Chords for The Corries, Ronnie's Tribute to Roy

_ _ I obviously [Gb] feel a wee bit lost at the moment.
I'm very fortunate [C] in as much as [Am] we've known,
those of us close to Roy have known for some time that this was [E] inevitably going to happen
and to a certain extent it's allowed us to cushion the blow.
No one will find this a great shock, although they knew of his illness,
but we have managed to keep fairly quiet about his lack of progress.
_ I'd like to say something that my wife said to me.
Obviously in cases [G] like this you derive a great deal of comfort and help from your family,
and I'm no exception.
One thing that has helped me is something that Pat said to me,
that obviously it's right to mourn Roy's death,
but it's also right to maybe look at this programme as a celebration of his life,
which is a way I'm looking at it.
I think what we possibly did was able to catch or capture the eternal essence of Scottish music
and Scottishness, which certainly is [B] what I felt, and I know Roy.
I've given some [Gb] thought as to what I [G] think Roy might like as his epitaph,
and I'll go way back to the old days of Barney McKenna and the late Luke Kelly
and the early days of the Furies and that kind of thing.
I remember it was once said to Roy by Barney McKenna that Roy had educated fingers,
and I think he would love that to be his epitaph, which in fact is true.
He had very educated fingers with his abilities on the various instruments.
_ [N] If we did capture that kind of spirit of that age, then I'm delighted,
and I'm sure Roy would say the same,
not to say that what we've created is something unique.
Now we don't see ourselves, or we didn't see ourselves, as superstars or anything of that nature,
the big theatrical thing.
We were very homely.
We didn't analyse ourselves an awful lot, [G] because that's Bainby.
Henry Moore once was given a book by a psychologist, a French psychologist,
and I think he read the first two pages,
and it explained too deeply what his motivation was for doing the shapes he did.
And he thought, well, if I know why I do it, I may not want to do it.
And Roy and I were very much the same way.
Reason didn't come into it.
Obviously we had to follow certain patterns,
but motivation was mainly feeling,
feeling for the songs, for the country, for the music.
That was of prime importance.
[Ab] _ I think the people have given their judgment, [Gm] Roy as a songwriter,
in their choice of [N] Horror of Scotland as what I think is now obviously destined
to be the national anthem of Scotland.
And this whole situation is even more poignant inasmuch as
Roy hasn't had the chance to in fact bask in his own glory, if you like.
I know it would have been the proudest day of his life for him to be with me
when we recorded the Horror of [Eb] Scotland with Rugby Scot.
The Curries are now dead, along with Roy, because I will never take another partner.
I won't [G] get involved with groups or anything else.
I'd be crazy not to continue on my own, if for nothing else,
to make sure that Horror of Scotland does become the Scottish national anthem,
for Roy's sake.
And at the moment, obviously, I feel a wee bit lost, as anyone would.
But hopefully I'll [D] get over that, and on and on I will,
because you have to, haven't you?
And I will continue on my own.
[G] It's been a long, long time, not just the 27, 28 years professionally,
but before that as friends.
And the wrenches is, you know, undeniably quite strong.
But I would say it's been very worthwhile.
I keep saying to people when they say, you know,
they regret having done this or they regret having done that,
and you've got to just look at the position you're in currently
and look back and say that if you'd taken a different turning,
you might not in fact be in the position you happen to be now.
So who's to say that?
I don't think you should have regrets.
And I know Roy had none.
We were both very, very happy in what we were doing,
and we saw a future yet in it.
So who has the good fortune to be able to say that?
_ [Gb] Do you think there'll be a big improvement in the music up there?
Well, I think the harpists are going to have to look to the Lawrence.
_ _ [C] _ _ _ [Gm] _ _ [C] _
_ [G] _ _ _ [C] Hey, hey, hey, hey, [G] hey, hey, [C] hey, _ _ [Gm] [F] hey, _ _ _
_ _ [Bb] _ _ [C] _ hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey
[F] _ _ _ [G] _ _ [F] I _ thought I'd [Bb] lie for that [C] sea, I'd tame my God, my high and dear, but [F] I'm hurt and [C] undone, the unravelled, [G] the haily cranky oar.
[F] And ye had been, [Bb] but I ha [F]'en't been, ye had been, [C] say cranky oar, [F] and ye had seen, but I ha [Fm]'en't seen, on the brave, the [Gm] brave.
[G] _ _
[F] Old Fed [Gm] Carp fell away upon, [F] and Cliff was gone, [C] the cranky oar, and I had fed, and I had fled, on the brave, the [Gm] weary crank.
[F] _
_ _ [Bb] _ [F] Ye had been, say cranky oar, and ye had seen, but I ha [C]'en't seen, on the brave, the [G] _ [F] _ _
_ brave.
O'er Pima Chi, [Gm] one got your lie, [F] in the bush a yonder, [C] _ [F] ye'd never kiss in [Bb] Wadealoo, the combine [G] kiddie cranky [F] oar.
_ A snay shame, a snay shame, a snay shame, this [C] cranky oar, [F] a sue a slay, so [Bb] that o'er braids, and the deals a had [G] killie cranky.
[F] Ye had [Bb] been, but I [F] ha'en't been, ye had been, say [C] cranky [F] oar, and ye had seen, [Bb] but I ha'en't seen, [C] on the brave, the brave. _ _ _ _