Lied Buch

JOCHENS

LIEDERBUCH

FUR

GITARRE

c© 24. April 2002 by Jochen Meyer-Hilberg using Debian GNU/Linux,Emacs, LATEX, MusiXTEX, makeindex, xdvi, dvips, pstops, psnup and dvipdfm

Motto: Gib Gates keine Chance!

3

Inhaltsverzeichnis

All My Loving (The Beatles) . . . . . . . . . . . . . . . . . . . . . . 8

I Want to Hold Your Hand (The Beatles) . . . . . . . . . . . . . . . 9

And I Love Her (The Beatles) . . . . . . . . . . . . . . . . . . . . . 10

Eight Days a Week (The Beatles) . . . . . . . . . . . . . . . . . . . 11

Help! (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Norwegian Wood (The Beatles) . . . . . . . . . . . . . . . . . . . . 14

Girl (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

In My Life (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . 16

Eleanor Rigby (The Beatles) . . . . . . . . . . . . . . . . . . . . . . 17

Yellow Submarine (The Beatles) . . . . . . . . . . . . . . . . . . . . 18

A Day in the Life (The Beatles) . . . . . . . . . . . . . . . . . . . . 19

I am the Walrus (The Beatles) . . . . . . . . . . . . . . . . . . . . . 20

Strawberry Fields forever (The Beatles) . . . . . . . . . . . . . . . 22

Hey Jude (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . 24

The Continuing Story of Bungalow Bill (The Beatles) . . . . . . . . 26

Happiness is a Warm Gun (The Beatles) . . . . . . . . . . . . . . . 27

Rocky Raccoon (The Beatles) . . . . . . . . . . . . . . . . . . . . . 28

Come Together (The Beatles) . . . . . . . . . . . . . . . . . . . . . 29

Maxwell’s Silver Hammer (The Beatles) . . . . . . . . . . . . . . . 30

Let it be (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . 32

Get back (The Beatles) . . . . . . . . . . . . . . . . . . . . . . . . . 33

The Gnome (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . 34

Fearless (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Time (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Brain Damage (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . 38

4 INHALTSVERZEICHNIS

Welcome to the Machine (Pink Floyd) . . . . . . . . . . . . . . . . 39

Wish You were here (Pink Floyd) . . . . . . . . . . . . . . . . . . . 40

Another Brick in the Wall (Pink Floyd) . . . . . . . . . . . . . . . . 41

Mother (Pink Floyd) . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Comfortably Numb (Pink Floyd) . . . . . . . . . . . . . . . . . . . 44

The Sounds of Silence (Simon & Garfunkel) . . . . . . . . . . . . . 46

Mrs. Robinson (Simon & Garfunkel) . . . . . . . . . . . . . . . . . 48

The Boxer (Simon & Garfunkel) . . . . . . . . . . . . . . . . . . . . 50

It’s Good to be King (Tom Petty) . . . . . . . . . . . . . . . . . . . 52

Hard on Me (Tom Petty) . . . . . . . . . . . . . . . . . . . . . . . 54

Blowin’ in the Wind (Bob Dylan) . . . . . . . . . . . . . . . . . . . 56

Knockin’ on Heaven’s Door (Bob Dylan) . . . . . . . . . . . . . . . 57

Father and Son (Cat Stevens) . . . . . . . . . . . . . . . . . . . . . 58

Morning has Broken (Cat Stevens) . . . . . . . . . . . . . . . . . . 59

Field of Mars (The Church) . . . . . . . . . . . . . . . . . . . . . . 60

Secret Corners (The Church) . . . . . . . . . . . . . . . . . . . . . 61

Lola (The Kinks) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Hotel California (Eagles) . . . . . . . . . . . . . . . . . . . . . . . . 64

Sex and Candy (Marcy Playground) . . . . . . . . . . . . . . . . . 66

House of the Rising Sun (Animals) . . . . . . . . . . . . . . . . . . 68

Lady in Black (Uriah Heep) . . . . . . . . . . . . . . . . . . . . . . 70

The Universal Soldier (Donovan) . . . . . . . . . . . . . . . . . . . 72

Where have all the Flowers Gone? (Peter, Paul & Mary) . . . . . . 74

Suzanne (Leonard Cohen) . . . . . . . . . . . . . . . . . . . . . . . 76

Seasons in the Sun (Terry Jacks) . . . . . . . . . . . . . . . . . . . 78

Streets of London (Ralph McTell) . . . . . . . . . . . . . . . . . . . 80

INHALTSVERZEICHNIS 5

Dust in the Wind (Kansas) . . . . . . . . . . . . . . . . . . . . . . 82

The One I Love (R.E.M.) . . . . . . . . . . . . . . . . . . . . . . . 83

Angie (The Rolling Stones) . . . . . . . . . . . . . . . . . . . . . . 84

Nights in White Satin (The Moody Blues) . . . . . . . . . . . . . . 85

When a Blind Man Cries (Deep Purple) . . . . . . . . . . . . . . . 86

Marooned (Wire) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Venus (Shocking Blue) . . . . . . . . . . . . . . . . . . . . . . . . . 88

Killing Me Softly with his Song (Roberta Flack) . . . . . . . . . . . 89

Sailing (Rod Stewart) . . . . . . . . . . . . . . . . . . . . . . . . . 90

Teach Your Children (Crosby, Stills, Nash & Young) . . . . . . . . 91

Throw down the Sword (Wishbone Ash) . . . . . . . . . . . . . . . 92

Two o’Clock (F. Rainer Bechtold) . . . . . . . . . . . . . . . . . . . 93

Ick heff mol en Hamburg en Veermaster sehn . . . . . . . . . . . . 94

What shall We do with the Drunken Sailor? . . . . . . . . . . . . . 96

Go down, Moses! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

O Tannenbaum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Laßt uns froh und munter sein . . . . . . . . . . . . . . . . . . . . . 100

Kling, Glockchen, klingelingeling . . . . . . . . . . . . . . . . . . . 101

Schneeflockchen, Weißrockchen . . . . . . . . . . . . . . . . . . . . 102

Schneeflockchen, Weißrockchen . . . . . . . . . . . . . . . . . . . . 103

Leise rieselt der Schnee . . . . . . . . . . . . . . . . . . . . . . . . . 104

Alle Jahre wieder . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Ihr Kinderlein, kommet . . . . . . . . . . . . . . . . . . . . . . . . 106

Ihr Kinderlein, kommet . . . . . . . . . . . . . . . . . . . . . . . . 107

O du frohliche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Stille Nacht, heilige Nacht! . . . . . . . . . . . . . . . . . . . . . . . 109

6 INHALTSVERZEICHNIS

Dicke (Marius Muller-Westernhagen) . . . . . . . . . . . . . . . . . 110

Gruß mir die Genossen (Marius Muller-Westernhagen) . . . . . . . 112

Ja, so warn s’ die alten Rittersleut (Karl Valentin) . . . . . . . . . . 114

Ja, so warn s’ die alten Rittersleut . . . . . . . . . . . . . . . . . . 116

Aloha Heja He (Achim Reichel) . . . . . . . . . . . . . . . . . . . . 118

Aloha Heja He . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Mein kleiner gruner Kaktus (Comedian Harmonists) . . . . . . . . 122

Straßen unserer Stadt (Christian Heilburg) . . . . . . . . . . . . . . 124

Und keiner soll sagen . . . (Willy Millowitsch) . . . . . . . . . . . . . 126

Wie schon, daß du geboren bist (Rolf Zuckowski) . . . . . . . . . . 128

Kinder (Bettina Wegener) . . . . . . . . . . . . . . . . . . . . . . . 130

Sieben Tage lang (Bots) . . . . . . . . . . . . . . . . . . . . . . . . 131

Marmor, Stein und Eisen (Drafi Deutscher) . . . . . . . . . . . . . 132

Yenawe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Die Affen rasen durch den Wald . . . . . . . . . . . . . . . . . . . . 134

Lustig ist das Zigeunerleben . . . . . . . . . . . . . . . . . . . . . . 136

Bolle reiste jungst zu Pfingsten . . . . . . . . . . . . . . . . . . . . 138

Pizza-Blues (Christof Schardt) . . . . . . . . . . . . . . . . . . . . . 140

Raucherhusten-Blues . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Microsoft-Blues (Hartmut Henkel) . . . . . . . . . . . . . . . . . . 143

Wickie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Das Urmel-Lied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

O du lieber Augustin . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Auf einem Baum ein Kuckuck saß . . . . . . . . . . . . . . . . . . . 147

Sabotage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Otto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

INHALTSVERZEICHNIS 7

Bruder Jakob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Creutzfeldt-Jakob (Elmar Horig) . . . . . . . . . . . . . . . . . . . 151

Negeraufstand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Scheiße . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Gitarren-Griffe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

CD-Verzeichnis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

8

All My Loving (The Beatles)

Close youraeyes and I’ll k

D7

iss you,

tomGorrow I’ll m

eiss you,

remCember I’ll

aalways be tr

Fue.

And then whaile I’m aw

D7

ay,

I’ll write hGome ev’ry d

eay,

and I’ll sCend all my l

D7

oving to yGou.

I’ll pretaend that I’m k

D7

issing

the lGips I am m

eissing

and hCope that my dr

aeams will come tr

Fue.

And then whaile I’m aw

D7

ay,

I’ll write hGome ev’ry d

eay,

and I’ll sCend all my l

D7

oving to yGou.

All my leoving

H7

I will sH+

end to yGou.

All my leoving, d

H7

arling,H+

I’ll be trGue.

9

I Want to Hold Your Hand (The Beatles)

GOh yeh,

CI’ll tell you s

Gomething,

aI think you’ll underst

eand.

ThenCI’ll say that s

Gomething,

aI wanna hold your h

eand.

FI wanna h

Gold your h

Cand,

a FI wanna h

Gold your h

Cand.

GOh pl

Cease, say to m

Ge,

ayou’ll let me be your m

ean.

And plCease, say to m

Ge,

ayou’ll let me hold your h

eand.

FNow let me h

Gold your h

Cand,

a FI wanna h

Gold your h

Cand.

g7

And when I tC7

ouch you I feel hFappy ins

dide.

g7

It’s such a fC7

eeling that my lFove I can’t h

Gide.

FI can’t h

Gide,

FI can’t h

Gide.

GOh y

Cou got that s

Gomething,


eand.

WhenCI feel that s

Gomething,


eand.

FI wanna h

Gold your h

Cand,

a FI wanna h

Gold your h

Cand.

g7

And when I tC7

ouch you I feel hFappy ins

dide.

g7

It’s such a fC7

eeling that my lFove I can’t h

Gide.

FI can’t h

Gide,

FI can’t h

Gide.

GOh y

Cou got that s

Gomething,


eand.

WhenCI feel that s

Gomething,


eand.

FI wanna h

Gold your h

Cand,

a FI wanna h

Gold your h

Eand.

FI wanna h

Gold your h

Fand.

C

10

And I Love Her (The Beatles)

aI give her

eall my love,

athat’s all I d

eo,

aand if you s

eaw my love,

Cyou’d love her t

D7

oo, I lGove her.

aShe gives me

eev’rything,

aand tenderl

ey,

athe kiss my l

eover brings,

Cshe brings to m

D7

e, and I lGove her.

eA love like

hours

ecould never d

hie

eas long as

hI have you n

D7

ear me.

aBright are the st

ears that shine,

adark is the sk

ey,

aI know this l

eove of mine

Cwill never d

D7

ie, and I lGove her.

11

Eight Days a Week (The Beatles)

COoh I need your l

D7

ove babe, gFuess you know it’s tr

Cue.

CHope you need my l

D7

ove babe, jFust like I need y

Cou.

Haold me, l

Fove me, h

aold me, l

D7

ove me.

CAin’t got nothin’ but l

D7

ove babe,Feight days a w

Ceek.

CLove you ev’ry d

D7

ay girl,Falways on my m

Cind.

COne thing I can s

D7

ay girl, lFove you all the t

Cime.

Haold me, l

Fove me, h

aold me, l

D7

ove me.


D7

ove girl,Feight days a w

Ceek.

GEight days a week I l

aove you.

D7

Eight days a week is nFot enough to sh

G7

ow I care.

COoh I need your l

D7

ove babe, gFuess you know it’s tr

Cue.

CHope you need my l

D7

ove babe, jFust like I need y

Cou.

Haold me, l

Fove me, h

aold me, l

D7

ove me.


D7

ove babe,Feight days a w

Ceek.

GEight days a week I l

aove you.

D7

Eight days a week is nFot enough to sh

G7

ow I care.

CLove you ev’ry d

D7

ay girl,Falways on my m

Cind.

COne thing I can s

D7

ay girl, lFove you all the t

Cime.

Haold me, l

Fove me, h

aold me, l

D7

ove me.


D7

ove girl,Feight days a w

Ceek.

FEight days a w

Ceek.

FEight days a w

Ceek.

12

Help! (The Beatles)

GWhen I was younger, so much y

hounger than today,

eI never needed anybody’s h

Celp in

Fany w

Gay.

GBut now these days are gone, I’m n

hot so self assured.

eNow I find I’ve changed my mind, I’ve

Copened

Fup the d

Goors.

aHelp me if you can, I’m feeling down.

And I dFo appreciate you being ’round.

HDelp me get my feet back on the ground.

Won’t you plGease, please, help me?

GAnd now my life has changed in,

hoh, so many ways,

emy independence seems to v

Canish

Fin the h

Gaze.

GBut ev’ry now and then I f

heel so insecure,

eI know that I just need you like I’ve n

Cever d

Fone bef

Gore.

Help! (The Beatles) 13





GWhen I was younger, so much y

hounger than today,

eI never needed anybody’s h

Celp in

Fany w

Gay.

GBut now these days are gone, I’m n

hot so self assured.

eNow I find I’ve changed my mind, I’ve

Copened

Fup the d

Goors.





eHelp me! Help m

Ge! Oo!

14

Norwegian Wood (This Bird has Flown) (The Beatles)

DI once had a girl, or should I say, sh

Ce once had m

De.

ShDe showed me her room, isn’t it good, N

Corwegian w

Dood?

Shedasked me to stay and she told me to sit anywh

Gere.

SodI looked around and I noticed there wasn’t a ch

Gair.

A

DI sat on a rug, biding my time, dr

Cinking her w

Dine.

WDe talked until two, and then she said, “

CIt’s time for b

Ded.”

She tdold me she worked in the morning and started to l

Gaugh.

I tdold her I didn’t and crawled off to sleep in the b

Gath.

A

DAnd when I awoke, I was alone, th

Cis bird had fl

Down.

SDo I lit a fire, isn’t it good, N

Corwegian w

Dood?

15

Girl (The Beatles)

Is thereaanybody goin’ to listen to my story,

dall about the girl who came to st

aay?

EShe’s the k

aind of girl you want so much it makes you sorry.

Stdill, you don’t regret a single d

aay.

FAh, g

Cirl!

d7 G7

GCirl!

d7 G7

When I thaink of all the times I’ve tried so hard to leave her,

shde will turn to me and start to cr

ay.

EAnd she pr

aomises the earth to me and I believe her,

dafter all this time I don’t know wh

ay.

FAh, g

Cirl!

d7 G7

GCirl!

d7 G7

Shde’s the kind of girl who puts you d

A7

own when friends are there,

you feel a fdool.

A7

Whden you say she’s looking good, she

A7

acts as if it’s understood,

she’s cdool, cool, cool, cool.

GCirl!

d7 G7

GCirl!

d7 G7

Was she taold when she was young that fame would lead to pleasure?

Ddid she understand it when they s

aaid,

Ethat a m

aan must break his back to earn his day of leisure?

Wdill she still believe it when he’s d

aead?

FAh, g

Cirl!

d7 G7

GCirl!

d7 G7

GCirl!

d7 G7

GCirl!

16

In My Life (The Beatles)

There are plAaces I’ll rem

f ]

ember

A7

all my lDife,

dthough s

Aome have changed,

some forever, not for bf ]

etter,

A7

some have gDone

dand s

Aome remain.

All these plf ]

aces had their mDoments

with lGovers and friends I st

Aill can recall,

some are df ]

ead and some are lH7

iving,

in mDy l

dife I’ve l

Aoved them all.

EBut of

Aall these friends and l

f ]

overs,

A7

there is nDo

done comp

Aares with you,

and these mem’ries lose their mf ]

eaning,

A7

when I thDink of l

dove as s

Aomething new.

Though I knf ]

ow I’ll never lose affDection

for pGeople and things that w

Aent before,

I knf ]

ow I’ll often stop and think abH7

out them,

in mDy l

dife I’ll l

Aove you more.

EThough I kn

f ]

ow I’ll never lose affDection

for pGeople and things that w

Aent before,

I knf ]

ow I’ll often stop and think abH7

out them,

in mDy l

dife I’ll l

Aove you more.

EIn my life I’ll love you m

Aore.

E A

17

Eleanor Rigby (The Beatles)

CAh, look at all the lonely p

eeople!

CAh, look at all the lonely p

eeople!

eEleanor Rigby picks up the rice in the church where a wedding has

bCeen, lives in a dr

eeam, waits at the window, wearing the face that she

keeps in a jar by the dCoor. Who is it f

eor?

e7

All the lonely pe6

eople, where dCo they all come fr

eom?

e7

All the lonely pe6

eople, where dCo they all bel

eong?

Feather McKenzie writing the words of a sermon that no one will h

Cear.

No one comes neear. Look at him working, darning his socks in the night

when there’s nobody thCere. What does he c

eare?

e7

All the lonely pe6


eom?

e7

All the lonely pe6


eong?

eEleanor Rigby died in the church and was buried along with her n

Came.

Nobody ceame. Father McKenzie wiping the dirt from his hands as he

walks from the grCave. No one was s

eaved.

e7

All the lonely pe6


eom?

e7

All the lonely pe6


eong?

18

Yellow Submarine (The Beatles)

In the tGown, where

FI was b

Corn, l

aived a m

dan, who s

Failed to s

Gea.

CAnd he t

Gold us

Fof his l

Cife

ain the l

dand of s

Fubmar

Gines.

SCo we s

Gailed up t

Fo the s

Cun, t

aill we f

dound the s

Fea of gr

Geen.

CAnd we l

Gived ben

Feath the w

Caves

ain our y

dellow s

Fubmar

Gine.

WCe all live in a y

Gellow submarine, y

Gellow submarine, y

Cellow submarine.

WCe all live in a y

Gellow submarine, y

Gellow submarine, y

Cellow submarine.

CAnd our fr

Giends are

Fall on b

Coard, m

aany m

dore of them l

Five next d

Goor.

CAnd the b

Gand beg

Fins to pl

Cay:

a d7 G7 C

WCe all live in a y

Gellow submarine, y

Gellow submarine, y

Cellow submarine.

WCe all live in a y

Gellow submarine, y

Gellow submarine, y

Cellow submarine.

CAs we l

Give a l

Fife of

Cease,

aev’ry

done of us has

Fall we n

Geed.

SkCy of bl

Gue and s

Fea of gr

Ceen

ain our y

dellow s

Fubmar

Gine.

WCe all live in a y

Gellow submarine, y

Gellow submarine, y

Cellow submarine.

WCe all live in a y

Gellow submarine, y

Gellow submarine, y

Cellow submarine.

19

A Day in the Life (The Beatles)

GI read the n

hews today, oh b

eoy,

Cabout a l

eucky man who m

aade the grade.

GAnd though the n

hews was rather s

ead,

Cwell, I just h

Fad to l

eaugh.

CI saw the ph

Fotogr

eaph.

C

GHe blew his m

hind out in a c

ear.

CHe didn’t n

eotice that the l

aights had changed.

GA crowd of p

heople stood and st

eared,

Cthey’d seen his f

Face bef

eore.

Neobody was really sure if he was from the House of L

Cords.

GI saw a f

hilm today, oh b

eoy.

CThe English

earmy had just w

aon the war.

GA crowd of p

heople turned aw

eay,

Cbut I just h

Fad to l

eook.

eHaving read the b

Cook, I’d love to t

hurn y

Gou

eon.

GI heard the n

hews today, oh b

eoy,

Cfour thousand h

eoles in Blackburn L

aancashire.

GAnd though the h

holes were rather sm

eall,

Cthey had to c

Fount them

eall.

Neow they know how many holes it takes to fill the Albert H

Call.

I’d love to thurn y

Gou

eon.

20

I am the Walrus (The Beatles)

AI am he as y

A7

ou are he as

yCou are me and w

De are

Eall tog

Aeth

A7

er.

SCee how they run like pigs from a gun, see h

Dow they fly,

I’m crAying.

SAitting on a cornfl

A7

akeD

wFaiting for the v

Gan to c

Aome.

A7

CForporation tea shirt, stupid bloody Tuesday.

MHan, you been a naughty boy, you let your face grow long.

I am theCeggman, they are the

Deggman,

I am the wEalrus, goo goo g’ joob.

MAister City p’l

A7

iceman sitting

prCetty little p’l

Diceman

Ein a r

Aow.

A7

SCee how they fly like Lucy in the sky, see h

Dow they run,

I’m crAying.

I am the Walrus (The Beatles) 21

YAellow matter c

A7

ustardD

drFipping from a d

Gead dog’s

Aeye.

A7

CrFabalocker fishwife pornographic priestess.

BHoy, you been a naughty girl, you let your knickers down.


Deggman,


AExpert texpert ch

A7

oking smokers

dCon’t you think the j

Doker l

Eaughs at y

Aou?

A7

SCee how they smile like pigs in the sty, see h

Dow they snied,

I’m crAying.

SAemolina P

A7

ilchardsD

clFimbing up the

GEiffel T

Aower.

A7

FElement’ry penguin singing Hare Krishna.

MHan, you should have seen them kicking Edgar Allen Poe.


Deggman,


22

Strawberry Fields forever (The Beatles)

CLet me take you down ’cause I’m goin’ t

g7

o strawberry fields.

A7

Nothing is real, and nFothing to get h

A7

ung about

strFawberry fields for

Cever.

LGiving is

heasy with

G7

eyes closed.E7

aMisunderstanding all you s

Fee.

It’s getting hG7

ard to be someCone, but it all works

aout,

Fit doesn’t m

Gatter much to m

Fe.

C


g7


A7


A7

ung about


Cever.

NGo one, I th

hink, is in m

G7

y tree.E7

aI mean, it must be high or l

Fow.

That is, you knG7

ow, you can’t tuneCin, but it’s all r

aight,

Fthat is, I th

Gink, it’s not too b

Fad.

C

Strawberry Fields forever (The Beatles) 23


g7


A7


A7

ung about


Cever.

GAlways kn

how, somet

G7

imes thinkE7

it’s me.

Baut you know and I know and it’s a dr

Feam.

I think, I knG7

ow of thee, ah, yCes, but it’s all wr

aong,

Fthat is, I th

Gink, I disagr

Fee.

C


g7


A7


A7

ung about


Cever.

24

Hey Jude (The Beatles)

Hey JGude, don’t make it b

Dad,

take a sD7

ad song and make it bGetter.

RemCember to let her into your h

Geart,

then you can stD7

art to make it bGetter.

Hey JGude, don’t be afr

Daid,

you were mD7

ade to go out and gGet her.

The mCinute you let her under your sk

Gin,

then you begD7

in to make it bGetter.

G7

And any time you feel the pCain, hey Jude, refr

a7

ain,

don’t carry the wD7

orld upon your shGoulders.

G7

For now you know, that it’s a fCool, who plays it c

a7

ool

by making his wD7

orld a little cGolder.

Da da da dG7

a da, da da dD7

a da.

Hey Jude (The Beatles) 25

Hey JGude, don’t let me d

Down,

you have fD7

ound her, now go and gGet her.

RemCember to let her into your h

Geart,

then you can stD7

art to make it bGetter.

G7

So let it out and let itCin, hey Jude, beg

a7

in,

you’re waiting for sD7

omeone to perfGorm with.

G7

And don’t you know, that it’s just yCou, hey Jude, you’ll d

a7

o,

the movement you nD7

eed is on your shGoulder.

Da da da dG7

a da, da da dD7

a da.

Hey JGude, don’t make it b

Dad,

take a sD7

ad song and make it bGetter.

RemCember to let her under your sk

Gin,

then you’ll begD7

in to make it bGetter,

better, better, better, better, better, oh.

DGa da da d

Fa-da-da-da, d

Ca-da-da-da, hey J

Gude.

26

The Continuing Story of Bungalow Bill (Beatles)

HCey, B

G7

ungalow BCill, wh

fat did you k

Cill, B

fungalow B

G7

ill?

HAey, B

E7

ungalow BAill, wh

dat did you k

Aill, B

dungalow B

Eill?

He waent out tiger h

Cunting with his

Felephant and gun,

G

ain case of

Caccidents, he

Falways took his mom.

G

He’s theEAll American b

Gullet headed S

aaxon mother’s s

fon.

All the children sing: HCey, B

G7

ungalow BCill, wh

fat did you k

Cill, B

fungalow B

G7

ill?

HAey, B

E7

ungalow BAill, wh

dat did you k

Aill, B

dungalow B

Eill?

aDeep in the j

Cungle where the m

Fighty tiger lies,

G

aBill and his

Celephants were t

Faken by surprise.

G

ESo Captain M

Garvel zapped him r

aight between the

feyes.


G7

ungalow BCill, wh

fat did you k

Cill, B

fungalow B

G7

ill?

HAey, B

E7

ungalow BAill, wh

dat did you k

Aill, B

dungalow B

Eill?

aThe children

Casked him if to k

Fill was not a sin,

G

a“Not when he l

Cooked so fierce,” his m

Fother butted in.

G

EIf looks could k

Gill it would have been

aus instead of h

fim.


G7

ungalow BCill, wh

fat did you k

Cill, B

fungalow B

G7

ill?

HAey, B

E7

ungalow BAill, wh

dat did you k

Aill, B

dungalow B

Eill?

HCey, B

G7

ungalow BCill, wh

fat did you k

Cill, B

fungalow B

G7

ill?

HAey, B

E7

ungalow BAill, wh

dat did you k

Aill, B

dungalow B

Eill?

HCey, B

G7

ungalow BCill, wh

fat did you k

Cill, B

fungalow B

G7

ill?

HAey, B

E7

ungalow BAill, wh

dat did you k

Aill, B

dungalow B

Eill?

27

Happiness is a Warm Gun (The Beatles)

She’s naot a girl who m

eisses much,

ado do do do do dooo,

eoh yeah!

dShe’s well acquainted with the touch of the velvet hand

like a lizard on a waindow pane.

The mdan in the crowd with the multicolored mirrors

on his haobnail boots,

ldying with his eyes while his hands are busy working

aovertime,

da soap impression of his wife which he ate and donated

to the Naational Trust.

A7

A7

I need a fix ’cause I’m going down, down to the bits that I left up town.

CI need a fix ’cause I’m g

A7

oing down.

MA7

other Superior jCump the gun, M

A7

other Superior jG7

ump the gun.

MA7


A7

other Superior jG7

ump the gun.

MA7


A7

other Superior jG7

ump the gun.

CHappin

aess is a w

Farm gun!

G7 CHappin

aess is a w

Farm gun!

G7

CHappin

aess is a w

Farm gun!

G7 CHappin

aess is a w

Farm gun!

G7

fHappiness is a warm, yes it is, g

Cun!

a F G7 C a F G7 C

28

Rocky Raccoon (The Beatles)

a

Raocky Raccoon checked

D7

into his roomG7

only to find Gideon’s BCible.

Raocky had come equ

D7

ipped with a gun to shG7

oot off the legs of his rCival.

His ra7

ival it seems had brD7

oken his dreams by stG7

ealing the girl of his fCancy.

Her na7

ame was Magill, she cD7

alled herself Lil, butG7

ev’ryone knew her as NCancy.

Now shae and her man who c

D7

alled himself Dan wereG7

in the next room at the hCoedown.

Raocky burst in and gr

D7

inning a grin, he said, “DG7

anny Boy, this is a shCowdown.”

But Da7

aniel was hot, he drD7

ew first and shot and RG7

ocky collapsed in the cCorner.

Now the daoctor came in st

D7

inking of gin and procG7

eeded to lie on the tCable.

He said, “Ra7

ocky you met your match.” And Rocky said, “DD7

oc, it’s only a scratch,

and I’ll be bG7

etter, I’ll be better Doc, as soon as I amCable.”

Now Raocky Raccoon, he fell b

D7

ack in his roomG7

only to find Gideon’s BCible.

Gaideon checked out and he l

D7

eft it no doubt to hG7

elp with good Rocky’s revCival.

29

Come Together (The Beatles)

Hdere come old flat top, he come gr

dooving up slowly, he got J

doo Joo

eyeball, he one hdoly roller, he got

A7

hair down to his knee.

GG7

ot to be a joker, he just do what he please.d

Hde wear no shoeshine, he got t

doe jam football, he got m

donkey finger,

he shoot cdoca cola, he say

A7

“I know you, you know me.”

G7

One thing I can tell you is you got to be free.

Come toghether, right n

Gow,

Aover m

de.

Hde bag production, he got w

dalrus gumboot, he got

dO-no sideboard,

he one spdinal cracker, he got

A7

feet down below his knee.

HG7

old you in his armchair, you can feel his disease.


Gow,

Aover m

de.

Hde roller coaster, he got

dearly warning, he got M

duddy Water,

he one Mdo-jo filter, he say

A7

“One and one and one is three.”

GG7

ot to be good looking ’cause he’s so hard to see.


Gow,

Aover m

de.

30

Maxwell’s Silver Hammer (The Beatles)

JDoan was quizzical, st

H7

udied pataphysical sceience in the home,

lA7

ate nights all alone with a test tube,Doh, oh, oh,

A7

oh.

MDaxwell Edison, m

H7

ajoring in medicine, cealls her on the phone,

cA7

an I take you out to the pictures, JDo-o-o-o

A7

an?

But,E7

as she’s getting ready to go, a knA7

ock comes on the door:

BDang! Bang! Maxwell’s silver hammer came d

E7

own upon her head.

ClA7

ang! Clang! Maxwell’s silver hammer made seure, that sh

A7

e was dDead.

BDack in school again, M

H7

axwell plays the fool again,

teeacher gets annoyed,

wA7

ishing to avoid an unpleasant scDe-e-e-

A7

ene.

ShDe tells Max to stay, wh

H7

en the class has gone away,

seo, he waits behind,

wrA7

iting fifty times “I must not be sDo-o-o-

A7

o.”

But, whE7

en she turns her back on the boy, he crA7

eeps up from behind:

Maxwell’s Silver Hammer (The Beatles) 31


E7

own upon her head.

ClA7

ang! Clang! Maxwell’s silver hammer made seure, that sh

A7

e was dDead.

DP. C. Thirty-One, s

H7

aid, “We’ve caught a dirty one,”

Meaxwell stands alone,

pA7

ainting testimonial pictures,Doh, oh, oh,

A7

oh.

RDose and Valerie, scr

H7

eaming from the gallery, seay he must go free,

the jA7

udge does not agree, and he tells them sDo-o-o-

A7

o.

But,E7

as the words are leaving his lips, a nA7

oise came from behind:


E7

own upon his head.

ClA7

ang! Clang! Maxwell’s silver hammer made seure, that h

A7

e was dDead.

32

Let it be (The Beatles)

When I fCind myself in t

Gimes of trouble, M

aother Mary c

Fomes to me,

spCeaking words of w

Gisdom, let it b

Fe.

e D C

AndCin my hour of d

Garkness, she is st

aanding right in fr

Font of me,


Gisdom, let it b

Fe.

e D C

Let it bae, let it b

Ge, let it b

Fe, let it b

Ce,

whisper words of wGisdom, let it b

Fe.

e D C

And whCen the broken h

Gearted people l

aiving in the w

Forld agree,

thCere will be an

Ganswer, let it b

Fe.

e D C

For thCough they may be p

Garted, there is st

aill a chance, that th

Fey will see,

thCere will be an

Ganswer, let it b

Fe.

e D C


Ge, let it b

Fe, let it b

Ce,

there will be anGanswer, let it b

Fe.

e D C

And whCen the night is cl

Goudy, there is st

aill a light, that sh

Fines on me,

shCine until tom

Gorrow, let it b

Fe.

e D C

I wCake up to the s

Gound of music, M

aother Mary c

Fomes to me,


Gisdom, let it b

Fe.

e D C


Ge, let it b

Fe, let it b

Ce,

whisper words of wGisdom, let it b

Fe.

e D C

33

Get back (The Beatles)

A

G DJAo Jo was a man who thought he was a loner,

bDut he knew it couldn’t l

Aast.

JAo Jo left his home in Tucson, Arizona,

fDor some California gr

Aass.

GGDet b

Aack! Get back! Get b

Dack to where you once bel

Aonged.

GGDet b



Aonged.

G DSw

Aeet Loretta Martin thought she was a woman,

bDut she was another m

Aan.

AAll the girls around her say she’s got it coming,

bDut she gets it while she c

Aan.

GGDet b



Aonged.

GGDet b



Aonged.

G D A

34

The Gnome (Pink Floyd)

G D G D G D G D

I wDant to t

Aell you a st

Dory ’bout a l

Cittle m

Aan,

Cif I c

Aan.

A gnDome named Cr

Aimble-Cr

Domble, a l

Cittle gn

Aome stay

Cin their h

Aomes,

Geat

Ding, sl

Beep

Cing, dr

Fink

Cing th

Aeir w

Dine.

He wDore a sc

Aarlet t

Dunic, a bl

Cue green h

Aood, it l

Cooked quite g

Aood.

He hDad a b

Aig adv

Denture, a m

Cist of gr

Aass, fresh

Cair at l

Aast,

wGind

Ding, d

Bin

Cing, b

Fid

Cing h

Ais t

Dime.

And thGen one day,

Churr

Fay, an

Aother w

Eay from gn

Gomes to s

Day,

hGuuuurr

Day!

LookDat the sk

Ay, look

Dat the river,

Cisn’t it g

Aood?

C A

LookDat the sk

Ay, look

Dat the river,

Cisn’t it g

Aood?

C A

WGind

Ding, f

Bind

Cing pl

Fac

Ces t

Ao g

Do.

And thGen one day,

Churr

Fay, an

Aother w

Eay from gn

Gomes to s

Day,

hGuuuurr

Day!

HGuuuuuuuurr

Day!

35

Fearless (Pink Floyd)

G G G G C B G C B G

GYou say the hill’s too steep to climb,

C B Gshining.

C B G

GYou say you’d like to see me try,

C B Gclimbing.

C B A

AYou pick the place and I choose the t

Dime,

and now I clGimb that hill in my

Cown way.

GJust wait a while for the r

Cight day.

GAnd as I rise above the tr

Cee light and the clouds,

I look dDown, hear in the s

Cound of the things you said tod

Gay.

G G G G e2 e e2 e e2 G6 G C B G C B G

FGearlessly the idiot face the ground,

C B Gsmiling.

C B G

MGassing as the mergest tree turns round,

C B Gfounding.

C B A

AAnd who’s the fool who wears the gr

Dound?

Hoe dGown in your

Cown way.

GAnd ev’ry day is the r

Cight day.

GAnd as you rise above the f

Cear lines in this ground,

you look dDown, hear in the s

Cound of the faces in the gr

Gound.

G G G G G G G G G G G G

36

Time (Pink Floyd)

E f ] E f ] E F f ] E F f ]

f ] A E F f ]

Tf ]

icking away the moments that make up a dAull day,

you frEitter and waste the hours in an off hand w

f ]

ay.

Kf ]

icking around on a piece of ground in your hAome town,

wEaiting for someone or something to show you the w

f ]

ay.

TDired of lying in the sunshine, st

Aaying home to watch the rain,

yDou are young and life is long and th

Aere is time to kill today.

DAnd then one day you find,

c]

ten years have got behind you,

nho one told you when to run,

Eyou missed the starting gun.

f ] A E f ] f ] A E f ]

f ] A E f ] f ] A E f ]

D A D A D c] h E

And you rf ]

un and you run to catch up with the sun, but it’s sAinking,

and rEacing around to come up behind you ag

f ]

ain.

The sf ]

un is the same in the relative way, but you’reAolder,

shEorter of breath and one day closer to d

f ]

eath.

Time (Pink Floyd) 37

DEvery year is getting shorter, n

Aever seem to find the time,

plDans that either come to naught or h

Aalf a page of scribbled lines.

HDanging on in quiet desper

c]

ation is the English way,

the thime is gone, the song is over, th

Dought I’d something m

Fore to say.

E E7 A A4 E E7 A A4

E7

Home, home agAain,

A4 A

E7

I like to be here when I cAan.

A4 A

E7

When I come home cold and tAired,

A4 A

it’s gE7

ood to warm my bones beside the fAire.

A4 A

FCar away across the field,

the tholling of the iron bell

cFalls the faithful to their knees

to hGear the softly sp

Foken m

cagic sp

hells.

38

Brain Damage (Pink Floyd)

DThe lunatic is on the gr

G7

ass,D

the lunatic is on the grG7

ass.

DRemembering games and d

Eaisy chains and laughs,

gA7

ot to keep the loonies on the pDath.

D2 D

DThe lunatic is in the h

G7

all,D

the lunatics are in my hG7

all.

DThe paper holds their folded f

Eaces to the floor,

andA7

every day the paper boy brings mDore.

D2 D

GAnd if the dam breaks open m

Aany years too soon,

andCif there is no room upon the h

Gill,

Gand if your head explodes with d

Aark forbodings too,

I’ll sCee you on the dark side of the m

Goon.

h e A D

DThe lunatic is in my h

G7

ead,D

the lunatic is in my hG7

ead.

DYou raise the blade,

Eyou make the change,

A7

you re-arrange me ’till I’m sDane.

D2 D

DYou lock the door and thr

Eow away the key,

there’s sA7

omeone in my head, but it’s not mDe.

D2 D

GAnd if the cloud bursts, th

Aunder in your ear,

Cyou shout and no one seems to h

Gear.

GAnd if the band you’re in starts pl

Aaying different tunes,

I’ll sCee you on the dark side of the m

Goon.

h e A D

39

Welcome to the Machine (Pink Floyd)

e C e

eWelcome my son,

Cwelcome to the mach

eine.

CWhere have you been?

aIt’s alright, we know where you’ve b

eeen.

CYou’ve been in the pipeline, filling in time,

eprovided with toys and “Scouting for Boys”.

CYou bought a guitar to punish your ma,

eand you didn’t like school, and you know you’re nobody’s fool.

So wCelcome to the mach

eine.

e C e C e C e C e

eWelcome my son,

Cwelcome to the mach

eine.

CWhat did you dream?

aIt’s alright, we told you what to dr

eeam.

CYou dreamed of a big star,

ehe played a mean guitar.

CHe always ate in the Steak Bar,

ehe loved to drive in his Jaguar.

So wCelcome to the mach

eine.

e e e e e e e e e

40

Wish You were here (Pink Floyd)

a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)

F (C)So, so you think you can t

G (D)ell

heaven from hd (a)ell, blue skies from p

C (G)ain.

Can you tell a green fG (D)ield from a cold steel r

F (C)ail?

A smile from a vd (a)eil? Do you think you can t

C (G)ell?

C (G)And did they get you to tr

F (C)ade your heroes for gh

G (D)osts?

Hot ashes for trd (a)ees? Hot air for a c

C (G)ool breeze?

Cold comfort for chG (D)ange? And did you exch

F (C)ange

a walk on part in the wd (a)ar for a lead role in a c

C (G)age?

a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)

F (C)How I wish, how I wish you were h

G (D)ere.

We’re just twd (a)o lost souls swimming in a fish bowl,

C (G)year after year,

G (D)running over the same old ground.

F (C)What have we found?

The same old fd (a)ears. Wish you were h

C (G)ere.

a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)a7(e7) C (G) a7(e7) C (G) a7(e7) D7(A7) a7(e7) D7(A7) C (G)

41

Another Brick in the Wall (Part 2) (Pink Floyd)

Wde don’t need no education.

Wde don’t need no thought control.

No ddark sarcasm in the classroom.

Tdeacher leave the kids alone.

G

GHey teacher leave the kids al

done.

d C d C G d F

FAll in all it’s just an

Cother brick in the w

dall.

FAll in all you’re just an


dall.

Wde don’t need no education.

Wde don’t need no thought control.

No ddark sarcasm in the classroom.

Tdeachers leave the kids alone.

G

GHey teacher leave us kids al

done.

d C d C G d F



dall.



dall.

d d d d d d d d

42

Mother (Pink Floyd)

MGother do you think they’ll drop the b

Comb?

G

MGother do you think they’ll like the s

Cong?

G

MCother do you think they’ll try to break my b

Galls?

DOooh

Caaah, mother should I build a w

Gall?

MGother should I run for presid

Cent?

G

MGother should I trust the governm

Cent?

G

MCother will they put me in the firing l

Gine?

DOooh M

Ca, is it just a waist of t

Gime?

HGush now baby, baby don’t you cr

Cy.

MFama’s gonna make all of your n

Cightmares come true.

MFama’s gonna put all of her f

Cears into you.

MFama’s gonna keep you right here

Cunder her wing.

She wFon’t let you fly but she m

Cight let you sing.

MFama’s gonna keep baby c

Cosy and w

Garm.

DOoooh b

Cabe,

Dooooh b

Cabe,

Dooooh babe,

of cCourse mama’s gonna help build the w

Gall.

Mother (Pink Floyd) 43

G C G C G C D C G

MGother do you think she’s good en

Cough for m

Ge?

MGother do you think she’s danger

Cous to m

Ge?

MCother will she tear your little boy ap

Gart?

DOooh

Caaah, mother will she break my h

Geart?

HGush now baby, baby don’t you cr

Cy.

MFama’s gonna check out all your g

Cirl friends for you.

MFama won’t let anyone d

Cirty get through.

MFama’s gonna wait up unt

Cil you get in.

MFama will always find

Cout where you’ve been.

MFama’s gonna keep baby h

Cealthy and cl

Gean.

DOoooh b

Cabe,

Dooooh b

Cabe,

Dooooh babe,

you’llCalways be a baby to m

Ge.

MGother did it need to be so h

Cigh.

44

Comfortably Numb (Pink Floyd)

h

Hhello, hello, hello, is there anybody

Ain there?

Just nod if you can hGear me,

eis there

hanyone at home?

Chome on, come on now, I hear you’re f

Aeeling down.

ButGI can ease your p

eain and get you

hon your feet again.

Rhelax, relax, relax, I’ll need some inform

Aation first,

jGust the basic f

eacts, can you sh

how me where it hurts?

DThere is no pain, you are rec

Aeding.

DA distant ship smoke on the hor

Aizon.

CYou are only coming through in w

Gaves.

Your lCips move but I cannot hear what you’re s

Gaying.

WhenDI was a child, I had a f

Aever.

My hDands felt just like two ball

Aoons.

NCow I’ve got that feeling once ag

Gain, I can’t explain,

you would notCunderstand, this is not how I

Gam.

AI

Chave bec

Gome comfortably n

Dumb.

Comfortably Numb (Pink Floyd) 45

D A D A C G C G

AI

Chave bec

Gome comfortably n

Dumb.

hO.k., o.k., o.k., just a little p

Ain prick.

There’ll be no moreGaaaaaaa

eah! But you may f

heel a little sick.

Can you sthand up, stand up, stand up? I do believe it’s w

Aorking good.

That’ll keep you gGoing through the sh

eow, come

hon it’s time to go.

DThere is no pain, you are rec

Aeding.

DA distant ship smoke on the hor

Aizon.

CYou are only coming through in w

Gaves.

Your lCips move but I cannot hear what you’re s

Gaying.

WhenDI was a child, I caught a fl

Aeeting glimpse,

Dout of the corner of my

Aeye.

CI turned to look but it was g

Gone,

I cannot put my fingerCon it now, the child is grown, the dr

Geam is gone.

AI

Chave bec

Gome comfortably n

Dumb.

h A G e h h A G e hh A G e h h A G e hh A G e h h A G e h

46

The Sounds of Silence (Simon & Garfunkel)

Haello darkness, my old fr

Giend,

I’ve come to talk with you agaain,

because a vCision softl

Fy creep

Cing,

left its seeds while I wFas sleep

Cing,

and the vFision that was planted in my br

Cain

still remains,a C

within the sGound of s

ailence.

In restless draeams I walked al

Gone

narrow streets of cobblestaone,

’neath the hCalo of

Fa street l

Camp

I turned my collar to the cFold and d

Camp,

when myFeyes were stabbed by the flash of a neon l

Cight,

that split the night,a C

and touched the sGound of s

ailence.

And in the naaked light I s

Gaw

ten thousand people, maybe maore,

people tCalking with

Fout speak

Cing,

people hearing withFout listen

Cing,

people writing sFongs that voices never sh

Care . . .

and no one dare,a C

disturb the sGound of s

ailence.

The Sounds of Silence (Simon & Garfunkel) 47

“Faools!” said I, “you do not kn

Gow,

silence like a cancer graows.

Hear my wCords that I m

Fight teach y

Cou,

take my arms that I mFight reach y

Cou.”

But my wFords like silent raindrops f

Cell,

a. . .

Cand echoed in the w

Gells of s

ailence.

And the paeople bowed and pr

Gayed

to the neon god they maade,

and the sCign flashed out

Fits warn

Cing

in the words that it wFas form

Cing,

and the signs said, “The wFords of the prophets are written on the subway w

Calls

and tenement halls,a C

and whisper’d in the sGounds of s

ailence.”

48

Mrs. Robinson (Simon & Garfunkel)

And here’s to yCou, Mrs. R

aobinson,

JCesus loves you m

aore than you will kn

Fow, wo, wo, w

Go.

God bless you, plCease, Mrs. R

aobinson,

hCeaven holds a pl

aace for those who pr

Fay, hey, hey, h

dey, hey, hey, h

Aey.

We’d lAike to know a little bit about you for our files.

We’d lDike to help you learn to help yourself.

GLook around you,

Call you see are s

Fympathetic

deyes,

strAoll around the grounds unt

Gil you feel at home.

And here’s to yCou, Mrs. R

aobinson,

JCesus loves you m


Fow, wo, wo, w

Go.


aobinson,

hCeaven holds a pl


Fay, hey, hey, h

dey, hey, hey, h

Aey.

HAide it in a hiding place where no one ever goes.

PDut it in your pantry with your cupcakes.

GIt’s a little s

Cecret, just the R

Fobinsons’ aff

dair.

MAost of all, you’ve got to h

Gide it from the kids.

Mrs. Robinson (Simon & Garfunkel) 49

Coo, coo, ca-chCoo, Mrs. R

aobinson,

JCesus loves you m


Fow, wo, wo, w

Go.


aobinson,

hCeaven holds a pl


Fay, hey, hey, h

dey, hey, hey, h

Aey.

SAitting on a sofa on a sunday afternoon,

gDoing to the candidates’ debate.

GLaugh about it, sh

Cout about it, wh

Fen you’ve got to ch

doose,

Aev’ry way you look at it, you l

Gose.

Where have you gCone, Joe Di M

aaggio?

A nCation turns its l

aonely eyes to y

Fou, woo, woo, w

Goo.

What’s that you sCay, Mrs. R

aobinson?

“JColtin’ Joe” has l

aeft and gone aw

Fay, hey, hey, h

dey, hey, hey, h

Aey.

50

The Boxer (Simon & Garfunkel)

GI am just a poor boy though my story’s seldom t

eold,

I have squDandered my resistance for a p

aocket full of m

Dumbles, such are pr

Gomises.

All lies and jeest, still a m

Dan hears what he w

Cants to hear and disregards the r

Gest.

Hmm hmm hDmmmm, hmmmm hmm hmm h

Gmmmm.

When I lGeft my home and my family, I was no more than a b

eoy,

in the cDompany of strangers, in the qu

aiet of the r

Dailway station r

Gunning scared.

Laying leow, seeking

Dout the poorer qu

Carters where the ragged people g

Go,

looking fDor the places only they would kn

Gow.

Lie la leie, lie la l

Die la lie la lie, lie la l

eie, lie la l

Die la lie la l

Cie la la la la l

Gie.

AskingGonly workman’s wages I come looking for a j

eob,

but I get noDoffers, just a “c

aome-on” from the wh

Dores on Seventh

GAvenue.

I do decleare, there were t

Dimes when I was s

Co lonesome I took some comfort th

Gere.

Ula la lDah, lah la la l

Gah.

The Boxer (Simon & Garfunkel) 51

Now the yGears are rolling by me, they are rocking evenl

ey,

I amDolder than I once was, y

aounger than I’ll b

De, but that’s not un

Gusual.

No it isn’t streange, after ch

Danges upon ch

Canges we are more or less the s

Game,

after chDanges we are more or less the s

Game.



eie, lie la l

Die la lie la l

Cie la la la la l

Gie.



eie, lie la l

Die la lie la l

Cie la la la la l

Gie.

Then I’m lGaying out my winter clothes and wishing I was g

eone,

going hDome, where the N

aew York City w

Dinters aren’t bl

Geeding me,

hleading me,

e

going hDome.

G

In the clGearing stands a boxer and a fighter by his tr

eade,

and he cDarries the reminders of

aev’ry glove that l

Daid him down

or cGut him till he cried out, in his anger and his sh

eame:

“I am lDeaving, I am l

Ceaving!”, but the fighter still rem

Gains.

Hmm hmm hDmmmm.

G



eie, lie la l

Die la lie la l

Cie la la la la l

Gie.



eie, lie la l

Die la lie la l

Cie la la la la l

Gie.



eie, lie la l

Die la lie la l

Cie la la la la l

Gie.

52

It’s Good to be King (Tom Petty)

a d G a a d G a

It’s good to be kaing, if just for a wh

dile.

To be there in vGelvet, yeah; to give ’em a sm

aile.

It’s good to get haigh and never come d

down.

It’s good to be kGing of your own little t

aown.

aaCCeeYeah, the w

D2

orld would swD2

ing ifGI were k

Cing.

FeDCDe GCan I h

Gelp it if I

FeDCDe astill dr

D2

eam time to time?D4 D

It’s good to be kaing and have your own w

day.

Get a feeling of pGeace at the end of the d

aay.

And when your bulldog baarks and your canary s

dings,

you’re out there with wGinners, it’s good to be k

aing.

It’s Good to be King (Tom Petty) 53

aaCCeeYeah

D2

I’ll be kD2

ing when dGogs get w

Cings.

FeDCDe GCan I h

Gelp it if I

FeDCDe astill dr

D2

eam time to time?D4 D

a d G a a d G a

It’s good to be kaing and have your own w

dorld.

It helps to make frGiends, it’s good to meet g

airls.

A sweet little quaeen, who can’t run aw

day.

It’s good to be kGing, whatever it p

aays.

FeDCDe GExc

Guse me if I

FeDCDe Ghave some pl

Gace in my mind,

FeDCDe awhere I g

D2

o time to time.D4 D D4 D D4 D

a d G a a d G a

54

Hard on Me (Tom Petty)

d G a d G a

It’sdall I can d

Go, to k

aeep that little girl smiling,

dand keep my f

Gaith al

aive.

Tdakes all I g

Got to h

aold on to tomorrow.

And yGou want to make it h

F4

ard.F

Yeah, yGou want to make it h

F4

ard on mFe.

Sdome other t

Gime,

aI’d be understanding,

ydou were supp

Gosed to b

ae

the frdiend that I n

Geeded wh

aen I was down and now.

YGou want to make it h

F4

ard,F

yGou want to make it h

F4

ard on mFe.

Meaybe if I tr

aied, I could t

eurn the other ch

Ceek.

Meaybe, but how b

aig do I h

Dave to b

Ge?

D G

Hard on Me (Tom Petty) 55

d G a d G a d G a

Now yGou want to make it h

F4

ard.F


F4

ard on mFe.

Meaybe if I tr

aied, I could t

eurn the other ch

Ceek.

Meaybe, but how b

aig do I h

Dave to b

Ge?

D G

dI need some

Gone to p

aut their arm around me,

shdelter me fr

Gom all h

aarm

jdust as I f

Gind s

aomething to believe in.

YGou want to make it h

F4

ard,F


F4

ard on mFe.


F4

ard,F


F4

ard on mFe.

d G a d G a

56

Blowin’ in the Wind (Bob Dylan)

HCow many r

Foads must a m

Can walk down, bef

Core you c

Fall him a m

Gan?

HCow many s

Feas must a wh

Cite dove s

aail, bef

Core she sl

Feeps in the s

Gand?

HCow many t

Fimes must a c

Cannon ball fly, bef

Core they for

Fever are b

Ganned?

TheFanswer, my fr

G7

iend, is blCowin’ in the w

aind,

theFanswer is bl

G7

owin’ in the wCind.

HCow many t

Fimes must a m

Can look up, bef

Core he can s

Fee the sk

Gy?

HCow many

Fears must

Cone man h

aave, bef

Core he can h

Fear people cr

Gy?

HCow many d

Feaths will it t

Cake, till he knows, that s

Co many p

Feople have d

Gied?

TheFanswer, my fr

G7


aind,

theFanswer is bl

G7


HCow many y

Fears can a m

Countain exist, bef

Core it is w

Fashed to the s

Gea?

HCow many y

Fears can some p

Ceople ex

aist, bef

Core they’re all

Fowed to be fr

Gee?

HCow many t

Fimes can a m

Can turn his head, pret

Cending he j

Fust didn’t s

Gee?

TheFanswer, my fr

G7


aind,

theFanswer is bl

G7


57

Knockin’ on Heaven’s Door (Bob Dylan)

GMama, t

Dake this badge from m

ae.

GI can’t

Duse it anym

Core.

GIt’s getting d

Dark, too dark to s

aee,

Gfeels like I’m kn

Dockin’ on heaven’s d

Coor.

GKnock, knock, kn


aoor,

Gknock, knock, kn


Coor.

Hey, hey, hey, hey, yGeah. Knock, knock, kn


Coor.

GKnock, knock, kn


Coor.

GKnock, knock, kn


Coor.

G D a G D C

GMama, p

Dut those guns to the gr

aound,

G’cause I can’t sh

Doot them anym

Core.

GThat cold black cl

Doud is comin’ d

aown,

Gfeels like I’m kn


Coor.

GKnock, knock, kn


aoor,

Gknock, knock, kn


Coor.



Coor.

GKnock, knock, kn


Coor.

GKnock, knock, kn


Coor.

G D a G D C

GMama, wh

Dat’s about from my f

aace,

GI can’t s

Dee to it anym

Core.

GIt’s a f

Deeling that I just can’t tr

aain.

GI feel like I’m kn


Coor.

GKnock, knock, kn


aoor,

Gknock, knock, kn


Coor.



Coor.

GKnock, knock, kn


Coor.

GKnock, knock, kn


Coor.

G D a G D C G

58

Father and Son (Cat Stevens)

It’s not tGime to make a ch

Dange, just rel

Cax take it

a7

easy,

you’re still yGoung, that’s your f

eault, there’s so m

auch you have to kn

Dow.

Find a gGirl, settle d

Down, if you w

Cant you can m

a7

arry,

look at mGe, I am

eold but I’m h

aappy.

D

I wasGonce like you are n

h7

ow and I knCow that it’s not

a7

easy

to be cGalm when you’ve f

eound something g

aoing on.

D

But take your tGime, think a l

h7

ot, think ofCev’rything you’ve g

a7

ot,

for you will stGill be here tom

eorrow, but your dr

Deams may n

Got.

C G C

How canGI try to expl

h7

ain? When I dCo he turns aw

a7

ay again.

It’sGalways been the s

eame, same old st

aory.

D

From the mGoment I could t

h7

alk I wasCordered to l

a7

isten

now there’s a wGay and I kn

eow that I h

Dave to g

Go away. I kn

Dow, I h

Cave to g

Go.

It’s not tGime to make a ch

Dange, just sit d

Cown take it sl

a7

owy,

you’re still yGoung, that’s your f

eault, there’s so m

auch you have to go thr

Dough.

Find a gGirl, settle d

Down, if you w

Cant you can m

a7

arry,

look at mGe, I am

eold but I’m h

aappy.

D

All the tGimes that I’ve cr

h7

ied, keepingCall the things I kn

a7

ew inside,

it’s hGard but it’s h

earder to ign

aore it.

D

If they were rGight I’d agr

h7

ee but it’s thCem they know not m

a7

e,

now there’s a wGay and I kn

eow that I h

Dave to g

Go away. I kn

Dow I h

Cave to g

Go.

59

Morning has Broken (Cat Stevens)

D G A F] h G7 C F C

Morning has brCok

den l

Gike the first m

Forn

Cing,

blackbird has speok

aen l

D4

ike the fDirst b

Gird.

G7

PrCaise for the s

Finging, pr

Caise for the m

aorn

Ding,

prGaise for them spr

Cing

Fing, fr

G7

esh from the wCorld.

F G E a G C G7

Sweet the rain’s nCew f

dall, s

Gunlit from h

Feav

Cen,

like the first deewf

aall

D4

on the fDirst gr

Gass.

G7

PrCaise for the sw

Feetness

Cof the wet g

aard

Den,

sprGung in compl

Ceten

Fess wh

G7

ere his feet pCass.

F G E a F] h G D A7 D

Mine is the sDunl

eight, m

Aine is the m

Gorn

Ding.

Born of thef]

one lhight,

E7

Eden saw plAay.

PrDaise with el

Gation, pr

Daise ev’ry m

horn

Eing,

GAod’s recre

Dati

Gon

A7

of the new dDay.

G A F] h G7 C F C

a F] h G D A7 D

60

Field of Mars (The Church)

C4 C C4 C

C4

It’s a long way home from the fCield of Mars.

C4

Distant, alone, beneath the plCatinum stars.

GAnd I turn to look, and I’m n

Fever any closer.

GOnly just the rain m

Fakes the skin feel colder.

aAll my life seems so f

Gar away,

aall my life seems so f

Gar away.

C4

The air is soft in the fCield of Mars.

C4

Tears and loss feed theCovergrown grass.

GAnd I have to leave, but I n

Fever seem to go.

GOnly more sad clouds, where

Fautumn winds will blow.

aAll my dreams seem so l

Gong ago,

aall my dreams seem so l

Gong ago.

COoooh, f

Field of Mars,

Cooooh, f

Field of Mars.

C4

The time is past in the fCield of Mars.

C4

Grief won’t last in the depCarting cars.

GAnd I call her name, but she n

Fever, ever hears.

GAnd I call again to the cr

Fuelty of the years.

aOh, my love, she’s so f

Gar away,

aoh, my love, she’s so f

Gar away.

COoooh, f

Field of Mars,

Cooooh, f

Field of Mars.

C4 C C4 C G F G F a G a G

COoooh, f

Field of Mars,

Cooooh, f

Field of Mars.

C

61

Secret Corners (The Church)

C G4 F2 a G

C G4 F2 a G F

LCying alone,

G4

isn’t that you?

DrF2

ifting away is theaonly thing l

Geft to do.

SCuch a sad place, s

G4

uch a lost world,

but nF2

othing is sadder than the taears of a m

Gake-believe g

Firl.

WhCo is this child, wh

G4

o is this man?

F2

Only two people who are daoing

Gall they can.

FrCost on the ground, the cr

G4

uel winds of fate

blF2

ow us forever and I knaow there’s j

Gust no esc

Fape.

aRun to the secret corners

Eof your room,

I’ll still be wGaiting, I’ll still be w

Faiting.

C G4 F2 a G F C

62

Lola (The Kinks)

C C D E

I mEet her in a club down in old Soho,

where you drAink champagne and it t

Dastes like coca c

Eola,

see — oh — el — aye cAola.

She wEalked up to me and she asked me to dance,

IAasked her her name and in a d

Dark brown voice, she said L

Eola,

el — oh — el — aye LAola,

Dla la la la L

Cola.

C D E

Well,EI’m not the world’s most physical guy,

but when she squAeezed me tight she nearly br

Doke my spine, oh my L

Eola,

la la la la LAola.

Well,EI’m not dumb, but I can’t understand,

why she wAalked like a woman and t

Dalked like a man, oh my L

Eola,

la la la la LAola,

Dla la la la L

Cola.

C D E

Well, we drHank champagne and danced all night

F]

under electric candle light.

She pAicked me up and sat me on her knee

and said:A

“Dear boy, won’t you come home with me?”

Well,EI’m not the world’s most passionate guy,

but when I lAooked in her eyes, well, I

Dalmost fell for my L

Eola,

Lola (The Kinks) 63

la la la la LAola,

Dla la la la L

Cola.

C D

LEola, la la la la L

Aola,

Dla la la la L

Cola.

C D E

I pAushed h

Eer aw

Hay, I w

Aalked t

Eo the d

Hoor,

I fAell t

Eo the fl

Hoor, I got d

Eown

G]7

on my knc]

ees,

thenHI looked at her, and she at me.

Well, thEat’s the way that I want it to stay,

andAI always want it to b

De that way for my L

Eola,

la la la la LAola.

GEirls will be boys and boys will be girls,

it’s a mAixed up, muddled up, sh

Dook up world except for L

Eola,

la la la la LAola.

Well,HI left home just a week before

andF]

I’d never ever kissed a woman before.

But LAola smiled and took me by the hand

and said:A

“Dear boy, I’m gonna make you a man.”

Well,EI’m not the world’s most masculine man,

but I knAow what I am, and I’m gl

Dad I’m a man and so is L

Eola,

la la la la LAola,

Dla la la la L

Cola.

C D


Aola,

Dla la la la L

Cola.

C D


Aola,

Dla la la la L

Cola.

C D E

64

Hotel California (Eagles)

a E G D F C d Ea E G D F C d E

aOn a dark desert highway,

Ecool wind in my hair,

Gwarm smell of colitas

Drising up through the air.

FUp ahead in the distance,

CI saw a shimmering light.

dMy head grew heavy and my sight grew dim,

EI had to stop for the night.

aThere she stood in the doorway,

EI heard the mission bell.

GAnd I was thinking to myself, “this could be h

Deaven or this could be hell.”

FThen she lit up a candle

Cand she showed me the way.

dThere were voices down the corridor,

EI thought I heard them say . . .

F“Welcome to the Hotel Calif

Cornia.

Such a lEovely place, such a lovely place, such a l

aovely face.

PlFenty of room at the Hotel Calif

Cornia.

Any tdime of year, any time of year, you can f

Eind it here.”

aHer mind is Tiffany-twisted,

Eshe got the Mercedes bends.

GShe got a lot of pretty, pretty boys,

Dthat she calls friends.

FHow they dance in the courtyard, sw

Ceet summer sweat.

dSome dance to remember,

Esome dance to forget.

Hotel California (Eagles) 65

aSo I called up the captain,

E“please bring me my wine.”

He said,G

“we haven’t had that spirit here sinceD

nineteen sixty nine.”

FAnd still those voices are calling from f

Car away,

dwake you up in the middles of the night,

Ejust to hear them say . . .

F“Welcome to the Hotel Calif

Cornia.

Such a lEovely place, such a lovely place, such a l

aovely face.

They lFivin’ it up at the Hotel Calif

Cornia.

What a ndice surprise, what a nice surprise, bring your

Ealibis.”

aMirrors on the ceiling,

Ethe pink champagne on ice.

And she said,G

“we are all just prisoners here,D

of our own device.”

FAnd in the master’s chambers,

Cthey gathered for the feast.

dThey stab it with their steely knives, but they j

Eust can’t kill the beast.

aLast thing I remember, I was

Erunning for the door.

GI had to find the passage back to the pl

Dace I was before.

F“Relax!” said the night man, “we are

Cprogrammed to receive.

dYou can check out any time you like,

Ebut you can never leave.”

a E G D F C d Ea E G D F C d E

66

Sex and Candy (Marcy Playground)

hHangin’ round d

Gowntown by mys

F]

elf,

and I had sho much time to sit and th

Gink about mys

F]

elf,

and then there she whas like d

Gouble cherry p

F]

ie,

yeah, there she whas like d

Gisco superfl

F]

y.F]

I smell sex andh

candyG

here.A

Who’s that loungingh

in myG

chair?A

Who’s that castingh

devious stGares in my dir

Aection?

Mama this sAurely is a dr

Deam, y

Aeah.

h

Yeah, Mama this sGurely is a dr

Deam.

A h G F]

hHangin’ round d

Gowntown by mys

F]

elf,

and I had thoo much caffeine and I was th

Ginkin’ ’bout mys

F]

elf,

and then there she whas in pl

Gatform double s

F]

uede,

yeah, there she whas like d

Gisco lemon

F]

ade.F]

Sex and Candy (Marcy Playground) 67

I smell sex andh

candyG

here.A


in myG

chair?A



Aection?


Deam, y

Aeah.

h


Deam.

A h


Deam, y

Aeah.

h G F]

I smell sex andh

candyG

here.A


in myG

chair?A



Aection?


Deam.

A h


Deam.

A h


Deam, y

Aeah.

h

Yeah, Mama this mGust be my dr

Deam.

68

House of the Rising Sun (Animals)

a C D F a E a E

Thereais a h

Couse in N

Dew Orl

Feans,

they caall “The R

Cising S

Eun”.

And it’s baeen the r

Cuin for m

Dany poor b

Foys,

and Gaod I kn

Eow I’m

aone.

C D F a E a E

My maother w

Cas a t

Dailor,

F

she saewed my n

Cew blue j

Eeans.

My faather w

Cas a g

Damblin’ m

Fan,

way daown in N

Eew Orl

aeans.

C D F a E a E

Theaonly th

Cings a g

Dambler n

Feeds

are a sauitcase

Cand a tr

Eunk.

And theaonly t

Cime, h

De’s satisf

Fied,

is whaen he’s

Eon a dr

aunk.

C D F a E a E

House of the Rising Sun (Animals) 69

Oh maother,

Ctell your ch

Dildren,

F

not to dao the th

Cings I’ve d

Eone.

Spaend your l

Cive in s

Din and miser

Fy

in the haouse of the r

Eising s

aun.

C D F a E a E

Withaone foot

Con the pl

Datform,

F

theaother put

Con the tr

Eain,

I’m gaoing b

Cack to N

Dew Orl

Feans,

to waear that b

Eall and ch

aain.

C D F a E a E

Thereais a h

Couse in N

Dew Orl

Feans,

they caall “The R

Cising S

Eun”.

And it’s baeen the r

Cuin for m

Dany poor b

Foys,

and Gaod I kn

Eow I’m

aone.

C D F a E a E a

70

Lady in Black (Uriah Heep)

She ceame to me one morning, one lonely Sunday morning,

her lDong hair flowing in the m

eid-winter wind.

I kneow not how she found me, for in darkness I was walking,

and destrDuction lay around me from a f

eight I could not win.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

Sheeasked me name my foe then. I said the need within some men

to fDight and kill their brothers without th

eought of love or God.

And I beegged her, “give me horses to trample down my enemy!”

SoDeager was my passion to dev

eour this way of life.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

But she weould not think of battle that reduces men to animals,

soDeasy to begin and yet imp

eossible to end.

For shee, the mother of all men, did counsel me so wisely then,

I fDeared to walk alone again and

easked if she would stay.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

Lady in Black (Uriah Heep) 71

“Oh, leady, lend your hand!” I cried, “oh, let me rest here at your side!”

“Have fDaith and trust in me!” she said and f

eilled my heart with pride.

“Thereeis no strength in numbers, have no such misconception,

but whDen you need me, be assured, I w

eon’t be far away.”

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

Thus heaving spoke she turned away, and tho’ I found no words to say,

I stDood and watched until I saw her bl

eack cloak disappear.

My leabour is not easier, but now I know I’m not alone,

I fDind new heart each time I think up

eon that windy day.

Andeif one day she comes to you, drink deeply from her words so wise,

take cDourage from her as your prize and s

eay hello for me.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

eAhah

Gahahah

Dahahah

ea

Gahahah

Dahahah

ea.

72

The Universal Soldier (Donovan)

HDe is f

Cive feet tw

Do, and he’s s

Gix feet f

eour,

he fCights with m

Dissiles and with sp

Gears,

he isCall of thirty-

Done, and he’s

Gonly sevent

eeen,

’s been a sColdier for th

aousand y

Dears.

D7

He’s a CCatholic, a H

Dindu, an

Gatheist, a Ch

eein,

a BCuddhist and a B

Daptist and a J

Gew,

and he knCows, he shouldn’t k

Dill, and he kn

Gows, he always w

eill,

care for mCe, my friend, and

aI will care for y

Dou.

D7

And he’s fCighting for C

Danada, he’s f

Gighting for Fr

eance,

he’s fCighting for the

DU.S.

GA.,

and he’s fCighting for the R

Dussians, he’s f

Gighting for Jap

ean,

and he thCinks we put an

aend to war this w

Day.

D7

The Universal Soldier (Donovan) 73

And he’s fCighting for dem

Docracy, he’s f

Gighting for the R

eeds,

he sCays it’s for the p

Deace of

Gall,

he’s theCone, who must dec

Dide, who’s to l

Give and who’s to d

eie,

and he nCever sees the wr

aiting on the w

Dall.

D7

And withCout him, how would H

Ditler kill the p

Geople at Dach

eau,

withCout him Caesar w

Dould have stood al

Gone,

he’s theCone, who gives his b

Dody as a w

Geapon of the w

ear,

and withCout him always k

ailling can’t go

Don.

D7

He’s theCuniversal s

Doldier, and he r

Geally is to bl

eame,

hisCorders came from f

Dar away, no m

Gore.

They cCame from here and th

Dere, and y

Gou and me ain’t br

eothers,

cCan’t you see, this is not the way we p

aut an end to war!

74

Where have all the Flowers Gone? (P., P. & M.)

G e G e

WhGere have all the fl

eowers gone, l

a7

ong time pDassing?


eowers gone, l

aong time ag

D7

o?


eowers gone?

Ya7

oung girls have picked themD7

everyone.

WhCen will they

Gever learn? Wh

aen will they

Dever l

Gearn?

WhGere have all the y

eoung girls gone, l

a7

ong time pDassing?


eoung girls gone, l

aong time ag

D7

o?


eoung girls gone?

Ga7

one to husbandsD7

everyone.

WhCen will they

Gever learn? Wh

aen will they

Dever l

Gearn?

WhGere have all the h

eusbands gone, l

a7

ong time pDassing?


eusbands gone, l

aong time ag

D7

o?


eusbands gone?

Ga7

one to soldiersD7

everyone.

WhCen will they

Gever learn? Wh

aen will they

Dever l

Gearn?

Where have all the Flowers Gone? (Peter, Paul & Mary) 75

WhGere have all the s

eoldiers gone, l

a7

ong time pDassing?


eoldiers gone, l

aong time ag

D7

o?


eoldiers gone?

Ga7

one to graveyardsD7

everyone.

WhCen will they

Gever learn? Wh

aen will they

Dever l

Gearn?

WhGere have all the gr

eaveyards gone, l

a7

ong time pDassing?


eaveyards gone, l

aong time ag

D7

o?


eaveyards gone?

Ca7

overed with flowersD7

everyone.

WhCen will they

Gever learn? Wh

aen will they

Dever l

Gearn?


eowers gone, l

a7

ong time pDassing?


eowers gone, l

aong time ag

D7

o?


eowers gone?

Ya7

oung girls have picked themD7

everyone.

WhCen will they

Gever learn? Wh

aen will they

Dever l

Gearn?

76

Suzanne (Leonard Cohen)

SGuzanne takes you down to her place near the river,

you can haear the boats go by, you can spend the night beside her,

and you knGow that she’s half crazy,

but that’s why you want to be there,

and she fheeds you tea and oranges that come

Call the way from China,

and just whGen you mean to tell her that you h

aave no love to give her,

then she gGets you on her wavelength, and she l

aets the river answer

that you’veGalways been her lover.

GAnd you w

hant to travel with her, and you w

Cant to travel blind,

and you knGow she will trust you

for you’ve taouched her perfect body with your m

Gind.

And JGesus was a sailor when he walked upon the water,

and he spaent a long time watching from his lonely wooden tower,

and whGen he knew for certain, only drowning men could see him,

he said, “hAll men will be sailors then unt

Cil the sea shall free them.”

But hGe himself was broken long bef

aore the sky would open,

forsGaken, almost human, he s

aank beneath your wisdom

like a stGone.

Suzanne (Leonard Cohen) 77

GAnd you w

hant to travel with him, and you w


and you thGink maybe you’ll trust him

for he’s taouched your perfect body with his m

Gind.

Now SGuzanne takes your hand and she leads you to the river,

she is waearing rags and feathers from Salvation Army counters,

and the sGun pours down like honey on our lady of the harbour,

and she shhows you were to look among the g

Carbage and the flowers.

There are hGeroes in the seaweed, there are ch

aildren in the morning,

they are lGeaning out for love and they will l

aean that way forever,

while SGuzanne holds the mirror.

GAnd you w

hant to travel with her, and you w


and you knGow that you can trust her

for she’s taouched your perfect body with her m

Gind.

78

Seasons in the Sun (Terry Jacks)

GDood-bye to you, my trusted friend,

we’ve known each other since we were neine or ten.

Together we’ve climbed hills and trDees,

learned of love and ABAC’s,

skinned our hearts and skinned our knDees.

GDood-bye, my friend, it’s hard to die,

when all the birds are singingein the sky.

Now that the spring is in theDair, pretty girls are ev’rywh

Aere,

think of me and I’ll be thDere.

We had jDoy, we had fun, we had s

eeasons in the sun,

but the hAills that we climbed were just seasons out of t

Dime.

We had jAoy, we had fun, we had s

eeasons in the sun,

but the wAine and the song like the seasons all have g

Done.

GDood-bye, Papa, please pray for me,

I was the black sheep of the feamily.

You tried to teach me right from wrDong,

too much wine and too much sAong,

wonder how I got alDong.

Seasons in the Sun (Terry Jacks) 79

GDood-bye, Papa, it’s hard to die,


Now that the spring is in theDair, little children ev’rywh

Aere,

when you’ll see them I’ll be thDere.

We had jDoy, we had fun, we had s

eeasons in the sun,

but the hAills that we climbed were just seasons out of t

Dime.

We had jAoy, we had fun, we had s

eeasons in the sun,

but the wAine and the song like the seasons all have g

Done.

GDood-bye, Michelle, my little one,

you gave me love and helped me feind the sun.

And ev’ry time that I was dDown,

you would always come arAound

and get my feet back on the grDound.

GDood-bye, Michelle, it’s hard to die,


Now that the spring is in theDair, with the flowers ev’rywh

Aere,

I wish that we could both be thDere.

All our lDives we had fun, we had s

eeasons in the sun,

but the stAars we could reach were just starfish on the b

Deach.

80

Streets of London (Ralph McTell)

HCave you seen the

Gold man in the cl

aosed down m

earket,

kFicking up the p

Capers with his w

dorn out sh

Goes?

CIn his eyes you s

Gee no pride, h

aand held loosely b

ey his side,

yFesterday’s p

Capers telling y

Gesterday’s n

Cews.

So hFow can you t

Cell me you’re l

Gonel

ay

Dand say for you that the sun don’t sh

Gine?

G7

LCet me take you b

Gy the hand and l

aead you through the str

eeets of London,

FI’ll show you s

Comething to m

Gake you change your m

Cind.

HCave you seen the

Gold girl who w

aalks the streets of L

eondon,

dFirt in her h

Cair and her cl

dothes in r

Gags?

ShCe’s no time for t

Galkin’, she j

aust keeps right on w

ealkin’,

cFarrying her h

Come in two c

Garrier b

Cags.

So hFow can you t

Cell me you’re l

Gonel

ay


Gine?

G7

LCet me take you b

Gy the hand and l


eeets of London,

FI’ll show you s

Comething to m


Cind.

Streets of London (Ralph McTell) 81

In theCall night caf

Ge at a qu

aarter past el

eeven,

sFame old m

Can sitting th

dere on his

Gown.

LCooking at the w

Gorld over the r

aim of his t

eea cup,

Feach tea lasts an h

Cour and he w

Ganders home al

Cone.

So hFow can you t

Cell me you’re l

Gonel

ay


Gine?

G7

LCet me take you b

Gy the hand and l


eeets of London,

FI’ll show you s

Comething to m


Cind.

HCave you seen the

Gold man outs

aide the seaman’s m

eission,

mFemory fading w

Cith the medal r

dibbons that he w

Gears?

CIn our winter c

Gity the r

aain cries a little p

eity

for one mFore forgotten h

Cero and a w

Gorld that doesn’t c

Care.

So hFow can you t

Cell me you’re l

Gonel

ay


Gine?

G7

LCet me take you b

Gy the hand and l


eeets of London,

FI’ll show you s

Comething to m


Cind.

82

Dust in the Wind (Kansas)

C C7+ C2 C a2 a4 a a2

C2 C C7+ C2 a a2 a4 a

I clCose m

e7

yaeyes

Gonly for a m

doment and the m

aoment’s gone.

CAll m

e7

y draeams p

Gass before my

deyes and curi

aosity.

DDust

Gin the w

aind,

G Dall they are is d

Gust in the w

aind.

SCame

e7

old saong, j

Gust a drop of w

dater in an

aendless sea.

CAll w

e7

e dao cr

Gumbles to the gr

dound ’though we ref

ause to see.

DDust

Gin the w

aind,

G Dall we are is d

Gust in the w

aind.

C C7+ C2 C a2 a4 a a2

C2 C C7+ C2 a a2 a4 a

DCon’t h

e7

angaon, n

Gothing lasts for

dever but the

aearth and sky.

It slCips

e7

awaay and

Gall your money w

don’t another m

ainute buy.

DDust

Gin the w

aind,

G Dall we are is d

Gust in the w

aind.

DDust

Gin the w

aind,

G Dev’rything is d

Gust in the w

aind.

a a2 a4 a a2 a4 a a2

a4 a a2 a4 a a2 a4 aa2 a4 a a2 a4 a a2 a4 a

83

The One I Love (R.E.M.)

a (e) G (D2) a (e) a (e7) a (e) G (D2) a (e) a (e7)

Tha (e)is one goes out t

G (D2)o the one I l

a (e7)ove.


G (D2)o the one I’d l

a (e7)eft behind.

C (G)A simple pr

G (D)ob’ to

d (a)occupy my t

F (C)ime.


G (D2)o the one I l

a (e7)ove.

Fire!a (e) G (D2) a (e) a (e7)



G (D2)o the one I l

a (e7)ove.



a (e7)eft behind.

C (G)A simple pr

G (D)ob’ to

d (a)occupy my t

F (C)ime.


G (D2)o the one I l

a (e7)ove.



C (G) G (D) C (G) F (C) a (e) G (D2) a (e) a (e)


G (D2)o the one I l

a (e7)ove.



a (e7)eft . . . behind.

C (G)Another pr

G (D)ob’ has

d (a)occupied my t

F (C)ime.


G (D2)o the one I l

a (e7)ove.





a (e) C (G) C] (G]) d (a) G (D) G] (D]) a (e)

84

Angie (The Rolling Stones)

OhaAngie, oh

EAngie,

Gwhen will those d

Fark clouds disapp

Cear?

aAngie,

EAngie,

Gwhere will it l

Fead us from h

Cere?

With no lGoving in our souls and no m

doney in our c

aoats,

Cyou can’t s

Fay we’re satisf

Gied.

ButaAngie,

EAngie,

Gyou can’t s

Fay we never tr

Cied.

aAngie,

Eyou’re beautiful,

Gbut ain’t it t

Fime we said goodb

Cye?

aAngie,

EI still love you,

Gremember

Fall those nights we cr

Cied.

All the drGeams we held so close seemed to

dall go up in sm

aoke,

Clet me wh

Fisper in your

Gear.

aAngie,

EAngie,

Gwhere will it l

Fead us from h

Cere?

OhGAngie, don’t you weep, ah your k

disses still taste sw

aeet,

CI hate that s

Fadness in your

Geyes.

ButaAngie,

EAngie,

Gain’t it t

Fime we said goodb

Cye?

With no lGoving in our souls and no m

doney in our c

aoats,

Cyou can’t s

Fay we’re satisf

Gied.

ButdAngie, I still love you b

aaby!

dEv’rywhere I look I see your

aeyes.

dThere ain’t a woman that comes cl

aose to you.

CCome on, b

Faby, dry your

Geyes.

ButaAngie,

EAngie,

Gain’t it g

Food to be al

Cive?

aAngie,

EAngie,

Gthey can’t s

Fay we never tr

Cied.

85

Nights in White Satin (The Moody Blues)

h A h A

hNights in white S

Aatin,

hnever reaching the

Aend.

GLetters I’ve wr

Ditten,

Cnever meaning to s

hend.

Bheauty I’ve

Aalways missed,

hwith these eyes bef

Aore.

GJust what the tr

Duth is,

CI can’t say anym

hore.

Yes I lEove you, yes I l

Gove you, oh how I l

hove you.

A h A h

hGazing the p

Aeople,

hsome hand in h

Aand.

GJust what I’m g

Doing through,

Cthey can’t underst

hand.

Shome try to t

Aell me,

hthoughts they cannot def

Aend.

GJust what you w

Dant to be,

Cyou’ll be in the

hend.



hove you.

A h A h

h A G F]7 h A G F]7

h G h G e F]7 e F]7

h A D h D A h D A h



hove you.

A h A h



hove you.

A h A h

86

When a Blind Man Cries (Deep Purple)

h

hIf you’re leaving, close the door,

AI’m not expecting people

hanymore.

hHear me greeding lying on the floor,

Awhether I’m drunk or dead, I r

heally ain’t so sure.

hI’m a blind man,

DI’m a blind man,

Gand my world is p

eale.

hWhen a blind man cries,

DLord, you know, there

Gain’t

Da s

eadder

Dthale.

h A h A hh D G eh D G D e D h

hHad a friend once in a room,

Ahad a good time, but it

hended much to soon.

hIn a cold month, in that room,

Afound the reasons for the th

hings we had to do.

hI’m a blind man,

DI’m a blind man,

Gnow my room is c

eold.

hWhen a blind man cries,

DLord, you know, you f

Geeled

Dit fr

eom h

Dis s

houl.

87

Marooned (Wire)

d e

Aneunwilling sailor adr

Dift from arctic w

Gaters, ah

ea.

As the weater gets warmer my

Diceberg gets sm

Galler, ah

ea.

As he phours more petrol on he f

f ]

eels no fear.

As the fleames get nearer its th

Aoughts gets cl

Dearer, ah

ea.

A bleue white polar bear arr

Dives at the

Gend, ah

ea,

diveerting his attention, his f

Deelings froze

Gover, ah

ea.

I’mhonly a runaway

f ]

A W O L

eat the logical st

Aart

Dnot pr

hesent in the present

f ]

overbeoard with limited future,

A Dfut

eure.

And I’m sthanding alone, still g

f ]

etting a thrill

while the sheip is afloat, he’s l

Aosing his b

Doat, ah

ea.

88

Venus (Shocking Blue)

H7

A geoddess on a m

Aountain t

eop

Awas b

eurning like a s

Ailver fl

eame.

A

A seummit of b

Aeauty and l

eove

Aand V

eenus was her n

Aame.

e

She’s gaot it,

D aoh b

Daby, she’s g

eot it.

A e A

Well,CI’m your Venus,

H7

I’m your fire, at yeour des

Aire.

e A


H7


Aire.

e A

Her weeapon were her cr

Aystal

eeyes.

AM

eaking ev’ry m

Aan m

ead.

A

Bleack as the d

Aark night she w

eas,

Agot what n

eo one else h

Aad.

e

She’s gaot it,

D aoh b

Daby, she’s g

eot it.

A e A


H7


Aire.

e A


H7


Aire.

e A

eAh!

A e A eAh!

A e A

eAh!

A e A eAh!

A e A e

89

Killing Me Softly with his Song (Roberta Flack)

Streumming my pain with his f

aingers, s

D7

inging my life with his wGords.

Keilling me softly with h

Ais song, killing me s

Doftly with h

Cis song.

Telling my whGole life with h

Cis words, killing me s

E4

oftly with his sEong.

a7

I heard he sDang a good song,

GI heard he h

Cad a style.

a7

And so I cDame to see him and l

eisten for a while.

a7

And there he wD7

as, this young boy,G

a stranger tH7

o my eyes.


aingers, s

D7




Doftly with h

Cis song.



E4


a7

I felt all flDushed with fever,

Gembarrassed b

Cy the crowd.

a7

I felt he fDound my letters and r

eead each one out loud.

a7

I prayed that hD7

e would finish,G

but he jH7

ust kept right on.


aingers, s

D7




Doftly with h

Cis song.



E4


a7

He sang asDif he knew me

Gin all my d

Cark despair,

a7

and then he lDooked right through me, as

eif I wasn’t there.

a7

And he just kD7

ept on singing,G

singing clH7

ear and strong.


aingers, s

D7




Doftly with h

Cis song.



E4


90

Sailing (Rod Stewart)

I am sCailing, I am s

aailing, home ag

Fain, ’cross the s

Cea.

I am sDailing, stormy w

aaters, to be n

dear you, to be fr

Cee.

G

I am flCying, I am fl

aying, like a b

Fird, ’cross the sk

Cy.

I am flDying, passing h

aigh clouds, to be w

dith you, to be fr

Cee.

G

Can you hCear me, can you h

aear me,

through the dFark night, far aw

Cay.

I am dDying, forever tr

aying, to be w

dith you, who can s

Cay.

G

Can you hCear me, can you h

aear me,

through the dFark night, far aw

Cay.

I am dDying, forever tr

aying, to be w

dith you, who can s

Cay.

G

We are sCailing, we are s

aailing, home ag

Fain, ’cross the s

Cea.

We are sDailing, stormy w

aaters, to be n

dear you, to be fr

Cee.

Oh LGord, to be n

dear you, to be fr

Cee.

Oh LGord, to be n

dear you, to be fr

Cee.

91

Teach Your Children (Crosby, Stills, N. & Young)

YGou were on the r

Coad, must have a c

Gode, that you can l

Dive by.

And sGo become yours

Celf, because the p

Gast is just a g

Doodbye.

TGeach your children w

Cell, their father’s h

Gell will surely g

Do by.

And fGeed them on your dr

Ceams, the one they p

Gicks, the one they g

Do by.

GDon’t you ever ask them wh

Cy, if they told you, you would cr

Gy.

So just look at them and seiii

Ciii

Dgh, and say, they l

Gove you.

C G D

And yGou on tender y

Cears, after all the f

Gears,

that you’ve had as a schDoolboy.

And so please hGelp them with your t

Cears, they see the tr

Guth,

before they cDan die.

TGeach your parents w

Cell, their children’s h

Gell will slowly g

Do by.

And fGeed them on your dr

Ceams, the one they p

Gicks, the one they g

Do by.

GDon’t you ever ask them wh

Cy, if they told you, you would cr

Gy.

So just look at them and seiii

Ciii

Dgh, and say, they l

Gove you.

C G D

G

92

Throw down the Sword (Wishbone Ash)

a d a C ea d a C eG C d F G eG C d F G e

a C G D F C G4 G

aThrow down the sw

Cord, the f

Gight is done and

Dover,

Fneither l

Cost and neither w

G4

on.G

aTo cast aw

Cay the f

Gury of the b

Dattle,

Fand turn my w

Ceary eyes for h

Dome.

FThere were times when I st

Cood at death’s own d

Coor,

G a

only hGoping for an

Fanswer.

a C G D F C G4 G

aThrow down the sw

Cord,

Gand leave the gl

Dory,

Fa story t

Cime can never ch

G4

ange.G

aTo walk the r

Coad, the l

Goad I have to c

Darry,

Fa journey’s

Cend, a world that’s

Dold.

FThere were times when I st

Cood at death’s own d

Coor,

G a

only sGearching for an

Fanswer.

93

Two o’Clock (F. Rainer Bechtold)

cTwo o’clock in the morning,

G4

alone in my bGed,

fno one’s h

A[ere to say: “You h

Gaven’t to be sad!”

cI rummage my pillow,

G4

waiting for a drFdim

eam,

D[to tell me l

A[ies of a l

Gove never seen.

cThere has to be something

fI’m waiting for,

A[something to pray,

GI’m belonging for.

cI stand up every morning,

G4

go to work day by dGay.

fI get m

A[oney and I sp

Gend it by the way.

cThere’s nothing to live or die for,

G4

it’s true and I know whFdim

y,

D[no reason to l

A[augh and no r

Geason to cry.

cThere has to be something

fI’m waiting for,

A[something to pray,

GI’m belonging for.

COne day she will come to m

Fake everything ch

F7+

ange.

CShe will be the one to h

Felp me rearr

F7+

ange.

CI will be lucky by d

Fay and night I’ll be glad.

FOne day she’ll be th

Gere.

So lFet’s go and look for her,

let’s go and look, let’s go and look for hCer.

94

Ick heff mol en Hamburg en Veermaster sehn

Ick hCeff mol en Hamburg en V

Feerm

Gaster s

Cehn,

tCo my hood

Gah, t

Co my hood

Gah.

De MCasten so scheep as den Sch

Fipp

Ger sien B

Ceen,

tCo my hood

Gah h

Cood

Gah h

Co.

BlCow, boys, blow, for C

Faliforni

Co, there is pl

Fenty of gold,

so IGam t

Cold, on the banks of S

a7

acramG7

entCo.

Dat DCeck weer von Isen, vull Sch

Fiet

Gund vull Schm

Ceer,

tCo my hood

Gah, t

Co my hood

Gah.

Dat wCeer de Schietgang eer sch

Fonst

Ges Plas

Ceer,

tCo my hood

Gah h

Cood

Gah h

Co.


Faliforni

Co, there is pl

Fenty of gold,

so IGam t


a7

acramG7

entCo.

Dat LogCis weer vull Wanzen, de Komb

Fus w

Geer vull Dr

Ceck,

tCo my hood

Gah, t

Co my hood

Gah.

De BeschCuten, de leupen von s

Fulven

Gall w

Ceg,

tCo my hood

Gah h

Cood

Gah h

Co.


Faliforni

Co, there is pl

Fenty of gold,

so IGam t


a7

acramG7

entCo.

Ick heff mol en Hamburg en Veermaster sehn 95

Dat SCaltfleesch weer gron, und de Sp

Feck w

Geer vull M

Coden,

tCo my hood

Gah, t

Co my hood

Gah.

Und KCohm gev dat blots an W

Fiehn

Gachts

Cobend,

tCo my hood

Gah h

Cood

Gah h

Co.


Faliforni

Co, there is pl

Fenty of gold,

so IGam t


a7

acramG7

entCo.

Und wulln wCi mol seiln, ick s

Fegg d

Gat ja n

Cur,

tCo my hood

Gah, t

Co my hood

Gah.

Denn loop hCe dree vorut und veer w

Fedder r

Get

Cur,

tCo my hood

Gah h

Cood

Gah h

Co.


Faliforni

Co, there is pl

Fenty of gold,

so IGam t


a7

acramG7

entCo.

As dat SchCipp, so weer ok de K

Faa

Gaapt

Cain,

tCo my hood

Gah, t

Co my hood

Gah.

De LCud fur dat Schipp weern ok bl

Fots sch

Gangh

Ceit,

tCo my hood

Gah h

Cood

Gah h

Co.


Faliforni

Co, there is pl

Fenty of gold,

so IGam t


a7

acramG7

entCo.

96

What shall We do with the Drunken Sailor?

Whaat shall we do with the drunken sailor? Wh

Gat shall we do with the drunken sailor?

Whaat shall we do with the drunken sailor

eearly

Gin the m

aorning?

Haooray, and up she rises, h

Gooray, and up she rises,

haooray, and up she rises

eearly

Gin the m

aorning?

Taake him and shake him and try to awake him, t

Gake him and shake him and try to

awake him, taake him and shake him and try to awake him

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Gaive him a dose of salt and water, g

Give him a dose of salt and water,

gaive him a dose of salt and water

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Gaive him a dash with a bosom’s rubber, g

Give him a dash with a bosom’s rubber,

gaive him a dash with a bosom’s rubber

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Paut him in a long-boat till he’s sober, p

Gut him in a long-boat till he’s sober,

paut him in a long-boat till he’s sober

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Paull out the plug and wet him all over, p

Gull out the plug and wet him all over,

paull out the plug and wet him all over

eearly

Gin the m

aorning?

What shall We do with the Drunken Sailor? 97




eearly

Gin the m

aorning?

Haeave him by the leg in a running bowline, h

Geave him by the leg in a running bowline,

haeave him by the leg in a running bowline

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Paut him in the scuppers with a hose pipe on him, p

Gut him in the scuppers with a hose

pipe on him, paut him in the scuppers with a hose pipe on him

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Shaave his belly with a rusty razor, sh

Gave his belly with a rusty razor,

shaave his belly with a rusty razor

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Paut him in the bed of the captain’s daughter, p

Gut him in the bed of the captain’s

daughter, paut him in the bed of the captain’s daughter

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

Thaat’s what to do with a drunken sailor, th

Gat’s what to do with a drunken sailor,

thaat’s what to do with a drunken sailor

eearly

Gin the m

aorning?




eearly

Gin the m

aorning?

98

Go down, Moses!

WheneIsrael w

H7

as ineEgypt’s l

aand: l

H7

et my people geo!

Oppreessed so h

H7

ard they ceould not st

aand: l

H7

et my people geo!

Geo down, M

aoses, w

H7

ay down ineEgypt’s land, t

C7

ell ol’ Phearaoh: l

H7

et my people geo!

Thus speoke the L

H7

ord, bold Meoses s

aaid: l

H7

et my people geo!

If neot, I’ll sm

H7

ite your feirst-born d

aead: l

H7

et my people geo!

Geo down, M

aoses, w

H7


C7


H7

et my people geo!

Your feoes shall n

H7

ot befeore you st

aand: l

H7

et my people geo!

And yeou’ll poss

H7

ess fair Ceanaan’s l

aand: l

H7

et my people geo!

Geo down, M

aoses, w

H7


C7


H7

et my people geo!

You’ll neot get l

H7

ost in the weildern

aess: l

H7

et my people geo!

With a leighted c

H7

andleein your br

aeast: l

H7

et my people geo!

Geo down, M

aoses, w

H7


C7


H7

et my people geo!

No meore shall th

H7

ey in beondage t

aoil: l

H7

et my people geo!

Let theem come

H7

out witheEgypt’s sp

aoil: l

H7

et my people geo!

Geo down, M

aoses, w

H7


C7


H7

et my people geo!

Oh leet us

H7

all from beondage fl

aee: l

H7

et my people geo!

And leet us

H7

all in Chreist be fr

aee: l

H7

et my people geo!

Geo down, M

aoses, w

H7


C7


H7

et my people geo!

99

O Tannenbaum

O TGannenbaum, o Tannenbaum,

wie trDeu sind deine Bl

Gatter!

Du grGunst nicht nur zur S

Commerszeit,

neinDauch im Winter, w

Genn es schneit.


wie trDeu sind deine Bl

Gatter.


du kDannst mir sehr gef

Gallen!

WieGoft hat nicht zur W

Ceihnachtszeit,

ein BDaum von dir mich h

Gocherfreut!


du kDannst mir sehr gef

Gallen.


dein KlDeid will mich was l

Gehren:

Die HGoffnung und Best

Candigkeit

gibt MDut und Kraft zu j

Geder Zeit.


dein KlDeid will mich was l

Gehren.

100

Laßt uns froh und munter sein

LCaßt uns froh und munter sein

dund uns recht von H

Gerzen freun.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

BCald ist unsre Schule aus, d

dann ziehn wir vergn

Gugt nach Haus.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

DCann stell ich den Teller auf, N

diklaus legt gew

Giß was drauf.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

StCeht der Teller auf dem Tisch, s

ding ich nochmals fr

Goh und frisch.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

WCenn ich schlaf, dann traume ich: J

detzt bringt Niklaus w

Gas fur mich.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

WCenn ich aufgestanden bin, l

dauf ich schnell zum T

Geller hin.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

NCiklaus ist ein guter Mann, d

dem man nicht genug d

Ganken kann.

LCustig, lustig, tr

Galeralala, b

Cald ist Nikolaus

Gabend d

Ca, b

Cald ist Nikolaus

Gabend d

Ca.

101

Kling, Glockchen, klingelingeling

KlCing, Glockchen, klingelingeling, kl

Ging, Glockchen, kl

Cing!

LGaßt mich

Cein ihr K

Cind

Ger,

dist so k

Galt im W

G7

in—tCer,

Doffnet mir die T

Guren, l

Daßt mich nicht erfrier

Gen.


Ging, Glockchen, kl

Cing!


Ging, Glockchen, kl

Cing!

MGadchen, h

Cort, und B

Cubch

Gen, m

dacht mir

Gauf das St

G7

ubchCen,

brDing euch viele G

Gaben, s

Dollt euch dran erlab

Gen.


Ging, Glockchen, kl

Cing!


Ging, Glockchen, kl

Cing!

HGell ergl

Cuhn die K

Cerz

Gen,

doffnet m

Gir die H

G7

er—zCen,

wDill drin wohnen fr

Gohlich, fr

Dommes Kind, wie sel

Gig!


Ging, Glockchen, kl

Cing!

102

Schneeflockchen, Weißrockchen

SchneeflCockchen, Weißr

Gockchen, wann k

dommst du geschn

Ceit?

Du wCohnst in den W

Folken, dein W

Geg ist so w

Ceit.

Komm, sCetz dich ans F

Genster, du l

dieblicher St

Cern,

malst BlCumen und Bl

Fatter, wir h

Gaben dich g

Cern.

SchneeflCockchen, du d

Geckst uns die Bl

dumelein z

Cu.

Dann schlCafen sie s

Ficher, in h

Gimmlischer R

Cuh.

SchneeflCockchen, Weißr

Gockchen, komm z

du uns ins T

Cal.

Dann bCau’n wir den Schn

Feemann und w

Gerfen den B

Call.

103

Schneeflockchen, Weißrockchen (Floten, Klarinette)

III

II

I

GGG

44 34

34

34

� ��

� � �� C

� � �

� �� G

� �

� ÊÊ� ��ÊÊ� ��

GGG

44 � � �� d

� � �

��C

�

� ��

� �� C

� � �

GGG

44 � �� F� �

� ÉÉ� ��ÉÉ� �� ÉÉ� �

� � �� G

� � �

�

�C

�

>>>

104

Leise rieselt der Schnee

Leeise rieselt der Schn

Gee,

stCill und starr liegt der S

Gee,

wDeihnachtlich glanzet der W

eald,

fraeue dich, Christkind kommt b

Gald!

eIn den Herzen wird’s w

Garm,

stCill schweigt Kummer und H

Garm,

SDorge des Lebens verh

eallt,


Gald!

Beald ist Heilige N

Gacht,

ChCor der Engel erw

Gacht,

hDort nur, wie lieblich es sch

eallt,


Gald!

105

Alle Jahre wieder

CAlle Jahre wied

Ger k

Commt das Christusk

Gind

Cauf die Erde n

Fieder, w

Go wir Menschen s

Cind.

KCehrt mit seinem Seg

Gen

Cein in jedes H

Gaus,

gCeht auf allen W

Fegen m

Git uns ein und

Caus.

StCeht auch mir zur Seit

Ge, st

Cill und unerk

Gannt,

dCaß es treu mich l

Feite

Gan der lieben H

Cand.

106

Ihr Kinderlein, kommet

Ihr KCinderlein, kommet, o k

Gommet doch

Call!

Zur KrCippe her kommet in B

Gethlehems St

Call.

Und sGeht, was in d

dieser hochh

aeiligen N

Facht

der VGater im H

Cimmel fur Fr

Geude uns m

Cacht.

O sCeht in der Krippe im n

Gachtlichen St

Call,

seht hCier bei des Lichtleins hellgl

Ganzendem Str

Cahl

in rGeinlichen W

dindeln das h

aimmlische K

Find,

viel schGoner und h

Colder als

GEngel es s

Cind.

Da lCiegt es, das Kindlein, auf H

Geu und auf Str

Coh;

MarCia und Joseph betr

Gachten es fr

Coh.

Die rGedlichen H

dirten knien b

aetend dav

For;

hochGoben schwebt j

Cubelnd der

GEngelein Ch

Cor.

O bCeugt wie die Hirten anb

Getend die Kn

Cie,

erhCebet die Handlein und d

Ganket wie s

Cie.

Stimmt frGeudig, ihr K

dinder — wer s

aollt’ sich nicht fr

Feu’n? —,

stimmt frGeudig zum J

Cubel der

GEngel mit

Cein!

Was gCeben wir Kinder, was sch

Genken wir d

Cir,

du bCestes und liebstes der K

Ginder, daf

Cur?

Nichts wGillst du von Sch

datzen und R

aeichtum der W

Felt,

ein HGerz nur voll D

Cemut all

Gein dir gef

Callt.

107

Ihr Kinderlein, kommet (Floten, Klarinette)

III

II

I

GGG

44 44

44

44

��

��C

�

� ��

��

� ��

��G

�

� ��

��C

��

��

GGG

44 ��C

�

� ��

��

� ��

��G

�

� ��

��C

��

��

GGG

44 ��G

�

� ��

��d

�

� ��

��a

�

� ��

��F��

��

GGG

44 ��G

�

� ��

��C�

� ��

��G

�

� ��

��C

��

>>>

108

O du frohliche

CO du fr

Gohliche,

Co du s

Gelige,

gnCadenbr

aingende W

Deihnachtsz

Geit!

Wdelt ging verloren, Chr

Cist ist geboren:

FrCeue, fr

Feue dich, o Chr

Gistenh

Ceit!

CO du fr

Gohliche,

Co du s

Gelige,

gnCadenbr

aingende W

Deihnachtsz

Geit!

Chrdist ist erschienen,

Cuns zu versuhnen:

FrCeue, fr

Feue dich, o Chr

Gistenh

Ceit!

CO du fr

Gohliche,

Co du s

Gelige,

gnCadenbr

aingende W

Deihnachtsz

Geit!

Hdimmlische Heere j

Cauchzen dir Ehre:

FrCeue, fr

Feue dich, o Chr

Gistenh

Ceit!

109

Stille Nacht, heilige Nacht!

StGille Nacht, heilige Nacht!

DAlles schlaft,

Geinsam wacht

nCur das traute hochh

Geilige Paar,

hColder Knabe im l

Gockigen Haar,

schlDaf in himmlischer R

Guh, schl

Gaf in h

Dimmlischer R

Guh!


HDirten erst k

Gundgemacht

dCurch der Engel Hall

Geluja

tCont es laut von f

Gern und nah:

ChrDist, der Retter ist d

Ga, Chr

Gist, der R

Detter ist d

Ga.


GDottes Sohn,

Go wie lacht

LCieb’ aus deinem g

Gottlichen Mund,

dCa uns schlagt die r

Gettende Stund’:

ChrDist in deiner Geb

Gurt, Chr

Gist in d

Deiner Geb

Gurt!

110

Dicke (Marius Muller-Westernhagen)

aIch bin froh, daß ich kein Dicker bin,

denn DGicksein ist ’ne Qualerei.

FIch bin froh, daß ich so’n durrer Hering bin,

denn dEunn bedeutet, frei zu sein.

Mit Daicken macht man gerne Spaße, D

Gicke haben Atemnot.

Fur DFicke gibt’s nichts anzuzieh’n, D

Eicke sind zu dick zum Flieh’n.

Daicke haben schrecklich dicke Beine, D

Gicke ham ’n Doppelkinn.

Und DFicke schwitzen wie die Schweine, st

Eopfen, fressen in sich rinn.

Und daarum bin ich froh, daß ich kein Dicker bin,




Yeah, Daicke haben Blahungen, D

Gicke ham ’n dicken Po.

Und vFon den ganzen Abfuhrmitteln r

Eennen Dicke oft auf’s Klo.

Dicke (Marius Muller-Westernhagen) 111

Und darum, ja daarum bin ich froh, daß ich kein Dicker bin,




Daicke mussen standig fasten, dam

Git se nicht noch dicker wer’n.

Und hFam se endlich zehn Pfund abgenomm’n,

ja dann kEann man es noch nicht mal seh’n.

Daicke ham’s auch schrecklich schwer mit Frau’n,

denn DGicke sind nicht angesagt.

Drum mFussen Dicke auch Karriere machen,

mit KEohle ist man auch als Dicker gefragt.

Und daarum bin ich froh, daß ich kein Dicker bin,




. . . Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, Dicke, . . .

a G F E a G F E

a G F E a G F E a

Na, du fette Sau!

112

Gruß mir die Genossen (M. Muller-Westernhagen)

E C A

NEeulich sechs Uhr fruh tritt man mir die Tur ein.

EIch spring’ aus dem Bett, da sturmt die Polizei rein.

”Los, st

Aell’n sich an die Wand, man hat Sie erkannt,

ein NEachbar rief uns an, Sie sind ein Sympathisant.“

Ich sF]

ag’,”das muß ein

EIrrtum sein, ich b

Cin doch bloß ein B

Eurger.“

Doch die pflF]

ugen mir die WEohnung um, als w

Care ich ein W

Hurger.

In dem grEoßen grunen Wagen darf ich dann mitfahren.

Ich frEag’ nochmal,

”wieso?“

”Das wer’n Sie schon erfahren.“

Im PrAasidium dann Verhore, ich weiß von nichts, ich schwore.

Da brEullt mich einer an, daß ich die Ordnung store.

”M

F]

orgen kommt IhrEAnwalt, jetzt bl

Ceiben Sie erst mal h

Eier.

Sie krF]

iegen ’n schonesEEinzelzimmer, Z

Celle Nummer v

Hier.“

Gruß mir die Genossen (Marius Muller-Westernhagen) 113

EIrgendwelche Verruckte entfuhr’n in dieser Nacht

Eeinen Dusenjet und legen sich mit Helmut an.

MeinAAnwalt darf nicht kommen, die Sicherheit geht vor.

Da lEieg’ ich nun auf Eis und quatsche meine Wand an.

Nach WF]

ochen stellt sichEendlich raus, mein N

Cachbar ist bek

Eannt.

Er zF]

eigt fast taglich LEeute an, als Pension

Car da wurd’ er Denunzi

Hant.

”Wir t

Eun nur uns’re Pflicht.“ Das Tor wird aufgeschlossen.

Der SchlEießer sagt noch grinsend,

”gruß mir die Genossen.“

AEines wird mir klar, wenn irgendjemand schreit,

”Ges

Eetze mussen her,“ dem hau’ ich auf die Flossen.

JaF]

eines ist mir sEonnenklar, f

Calls wir glauben s

Eollten,

TF]

error konnt’ man mit TEerror bremsen,

dann sCind wir bald wieder so w

Heit . . .

114

Ja, so warn s’ die alten Rittersleut (Karl Valentin)

CIn Grunwald im Isartal, gl

aaubt’s es mir, es war amal,

dda hab’n edle Ritter g’haust, d

G7

enen hat’s vor gCar nix graust.

Ja, so wCarn s’, ja, so warn s’, ja, so warn s’, die

Falten R

Cittersleut,

ja, so wCarn s’, ja, so warn s’, die

G7

alten RitterslCeut.

GsCuffa ham s’ und des net wia,

aaus die Eimer Wein und Bier,

hdabn s’ dann alls zamgsuffa ghabt, d

G7

ann san s’ unterm TCisch drunt gflackt.


Falten R

Cittersleut,


G7

alten RitterslCeut.

SCo ein fruh’rer Rittersmann h

aatte so viel Eisen an,

die mdeisten Ritter, i muaß sagn’, h

G7

at deshalb da BlCitz daschlagn.


Falten R

Cittersleut,


G7

alten RitterslCeut.

JCeder Ritter allbekannt, tr

aug a ganz a blecherns Gwand,

hdat er sich a Loch neigrissen, h

G7

ats der Spangler lCoten mussen.


Falten R

Cittersleut,


G7

alten RitterslCeut.

RCitt ein Ritter auf dem Roß, w

aar das Risiko oft groß,

hdat so a Roß an Hupferer do, l

G7

ag im Dreck der gCuate Mo.


Falten R

Cittersleut,


G7

alten RitterslCeut.

Ja, so warn s’ die alten Rittersleut (Karl Valentin) 115

HCat ein Ritter den Katharr, d

aamals warn die Mittel rar,

der hat der Erkaltung trotzt,

G7

er hat grauschpert, gschnCauzt und grotzt.


Falten R

Cittersleut,


G7

alten RitterslCeut.

D’ RCitter, die warn lustge Leut,

ain der guaten alten Zeit,

’s wdar ja no a schonres Lebn, ’s h

G7

at no koa FinCanzamt gebn.


Falten R

Cittersleut,


G7

alten RitterslCeut.

D’ RCitter waren auch sehr reinlich, j

aeder Dreck war ihnen peinlich,

wdaren auf sich selbst bedacht, s

G7

elten habns’ in d’ HCosen gmacht.


Falten R

Cittersleut,


G7

alten RitterslCeut.

CUnd der Ritter Habenichts, d

aer hat namlich wirklich nichts,

’sdeinzge, was der Ritter hat,

G7

ist ein chronischCer Bankrott.


Falten R

Cittersleut,


G7

alten RitterslCeut.

Vom FCarbergrabn die Rittersleut, l

aebn nicht mehr, seit langer Zeit,

ndur die Geister von densolben, sp

G7

uken nachts in dCen Gewolben.


Falten R

Cittersleut,


G7

alten RitterslCeut.

116

Ja, so warn s’ die alten Rittersleut

CUnd der Ritter Alexander r

autschte uber’s Stiegnglander,

dunten stand ein Nagel vor — seitd

G7

em singt er im KnCabenchor.


Falten R

Cittersleut,


G7

alten RitterslCeut.

SchCifoan dort im Rittersland w

aart den Rittern unbekannt,

sie rdutschten mit

”hihi hoho“ hin

G7

unter auf dem BlCechpopo.


Falten R

Cittersleut,


G7

alten RitterslCeut.

CUnd der Ritter Kunibert s

aetzte sich verkehrt auf’s Pferd,

wdollte er nach hinten sehn, br

G7

aucht er sich nichtCumzudrehn.


Falten R

Cittersleut,


G7

alten RitterslCeut.

CUnd der Ritter Kuniblau h

aat ’ne tatowierte Frau,

wdenn er nachts net schlafa ko, sch

G7

aut er sich die BCuildn o.


Falten R

Cittersleut,


G7

alten RitterslCeut.

MCußt’ ein Ritter einmal pieseln, l

aieß er’s einfach ober rieseln,

hdatt’ er sein Visier nicht offen,

G7

ist der arme KCerl dersoffen.


Falten R

Cittersleut,


G7

alten RitterslCeut.

Ja, so warn s’ die alten Rittersleut 117

MCußt’ ein Ritter mal verreisen, l

aegt’ er seine Frau in Eisen,

ddoch der Knappe Friederich h

G7

atte einen DCieterich.


Falten R

Cittersleut,


G7

alten RitterslCeut.

FrCuher hab’n die Rittersleut n

aiemals g’fror’n zur Winterszeit,

dihre Rustung selbst im Kampf, h

G7

eizten sie mitCeig’nem Dampf.


Falten R

Cittersleut,


G7

alten RitterslCeut.

CAuf dem Burgturm steht ein Wachter, w

aeit hinaus ins Land da specht er,

ddaß sich keiner je erdreist, und

G7

in den BurghofCeinisch . . . schaut.


Falten R

Cittersleut,


G7

alten RitterslCeut.

CUnd der Ritter Friederich w

autete ganz furchterlich,

wdeil in seinem Blechgewand

G7

eine Wespe sCich befand.


Falten R

Cittersleut,


G7

alten RitterslCeut.

DCas Burgfraulein Kunigunde r

aoch gar schrocklich aus dem Munde,

bisdihr dereinst beim Minnedienste ein B

G7

andwurm aus dem HCalse grienste.


Falten R

Cittersleut,


G7

alten RitterslCeut.

118

Aloha Heja He (Achim Reichel)

a C G a a C G G

aHab’ die ganze W

Celt geseh’n

Gvon Singapur bis

aAberdeen.

aWenn Du mich fragst, wo’s am sch

Consten war,

Gsag ich Sansib

aar.

aEs war ’ne harte

CUberfahrt,

Gzehn Wochen nur das Deck geschr

aubbt.

Hab’ die Waelt verflucht, in den W

Cind gespuckt

Gund salziges W

aasser geschluckt.

a C G G

aAls wir den Anker warfen, war es h

Cimmlische Ruh’

und die SGonne stand senkrecht am H

aimmel.

Als ichauber die Reeling sah, da glaubte ich zu tr

Caumen:

Da war’n tGausend Boote und sie hielten auf uns z

au.

aIn den Booten waren M

Canner und Frau’n,

ihre LGeiber glanzten in der S

aonne.

Und sie saangen ein Lied, das kam mir s

Celtsam bekannt vor,

aber sGo hab ich’s noch nie geh

aort,

uuuh, sCo hab ich’s noch n

Gie geh

aort.

Aloha Heja He (Achim Reichel) 119

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aIhre Boote machten l

Cangsseits fest

und mit dem WGind wehte Gelachter her

auber.

aSie nahmen ihre Blumenkr

Canze ab und w

Garfen sie zu uns her

auber,

heeeh, und schCon war die P

Garty im G

aange.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

a C G G

aIch hab’ das Parad

Cies geseh’n,

Ges war um neunzehnhundertz

aehn.

Der Staeuermann hatte Matr

Cosen am Mast

und den ZGahlmeister ha’m die Gonok

aokken vernascht,

aber sConst war’n wir bei bester

G. . . Gesundheit.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

120

Aloha Heja He

a C G a a C G G

aHort euch mal die Gesch

Cichte an,

Gmein Opa war ein t

aoller Mann.

aDer hat die ganze W

Celt geseh’n

Gauf’m Segelschiff als K

aapitan.

aDa war mal’n Sturm auf h

Coher See,

Grundherum nur schwarze N

aacht.

aUnd der Mast zerbrach und das S

Cegel riß

undGalle hatten großen Sch

aiß.

a C G G

aAls dann irgendwann der M

Corgen kam,

wußte kGeiner mehr, wo sie war’n.

a

aPlotzlich schrie der Steuermann und z

Ceigte an den Horizont.

Da war’n tGausend Boote und sie kamen immer n

aaher.

aIn den Booten waren M

Canner und Frau’n

und sie wGinkten mit bunten T

auchern.

Und sie saangen ein Lied, das hat ein j

Ceder gekannt,

aber sGo hat’s noch keiner geh

aort,

aber sCo hat’s noch k

Geiner geh

aort.

Aloha Heja He 121

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aUnd es gab ein gr

Coßes Fest, alle f

Geierten uns’re R

aettung.

Man haorte die Trommeln den g

Canzen Tag,

Galle tanzten bis sp

aat in die Nacht,

und dann wCar da wieder d

Gieses L

aied.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

a C G G

aDer Kapt’n sah ’ne sch

Cone Frau,

Gdas war die Hauptlingst

aochter.

Er fauhrte sie zum Tr

Caualtar, d

Ger in einer Bambush

autte war,

und hCeut’ ist sie meine Omma.

G

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

aAloha Heja H

Ce Aloha Heja H

Ge Aloha Heja H

ae.

122

Mein kleiner gruner Kaktus (Comed. Harmonists)

BlAumen im G

E+

arten,A

so zwanzigE+

Arten

Avon Rosen, Tulpen und Narz

F]7

issen,

lheisten sich h

F]7

euteh

die kleinsten LF]7

eute,

H7

das will ich alles gar nicht wE7

issen.

Mein klAeiner gruner Kaktus steht draußen am Balk

Eon.

Hollari, hollari, hollarAo.

Was brAauch ich rote Rosen, was brauch ich roten M

Eohn?


Und wDenn ein Bosewicht was

AUngezog’nes spricht,

dann hH7

ol ich meinen Kaktus und der sticht, sticht, stEicht.


Eon.


MAan find’t gew

E+

ohnlichA

die FrauenE+

ahnlich

Aden Blumen, die sie gerne tr

F]7

agen.

Dhoch ich sag’ t

F]7

aglich,h

das ist nicht mF]7

oglich.

H7

Was soll’n die Leut’ sonst von mir sE7

agen?


Eon.


Mein kleiner gruner Kaktus (Comedian Harmonists) 123

Was brAauch ich rote Rosen, was brauch ich roten M

Eohn?


Und wDenn ein Bosewicht was

AUngezog’nes spricht,

dann hH7

ol ich meinen Kaktus und der sticht, sticht, stEicht.


Eon.


HAeute um v

E+

iereA

klopft’s an die TE+

ure.

ANanu, Besuch so fruh am T

F]7

age?

hEs war Herr Kr

F]7

auseh

vom NachbarhF]7

ause,

H7

der sagt:”Verzeih’n Sie, wenn ich fr

E7

age:

Sie hAab’n doch einen Kaktus auf Ihrem klein’n Balk

Eon?


Der fAiel soeben runter, was halten Sie dav

Eon?


Der fDiel mir auf’s Gesicht, ob ’s gl

Aauben oder nicht.

Nun wH7

eiß ich, daß Ihr kleiner gruner Kaktus stEicht.

BewAahr’n Sie Ihren Kaktus gefalligst andersw

Eo!

Hollari, hollari, hollarAo.“

124

Straßen unserer Stadt (Christian Heilburg)

SCiehst du dort den

Galten Mann, mit

aausgetret’nen Sch

euh’n

schlFurft er ubers Pfl

Caster und er s

dieht so mude

Gaus.

HCin und wieder h

Galt er an, n

aicht nur um sich

eauszuruh’n,

dFenn er hat kein Z

Ciel

Gund auch kein Zuh

Caus’.

Doch dFu redest n

Cur von

GEinsamk

aeit,

Dund daß die Sonne fur dich nicht sch

Geint.

G7

KComm und gib mir d

Geine Hand, ich f

auhre dich durch

euns’re Straßen.

FIch zeig dir M

Censchen, die w

Girklich einsam s

Cind.

KCennst du die

Galte Frau, die

aauf dem Marktplatz st

eeht

mFit schneeweißem H

Caar, welke Bl

dumen in der H

Gand?

Die LCeute geh’n vorb

Gei, sie m

aerkt nicht, wie die Z

eeit vergeht.

So stFeht sie jeden T

Cag, und n

Giemand stort sich dr

Can.

Doch dFu redest n

Cur von

GEinsamk

aeit,


Geint.

G7

KComm und gib mir d

Geine Hand, ich f

auhre dich durch

euns’re Straßen.

FIch zeig dir M

Censchen, die w

Girklich einsam s

Cind.

Straßen unserer Stadt (Christian Heilburg) 125

Im BCahnhofsrestaur

Gant sitzt um

aein Uhr in der Fr

euhe

dersFelbe alte M

Cann und er s

ditzt ganz all

Gein.

ErCist der letzte G

Gast, und das

aAufsteh’n macht ihm M

euhe,

fFunf leere St

Cunden, funf l

Geere Glaser W

Cein.

Doch dFu redest n

Cur von

GEinsamk

aeit,


Geint.

G7

KComm und gib mir d

Geine Hand, ich f

auhre dich durch

euns’re Straßen.

FIch zeig dir M

Censchen, die w

Girklich einsam s

Cind.

SCiehst du dort den

Galten Mann, mit

aausgetret’nen Sch

euh’n

schlFurft er ubers Pfl

Caster und er s

dieht so mude

Gaus.

DCenn in einer W

Gelt, in der n

aur noch Jugend z

eahlt,

Fist fur ihn kein Pl

Catz mehr

Gund auch kein Zuh

Caus’.

Doch dFu redest n

Cur von

GEinsamk

aeit,


Geint.

G7

KComm und gib mir d

Geine Hand, ich f

auhre dich durch

euns’re Straßen.

FIch zeig dir M

Censchen, die w

Girklich einsam s

Cind.

126

Und keiner soll sagen . . . (Willy Millowitsch)

Und kCeiner soll s

Gagen, wer da tr

Finkt, der sei schl

Cecht.

Denn furaalle, die da tr

dinken, wachst der H

G7

opfen erst rCecht.

Und derCeine trinkt Champ

Gagner, den der H

Fimmel ihm besch

Cert.

Und deraandre all die kleinen K

dummelchen, die er f

G7

indt auf derCErd.

Und deraandre all die kleinen K


G7

indt auf derCErd.

Und kCeiner soll s

Gagen, wer da

Fißt, der sei schl

Cecht.

Denn furaalle, die da

dessen, wachst der W

G7

eizen erst rCecht.

Und derCeine ißt die T

Gorte, die der H

Fimmel ihm besch

Cert.

Und deraandre all die kleinen Kr

dumelchen, die er f

G7

indt auf derCErd.

Und deraandre all die kleinen Kr

dumelchen, die er f

G7

indt auf derCErd.

Und kCeiner soll s

Gagen, wer da r

Faucht, der sei schl

Cecht.

Denn furaalle, die da r

dauchen, wachst der T

G7

abak erst rCecht.

Und derCeine raucht Hav

Ganna, die der H

Fimmel ihm besch

Cert.

Und deraandre all die kleinen St


G7

indt auf derCErd.

Und deraandre all die kleinen St


G7

indt auf derCErd.

Und kCeiner soll s

Gagen, wer da f

Fahrt, der sei schl

Cecht.

Denn furaalle, die da f

dahren, baut man

G7

Autos erst rCecht.

Und derCeine fahrt Merc

Gedes, den der H

Fimmel ihm besch

Cert.

Und deraandre all die kleinen G

doggochen, die er f

G7

indt auf derCErd.

Und deraandre all die kleinen G

doggochen, die er f

G7

indt auf derCErd.

Und keiner soll sagen . . . (Willy Millowitsch) 127

Und kCeiner soll s

Gagen, wer da t

Fanzt, der sei schl

Cecht.

Denn furaalle, die da t

danzen, gibt’s Mus

G7

ik erst rCecht.

Und derCeine tanzt den W

Galzer, den der H

Fimmel ihm besch

Cert.

Und deraandre all die Rock’n-R

dollekens, die er f

G7

indt auf derCErd.

Und deraandre all die Rock’n-R

dollekens, die er f

G7

indt auf derCErd.

Und kCeiner soll s

Gagen, wer da b

Fadet, der sei schl

Cecht.

Denn furaalle, die da b

daden, fließt das W

G7

asser erst rCecht.

Und derCeine badet im Sw

Gimmingpool, den der H

Fimmel ihm besch

Cert.

Und deraandre in all den kleinen T

dumpelchen, die er f

G7

indt auf derCErd.

Und deraandre in all den kleinen T

dumpelchen, die er f

G7

indt auf derCErd.

Und kCeiner soll s

Gagen, wer da l

Fiebt, der sei schl

Cecht.

Denn furaalle, die da l

dieben, bluht das L

G7

eben erst rCecht.

Und derCeine liebt die

GEinz’ge, die der H

Fimmel ihm besch

Cert.

Und deraandre all die kleinen L


G7

indt auf derCErd.

Und deraandre all die kleinen L


G7

indt auf derCErd.

128

Wie schon, daß du geboren bist (Rolf Zuckowski)

HCeute kann es regnen, st

G7

urmen oder schnei’n,

dG7

enn du strahlst ja selber wCie der Sonnenschein.

HCeut’ ist dein Geburtstag, d

Farum feiern wir,

Falle deine Fr

Ceunde fr

G7

euen sich mit dCir,

Falle deine Fr

Ceunde fr

G7

euen sich mit dCir.

Wie schGon, daß du geb

Coren bist,

wir hGatten dich sonst s

Cehr vermißt.

Wie schGon, daß wir beis

Cammen sind,

wir grGatulieren dir, Geburtstagsk

Cind!


Coren bist,


Cehr vermißt.


Cammen sind,


Cind!

CUnsre guten Wunsche h

G7

aben ihren Grund:

BG7

itte bleib noch lange glCucklich und gesund.

DCich so froh zu sehen

Fist, was uns gefallt,

TrG7

anen gibt es schCon gen

Fug auf dieser W

Celt,

TrG7

anen gibt es schCon gen

Fug auf dieser W

Celt.

Wie schon, daß du geboren bist (Rolf Zuckowski) 129


Coren bist,


Cehr vermißt.


Cammen sind,


Cind!


Coren bist,


Cehr vermißt.


Cammen sind,


Cind!

MContag, Dienstag, Mittwoch, d

G7

as ist ganz egal,

dG7

ein Geburtstag kommt im JCahr doch nur einmal.

DCarum laß uns feiern, d

Faß die Schwarte kracht,

hG7

eute wird getCanzt, ges

Fungen und gel

Cacht,

hG7

eute wird getCanzt, ges

Fungen und gel

Cacht.


Coren bist,


Cehr vermißt.


Cammen sind,


Cind!

130

Kinder (Bettina Wegener)

Saind so kleine H

dande, w

Einz’ge Finger dr

aan.

Daarf man nie drauf schl

dagen, d

Eie zerbrechen d

aann.

SCind so kleine F

Guße m

Git so kleinen Z

aeh’n.

DCarf man nie drauf tr

Geten, k

Gonn’ sie sonst nicht g

aeh’n.

Saind so kleine

dOhren, sch

Earf, und ihr erl

aaubt.

Daarf man nie zerbr

dullen, w

Eerden davon t

aaub.

SCind so schone M

Gunder, spr

Gechen alles

aaus.

DCarf man nie verb

Gieten, k

Gommt sonst nichts mehr r

aaus.

SCind so klare

GAugen, d

Gie noch alles s

aeh’n.

DCarf man nie verb

Ginden, k

Gonn’ sie nichts verst

aeh’n.

Saind so kleine S

deelen,

Eoffen und ganz fr

aei.

Daarf man niemals qu

dalen, g

Eeh’n kaputt d

aabei.

CIst so’n kleines R

Guckgrat, s

Gieht man fast noch n

aicht.

DCarf man niemals b

Geugen, w

Geil es sonst zerbr

aicht.

Graade, klare M

denschen w

Ear’n ein schones Z

aiel.

Laeute ohne R

duckgrat h

Eab’n wir schon zuv

aiel.

131

Sieben Tage lang (Bots)

aWas wollen wir trinken, sieben Tage l

Gang,

was wollen wir trFinken, s

Go ein D

aurst.

Es wird genCug fur

Galle s

Cein,

wir trinken zusaammen, roll das Faß mal r

Gein,

wir trinken zusFammen, n

Gicht all

aein.

aDann wollen wir schaffen, sieben Tage l

Gang,

dann wollen wir schFaffen, k

Gomm faß

aan.

Und das wird kCeine Pl

Gacker

Cei.

Wir schaffen zusaammen, sieben Tage l

Gang,

ja, schaffen zusFammen, n

Gicht all

aein.

aJetzt mussen wir streiten, keiner weiß wie l

Gang,

ja, fur ein LFeben

Gohne Zw

aang.

Dann kriegt der FrCust uns n

Gicht mehr kl

Cein.

Wir halten zusaammen, keiner kampft all

Gein,

wir gehen zusFammen, n

Gicht all

aein.

132

Marmor, Stein und Eisen (Drafi Deutscher)

WAeine nicht, wenn der Regen fallt, dam d

Eam, dam d

Aam.

AEs gibt einen, der zu dir halt, dam d

Eam, dam d

Aam.

MAarmor, Stein und

DEisen bricht,

Eaber unsere L

Aiebe nicht.

AAlles, alles g

Deht vorbei, d

Eoch wir sind uns tr

Aeu.

KAann ich einmal nicht bei dir sein, dam d

Eam, dam d

Aam.

DAenk daran, du bist nicht allein, dam d

Eam, dam d

Aam.

MAarmor, Stein und

DEisen bricht,

Eaber unsere L

Aiebe nicht.

AAlles, alles g

Deht vorbei, d


Aeu.

NAimm den goldenen Ring von mir, dam d

Eam, dam d

Aam.

BAist du traurig, dann sagt er dir, dam d

Eam, dam d

Aam.

MAarmor, Stein und

DEisen bricht,

Eaber unsere L

Aiebe nicht.

AAlles, alles g

Deht vorbei, d


Aeu.

MAarmor, Stein und

DEisen bricht,

Eaber unsere L

Aiebe nicht.

AAlles, alles g

Deht vorbei, d


Aeu.

133

Yenawe (c-Moll)

G222 24� = 80

>Ye-�

na�

we

�ni-�

ma-

�wi-

�e

�ne�

ye-�

na-�

we,�

G222 >ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we,

�G222 >

ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we.

� 7

Yenawe (d-Moll)

G2 24 >Ye-�

na�

we

�ni-

�ma-

�wi-

�e

�ne

�ye-�

na-�

we,�

G2 >ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we,

�G2 >

ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we.

� 7

Yenawe (a-Moll)

G 24 >

Ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we,

�G >

ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we,

�G >

ye-

�na

�we

�ni-

�ma-

�wi-

�e

�ne

�ye-

�na-

�we.

� 7

134

Die Affen rasen durch den Wald

DieCAffen r

aasen d

Curch den W

aald,

derCeine m

aacht den

Candern k

aalt.

Die ganzeGAffenbande br

Cullt:

Wo ist die KFokosnuß, wo ist die K

Cokosnuß, wer hat die K

Gokosnuß gekl

Caut?



Gokosnuß gekl

Caut?

DieCAffenm

aama s

Citzt am Fl

auß

undCangelt n

aach der K

Cokosn

auß.


Cullt:



Gokosnuß gekl

Caut?



Gokosnuß gekl

Caut?

DerCAffen

aonkel, w

Celch ein Gr

aaus,

reißt gCanze

aUrwaldb

Caume

aaus.


Cullt:



Gokosnuß gekl

Caut?



Gokosnuß gekl

Caut?

DieCAffent

aante k

Commt von f

aern,

sieCißt die K

aokosn

Cuß so g

aern.


Cullt:



Gokosnuß gekl

Caut?



Gokosnuß gekl

Caut?

Die Affen rasen durch den Wald 135

DerCAffenm

ailchmann, d

Cieser Kn

ailch,

der wCartet

aauf die K

Cokosm

ailch.


Cullt:



Gokosnuß gekl

Caut?



Gokosnuß gekl

Caut?

DasCAffenb

aaby v

Coll Gen

auß

haltCin der H

aand die K

Cokosn

auß.


Cullt:

Da ist die KFokosnuß, da ist die K

Cokosnuß, es hat die K

Gokosnuß gekl

Caut!



Gokosnuß gekl

Caut!

DieCAffen

aoma schr

Ceit:

”Hurr

aa!

Die KCokosn

auß ist w

Cieder d

aa!“


Cullt:



Gokosnuß gekl

Caut!



Gokosnuß gekl

Caut!

Und dCie Mor

aal von d

Cer Gesch

aicht’:

Klaut kCeine K

aokosn

Cusse n

aicht,

weil sonst die gGanze Bande br

Cullt:



Gokosnuß gekl

Caut?



Gokosnuß gekl

Caut?

136

Lustig ist das Zigeunerleben

LCustig ist das Zigeunerleben, f

G7

aria faria hCo.

BrCauch’n dem Kaiser kein Zins zu geben, f

G7

aria faria hCo.

LFustig ist es im gr

Cunen Wald, w

Fo der Zigeuner

G7

AufenthCalt.

FCaria f

G7

aria, faaria faria, f

Faria f

G7

aria hCo.

SCollt uns einmal der Hunger plagen, f

G7

aria faria hCo,

gCeh’n wir uns ein Hirschlein jagen, f

G7

aria faria hCo.

HFirschlein nimm dich w

Cohl in acht, w

Fenn des Jagers B

G7

uchse krCacht.

FCaria f

G7


Faria f

G7

aria hCo.

SCollt uns einmal der Durst sehr qualen, f

G7

aria faria hCo,

gCeh’n wir zu den Wasserquellen, f

G7

aria faria hCo.

TrFinken das Wasser vom m

Coos’gen Stein,

mFeinen es musse Champ

G7

agner sCein.

FCaria f

G7


Faria f

G7

aria hCo.

Lustig ist das Zigeunerleben 137

WCenn uns tut der Beutel hexen, f

G7

aria faria hCo,

lCassen wir unsere Taler wechseln, f

G7

aria faria hCo.

TrFeiben wir die Zig

Ceunerkunst, k

Fommen die Taler all’ w

G7

ieder zuCuns.

FCaria f

G7


Faria f

G7

aria hCo.

WCenn wir auch kein Federbett haben, f

G7

aria faria hCo,

tCun wir uns ein Loch ausgraben, f

G7

aria faria hCo.

LFegen Moos und R

Ceisig drein, d

Fas soll unser F

G7

ederbett sCein.

FCaria f

G7


Faria f

G7

aria hCo.

CUnd geht die Sonne nieder, f

G7

aria faria hCo,

brCennt das Lagerfeuer wieder, f

G7

aria faria hCo.

RFeich’ mir schnell die F

Ciedel zu, schw

Farzbraun’ Madel t

G7

anz dazCu.

FCaria f

G7


Faria f

G7

aria hCo.

138

Bolle reiste jungst zu Pfingsten

Bolle rGeiste jungst zu Pf

Cingsten, nach P

D7

ankow war sein ZGiel.

Da verlGor er seinen J

Cungsten ganz pl

D7

otzlich im GewGuhl.

’Ne vDolle halbe Stunde hat

A7

er nach ihm gespDurt,

aber dGennoch hat sich B

Colle ganz k

D7

ostlich amusGiert,


Colle ganz k

D7

ostlich amusGiert.

Zu PGankow gab’s kein

CEssen, zu P

D7

ankow gab’s kein BGier.

WarGalles aufgefr

Cessen von fr

D7

emden Leuten hGier.

Nicht mDal ’ne Butterstulle hat m

A7

an ihm reservDiert,


Colle ganz k

D7

ostlich amusGiert,


Colle ganz k

D7

ostlich amusGiert.

Auf der SchGonholzer H

Ceide, da g

D7

ab’s ’ne KeilerGei.

Und BGolle, gar nicht f

Ceige, war m

D7

ittenmang dabGei.

Hat’s MDesser rausgerissen und f

A7

unfe massakrDiert,


Colle ganz k

D7

ostlich amusGiert,


Colle ganz k

D7

ostlich amusGiert.

Bolle reiste jungst zu Pfingsten 139

Es fGing schon an zu t

Cagen, als

D7

er sein Heim erblGickt.

Das HGemd war ohne Kr

Cagen, das N

D7

asenbein zerknGickt.

Das lDinke Auge fehlte, das r

A7

echte marmorDiert,


Colle ganz k

D7

ostlich amusGiert,


Colle ganz k

D7

ostlich amusGiert.

Zu HGause angek

Commen, da g

D7

ing’s ihm aber schlGecht.

Da hGat ihn seine

COlle ganz m

D7

orderisch verdrGescht.

’Ne vDolle halbe Stunde hat s

A7

ie auf ihm polDiert,


Colle ganz k

D7

ostlich amusGiert,


Colle ganz k

D7

ostlich amusGiert.

BGolle wollte st

Cerben, er h

D7

at sich’s uberlGegt.

Er hGat sich auf die Sch

Cienen der B

D7

immelbahn gelGegt.

Die BDahn, die hat Verspatung, und v

A7

ierzehn Tage drDauf

da fGand man unsern B

Colle als Sch

D7

immel wiederGauf,

da fGand man unsern B

Colle als Sch

D7

immel wiederGauf.

140

Pizza-Blues (Christof Schardt)

EDas ist der Pizza-Blues,

Edas ist der Pizza-Blues.

ADas ist der Pizza-Blues,

Edas ist der Pizza-Blues.

Das ist der PHizza- Pizza- Pizza- Pizza- P

Aizza- Pizza- Pizza-Bl

Eues.

H

ELetzte Woche aß ich eine PizzaEirgendwo in Rom oder in Nizza.

ADas war ’ne Pizza mit Salami,

Edie Pilze, die aß meine Mami.

Die PHilze Pilze Pilze Pilze P

Ailze Pilze Pilze aß meine M

Eami.

H

EHeut’ ist mir alles egal,

Eheut’ geh’ ich in ’n Pizza-Lokal.

AHeut’ ist mir alles egal,

Eheut’ brauch’ ich ’ne Pizza Spezial.

Ich brauch’ ’ne PHizza Pizza Pizza Pizza P

Aizza Pizza Pizza Spezi

Eal.

H

Pizza-Blues (Christof Schardt) 141

EDa kommt der Ober reinEund fragt:

”Was darf’s denn sein?“

AIch sag:

”’Ne Pizza Spezial,

denn wissen Sie,E

heut’ ist mir alles egal!

Heut’ ist mirHalles alles alles alles

Aalles alles alles eg

Eal!“

H

EJa so ’ne Pizza bringt mich auf Trab,

Eschon schneid’ ich den ersten Bissen ab.ADoch was ist das fur ein Fiasko?E

”Herr Ober! Es fehlt Tabasko!

HerrHOber Ober Ober Ober

AOber Ober Ober, es fehlt Tab

Easko!“

H

ESchon kommt der Ober her,

Ejedoch die Flasche ist leer.

ADa ist er wirklich ganz betroffen

und fragt:E

”Wer hat den Tabasko ausgesoffen?

Wer hat ’n TabHasko basko basko basko b

Aasko basko basko ausges

Eoffen?“

H

EDas war der Pizza-Blues,

Edas war der Pizza-Blues.

ADas war der Pizza-Blues,

Edas war der Pizza-Blues.

Das war der PHizza- Pizza- Pizza- Pizza- P

Aizza- Pizza- Pizza-Bl

Eues.

E7

142

Raucherhusten-Blues

EDas ist der Raucherhusten-Blues (hust, hust),

Edas ist der Raucherhusten-Blues (hust, hust).

ADas ist der Raucherhusten-Blues (hust, hust),

Edas ist der Raucherhusten-Blues (hust, hust).

Das ist der RHaucherhusten- Raucherhusten-

RAaucherhusten- Raucherhusten-Bl

Eues.

H

EDas war der Raucherhusten-Blues (hust, hust),

Edas war der Raucherhusten-Blues (hust, hust).

ADas war der Raucherhusten-Blues (hust, hust),

Edas war der Raucherhusten-Blues (hust, hust).

Das war der RHaucherhusten- Raucherhusten-

RAaucherhusten- Raucherhusten-Bl

Eues.

E7

143

Microsoft-Blues (Hartmut Henkel)

EDas ist der Microsoft-Blues,

Edas ist der Microsoft-Blues.

AWo der arme PC

Eneu gebootet werden muß.

Wo derHarme PC

Aneu gebootet werden m

Euß.

H

EDas ist die Microsoft-Ballade,

Edas ist die Microsoft-Ballade.

AUm jeden Speicher tut’s mir leid,

Eum jede Hard-Disc ist es schade.

Um jeden SpHeicher tut’s mir leid,

Aum jede Hard-Disc ist es sch

Eade.

H

EBei diesem Software-Verhau

Ewird sogar mein Monitor blau.

ABei diesem Software-Verhau

Ewird sogar mein Monitor blau.

Bei diesem SHoftware-Verhau wird sogar

Amein Monitor bl

Eau.

H

EDas ist das Microsoft-Drama,

Edas ist das Microsoft-Drama.

ASo ein doofes Programm

Eist sogar zu doof fur ein Lama.

So ein dHoofes Programm ist sogar zu d

Aoof fur ein L

Eama.

H

EZahl’ keine Microsoft-Steuer,

Edie ist doch viel zu teuer.

ANimm lieber Linux kostenlos,

Edas spart dir Arger und Moos.

Nimm lieber LHinux kostenlos, das spart dir

AArger und viel M

Eoos.

E7

144

Wickie

E E E E E E E E E E E E E E E E

HEey hey Wickie, h

Eey Wickie hey,

Ezieh fest das Segel an.

HAey hey Wickie, die W

Aickinger

Esind hart am Winde dran.

HNa na naa na, na n

Aa na na naa na naa, W

Eickie.

H

HEey hey Wickie, h

Eey Wickie hey,

Eso heißt der kleine Held.

Er dAenkt kurz nach und h

Aat ihn dann,

Eden Trick, der ihm gefallt.

HNa na naa na, na n


Eickie.

E

FDie Angst vor’m Wolf macht ihn nicht froh

Eund im Taifun ist’s ebenso,

Fdoch Wolfe hin, Taifune her,

Hdie Losung fallt ihm gar nicht schwer.

HEey hey Wickie, h

Eey Wickie hey,

Ezieh fest das Segel an.

HAey hey Wickie, die W

Aickinger

Esind hart am Winde dran.

HNa na naa na, na n


Eickie, h

Eey!

145

Das Urmel-Lied

CAlle Mamis s

Fagen immer

”TGindlein gib son

Cacht,

blFeib son brav in D

Geinem Zimmer und sl

Gaf: Gute N

Cacht!“

CAber wenn das T

Findlein großer, d

Garf’s spazieren g

Ceh’n,

wFeil sonst tonnt das tl

Geine Tindlein g

Gar nie sone S

Cachen sehn,

wFeil sonst tonnt das tl

Geine Tindlein g

Gar nie sone S

Cachen sehn.

CAlle Tindlein s

Fagen immer,

”M

Gami, laß mich r

Caus!

BlFeib ganz lieb in D

Geinem Zimmer, ich t

Gomm bald nach H

Caus’.“

CAber wenn das T

Findlein fort ist, d

Genkt es nicht mehr dr

Can,

wFeil es doch so v

Giele wunders

Gone Sachen s

Cehen tann,

wFeil es doch so v

Giele wunders

Gone Sachen s

Cehen tann.

WCenn das tleine T

Findlein dann nach H

Gause frohlich g

Ceht,

sFimpft die Mami gl

Geich das Tindlein,

”Du t

Gommst viel zu sp

Cat!“

”LCiebe Mami, s

Fei nicht bose

Gund merk Dir zum Sl

Cuß,

dFaß das tleine T

Gindlein doch die s

Gonen Sachen s

Cehen muß,

dFaß das tleine T

Gindlein doch die s

Gonen Sachen s

Cehen muß.“

146

O du lieber Augustin

CO du lieber Augustin,

GAugustin,

CAugustin.


G7

alles ist hCin.

GGeld ist weg, M

Cad’l ist weg,

Galles weg,

Calles weg.


G7

alles ist hCin.


GAugustin,

CAugustin.


G7

alles ist hCin.

RGock ist weg, St

Cock ist weg,

GAugustin l

Ciegt im Dreck.


G7

alles ist hCin.

147

Auf einem Baum ein Kuckuck saß

AufCeinem Baum ein K

Guckuck, s

Cim salabim bamba saladu salad

Gim,

aufCeinem Baum ein K

G7

uckuck sCaß.

Da kCam ein junger J

Gager, s


Gim,

da kCam ein junger J

G7

agersmCann.

Der schCoß den armen K

Guckuck, s


Gim,

der schCoß den armen K

G7

uckuck tCot.

UndCals ein Jahr verg

Gangen, s


Gim,

undCals ein Jahr verg

G7

angen wCar,

da wCar der Kuckuck w

Gieder, s


Gim,

da wCar der Kuckuck w

G7

ieder dCa.

Da frCeuten sich die L

Geute, s


Gim,

da frCeuten sich die L

G7

eute sCehr.

148

Sabotage

In PerAu, in Peru in den

EAnden

steht ’ne KEuh, steht ’ne Kuh kann nicht l

Aanden.

In der NAacht, in der Nacht kamen D

Eiebe

stahlenEihr, stahlen ihr das Getr

Aiebe.

SabotAaaaaaage! Sabot

Aaaaaaage!

In PerAu, in Peru in den

EAnden

steht ’ne KEuh, steht ’ne Kuh kann nicht l

Aanden.

In der NAacht, in der Nacht kamen G

Eeier

bissenEihr, bissen ihr in die Kn

Aie.

SabotAaaaaaage! Sabot

Aaaaaaage!

149

Otto

CO, O, O, der

GOtto hat zwei

CO.

HGinten eins und v

Corne eins,

Gin der Mitte h

Cat er keins.

CO, O, O, der

GOtto hat zwei

CO.

KCa, Ka, Ka, der L

Gukas hat ein K

Ca.

HGinten keins und v

Corne keins,

Gin der Mitte h

Cat er eins.

KCa, Ka, Ka, der L

Gukas hat ein K

Ca.

CEl, El, El, die L

Geila hat zwei

CEl.

HGinten keins und v

Corne eins,

Gin der Mitte h

Cat sie eins.

CEl, El, El, die L

Geila hat zwei

CEl.

CA, A, A, die

GAnnika hat zwei

CA.

HGinten eins und v

Corne eins,

Gin der Mitte h

Cat sie keins.

CA, A, A, die

GAnnika hat zwei

CA.

KCa, Ka, Ka, der J

Gakob hat ein K

Ca.

HGinten keins und v

Corne keins,

Gin der Mitte h

Cat er eins.

KCa, Ka, Ka, der J

Gakob hat ein K

Ca.

150

Bruder Jakob

BrCuder Jakob! Br

Cuder Jakob! Schl

Cafst Du noch? Schl

Cafst Du noch?

HCorst Du nicht die Glocken? H

Corst Du nicht die Glocken?

DCing! Dang! Dong! D

Cing! Dang! Dong!

FrCere Jacques! Fr

Cere Jacques! D

Cormez-vous? D

Cormez-vous?

SConnez les matines. S

Connez les matines.


Cing! Dang! Dong!

CAre you sleeping?

CAre you sleeping? Br

Cother John! Br

Cother John!

MCorning bells are ringing. M

Corning bells are ringing.


Cing! Dang! Dong!

MContanero! M

Contanero! S

Cale el sol. S

Cale el sol.

SCuenan las campanas. S

Cuenan las campanas.


Cing! Dang! Dong!

BrCoeder Jakob! Br

Coeder Jakob! Sl

Caap je nog? Sl

Caap je nog?

CAlle Klokken luiden.

CAlle Klokken luiden.


Cing! Dang! Dong!

MCester Jakob! M

Cester Jakob! S

Cover du? S

Cover du?

HCører du ej klokken? H

Cører du ej klokken?


Cing! Dang! Dong!

151

Creutzfeldt-Jakob (Elmar Horig)

CrCeutzfeldt-Jakob! Cr

Ceutzfeldt-Jakob!

SchlCafst Du noch? Schl

Cafst Du noch?

FCangt schon an zu zucken! F

Cangt schon an zu zucken!

CBSE!

CBSE!

CrCeutzfeldt-Jakob! Cr

Ceutzfeldt-Jakob!

SchlCafst Du noch? Schl

Cafst Du noch?

FCangt schon an zu zucken! F

Cangt schon an zu zucken!

CBSE!

CBSE!

152

Negeraufstand

Negeraaufstand ist in K

Euba, Schusse h

Fallen durch die N

Eacht,

Weiber wderden hinger

Cichtet und in D

Gosen eingem

aacht.

Humba haumba assa humba h

aumba assa humba h

Ea oha oh

ao.


aumba assa humba h

Ea oha oh

ao.

In den Straaßen fließt der

EEiter, der Verk

Fehr geht nicht mehr w

Eeiter,

an dendEcken sitzen Kn

Caben, die sich

Gan dem Eiter l

aaben.


aumba assa humba h

Ea oha oh

ao.


aumba assa humba h

Ea oha oh

ao.

In dem Kaeller sitzt der H

Eauptling und er n

Fagt an einem S

Eaugling,

seiner Frdau gibt er die Kn

Cochen, eine S

Guppe draus zu k

aochen.


aumba assa humba h

Ea oha oh

ao.


aumba assa humba h

Ea oha oh

ao.

In den Flaussen schwimmen L

Eeichen mit weit

Faufgeschlitzten B

Eauchen,

in den Bdauchen stecken M

Cesser von den b

Gosen Menschenfr

aessern.


aumba assa humba h

Ea oha oh

ao.


aumba assa humba h

Ea oha oh

ao.

In dem Kaeller auf den K

Eohlen sitzen Schw

Farze mit Pist

Eolen

und sie schdießen auf die W

Ceißen, die mit T

Gotenkopfen schm

aeißen.


aumba assa humba h

Ea oha oh

ao.


aumba assa humba h

Ea oha oh

ao.

153

Scheiße . . .

SchCeiße durch ein Sieb geschossen,

Celaaa el

Galalaaa,

gGibt die schonsten Sommersprossen,

Gelaaa el

Calalaaa.

SchCeiße an den Fahrradreifen,

Celaaa el

Galalaaa,

gGibt beim Bremsen braune Streifen,

Gelaaa el

Calalaaa.

SchCeiße auf dem Autodach,

Celaaa el

Galalaaa,

wGird bei 180 flach,

Gelaaa el

Calalaaa.

SchCeiße im Kanonenrohr,

Celaaa el

Galalaaa,

kGommt zum Gluck recht selten vor,

Gelaaa el

Calalaaa.

SchCeiße auf der Friedhofsmauer,

Celaaa el

Galalaaa,

stGort die Leute bei der Trauer,

Gelaaa el

Calalaaa.

SchCeiße auf der Kirchturmspitze,

Celaaa el

Galalaaa,

brGockelt ab bei großer Hitze,

Gelaaa el

Calalaaa.

SchCeiße im Trompetenrohr,

Celaaa el

Galalaaa,

klGebt sehr schnell am Lauscher-Ohr,

Gelaaa el

Calalaaa.

SchCeiße in der Lampenschale,

Celaaa el

Galalaaa,

gGibt gedampftes Licht im Saale,

Gelaaa el

Calalaaa.

SchCeiße in der Kuchenform,

Celaaa el

Galalaaa,

Gandert den Geschmack enorm,

Gelaaa el

Calalaaa.

154

Gitarren-Griffe

Die zehn wichtigsten Gitarren-Griffe sind:

1) A (A-Dur, Seite 154) 6) E (E-Dur, Seite 160)

2) a (a-Moll, Seite 155) 7) e (e-Moll, Seite 161)

3) C (C-Dur, Seite 157) 8) F (F-Dur, Seite 161)

4) D (D-Dur, Seite 158) 9) G (G-Dur, Seite 163)

5) d (d-Moll, Seite 159) 10) h (h-Moll, Seite 165)

Legende:

±°²¯Z = Zeigefinger ±°

²¯M = Mittelfinger ±°

²¯R = Ringfinger

±°²¯D = Daumen × = abgedampft ±°

²¯K = Kleiner Finger

A (A-Dur)

²

±

¯

°Z

Z±°²¯M

t t

ehgDAE

A+ (A-Dur+)

²

±

¯

°Z

Z±°²¯M

±°²¯R

t

ehgDAE

A2 (A-Dur2)

±°²¯M

±°²¯R t t

ehgDAE

A4 (A-Dur4)

²

±

¯

°Z

Z±°²¯M ±°

²¯R

t t

ehgDAE

Gitarren-Griffe 155

A6 (A-Dur6)

²

±

¯

°Z

Z±°²¯M

±°²¯R

t t

ehgDAE

A6 (A-Dur6)²

±

¯

°Z

Z

Z

Z

t t

ehgDAE

A7 (A-Dur7)

²

±

¯

°Z

Z±°²¯M

±°²¯R

t t

ehgDAE

A7 (A-Dur7)²

±

¯

°Z

Z

Z

Z ±°²¯R

t t

ehgDAE

A7+ (A-Dur7+)

±°²¯M

±°²¯Z

±°²¯R

t t

ehgDAE

Adim (A-Durdim)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

×

t t

ehgDAE

a (a-Moll)

±°²¯M

±°²¯R

±°²¯Z

t t

ehgDAE

a2 (a-Moll2)

±°²¯M

±°²¯R t t

ehgDAE

a4 (a-Moll4)

±°²¯M

±°²¯R

±°²¯Z ±°

²¯K

t t

ehgDAE

a6 (a-Moll6)

±°²¯M

±°²¯R

±°²¯Z

±°²¯K

t t

ehgDAE

156 Gitarren-Griffe

a7 (a-Moll7)

±°²¯M

±°²¯R

±°²¯Z

±°²¯K

t t

ehgDAE

a7 (a-Moll7)

±°²¯M

±°²¯Z

±°²¯K

t t

ehgDAE

A[ (A[-Dur)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

±°²¯Mt

ehgDAE

A[7 (A[-Dur7)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯Mt

ehgDAE

a[ (a[-Moll)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

t t

ehgDAE

a[7 (a[-Moll7)²

±

¯

°ZZZZZZ

±°²¯R

t t

ehgDAE

B (B-Dur)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯M

±°²¯R

±°²¯K

t

ehgDAE

B7 (B-Dur7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

t

ehgDAE

b (b-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

±°²¯M

t

ehgDAE

b7 (b-Moll7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯M

t

ehgDAE

Gitarren-Griffe 157

C (C-Dur)

±°²¯Z

±°²¯M

±°²¯R

t t

ehgDAE

C (C-Dur)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

C2 (C-Dur2)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

C4 (C-Dur4)²

±

¯

°Z

Z

±°²¯M

±°²¯R

±°²¯K

×

t

ehgDAE

C6 (C-Dur6)

±°²¯M

±°²¯R

±°²¯Z

±°²¯K

t t

ehgDAE

C7 (C-Dur7)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K t

ehgDAE

C7+ (C-Dur7+)

±°²¯M

±°²¯R

t t

ehgDAE

Cdim (C-Durdim)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

×

t t

ehgDAE

c (c-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

±°²¯M

ehgDAE

c7 (c-Moll7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯M

ehgDAE

158 Gitarren-Griffe

C] (C]-Dur)²

±

¯

°ZZZZZZ

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

C]7 (C]-Dur7)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

t t

ehgDAE

c] (c]-Moll)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

±°²¯M

t t

ehgDAE

c]7 (c]-Moll7)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯M

t t

ehgDAE

D (D-Dur)

±°²¯Z

±°²¯M

±°²¯R

±°²¯D

t t

ehgDAE

D+ (D-Dur+)

±°²¯Z

±°²¯M

±°²¯D

±°²¯R

±°²¯K

t

ehgDAE

D2 (D-Dur2)

±°²¯Z

±°²¯R

±°²¯D

t t

ehgDAE

D4 (D-Dur4)

±°²¯Z

±°²¯M

±°²¯R

±°²¯D

±°²¯K

t t

ehgDAE

D6 (D-Dur6)

±°²¯Z

±°²¯M

±°²¯D

t t

ehgDAE

D7 (D-Dur7)

±°²¯Z

±°²¯M

±°²¯R

±°²¯D

t t

ehgDAE

Gitarren-Griffe 159

D7+ (D-Dur7+)²

±

¯

°Z

Z

Z

±°²¯D

t t

ehgDAE

Ddim (D-Durdim)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯M

±°²¯R

±°²¯K

t

ehgDAE

d (d-Moll)

±°²¯Z

±°²¯M

±°²¯K

±°²¯D

t t

ehgDAE

d (d-Moll)

±°²¯Z

±°²¯M

±°²¯R

±°²¯D

t t

ehgDAE

d2 (d-Moll2)

±°²¯M

±°²¯K

±°²¯D

t t

ehgDAE

d4 (d-Moll4)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

±°²¯D

t t

ehgDAE

d6 (d-Moll6)

±°²¯Z

±°²¯M

±°²¯D

t t

ehgDAE

d7 (d-Moll7)²

±

¯

°Z

Z

±°²¯M

×

t t

ehgDAE

D[ (D[-Dur)²

±

¯

°ZZZZZZ

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

D[7 (D[-Dur7)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

t t

ehgDAE

160 Gitarren-Griffe

d[ (d[-Moll)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

±°²¯M

t t

ehgDAE

d[7 (d[-Moll7)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯M

t t

ehgDAE

E (E-Dur)

±°²¯M

±°²¯R

±°²¯Z t t

ehgDAE

E+ (E-Dur+)

±°²¯Z

±°²¯M

±°²¯R

t t

ehgDAE

E2 (E-Dur2)

±°²¯M

±°²¯R

±°²¯Z

±°²¯K

t t

ehgDAE

E4 (E-Dur4)

±°²¯M

±°²¯R t t

ehgDAE

E6 (E-Dur6)

±°²¯M

±°²¯R

±°²¯Z

±°²¯K

t t

ehgDAE

E7 (E-Dur7)

±°²¯M

±°²¯R

±°²¯Z

±°²¯K

t t

ehgDAE

E7 (E-Dur7)

±°²¯M

±°²¯Z

±°²¯K

t t

ehgDAE

E7 (E-Dur7)

±°²¯M

±°²¯Z t t

ehgDAE

Gitarren-Griffe 161

E7+ (E-Dur7+)

±°²¯Z

±°²¯M

±°²¯R

t t

ehgDAE

Edim (E-Durdim)

±°²¯Z

±°²¯M

±°²¯R

t t

ehgDAE

e (e-Moll)

±°²¯M

±°²¯R

t t

ehgDAE

e2 (e-Moll2)

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

e4 (e-Moll4)

±°²¯M

±°²¯R t t

ehgDAE

e6 (e-Moll6)

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

e7 (e-Moll7)

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

e7 (e-Moll7)

±°²¯M

±°²¯K

t t

ehgDAE

F (F-Dur)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

±°²¯M t

ehgDAE

F2 (F-Dur2)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

×

t

ehgDAE

162 Gitarren-Griffe

F4 (F-Dur4)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K t

ehgDAE

F6 (F-Dur6)

±°²¯Z

±°²¯M

±°²¯K

±°²¯R

×

t

ehgDAE

F7 (F-Dur7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯M t t

ehgDAE

F7 (F-Dur7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯M

±°²¯K

t t

ehgDAE

F7+ (F-Dur7+)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

t

ehgDAE

Fdim (F-Durdim)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯M

±°²¯R

±°²¯K

t

ehgDAE

f (f-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

t

ehgDAE

f 7 (f-Moll7)²

±

¯

°Z

Z

Z

Z

Z

Z

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t t

ehgDAE

F] (F]-Dur)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

±°²¯M t

ehgDAE

F]7 (F]-Dur7)²

±

¯

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Z

Z

Z

Z

Z

±°²¯R

±°²¯M t

ehgDAE

Gitarren-Griffe 163

f ] (f ]-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

t t

ehgDAE

f ]7 (f ]-Moll7)²

±

¯

°Z

Z

Z

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Z

Z

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G (G-Dur)

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

G (G-Dur)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

G2 (G-Dur2)

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

G4 (G-Dur4)

±°²¯M

±°²¯R

±°²¯K

±°²¯Z

t t

ehgDAE

G6 (G-Dur6)

±°²¯M

±°²¯R

t t

ehgDAE

G7 (G-Dur7)

±°²¯M

±°²¯R

±°²¯Z

t t

ehgDAE

G7+ (G-Dur7+)

±°²¯Z

±°²¯M

×

t t

ehgDAE

Gdim (G-Durdim)

±°²¯Z

±°²¯M

±°²¯R

t t

ehgDAE

164 Gitarren-Griffe

g (g-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

ehgDAE

g7 (g-Moll7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

t

ehgDAE

G[ (G[-Dur)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

±°²¯M t

ehgDAE

G[7 (G[-Dur7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯M t

ehgDAE

g[ (g[-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯K

t t

ehgDAE

g[7 (g[-Moll7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

t t

ehgDAE

G] (G]-Dur)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

±°²¯Mt

ehgDAE

G]7 (G]-Dur7)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯Mt

ehgDAE

g] (g]-Moll)²

±

¯

°ZZZZZZ

±°²¯R

±°²¯K

t t

ehgDAE

g]7 (g]-Moll7)²

±

¯

°ZZZZZZ

±°²¯R

t t

ehgDAE

Gitarren-Griffe 165

H (H-Dur)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

H+ (H-Dur+)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

t t

ehgDAE

H2 (H-Dur2)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯R

±°²¯Kt t

ehgDAE

H7 (H-Dur7)

±°²¯Z

±°²¯M

±°²¯R

±°²¯K

×

t t

ehgDAE

h (h-Moll)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯M

±°²¯R

±°²¯Kt t

ehgDAE

h7 (h-Moll7)²

±

¯

°Z

Z

Z

Z

Z

Z

±°²¯M

±°²¯R

t t

ehgDAE

166

CD-Verzeichnis

Ein Teil der Stucke in diesem Liederbuch ist auf folgenden Alben zu finden:

Titel Gruppe/Interpret Album Nr.

All My Loving The Beatles With the Beatles 3

I Want to Hold YourHand

The Beatles 1962–1966, CD I 5

And I Love Her The Beatles A Hard Day’s Night 5

Eight Days a Week The Beatles Beatles for Sale 8

Help! The Beatles Help! 1

Norwegian Wood (ThisBird has Flown)

The Beatles Rubber Soul 2

Girl The Beatles Rubber Soul 9

In My Life The Beatles Rubber Soul 11

Eleanor Rigby The Beatles Revolver 2

Yellow Submarine The Beatles Revolver 6

A Day in the Life The Beatles Sgt. Pepper’s LonelyHearts Club Band

13

I am the Walrus The Beatles Magical Mystery Tour 6

Strawberry Fieldsforever

The Beatles Magical Mystery Tour 8

Hey Jude The Beatles 1967–1970, CD I 13

The Continuing Story ofBungalow Bill

The Beatles White Album, CD I 6

Happiness is a WarmGun

The Beatles White Album, CD I 8

Rocky Raccoon The Beatles White Album, CD I 13

Come Together The Beatles Abbey Road 1

Maxwell’s SilverHammer

The Beatles Abbey Road 3

Let it be The Beatles Let it be 6

Get back The Beatles Let it be 12

The Gnome Pink Floyd The Piper at the Gatesof Dawn

8

Fearless Pink Floyd Meddle 3

Time Pink Floyd Dark Side of the Moon 3

Brain Damage Pink Floyd Dark Side of the Moon 8

CD-Verzeichnis 167


Welcome to theMachine

Pink Floyd Wish You were here 2

Wish You were here Pink Floyd Wish You were here 4

Another Brick in theWall (Part 2)

Pink Floyd The Wall, CD I 5

Mother Pink Floyd The Wall, CD I 6

Comfortably Numb Pink Floyd The Wall, CD II 6

The Sounds of Silence Simon & Garfunkel Sounds of Silence 1

Mrs. Robinson Simon & Garfunkel Bookends 10

The Boxer Simon & Garfunkel Bridge over TroubledWater

6

It’s Good to be King Tom Petty Wildflowers 5

Hard on Me Tom Petty Wildflowers 9

Blowin’ in the Wind Bob Dylan The Freewheelin’Bob Dylan

1

Knockin’ on Heaven’sDoor

Bob Dylan Before the Flood, CD I 4

Father and Son Cat Stevens Tea for the Tillerman 10

Morning has Broken Cat Stevens Teaser and the Firecat 7

Field of Mars The Church The Blurred Crusade 3

Secret Corners The Church The Blurred Crusade 5

Lola The Kinks Lola versusPowerman andthe Moneygoround

6

Hotel California Eagles Hotel California 1

Sex and Candy Marcy Playground Marcy Playground 2

House of the Rising Sun Animals The Most of theAnimals

1

Lady in Black Uriah Heep Salisbury 4

Where have all theFlowers Gone?

Peter, Paul & Mary Peter, Paul & Mary 12

Suzanne Leonard Cohen Songs of Leonard Cohen 1

Dust in the Wind Kansas Point of Know Return 7

The One I Love R.E.M. Document 7

Angie The Rolling Stones Goats Head Soup 5

Nights in White Satin The Moody Blues Days of Future Passed 7

168 CD-Verzeichnis


When a Blind ManCries

Deep Purple Singles A’s & B’s 14

Marooned Wire Chairs Missing 5

Killing Me Softly withhis Song

Roberta Flack Killing Me Softly 1

Sailing Rod Stewart Atlantic Crossing 10

Teach Your Children Crosby, Stills, Nash &Young

Deja vu 2

Throw down the Sword Wishbone Ash Argus 7

Dicke MariusMuller-Westernhagen

Mit Pfefferminz bin ichdein Prinz

7

Gruß mir die Genossen MariusMuller-Westernhagen

Mit Pfefferminz bin ichdein Prinz

9

Aloha Heja He Achim Reichel Melancholie undSturmflut

5

169

Index

AA Day in the Life

(The Beatles), 19Die Affen rasen durch den Wald, 134All My Loving

(The Beatles), 8Alle Jahre wieder, 105Aloha Heja He, 120Aloha Heja He

(Achim Reichel), 118And I Love Her

(The Beatles), 10Angie

(The Rolling Stones), 84Another Brick in the Wall

(Pink Floyd), 41Auf einem Baum ein Kuckuck saß, 147O du lieber Augustin, 146

BAuf einem Baum ein Kuckuck saß, 147When a Blind Man Cries

(Deep Purple), 86Blowin’ in the Wind

(Bob Dylan), 56Bolle reiste jungst zu Pfingsten, 138The Boxer

(Simon & Garfunkel), 50Brain Damage

(Pink Floyd), 38Another Brick in the Wall

(Pink Floyd), 41Bruder Jakob, 150The Continuing Story of Bungalow Bill

(The Beatles), 26

CHotel California

(Eagles), 64CD-Verzeichnis, 166Come Together

(The Beatles), 29Comfortably Numb

(Pink Floyd), 44

The Continuing Story of Bungalow Bill(The Beatles), 26

Creutzfeldt-Jakob(Elmar Horig), 151

DDas Urmel-Lied, 145A Day in the Life

(The Beatles), 19Dicke

(Muller-Westernhagen), 110Die Affen rasen durch den Wald, 134What shall We do with the Drunken

Sailor?, 96Dust in the Wind

(Kansas), 82

EEight Days a Week

(The Beatles), 11Eleanor Rigby

(The Beatles), 17

FFather and Son

(Cat Stevens), 58Fearless

(Pink Floyd), 35Field of Mars

(The Church), 60Where have all the Flowers Gone?

(Peter, Paul & Mary), 74O du frohliche, 108

GWie schon, daß du geboren bist

(Rolf Zuckowski), 128Get back

(The Beatles), 33Girl

(The Beatles), 15Gitarren-Griffe, 154Kling, Glockchen, klingelingeling, 101The Gnome

(Pink Floyd), 34

170 INDEX

Go down, Moses!, 98Gruß mir die Genossen

(Muller-Westernhagen), 112

HIck heff mol en Hamburg en Veermaster

sehn, 94I Want to Hold Your Hand

(The Beatles), 9Happiness is a Warm Gun

(The Beatles), 27Hard on Me

(Tom Petty), 54Knockin’ on Heaven’s Door

(Bob Dylan), 57Help!

(The Beatles), 12Hey Jude

(The Beatles), 24Hotel California

(Eagles), 64House of the Rising Sun

(Animals), 68

II am the Walrus

(The Beatles), 20I Want to Hold Your Hand

(The Beatles), 9Ick heff mol en Hamburg en Veermaster

sehn, 94Ihr Kinderlein, kommet, 106Ihr Kinderlein, kommet

(Floten, Klarinette), 107In My Life

(The Beatles), 16It’s Good to be King

(Tom Petty), 52

JJa, so warn s’ die alten Rittersleut, 116Ja, so warn s’ die alten Rittersleut

(Karl Valentin), 114Alle Jahre wieder, 105Bruder Jakob, 150Hey Jude

(The Beatles), 24

KMein kleiner gruner Kaktus

(Comedian Harmonists), 122Und keiner soll sagen . . .

(Willy Millowitsch), 126Killing Me Softly with his Song

(Roberta Flack), 89Kinder

(Bettina Wegener), 130Ihr Kinderlein, kommet, 106Ihr Kinderlein, kommet

(Floten, Klarinette), 107It’s Good to be King

(Tom Petty), 52Kling, Glockchen, klingelingeling, 101Knockin’ on Heaven’s Door

(Bob Dylan), 57Auf einem Baum ein Kuckuck saß, 147

LLaßt uns froh und munter sein, 100Lady in Black

(Uriah Heep), 70Leise rieselt der Schnee, 104Let it be

(The Beatles), 32Lola

(The Kinks), 62Streets of London

(Ralph McTell), 80Lustig ist das Zigeunerleben, 136

MMarmor, Stein und Eisen

(Drafi Deutscher), 132Marooned

(Wire), 87Field of Mars

(The Church), 60Maxwell’s Silver Hammer

(The Beatles), 30Mein kleiner gruner Kaktus

(Comedian Harmonists), 122Microsoft-Blues

(Hartmut Henkel), 143Morning has Broken

(Cat Stevens), 59

INDEX 171

Go down, Moses!, 98Mother

(Pink Floyd), 42Mrs. Robinson

(Simon & Garfunkel), 48

NStille Nacht, heilige Nacht!, 109Negeraufstand, 152Nights in White Satin

(The Moody Blues), 85Norwegian Wood

(The Beatles), 14

OO du frohliche, 108O du lieber Augustin, 146O Tannenbaum, 99The One I Love

(R.E.M.), 83Otto, 149

PPizza-Blues

(Christof Schardt), 140

RRaucherhusten-Blues, 142House of the Rising Sun

(Animals), 68Ja, so warn s’ die alten Rittersleut, 116Ja, so warn s’ die alten Rittersleut

(Karl Valentin), 114Mrs. Robinson

(Simon & Garfunkel), 48Rocky Raccoon

(The Beatles), 28

SSabotage, 148Sailing

(Rod Stewart), 90Nights in White Satin

(The Moody Blues), 85Scheiße . . . , 153Leise rieselt der Schnee, 104Schneeflockchen, Weißrockchen, 102

Schneeflockchen, Weißrockchen(Floten, Klarinette), 103

Seasons in the Sun(Terry Jacks), 78

Secret Corners(The Church), 61

Sex and Candy(Marcy Playground), 66

Sieben Tage lang(Bots), 131

The Sounds of Silence(Simon & Garfunkel), 46

Stille Nacht, heilige Nacht!, 109Straßen unserer Stadt

(Christian Heilburg), 124Strawberry Fields forever

(The Beatles), 22Streets of London

(Ralph McTell), 80Yellow Submarine

(The Beatles), 18Suzanne

(Leonard Cohen), 76

TO Tannenbaum, 99Teach Your Children

(Crosby, Stills, Nash & Young),91

The Boxer(Simon & Garfunkel), 50

The Continuing Story of Bungalow Bill(The Beatles), 26

The Gnome(Pink Floyd), 34

The One I Love(R.E.M.), 83

The Sounds of Silence(Simon & Garfunkel), 46

The Universal Soldier(Donovan), 72

Throw down the Sword(Wishbone Ash), 92

Time(Pink Floyd), 36

Two o’Clock(F. Rainer Bechtold), 93

172 INDEX

UUnd keiner soll sagen . . .

(Willy Millowitsch), 126The Universal Soldier

(Donovan), 72Das Urmel-Lied, 145

VIck heff mol en Hamburg en Veermaster

sehn, 94Venus

(Shocking Blue), 88

WAnother Brick in the Wall

(Pink Floyd), 41I am the Walrus

(The Beatles), 20Happiness is a Warm Gun

(The Beatles), 27Welcome to the Machine

(Pink Floyd), 39What shall We do with the Drunken

Sailor?, 96When a Blind Man Cries

(Deep Purple), 86Where have all the Flowers Gone?

(Peter, Paul & Mary), 74Wickie, 144Wie schon, daß du geboren bist

(Rolf Zuckowski), 128Blowin’ in the Wind

(Bob Dylan), 56Dust in the Wind

(Kansas), 82Wish You were here

(Pink Floyd), 40

YYellow Submarine

(The Beatles), 18Yenawe, 133

ZLustig ist das Zigeunerleben, 136

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