Tabs
All songs were made by Okkervil River & Shearwater
All tabs were made by Anjy, Colleen, Dan, D.Chang, duder, hauie, ihopewebothchoke,
hannes, mikec_ct, Paul, Peter, ryan, siro, sternj, Zach and the tacowiki.net authors.
See http://tacowiki.net/Main/Notation for help reading tab notation.
Em C Em C
e| ----------------------------------------------------------------
B| -----------------1-0--0h1p0-0--------------------1--0--0-0h1h3--
G| ------------0---------0---------------------0-------------------
D| 2--2h4--0-4-----------------------2h4--0-4----------------------
A| 2-------------3-----------------2-------------3-----------------
E| 0-------------0-------------------------------------------------
Em C Em C
e| 0----2--2h3-3p2--0--------------0--0-2--2h3-3p2--0--------------
B| 0----0--0-0-0-0--1--1-0--0h1p0--0----0--0-0-0-0--1--0-----------
G| 0----0--0-0-0-0--0--0----0-0-0--0----0--0-0-0-0--0----0---------
D| ---2-----------------------------------------------------2h4/5--
A| ----------------------------------------------------------------
E| ----------------------------------------------------------------
Em C
Rapt, in "Star Wars" sheets,
Em C
with my hand across your belly,
G D C
we waded through the watercolor.
G D C
we waded through the watercolor.
Em C
And drunk in your parents house,
Em C
junk coming out of your mouth,
G D C
we were buried in the ice sculpture,
G D C
we were buried in the ice sculpture,
and you said
G D Am C
"I would be anything that you wanted me to be,
C D Em
but how could I change my body?"
Em C
Em C Em C
I love the picture that your mother stole;
Em C Em C
dad holds out the tiny piece he'll release from his soul -
G D C
before he flew up in the helicopter,
G D C
before he swooped down as a door gunner,
G D C
before God gave him the favor
G D C
that meant he isn't getting others.
He said
G D Am C
"I would be anything that He asked me to be.
G D Am C
I would be anything that He asked me to be."
F Am Bb Dm
Come into the den. Come into the den.
Gm Bb Dm C
You've got a glow. You've got a glow.
Climb into my arms with blood on your clothes.
You've got a glow. You've got a glow.
Dm C Dm C
And you're no-one's but mine. And nobody knows
Gm Bb Dm C
the lane where he's lying, no heed in his howls.
No heart that was mine. No hand that I'd hold.
And you've got a glow. You've got a glow.
[instrumental - like the verse]
F Am Bb Dm
Gm Bb Dm
And there's no escaping the thing that is making
C
its home in your radio.
You're lied in a line. You're light and your strong
and you've wanted to do that, my love for so long.
My life in dead men, come into the den.
You've got a glow. You've got a glow.
[outro - like the verse]
Capo 5
C Cmaj7 Am Am7/G F G F G
C Cmaj7 Am Am7/G
If you want to see and be seen, then be seen.
F G
Your dress is dark red
C Cmaj7 Am Am7/G
and your opening eyes are bright green. Make a scene,
F G F G
but don't lie on the bed, laid out like you're dead,
Am G
because honey, you're murdering me.
C Cmaj7 Am Am7/G F G F G
Be a little sheep learning who'll shear and who'll feed.
The hands come and they leave.
Be hands holding a knife. Be a being on two feet,
with his heart trembling, butchering for a king
he believes in though he's never seen.
C Cmaj7 Am Am7/G F G F G 2x
F Em
Be the princess in that stone tower,
Am G Am
crying for that handsome butcher's plight
F G
(and, as some princess might,
F G
she still calls him a knight.)
But the best thing for you would be queen, so be queen.
You're all that I need.
Though I know that it never can be, I'd be pleased
to post your decrees, to fall at your knees,
Am F G
to name all your streets and to sit down and weep
when you're carried back through them and set down to sleep,
and to lie by your side for sublime centuries
Am F G C
(until we crumble to dust when we're crushed by a single sunbeam).
Outro:
E---------------------------------------------------------
B-1---1-0---0-------1------1-1-0--0---0-1---1-3---3-3-1-0-
G----0-----0--2--0--------------0----0-----0-----0--------
D---------------------------------------------------------
A-3-3---3-3---3-3--3-3-3----------------0-0---2-2---2-----
E------------------------3-1-1----3-3---------------------
E Bm
And I have seen the world of dreams, and,
D A E
fresh-flown through the trees then dropped off at the curb
E Bm
alive, have seen the world awake,
D E A
and I don't know which I deserve.
So when sleep nightly comes to me,
with all of these warm blankets piled on my back,
I'll hike to see the church of dreams,
where all of the shutters are painted black.
A E A E
And it seems like that's real until the time I awake,
Bm D E
and at midnight the moonlight reflects as the lake
A E D E
is shining at me, until night takes it away.
Bm D E
There's one world in the distance, one world in the way,
A E
and not one can stay.
D A E (repeat)
E
And I have seen the world of dreams,
carverd grainless and clean with a sweep of one hand,
and have been happy with the leaves
on my body when laid under land.
So when sleep finally comes to me -
because it comes for the sleek like it comes for the lame -
I'll sink beneath a weight of dreams so full and complete
that I'm pushed from my name.
And it seems like that's real until I fall asleep,
and then we load up the car and drive far to some street
where a new life awaits, until day takes it away.
There's one world in the distance, one world in the way,
and not one can stay.
Am C G Am
Sit back, no song is written, nothing you thought of yourself.
It's just a ghost that came unbidden to this house.
F Em Am
This infection grows stronger every year,
this seed inside the water of your tear.
C G F Em Am
There is no escaping it.
This seed blooming in the water of your tear
the way an unborn baby's ear unfolds in your belly.
F Em Am
This infection grows stronger every year,
F Em Am
this direction of a tear rolling down your cheek,
C G F Em Am
there is no escaping iiiiiiiiit
C G
There is no escaping
F
the thing that is making its home in your radio.
Am Em F Em G
Am C
Bless this tiny alley we have fallen from tall buildings
Em F G
we have fallen through the air into a garden sweetly smelling of the
softest sleeping flowers now they sit under the sidewalk
now they're waiting for the shining of some future sun to show us
all that brings you beauty and all that gives you pleasure
I could sigh into your hide and say "I hope I'm here forever
but black sheep boy with your lovers with your list of favorite pillows
with your list of missing children with the wall where you drew windows
overlooking hidden gardens cut apart by jagged mountains
climbing up into the air and crumbling down into fountain
where the water waits forever like a quiet distant treasure
when you rise up to recover when you leave this tiny alley
when you meet me in the garden with your horns all hung with cedar
all these spirits brushing past me brushing past them in the ether
screams 'all this is window dressing all you are is flimsy curtains
you will flame up with a word from us and won't know that you're burning.' "
Basically, For The Captain with a couple of lyric changes...
(Capo on 3rd fret)
G C
Hot breath, rough skin, warm laughs and smiling,
Em D
the loveliest words whispered and meant -
C
you like all these things.
D G
But, though you like all these things, you love a stone.
C D Am
You love a stone, because it's smooth and it's cold.
Em D C
And you'd love most to be told that it's all your own.
G D
You love white veins, you love hard grey,
Am C
the heaviest weight, the clumsiest shape,
Em D
the earthiest smell, the hollowest tone -
C
you love a stone.
G D Am C
G
And I'm found too fast, called too fond of flames,
C
and then I'm phoning my friends, and then I'm shouldering the blame,
Em D C
while you're picking pebbles out of the drain, miles ago.
G
You're out singing songs, and I'm down shouting names
C
at the flickerless screen, going fucking insane.
Em D
Am I losing my cool, overstating my case?
C D
Well, baby, what can I say? You know I never claimed
G C
that I was a stone. And you love a stone.
G D
You love white veins, you love hard grey,
Am C
the heaviest weight, the clumsiest shape,
Em D
the earthiest smell, the hollowest tone -
C
you love a stone.
G D Am C
G D Am C
G
C D Am
You love a stone, because it's dark, and it's old,
Em D C
and if it could start being alive you'd stop living alone.
G D
And I think I believe that, if stones could dream,
Am C
they'd dream of being laid side-by-side, piece-by-piece,
Em D C
and turned into a castle or some towering queen they're unable to know.
G D
And when that queen's daughter came of age,
Am C
I think she'd be lovely and stubborn and brave,
Em D
and suitors would journey from kingdoms away
C
to make themselves known.
G D
And I think that I know the bitter dismay
Am C
of a lover who brought fresh bouquets every day
Em D
when she turned him away to remember some knave
C G
who oncegave just one rose, one day, years ago.
D Am C
G D Am C
G D Am C
G
(Capo on 1st fret)
A Bm D A
A Bm D A
Auntie Alice, where are you now?
We rung your number and they called it "disconnected."
In a dream you come sailing out
of a pool of deep blue water.
Auntie Alice keeps spiders in her house,
feeds them earwigs and mosquitoes.
Her pink tongue comes darting out
from where her front teeth are missing.
A Bm D A
I went downstairs in the middle of the night
cause I heard her scratching at the door.
She fed me chocolates and said she couldn't sleep,
asked me what the bug light was for.
Auntie Alice wears the same dress every day.
Butter turns green on her counter.
She sings me songs she learned on Christmas eve,
tells me stories about castles.
E A
"The number you have dialed
D F#m
is not in service" it said,
Bm E
"hang up or dial again."
D E
Auntie Alice have you found your palace yet?
Auntie Alice, look out for us
who think we know where we are going.
Your picture gathers dust on the fridge
and watches us keep our appointments.
Auntie Alice howling through the woods,
Auntie Alice in my dream,
somehow gone from the phone book for good.
A Bm A
Life forms around you when you leave.
D A 1)E 2)F#m E
e| 2---0-2-0-0---0-2-0- 0-----------0- 2---------0-
B| 3---------2--------- 0-----0-2-3--- 2---------0-
G| 2---------2--------- 1--1---------- 2---------1-
D| 0---------2--------- 2------------- 4---------2-
A| ----------0--------- 2------------- 4---------2-
E| ----------0--------- 0------------- 2---------0-
D A E 2x
D A F#m E
A F#m E
I'm coming into your town.
A F#m
Night is falling to the ground,
E D
but I can still see where you loved yourself
A D
before he tore it all down. April 12th,
A Bm D
with nobody else around; you were outside the house
E
(where's your mother?),
F#m E
when he put you in the car,
when he took you down the road.
And I can still see where it was open,
the door he slammed closed. It was open,
the door he slammed closed. It was open,
long ago.
A E F#m
But don't lose me now, don't lose me now.
D A
Though I know that I'm not useful anyhow,
F#m E
just let me stick around
A E
while I tell you, like before,
F#m D A
you should say his name the way that he said yours.
F#m E
But you don't want to say his name anymore.
D A E
Oh, Cynda Moore.
D A F#m E
Baby daughter on the road,
you're wrapped up warm in daddy's coat.
And I can still see the cigarette's heat.
I can't believe all that you're telling me,
what is cutting like the smoke through your teeth
as you're telling me "forget it."
But if I could tear his throat,
and spill his blood between my jaws,
and erase his name out for good, don't you know that I would?
Don't you realize that I wouldn't pause, that I would
cut him down with my claws if I could have somehow
never let that happen?
Or I'd call, some black midnight, fuck up his new life
where they don't know what he did,
tell his brand-new wife and his second kid.
Though I tell you, like before,
that you should wreck his life the way that he wrecked yours,
you want no part of his life anymore.
Oh Cynda Moore,
D A E
don't lose me now, let me help you out.
Though I know that I can't help anyhow,
when I watch you I'm proud.
When I tell you twice before
that you should wreck his life the way that he wrecked yours,
you want no part of his life anymore.
Oh Cynda Moore.
D A E
And it'll never be the way it was before,
D A E
but I wish that you would let me through that door.
D A E
Let me through that door, let me through that door.
D A E
Let me through that door, baby.
D A E
D1: G| 2---2---2---2---
D| --0---0---0---0-
D2: e| 2-5----(5)------
D3: e| 0-2-----2-------
G1: G| 0---0---0---0---
D| --0---0---0---0-
A1: D| 0---------------
A2: e| 0-5-----5-------
A3: B| 3--2--0--0---2--
A4: B| 5-------3-------
B| 2-------0-------
D1 G1 D1 A1
D3 D3 D3 A3
D3 D3 D3 A3
Wrap your blackest coat around your throat tonight.
D3 D3 D3 A3
There's a brand-new tune around the moon tonight.
D2 A2 A4
And your mother's standing in the cellar, you didn't tell her.
D2 A2 A
Your father's standing by the water without his daughter.
D3 D3 D3 A3
Because there is something near that you can hear tonight.
D3 D3 D3 A3
Feel a brand-new storm surround your form tonight,
D2 A1
as the dress you wore is falling to the ground.
D1 G1 D1 A1 2x
Take the brightest scream out of your dream tonight.
There's a brand-new sweet forbidden treat tonight.
As your mother's standing in the cellar, you didn't tell her,
and your father's standing by the water without his daughter.
D G D A
Wrap your blackest coat around your throat tonight.
There's a brand new tune around the moon tonight.
There's some brand-new proof that you're aloof tonight,
D G D A D
and there's a brand-new song for you to sing, sing along tonight.
C Am
Bleeding black sheep boy, mirror in pieces,
Em (walk-up-to) G
turn the receiver, trace the police station
C Am
line to my number, and number my reasons
Em (walk-up-to) G
for this paranoia, for these accusations,
Dm C
for each night that the numbers, paired off like lovers,
C Am
collided together so I can't remember
Em (walk-up-to) G
my name or my nation. Baying black sheep boy,
Em Am Em G
go back beyond the pasture, you've cracked out of my head.
Em Am C Em G
Get in your battered mustang, and the backseat will be your bed.
Burning black sheep boy, dark denim phantom
face full of flames, ears full of cheers that have fanned them.
I'd slice off the horns that sprung right from those temples.
I was chased from that bedroom and chased from those candles
by fear of the numbers, paired of like lovers,
collided together so I can't remember
my face or my station. Pacing black sheep boy,
the floor just won't support you, you hover through the room.
Get in your battered mustang and the backseat will be your tomb
[harmonica solo]
C Am Em G 2x
And I rode into Baltimore and I found a hotelroom,
where I tried to escape you but the phone line wouldn't go through.
And inside the mirror I saw you, stamping staring out.
I don't recognize your eyes, your mouth or any of those lines
that come flying out. Nothing I've heard from you sounds sane or safe:
words falling down from the ceiling, where the mirror is stealing
the light to reveal us both tonight, and we're both kneeling in the
black pool of your shadow. You've cracked out of my head.
Go back beyond the pasture, or I'll smash your mirror till you're dead.
(Capo on 2nd fret)
C F C F
C F C
Safe, safe - enjoy your time feeling so safe,
F C
and treasure that smile on your face, okay?
Am D G
cause time will see that it's replaced in a while
C F C
So go on & smile, smile, handshakes all around, that's your style
F C
and no one would call it denial, for you're
Am D G
not even sure what's in store, though it's more
F C G Am
than you'll be able to take standing up straight. And it won't be okay.
F C G
And you won't be somebody who it's just happening to,
D
it's a trap that you, and only you, have
C F C
laid. Laid with a towel up over your face,
F C
in your armchair, just lying in wait, waiting
Am D G
forces were gathering outside your door. They sharpened their
C F C F
knives and smiled with no smiles in their eyes, a little bit larger
C Am
in size and a little bit
D G
hungrier for that tiny prize.
F C G Am
And my mother she said "Son, remember this, no matter what someone did:
F C G Am
that they once were just a kid at breast and in bib, in blanket and crib.
F G C F
So just reach inside yourself and find that part that still needs help,
F C G D
find that part in someone else and you'll do good," so I thought that I would.
HORN BREAK (C F C F)
C F C F
Hey, hey - I love you, it goes without saying. I would give you the world
C Am D G
on a tray, though they're already tracing a line across your throat.
C F C
Far too late in the game you'll find that you have been betrayed:
F C
propped up and pushed into your place
Am D G
I could claim that it all would go great, but the reason I came is
C F
to say that it won't. You should
C F C
know that it won't, you should know that it won't
F C
you should know that it won't
D C
and so, Phillip, let go
Intro: G
G C G D
And we have fun — we go laughing and running down to the water,
C G Em
There by the sea where the body just floats like a rowboat
C D
And the moon's like a harbor light lit in the sky.
Em G
And this picture's got a woman who looks like you
D C
And a guy who looks just like someone I've seen.
G
When it turns out, I hope that it turns out,
D C G
I hope that it turns out the way that you dreamed.
C G G
G C G
Embarcadero train station's empty,
D C
And I just cannot believe how long it takes
G Em
All the way home through the city.
C D
And everyone's looking - at least, it's nice to believe that everyone's looking.
Em G
And this picture's got a woman who looks like you
D C
And a guy who looks just like someone I've seen.
G
When it turns out, I hope that it turns out,
D C G
I hope that it turns out the way that you dreamed.
C G G
G C G
Ghostly faces at my living-room window
D C
They are not scared of me because they know I can't hurt them.
G Em
They press up and see, in the lamp-glow,
C D
all of the hurt and the love inside of me.
Em C Em C
It's their final duty to see right through me.
Em D C D
I tell them "twelve hours until the dawn, but we've got to hold on.
G
Hold on to me, because we'll be running
C G G
D D C C
G C G G
D D C C
G C G
Down to the water this morning."
D C G
Well, nobody waits for you to believe in ghosts,
Em D G
Lit by moonlight or dawning, or in this picture of you and me.
e| 7-5-3--2/3-5---5-5-5-5--2/3-5---5-5-5-5--2/3-5\3-3\2-2\0-0 Bm D A G Some nights I thirst for real blood, for real knives, for real cries. And then the flash of steel from real guns in real life really fills my mind. A G D A Asus4 A Asus2 Then I really miss what really did exist when I held your throat so tight. Em G D A Asus4 A Asus2 And I miss the bus as it swerved from us and almost came crashing to its side. Sometimes the blood from real cuts feels real nice when it's really mine. And if you want it to be real, come over for a night, we can really, really climb, and those blue bridge lights might really burn most bright while we watch that dark lake rise. And if you really want to see what really matters most to me, we can just take a real short drive. [instrumental - like the verse] Just a drive into the dark stretch, long stretch of night, will really stretch this shaking mind. And this room, unlit, unheated, and the ceiling striped, and the dark black blinds.... I want to know this time if you're really finally mine. I need to know that you're not lying, and so I want to see you tried. And I don't want to hear you say it shouldn't really be this way, because I like this way just fine. Em G D A Asus4 A Asus2 And there's nothing quite like the blinding light when that curtain's cast aside, Em G D A Asus4 A Asus2 and no attempt is made to explain away the things that really, really, really, really, really are behind. [instrumental - like the chorus]
Am C G Am
Relax, no song is written, nothing you thought of yourself.
It's just a ghost that came unbidden to this house.
F Em Am
This infection grows stronger every year,
this seed inside the water of your tear.
C G F Em Am
There is no escaping iiiiiiiiit.
This seed blooming in the water of your tear
the way an unborn baby's ear unfolds in your belly.
F Em Am
This infection grows stronger every year,
F Em Am
this direction of a tear rolling down your cheek,
C G F Em Am
there is no escaping iiiiiiiiit
C G
There is no escaping
F
the thing that is making its home in your radio.
Am Em F Em G
Aaaaaaaaaaah...
Am
Bless this tiny alley
C
we have fallen from tall buildings
Em
we have fallen bless the birth of him
F G
the chapel he was killed in
all these tiny flowers
they have sat under the sidewalk
they have waited for the pieces
of the summer sun to show us
all that is your beauty and
all that is your treasure
I could smell your skin beside me
say I hope I'm here forever
but captain with your lovers
with your list of favorite pillows
with your favorite list of children
and the wall where you drew windows
overlooking tiny gardens
cut in two by jagged mountains
and the secret sacred sharing
that went on beside the fountain
where the water waits forever
for a tiny tiny treasure
that will rise up and recover
that will leave this tiny alley
when you meet me in the garden
with your wings all dipped in cedar
all these spirits brushing past me
brushing past me in the ether
say "all this is window dressing
all you are is flimsy curtains
you will flame up with a word from us
and won't know that you're burning."
Em G D 1.) 2.)
e| ------0-----------3---------2--|-0------|-3-3-3-2--
B| ------0-----------0---------3--|---3----|---3-3-3--
G| ------0-----------0---------2--|-----2--|---2-2-2--
D| 4-2-0-2-2h4-2-0---0---0-2-4-0--|--------|---0-0-0--
A| ------2---------2-2-4-------0--|--------|---0-0-0--
E| ------0-----------3------------|--------|----------
Em G D
Oh, my enemy, you've got company, you're not alone.
They're watching over me while each town you pass fades as it folds.
G Em D
So in the night we might get lost in our fright.
So in the day softly we'd flow, floating away.
Em G D
And it pours from the faucet's mouth
like our fortune comes flowing out -
every word of which, without a doubt,
will find us together and together bring us down.
Em G D 2x
They'll tie us down with those fine thin threads
and run their knives up and down our skin,
until what was in will be out again,
above the sea on that sunny ledge.
And in the day softly we'll flow, floating away.
And in the night we will get lost, lost in our fright.
La la la la la la...
And in the day softly we'll flow, floating away.
G C
"Once we get to the end of this song,
Em D
then it will begin again."
G C
So you said in our bed. I was watching light
Em D
slip through blinds to find your skin.
G F C
"So take your medicine and I won't ask where you've been.
G F C
Live your lost weekend, I know you've wanted it.
Am D
Get big, little kid.
And I can't say why each day doesn't quite
fit the space we saved for it."
But if that space now demands that you throw up
both your hands and call it quits...
"Take your midnight trip. I know you've dreamed of it.
Walk your sunset strip, because I think you've needed it
to get big, little kid.
C G
But just remember that our love
C G Am
only got this good because of the younger days
C D
that you'd like to outstrip.
So drink your cup down to the dregs
and leave that club on shaking legs with another guy,
but remember: I'm not him.
[solo - to be played like the verse]
Take your medicine and I won't ask where you've been.
Live your lost weekend, I know you've wanted it.
Get big, little kid.
And once we get to the end of this song,
then another will begin."
G D Em Why must happy hearts break so hard, Am C D leave you curled up in the back seat of a car, Em D C staring up at the windshield? G D G When will broken hearts learn how to heal? This boy I knew was five years older than me. His daddy'd left him when he was three. After we went walking by a stream, Em C D he held me down and made me feel as bad as he. Why must happy hearts break so hard, leave you standing in the darkness of the barn, staring at those rusty wheels? When will broken hearts learn how to heal? [instrumental - same as verse] C G D Em And everybody's searching for a place to put their love. C G D See the people on the street? They go home and what do you think they dream of? C G D C G D G U n c o n d i t i o n a l l o v e. Why did you leave me? Mother, why do you sleep with him? He says he's smothering, then he comes back again, in our house for the weekend. Why must people's breaking hearts pretend? Why must happy hearts break so hard, leave you staring in the mirror at a bar Leave you talking to yourself, because you can't talk to anybody else.
(alternate the A-chord with Asus2 (002200))
e| 0--0-0-0-2--2-2-3- B| 2--2-0-2-3--3-3-3- G| 2--2-2-2-2--2-2-2- D| 2--2-2-2-0--0-0-0- A| 0--0-0-0---------- E| 0--0-0-0----------
e| ----0-0-----0-0------0-0-2-0--- \ 3x
B| 2-3-----2-3------2-3---------3- /
e| ----0-----0-----0-0-----0-2-0--
B| 2-3---2-3---2-3-----2-3-------3
A D
There's no beast, obviously.
A D
The floor just creaks, obviously.
E D A
The morning with coffee was snowy and sweet,
E D
and there was this small, snow-white dog
E D A D A D
that was barking at our feet, honestly.
A D
drove all day to the vacant beach.
A D
Grey mist hanging over the sea,
A D
alleys clogged with magazines,
A D
and the boardwalk is empty.
E D A
The house in the valley is open this week,
E D
imagine the sea looking in
E D A D A D
at the slowly moving sheets. Honestly.
A E D E A
If you feel weak, leave it to me.
E D E A
If you need sleep, leave it to me.
E D E A
Need wool socks for your feet, leave it to me.
E D E A
Need a walk on the beach, leave it to me.
E D E A
Leave it to me. Leave it to me.
[Solo]
A E D E A
If you feel weak, leave it to me.
E D E A
If you need sleep, leave it to me.
E D E A
Need wool socks for your feet, leave it to me.
E D E A
A shoulder on which to sleep, leave it to me.
And an ear...
E D E A
into which to weep, leave it to me.
E D E A
Leave it to me. Leave it to me.
A E D E {4x}
E A E D
Leave it to me to not speak
E A E D
when I pass you on the street.
E A E D
Leave it to me to feel weak,
E A E D
leave it to me
to run from you...
(transposition: A => C)
C G F
...to not speak
G C G F
when I pass you on the street,
G C G F
leave it to me to feel weak, I feel weak
leave...
G C G F
it to me, number thirty-three,
G C G F
leave it to me. number thirty-three,
G C G F G
leave it to me...
C G F G
C
C G
Wish I could remember why it mattered to me.
Dm
It doesn't matter to me.
F C
It doesn't matter to me anymore.
Am G
Now that you're feeling fine,
F
I'll admit that - though I
I know it's coming down, and see it shattering me -
It doesn't matter to me,
and I'm not sadder for seeing it come.
I'm not going to run.
I will just come when I am called.
Dm G Dm G
You want to cut me off because I took too much,
F Am G
but don't leave me alone. Take off your scarves, your winter coat.
F Fm
The night's too cold.
When we met I should have said you're like a sister to me,
how all that kiss her just seem
like puny suitors I can see through,
how none will do, not for you,
how it might as well just be us two.
And when I pulled you by the jacket from the clattering street,
you started flattering me,
you started saying I was so strong.
String me along, but I can't become
all that I'm called.
Dm G Dm G
And I can't claim to know what makes love die or grow,
F Am G
but I can still take control and so refuse to just go home,
F Fm
back down the hall.
C G Dm F | 2x
C Am
G F
And as I crawl, as finally all
Dm G Dm G
the false confetti blooms up in this attic room,
F
I'm going make my stand.
Am G F Fm
I want to see both of your hands put down the phone.
C Am C G F
I won't let you go, although the moment stole my self-control from us all
Fm C
and now it can only end, end with a fall.
play |D Em G D| all the time
The river is deep and the river is wide, and the girl that I love is on the other side. She wants to move to Kansas City: "Move, pretty baby, where the sky is so blue." She's walking down Ellum, turning down Main, trying to find someone to sell her cocaine. She wants to move to Kansas City: "Move, pretty baby, where the sky is so blue." With a dayful of promises dead on her lips, Mark 15:34 tucked next to her hip, she wants to move to Kansas City: "Move, pretty baby, where the sky is so blue." I jumped in the water and started to drown. I thought of her walking and turned back around. I want to move to Kansas City, where the sky is so blue. With her pair of old wings that opened just once, she can walk on two feet now, she can go where she wants. She can move to Kansas City, where the sky is so blue. And I'll tell you one thing that you should never do never let a woman tell you she loves you. She'll call you "baby," she'll look in your eye, then she'll get on that airplane and wave "bye bye bye bye bye bye, baby." And if I could believe what I want to believe, I'd hold you all close and take you with me, all of you to Kansas City, where the sky is so blue.
D D A G
D D
D
Kathy Keller's only daughter, I've been bad, but I'm getting better.
A G
I seen you dancing with another
D
man and he was holding your hand,
A G D
but all dances must rest, nothing lasts forever.
Cynthia Anne, so give me chances, I will prove to you that romance is
something that doesn't have to make you
feel sick after, feel all cheated, over and over remember what he did.
I did it all, but now I'm really better.
D
I would like to prove to you I have no appetite to do
A G D
the things I did then and won't do again.
D
On my own, I'm all alone, I try to make my affections known,
A G D
they won't stop talking about what I did twenty years ago.
That bright kitchen, that old cleaver, the spots of blood, the fallen phone reciever,
don't you get tired of seeing those pictures?
That was me, but now I'm different.
I did all that, but now I'm really better.
I would like to prove to you I have no appetite to do
the things I did then and won't do again.
On my own, I'm all alone, I try to make my affections known,
but the evil's passed from one hand to another.
D D 3x
A G
D D 2x
A G
D D D D
Cynthia Keller in the cellar, don't tell me you didn't get my letters.
A G
I try to tell you, make you see that
D
after all they did to me,
A G
how I could I do that? All I can do now is
D
stay at home and watch T.V.
A G
You're all I have, don't make me go,
D
don't throw me away, don't leave me alone.
A G D
I can't be alone now that I'm all better.
A G D
I can't be alone now that I'm all better.
A G D
I'm your slave, don't you let me go now that I'm all better.
A G D
Just don't leave me alone with my being better.
(Capo on 3rd fret)
G| 0--------- D| --2-0----- A| ------3-0-
Dm Em C C
e| 1-1---1-1-1-1- 0-0---0-0-0-0- 0-0---0-0-0-0- 0--0-0--0-0-0-
B| 3-3---3-3-3-3- 0-0---0-0-0-0- 1-1---1-1-1-1- 1--1-1--1-1-1-
G| 2-2---2-2-2-2- 0-0---0-0-0-0- 0-0---0-0-0-0- 0--0-0--0-0-0-
D| 0-0---0-0-0-0- 2-2---2-2-2-2- 2-2---2-2-2-2- 2--2-0--2-0-2-
A| -------------- 2-2---2-2-2-2- 3-3---3-3-3-3- 3--3-3--3-3-3-
E| -------------- 0-0---0-0-0-0- 0-0---0-0-0-0- 0--0-0--0-0-0-
v v v ^ v ^ v v v ^ v ^ v v v ^ v ^ v v ^ v ^ v
Dm Em C C
Dm Em C
You can wash out your lying eyes
in the bathroom down the hall.
I guess I shouldn't be surprised.
I guess I didn't know you at all.
Bm F#m
I can picture you inside some stranger's house,
inside some stranger's bed -
A
you're trying to seem mysterious,
Em
the covers pulled over your head.
Dm Em
It's all right, lady liberty,
Dm Am
it's just too bad you couldn't do the same for me.
You say you've been used, you've been betrayed.
Yeah, and that old bed's been newly made.
You just stick around awhile with me
until you're strong enough to leave.
And I can picture you the first time
you decide to spend the night -
you wonder if you should give me a call
and ask me if it's all right.
Yeah, it's all right, lady liberty,
it's just too bad you couldn't do the same for me.
Am Em Dm
Don't call me or send me any more letters, baby.
Am Em
I just can't stand to see your hand
Am
writing things that you don't mean.
Am Em Dm
I waited, our faded love growing even more faded.
Am Em
The shades were down, I faced the wall,
Em
and I could hear you breathing.
I tried to bring us back to life.
I gave my heart so many times.
And was it worth it after all?
There is a bathroom down the hall.
Riff 1:
A| ------2
E| 0-2-3--
Intro:
E5 D5 (I like to mute the low E string.)
[Riff 1] D5
Take my sword from the slaughter.
[Riff 1] D5 E5 D5
Melt it down into vapor, and my armor, too.
[Riff 1] D5
I hear hot blood flap and flutter
[Riff 1] D5 E5 D5
from your temple to the shoulder, and all through you.
(Palm mute this part)
(D) (C)
When you hold on to me it isn't easy.
(D) (C)
When you hold on to me isn't fair.
(D) C G
But when there's no key, oh you find me there,
D C
find me there, find me there.
Bb A G 2x
Em
E5 D5 2x
I'm turning white, I'm leaves of paper.
Turn my hands from this labor and lift me through.
When you hold on to me it isn't easy,
but you should hold on to me. It isn't fair,
but when there's no key you find me there,
find me there, find me there.
Bb A G 3x
Bb A
And kids get lost, lambs out wandering.
G
And bigger, blacker things come calling
from outside a tiny garden
somebody once laid their hearts on.
And kids get lost, and kids get broken.
And their diaries get found and opened.
And their legs get led astray,
and then they lie inside some secret place
where the sun looks in the open ceiling.
And kids grow up, and kids stop feeling kids,
and feel adults, and face away.
But in last love dreams, the lost and passed
out of this world are softly sighing.
They're trying to decide if they should leave
the things that keep them up crying.
And some will rise and keep on living
with open eyes, with minds forgiven.
The river's flowing is arrested and resumed after
they've blessed it over and over and over
and over and over and over, and over again.
(It's over.)
E A e| --------------------------------------------------- B| 0---------0--0---------0---------------2----------- G| --2-1-1-2------2-1-1-2----2-----2--------2---2---2- D| ----------------------------2-----2--------2---2--- A| ------------------------------2-----2-------------- E| --------------------------------------------------- E A e| --------------------------------------------------- B| 0---------0--0---------0--2------------2----------- G| --2-1-1-2------2-1-1-2------2---2---2----2---2---2- D| ------------------------------2---2--------2---2--- A| --------------------------------------------------- E| ---------------------------------------------------
B A E
e| ----------0----------------------------------------
B| 4---4-4------2---2-2---2---------------------------
G| --4-----4------2-----2----1-----1------1-----1-----
D| ----------------------------2-----2------2-----2---
A| ------------------------------2-----2------2-----2-
E| ---------------------------------------------------
E A
Home is where beds are made and butter is added to toast.
E A
On a cold afternoon you can float room to room like a ghost.
E A
Take the crèche out and argue about who gets to set up the kings.
E A
And I know that it's home because that's where the stereo sings
E A
"I've got dreams to remember."
B A E
But not even home can be with you forever.
E A
It's Christmastime and the plane flies me over white hills
E A
to a town in a dream, where the sky is frozen and still,
E A
and a room (that's not mine but it's just like I left it before,
E A
with the wax from the candles all dusty and locks on the door)
E A
Where I held you so tenderly
B A E B
And where in summer I opened your letter to me
Em D D C C/B
Em D C C/B
I'm standing where we knelt and a miracle mile now borders it,
Em D C C/B A
but if I turn my face to the field I don't even notice it for a second.
E A
There's a tangle of greenery where winter scenery ends.
E A
And I hear that song sometimes and imagine us much more than friends -
E A
like if we stayed in this town, bought the first house that went up on sale,
E A
and how each Christmastime would bring inlaws and snowdays and holiday mail.
E A
Your dad says you're living in Georgia since last September.
E A
Well, "I've got dreams to remember."
B A E
Oh Sara, come back to New Hampshire. We'll stay here forever.
Capo 3rd fret
Intro:
D F#m Bm G D A
e| 2---0---2---0---2---0---3---3-2-0-3---3---2---2---0---0---0---0---
B| 3---3---2---0---3---3---3---3-3-3-3---3---3---3---2---0---3---2---
G| 2---2---2---2---4---4---4---4-4-4-4---4---2---2---2---2---2---2---
D| 0---0---4---4---4---4---4---4-4-4-5---5---0---0---2---2---2---2---
D F#m Bm
Lover, and now that you've left me I'm glad you're unlovely.
G D A
Because if you could take all the heat in your heart and just hang it from you
D F#m Bm
I wouldn't be able to bear the way you can not love me
G A D
It's much easier of me to make a monster out of you
D F#m Bm
So here I go substituting the glow from your temples
G D A
All our sighs and our trembles and each last letter sent to you.
D F#m Bm
From the cheap little pen of this weak little man, the one singing
G A D
Out his jangling ringing and hopefully stinging attack upon you
D F#m Bm
Yeah so here I go just exploding the hope we'll be speaking
G D A
Someday years from now seeking, friendship and understanding
D F#m Bm
and I hope you get angry and hurt and have the hardest of landings
G A D
and I hope your new man thinks of me when he sees what a number I did on you
D F#m Bm
I grow tired of this song, turn my eyes to the blonde in the bleachers
G D A
She's a lovely young creature. I think she's seeking adventure
D F#m Bm
I think she's ready to see that the world ain't so sweet nor so tender
G A D
I won't break her just bend her, and make her into my new ringer for you
D F#m Bm
I stay in the same comfy town, write the same old songs down I drive the same streets
G D A
Seek the same sense of dull peace. Whisper the same sweet words to the chippies.*
D F#m Bm
Same walk by the road, where the same muddy snow's finally leaving
G A D
But I'll fight off the spring I don't want lovely things I don't want the earth new
* "Chippy" is an old English word for a prostitute and the plural of it is "chippies" like he says in the song, in case anyone didn't know what that line meant.
(capo on 5th fret)
play |D A Em G| all the time with the following pattern:
e| ---------o--------- B| ----o-------o------ G| o------o-------o--- D| o----------------o- A| ------------------- E| ------------------- To cheat on Maine islands - days of laughter, nights of sighing. To love without ceasing - flowering orchards, salty sea-things. To say without shyness "unreal city, you have killed me." When you walked out on her love was it easy? When I left him while sleeping was I dreaming? We take each night's journey to the hotel in a hurry, where we love without worry on a bed that's five days dirty. And we read without irony from a book my husband bought for me. When I fell on the concrete it was lovely, because you could see what's been running so hot in me. But when I fell on the concrete, you went white as a sheet and wished that nothing in this world would ever hurt me. Well, keep wishing. Because when I look in my future, I don't see you and don't wish to. Idle talk made when I'm lying by your side on some Maine island is too funny to me, honey, so let's drop it. If you really want to love me, well, then do it.
D Em
What if there's no hidden track,
F#m Em
no journey there, no journey back?
D F#m
The rain falls down upon the same old grass.
Em A
The rain falls down, the rain falls down,
D
the rain falls down.
What if there's no secret word,
no matter what you thought you heard?
I asked the author's son and he averred:
"no secret word, no secret word
no hidden track."
A G D
But my words left me, and my heart it just went slack,
F#m A G
it just went slack when I saw it passing,
D
because what if it can't come back?
F#m Em A
It can't come back; there's no hidden track.
D Em
F#m Em
What if there's no trap-door down?
The cold hard floor, the cold hard ground,
the cold hard car commute back into town.
No trap-door down, no trap-door down,
no hidden track.
My words left me, and my heart it just went slack,
it just went slack when I saw them passing,
because what if they can't come back?
They can't come back, and there's no hidden track,
D Em A D
no hidden track.
But, for all of us and all of you,
there are some things we can't see into,
because from the other side no light shows through.
Em
I hope that there's a hidden track.
A D
It feels like there's a hidden track.
D Em F#m Em
D F#m Em A D
D F#m Em 2x
A D
The strum pattern is pretty obvious throughout the song...don't forget to harmonize!
G C
When I'm hosed and they're closing in, maybe only then
Em D G
really I'll try to get right with my self.
So I'll grope down that ladder again, til I'm tumbling- but
really I just want to slide, i want to crash land.
While my friend, my associate, he's a regal man.
He bindles and he twists and ties, gives the reckoning.
And then it's back on the road again with maybe thirteen grand.
Moralize all you might like, I don't believe in it.
C D
You never earned your soul, I know
You never earned your soul, I know
You never earned your soul, I know
Em C G D
But I'm going to try
I'm a rich young sophisticate. I've got girls, I've got friends.
I'm doing what I really like and getting paid for it.
There is no key, there's no plan; I discovered that.
A truly I don't think you'll find a happier man.
C D
You never earned your soul, I know
You never earned your soul, I know
You never earned your soul, I know
Em C G D
But I'm going to try
Em C G D
I'm going to try
Em C
You float up high and it isn't a sin and
G D
there isn't a hell where we'll be sent
There's only now, and there isn't then.
So just breathe it in.
(end on G)
E
I live in a building where nobody knows me,
B
I go to bed early, I sleep in my clothes.
At night I hear screaming down in the street,
A E
I dream that I'm slipping, I reach for my feet.
B A E
Precious, we are falling down, catch us.
B A E
Oh no, down we go again.
E
I fill in the holes in my vision with dexedrine,
the landscape spins sideways, the movies and magazines
B
whisper as they hide on soft silky surfaces
A E
surely my neighbors and friends have ther purposes here.
E
The building is maddening, thirty floors high
B
they are building a needle that pierces the sky
A
like a cold vaccination, like a smile through a polaroid,
surely my neighbors and friends want to be destroyed.
Precious, we are falling down, catch us.
Oh no, down we go again.
E B
Lend me a leaf from the rill, lifting the dreams from you,
E
they sift through the meshes of the ancient afternoon.
E B
Leave me alone for awhile, leave me alone with your smile,
B A B
and listen to the breaking, all the buildings we are making will be gone.
A E A E
Precious, we are falling down, falling down,
catch us.
A-F#m-E-D
A-F#m-E-E
A F#m E D
Down by Okkervil River slow silent thick and black,
A F#m E D
I stared into the water, and the water it stared back.
A D F#m D
The night it fell from tangles of the branches on the shore
A F#m D A
as it had on Okkervil River before.
Down by Okkervil River's cigarettes and rusty tires,
we made ourselves an altar, we lit our nightly fires.
And the smoke lay thick and smothered
all the skunk cabbage and vines
where Gods were born and Gods lay down to die.
E D A
With your hand inside my pocket, you whispered in my ear
E D A
We have come from ugliness to find some refuge here.
D A
With this bracken for a blanket,
D F#m
where these limbs stick out like bones,
A E D A
we have found a place where we can be alone.
BREAK (basically same as verse)
And I tried to tell you, as I kissed your hard dry lips,
all the things I dreamed about. I touched your bone white hips.
Far away our parents slept in while we watched our fire burn.
They dreamed of nothing and got nothing in return.
And the water slipped on slowly past our bodies in the weeds,
pulling plastic wrap and razors on its current through the reeds.
Then I woke up one cold morning, felt an absence at my back,
A F#m D A
and I searched and stared but only the river stared baaaack.
(Repeat last line without any playing)
C G F C G
C G F C G
FG
C G F Am F G
red is my favorite color red like your mother's eyes after a while
C G Am
of cryin about how you don't love her
F C
she said I know I don't deserve supervised sight of her
G F G Am
but each day becomes a blur without my daughter
FG C G F Am
fall is my favorite season like falling to reasoning why
F G C G Am
she crashed from on high she says why is my life so uneven
F C
and what have I done right but given you your life
G F G Am F G C / C
if after I led you on into that bar room into that bar room
C G F C G / C G F C G / C G F C / C G F C / C G F C G
FG C G F Am F G
yes is my favorite answer I took a dancer home she felt so alone
C G F Am F G
we stayed up all night in the kitchen doing her dishes on and on till the dawn
C G Am F G
she said I know it's easy to have me but I have seen some things that I cannot even
C G Am
tell to my family pictures
F G C / C / C / C
and I'm full of fictions and fucking addictions and I miss my mother
C G F
she'll never know I could never forget her if I could write her a
Am F G C F Am
letter I'd try with every line to say she still remembers your touch
Am G C G F
and I know that it's not much I know that it's not much
Am G C
I know that it's not much but you still haven't lost her
C G F C G F
you still haven't lost her you still haven't lost her you still haven't
C G F C / C G F C / C G F C G
lost her not yet
A D
The ladies in my dream are so obliging.
E D A E
They come on down to do the things I need.
Whether skies are calm or cut apart by lightning,
they're always there to minister to me.
F#m D A
And at break of dawn they're sweetly shining,
F#m D E
and at quiet of midnight, cold and dim,
D
they say "don't harm him."
E A D
And when I wake just as their eyes are crying,
F#m D E
I see that bed and I just want to climb back in.
F#m D A E
But let's gather up your friends and drive up to that country inn.
F#m D A E
We can stay there, feeling water warmly wash across our skin,
D E A
giving back all of our tears so that we can cry them again.
A E D
D A E
You want to tell your dad you can't believe he's dying,
but let's just walk on down the hall and shut our mouths.
The AM radio is broken down and crying
as on this hour drive we're silent to ourselves.
Let's go back up to your house, take our clothes off,
and just push and pull ourselves until we're deep
inside of sleep.
And with your body next to me, its sleepy sighing
sounds like waves upon a sea too far to reach.
But I'll gather up my men and try to sail on it again,
and we'll walk and quietly talk all through the country of your skin,
F#m D A E
made up of pieces of the places that you've dreamed and that you've been.
F#m D A E
We will sleep outside in tents upon this unfamiliar land,
D E F#m D
and in the morning we'll awake, as a foreign dawning breaks,
A E A
my men and I we will awake and try again.
Am C F C G Dm
Am C F
A black sheep boy revolves
C G Dm
over canyons and waterfalls.
Am C F
A black sheep boy dissolves
C G Dm
in syringe or in shower stall.
C G Dm F
He says "there's plenty of time to make you mine tonight,
C G Dm
there's plenty of time to make you mine."
C G Dm F
He says "there's plenty of ways to know you're not dying, all right.
C G Dm F Fmaj7
Hell, there's plenty of light still left in your eyes, in your eyes."
Am C F C G Dm
Am C F
A black sheep boy grows horns,
C G Dm
breathing smoke through his microphone.
Am C F
The airwaves stretch and they groan,
C G F
bleeding, birthing his black diapason.
C G Dm F
He says "there's plenty of things to wear when you come to me,
C G Dm
every color of sleeve to be rolled.
C G Dm F
There are millions of rolling eyes that still cling to me.
C G Dm
Every language of king is concerned.
D A
So why did you bawl
Bm G A
from the spell of some old holy song
G D A
that some liar laughed as he composed -
G D A
some liar I loved to control?"
Am C F C G Dm x 2
Am C F
A black sheep boy dissolves
C G Dm
in hot cream, in sweet moans,
C G Dm
in each dead bed and empty home,
C G Dm
in each seething bacterium.
C G Dm
Killing softly and serial,
C G Dm
he lifts his head, handsome, horned, magisterial.
C G Dm
He's the smell of the moonlight wisteria.
C G Dm
He's the thrill of the abecedarian.
C G Dm
(See the muddy hoofprints where he carried you?)
C G Dm F
And there's plenty of ways to claim his crimes tonight,
C G Dm
and there's plenty of things to do on his dime.
C G Dm F
And there's plenty of ways to wear his hide tonight.
C G Dm
You've got yours and I've got mine.
C G Dm
You've got yours and I've got mine.
D A
So why did you flee?
Bm G A
Don't you know you can't leave his control,
G D A
only call all his wild works your own?
G D A
So come back and we'll take them all on.
G D A
So come back to your life on the lam.
G D A
So come back to your old black sheep man.
G D A
He says "I am waiting on hoof and on hand.
G D A
I am waiting, all hated and damned.
G D A
I am waiting - I snort and I stamp.
G D A
I am waiting, you know that I am,
G D A
calmly waiting to make you my lamb."
N.C. A E
He cut your strings so that he could float - lit by lights, lifted by alcohol
Bm D E
over acres of loving coast, far away from your lonely ghost.
A E
Now he's cool and all, floating anchorless. Ports of call:
Bm D E
where it's fabulous, after all of this watching himself just crawl.
F#m A D F#m E Bm A
Think you see him? He's not there, that's just light that's not yet dead.
F#m A D F#m Bm F#m
Wait two hours and watch what'll be there instead.
Was he small and cold, like a ring you call up from home,
held so tightly his limbs went numb, worn away between your finger and thumb?
Well, now he's bought and sold. Cry his call number down the phone,
he can't hear you - he's on his float, waving down to the folks at home.
Think you see him? He's not there, that's just light that's not yet dead.
Wait two hours and watch what'll be there instead.
A Bm
As the cameras love all of his faces,
F#m Bm D
they hide all the traces of you in his heart.
A Bm
Stand in line to hold forth on his grace,
F#m Bm
but you won't even get a head-start,
D
get a head-start.
[instrumental - like the verse]
A E
As his close-up comes cascading down from above,
Bm D E
the eyes of a nation in love are looking on all of their hopes held up.
A E
And the words that some screenwriter counted and chose,
Bm
and then set in their sequence and froze,
D E
unfreeze on his tongue as he speaks for all of us
A E
but one. And honey, he's gone.
Bm D E
And baby, he's everyone's. In the dark sky tonight,
A E
cast your eyes on the dim light
Bm D E
that he will become. You're like everyone
F#m A D F#m
who thinks they see him.
E Bm A
He's not there, that's just light that's not yet dead.
F#m A D F#m
Wait two hours
Bm F#m
and watch what'll be there instead.
F#m Bm A
A Bm
Remember when our so-called friend would not call out to you
F#m D Dsus2
while tumbling loosely out a hole punched through your home?
A Bm
It's pretty clear, though you could hear, you truly finally knew,
F#m D Dsus2
in time, he'd tell his tale the way he'd like it told.
F#m D Bm D
Now he isn't on the phone, and his story might as well be so.
Well, loving is as loving does, and I'd say we should know,
because we both have loved, have lost, and are alone.
Your face's falling tears, to me they're lovely and they're dear,
though you don't love me and it's clear that I will never see you in my arms.
F#m D Bm D
There's no room in your heart for even this finely-sharpened dart;
A Bm D A
although I had started to think there might be hope, it isn't so.
[instrumental - like the verse]
F#m Bm D A
So wake up, make up some new song again around the same tune.
F#m Bm
The water cools, the leaves they fall, the sun it bends, the summer ends;
D A
our so-called friend doesn't need you.
So proceed out the door and down the street. December's lying near,
but in the oven's heat this house is now a home.
Sixty days of trips and stays you took to tell me, dear,
that you cannot love me because you secretly still love a stone.
F#m D Bm D
Although I put my lips to your face, trying to push his kiss out of its place,
A Bm D A
although my heart started to race, now it has slowed, I'll let it go.
[outro - like the chorus]
D Em G Gm
All the latest toughs, you’ve got to shrug them off or shut them off. With ten-
D Em G Gm
thousand-time-told truths, you’ve still got to ask for proof. Ask for proof, because if you’re
A G D A G
dying to be led they’ll lead you up the hill in chains to their popular refrains until your
Bm Em G A D
slaughter’s been arranged, my little lamb, and it’s much too late to talk the knife out of their hands.
D Em G Gm
Well I woke up, on a foggy morning, Hiding from the sun, he was hiding from the sun.
D Em G Gm
But it came out and it shot its rays down. Burning everyone, it was burning everyone But they were
A G D Em G Gm
dying, any way, to turn to ash, to feel their feelings flash and finally fade away, in a fabulous and fiery display.
Em G D A
Em G
Look, though, I don't know what notes you want to hear played,
D A
I can't think what lines you'd like me to sing or say,
Em G
and I'm not sure what subjects you want mentioned.
D A
So pause and add your own intentions.
Em G D A
G Gm
You were hiding from the sun...
D Em G Gm
All the latest toughs, well, we have seen that stuff, and we have seen enough
D Em G Gm
blood in dying coughs, which means that we have lost. We have lost, and if you’re
A G D A G
crying to be tossed they’ll toss you down the oubliette with all the old things that you let yourself forget
Bm Em G A D
because you’d like to love a star who’d throw you down below the ground he thinks you are.
D Em G Gm D
(In order to get the same sound as in the demo version, you'll have to play around with the chords D, Em and C by lifting your middle finger.)
G D Em C
Maybe we could break your ankle, clean and unsuspiciously.
G D Em C G Am (Em)
An ER trip, a doctor's slip, and you could share your pills with me.
C G D Em
Won't it feel so good, though, when we're lying
C G D [NC]
side by side, can't move, and I'm not trying
G D C
2,000 milligrams each.
A hotel by the pharmacy with drinking straws in toothpaste tubes.
Stash them with your toiletries and I will share my pills with you.
Little Michael sleeping in the child safety seat,
lying with the windows rolled up, in the August heat.
3,000 milligrams each.
4,000 milligrams.
We're driving down the interstate, you're feeling great, you scratch your wrist,
and we pretent your kids, your husband, all you left does not exist.
When in some motel that night we're lying.
I can barely whisper "it's like dying.
Baby, do you know what I mean?
Baby, did you hear me?
Baby, you fell asleep."
G D Em C
I know I'm weak, I won't deny we'll see our trial someday soon.
G D Em C G Am
But when we know we're fucked, I'll half the pile and share my pills with you.
C G Am F
Cause we've felt fully in our bodies, and we've felt totally alive,
C G Am F C Dm
so we're prepared to float above this dirty bed where we both lie.
F C Dm
We're we lie, lie, lie.
F G F G C
Will we be fine? Not this time.
D A Em
The president's dead, the radio said,
G A
Dear friends, is it not so horrible?
Em G
A shot through my heart, like a knife right through bread,
A D
The newspaper said the president's dead.
The sea doesn't dry and the sky isn't split,
But friends it just seems so wrong, don't it?
A shot from the crowd, and a shot in the head,
The president's lying on the tarmac dead.
He's lying face down with those black-dressed agents
Guns drawn running around and the early obits
Say he was a good man, you can't argue with that
Not today you can't, not now you can't.
In the media tent where they spin and they slant,
They just foam at the mouth and they champ at the bit,
Those bloodsuckers can wait 'till those vulture's cool itn,
The newscaster said, "The President's dead."
Let's imagine the way, let's say 30 years in,
How somebody will say, "What you were doing when...?"
On a beautiful day, I was waking up and
I was lying in bed with my girlfriend
And the eggs on the plate, and the bacon hissin'
And the coffee was great, there was spring on the wind.
If you don't live through a day for the littlest things,
And the littlest ways made you feel you were blessed
If you died right then, well you know you'd be missed,
But there's no better state to cease to exist
And you wouldn't feel sad, and you wouldn't resist
'Cause you knew what you had, and were thankful for it
In your own little way, I'm a small quiet man
I've got no wars to win, I don't have a big plan
But I love my new place, and I love my old friends
And I scrimp and save, and one day I'll have kids.
I can truthfully say that my day was like that,
'Till the radio playing on the stand by the bed
Fired out this report and in 3 words they said,
Like 3 shots to my head, the president's dead.
D A Em G
end on D
Cadd2 0 1 0 0 3 0 Cadd4 0 1 3 0 3 0
C1 = C Cadd2 Cadd4 Cadd2 C Cadd2 C Cadd2
C2 = C Cadd2 Cadd4 Cadd2
C3 = C Cadd2 Am
C1 G
F G
C3 G
C1
Loosen the wire, your time has expired,
G
the only word left is "goodbye."
F
In my new dream the light's shining on me,
C1 G F
little needles of sodium unstitch the seams of the sky.
C1
Hold your head higher, the heavenly choir
G
is settling in for the night.
F
And where I had friends I am left with loose ends;
G
four hours of vision exchanged for four hours of fright.
C2
But enough of "the fight," enough "you and I,"
G F
enough of "prevail" or "walk in the light."
C2
While the angels stand by I get high as a kite.
G F G
I'm too tired to smile or know that I'm right. Am I right?
C1 G
F G
C3 G
F G C G Am
And all our best-laid plans, they crumbled in our hands.
G
Our flags fell where they'd fanned.
You held in your breath, long after projections of death
you sat in the waiting room gasping and rasped on dry land.
But the audience is tired; "we've had enough fire,
we're entering the age now of ice."
And I, feeling older, pull off to the shoulder
and wonder, with my head in my hands, should I call my wife
and say "enough 'you and I,' enough of 'the fight,'
enough of 'prevail' or 'walk in the light'?"
While the angels stood by I got high as a kite,
too tired to smile or know that I'm right.
"enough 'you and I,' enough of 'the fight,'
enough of 'prevail' or 'walk in the light'?"
When the spacecraft came down I was left on the ground.
Will you keep me around, will you help me survive after my time?
C1 G
F
C
The heart wants to feel.
Em
The heart wants to hold.
Am F
The heart takes past Subway, past Stop and Shop,past Beal's, and calls it "coming home."
Dm G
The heart wants a trail away from "alone,"
Dm F G
so the heart turns a sale into a well-worn milestone
C
towards hard-won soft furniture,
Em
fought-for fast food,
Am F
defended end table that holds paperbacks and back U.S. News.
Dm G
The mind turns an itch into a bruise,
Dm F G
and the hands start to twitch when they're feeling ill-used.
C Em
And you're almost back now, you can see by the signs;
Am F
from the bank you tell the temperature and then the time, and the billboard reads some headlines.
Dm G
The head wants to turn, to avert both its eyes,
Dm F G
but the mind wants to learn of some truth that might be inside reported crimes.
C
So they found a lieutenant
Em
who killed a village of kids.
Am F
After finishing off the wives, he wiped off his knife and that's what he did.
Dm G
And they're not claiming that there's any excusing it;
Dm F G
that was thirty years back, and they just get paid for the facts the way they got them in.
C
Now he's rising and not denying.
Em
His hands are shaking, but he's not crying.
Am F
And he's saying "How did I climb out of a life so boring into that moment?
G C Em
Please stop ignoring the heart inside, oh you readers at home!
Am F
While you gasp at my bloody crimes, please take the time to make your heart my home:
Dm G
where I'm forgiven by time, where I'm cushioned by hope,
Dm F G
where I'm numbed by long drives, where I'm talked off or doped.
C
Does the heart wants to atone?
Em
Oh, I believe that it's so,
Am F
because if I could climb back through time, I'd restore their lives and then give back my own:
Dm G
tens of times now its size on a far distant road
Dm F G
in a far distant time where every night I'm still crying, entirely alone."
F G Am
But the news today always fades away as you drive by,
F C G
until at dinnertime when you look into her eyes,
F G C Am
lit by evening sun - that, as usual, comes from above that straight, unbroken line,
F G F G C G Am
the horizon - its rising is a given,
F G
just like your living.
C
Your heart's warm and kind.
Em
Your mind is your own.
Am F
Our blood-spattered criminal is inscrutable; don't worry, he won't
Dm G
rise up behind your eyes and take wild control.
Dm F G
He's not of this time, he fell out of a hole.
|Em C G D| all the time I'm surrounded, each doorway covered by at least twenty men. And they're going to take me and throw me in prison. I ain't coming back again. 2x When I was younger, handsomer and stronger, I felt like I could do anything. But all of these people making all these faces didn't seem like my kith and kin. 2x Solo: e 0-2-3-2-0-5-3-5-7-5-7-5-8-7-5-3-5-3-2-3-2-0-2-0-2 Colin Kincaid from the twelfth grade, I guess you could say he was my best friend. He lived in a big tall house out on Westfall where we would hide when the rain rolled in. 2x We went out one night and took a flashlight, out with these two girls Colin knew from Kenwood Christian. One was named Laurie, that's what the story said next week in the Guardian. 2x And when I killed her it was so easy that I wanted to kill her again. I got down on both of my knees and. ...she ain't coming back again. 2x lalala... Now, with all these cameras focused on my face, you'd think they could see it through my skin. They're looking for evil, thinking they can trace it, but evil don't look like anything...
G D C Em
You'd better wear a dress that covers up that bruise,
G Em C D
how could I refuse your wish that I do that to you?
You'd better take your face from every cloud I see,
how could I have known you'd be so deep inside of me?
G C
And this whole wide world isn't wide enough.
G C D
And this big bright sun isn't bright enough.
You'd better call your brother, say I won't be there,
though when I think of your hair I have to stop the car.
You shouldn't tell them that you've seen my face somewhere,
when I leaned in your direction I leaned much too far.
Now this whole wide world isn't wide enough.
And this big bright sun isn't bright enough.
And you could not have lied enough to make me believe.
C D G
Please will the highway never end?
C D G Em
Some things get broken and they never fix again.
| G D C Em | } 2x |
| G D C G |
You'd better buy your ticket, pay for it yourself.
Here's one for your health and here's one empty window seat.
All crooked, all bloody, I'll take my leave.
All the leaves fall and the turnpike lies in front of me.
And this whole wide world isn't wide enough.
And this big bright sun isn't bright enough.
And you could not have lied enough to make me believe
C G
you were telling the truth to me.
Intro (also played at various points later in song)
A
---0---0-0-0---0-0-0---0-0-0---
---2----2--2----2--2----2--2---
---2-------2-------2-------2---
---2-------2-------2-------2---
---0-------0-------0-------0---
---x-------x-------x-------x---
A D
You can only talk so much about things that are never, ever going to happen.
A D E
My brother's at home with his dog and his cat and his wife is at a friend's.
You can only go on so long about feelings that never, ever actually touch you.
No matter how much she told him "I love you," he found it would depend
D E Esus4 E
on the gifts that he bought her,
or how badly she was hurt
when the boss was cruel at work.
D E
But he'd just say "I love you," and he'd reach out to her.
He was feeling like shit when I came to visit and walked through the door of his tiny apartment.
We went for a walk through the park by the market so we could get some air.
And I told to him all things intended to help him, especially that, simply because it was ending,
that that didn't mean she was always pretending. Real happiness was there.
I could see and I could tell:
it was real love that they felt.
And I'm sorry it didn't end well,
but some things just don'that's life, and you shouldn't blame yourself.
[play one verse + chorus]
And all of these things, well, I truly believe them. Our paths and our futures are hidden in mists
that are stretching out over impossible distances, totally obscured.
And I really do think that there's probably more good than anger or selfishness, sickness, or sadness
would ever completely allow us to have in this life, I think I'm sure.
But that doesn't mean it's bad.
We were walking towards our dad,
while getting out of that school bus,
and he just said "I love you," and he reached out to us.
A
E B C CaddD
E B C CaddD E B C CaddD
Untied again, when you were used to being bound in,
when you were usually found forgetting the wild wind off the sea.
Let wet breaths begin, widen your mouth to suck them in.
They're coming out above your chin, and then they slide in and so sweet.
D C
And to some silent bird, I sang "have you heard
E B C CaddD E B C CaddD
that icicles hang from your feet?"
What passed as fine, you'll think back on that sometime;
when in the darkness of the mine a few last diamonds lined your beam.
D C
Into some shooting stream I could spit out the dream
E B C CaddD
that you would swim away
E B C CaddD
with me.
D C
Though from some milky sky I could remove my eye
Am Em G
and sigh upon my side, instead some
D C
future kiss that might not exist
Am Em G
I will send to unbind your hands,
D C
and to hang the hope that you don't still miss the rope
Am Em G
from a star that shone on an aching night alone.
D C
And then some shaking song you might not sing along
E B C CaddD E B C CaddD
I will float upon the rough and loving winds:
You're untied again. You're untied again.
And that door is open. And that door is open.
E B C CaddD
And that door is open.
E
You can walk through it.
E B E B
E B G#m
"It's like a makeover when the filming's over and she doesn't know
E B A
how to fix it so that it'll stay,
E B
and she can't figure out how to tease out her hair that way herself.
E B G#m
And when she wakes up all the make-up has rubbed away
E B A
and she doesn't know how to find her face.
It was only for one single day
that you looked so beautiful, baby.
Now your cheeks have gone pale, and your roots dark gray.
And though they nod as they notice you're nice,
baby, nobody's noticing twice.
E B
Dim the lights as your memory of paradise fades.
I'm like an architect who cashed his check,
but he doesn't let
on that it's the last one he'll get.
Though he knows the funds have run dry,
he wants to have fun for one final night,
staring out at a skyline that he'll never change.
They're saying, 'though we like all the things that you've made,
notice no one remembers your name.
F#m A B E
As you float through time, feel your powers decline day by day.
E B G#m
E B A 3x
E B B
You're like a convert who goes back to work
when he can't retrieve how the clarity actually felt.
When his coworkers ask him the words won't come out.
And in three weeks his new leaf has rubbed away
and it feels just like an average day:
facing walls talking into the phone,
sitting dumbly in church all alone,
picking back up the magazines he'd thrown away.
Well, convert, what your god whispered into your ear
you forgot once that god disappeared,
and that life-changing day, you just felt it fade.
F#m
You know it's got to fade, yeah,
A B
you know it's got to fade, oh, you know it's got to fade," and,
A B E
falling down on the couch, he says, "it's perfectly that way."
| E B G#m | } play until the end |
| E B A 3x | |
| E B B |
G C Cm
People got no respect for the dead,
they roll new plans out neatly.
But into a morning exploding with red,
I awoke completely
G Bb F
by an accident
an accident
Though you smile so sweetly above
your congregational coffee,
in the town where I was born ?
by an accident
an accident
Em C G D Am C G D
Oh Angelina, Oh Angelina,
Em C G D
aren't we lucky to live in this odd little world?
Em C G D
Aren't we lucky to stand in this funeral line?
Am C G D
And if we marry, I'll kiss every tear from her eyes,
Am C G D C
if we marry, I'll love every word from her lovely young mouth,
Am Em D
and we'll drive past the violent blooms
Em C D Dsus4 D
of the opulent south...
Em C G Am C G D
We walked past the cathedrals, and the lampposts all humming,
Em C G D Am
and I told her that though I can't bend back the barbs of these wires,
Em C G D
aren't we lucky to live in this world full of fire,
Am G D C
and I told her about how you would sing for your life as a child,
Am G D C
and I showed her azaleas and flowers you pulled wild,
Am G D G C
and I told her how lucky was all that I ever have been,
Em Am D C G
and will you marry me, Ki- mberly Anne?
Bm F#m Em G This house is so clean; glass tables spread with new magazines. Can I stay for a week? You can kick me out when I break something. From the guest room I see your garden stretch out, it's like oceans of green. The maid calls me for tea and the tiles depict Mediterranean scenes. F#m Bm Em G And it's all been added up, laid so a life can lean on it, F#m Bm Em A so please don't bring that up. No one wants to hear that shit. (F#m Bm Em G) 2x Every night in my dreams I lift glass figurines from a shelf in the hall. Each delicate piece, when I pick it up it just can't help but fall. I can't hold anything, all machines, clothes and cars they just crumble and break when they touch my hand, cause I feel like I'm holding the hand that made them that way. But this house is beautiful you could live long lives in it. Please don't be so dutiful. No one wants to hear that shit.
Bm E Bm E
e| ------------------------ --------------------------
B| ------------------3---0- --------------------3---0-
G| -----0-2/4--------4---1- -----0-2-2h4--------4---1-
D| -0-4---------(0)--4---2- -0-4----------(0)---4---2-
A| ------------------------ --------------------------
E| ------------------------ --------------------------
A D Bm
e| ---------------- ------------2--
B| ---2-------0-3-- ------------3--
G| ---2-----0---2-- -----0-2-4--4--
D| -2-2h4-0-----0-- -0-4--------4--
A| ---------------- ------------2--
E| ---------------- ------------2--
Bm Bm E
e| ---------------2----------- ---------------------
B| ------------3----3-------0- ------------3--------
G| -----0-2----4------4-4---1- -----0-2----4--4---1-
D| -0-4--------4----------4-2- -0-4--------4--4-0-2-
A| --------------------------- ---------------2---0-
E| --------------------------- ---------------------
A D
e| ----------------
B| ---2-------0-3--
G| ---2-----0---2--
D| -2-2h4-0-----0--
A| ----------------
E| ----------------
Bm A (E)
You left some of your sweetness
Bm A (E)
on my tongue in that evening
G D
With your husband and me
A
I can't wait
(repeat intro's last part)
Bm A E
I made a book of the hour
Bm A E
I let you out of the tower
G D
Through the murderous crowd
G D
let the bombs fall so loud
A
I can't wait
Dm C G A
I can't wait, no
I can't wait, no
I can't wait
Dm C G A (several times)
Dm C A
(Outro)
Em Am D G Em
If you stay sober, I'll put the kettle on.
Am D G
And you can come over, drink tea, and watch the lawn,
C G
And I'll lay you down.
C G
I'll lay you down
C G C D Am
As the lights come on in town when day is over.
Em Am D G Em
I wanted to die for two days in 95?
Am D G
I stood by the lakeside and waited for the mood to be right.
C G
As all the leaves turned brown,
C G C G D Am
I listened for the sounds starting to announce October.
Bridge:
Em Am D G Em Am D G Em
C G
I'll lay you down
C G
you can empty out your mouth
C G C G D Am
and I'll arrange the room again when everything is over.
Em C G D F Am D C Georgeanna, the berylline hummingbirds are back in California. Em C G D F Am D C We've been frozen here in Dakota, and I'm thinking the sun could warm you. Am Bm And I've been talked to, Am Bm and I've been talking, too... G D G C C/B C Am Em C G D F Am D C You stopped coughing. You lay in my lap while the headlights lit the almond trees Em C G D F Am D C of some state park. You lay there so still, I was afraid I might have lost you. Am Bm And I've been talking to you. Am Bm I wish you'd talk, too. G D G C C/B C Am
Harmonica Solo:
Em C G D F Am D C x2 Am Bm Am Bm Em C G D Am Em D C Mulholland, each little light's a soul outside of Bakersfield. Em C G D Am Em D C You shut your saltwater eyes while the radio played soft and clear. Am Bm Am Bm And I was talking to you, I was talking to you.
G Bm Em
G Bm Em
I tried to save a girl I truly loved and didn't quite know how to help her.
So now she's sleeping as her parents up above cry over things that they can't tell her.
C D Em
And when I did my good deed I thought I'd feel unbroken gladness,
C D Em B7
but standing in the street alone I just felt sinking sadness.
C G Bm Em
Girl, your dad will not us bless, so hang up your veil and dress.
C G D C
Look at me and take one guess where the best-intentioned love will lead us.
I once felt a feeling fully through, though I knew I shouldn't feel it,
because to act on it I'd be a person who should be slapped into a straitjacket.
So every time it comes around I just let it die inside me.
You said, "I only come around because I just need you to hide me,"
so we knelt in those dead weeds, sticks and sharp rocks cutting into our knees.
And I thought that we would freeze, but there was just too much warm blood in our bodies.
I'm not going to make you take the pills, though you should really think about it.
The fire by which we both were almost killed glowed so beautiful, don't doubt it
but we have to make a choice now; can we glow without it?
There's a space I tried to fill, but I'm seeing now I never will.
You fly around while I stand still, until I slowly just get smaller and smaller.
I tried to save a girl I truly loved, and I never would desert her.
When we both found out that I was dreaming of the day I thoroughly could marry her.
And I saw myself inside her eyes; this shrinking would-be savior
resented her for never needing him and couldn't wait just to betray her.
So we drove back to her place from the temporary home that we had made,
and I stepped back into the street,
feeling the fullest moment of my life slowly shrink away
G
from me.
(play until the end)
(Capo on the 1st fret)
G Am
Near a little garden flowers wild grasses
C Am
A body's in the casket, milk is in the carton
G Am
Coffee's on the brew and cars quietly pass
C Am
as people hear from last respects, collective view.
G Am
The face of the deceased all emptied of emotion
C Am
waiting for distortions of it's perfect features.
G Am
In a little clearing where they'll put the coffin
C Am
and then shuffle off and afternoon is nearing
G Am C G
You were once alive, body then you died.
G Am
I'll sing your name with my instrument
C G
but one day it will leave my ha------nd.
G Am D C
I'm skipping like a stone just a couple skips then gone
to the bottom of a pond where sun can never go and
resting at the bottom who knows what I'll find there
no one can divine where friends go when we've lost them
movie on the plane home said "life is for the living"
as I sat slowly living, paralysed with boredom
flying through the thin air skimming over cities
and isn't it a pity why we can't grow old there.
G Am C G
Doesn't it feel strange to wait on this change?
Am C
Well the pilot tips his instruments knowing
G
one day they will rust upon land
G Am D C (end on G)
Am Em
Hurts so bad that you know it's not sinning.
Am Em G
The funny thing is it's just beginning to feel good.
And downstairs all your friends are waiting,
they're talking low and filling their stories with angels,
and they imagine intervening
in true crime photos and placing meaning within them -
from blue to red to black-and-white.
Don't look too long, you'll be up all night among them,
the sudden dead. The last thing he said was
"You should have been here before the camera arrived,maybe I wouldn't have to die.
But just live out this long life jangling,
and as old men you could watch my hand dangling, cold and white."
Dm C G
Baaaaaaby, don't worry tonight;
I know it's too ugly to hold yourself upright.
So fill a clean glass, tall and smooth.
Take the reds, then take the blues. Away, you can hear a voice that's singing
"angels could come but you wouldn't believe them,
and those that believe still can't see them anyway."
And The Suicide slides out of his skin
and he climbs inside of the bed you're in and touches your face.
He says "what right had I to die
when all these little cells just tried to keep me alive?
What right had I to leave the human race behind?
Do you really think you're better,
with your shotgun and your suicide letter? Do you think you're right?
Well baby, don't worry tonight,
I know it's too ugly to hold yourself upright.
There's a light from the front room as it's filling with all of your friends.
It doesn't get much better than this, and then it ends."
G Em x3
G Em
Let's start all over.
Let's do it right.
One drive to Dover.
One overnight.
C Am
All of them waiting
D D7
for you to appear,
G Em C
and no more worrying,
D
no more tears.
G Em x3
Warm sun is shining.
Green trees surround.
All of your favorite songs,
they're counting them down.
C Am
And there's a Safeway,
D D7
and Toys 'R' Us.
G Em
Baby-blue Camaro,
C D G
Rhode Island bus.
C Am
One day you'll look back
D D7
upon right now,
G Em
and all sad feelings
C D G
will be taken out.
e| ------3--2---
B| ----1------1-
G| --2----------
D| 0------------
G D C Am C
Claire lives up on Saint Mary's walk, with her mother.
And I live down on Philomel, by the harbor,
D G C
and I hate the ocean.
and I hate the ocean.
and I hate the ocean.
Am Riff
Well,
Claire says she'd throw me overboard, then that she loves me,
and then she kisses me on mouth, and says I'm ugly,
and I hear the ocean
and I hear the ocean
and I hear the ocean
D G C Am Riff
and I hear the ocean roar.
G D C Am C
G D C Am C
D
G C D
G C C
G D C Am C
The water pulls around the pier, dark and rusted,
G D C Am F
and I know the kindest face with a sailor's eyes still can't be trusted.
But I feel the ocean
But I feel the ocean
But I feel the ocean swell.
G Em C G
Good morning to the frozen street: I'm like a dresser full of leaves,
C D G
my eyes as dry as dust.
G Em C G
There is a curtain in my mouth, it opens and a song comes out.
C D G Em G C D
I've sung the lonelieeeeest words into your listening stones.
G Em G C D
Moss curled and songs have twirled their tunes around your bones.
Good morning Uncle with your pen, the furniture was born again
at night while you slept in.
The room it wrapped around your body,
double pillows held your head.
I watched your shrinking skin, and all the lines that fill your face
in were falling into space.
D G Em
There is a light that is so dim and a hand that pulls you in
C G D
when you can't swim anymore.
The freezing water fills your lungs, the weight of waves surrounds your skin,
and the outside comes all the way in.
Your heart is held inside this box and we've got to turn it off,
so please don't be afraid.
The love you gave us will go on, we'll hold your memory when you're gone,
your self just can't be saved. So shut your eyes and I'll switch off your heart.
...heart. Watch the sick room fall apart.
C D
Watch this machine's counter restart.
G Em G C G D
Uuuncle, if I could hold your open, never-broken heart,
G
I would have held it from the start.
G C G Em C D
I forgot I was loving you, disappeared for an hour or two.
G C G Em C D
And I came to on a cold wood floor and didn't feel so good anymore.
G D C G Em C D
Now we clasp our hands and we make demands at the clouds (are saying "what's wrong with you now?").
G D C G Em C D
Though we had big plans, now alone we stand in the crowd and they're not even laughing out loud;
Em C D
they don't care.
I'll shut my eyes and let T.V. whisper, laugh and talk to me,
and I'll curl up tight inside my head, killing time until the whole day's dead.
And I'll clasp my hands and I'll make demands at the clouds (are asking "what's wrong with him now?").
Though I had big plans, now alone I stand in the crowd and they're not even laughing out loud;
they don't care.
Am G D Em C D
God, take that sound away. If you've got something to say, say it now.
Am G D
It's a fake, and I need you not to be fake,
Am C D C
and I don't care how you make me feel, just so you're real.
Once I saw my face in a bathroom mirror, and I didn't know that I was here,
but I knew my eyes an I knew my hands; I knew God would now listen to all my demands.
And the sky opened up and God interrupted the earth (stopped dying and stopped giving birth).
And when I came to on a cold wood floor, I didn't feel so good anymore.
G D C G Em C D
And though all that sure love and all those sweet words I'd forgotten I'd felt and forgotten I'd heard
G D C G Em C
- and what once was clear is now so blurred and smeared - Your love felt more pure,
Em C D G
your love felt more pure once You're voice disappeared.
D C G Em Em C D
G
Am Em F C Dm F Am D
e| 0--0---0------1------0------1--1-0-1------0-0-2--
B| 1----1-0--0-1-1--1---1------3------1--1---1-1-3--
G| 2------0------2----2-0--0---2------2----2-2-2-2--
D| 2------2------3------2----2-0------3------2-2-0--
A| 0------2------3------3-------------3------0-0----
E| 0------0------1------0-------------1------0-0----
e| 0--0---0------1------0------1--1-0-1------0-0-2--
B| 1---1--0--0-1-1--1---1------3------1--1---1-1-3--
G| 2----2-0------2----2-0--0---2------2----2-2-2-2--
D| 2------2------3------2----2-0------3------2-2-0--
A| 0------2------3------3-------------3------0-0----
E| 0------0------1------0-------------1------0-0----
Am Em F C
"Wh