#------------------------------------------------------------------------------## From uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Fri Sep 4 16:03:18 PDT 1992 Article: 2022 of alt.guitar.tab Path: nevada.edu!uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Newsgroups: alt.guitar.tab Subject: Tab : Oh Sister - Dylan Message-ID: <1992Sep4.183404.657@csc.canterbury.ac.nz> From: cctr128@cantua.canterbury.ac.nz (Mr K Osborn) Date: 4 Sep 92 18:34:02 +1200 Reply-To: k.osborn@cantua.canterbury.ac.nz Organization: University of Canterbury, Christchurch, New Zealand. Nntp-Posting-Host: cantua.canterbury.ac.nz X-Newsreader: Tin 1.1 PL3 Lines: 43 Oh Sister words and music by Bob Dylan & Jacques Levy errors are mine B^) G Bm C G Oh sister when I come, to ly in your arms. G Bm C G You should not treat me like a stranger. G Bm C G Our father would not like the way that you act, G Bm C G And you must realize the danger. Oh sister am I not a brother to you. And one deserving of affection. And is our purpose not the same on this earth, To love and follow his direction. F C G We grew up together from the cradle to the grave. F C G D G We died and were reborn and left mysteriously saved Oh sister when I come to knock on your door Don't turn away, you'll create sorrow. Time is an ocean, but it ends at the shore. You may not see me tomorrow. one_more.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uunet!comp.vuw.ac.nz!canterbury.ac.nz!cctr128 Wed Aug 26 16:51:44 PDT 1992 Article: 1866 of alt.guitar.tab Path: nevada.edu!uunet!comp.vuw.ac.nz!canterbury.ac.nz!cctr128 From: cctr128@csc.canterbury.ac.nz (Kelwyn Osborn, CSC Uni of Canterbury) Newsgroups: alt.guitar.tab Subject: Tab: One More Cup of Coffee Message-ID: <1992Aug27.094626.548@csc.canterbury.ac.nz> Date: 27 Aug 92 09:46:25 +1200 Organization: University of Canterbury, Christchurch, New Zealand Lines: 84 This is from memory so there could be a mistake or two... One More Cup of Coffee Bob Dylan and Jacques Levy Am Your Breath is sweet, your eyes are like G Two jewels in the sky F Your back is straight your hair is smooth E On the pillow where you lie. Am But I don't sense affection G No gratitude or love. F E Your loyalty is not me but to the stars above Chourus : F E One more cup of coffee for the road. F E One more cup of coffee for I go, NC Am G F E To the valley below. Your daddy he's an outlaw And a wanderer by trade. He'll teach you how to pick an choose And how to throw the blade. And he oversees his kingdom So no stranger does intrude. His voice it trembles as he calls out For another plate of food Chorus Your sister sees the future Like your momma and yourself. You've never learned to read or write There's no books upon your shelf. And your pleasure know no limits Your voice is like a meadow larks. But your heart is like an ocean Mysterious and dark. Chours: Kelwyn He said thats alright Babe I love you too. But we were tangled up in blue. one_of_u.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) One of Us Must Know - Bob Dylan --------------------------------- ('Blonde on Blonde' album) F Bb F Bb F Bb F Bb ---- #1: F Bb F Bb F I didn't mean to treat you so bad Bb F Dm C7 You shouldn't take it so personal F Bb F Bb F I didn't mean to make you so sad Bb F Dm C7 F C7 You just happened to be there, that's all Dm Am When I saw you say "goodbye" to my friend and smile Gm F I thought that it was well understood Dm Am That you'd be comin' back in a little while Gm Bb I didn't know that you were sayin' "goodbye" for good ---- Chorous: C7 C11 C7 Gm7 C11 But, F Bb F sooner or later, one of us must know Bb F C7 You just did what you're supposed to do F Bb F Sooner or later, one of us must know Bb F C7 That I really did try to get close to you F Bb F Bb ---- #2: I couldn't see what you could show me Your scarf had kept your mouth well hid I couldn't see how you could know me But you said you knew me and I believed you did When you whispered in my ear And asked me if I was leavin' with you or her I didn't realize just what I did hear I didn't realize how young you were [Chorous] F Bb F Bb ---- #3: I couldn't see when it started snowin' Your voice was all that I heard I couldn't see where we were goin' But you said you knew an' I took your word And then you told me later, as I apologized That you were just kiddin' me, you weren't really from the farm An' I told you, as you clawed out my eyes That I never really meant to do you any harm [Chorous] F C Bb F Bb F C7 F ------- Typed by Petter Larsson , larpe@nts.mh.se percys_s.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: BJCURRY@MECHANICAL.watstar.uwaterloo.ca (B Curry) PERCY'S SONG by Bob Dylan G C Bad news, bad news, come to me where I sleep, G D Turn, turn, turn again, G C Sayin' one of your friends is in trouble deep, G C D Em7 D Em7 D Turn, turn to the rain and the wind. Tell me, the trouble tell once to my ear, Turn, turn, turn again, Joliet prison and ninety-nine years. Turn, turn to the rain and the wind. Oh what's the charge of how this came to be, Turn, turn, turn again, Manslaughter in the highest of degree. Turn, turn to the rain and the wind. I sat down and wrote the best words I could write, Turn, turn, turn again, Explaining to the judge I'd be there on Wednesday night. Turn, turn to the rain and the wind. Without a reply I left by the moon, Turn, turn, turn again, And was in his chambers by the next afternoon. Turn, turn to the rain and the wind. Could ya tell me the facts? I said without fear, Turn, turn, turn again, That a friend of mine would get ninety-nine years. Turn, turn to the rain and the wind. A crash on the highway flew the car to a field, Turn, turn, turn again, There was four persons killed and he was at the wheel. Turn, turn to the rain and the wind. But I knew him as good as I'm knowin' myself, Turn, turn, turn again, And he wouldn't harm a life that belonged to someone else. Turn, turn to the rain and the wind. The judge spoke out of the side of his mouth, Turn, turn, turn again, Sayin' the witness who saw he left little doubt. Turn, turn to the rain and the wind. That may be true he's got a sentence to serve, Turn, turn, turn again, But ninety-nine years he just don't deserve. Turn, turn to the rain and the wind. Too late, too late for his case it is sealed Turn, turn, turn again, His sentence is passed and it cannot be repealed. Turn, turn to the rain and the wind. But he ain't no criminal and his crime it is none, Turn, turn, turn again, What happened to him could happen to anyone. Turn, turn to the rain and the wind. And at that the judge jerked forward and his face it did freeze, Turn, turn, turn again, Sayin' "Could you kindly leave my office now, please." Turn, turn to the rain and the wind. Well his eyes looked funny and I stood up so slow, Turn, turn, turn again, With no other choice except but for to go. Turn, turn to the rain and the wind. I walked down the hallway and I heard his door slam, Turn, turn, turn again, I walked down the courthouse stairs and I could not understand. Turn, turn to the rain and the wind. And I played my guitar through the night to the day, Turn, turn, turn again, And the only tune my guitar could play Was "Old cruel rain and the wind." CHORDS C x32010 G 320003 D xx0232 Em7 020000 ------------------------------------------------------------------------------ B Curry positiv.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From uunet!decwrl!world!rogers Sat Jul 18 13:21:55 PDT 1992 Article: 857 of alt.guitar.tab Newsgroups: alt.guitar.tab Path: nevada.edu!uunet!decwrl!world!rogers From: rogers@world.std.com (roger j selverstone) Subject: CRD:Positively 4th Street Message-ID: <BrLHvx.D0p@world.std.com> Organization: The World Public Access UNIX, Brookline, MA Date: Sat, 18 Jul 1992 17:28:44 GMT Lines: 35 Positively 4th Street - Dylan ============================= G Am C G You got a lotta nerve to say you are my friend D C Em7 D When I was down you just stood there grinning G Am C G You got a lotta nerve to say you got a helping hand D C Em7 D You just want to be on the side that's winning You say I let you down you know it's not like that If you're so hurt why then don't you show it You say you lost your faith but that's not where it's at You had no faith to lose and you know it I know the reason that you talk behind my back I used to be among the crowd you're in with Do you take me for such a fool to think I'd make contact With the one who tries to hide what he don't know to begin with You see me on the street you always act surprised You say, "How are you?" "Good luck" but you don't mean it When you know as well as me you'd rather see me paralyzed Why don't you just come out once and scream it No, I do not feel that good when I see the heartbreaks you embrace If I was a master thief perhaps I'd rob them And now I know you're dissatisfied with your position and your place Don't you understand it's not my problem I wish that for just one time you could stand inside my shoes And just for that one moment I could be you Yes, I wish that for just one time you could stand inside my shoes You'd know what a drag it is to see you positive.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from nevada.edu (animal-farm.nevada.edu) by redrock.nevada.edu (5.65c/M1.4) with SMTP id <AA26220>; Tue, 20 Oct 1992 18:19:51 -0700 Received: from mailrus.cc.umich.edu by animal-farm.nevada.edu. id aa26084; 20 Oct 92 18:17 PDT Received: from um.cc.umich.edu by mailrus.cc.umich.edu (5.65/1123-1.0) id AA00554; Tue, 20 Oct 92 21:17:41 -0400 Date: Tue, 20 Oct 92 21:14:54 EDT From: Dirk.Rutabaga.Queen.Elvis.Schulze@um.cc.umich.edu To: jamesb@nevada.edu Message-Id: <16711535@um.cc.umich.edu> X-Mts-Userid: 699B Subject: "Positively Fourth Street" by Bob Dylan "Positively Fourth Street" by Bob Dylan You've got a lot of nerve to say you are my friend G C Cm G When I was down you just stood there grinning G D C G D You've got a lot of nerve to say you got a helping hand to lend G C Cm G You just want to be on the side that's winning G D C G D All verses follow same pattern. Cm can be played (xx1013) if desired. queen_ja.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from animal-farm.nevada.edu by redrock.nevada.edu (5.65c/M1.4) with SMTP id <AA17360>; Mon, 28 Jun 1993 18:33:00 -0700 Received: from post1.INRE.ASU.EDU by animal-farm.nevada.edu id <AA06093@animal-farm.nevada.edu>; Mon, 28 Jun 1993 18:32:58 -0700 Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF V4.2-12 #2382) id <01GZX6RJS6QO8ZDVLN@asu.edu>; Mon, 28 Jun 1993 18:32:54 MST Received: from ASUACAD (AUDSM) by ASUVM.INRE.ASU.EDU (Mailer R2.10 ptf000) with BSMTP id 4461; Mon, 28 Jun 93 18:34:33 MST Date: Mon, 28 Jun 1993 18:34:01 -0700 (MST) From: Paul Zimmerman <AUDSM@asuvm.inre.asu.edu> Subject: CRD: Queen Jane Approximately - Dylan To: jamesb@animal-farm.nevada.edu Message-Id: <01GZX6RJS6QQ8ZDVLN@asu.edu> Content-Transfer-Encoding: 7BIT QUEEN JANE APPROXIMATELY Bob Dylan Dm9 Em F C When your mother sends back all of your invitations Dm9 Em F G7 And your father to your sister, he explains C F C Am That you're tired of yourself and all of your creations C F C F Won't you come see me Queen Jane C F C Won't you come see me Queen Jane Now when all of the flower ladies want back what they have lent you And the smell of their roses does not remain And all of your children start to resent you Won't you come see me Queen Jane Won't you come see me Queen Jane Now when all the clowns that you have commissioned Have died in battle or in vain And you're sick of all this repetition Won't you come see me Queen Jane Won't you come see me Queen Jane When all of your advisors heave their plastic At your feet to convince you of your pain Trying to prove that your conclusions should be more drastic Won't you come see me Queen Jane Won't you come see me Queen Jane Now when all the other bandits that you turned the other cheek to All lay down their bandanas and complain And you want somebody you don't have to speak to Won't you come see me Queen Jane Won't you come see me Queen Jane Dm9 - XX2211 Thanks to the original poster. Peace, Paul Z rainy_d.crd #----------------------------------PLEASE NOTE--------------------------------# #This file is the author's own work and represents their interpretation of the# #song. You may only use this file for private study, scholarship, or research.# #-----------------------------------------------------------------------------# From: Nicholas Sprague <nws103@psu.edu> To: guitar@olga.net Subject: tab correction: Rainy Day Woman #12 and 35 by Bob Dylan Date: Sat, 04 Jan 1997 15:30:21 -0500 From: "Peter L. Spain (remote)" <pspain@smtp.aed.org> "Rainy Day Women #12 & 35" by Bob Dylan from "Blonde on Blonde" F* Do C7/E F A* F#o E7/G# A --- --- --- --- --- --- --- --- e-5 4 3 1 9 8 7 5 B-6 3 1 1 10 7 5 5 G-5 4 3 2 9 8 7 6 D-x 3 2 3 x 7 6 7 A-x x x x x x x x E-x x x x x x x x F* Do C7/E F They'll stone you when you're tryin to be so good F* Do C7/E F They'll stone you just like they said they would A* F#o E7/G# A They'll stone you when you're tryin to go home F* Do C7/E F They'll stone you when you're there all alone A* F#o E7/G# A But I would not feel so all alone F* Do C7/E F Everybody must get stoned repeat until bored. CORRECTION TO RAINY DAY WOMAN #12 and 35 BY Bob Dylan: Submitted by: Nick Sprague (nws103@psu.edu) The A* progression should be moved up one fret it since it is A# not A. This makes the F#* into G* and so on for the rest of the progression. The line "But I would not feel so all alone" is also slightly off. The progression for that is moved up to a C* to start it. This means that the first chord is C* (10,11,10,x,x,x) the second chord is (11,10,11,10,x,x), the third chord is (10,8,10,9,x,x) and the fourth is (8,8,9,10,10). rainy_da.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Received: from animal-farm.nevada.edu by redrock.nevada.edu (5.65c/M1.4) with SMTP id <AA23937>; Mon, 15 Feb 1993 17:36:30 -0800 Received: from post2.INRE.ASU.EDU by animal-farm.nevada.edu id <AA07731@animal-farm.nevada.edu>; Mon, 15 Feb 1993 17:36:24 -0800 Received: from ASUVM.INRE.ASU.EDU (MAILER@ASUACAD) by asu.edu (PMDF #2382 ) id <01GURE4RVZGW96WJUH@asu.edu>; Mon, 15 Feb 1993 18:36:16 MST Received: from ASUACAD (IFSXM) by ASUVM.INRE.ASU.EDU (Mailer R2.08) with BSMTP id 7009; Mon, 15 Feb 93 18:38:36 MST Date: 15 Feb 1993 18:38:02 -0700 (MST) From: Paul Zimmerman <IFSXM@asuvm.inre.asu.edu> Subject: CRD: Rainy Day Women - Bob Dylan To: jamesb@animal-farm.nevada.edu Message-Id: <01GURE4RVZGY96WJUH@asu.edu> Content-Transfer-Encoding: 7BIT RAINY DAY WOMEN #12 & 35 Bob Dylan F C F Well, they'll stone you when you're trying to be so good C F C They'll stone you just like they said they would Bb F Bb They'll stone you when you're trying to go home F C F And they'll stone you when you're there all alone C But I would not feel so all alone F C F Everybody must get stoned Well, they'll stone you when you're at the breakfast table They'll stone you when you are young and able They'll stone you when you're riding in your car And they'll stone you when you're playing your guitar But I would not feel so all alone Everybody must get stoned Well, they'll stone you when you're walking on the street They'll stone you when you're tryin' to keep your seat They'll stone you when you're tryin' to make a buck Then they'll stone you and then they'll say "good luck" But I would not feel so all alone Everybody must get stoned instrumental verse: |C B Bb | A A Bb B | C B Bb | A D Eb E | |F E Eb | D A Bb B | C B Bb | A | |CCC C C C C C C | CCC C C C C A Bb B | C B Bb | A | Well, they'll stone you when you're at the breakfast table They'll stone you when you are young and able They'll stone you and they'll say that you are brave They'll stone you when you're sent down in your grave But I would not feel so all alone Everybody must get stoned Peace, love, and soul, Paul Zimmerman rambling.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: boogieboy@aol.com (BoogieBoy) Date: 25 Jun 1995 22:34:43 -0400 Subject: CRD: Dylan "Ramblin Gamblin Willie" Rambling, Gambing Willie Bob Dylan First line of verse vocals low, 2nd and 3rd vocals go up. C and F 2 medium downstrokes w/ C then 4 down & up fast and hold a C before the first verse C C F C Come round you rovin gamblers thereôs a story I will tell C C F C About the greatest gambler you all should know him well C C F C His name was Willie OôConnelly and he gambled all his life F C F Heôs had 27 children yet heôs never had a wife C F C F C F C F And itôs ride Willie ride, roll Willie roll, F C F C F C F hold C Where ever youôre a gamblinô now nobody knows Well he gambled in the white house and in the railroad yards Where ever there was people there was Willie and his cards He had the reputation as the gamblinest man around Wives would keep their husbands home when Willie came town Sailin down the Mississippi to a town called New Orleans Theyôre still talkin about that card game on that Jackson Queen õIôve come to win some money,æ gamblin Willie says When the game finally ended up, the whole darn boat was his Up in the Rocky Mountains in a town called Cripple Creek There was an old poker game lasted about a week 900 miners had laid their money down When Willie finally left the room he owned the whole darn town. (verse with harp) Well Willie had a heart of gold and this I know is true He supported all his children and all their mothers too He wore no wings and fancy things that other gamblers wore He spread his money far and wide to help the sick and poor When you played your cards with Willie you never really knew Whether he was bluffin or whether he was true He won a fortune from a man who folded in his chair The man he left a diamond flush Willie didnôt even have a pair It was late one evening during a poker game A man lost all his money said Willie was to blame He shot poor Willie through the head which was a tragic fate Willieôs cards fell on the floor they were aces backed with eights So all you ramblin gamblers where ever you might be The moral of the story is very plain to see Make your money while you can before you have to stop Cause when you pull that dead manôs hand your gamblin days are up. Boogieboy@aol.com restless.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# # Date: Thu, 18 Jan 1996 14:06:58 +0000 (HELP) From: Andrew Mullins <MULLINS%ARTSCI@VAX2.CONCORDIA.CA> Subject: CRD: Restless Farewell - Bob Dylan RESTLESS FAREWELL Bob Dylan from the album The Times They Are A-Changin' Capo at 4th fret Played very freely C/G F C/G Oh all the money that in my whole life I did spend G G6 G7 Csus4 C Csus4 C g Be it mine right or wrongfully C Csus4 C F C/G I'd let it slip gladly to my friends G G6 G7 C Csus4 C To tie up the time most forcefully C F/C C C/G F C But the bottles are done, we've killed each one Gsus4/B Am Am/G f G G6 G7 C g And the table is full and overflowed C F C/G F C/G And the corner sign says it's closing time F C G G6 G7 C Csus4 C So I'll bid farewell and be down the road harmonica break: F C G G6 G7 C C/G Oh every girl that ever I've touched I did not do it harmfully And every girl that ever I've hurt I did not do it knowingly But to remain as friends, you need the time To make amends and stay behind And since my feet are now fast And point away from the past I'll bid farewell and be down the line Oh every foe that ever I faced The cause was there before we came And every cause that ever I fought I fought it full without regret or shame But the dark does die as the curtain is drawn And somebody's eyes must meet the dawn And if I see the day I'd only have to stay So I'll bid farewell in the night and be gone Oh every thought that strung a knot in my mind I might go insane if it couldn't be sprung But it's not to stand naked under unknown (unknowin'?) eyes It's for myself and my friends my stories are sung But the time ain't tall if on time you depend And no word is possessed by no special friend And though the line is cut it ain't quite the end I'll just bid farewell till we meet again Oh a false clock tries to tick out my time To disgrace, distract and bother me And the dirt of gossip blows into my face And the dust of rumors covers me But if the arrow is straight and the point is slick It can pierce through the dust no matter how thick So I'll make my stand and remain as I am And bid farewell and not give a damn C/G=332010 G6 =3X200X G7 =3X300X Csus4=X33010 F/C=X33211 Gsus4/B=X2001X Am/G=3X2210 f=1XXXXX passing note g=3XXXXX passing note Harmonica played cross harp (blues style)--use key of A Note: played with no strict time, very freely. Also played freely are the strings strummed or picked for each chord, varying from chord to chord and verse to verse. Occasionally some chords are left out, played with a different root, notes hammered etc. ALTERNATE VERSION The version Dylan played on the Sinatra birthday tribute recently goes something like this: no capo, in C C F C All the money that in my life I did spend G C Csus4 C Be it mine right or wrongfully C F C I'd let it slip gladly to my friends G C Csus4 C To tie up the time most forcefully C F/C C F/C C But the bottles are done, we've killed each one C F C And the table is full and overflowed F C F C And the corner sign says it's closing time F C G C Csus4 C So I'll bid farewell and be down the road (lots of C - Csus2 - C - Csus4 etc. thrown in during C chords) Csus2=X30010 submitted by Andrew Mullins mullins@artsci.concordia.ca sad_eyed.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) Sad-Eyed Lady of the Lowlands - Bob Dylan ------------------------------------------- ('Blonde on Blonde' album) D A G Em7 A7 With your mercury mouth in the missionary times, D A G Em A7 And your eyes like smoke and your prayers like rhymes, G F#m Em7 A7 D And your silver cross, and your voice like chimes, Em7 A Em A7 Oh, who among them do they think could bury you? D A G Em7 A7 With your pockets well protected at last, D A G Em A7 And your streetcar visions which you place on the grass, G F#m Em7 A7 D And your flesh like silk, and your face like glass, Em7 A Em A7 Who among them do they think could carry you? ---- Chorous: Em D A7 Sad eyed lady of the lowlands, Em D A7 Where the sad eyed prophet says that no man comes, F#m G D G D Em7 A7 My warehouse eyes, my Arabian drums, Em Em7 A Em A Should I leave them by your gate, Em D A7 D Or sad eyed lady, should I wait? ---- With your sheets like metal and your belt like lace, And your deck of cards missing the jack and the ace, And your basement clothes and your hollow face, Who among them can think he could outguess you? With your sillouette when the sunlight dims Into your eyes where the moonlight swims, And your match-book songs and your gypsy hymns, Who among them would try to impress you? [Chorous] The kings of Tyrus with their convict list Are waiting in line for their geranium kiss, And you wouldn't know it would happen like this, But who among them really wants just to kiss you? With your childhood flames on your midnight rug, And your Spanish manners and your mother's drugs, And your cowboy mouth and your curfew plugs, Who among them do you think could resist you? [Chorous] Oh, the farmers and the businessmen, they all did decide To show you the dead angels that they used to hide. But why did they pick you to sympathize with their side? Oh, how could they ever mistake you? They wished you'd accepted the blame for the farm, But with the sea at your feet and the phony false alarm, And with the child of a hoodlum wrapped up in your arms, How could they ever, ever persuade you? [Chorous] With your sheet metal memory of Cannery Row, And your magazine-husband who one day just had to go, And your gentleness now, which you just can't help but show, Who among them do you think would employ you? Now you stand with your thief, you're on his parole With your holy medallion which your fingertips fold, And your saintlike face and your ghostlike soul, Oh, who among them do you think could destroy you? [Chorous] . Pheew ! ........ ------- Typed by Petter Larsson , larpe@nts.mh.se santa_fe.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# # Date: Wed, 24 Jan 1996 23:35:33 -0500 (EST) From: "Kelvin W. Sherlock" <ksherloc@moose.uvm.edu> Subject: bob dylan: Santa Fe crd Santa Fe, off the bootleg series #2 Intro: A A Santa Fe D E7 A Dear, dear, dear, dear, dear Santa Fe D A My woman kneels every day D A She promises to let me stay D A E She's ropin' up a knot to pray to light the way E She's in.. Santa Fe Dear, dear, dear, dear, dear Santa Fe Now she'll open up to let me home she crys but she needs to roam She's warpin up a happy home She thinks every day will be warm in Santa Fe Santa Fe Dear, dear, dear, dear Santa Fe Dishonor never needs to roam And never never far from home I'll never ever ever roam to sail away She's all feel bad Oh, no, no, no, no, no, no don't feel bad She's the worst thing he's ever had And the mad man, he's so glad His older brother had it bad His aunt made me feel so bad I went away Santa Fe Dear, dear, dear, dear, dear Santa Fe My home hearts in L.A. I won't have a day to wait And I'm planning every day to run away >From the Santa Fe Dear, dear, dear, dear, dear Santa Fe My woman's never sittin' at home She's packin' a valise unknown She crying like I need been stone She leavin that under and roam But she ain't gonna find her room and the tears send her on her own every day. A Right chords, wrong words. sara.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## From: larpe@oden.nts.mh.se (Petter Larsson) Sara - Bob Dylan ------------------ ('Desire' album) Em Am D Em I laid on a dune I looked at the sky When the children were babies And played on the beach Am D Em You came up to behind me I saw you go by You were always so close and still within' reach G Bm C Sara, Sara D C Em Whatever made you want to change you mind G Bm C Sara, Sara D C Em So easy to look at, so hard to define. I can syill see them playin' With their pails in the sand They run to the water Their buckets to fill I can still see the shells Fallin' out of their hands As they follow each other Back up the hill Sara, Sara Sweet virgin angel, sweet love of my life Sara, Sara Radiant jewel, mystical wife Sleepin' in the woods By a fire in the night Drinkin' white rum In a Portugal bar Them playin' leap-frog And hearin' about Snow White You in the market place In Savanna-la-Mar Sara, Sara It's all so clear, I could never forget Sara, Sara Lovin' you is the one thing I'll never regret I can still hear the sounds Of those Methodist bells I'd taken the cure And had just gotten through Stayin' up for days In the Chelsea Hotel Writin' "Sad-Eyed Lady Of the Lowlands" for you Sara, Sara Wherever we travel we're never apart Sara, oh Sara Beautiful lady, so dear to my heart How did I meet you I don't know A messenger sent me In a tropical storm You were there in the winter Moonlight on the snow And on Lily Pond Lane When the weather was warm Sara, oh Sara Scorpio Sphinx in a calico dress Sara, Sara You must forgive me my unworthiness Now the beach is deserted Except for some kelp And a peice of an old ship That lies on the shore You always responded When I needed your help You gimme a map And a key to your door Sara, oh Sara Glamorous nymph with an arrow and bow Sara, oh Sara Don't ever leave me, don't ever go ------- Typed by Petter Larsson , larpe@nts.mh.se senor.crd #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------## Date: Fri, 29 Sep 95 16:39:38 EDT From: Winston Campbell <jieuryli@eden.rutgers.edu> Subject: SENOR (Tales of Yankee Power) by Bob Dylan This is the sixth song off of Dylan~s underrated -Street Legal- album. I happen to love the song (and some of the album, itself) to death. Anyway, what one should remember about this is that there are a lot of bass walk- downs in this song, and they are slow, as is the song. What I mean, for example, is that, say the song moves from C to Am, the bass goes C, B, A (like with what any normal bassist would do). I know you may be thinking, what does this have to do with chord progression that he is about to transcribe. Well, sometimes there is a feeling in the song that more than one chord is being played and that is normally the bass walking down. I may seem silly stating this but trust me... Or you could just ignore this whole paragraph (as would what I would do if I were reading it). Another thing about this transcription is that I had a very hard time understanding Mr. Dylan~s lyrics especially in the bridges. So the lyrics are not exactly what they appear to be. For a more better interpretation of the lyrics, one should buy or take out of the library the Bob Dylan lyric book (which was featured in that awful movie, you know what I~m talking about). Anyway: Am Senor, Em Senor, F C Can you tell me where we heading? Am Lincoln County Road or Armageddon? G F Seems like I been down this way before Dm Am Is there any truth in that, Senor? Am Senor, Em Senor, F C Do you know where she~s hiding? Am How long are we gonna be riding? G F How long must I keep my eyes glued to the door? Dm Am Will there be any comfort here, Senor? C Em There~s a wicked wind still blowing on that upper deck F Am* There~s an iron cross still hanging down from around her neck C Em There~s a marching band still playing in their vacant lot F Am* Where she held me in her arms one time and said -forget what we got- Am Senor, Em Senor, F C I can see the painted wagon Am Smell the tail of a dragon G F Can~t stand the suspense anymore Dm Am Can you tell me who to contact here, Senor? Instrumental: all of the verse chords with the cool mandolin C Em Well the last thing I remember before they stripped and kneeled F Am* Was a train load of fools born down in a Maganatic(?) field C Em The gypsy, where he broke a pike and a flashing ring F Am* He say, -Son this ain~t a dream no more, it~s the real thing- Am Senor, Em Senor, F C You know their hearts here are hard as leather Am Well give me a minute, let me get it together G F Just gotta pick myself up off the floor Dm Am I~m ready when you are, Senor? Another Instrumental like the First Instrumental Am Senor, Em Senor, F C Let~s overturn these tables Am Disconnect these cables G F This place don~t make sense to me no more Dm Am Can you tell me what we~re waiting for, Senor? The song fades out and ends on the verse chords and that is about it. The Am* chords are played by striking the Am chord, then you release all your fingers so that you strike all open strings (except for the low E and A strings), then you strike back on the Am chord. It may not be accurate but that is how I make sense out of that part of the song). Feel free to email me and we can discuss why Bob Dylan rushes his lyrics while playing in concert, making his songs lose all of their bite. (Or maybe it's just me). Oh yeah, I must not disrespect the Spanish language by not nothing that there is a til