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JOCHENS
LIEDERBUCH
FUR
GITARRE
c© 24. April 2002 by Jochen Meyer-Hilberg using Debian GNU/Linux,Emacs, LATEX, MusiXTEX, makeindex, xdvi, dvips, pstops, psnup and dvipdfm
Motto: Gib Gates keine Chance!
3
Inhaltsverzeichnis
All My Loving (The Beatles) . . . . . . . . . . . . . . . . . . . . . . 8
I Want to Hold Your Hand (The Beatles) . . . . . . . . . . . . . . . 9
And I Love Her (The Beatles) . . . . . . . . . . . . . . . . . . . . . 10
Eight Days a Week (The Beatles) . . . . . . . . . . . . . . . . . . . 11
Help! (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Norwegian Wood (The Beatles) . . . . . . . . . . . . . . . . . . . . 14
Girl (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
In My Life (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . 16
Eleanor Rigby (The Beatles) . . . . . . . . . . . . . . . . . . . . . . 17
Yellow Submarine (The Beatles) . . . . . . . . . . . . . . . . . . . . 18
A Day in the Life (The Beatles) . . . . . . . . . . . . . . . . . . . . 19
I am the Walrus (The Beatles) . . . . . . . . . . . . . . . . . . . . . 20
Strawberry Fields forever (The Beatles) . . . . . . . . . . . . . . . 22
Hey Jude (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . 24
The Continuing Story of Bungalow Bill (The Beatles) . . . . . . . . 26
Happiness is a Warm Gun (The Beatles) . . . . . . . . . . . . . . . 27
Rocky Raccoon (The Beatles) . . . . . . . . . . . . . . . . . . . . . 28
Come Together (The Beatles) . . . . . . . . . . . . . . . . . . . . . 29
Maxwell’s Silver Hammer (The Beatles) . . . . . . . . . . . . . . . 30
Let it be (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . 32
Get back (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . 33
The Gnome (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . 34
Fearless (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Time (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Brain Damage (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . 38
4 INHALTSVERZEICHNIS
Welcome to the Machine (Pink Floyd) . . . . . . . . . . . . . . . . 39
Wish You were here (Pink Floyd) . . . . . . . . . . . . . . . . . . . 40
Another Brick in the Wall (Pink Floyd) . . . . . . . . . . . . . . . . 41
Mother (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Comfortably Numb (Pink Floyd) . . . . . . . . . . . . . . . . . . . 44
The Sounds of Silence (Simon & Garfunkel) . . . . . . . . . . . . . 46
Mrs. Robinson (Simon & Garfunkel) . . . . . . . . . . . . . . . . . 48
The Boxer (Simon & Garfunkel) . . . . . . . . . . . . . . . . . . . . 50
It’s Good to be King (Tom Petty) . . . . . . . . . . . . . . . . . . . 52
Hard on Me (Tom Petty) . . . . . . . . . . . . . . . . . . . . . . . 54
Blowin’ in the Wind (Bob Dylan) . . . . . . . . . . . . . . . . . . . 56
Knockin’ on Heaven’s Door (Bob Dylan) . . . . . . . . . . . . . . . 57
Father and Son (Cat Stevens) . . . . . . . . . . . . . . . . . . . . . 58
Morning has Broken (Cat Stevens) . . . . . . . . . . . . . . . . . . 59
Field of Mars (The Church) . . . . . . . . . . . . . . . . . . . . . . 60
Secret Corners (The Church) . . . . . . . . . . . . . . . . . . . . . 61
Lola (The Kinks) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Hotel California (Eagles) . . . . . . . . . . . . . . . . . . . . . . . . 64
Sex and Candy (Marcy Playground) . . . . . . . . . . . . . . . . . 66
House of the Rising Sun (Animals) . . . . . . . . . . . . . . . . . . 68
Lady in Black (Uriah Heep) . . . . . . . . . . . . . . . . . . . . . . 70
The Universal Soldier (Donovan) . . . . . . . . . . . . . . . . . . . 72
Where have all the Flowers Gone? (Peter, Paul & Mary) . . . . . . 74
Suzanne (Leonard Cohen) . . . . . . . . . . . . . . . . . . . . . . . 76
Seasons in the Sun (Terry Jacks) . . . . . . . . . . . . . . . . . . . 78
Streets of London (Ralph McTell) . . . . . . . . . . . . . . . . . . . 80
INHALTSVERZEICHNIS 5
Dust in the Wind (Kansas) . . . . . . . . . . . . . . . . . . . . . . 82
The One I Love (R.E.M.) . . . . . . . . . . . . . . . . . . . . . . . 83
Angie (The Rolling Stones) . . . . . . . . . . . . . . . . . . . . . . 84
Nights in White Satin (The Moody Blues) . . . . . . . . . . . . . . 85
When a Blind Man Cries (Deep Purple) . . . . . . . . . . . . . . . 86
Marooned (Wire) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Venus (Shocking Blue) . . . . . . . . . . . . . . . . . . . . . . . . . 88
Killing Me Softly with his Song (Roberta Flack) . . . . . . . . . . . 89
Sailing (Rod Stewart) . . . . . . . . . . . . . . . . . . . . . . . . . 90
Teach Your Children (Crosby, Stills, Nash & Young) . . . . . . . . 91
Throw down the Sword (Wishbone Ash) . . . . . . . . . . . . . . . 92
Two o’Clock (F. Rainer Bechtold) . . . . . . . . . . . . . . . . . . . 93
Ick heff mol en Hamburg en Veermaster sehn . . . . . . . . . . . . 94
What shall We do with the Drunken Sailor? . . . . . . . . . . . . . 96
Go down, Moses! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
O Tannenbaum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Laßt uns froh und munter sein . . . . . . . . . . . . . . . . . . . . . 100
Kling, Glockchen, klingelingeling . . . . . . . . . . . . . . . . . . . 101
Schneeflockchen, Weißrockchen . . . . . . . . . . . . . . . . . . . . 102
Schneeflockchen, Weißrockchen . . . . . . . . . . . . . . . . . . . . 103
Leise rieselt der Schnee . . . . . . . . . . . . . . . . . . . . . . . . . 104
Alle Jahre wieder . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Ihr Kinderlein, kommet . . . . . . . . . . . . . . . . . . . . . . . . 106
Ihr Kinderlein, kommet . . . . . . . . . . . . . . . . . . . . . . . . 107
O du frohliche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Stille Nacht, heilige Nacht! . . . . . . . . . . . . . . . . . . . . . . . 109
6 INHALTSVERZEICHNIS
Dicke (Marius Muller-Westernhagen) . . . . . . . . . . . . . . . . . 110
Gruß mir die Genossen (Marius Muller-Westernhagen) . . . . . . . 112
Ja, so warn s’ die alten Rittersleut (Karl Valentin) . . . . . . . . . . 114
Ja, so warn s’ die alten Rittersleut . . . . . . . . . . . . . . . . . . 116
Aloha Heja He (Achim Reichel) . . . . . . . . . . . . . . . . . . . . 118
Aloha Heja He . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Mein kleiner gruner Kaktus (Comedian Harmonists) . . . . . . . . 122
Straßen unserer Stadt (Christian Heilburg) . . . . . . . . . . . . . . 124
Und keiner soll sagen . . . (Willy Millowitsch) . . . . . . . . . . . . . 126
Wie schon, daß du geboren bist (Rolf Zuckowski) . . . . . . . . . . 128
Kinder (Bettina Wegener) . . . . . . . . . . . . . . . . . . . . . . . 130
Sieben Tage lang (Bots) . . . . . . . . . . . . . . . . . . . . . . . . 131
Marmor, Stein und Eisen (Drafi Deutscher) . . . . . . . . . . . . . 132
Yenawe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Die Affen rasen durch den Wald . . . . . . . . . . . . . . . . . . . . 134
Lustig ist das Zigeunerleben . . . . . . . . . . . . . . . . . . . . . . 136
Bolle reiste jungst zu Pfingsten . . . . . . . . . . . . . . . . . . . . 138
Pizza-Blues (Christof Schardt) . . . . . . . . . . . . . . . . . . . . . 140
Raucherhusten-Blues . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Microsoft-Blues (Hartmut Henkel) . . . . . . . . . . . . . . . . . . 143
Wickie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Das Urmel-Lied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
O du lieber Augustin . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Auf einem Baum ein Kuckuck saß . . . . . . . . . . . . . . . . . . . 147
Sabotage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Otto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
INHALTSVERZEICHNIS 7
Bruder Jakob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Creutzfeldt-Jakob (Elmar Horig) . . . . . . . . . . . . . . . . . . . 151
Negeraufstand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Scheiße . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Gitarren-Griffe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
CD-Verzeichnis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
8
All My Loving (The Beatles)
Close youraeyes and I’ll k
D7
iss you,
tomGorrow I’ll m
eiss you,
remCember I’ll
aalways be tr
Fue.
And then whaile I’m aw
D7
ay,
I’ll write hGome ev’ry d
eay,
and I’ll sCend all my l
D7
oving to yGou.
I’ll pretaend that I’m k
D7
issing
the lGips I am m
eissing
and hCope that my dr
aeams will come tr
Fue.
And then whaile I’m aw
D7
ay,
I’ll write hGome ev’ry d
eay,
and I’ll sCend all my l
D7
oving to yGou.
All my leoving
H7
I will sH+
end to yGou.
All my leoving, d
H7
arling,H+
I’ll be trGue.
9
I Want to Hold Your Hand (The Beatles)
GOh yeh,
CI’ll tell you s
Gomething,
aI think you’ll underst
eand.
ThenCI’ll say that s
Gomething,
aI wanna hold your h
eand.
FI wanna h
Gold your h
Cand,
a FI wanna h
Gold your h
Cand.
GOh pl
Cease, say to m
Ge,
ayou’ll let me be your m
ean.
And plCease, say to m
Ge,
ayou’ll let me hold your h
eand.
FNow let me h
Gold your h
Cand,
a FI wanna h
Gold your h
Cand.
g7
And when I tC7
ouch you I feel hFappy ins
dide.
g7
It’s such a fC7
eeling that my lFove I can’t h
Gide.
FI can’t h
Gide,
FI can’t h
Gide.
GOh y
Cou got that s
Gomething,
aI think you’ll underst
eand.
WhenCI feel that s
Gomething,
aI wanna hold your h
eand.
FI wanna h
Gold your h
Cand,
a FI wanna h
Gold your h
Cand.
g7
And when I tC7
ouch you I feel hFappy ins
dide.
g7
It’s such a fC7
eeling that my lFove I can’t h
Gide.
FI can’t h
Gide,
FI can’t h
Gide.
GOh y
Cou got that s
Gomething,
aI think you’ll underst
eand.
WhenCI feel that s
Gomething,
aI wanna hold your h
eand.
FI wanna h
Gold your h
Cand,
a FI wanna h
Gold your h
Eand.
FI wanna h
Gold your h
Fand.
C
10
And I Love Her (The Beatles)
aI give her
eall my love,
athat’s all I d
eo,
aand if you s
eaw my love,
Cyou’d love her t
D7
oo, I lGove her.
aShe gives me
eev’rything,
aand tenderl
ey,
athe kiss my l
eover brings,
Cshe brings to m
D7
e, and I lGove her.
eA love like
hours
ecould never d
hie
eas long as
hI have you n
D7
ear me.
aBright are the st
ears that shine,
adark is the sk
ey,
aI know this l
eove of mine
Cwill never d
D7
ie, and I lGove her.
11
Eight Days a Week (The Beatles)
COoh I need your l
D7
ove babe, gFuess you know it’s tr
Cue.
CHope you need my l
D7
ove babe, jFust like I need y
Cou.
Haold me, l
Fove me, h
aold me, l
D7
ove me.
CAin’t got nothin’ but l
D7
ove babe,Feight days a w
Ceek.
CLove you ev’ry d
D7
ay girl,Falways on my m
Cind.
COne thing I can s
D7
ay girl, lFove you all the t
Cime.
Haold me, l
Fove me, h
aold me, l
D7
ove me.
CAin’t got nothin’ but l
D7
ove girl,Feight days a w
Ceek.
GEight days a week I l
aove you.
D7
Eight days a week is nFot enough to sh
G7
ow I care.
COoh I need your l
D7
ove babe, gFuess you know it’s tr
Cue.
CHope you need my l
D7
ove babe, jFust like I need y
Cou.
Haold me, l
Fove me, h
aold me, l
D7
ove me.
CAin’t got nothin’ but l
D7
ove babe,Feight days a w
Ceek.
GEight days a week I l
aove you.
D7
Eight days a week is nFot enough to sh
G7
ow I care.
CLove you ev’ry d
D7
ay girl,Falways on my m
Cind.
COne thing I can s
D7
ay girl, lFove you all the t
Cime.
Haold me, l
Fove me, h
aold me, l
D7
ove me.
CAin’t got nothin’ but l
D7
ove girl,Feight days a w
Ceek.
FEight days a w
Ceek.
FEight days a w
Ceek.
12
Help! (The Beatles)
GWhen I was younger, so much y
hounger than today,
eI never needed anybody’s h
Celp in
Fany w
Gay.
GBut now these days are gone, I’m n
hot so self assured.
eNow I find I’ve changed my mind, I’ve
Copened
Fup the d
Goors.
aHelp me if you can, I’m feeling down.
And I dFo appreciate you being ’round.
HDelp me get my feet back on the ground.
Won’t you plGease, please, help me?
GAnd now my life has changed in,
hoh, so many ways,
emy independence seems to v
Canish
Fin the h
Gaze.
GBut ev’ry now and then I f
heel so insecure,
eI know that I just need you like I’ve n
Cever d
Fone bef
Gore.
Help! (The Beatles) 13
aHelp me if you can, I’m feeling down.
And I dFo appreciate you being ’round.
HDelp me get my feet back on the ground.
Won’t you plGease, please, help me?
GWhen I was younger, so much y
hounger than today,
eI never needed anybody’s h
Celp in
Fany w
Gay.
GBut now these days are gone, I’m n
hot so self assured.
eNow I find I’ve changed my mind, I’ve
Copened
Fup the d
Goors.
aHelp me if you can, I’m feeling down.
And I dFo appreciate you being ’round.
HDelp me get my feet back on the ground.
Won’t you plGease, please, help me?
eHelp me! Help m
Ge! Oo!
14
Norwegian Wood (This Bird has Flown) (The Beatles)
DI once had a girl, or should I say, sh
Ce once had m
De.
ShDe showed me her room, isn’t it good, N
Corwegian w
Dood?
Shedasked me to stay and she told me to sit anywh
Gere.
SodI looked around and I noticed there wasn’t a ch
Gair.
A
DI sat on a rug, biding my time, dr
Cinking her w
Dine.
WDe talked until two, and then she said, “
CIt’s time for b
Ded.”
She tdold me she worked in the morning and started to l
Gaugh.
I tdold her I didn’t and crawled off to sleep in the b
Gath.
A
DAnd when I awoke, I was alone, th
Cis bird had fl
Down.
SDo I lit a fire, isn’t it good, N
Corwegian w
Dood?
15
Girl (The Beatles)
Is thereaanybody goin’ to listen to my story,
dall about the girl who came to st
aay?
EShe’s the k
aind of girl you want so much it makes you sorry.
Stdill, you don’t regret a single d
aay.
FAh, g
Cirl!
d7 G7
GCirl!
d7 G7
When I thaink of all the times I’ve tried so hard to leave her,
shde will turn to me and start to cr
ay.
EAnd she pr
aomises the earth to me and I believe her,
dafter all this time I don’t know wh
ay.
FAh, g
Cirl!
d7 G7
GCirl!
d7 G7
Shde’s the kind of girl who puts you d
A7
own when friends are there,
you feel a fdool.
A7
Whden you say she’s looking good, she
A7
acts as if it’s understood,
she’s cdool, cool, cool, cool.
GCirl!
d7 G7
GCirl!
d7 G7
Was she taold when she was young that fame would lead to pleasure?
Ddid she understand it when they s
aaid,
Ethat a m
aan must break his back to earn his day of leisure?
Wdill she still believe it when he’s d
aead?
FAh, g
Cirl!
d7 G7
GCirl!
d7 G7
GCirl!
d7 G7
GCirl!
16
In My Life (The Beatles)
There are plAaces I’ll rem
f ]
ember
A7
all my lDife,
dthough s
Aome have changed,
some forever, not for bf ]
etter,
A7
some have gDone
dand s
Aome remain.
All these plf ]
aces had their mDoments
with lGovers and friends I st
Aill can recall,
some are df ]
ead and some are lH7
iving,
in mDy l
dife I’ve l
Aoved them all.
EBut of
Aall these friends and l
f ]
overs,
A7
there is nDo
done comp
Aares with you,
and these mem’ries lose their mf ]
eaning,
A7
when I thDink of l
dove as s
Aomething new.
Though I knf ]
ow I’ll never lose affDection
for pGeople and things that w
Aent before,
I knf ]
ow I’ll often stop and think abH7
out them,
in mDy l
dife I’ll l
Aove you more.
EThough I kn
f ]
ow I’ll never lose affDection
for pGeople and things that w
Aent before,
I knf ]
ow I’ll often stop and think abH7
out them,
in mDy l
dife I’ll l
Aove you more.
EIn my life I’ll love you m
Aore.
E A
17
Eleanor Rigby (The Beatles)
CAh, look at all the lonely p
eeople!
CAh, look at all the lonely p
eeople!
eEleanor Rigby picks up the rice in the church where a wedding has
bCeen, lives in a dr
eeam, waits at the window, wearing the face that she
keeps in a jar by the dCoor. Who is it f
eor?
e7
All the lonely pe6
eople, where dCo they all come fr
eom?
e7
All the lonely pe6
eople, where dCo they all bel
eong?
Feather McKenzie writing the words of a sermon that no one will h
Cear.
No one comes neear. Look at him working, darning his socks in the night
when there’s nobody thCere. What does he c
eare?
e7
All the lonely pe6
eople, where dCo they all come fr
eom?
e7
All the lonely pe6
eople, where dCo they all bel
eong?
eEleanor Rigby died in the church and was buried along with her n
Came.
Nobody ceame. Father McKenzie wiping the dirt from his hands as he
walks from the grCave. No one was s
eaved.
e7
All the lonely pe6
eople, where dCo they all come fr
eom?
e7
All the lonely pe6
eople, where dCo they all bel
eong?
18
Yellow Submarine (The Beatles)
In the tGown, where
FI was b
Corn, l
aived a m
dan, who s
Failed to s
Gea.
CAnd he t
Gold us
Fof his l
Cife
ain the l
dand of s
Fubmar
Gines.
SCo we s
Gailed up t
Fo the s
Cun, t
aill we f
dound the s
Fea of gr
Geen.
CAnd we l
Gived ben
Feath the w
Caves
ain our y
dellow s
Fubmar
Gine.
WCe all live in a y
Gellow submarine, y
Gellow submarine, y
Cellow submarine.
WCe all live in a y
Gellow submarine, y
Gellow submarine, y
Cellow submarine.
CAnd our fr
Giends are
Fall on b
Coard, m
aany m
dore of them l
Five next d
Goor.
CAnd the b
Gand beg
Fins to pl
Cay:
a d7 G7 C
WCe all live in a y
Gellow submarine, y
Gellow submarine, y
Cellow submarine.
WCe all live in a y
Gellow submarine, y
Gellow submarine, y
Cellow submarine.
CAs we l
Give a l
Fife of
Cease,
aev’ry
done of us has
Fall we n
Geed.
SkCy of bl
Gue and s
Fea of gr
Ceen
ain our y
dellow s
Fubmar
Gine.
WCe all live in a y
Gellow submarine, y
Gellow submarine, y
Cellow submarine.
WCe all live in a y
Gellow submarine, y
Gellow submarine, y
Cellow submarine.
19
A Day in the Life (The Beatles)
GI read the n
hews today, oh b
eoy,
Cabout a l
eucky man who m
aade the grade.
GAnd though the n
hews was rather s
ead,
Cwell, I just h
Fad to l
eaugh.
CI saw the ph
Fotogr
eaph.
C
GHe blew his m
hind out in a c
ear.
CHe didn’t n
eotice that the l
aights had changed.
GA crowd of p
heople stood and st
eared,
Cthey’d seen his f
Face bef
eore.
Neobody was really sure if he was from the House of L
Cords.
GI saw a f
hilm today, oh b
eoy.
CThe English
earmy had just w
aon the war.
GA crowd of p
heople turned aw
eay,
Cbut I just h
Fad to l
eook.
eHaving read the b
Cook, I’d love to t
hurn y
Gou
eon.
GI heard the n
hews today, oh b
eoy,
Cfour thousand h
eoles in Blackburn L
aancashire.
GAnd though the h
holes were rather sm
eall,
Cthey had to c
Fount them
eall.
Neow they know how many holes it takes to fill the Albert H
Call.
I’d love to thurn y
Gou
eon.
20
I am the Walrus (The Beatles)
AI am he as y
A7
ou are he as
yCou are me and w
De are
Eall tog
Aeth
A7
er.
SCee how they run like pigs from a gun, see h
Dow they fly,
I’m crAying.
SAitting on a cornfl
A7
akeD
wFaiting for the v
Gan to c
Aome.
A7
CForporation tea shirt, stupid bloody Tuesday.
MHan, you been a naughty boy, you let your face grow long.
I am theCeggman, they are the
Deggman,
I am the wEalrus, goo goo g’ joob.
MAister City p’l
A7
iceman sitting
prCetty little p’l
Diceman
Ein a r
Aow.
A7
SCee how they fly like Lucy in the sky, see h
Dow they run,
I’m crAying.
I am the Walrus (The Beatles) 21
YAellow matter c
A7
ustardD
drFipping from a d
Gead dog’s
Aeye.
A7
CrFabalocker fishwife pornographic priestess.
BHoy, you been a naughty girl, you let your knickers down.
I am theCeggman, they are the
Deggman,
I am the wEalrus, goo goo g’ joob.
AExpert texpert ch
A7
oking smokers
dCon’t you think the j
Doker l
Eaughs at y
Aou?
A7
SCee how they smile like pigs in the sty, see h
Dow they snied,
I’m crAying.
SAemolina P
A7
ilchardsD
clFimbing up the
GEiffel T
Aower.
A7
FElement’ry penguin singing Hare Krishna.
MHan, you should have seen them kicking Edgar Allen Poe.
I am theCeggman, they are the
Deggman,
I am the wEalrus, goo goo g’ joob.
22
Strawberry Fields forever (The Beatles)
CLet me take you down ’cause I’m goin’ t
g7
o strawberry fields.
A7
Nothing is real, and nFothing to get h
A7
ung about
strFawberry fields for
Cever.
LGiving is
heasy with
G7
eyes closed.E7
aMisunderstanding all you s
Fee.
It’s getting hG7
ard to be someCone, but it all works
aout,
Fit doesn’t m
Gatter much to m
Fe.
C
CLet me take you down ’cause I’m goin’ t
g7
o strawberry fields.
A7
Nothing is real, and nFothing to get h
A7
ung about
strFawberry fields for
Cever.
NGo one, I th
hink, is in m
G7
y tree.E7
aI mean, it must be high or l
Fow.
That is, you knG7
ow, you can’t tuneCin, but it’s all r
aight,
Fthat is, I th
Gink, it’s not too b
Fad.
C
Strawberry Fields forever (The Beatles) 23
CLet me take you down ’cause I’m goin’ t
g7
o strawberry fields.
A7
Nothing is real, and nFothing to get h
A7
ung about
strFawberry fields for
Cever.
GAlways kn
how, somet
G7
imes thinkE7
it’s me.
Baut you know and I know and it’s a dr
Feam.
I think, I knG7
ow of thee, ah, yCes, but it’s all wr
aong,
Fthat is, I th
Gink, I disagr
Fee.
C
CLet me take you down ’cause I’m goin’ t
g7
o strawberry fields.
A7
Nothing is real, and nFothing to get h
A7
ung about
strFawberry fields for
Cever.
24
Hey Jude (The Beatles)
Hey JGude, don’t make it b
Dad,
take a sD7
ad song and make it bGetter.
RemCember to let her into your h
Geart,
then you can stD7
art to make it bGetter.
Hey JGude, don’t be afr
Daid,
you were mD7
ade to go out and gGet her.
The mCinute you let her under your sk
Gin,
then you begD7
in to make it bGetter.
G7
And any time you feel the pCain, hey Jude, refr
a7
ain,
don’t carry the wD7
orld upon your shGoulders.
G7
For now you know, that it’s a fCool, who plays it c
a7
ool
by making his wD7
orld a little cGolder.
Da da da dG7
a da, da da dD7
a da.
Hey Jude (The Beatles) 25
Hey JGude, don’t let me d
Down,
you have fD7
ound her, now go and gGet her.
RemCember to let her into your h
Geart,
then you can stD7
art to make it bGetter.
G7
So let it out and let itCin, hey Jude, beg
a7
in,
you’re waiting for sD7
omeone to perfGorm with.
G7
And don’t you know, that it’s just yCou, hey Jude, you’ll d
a7
o,
the movement you nD7
eed is on your shGoulder.
Da da da dG7
a da, da da dD7
a da.
Hey JGude, don’t make it b
Dad,
take a sD7
ad song and make it bGetter.
RemCember to let her under your sk
Gin,
then you’ll begD7
in to make it bGetter,
better, better, better, better, better, oh.
DGa da da d
Fa-da-da-da, d
Ca-da-da-da, hey J
Gude.
26
The Continuing Story of Bungalow Bill (Beatles)
HCey, B
G7
ungalow BCill, wh
fat did you k
Cill, B
fungalow B
G7
ill?
HAey, B
E7
ungalow BAill, wh
dat did you k
Aill, B
dungalow B
Eill?
He waent out tiger h
Cunting with his
Felephant and gun,
G
ain case of
Caccidents, he
Falways took his mom.
G
He’s theEAll American b
Gullet headed S
aaxon mother’s s
fon.
All the children sing: HCey, B
G7
ungalow BCill, wh
fat did you k
Cill, B
fungalow B
G7
ill?
HAey, B
E7
ungalow BAill, wh
dat did you k
Aill, B
dungalow B
Eill?
aDeep in the j
Cungle where the m
Fighty tiger lies,
G
aBill and his
Celephants were t
Faken by surprise.
G
ESo Captain M
Garvel zapped him r
aight between the
feyes.
All the children sing: HCey, B
G7
ungalow BCill, wh
fat did you k
Cill, B
fungalow B
G7
ill?
HAey, B
E7
ungalow BAill, wh
dat did you k
Aill, B
dungalow B
Eill?
aThe children
Casked him if to k
Fill was not a sin,
G
a“Not when he l
Cooked so fierce,” his m
Fother butted in.
G
EIf looks could k
Gill it would have been
aus instead of h
fim.
All the children sing: HCey, B
G7
ungalow BCill, wh
fat did you k
Cill, B
fungalow B
G7
ill?
HAey, B
E7
ungalow BAill, wh
dat did you k
Aill, B
dungalow B
Eill?
HCey, B
G7
ungalow BCill, wh
fat did you k
Cill, B
fungalow B
G7
ill?
HAey, B
E7
ungalow BAill, wh
dat did you k
Aill, B
dungalow B
Eill?
HCey, B
G7
ungalow BCill, wh
fat did you k
Cill, B
fungalow B
G7
ill?
HAey, B
E7
ungalow BAill, wh
dat did you k
Aill, B
dungalow B
Eill?
27
Happiness is a Warm Gun (The Beatles)
She’s naot a girl who m
eisses much,
ado do do do do dooo,
eoh yeah!
dShe’s well acquainted with the touch of the velvet hand
like a lizard on a waindow pane.
The mdan in the crowd with the multicolored mirrors
on his haobnail boots,
ldying with his eyes while his hands are busy working
aovertime,
da soap impression of his wife which he ate and donated
to the Naational Trust.
A7
A7
I need a fix ’cause I’m going down, down to the bits that I left up town.
CI need a fix ’cause I’m g
A7
oing down.
MA7
other Superior jCump the gun, M
A7
other Superior jG7
ump the gun.
MA7
other Superior jCump the gun, M
A7
other Superior jG7
ump the gun.
MA7
other Superior jCump the gun, M
A7
other Superior jG7
ump the gun.
CHappin
aess is a w
Farm gun!
G7 CHappin
aess is a w
Farm gun!
G7
CHappin
aess is a w
Farm gun!
G7 CHappin
aess is a w
Farm gun!
G7
fHappiness is a warm, yes it is, g
Cun!
a F G7 C a F G7 C
28
Rocky Raccoon (The Beatles)
a
Raocky Raccoon checked
D7
into his roomG7
only to find Gideon’s BCible.
Raocky had come equ
D7
ipped with a gun to shG7
oot off the legs of his rCival.
His ra7
ival it seems had brD7
oken his dreams by stG7
ealing the girl of his fCancy.
Her na7
ame was Magill, she cD7
alled herself Lil, butG7
ev’ryone knew her as NCancy.
Now shae and her man who c
D7
alled himself Dan wereG7
in the next room at the hCoedown.
Raocky burst in and gr
D7
inning a grin, he said, “DG7
anny Boy, this is a shCowdown.”
But Da7
aniel was hot, he drD7
ew first and shot and RG7
ocky collapsed in the cCorner.
Now the daoctor came in st
D7
inking of gin and procG7
eeded to lie on the tCable.
He said, “Ra7
ocky you met your match.” And Rocky said, “DD7
oc, it’s only a scratch,
and I’ll be bG7
etter, I’ll be better Doc, as soon as I amCable.”
Now Raocky Raccoon, he fell b
D7
ack in his roomG7
only to find Gideon’s BCible.
Gaideon checked out and he l
D7
eft it no doubt to hG7
elp with good Rocky’s revCival.
29
Come Together (The Beatles)
Hdere come old flat top, he come gr
dooving up slowly, he got J
doo Joo
eyeball, he one hdoly roller, he got
A7
hair down to his knee.
GG7
ot to be a joker, he just do what he please.d
Hde wear no shoeshine, he got t
doe jam football, he got m
donkey finger,
he shoot cdoca cola, he say
A7
“I know you, you know me.”
G7
One thing I can tell you is you got to be free.
Come toghether, right n
Gow,
Aover m
de.
Hde bag production, he got w
dalrus gumboot, he got
dO-no sideboard,
he one spdinal cracker, he got
A7
feet down below his knee.
HG7
old you in his armchair, you can feel his disease.
Come toghether, right n
Gow,
Aover m
de.
Hde roller coaster, he got
dearly warning, he got M
duddy Water,
he one Mdo-jo filter, he say
A7
“One and one and one is three.”
GG7
ot to be good looking ’cause he’s so hard to see.
Come toghether, right n
Gow,
Aover m
de.
30
Maxwell’s Silver Hammer (The Beatles)
JDoan was quizzical, st
H7
udied pataphysical sceience in the home,
lA7
ate nights all alone with a test tube,Doh, oh, oh,
A7
oh.
MDaxwell Edison, m
H7
ajoring in medicine, cealls her on the phone,
cA7
an I take you out to the pictures, JDo-o-o-o
A7
an?
But,E7
as she’s getting ready to go, a knA7
ock comes on the door:
BDang! Bang! Maxwell’s silver hammer came d
E7
own upon her head.
ClA7
ang! Clang! Maxwell’s silver hammer made seure, that sh
A7
e was dDead.
BDack in school again, M
H7
axwell plays the fool again,
teeacher gets annoyed,
wA7
ishing to avoid an unpleasant scDe-e-e-
A7
ene.
ShDe tells Max to stay, wh
H7
en the class has gone away,
seo, he waits behind,
wrA7
iting fifty times “I must not be sDo-o-o-
A7
o.”
But, whE7
en she turns her back on the boy, he crA7
eeps up from behind:
Maxwell’s Silver Hammer (The Beatles) 31
BDang! Bang! Maxwell’s silver hammer came d
E7
own upon her head.
ClA7
ang! Clang! Maxwell’s silver hammer made seure, that sh
A7
e was dDead.
DP. C. Thirty-One, s
H7
aid, “We’ve caught a dirty one,”
Meaxwell stands alone,
pA7
ainting testimonial pictures,Doh, oh, oh,
A7
oh.
RDose and Valerie, scr
H7
eaming from the gallery, seay he must go free,
the jA7
udge does not agree, and he tells them sDo-o-o-
A7
o.
But,E7
as the words are leaving his lips, a nA7
oise came from behind:
BDang! Bang! Maxwell’s silver hammer came d
E7
own upon his head.
ClA7
ang! Clang! Maxwell’s silver hammer made seure, that h
A7
e was dDead.
32
Let it be (The Beatles)
When I fCind myself in t
Gimes of trouble, M
aother Mary c
Fomes to me,
spCeaking words of w
Gisdom, let it b
Fe.
e D C
AndCin my hour of d
Garkness, she is st
aanding right in fr
Font of me,
spCeaking words of w
Gisdom, let it b
Fe.
e D C
Let it bae, let it b
Ge, let it b
Fe, let it b
Ce,
whisper words of wGisdom, let it b
Fe.
e D C
And whCen the broken h
Gearted people l
aiving in the w
Forld agree,
thCere will be an
Ganswer, let it b
Fe.
e D C
For thCough they may be p
Garted, there is st
aill a chance, that th
Fey will see,
thCere will be an
Ganswer, let it b
Fe.
e D C
Let it bae, let it b
Ge, let it b
Fe, let it b
Ce,
there will be anGanswer, let it b
Fe.
e D C
And whCen the night is cl
Goudy, there is st
aill a light, that sh
Fines on me,
shCine until tom
Gorrow, let it b
Fe.
e D C
I wCake up to the s
Gound of music, M
aother Mary c
Fomes to me,
spCeaking words of w
Gisdom, let it b
Fe.
e D C
Let it bae, let it b
Ge, let it b
Fe, let it b
Ce,
whisper words of wGisdom, let it b
Fe.
e D C
33
Get back (The Beatles)
A
G DJAo Jo was a man who thought he was a loner,
bDut he knew it couldn’t l
Aast.
JAo Jo left his home in Tucson, Arizona,
fDor some California gr
Aass.
GGDet b
Aack! Get back! Get b
Dack to where you once bel
Aonged.
GGDet b
Aack! Get back! Get b
Dack to where you once bel
Aonged.
G DSw
Aeet Loretta Martin thought she was a woman,
bDut she was another m
Aan.
AAll the girls around her say she’s got it coming,
bDut she gets it while she c
Aan.
GGDet b
Aack! Get back! Get b
Dack to where you once bel
Aonged.
GGDet b
Aack! Get back! Get b
Dack to where you once bel
Aonged.
G D A
34
The Gnome (Pink Floyd)
G D G D G D G D
I wDant to t
Aell you a st
Dory ’bout a l
Cittle m
Aan,
Cif I c
Aan.
A gnDome named Cr
Aimble-Cr
Domble, a l
Cittle gn
Aome stay
Cin their h
Aomes,
Geat
Ding, sl
Beep
Cing, dr
Fink
Cing th
Aeir w
Dine.
He wDore a sc
Aarlet t
Dunic, a bl
Cue green h
Aood, it l
Cooked quite g
Aood.
He hDad a b
Aig adv
Denture, a m
Cist of gr
Aass, fresh
Cair at l
Aast,
wGind
Ding, d
Bin
Cing, b
Fid
Cing h
Ais t
Dime.
And thGen one day,
Churr
Fay, an
Aother w
Eay from gn
Gomes to s
Day,
hGuuuurr
Day!
LookDat the sk
Ay, look
Dat the river,
Cisn’t it g
Aood?
C A
LookDat the sk
Ay, look
Dat the river,
Cisn’t it g
Aood?
C A
WGind
Ding, f
Bind
Cing pl
Fac
Ces t
Ao g
Do.
And thGen one day,
Churr
Fay, an
Aother w
Eay from gn
Gomes to s
Day,
hGuuuurr
Day!
HGuuuuuuuurr
Day!
35
Fearless (Pink Floyd)
G G G G C B G C B G
GYou say the hill’s too steep to climb,
C B Gshining.
C B G
GYou say you’d like to see me try,
C B Gclimbing.
C B A
AYou pick the place and I choose the t
Dime,
and now I clGimb that hill in my
Cown way.
GJust wait a while for the r
Cight day.
GAnd as I rise above the tr
Cee light and the clouds,
I look dDown, hear in the s
Cound of the things you said tod
Gay.
G G G G e2 e e2 e e2 G6 G C B G C B G
FGearlessly the idiot face the ground,
C B Gsmiling.
C B G
MGassing as the mergest tree turns round,
C B Gfounding.
C B A
AAnd who’s the fool who wears the gr
Dound?
Hoe dGown in your
Cown way.
GAnd ev’ry day is the r
Cight day.
GAnd as you rise above the f
Cear lines in this ground,
you look dDown, hear in the s
Cound of the faces in the gr
Gound.
G G G G G G G G G G G G
36
Time (Pink Floyd)
E f ] E f ] E F f ] E F f ]
f ] A E F f ]
Tf ]
icking away the moments that make up a dAull day,
you frEitter and waste the hours in an off hand w
f ]
ay.
Kf ]
icking around on a piece of ground in your hAome town,
wEaiting for someone or something to show you the w
f ]
ay.
TDired of lying in the sunshine, st
Aaying home to watch the rain,
yDou are young and life is long and th
Aere is time to kill today.
DAnd then one day you find,
c]
ten years have got behind you,
nho one told you when to run,
Eyou missed the starting gun.
f ] A E f ] f ] A E f ]
f ] A E f ] f ] A E f ]
D A D A D c] h E
And you rf ]
un and you run to catch up with the sun, but it’s sAinking,
and rEacing around to come up behind you ag
f ]
ain.
The sf ]
un is the same in the relative way, but you’reAolder,
shEorter of breath and one day closer to d
f ]
eath.
Time (Pink Floyd) 37
DEvery year is getting shorter, n
Aever seem to find the time,
plDans that either come to naught or h
Aalf a page of scribbled lines.
HDanging on in quiet desper
c]
ation is the English way,
the thime is gone, the song is over, th
Dought I’d something m
Fore to say.
E E7 A A4 E E7 A A4
E7
Home, home agAain,
A4 A
E7
I like to be here when I cAan.
A4 A
E7
When I come home cold and tAired,
A4 A
it’s gE7
ood to warm my bones beside the fAire.
A4 A
FCar away across the field,
the tholling of the iron bell
cFalls the faithful to their knees
to hGear the softly sp
Foken m
cagic sp
hells.
38
Brain Damage (Pink Floyd)
DThe lunatic is on the gr
G7
ass,D
the lunatic is on the grG7
ass.
DRemembering games and d
Eaisy chains and laughs,
gA7
ot to keep the loonies on the pDath.
D2 D
DThe lunatic is in the h
G7
all,D
the lunatics are in my hG7
all.
DThe paper holds their folded f
Eaces to the floor,
andA7
every day the paper boy brings mDore.
D2 D
GAnd if the dam breaks open m
Aany years too soon,
andCif there is no room upon the h
Gill,
Gand if your head explodes with d
Aark forbodings too,
I’ll sCee you on the dark side of the m
Goon.
h e A D
DThe lunatic is in my h
G7
ead,D
the lunatic is in my hG7
ead.
DYou raise the blade,
Eyou make the change,
A7
you re-arrange me ’till I’m sDane.
D2 D
DYou lock the door and thr
Eow away the key,
there’s sA7
omeone in my head, but it’s not mDe.
D2 D
GAnd if the cloud bursts, th
Aunder in your ear,
Cyou shout and no one seems to h
Gear.
GAnd if the band you’re in starts pl
Aaying different tunes,
I’ll sCee you on the dark side of the m
Goon.
h e A D
39
Welcome to the Machine (Pink Floyd)
e C e
eWelcome my son,
Cwelcome to the mach
eine.
CWhere have you been?
aIt’s alright, we know where you’ve b
eeen.
CYou’ve been in the pipeline, filling in time,
eprovided with toys and “Scouting for Boys”.
CYou bought a guitar to punish your ma,
eand you didn’t like school, and you know you’re nobody’s fool.
So wCelcome to the mach
eine.
e C e C e C e C e
eWelcome my son,
Cwelcome to the mach
eine.
CWhat did you dream?
aIt’s alright, we told you what to dr
eeam.
CYou dreamed of a big star,
ehe played a mean guitar.
CHe always ate in the Steak Bar,
ehe loved to drive in his Jaguar.
So wCelcome to the mach
eine.
e e e e e e e e e
40
Wish You were here (Pink Floyd)
a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)
F (C)So, so you think you can t
G (D)ell
heaven from hd (a)ell, blue skies from p
C (G)ain.
Can you tell a green fG (D)ield from a cold steel r
F (C)ail?
A smile from a vd (a)eil? Do you think you can t
C (G)ell?
C (G)And did they get you to tr
F (C)ade your heroes for gh
G (D)osts?
Hot ashes for trd (a)ees? Hot air for a c
C (G)ool breeze?
Cold comfort for chG (D)ange? And did you exch
F (C)ange
a walk on part in the wd (a)ar for a lead role in a c
C (G)age?
a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)
F (C)How I wish, how I wish you were h
G (D)ere.
We’re just twd (a)o lost souls swimming in a fish bowl,
C (G)year after year,
G (D)running over the same old ground.
F (C)What have we found?
The same old fd (a)ears. Wish you were h
C (G)ere.
a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)
41
Another Brick in the Wall (Part 2) (Pink Floyd)
Wde don’t need no education.
Wde don’t need no thought control.
No ddark sarcasm in the classroom.
Tdeacher leave the kids alone.
G
GHey teacher leave the kids al
done.
d C d C G d F
FAll in all it’s just an
Cother brick in the w
dall.
FAll in all you’re just an
Cother brick in the w
dall.
Wde don’t need no education.
Wde don’t need no thought control.
No ddark sarcasm in the classroom.
Tdeachers leave the kids alone.
G
GHey teacher leave us kids al
done.
d C d C G d F
FAll in all you’re just an
Cother brick in the w
dall.
FAll in all you’re just an
Cother brick in the w
dall.
d d d d d d d d
42
Mother (Pink Floyd)
MGother do you think they’ll drop the b
Comb?
G
MGother do you think they’ll like the s
Cong?
G
MCother do you think they’ll try to break my b
Galls?
DOooh
Caaah, mother should I build a w
Gall?
MGother should I run for presid
Cent?
G
MGother should I trust the governm
Cent?
G
MCother will they put me in the firing l
Gine?
DOooh M
Ca, is it just a waist of t
Gime?
HGush now baby, baby don’t you cr
Cy.
MFama’s gonna make all of your n
Cightmares come true.
MFama’s gonna put all of her f
Cears into you.
MFama’s gonna keep you right here
Cunder her wing.
She wFon’t let you fly but she m
Cight let you sing.
MFama’s gonna keep baby c
Cosy and w
Garm.
DOoooh b
Cabe,
Dooooh b
Cabe,
Dooooh babe,
of cCourse mama’s gonna help build the w
Gall.
Mother (Pink Floyd) 43
G C G C G C D C G
MGother do you think she’s good en
Cough for m
Ge?
MGother do you think she’s danger
Cous to m
Ge?
MCother will she tear your little boy ap
Gart?
DOooh
Caaah, mother will she break my h
Geart?
HGush now baby, baby don’t you cr
Cy.
MFama’s gonna check out all your g
Cirl friends for you.
MFama won’t let anyone d
Cirty get through.
MFama’s gonna wait up unt
Cil you get in.
MFama will always find
Cout where you’ve been.
MFama’s gonna keep baby h
Cealthy and cl
Gean.
DOoooh b
Cabe,
Dooooh b
Cabe,
Dooooh babe,
you’llCalways be a baby to m
Ge.
MGother did it need to be so h
Cigh.
44
Comfortably Numb (Pink Floyd)
h
Hhello, hello, hello, is there anybody
Ain there?
Just nod if you can hGear me,
eis there
hanyone at home?
Chome on, come on now, I hear you’re f
Aeeling down.
ButGI can ease your p
eain and get you
hon your feet again.
Rhelax, relax, relax, I’ll need some inform
Aation first,
jGust the basic f
eacts, can you sh
how me where it hurts?
DThere is no pain, you are rec
Aeding.
DA distant ship smoke on the hor
Aizon.
CYou are only coming through in w
Gaves.
Your lCips move but I cannot hear what you’re s
Gaying.
WhenDI was a child, I had a f
Aever.
My hDands felt just like two ball
Aoons.
NCow I’ve got that feeling once ag
Gain, I can’t explain,
you would notCunderstand, this is not how I
Gam.
AI
Chave bec
Gome comfortably n
Dumb.
Comfortably Numb (Pink Floyd) 45
D A D A C G C G
AI
Chave bec
Gome comfortably n
Dumb.
hO.k., o.k., o.k., just a little p
Ain prick.
There’ll be no moreGaaaaaaa
eah! But you may f
heel a little sick.
Can you sthand up, stand up, stand up? I do believe it’s w
Aorking good.
That’ll keep you gGoing through the sh
eow, come
hon it’s time to go.
DThere is no pain, you are rec
Aeding.
DA distant ship smoke on the hor
Aizon.
CYou are only coming through in w
Gaves.
Your lCips move but I cannot hear what you’re s
Gaying.
WhenDI was a child, I caught a fl
Aeeting glimpse,
Dout of the corner of my
Aeye.
CI turned to look but it was g
Gone,
I cannot put my fingerCon it now, the child is grown, the dr
Geam is gone.
AI
Chave bec
Gome comfortably n
Dumb.
h A G e h h A G e hh A G e h h A G e hh A G e h h A G e h
46
The Sounds of Silence (Simon & Garfunkel)
Haello darkness, my old fr
Giend,
I’ve come to talk with you agaain,
because a vCision softl
Fy creep
Cing,
left its seeds while I wFas sleep
Cing,
and the vFision that was planted in my br
Cain
still remains,a C
within the sGound of s
ailence.
In restless draeams I walked al
Gone
narrow streets of cobblestaone,
’neath the hCalo of
Fa street l
Camp
I turned my collar to the cFold and d
Camp,
when myFeyes were stabbed by the flash of a neon l
Cight,
that split the night,a C
and touched the sGound of s
ailence.
And in the naaked light I s
Gaw
ten thousand people, maybe maore,
people tCalking with
Fout speak
Cing,
people hearing withFout listen
Cing,
people writing sFongs that voices never sh
Care . . .
and no one dare,a C
disturb the sGound of s
ailence.
The Sounds of Silence (Simon & Garfunkel) 47
“Faools!” said I, “you do not kn
Gow,
silence like a cancer graows.
Hear my wCords that I m
Fight teach y
Cou,
take my arms that I mFight reach y
Cou.”
But my wFords like silent raindrops f
Cell,
a. . .
Cand echoed in the w
Gells of s
ailence.
And the paeople bowed and pr
Gayed
to the neon god they maade,
and the sCign flashed out
Fits warn
Cing
in the words that it wFas form
Cing,
and the signs said, “The wFords of the prophets are written on the subway w
Calls
and tenement halls,a C
and whisper’d in the sGounds of s
ailence.”
48
Mrs. Robinson (Simon & Garfunkel)
And here’s to yCou, Mrs. R
aobinson,
JCesus loves you m
aore than you will kn
Fow, wo, wo, w
Go.
God bless you, plCease, Mrs. R
aobinson,
hCeaven holds a pl
aace for those who pr
Fay, hey, hey, h
dey, hey, hey, h
Aey.
We’d lAike to know a little bit about you for our files.
We’d lDike to help you learn to help yourself.
GLook around you,
Call you see are s
Fympathetic
deyes,
strAoll around the grounds unt
Gil you feel at home.
And here’s to yCou, Mrs. R
aobinson,
JCesus loves you m
aore than you will kn
Fow, wo, wo, w
Go.
God bless you, plCease, Mrs. R
aobinson,
hCeaven holds a pl
aace for those who pr
Fay, hey, hey, h
dey, hey, hey, h
Aey.
HAide it in a hiding place where no one ever goes.
PDut it in your pantry with your cupcakes.
GIt’s a little s
Cecret, just the R
Fobinsons’ aff
dair.
MAost of all, you’ve got to h
Gide it from the kids.
Mrs. Robinson (Simon & Garfunkel) 49
Coo, coo, ca-chCoo, Mrs. R
aobinson,
JCesus loves you m
aore than you will kn
Fow, wo, wo, w
Go.
God bless you, plCease, Mrs. R
aobinson,
hCeaven holds a pl
aace for those who pr
Fay, hey, hey, h
dey, hey, hey, h
Aey.
SAitting on a sofa on a sunday afternoon,
gDoing to the candidates’ debate.
GLaugh about it, sh
Cout about it, wh
Fen you’ve got to ch
doose,
Aev’ry way you look at it, you l
Gose.
Where have you gCone, Joe Di M
aaggio?
A nCation turns its l
aonely eyes to y
Fou, woo, woo, w
Goo.
What’s that you sCay, Mrs. R
aobinson?
“JColtin’ Joe” has l
aeft and gone aw
Fay, hey, hey, h
dey, hey, hey, h
Aey.
50
The Boxer (Simon & Garfunkel)
GI am just a poor boy though my story’s seldom t
eold,
I have squDandered my resistance for a p
aocket full of m
Dumbles, such are pr
Gomises.
All lies and jeest, still a m
Dan hears what he w
Cants to hear and disregards the r
Gest.
Hmm hmm hDmmmm, hmmmm hmm hmm h
Gmmmm.
When I lGeft my home and my family, I was no more than a b
eoy,
in the cDompany of strangers, in the qu
aiet of the r
Dailway station r
Gunning scared.
Laying leow, seeking
Dout the poorer qu
Carters where the ragged people g
Go,
looking fDor the places only they would kn
Gow.
Lie la leie, lie la l
Die la lie la lie, lie la l
eie, lie la l
Die la lie la l
Cie la la la la l
Gie.
AskingGonly workman’s wages I come looking for a j
eob,
but I get noDoffers, just a “c
aome-on” from the wh
Dores on Seventh
GAvenue.
I do decleare, there were t
Dimes when I was s
Co lonesome I took some comfort th
Gere.
Ula la lDah, lah la la l
Gah.
The Boxer (Simon & Garfunkel) 51
Now the yGears are rolling by me, they are rocking evenl
ey,
I amDolder than I once was, y
aounger than I’ll b
De, but that’s not un
Gusual.
No it isn’t streange, after ch
Danges upon ch
Canges we are more or less the s
Game,
after chDanges we are more or less the s
Game.
Lie la leie, lie la l
Die la lie la lie, lie la l
eie, lie la l
Die la lie la l
Cie la la la la l
Gie.
Lie la leie, lie la l
Die la lie la lie, lie la l
eie, lie la l
Die la lie la l
Cie la la la la l
Gie.
Then I’m lGaying out my winter clothes and wishing I was g
eone,
going hDome, where the N
aew York City w
Dinters aren’t bl
Geeding me,
hleading me,
e
going hDome.
G
In the clGearing stands a boxer and a fighter by his tr
eade,
and he cDarries the reminders of
aev’ry glove that l
Daid him down
or cGut him till he cried out, in his anger and his sh
eame:
“I am lDeaving, I am l
Ceaving!”, but the fighter still rem
Gains.
Hmm hmm hDmmmm.
G
Lie la leie, lie la l
Die la lie la lie, lie la l
eie, lie la l
Die la lie la l
Cie la la la la l
Gie.
Lie la leie, lie la l
Die la lie la lie, lie la l
eie, lie la l
Die la lie la l
Cie la la la la l
Gie.
Lie la leie, lie la l
Die la lie la lie, lie la l
eie, lie la l
Die la lie la l
Cie la la la la l
Gie.
52
It’s Good to be King (Tom Petty)
a d G a a d G a
It’s good to be kaing, if just for a wh
dile.
To be there in vGelvet, yeah; to give ’em a sm
aile.
It’s good to get haigh and never come d
down.
It’s good to be kGing of your own little t
aown.
aaCCeeYeah, the w
D2
orld would swD2
ing ifGI were k
Cing.
FeDCDe GCan I h
Gelp it if I
FeDCDe astill dr
D2
eam time to time?D4 D
It’s good to be kaing and have your own w
day.
Get a feeling of pGeace at the end of the d
aay.
And when your bulldog baarks and your canary s
dings,
you’re out there with wGinners, it’s good to be k
aing.
It’s Good to be King (Tom Petty) 53
aaCCeeYeah
D2
I’ll be kD2
ing when dGogs get w
Cings.
FeDCDe GCan I h
Gelp it if I
FeDCDe astill dr
D2
eam time to time?D4 D
a d G a a d G a
It’s good to be kaing and have your own w
dorld.
It helps to make frGiends, it’s good to meet g
airls.
A sweet little quaeen, who can’t run aw
day.
It’s good to be kGing, whatever it p
aays.
FeDCDe GExc
Guse me if I
FeDCDe Ghave some pl
Gace in my mind,
FeDCDe awhere I g
D2
o time to time.D4 D D4 D D4 D
a d G a a d G a
54
Hard on Me (Tom Petty)
d G a d G a
It’sdall I can d
Go, to k
aeep that little girl smiling,
dand keep my f
Gaith al
aive.
Tdakes all I g
Got to h
aold on to tomorrow.
And yGou want to make it h
F4
ard.F
Yeah, yGou want to make it h
F4
ard on mFe.
Sdome other t
Gime,
aI’d be understanding,
ydou were supp
Gosed to b
ae
the frdiend that I n
Geeded wh
aen I was down and now.
YGou want to make it h
F4
ard,F
yGou want to make it h
F4
ard on mFe.
Meaybe if I tr
aied, I could t
eurn the other ch
Ceek.
Meaybe, but how b
aig do I h
Dave to b
Ge?
D G
Hard on Me (Tom Petty) 55
d G a d G a d G a
Now yGou want to make it h
F4
ard.F
Yeah, yGou want to make it h
F4
ard on mFe.
Meaybe if I tr
aied, I could t
eurn the other ch
Ceek.
Meaybe, but how b
aig do I h
Dave to b
Ge?
D G
dI need some
Gone to p
aut their arm around me,
shdelter me fr
Gom all h
aarm
jdust as I f
Gind s
aomething to believe in.
YGou want to make it h
F4
ard,F
yGou want to make it h
F4
ard on mFe.
Yeah, yGou want to make it h
F4
ard,F
yGou want to make it h
F4
ard on mFe.
d G a d G a
56
Blowin’ in the Wind (Bob Dylan)
HCow many r
Foads must a m
Can walk down, bef
Core you c
Fall him a m
Gan?
HCow many s
Feas must a wh
Cite dove s
aail, bef
Core she sl
Feeps in the s
Gand?
HCow many t
Fimes must a c
Cannon ball fly, bef
Core they for
Fever are b
Ganned?
TheFanswer, my fr
G7
iend, is blCowin’ in the w
aind,
theFanswer is bl
G7
owin’ in the wCind.
HCow many t
Fimes must a m
Can look up, bef
Core he can s
Fee the sk
Gy?
HCow many
Fears must
Cone man h
aave, bef
Core he can h
Fear people cr
Gy?
HCow many d
Feaths will it t
Cake, till he knows, that s
Co many p
Feople have d
Gied?
TheFanswer, my fr
G7
iend, is blCowin’ in the w
aind,
theFanswer is bl
G7
owin’ in the wCind.
HCow many y
Fears can a m
Countain exist, bef
Core it is w
Fashed to the s
Gea?
HCow many y
Fears can some p
Ceople ex
aist, bef
Core they’re all
Fowed to be fr
Gee?
HCow many t
Fimes can a m
Can turn his head, pret
Cending he j
Fust didn’t s
Gee?
TheFanswer, my fr
G7
iend, is blCowin’ in the w
aind,
theFanswer is bl
G7
owin’ in the wCind.
57
Knockin’ on Heaven’s Door (Bob Dylan)
GMama, t
Dake this badge from m
ae.
GI can’t
Duse it anym
Core.
GIt’s getting d
Dark, too dark to s
aee,
Gfeels like I’m kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
aoor,
Gknock, knock, kn
Dockin’ on heaven’s d
Coor.
Hey, hey, hey, hey, yGeah. Knock, knock, kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
Coor.
G D a G D C
GMama, p
Dut those guns to the gr
aound,
G’cause I can’t sh
Doot them anym
Core.
GThat cold black cl
Doud is comin’ d
aown,
Gfeels like I’m kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
aoor,
Gknock, knock, kn
Dockin’ on heaven’s d
Coor.
Hey, hey, hey, hey, yGeah. Knock, knock, kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
Coor.
G D a G D C
GMama, wh
Dat’s about from my f
aace,
GI can’t s
Dee to it anym
Core.
GIt’s a f
Deeling that I just can’t tr
aain.
GI feel like I’m kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
aoor,
Gknock, knock, kn
Dockin’ on heaven’s d
Coor.
Hey, hey, hey, hey, yGeah. Knock, knock, kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
Coor.
GKnock, knock, kn
Dockin’ on heaven’s d
Coor.
G D a G D C G
58
Father and Son (Cat Stevens)
It’s not tGime to make a ch
Dange, just rel
Cax take it
a7
easy,
you’re still yGoung, that’s your f
eault, there’s so m
auch you have to kn
Dow.
Find a gGirl, settle d
Down, if you w
Cant you can m
a7
arry,
look at mGe, I am
eold but I’m h
aappy.
D
I wasGonce like you are n
h7
ow and I knCow that it’s not
a7
easy
to be cGalm when you’ve f
eound something g
aoing on.
D
But take your tGime, think a l
h7
ot, think ofCev’rything you’ve g
a7
ot,
for you will stGill be here tom
eorrow, but your dr
Deams may n
Got.
C G C
How canGI try to expl
h7
ain? When I dCo he turns aw
a7
ay again.
It’sGalways been the s
eame, same old st
aory.
D
From the mGoment I could t
h7
alk I wasCordered to l
a7
isten
now there’s a wGay and I kn
eow that I h
Dave to g
Go away. I kn
Dow, I h
Cave to g
Go.
It’s not tGime to make a ch
Dange, just sit d
Cown take it sl
a7
owy,
you’re still yGoung, that’s your f
eault, there’s so m
auch you have to go thr
Dough.
Find a gGirl, settle d
Down, if you w
Cant you can m
a7
arry,
look at mGe, I am
eold but I’m h
aappy.
D
All the tGimes that I’ve cr
h7
ied, keepingCall the things I kn
a7
ew inside,
it’s hGard but it’s h
earder to ign
aore it.
D
If they were rGight I’d agr
h7
ee but it’s thCem they know not m
a7
e,
now there’s a wGay and I kn
eow that I h
Dave to g
Go away. I kn
Dow I h
Cave to g
Go.
59
Morning has Broken (Cat Stevens)
D G A F] h G7 C F C
Morning has brCok
den l
Gike the first m
Forn
Cing,
blackbird has speok
aen l
D4
ike the fDirst b
Gird.
G7
PrCaise for the s
Finging, pr
Caise for the m
aorn
Ding,
prGaise for them spr
Cing
Fing, fr
G7
esh from the wCorld.
F G E a G C G7
Sweet the rain’s nCew f
dall, s
Gunlit from h
Feav
Cen,
like the first deewf
aall
D4
on the fDirst gr
Gass.
G7
PrCaise for the sw
Feetness
Cof the wet g
aard
Den,
sprGung in compl
Ceten
Fess wh
G7
ere his feet pCass.
F G E a F] h G D A7 D
Mine is the sDunl
eight, m
Aine is the m
Gorn
Ding.
Born of thef]
one lhight,
E7
Eden saw plAay.
PrDaise with el
Gation, pr
Daise ev’ry m
horn
Eing,
GAod’s recre
Dati
Gon
A7
of the new dDay.
G A F] h G7 C F C
a F] h G D A7 D
60
Field of Mars (The Church)
C4 C C4 C
C4
It’s a long way home from the fCield of Mars.
C4
Distant, alone, beneath the plCatinum stars.
GAnd I turn to look, and I’m n
Fever any closer.
GOnly just the rain m
Fakes the skin feel colder.
aAll my life seems so f
Gar away,
aall my life seems so f
Gar away.
C4
The air is soft in the fCield of Mars.
C4
Tears and loss feed theCovergrown grass.
GAnd I have to leave, but I n
Fever seem to go.
GOnly more sad clouds, where
Fautumn winds will blow.
aAll my dreams seem so l
Gong ago,
aall my dreams seem so l
Gong ago.
COoooh, f
Field of Mars,
Cooooh, f
Field of Mars.
C4
The time is past in the fCield of Mars.
C4
Grief won’t last in the depCarting cars.
GAnd I call her name, but she n
Fever, ever hears.
GAnd I call again to the cr
Fuelty of the years.
aOh, my love, she’s so f
Gar away,
aoh, my love, she’s so f
Gar away.
COoooh, f
Field of Mars,
Cooooh, f
Field of Mars.
C4 C C4 C G F G F a G a G
COoooh, f
Field of Mars,
Cooooh, f
Field of Mars.
C
61
Secret Corners (The Church)
C G4 F2 a G
C G4 F2 a G F
LCying alone,
G4
isn’t that you?
DrF2
ifting away is theaonly thing l
Geft to do.
SCuch a sad place, s
G4
uch a lost world,
but nF2
othing is sadder than the taears of a m
Gake-believe g
Firl.
WhCo is this child, wh
G4
o is this man?
F2
Only two people who are daoing
Gall they can.
FrCost on the ground, the cr
G4
uel winds of fate
blF2
ow us forever and I knaow there’s j
Gust no esc
Fape.
aRun to the secret corners
Eof your room,
I’ll still be wGaiting, I’ll still be w
Faiting.
C G4 F2 a G F C
62
Lola (The Kinks)
C C D E
I mEet her in a club down in old Soho,
where you drAink champagne and it t
Dastes like coca c
Eola,
see — oh — el — aye cAola.
She wEalked up to me and she asked me to dance,
IAasked her her name and in a d
Dark brown voice, she said L
Eola,
el — oh — el — aye LAola,
Dla la la la L
Cola.
C D E
Well,EI’m not the world’s most physical guy,
but when she squAeezed me tight she nearly br
Doke my spine, oh my L
Eola,
la la la la LAola.
Well,EI’m not dumb, but I can’t understand,
why she wAalked like a woman and t
Dalked like a man, oh my L
Eola,
la la la la LAola,
Dla la la la L
Cola.
C D E
Well, we drHank champagne and danced all night
F]
under electric candle light.
She pAicked me up and sat me on her knee
and said:A
“Dear boy, won’t you come home with me?”
Well,EI’m not the world’s most passionate guy,
but when I lAooked in her eyes, well, I
Dalmost fell for my L
Eola,
Lola (The Kinks) 63
la la la la LAola,
Dla la la la L
Cola.
C D
LEola, la la la la L
Aola,
Dla la la la L
Cola.
C D E
I pAushed h
Eer aw
Hay, I w
Aalked t
Eo the d
Hoor,
I fAell t
Eo the fl
Hoor, I got d
Eown
G]7
on my knc]
ees,
thenHI looked at her, and she at me.
Well, thEat’s the way that I want it to stay,
andAI always want it to b
De that way for my L
Eola,
la la la la LAola.
GEirls will be boys and boys will be girls,
it’s a mAixed up, muddled up, sh
Dook up world except for L
Eola,
la la la la LAola.
Well,HI left home just a week before
andF]
I’d never ever kissed a woman before.
But LAola smiled and took me by the hand
and said:A
“Dear boy, I’m gonna make you a man.”
Well,EI’m not the world’s most masculine man,
but I knAow what I am, and I’m gl
Dad I’m a man and so is L
Eola,
la la la la LAola,
Dla la la la L
Cola.
C D
LEola, la la la la L
Aola,
Dla la la la L
Cola.
C D
LEola, la la la la L
Aola,
Dla la la la L
Cola.
C D E
64
Hotel California (Eagles)
a E G D F C d Ea E G D F C d E
aOn a dark desert highway,
Ecool wind in my hair,
Gwarm smell of colitas
Drising up through the air.
FUp ahead in the distance,
CI saw a shimmering light.
dMy head grew heavy and my sight grew dim,
EI had to stop for the night.
aThere she stood in the doorway,
EI heard the mission bell.
GAnd I was thinking to myself, “this could be h
Deaven or this could be hell.”
FThen she lit up a candle
Cand she showed me the way.
dThere were voices down the corridor,
EI thought I heard them say . . .
F“Welcome to the Hotel Calif
Cornia.
Such a lEovely place, such a lovely place, such a l
aovely face.
PlFenty of room at the Hotel Calif
Cornia.
Any tdime of year, any time of year, you can f
Eind it here.”
aHer mind is Tiffany-twisted,
Eshe got the Mercedes bends.
GShe got a lot of pretty, pretty boys,
Dthat she calls friends.
FHow they dance in the courtyard, sw
Ceet summer sweat.
dSome dance to remember,
Esome dance to forget.
Hotel California (Eagles) 65
aSo I called up the captain,
E“please bring me my wine.”
He said,G
“we haven’t had that spirit here sinceD
nineteen sixty nine.”
FAnd still those voices are calling from f
Car away,
dwake you up in the middles of the night,
Ejust to hear them say . . .
F“Welcome to the Hotel Calif
Cornia.
Such a lEovely place, such a lovely place, such a l
aovely face.
They lFivin’ it up at the Hotel Calif
Cornia.
What a ndice surprise, what a nice surprise, bring your
Ealibis.”
aMirrors on the ceiling,
Ethe pink champagne on ice.
And she said,G
“we are all just prisoners here,D
of our own device.”
FAnd in the master’s chambers,
Cthey gathered for the feast.
dThey stab it with their steely knives, but they j
Eust can’t kill the beast.
aLast thing I remember, I was
Erunning for the door.
GI had to find the passage back to the pl
Dace I was before.
F“Relax!” said the night man, “we are
Cprogrammed to receive.
dYou can check out any time you like,
Ebut you can never leave.”
a E G D F C d Ea E G D F C d E
66
Sex and Candy (Marcy Playground)
hHangin’ round d
Gowntown by mys
F]
elf,
and I had sho much time to sit and th
Gink about mys
F]
elf,
and then there she whas like d
Gouble cherry p
F]
ie,
yeah, there she whas like d
Gisco superfl
F]
y.F]
I smell sex andh
candyG
here.A
Who’s that loungingh
in myG
chair?A
Who’s that castingh
devious stGares in my dir
Aection?
Mama this sAurely is a dr
Deam, y
Aeah.
h
Yeah, Mama this sGurely is a dr
Deam.
A h G F]
hHangin’ round d
Gowntown by mys
F]
elf,
and I had thoo much caffeine and I was th
Ginkin’ ’bout mys
F]
elf,
and then there she whas in pl
Gatform double s
F]
uede,
yeah, there she whas like d
Gisco lemon
F]
ade.F]
Sex and Candy (Marcy Playground) 67
I smell sex andh
candyG
here.A
Who’s that loungingh
in myG
chair?A
Who’s that castingh
devious stGares in my dir
Aection?
Mama this sAurely is a dr
Deam, y
Aeah.
h
Yeah, Mama this sGurely is a dr
Deam.
A h
Yeah, Mama this sGurely is a dr
Deam, y
Aeah.
h G F]
I smell sex andh
candyG
here.A
Who’s that loungingh
in myG
chair?A
Who’s that castingh
devious stGares in my dir
Aection?
Mama this sAurely is a dr
Deam.
A h
Yeah, Mama this sGurely is a dr
Deam.
A h
Yeah, Mama this sGurely is a dr
Deam, y
Aeah.
h
Yeah, Mama this mGust be my dr
Deam.
68
House of the Rising Sun (Animals)
a C D F a E a E
Thereais a h
Couse in N
Dew Orl
Feans,
they caall “The R
Cising S
Eun”.
And it’s baeen the r
Cuin for m
Dany poor b
Foys,
and Gaod I kn
Eow I’m
aone.
C D F a E a E
My maother w
Cas a t
Dailor,
F
she saewed my n
Cew blue j
Eeans.
My faather w
Cas a g
Damblin’ m
Fan,
way daown in N
Eew Orl
aeans.
C D F a E a E
Theaonly th
Cings a g
Dambler n
Feeds
are a sauitcase
Cand a tr
Eunk.
And theaonly t
Cime, h
De’s satisf
Fied,
is whaen he’s
Eon a dr
aunk.
C D F a E a E
House of the Rising Sun (Animals) 69
Oh maother,
Ctell your ch
Dildren,
F
not to dao the th
Cings I’ve d
Eone.
Spaend your l
Cive in s
Din and miser
Fy
in the haouse of the r
Eising s
aun.
C D F a E a E
Withaone foot
Con the pl
Datform,
F
theaother put
Con the tr
Eain,
I’m gaoing b
Cack to N
Dew Orl
Feans,
to waear that b
Eall and ch
aain.
C D F a E a E
Thereais a h
Couse in N
Dew Orl
Feans,
they caall “The R
Cising S
Eun”.
And it’s baeen the r
Cuin for m
Dany poor b
Foys,
and Gaod I kn
Eow I’m
aone.
C D F a E a E a
70
Lady in Black (Uriah Heep)
She ceame to me one morning, one lonely Sunday morning,
her lDong hair flowing in the m
eid-winter wind.
I kneow not how she found me, for in darkness I was walking,
and destrDuction lay around me from a f
eight I could not win.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
Sheeasked me name my foe then. I said the need within some men
to fDight and kill their brothers without th
eought of love or God.
And I beegged her, “give me horses to trample down my enemy!”
SoDeager was my passion to dev
eour this way of life.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
But she weould not think of battle that reduces men to animals,
soDeasy to begin and yet imp
eossible to end.
For shee, the mother of all men, did counsel me so wisely then,
I fDeared to walk alone again and
easked if she would stay.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
Lady in Black (Uriah Heep) 71
“Oh, leady, lend your hand!” I cried, “oh, let me rest here at your side!”
“Have fDaith and trust in me!” she said and f
eilled my heart with pride.
“Thereeis no strength in numbers, have no such misconception,
but whDen you need me, be assured, I w
eon’t be far away.”
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
Thus heaving spoke she turned away, and tho’ I found no words to say,
I stDood and watched until I saw her bl
eack cloak disappear.
My leabour is not easier, but now I know I’m not alone,
I fDind new heart each time I think up
eon that windy day.
Andeif one day she comes to you, drink deeply from her words so wise,
take cDourage from her as your prize and s
eay hello for me.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
eAhah
Gahahah
Dahahah
ea
Gahahah
Dahahah
ea.
72
The Universal Soldier (Donovan)
HDe is f
Cive feet tw
Do, and he’s s
Gix feet f
eour,
he fCights with m
Dissiles and with sp
Gears,
he isCall of thirty-
Done, and he’s
Gonly sevent
eeen,
’s been a sColdier for th
aousand y
Dears.
D7
He’s a CCatholic, a H
Dindu, an
Gatheist, a Ch
eein,
a BCuddhist and a B
Daptist and a J
Gew,
and he knCows, he shouldn’t k
Dill, and he kn
Gows, he always w
eill,
care for mCe, my friend, and
aI will care for y
Dou.
D7
And he’s fCighting for C
Danada, he’s f
Gighting for Fr
eance,
he’s fCighting for the
DU.S.
GA.,
and he’s fCighting for the R
Dussians, he’s f
Gighting for Jap
ean,
and he thCinks we put an
aend to war this w
Day.
D7
The Universal Soldier (Donovan) 73
And he’s fCighting for dem
Docracy, he’s f
Gighting for the R
eeds,
he sCays it’s for the p
Deace of
Gall,
he’s theCone, who must dec
Dide, who’s to l
Give and who’s to d
eie,
and he nCever sees the wr
aiting on the w
Dall.
D7
And withCout him, how would H
Ditler kill the p
Geople at Dach
eau,
withCout him Caesar w
Dould have stood al
Gone,
he’s theCone, who gives his b
Dody as a w
Geapon of the w
ear,
and withCout him always k
ailling can’t go
Don.
D7
He’s theCuniversal s
Doldier, and he r
Geally is to bl
eame,
hisCorders came from f
Dar away, no m
Gore.
They cCame from here and th
Dere, and y
Gou and me ain’t br
eothers,
cCan’t you see, this is not the way we p
aut an end to war!
74
Where have all the Flowers Gone? (P., P. & M.)
G e G e
WhGere have all the fl
eowers gone, l
a7
ong time pDassing?
WhGere have all the fl
eowers gone, l
aong time ag
D7
o?
WhGere have all the fl
eowers gone?
Ya7
oung girls have picked themD7
everyone.
WhCen will they
Gever learn? Wh
aen will they
Dever l
Gearn?
WhGere have all the y
eoung girls gone, l
a7
ong time pDassing?
WhGere have all the y
eoung girls gone, l
aong time ag
D7
o?
WhGere have all the y
eoung girls gone?
Ga7
one to husbandsD7
everyone.
WhCen will they
Gever learn? Wh
aen will they
Dever l
Gearn?
WhGere have all the h
eusbands gone, l
a7
ong time pDassing?
WhGere have all the h
eusbands gone, l
aong time ag
D7
o?
WhGere have all the h
eusbands gone?
Ga7
one to soldiersD7
everyone.
WhCen will they
Gever learn? Wh
aen will they
Dever l
Gearn?
Where have all the Flowers Gone? (Peter, Paul & Mary) 75
WhGere have all the s
eoldiers gone, l
a7
ong time pDassing?
WhGere have all the s
eoldiers gone, l
aong time ag
D7
o?
WhGere have all the s
eoldiers gone?
Ga7
one to graveyardsD7
everyone.
WhCen will they
Gever learn? Wh
aen will they
Dever l
Gearn?
WhGere have all the gr
eaveyards gone, l
a7
ong time pDassing?
WhGere have all the gr
eaveyards gone, l
aong time ag
D7
o?
WhGere have all the gr
eaveyards gone?
Ca7
overed with flowersD7
everyone.
WhCen will they
Gever learn? Wh
aen will they
Dever l
Gearn?
WhGere have all the fl
eowers gone, l
a7
ong time pDassing?
WhGere have all the fl
eowers gone, l
aong time ag
D7
o?
WhGere have all the fl
eowers gone?
Ya7
oung girls have picked themD7
everyone.
WhCen will they
Gever learn? Wh
aen will they
Dever l
Gearn?
76
Suzanne (Leonard Cohen)
SGuzanne takes you down to her place near the river,
you can haear the boats go by, you can spend the night beside her,
and you knGow that she’s half crazy,
but that’s why you want to be there,
and she fheeds you tea and oranges that come
Call the way from China,
and just whGen you mean to tell her that you h
aave no love to give her,
then she gGets you on her wavelength, and she l
aets the river answer
that you’veGalways been her lover.
GAnd you w
hant to travel with her, and you w
Cant to travel blind,
and you knGow she will trust you
for you’ve taouched her perfect body with your m
Gind.
And JGesus was a sailor when he walked upon the water,
and he spaent a long time watching from his lonely wooden tower,
and whGen he knew for certain, only drowning men could see him,
he said, “hAll men will be sailors then unt
Cil the sea shall free them.”
But hGe himself was broken long bef
aore the sky would open,
forsGaken, almost human, he s
aank beneath your wisdom
like a stGone.
Suzanne (Leonard Cohen) 77
GAnd you w
hant to travel with him, and you w
Cant to travel blind,
and you thGink maybe you’ll trust him
for he’s taouched your perfect body with his m
Gind.
Now SGuzanne takes your hand and she leads you to the river,
she is waearing rags and feathers from Salvation Army counters,
and the sGun pours down like honey on our lady of the harbour,
and she shhows you were to look among the g
Carbage and the flowers.
There are hGeroes in the seaweed, there are ch
aildren in the morning,
they are lGeaning out for love and they will l
aean that way forever,
while SGuzanne holds the mirror.
GAnd you w
hant to travel with her, and you w
Cant to travel blind,
and you knGow that you can trust her
for she’s taouched your perfect body with her m
Gind.
78
Seasons in the Sun (Terry Jacks)
GDood-bye to you, my trusted friend,
we’ve known each other since we were neine or ten.
Together we’ve climbed hills and trDees,
learned of love and ABAC’s,
skinned our hearts and skinned our knDees.
GDood-bye, my friend, it’s hard to die,
when all the birds are singingein the sky.
Now that the spring is in theDair, pretty girls are ev’rywh
Aere,
think of me and I’ll be thDere.
We had jDoy, we had fun, we had s
eeasons in the sun,
but the hAills that we climbed were just seasons out of t
Dime.
We had jAoy, we had fun, we had s
eeasons in the sun,
but the wAine and the song like the seasons all have g
Done.
GDood-bye, Papa, please pray for me,
I was the black sheep of the feamily.
You tried to teach me right from wrDong,
too much wine and too much sAong,
wonder how I got alDong.
Seasons in the Sun (Terry Jacks) 79
GDood-bye, Papa, it’s hard to die,
when all the birds are singingein the sky.
Now that the spring is in theDair, little children ev’rywh
Aere,
when you’ll see them I’ll be thDere.
We had jDoy, we had fun, we had s
eeasons in the sun,
but the hAills that we climbed were just seasons out of t
Dime.
We had jAoy, we had fun, we had s
eeasons in the sun,
but the wAine and the song like the seasons all have g
Done.
GDood-bye, Michelle, my little one,
you gave me love and helped me feind the sun.
And ev’ry time that I was dDown,
you would always come arAound
and get my feet back on the grDound.
GDood-bye, Michelle, it’s hard to die,
when all the birds are singingein the sky.
Now that the spring is in theDair, with the flowers ev’rywh
Aere,
I wish that we could both be thDere.
All our lDives we had fun, we had s
eeasons in the sun,
but the stAars we could reach were just starfish on the b
Deach.
80
Streets of London (Ralph McTell)
HCave you seen the
Gold man in the cl
aosed down m
earket,
kFicking up the p
Capers with his w
dorn out sh
Goes?
CIn his eyes you s
Gee no pride, h
aand held loosely b
ey his side,
yFesterday’s p
Capers telling y
Gesterday’s n
Cews.
So hFow can you t
Cell me you’re l
Gonel
ay
Dand say for you that the sun don’t sh
Gine?
G7
LCet me take you b
Gy the hand and l
aead you through the str
eeets of London,
FI’ll show you s
Comething to m
Gake you change your m
Cind.
HCave you seen the
Gold girl who w
aalks the streets of L
eondon,
dFirt in her h
Cair and her cl
dothes in r
Gags?
ShCe’s no time for t
Galkin’, she j
aust keeps right on w
ealkin’,
cFarrying her h
Come in two c
Garrier b
Cags.
So hFow can you t
Cell me you’re l
Gonel
ay
Dand say for you that the sun don’t sh
Gine?
G7
LCet me take you b
Gy the hand and l
aead you through the str
eeets of London,
FI’ll show you s
Comething to m
Gake you change your m
Cind.
Streets of London (Ralph McTell) 81
In theCall night caf
Ge at a qu
aarter past el
eeven,
sFame old m
Can sitting th
dere on his
Gown.
LCooking at the w
Gorld over the r
aim of his t
eea cup,
Feach tea lasts an h
Cour and he w
Ganders home al
Cone.
So hFow can you t
Cell me you’re l
Gonel
ay
Dand say for you that the sun don’t sh
Gine?
G7
LCet me take you b
Gy the hand and l
aead you through the str
eeets of London,
FI’ll show you s
Comething to m
Gake you change your m
Cind.
HCave you seen the
Gold man outs
aide the seaman’s m
eission,
mFemory fading w
Cith the medal r
dibbons that he w
Gears?
CIn our winter c
Gity the r
aain cries a little p
eity
for one mFore forgotten h
Cero and a w
Gorld that doesn’t c
Care.
So hFow can you t
Cell me you’re l
Gonel
ay
Dand say for you that the sun don’t sh
Gine?
G7
LCet me take you b
Gy the hand and l
aead you through the str
eeets of London,
FI’ll show you s
Comething to m
Gake you change your m
Cind.
82
Dust in the Wind (Kansas)
C C7+ C2 C a2 a4 a a2
C2 C C7+ C2 a a2 a4 a
I clCose m
e7
yaeyes
Gonly for a m
doment and the m
aoment’s gone.
CAll m
e7
y draeams p
Gass before my
deyes and curi
aosity.
DDust
Gin the w
aind,
G Dall they are is d
Gust in the w
aind.
SCame
e7
old saong, j
Gust a drop of w
dater in an
aendless sea.
CAll w
e7
e dao cr
Gumbles to the gr
dound ’though we ref
ause to see.
DDust
Gin the w
aind,
G Dall we are is d
Gust in the w
aind.
C C7+ C2 C a2 a4 a a2
C2 C C7+ C2 a a2 a4 a
DCon’t h
e7
angaon, n
Gothing lasts for
dever but the
aearth and sky.
It slCips
e7
awaay and
Gall your money w
don’t another m
ainute buy.
DDust
Gin the w
aind,
G Dall we are is d
Gust in the w
aind.
DDust
Gin the w
aind,
G Dev’rything is d
Gust in the w
aind.
a a2 a4 a a2 a4 a a2
a4 a a2 a4 a a2 a4 aa2 a4 a a2 a4 a a2 a4 a
83
The One I Love (R.E.M.)
a (e) G (D2) a (e) a (e7) a (e) G (D2) a (e) a (e7)
Tha (e)is one goes out t
G (D2)o the one I l
a (e7)ove.
Tha (e)is one goes out t
G (D2)o the one I’d l
a (e7)eft behind.
C (G)A simple pr
G (D)ob’ to
d (a)occupy my t
F (C)ime.
Tha (e)is one goes out t
G (D2)o the one I l
a (e7)ove.
Fire!a (e) G (D2) a (e) a (e7)
Fire!a (e) G (D2) a (e) a (e7)
Tha (e)is one goes out t
G (D2)o the one I l
a (e7)ove.
Tha (e)is one goes out t
G (D2)o the one I’d l
a (e7)eft behind.
C (G)A simple pr
G (D)ob’ to
d (a)occupy my t
F (C)ime.
Tha (e)is one goes out t
G (D2)o the one I l
a (e7)ove.
Fire!a (e) G (D2) a (e) a (e7)
Fire!a (e) G (D2) a (e) a (e7)
C (G) G (D) C (G) F (C) a (e) G (D2) a (e) a (e)
Tha (e)is one goes out t
G (D2)o the one I l
a (e7)ove.
Tha (e)is one goes out t
G (D2)o the one I’d l
a (e7)eft . . . behind.
C (G)Another pr
G (D)ob’ has
d (a)occupied my t
F (C)ime.
Tha (e)is one goes out t
G (D2)o the one I l
a (e7)ove.
Fire!a (e) G (D2) a (e) a (e7)
Fire!a (e) G (D2) a (e) a (e7)
Fire!a (e) G (D2) a (e) a (e7)
Fire!a (e) G (D2) a (e) a (e7)
a (e) C (G) C] (G]) d (a) G (D) G] (D]) a (e)
84
Angie (The Rolling Stones)
OhaAngie, oh
EAngie,
Gwhen will those d
Fark clouds disapp
Cear?
aAngie,
EAngie,
Gwhere will it l
Fead us from h
Cere?
With no lGoving in our souls and no m
doney in our c
aoats,
Cyou can’t s
Fay we’re satisf
Gied.
ButaAngie,
EAngie,
Gyou can’t s
Fay we never tr
Cied.
aAngie,
Eyou’re beautiful,
Gbut ain’t it t
Fime we said goodb
Cye?
aAngie,
EI still love you,
Gremember
Fall those nights we cr
Cied.
All the drGeams we held so close seemed to
dall go up in sm
aoke,
Clet me wh
Fisper in your
Gear.
aAngie,
EAngie,
Gwhere will it l
Fead us from h
Cere?
OhGAngie, don’t you weep, ah your k
disses still taste sw
aeet,
CI hate that s
Fadness in your
Geyes.
ButaAngie,
EAngie,
Gain’t it t
Fime we said goodb
Cye?
With no lGoving in our souls and no m
doney in our c
aoats,
Cyou can’t s
Fay we’re satisf
Gied.
ButdAngie, I still love you b
aaby!
dEv’rywhere I look I see your
aeyes.
dThere ain’t a woman that comes cl
aose to you.
CCome on, b
Faby, dry your
Geyes.
ButaAngie,
EAngie,
Gain’t it g
Food to be al
Cive?
aAngie,
EAngie,
Gthey can’t s
Fay we never tr
Cied.
85
Nights in White Satin (The Moody Blues)
h A h A
hNights in white S
Aatin,
hnever reaching the
Aend.
GLetters I’ve wr
Ditten,
Cnever meaning to s
hend.
Bheauty I’ve
Aalways missed,
hwith these eyes bef
Aore.
GJust what the tr
Duth is,
CI can’t say anym
hore.
Yes I lEove you, yes I l
Gove you, oh how I l
hove you.
A h A h
hGazing the p
Aeople,
hsome hand in h
Aand.
GJust what I’m g
Doing through,
Cthey can’t underst
hand.
Shome try to t
Aell me,
hthoughts they cannot def
Aend.
GJust what you w
Dant to be,
Cyou’ll be in the
hend.
Yes I lEove you, yes I l
Gove you, oh how I l
hove you.
A h A h
h A G F]7 h A G F]7
h G h G e F]7 e F]7
h A D h D A h D A h
Yes I lEove you, yes I l
Gove you, oh how I l
hove you.
A h A h
Yes I lEove you, yes I l
Gove you, oh how I l
hove you.
A h A h
86
When a Blind Man Cries (Deep Purple)
h
hIf you’re leaving, close the door,
AI’m not expecting people
hanymore.
hHear me greeding lying on the floor,
Awhether I’m drunk or dead, I r
heally ain’t so sure.
hI’m a blind man,
DI’m a blind man,
Gand my world is p
eale.
hWhen a blind man cries,
DLord, you know, there
Gain’t
Da s
eadder
Dthale.
h A h A hh D G eh D G D e D h
hHad a friend once in a room,
Ahad a good time, but it
hended much to soon.
hIn a cold month, in that room,
Afound the reasons for the th
hings we had to do.
hI’m a blind man,
DI’m a blind man,
Gnow my room is c
eold.
hWhen a blind man cries,
DLord, you know, you f
Geeled
Dit fr
eom h
Dis s
houl.
87
Marooned (Wire)
d e
Aneunwilling sailor adr
Dift from arctic w
Gaters, ah
ea.
As the weater gets warmer my
Diceberg gets sm
Galler, ah
ea.
As he phours more petrol on he f
f ]
eels no fear.
As the fleames get nearer its th
Aoughts gets cl
Dearer, ah
ea.
A bleue white polar bear arr
Dives at the
Gend, ah
ea,
diveerting his attention, his f
Deelings froze
Gover, ah
ea.
I’mhonly a runaway
f ]
A W O L
eat the logical st
Aart
Dnot pr
hesent in the present
f ]
overbeoard with limited future,
A Dfut
eure.
And I’m sthanding alone, still g
f ]
etting a thrill
while the sheip is afloat, he’s l
Aosing his b
Doat, ah
ea.
88
Venus (Shocking Blue)
H7
A geoddess on a m
Aountain t
eop
Awas b
eurning like a s
Ailver fl
eame.
A
A seummit of b
Aeauty and l
eove
Aand V
eenus was her n
Aame.
e
She’s gaot it,
D aoh b
Daby, she’s g
eot it.
A e A
Well,CI’m your Venus,
H7
I’m your fire, at yeour des
Aire.
e A
Well,CI’m your Venus,
H7
I’m your fire, at yeour des
Aire.
e A
Her weeapon were her cr
Aystal
eeyes.
AM
eaking ev’ry m
Aan m
ead.
A
Bleack as the d
Aark night she w
eas,
Agot what n
eo one else h
Aad.
e
She’s gaot it,
D aoh b
Daby, she’s g
eot it.
A e A
Well,CI’m your Venus,
H7
I’m your fire, at yeour des
Aire.
e A
Well,CI’m your Venus,
H7
I’m your fire, at yeour des
Aire.
e A
eAh!
A e A eAh!
A e A
eAh!
A e A eAh!
A e A e
89
Killing Me Softly with his Song (Roberta Flack)
Streumming my pain with his f
aingers, s
D7
inging my life with his wGords.
Keilling me softly with h
Ais song, killing me s
Doftly with h
Cis song.
Telling my whGole life with h
Cis words, killing me s
E4
oftly with his sEong.
a7
I heard he sDang a good song,
GI heard he h
Cad a style.
a7
And so I cDame to see him and l
eisten for a while.
a7
And there he wD7
as, this young boy,G
a stranger tH7
o my eyes.
Streumming my pain with his f
aingers, s
D7
inging my life with his wGords.
Keilling me softly with h
Ais song, killing me s
Doftly with h
Cis song.
Telling my whGole life with h
Cis words, killing me s
E4
oftly with his sEong.
a7
I felt all flDushed with fever,
Gembarrassed b
Cy the crowd.
a7
I felt he fDound my letters and r
eead each one out loud.
a7
I prayed that hD7
e would finish,G
but he jH7
ust kept right on.
Streumming my pain with his f
aingers, s
D7
inging my life with his wGords.
Keilling me softly with h
Ais song, killing me s
Doftly with h
Cis song.
Telling my whGole life with h
Cis words, killing me s
E4
oftly with his sEong.
a7
He sang asDif he knew me
Gin all my d
Cark despair,
a7
and then he lDooked right through me, as
eif I wasn’t there.
a7
And he just kD7
ept on singing,G
singing clH7
ear and strong.
Streumming my pain with his f
aingers, s
D7
inging my life with his wGords.
Keilling me softly with h
Ais song, killing me s
Doftly with h
Cis song.
Telling my whGole life with h
Cis words, killing me s
E4
oftly with his sEong.
90
Sailing (Rod Stewart)
I am sCailing, I am s
aailing, home ag
Fain, ’cross the s
Cea.
I am sDailing, stormy w
aaters, to be n
dear you, to be fr
Cee.
G
I am flCying, I am fl
aying, like a b
Fird, ’cross the sk
Cy.
I am flDying, passing h
aigh clouds, to be w
dith you, to be fr
Cee.
G
Can you hCear me, can you h
aear me,
through the dFark night, far aw
Cay.
I am dDying, forever tr
aying, to be w
dith you, who can s
Cay.
G
Can you hCear me, can you h
aear me,
through the dFark night, far aw
Cay.
I am dDying, forever tr
aying, to be w
dith you, who can s
Cay.
G
We are sCailing, we are s
aailing, home ag
Fain, ’cross the s
Cea.
We are sDailing, stormy w
aaters, to be n
dear you, to be fr
Cee.
Oh LGord, to be n
dear you, to be fr
Cee.
Oh LGord, to be n
dear you, to be fr
Cee.
91
Teach Your Children (Crosby, Stills, N. & Young)
YGou were on the r
Coad, must have a c
Gode, that you can l
Dive by.
And sGo become yours
Celf, because the p
Gast is just a g
Doodbye.
TGeach your children w
Cell, their father’s h
Gell will surely g
Do by.
And fGeed them on your dr
Ceams, the one they p
Gicks, the one they g
Do by.
GDon’t you ever ask them wh
Cy, if they told you, you would cr
Gy.
So just look at them and seiii
Ciii
Dgh, and say, they l
Gove you.
C G D
And yGou on tender y
Cears, after all the f
Gears,
that you’ve had as a schDoolboy.
And so please hGelp them with your t
Cears, they see the tr
Guth,
before they cDan die.
TGeach your parents w
Cell, their children’s h
Gell will slowly g
Do by.
And fGeed them on your dr
Ceams, the one they p
Gicks, the one they g
Do by.
GDon’t you ever ask them wh
Cy, if they told you, you would cr
Gy.
So just look at them and seiii
Ciii
Dgh, and say, they l
Gove you.
C G D
G
92
Throw down the Sword (Wishbone Ash)
a d a C ea d a C eG C d F G eG C d F G e
a C G D F C G4 G
aThrow down the sw
Cord, the f
Gight is done and
Dover,
Fneither l
Cost and neither w
G4
on.G
aTo cast aw
Cay the f
Gury of the b
Dattle,
Fand turn my w
Ceary eyes for h
Dome.
FThere were times when I st
Cood at death’s own d
Coor,
G a
only hGoping for an
Fanswer.
a C G D F C G4 G
aThrow down the sw
Cord,
Gand leave the gl
Dory,
Fa story t
Cime can never ch
G4
ange.G
aTo walk the r
Coad, the l
Goad I have to c
Darry,
Fa journey’s
Cend, a world that’s
Dold.
FThere were times when I st
Cood at death’s own d
Coor,
G a
only sGearching for an
Fanswer.
93
Two o’Clock (F. Rainer Bechtold)
cTwo o’clock in the morning,
G4
alone in my bGed,
fno one’s h
A[ere to say: “You h
Gaven’t to be sad!”
cI rummage my pillow,
G4
waiting for a drFdim
eam,
D[to tell me l
A[ies of a l
Gove never seen.
cThere has to be something
fI’m waiting for,
A[something to pray,
GI’m belonging for.
cI stand up every morning,
G4
go to work day by dGay.
fI get m
A[oney and I sp
Gend it by the way.
cThere’s nothing to live or die for,
G4
it’s true and I know whFdim
y,
D[no reason to l
A[augh and no r
Geason to cry.
cThere has to be something
fI’m waiting for,
A[something to pray,
GI’m belonging for.
COne day she will come to m
Fake everything ch
F7+
ange.
CShe will be the one to h
Felp me rearr
F7+
ange.
CI will be lucky by d
Fay and night I’ll be glad.
FOne day she’ll be th
Gere.
So lFet’s go and look for her,
let’s go and look, let’s go and look for hCer.
94
Ick heff mol en Hamburg en Veermaster sehn
Ick hCeff mol en Hamburg en V
Feerm
Gaster s
Cehn,
tCo my hood
Gah, t
Co my hood
Gah.
De MCasten so scheep as den Sch
Fipp
Ger sien B
Ceen,
tCo my hood
Gah h
Cood
Gah h
Co.
BlCow, boys, blow, for C
Faliforni
Co, there is pl
Fenty of gold,
so IGam t
Cold, on the banks of S
a7
acramG7
entCo.
Dat DCeck weer von Isen, vull Sch
Fiet
Gund vull Schm
Ceer,
tCo my hood
Gah, t
Co my hood
Gah.
Dat wCeer de Schietgang eer sch
Fonst
Ges Plas
Ceer,
tCo my hood
Gah h
Cood
Gah h
Co.
BlCow, boys, blow, for C
Faliforni
Co, there is pl
Fenty of gold,
so IGam t
Cold, on the banks of S
a7
acramG7
entCo.
Dat LogCis weer vull Wanzen, de Komb
Fus w
Geer vull Dr
Ceck,
tCo my hood
Gah, t
Co my hood
Gah.
De BeschCuten, de leupen von s
Fulven
Gall w
Ceg,
tCo my hood
Gah h
Cood
Gah h
Co.
BlCow, boys, blow, for C
Faliforni
Co, there is pl
Fenty of gold,
so IGam t
Cold, on the banks of S
a7
acramG7
entCo.
Ick heff mol en Hamburg en Veermaster sehn 95
Dat SCaltfleesch weer gron, und de Sp
Feck w
Geer vull M
Coden,
tCo my hood
Gah, t
Co my hood
Gah.
Und KCohm gev dat blots an W
Fiehn
Gachts
Cobend,
tCo my hood
Gah h
Cood
Gah h
Co.
BlCow, boys, blow, for C
Faliforni
Co, there is pl
Fenty of gold,
so IGam t
Cold, on the banks of S
a7
acramG7
entCo.
Und wulln wCi mol seiln, ick s
Fegg d
Gat ja n
Cur,
tCo my hood
Gah, t
Co my hood
Gah.
Denn loop hCe dree vorut und veer w
Fedder r
Get
Cur,
tCo my hood
Gah h
Cood
Gah h
Co.
BlCow, boys, blow, for C
Faliforni
Co, there is pl
Fenty of gold,
so IGam t
Cold, on the banks of S
a7
acramG7
entCo.
As dat SchCipp, so weer ok de K
Faa
Gaapt
Cain,
tCo my hood
Gah, t
Co my hood
Gah.
De LCud fur dat Schipp weern ok bl
Fots sch
Gangh
Ceit,
tCo my hood
Gah h
Cood
Gah h
Co.
BlCow, boys, blow, for C
Faliforni
Co, there is pl
Fenty of gold,
so IGam t
Cold, on the banks of S
a7
acramG7
entCo.
96
What shall We do with the Drunken Sailor?
Whaat shall we do with the drunken sailor? Wh
Gat shall we do with the drunken sailor?
Whaat shall we do with the drunken sailor
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Taake him and shake him and try to awake him, t
Gake him and shake him and try to
awake him, taake him and shake him and try to awake him
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Gaive him a dose of salt and water, g
Give him a dose of salt and water,
gaive him a dose of salt and water
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Gaive him a dash with a bosom’s rubber, g
Give him a dash with a bosom’s rubber,
gaive him a dash with a bosom’s rubber
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Paut him in a long-boat till he’s sober, p
Gut him in a long-boat till he’s sober,
paut him in a long-boat till he’s sober
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Paull out the plug and wet him all over, p
Gull out the plug and wet him all over,
paull out the plug and wet him all over
eearly
Gin the m
aorning?
What shall We do with the Drunken Sailor? 97
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Haeave him by the leg in a running bowline, h
Geave him by the leg in a running bowline,
haeave him by the leg in a running bowline
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Paut him in the scuppers with a hose pipe on him, p
Gut him in the scuppers with a hose
pipe on him, paut him in the scuppers with a hose pipe on him
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Shaave his belly with a rusty razor, sh
Gave his belly with a rusty razor,
shaave his belly with a rusty razor
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Paut him in the bed of the captain’s daughter, p
Gut him in the bed of the captain’s
daughter, paut him in the bed of the captain’s daughter
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
Thaat’s what to do with a drunken sailor, th
Gat’s what to do with a drunken sailor,
thaat’s what to do with a drunken sailor
eearly
Gin the m
aorning?
Haooray, and up she rises, h
Gooray, and up she rises,
haooray, and up she rises
eearly
Gin the m
aorning?
98
Go down, Moses!
WheneIsrael w
H7
as ineEgypt’s l
aand: l
H7
et my people geo!
Oppreessed so h
H7
ard they ceould not st
aand: l
H7
et my people geo!
Geo down, M
aoses, w
H7
ay down ineEgypt’s land, t
C7
ell ol’ Phearaoh: l
H7
et my people geo!
Thus speoke the L
H7
ord, bold Meoses s
aaid: l
H7
et my people geo!
If neot, I’ll sm
H7
ite your feirst-born d
aead: l
H7
et my people geo!
Geo down, M
aoses, w
H7
ay down ineEgypt’s land, t
C7
ell ol’ Phearaoh: l
H7
et my people geo!
Your feoes shall n
H7
ot befeore you st
aand: l
H7
et my people geo!
And yeou’ll poss
H7
ess fair Ceanaan’s l
aand: l
H7
et my people geo!
Geo down, M
aoses, w
H7
ay down ineEgypt’s land, t
C7
ell ol’ Phearaoh: l
H7
et my people geo!
You’ll neot get l
H7
ost in the weildern
aess: l
H7
et my people geo!
With a leighted c
H7
andleein your br
aeast: l
H7
et my people geo!
Geo down, M
aoses, w
H7
ay down ineEgypt’s land, t
C7
ell ol’ Phearaoh: l
H7
et my people geo!
No meore shall th
H7
ey in beondage t
aoil: l
H7
et my people geo!
Let theem come
H7
out witheEgypt’s sp
aoil: l
H7
et my people geo!
Geo down, M
aoses, w
H7
ay down ineEgypt’s land, t
C7
ell ol’ Phearaoh: l
H7
et my people geo!
Oh leet us
H7
all from beondage fl
aee: l
H7
et my people geo!
And leet us
H7
all in Chreist be fr
aee: l
H7
et my people geo!
Geo down, M
aoses, w
H7
ay down ineEgypt’s land, t
C7
ell ol’ Phearaoh: l
H7
et my people geo!
99
O Tannenbaum
O TGannenbaum, o Tannenbaum,
wie trDeu sind deine Bl
Gatter!
Du grGunst nicht nur zur S
Commerszeit,
neinDauch im Winter, w
Genn es schneit.
O TGannenbaum, o Tannenbaum,
wie trDeu sind deine Bl
Gatter.
O TGannenbaum, o Tannenbaum,
du kDannst mir sehr gef
Gallen!
WieGoft hat nicht zur W
Ceihnachtszeit,
ein BDaum von dir mich h
Gocherfreut!
O TGannenbaum, o Tannenbaum,
du kDannst mir sehr gef
Gallen.
O TGannenbaum, o Tannenbaum,
dein KlDeid will mich was l
Gehren:
Die HGoffnung und Best
Candigkeit
gibt MDut und Kraft zu j
Geder Zeit.
O TGannenbaum, o Tannenbaum,
dein KlDeid will mich was l
Gehren.
100
Laßt uns froh und munter sein
LCaßt uns froh und munter sein
dund uns recht von H
Gerzen freun.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
BCald ist unsre Schule aus, d
dann ziehn wir vergn
Gugt nach Haus.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
DCann stell ich den Teller auf, N
diklaus legt gew
Giß was drauf.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
StCeht der Teller auf dem Tisch, s
ding ich nochmals fr
Goh und frisch.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
WCenn ich schlaf, dann traume ich: J
detzt bringt Niklaus w
Gas fur mich.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
WCenn ich aufgestanden bin, l
dauf ich schnell zum T
Geller hin.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
NCiklaus ist ein guter Mann, d
dem man nicht genug d
Ganken kann.
LCustig, lustig, tr
Galeralala, b
Cald ist Nikolaus
Gabend d
Ca, b
Cald ist Nikolaus
Gabend d
Ca.
101
Kling, Glockchen, klingelingeling
KlCing, Glockchen, klingelingeling, kl
Ging, Glockchen, kl
Cing!
LGaßt mich
Cein ihr K
Cind
Ger,
dist so k
Galt im W
G7
in—tCer,
Doffnet mir die T
Guren, l
Daßt mich nicht erfrier
Gen.
KlCing, Glockchen, klingelingeling, kl
Ging, Glockchen, kl
Cing!
KlCing, Glockchen, klingelingeling, kl
Ging, Glockchen, kl
Cing!
MGadchen, h
Cort, und B
Cubch
Gen, m
dacht mir
Gauf das St
G7
ubchCen,
brDing euch viele G
Gaben, s
Dollt euch dran erlab
Gen.
KlCing, Glockchen, klingelingeling, kl
Ging, Glockchen, kl
Cing!
KlCing, Glockchen, klingelingeling, kl
Ging, Glockchen, kl
Cing!
HGell ergl
Cuhn die K
Cerz
Gen,
doffnet m
Gir die H
G7
er—zCen,
wDill drin wohnen fr
Gohlich, fr
Dommes Kind, wie sel
Gig!
KlCing, Glockchen, klingelingeling, kl
Ging, Glockchen, kl
Cing!
102
Schneeflockchen, Weißrockchen
SchneeflCockchen, Weißr
Gockchen, wann k
dommst du geschn
Ceit?
Du wCohnst in den W
Folken, dein W
Geg ist so w
Ceit.
Komm, sCetz dich ans F
Genster, du l
dieblicher St
Cern,
malst BlCumen und Bl
Fatter, wir h
Gaben dich g
Cern.
SchneeflCockchen, du d
Geckst uns die Bl
dumelein z
Cu.
Dann schlCafen sie s
Ficher, in h
Gimmlischer R
Cuh.
SchneeflCockchen, Weißr
Gockchen, komm z
du uns ins T
Cal.
Dann bCau’n wir den Schn
Feemann und w
Gerfen den B
Call.
103
Schneeflockchen, Weißrockchen (Floten, Klarinette)
III
II
I
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44 34
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104
Leise rieselt der Schnee
Leeise rieselt der Schn
Gee,
stCill und starr liegt der S
Gee,
wDeihnachtlich glanzet der W
eald,
fraeue dich, Christkind kommt b
Gald!
eIn den Herzen wird’s w
Garm,
stCill schweigt Kummer und H
Garm,
SDorge des Lebens verh
eallt,
fraeue dich, Christkind kommt b
Gald!
Beald ist Heilige N
Gacht,
ChCor der Engel erw
Gacht,
hDort nur, wie lieblich es sch
eallt,
fraeue dich, Christkind kommt b
Gald!
105
Alle Jahre wieder
CAlle Jahre wied
Ger k
Commt das Christusk
Gind
Cauf die Erde n
Fieder, w
Go wir Menschen s
Cind.
KCehrt mit seinem Seg
Gen
Cein in jedes H
Gaus,
gCeht auf allen W
Fegen m
Git uns ein und
Caus.
StCeht auch mir zur Seit
Ge, st
Cill und unerk
Gannt,
dCaß es treu mich l
Feite
Gan der lieben H
Cand.
106
Ihr Kinderlein, kommet
Ihr KCinderlein, kommet, o k
Gommet doch
Call!
Zur KrCippe her kommet in B
Gethlehems St
Call.
Und sGeht, was in d
dieser hochh
aeiligen N
Facht
der VGater im H
Cimmel fur Fr
Geude uns m
Cacht.
O sCeht in der Krippe im n
Gachtlichen St
Call,
seht hCier bei des Lichtleins hellgl
Ganzendem Str
Cahl
in rGeinlichen W
dindeln das h
aimmlische K
Find,
viel schGoner und h
Colder als
GEngel es s
Cind.
Da lCiegt es, das Kindlein, auf H
Geu und auf Str
Coh;
MarCia und Joseph betr
Gachten es fr
Coh.
Die rGedlichen H
dirten knien b
aetend dav
For;
hochGoben schwebt j
Cubelnd der
GEngelein Ch
Cor.
O bCeugt wie die Hirten anb
Getend die Kn
Cie,
erhCebet die Handlein und d
Ganket wie s
Cie.
Stimmt frGeudig, ihr K
dinder — wer s
aollt’ sich nicht fr
Feu’n? —,
stimmt frGeudig zum J
Cubel der
GEngel mit
Cein!
Was gCeben wir Kinder, was sch
Genken wir d
Cir,
du bCestes und liebstes der K
Ginder, daf
Cur?
Nichts wGillst du von Sch
datzen und R
aeichtum der W
Felt,
ein HGerz nur voll D
Cemut all
Gein dir gef
Callt.
107
Ihr Kinderlein, kommet (Floten, Klarinette)
III
II
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44 44
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108
O du frohliche
CO du fr
Gohliche,
Co du s
Gelige,
gnCadenbr
aingende W
Deihnachtsz
Geit!
Wdelt ging verloren, Chr
Cist ist geboren:
FrCeue, fr
Feue dich, o Chr
Gistenh
Ceit!
CO du fr
Gohliche,
Co du s
Gelige,
gnCadenbr
aingende W
Deihnachtsz
Geit!
Chrdist ist erschienen,
Cuns zu versuhnen:
FrCeue, fr
Feue dich, o Chr
Gistenh
Ceit!
CO du fr
Gohliche,
Co du s
Gelige,
gnCadenbr
aingende W
Deihnachtsz
Geit!
Hdimmlische Heere j
Cauchzen dir Ehre:
FrCeue, fr
Feue dich, o Chr
Gistenh
Ceit!
109
Stille Nacht, heilige Nacht!
StGille Nacht, heilige Nacht!
DAlles schlaft,
Geinsam wacht
nCur das traute hochh
Geilige Paar,
hColder Knabe im l
Gockigen Haar,
schlDaf in himmlischer R
Guh, schl
Gaf in h
Dimmlischer R
Guh!
StGille Nacht, heilige Nacht!
HDirten erst k
Gundgemacht
dCurch der Engel Hall
Geluja
tCont es laut von f
Gern und nah:
ChrDist, der Retter ist d
Ga, Chr
Gist, der R
Detter ist d
Ga.
StGille Nacht, heilige Nacht!
GDottes Sohn,
Go wie lacht
LCieb’ aus deinem g
Gottlichen Mund,
dCa uns schlagt die r
Gettende Stund’:
ChrDist in deiner Geb
Gurt, Chr
Gist in d
Deiner Geb
Gurt!
110
Dicke (Marius Muller-Westernhagen)
aIch bin froh, daß ich kein Dicker bin,
denn DGicksein ist ’ne Qualerei.
FIch bin froh, daß ich so’n durrer Hering bin,
denn dEunn bedeutet, frei zu sein.
Mit Daicken macht man gerne Spaße, D
Gicke haben Atemnot.
Fur DFicke gibt’s nichts anzuzieh’n, D
Eicke sind zu dick zum Flieh’n.
Daicke haben schrecklich dicke Beine, D
Gicke ham ’n Doppelkinn.
Und DFicke schwitzen wie die Schweine, st
Eopfen, fressen in sich rinn.
Und daarum bin ich froh, daß ich kein Dicker bin,
denn DGicksein ist ’ne Qualerei.
FIch bin froh, daß ich so’n durrer Hering bin,
denn dEunn bedeutet, frei zu sein.
Yeah, Daicke haben Blahungen, D
Gicke ham ’n dicken Po.
Und vFon den ganzen Abfuhrmitteln r
Eennen Dicke oft auf’s Klo.
Dicke (Marius Muller-Westernhagen) 111
Und darum, ja daarum bin ich froh, daß ich kein Dicker bin,
denn DGicksein ist ’ne Qualerei.
FIch bin froh, daß ich so’n durrer Hering bin,
denn dEunn bedeutet, frei zu sein.
Daicke mussen standig fasten, dam
Git se nicht noch dicker wer’n.
Und hFam se endlich zehn Pfund abgenomm’n,
ja dann kEann man es noch nicht mal seh’n.
Daicke ham’s auch schrecklich schwer mit Frau’n,
denn DGicke sind nicht angesagt.
Drum mFussen Dicke auch Karriere machen,
mit KEohle ist man auch als Dicker gefragt.
Und daarum bin ich froh, daß ich kein Dicker bin,
denn DGicksein ist ’ne Qualerei.
FIch bin froh, daß ich so’n durrer Hering bin,
denn dEunn bedeutet, frei zu sein.
. . . Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, . . .
a G F E a G F E
a G F E a G F E a
Na, du fette Sau!
112
Gruß mir die Genossen (M. Muller-Westernhagen)
E C A
NEeulich sechs Uhr fruh tritt man mir die Tur ein.
EIch spring’ aus dem Bett, da sturmt die Polizei rein.
”Los, st
Aell’n sich an die Wand, man hat Sie erkannt,
ein NEachbar rief uns an, Sie sind ein Sympathisant.“
Ich sF]
ag’,”das muß ein
EIrrtum sein, ich b
Cin doch bloß ein B
Eurger.“
Doch die pflF]
ugen mir die WEohnung um, als w
Care ich ein W
Hurger.
In dem grEoßen grunen Wagen darf ich dann mitfahren.
Ich frEag’ nochmal,
”wieso?“
”Das wer’n Sie schon erfahren.“
Im PrAasidium dann Verhore, ich weiß von nichts, ich schwore.
Da brEullt mich einer an, daß ich die Ordnung store.
”M
F]
orgen kommt IhrEAnwalt, jetzt bl
Ceiben Sie erst mal h
Eier.
Sie krF]
iegen ’n schonesEEinzelzimmer, Z
Celle Nummer v
Hier.“
Gruß mir die Genossen (Marius Muller-Westernhagen) 113
EIrgendwelche Verruckte entfuhr’n in dieser Nacht
Eeinen Dusenjet und legen sich mit Helmut an.
MeinAAnwalt darf nicht kommen, die Sicherheit geht vor.
Da lEieg’ ich nun auf Eis und quatsche meine Wand an.
Nach WF]
ochen stellt sichEendlich raus, mein N
Cachbar ist bek
Eannt.
Er zF]
eigt fast taglich LEeute an, als Pension
Car da wurd’ er Denunzi
Hant.
”Wir t
Eun nur uns’re Pflicht.“ Das Tor wird aufgeschlossen.
Der SchlEießer sagt noch grinsend,
”gruß mir die Genossen.“
AEines wird mir klar, wenn irgendjemand schreit,
”Ges
Eetze mussen her,“ dem hau’ ich auf die Flossen.
JaF]
eines ist mir sEonnenklar, f
Calls wir glauben s
Eollten,
TF]
error konnt’ man mit TEerror bremsen,
dann sCind wir bald wieder so w
Heit . . .
114
Ja, so warn s’ die alten Rittersleut (Karl Valentin)
CIn Grunwald im Isartal, gl
aaubt’s es mir, es war amal,
dda hab’n edle Ritter g’haust, d
G7
enen hat’s vor gCar nix graust.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
GsCuffa ham s’ und des net wia,
aaus die Eimer Wein und Bier,
hdabn s’ dann alls zamgsuffa ghabt, d
G7
ann san s’ unterm TCisch drunt gflackt.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
SCo ein fruh’rer Rittersmann h
aatte so viel Eisen an,
die mdeisten Ritter, i muaß sagn’, h
G7
at deshalb da BlCitz daschlagn.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
JCeder Ritter allbekannt, tr
aug a ganz a blecherns Gwand,
hdat er sich a Loch neigrissen, h
G7
ats der Spangler lCoten mussen.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
RCitt ein Ritter auf dem Roß, w
aar das Risiko oft groß,
hdat so a Roß an Hupferer do, l
G7
ag im Dreck der gCuate Mo.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
Ja, so warn s’ die alten Rittersleut (Karl Valentin) 115
HCat ein Ritter den Katharr, d
aamals warn die Mittel rar,
der hat der Erkaltung trotzt,
G7
er hat grauschpert, gschnCauzt und grotzt.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
D’ RCitter, die warn lustge Leut,
ain der guaten alten Zeit,
’s wdar ja no a schonres Lebn, ’s h
G7
at no koa FinCanzamt gebn.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
D’ RCitter waren auch sehr reinlich, j
aeder Dreck war ihnen peinlich,
wdaren auf sich selbst bedacht, s
G7
elten habns’ in d’ HCosen gmacht.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
CUnd der Ritter Habenichts, d
aer hat namlich wirklich nichts,
’sdeinzge, was der Ritter hat,
G7
ist ein chronischCer Bankrott.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
Vom FCarbergrabn die Rittersleut, l
aebn nicht mehr, seit langer Zeit,
ndur die Geister von densolben, sp
G7
uken nachts in dCen Gewolben.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
116
Ja, so warn s’ die alten Rittersleut
CUnd der Ritter Alexander r
autschte uber’s Stiegnglander,
dunten stand ein Nagel vor — seitd
G7
em singt er im KnCabenchor.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
SchCifoan dort im Rittersland w
aart den Rittern unbekannt,
sie rdutschten mit
”hihi hoho“ hin
G7
unter auf dem BlCechpopo.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
CUnd der Ritter Kunibert s
aetzte sich verkehrt auf’s Pferd,
wdollte er nach hinten sehn, br
G7
aucht er sich nichtCumzudrehn.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
CUnd der Ritter Kuniblau h
aat ’ne tatowierte Frau,
wdenn er nachts net schlafa ko, sch
G7
aut er sich die BCuildn o.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
MCußt’ ein Ritter einmal pieseln, l
aieß er’s einfach ober rieseln,
hdatt’ er sein Visier nicht offen,
G7
ist der arme KCerl dersoffen.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
Ja, so warn s’ die alten Rittersleut 117
MCußt’ ein Ritter mal verreisen, l
aegt’ er seine Frau in Eisen,
ddoch der Knappe Friederich h
G7
atte einen DCieterich.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
FrCuher hab’n die Rittersleut n
aiemals g’fror’n zur Winterszeit,
dihre Rustung selbst im Kampf, h
G7
eizten sie mitCeig’nem Dampf.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
CAuf dem Burgturm steht ein Wachter, w
aeit hinaus ins Land da specht er,
ddaß sich keiner je erdreist, und
G7
in den BurghofCeinisch . . . schaut.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
CUnd der Ritter Friederich w
autete ganz furchterlich,
wdeil in seinem Blechgewand
G7
eine Wespe sCich befand.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
DCas Burgfraulein Kunigunde r
aoch gar schrocklich aus dem Munde,
bisdihr dereinst beim Minnedienste ein B
G7
andwurm aus dem HCalse grienste.
Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die
Falten R
Cittersleut,
ja, so wCarn s’, ja, so warn s’, die
G7
alten RitterslCeut.
118
Aloha Heja He (Achim Reichel)
a C G a a C G G
aHab’ die ganze W
Celt geseh’n
Gvon Singapur bis
aAberdeen.
aWenn Du mich fragst, wo’s am sch
Consten war,
Gsag ich Sansib
aar.
aEs war ’ne harte
CUberfahrt,
Gzehn Wochen nur das Deck geschr
aubbt.
Hab’ die Waelt verflucht, in den W
Cind gespuckt
Gund salziges W
aasser geschluckt.
a C G G
aAls wir den Anker warfen, war es h
Cimmlische Ruh’
und die SGonne stand senkrecht am H
aimmel.
Als ichauber die Reeling sah, da glaubte ich zu tr
Caumen:
Da war’n tGausend Boote und sie hielten auf uns z
au.
aIn den Booten waren M
Canner und Frau’n,
ihre LGeiber glanzten in der S
aonne.
Und sie saangen ein Lied, das kam mir s
Celtsam bekannt vor,
aber sGo hab ich’s noch nie geh
aort,
uuuh, sCo hab ich’s noch n
Gie geh
aort.
Aloha Heja He (Achim Reichel) 119
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aIhre Boote machten l
Cangsseits fest
und mit dem WGind wehte Gelachter her
auber.
aSie nahmen ihre Blumenkr
Canze ab und w
Garfen sie zu uns her
auber,
heeeh, und schCon war die P
Garty im G
aange.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
a C G G
aIch hab’ das Parad
Cies geseh’n,
Ges war um neunzehnhundertz
aehn.
Der Staeuermann hatte Matr
Cosen am Mast
und den ZGahlmeister ha’m die Gonok
aokken vernascht,
aber sConst war’n wir bei bester
G. . . Gesundheit.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
120
Aloha Heja He
a C G a a C G G
aHort euch mal die Gesch
Cichte an,
Gmein Opa war ein t
aoller Mann.
aDer hat die ganze W
Celt geseh’n
Gauf’m Segelschiff als K
aapitan.
aDa war mal’n Sturm auf h
Coher See,
Grundherum nur schwarze N
aacht.
aUnd der Mast zerbrach und das S
Cegel riß
undGalle hatten großen Sch
aiß.
a C G G
aAls dann irgendwann der M
Corgen kam,
wußte kGeiner mehr, wo sie war’n.
a
aPlotzlich schrie der Steuermann und z
Ceigte an den Horizont.
Da war’n tGausend Boote und sie kamen immer n
aaher.
aIn den Booten waren M
Canner und Frau’n
und sie wGinkten mit bunten T
auchern.
Und sie saangen ein Lied, das hat ein j
Ceder gekannt,
aber sGo hat’s noch keiner geh
aort,
aber sCo hat’s noch k
Geiner geh
aort.
Aloha Heja He 121
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aUnd es gab ein gr
Coßes Fest, alle f
Geierten uns’re R
aettung.
Man haorte die Trommeln den g
Canzen Tag,
Galle tanzten bis sp
aat in die Nacht,
und dann wCar da wieder d
Gieses L
aied.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
a C G G
aDer Kapt’n sah ’ne sch
Cone Frau,
Gdas war die Hauptlingst
aochter.
Er fauhrte sie zum Tr
Caualtar, d
Ger in einer Bambush
autte war,
und hCeut’ ist sie meine Omma.
G
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
aAloha Heja H
Ce Aloha Heja H
Ge Aloha Heja H
ae.
122
Mein kleiner gruner Kaktus (Comed. Harmonists)
BlAumen im G
E+
arten,A
so zwanzigE+
Arten
Avon Rosen, Tulpen und Narz
F]7
issen,
lheisten sich h
F]7
euteh
die kleinsten LF]7
eute,
H7
das will ich alles gar nicht wE7
issen.
Mein klAeiner gruner Kaktus steht draußen am Balk
Eon.
Hollari, hollari, hollarAo.
Was brAauch ich rote Rosen, was brauch ich roten M
Eohn?
Hollari, hollari, hollarAo.
Und wDenn ein Bosewicht was
AUngezog’nes spricht,
dann hH7
ol ich meinen Kaktus und der sticht, sticht, stEicht.
Mein klAeiner gruner Kaktus steht draußen am Balk
Eon.
Hollari, hollari, hollarAo.
MAan find’t gew
E+
ohnlichA
die FrauenE+
ahnlich
Aden Blumen, die sie gerne tr
F]7
agen.
Dhoch ich sag’ t
F]7
aglich,h
das ist nicht mF]7
oglich.
H7
Was soll’n die Leut’ sonst von mir sE7
agen?
Mein klAeiner gruner Kaktus steht draußen am Balk
Eon.
Hollari, hollari, hollarAo.
Mein kleiner gruner Kaktus (Comedian Harmonists) 123
Was brAauch ich rote Rosen, was brauch ich roten M
Eohn?
Hollari, hollari, hollarAo.
Und wDenn ein Bosewicht was
AUngezog’nes spricht,
dann hH7
ol ich meinen Kaktus und der sticht, sticht, stEicht.
Mein klAeiner gruner Kaktus steht draußen am Balk
Eon.
Hollari, hollari, hollarAo.
HAeute um v
E+
iereA
klopft’s an die TE+
ure.
ANanu, Besuch so fruh am T
F]7
age?
hEs war Herr Kr
F]7
auseh
vom NachbarhF]7
ause,
H7
der sagt:”Verzeih’n Sie, wenn ich fr
E7
age:
Sie hAab’n doch einen Kaktus auf Ihrem klein’n Balk
Eon?
Hollari, hollari, hollarAo.
Der fAiel soeben runter, was halten Sie dav
Eon?
Hollari, hollari, hollarAo.
Der fDiel mir auf’s Gesicht, ob ’s gl
Aauben oder nicht.
Nun wH7
eiß ich, daß Ihr kleiner gruner Kaktus stEicht.
BewAahr’n Sie Ihren Kaktus gefalligst andersw
Eo!
Hollari, hollari, hollarAo.“
124
Straßen unserer Stadt (Christian Heilburg)
SCiehst du dort den
Galten Mann, mit
aausgetret’nen Sch
euh’n
schlFurft er ubers Pfl
Caster und er s
dieht so mude
Gaus.
HCin und wieder h
Galt er an, n
aicht nur um sich
eauszuruh’n,
dFenn er hat kein Z
Ciel
Gund auch kein Zuh
Caus’.
Doch dFu redest n
Cur von
GEinsamk
aeit,
Dund daß die Sonne fur dich nicht sch
Geint.
G7
KComm und gib mir d
Geine Hand, ich f
auhre dich durch
euns’re Straßen.
FIch zeig dir M
Censchen, die w
Girklich einsam s
Cind.
KCennst du die
Galte Frau, die
aauf dem Marktplatz st
eeht
mFit schneeweißem H
Caar, welke Bl
dumen in der H
Gand?
Die LCeute geh’n vorb
Gei, sie m
aerkt nicht, wie die Z
eeit vergeht.
So stFeht sie jeden T
Cag, und n
Giemand stort sich dr
Can.
Doch dFu redest n
Cur von
GEinsamk
aeit,
Dund daß die Sonne fur dich nicht sch
Geint.
G7
KComm und gib mir d
Geine Hand, ich f
auhre dich durch
euns’re Straßen.
FIch zeig dir M
Censchen, die w
Girklich einsam s
Cind.
Straßen unserer Stadt (Christian Heilburg) 125
Im BCahnhofsrestaur
Gant sitzt um
aein Uhr in der Fr
euhe
dersFelbe alte M
Cann und er s
ditzt ganz all
Gein.
ErCist der letzte G
Gast, und das
aAufsteh’n macht ihm M
euhe,
fFunf leere St
Cunden, funf l
Geere Glaser W
Cein.
Doch dFu redest n
Cur von
GEinsamk
aeit,
Dund daß die Sonne fur dich nicht sch
Geint.
G7
KComm und gib mir d
Geine Hand, ich f
auhre dich durch
euns’re Straßen.
FIch zeig dir M
Censchen, die w
Girklich einsam s
Cind.
SCiehst du dort den
Galten Mann, mit
aausgetret’nen Sch
euh’n
schlFurft er ubers Pfl
Caster und er s
dieht so mude
Gaus.
DCenn in einer W
Gelt, in der n
aur noch Jugend z
eahlt,
Fist fur ihn kein Pl
Catz mehr
Gund auch kein Zuh
Caus’.
Doch dFu redest n
Cur von
GEinsamk
aeit,
Dund daß die Sonne fur dich nicht sch
Geint.
G7
KComm und gib mir d
Geine Hand, ich f
auhre dich durch
euns’re Straßen.
FIch zeig dir M
Censchen, die w
Girklich einsam s
Cind.
126
Und keiner soll sagen . . . (Willy Millowitsch)
Und kCeiner soll s
Gagen, wer da tr
Finkt, der sei schl
Cecht.
Denn furaalle, die da tr
dinken, wachst der H
G7
opfen erst rCecht.
Und derCeine trinkt Champ
Gagner, den der H
Fimmel ihm besch
Cert.
Und deraandre all die kleinen K
dummelchen, die er f
G7
indt auf derCErd.
Und deraandre all die kleinen K
dummelchen, die er f
G7
indt auf derCErd.
Und kCeiner soll s
Gagen, wer da
Fißt, der sei schl
Cecht.
Denn furaalle, die da
dessen, wachst der W
G7
eizen erst rCecht.
Und derCeine ißt die T
Gorte, die der H
Fimmel ihm besch
Cert.
Und deraandre all die kleinen Kr
dumelchen, die er f
G7
indt auf derCErd.
Und deraandre all die kleinen Kr
dumelchen, die er f
G7
indt auf derCErd.
Und kCeiner soll s
Gagen, wer da r
Faucht, der sei schl
Cecht.
Denn furaalle, die da r
dauchen, wachst der T
G7
abak erst rCecht.
Und derCeine raucht Hav
Ganna, die der H
Fimmel ihm besch
Cert.
Und deraandre all die kleinen St
dummelchen, die er f
G7
indt auf derCErd.
Und deraandre all die kleinen St
dummelchen, die er f
G7
indt auf derCErd.
Und kCeiner soll s
Gagen, wer da f
Fahrt, der sei schl
Cecht.
Denn furaalle, die da f
dahren, baut man
G7
Autos erst rCecht.
Und derCeine fahrt Merc
Gedes, den der H
Fimmel ihm besch
Cert.
Und deraandre all die kleinen G
doggochen, die er f
G7
indt auf derCErd.
Und deraandre all die kleinen G
doggochen, die er f
G7
indt auf derCErd.
Und keiner soll sagen . . . (Willy Millowitsch) 127
Und kCeiner soll s
Gagen, wer da t
Fanzt, der sei schl
Cecht.
Denn furaalle, die da t
danzen, gibt’s Mus
G7
ik erst rCecht.
Und derCeine tanzt den W
Galzer, den der H
Fimmel ihm besch
Cert.
Und deraandre all die Rock’n-R
dollekens, die er f
G7
indt auf derCErd.
Und deraandre all die Rock’n-R
dollekens, die er f
G7
indt auf derCErd.
Und kCeiner soll s
Gagen, wer da b
Fadet, der sei schl
Cecht.
Denn furaalle, die da b
daden, fließt das W
G7
asser erst rCecht.
Und derCeine badet im Sw
Gimmingpool, den der H
Fimmel ihm besch
Cert.
Und deraandre in all den kleinen T
dumpelchen, die er f
G7
indt auf derCErd.
Und deraandre in all den kleinen T
dumpelchen, die er f
G7
indt auf derCErd.
Und kCeiner soll s
Gagen, wer da l
Fiebt, der sei schl
Cecht.
Denn furaalle, die da l
dieben, bluht das L
G7
eben erst rCecht.
Und derCeine liebt die
GEinz’ge, die der H
Fimmel ihm besch
Cert.
Und deraandre all die kleinen L
dummelchen, die er f
G7
indt auf derCErd.
Und deraandre all die kleinen L
dummelchen, die er f
G7
indt auf derCErd.
128
Wie schon, daß du geboren bist (Rolf Zuckowski)
HCeute kann es regnen, st
G7
urmen oder schnei’n,
dG7
enn du strahlst ja selber wCie der Sonnenschein.
HCeut’ ist dein Geburtstag, d
Farum feiern wir,
Falle deine Fr
Ceunde fr
G7
euen sich mit dCir,
Falle deine Fr
Ceunde fr
G7
euen sich mit dCir.
Wie schGon, daß du geb
Coren bist,
wir hGatten dich sonst s
Cehr vermißt.
Wie schGon, daß wir beis
Cammen sind,
wir grGatulieren dir, Geburtstagsk
Cind!
Wie schGon, daß du geb
Coren bist,
wir hGatten dich sonst s
Cehr vermißt.
Wie schGon, daß wir beis
Cammen sind,
wir grGatulieren dir, Geburtstagsk
Cind!
CUnsre guten Wunsche h
G7
aben ihren Grund:
BG7
itte bleib noch lange glCucklich und gesund.
DCich so froh zu sehen
Fist, was uns gefallt,
TrG7
anen gibt es schCon gen
Fug auf dieser W
Celt,
TrG7
anen gibt es schCon gen
Fug auf dieser W
Celt.
Wie schon, daß du geboren bist (Rolf Zuckowski) 129
Wie schGon, daß du geb
Coren bist,
wir hGatten dich sonst s
Cehr vermißt.
Wie schGon, daß wir beis
Cammen sind,
wir grGatulieren dir, Geburtstagsk
Cind!
Wie schGon, daß du geb
Coren bist,
wir hGatten dich sonst s
Cehr vermißt.
Wie schGon, daß wir beis
Cammen sind,
wir grGatulieren dir, Geburtstagsk
Cind!
MContag, Dienstag, Mittwoch, d
G7
as ist ganz egal,
dG7
ein Geburtstag kommt im JCahr doch nur einmal.
DCarum laß uns feiern, d
Faß die Schwarte kracht,
hG7
eute wird getCanzt, ges
Fungen und gel
Cacht,
hG7
eute wird getCanzt, ges
Fungen und gel
Cacht.
Wie schGon, daß du geb
Coren bist,
wir hGatten dich sonst s
Cehr vermißt.
Wie schGon, daß wir beis
Cammen sind,
wir grGatulieren dir, Geburtstagsk
Cind!
130
Kinder (Bettina Wegener)
Saind so kleine H
dande, w
Einz’ge Finger dr
aan.
Daarf man nie drauf schl
dagen, d
Eie zerbrechen d
aann.
SCind so kleine F
Guße m
Git so kleinen Z
aeh’n.
DCarf man nie drauf tr
Geten, k
Gonn’ sie sonst nicht g
aeh’n.
Saind so kleine
dOhren, sch
Earf, und ihr erl
aaubt.
Daarf man nie zerbr
dullen, w
Eerden davon t
aaub.
SCind so schone M
Gunder, spr
Gechen alles
aaus.
DCarf man nie verb
Gieten, k
Gommt sonst nichts mehr r
aaus.
SCind so klare
GAugen, d
Gie noch alles s
aeh’n.
DCarf man nie verb
Ginden, k
Gonn’ sie nichts verst
aeh’n.
Saind so kleine S
deelen,
Eoffen und ganz fr
aei.
Daarf man niemals qu
dalen, g
Eeh’n kaputt d
aabei.
CIst so’n kleines R
Guckgrat, s
Gieht man fast noch n
aicht.
DCarf man niemals b
Geugen, w
Geil es sonst zerbr
aicht.
Graade, klare M
denschen w
Ear’n ein schones Z
aiel.
Laeute ohne R
duckgrat h
Eab’n wir schon zuv
aiel.
131
Sieben Tage lang (Bots)
aWas wollen wir trinken, sieben Tage l
Gang,
was wollen wir trFinken, s
Go ein D
aurst.
Es wird genCug fur
Galle s
Cein,
wir trinken zusaammen, roll das Faß mal r
Gein,
wir trinken zusFammen, n
Gicht all
aein.
aDann wollen wir schaffen, sieben Tage l
Gang,
dann wollen wir schFaffen, k
Gomm faß
aan.
Und das wird kCeine Pl
Gacker
Cei.
Wir schaffen zusaammen, sieben Tage l
Gang,
ja, schaffen zusFammen, n
Gicht all
aein.
aJetzt mussen wir streiten, keiner weiß wie l
Gang,
ja, fur ein LFeben
Gohne Zw
aang.
Dann kriegt der FrCust uns n
Gicht mehr kl
Cein.
Wir halten zusaammen, keiner kampft all
Gein,
wir gehen zusFammen, n
Gicht all
aein.
132
Marmor, Stein und Eisen (Drafi Deutscher)
WAeine nicht, wenn der Regen fallt, dam d
Eam, dam d
Aam.
AEs gibt einen, der zu dir halt, dam d
Eam, dam d
Aam.
MAarmor, Stein und
DEisen bricht,
Eaber unsere L
Aiebe nicht.
AAlles, alles g
Deht vorbei, d
Eoch wir sind uns tr
Aeu.
KAann ich einmal nicht bei dir sein, dam d
Eam, dam d
Aam.
DAenk daran, du bist nicht allein, dam d
Eam, dam d
Aam.
MAarmor, Stein und
DEisen bricht,
Eaber unsere L
Aiebe nicht.
AAlles, alles g
Deht vorbei, d
Eoch wir sind uns tr
Aeu.
NAimm den goldenen Ring von mir, dam d
Eam, dam d
Aam.
BAist du traurig, dann sagt er dir, dam d
Eam, dam d
Aam.
MAarmor, Stein und
DEisen bricht,
Eaber unsere L
Aiebe nicht.
AAlles, alles g
Deht vorbei, d
Eoch wir sind uns tr
Aeu.
MAarmor, Stein und
DEisen bricht,
Eaber unsere L
Aiebe nicht.
AAlles, alles g
Deht vorbei, d
Eoch wir sind uns tr
Aeu.
133
Yenawe (c-Moll)
G222 24� = 80
>Ye-�
na�
we
�ni-�
ma-
�wi-
�e
�ne�
ye-�
na-�
we,�
G222 >ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we,
�G222 >
ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we.
� 7
Yenawe (d-Moll)
G2 24 >Ye-�
na�
we
�ni-
�ma-
�wi-
�e
�ne
�ye-�
na-�
we,�
G2 >ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we,
�G2 >
ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we.
� 7
Yenawe (a-Moll)
G 24 >
Ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we,
�G >
ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we,
�G >
ye-
�na
�we
�ni-
�ma-
�wi-
�e
�ne
�ye-
�na-
�we.
� 7
134
Die Affen rasen durch den Wald
DieCAffen r
aasen d
Curch den W
aald,
derCeine m
aacht den
Candern k
aalt.
Die ganzeGAffenbande br
Cullt:
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
DieCAffenm
aama s
Citzt am Fl
auß
undCangelt n
aach der K
Cokosn
auß.
Die ganzeGAffenbande br
Cullt:
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
DerCAffen
aonkel, w
Celch ein Gr
aaus,
reißt gCanze
aUrwaldb
Caume
aaus.
Die ganzeGAffenbande br
Cullt:
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
DieCAffent
aante k
Commt von f
aern,
sieCißt die K
aokosn
Cuß so g
aern.
Die ganzeGAffenbande br
Cullt:
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Die Affen rasen durch den Wald 135
DerCAffenm
ailchmann, d
Cieser Kn
ailch,
der wCartet
aauf die K
Cokosm
ailch.
Die ganzeGAffenbande br
Cullt:
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
DasCAffenb
aaby v
Coll Gen
auß
haltCin der H
aand die K
Cokosn
auß.
Die ganzeGAffenbande br
Cullt:
Da ist die KFokosnuß, da ist die K
Cokosnuß, es hat die K
Gokosnuß gekl
Caut!
Da ist die KFokosnuß, da ist die K
Cokosnuß, es hat die K
Gokosnuß gekl
Caut!
DieCAffen
aoma schr
Ceit:
”Hurr
aa!
Die KCokosn
auß ist w
Cieder d
aa!“
Die ganzeGAffenbande br
Cullt:
Da ist die KFokosnuß, da ist die K
Cokosnuß, es hat die K
Gokosnuß gekl
Caut!
Da ist die KFokosnuß, da ist die K
Cokosnuß, es hat die K
Gokosnuß gekl
Caut!
Und dCie Mor
aal von d
Cer Gesch
aicht’:
Klaut kCeine K
aokosn
Cusse n
aicht,
weil sonst die gGanze Bande br
Cullt:
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
Wo ist die KFokosnuß, wo ist die K
Cokosnuß, wer hat die K
Gokosnuß gekl
Caut?
136
Lustig ist das Zigeunerleben
LCustig ist das Zigeunerleben, f
G7
aria faria hCo.
BrCauch’n dem Kaiser kein Zins zu geben, f
G7
aria faria hCo.
LFustig ist es im gr
Cunen Wald, w
Fo der Zigeuner
G7
AufenthCalt.
FCaria f
G7
aria, faaria faria, f
Faria f
G7
aria hCo.
SCollt uns einmal der Hunger plagen, f
G7
aria faria hCo,
gCeh’n wir uns ein Hirschlein jagen, f
G7
aria faria hCo.
HFirschlein nimm dich w
Cohl in acht, w
Fenn des Jagers B
G7
uchse krCacht.
FCaria f
G7
aria, faaria faria, f
Faria f
G7
aria hCo.
SCollt uns einmal der Durst sehr qualen, f
G7
aria faria hCo,
gCeh’n wir zu den Wasserquellen, f
G7
aria faria hCo.
TrFinken das Wasser vom m
Coos’gen Stein,
mFeinen es musse Champ
G7
agner sCein.
FCaria f
G7
aria, faaria faria, f
Faria f
G7
aria hCo.
Lustig ist das Zigeunerleben 137
WCenn uns tut der Beutel hexen, f
G7
aria faria hCo,
lCassen wir unsere Taler wechseln, f
G7
aria faria hCo.
TrFeiben wir die Zig
Ceunerkunst, k
Fommen die Taler all’ w
G7
ieder zuCuns.
FCaria f
G7
aria, faaria faria, f
Faria f
G7
aria hCo.
WCenn wir auch kein Federbett haben, f
G7
aria faria hCo,
tCun wir uns ein Loch ausgraben, f
G7
aria faria hCo.
LFegen Moos und R
Ceisig drein, d
Fas soll unser F
G7
ederbett sCein.
FCaria f
G7
aria, faaria faria, f
Faria f
G7
aria hCo.
CUnd geht die Sonne nieder, f
G7
aria faria hCo,
brCennt das Lagerfeuer wieder, f
G7
aria faria hCo.
RFeich’ mir schnell die F
Ciedel zu, schw
Farzbraun’ Madel t
G7
anz dazCu.
FCaria f
G7
aria, faaria faria, f
Faria f
G7
aria hCo.
138
Bolle reiste jungst zu Pfingsten
Bolle rGeiste jungst zu Pf
Cingsten, nach P
D7
ankow war sein ZGiel.
Da verlGor er seinen J
Cungsten ganz pl
D7
otzlich im GewGuhl.
’Ne vDolle halbe Stunde hat
A7
er nach ihm gespDurt,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert.
Zu PGankow gab’s kein
CEssen, zu P
D7
ankow gab’s kein BGier.
WarGalles aufgefr
Cessen von fr
D7
emden Leuten hGier.
Nicht mDal ’ne Butterstulle hat m
A7
an ihm reservDiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert.
Auf der SchGonholzer H
Ceide, da g
D7
ab’s ’ne KeilerGei.
Und BGolle, gar nicht f
Ceige, war m
D7
ittenmang dabGei.
Hat’s MDesser rausgerissen und f
A7
unfe massakrDiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert.
Bolle reiste jungst zu Pfingsten 139
Es fGing schon an zu t
Cagen, als
D7
er sein Heim erblGickt.
Das HGemd war ohne Kr
Cagen, das N
D7
asenbein zerknGickt.
Das lDinke Auge fehlte, das r
A7
echte marmorDiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert.
Zu HGause angek
Commen, da g
D7
ing’s ihm aber schlGecht.
Da hGat ihn seine
COlle ganz m
D7
orderisch verdrGescht.
’Ne vDolle halbe Stunde hat s
A7
ie auf ihm polDiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert,
aber dGennoch hat sich B
Colle ganz k
D7
ostlich amusGiert.
BGolle wollte st
Cerben, er h
D7
at sich’s uberlGegt.
Er hGat sich auf die Sch
Cienen der B
D7
immelbahn gelGegt.
Die BDahn, die hat Verspatung, und v
A7
ierzehn Tage drDauf
da fGand man unsern B
Colle als Sch
D7
immel wiederGauf,
da fGand man unsern B
Colle als Sch
D7
immel wiederGauf.
140
Pizza-Blues (Christof Schardt)
EDas ist der Pizza-Blues,
Edas ist der Pizza-Blues.
ADas ist der Pizza-Blues,
Edas ist der Pizza-Blues.
Das ist der PHizza- Pizza- Pizza- Pizza- P
Aizza- Pizza- Pizza-Bl
Eues.
H
ELetzte Woche aß ich eine PizzaEirgendwo in Rom oder in Nizza.
ADas war ’ne Pizza mit Salami,
Edie Pilze, die aß meine Mami.
Die PHilze Pilze Pilze Pilze P
Ailze Pilze Pilze aß meine M
Eami.
H
EHeut’ ist mir alles egal,
Eheut’ geh’ ich in ’n Pizza-Lokal.
AHeut’ ist mir alles egal,
Eheut’ brauch’ ich ’ne Pizza Spezial.
Ich brauch’ ’ne PHizza Pizza Pizza Pizza P
Aizza Pizza Pizza Spezi
Eal.
H
Pizza-Blues (Christof Schardt) 141
EDa kommt der Ober reinEund fragt:
”Was darf’s denn sein?“
AIch sag:
”’Ne Pizza Spezial,
denn wissen Sie,E
heut’ ist mir alles egal!
Heut’ ist mirHalles alles alles alles
Aalles alles alles eg
Eal!“
H
EJa so ’ne Pizza bringt mich auf Trab,
Eschon schneid’ ich den ersten Bissen ab.ADoch was ist das fur ein Fiasko?E
”Herr Ober! Es fehlt Tabasko!
HerrHOber Ober Ober Ober
AOber Ober Ober, es fehlt Tab
Easko!“
H
ESchon kommt der Ober her,
Ejedoch die Flasche ist leer.
ADa ist er wirklich ganz betroffen
und fragt:E
”Wer hat den Tabasko ausgesoffen?
Wer hat ’n TabHasko basko basko basko b
Aasko basko basko ausges
Eoffen?“
H
EDas war der Pizza-Blues,
Edas war der Pizza-Blues.
ADas war der Pizza-Blues,
Edas war der Pizza-Blues.
Das war der PHizza- Pizza- Pizza- Pizza- P
Aizza- Pizza- Pizza-Bl
Eues.
E7
142
Raucherhusten-Blues
EDas ist der Raucherhusten-Blues (hust, hust),
Edas ist der Raucherhusten-Blues (hust, hust).
ADas ist der Raucherhusten-Blues (hust, hust),
Edas ist der Raucherhusten-Blues (hust, hust).
Das ist der RHaucherhusten- Raucherhusten-
RAaucherhusten- Raucherhusten-Bl
Eues.
H
EDas war der Raucherhusten-Blues (hust, hust),
Edas war der Raucherhusten-Blues (hust, hust).
ADas war der Raucherhusten-Blues (hust, hust),
Edas war der Raucherhusten-Blues (hust, hust).
Das war der RHaucherhusten- Raucherhusten-
RAaucherhusten- Raucherhusten-Bl
Eues.
E7
143
Microsoft-Blues (Hartmut Henkel)
EDas ist der Microsoft-Blues,
Edas ist der Microsoft-Blues.
AWo der arme PC
Eneu gebootet werden muß.
Wo derHarme PC
Aneu gebootet werden m
Euß.
H
EDas ist die Microsoft-Ballade,
Edas ist die Microsoft-Ballade.
AUm jeden Speicher tut’s mir leid,
Eum jede Hard-Disc ist es schade.
Um jeden SpHeicher tut’s mir leid,
Aum jede Hard-Disc ist es sch
Eade.
H
EBei diesem Software-Verhau
Ewird sogar mein Monitor blau.
ABei diesem Software-Verhau
Ewird sogar mein Monitor blau.
Bei diesem SHoftware-Verhau wird sogar
Amein Monitor bl
Eau.
H
EDas ist das Microsoft-Drama,
Edas ist das Microsoft-Drama.
ASo ein doofes Programm
Eist sogar zu doof fur ein Lama.
So ein dHoofes Programm ist sogar zu d
Aoof fur ein L
Eama.
H
EZahl’ keine Microsoft-Steuer,
Edie ist doch viel zu teuer.
ANimm lieber Linux kostenlos,
Edas spart dir Arger und Moos.
Nimm lieber LHinux kostenlos, das spart dir
AArger und viel M
Eoos.
E7
144
Wickie
E E E E E E E E E E E E E E E E
HEey hey Wickie, h
Eey Wickie hey,
Ezieh fest das Segel an.
HAey hey Wickie, die W
Aickinger
Esind hart am Winde dran.
HNa na naa na, na n
Aa na na naa na naa, W
Eickie.
H
HEey hey Wickie, h
Eey Wickie hey,
Eso heißt der kleine Held.
Er dAenkt kurz nach und h
Aat ihn dann,
Eden Trick, der ihm gefallt.
HNa na naa na, na n
Aa na na naa na naa, W
Eickie.
E
FDie Angst vor’m Wolf macht ihn nicht froh
Eund im Taifun ist’s ebenso,
Fdoch Wolfe hin, Taifune her,
Hdie Losung fallt ihm gar nicht schwer.
HEey hey Wickie, h
Eey Wickie hey,
Ezieh fest das Segel an.
HAey hey Wickie, die W
Aickinger
Esind hart am Winde dran.
HNa na naa na, na n
Aa na na naa na naa, W
Eickie, h
Eey!
145
Das Urmel-Lied
CAlle Mamis s
Fagen immer
”TGindlein gib son
Cacht,
blFeib son brav in D
Geinem Zimmer und sl
Gaf: Gute N
Cacht!“
CAber wenn das T
Findlein großer, d
Garf’s spazieren g
Ceh’n,
wFeil sonst tonnt das tl
Geine Tindlein g
Gar nie sone S
Cachen sehn,
wFeil sonst tonnt das tl
Geine Tindlein g
Gar nie sone S
Cachen sehn.
CAlle Tindlein s
Fagen immer,
”M
Gami, laß mich r
Caus!
BlFeib ganz lieb in D
Geinem Zimmer, ich t
Gomm bald nach H
Caus’.“
CAber wenn das T
Findlein fort ist, d
Genkt es nicht mehr dr
Can,
wFeil es doch so v
Giele wunders
Gone Sachen s
Cehen tann,
wFeil es doch so v
Giele wunders
Gone Sachen s
Cehen tann.
WCenn das tleine T
Findlein dann nach H
Gause frohlich g
Ceht,
sFimpft die Mami gl
Geich das Tindlein,
”Du t
Gommst viel zu sp
Cat!“
”LCiebe Mami, s
Fei nicht bose
Gund merk Dir zum Sl
Cuß,
dFaß das tleine T
Gindlein doch die s
Gonen Sachen s
Cehen muß,
dFaß das tleine T
Gindlein doch die s
Gonen Sachen s
Cehen muß.“
146
O du lieber Augustin
CO du lieber Augustin,
GAugustin,
CAugustin.
CO du lieber Augustin,
G7
alles ist hCin.
GGeld ist weg, M
Cad’l ist weg,
Galles weg,
Calles weg.
CO du lieber Augustin,
G7
alles ist hCin.
CO du lieber Augustin,
GAugustin,
CAugustin.
CO du lieber Augustin,
G7
alles ist hCin.
RGock ist weg, St
Cock ist weg,
GAugustin l
Ciegt im Dreck.
CO du lieber Augustin,
G7
alles ist hCin.
147
Auf einem Baum ein Kuckuck saß
AufCeinem Baum ein K
Guckuck, s
Cim salabim bamba saladu salad
Gim,
aufCeinem Baum ein K
G7
uckuck sCaß.
Da kCam ein junger J
Gager, s
Cim salabim bamba saladu salad
Gim,
da kCam ein junger J
G7
agersmCann.
Der schCoß den armen K
Guckuck, s
Cim salabim bamba saladu salad
Gim,
der schCoß den armen K
G7
uckuck tCot.
UndCals ein Jahr verg
Gangen, s
Cim salabim bamba saladu salad
Gim,
undCals ein Jahr verg
G7
angen wCar,
da wCar der Kuckuck w
Gieder, s
Cim salabim bamba saladu salad
Gim,
da wCar der Kuckuck w
G7
ieder dCa.
Da frCeuten sich die L
Geute, s
Cim salabim bamba saladu salad
Gim,
da frCeuten sich die L
G7
eute sCehr.
148
Sabotage
In PerAu, in Peru in den
EAnden
steht ’ne KEuh, steht ’ne Kuh kann nicht l
Aanden.
In der NAacht, in der Nacht kamen D
Eiebe
stahlenEihr, stahlen ihr das Getr
Aiebe.
SabotAaaaaaage! Sabot
Aaaaaaage!
In PerAu, in Peru in den
EAnden
steht ’ne KEuh, steht ’ne Kuh kann nicht l
Aanden.
In der NAacht, in der Nacht kamen G
Eeier
bissenEihr, bissen ihr in die Kn
Aie.
SabotAaaaaaage! Sabot
Aaaaaaage!
149
Otto
CO, O, O, der
GOtto hat zwei
CO.
HGinten eins und v
Corne eins,
Gin der Mitte h
Cat er keins.
CO, O, O, der
GOtto hat zwei
CO.
KCa, Ka, Ka, der L
Gukas hat ein K
Ca.
HGinten keins und v
Corne keins,
Gin der Mitte h
Cat er eins.
KCa, Ka, Ka, der L
Gukas hat ein K
Ca.
CEl, El, El, die L
Geila hat zwei
CEl.
HGinten keins und v
Corne eins,
Gin der Mitte h
Cat sie eins.
CEl, El, El, die L
Geila hat zwei
CEl.
CA, A, A, die
GAnnika hat zwei
CA.
HGinten eins und v
Corne eins,
Gin der Mitte h
Cat sie keins.
CA, A, A, die
GAnnika hat zwei
CA.
KCa, Ka, Ka, der J
Gakob hat ein K
Ca.
HGinten keins und v
Corne keins,
Gin der Mitte h
Cat er eins.
KCa, Ka, Ka, der J
Gakob hat ein K
Ca.
150
Bruder Jakob
BrCuder Jakob! Br
Cuder Jakob! Schl
Cafst Du noch? Schl
Cafst Du noch?
HCorst Du nicht die Glocken? H
Corst Du nicht die Glocken?
DCing! Dang! Dong! D
Cing! Dang! Dong!
FrCere Jacques! Fr
Cere Jacques! D
Cormez-vous? D
Cormez-vous?
SConnez les matines. S
Connez les matines.
DCing! Dang! Dong! D
Cing! Dang! Dong!
CAre you sleeping?
CAre you sleeping? Br
Cother John! Br
Cother John!
MCorning bells are ringing. M
Corning bells are ringing.
DCing! Dang! Dong! D
Cing! Dang! Dong!
MContanero! M
Contanero! S
Cale el sol. S
Cale el sol.
SCuenan las campanas. S
Cuenan las campanas.
DCing! Dang! Dong! D
Cing! Dang! Dong!
BrCoeder Jakob! Br
Coeder Jakob! Sl
Caap je nog? Sl
Caap je nog?
CAlle Klokken luiden.
CAlle Klokken luiden.
DCing! Dang! Dong! D
Cing! Dang! Dong!
MCester Jakob! M
Cester Jakob! S
Cover du? S
Cover du?
HCører du ej klokken? H
Cører du ej klokken?
DCing! Dang! Dong! D
Cing! Dang! Dong!
151
Creutzfeldt-Jakob (Elmar Horig)
CrCeutzfeldt-Jakob! Cr
Ceutzfeldt-Jakob!
SchlCafst Du noch? Schl
Cafst Du noch?
FCangt schon an zu zucken! F
Cangt schon an zu zucken!
CBSE!
CBSE!
CrCeutzfeldt-Jakob! Cr
Ceutzfeldt-Jakob!
SchlCafst Du noch? Schl
Cafst Du noch?
FCangt schon an zu zucken! F
Cangt schon an zu zucken!
CBSE!
CBSE!
152
Negeraufstand
Negeraaufstand ist in K
Euba, Schusse h
Fallen durch die N
Eacht,
Weiber wderden hinger
Cichtet und in D
Gosen eingem
aacht.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
In den Straaßen fließt der
EEiter, der Verk
Fehr geht nicht mehr w
Eeiter,
an dendEcken sitzen Kn
Caben, die sich
Gan dem Eiter l
aaben.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
In dem Kaeller sitzt der H
Eauptling und er n
Fagt an einem S
Eaugling,
seiner Frdau gibt er die Kn
Cochen, eine S
Guppe draus zu k
aochen.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
In den Flaussen schwimmen L
Eeichen mit weit
Faufgeschlitzten B
Eauchen,
in den Bdauchen stecken M
Cesser von den b
Gosen Menschenfr
aessern.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
In dem Kaeller auf den K
Eohlen sitzen Schw
Farze mit Pist
Eolen
und sie schdießen auf die W
Ceißen, die mit T
Gotenkopfen schm
aeißen.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
Humba haumba assa humba h
aumba assa humba h
Ea oha oh
ao.
153
Scheiße . . .
SchCeiße durch ein Sieb geschossen,
Celaaa el
Galalaaa,
gGibt die schonsten Sommersprossen,
Gelaaa el
Calalaaa.
SchCeiße an den Fahrradreifen,
Celaaa el
Galalaaa,
gGibt beim Bremsen braune Streifen,
Gelaaa el
Calalaaa.
SchCeiße auf dem Autodach,
Celaaa el
Galalaaa,
wGird bei 180 flach,
Gelaaa el
Calalaaa.
SchCeiße im Kanonenrohr,
Celaaa el
Galalaaa,
kGommt zum Gluck recht selten vor,
Gelaaa el
Calalaaa.
SchCeiße auf der Friedhofsmauer,
Celaaa el
Galalaaa,
stGort die Leute bei der Trauer,
Gelaaa el
Calalaaa.
SchCeiße auf der Kirchturmspitze,
Celaaa el
Galalaaa,
brGockelt ab bei großer Hitze,
Gelaaa el
Calalaaa.
SchCeiße im Trompetenrohr,
Celaaa el
Galalaaa,
klGebt sehr schnell am Lauscher-Ohr,
Gelaaa el
Calalaaa.
SchCeiße in der Lampenschale,
Celaaa el
Galalaaa,
gGibt gedampftes Licht im Saale,
Gelaaa el
Calalaaa.
SchCeiße in der Kuchenform,
Celaaa el
Galalaaa,
Gandert den Geschmack enorm,
Gelaaa el
Calalaaa.
154
Gitarren-Griffe
Die zehn wichtigsten Gitarren-Griffe sind:
1) A (A-Dur, Seite 154) 6) E (E-Dur, Seite 160)
2) a (a-Moll, Seite 155) 7) e (e-Moll, Seite 161)
3) C (C-Dur, Seite 157) 8) F (F-Dur, Seite 161)
4) D (D-Dur, Seite 158) 9) G (G-Dur, Seite 163)
5) d (d-Moll, Seite 159) 10) h (h-Moll, Seite 165)
Legende:
±°²¯Z = Zeigefinger ±°
²¯M = Mittelfinger ±°
²¯R = Ringfinger
±°²¯D = Daumen × = abgedampft ±°
²¯K = Kleiner Finger
A (A-Dur)
²
±
¯
°Z
Z±°²¯M
t t
ehgDAE
A+ (A-Dur+)
²
±
¯
°Z
Z±°²¯M
±°²¯R
t
ehgDAE
A2 (A-Dur2)
±°²¯M
±°²¯R t t
ehgDAE
A4 (A-Dur4)
²
±
¯
°Z
Z±°²¯M ±°
²¯R
t t
ehgDAE
Gitarren-Griffe 155
A6 (A-Dur6)
²
±
¯
°Z
Z±°²¯M
±°²¯R
t t
ehgDAE
A6 (A-Dur6)²
±
¯
°Z
Z
Z
Z
t t
ehgDAE
A7 (A-Dur7)
²
±
¯
°Z
Z±°²¯M
±°²¯R
t t
ehgDAE
A7 (A-Dur7)²
±
¯
°Z
Z
Z
Z ±°²¯R
t t
ehgDAE
A7+ (A-Dur7+)
±°²¯M
±°²¯Z
±°²¯R
t t
ehgDAE
Adim (A-Durdim)
±°²¯Z
±°²¯M
±°²¯R
±°²¯K
×
t t
ehgDAE
a (a-Moll)
±°²¯M
±°²¯R
±°²¯Z
t t
ehgDAE
a2 (a-Moll2)
±°²¯M
±°²¯R t t
ehgDAE
a4 (a-Moll4)
±°²¯M
±°²¯R
±°²¯Z ±°
²¯K
t t
ehgDAE
a6 (a-Moll6)
±°²¯M
±°²¯R
±°²¯Z
±°²¯K
t t
ehgDAE
156 Gitarren-Griffe
a7 (a-Moll7)
±°²¯M
±°²¯R
±°²¯Z
±°²¯K
t t
ehgDAE
a7 (a-Moll7)
±°²¯M
±°²¯Z
±°²¯K
t t
ehgDAE
A[ (A[-Dur)²
±
¯
°ZZZZZZ
±°²¯R
±°²¯K
±°²¯Mt
ehgDAE
A[7 (A[-Dur7)²
±
¯
°ZZZZZZ
±°²¯R
±°²¯Mt
ehgDAE
a[ (a[-Moll)²
±
¯
°ZZZZZZ
±°²¯R
±°²¯K
t t
ehgDAE
a[7 (a[-Moll7)²
±
¯
°ZZZZZZ
±°²¯R
t t
ehgDAE
B (B-Dur)²
±
¯
°Z
Z
Z
Z
Z
Z
±°²¯M
±°²¯R
±°²¯K
t
ehgDAE
B7 (B-Dur7)²
±
¯
°Z
Z
Z
Z
Z
Z
±°²¯R
±°²¯K
t
ehgDAE
b (b-Moll)²
±
¯
°Z
Z
Z
Z
Z
Z
±°²¯R
±°²¯K
±°²¯M
t
ehgDAE
b7 (b-Moll7)²
±
¯
°Z
Z
Z
Z
Z
Z
±°²¯R
±°²¯M
t
ehgDAE
Gitarren-Griffe 157
C (C-Dur)
±°²¯Z
±°²¯M
±°²¯R
t t
ehgDAE
C (C-Dur)
±°²¯Z
±°²¯M
±°²¯R
±°²¯K
t t
ehgDAE
C2 (C-Dur2)
±°²¯Z
±°²¯M
±°²¯R
±°²¯K
t t
ehgDAE
C4 (C-Dur4)²
±
¯
°Z
Z
±°²¯M
±°²¯R
±°²¯K
×
t
ehgDAE
C6 (C-Dur6)
±°²¯M
±°²¯R
±°²¯Z
±°²¯K
t t
ehgDAE
C7 (C-Dur7)
±°²¯Z
±°²¯M
±°²¯R
±°²¯K t
ehgDAE
C7+ (C-Dur7+)
±°²¯M
±°²¯R
t t
ehgDAE
Cdim (C-Durdim)
±°²¯Z
±°²¯M
±°²¯R
±°²¯K
×
t t
ehgDAE
c (c-Moll)²
±
¯
°Z
Z
Z
Z
Z
Z
±°²¯R
±°²¯K
±°²¯M
ehgDAE
c7 (c-Moll7)²
±
¯
°Z
Z
Z
Z
Z
Z
±°²¯R
±°²¯M
ehgDAE
158 Gitarren-Griffe
C] (C]-Dur)²
±
¯
°ZZZZZZ
±°²¯M
±°²¯R
±°²¯K
t t
ehgDAE
C]7 (C]-Dur7)²
±
¯
°ZZZZZZ
±°²¯R
±°²¯K
t t
ehgDAE
c] (c]-Moll)²
±
¯
°ZZZZZZ
±°²¯R
±°²¯K
±°²¯M
t t
ehgDAE
c]7 (c]-Moll7)²
±
¯
°ZZZZZZ
±°²¯R
±°²¯M
t t
ehgDAE
D (D-Dur)
±°²¯Z
±°²¯M
±°²¯R
±°²¯D
t t
ehgDAE
D+ (D-Dur+)
±°²¯Z
±°²¯M
±°²¯D
±°²¯R
±°²¯K
t
ehgDAE
D2 (D-Dur2)
±°²¯Z
±°²¯R
±°²¯D
t t
ehgDAE
D4 (D-Dur4)
±°²¯Z
±°²¯M
±°²¯R
±°²¯D
±°²¯K
t t
ehgDAE
D6 (D-Dur6)
±°²¯Z
±°²¯M
±°²¯D
t t
ehgDAE
D7 (D-Dur7)
±°²¯Z
±°²¯M
±°²¯R
±°²¯D
t t
ehgDAE
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166
CD-Verzeichnis
Ein Teil der Stucke in diesem Liederbuch ist auf folgenden Alben zu finden:
Titel Gruppe/Interpret Album Nr.
All My Loving The Beatles With the Beatles 3
I Want to Hold YourHand
The Beatles 1962–1966, CD I 5
And I Love Her The Beatles A Hard Day’s Night 5
Eight Days a Week The Beatles Beatles for Sale 8
Help! The Beatles Help! 1
Norwegian Wood (ThisBird has Flown)
The Beatles Rubber Soul 2
Girl The Beatles Rubber Soul 9
In My Life The Beatles Rubber Soul 11
Eleanor Rigby The Beatles Revolver 2
Yellow Submarine The Beatles Revolver 6
A Day in the Life The Beatles Sgt. Pepper’s LonelyHearts Club Band
13
I am the Walrus The Beatles Magical Mystery Tour 6
Strawberry Fieldsforever
The Beatles Magical Mystery Tour 8
Hey Jude The Beatles 1967–1970, CD I 13
The Continuing Story ofBungalow Bill
The Beatles White Album, CD I 6
Happiness is a WarmGun
The Beatles White Album, CD I 8
Rocky Raccoon The Beatles White Album, CD I 13
Come Together The Beatles Abbey Road 1
Maxwell’s SilverHammer
The Beatles Abbey Road 3
Let it be The Beatles Let it be 6
Get back The Beatles Let it be 12
The Gnome Pink Floyd The Piper at the Gatesof Dawn
8
Fearless Pink Floyd Meddle 3
Time Pink Floyd Dark Side of the Moon 3
Brain Damage Pink Floyd Dark Side of the Moon 8
CD-Verzeichnis 167
Titel Gruppe/Interpret Album Nr.
Welcome to theMachine
Pink Floyd Wish You were here 2
Wish You were here Pink Floyd Wish You were here 4
Another Brick in theWall (Part 2)
Pink Floyd The Wall, CD I 5
Mother Pink Floyd The Wall, CD I 6
Comfortably Numb Pink Floyd The Wall, CD II 6
The Sounds of Silence Simon & Garfunkel Sounds of Silence 1
Mrs. Robinson Simon & Garfunkel Bookends 10
The Boxer Simon & Garfunkel Bridge over TroubledWater
6
It’s Good to be King Tom Petty Wildflowers 5
Hard on Me Tom Petty Wildflowers 9
Blowin’ in the Wind Bob Dylan The Freewheelin’Bob Dylan
1
Knockin’ on Heaven’sDoor
Bob Dylan Before the Flood, CD I 4
Father and Son Cat Stevens Tea for the Tillerman 10
Morning has Broken Cat Stevens Teaser and the Firecat 7
Field of Mars The Church The Blurred Crusade 3
Secret Corners The Church The Blurred Crusade 5
Lola The Kinks Lola versusPowerman andthe Moneygoround
6
Hotel California Eagles Hotel California 1
Sex and Candy Marcy Playground Marcy Playground 2
House of the Rising Sun Animals The Most of theAnimals
1
Lady in Black Uriah Heep Salisbury 4
Where have all theFlowers Gone?
Peter, Paul & Mary Peter, Paul & Mary 12
Suzanne Leonard Cohen Songs of Leonard Cohen 1
Dust in the Wind Kansas Point of Know Return 7
The One I Love R.E.M. Document 7
Angie The Rolling Stones Goats Head Soup 5
Nights in White Satin The Moody Blues Days of Future Passed 7
168 CD-Verzeichnis
Titel Gruppe/Interpret Album Nr.
When a Blind ManCries
Deep Purple Singles A’s & B’s 14
Marooned Wire Chairs Missing 5
Killing Me Softly withhis Song
Roberta Flack Killing Me Softly 1
Sailing Rod Stewart Atlantic Crossing 10
Teach Your Children Crosby, Stills, Nash &Young
Deja vu 2
Throw down the Sword Wishbone Ash Argus 7
Dicke MariusMuller-Westernhagen
Mit Pfefferminz bin ichdein Prinz
7
Gruß mir die Genossen MariusMuller-Westernhagen
Mit Pfefferminz bin ichdein Prinz
9
Aloha Heja He Achim Reichel Melancholie undSturmflut
5
169
Index
AA Day in the Life
(The Beatles), 19Die Affen rasen durch den Wald, 134All My Loving
(The Beatles), 8Alle Jahre wieder, 105Aloha Heja He, 120Aloha Heja He
(Achim Reichel), 118And I Love Her
(The Beatles), 10Angie
(The Rolling Stones), 84Another Brick in the Wall
(Pink Floyd), 41Auf einem Baum ein Kuckuck saß, 147O du lieber Augustin, 146
BAuf einem Baum ein Kuckuck saß, 147When a Blind Man Cries
(Deep Purple), 86Blowin’ in the Wind
(Bob Dylan), 56Bolle reiste jungst zu Pfingsten, 138The Boxer
(Simon & Garfunkel), 50Brain Damage
(Pink Floyd), 38Another Brick in the Wall
(Pink Floyd), 41Bruder Jakob, 150The Continuing Story of Bungalow Bill
(The Beatles), 26
CHotel California
(Eagles), 64CD-Verzeichnis, 166Come Together
(The Beatles), 29Comfortably Numb
(Pink Floyd), 44
The Continuing Story of Bungalow Bill(The Beatles), 26
Creutzfeldt-Jakob(Elmar Horig), 151
DDas Urmel-Lied, 145A Day in the Life
(The Beatles), 19Dicke
(Muller-Westernhagen), 110Die Affen rasen durch den Wald, 134What shall We do with the Drunken
Sailor?, 96Dust in the Wind
(Kansas), 82
EEight Days a Week
(The Beatles), 11Eleanor Rigby
(The Beatles), 17
FFather and Son
(Cat Stevens), 58Fearless
(Pink Floyd), 35Field of Mars
(The Church), 60Where have all the Flowers Gone?
(Peter, Paul & Mary), 74O du frohliche, 108
GWie schon, daß du geboren bist
(Rolf Zuckowski), 128Get back
(The Beatles), 33Girl
(The Beatles), 15Gitarren-Griffe, 154Kling, Glockchen, klingelingeling, 101The Gnome
(Pink Floyd), 34
170 INDEX
Go down, Moses!, 98Gruß mir die Genossen
(Muller-Westernhagen), 112
HIck heff mol en Hamburg en Veermaster
sehn, 94I Want to Hold Your Hand
(The Beatles), 9Happiness is a Warm Gun
(The Beatles), 27Hard on Me
(Tom Petty), 54Knockin’ on Heaven’s Door
(Bob Dylan), 57Help!
(The Beatles), 12Hey Jude
(The Beatles), 24Hotel California
(Eagles), 64House of the Rising Sun
(Animals), 68
II am the Walrus
(The Beatles), 20I Want to Hold Your Hand
(The Beatles), 9Ick heff mol en Hamburg en Veermaster
sehn, 94Ihr Kinderlein, kommet, 106Ihr Kinderlein, kommet
(Floten, Klarinette), 107In My Life
(The Beatles), 16It’s Good to be King
(Tom Petty), 52
JJa, so warn s’ die alten Rittersleut, 116Ja, so warn s’ die alten Rittersleut
(Karl Valentin), 114Alle Jahre wieder, 105Bruder Jakob, 150Hey Jude
(The Beatles), 24
KMein kleiner gruner Kaktus
(Comedian Harmonists), 122Und keiner soll sagen . . .
(Willy Millowitsch), 126Killing Me Softly with his Song
(Roberta Flack), 89Kinder
(Bettina Wegener), 130Ihr Kinderlein, kommet, 106Ihr Kinderlein, kommet
(Floten, Klarinette), 107It’s Good to be King
(Tom Petty), 52Kling, Glockchen, klingelingeling, 101Knockin’ on Heaven’s Door
(Bob Dylan), 57Auf einem Baum ein Kuckuck saß, 147
LLaßt uns froh und munter sein, 100Lady in Black
(Uriah Heep), 70Leise rieselt der Schnee, 104Let it be
(The Beatles), 32Lola
(The Kinks), 62Streets of London
(Ralph McTell), 80Lustig ist das Zigeunerleben, 136
MMarmor, Stein und Eisen
(Drafi Deutscher), 132Marooned
(Wire), 87Field of Mars
(The Church), 60Maxwell’s Silver Hammer
(The Beatles), 30Mein kleiner gruner Kaktus
(Comedian Harmonists), 122Microsoft-Blues
(Hartmut Henkel), 143Morning has Broken
(Cat Stevens), 59
INDEX 171
Go down, Moses!, 98Mother
(Pink Floyd), 42Mrs. Robinson
(Simon & Garfunkel), 48
NStille Nacht, heilige Nacht!, 109Negeraufstand, 152Nights in White Satin
(The Moody Blues), 85Norwegian Wood
(The Beatles), 14
OO du frohliche, 108O du lieber Augustin, 146O Tannenbaum, 99The One I Love
(R.E.M.), 83Otto, 149
PPizza-Blues
(Christof Schardt), 140
RRaucherhusten-Blues, 142House of the Rising Sun
(Animals), 68Ja, so warn s’ die alten Rittersleut, 116Ja, so warn s’ die alten Rittersleut
(Karl Valentin), 114Mrs. Robinson
(Simon & Garfunkel), 48Rocky Raccoon
(The Beatles), 28
SSabotage, 148Sailing
(Rod Stewart), 90Nights in White Satin
(The Moody Blues), 85Scheiße . . . , 153Leise rieselt der Schnee, 104Schneeflockchen, Weißrockchen, 102
Schneeflockchen, Weißrockchen(Floten, Klarinette), 103
Seasons in the Sun(Terry Jacks), 78
Secret Corners(The Church), 61
Sex and Candy(Marcy Playground), 66
Sieben Tage lang(Bots), 131
The Sounds of Silence(Simon & Garfunkel), 46
Stille Nacht, heilige Nacht!, 109Straßen unserer Stadt
(Christian Heilburg), 124Strawberry Fields forever
(The Beatles), 22Streets of London
(Ralph McTell), 80Yellow Submarine
(The Beatles), 18Suzanne
(Leonard Cohen), 76
TO Tannenbaum, 99Teach Your Children
(Crosby, Stills, Nash & Young),91
The Boxer(Simon & Garfunkel), 50
The Continuing Story of Bungalow Bill(The Beatles), 26
The Gnome(Pink Floyd), 34
The One I Love(R.E.M.), 83
The Sounds of Silence(Simon & Garfunkel), 46
The Universal Soldier(Donovan), 72
Throw down the Sword(Wishbone Ash), 92
Time(Pink Floyd), 36
Two o’Clock(F. Rainer Bechtold), 93
172 INDEX
UUnd keiner soll sagen . . .
(Willy Millowitsch), 126The Universal Soldier
(Donovan), 72Das Urmel-Lied, 145
VIck heff mol en Hamburg en Veermaster
sehn, 94Venus
(Shocking Blue), 88
WAnother Brick in the Wall
(Pink Floyd), 41I am the Walrus
(The Beatles), 20Happiness is a Warm Gun
(The Beatles), 27Welcome to the Machine
(Pink Floyd), 39What shall We do with the Drunken
Sailor?, 96When a Blind Man Cries
(Deep Purple), 86Where have all the Flowers Gone?
(Peter, Paul & Mary), 74Wickie, 144Wie schon, daß du geboren bist
(Rolf Zuckowski), 128Blowin’ in the Wind
(Bob Dylan), 56Dust in the Wind
(Kansas), 82Wish You were here
(Pink Floyd), 40
YYellow Submarine
(The Beatles), 18Yenawe, 133
ZLustig ist das Zigeunerleben, 136