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    Charles, Ray - A Man and His Soul Book

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    Sheet music Ray Charles

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    a Volume 5 a aa Ray Charles A MAN AND HIS SOUL Feat EORGIA ON MY MIND HIT THE ROAD JACK @ | CAN’T STOP LOVING YOU @ RUBY SWANEE RIVER ROCK @ WHAT’D | SAY ...and many more LEGENDARY PERFORMERS Ray Charles A MAN AND HIS SOUL BABY GRAND . ABIT OF SOUL BORN TO LOSE . COME LIVE WITH ME CRYING TIME ... DON'T CHANGE ON ME . GEORGIA ON MY MIND . HALLELUJAH I LOVE HER SO HIT THE ROAD JACK... | CAN'T STOP LOVING YOU IN THE HEAT OF THE'NIGHT . IT AIN'T GONNA WORRY MY MIND . LET THE GOOD TIMES ROLL LIVING FOR THE CITY . ONE MINT JULEP APERFECT LOVE . ‘SHAKE YOUR TAIL FEATHERS . SWANEE RIVER ROCK .... TAKE THESE CHAINS FROM MY HEART THAT LUCKY OLD SUN fe UNDERSTANDING (Is The Best Thing In The World) WHAT'D | SAY ... YOU ARE MY SUNSHINE YOU DON'T KNOW ME . © 1908 cotumbia Picts Pubicatons 15800 NW. 48h Aver. Kam Foca 33014 ‘rc Adan Paro / Edo: Dass C. Oaen / Producten: Frenk J Mackirson / ISBN: 0—09999.$00-5. WARNING: Any duplication, adaptation or erangament fhe composition contained in ‘hs olecton, wit ween consent ofthe own, an iningement of US ‘opynaht nw an subnet tthe penlteserdleblides provided thre TeFO1MS — RAY CHARLES has the distinction of being both a nationa\ treasure and an international phenomenon, He started out from nowhere; years later finds him ‘globe: entity Huntireds of thousands of fingers have hit typewriter and word processor keyboards telling and tefeling his story because it is uniquely American, an ‘examplar of what we like to think is the best in us and © our way of life. The Ray Charles story is full of paradoxes, part and parcel of the American Dream. Rags to riches. Triumph overcoming tragedy. Light transcending darkness: The name Ray’Charles is on a Star on Hollywood Boulevard's Walk of Fame. His bronze bust is enshrined in the Playboy Hall of Fame. There is the bronze medallion cast and presented to him by the French Republic on behalf of its people. There are the Halls of Fame: Rhythm & Blues, Jazz, Rock & Roll There are the many gold records and the 10 Grammys. There is the blackness and the blindness. There was the extreme poverty; there was the segregated - South into which he was born. itis music, Ray Charles’ single driving force, that ‘alapulted a poor, black, blind, orphaned teenager from there to here. “Iwas born with music inside me, That's the only explanation | know of..." he remarks in his autobiography “Music was one of my parts. ..Like my blood. Itwas a force already with me when | arrived on the scene. It was a necessity for me — like food or water. “Music is nothing separate from me. It is me. ‘You'd have to remove the music surgically.” Ray Charles Robinson was not bom biind, only poor. The first child of Aretha and Bailey Robinson was born in Albany, Ga, on September 23, 1930. He hit the road early, at about three months, when the Robinsons moved across the border to Greenville, FL Itwas the height of the Depression years. And the Robinsons had started out poor. "You hear folks talking about being poor. Charler recounts. “Even compared to other blacks... we were on the bottom of the ladder looking up at everyone else. Nothing below us ‘except the ground.” Ittook three years, starting when Ray Charles was four, for the country boy who loved to look at the blazing sun at its height, the boy who loved to try to ‘atch lightning, the boy who loved to strike matches to '8¢¢ their fierce, brief glare, to travel the path from light todarkness, But Ray Charles has almost seven years of sight memory — colors, the things of backwoods country, and the face of the most important person in his early life: his mother, Aretha Robinson. St. Augustine's was tne Florida state school for the deaf and blind, Ray Charles was accepted as a charity student, He learned to Braille and to type. He became a skilled basket weaver. He was allowed to develop his great gift of music. He discovered mathematics and its correlation to ‘music, He learned to compose and arrange music in his head, telling out the parts, one by one. He remained at St. Augustine's until his mother's death when he set out “on the road again” for the first time as a struggling professional musician. The road to greatness was no picnic, proverbial ot literal. In fact, while earning his dues around and about Florida, he almost starved at times, hanging out at various Musicians’ Locals, picking up gigs when he could He began to bulld himself a solo act, imitating Nat “King” Cole. When he knew it was time to head on, he asked a friend to find him the farthest point from Florida on a map of the continental US. Seattle, WA. For Ray Charles, the turning point. In Seattle he became a minor celebrity in local clubs. There he met an even younger musician, Quincy Jones, whom he took under his wing, marking the beginning of an intertwining of two musical lifetimes. twas from Seattle that he went to Los Angeles to cut his first professional recording. And it was in Seattle, with Gossady McGee, that he formed the McSon Trio — Robin (son) and (Mc) Gee — in 1948, the first black group to have a sponsored TV show in. the Pacific Northwest. Along the way he'd shortened his name in deference to the success of “Sugar” Ray Robinson, As Ray Charles he toured for about a year with ‘Lowell Fulsom's band. He formed a group and played with singer Ruth Brown. He played the Apollo, the landmark showcase for black talent. He aspired to Carnegie Hall, then as now epitomizing the pinnacle of artistic success. ‘These were also the years that brought Charles the first band of his own, his first big hit record, “I Got A Woman.” By the early 1960's Ray Charles had accomplished his dream. He'd come of age musically. He had become a great musician, posting musical milestones. along his route. He'd made it to Carnegie Hall. The hit records (‘Georgia,” "Born to Lose") successively kept climbing fo the top of the charts, He’d made his first triumphant European concert tour in 1960 (a feat which, except for 1965, he's repeated at least once a year ever since), DE eRe ee) band in 1961. In 1962, together with his long-time Gee Cue ea Rau need Cote Reet eee een tl studio in Los Angeles, RPM International. Perch cunt amu na Sree Mee ae nau Res coe De ee ec a ic eee ese ee eS Ceci DCm Mun one Se eeu ree ree tu ay Coe ean ee ee Arena ne ke aes De UU ce ue See MICU a naan ang Pe a Maan t ral Oe Rue ceca Ca eee en He is master of his soul, musically and personally. SOU eeu cee) recording material with utter disregard for trends. He Cee Rae eet kee Son he once did, but what he gleans, “from the attic of my mind,” either old or new, is inevitably surprising, OE a Tee mec Cee Oe am a ee a ee Cece eau mene) Beautiful Morning”) and “America the Beautiful” — all ST Ma aca nee Pee ee ewes Td Pe eRe ae Charles is as outspoken about his opinions on matters OP ee eee em Oe ee une a geo lee eu ec eae gre enc DUS eR Re eee ut ke canoe the deaf and the blind children, a fact that even young Ray Charles found ironic. “I knew being blind was suddenly an aid. | never learned to stop at the skin. If| looked at ue ee uke Eee ce en Rome stupid. It gets in the way. I's something | just ee It was on the road in the 1950's that the realities of segregation, its evils, its injustices, even its ludicrous moments, became apparent to Charles and his troupe of traveling musicians. Itwas a concert date in Augusta, GA that brought the issue of segregation vs. civil rights to a head for |” Ray Charles. “A promoter insisted that a date we were about to play be segregated: the blacks upstairs and the whites downstairs.” > told the promoter that I didn’t mind OS segregation, exept that he had it = backwards. Aftér all, | was biack and it only -po0 made sense to have the black folk close to jo**) 5? me... Let him sue. | wasn't going to play. And | 05 ye, didn't. And he sued. And I ost.” This was the incident that propelied Ray Charles into an active role in the quest for racial justice, the development of social consciousness that led him to friendship with moral and financial support of the Rev. Martin Luther King, Jr. in the 1960's. “early on, | decided that if | was going to shoot craps on anyone's philosophy, | was Putting my money on Martin Luther King, Jr.” “figured if | was going to pick up my cross cin folow someone, it could only be Martin. +) © -Bespite his deep commitment to King and the cause of black Americans, Charles came to the logical conclusion that there was no place for him physically in the front lines: “First, | wouldn't have known when to duck when they started throwing broken bottles at my head. And | told that to Martin personally. “When he intentionally broke the law, he was hauled off to jail. And when you go to jail, you need money for lawyers, for legal research, for court fees, for food for the marchers. | saw that as my function; | helped raise money.’ His awareness of racial injustice was not limited to the home front: The same years he fought the war against racial injustice in the American South found in Charles a growing awareness of racial injustice abroad, particularly the notorious policy of apartheid in South Africa. Uniformed anti-apartheid groups have ‘occasionally questioned Charles’ 1981 concert appearances there, “It burns me up,” he retorts acidly, “because People should've checked my record on Civil rights before they opened their mouths. “How can anyone tell me where | can play my music? | went to South Africa because people — black and white — wanted to hear me, ‘And it was in my contracts that the blacks wouldn't be seated in the rear.” Charles’ manager, Joe Adams, himself black, further sets the record straight: “In the late 1970's, our office received a number of requests from several of the new Black Nations of South Africa for Ray Charles to come and perform. These requests were answered in 1981 when he made numerous appearances for these black nations. This tour represented the first totally integrated audiences in such major cities as Johannesburg and Capetown. He was approached to play Sun City for a huge fee. Instead he chose to play before totally black or integrated audiences with a fully integrated show. “As now, the orchestra consisted at the time of Asians, Latins, Caucasians, and blacks, al ‘of whom performed together on the same stages, traveled together on the same buses, and stayed at the same hotels — an unheard of feat in South Afica and one that could have brought severe penalties to all concerned.” Modes to the point of mum about his humanitarian and charitable activities, Ray Charles makes an exception for the State of Israel and world Jewry. ‘Among the many, the world leader Charles has most enjoyed meeting is David Ben-Gurion, with whom he had a conversation of many hours during a concert tour of Israel not long before Ben-Gurion’s death. ‘And the award among the hundreds he claims to have touched him most is the Beverly Hills Lodge of the Binai Brith’s tribute to him as its "Man of the Year” in 1976. ven though I'm not Jewish,” he explains, ind even though I'm stingy with my bread, Israel is one of the few causes | feel good about supporting. “Blacks and Jews are hooked up and bound together by a common history of persecution. “if someone besides a black ever sings the real gut bucket blues, it'll be a Jew. We both know what it's like to be someone else’s footstool.” It all comes back to music, so inseparable from Ray Charles. Me keeps rolling along, doing what he does uniquely and wondrously well. Ray Charles is a national treasure and a global phenomenon for this obvious reason: He is a master of his soul; he is music; he is himselt. a 7 GEORGIA ON MY MIND Words by Music by STUART GORRELL HOAGY CARMICHAEL Slowly —_—_ “f bring — menor ries r ares Om ar Eat o7/6 ons ef & Be ge Makemethink of —Geor-gia, Why did we : pan? F av pis pro or ee Ey ® faa & Some sweet day when blossoms fall and all the world’s a Georgia On My Mind -3-1 ‘opyright © 1930 by PEER INTERNATIONAL CORFORATON Copyright renewed 19s] by PEER INTERNATIONAL CORPORATION, New You, International Copyright 8 “AI Rigs Reserved Q Balm cre oF He A F ans gt Pm Ba i Ge & i to Geor- gia “cause that's where ? —____# om Bm Gror- gia, — the whole diy through, Just an = — ar CHORUS ft iF FE png ; en F ET om oo ocr op Fhaim cmt ors = @ & 8 ‘old sweet song keeps GEOR-GIA__ON MY MIND ——_____(Georgia on my mind ) pas ESE f oman F Br @ &@ & if a a 2 song of — you_Comes as sweet and clear as a | Georgia On My Mind -3-2 89 cre F BRD At Dm Gmé Dm Bb? REESe Be & & & 8 =" smoon-lightthrough the pines, Oth- er arms reach out co me; ln = Gms Dm a Dm cme Dt ET Am ptgtm®? 6 e me a oo oe & Oth-er eyes smile “ten-der - ly; — Sill in peace- ful dreams! see — the “roal leads back to ee, {" Dm Bbm woe oe es 4 a # find, Just an _— no peace I ¥ — 7 ooo ro G cys fmm Ont races ahy/ecrs ee a ke & BR Bese old sweetsong keeps GEOR-GIA ON MY MIND —_______ —— ate — Georgia On My Mind «3-3 ICAN’T STOP LOVING you ©& By DON GIBSON Moderately Slow g, Intro, Verse: eth though long c cr He i \Teir — he re Ke 7 still make me Jolue They say that ‘| time heals a broken F c g, c FG ¢ ee but time has stood | still since we've been a - 1 Can't Stop Loving You +21 Copyright © 1988 (Reneves 1985) ACUEF-ROSE/OPRYLAND MUSIC, INC. Interainal Copyeigt Secured Nissen USA. "Al Right Reserved ? - - 1 can’t. stop [lov °- ing you, fo, Ve made up 1 can't. stop lov = ing you, there’s nose tf lee pre-tend there's some - one new, Tocan't live a can't stop i's use + less to can't stop the way that I so, Ill just my fife of yes There's on - ly one love that one ove is 12 QO WHAT’D I SAY Words and Music by AY CH, Medium Bounce RAY CHARLES FT BIT i Ea ES 7 TRS Hey,” ma-ma don't you treat me wrong, Comeand love me See the girl__ with the dia- mond ring, ‘She___knows___how to Tell your mama, tell your pa, I'mgon-na ship you back to = baa F all night long. 7 Hey,_ hey, twist that thing. Hey, — hey, ‘Ar ~ kan - sas. __ do” right, What'd Say -4-1 9 & 1961 by PROGRESSIVE MUSIC PUBLISHING CO. INC. UUNICHAPPELL MUSIC, INC. (Righsong Musi, Publier) Used by Permission ‘Copyright Secured Maden US-A- "All Rights Reserved SAY? know right now, cr, Whar Say 4-2 BbT Fr Tell me WHAT'D I SAY right now? 1 wan - na know. Tell me WHAT'D 1 SAY? Yes, 1 wan - na know. Bb7 F Ea Tell me WHAT'D 1 Yes, I wan - na say? know. 13 i Tell me WHAT'D I Tell me WHAT'D I Ba -by, 1 wanna, Tell me WHAT'D 1 ¥on-ey, T wan-na Yes, I wan - na = hey, (200) hey, (hey J— hub, — (un) hey, (hey) ho, (20) hey, Sing me one more hey, (hey) ho, (Ho) hey, Make me feel so huh, (wh) ho, (ho) huh, Ba ~ by, it's all Sing me one more time, sing me one more Make me, feel so good, Make me feel so Ba- by, it's all right, right now, Ba - by it's all Ea a time, ‘Sing me one more fone more good’ Fight how, Make me feel so feel so Ba- by, it's all it's all right, ‘Waeed Say -4-3 15 — ga Sing me one more time. Make me feel so good. Ba -by, it's all right. Come on, twist that Come on, twist that thing, Keep a - twist- in’ that right, ~ Well, 7 feel all right, Well,I feel all Keep a -twist -in' that thing, Keep a - twist-in' that right, Well, 1 feel all right, Well, 1 feel all oF, BbT Fr ii Fe Keep a - twist in’ that thing. Make me feel all Well, I feel all right. Whaed 1 Say 4-4 . SWANEE RIVER ROCK © Words and Music by RAY CHARLES Moderately Ch 7 Pocet 138 & cae iS : 4 es = = & SSS SS ¥ a Bo you know— —’way down, Sway down Swan-ee, talk- in’ bout the — riv-er, You know, so far, = 0, e <, crt 2, 8 iB = a : = =: a = —— SS To oe a De ym ke m7 ——— = Swanee River Rock -3-1 4 Copyright© 1957 by PROGRESSIVE MUSIC PUBLISHING CO. INC. All ightscontolled by UNICHAPPELL MUSIC, INC. Used Wy Permission International Copyright Secured Made In USA. ‘AU Rights Reserved FT Bb He that’s where, where wy heart —_. a a a that’s where, —_ that’s where the old folks stay | ee 2 Ff eS] Gmt S All the world is ‘Swanee River Rock -3-2 TPFONMS 22 y F ae ie dar-ling, z Jone-ly, whore re Be-cause I'm GBR ree BB crouse Keep a- tell - ing you, my i sad, Gr, Creuss F fe f= Tm far from my folks back home.— ‘swance River Rock “3-3 F a 8 1» Morey RUBY Mushy MITCHELL PARISH HEINZ ROEMHELD Blues tempo _——_ —, ——. mye Gd — # Ru - by, you're like not _al_- ways what you Poa dol > me mo PH” Final? Hig i | om ——— ‘and tho’ my heart © may break = when Ia - wake, let it be ———————___ ~I— — — —= ce co. -Fmé rl © Dpt 7-9 a7 - on-ly know, Ru by, it’s you. ee Io - = * oT Copyright © 1953 (Renewed 1981) MILLER MUSIC CORPORATION d Al Rights of MILLER MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP ‘All Rs Controlled and Administered by CBS MILLER CATALOG INC. International Copyrigt Secured ‘Mage In USCA. “AU Rights Reserved 2 : ea cham ee 3— Ru - by, you're like = ‘and in your eyes 2 2 you don’t know tight from Fmal7 in I es A heart -aches for me) ———_ but from the ees who stole my = Fm a mS pa im Ruby, it's 3 LA omayz ce 3 s— ei hear your voice. Roby -3-2 eo _, He Ru-by, you're tike =F, Am Fmaj7 F fe a ‘and tho’ I should be -ware still, I don't care, you thrillme 90, I on-ly 3, a2 Bis 22 ONE MINT JULEP Words and Music by Slow Rock RUDOLPH TOOMBS a aS x SG = One Mine Julep 3-1 by HILL & RANGE SONGS, INC. rine 01982 Conyigh renewed sine so UNIEHAPPELL MUSIC ICING. (ighiong Mis, Publiber) Ud by Fermiion International Copyright Secured ‘A Rights Reserved (One Mint Julep - 3-2 SS = NS SS onal Inter’ One lude Fo © Fo a fie ; Fas Be (One Mint Julep - 3-3 25 HIT THE ROAD JACK Words and Music by PERCY MAYFIELD Hit the road Sack ~—and_ don’t you come back no mote, no more, m0. more,no more. Hit the and don’t you come back no moe-—_———— Hit the treat me so Woo! Wom-an, oh wom - an, don't Fo mean, You're the z Hit The Road Jack «3-1 Copyight ©1961 TANGERINE MUSIC CORD, International Copyigt Sected Maden US. Al RightsReserved mean -est old wom-an that I've ev - = to pack my things and go. (That's right) AbT ct Hit the road Jack and don’t you come back no more, no more, no more, no more. Hit the AbT gt ‘ Hebe con GH fi don't you come back no Wit The Road Jack -3-2 7) baby, lis-ten ba-by,don'ta treat me this-a way For Tl be backon my feet some day. Don’t if you do “cause it’s un-der- stood— you ain't got a0 mon-ey you justain't no good.- Well, I Td have to pack my things. and go. (That's right) Hit the Repeat and fade cm “ay G7 oda calm abt 2 Don't you come ih Hit The Road Jack -3-3 28 a Words and Music by YOU ARE MY SUNSHINE JIMMIE DAVIS and CHARLES MITCHELL ‘Moderato & Pere trp tere The qi You oh er night dear al- ways love you told me once dear Bb F F7 Bb ae ER ae hed ypu ig my ams —___ When hoa. > yoke dea : say the = lie colld cathe ‘be - Gaccn———— BM if, UH, aye me 1 10, and # ee You Are My Sunshine 2-1 Copytight © 1940 by PEER INTERNATIONAL CORPORATION Copyright renewed 1968 by PEER INTERNATIONAL CORPORATION, New York, N.Y. ‘International Copyright Secured Maden USA. ‘All Rights Reserved => 29 = ak - en and oh = er youll re oh: er you YOU ARE MY SUN - SHI INE my on -ly sum - shine ____ you make me hap - py — : : iFi®,) 2 eit = aE = =} : nA ; ae, Ea f == SSS _— when skies are gray You'll nev-cr know dear how much 1 love you Please don't 4} | ri 4 i a = fs RET ERE #| FF 2 —> ra eae ie + ——= age e— ete Fi b Atel se You Are My Sunshine -2-2 30 TAKE THESE CHAINS FROM MY HEART 8 By FRED ROSE and Moderately it s - 1. Take these [if chains from my heart and ser me | free. (2) Pp heart just. a ford of | sym- pa - | thy. I | i cold | and no long - er care for | me All my faith in you fair to my heart as you can | be, —— Then, if [you no ong -er ab g, cr rth 2 ¢ e- sone, but the foeart-aches tin - ger | on. Take these fiains from my (Reart and. sete Gere’ for the love: that’s beat - ing |there, take these haing from my heart and set me = oS SS ee ee Pa 2 a ‘Take Thete Chains From My Heart 2.1 ‘Copysight © 1952 (Renewed 1980) MILENE/OPRYLAND MUSIC, INC. TnUSA. ‘AM Rights Intemational Copyright Secured Made Reserved iis TEE LS Q Q — ust a spark You've grown [cold \e love some bod - new, faith in you is — gone, 3 cr le al eyes and let me heart and set me tears ig from my hains from my Take these Take these of the [love that used to and no flong- er care for let_me |find a new love [too. Take these chains from my but the heartaches ling - er | on. Take these chains. from my heart and set me heart and set_me ‘Tobe These Chains Fromm My Heart -2-2 THAT LUCKY OLD SUN@ Words by (just Rolls Around Heaven All Day) Music by HAVEN GILLESPIE BEASLEY SMITH Moderately Am rm a i ae # — —F Up in the morn-in’ ‘out onthe job, r + ri ‘ul I'm wrinkled and While That | Luck-y Old San has. a & & # es ame aE. Fre cl Dee cg, ¢, hit n | roll around heay-en all | day. Fuss with my wom-an | toll for my kids, ‘That Lucky Old Son -2-1 1. © 1949 (Renewed 1917) ROBBINS MUSIC CORPORATION All Rights of ROBBINS MUSIC CORPORATION Assigned to CBS CATALOGUE PARTNERSHIP ‘AU'Rights Contolled and Administered by CBS ROBBINS CATALOG INC. Internacional Copyright Secured Maden US.A. “All Rights Reserved 33 Em FS c Am a c dite es G, pf pin bove, can't you | know I'm in, Fmt e noth- in! to roll a-round heay-en all That Lucky OW Sun 2-2 TPFOIAG “ a Words and Music by CINDY WALKER & EDDY ARNOLD YOU DON’T KNOW ME Moderately slow mf ars, cr You give your band to. me and then you say hel- lo, 7 mp F Ftaim a ge BE a hard-ly speak,— my heart is beat-ing s0,__ And an- y one could tell__ you think you know me well, but you don't know me. - You Don't Know Me 3-1 Copyright ©1988 by HILL & RANGE SONGS, IN Allright controled by UNICHAPPELL MUSIC, INC. ightong Music, Publish Used by Permission ternational Copyright Secured "Mids “All Rights 38 Se cr P # = knowthe one— who dreams of you at night and longsto kiss your lips___ and longs to a zt a hold you tight. To you I'm just a friend,.that'sall I've ev- er been, but you don't Dm or tat c 2 2 a it a ee: == soy fe art of mak-ing love, though my heart ached with love for you. =a TF it wate # = S553 tH) * tt You Don’t Know Me-3-2 the fraid and shy, let mychance go by, chance F Ft = - re a walk a> way be-side the luck -y guy. To nev-er f loves you so;_____n0, you don't know me. You give your ‘You Don't Know Me -3-3 you mighthave loved me nev-er know— the one who a oO 37 DON’T CHANGE ON ME Words and Music by EDDIE REEVES and : ee JIMMY HOLIDAY veree an Em z 1. GINly you're wy sun-ehine, you. chase a= way the raln- dope,” make all D e 3 cebsa = ie SS = ——- . Make all the pain stop, just Tip av - oF, Keep love ——" don't let our world stop, arg, honey, Don't Change On oe Don't like you just the way you ze oo Se tar, honey, Don't please Don't Change- On Me,—— Girl, you're my luck-y rai i Copyright © 1969, 1971 UNITED ARTISTS MUSIC CO., INC. snd RACER MUSIC. INC. Al Rightt of UNITED ARTISTS MUSIC CO., INC. Aulgned 10 CBS CATALOGUE PARTNERSHIP. ‘Al Rights Adminsteea by CBS U CATALOG INC. International Copyright Seeured ‘Made In US-A- AIDRights Reserved ‘Don’t Change On Me -3-1 38 Don't Change On where would ¢ os Be == =A 2 hap - pl- ness and peace of | mind. — I was liv-in' in dark-ness, but then —— == = SSS =e SS s po 3 @ = —— —=— = = a oe eee: ‘oun - Light and eas-ing my pain. x you just the way you are, Don't Change On Me 3-2 Girl, you're my luck-y star,__hon-ey, Don't Don't Change On “ob 3. Ifthere's a heav - on then this is my prayer, Lord knows 1 e want to know you— if, We should meetthere, we'll walk to- geth - er, oth-in’ but aun-shine, storm-y Don't Change On Me -3-3 D.S.and fade 40 IN THE HEAT OF THE NIGHT Words by Music by MARILYN and ALAN BERGMAN : QUINCY JONES Slow Gospel (1? feel) Fi ae In The Hes seems like a cold sweat creep-in’ ‘cross my brow, 3 co FT é a pe In The Heat Of The Night, _ I'm feel-ing moth-er-less some- with e-vil eyes. stare from the 3 ee 7 {The Heat Of The Night -3-2 Copyright © 1967 UNITED ARTISTS MUSIC CO. INC. ‘All Rights of UNITED ARTISTS MUSIC CO., INC. assigned to CBS CATALOGUE PARTNERSHIP. | All Rights Controlled and Administered by CBS U CATALOG INC. International Copyright Secured Made In USA. "hl Rights Reserved a or pat ar 2 _ ff Ow t all mean and bright.(In The Heat Of The Nigh) Ain't a wo-man_ yet been 3 cy loo knows how to make the morn-int to keep con ~ trol, when I'd sell my —, In The Hest Of The Night -3-2 42 Qt EB And it-"ll be all rightl_ (in The Heat Of The Nigh) > {The Heat Of The Night - ic Drs, a i when I got trou-ble__ wall to wall, must be an end-in’ to it it won't be Just you be _ ’ SS So pu As “2,0 3a UNDERSTANDING (Is The Best Thing In The World) Words and Music by JIMMY HOLIDAY and RAY CHARLES Blues Tempo w PF ORO PR " itt Un-deF-stand-ing is the best thing in theworld—— Be-tween__ (fo ror Boy andgirl, It's al-ways bet - ter when you real - ly Understanding 3-1 patsht © 1967 UNART MUSIC CORPORATION AD Rights of UNART: a UBiCCORFORATION Axed to CBS CATALOGUE PARTNERSHIP ugh Coetrled and admitted by CBS UNARE CATALOG INC, Invernsional Copii Secred Made In US.AS "AI Rights Reserved eat ino ohat Ti, mean and.) it hurts me: to see, some 2, And she understands that a man's got to shave _—_respect ¥ * : a q * Si meaning of the word _ understanding. For instance, catch her, ‘cause it's @ well known fact, that what a | man don't i i . ‘Me and my woman, we got a good thing going because of see don't’ hurt him. You dig? Now listen, On the other hand; o ie ’ Understanding -3-2 | | | 45 a itt es } a ‘one simple fact, You see. [ understand that if 1 don't go out and 1 did catch her, — I'm not goin’ fo call her a bunch of bad names fF Bs » ie He work, pay the bills and the vent on time and buy her pretty clothes to wear. Tike the vest of yo'll might, No, Lain't goin’ to say @ word, I'm goin’ on down to the +S " Ho No matter how much @ woman loves me she's gonna go out and hardware store, get me a double ax handle, come back home and square off, and * B.S. and fade out find her somebody somewheve that will. ‘That's what I'm trying to tell you. immediately go upside her head; She'll understand that on! by ? Understanding 3-3 Q BORN TO LOSE 46 Words and Music by TED DAFFAN Moderately nf r @ fa BORN TO LOSE, T've lived my life in BORN TO LOSE, my .ev-"ry hope is at has on-ly brought me pain; -_—s ss AN my ife to face that emp - ty dawn, ‘You were all Fi i if al-ways been so blue;__________ BORN TO LOSE and now I'm los - is” hap-pi-ness I knew, BORN TO LOSE and now I'm los~ in’ + Born To Lose -2-2 Copyright © 1943 by PEER INTERNATIONAL CORPORATION Copyright renewed 1971 by PEER INTERNATIONAL CORPORATION, New York, N.Y. rnitaslonalCopyigt Secured Made In US.A. ‘ll Rights Roserved 47 SSeS aa BORN TO LOSE, it seems so hard to bear; Theres no use to dream of hap- pi - ness; oF Fa rR sre & a & we oe Dp? it now you say were through; ‘l= ways been so blue=-| BORN TO LOSE, and iF} i 2 fic, pom m0 r @iea. mw « - a | Ae Rees ae Ae ee now I'm los-in’ = you, ————— BORNTO = yon 2 RF Boen To Love -2-2 48 Oo CRYING TIME Words and Music by BUCK OWENS 1 can ‘And that you're gon na leave On, it's cry - ing time a - gain, ‘the heart grow fond say that ab-sence makes F Lean tell, by the see that far - a- way look in your eyes. tears are on- ly rain, to make love grow. Well, my love for you could a dar - ling, Strong er, That it won't be long be Wy ive to be a (Crying Time -2-1 Copyright ©1964 by TREE PUBLISHING CO., INC, BEACHAVEN MUSIC CORP. ad JAREST MUSIC COMPANY ‘SMuske Square West, Nashville, TN. 37203 ‘This arrangement Copyright ©1985 by TREE PUBLISHING CO., INC., BEACHAVEN MUSIC CORP. and JAREST MUSIC COMPANY | Used by Permission International Copyright Secured Made In US.A. AI Rights Reserved 4” cr F F ane a t He = 3 “fore it's eqy ing time, hun - dred years. old, Oh, you say that you found aa woe? Some-one you loved bet - ‘That's the way it's bap-pened FT Bb a He asthe sun comes up to - mor~ row. or F Bb F F ee Cry- in’ time will start, when you walk out the Crying Time 2-2 TRONS See “ NOONE &G Words and Music by DOC POMUS and MORT SHUMAN Moderately slow C that you do. ev-er told me, NoOne 2-1 Copyright © 1961 EFSEE MUSIC, INC. All rights controlled by UNICHAPPELL MUSIC, INC. (Rightsong Music, Publisher) Used by Permission “ftcrnational Copyright Secured Made In USA: ‘AU Rights Reserved om abr (race BS Bb a No one Hes D HB cuen -———~, * Woe? 1 Baim phe Fatma fh oe ee no one ev - er broke my Fr Fam 7 Bh Fim6 or er Re a HH fi Bi my whole Tife through Fr “Bb aim cmt PS ‘sb BT Bb No One -2-2 a rT mm. re 52 A BIT OF SOUL e Words and Music by RAY CHARLES Slow Blues G ae Play R.H, §va higher 2nd time (optional) G — trom. — ar © 7, 4m ai 6 = aap F ty 4 u = [Abit OF Soul -2-1 Copyright © 1961, 1963 by PROGRESSIVE MUSIC PUBLISHING Co. Ine. ath contre UNTQHAPPELY MUSIC TNC, gn Mons, Pulse) Cd by Permion "Thtradonal Cophig Secures Ruse i Rights Resse or cr 53 A nic Of Soul-2-2 ctr a7" * 8 LET THE GOOD TIMES ROLL Words and Music by a LEONARD LEE Medium bounce of “ Refraiz. ~ SF Ss, 2 }ieSome on, ba-byLET THE GOOD TIMES ROT, Come oa, baby, Iet_me thrill your soul }2: Come on, ba-by, gon-na have a ball, Put our troubles up a -gainst the wall % — ba - by, LET THE GOOD TIMES ROLL, — ae 1.Come on, ba-by, let me hold you tight; Tell me ey-'ry-thing is right to - night }2.Come on, ba- by, let us paint the town, Dorit let noth-in’ ev - er bring us down; (opt N3.Let’s go, ba-by, on a cra-2y fling, Love can be — such a swing-in’ thing SS Let The Good Times Roll «2-1 Copyright © 1956, 1989, 1960 ATLANTIC MUSIC CORP. snd UNART MUSIC CORPORATION Rights of UNART MUSIC CORPORATION signed fo CBS CATALOGUE PARTNERSHIP ‘All Rights Administered by CBS UNART CATALOG INC. and ATLANTIC MUSIC CORP. ‘xternational Copyright Secured ‘Made In USA. ‘AI Rights Reserved Bb Come on,_pa- by, LET THE GOOD TIMES ROEL,— Roll. on and on. Se Be r o F Bb Feel 30 good in my arms, Opt. \Feel good — youre close, fe - rg Gr ft o F Ss besby, youre my good luck charmt.{ Come on, ba - by, LET THE GOOD TIMES ROLL, ba-by, I dig you the — most. #e- [ir F- SS es Come on, ba-by, let me thrill your soul; Come on,- ba-by,LET THE GOOD TIMES ROLL, rt es Roll. on and Let The Good Times Roll -2-2 ad COME LIVE WITH ME Words and Music by BOUDLEAUX and FELICE BRYANT Moderately = >=. cour > - Em et oS oh * ct Come Live With Me _ and be my love, Share my bread and = Come Live With Me 3-1 ‘Copyright ©1973 by HOUSE OF BRYANT PUBLICATIONS International Copyright Secwsed Made In USA. ‘All Rights Reserved 7 37 oe (oes A Pa be my love, Let our dreams com - bine; = With these hands Th build a to shield your heads try to do my best — for I prom - ise you, SS ———— fa! a a — With these Ti carve the. = woods fora YH laugh with = you,” T'll ery with you my Come Live With Me -3 «2 ba - by whole life bed. teagh Come Live With Me (Come Live With Me “3-3 LIVING FOR THE CITY ° Words and Music by STEVIE WONDER Maderate A boy is born Hard -time, Mis - sis- sip - pi, His fa - ther works days for " four-teen ho - urs sur-round-ed by- four walls that ain't so pret-ty.. His par-ents give—— him and you canbet——— he bare - ly makes a dol-lar. His mo -ther goes to serub eP7 Living Foe The City 3-1 Copyright © 1973 by JOBETE MUSIC CO,, INC. and BLACK BULL MUSIC, INC. ‘This arrangement Copyright ©1973 by JOBETE MUSIC CO INC. and BLACK BULL MUSIC, INC. Taterational Copyright Secured Made In USA. AURGHs Reserved 60 love and af - fec - tion—___ to keep him strong—_~ ——the Moors —for man ~ y, and you'd best be-lieve —r hardly eis a pen-ny, for the cit Interlude it Living For The City «3-2 mav ~ in? she 61 bt (B base) Bb D.S. al Coda $& Te recon Repeat and Fade ! just © nough. for the cl - ty. 3. Mis sister's black but she 1s sho'nuff pretty. Her skirt is short but Lord her legs are sturdy to walk to school She's got to get up early, her clothes are old; but never are they dirty. Living just enough, just enough for the city. 4. Her brother's smart, he's got more sense than many. His patience's long but soon he won't have any, To find a job Is like a haystack needle, ‘cause where he lives they don't Use colored people. Living just enough, just enough for the city. Living For The City «3-3 62 oO HALLELUJAH I LOVE HER SO Words and Music by RAY CHARLES Moderately Balm F EES rawr FE Let me tell you "bout a boy I know.— He is | my ba-by ai you eas op ¥ y and he ot Be Bain * or Pa Pres ial Ee (recet} ef +—- aS lives next door = Bb FR rus BS rues fy He brings my cof-fee in my fav - ‘rite cup. That's why I AN ofShel 7% 4 Hallelyjah I Love Her So -4 <1 IVE MUSIC PUBLISHING CO. INC. Conyrigns © 1956 1959 by PROGRESS Allg contled by UNICHAPPELL MUSIC, INC (Ripon nt Made In USA (sie, Publlhes) Used by Permission ternational Copyright Secured ‘AM Rights Reserved ar su Dm BT CTauss af = (Tacet) Hal- le - tu-jah, I just love him so. her * : pb Baim tw BB When tim in trou-ble and T have no ftiends,— 1 know hell go with me un- (eho) if ‘h ee PTS, ath a BR treme (acet! Ee = epee Foe =| Ev-'y-bod-y asks me how I know.— fe (facet) ee (Tacet) ey ‘ =] SSS pee Sy T smile at them and vay /he | told me s0,— Tate why I know,— yes, T fake) SSS Ses = ot se t E + = 7 + Halleuah 1 Love HerSo 4-2 64 br a CTsuas gla es = i = Mate

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