Solitude Standing
 0895243458

  • 0 0 0
  • Like this paper and download? You can publish your own PDF file online for free in a few minutes! Sign Up
File loading please wait...
Citation preview

P IA N O /V O C A L

Tom's Diner \ Luka , ' t Ironbound/Fancy Poultry In the Eye

Night Vision

Cherry Lane Music Company, Inc. quality irf/pnnted Music PO Box 430 Pori Chester NY 10573-430

n'Lfiy u

Solitude Standing \ Calypso , | 'v Language ' ‘ Gypsy ; ‘ i Wooden Horse (Caspar Hauser’s Song) Tom’s Diner (Reprise)

■ Management - Ron Fierstein and Steve Addabbo AGF Entertainment Ltd.

■ Piano/Vocal Arrangements - Mark Phillips

■ Production Manager - Daniel Rosenbaum

■ Art Direction - Frank Morano

■ Administration - Deborah Poletto

■ Cover Art - © 1987 A&M Records, Inc. All Rights Reserved

■ ISBN: 0-89524-345-8

■ Copyright © 1987 Cherry Lane Music Company, Inc. International Copyright Secured All Rights Reserved

G ary Green

CONTENTS

3 SUZANNE VEGA by Billy Altman 5 Luka 10

Solitude Standing 15 Night Vision 21

In the Eye

26

Language

33 Calypso 40 48

Gypsy

Wooden Horse (Caspar Hauser’s Song) 56

Ironbound/Fancy Poultry 62 Tom's Diner 64 Tom's Diner (Reprise)

SUZANNE VEGA “I suppose that the things that interest me most are character and place,” says Suzanne Vega, the New York-based recording artist whose distinctive songwrit­ ing talent and eclectic musical approach have brought her both national and international acclaim in the two short years since the release of her stunning debut A&M album in April of 1985. “I’m always curious about the atmosphere that people come from, and not so much what they do but why they do it,” she stresses. If striving for getting be­ neath the surface and uncovering those private feel­ ings and secret thoughts that all people harbor within themselves is a theme that seems to recur throughout many of her songs, that’s only understandable, since she is someone who knows all too well that our percep­ tion of things can often be quite different than what they actually are. To be sure, there has been, since virtually the begin­ ning of her professional career, much more to Suzanne Vega than meets the eye. Watching her performing alone on the small stages of various Greenwich Village clubs several years ago, with nothing but her own acoustic guitar serving as musical accompaniment, her earliest supporters could certainly be forgiven if, in their enthusiasm, they mistook her for the kind of tradi­ tional folk singer she never really claimed, nor sought, to be. “When I first started playing in clubs in the early Eighties,” she recalls, "my perspective must have seemed very strange. At the time, I wasn’t quite sure where I fit in, with music, with the world. I knew that I was aiming for something, but I wasn’t really sure what it was. I knew it wasn’t folk, necessarily, although there were a lot of things that I liked about early folk—Woody Guthrie, Cisco Houston, for instance—because it was real and you could tell it was real. It wasn’t real for me personally—I certainly didn’t know anything about freight trains—but you could tell from listening that these people had been there, and that there was no pretentiousness about them. But after I started per­ forming regularly, suddenly there was all this press cal­ ling me a folk singer, even though I didn’t think that a

song like, say “Cracking,” could really be construed as a folk song. After all, it wasn’t exactly ‘Wild Mountain Thyme.’ ” Suzanne’s “perspective” (“I think it’s probably my fa­ vorite word right now,” she says) at the time was that of a young woman barely into her twenties, a woman who, though she hardly looked it, had been raised in the tough neighborhoods of New York City, who’d been a serious dance student for almost a decade, and who was working in theatre while majoring in English at Bar­ nard College. Although Suzanne grew up in a home where the tastes in music leaned heavily towards folk (“When I was young, the whole aura around singer/ songwriters like Dylan, Paul Simon and Leonard Cohen was very strong”) and jazz (“I remember listening to a lot of Astrud Gilberto and Brazilian music”), and as a teenager had done some performing at church base­ ment-type coffeehouses where “they’d give you a plate of brownies and a cup of juice after you played,” she is quick to point out that her philosophy in regard to songwriting was profoundly influenced by a rock ’n’ roll concert by former Velvet Underground leader Lou Reed that she witnessed in late 1979. “At the time,” she notes, “everybody around me was into punk and new wave, but I just wasn’t paying much attention to it. I barely even knew who Lou Reed was—I remember asking the guy who wanted to take me if he had any hits, and he said, “Walk on the Wild Side,” and I think I went because I at least knew that one song. He was being really aggressive and hostile towards the au­ dience, and I just thought, ‘What is going on here?’ But there were a few songs that he did that night that really got to me, songs like “Heroin” and “Caroline Says Part II” that I found I just couldn’t stop thinking about. And the concert really wound up having a great effect on me, because afterwards I didn’t see songs, or songwrit­ ing, in the same light. For the first time it occurred to me that you could write a song using only one chord and say anything you wanted to over it, and someone just might listen to it. Before that, I always felt that songs had to make sense,have some kind of narrative.be some-

3

how traditional in structure. But Lou Reed was writing in Albert Flail, and a half-hour BBC television show culled a very different way, and about things that I knew about. from footage of the concerts drew an estimated audi­ So it was a shock of recognition and realization at the ence of over two and a half million viewers. “I spent a same time—that you could not only write a song any summer in England in 1979,” she says, “and I was re­ way you felt like, but that you could also write about any­ ally very inspired by the country’s style. I remember thing you felt like.” wishing that I could somehow make an impact there. As both her writing style and self-confidence de­ So in many ways, the response I’ve gotten in England veloped and grew, Suzanne began to regularly venture has been very, very gratifying.” down to Greenwich Village, and at clubs like the Still, becoming a star—and, inevitably, a celebrity— Speakeasy and the legendary Folk City she found a is not something that Suzanne is sure she’s necessarily sympathetic and nurturing environment made up of comfortable with, at least not yet. And in an age of big musicians and listeners who shared her belief in the in­ stars possessing even bigger egos, Suzanne Vega’s tegrity of “intelligent music that takes risks.” She quickly impressive talents as a singer, songwriter, and per­ began to draw sizeable audiences and rave notices for former are perhaps matched only by her equally impre­ her shows in New York and Boston and, ssive perspective on the trappings of as the breadth of her songwriting skills fame. While her brand new album, Sol­ “For the first time it became increasingly apparent and her itude Standing, featuring such stand-out occurred to me that musical horizons expanded, the simple you could write a song tracks as the provocative “Luka,” the tag of “folk singer” ceased to fit. “One of playful “Tom’s Diner,” the sinewy “Night using only one chord the most distinctively original performers Vision,” and the foreboding “In the Eye,” and say anything you in the entire pop realm” was the way one is certain to bring her not only more criti­ wanted to over it, and local critic put it—a description that cal support but also a more expansive someone just might seemed much better suited for the author popularity than ever before, Suzanne listen. Before that, I of such far afield compositions as the rap­ Vega remains a refreshingly unassuming always felt that songs artist whose dedication is first and like “Cracking,” the jazz-tinged “Freeze had to make sense, Tag,” and the ballad-styled “The Queen foremost, to the work at hand. have some kind of and the Soldier.” “When I’m performing at a concert and These songs, as well as such stellar narrative, be somehow I finish my set and I see people getting all works as the reflective “Marlene on the traditional in structure." excited, I always feel a bit ambivalent,” Wall,” the atmospheric and dusky “Small she confesses. “There’s a part of me that Blue Thing,” and the graceful, free-falling “Some Jour­ says, ‘Be happy for this,’ and another part that just feels ney,” can all be found on Suzanne's self-titled first distracted, that wants to say to the audience, ‘Hey, album, which was carefully and sympathetically pro­ calm down, alright?’ In New York, if you stand up and duced by engineer (and, along with Ron Fierstein, co­ they just look at you, you know things are going well. manager) Steve Addabbo and former Patti Smith But to go to Ireland and have Group guitarist Lenny Kaye. On it, Suzanne’s voice and two thousand people guitar were sensitively complemented by the elements screaming and howl­ of a full-scale electric band, and the experience ulti­ ing is very different. mately led to her decision to tour with a complete back­ My first response is up group. “You get a sense of energy with a band that I that I couldn’t never quite understood until I was playing inside of possibly be that one,” she says, “There’s a rough edge that I simply big a deal, and couldn’t get on my own that I think comes through now, that they should and I’m happyforthat.” all sit down. I While the Suzanne Vega LP received uniformly ex­ mean, I hate big cellent reviews and a significant commercial response deals. Don’t get me in the United States—given the strict formats of most wrong, though,” she American radio stations, and the general climate for laughs. “I like know­ music that may initially seem to be somewhat, er, left of ing that people are center, Suzanne feels that “it’s actually done much bet­ listening to my ter than I thought it ever would”—the album was an songs. And I do like overwhelming and unqualified success in Europe. “In being appreciated.” some ways, I wasn't all that surprised about doing well The feeling, one sus­ over there,” she admits. “Many of the people I like— pects from her growing Leonard Cohen, Laurie Anderson—have always audience, is more than tended to do better in Europe, so it kind of makes sense mutual. to me.” In England, in fact, Suzanne has become quite —Billy Altman a major star, to the extent that a British tour last fall in­ cluded two sold-out performances at London’s fabled

LUKA Music and Lyrics by Suzanne Vega Bsus4

Guitar

oo

(capo 1st fre t)

m

M

Moderately bright

Csus4

Piano -------► F E.

»------* • ----------------- 0..__ j ^ --------»• -a —

o -------------------------------------------------------

i

—t -



r.

^

-

■s J '

J. H ,

mf V------H------«| --------- r * ___ i _____________ fl

-------------------------------------------------------o

Bsus4

^45ws2 o oo

_______ y u

IS

m

oo

m

M

Bbsus2

Csus4

- p

- r





=

^

. -

m

Csus4

o oo

^

C$m7

oo

Bbsus2



Dm 7

O OO

m

Bl*sus2

oo

m

Csus4

’ Recorded a half step higher.

5

Bsus4

Asus2

m

G O O

oo

m

J

I JJTj *

1

Lu - ka. ’cause I’m think I’m

1.4. My name is 2. I think it’s 3. Yes, I

m

m

Bl>sus2

Csus4

clum o

Bsus4 oo

oo

i

M

m

Csus4

Csus4

T

f

r

from you____ - stairs I live up era May - be it’s be- cause I ’m ask, that’s what_ you If

sec - ond floor, talk too loud, door a - gain.

FF

6

I live on the I try not tc I walked in - to the

m

Bsus4

4

4

4

Asus2 o oo

Bsus4

Bl>sus2

Csus4

S

- sy. - kay.

4

i

\

T

r

00

Ctm 7

oo

4fr.

Dm 7

f zy----I’ll say.

4

Asus2 ooo

Asus2

m

Bb sus2

0_pp

oo

M

Bb sus2

ss

Csus4

Bsus4

oo

Asus2

Bsus4

Bb sus2

Csus4

o oo

m

oo

4th time to Coda

Csus4

±

J ..

i

Bsus4

me gue me

m what_ an how__

it

was,__ - more,I am,___

y

just don’t you just don’t just don’t

ask _ ar ask _

was._ what it an - y - morehow i am___

me gue me

j. 2*

r f Asus2

Bsus4

'



OO

>

O

Bsus4

OO

Fttffl Csus4

Bbsus2

• 0 0 m - - m-----------------m — ■ — i — K— m— :m— — t : m b z b z z b^ 1 : i n » : —

----------------M e ----------- --------------- # 3 0 ------------------

Csus4

9

HZ B U B __1 _ 1 __

------------b— 3-------------------- : F*------------W— 2---------------- - - 0 *------------0 --- S --------------------P» ... — i r Z ’S — Z. t i _______i> 2____________ 1

---- r r -----

^ ---- r r ------ 0 -F

7

Ctm7

Bsus4

Asus2

Bbsus2

Csus4

Bsus4

Asus2

Csus4

Bbsus2

Bfo sus2

Bsus4

oo

o oo

m

m

T

Csus4

i ........... 5

gue

rs):,

8

°

an

y - more,-

mm you just don’t

W lrf=

ar

gue

ID

rr

an - y - more..

Bsus4

Bsus4

C#m7

Bsus4

Asus2

oo

o oo

f f l

oo Dm 7

Csus4

Bbsus2

4fr.

» -----*

ttt

..------------ »

: c r p ---- t r ^ •

W

# -----&

m f

¥

Bsus4

Asus2

Bsus4

9

SOLITUDE STANDING Lyrics by Suzanne Vega Music by Suzanne Vega, Michael Visceglia, Anton Sanko, Marc Shulman and Stephen Ferrera Moderately bright N.C.

Amsus2 XO

00

m R.H.

j)

a

f)

r r n r

p' gr n r

Am9 xo

n r

t tr r h

£

B(no3rd)/A

oo

XQ ox

m

£■ > n n = fm

7

i

Amsus2

10

A

t r

n r

f

?.r

J)

T t r .p a _—

rr n r p

B(no3rd)/A

11

B(no3rd)/A

Am9

B(no3rd)/A

Amsus2

xo

ox

m

And she says,

rr—

rrr f)

A

■-F3’

r

r

r

=

f

xo oo

m

f f l

^ n j ~~ d

5

m

=

Amsus2

O XXX

m - j

r

Am(no3rd)/F

o oo

a

D

T

Amsus2/G

“ I’ve

4 0 — :0

r come

3

12

=s K

to

set

u

a

'

twist - ed

thing

O r H f I

straight.’

7

T

And she says, “ I’ve

7

TTT

Am(no3rd)/F

Amsus2/G

ooo

C#m7(no3rd)

X

o xxx

m

ox

i o come

m

to

h

And she takes my

heart.”

dark

r1 n

T T

k

this

light - en

n r— r

t

t

u

t

Amsus2

m

m

oo

xoop

Bsus4

C#m7(no3rd)

x

ox

2nd time to Coda I

m

r

And

I

said,

“I

nev

m

-

er

thought

of

find

-

ing

you

fi:

tt -r r r

f= Bsus4

Amsus2

X

XO OO

m

oo

o

m

m

t

Bsus4

X

x

rpr m

3E

D.S.fno repeat) al Coda I

Coda I

oo

f

Amsus2

xooo

D.S. al Coda I I

h

4 here.’

m

And

I

pr er t

r-p

13

B(no3rd)/A

Coda II Am9

B(no3rd)/A

Am9

B(no3rd)/A xo

14

ox

NIGHT VISION Lyrics by Suzanne Vega Music by Suzanne Vega and Anton Sanko

Moderately bright Em 7(no 3rd)

Guitar — >•Am add2 (capo 2ndfretj .9%.

x o ox 7fi

R

5ft

Ftlm7(no 3rd)

Piano — ► Bm add2

Em 7(no 3rd) X O OX

w

t

Fjtm7(no 3rd)

Fadd$4 x ox

M

Gaddj»4

x F#m7(no 3rd)

Am add2 x__ ox 35ft

m Bm add2

G6 oox

m

A6

ox

5fi

Bm add2

F#m7(no 3rd)

15

Fadd^4 X

G6

ox

M

OOX

m

Gadd $4

Am add2

G6

A6

Em 7(no 3rd)

Fadd#4

oox

Faddy X

ox

m Gadd|l4

Fadd It4

E7sus4 O

O 00

E7 0 0

00

B C B 9

f f l A6

Gadd#4

F#7sus4

F#7

Fmaj9-5 0 000

G6 oox

Bffl

A6

E7 0 ^ 0^00

W

F # 7 su s 4

Si

S ffl

Gmaj9-5

E7sus4 0 0 00

Fmaj9-5 oooo

F

#7

Gmaj9-5

F m a j9 - 5 0 000

G6 oox T ffiH

Gmaj9-5

A6

1. Fmaj9-5 ) OOP

E7sus4

0 0 00

1

F # 7 sus 4

Gmaj9-5

E7

o o 00

Cmaj7cidd$4

O O 00

F#7sus4

F#7

Dmaj7add#4

E7sus4

2. E7 i 0 00

E7sus4 (L o o p

F #7

F # 7 sus 4

ii

E7

0 0 00

HI F

#7

17

C# m 7

Cmaj 7add #4

C$m7 X

00

¥OT4&

D#m7 0

i i i _____________________________________ p ______________m _______ P P l _____ r _____________ r ___________ !

curl

a

-

gainst

the

T#;



_^ —

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

.

sheet,

-0 -

u i v



jf

m P

9

.......................... ..............i n : ___ ” s................... I r

r 1

-sfe

1

*

5P ^

f ^

*

p 1

I*" 1

______________ j u

K

j

J

Cmaj 7add #4

Gmaj7

m

Amaj7

x OOP

Dmaj7addH4

Fmaj7

E7sus4

X xo

Fffffl Gmaj7 n

- j—

= M = r

F blind



"/ r

=

*T

i 4=

=

4 ■ ]i i

« r

> d

i =

1

V

-------------->— I^fcl

s'

*isikF--- *--;z = T

in

=

a

F#7

------ «7 —v 7 B E

=

^

t— ------ C----—

^ $

£ dim

U

f -

( 0 00

. ^

=

^

__________________#

E7

(^ 0 0 ffm i f f l iTjf7sus4

B99SS

-

r

-. ---------0 ---- - -_J — V- = p f F ^ d o ,,-LJ r'

18 I

Em 7(no 3rd)

Am add2

X .c >

[

Am add2

ox

x

Bm add2

F#m7(no 3rd)

Bm add2

ox

l t l l5fi

FaddU

Em 7(no 3rd) x o ox

F tm7(no 3rd)

Gadd#4

A6

-- ^-----------------------------------------------------------------------1 --------------------------- £------------------------------| ^ —m ^ — WS Tt A 7 / P * w

light,

tv T f--------------- - — P » v ^ 5 ;f =

but

■0 -

Fadd%4

£

-



£

"

w

E7sus4

n

i

I

-

ffl E7

oooo

oooo

Gadd#4

F#7sus4

F#7

Em 7(no 3rd)

Am add2

x o ox

37ft

F(lm7(no3rd)

m

x

ox 35fr

Bm add2

can

m

i

--------------- >p-^' A P RJ T * • P f J _JJ____ __________£____l ____

on

ly

"-ni

^

r

teach

you

i _______ ^

^

I

i

Am add2 x

ox 35ft

Bm add2

Em7(no 3rd)

F#m7(no 3rd)

19

Fadd#4

x

G6 e oox

ox

M X

m

m

Gadd#4

E7sus4 0 0 00

Fadd$4

Gadd#4

A6

E7 0 0 00

Am add2 x ox

Em 7(no 3rd) ox * \

Bm add2

F#m7(no 3rd)

35ft

F|t7sus4

Amadd2

F#7

ox

Em7(no 3rd)

Fadd$4

G6

Fadd $4 : ox

E7sus4 0 0 0' >

E7 0 0 00

E7sus4 0 0 00

E7 0 0 00

A6

Gadd#4

F#7sus4

F#7

f f l F#7sus4

F#7

oox

H

IS

IN THE EYE Lyrics by Suzanne Vega Music by Suzanne Vega and Marc Shulman

Fast

E(no3rd) o xx xx

E7/6(no 3rd) x oxxx

E7(no3rd) x oxxx

1 8 G(no 3rd)

G7/6(no 3rd)

G7(no 3rd)

21

E(no 3rd) o xxxx

E7/C)(no3rd) X oxxx

E 7(nc>JrcD x otOCX - - 7fr

G7/ 5(no 3rd)

CJ7(n 33rd)

i

G(no 3rd) ft L___________ i_______ ______ y i v -------------- ---------A b____ m 1 C_____ m______ « ______ ____ ______ w you

were

s fcv l V-----L ■ ________ 1 -T.J* s rt_____________ 3 ^ ---- ------- 4 ■» *•

22

J

stil 1

^ _____^ _____________________

______________ _

________

a - live.

J

m• JJs> > J-------- i / V Mm*-------_____ ® ^________________1 — j—--------- ---------------- i. r .i ^ _* • i q** ___" T3

s

J __ _

j

-



4 ------ -------- ------- h w 9

E(no 3rd)

E 7/6(no 3rd)

G(no 3rd)

E7(no 3rd)

oxxx

X

x oxxx

G7/6(no 3rd)

Fsus2

G7(no3rd)

G(no 3rd)

Fsus2

Fsus2

Fsus2

G(no 3rd)

xx o x

G(no 3rd)

xx o x

xx o x

M

G(no 3rd)

xx o x

TOTtefr

I m +bfr. L 3C11

sus2

BI>(no 3rd)

sus2

G(no 3rd)

Fsus2

Bb(no 3rd)

1. Fsus2 xx o x

H O

m

XX

X

)3fr

M

Bt(no 3rd)

Absus2

I

W bd:

would not

H

0

run,

I

O X

XX O X

3ft.

sus2

* .... 0

G(no 3rd)

0

Bb(no 3rd)

^

would not

turn,

I

would not

hide.

j 23

2. A

G(no 3rd) xx o x

xoo

3fr

Asus2/C$ X ox

A/C$ X XX

P Csus2/E

C/E

1/ i p o / k y V \J____ 4 ____ c) O’

------

_

.

... •

-si*

C

Gm7sus4 .

____

| 1 -sw-:

*

Csus$4 x xo

Em7

Em 7sus4 0X0 i " 3l: 4& __ JJ

f f l Cmsus2/Eb

f f l Cm/Eb

L *3___L J • 1 ^I«| r7 Cl___□ !2*____ ____. . . . _______ J 3 3 * ___________ _S W _ _1 IH . .

0X0

Amsus2/C X ox

Am/C .x x

• r7tt • [JCJ

i.

3•

Asus2/C$ X

OX

... ^5 4

.

A/C% X

XX

.. .





...

Am/C x x

3ft

Gm7

24

sus#4

Eb

Csus2/E

C/E

Cm/Eb

.

....

E7/6(no 3rd)

E(no 3rd) o xxxx

E7(no 3rd)

X oxxx

X oxxx

m tr

M

m

i

•— a

Am/C

ra

Csus%4 l | I I II

Ebsus#4

Amsus2/C

1. C

m

h-

2. C

3. C

x xo o

X xo o

D.S. and fade Eb

m -

l

* Look



Em 7

Em 7sus4

Eb

Eb

(9t

(2nd ending) al Coda

G7(no 3rd)

G7/6(no 3rd)

G(no 3rd)

2.

1.

me

in

In

the

the

In

the

n*

m

25

LANGUAGE Lyrics by Suzanne Vega Music by Suzanne Vega and Michael Visceglia Brightly

Aadd2/E X OX :: j : : 6ft

G/D x ox - ^ L-4&

Cmaj" X 0(? 8&

iy a /- vj’ . _ frH fir ll Li ___ii__rn_____ ^3 1 ^/__^ __i _ ^7 W / \.y ov "w7 * ■» » >

Bm7 x ox ■lj li[: 7&

Am9 x ox

G xooox

m* m

i---57 /-- FH-' i ;---- •7 7

n

G/F xooax

m m

mf • 1* )/ I^C] y j\ID/ 5\i k /

26

*/ fe l ------------ -----------«• r — -----------r * 1 TTi f__________ __________ _*L?________ « _________

r____ ____

G

xooot

^

w T1 X :.

^ •« *

r

“S----------

Aadd2/E x ox

to catch

the

blur

in

the

M d ? = ± = = = := .^ f = — d---------------- t -

ffffF

................r

" '

F(tm7add4 x ox AtA*f1 . rW n = f a - *• • gone,

by.

and

and is gone,

is

r

gone,

* f -----------l i • u/• ----- --------------- r -------------

r-

..

r

-4 r----------^ ~ ------------- r ^ J------------t . 4 r--------------" L = J — «)■-----

r

r G6/9 X 00 B^B9

fffff — r• r

= ^ = I - f- - - - =

- f-

F#m7add4 x o:l

G6/9 X oo S S n+ffl =

i= i ""W ^4

and is

—*---------

tM

flies

* */ = # = ^ —0----- F----- r ~ r : 7: ''

— * — J— i!_*

gone,

t

that

Esus4 O O):

G/F xooox

'

brain

«= 0 = — 4-------«

r

F #T f = ---------- >-*--: =f

~ra•

gone,

gone,

i ^ =

t



r

= = r = = ^ ------------ £---------

=

and is

=T=

r-

J

27

Asus2 xo oo

Aadd2/E x

ox

P6fr

Cmaj7

G/D ox

r iifr u fi

£ I’d like

i

j* * 3 -

28

to

J T * ].

k

ox

X

7fr

m

. f l

Bm7

x__oo

X

w+

~

meet you

in a

7-

f l .

t - j< 3

V *

*

IT

^

Am9

G/F

F#m7add4

Esus4

G6/9

29

F#m7add4

X__ox

G6/9 x__oo

Asus2

xo oo

30 I

Aadd2/E x

#

ox

6ft

M 3 through.

G/D X___ ox

Cmaj7

m

x

8fr

ox 7fr

Am9 X

®

xooox

M

J* If lan - guage were

liq - uid

1 3E

Bm7

_x_oo

P

F

it

would be

1

P

rush - ing

in.

1 5

r

f

i= £

G

G/F

xooox

xooox

m

Aadd2/E

m

x

ox

X

-fifr

Cmaj7 x oo

G/D

ox

M*

4fr

In - stead here

we

J

i

Bm7

x__ox

are

r T T Tt i

in

a

si - lence more

3

r

r

r

F#m7add4

^ r j*;

X 00

f ^

G6/9

£E gone,

r3 ,

r

ox

iE

and is gone,

r

F#m7add4

G6/9

x ox

r

gone,

f Z

r

T r3

r

■ a;..... *



-

t

f

Asus2

x__oo

xo oo Repeat and fade

f f l 3 = gone,

r 32

and is

ra

v

r

n

gone,

r

and is

r'

r

r

CALYPSO Music and Lyrics by Suzanne Vega Moderately slow, in 2 Guitar--- ►E ( 7) lcapo 3rdfret) o o xx

E(7)

~F

O O XX

G(7)

^ J: -J My name

Ca - lyp - so

is.

i i I

and

have

lived

a - lone.

S

r I

■ Wff—

m

live on

an

is

land

and

I

wak

-

en

the

to.

dawn..

r= 33

A ( no3rd)

A 7/6(no3rd)

A(no3rd)

A 7j6(no 3rd)

C(no3rd)

C7/6(no3rd)

C(no3rd)

C7/6(no3rd)

E(7) O O XX

G(7)

j . .— ^7

M j> j> J.

W I

knew that

he___ was

J j i i. and

drown - ing

I brought him

in

J> J> . 4

-

to ___

me.

.....

Aadd4

Asus4

xooo

m Csus4

Cadd4

r - y - S -------------------------^ frT^ 1. _v\2____________________ Hi

N ow



to -

d a y , ___

il I 1 f" ^ \ » L ___ ________ h ________ ____________ 1 i sr T ■ / " #• n ) LJ------------------------- t - -

34

1

com e

L *________ L)___ _____ ^ w n r -------------»r i ± :: i . .. ..

JJL _____________

m orn

-

j

> . 1___ + -

in g

L ___ 1 __ ■ . -W ___________ f_______ i sr T B «• n ) t—

Cmaj7

F$m7

i Ebmaj7

1i Am 7

lig h t ,

*l

1 m

> r __________jUf_____________________ T *

E(7) O O XX

G(7)

"j let

night.

j.

f

j M



jj

him

go..

r

m

4

O O XX

f f l

*

G(7)

» ------ V My name

m

r

W

m

- —

Ca - lyp - so.

is.

-J—J3

- ... . — }---- 1 -------»j— — S ... • y .... Thick and

i

--J J

I

■■-A

-1.... t j .

hid - den

is

T "

1J

..—rr..— ....... ^

— *—

J'

the __ sweet - ness

/47j6(no3rd)

A(no3rd) XX

that

there

grows-

^4 7/6(no 3rd)

A(no3rd) XO

xooxx

f f l

xooxx

XX

IS

f f l C7/6(no3rd)

C(no3rd)

*

hair,—

it

blows___

C7/6(no3rd)

C(no3rd)

i My

m

IV r r J= ]L - g r -J r . 1

iv - ^ p r

XO

o - ver - flows.—.

,|f E

and

wild

gar - den

My

-------» long—

as

sing in - to

I

c-- — ■--j — 1..H5-* = ---J1—-- —--- • -J. — • «> —

7-

&

s

..

the

..

wind.

_i —

j. j> :

but

he’ll_

know their.

i

__

ways—

now.

J;

37

E ( 7)

G(7)

n

j I

will stand

up - on

the

i

^

shore_

with

ja

--

clean

heart _

and my

i

P P S A(no3rd)

XQ XX

A 7j6{ no3rd) xo XO OXX

C(no3rd)

C7/6(no3rd)

#

-

sand

± y 4

-

-

■thf

f

-----------9 - S —

A ( no3rd)

^ will

sting _

-------- ^ - ...... f

~

^L i

A 7/6(no 3rd)

J

4

feet.

my

= -

^ =

3

=

^

C7/6(no3rd)

o

XXX

Am7

38

-j

h - - ....... =3"--------------

Cmaj7

Ebmaj7

i-

w

and the

XO OXX

C(no3rd)

-

sky.

f

-

-------- 1-------— ..= J ~ ~

E(7) O O XX

G(7)

iT -i to

let

re - turn..

j

him__

±

J

go..

n I _________

let

him

•*•— ~rr •F" P ^ f e = P

m

f

r - g - f c p p

go.

r ■f e p

39

GYPSY Music and Lyrics by Suzanne Vega

M o d e r a t e l y

G uita r----- *

G(no3rd)

(capo 2nd fret) xoo

G(no3rd)IF$ xoo

Piano ---- - A(no3rd)

Cadd2

x_o

Cadd2

o oo

U

F$m7

Dadd2

Dsus4

xxo

D xxo

Dsus4 xxo

m

m

ffl

.

Si

m

A(no3rd)/G|

3 =

i

40

Dsus4/F$

xn ? ° n

Sli

A/C#

I®!

Esus4/G|

D xxo

Esus4

Esus4

G(no3rd)

GIB

Em7

i

S-'-

P

P

P G(no3rd)

P G(no3rd)/F$

P

G/B

Em7

Cadd2

o oo

x OO

x

F#m7

A/Cf

Dadd2

m ffl

r— p r far

G( no3rd)

G(no3rd)!F\

m

A(no3rd)/G#

o_

A(no3rd)

------P

a - way__ with

pic - tures__

in your

*

;-G-

i 1-

F F f cof - fee

of

eyes

shops, and morn ■

P? Em 7 0

G/B

oo

Cadd2

X oo

m

Dsus4

Dadd2

A/C#

..P

4



r— p r ing

Esus4

in

the

si - lent

j

I

?

rise.

sun

ffl

Em7

G/B

xoo

F#m7

A/C#

m

.where

we

Dadd2

A(no3rd)

m

y

G/B

the

ca - the-

T =

A(no3rd)/G|

^ 4

j- —

rec - og - nized

f ----- f the

sign.

We

£ CacM2 X___ o

-

4 jd

4 Em7

is

m

4

o oo

P

G( no3rd)!F\ xoc5

r

-

4

o_

x

i

— r— p

Cadd.2

j

dral.

t

i

But night

r o oo

xoo

A(no 3rd)A(no3rd)/G#

k

■]» J J>4 i ■ P T f f blue___ and

xoo_

E

»— *



streets,

G( no3rd)G( no3rd)/Ft

xxo

SB iffl ill ffSi

m

F#m7

D

XX o

X___o

Dsus4/F$ xoo

stran-gers know

each.

4 Gf no3rd) XOO

41

D

Am 7

xooo

D

A m ,

xooo

xxo

xxo

m

f f l Bm7

Bm7

f hold—

P me

-

like.

a




that

will

not___ fall

'

ba - by

sleep.

a -

m

------------ fk—

1

Am7

D

Am 7

D

xooo

xxo

xooo

xxo

IS

m Bm7

Bm7

j: J> i; j Curl

W- j

me

side.

you___

M

ffl

\Im m.'lh~ n m

I

Em7

j

r

Dsus4/Fj

G(no3rd)

Dadd2

m

A/Cf

Esus4/G#

A(no3rd)

--a-- 1 ---■-ip p .r-^J ^M==^==M

ss

j ^

r m

Em7

oP - 0oo0

jest - er_

r ~

o f this

i

—r

court

is

§8

w

G( no3rd)

xoo

m

A(no3rd)

Dadd2

*'

s



f = t — yard----

P i

m

with

a

£

the

f~.*—r— u

m

A/Cf

_T=l=fl

-Ar..... d-You’re

x__o

fiii S

.

....

Cadd2

G/B oo X OO

F#m7

£

Oh—

X OO

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

A(no3rd) A(no3rd)/G#

r y

heat.

£

m

xoo

m

you_through the

ffi --------■ v:j-• -------J1-= =£p r % jt ______ " *^"-n -j-.. TPPTPiz: m F#m7

m . 1 • ..

xoo

hear

— —

a

r

j

GIB

Xo

m

A(no3rd)/G#

.i t

Cadd2

o oo

G(no3rd) G(no3rd)/Fi,

42

me

2nd time to Coda I O 3rd time to Coda II { }

xoo

A(no 3rd)

¥

and let

$

p£Pp

G(no3rd)/F%

xoo

'i$-

in -

r P p

G(no3rd)

iy t

up

J - r r ~ n | j- p p -j - i»

smile.

like

- f a

girl’s,

dis ■

m

m

G)no3rd)/F$ xoo

Dsus4

Cadd2

X 00

,

m

G/B

Em7

m

A(no3rd)/G#

xo

m

F#m7

Dadd2

A/C#

D xxo

Esus4

E

-V*'-------- A ------------------------------------------ A ------------------------------------------ A ------------------------------------lQ- ---- > - ■ - -----tract - e d .

by

the

worn- en.

with the

GYno3rd)G(no3rd)jF\

oo

o oo

m

J. r—

f

m m

and the

mm

F|m7

G/B

X

ffl

r

dies who prom-ise to

££

Sfi

G(no 3rd)

Coda I i ~{p- A(no3rd)

A(no3rd)

m

ZCZ

£

- » -----• -w A

i

f l i r r

A(no3rd)

Esus4/G#

r—

gath - er

you

by

the

xoo

m

r

-

G(no 3rd)

xoo

Dadd2

n .

blessed,

Dsus4/F$

o

■#_ J.

i and the

£

A/C#

G(no3rd)

s i

the tim - id___

Cadd2

-l oo

m

la

by.



Em 7

A(no3rd)/G#

£

»— ar

- r

£

o oo

blow - ing skirts o f

A(no3rd)

A/C#Dadd2

mis - chie -vous,

xoo

j j

xoo

m

r

G(no3rd)/F$

j

G( no3rd)

X___ o

A . . jr..

£ 1

m

n ii

X 00

F#m7

n

pret - ty

GjB Cadd2

Eml

xoo

A(no3rd)A(no3rd)/G|

fat

the

rr r r hr

a e

¥

* by

curls,

AS. n/ Coda I

f

to their breast.

Em7 O 00

Cadd2

F#m7

Dadd2

Oh,_

x_o

f f w

j

r 43

Dsus4

Dsus4

D

m

Esus4

Gf no3rd)/F$

Em 7

xoo

xoo

o oo

m

m

F#m7 r

rr

TV.

hands o f

u

rain - ing wa-

Em 7

xoo

o. oo

A(no3rd)/G|

b-i- j on___

m

-

a

your

= F = j

ffl G/B

face

m r —

F

r 1 —

in your

r F

m ---------

r the

m m

Dsus4

fin - gers

'

44

9—

of

F#m7

the pot -

xxo

Esus4

j.

num -ber

A/C#

n=

ter

and the

i> x - L jg f of

years,

your.

G( no3rd)

Dadd2

A(no3rd)

tale_

with the

m u

Cadd2

laugh-ing

9

D

xxo

= fe = J jr J pH jf . . # &• •> i mi m m i s j 0.... F =af l = *| = • i a --------o -------------------------------- — o ---------------- ----------- — o ---------

^

1

xoo

A(no3rd)A(no3rd)/G#

7

1

£

G( no3rd)G( no3rd)/F$

The

ear..

0 r 4 ---- ------*

m

Dadd2

^

de - nies_

r=



ear - ring

‘P J r J xoo

________________ L _ € rf 1/ m1)

■* ~a — * — ■

X___ o

A/C#

T ---- f

w »'

Cadd2

x oo

F#m7

A(no3rd)

n

# ...... 1- -

G( no3rd)!F\

xoo

Dadd2

and that

Z w

P P wis - dom

o

--- „

m m

M J) J

x

A/C#

ter

w

V --------- # —

u,"'~ a

n

G( no3rd)

Cadd2

...9 a~ a d * < o -----------------------------

--------- r— ___

GIB X oo

m m

A(no3rd)/G#

r t j| f L 1 k k \J B ;it----rs ----v------- n---- n i;— n---—


I’m

--

d e a d ,_

___ __J___ 1

m

^ 1 L . _ _ i _____1 J m m __ ... _ - 'tv ---- -------------- ILZ2

m

Emadd2 oox 9fr.

1/ » /T rfm x_\2______

A9sus4

if

you

50

lOfr.

---------- ---------- ------------------J o

could

te ll

1

£ A *41 v1 J± _ . W * / »I i o 9 T*_________________________________________

Emadd2

J

I J . m .... . . -----------------------------

Cmaj7 o oox

12fr.

' " ~s ^ __ ^_____ / ■ • c______-3 ___ *___________« 1___ 1

J

Cmaj7

them

.. mJ



this:

J

J

m

i

j

^

j

__ O ___________ 1__________

A9sus4

i

J■ -------------J JK--------

" **

Cmaj7

...............

E

l =f

q

:

2C

33T

r M^r 7^7r 7t'

n

m Esus4

o:

F$ 7sus4/E

E

o

r

7

F$7add4/E

00

o

m

oo

m

6fr.

7fr. FHffl 6fi.

iz s ; « -------- 0-----0-----0

r^ r

(TffH4fr

O

T ^ " In

PI

the

day__ they

i r 7T'— < r— 7T Esus4

no

E

«---- OO

re

- turned.

7

‘f r r r

ffl M

F#7sus4/E

o

00

c!rr

F$7add4/E

-----f

dead,__

i ------------J------------± - 4 .• " o .. ^ ----- ....... ' I ' ----- -- -—o ------------------------------------------

54

killed.

cr

o

o

be

may

u

_ j 1

o __ :__ z ____

u ___ :----------------------

Emadd2 o

oox

A9sus4

Cmaj7

o

o

OOX

OOX

lOfr.

12fr.

9fr

^

J*-J if

you could

* J._ J- J:

31

tell

!

them

this

J- J-i - i L_

*-J■ i

3 E

A9sus4

Emadd2

l

J

3 E

i J

Cmaj7

2. Cmaj7 0

oox

f f f f f l lOfr. I I I 1 11 frirl!

E(no3rd)

0 XXX 35! ft+ffl

E(no3rd) 0

m

XXX

Repeat and fade

55

IRONBOUND/FANCY POULTRY Lyrics by Suzanne Vega Music by Suzanne Vega and Anton Sanko Moderately bright Am

xx, Sfr

Am9(no 3rd)

F add #4

psus #4 r sus2

oox

35ft

mp

mm

56

$

I1’

r sus2 _oox

M

wires fee

2. Fsus#4 r sus2 oox nn

pSUS#4

Fadd#4

m

m

cut through the col - or of her

sky. _ skin.-

The

5

Em

Fsus2

Em

57

#4 sus2 oox

F add#4 ox

7SUS

Em o oox

rrs = i “ 1 --------------------------------------wires

She touch - es him good - bye. cut through the sky.

Steps o ff the She stops at the

ft

m w

Fsus2

58

Em

Fsus2

curb stall,—

Cmaj7 x___op

Am9 xo__o

m

Em9/B

*

3fr

t

r

L

¥

Cmaj7 x___op

j

Ol

OI

*

*

p ^

f

Em9/B Cmaj7 x oo

xo_o

~13fr

O

r

.

T doo

i i 33;

xs:

3fr

m

Doo

r

Cmaj7 x oo

0o

Am9

m

3 E

♦Pianists: Om it vocal m elody fo r next 12 bars.

T

Z

T

r doo

doo—^

T T l Tr

doo doo

U

P I

m

59

1.

Dsus4 xxo

Am -X X

j " Sfr

(

^

k

W-

w

L.H.

m

Am9(no 3rd) o

oox

-sus 14 sus2

F add #4 ox

Am9(no 3rd)

Am -xx

oox

o

\1

J ■I 7. IIp

J

__ --------* ? ^l!__ * m



= t = 4

*•

1— ~

t j- , -g p*M h=4 =J=



---

9

7

^|5fr

J

Jli

*): .I.

oox

w —

. 'I— 1

61

TOM’S DINER Music and Lyrics by Suzanne Vega

Moderately fast

i> -r - -i

(A cappella)

i 1.

I

am

sit - ting al - ways o - pen worn - an

i morn see pa out

the to the the

in nice up on

-

ing you,” per; side

-

(4th time)

$ r J ■■f -•£ jQ 5 'b ^ din man sto in

er be -

ry side.

er for in. She ing. It me, ’cause

on hind of Does

the is was she

the the an she

cor count ac see

man to shak - ing no one sees her

-

pour her I own

I to who No,

ner. er tor me?

the cof um - brel had heard _ re - flee

wait - ing worn - an while died does not

at who he real

fills it look the turn - ing try - ing

And he And I And I’m And I ’m

fee. la. of. tion.

the the a ing

c - j ■ ~r7-

j am the had she

at says there’s look -

the has was

count come__ drink see

- ly

on - ly oth - er the to not to

half way___ >hor no

f- f - g f :

p ii way, and as they o - scope tice that

i

be are and she’s

I fore kiss - ing look - ing hitch - ing

out the not to some - one her - ing

win dow see them watch - ing stock - ings,

e their for up

ar ven hel - los, fun the her skirt.

gue, and nies And

he I ’m when while

is pre I’m she’s

i look - ing tend - ing feel - ing straight - en

at and me

some in and her

-

bod stead so hair

- y I I has

com - ing pour the my raise got - ten

in. milk. head. wet. .

62

1

2.

1.

3.

J =17 2. “ It

4.

* J -117 * J rtn lE f:'

^

*

is

3.

4. There’s

I

Slower

5.

a

Oh,

this

A tempo

- J W - - I --------- -------k-c ^ 4 = ; (&-■%— ■-------- p-------- J— -~ 0 — 4— V -------------------1 ^ rain,

m

^ 7 *

it

will

con - tin

'

t’ning

to

£ £

m

of

of

_____ 5

Slower |

the

voice

and

m

jp y

a

of

the

,—

=

?

time

to

catch

the

Us -

Slower

£ am

mid - night

the

k_______i _______

"""

1

train-----

W Da

rain.

______ l ^ .... T da

pic

me

L r'

it

m

be - fore_

*

I’m

dral,

a

time.

-------------------------- * * r r ^ -------- --------- --------------------E = J — ff ts

As

£

m

up - on __

ing.

A tempo

— r^ _ once

-

ca - the

£ your

mom

J ~" J ~3.=b£

bells

the

# ---......i r " --------------------- 1-----------------------

through tlle

i

A tempo

think - ing

--------- 1 -------' J q

ue

£

»

* 4

w .

a

be - gan___

j1

da

^9 | 1— "1 IP ______ m.______ m ____ss L da

da

da

d a_

Repeat and fade

da

da

da

da

da

da

da

da____ _

da.

Da

da 63

TOM’S DINER

(REPRISE)

Music by Suzanne Vega

D\>6

Fm Moderately fast

m

4fr.

JJ m

1 J •

p

J ----- V f ?

J— f R

f



—^

....... -J 9-----------------



[ f ...

p ~ ..........

l

Fm

j?

p.

k

g

-

.

#

7

.........

m

4h «/-T 7...

k > = f * = ■ L _ ^ -------- g ------------------------------



P

Ab

64

J

-1

6fr.

1

"" * 1 mj

^

P

1

" 4 1 57 1

*

J--------j — *—



~

O

-

=

9fr.

T

f

* “- *

_ -------- * --------- 1---------- 1--------d

G[>6-5 8fr.

r

D(j6 4fr.

^S) r

6fr.

f

1

J

1