I Bet You Look Good On The Dancefloor 2 gp4 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.

I Bet You Look Good On The Dancefloor gp4 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.

By: Charlie Black, Rory Bourke,
Jerry Gilespie
The Bellamy Brothers
Key: G

5 4 4 5 4 4
Long blonde hair, sky blue eyes
6 6 6 6 6 6 6 -5 -5 -5 -5 5
Yeah that well-bred look is eas-y to re-cog-nize
5 4 4 5 4 4
Tail-ored dress, fit so fine
5 6 6 6 6 6 6 -5 -5 -5 5
And it adds up to the ques-tion on my mind

4 4 5 6 6-55-5 -5 -5 5 -4 5
Hon-ey, do you love as good as you look?
5 6 6 6 6 5 -66
Can you sat-is-fy your man,
-4 -4 5 -4 -4 -4 -4
like your bod-y says you can?
5 6 6 6 6 -5
Judg-ing from the cov-er,
-66 65 5 -4 4 4
I’d love to read the book
4 4 5 6 6-55-5 -5 -5 5 -4 4
Hon-ey, do you love as good as you look?
4 4 4 5 4 4
If you could read my mind,
4 4 5 4 4
you might blush blood-red
4 5 6 6 6 6
But then a-gain you might
6 6 -5 -5 -5 5
come ov-er here in-stead
4 4 4 5 4 4
I see they brought your check
4 4 4 5 4 4
Now soon you’re bound to go
4 5 6 6 6 6 6 6
If I don’t make my move right now,
-5 -5 -5 -5 5
I may nev-er know

4 4 5 6 6-55-5 -5 -5 5 -4 5
Hon-ey, do you love as good as you look?
5 6 6 6 6 5 -66
Can you sat-is-fy your man,
-4 -4 5 -4 -4 -4 -4
like your bod-y says you can?
5 6 6 6 6 -5
Judg-ing from the cov-er,
-66 65 5 -4 4 4
I’d love to read the book
4 4 5 6 6-55-5 -5 -5 5 -4 4
Hon-ey, do you love as good as you look?

5 6 6 6 6 -5
Judg-ing from the cov-er,
-66 65 5 -4 4 4
I’d love to read the book
4 4 5 6 6-55-5 -5 -5 5 -4 -4
Hon-ey, do you love as good as you look?
4 4 5 6 6-55-5 -5 -5 5 -4 4
Hon-ey, do you love as good as you look?

8 8 8 8 7
Oh how you sparkle,

6 -6 7 8 -8
and oh how you shine.

7 -8 -8 -8 8
That flush on your cheeks

-6 -6 7 8 -8
is more than the wine.

7 8 8 9 8 -8
And he must do something

7 -6 7 8 -8
that I didn’t do.

7 -8 -8 -8 8 -8
Whatever he’s doing,

7 -6 7 8 -8
it looks good on you.

Chorus:

7 -8 8 -8 7 -8
You look so good in love.

7 -8 8 -8 -8 8 -8 7
You want him, that’s easy to see.

7 -8 8 -8 7 -8
You look so good in love.

7 -6 6 -7 -8 8 -8 7
And I wish you still wanted me.

8 8 8 8 7
He must have stolen

6 -6 7 8 -8
some stars from the sky,

7 -8 -8 -8 8
And gave them to you

-6 -6 7 8 -8
to wear in your eyes.

8 8 9 8 -8
I had my chances,

7 -6 7 8 -8
but I set you free.

7 -8 -8 -8 8
And now I wonder

-8 -6 7 8 -8
why I couldn’t see.

Chorus:

spoken:
Darling I’ve wasted a lot of years
not seeing the real you,
But tonight your beauty is shining through.
And I never took the time to let you know,
So before he takes you away please let me say.

Chorus

Harmonica amplifiers – Are you thinking about buying a harmonica amplifier but you don’t know which to choose? Uncertain about the kind of sound you want to get or you feel you’ll want to understand more? Which amplifier is the best for the harmonica sound? If your brain will be brimming with such questions then this short article is just what the physician ordered.

Once you have read the article you must have got clear ideas about how to go on; non-etheless, I’ll introduce you to some amplifier models today and will discuss their salient features or benefits and drawbacks with you one at a time. Follow the instructions in next paragraphs carefully and I am sure that from now onwards, you can purchase your generic amplification system or your unique device with utter confidence you have made the best option according to your preferences.

Harmonica amplifiers – How to choose correctly for yourself?

[toc]

Let’s start by analyzing various categories of amplifiers that people find in market and which may be useful for the blues harp:

Guitar amplifiers or battery-operated generic amps.

Solid state guitar amplifiers and modeling devices.

Tube amplifiers for guitars.

Amplified speakers (also called active ones) for more pure sound.

On the basis of our needs we can choose among alternative categories and select the best for the harmonica. Let’s see these categories at length:

Guitar amplifiers or battery-powered generic amps

These amplifiers are small and have power ranging from 0.1 to 5 watts. They’re capable of operating with a power supply or even with common batteries; their capacity can reach up to 10 hours of work if powered by batteries. Sometimes they’re equipped with sound effects and rhythm reproduction. These amplifiers often possess computer connections and sometimes allow an additional microphone connection (e.g for voice).The unit are much appreciated by ones looking for something portable especially those who want to play on the street (busking) or for those who want to keep somewhat small yet powerful enough system internal to create wave in neighbourhood.

If you opt for a modeling amplifier, it will be possible to reproduce both pure harmonica sound and ‘Chicago’ which means we’ve everything we have to play independently. Given the choice of these types of equipments, one interesting fact shouldn’t be underestimated that they usually supply the option to connect to a mixer or other amplifiers, which gives us an opportunity to expand the sound power without compromising the kind of the audio we like. Now it might seem ,”Then I’ll have a little thing like this one, and something day I’ll link it to a bigger to obtain additional volume?” Yes, you have it right!

Now let’s look at two models of portable solid state modeling of an excellent quality: Vox Mini 5 and Roland Micro Cube. They are amplifiers with price ranging from $120 to $150 whereas the characteristics they exhibit are very similar.

The Vox provides an extra input for a vocal microphone, and is therefore more suitable if you would like someone to sing along when you play the harmonica (or guitar). This low impedance input enables you to have a clean instrument sound.

Both models have an input for external sound sources such as mp3 players or smart phones and the headphone output. This one can also be used to connect an additional amplification system or a computer.The two amplifiers provide effect such as for example delay and reverb whereas the modeling circuit allows us to choose emulation of various kinds of amplifiers. By changing the emulation configuration and adjusting the gain, the tone and volume controls, we are able to achieve the desired sound, including the ‘Chicago style’ one. The size of speaker included for VOX is 6.5″ and for Micro Cubecome it’s 5″.The energy of these devices is 5 watts max for the VOX and 2 watts for the Roland.

Solid-state guitar amplifiers and modeling

Larger devices with powers which range from 10 watts up to few hundred watts have to be connected to the electric supwardply. Because they are a composite of integrated circuits hence the title ‘solid condition type’.

In this specific article I’ll not dig into the merits of diatribe ‘valve against transistor’ because internet has already been full of that and you could find all forms of opinions online. From my perspective, you may get a good sound from tube amplifiers and also from incorporated circuit amplifiers, nevertheless, you must remember that valve amplifiers often usually do not provide digital modules with effects, auxiliary connections etc.

Let’s go back to the category of amplifiers we were talking about: alongside portable amplifiers, comes a circuitry that amplifies the sound of the bullet microphone so, for models that emulate different devices it is possible to choose the type of emulated amplifier and still manage to get effects. Even these amplifiers often allow us to connect inputs and auxiliary outputs, plus some also provide the option to attach output to an extra speaker.

Most advanced models in this category may also be connected to the computer via USB cable and managed in a variety of configurations through custom software. Now, we look at two solid state amplifier models being among the most popular ones on the market: The Fender Champion 100 and the Orange Crush 35 RT, both cost around $250.

The Fender Champion 100 has enough power to be used on small and medium-sized venues, and is equipped with an emulation module and different effects. It has two 12-inch speakers, different connections for external effects, an auxiliary input for sound sources like mp3 or smart phones, and the headphones output that may also be connected to another sound system like a mixer or a computer. This is really a perfect amplifier that provides many possibilities.

The Orange Crush 35 RT is one most important amplifier that doesn’t emulate other models, but still offers the reverb effect, an auxiliary input for external sound sources and a headphones output which can also be utilized as a line output to get attached to a computer, a mixer and so forth. The 35 RT has a chromatic tuner and connections for external effects. It includes 35 watts power which is sufficient even though you play in a mid-sized room. The supplied speaker size will be 10 inches.

You can also find a 20 watt model of this brightly colored amplifier here.

Valve Guitar Amplifiers

These are the favourite ones for vintage lovers, renowned for good old tubes and known as supporters of warm sound. In fact the valves are usually fragile and warm-up easily but without a shadow of doubt, all the musicians, at some time fall for the charm of such sort of electrical circuit.

The first thing I wish to explain is that, there are no portable tube amplifiers because they require a whole lot of electric supply. The energy delivered by such amplifiers ranges from 5 watts to many hundred watts and their prices start from $150.

One point that should be taken into consideration is that the power output from the unit cannot be compared to that of solid state amplifiers; usually several watts on a tube amp would produce same volume as greater number of watts on a strong state device would do. Because of this you will discover in the market many tube amplifiers with a power ranging significantly less than 20 watts on average.

Often the unit have no auxiliary inputs or outputs, and so are designed to operate in a standalone configuration. Only in more costly models you could find connections for external effects, and output line connections to other audio systems.

Below I am going to introduce you to two models called VHT 6 Special Ultra and Fender Blues Junior IV. The first is no more available in the market nevertheless, you can still find an used instrument for $200, the next costs about $600.

VHT 6 Special Ultra is really a low-power unit that delivers 6 watts but has earned lots of appreciation from both guitarists and harmonica players. Built with 3 tubes, this amplifier, in addition to the standard controls has some inclusional controls to improve the sound at will. VHT includes a headphone output line which you can use for connecting it to external audio systems and also additional speaker results. The supplied speaker size is 12 inches.

The Fender Blues Junior IV is really a tube amplifier equipped with 3 valves and is with the capacity of delivering 15 watt power. It has a 12-inch speaker and reverberation effect. It does not have any connections for audio inputs or auxiliary outputs.

All the devices I’ve shown you are suitable to produce Chicago suond, and are used with high impedance microphones such as for example bullet type, like the famous shure 520DX. The VOX mini instead, has a low-impedance microphone input for voice or even more clean harmonica sound.

The last category of amplifiers I am going to present to you’re the generic amplified loudspeakers, also called active speakers (or amplified): this is actually the sort of amplification I use when I play around in not-so-big situations.

You can just make use of a voice microphone and connect it to an amplified active speaker which acts well being an amplifier without changing the harmonica sound. These speakers are available with power ratings ranging from a few watts up to several hundred watts, on the market we furthermore find models that focus on battery.

The speaker that I use includes a power of 40 watts and an autonomy that reaches 10 hours with rechargeable battery given it. There are active speaker models that have effects, equalizations, inputs for multiple microphones, usb connections and much more, only the most advanced models have bluetooth and wireless connections to also take advantage of wireless microphones. Lastly I wish to introuduce you to the Beheringer MPA40BT-PRO, a 40-watt unit built with an 8″ woofer and a 1″ tweeter.

The sound reproduction is good and the volume more than sufficient for small locations. Thwill be speaker has two inputs to which it is possible to connect microphones or instruments, auxiliary inputs for other external sources, bluetooth and usb socket for connecting wireless microphones (around 2). This amplifier can cost you $150.

If you are curious to know, let me tell you that the wireless microphone set for the active speaker Behringer MPA40BT-PRO consists of an USB adhere to be connected on the trunk side and two battery-powered microphones which have about l0 hours of autonomy.

This concludes our review of harmonica amps. As you can see, there are different types on the market, designed to meet not merely the usage requirements but budget also .See you within the next article.

Neil Percival Young OC OM[4][5] (born November 12, 1945) is a Canadian-American singer-songwriter, musician, and activist. After embarking on a music career in the 1960s, he moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since his early solo albums and those with his backing band Crazy Horse, Young has been prolific, recording a steady stream of studio and live albums.

Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield.[6] In 2000, Rolling Stone named Young the 34th greatest rock ‘n roll artist. His guitar work, deeply personal lyrics[7][8][9] and signature tenor singing voice[10][11] define his long career. He also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical styles. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname “Godfather of Grunge”[12] and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real.[13] His 21 albums and singles have been certified Gold and Platinum in U.S by RIAA certification.[14]

Young directed (or co-directed) films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).

Young has lived in California since the 1960s but retains Canadian citizenship.[15] He was awarded the Order of Manitoba on July 14, 2006,[5] and was made an Officer of the Order of Canada on December 30, 2009.[4] He became a United States citizen, taking dual citizenship, on January 22, 2020.

Early life (1945–1963)

Neil Young[19] was born on November 12, 1945, in Toronto, Ontario.[20][21] His father, Scott Alexander Young (1918–2005), was a journalist and sportswriter who also wrote fiction.[22] His mother, Edna Blow Ragland “Rassy” Young (1918–1990) was a member of the Daughters of the American Revolution.[23] Although Canadian, his mother had American and French ancestry.[24] Young’s parents married in 1940 in Winnipeg, Manitoba, and their first son, Robert “Bob” Young, was born in 1942. Shortly after Young’s birth in 1945, his family moved to rural Omemee, Ontario, which Young later described fondly as a “sleepy little place”.[25] Young suffered from polio in 1952 during the last major outbreak of the disease in Ontario[26] (the Canadian singer-songwriter Joni Mitchell, then aged nine, also contracted the virus during this epidemic).[27] After his recovery, the Young family vacationed in Florida. During that period, Young briefly attended Faulkner Elementary School in New Smyrna Beach, Florida. In 1952, upon returning to Canada, Young moved from Omemee to Winnipeg for a year, before relocating to Toronto (1957–1960) and Pickering (1956). Young became interested in popular music he heard on the radio.[28] When Young was twelve, his father, who had had several extramarital affairs, left his mother. His mother asked for a divorce, which was granted in 1960.[29] Young went to live with his mother, who moved back to Winnipeg, while his brother Bob stayed with his father in Toronto.

During the mid-1950s, Young listened to rock ‘n roll, rockabilly, doo-wop, R&B, country, and western pop. He idolized Elvis Presley and later referred to him in a number of his songs.[32] Other early musical influences included Link Wray,[33] Jimmy Gilmer and the Fireballs, The Ventures, Cliff Richard and the Shadows,[34] Chuck Berry, Hank Marvin, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, the Fleetwoods, Jerry Lee Lewis, Johnny Cash, Roy Orbison and Gogi Grant.[35] Young first began to play music himself on a plastic ukulele, before, as he would later relate, going on to “a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar.”

Career

Early career (1963–1966)

Young and his mother settled into the working-class area of Fort Rouge, Winnipeg, where the shy, dry-humoured youth enrolled at Earl Grey Junior High School. It was there that he formed his first band, the Jades, and met Ken Koblun. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands, eventually dropping out of school in favour of a musical career.[37] Young’s first stable band was The Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called “The Sultan”. The band played in Fort William (now part of the city of Thunder Bay, Ontario), where they recorded a series of demos produced by a local producer, Ray Dee, who Young called “the original Briggs”.[38] While playing at The Flamingo, Young met Stephen Stills, whose band the Company was playing the same venue, and they became friends.[39] The Squires played in several dance halls and clubs in Winnipeg and Ontario.[40]

After leaving the Squires, Young worked folk clubs in Winnipeg, where he first met Joni Mitchell.[41] Mitchell recalls Young as having been highly influenced by Bob Dylan at the time.[42] Here he wrote some of his earliest and most enduring folk songs such as “Sugar Mountain”, about lost youth. Mitchell wrote “The Circle Game” in response.[43] The Winnipeg band The Guess Who (with Randy Bachman as lead guitarist) had a Canadian Top 40 hit with Young’s “Flying on the Ground is Wrong”, which was Young’s first major success as a songwriter.[44]

In 1965, Young toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds. The band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Navy Reserve.[45] After the Mynah Birds disbanded, Young and the bass player Bruce Palmer decided to pawn the group’s musical equipment and buy a Pontiac hearse, which they used to relocate to Los Angeles.[46] Young admitted in a 2009 interview that he was in the United States illegally until he received a “green card” (permanent residency permit) in 1970.

Buffalo Springfield (1966–1968)

Once they reached Los Angeles, Young and Palmer met up with Stephen Stills and Richie Furay after a chance encounter in traffic on Sunset Boulevard.[46] Along with Dewey Martin, they formed Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills’ topical song “For What It’s Worth” became a hit, aided by Young’s melodic harmonics played on electric guitar. According to Rolling Stone, the Rock and Roll Hall of Fame and other sources, Buffalo Springfield helped create the genres of folk rock and country rock.[48]

Distrust of their management, as well as the arrest and deportation of Palmer, worsened the already strained relations among the group members and led to Buffalo Springfield’s demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of Young’s three contributions were solo tracks recorded apart from the rest of the group.

From that album, “Mr. Soul” was the only Young song of the three that all five members of the group performed together. “Broken Arrow” features snippets of sound from other sources, including opening the song with a soundbite of Dewey Martin singing “Mr. Soul” and closing it with the thumping of a heartbeat. “Expecting to Fly” featured a string arrangement that Young’s co-producer for the track, Jack Nitzsche, dubbed “symphonic pop”.[citation needed]

In May 1968, the band split up for good, but to fulfill a contractual obligation, a final studio album, Last Time Around, was released. The album was primarily composed of recordings made earlier that year. Young contributed the songs “On the Way Home” and “I Am a Child”, singing lead on the latter. In 1997, the band was inducted into the Rock and Roll Hall of Fame; Young did not appear at the ceremony. The three surviving members, Furay, Stills, and Young, appeared together as Buffalo Springfield at Young’s annual Bridge School Benefit on October 23–24, 2010, and at Bonnaroo in the summer of 2011. Young also played as a studio session guitarist for some 1968 recordings by The Monkees which appeared on the Head and Instant Replay albums.

Going solo, Crazy Horse (1968–1969)

After the break-up of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts, who managed Young until his death in 2019. Young and Roberts immediately began work on Young’s first solo record, Neil Young (January 22, 1969),[50] which received mixed reviews. In a 1970 interview,[51] Young deprecated the album as being “overdubbed rather than played.” The album contains songs that remain a staple of his live shows including “The Loner.”

For his next album, Young recruited three musicians from a band called The Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969), is credited to “Neil Young with Crazy Horse.” Recorded in just two weeks, the album includes “Cinnamon Girl”, “Cowgirl in the Sand”, and “Down by the River.” Young reportedly wrote all three songs in bed on the same day while nursing a high fever of 103 °F (39 °C).

Crosby, Stills, Nash, and Young (1969–1970)

Shortly after the release of Everybody Knows This Is Nowhere, Young reunited with Stephen Stills by joining Crosby, Stills & Nash, who had already released one album Crosby, Stills & Nash as a trio in May 1969. Young was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 “Best New Artist” Grammy Award – was renamed Crosby, Stills, Nash & Young.[53] The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which Young skipped the majority of the acoustic set and refused to be filmed during the electric set, even telling the cameramen: “One of you f*ckin’ guys comes near me and I’m gonna f*ckin’ hit you with my guitar”.[54] During the making of their first album, Déjà Vu (March 11, 1970), the musicians frequently argued, particularly Young and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize Young, saying that he “wanted to play folk music in a rock band.”[55] Despite the tension, Young’s tenure with CSN&Y coincided with the band’s most creative and successful period, and greatly contributed to his subsequent success as a solo artist.

Young wrote “Ohio” following the Kent State massacre on May 4, 1970. The song was quickly recorded by CSN&Y and immediately released as a single, even though CSN&Y’s “Teach Your Children” was still climbing the singles charts.

After the Gold Rush, acoustic tour and Harvest (1970–1972)

Later in the year, Young released his third solo album, After the Gold Rush (August 31, 1970), which featured, among others, Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. Young also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. Young’s newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including “Tell Me Why” and “Don’t Let It Bring You Down”, the country-influenced singles “Only Love Can Break Your Heart” and “When You Dance I Can Really Love”, and the title track, “After the Gold Rush”, played on piano, with dream-like lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. Young’s bitter condemnation of racism in the heavy blues-rock song “Southern Man” (along with a later song entitled “Alabama”) was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry Young by name in the lyrics to their hit “Sweet Home Alabama.” However, Young said he was a fan of Skynyrd’s music, and the band’s front man Ronnie Van Zant was later photographed wearing a Tonight’s the Night T-shirt on the cover of an album.

In the autumn of 1970, Young began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs premiered by Young on the tour, like “Journey through the Past”, would never find a home on a studio album, while other songs, like “See the Sky About to Rain”, would only be released in coming years. With CSNY splitting up and Crazy Horse having signed their own record deal, Young’s tour, now entitled “Journey Through the Past”, continued into early 1971, and its focus shifted more to newer songs he had been writing; he famously remarked that having written so many, he could not think of anything to do but play them. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto’s Massey Hall, which were taped for a planned live album. The shows became legendary among Young fans, and the recordings were officially released nearly 40 years later as an official bootleg in Young’s Archive series.

Near the end of his tour, Young performed one of the new acoustic songs on the Johnny Cash TV show. “The Needle and the Damage Done”, a somber lament on the pain caused by heroin addiction, had been inspired in part by Crazy Horse member Danny Whitten, who eventually died while battling his drug problems.[56][57] While in Nashville for the Cash taping, Young accepted the invitation of Quadrafonic Sound Studios owner Elliot Mazer to record tracks there with a group of country-music session musicians who were pulled together at the last minute. Making a connection with them, he christened them The Stray Gators, and began playing with them. Befitting the immediacy of the project, Linda Ronstadt and James Taylor were brought in from the Cash taping to do background vocals. Against the advice of his producer David Briggs, he scrapped plans for the imminent release[58] of the live acoustic recording in favour of a studio album consisting of the Nashville sessions, electric-guitar oriented sessions recorded later in his barn, and two recordings made with the London Symphony Orchestra at Barking (credited as Barking Town Hall and now the Broadway Theatre) during March 1971.[59] The result was Young’s fourth album, Harvest (February 14, 1972). The only remnant left of the original live concept was the album’s live acoustic performance of “Needle and the Damage Done.”

After his success with CSNY, Young purchased a ranch in the rural hills above Woodside and Redwood City in Northern California (“Broken Arrow Ranch”, where he lived until his divorce in 2014.[60]). He wrote the song “Old Man” in honor of the land’s longtime caretaker, Louis Avila. The song “A Man Needs a Maid” was inspired by his relationship with actress Carrie Snodgress. “Heart of Gold” was released as the first single from Harvest, the only No. 1 hit in his career. “Old Man” was also popular.

The album’s recording had been almost accidental. Its mainstream success caught Young off guard, and his first instinct was to back away from stardom. In the Decade (1977) compilation, Young chose to include his greatest hits from the period, but his handwritten liner notes famously described “Heart of Gold” as the song that “put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there.”

The “Ditch” Trilogy and personal struggles (1972–1974)

Although a new tour with The Stray Gators (now augmented by Danny Whitten) had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an apparent alcohol/diazepam overdose. Young described the incident to Rolling Stone’s Cameron Crowe in 1975:[61] “[We] were rehearsing with him and he just couldn’t cut it. He couldn’t remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. ‘It’s not happening, man. You’re not together enough.’ He just said, ‘I’ve got nowhere else to go, man. How am I gonna tell my friends?’ And he split. That night the coroner called me from L.A. and told me he’d OD’d. That blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and … insecure.”

On the tour, Young struggled with his voice and the performance of drummer Kenny Buttrey, a noted Nashville session musician who was unaccustomed to performing in the hard rock milieu; Buttrey was eventually replaced by former CSNY drummer Johnny Barbata, while David Crosby and Graham Nash contributed rhythm guitar and backing vocals to the final dates of the tour. The album a*sembled in the aftermath of this incident, Time Fades Away (October 15, 1973), has often been described by Young as “[his] least favorite record”, and was not officially released on CD until 2017 (as part of Young’s Official Release Series). Nevertheless, Young and his band tried several new musical approaches in this period. Time Fades Away, for instance, was recorded live, although it was an album of new material, an approach Young would repeat with more success later on. Time was the first of three consecutive commercial failures which would later become known collectively to fans as the “Ditch Trilogy”, as contrasted with the more middle-of-the-road pop of Harvest (1972).[62] These subsequent albums were seen as more challenging expressions of Young’s inner conflicts on achieving success, expressing both the specific struggles of his friends and himself, and the decaying idealism of his generation in America at the time.

In the second half of 1973, Young formed The Santa Monica Flyers, with Crazy Horse’s rhythm section augmented by Nils Lofgren on guitar and piano and Harvest/Time Fades Away veteran Ben Keith on pedal steel guitar. Deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, Young recorded an album specifically inspired by the incidents, Tonight’s the Night (June 20, 1975). The album’s dark tone and rawness led Reprise to delay its release and Young had to pressure them for two years before they would do so.[63] While his record company was stalling, Young recorded another album, On the Beach (July 16, 1974), which presented a more melodic, acoustic sound at times, including a recording of the older song “See the Sky About to Rain”, but dealt with similarly dark themes such as the collapse of 1960s folk ideals, the downside of success and the underbelly of the Californian lifestyle. Like Time Fades Away, it sold poorly but eventually became a critical favorite, presenting some of Young’s most original work. A review of the 2003 re-release on CD of On the Beach described the music as “mesmerizing, harrowing, lucid, and bleary”.[64]

After completing On the Beach, Young reunited with Harvest producer Elliot Mazer to record another acoustic album, Homegrown. Most of the songs were written after Young’s break-up with Carrie Snodgress, and thus the tone of the album was somewhat dark. Though Homegrown was reportedly entirely complete, Young decided, not for the first or last time in his career, to drop it and release something else instead, in this case, Tonight’s the Night, at the suggestion of Band bassist Rick Danko.[65] Young further explained his move by saying: “It was a little too personal … it scared me”.[65] Most of the songs from Homegrown were later incorporated into other Young albums while the original album was not released until 2020. Tonight’s the Night, when finally released in 1975, sold poorly, as had the previous albums of the “ditch” trilogy, and received mixed reviews at the time, but is now regarded as a landmark album. In Young’s own opinion, it was the closest he ever came to art.

Reunions, retrospectives and Rust Never Sleeps (1974–1979)

Young reunited with Crosby, Stills, and Nash after a four-year hiatus in the summer of 1974 for a concert tour which was recorded and released in 2014 as CSNY 1974. It was one of the first ever stadium tours, and the largest tour in which Young has participated to date.[67]

In 1975, Young reformed Crazy Horse with Frank Sampedro on guitar as his backup band for his eighth album, Zuma (November 10, 1975). Many of the songs dealt with the theme of failed relationships; “Cortez the Killer”, a retelling of the Spanish conquest of Mexico from the viewpoint of the Aztecs, may also be heard as an allegory of love lost. Zuma’s closing track, “Through My Sails”, was the only released fragment from aborted sessions with Crosby, Stills and Nash for another group album.

In 1976, Young reunited with Stephen Stills for the album Long May You Run (September 20, 1976), credited to The Stills-Young Band; the follow-up tour was ended midway through by Young, who sent Stills a telegram that read: “Funny how some things that start spontaneously end that way. Eat a peach, Neil.”

In 1976, Young performed with Bob Dylan, Joni Mitchell, and numerous other rock musicians in the high-profile all-star concert The Last Waltz, the final performance by The Band. The release of Martin Scorsese’s movie of the concert was delayed while Scorsese unwillingly re-edited it to obscure the lump of cocaine that was clearly visible hanging from Young’s nose during his performance of “Helpless”.[69] American Stars ‘n Bars (June 13, 1977) contained two songs originally recorded for the Homegrown album, “Homegrown” and “Star of Bethlehem”, as well as newer material, including the future concert staple “Like a Hurricane”. Performers on the record included Linda Ronstadt, Emmylou Harris and Young protégé Nicolette Larson along with Crazy Horse. In 1977, Young also released the compilation Decade, a personally selected set of songs spanning every aspect of his work, including a handful of previously unreleased songs. The record included less commercial album tracks alongside radio hits.

Comes a Time (October 2, 1978), Young’s first entirely new solo recording since the mid-1970s, also featured Larson and Crazy Horse. The album became Young’s most commercially accessible album in quite some time and marked a return to his folk roots, including a cover of Ian Tyson’s “Four Strong Winds”, a song Young a*sociated with his childhood in Canada. Another of the album’s songs, “Lotta Love”, was also recorded by Larson, with her version reaching number 8 on the Billboard Hot 100 in February 1979. In 1978, much of the filming was done for Young’s film Human Highway, which took its name from a song featured on Comes a Time. Over four years, Young would spend $3,000,000 of his own money on production (US$11,759,694 in 2019 dollars[70]). This also marked the beginning of his brief collaboration with the post-punk band Devo, whose members appeared in the film.[71]

Young set out in 1978 on the lengthy “Rust Never Sleeps” tour, in which he played a wealth of new material. Each concert was divided into a solo acoustic set and an electric set with Crazy Horse. The electric sets, featuring an abrasive style of playing, were influenced by the punk rock zeitgeist of the late 1970s and, provided a stark contrast from Young’s previous, folk-inspired album Comes a Time.[72] Two new songs, the acoustic “My My, Hey Hey (Out of the Blue)” and electric “Hey Hey, My My (Into the Black)” were the centerpiece of the new material. Young had collaborated with the art punk band Devo on a cacophonous version of Hey Hey, My My at the Different Fur studio in San Francisco and, would later introduce the song to Crazy Horse.[73] The lyrics, “It’s better to burn out than to fade away.” were widely quoted by his peers and by critics.[73] The album has also widely been considered a precursor of grunge music and many grunge artists have said they were inspired by Young’s distorted guitars on the B side to this album. Young also compared the rise of Johnny Rotten with that of the recently deceased “King” Elvis Presley, who himself had once been disparaged as a dangerous influence only to later become an icon. Rotten returned the favour by playing one of Young’s songs, “Revolution Blues” from On the Beach, on a London radio show, an early sign of Young’s eventual embrace by a number of punk-influenced alternative musicians.[74]

Young’s two accompanying albums Rust Never Sleeps (July 2, 1979; new material, culled from live recordings, but featuring studio overdubs) and Live Rust (November 19, 1979) (a mixture of old and new, and a genuine concert recording) captured the two sides of the concerts, with solo acoustic songs on side A, and fierce, uptempo, electric songs on side B. A movie version of the concerts, also called Rust Never Sleeps (1979), was directed by Young under the pseudonym “Bernard Shakey”. Young worked with rock artist Jim Evans to create the poster art for the film, using the Star Wars Jawas as a theme. Young’s work since Harvest (1972) had alternated between being rejected by mass audiences and being seen as backward-looking by critics, sometimes both at once, and now he was suddenly viewed as relevant by a new generation, who began to discover his earlier work. Readers and critics of Rolling Stone voted him Artist of the Year for 1979 (along with The Who), selected Rust Never Sleeps as Album of the Year, and voted him Male Vocalist of the Year as well.[75] The Village Voice named Rust Never Sleeps as the year’s winner in the Pazz & Jop Poll, a survey of nationwide critics, and honored Young as the Artist of the Decade. The Warner Music Vision release on VHS of Rust Never Sleeps in 1987 had a running time of 116 minutes, and although fully manufactured in Germany, was initially imported from there by the markets throughout Europe.

Experimental years (1980–1988)

At the start of the decade, distracted by medical concerns relating to the cerebral palsy of his son, Ben, Young had little time to spend on writing and recording.[76] After providing the incidental music to a 1980 biographical film of Hunter S. Thompson entitled Where the Buffalo Roam, Young released Hawks & Doves (November 3, 1980), a short record pieced together from sessions going back to 1974.[76]

1981’s Re·ac·tor, an electric album recorded with Crazy Horse, also included material from the 1970s.[77] Young did not tour in support of either album; in total, he played only one show, a set at the 1980 Bread and Roses Festival in Berkeley,[78] between the end of his 1978 tour with Crazy Horse and the start of his tour with the Trans Band in mid-1982.[citation needed]

The 1982 album Trans, which incorporated vocoders, synthesizers, and electronic beats, was Young’s first for the new label Geffen Records (distributed at the time by Warner Bros. Records, whose parent Warner Music Group owns most of Young’s solo and band catalogue) and represented a distinct stylistic departure. Young later revealed that an inspiration for the album was the theme of technology and communication with his son Ben, who has severe cerebral palsy and cannot speak.[80] An extensive tour preceded the release of the album, and was documented by the video Neil Young in Berlin, which saw release in 1986. MTV played the video for “Sample and Hold” in light rotation. The entire song contained “robot vocals” by Young and Nils Lofgren.[citation needed] The song “After Berlin” as seen in that video, was the only time Neil Young has ever performed the song.

Young’s next album, 1983’s Everybody’s Rockin’, included several rockabilly covers and clocked in at less than twenty-five minutes in length. Young was backed by the Shocking Pinks for the supporting US tour. Trans (1982) had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody’s Rockin’ following only seven months later, Geffen Records sued Young for making music “unrepresentative” of himself.[81] The album was also notable as the first for which Young made commercial music videos – Tim Pope directed the videos for “Wonderin’” and “Cry, Cry, Cry”. Also premiered in 1983, though little seen, was Human Highway. Co-directed and co-written by Young, the long-gestating eclectic comedy starred Young, Dean Stockwell, Russ Tamblyn, Dennis Hopper, David Blue, Sally Kirkland, Charlotte Stewart and members of Devo.[citation needed]

The first year without a Neil Young album since the start of Young’s musical career with Buffalo Springfield in 1966 was in 1984. Young’s lack of productivity was largely due to the ongoing legal battle with Geffen, although he was also frustrated that the label had rejected his 1982 country album Old Ways.[82] It was also the year when Young’s third child was born, a girl named Amber Jean. Later diagnosed with inherited epilepsy, Amber Jean was Neil and Pegi’s second child together.[citation needed]

Young spent most of 1984 and all of 1985 touring for Old Ways (August 12, 1985) with his country band, the International Harvesters. The album was finally released in an altered form midway through 1985. Young also appeared at that year’s Live Aid concert in Philadelphia, collaborating with Crosby, Stills and Nash for the quartet’s first performance for a paying audience in over ten years.[citation needed]

Young’s last two albums for Geffen were more conventional in the genre, although they incorporated production techniques like synthesizers and echoing drums that were previously uncommon in Young’s music. Young recorded 1986’s Landing on Water without Crazy Horse but reunited with the band for the subsequent year-long tour and final Geffen album, Life, which emerged in 1987. Young’s album sales dwindled steadily throughout the eighties; today Life remains his all-time-least successful studio album, with an estimated four hundred thousand sales worldwide.[83]

Switching back to his old label Reprise Records, Young continued to tour relentlessly, a*sembling a new blues band called The Bluenotes in mid-1987 (a legal dispute with musician Harold Melvin forced the eventual rechristening of the band as Ten Men Working midway through the tour). The addition of a brass section provided a new jazzier sound, and the title track of 1988’s This Note’s For You became Young’s first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. Young wrote an open letter, “What does the M in MTV stand for: music or money?” Despite this, the video was eventually named best video of the year by the network in 1989.[84] By comparison, the major music cable network of Young’s home nation, Muchmusic, ran the video immediately.[citation needed]

Young reunited with Crosby, Stills, and Nash to record the 1988 album American Dream and play two benefit concerts late in the year, but the group did not embark upon a full tour. The album was only the second-ever studio record for the quartet.

Return to prominence (1989–1999)

Young’s 1989 single “Rockin’ in the Free World”, which hit No. 2 on the US mainstream-rock charts, and accompanying the album, Freedom, rocketed him back into the popular consciousness after a decade of sometimes-difficult genre experiments. The album’s lyrics were often overtly political; “Rockin’ in the Free World” deals with homelessness, terrorism, and environmental degradation, implicitly criticizing the government policies of President George H.W. Bush.[85]

The use of heavy feedback and distortion on several Freedom tracks was reminiscent of the Rust Never Sleeps (1979) album and foreshadowed the imminent rise of grunge. The rising stars of the genre, including Nirvana’s Kurt Cobain and Pearl Jam’s Eddie Vedder, frequently cited Young as a major influence, contributing to his popular revival. A tribute album called The Bridge: A Tribute to Neil Young was released in 1989, featuring covers by alternative and grunge acts including Sonic Youth, Nick Cave, Soul Asylum, Dinosaur Jr, and the Pixies.

Young’s 1990 album Ragged Glory, recorded with Crazy Horse in a barn on his Northern California ranch, continued this distortion-heavy esthetic. Young toured for the album with Orange County, California country-punk band Social Distortion and alternative rock pioneers Sonic Youth as support, much to the consternation of many of his old fans.[86] Weld, a two-disc live album documenting the tour, was released in 1991.[86] Sonic Youth’s influence was most evident on Arc, a 35-minute collage of feedback and distortion spliced together at the suggestion of Sonic Youth’s Thurston Moore and originally packaged with some versions of Weld.[86]

1992’s Harvest Moon marked an abrupt return to the country and folk-rock stylings of Harvest (1972) and reunited him with some of the musicians from that album, including singers Linda Ronstadt and James Taylor. The title track was a minor hit, and the record was well received by critics, winning the Juno Award for Album of the Year in 1994. Young also contributed to Randy Bachman’s nostalgic 1992 tune “Prairie Town”, and garnered a 1993 Academy Award nomination for his song “Philadelphia”, from the soundtrack of the Jonathan Demme movie of the same name. An MTV Unplugged performance and album emerged in 1993. Later that year, Young collaborated with Booker T. and the M.G.s for a summer tour of Europe and North America, with Blues Traveler, Soundgarden, and Pearl Jam also on the bill. Some European shows ended with a rendition of “Rockin’ in the Free World” played with Pearl Jam, foreshadowing their eventual full-scale collaboration two years later.

In 1994 Young again collaborated with Crazy Horse for Sleeps with Angels, a record whose dark, somber mood was influenced by Kurt Cobain’s death earlier that year: the title track in particular dealt with Cobain’s life and death, without mentioning him by name. Cobain had quoted Young’s lyric “It’s better to burn out than fade away” (a line from “My My, Hey Hey”) in his suicide note. Young had reportedly made repeated attempts to contact Cobain prior to his death.[87] Young and Pearl Jam performed “Act of Love” at an abortion rights benefit along with Crazy Horse, and were present at a Rock and Roll Hall of Fame dinner, sparking interest in a collaboration between the two.[88] Still enamored with the grunge scene, Young reconnected with Pearl Jam in 1995 for the live-in-the-studio album Mirror Ball and a tour of Europe with the band and producer Brendan O’Brien backing Young. 1995 also marked Young’s induction into the Rock and Roll Hall of Fame, where he was inducted by Eddie Vedder.

Young has consistently demonstrated the unbridled passion of an artist who understands that self-renewal is the only way to avoid burning out. For this reason, he has remained one of the most significant artists of the rock and roll era.

— Rock and Roll Hall of Fame website.

This is tabbed for a 24 hole Echo Celeste tremolo

The numbers without spaces between them are ran together, the words
with no numbers above them are just spoken.

6 6 6 6 -5 5 5 5 -2
She said, I’ve seen you in here before
-4 -4 -4 -4 -3 4 4 4 4
I said, I’ve been here a time or two.
6 6 6 6 -5 5 5 5 5 -5
She said, hello, my name is Bobby Jo.
-4 -4 -4 5 -5 -5 6 6
Meet my twin sister Betty Lou.
5 6 6 6 -6 7 7 7-6 -6 -7
And we’re both feelin kinda wild tonight.
-5 -5 -5 6 -6 -6 -6 7 -55
You’re the on-ly cowboy in this place.
5 6 6 6 -5 5 -5 -3 -3
And if you’re up for a ro-de – o,
5 5 5 5 5 5 -4 -4 -4 -34
We’ll put a big Texas smile on your face.

And I said, Girls
6 6 6 6 -5 5 5 -2
I ain’t as good as I once was.
-4 -4 -3 -3 4 4 3 -3
I got a few years on me now.
6 6 -5 5 5 5 5 5 4
But there was a time back in my prime
5 5 5 5 -5 -5 6 6
When I could really lay it down.
5 6 -6 7 7 7-6 -6 -7
And if you need some love tonight,
-5 -5 6 -6 -6 7 -55
Then I might have just enough.
6 6 6 6 -5 5 5 -3
I ain’t as good as I once was,
-3 5 5 -4 -4 5 -5 -5 5 5
But I’m as good once as I ev-er was
6 6 6 6 -5 5 5 5 -2
I still hang out with my best friend Dave;
-4 -4 -4 -4 -3 4 4 4 4
I’ve known him since we were kids at school
6 6 6 6 -5 5 5
Last night he had a few shots,
-5 5 -3 5 4 -4 5 -5 -5 6 6
Got in a tight spot, hustlin a game of pool
6 6 6 -6 7 7 -6 -7
With a couple of red neck boys,
-5 -5 6 -6 -6 7 -55
One great big bad biker man
5 6 6 -5 5 -5 -5 -3 -3
I heard David yell across the room,
5 5 5 5 5 5 -4 -4 -34
Hey, buddy how bout a helpin hand?

And I said Dave,
6 6 6 6 -5 5 5 -2
I ain’t as good as I once was
-4 -4 -3 -3 4 4
My, how the years have flown.
6 6 -5 5 5 5 5 5 4
But there was a time back in my prime
5 5 5 5 -5 -5 6 6
When I could really hold my own.
5 6 -6 7 7 7-6 -6 -7
But if you wanna fight tonight,
-5 -5 -5 6 -6 -6 7 -55
Guess those boys don’t look all that tough.
6 6 6 6 -5 5 5 -3
I ain’t as good as I once was,
-3 5 5 -4 -4 5 -5 -5 5 5
But I’m as good once as I ev-er was
5 6 -6 7 -8 -8 -87-6
I used to be hell on wheels
-6 -6 -6 7 -7 -7 7 7-66
Back when I was a younger man
6 6 6 -5 -55 -5 -5
Now my body says, you can’t do this boy
5 5 5 5 5 5 5 -55
But my pride says, Oh, yes you can
6 6 6 6 -5 5 5 -2
I ain’t as good as I once was
-4 -3 4 4 4 3
That’s just the cold hard truth.
6 6 -5 5 5
I still throw a few back,
5 5 5 4 4
talk a little smack
5 5 5 -5 -5 6 6
when I’m feelin bullet proof.
5 6 -6 7 7 -6 -7
So, don’t double-dog dare me now,
-5 -5 6 -6 -6 7 -55
Cause I’d have to call your bluff
6 6 6 6 -5 5 5 -3
I ain’t as good as I once was,
-3 5 5 -4 -4 5 -5 -5 5 5
But I’m as good once as I ev-er was
6 6 6 6 -5 5 5 -3
May not be as good I once was,
5 5 5 5 -4 5 -5 -5 5 5
But I’m as good once as I ev-er was.

The numbers without spaces between them are ran together, the words
with no numbers above them are just spoken.

5 5 5 5 -4 4 4 4 -2”
She said, I’ve seen you in here before
-3 -3 -3 -3 -3” 3 3 3 3
I said, I’ve been here a time or two.
5 5 5 5 -4 4 4 4 4 -4
She said, hello, my name is Bobby Jo.
-3 -3 -3 4 -4 -4 5 5
Meet my twin sister Betty Lou.
4 5 5 5 -5 6 6 6-5 -5 -6
And we’re both feelin kinda wild tonight.
-4 -4 -4 5 -5 -5 -5 6 -44
You’re the on-ly cowboy in this place.
4 5 5 5 -4 4 -4 -3” -3”
And if you’re up for a ro-de – o,
4 4 4 4 4 4 -3 -3 -3 -3”-2
We’ll put a big Texas smile on your face.

And I said, Girls
5 5 5 5 -4 4 4 -2”
I ain’t as good as I once was.
-3 -3 -3” -3” 3 3 2 -3”
I got a few years on me now.
5 5 -4 4 4 4 4 4 3
But there was a time back in my prime
4 4 4 4 -4 -4 5 5
When I could really lay it down.
4 5 -5 6 6 6-5 -5 -6
And if you need some love tonight,
-4 -4 5 -5 -5 6 -44
Then I might have just enough.
5 5 5 5 -4 4 4 -3”
I ain’t as good as I once was,
-3” 4 4 -3 -3 4 -4 -4 4 4
But I’m as good once as I ev-er was
5 5 5 5 -4 4 4 4 -2”
I still hang out with my best friend Dave;
-3 -3 -3 -3 -3” 3 3 3 3
I’ve known him since we were kids at school
5 5 5 5 -4 4 4
Last night he had a few shots,
-4 4 -3” 4 3 -3 4 -4 -4 5 5
Got in a tight spot, hustlin a game of pool
5 5 5 -5 6 6 -5 -6
With a couple of red neck boys,
-4 -4 5 -5 -5 6 -44
One great big bad biker man
4 5 5 -4 4 -4 -4 -3” -3”
I heard David yell across the room,
4 4 4 4 4 4 -3 -3 -3”-2
Hey, buddy how bout a helpin hand?

And I said Dave,
5 5 5 5 -4 4 4 -2”
I ain’t as good as I once was
-3 -3 -3” -3” 3 3
My, how the years have flown.
5 5 -4 4 4 4 4 4 3
But there was a time back in my prime
4 4 4 4 -4 -4 5 5
When I could really hold my own.
4 5 -5 6 6 6-5 -5 -6
But if you wanna fight tonight,
-4 -4 -4 5 -5 -5 6 -44
Guess those boys don’t look all that tough.
5 5 5 5 -4 4 4 -3”
I ain’t as good as I once was,
-3” 4 4 -3 -3 4 -4 -4 4 4
But I’m as good once as I ev-er was
4 5 -5 6 -7 -7 -76-5
I used to be hell on wheels
-5 -5 -5 6 -6 -6 6 6-55
Back when I was a younger man
5 5 5 -4 -44 -4 -4
Now my body says, you can’t do this boy
4 4 4 4 4 4 4 -44
But my pride says, Oh, yes you can
5 5 5 5 -4 4 4 -2”
I ain’t as good as I once was
-3 -3” 3 3 3 2
That’s just the cold hard truth.
5 5 -4 4 4
I still throw a few back,
4 4 4 3 3
talk a little smack
4 4 4 -4 -4 5 5
when I’m feelin bullet proof.
4 5 -5 6 6 -5 -6
So, don’t double-dog dare me now,
-4 -4 5 -5 -5 6 -44
Cause I’d have to call your bluff
5 5 5 5 -4 4 4 -3”
I ain’t as good as I once was,
-3” 4 4 -3 -3 4 -4 -4 4 4
But I’m as good once as I ev-er was
5 5 5 5 -4 4 4 -3”
May not be as good I once was,
4 4 4 4 -3 4 -4 -4 4 4
But I’m as good once as I ev-er was.

By: Elliot Laurie
Looking Glass
Key: E

6 -6* 7* -6* 6 -6* 7* 6
There’s a port, on a west-ern bay
5* 6 -6* -4 5* 6 -6* 7* 6
and it serves a hun-dred ships a day,
6 -6* 7* 7* -6* 6 -6* 7* 6
Lone-ly sail-ors, pass the time a-way
6 -6* 7* 6 6 6
and talk a-bout their homes.
6 -6* 7* -6* 6 -6* 7* 6
There’s a girl, in this har-bor town
5* 6 -6* 5* 6 -6* 7* 6
and she works, lay-ing whis-key down,
6 -6* 7* 7* -6* 6 -6* 7* 7*
They say “Bran-dy, fetch an-oth-er round”,
6 -6* 7* 6 6 6 6
she serves them whis-key and wine

6 7* 7* -8 -8 8* -8 7* -8 8*
The sail-ors say Bran-dy you’re a fine girl,
-8 9* 10 9* -8 8* 8*
what a good wife you would be
-87* -8 7* -8 -8 8* -8 7* -6* 6
Your eyes could steal a sail-or, from the sea.

7* 7* -6* 6 -6* 7* 6
Bran-dy wears a braid-ed chain,
5* 6 -6* -6* -4 -4
made of fin-est sil-ver
5* 6 -6* 7* 6
from the north of Spain.
-6* 7* 7* -6*6 -6* 7* 6
A lock-et, that bears the name,
6 6 -6* 7* 6 6 6
Of the man that Bran-dy loves.
6-6* 7* -6* 6 -6* 7* 6
He came, on a sum-mer’s day,
5* 6 -6* 5* 6 -6* 7* 6
bring-ing gifts, from far a-way.
6 -6* 7* 7* 7* -6*6 -6* 7* 7*
But he made it clear he could-n’t stay,
6 -6* 7* 6 6 6 6
no har-bor was his home.

6 7* 7* -8 -8 8* -8 7* -8 8*
The sail-ors say Bran-dy you’re a fine girl,
-8 9* 10 9* -8 8* 8*
what a good wife you would be
-87* -8 7* -8 -8 8* -8 7* -6* 6
Your eyes could steal a sail-or, from the sea.

10 9* 9* -8 -8 -8 8*
Bran-dy used to watch his eyes
-8 7* -8 -8 -8 -8 -8 8*
when he told his sail-or’s sto-ry,
-8 9* 10 9* 9* -8 -8 8* 7*
she could feel the o-cean fall and rise,
7* -8 7* -8 -8 -8 8*
she saw it’s rag-ing glo-ry.
-8 8* 8* 8* 8* 8* -8 7*
But he had al-ways told the truth,
-6* 6 7* -8 7* 6 -6*6
Lord he was an hon-est man;
7* -8 -8 -8 8* -8 7* -6* -6* 6
Bran-dy does her best to un-der-stand.

6-6* 7* -6* 6 -6* 7* 6
At night when the bars close down,
5* 6 -6* 5* 6 -6* 7* 6
Bran-dy walks thru a si-lent town,
6-6* 7* 7* 7* -6*6 -6* 7* 7*
and loves a man, who’s not a-round,
6 -6* 7* 6 6 6 -8
she still can hear him say.

6 7* 7* -8 -8 8*
She hears him say Bran-dy
-8 7* -8 8*
you’re a fine girl,
-8 9* 10 9* -8 8* 8*
what a good wife you would be
-87* -8 7* -8 -8 8* -8 7* -6* 6
Your eyes could steal a sail-or, from the sea.

4 -4 5 -4 5 -4 5
I can see you ov-er there
5 -4 5 -4 5
Star-ing at your drink
5 -4 5 5 -44
Watch-in’ that ice sink
-3” 4 -4 5 -4
All a-lone to-night

4 5 -4 5 5 5 -4 5 5 -4 5
And chan-ces are your sit-tin’ here in this bar
3 5 -4 4 -3” -4 5 -4
Cause he ain’t gon-na treat you right
4 -4 5 -4 5 -4 5
Well it’s pro-‘bly not my place
5 -4 5 -4 5 -4 5 -4 5-44
But I’m gon-na say it an-y-way
3 -4 5 5-4-3” 4 5 -4 5 -4 5
Cause you look like.. you have-n’t felt the fire
5 -4 5 -4 5
Had a lit-tle fun
5 -4 5 -4 5-4 4 4 -4 5 -44
Had-n’t had a smile in a lit-tle while
4 3
Ba-by

3 77-7-7-66 6 -6 -4 -4 -4
Cause, Blue~~~~~ looks good on the sky
4 -6 -4 -4 -4 -4 -4 4 -4 4 -4
Looks good on that ne-on buz-zin’ on the wall
-4 -4 -4 -4 5 -44 4 43
But Darl-in’ it don’t match your eyes
5 6 -6 77-7-7-66
I’m tell-in’you~~~~~~~
6 -6 -4 -4 -4
You don’t need that guy
4 -6 -4 -4 -4
It’s so black and white
4 -6 -4 4 -4 5-4
He’s steal-in’ your thun-der
4 -4 45 -4 5 -4 4
Ba-by blue ain’t your col-or

2 4 4 4 5 -4 5 -4
I’m not try-na be a-noth-er
5 5 -4 5 5 -4 5
Just pick you up kind-a guy
5 -4 5 -4 5 -4 4 -4 5 -4
Try-na drink you up, Try-na take you home
-3” 4 -4 2 5 5 5 5
But I just, I don’t un-der-stand
5 -4 5 -4 5 -4 5 -4 5
How a-noth-er man can take your sun
-4 5-44 4-4 -45 -44
And turn it ice cold

4 -4 -6 6 6 -6 -4
Well I’ve had e-nough to drink
4 -3” 4 -4 5 5 5 6-5 5 5-4-3”
And it’s mak-in’ me think that I just might
4 -44 -2” 5 5 5 5 5 5 5 5 5 6
Tell you if I were a paint-er I would-n’t change ya
5-4 4 -4 5 -44 5 -3”
I’d just paint you bright. Ba-by

Cause, Blue looks good on the sky
Looks good on that ne-on buz-zin’ on the wall
But Darl-in’ it don’t match your eyes
I’m tell-in’you
You don’t need that guy
It’s so black and white
He’s steal-in’ your thun-der
Ba-by, blue ain’t your col-or, no, no, no
Mmm, It ain’t your col-or. Ba-by
Mmm, Ba-by

Blue looks good on the sky
Looks good on that ne-on buz-zin’ on the wall
But Darl-in’ it don’t match your eyes
I’m tell-in’you
You don’t need that guy
It’s so black and white
He’s steal-in’ your thun-der
Ba-by blue ain’t your col-or

Mmm, no, no Ba-by
Come here, Ba-by
Lem-me light up your world

(The Godfather Waltz)
W. Larry Kusik & Billy Meshel
M: Nino Rota
From: “The Godfather”
Key: Dm
Time: 3/4

-5 5* -5 -5* -5 -5 -3*
No-one can buy to-mor-row
-5 5* -5 -5* -5 -5 -3
No-one can sell their sor-row
-5 5* -6 -6 -5 5* 6 -5
But when you look in-to my eyes
-3* -3 -3* -5 5* -3
Dar-ling you’ll al-ways see
Chorus:
-3 -4 4* -5 6 -6
Love, I will give you love
-6 6 -5 5* -5 -5
Come, live your life with me
-5 5* -5 -5 5* -5
We’ll have our good times and
-5 5* -5 -5* -5 5 -3*
Ev-en in sad times with love
-3 3 -2* 3 -3
We will find a way
-5 5* -5 -5 5* -5 -5 5* -5 -6 6
Noth-ing else mat-ters but lov-ing each oth-er
-5 5 -4 -3 3* -3 -3
The way that we do to-day

Here in our world tomorrow
Love will go on forever
Warm in the shelter of my arms
Darling you’ll always be
Chorus follows

(Written by: Truman Capote / Harold Arlen)
Frank Sinatra

first tab I’ve ever done (only one month playing, so be forgiving:)

6 5 -5 6 7 6 5 6 7
Don’t like good-byes, tears or sighs.

6 5 -5 6 7 -8 7 6
I’m not too good at leavin’ time.

5 6 6 -6 7 -5 5 4 3 3 4
I got no taste for grievin’ time. No, no – not

5
me.

6 5 -5 6 7 6 5 -5 6 7
You’ve been my near ones, always my dear ones.

6 5 -5 6 7 -8 7 6
I never thought that I would find

6 7 -7 7 7 -6 6 5 4 4 4 5
Another love, a different kind, but it came to

6
be.

5 4 4 4 4 4 -4 4 5
Well, if you think I’m tellin’ you lies,

5 -5 -5 -5 -5 -5 5 -5 5 4
Go try your luck and look into her eyes.

5 -5 6 6 5 6 -6 7 7 -6 5
But remember, you must remember she’s mine,

4 -4 5 5 -4 5 5 5 -5 5 4
And my world over head has a clear new shine.

6 5 -5 6 7 6 5 -5 6 7
Don’t want to leave you, sorry to grieve you.

6 5 -5 6 6 7 -8 7 6
It’s travelin’ time and I must move on.

7 -7 6 6 -6 6 5
Found the girl to lean upon.

3 4 5 -5 5 6 6
And If I could arrange it,

4 5 5 6 6 7 7 -7 7
Oh would I care to change it? Not me!

5 -5 6 6 6
Did you ever lie

6 -6 6 5 4 5 6
and listen to the rainfall?

5 -5 6 6 6 6 -6 6 -6 6 -7
Did you ever own a homemade apple pie?

-7 7 -8-7 7 -6 7
Did you ever watch a child

6 -5 6 6 -5
while he was praying?

-4 5 -5 6 -6 -7 -6 6 5
Just don’t let the good life pass you by.

5 -5 6 6 6 6 -6 6 5 4 5 6
Did you ever hold a hand to stop its trembling?

5 -5 6 6 6 6 6 6 -6 6 -7
Did you ever watch the sun desert the sky?

-7 7 -8-7 7 -6 -7 6 -5 6 6 -5
Did you ever hold a woman while she’s sleeping?

-4 5 -5 6 -6 -7 -6 6 5
Friend, don’t let the good life pass you by.

-8 7 7 -6 -8 7 -6 -5 5 6
Man was made for loving not for buying.

-8 7 7 -6 -8 7 -6 -5 -4
Gold can’t give the things we really need.

-8 7 7 -6 -8 7 -6 -5 5 6
Look, my friend, there’s happiness in living,

-6 -6 -6 -6 -6 -6 -7 7 -7
Somewhere between broke and being free.

5 -5 6 6 6 6 7 6 5 4 5 6
Did you ever see the funny side of losing?

5 -6 6 6 6 -6 -6 -6 6 -7
Did you ever sit right down and have a cry?

-7 7 -8-7 7 -6 -7 6 -5 6 6 -5
Did you ever take the time to help your neighbors?

-4 5 5 5 -6 -7 -6 6 5
Just don’t let the good life pass you by.

-4 5 -5 6 -6 -7 -6 6 7
Friend, don’t let the good life pass you by

By: Kris Kristofferson
Key: F

-2 3 -3 -33 -3* -3 3 -2 -3
Don’t look so sad, I know it’s o-ver.
-2 3 -3 -3 3 3 -3* -3 3
But life goes on, and this old world
1 -2 3 -3* -3
will keep on turn-ing.
-2 3 -3 -3* -2 -3*
Let’s just be glad we had
-5 -5 4 -2 -2 3 -3* -3
some time to spend to-geth-er.
3 -3 -3* -3* -3*
There’s no need to watch
-3 -3 3 -1 -2 -2 2
the bridg-es that we’re burn-ing.

-2 3 -3 -3 -3 -3* -3 3
Lay your head up-on my pil-low.
3 -3 4 4 4 4 -5 4 4 -3* -3
Hold your warm and ten-der bod-y close to mine.
-3 -3* 4 4 4 4 -5 5
Hear the whis-per of the rain-drops,
5 -5 4 -3* -3* -3 4 -3*
Blow-in’ soft a-cross the win-dow,
1 -3* -3* -3* -3 -3* 3 -2 2 -22-12
And make be-lieve you love me one more time,
2 3 3 -2
For the good times.

I’ll get along-; you’ll find another,
And I’ll be here if you should find you ever need me.
Don’t say a word about tomorrow or forever,
There’ll be time enough for sadness when you leave me.

Lay your head upon my pillow.
Hold your warm and tender body close to mine.
Hear the whisper of the raindrops,
Blowin’ soft against the window,
And make believe you love me one more time,
For the good times.

Don’t Look So Sad, I Know It’s O-ver

5 -5 6 -5 -6 6 -5 5 6

But Life Goes On, And This Old Wor-ld Will Keep On Turn-ing

5 -5 6 -5 -5 6 -6 6 -5 3 5 -5 -6 6

Lets Just Be Glad We Had Some Time To Spend To-get-her

5 -5 6 -6 5 -6 -7 7 7 7 -5 -6 6

Theres No Need To Watch The Bridg-es That Were Burn-ing

-5 6 -6 -6 -6 6 6 -5 5 -5 5 -4

Lay Your Head Up-on My Pill-ow

5 -5 6 -5 6 -6 6 -5

Hold Your Warm And Tend-er Bod-y Close To Mine

-5 6 7 7 7 7 -7 7 7 -6 6

Hear The Whisp-er Of The Rain-drops

6 -6 7 7 7 7 -7 7

Blow-in Soft Ag-ainst The Win-dow

7 -7 7 -6 -6 6 7 -6

And Make Be-lieve You Love Me One More Time

3 -6 6 6 -5 -5 *-4 *-4 -5 -4

For The Good Times

-4 4 -5 5

4 -4 5 5 -4 -5 5 -4 4 5
Don’t look so sad-, I know it’s over.
4 -4 5 5 -4 -4 -5 5 -4 3 4 -4 -5 5
But life goes on, and this old world will keep on turning.
4 -4 5 -5 4 -5 -6 -6 6 4 4 -4 -5 5
Let’s just be glad we had some time to spend together.
-4 5 -5 -5 -5 5 5 -4 -3″ 4 4 -3
There’s no need to watch the bridges that we’re burning.

4 -4 5 5 5 -5 5 -4
Lay your head upon my pillow.
-4 5 6 6 6 6 -6 6 6 -5 5
Hold your warm and tender body close to mine.
5 -5 6 6 6 6 -6 6
Hear the whisper of the raindrops,
6 -6 6 -5 -5 5 6 -5
Blowin’ soft against the window,
3 -5 -5 -5 5 -5 -4 4 -3 4 -3 -3″-3
And make believe you love me one more time——,
-3 -4 -4 4
For the good times.

4 -4 5 5 -4 -5 5 -4 4 5
I’ll get along-; you’ll find another,
4 -4 5 5 -4 -4 -5 5 -4 3 4 -4 -5 5
And I’ll be here if you should find you ever need me.
4 -4 5 -5 4 -5 -6 -6 6 4 -4 -5 5
Don’t say a word about tommorrow or forever,
-4 5 -5 -5 -5 5 5 -4 -3″ 4 4 -3
There’ll be time enough for sadness when you leave me.

4 -4 5 5 5 -5 5 -4
Lay your head upon my pillow.
-4 5 6 6 6 6 -6 6 6 -5 5
Hold your warm and tender body close to mine.
5 -5 6 6 6 6 -6 6
Hear the whisper of the raindrops,
6 -6 6 -5 -5 5 6 -5
Blowin’ soft against the window,
3 -5 -5 -5 5 -5 -4 4 -3 4 -3 -3″-3
And make believe you love me one more time——,
-3 -4 -4 4
For the good times.

Fairly Slow Tempo

-6 7 7 -8
A dy-ing flame
5 -8 7 7
You’re free a-gain
8 8 -8
Who could love
-9 -9 8 -8 8
And do that to you
8 8 8 -8
All dressed in black
-8 -8 -8 -8 7 7
He won’t be coming back
8 8 -8
Save your tears
8 8 9 8 -10
You’ve got years and years
-10 -10 -10 -10 9 9
The pain of sev- en -teens
9 9 9 -10 9 8
Un-real they’re on – ly dreams
-10 -10 -10 9 8 9 8
Save your cry-ing—For the day

-10 -10 -10 -10 -10 -10 9
Fool if you think it’s ov – er
9 8 9 9 -10
‘Cause you said good-bye
-10 -10 -10 -10 -10 -10 9
Fool if you think it’s ov – er
8 8 9 8
I’ll tell you why
-10 -10 -10 -10 -10 -10 9 9
New born eyes al – ways cry with pain
9 9 9 9 9 8 9 9 8
At the first look at the morning sun
-10 -10 -10 -10 -10 -10 9
Fool if you think it’s ov – er
8 8 9 8
It’s just begun

-6 7 7 -8
Miss teen – age dream
-8 -8 -8 7 7
Such a trag-ic scene
-6 8 8 -8
He knocked your crown
-9 8 -8 8
And ran a – way
8 8 8 -8
First wound of pride
-8 -8 -8 -8 7 7
But how you cried and cried
8 8 -8
Save your tears
8 8 9 8 -10
You’ve got years and years
-10 -10 -10 -10 9 9
I’ll buy your first good wine
9 9 9 -10 9 8
We’ll have a real good time
-10 -10 -10 9 8 9 8
Save your crying—For the day

-10 -10 -10 -10 -10 -10 9
Fool if you think it’s ov – er
9 8 9 9 -10
‘Cause you said good-bye
-10 -10 -10 -10 -10 -10 9
Fool if you think it’s ov – er
8 8 9 8
I’ll tell you why
-10 -10 -10 -10 -10 -10 9 9
New born eyes al – ways cry with pain
9 9 9 9 9 8 9 9 8
At the first look at the morning sun
-10 -10 -10 -10 -10 -10 9
Fool if you think it’s ov – er
8 8 9 8
It’s just begun

Repeat chorus and fade

6 6 6 8 8 8 8 -8 7 7
It was an ear-ly morn-ing yes-ter-day

-6 -6 8 -6 7 7 7
I was up be-fore the dawn

6 6 8 8 8 8 -8 7 7
& I real-ly have en-joyed my stay

6 6 8 6 7 7 7
But I must be mov-in on

6 6 8 -8 -8 7 7 -6
Like a king with-out a cas-tle

6 6 8 -8 -8 7 7
Like a Queen with-out a throne

6 6 8 -8 -8 7 7 -6
I,m an ear-ly morn-in lov-er

6 6 8 -8 -8 7 7
And I must be mov-in’ on

7 -10 9 9 8 -8
And I’ll go on shin-ing

-10 9 -10 9 -8
Shin-in like brand new

-8 8 -8 8 -8 7 -5
I’ll nev-er look be-hind me

-5 -8 -8 -8 7 7
My trou-bles will be few

-7 7 -8 7 -7 -7 -8
Good-bye stran-ger its been nice

-7 7 -8 7 -8 -8 -9
Hope you’ll find your par-a-dise

-7 7 -8 7 -8 -8 -9
Tried to see your point of view

-7 7 -8 7 -8 -8 -9
Hope your dreams will all come true

-7 7 -8 7 -7 -7 -8
Good-bye mar-y good-bye jane

-7 7 -8 7 -8 -8 -9
Will we ev-er meet a-gain

-7 7 -8 7 -7 -7 -8
Feel no sor-row feel no shame

-7 7 -8 7 -8 -8 -9
Come to-mor-row feel no pain

-7 7 -8 7 -7 -7 -8
Good-bye mar-y good-bye jane

-7 7 -8 7 -8 -8 -9
Will we ev-er meet a gain

-7 7 -8 7 -7 -7 -8
Feel no sor-row feel no shame

-7 7 -8 7 -8 -8 -9
Come to-mor-row feel no pain

8 8 8 8 -8 7 7
I be-lieve in what you say

-6 -6 8 -6 7 7 7
Is the un-dis-pu-ted truth

6 6 8 8 8 8 -8 7 7
But I have to have things my own way

6 6 8 6 7 7 7
Just to keep me in my youth

6 6 8 -8 -8 7 7 -6
Like a ship without an anchor

6 6 8 -8 -8 7 7
Like a slave with-out a chain

6 6 8 -8 -8 7 7 -6
Just the thought of those sweet lad-ies

6 6 8 -8 -8 7 7
Sends a shiv-er through my veins

7 -10 9 9 8 -8
And I’ll go on shin-ing

-10 9 -10 9 -8
Shin-in like brand new

-8 8 -8 8 -8 7 -5
I’ll nev-er look be-hind me

-5 -8 -8 -8 7 7
My trou-bles will be few

-7 7 -8 7 -7 -7 -8
Good-bye stranger its been nice

-7 7 -8 7 -8 -8 -9
Hope you’ll find your par-a-dise

-7 7 -8 7 -8 -8 -9
Tried to see your point of view

-7 7 -8 7 -8 -8 -9
Hope your dreams will all come true

-7 7 -8 7 -7 -7 -8
Good-bye mar-y good-bye jane

-7 7 -8 7 -8 -8 -9
Will we ev-er meet a gain

-7 7 -8 7 -7 -7 -8
Feel no sor-row feel no shame

-7 7 -8 7 -8 -8 -9
Come to-mor-row feel no pain

-7 7 -8 7 -7 -7 -8
Good-bye mar-y good-bye jane

-7 7 -8 7 -8 -8 -9
Will we ev-er meet a gain

-7 7 -8 7 -7 -7 -8
Feel no sor-row feel no shame

-7 7 -8 7 -8 -8 -9
Come to-mor-row feel no pain

6 6 8 8 8 8 -8 7
And some they will and some they wont

6 6 8 6 7 7
With some its just as well

6 6 8 -8 -8 7 7 -6
You can laugh at my be-hav-iour

6 6 8 -8 -8 7 7
That’ll nev-er both-er me

6 6 8 -8 -8 7 7 -6
Say the dev-il is my sav-iour

6 8 -8 -8 7 7
But I wont pay no heed

7 -10 9 9 8 -8
And I’ll go on shin-ing

-10 9 -10 9 -8
Shin-in like brand new

-8 8 -8 8 -8 7 -5
I’ll nev-er look be-hind me

-5 -8 -8 -8 7 7
My trou-bles will be few

-7 7 -8 7 -7 -7 -8
Good-bye stran-ger its been nice

-7 7 -8 7 -8 -8 -9
Hope you’ll find your par-a-dise

-7 7 -8 7 -8 -8 -9
Tried to see your point of view

-7 7 -8 7 -8 -8 -9
Hope your dreams will all come true

-7 7 -8 7 -7 -7 -8
Good-bye mar-y good-bye jane

-7 7 -8 7 -8 -8 -9
Will we ev-er meet a-gain

-7 7 -8 7 -7 -7 -8
Feel no sor-row feel no shame

-7 7 -8 7 -8 -8 -9
Come to-mor-row feel no pain

-7 7 -8 7 -7 -7 -8
Good-bye mar-y good-bye jane

-7 7 -8 7 -8 -8 -9
Will we ev-er meet a-gain

-7 7 -8 7 -7 -7 -8
Feel no sor-row feel no shame

-7 7 -8 7 -8 -8 -9
Come to-mor-row feel no pain

This is the second set of lyrics
that occur over the 1st and 3rd Stanza’s

-4 5 5 -4 4 -4 5 -4 5
And sweet de-vo-tion its not for me

5 5 5 -4 4 4 -4 4 -4
Just give me mo-tion and set me free

5 5 5 5 5 -4 4 -6 6 6
And the land and the o-cean far a-way

5 5 5 5 -4 4 5 5 -4
Is the life I’ve Cho-sen ev-‘ry day

-2 5 5 -4 4 6 6 6
So Good-bye mar-y good-bye jane

5 5 -4 4 5 5 5
Will we ev-er meet a-gain

-4 5 5 -4 4 5 -4 5
And now im leav-in got to go

5 5 -4 3 4 -5 4 -5 -5
Hit the road I’ll say it once a-gain

5 5 5 -4 4 5 -4 5 -6 6 6
Oh Yes I’m leav-in got to go go to go

5 5 -4 -4 4 -2 -2
Im sor-ry I must tell you

5 5 -4 4 6 6 6
Good-bye mar-y good-bye Jane

5 5 -4 4 5 5 5
Will we ever meet a-gain

Choice of octaves.

4 4 4 -3 -3” -3 3
7 7 7 -7 -6 -7 6
I met her in a pool-room

4 4 4 -3 -3” 3
7 7 7 -7 -6 6
Her name I did-n’t catch

4 4 4 -3 -3” -3 3
7 7 7 -7 -6 -7 6
She looks like some-thing spe-cial

4 4 4 -3 -3” 3
7 7 7 -7 -6 6
The kind who’d un-der-stand

5 5 5 -4 4 -4 -3
8 8 8 -8 7 -8 -7
The room was al-most spin-ning

4 4 4 -3 -3” 3
7 7 7 -7 -6 6
She pulled a-no-ther smile

5 5 5 -4 4 -4 -3
8 8 8 -8 7 -8 -7
She had the grace like plea-sure

4 4 4 -3 -3” 3
7 7 7 -7 -6 6
She had a cer-tain style

-5 -5 5 4 -4 5 4
-9 -9 8 7 -8 8 7
Sun-light on the li-no

-5 -5 5 4 -4 5 -5 5 -4
-9 -9 8 7 -8 8 -9 8 -8
Woke me with a shake

4 4 4 4 4 -4 -4
7 7 7 7 7 -8 -8
I looked a-round to find her

5 -4 4
8 -8 7
But she’d gone

5 -4 -4 4
8 -8 -8 7
Good-bye girl

5 -4 -4 4
8 -8 -8 7
Good-bye girl

5 -4 4 3
8 -8 7 6
Good-bye girl

She took me to a motel
The room on the second floor
A kettle and two coffees
The number on the door
She said I hardly know you
Agreed we kissed goodnight
I knew that in the morning
Somehow I’d wake to find

Sunlight on the lino
Waken me with a shake
I looked around to find her
But she’d gone
Goodbye girl
Goodbye girl
Goodbye girl

I lost my silver razor
My clubroom locker keys
The money in the waistcoat
It doesn’t bother me
My wife has moved to Jersey
So mum is not the word
If you ever see her
Say hello Goodbye Girl

Sunlight on the lino
Woke me with a shake
I looked around to find her
But she’d gone
Goodbye girl
Goodbye girl
Goodbye girl
Goodbye girl
Goodbye girl
Goodbye girl
Goodbye girl

QR code

By: Robert Lloyd
Key: G
Time: 2/4

3 5 -4 4 -4 5 5 5
6 8 -8 7 -8 8 8 8
Good morn-ing, Mis-ter Zip Zip Zip

4 -4 5 -4 4 -3” 4 -4 4
7 -8 8 -8 7 -6 7 -8 7
with your hair cut just as short as mine

3 5 -4 4 -4 5 5 5
6 8 -8 7 -8 8 8 8
Good morn-ing, Mis-ter Zip Zip Zip,

4 5 -4 -4 5 -4
7 8 -8 -8 8 -8
you’re sure-ly look-in’ fine.

5 5 5 5 -4 4 -4 -4 -4
8 8 8 8 -8 7 -8 -8 -8
Ash-es to ash-es and dust to dust

-4 -4 4 4 4 4 -3 -3” 4 -3 -3 -3
-8 -8 7 7 7 7 -7 -6 7 -7 -7 -7
If the Cam-els don’t get you the Fa-ti-mas must

3 5 -4 4 -4 5 5 5
6 8 -8 7 -8 8 8 8
Good morn-ing, Mis-ter Zip Zip Zip

4 -4 5 -4 4 -3” 4 -4
7 -8 8 -8 7 -6 7 -8
your hair cut just as short as,

-4 5 -4 4 -3” 4 -4
-8 8 -8 7 -6 7 -8
your hair cut just as short as,

-4 5 -4 4 -3” 4 -4 4
-8 8 -8 7 -6 7 -8 7
your hair cut just as short as mine.

By: Robert Lloyd
Key: G
Time: 2/4

-1 -4 -3 3 -3 -4 -4 -4
Good morn-ing, Mis-ter Zip Zip Zip
3 -3 -4 -3 3 2 3 -3 3
with your hair cut just as short as mine
-1 -4 -3 3 -3 -4 -4 -4
Good morn-ing, Mis-ter Zip Zip Zip,
3 -4 -3 -3 -4 -3
you’re sure-ly look-in’ fine.
-4 -4 -4 -4 -3 3 -3 -3 -3
Ash-es to ash-es and dust to dust
-3 -3 3 3 3 3 -2* 2 3 -2* -2* -2*
If the Cam-els don’t get you the Fa-ti-mas must
-1 -4 -3 3 -3 -4 -4 -4
Good morn-ing, Mis-ter Zip Zip Zip
3 -3 -4 -3 3 2 3 -3
your hair cut just as short as,
-3 -4 -3 3 2 3 -3
your hair cut just as short as,
-3 -4 -3 3 2 3 -3 3
your hair cut just as short as mine.

7 7 7 -8 7 7 6
Good King Wenceslas looked out

-6 6 -6 -7 7 7
On the feast of Stephen

7 7 7 -8 7 7 6
When the snow lay round about

-6 6 -6 -7 7 7
Deep and crisp and even

9 -9 8 -8 8 -8 7
Brightly shone the moon that night

-6 6 -6 -7 7 7
Though the frost was cruel

6 6 -6 -7 7 7 -8
When a poor man came in sight

9 -9 8 -8 7 -9 7
Gath’ring winter fu–uueel

Other lyrics:

“Hither, page, and stand by me
If thou know’st it, telling
Yonder peasant, who is he?
Where and what his dwelling?”
“Sire, he lives a good league hence
Underneath the mountain
Right against the forest fence
By Saint Agnes’ fountain.”

“Bring me flesh and bring me wine
Bring me pine logs hither
Thou and I will see him dine
When we bear him thither.”
Page and monarch forth they went
Forth they went together
Through the rude wind’s wild lament
And the bitter weather

“Sire, the night is darker now
And the wind blows stronger
Fails my heart, I know not how,
I can go no longer.”
“Mark my footsteps, my good page
Tread thou in them boldly
Thou shalt find the winter’s rage
Freeze thy blood less coldly.”

In his master’s steps he trod
Where the snow lay dinted
Heat was in the very sod
Which the Saint had printed
Therefore, Christian men, be sure
Wealth or rank possessing
Ye who now will bless the poor
Shall yourselves find blessing

The words to the carol “Good King Wenceslas” were written by John
Mason Neale and published in 1853, the music originates in Finland 300
years earlier. This Christmas carol is unusual as there is no
reference in the lyrics to the nativity. Good King Wenceslas was the
king of Bohemia in the 10th century. Good King Wenceslas was a
Catholic and was martyred following his a*sassination by his brother
Boleslaw and his supporters, his Saint’s Day is September 28th, and he
is the Patron Saint of the Czech Republic. St. Stephen’s feast day was
celebrated on 26th December which is why this song is sung as a
Christmas carol.

Key of G Range: D4 to D5
Yet another rendition of this wonderful song:

(the final verse has better clarity)

3 3 3 -3 3 3 -1
Good King Win-ces-las looked out,
2 -1 2 -2* 3 3
on the Feast of Stephen,
3 3 3 -3 3 3 -1
When the snow lay round a-bout,
2 -1 2 -2* 3 3
deep and crisp and ev-en;
-5 4 -4 -3 -4 -3 3
Brightly shone the moon that night,
2 -1 2 -2* 3 3
tho’ the frost was cru-el,
-1 -1 2 -2* 3 3 -3
When a poor man came in sight,
-5 4 -4 -3 3 4 3
Gath-‘ring win-ter fu – el.

3 3 3 -3 3 3 -1
“Hith-er, page, and stand by me,
2 -1 2 -2* 3 3
if thou know’st it, telling,
3 3 3 -3 3 3 -1
Yonder peasant, who is he?
2 -1 2 -2* 3 3
Where and what his dwelling?”
-5 4 -4 -3 -4 -3 3
“Sire, he lives a good league hence,
2 -1 2 -2* 3 3
Un-der-neath the mountain;
-1 -1 2 -2* 3 3 -3
Right a-gainst the forest fence,
-5 4 -4 -3 3 4 3
by Saint Ag-nes’ fountain.”

3 3 3 -3 3 3 -1
“Bring me flesh, and bring me wine,
2 -1 2 -2* 3 3
bring me pine logs hither:
3 3 3 -3 3 3 -1
Thou and I will see him dine,
2 -1 2 -2* 3 3
when we bear them thither.”

-5 4 -4 -3 -4 -3 3
Page and monarch, forth they went,
2 -1 2 -2* 3 3
forth they went to-geth-er;
-1 -1 2 -2* 3 3 -3
Through the rude wind’s wild la-ment
-5 4 -4 -3 3 4 3
and the bit-ter we-a-ther.

3 3 3 -3 3 3 -1
“Sire, the night is darker now,
2 -1 2 -2* 3 3
and the wind blows stronger;
3 3 3 -3 3 3 -1
Fails my heart, I know not how;
2 -1 2 -2* 3 3
I can go no longer.”
-5 4 -4 -3 -4 -3 3
“Mark my footsteps, good my page.
2 -1 2 -2* 3 3
Tread thou in them boldly
-1 -1 2 -2* 3 3 -3
Thou shalt find the winter’s rage
-5 4 -4 -3 3 4 3
freeze thy blood less cold-ly.”

3 3 3 -3 3 3 -1
In his master’s steps he trod,
2 -1 2 -2* 3 3
where the snow lay dinted;
3 3 3 -3 3 3 -1
Heat was in the ve-ry sod
2 -1 2 -2* 3 3
which the saint had printed.
-5 4 -4 -3 -4 -3 3
Therefore, Christian men, be sure,
2 -1 2 -2* 3 3
wealth or rank pos-ses-sing,
-1 -1 2 -2* 3 3 -3
Ye who now will bless the poor,
-5 4 -4 -3 3 4 3
shall yourselves find bless-ing.

By: John Mellencamp & George Green
John Cougar Mellencamp
Key: A

6 5* 6 5* 6 -6*
When I was a young boy,
-6* -6*-6*-6* -6* -6* 6 5*
Said put a-way those young boy ways
6 5* 6 6 6 6 5* 6 6 5* -4
Now that I’m get-tin’ old-er, so much old-er
-7 -7 6 6 -6* 6 5*
I love all those young boy days.
6 5* 6 6 -6*
With a girl like you,
-7 6 6 6 -6*6
With a girl like you,
-6* -6* -6* -6* -6* -6* 6 -6* -6*-6*
Lord knows there are things we can do, ba-by,
6 7 7 6
Just me and you.
6 6 5* 6 6
Come on and make it

5* 6 5*-4
Hurt so good.
-7 -7 -7 6 6 6 6 6 -6*
Come on ba-by, make it hurt so good.
-6* 6 -6* 5* -5 5* -4 -3
Some-times love don’t feel like it should.
-3 -4 -3 4* -4 -3
You make it hurt so good.

5* 6 5* 6 6 -6*-6* -6*
Don’t have to be so ex-cit-ing.
-6* -6* -6* -6* -6* -6*
Just try’n’ to give my-self
-6*-6* -6* 6 6 5* 5*
a lit-tle bit of fun, yeah.
5* 6 6 6 65* 6 5* -4
You al-ways look so in-vit-in’
-7 -7 -7 6 6 -6* 6 5*
You ain’t as green as you are young
5* 6 6 -6* -6*
Hey ba-by, it’s you.
-7 6 6 6 -6* 6
Come on, girl, now, it’s you.
-6* -6* -6* -6* -6* -6*6 -6* -6*-6*
Sink your teeth right through my bones, ba-by.
6 6 6 7 7 6
Let’s see what we can do.
6 6 5* 6 6
Come on and make it

5* 6 5*-4
Hurt so good.
-7 -7 -7 6 6 6 6 6 -6*
Come on ba-by, make it hurt so good.
-6* 6 -6* 5* -5 5* -4 -3
Some-times love don’t feel like it should.
-3 -4 -3 4* -4 -3
You make it hurt so good.

-6* 6 -6* 6 -5 6 -6*
I ain’t talk-in’ no big deals
-6* -6* -6* 6 -6* 6 5*
I ain’t made no plans my-self.
-6* -6* -6* 6 -5 6 -6*
I ain’t talk-in’ no high heels
5* 5* 5* 5* -4 5* -5 -4 5* -5
May-be we could walk a-round all day long,
-4 5* -5 -4 5* -5
walk a-round all day long.

5* 6 5*-4
Hurt so good.
-7 -7 -7 6 6 6 6 6 -6*
Come on ba-by, make it hurt so good.
-6* 6 -6* 5* -5 5* -4 -3
Some-times love don’t feel like it should.
-3 -4 -3 4* -4 -3
You make it hurt so good.
5* 6 5*-4
Hurt so good.
-7 -7 -7 6 6 6 6 6 -6*
Come on ba-by, make it hurt so good.
-6* 6 -6* 5* -5 5* -4 -3
Some-times love don’t feel like it should.
-3 -4 -3 4* -4 -3
You make it hurt so good.

7 -8 -7 7 -8 -7 -6 -6-6 8
I like New York in June. How about you?

7 -8 -7 7 -8 -7 -6 -6-6 -9
I like a Gershwin tune. How about you?

8 -8 7 -8 7 -8 8 7 7 7
I love a fireside when a storm is due.

-7 -7 -7 -7 -7 -7 -7 -7 -7-7 -7
I like potato chips, moonlight and motor trips.

9 8 8 8
How about you?

7 -8 -7 7 -8 -7 -6 -6 -6 8
I’m mad about good books, can’t get my fill.

9 -10 -9 9 -10 -9 8 8 8 -10
And Willie Clinton’s looks, give me a thrill.

8 -9 9 7 7 7 7 7
Holding hands in the movie show

9 7 7 7 7
When the lights are low

8 -8 7 9
May not be new.

6 -6 -8 8 -10 -7-7 7
But I like it! How about you

Tab notations:
none = blow – = draw * = button in

Bright Hoedown feel
8 8 6* -5 -5 -5
Nah nah honey, I’m good
-4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6*
I could have a-noth-er but I prob-‘ly should not
8 8 8 6* -5 -5 -5
I got some-bod-y at home
-5 -5 -5
(Home, home, home.)

-5 -5 -5 6* 8 -8* -5 -5 -6 6* 6*
It’s been a long night here, and a long night there
-5 -5 6* 8 -8* -5 -5 -5 -6 -5 -5
And these long long legs are damn near ev’rywhere
6* -6 -5
(hold up now)
6* 8 -8* -5 -6 6* 6*
You look good, I will not lie
-5 6* 8 -8* -5 -5 -6 6* 6*
But if you ask where I’m stayin’ to-night
-5 -5 -5 -5 -5 -5 4 4 -5 4 4 -5 -5 -5 4 -5 4 4
I gotta be like oh, baby, no, baby, you got me all wrong, baby
-5 4 4 -5 4 4 4 -6 -6 6* 6*
My baby’s al-ready got all of my love

-5 8 8 6* -5 -5 -5
So nah nah honey, I’m good
-4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6*
I could have a-noth-er but I prob-‘ly should not
8 8 8 6* -5 -5 -5
I got some-bod-y at home,
-5 -4* -5 -5 -4* -5 -5 -7 6* 6*
And if I stay I might not leave a-lone
8 6* -5 -5 -5
No, honey, I’m good
-4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6*
I could have a-noth-er but I prob-‘ly should not
8 8 +8 6* -5 -5 -5
I gotta bid you a-dieu
4 -5 -5 4 -5 4 -7 6*
To a-noth-er I will stay true

-9 -9 8 10* 10 -9 8 -9 8
ooh ooh ooh ooh ooooooh
-5 4 6* -5
I will stay true
-9 -9 8 10* 10* -9 8 -9 8
ooh ooh ooh ooh ooooooh
-5 4 6* -5
I will stay true
-9 -9 8 10* 10* -9 8 -9 8
ooh ooh ooh ooh ooooooh
-9 -9 8 10* 10*
ooh ooh ooh ooh oh

[Verse 2:]
-5 6* 8 -8* -5 -6 6* 6*
Now better men, than me have failed
-5 6* 8 -5 -5 -6 6* 6*
Drinking from that un-hol-y grail
-5 -5 -5 -5
(Now check it out)
6* 8 -8* -5 -6 6* 6*
I got her, and she got me
-5 -5 6* 8 -8* -5 -6 -5 -5
And you’ve got that a*s, but I kindly
-5 -5 -5 -5 -5 4 4 -5 4 4 -5 -5 -5 4 -5 4 4
Gotta be like oh, baby, no, baby, you got me all wrong, baby
-5 4 4 -5 4 4 4 -6 -6 6* 6*
My baby’s al-ready got all of my love

[Chorus:]
-5 8 8 6* -5 -5 -5
So nah nah honey, I’m good
-4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6*< I could have a-noth-er but I prob-‘ly should not 8 8 8 6* -5 -5 -5 I got some-bod-y at home, -5 -4* -5 -5 -4* -5 -5 -7 6* 6* And if I stay I might not leave a-lone 8 6* -5 -5 -5 No, honey, I’m good -4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6* I could have a-noth-er but I prob-‘ly should not 8 8 8 6* -5 -5 -5 I gotta bid you a-dieu 4 5 -5 4 -5 4 -7 6* To a-noth-er I will stay true -9 -9 8 10* 10* -9 8 -9 8 ooh ooh ooh ooh ooooooh -5 4 6* -5 I will stay true -9 -9 8 10* 10* -9 8 -9 8 ooh ooh ooh ooh ooooooh -5 4 6* -5 I will stay true -9 -9 8 10* 10* -9 8 -9 8 ooh ooh ooh ooh ooooooh -9 -9 8 10* 10* ooh ooh ooh ooh oh [Bridge:] 8 8 -8* -9 -8* -9 8 10* -10 -9 -8* 8 -7 6* Oh, I’m sure ya, sure ya will make some-bod-y’s ni-i-ight6* 8 8 8 -8* -9 8 -8* -9 8 10* -10 -9 -8* 8 -7 6* But, oh, I as-sure ya, as-sure ya, it sure as hell's not mi-i-ine 8 8 6* -5 -5 -5 Oh, no, honey, I’m good -4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6* I could have a-noth-er but I prob-‘ly should not 8 8 8 6* -5 -5 -5 I got some-bod-y at home -5 -4* -5 -5 -4* -5 -5 -9 -9 -9 And if I stay I might not leave a-lone 8 6* -5 -5 -5 No, honey, I’m good -4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6* I could have a-noth-er but I prob-‘ly should not 8 8 8 6* -5 -5 -5 I gotta bid you a-dieu 4 -5 -5 4 -5 4 -7 To a-noth-er I will stay [Chorus:] 8 8 6* -5 -5 -5 No, no, honey, I’m good -4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6* I could have a-noth-er but I prob-‘ly should not8 8 8 6* -5 -5 -5 I got some-bod-y at home -5 -4* -5 -5 -4* -5 -5 -7 6* 6* And if I stay I might not leave a-lone 8 6* -5 -5 -5 No, honey, I’m good -4* -5 -5 -5 -5 -5 -4* 4 -5 -5 6* 6* I could have a-noth-er but I prob-‘ly should not 8 8 8 6* -5 -5 -5 I gotta bid you a-dieu 4 -5 -5 4 -5 4 -7 6* To a-noth-er I will stay true [4x] -5 4 6* -5 I will stay true [4x] -5 -5 -5 -5 6* 8 6* -8* 8 6* 6* -7 6* (Sing it now) Oh, wo-o-o-o-o-o-o-o-oah, -5 4 -5 4 I will stay true

Tab notations:
none = blow – = draw * = button in

Bright Hoedown feel
6 6 4* -3 -3 -3
Nah nah honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I got some-bod-y at home
-3 -3 -3
(Home, home, home.)

-3 -3 -3 4* 6 -6* -3 -3 -4 4* 4*
It’s been a long night here, and a long night there
-3 -3 4* 6 -6* -3 -3 -3 -4 -3 -3
And these long long legs are damn near ev’rywhere
4* -4 -3
(hold up now)
4* 6 -6* -3 -4 4* 4*
You look good, I will not lie
-3 4* 6 -6* -3 -3 -4 4* 4*
But if you ask where I’m staying to-night
-3 -3 -3 -3 -3 -3 2 2 -3 2 2 -3 -3 -3 2 -3 2 2
I gotta be like oh, baby, no, baby, you got me all wrong, baby
-3 2 2 -3 2 2 2 -4 -4 4* 4*
My baby’s al-ready got all of my love

-3 6 6 4* -3 -3 -3
So nah nah honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I got somebody at home,
-3 -2* -3 -3 -2* -3 -3 -5 4* 4*
And if I stay I might not leave a-lone
6 4* -3 -3 -3
No, honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not

6 6 6 4* -3 -3 -3
I gotta bid you a-dieu
2 -3 -3 2 -3 2 -5 4*
To a-noth-er I will stay true

-7 -7 6 8* 8* -7 6 -7 6
ooh ooh ooh ooh ooooooh
-3 2 4* -3
I will stay true
-7 -7 6 8* 8* -7 6 -7 6
ooh ooh ooh ooh ooooooh
-3 2 4* -3
I will stay true
-7 -7 6 8* 8* -7 6 -7 6
ooh ooh ooh ooh ooooooh
-7 -7 6 8* 8*
ooh ooh ooh ooh oh

[Verse 2:]
-3 4* 6 -6* -3 -4 4* 4*
Now better men, than me have failed
-3 4* 6 -3 -3 -4 4* 4*
Drinking from that un-hol-y grail
-3 -3 -3 -3
(Now check it out)
4* 6 -6* -3 -4 4* 4*
I got her, and she got me
-3 -3 4* 6 -6* -3 -4 -3 -3
And you’ve got that a*s, but I kindly
-3 -3 -3 -3 -3 2 2 -3 2 2 -3 -3 -3 2 -3 2 2
Gotta be like oh, baby, no, baby, you got me all wrong, baby
-3 2 2 -3 2 2 2 -4 -4 4* 4*
My baby’s al-ready got all of my love

[Chorus:]
-3 6 6 4* -3 -3 -3
So nah nah honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I got some-bod-y at home,
-3 -2* -3 -3 -2* -3 -3 -5 4* 4*
And if I stay I might not leave a-lone
6 4* -3 -3 -3
No, honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I gotta bid you a-dieu
2 -3 -3 2 -3 2 -5 4*
To a-nother I will stay true

-7 -7 6 8* 8* -7 6 -7 6
ooh ooh ooh ooh ooooooh
-3 2 4* -3
I will stay true
-7 -7 6 8* 8* -7 6 -7 6
ooh ooh ooh ooh ooooooh
-3 2 4* -3
I will stay true
-7 -7 6 8* 8* -7 6 -7 6
ooh ooh ooh ooh ooooooh
-7 -7 6 8* 8*
ooh ooh ooh ooh oh

[Bridge:]
6 6 -6* -7 -6* -7 6 8* -8 -7 -6* 6 -5 4*
Oh, I’m sure ya, sure ya will make some-bod-y’s ni-i-ight
4* 6 6 6 -6* -7 6 -6* -7 6 8* -8 -7 -6* 6 -5 4*
But, oh, I a*sure ya, a*sure ya, it sure as hell’s not mi-i-ine

6 6 4* -3 -3 -3
Oh, no, honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I got some-bod-y at home
-3 -2* -3 -3 -2* -3 -3 -7 -7 -7
And if I stay I might not leave a-lone
6 4* -3 -3 -3
No, honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I gotta bid you a-dieu
2 -3 -3 2 -3 2 -5
To a-noth-er I will stay

[Chorus:]
6 6 4* -3 -3 -3
No, no, honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I got some-bod-y at home
-3 -2* -3 -3 -2* -3 -3 -5 4* 4*
And if I stay I might not leave a-lone
6 4* -3 -3 -3
No, honey, I’m good
-2* -3 -3 -3 -3 -3 -2* 2 -3 -3 4* 4*
I could have a-noth-er but I prob-‘ly should not
6 6 6 4* -3 -3 -3
I gotta bid you a-dieu
2 -3 -3 2 -3 2 -5 4*
To a-noth-er I will stay true
3 -7 -7 6 8* 8* -7 6 -7 6 4*
(True) o-o-o-o-oo-o-o-o-o-o,

[4x]
-3 2 4* -3
I will stay true

[4x]
-3 -3 -3 -3 4* 6 4* -6* 6 4* 4* -5 4*
(Sing it now) Oh, wo-o-o-o-o-o-o-o-oah,
-3 2 -3 2
I will stay true

Tab notations:
none = blow – = draw ” = full step bend

Bright Hoedown feel
6 6 5 4 4 4
Nah nah honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I got somebody at home
4 4 4
(Home, home, home.)

4 4 4 5 6 -6 4 4 -4 5 5
It’s been a long night here, and a long night there
4 4 5 6 -6 4 4 4 -4 4 4
And these long long legs are damn near ev’rywhere
5 -4 4
(hold up now)
5 6 -6 4 -4 5 5
You look good, I will not lie
4 5 6 -6 4 4 -4 5 5
But if you ask where I’m staying tonight
4 4 4 4 4 4 3 3 4 3 3 4 4 4 3 4 3 3
I gotta be like oh, baby, no, baby, you got me all wrong, baby
4 3 3 4 3 3 3 -4 -4 5 5
My baby’s al-ready got all of my love

4 6 6 5 4 4 4
So nah nah honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I got somebody at home,
4 -3” 4 4 -3” 4 4 -5 5 5
And if I stay I might not leave alone
6 5 4 4 4
No, honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I gotta bid you a-dieu
3 4 4 3 4 3 -5 5
To another I will stay true

7 7 6 8 8 7 6 7 6
ooh ooh ooh ooh ooooooh
4 3 5 4
I will stay true
7 7 6 8 8 7 6 7 6
ooh ooh ooh ooh ooooooh
4 3 5 4
I will stay true
7 7 6 8 8 7 6 7 6
ooh ooh ooh ooh ooooooh
7 7 6 8 8
ooh ooh ooh ooh oh

[Verse 2:]
4 5 6 -6 4 -4 5 5
Now better men, than me have failed
4 5 6 4 4 -4 5 5
Drinking from that unholy grail
4 4 4 4
(Now check it out)
5 6 -6 4 -4 5 5
I got her, and she got me
4 4 5 6 -6 4 -4 4 4
And you’ve got that a*s, but I kindly
4 4 4 4 4 3 3 4 3 3 4 4 4 3 4 3 3
Gotta be like oh, baby, no, baby, you got me all wrong, baby
4 3 3 4 3 3 3 -4 -4 5 5
My baby’s already got all of my love

[Chorus:]
4 6 6 5 4 4 4
So nah nah honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I got somebody at home,
4 -3” 4 4 -3” 4 4 -5 5 5
And if I stay I might not leave alone
6 5 4 4 4
No, honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I gotta bid you adieu
3 4 4 3 4 3 -5 5
To another I will stay true

7 7 6 8 8 7 6 7 6
ooh ooh ooh ooh ooooooh
4 3 5 4
I will stay true
7 7 6 8 8 7 6 7 6
ooh ooh ooh ooh ooooooh
4 3 5 4
I will stay true
7 7 6 8 8 7 6 7 6
ooh ooh ooh ooh ooooooh
7 7 6 8 8
ooh ooh ooh ooh oh

[Bridge:]
6 6 -6 7 -6 7 6 8 -8 7 -6 6 -5 5
Oh, I’m sure ya, sure ya will make somebody’s ni-i-ight
5 6 6 6 -6 7 6 -6 7 6 8 -8 7 -6 6 -5 5
But, oh, I a*sure ya, a*sure ya, it sure as hell’s not mi-i-ine

6 6 5 4 4 4
Oh, no, honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I got somebody at home
4 -3” 4 4 -3” 4 4 7 7 7
And if I stay I might not leave a-lone
6 5 4 4 4
No, honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I gotta bid you a-dieu
3 4 4 3 4 3 -5
To another I will stay

[Chorus:]
6 6 5 4 4 4
No, no, honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I got somebody at home
4 -3” 4 4 -3” 4 4 -5 5 5
And if I stay I might not leave alone
6 5 4 4 4
No, honey, I’m good
-3” 4 4 4 4 4 -3” 3 4 4 5 5
I could have another but I prob-‘ly should not
6 6 6 5 4 4 4
I gotta bid you a-dieu
3 4 4 3 4 3 -5 5
To another I will stay true
4 7 7 6 8 8 7 6 7 6 5
(True) o-o-o-o-oo-o-o-o-o-o,

[4x]
4 3 5 4
I will stay true

[4x]
4 4 4 4 5 6 5 -6 6 5 5 -5 5
(Sing it now) Oh, wo-o-o-o-o-o-o-o-oah,
4 3 4 3
I will stay true

By Leonard Cohen
Judy Collins
Key: Bb

-6 -6 -6 -6 -6 7-6 -5*
I loved you in the morn-ing
-5 -6 -6 -6 -6 7-6-5*
Our kiss-es deep and warm,
-5 -5 -5 -5 -5 -5* -5
Your head up-on the pil-low
5 -3* -5 -5 -5 -5 -5*-55-3*
Like a sleep-y gold-en storm.
7 7 7 7 7* -6
Man-y have be-fore us
-5* 7 7 7 7 7 7*7-6
I know that we are not new,
-5* -6-6 -6 -6 7-6 -5*
In cit-y and in for-est
-5 -6 -6 -6 -6 7-6-5*
They smiled like me and you,
-5 -5 -5 -5 -5* -5 5
Now it’s come to dis-tan-ces
-3* -5 -5 -5 -5 -5*-55
And both of us must try,
-3* 7 7 7 7 7*7 -6-5*
Your eyes are soft with sor- row,
5 -5 5 5 -55 5 -55 5 -5-5*-55
Hey, that’s no way to say good- bye.

-6 -6 -6 -6 -6 -6 7 -6
I’m not look-ing for an-oth-er
-5*-5 -6 -6 -6 -6 7-6-5*-5
As I wan-der in my time,
-5 -5 -5 -5 -5*-5 5
Walk me to the cor-ner
-3* -5 -5 -5 -5 -5*-55-3*
Our steps will al-ways rhyme,
7 7 7 7 7* 7 -6
You know my love goes with you
-5* 7 7 7 7 7*7-6-5*
As your love stays with me,
-6 -6 -6 -6 -6 7 -6
It’s just the way it chang-es
-5* -5 -6 -6 -6 -6 7-6-5*-5
Like the shore-line and the sea,
-5 -5 -5 -5 -5* -5 5
Let’s not talk of love or change
-3* -5 -5 -5 -5 -5*-55-3*
Or things we can’t un- tie,
7 7 7 7 7 -77 -6-5*
Your eyes are soft with sor- row,
5 -5 5 5 -55 5 -55 5 -5-5*-55
Hey, that’s no way to say good- bye.

-6 -6 -6 -6 -6 7-6 -5*
I loved you in the morn-ing
-5 -6 -6 -6 -6 7-6-5*
Our kiss-es deep and warm,
-5 -5 -5 -5 -5 -5* -5
Your head up-on the pil-low
5 -3* -5 -5 -5 -5 -5*-55-3*
Like a sleep-y gold-en storm.
7 7 7 7 7* -6
Man-y have be-fore us
-5* 7 7 7 7 7 7*7-6
I know that we are not new,
-5* -6-6 -6 -6 7-6 -5*
In cit-y and in for-est
-5 -6 -6 -6 -6 7-6-5*
They smiled like me and you,
-5 -5 -5 -5 -5* -5 5
Now it’s come to dis-tan-ces
-3* -5 -5 -5 -5 -5*-55
And both of us must try,
-3* 7 7 7 7 7*7 -6-5*
Your eyes are soft with sor- row,
5 -5 5 5 -55 5 -55 5 -5-5*-55
Hey, that’s no way to say good- bye.

If you don’t know how to, or like Bending, chibluesteve has a post of the same song except without bending. Enjoy Smile

riff

[6 6 6 -6 -6 -6 7 -7 -7 7 -8 7]

7 7 -6b 6b -6b
Hey, hey, good lookin’,
7 6 -6b 6b -6b
Whatcha got cookin’?
-6 -6′ -6 -6 -6 -7 -7 -6 6 7
How’s about cookin’ somethin’ up with me?
7 -6b 6b -6b
Hey, sweet baby,
7 6 -6b 6b -6b
Don’t you think maybe
-6 -6′ -6 -6 -6 -7 -7 -6 6 7
We could find us a- brand new recipe?
7 7 7 -6 -6 7 7 7 -6 6 5 6
I got a hot-rod Ford and a two-dollar bill
6 -6 -6 -6 7 7 -6 6 5 6
And I know a spot right over the hill.
-6 7 -6 7 7 7 -6 6 6
There’s soda pop and the dancin’s free,
6 -7 7 -8 -8 -8 -8 -8 7 -7 6 6
So if you wanna have fun come along with me.
7 -6b 6b -6b
Hey, good lookin’,
7 6 -6b 6b -6b
Whatcha got cookin’?
-6 -6′ -6 -6 -6 -7 -7 -6 6 7
How’s about cookin’ somethin’ up with me?

7 7 -6b 6b -6b
I’m free and ready,
7 7 6 -6b 6b -6b
So we can go steady.
-6 -6′ -6 -6 -6 -7 -7 -6 6 7
How’s about savin’ all your time for me?
7 -6b 6b -6b
No more lookin’,
7 7 6 -6b 6b -6b
I know I’ve been tooken.
-6 -6′ -6 -6 -6 -7 -7 -6 6 7
How’s about keepin’ steady company?
7 7 7 -6 -6 7 7 -6 6 5 6
I’m gonna throw my date book over the fence
6 -6 -6 7 7 -6 6 5 6
And find me one for five or ten cents.
-6 7 -6 7 7 -6 -6 6 6
I’ll keep it ’til it’s covered with age
-7 7 -8 -8 -8 -8 -8 7 -7 6 6
‘Cause I’m writin’ your name down on ev’ry page.
7 -6b 6b -6b
Hey, good lookin’,
7 6 -6b 6b -6b
Whatcha got cookin’?
-6 -6′ -6 -6 -6 -7 -7 -6 6 7
How’s about cookin’ somethin’ up with me?