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Glasweigian version of “she’ll be coming round the mountain”

+6 -6 7 7 7 7 -6 +6 -5 +6 +7
Oh yea canny shove yir granny aff a bus

+7 -8 +8 +8 +8 +8 +9+9 -10 +9 -8
Oh yea canny shove yir granny aff a bus

-10 +9 +8+8 +8 +8 -8+7
Oh yea canny shove yir granny

+7 +7 +7 +7+7 -9-9
’cause she’s yir mammys mammy

-9 -9 +8+8 +8 +8 -8 -8 +8 -8 +7
Oh yea canny shove yir granny aff a bus

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Donald Hugh Henley (born July 22, 1947) is an American musician, singer, songwriter, record producer, and a founding member of the rock band Eagles. He was the drummer and co-lead vocalist for the Eagles from 1971 until the band broke up in 1980, and has reprised those duties for the group’s reunions since 1994. Henley sang the lead vocals on Eagles hits such as “Witchy Woman”, “Desperado”, “Best of My Love”, “One of These Nights”, “Hotel California”, “Life in the Fast Lane”, “The Long Run” and “Get Over It”.

After the Eagles broke up in 1980, Henley pursued a solo career and released his debut album I Can’t Stand Still, in 1982. He has released five studio albums, two compilation albums, and one live DVD. His solo hits include “Dirty Laundry”, “The Boys of Summer”, “All She Wants to Do Is Dance”, “The Heart of the Matter”, “The Last Worthless Evening”, “Sunset Grill”, “Not Enough Love in the World”, and “The End of the Innocence”.

The Eagles have sold over 150 million albums worldwide, won six Grammy Awards, had five number one singles, 17 top 40 singles, and six number one albums. They were inducted into the Rock and Roll Hall of Fame in 1998 and are the highest selling American band in history. As a solo artist, Henley has sold over 10 million albums worldwide, had eight top 40 singles, won two Grammy Awards and five MTV Video Music Awards. Combined with the Eagles and as a solo artist, Henley has released 25 top 40 singles on the Billboard Hot 100. He has also released seven studio albums with the Eagles and five as a solo artist. In 2008, he was ranked as the 87th greatest singer of all time by Rolling Stone magazine.[2]

Henley has also played a founding role in several environmental and political causes, most notably the Walden Woods Project.[3] From 1994 to 2016, he divided his musical activities between the Eagles and his solo career.

Early life

Donald Hugh Henley was born in Gilmer, Texas, and grew up in the small northeast Texas town of Linden.[4][5] He is the son of Hughlene (McWhorter) and C. J. Henley.[6] He has Irish, English and Scottish ancestry. Henley attended Linden-Kildare High School where he initially played football, but due to his relatively small build his coach suggested that he quit, and he joined the high school band instead. He first played the trombone, then in the percussion section.[7] After leaving high school in 1965, he initially attended college at Stephen F. Austin State University in Nacogdoches, Texas. He then attended North Texas State University (renamed in 1988 the University of North Texas) in Denton, Texas, from 1967 to 1969. Henley left school to spend time with his father, who was dying of heart and arterial disease.

Career beginnings

While still at high school, Henley was asked to join a Dixieland band formed by his childhood friend Richard Bowden’s father Elmer, together with another school friend Jerry Surratt. They then formed a band called the Four Speeds.[7][9] In 1964 the band was renamed Felicity, then finally Shiloh, and went through a number of changes in band personnel.[10][11] As Felicity they were signed to a local producer and released a Henley-penned song called “Hurtin’”.[12] In 1969, they met by chance fellow Texan Kenny Rogers who took an interest in their band. They changed their name to Shiloh and recorded a few songs for Rogers, and “Jennifer (O’ My Lady)” was released as their first single.[13] Surratt, however, died in a dirt bike accident just before their single was released, and the band members then became Henley, Richard Bowden and his cousin Michael Bowden, Al Perkins, and Jim Ed Norman. Rogers helped sign the band to Amos Records, and brought the band to Los Angeles in June 1970. They recorded a self-titled album produced by Rogers at Larrabee Studios while living at the home of Rogers for a few months.[14] Shiloh disbanded in 1971 over the band’s leadership and creative differences between Henley and Bowden.[15]

In Los Angeles, Henley met Glenn Frey as they were both signed to the same label (Frey was signed to Amos Records, together with J. D. Souther, as the duo Longbranch Pennywhistle), and they were recruited by John Boylan to be members of Linda Ronstadt’s backup band for her tour in 1971. Touring with her was the catalyst for forming a group, as Henley and Frey decided to form their own band.[16] They were joined by Randy Meisner and Bernie Leadon who also played in Ronstadt’s backing band (the four had, however, played together only once previously, as the band personnel changed) and became the Eagles.

Eagles

Eagles were formed in 1971,[18] and signed to David Geffen’s label Asylum Records.[19] They released their first studio album in 1972, which contained the hit song “Take It Easy”, co-written by Jackson Browne. During the band’s run, Henley co-wrote (usually with Frey) most of the band’s best-known songs.[17] “Witchy Woman”, which was co-written with Leadon, was his first commercially successful song,[20] while “Desperado” marks the beginning of his songwriting partnership with Frey.[21]

Henley sang lead vocals on many of the band’s popular songs, including “Desperado”, “Witchy Woman”, “Best of My Love”, “One of These Nights”, “Hotel California”, “The Long Run”, “Life in the Fast Lane” and “Wasted Time”. Eagles won numerous Grammy Awards during the 1970s and became one of the world’s most successful rock bands of all time.[22] They are also among the top five overall best-selling bands of all time in America, and the highest-selling American band in U.S. history.[23] Henley and Frey have been called the American version of McCartney and Lennon.[24]

The band broke up in 1980, following a difficult tour and personal tensions that arose during the recording of The Long Run. Eagles reunited 14 years later in 1994. Henley continues to tour and record with the Eagles. Their most recent album, Long Road Out of Eden, was released in 2007.[25] The band had a number of highly successful tours, such as the Hell Freezes Over Tour (1994-1996), and Long Road Out of Eden Tour. On April 1, 2013, during a concert at the Casino Rama in Rama, Ontario, Henley announced the History of the Eagles Tour, which began in July 2013[26] and ended in July 2015, six months before Frey’s death. At the 2016 Grammy Awards, the Eagles and Jackson Browne performed “Take It Easy” as a tribute to Frey.[27]

On his songwriting in the band, Henley stated in a March 2001 interview on Charlie Rose that “rock bands work best as a benevolent dictatorship”, with the principal songwriters in a band (in the case of Eagles, “me and Glenn Frey”) being the ones that will likely hold the power.

Solo career

Following the breakup of the Eagles, Henley embarked on a solo career. He and Stevie Nicks (his girlfriend at the time) had duetted on her Top 10 Pop and Adult Contemporary hit “Leather and Lace”,[29] written by Nicks for Waylon Jennings and his wife Jessi Colter, in late 1981. Henley’s first solo album, I Can’t Stand Still, was a moderate seller. The single “Dirty Laundry” reached No. 3 on the Billboard Hot 100 at the beginning of 1983 and earned a Gold-certified single for sales of over a million copies in the US.[30] It was Henley’s all-time biggest solo hit single, and also was nominated for a Grammy Award. Henley also contributed “Love Rules” to the 1982 Fast Times at Ridgemont High movie soundtrack.[31]

This was followed in 1984 by the album, Building the Perfect Beast. A single release, “The Boys of Summer”, reached No. 5 on the Billboard Hot 100.[32] The music video for the song was directed by Jean-Baptiste Mondino and won several MTV Video Music Awards including Best Video of the Year. Henley also won the Grammy Award for Best Male Rock Vocal Performance for the song.[33] Several other songs on the album, “All She Wants to Do Is Dance” (No. 9 on Hot 100), “Not Enough Love in the World” (No. 34) and “Sunset Grill” (No. 22) also received considerable airplay. He then had a No. 3 album rock chart hit with “Who Owns This Place?” from 1986’s The Color of Money soundtrack.

Henley’s next album, 1989’s The End of the Innocence, was even more successful. The album’s title track, a collaboration with Bruce Hornsby, reached No. 8 as a single. “The Heart of the Matter”, “The Last Worthless Evening” and “New York Minute” were among other songs that gained radio airplay.[35][36] Henley again won the Best Male Rock Vocal Performance Grammy Award in 1990 for “The End of the Innocence”.[37] Also in 1990, Henley made a brief appearance on MTV’s Unplugged series.[38]

In 1995, Henley released the single “The Garden of Allah” to promote his greatest hits solo album Actual Miles: Henley’s Greatest Hits.[39]

MusicRadar called Henley one of the greatest singing drummers of all time.[40]

In live shows, Henley plays drums and sings simultaneously on some Eagles songs.[40] On his solo songs and other Eagles songs, he plays electric guitar and simultaneously sings or just sings solo. Occasionally Eagles songs would get drastic rearrangements, such as “Hotel California” with four trombones.

Lawsuits with Geffen Records

Henley spent many years in legal entanglements with Geffen Records. In January 1993, following prolonged tensions between Henley and the label, the dispute went public and the record company filed a $30 million breach-of-contract suit in California Superior Court after receiving a notice from Henley saying that he was terminating his contract even though he reportedly owed the company two more studio albums and a greatest-hits collection.[43] Henley wanted to sign a publishing deal with EMI that would have been worth a few million dollars. Geffen Records stopped this from happening, which in turn upset Henley.[43]

Geffen Records claimed that Henley was in breach of contract and Henley attempted to get out of his contract in 1993 based on an old statute. Under the statute, a California law enacted over 50 years ago to free actors from long-term studio deals, entertainers cannot be forced to work for any company for more than seven years. Geffen Records did not want Henley signing with any other label, and had an agreement with Sony and EMI that they would not sign Henley. He counter-sued Geffen Records, claiming that he was “blackballed” by David Geffen, who had made agreements with other record labels to not sign him.[43] Henley eventually became an outspoken advocate for musicians’ rights, taking a stand against music labels who he believes refuse to pay bands their due royalties. Henley came to terms with Geffen Records when the Eagles’ reunion took off and the company eventually took a large chunk of the profit from the reunion album. Glenn Frey was also in legal entanglements with his label, MCA Records (whose parent company had also acquired Geffen).[44] Before the Eagles reunion tour could begin, the band had to file a suit against Elektra Records, which had planned to release a new Eagles Greatest Hits album. The band won that battle.[45]

A long period without a new recording followed as Henley waited out a dispute with his record company while also participating in a 1994 Eagles reunion tour and live album. During the hiatus, Henley recorded a cover of “Sit Down, You’re Rockin’ the Boat” for the film Leap of Faith, and provided the background vocals for country star Trisha Yearwood’s hit single “Walkaway Joe”,[citation needed] and duetted with Patty Smyth on “Sometimes Love Just Ain’t Enough”,[46] and Roger Waters on “Watching TV” on Waters’ Amused to Death album, in 1992.[47] Henley provided the voice of Henry Faust in Randy Newman’s Faust, a 1993 musical which was released on compact disc that year.[48]

Henley and Courtney Love testified at a California Senate hearing on that state’s contractual laws in Sacramento on September 5, 2001. In 2002 Henley became the head of the Recording Artists’ Coalition. The coalition’s primary aim was to raise money to mount a legal and political battle against the major record labels.[49] Henley says the group seeks to change the fundamental rules that govern most recording contracts, including copyright ownership, long-term control of intellectual property and unfair accounting practices. This group filed a friend-of-the-court brief in the Napster case,[50] urging District Judge Marilyn Hall Patel not to accept the industry’s broad claims of works made for hire authorship.

Inside Job and recent solo work

In 2000, after 11 years, Henley released another solo album titled Inside Job, which peaked at number 7 on the Billboard 200 and contained the new singles “Taking You Home”, “Everything Is Different Now”, “Workin’ It” and “For My Wedding”.[52] He performed songs from the album in a VH1 Storytellers episode during 2000. In 2002 a live DVD entitled Don Henley: Live Inside Job was released. In 2005, Henley opened 10 of Stevie Nicks’ concerts on her Two Voices Tour.[53]

Henley performed duets with Kenny Rogers on Rogers’ 2006 release Water & Bridges, titled “Calling Me”[54][55] and on Reba McEntire’s 2007 album, Reba: Duets, performing “Break Each Other’s Hearts Again”.[56]

In a 2007 interview with CNN, while discussing the future of the Eagles, Henley indicated he still has plans for more records: “But we all have some solo plans still. I still have a contract with a major label [Warner] for a couple of solo albums.”[57] In January 2011, Henley commenced work on a solo album of country covers featuring special guests. Ronnie Dunn from Brooks & Dunn and Alison Krauss have recorded a song with Henley for the album.[58]

On July 18, 2015, Henley started pre-orders of his album, Cass County. The album was released on September 25.

Henley was honored with the “Lifetime Achievement” award during the East Texas Music Awards event in 2015.

Political and other causes

In 1990, Henley founded the Walden Woods Project to help protect “Walden Woods” from development. The Thoreau Institute at Walden Woods was started in 1998 to provide for research and education regarding Henry David Thoreau. In 1993, a compilation album titled Common Thread: The Songs of the Eagles was released, with a portion of the royalties from the sales going to the Walden Woods Project. In 2005, he had a fundraiser concert with Elton John and others to buy Brister’s Hill,[59] part of Walden Woods, and turn it into a hiking trail.[citation needed]

Henley co-founded the non-profit Caddo Lake Institute in 1993 with Dwight K. Shellman to underwrite ecological education and research. As part of the Caddo Lake Coalition, CLI helps protect the Texas wetland where Henley spent much of his childhood. As a result of the Caddo Lake Institute’s success in restoring and protecting Caddo Lake’s wetlands, Caddo Lake was included as the 13th site in the United States on the Ramsar Convention’s list of significant wetlands. The Ramsar Convention is an intergovernmental treaty that provides a framework for national action and international cooperation for the conservation and wise use of wetlands and their resources.[60]

In 2000, Henley co-founded the Recording Artists’ Coalition, a group founded to protect musicians’ rights against common music industry business practices. In this role he testified before the U.S. Senate Committee on the Judiciary in 2001[61] and the U.S. Senate Committee on Commerce, Science and Transportation in 2003.[62]

Henley in a 2008 interview revealed that he contributes to many other charitable causes such as The Race to Erase MS, and the Rhythm and Blues Foundation.[63][64] He is also a member of the CuriosityStream Advisory Board.[65]

A lifelong supporter of the Democratic Party, Henley has also been a generous donor to political campaigns of Democrats. In 2008, The Washington Post reported Henley had donated over $680,000 to political candidates since 1978.[66] Several tracks on the 2007 Eagles album Long Road Out of Eden (including the title track, which Henley co-wrote) are sharply critical of the Iraq War and other policies of the Bush administration.[67]

Henley’s liberal political leanings led to tension with guitarist Bernie Leadon when he submitted the song “I Wish You Peace” for inclusion on One of These Nights. Henley was not thrilled that the song was co-written by Patti Davis, who was the daughter of Ronald Reagan, the Republican Governor of California at that time.[68]

Henley endorsed Joe Biden in the 2020 presidential election.[69]

In a fundraiser hosted by Matthew McConaughey to raise money for Texans affected by the snowstorms in February 2021, Henley performed “Snow”, which was written by Jesse Winchester. The show premiered on March 21, 2021. Henley remarked “On that bitter cold Tuesday of February 16th, we had a busted pipe at the attic at my house, and me and my family were shoveling and bailing for 8 or 9 hours there. Nothing, of course, compared to the shoveling and bailing that’s been going on down in the state capitol the past 3 weeks.”[70][71]

In a Discover Concord magazine in the summer of 2021, Henley spoke of the Walden Woods Foundation as well as his life during the COVID-19 pandemic. Henley noted that “I think that each and every one of us has a duty to help care for our natural environment, even if it’s something as simple as not throwing your fast-food wrapper out the car window.”

Personal life

In 1974, Henley became involved with Loree Rodkin, and the breakup of their relationship was the inspiration for the song “Wasted Time” and parts of the lyrics for “Hotel California”.[73][74] Late in 1975, Henley started dating Fleetwood Mac singer Stevie Nicks as her relationship with Lindsey Buckingham came to an end.[75] The relationship lasted on and off for around two years. Nicks later wrote a song “Sara” that Henley claimed was about their unborn child, for which Nicks had an abortion.[76] Henley then began a three-year-long relationship with actress/model and Bond girl Lois Chiles.[77]

Henley called paramedics to his home on November 21, 1980, where a 16-year-old girl was found naked and claiming she had overdosed on quaaludes and cocaine. She was arrested for prostitution, while a 15-year-old girl found in the house was arrested for being under the influence of drugs. Henley was arrested and subsequently charged for contributing to the delinquency of a minor. He pled no contest, was fined $2,500 and put on two years’ probation. Chiles, who was no longer in a relationship with Henley at the time of the incident, later said, “I was shocked to hear about it. He didn’t have drugs around the house. It was an accident, I’m sure.” The media attention from this incident was primary among the inspirations for the solo hit, “Dirty Laundry”.[77]

In the early 1980s, Henley was engaged to Battlestar Galactica actress Maren Jensen. His first solo album I Can’t Stand Still was dedicated to Jensen, who also sang harmony vocals on the song “Johnny Can’t Read”. He and Jensen separated in 1986.[78]

In 1995, Henley married Sharon Summerall.[79] Performers at the wedding included Bruce Springsteen, Sting, Billy Joel, John Fogerty, Jackson Browne, Sheryl Crow, Glenn Frey, and Tony Bennett. Henley later wrote the song “Everything Is Different Now” from the album Inside Job for Sharon. Summerall has been diagnosed with multiple sclerosis.[80] They have three children together, two girls and a boy.

In 2012, Henley was estimated to be the fourth-wealthiest drummer in the world, behind Ringo Starr, Phil Collins and Dave Grohl, with a $200 million fortune.[81]

As of 2019, he resides in Dallas, Texas, with his wife and three children. Henley also maintains a home in Hollywood, California.

Discography

Main articles: Don Henley discography and Eagles discography

• I Can’t Stand Still (1982)
• Building the Perfect Beast (1984)
• The End of the Innocence (1989)
• Inside Job (2000)
• Cass County (2015)

GHORUS
A D
5 5 5 5 -5 -5
Bile Them Cabbage Down, down,
A E7
5 5 5 4 -4
Turn them hoe-cakes `round.
A D
-4 5 5 5 4 -5 -5 -5 -5
The only song that I can sing is
A E7 A
5 5 -4 -4 4
Bile Them Cabbage Down
Verse
A
6 6 6 5 6 6
Went up to the mountain,
E7
6 5 6 6 6 5 -4
Just to give my horn a blow
A D
6 6 6 5 -5 -5 -5
Thought I heard my true love say
A E7 A
5 5 -4 -4 4
“Yonder comes my beau”

Took my gal to a blacksmith shop
To have her mouth made small
She turned around a time or two
And swallowed shop and all

Possum in a `simmon tree
Racoon on the ground
Racoon says”You son of a gun”
Shake some `simmons down

Some-one stole my old `coon dog
Wish they`d bring him back
He chases big hogs through the fence
And the little ones through the crack

Met a possum in the road
Blind as he could be
Jumped the fence and whipped my dog
And bristled up at me

Once I had an old grey mule
His name was Simon Slick
He`d roll his eyes and back his ears
And how that mule would kick

How that mule would kick
He kicked with his dyin` breath
He shoved his hind feet down his throat
And kicked himself to death

-7 -7 -7 -6b -7 -7 -7
Black-out heat-wave, four-ty four

-7 -7 -6b -8 -8 -8
Ca-li-ber hom-i-cide

-7 -9 8 8 7 7 -7 -6
The buns drop dead and dogs go mad

-5 -7 -6b -6b -6b -5b
In packs on the West Side

-7 -7 -7 -7 -6b -5 -7 -7
Young girl stand-ing on a ledge looks

-7 -7 -6b -5 7 -8 -8
like an-oth-er su-i-cide

-9 -9 -9 -9 8 8
She wants to hit those bricks

7 7 7 -7 -6 -5 -5
‘Cause the news at six got-ta

-6b -6b -6b -6b -5b
stick to a dead-line

-7 -7 7 7 7 7 -7 7 -7 -8
While the mil-lion-aires hide in Beek-man Place

-7 -8 7 7 -7 -5 -5 -7 7 -7
The bag la-dies throw their bones in my face

-4 -5b -5 7 7 7 7 7 7 -7 7 -8
I get at-tacked by a kid with ster-e-o sound

-7 -8 7 7 -7 -7 -7 -7 -8 7 -7
I don’t want to hear it but he won’t turn down

7 7 7 7 7 7 7 7
Life is tough but it’s just e-nough

7 -8 7 -7 -7 -7 -7 -7 7 -7 -5b
To hold back the tears un-til it’s clos-ing time

-9 -9 -9 -7 7 -7 -8
I sur-vived, I’m still a-live

(CHORUS)

-6b -5 -6b -5 7 7 7 7 -7 -6
But I’m get-ting close to the bor-der-line

-8 -8 -8 -8 7 -7
Close to the bor-der-line

VERSE 2 ame as 1
A buck three eighty
Won’t buy you much lately on the street
these days and when you can get gas
You know you can’t drive fast
anymore on the parkways
Rich man, poor man, either way American
Shoved into the lost and found
The no nuke yell we’re gonna all go to hell
With the next big meltdown
I got remote control and a color T.V.
I don’t change channels so they must change me
I got real close friends that will get me high
They don’t know how to talk and they ain’t gonna try
I shouldn’t bitch, I shouldn’t cry
I’d start a revolution but I don’t have time
I don’t know why I’m still a nice guy

(CHORUS)

7 -8 -9 9 -9 -9 -8 7 -7 -7
I thought I’d sa-cri-fice so man-y things

7 -8 -9 9 -9 -9 -8 -8
I thought I’d throw them all a-way

7 -8 -9 9 -9 -10 -8 -7 -7 -7
I did-n’t think I need-ed an-y-thing

-7 -7 -7 -8 -8 -7 -7 -7
But you can’t af-ford to squan-der

-7 -7 7 -9 -9 -8 -9
what you’re not pre-pared to pay

7 7 7 7 7 7 -7 7 -7 -8
I need a doc-tor for my pres-sure pills

-8 7 7 -7 -7 -7 -7 -8 -7 7 -7
I need a law-yer for my med-i-cal bills

7 7 7 7 -7 7 -7 7 7 -8 -7
I need a ban-ker to fi-nance my home but

-8 7 7 -7 -7 -7 -7 -8 7 -7
I need sec-u-ri-ty to back my loan

7 7 7 7 7 -7 7 -7 -8
It is-n’t new what I’m go-ing through

-8 9 -9 -9 -9 -9 -9 -9 -9 9 7 -7
But ev-ry-bo-dy knows you got to break some-time

-7 -8 -9 9 -9 -9 -9 9 -9
An-oth-er night I fought the good fight

(CHORUS TO END)

ENJOY!!

There are two wrong notes in this tab. They are both Ds where they
should be Bs. But there ain’t enough holes down there at that end,
and the song doesn’t sound good an octave higher. (The wrong notes
are marked “-1(B)”

2 -2 -2* 3
Par-don me, boy

3 -3 -4 4 -5 4 2 -3 3
Is that the Chat-at-noo-ga choo choo?

-3 3 2 -1
Track twen-ty-nine

-3 -3 -3 -3 3 2 1
Boy, you can gim-me a shine

2 -2 -2* 3
I can af-ford

3 -3 -4 4 -5 4 2 -3 3
To board a Chat-at-noo-ga choo choo

-3 3 2 -1
I’ve got my fare

-3 -3 -3 -3 3 2 1
And just a trif-le to spare

4 4 4 4 -3 -2 1 -3* 3
You leave the Penn-syl-va-nia Sta-tion

2 1 -2 3 -3 4
‘Bout a quar-ter to four

4 -3 -2 1 -3*
Read a ma-ga-zine

3 2 1 -2 3 -3 4
And then you’re in Bal-ti-more

-6 -6 6 -6 -5 4
Din-ner in the di-ner

4 4 -4 4 -3* -3
No-thing could be fin-er

3* 3* 3* 3*
Than to have your

3* -2 -1 -1(B) 3* 3* 3* 3
Ham an’ eggs in Ca-ro-li-na

When you hear the whistle blowin’
Eight to the bar
Then you know that Tennessee
Is not very far
Shovel all the coal in
Gotta keep it rollin’
3* 3* 3* -2 -1 -1(B) 3* -2 3 -2
Woo, woo, Chat-at-noo- ga there you are

There’s gonna be
A certain party at the station
Satin and lace
I used to call “funny face”
She’s gonna cry
Until I tell her that I’ll never roam
So Chattanooga choo choo
Won’t you choo-choo me home?
Chattanooga choo choo
Won’t you choo-choo me home?

Pardon me boy Is that the Chatt-a-noo-ga Choo Choo?
2 -2 -2* 3 3 -3 -4 4 -5 4 2 -3 3

Track twenty nine Boy you can gimme a shine
-3 3 2 -1 -3 -3 -3 -3 3 2 1

Can you afford To board a Chatt-a-noo-ga Choo Choo?
2 -2 -2* 3 3 -3 -4 4 -5 4 2 -3 3

I’ve got my fare And just a trifle to spare
-3 3 2 -1 -3 -3 -3 -3 3 2 1

You leave the Pennsylvania Station bout a quarter to four
4 4 4 4 -3 -2 1 -3* 3 2 1 -2 3 -3 4

Read a magazine and then you’re in Bal-ti-more
4 -3 -2 1 -3* 3 2 1 -2 3 -3 4

Din-ner in the di-ner Nothing could be finer
-6 -6 6 -6 6 -5 4 4 -4 4 -3* -3

Than to have your ham and eggs in Ca-ro-li-na
3* 3* 3* 3* 3* -2 -1 1 3* 3* 3* 3

When you hear the whistle blowing eight to the bar
4 3 -2 1 -3* 3 2 1 -2 3 -3 4

Then you know that Tennessee is not very far
4 -3 -2 1 -3* 3 2 1 -2 3 -3 4

Shovel all the coal in Gotta keep it rollin’
-6 -6 6 -6 6 -5 4 4 -4 4 -3* -3

Woo woo Chatt-a-noo-ga There you are
3* 3* 3* -2 -1 1 3* 3 -2

There’s gonna be A certain party at the station
2 -2 -2* 3 3 -3 -4 4 -5 4 2 -3 3

Satin and lace I used to call ‘funny face’
-3 3 2 -1 -3 -3 -3 -3 3 2 1

She’s gonna cry Until I tell her that I’ll never roam
2 -2 -2* 3 3 -3 -4 4 -5 4 -3 3 -2 4

So Chattanooga Choo Choo Won’t you choo choo me home?
5 6 -5* -5 5 6 5 6 5 6 5 -3 4

5 -5 -5 -4 5 5 -5 -5 -4 -3 -3″ -1
I just blowed in, and I got them dust bowl blues,
5 -5 -5 -4 5 5 -5 5 -4 -3 -3″ -2
I just blowed in, and I got them dust bowl blues,
-3″ 4 4 -3″ -3″ -3 -5 -5 -4 -3 -4
I– just blowed in, and I’ll blow back out again.

I guess you’ve heard about ev’ry kind of blues,
I guess you’ve heard about ev’ry kind of blues,
But when the dust gets high, you can’t even see the sky.

I’ve seen the dust so black that I couldn’t see a thing,
I’ve seen the dust so black that I couldn’t see a thing,
And the wind so cold, boy, it nearly cut your water off.

I seen the wind so high that it blowed my fences down,
I’ve seen the wind so high that it blowed my fences down,
Buried my tractor six feet underground.

Well, it turned my farm into a pile of sand,
Yes, it turned my farm into a pile of sand,
I had to hit that road with a bottle in my hand.

I spent ten years down in that old dust bowl,
I spent ten years down in that old dust bowl,
When you get that dust pneumony, boy, it’s time to go.

I had a gal, and she was young and sweet,
I had a gal, and she was young and sweet,
But a dust storm buried her sixteen hundred feet.

She was a good gal, long, tall and stout,
Yes, she was a good gal, long, tall and stout,
I had to get a steam shovel just to dig my darlin’ out.

These dusty blues are the dustiest ones I know,
These dusty blues are the dustiest ones I know,
Buried head over heels in the black old dust,
I had to pack up and go.
An’ I just blowed in, an’ I’ll soon blow out again.

6 7 7 7 -8 7
Ev-ry thing is open,
6 -7 6 -7 6 -7
Nothing is set in stone
6 7 7 7 -8 7
Rivers turn to oceans,
6 -7 -7 7 -7
Oceans tide you home
6 7 7 7 -8 7
Home is where the heart is
6 6 -7 -7 6 -7
But your heart had to roam
6 7 7 7 -8 7 6 -7 -7 7 -7
Drifting over bridges, Never to return
6 -7 -7 7 -8
Watching bridges burn

-10 9 8 -8 8 9 -7 7 -6
You’re driftwood, floating under water
-8 8 9 -7 7 -6 7 -6 7 -6
Breaking into PIECES – PEICES – PEICES
-10 9 8 -8 8 9 -7 7 -6
Just driftwood, hollow and of no use
-8 8 9 -7 7 -6 7 -6 7 -6
Waterfalls will find you, blind you, grind you

6 7 7 7 7 -8 7
No – Body is an Island
6 -7 6 -7 6 -7
Ev-ry one has to go
6 -6 7 7 -8 7
Pillars turn to butter
6 -7 -7 6 -7
Butter flying low
6 7 7 7 -8 7
Low is where your heart is
6 6 -7 -7 6 -7
But your heart had to grow
6 7 7 7 -8 7
Drifting under bridges
6 -7 -7 6 -7
Never with the flow

7 -8 -9 8 -9 8 -9 8 7 -8 -8
And you really didn’t think it would happen
-8 8 -9 8 -9 8 -9 8 7 -8
But it really is the end of the line
-8 -10 -10 9 -8 8 9 -7 7 -6
So I’m sorry that you’ve turned to driftwood
-6 -8 8 -9 8 -9 8 -9 8 7
But you’ve been drifting for a long long time

6 -7 7 7 -8 7
Ev-ry where there’s trouble
6 -7 6 6 -7
No where’s safe to go
6 7 7 7 -8 7
Pushes turn to shovels
6 -7 -7 7 -7
Shovelling the snow
6 7 7 7 -8 7
Frozen you have chosen
6 6 -7 -7 6 -7
The path you wish to go
6 7 7 7 -8 7 6 -7 -7 7 -7
Drifting now forever and for-ev-er more
6 6 -7 -7 7 -8
Until you reach your shore

-10 9 8 -8 8 9 -7 7 -6
You’re driftwood, floating under water
-8 8 9 -7 7 -6 7 -6 7 -6
Breaking into PIECES – PEICES – PEICES
-10 9 8 -8 8 9 -7 7 -6
Just driftwood, hollow and of no use
-8 8 9 -7 7 -6 7 -6 7 -6
Waterfalls will find you, blind you, grind you

7 -8 -9 8 -9 8 -9 8 7 -8 -8
And you really did’t think it would happen
-8 8 -9 8 -9 8 -9 8 7 -8
But it really is the end of the line
-8 -10 -10 9 -8 8 9 -7 7 -6
So I’m sorry that you’ve turned to driftwood
-6 -8 8 -9 8 -9 8 -9 8 7
But you’ve been drifting for a long long time
-8 8 -9 8 – 9 -8 -9 8 8
You’ve been drifting for a long long time
-8 8 -9 8 -9 8 -9 -8
You’ve been drifting for a long long ..
-9 8 -9 8 -9 -8 7
DRIFTING FOR A LONG LONG TIME…..

By Robert Lamm
Chicago
Key: G

-1-4 4 -5 4 -4 3 -1 3 3
As I was walk-ing down the street one day
4 -5 -5 4 -3* -5 -5 4 -3*
A man came up to me and asked me
-5 -5 4 -3* -5 -5
what the time was that was
4 -3* -5 -5* -5
on my watch I said
-1 -4-4 -4 -4 -5 4 -4
Does an-y-bod-y real-ly know
3 3 2 3-3
what time it is
-1 -4-4 -4 -4 -5 4 -4
Does an-y-bod-y real-ly care
-1 -4 5 -5 4 -4 3 3
If so I can’t im-a-gine why
-1 -4 4 -5 4 -4 3 3
We’ve all got time e-nough to cry
-1 -4 4 -5 4 -4 3 3
We’ve all got time e-nough to die

And I was walking down the street one day
A pretty lady looked at me and said
her diamond watch had
stopped cold, yeah
And I said
Does anybody really know what time it is
I don’t
Does anybody really care
care
If so I can’t imagine why
about time
We’ve all got time enough to cry
Oh no, no

And I was walking down the street one day
Being pushed and shoved by people
trying to beat the clock,
oh no, I just don’t know,
I just don’t know
And I said, yes I said

Background Vocal:
People runnin’ everywhere
Don’t know the way to go
Don’t know where I am
Can’t see past the next step
Don’t have to think past the last mile
Have no time to look around
Just run around, run around and think why

Does anybody really know what time it is
I don’t
Does anybody really care
care
If so I can’t imagine why
about time
We’ve all got time enough to die
Oh no, no

1.
-8 7 -7 -7 -7 -7 6 6 6 6 -7
I got this graveyard woman you know she keeps
-7 -7
my kids
-7 -7 -7 6 -7-7 6 6 6 -7 6 -7
But my soulful mama you know she keeps me hid
-7 -7 -7 -7 -7 6 6 6 -7 6 -7
She`s a junk yard angel and she always gives
-7 6
me bread
CHORUS
-8 -8 -7 -8 -8 -8-8 -6 7 -6 -8 -6
Well if I go down dyin` you know she Bound to
-7 -6 -7 -6 -7 -6 -7
put a blanket on my bed
2.

Well when the pipeline gets broken and I`m
Lost on the river bridge
I`m cracked up on the highway
And on the water`s edge
She comes down the thruway
Ready to sew me up with thread
REPEAT CHORUS
3.
Well she don`t make me nervous she
Don`t talk too much
She walks like Bo Diddley and she don`t
Need no crutch She keeps this four-ten all
Loaded with lead
REPEAT CHORUS
4.
Well you know I need a steam shovel mamma to
keep away the dead
I need a dump truck mamma to
Unload my head She brings me everything and more
And just like I said
REPEAT CHORUS

By W.S.Stevenson & Charley Ryan
Kenny Price
Key: E

This song is spoken. The harp part is the bass
Run that begins the song and can be put in as you
See fit, especially where it says guitar.
(1/8 notes throughout except for the last which is 1/4.)

My pappy said you’re gonna drive me to drinkin’
If you don’t stop drivin’ that hot rod Lincoln

|223*-3-4-44*-4|-5*-45*-55*-43*2|
|-3-34*-566-6*6|76-6*7-6*65*-3|
|-4-4-5*6-6*-6*7*-6*|-7-6*7*-77*-6*-5*-4|
665*-4665*-4|65*-46…|

Now you’ve heard the story of the hot-rod race
When the Ford and Lincoln was settin’ the pace
That story is true I’m here to say
cause I was a drivin’ that Model-A

Got a Lincoln motor and it’s really souped up
And that Model-A body makes it look like a pup
Got eight cylinders’n uses them all
got overdrive that just won’t stall

Got a four-barrel carb and dual exhaust
4-11 gears it can really get lost
Got safety tubes and I’m not scared
the brakes are good and the tires are fair

We left San Pedro late one night
the moon and the stars was shining bright
Drivin’ up your Grapevine hill
we was passin’ cars like they was standin’ still

[ guitar ]

Now all of a sudden like the wink of an eye
a Cadillac sedan passed us by
I said boys this is a remark for me
the taillight was all you could see

Well the fellers ribbed me for bein’ behind
So I thought I’d make that old Lincoln unwind
Took my foot off the gas and man alive
I shoved it down into overdrive

Well I wound her up to a hundred and ten
my speedometer cable hit the end
My foot keyed clear to the floor
said that’s all there is there ain’t no more

Now boys they’d thought I’d lost my sense
The telephone poles looked like a picket fence
Said slow down I see spots
the lines on the road they looked like dots

Went around a corner and I passed a truck
I crossed my fingers just for luck
My fenders clickin’ a guardrail post’n guys beside me
white as a ghost

[ guitar ]

Well smoke was comin’ outta the back
when I started to gain on that Cadillac
I knew I could catch him and hoped I could pass
but when I did I’d be outta gas

Went around a corner the tires on the side
you could feel the tension man what a ride
I said hold on I got a license to fly
and the Cadillac pulled over and let me by

Now all of a sudden the rods started knockin’
down in the dip it started rockin’
I looked in the mirror the red lights was blinkin’
the cops was after my hot rod Lincoln

They arrested me and put me in jail
I called my pop to go my bail
He said son you’re gonna drive me to drinkin’
If you don’t stop drivin’ that hot rod Lincoln

The top row of numbers are for tremolo players the bottom row of
numbers are for diatonic players, numbers in parenthesis are slurred
together.

-5 -5 6 7 7 -7 -8 -7 7 -8
-4 -4 5 6 6 -6 -7 -6 6 -7
There is a highway from coast to the coast
-9 -9 7 8 8 -9 -8
-8 -8 6 7 7 -8 -7
New York to Los Angeles
-9 -9 -9 -9 -9 7 8 -9 -8 -8 -7
-8 -8 -8 -8 -8 6 7 -8 -7 -7 -6
I’m a go-in down that road with troubles on
7 -5 -5 6 7 -8 -5 -8 (-8-5)-7 7
6 -4 -4 5 6 -7 -4 -7 (-7-4)-6 6
My mind, I got them sixty six high-way blues

Every old town that I ramble round
Down that lonesome road
The police in yo’ town they shove me around
I got them sixty six highway blues

Makes me no difference wherever I ramble
Lord, wherever I go
I don’t wanna be pushed around by the police
In yo’ town, I got them sixty six highway blues

Been on this road for a mighty long time
Ten million men like me
You drive us from yo’ town, we ramble around
And got them sixty six highway blues

Sometimes I think I’ll blow down a cop
Lord, you treat me so mean
I done lost my gal, I ain’t got a dime
I got them sixty six highway blues

Sometimes I think I’ll get me a gun
Thirty eight or big forty fo’
But a number for a name and a big 99
Is worse than sixty six highway blues

I’m gonna start me a hungry man’s union
Ain’t a gonna charge no dues
Gonna march down that road to the wall street
Walls, a singin’ those sixty six highway blues

-2 -4 -4 -44-3

You got-ta live

-2 -4 -4 -44-3’-2

You got-ta love

-2 -4 -4 -5 -4 -4’-3’ -2

You got-ta be some-bod——y

-2 -4 -4 -4’-3’-2

You got-ta shove

1 1 1 -2 -3 -4’ 4 -44-3-2

But it’s so hard, it’s real-ly hard

-2 4 4 -4 4-3’’-2 2 -1 -2

Some-times I feel like—-go-in’ down

You got-ta eat

You got-ta drink

You got-ta feel some-thing

You got-ta wor-ry

But it’s so hard, it’s real-ly hard

Some-times I feel like go-in’ down

-2 -3’ 4 4

But when it’s good

-2 -3’’ 4 4

It’s real-ly good

-2 -3’’ 4 4 4 -3’-3 4-3’-2 -3’-2

And when I hold you in my arms—–ba-by

-2 4 4 -4 4-3’-2 2 -1 1

Some-times I feel like—-go-in’ down

You got-ta run

You got-ta hide

-2 -4 -4 -5 -4 -4’-3’ -2 -4 -4 -4’-3’-2

You got-ta keep your wom——an sat-is-fied

1 1 1 -2 -3 -4’ 4 -44-3-2

But it’s so hard, it’s real-ly hard

-2 4 4 -4 4-3’-2 2 -1 -2’’-2

Some-times I feel like—–go-in’ down

this is my first tab, i also found this song while surfing the net so
practically everyone will not know it but still…

3 2 3 3 2 3 3 1
I knew looking back on the tears
3 2 3 4 3 2 3 1
would make me laugh and make me smile
3 3 2 3 4 3 3 4 4 3 4
but I never knew looking back at the laughs
3 2 3 2 2 3 2 1
would make me frown and make me cry

3 3 4 3 2
and i say to you
3 3 4 3 2
just Be who you are
3 3 2 3
say what you feel
3 4 3 3
AND SPEAK YOUR MIND

3 4 3 3 4
because those who mind
2 3 3 3 4
don’t really matter
3 4 3 3 4
and those who matter
2 3 3 4
don’t really mind

2 2 3 2 2 3
well life is just a game
3 2 3 4 3 4 3
Don’t take it seriously
3 2 3 3 4
You’ll never escape
3 3 4 3 4
alive anyway

3 2 2 3 4
When Push Comes to shove
3 2 3 4 3 4 3
you gotta get a movin’
3 2 3
step by step
4 3 2 3 4
‘n’ now your groovin’

3 4 4 3 2 3 4
oh yea ‘n’ now your provin’
3 4 3-4 3 4
when the going gets tough
3 4 4 3 4
the tough get going
3 4 3 4 3 4 3 2 3
Look at ya now your Rock ‘n’ Rollin’

2 3 2 3 3 2
it’s amazing because
3 3 3 2 2 1 2 3 3 2
when you’re a kid you see the life you want
3 2 3 3 3 2 2 1
but it never crosses your mind
2 2 3 1 1 2 2 3 1
that it ain’t gonna turn out that way.

4 4 -3″ 4 -4
Hero to zero
-2 -2 4 4 4
I pick up the bill
-3″ 3 -3″ 3 3 -2 3 -3″ 3
The brake lights cast a red light
3 -2 3 -2 3 -3″ 3
And the road twists round the hill
4 4 4 -3″ 4 -4
Lipstick on the backseat
-2 4 4 4 4 4
Saliva on the dash
-3″ 3 -3″ 3 3 -2 3 -3″ 3
I’ve clawed my way out of here before
3 -2 3 -2 3 -3″ 3
But I keep on coming back

(Chorus)
-4 -4 4 -3″ -4 -4 -4
I push and you tend to shove
-3″ -4 -4 4 -3″ -4 -4 -4 5
I give in and you don’t give up
4 5 6 5 -4 4 -4 -4 4
I’m not getting out of here this time
5 6 5 -4 4 -4 4 -4 4 -3″
I brought a lemon to a knife fight
-4 -4 4 -3″ -4 -4 -4
I kick and you like to punch
-3″ -4 -4 4 -3″ -4 -4 -4 5
I’m unhinged and you’re undone
4 5 6 5 -4 4 -4 -4 4
I’m not getting out of here alive
5 6 5 -4 4 -4 4 -4 4
I brought a lemon to a knife fight
-4 -4 -4 -4 -4 -4 -4 5 -5 5
I brought a lemon to a knife fight

-4 -4 -4 -5 -5 -5 4 4 -4
Blowing through hills, tryin’a make up time (Whuh!)
-5 5 -4 -4 -4 4 -4
(Way-oh on the railroad)
4 -4 -4 -4 -4 -5 -5 -5 4 4 4 -4
Ain’t nothing gonna stand in the way of our line (Whuh!)
-5 5 -4 -4 -4 4 -4
(Way-oh on the railroad)

-4 -4 -4 -5 -5 -5 4 4 4 -4
Picking up coal and we’re picking up speed
-4 -4 -4 -5 -5 -5 4 4 -4
Shovel as much as the engine needs
-4 -4 -5 -5 -5 6 -5 -6
Sweat and blood gonna earn my pay
-5 -5 5 5 -4 -4 4 -4
All the way to ‘Frisco Bay

A traditional tune also known by the name “Shove That Pig’s Foot
Further Into the Fire”

8 -9 8 -8 7 -6 -6 7 -6 6
6 -6 -6 7 8 -9 8 -8
8 -9 8 -8 7 -6 -6 7 -6 6
6 -6 -6 7 8 8 -8 7
6 5 6, 4 5 4, 6 5 6, 4 5 4
6 5 6, 4 5 4, 4 5 4, 4 4 5 4

-3” -3” 5 -4 4 4 3 3 2
I want to live where soul meets body

-3” -3” 5 -4 4 3 6 5 5 -4
And let the sun wrap its arms around me

4 -3” -3” 5 4 4 4 4 3 3 3 2
And bathe my skin in water coo-l and cleansing

-1 -4 -4 -4 5 -5 5-4 -4 -3”
And feel, feel what its like t-o be new

-3” -3” 5 -4 4 4 4 3 3 2
Cause in my head there’s a greyhound station

-3” -3” -3” 5 -4 -3” 6 5 5 5 5 -4
Where I send my thoughts to far off destinations

4 -3” -3” -3” 5 -4 4 4 3 3 3
So they may have a chance of finding a place

2 -1 -4 5 -5 5 -4 -3”
where they’re far more suited than here

8 8 8 8 -8 -7
ba da ba da ba ba

-7 7 -7 -6 -6 -6 -6 -7
da ba da ba ba da ba ba

6 -8 -7 -6 -6 -6 -6
Ba da ba ba ba da ba

-7 -6 -6 6 5
Ba da ba da ba

-3” -3” 5 -4 4 4 3 3 2
I cannot guess what we’ll discover

-3” -3” 5 -4 4 3 6 5 5 5 -4
we turn the dirt with our palms cupped like shovels

4 4 -3” -3” -3” 5 -4 4 4 3 3 3 2
But I know our filthy hands can wash one another’s

-1 -4 5 -5 5 -4 -4 -3”
And not one speck wi-ll remain

8 8 8 8 -8 -7 -7
And I do believe it’s true

-7 7 7 -6 -6 -6 -6 -6 -7 6
That there are roads left in both of our shoes

6 7 -7 -6 -6 -6 -6
But if the silence takes you

6 6 -7 -6 -6 6 5
Then I hope it takes me too

5 8 8 8 8 -8 -7
So brown eyes I hold you near

-7 7 -7 -6 -6 -6 -6 -6 -7 6
Cause you’re the only song I want to hear

6 7 -7 -6 -6 -6 -6 6 -7 -6 -6 6 5
A melody softly soaring through my atmosphere

7 -6 7 -8 8
Where soul meets body (x2)

7 6 -7 7 -8
Where soul meets body

8 8 8 8 -8 -7 -7
And I do believe it’s true

-7 7 7 -6 -6 -6 -6 -6 -7 6
That there are roads left in both of our shoes

6 7 -7 -6 -6 -6 -6
But if the silence takes you

6 6 -7 -6 -6 6 5
Then I hope it takes me too

5 8 8 8 8 -8 -7
So brown eyes I hold you near

-7 7 -7 -6 -6 -6 -6 -6 -7 6
Cause you’re the only song I want to hear

5 7 -7 -6 -6 -6 -6 6 -7 -6 -6 6 5
A melody softly soaring through my atmosphere (x4)

Traditional English folk
Judy Collins
Key: A

6 -5 5* -3 -55* -3 -3 -3
So ear-ly, ear-ly in the spring
-3 5* 6 7 -7 7 -6* 6
I shipped on board to serve my king
-3 6 -7 -7 7-6* 6 -7 -7
I left my dear-est dear be-hind
6 -5 5* -3 6 -5 5* -3
She oft’-times swore her heart was mine

As I lay smiling in her arms
I thought I held ten thousand charms
With embraces kind and a kiss so sweet
Saying We’ll be married when next we meet

As I was sailing on the sea
I took a kind opportunity
Of writing letters to my dear
But scarce one word from her did hear

As I was walking up London Street
I shoved a letter from under my feet
Straight lines being wrote without any blot
Saying seldom seen is soon forgot

I went up to her father’s hall
And for my dearest dear did call
She’s married, sir, she’s better for life
For she has become a rich man’s wife

If the girl is married, whom I adore
I’m sure I’ll stay on land no more.

By Merle Travis
Tennessee Earnie Ford, Jimmy Dean
Key: G

6 7 6 7 7 6 -4 6 6 6 -4
Some peo-ple say a man is made out-ta mud
-4 7 6 6 -4 -4 6 6 6 -4
A poor man’s made out-ta mus-cle and blood
6 6 6 6 6 -7 -7 -7
Mus-cle and blood and skin and bones
-7 -7* -7 7 6 -4 -4 6 6 -4
A mind that’s a-weak and a back that’s strong

-4 5* 6 6 6 7 7 7 6
You load six-teen tons, what do you get
6 7 7 7 6 6 -4 6 6 6 -4
An-oth-er day old-er and deep-er in debt
6 6 6 6 6 7 -6* 6 -7 -7 -7
Saint Pe-ter don’t you call me ’cause I can’t go
-8 10-7* -8 7 -4 -4 6 6 6 6
I owe my soul to the com-pa-ny store

I was born one mornin’ when the sun didn’t shine
I picked up my shovel and I walked to the mine
I loaded sixteen tons of number nine coal
And the straw boss said “Well, a-bless my soul”

You load sixteen tons, what do you get
Another day older and deeper in debt
Saint Peter don’t you call me ’cause I can’t go
I owe my soul to the company store

I was born one mornin’, it was drizzlin’ rain
Fightin’ and trouble are my middle name
I was raised in the canebrake by an ol’ mama lion
Cain’t no-a high-toned woman make me walk the line

You load sixteen tons, what do you get
Another day older and deeper in debt
Saint Peter don’t you call me ’cause I can’t go
I owe my soul to the company store

If you see me comin’, better step aside
A lotta men didn’t, a lotta men died
One fist of iron, the other of steel
If the right one don’t a-get you
Then the left one will

You load sixteen tons, what do you get
Another day older and deeper in debt
Saint Peter don’t you call me ’cause I can’t go
I owe my soul to the company store

Traditional American
George Thorogood & The Destroyers
Key: A, tabbed on E Harp

6 6 6 5 4 4 4 -4 4 4
A strang-er ly-in’ on a bar-room floor
-4 -4 4 4 3 3 3 3 4 4
Had drank so much he could drink no more
6 6 6 5 4 4 -4 4 4
He fell a-sleep with a trou-bled brain
-4 -4 4 4 3 3 3 3 4 4
To dream that he rode on a hell-bound train

The engine was bloody
It was sweaty and damp
And brilliantly lit with a brimstone lamp
An imp for fuel was shovelin’ bones
While a furnace rang with a thousand groans

The boiler was filled with lager beer
The devil himself was the engineer
The passengers were most a motley crew
Some were foreigners, and others he knew
Rich men in broadcloth, beggars in rags
Handsome young ladies and wicked old hags

As the train rushed on at a terrible pace
Sulfuric fumes scorched there hands and face
Wider and wider the country grew
Faster and faster the engine flew
Louder and louder the thunder crashed
Brighter and brighter the lightnin’ flashed
Hotter and hotter the air became
Til the clothes were burnin’ with each quivering flame
Then out of the distance there came a yell
“Ha ha,” said the devil, “We’re nearin’ hell!”
Oh, how the passengers, stricken with pain
Begged old Satan to stop that train

The stranger awoke with an anguished cry
His clothes wet with sweat and his hair standin’ high
He fell to his knees on the barroom floor
And prayed and prayed like never before

And the prayers and vows were not in vain
For he never rode that hellbound train
Ha ha ha ha ha