Bill Reid's
Fewer Sorrows Music
Folk, Blues, Kids, Country -- Originals & Covers -- and Some for Longhairs


Lyrics Page
(Reid compositions only, some chord progressions transposed or simplified)

All songs are copyright (c) 1969-2013 by William H. Reid (BMI) (older copyrights renewed).
For LICENSING to artists & publishers, or bookings, email us HERE. Bill Reid is a BMI artist/composer.
To listen to samples of these songs, and others (including the Nashville sessions and the new CD), in MP3 format, click HERE.

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Talkin' Junebug Blues (SAMPLE this latest version of this song!)
Copyright © 2008, 2010, 2012 William H. Reid (BMI) – reid@fewersorrowsmusic.com
(Talking blues; playful)


A Julian Beever pavement chalk work (found years after I wrote the song).

Junebug sittin' on the side of the road
Just lookin' up at a great big toad. (The)
Toad saw Junebug leanin' on his knee and said,
"Who's that Junebug botherin' me?"

(Spoken) "It is I, June Elizabeth Peterson,
Of Baton Rouge, Louisiana,
Where I live with my parents."

"I don't understand," said the great big toad, "(That's an)
Awful long name, an awful big load for a
Tiny little girl so small, I see, who can
Rest her-self by leanin' on my knee.

(Spoken) "Like a bug.
And cute as a bug's ear.
But oddly small, nonetheless."

"I believe, kind toad, you misperceive the situation. (My)
Size is part of my imagination. I can
Make you big or I can make me small, just to
Try things out and experience it all.

(Spoken) "To see, the view from your knee,
And enhance the creativi-tee,
Of the various perspectives one may assume."

June stayed there beside the toady knee,
Perusin' toady feet and examinin' a flea. (She)
Really didn't like it when he opened up his mouth, (and)
When he licked his eyeballs, it surely grossed her out.

(Spoken) It was unexpected.
It was entirely foreign to her.
So she picked him up and put him in a jar
For show-and-tell.

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Thursday Afternoon Arrival (Lullaby for Skipper Leigh) (SAMPLE this song!)
Copyright (c) 2012 William H. Reid (BMI) – reid@fewersorrowsmusic.com
(softly, moderato)

You just arrived on Thursday afternoon,
To start a special future all your own.
To meet us and to join your sister June
And show us all your tiny, perfect face.

The little family that you now complete --
Not quite enough; it needed one more girl --
Began with Mom and Dad and June so sweet.
And now you're here, all set to take your place.

We know you'll laugh and smile, and sometimes cry,
And do the things that all good babies do
As days and weeks and years go quickly by,
And all your futures come and go too soon.

We'll see you in your home before too long.
The days go slowly 'till we're there with you.
And I'll just sit and write this little song
For you who came on Thursday afternoon.


That's All Right, Jack (SAMPLE this song!)
Copyright (c) 2012 William H. Reid (BMI) – reid@fewersorrowsmusic.com
(easy rap/hiphop)

(spoken, with attitude)

When you're a baby and you're cute
You get away with a lot.
So here comes Jack,
To take our spot.

He cries in the night, and everybody says
"What's the matter, Jack? Everything all right?"

Spits up his milk, and everybody says
"What's the trouble, Jack? Tummyache? Aww."

They coo when you smile and they ooo when you frown.
They never raise their voices; 'cause it might bring you down.
Everybody tries to make the baby feel good,
And treats him like the sweetest in the neighborhood.

He burps real loud, and everybody says
"Ooo; feel better?" And giggles.

Poops in his pants, and everybody says
"Somebody needs a change." And they powder his bottom like a pudgy biscuit.

So here comes Jack, and everybody says
"That's all right, Jack." "Look at that smile." "Awww, ain't that cute!" (CUTE!)

Yep.

When you're a baby and you're cute
You get away with a lot.
You can't do any wrong,
So take your best shot.

But just remember, Jack, bro',
It doesn't last: We know.
Signed, brother Max, sister Grace, and Will.

(Commercial version ends "your brother, your sister, and me.")

Good Night, Moon (Lullaby for June) (SAMPLE this song!)
Copyright (c) 2008, 2010, 2012 William H. Reid (BMI) – reid@fewersorrowsmusic.com
(softly, slowly, freely)

June

Good night, moon. I see your shining face.
Good night, moon. I have to go to bed.
Good night, moon. Welcome me into the evening.
Time for me to gently go to sleep.

Good night, moon. I know you're in your place.
Far up in the starry sky as
Through the graceful clouds you fly.
Good night, moon. I see you moving through the night,
Sometimes dim and sometimes bright . . . Always friendly.

Good night, moon. Welcome me into the evening.
Time for me to gently go to sleep.

Good night, moon. I see your silver face.
Good night, moon. You keep me warm when cool winds softly blow.
Good night, moon. I have to go to sleep.
Welcome to the quiet evening, safe from harm and with my family.

Good night, moon. Welcome me into the evening.
Time for me to gently go to sleep.

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ONE TOWN AT A TIME (SAMPLE this song!)
Copyright © 2000, 2011, William H. Reid & Elise P. Reid (rights assigned to William H. Reid) – reid@fewersorrowsmusic.com
(briskly, humorous, determined)

I came home too soon one day and
You were not alone.
That day you and my best friend des-
-Troyed our happy home. You
Kicked me out and took my pay,
Down to my last dime. You
Said to go far, far away and
Not to take my time.

Chorus (changes a little with each verse):
(So) out the door I went that day,
Down to my last dime. With my
Mind made up: I'm leaving you,
One Town at a Time.

(I) drove thirteen miles to Round Rock; that's
Where my truck broke down. It
Took six weeks to make the cash to
Fix it and leave town.
(That) old truck lasted ten more miles; I spent a
Month in a Walburg bar. Caught a
Greyhound bus with my last eight bucks. It
Didn't get me far. But you can

Count on this: I've left you! I'm
Down to my last dime. But my
Mind's made up: I'm leaving you,
One Town at a Time.

(16-bar instrumental)

(They) threw me off in Belton; that
Stopped my eight-buck ride. I ate
Spam for days and thought of you when
It got cold outside. And
Then I got to Waco. (I) found a
Poker game that day. But the
Cards were cold and I'm stuck on hold just
Fifty miles away (from you). So

Cry it in your sleep: "He's left me!" You
Stole my last thin dime. I'm puttin'
Hundreds and hundreds of miles between us,
One Town at a Time. You can  

Take it to the bank: I'm headed for Memphis,
Down to my last dime. My
Mind's made up: I'm leavin' you,
One Town at a Time.

(Spoken): "Just a few more miles now ... Is this damn truck stallin' again?"

(Louder)

Don't you DARE forget: I'm
Headed for Newark! I'm
Down to my last dime. My
Mind's made up; I'm leavin' you,
One Town . . . One Town . . . One Town . . . at a Time.

(Spoken): "I think the truck just threw a rod . . . ."

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Cheerio, You-All! (SAMPLE this song!)
copyright (c) 2008, 2011 William H. Reid (BMI) – reid@fewersorrowsmusic.com

On a nice day in October, in a year not long ago,
A son was born in Denver, Colorado.
That's a patriotic city in a fine, upstanding state,
(Spoken): So we naturally figured he'd be an All-American Boy.

Named for a Texas uncle; Grandpa was a soldier.
Family full of capitalists (and Republicans).
They draped the stars and stripes right over young Will's crib
(Spoken): So we naturally figured he'd be an All-American Boy.

Before Will learned to talk, the family moved away
Across the Pond to London don’t you know.
They liked the English folks, but they kept their yankee tone
(Spoken:) So we knew that baby would be an All-American Boy.

We anxiously awaited the youngster's early words,
Expecting maybe "Ma-Ma" or "Hi, Da-Da."
After all, he came from solid roots, deep in the U.S.A.
(Spoken): So we naturally figured he'd sound like an All-American Boy.

One day a few weeks later he seemed about to speak.
He looked at everyone, and rolled his eyes.
And uttered those first words . . . (ritard) . . . so clearly and so loud . . .
(Pause, spoken): "I say, Mummy, I fancy a spot of bangers and mash."
(Pause, called out): HUH?

Well, imagine our surprise and our utter chagrin
When young William finally let us hear him call,
"Pip, pip, Mummy." "I say." "Sticky wicket," and then
A parting shot of "Cheerio, you all!"

(Slowly)
The room got very quiet, you could've heard a pin
Drop as we went a-running down the hall,
To see if we'd misheard him, but he said it once again:
"Pip, pip," and "sticky wicket," and "Cheerio, you all!"

(a tempo)
Well imagine our surprise and our utter chagrin
When young William finally let us hear him call,
"Pip, pip, Mummy, I say. Sticky wicket," and then
A parting shot of "Cheerio, you all!"

We all love William dearly, he's a multi-country scholar.
A brother, and we'll never let him fall.
But it feels a little strange, to our ears to hear him holler,
"Pip, pip," and "sticky wicket," and "Cheerio, you all."

And we kinda have to reckon if his relatives had been
British ladies, Surrey siblings, English men,
That we wouldn't raise an eyebrow when we heard him quaintly call,
Pip, pip," and "sticky wicket," and "CHEE-RI–O, YOU-ALL!"

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Your Christmas Song (3/4)
Copyright © 1975, 2011 William H. Reid (BMI) – reid@fewersorrowsmusic.com

(Intro, spoken or sung freely)
Every year at Christmastime, I feel your love anew,
And how you open up my eyes, the little things you do.
The way you make me feel alive, a life that gives me reason
To see the world with new-found joy, and love for every season.

(a tempo, 3/4)

(This is your) Christmas Song, for
All the soft green springtimes with
Water runnin' down from melting snow, and
Early April babies in the herds of deer and cattle that
Mingle in the meadow up the mountain.

(This is your) Christmas Song, for
All the warm brown hillsides up
East of Sacramento
Dried out by the summer sun that won't let any rain
Come in from the drizzly western coast.

(This is your) Christmas Song, for
All the colored autumns that I
Saw with warmer eyes and fewer sorrows. For a
Soft smoke in a valley from a fire in someone's cabin that
Makes me feel he's warm and dry and living.

(This is your) Christmas song, for the
Soft new snow that cushions all my footsteps, and
Covers up the old mistakes of summer, but
Lets the good that will return again, because it's only sleeping
'Neath the covered boughs and branches, and
On and in the earth, just as it's
There inside the souls of you and me.

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Because You're There (SAMPLE this song!)
Coyright © 1972, 2011, Wm H. Reid (BMI) – reid@fewersorrowsmusic.com
(Softly, romantically)

You come into the room, and the room's a little brighter,
Because you're there.
You begin to speak, And my heart's a little lighter,
Because you're there.

And I knew you'd be this way. Every time it's just the same.
Every time you come into the room.
I suppose I should be used to it by now.

And in the morn you wake, you open up your eyes and find me there.
I'm always there.
And when you reach to touch me, your hand is warm, with fingers that remember.
All the love we share.

And I knew you'd be this way. Every time it's just the same.
Every time you open up your eyes.
I suppose I should be used to it by now.

(Bridge) And if the bed were straw or fallen leaves,
The pillow just the bending of my arm,
My heart would still be lighter . . . 'cause you came into the room.
And for you, there'll always be a room in me.

And I knew you'd be this way. Every time it's just the same.
Every time you comes into the room.
I suppose I should be used to it by now.

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A Place Inside His Heart (SAMPLE this song!)
Copyright © 2008, 2011 William H. Reid (BMI) – reid@fewersorrowsmusic.com
(Moderato but sadly) (Third-person version, 2011)

She came runnin’ out to meet him with her pony tail a-flyin’.
He could see that she’d been cryin’ all the way across the yard.
Her little face seemed frightened; her eyes welled up with sadness.
He could tell something had hurt her, she was takin’ it so hard.

So he dropped what he was carrying and opened up his arms.
She ran to him and held on as he knelt there in the snow.
He said “What happened, Darlin’? What’s causin’ all those tears?”
She cried “Mommy says you’re leaving, and I don’t want you to go.”

And she always had a place inside his heart,
That little girl they'd waited for and watched right from the start.
Every time she ran to him, he’d bend down to catch her,
And she’d put her arms around him, and let him have a little of her love.

So he told her just as gently as he could and keep from crying,
That grandpas have to go sometimes, and he would in a while.
"But God'll keep his eye on you, wherever life may take you," he said.
"I’ll be up in heaven, watchin’ for your smile."

The weeks passed by and in a while time finally took its toll.
The thought of leavin’ her weighed heavy as he slipped away.
And harder still for her, he knew, but time heals lots of things,
With Mom and Dad to help her as she grew up day by day.

He still looks down and sees her; she thinks about him kindly,
And feels a little love from Grandpa when she needs it most.
She dreams about the good things that life still has in store,
Her grandpa's up in heaven, watchin’ for her smile.

(Chorus)

(Spoken): "And now he has a place inside her heart.

Original version (first-person) (SAMPLE this song!) copyright (c) 2008, 2010, William H. Reid (BMI)

(She came) runnin' out to meet me (with her)
Pony tail a'flyin'. I could
See that she'd been cryin' all the
Way across the yard. (Her)
Little face seemed frightened; her
Eyes welled up with sadness. I could
Tell something had hurt her, she was
Takin' it so hard.

(So I) dropped what I was carrying and
Opened up my arms. And she
Ran to me and held on, as she
Had so many times. (I)
Said "What happened, Darlin'? What's
Causin' all those tears?" She cried
"Mommy says you're leaving, and I
Don't want you to go."

(Chorus)

(And she) always had a place inside my heart, that
Little girl we waited for and watched right from the start.
Every time she ran to me, I'd kneel down to catch her, and she'd
Put her arms around me, and let me have a little of her love.

(So I) told her just as gently as I
Could and keep from crying, that
Grandpas have to go sometimes, and
My time would be soon.
"But God will keep his eye on you, where-
Ever life may take you, and
I'll be up there lookin' down,
Watchin' for your smile.

(Chorus)

The weeks passed by and in a while
Time finally took its toll.
Leavin' her was harder than I
Ever thought it'd be.
And harder still for her, I know, but
Time heals lots of things
With Mom and Dad to help her
As she grew up day by day.

I hope she knows I see her, and
Thinks about me kindly, and
Feels a litle love from Grandpa
When she needs it most. And
Knows about the good things
That life still has in store, 'cause
I'm up here in heaven,
Watchin' for her smile.

(Chorus) 

(and) I'll be up here watchin'
Just to see her smile.

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Drivin' Home (2011 Version) (SAMPLE this song!)
Copyright © 1974, 2010, 2011, William H. Reid (BMI) – reid@fewersorrowsmusic.com

Out here on the road without you,
Thinkin' of your hand in mine, I
Start the wheels a-turnin' that'll
Bring me to your side.
It's good to know you're always there,
Sittin' by the window dreamin'
As I drive on through the evenin',
Thinkin' as I ride.
Drivin' Home

It's dark and pretty cold outside; the
Headlights kinda blind me. I re-
-Member all the feelin's that I
Had when I was there. Then it's
Daylight with an overcoat of
Fog and cattle wakin' up to
Hear my 18-wheeler roarin'
Through the morning air.
Drivin' Home.

Hauled thirteen tons of flatbed steel from
Boston to Atlanta, then I
Had to deadhead empty for a
Load in Tennessee. They
Filled me up with finished goods
Just outside of Knoxville. I
Headed south to New Orleans and
Now I'm nearly free.
And Drivin' Home.

It's I-10 into Houston with a
Trailer full of brand new tires, then
Bobtail up to Dallas, gettin'
Closer all the time. On a
Pretty Texas evenin', I'm
Finally comin' home to my girl.
Smilin' as I leave the city,
Singin' as I see the turnoff,
Laughin' as my cab door opens,
Seein' our door open up to you. (And)

Then your voice, and then your hand, and
All the other reasons for the
Way I feel when I come home, and
When my drivin's through.
Drivin' Home. . . . Drivin' Home

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(We Say) Grace Before Breakfast (SAMPLE this song!)
Copyright © 2008, 2011 William H. Reid (BMI) – reid@fewersorrowsmusic.com
(brightly, syncopated)

Early every morning when the sun begins to shine,
Little Gracie opens up her eyes.
She knows that Mom-my's coming in to tell her that it's time,
To wake her up and gently help her rise.

Gracie sometimes dawdles when she has a lot to do,
Like find her shoes as soon as she is able. So
Mom or Daddy has to say, "Grace it's time for you
To come downstairs and sit down at the table." (We say)

Chorus:

Grace come down to breakfast; your
Eggs are getting cold. Your
Brother's eating all your bacon; the
Baby wants your milk; and
When you're late it makes me feel I'm old
. . . Before my time!

Then you know it's time for school, the bus is almost here.
Mom or Dad is saying "Grace" once more:
"Grace the bus will be here soon; don't forget your mittens.
And as we leave, "Please don't slam the door."

Chorus

Once at school the teacher says, "Children, settle down,
And open up your books to chapter three." But
Gracie gets distracted, it happens all the time,
And teacher sometimes has to make a plea: ("GRACE!")

Chorus

Later, after supper, when we're saying "Grace" again:
"Gra-cie, it's time for bed and sleep." She's
Disappeared and can't be found; she'd rather stay up late.
She hides and no one even hears a peep. (We say)

Chorus

After Gracie goes to bed, Mom relives the day,
Oof saying "Grace" so many times in vain. But
She and Daddy think together how they love her so,
And how tomorrow they'll say "Grace" again. (They'll say)

Chorus

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Max Growing Up (SAMPLE this song!)
(sweetly, 3/4) copyright (c) 2008, William H. Reid (BMI)

I remember the frst time I ever met Max,
A baby with curls of red hair.
He seemed very small then, and when he was sleeping
You hardly could tell he was there.

Then as the years passed, he got a bit bigger,
Husky, just like his dad.
He walked with authority, clearly a strong boy,
Starting to look like a lad.

Chorus
Someday he'll grow up, then start his own life,
Set to go out in the land.
But I'll still remember when Max was much smaller,
Even though he'll be a man.

The next time I saw Max, he wasn't too old then,
Starting to run and to climb.
He'd jump on his scooter and speed down the sidewalk
With Mon and Dad running behind

Chorus

Last week he came visiting; they flew in from Denver.
Now he's the oldest of three.
His sister's protector and young Will's big brother.
At six he's much bigger, I see.

Chorus

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The Mountain Man (SAMPLE this song!)
(briskly, jauntily 4/4) copyright 2010, William H. Reid (BMI), Fewer Sorrows Music

There's a boy in Colorado who lives a-way up high
In the woods there with his family where the forest meets the sky.
He hangs out in a meadow, where the deer and foxes play,
and keeps an eye out for the bears so they don't spoil his day.
He's a Mountain Man. He's a Mountain man.

He gets along with folks just fine; he's not a hermit type.
He goes to school and plays with friends and likes to ride his bike.
But Mom and Dad have taught him well the ways of stream and tree,
Like followin' a rocky trail and scamblin 'cross the scree.
Like a Mountain Man. Like a Mountain Man.

He's right at home in house or tent or sleepin' 'neath the sky.
He's very confident with things that might scare you or I.
If grub gets low he'll catch a fish or hunt a little game.
Soon all the forest animals will recognize the name
Of the Mountain Man. Yeah, the Mountain Man.

He may not be a big man yet, because he's still a kid,
But everyone who comes his way had better put a lid
On any thought of teasin' him or calling out "Hey Pickle!"
'Cause Dylan Hart's his real name; the other's just Mom's giggle
For the Mountain Man. Yes, he's the Mountain Man.
He's a Mountain Man. Dylan's a Mountain Man.
He's a Mountain Man. Dylan's a Mountain Man.

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The Pirate and the Swan (brisk, driving) (SAMPLE this song!)
copyright (c) 1979 by William H. Reid (BMI)

C .......F .............G ..........F
Sun a-risin' and Glory's horizon the
C .........F ...............G
Site of breakin' of dawn
C ....................F .................G ..................F
Explodes with thunder and people down under have
C .............F ............G
Got to be carry-in' on.

(Chorus)

Am ..............................Em
Weep you now, young ladies, and
Am ..................Em
Stay you fast asleep. Don't
Am ......................Em
Wake for fear of findin' the
Am ...Dm(7)..G
Devil in your keep.

On the water, nature's own daughter
Glides along on her way.
Silently swimming, her eyes softly brimming as
Night's memories fade into day.

(Chorus)

Innocence lost to some words lightly tossed by the
Pirates who came to her nest,
Gathered her things, and then fled on the wings of new
Sunlight that fell on her breast.

Thoughts she denied of the devils inside; it's
Better to leave them unsaid. The
Shadowy foe is a far lesser evil than
Feeling one's innocence dead.

(Chorus)

(softer)

Sun a-risin' and glory's horizon, the
Sight of breakin' of dawn
Enlarges to pale the soft-spoken tale of the
Pirate and the swan. . . . (slower, to fade)

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Autumn (softly, sung freely) (SAMPLE this song!)
Copyright © 1969, 2010, William H. Reid (BMI) – reid@fewersorrowsmusic.com

We walk along a country road and
Think about the memories
Building up inside us with the
Days and weeks and summer.
The softness of your voice and hand that
Beckons through the stillness,
Feigning an awareness of the
Love, and hope, and sorrow.
And the leaves turn.
And the nights are cool.
And the leaves fall.
And the glossy sheets of frost
Paint a glistening, somber landscape that
Summons back an echo of the
Days, and weeks, and summer
Spent with you.

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Central Louisiana Daydream (Bus From Alexandria) (country 4/4)

Comin' on the bus from Alexandria
Made the connection from New Orleans.
Left the town at two AM and
Rode the Trailways bus all night
Just to bring a little light and
Smile and settle in my arms again.

I expect that you'll be tired when you get here,
'Specially if the baby comes along.
But you can sleep here in my bed, and
I'll just mess around the house
Thinkin' that it's nice to have you
Back and see your smilin' face, and
Feel you settle in my arms again.

I'll watch the hair spread on the pillow 'round your face, and
Hope that when you wake up you'll be happy. And
Like some of the things I did the
Night before you got here, like the
Lotion and the cold cream that I bought for you to use; the
Color of the brand new sheets, and
Steaks to cook out on the grill, and
Wine to have while dinner's on, and,

Oh yes, the thoughts inside this song.

copyright (c) 1972 by William H. Reid (BMI)

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Merryville Highway Song (SAMPLE this song!)

Walkin' down the side of the road,
Wond'rin' where I'm goin'.
Walkin' down the side of the road.
Nobody's knowin'
The things I've felt. The things I've known.

There goes another bus
Roarin' down the highway.
Spewin' smoke and kickin' up the dust, (and I'm)
Wishin' that I hadn't done things my way,
And left my home. And hit the road.

The days are fine; the summer wine is good.
The weather's warm, it's nice to walk.
It's nice to stop, and talk awhile.

That's when the people on the side of the road
Share a little time with me,
And let me know that I'm welcome in their country.
Like as not they'll offer me a beer.
And I accept, and let them talk.

And let them say how pleasant it must be
To walk along the side of the road,
And go wherever I decide to go
And stay wherever I decide to stay.
And for awhile I'll be content.

But evenin' comes again before too long
And knowin' that's the hardest time,
I look for light and any voices.

But when they come I know it's not the same.
The night is only just outside the door,
And with it all the memories of the past
I want to see, I have to see
the people and the places I'm lookin' for
and can never find again.

Walking down the side of the road,
Wond'rin' where I'm goin'.
Walkin' down the side of the road,
Nobody's knowin'
The things I've felt, the things I've known,
And can never find again.

Copyright (c) 1972 by William H. Reid (BMI)

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Relationship (slowly but rhythmically, as performed)

If I say I love you, does it mean that I'm committed?
Because I've been committed once before.
And I found it didn't work out right. Perhaps it was the two of us,
(But I) don't feel ready yet to start things over.

If I feel you needing me, do I have to answer?
Do I have to be there when you call?
Or can we say that it's still two of us. We haven't become one just yet.
We don't need each others' arms each time we fall.

And if we speak of love, does it mean that we're exclusive?
Does it tie us to each other, and make us have to choose
Between the poles of no one else and Saturday night romance.
Or is there someplace in between, where love can be a feeling,
Deep and rich and happy, but not the place I've just now left.
Because I've been commited once before.

But I'm lonely for the love I feel from you.

Copyright (c) 1974 by William H. Reid (BMI)

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If You Were My Lady (slowly but rhythmically, as performed)

If you were my lady,
If you were my lady,
If you were my lady,
I'd think so much of you.

If you were my lady,
If you were my lady,
I'd lie down beside you,
And move my hands over your skin.

If you were my lady,
If you were my lady,
If you were my lady,
I'd think so much of you.

I want you to be my lady.

Copyright (c) 1974 by William H. Reid (BMI)

 

Anesthetic ([With] Half a Bottle Left Inside) (spoken slowly)

(Ride a slightly dissonant tonic chord throughout)

With half a bottle left inside, I go on home
And close the door on thoughts that used to make me sad.
I don't have to think now.
Just let the sun, or rain, or whatever else wants to
Fall down on my head.

Copyright (c) 1971 by William H. Reid (BMI)

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