Страница:
REPEAT FIRST VERSE
(from Nashville Skyline, 1969)
(sent by Harlan at harlant@hawaii.edu)
#----------------------------------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: larpe@oden.nts.mh.se (Petter Larsson)
Visions of Johanna - Bob Dylan
--------------------------------
('Blonde on Blonde' album)
A D E7 A
Ain't it just like the night to play tricks when you're tryin' to be so quiet?
D E7 A
We sit here stranded, though we're all doin' our best to deny it
E A
And Louise holds a handful of rain, temptin' you to defy it
D A
Lights flicker from the opposite loft
D A
In this room the heat pipes just cough
D
The country music station plays soft
A E7
But there's nothing, really nothing to turn off
A D E7 A
Just Louise and her lover so entwined
D A E7 A D A
And these visions of Johanna that conquer my mind.
A D E7 A
In the empty lot where the ladies play blind man's bluff with the key chain
D E7 A
And the allnight girls, they whisper of escapades out on the "D" train
E
We can hear the night watchman click his flashlight
A
Ask himself if it's him or them that's realy insane
D A
Louise, she's allright, she's just near
D A
She's delicate and seems like the mirror
D
But she just makes it all too concice and too clear
A E7
That Johanna's not here
A D E7 A
The ghost of 'lectricity howls in the bones of her face
D A E7 A D A
Where these visions of Johanna have now taken my place.
A D E7 A
Now, little boy lost, he takes himself so seriously
D E7 A
He brags of his misery, he likes to live dangerously
E A
And when bringing her name up He speaks of a farewell kiss to me
D A
He's sure got a lotta gall
D A
to be so useless and all
D
Muttering small talk at the wall
A E7
while I'm in the hall
A D E7 A
How can I explain? Oh, it's so hard to get on
D A E7 A D A
And these visions of Johanna, they kept me up past the dawn.
A D E7 A
Inside the museums, Infinity goes up on trial
D E7 A
Voices echo this is what salvation must be like after a while
E A
But Mona Lisa musta had the highway blues You can tell by the way she smiles
D A
See the primitive wallflower freeze
D A
When the jellyfaced women all sneeze
D A E7
Hear the one with the mustache say, "Jeeze, I can't find my knees"
A D E7 A
Oh, jewels and binoculars hang from the head of the mule
D A E7 A D A
But these visions of Johanna they make it all seem so cruel.
A D E7 A
The peddler now speaks to the countess who's pretending to care for him
Sayin' "Name me someone that's not a parasite
D E7 A
and I'll go out and say a prayer for him." But like Louise
E
always says, "Ya can't look at much, can ya man?" As she, herself, pre
A
-pares for him
D A
And Madonna, she still has not showed
D D
We see this empty cage now corrode
D A
Where her cape of the stage once had flowed
D A
The fiddler, he now steps to the road
D A
He writes ev'rything's been returned which was owed
D A E7
On the back of the fish truck that loads While my conscience explodes
A D E A
The harmonicas play the skeleton keys and the rain
D A E7 A
And these visions of Johanna are now all that remain.
-------
Typed by Petter Larsson , larpe@nts.mh.se
#----------------------------------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, 29 Nov 1995 14:51:35 -1000
From: Harlan L Thompson <harlant@hawaii.edu>
Subject: watching the river flow- bob dylan
WATCHING THE RIVER FLOW- Bob Dylan
TUNING: E B E G# B E
A E A TURNAROUND 1
A D
What's the matter with me? I don't have much to say
A B
Daylight's sneaking' through the window
E
And I'm still in this all night cafe
A
Walking to and fro beneath the moon
D
Out to where the trucks are rolling slow
A E A TURNAROUND 2
Sit out on this bank of sand and watch the river flow
Wish I was back in the city instead of this ol' bank of sand
With the sun beatin' down over the chimney tops
And the one I love so close at hand
If I had wings and I could fly, I know where I would go
But right now I just sit here so contentedly
And watch the river flow TURNAROUND 3
BRIDGE #1:
E
People disagreein' on just about everything, yep
A
Makes you stop and wonder why
F#m B
Why only yesterday I saw someone on the street
E
Who just couldn't help but cry
CHORUS:
A
Wo, but this old river keeps on rollin' though
D
No matter what gets in the way and which was the wind does blow
A E
And as long as it does I just sit here
A TURNAROUND 1 (1ST TIME, 2ND TIME TO OUTRO)
And watch the river flow
SOLO (OVER VERSE CHORDS, END WITH TURNAROUND 3)
BRIDGE #2:
People disagreein' everywhere you look
Makes you want to stop and read a book
Why only yesterday I saw somebody on the street
That was a-really shook ...CHORUS
OUTRO:
D A D A D
Watch the river flow, watching the river flow
A D
Watching the river flow
A E
Well, I just sit out on this bank of sand
A TURNAROUND 1, BUT END ON A7
And watch the river flow
CHORDS: TURNAROUND 1:
A D E B F#m A7 A E7
E -5--10--0--7---2---5--- ---5---5---5--------7--
B -5--10--0--7---2---8--- --5---5---5------5--5--
G# -5--10--0--7---1---5--- -8---7---6------5-5-6--
E -5--10--0--7---2---5--- -------------5-5----7--
B -5--10--0--7-------5--- -----------------------
E -5--10--0--7---2---5--- -----------------------
TURNAROUND 2
A E A
E -----5-----5-----5----5<b>-5<b>-3p0------------------------------------------
B ---5-----5-----5--------------------0-3-5------------------------------------
G# -8-----7-----6---------------------------------------------------------------
E -------------------5----------------------0-0--------------------------------
B ----------------------------------------------3-3-0-0------------------------
E ------------------------------------------------------4-4--0-0-2-2-3-3-4-4-5-
TURNAROUND 3
A E
E -----5-----5-----5-----------------------
B ---5-----5-----5-------------------------
G# -8-----7-----6---------------------------
E ------------------5-----5-----4-----2----
B ----------------------5-----4-----2------
E --------------------5-----4-----2------0-
#----------------------------------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: 14 Mar 96 09:47:02 EST
From: LEE KIRBY <101557.3330@compuserve.com>
Subject: CRD: What_can_i_do_for_you BY Bob Dylan
Hope you enjoy this offering it's taken from the LP Saved - an album I feel
doesn't get enough credit, so I decided to give it a plug. Its a song about
Dylan's conversion to christianity and what it means (meant!) to him.
If you have any comments or find it useful please e-mail me to let me know.
101557.3330@compuserve.com
Enjoy...Lee Kirby, Sunday March 3rd 1996 12:05, Manchester, England.
WHAT CAN I DO FOR YOU? - Bob Dylan
(Play with a bit of phase effect on guitar)
Intro
Dbm B A Dbm
Chord sequence 1
E Dbm A B
You have given everything to Me
A Abm F#m E (Play chords 1 strum each in descending sequence)
What can I do for you?
E Dbm A B
You have given me eyes to see
A Abm F#m E
What can I do for you?
Chord sequence 2
Dbm B A Abm
???????????????????? and you made me renewed inside
Dbm B E F#m
Filled up the hunger where'd it'd always been denied
Dbm B A Abm F#m
Opened up the door no man can shut and you opened it up so wide
Dbm B A
And you chosen me to be among the few
A Abm F#m E (Play chords 1 strum each in descending sequence)
What can I do for you?
Use Chord sequence 1
You have laid down you life for Me
What can I do for you?
You have explained every Mystery
What can I do for you?
Use Chord sequence 2
Soon as a man is born you know the sparks begin to fly
He gets wise in his own eyes and he's made to believe a lie
Who would deliver him from the death he's bound to die?
Well, youv'e done it all and there's no more any one can be dared enough to do
What can I do for you?
Interlude
Chord sequence 1
You have given all there is to give
What can I give to you?
You have given me life to live
How can I live for you?
Chord sequence 2
I know all about poison
I know about fiery doubts
I don't care how rough the road is
Show me where to start
What ever please you tell it to my heart
Well I don't deserve it but I did make it through
What can I do for you?
#----------------------------------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 <harlant@uhunix.uhcc.Hawaii.Edu>
WHEN I PAINT MY MASTERPIECE- Bob Dylan
A D A
Oh, the streets of Rome are filled with rubble
D A E A
Ancient footprints are everywhere
D A D A
You can almost think that you're seein' double
D A E A
On a cord, dark night on the Spanish Stairs
E7 A D
Got to hurry on back to my hotel room
E7 A
Where I've got me a date with Botticelli's niece
D A D A
She promised that she'd be right there with me
D A E A
When I paint my masterpiece
Oh, the hours I've spent inside the Coliseum
Dodging lions and wastin' time
Oh, those mighty kings of the jungle
I could hardly stand to see 'em
Yes, it sure has been a long, hard climb
Train wheels runnin' through the back of my memory
When I ran on the hilltop following a pack of wild geese
Someday, everything is gonna be smooth like a rhapsody
When I paint my masterpiece
BRIDGE:
Dm A
Sailin'round the world in a dirty gondola
C#m D E D A B7 E7
Oh to be back in the land of Coca Cola!
I left Rome and landed in Brussels
On a plane ride so bumpy that I almost cried
Clergymen in uniform and young girls pullin' muscles
Everyone was there to greet me when I stepped inside
Newspapermen eating candy had to be held down by big police Someday,
everything is gonna be different
D A E D A Bm A
When I paint my masterpiece
(from Bob Dylan's Greatest Hits Vol. 2, done around 1971)
(sent by Harlan at harlant@hawaii.edu)
#----------------------------------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: Andrew Mullins <MULLINS@artsci.concordia.ca>
When the Ship Comes In Bob Dylan
from the album The Times They Are A-Changin'
Chords: G D11? (x54030) C Em C/B D/A D
G D11 C G
Oh the time will come up when the winds will stop
Em C G
And the breeze will cease to be a-breathin
G D11 C G
Like the stillness in the wind before the hurricane begins,
G D G
The hour that the ship comes in
D11 C G
And the sea will split and the ships will hit
D11 C G
And the sands on the shoreline will be shaking
D11 C G
And the tide will sound and the waves will pound
G C C/B D/A G
And the morning will be a-breaking
Oh the fishes will laugh as they swim out of the path
And the seagulls will be a-smilin'
And the rocks on the sand will proudly stand
The hour that the ship comes in
And the words that are used for to get the ship confused
Will not be understood as they're spoken
Oh the chains of the sea will have busted in the night
And be buried on the bottom of the ocean
A song will lift as the main sail shifts
And the boat drifts unto the shoreline
And the sun will respect every face on the deck
The hour that the ship comes in
And the sands will roll out a carpet of gold
For your wearied toes to be a-touchin'
And the ship's wise men will remind you once again
That the whole wide world is watchin'
Oh the foes will rise with the sleep still in their eyes
And they'll jerk from their beds and think they're dreamin'
But they'll pinch themselves and squeal
And they'll know that it's for real,
The hour that the ship comes in
And they'll raise their hands
Sayin' we'll meet all you demands
But we'll shout from the bow
Your days are numbered
And like Pharoah's tribe they'll be drownded in the tide
And like Goliath they'll be conquered
submitted by Andrew Mullins
mullins@artsci.concordia.ca
#----------------------------------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: Alfredo <folini@dsi.unimi.it>
Subject: CRD: God on Our Side by Bob Dylan
Date: Wed, 22 Nov 1995 18:12:28 MET
WITH GOD ON OUR SIDE - Bob Dylan [MTV-unplugged version]
[C F C F C F G F C]
[C]Oh my name it is [F]no[G]thin' my age [F]it mean [C]less
The country I come from [F]is called the Mid[C]west
I's taught and brought up there [F]The laws to [C]abide
and that land that I [F]li[G]ve in Has god [F]on its [C]side.
Oh the history book [F]tell i[G]t they tell it [F]so [C]well
The cavalries charged and [F]the Indians [C]fell
The cavalries charged and [F]the Indians [C]died
Oh the country was [F]yo[G]ung with god [F]on its [C]side.
Oh the Spanish-[F]Ameri[G]can war had [F]its [C]day
And the Civil War too was [F]soon laid [C]away
and the names of the heroes [F]I was made to [C]memorize
with guns in their [F]ha[G]nds and god [F]on their [C]side.
The First World [F]War, [G]boys it closed out [F]its [C]fate
The reason for fighting [F]I never got straig[C]t
but I learned to accept it, [F]accept it with [C]pride
and you don't count the [F]de[G]ad when god's on [F]your [C]side.
[... Additional lyrics ...]
But now we got [F]wea[G]pons of the chemic[F]al [C]dust
if fire them we're forced to, [F]then fire we [C]must
one push of the button [F]and shot the world [C]wide
and you never ask [F]quest[G]ions when God's [F]on his [C]side
[ Repeat without words ]
In a many dark [F]hou[G]r I've been thinkin' ab[F]out [C]this
that Jesus Christ was [F]betrayed by a [C]kiss
But I can't think for you, [F]you'll have to [C]decide
wheter Judas Is[F]cari[G]ot, had God [F]on [C]his side.
So now as I'm [F]leavi[G]n', I'm [F]weary as [C]hell
the confusion I'm feelin' [F]ain't no tongue can [C]tell
Who words fill my head and [F]fall to the [C]floor
If God's on [F]our si[G]de he'll stop [F]the next [C]war.
[... Additional lyrics ...]
When the Second World War came to an end
we forgave the Germans and we were friends
Though they murdered six million in the ovens they fried
the Germans now too have god on their side.
I've learned to hate Russians all through my wole life
if another war starts It's them we must fight
To hate them and fear them to run and to hide
and accept i all bravely with god on our side.
------------------------------- CUT HERE -----------------------------------
Additional lyrics are not included in the MTV-unplugged
ny correction would be appreciated.
Bye
Folini Carlo
Any correction will be apreciated Bye. Carlo
#----------------------------------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: Mon, 18 Dec 1995 10:42:58 +0100
From: klaus.tauber@balu.kfunigraz.ac.at (Tauber Klaus)
Subject: Corr:CRD:You Belong To Me by Bob Dylan
Somebody send me some corrections for the lyrics. Sorry, can't remember who.
Anyhow- Thank you!!
YOU BELONG TO ME
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
by Bob Dylan
C Em
1. See the pyramids along the Nile
F C
Watch the sunrise from a tropic isle
F Em Am
Just remember darling all the while
Dm G
You belong to me
C Em
2. See the market place in old Algiers
F C
Send me photographes and souvenirs
F Em Am
Just remember when a dream appears
Dm G
You belong to me
C F
B: I'd be so alone without you
Dm G
Maybe you'd be lonesome too
G7
in blue
C Em
3. Fly the ocean in a silver plane=7F
F C
See the jungle when it's wet with rain
F Em Am
Just remember till you're home again
Dm G
You belong to me
INTRO
C F
B: I'd be so alone without you
Dm G
Maybe you'd be lonesome too
G7
in blue
C Em
3. Fly the ocean in a silver plane
F C
See the jungle when it's wet with rain
F Em Am
Just remember till you're home again
Dm G
You belong to me
#----------------------------------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!stanford.edu!agate!darkstar.UCSC.EDU!ucscb.UCSC.EDU!indigo Mon Oct 19 18:26:13 PDT 1992
Article: 2957 of alt.guitar.tab
Path: nevada.edu!uunet!stanford.edu!agate!darkstar.UCSC.EDU!ucscb.UCSC.EDU!indigo
From: indigo@ucscb.UCSC.EDU (Adam Schneider)
Newsgroups: alt.guitar.tab
Subject: CRD: Dylan "You're Gonna Make Me Lonesome When You Go"
Date: 15 Oct 1992 21:47:13 GMT
Organization: University of California, Santa Cruz
Lines: 54
Message-ID: <1bkot1INN1gf@darkstar.UCSC.EDU>
NNTP-Posting-Host: ucscb.ucsc.edu
One of my favorite Dylan songs, from his _Blood_on_the_Tracks_ album.
YOU'RE GONNA MAKE ME LONESOME WHEN YOU GO (Bob Dylan)
-----------------------------------------------------
A C#m D D
I've seen love go by my door, it's never been this close before
A C#m D D
Never been so easy or so slow
A C#m D D
I've been shooting in the dark too long, when something's not right, it's wrong
A D A A
You're gonna make me lonesome when you go
Dragon clouds so high above, I've only known careless love
It always has hit me from below
But this time 'round it's more correct, right on target, so direct
You're gonna make me lonesome when you go
Purple clover, Queen Anne Lace, crimson hair across your face
You could make me cry if you don't know
Can't remember what I was thinking of, you might be spoiling me too much, love
You're gonna make me lonesome when you go
D D A A
Flowers on the hillside blooming crazy
D D A A
Crickets talking back and forth in rhyme
B B B B
Blue river running slow and lazy
Esus Esus E E
I could stay with you forever, and never realize the time
Situations have ended sad, relationships have all been bad
Mine have been like Verlaine and Rimbaud
But there's no way I can compare all those scenes to this affair
You're gonna make me lonesome when you go
You're gonna make me wonder what I'm doing
Staying far behind without you
You're gonna make me wonder what I'm saying
You're gonna make me give myself a good talking to
I look for you in old Honolulu, San Francisco, Ashtabula
You're gonna have to leave me now, I know
But I'll see you in the sky above, in the tall grass and the ones I love
You're gonna make me lonesome when you go
==-=--=---=----=-----=-------=---------=---------=-------=-----=----=---=--=-==
Adam Schneider indigo@ucscb.ucsc.edu U.C. Santa Cruz
"Your actions will follow you full circle 'round..."
==-=--=---=----=-----=-------=---------=---------=-------=-----=----=---=--=-==
#----------------------------------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: Sat, 24 Jun 1995 12:07:26 -0400
From: gw222@cleveland.Freenet.Edu (Kelvin W. Sherlock)
Subject: Bob Dylan: You're No Good crd
You're No Good (Jesse Fuller)
from the album "Bob Dylan" (1962)
Intro: C F C G
C F C G
Well I don't know why I love you like I do
C F C
Nobody in the world can get along with you.
F C G
You got the ways of a devil sleeping in a lion's den
F C
I come home last night you wouldn't even let me in.
Em F
Oh sometimes you're as sweet as anybody want to be
G C N.C.
When you get a crazy notion, jumpin' all over me
C F C G
Well you give me the blues because you're satisfied
C F C
An' you give me the blues I wanna lay down and die.
I helped you when you had no shoes on your feet, pretty mama
I helped you when you had no food to eat.
You're the kind of woman I just don't understand
You're takin' all my money and give it to another man.
Well you're the kinda woman makes a man lose his brain
You're the kinda woman drives a man insane
You give me the blues because you're satisfied
You give me the blues I wanna lay down and die
Well you give me the blues, I wanna lay down and die
*********************************************************************
Frequently Asked Questions (FAQ), part 1 of 2
for newsgroup rec.music.dylan
Please email corrections and suggestions to:
howells@csd.sgi.com
*********************************************************************
Copyright 1994, 1995 Adam K. Powers
This electronic document may be copied and distributed freely,
provided that this notice remains intact.
CONTENTS:
Part 1 - What is available on Internet? (this article):
0. What has been changed since the previous posting of the
FAQ?
1. Who is Bob Dylan?
2. What is rec.music.dylan?
3. Are you certain your e-mail address works?
4. Is there a rec.music.dylan etiquette?
5. How do I access rec.music.dylan?
6. Glossary of terms and acronyms common to this newsgroup.
7. Is there a Bob Dylan discography available online, or some
way to order Dylan CDs via Internet?
8. Where can I find lyrics, tablature and other Bob Dylan
information via Internet?
9. Is there some way that I can get lists of Bob Dylan
concert tapes and unreleased recordings from past
years?
10. When and where will Bob Dylan be performing next?
11. What is EDLIS?
12. What if I want to talk about Dylan on-line at all hours?
Part 2 - Where else can I get information, off-line? (next article):
1. Where can I buy Bob Dylan collectors' items?
2. What books about Dylan's life and music are available?
a. Bob Dylan biographies
b. Studies of Dylan as a performer, lyricist, etc.
c. Reference books
3. Are there magazines about Dylan to which I could
subscribe?
4. I just read an article about Bob Dylan in my newspaper...
5. What are bootlegs, and how do I find them?
6. Has Bob Dylan appeared in any movies or film
documentaries?
*********************************************************************
0. What has been changed since the previous posting of the FAQ
(7 July 1995)?
A new system for identifying changes is being tested for this outing
of the FAQ. Any line which is different has as its first character
"#". (This particular section is exempt :-)
Part 1:
- added details of a mail address tester to "3. Are you certain your
e-mail address works?"
Part 2:
- Added the new Wanted Man contact address to "1. Where can I buy Bob
Dylan collectors' items?"
- Added URL of Library of Congress library system to "2. What books about
Dylan's life and music are available?"
Many thanks to Ron Lamers for a significant number of corrections and
additions.
------------------------------
1. Who is Bob Dylan?
====================
Bob Dylan is a singer, a guitar player, a song writer and a recording
artist. Born Robert Allen Zimmerman in Hibbing Minnesota in 1941, his
earliest circulating recordings date from 1958! His earliest
recordings on an unofficial bootleg LP date from 1960, his first
commercial release dates from 1962. He continues to write, record and
perform to this day.
2. What is rec.music.dylan?
===========================
Welcome! This Usenet newsgroup is devoted to the discussion of Bob
Dylan, his music, and things Dylan-related. We welcome your
constructive comments on nearly any issue, even if it's only
tangentially associated with Bob Dylan.
There is no official Dylan fan club, so small packs of Dylan fans
band together to stay informed and carry on general discussion. This
particular Usenet newsgroup was founded mid-1989 by Tom Buckley.
Sometimes it seems that all we're interested in are upcoming tour
dates and clarification of fact regarding old recordings, but there
is often very interesting discussion of Dylan's lyrics themselves, a
reason that no doubt many of you read this newsgroup. If you don't
see the sort of discussion you want, you're encouraged to bring it up
yourself!
Many people criticise the content and tenor of postings on
rec.music.dylan but few praise those they like. If you see a posting
which is just what you like to see why not e-mail the poster
privately and say so. Many good posters stop posting because they say
they do not know if anyone is reading or liking what they do. The way
to shape rec.music.dylan to what you want is to encourage what you
like to see, and to contribute good postings yourself too!
3. Are you certain your e-mail address works?
=============================================
98% of new posters who comment that nobody has answered a query
they made on rec.music.dylan turn out to have displayed an
e-mail address that does not function. This is so common that
it is very unlikely a correspondent answering your query will
do anything once they see that mail to you bounces. One of the
# best ways to test your address is to send mail to the "robot" at
# bouncer@nic.near.net You should be sent two replies. If this
# does not work then contact the postmaster at your site.
4. Is there a rec.music.dylan etiquette?
========================================
You should already be familiar with Usenet etiquette. If not, the
newsgroups to read are news.newusers.questions and
news.announce.newusers. A particularly useful document is "Emily
Postnews Answers Your Questions on Netiquette" by Mark Moraes
<netannounce@deshaw.com>, stored at rtfm.mit.edu in a document
called "part1" in the directory
/pub/usenet/news.answers/usenet/emily-postnews/
As with all newsgroups, the best recommendation is for you to sit
back and read for a while before you make your first posting. That
way you can get a proper feel for the newsgroup. Then you will see
which postings you think are valuable and which are wasting space or
preventing good discussion.
rec.music.dylan is not moderated, so within reason anything goes.
However, certain types of postings are generally frowned upon. These
include:
o Tirades against other readers of the newsgroup for their
opinions.
o Failure to edit subject heading when replying via the digestified
mailing list [HWY61-L, see later]. Please ensure you edit the
subject line when posting a followup. Anyone seeing a posting
headed:
SUBJECT: Re: HWY61-L Digest - 5 Mar 1995
may well choose to ignore it altogether.
o Lists of favourite songs/albums, including Top Tens. This is a
discussion that reappears gradually more frequently as more and more
people discover rec.music.dylan. It is hard to imagine a posting
with less value and information content than:
My top 20 favourite Bob Dylan albums, in order of preference,
are:
1. Blonde On Blonde
2. Highway 61 Revisited
3. The Times They Are A-Changin'
.
.
20. The Basement Tapes
Tell me what yours are!
If you are interested in lists of favourite song or album titles then
please do NOT post them to rec.music.dylan. You are instead directed
to the ALLMUSIC GUIDE [see later for details] for the views of past
and present readers on this issue. Polls on favourite albums and
songs are already available for hundreds of artists, including Bob
Dylan. And should you wish to add your vote to those already cast
then you are free to do so. [A Web page has been set up for this very
task! - see later].
This is NOT to say constructive discussions about WHY you place
certain songs in such high regard are not of interest. Far from it -
what are we all here for if not to discuss the songs?
o Using rec.music.dylan as a easy substitute for personal research.
There are many resources available at your local library and over the
Internet (via FTP, GOPHER, the World Wide Web and Telnet). The
numerous Dylan-related areas are detailed later on in this FAQ. You
are strongly encouraged to consult this extensive material before
asking on the newsgroup. For example, instead of asking hundreds of
people for the setlist for 12 November 1981, you could simply look it
up yourself in Olof Bjorner's 1981 yearly summary (via FTP, GOPHER or
the WEB) or the three or four books available at your library. If the
research material proves inadequate then of course you should post your
question to the newsgroup stating this is so. In such cases you are
much more likely to get a response!
[See later for instructions on how to access this information via the
Internet].
o Bootlegs. From time to time someone posts a request for contact
details of bootleg dealers. Answers to these questions should be sent
by private e-mail only. To post full details to the very public forum
of rec.music.dylan is to put the dealers at risk. This may be an
hysterical over-reaction to the real situation, but is it not best to
avoid Bob Dylan's work being the most likely target when those greedy
copyright lawyers finally hit the Internet in force? We all know Bob
Dylan always says yes when his lawyers ask him if they should
proceed, be it a computer company, a transit authority, or a ...
The objection to the posting of full trade listings is more along the
lines of bandwidth wastage. If you wish to set up a trade you are
best advised to send a polite e-mail message [see later].
o Lists of names of other artists in which you are also interested.
This thread began a very long time ago and still odd postings appear
on the subject. For those who may be interested Steven Zawid
zawid@eden.rutgers.edu
conducted a major poll on favourite other artists and he would be
interested to hear from you in e-mail as he builds up his statistics.
Steven asks that you include one choice as to who your favourite
non-Dylan artist is.
5. How do I access rec.music.dylan?
===================================
If you have no access to Usenet News but you do have Internet access
then you could join a FreeNet in order to make use of free Usenet
News access. For example:
telnet yfn2.ysu.edu
username: visitor
follow the instructions for becoming a registered user and then read
rec.music.dylan whenever you please.
The majority of readers access this group through a newsreader (such
as rn, trn, tin or the like on Unix systems), but there is also a
digestified format that is sent to many others via email. If you'd
rather read in that format (a long email sent to you once or twice
daily) this information will be of use to you:
--
"HWY61-L Digest".
The mailing list is owned and maintained by Maureen LeBlanc. (If you
experience any problems with the list or have any questions then
e-mail Maureen at HWY61-L-Request@UBVM.cc.buffalo.edu)
To post an article to rec.music.dylan you need to use this address:
hwy61-l@ubvm.cc.buffalo.edu
This is the ONLY address via which your messages will appear on
rec.music.dylan and the mirroring Digest.
There is a third address of which users of the Mailing list need to
be aware.
listserv@ubvm.cc.buffalo.edu
It is via this address that users communicate with the automated
LISTSERV to subscribe, unsubscribe and alter options.
ALL commands should be sent to THIS address. Leave the 'subject'
blank and on the first line of the body of the message type your
command. (If you experience problems try omitting your ".sig"
because the Listserv may be trying to interpret it as commands.)
Here are the various commands you can send (all to the above
address):
(a) To receive a help file on how to work with the listserv:
HELP
(b) To subscribe to the mailing list:
SUBSCRIBE HWY61-L firstname lastname
(c) To unsubscribe from the mailing list:
SIGNOFF HWY61-L
(d) The default setting is to send out the list in digestified
format. If you would prefer to be sent rec.music.dylan as-it-happens,
ie. each posting is sent to you as an individual message, then issue
this command:
SET HWY61-L MAIL
To return to digestified format, issue:
SET HWY61-L DIGEST
(e) If you wish to suspend receipt of messages from the list for any
period of time you do not need to unsubscribe. Simply set your
selected option to 'no mail' by issuing:
SET HWY61-L NOMAIL
To resume delivery again, issue:
SET HWY61-L DIGEST
--
If you lack Usenet news access and want to post (without having to
subscribe to the mailing list), simply e-mail your posting to:
hwy61-l@ubvm.cc.buffalo.edu
or
rec-music-dylan@cs.utexas.edu
^ ^
N.B. - NOT . or _ / hyphens not full stops or underscores!
6. Glossary of terms and acronyms common to this newsgroup.
===========================================================
All areas of knowledge develop jargon and acronyms which inevitably
serve to keep outsiders out and to confuse newcomers. Medical doctors
complicate the simplest things with needlessly difficult terms and
abbreviations, computer experts often make the easy inaccessible to
newcomers with obscure terms and abbreviations by trying to
'simplify' communications, management consultants... Well, you get
the picture. People with a serious and debilitating Dylan habit can
also develop these tendencies. Watch for the following obscure
terms...
#Dylan = The name of the Dylan channel on irc.
BoB = Blonde on Blonde [1966] [not a typo for "Bob"!]
BotT = Blood on the Tracks [1974]
BIABH = Bringing It All Back Home [1965]
boot = bootleg
bootleg = circulating copy of officially unreleased material in any
form. The term is probably derived from 'bootleg' liquor, which was
sometimes smuggled in bottles strapped to one's leg during
Prohibition in the United States, 1918-1933.
Bootleg Series = The Bootleg Series 1961-1991, Rare and Unreleased,
Volumes 1-3 [1991] - not to be confused with 'bootleg' above, this is
an official release that reveals many songs and performances from
throughout Dylan's career that were previously available only on
bootleg media. The liner notes of this boxed set mention that
further volumes would be released, but no reliable source has been
able to determine if and when this might actually happen...
BTW = By the way...
EDLIS = Exchange of Dylan Lyrics - Internet Service
[see question 8, below, for more information on EDLIS]
GAIBTY = Good As I Been To You [1992]
H61R = Highway 61 Revisited [1965]
Hurricane = The lead-off single from Desire [1976], which tells
Dylan's rather loose interpretation of the murder trial of boxer
Rubin "Hurricane" Carter; Carter is today a free man in Canada after
having endured a convoluted series of mistrials and legal wrangling.
IMO = In my opinion...
IMHO = In my humble opinion...
irc = Internet Relay Chat, an international live real-time
conferencing system with a channel called #Dylan.
[see question #9, below]
JWH = John Wesley Harding [1967] This album (and its title track)
were mis-named after outlaw John Wesley Hardin. Dylan's song has
very little to do with the story of the real Hardin; instead, it's
basically just a spin-off of Woody Guthrie's "Pretty Boy Floyd." Some
Dylan fans note the religious bent of this album and claim that the
initials 'JWH' really refer to the Judeo-Christian deity...
Krogsgaard = Krogsgaard's 1991 reference book, Positively Bob Dylan
[listed below in question 10c]. A Krogsgaard number would be in a
form such as [7/201]. This refers to item seven in the Krogsgaard
listing for event 201. Badly addicted rec.music.dylan readers can be
told such a number and then immediately sing the relevant item
without reference to the Krogsgaard book itself!
pirate = Illegal copy of officially released material. Also known as
a "counterfeit".
smiley = An unusual punctuation device, presumably employed only by
computer-users, which looks like a sideways smiley-face: :-) A
smiley usually means that a comment or article has been written in
jest, and should be read accordingly. A common variant is ;-) with
the 'winking' eye. There are many, many variants on the smiley, and
most are used to represent the flairs of spoken language that are
often hard to perceive in text. :-(
tape tree = A 'pyramid' method of distributing tapes organized by
someone with a good or unusual tape that begs to be circulated. That
person posts an announcement to the newsgroup, asking people to send
email to him to sign up. He collects the names of those interested,
and creates a 'tree' such that no one has to make an excessive number
of copies, and people with better tape decks make copies for those
without, etc. The original tape is the 'seed'. Those who receive
copies from the seed and make further copies are 'branches', and
those who receive copies from branches but don't copy for anyone else
are the 'leaves'. Sometimes a person who makes copies is called a
'parent' and one who receives copies is a 'child'. Each person who
receives tapes is expected to send tapes of other events in return to
their branch. If blanks are sent in lieu of recorded tapes, the
person sending blanks is expected to send double the number of blank
tapes to recorded tapes. A less common method is that the person sendng
blanks is expected to pay postage for both the tapes that sent and
the ones received. If trading with a DAT collector who is supplying
you with an analogue cassette, one blank DAT is adequate double
compensation should they not want any blank analogue cassettes from
you.
T-999 = Numbers like these are Townsend numbers.
Townsend number = A three figure number identifying a specific
bootleg CD as cited by Phill Townsend in his Strangers And Prophets
[listed above], or as cited in Isis [listed above].
UTRS = Under The Red Sky [1990]
WGW = World Gone Wrong [1993]
WWW = World-Wide-Web [see question 5, below]
ZZ = someone used to the vi editor in Unix posting from a different
and unfamiliar editor trying to end their posting...
7. Is there a Bob Dylan discography available online, or some way to
order Dylan CDs via Internet?
====================================================================
It is beyond the scope of this document to give a true discography
for Bob Dylan, but here is a list of the standard U.S. release full-
length Bob Dylan albums:
Title Released CD Order #
===== ======== ==========
Bob Dylan March 1962 CK 8579
The Freewheelin' Bob Dylan May 1963 CK 8786
The Times They Are A-Changin' January 1964 CK 8905
Another Side of Bob Dylan August 1964 CK 8993
Bringing it All Back Home March 1965 CK 9128
Highway 61 Revisited August 1965 CK 9189
Blonde on Blonde May 1966 CK 841
Greatest Hits March 1967# CK 9463
John Wesley Harding December 1967 CK 9604
Nashville Skyline April 1969 CK 9825
Self-Portrait June 1970 C2K 30050
New Morning October 1970 CK 30290
Greatest Hits, Vol. 2 November 1971# C2K 31120
Pat Garrett & Billy the Kid July 1973 CK 32460
Dylan November 1973^ CK 32747
Planet Waves January 1974 CK 37637
Before the Flood June 1974' C2K 37661
Blood on the Tracks January 1975 CK 33235
The Basement Tapes June 1975* C2K 33682
(from Nashville Skyline, 1969)
(sent by Harlan at harlant@hawaii.edu)
#----------------------------------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: larpe@oden.nts.mh.se (Petter Larsson)
Visions of Johanna - Bob Dylan
--------------------------------
('Blonde on Blonde' album)
A D E7 A
Ain't it just like the night to play tricks when you're tryin' to be so quiet?
D E7 A
We sit here stranded, though we're all doin' our best to deny it
E A
And Louise holds a handful of rain, temptin' you to defy it
D A
Lights flicker from the opposite loft
D A
In this room the heat pipes just cough
D
The country music station plays soft
A E7
But there's nothing, really nothing to turn off
A D E7 A
Just Louise and her lover so entwined
D A E7 A D A
And these visions of Johanna that conquer my mind.
A D E7 A
In the empty lot where the ladies play blind man's bluff with the key chain
D E7 A
And the allnight girls, they whisper of escapades out on the "D" train
E
We can hear the night watchman click his flashlight
A
Ask himself if it's him or them that's realy insane
D A
Louise, she's allright, she's just near
D A
She's delicate and seems like the mirror
D
But she just makes it all too concice and too clear
A E7
That Johanna's not here
A D E7 A
The ghost of 'lectricity howls in the bones of her face
D A E7 A D A
Where these visions of Johanna have now taken my place.
A D E7 A
Now, little boy lost, he takes himself so seriously
D E7 A
He brags of his misery, he likes to live dangerously
E A
And when bringing her name up He speaks of a farewell kiss to me
D A
He's sure got a lotta gall
D A
to be so useless and all
D
Muttering small talk at the wall
A E7
while I'm in the hall
A D E7 A
How can I explain? Oh, it's so hard to get on
D A E7 A D A
And these visions of Johanna, they kept me up past the dawn.
A D E7 A
Inside the museums, Infinity goes up on trial
D E7 A
Voices echo this is what salvation must be like after a while
E A
But Mona Lisa musta had the highway blues You can tell by the way she smiles
D A
See the primitive wallflower freeze
D A
When the jellyfaced women all sneeze
D A E7
Hear the one with the mustache say, "Jeeze, I can't find my knees"
A D E7 A
Oh, jewels and binoculars hang from the head of the mule
D A E7 A D A
But these visions of Johanna they make it all seem so cruel.
A D E7 A
The peddler now speaks to the countess who's pretending to care for him
Sayin' "Name me someone that's not a parasite
D E7 A
and I'll go out and say a prayer for him." But like Louise
E
always says, "Ya can't look at much, can ya man?" As she, herself, pre
A
-pares for him
D A
And Madonna, she still has not showed
D D
We see this empty cage now corrode
D A
Where her cape of the stage once had flowed
D A
The fiddler, he now steps to the road
D A
He writes ev'rything's been returned which was owed
D A E7
On the back of the fish truck that loads While my conscience explodes
A D E A
The harmonicas play the skeleton keys and the rain
D A E7 A
And these visions of Johanna are now all that remain.
-------
Typed by Petter Larsson , larpe@nts.mh.se
#----------------------------------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, 29 Nov 1995 14:51:35 -1000
From: Harlan L Thompson <harlant@hawaii.edu>
Subject: watching the river flow- bob dylan
WATCHING THE RIVER FLOW- Bob Dylan
TUNING: E B E G# B E
A E A TURNAROUND 1
A D
What's the matter with me? I don't have much to say
A B
Daylight's sneaking' through the window
E
And I'm still in this all night cafe
A
Walking to and fro beneath the moon
D
Out to where the trucks are rolling slow
A E A TURNAROUND 2
Sit out on this bank of sand and watch the river flow
Wish I was back in the city instead of this ol' bank of sand
With the sun beatin' down over the chimney tops
And the one I love so close at hand
If I had wings and I could fly, I know where I would go
But right now I just sit here so contentedly
And watch the river flow TURNAROUND 3
BRIDGE #1:
E
People disagreein' on just about everything, yep
A
Makes you stop and wonder why
F#m B
Why only yesterday I saw someone on the street
E
Who just couldn't help but cry
CHORUS:
A
Wo, but this old river keeps on rollin' though
D
No matter what gets in the way and which was the wind does blow
A E
And as long as it does I just sit here
A TURNAROUND 1 (1ST TIME, 2ND TIME TO OUTRO)
And watch the river flow
SOLO (OVER VERSE CHORDS, END WITH TURNAROUND 3)
BRIDGE #2:
People disagreein' everywhere you look
Makes you want to stop and read a book
Why only yesterday I saw somebody on the street
That was a-really shook ...CHORUS
OUTRO:
D A D A D
Watch the river flow, watching the river flow
A D
Watching the river flow
A E
Well, I just sit out on this bank of sand
A TURNAROUND 1, BUT END ON A7
And watch the river flow
CHORDS: TURNAROUND 1:
A D E B F#m A7 A E7
E -5--10--0--7---2---5--- ---5---5---5--------7--
B -5--10--0--7---2---8--- --5---5---5------5--5--
G# -5--10--0--7---1---5--- -8---7---6------5-5-6--
E -5--10--0--7---2---5--- -------------5-5----7--
B -5--10--0--7-------5--- -----------------------
E -5--10--0--7---2---5--- -----------------------
TURNAROUND 2
A E A
E -----5-----5-----5----5<b>-5<b>-3p0------------------------------------------
B ---5-----5-----5--------------------0-3-5------------------------------------
G# -8-----7-----6---------------------------------------------------------------
E -------------------5----------------------0-0--------------------------------
B ----------------------------------------------3-3-0-0------------------------
E ------------------------------------------------------4-4--0-0-2-2-3-3-4-4-5-
TURNAROUND 3
A E
E -----5-----5-----5-----------------------
B ---5-----5-----5-------------------------
G# -8-----7-----6---------------------------
E ------------------5-----5-----4-----2----
B ----------------------5-----4-----2------
E --------------------5-----4-----2------0-
#----------------------------------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: 14 Mar 96 09:47:02 EST
From: LEE KIRBY <101557.3330@compuserve.com>
Subject: CRD: What_can_i_do_for_you BY Bob Dylan
Hope you enjoy this offering it's taken from the LP Saved - an album I feel
doesn't get enough credit, so I decided to give it a plug. Its a song about
Dylan's conversion to christianity and what it means (meant!) to him.
If you have any comments or find it useful please e-mail me to let me know.
101557.3330@compuserve.com
Enjoy...Lee Kirby, Sunday March 3rd 1996 12:05, Manchester, England.
WHAT CAN I DO FOR YOU? - Bob Dylan
(Play with a bit of phase effect on guitar)
Intro
Dbm B A Dbm
Chord sequence 1
E Dbm A B
You have given everything to Me
A Abm F#m E (Play chords 1 strum each in descending sequence)
What can I do for you?
E Dbm A B
You have given me eyes to see
A Abm F#m E
What can I do for you?
Chord sequence 2
Dbm B A Abm
???????????????????? and you made me renewed inside
Dbm B E F#m
Filled up the hunger where'd it'd always been denied
Dbm B A Abm F#m
Opened up the door no man can shut and you opened it up so wide
Dbm B A
And you chosen me to be among the few
A Abm F#m E (Play chords 1 strum each in descending sequence)
What can I do for you?
Use Chord sequence 1
You have laid down you life for Me
What can I do for you?
You have explained every Mystery
What can I do for you?
Use Chord sequence 2
Soon as a man is born you know the sparks begin to fly
He gets wise in his own eyes and he's made to believe a lie
Who would deliver him from the death he's bound to die?
Well, youv'e done it all and there's no more any one can be dared enough to do
What can I do for you?
Interlude
Chord sequence 1
You have given all there is to give
What can I give to you?
You have given me life to live
How can I live for you?
Chord sequence 2
I know all about poison
I know about fiery doubts
I don't care how rough the road is
Show me where to start
What ever please you tell it to my heart
Well I don't deserve it but I did make it through
What can I do for you?
#----------------------------------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 <harlant@uhunix.uhcc.Hawaii.Edu>
WHEN I PAINT MY MASTERPIECE- Bob Dylan
A D A
Oh, the streets of Rome are filled with rubble
D A E A
Ancient footprints are everywhere
D A D A
You can almost think that you're seein' double
D A E A
On a cord, dark night on the Spanish Stairs
E7 A D
Got to hurry on back to my hotel room
E7 A
Where I've got me a date with Botticelli's niece
D A D A
She promised that she'd be right there with me
D A E A
When I paint my masterpiece
Oh, the hours I've spent inside the Coliseum
Dodging lions and wastin' time
Oh, those mighty kings of the jungle
I could hardly stand to see 'em
Yes, it sure has been a long, hard climb
Train wheels runnin' through the back of my memory
When I ran on the hilltop following a pack of wild geese
Someday, everything is gonna be smooth like a rhapsody
When I paint my masterpiece
BRIDGE:
Dm A
Sailin'round the world in a dirty gondola
C#m D E D A B7 E7
Oh to be back in the land of Coca Cola!
I left Rome and landed in Brussels
On a plane ride so bumpy that I almost cried
Clergymen in uniform and young girls pullin' muscles
Everyone was there to greet me when I stepped inside
Newspapermen eating candy had to be held down by big police Someday,
everything is gonna be different
D A E D A Bm A
When I paint my masterpiece
(from Bob Dylan's Greatest Hits Vol. 2, done around 1971)
(sent by Harlan at harlant@hawaii.edu)
#----------------------------------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: Andrew Mullins <MULLINS@artsci.concordia.ca>
When the Ship Comes In Bob Dylan
from the album The Times They Are A-Changin'
Chords: G D11? (x54030) C Em C/B D/A D
G D11 C G
Oh the time will come up when the winds will stop
Em C G
And the breeze will cease to be a-breathin
G D11 C G
Like the stillness in the wind before the hurricane begins,
G D G
The hour that the ship comes in
D11 C G
And the sea will split and the ships will hit
D11 C G
And the sands on the shoreline will be shaking
D11 C G
And the tide will sound and the waves will pound
G C C/B D/A G
And the morning will be a-breaking
Oh the fishes will laugh as they swim out of the path
And the seagulls will be a-smilin'
And the rocks on the sand will proudly stand
The hour that the ship comes in
And the words that are used for to get the ship confused
Will not be understood as they're spoken
Oh the chains of the sea will have busted in the night
And be buried on the bottom of the ocean
A song will lift as the main sail shifts
And the boat drifts unto the shoreline
And the sun will respect every face on the deck
The hour that the ship comes in
And the sands will roll out a carpet of gold
For your wearied toes to be a-touchin'
And the ship's wise men will remind you once again
That the whole wide world is watchin'
Oh the foes will rise with the sleep still in their eyes
And they'll jerk from their beds and think they're dreamin'
But they'll pinch themselves and squeal
And they'll know that it's for real,
The hour that the ship comes in
And they'll raise their hands
Sayin' we'll meet all you demands
But we'll shout from the bow
Your days are numbered
And like Pharoah's tribe they'll be drownded in the tide
And like Goliath they'll be conquered
submitted by Andrew Mullins
mullins@artsci.concordia.ca
#----------------------------------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: Alfredo <folini@dsi.unimi.it>
Subject: CRD: God on Our Side by Bob Dylan
Date: Wed, 22 Nov 1995 18:12:28 MET
WITH GOD ON OUR SIDE - Bob Dylan [MTV-unplugged version]
[C F C F C F G F C]
[C]Oh my name it is [F]no[G]thin' my age [F]it mean [C]less
The country I come from [F]is called the Mid[C]west
I's taught and brought up there [F]The laws to [C]abide
and that land that I [F]li[G]ve in Has god [F]on its [C]side.
Oh the history book [F]tell i[G]t they tell it [F]so [C]well
The cavalries charged and [F]the Indians [C]fell
The cavalries charged and [F]the Indians [C]died
Oh the country was [F]yo[G]ung with god [F]on its [C]side.
Oh the Spanish-[F]Ameri[G]can war had [F]its [C]day
And the Civil War too was [F]soon laid [C]away
and the names of the heroes [F]I was made to [C]memorize
with guns in their [F]ha[G]nds and god [F]on their [C]side.
The First World [F]War, [G]boys it closed out [F]its [C]fate
The reason for fighting [F]I never got straig[C]t
but I learned to accept it, [F]accept it with [C]pride
and you don't count the [F]de[G]ad when god's on [F]your [C]side.
[... Additional lyrics ...]
But now we got [F]wea[G]pons of the chemic[F]al [C]dust
if fire them we're forced to, [F]then fire we [C]must
one push of the button [F]and shot the world [C]wide
and you never ask [F]quest[G]ions when God's [F]on his [C]side
[ Repeat without words ]
In a many dark [F]hou[G]r I've been thinkin' ab[F]out [C]this
that Jesus Christ was [F]betrayed by a [C]kiss
But I can't think for you, [F]you'll have to [C]decide
wheter Judas Is[F]cari[G]ot, had God [F]on [C]his side.
So now as I'm [F]leavi[G]n', I'm [F]weary as [C]hell
the confusion I'm feelin' [F]ain't no tongue can [C]tell
Who words fill my head and [F]fall to the [C]floor
If God's on [F]our si[G]de he'll stop [F]the next [C]war.
[... Additional lyrics ...]
When the Second World War came to an end
we forgave the Germans and we were friends
Though they murdered six million in the ovens they fried
the Germans now too have god on their side.
I've learned to hate Russians all through my wole life
if another war starts It's them we must fight
To hate them and fear them to run and to hide
and accept i all bravely with god on our side.
------------------------------- CUT HERE -----------------------------------
Additional lyrics are not included in the MTV-unplugged
ny correction would be appreciated.
Bye
Folini Carlo
Any correction will be apreciated Bye. Carlo
#----------------------------------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: Mon, 18 Dec 1995 10:42:58 +0100
From: klaus.tauber@balu.kfunigraz.ac.at (Tauber Klaus)
Subject: Corr:CRD:You Belong To Me by Bob Dylan
Somebody send me some corrections for the lyrics. Sorry, can't remember who.
Anyhow- Thank you!!
YOU BELONG TO ME
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
by Bob Dylan
C Em
1. See the pyramids along the Nile
F C
Watch the sunrise from a tropic isle
F Em Am
Just remember darling all the while
Dm G
You belong to me
C Em
2. See the market place in old Algiers
F C
Send me photographes and souvenirs
F Em Am
Just remember when a dream appears
Dm G
You belong to me
C F
B: I'd be so alone without you
Dm G
Maybe you'd be lonesome too
G7
in blue
C Em
3. Fly the ocean in a silver plane=7F
F C
See the jungle when it's wet with rain
F Em Am
Just remember till you're home again
Dm G
You belong to me
INTRO
C F
B: I'd be so alone without you
Dm G
Maybe you'd be lonesome too
G7
in blue
C Em
3. Fly the ocean in a silver plane
F C
See the jungle when it's wet with rain
F Em Am
Just remember till you're home again
Dm G
You belong to me
#----------------------------------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!stanford.edu!agate!darkstar.UCSC.EDU!ucscb.UCSC.EDU!indigo Mon Oct 19 18:26:13 PDT 1992
Article: 2957 of alt.guitar.tab
Path: nevada.edu!uunet!stanford.edu!agate!darkstar.UCSC.EDU!ucscb.UCSC.EDU!indigo
From: indigo@ucscb.UCSC.EDU (Adam Schneider)
Newsgroups: alt.guitar.tab
Subject: CRD: Dylan "You're Gonna Make Me Lonesome When You Go"
Date: 15 Oct 1992 21:47:13 GMT
Organization: University of California, Santa Cruz
Lines: 54
Message-ID: <1bkot1INN1gf@darkstar.UCSC.EDU>
NNTP-Posting-Host: ucscb.ucsc.edu
One of my favorite Dylan songs, from his _Blood_on_the_Tracks_ album.
YOU'RE GONNA MAKE ME LONESOME WHEN YOU GO (Bob Dylan)
-----------------------------------------------------
A C#m D D
I've seen love go by my door, it's never been this close before
A C#m D D
Never been so easy or so slow
A C#m D D
I've been shooting in the dark too long, when something's not right, it's wrong
A D A A
You're gonna make me lonesome when you go
Dragon clouds so high above, I've only known careless love
It always has hit me from below
But this time 'round it's more correct, right on target, so direct
You're gonna make me lonesome when you go
Purple clover, Queen Anne Lace, crimson hair across your face
You could make me cry if you don't know
Can't remember what I was thinking of, you might be spoiling me too much, love
You're gonna make me lonesome when you go
D D A A
Flowers on the hillside blooming crazy
D D A A
Crickets talking back and forth in rhyme
B B B B
Blue river running slow and lazy
Esus Esus E E
I could stay with you forever, and never realize the time
Situations have ended sad, relationships have all been bad
Mine have been like Verlaine and Rimbaud
But there's no way I can compare all those scenes to this affair
You're gonna make me lonesome when you go
You're gonna make me wonder what I'm doing
Staying far behind without you
You're gonna make me wonder what I'm saying
You're gonna make me give myself a good talking to
I look for you in old Honolulu, San Francisco, Ashtabula
You're gonna have to leave me now, I know
But I'll see you in the sky above, in the tall grass and the ones I love
You're gonna make me lonesome when you go
==-=--=---=----=-----=-------=---------=---------=-------=-----=----=---=--=-==
Adam Schneider indigo@ucscb.ucsc.edu U.C. Santa Cruz
"Your actions will follow you full circle 'round..."
==-=--=---=----=-----=-------=---------=---------=-------=-----=----=---=--=-==
#----------------------------------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: Sat, 24 Jun 1995 12:07:26 -0400
From: gw222@cleveland.Freenet.Edu (Kelvin W. Sherlock)
Subject: Bob Dylan: You're No Good crd
You're No Good (Jesse Fuller)
from the album "Bob Dylan" (1962)
Intro: C F C G
C F C G
Well I don't know why I love you like I do
C F C
Nobody in the world can get along with you.
F C G
You got the ways of a devil sleeping in a lion's den
F C
I come home last night you wouldn't even let me in.
Em F
Oh sometimes you're as sweet as anybody want to be
G C N.C.
When you get a crazy notion, jumpin' all over me
C F C G
Well you give me the blues because you're satisfied
C F C
An' you give me the blues I wanna lay down and die.
I helped you when you had no shoes on your feet, pretty mama
I helped you when you had no food to eat.
You're the kind of woman I just don't understand
You're takin' all my money and give it to another man.
Well you're the kinda woman makes a man lose his brain
You're the kinda woman drives a man insane
You give me the blues because you're satisfied
You give me the blues I wanna lay down and die
Well you give me the blues, I wanna lay down and die
*********************************************************************
Frequently Asked Questions (FAQ), part 1 of 2
for newsgroup rec.music.dylan
Please email corrections and suggestions to:
howells@csd.sgi.com
*********************************************************************
Copyright 1994, 1995 Adam K. Powers
This electronic document may be copied and distributed freely,
provided that this notice remains intact.
CONTENTS:
Part 1 - What is available on Internet? (this article):
0. What has been changed since the previous posting of the
FAQ?
1. Who is Bob Dylan?
2. What is rec.music.dylan?
3. Are you certain your e-mail address works?
4. Is there a rec.music.dylan etiquette?
5. How do I access rec.music.dylan?
6. Glossary of terms and acronyms common to this newsgroup.
7. Is there a Bob Dylan discography available online, or some
way to order Dylan CDs via Internet?
8. Where can I find lyrics, tablature and other Bob Dylan
information via Internet?
9. Is there some way that I can get lists of Bob Dylan
concert tapes and unreleased recordings from past
years?
10. When and where will Bob Dylan be performing next?
11. What is EDLIS?
12. What if I want to talk about Dylan on-line at all hours?
Part 2 - Where else can I get information, off-line? (next article):
1. Where can I buy Bob Dylan collectors' items?
2. What books about Dylan's life and music are available?
a. Bob Dylan biographies
b. Studies of Dylan as a performer, lyricist, etc.
c. Reference books
3. Are there magazines about Dylan to which I could
subscribe?
4. I just read an article about Bob Dylan in my newspaper...
5. What are bootlegs, and how do I find them?
6. Has Bob Dylan appeared in any movies or film
documentaries?
*********************************************************************
0. What has been changed since the previous posting of the FAQ
(7 July 1995)?
A new system for identifying changes is being tested for this outing
of the FAQ. Any line which is different has as its first character
"#". (This particular section is exempt :-)
Part 1:
- added details of a mail address tester to "3. Are you certain your
e-mail address works?"
Part 2:
- Added the new Wanted Man contact address to "1. Where can I buy Bob
Dylan collectors' items?"
- Added URL of Library of Congress library system to "2. What books about
Dylan's life and music are available?"
Many thanks to Ron Lamers for a significant number of corrections and
additions.
------------------------------
1. Who is Bob Dylan?
====================
Bob Dylan is a singer, a guitar player, a song writer and a recording
artist. Born Robert Allen Zimmerman in Hibbing Minnesota in 1941, his
earliest circulating recordings date from 1958! His earliest
recordings on an unofficial bootleg LP date from 1960, his first
commercial release dates from 1962. He continues to write, record and
perform to this day.
2. What is rec.music.dylan?
===========================
Welcome! This Usenet newsgroup is devoted to the discussion of Bob
Dylan, his music, and things Dylan-related. We welcome your
constructive comments on nearly any issue, even if it's only
tangentially associated with Bob Dylan.
There is no official Dylan fan club, so small packs of Dylan fans
band together to stay informed and carry on general discussion. This
particular Usenet newsgroup was founded mid-1989 by Tom Buckley.
Sometimes it seems that all we're interested in are upcoming tour
dates and clarification of fact regarding old recordings, but there
is often very interesting discussion of Dylan's lyrics themselves, a
reason that no doubt many of you read this newsgroup. If you don't
see the sort of discussion you want, you're encouraged to bring it up
yourself!
Many people criticise the content and tenor of postings on
rec.music.dylan but few praise those they like. If you see a posting
which is just what you like to see why not e-mail the poster
privately and say so. Many good posters stop posting because they say
they do not know if anyone is reading or liking what they do. The way
to shape rec.music.dylan to what you want is to encourage what you
like to see, and to contribute good postings yourself too!
3. Are you certain your e-mail address works?
=============================================
98% of new posters who comment that nobody has answered a query
they made on rec.music.dylan turn out to have displayed an
e-mail address that does not function. This is so common that
it is very unlikely a correspondent answering your query will
do anything once they see that mail to you bounces. One of the
# best ways to test your address is to send mail to the "robot" at
# bouncer@nic.near.net You should be sent two replies. If this
# does not work then contact the postmaster at your site.
4. Is there a rec.music.dylan etiquette?
========================================
You should already be familiar with Usenet etiquette. If not, the
newsgroups to read are news.newusers.questions and
news.announce.newusers. A particularly useful document is "Emily
Postnews Answers Your Questions on Netiquette" by Mark Moraes
<netannounce@deshaw.com>, stored at rtfm.mit.edu in a document
called "part1" in the directory
/pub/usenet/news.answers/usenet/emily-postnews/
As with all newsgroups, the best recommendation is for you to sit
back and read for a while before you make your first posting. That
way you can get a proper feel for the newsgroup. Then you will see
which postings you think are valuable and which are wasting space or
preventing good discussion.
rec.music.dylan is not moderated, so within reason anything goes.
However, certain types of postings are generally frowned upon. These
include:
o Tirades against other readers of the newsgroup for their
opinions.
o Failure to edit subject heading when replying via the digestified
mailing list [HWY61-L, see later]. Please ensure you edit the
subject line when posting a followup. Anyone seeing a posting
headed:
SUBJECT: Re: HWY61-L Digest - 5 Mar 1995
may well choose to ignore it altogether.
o Lists of favourite songs/albums, including Top Tens. This is a
discussion that reappears gradually more frequently as more and more
people discover rec.music.dylan. It is hard to imagine a posting
with less value and information content than:
My top 20 favourite Bob Dylan albums, in order of preference,
are:
1. Blonde On Blonde
2. Highway 61 Revisited
3. The Times They Are A-Changin'
.
.
20. The Basement Tapes
Tell me what yours are!
If you are interested in lists of favourite song or album titles then
please do NOT post them to rec.music.dylan. You are instead directed
to the ALLMUSIC GUIDE [see later for details] for the views of past
and present readers on this issue. Polls on favourite albums and
songs are already available for hundreds of artists, including Bob
Dylan. And should you wish to add your vote to those already cast
then you are free to do so. [A Web page has been set up for this very
task! - see later].
This is NOT to say constructive discussions about WHY you place
certain songs in such high regard are not of interest. Far from it -
what are we all here for if not to discuss the songs?
o Using rec.music.dylan as a easy substitute for personal research.
There are many resources available at your local library and over the
Internet (via FTP, GOPHER, the World Wide Web and Telnet). The
numerous Dylan-related areas are detailed later on in this FAQ. You
are strongly encouraged to consult this extensive material before
asking on the newsgroup. For example, instead of asking hundreds of
people for the setlist for 12 November 1981, you could simply look it
up yourself in Olof Bjorner's 1981 yearly summary (via FTP, GOPHER or
the WEB) or the three or four books available at your library. If the
research material proves inadequate then of course you should post your
question to the newsgroup stating this is so. In such cases you are
much more likely to get a response!
[See later for instructions on how to access this information via the
Internet].
o Bootlegs. From time to time someone posts a request for contact
details of bootleg dealers. Answers to these questions should be sent
by private e-mail only. To post full details to the very public forum
of rec.music.dylan is to put the dealers at risk. This may be an
hysterical over-reaction to the real situation, but is it not best to
avoid Bob Dylan's work being the most likely target when those greedy
copyright lawyers finally hit the Internet in force? We all know Bob
Dylan always says yes when his lawyers ask him if they should
proceed, be it a computer company, a transit authority, or a ...
The objection to the posting of full trade listings is more along the
lines of bandwidth wastage. If you wish to set up a trade you are
best advised to send a polite e-mail message [see later].
o Lists of names of other artists in which you are also interested.
This thread began a very long time ago and still odd postings appear
on the subject. For those who may be interested Steven Zawid
zawid@eden.rutgers.edu
conducted a major poll on favourite other artists and he would be
interested to hear from you in e-mail as he builds up his statistics.
Steven asks that you include one choice as to who your favourite
non-Dylan artist is.
5. How do I access rec.music.dylan?
===================================
If you have no access to Usenet News but you do have Internet access
then you could join a FreeNet in order to make use of free Usenet
News access. For example:
telnet yfn2.ysu.edu
username: visitor
follow the instructions for becoming a registered user and then read
rec.music.dylan whenever you please.
The majority of readers access this group through a newsreader (such
as rn, trn, tin or the like on Unix systems), but there is also a
digestified format that is sent to many others via email. If you'd
rather read in that format (a long email sent to you once or twice
daily) this information will be of use to you:
--
"HWY61-L Digest".
The mailing list is owned and maintained by Maureen LeBlanc. (If you
experience any problems with the list or have any questions then
e-mail Maureen at HWY61-L-Request@UBVM.cc.buffalo.edu)
To post an article to rec.music.dylan you need to use this address:
hwy61-l@ubvm.cc.buffalo.edu
This is the ONLY address via which your messages will appear on
rec.music.dylan and the mirroring Digest.
There is a third address of which users of the Mailing list need to
be aware.
listserv@ubvm.cc.buffalo.edu
It is via this address that users communicate with the automated
LISTSERV to subscribe, unsubscribe and alter options.
ALL commands should be sent to THIS address. Leave the 'subject'
blank and on the first line of the body of the message type your
command. (If you experience problems try omitting your ".sig"
because the Listserv may be trying to interpret it as commands.)
Here are the various commands you can send (all to the above
address):
(a) To receive a help file on how to work with the listserv:
HELP
(b) To subscribe to the mailing list:
SUBSCRIBE HWY61-L firstname lastname
(c) To unsubscribe from the mailing list:
SIGNOFF HWY61-L
(d) The default setting is to send out the list in digestified
format. If you would prefer to be sent rec.music.dylan as-it-happens,
ie. each posting is sent to you as an individual message, then issue
this command:
SET HWY61-L MAIL
To return to digestified format, issue:
SET HWY61-L DIGEST
(e) If you wish to suspend receipt of messages from the list for any
period of time you do not need to unsubscribe. Simply set your
selected option to 'no mail' by issuing:
SET HWY61-L NOMAIL
To resume delivery again, issue:
SET HWY61-L DIGEST
--
If you lack Usenet news access and want to post (without having to
subscribe to the mailing list), simply e-mail your posting to:
hwy61-l@ubvm.cc.buffalo.edu
or
rec-music-dylan@cs.utexas.edu
^ ^
N.B. - NOT . or _ / hyphens not full stops or underscores!
6. Glossary of terms and acronyms common to this newsgroup.
===========================================================
All areas of knowledge develop jargon and acronyms which inevitably
serve to keep outsiders out and to confuse newcomers. Medical doctors
complicate the simplest things with needlessly difficult terms and
abbreviations, computer experts often make the easy inaccessible to
newcomers with obscure terms and abbreviations by trying to
'simplify' communications, management consultants... Well, you get
the picture. People with a serious and debilitating Dylan habit can
also develop these tendencies. Watch for the following obscure
terms...
#Dylan = The name of the Dylan channel on irc.
BoB = Blonde on Blonde [1966] [not a typo for "Bob"!]
BotT = Blood on the Tracks [1974]
BIABH = Bringing It All Back Home [1965]
boot = bootleg
bootleg = circulating copy of officially unreleased material in any
form. The term is probably derived from 'bootleg' liquor, which was
sometimes smuggled in bottles strapped to one's leg during
Prohibition in the United States, 1918-1933.
Bootleg Series = The Bootleg Series 1961-1991, Rare and Unreleased,
Volumes 1-3 [1991] - not to be confused with 'bootleg' above, this is
an official release that reveals many songs and performances from
throughout Dylan's career that were previously available only on
bootleg media. The liner notes of this boxed set mention that
further volumes would be released, but no reliable source has been
able to determine if and when this might actually happen...
BTW = By the way...
EDLIS = Exchange of Dylan Lyrics - Internet Service
[see question 8, below, for more information on EDLIS]
GAIBTY = Good As I Been To You [1992]
H61R = Highway 61 Revisited [1965]
Hurricane = The lead-off single from Desire [1976], which tells
Dylan's rather loose interpretation of the murder trial of boxer
Rubin "Hurricane" Carter; Carter is today a free man in Canada after
having endured a convoluted series of mistrials and legal wrangling.
IMO = In my opinion...
IMHO = In my humble opinion...
irc = Internet Relay Chat, an international live real-time
conferencing system with a channel called #Dylan.
[see question #9, below]
JWH = John Wesley Harding [1967] This album (and its title track)
were mis-named after outlaw John Wesley Hardin. Dylan's song has
very little to do with the story of the real Hardin; instead, it's
basically just a spin-off of Woody Guthrie's "Pretty Boy Floyd." Some
Dylan fans note the religious bent of this album and claim that the
initials 'JWH' really refer to the Judeo-Christian deity...
Krogsgaard = Krogsgaard's 1991 reference book, Positively Bob Dylan
[listed below in question 10c]. A Krogsgaard number would be in a
form such as [7/201]. This refers to item seven in the Krogsgaard
listing for event 201. Badly addicted rec.music.dylan readers can be
told such a number and then immediately sing the relevant item
without reference to the Krogsgaard book itself!
pirate = Illegal copy of officially released material. Also known as
a "counterfeit".
smiley = An unusual punctuation device, presumably employed only by
computer-users, which looks like a sideways smiley-face: :-) A
smiley usually means that a comment or article has been written in
jest, and should be read accordingly. A common variant is ;-) with
the 'winking' eye. There are many, many variants on the smiley, and
most are used to represent the flairs of spoken language that are
often hard to perceive in text. :-(
tape tree = A 'pyramid' method of distributing tapes organized by
someone with a good or unusual tape that begs to be circulated. That
person posts an announcement to the newsgroup, asking people to send
email to him to sign up. He collects the names of those interested,
and creates a 'tree' such that no one has to make an excessive number
of copies, and people with better tape decks make copies for those
without, etc. The original tape is the 'seed'. Those who receive
copies from the seed and make further copies are 'branches', and
those who receive copies from branches but don't copy for anyone else
are the 'leaves'. Sometimes a person who makes copies is called a
'parent' and one who receives copies is a 'child'. Each person who
receives tapes is expected to send tapes of other events in return to
their branch. If blanks are sent in lieu of recorded tapes, the
person sending blanks is expected to send double the number of blank
tapes to recorded tapes. A less common method is that the person sendng
blanks is expected to pay postage for both the tapes that sent and
the ones received. If trading with a DAT collector who is supplying
you with an analogue cassette, one blank DAT is adequate double
compensation should they not want any blank analogue cassettes from
you.
T-999 = Numbers like these are Townsend numbers.
Townsend number = A three figure number identifying a specific
bootleg CD as cited by Phill Townsend in his Strangers And Prophets
[listed above], or as cited in Isis [listed above].
UTRS = Under The Red Sky [1990]
WGW = World Gone Wrong [1993]
WWW = World-Wide-Web [see question 5, below]
ZZ = someone used to the vi editor in Unix posting from a different
and unfamiliar editor trying to end their posting...
7. Is there a Bob Dylan discography available online, or some way to
order Dylan CDs via Internet?
====================================================================
It is beyond the scope of this document to give a true discography
for Bob Dylan, but here is a list of the standard U.S. release full-
length Bob Dylan albums:
Title Released CD Order #
===== ======== ==========
Bob Dylan March 1962 CK 8579
The Freewheelin' Bob Dylan May 1963 CK 8786
The Times They Are A-Changin' January 1964 CK 8905
Another Side of Bob Dylan August 1964 CK 8993
Bringing it All Back Home March 1965 CK 9128
Highway 61 Revisited August 1965 CK 9189
Blonde on Blonde May 1966 CK 841
Greatest Hits March 1967# CK 9463
John Wesley Harding December 1967 CK 9604
Nashville Skyline April 1969 CK 9825
Self-Portrait June 1970 C2K 30050
New Morning October 1970 CK 30290
Greatest Hits, Vol. 2 November 1971# C2K 31120
Pat Garrett & Billy the Kid July 1973 CK 32460
Dylan November 1973^ CK 32747
Planet Waves January 1974 CK 37637
Before the Flood June 1974' C2K 37661
Blood on the Tracks January 1975 CK 33235
The Basement Tapes June 1975* C2K 33682