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Ukulele ADAPTEDRALPH McTELL SONGBOOK“Songs for Four Strings”John Timney

ContentsRalph McTell . 3Chords and Notes . 4After Rain . 5An Irish Blessing . 6Around the Wild Cape Horn . 7Barges . 9Bright and Beautiful Things .10Choufleur .11Cold on the Stones .12Conundrum of Time .13Dreams of You .14Easter Lilies (Påske Liljer) .15El Progresso .16The Enemy Within (The Band) .17England 1914 .18Factory Girl .19The Ferryman .20First And Last Man.22First Song .23From Clare To Here .24Genesis 1 Verse 20 .25Geordie’s On The Road Again .26The Girl From The Hiring Fair .27Grande Affaire .29Gypsy.30Hands of Joseph .31Harry (Don’t Go).32Heron Song .33I’m Not A Rock .34Interest On The Loan .35In The Dreamtime .36Jesus Wept .37Kew Gardens .39Let Me Down Easy .40Lunar Lullaby .41Maginot Waltz.42Michael In The Garden.43Mr Connaughton .44

Nanna’s Song .45Nettle Wine .46Now This Has Started .47Peppers and Tomatoes .48Pity The Boy.50Run Johnny Run.51The Setting .53Song For Martin .54Spiral Staircase .55Standing Down In New York Town .56Stranger To The Seasons .57Streets of London .58Summer Girls.59Summer Lightning .60Sweet Mystery .61Take It Easy .62Tequila Sunset .63Terminus.64This Time Of Night .65Weather The Storm .66When I was A Cowboy .67You Well-Meaning Brought Me Here .68Zig Zag Line .69Zimmerman Blues .70

Ralph McTellRalph is of the great storytellers, and he is now celebrating almost 50 years on the road.Known for his virtuoso guitar style, he is primarily a prolific and gifted songwriter. With astyle that invites you into a unique world, he weaves a narrative that is both significantand poignant.Ralph made his debut in 1968 with the album ‘Eight Frames a Second’ and in 1974 therelease of ‘Streets of London’ earned him an Ivor Novello Award. In 1993, Nanci Griffithrecorded ‘From Clare to Here’ on her Grammy Award winning album and in 2002 he waspresented with the prestigious Lifetime Achievement Award at the BBC Radio 2 Folk Awards.Adapted from’ve included a lot of songs in here; I think that they are all worth the effort. It is NOT adefinitive McTell Songbook for the simple reason that not all of his work makes the journeyfrom guitar or piano to ukulele with ease. “Sylvia”, for example, is a beautiful song thatneeds a piano. “Naomi” is left out of this book for the same reason.In many of the songs I’ve just put chords in for the first verse. If you know the songs youwill be able to pick out where the chord changes are.I hope you like them.John TimneySource material:Internet (various sites, none of which were all that “correct”)“The Songs of Ralph McTell” (Essex Music International Ltd, 1976)“Songs for Six* Strings” (Leola Music and R M Brown Associates, 2002)“Time’s Poems: The Song Lyrics of Ralph McTell” (Leola Music, 2005)There is no intended infringement of copyright in this work. It was created purely as an educationalresource to bring the works of someone I believe to be a national treasure to a wider, four-stringed,audience. This work is not to be sold.

Chords and NotesRalph McTell is a brilliant guitarist. He has been a personal hero since I was ateenager. The first song I ever heard him play was “First Song” (appropriately) in 1972.I tried for years to emulate his style and failed. As I have aged, my guitar-playing haslessened and it is almost all ukulele for me now – and even further from true McTell.Ralph rarely strums a guitar and he has at his disposal six metal strings that allow BIGchords. It must be said that Ralph’s music doesn’t always “work” on a ukulele. Heoften uses chords that require five or six notes. I came across F#7sus4addG forexample. Not even remotely possible on a four string instrument. He also finger-picksa lot of the time which doesn’t always work well on a uke either. He also plays several(e.g. “Naomi”) on the piano and that doesn’t work on a uke either. Consequently, thereare a number of changes here. It can’t be helped, but I’m still sorry in a way.McTell has a baritone voice so these songs may need to be transposed up a notch ortwo for female voices. That’s what capos are for (although I realise that a capo on asoprano or concert uke isn’t a really viable proposition).The two most common tunings of ukuleles are GCEA (for soprano,concert and most tenor ukes) and DGBE (for the remainder of thetenor ukes and the baritone ukes). Chords are described here in fournumbers where the number represents a finger in a fret. So, 2010 ([F]on the GCEA tuned uke and [C] on a DGBE tuned uke) tells you tocreate the shape at the right. The problems that arise with a re-entrant4th string are just ignored here. So a chord like [D/F#] doesn’t reallyhave an F# “bass” note in there with a re-entrant string.On nearly every page there is a listing of the chords in both tunings. I hope that helps.Where the lyrics nearly reach the bottom of the page there was not enough space toput the table in so it is on the next page. You will find that I use [G5] and [D5] a lot.There is a big advantage in using 5th chords; [G5] can “cover” for [G] or [Gm] – thereis no 3rd to complicate things. Similarly, [D5] can be [D] or [Dm].You will regularly come across an exclamation mark after a chord. This is a “splang”or broken chord or “slow strum”.Sometimes in Ralph’s songs you might see chords which are exactly equivalent (inukulele terms). For example [D6] and [Bm7] both contain the same four notes (D, F#,A and B) and, at best, are inversions of each other. Where equivalent chords appearin the same song I have reduced the complication by just listing one of them. This isall a little context dependent but I hope that you get the idea.JAT

After RainIntro:[Dadd9]{verse}[Dadd9]Come on [G/F#]now and [A]dry [G]your [D]eyes[A7]Time [G]will [D]ease [G]a[G/F#]way the [A7]pain[Dadd9]Clouds dis[G/F#]perse and [A]show [G]the [D]clear skiesThe [A7]earth [G]smells [D]swee[G]ter [G/F#][A7]after [D]rain.{verse}There has never been a delugeThat could wash out every stain.In cracked pavements weeds find refugeEarth smells sweeter after rain.{bridge}The [A7]world [G]is [D]vast [G]but [A]pain's [G]ho[D]rizon[A7]Wrapped [A]a[D]round [G]us [G/F#]makes it [A7]small[D]If you [Dm]break out [Gm]from of this [G]prison[Bm6]Depending [G]where the [Em7] teardrops [A7] fall{verse}Out of barrenness renewalHope is just a tiny grainIrony is often cruelBut the earth smells sweeter after rain.{verse}Debris left where floods recededWas surely bound to cause you painJust ignore all that's not neededEarth smells sweeter after rain.{bridge}Sadness is a poor heart teacherYou're not alone we're all the sameRunning down the road to meet herPalace Gate or Factory Lane{verse}Joy is not to one confinedNeither then is grief and painWater only draws the lineAnd earth smells sweeter after rain.After rain. 231[Gm]02315333[Bm6]12220132[Em7]02022030

An Irish Blessing{verse}[D]How my life is [A]changing [D]nowMy [G]young ones [D]start to [D/F#]leave their [A]home[D]I wish that their un[A]certain [D]roadWas [G]one that [D]I could [A]tread with [D]themAs when I walked them [G#dim7]home from [D]schoolOr caught them safely [A7sus4]when they [A]fellAnd [D]chased the demons [A]from their [D]dreams[Bm]With [G]jokes and [D]stories [A]I could [D]tell.{Chorus}[D]May the road rise with youAnd the wind be at your [G]backGo [D]raibh an [A]ghaoth I [D]goonai ar do [G]chulGo n-[D]eiri and [A]bothar [D]leat.{verse}And now it’s me who has to learnTo let you make your way aloneTo try not to direct each turnYour triumphs and mistakes your ownYour path will different be to mineTricks of my trade no use to youTo others and yourself be kindYour suffering will hurt me tooChorus{verse}I hear the calling of your heartI see in your eyes that you knowTo cherish is the easy partThe hardest task is letting goSo let me watch you to the cornerLet me watch you down the streetMay my love be your protectorAnd walk with you till next we 0[G#dim7]1212DGBE02322220000342322424

Around the Wild Cape HornIntro:[G][C][G][Em][D][G][G]I was born a land-bound [C]farm [G]boy and [Em]in New [D]England* [C]raised,The rippling of the [G]wheat fields, well they [Em]were my ocean [D]waves.Each [G]cry and call, each [C]rise and [G]fall, of the crows a[D]cross the [C]cornWere seagulls [G]swooping a[D]cross the [G]bow, of a[C]Ship I dreamed I’d [Em]sail a[D]round Cape [G]Horn.My [G]deck was the dusty [C]farm [G]yard, my [Em]mast was the [D]telegraph [C]poleAnd the windblown choir in the [G]telephone wireWas the [Em]call