Chords for "Big Black Smoke"

From: Harlan L Thompson


Em       Em/D#    Em/D     Em/Db   Em/C
She was sick and tired of country life
A little country home, a little country home
                     B Bsus4 B Bsus4 B
Made her blood run cold
Now her mother pines her heart away
                  G           D         Em
Looking for her child in the big black smoke
 G       D        Em   Em/D# Em/D Em/Db
In the big black smoke

Frailest, purest girl the world has seen
According to her ma, according to her pa
And everybody said
That she knew no sin and did no wrong
Till she walked the streets of the big black smoke
Of the big black smoke

Well she slept in cafes and coffee bars and bowling alleys
                     Em G D
And every penny she had
      G                             B
Was spent on purple hearts and cigarettes

Ah, she took all her pretty coloured clothes
Ran away from home, the boy next door
For a boy named Joe
And he took the money for the rent
Tried to drag her down in the big black smoke
In the big black smoke

  G      D          Em
(In the big black smoke) In the big black smoke
G        D          Em                      D C D
(In the big black smoke) In the big black smoooooke
 D  C  D     D  C  D    D  C  D   D C D  D C D
Smoooooke, smoooooke, smoooooke, oh oh, oh oh

Em/D#: 0 2 2 0 4 0   Em/D (Em7): 0 2 2 0 3 0  
Em/Db (Em6): 0 2 2 0 2 0   Em/C:  0 2 2 0 1 0
Bsus4: 2 2 4 4 5 2

(from The Kinks Kronikles)
(sent by Harlant)

Date: Sept. 23, 2000 5:01 PM From: colum So many of the Kinks tabs that you provide correct as far as the chords, but the voicing sounds much better, and the songs are actually easier to play by using a capo. Try, for instance, "Phenomenal Cat" with a capo in the fifth fret. Play a Dmaj by using the Amaj formation, and Gmaj by forming a Dmaj chord. The ascending bass line in the chorus sounds better, because you can play fuller chords, and is also easier to play. "Big Black Smoke" is played with the capo on the seventh fret "Days" on the fifth, etc. They obviously are not all played with a Capo (i.e. "Midday Sun"), but whenever you get into those crazy chord formations, experiment with it. It is a useful and vastly overlooked tool. I initially discovered this, quite simply, because Ray's register is often hard for me to match, and whenever that happens, out comes the capo, the easiest way to transpose. Try it and tell me what you think....
E-mail Dave Emlen