Автор неизвестен. Bob Dylan

[e-mail]

restless.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------#

#

Date: Thu, 18 Jan 1996 14:06:58 +0000 (HELP)

From: Andrew Mullins <[e-mail]>

Subject: CRD: Restless Farewell - Bob Dylan





RESTLESS FAREWELL



Bob Dylan

from the album The Times They Are A-Changin'



Capo at 4th fret Played very freely





C/G F C/G

Oh all the money that in my whole life I did spend

G G6 G7 Csus4 C Csus4 C g

Be it mine right or wrongfully

C Csus4 C F C/G

I'd let it slip gladly to my friends

G G6 G7 C Csus4 C

To tie up the time most forcefully

C F/C C C/G F C

But the bottles are done, we've killed each one

Gsus4/B Am Am/G f G G6 G7 C g

And the table is full and overflowed

C F C/G F C/G

And the corner sign says it's closing time

F C G G6 G7 C Csus4 C

So I'll bid farewell and be down the road



harmonica break: F C G G6 G7 C C/G



Oh every girl that ever I've touched

I did not do it harmfully

And every girl that ever I've hurt

I did not do it knowingly

But to remain as friends, you need the time

To make amends and stay behind

And since my feet are now fast

And point away from the past

I'll bid farewell and be down the line



Oh every foe that ever I faced

The cause was there before we came

And every cause that ever I fought

I fought it full without regret or shame

But the dark does die as the curtain is drawn

And somebody's eyes must meet the dawn

And if I see the day I'd only have to stay

So I'll bid farewell in the night and be gone



Oh every thought that strung a knot in my mind

I might go insane if it couldn't be sprung

But it's not to stand naked under unknown (unknowin'?) eyes

It's for myself and my friends my stories are sung

But the time ain't tall if on time you depend

And no word is possessed by no special friend

And though the line is cut it ain't quite the end

I'll just bid farewell till we meet again



Oh a false clock tries to tick out my time

To disgrace, distract and bother me

And the dirt of gossip blows into my face

And the dust of rumors covers me

But if the arrow is straight and the point is slick

It can pierce through the dust no matter how thick

So I'll make my stand and remain as I am

And bid farewell and not give a damn



C/G=332010

G6 =3X200X

G7 =3X300X

Csus4=X33010

F/C=X33211

Gsus4/B=X2001X

Am/G=3X2210

f=1XXXXX passing note

g=3XXXXX passing note



Harmonica played cross harp (blues style)--use key of A



Note: played with no strict time, very freely. Also played

freely are the strings strummed or picked for each chord, varying

from chord to chord and verse to verse. Occasionally some chords

are left out, played with a different root, notes hammered etc.



ALTERNATE VERSION

The version Dylan played on the Sinatra birthday tribute recently goes

something like this:



no capo, in C



C F C

All the money that in my life I did spend

G C Csus4 C

Be it mine right or wrongfully

C F C

I'd let it slip gladly to my friends

G C Csus4 C

To tie up the time most forcefully

C F/C C F/C C

But the bottles are done, we've killed each one

C F C

And the table is full and overflowed

F C F C

And the corner sign says it's closing time

F C G C Csus4 C

So I'll bid farewell and be down the road



(lots of C - Csus2 - C - Csus4 etc. thrown in during C chords)

Csus2=X30010



submitted by Andrew Mullins

[e-mail]

sad_eyed.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

From: [e-mail] (Petter Larsson)



Sad-Eyed Lady of the Lowlands - Bob Dylan

-------------------------------------------

('Blonde on Blonde' album)





D A G Em7 A7

With your mercury mouth in the missionary times,

D A G Em A7

And your eyes like smoke and your prayers like rhymes,

G F#m Em7 A7 D

And your silver cross, and your voice like chimes,

Em7 A Em A7

Oh, who among them do they think could bury you?

D A G Em7 A7

With your pockets well protected at last,

D A G Em A7

And your streetcar visions which you place on the grass,

G F#m Em7 A7 D

And your flesh like silk, and your face like glass,

Em7 A Em A7

Who among them do they think could carry you?





---- Chorous:



Em D A7

Sad eyed lady of the lowlands,

Em D A7

Where the sad eyed prophet says that no man comes,

F#m G D G D Em7 A7

My warehouse eyes, my Arabian drums,

Em Em7 A Em A

Should I leave them by your gate,

Em D A7 D

Or sad eyed lady, should I wait?



----



With your sheets like metal and your belt like lace,

And your deck of cards missing the jack and the ace,

And your basement clothes and your hollow face,

Who among them can think he could outguess you?

With your sillouette when the sunlight dims

Into your eyes where the moonlight swims,

And your match-book songs and your gypsy hymns,

Who among them would try to impress you?



[Chorous]



The kings of Tyrus with their convict list

Are waiting in line for their geranium kiss,

And you wouldn't know it would happen like this,

But who among them really wants just to kiss you?

With your childhood flames on your midnight rug,

And your Spanish manners and your mother's drugs,

And your cowboy mouth and your curfew plugs,

Who among them do you think could resist you?



[Chorous]



Oh, the farmers and the businessmen, they all did decide

To show you the dead angels that they used to hide.

But why did they pick you to sympathize with their side?

Oh, how could they ever mistake you?

They wished you'd accepted the blame for the farm,

But with the sea at your feet and the phony false alarm,

And with the child of a hoodlum wrapped up in your arms,

How could they ever, ever persuade you?



[Chorous]



With your sheet metal memory of Cannery Row,

And your magazine-husband who one day just had to go,

And your gentleness now, which you just can't help but show,

Who among them do you think would employ you?

Now you stand with your thief, you're on his parole

With your holy medallion which your fingertips fold,

And your saintlike face and your ghostlike soul,

Oh, who among them do you think could destroy you?



[Chorous]







. Pheew ! ........

-------

Typed by Petter Larsson , [e-mail]

santa_fe.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------#

#

Date: Wed, 24 Jan 1996 23:35:33 -0500 (EST)

From: "Kelvin W. Sherlock" <[e-mail]>

Subject: bob dylan: Santa Fe crd



Santa Fe, off the bootleg series #2





Intro: A



A

Santa Fe



D E7 A

Dear, dear, dear, dear, dear Santa Fe



D A

My woman kneels every day



D A

She promises to let me stay



D A E

She's ropin' up a knot to pray to light the way



E

She's in..



Santa Fe

Dear, dear, dear, dear, dear Santa Fe

Now she'll open up to let me home

she crys but she needs to roam

She's warpin up a happy home

She thinks every day will be warm in Santa Fe



Santa Fe

Dear, dear, dear, dear Santa Fe

Dishonor never needs to roam

And never never far from home

I'll never ever ever roam to sail away



She's all feel bad

Oh, no, no, no, no, no, no don't feel bad

She's the worst thing he's ever had

And the mad man, he's so glad

His older brother had it bad

His aunt made me feel so bad I went away



Santa Fe

Dear, dear, dear, dear, dear Santa Fe

My home hearts in L.A.

I won't have a day to wait

And I'm planning every day to run away

>From the Santa Fe



Dear, dear, dear, dear, dear Santa Fe

My woman's never sittin' at home

She's packin' a valise unknown

She crying like I need been stone

She leavin that under and roam

But she ain't gonna find her room

and the tears send her on her own every day.



A



Right chords, wrong words.

sara.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

From: [e-mail] (Petter Larsson)



Sara - Bob Dylan

------------------

('Desire' album)





Em Am D Em

I laid on a dune I looked at the sky When the children were babies And played on the beach

Am D Em

You came up to behind me I saw you go by You were always so close and still within' reach

G Bm C

Sara, Sara

D C Em

Whatever made you want to change you mind

G Bm C

Sara, Sara

D C Em

So easy to look at, so hard to define.





I can syill see them playin'

With their pails in the sand

They run to the water

Their buckets to fill

I can still see the shells

Fallin' out of their hands

As they follow each other

Back up the hill

Sara, Sara

Sweet virgin angel, sweet love of my life

Sara, Sara

Radiant jewel, mystical wife





Sleepin' in the woods

By a fire in the night

Drinkin' white rum

In a Portugal bar

Them playin' leap-frog

And hearin' about Snow White

You in the market place

In Savanna-la-Mar

Sara, Sara

It's all so clear, I could never forget

Sara, Sara

Lovin' you is the one thing I'll never regret





I can still hear the sounds

Of those Methodist bells

I'd taken the cure

And had just gotten through

Stayin' up for days

In the Chelsea Hotel

Writin' "Sad-Eyed Lady

Of the Lowlands" for you

Sara, Sara

Wherever we travel we're never apart

Sara, oh Sara

Beautiful lady, so dear to my heart





How did I meet you

I don't know

A messenger sent me

In a tropical storm

You were there in the winter

Moonlight on the snow

And on Lily Pond Lane

When the weather was warm

Sara, oh Sara

Scorpio Sphinx in a calico dress

Sara, Sara

You must forgive me my unworthiness





Now the beach is deserted

Except for some kelp

And a peice of an old ship

That lies on the shore

You always responded

When I needed your help

You gimme a map

And a key to your door

Sara, oh Sara

Glamorous nymph with an arrow and bow

Sara, oh Sara

Don't ever leave me, don't ever go





-------

Typed by Petter Larsson , [e-mail]

senor.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

Date: Fri, 29 Sep 95 16:39:38 EDT

From: Winston Campbell <[e-mail]>

Subject: SENOR (Tales of Yankee Power) by Bob Dylan





This is the sixth song off of Dylan~s underrated -Street Legal- album. I

happen to love the song (and some of the album, itself) to death. Anyway,

what one should remember about this is that there are a lot of bass walk-

downs in this song, and they are slow, as is the song. What I mean, for

example, is that, say the song moves from C to Am, the bass goes C, B, A

(like with what any normal bassist would do). I know you may be thinking,

what does this have to do with chord progression that he is about to

transcribe. Well, sometimes there is a feeling in the song that more than

one chord is being played and that is normally the bass walking down. I may

seem silly stating this but trust me... Or you could just ignore this whole

paragraph (as would what I would do if I were reading it). Another thing

about this transcription is that I had a very hard time understanding Mr.

Dylan~s lyrics especially in the bridges. So the lyrics are not exactly what

they appear to be. For a more better interpretation of the lyrics, one

should buy or take out of the library the Bob Dylan lyric book (which was

featured in that awful movie, you know what I~m talking about). Anyway:





Am

Senor,

Em

Senor,

F C

Can you tell me where we heading?

Am

Lincoln County Road or Armageddon?

G F

Seems like I been down this way before

Dm Am

Is there any truth in that, Senor?



Am

Senor,

Em

Senor,

F C

Do you know where she~s hiding?

Am

How long are we gonna be riding?

G F

How long must I keep my eyes glued to the door?

Dm Am

Will there be any comfort here, Senor?



C Em

There~s a wicked wind still blowing on that upper deck

F Am*

There~s an iron cross still hanging down from around her neck

C Em

There~s a marching band still playing in their vacant lot

F Am*

Where she held me in her arms one time and said -forget what we got-



Am

Senor,

Em

Senor,

F C

I can see the painted wagon

Am

Smell the tail of a dragon

G F

Can~t stand the suspense anymore

Dm Am

Can you tell me who to contact here, Senor?





Instrumental: all of the verse chords with the cool mandolin





C Em

Well the last thing I remember before they stripped and kneeled

F Am*

Was a train load of fools born down in a Maganatic(?) field

C Em

The gypsy, where he broke a pike and a flashing ring

F Am*

He say, -Son this ain~t a dream no more, it~s the real thing-



Am

Senor,

Em

Senor,

F C

You know their hearts here are hard as leather

Am

Well give me a minute, let me get it together

G F

Just gotta pick myself up off the floor

Dm Am

I~m ready when you are, Senor?





Another Instrumental like the First Instrumental





Am

Senor,

Em

Senor,

F C

Let~s overturn these tables

Am

Disconnect these cables

G F

This place don~t make sense to me no more

Dm Am

Can you tell me what we~re waiting for, Senor?





The song fades out and ends on the verse chords and that is about it.

The Am* chords are played by striking the Am chord, then you release all your

fingers so that you strike all open strings (except for the low E and A

strings), then you strike back on the Am chord. It may not be accurate but

that is how I make sense out of that part of the song).



Feel free to email me and we can discuss why Bob Dylan rushes his lyrics

while playing in concert, making his songs lose all of their bite. (Or maybe

it's just me). Oh yeah, I must not disrespect the Spanish language by not

nothing that there is a tilda over the "n" in Senor. That is all.

series_o.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

From: Harlan L Thompson <[e-mail]>



SERIES OF DREAMS- Bob Dylan



C G C

I was thinkin' of a series of dreams

C G C

Where nothing comes up to the top

C G C

Everything stays down where it's wounded

F

And comes to a permanent stop

C

Wasn't thinking of anything specific

F

Like in a dream when someone wakes up and screams

C

Nothing too very scientific

G C

Just thinkin' of a series of dreams



Thinkin' of a series of dreams

Where the time and the tempo drag (fly)*

And there's no exit in any direction

Except the one that you can't see with your eyes

Wasn't makin' and great connection

Wasn't fallin' for any intricate scheme

Nothing that would pass inspection

I's just thinkin' of a series of dreams



CHORUS:

Am F C

Dreams where the umbrella is folded

Am F C

And into the path you are hurled

Am F C

And the cards are no good that you're holdin'

G

Unless they're from another world



In one, the surface was frozen

In another, I witnessed a crime

In one, I was running, and in another

All I seemed to be doing was climb

Wasn't lookin' for any special assistance

Not going through any great extremes

I'd already gone the distance

Just thinkin' of a series of dreams



CHORUS

C G C C F

C

I'd already gone the distance

G C C G C

Just thinkin' of a series of dreams

C G C

Just thinkin' of a series of dreams

C G C

Just thinkin' of a series of dreams







NOTE: I saw one version of lyrics that had "fly" instead of "drag". Fly

would make it rhyme, but Dylan obviously says drag.

FROM: The Bootleg Series 1-3, this song recorded 1989.

seven_da.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

Received: from LUGA.latrobe.edu.au (luga.latrobe.edu.au [131.172.2.2]) by post-office.nevada.edu (8.6.4/8.6.4) with SMTP id IAA00204 for <[e-mail]>; Thu, 10 Mar 1994 08:54:50 -0800

Received: from lux.latrobe.edu.au by LUGA.latrobe.edu.au with SMTP id AA13715

(5.67a/IDA-1.5/LTU-1.0 for <[e-mail]>); Fri, 11 Mar 1994 01:40:28 +1000

Received: by lux.latrobe.edu.au (5.67a/Ultrix3.0-C)

id AA29348; Fri, 11 Mar 1994 01:40:25 +1000

Date: Fri, 11 Mar 1994 01:40:25 +1000

From: [e-mail] ( Junacko)

Message-Id: <[e-mail]>

To: [e-mail]

Subject: Bob Dylan - Seven Days



From: James Henning <[e-mail]>



Subject: Re: Woody (and Bob's) Seven Days







In article <[e-mail]> you write:



> I am wondering if anyone knows how to play "Seven Days" written by



>Bob Dylan, and recorded by Ronnie Wood way back when for Gimme Some Neck.



>I think Dylan also released it on the Bootleg Series.



>



> It's really a great song, I'd love some pointers on how to play it...



>



>Steve







Hi Steve,



I love that song too. I'll try to roughly TAB/TALK you through it.







The opening riff is off the opening E minor chord and goes roughly like



this







E-----2-3-0-2--0---------------



B----------------3--0----------



G------------------------------ repeat for intro



D--2----------------------2--2-



A--2----------------------2--2-



E--0----------------------0--0-







So... The intro is a held out E minor.







Emin C G B Emin



Seven more days, she'll be coming. I'll be waiting at the station



Amin B



For her to arrive. Seven more days all I got to do is survive.







and the other change is







Amin Amin



There's kissing in the valley, thieving in the alley



B Emin



Fighting every inch of the way.



Amin Amin



Trying to be tender with somebody I remember



B Emin



In a night that's allways brighter than the day. Seven Days.











Hope this helps. All off the top of my head and I haven't played this



one in a couple of years.



BTW, how's your open tuning playing going? Check out my sig for a



good riff.



-Jim







>From: [e-mail] (David Michael Wright)



>Subject: Seven Days --- Dylan Version







Here are some chords, the way Wood does it is similiar but not the



same. (anyone have any ideas?)







sevan days







EM C G



sevan days , sevan long days she'll be comin'



B7 EM



I'll be waitin' at the station



AM



for her to arrive



B7 EM



sevan long days, all I gotta do is survive







She been gone, ever since I been a child,



ever since I seen her smile



I've never forgotten her eyes







She had a face that outshined the sun and the sky







I've been good, i've been good while i've been waitin'



forgive for hesitating,



but i've been hangin on



sevan more days and all that will be gone







there's kissin' in the alley, theiving in the alley







fightin' every inch of the way







trying to get a lead on, providing the feat on



the nights are always sadder than the days







sevan days , sevan days the wind is knowin'



the whistle will be blowin'



and I know she'll be coming for



my beautifull comrade from the north.







repeat last first.











--



"There is nothing in the marginal conditions that



distinguish a mountain from a mole hill"



Kenneth Boulding







All comments are mine---(David Wright)



[e-mail].

shelter_.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

Article 2023 of alt.guitar.tab:

Path: nevada.edu!uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128

Newsgroups: alt.guitar.tab

Subject: Tab : Shelter From The Storm - Dylan

Message-ID: <[e-mail]>

From: [e-mail] (Mr K Osborn)

Date: 4 Sep 92 18:37:33 +1200

Reply-To: [e-mail]

Organization: University of Canterbury, Christchurch, New Zealand.

Nntp-Posting-Host: cantua.canterbury.ac.nz

X-Newsreader: Tin 1.1 PL3

Lines: 132



Shelter From the Storm

By Bob Dylan



D

'Twas in another life time,



G D

One of toil and blood.





When blackness was a virtue



G

And the road was full of mud.



D

I came in from the wilderness,



G

A creature void of form.



D

"Come in" she said,





"I'll give you,



G

Shelter from the storm."



And if I pass this way again,

You can rest assured,

I'll always do my best for her

On that I give my word.

In a world of steel eyed death and men

Who are fighting to be warm,

Come in she said,

I'll give you

Shelter from the storm.



Not a word was spoke between us.

There was little risk involved.

everything up to that point,

Had been left unresolved.

Try imagining a place

Where it's always safe and warm

Come in she said

I'll give you

Shelter from the storm.



I was burned out from exhaustion

I was buried in the hail.

Poisoned in the bushes

An' blown out on the trail

Hunted like a crocodile,

Ravaged in the corn

Come in she said

I'll give you

Shelter from the storm



Suddenly I turned around

And she was standing there

With silver bracelets on her wrists

And flowers in her hair.

She walked up to me so gracefully

And took my crown of thorns

Come in she said

I'll give you,

Shelter from the storm.



Now there's a wall between us

Something has been lost.

I took too much for granted

I got my signals crossed

Just to think that all began

On an uneventfull morn

Come in she said

I'll give you

Shelter from the storm



Well the deputy walks on hard nails

And the preacher rides a mount

But nothing really matters

It's doom alone that counts

And the one-eyed undertaker

He blows a futile horn

Come in she said

I'll give you

Shelter from the storm



I've heard newborn babies wailin'

Like a mornin' dove

And old men with broken teeth

Stranded without love.

Do I understand your question, man

Is it hopeless and forlorn.

Come in she said

I'll give you

Shelter from the storm.



In a little hill top village

I gambled for my clothes

I bargained for salvation

And they gave me a leathal dose.

I offered up my innocence

And got repaid with scorn

Come in she said

I'll give you

Shelter from the storm



Well I'm livin' in a foreign country

But I'm bound to cross the line.

Beauty walk a razors edge,

Someday I'll make it mine.

If I could only turn the clock back

To when God and her were born

Come in she said

I'll give you

Shelter from the storm.







Be seeing you,

Kelwyn.

_________



He said that's alright babe,

I love you too.

But we were Tangled Up In Blue.

- Bob Dylan

sign_lan.crd

#----------------------------------PLEASE NOTE---------------------------------#
#This file is the author's own work and represents their interpretation of the #
#song. You may only use this file for private study, scholarship, or research. #
#------------------------------------------------------------------------------##
#

Date: Wed, 28 Feb 1996 16:40:04 -0600
From: [e-mail] (Brian Davies)
Subject: TAB: Sign Language by Bob Dylan



SIGN LANGUAGE by Bob Dylan

Transcribed by Brian Davies
Comments / Corrections to [e-mail]

This is a beautiful Clapton / Dylan duet off of EC's 1976 album, "No
Reason To Cry". Don't think Bob has ever recorded it for one of his own
releases.

INTRO:
(e) |-10----------------------|-------------10----------|
(B) |-------------------12\8--|-12-------------12\8-----|
(G) |-------------------------|-------------------------|
(D) |-------------------------|-------------------------|
(A) |-------------------------|-------------------------|
(E) |-------------------------|-------------------------|
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

[G] You speak to [D] me [C] in sign [Em/B] language,
[Em/B] As I'm eating a [D/A] sandwich [D/A] in a small ca[Em/B]fe
[C] At a quarter to [G] three. [G]

But [G] I can't re[D]spond [C] to your sign [Em/B] language.
[Em/B] You're taking ad[D/A]vantage, [D/A] bringing me [Em/B] down.
[C] Can't you make any [G] sound? [G]

[G] 'Twas there by the [D] bakery, [C] surrounded by [Em/B] fakery.
[Em/B] This is my [D/A] story, [D/A] still I'm still [Em/B] there.
[C] Does she know I still [G] care? [G]

Solo on Verse

[G] Link Wray was [D] playing on a [C] jukebox, I was [Em/B] paying
[Em/B] For the words I was [D/A] saying, [D/A] so misunder[Em/B]stood.
[C] He didn't do me no [G] good. [G]

First Verse

Second Verse

Solo on Verse

***************************************************************************
* Brian Davies ([e-mail]) * There are three kinds of lies: *
* http://www.ils.nwu.edu/~davies/ * Lies, damned lies, and release *
* Institute For The Learning Sciences * dates. *
* 1890 Maple Ave, Evanston, IL, 60201 * - guess who *
***************************************************************************

sign_on_.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

From uhunix.uhcc.Hawaii.Edu!harlant Thu Jan 26 04:30:20 1995

Return-Path: <[e-mail]>

Received: from alf2.tcd.ie by sadhbh.scrg.cs.tcd.ie with smtp

(Smail3.1.28.1 #3) id m0rXLqc-00058BC; Thu, 26 Jan 95 04:30 WET

Received: from post-office.nevada.edu by alf2.tcd.ie; (5.65/1.1.8.2/28Sep94-0239PM)

id AA06758; Thu, 26 Jan 1995 04:30:12 GMT

Received: from relay1.Hawaii.Edu (relay1.Hawaii.Edu [128.171.41.53]) by post-office.nevada.edu (8.6.9/8.6.4) with SMTP id UAA21105 for <[e-mail]>; Wed, 25 Jan 1995 20:30:09 -0800

Received: from uhunix.uhcc.Hawaii.Edu ([128.171.41.54]) by relay1.Hawaii.Edu with SMTP id <11412(7)>; Wed, 25 Jan 1995 18:27:31 -1000

Received: by uhunix.uhcc.Hawaii.Edu (4.1/Sun690)

id AA14704; Wed, 25 Jan 95 18:24:46 HST

Date: Wed, 25 Jan 1995 18:24:46 -1000

From: Harlan L Thompson <[e-mail]>

To: guitar <[e-mail]>

Message-Id: <[e-mail]>

Mime-Version: 1.0

Content-Type: TEXT/PLAIN; charset=US-ASCII

Status: RO



SIGN ON THE WINDOW- Bob Dylan



G Em F G

Sign on the window says "lonely"

G Em F C

Sign on the door said "no company allowed"

G Em F C

Sign on the street says "y' don't own me"

G Bm Em G C G Am

Sign on the porch says "three's a crowd"

G Bm Em G A C G C G C G C G C G

Sign on the porch says "three's a crowd"



Her and her boyfriend went to California

Her and her boyfriend done changed their tune

My best friend said "now didn't I warn ya

Brighton girls are like the moon

Brighton girls are like the moon"



BRIDGE:

C D Eb Dm C

Looks like a-nothing but the rain

G Bm C Am

Sure gonna be wet tonight on main street

Em D Am G Am7 G Em F G

Hope that it don't sleet



Build me a cabin in Utah

Marry me a wife, catch rainbow trout

Have a bunch of kids who call me "Pa"

That must be what it's all about

That must be what it's all about





Riff:

E -------

B -------

G -----0- C C G

D -0h2---

A -------

E -------





(from New Morning, 1970)

(sent by Harlan at [e-mail])

simple_t.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

Date: Tue, 5 Sep 1995 20:57:59 -1000

From: Harlan L Thompson <[e-mail]>





SIMPLE TWIST OF FATE- Bob Dylan



TUNING: E B E G# B E



E5

They sat together in the park

E5/Eb

As the evening sky grew dark

E5/D

She looked at him and he felt a spark

C#7/E

Tingle to his bones

Am

'Twas then he felt alone

E5 E5/Eb Esus4

And wished that he'd gone straight

E(2) Esus2/A E5

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





CHORDS:

E5 E5/Eb E5/D C#7/E Am Esus4 Esus2/A E(2) E

E -0---0-----0----0-----5----0-----0-----0----0--

B -0---0-----0----0-----5----0-----0-----0----0--

G# -3---3-----3----3-----4----1-----1-----3----0--

E -0---0-----0----0-----5----0-----2-----4----0--

B -5---4-----3----2-----x----2-----0-----0----0--

E -0---0-----0----0-----5----0-----0-----0----0--





Subject: Tab : Simple Twist Of Fate - Dylan

From: [e-mail] (Mr K Osborn)

Date: 4 Sep 92 18:40:23 +1200



Simple Twist of Fate

By Bob Dylan



D | G



D

They sat together in the park.



F#m

As the evening sky grew dark.



D D7

She look at him and he felt a spark,



G

Tingle to his bones.



Gm

'Twas then he felt alone,



D A G

And wished that he'd gone straight.



D G D

And watched out for a simple twist of fate.





They walked along by the old canal.

A little confused I remember well.

Stopped into a strange hotel,

With the neon burning bright.

He felt the heat of the night,

Hit him like a frieght,

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,

Were 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 did not care,

Threw the window open wide.

He felt an emptyness inside,

To which he just could not relate.

Bought on by a 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?

Once again for a simple twist of fate.



People tell you 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 to late.

Blame it on a simple twist of fate.

somethin.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

From: [e-mail] (Petter Larsson)



Something There Is About You - Bob Dylan

------------------------------------------

('Planet waves' album)



G C Am G

Something there is about you That strikes a match in me.

G C Am G

Is it the way your body moves Or is it the way your hair blows free.

Bm Em C Am

Or is it because you remind me Of somethin' that used to be

G7 C Am G

Somethin' that's crossed over From another century.





G C Am G

Thought I'd shaken the wonder And the phantoms of my youth.

G C Am G

Rainy days on the Great Lakes Walkin' the hills of old Duluth.

Bm Em C Am G

There was me and Danny Lopez Cold eyes, black night and then there was Ruth

G7 C Am G

Somethin' there is about you That bring back a long forgotten truth.





G C Am G

Suddenly I found you And the spirit in me sings.

G C Am G

Don't have to look no further You're the soul of many things.

Bm Em C Am G

I could say that I'd be faithful I could say it in one sweet, easy breath.

G7 C Am G

But to you that would be cruelty And to me it surely would be death.





G C Am G

Something there is about you That moves with style and grace.

G C Am G

I was in a whirlwind Now I'm in some better place.

Bm Em C Am G

My hand's on the sabre And you've picked up on the baton

G7 C Am G

Somethin' there is about you That I can't quite put my finger on.





-------

Typed by Petter Larsson , [e-mail]

stop_cry.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------#

#

Date: Sun, 28 Jan 96 15:57:52 EST

From: Winston Campbell <[e-mail]>

Subject: BABY, STOP CRYING by Bob Dylan







That opening riff (which I call the "F riff") is:



E --3-----3-5~---|

B ----4----------| the (3) just indicates that the bass plays an F note

G ------5--------| throughout the "F riff". Actually the bass plays

D -(3)-----------| octaves of the F note.

A ---------------|

E ---------------|





NOTE: The lyrics are the vocals that only Dylan sings and not the back-up

singers, so don't be confused with the chording.





Intro: F riff (8x) Bb





Bb Dm Eb

You been down to the bottom with a bad man, babe,

F Bb Dm Eb F

But you're back where you belong.

Bb Dm Eb

Go get me my pistol, babe,

F Bb Dm Eb F

Honey, I can't tell right from wrong



Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F

Baby, please stop crying.



F riff (8x)

You know, I know, the sun will always shine

Bb Dm Eb F

So baby, please stop crying 'cause it's tearing up my mind.



Bb Dm Eb

Go down to the river, babe,

F Bb Dm Eb F

Honey, I will meet you there.

Bb Dm Eb

Go down to the river, babe,

F Bb Dm Eb F

Honey, I will pay your fare.



Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F

Baby, please stop crying.



F riff (8x)

You know, I know, the sun will always shine

Bb Dm Eb F

So baby, please stop crying 'cause it's tearing up my mind.



Bb Dm Eb

If you're looking for assistance, babe

F Bb Dm Eb F

Or if you just want some company

Bb Dm Eb

Or if you just want a friend you can talk to,

F Bb Dm Eb F

Honey, come and see about me.



Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F

Baby, please stop crying.



F riff (8x)

You know, I know, the sun will always shine

Bb Dm Eb F

So baby, please stop crying 'cause it's tearing up my mind.





(Sax Break: Bb Dm Eb F

Bb Dm Eb F)



Bb Dm Eb

You been hurt so many times

F Bb Dm Eb F

And I know what you're thinking of.

Bb Dm Eb

Well, I don't have to be no doctor, babe,

F Bb Dm Eb F

To see that you're madly in love.



Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F Bb Dm Eb

Baby, please stop crying, stop crying, stop crying

F

Baby, please stop crying.



F riff (8x)

You know, I know, the sun will always shine

Bb Dm Eb F

So baby, please stop crying 'cause it's tearing up my mind.





Bb Dm Eb F (2x)

Bb

stuck_in.crd

#----------------------------------PLEASE NOTE---------------------------------#

#This file is the author's own work and represents their interpretation of the #

#song. You may only use this file for private study, scholarship, or research. #

#------------------------------------------------------------------------------##

From uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128 Fri Sep 4 16:04:27 PDT 1992

Article: 2025 of alt.guitar.tab

Path: nevada.edu!uunet!zaphod.mps.ohio-state.edu!darwin.sura.net!wupost!waikato.ac.nz!canterbury.ac.nz!cantua!cctr128

Newsgroups: alt.guitar.tab

Subject: Tab : Stuck Inside Of Mobile With The Memphis Blues Again - Dylan

Message-ID: <[e-mail]>

From: [e-mail] (Mr K Osborn)

Date: 4 Sep 92 18:41:33 +1200

Reply-To: [e-mail]

Organization: University of Canterbury, Christchurch, New Zealand.

Nntp-Posting-Host: cantua.canterbury.ac.nz

X-Newsreader: Tin 1.1 PL3

Lines: 164



Stuck Inside of Mobil

with the Memphis Blues Again



By Bob Dylan



F Dm

Oh the rag-man draws circles



F Dm

Up and down the block.



F Dm

I'd ask him what the matter was



Bb C7

But I know that he don't talk.



Bb F

And the ladies treat me kindly



Dm F

And furnish me with tape



Dm F

But deep inside my heart



Bb F

I know I can't escape



Am

Oh Mama,





Can this really be the end



F C Dm

To be stuck inside of Mobile



F Bb F

with the Memphis blues again





Well, Shakespear, he's in the alley

With his pointed shoes and his bells.

Speaking to a french girl,

Who says she knows me well.

And I would send a message

To find out if she's talked,

Post the post office has been stolen

And the mail box is locked.

Oh Mama

Can this really be th end

To be stuck inside of Mobile

With the Memphis blus again.





Mona tried to tell me

To stay far away from the train line.

She said that all the railroad men

Drink your blood like wine.

An' I said "Oh, I didn't know that

But then again there's only one I've met

An' he just smoked my eyelids