Waiting To Get Beat

A       E      A
Waiting to get beat
     A        E      A
On a dark and lonely street
D        E      
Pay time ’round,
A        D   
pay back down
A       E      A
Waiting to get beat
Waiting to get beat
Waiting like a piece of meat
The mumble is on,
the thrill is gone
Waiting to get beat
Bm
You’re playin’ around with daddy, baby
A
When you should have quit
Bm
Nobody messes up one of these boys
    C#m           E7
And get away with it
Waiting to get beat
Can’t sleep, can’t eat

Straight A's In Love

A7
You ain't so good in arithmetic, baby

You don't know how to count

When it comes to spending money

It's never the right amount
E7
But baby, you know two and two is four
D7
Baby, that'll be the day
       A     D     A             E        A    D  A
But in love, crazy love, you get straight A's.
In history, you don’t do too well 
You don’t know how to read 
You could confuse Geronimo 
With Johnny Appleseed 
And if you don’t know who Thomas Edison is, 
Well, baby, that’s OK, 
But in love, crazy love, you get straight A’s

Progress Report

Submitted by eyolf on

Things are working out fine with the transition and modernization! I have currently a select group of two helpers, Nightingale’s Code and YerMr.Jones, who are doing a great job behind the scenes. If you want to join the team, drop me a line.

These are the planned changes and features:

  • Horizontal scrolling of tab columns. This one, I’m quite excited about: no more triple windows to get all the verses in view, no more stacks of print-outs. 
  • The Lennon/etc. collections. Simple as the files are, they have proven hard to handle.
  • The rest of the articles in the Professors section
  • A better forum interface. 
  • Notifications by email when there is new material on the site.
  • Nicer appearance. I’m working on it!

Lunatic Princess

Am
 Why should you have to 
Dm7
 be so frantic?
Am
 You always wanted to 
E7
 live in the past.
Am
 Now, why you should 
Dm7
 be so Atlantic
Am
 You finally got your
E7
 wish at last
Dm7
 You used to be 
Am
 oh so modest
Dm7
 With your arm around your
E7
 cigarette machine
Dm7
 Now you lost it all, I see, and
Am
 all you got is
     Am                        
your two-dollar bill and your hat full of
E7   Am
 gasoline.

Well you didn't know [... showed] and you
[...] come
After all, things could 
be much worse

California

C7
    F                                   C        C7               
I'm going down south, beneath the borderline
    F                                   C
I'm going down south, beneath the borderline
G                                 C
Come, Fat Mama, kiss my mouth one time.
Well, I knew it this morning, without a shadow of doubt
Well, I knew it this morning, without a shadow of doubt
My suitcase was packed, my clothes were hanging out 
San Francisco is fine, you sure get lots of sun

You Don't Have To Do That

[Spoken:] - ... five two, eight-oh, get the name later.
Dylan: No, no, I'm not gonna do it. I just gotta do... 
I just... It's something like the same... 
G                          C/g C/g G
You say that you're fed up
You say you're gonna head up
And you run around packing
Like a chicken with your head off
I just wanna ask you
Honey, where are you at?
Cause I tell you all the time
That you don't have to do that.

The Uneven Heart: A History of Bob Dylan, the Musician

Submitted by eyolf on

An article that was originally written for the Norwegian philosophy journal Agora. It is the closest I have come to a full discussion of Dylan as a musician, with an emphasis on those particular aspects of his musical life that seem to create the impression that what he does and says is significant; that he addresses the listener directly, with an expression of a life and a pulse; and that this aspect of his work comes to expression through musical means just as much as through the lyrics.

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