C# In the boardroom the quiet man tak G# es a second to think what t F# o do; C#
He's out F# of his seat and he's starting to spe C# ak and he hears his own voice; G#
C# For years and years he's don G# e nothing but bear down, and put up with all F# their demands; C#
She sits F# like a viper and offers a cl C# ock without G# giving a damn...He takes it;
C# "Honour forbids me, but G# honour be damned, you have F# wined till you got wh C# at you want;
F# I did the work and when th C# ings were going badly G# you left us to rot";
Bridge: F# C# F# C# F# C# G#, etc.
C# He locked the door of t G# he boardroom and turned, like F# the scene from the C# old country song;
F# Towering over the tab C# le he is lost; G# he is drunk with it all:
"You onl C# y came back to us when we'd turned it aroun G# d, when we'd rescued yo F# ur arse from the fire; C#
F# Your contributio C# n to all that we did is to say G# it was dire"
Bridge 2: F# C# F# C# F# C# G#, etc.
C# (one strum) G#(ibid.) F#(ibid.) C#(ibid).
"Night after day after night I've been working, despite of you fucking us all;
F#(ibid.) C#(ibid) G#(ibid.)
Now I'm going to die, I don't care if you cry, just please leave me alone;
And spare those tears for you C# rself, we've had th G# ose 'till we're sick, yo F# u should leave while you C# still
the chance";
The ot F# hers were shocked at this C# shameful display at the end of an F# hounoured care C# er;
He paus F# ed in the silence to pull d C# own his tie and observe G# the melee.
Given that these are all sharp chords, they can be played barre style, or open on capo one; whichever
better to your ear.
R. T. Devitt
Belle and Sebastian
