Chorus         I ain’t afraid of your Yahweh         I ain’t afraid of your Allah         I ain’t afraid of your Jesus         I’m afraid of what you do in the name of your god

I ain’t afraid of your          churches         I ain’t afraid of your temples         I ain’t afraid of your praying         I’m afraid of what you do in the name of your god

Verse         Rise up to your higher power         Free up from fear, it will devour you         Watch out for the ego of the hour         The ones who say they know it         Are the ones who will impose it on you


Verse         Rise up, and see a higher story         Free up from the gods of war and glory         Watch out for the threats of purgatory         The spirit of the wind wont make a killing off of sin and satan

I aint          afraid of your Bible         I aint afraid of your Torah         I aint afraid of your Koran         Dont let the letter of the law         Obscure the spirit of your love it’s killing us

I aint afraid of your          money         I aint afraid of your borders         I aint afraid of your choices

I aint afraid of your Sunday         I aint afraid of your Sabbath         I aint afraid of your teachers

I aint afraid of your dances         I aint afraid of your music         I aint afraid of your children         I’m afraid of what you do in the name of your god


Many thanks to Holly Near for permission to add this song to the Union         Songs collection. I heard it first at the 2003 National Folk Festival        in Canberra sung by Roy Bailey. With an audience of over 5000 joining        in it was very powerful.

Holly writes “There is also a version of the          song out on the new Klezmatics recording that includes verses in Yiddish.”

Visit Holly’s website at

Too High We Die

Too High We Die

Philip S. Hoffman

Philip S. Hoffman

Philip Seymour Hoffman got high. Portraying Icarus, he fell from the sky. Another artist junky had to die. But Why, But Why, But Why?

chorus Another junky died today. A needle in his arm, life gone away. He flew too close to the sun. Like Icarus, he was undone. Heart broken, heart broken, heart broken.

He went down in flames, Heroin couldn’t ease his pain. He flew with the angels on high. Too high, Too high, Too high!

We all have our aches and pains, We hope to forget but we remember again. Some drown their troubles in alcohol. How far we fall, we fall, we fall.

Too easy to slip a needle in, Hide behind white heroin. Narcotic night embraces me again Numb my pain, my pain, my pain.

But I want to live, I want to see it all end. Surviving, after all, Is the best revenge.    Revenge, revenge, revenge.

February 10, 2014 John Rosengarten Copyright 2014

Words BeeGees


Barry Gibb/Maurice Gibb/Robin Gibb

Smile an everlasting smile, a smile can bring you near to me. Don’t ever let me find you down, cause that would bring a tear to me. This world has lost its glory, let’s start a brand new story now, my love. Right now, there’ll be no other time and I can show you how, my love.

Talk in everlasting words, and dedicate them all to me. And I will give you all my life, I’m here if you should call to me. You think that I don’t even mean a single word I say. It’s only words, and words are all I have, to take your heart away.

Angels And Devils The Following Day by Dory Previn

Angels And Devils The Following Day by Dory Previn

Loved I two men equally well Though they were different as heaven and hell One was an artist One drove a truck One would make love The other would fuck

Each treated me the way he knew best One held me lightly One bruised my breast And I responded on two different levels Like children reacting to angels And devils

One was a poet who sang and read verse One was a peasant who drank and who cursed Before you decide who’s cruel and who’s kind Let me explain what I felt in my heart and my mind

The artist was tender but suffered from guilt Making him sorry the following day And he made me feel guilty the very same way In his bed on the following day

The other would take me and feel no remorse He’d wake with a smile in the bed where we lay And he made me smile in the very same way In his bed the following day

The blow to my soul by fear and taboos Cut deeper far than a bodily bruise And the one who was gentle hurt me much more Than the one who was rough and made love on the floor

Relative Major / Relative Minor

What is the Relative Major / Relative Minor?

Sheet Music

Understanding this relationship can help improve your soloing, and lead to new sounds


In western tonality, we use the system of “Keys.” Each key has a number of associated sharps or flats that comprise the overall 7-note structure of the key. The exception is C-Major, which has no sharps or flats. An easy way to visualize C-Major is to imagine playing only the white keys on a piano. All of these white keys are in the key of C-Major. Every other key utilizes at least one of the black keys, meaning that they have at least one sharp or flat note.

In the same manner, every minor key uses one or more sharps or flats. The exception is A-Minor, which like C-Major, has no sharps or flats. If you imagine that same piano, and play only the white keys, you are playing in A-Minor. The logical question is: “Well, if I play only the white keys on a piano, am I playing in C-Major or A-Minor?” The answer is: You are playing in both keys.

Short Answer

Every major key has a “Relative Minor” key that uses the exact same 7 notes. Conversely, every minor key has a “Relative Major” key that uses the exact same 7 notes.

So, the next question might be: “Should I even care about this?”

The answer is: “Definitely”

Digging Deeper

Don’t worry, I have good news, and better news. First the good news: It is insanely easy to determine the relative major or minor key on a guitar. Can you count to “Three”? If so, great. If you need to know the relative minor key of a major key, just pick a note on the fretboard that represents the root note of your major key. I always envision the low-E string as it is simplest to view in your mind. Ok, so if you are in the key of A-Major, picture the “A” note on the 5th fret of the low-E string.  Now count down three frets. Three frets down from the 5th fret is the 2nd fret. The 2nd fret on the low-E string is “F#”. So, “F#-Minor” is the “Relative Minor Key” of A-Major. This means that if your band is playing in F#-Minor, you can play any note in A-Major. Conversely, if your band is playing in A-Major, you can play any note in F#-Minor.


New Sounds

The better news is that once you internalize this relationship, you have a tool that really allows you to broaden your palate a bit. For example, in my mind, when a band is playing in a major key and I ahve to solo, I always feel that it is a bit boring to solo in a major scale against the same major key. So I immediately think “relative minor” and solo in F#-Minor. Not every single note sounds perfect all the time, but with a little practice, you can really develop a libraby scales and patterns based on a relative-minor key. In my opinion, when you use the relative minor scale to solo against a major groove, it immediatey takes on a bit more of a “modal” sound. Once you can really switch back and forth between the major scale and the relative minor scale when you solo, you will really notice a difference in many different “moods” you can create using this approach.

Improved Chord Vocabulary

Even better news: This technique can really open up doors with regards to your chord work. Imagine again that the band is playing a goove in A-Major. If they are grooving on a A-Major chord, they are gooving on “The One” or “The Tonic”. This can get very boring very fast is you are only playing an A-Major chord over the groove. So, play the relative minor chord! Against that A-Major groove, an F# minor can sound very cool when voiced right. Imagine that you are playing an A-Major root-position cord as follows: D-string: 7th fret, -D-string: 6th fret, B-string: 5th fret. Add the G# on the high E-string (4th fret). You now have an F#-m9 chord. Tell me that does not sound much much cooler than just playing an A-Major chord. The best voicing for this chord would be to eliminate the A note (D-string, 7th fret). So, now you are playing only C#, E, G#. This is not only the top portion of an F#-m9 chord, but it is also a root position C#-Monor chord.



What I hope is becoming apparent at this point, is that when you start to examine the relationship between the relative major and relative minor keys, you will realize that there are all kinds of relationships between different chords that enables to you quickly develop alternate chord voicings that will not only help to liven up a boring groove, but also allow to you develop a broad range of sounds that you can use in solos or chords that become your tool-set.

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