Chords for T is for... June Tabor
Tempo:
134.9 bpm
Chords used:
G
C
Bb
Dm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
T is for June Table.
She was somebody who was always a constant on John's programmes.
He loved her voice, both solo and with the Oyster Band.
And she's still singing and she still has a beautiful voice.
So we've chosen June Table.
When I was 15 I wanted to be Françoise Hardy
and I sang Tous les Garçons et les Filles,
the Anglo-French Society,
Bun Fight at the Pump Rooms in Leamington Spa.
I think that is probably almost the first time I sang anything in public.
When I was a young man I parried me pack
And I lived the free life of the rovers
I was taken to a folk club when I was about 16 and a half, I think.
What I heard just in some strange way spoke to me.
Then in 1915 the country
I became friends with Maddy Pryor of Steel Ice Band
and we did a bit of singing [Dm] together, just for [G] fun.
And it was at this time when I also [C] discovered
the Eric Bogle song the band played, [Dm] Waltz of Matilda.
[C] And they sent me away to the [G] war
It's about a man who [C] is severely wounded at Gallipoli
and how he comes home as [D] a paraplegic.
I keep thinking of it now, you know.
And you see the dreadfully wounded men coming [F] out of Afghanistan.
How do they cope with life afterwards?
Well, it's all in that song.
Things don't [C] change.
And the band played Waltz of Matilda
Maddy Pryor and Tim Hart were supposed to be doing a John Peel session
and Maddy had a sore throat and she couldn't do it.
And so Tim rang me up and said,
would you come down and do the session with me?
I wanted to sing the band [Fm] played Waltz of Matilda.
I really wanted to [G] sing it.
And the young people ask, what are [F] they marching [G] for?
And I ask myself the same question.
And that was how I met John Peel and how I first appeared on the John Peel sessions
before I'd ever made an album.
And then I got together with Oyster Band.
We did an album [C] together called Freedom and Rain.
[G]
We were then summoned into the BBC to do a session.
He said, oh, come on, do something interesting.
We've had enough of those [D] old folk songs.
Do [C] some covers.
So I said, well, I know.
[D] [C]
[Bb] [Dm] In the studio, we put [Bb] together versions of [Dm] All Along the Watchtower,
[Am] Wheels on [Bb] Fire and White [A] Rabbit.
[Bb] [G] [C]
[Bb] [G] It [A] was just such [Bb] fun.
And it was all John's fault [A] that we ever did in the first place.
[Bb] [G] [Dm] When I [Gm] got to be 40, I finally plunged into music full time
and I've been singing as my [G] main occupation ever since.
In this isolation, I'd love you to know
There's the wonders of admiration
Your quiet face has taken
And your beauty will haunt me forever
[Bb] I'm working mostly again with Oyster Band.
We did [C] the [Gm] second album, Ragged [Bb] Kingdom,
and that just won lots of awards at the Folk Awards.
Best album, best traditional track, best [Bb] band.
And I got Best Singer again.
I got it in 2004 and just won it this year in 2012.
So old people do win things sometimes.
I don't want your beavers
Nor your fine silken hose
I'm not such a fool as to marry for clothes
As you will have noticed, it's been quite a long time
since we had a war, and in my quite old-fashioned way,
I'm not terrifically keen on the idea of having another one,
hence the playing of this record, which is by June Tate.
But [B] I'll leave my own true love and marry with you
He [D] and his championing of my music meant an enormous amount to me.
It honestly did change my career immensely.
And to think that the family still remembered [F] how he thought about it
was really almost beyond imagining.
And I am so pleased and proud to be included
in this remarkable selection of music.
He's up there listening, you know.
That's good.
[G] Come waltz in the tune of
[C] me
She was somebody who was always a constant on John's programmes.
He loved her voice, both solo and with the Oyster Band.
And she's still singing and she still has a beautiful voice.
So we've chosen June Table.
When I was 15 I wanted to be Françoise Hardy
and I sang Tous les Garçons et les Filles,
the Anglo-French Society,
Bun Fight at the Pump Rooms in Leamington Spa.
I think that is probably almost the first time I sang anything in public.
When I was a young man I parried me pack
And I lived the free life of the rovers
I was taken to a folk club when I was about 16 and a half, I think.
What I heard just in some strange way spoke to me.
Then in 1915 the country
I became friends with Maddy Pryor of Steel Ice Band
and we did a bit of singing [Dm] together, just for [G] fun.
And it was at this time when I also [C] discovered
the Eric Bogle song the band played, [Dm] Waltz of Matilda.
[C] And they sent me away to the [G] war
It's about a man who [C] is severely wounded at Gallipoli
and how he comes home as [D] a paraplegic.
I keep thinking of it now, you know.
And you see the dreadfully wounded men coming [F] out of Afghanistan.
How do they cope with life afterwards?
Well, it's all in that song.
Things don't [C] change.
And the band played Waltz of Matilda
Maddy Pryor and Tim Hart were supposed to be doing a John Peel session
and Maddy had a sore throat and she couldn't do it.
And so Tim rang me up and said,
would you come down and do the session with me?
I wanted to sing the band [Fm] played Waltz of Matilda.
I really wanted to [G] sing it.
And the young people ask, what are [F] they marching [G] for?
And I ask myself the same question.
And that was how I met John Peel and how I first appeared on the John Peel sessions
before I'd ever made an album.
And then I got together with Oyster Band.
We did an album [C] together called Freedom and Rain.
[G]
We were then summoned into the BBC to do a session.
He said, oh, come on, do something interesting.
We've had enough of those [D] old folk songs.
Do [C] some covers.
So I said, well, I know.
[D] [C]
[Bb] [Dm] In the studio, we put [Bb] together versions of [Dm] All Along the Watchtower,
[Am] Wheels on [Bb] Fire and White [A] Rabbit.
[Bb] [G] [C]
[Bb] [G] It [A] was just such [Bb] fun.
And it was all John's fault [A] that we ever did in the first place.
[Bb] [G] [Dm] When I [Gm] got to be 40, I finally plunged into music full time
and I've been singing as my [G] main occupation ever since.
In this isolation, I'd love you to know
There's the wonders of admiration
Your quiet face has taken
And your beauty will haunt me forever
[Bb] I'm working mostly again with Oyster Band.
We did [C] the [Gm] second album, Ragged [Bb] Kingdom,
and that just won lots of awards at the Folk Awards.
Best album, best traditional track, best [Bb] band.
And I got Best Singer again.
I got it in 2004 and just won it this year in 2012.
So old people do win things sometimes.
I don't want your beavers
Nor your fine silken hose
I'm not such a fool as to marry for clothes
As you will have noticed, it's been quite a long time
since we had a war, and in my quite old-fashioned way,
I'm not terrifically keen on the idea of having another one,
hence the playing of this record, which is by June Tate.
But [B] I'll leave my own true love and marry with you
He [D] and his championing of my music meant an enormous amount to me.
It honestly did change my career immensely.
And to think that the family still remembered [F] how he thought about it
was really almost beyond imagining.
And I am so pleased and proud to be included
in this remarkable selection of music.
He's up there listening, you know.
That's good.
[G] Come waltz in the tune of
[C] me
Key:
G
C
Bb
Dm
D
G
C
Bb
T is for June Table. _ _
She was somebody who was always a constant on John's programmes.
He loved her voice, both solo and with the Oyster Band.
And _ _ _ _ she's still singing and she still has a beautiful voice.
So we've chosen June Table.
_ _ _ When I was 15 I wanted to be Françoise Hardy
and I sang Tous les Garçons et les Filles,
the Anglo-French Society,
_ Bun Fight at the Pump Rooms in Leamington Spa.
I think that is probably _ almost the first time I sang anything in public. _
When I was a young man I parried me pack
And I lived the free life of the rovers
I was taken to a folk club when I was about 16 and a half, I think.
What I heard just in some strange way spoke to me.
Then in _ _ 1915 the country_
I became friends with Maddy Pryor of Steel Ice Band
and we did a bit of singing [Dm] together, just for [G] fun.
_ And it was at this time when I also [C] discovered
the Eric Bogle song the band played, [Dm] Waltz of Matilda.
[C] And they sent me away to the [G] war _ _ _
It's about a man who _ _ [C] is severely wounded at Gallipoli
and how he comes home as [D] a paraplegic.
I keep thinking of it now, you know.
_ _ And you see the _ _ dreadfully wounded men coming [F] out of Afghanistan.
_ _ How do they cope with life afterwards?
Well, it's all in that song.
Things don't [C] change.
And the band _ played Waltz of Matilda _ _ _ _
_ Maddy Pryor and Tim Hart were supposed to be doing _ a John Peel session _ _
and Maddy had a sore throat and she couldn't do it.
And so Tim rang me up and said,
would you come down and do the session with me?
_ I wanted to sing the band [Fm] played Waltz of Matilda.
I really wanted to [G] sing it.
And the young people ask, what are [F] they marching [G] for? _
And I ask myself the same question.
_ And that was how I met John Peel and how I first appeared on the John Peel sessions
before I'd ever made an album.
_ _ And then I got together with Oyster Band.
We did an album [C] together called Freedom and Rain.
[G] _ _ _ _ _
_ _ _ _ _ _ _
We were then summoned into _ _ _ the BBC to do a session.
_ He said, _ oh, come on, do something interesting.
We've had enough of those [D] old folk songs.
Do [C] some covers.
So I said, well, I know.
_ _ [D] _ _ [C] _ _
[Bb] _ _ _ [Dm] In the studio, we put [Bb] together versions of [Dm] All Along the Watchtower,
[Am] Wheels on [Bb] Fire and White [A] Rabbit. _ _ _ _
_ [Bb] _ _ [G] _ _ _ [C] _ _
[Bb] _ _ [G] It [A] was just such [Bb] fun.
And it was all John's fault [A] that we ever did in the first place.
[Bb] _ _ _ [G] _ _ [Dm] When I [Gm] got to be 40, I finally plunged into music full time
and I've been _ singing _ as my [G] main occupation ever since. _
_ _ _ _ _ In this _ isolation, _ _ I'd love you to know
_ There's the _ wonders of _ admiration _ _
Your quiet _ face has taken
_ And your _ beauty will haunt me _ forever _ _ _ _ _ _ _
_ _ _ [Bb] _ I'm working mostly again with Oyster Band.
We did [C] the [Gm] second album, Ragged [Bb] Kingdom,
and that just won lots of awards at the Folk Awards.
Best album, best traditional track, best [Bb] band.
And I got _ Best Singer again.
I got it in 2004 and just won it this year in _ 2012.
So old people do win things sometimes.
_ I _ don't want your beavers
Nor your fine _ silken hose _ _ _
I'm not such a fool as to marry for clothes
As you will have noticed, it's been quite a long time
since we had a war, and in my quite old-fashioned way,
I'm not terrifically keen on the idea of having another one,
hence the playing of this record, which is by June Tate.
But [B] I'll leave my own true love and marry with you
_ _ He [D] and his _ championing of my music meant an enormous amount to me.
It honestly did change _ _ my _ _ _ career immensely. _ _ _
_ And to think that the family still remembered [F] how he thought about it
_ was really almost beyond imagining.
And I am so pleased and proud to be included
in this remarkable _ selection of music.
_ _ He's up there listening, you know.
That's good.
_ [G] _ Come waltz in the tune of _ _
[C] _ _ me _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
She was somebody who was always a constant on John's programmes.
He loved her voice, both solo and with the Oyster Band.
And _ _ _ _ she's still singing and she still has a beautiful voice.
So we've chosen June Table.
_ _ _ When I was 15 I wanted to be Françoise Hardy
and I sang Tous les Garçons et les Filles,
the Anglo-French Society,
_ Bun Fight at the Pump Rooms in Leamington Spa.
I think that is probably _ almost the first time I sang anything in public. _
When I was a young man I parried me pack
And I lived the free life of the rovers
I was taken to a folk club when I was about 16 and a half, I think.
What I heard just in some strange way spoke to me.
Then in _ _ 1915 the country_
I became friends with Maddy Pryor of Steel Ice Band
and we did a bit of singing [Dm] together, just for [G] fun.
_ And it was at this time when I also [C] discovered
the Eric Bogle song the band played, [Dm] Waltz of Matilda.
[C] And they sent me away to the [G] war _ _ _
It's about a man who _ _ [C] is severely wounded at Gallipoli
and how he comes home as [D] a paraplegic.
I keep thinking of it now, you know.
_ _ And you see the _ _ dreadfully wounded men coming [F] out of Afghanistan.
_ _ How do they cope with life afterwards?
Well, it's all in that song.
Things don't [C] change.
And the band _ played Waltz of Matilda _ _ _ _
_ Maddy Pryor and Tim Hart were supposed to be doing _ a John Peel session _ _
and Maddy had a sore throat and she couldn't do it.
And so Tim rang me up and said,
would you come down and do the session with me?
_ I wanted to sing the band [Fm] played Waltz of Matilda.
I really wanted to [G] sing it.
And the young people ask, what are [F] they marching [G] for? _
And I ask myself the same question.
_ And that was how I met John Peel and how I first appeared on the John Peel sessions
before I'd ever made an album.
_ _ And then I got together with Oyster Band.
We did an album [C] together called Freedom and Rain.
[G] _ _ _ _ _
_ _ _ _ _ _ _
We were then summoned into _ _ _ the BBC to do a session.
_ He said, _ oh, come on, do something interesting.
We've had enough of those [D] old folk songs.
Do [C] some covers.
So I said, well, I know.
_ _ [D] _ _ [C] _ _
[Bb] _ _ _ [Dm] In the studio, we put [Bb] together versions of [Dm] All Along the Watchtower,
[Am] Wheels on [Bb] Fire and White [A] Rabbit. _ _ _ _
_ [Bb] _ _ [G] _ _ _ [C] _ _
[Bb] _ _ [G] It [A] was just such [Bb] fun.
And it was all John's fault [A] that we ever did in the first place.
[Bb] _ _ _ [G] _ _ [Dm] When I [Gm] got to be 40, I finally plunged into music full time
and I've been _ singing _ as my [G] main occupation ever since. _
_ _ _ _ _ In this _ isolation, _ _ I'd love you to know
_ There's the _ wonders of _ admiration _ _
Your quiet _ face has taken
_ And your _ beauty will haunt me _ forever _ _ _ _ _ _ _
_ _ _ [Bb] _ I'm working mostly again with Oyster Band.
We did [C] the [Gm] second album, Ragged [Bb] Kingdom,
and that just won lots of awards at the Folk Awards.
Best album, best traditional track, best [Bb] band.
And I got _ Best Singer again.
I got it in 2004 and just won it this year in _ 2012.
So old people do win things sometimes.
_ I _ don't want your beavers
Nor your fine _ silken hose _ _ _
I'm not such a fool as to marry for clothes
As you will have noticed, it's been quite a long time
since we had a war, and in my quite old-fashioned way,
I'm not terrifically keen on the idea of having another one,
hence the playing of this record, which is by June Tate.
But [B] I'll leave my own true love and marry with you
_ _ He [D] and his _ championing of my music meant an enormous amount to me.
It honestly did change _ _ my _ _ _ career immensely. _ _ _
_ And to think that the family still remembered [F] how he thought about it
_ was really almost beyond imagining.
And I am so pleased and proud to be included
in this remarkable _ selection of music.
_ _ He's up there listening, you know.
That's good.
_ [G] _ Come waltz in the tune of _ _
[C] _ _ me _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _