| Am | F | |
| It's fo | ur in the morning, the en | d of December |
| Dm7 | Em7 | |
| I'm wr | iting you now just to | see if you're better |
| Am | F | |
| New | York is cold, but I li | ke where I'm living |
| Dm7 | Em7 | |
| There's mu | sic on Clinton Street | all through the evening |
| Am | Bm | Am | Bm | |
| I | hear that you're bu | ilding your little ho | use deep in the de | sert |
| Am | G | |
| Y | ou're living for no | thing now |
| Am | G | |
| I h | ope you're keeping some kind of re | cord |
| CHORUS #1: |
| C | G | |
| Yes, and Ja | ne came by with a lock of your h | air |
| Am | |
| She said that you gave it to | her |
| Bm | G | |
| That night that you planned to go cl | ear |
| F | Em7 | |
| Did you ever go cle | ar? |
| Am | |
| Ah, the l | ast time we saw you you looked so much older |
| Your famous blue raincoat was torn at the shoulder |
| You'd been to the station to meet every train |
| And you came home without Lili Marlene |
| And you treated my woman to a flake of your life |
| And when she came back she was nobody's wife |
| CHORUS #2: |
| C | G | |
| Well I se | e you there with the rose in your te | eth |
| Am | |
| One more thin gypsy th | ief |
| Bm | G | F | Em7 | |
| Well I see Jane's aw | ake | she sends her re | gards |
| And what can I tell you my brother, my killer |
| What can I possibly say? |
| I guess that I miss you, I guess I forgive you |
| I'm glad you stood in my way |
| If you ever come by here, for Jane or for me |
| Well, your enemy is sleeping, and his woman is free |
| CHORUS #3: |
| C | G | |
| Yes, and th | anks, for the trouble you t | ook from her eyes |
| Am | G | |
| I thought it was th | ere for good so I never tr | ied |
| C | G | |
| And Ja | ne came by with a lock of your ha | ir |
| Am | |
| She said that you gave it to h | er |
| Bm | G | |
| That night that you planned to go cle | ar |
| F | Em7 | |
| S | incerely, L Coh | en |
| Dm7: x x 0 2 1 1 Em7: 0 2 2 0 3 0 |
| NOTE: Technically speaking, the bottom E should drop down to D to get a |
| really low note for the Dm7. All other chords should be changed |
| accordingly if you feel it worth the bother. Also, the standard Cohen |
| picking pattern can be used on this song (see Winter Lady). |
| (from Songs of Love and Hate, 1971) |
| (sent by Harlan at harlant@hawaii.edu) |
| From: johngalt@grove.ufl.edu (JONATHAN M NEWMAN) |
| Subject: CRD: Leonard Cohen, "Famous Blue Raincoat" |
| I got this off some archive awhile ago, can't remember which. Here are |
| the chord changes. |
| VERSE |
| Am | F | Dm7 | G |
| BRIDGE |
| Dm7 | Dm7 | Dm7 | G |
| CHORUS |
| Dm7 | G |
| If you have the music, you can figure it out with these changes. Leonard |
| Cohen is a genius. |