Chords for Dock Boggs: Pretty Polly (1966)
Tempo:
83.425 bpm
Chords used:
B
Bbm
Bb
C
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bb] I happened down in Norton, Virginia.
I was working on a coal machine at Pardee, Virginia [Bbm]
in 1927.
And I had an old banjo, and I played for country dances and coin chuckers and so forth and so on.
Just [C] country.
We didn't have any television or radios at that time.
[Eb] So there was a middle friend down there, and he asked me to go up to Norton Hotel and try out for
going to New York to make phonograph records.
And I said, well, there's no use for me going up there.
There's too many of these people that's doing nothing but making music for their living.
And so I haven't got my banjo down there.
He said, well, go up to the music store and borrow you one.
So I went up to the music store, and I asked a man I didn't know was interested, [B] Mr.
McClure.
And since I made these records, I had a letter from him.
He was getting very old now.
He lived in Louisiana, Kentucky.
But anyway, I went up there to try out, and there was about 150, 200 musicians up there.
And they had bands.
This little banjo he had, back at that time, you would order it for about $8.
But he had it for about $16.
And so I could make some chords on it, and I started to play two pieces on it for him.
Country [Bbm] Blues is one of them.
I mean, Hustle and Gamble, really is the old name of it.
But Country Blues, I learned it from Homer Crawford from Tennessee, and Down South Blues.
They come running around with contracts.
There's a whole gang around playing music over there.
And I said, why don't you sign them up?
And they come up, we signed a contract.
In three weeks, I was on my way to New York to make phonograph records.
So I put on just eight songs.
They offered to take four more songs that I had ready.
I didn't think it was paying [B] enough for it, so I just didn't put them on.
And [Em] after I played these records, [B]
these four records, eight songs, I got two contracts to come back to New York to make 24 songs.
Six with anybody that I wanted to have help me.
If I wanted a guitar player, or get a band, you know, six with a band.
So I made those records, and I had a little domestic trouble.
And so I worked in the mines, worked in the mines with a coal machine when I started making music.
And I laid down my music.
I didn't lay down much as King George did.
I [N] laid down my music, went back to the mines, and worked 41 years.
I'm a retired coal miner.
You're not a mine worker.
And so Mike Seeger happened to locate me and got me started back into making music.
And my fingers were just about as stupid as they ever was.
I never lost a finger.
And so I've been playing.
Some people like to hear the way I play, and some doesn't so much.
We can't expect everybody to like it, but I'm going to play you a little bit of Pretty Polly, the way I put it on record years [B] ago.
Pretty Polly, pretty Polly, oh yonder she stands.
With rings on her fingers, a lick in my hand.
Pretty Polly, pretty Polly, come take a walk with me.
Pretty Polly, pretty Polly, come take a walk with me.
Oh, when we get married, it's a pleasure to see.
Feel it over hills and valleys so big.
Feel it over hills and valleys so deep.
At last, pretty Polly, keep me away.
Oh, Willie, oh Willie, I'm afraid of your way.
Oh, Willie, oh Willie, I'm afraid of your way.
Your mind is too round, Willie, lead me astray.
Pretty Polly, pretty Polly, you're guessing about right.
Pretty Polly, pretty Polly, you're guessing about right.
I dug on your grave to third of last night.
They went on up his father and what did she see?
They went on up his father and what did she spy?
A dew-dug grave and a bay-line.
He threw her arms around him again for to weep.
He threw her arms around him again for to weep.
He threw her in the water where the well-drenched waves leap.
[Bbm] [Bb] [B]
[Bbm]
I was working on a coal machine at Pardee, Virginia [Bbm]
in 1927.
And I had an old banjo, and I played for country dances and coin chuckers and so forth and so on.
Just [C] country.
We didn't have any television or radios at that time.
[Eb] So there was a middle friend down there, and he asked me to go up to Norton Hotel and try out for
going to New York to make phonograph records.
And I said, well, there's no use for me going up there.
There's too many of these people that's doing nothing but making music for their living.
And so I haven't got my banjo down there.
He said, well, go up to the music store and borrow you one.
So I went up to the music store, and I asked a man I didn't know was interested, [B] Mr.
McClure.
And since I made these records, I had a letter from him.
He was getting very old now.
He lived in Louisiana, Kentucky.
But anyway, I went up there to try out, and there was about 150, 200 musicians up there.
And they had bands.
This little banjo he had, back at that time, you would order it for about $8.
But he had it for about $16.
And so I could make some chords on it, and I started to play two pieces on it for him.
Country [Bbm] Blues is one of them.
I mean, Hustle and Gamble, really is the old name of it.
But Country Blues, I learned it from Homer Crawford from Tennessee, and Down South Blues.
They come running around with contracts.
There's a whole gang around playing music over there.
And I said, why don't you sign them up?
And they come up, we signed a contract.
In three weeks, I was on my way to New York to make phonograph records.
So I put on just eight songs.
They offered to take four more songs that I had ready.
I didn't think it was paying [B] enough for it, so I just didn't put them on.
And [Em] after I played these records, [B]
these four records, eight songs, I got two contracts to come back to New York to make 24 songs.
Six with anybody that I wanted to have help me.
If I wanted a guitar player, or get a band, you know, six with a band.
So I made those records, and I had a little domestic trouble.
And so I worked in the mines, worked in the mines with a coal machine when I started making music.
And I laid down my music.
I didn't lay down much as King George did.
I [N] laid down my music, went back to the mines, and worked 41 years.
I'm a retired coal miner.
You're not a mine worker.
And so Mike Seeger happened to locate me and got me started back into making music.
And my fingers were just about as stupid as they ever was.
I never lost a finger.
And so I've been playing.
Some people like to hear the way I play, and some doesn't so much.
We can't expect everybody to like it, but I'm going to play you a little bit of Pretty Polly, the way I put it on record years [B] ago.
Pretty Polly, pretty Polly, oh yonder she stands.
With rings on her fingers, a lick in my hand.
Pretty Polly, pretty Polly, come take a walk with me.
Pretty Polly, pretty Polly, come take a walk with me.
Oh, when we get married, it's a pleasure to see.
Feel it over hills and valleys so big.
Feel it over hills and valleys so deep.
At last, pretty Polly, keep me away.
Oh, Willie, oh Willie, I'm afraid of your way.
Oh, Willie, oh Willie, I'm afraid of your way.
Your mind is too round, Willie, lead me astray.
Pretty Polly, pretty Polly, you're guessing about right.
Pretty Polly, pretty Polly, you're guessing about right.
I dug on your grave to third of last night.
They went on up his father and what did she see?
They went on up his father and what did she spy?
A dew-dug grave and a bay-line.
He threw her arms around him again for to weep.
He threw her arms around him again for to weep.
He threw her in the water where the well-drenched waves leap.
[Bbm] [Bb] [B]
[Bbm]
Key:
B
Bbm
Bb
C
Eb
B
Bbm
Bb
[Bb] I happened down in Norton, Virginia.
I was working on a coal machine at Pardee, Virginia [Bbm]
in 1927.
And I had an old banjo, and I played for country dances and coin chuckers and so forth and so on.
Just [C] country.
We didn't have any television or radios at that time.
[Eb] So there was a middle friend down there, and he asked me to go up to Norton Hotel and try out for
going to New York to make phonograph records.
And I said, well, there's no use for me going up there.
There's too many of these people that's doing nothing but making music for their living.
And so I haven't got my banjo down there.
He said, well, go up to the music store and borrow you one.
So I went up to the music store, and I asked a man I didn't know was interested, _ _ [B] Mr.
McClure.
And since I made these records, I had a letter from him.
He was getting very old now.
He lived in Louisiana, Kentucky.
But anyway, I went up there to try out, and there was about 150, 200 musicians up there.
And they had bands.
This little banjo he had, _ back at that time, you would order it for about $8.
But he had it for about $16.
And so I could make some chords on it, and I started to play two pieces on it for him.
Country [Bbm] Blues is one of them.
I mean, Hustle and Gamble, really is the old name of it.
But Country Blues, I learned it from Homer Crawford from Tennessee, and _ Down _ _ South Blues.
They come running around with contracts.
There's a whole gang around playing music over there.
And I said, why don't you sign them up?
And they come up, we signed a contract.
In three weeks, I was on my way to New York to make phonograph records.
So I put on just eight songs.
They offered to take four more songs that I had ready.
I didn't think it was paying [B] enough for it, so I just didn't put them on.
And [Em] after I played these records, [B]
these four records, eight songs, I got two contracts to come back to New York to make 24 songs.
Six with anybody that I wanted to have help me.
If I wanted a guitar player, or get a band, you know, six with a band.
So _ I made those records, and I had a little domestic trouble.
And so I worked in the mines, worked in the mines with a coal machine when I started making music.
And I laid down my music.
I didn't lay down much as King George did.
I [N] laid down my music, went back to the mines, and worked 41 years.
I'm a retired coal miner.
You're not a mine worker.
And so Mike Seeger happened to locate me and got me started back into making music.
And my fingers were just about as stupid as they ever was.
I never lost a finger.
And so I've been playing.
Some people like to hear the way I play, and some doesn't so much.
We can't expect everybody to like it, but I'm going to play you a little bit of Pretty Polly, the way I put it on record years [B] ago.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Pretty Polly, pretty Polly, oh yonder she stands.
With rings on her fingers, a lick in my hand.
Pretty Polly, pretty Polly, come take a walk with me.
Pretty Polly, pretty Polly, come take a walk with me.
Oh, when we get married, it's a pleasure to see.
Feel it over hills and valleys so big.
Feel it over hills and valleys so deep.
At last, pretty Polly, keep me away. _ _
_ Oh, Willie, oh Willie, I'm afraid of your way.
Oh, Willie, oh Willie, I'm afraid of your way.
Your mind is too round, Willie, lead me astray.
Pretty Polly, pretty Polly, you're guessing about right.
Pretty Polly, pretty Polly, you're guessing about right.
I dug on your grave to third of last night.
They went on up his father and what did she see?
They went on up his father and what did she spy?
A dew-dug grave and a bay-line. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
He threw her arms around him again for to weep.
He threw her arms around him again for to weep.
He threw her in the water where the well-drenched waves leap. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Bbm] _ _ [Bb] _ _ [B] _
_ _ _ _ _ _ _ [Bbm] _
I was working on a coal machine at Pardee, Virginia [Bbm]
in 1927.
And I had an old banjo, and I played for country dances and coin chuckers and so forth and so on.
Just [C] country.
We didn't have any television or radios at that time.
[Eb] So there was a middle friend down there, and he asked me to go up to Norton Hotel and try out for
going to New York to make phonograph records.
And I said, well, there's no use for me going up there.
There's too many of these people that's doing nothing but making music for their living.
And so I haven't got my banjo down there.
He said, well, go up to the music store and borrow you one.
So I went up to the music store, and I asked a man I didn't know was interested, _ _ [B] Mr.
McClure.
And since I made these records, I had a letter from him.
He was getting very old now.
He lived in Louisiana, Kentucky.
But anyway, I went up there to try out, and there was about 150, 200 musicians up there.
And they had bands.
This little banjo he had, _ back at that time, you would order it for about $8.
But he had it for about $16.
And so I could make some chords on it, and I started to play two pieces on it for him.
Country [Bbm] Blues is one of them.
I mean, Hustle and Gamble, really is the old name of it.
But Country Blues, I learned it from Homer Crawford from Tennessee, and _ Down _ _ South Blues.
They come running around with contracts.
There's a whole gang around playing music over there.
And I said, why don't you sign them up?
And they come up, we signed a contract.
In three weeks, I was on my way to New York to make phonograph records.
So I put on just eight songs.
They offered to take four more songs that I had ready.
I didn't think it was paying [B] enough for it, so I just didn't put them on.
And [Em] after I played these records, [B]
these four records, eight songs, I got two contracts to come back to New York to make 24 songs.
Six with anybody that I wanted to have help me.
If I wanted a guitar player, or get a band, you know, six with a band.
So _ I made those records, and I had a little domestic trouble.
And so I worked in the mines, worked in the mines with a coal machine when I started making music.
And I laid down my music.
I didn't lay down much as King George did.
I [N] laid down my music, went back to the mines, and worked 41 years.
I'm a retired coal miner.
You're not a mine worker.
And so Mike Seeger happened to locate me and got me started back into making music.
And my fingers were just about as stupid as they ever was.
I never lost a finger.
And so I've been playing.
Some people like to hear the way I play, and some doesn't so much.
We can't expect everybody to like it, but I'm going to play you a little bit of Pretty Polly, the way I put it on record years [B] ago.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Pretty Polly, pretty Polly, oh yonder she stands.
With rings on her fingers, a lick in my hand.
Pretty Polly, pretty Polly, come take a walk with me.
Pretty Polly, pretty Polly, come take a walk with me.
Oh, when we get married, it's a pleasure to see.
Feel it over hills and valleys so big.
Feel it over hills and valleys so deep.
At last, pretty Polly, keep me away. _ _
_ Oh, Willie, oh Willie, I'm afraid of your way.
Oh, Willie, oh Willie, I'm afraid of your way.
Your mind is too round, Willie, lead me astray.
Pretty Polly, pretty Polly, you're guessing about right.
Pretty Polly, pretty Polly, you're guessing about right.
I dug on your grave to third of last night.
They went on up his father and what did she see?
They went on up his father and what did she spy?
A dew-dug grave and a bay-line. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
He threw her arms around him again for to weep.
He threw her arms around him again for to weep.
He threw her in the water where the well-drenched waves leap. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Bbm] _ _ [Bb] _ _ [B] _
_ _ _ _ _ _ _ [Bbm] _