study of Bob Dylan's Lyrics and Their
Background_ by John Herdman, New York: Delilah Books, 1982, 164 p.
ISBN: 0933328184 LCCN: 81-69870
[Lyric analysis, with a discography & bibliography]
_Jokerman: Reading the Lyrics of Bob Dylan_, Aidan Day.
Oxford: B. Blackwell, 1988, 189 p.
ISBN: 0631158731 LCCN: 88-6104
[Lyric anaylsis]
_Performed Literature: Words and Music by Bob Dylan_ Betsy Bowden.
Bloomington: Indiana University Press, 1982, 239 p.
ISBN: 025334347X LCCN: 81-7217
[Lyric analysis, with a discography & bibliography]
Songbooks: (if you know of other Dylan songbooks, please tell us!)
==========
The Freewheelin' Bob Dylan. New York: Warner Bros. Inc., 1963
The Times They Are A-Changin'. New York: Warner Bros. Inc., 1964
Bringing It All Back Home. New York: Warner Bros. Inc., 1965
Highway 61 Revisited. New York: Warner Bros. Inc., 1965
Bob Dylan Songbook. New York: Warner Bros. Inc., 1965
Blonde on Blonde. New York: Music Sales Corp., 1966
Bob Dylan's Greatest Hits. New York: Warner Bros. Inc., 1967
John Wesley Harding. New York: Music Sales Corp., 1967
Bob Dylan: A Collection. New York: Warner Bros. Publications, 1968
Bob Dylan: A Retrospective. New York: Warner Bros. Publications, 1968
Nashville Skyline. New York: Music Sales Corp., 1969
Song Book. New York: Warner Bros. Inc., 1970
Self Portrait. New York: Music Sales Corp., 1970
New Morning. New York: Music Sales Corp., 1970
Pat Garrett and Billy the Kid. Berlin: Rolfe Budde Musikverlag, 1973
Planet Waves. New York: Music Sales Corp., 1974
Blood on the Tracks. New York: Music Sales Corp., 1975
The Basement Tapes. New York: Music Sales Corp., 1975
Desire. New York: Music Sales Corp., 1976
The Songs Of Bob Dylan,
1966 through 1975. New York: Knopf, 1976
Street Legal. New York: Music Sales Corp., 1978
Slow Train Coming. New York: Music Sales Corp., 1979
Saved. New York: Music Sales Corp., 1980
Shot of Love. New York: Music Sales Corp., 1981
Infidels. New York: Music Sales Corp., 1983
Empire Burlesque. New York: Music Sales Corp., 1985
Knocked Out Loaded. New York: Music Sales Corp., 1985
Down In The Groove. New York: Music Sales Corp., 1988
Oh Mercy. New York: Music Sales Corp., 1989
Bob Dylan: An Anthology. New York: Music Sales Corp., 1990
Rock Score. New York: Music Sales Corp., 1990
Under The Red Sky. New York: Music Sales Corp., 1990
Classic Dylan New York: Music Sales Corp., 1991
Good As I Been to You New York: Music Sales Corp., 1992
2(c). Reference books
=====================
_Lyrics 1962-1985_ by Bob Dylan. New York: Knopf, 1990 [reprint of
1985 revision of _Writings and Drawings_]. 527 p.
ISBN: 039454278-9 LCCN: 85-40408
[The official lyric book, covering *most* of Dylan's songs - but the
printed lyrics sometimes don't match the recordings, and there are
many songs omitted...]
_Bob Dylan: In His Own Words_ by Chris Williams. London: Omnibus Press,
1993. 111 p. Music Sales Corp., 225 Park Ave. S., New York, NY 10003.
ISBN: 0711932190
[A collection of Dylan quotations from interviews, etc. This is an update
of a 1978 version - several readers of this newsgroup have indicated
a strong preference for the 1978 version]
_Positively Bob Dylan: A Thirty Year Discography, Concert & Recording
Session Guide, 1960-1991_ by Michael Krogsgaard. Ann Arbor, MI:
Popular Culture, 1991. 498 p.
ISBN: 1560750006 LCCN: 89-92336
[The most frequently quoted reference guide on rec.music.dylan,
and a truly massive undertaking - this book provides an exhaustive
list of every Bob Dylan recording in circulation. There are minor
errors throughout, and new tapes surface regularly, but this is an
essential guide for any serious collector...]
_Stolen Moments: The Essential Bob Dylan Reference Book_ by Clinton
Heylin. [Another guide to Dylan sessions & so on...]
_Tangled Up in Tapes_ by Glen Dundas. [ditto, preferred over
Krogsgaard by some, although the format is quite different]
_Strangers and Prophets_ by Phill Townsend, 1992-.
[A guide to compact disc bootlegs, provides photos and detailed
information.]
_Dylan's Word: A Critical Dictionary_. Eadmer Press, 1994.
ISBN 0929914112
[An analysis of 800 terms in evry Dylan song between
1962-1985, including _Tarantula_.]
_The Bob Dylan Concordance_ by Steve Michel, 1993.
[Provides a comprehensive index to Dylan's songs by the lyrics.
If you ever wonder what song that line stuck in your head came from,
this book is for you. An excellent companion to the 'official' lyric
book, and a great resources for fans of Dylan's writing]
_I Just Write 'Em As They Come: An Annotated Guide to the Writings
of Bob Dylan_ by Tim Dunn. ["The Dylan song encyclopedia"]
_The Bible in the Lyrics of Bob Dylan_ by Bert Cartwright, 1993.
[A good look at Dylan's use of biblical references in his lyrics.
Flawed but fascinating]
_The Dylan Companion_ edited by Elizabeth Thomson & David Gutman,
Delta Press, May 1991. [At the back it has a 20 page bibliography,
listing tons of books and articles about Dylan from the very beginning
forward]
3. Are there magazines about Dylan to which I could subscribe?
==============================================================
There are several highly regarded periodicals devoted to Dylan's
career - again, this is not a complete listing, but merely a guide:
The Telegraph (UK - Wanted Man, P.O. Box 22, Romford, Essex RM1 2RF,
3 times a year, subscriptions currently $45/year via Rolling Tomes)
is the oldest and perhaps best known Dylan fan magazine.
Isis (UK - P.O. Box 132, Coventry, West Midlands CV3 5RE,
bi-monthly, subscriptions currently $64.95/yr. via Rolling Tomes)
is excellent for information regarding bootleg audio & video material
plus a comprehensive guide to Dylan's constant touring.
ICE (US, P.O. Box 3043, Santa Monica, CA 90408, monthly, subscribe
directly for $30/yr in North America, $40/yr elsewhere) is a newsletter
that provides information on new CDs, re-issued CDs, underground CDs,
and planned releases, all from reliable sources. Again, not a Dylan
magazine, but usually contains something regarding Dylan CDs...
ICE can be reached by email for questions and comments regarding
compact discs, as well as subscription information, at: EMAILICE@aol.com
Goldmine (US, 700 E. State St, Iola, WI 54990, (715) 445-2214,
FAX (715) 445-4087. Subscriptions $35/yr.)
This is a record and CD collectors' publication, published
twice a month, known for being a forum for bootleg buyers and
sellers. Goldmine has phased out detailed advertisements from all
but the largest dealers, including a crackdown on classified ads.
This includes tapes and videos, but *not* CD's. Subscriptions are $35
for a year; you can call and order by Visa/MC, or mail them a check or
money order. If you call them they will send you a free sample copy.
On The Tracks: The Unauthorized Bob Dylan Magazine (US - published
by Rolling Tomes [address above], quarterly, US subscriptions currently
$24.95/yr, or $39.95/yr to also receive the monthly newsletter,
Series of Dreams) Features interviews, columns by well-known Dylan
commentators, such as Paul Williams, and importantly, includes the
Rolling Tomes catalog within its pages. The companion newsletter
covers the gritty details such as concert dates, setlists, news events
and rumors.
Who Threw the Glass (Australia - quarterly, AUS$12 for subscription,
contact Shane Youl <sfy@mel.dit.CSIRO.AU> for more information) contains
analysis & discussion of Dylan's ongoing works...
Taper's Quarterly (US - quarterly, $10/yr) published by the Live Audio
Video Association (LAVA), 1726 Sacramento St., San Francisco, CA 94109-3643
(or contact: lava@well.sf.ca.com) is a forum for those who record live music
of all sorts, and contains information reagrding equipment, techniques, etc.
The Famous Etiquette Book (UK, available from PO Box 2935, Solihull,
West Midlands, B91 2LQ, UK. Subscription is 5 pounds sterling for 5 issues,
payable to Phill Townsend) TFEQ is a news-sheet produced by Phill Townsend
(Crazy Joe in ISIS) that gives updates on Dylan CD boots as they become
available. This information later becomes available in ISIS and Series of
Dreams, and eventually in Townsend's book(s).
Why A Pig? (UK, subscriptions are for 4 issues, c/o PO Box 3239,
London SW6, UK. Cheques/POs/IMO should be made payable to "Why A Pig?"
UK subs: 10 pounds; Europe subs: 12 pounds; USA subs: $15 sea, $20 air)
Devoted to covering the 'underground' CD market regarding many performers.
Rolling Thunder (Italy - three times a year, issues $12 each through
Rolling Tomes) Described in the Rolling Tomes catalog as "large format,
nice layout and photos. Mostly Italian text."
There are a number of discontinued magazines that are still in print
or available as back orders, such as Homer the Slut (UK) and Look Back
(US). For more information, contact Rolling Tomes.
4. I just read an article about Bob Dylan in my newspaper...
============================================================
Mark Carter provides a cutting service to which everyone should
contribute. If you see something in a newspaper, magazine or
journal of even the remotest relevance to Bob Dylan and his work
then you should send it to him. If it is something you would throw
away then send the original, otherwise send a photocopy. Include all
relevant information of the date, publication, place, page numbers, etc.
Send your contributions to:
Mark Carter,
25 Marlborourgh Road
Norwich
Norfolk NR3 7AP
England
Just because the article appeared in the New York Times doesn't
mean that someone else has already sent it! Duplications are trivial,
but omissions are glaring errors :-). Submissions from publications
with limited circulation and non-English newspapers are especially
encouraged, since the rest of the world will probably never know of
these articles unless you clip them!
5. What are bootlegs, and how do I find them?
=============================================
A bootleg is any recording, live or studio, which is not officially
sanctioned by the artist's recording company for sale or distribution.
In the U.S., it is legal to tape a radio show or television special
for your own personal use, but it is illegal to sell or rebroadcast
such a recording. It is also illegal to record concerts without the
artist's consent, and anyone who makes or distributes bootleg
recordings can be subject to prosecution.
Dylan's 'Royal Albert Hall' concert is one of the most famous bootlegs
of all time, dating from the 1966 tour of England (chances are that this
recording is really from Manchester or elsewhere). Contains some
truly amazing live performances; the 'electric' set was received very
poorly by the audience at hand. Near the end of the show, an
irritated audience member yells out "Judas!" Dylan responds by saying:
"I don't believe you... You're a liar!" before launching into a truly
overpowering version of "Like a Rolling Stone," obviously directed at
that same audience member... This audio bootleg is one of many fragments
of soundboard tapes circulating from the 1966 tour, and the origin of these
tapes is a frequent topic of discussion among Dylan fans everywhere.
A pirated recording, however, is an illegal copy of an official
release by an artist. Anyone who tapes a legally available CD or
record and then tries to sell you a copy is violating the copyright
on that recording and is knowingly depriving the artist of royalties.
The record industry does its best to search out pirates and prosecute
them. Pirated recordings (often made in countries like Thailand
or Indonesia, where authorities are easy to bribe or too busy to
notice) do deprive the company and artist of money, and are thus
far worse than bootlegs - the record industry claims that it loses
hundreds of millions of dollars every year to record pirates. These
are usually the cheapo tapes with blurry covers (or no jacket at all)
that are sold in flea markets and the like. Avoid like the plague.
On the other hand, counterfeit recordings are generally very
professional in appearance (supposedly there are thousands of pirated
copies of the Beatles' _Let It Be_ album in circulation that are nearly
indistinguishable from the official Apple Records release).
A counterfeit recording is an exact copy of a legitimate recording
(often with a few distinguishing flaws) that is illegally distributed as
the real thing.
Nevertheless, there are literally thousands of bootleg recordings of
Dylan performances and even studio sessions that are widely circulated
among collectors, and certain countries (such as Italy) have lenient
copyright laws which allow many of these recordings to be pressed on
compact disc. These discs are usually distributed as expensive
"live/rare" material and can only be found through record specialty
stores (usually the same places that sell used records) and individual
dealers, some of whom do mailorder business.
It is not within proper Internet/Usenet etiquette to make the sources
of such black-market operations available publicly, so the only way
that you will find bootlegs is by finding a store that sells them or
posting a request for information and waiting for someone to respond
via email. That is one FAQ that can't be answered publicly.
Many people obtain 'live/rare' material by trading DAT or cassette tapes.
This is obviously a lot cheaper than searching for profit-seeking dealers
of CD bootlegs (most of these are mastered from cassettes, anyway),
and is far less condemnable, so long as there is no payment involved.
Rec.music.gdead, the newsgroup for the Grateful Dead, is one place
where live tapes are traded legally - this is because the Grateful Dead
allow their concerts to be taped from a special section of the audience
and distributed for non-profit listening. If you follow the newsgroup
for a while, you will invariably see discussions of unreleased Bob Dylan
material. A friendly email response will often help locate someone with
whom you can trade live Dylan tapes...
If you do come across a Dylan CD and want to tell the newsgroup about
it, simply imitate the format of other listings you have seen, or ask
for help. Of importance are the songs included and their length, the
title and manufacturer of the disc, the matrix number (printed in tiny
characters on the inner ring of the disc), and the supposed origin of
the recording.
In short, the easiest way to find a particular out-of-print or rare item
is to latch onto a discussion of that item, or to bring up the topic
yourself. Most Bob Dylan fans are quite willing to share their addiction
with others...
A few pointers for those just starting out in tape trading:
Always use CrO2 (or better) cassettes - Maxell XLII is a good standard,
since its availability and quality standards are known worldwide. TDK SA
seems to have been accepted as an equal. (Digital Audio Tape recorders are
best, but not everyone can afford DAT...)
Be sure to indicate whether or not you want to use Dolby Noise Reduction -
many tapers prefer no Dolby at all, but Dolby-C has developed a sizable
following...
Few novices record at the correct level on CrO2 cassettes - don't be
frightened of the red, it takes massively high levels to distort with
a good machine. Record too low and the tape hiss generation by generation
in a tape tree becomes intolerable.
Restart from the beginning any final track which is unfinished on the
first side of a tape. Most trades are done on a one tape for one tape
basis - if you discover that you can't fit all the items requested onto
the number of tapes allotted, don't just send an incomplete recording!
And do make sure you have actually taped the FULL recording. It is all too
easy to accidentally clip the end of a song witout noticing. Stay in touch
with your trading partner to avoid disappointment on both ends. Above all,
don't be afraid to ask questions if you become confused!
Agree with your trader if they want blank tape left blank, filler inserted,
or the source restarted to fill the tape with repeated material. Also
determine the prefered method of shipment and whether or not you will
be mailing the tapes in their plastic boxes. If you are mailing overseas,
be sure to indicate that the package is a 'gift' on the customs form;
and use a low value when estimating the worth of the package contents.
Many countries levy considerable customs fees for valuable packages, which
the recipient will have to pay...
THE BOB DYLAN BOOT DATA BASE (BDBDB)
EDLIS now maintains a database of collectors who have registered
ownership of particular Dylan boots. The purposes of this service
are to disseminate information about boots (playlists, times,
quality, etc.) and to promote networking between collectors.
Periodically, a post to rec.music.dylan will be made under the
subject "EDLIS - Who Has Which Boot..." describing how to access
the service and how to contribute your collection list. Questions
posted to the newsgroup at-large are also relayed to the agency.
As with EDLIS' lyric service, the Who Has Which Boot database
depends on the generosity of collectors who send in their listings
and volunteer to provide information. No collection is too large
or too small, and your participation is strongly encouraged!
6. Has Bob Dylan appeared in any movies or film documentaries?
==============================================================
D.A. Pennebaker filmed "Don't Look Back," a documentary of Dylan's
1965 tour of England (it would be his last stand as a strictly 'folk'
performer). "Don't Look Back" is available on videocassette and features
footage of concerts, press-conferences and back-stage activity.
This is Dylan at his most playful/caustic, getting his digs at the
press, a hapless college student who wants to interview him and
Donovan, among others... Essential for the Dylan enthusiast.
The movie "Festival" covers several of the Newport Folk Festivals of the
1960's, and features Dylan infamous first 'electric' performance, with
the Paul Butterfield Blues Band.
"Eat the Document" is a one-hour film shot by D.A. Pennebaker during the
landmark 1966 'electric' tour of England and later edited by Howard Alk
and Dylan himself. This rather bizarre anti-documentary film was shown
at a few theaters in 1971, and has had a rare television airing or two
since, but is not in print. A short tape of outtakes from the movie was
assembled by Pennebaker and circulates on videotape.
"The Concert for Bangladesh," available on both videocassette and
compact disc, is George Harrison's fundraising benefit filmed at
Madison Square Gardens in 1971. Dylan makes a rare early 1970's concert
guest appearance and steals the show!
"Pat Garrett and Billy the Kid" is a Sam Peckinpah western tale of the
familiar outlaw. Bob Dylan wrote the soundtrack (includes "Knockin' on
Heaven's Door") and appears as "Alias," a bit part with a few amusing
scenes. The movie exists in the original release form, and a 'directors'
cut'. Both include some soundtrack music that is not on the soundtrack
album.
"The Last Waltz" documents the 'farewell' concert by The Band in 1976,
and features Dylan as well as a bevy of other performers in what has been
hailed as one of the best rock-documentaries made.
"Renaldo and Clara" - this four-hour movie by Bob Dylan (and a two-hour,
edited version) was shown at a few theaters in 1978, received generally
dismal reviews, and disappeared from sight. It will probably not be
given official release on any format any time in the near future.
It does, however, contain some great live footage from the 1975
Rolling Thunder tour, during which this movie was recorded. Circulating
videotape copies probably originated from a mid-1980's late-night
television broadcast of this movie in Britain.
The Hard Rain television special - filmed in concert in Fort Collins,
Colorado, May 1976, this footage was broadcast on NBC, but has not seen
official release on videocassette. Some, but not all, of the performances
from this set are on the live album _Hard Rain_... There is an 'alternate'
version of the Hard Rain special, with a very different song selection,
from Clearwater, Florida, April 1976 that was never broadcast but also
circulates in the underground.
Bob Dylan also appears in the movie "Hearts of Fire," filmed in 1985,
playing the part of an aging rock star. The script of this movie is
pretty hackneyed stuff, and received poor reviews. Still, Dylan fans
will find some moments of interest.
"Hard to Handle" is a concert videotape from the 1986 tour
of Australia with Tom Petty and the Heartbreakers.
"The Bob Dylan 30th Anniversary Tribute" videotapes document Columbia
Records' massive Dylan tribute show at Madison Square Gardens in 1992.
Dylan himself appears only briefly, but a host of other performers
play songs here that Dylan rarely or never airs...
(end part 2 of 2)
************************************************************************