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Ray charles a man and his soul - (hit the road jack)- book partition - piano chant

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Ray charles a man and his soul - (hit the road jack)- book partition - piano chant

  1. 1. Piano/ Vocal/ Chords £7’ . 0 eaturing. BOR OOIA ON MY MIND HIT THE ROAD JACK o I CAN’T STOP LOVING YOU o RUBY SWANEE RIVER ROCK o WHAT’D I SAY . ..and many more
  2. 2. l l 9 i H I. TPF0144 Volume 5 A MAN LEGENDARY PERFORMERS -II‘-'11. Kay €542/as BABY GRAND . ... ... ... ... .. ’. . ... ... ... ... ... ... ... ... ... .. . . 78 A BIT OF SOUL . ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 52 BORN TO LOSE . ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . . 46 COME LIVE WITH ME . ... ... ... ... ... ... ... ... ... ... ... ... .. . . 56 CRYING TIME . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. 48 DON’T CHANGE ON ME . ... ... ... ... ... ... ... ... ... ... ... ... .. 37 GEORGIA ON MY MIND . ... ... ... ... ... ... ... ... ... ... ... ... .. 7 HALLELUJAH I LOVE HER so . ... ... ... ... ... ... ... ... ... ... . . . 62 HIT THE ROAD JACK . ... ... ... ... ... ... ... ... ... ... ... ... ... . . 25 I CAN'T STOP LOVING YOU . ... ... ... ... ... ... ... ... ... ... ... . . 10 IN THE HEAT OF THENIGHT . ... ... ... ... ... ... ... ... ... ... .. . . 40 IT AIN'T GONNA wORRY MY MIND . ... ... ... ... ... ... ... ... .. . . 76 LET THE GOOD TIMES ROLL . ... ... ... ... ... ... ... ... ... ... . . . 54 LIVING FOR THE CITY . ... ... ... ... ... ... ... ... ... ... ... ... .. . . 59 NO ONE . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 50 ONE MINT JULEP . ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. 22 A PERFECT LOVE . ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 66 RUBY . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . 19 SHAKE YOUR TAlL FEATHERS . ... ... ... ... ... ... ... ... ... ... .. 71 SWANEE RIVER ROCK . ... ... ... ... ... ... ... ... ... ... ... ... . . . 16 TAKE THESE CHAINS FROM MY HEART . ... ... ... ... ... ... ... .. 30 THAT LUCKY OLD SUN . ... ... ... ... ... ... ... ... ... ... ... ... . . . 32 UNDERSTANDING (Is The Best Thing In The World) . ... ... ... ... . . 43 WHAT’D I SAY . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. 12 YOU ARE MY SUNSHINE . ... ... ... ... ... ... ... ... ... ... ... .. . . 28 YOU DON'T KNOW ME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 © 1986 Columbia Pictures Publications, 15800 N. W. 48th Avenue. Miami, Florida 33014 Art: Adriane Pirro / Editor. David C. Olsen I Production: Frank J. Hackinson I ISBN: o—a9a9e-500-5 WARNING: Any duplication, adaptation or arrangement oi the compositions contained in this Collection. without the written consent oi the owner. is an inlringernent oi Us. Copyright law and subject to the penalties and liabilities provided therein. AND HIS SOUL
  3. 3. *1 ll : --= - . f« us; -—. ;r-. .=; .s. =-~ ‘- In. ’. , , lIl|1F; flJl'yJrl| ,1 L‘:
  4. 4. T’ . .—. —.: _ RAY CHARLES has the distinction of being both a national treasure and an international phenomenon. He started out from nowhere; years later finds him a globe: entity. Hundreds of thousands of fingers have hit _ typewriter and word processor keyboards telling and retelling his story because it is uniquely American, an exemplar of what we like to think is the best in US and our way of life. The Ray Charles story is full Of paradoxes, part and parcel of the American Dream. Rags to riches. Triumph Overcoming tragedy. Light transcending darkness. The name Ray Charles is on a Star on Hollywood Bou| evard's Walk of Fame. His bronze bust is ' enshrined in the Playboy Hall of Fame. There is the bronze medallion Cast and presented to him by the French Republic On behalf of its people. There are the Halls of Fame: Rhythm & Blues. Jazz, Rock & Roll. There are the many gold records and the 10 Grammys. There is the blackness and the blindness. There was the extreme poverty; there was the segregated South into which he was born. it is music, Ray Charles’ Single driving force. that catapulted a poor, black. blind, orphaned teenager from there to here. ‘‘l was born with music inside me. That's the only explanation I know of he remarks in his autobiography “Music was one of my parts. .. .Like my blood. it was a force already with me when I arrived on the scene. it was a necessity for me — like food or water. “Music is nothing separate from me. it is me. .. .YOu'd have to remove the music surgica| Iy. ” Ray Charles Robinson was not born blind, only poor The first child of Aretha and Bailey Robinson was born in Albany. Ga, on September 23. 1930. He hit the road early, at about three months, when the Robinsons moved across the border to Greenville, FL. It was the height of the Depression years. And the Robinsons had started out poor. “You hear folks talking about being poor. ” Charler recounts. “Even compared to other blacks. .. we were on the bottom of the ladder looking up at everyone else. Nothing below Us except the ground. ” it took three years, starting when Flay Charles was four. for the country boy who loved to look at the blazing sun at its height. the boy who loved to try to catch lightning. the boy who loved to strike matches to see their fierce. brief glare. to travel the path from light to darkness.
  5. 5. But Ray Charles has almost seven years of sight memory —— colors, the things of backwoods country, and the face of the most important person in his early life: his mother, Aretha Robinson. St. Augustine's was the Florida state school for the deaf and blind. Ray Charles was accepted as a charity student. He learned to Braille and to type. He became a skilled basket weaver. He was allowed to develop his great gift of music. He discovered mathematics and its correlation to music. He learned to compose and arrange music in his head, telling out the parts, one by one. He remained at St. Augustine's until his mother's death when he set out “on the road again" for the first time as a struggling professional musician. The road to greatness was no picnic, proverbial or literal. in fact, while earning his dues around and about Florida, he almost starved at times, hanging out at various Musicians’ Locals, picking up gigs when he could. He began to build himself a solo act, imitating Nat “King" Cole. When he knew it was time to head on, he asked a friend to find him the farthest point from Florida on a map of the continental U. S. ' Seattle, WA. For Flay Charles, the turning point. In Seattle he became a minor celebrity in local clubs. There he met an even younger musician, Quincy Jones, whom he took under his wing, marking the beginning of an intertwining of two musical lifetimes. It was from Seattle that he went to Los Angeles to cut his first professional recording. And it was in Seattle, with Gossady McGee, that he formed the McSon Trio — Robin (son) and (Mc) Gee — in 1948, the first black group to have a sponsored TV show in the Pacific Northwest. Along the way he'd shortened his name in deference to the success of “Sugar" Ray Robinson. As Ray Charles he toured for about a year with Lowell Fulsom’s band. He formed a group and played with singer Ruth Brown. He played the Apollo, the landmark showcase for black talent. He aspired to Carnegie Hall, then as now epitomizing the pinnacle of artistic success. These were also the years that brought Charles the first band of his own, his first big hit record, ‘'I Got A Woman. " By the early 1960's Ray Charles had accomplished his dream. He’d come of age musically. He had become a great musician, posting musical milestones along his route. He'd made it to Carnegie Hall. The hit records ("Georgia, ” “Born to Lose") successively kept climbing to the top of the charts. He'd made his first triumphant European concert tour in 1960 (a feat which, except for 1965, he's repeated at least once a year ever since). . .. _. ... -_- . ... ._ _£—. :.u. _n~4n_. u._oj_‘_. Il
  6. 6. He’d treated himself to the formation of his first big band in 1961. In 1962, together with his long-time friend and personal manager, Joe Adams, he oversaw construction of his own office building and recording studio in Los Angeles, RPM international. He had taken virtually every form of popular music and broken through its boundaries with such awe- inspiring achievements as the LP’s "Genius Plus Soul Equals Jazz" and "Modern Sounds in Country 8. Western. ” Rhythm & blues (or "race music" as it had been called) became universally respectable through his efforts. Jazz found a mainstream audience it had never previously enjoyed. And country & western music began to chart an unexpected course to general acceptance, then worldwide popularity. Along the way Ray Charles was instrumental in the invention of rock & roll. His music. is still marked by the unpredictability that is the genius of consummate artistry. He is master of his soul, musically and personally. To this day he selects and produces his own recording material with utter disregard for trends. He doesn't find the time nor necessity to write as much as he once did, but what he gleans, “from the attic of my mind, " either old or new, is inevitably surprising, unique, “right. " In the past decade he has taken on George Gershwin ("Porgy and Bess"), Rodgers and Hammerstein ("Some Enchanted Evening, " "Oh What a Beautiful Morning") and “America the Beautiful" — all with resounding, if unexpected, success. Despite his intense reticence to expose the personal portion of his life to public scrutiny, Ray Charles is as outspoken about his opinions on matters of global interest as he is about matters of music. As a Southern black, segregation was Ray Charles dubious birthright. But racial tension and friction were not a part of his early rural years. At St. Augustine's the rules of segregation were strictly adhered to, both for the deaf and the blind children, a fact that even young Ray Charles found ironic. ‘‘I knew being blind was suddenly an aid. I never learned to stop at the skin. If I looked at a man or a woman, I wanted to see inside. Being distracted by shading or coloring is stupid. It gets in the way. It's something I just can't see. "
  7. 7. It was on the road in the 1950's that the realities of segregation, its evils, its injustices, even its ludicrous . moments, became apparent to Charles and his troupe of traveling musicians. It was a concert date in Augusta, GA that brought . y the issue of segregation vs. civil rights to a head for i Flay Charles. “A promoter insisted that a date we were about to play be segregated: the blacks upstairs and the whites downstairs. " . ;‘,50"'l told the promoter that I didn't mind 9:550 ‘ 4 segregation, except that he had it _, backwards. -;. After all, I was black and it only am)" made sense to have the black folk close to 5°‘ 435" me. .. Let him sue. I wasn't going to play. And I didn't. And he sued. And I lost. " This was the incident that propelled Ray Charles into an active role in the quest for racial justice, the development of social consciousness that led him to friendship with moral and financial support of the Rev. Martin Luther King, Jr. in the 1960's. early on, I decided that if I was going to shoot craps on anyone’s philosophy. I was putting my money on Martin Luther King, Jr. " or (5 4‘ 1-. ‘I. "I figured if I was going to pick up my cross C (‘and follow someone, it could only be Martin. " ‘B kf/ Despite his deep commitment to King and the cause of black Americans, Charles came to the logical conclusion that there was no place for him physically in the front lines: “First, I wouldn't have known when to duck when they started throwing broken bottles at my head. And I told that to Martin personally. “When he intentionally broke the law, he was hauled off to jail. And when you go to jail, you need money for lawyers, for legal research, for court fees, for food for the marchers. I saw that as my function; l helped raise money. " His awareness of racial injustice was not limited to the home front: The same years he fought the war against racial injustice in the American South found in Charles a growing awareness of racial injustice abroad, particularly the notorious policy of apartheid in South Africa. Uniformed anti-apartheid groups have occasionally questioned Charles’ 1981 concert appearances there. “It burns me up, " he retorts acidly, “because people should've checked my record on civil rights before they opened their mouths. "How can anyone tell me where I can play my music? I went to South Africa because people — black and white — wanted to hear me. And it was in my contracts that the blacks wouldn't be seated in the rear. " Charles’ manager, Joe Adams, himself black, further sets the record straight: ‘‘In the late 1970's, our office received a number of requests from several of the new Black Nations of South Africa for Ray Charles to come and perform. These requests were answered in 1981 when he made numerous appearances for these black nations. This tour represented the first totally integrated audiences in such major cities as Johannesburg and Capetown. He was approached to play Sun City for a huge fee. Instead he chose to play before totally black or integrated audiences with a fully integrated show. “As now, the orchestra consisted at the time of Asians, Latins, Caucasians, and blacks, all of whom performed together on the same stages, traveled together on the same buses, and stayed at the same hotels — an unheard of feat in South Africa and one that could have brought severe penalties to all concerned. " Modes to the point of mum about his humanitarian and charitable activities, Flay Charles makes an exception for the State of Israel and world Jewry. Among the many, the world leader Charles has most enjoyed meeting is David Ben-Gurion, with whom he had a conversation of many hours during a concert tour of Israel not long before Ben-Gurion's death. And the award among the hundreds he claims to have touched him most is the Beverly Hills Lodge of the B’nai Brith's tribute to him as its “Man of the Year" in 1976. “Even though I'm not Jewish, " he explains, “and even though I'm stingy with my bread, Israel is one of the few causes I feel good about supporting. "Blacks and Jews are hooked up and bound together by a common history of persecution. .. “If someone besides a black ever sings the real gut bucket blues, it'll be a Jew. We both know what it's like to be someone else's footstool. " It all comes back to music, so inseparable from Ray Charles. He keeps rolling along, doing what he does uniquely and wondrously well. Ray Charles is a national treasure and a global phenomenon for this obvious reason: He is a master of his soul; he is music; he is himself.
  8. 8. GEORGIA ON MY MIND MUSIC by HOAGY CARMICHAEL Words by STUART GORRELL bring mcm-o- ries Mcl. -o- dies Make me think 3 XML“ V£j'. jl—l— Ill‘: ',. .— ‘_r . '.n'4- Tjz ‘VT _ Georgia On My Mind - 3 - 1 Copyright © 1930 by PEER INTERNATIONAL CORPORATON Copyright renewed 1957 by PEER INTERNATIONAL CORPORATION, New York, N. Y. International Copyright Secured Made In U. S.A. All Rights Reserved
  9. 9. __. .., _,. ... _.. .._, ._. ... %.. ___. ___. ._ just an 15 through, sweet and clear- th: whole day you __ Comes as Y M N 0 old sweet song ltccps GEOR-GIA r . ¢:ir — ragga- I2 ‘I'_ kI'_. - _'— Georgia On My Mind - 3 - 2
  10. 10. w . . = . W 60% «M 1 F k H. . 4.. W‘ W , .m % F _ . . 5 W. “ fl w W wfi d 7 M W % Sull m peace- 1. F Dom % % , _. -. = | uv: I-= ~-I 1 T 111;. O E G u. moon-light through the . ?Ti. =.. ??-_= =': =.-H Oth- er eyes- smile “ten-dc! - ly; _ old sweet son kc: Georg‘: On My Mind - 3 - 3
  11. 11. I CAN’T STOP LOVING YOU By DON GIBSON Moderately Slow that we once heaIs. ___ a bro-ken since we've been a - but time has stood [Can't Stop Loving You « 2 - 1 Copyriggt © 1958 (Renewed 1985) ACUFF‘-ROSE/ OPRYLAND MUSIC, INC. Intenntioml pyright Secured Mule In Us A All Right: Resetved
  12. 12. 11 - some lone hve 've made want - ing you, want - ing you I Can’: Stop Loving You - 2 - 2
  13. 13. 12 WHAT’D I SAY Words and Music by RAY CHARLES Medium Bounce EZ-‘l__I-II: —I—l. --. _I-‘ : &/ Hey. ma- ma don't you treat me wrong. _ Come and love See the girl_ with the dia— mond ring, _ She knows how to Tell you ma-ma, tell your pa. _ I'm gon—na ship you back to IE1 IIII , hi. .. . nil ; [III Iinumuiiu all night long. (11. twist that thing”. at, Ar - kan - sas. GI. What’d I Say -4 -1 Copyright © I959 J. 1961 by PROGRESSIVE MUSIC PU_BLISI-IING CO. , INC. . _ All rights controlled by UNICI-IAPPELL MUSIC, INC. (Rightsong Music, Publisher) Used by Permission Intemstionsl Copyright Secured Made In U. S.A. All Klshts Reserved
  14. 14. Tell me WI-IAT'D I ‘DI SAY right now? Tell me WHAT know. Tell me WI-IAT'D I Ba -by. I wan ' I12. 5): V Tell me WHAT'D I SAY? Tell me WI-lAT'D I Yes. I SAY? know right now, I wan-na Hon- ey. na know. wan na Yes. I wan - SAY ? na know I wan- I m T A H W e m w T Yes. What’d I Say -4 - 2
  15. 15. . , ..W. _I_. ___. ,_. ____. ..__. ... _§_. ... ... ... ._. ... ... ... .._. ... _.__. ... ... ... .. . Sing me one more Make me feel so Ba - by. it's all Sing me one more Make me feel so Ba - by it's all Sing me one more Make me feel so it's all hey, hey, huh. ho, 010} ho, (ho) ho, (710) time. so good, all right. right now, one more feel so I/ ./) yyifl 8 Pa U hhtfl / i(/ i hey. hey, huh. Sing me one more Make me_ feel Ba - by. it's Sing me Make me What’d I Say - 4 ~ 3
  16. 16. Sing me one Make me thing. Keep a - twist- in‘ that m m M .1 m Come on, all We1l. I feel right . all feel I Well. . -. .Cjj_Zj1jlZv. ' ‘_—-_‘--U_U-U Tl“ Keep a — twist-in‘ that Well. I feel all that all Keep a -twist-in‘ Well. I feel A. ____ Make me feel all thing . all Keep a - twist- in‘ that Well. I feel WIiat’d I Say -4 -4
  17. 17. “ SWANEE RIVER ROCK Words and Music by RAY CHARLES Moderately jl“T—jIf—j: — “$1.35.? R‘? 9 R p % vac‘. -vi . sjsjrju-jj jvj--jujoj l—Ii—Il xj-jIj_j —u jj jl—'j— 1 I talk. in’ bout the riv-er, '41: RR R. ll. -wjm mum _ jjljjmsjjx jvj I2 R3 Do you know. .. Swanee River Rock - 3 - 1 Copyright© 1957 by PROGRESSIVE MUSIC PUBLISHING CO. , INC. All rights controlled by UNICHAPPELL MUSIC, INC. Used by Permission International Copyright Secured Made In U. S.A. All Rights Reserved
  18. 18. 17 folks stay- that’s wl'iere, __ that’s- a where the old that’s where, '1-"——_ Swanee River Rock — 3 - 2 TPF0144
  19. 19. __. __n_. ____. _._§_§__. 31 . .j Ij T R my = '_—. .' u _ _‘— a - tell - lng you, I from my folks back home. _ E I I . I _ jmljfljrl RI Tim 1: Dm7 IjI‘ j j T _ljIR| 'jlR. jjTjTj RR R _""‘‘2 '. ljj w 0 n k u 0 Va 0 D ' R11 so far, . m I 8 S u a C . e B Bdlm o o F dar ling, Swanee River Rock - 3 - 3
  20. 20. 19 Music by HEINZ ROEMHELD Words by MITCHELL PARISH Blues tempo W. h T - ways what you ___. E _. _. ___. __ . ____ al wake, T IIOI B All Rights Reserved may break when I Made In U. S.A. Ru - by, you're like _ Rub _ 3 _ 1 Copyright © I953 (Renewed 1981) MILLER MUSIC CORPORATION Y All Rights of MILLER MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP All Rights Controlled and Administered by CBS MILLER CATALOG INC. International Copyright Secured
  21. 21. you don’t know right Ru - by, you're like , SI 5 i I
  22. 22. thrill don't care, __ you cl: ~ . TI . ll‘ _Tj . . Ir . G) a . .m. . I
  23. 23. 22 ONE MINT JULEP Words and MUSIC by RUDOLPH TOOMBS Slow Rock -3.. T? u _ One Mint Julep - 3 - 1 Copyright © 1952 by HILL & RANGE SONGS, INC. Copyright renewed, assigned to UNICHAPPELL MUSIC, INC. (Rightsong Music, Publisher) Used by Permission International Copyright Secured Made In U. S.A. All Rights Reserved
  24. 24. ___ . ___ is # . - One Mint Julep - 3 - 2
  25. 25. To Optionclzrlslnterlude One Mint Julep - 3 - 3
  26. 26. HIT THE ROAD JACK Words and Music by PERCY MAYFIELD Moderate beat Hit the road Jack and don’t you come back no more, no more, no more, no more. Hit the r. .1"@u . II'Tv lj Q-Li-i j Woo! Wom-an, oh wom-an, don’t treat me so mean, You’re1he $1 flap 3* « ~ ""7 Hit The Road Jack—3 . 1 Scanned by Christophe L. Copyright © 1961 TANGERINE MUSIC CORP. 5/10/2003 International Copyright Secured Made In U. S.A. All Rights Reserved
  27. 27. 26 Ab 7 G7 Cm 0 e me % e mean — est old wom-an that I’ve ev - er Iii 5.. .: i- E. -—. _ ! £____. !££%i L v 4 0 4. Hit the road Jack and don’t you come back no more, no more, no more, no more. Hit the #11; : _. + 1-} ‘I o E ‘J ‘r . ; h mf ? 9', ii L. J J 3- % T 4- ; l_$ Cm Ab7 G7 A127 G7 @ ‘ o coda$ % fig? __; , 1? Eli T; *1 Jack and don’t you come back no more. Hit The Road Jack - 3 - 2
  28. 28. 27 C G7 C 5“ Ala? M 3}“ A127 : nIvj, =§“j —un_ - = ., -.. -1"-: —'-V‘ I I 52 , := . .. — _---= .-'- uav d » an n , - I ' > . V V: J, F 1 ba ~ by, lis-ten ba -by, don’t-a treat me this -a way_ Fr I’ll be back on my feet some day. Don’t ‘a care if you do ’causeit’s un-der-stood- you ain’t got no mon-ey you just ain't no good. _ Well, I A j I‘ . ;‘£: |. j1!I: ‘1,rI: ! guess if: you say so_. _j__ I’d have to pack my things- and go. (That’s right) Hit the ' Hit The Road Jack - 3 - 3
  29. 29. 28 YOU ARE MY SUNSHINE Words and Music by JIMMIE DAVIS and CHARLES MITCHELL Moderaro :1 __ an __ B. / I lay you real - ly IS The 0th - er I _. ‘hi’? ‘"8 C M d m night dear love once 01! I'll al - You told V54" 5% ways me 10 you 5C2! __" ___. jjjj = __. ... . T: . m m m __ __ _l a - wok: dear if you leave me now you've left me Bur But iiicy be __ — __ ¢ ' 2 . _. _ I 2% m. Ill say come 1 . ... — Wyn. .. . m v. .l0 . m . c m ID A S aflj an m. C n . .. W Y Illl"I(| .'l‘ by PEER INTERNATIONA enew EER IN , Copyright © 1940 L CORPORATION Copyright r ed. 1968 by P TERNATIONAL CORPORATION, New York, N. Y. International Copyright Secured Made In U. S.A. All Rights Reserved
  30. 30. 29 ___. ____E____ , ,___ ks ___ ___ ____. ___ __ M, _ . __ :1: MW , ._ . ... . ___ , = I I ___ . ___" ___ #1 _ I. .. _ ___ SW . ‘)0 z j m . ,. a _ = _. W . ___ Mmy y ___ . awm = _. . .. h s — , .. n = . z ___. ,m__ ___ . __ . , __ 2.. __ __ _. . __ __ ¢ / _ - ___ W _ = __ . __ o I __ . __ W _ . . r m . . __ . . _ . . I ___, ___: =__ ___ = . d H. . ___ __= _= . . _ . . __ R moan , Y . _ __. _. _ . __ ___ __ E _ ___ __. ___ ___; _. __ __ dwu , N / K ____ €, ____ __. ___ a ___ __ __. ... . ___ __ W __. _i m__ . , _ = - _= _.r _. _ W ____ _ 5 E M __ _ / O ___ V. _ __ . ._ .9. in -5,. .. - H. 3 L lax’. .. Please don't __, _.r __ u - W, ___. .. _. , _ ___ M ___ , .,, C M __ mm __ in __ IIU : :. lvw —— 7.1.. r a __ d W m k , ___ __ ,1 ___. z = R -= _ ___, - You'll ncv -er _ when skies are gray .1. .3 3. 5‘ You Are My Sunshine - 2 - 2 Il"ILvI ‘ , .1 :2, , ._~. _,, :.. .
  31. 31. 30 TAKE THESE CHAINS FROM MY HEART By FRED nose and L Moderately HY HEATH heart and set me long - er care for y faith in you is heart as you can ‘ you no long -er gone, heart-aches iin on. Take these ' heart and set me care for the that's beat - ing there, ' heart and set me Take These Chains From My Heart - 2 - 1 Copyright © 1952 (Renewed 1980) MILENE/ OPRYLAND MUSIC, INC. International Copyright Secured Made In U. S.A. All Rights Reserved
  32. 32. let me set eyes and Take these me heart and Take these care for m d e 5 U r. .4 h t. 8 V m long - er 3 Just You've grown too. Take these Take. these a new love ling - er find heart-aches Y - bod you love some faith in heart and set me heart and set me Take These Chaim From My Heart - 2 - 2
  33. 33. THAT LUCKY OLD SUN Words by (Iust Rolls Around Heaven All Day) Music by HAVEN GILLESPIE BEASLEY SMITH Moderately That Lucky Old Sun - 2 - 1 Copyright © 1949 (Renewed 1977) ROBBINS MUSIC CORPORATION All Rights of ROBBINS MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP All Ri ts Controlled and Administered by CBS ROBBINS CATALOG INC. International opyright Secured Made In U. S.A. All Rights Reserved
  34. 34. a - Cross in Tears all riv - er, pin - in’ , that me m round heav - en all II B Show a oll 1' can't you know a - bove, That Lucky Old Sun - 2 - 2 TPF0144
  35. 35. " YOU DON’T KNOW ME Words and Music by CINDY WALKER Bl EDDY ARNOLD Moderately slow .5 K 9| 3. ___. . ,. , jjr _ Cu s) r : T—TT __L .09 .09 say hel - lo, = ,_ . You give your hand to me and then you E ? ___ one could tell _ you think you V. . n A . d n A o. 3 8 n .1 . 4.. a C . D speak, __ my heart is know me well, but you don't know me . You Don‘t Know Me - 3 - 1 Copyright ©1955 by HILL & RANGE SONGS, INC. All rights controlled by UNICHAPPELL MUSIC, INC. (Rightsong Music, Publisher) Used by Permission International Copyright Secured Made In U. S.A. All Rights Reserved
  36. 36. kiss your lips: and longs know the one- wo dreams of you at night and longs to . _m_ __L a friend, . that'sall I've ev— er been, __ t you don't ‘hold you t'ight. _ T5 you I'm just nev-er knew for you. -3-2 C V 0 I. A .1 w n h C I as I I C h V. m h g A m m w 1. E u . M a as r I You Don‘t Know Me
  37. 37. the chance you might have loved me let my chance go by, {raid and shy, _____ __. __j i . __ __ : I watch you -bye. and then you say good _your hand to me You give who walk a - way_ be-side the luck -y guy. ___ To nev-er nev- er know__ the one _, ‘t know me. You give your , you don l'lO loves you so; You Don’t Know Me ~ 3 - 3
  38. 38. DON’T CHANGE ON ME Words and Music by _ EDDIE REEVES and n V Mediqm beat D JIMMY HOLIDAY "e G <F#bass) Em . . -1:-—— _, «—— * _. __= i-= r£ 3 E T ‘*5 1. Girl, you're my sun«— shine. you chase a — way the rain - drops, _ make it all- = —-= 5 - *‘, .a= .'r: . . . = D ‘ _ C 7 D9 G 3 (sllbus) , fi—§: :E I E3’ 1 m_ T } worth-wh. l1e Make all the pain stop, just likae a riv - er, Keep love_ rum —" I j" | Z‘ : 'a. ‘_§--3%; "' ‘-: m-— I . ——-1- -V. ‘ 1 IT I‘ . ' . -J- —r ' ' Em C D9 3 G ? :". =—§31!TT‘2$E‘Z}’-—-§ __ flow— in’ don't let our world stop, keep it go - 1n'. Oh, I A . ‘ j— 3 ¢. . ' : — F“ L 2 =5 4 — ' — —§ Iitl" 2 = " Jars % C G 9 i .4—'w-7 . -.- . ._ . _ .3 I: ; — film m , -' J: like you just the way you are, __ hon-ey, Don't Change On Me, .__ Don't I ‘I’ —j -311 .3 . . . . T E: -I>'= g== === -'3 ui , _.__m= j._. , ’ j r , . 1 .7- ‘ D7 V G, — , _‘ c ‘z . ... 551 _ = =££'_E-—E Nyjfijmjj Change On me, _ please Don't Change- On Me. __ Glrl, you're my luck—y star, _ hon-ey, Don't _. —' ' V —‘-‘Z—Z—l ', . jjjl Don‘t Change On Me - 3 - 1 Copyr' t © 1969, 1971 UNITED ARTISTS MUSIC CO. , INC. and RACER MUSIC, INC. All Rights 0 UNITED ARTISTS MUSIC CO. . INC. Assigned to CBS CATALOGUE PARTNERSHIP All Rights Administered by CBS U CATALOG INC. International Copyright Secured Made In U. S.A. All Rights Reserved
  39. 39. 38 Don't Change On Me. __ e. M Don't Change On Verse and peace of mind. _ I was liv — in‘ in dark-ness, ey. Don't Change On like you just the way you are, _ Don’t Change On Me - 3 - 2
  40. 40. 39 ‘ £ we'll walk to~ _ __ __y _. . n_ ___. , ___. I — j Me. __ Girl, you're my luck-y Don't Change On for — ev - er no sun-shine . “'jjj" — Don't Change On Me, _ but if we should meet there, and then Me¢_ please Don't Cha. nge_ On want to know you_ D7 2 — lnimj m Change On . _ 4 . . . an . . . D- “— / I‘/ .I D. S.andfade Don’t Change On Me - 3 - 3
  41. 41. 40 IN THE HEAT OF THE NIGHT Words by Music by MARILYN and ALAN BERGMAN QUINCY JONES Slow Gospel (182 feel) o .4.: .:. _.. .,.1.. .1._. ._. __: ..: :.. ... :.. _.: ... .3:. I'm feel-ing moth—er—less some- In The Heat sweat creep-in’ ‘cross my Copyright ©1967 UNITED ARTISTS MUSIC CO. , INC. cold 8 In The Heat seems like In The Heat Ot"I'he Night - 3 - 1 All Rights of UNITED ARTISTS MUSIC CO. , INC. Assigned to CBS CATALOGUE PARTNERSHIP All Rights Controlled and Administered by CBS U CATALOG INC. International Copyright Secured Made In U. S.A. All Rights Reserved
  42. 42. 4| W _n_- __ = - __. ___ ___ ___ r Ain't a wo— man- yet been 2 -f come all mean and bright. (In The Heat Of The Night) % — m knows how to make the morn-in’ In The Heat 0fThe Night -3 -2 ()1
  43. 43. _hZj : _ . ___. cl when I got trou-ble_ wall to must be an end— in‘ K‘: N . _ _. . K V‘ I And‘ it- '11 be all right I_ (In The Heat Of The Nighgl In The Heat OfThe Night - 3 - 3
  44. 44. 43 __ _m_ =2 ___ ___ ___ ___. Words and Music by JIMMY HOLIDAY and RAY CHARLES Be-tween_ wo-man or a man .0. n a ‘In S _ r e d — n u = . ol = - ___ _____r when you _= 5 =5 . . E UNDERSTANDING (Is The Best Thing In The World) is the best thing in theworId__ Blues Tempo Un-def-stand-ing It's al -ways bet - ter Understanding - 3 - 1 Copyright © 1967 UNART MUSIC CORPORATION All Rights of UNART MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP All Rights Controlled and Administered by CBS UNART CATALOG INC. International Copyright Secured Made In U. S.A. All Rights Reserved
  45. 45. floundering is that ’ of my friends What I mean don’t man instance, what a understanding. a well known fact, word it's meaning catch her, thing going because of the other hand; my woman, hurt him. Me and see don 't Understanding - 3 - 2
  46. 46. fact, You see. I understand that if I don't go out and catch her, I'm not gain’ to call her a bunch of bad names simple If I did work, pay the bills and the rent on time and buy her pretty clothes to wear. like the rest ofyo’ll might, No, Iain'tgoin’to say a word. I'm gain’ on down to the No matter how much a woman loves me she's gonna go hardwarestore, get me a double ax handle, come back home and square off, find her somebody somewhere that will. That's what I'm trying to tell you. immediately go upside her head; She'll understand that Understanding — 3 - 3
  47. 47. 46 BORN TO LOSE Words and Music by TED DAF FAN Moderately __w. : 4 /1 __c , _. .. W lie You were all All my has on — Iy brought me pain; to face that emp - ty dawn; 1: be _ . ... o6 _= and now I'm los - in’ and now I’m 103 - in’ LOSE E S w m m O B BORN T0 Born'l'oLose-2-1 Copyright © 1943 by PEER INTERNATIONAL CORPORATION Copyright renewed 1971 by PEER INTERNATIONAL CORPORATION, New York, N. Y. International Copyright Secured Made In U. S.A. All Rights Reserved
  48. 48. it seems so hard to to dream of hap - pi near; ness, BORN TO LOSE, 9 use al-ways have you on - ly lone- li - through; blllfl; F __ = ._ __ r ___ __ . , ___ ____V . I _e. ___ . m __ __. O __ ___ z . _ _. . __ _ . . __e ___? ! - 4. ___, =__ . E S . O L m N R O B There’s no now you say we’re al - ways been so BornToLosc-2-2
  49. 49. ., _.__. _§. __. _.= ..n_. .n. _e. _+_= _.. ... .__. .,, , _. . . Words and Music by BUCK OWENS I can And that I can tell, by the Well, my love for you could j . 1.. 3.. : All Rights Reserved 5. j_____ j__ the heart g-row . , INC. , BEACHAVEN MUSIC CORP. and you're gon - na Made In U. S.A. 3 yr. 8: __ __ __ efi ___ your m m Kain, 48 a _ that ab - sence way look In rain, to make love Copyright ©1964 by TREE PUBLISHING CO. , INC. , BEACHAVEN MUSIC CORP. and JAREST MUSIC COMPANY 8 Music Square West, Nashville, TN 37203 This arrangement Copyright ©1985 by TREE PUBLISHING C0 JAREST MUSIC COMPANY Used by Permission International Copyright Secured . .—_. ... : . . _ .5“ u . /‘ll Crying Time - 2 - 1
  50. 50. 49 , you say that you found way it's hap-pened ev-'r-y time be - comes the m e h s t e s h '4 O. - n n T And as sure ' timewill start, when you walk out ing Tip“. .. __ _. , ___ 2. It's cgy - dred years some-one you loved__ Cry- in . . , H (/ ’/ ‘lI. 1 h u Crying Time - 2 - 2 TPF0144
  51. 51. “___l____ _", __fm _. __, ____ Words and Music by DOC POMUS and MORT SHUMAN ___. ..“ NO ONE kissed me All those dreams that I dreamed would come d m . m M . W Moderately slow — er I10 0119 _ » ___. _, ., m__ T__. 50 . . w 5. No One - 2 - 1 Copyright© 1961 EFSEE MUSIC, INC. All rights controlled by UNICHAPPELL MUSIC, INC. (Rightsong Music, Publisher) Used by Permission International Copyright Secured Made In U. S.A. All Rights Reserved
  52. 52. 51 ev - er hurt me e H 0 0 N whole life through ___“. No0nc-2-2
  53. 53. A BIT OF SOUL Words and MUSIC by RAY CHARLES Slow Blues G . _ _ . _ _ j. .. = __ _. . __ __ _ Iii M M M P. ’ 3/ R H. gm higher 2nd time (optional) Am7 Gdim I-G ' u’ -: ."‘-- All Rights Reserved ABitOfSoul-2-1 Copyright © 1961, 1963 by PROGRESSIVE MUSIC PUBLISHING CO. , INC. All rights controlled by UNICHAPPELI. MUSIC, INC. (Rightsong Music, Publisher) Used by Permission Internntionnl Copyright Secured Mnde In U. S.A.
  54. 54. 53 C ZZj- 2Z“—_jM— j-__--jj-Z Z ? I'1i__-:1 mm‘ T1‘- I_-— l! T— H-"A-“J I I ll‘ QT’ -j-'74_! :I. - 2‘-TIIZPTLI: IZ’ ZTj—T‘IZl. L__ m—L; l:j_ _- —— —'— I ’ _T'-= IIll-—. .1-‘--“I2-2-———&. I'—‘-‘I-SI” nI'jj_j_jjj1.jjI-1--——Z—j1jjj. :lj1 ABitOfSou1-2-2
  55. 55. LET THE GOOD TIMES ROLL Words and Music by , LEONARD LEE Medium bounce Refrain’ n 53 F 2.13 I ljtjnj jjsj -.1-In: Irzrrnjjs-I—sj-jujjuti noun‘-I: Ilxlljl —"I"'lj_ nuvj: -jrmuumajm » jnjxjsjjjnjj 1:1 Ij: —|"1I"n‘, jjIlv1Ijljl1jI—&js11oP— ' 1. Come on, ba -by, LET THE GOOD TIMES ROLL, _ 2. Come on, ba- by, gon - na have a ball, __ Come on, ba-by, let me thrill your soul; _ Put our trou-bles up a - gainst the wall; . 1' mm j jj : m .1 IT jsjnj ism . . -jjnljrjjnujujnmjjvm nuv ‘= mum: j v mm j j T | j:—kv1C jjtjsjjjj vj11—: Q jmvjvjjjjjj on, - ba - by, LET THE GOOD TIMES ROLL, _ , mjsjjsjt jsjjjjwj . j'j't, mjujtoj-jI12u3jjnj: :l"—l"Ii‘ 1jjlQ1IjIjI—1l11jl11Iu- : I'. .'-'. j—Ij. .j*. ntzqfti; Jju: -CA1-rmIj1:u: --Ij 27,711 Max: ., n1'w-. jr1-, -I. - G , £i. ,.: ~1_$jjs. m' ‘ 114:: 1:‘. - 1.Come on, ba- by, let me hold you tight, _ Tell me ev -’ry-thing is right to - night; _ ' 2.Come on, ba - by, let us paint the town, __ Don't let noth-in’ ev - er bring us down; .: /0111.’ 3.Lets go, ba - by, on a cra - zy f. ling, __ Love can be. .. such a swing-in‘ thing; - K —-zjrvjn : E 2i: hjuj—jj: :=:1jnju—. —t-—= ":'jj: ———- . .-jj__'-_. j.‘j: .r: -._j —"—)A, .—.7‘u_"“)-*5 Let The Good Times Roll - 2 - 1 Copyright © 1956, 1959, 1960 ATLANTIC MUSIC CORP. and UNART MUSIC CORPORATION All Rights of UNART MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP All Rights Administered by CBS UNART CATALOG INC. and ATLANTIC MUSIC CORP. International Copyright Secured Made In U. S.A. All Rights Reserved 1 I
  56. 56. 2'- A123 A A ju:1—— Ate I I: -jejnjiznjnj jnj nj. ._. _I‘-—-ju:1- Z jun l 11.. Ijj3uj:1:-Ijijrjjjvjjljmmnmjayj. uj": -~‘: q=: j_En —, 3,. -1A1- ‘ LA : —I‘I: ,_, _» " ,1‘ jgjj-jjjjjzrjjs jiahajjl Come on, _ba- by, LET THE GOOD TIMES ROI_L, _. $'—jjj-—-2:--—-—A. _—n—: u—-: - .1.-Ajjjjjjjznj . I . . ' _ _ W --fl: -:1-I —_ 7.-—I n| rA. A.j. 'n= ‘»1j‘>’—Ajj—. ; A r a a , , 11.. -4’-pm; jg‘; u I you re close, fiijjjjjjj I. :.’jjjjAAjjj'rTI"H Ajytiujijejjljj Il. .-A AVj Z1ITr, jig: 2_‘: _1 l“ T ' A . jIT' A. " you're my good luck charm. ’ I dig you the most. j —— —'-in jjju ALA Ajjl | Z$Zf‘1 xtzrljrjjczjujsjjzsjjli’ =03 . . ' Come on, _ ba-by, LET THE GOOD TIMES ROI. L,_ W jjréjjr: n—3AL2js—v—jm-jjjjjjjjsj . v/ A ‘x' 9 ~ ALA, 3"’? A _ ~. « ~ 5 -‘ Let me Good Times Roll - 2 . 2
  57. 57. Words and MUSIC by BOUDLEAUX and FELICE BRYANT . I A C Ar . T— 5.. COME LIVE WITH ME Moderately Live With Me __ Come 56 Come Live With Me Come Live With Me - 3 - 1 Copyright ©1973 by HOUSE OF BRYANT PUBLICATIONS International Copyright Secured Made In US A All Rights Reserved
  58. 58. .____. Be mate to me, . ._. . __n -1 b _ m 0 C 3 m 3 8 F. d r u 0 Let ___. e.r Eel shield your head - prom — ise Come Live With Me - 3 - 2
  59. 59. 58 3|. __1V .2! Live With Me A ___ ___. ___. __. ___ Come in __ . . __ __. ,.. r __ __A_ A. .. Come Live With Me - 3 - 3
  60. 60. 59 LIVING FOR THE CITY Words and Music by STEVIE WONDER .1! " Mode rate boy is born. A_A___ Hard-time, Mis - sis— sip His fa — therworks___AA days for four — teen ho . ,. ’ IRA-fa: -yjj: j-jjsj 2.111 1, AA wj-I 5,-1.1 A -r. ..—u. : -l'1 Id P = '. ‘ sur-round—ed by four walls that ain't so pret-ty. _.. _ His par-ents give and you can bet he bare - ly makes a dol-Iar. him His mo -ther goes__, to scrub T . =. LT . ,_, _ Living For The City - 3 - 1 Copyright© 1973 bé. |0BETE MUSIC CO. , INC. and BLACK BULL MUSIC, INC. This arrangement Copyright 1973 by JOBETE MUSIC CO. , INC. and BLACK BULL MUSIC, INC. International Copyright Secured Made In U. S.A. All Rights Reserved
  61. 61. - . I i. -.. ... . to keep him strong and you'd best be—Iieve Us pen — ny, 60 'A‘. =Pl; I34-T'— . the right ~di — rec — tio 1)’ a _t_. A__ . “AAA _. _.u S? Interlude Living For The City - 3 - 2
  62. 62. 61 Repeat and Fade for the ct -ty. 3. His sister's black but she is sho'nuff pretty. Her skirt is short but Lord her legs are sturdy to walk to school. She's got to get up early, her clothes are old; but never are they dirty. Living just enough, just enough for the city. 4. Her brother's smart, he's got more sense than many. His patience's long but soon he won't have any. To find a job Is like a haystack needle, 'cause where he lives they don't Use colored people. Living just enough, just enough for the city. Living For The City -3 -3
  63. 63. 62 HALLELUJAH I LOVE HER so Words and MUSIC by RAY CHARLES Moderately E. r. L . _. sun comes up, ._ ‘fore Ev -'ry morn-ing lives next door. my fav — ‘rite cup. _That's why I know, - in He brings my cof-fee LI ___ . ___: 7 Hallelujah I Love Her So - 4 - 1 Copyright © 1956 & 1959 by PROGRESSIVE MUSIC PUBLISHING CO. , INC. All rights controlled by UNICHAPPELL MUSIC, INC. (Rjghtsong Music, Publisher) Used by Permission International Copyright Secured Made In U. S.A. All Rights Reserved
  64. 64. 63 ___. .. __ un- _. _. 51 m . ___ h. ___ I __ ___ H __, W. e S .1. — ) __ 7 __ R _. «. ___. ..v =5 W __ I if When I'm in trou-ble and I have no fl'iends, _ know, _ . . _____ S7 A e — A L. I so. - That's why he smile at them and say Hallejuah I Love Her So ~ 4 ~ 2
  65. 65. call him time I count from one to all a - lone, _ -ning when the ___. In the eve ‘Hake hooking» corned Hallelujah I Love Her So - 4 - 3
  66. 66. 65 He tells me“Ba'-by, ev-'ry- / Dad-dy) He kiss - es all :1gm: '_. In. -ifs why 1 thing's ‘' : ____ ____. ____ ____ _= _ ___. . TA IT I .1 . .MN I u . ..- EA j___ A _ : _= _. = just love him / her) I Hallelujah I Love Her So - 4 — 4 TPF0144
  67. 67. 66 A PERFECT LOVE Words and Music by PAUL WILLIAMS to think I still might change fool e - nough We've been ° let you down and still I've e m . n.. of place but right on A Perfect Love - 5 - I Copyrig, ht© I971 by ALMO MUSIC CORP. This arrangement Copyright ©1971 by ALMO MUSIC CORP. International Copyright Secured Made In U. S.A. All Rights Reserved
  68. 68. lov-ers and we've thought ‘Cause like m m e m S V. a W oth - er things I'd al- you op- ened up my eyes child who's learnedthe ways of life A Perfect Love - 5 ~ 2
  69. 69. 'cause when the - bows -bows all to you chas - ing rain I .1 -ing wrong with rain that the words to make me and whis -' per-ing "There's noth love that's al -ways new world out - side was sure you could find on to me A Perfect Love - 5 - 3
  70. 70. m and found A mem-ber me as one who came I mor-row you should find that I'm no long- er by your side then it was A Perfect Love - 5 - 4 TPF0144
  71. 71. to know that you'd help me just and it would time for me to go I AKA kI'— l. — j'j-' j'j' A and found t0 one who came as mem -ber me 05 n uni. 3 Per - fect Love to help A Perfect Love - 5 - 5
  72. 72. 71 SHAKE YOUR TAIL FEATHERS Words and Music by RUDY LOVE, PEGGY LOVE, DIANNE LOVE, DENISE LOVE, GERALD LOVE, TYREE JUDY 8! ZEBEDED PHILLIPS Boogie rock __ a - bout the fel - la you been danc - in’ with_ all bot Shake Your Tail Feathers - 5 - 1 Copyright © 1976, I980 BLACKWOOD MUSIC INC. and JAMF MUSIC CORP. Thin u-rengernent Copyright © 1980 IILACKWOOD MUSIC INC. and JAMF MUSIC CORP. Administered by BLACKWOOD MUSIC INC. International Copyright Secured Made In U. S.A. All Right: Reserved
  73. 73. But the But there's noth—in’ to the beat a-now, ba- Shake Your Tail Feathers - 5 - 2 I
  74. 74. m, __. _ ___. ___. m h S shake . m.e M m V unh hunh G Shake shake Shake Your Tail Feathers - 5 - 3 S2
  75. 75. Here we go 74 >>>>>>> see you shakeyour tail - feath- er, see you shake your tail - feath-er, Come on- Shake Your Tail Feathers - 5 - 4
  76. 76. see you shakeyour tail - feath-er. me see you shake your tail - feath-er, Come on_. and let Come on, come on, baby. Come on. baby, Yeah. come on babe. Do the twist, Do the frog, Do the swim, boogaloo? Ow, C. t C t .3 W t C . .m o D R. n 0 ml 0 m y n o -D C . m Repeat for vocal improvisations Then D. S. and fadcis Do the mashed potato, what about the m. m m t u o . m M In W W And do the bird. Hey watusi, Shake Your Tail Feathers - 5 - 5
  77. 77. 76 IT AIN’T GONNA WORRY MY MIND By RICHARD LEIGH . I’s te same old sto - ry bled times. the preach-er tells me these are they all hand me; It ain't gon - na wor — ry, tough -er scrapes than this one. I know the Lord's been in ain't gon-na wor - ry, But It Ar'n’t Gonna Worry My Mind - 2 - 1 Copyright © 1983, 1985 APRIL MUSIC INC. & LION-HEARTED MUSIC _ Administered by APRIL MUSIC INC. International Copyright Secured Made In U. S.A. All Rights Reserved
  78. 78. It Ain't Gonna Worry My Mind - 2 - 2 Verse 2: Got no money in my pocket; You don’t get rich working over—time. But long as you can ‘t buy springtime in Virginia, It ain't gonna worry, it ain't gonna worry, It ain't gonna worry my mind. Verse 3: So go on wishin', go on prayin’. Go on sayin’, l’| I hit better times. But how in the world could she love me any better? It ain't gonna worry, it ain't gonna worry, It ain't gonna worry my mind.
  79. 79. 78 BABY GRAND Words and Music by BILLY JOEL dark and cold, _ 5 . ..u n 6 h W some - one I reach out Baby Grand - 6 - 1 Copyright © 1935 - JOEL SONGS Administered by BLACKWOOD MUSIC INC. lmenutionnl Copyright Secured Mule In U. S.A. All Rights Reserved
  80. 80. 79 7._§ v Grns E“ Iv lone l’m when When I'm blue, II 3- who can. 6 n 0 W. . n 0 e h 5|. VS 6 h 5 comes through; I1 i LIB EB Baby Grand - 6 - 2
  81. 81. 80 5., am , A7-9 ” g % E ___v_ -‘I I II! grand 5 gen - na stand by me. :: ., ._- S : 1*‘ - § . Bndge Dm Dm<#7) Dm7 . ~ — I: ’ -: ' jj-I - - . "':5._'= '-E‘_= ..4 -— . - say no one’s gon —na play. .. this on the ra -di -0; P I‘ ' : I. : -. -‘-is - - 1 _ Dm( 157) W E W cm rv . .- _= ~E' . .—'_ 4. 7 ‘f—I-I‘-W . —II -m I! ‘-lj _ . _ . HI ‘I’ m: xvi-' : Q -guy ’ ' 3. V V V they said_ mel - an - chol - y blues were dead and gone. :.__. _ U 2 . 2 . . , .: . . 932% - — jj . rl can But__ on-ly songs like these, _ Baby Grand - 6 - 3
  82. 82. hold keep_ those mem-o -ries Bvabassa------. J strayed in; I played in. from those dives Baby Grand - 6 - 4
  83. 83. 82 Ems)/ all one - night e home with Ev- er since Baby Grand - 6 - 5
  84. 84. I. .. Baby Grand - 6 - 6 Verse 2: In my time, I've wandered everywhere Around this world; she would always be there, Any day, any hour; All it takes is the power in my hands. This baby grand's been good to me. Verse 3: ‘ I've had friends, but they slipped away. I've had fame, but it doesn't sta . I've made fortunes, spent them ast enough. As for women, they don’t last with just one man; But Baby Grand Wlll stand by me. (To Bridge: )
  85. 85. Billy Joel with Ray Charles . '.. ; (fr. Mickey Gilley with Ray Charles PHOTO: Sam Emerson pholu crer| iI- RUN KEITH
  86. 86. — LEGENDARY PERFORMERS , Kay €54‘: /2.4 A MAN AND HIS souL Volume 5 In January, 1986, Ray Charles yes one ofthe original inductees into The Rock & Roll Hall of Fame, in tribute to his versatility as a musician and to the lasting imprint he has made on all forms of popular music in the last 30 years. * at it Ray Charles was one ofthe participants in the historic 1985 “WeAre the World” recording to benefit USA for Africa. ‘k * ‘k Ray Charles was honored in 1983 bythe NAACP’s Image Awards as recipient of its “Hall of Fame Award. ” He also received an award that year at the NAACP’s televised ceremonies for Best R & B Male Vocalist. ‘k * * “ To date Ray Charles has won a total of 10 Grammy Awards, the latest in 1975. akkir In recognition of both his artistic and humanitarian achievements, Ray Charles received a Star on Hollywood BouIevard's "Walk of Fame" December 16, 1981. * * * In 1963 Ray Charles starred in his first feature film, “Ballad in Blue. " In 1980 he was a featured star of “The Blues Brothers Movie. " l i * * * In the 1970's Charles received many major awards, among them: -I — The Golden Plate Award was presented to him in 1975 by the American I Academy of Achievement for his outstanding contributions. ! — The National Association for Sickle Cell Disease's first “Man of Distinction" A ' Award was presented to him, also in 1975. l l 1 l — The Bicentennial Year brought Charles the honor of being named “Man of I the Year" by the Beverly Hills Lodge of the B'nai B’rith. He was inducted into " the Songwriters’ Hall of Fame. ‘E 1 — In 1979 Ray Charles’ classic rendition of “Georgia On My Mind" was I ' invited to be present at the State Capitol to sing its first performance. ,‘__ approved as the Official Song of the State of Georgia, and Charles was . — He has long been Honorary Life Chairman of The Phil“-'" ° °"'" ‘-'*" *‘ I ‘_. _ Fame, and was inducted into the P/ ayboyMagazinel ' has topped that magazine's readers’ poll in several vib vo usik ‘ most recently in 1976 as Best Jazz Male Vocalist. 78 _ 794 Charles, Ray _ _ Ray Charles - a man and n1s s 83 sider -_ 270623581 , H, - _ _Hj L 1 Columbia Pictures Publications « , .»t. t.i. r-/ l(r-: vr, £{, ,,. ,m, TPF0144 / $9.95 . ‘ -" ‘ 27U52358l IrhLISKtIllllllUllESBitil. '

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