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Showing posts with label traditional country music. Show all posts
Showing posts with label traditional country music. Show all posts
Click On Title To Link To YouTube Film Clip Of The Trailer To "Be Here To Love Me"
DVD Review
Be Here To Love Me, Townes Van Zandt and other musicians, directed by Margaret Brown, Palm Pictures, 2006
The main points of this review have been used to review Townes Van Zandt CDs in this space. They can serve here as well in this very well done documentary by Margaret Brown on the hard times and great lyrics of a very troubled man.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape.I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Doing "Dollar Bill Blues".
CD Review
Flyin’ Shoes, Townes Van Zandt, Tomato Records, 1972
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
Here the ones to give a close listen to are the haunting "Loretta" about a common Van Zandt topic of "fallen women"; the prophetic and self-explanatory "No Place to Fall", the title track "Flyin' Shoes"; a righteous cover of the old Bo Didderly classic "Who Do You Love"; the mournful "When She Don't Need Me"; and, the ambiguous (about whether he misses the horse or the woman more that may give a newcomer a small inkling to the Van Zandt personality) "Buckskin Stallion Blues".
Happy Birthday Townes -In The Time Of My Country Music Moment- The Work Of Singer/Songwriter Townes Van Zant- A Potpourri
CD Review
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals(think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
A Townes Potpourri
Rear View Mirror, Townes Van Zandt, Sugar Hill Records, 1993
Townes Van Zandt was, dues to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of “outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes’ pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson’s cover of “Pancho and Lefty”. However, Townes, who I had seen a number of times in person in the late 1970’s, was no mean performer of his own darkly compelling songs.
This compilation, “Rear View Mirror”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core works in one place. Start with the above mentioned “Pancho and Lefty”, work through the longing felt in “If I Needed You”, and the pathos of “For The Sake Of The Song” that could serve as a personal Townes anthem. Then on to the sadness of “No Place To Fall” and “Waiting Round To Die”. Finally, round things out with the slight hopefulness of “Colorado Girl” and the epic tragedy of Tecumseh Valley”. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.
"For The Sake of The Song"
Why does she sing
Her sad songs for me,
Im not the one
To tenderly bring
Her soft sympathy
Ive just begun
To see my way
clear
And its plain,
If I stop I will fall
I can lay down a tear
For her pain,
Just a tear and thats all.
What does she want me to do?
She says that she knows
That moments are rare
I suppose that its true
Then on she goes
To say I dont care,
And she knows
That I do
Maybe she just has to sing, for the sake of the song
And who do I think that I am to decide that shes wrong.
Shed like to think that Im cruel,
But she knows thats a lie
For I would be
No more than a tool
If I allowed her to cry
All over me.
Oh my sorrow is real
Even though
I cant change my plan
If she could see how I feel
Then I know
That shed understand
Oh does she actually think Im to blame?
Does she really believe
That some word of mine
Can relieve
All her pain?
Cant she see that she grieves
Just because shes been blindly deceived
By her shame?
Nothins what it seems,
Maybe shell start someday
To realize
If she abandons her dreams,
Then all the words she can say
Are only lies
When will she see
That to gain
Is only to lose?
All that she offers me
Are her chains,
I got to refuse
Oh but its only to herself that shes lied
She likes to pretend
Its something that she must defend,
With her pride
And I dont intend
To stand her and be the friend
From whom she must hide
COLORADO GIRL
Townes Van Zandt
Copyright � 1969 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#
-----------------------------------------------------
Version 1 submitted by unknown
-----------------------------------------------------
D G D
I'm goin' out to Denver, see if I can't find
G D
I'm goin' out to Denver, see if I can't find
A7 G D
That lovin' Colorado girl of mine
Well the promise in her smile shames the mountains tall
Well the promise in her smile shames the mountains tall
She can bring the sun to shinin', tell the rain to fall
Been a long time Mama, since I heard you call my name
Been a long time, long time, since I heard you call my name
Got to see my Colorado girl again
I'll be there tomorrow, Mama, now don't you cry
(I'll) be there tomorrow, Mama, don't you cry
Gonna tell these lonesome Texas blues goodbye
DOLLAR BILL BLUES
Townes Van Zandt
Copyright � 1977 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#
-------------------------------------------------------
Submitted by F. Schwarz 10/15/2006
-------------------------------------------------------
#--------------------------------------------------------------#
>>>Here is how Townes plays it on Flyin' Shoes<<<
Cm Fm
if I had a dollar bill
Cm
Yes, I believe I surely will
Gm
Go to town and drink my fill
Cm
Early in the morning
Cm Fm
Little darling, she's a redhaired thing
Cm
Man, she makes my legs to sing
Gm
Gonna buy her a diamond ring
Cm
Early in the morning
Cm Fm
Mother was a golden girl
Cm
I slit her throat just to get her pearls
Gm
Cast myself into a whirl
Cm
Before a bunch of swine
Cm Fm
It's a long way down the Harlan road
Cm
Busted back and a heavy load
Gm
Won't get through to save my soul
Cm
Early in the morning
Cm Fm
I've always been a gambling man
Cm
I've roled them bones with either hand
Gm
Seven is the promised land
Cm
Early in the morning
Cm Fm
Whiskey'd be my dying bed
Cm
Tell me where to lay my head
Gm
Not with me is all she said
Cm
Early in the morning
Cm Fm
If I had a dollar bill
Cm
Yes, I believe I surely will
Gm
Go to town and drink my fill
Cm
Early in the morning
>>>On A Far Cry From Dead and on Rain On A Conga Drum he plays<<<
Hm Em
If I had a dollar bill
Hm
Yes, I believe I surely will
F#m
Go to town and drink my fill
Hm
Early in the morning
Hm Em
Little darling, she's a redhaired thing
Hm
Man, she makes my legs to sing
F#m
Gonna buy her a diamond ring
Hm
Early in the morning
Hm Em
Mother was a golden girl
Hm
I slit her throat just to get her pearls
F#m
Cast myself into a whirl
Hm
Before a bunch of swine
Hm Em
It's a long way down the Harlan road
Hm
Busted back and a heavy load
F#m
Won't get through to save my soul
Hm
Early in the morning
Hm Em
I've always been a gambling man
Hm
I've roled them bones with either hand
F#m
Seven is the promised land
Hm
Early in the morning
Hm Em
Whiskey'd be my dying bed
Hm
Tell me where to lay my head
F#m
Not with me is all she said
Hm
Early in the morning
Hm Em
If I had a dollar bill
Hm
Yes, I believe I surely will
F#m
Go to town and drink my fill
Hm
Early in the morning
#--------------------------------------------------------------#
IF I NEEDED YOU
Townes Van Zandt
Copyright � 1972 Columbine and UA Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#
----------------------------------------------------------
Submitted by David Byboth via about-townes@physitron.com
----------------------------------------------------------
On Jun 2, 1:14pm, Rolland Heiss wrote:
> I would be interested in tab to "If I Needed You". I figured out a way
> to pick it that sounds ok but not quite right I'm afraid. I noticed that
> Townes often used that southern method of picking like on "Waiting Around
> to Die" where the thumb plays out a steady beat while the rest of the
> fingers do something different. I haven't mastered this yet but figured
> out a pretty fair way to play "Waiting Around to Die" that sounds good.
> I've only been trying to pick seriously for about a year. Before that I
> strummed chords mostly. I began playing guitar in the early 1980's and
> love it. I can barely get through a day without picking up the guitar at
> least once. Every evening I try to write a song; sometimes they come and
> sometimes not.
Man.... I should be careful what I volunteer to do!... I got hammered with requests for this.....when are all you pickers going to come to Dallas and play some Townes songs with me?
The pick is very much as Rolland describes.... it's a little hard to keep the thumb cranking out the bass rhythem while the fingers are doing their work but with some practice it all comes together....
To get you started (It may take me a while to get a real tab done with all the fill in stuff) you have to play it in G. I play it with the Capo on the fourth fret. While fingering a regular G Chord (you have to finger it with your little finger on the high string to free up your pointer!) the fingers pick:
NOTE: I just tabbed this at work from memory with no guitar...it has just the basic bass and lead line. I'll check it tonight but it should be close enough to get everyone started, feel free to feed me back corrections. (backchannel)
Learn it without the hammers first then you can work in the timing to hammer on the notes with a "h" on them.
and ease my pain?
If you needed me I would come to you I'd swim the seas for to ease your pain
In the night forlorn the morning's born and the morning shines with the lights of love You will miss sunrise if you close your eyes that would break my heart in two
The lady's with me now since I showed her how to lay her lily hand in mine Loop and Lil agree she's a sight to see and a treasure for the poor to find
#--------------------------------------------------------------# NO PLACE TO FALL Townes Van Zandt Copyright � 1973 EMI U CATALOG INC Performing rights w/ASCAP http://www.ascap.com/ace/ACE.html #-------------------------PLEASE NOTE--------------------------# #This file is an interpretation of Townes' work, and does not # #necessarily represent the actual way he recorded or performed # #the song, and is not intended to be used for any purpose other# #than for private study, scholarship, or research # #--------------------------------------------------------------#
----------------------------------------------------- Submitted by David Byboth ----------------------------------------------------- Capo on Second fret
D DMaj7 D7 If I had no place to fall G D and I needed to Em G could I count on you D to lay me down?
D Dmaj7 D7 I'd never tell you no lies G D I don't believe it's wise Em G you got pretty eyes D won't you spin me 'round
Em A I ain't much of a lover it's true Em F#m I'm here then I'm gone D E and I'm forever blue A but I'm sure wanting you
Skies full of silver and gold try to hide the sun but it can't be done least not for long
And if we help each other grow while the light of day smiles down our way then we can't go wrong
Time, she's a fast old train she's here then she's gone and she won't come again won't you take my hand
If I had no place to fall and I needed to could I count on you to lay me down?
(QUICKSILVER DAYDREAMS OF) MARIA Townes Van Zandt Copyright � 1968 Silver Dollar Music Performing rights w/ASCAP http://www.ascap.com/ace/ACE.html #-------------------------PLEASE NOTE--------------------------# #This file is an interpretation of Townes' work, and does not # #necessarily represent the actual way he recorded or performed # #the song, and is not intended to be used for any purpose other# #than for private study, scholarship, or research # #--------------------------------------------------------------#
----------------------------------------------------- Version 1 submitted by Neal -----------------------------------------------------
C Am Em Am Dm Well a diamond fades quickly when matched to the face of Maria F Dm F Dm C All the harps they sound empty when she lifts her lips to the sky C Am Em Am Dm The brown of her skin makes her hair seem a soft golden rainfall F Dm F G C That spills from the mountains to the bottomless depths of her eyes
Well, she stands all around me her hands slowly sifting the sunshine All the laughter that lingered down deep 'neath her smilin' is free Well, it spins and it twirls like a hummingbird lost in the mornin' And caresses the south wind and silently sails to the sea
Ah, the sculptor stands stricken and the artist he throws away his brushes When her image comes dancin' the sun she turns sullen with shame And the birds they go silent the wind stops his sad mournful singin' When the trees of the forest start gently to whisperin' her name
So as softly she wanders I'll desperately follow her footsteps And I'll chase after shadows that offer a trace of her sigh Ah, they promise eternally that she lies hidden within them But I find they've deceived me and sadly I bid them goodbye
So the serpent slides slowly away with his moments of laughter And the old washer woman has finished her cleanin' and gone But the bamboo hangs heavy in the bondage of quicksilver daydreams And a lonely child longingly looks for a place to belong
PANCHO AND LEFTY Townes Van Zandt Copyright � 1973 EMI U CATALOG INC, Performing rights w/ASCAP http://www.ascap.com/ace/ACE.html #-------------------------PLEASE NOTE--------------------------# #This file is an interpretation of Townes' work, and does not # #necessarily represent the actual way he recorded or performed # #the song, and is not intended to be used for any purpose other# #than for private study, scholarship, or research # #--------------------------------------------------------------#
----------------------------------------------------- Submitted by Neal -----------------------------------------------------
C G7 Livin' on the road my friend is gonna keep you free and clean F C G7 Now you wear your skin like iron, your breath's hard as kerosene F C F You weren't your momma's only boy, but her favorite one it seems C Dm F Am Began to cry when you said, "good-bye", sank into your dreams.
Poncho was a bandit boys, his horse was fast as polished steel He wore his gun outside his pants for all the honest world to feel Poncho met his match, ya know, on the desert down in Mexico No one heard his dyin' words, but that's the way it goes.
F C F All the Federales say, they could'a had him any day C Dm F Am They only let him go so long, out of kindness I suppose.
Lefty he can't sing the blues, anymore like he used to The dust that Poncho bit down south, ended up in Lefty's mouth The day they laid poor Poncho low, Lefty split for O-hio Where he got the bread to go, ain't nobody knows.
Cho: (slip away)
The poets tell how Poncho fell, Lefty's livin' in a cheap hotel The desert's quiet, Cleveland's cold and so the story ends, we're told Poncho needs your prayers it's true, but save a few for Lefty too He only did what he had to do but now he's growin' old.
Cho: (slip away) Cho: (go so wrong)
----------------------------------------------------- Submitted by Denny -----------------------------------------------------
Here's one of my favorite ballads which was written by the inimitable Townes Van Zandt. Emmylou Harris recorded it, as did Willie Nelson and Merle Haggard in a duet (don't ask me why). I first heard it in a coffeehouse at RPI (remember coffeehouses, where people went to hear good music, not get drunk) by Robin and Linda Williams, of later Prairie Home Companion fame.
I play this with a D, C#, B bass run transition from the D chord to whatever follows. I've indicated this with the following chord notation.
D x00232 D/C# x40232 D4/B(?) x20032
I also lead into the verse with e+-----------2-- b+--2--3--5----- g+-------------- then picking out of the D chord, etc. d+-----------0-- a+--0--2--4----- e+-------------- Livin' on the road, my friend.....
which is nice for many songs played in D.
Enjoy, Denny Straussfogel
Pancho and Lefty by Townes Van Zandt
D Livin' on the road, my friend A Was gonna keep us free and clean G But now you wear your skin like iron D D/C# D4/B A And you breath's as hard as kerosene G You weren't your mama's only boy D D/C# D4/B But her favorite one, it seems D She began to cry D/C# D4/B A A7 When you said good bye G Bm And sank into you dreams
(same chords as first verse) Pancho was a bandit, boys Rode a horse fast as polished steel Wore his guns outside his pants For all the honest world to feel Pancho met his match, ya know On the deserts down in Mexico No one heard his dyin' words But that's the way it goes
Chorus (words change slightly, each time) G And all the federales say D D/C# D4/B They could of had him any day D D/C# D4/B A A7 They only let him slip away G Bm Out of kindness, I suppose
Now Lefty he can't sing the blues All night long like he used to The dust that Pancho bit down South It ended up in Lefty's mouth The day they laid old Pancho low Lefty split for Ohio Where he got the bread to go Well there ain't nobody 'knows
But all the federales say They could of had him any day They only let him slip away Out of kindness, I suppose
Now poets sing how Pancho fell Lefty's livin' in a cheap hotel The desert's quiet and Cleveland's cold And so the story ends, we're told Pancho needs your prayers, it's true But save a few for Lefty, too He only did what he had to do And now he's growin' old
And all the federales say They could of had him any day They only let him go so long Out of kindness, I suppose
Yes a few old gray federales still say They could of had him any day They only let him go so wrong Out of kindness, I suppose
