Bon Jovi - First Two Albums

January 14, 2018 | Author: ryou22 | Category: N/A
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Songbook...

Description

Always Run To You Words & Music by Jon Bon Jovi & Richard Sambora

Up Tempo Rock q = 144 A5

B5/A 5fr

    

C5/A

      

           

1.

D5/A

A5

       3fr

2fr

        

A5

B5/A

                                   5fr

N.C.

    

5fr

N.C.

A5

B5/A

Sorgdal



 



 

C5/A



D5/A 3fr

2fr

     

      

       

2. A5

5fr



 

                           

1.

 

      



2. A5



B5/A 5fr

5fr

N.C.

    

       

 



    

        

 



N.C.

© Copyright 1985 Famous Music Corporation, USA. All Rights Reserved. International Copyright Secured.

$ Am   

  







  



 

1. The clock strikes

  

A5

B5/A

C5/A

5fr

  

   

ten; (Verses 2 - 4 see block lyrics)





out

      

  

        

 B5/A





   



I been look

  





    

       

G5/A

C5/A

        me since I

don’t know

Sorgdal

       



A5 2fr

5fr

 

the streets

     

a - gain.

 

       

G5

Am 3fr

        -

in’ for

some - thin’ to please

       

              

    

       

Am 3fr

             

on

Am N.C.

 

D5/A 3fr



A5

B5/A 5fr





when.



1,3. N.C.

     2. Out on

      

        2

the dark

   side of

    

  

    



Fmaj7

2.4.



  



N.C.

   

She’s got

some - thin’ I

   

        

       





A5

B5/A 5fr

C5/A

     

D/A

       

   

It takes

   

      

       

     





       

    Sorgdal

    



to

me.

sat - is - fy

     

       

 



G6

more than the night



    

     

       

G







        3

  



 

 



 

 I

 

need.

       

 

  





ba - by, some - thin’ I

Fmaj7

3fr



     

want,

        

Am







stand

ac -

   





 



 

$$

Am

 

G/A





F/A



   



- cused;

    

I



 

1,3,5,6,7. etc.

al - ways

    

 

         

can

       

Am





run

to

 

 

       

G/A

F/A

G





       

you. An - y road that you





choose,

             





 

 

       



    



I can al -ways run

to

     

 

      

       

2.4.

Cmaj9



 you.



 

  Sorgdal

G/B



 

On D.S. G Repeat and fade

Am









 

I stand

ac -

you,

run

to you.

    

 

   





     

 



G/A





 

       

 

G



 Ba

  

4

Am

 

-

by,

 

      

Am/C

G/B





I

can

 

 

 







Am/C











G/D





 



ways





al

-

 

 

 

  

  

 





    

 





run.



Am







3. To

a

heart

of









         

Fmaj7

G

  

             

       

 

(Instrumental solo)



    

 

Play 4 times G Fmaj7

Fmaj7

        





And when the morn - ing, it



 



 





  



        5



comes,

                         

Sorgdal



G

    

 

1st time D.S. 2nd time to next strain

Fmaj7

 

      and

I

go

to sleep,

     



       

Am





Fmaj7

      when I close my

   



eyes,

     



       

      she’s wait - ing for

 

     

me.

     

        G6



I know that to - night,

 

     



       

G

D.S.S.

 





I stand

ac -

Repeat and fade





     she’ll sat - is - fy

   

    

       





me.

 



        Verse 2 Out on the dark side of town, Another rumbles gone down, And life on the high side Isn’t what this boy’s about. Verse 3 To a heart of chrome, And a soul of steel; We’ve done more white lines Than you’ll know any one we Could steal. Verse 4 And when I give her the gun, You know she feels so right, And we don’t let go When we’re all alone, And I’m holding her so tight.

Sorgdal



6

 







   





 

 

Breakout Words & Music by Jon Bon Jovi & David Rashbaum

Moderate Rock G#m

G#m7

         4fr

    

G#m





 

 



Sorgdal

 

      







  

F#/G#















C#/G#



G#m

4fr











G#m7 4fr







4fr



 

 

Whoa,

oh,

    

   



        

          

        

                 

C#/G#

3fr





      

 

4fr



C#/G# 4fr



G#m7 4fr

D#m/G#







F#/G#

4fr

G#m

4fr



   



     

        

G#m7 4fr

 whoa,

  

D#m/F#

C#

4fr



 

4fr

 



 

 

oh.



   

 

       

  

© Copyright 1984 Famous Music Publishing Limited (75%)/Copyright Control (25%). All Rights Reserved. International Copyright Secured.







   



 

    

G#m





 

 







 







  Sorgdal

2







  

     

girl, I’ve es made in

 

had e the heat of



    



 

 

  

          

C#

G#m 4fr

 

4fr

 



nough, the night,

 



    

F#/G#



               

C#/G#

4fr

G#m

4fr

 



   



 

you’re too hot to han -dle with kid those words were bro -ken un - der bed -room

 

$ G#m

C# 4fr



            

 



 

Oh, it’s too Your lips, they 3º Guitar solo





         

  



4fr



 

gloves. lights.





       

         

G#m7 4fr

G#m7 4fr



                   

                  

 

G#m7 4fr

  

G#m7

     



G#m

       

4fr

           

C#/G# 4fr

 

This time Prom -is -

F#



F#/G#

4fr

    

F#



G#m7 4fr

F#/G#

4fr



     late, I hear a burn, your bod - y



      

       

C#/G# 4fr



     

knock on the calls my

door, name,



                 

G#m





G#m7 4fr

F#

G#m 4fr





C#

4fr





  

G#m7 4fr

F#/G#

C#/G#

4fr

4fr

    

the game’s o - ver ba - by, I can’t take an - y more. I can feel the fi - re,but it’s all in vain.





 







   

          

       

             

                                  

G#m





G#m7 4fr

F#

4fr

G#m 4fr





C#





4fr

 



Break out,





 







         

        

   

                 

     

(Break out,)

 

take these

chains

        

       

F#





   from





  Sorgdal

  



  me,



    

           



you held my heart for ran - som, ba - by

set it free.

             



        

       



  Break out,



   

        3

E





             (Break out,) your lies can’t hide what I see,





 

                 



 

F#



4fr



         I’m bet -ter off

on



my own.





             



              

G#m



1.

C#m



G#m7 4fr



F#/G#

C#/G#



4fr

G#m

4fr

         

       



G#m7 4fr



F#

C#



4fr

4fr

         

      



                                    2. 3. F#

     



G#m 4fr



  Sorgdal

4



Break out,

———

       

 



   

        

     

(Break out,)

 

take these

  

chains from

        

       



 



  me,



   





you





       

F#





 



 







ba - by

set

it

free.

Break





 





 

 































your

lies

can’t

I

see,





my

heart

for

  











 















hold













ran - som,











 out,

E





 

(Break





 

    



out,)

 

 

 















C#m





 

To Coda Ø

   



bet - ter off

on

      

 

 



 



I’m



 





















F# 4fr











G#5 4fr



µ



my own.

  

           Sorgdal

hide what







  



       

 





        5





         You saywe’ll meet a -round mid





 

µ



  

night, (Whoa,





 

 







     

you’re gon - na make me feel

 



       



    

        G#m









 

 







al whoa,

  

 

         C#/G#

            3fr

4fr

   

Spoken: you got - ta let me

       Sorgdal

6



    

I’m say - ing oh, no, oh.



D#m/G#



    

right.

 

 

  





 





go,



     

        

  

 not

     



G#m7 4fr

  

huh, whoa,

  

G#m7 4fr

4fr

 





        D#m

C#/G# 4fr

 

  huh, oh.)



   

huh,







 

   

4fr

  

 

 

to - night, Whoa, oh,

  

        G#m

 



oh,

 



        



 

D.S. al Coda



oh.

 

       

  



   

       

Ø Coda

F#

G#m

G#m7

                 4fr

         







 

G#m7 4fr

 

al whoa,

D#m/F#

4fr







  

  



 

C#/G#

            3fr

4fr

   

Spoken: you got - ta let me

Sorgdal

   

     

G#m

4fr

 



    



    





go,

     

        





huh, whoa,

 



   

  

D#m/F#

4fr

 

    



   

 

C#

4fr

huh, oh.)

 

           

G#m7 4fr

 

  

 



to - night, Whoa, oh,

     

   G#m





  

4fr

 

 not

G#m7 4fr



I’m say - ing oh, no, oh.

         D#m/G#

 



   

C#





right.

   

  

    



                          

G#m



 



you’re gon -na make me feel oh,

    



4fr

          

 

 

- night, (Whoa,

C#/G#

3fr

 



–— You say we’ll meet a - roundmid

D#m/G#

4fr

huh,











oh.

 

       

Repeat and fade

         You saywe’ll meet a -round mid-

    



   



 

     7

Burning For Love Words & Music by Jon Bon Jovi & Richard Sambora

Dm

Fast



 



      



 

                    

Gm



        







  

Sorgdal





















  



   













































 





C/D

    





     

Dm







C 3fr



  









     





       

© Copyright 1984 Famous Music Corporation/Simile Music Incorporated, USA. Warner/Chappell Music Limited (25%)/Famous Music Publishing Limited (75%).

Dm

Gm 3fr

 





I’ve You’re

  









been the

lied vic



 



 

 













to, tim,

-















and its











you in





 been your



 











A



   cheat eyes.

    

 

 -





ed.



















I’ve I’m



 









  

  









been the

cried sus



  









 -







to, pect





you and





  

 

Dm



  

 



  



been mis - treat - ed. love’s the crime.



       Sorgdal

2

 





 



  



 















 

I’ve Ten

been - sions

 

   





 

  

watch - ing mount - ing,

you,

 

 

  



 





Gm

A



3fr

 







you bod

  

-





want ies

ac ach

 -



 













love take

the



-

  

 

$ Dm

  

 

Sorgdal



tion. tion.

need can’t



  

  









Dm µ

     



I’m bur - ning for



love,

   

 

      

  





 





-





Dm



Gm 3fr







  

C/D

 



fac pa





  

sat - is tic - i -

-





 

 

     

   

an



C



     and I need

 You I

Dm

 



tion. ing.

 















    filled with de - si





 







 

  









     









-

-

  











-



 





re,













3

C

   







I can’t

stand



   

 

 

 

    



















Dm





- re.







and my

heart’s on



   













D





C





















    









D



     



I can’t get e - nough,



fi -



it’s down to the wire.

                   

heat,



      

     





the



     

    

C

   







  









 

   

      





















To Coda Ø Gm

Am/G Gm 3fr

  



    Sorgdal

4

 



 

C

Bb

C'9

3fr









I’m mak -ing my























move,

   

 

 



     

 

 





    

look -ing for you,

      

I’m burn -ing with love.

 

       





1.

Dm

  

C

2.

Dm









Dm

C



Dm

C

Dm







         

                  

  

       

  

         



   



  



  

 

C µ

    







 





 

            

 

C

   

Sorgdal







 





 

           

 

 



 





 

            

 

D



   

 

 

 

 

D

   

  



 





 

 

            

 

 

5

Dm

Guitar solo Dsus2

  

Dm7



     

Dm

 



C



 

 

Csus4







Bb



 

 

Csus2









 















   you

in























-



   



 Sorgdal

6





 

er sleep -less

night,











 





 

















    







       











 

  

oh, no,

no.







 





 



an - oth -

  

 







    









   













Well,you can

           



 

 







  



Bb



  



   



can’t take





     

 



C

 

got

Bb



  



Now that I’ve



my sight,



   









C



 



  









run

      

















C





 

but you can’t















     























 





    









 

I

to

feel the



Ø Coda

        Sorgdal



   need



   







Dm

C





 

     



 

 



 











  







Dm













-

re

in - side.





C









   



 



       



Dm







I’m burn -ing with love,

  



C



 





 

     



      





D.S. al Coda

     fi

one



     

C

 





you’re the on - ly



  



hide,







 

 

 

Bb

Dm



     

  

  





     



 

  







 7

Come Back Words & Music by Jon Bon Jovi & Richard Sambora

Medium Rock Am

Dm/A

   

µ

              



 







Am



             



   

F

G

                                    



Am

    1. Now 2. You



Dm/F

    

Sorgdal

G

 

that you’re gone, play with words,

             

                  



   

      I can see play with love

            µ

what was go - ing on and oh, it’s just your sil - ly





                        



      

           

© Copyright 1984 Famous Music Corporation/Simile Music Incorporated, USA. Warner/Chappell Music Limited (25%)/Famous Music Publishing Limited (75%).

Am





Dm/F



how way.



you’d nev you by

              



 

     

Friends Now

 

Am





   

night. I



  

 



  

er love my side

  

       

 

     

a - gain. a - gain.

       

             µ

and they say you walk by

you weren’t out with an - oth

                



      

Dm/F



-

 



G

tel - e - phone it’s too late,

         

   

Dm/F

    

  

when you said but I need



  

2

     



   you lied I’m a fool

Am

Sorgdal

G

       Can’t you see stand a - lone



last and



       

            

G

   



that this bro ’cos I know



             



 

     

a - lone - er man

   



 

ken heart that you’re

  

 

is kill not com

 

  



-



 

ing ing



me? home?



 

 

$

Bb

       

F





  



An - oth - er

night





  





 



  

is

fall - ing









  

  back

    

G

and now my

heart

call - ing you

  

is

 



  

  

Am



  to



me.



    





 





Come

back



        

’cause I

 



  back,

  

need

your

love. Come

    

      



     

      

     

      

    



G

Sorgdal

  

                             

C





  



   

 

 

  

 

F



    



got to have

    

       

   your love.





 

  

 

  





        

Come back,

   

  

bring

your lov - ing

        

      

      

 

3

C

  back

    

G

C

G



 

Am





to me.





       

    





Come

back



            



’cause it’s been

long. Come

            

 

  

so

                        



 

G

F

To Coda Ø

 

    



and I

and my

back,



can’t love’s

    

  



       

  

go still





  

        



on. Come back, strong.

  





        

   

 

 

bring your lov - ing

  

      

      

 

1. C

  back

     Sorgdal

4

G

C



  to



Am

Dm/F



G





me.



    



G

 



 





      

 

                 

  





 

















2.

C

N.C.





  

     











G

    



back

to

back

 

  



 

 

  





 

C

G

  



C













to

me,

back

to

me,

back

  

  

 

 

 



















 



 

 



 

C



 





G

 

me,



 

    







 

G







to

me.

 

 

  







Guitar solo Am

 



F



 









           Sorgdal

   



G



















  

  

       

        5

Am



















    

       

 











  

   

   

       

1.

2.



                  

    



  

G



F

   

 

G

C

     

 

  

   

D.S. al Coda

    



Ø Coda C

Sorgdal

6



 





back

to

me.



  

 

 





G





 Come



  

 







 

 

 











 

  









Am

  

G





back back

   ’cause I ’cause it’s

   









 

need been







 

your so





love, long.



back, back,

 



   got to have and I can’t





  

 

  

 

         

 

  

       



 

  

F

 

   your love. go on.

 

C

Sorgdal



 

 



C





back back

to to

me. me,



  

 

 





1.





-

ing ing

  



 

  

 2.



lov lov

 

G



your your

 

  

 

      

G



 

bring bring

  

  

 

 



Come back, Come back,

  

  

 





 

 

G





Come



  

 







 

 

 









 

  

   

 

  





 



 7

C

G



C

 





back

to

me,

  

 

 













back



  

 







  

    

Sorgdal

8











to

me,

back

to

me,

 

  

  

 







C

G

G













to

me,

back

to

me,

 

  

 

 









to

me.

  

 

 

 











 





Come

back.

 

 





back



  

 











back



  

 







Am







C





C





G

 

C



G

 

G













Get Ready Words & Music by Jon Bon Jovi & Richard Sambora

Moderately fast rock E5



C#5

 



 



  







D





 

A



  Sorgdal

5fr





 





 





E5

C#5

D5 4fr

 











 

 





 







D



D5 4fr

 









A

 

 



















E5









 

 













© Copyright 1984 Famous Music Corporation/Simile Music Incorporated, USA. Warner/Chappell Music Limited (25%)/Famous Music Publishing Limited (75%)

5fr





 







E

         1. You need some -one 2. You’re look - ing sharp

                   





 

 

 

last, shoes,

   

leave you moves, oh

          





D

A/C#





fast, you’re

so

  





  Sorgdal

2

D





hot,



   



 

girl



 

   



 



D#5 5fr



A/C#

 

D5



  who’ll love and you

   

               

         



        



 

E5



no Ro - me - o’s you got the style



   

    



to make it in your danc - in’

       and the



 

       

got



 

E5 6fr



D

A/C#

      they fade and on

a - way. the loose.

      



E

  

    

To - night you’re not gon - na be You’re caught up in the dan





   

       

         

  

         

       

  

    







 

 

 -

 







 

   a - lone, ger zone,





    

ba night -

    

A/C#



 

  Sorgdal



D



 



by, life,

ba ba



   



 

A/C#



-

by by



D

A/C#

e full

   

 

   phone, grown, the

 

     

       

E5





 





if you can hold on. is turn - ing you on.



     

 

   



 



B5

-

         

     

 





 



       



C5

        

    

 

       

3fr



    





mak - ing love on the tel just sev -en - teen but you act

A5





       

D





  

    



 

I’m gon - na take You want to take

you all me all

    

  



 

  

 

the way the way

to - night. to - night.

    

 

                3

D5









 

5fr









 













 



 

























 



   

down hand,

and can

dir you



 









C5

  

3fr



 I





 





like ’em Take my





 

 

 

 













feel

ty,

   



so the

hold heat?





on



   













tight.









D5





 

  Sorgdal

4

5fr



 You







make me

feel al





-





Come

on,

right.

 











 











































$ 



 

 

E5

C#5







come

on,













come

on,



 





 









get









read -

   



A









E5

C#5

  

 





 

y.

Come on,

 



      

    

      

 

 













 get





  Sorgdal

D5

come on,

 



come on,









read

-

   

 













5fr

 

  

  



 

    

E5





4fr

-

 



D

  



5fr





E5



D5 4fr

D5



 -





y.



 

 

5fr





  

  5

1.





 

 







   





  



come on,





 

 

 







 

    







  Sorgdal

6



get

 

             



read

-

 

 

       



Come on,





 

E5









Come

on,



      

C#5

   come on,

 

 



   y.

 



 

 

    

5fr

 



come on,

  

D

D5 4fr







E5

A







5fr

come on,

  



D5

 

  





C#5



  

 

4fr







E5



A

2. 3.



 

    



  get





read

         

To Coda Ø E5





D5





 -





 

5fr













y.

















 

  

 

  





 





Repeat as desired for guitar solo E5

         

C#5

D5 4fr

 



 

E5

D5

5fr

A 5fr



       



             

 



         

 

          

E

   

E7

   Come on,

          Sorgdal

  

 

 







come on,

       

   come on,

 











   

       

  

 

  come on.



 

        7

A/E









E





   Come on,



      

   



 





 

 



   



1.





       

2.

A/E



  

  

 















 



A

Come on,

 

 



       

D

A



    

   

D



   

       

A

E5



   

 





                                                    

8

 

come on.

       

Ø Coda

Sorgdal

D.S. al Coda

A/E

(no repeats)

come on,





       

E7





come on,

      

       



 



In And Out Of Love Words & Music by Jon Bon Jovi

= 128



  

N.C.

 

In



    

  

  





and

out







of

love,











out

of







in

























    

 

in



 F/A





love,

     

and



out

of



love,





  

     

 





 

  

 

Am

G/A





G

F

3fr

 





 

in

         







 

    





 

     

 

     

  











1. Young and wir -

and out of love.



© Copyright 1985 Bon Jovi Publishing/Famous Music Corporation, USA. Warner Chappell Music Limited, 129 Park Street, London W1. All rights reserved. International Copyright Secured. Sorgdal



Am

and







     





play 3 times





 

D

A5

  



        





  



  



 

       

       

set to

         

ex - plode

in the

heat.

  

A5



 



and

   

D



 

- ed (Verse 2 see block lyric)

G



    

 



   

 



You won't

     D

 ti

G

-



 





re

       

  'cause

  

ba - by was born

 

        D

A

with the beat.

        Gadd9 3fr





    

  

 



   





 

   

       



    

Take you high

        D

    ev - er







known,

           

 

 

-

-

er

then drive you down





   

       

Sorgdal

2

than you've

      

 





   

Dsus4

    





   



D



 



to your

   

 







knees.

   



       

Gadd9

D

3fr

     



  

I pick you up



       C

D

  



sons



when you've

  

 

learned

      

  





C

  

 

     

 

  



    

 





1.

G

F







 



hear what

 























G

way



 







Am



  I'm

say

-

ing,

 in

      



Am



   



that we're play - ing.

In





G

 



 

      





     and out of love,



     

 











 

E

 



 

     

          

  







 



and out of love,

         too much is





   

       

    

in

      

    

F



and out of love, it's the



 

you been burned, ba - by, les -

Am

       



       

had e - nough,

F





ne - ver

e - nough,



 

        

  

Sorgdal

3







  

she's gon - na get









  you.



  

 

Am

F/A

G/A

F

Am

G

3fr



 







    



(2.) Run - ning wild



                                  

 

   

2.

F



G

  





 



      and out of love.

      















       



 

much





for - ev



 

er

in

-



ing, in

and out of love, it's the

     

 



    





       4



 

 G

way



  E

       



and out of love,

Sorgdal

 

       

    







F



-

Am

Am

in

  





that we're play - ing,

too

 









 











 



Am



Hear what I'm say

    



G

        

 

G

F











 

 







     

G

 





and out of love, love's

in

    



 F

F



 

Am

when we're to - ge - ther,



    

           

  







too much is

ne - ver

e - nough.



 

        



Am







  

   

      

  











 

 D

    









you.





 





            





  







     













    

       G



  

  







   



       

  

                      

Sorgdal

5



 D



  

  

Dsus4

  

B



            



D



Dsus4







Am





     

  

Am

  









      

G



D





She's gon - na get

 G

    



 





D









                 

        

 

1.

A









   

 



           

 



     





 



     

  



G

 

 





 

     

D







 

     

 

  





              



    



E







D

D

A5







                  

out of love,



 

G



D



6

Out of love,

    2.

C

D

     

               

Sorgdal

 



1. D

 

                             



      



 

    

C



    

  

 Guitar solo ad lib.



         

A





       





2.

Dsus4

C

Am



 

                  

out of love,

In

G/A

F/A

   



and out of love,





   



and out of love,

     

and out of love,







 

in

       

G/A

Am





      in

G/A

F/A

Am 3fr



and out of love,

                 







 

in

   

        Repeat to fade

        and out of love,



Am

                 3fr





                 

F/A



G/A 3fr

      in

      



F/A

Am 3fr

         



 

F/A

G





Am

         in

and out of love,

                    





  



 

Verse 2: Running wild When me and the boys hit the streets Right on time She's here to make my life complete. Then I'm long gone, I've got another show One more town, one more mile to go One endless night of fantasy Is all she left of her with me.

Sorgdal

7

F/A

G





Am

    in

            





   

In and Out of Love Words and Music by Jon Bon Jovi

A5

C5

D5

E5 5fr

11

133

133

11

Intro Moderate Rock q = 128 band tacet







In

and out

  

In



and out





 

A5





  

A5



of love.

In





   

Gtr. 1 (dist.)



f





         2 2 0

0

µ Am7 µ A5      

In

  

     

5 0

3

7

3

5

1

  

         

5

7

4

3

5

2

and out

3

µ



5 5 0

0

   



of love.

       

2 2 0

5

2 2 0





of love.

Rhy. Fig. 1

5 5 0

  

µ



and out

band enters

 

µ Am7 µ A5       

0



of love.





2 2 0

            Play 3 times



            µ

2 2 0

0

1.You’re a

  

               

End Rhy. Fig. 1

5 0

wi -

7

3

5

5

7

4

3

5

2

5 3

Verse

-

A5



         µ

 



     re

when

   

Rhy. Fig. 2

     P.M. 0

0

2 2 0

set to ex - plode me and my boys

 

in the hit the

D5/A µ G/A





D/A





You won’t Right on time...

P.M.

  

0

7 7 0

8 7 9 0

8 7 9

     

0

0

0

   

heat. streets.

         P.M.

0

µ A5

0

0

0

0

   7 4 0

Copyright © 1985 Sony/ATV Music Publishing LLC and Bon Jovi Publishing All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved

     P.M. 0

End Rhy. Fig. 2

2 2 0

1 Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

Sorgdal

Gtr. 1: w/ Rhy. Fig. 2

µ

A5

  

ti

-

     

  







re

’cause she’s

ba - by was here to make

Pre-Chorus µ D5/G

   -

er

 

than you’ve ev - er I got an - oth - er

gone,

       Gtr. 1

3 2 0 3

         D5/G

µ D5/G

I pick you up end -less night

of

2 0 3

3

   

3 2 0

3 2 0

3 2 0

3 2 0

    

µ D5/G µ

 P.M.

2 0

3

3



3

3

Rhy. Fig. 3

         2 2 0

0

2 Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

Sorgdal

5 5 0

0

2 2 0

5 0

3

 



It’s

      7 5

3

2 0

3

3

I’m say - ing.

  

In In

        

5

7

4

3

5

2

3 1

3

2 0

     

1., 2. Hear what 3.

  

µ D5

A5

  

of love.



3

 

high long

D

   

µ

  

to drink - in’ mile to



beers. go.

One

   

   

   

  

 

3 3 2 0

3 3 2 0

3 3 2 0

2 3 2 0

3

You’ve been burned, all she left of

5 3

2 2 0

0

3 2 0

µ

D5/G µ

ba - by, les - son’s learned. her with me.



  

 

    

3 2 0

3 2 0

3 2 0

of love. It’s the of love.

        0

5 5 0

0

2 2 0

way

   5 0

3

A5

In

             

3 2 0

µ Am7 µ A5 µ         and out and out

    

       

 

3 2 0



3

 



and out

D5/G

2 0 3

Dsus4

3 2 0

0

                  P.M.    P.M. P.M. 3

  

3

D5/G µ

 Chorus

µ Am7 µ A5 µ       

0

e - nough. sy.

3



D5

     P.M.



3

2 0

  



then drive you down more time, one

One

   

when you’ve had fan - ta

            P.M. P.M.



3

3



A5

Take you Then I’m

    

known, show.



    

µ

   

3

D/A µ

with a beat. life com - plete.

    

3

born my

  

 

D5/A µ G/A

   







  

µ

  

that we’re play

3 2 0

2 2 0

3

 

A5

   -

ing.

In In

                 7 5

5

7

4

3

5

2

5 3

2 2 0

1.

    

µ Am7 µ A5



and out and out

5 5 0

0

of love. of love.

1. Too much 2. When we’re 3.

  

2 2 0

0

  

  



         2 2 0

Gtr. 1: w/ Rhy. Fill 1, 2nd & 3rd times

µ

   

5 0

3

7

3

5

1

is nev - er to - geth - er.

E5

µ





e - nough. In In

        

5

7

4

3

5

2

 

    

   

2 2 0

3

         She’s gon - na get

2 2 0

ya.



loco

 let ring

let ring

End Rhy. Fig. 3

5

12

12

  



Harm.

5 5

A5



8v a

  

 



   

12 2 2 0

2 2 0

2., 3.

µ Am7 µ A5 µ                   Gtr. 1: w/ Rhy. Fig. 3, 3rd & 4th meas.

µ Am7 µ A5

    

µ

A5

µ Am7 µ A5 µ









2. Run - ning Gtr. 1: w/ Rhy. Fig. 3



 

  

            A5

and out and out

of love. of love.

Hear what I’m say -ing.

A5

µ Am7 µ

In In

and out and out

T o Coda

       µ Am7 µ

and and

out out

of of

Gtr. 1: w/ Rhy. Fill 1, 2nd time

A5 µ



      

love. love.

2. 3.

and out and out

                

µ Am7 µ A5 µ

much for - ev - er. In In

wild

Too much is nev - er Your dad - dy is



A5 µ

of love. It’s the way of love. You want

love. Love’s love.

of of

too

    

A5

that we’re play - ing. me to meet your what?

In In



E5

  

µ



A5



      





e - nough. who? In

She’s gon - na

get

ya.

Interlude Ad-lib. laughs, whistles & vocs. band tacet

     

band starts

µ Am7 µ A5

*                  P.M. P.M. *   2  20 0 55 0 220 Gtr. 1

µ Am7 µ D5





         P.M.

2 2 0

0

P.M.

5 5

 

 7 7

0

G5

D

  

  

3 3 0 0

2 3 2 0



µ A5

µ Am7 µ A5

             P.M.

3

3

µ Am7 µ D5



2 2 0

0

P.M.

5 5

2 2 0

0



µ

              P.M.

2 2 0

0

P.M.

5 5

0

 7 7

3

*Vib. top 2 notes only.

  

Rhy. Fill 1 Gtr. 1

5 3

  7 5

 

  

 

5

7

4

3

5

2

3 1

 

 

 

 

5

2 2 0

3

3 Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

Sorgdal

1.

2.

G5

µ A5

µ



 

Oh,

oh,

oh.

   

  

3 3 0 0



  

2 3 2 0

D

0

B5





 

Oh,

oh,

oh.

  

  

        330 2 2  0 0



w/ bar

2 3 2 0

  3fr open

E A5

G

 3fr

E A5 G











  

G



(cont. in slash)

8 7

  3fr open

A5



Gtr. 2 (dist.)

 

  

 

A5

Gtr. 1

4 4 2

3

  3fr open

Guitar Solo G







2 2 0

0

3



G5





A5





D

  3fr open

E A5

G

 3fr

E A5 C

A5

                          P.M.     P.M.  P.H.    P.M.     P.M.  P.H.                                  w/ bar w/ bar  P.M.  8 7

8 7

8 7

8 7

8 7

7 7

8 7

8 7



End Rhy. Fig. 4



Rhy. Fig. 4

8 7

8 7

8 7

10

7 7

0

µ

      

A5

µ

10

7

9

10

0

Gtr. 1: w/ Rhy. Fig. 4, 2 1/2 times

                

9

A5 µ

A5



9

9

             µ

A5

0

8 7

8 7

8 7

8 7

7 7

8 7

8 7

8 7

8 7

8 7

7 7

 

w/ bar

5

 

    8

µ A5



10

 

 

 

8 10

10





µ

A5

µ A5 µ A5

       8

 7

µ A5

           1/2   21 21

Gtr. 1

 5

µ A5

            8

7

5

3

E

A5







2

10

4 Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

Sorgdal

7

5

7

20

5

20 17

C5

7

  



7

17 20

19

20 17

19

17 20 22 20

21



 





               1/2

12 X X

5

D5

steady gliss.

21

X X

5

A5 µ A5 µ A5  8v a                           w/ bar 1 1/2  17 17

8v a



7

5 5

µ

  3fr open         P.M.   G

5

5 5

7

8 7

µ A5 µ A5

P.H.

8 7

0

1/2

12

8

8

14

1/2

14

10

10

16

16

12





E5

 



Bridge Gtr. 2 tacet

µ D5

D





(cont. in notation)

Out of

  

µ

     



  Gtr. 1

      

     P.M.

8 7 9

7 4

P.M.

12

7 7

0

C5

 

µ

Out of



w/ bar

 5 5

G

µ

D/A

0

A5



5 5

0

Out of



    Harm.

X

7

 7 7 7

8 7 9

0

0

µ





      

2 2 0

X

D5 µ G

 



µ

X

7 7 7

 

P.M.

8 7 9

D5

C5



0

0

   



In



 

2 2 0



A5

love.

            P.M. 7 4 0

G

love.

     

µ

D

  

    

  

  

love.

       7 7

D

    

µ

Out of

w/ bar

D5

A5

love.



loco

G

X

 



P.M.

7 7

X

w/ bar

8 7 9

0

   

           P.M. 0

0



7 7

5 5

5 5

2 2 0

Breakdown

µ Am7 µ A5            Gtr. 1: w/ Rhy. Fig. 3, 1st 4 meas.

and

out

of

µ Am7 µ A5          

  

µ

A5









love.

In

and

out

of

  

µ



A5







love.

In

D.S. al Coda (take 2nd ending) Gtr. 1: w/ Rhy. Fig. 3, 1st 3 meas.

and

out

of

µ

A5





  



love.

We’re in (In

 Coda

     

 

 

of

love.

µ Am7 µ A5



          

µ Am7 µ A5

and

out and

out

µ





of

love.











A5

      In)

Fade out

µ Am7 µ A5 µ            

Gtr. 1: w/ Rhy. Fig. 3, 3rd and 4th meas.

and out

Gtr. 1: w/ Rhy. Fig. 3, 1st 4 meas.

Am7 µ A5 µ           

of love.

A5 µ

In Spoken: Hey,

and out of love. just how old are you anyway?

Am7 µ A5 µ            A5 µ

In

and out

of love.

     A5

In

5 Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

Sorgdal

King Of The Mountain Words and Music by Jon Bon Jovi and Richard Sambora

Fm

Moderately, straight beat N.C.

        

    

 

     





Ab



Eb 4fr

    

 

   

$





  

  

Fm

  





Eb/F

Fm

 

                   



 

Eb/F









Fm

Eb

3fr

Bb 3fr

 

  





   



   





 



Fm

 

 









Ab

Eb 4fr

   

  

         

1,3. Lis - ten peo - ple, can’t (Verse 2 see block lyrics)

Sorgdal

3fr

N.C.

    

  

    





you hear the voic - es that are

           © Copyright 1985 Famous Music Publishing Limited. All Rights Reserved. International Copyright Secured.

   cry - ing





 

out?

   





  

Fm

Eb

Bb 3fr

N.C.

   

   There’s a

hun - ger

    

  

    





         burn

-

in’

in

the heart of



their

souls.



        















 

 





Fm

Ab

Eb 4fr

N.C.

   

     May - be now that

    

I

         got

you, let me tell you what I’m



  







 



Fm

Ab

Eb 4fr

                





Oh,

    

     





       

no;

                

2





Bb7

  

Stand up and shout; to -night we’ll lose con - trol.



 

3fr

N.C.





talk - in’ ’bout.

             

     

Sorgdal

  

I been down and mis - treat - ed. Oh,

        

  

  





Bb7sus4

C



      

C5



Let’s

 

go.



         

 

 

   

 



 



Ab



     

Sorgdal



 















  



 



Fm

   

  

king of

  

the hill.

      







4.

3fr



   

Bb D.S.

Eb

 

      



2.

Repeat and fade Eb Bb

 

 

     





7fr



I’m



      

1, 3, 5, 7. etc.

   

Bb

king of the moun - tain.

    

E5 6fr

4fr



   

       

Eb5 5fr

 

  

Fm

I’m

D5 4fr

Nowwe’re stand - ing un -de - feat - ed.

  

         

     

Db5 3fr

 

no,

Csus4

 

  



 3

Ab

3fr

Eb 4fr

  

 

  





  

Bb5

Db5

Bb5

6fr

4fr

Db5 6fr

Bb5 4fr

Db5 6fr

4fr

                  

          

           

             

        

        

1.

Bb5

2.

Db5 6fr

Bb5

4fr

A5 6fr

Ab5 5fr

G5 4fr

                  









    











 

 

   



Gb5

F5

E5

3fr

Eb5 7fr











6fr

 









D.S. al Chorus, Repeat and fade Fm

Ab

Eb 4fr

    



   



  

 

  



 





Fm

Eb

3fr

  

  

 

  

 

  

Verse 2 You spend your life working 9 to 5; It’s like doing time. Boss man says, “Hey boy, you’ll never be no good.” With the night, there’s a magic in the air that makes us come alive. Tonight’s the night they can’t Put you down; No one could. I been down and mistreated; Now we’re standing undefeated.

Sorgdal

4

Bb 3fr



 

 







Only Lonely Words & Music by Jon Bon Jovi & David Bryan

With a heavy beat q = 120 Cm

          

Bb/C 3fr

      

Fm/C







  

    

Cm





Abmaj7

    

Bb

3fr







 

   



 



  













Cm

   

3fr

     1. An - oth

   

-

er

    







 

 

long

and







  

sleep



- less





night;

 

 

    

 

  





 

 

 

   you need some -









one



    



 



 

Abmaj7

    



to

          Sorgdal



 



  



hold

tight.

 

you

  



 







    Some -times love

 





   







 

don’t





  © Copyright 1985 Famous Music Corporation, USA. All Rights Reserved. International Copyright Secured.

know



     

  

wrong

 

from

  



right.







 

Cm

     

 

 



    





An - oth - er

long

    





 



and







    

3fr

  



sense - less

fight

 



     was

all



    



 



 

 





    



    



the







     There’s no



   





same.

 





Cm 3fr

they’re all

    

knew;

  

Cm

   

you



one





    

 











 

 

left



3fr



  

to

take





the

blame.

 

 



  

 





  

Eb/Bb

  







  



What’s be -

  

 

     Sorgdal



  





hind



 











this





 







mas

-





 

 

2







quer -

ade?





 





    How

  





do



we



   





win





  

$

Bb5

     





these

    



los

      



  

F5

G5

6fr

 -

 





3fr









ing

games

we

play,

 

 













cut - ting

      





  





wounds we

know

    







          

words

we

say,











  

Ab

   



run

deep?

so

      



   



be

      

 

   -

hind



Leave it

all

  

 

   

 

  





       



Bb5



you,

           Sorgdal





  

  

Eb/Bb

     



4fr

they







G

 





F5

     







or some -day

love

    





    



 

        3



  will



  

6fr

 

   find

you.

 

    

       

Cm

      

Bb/C 3fr





On

-



  

Cm







-



















Oh,



 



Bb

3fr

ly.

  

 

3º & 5º To Coda Ø 1. Abmaj7



lone

ly

             

Fm/C



  

 



I









 

  







 

2. Abmaj7

    



can’t

stop



hurt - ing

    





   





  





you.



Bb

  



    

 

Oh,



    



 

















4,6,7 etc. Abmaj7 6fr

     

how much

            Sorgdal

Abmaj7





pain













does

it

take?



 

  

Bb

6fr

 

µ



  

  







but

I

can’t (I

     



 





Oh,

  



 

 



 

 4

   



4.: D.S. al Coda 6.7. etc.: Repeat ad lib. and fade

Cm 3fr

   

stop stop

can’t

        

 

  



lov - ing lov - ing

you. you.)

2. It’s

get - ting



    

 



    





  









    





    



  







some

-

I

know



 

times



   



to



  











  

 





 



stop,



 

3fr





when





 





 

  







  

a - fraid

to

let

it

   

 





Some -times we’re

so

to

go.



 

 



   



 









3fr

N.C.

  



   













 

Cm

6fr

      Sorgdal

don’t

 

 

Abmaj7

   



  

Cm

6fr

when

  

 

 

Abmaj7

  









show.



      A stol - en



    

  

  





 5

   



 



 

  

kiss

       



Cm

Abmaj7 3fr

6fr

     





so

out

      





    













of





place;













  







   



it

smile

wipes the



   











 

Cm

   





 right





   





’Cause when those

     



   

    





feel





 





-

ings





 









start,





 









 

 











we

let

them

go,

 



 





 

  

  



 



face.

Bb

 



off your

Eb 3fr





 

 

Ø Coda Abmaj7



     let them



            Sorgdal



D.S. al Coda

   

    

go.

6fr

Bb



 

    



Oh,



            

so tell me, babe:



      

   

   

  

6

    

  









Abmaj7

Cm

6fr

     



    

how much

       

pain

can you







take,



      

Bb/C



     















heart

breaks,

  







Ab/C

Bb/C 4fr



heart



breaks?





       







   





 





 





I’ve

got

this













 

 

Cm



Cm 3fr

3fr







time - bomb

Sorgdal

be - fore your

3fr

be - fore youre

    



Cm

   

   





 



  







    

   

3fr

N.C.







tick - ing

 

 





 

 

 

 







 

in







 

my



head.

  

  

7





 





    This time



I

 



   

 

 

 

think





  

Ab 4fr

     



 

she’s

gon

           

 

-

na



   

 





   



blow.

How can

 



 

 

  

I

say





   

 

 

 



 

 

 

    





         







when

I

just

 

 





 

 

 







 





    







can’t

let

it

go?

 

 

 

 

 



 

 

3fr

  



 (Instrumental solo ad lib.)

      

 

1. Bb/C



Bb





D.S. 4fr

  



Ab

4fr





2.

Ab

     

Sorgdal

a - way,

Cm

      

   

   get

  

Fm/C





   

 





 8





 

    







Price Of Love Words & Music by Jon Bon Jovi

Up tempo rock q = 168 1.

Em



            

C5 3fr





 

        

Cmaj7

       

   



       

2.





  

    

   







       

D/C

C

D







                            3   3 

$



Em

  

   

Cmaj7

 

  



1. One heart; one oth - er. (Verses 2 - 4 see block lyrics)

  

     

Sorgdal





 

  

Am9

 



They met



  

  



© Copyright 1985 Famous Music Publishing Limited. All Rights Reserved. International Copyright Secured.

  



last sum - mer.

 

  

  One more



  

  



1.3.

2.4.

Bsus4



     she start - ed;



     

B





now

they

 

    



love



B

     

          

   



   

    

as the tel - e -phone’s ring - in’ on.

this way.

 





Bsus4



 

 

To Coda Ø C

D

    

   

No one

said there’d be

      



G



       

 

B



     



nights like



C

this;

risk your



        

 



 

   

  

life

sto -len kiss.

for a



       

   

We





live,



   

                                

$$

Em

        

Em/G









we

learn,

  



 

           Sorgdal

Bm7



  



D/C





we

lie

  

 



        2

C



 



    

    for the price

   

       

Bm

G/D

 

     of

Em



  



    

 

love.

     

D

We



Em/G







 

Bm

   

     

   

for the

 

Repeat and fade D

G/D

    



 

price

        



  

1.3.5.7. etc.

of

love.

We

    



  

  





say

       

       

    



then

kiss

C





Bm7

good

 

  



-



bye,



 

       

2. Bm

__



D.S. al Coda

G/D

    

live,



of

       



  love.



   

                

4. Bm



 

Bm/D

Em



D/E

C/E





Bm/E





Instrumental solo



   Sorgdal

     

  



(2º only) It’s

  

  



   



                                                  3

1. Em

D/E

C/E

Bm/E

           



                                 





                all in the game, Catch you when you fall;

the way that it’s played. an -swer when you call.

There’s no time to won -der why. No one can hear you cry.

                      

                









2. Bm/E



  

Em



C









Instrumental solo



  



   

  

  

                                     4.

1.2.3.

Ø Coda

D.S.S.

D





C

 



 We

 



live,

of ro - mance,

   

                 

                  

 

        

  

  

  

  





Sorgdal

D

           

when you’re a mas - ter of the art



G

 









D

4

C



  

 

Bm

    







and you know you won’t

cross

that

line

         

 

 

 

    un - til that

     

 



  

 

last slow

dance.

 

   



   

  We

D.S.S.



 live,



     

                                

Verse 2 The pain of pleasure, Lying together. As the telephone’s ringing on.

Verse 3 Each move goes so slow Until the doors close. No secret codes now; No words as baby goes down.

Verse 4 One last dance, then goodbye; Practicing his love lies. He runs to his wife, And you’re left holding the knife. You live your life to take that chance When you’re a master of The art of romance, And you know you won’t cross That line Until that last slow dance.

Sorgdal

5

Roulette Words and Music by Jon Bon Jovi and Richard Sambora Moderately, with a beat q = 120 Em

D/E



  



 



 



        $

D/E



 

 



 







 







Sorgdal



 

Crimes fire

 

 





 



of pas the shot

-





 

 





  

 





 

 



D











 



 







 

 





    

rule dam - age

 

  



comes one



 



in red. by one,

 



 





 





Em

  



black, num – bers

 

sion and the



  







D/E

     



Em

C/E



 

1. Bet the 2. Play the 3. Instrumental

   

 

 



C/E

my is

head. done.

 



 





 











I Rest



 



  -

need you, less lov - ers

 



 





 



© Copyright 1984 Simile Music Incorporated/Famous Music Corporation (50%)/BMG Music Publishing Limited (50%). All Rights Reserved. International Copyright Secured.



D/E

C/E



  

  

you pay

   

 





want him. the price.



 



Dressed Cheat -

 



 





 



D/E





 

we

 



 





 



 



to kill, ing hearts

     N.C.

live don’t





 

C5

in think

sin. twice.

 

   



   



Em 3fr



  



   1.3. 2.

I know When you

 



the game make the rules

you no

play, one

 

I know can slow

it well. you down.

       

      

        

      

C5

G/B



Sorgdal



 You You You



G/B

 



just just just

keep keep keep

 

 

   

 





   

       

 



 



 



 





 





 

2



 



A5

3fr

N.C.





C5

3fr





 

  

G5 5fr



  on ’em on



 

3fr

 play wait play

  

-

 

in’ when ing ing when

 

       

D



  

   

all the bets are down. when you’re on the prowl. all the bets are down.

   

Em







 



  



   

Rou - lette,

  

      

    

      

       

you’re go - in’

    



    

       

D



      round in

a



      caught up

spin,



      

 

       

in

a

game

          

       

Am

     

       Sorgdal

   you can’t

    



 

win.

Rou - lette,

 

  

       

B

To Coda Ø

   



you’re just a

fan

    

       

 

   -



ta - sy.

    

        3

    



It’s ev - ’ry - thing



        

  that you

  

       

1.

Em

      

D/E

C/E









want it to be.

            



 

              



want it

  

 



 

 





 



 





 





 

  



 



  



 

  

Em

     







2.

D/E



 

to

 

be.

  



   

Rou - lette,

       

  

        

you’re go - in’

    



    

       

D



      round in

a



spun,



       Sorgdal



       

      caught up



in

a

game

         

        4

   you can’t

    

 win.

 

  Rou - lette,

  

       

Am



 





   



























you’re

just

a

fan







 



 











Bsus4





 



It’s



  





ev - ’ry - thing





 

 

 









C



  

  



Back - door run - ner





   

Sorgdal



ta -

sy.



 

 











-

















that

you

want

it

to

be.

 

 

 





 

 















D















B







   











time,



       







Em

       got a - way this



 5









   

 

leaves

at

her

mark



        



the

    

C



 



scene of



   

 



  the





D





 







Noth - ing

crime.

   

















 





  











fac - es,

no

 







mat - ters,

3









no names.

3







 







B



          You’re just

a num - ber, it’s

all

the



           



       

    



same.

You just

 

love

to

        

  

       

  

       

Ø Coda









play

the



   Sorgdal





 game.







D.S. al Coda





  want



 

 

 









    



 6











it

to

be.





 

























Em

D

   

  





Rou - lette.

      

 

     

       

 

 

 

       

 

 

 

 

       

Am



 

 







  

Rou - lette.

    

 

 

  

       

 

 

 

     

 

       

       

B

     Sorgdal



 

  







 

  





 7

Repeat and fade















 

 

 

1

RUNAWAY

Words and Music by JON BON JOVI and GEORGE KARAKOGLOU

Moderately fast Am

G

                  



 

                               

f







Am

                

               

               

 

   









 

 

G





                



    

               











 

Am

  





 

  

On the street A dif - f’rent line Instrumental

  where you ev - ’ry

        

    

G





live, night,

girls









talk a - bout their guar - an - teed to











 

so - cial lives. blow your mind.



                           

  



 

  



 

They’re made of I

            

 Sorgdal









   

  

Copyright © 1984 Sony/ATV Music Publishing LLC, Simile Music Inc. and George Karakoglou Publishing All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 All Rights on behalf of Simile Music Inc. Administered by WB Music Corp. International Copyright Secured All Rights Reserved Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

2

Em

F

     

    lip - stick, see you

plas out

-

tic and on the



paint; streets;

                



     

  



 



G

  



(All your

life,)

Am

    a touch of call me

                

  

 





   



all you’ve asked home a - lone,

 

 is

               

 

 

 

       







 

G



  







                           

        G

  ows

  try’n’ left

        





   

Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

             



 

 



when’s your Dad - dy ’cause there’s noth - ing

 

     













gon - na left that

 

 





Em

talk to you. you can do.





 

in their eyes. wild time.

             



Sorgdal



sa - ble for a

 

All your life So you sit



    

 





But you were There’s on - ly

      





   

  

liv - in’ in an - oth - er pic - tures hung in the

  world, shad -

       

       

   

   

Am

    to

get your there to

 







mes - sage through. look at you. End instrumental

       

   

           

               

   

 

     

       

3

Em

G

    No one’s You know No one’s

  





 

     heard a she likes the heard a

  

  

sin lights sin -

    

 

  



Am

 

gle at gle

  

word night word

 

you on you



said. the ne - on said.

   

   





 

-

way

signs.



Broad

  

 

  

 





   

   





Dm

 



 







They should have And They should have







 

    

   

go - in’ a - round love she hoped go - in’ a - round





   

it in don’t real it in

-

    

your ly your

 

eyes, mind, eyes,

        G

   

     

 

 

C



seen she seen

     

your to your

   

 

   

   

  





 





what was it’s on - ly what was





      



Am



head. find. head.

   











 Oo,

       



 

       

G





  





Sorgdal

    she’s a

lit - tle

       

       

   run - a - way.

     





                   

       

        Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

4

C

Em

    Dad - dy’s

     





    

 

girl

fast

  

learned

    

  

       

G



Am

  



all

 





those things she

could - n’t

 

 

     

    







       





       

   





       



lit - tle

 

 

   

 

 









µ

   

 



run - a - way.

  

a

2 Em

Am

 

 

µ

she’s

 

  

  

1 Em





she’s

     





a

lit - tle

                  



       

    











Am

         run

-



Sorgdal

Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.







a - way.

           









say.

Oo,





 



 

To Coda

   

G



  

       

               





5

        

               

  

    



    

 

CODA



D.S. al Coda

 

 







Am





   

Oo,



she’s a







         

Dad - dy’s

    

         

       

    

girl

  

learned

    

 

G



  

fast

  

       

   

       

Em

    



run - a - way.

       

  





lit - tle

  

   

C



       

G

    

  



all

 





those things she

   

 



 

    







Repeat and Fade

Optional Ending

Am



   could - n’t



Sorgdal







say.

    





  

  

 

    



  

 

  



             



Digital Conversion © 2012 Sorgdal - For educational use only - not for sale or trade. No warranty of accuracy or useability is implied or claimed.

Runaway Words & Music by Jon Bon Jovi & George Karakogiou

E5

G5

A5

D5

3fr

Intro

5fr

C

C5

3fr

A5*

3fr

5fr

Fast Rock q = 152 µ









A5

E5

             

0

G5

2.

   

µ

         

Gtrs. 1 & 2 (dist.)



(kybds.)

1.

Harm. w/bar

µ

            

5 5

2 0

2 0

5 3

0

steady gliss.

X X

2 0

Verse

A5

  











1. On

the street Dif -’frent line





where you ev - ’ry

   

  



 live, night,

 

 



girls





E5





talk a - bout their guar - an - teed to



  

 

G5





so - cial blow your



2 0

 



  5 3

Rhy. Fill 1 Gtrs. 1 & 2



  



Sorgdal

2 0

 

  5 3

 



lives. mind.

Gtrs. 1 & 2: w/Rhy. Fill 1, 2nd time

2 0

E5

 

 

 

2 0

3 1

5 3

© Copyright 1984 Simile Music Incorporated. Minder Music Limited (50%)/Warner/Chappell Music Limited (12.5%)/Famous Music Publishing Limited (37.5%). All Rights Reserved. International Copyright Secured.



 







They’re made



 







µ



E5

of

lip - stick, I see











 

3

2 0

F5





plas - tic and paint, you out on the streets,

  





   









G5



a touch call

  



 

 

2 0

3 1







of me

sa - ble for a

       



3 1

5 3

5 3

Gtrs. 1 & 2: w/Rhy. Fill 2, 2nd time

A5

 



in wild





their

eyes. time.

   

















All

your

 

2 0

 



life,







all So

your you

life, sit

 



*

w/flange



 

2 0

2 0

*Fade in w/vol. pedal or knob.

Rhy. Fill 2 Gtrs. 1 & 2





 Sorgdal





    

            



P.M.

5 5 0

2

3

2

0 3

2

0

5 5

5 5







all you’ve home a -











asked,









when’s your dad - dy ’cause there’s noth - ing

- lone,

 



G5





gon - na left that

talk you

to can

µ

  

 

E5











   





liv - in’ pic - tures

in

 

X X

5 3

X X

 



an - oth - er hung in

   



world, the shad

 

- ows,



 

 









you? do.







µ

But you were There’s on - ly

 



 

  X X



    

G5



try - ’in left

to



get there

µ



a to





mes - sage through. look at you.

   

 





    



Gtrs. 1 & 2: w/Rhy. Fill 2, 2nd time

2 0

5 3

0

2

3

2

0 3

Pre-Chorus

$

C5

Gtr. 2

Ctr. 3: w/Fill 1, 3rd time

E5

       

P.M.







Sorgdal







 





1.,3. No one heard a 2. You know she likes the

  P.M.



  





  Gtr. 1         (Gtr. 2 cont. in slash)



5 5 0

5 5

5 5

 



 

       

     



sin lights



Harm. let ring

5 5

G5

12 12

gle at

said. on the



12

3

you



  

12

0

word night



A5

     

   

   

P.M.

P.M.







P.M.







- on

Broad - way

 

signs.



 5















It’s





Fill 1 Gtr. 3





 Sorgdal



7

P.M.

in real

P.M.

your ly

-

 

eyes, mind.





Gtr. 1: w/Rhy. Fill 4, 2nd time Harm. let ring









7

G5



  



let ring

7

it don’t



C

what was on - ly

w/bar

7

   

     

X

   

P.M.





P.M.

7 7

 

   

seen She

5

 



should have



5





    

Gtr. 1: w/Rhy. Fill 3, 2nd & 3rd times







  They

ne

D5

    



go - ing love she (Ooh.

 

7









a - round hoped







your to















pick slide



head. find.

 )

   



5 5 5 3



 (cont. in slash)

steady gliss.

X X

   



Rhy. Fill 3 Gtr. 1





 





 w/bar



5

 4





let ring

19



5 5 5

Chorus A5

G5

Rhy. Fig. 1 Gtrs. 1&2



  

 















she’s

a

lit - tle



Ooh,





  



run





  

Dad - dy’s

girl

To Coda

 







P.H.

learned



A5*



 

 

G

2fr

3fr





  

   

      



fast,



 













P.H.



 

Harm. let ring

 Sorgdal

 

7 7



7



   



she’s a

Riff A Gtrs. 1 & 2

w/bar

7



E5



  



            







those things he

Ooh,

Rhy. Fill 4 Gtr. 1





all

A G5

could - n’t say.







1.

5fr







B



G5 A5*

End Rhy. Fig. 1





A5*





            

open



G5



- a - way.

Gtrs. 1 & 2: w/Riff A, 3rd time

A

 



       

 





C

3fr







C5

       

P.M.



7 7 7



 

 5

       0 0

2

3

3

2 3

lit - tle

2.

   

E5

(cont. in notation)

   

       

 









run - a - way.

she’s

  

A5 Interlude

  









lit - tle

  







a

                run

  

-

-

  

  





Gtr. 3 (dist.)







     



a - way.

  



   



  



w/delay full



full

7

full

7

7



       

   P.M. *

full



7





       

5

7

7

      



         full

5

8

5 5

7

5

7

5

8

7

5

7

7

5

7

7

*Vib. 3rd string only.

A5

      

    

  

         



  



5

full

5





1/2

Sorgdal

       

full

D5



full

C5

Rhy. Fig. 2



full

7

Guitar Solo A5



full

 5

   1/4

1/4

3

5

3

3 5

 6

5 5

8 10

7

10

 

 

1/4

1/4

8

3

5

   1/4

1/4

5 5

       



8

 11

10 10

C5

G5





  

      











   



















10 10

10

12











let ring



 



12

12

12





 Sorgdal



full

10

20

full

 



C5







20

20

19

 

 



19



  

8

 8  10 9





full

5 5 17

19

19







12

20

D5



10

full





Gtrs. 1 & 2: w/Rhy. Fig. 2 let ring

12







1/2

12

 

       let ring

1/2

A5

End Rhy. Fig. 2



   

5



5

7

7

7

7

       A5

   

9

8

             3

10

15

13

  13

15

12

 15

15 15 17

15





full

15 17

17 20

7



full 17

20

17

19

20

19

17 20

D.S. al Coda



C5

G5

                            



full

17 19 17



17 19 20 19 17 20

17 20

17 20 17

20 17

17 19

19 17

19

17 19 17

19 17 19 17 19

Ø Coda Chorus Gtrs. 1 & 2: w/Rhy. Fig. 2 Lead Voc. ad-lib., 2nd & 3rd times

 

A5

  

1.,3. 2.



Gtr. 3: w/Fill 2, 2nd & 3rd times





Ooh, Ooh,

  

she’s she’s

a a

  

G5

lit - tle lit - tle





run - a - way. run - a - way.

Fade out Gtrs. 1 & 2: w/Riff A

   

C5





Dad - dy’s Dad - dy’s

 

       

  

girl girl

fast, fast,

µ

learned learned

            now all











she works the those things he

 

A5



G5

A5 µ Play 3 times

 



night a - way. could - n’t say.

Fill 2 Gtr. 3





 Sorgdal



 

8

7







 

8

7

8





8

8

 

8





Silent Night Words and Music by Jon Bon Jovi

Slowly q = 63 A

 

$

D/A

 







 

        

         



to

    

you and





I,

    

 



 



when the

sun

 

 

Sorgdal



   when it’s

            







ap - pears



 





  and there’s



 

 

 

A





  

 

 



noth - ing

left

but good - byes,

we’ll just

turn and

walk



    

 

  

 

Dmaj9

 





   

down

    



A

   

 



                   

D



 



1. Af - ter the smoke clears, (Verse 2 see block lyrics)

  

 

A



 

 

 

  © Copyright 1985 Famous Music Publishing Limited. All Rights Reserved. International Copyright Secured.

a - way.



 

    How could we

   

Dmaj9



   let

 

it

end

       

 





like

this?



 



 



Just

turn and

walk



 

 

Dmaj9



seal

     

a - way.



Should we

 



 



















it

with

a

kiss?

It’s

too

late.

Now

you’re







 

 

 

 

 



 

 

Bm

 















out

and

on

the

run.

It’s

too

late;

   

 

 

 

 

 

 

 



 



Bm

A

    Sorgdal



 

 

 



  2







3

held

up

in







3

E



D/A

 







with

   

- out

a

gun.





 

 



 



3

 

A





night;

   



           3

  







A

Si - lent

night;

     

  

  

        







 





 



the night



 

G





  

     









can - dle light.

               





say,



died.







 

No words to

 

love

lent

  

A

           our

-

 

E/A



D/A





3

we hold up our

      

 

 Si

D/A

     

Sorgdal

 

3

love

 



E

           and we’re both too tired to fight. Justhold me

 3

 

              



 

1.

Bm





   





   





and don’t let me



   



 





 







night.

 

When we both know We’re just two more victims Of the night. It’s too late. Too late to wonder why. Much too late To save a love that’s died.

4



 

Repeat ad lib. and fade





Si - lent



 

Verse 2 It was all so simple when You were to be queen and I’d be you king. I guess those dreams got lost, ’Cause baby you’re still you And I’m still me. Now letting go, It’s always the hardest part to fight.

Sorgdal

   

D/A

      

       

 



    Si - lent

Just hold me

 

A

go.

   

go.

 

      



so





E



    

E

close,



2. It was all

 

 

Bm



go.

   

 

2.

    



and don’t let

close,



D.S.

E

 

 



 





 

The Hardest Part Is The Night Words& Music by Jon Bon Jovi, David Bryan & Richard Sambora

Moderate Rock q = 104

$ Bm  

  

 

  

1. In

 

the



 







 

   





to



 



    Sorgdal







hides





 

 

 

A/B

 



  

  





the

pain.



 

F#m

Bm/F#



hang

on.







 

 



   



cit - y,

the

  









 a





  

 







G/B

   

  

















But

he

knows





 

 

 he’s









go - ing



 

© Copyright 1985 Famous Music Publishing Limited. All Rights Reserved. International Copyright Secured.



down

   

  try - ing





 

 

 





tall,

A5







walks so

Gmaj7

 



 

 



 



  

  



of



F#5





And he



Bm

   



Bm



 



A

young boy

 

  

  

     G

A

heat of the street (Verses 2 - 4 see block lyrics)

 

  

G/B

 

B5 5fr





7fr



a - gain.



 

 

 

 



F#5

G5 3fr





       I





know he’s go - ing

         

         Bm

A





2. Dark -ness

       

  

 

 

       Gmaj7



2



the

night,



hear their cries

 



hard

-

est

part



 

 



 

 

















 

Bm

the







is

the





 night.



G

        in



Bm



A

         (In

Sorgdal







the

    

    





Hear their cries;

——

A



   

    

down.

Gmaj7



A

5fr

    

   

2. 3.4.

1.

A5



night.) Stay a - live;





the hard-

  

                

         

  

 

    

       

       

A



   -

est

   



 

1.2.

Bm

      part

is



    

   

   3. All a -



 

   

  

A

       

night.

      

D.S.



the

Gmaj7

(In

the

night;

it’s the



night.)

              

        

       

 

3. 4. etc. Bm

Gmaj7

the

night,

Repeat ad lib. and fade Bm

A

        — (In

   

stay

a - live

          in

the

night.)

Hear their cries;

              

           

       

    

Verse 2 Darkness fades; he’s the prince of his city, In a place where they all know your name. You can see in their eyes Life so paralyzed. You’re just a pawn in losin’ game. You lose at life; it ain’t no game.



Verse 3 All alone in a place where the lonely, They all have to walk through the rain. And they dance on the edge Where you only, Only pray that it has to end; That the night ain’t no friend.

Verse 4 These four walls, they could tell you some stories About lying and dying and fame, And the price that you pay For the glory About losing and choosing and pain. Sorgdal

3

Tokyo Road Words & Music by Jon Bon Jovi & Richard Sambora

Up tempo rock q = 144 Gsus4

     

  



 

 

 



 

 





 

 

F/C

   

 















 





 G







    1. In a time,







  

2.

     

    

 

        

    

 

C/G

 



 



 



  

G

  

   

in a (Verses 2 - 4 see block lyrics)

  



place,

    

         

Sorgdal





                 

$

Fsus4/G

Gsus4







1.









G





 

 

G

    in

 

a



world

    

       

    they for - got,

 

    

       

© Copyright 1985 Bon Jovi Publishing/Famous Music Corporation, USA. All Rights Reserved. International Copyright Secured.

Fsus4

   

 

lives the

of

 

       

G

  

heart

   

  



F

a

        Bb

G

2. Just





   











 

Sorgdal



a



   

  just







won’t

 

  

die.



 

        Bb

2.



boy;

          

    







I have to I wish it

find was

my that

way. way.

    

 





    

Some - times times



part that

  

C7

 Some    



                 

F

 

 

    



        

 

  

N.C.





me,

1.

   

 

 



    

Some - times

    

 2

I have to

   get

a - way.

          



Gsus4 N.C.







 

G

$$

   

 



Fsus4/G

 



F/G

 



C/G





1,2,3,6,7,8.etc Take me back 4,5. (instr.solo)







 

   





                   





G

 

      to To - ky - o

   

     

    

Road.

Take me back

    

  

Gsus4



G

 





      

  

  

Fsus4/G

 





   

D.S. 2. 4.6.7.8. (etc.) G

 

      to To - ky - o

   

   

F/G

 

C/G



 









   

 

                                1.

Sorgdal



         

      

G

     



    

Road.

3. Work - in’hard



to To - ky - o

 

      

      

        



  Road.

 

Repeat and fade Gsus4

     Take me back

     

                     3

Bb

3.

 

     



to To - ky - o

   

     



 

Gsus4

 



 

Road.

   

5.



           

              

                                G

F/G

C/G





Bb/G









1.-4. (Instrumental) Spoken: 5. This turns me around, and he’s pointing up the stairs. 6. I found myself in her doorway, but there wasn’t anybody there. (R.H. tacit 1st & 2nd times)

      





      



G

 



 Sorgdal



 



     







   



F/G

She walked in the room

 





C/G



with noth - in’ on but



a

red

light,



     



     



 



 



4

 

 

 



 



Bb/G



     

Play 6 times













uh

huh,







 











G

F/G

      and with

 

a smile,

      



got



so

C/G

close

 



 



to





  



   





Bb/G

 

   Sorgdal



did - n’t un - der -stand a

  

 













but





   



 

G







mid -

    

   

word she said,

 

  

C/G

        





F/G

I





She whis -pered some - thin’ ’bout

        

- night.

  

me.

G

  



  

Bb/G

   



it

good.

felt

so

   









 

F/G









She knew that

I









 5





did - n’t





have

an - y



























mon - ey,

but







 



D.S.S. C/G

Bb

       ba - by,

Gsus4



I knew she would.

Take me back.







      

       



                



        

Verse 2 Just a boy, not a man, Sent to war in a land. They said we’d fight for their freedom, But I felt like a hired hand. Verse 3 Working hard for a pass; Got the night, make it last. It was a time to remember; All my life I would never forget. Verse 4 In a bar, breathing smoke, Snorting whiskey, drinking coke; It was a time when no one would die, And there wasn’t a care.

Sorgdal

   



6

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