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Richard's version of the Leonard Cohen classic, transcribed from a recording of a show at the Chandler Music Hall in Randolph, VT on 11/11/06.
Capo II
Intro: (Bm)(G)(Em)(F#7sus)(F#7) . . . (Bm)(G)(Em)(F#7sus)(F#7)
It's (Bm)four in the morning, the (G)end of December
(Bm)I hear that you're (A)building your (Bm)house deep in the (A)desert
And (D)Jane came by with a lock of your (A)hair
Ah, the (Bm)last time I saw you, you (G)looked so much older
So you (Bm)treated my (A)woman with a (Bm)flake of your (A)life
Well I (D)see you there with a rose in your (A)teeth
Ah (Bm)what can I tell you my (G)brother, my killer
(Bm)And if you ever come (A)by here, be it for (Bm)Jane or for (A)me
Yes, and (D)thanks for the trouble you (A)took from her eyes
And (D)Jane came by with a lock of your (A)hair
Well, this is the most difficult song I've ever tackled.
See, without giving away too many of RG's Magic Stealth Decoder-Ring Transcription Secrets®,
chording out songs is actually pretty simple. Thanks to the use of the
capo, almost all of the singer/songwriters whose songs I trancribe use G, D,
or C fingering in their songs. Hey, John Prine doesn't call G "The People's
Key" for nothing, you know.
Anyway, what this pretty much means is that once you know where the capo
goes, and which of the three fingerings they're using, there's only a
limited number of chords you'll normally ever use in any given key. Don't
get me wrong, the transcriptions don't just magically work themselves
out . . . but it ain't rocket science, either.
And in open tunings -- such as DADGAD -- it's even easier. Songs in DADGAD
are almost always played in D fingering, and those chords are pretty easy.
Look at "The Next Best Western" or "Calling the Moon" or "Wisteria" or "Mary
Magdalene" . . . all pretty much basic 1-4-5 chords in the D family: D, G,
A, plus Bm and Em. There are only two songs where Richard plays DADGAD in any
other fingering, "Beyond the Iron Gate" and "Gray Green," both with G-based chords
where the 1-4-5 is G-C-D.
Of course, just when I thought I was onto him, he throws me this curveball.
A song in DADGAD, but with chords in F fingering. F, for
gawd's sake. Most guitar players wouldn't write a song in F fingering if
they had a gun held to their head.
And what's worse is that in open tunings, it's all about voicings, not
necessarily Actual Chords, so I'm not even positive that I'm calling
some of these by the right name. But I tried to compare them to equivalent
chords in standard tuning, and it's close. No matter, these are the
fingerings that are utilized in the song. It may look complicated, but
trust me, it's well worth the effort.
For example, the (Dm/D)(Dm/C#)(Dm/C)(Dm/B)(Bb) sequence in the first and third lines of
each verse is actually ridiculously simple. It's basically just a 5th
string walkdown. See how you keep the 3rd fret of the 4th string fretted
while you "walk" down from the 5th fret to the 1st fret on the 5th string
(where I've indicated the notes in bold)? Simple stuff, honest engine.
The only difficult "chord" might be the one I'm calling Gm7. Play the 6th
string with your ring finger. Barre the 3rd fret on the 2nd/3rd/4th strings
with your index finger, and don't worry if you're touching the 1st string --
you'll want to mute that string anyway. Then sneak your pinky onto the 5th
fret of the 2nd string. If you're wondering why you're holding the barre
down on the 2nd string, it's because where I indicate the Gm11, what you'll
do is pull off your pinky, fretting that string at the now-exposed 3rd fret. (I know, at this point, some of you are going "I don't know who's crazier, Richard or Ron." Trust me, it's Richard.)
One final thing, for the F chord that ends the song, just play it as x332xx.
Now you can do one of two things. Try out the song. Or run screaming.
I suggest you try the song, because I'll be damned if I did all this work
for nothing. ;-)
Dm/D: x5300x
(Dm/D)Love, just a (Dm/C#)word before you (Dm/C)go
(Bb)Love, here's a place and here's a (C)name
(Dm/D)Love, you'll be (Dm/C#)hungry, you'll be (Dm/C)weak
(Bb)Love, you will laugh and you will (C)cry
(F)There's a world that you must (Am)bear
(Dm/D)(Dm/C#)(Dm/C)(Dm/B)(Bb)(F)(C)
(Bb)Love, here's a place and here's a (C)name
DADGAD
D: 000200
Intro: (D)(Am7)(G)(Am7) . . . (D)(Am7)(G)(Em)
(D)I (Am7)am a (G)stranded (D*)traveler
(D)I (Am7)am the (G)coffee (D*)vendor
(D)I (Am7)am (G)New York (D*)Harbor
(D)I (Am7)am a (G)stranded (D*)traveler
Also, in the line "I've driven every kind of rig that's ever been made,"
you should walk up to the C chord at the word "made" by walking up through
the G chord. What I mean is this: at the word "every," you'll be playing a
regular G chord (320033) and hitting the third fret on the 6th string. At
the word "rig," play the chord x00033 and use the open 5th string as your
bass note. At the word "ever," hammer down on the second fret of the 5th
string and play the G as x20033. Then finish off with the standard C chord
at the word "made," where your bass note will be the third fret on the 5th
string: x32033.
Intro: (G)(G/F#)(Em)(C)(G) - (C)(D)(C) - (G)
I been (G)warped by the rain, (G/F#)driven by the snow
And I've been from (C)Tuscon to Tucum(D)cari
Well I've been (G)kicked by the wind, (G/F#)robbed by the sleet
And I've been from (C)Tuscon to Tucum(D)cari
Down in (D)town the circuit's full of (G)switchblade lovers
And the (G)boys from the casino dance (A)with their shirts open
Oh (D)Sandy the aurora is rising be(A)hind us
Now the (D)greasers, they (G)tramp the streets or get busted
And me I (D)just got tired of hangin' in them (G)dusty arcades
And you know the (G)tilt-a-whirl down on the (A)south beach drag
Oh (D)Sandy the aurora is rising be(A)hind us
(D)Sandy, that (G)waitress I was seein' lost her de(D)sire for me (D/C#)
She worked that (D)joint under the boardwalk
Did ya hear the (G)cops finally busted (A)Madame Marie
Oh (D)Sandy the aurora is rising be(A)hind us
Several people have covered this tune -- Leo Kottke, Tom Russell (who calls it "the best
cowboy twist-of-fate song ever written") and Robert Earl Keen, among
others -- and Richard has been doing it for a few years as well. His only recorded version
is on the bonus EP that was available for a limited time with the live "Courier" CD, but it's a great song, and fun to play.
D: 004200
Intro: (D)(Bm)(G)(D)(G)
(D)Me and the boys, we (Bm)cinched up our saddles
Well the (D)Mezcal is free in (Bm)Amanda's saloon
Well (D)inside Amanda's (Bm)we were all dancin'
(D)(Bm)(G)(D)(G)
I (D)woke up face down in A(Bm)manda's back alley
(D)(Bm)(G)(D)(G)
Well A(D)manda's grew silent like (Bm)night in the desert
For a (D)nightmare of mezcal was (Bm)all that it was
(D)(Bm)(G)(D)(G). . . (D)(Bm)(G)(A)(D)
Capo IX (yes, that's nine)
B7: x21200
(G)Fog's rollin' (D/F#)in off the (C)East River (G)bank
(G)Voices (D/F#)leaking from a (C)sad ca(G)fe
(G)The poet (D/F#)reads his (C)crooked (G)rhyme
(G)I heard a (D/F#)church bell (C)softly (G)chime
Copyright © 1964/1971 Edward B. Marks Music Company (BMI)
Here's a traditional song that Richard occasionally covers. There seems to be some discrepancy about
the origins of the song. One source says that although it's commonly mistaken as being of Irish origin,
that it's really a traditional Creole love song that was probably brought back from British soldiers
fighting in Louisiana in the War of 1812. Another source surmises that it was composed by a young
Irishman who had come to America to fight on the side of the Confederacy in the Civil War, and upon
their defeat, was left adrift with only worthless currency.
A Richard fan sent me the following note about the song's origins:
I have seen the same sources that you are quoting and both are probably wrong. It can't be the War of 1812,
since they didnt have railroads back then. The Civil War bit is also a stretch, probably conjured up to explain
the foreign money. In fact, it is an Irish song about a young man who lands in New Orleans, that was a chief
entry point for the Irish after 1847. Contrary to popular belief, many of the Irish, including my ancestors,
came with hard currency, usually English pounds. These were of course worthless when they arrived in New Orleans.
So, our fine Irish lad sets off for Jackson town to make his fortune, but is unfamiliar with the woods around
Ponchartrain, and is afraid to sleep out in the woods with alligators. So this is of course my theory and I have
no proof for it. But it is better than the alternatives I've seen so far.
There's also some discrepancy about the title, as I've seen it referred to as both "The Banks of the
Pontchartrain," and "The Lakes of Pontchartrain." But seeing as there's only one Lake Pontchartrain
(just north of New Orleans), my money's on "banks." Besides, that's how Richard sings it.
Finally, David Wilcox seems to have borrowed the melody for his beautiful song "Golden Day."
Intro: For the intro, just play the chords to one of the verses one time through.
'Twas (D)on (G)one (D)bright March (A)morning (D)
I (D)stepped (G)on (D)board a (A)railroad (D)car
I (D)said (G)my (D)pretty (A)Creole (D)girl
She (D)took (G)me (D)to her (A)mammy's (D)house
I (D)asked (G)her (D)if she'd (A)marry (D)me
So (D)fare (G)thee (D)well, my (A)bonnie (D)girl
I'm (Em)writing you now just to (F#7sus)see if you're (F#7)better
(Bm)New York is fine, I (G)like where I'm living
There's (Em)music on Clinton Street (F#sus7)all through the (F#7)evening
(Bm)Are you living for (A)nothing now
I hope you're (Bm)keeping some kind of (A)record
She said that you gave it to (Bm)her
That night when you planned to go (A)clear
(G)Did you ever go (F#7)clear?(F#7)
Your (Em)famous blue raincoat was (F#7sus)torn at the (F#7)shoulder
You'd (Bm)been to the station to (G)meet every train
But (Em)she never turned up, I mean (F#7sus)Lily Mar(F#7)lene
(Bm)And when she came (A)home (Bm)she was nobody's (A)wife
One more thin gypsy (Bm)thief
Well I see Jane's a(A)wake
(G)She sends her re(F#7sus)gards(F#7)
(Em)What can I possibly (F#7sus)say? (F#7)
I (Bm)guess I forgive you, I (G)guess that I miss you
I'm (Em)glad that you stood in my (F#7sus)way (F#7)
I want you to (Bm)know your enemy's (A)sleeping
And I want you to (Bm)know that your woman is (A)free
I thought it was (Bm)there for good so I never really (A)tried
She said that you gave it to (Bm)her
That night when you planned to go (A)clear
(G)Did you ever go (F#7sus)clear?
Capo II
Dm/C#: x4300x
Dm/C: x3300x
Dm/B: x2300x (except in the break and the last line of the song, where it's x23000)
Bb: x13030
Am: x0223x
A/C#: x4200x
F: x3320x
C: x32030
Gm7: 5x335x
Gm11: 5x333x
Just a (Dm/B)few things you should (Bb)know
Come and sit here by my (Am)side (A/C#)
(Dm/D)Love, how I (Dm/C#)wish that you could (Dm/C)stay
There can (Dm/B)be no other (Bb)way
I must (F)send you on your (C)own
(Bb)Love, she will hold you in her (C)arms
And (A/C#)show you who you (Gm7)are(Gm11)(F)(C)(A/C#)
You'll be (Dm/B)tempted, you'll be (Bb)free
To turn away from (Am)me (A/C#)
(Dm/D)Love, dressed in (Dm/C#)rags and far from (Dm/C)home
You will (Dm/B)wander all a(Bb)lone
You will (F)wonder where I (C)am
(Bb)Love, you will live and you will (C)die
But (A/C#)only for a (Gm7)while(Gm11)(F)(C)
They're waiting for you (Bb)there
To lead them from the (C)night
And (A/C#)bring them to the (Gm7)light(Gm11)(F)(C)
(Bb)Love, she will hold you in her (C)arms
And (A/C#)show you who you (Gm7)are(Gm11)(F)(C)
She will (A/C#)show you who you (Dm/D)are (Dm/C#)(Dm/C)
She'll (Dm/B)show you who you (Bb)are (C)(F)
Am7: x02030
G: 550000
D*: 000000 . . . and at the end of the line, hammer on 004000
Em: 220000
D/F#: 440200
Bm: x24000
Cm: x35000 (just slide up one fret from the Bm)
(D)I (Am7)am the (G)distant (Em)home
(D)I (Am7)am the (G)family (D*)waiting
(Em)I (D/F#)am the (G)silent (Am7)phone
(D)I (Am7)the (G)stricken (D*)faces
(D)I (Am7)the (G)settling (Em)dust
(D)I (Am7)the (G)stranger's (D*)shoulder
(Em)I (D/F#)am the (G)ocean (Am7)breeze
(Bm)I (Cm)am, I (G)am, I (D)am (Am7)(G)(Am7)
(D)I (Am7)am the (G)CP(Em)A
(D)I (Am7)am the (G)fireman (D*)climbing
(Em)I (D/F#)am his (G)newborn (Am7)son
(D)I (Am7)am the (G)churches (D*)filling
(D)I (Am7)am the (G)passing (Em)peace
(D)I (Am7)am the (G)choir (D*)singing
(Em)I (D/F#)am the (G)swelling (Am7)hymn
(Bm)I (Cm)am, I (G)am, I (D)am (Am7)(G)(Am7)
(D)I (Am7)am the (G)Promised (Em)Land
(D)I (Am7)am the (G)closing (D*)borders
(Em)I (D/F#)am the (G)Rio (Am7)Grande
(D)I (Am7)am the (G)River (D*)Jordan
(D)I (Am7)am the (G)raging (Em)sea
(D)I (Am7)am a (G)world in (D*)anguish
(Em)I (D/F#)am a (G)refu(Am7)gee
(Bm)I (Cm)am, I (G)am, I (D)am (Am7)(G)(Am7)
(D)I (Am7)am the (G)distant (Em)home
(D)I (Am7)am the (G)stranger's (D*)shoulder
(Em)I (D/F#)am the (G)ocean (Am7)breeze
(Bm)I (Cm)am, I (G)am, I (D)am
(Em)I'm drunk and dirty, but (C)don't ya know
I'm (G)still (C)(D)(C) . . . (G)willin'
Drivin' on the road (G/F#)late at night
I (Em)see my pretty Alice in (C)every head light
(G)Alice . . . (C)(D)(C)Dallas (G)Alice
Tehachapi to Tona(G)pah
I've driven every kind of rig that's ever been (C)made
Driven the back roads so I wouldn't get (D)weighed
And if you give me (C)weed, (G/B)whites, (Am)and (G)wine
And you show me a (D)sign
I'll be (G)willin' . . . (C)(D)to (C)be (G)movin'
I had my (Em)head stoved in, but I'm (C)still on my feet
And I'm (G)still (C)(D)(C) . . . (G)willin'
And I smuggled some smokes and folks (G/F#)from Mexico
Get (Em)baked by the sun (G)every time I go to (G)Mexico (C)(D)(C)(G)
Tehachapi to Tona(G)pah
I've driven every kind of rig that's ever been (C)made
Driven the back roads so I wouldn't get (D)weighed
And if you give me (C)weed, (G/B)whites, (Am)and (G)wine
And you show me a (D)sign
I'll be (G)willin' . . . (C)(D)to (C)be (G)movin' (C)(D)(C)(G)
4TH OF JULY, ASBURY PARK (SANDY) . . . Bruce Springsteen
(Bm)Forcin' the light onto all those stoned out faces
Left (A)stranded on this Fourth of July (Asus4)
So (D)fast, so shiny, so sharp (D/C#)
And the (Bm)wizards play down on Pinball Way
On the (A)boardwalk way past dark (Asus4)
Like (D)Latin lovers (D/C#)on the (Bm)shore
Chasin' all them (A)silly New York virgins by the score (Asus4)
This (D)pier lights our carnival life for(G)ever
Oh, (D)love me tonight for I may (A)never see you again
Oh I mean it, Sandy (G)girl
(A)My my my my my (D)baby
Oh I mean it, Sandy (G)girl
(A)My my (D)baby (Dsus4)(D)
For trying to (D)sleep out on the beach all night (D/C#)
And them (Bm)boys in their high heels
Oh Sandy, their (A)skins are so white (Asus4)
(D)Bangin' them pleasure machines (D/C#)
Chasin' the (Bm)factory girls underneath the boardwalk
Where they all (A)promised to unsnap their jeans (Asus4)
I got (D)on it last night and my (D/C#)shirt got (Bm)caught
(A)That Joey kept me spinnin'
Didn't think I'd ever get off
The (D)pier lights our carnival life on the (G)water
Ah, (D)love me tonight for I may (A)never see you again
Oh I mean it, Sandy (G)girl
(A)My my my my my (D)baby
Oh I mean it, Sandy (G)girl
(A)My (D)baby (Dsus4)(D)
I (Bm)spoke with her last night
She said she won't set herself on (A)fire for me anymore
She was (G)always the girl you saw
Boppin' down the (D)beach with the radio
Last night the (D/C#)kids say she was (Bm)dressed like a star
In one of them cheap little seaside bars
And they saw her (A)parked with lover boy out on the Kokomo
For telling (D)fortunes (D/C#)better than they (Bm)do
(A)For me this boardwalk life's through
You oughta quit this scene too
These (D)pier lights our carnival life for(G)ever
Ah, (D)love me tonight for I may (A)never see you again
Oh I mean it, Sandy (G)girl
(A)My my my my my (D)baby
Oh I mean it, Sandy (G)girl
(A)My my my my my (D)baby (Dsus4)(D)
SONORA'S DEATH ROW . . . Kevin "Blackie" Farrell
Capo III
Bm: 024000
G: 550000
D/F#: 440200
Em: 220000
A: 002200
And (G)rode to Sonora last (D)night
Guns hangin' proud and (Bm)darin' out loud
For (G)anyone lookin' to (D)fight
(G)Card cheats and rustlers would (D/F#)run for their holes
When the (Em)boys from the old Broken (A)O
(D)Rode in and reined on the (Bm)street that they named
(G)Sonora's Death (D)Row (G)
For the (G)boys from the old Broken (D)O
Saturday nights in the (Bm)town of Sonora
Are the (G)best in all Mexi(D)co
They've got (G)guitars and trumpets and (D/F#)sweet senoritas
Who (Em)won't want to let you (A)go
You'd (D)never believe such a (Bm)gay happy town
Had a (G)street named Sonora's Death (D)Row (G)
With (G)all of Amanda's (D)gals
I won some silver at (Bm)seven card stud
So (G)I was outdoin' my (D)pals
But the (G)whiskey and mezcal and (D/F#)peso cigars
(Em)Drove me outside for some (A)air
Where (D)somebody whispered "Your (Bm)life or your money"
I (G)reached but my gun wasn't (D)there (G)
A(G)ware of the fool I had (D)been
I rushed to my pony, I (Bm)grabbed my Winchester
And I (G)entered Amanda's a(D)gain
Where (G)I saw my partners (D/F#)twirlin' my pistols
And (Em)throwin' my money a(A)round
(D)Blinded by rage, (Bm)I pulled the trigger
And (G)one of them fell to the (D)ground (G)
My (G)friends stared in pure dis(D)belief
Amanda was kneeling be(Bm)side the dead cowboy
(G)Plainly expressing her (D)grief
And as (G)I bowed my head, a (D/F#)tremble shot through me
My (Em)six-gun was there at my (A)side
I (D)felt in my pockets and (Bm)there was my money
I (G)fell to my knees and I (D)cried (G)
(G)No one had robbed me at (D)all
I wish I was dreamin' the (Bm)sound of the gallows
They're (G)testin' just outside the (D)walls
And the (G)mezcal's still free in A(D/F#)manda's saloon
For the (Em)boys from the old Broken (A)O
And (D)I'd give a ransom to (Bm)drink there today
And be (G)free of Sonora's Death (D)Row (G)
Yeah I'd give a ransom to (Bm)drink there today
And be (G)free of Sonora's Death (D)Row (G)
BLEECKER STREET . . . Paul Simon
Like a (Am7)(Am7/G)(D/F#)shroud it covers (G)Bleeck(G/F#)er (Em)Street
Fills the (B7)alleys where men (C)sleep
Hides the (G)shepherd(D/F#) from the (Em)sheep (C)
Smiling (Am7)(Am7/G)(D/F#)faces try to (G)un(G/F#)der(Em)stand
I saw a (B7)shadow touch a (C)shadow's hand
On (G)Bleeck(D/F#)er (Em)Street (C)
Holy (Am7)(Am7/G)(D/F#)holy is his (G)sac(G/F#)ra(Em)ment
Thirty (B7)dollars pays your (C)rent
On (G)Bleeck(D/F#)er (Em)Street (C)
In a (Am7)(Am7/G)(D/F#)melody sus(G)ta(G/F#)in(Em)in'
It's a (B7)long road to (C)Canaan
On (G)Bleeck(D/F#)er (G)Street
THE BANKS OF THE PONTCHARTRAIN . . . Traditional
Capo II
I (G)bid New (A)Orleans a(D)dieu (G)
And I (D)took the (A)road to (Bm)Jackson (A)town
My (D)fortune to re(G)new
I (D)cursed all (A)foreign (Bm)mo(A)ney
No (D)credit could I (G)gain
Which (D)filled (G)my (D)heart with (A)longing (D)for
The (G)banks of the (A)Pontchar(D)train (G)
Be(G)neath the (A)morning (D)sun (G)
I (D)rode the (A)rails till (Bm)eve(A)ning
And I (D)laid me down a(G)gain
All (D)strangers (A)there, no (Bm)friends to (A)me
Till a (D)dark girl towards me (G)came
I (D)fell (G)in (D)love with a (A)Creole (D)girl
By the (G)banks of the (A)Pontchar(D)train (G)
My (G)money (A)here's no (D)good (G)
And if it (D)weren't for the (A)alli(Bm)ga(A)tors
I'd (D)sleep out in the (G)wood
"You're (D)welcome (A)here kind (Bm)stran(A)ger
Our (D)house is very (G)plain
And we've (D)ne(G)ver (D)turned a (A)stranger (D)out
On the (G)banks of the (A)Pontchar(D)train" (G)
And she (G)treated (A)me right (D)well (G)
And the (D)hair (A)upon her (Bm)shoul(A)ders
In (D)jet black ringlets (G)fell
To (D)try to (A)paint her (Bm)beau(A)ty
I'm (D)sure 'twould be in (G)vain
So (D)hand(G)some (D)was my (A)Creole (D)girl
By the (G)banks of the (A)Pontchar(D)train (G)
She (G)said that this (A)could never (D)be (G)
For (D)she had (A)got a (Bm)lov(A)er
And (D)he was far at (G)sea
She (D)said that (A)she would (Bm)wait for (A)him
And (D)true she would re(G)main
Till (D)he (G)re(D)turned to his (A)Creole (D)girl
By the (G)banks of the (A)Pontchar(D)train (G)
I (G)never may (A)see you (D)more (G)
But I'll (D)ne'er for(A)get your (Bm)kind(A)ness
In the (D)cottage by the (G)shore
And at (D)every (A)social (Bm)gather(A)ing
A (D)flowing glass I'll (G)drain
And I'll (D)drink (G)a (D)health to my (A)Creole (D)girl
By the (G)banks of the (A)Pontchar(D)train
Here's a song Richard wrote back in 1988, the year the
Baltimore Orioles opened their season with 21 consecutive losses. It's not
on any of his official CDs, but there's a version on the 1992 WWUH "Folk
Next Door" compilation, if you can find it.
Capo IV
D/F#: 200232
(D/F#) . . . They're not much to (G)look at
They've lost 19 in a (G)row
(Em)So put a (G)ticket in my (Asus4)hand
It's 10 years since I lived (G)there
But it's just never been the (G)same
(Em)So put a (G)ticket in my (Asus4)hand
Dropped D (DADGBE)
On the Falcon Ridge Main Stage compilation disc, I'm pretty sure Richard plays this in Dropped
D. But the song actually sounds much cooler in DADGAD, with the D played 000200, the C played
030000 and the C/B played 020000. Also, Richard leaves out one of the song's verses, which
I've included (it's the second one). Actually, there are several different versions of the
lyrics to this song floating around . . . a simple Google search on the song's title will
point you to many of them.
D: 000232
From (D)Derry quay we sailed away on the (C)twenty (C/B)third of (D)May
We (D)sailed three days, we were all seasick, not a (C)man on (C/B)board was (D)free
We (D)said we'd reach the other side after (C)fifteen and (C/B)twenty (D)days
So (D)fare thee well, sweet Liza dear, like(C)wise to (C/B)Dublin (D)town
Asus4: x02230
(D/F#)Ticket sales are (Asus4)down
I heard the owner wants to (G)move 'em
(D/F#)To some (Em)sunny south(G)western (Asus4)town
(D/F#)And they've never sunk so (Asus4)low
I never thought I'd see the (G)day
When this (D/F#)team could be the (Em)doormat (G)of the (Asus4)league
(Em)Point me up (G)to the (Asus4)grand(D/F#)stand
(Em)I'm not some (G)fair-weather (Asus4)fan
I'm sticking with the (D/F#)home(G) (Asus4)team (G)
I'm sticking with the (D/F#)home(G) (Asus4)team
I'm sticking with the (Em)(D/F#)(G)(Asus4)home (D/F#)team (Asus4)
(D/F#)And all the names have (Asus4)changed
This town I'm in has got a (G)winner
(D/F#)Now and (Em)then I (G)catch a (Asus4)game
(D/F#)As all those night games in (Asus4)June
In the upper deck with my (G)brothers
And a (D/F#)beer and a cool (Em)breeze be(G)neath the (Asus4)moon
(Em)Point me up (G)to the (Asus4)grand(D/F#)stand
(Em)I'm not some (G)fair-weather (Asus4)fan
I'm sticking with the (D/F#)home(G) (Asus4)team (G)
I'm sticking with the (D/F#)home(G) (Asus4)team
I'm sticking with the (Em)(D/F#)(G)(Asus4)home (D/F#)team
PADDY'S GREEN SHAMROCK SHORE . . . Traditional
Capo VII
C: 032033
C/B: 020033
We were (C/B)taken on (D)board by a pleasant crew, bound for Ameri(C)kay (C/B)
Fresh (D)water we did take on, five thousand gallons or (C)more (C/B)
In (D)case we'd run short going to New York far a(C)way from the (C/B)shamrock (D)shore
We were (C/B)all confined (D)to our bunks, with no one to pity poor (C)me (C/B)
No father (D)kind, nor mother dear, to lift up my head it was (C)sore (C/B)
Which (D)made me think more of the lassie I left on (C)Paddy's green (C/B)shamrock (D)shore
We were (C/B)taken as (D)passengers by a man and led round in six different (C)ways (C/B)
So (D)each of us drank a parting glass, in case we'd never meet (C)more (C/B)
And we (D)bade farewell to old Ireland and (C)Paddy's green (C/B)shamrock (D)shore
And (C/B)twice fare(D)well to me comrades brave who yet dwell on that sainted (C)ground (C/B)
If (D)fame or fortune should favor me, and I have money in (C)store (C/B)
I'll go (D)back and I'll wed the lassie I left on (C)Paddy's green (C/B)shamrock (D)shore