AUXILIARY MODAL VERBS

 

LOS VERBOS AUXILIARES

MODALES

 

Los verbos modales (can, could, dare, may, might, must, need, ought to, shall, should, used to, will y would) no tienen infinitivo, participio ni gerundio y no agregan -s en la tercera persona del singular.

Van generalmente seguidos de un infinitivo sin to (dare puede ir seguido de un infinitivo con o sin to) y, en algunos casos, de have + participio.

  Los verbos modales forman el negativo y el interrogativo sin el uso del auxiliar to do, aunque dare y used to constituyen excepciones al respecto.

 

can y could

 

La formas negativas de can y could son can’t y couldn’t, pero en contextos formales o enfáticos se suele usar cannot y could not.

Cuando expresan la idea de posibilidad o permiso, y en oraciones interrogativas en las que se pide un favor, can equivale a puedo, puedes, etc. y could puede equivaler a podía, podías, etc., pude, pudiste, etc. o podría, podrías, etc.:

 

He can help you

El te puede ayudar

If you don’t finish your homeworkyou can’t go out

Si no terminas los deberes, no puedes salir

Can you open the door for me?              

¿Me puedes abrir la puerta?

She couldn’t understand why

No podía entender por qué

They asked him if he could come a little earlier  

Le preguntaron si podía venir un poco más temprano

I couldn’t finish the essay

No pude terminar el trabajo

 

La expresión to be able to sustituye a can y could en los tiempos verbales en que éstos no se utilizan:

 

Do you think he’ll be able to do it?

¿Crees que podrá hacerlo?

She hopes to be able to  come on Tuesday

Espera poder venir el martes

I haven’t been able to do it yet

Todavía no he podido hacerlo

 

can’t, could y couldn’t también pueden ir seguidos de

 have + participio:

He can’t have said that!

¡No puede haber dicho eso!

You could have told me!

¡Me lo podrías haber dicho!

I couldn’t have done it without you

No lo podría haber hecho sin ti

She could have stayed if she had wanted to

Se podría haber quedado sihubiera querido

 

can y could equivalen a formas del verbo saber cuando van seguidos de verbos que expresan una habilidad que se ha adquirido:

 

She can’t swim

No sabe nadar

Can you type?

¿Sabes escribir a máquina?

He could read when he was four

Sabía leer cuando tenía cuatro años

can y could generalmente no se traducen al español cuando van seguidos de los verbos de los sentidos:

I can’t hear you

No te oigo

I can see why she doesn’t like it

Ya veo por qué no le gusta

He couldn’t see a thing

No veía nada

She could smell gas

Notó que olía a gas

 

dare

Cuando dare tiene el significado de atreverse a a veces funciona como un verbo modal y a veces como un verbo no modal, es decir, puede formar el negativo y el interrogativo con o sin el verbo to do y puede ir seguido de un infinitivo con o sin to.

Cuando funciona como verbo modal la forma negativa de dare es daren’t, aunque en contextos formales o enfáticos se suele usar dare not. La forma negativa de dared siempre es didn’t dare.

 

I daren’t look

No me atrevo a mirar

How dare she?

¿Cómo se atreve?

He daren’t say anything

He doesn’t dare say anything

He doesn’t dare to say anything

No se atreve a decir nada

they dared insult me

they dared to insult me

se atrevieron a insultarme

may y might

 

La forma negativa de may es may not; la de might es mightn’t pero en contextos formales o enfáticos se suele usar might not.

 Cuando expresa la idea de permiso, may equivale a puedo, puedes, etc. En esta acepción might puede equivaler a podía, podías, etc. o podría, podrías, etc. y su uso es bastante formal:

 

You may go

Puedes irte

May I use your phone?

¿Puedo usar el teléfono?

No, you may not go out tonight

No, no puedes salir esta noche

Might I ask you a favour?

¿Podría pedirle un favor?

He asked if he might see her

Preguntó si podía verla

 

may y might también pueden indicar posibilidad:

 

She may decide to stay

Puede que decida quedarse / Es posible que decida quedarse

 

I thought she might decide to stay

Pensé que a lo mejor decidía quedarse

 

I might go this weekend

A lo mejor voy este fin de semana

 

may y might también pueden usarse seguidos de

 have + participio:

 

They may have called earlier

Puede que hayan llamado más temprano

You might have been killed!

¡Te podías haber matado!

I might have known you’d be late

Debería haberme imaginado que llegarías tarde

 

must

 

La forma negativa de must  es mustn’t, pero en contextos formales o enfáticos se suele usar must not. Cuando must expresa obligación, equivale a formas de deber o tener que:

 

You must tell her

Debes decírselo / Tienes que decírselo

She told him he mustn’t touch it

Le dijo que no debía tocarlo

 

El verbo to have to sustituye a must en los tiempos verbales en que éste no se usa:

 

You’ll have to go

Tendrás que ir

I had to stay

Me tuve que quedar

 

 

Cuando must expresa intención, equivale a formas de tener que o al uso del subjuntivo en español:

I must remember to ring him

Tengo que acordarme de llamarlo

They mustn’t find out

Que no se enteren

 

Cuando expresa conjetura, equivale a formas de deber (de):

 

It must be about ten o’clock

Deben (de) ser alrededor de las diez

 

En esta acepción must también se usa seguido de have + participio:

 

She must have left early

Debe (de) haber salido temprano

They must have missed the train

Deben (de) haber perdido el tren

 

need

 

Con respecto a need hay que señalar que también existe el verbo to need, que no es un verbo modal, como se ve en los siguientes ejemplos:

He needs a hammer

Necesita un martillo

You don’t need so many clothes

No necesitas tanta ropa

Do you need more money?

¿Necesitas más dinero?

 

Pero en algunas oraciones negativas e interrogativas need no agrega s en la tercera persona del singular, va seguido de un infinitivo sin to y forma el interrogativo y el negativo sin el auxiliar to do; es decir, funciona como un verbo modal. Su forma negativa es needn’t:

 

He needn’t get up so early

No hace falta que se levante tan temprano

Need you be so rude?

¿Qué necesidad tienes de ser tan grosero?

 

needn’t también se usa seguido de have + participio:

 

She needn’t have come

No hacía falta que viniera

 

ought to

 

La forma negativa de ought to es ought not to. También existe la contracción oughtn’t to, pero es menos frecuente. Su uso equivale al de debería, deberías, etc:

 

You ought to write to her

Deberías escribirle

They ought to arrive before three

Deberían llegar antes de las tres

You ought not to go out alone

No deberías salir solo

 

ought to también se usa seguido de have + participio:

I ought to have bought it

Debería haberlo comprado

 

shall

 

La forma negativa de shall es shan’t, pero en contextos formales o enfáticos se suele usar shall not.

 A veces shall se usa en lugar de will para formar el futuro con las primeras personas (I y we). Este uso es más formal que el de will:

 

I shan’t have time to go shopping

No tendré tiempo para ir de compras

We shall be there at six

Estaremos allí a las seis

 

Con la segunda y tercera personas, shall se usa para dar énfasis a una orden o una promesa. En estas oraciones el acento recae sobre shall:

 

You shall go, whether you want to or not  

 Irás, quieras o no quieras

She shall have it, whatever it costs        

   Lo tendrá, cueste lo que cueste

 

shall también se usa con I y we en oraciones interrogativas para hacer sugerencias y ofertas. Este uso  equivale al del tiempo presente en español:

 

Shall I buy some bread?

¿Compro pan?

Shall we sit here?

¿Nos sentamos aquí?

 

 

SHOULD

La forma negativa de should es shouldn’t, pero en contextos formales o enfáticos se suele usar should not.

Se usa should para indicar qué es lo que debe hacerse:

 

All essays should be typed

Todos los trabajos deben ser escritos a máquina

Why should I listen to her?

¿Por qué le voy a hacer caso?

¿Por qué he de hacerle caso?

 

A menudo should indica un deber moral y equivale a

debería, deberías, etc.:

You shouldn’t speak to her like that

No deberías hablarle así

Should I offer to help?

¿Crees que debería ofrecerme para ayudar?

 

También se usa seguido de have + participio:

 

I should have waited

Debería haber esperado

You shouldn’t have accepted

No deberías haber aceptado

 

A VECES SHOULD INDICA PROBABILIDAD:

The taxi should be here soon

El taxi debe (de) estar al llegar

It shouldn’t cause any problems

No debería (de) causar ningún problema

 

used to

 

used to tiene dos formas negativas: used not to y didn’t use to.  El interrogativo se forma normalmente con did (did you/he/she use to …?).

  Su uso equivale al del pretérito imperfecto o al de solía, solías, etc. en español:

 

They used to spend their holidays in Italy

Pasaban las vacaciones en Italia

Solían pasar las vacaciones en Italia

Did he use to like it?

¿Le gustaba?

Where did they use to live?

¿Dónde vivían (antes)?

You didn’t use to smoke

Antes no fumabas  / no solías fumar

He didn’t use to drink coffee

(Antes) no tomaba café

He used not to drink coffee

No solía tomar café

 

 

 

 

 

 

 

 

 

will

 

will a menudo se contrae a la forma ‘ll, que va unida al pronombre o nombre que la precede. La forma negativa de will es won’t, pero en contextos formales o enfáticos se suele usar will not. Se usa will seguido de un infinitivo sin to para formar el futuro. Seguido de have  + participio forma el futuro perfecto:

 

She will arrive tomorrow

She’ll arrive tomorrow

Llegará mañana

Roy will be there

Roy’ll be there

Roy estará allí

Things will improve

Las cosas mejorarán

She will have finished by then

Ya habrá terminado para entonces

 

A veces will expresa voluntad o determinación:

 

I will not let that happen,

I won’t let that happen

No permitiré que ocurra eso

“I won’t go.” “Oh, yes you will!”

“No voy a ir.” “¡Sí que irás!”

He won’t do what I ask

No quiere hacer lo que le pido

This drawer won’t open

No hay forma de abrir este cajón

 

A veces expresa una conjetura:

 

That will be Joe on the phone

Debe (de) ser Joe el que llama

She will be there by now

Debe (de) haber llegado

Ya estará allí

 

will también se usa para ofrecer o pedir algo:

 

Will you have some tea?

¿Quieres tomar un poco de té?

Will you listen, please?

¿Quieres escucharme, por favor?

¿Me escuchas, por favor?

 

would

 

would a menudo se contrae a la forma ‘d, que va unida al pronombre o nombre que la precede. La forma negativa de would es wouldn’t, pero en contextos formales o enfáticos se suele usar would not.

Se usa would seguido de un infinitivo sin to para formar el condicional. Seguido de have + participio forma el condicional perfecto:

 

He would love to go to China

He’d love to go to China

Le encantaría ir a China

I would help you if I could

I’d help you if I could

Te ayudaría si pudiera

It would be a shame if they lost

Sería una pena que perdieran

I wouldn’t do that if I were you

yo que tú no haría eso

She would have come if you had asked her

habría venido si se lo hubieras pedido

 

 

would también se usa para ofrecer o pedir algo:

 

Would you like a sweet?

¿Quieres un caramelo?

Would you pass me the salt, please?

¿Me pasas la sal, por favor?

Would you mind opening the window, please?

¿Le importaría abrir la ventana?

 

A veces expresa voluntad o determinación en el pasado:

 

I tried to tell him but he wouldn’t listen

Intenté decírselo pero no me quiso escuchar

El verbo to wish va a veces seguido de frases con would:

 

I wish they would stop talking

Ojalá se callaran   ¿Por qué no se callarán?

would también se usa para referirse a cosas que sucedían regularmente o repetidamente en el pasado. Este uso equivale al del pretérito imperfecto o al de solía, solías, etc. en español:

 

He would arrive home very tired           

Llegaba a casa muy cansado / Solía llegar a casa muy cansado

 

 

 

 

 

 

 

 

 

 

 

 

UN DIA INOLVIDABLE

El+Resbal%C3%B3n

 

UN DIA INOLVIDABLE. 

 

Rondaba ,el que suscribe los 17 añitos. Adolescencia en vena. Mala época,rediez. Mala época para determinadas cosas.

 

Tiempo en el que cualquier vanalidad hacía que nos pusiésemos rojos como tomates. Tampoco sabíamos la diferencia entre anécdota y ridiculo espantoso. Yo creo que hago bien en catalogar esto que me paso con esos adjetivos. Ridiculo Espantoso.

 

 En ese tiempo solíamos acudir a una cafeteria sita en la terraza de unas grandes almacenes de  la principal calle de Málaga. Los Almacenes Gomez Raggio situados en la  calle Larios.

 

Eran tiempos de la chamarreta Graham Hill y vaqueros. Pero ese dia yo me sentía tonto. Me dio por lo pijo-lelo. Asi que sin pensarlo, abrí el apartado Nochebuena- Fin de Año del armario y empecé con el rito de la vestimenta.

 

Asi que arrumbando los Alton y la Graham Hill, me dispuse a vestir mis mejores galas.

 

Los pantalones de franela gris tenian la raya marcada como mandan los cánones. No confundir con Los Cánones de Navarone.  La  camisa de cuadritos inglesa. Jersey azul marino. Y para completar el equipo Osea, unos magnificos zapatos mocasines Castellanos de suela de cuero para cubrir mis pies que ,por supuesto, estaban enfundados en unos calcetines Ejecutivo,que acababa de robarlos en ese mismo momento a uno de mis hermanos. La cazadora de ante, of course.

 

Recojo la melena con el pelo hacia atrás con medio tubo de fijador marca Patrico. Ray Ban. Goticas de Agua Brava.

 

Asi que una vez equipado y con doscientas pesetas en mi cartera me dispongo a la marcha.

 

Tengo que decir que parecía un Sanluis.

 

Llamada telefónica y quedo citado. Nos vemos directamente en la cafeteriade la terraza!!! O.K.! Voy pallá.

 

Me pongo en marcha. A pié , pues aún no tenia el primer coche Cabrio que hubo en Málaga. Un Seat 600 descapotable!!!

 

Me pongo en marcha digo.

 

Debo de aclarar, en mi descargo que en esa época , aún no estaba asfaltada la calle donde vivia. Ni la calle ni la urbanizacion. Era ,la calzada,lo que se dice de chinos. De piedrecillas.

 

Asi que ,continúo, empiezo a bajar la cuesta teniendo muchichisisimo cuidado no fuesen a mancharse de polvo los inmaculados Castellanos. Brillo donde los haya.

 

En esto que veo a una joven mozuela que empieza a subir la cuesta en direccion contraria a mi.

Yo que la veo. Y automaticamente ,subo la ceja derecha a la Sobera manera y empiezo a contonearme como un pu.to pavo.

 

Cuando la chica está a unos 20 metros mia. Oh! Triste de mí. Oh! Infelice! Me pego tal resbalón con la pierna derecha, que está sin control alguno y tal si fuese patinando sobre mantequilla, se desplaza esta metro y medio p`alante  mientras el pie izquierdo queda clavado metro y medio detrás.

 

 

Podeis imaginar la postura. El que que suscribe está absolutamente aterrado, pues no controla debidamente lo que le ha pasado, Y sobre todo, porque no sabe a que viene ese ruido que ha acompañado a semejante patinazo. Raaaaajssssss!!!! Efectos especiales que se llaman.

 

Asi que quedo delante de la chica abierto patas y coloradisimo como un tomate. De rodillas; como si fuese un Legionario haciendo guardia al Cristo de la Buena Muerte. Y con una enorrrme raja en el pantalón que  que iba de rodilla a rodilla por donde asomaban en caida libre y colgandillos los “ atributos vestíbulares” enfundados en unos preciosos calzoncillos blancos de la época. El dolor, insoportable.

 

La chica pasó por mi lado haciendo unos ruidos extrañisimos con la nariz y con la garganta.

 

Me levante con un dolor, nunca mejor dicho, de cohoness. Y me fui para mi casa donde tiré tol pu.to uniforme de Osea y de dos patadas al aire lanzé los Castellanos al techo del armario..

 

Tardé tres semanas en reunir el valor para salir a la calle,pues hubo testigos. Aunque debiera de decir  testígulos.

 

Es por eso que de vez en cuando, y cuando voy en el coche suspirandoy me pongo colorao, al preguntarme el que va al lado por lo que me pasa,rara vez contesto.

 

Pozeso.

PAUL SIMON

AMERICA

 

Eb        |Ebmaj7

“Let us be lovers,

 

|Cm       |Eb/Bb     |Ab     |  |  |  |

We’ll marry our fortunes together.

 

Eb           |Ebmaj7     |Cm        |     |  |  |

I’ve got some real estate here in my bag.”

 

Gm7      |                |C7         |

So we bought a pack of cigarettes,

 

|Gm7 |        |C9   |

And Mrs. Wagner’s pies,

 

Gm7|F     |Eb

And walked off

 

|Bb       |Eb |Ebmaj7 |Cm |Cm7 |Ab |  |  |  |

To look for Ame-e-e-e-erica.

 

 

Eb        |Ebmaj7

“Kathy,” I said,

 

|Cm       |Eb/Bb       |Ab         |  |  |  |

As we boarded a Greyhound in Pittsburgh,

 

Eb       |Ebmaj7      |Cm         |    |  |  |

“Michigan seems like a dream to me now.

 

Bb        |

It took me four days

 

|              |        |

To hitchhike from Saginaw.

 

F   |Bb     |F        |Ebmaj7 |  |Eb  |  |  |

I’ve come to look for Ame-e-e-e-rica.”

 

 

Dbmaj7         |Db  |

Laughing on the bus,

 

|Eb            |      |  |  |  |

Playing games with the faces,

 

Dbmaj7      |          |         |          |Eb  |  |  |  |

She said the man in the gabardine suit was a spy.

 

Ab         |

I said, “Be careful,

 

|Abmaj7   |        |Eb      |Ebmaj7 |Cm7 |Eb6/Bb |Cm6(sus)/A |  |Abmaj7 |  |

His bowtie is really a camera.”

 

 

Eb        |Ebmaj7    |

“Toss me a cigarette,

 

Cm             |Eb/Bb    |Ab        |  |  |  |

I think there’s one in my raincoat.”

 

Eb            |Ebmaj7     |Cm   |    |  |  |

“We smoked the last one an hour ago.”

 

Gm7     |             |C7      |  |

So I looked at the scenery,

 

Gm7             |         |C9 |  |

She read her magazine;

 

|F   |Eb  |Bb     |Eb |Ebmaj7 |Cm7   |Eb |Ab |  |  |  |

And the moon rose over an o-o-o-open  field.

 

 

Eb         |Ebmaj7  |Cm

“Kathy, I’m lost,” I said,

 

|Eb/Bb       |Ab       |Abmaj7 |Fm7 |Ab

Though I knew she was sleeping.

 

|Eb       |Ebmaj7    |Cm          |     |  |  |

“I’m empty and aching and I don’t know why.”

 

Bb          |

Counting the cars

 

|          |

On the New Jersey Turnpike.

 

|F  |Bb

They’ve all come

 

|F        |Ebmaj7 |  |Eb |  |

To look for Ame-e-e-e-rica,

 

F  |Bb     |F        |Ebmaj7 |  |Eb |  |

All come to look for Ame-e-e-e-rica,

 

F  |Bb     |F        |Ebmaj7 |  |Eb |  |

All come to look for Ame-e-e-e-rica,

 

 

 

AMERICAN TUNE

 

C |           |F    C    G    C  G E

Many’s the time I’ve been mistaken

 

|Am   E7      |Am

And many times confused

 

C            |F C   G    C |G C

Yes, and I’ve often felt forsaken

 

Bdim|Am     E    |Am

And  certainly misused

 

C9        |F   G           |F C

Oh, but I’m alright, I’m alright

 

|F  C  G  Bdim|Am   A7|

I’m just weary to my    bones

 

D7           |G                 |

Still, you don’t expect to be

 

C      G   D    |G

Bright and bon vivant

 

C  F   C|G       |E    Am Dm|C/G  G       |C   |

So far a-way from home,   so far away from home

 

 

|F    C     G   C    G E

I don’t know a soul who’s not been battered

 

|Am         E7      |Am

I don’t have a friend who feels at ease

 

C           |F     C      G   C   |G  C

I don’t know a dream that’s not been shattered

 

Bdim|Am     E     |Am

or   driven to its knees

 

C9          |F G          |F C

Oh, but it’s alright, it’s alright

 

|F     C  G    G#dim|Am   A7|

for we lived so well so    long

 

D7       |G                  |

Still, when I think of the

 

C    G     D        |G

road we’re traveling on

 

C F  C  |G          |E    Am

I wonder what’s gone wrong

 

Dm        |C/G   G            |C    |

I can’t help it, I wonder  what’s gone wrong

 

 

|     |

And I dreamed I was dying

 

|G            |Am

I dreamed that my soul rose unexpectedly

 

Ebdim                 |G/D       |

And looking back down at me

 

F           C      G |

Smiled reassuringly

 

|C     |

And I dreamed I was flying

 

|G                 |Am

And high up above my eyes could clearly see

 

Ebdim              |G/D    |

The Statue of Liberty

 

F         |C      G  |

Sailing away to sea

 

|C     |

And I dreamed I was flying

 

 

|F    C    G    C     |G

We come on the ship they call the Mayflower

 

E               |Am        E7        |Am

We come on the ship that sailed the moon

 

C          |F C    G    C|G       C

We come in the a-ge’s most uncertain hours

 

Bdim|Am       E      |Am

and  sing an American tune

 

C9          |F G          |F C           G C

Oh, and it’s alright, it’s alright, it’s alright

 

|F  C  G   |Am     A7|

You can’t be forever blessed

 

D7          G                     |C  G  D      |G

Still, tomorrow’s going to be another working day

 

C      |F      C  G       |E

And I’m trying to get some rest

 

Am        Dm     |C/G   G            |C   |F C|G F|C G|C

That’s all I’m trying  to get some rest

 

 

APRIL COME SHE WILL

G C |G C        |G   Am G|

A-april Come She Will

 

Am                Em     |Fmaj7        Em   |

When streams are ripe and swelled with rain;

 

C  D           |G     Em |

Ma-ay, she will sta-a-ay,

 

Am      Em   |Fmaj7  Em

Resting in my arms again.

 

G  C |G  C                 |G   Am G|

Ju-u-une, she’ll change her tune,

 

Am         |Em          |Fmaj7    Em   |

In restless walks she’ll prowl the night;

 

C    D           |G    Em |

July-y, she will fly-y-y

 

Am          Em     |Fmaj7    Em

And give no warning to her flight.

 

G C  |G    C        |G   Am G|

A-a-august, die she must,

 

Am         Em         |Fmaj7     Em   |

The autumn winds blow chilly and cold;

 

|C  D        |G  Em |

September I’ll remember.

 

Am         |Em     |C   D    |G

A love once new has now grown old.

 

ARMISTICE DAY

 

|D

On Armistice Day

 

 

The Philharmonic will play

|G             F#m

But the songs that we sing

 

|Em(Omit 3rd) |D(Omit 3rd) |

Will be sad

 

A(Omit 3rd)|     |D

Shufflin    brown tunes

 

|D7     |D  |G  |

Hanging around, ahoo

 

F#m Em|D |  |  |

M-m-m-m-m-m-m

 

|G

No long drawn blown out excuses

 

D

Were made

 

|G        F#m           |Em

When I needed a friend she was there

 

A(Omit 3rd) |    |D    |

Just like an easy chair

 

|  |G

Oo, Oo-o

 

F#m Em|D |  |  |

M-m-m-m-m-m-m

 

 

D            |

Armistice Day

 

|

Armistice Day

 

G           F#m     |Em(Omit 3rd) |

That’s all I really wanted to say

 

D(Omit 3rd) |A(Omit 3rd) |  |D(Omit 3rd) |

 

 

D      |                  |

Oh I’m weary from waiting

 

|  |

In Washington D.C.

 

G               |

I’m coming to see my Congressman

 

D    |          |  |

But he’s avoiding me

 

A/D          |G/D            |D              |  |  |  |  |  |

Weary from waiting down in Washington D.C.

 

 

D  |             |

Oh Congresswoman

 

|   |

Won’t you tell that Congressman

 

G            |

I’ve waited such a long time

 

D          |         |  |

I’ve about waited all I can

 

A/D       |G/D             |D                    |  |  |  |  |  |

Oh Congresswoman, won’t you tell that Congressman

 

BABY DRIVER

 

D                   |

My daddy was the family bassman

 

|                |

My mamma was an engineer

 

|              |

And I was born one dark gray morn

 

|G                 |

With music coming in my ears

 

|D    |

In my ears.

 

 

|G           |

They call me Baby Driver

 

|                   |

And once upon a pair of wheels

 

|D      |

Hit the road and I’m gone ah

 

D      Db Am B7

What’s my number

 

|Em                    |

I wonder how your engine feels.

 

|

Ba ba ba ba

 

D                  |

Scoot down the road

 

Db Am B7

What’s my number

 

|Em7             A7    |D     |  |  |

I wonder how your engine feels.

 

 

|D                    |

My daddy was a prominent frogman

 

|                      |

My mamma’s in the Naval reserve

 

|             |

When I was young I carried a gun

 

|G                      |

But I never got the chance to serve

 

|D     |

I did not serve.

 

 

 

|G           |

They call me Baby Driver

 

|                   |

And once upon a pair of wheels

 

|D      |

Hit the road and I’m gone ah

 

D      Db Am B7

What’s my number

 

|Em                    |

I wonder how your engine feels.

 

|

Ba ba ba ba

 

D                  |

Scoot down the road

 

Db Am B7

What’s my number

 

|Em7             A7    |D     |  |  |

I wonder how your engine feels.

 

 

|D                 |

My daddy get a big promotion

 

|                      |

My mamma’s got a raise in pay

 

|                  |

There’s no-one home, we’re all alone

 

|G                    |

Oh come into my room and play

 

|D    |

Yes we can play.

 

 

|G                 |

I’m not talking about your pigtails

 

|                        |

But talking ‘bout your sex appeal

 

 

|D      |

Hit the road and I’m gone ah

 

D      Db Am B7

What’s my number

 

|Em                    |

I wonder how your engine feels.

 

|

Ba ba ba ba

 

D                  |

Scoot down the road

 

Db Am B7

What’s my number

 

|Em7             A7    |D     |  |  |

I wonder how your engine feels.

 

 

 

 

THE BIG BRIGHT GREEN PLEASURE MACHINE

 

|D               |        |            |

Do people have a tendency to dump on you?

 

|                    |             |C      |

Does your group have more cavities than theirs?

 

|D              |               |            |

Do all the hippies seem to get the jump on you?

 

|                |               |C     |

Do you sleep alone when others sleep in pairs?

 

|Bb           |

Well there’s no need to complain,

 

|A            |

We’ll eliminate your pain.

 

|G              |

We can neutralize your brain.

 

|A   |  |    |

You’ll feel just fine    now.

 

|G   F     |     |  |  |C           |      |D  |

Buy a Big Bright Green         Pleasure Machine!

 

 

|D           |            |               |

Do figures of authority just shoot you down?

 

|               |                |C    |

Is life within the bus’ness world a drag?

 

|D                |                 |           |

Did your boss just mention that you’d better shop around

 

|               |               |C   |

To find yourself a more productive bag?

 

|Bb           |

Are you worried and distressed?

 

|A             |

Can’t seem to get no rest?

 

|G             |

Put our product to the test.

 

|A   |  |    |

You’ll feel just fine    now.

 

|G   F     |     |  |  |C           |      |D  |

Buy a Big Bright Green         Pleasure Machine!

 

 

A           |            |G        |

You better hurry up and order one

 

|E         |           |A           |

Our limited supply is very nearly gone.

 

 

|D         |                 |           |

Do you nervously await the blows of cruel fate?

 

|                    |             |C    |

Do your checks bounce higher than a rubber ball?

 

|D                  |                   |            |

Are you worried ‘cause your girlfriend’s just a little late?

 

|             |               |C   |

Are you looking for a way to chuck it all?

 

|Bb            |

We can end your daily strife

 

|A         |

At a reasonable price.

 

|G            |

You’ve seen it advertised in Life.

 

 

|A   |  |    |

You’ll feel just fine    now.

 

 

|G   F     |     |  |  |C           |      |D  |  |

Buy a Big Bright Green         Pleasure Machine!

 

 

 

 

THE BOY IN THE BUBBLE

 

 

D         |A5

It was a slow day

 

|        C  D

And the sun was beating

 

|A5       C      D       C   D   | C

On the soldiers by the side of the road

 

D            |A5

There was a bright light

 

|      C       D

A shattering of shop windows

 

|A5   C      D    C

The bomb in the baby carriage

 

D  |      C      D    |

Was wired to the radio

 

 

G                      |    C       D     |

These are the days of miracle and wonder

 

G      C      D    C  D    |    C D |

This is the long distance call

 

G                   |        C     D     |

The way the camera follows us in slo-mo

 

 

G     C      D       C  D  | C D |

The way we look to us all

 

G                     |        C     D

The way we look to a distant constellation

 

|G     C    D      C     |D  C D |

That’s dying in a corner of the sky

 

G                      |    C       D

These are the days of miracle and wonder

 

|G        C   D   C     D   | C     D  |

And don’t cry  baby, don’t cry,  don’t cry

 

 

D         |A5

It was a dry wind

 

|       C         D

And it swept across the desert

 

|A5       C      D      C  D    | C

And it curled into the circle of birth

 

D        |A5       |

And the dead sand

 

C      D

Falling on the children

 

|A5      C       D

The mothers and the fathers

 

C   D  |    C     D    |

And the automatic earth

 

 

 

G                      |    C       D     |

These are the days of miracle and wonder

 

G      C      D    C  D    |    C D |

This is the long distance call

 

G                   |        C     D     |

The way the camera follows us in slo-mo

 

 

G     C      D       C  D  | C D |

The way we look to us all

 

G                     |        C     D

The way we look to a distant constellation

 

|G     C    D      C     |D  C D |

That’s dying in a corner of the sky

 

G                      |    C       D

These are the days of miracle and wonder

 

|G        C   D   C     D   | C     D  |

And don’t cry  baby, don’t cry,  don’t cry

 

 

It’s a turn-around jump shot

 

|     C    D

It’s everybody jump start

 

|A5    C    D     C      D|     C      D         |

It’s every generation throws a hero up the pop charts

 

A5                     |    C      D

Medicine is magical and magical is art

 

|A5  C      D

The Boy in the Bubble

 

C      |D    C        D

And the baby with the baboon heart

|

And I believe

 

G                      |       C      D     |

These are the days of lasers in the jungle

 

G      C      D      C   D|  C D |

Lasers in the jungle some–where

 

G                    |         C    D

Staccato signals of constant information

 

|G       C   D     C  D |              C     D              |

A loose affiliation of millionaires and billionaires and baby

 

G                      |    C       D     |

These are the days of miracle and wonder

 

G      C      D    C  D    |    C D |

This is the long distance call

 

G                   |        C     D     |

The way the camera follows us in slo-mo

 

G  C        D       C |D    C  D   |

The  way we look to us all, oh yeah

 

G                     |        C     D

The way we look to a distant constellation

 

|G     C    D      C     |D  C D |

That’s dying in a corner of the sky

 

G                      |    C       D

These are the days of miracle and wonder

 

|G        C   D   C     D   | C     D  |

And don’t cry  baby, don’t cry,  don’t cry

|

Don’t cry

Repeat and fade:

 

 

CECILIA

F            |Bb          F

Celia, you’re breaking my heart

 

|Bb         F         |C

You’re shaking my confidence daily.

 

|Bb F      |Bb        |F

Oh Cecilia, I’m down on my knees,

 

|Bb          F             |C    |

I’m begging you please to come home.

 

 

F            |Bb          F

Celia, you’re breaking my heart

 

|Bb         F         |C

You’re shaking my confidence daily.

 

|Bb F      |Bb        |F

Oh Cecilia, I’m down on my knees,

 

|Bb          F             |C

I’m begging you please to come home.

 

|F   |

Ho-ho-home

 

 

|Bb              |F

Making love in the afternoon with Cecilia

 

Bb F |C     F    |

Up in my bedroom,

 

|Bb

I got up to wash my face

 

|F

When I come back to bed,

 

|C        F     |

someone’s taken my place.

 

 

 

F            |Bb          F

Celia, you’re breaking my heart

 

|Bb         F         |C

You’re shaking my confidence daily.

 

|Bb F      |Bb        |F

Oh Cecilia, I’m down on my knees,

 

|Bb          F             |C

I’m begging you please to come home.

 

|F

Come on home.

 

|Fsus F              |Bb                 |C

 

 

|Bb F

Jubila-tion,

 

|Bb        F

She loves me again,

 

|Bb          F          |C

I fall on the floor and I laughing,

 

 

|Bb F

Jubila-tion,

 

|Bb        F

She loves me again,

 

|Bb          F          |C

I fall on the floor and I laughing,

 

 

 

 

CLOUDY

 

D      |                              |Gmaj7   |

Cloudy,  The sky is grey and white and  cloudy.

 

|D    F#7|Ddim|

Sometimes I think it’s hanging down on  me.

 

|A                                          |Fm#7

It’s a hitch-hike a hundred miles.

 

|A                                         |Bm

I’m a rag-a-muffin child.

 

|E                                              |

Pointed finger, painted smile.

 

|A                                                                                 |                                         F#m A   |

I left my shadow waiting down the road for me a whi-ile.

 

D      |                                                                                  |Gmaj7|

Cloudy,  My thoughts are scattered and they’re  cloudy.

 

|D   F#7 |Ddim|

They have no borders, no boundar- ies.

 

|A                                         |F#m7

They echo and they swell,

 

|A           |Bm

From Tolstoy to Tinkerbell,

 

|E                                             |

Down from Berkeley to Carmel.

 

|A                                                                |                             F#m  A   |

Got some pictures in my pocket and a lot of time to ki – ill.

 

D                         |                        |Gmaj7      |

Hey, Sunshine–  I haven’t seen you in a  long time.

 

|D    F#7|Ddim|

Why don’t you show your face and bend my  mind?

 

|A                                        |F#m7

These clouds stick to the sky,

 

|A                 |Bm

Like a floating question, why?

 

|E                                             |

And they linger there to die.

 

|A                                                    |                   F#m A |

They don’t know where they’re going, and my friend, neither do I- -i.

 

D      |Gmaj7 |D                  |Gmaj7

Cloudy,  Cloudy,  Cloudy, Cloudy.

 

 

DUNCAN

Em                       |

Couple in the next room

 

D

Bound to win a prize

 

|G           A        |D

they’ve been goin’ at it all night long

 

|C                 |G

Well I’m tryin’ to get some sleep

 

|C               G

but these motel walls are cheap

 

|C            G

Lincoln Duncan is my name

 

|D              |Em  |  |

and here’s my song, here’s my song

 

 

 

My father was a fisherman

 

|D

my mama was a fisherman’s friend

 

|G                 A              |D

and I was born in the boredom and the chowder

 

|C                 G

So when I reached my prime

 

|C                   G        |

I left my home in the maritimes

 

C               G               |D                 |Em     |

headed down the turnpike for New England, sweet New England

 

 

 

|

Holes in my confidence

 

D

holes in the knees of my jeans

 

|G              A          |D     |

I’s left without a penny in my pocket

 

C    G               |

Oo-o wee I’s about as

 

C               G

destituted as a kid could be

 

|C             G

And I wish I wore a ring

 

|D                  |Em     |

so I could hock it I’d like to hock it

 

 

|Em

A young girl in a parking lot

 

|D

was preaching to a crowd

 

|G

singin sacred songs and

 

A               |D

reading from the bible

 

|C              G

Well I told her I was lost

 

|C                     G

and she told me all about the Pentecost

 

|C                     G            |D  |Em

And I seen that girl as the road to my survi-ival

 

 

 

 

 

Just later on the very same night

 

|D

when I crept to her tent with a flashlight

 

|G             A        |D

and my long years of innocence ended

 

|C              G           |

Well she took me to the woods sayin’

 

C                            G

“Here comes somethin’ and it feels so good!”

 

|C           G          |D

And just like a dog I was befriended

 

|Em      |  |

I was befriended

 

 

Em                  |

Oh, oh, what a night

 

D

Oh what a garden of delight

 

|G              A     |D

Even now that sweet memory lingers

 

|C             G

I was playin’ my guitar

 

|C              G

lying underneath the stars

 

|C            G          |D

Just thankin’ the lord for my fingers

 

|Em

for my fingers

 

 

 

EL CONDOR PASA

 

|Em                        |G

I’d rather be a sparrow than a snail

 

|

Yes I would.

 

|

If I could,

 

|Em       |

I surely would, Hm-m

 

|                         |G

I’d rather be a hammer than a nail.

 

|

Yes I would.

 

|

If I only could,

 

|Em       |

I surely would, Hm-m

 

 

|C               |

Away, I’d rather sail away

 

|G                   |

Like a swan that’s here and gone

 

|C                      |

A man gets tied up to the ground,

 

|G

He gives the world

 

|

Its saddest sound

 

|Em   |  |

Its saddest sound

 

 

|                         |G

I’d rather be a forest than a street

 

|G

Yes I would.

 

|

If I could,

 

|Em

I surely would.

 

 

|                                |G

I’d rather feel the earth beneath my feet

 

 

|

Yes I would.

 

|

If I only could,

 

|Em       |

I surely would, Hm-m

 

EVERYTHING PUT TOGETHER FALLS APART

 

Fm7             |

M-m,    Paraphernalia

 

F7      Cm7/F            |Bb

Never hides your broken bones

 

B           |   Bb A

And I don’t know why

 

|E          |

You want to try

 

A      Am       Em         F#m    |E  A E7|

Mm,  It’s plain to see you’re on your own

 

Dm7    Cmaj7 Em7       |Am     Em

Uh, huh,     I ain’t blind, no

 

D/F              |Dm/F

Some folks are crazy

 

Dm7      |G7             |C7

Others walk that borderline

 

 

Watch what you’re doing

 

 

|Fm7    

Taking downs to get off to sleep

 

|F7           Cm7/F      |Bb

And ups to start you on your way

 

B      |     Bb A       |E                |

After a while    they’ll change your style

 

E7 A    Am     Em        F#m  |E  A E7|

M-m-m, I see it happening every day

 

Dm7    Cmaj7 Em7          |A    E

Uh, huh      spare your heart

 

D/F          |Dm/F

Everything put together

 

Dm7         |G7          |C7

Sooner or later falls apart

 

|

There’s nothing to it, nothing to it

 

|Fm7

You can cry

 

|C

You can lie

 

|F7                 Cm7/F

For all the good it’ll do you

 

|Bb

You can die

 

B            |

But when it’s done

 

Bb             A             |E                    |

And the police come, and they lay you down for dead

 

E7  A Am    |Em     F#m   |E   |E7 A Am Em F#m7 E|

Uh, huh,  just remember what I said

 

 

GRACELAND

 

 

   |E                    |

The Mississippi Delta was shining

 

                  |A  |

Like a National guitar

 

     |C#m          

 I am following the river

 

        |

Down the highway

 

                               |B  |

Through the cradle of the civil war

 

 

 A           |E   

 I’m going to Graceland, Graceland

 

  |              B

In Memphis Tennessee

 

    A       |E        | D A|

I’m going to Graceland

 

E                          |

Poor boys and Pilgrims with families

 

    B      A       |E        | D

And we are going to Graceland

 

A   |E                     |           B

  My traveling companion is nine years old

 

A        |E                         | D

He is the child of mv first marriage

 

A         |E

  But I’ve reason to believe

 

  |               B      A |E        | D A|E |

We both will be received In Graceland

 

 

                  |                  |

 She comes back to tell me she’s gone

 

  |A               

As if I didn’t know that

 

  |                       |C#m |

As if I didn’t know my own bed

 

  |B                   |

As if I’d never noticed

 

                                      |E       |

 The way she brushed her hair from her forehead

 

            |      |

And she said losing love

 

                        |     |

Is like a window in your heart

 

                      |C#m        |

 Everybody sees you’re blown apart

 

              |B            |

Everybody sees the wind blow

 

 

     A       |E        |

 I’m going to Graceland

 

              B

Memphis Tennessee

 

    A       |E        | D A|

I’m going to Graceland

 

E                          |

Poor boys and Pilgrims with families

 

    B      A       |E        | D

And we are going to Graceland

 

A   |E                       |                 B   A

  My traveling companions are ghosts and empty sockets

 

   |E                            | D

I’m looking at ghosts and empties

 

A         |E

  But I’ve reason to believe

 

  |              B      A |E        | D A|E |

We all will be received In Graceland

 

 

          |                 

There is a girl in New York City

 

   |                             |A   |

Who calls herself the human trampoline

 

   |C#m                        |

And sometimes when I’m falling, flylng

 

  |                         |

Or tumbling in turmoil I say

 

B                      |

Oh, so this is what she means

 

                             |E        |

She means we’re bouncing into Graceland

 

         |      |

And I see losing love

 

                        |     |

Is like a window in your heart

 

                      |C#m        |

 Everybody sees you’re blown apart

 

                    |B        |

 Everybody feels the wind blow

 

 

  |E                      |

In Graceland, in Graceland

 

 B A            |E        | D

    I’m going to Graceland

 

A            |E

For reasons I cannot explain

 

            |           B        A  |

There’s some part of me wants to see

 

E        |

Graceland

 

D     A        |E        

  And I may be obliged to defend

 

     |            B

Everv love, every ending

 

   A            |E                 | D

Or maybe there’s no obligations now

 

A             |E          

  Maybe I’ve a reason to believe

 

  |              B 

We all will be received

 

A |E        |

In Graceland

 

HOMEWARD BOUND

 

   |              |

I’m sitting in the railway station.

 

     |Em/B        |      |Gm6/Bb |  |A7 |  |

Got a ticket to my destination.    Mmm

 

Dm          |                   |Bb             | 

On a tour of one-night stands my suitcase and guitar in hand.

 

   |C            |                    |          |G7           |C |

And ev’ry stop is neatly planned for a poet and a one-man band.

 

        |F     |

Homeward bound,

 

         |C   |

 I wish I was,

 

        |F     |  |

Homeward bound,

 

C            |Dm        C Bb F   |

Home where my thought’s escaping,

 

C            |Dm C     Bb  F   |

Home where my mu-sic’s playing,

 

C            |Dm   C    Bb  F  |

Home where my love lies waiting

 

G       |C      |  |

Silently for me.

 

 

              |

Ev’ry day’s an endless stream

 

  |Em/B          |      |Gm6/Bb |  |A7 | 

Of cigarettes and magazi-ines.    Mmm

 

   |Dm                 |               |Bb            | 

And each town looks the same to me, the movies and the factories

 

   |C               |            |               |G7         |C |

And ev’ry stranger’s face I see reminds me that I long to be,

 

 

        |F     |

Homeward bound,

 

         |C   |

 I wish I was,

 

        |F     |  |

Homeward bound,

 

C            |Dm        C Bb F   |

Home where my thought’s escaping,

 

C            |Dm C     Bb  F   |

Home where my mu-sic’s playing,

 

C            |Dm   C    Bb  F  |

Home where my love lies waiting

 

G       |C      | 

Silently for me.

 

 

 |                  |

Tonight I’ll sing my songs again,

 

    |Em/B         |         |Gm6/Bb |  |A7 | 

I’ll play the game and prete-end.     Mmm

 

   |Dm               |             |Bb           | 

But all my words come back to me in shades of mediocrity

 

    |C           |         |               |G7         |C |

Like emptiness in harmony I need someone to comfort me.

 

 

        |F     |

Homeward bound,

 

         |C   |

 I wish I was,

 

        |F     |  |

Homeward bound,

 

C            |Dm        C Bb F   |

Home where my thought’s escaping,

 

C            |Dm C     Bb  F   |

Home where my mu-sic’s playing,

 

C            |Dm   C    Bb  F  |

Home where my love lies waiting

 

G       |C      |Cmaj7/B |

Silently for me.

 

        |C7/Bb  |  |C |F |C |  |

Silently for me.

 

 

 

KATHY’S SONG

 

|G          |C      |      |G   |   |

  I hear the drizzle of the rain

 

Am      |Em |C    |Bm7  |   |

  Like a memory it falls

 

G         |Bm     |G  |C  |  |

  Soft and warm continuing

 

Am       |Em   |D       |G     C|G  |  C|G  |

  Tapping on my roof and walls.

 

 

G           |C      |     |G   |   |

And from the shelter of my mind

 

Am           |Em    |C    |Bm7 |   |

  Through the window of my eyes

 

G         |Bm     |G            |C      |  |

 I gaze beyond the rain-drenched streets

 

Am  |Em     |D             |G    C|G  |  C|G  |

  To England where my heart lies.

 

 

G             |C      |      |G    |   |

  My mind’s distracted and diffused

 

Am  |Em          |C          |Bm7 |   |

  My thoughts are many miles away

 

G              |Bm      |G      |C    |  |

  They lie with you when you’re asleep

 

Am   |Em      |D                  |G   C|G  |  C|G  |

  And kiss you when you start your day.

 

 

|G                |C         |      |G   |   |

  And a song I was writing is left undone

 

Am       |Em        |C       |Bm7 |   |

  I don’t know why I spend my time

 

G       |Bm     |G      |C    |  |

 Writing songs I can’t believe

 

Am               |Em      |D        |G   C|G  |  C|G  |

  With words that tear and strain to rhyme.

 

 

|G          |C         |       |G    |   |

  And so you see I have come to doubt

 

Am        |Em    |C      |Bm7 |   |

  All that I once held as true

 

G       |Bm       |G    |C    |  |

 I stand alone without beliefs

 

Am        |Em     |D      |G   C|G  |  C|G  |

  The only truth I know is you.

 

 

|G        |C       |        |G   |   |

  And as I watch the drops of rain

 

Am           |Em   |C        |Bm7 |   |

  Weave their weary paths and die

 

G           |Bm  |G       |C   |  |

 I know that I am like the rain

 

Am                 |Em      |D     |G  C|G  |  C|G  |

  There but for the grace of you go I.

 

 

 

KEEP THE CUSTOMER SATISFIED

                            |Eb   |

Gee but it’s great to be back home,

 

                        |   |

 Home is where I want to be.

 

                         |Ab             |

 I’ve been on the road so long my friend,

 

      

 And if you came along

 

 |Bb                   |Ab

I know you couldn’t disagree.

 

                 |Eb    |    |

It’s the same old story, yeah

 

             |Ab

 Everyhwere I go,

 

     |Eb        |

I get slandered,

 

Bb  

Libeled,

 

      |Eb          

I hear words I never heard

 

      |Ab

In the Bible.

 

       |Eb                   |Cm         |

And I’m one step ahead of the shoe shine,

 

Eb                     |Cm     Ab

Two steps away from the county line,

 

    |Eb                Eb7      |Ab

Just trying to keep my customers satisfied,

 

    |Eb

Satisfied.

 

 

                      |Eb   |

Deputy Sheriff said to me

 

                          |    |

Tell me what you come here for, boy.

 

                            |Ab   |

You better get your bags and flee.

 

 

You’re in trouble boy,

 

   |Bb                     |Ab

And now you’re heading into more.

 

                 |Eb   |  |

It’s the same old story

 

 

              |Ab

 Everyhwere I go,

 

     |Eb        |

I get slandered,

 

Bb  

Libeled,

 

      |Eb          

I hear words I never heard

 

      |Ab

In the Bible.

 

       |Eb                   |Cm         |

And I’m one step ahead of the shoe shine,

 

Eb                     |Cm     Ab

Two steps away from the county line,

 

    |Eb                Eb7      |Ab

Just trying to keep my customers satisfied,

 

    |Eb   |  |

Satisfied.

 

    |   |   |Ab |Eb | 

 Woh woh woh woh

 

 

Ab                     |Eb   |  |

  But it’s the same old story

 

 

              |Ab

 Everyhwere I go,

 

     |Eb        |

I get slandered,

 

Bb  

Libeled,

 

      |Eb          

I hear words I never heard

 

      |Ab

In the Bible.

 

       |Eb                   |Cm         |

And I’m one step ahead of the shoe shine,

 

Eb                     |Cm     Ab

Two steps away from the county line,

 

    |Eb                Eb7      |Ab

Just trying to keep my customers satisfied,

 

    |Eb   |  |

Satisfied.

 

KODACHROME

 

            |F

When I think back

 

   Fmaj7  |F7               |Bb         |  |

On all the crap I learned in high school

 

Gm              |

   It’s a wonder

 

C             |F  |Gm

I can think at all

 

C7           |F       Fmaj7 F7

And though my lack of edu—cation

 

      |Bb          |  |

Hasn’t hurt me none

 

Gm               |C7            |F

   I can read the writing on the wall

 

 

F7     Bb  D7 |G7

   Kodachro—-me

 

                  |Cm         |F

They give us those nice bright colors

 

                |Bb       |Eb

They give us the greens of summers

 

               |C      |F              |Bb   D |G

Makes you think all the world’s a sunny day, Oh yeah

 

       |Cm   |F

I got a Nikon camera

 

                |Bb  |Eb

I love to take a photograph

 

             |C7     |F          |Bb |Dm |Gm |

So mama don’t take my Kodachrome away

 

 

C            |F       Fmaj7  |F7

  If you took all the girls I knew

 

          |Bb    |  |

When I was single

 

Gm                       |C7            |F    |Gm

   And brought them all together for one night

 

C7           |F     Fmaj7

I know they’d never match

 

  |F7        |Bb    |  |

my sweet imagination

 

Gm                     |C7                |F

   And everything looks worse in black and white

 

 

F7     Bb  D7 |G7

   Kodachro—-me

 

                  |Cm         |F

They give us those nice bright colors

 

                |Bb       |Eb

They give us the greens of summers

 

               |C      |F              |Bb   D |G

Makes you think all the world’s a sunny day, Oh yeah

 

       |Cm   |F

I got a Nikon camera

 

                |Bb  |Eb

I love to take a photograph

 

             |C7     |F          |Bb |  |

So mama don’t take my Kodachrome away

 

LOVES ME LIKE A ROCK

 

 

                   |G                C     |G

When I was a little boy, (when I was just a boy)

 

                           |                 C     |G

And the Devil would call my name (when I was just a boy)

 

 

            |C7     |

I’d say “now who do,

 

                       |G                     C     |G

Who do you think you’re fooling?” (when I was just a boy)

 

                 |                C     |G

I’m a consecrated boy (when I was just a boy)

 

 

      G7         |C           |

I’m a singer in a Sunday choir

 

             |G         |D

 Oh , my mama loves, she loves me

 

   |G                        |Em

She get down on her knees and hug me

 

        |C              |G   |

Like she loves me like a rock

 

C                      |F       C

  She rocks me like the rock of ages

 

   |G       |

And loves me

 

                               |       |

 She love me, love me, love me, love me

 

 

 

 

 

                         |G             C   |G

 When I was grown to be a man (grown to be a man)

 

                           |               C   |G

And the Devil would call my name (grown to be a man)

 

            |C7     |

I’d say “now who do,

 

                       |G                   C   |G

Who do you think you’re fooling?” (grown to be a man)

 

                 |              C   |G

I’m a consummated man (grown to be a man)

 

      G7             |C  |

I can snatch a little purity

 

       |G            |D

My mama loves me, she loves me

 

   |G                        |Em

She get down on her knees and hug me

 

        |C              |G   |

Like she loves me like a rock

 

C                  |F           C

  She rocks me like the rock of ages

 

   |G       |

And loves me

 

 

 

                              |       |

 

She love me, love me, love me, love me

 

 

                  |              C   |G

 And if I was President (was the President)

 

                            |              C   |G

 The minute Congress call my name (was the President)

 

       |C7      |

I’d say “who do,

 

                       |G                          C     |G

Who do you think you’re fooling? (Who do you think you’re fooling)

 

 

 

                         |              C   |G

I’ve got the Presidential Seal (was the president)

 

                          |C  |

I’m up on the Presidential Podium

 

       |G

My mama loves me

 

   |D

She loves me

 

   |G                        |Em

She get down on her knees and hug me

 

        |C              |G   |

Like she loves me like a rock

 

C                      |F       C

  She rocks me like the rock of ages

 

   |G       |

And loves me

 

 

 

 

Fade out:

                               |

 She love me, love me, love me, love me

 

 

                |

 

(loves me like a rock)

 

 

 

ME AND JULIO DOWN BY THE SCHOOLYARD

 

   |G         

The mama pajama rolled out of bed

 

       |                 |C

And she ran to the police station

 

        |D               

When the papa found out he began to shout

 

      |                  |G    

And he started the investigation

 

                |C

It’s against the law

 

                  |G

It was against the law

 

             |D

What the mama saw

 

                  |G

It was against the law

 

 

   |                    

The mama looked down and spit on the ground

 

    |                 |C

Everytime my name gets mentioned

 

   |D               

The papa said oy if I get that boy

 

         |                           |G

I’m gonna stick him in the house of detention

 

              |C 

Well I’m on my way

 

             |G

I don’t know where I’m going

 

         |C

I’m on my way

 

 

             |G

I’m taking my time

 

      A          D

But I don’t know where

 

          |C                   |G  

Goodbye to Rosie the queen of Corona

 

        |G      F

See you, me and Julio

 

C           D    |G

Down by the schoolyard

 

        |G      F

See you, me and Julio

 

C           D    |G   |

Down by the schoolyard

 

G      F     C           D    |G

Me and Julio down by the schoolyard

 

    |G 

In a couple of days they come and take me away

 

       |                   |C

But the press let the story leak

 

            |D

And when the radical priest

 

Come to get me released

 

      |                   |G

We was all on the cover of Newsweek

             |C 

And I’m on my way

 

            |G

I don’t know where I’m going

         |C

I’m on my way

 

             |G

I’m taking my time

 

      A          D

But I don’t know where

 

          |C                   |G  

Goodbye to Rosie the queen of Corona

 

        |G      F

See you, me and Julio

 

C           D    |G

Down by the schoolyard

 

        |G      F

See you, me and Julio

C           D    |G   |

Down by the schoolyard

 

G      F     C           D    |G

Me and Julio down by the schoolyard

 

 

 

MRS. ROBINSON

 

             |Bb       |Gm       |

And here’s to you, Mrs. Robinson,

 

Bb             |Gm                |Eb  |Cm     |F7  |

Jesus loves you more than you will know  (Wo wo wo).

 

               |Bb          |Gm       |

 God bless you, please, Mrs. Robinson,

 

Bb            |Gm                 |Eb  |Cm       |    |        |G    |  |  |

Heaven holds a place for those who pray  (Hey hey hey,  hey hey hey).

 

 

    |G7             |          |                |

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

 

    |C7              |                 |C9   |  |

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

 

F                 |Bb             |Eb         |Cm   |  |

  Look around you, all you see are sympathetic eyes.

 

G        |          

  Stroll around the grounds

 

 |F7             |

Until you feel at home.

 

 

             |Bb       |Gm       |

And here’s to you, Mrs. Robinson,

 

Bb             |Gm                |Eb  |Cm     |F7  |

Jesus loves you more than you will know  (Wo wo wo).

 

               |Bb          |Gm       |

 God bless you, please, Mrs. Robinson,

 

Bb            |Gm                 |Eb  |Cm         |    |        |G    |  |  |  |

Heaven holds a place for those who pray    (Hey hey hey,  hey hey hey).

 

 

G7             |                  |           |     |  |

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

 

C7              |                |         |  |

   Put it in you pantry with your cupcakes.

 

F7              |Bb              |Eb          |Cm   |  |

   It’s a little secret, just the Robinsons’ affair.

 

G                           |F7              |

  Most of all, you’ve got to hide it from the kids.

 

 

          |Bb        |Gm       |

Coo coo ca-choo, Mrs. Robinson,

 

Bb             |Gm                |Eb  |       |F7  |

Jesus loves you more than you will know  (wo wo wo).

 

              |Bb          |Gm       |

God bless you, please, Mrs. Robinson,

 

Bb            |Gm                 |Eb  |       |Cm   |       |G    |  |  |  |

Heaven holds a place for those who pray (Hey hey hey, hey hey hey).

 

 

G7             |         |           |     |  |

   Sitting on a sofa on a Sunday afternoon,

 

C7             |             |     |  |

   Going to the candidates’ debate,

 

F7                |Bb             |Eb                |Cm     |  |

   Laugh about it, shout about it, when you’ve got to choose,

 

G                             |F7   |

  Every way you look at it you lose.

 

 

               |Bb         |Gm    

 Where have you gone, Joe DiMaggio?

 

 |Bb              |Gm            |Eb |Cm       |F7   |

A nation turns its lonely eyes to you  (Woo woo woo).

 

 

                |Bb       |Gm       |

 What’s that you say, Mrs. Robinson?

 

Bb              |Gm            |Eb  |         |Cm  |        |G    |  |  |G7add6 |

“Joltin’ Joe has left and gone away”  (Hey hey hey,  hey hey hey).

 

 

 

MOTHER AND CHILD REUNION

 

 

     |C         D       |G

 No I would not give you false hope

 

       |C           D       |G

On this strange and mournful day

 

       |C          D      |G Em

But the mother and child reu-nion

 

  |Am     G      |D   |           |Em              |

Is only a motion away,  oh, little darling of mine.

 

                |D         |

 I can’t for the life of me

 

           |Em        |

 Remember a sadder day

 

                |D        |

 I know they say let it be

 

                       |Em          |

 But it just don’t work out that way

 

                    |C            |

 And the course of a lifetime runs

 

         |D         |

 Over and over again

 

 

 

     |C         D       |G

 No I would not give you false hope

 

       |C           D       |G

On this strange and mournful day

 

       |C          D      |G Em

But the mother and child reu-nion

 

  |Am     G      |D   |           |Em              |

Is only a motion away,  oh, little darling of mine.

 

 

               |D             |

 I just can’t believe it’s so,

 

                    |Em            |

 and though it seems strange to say

 

             |D          |

 I never been laid so low

 

             |Em         |

 In such a mysterious way

 

                    |C            |

 And the course of a lifetime runs

 

         |D         |

 Over and over again

 

 

 

 

      |C         D       |G

 But I would not give you false hope

 

       |C           D       |G

On this strange and mournful day

 

        |C          D      |G Em

When the mother and child reu-nion

 

  |Am     G      |D   |          

Is only a motion away, 

 

 

           |C          D      |G

 Oh, oh the mother and child reunion

 

  |C      D      |G 

Is only a motion away

 

      |C          D      |G|Em

Oh the mother and child reu-nion

 

  |Am     G      |D  |  |G |

Is only a moment away

 

 

 

THE ONLY LIVING BOY IN NEW YORK

 


C   |                      |F      |  |

Tom,  get your plane right on time.

 

C     |              |F      |  |

I know  your part’ll go fine.

 

C  |            |F  Am7|Dm7 F|

Fly  down to Mexico.

 

G              |              |F         |          

Da-n-da-da-n-da-da-n-da-da and here I am,

 

   |C                   |F      |  |C |F C Dm7|

The only living boy in New York.

 

 

C               |                     |F    |  |

I get the news I need on the weather report.

 

C    |                     |F                    |     |  |

I can gather all the news I need on the weather report.

 

C   |                    |F  C Dm7 F6 |G

Hey,  I’ve got nothing to do today but smile.

 

               |              |F         |          

Da-n-da-da-n-da-da-n-da-da and here I am,

 

   |C                   |F      |  |Am |  |

The only living boy in New York.

 

Dm                    |G7                    |C

Half of the time we’re gone but we don’t know where,

 

                 |F     |  |

And we don’t know where.

 

C   |                      |F      |  |

Tom,  get your plane right on time.

 

C     |                          |F       |  |

I know  that you’ve been eager to fly now.

 

C  |                 |F      C     |Dm     F  |

Hey  let your honesty shine, shine, shine, now

 

G              |                  |Fmaj7  F6 F      

Da-n-da-da-n-da-da-n-da-da like it shines on me.

 

   |C                   |F      |

The only living boy in New York.

 

   |C                   |F      |  |C |  |

The only living boy in New York.

 

 

PAPA HOBO

 

A |E |  |

Mm——

 

    |D            |D7

It’s carbon and monoxide

 

   |G     F#    F |E

The ole Detroit perfume

 

  |D           |D7

It hangs on the highways

 

      |G

In the morning

 

      |A               |D   |

And it lays you down by noon

 

       |A

Oh Papa Hobo

 

       |            |G             |G7

You can see that I’m dressed like a schoolboy

 

     |C          |A/C#

But I feel like a clown

 

      |G        |E       |C

It’s a natural reaction I learned

 

          |   Bm   Am  |G  |Bdim Am|G |  |Am G|Am G|Am G|Am |

In this basketball town

 

 

C       |  |

Sweep up

 

      |               |F        |    |

I been sweeping up the tips I’ve made

 

   |  C/E  Dm|C       |  |  |

I’m living on Gatorade

 

           |G      |G7 |  |

Planning my getaway

 

 |C             |  |

Detroit, Detroit

 

     |         |F          |  |

Got a hell of a hockey team

 

     |     Em  Dm|C

Got a left-handed way

 

  |E/B     |Am |Am/G           |

Of making a man sign up on that

 

D/F#      |         |G    |   |G7  |  |

Automotive dream, oh yeah,  oh yeah

 

C7  C#  |D     |G

Oh, Papa Papa Hobo

 

         |         |F    |  |Bb A Ab|

Could you slip me a ride?

 

G          |          |D/F#

 Well, it’s just after breakfast

 

          |G7  F

I’m in the road

 

G7     |C7        |F    |

And the weatherman lied,

 

Dm/A |Bb  |Am |Bb  |Am Gm|F |

Oo——-, Ah—–, Oo——-

 

 

 

 

PARANOIA BLUES

 

                    |E      |

I got some so-called friends

 

                          |E7  |

 They’ll smile right to my face

 

                    |A     |

 Oh, when my back is turned

 

               |E          

 They’d like to stick it to me

 

        |

Yes they would

 

     |   |      |  |

Oh no no,  oh no no

 

        |A               |E       C#m

 There’s only one thing I need to know

 

     |F#7  B7     |E  |

Whose side are you on?

 

 

              |E |

I fly into J.F.K.

 

                        |E7  |

 My heart goes boom boom boom

 

                    |A  |

 I know that customs man

 

              |E          

 He’s going to take me

 

              |

To that little room

 

     |   |       |  |

Oh no no.  Oh no, no

 

        |A               |E       C#m

 There’s only one thing I need to know

 

     |F#7                    B7          |E 

Whose side are you on, whose side are you on?

 

 

         |A

I got the paranoia blues

 

    |                           |E   |

Fnom knockin’ around in New York City

 

          |A            

Where they roll you for a nickel

 

        |                       |A   |  |

And they stick you for the extra dime

 

 

A

Anyway you choose

 

      |                         |E

You’re bound to lose in New York City

 

   |A          B7                |E

Oh, I just got out in the nick of time

 

     |A          B7                |E   |

Well, I just got out in the nick of time

 

 

                       |E   |

Once I was down in Chinatown

 

                             |E7 |

 I was eating some Lin’s Chow Fon

 

                    |A    |

 I happened to turn around

 

           |E      

 And when I looked I see

 

             |

My Chow Fon’s gone

 

      |   |       |  |

Oh no, no,  Oh no, no

 

       |A               |E       C#m

There’s only one thing I need to know

 

     |F#                     B7          |E  |

Whose side are you on, whose side are you on?

 

              |         B7     |E       A

 Well, there’s only one thing I need to know

 

     |F#          B7         |E   |  |

Whose side, whose side, whose side?

 

 

 

 

PEACE LIKE A RIVER

 

Dm |  |                  |Gm                  |F Bb F| Bb F|

Ah,    Peace like a river ran through the city

 

Bb                    |F

Long past the midnight curfew

 

      |Bb         |

We sat starry-eyed

 

Gm |             |Dm       |  |  |  |

  Ooh, oh,we were satisfied

 

Dm |                   |

O-o-oh, when I remember

 

              |Gm                |F     Bb F| Bb F|

Misinformation followed us like a plague

 

Bb              |F

Nobody knew from time to time

 

      |Bb                |

If the plans were changed

 

Gm   |  Gm/F C/E C      |F                  | Gm F|

  Oh,  oh,   oh,  if the plans were changed.

 

 

Gm                    |     F Gm|

  You can beat us with wires

 

F                    |      Gm F|

 You can beat us with chains

 

C                    |

 You can run out your rules

 

                      |Dm                |     Em Dm|

But you know you can’t outrun the history train

 

Gm                 |       F Gm|F |  |C |  |Dm |  |  |  |

  I seen a glorious day, aiee——

 

 

Dm |  |                    

Ah,    four in the morning

 

 |Gm                    |F     Bb F| Bb F|

I woke up from out of my dreams

 

Bb               |F

Nowhere to go but back to sleep

 

       |Bb        |

But I’m reconciled

 

Gm   |Gm/F C/E|                |Dm            | 

  Oh, oh,  oh,  I’m going to be up for a while

 

Gm   |Gm/F C/E|                |Dm            | 

  Oh, oh,  oh,  I’m going to be up for a while

 

 

Gm   |Gm/F C/E|                |Dm            |   |   |   | 

  Oh, oh,  oh,  I’m going to be up for a while

 

 

 

 

RUN THAT BODY DOWN

 

Am           Dm    |G     C  |G |C7 |

  Went to my doctor yesterday

 

Am |E+ |F |Am |

  A-a-a-a-ah,

 

            Dm     |G    C |G |C7

 she said I seem to be O.K.

 

Am |E+ |F |

  A-a-a-a-ah,

G G7      |

    She said

 

C                            |  |

“Paul, you better look around

 

F            |G7                |

 How long you think that you can

 

C             C7   |

Run that body down?

 

F         G7                   |C

 How many nights you think that you can

 

            C7  |F E+|Am |

Do what you been do-o-in’

 

Dm7 G7           |C       Am|Dm E+ E|

Who,  now who you foolin?”

 

 

Am           Dm    |G     C  |G |C7 |

I came back home and I went to bed

 

 

Am   |E+              |F   |Am |

  Ah, I was resting my head

 

              Dm        |G 

 My wife came in and she said

 

        C           |G          |C7     |

“What’s wrong, sweet boy, what’s wrong?”

 

Am   |E+               |F    |

  Ah, I told her what’s wrong

 

G G7      |C                           |  |

    I said “Peg, you better look around

 

F             G7                |

 How long you think that you can

 

C             C7   |

Run that body down?

 

F         G7                   |C

 How many nights you think that you can

 

            C7   F E+|Am |

Do what you been do-o-in’

 

Dm G7              |C       Am|Dm E+ E|

Who-o, now, who you foolin?”

 

 

Am Dm|G C|G |C7 |Am |E+ |F |Am | Dm|G C|G |C7 |Am |E+ |F   

 

 

|G G7|C                           |  |

      Kid, you better look around

 

 

F             G7                |

 How long you think that you can

 

C             C7   |

Run that body down?

 

F         G7                   |C

 How many nights you think that you can

 

            C7   F E+|Am |

Do what you been do-o-in’

 

Dm G7              |C       Am|

Who-o, now, who you foolin?”

 

Dm G7              |C       Am|

Who-o, now, who you foolin?”

 

 

SCARBOROUGH FAIR/CANTICLE

 

Em     |        |D          |Em   |

Are you going to Scarborough Fair:

 

G        |Em       |G A     |Em    |  |  |

 Parsley, sage, rosemary and thyme.

 

 |      |G    |    F#m Em   |D     |  |

Remember me to one who lives there.

 

Em      |D   Em |D    Em   D |Em   |  |

She once was a   true love of mine.

 

 

           |           |D    Em  D |Em

Tell her to make me a   cam –  bric shirt:

– – – – – – – – -On the side of  a  hill

 

      |           |G

in the deep forest green.

– – – – – – – – – – – – –

 

        |Em       |G A     |Em                           

Parsley, sage, rosemary and thyme;

– – – – – – – – – – – – – – Tracing

 

  |          |            |

– – – – – – – – – – – – – – – – –

of sparrow on snow-crested brown.

 

   |      |G        |   F#m   Em |D

Without no seams nor ne-edle      work,

– – – – – – – – – – -Blankets and bedclothes

 

   |            |

– – – – – – – –

the child of the

 

Em         |D  Em|D    Em   D |

Then she’ll be a  true love of

mountain – – – – – – – – – – –

 

Em       |           |       |     |

mine.- – – – – – – – – – – – – – –     

Sleeps unaware of the clarion call.

 

 

           |           |D    Em D |Em

Tell her to find me an  ac – re of land:

– – – – – – – – -On the side of a  hill

 

 |             |G  

– – – – – – – – – – –

a sprinkling of leaves.

 

        |Em       |G A     |Em    

Parsley, sage, rosemary and thyme;

– – – – – – – – – – – – – – Washes

 

   |          |       |

– – – – – – – – – – – – – –

the grave with silvery tears.

 

 |              |G    |    F#m Em  |D

Between the salt water and the sea  strand,

– – – – – – – – – – – -A   sol-dier cleans

 

   |          |Em         |D  Em|D    Em   D |

and polishes a gun. – – – – – – – – – – – –             

– – – – – – – -Then she’ll be a  true love of

 

Em       |           |       |     |

mine. – – – – – – – – – – – – – – –

Sleeps unaware of the clarion call.

 

 

           |              |D    Em D  |Em

Tell her to reap it with a sic-kle of  leather:

– – – – – – – – – – – – – -War bellows blazing

 

  |          |G 

– – – – – – – – – – –

in scarlet battalions.

 

        |Em       |G A     |Em      |

Parsley, sage, rosemary and thyme;

– – – – – – – – – – – – – – Generals

 

           |           |    

– – – – – – – – – – – – – –

order their soldiers to kill.

 

   |         |G       |      F#m   Em|D

And gather it all   in a     bunch of heather,

– – – – – – – – And to fight for   a  cause

 

       |           |Em     

– – – – – – – – – – Then

they’ve long ago forgotten.

 

      |D  Em|D    Em   D |Em

she’ll be a  true love of mine.

– – – – – – – – – – – – – – –

 

 

 

SONG FOR THE ASKING

 

Bb          |     Eb     |Gm    |

  Here is my song for the asking

 

Cm7              |D

Ask me and I will play

 

D7|Eb           |Bb            | F|

So sweetly, I’ll make you smile

 

 

Bb          |Bb   Eb     |Gm    |

  This is my tune for the taking

 

Cm                  |D

Take it, don’t turn away

 

D7       |Eb     |Bb     Eb  | F|Bb |

I’ve been waiting all my life

 

 

Gm                           |Dm D|

  Thinking it over, I’ve been sad

 

Bdim                        |Cm        F7

    Thinking it over, I’d be more than glad

 

  |Bb        Bb7|G Eb     |Gm    |

To change my ways  for the asking

 

 

Cm7              |D

Ask me and I will play

 

D7     |Eb         |Bb     Eb  |Bb F|Bb |

All the love that I hold inside

 

THE SOUND OF SILENCE

 

Dm7                      |C      |

   Hello darkness, my old friend,

 

 

                            |Dm   |

 I’ve come to talk with you again,

 

F6                       |Bb  F    |

  Because a vision softly creeping,

 

                           |Bb  F    |

 Left its seeds while I was sleeping,

 

        |Bb             |             |F

 And the vision that was planted in my brain

 

       |     |

Still remains

 

Dm F           |C       |Dm     |

     Within the sound of silence

 

 

Dm7                            |C   |

   In restless dreams I walked alone

 

                        |Dm    |

 Narrow streets of cobblestone,

 

           F6       |Bb     F    |

‘Neath the halo of a street lamp,

 

                         |Bb       F   |

I turned my collar to the cold and damp

 

       |Bb                      |               |F

When my eyes were stabbed by the flash of a neon light

 

              |     |

That split the night

 

Dm F               |C       |Dm      |

    And touched the sound of silence.

 

 

Dm7                        |C  |

   And in the naked light I saw

 

                          |Dm  |

Ten thousand people, maybe more

 

F6                      |Bb  F    |

  People talking without speaking,

 

                      |Bb   F    |

People hearing without listening,

 

              |Bb        |            |F

People writing songs that voices never share

 

          |     |

And no one dared

 

Dm F           |C       |Dm     |

    Disturb the sound of silence

 

 

Dm7                           |C   |

   “Fools” said I, “You do not know

 

                     |Dm   |

Silence like a cancer grows

 

F6                          |Bb    F   |

  Hear my words that I might teach you,

 

                         |Bb    F    |

Take my arms that I might reach you”

 

      |Bb        |                |F    |  |

But my words like silent raindrops fell,

 

Dm    |F     |

   And echoed

 

Dm F      |C       |Dm     |

    In the wells of silence

 

 

Dm7                        |C     |

   And the people bowed and prayed

 

                    |Dm   |

To the neon god they made.

 

        F6                  |Bb F    |

And the sign flashed out its warning,

 

                        |Bb F    |

In the words that it was forming.

 

                       |Bb                       |

And the sign said, “The words of the prophets are

 

                     |F

written on the subway walls

 

            |       |

And tenement halls.”

 

Dm F                    |C       |Dm      |

    And whisper’d in the Sound of Silence.

 

 

 

WAS A SUNNY DAY

C |  |G |  |D7 |  |G  |            |C  |

                        Was a sunny day

 

                |G         |

 Not a cloud was in the sky

 

               |D7            |

 Not a negative word was heard

 

                |Em        |

 From the people passing by

 

 G            |C  |

 ‘Twas a sunny day

 

                |G           |

 All the birdies in the trees

 

                |D7          |

 And the radio’s singing song

 

                |G       |

All the favorite melodies

 

 

        |Am      |

He was a navy man

 

D             |G       E   |

  stationed in Newport News

 

          |Am                   

 She was a highschool queen

 

    |D      |C           |G

with nothing left to lose

 

E7        |Am                   

 She was a highschool queen

 

    |D      |C           |

with nothing left to lose

 

 

G            |C  |

  Was a sunny day

 

                |G         |

 Not a cloud was in the sky

 

               |D7            |

 Not a negative word was heard

 

                |Em        |

 From the people passing by

 

 G            |C  |

 ‘Twas a sunny day

 

                |G           |

 All the birdies in the trees

 

                |D7          |

 And the radio’s singing song

 

                |G       |

All the favorite melodies

 

 

            |Am     |

Her name was Lorelei

 

D            |G        E|

  She was his only girl

 

              |Am                   

She called him “Speedoo”

 

       |D                |C          |G

But his Chistian name was Mister Earl

 

E               |Am                   

  She called him “Speedoo”

 

       |D                |C          |

But his Chistian name was Mister Earl

 

 

G            |C  |

  Was a sunny day

 

                |G         |

 Not a cloud was in the sky

 

               |D7            |

 Not a negative word was heard

 

                |Em        |

 From the people passing by

 

 G            |C  |

 ‘Twas a sunny day

 

                |G           |

 All the birdies in the trees

 

                |D7          |

 And the radio’s singing song

 

                |G       |

All the favorite melodies

 

 

 

 

 

 

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