Chords for Waylon Jennings - "Waymore's Blues" ((Live))
Tempo:
116.8 bpm
Chords used:
B
E
F#
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B] Well, I woke up this morning, it was drizzling rain.
Around the curb come a passenger train.
I heard somebody yodel and a hobo moan.
But Jimmy, he's dead, he's been a long time gone, been a long [E] time gone.
Been a long time gone.
If you want to get to heaven, got a D.I..E. You got to put on your coat and T.I.E. If you want to get to Rabbit Island, L.O.G. You got to make a commotion like a D.O..G. Like a [E] D.O.G. D.O. [B].G. Well, I got a good woman, what's the matter with me? What makes me want to love every woman I see? I was trifling when I met her, now I'm trifling again. And every woman she sees look like a place I came in. Look like a [E] place I came in. Poetic last. [B] You'll need a lot of poetic license for that. I got my name painted on my shirt. I ain't no ordinary dude. I don't have to work, I don't have [E] to work. [B] Cel Silverstein told me I wrote a true American folk song. Is that right? I sang it to him as a joke, because it didn't make no sense. This one? Yeah. Is that right? That's true. You didn't think it made any sense when you wrote it? It don't make any sense. It does, but it don't. I [E] had to really dig to get a story out of it. Yeah. [B] I'll tell you about it someday. That's true. What it's about, it's a Well, the first part's about Jimmy Rogers, you know. Right. The second part, I don't know what's about, you know. You could say it [F#] had a concept to it, you know. [B] [F] Honey, that's not the way you do it. You [F#] don't say that it had the concept after you finished it. No kidding. Now you really are mistaken here. [B] Honey, you call it a concept after you put it together and you dig a story out of it. When you write something like that, you better say something. You make up a story first and then you make a concept. Hit me up, okay? No. It's a good song, all right? [N]
Around the curb come a passenger train.
I heard somebody yodel and a hobo moan.
But Jimmy, he's dead, he's been a long time gone, been a long [E] time gone.
Been a long time gone.
If you want to get to heaven, got a D.I..E. You got to put on your coat and T.I.E. If you want to get to Rabbit Island, L.O.G. You got to make a commotion like a D.O..G. Like a [E] D.O.G. D.O. [B].G. Well, I got a good woman, what's the matter with me? What makes me want to love every woman I see? I was trifling when I met her, now I'm trifling again. And every woman she sees look like a place I came in. Look like a [E] place I came in. Poetic last. [B] You'll need a lot of poetic license for that. I got my name painted on my shirt. I ain't no ordinary dude. I don't have to work, I don't have [E] to work. [B] Cel Silverstein told me I wrote a true American folk song. Is that right? I sang it to him as a joke, because it didn't make no sense. This one? Yeah. Is that right? That's true. You didn't think it made any sense when you wrote it? It don't make any sense. It does, but it don't. I [E] had to really dig to get a story out of it. Yeah. [B] I'll tell you about it someday. That's true. What it's about, it's a Well, the first part's about Jimmy Rogers, you know. Right. The second part, I don't know what's about, you know. You could say it [F#] had a concept to it, you know. [B] [F] Honey, that's not the way you do it. You [F#] don't say that it had the concept after you finished it. No kidding. Now you really are mistaken here. [B] Honey, you call it a concept after you put it together and you dig a story out of it. When you write something like that, you better say something. You make up a story first and then you make a concept. Hit me up, okay? No. It's a good song, all right? [N]
Key:
B
E
F#
F
B
E
F#
F
_ _ _ _ _ _ _ _
_ _ _ [B] Well, I woke up this morning, it was drizzling rain.
Around the curb come a passenger train.
I heard somebody yodel and a hobo moan.
But Jimmy, he's dead, he's been a long time gone, been a long [E] time gone. _ _ _ _ _
_ _ _ _ Been a long _ _ _ _ _ _ _ _ _ _
_ _ time gone.
If you want to get to heaven, got a D.I..E. You got to put on your coat and T.I.E. If you want to get to Rabbit Island, L.O.G. You got to make a commotion like a D.O..G. Like a [E] D.O.G. _ _ _ _ _ _ _ _ _ D.O. [B].G. _ _ _ _ _ _ _ _ _ _
_ Well, I got a good woman, what's the matter with me? What makes me want to love every woman I see? I was trifling when I met her, now I'm trifling again. And every woman she sees look like a place I came in. Look like a [E] place I came in. _ _ _ Poetic last. _ _ _ _ [B] You'll need a lot of poetic license for that. _ _ _ _ _ _ _ _
I got my name painted on my shirt. I ain't no ordinary dude. I don't have to work, I don't have [E] to work. _ _ _ _ _ _ _ _ _ _ _ [B] Cel Silverstein told me I wrote a true American folk song. Is that right? I sang it to him as a joke, because it didn't make no sense. This one? Yeah. Is that right? That's true. You didn't think it made any sense when you wrote it? It don't make any sense. It does, but it don't. I [E] had to really dig to get a story out of it. Yeah. [B] I'll tell you about it someday. That's true. _ What it's about, it's a_ Well, the first part's about Jimmy Rogers, you know. Right. The second part, I don't know what's about, you know. You could say it [F#] had a concept to it, you know. [B] _ _ [F] Honey, that's not the way you do it. You [F#] don't say that it had the concept after you finished it. No kidding. Now you really are mistaken here. [B] _ Honey, you call it a concept after you put it together and you dig a story out of it. When you write something like that, you better say something. You make up a story first and then you make a concept. Hit me up, okay? No. It's a good song, all right? [N] _
_ _ _ [B] Well, I woke up this morning, it was drizzling rain.
Around the curb come a passenger train.
I heard somebody yodel and a hobo moan.
But Jimmy, he's dead, he's been a long time gone, been a long [E] time gone. _ _ _ _ _
_ _ _ _ Been a long _ _ _ _ _ _ _ _ _ _
_ _ time gone.
If you want to get to heaven, got a D.I..E. You got to put on your coat and T.I.E. If you want to get to Rabbit Island, L.O.G. You got to make a commotion like a D.O..G. Like a [E] D.O.G. _ _ _ _ _ _ _ _ _ D.O. [B].G. _ _ _ _ _ _ _ _ _ _
_ Well, I got a good woman, what's the matter with me? What makes me want to love every woman I see? I was trifling when I met her, now I'm trifling again. And every woman she sees look like a place I came in. Look like a [E] place I came in. _ _ _ Poetic last. _ _ _ _ [B] You'll need a lot of poetic license for that. _ _ _ _ _ _ _ _
I got my name painted on my shirt. I ain't no ordinary dude. I don't have to work, I don't have [E] to work. _ _ _ _ _ _ _ _ _ _ _ [B] Cel Silverstein told me I wrote a true American folk song. Is that right? I sang it to him as a joke, because it didn't make no sense. This one? Yeah. Is that right? That's true. You didn't think it made any sense when you wrote it? It don't make any sense. It does, but it don't. I [E] had to really dig to get a story out of it. Yeah. [B] I'll tell you about it someday. That's true. _ What it's about, it's a_ Well, the first part's about Jimmy Rogers, you know. Right. The second part, I don't know what's about, you know. You could say it [F#] had a concept to it, you know. [B] _ _ [F] Honey, that's not the way you do it. You [F#] don't say that it had the concept after you finished it. No kidding. Now you really are mistaken here. [B] _ Honey, you call it a concept after you put it together and you dig a story out of it. When you write something like that, you better say something. You make up a story first and then you make a concept. Hit me up, okay? No. It's a good song, all right? [N] _