35MM (VS)

For exclusive use by Elliott Mitchell Defensive7@hotmail.
com
CONTENTS
The Ballad of Sara Berry .................................................. 126
Caralee ........................................................................................ 35
Crazytown ................................................................................. 5
Cut You a Piece ..................................................................... 113
Hemming and Hawing........................................................ 99
Leave, Luanne ......................................................................... 64
Mama, Let Me In..................................................................... 79
On Monday .............................................................................. 25
The Party Goes With You .............................................. 42
The Seraph ................................................................................ 56
Twisted Teeth........................................................................... 91
Why Must We Tell Them Why? ................................... 83
Additional arrangements by Michael Borth, Matt Hinkley and Jeremy Yaddaw

Proof Editors: Kenji Higashihama, Mike Ruckles, Ryan Thomas
Additional Proof Editing: Hali Alspach, Will Van Dyke, Sarah Ellis, David John Madore, Kelly Thomas
2012 ARESSO MUSIC PUBLISHING (ASCAP). All rights reserved.
Any duplication, adaptation, arrangement, recording or public performance of the compositions contained
herein requires the written consent of the Publisher. No part of this book may be photocopied or reproduced
in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are
punishable by law.
35mm: A Musical Exhibition is available to license.

www.35mmTheMusical.com
For exclusive use by Elliott Mitchell Defensive7@hotmail.com
Make Me Happy ..................................................................... 49
RYAN SCOTT OLIVER wrote the music and lyrics for 35mm,
Darling (as seen on the 10th season of NBCs The
Apprentice), and Mrs. Sharp (2008 Richard Rodgers
Award Winner, workshop at Playwrights Horizons starring
Jane Krakowski, directed by Michael Greif). His work has
been presented at the Kennedy Center, Joe's Pub, and the
New York Musical Theatre Festival, and has also been
heard Off-Broadway in We the People (TheatreWorksUSA), on the YouTube webseries The Batterys
Down (This is Your Life, et al; CD available through ShK-Boom Records), as well as in cabarets and showcases
around the world. He is the recipient of a 2008 Jonathan
Larson Grant, the 2007 Harold Adamson Award for
Excellence in Lyric Writing (ASCAP), and a 2007
Dramatists Guild Fellowship. He is represented by Jessica
Amato at the Gersh Agency. www.ryanscottoliver.com
MATTHEW MURPHY is a New York City-based photographer specializing in theater and dance. His work
appears regularly in the Arts and Leisure section of The
New York Times, and additional credits include Bravo TV,
New York Magazine, Playbill, Vanity Fair, The Village
Voice, Broadway.com, Broadway World, Dance Magazine,
The Financial Times, Dance Spirit Magazine, Movmnt
Magazine, Dance Teacher Magazine, Time Out New York
and The New York Post as well as numerous Broadway
shows. He is a former member of American Ballet Theatre.
For more information visit www.murphymade.com.
CRAZYTOWN
from 35mm: A Musical Exhibition
Music and Lyrics by

RYAN SCOTT OLIVER
Going Mad (q =92)

( N .C .)
b b 4F >
b
& b b 4
J
>
ENSEMBLE
S
A: Hoo hah
Hah
VOICES:*
- . J
<
Ding
. J
articulation sim.
Ding
Hoo hah
Ding Dong
Hah
Hoo hah
Ding Dong
Hah
Ding
Ding
Dong
Hah Woah-Oh Ding dong

Hah Woah-oh Ding dong
Hah Woah-Oh
Ding
dong
> - j j
bb b b 4F >j
V b 4 J Jj j j
J
J
J
J
T
>
>
<
B:
Hah Woah-Oh
Dong
Hah Woah-Oh
Dong
Hah Woah-Oh
Dong
b
& b b b b 44
bb 4
bbb 4
pDrms.
Ding
. J
Hah
Hah Woah-Oh Ding dong
bb b b j
j
V b
J
J
b
b bbb
Dong
b
& b bbb
Ding
.
Hoo Hah Hoo Hah
Ding Dong
Hah Woah-Oh
Hah
Hah
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Dong
dong
Hah Woah-Oh Oh Oh Oh Dong
Hah
Ding
.
Hah
Hah Woah-Oh
Ding
Ding
>
>
Dong
dong
* "Crazytown" was originally scored for 4 ensemble voices (SATB), but should be re-arranged for the voices on-hand. When the
voices are collected SATB onto one staff, men should sing the lowest pitch (or pitches in a 4-way split), 8va.
"Crazytown" - 1
b >
Hoo Hah Hoo Hah
Ding
Ding
Music and Lyrics 2009 by Ryan Scott Oliver. 2012 by ARESSO MUSIC PUBLISHING.
All rights reserved.
b
& b b b b
J
Hoo Hah
n > > n >

n #
www.ryanscottoliver.com
b
& b bbb
Ding
.
Hoo Hah Hoo Hah
Hah
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dong
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j
V bb
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bb
&bbb
b >
Ding
.
Hoo Hah Hoo Hah
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b >
b
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Dong
dong
Dong
dong
Hah
Hah
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Ding
Ding
Ding
Hah
Hah
Hah Woah-Oh
Dong
dong
j
j
n
J b
Hah
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j
j
b j j

b
>
>>
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bb b b
b
.
n
n b .
& b
J
? bb b
bb
Ding
b.
n
Hoo Hah Hoo Hah
n .
n
J .
>
n n
. . . .
>
b.
n
Dong
dong
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Hah
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dong
j j
j j
j
bb b b j
n
n
n
V b b
J b
J b
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n
? bb b
bb
bb
& b b b
Hoo Hah Hoo Hah
b
V b bbb
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&bbb
? bb b
bb
"Crazytown" - 2
Ding
b.
n
Hah
Hah
Hah Woah-Oh
Ding
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Hoo Hah Hoo Hah
Dong
dong
j
j
n
J b
n
b
b
n
n
b
b
n b
b n
>
A
n

>
b n
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dong
j
j
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>
Hoo
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n b .
Ding
b
.
n .
J
J
Hah
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Ding Dong
Ding dong
j
j
b
. n
J
J
n

b
n
n
>
n.
n.
>
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n
b
.
.
>
>
bb
&bbb
F #m(add4)
Hoo
b
& b bbb b .
Ding
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b
.
Ding Dong
Ding dong
j
bb b b j b .
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b
& b bbb
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n J
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Drms. (cont.)
n n
n > n > >
>
b > >
b
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b
V b bbb b
b
& b bbb
Take
bb
&bbb
? bb
bbb
"Crazytown" - 3
my
> >
Ooh
w
w
> b > > > b > >

brain
>>>>
SA
TB:
j
b
n b
Hmm
n b
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G bsus
b n n b
> >
> >

Ooh
Down
the
>>
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n #
#
J
w
w
In - side
stroll
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hole
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n > > >

>
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drain
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to
>>>
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b b n n

n > n > >
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THE IDLE BOY:
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n > n > >
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& b bbb
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Ahh
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Cra - zy- town
Ahh
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fall there like
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A - lice)
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A - lice)
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b b b b .
b
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& b b b b b b .
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n
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& b b b b b
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r
bb
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> >
"Crazytown" - 4
Ahh
am run-ning (mid a road)
>
..
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>

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>

as I'm chased through a

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But
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n
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j
b
b >
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> >
G b5
It ain't no Won- der-land.

j
b
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j
b
A b5
A M7
j n n
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>>
town
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psy - cho
tic.
n . .
b b
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.
B9
Cra - zy - town
>
b > ...
n
J
j
b .
b > > .
.
.
>
fall there like
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fall there like
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9
E b 7/G
b
N

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b
& b bbb
There's a jeer-ing jack-al much like my moth-er,-cry-ing:
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& b b b n
bbbb
bb
&bbb
? bb b
bb
b
V b bbb
D b5
..
BOY."
BOY."
>
>>
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? bb b
b b n
. b > >
(Pounds)
(Yen)
A b5
I-DLE
I-DLE
A5
>>
n
n
(Dol - lars)
b

>> . . >> . . . . . . .
(And there's mo - ney on the ground)
"BE-DE-DEEP BE-DE-DEEP YOU
>
G b5
Edim(no3)
w
b b b ggg A n ww
b
& b
"Crazytown" - 5
B b m/F
>
(But the jack - al's
close
n -
be - hind)
> > > >
b
& b bbb
"BE-DE-DEEP BE-DE-DEEP YOU
Two voices:
? bb b
b b n
G b7
10
D b5
b
V b bbb
Edim(no3)
es - cape
from the dog
as
G b5
I dive Through a
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& b b b b . . . . . . .
> >
. .
> >
? bb b
bb
> >
r
. b > >
E b 7/G
b n
? bb
b b b n
bbbb
&
bbbb
D b5
G b5
West.
"Crazytown" - 6
>>
b j
p
b b >
n b
snakes.
j
- J n . .
G b M7
b b
("BE-DE-DEEP BE-DE-DEEP")
>
>
A b5
A5
n n
And I'm bit - ten from the East (Which is pre-sent)
b b . . . . . . .
> > . . >>
? bb
bbb
sea
("BE-DE-DEEP BE-DE-DEEP") the East from
E dim(no3)
A M7
. b > >
>>
P
n -
&
bbbb
of
b

V b bbb
bb
&bbb
stream
> >
B b m/F
And I rea-lize that this ri-ver is what se-pa-rates the
A b5
E b 7/G
b
V b bbb
bb
&bbb
To the West (Which is past
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b b n
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b
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B9
b
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& b b b b b
b
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V b b b b .
b
& b bbb
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bbb
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b
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n
J
j
b
b
>

.
.
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B9
b > ...
.
.
>
D b7
B9
Cra-zy-town
j
b
.
V b b b b b . b ..
>
n
J
j
b
b
>
night-mare Tech-ni - co - lor)
"Crazytown" - 7
>
n
J
j
b
b
>
twist there like
Dor' - thy)

A bsus
.
J
night-mareTech-ni - co - lor)
? bb b .
bb
>.
j
b

J
(You twist there like
- thy)
j Dor'
Ahh
b > ... n >

J
j
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Ahh
f b
I near - ly drown
in
>
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.
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Ahh
>
J
> >
B9
b
.
& b b b b b b .
b >.
& b b b b b ..
fu - ture)
11
D b7
B9
b .
Cra - zy - town
..
Ahh
b > ...
Ahh
.
.
>
G b7
>
n
J
j
b
b
>

.
.

(It's a
..
(It's a
b b n
J
But
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. .
. . . . .
But
>
j
b
J
It ain't no kind of Oz.
j

. . . . . . .
>
. .
. .
b > ...
f
.
>.
Ahh
Cra - zy - town
Ahh
and
bb b ggg A n www
& bb
B b m/F
12
D b5
b
V b bbb
Edim(no3)
sur - vive
from the stream
bb
&bbb
to
bbbb
N
> . .
>
E b/G
b
V b bbb
b b b pww
b
& b nw
dis - co - ver
. . b >
>
r
. b > >
. . .
.
.
G b5
or - gy.
> >
G b7
Turn ing blue Turn ing to the i - dle
j
J
Another:
All (div.):
You.
. > >
>>
>
( )
C 7 b5
n nnn n
n nnn n
They drag me in - side
bb
j
& b b b N . . b . .
. . >> . .
. . >>
> >

. . > > . . . . . . > >
>
Yeah.
Turn-ing blue Turn-ing to Hey, i - dle
boy.
. > >
b
& b b b b ..
or - gy.
b b
N b
B b m/F
Edim(no3)
boy.
# n A
>
>
>
>
>
>
>
>
n nnn n
n nnn n
bb w
Vbbb
> >
cho - king
"Crazytown" - 8
One:
D b5
(N.C.)
Cho - king
All those fuck-ers I have fon-dled in my fan-ta-sies
b
& b b b b N . .
>>
P
? bb
b b b n
Beautifully
Ooh
? bb b
bb
b
>
F
? bb b
bb
>
&
F M7/A
S A:
T:
V
&
Pass - ing
&
ww? w
..
.
.
& ..
&
-
?
"Crazytown" - 9
ing

Till my
J J
b ww
Ooh
b www
is
phy
xi
so
ting
( )
>
nasty >
Ahhhh!!!
nasty
J J
E m7 b5
pal - pa - ble,
b.
J J
hard - on
As
B bsus2
Ooh
Stro - king, As - phy - xi - a - ting.
Ahhhh!!!
- - -

F M7
V .
Pass

Asus
As - phy - xi - a - ting me
P B:
Stro - king
/F
Stro - king
Pass - ing
13
14
D #8
V # J
&
>
Hoo
I got - ta go
>
out
>
>
>
GASP
>
#
# >
>
# > # b >
# >
# n b 24
&
>
To a
24
F # dim
44
& 24
? 24
>
"Crazytown" - 10
In the
44
Got- ta go
Got- ta get out Got- ta go
>
>
E 7/D
GASP
Hah
.
#
>
>
Hoo
>
>
Hoo
GASP
>
>
GASP
>
Hah
!!!Tow-er of Doors!!!
44 #
44 j
#
V 24 44 . .
>
>
# >
# # .
Hoo
Hoo GASP
24 n 44
Wait You Please Can't Don't Leave Go Yet
go
>
>
>
Got-ta
Hah
>
>
Hoo
Variously:
Got-ta get
Hah
GASP Hoo GASP
>
>
>
42
42
2
#
j# n # 4

#
42
pock-et of my dressI've got a cop-per key. Dun - no the door it goeswithand that fact is kill-ing me. In the
44 j
#
#
>
>
#
#
>
>
r
>
>
&
GASP
V
>
Hoo
# >
& # J
f
? # j
#
>
V
15
V
&
pock - et
of
my
dress
I've
got
this
? j
#
#
>
V
no
the
Door
it
goes
>
with
and
eight - inch
that
fact
&
is
cop - per
r
>
kill - ing
key
but
dun -
>
me
That
&
F #5
pock - et
of
my
pock - et
of
my
dress,
&
.
#
& # #
? ^
#
#
"Crazytown" - 11
>
A dim(no3)
got
this
.
b
fl
fl
I've
eight - inch
r
>
cop - per
the
In
the
key
but
I
In
dun the
>
got
this
key.
It's
an
In
the
in
fl
fl
b
b
? j
#
#
>
16
F #5
the
Door
it
goes
pock - et
of
my
eight - inch
cop - per
no
&
pock - et
of
my
().
#
& # #
? ^
#
#
F #5
fl
with
and
that
fact
is
dress
I've
got
this
eight - inch
key
but
dun - no
I've
dress,
.
b
pock - et
of
my
dress
it
the
door
fact
is
kill - ing
&
key...
().
#
& # #
eight - inch
? ^
#
#
"Crazytown" - 12
cop - per
fl
the
me
that
in
the
pock - et
fl
Door
it
goes
with
and
got
dun - no
fl
fl
fact
that dun
that
.
b
and
and
with
key
goes
but
cop - per
eight - inch
key
the
an
fl
in
It's
this
that
key.
got
me
this
I've
kill - ing
got
I've
I've
A dim(no3)
this
got
fl
no
is
the
b
b
cop - per
key
and
go
kill - ing
me
that
in
the
of
my
dress
I've
got
this
Door
it
fl
this
goes
with
and
that
b
b
A dim(no3)
17
Door
to
Door
to
Door
to
Door
to
Door
and
woe
is
me
and
woe
is
of
my
dress
I've
got
this
eight - inch
key
and
go
Door
to
pock - et
&
eight - inch
key...
fact
& #w
is
cop - per
kill - ing
And
me
that
it's
kill
in
the
cop - per
key
and
go
Door
to
Door
to
Door
to
dress
I've
got
this
pock - et
of
my
ing
loco
F aug
A/E
n .
n .
me
and
woe
is
me
and
woe
is
me
and
woe
is
me
and
woe
is
Door
to
Door
to
Door
to
Door
to
Door
and
woe
is
me
and
woe
is
Door
and
woe
is
me
and
woe
is
me
and
woe
is
me
and
woe
is
Woe
is
me.
Woe
is
me.
Woe
is
me.
Woe
is
woe
is
me
woe
is
me
woe
is
me
woe
is
&
me.
key
and
# .
"Crazytown" - 13
and
& #
?
>
.
>
# ##
>
and
>
#
#
>
>
>
and
>
>
b bbbb
b bbbb
b bbbb
b bbbb
b bbbb
18
D b7
bb
Vbbb
B9
bb
& b b b b
S
A:
T+B:
Cra - zy - town.
>
n
J
j
b
b
>
b b b b > ..
b
& b .
f
? bb b .
bb
>.
D b7
bb
V b b b b
&
bbbb
Christ - like
b
V b bbb
ry)
? bb b
bb
.
"Crazytown" - 14
G b7
B9
A
b
But
>
>
j
b
b
>
It
ain't
no
ain't
no
Nar - ni - a.
It
....

(It's a
>
n
J
>
>
n
J
j
b
b
>
zy - town.
.
.
b J
But
D b7
b
J
>
b > ...
n
J
j
b .
b > .
>
b > ...
Lu - cy)
B9
Cra - zy-town.
Cra
b .
& b b b b ..
b
& b b b b
.
D b7
Nar - ni - a.
j
b
b
>
>
B9
.
.
B9
ward-robe like
b > ...
>
n
J
A bsus
(Through the
? bb b .
bb
>.
al - le - go
b b b b > ..
b
& b .
D b7
19
D b 7/F
b
V b bbb
bb
& b b b b
But
it
D b 7/A b
.
.
B 9/A
j
n
b
& b b b b ..
b .
P
? bb b
bb
I'm
stripp - ing
clothes
.
.
.
.
b
.
V b b b b .
j
n
Ahh
j
n
an - y - where.
b
b
b
b
(You
wing there like
(You
wing there like
.
b ..
and
B 9/F #
D b 7/F
stripp - ing
hair
(You
(You
Wen - dy)
j
n
Wen - dy)
D b 7/A b
B 9/A
b
b
b
b
tra - gic fai - ry
is
land)
j
n
land)
tra - gic fai - ry
.
b ..
is
n
J
Ahh
"Crazytown" - 15
ex
.
.
Ahh
? bb
bbb
j
b
b
.
V b b b b .
b
& b b b b ..
b .
Ahh
bb
& b b b b .
there's no
b
V b bbb
B 9/F #
D b 7/B
20
b
V b bbb
&
bbbb
b
V b bbb
b
& b b b b ..
b .
? bb b
bb
bb 2
Vbbb 4
no
This ain't
This ain't
no
bb 2
&bbb 4
3
8
(N.C.)
38 b
J
D b/G
bb 4
Vbbb 4
de
S
A:
3 b j
8
>
3
8
b
. .
.
>
No.
Nar - ni - a
Won - der - land
Nar - ni - a
Won - der - land
b >
b
Won - der - land
Nar - ni - a
..
..

J
No.
j

. . . . . . .
>

>
38
clare:
Nev - er - land
b >
b
loco
>

> n
>
>
>
>
42
42
42
4
4
44
4
4
b
b
>
2
4
4
4
n
n
42
w
w
ww
>
...
.
T
B: Oz
b
& b b b b 44
Nev - er - land
Oz
b
& b b b b 44
? b b b 44
b b n
n
>
Nev - er - land
>
44
no
ked,
This ain't
G b7
A bsus
b
& b b b b 24
"Crazytown" - 16
and na
j
n
b b 2 b
b
J
V bb 4
? b b b 24
bb
Moon - struck
B 9/C #
B b m/F
b
V b bbb
bb w
& b b b ww .
bb
&bbb
Ahhh
? bb b
bb
>
b
V b bbb
And I watch from a win-dow and
C m/E b
b Aw
& b b b b A ww
n w
>
b
V b bbb
b g
& b b b b gggg n wwww
g>
? b b .
bbb
.
"Crazytown" - 17
>
>
And the Tow - er
to the or - gi - as - tic
>
>
ex - plodes,
D dim
34
43 .
Ooh
B:
T:
.
34 gg ...
gg
Ooh
3
4 b.
b.
>
>
ex - pire
>
b nn
> >

J J
>
n
n
> > > >
Ripp - ing
.
43 ..
T:
>
n ww
n ww
>
>
mass
B bsus7
J J
S
A:
n
n
>
fire
>

n >
#
n
n
n
Ev - ry - bo - dy from the jack - al
on
n n ww
nw
nw
town
? bb
b b b b
>
>
Fm(add6)
n
bb b b
V b
b
& b bbb
I witn-ess the
21
me
b
J
a - part,
bb b b n
& b b n
Esus2
22
bbbb
Rit.
E bsus7
Head
b
.
& b b b b .
.
to
heel
to
bb
V b b b .
bb
&bbb
B bsus7
heart,
Till
wake
at
j
b
gg ...
gg .
D b5
bb 4
V b b b 4 bw
D b5
Edim(no3)
see:
Start.
>
bbb 4
b
& b 4
J
>
Hah
D b5
Edim(no3)
b .
J
(As at the start)
Ding
. J
Ding Dong
44
Edim(no3)
F
j

Me.
Hoo hah
Ding
- . J J
<
Hah
Ding Dong
4
4
j "U
Hoo hah
j "
One (or A):
Oh,
a life
Ding
. J
Hoo hah
Hah
Ding Dong
Hah Woah - oh Ding dong

> - j j
bb b 4 >j
j
j
j
b
V b 4 J J J J J J
>
>
<
Hah Woah - Oh
b
& b b b b 44 J b
? b b b 44
bb
"Crazytown" - 18
>>
Dong
r
. b > >
Hah Woah - Oh
J b
>>
>>
Dong
r
. b > >
Hah Woah - Oh
>>
>>
Dong
r
. b > >
>>
4
4
"
A tempo
44
Start. U
ggg
gg
? bb b
b b b.
b.
j"
Ooh
44
start U and
j
" J
the
Ooh
b
& b b b b 44
D b5
b
V b bbb
bb
&bbb
&
bbbb
D b5
Edim(no3)
>
Hoo hah
- .
J
>
stopped in
Ding
Hah
Hah Woah - oh
>j
J
>
b
& b bbb
psy
b
& b bbb
town
bbbb
Hoo
b
b
b
& b bbb
hah
Hah
Hah Woah - oh
>
Hah Woah - Oh
? bb
bbb

> >
"Crazytown" - 19
Hah
>j
J
>
> > > >
cho
Woah
>
D b5
>
oh
Woah -
>
Oh
23
as I'm chased through a
Ding
J
<
Ding
Ding
Dong
dong
j
J
<
Dong
r b
. > >
> >
Edim(no3)
tic.
b
In a
Ding
Ding
Dong
Ding
dong
. > >
Dong
> >
world
Hoo
hah
Hah
Hah Woah - oh
Hah Woah - Oh
> >
. > >
that nev - er
Ding
Ding
Dong
Ding
dong
Dong
> >
b
V b bbb
Edim(no3)
Hah
Hah
J
>
Dong
hah
> - j
J
>
<
r
. b > >
>
pose
Hoo
Ding Dong
Ding dong
Hah Woah - Oh
D b5
b.
J
<
? bb b
bb
>>
&
Edim(no3)
I am run-ning (mid a road)
b
V b bbb
bbbb
24
D b5
b
V b bbb
b
& b bbb .
goes.
bbbb
::Be - de - deep
bb b
V bb
Hah
>j
J
>
Hah
J
<
Ding
Ding
>
Dong
j
J
<
dong
Dong
>
Hoo
hah
J
>
Hah
Ding
>j
J
>
>
Hah Woah - oh
>
Hah Woah - Oh
j
<
43
43
Dong
Ding
- .
J
<
Ding
Dong
Ding
j
- dong
J
<
. > >
> >
>>
Gbm
Dong
3
4
" 4
4
n > ..
..
. > >
D b8
n > .
" 4
4
>
Ah!
>>
&
^
b n
> > n > b
^
b n
> > n b
>
Ah!
"4
4
" 44
3
4
"Crazytown" - 20
>
j
>
bb 3
&bbb 4
Gong
Hah
Ding
Woah - Oh
? b b b 43
bb
43
E dim(no3)
be - de-deep::
Woah - oh
Hah
bb 3
Vbbb 4
J
>
? bb b
bb
> >
bb 3
&bbb 4
>
bb
&bbb
D b5
hah
&
Hoo
E dim(no3)
25
ON MONDAY
Exuberant Pop-Rock (q =168)
& 44
>
f
? 44
(N.C.)
j
>
> >
>
&

?
>
Csus2
On
& ww
F
? . . . . . . . .
Dm
&
It's
&
Mon - day,
? . . . . . . . .
"On Monday" - 1
>
>
>
>
>
C sus
Mon - day,
>
..

>
>
>
>
>
met
you,
ww
liked
>

..

.
.

>
>
>
>
you,
liked
you
>
>
>
>
. . . . . . . . . . . . . . . . . . . . . . . .

bad
Am
day,
But
.
.
good
. . . . . . -

..
.
day
for
C5
.
.
us,
..
.
.
>
Music and Lyrics 2009 by Ryan Scott Oliver. 2011 ARESSO MUSIC PUBLISHING. All rights reserved.
Good
for
us.
&
>
>
>
..

>
>C
j
>
>C sus
Music and Lyrics by

RYAN SCOTT OLIVER
26
/B
C5
& j
/A
/G
j j
&
. .
. . . . .
>
. .
. . . . .
>
. .
. . . . .
>
. . . . . . . .
>
You would-n't let me kiss
?
>
>
Gsus
&
&

j
? .
>
>
Csus2
day,
..
>
called
&
>
>
>
? . . . . . . . . . .
Dm
&
You
&
?
text - ed
. . . . . . . .
"On Monday" - 2
You
were
..
C /F
my
kind
of
you,
>
Ig - nored

>
gg
ggg .
ggg .

> > gg - .
C sus
me,
Straight voice
Then Tues -
>
>
mail.
>
>
>
>
. . . . . . . . . . . . . . . . . . . . . .

Am
..
.
. . . . . .
-
.
.
back
guy.
ggg ...
gg -
you. And that is why
say
ing
"Play
hard
to
C5
..
.
get.
Rea - dy, set..."
> >
you. Would-n't let me kiss
>
&
you. Would-n't let me kiss
27
/B
C5
& j
You would-n't let me see
&
. . . . ... >
>
?

>
J
&
Gsus
/A
. .
. . . . .
>
. .
. . . . .
>
. . . . . . . .
>
you. Would-n't let me see
I've
been
&

j
? .
.
>
Csus2/D
& j
uh - ile
so
j

That
to
&

? j .

"On Monday" - 3
>
Still I
C/F
thought,
"You're the
ggg ...
gg ..
gg
ggg .
ggg .

> > gg - .
>
ju
take
F(add6)
best."
>
.
.
.
>
G/B
uh - I
time,
>
Csus2
>
Is
just
not
>
my
style.
.
.
.
'Cause
uh - I
G(add6)

J
my
Am
ve - ni(le)
C /E
you. Got so de- pressed
& .
G(add6)
you. Would-n't let me see
>
test,
&

j
j
? .
.
.
.
>
>
>
F(add6)
By your
C/E
/G
28
&
Am
G/B
C sus2
Csus2/D
G5
Ah,
&

Csus2
&
&
>
? . . .
>
Black coff - ee,
>
uh - ah
uh - ah,

>
Pure
Oh, Wednes - day,
&
?
"Hump"
Clean
& j
You would-n't let me take
&
. .
?
>
"On Monday" - 4
. . . . .
>
>
we
...
day,
But
/B
touch - ing.
>
>
. . . . . . . .
G
. . . . . .
-
. . . . . . . .
C5
talk - ing,
Am
uh ah - uh ah,
.
.
/A
just
C5
..
.
held hands,
We
held hands.
/G
> >
j
. .
. . . . .
>
. .
. . . . .
>
. . . . . . . .
>
you, Would-n't let me take
>
you, Would-n't let me take
you
A - way
&
uh - ah,
>
>
>
>
. . . . . . . . . . . . . . . . . . . . .

Dm
Csus
Come Wednes - day,
29
&
Gsus
for
the day,
F(add6)
& .
felt
&

j
? .
.
Csus2/D
uh - ile
so
&
Am
C /E
inch
ve - ni(le)
F(add6)
"On Monday" - 5
.
.
.
>
G/B
Csus2
uh - I
uh - I
.
.
time,
>
>
j

And
C sus2/D
took

C /E
And
.
I
&

?
stay."
G(add6)
of
Am
>
mile.
C sus2
G/B
>
gave an
&

? j .
got - ta
gg
ggg .
ggg .

> > gg - .
..
j

You
ggg ...
gg -
ju
"I
F(add6)

was
G(add6)
so

.
.
& j
G(add6)
You said,
&

j
j
? .
.
.
.
>
>
>
C/E
C/F
30
Am
&
ju
ve - ni(le)
uh - I
F(add6)
&
take
it
C sus2/D
G(add6)
>
&
C5
Then Thurs - day,
just
>
not
my
>
>
Fsus
Like
Tues - day,
Em
Am
>
G/B
C sus2
uh - ah
Your
uh - ah
uh - ah
style.
G5
"day
uh - ah
p
j
>
G5
off"
from me,

& . . . .
. .
. .
. .
. .
. . . .
F
gg wwww
g
b
ggg n wwwg
? ggg w
ggg ww
g w
gg w"On Monday" - 6
Is
&
to
Ah
'Cause
? j .
uh - ile
uh - I
slow,
&

j
? .
Csus2/D
C /E
&
C sus2
&

?

G/B
31
Dm
&
But
D m/F
Fri - day
Am
bu - sy,
And
Sa
&
. .
. .
. . . . -
?g w
ggg ww
g
&
&
?
.
.
Am
Am
So let me go.
&
j j
D m/F
E m/G
&
You
are
?
J
p
?
j
<
<
"On Monday" - 7
cute.
<
But
ju - ve- ni(le)
me, You don't wan - na take
A m7
<
w
F
with you?
/A
up
/B
..
But you said,
Slower (q =120)
C/E
..
What's
me,
me, You don't wan - na see
uh - I
U ?
"There's things I know...
ggg ww
gg
ggg
gg w
gg w
G/B
C sus2

J
uh - I
j j
<
<
/D
uh - ile...
<
Don't you know the
& j
tur - day, too...
.
.
You don't wan - na kiss
..
A m/C
/G
32
D m/F
C /E
E m/G
& .
great - est
love
/A
&w
Em
/C
/G
/D
And take
/E
/B
&
Be
pa - tient
&
>
f
?
>
"On Monday" - 8
For that "one
>
>
- - - - - -
So take my hand.
/G
/A
.
- .
/C
(Tempo I)
- .
/B b
/C
mile,
day,"
/D
a mile,
>
>
>

- - - - - -

.

.

J-
Look, Lo - ver:
>
b.
b - .
Am
&
n - - - - - -
j
j
? .

.
- - .
- .
D m/F

- b - - - b - -
And then a - noth - er
D5
/F
Jb
It's
Sun - day.

. . . . >
> > >

. . . .
> > > >
/E
For just
/A
the trial
/C
P cresc. poco a poco

j
- . - -
Fsus
/B
w
&
.
- .
/F
& w
w

-
/B
&w

?
.
- .
Am
Takes the great - est while?
?
J
p
?
j
<
<
<
G
Slightly slower than Tempo I, accel.
33
C /E
F(add6)
& .
Come
with
G(add6)
me,
&

? .

.
>
>
>
C sus2/D
& j .
May - be it's not
Am
&
?
G/B
>
& j
uh - I
it
worth
C/E
far
G(add6)
uh - I
uh - I
way
or
.
.
Csus2/D
>
>
com - ing down
But
j .
Am
Wa
>
>
ah - ah
G5
Csus2
ah - ah
ah - ah
>
>
the aisle,
uh - I
your whi(le)
F(add6)
C sus2
j
j

&
"On Monday" - 9
make
I'll
G/B
uh - I
uh - I
j
j

ah
ah
&w
&

? j .
uh - ile,
Am
34
G/B
&
Na
>
uh - uh,
wan - na
F M7

>
>
? n.
n
>
>
Csus2
>
>
>

#
>
>
>
>
kiss
>
you.
And
kiss
>
And
kiss
you.
And
kiss
And
>
kiss
>
> > >
you.
And
kiss
you.
>
>
>
>
. . . . . . . . . . . . . . . .
Am
>
> > > >
you.
you.
P
.
.
.
.
.
.
.
.
.
.
.
.
.
.
?

"On Monday" - 10
>
Csus
& ww
ww
F dim. poco a poco
? . . . . . . . . . . . . . . . .
&
now.
.
.
..
.
And
kiss
you
.
.
..
.
Till
Mon - day.
And
&
Oh,
&
Dm
#
>
D add2
you
Asus
kiss
&
&
uh - uh
&
>
35
CARALEE
C # dim/
G
Playfully (q =132)
### # 4
& # 4
F
? ### # 4
# 4
. .
B6
# # # # F
& # J
B6
### #
& #
Ca - ra
? ### #
### #
# j
B7
"Caralee" - 1
n
.
(Drop it)
is
j
.
J n . .
. .
#
C dim/G B / # B 6
F
n
.
(Drop it)
n .
B6
j .
. J n .
.
.
.
#
(Drop it)
j .
j .
n
# n . . J .
.
J . .
. .
.
.
.
.
G # m7/C #
Life
>
as
B/F #
n

C dim/G
A B /F #
C # dim/G B / #
F
(Ca - ra - lee don't suck on that)
a .
B /F #
ter - ror.
j .
a .
J n . .
. .
.
B/F # B 7
C # dim/G B / #
F
Ca - ra - lee
j n .
#
. J n . .
. .
### #
& #
? ### #
But
a .
C # dim/
G
j J
C dim/G B / # B 6
F
C # dim/G B / # B 6
F
j
.
J n . .
. .
#
Bm
J n .
(Sigh)
? ### #
lee
##
& # # # n
.
&
B6
/E
Pays the bills.
j
. . n
J . .
her "man - ny" beats
Music and Lyrics 2009 by Ryan Scott Oliver. 2011 ARESSO MUSIC PUBLISHING.
j
>
life
. # .
&
### #
B /F #
Music and Lyrics by

RYAN SCOTT OLIVER
36
&
### #
G # m7/C #
# j j J
### #
& #

.
? ### #
>
on my fan - ny, still
### #
& #
B6
### #
& #
? ### #
>
? ### #
### #
# j
##
& # # # n
.
? ### #
"Caralee" - 2
(Spit)
C # dim/G B / #
F
n
J
a .
B/F #
Bm
Now, you
j .
# n . . J .
.
.
n .
/E
don't try
to take them. Try
>
to
bor
C # dim/G
. # .
/E
>
makes small cuts.
n .
row or break them and
B /F #
G # m7/C #
C # dim/G B / #
F
j .
j
.
. .
n
J . . .
J
.
.
Ca - ra - lee
B6
. j .
a
J n . .
. .
. j .
a
J n . .
. .
C # dim/G B / # B 6
F
>
C # dim/G B / #
F
With which
G # m7/C #
n
n
fl
(Spit)
fl
j
j .
J n . .
She kills.
(Thank you)
has toy scis - sors
j .
# a . . J n .
.
.
B7
B6
#
#
C # dim/G B / #
F
B6
>
. # .
### #
& #
Ca - ra - lee
Oy.
J
j
C # dim/G B /F #
j .
# a .
.
J n . .
.
### #
& # J
j
j
j
n
.. #
(Spit)
( )

J

C # m7 b5 /G
Ca - ra - lee...
. # . .
B6
&
G # m7/F #
/E
&
### #
### #
&
### #
Ca - ra - lee
B6
j
nn
>
n
>
a .
### #
& # ..
.
J J
? ### #
#
Ca - ra - lee
### #
& # J
B6
"Caralee" - 3
threw up and
C # dim/
G B /F #
n
J
Ca - ra - lee
? ### #
C # dim/G
knows the "F
j .
# a . .
J n . .
.
G # m7/C #
j

..
n .
Ca - ra
F #9(add13)
poo'd
...
..
.
Bm
>
Word."
..
Book.
Ca - ra - lee
G # m7
Woah - ooh oh - ooh,
Ca - ra - lee,
C # dim/G B / # B 6
F
In fact,
n .
on my Mac
lee,
. j .
a
J n . .
. .
>
j
F # m7/B
(Gent - ly,
&
Stabs your nuts.
B/ #
F
C # dim/G B / #
F
C # dim/G B / #
F
n
wrote
a song.
. j n .
. j .
J n . . a .
J n . .
. .
.
A # m7(b5)
#
#
& # ##
##
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But re - peat - ed - ly.)
B6
(God - damn -it)

. .
J .
### #
& #
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C # m7 b5 /G
# j J
# j j
..
J
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j
#
&
( )
j
G # m7/F #
37
38
&
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B7
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n
.
j .
# n . . J .
.
.
G # m7/F #
# j J
B6
#
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ap - pro

.
.
>
( )
C # m7 b5 /G
fl
j
n
n
fl
C # dim/G B / # G # m7/ #
C
F
j

.
.
Ca - ra
in
j
>
##
& # # # ..
.
? # # # # ..
# .
>
j
>

.
.
F # m7/B
G # m7
lee,
Ca - ra - lee,
n ..
J
J
may be Sa
tan.
>
/E
pri - ate ar - eas, But
. # .
. j .
a .
n . .
J

.
Fa - ther's Cha - ri - ty Ban - quet would be
F #9(add13)
hi - la - ri'us
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know!)
act - 'lly
G # m7/C #
/E
Ca - ra - lee's
she
"Caralee" - 4
G # m7/C #
j
>
. # .
C # dim/G B / #
F
B6
wrong.
(But now we
. j .
a
J n . .
. .
( )
A # m7 b5
Ca - ra - lee

..
I think that
J J

Woah - ooh oh - ooh,
G # m7/C #
F # m7/B
j

..
Ca - ra
J
-
G # m7
lee,
Ca - ra - lee,
n ..
J
J
&
### #
B/F #
Heh, it's
# j j
..
J
#
? ## #
j
#
&
( )
A # m7 b5
F #9(add13)
### #

& #
I swear to
### #
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##
& # ##
##
& # # # n
.
&
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& #
? ### #
"Caralee" - 5
A B/F #
>
C # dim/
G
/E
And
n .
to
feet
with,
to
>
eat with and spa - ghet
shout
"Ho
# .
G # m7/C #
>
a .
ti
B /F #
n .
/E
on-ly likes spa-ghet-ti.
. j .
a
J
. .

.
.
j
. # .
>
>
G # m7/C #
C # dim/
G
oh - ooh,
Ca - ra - lee
Woah - ooh
j J
/E
tan.
B /F # B 6
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J n . .
. .
G # m7/C #
Spa - ghet - ti
be - tween
>
j .
# n . . J .
.
.
G # m7/C #
Bm
Sa
to throw with, To get mush

.
.
j
. # .
>
>
mo"
and
/E
"No" with,
>
Oh,
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& #
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..
.
j .
# a . .
J n . .
.
B7
? ### #
She is
>
j
likes spa - ghet - ti.
opt.
...
n
J
Ca - ra - lee
? ### #
God,
C # dim/ B / #
G
F
B6
### #

& # ..

.
J J
? ### #
#
Ca - ra - lee,
39
40
&
### #
&
### #
? ### #
&
G # m7/F #
# j
Ca - ra
# j
..
n .
n
& n
&
Ca - ra - lee's
Am7(add9)
&
.
&
sim - ply
? .
"Caralee" - 6
need
lee
# n #
#
#
thir - ty
Ca - ra
fif - ty
dol- lars I'll
be
.
.
per - sua - sive,
she
could
help
to
-
J
bar - ter,
she's
>
you
sell
your
crack.
>
ve -
ry
ea
- sy
-
J
is
n nnn
n nnn
n nnn
> >
right back.
> >
>
..
.
mi - nutes, Here's
Mis - ter,
Or
if
you
>
sale,
But
please
don't
>
>
&
J
j
for
? n
n
>
>
lee,
yours
N Gsus7/D
D m/F
F #sus7/E
41
D7(add13)/F #
&
. . . . . . # . .

. . . . . .

? #
# .
A m7
# >
send her in the mail be - cause she'll

#
# .
&
>
Now I'm
free,

I'm
free
w
& www
J
j j
.
? .
.
.
&
D dim/A b C /G
C6
&
f
?. .
N
.
"Caralee" - 7
>
( )
D m7 b5 /A b
b
b
.j .j . . . . .j
b
N
.
>
# . b . # .
n #
> . . n .
> n > b >

n b
so long for a while ha ha
D dim/A b C /G
>
>
> >

ha
>
Dsus7
D dim/A b C /G C 6
C6
>
b
b
>
E bsus
Of
Ca - ra - lee!
F #sus2/G
>
b bb n n >
.
.j j . .
.
.
.
.
. b N
b N
b b . b > N
.
>
.
>
.j
j
&
just come back to haunt you with her
aw - f'lly nice to meet you, thanks, and
> > > b >

b
J
A m7/G
.
.

&
sci-ssors and her smile and it's been
B b7(add13)
D sus7
? >
# >
# . .
&
throw her in the trash or try to
A m7
42
THE PARTY GOES WITH YOU

Andante (q =100)
? ### #
? ### #
##
& # ##
THE BROAD:
G# m
? # # # #
# J
We don't speak
? ### # .
#
B
? # # # #
# J
&
### #
? ### #
# J
? ### #
# .
"The Party Goes With You" - 1
got
and fa
j j j
j

-

G#m
C # m7
on
fa
should we?)
(mov-ing
G#m
-

J
j
.
J
ces,
F#
(Or work, or wives: un-hap-py lives.)
j j
j j j .

are lips
-

J
(Why
j
.
ces.
of hus - bands or homes.
-

J
G#m
j .
All we've
of names
G# m
We don't speak
# .
flaw-less-ly)
### #
& #
? ### #
G m
B
G m
- -
- -

- -

44
J
J
J
J
p espressivo
j
j
4 .
j .
j
.
Music and Lyrics by

RYAN SCOTT OLIVER
43
F #7
### #
& #
Hold-ing
? ### #
# J
? ### #
&
### #
se
# w
#
G# m
# .

G#m
? ### #
# J
At the
coun
? ### #
# J
ter
G# m
you stand
ing
C # m7
of
this bar.
(Speak-ea - sy,

J
.
G# m
(are you wait-ing for me?)
-

.
clothes.
G# m
our
-

.
I catch
? ### # .
#
# .
j
j j j

On the nights
? ### #
F#
hole - in-the-wall.)
J
.
# # # # B
& #
in
# # # # B
& #
crets
? # # # #
# J
? ### #
44
G# m
# # # # B
& #
j j
j j j j

We min- u - et
? # # # #
# J
? ### # .
#
&
### #
? ### #
? ### #
### #
gnac.)
Pro-hi - bi
# w
&
? ### #
. .
>
#
. .>
>
pose,
j
.
G# m
j
.
But
-
&
J
C#
G#m
Ev'-ry - bo-dy
F#
knows,
>
G# m
j
#
>
j
.

>
>

>
C#
knows,
And damn it all,
j
.
Ev'-ry - bo-dy

>
It goes too.
ww
w
. .
j
j j
j
n
. .
The par-ty, well...
harm.
F#
ww
w
tion, but there's no
you strike your good - bye
# j .
.
J
(Your fav-'rite Ar-ma -
when
dy
j j
### # E
j
& #
j
### #
# j .
.
F J
? ### #
#
. .>
&
and bran
j j
Dar-ling.
j
#
>
>
j
&
### #
j
n
#.
to ci - ga - rette
F #7
G# m
F#
E
### #
& #
&
### #
? ### #
j j
n .
# j .
.
J
#
. . >
? ### # .
#
Clean-ing
? ### #
# J
? ### # .
#
#
Wish-ing
up
with all
to
the mess
G#m
for vows
G#m
take back
. .
(Our fraught af - fair turned so - li-taire)
F#
mere-ly one
(La di da.)
G# m
in gold
es.
C# m
j j

? ### #
# J
# .
j
.
G#m
one my 'yes - es'
(Ach-ing to be
left
? # # # #
# J
? ### #
>
G# m
# # # # B
& #
. .
>
..
.
G# m
with you.
And I'm
&
The par - ty goes
# # # # B
& #
### #
45
46
&
### #
? ### #
? ### #
&
### #
### #
F#
yours)
#
#
j j
### #
&
### #
when
ry all
you strike your good
Ev' - ry
G# m
# .
knows,
And
j
.
>
Ev' - ry
j
..
damn it all,
bo-dy
j
#
>
j

>
It goes
ww
w

>
F#
well...
>
Dar - ling.
knows,
. .
.
>
But
The par - ty,
j j
>
. .
C#
G# m
-
&
J
re
pose,
. .
### # j
& #

>
>
? ### #
j
# .

too.
bye
bo - dy
told.
F#
ww
w
>
C#
# j
# # j

>
j
? ### # .
#
&
j j
j j
n
The par - ty
j
..
goes
. .
>
. .
>
&
### #
And have my sto
# j .
.
F J
? ### #
#
. . >
&
G# m
&
&
### #
### #
? ### #
&
&
### #
### #
? ### #
&
### #
&
you.
#
E
F#
#
. . >
# j
. .
j .

.
>
C#
This par - ty
Oh,
>
d' - you
s'-pose?
j j
>
F#
could
>
be
just
us
two?
ww
w

. .
>
F#
j j j j j

j n.
. .
Dar - ling,
j
j ..
#
>
> J
.
G# m
# w .
And
& j
# # # # j
& #
>
>
# .
47
nose,
s'- pose?
#
#
>
to
ww
w
d' - you
Dar - ling,
G# m
>
C#
we're danc - ing nose
# j ..
J
>
j
And I your wife...
? ### #
C#
j ? ww
? ### # .
#
### #
with
# .
..
when
G#m
The gay-est par
>
ty
is sad, but true:
w
w
. .
. .
>
&
### #
F#
48
&
### #
G# m
C#
# # # # j
& #
>
>
? ### #
&
&
### #
### #
? ### #
true:
G#
# w
&
. .
>
j
j
# j ..

>
>
>
> J
j
#
j j
# w
in the
? # # # #
#
J
F#
par - ty
. .
>
F#
>
G# m
>
- -

J
The life of the
j
.
. .
Non rit.
of my life.
with
..
.
j
.
- -
The par - ty goes
J
.
..
.
>

. . >
- -

J
j
.
# .
G# m
# .
# j
.
j j
with
j j n .
you.
par-ty
? ### #
>
# # # # ?
& #
J
### #
>
you.
? ### #
The par - ty goes
# j ..
..
J J
&
w
w
j

<
&
### #
# .
j j n .
It's
F#
49
MAKE ME HAPPY
Music and Lyrics by

RYAN SCOTT OLIVER
Not too fast (q =84)

(N.C.)
? 4
b 4
>
F
? b 44
>
&b
b b b b
. . . . . . . . . . . . &
> > >
> > > >
> > > >
> > > >
j b j b j b j b
> > >
> > > >
> > > >
> > > >
Eb
?b
> > > >

()
&b
make me hap - py
~~~~~
b
&
>
?b

b >
>
>
"Make Me Happy" - 1
all

. .
the time.
j
b j .
b .
b ...
J
Woah-oh - oh! Ya
>

> > > > >
>
.
.
.
E bsus2
you know I'm a to - tal
b
.
b .
.
.
~~
~
~
~
~~~

>

>loco > > >
b
>
(And
HE: F sus7/E
dick.)
F sus7/C
But - cha

. . . >
> .
. b . b . .

& b
>.>.>.
Eb
50
&b
?b
Aw

. . . . .
>
A b5
& b b
& b gg b
gg b b
ggg
g
? b gggg
ggg b
gg b
b b ...
>
A little rocky
F/C
>
& b J
?b
>
4
&b 4
>
hap - py,
b7
Hap
>
b
~~~~~~
> . >
4
&b 4
f
? 4
b 4
>
>
"Make Me Happy" - 2
b B
>
j
b
. >

>
> ..
. ..
. b .
Ay,

>
C sus
way,
b b
..
>
> .
E b7
Like when ya
pa, hap - pa, hap - py,
keep out of my god-damned
>
And you
trick.
D b5
An' it
B b7
>
j

>
42 b b n
b . . . . . . b . n .
2
4
Ba - by, nev - er go
b b >
42 b J
E bsus2(#4)
b .
> . > .
b
b >
>
way.
~~~
b >
p
j

b
>
>
4
4
4
4
~~~~ 4
~~~ 4
'Cause you
>
makes me
b n
b b
b
>
>
b >
b > .
b
.
time,"
Ba - by you just do the
know I need my "a-lone
&b
. b
make me hap - py all the time,
& b
.
Bb9
E b7
51
E bsus2
Get sexy
F7
&b
SHE:
Make
&b
Make
& b ww
P
?b
me
me
hap - py,
hap - py,
fl
fl
Oh
you
Oh
you
Make
fl
Make
me hap-py, Oh you
Make
me hap-py, Oh you
&b
hap - py,
me
fl
hap - py,
Make
me hap-py, hap - py.
ggg ww
gg w
>
"Make Me Happy" - 3
fl
C (b9)
Oh
you
Oh
you
F sus7/E b
> b
>
>

. .
>
.
.
(And
that is real - ly fuck - ing tough.)
b
.
b .
.
.
b
b

> >
Ya
& b
F m7/A b
b > >
fl
Woah-oh - oh,
E bsus2
make me hap - py all the time.
>
fl
me hap-py, hap - py, Oh!
&b
Make
b b b
b
fl
fl fl
fl
fl
fl fl
fl
me
F sus7/C
Still, ya

. >
> .
bw
& b gggg b ww
g
b
b
fl
E bsus2
& b b
&b
Make
F7
ww
52
&b
E b7
. b
make me hap - py all the time,
& b
.
?b
&b
.
.
>
A b5
b
b ...
>
know I'm fond of vent
& b gg b
ggg b b
ggg
? ggg
b gg b
gg b
gg
&b
>
me
B b7
hap - py,
4
&b 4
>
4
&b 4
f
? 4
b 4
>
ing,
"Make Me Happy" - 4
>
>
so
>
j

b >

J
j

Oh,
>
>
And you
D b5
b b
say,
..
>.
let me have my fuck - ing
hap - py,
Ay,
^j
>
E b7
B b7
>
Which
>
j
>
f>
2
4 b #
b > >
#
2
4
Ba - by, nev - er
2
4 bb
>
E bsus2(#4)
j .
HE:
go
>
b
b
>
>
way.
4
4
44
4
4
'Cause you
Ay,
> ..
. .. b .
. b .

> . > . > .
Like how ya
C sus
b b
b
. >
^
. r j
b
>
b . . . . #
.
. . .
>
>
b
Ba - by, I can't get e - nough.
F5
>
'Cause you
ggg
gg
>
>
& b J
? j
b
>
makes
A little rocky
F/C
& b 44
Aw

. . . . .
B b7
53
E bsus2
Get sexy
F7
&b
&b
b
&b
Make
fl
F7
?b
fl
Make
fl
hap - py,
me
hap - py,
fl
me
hap - py,
fl
fl
Make me hap - py all the time.
. . Make
. me
. hap-py
. .

&b
f
?b

.
.
>
you
Oh
you
Oh
you
Oh
you
(And

. .
all the time.
..
.
E bsus2
..
.
me
hap - py,
me
hap - py,
Oh
b .
b .
Oh
you
. .
. .
you
me
hap - py,
me
hap - py,
hap - py.
fl
fl
twis - ted
fl
fl
hap - py.
. .
.
.
b
fl
F sus7/C
bitch.)
(And you know I'm a
Make
you know I'm a
fl
Make
b
b
fl
Make
b
b
fl
Oh
fl
Make
E bsus2
fl
hap - py,
me
&b
"Make Me Happy" - 5
&b
Make
But to
fuck-ing fuck.)
. >
> .
b
b
&
me
Make
&b
Breathy headvoice
&b
54
F
&b
hap - py all the time
. .
&b
is
- what-cha call a kind of
. . . .

But to make me hap-py
Bb9
b #
& b
make me
E b7
.
.
.
>
P
j
j
& b b b J b
know I don't de-serve you, But pleasehave faith in me: I'm
P
j
b
& b b J b
J
know I don't de-serve you, But pleasehave faith in me: I'm
& b 44 .
C sus
see,
4
& b 4 .
see,
& b 44
.
F
? b 44
fl
"Make Me Happy" - 6
R
And I
^
j
b
A b5
6
4 n j j b
And I
work-ing to be worth-y, And soonyou'regon-na
j
46 n n j b
b b
44
work-ing to be worth-y, And soonyou'regon-na
46
46
b
b
44
You'll
see
You'll
see
I'm gon - na
I'm gon - na -

. . . . . . .

> > >

> > >
fl
fl
fl
44
?b
is what-cha call a change in luck.
b n
b
>
>
>
b >
b > .
b
.
&b
all the time,
switch.
&b
&b
&b
?
make you hap - py.
>
.
.
life so hap - py,
life so hap - py,
will try,
B b7
b
.
In
Hap
In
b
b
&
(Make me hap-py, Oh you

Breathy headvoice
E bsus2
Is
Is
love
love
b b

. >
> .
with...
with...
b
> >
b b
Make me hap-py, hap - py)
b #
(N.C.)
Ba- by, I'm in love with
> . . . > .

> >

you.
. . >
b
.
..
. . b #
b
.

#
.
> . . . > . . .
^
b b b
fl
fl fl fl
fl fl fl
fl
(Make me hap-py, Oh you
You.
~~~
~~~~~~~~~
"Make Me Happy" - 7
Make me hap-py, hap - py)
& b
b b
E b7
b .
Hap
F sus7/C
'Cause what I lack in fol - low through
F7
?b
j
& b b
>
>
? b j
>
>
&b

. . .
& b b
&b
F/C
E bsus2
'Cause what I lack in fol - low through
make you hap - py.
will try,
55
56
THE SERAPH
Music and Lyrics by
RYAN SCOTT OLIVER
Folk song (q =76)
& b 44 j .
F
saw a de - vil before
me, And he took me
& b 44 g w
gg ww
ggg Arpeggios roll down, like a guitar (where possible)
ggg P
? 4 ggg w
b 4 gg w
g
&b
walked
in - side
his sha
dow
and
face.
ggg
ggg
ggg
ggg
B b M7
4
&b 4
filled my life with sin
& b 44 g ww
ggg
ggg
? b 44 gggg ww
e - nough for the
kept
*This figure is not an improvisation.
J
C sus7
.
.
24
2 j
4
j
24
-
24
44
43
24
..
..
24 j 44
world a - round,
..
a - pace.
.
.
..
Csus7
.
.
Bb
Csus7
ggg
ggg
ggg
gg
g
.
..
Dm
"The Seraph" - 1
by the
Drowned,
44
43
43
& b ggg
ggg ww
ggg
? b gggg w
gg w
Bb
B b M7
j
3
4
b
& 4 4
.
F
44 ..
J
till by an An-gel
Se - raph
43 ggg ...
gg
ggg
g
? b 43 gggg .
ggg .
&b

b
&
-
leads me
? b g ww
ggg w
g
feel
him
& b
?b
ggg ww
gg w
"The Seraph" - 2
got
..
.
rest
ggg ww
gg w
kind
watch - es
.
Bb
of
soul
..
.
Dm
<
.
..
warm,
.
ggg ww
gg w
The
to
chest,
a - gainst my
<
keep.
<

The
sleep.
as
...
Dm
his Se - raph head,
F
J
(uh-'ound.)
He
some
..
.
thinks I've
& b
&b
on - ward,
An - gel
C sus7
Don't
know
&b
gel
& b
F
? b gg ww
ggg w
F
found.
C7
44 gggg ww
gg
Refrain
An
I was
57
With purpose
58
Bb
&b
why
it should
..
.
& b
? b w
be,
but
& b j .
F
the
C sus7
An - gel,
G m7/F
bless'd.
by
j
.
F/C
am
& b g .
.

w.

ggg
.
gg
J
P
ggg
.
.
? b ggg w
gg w

Bb
now that de -vil's be-hind
& b gg
ggg
gg
ggg
? b gg
ggg w
..
.
4
&b 4
F
? b 44
w
"The Seraph" - 3
Hop-ing I'll
Se-raph re-mains
& b 44 ..
.
me,
to re-mind
trip and
I can
fall.
gg .. j
ggg
ggg
ggg .
j
ggg .
b

me
C sus7
have a high-er call.
42
44
2
4
42 ..

B b M7
Bb
4
4
44
j
44
2
4
42
2
4
But the
44
44
& b .
F
And
& b 44
Dm
& b 44
.
.
good- ness
that
Csus
? b 44

B b M7
j
& b 43 44 .
F
and cool and clear and
hu - man
44 j .
..

-J
44 w
? b 43 j
.
& b 43
Refrain
An
& b
F
? b gg ww
ggg w
F
&b
? b g ww
ggg w
g
"The Seraph" - 4
leads me
on - ward,
gel
An - gel
& b
thinks I've
..
.
got
some
In dis - guise.
p r
.
He
Dm
ggg ww
gg w
kind
J
-
J
.
Bb
of
soul
..
.
<
.
..
The
sleep.
The
to
<

..
.
as
43
Csus7
watch - es
(uh - 'uise...)

43
.
42 .
C7
Wise
keep.
<

&b
F
.
4 .
.
43
He e - xem - pli - fies,
.
..
59
j
42
j .
jour - ney toward a
Bb
60
&b
feel
him
& b
? gg ww
b gg w
g

rest
it should
..
.
& b
but
by
Freely
F5
&b
don't
& b w? b ww
"The Seraph" - 5
be - lieve
Don't
know
Csus7
An - gel,
G m7
am
j
.
.
.
& b b .
.
? b w
chest,
F/C
G m7/F
a - gainst my
.
ggg ww
gg w
the
warm,
bless'd.

in God.
I think
Fsus2/B b
Je - sus
gg .
ggg
ggg
ggg
g
was just
a man.
..
.
.
But
& b j .
F
be,
why
b w
his Se - raph head,
&b
Bb
..
.
Dm
61
Bb
Fsus2/A
& b b
with you in my life
I feel
?b
& b 44
Dm
Bb
& b

?b
as I'll
Bb
24
C sus7
.
>
ggg ww
ggg w
gel
lead
43
C7
get.
43
are

24
43
Mmm
. . . .
me
And
>
An
44
You
on - ward,
44
4
4 w
So
44 ...
J
f
J
Heav - en
b
& 4

? 3 .
b 4
..
42
24 j
re - gret.
4 j .
4
a Love as close to
or
.
.
B b M7
3
&b 4
&b
You've
2
4

j
-
Csus
fear
fl
shown me there is faith with - out
& b 44
fl
In time
"The Seraph" - 6
? b 44
C sus7
part of some hea -ven - ly plan.
& b ..
.
j
42 44
62
Dm
&b
hold
watch
? g w
b gg w
gg w
Bb
sleep.
soul
to
& b ...
<
? b ..
.
keep.
<

<
warm,
& b
? b g .
ggg
g
And
chest,
&b
.
?
b w
w
"The Seraph" - 7
know
ggg ww
gg w
when
Light
Di - vine,
Bb
An
C 7sus2
..
..
gel
w r
w
mine,
...

I'll
Some - how,
got
your hal - low'd head
High - est
I've
lay
think
..
.
you
why you
..
.
ggg ww
gg w
j .
..
.
don't
a - gainst my
be
& b .
Dm
&b
& b .
as
& b
63
F
&b
bless'd.
?b
w
w
bless'd.
.
.
"The Seraph" - 8
G m7 add4
>
G m7 add4
w
w.
.
.
>
be
I'll
be
be
w
w
I'll
.
.
I'll
?b
?b
>
# . .. w
G m7 add4
w
w
bless'd.
Bb
Rit.
Bb
- ( - ) UF
g r
ggg
ggg
ggg
j gggg
gg
gg
ggg
g u
G m7 add4
&b
.
..
Fsus
? g w
b gg
g
Fsus
& b
..
.
bless'd.
&b
..
..
&b
&b
G m7
Fsus
64
LEAVE, LUANNE
? b 44 > > >

F
? 4
b 4
w
Southern Gothic Ghost Story (q =100)
G . . D
. .
m
Dm
Vb
Gm
Music and Lyrics by

RYAN SCOTT OLIVER
Dm
P
J
THE CAJUN:
.
.
? b . &
?b
w
w
B b5(add#4)
anne's fat lip is dry- ing.
& b
-
? j
b
j
V b n.
>
bleed-ing.
& b .
"Leave, Luanne" - 1
He
>
-
>
Bas-tard's ba-con fry- ing,
The
Dsus
B b5(add#4)
shouts, "Girl,
N
-
The
>
set the ta - ble."
But
F m/C
shi - ner 'round her eye's gone bust and
B b7
j
b
>.
he knows
>
>
j
j

>
j
> .
j
3
she ain't a - ble:
Her
>
Vb
Lu
65
Gm
Vb
arm's done broke,
&b
?b
Vb
soft - ly she's re
24 j
24
Dm
Why don't you march out that door?
Dm
44
peat-ing,
44
44
? #
..
>
>
>
Gm
Sou-thern wo-man, he ain't no good to you.
?
b
Am
Vb
you dy - ing
"Leave, Luanne" - 2
Lou - i - si - a - na wants war,
on her
ru - by plains;
Gm
Leave, Lu - anne.
? b
But it's
85
Lo - yal Lu-anne re
85 .
Am
.
5 ggg ..
8
and yet,
44
-
44
44
V b .
?b
And
sim.
?b
24
hung limp like yolk,
Leave, Lu - anne.
Bb
Am
66
4
Vb 4 w
Dm
mains.
Gm
Dm
E-ver
.
.
? 4 .
&
b 4
? b 44
w

- -
B b5(add#4)

Vb
J
J
since he got him laid off,
& b
-
? b j
>
Vb
>
B b5(add#4)
He
N
-
?b
"Leave, Luanne" - 3
42
No,
>
j
fool.
..
how he treats her, 'Cause a
but now he's
She don't fess
44
44
F m/C
j

>
>
j
j
.
>
j
b
>.
>
2
4
4 j 4
he was ne-ver nice,
she won't be a
42
Bb
B b7
and he beats her.
Am
rapes her,
Bi-ble verse says it won't get worse, And
& b j

& b . #

R
>
?b
j
.
Gm
sa-ni-ty just made off.
Dsus
cru - el.
His
D m/A
>
A7
You won't nev - er
#
#

> > >
j
V b n.
sim.
Dm
Vb
G m7
Leave Lu - anne, 'Cause ifyou walk out that door,
&b
LES VOIX EN DESSOUS:

(Always ghostly)
(V2:)
(V3:)
.
.
&b
?b
ww
>
>
V b .
>
Leave Lu - anne,
& b .
.
Leave Lu - anne,
G m7
Vb
>
>
ww
>
>
. . .
r >

> . . >
ww
j 5
4
8 4
Lo - yal Lu-anne re
>
5 g ..
&
8 gg .
g
J
b w
"Leave, Luanne" - 4
Am
5
8 .
4
4
brains,
.
.
Dm
- mains.
5
4
8 4 w
w
Lo - yal Lu-anne re
Am
Y' got heart where you should have had
And so:
sim.
No, you won't
> >
j
>
> n
j
. ww #

>
r .

..
.
Or he'll give you what-for.
>
&b
67
.
.
.

&
mains.
4
4 w
sim.
& b j
. .
>
? w
b w
Truck will be gun-nin' for you.

. > . . >.
His truckwill be gun-nin' for you.
"Leave Lu - anne."
Dm
68
Vb
E/D
p
b
& n
#
Some
Some
Dm
one's
one's
Vb
Gra
& b # n
Gra
ting,

N
Ne - ver
growl - ing,
D dim C
Aw
dy - ing
in a
Bbm
cresc.
fate
..
cresc.
Fate
Bb
Dy-ing
breath.
Oh,
.
#
#
n n #
J
b
b
b
#.
worse
than
..
worse
than
# ww
w
#
Southern Gothic Ghost Story (q =100)

Dm
P
Vb w
Gm
death.
& b ww
?b
ww
But
death.
?b
Dm
. .. .. ...

w
"Leave, Luanne" - 5
sim.
<
&
&b
sigh - ing with bat - tered
Fm
Sigh - ing...
growl - ing,
Screams like
ting,
C aug
.
#
D dim
Dm
howl - ing...
E/D
& b # n n #
J
?b
howl - ing
C aug
B b5(add#4)
Vb
&b
?
69
months of
such
?b
>
j
>.
&b
?b
>
Creeps t'ward his
roped - up
to
lo - gi-cians;
re - trie- ver...
lab
And to -
plucks the kit - chen clea-ver...
N
-
>
B b5(add#4)
So she
J .
And
she
Slower, accel. poco a poco

(N.C.)
Vb
&b
?b
cuts the rope
"Leave, Luanne" - 6
And hope on hope,

She
G m7
starts to shout,
cresc.
Am
"Your dog's got out!"
She's
Vb
lay - men
>
j
log.
Turn
D sus
night the Bas - tard's sleep - ing like a
&b
j
>
F m/C
V b b
J
3
con - di - tions
B b7
70
Allarg.
(Dictated) A tempo (meno mosso) Rit.
G m7
Vb
Am
B b5
2
4
4 4 J
got her chance, with no back-glance, She
& b j
?
b
Em
# f .
# f
?#
.
.
ww
>
>
>
>
>
> .
>
>
w
w
jw
>
>
sim.
Leave Lu - anne,
Yougot a life left to live
"Leave Lu - anne."
&
? # ww
"Leave, Luanne" - 7

> . . >. >
ww

r > ..

.
.
>
..

.
.
> >
> > n j
ww #
House hang-in'offthe Golden Coast.
Em
In a house hang-in'offtheGol-den Coast.
> >
> > n j
.. ww #

A m7
F
#

V .

# P
& .
.

>
.
.
r > ..

.
.
>
n#
Em
jw
ww

>
A m7
Leave, Lu - anne!
Scream-ing, scream-ing,
j #
#
# n

# #
f
.
j j
4 #
n
4 w

. . . >
>
#
J
&
2 j
4
>
# n#
Bsus7 B 7
Asus
bog,
> >
2 > > 4
4 4
Leave, Lu - anne!
&
runs out to the
Tempo I
.
A
V
&
&
&
..
Leave, Lu - anne!
Leave Lu - anne!
#
#
You won't for- get nor for-give,

. >
ww
j 58
Am
ww
Bm
As
58
fin' - lly
Fin' - lly
# > 5 g ..
8 ggg .
&
J
>
.
.
>
Lu - anne
Lu - anne
5 .
8
44
w
es
es
E8
44
ww
capes.
..
44
w
capes.
4
4 w
U" ##
#
U" # #
#
## #
U"
U" # #
Hoedown Feel (L'istesso Tempo)

A/E
j
#
r
j
j
# # # > > > > n > > > > > > > # n # n >
n
&
f
#
? ##
>
# # # f .
.
.
.
J
V
J
> > >
Swim, Lu - anne.
>
> >
A 7/E
>j
j
# # # # n
& n ww
? ### .
.
..
..
>
>
"Leave, Luanne" - 8
?#
And she don't feel the stings and rips and scrapes
j
. . . .
>
>
?#
V
71
B m7
Swim, Lu - anne.
And
r
j
# n # n
n ww
>
>
.
..
>
.
..
72
###
V
### f

&

in thisswampof lee - ches,Go
as theprea - cherprea - ches,as
In thisswampof lee - ches,
As theprea - cherprea - ches,
# # # .
.
&
.
? ### w
### .
V
E
### j .
.
&
the
j
# r n
? ### w
&
&
blood in-side
you rush - es. Left
Blood in-side
you rush - es
? ### w
"Leave, Luanne" - 9
.
..

the marsh
# # #
###
V
###
through
and
As
F#m
Left
bru
and
bru
j .
.

right,
and
All
in
thenight.
a light
and right
shes
As
the
shes
# n
.
..
.
E
yourmight,
# n #

light
Through the marsh
night.
j
.
.

. # n # n

..
Push
j ..
All
Un-
your might
n j # r n

&
###
In
# n
F# m
73
V
&
###
###
til you reach
V
&
the bank.
P
j
F # 7/C #
###
? # # # ggg www
###
hair,
? # # # w j #
B b/F
stare
at
? ## w
B b5(add#4)
Tempo I
Vb
Bas - tard lies
& b
p
?
b
"Leave, Luanne" - 10
in
n b ww
bed now,
on your
42
42
2
4
Half
44
sad
44
4
4
n#
his wife
w
w
n# #
n# #
p n
n
nb
J
The
p
ggg www
ggg w
nn
n nb
is
Who beat you
there.
the Bas - tard
#
& #
feel a lit-tle yank
gggwwww
g
n n .
Till you
dead now.
42
42
2
4
Bsus7
dim.
Colla voce
A tempo (meno mosso)
## p
gg www
gg
> >
Poco rit.
And crawl on-to the bank,
And strick - en,
ww
w
A/C #
74
F m/C
B b7
Pj
4
2
V b 4 4 b
They say she
& b 42
? b 42
B b5(add#4)
thinks
& b
-
?b j
he
used
to
Gm
Vb
wife
Vb
love
her,
A life
But
>
Dm
& b .
.
push,
it
came
2
4
no
Grieve Lu - anne.
?
?
b
b
to
2
4 j
Gm
..
>
to
Dm
Now
. .. ..

&
sim.
ww
shove her,
4
4
care
44
>
4
4
?
He
one seems to
grieve Lu - anne.
B b5
24
And
wild de - spair.
>
case closed,
Am
dis - posed,
>.
in the swamp in
N.
44
Vb
&b
44
drowned her-self
j
>
D sus
75
B b5(add#4)
42 44

Vb
J
no one's on his shoul-der,
& b
p?b
B b7
42
42
j
N.
4
V b 4 b
& b 44
? b 44
and the air is dank
>
j
>.
?b
sli - ver...
G5
Vb
?
b
?b
A5
in the room
And a
42
N
-
fi - ery
Gm
And
&
fog
>
/A
From the mi - ry
bog
Pours
there the man
44
Slower, accel. poco a poco

/G
44
bo-dy starts to shi-ver... When the
>
42
In fact it's
B b5(add#4)
Yet his
>
In a stick - y gloom
>
and steam - ing.
>
D sus
>
win - dow cracks
& b
42 j 44
Am
sees Dead Lu- anne...

He's
Vb
mat - tress don't feel cold - er.
F m/C
Hell-ish hot,
44
44
But his
Allarg.
(Dictated)
76
B b5
Vb
4
Am
& b
ter-ri-fied,
?b
But he keeps his pride 'cuz he
42
4
4 J
B m7(b5)/A
j
V b .
D m/A
>
w
w
V b .
& b ..
.
>
?b
Vb
Am
&b
lo - yal Lu - anne
Am
Dm
re - mains
And re - mains
>
.j .
>
ww
w
w
w
w
w
and
>
j
.
Gm
ww
and
j
But
Bbm
> > # > n >

b # n b b
J
n b j
> > n > b >
Tempo I
re - mains and
& b
?
U
j
w
w
And she shows him her feet are bound in chains,
.
n ..
> >
>
w
w
"I come to set-tle a score."
ten.
re - mains
re - mains
>
and re - mains.
and re - mains.
. . .
>
>
.
.
.
And
said Lu - anne:
( )
B m7 b5 /A
D m/A
w
w
w
w
b ...
>
>
>
A7
A sus
Dm Cm B
'Cause ain't no one e-verloved you.
.
n ..
#
J
Gm
"Leave Lu - anne! Hell sent you back here for more?
Rit.
> > > > dream-ing. # .. And he starts scream-ing,

j
4

4 J
4
j
4
j
j j

>
Meno mosso (q =76)
& b ..
.
>
?b
knowsthat he ain't
42
A tempo (meno mosso)
~~~
~~~
~
Gm
Vb
E /D
f
& b n
#
Some - one's
howl - ing
Some - one's
^
ww>w ^
n
b
& # w
n
?b ^ ^
Vb
E/D
Gra - ting,
& b # n
Vb
>
>
Ne - ver
>
# n
>
>
in a

>
she cries her mis - 'ra-ble knell
death. Lu - anne,
she cries her mis - 'ra-ble knell
r >
>
>
>
>
>
sim.
>
b
..
worse
than
worse
than
# ww
w
#.
..
A7

Gm
So that Bas-tards will ne - ver sleep a-gain.

. > . . > .
cresc.
&b
>
breath.
Bbm
b
N

>
>
>
Fate
..
fate
j
& b ..

..
> >
b
death. Lu - anne,
Bb
dy - ing
Dy- ing
>
Aw
Fm
Oh,
D dim C
>

. J
Dm
77
sigh - ing with bat - tered
D dim C
>
b
Sigh - ing...
>
growl - ing,
Tempo I
Screams like
# n
>
F m6
Bas-tards will ne - ver sleep a-gain.
..
.
..

>ww ^
^
n
w
b
& # w
n
?
Gra - ting,
growl - ing,
howl - ing...
F m6
78
Vb
Dm
No
&b
Vb
Am
..
& b
cau - tion to the cruel-est of men
Cau-tion to the cruel-est of,
& b ..
?b
A tempo meno mosso
Vb
Dm
men!
.
& b ..
>
? b .
.
>
>
J
A

. .
>
>
( )
Cau - tion to the cruel:
souls down to Hell,
Molto rit.
D m/A
God loves Lu - anne!
>
>
>

> > > >
> >
>
Praise be,
>
J
J
>j

>
Gm

. .
>
She pulls their
ww
ww
Souls down to Hell,
>
A-
'Prieve, Lu - anne!
re - prieve, Lu - anne!
> >
> n j
>

& b ww
?b
A tempo meno mosso
79
MAMA, LET ME IN
Very Slowly (q =72)
P
bb b b 4 b
& b 4
SOPRANO:
Ma - ma,
b b b 4P
b
& b 4
Ma - ma,
bb b b 4 P
V b 4
BASS:
? b b 4P
bbb 4
Why you
let me in.
hate me,
? bb
bbb
Why you
hate me,
hate me,
hate me,
Ma-ma, let me in.
Ma-ma, let me in.
Ma-ma, let me in.
Ma-ma, let me in.
Why you
let me in.
b
V b bbb
"Mama, Let Me In" - 1
Why you
and
Call
me
45 .
Call
me
5
4
Call
me
45
call
me
sin?
44
Ma- ma, why you call me
44
4
4
sin?
5 .
4
sin?
4
4
&
bbbb
Ma - ma,
b
& b bbb
let me in.
TENOR:
Ma - ma,
let me in.
ALTO:
Music and Lyrics by

RYAN SCOTT OLIVER
F
bb b b 4 b
& b 4
80
Ma - ma, don't
bb 4
&bbb 4
b b b 4 F
b
V b 4
sin?
Don't
shut
me
out.
me
? b b b 44
bb
shut
Ma - ma, don't
Ma - ma, don't
out.
am
am
shut
me
out.
shut
me
out.
am
b
& b bbb
b
& b bbb
Ma - ma don't shut me out.
? bb b
bb
-
Oh,
-
-
.
.
Oh,
Ma-ma, don't shut me out.
Oh,
bb 4 w
&bbb 4
cresc.
here,
43
shout?
shout?
My
cresc.
My
b
V b b b b 44
bang
and shout?
,
,
am here.
43
N
43
44
44
44
Don't you hear my bang and
34
f
J
My
bang
bang
and
shout,
My
My
bang
and
U
>
U
>
U>
U
>
and shout?
shout?
shout?
44
cresc.
cresc.
here.
am here.
My shout?
b
& b b b b 44
shout?
am here.
shout?
? bb 4
bbb 4
here,
Oh,
am
b
b
V b bbb
here.
P
b b b sub.
b
.
& b
b b sub. P
b
& b b .
Bless-ed
Bless-ed
b
V b bbb
? bb
bbb
Bless-ed
Bless-ed
Bless-ed
Bless-ed
Bless-ed
P
.
Bless - ed
sub.
be
the ba
Bless-ed
Bless-ed
Bless-ed
bb
& b b b . .
Bless-ed
Bless - ed
be
&
bbbb
b b b f
b
& b
V
bbbb
fight
fb .
fight.
f
? bb b
bb
the ba
Fight
Bless-ed Bless - ed
Bless-ed Bless - ed
who,
Bless-ed Bless-ed,
bw
and
fight.
by
. .
Fight.
bw
Ooh,

in - to
Cry
As black bars hold tight,
As black bars hold tight,
Bless - ed she,
, P
, P
- .
b - .
Bless - ed
Bless - ed
he,
he,
the night.
b -
Bless - ed she,
>
>
>
Cry - ing
Cry - ing
Cry - ing
the night.
As black bars hold tight, Hold
the night.
As black bars hold tight, Hold
Ooh,
Bless-ed
Bless-ed
f.
Bless-ed
cries
? b b . .
bbb
Bless-ed
who
Bless-ed
by
the night.
Cry
tight,
And
tight,
Will
Hold tight will
b -
U
b - .
nU
Bless-ed me.
Bless-ed me.
U- .
"
"
"
Bless-ed me.
Bless-ed me.
"
b
V b bbb
Bless-ed
b
& b bbb . .
Cry
Bless-ed
81
p
bb b b b
& b
82
b b p
b
& bb
Ma - ma, bring me close,
b p
V b bbb
? b b p
bbb
And Ma-ma, let me in,
love the child,
bb 4
&bbb 4
&
bbb
b
V b
? bb b
bb
the
- - .
sin-ner,
- - .
sin-ner,
Love
the
sin-ner,
Love
love
love
love
love
And
love
And
ten.
Love
Love
the
ten.
ten.
4
4
44
And
4
4
love
the
ten.
love
love
love
love
ten.
ten.
U
w
U
Close to "n"
sin.
Close to "n"
sin.
the
sin.
the
sin.
the
ten.
love
love
Love
And
And
ten.
.
46
child,
44
And
And
6
4
And
b - - .
the
Love
sin.
Love
Love the child,
Love the
b
& b bbb
Love the child,
? bb 4
bbb 4
bbbb
U
w
U
w
Close to "n"
Close to "n"
b
V b b b b 44
46 .
,6 . J
4
b
& b b b b 44
83
WHY MUST WE TELL THEM WHY?

Rock, with force (q =144)
>
& 44
>
>
> > > j >
J
&
f .
&
G5
Csus2
&
j
.
A 5/G
sim.

Am
b
J J
tell
them
Some re-quire
Fsus2
F
- -
an ex - pla-na - tion
F6
sim.
for Why we make

. .

. .
the things
we make,
. .
.
j

Why

b
.
.
. .

. .
*This song may be performed as a solo or as a group, and may be divided among soloists/ensembles as the performance requires.
"Why Must We Tell Them Why?" - 1
. . .

w

J
-
& j j j j j j j j j j j j j j j j

.
.
.
P > > > > > > > > .
?
why?
/A
w
w
ww
must we
? > >

b
. b
> .
..
&
Why
>
? 44
>
>

Am
Music and Lyrics by

RYAN SCOTT OLIVER
84
A5/G
&

/A
F6
>> >> >> >

& j j j j j j j j
j
j
j
j
j
j
j
j

n

> >
> >
> > > > . . . .
rules must break,
& j
Csus2
tell
them
A5/G
&

/A
sim.
. . .
?

w
J
-
F6
each de - vi - a - tion? Why must we serve
j j
why?
F
- -

. . . .
/A
ex-cuse
Fsus2
& j j j j j j j j
j
j
j j
j j
j j

> > > > > > > >
?
. .
.
j
j j j j

them pre
fixe art,
Or

b
.
.
. .
. . . .

. .
F6

b
b
.
>> >> >> >

& j j j j j j j j
j
j
j
j
j
j
j
j

n
> > > > > > > > . . . .
prove each
part
(art
la
carte)?

. . . .
Why
b
J J
ww
j
.
&
must we
>
& j ..
A5/G
whose sake?
w
ww
why
&
> >
? > >
> .
..
But
And for
85
Dsus7
C/E
& J
&
Look, all we're say - ing is
&
? ww
w
Fw
.
& .
D8
&
&
>
?>
>

J J
still
> >

.
.
.. ..
.
.

p Breathy
(look
>
>
>
close - ly)
G5
Fsus2
and
w
ww
w
w

J J
>

..
>

..
> >

. . .
. . .

w
>
..
G5
fo - cus.
J . ..
Think, and you'll miss it. Think, and you'll miss it. Think, and you'll miss it.
> >
.
& .

. .
? .. . .

Wuh - oh.

.
.

..
j
> > >
> >
>
..
P

& .. J J
Hold
.
C
we're say - ing is look.
w
w
Restrained
A m7
G5
All
Look. All we're say - ing is,
Gsus7
Look:
&
Fsus2
86
&
Why
must we
D8
Csus2
> .
..
&
>
w
ww
?>
>
& j ..
&
de-fy
&
to be - come
&
j j
ti - fy?
/A
F
-
J J
lit
/A
j .
tle numb...
F6
their rules
of thumb.
Gots
.
.

b
.
.
. .

. .

. .
F6
j j
j j
j j

And beat dat drum...

b
. b
Make some - thing dumb...
>>>
& j j j j j j j j j j j j j j j j

n
. .
. .
> > > > > > > >
?

.
.
. .
. .
.
.
.
.
. .
. .
. . .
sim.
. .
.
j j j j

j
j
j j

. .
> > > >

w

J
-
their forms and fix - tures, Not play-ing by
& j j j j
j
j
j
j

> > > >
P
?
A5/G
Fsus2
> >> >

Let's
jus
ww
A5/G
b
J J
87
b
& J
J
Make 'em see
Make 'em see
where we're com - ing from.
&
&
&
All
is
see.
A m7

& .. J J
j
> > > >
ww
w
fw
Hold
> >>
J
>
G5
See, all we're ask-ing is...
still
and
..
.
w
ww
w
w
.. ..
J
Oh, -
> >
.
& .

. .
? .. . .

w
>
>
>
>
>
>
.
.
.
.
.
.
.
.
.
.

w
>
>
>
>
. . .
. . .

w
>
.
..
fo - cus!
G5
w
w
Fsus2
All we're ask-ing is
See
div.
See.
Fsus2
> > >
Wuh - oh.

.
.

> >>
> >
..
..
>>>> >
& ..
we're ask - ing
where we're com - ing from.
b
& J
J
j j
J
C /E
Dsus7
88
D 8 Breathy
&
..
? >
Am
..
ww
w
..
.
& gw
gw
P gggg
g
? gggg w
gg w
ggg ww
gg
ggg
gg w
ggg w
ggg ww
ggg
ggg
ggg w
gw
w
w
Ooh
j
&
Or it not
to be?
& gw
gg w
ggg
g
? gggg w
gg w
..
.
w
w
w
w
what it
ought
Ooh
ww
w
ggg ww
ggg
ggg
gg w
gg w
ggg ww
gg
ggg
gg w
ggg w
Am
Oh,
ww
w
ggg ww
ggg ww
gg
ggg
ggg w
gg w
gg
ggg
gg w
ggg w
Who's to say
ww
w
Ooh
ww
w
w
w
Am
ww
w
ggg ww
w
w
ggg
ggg
gg w
gg w
w
w
to be?
It
ww
w
&
& www
Am
> > > > > j >

.. J
J J
J J ..
J
>
>
j
.. ..
j

sim.
> >
(look close-ly)
&
>
&
G5
89
(N.C.)/G
&
&
?
is what it is
and it is
what it's got
/A
is what it is
&w
&
& ww
w
&w
w
ww
w
w
is what it is

> >>
> > >
>
Csus2
> ..
.
Why
> .
..
Why
> >
> >
>
>
& j ..
must we
w
ww
must we
ww
what it's got
tell
tell
to be.
to be.
&
>>>
> > >
It's got
and it is
j >

it is.
to be. It
to be.
/A
What it is,
what it's got
j
>
to be.

It's got
It
n

J
them
why?
them
why?
what it's got
/G
&
and it is
and it is
/F
is what it is
to be.
It
90
Fsus2
&
& ww
>
..
& ...
j
&
&
>
>
..
..
.. ..
.
.
j
j
All
we're ask - ing
G5

& .. J J
is
>
see.
ww
w
.
.
still
..
.
w
ww
See
and
w
w
Fsus2
fo - cus!
w
w
D8
&
>
? >
>
>
.
.
>
> >

.
. .
. . .
>
ggg ww
ggg P
ggg w
ggg w
>

.
.
Am
ggg ww
ggg
ggg w
gg w
g
>

..
> >
.
. .. ..

.. ..
J
gg ww
ggg
ggg
gg ww
gg
Oh, -
> > >
Wuh - oh.

.
.

> >>
>
..
> >
.
& .

. .
? .. . .

G5
w
w
w
w
Gsus7
> >
..
..
>>>> >
w
w
w
w
See. All we're ask - ing is
* * >
fw
Hold
Sing 4x
(4th time a cappella)
A m7
& .. w
>
..
..
.
C /E
See, all we're ask - ing is...
w
ww
Fsus2
j j
J
J
D sus7
91
TWISTED TEETH
Music and Lyrics by

RYAN SCOTT OLIVER
Moderately (q =108)
A m7
F M7
A m7
F M7
A m7
F M7
A m7
4
F M7
&4
& 44 -
F M7
Am
NIGHTWALKER:
Am
Gsus
I met my Mis-ter as I night - walked the Park,
& ..
..
. .
& J
J
cry-in' be-cause
& ...
?
"Twisted Teeth" - 1

So
no love would dare to come near,
Am
sor-ry to see him so a-lone
? j
D 7/F #
loco
42
42
and whis-pered
He was
. .
J
J
# ...
J
Gsus
in the dark.
And so I crept up a-stride,
F M7
Gsus
. .
J
J
C/E
Am
....
D m9
&
42
&
F M7
... ...
.

F M7
Gsus
& .. ..
.. .
?
92
2
&4
Gm
E b M7
4
4 w
Fsus7
3
this
in
& 24
b
his
.j . . . . . .
4 b
4 bw
j j
& j
A sus/F
Twis-ted Teeth.
HER MISTER:
44 w b
b ww
?2
4
ear:
&
?
E m/G
& 24 N
?2
4
"Twisted Teeth" - 2
Fm
es
E sus
nev - er
& 24 N
C /E
.
C7
44 b w
b.
44 ..
cape...
4 .
4
.
.
.
.
j
.
2
4

love in the sky,
b b ...
b b ..
Ab
Gsus
sup-ple-men-tal.
We made
. .
Fsus2

/A
Tongue
...
And as my world split a- gape

. . .
Lips like a sheath.
plunged them in-side,

.
.
Fsus2
. .
And now I'll
He's
b 24

24
b n
&
C /E
&

.
.
? .
Ah
"Love
lips like a sheath, And your tongue sup-ple-men-tal."Then he
.
& ..
Twis-ted Teeth.
those
bet you're gen-tle; Your
E m7
&
A sus/F
Gsus
But I
/A
D m7
A sus/F
&
&
>o
J
.
& ..
? .
suck - ing me dry.

HER MISTER:
Suck-ing...
& -
A m7
&
D m9
All of our friends
&
.
.
- . .
"Twisted Teeth" - 3
suck-ing
...
say we look

.
.
- . . .
j

.
.
-
Am
fits in my fam-'ly like I fit
Hoo
.
-
Fit
From the
Gsus
in his cov-en.
.
.

J
in his cov-en.
D7
.
.
-
near - ly like twins,
- . .
j
j j
.

.
.
.

J
A m7
Am
Gsus
C /E
. j
&

Loves my lov-in'.
j
J
b b
J
F M7
loves my lov-in'. He
dry.
93
Gsus
wile of our eyes
.
.
j
. #
2
4

to the
42
.
42
I love my Mis-ter and he
.

J
>o
J
He's
Am
suck-ing me dry.
b J
/A
He's
& j j
& J
. j
.

Hoo
A sus/F
b b
J
& w
Gsus
F M7
&
dry...
/A
94
& 24
Gm
pale
44
w
of
& 24
b
our
j
44 w b
b ww
.j . . . . . .
44
b
bw
Asus/F
& j
Twis - ted
Teeth.
HER MISTER:
&

? .
Teeth.
&
/A
Gsus
Ah
sen - ti - men - tal, 'Cause since he
sen - ti - men - tal.
& ..
? .
"Twisted Teeth" - 4
C /E
When it was
Fsus2
j

. . .
E m7
And
our
&
Asus/F
lips like a sheath,
...
C/E
Lips like a sheath.
pulled me in - side,
..
Gsus
and it's gen-tle. Our
We make love,
D m7
But it ain't
Ain't
Fsus2
j

. . .
right as a rape,
We made
.
& ..
Twis - ted
/A
skins,
? 24
&
E b M7
Fsus7
3
95
Ab
& b
love in the sky
And now I'll
& b b ...
? b.
b .
A sus/F
&
>o
J
Suck-ing...
? .
j
&
&
Dry..
Suck-ing you dry.
& ....
? .
"Twisted Teeth" - 5
Fill me up
>

J
j
cape.
He's
2 3 4 . j .
4
4
. .
j
Gsus
Asus/F
b J
Gsus
>o
J
suck-ing...
dry.
n ..
.
/A
Gsus
He's...
b b
J
Suck-ing...
. j

/A
Gsus
Dry..
>j> >
b
b
j
A sus/F
with the love.
suck - ing me dry.
He's
. j

/A
b.
24 N b n 44 .. . . . . . . . . b n
J
nev-er es
b b
J
Asus/F
Suck-ing...
2
4
4 4 bw
He's
C7
Esus
Suck-ing you dry.
..
..
>

Fill me up
J
j
>j> >
b
b
with the love...
&
/A
dry...
.
& ..
suck - ing me dry.
&
E m/G F m
96
F M7
& j
Twis-ted
Teeth.
Twis-ted
Teeth.
&
&
& -
A m7
& -
F/G
&
&
F m/G
chi - seled shape.
> b > >

J J
&
J
>
"Twisted Teeth" - 6
>
A m7
They come
They come
>
>
>
Oh...
lips like a sheath.
F M7
chi - seled shape.
> >
Mak-ing love
G/F
oth-ers in-side, Can-died face,
Oth-ers in-side, Can-died face,
> > >

J J
> >

ww
?
G/A b
J
f
>
>
E M7/G #
b

in - to
our bed,
But they nev
in - to
our bed,
But they nev
> n > > n > >

bb >
n
>
b b
>
b b
We may bring
Ab
Mak-ing love
>
b
b
>
>
>
>
(N.C.)
>
>
er es - cape.
er es - cape.
b
We
b
We
b > > b > > > >

b
>>
b b b
>> > >
&
A m7
lips like a sheath,
e-le - men-tal.
e-le - men-tal.
F M7
We make love
A m7
We make love
&
&
F M7
F M7
A m7
97
Asus/F
&
.
& ..
? .
Gsus
&
&
&
&
suck them all
Suck them all
& ....
? .
"Twisted Teeth" - 7
dry.
...
dry.
>
dry.
Fill - ing
up
with the love.
Suck them all dry...
Gsus
up
with the love.
Gsus
Fill - ing
/A
/A
dry.
>
b b
suck them all dry.
. j

We
>j > >
Just
> > >

b j

b
A sus/F
We
Oh,
..
..
suck them all
Asus/F
suck them all
b b
&
A sus/F
We
Oh,
? .
/A
Suck them all dry...
Gsus
suck them all dry.
&
/A
98
(N.C.)
&
&
me and my Mis-ter for the rest
&
? .
? . j

&
"Twisted Teeth" - 8
pj
Die, I
- -
j

A m7
.
.

- -
with the love...
F M7
A m7
&
Fill me up
...
F M7
Gsus
Die, I
/A
Fill me up
A m7
did.
..
with the love...
Asus/F
'Cause I'd die for my Mis-ter, And in truth,
Gsus
F M7
Fill me up
j
. j
A m7
& - -
Ain't
with the love...
- -
.
& ..
Fill me up...
j

w
#w
&
/A
did.
F M7
se-crets get hid,
He's my Mis-ter for- ev-er, I for - ev - er his wife.
Ain't no
&
Asus/F
no doors get locked,
&
of our life.
&
99
HEMMING & HAWING

Easy (q . =120)
F #5
# 9
& # 8 . . .
- . - . - .
p
? # # 98
&
##
# .
& # ..
? ##
.
.
# .
& # ..
pull
&
##
? ##
..
.
.
a - way
A.
"Hemming & Hawing" - 1
.
.
.
.
did
..
.
.
.
j
# .
to- day,
.
.
'Cause I'm
.
.
j
n
..
.
..
..
.
.
like you
? ## .
.
#
& #
# .
proud
.. ..
. .
B m7
..
.
.
.
.
..
.
..
.
.
know
to
be
with
you
Though you
. .
.
.
.. . .
. .
.
.
..
.
.
(Well,
B m7
how
like
. . .
P.
was.)
..
.
.
She would - n't
..
..
.
. . .
. .
..
.
.
..
.
.
MALE:
.
.
. .
. .
D.
. .
She would - n't
&
##
. .
2
. .
.
..
.
j
.. .. . .
. . . .
D
- .
.. ..
- -
Music and Lyrics by

RYAN SCOTT OLIVER
100
&
##
#
& #
pitch
j
# .
a fit,
? ## .
&
&
##
##
friends,
? ##
#
& #
bitch
. .
..
.
.
J
.
.
.
When
leave
And they'd like her,
Esus7
You're
GIRL:
so
not
You're
so
..
.
..
..
..
.
.
.
J
her
.
.
.
..
.
D sus2
..
.
a bit
'Cause she'd like them,
oh,
## .
& ..
.
? # # .
.
Would - n't
Aadd9/C #
# .
lone
with my
They'd like each oth-er.
And
D M7/F #
not
..
..
.
.
. .
fect.
fect.
.
..
.
.
.
per
per
..
..
Yeah,
.
..
.
.
..
.
.
&
##
A add9/C #
## .
&
#
& # .
oh
## .
& ..
.
? ## .
.
## .
&
Bm
#
& # .
oh,
..
.
? ## .
.
&
##
#
& #
..
.
..
.
Oh,
leave
.
.
.
A
..
.
..
.
... ... ...

the
..
..
ways.
..
.
.
.
Esus2
leave
..
.
..
.
.
.
.
.
.
.
.
.
.
you...
One
of
these
One
of
these
I'm gon - na
But
.
.
.
.
..
.
.
.
ways.
F# m
per - fect...
..
.
I'm gon - na
..
.
.
.
the
be
She could
..
..
..
.
me count
..
..
you.
Let
me count
.
. .
J .
.
.
.. .. ..
. . .
Let
.
J
#
& #
? ##
F#m
E sus7
&
##
Oh,
D sus2
101
102
&
##
days.
#
& # .
&
days.
##
? ##
## .
&
#
& # .
Hem - ming
Hem - ming
## .
..
&
..
.
&
##
and
haw
ing,
.
.
and
..
? ##
j
j
haw
you,
.
.
..
.
..
..
.
..
.
j .
Bm
..
..
.
..
.
Con - clu - sions
.
.
j n
..
.
.
you.
n
n
.
.
.
..
..
.
.
.
.
.
A- bout
..
..
.
.
..
.
ing
ing
..
been draw
.
- .
j j
n
..
..
been draw
A-bout
.
- .
.
- .
Con - clu - sions
.
.
j
.
ing,
you,
..
.
..
.
#
& # j .
#
& # .
..
a - bout
a - bout
.
.
Con -
you.
.
.
.
.
.
.
.
.
.
.
Con -
? ## .
.
G5
#
.
& #
#
& # .
demn - ing,
demn - ing,
#
.
& # ..
##
&
#
& #
ap - plaud
. .
..
&
Fight - ing
..
.
..
.
come
..
.
.
.
#
& # # j .
&
##
&
##
piss
me off
? ## .
#
& #
? ##
not
(Like
knock
..
.
it off
.
.
you
this
when
tell
.
.
..
.
ing
..
.
.
. j
her
.
.
I'm
.
.
reach
..
.
j .

when
She would - n't
. .
.
morn - ing
..
.
.
.
To make the
through.
...
.
.
.
ing
dawn
be
# .
told
come
through.
j j
...
dawn
be
.
.
fawn - ing
...
j
n
and
.
.
come
..
.
j j
n
..
.
fawn - ing
point.
to
So - lu - tions
.
.
to
..
.
so - lu - tions
103
.
.
-
left)
ing
that
She'd like
to
? ##
ing
till
. .
. .
come
ing
fight - ing
##
ap - plaud
..
.
? ## .
.
. .
Bm
104
&
##
#
& #
hear
j
# .
me talk,
? ## .
&
&
##
##
shit.
She would - n't
dare
('Cause she'd
care
how
to mock How
I wan - na
to tell
sto
tend
share
. . .
things
with
her.
ries
for
. .
. .
And
. . .
And
#
& #
Aadd9/C #
#
& # .
#
& # .
oh,
oh,
#
& # ...
.
? # # .
.
..
.
..
.
.
J
Dsus2
Esus7
You
think
you're
so
so
..
..
You
think
you're
.. .. ..
. . .
..
..
..
..
.
.
.
.
J
.
.
.
.
.
D M7/F #
.
.
.
Yeah,
per - fect.
.
..
per - fect.
.
..
.
..
.
.
? ##
# .
Aadd9/C #
## .
&
#
& # .
&
..
.
.
? # # .
.
# .
& #
Bm
#
& # .
oh,
Oh,
? ## .
.
#
& # . .
#
& # .
#
& #
? ##
..
.
..
.
.
.
.
.
.
..
.
..
.
...
.
.
F#m
j
.
.
So I'm leav - ing.
.
.
..
..
..
..
man - y
..
..
ways.
think
she'd
be
think
he'd
be
...
..
.
..
.
..
.
.
.
. .
..
.
.
.
.
per - fect.
..
.
per - fect.
.
.
.
.
.
I'm leav - ing
..
.
Esus2
.
.
. . j . .
But
.
.
.
.
.
..
.
F# m
ways.
.
...
man - y
so
. .
.
. .
J .
so
In
In
.. .. ..
. . .
Esus7
. .
. .
. .
#
& # ..
.
Oh,
oh,
##
Dsus2
105
106
##
&
&
? ##
&
&
a few
days.
more
more
a few
Just
Just
#
& #
##
Hem - ming
Hem - ming
..
.
? ## .
.
&
and
haw
ing,
.
.
and
..
&
? ##
j
j
haw
you,
.
.
..
.
ing,
..
..
.
..
..
.
..
.
j .
Bm
Con - clu - sions
.
.
..
.
..
.
.
.
j n
..
.
Con - clu - sions
you,
..
.
..
.
#
& # j .
##
A-bout
you.
n
n
.
.
.
..
..
.
.
.
.
.
j j
n
..
..
A- bout
..
..
.
.
..
.
ing
ing
..
been draw
.
- .
.
- .
.
- .
been draw
.
2
a - bout
a - bout
.
.
Con -
you.
.
.
.
.
.
.
.
.
.
.
Con -
# .
& # ..
##
days.
## .
##
G5
#
.
& #
#
& # .
demn - ing,
demn - ing,
#
.
& # ..
# # G
&
#
& #
ap - plaud
. .
..
fight - ing
&
##
#
& #
&
Fight - ing
..
.
? ## .
come
..
.
.
.
##
#
& # # j .
#
& #
be
? ## .
.
.
So - lu - tions
..
.
..
.
.
.
fawn - ing
..
.
...
...
.
.
to
fawn - ing
.
.
a - dored?
ing
to
Am
so - lu - tions
..
.
till
. .
. .
come
ing
107
come
dawn
come
dawn
j j
be
through.
j j
be
..
.
ing
..
.
j
# .
.
.
.
.
..
.
.
.
Is it
you?
..
.
. .
.
.
Is
it
me?
.
.
to
.
.
Is
Just want
To make the
through.
...
ing
get - ting bored?
..
.
.
.
it
? ##
ap - plaud
..
.
? ## .
.
. .
Bm
108
&
##
#
& #
? ##
&
&
##
##
us?
.
D
us out,
Used
&
? ##
#
& #
You
..
..
Aadd9/C #
..
.
We'd
be
my
wife.
..
..
..
..
..
..
We
used
to
be
to
..
..
..
..
.. .. ..
. . .
.
We
.
J
used
.
.
.
. . .
-
py
..
D M7/F #
.
.
.
per - fect.
be
per - fect.
..
..
.
.
for
Esus7
hap
to
gon - na be
mar - ried and
J .
.
. .
J .
j
.
D sus2
..
.
were
..
Oh
#
& # ...
.
? ## .
.
.
.
life.
no doubt
I used
..
.
.
.
#
& # .
have
..
.
..
.
A5
.
..
.
..
..
..
Yeah,
.
..
.
.
&
##
to
j
j
.
n
? ## .
.
##
# .
plan
A add9/C #
## .
&
#
& # .
.
? # # .
.
oh
## .
& ..
..
.
..
.
Oh,
## .
&
J J
.
.
.
... ... ...

? ## .
.
F#m
#
& # .
#
& #
..
..
ny
..
..
ways.
per - fect.
. .
..
.
..
.
..
. . .
.
.
Esus2
j
.
lose
.
.
Don't wan - na
.
.
.
.
.
.
.
.
you,
Bring
us back
to
our
Bring
J J
our
J J
us back
.
.
. j
j

per - fect...
..
.
..
.
.
.
be
..
.
..
.
.
.
Oh
. .
We should
ways.
..
..
ma
so
Don't wan - na
.
. .
J .
.
.
man - ny
I just wan - na be
leave you.
#
& #
? ##
F# m
to
&
..
.
so
.. ..
. .
In
In
#
j
& # . j
##
Oh,
E sus7
.. .. ..
. . .
Bm
D sus2
109
110
# # A5
&
#
& #
bet - ter days.
? ##
..
.
.
..
..
.
.
.
.
A tempo
# .
& #
D
&
##
hem - ming
Hem - ming
..
.
& # J
G
and haw
.
.
and haw
..
.
.
..
.
.
j
#
& # .
? ##
true.
#
& # .
..
ing,
ing,
..
.
.
.
.
..
.
..
..
.
..
.
the
The
..
.
.
n
n
.
.
.
B m7
plans
plans
..
.
we
we
..
.
.
true.
.
..
..
.
.
of
.
.
were draw
...
.
..
.
.
To come
.
.
ing
.
.
..
..
.
.
.
.
to come
ing
...
.
.
.
to come
..
.
.
.
j
..
..
were draw
..
..
tired
...
.
...
.
.
.
.
.
.
To come
true.
..
.
I want
...
.
J n
...
.
.
.
I'm
..
Con -
.
true.
.
.
.
.
.
.
.
.
.
.
Con -
# .
& # ..
f
.
? ##
.
.
..
Poco rit.
bet - ter days.
#
& # .
.
A 11
111
## . .
J
&
#
j
& # . .
demn - ing
ap - plaud
ap - plaud
. .
? ##
.
.
# .
& #
G
#
& # .
ev'
ry-thing's
#
& # .
Ev' - ry - day
Hem - ming
# .
& # ..
.
? ##
.
.
..
.
.
.
..
.
..
.
leads
n #
J
J
a

and haw -

..
.
.
So - lu
.
.
..
.
.
..
.
.
.
.
.
.
.
.
.
.
- ing,
..
.
.
.2
.
.
come
tion
..
.
.
-
part,
.
..
..
.
.
..
.
.
Seems
. .
..
..
.
.
.
. .
.
.
n
J
..
..
..
..
.
.
Ah
.
.
j .
..
.
..
.
Con - clu - sions been draw
.
.
.
.
.
ing
B m7
.
.
come call
call - ing,
n
n
..
.
dif - f'rent way,
so - lu - tion
j .
fall - ing
..
.
..
ing
..
.
.

.
.
..
.
.
.
.
.
.
.
.
ing,
And the
And the
..
.
.
..
## # .
&
J
ing, with no
.. .
.
.
.
..
.
. .
. .
Ah
#
& # .
..
? ##
.
.
..
.
.
. .
# # . . j
.. ..
&
demn - ing
B m7
112
. . .
## . .
&
J
G
#
& # .
end- ing
&
##
? ##
end
..
.
.
.
#
& #
start
want it
to
start.
. . .
n
.. .. n
. .
.2
. .
.
.
..
. .
. .
..
..
..
..
.
.
. . .
. . .
God-damn.
hate you,
> ... > ...

. .
> ...
.
> ...
.
.
.
.
.
.
.
. .
. .
>
. .
God-damn, I
. .
. .
.
.
>
>
> ...
.
> >
. .
hate you,
Heart.
Heart.
## .
&
#
& # .
&
god - damn,
? ## . . . . . . . . . . . .
##
Asus7
So
..
..
. .
.
.
? ## . . .
. .
. .
. .
. . .
(N.C.)
God-damn,
. .
. .
hate you,
Heart.
. .
&
##
to
D
## P
.
Heart.
want it
.. ..
. .
..
A tempo
&
. .
ing
.
A
Molto Rit.
113
CUT YOU A PIECE

With motion (q . =108)
Music and Lyrics by

RYAN SCOTT OLIVER

12
b
& 8 .
.
.
. . 3 5 .
1
F
2
? b 12
w.
8
w.
>
F M7(no3)/D
(N.C.)
/B b
b
& .
.
.
w
.
?b w
-.
j j

b
& . .
.
? b w . . . .
w.
>
w . j j
-
.
.
/B b
/F
j
.

J
> >
/D

.
.
.
.
/G

.
.
.
.
.
.
j j
.
.
.
.
.
-
.
.
F M7(no3)/B b
Gm
.
.
.
-
/F
/G
/E
.
.
.
-
/G
/E
.
.
.
- .
b
&

.
.
.
.
Dm
"Cut You a Piece" - 1
J J
J J
- .
.
.
- .
.
- .
.
- .
.
w.
w.
Music and Lyrics 2009 by Ryan Scott Oliver. Copyright 2012 by ARESSO MUSIC PUBLISHING.
114
A FRIEND OF
JULES AND JESSY:
F/C
F
V b .
& b

Jules,
V b .
and Jess - y,
Dm

w.
w.
j j
F/C
Jess - y
? b w.
w.
let Jules know
Jules stopped
us - ing
Bb
j j

and
& b
.
.
.
? . . .
b
.
.
bing - ing
sempre slur sim.
Vb
&b
.
? b .
w.
b.
.
.
E b M7
.
.
Jules
told
.
bw.
bw.
n.
.
.
.
.
j j
Jess - y
he'd
w.
F/D b
bw.
A b M7
die

J J
for
.
bw.
bw.
her,
b.
a- way.
And
whole life
in love.
.
.
his
.
.
fell
wrong with him,
j j
F/A
So of course they
what was
and piss - ing
N.
Bb
b.
Which
V b .
.
w.
she was peer - less,
& b
Bb
F/A
he was fucked -up,
? b w.
w.
B b/D
j
j
b.
j j

G m(add6)
V b N
look - ing
&b
back
Vb
was
the
right thing
? b j j
w.
B b/D
to
C sus
say.
w.

.
.
.
.
.
.
w.
.
.
115
.
.
.
.
b
&
.

.
.
.
.
w.
? b ww ..
cut
you
J J
/A
piece
Bb
j j

of
F
j
me.
.
w .. .. .
w.
& b wwww ....
ww ...
w.
.
? b .
w.
.
.
Bb
V b .
..
& b wwww ....
?
w.
b w.
j j
And
/A
where
you
go
.
I
cut
you
w.
w.
J J
piece
.
.
.
.
Bb
/A
of
will
go
too.
.
.
me,
Vb
j j

Yes,

w.
116
Dm
V b .
&b
?b
part
of
you.
pleased.)
.
w.
w.
.
w.
j j
than
in his tem - ple,
F/D b
J J
Jess - y
Bb
j j
'Cause they cal - cu - la
j j .
was Cath - 'lic.
.
.
.
.
.
.
.
w.
w.
ted
that

.
.
.
.
(Jules's
Dm
b j j
b
.
.
.
.
.
.
.
bw.
w.
.
got mar - ried
more Jew - ish
.
.
b .
.
.
.

F/A
w.

w.
w.
j j
&b
and his Jess - y
Jules was
moth - er
.
.
Vb
&b
w.
Bb
Vb
Bb
Jules
now
V b .
?b
am
F/C
&b
C/E
was
j j
117
j j
F/C
Vb
Mar
ried
six
months,
& b .
V b .
w.
Bb
Bb
When on
Route
Eigh
w.
C
ty
j j
sev
en
& b

.
.
.
.
.
.
.
.
? b .
.
.
.
bw.
.
.
.
.
Jules turned quick - ly,
E b M7
V b N
j j

life was
scat
.
bw.
bw.
j j
b w.
.
.
j j
and end - ed
with
Jess - y
A b M7
in the crash.
J J
bro - ken
n.
.
bw.
bw.
j
j
j
j
j

tered,
& b
killed
glass...
His
b b
w.
G m(add6)
su - bi - shi
A marr-iage be- gun
&b
?b
beat Mit -
V b .
and a
F/D b
j j
j j
F/A
b.
B b/D
j j
And soon was
j j

w.
.
.
b.
C sus
.
.
her ash.
.
.
118
V b .
& b .
.
.
.
?b
Vb
cut
you

&b
No pedal
(Pedal)
.
b .
Bb
piece
lost
&b
?b
.
my
C /E
life
Where
you
go
when
Bb
.
.
I
lost
you.
.
.
cut
you
.
I
Bb
/A
piece
will
go
too.
J J
of
me.
.
.
.
.
w.
w.
V b .
w ..
ww .
w .
/A
? b ww ..
F
j
j j

me.
.
.
w .
& b www ...
Dm
of
V b .
Bb
j j

/A
.
.

w.
w.

w.
w.
w.
Am
Vb
w.
Vb
them
b
&
& b
j j
en
part
of
J J
J J

J J
And
J J
j j
.
..
when
they
w.
go,
.
.
J
That to
n
n
.
.

ing
You've
j
.
J
n
n
J J
.
w.
C /G
er.
B b/F
w.
be
your
cov
w.
J J
much,
so
re
er
j j
to nev
..
.
?b
w.
some-one
is
.
?b
w.
V b .
J J
-
Dm
giv
119
to
them...
...
j j
.
.
..
You
can
Vb
w.
&b
lose
love
Am
you
Yeah,
&b
120
Bb
Vb
&b
?
nev
ggg ww ..
gg w .
er
w.
.
.

? b .
?
en't
thought of Jules
V b .
bet
.
-
?
b
? b .
.
Or
Jes
sy,
Or their sto
ter
.
part
.
.

of
(N.C.)
Bb
ry
in the
D m7
year.
w.
.

.
C/E
&
w.
hav
j
J
? b ..
w.
w.
w.
Vb
You can
have it back...
nev - er
&b
Vb
have it back.
w.
j

.
But
121
j j
F/C
Vb
warm - ing
j j
j j
j

F/A
your hands in
mine
fills me
with ter - ror
Bb
j
.
that
.
will
lose you,
To -

&b

? b .
w.
Bb
Vb
&b
day
or
? b .
.
F/D b
j j
to - mor - row,
In
w.
e - ven
the earth
n.
Vb
one thing

&b
? b .
two years
has
A b M7
num - bered
& b b b
B b/D

.
.
.
.
.
.
bw.
.
N
J J
.
? b w .
b bw
.
C sus
.
bw.
bw.
w.
or
b.
that stays:
b.
.
j j
N
G m(add6)
j
I
b.
..
w.
b.
can
give
When
just
j j

w.
Rit.
. .
w.
. . .
.
.
.
w.
.
.
w.
.
w.
w.
.
.
se - ven - ty.
.
.
days,
.
.
.
.
E b M7
Vb
j j

.
.
p
. j
Freely
122
b
& j j
j

Cut you
a piece of
j
J J
Vb
JESSY:
&b
cut you
a piece of
?b
&b
me.
where
me.
Yes,
will go, too.
. . .
P Poco
. meno mosso
F5
. . .
.
.
F (no5)/A
I'm
half
gg > .
ggg ..
ggg
ggg > .
ggg .
gg .
soul.
I'm
half
soul.
on,
From
now
P.
b
V
& b ggg ...

ggg >
g
? gggg ..
b gg .
g>
B b5
on,
.
.
. . .
a
.
.
n.
al
. . .
soul.
now
am now
From
JULES:
V b .
half
on,
From
am
j
.
gg >ww ..
ggg w .
gg
ggg >
ggg ww ..
gg w .
piece of
me.
ways
me.
. .
I'm
now
a piece of
. . .
Where you go,
cut you
j j

will go, too.
. . .
. . .
. . .
I cut you
. j
J J
J J
. . .
you go,
&b
p
j
j j j
Rit.
part
of
you...
w.
w.
w.
bw.
w.
part of you.
J J
. . .
D5
.
.
C /E
.
I
With
out
you
With
out
you
With
out
you
ggg ..
ggg .
ggg
gg .
ggg
gg .
.
.
For
ggg ..
gg .
ggg
gg
ggg .
ggg .
.
I
,
,
P
b
V
.
&b
123
B bM7(no3)
& b .
can't
be
whole.
V b .
be
whole.
be
whole.
.
Vb
can't
can't
Accel. back to Tempo I
>
b
& gg w .
gg w .
ggg
gg
? b gggg w .
ggg
gg w> .
Vb
Vb
cut me
j j

a piece of
w.
f
j
you.
be
whole.
.
.
.
.
Bb
Yeah,
Yeah,
Tutti
.
.
.
.
w.
w.
.
.
.
.
you love some - one
you love some - one
w .. ..
w.
& b wwww ....
ww ...
?b
So,
/A

J J
.
.
.
.
so much,
Cut
me
so much,
w.
w.
.
.
/A
J J
a piece of
.
.
you.
&b
can't
Tempo I
w.
124
Bb
& b .
V b .
you
are
go
you'll
the
V b . .
Oh
&b
?b
.
.
you
.
.
w.
are
the
start.
the start
w.
.
.
al - ways
.
be,
.
w.
. j
.
of me.
w.
w .
>
j
.
be,
Oh,
go you'll
j
.
start.
you are
al - ways
the start
be,
/G
w.
Hold.
j
. J
dim. poco a poco
Oh,
w.
you are
the start
Hold.

.
.
.
.
Oh, you are
/B b
j
j
V b . . j . . J
of me.
you'll
al - ways
F M7(no3)/D
go
F sus2/C
w- .
w..
sim.

J J
w.
w- .
Oh
. . . .

w.
b w.
& b . .
Where
Bb
Where
j j
/G
And where
.
w
& b www ....
?
/A
V b .
& b w.
V b . .
Still.
of me.
V b w.
Still.
& b .
-
j j
.

/E
.
- .
F M7(no3)/B b
.
- .
. . J
- .
.
. .
-
j j

w.
w.
Rit. al fine
- .
.
Oh, you are
j j
the start

. .
.
.
.
Gm
Oh, you are
/E
the start
.
.
.
.
- .
/F
j
j
. . J
>
Dm
of me.
the start
w.
w.
/F
125
/B b
.
- .
of me.
. .
- . .
-
. ..
w.
w.
..
..
(N.C.)
&b
you are
of me.
? .
b .
. J
ad lib.

. .
.
j
V b . .
& b .
-
Fo-cus.
/G
Fo-cus.
Oh,
>
>
J
? b .
.
j j
.

/D
/B b
126
THE BALLAD OF SARA BERRY

F#
Mysteriously (q =96)
# ## 4
& # # 4
E
p
j
n
CHORUS:
### # 4
V # 4
Women:
pj
n n
n J
### # 4 n .
& # 4
P
? ### # 4
# 4
G# m
&
V
&
### #
### #
? ### #
F#
U
ww
fore
the Queen.
"The Ballad of Sara Berry" - 1
ww .
ww .
the Queen.
U
ww
Down on
G#m
the Queen.
.
.
fore
be
the Queen.
knees be - fore
G#m

. .
Down on your
..
j
a
knees be - fore
Down on your
..
be
knees
knees
Oh,
F#
E
div.
j
n n
n J
..
j
n
F#
Down on
your
your
Murderous Rock (q =120)

(N.C.)
> > > > > > > > > n >
f
>>> >>> >>>
n
n
>
### #
& #
### #
Oh,
# # # #
V #

legato
. .
Oh,
### #
& #
? ### #
Oh,
Men:
div.
G# m
Music and Lyrics by

RYAN SCOTT OLIVER
G #5
C #5 G #5
C #5
127
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
### #
B5
B5

?
#
&
w

J w>
J
w
> >
> >
>
j
j
? ### #
# w
>
> w>
>
G# m
B5
### # F
j
& #
BALLADEER:
C #5
G# m
### #
B5
G # dim/D
plus she was rich.
? ### #
#
.
n
- n
That girl had ev' - ry - thing till
*Harmonize all voices similarly when only one staff is present, keeping the men in the middle and
high registers, and the women in the low and middle (belt range).
C#m
- >
Oh, yeah.
> n .
? # # # J
#
&
Hot bod, hot boy, cheer cap - tain,
hic - cup and hitch,
D #5
Ju - lie Jen -
Ju - lie Jen -

>
&
### #
po - pu - lar bitch.
>
>
F
j
& #

- >
CHORUS:* Mm - hm.
F
j
### #
V #
-
>
Mm - hm.
> .
? # # # #
J
#
F
? ### #

#
.
.
.
.
.
.
.
.
.
- ### #
Uh, Sa - ra Ber - ry was a
128
&
&
### #
### #
? ### #
#
-
#
-
ww
? ### # w
#
&
&
### #
### #
? ### #
&
? ### #
? ### #
kins
lost
leg
kins
lost
G#m
The no - mi - na - tions for Prom
#
B5 G dim/D
Queen was her claim.
Ro - yal - ty came.
n
- - n
C #5
>
C#m
Till gos - sip stirred the stu - dent
ta
G# m
>
.
J
pu
n .
-
Uh - huh.

- n >
Uh, duh.
> n .

<
> >
>

>
B5
# a
a .
(Am
#
P
wreck.
leg.
Hoo.
&
# w
in
# j
##
& # ##
### #
/A #
/B
ted.)
>
Our Sa - ra's se - nior year and
bo - dy would name
D #5
Ju - lie Jen -

>
? ### #
/C #
129
&
&
### #
### #
? ### #
# j
#
#
kins
&
#
E
"Sa - ra,"
### #
### #
? ### #
of
the
Prom.
know
you
# w-
her Fa - ther said,
G# m
- n .
F#
won't
G# m
me
.
.
w
w
and
&
### #
? ### #
You taste the sil - ver, Sa - ra!
>
f Banging>
>
>
You taste the crown,
>
You thirst for
>
>
>
&
j j
Prom;
Mom."
EVERYONE: (On these refrains, most ensemble women should go 8ve down.)
vote!
is
dis - ap - point
# # # # f F
& # J
"Life
ty
/D #
<
- n .
<
F#
blood from the ro-ses in hand.

> >

>
>
&
ww
### #
& #
? ### # w
# w
&
Queen
Pi
? ### # w
#
### #
/C #
130
G m
### #
& #
n J
>
### #
& # n J
> > >
? ### #
#
>
>#
G m
B
### # a
& #
Woah!
&
### #
Check
P
? ### #
#
### # Pj
& #
# # # # (Men:)j
V #
Check
? ### #
Check

>

>
Sa - ra.
#
Women: G 5
### #
& #
As they crown
>
Choose
Sa - ra. Choose
Sa - ra.
F#
>
>
.
.
Vote,
Vote
Vote
.
.
G # dim/D
.

>
>>>
n
n
. > > >
>
Sa - ra
.
.
G# m
j .
/B
for
Vote
>
>
scep - ter,
Land.
>
Sa - ra.
>
Sa - ra. Choose
Sa - ra.
you Queen of High School
and
spoil
/B
Sa - ra
j .
for
.
.
Ber - ry.
/C #
.
.
Ber - ry.
Ber - ry.
Sa - ra
/C #
cont.
cont.
##
& # # #
>
? ### #
#
> #
G 5
Men: p
#
#
j
V # ##
mu - sic to dance,
sash
You
>E
for
F#
G#m
### # F
& #
j
BALLADEER:
### # p j
& #
Uh, so ob - sessed our Sa - ra
? ### #
? ### #
&
&
### #
### #
#
.
&
&
### #
### #
G # dim/D
B5
# j j

Vote
#
.
n .
J
for Sa - ra Ber - ry.
>
Check
Sa - ra Ber - ry.
Sa - ra. Choose
Check
/C #
/B
/A #
poor
<
Ju - lie!
>
for
Soon Sa - ra's
D #5
Still,
vote
Vote
Check
- n . - . .
- - n
G# m
pj
Sa - ra.
Vote
Sa - ra. Choose
boy-friend be-hind,
> > >

?
>
P
Poor,
&
Sa - ra.

<
< <
Ju - lie held a hold on the lead.
? ### # w
#
n
- n
w
? ### # w
#
for
She shoved her squad, her clique, her
C#m
Sa - ra Ber - ry.
vote
>

Vote

>

sa - ni - ty was
Sa - ra. Choose
Sa - ra.
? ### #
To life un - prom - re - la -ted,
j j
Sa-ra.
Sa - ra was blind.
Vote
? ### #
G# m
near lost her mind.

Sa - ra Ber - ry.
Vote
vote
Sa - ra. Choose
Check
C #5
B5
131
132
&
&
### #
### #
&
&
### #
### #
hung by
Till
then,
at
last,
Ju - lie
to
the
se
nior Prom."
<
n .
<
love
-
-
/C #
D #5
and said,
vote
n
- n
Vote
- n .
n .
J
>
Vote
text - ed
Vote
Love,
Sa - ra.
j j
Sa - ra Ber - ry.
vote
Sa - ra.
ww
? ### # w
#
so - cial - ly dead.
Vote
Sa-ra. Choose
boy - friend
Choose
her
Sa - ra.
Check
F.s pro - claimed her
Check
>
Sa-ra Ber-ry.
C# m
for
#
.
#
Sa-ra Ber - ry.
vote
Vote
Her B. F.
# j j

# ##
& # #
? ### #
G # dim/
D
B5
for
.
.
ta - king
"I'm
/D #
>
lie!
- -
J
Ju
&
&
### #
G# m
a thread.
Vote
? ### #
#
? ### #
? ### #
#
? ### #
C #5
B5
&
### #
"Sa - ra,"
### #
& #
? ### # w
# w
&
&
### #
### #
? ### #
### #
# w-
no
EVERYONE:
# # # # G m
& #
n J
B

>
>
at
There's
F#
>

> >
F#
Prom."
>
You spoil for sash and scep - ter,
>
calm?
blood from the ro - ses in hand.
so
You thirst for
>
#
## #
n j
&
J

> > >
>
>
? ### #

#
Woah!
be
Prin - cess
>
>
You taste the crown,

>
>
for
You taste the sil - ver, Sa - ra!
>
w-
G#m
F
f
# J
E
fu - ture
"Why
f Banging>
? ### #
#
&
her Fa - ther said.
just
>
G# m

>
>
mu - sic to dance,

>

>
As they crown

>

>
&
### #
G#m
F#
133
134
### #
& #
&
### #
? ### #
&
### #
>
you
Queen
of
>
F#
### # n
V #
### #
G# m
### #
& #
##
V # # #
>
j
G#m
..
n j
n J
div. as before
Land.
>
>
>
j
n
>
F#
..
Oh,
n
n
..
>
n
. >
be - fore
knees
>
>
>
the Queen.
be - fore
the Queen.

> >
G# m
>
>
Down on your
j
a
Oh,
Down on your
j

>
>
>
>
>
>
F#
knees
j
a
Down on your
n
n
. >

>
>
>

>

Oh,
Down on your
>
>
>
### #
& # n J
> > >
? ### #
G# m
>
>
>
>
High School
(Oh)
# j

>
#
? ## #
#
&
F#
&
V
&
### #
### #
### #
? ### #
F#
fore
the
Queen.
knees
be
fore
the
Queen.
#
#
>
>
>
Bsus2
one sing-le thought:
### #
& #
? # # # # w
#
Sa - ra was not.
Ju-lie...
>>>
Just se-ven rea-sons this crown's
Anne...
> > >
n
n
. > >
>
She stared in mir - rors think - ing
Ghostly

>
Esus2
G #sus7
>
Eu-neece...
D #7
not good as got,
n j
Ra - quel...
And so the

Ma- ri - a - na...
n
w

>
ww
Bsus2
### #
& #
P sostenuto
? ### # w
#

Some girls are ra - tion - al, But
&
ww
be
### # j
& #
### #
G # dim/D
knees
BALLADEER:
&
G #sus7
### #
G# m
135
136
&
&
&
### #
### #
### #
? ### #
C# m
F # 7/E
j
n .
night of Prom,
mer - cy!
# #
Pa - tri - cia...
Qui - a - ra...

# a
##
& # ##
(N.C.)
## ##
#
&
## ##
## ##
### #
#
#
rock:
(Hand claps)
G #8
>3
>
>
>
>
punch.
her
>
> > > >

"R"
f > >
?
> >

w
w
(Hand claps cont.)
J
#
G 7(b5)
EVERYONE:
F #8
is for Ra - quel dashed on a
"O" is what Anne said when Sa-ra blud-geoned her brains
& # j
>
>
is Ma - ri - a - na's ma - ri - na - ted re - mains.
But
but
n
a
#
## #
n
n
?
n
& # w
n
>
w
? ### # w
n
# w

n
J
J
J
plot:
D #5
>
>
j j
E8

>j > >
?

> >>
>
CRUNCH.
>
w
ww
>
poi- soned
w
w
D #7(no3)
j

And
"M"
VARIOUSLY:
"Q" is
for Qui - a - ra qui - et
.
.
.
.
a
F
a
>
>
>
>
&
## ##
"P" is for Pa - tri - cia drink-ing
Thus went
plot:
# w
VARIOUSLY:
&
her
Morbid cheer
## ##
Thus went
/A #
137
&
### #
? ### #
drowned in the pool.
? ### #
&
### #
"U"
is for Eu - nee - ce's pie - ces
D/F #
"E's"
? ### #
G #5
BALLADEER:
A one -legg'd
are for the easy way in
### #
& #
j j

A(In#8 time)
But
five min - utes tops,
call -ing the cops.
j

j
P
j
E
F#
fl
You got your sil- ver, Sa - ra!
P
.
fl
G#m
girl can bring an "N" for end by
(End hand claps)
w
w
You got your crown,
You got their
&
spread 'round the school.
# & n #
fl
fl
fl
fl fl
fl
? ### #
#
### #
sim.
### #
& #
? ### #
And
138
&
&
### #
### #
F#
#
#
blood
G# m
on the ro - ses
in hand.
### #
& # j
.
? ### #
&
&
### #
### #
G# m
&
do - ing a dance,
#
..
J
##
& # ##
### #
F#
j
j
God save
your
Down on
scep - ter,

..
Land.
the Queen.
G# m
P
j
n
you Queen of High School
You donned the sash and
G# m
Woah...
F#
As you crowned
#
cresc. poco a poco
? # # # #
#
&
w .
? ### # w
# w
### #
Oh,
w
w
F#
knees
be - fore
the Queen.
&
### #
p
n n #
J
Woah!
n j j
F#
G# m
### # j
& #
### #
& #
&
&
### #
? ### #
j
n
F#
knees
be
? ### #
ad lib. as desired
#
J
# # # #
& #
>
They wrapped your

J
-
The Queen
&
(N.C.)
fore...
F#
wrists in
>
>
Down on your
of
Land,
High School
Land!
G# m
sil - ver,
>

They
took
# w
##
& # ##
j
j

J
The Queen of High School
Oh,
Insane Dance Party
### #
G# m
>
your crown,
>
>
>
the
They washed
&
### #
F#
E
cresc.
God save the Queen.
### #
& #
J
#
? ## #
#
### #
139
140
&
&
&
### #
### #
### #
? ### #
&
### #
#
blood
from
each
>
E
#
J
##
& # # # J
In - to
In - to
&
### #
>
E
### #
& #
&
### #
? ### #
>
the
Queen
>
G# m
>
>
>
>
tight strait - jack - et
small
padd - ed
cell,
tight strait - jack - et
small
padd - ed
cell,
>
of
>
F#
High School
High School
>
of
and
>
>
G# m
>
Land!"
At
Land!"
n J
n J
>
Woah!
>
>
>
Scream - ing
"I'm
Scream - ing
"I'm
>
least
in
Oh,
>
Woah!
Queen
hand.
the
>
your head,
>
. n
n
>
n
. >
>
>
>
### # j
& #

>
? ### #
#
>
n J
B
fing - er
F#
G# m
>
F#
### #
& #
&
? ### #
&
### #
&
### #
? ### #
&
>
#
#
>
High
School
F#
>
Vote
# # # # ww
& # w
? # # # # ww
# w
be
fore

>
>
>
the Queen.
>
Check
Land.
PSaj - ra,

ww
w
ww
w
G #5
n
n J
>
The
>
Check
Sa - ra,
Bal - lad
>
Sa - ra, Choose
your
Sa - ra,
w
ww
w
ww
w
j
- -
Choose
Oh,
the dead!
Down on
>
ggg
ggg
ggg
gg
ggg
ggg
>
>
>

> > >
pi - ty
>
G#m
Oh,
>
Land.
You're Queen of High School
knees
of
..
.
### #
& #
### #
G# m
Vote
of
Sa - ra Ber - ry.
&
### #
You're Queen
# # # # n
& #
### #
F#
141

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Make Me Happy ..................................................................... 49

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For exclusive use by Elliott Mitchell Defensive7@hotmail.com

Music and Lyrics by

Going Mad (q =92)

Hah Woah-Oh Ding dong

Hah Woah-Oh Ding dong

Hoo Hah Hoo Hah

Hah Woah-Oh Oh Oh Oh Dong

Hah Woah-Oh Oh Oh Oh Dong

Hoo Hah Hoo Hah

For exclusive use by Elliott Mitchell Defensive7@hotmail.com

n > > n >

Hoo Hah Hoo Hah

Hah Woah-Oh Oh Oh Oh Dong

Hoo Hah Hoo Hah

Hah Woah-Oh Oh Oh Oh Dong

Hah Woah-Oh Oh Oh Oh Dong

Hoo Hah Hoo Hah

Hoo Hah Hoo Hah

Hoo Hah Hoo Hah

Hah Woah-Oh Oh Oh Oh Dong

Hah Woah-Oh Oh Oh Oh Dong

Hah Woah-Oh Oh Oh Oh Dong

For exclusive use by Elliott Mitchell Defensive7@hotmail.com

> b > > > b > >

> > > >

n > > >

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Cra - zy- town

fall there like

an-thro-po-mor-phic cir - cus)

b > ... n >

am run-ning (mid a road)

as I'm chased through a

It ain't no Won- der-land.

It ain't no Won- der-land.

For exclusive use by Elliott Mitchell Defensive7@hotmail.com

an-thro-po-mor-phic cir - cus)

fall there like

fall there like

There's a jeer-ing jack-al much like my moth-er,-cry-ing:

(And there's mo - ney on the ground)

"BE-DE-DEEP BE-DE-DEEP YOU

(But the jack - al's

> > > >

For exclusive use by Elliott Mitchell Defensive7@hotmail.com

"BE-DE-DEEP BE-DE-DEEP YOU

from the dog

And I'm bit - ten from the East (Which is pre-sent)

("BE-DE-DEEP BE-DE-DEEP") the East from

For exclusive use by Elliott Mitchell Defensive7@hotmail.com

And I rea-lize that this ri-ver is what se-pa-rates the

To the West (Which is past

night-mare Tech-ni - co - lor)

twist there like

b > ... n >

It ain't no kind of Oz.

It ain't no kind of Oz.

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