Music Lyrics III

"That'll Be the Day (Chords)" by Holly Buddy

 

Medium-Fast Shuffle
------------------cut here-----------------
That'll Be the Day
Norman Petty, Buddy Holly, Jerry Alison
 
      A                                   E
Well, you give me all your lovin' and your turtle dovin',
A                                E
All your hugs and kisses and your money too,
      A                         E
Well, you know you love me baby, until you tell me, maybe,
F#m                 B7
That some day, well, I'll be through, well..
 
CHORUS:
A                                               E
That'll be the day, when you say good-bye, yes, that'll be the day, when you
                    A                                                  E
make me cry. Oh you say you're gonna leave, you know it's a lie 'cause
that'll
E          B7     E
be the day when I die!
 
When Cupid shot his dart he shot it at your heart
So if we ever part and I leave you
You say you told me and you told me boldly
That someday well, I'll be through
 
CHORUS
 
 
OH BOY
 
 
All of my love, All of my kissin
You don't know what you've been a missin, OH Boy, (oh boy)
When your with me, Oh boy (oh boy)
The world will see, that you, were meant, for me
 
All of my life, I've been a waitin
Tonight there'll be no, hesitatin, Oh boy (oh boy)
When your with me, Oh boy (oh boy)
The world will see, that you, were meant, for me
 
Stars appear and the shadow is a fallin
You can hear my heart a callin
A little bit of lovin makes every thin alright
And I'm gonna see my baby tonight
 
All of my love, All of my kissin
You don't know what you've been a missin, OH Boy, (oh boy)
when your with me, Oh boy (oh boy)
The world will see, that you, were meant, for me
 
dum de de dum dum oh boy
dum de de dum dum oh boy
 
ohhh
ohhh,ohhh
 
 

 

 

 

 

 
Peggy Sue
Buddy Holly, Norman Petty, Jerry Allison
 
Shuffle
 
G           C          G          C        G
If you knew Peggy Sue, then you'd know why I feel blue
      C                  G    C G
About Peggy, 'bout Peggy Sue
           D7                   C        C7             G C G D7
Oh, well, I love you gal, yes, I love you Peggy Sue:
 
G                     Eb                              G
Peggy Sue, Peggy Sue, pretty, pretty, pretty, pretty, Peggy Sue,
       C               G   C G
Oh, my Peggy, my Peggy Sue
            D7                  C         C7    G   C G D7
Oh, well, I love you gal, and I need you, Peggy Sue.
 
G          C          G      C       G    D7  G7
I love you Peggy Sue, with a love so rare and true,
    C                 G7  C G
Oh, Peggy, My Peggy Sue;
            D7                   C               G
Oh, well, I love you gal, yes, I want you, Peggy Sue.
 
Verse 2
Peggy Sue, Peggy Sue, Oh how my heart years for you
Oh, Pa-he-ggy, my Pa-he-ggy Sue;
Oh, well, I love you gal, and I need you, Peggy Sue.
 
            D7                   C               G
Oh, well, I love you gal, yes, I want you, Peggy Sue
 
 
 
 
 
 
 
 
It's So Easy
 
A       E       D       E
It's so easy to fall in love,
A       D       E       A
It's so easy to fall in love
A       E      D          E
People tell me love's for fools,
A         D           E          A
So here I go breaking all of the rules
 
A           D
It seems so easy, (seems so easy, seems so easy)
D                  A
Umm-hmm so doggone easy  (doggone easy , doggone easy)
A                    D
Umm-hmm, it seems so easy, (seems so easy, seems so easy, seems so easy)
D     E                      X         X
Well, your concerned that my heart has learned
 
A       E       D       E
It's so easy to fall in love,
A       D       E       A
It's so easy to fall in love
 
INSTRUMENTAL BREAK
 
A       E       D       E
It's so easy to fall in love,
A       D       E       A
It's so easy to fall in love
A      E       D         E
Look into your heart and see
A         D                 E             A
What your love could be [?] set apart for me
 
 
A           D
It seems so easy, (seems so easy, seems so easy)
D                  A
Umm-hmm so doggone easy  (doggone easy , doggone easy)
A                    D
Umm-hmm, it seems so easy, (seems so easy, seems so easy, seems so easy)
D     E                      X         X
Well, your concerned that my heart has learned
 
 
A       E       D       E
It's so easy to fall in love,
A       D       E       A
It's so easy to fall in love
 
REPEAT ABOVE TWO STANZAS, TO END
 
 
 
 
 
       RELIGIOUS MEDLEY
 
 
C
HE POURED IN THE OIL AND THE WINE…
C                              G
THE KIND THAT RESTORETH MY SOUL
G             C                               F      C
HE FOUND ME BLEEDING AND DYING ON THAT JERICO ROAD
C                       G             C
AND HE POURED IN THE OIL AND THE WINE…
 
 
C            F                C  
WORTHY, OH WORTHY ARE YOU LORD
C              G                                      
WORTHY TO BE THANKED AND PRAISED AND WORSHIPPED AND
C  G 
ADORED
C            F                C  
WORTHY, OH WORTHY ARE YOU LORD                                      C              G                                      
WORTHY TO BE THANKED AND PRAISED AND WORSHIPPED AND
G   C 
ADORED
 
 
C         F    G       C         
SINGING, HALELULIA, GLORY TO THE KING
C  F             G                  C              C7
WE WORSHIP AND ADORE YOU, YOUR MORE THAN ANYTHING
F   G        C         
HALELULIA, GLORY TO THE KING…
C     F              G
YOUR MORE THAN A CONQUERER
G                        CCCCFFFFCCCCGGGG                  
AND YOUR MORE THAN ANYTHING
 
 
 
C        G        F              C
LORD YOU ARE MORE BEAUTIFUL THAN DIAMONDS
C        G        F             G
LORD YOU ARE MORE PRECIOUS THAN GOLD
C        G        F              C
LORD YOU ARE MORE BEAUTIFUL THAN DIAMONDS
C   F         G                    C
AND NOTHING I DESIRE COMPAIRS WITH YOU
 
 
 
 
C        F   G      C         
SINGING, HALELULIA, GLORY TO THE KING
C  F           G               C            C7
WE WORSHIP AND ADORE YOU, YOUR MORE THAN ANYTHING
F   G      C         
HALELULIA, GLORY TO THE KING…
C    F           G
YOUR MORE THAN A CONQUERER
G                     CCCCFFFFCCCCGGGG                  
AND YOUR MORE THAN ANYTHING
 
 
 
C
HE POURED IN THE OIL AND THE WINE…
C                          G
THE KIND THAT RESTORETH MY SOUL
G           C                          F      C
HE FOUND ME BLEEDING AND DYING ON THAT JERICO ROAD
C                    G           C
AND HE POURED IN THE OIL AND THE WINE…
 
 
 
 
 
EM          AM
JEHOVA GYRA MY PROVIDER
AM EM      AM           EM
MY LORD I’M DEPENDENT ON YOU
 
EM          AM
JEHOVA GYRA MY PROVIDER
AM  EM     AM          EM
MY LORD IM DEPENENT ON YOU
EM                          AM
MY LORD SHALL SUPPLY ALL MY NEEDS
AM                          EM
ACCORDING TO HIS RICHES AND GLORY
 
 
EM
HE SHALL PLACE HIS POWER
AM
ALL OVER ME 
AM EM       AM         EM
JEHOVA GIRA CARETH FOR ME, FOR ME, FOR ME
EM              AM        EM
JEHOVAH GIRA CARETH FOR ME
 
 
 
 
 
 
 
 
 
 
 
 
 
EM                           AM
AWAKE OH ISREAL PUT OFF YOUR SLUMBER
AM      EM              B
FOR THE LORD HAS SURELY COME
B          EM
FOR OUT OF JORDAN
EM           AM
COMES YOUR DELIVERER
       EM      AM   EM
IN THE YEAR OF JUBALEE
 
EM
OH HALEJULAH
EM     AM
OH HALEJULAH 
AM  EM                B
HALEJULAH, PRAISE THE LORD
 
B      EM
OH HALEJULIA 
EM       AM
OH HALELULAH
AM  EM     AM         EM
HALELULAH, PRAISE THE LORD
 
 
 
 
 
 
 
 
 
 
 

Honky Tonk Women (Jagger/Richards)


I met a gin-soaked, bar-room queen in Memphis
She tried to take me upstairs for a ride
She had to heave me right across shoulder
'Cause I just can't seem to drink you off my mind

It's the Honky Tonk Women
Gimme, gimme, gimme the honky tonk blues

I laid a divorcée in New York City
I had to put up some kind of a fight
The lady then she covered me with roses
She blew my nose and then she blew my mind

It's the Honky Tonk Women
Gimme, gimme, gimme the honky tonk blues
It's the Honky Tonk Women
Gimme, gimme...
Alright!

It's the Honky Tonk Women
Gimme, gimme, gimme the honky tonk blues
Yeah, it's the Honky Tonk Women
Gimme, gimme...

 
 
 
 

Jumpin' Jack Flash (Jagger/Richards)


I was born in a cross-fire hurricane
And I howled at my ma in the driving rain
But it's all right now, in fact, it's a gas!
But it's all right now, I'm Jumpin' Jack Flash
It's a gas! Gas! Gas!

I was raised by a toothless, bearded hag
I was schooled with a strap right across my back
But it's all right now, in fact, it's a gas!
But it's all right now, I'm Jumpin' Jack Flash
It's a gas! Gas! Gas!

I was drowned, I was washed up and left for dead
I fell down to my feet and I saw they bled
I frowned at the crumbs of a crust of bread
I was crowned with a spike right thru my head
But it's all right now, in fact, it's a gas!
But it's all right now, I'm Jumpin' Jack Flash
It's a gas! Gas! Gas!
Jumpin' Jack Flash, it's a gas

 
 
Mother's Little Helper (Jagger/Richards) 


What a drag it is getting old
"Kids are different today"
I hear ev'ry mother say
Mother needs something today to calm her down
And though she's not really ill
There's a little yellow pill
She goes running for the shelter of a mother's little helper
And it helps her on her way, gets her through her busy day

"Things are different today"
I hear ev'ry mother say
Cooking fresh food for a husband's just a drag
So she buys an instant cake and she burns her frozen steak
And goes running for the shelter of a mother's little helper
And two helps her on her way, get her through her busy day

Doctor please some more of these
Outside the door, she took four more
What a drag it is getting old

"Men just aren't the same today"
I hear ev'ry mother say
They just don't appreciate that you get tired
They're so hard to satisfy. You can tranquilize your mind
So go running for the shelter of a mother's little helper
And four help you through the night, help to minimize your plight

Doctor please some more of these
Outside the door, she took four more
What a drag it is getting old

"Life's just much too hard today"
I hear ev'ry mother say
The pursuit of happiness just seems a bore
And if you take more of those, you will get an overdose
No more running to the shelter of a mother's little helper
They just helped you on your way through your busy dying day

 

 

(I Can't Get No) Satisfaction (Jagger/Richards)


I can't get no satisfaction, I can't get no satisfaction
'Cause I try and I try and I try and I try
I can't get no, I can't get no

When I'm drivin' in my car, and the man come on the radio
He's tellin' me more and more about some useless information
Supposed to fire my imagination

I can't get no. Oh, no, no, no. Hey, hey, hey
That's what I say
I can't get no satisfaction, I can't get no satisfaction
'Cause I try and I try and I try and I try
I can't get no, I can't get no

When I'm watchin' my TV and a man comes on and tell me
How white my shirts can be
But, he can't be a man 'cause he doesn't smoke
The same cigarettes as me

I can't get no. Oh, no, no, no. Hey, hey, hey
That's what I say
I can't get no satisfaction, I can't get no satisfaction
'Cause I try and I try and I try and I try
I can't get no, I can't get no

When I'm ridin' round the world, and I'm doin' this and I'm signin' that
And I'm tryin' to make some girl, who tells me
Baby, better come back maybe next week
'Cause you see I'm on a losing streak
I can't get no. Oh, no, no, no. Hey, hey, hey
That's what I say. I can't get no, I can't get no
I can't get no satisfaction, no satisfaction
No satisfaction, no satisfaction

 

 

 

Angie (Jagger/Richards)


Oh, Angie, Oh, Angie, when will those dark clouds disappear
Angie, Angie, where will it lead us from here
With no loving in our souls and no money in our coats
You can't say we're satisfied
But Angie, Angie, you can't say we never tried

Angie, you're beautiful, but ain't it time we said goodbye
Angie, I still love you, remember all those nights we cried

All the dreams we held so close seemed to all go up in smoke
Let me whisper in your ear
Angie, Angie, where will it lead us from here
Oh, Angie, don't you weep, all your kisses still taste sweet
I hate that sadness in your eyes
But Angie, Angie, ain't it time we said goodbye

With no loving in our souls and no money in our coats
You can't say we're satisfied
But angie, I still love you baby, ev'rywhere I look I see your eyes
There ain't a woman that comes close to you, come on baby, dry your eyes

But Angie, Angie ain't it good to be alive
Angie, Angie, they can't say we never tried

 

 

 

From: fact1@gipsy31.cs.uni-sb.de (Detlef Anton)
 
{title:ANGIE}
{st:Rolling Stones}
 
[Am]  [E7]
Angie,Angie
 
[G]             [F]           [A# F GCG]              
When will those dark clouds all disappear?
 
[Am]   [E]  
Angie, Angie
 
[G]           [F]         [A#FGC ]
Where will it lead us from here? With no
 
[G]
loving in our souls and no
 
[Dm]         [Am]
money in our coats
 
[C]       [F]          [G]  
  You can't say we're satisfied
 
[Am]   [E]             
Angie, Angie
 
[G]       [F]          [A#FGCE7]       
You can't say we never tried 
                        D.S.al Coda
 
 
CODA:
[Dm]                      [Am]
Angie, I still love you baby
 
[Dm]                       [Am]
Ev'ry where I look I see your eyes
 
[Dm]                           [Am]                        
There ain't a woman that comes close to you
 
[C]      [F]           [G]
Come on baby dry your eyes  But
 
[Am]        [E7]
Angie______ An-gie
 
[G]        [F]    
  Ain't it good to be alive
 
 
1.
[A# F G C E7]
 
2.
[A# F G C (held)]
 
 
Angie you're beautiful but ain't it time we said goodbye
Angie I still love you remember all those nights we cried
All the dreams we held so close seemed to all go up in smoke
Let me whisper in your ear Angie, Angie where will it lead us from here
Angie, where will it lead us from here.
 
_Instrumental_
Oh Angie don't you weep all your kisses still taste sweet
I hate that sadness in your eyes but
Angie, Angie ain't it time we said goodbye
 
_Instrumental_
With no loving in our souls and no money in our coats
You can't say we're satisfied
But Angie, Angie, I still love you baby.
 
--
 
vvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvv
v toni                            v                     
v mail: fact1@cipsol.cs.uni-sb.de v  
vvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvv
 
__________________________________________________________________________________
 
 
 
From: glen.word@equinox.org (Glen Word)
 
                                     ANGIE
 
                                                          Word and Music by:
        By Henry Rodriguez                            MICK JAGGER/KEITH RICHARD
 
                                                                (1973)
 
 
       Am       E7         G                Bb/F   F              C/E  Dm  C  E
 
         ANGIE,    ANGIE,   WHEN WILL THOSE CLOUDS ALL DISAPPEAR?
 
       Am       E7         G              Bb/F F            C/E  Dm  C
         ANGIE,    ANGIE,   WHERE WILL IT LEAD US FROM HERE?
 
 
         CHORUS:
 
                 G                          Dm             Am   C   
         WITH NO LOVING IN OUR SOULS AND NO MONEY IN OUR COATS,
 
        C          F              G           Am       E7  
         YOU CAN'T SAY WE'RE SATISFIED.   BUT ANGIE,   ANGIE,
 
        G          Bb/F F             C/E  Dm  C   
         YOU CAN'T SAY WE NEVER TRIED.
 
 
        Am      E7                 G             Bb/F F             C/E  Dm  C 
 
         ANGIE,  YOU'RE BEAUTIFUL,  BUT AIN'T IT TIME WE SAID GOODBYE?
 
     Em Am      E7                 G         Bb/F F                   C/E  Dm  
 
         ANGIE,  I STILL LOVE YOU.  REMEMBER ALL THOSE NIGHTS WE CRIED?
 
                 G                                 Dm             Am   
         ALL THE DREAMS WE HELD SO CLOSE SEEMED TO ALL GO UP IN SMOKE.
 
        C         F                 G  Am      E7     G              Bb/F F    
         LET ME WHISPER IN YOUR EAR:  "ANGIE,  ANGIE,  WHERE WILL IT LEAD US
 
               C/E Dm C     G                                   Dm   
         FROM HERE?"   OH,  ANGIE,  DON'T YOU WEEP.  ALL YOUR KISSES STILL
 
                Am    C            F                G          Am      E7  
         TASTE SWEET.  I HATE THAT SADNESS IN YOUR EYES.  BUT ANGIE,  ANGIE,
 
         G        Bb/F F             C/E  Dm  C   
         AIN'T IT TIME WE SAID GOODBYE?
 
         (CHORUS:)
 
 
___

 

 

 

 

As Tears Go By (Jagger/Richards)


It is the evening of the day
I sit and watch the children play
Smiling faces I can see, but not for me
I sit and watch as tears go by

My riches can't buy everything
I want to hear the children sing
All I ever hear is the sound of rain falling on the ground
I sit and watch as tears go by

It is the evening of the day
I sit and watch the children play
Doin' things I used to do, they think they are new
I sit and watch as tears go by
Mm mm mm...

 

 

 

 

Date: Thu, 14 Nov 1996 14:50:17 -0500
From: Andrew Rogers 
Subject: ./r/rolling_stones/as_tears_go_by.crd
 
                            "As Tears Go By"
                        (Jagger-Richard-Oldham)
 
Intro:
 
        [12-string acoustic in serious need of tuning]:
 
        G        A        C        D
        / / / /  / / / /  / / / /  / / / /
 
Verse 1:
 
        G          A              C     D
        It is the evening of the day
        G          A                  C    D
        I sit and watch the children play
        C             D
        Smiling faces I can see
        G   G/F#    Em    Em7
        But not for me
        C                           D
        I sit and watch as tears go by
 
Verse 2:
 
        My riches can't buy everything
        I want to hear the children sing
        All I hear is the sound
        Of rain falling on the ground
        I sit and watch as tears go by
 
        (string break - same chords as verse)
 
Verse 3:
 
        It is the evening of the day
        I sit and watch the children play
        Doing things I used to do
        They think are new
        I sit and watch as tears go by
 
        (strings over basic chord progression to fade)
 
 
-- another ace 60's tab from Andrew Rogers

 

Hound Dog (Leiber/Stoller)

 

 


You ain't nothin' but a hound dog cryin' all the time.
You ain't nothin' but a hound dog cryin' all the time.
Well, you ain't never caught a rabbit and you ain't no friend of mine.
When they said you was high classed, well, that was just a lie.
When they said you was high classed, well, that was just a lie.
You ain't never caught a rabbit and you ain't no friend of mine.

 

 

 

 

 

DIAMONDS AND RUST
(Words and Music by Joan Baez)

 

 Well I'll be damned
Here comes your ghost again
But that's not unusual
It's just that the moon is full
And you happened to call
And here I sit
Hand on the telephone
Hearing a voice I'd known
A couple of light years ago
Heading straight for a fall

As I remember your eyes
Were bluer than robin's eggs
My poetry was lousy you said
Where are you calling from?
A booth in the midwest
Ten years ago
I bought you some cufflinks
You brought me something
We both know what memories can bring
They bring diamonds and rust

 

 

Well you burst on the scene
Already a legend
The unwashed phenomenon
The original vagabond
You strayed into my arms
And there you stayed
Temporarily lost at sea
The Madonna was yours for free
Yes the girl on the half-shell
Would keep you unharmed

Now I see you standing
With brown leaves falling around
And snow in your hair
Now you're smiling out the window
Of that crummy hotel
Over Washington Square
Our breath comes out white clouds
Mingles and hangs in the air
Speaking strictly for me
We both could have died then and there

Now you're telling me
You're not nostalgic
Then give me another word for it
You who are so good with words
And at keeping things vague
Because I need some of that vagueness now
It's all come back too clearly
Yes I loved you dearly
And if you're offering me diamonds and rust
I've already paid

 

 

WINDS OF THE OLD DAYS
(Words and Music by Joan Baez)

 

The lady's adrift in a foreign land
Singing on issues both humble and grand
A decade flew past her and there on the page
She read that the prince had returned to the stage
Hovering near treacherous waters
A friend saw her drifting and caught her
Unguarded fantasies flying too far
Memories tumbling like sweets from a jar

And take me down to the harbor now
Grapes of the summer are low on the bough
Ghosts of my history will follow me there
And the winds of the old days will blow through my hair

Breath on an undying ember
It doesn't take much to remember
Those eloquent songs from the good old days
That set us to marching with banners ablaze
But reporters, there's no sense in prying
Our blue-eyed son's been denying
The truths that are wrapped in a mystery
The sixties are over so set him free

And take me down to the harbor now
Grapes of the summer are low on the bough
Ghosts of my history will follow me there
And the winds of the old days will blow through my hair

Why do I sit the autumnal judge
Years of self-righteousness will not budge
Singer or savior, it was his to choose
Which of us knows what was his to lose
Because idols are best when they're made of stone
A savior's a nuisance to live with at home
Stars often fall, heroes go unsung
And martyrs most certainly die too young

So thank you for writing the best songs
Thank you for righting a few wrongs
You're a savage gift on a wayward bus
But you stepped down and you sang to us

And get you down to the harbor now
Most of the sour grapes are gone from the bough
Ghosts of Johanna will visit you there
And the winds of the old days will blow through your hair

 

 

 

 

THE NIGHT THEY DROVE OLD DIXIE DOWN
 

Am     C                       F                      Dm
Virgil Caine is my name, and I drove on the Danville train,
Am              C                F                   Dm
Til Stonewall's cavalry came and tore up the tracks again.
C                 F           C            F
In the winter of '65, we were hungry, just barely alive.
Am                     F
I took the train up to Richmond that fell,
         C        Am           D-D7
It was a time I remember oh so well.

(chorus)
    C          F               C                 Am
The night they drove old Dixie down, and all the bells were ringing.
    C          F               C                 Am
The night they drove old Dixie down, and all the people were singing.
            C        Am       D           F
They went, "Na na na na na na na na na na na na na na."
 

Am                   C          F                   Dm
Back with my wife in Tennessee, one day she said to me.
 Am      C               F                        Dm
"Virgil, quick come see, here comes the Robert E. Lee."
     C            F
Well I don't mind chopping wood,
      C                 F
And I don't care if the money's no good.
    Am            C        F
You take what you need and leave the rest,
                C          Am             D-D7
But they should never have taken the very best.

(chorus)

Am               C        F               Dm
Like my father before me, I will work the land.
Am                    C        F              Dm
And like my brother before me, I took a rebel stand.
       C              F                      C               F
He was just eighteen, proud and brave, but a Yankee laid him in his grave.
  Am           C       F
I swear by the blood below my feet,
          C                  Am                D-D7
You can't raise a Caine back up when he's in defeat.

(chorus)

 

SIMPLE TWIST OF FATE-
 
They sat together in the park
As the evening sky grew dark                               
She looked at him and he felt a spark
Tingle to his bones
'Twas then he felt alone
And wished that he'd gone straight
And watched out for a simple twist of fate
 
They walked along the old canal
A little confused, I remember well
And stopped into a strange hotel
With the neon burning bright
He felt the heat of the night
Hit him like a freight
Train moving with a simple twist of fate
 
A saxaphone someplace far off played
As she was walking down by the arcade
As the light burst through a beat up shade
Where he was waking up
She dropped a coin into the cup
Of a blind man at the gate
And forgot about a simple twist of fate
 
He woke up, the room was bare
He didn't see her anywhere
He told himself he didn't care
Pushed the window open wide
Felt an emptiness inside
To which he just could not relate
Brought on by his simple twist of fate
 
He hears the ticking of the clocks
And walks along with a parrot that talks
Hunts her down by the waterfront docks
Were the saliors all come in
Maybe she'll pick him out again
How long must he wait?
One more time for his simple twist of fate
 
People tell me its a sin
To know and feel too much within
I still believe she was my twin
But I lost the ring
She was born in spring
But I was born too late
Blame it on a simple twist of fate
 
C AM C F   F C F C G F C
 
Lyrics: I never dreamed


 

I never dreamed you'd leave in summer
I thought you would go then come back home
I thought the cold would leave by summer
But my quiet nights will be spent alone

You said there would be warm love in springtime
That was when you started to be cold
I never dreamed you'd leave in summer
But now I find myself all alone

You said then you'd be the life in autumn
Said you'd be the one to see the way
I never dreamed you'd leave in summer
But now I find my love has gone away

Why didn't you stay?
 

 

 

 

 Lyrics:  JESSE

Jesse come home, there's a hole in the bed
Where we slept; now it's growing cold.
Jesse your face, in the place where we lay
By the hearth, all apart, it hangs on my heart

And I'm leaving the light on the stairs
No I'm not scared; I wait for you
Hey Jesse, it's lonely, come home.

Jesse the stairs in the halls, recalling
Your step; and I remember too.
All the pictures are shaded and fading in grey
And I still set a place on the table at noon

And I'm leaving the light on the stairs
No I'm not scared; I wait for you
Hey Jesse, it's lonely, come home.

Jesse the spread on the bed,
It's like when you left, I kept it for you.
All the blues and the greens have been recently cleaned
And are seemingly new; hey Jess, me and you.

We'll swallow the light on the stairs
I'll fix up my hair, we'll sleep unawares
Hey Jesse, it's lonely, come home

 

 

AT SEVENTEEN
(Janis Ian)

 

I LEARNED THE TRUTH AT SEVENTEEN
THAT LOVE WAS MEANT FOR BEAUTY QUEENS
AND HIGH SCHOOL GIRLS WITH CLEAR SKINNED SMILES
WHO MARRIED YOUNG AND THEN RETIRED
THE VALENTINES I NEVER KNEW
THE FRIDAY NIGHT CHARADES OF YOUTH
WERE SPENT ON ONE MORE BEAUTIFUL
AT SEVENTEEN I LEARNED THE TRUTH

 
AND THOSE OF US WITH RAVAGED FACES
LACKING IN THE SOCIAL GRACES
DESPERATELY REMAINED AT HOME
INVENTING LOVERS ON THE PHONE
WHO CALLED TO SAY - COME DANCE WITH ME
AND MURMURED VAGUE OBSCENITIES
IT ISN'T ALL IT SEEMS AT SEVENTEEN

A BROWN EYED GIRL IN HAND ME DOWNS
WHOSE NAME I NEVER COULD PRONOUNCE
SAID - PITY PLEASE THE ONES WHO SERVE
THEY ONLY GET WHAT THEY DESERVE
THE RICH RELATIONED HOMETOWN QUEEN
MARRIES INTO WHAT SHE NEEDS
WITH A GUARANTEE OF COMPANY
AND HAVEN FOR THE ELDERLY

 
SO REMEMBER THOSE WHO WIN THE GAME
LOSE THE LOVE THEY SOUGHT TO GAIN
IN DEBENTURES OF QUALITY AND DUBIOUS INTEGRITY
THEIR SMALL-TOWN EYES WILL GAPE AT YOU
IN DULL SURPRISE WHEN PAYMENT DUE
EXCEEDS ACCOUNTS RECEIVED AT SEVENTEEN

(INSTRUMENTAL)

TO THOSE OF US WHO KNEW THE PAIN
OF VALENTINES THAT NEVER CAME
AND THOSE WHOSE NAMES WERE NEVER CALLED
WHEN CHOOSING SIDES FOR BASKETBALL
IT WAS LONG AGO AND FAR AWAY
THE WORLD WAS YOUNGER THAN TODAY
WHEN DREAMS WERE ALL THEY GAVE FOR FREE
TO UGLY DUCKLING GIRLS LIKE ME

 
WE ALL PLAY THE GAME, AND WHEN WE DARE
WE CHEAT OURSELVES AT SOLITAIRE
INVENTING LOVERS ON THE PHONE
REPENTING OTHER LIVES UNKNOWN
THAT CALL AND SAY - COME ON, DANCE WITH ME
AND MURMUR VAGUE OBSCENITIES
AT UGLY GIRLS LIKE ME, AT SEVENTEEN


 

 

JESSE
(Janis Ian)

JESSE COME HOME
THERE'S A HOLE IN THE BED
WHERE WE SLEPT
NOW IT'S GROWING COLD
HEY JESSE, YOUR FACE
IN THE PLACE WHERE WE LAY
BY THE HEARTH, ALL APART
IT HANGS ON MY HEART

 
AND I'M LEAVING THE LIGHT ON THE STAIRS
NO I'M NOT SCARED - I WAIT FOR YOU
HEY JESSE, I'M LONELY, COME HOME

JESSE, THE FLOORS AND THE BOARDS
RECALLING YOUR STEP
AND I REMEMBER, TOO
ALL THE PICTURES ARE FADING
AND SHADED IN GREY
BUT I STILL SET A PLACE
ON THE TABLE AT NOON

 
AND I'M LEAVING A LIGHT ON THE STAIRS
NO I'M NOT SCARED - I WAIT FOR YOU
HEY JESSE, I'M LONELY, COME HOME

JESSE, THE SPREAD ON THE BED
IS LIKE WHEN YOU LEFT
I'VE KEPT IT ALL FOR YOU
AND ALL THE BLUES AND THE GREENS
HAVE BEEN RECENTLY CLEANED
AND THEY'RE SEEMINGLY NEW
HEY JES, ME AND YOU

 
WE'LL SWALLOW THE LIGHT ON THE STAIRS
WE'LL DO UP MY HAIR
WE'LL SLEEP UNAWARE
HEY JESSE, I'M LONELY, COME HOME


 

 

AMAZING GRACE 
words by John Newton
arranged and adapted by Arlo Guthrie
 
Chorus:
Amazing grace! How sweet the sound
That saved a wretch like me
I once was lost but now am found
Was blind but now I see
 
Twas grace that taught my heart to fear
And grace my fears relieved
Oh how precious did that grace appear
The hour I first believed
 
Chorus
 
Shall I be wafted to the skies
On flowery beds of ease
While others strive to win the prize
And sail on bloody seas
The City of New Orleans 
by Steve Goodman
 
 
Riding on the City of New Orleans,
Illinois Central Monday morning rail
Fifteen cars and fifteen restless riders,
Three conductors and twenty-five sacks of mail.
All along the southbound odyssey
The train pulls out at Kankakee
Rolls along past houses, farms and fields.
Passin' trains that have no names,
Freight yards full of old black men
And the graveyards of the rusted automobiles.
 
CHORUS:
Good morning America how are you?
Don't you know me I'm your native son,
I'm the train they call The City of New Orleans,
I'll be gone five hundred miles when the day is done.
 
Dealin' card games with the old men in the club car.
Penny a point ain't no one keepin' score.
Pass the paper bag that holds the bottle
Feel the wheels rumblin' 'neath the floor.
And the sons of pullman porters
And the sons of engineers
Ride their father's magic carpets made of steel.
Mothers with their babes asleep,
Are rockin' to the gentle beat
And the rhythm of the rails is all they feel.
 
CHORUS
 
Nighttime on The City of New Orleans,
Changing cars in Memphis, Tennessee.
Half way home, we'll be there by morning
Through the Mississippi darkness
Rolling down to the sea.
And all the towns and people seem
To fade into a bad dream
And the steel rails still ain't heard the news.
The conductor sings his song again,
The passengers will please refrain
This train's got the disappearing railroad blues.
 
Good night, America, how are you?
Don't you know me I'm your native son,
I'm the train they call The City of New Orleans,
I'll be gone five hundred miles when the day is done.
 

 

Coming Into Los Angeles
Words and Music by Arlo Guthrie
 
 
Coming in from London
From over the pole
Flying in a big airliner
Chickens flying everywhere around the plane
Could we ever feel much finer?
 
CHORUS:
Coming into Los Angeles
Bringing in a couple of keys
Don't touch my bags if you please
Mister Customs Man
 
There's a guy with a ticket to Mexico
No, he couldn't look much stranger
Walking in the hall with his things and all
Smiling, said he was the Lone Ranger
 
CHORUS
 
Hip woman walking on a moving floor
Tripping on the escalator
There's a man in the line
And she's blowing his mind
Thinking that he's already made her
 
CHORUS
 
Coming in from London
From over the pole
Flying in a big airliner
Chickens flying everywhere around the plane
Could we ever feel much finer?
 
CHORUS
 
 
 
 
IF I HAD A HAMMER (The Hammer Song)
words and music by Lee Hays and Pete Seeger
 
 
If I had a hammer
I'd hammer in the morning
I'd hammer in the evening
All over this land
I'd hammer out danger
I'd hammer out a warning
I'd hammer out love between my brothers and my sisters
All over this land
 
If I had a bell
I'd ring it in the morning
I'd ring it in the evening
All over this land
I'd ring out danger
I'd ring out a warning
I'd ring out love between my brothers and my sisters
All over this land
 
If I had a song
I'd sing it in the morning
I'd sing it in the evening
All over this land
I'd sing out danger
I'd sing out a warning
I'd sing out love between my brothers and my sisters
All over this land
 
Well I've got a hammer
And I've got a bell
And I've got a song to sing
All over this land
It's the hammer of justice
It's the bell of freedom
It's the song about love between my brothers and my sisters
All over this land
 
 
 
 
 
Stealin'
 
 
 
Put your arms around me
Like a circle `round the sun
You know I'll love you baby
When my easy ridin's done
 
CHORUS:
You don't believe I love you
Look at the fool I've been
You don't believe I'm sinkin'
Look at he hole I'm In
Stealin' stealin'
Prefty mama don't you tell on me
I'm stealin' back to my
Same old used to be
 
Well I got me a woman
`Bout my size and height
She's a married woman
So you know she treats me right
 
CHORUS
 
Put your arms around me
Like a circle `round the sun
You know I'll love you baby
When my easy ridin's done
 
CHORUS
 
Well I got me a woman
`Bout my size and height
She's a married woman
So you know she treats me right
I don't believe I love you
Look at the fool I've been
I don't believe I'm sinkin"
Look at the hole I'm in
 
Stealin' stealin'
Pretty mama don't you tell on me
I'm stealin' back to my
Same old used to be
 
Stealin" back to my
same old used to be
Stealin" back to my
Same old used to be
 
 

 

THIS LAND IS YOUR LAND 
words and music by Woody Guthrie
 
Chorus:
This land is your land, this land is my land
From California, to the New York Island
From the redwood forest, to the gulf stream waters
This land was made for you and me
 
As I was walking a ribbon of highway
I saw above me an endless skyway
I saw below me a golden valley
This land was made for you and me
 
Chorus
 
I've roamed and rambled and I've followed my footsteps
To the sparkling sands of her diamond deserts
And all around me a voice was sounding
This land was made for you and me
 
Chorus
 
The sun comes shining as I was strolling
The wheat fields waving and the dust clouds rolling
The fog was lifting a voice come chanting
This land was made for you and me
 
Chorus
 
As I was walkin'  -  I saw a sign there
And that sign said - no tress passin'
But on the other side  .... it didn't say nothin!
Now that side was made for you and me!
 
Chorus
 
In the squares of the city - In the shadow of the steeple
Near the relief office - I see my people
And some are grumblin' and some are wonderin'
If this land's still made for you and me.
 
Chorus (2x)
 
WHERE HAVE ALL THE FLOWERS GONE 
 
 
Where have all the flowers gone?
Long time passing
Where have all the flowers gone?
Long time ago
Where have all the flowers gone?
Girls have picked them every one
When will they ever learn?
When will they ever learn?
 
Where have all the young girls gone?
Long time passing
Where have all the young girls gone?
Long time ago
Where have all the young girls gone?
Taken husbands every one
When will they ever learn?
When will they ever learn?
 
Where have all the young men gone?
Long time passing
Where have all the young men gone?
Long time ago
Where have all the young men gone?
Gone for soldiers every one
When will they ever learn?
When will they ever learn?
 
Where have all the soldiers gone?
Long time passing
Where have all the soldiers gone?
Long time ago
Where have all the soldiers gone?
Gone to graveyards every one
When will they ever learn?
When will they ever learn?
 
Where have all the graveyards gone?
Long time passing
Where have all the graveyards gone?
Long time ago
Where have all the graveyards gone?
Covered with flowers every one
When will we ever learn?
When will we ever learn?
 
 

ALICE'S RESTAURANT

 (ARLO GUTHRIE-1966)

 
 

CHORUS:
You can get anything you want at Alice's restaurant
You can get anything you want at Alice's restaurant
Walk right in, it's around the back
Just a half a mile from the railroad track
You can get anything you want at Alice's restaurant

RECITATION:
This song is called "Alice's Restaurant." It's about Alice, and the restaurant, but "Alice's Restaurant" is not the name of the restaurant, that's just the name of the song. That's why I call the song "Alice's Restaurant."

Now it all started two Thanksgivings ago... two years ago, on Thanksgiving, when my friend and I went up to visit Alice at the restaurant.

But Alice doesn't live in the restaurant, she lives in the church nearby the restaurant, in the bell tower with her husband Ray and Facha, the dog.

And livin' in the bell tower like that, they got a lot of room downstairs where the pews used to be, and havin' all that room (seein' as how they took out all the pews), they decided that they didn't have to take out their garbage for a long time.

We got up here and found all the garbage in there and we decided that it'd be a friendly gesture for us to take the garbage down to the city dump.

So we took the half-a-ton of garbage, put it in the back of a red VW microbus, took shovels and rakes and implements of destruction, and headed on toward the city dump. Well, we got there and there was a big sign and a chain across the dump sayin', "This dump is closed on Thanksgiving," and we'd never heard of a dump closed on Thanksgiving before, and with tears in our eyes, we drove off into the sunset lookin' for another place to put the garbage.

We didn't find one till we came to a side road, and off the side of the side road was another fifteen-foot cliff, and at the bottom of the cliff was another pile of garbage. And we decided that one big pile was better than two little piles, and rather than bring that one up, we decided to throw ours down. That's what we did.

Drove back to the church, had a Thanksgiving dinner that couldn't be beat, went to sleep, and didn't get up until the next morning, when we got a phone call from Officer Obie. He said, "Kid, we found your name on a envelope at the bottom of a half a ton of garbage and I just wanted to know if you had any information about it."

And I said, "Yes sir, Officer Obie, I cannot tell a lie. I put that envelope under that garbage." After speakin' to Obie for about forty-five minutes on the telephone, we finally arrived at the truth of the matter and he said that we had to go down and pick up the garbage, and also had to go down and speak to him at the Police Officer Station. So we got in the red VW microbus with the shovels and rakes and implements of destruction and headed on toward the Police Officer Station.

Now, friends, there was only one of two things that Obie could've done at the Police Officer Station, and the first was that he could've given us a medal for bein' so brave and honest on the telephone (which wasn't very likely, and we didn't expect it), and the other thing was that he could've bawled us out and told us never to be seen drivin' garbage around in the vicinity again, which is what we expected.

But when we got to the Police Officer Station, there was a third possibility that we hadn't even counted upon, and we was both immediately arrested, handcuffed, and I said, "Obie, I can't pick up the garbage with these here handcuffs on." He said: "Shut up kid, and get in the back of the patrol car."

And that's what we did . . . sat in the back of the patrol car, and drove to the quote scene of the crime unquote.

I wanna tell you 'bout the town of Stockbridge, Massachusetts, where this is happenin'. They got three stop signs, two police officers, and one police car, but when we got to the scene of the crime, there was five police officers and three police cars, bein' the biggest crime of the last fifty years and everybody wanted to get in the newspaper story about it.

And they was usin' up all kinds of cop equipment that they had hangin' around the Police Officer Station. They was takin' plaster tire tracks, footprints, dog-smellin' prints and they took twenty-seven 8 x 10 colored glossy photographs with circles and arrows and a paragraph on the back of each one explainin' what each one was, to be used as evidence against us. Took pictures of the approach, the getaway, the northwest corner, the southwest corner . . .
and that's not to mention the aerial photography!

After the ordeal, we went back to the jail. Obie said he was gonna put us in a cell.

He said: "Kid, I'm gonna put you in a cell. I want your wallet and your belt."
I said, "Obie, I can understand your wantin' my wallet, so I don't have any money to spend in the cell, but what do you want my belt for?" and he said, "Kid, we don't want any hangin's." I said, "Obie, did you think I was gonna hang myself for litterin'?"

Obie said he was makin' sure, and, friends, Obie was, 'cause he took out the toilet seat so I couldn't hit myself over the head and drown, and he took out the toilet paper so I couldn't bend the bars, roll the toilet paper out the window, slide down the roll and have an escape. Obie was makin' sure.

It was about four or five hours later that Alice--(remember Alice? There's a song about Alice.)--Alice came by and, with a few nasty words to Obie on the side, bailed us out of jail, and we went back to the church, had another Thanksgiving dinner that couldn't be beat, and didn't get up until the next morning, when we all had to go to court. We walked in, sat down, Obie came in with the twenty-seven 8 x 10 colored glossy pictures with the circles and arrows and a paragraph on the back of each one, sat down.

Man came in, said, "All rise!" We all stood up, and Obie stood up with the twenty-seven 8 x 10 colored glossy pictures, and the judge walked in, sat down, with a seein' eye dog and he sat down. We sat down.

Obie looked at the seein' eye dog . . . then at the twenty-seven 8 x 10 colored glossy pictures with the circles and arrows and a paragraph on the back of each one . . . and looked at the seein' eye dog . . . and then at the twenty-seven 8 x 10 colored glossy pictures with the circles and arrows and a paragraph on the back of each on and began to cry.

Because Obie came to the realization that it was a typical case of American blind justice, and there wasn't nothin' he could do about it, and the judge wasn't gonna look at the twenty-seven 8 by 10 colored glossy pictures with the circles and arrows and a paragraph on the back of each one explainin' what each one was, to be used as evidence against us.

And we was fined fifty dollars and had to pick up the garbage... in the snow.

But that's not what I'm here to tell you about.

I'm here to talk about the draft.

They got a buildin' down in New York City called Whitehall Street, where you walk in, you get injected, inspected, detected, infected, neglected and selected!

I went down and got my physical examination one day, and I walked in, sat down (got good and drunk the night before, so I looked and felt my best when I went in that morning, 'cause I wanted to look like the All-American Kid from New York City. I wanted to feel like . . . I wanted to be the All-American Kid from New York), and I walked in, sat down, I was hung down, brung down, hung up and all kinds of mean, nasty, ugly things.

And I walked in, I sat down, they gave me a piece of paper that said: "Kid, see the psychiatrist in room 604."

I went up there, I said, "Shrink, I wanna kill. I wanna kill! I wanna see blood and gore and guts and veins in my teeth! Eat dead, burnt bodies! I mean: Kill. Kill!"

And I started jumpin' up and down, yellin' "KILL! KILL!" and he started jumpin' up and down with me, and we was both jumpin' up and down, yellin', "KILL! KILL! KILL! KILL!" and the sergeant came over, pinned a medal on me, sent me down the hall, said "You're our boy". Didn't feel too good about it.

Proceeded down the hall, gettin' more injections, inspections, detections, neglections, and all kinds of stuff that they was doin' to me at the thing there, and I was there for two hours... three hours... four hours... I was there for a long time goin' through all kinds of mean, nasty, ugly things, and I was just havin' a tough time there, and they was inspectin', injectin', every single part of me, and they was leavin' no part untouched!

Proceeded through, and I finally came to see the very last man. I walked in, sat down, after a whole big thing there. I walked up, and I said, "What do you want?" He said, "Kid, we only got one question: Have you ever been arrested?"

And I proceeded to tell him the story of Alice's Restaurant Massacree with full orchestration and five-part harmony and stuff like that, and other phenomenon.

He stopped me right there and said, "Kid, have you ever been to court?" And I proceeded to tell him the story of the twenty-seven 8 x 10 colored glossy pictures with the circles and arrows and a paragraph on the back of each one . . .

He stopped me right there and said, "Kid, I want you to go over and sit down on that bench that says 'Group W'."

And I walked over to the bench there, and there's... Group W is where they put you if you may not be moral enough to join the army after committin' your special crime.

There was all kinds of mean, nasty, ugly-lookin' people on the bench there . . . there was mother-rapers . . . father-stabbers . . . father-rapers! FATHER-RAPERS sittin' right there on the bench next to me! And they was mean and nasty and ugly and horrible and crime fightin' guys were sittin' there on the bench, and the meanest, ugliest, nastiest one . . . the meanest father-raper of them all . . . was comin' over to me, and he was mean and ugly and nasty and horrible and all kinds of things, and he sat down next to me. He said, "Kid, what'd you get?"

I said, "I didn't get nothin'. I had to pay fifty dollars and pick up the garbage."

He said, "What were you arrested for, kid?" and I said, "Litterin'"' . . . . And they all moved away from me on the bench there, with the hairy eyeball and all kinds of mean, nasty things, till I said, "And creatin' a nuisance . . . " And they all came back, shook my hand, and we had a great time on the bench talkin' about crime, mother-stabbin', father-rapin', . . . all kinds of groovy things that we was talkin' about on the bench, and everything was fine.

We was smokin' cigarettes and all kinds of things, until the sergeant came over, had some paper in his hand, held it up and said: "KIDSTHISPIECEOFPAPERSGOTFOURTYSVENPAGESTHIRTYSEVENSENTENCES

FIFTYEIGHTWORDSWEWANTTOKNOWTHEDETAILSOFTHECRIMETHETIMEOFTHE

CRIMEANDANYOTHERKINDOFTHINGYOUGOTTOSAYPERTAININGTOANDABOUTTHECRIME

WEWANTTOKNOWTHEARRESTINGOFFICERSNAMEANDANYOTHERTHINGYOUGOTTOSAY . . ."

And he talked for forty-five minutes and nobody understood a word that he said.

But we had fun fillin' out the forms and playin' with the pencils on the bench there.

I filled out the Massacree with the four-part harmony. Wrote it down there just like it was and everything was fine. And I put down my pencil, and I turned over the piece of paper, and there . . . on the other side . . . in the middle of the other side . . . away from everything else on the other side . . . in parentheses . . . capital letters . . . quotated . . . read the following words: "Kid, have you rehabilitated yourself?"

I went over to the sergeant. Said, "Sergeant, you got a lot of god-damned gall to ask me if I've rehabilitated myself! I mean . . . I mean . . . I mean that you send . . . I'm sittin' here on the bench . . . I mean I'm sittin' here on the Group W bench, 'cause you want to know if I'm moral enough to join the army, burn women, kids, houses and villages after bein' a litterbug."

He looked at me and said, "Kid, we don't like your kind! We're gonna send your fingerprints off to Washington"!

And, friends, somewhere in Washington, enshrined in some little folder, is a study in black and white of my fingerprints.

And the only reason I'm singin' you the song now is 'cause you may know somebody in a similar situation.

Or you may be in a similar situation, and if you're in a situation like that, there's only one thing you can do:

Walk into the shrink wherever you are, just walk in, say, "Shrink, . . . you can get anything you want at Alice's Restaurant", and walk out.

You know, if one person, just one person, does it, they may think he's really sick and they won't take him.

And if two people do it, in harmony, they may think they're both faggots and they won't take either of them.

And if three people do it! Can you imagine three people walkin' in, singin' a bar of "Alice's Restaurant" and walkin' out? They may think it's an organization!

And can you imagine fifty people a day? I said FIFTY people a day . . . walkin' in, singin' a bar of "Alice's Restaurant" and walkin' out? Friends, they may think it's a MOVEMENT, and that's what it is: THE ALICE'S RESTAURANT ANTI-MASSACREE MOVEMENT! . . . and all you gotta do to join is to sing it the next time it comes around on the guitar.

With feelin'.

CHORUS

 

 

THE STORY BEHIND THE SONG

YOUTHS ORDERED TO CLEAN UP RUBBISH MESS

LEE -- Because they couldn't find a dump open in Great Barrington, two youths threw a load of refuse down a Stockbridge hillside on Thanksgiving Day.

Saturday, Richard J. Robbins, 19, of Poughkeepsie, N. Y., and Arlo Guthrie, 18, of Howard Beach, N. Y., each paid a fine of $25 in Lee District Court after pleading guilty of illegally disposing of rubbish. Special Justice James E. Hannon ordered the youths to remove all the rubbish. They did so Saturday afternoon, following a heavy rain

Police Chief William J. Obanhein of Stockbridge said later the youths found dragging the junk up the hillside much harder than throwing it down. He said he hoped their case would be an example to others who are careless about disposal of rubbish.

The junk included a divan, plus nearly enough bottles, garbage, papers and boxes to fill their Volkswagen bus.

"The stuff would take up at least half of a goodsized pickup truck," Chief Obanhein said.

The rubbish was thrown into the Nelson Foote Sr. property on Prospect Street, a residential section of Stockbridge consisting largely of estates on the hill across from Indian Hilil [sic] School.

Chief Obanhein told the court he spent "a very disagreeable two hours" looking through the rubbish before finding a clue to who had thrown it there. He finally found a scrap of paper bearing the name of a Great Barrington man. Subsequent investigation indicated Robbins and Guthrie had been visiting the Great Barrington man and had agreed to cart away the rubbish for him. They told the court that, when they found the Barrington dump closed, they drove around and then disposed of the junk by tossing it over the Stockbridge hillside.
 

Unidentified newspaper clipping, reprinted in This is the Arlo Guthrie Songbook, New York, NY, 1969, p. 39.

 

What happened up in Massachusetts was that Alice and Ray [Brock] lived in a church -- the former Trinity Church on Division Street in Stockbridge -- and were used to inviting people into their home.... Arlo and Rick [Robbins] had been traveling together, Arlo working his way up in folk singing..., and Rick tagging along. So they went up to Alice and Ray's for Thanksgiving 1965....

A number of people, Arlo and Rick included, were members of the family, and so they were not guests in the usual sense. So when Ray woke up the next morning, he said to them, "Let's clean up the church and get all this crap out of here, for God's sake. This place is a mess," and Rick said, "Sure."

So Arlo and Rick swept up and loaded all the crap... into a VW microbus.. and went out to the dump which was closed. So they started driving around, until Arlo remembered a side road in Stockbridge up on Prospect Hill by the Indian Hill Music Camp -- which he went to one summer -- so they drove up there and dumped the garbage.

A little later, the phone rang, and it was Stockbridge police chief William J. Obanhein.... "I found an envelope with the name Brock on it," Chief Obanhein said.... the truth came out, and soon the boys found themselves in Obanhein's police car....

So they went up to Prospect Hill, and Obie took some pictures, and on the back he marked them, "PROSPECT HILL RUBBISH DUMPING FILE UNDER GUTHRIE AND ROBBINS 11/26/65." And took the kids to jail.

Never mind what it says in the song; there was no police brutality, no mistreatment. "I didn't put any handcuffs on them," says Chief Obanhein emphatically, "and I didn't take the toilet seats off, 'cause we don't have any seats. I told the architect who designed the cells you can't have things like that 'cause when people come in here, they're like to rip them off."

Well, Arlo and Rick sat down on this metal cot..., and pretty soon Alice showed up.... She called Obie every name she could think of.... "I told her if she didn't stop, I'd arrest her," Obanhein said, and he would have; so she did stop and handed over the bail money. Then they went over to the town of Lee to the courthouse.

Well, it was an open-and-shut case, anyway. The kids went in, pleaded, "Guilty, Your Honor," were fined $25 each and ordered to retrieve the rubbish....

Then they went all back to the church... and they sort of started to write Alice's Restaurant together.... "We were sitting around after dinner and wrote half the song," Alice recalls, "and the other half, the draft part, Arlo wrote."
 

 
I've Just Seen a Face 
by Lennon, McCartney

I've just seen a face,
I can't forget the time or place
That we'd just met, she's just the girl for me
And I want all the world to see we've met
Na na na na na na

Had it been another day
I might have looked the other way
But I had never been aware
And as it is I dream of her tonight
Na na na na na na

CHORUS:
Falling, yes I am falling
And she keeps calling me back again

I have never known
The likes of this, I've been alone
And I have missed things and kept out of sight
But other girls were never quite like this
Na na na na na na

CHORUS

I've just seen a face
I can t forget the time or place
And we'd just met, she's just the girl for me
And I want all the world to see we've met
Na na na na na na

CHORUS

 
The Motorcycle Song 
words and music by Arlo Guthrie

CHORUS:
I don't want a pickle
Just want to ride on my motorsickle
And I don't want a tickle
'Cause I'd rather ride on my motorsickle
And I don't want to die
Just want to ride on my motorcy...cle

It was late last night the other day
I thought I'd go up and see Ray
So l went up and I saw Ray
There was only one thing Ray could say, was:

CHORUS

This song is about the time that I was ridin' my motorcycle.
Going down a mountain road, at 150 miles an hour, playin'
my guitar. On one side of the mountain road there was a
mountain, and on the other side there was nothin' - there was
a cliff in the air.

Now, when you're going down a mountain road at I50 miles
an hour you gotta be very careful, especially if you're playin'
a guitar. Especially if that guitar is an acoustic guitar.
Because if it's an acoustic guitar, the wind pressure is greater
on the box side than on the neck side, because there's
more guitar on the box side. I wasn't payin' attention ..

Luckily I didn't go into the mountain - I went over the cliff.
I was goin' at 150 miles an hour sideways and 500 feet down
at the same time.

I knew it was the end. I looked down, I said ''Wow! Some
trip". I thought it...well I knew it was...I knew it was my last
trip, and in my last remaining seconds in world,I decided
to write one last farewell song to the world.

Put a new ink cartridge in my pen. Took out a piece of paper.
I sat back and I thought awhile. Then I started writin':
I don't want a pickle
Just want to ride on my motorsickle
And I don't want a tickle
'Cause I'd rather ride on my motorsickle

And I don't want to die
Just want to ride on my motorcy ...cle."

I knew that, it wasn't the best song l ever wrote, but I didn't
have time to change it. I was comin' down mighty fast.

But as you all know, and as fate would have it, I didn't die. I
landed on the top of a police car. And he died. I drove away
on the road that he was on. I came into town at a screamin'
175 miles an hour, playin' the motorcycle song.

I came into town, I jumped off my bike, the bike went around
the corner by itself, went up on the stand by itself, turned
itself off.

I walked over to my friend. He was standin' there eatin'
pickles. I said "Hi, what's happenin'?" He looked at me in the
eye and said "Nothin'".

You gotta sing it with that kind of enthusiasm. Like you just
squashed a cop...

CHORUS
 
Stealin'
Words end Music by Gus Cannon
Arranged and Adapted by Arlo Guthrie

Put your arms around me
Like a circle `round the sun
You know I'll love you baby
When my easy ridin's done

CHORUS:
You don't believe I love you
Look at the fool I've been
You don't believe I'm sinkin'
Look at he hole I'm In
Stealin' stealin'
Prefty mama don't you tell on me
I'm stealin' back to my
Same old used to be

Well I got me a woman
`Bout my size and height
She's a married woman
So you know she treats me right

CHORUS

Put your arms around me
Like a circle `round the sun
You know I'll love you baby
When my easy ridin's done

CHORUS

Well I got me a woman
`Bout my size and height
She's a married woman
So you know she treats me right
I don't believe I love you
Look at the fool I've been
I don't believe I'm sinkin"
Look at the hole I'm in

Stealin' stealin'
Pretty mama don't you tell on me
I'm stealin' back to my
Same old used to be

Stealin" back to my
same old used to be
Stealin" back to my
Same old used to be
WHERE HAVE ALL THE FLOWERS GONE 
words and music by Pete Seeger
performed by Pete Seeger and Tao Rodriguez-Seeger

Where have all the flowers gone?
Long time passing
Where have all the flowers gone?
Long time ago
Where have all the flowers gone?
Girls have picked them every one
When will they ever learn?
When will they ever learn?

Where have all the young girls gone?
Long time passing
Where have all the young girls gone?
Long time ago
Where have all the young girls gone?
Taken husbands every one
When will they ever learn?
When will they ever learn?

Where have all the young men gone?
Long time passing
Where have all the young men gone?
Long time ago
Where have all the young men gone?
Gone for soldiers every one
When will they ever learn?
When will they ever learn?

Where have all the soldiers gone?
Long time passing
Where have all the soldiers gone?
Long time ago
Where have all the soldiers gone?
Gone to graveyards every one
When will they ever learn?
When will they ever learn?

Where have all the graveyards gone?
Long time passing
Where have all the graveyards gone?
Long time ago
Where have all the graveyards gone?
Covered with flowers every one
When will we ever learn?
When will we ever learn?

 

 


 

Wedding Song (There Is Love)

 

 

He is now to be among you at the calling of your hearts
Rest assured this troubador is acting on His part.
The union of your spirits, here, has caused Him to remain
For whenever two or more of you are gathered in His name
There is Love.  There is Love.

A man shall leave his mother and a woman leave her home
And they shall travel on to where the two shall be as one.
As it was in the beginning is now and til the end
Woman draws her life from man and gives it back again.
And there is Love.  There is Love.

Well then what's to be the reason for becoming man and wife?
Is it Love that brings you here or Love that brings you life?
And if loving is the answer, then who's the giving for?
Do you believe in something that you've never seen before?
Oh there's Love, there is Love.

Oh the marriage of your spirits here has caused Him to remain
For whenever two or more of you are gathered in His name
There is Love. There is Love.

 

Herman's Hermits

 

END OF THE WORLD

(Kent/Dee)

 Why does the sun go on shining
 Why does the sea rush to shore
 Don't they know it's the end of the world
 When you don't love me anymore

 Why does my heart go on beating
 Why do these eyes of mine cry
 Don't they know it's the end of the world
 It ended when you said goodbye

 I wake up in the morning and I wonder
 Why everything's the same as it was
 And I can't understand, no I can't understand
 Why life goes on the way it does

 Why do the birds go on singing
 Why do the stars shine above
 Don't they know it's the end of the world
 It ended when I lost your love

 ------ lead guitar ------

 Don't they know it's the end of the world
 It ended when you said goodbye



 

 

 

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