
Thanks for stopping by my Warren Zevon acoustic guitar lessons page. Here you'll find eight songs arranged for acoustic guitar, including favorites such as Werewolves Of London, Lawyers, Guns and Money, Carmelita and Poor Poor Pitiful Me.
Each lesson includes my acoustic arrangement with the chords, strumming patterns, riffs, bass runs and lead work used in the song, along with a free chord and lyric sheet. Full video tutorials are also available if you'd like to learn the arrangements step by step.
If you're new to playing Warren Zevon on acoustic guitar, Werewolves Of London is a good place to start with its three-chord progression and repeating rhythm. Mohammed's Radio is another good choice for developing steady strumming while adding a few riffs, while Keep Me In Your Heart offers a gentler arrangement with a repeating rhythm and descending chord riff.
Once you're comfortable adding more detail to your rhythm playing, try Carmelita for its shuffle feel and bass runs or Poor Poor Pitiful Me for a more driving rhythm with riffs and lead work. For a bigger challenge, Excitable Boy, Lawyers, Guns and Money and Johnny Strikes Up The Band introduce more involved rhythmic changes, chord embellishments, bass runs and lead sections.
Start Here:
Werewolves Of London â Keep Me In Your Heart â Mohammed's Radio
Build Your Rhythm & Riffs:
Carmelita â Poor Poor Pitiful Me
Add More Technique:
Excitable Boy â Lawyers, Guns and Money â Johnny Strikes Up The Band

Carmelita was written by Warren Zevon and first appeared on record in 1972 when Canadian singer-songwriter Murray McLauchlan included it on his self-titled album. Zevon recorded his own version for his 1976 album Warren Zevon, produced by Jackson Browne. The recording featured musicians including Waddy Wachtel, David Lindley and Glenn Frey.
The song paints a bleak Los Angeles portrait of addiction, desperation and a troubled romance, with references to Echo Park and the protagonist's dependence on heroin and methadone. Its melancholy country-rock sound provides a striking contrast to the darkness of the story.
Carmelita became one of Zevon's most enduring compositions and gained a wider audience when Linda Ronstadt recorded it for her hugely successful 1977 album Simple Dreams. The song has since been covered by numerous artists, including Dwight Yoakam with Flaco JimĂŠnez.
My version of Carmelita is played with a capo on the 2nd fret using Drop D tuning, although the Drop D is optional. There are only three chords â D, A7 and G â so the chord work itself is quite manageable.
The song uses a relaxed shuffle rhythm with a slight Latin feel, played down up down up down up â up down up. In a few places I'll change the feel by chopping the rhythm down to short downstrokes. There are also bass runs between the chords, which help connect the changes and add movement to the accompaniment.
The lead break follows the melody and combines riffs worked into the rhythm with some individually picked notes. I'd suggest learning the three chords and getting comfortable with the shuffle first, then adding the bass runs before tackling the lead break.

Excitable Boy was written by Warren Zevon and LeRoy Marinell and released on Zevon's 1978 breakthrough album of the same name. The song pairs an upbeat, almost playful arrangement with an increasingly disturbing story about a young man's violent behavior, creating the kind of dark humor and unsettling contrast that became a hallmark of Zevon's songwriting.
The recording features Zevon on piano, Waddy Wachtel on guitar, Bob Glaub on bass, Russ Kunkel on drums and Jim Horn on saxophone, with Linda Ronstadt, Jennifer Warnes and Wachtel providing harmony vocals. The album was produced by Jackson Browne and Wachtel and became Zevon's biggest commercial success, reaching No. 8 on the Billboard 200.
There's also a terrific little Zevon story behind the title. He recalled being at Marinell's house when a discussion about Zevon's guitar playing led Marinell to tell him that he got good ideas but became too excited while playing. Zevon's response was essentially that he was an âexcitable boyââand the phrase stuck.
My version of Excitable Boy is played in Drop D tuning with a capo on the 2nd fret. The four chords are D, G, Em and A.
The song opens with a picking section built around a series of riffs wrapped into the chords and rhythm. That same break returns in the middle of the song and again at the end, so learning it once gives you an important part that's used several times throughout the arrangement.
For the rhythm, I'm playing a steady down up down up pattern with hammer-ons added to give the song more of a rock-and-roll feel. I'll also work a quick shuffle into the rhythm in a few places for some extra movement.
Start by getting comfortable with the four chords, then work on the rhythm and hammer-ons. Once those are solid, go back and learn the opening riff section. Because that same section returns later in the song, it's worth spending some extra time getting it under your fingers.

Keep Me In Your Heart was written by Warren Zevon and Jorge CalderĂłn and appeared as the closing song on Zevon's final studio album, The Wind, released in August 2003. Zevon recorded the album after being diagnosed with terminal mesothelioma, giving the song's gentle reflections on love, separation and remembrance an especially poignant meaning. Zevon died on September 7, 2003, less than two weeks after the album's release.
Rather than Zevon's trademark dark humor, the song offers a remarkably simple and intimate farewell, asking those left behind to remember him after he's gone. It became one of the defining songs of his final recordings and earned posthumous Grammy nominations for both Song of the Year and Best Male Pop Vocal Performance. The Wind went on to win the Grammy for Best Contemporary Folk Album.
My version of Keep Me In Your Heart For Awhile is played in standard tuning using the chords G, C, G6, Am, Dsus and D.
For the rhythm, I'm playing a steady down down up down up down up pattern that repeats throughout the song. A descending riff played within the G chord is introduced at the beginning and continues to appear throughout the arrangement, giving the accompaniment some melodic movement without making the rhythm overly busy.
There is also a melody-line break wrapped into the rhythm. It uses the same basic idea as the intro riff but expands on it, so once you've learned the opening pattern, you'll already have the foundation for tackling the break.
Start with the chords and the single rhythm pattern. Then work the descending G riff into the rhythm until it feels comfortable. From there, move on to the melody break and build on the pattern you've already learned.

Lawyers, Guns And Money closes Warren Zevon's breakthrough 1978 album Excitable Boy and was released as a single later that year. The song drops the listener into one of Zevon's wonderfully chaotic stories, following a reckless narrator whose adventures involving a mysterious woman, gambling in Havana and hiding in Honduras eventually leave him calling home for some rather unusual assistance.
The memorable title grew out of a real incident while Zevon and his friendâand Asylum Records A&R executiveâBurt Stein were vacationing in Kauai. When a woman suggested they might have to break into a friend's plantation house, Zevon jokingly imagined contacting record-company president Joe Smith for help. Zevon supplied âSend lawyers,â Stein added âAnd guns,â and Zevon completed the thought with âAnd money.â
The recording features Zevon on piano, Waddy Wachtel on guitars, Kenny Edwards on bass and Rick Marotta on drums, with Jackson Browne and Wachtel producing.
My version of Lawyers, Guns and Money is played in standard tuning with a capo on the 2nd fret. The chords are C/G, G, D/Gb, C and D.
The real trick with this song is the rhythm because it becomes quite choppy in places. I'm using a combination of steady down-up strumming, stronger downstrokes and a quick shuffle feel, with several stops throughout the arrangement. The song begins by moving back and forth between C/G and G, creating the punchy rhythmic effect that drives much of the number.
One tip that makes this section easier is to form the G chord using the last three fingers of your fretting hand. That makes it much easier to alternate quickly between G and C/G and create the almost machine-gun style rhythm heard in this arrangement.
Once you have the chords and that rhythmic movement under control, there's only a quick riff and bass run left to learn to complete the song.

Mohammed's Radio appeared on Warren Zevon's self-titled 1976 album, the Jackson Browne-produced record that helped introduce his songwriting to a wider audience. The unusual title reportedly traces back to Halloween night in Aspen, Colorado, in 1973, when Zevon saw a man dressed as an Arab sheik walking through town with a portable radio held to his earâan image that stayed with him and eventually found its way into the song.
Behind the unusual imagery is a song about frustrated people finding escape and comfort through music and radio. Zevon's recording featured an impressive group of musicians, including Lindsey Buckingham, Stevie Nicks, Waddy Wachtel, David Lindley, Bob Glaub and saxophonist Bobby Keys.
The song gained additional exposure when Linda Ronstadt recorded her own version for her 1978 album Living in the USA. It was one of several Zevon compositions Ronstadt helped bring to a much larger audience during this period.
My version of Mohammed's Radio is played in standard tuning using the chords G, C, D, G6, A7, D/Gb and Em. The song opens with a short intro riff before moving into the main rhythm.
For the rhythm, I'm playing down down up down up down up down up down up, which provides the basic pattern used throughout the song. There are several places where the chords change fairly quickly, so you'll need to keep the rhythm moving through those transitions. I'll also switch to straight downstrokes in a few sections to change the feel.
There are a few additional riffs worked into the arrangement, but no dedicated lead break. Start by learning the chords and getting comfortable with the main rhythm pattern, keeping in mind that it changes in a few places. Once that's flowing smoothly, learn the intro riff and then add the remaining riffs as they occur throughout the song.

Poor Poor Pitiful Me first appeared on Warren Zevon's self-titled 1976 album, produced by Jackson Browne. Zevon delivers the song from the perspective of a spectacularly unfortunate narrator whose romantic encounters seem to bring one disaster after another. Beneath the catchy rock arrangement is Zevon's trademark combination of exaggerated misery, dark humor and self-mockery.
The song reached a much larger audience through Linda Ronstadt, who recorded it for her 1977 album Simple Dreams. Her version altered the lyrics for a female narrator and became a hit in 1978, reaching No. 31 on the Billboard Hot 100 and helping introduce Zevon's songwriting to mainstream pop audiences.
Nearly two decades later, Canadian country singer Terri Clark revived the song again. Her 1996 recording became a major country hit, reaching No. 5 on Billboard's Hot Country Singles & Tracks chart.
My version of Poor Poor Pitiful Me is played in standard tuning with a capo on the 4th fret. The chords are A, D/A, E and D.
For the rhythm, I'm using a steady down up down up pattern that gives the song its driving feel. I'll work in a few quick shuffles along the way and switch to downstrokes as we approach the end of the verses, adding some variety and extra punch to the rhythm.
There are also several riffs throughout the song along with a dedicated lead break, so there's more going on here than simply strumming through the chord progression. Start by learning the chords and locking into that steady driving rhythm. Once that's comfortable, add the individual riffs where they occur and then finish by working through the lead section.

Werewolves Of London became Warren Zevon's biggest commercial hit when it was released from his 1978 album Excitable Boy. The song grew from an idea suggested by Phil Everly, who had been watching the 1935 horror film Werewolf of London and jokingly told Zevon he should write a song with that title. Zevon developed the idea with guitarist LeRoy Marinell and Waddy Wachtel, resulting in one of rock music's most recognizable piano-driven songs.
The familiar recording features Zevon on piano, Wachtel on guitar and an unusual rhythm section consisting of Fleetwood Mac's Mick Fleetwood on drums and John McVie on bass. Despite its seemingly effortless sound, Wachtel later recalled that finding the right combination of musicians took numerous attempts before the final version came together.
Released as a single in 1978, Werewolves of London reached No. 21 on the Billboard Hot 100, becoming Zevon's only Top 40 hit as a recording artist. Its legacy grew well beyond its original release, with the Grateful Dead frequently performing it live and its distinctive piano-and-guitar framework later becoming a prominent element of Kid Rock's 2008 hit âAll Summer Long.â
My version of Werewolves Of London is played in standard tuning using just three chords â D, C and G. For the rhythm, I'm playing down down down up down up, repeating the pattern throughout the song.
One of the distinctive parts of this arrangement happens on the D chord. Instead of forming the D and then hammering onto an additional note, the hammer-on shape is already in place when you begin. As you strum the chord, you'll remove that finger, creating a little melodic movement within the D chord and giving the familiar DâCâG progression a unique flow. There's also a bass run on the G chord as it moves back to D.
Some lead work is included as well, with a separate picking section to learn. Start with the three chords and get comfortable incorporating that D-chord embellishment while maintaining the rhythm. Then add the G-to-D bass run, and finally work through the picking section.

When Johnny Strikes Up The Band opens Warren Zevon's 1978 album Excitable Boy, immediately setting things in motion with an upbeat celebration of music and the excitement created when the band begins to play. In contrast to many of the darker characters and stories that follow on the album, the song presents Johnny as someone capable of lifting people's spirits and bringing a sense of jubilation wherever the music is heard.
The title has an interesting source of its own. Zevon explained that he appropriated it from Jonny spielt auf, an opera by Austrian composer Ernst Krenek. Zevon also singled out Waddy Wachtel's guitar work on the recording, describing his contribution as an âexquisite signature solo.â
The recording features Zevon on piano, Waddy Wachtel on guitar and harmony vocals, Leland Sklar on bass, Russell Kunkel on drums and Danny Kortchmar on percussion. The song was also issued as a U.S. single backed with Nighttime in the Switching Yard.
My version of Johnny Strikes Up The Band is played in standard tuning with a capo on the 2nd fret. This keeps the song in its original key of A, while allowing me to play from a G chord structure, which gives the acoustic arrangement a fuller sound and makes it easier to incorporate some of the lead work. The chords are G, C/G, D, C, Em and A.
For the rhythm, I'm using a steady down up down up pattern, adding accents where needed to give the song some extra drive. There are also a few bass runs worked into the arrangement to connect the chord changes and add movement.
The original lead work is more of a standalone electric guitar part, so I've improvised and modified the lead for acoustic guitar rather than trying to reproduce it note for note. Start by learning the chords and getting the rhythm flowing with the proper accents. Then add the bass runs before moving on to the modified lead section. You can follow my version or use it as a starting point to create a lead of your own.
Many Warren Zevon songs use fairly manageable chord progressions, but the rhythm, riffs and chord embellishments can make the arrangements more involved. Werewolves Of London, for example, uses only three chords, while songs such as Excitable Boy and Johnny Strikes Up The Band add more rhythmic and lead work. A good approach is to learn the chords and basic rhythm first, then add the riffs, bass runs and picking sections.
Werewolves Of London is a good starting point because the song is built around the three chords D, C and G. My arrangement adds a D-chord embellishment, a bass run and some picking, but you can begin with the basic chord progression and rhythm before adding those details. Keep Me In Your Heart is another good choice if you prefer a slower, gentler arrangement.
Most of the lessons on this page are played in standard tuning. Carmelita uses Drop D in my arrangement, although it's optional, while Excitable Boy is also played in Drop D. Any tuning or capo requirements are explained within each lesson.
Some of my arrangements use a capo to keep the song in a suitable key while allowing me to use chord shapes that work well on acoustic guitar. For example, Johnny Strikes Up The Band uses a capo on the 2nd fret so I can remain in the original key of A while playing from a G chord structure. Other songs on the page require no capo.
No. While the chords and rhythm provide the foundation, many of these arrangements also include bass runs, riffs, hammer-ons, chord embellishments and lead sections. The goal is to create a complete acoustic arrangement rather than simply strumming through a chord chart.
I focus on the parts that give each song its identity and adapt those to acoustic guitar. That might mean incorporating a bass run into the rhythm, using a chord embellishment in place of another instrument, or modifying an electric lead section so it works on one acoustic guitar. You don't need to reproduce every instrument from the original recording to make the song recognizable.
Warren Zevon's songs are a great fit for acoustic guitar, combining memorable chord progressions with everything from steady rock rhythms and shuffles to bass runs, riffs and lead work. Whether you're starting with the three-chord groove of Werewolves Of London or working through one of the more involved arrangements, these eight lessons offer plenty of opportunities to develop your rhythm playing while adding some recognizable Zevon songs to your repertoire.
I hope you enjoy working through these Warren Zevon songs on acoustic guitar. Pick a song that suits where you are as a player, learn the basic chords and rhythm first, and then add the riffs, bass runs and lead sections as you're ready for them.