I was sitting in my grade 7 classroom one day in January, 1995. We'd just returned from Christmas break - I actually vividly recall Christmas '94 since we took a family trip to Toronto (where I finally found, among other holy grails, Confusion is Sex on CD and the classic green Dirty alien shirt). I had just turned 12 and spent the second half of 1994 falling in love with Sonic Youth, acquiring their catalog in reverse. I'd gone from having toys on my wishlist to CDs: that Christmas was all about Mudhoney, Melvins, Meat Puppets, L7, Babes in Toyland, etc. Bands on the Nirvana periphery that I hadn't had the opportunity to delve into yet. I lined my suitcase with discs for the trip to Ontario. Another album I got for Christmas was Monster by R.E.M. I had been familiar with R.E.M.'s early 90s videos, and was certainly aware of their stature, but had never gravitated towards their music until the singles for Monster started trickling out.

So imagine my reaction that January morning, when my classmate informed me that not only were R.E.M. coming to Vancouver, Sonic Youth would be opening. My favorite band, playing with a band I'm developing an interest in? Living on an island, a trip to Vancouver for an evening concert would require spending the night. I forget how it all transpired, but somehow his family decided to buy tickets and take me along with them. We'd been best friends since kindergarten, but drifted apart a few years earlier as friends often do (I later discovered his mom had disapproved of my parents' divorce, which seems like the wrong time to have your best friend taken away, but I digress...). I probably got lucky that it was on a Saturday. Maybe my mom still felt guilty about telling me "they'll be back" when I asked to see Nirvana the previous year. Regardless, it was happening, we were going to see SONIC YOUTH.

In the months leading up to the show, we'd literally bounce off the couch in my living room, blasting Dirty and theorizing about what they might play. I probably had a wish list a mile long in my head. When the day came, we took the ferry over and got to town early. We popped into long gone Track Records, where I finally found another of my grails at an affordable price: Sonic Death! I'd seen it at local record shops but it was always $25+ and with no track information or indication of length on the packaging, it was a hard buy to prioritize. In hindsight I think it's pretty cool that I got one of my all-time favorite Sonic Youth releases a few hours before I saw them play live for the first time. My friend snagged an orange Sister shirt - I think they had the "paper doll" shirt as well, but his mom thought it may be too risque. Regardless, I preferred shirts with printing on the front and back.

When we entered Pacific Coliseum later that night, we went directly to the merch stand. You could usually find band t-shirts at local record stores but they had something we'd never seen: a cool blue tee with a simple washing machine logo. Nothing on the back, so my friend bought that one. What did I buy? The "Jet Set Dance Discotheque" shirt, which is certainly an amusing concept on paper but relatively bizarre for a band tee (the beach towel format probably sells the gag better). Actually, when I went digging for this shirt to supplement the article with pictures, I couldn't find it amongst my dozens of ancient band tees, so I turned to the internet for a picture I could use. It was only then, 27 years later, that I discovered this shirt was a parody of an actual Teemates LP from 1964. They literally just subbed in the band's name, song titles, and member names (including John Silva) over the existing text. If only I'd known, would it have been easier to explain to my classmates? Of course not! That Washing Machine shirt though? Fucking awesome. Oh well, I had my Dirty alien tee. (Still do, and no you don't want to see it!)

My friend's dad told us that concerts never start on time, so we meandered along, dazzled by the arena scenery, when we heard some cheering and what sounded like live instruments. Realizing that the band had indeed appeared promptly, we hustled to our seats, descending the darkened stairs while the band launched into the opening chords of "Self-Obsessed and Sexxee".

Our seats were at the back of the arena - I can still close my eyes and see the stage from our perspective - but I was instantly captivated by the live sound and visual of this band I loved, on stage, playing FUCKING LIVE MAN!!! "Self-Obsessed and Sexxee" wasn't at the top of my request list, but it sounded loud and heavy and awesome and LIVE. It was an exciting opener and left me literally on the edge of my seat waiting to see what came next. At that point, Sonic Youth played a trick on me that would become all too familiar: they announced that they would be performing some new songs that they were working on. When they started the next song, which I obviously didn't recognize, Kim began singing and I found myself scribbling a question mark on the sheet of paper I brought to write down the set list (yes, even then, folks). It turned out to be an instantly catchy tune that I would have called "Jim Carroll" if I'd been able to reach from the back of the arena to snag the set list. The lyrics already hinted at its final title, the first track on the forthcoming LP: "Becuz".

Next came another unfamiliar Thurston tune, which wasn't introduced, though it was known as "Voidoid". As far as I can tell, this was only the second live performance of the song that would come to be known as "No Queen Blues". After that, Kim clearly introduced the next song as "Washing Machine", and I looked to my friend with recognition and understanding, already regretting my t-shirt purchase. I won't pretend like I remember exactly how it felt to hear one of the greatest songs ever for the first time, but I'm sure it melted my brain. I doubt I had any idea that Kim was playing guitar instead of bass and that this was unusual or accounted for a different sonic shape to these new tunes, I just knew I was excited to hear the songs again someday. I do remember when they started the next song (which I thought was introduced as "Puff", a misinterpretation of the reverb-drenched title it did hold at that point: "Thumb"), I noticed Lee was singing, and identifying his voice in their music was something I was still struggling with. By the way, though the "Thumb" title made it to the back of Washing Machine, the song's final name was "Saucer-Like".

My head exploded when Thurston introduced "Schizophrenia". I'd been obsessed with the song since before I even heard it - perusing the liners and lyrics of Sister at my local shop, imagining what the songs would sound like. I'd been blown away by the live version that opens 1991: The Year Punk Broke and here they were about to play it on stage right before my squinting eyes. Just hearing Thurston talk was cool, but when Steve launched into that familiar beat and the guitars joined in moments later, it was like watching a magic trick. Sonic perfection from start to finish!

I'm sure I was crushed when Thurston told us they only had time for one more, which I would scrawl beneath a series of question marks as "The Diamond Seed". Like the rest of the new material, it was clear while experiencing the song for the first time that it was really, really fucking good. Though they'd already recorded a 20-minute version for their forthcoming album, this tour featured an abbreviated rendition that would clock in around 7 minutes.

Months later when Washing Machine was finally released, I scanned the track list for hints of what I'd heard. "Washing Machine" and "The Diamond Sea" were immediately identifiable, but I couldn't be sure about anything else. When I finally scraped together enough paper route money to buy it, I had an instant flashback when I pressed play and "Becuz" began - I knew this song. I didn't have a similar reaction to "Junkie's Promise", but as "Saucer-Like" played the same sense of familiarity dawned on me. The title track is still one of my favorite recordings ever, and obviously "The Diamond Sea" is its own masterpiece.

So, that was my first Sonic Youth live experience. Two tunes I knew and loved, and five songs I'd never heard before, that nevertheless left a strong impression. I wouldn't see them again for over two years, and that time would be all new material, but it planted a seed that live music was something special, magical, and vital to the experience of being a fan. When R.E.M. hit the stage, they kicked things off with four songs from Monster, including "Crush With Eyeliner", which features a great Thurston hype vocal on the record that was sadly not reproduced live. They played ten of twelve Monster tracks (I was robbed of the haunting "You") plus an assortment of hits that I recognized. The deeper cuts were lost on me, though glancing at the set list they were ones I'd mostly hear in abundance on future tours: "Begin the Begin" "Fall On Me" "Finest Worksong" "Get Up" etc. The previous night in Portland, the crowd got a much better deal, in my opinion: in addition to "You", they heard "Me In Honey" "Half a World Away" and "Star Me Kitten". Even though at the time it would have meant nothing to me, I would still love to have heard those songs live, which brings me to a topic I want to address: set list bitterness.

In hindsight, this was probably the most pure Sonic Youth concert experience I ever had. No idea what to expect, just thrilled to be in the room. Later, as I began tracking set lists and statistics I found concert-going to be a much more clinical process. Eventually I could anticipate exactly what song was coming next based on the guitar changes. There was generally a European tour or at least the east coast of my own continent to watch set lists unfold before the tour made it to my neck of the woods (if indeed it did - often I found myself travelling for shows, which naturally raised my already lofty expectations). I'd cast all my wishes for a particular song, usually a lesser-played rarity, then be inevitably disappointed if they didn't play it, despite having heard an undeniably killer hour and a half of live music. Had you told me as I walked out of the coliseum that night in Vancouver that they had played "Cotton Crown" "Bull in the Heather" and "Starfield Road" the previous night in Portland, would I have felt that same disappointment? Or just been wide-eyed and grateful to have witnessed what I did? They also got "Unwind" and "Pick Droppa", songs I didn't even know existed, but I already knew I wanted to hear every damn thing the band had written. Fortunately I'd get a chance to see "Pick Droppa" live seven years later, the only Washing Machine song that they ever revisited (oh, but they called it "Skip Tracer").

This is one of the most fascinating eras of the band's music. Having taken most of 1994 off, they reconvened at the start of 1995 to work on new material. Kim almost immediately gravitated towards the guitar, which she had played on a few Dirty and Jet Set tunes, and exclusively with Free Kitten. These compositions definitely took a different approach than the sparser, instant Jet Set stuff or heavy rockin' Dirty riffs. These new pieces were longer, more exploratory, and as most press would note, more reminiscent of the Daydream Nation material. Kim's presence on a weirdly low-tuned guitar did become an issue, particularly when it came time to mix, but it set a precedent for the remainder of their career. I've mentioned before that I take issue with the mixing on this album, but I love Kim's decision to switch to six strings. She did still play bass on a handful of songs, to the delight of rhythm section purists.

After a lone appearance in March at the Esparrago Festival in Granada, Spain, where they premiered some new tunes including an instrumental version of "Becuz", they headed to Easley Recording Studios in Memphis, Tennessee. This was the first time they'd made an album outside of NYC, though they'd demoed the material at their Mott St rehearsal space. I don't know specifically when they were in Memphis, but they played a legendary "secret set" at Barrister's on April 7th, where it's said they did three new instrumentals. No recording circulates, but a few pictures surfaced where Kim is playing bass, which limits the songs they could have done... Must-read SY bio Goodbye 20th Century mentions that they went to church on Easter Sunday, which was April 16th in 1995. They began a week of private college gigs on April 22nd, so I'd imagine they'd been back home for a few days at least.

Recordings available from that college tour demonstrate one thing: while the band may have had the songs crafted tightly enough to record over the previous weeks, the lyrics were far from finished. No tapes from either the afternoon or evening show on the 22nd are available, but the next night in Philadelphia is a fascinating listen. After the standard opening suite of Jet Set bangers "Self-Obsessed and Sexxee" "Bull in the Heather" and "Starfield Road", the crowd was treated to a new instrumental known only as "New Wave Bass Line". Carried by Thurston's almost mockingly atonal riff, some cool thick pick scrapes from Lee, and a steady bass/drum groove, it was the first new tune they played since it was the only one at this point to feature Kim on bass. At the next gig in NYC, Kim would be singing a rough idea of what the finished version would sound like when it would eventually become "Panty Lies".

Kim switched to guitar, and they blew through "Becuz" "Washing Machine" "Junkie's Promise" and "Saucer-Like". The first two had fairly solid vocal ideas even if the lyrics weren't finished, but "Junkie's Promise" was pretty much in its final state at this point (aside from the long aforementioned opening bar of guitar). "Saucer-Like" had quite a primitive vocal - sung by Kim! By the NYC show, Lee was singing, and the lyrics would continue to evolve over the short tour. It's curious to think that the song had already been recorded in Memphis and was sitting on a shelf with no vocal nor lyric, so they must have finished up a lot of the vocals in NYC between this tour and the R.E.M. one. The NYC show on April 27th was the longest, premiering a fully finished "Unwind" as well as an instrumental "Skip Tracer" to close the set. The encore was another Jet Set stomper "Skink", followed by the first confirmed appearance of "The Diamond Sea". Unlike Thurston's other songs, these lyrics were not finished, but it's a solid performance that already demonstrates what a powerful conclusion it will be to their sets.

A photo of two fans wearing their new blue shirts (one of which was signed by opening band Come) was taken on April 28th in Amherst, Massachusetts and later used as the cover for Washing Machine, the album that would eventually house all these new songs (Sonic Youth ultimately decided against changing their name to Washing Machine, an idea they'd been semi-seriously considering at the time). The college tour wrapped up on April 30th in Hartford and the R.E.M. tour was supposed to start on May 5th in Phoenix. Unfortunately, while performing in Lausanne, Switzerland on the European leg of the Monster tour, R.E.M. drummer Bill Berry left the stage due to a severe headache, which was later determined to be caused by a brain aneurysm. They cancelled the remainder of the European dates and rescheduled the beginning of the forthcoming North American tour, which Sonic Youth were due to open the first leg of. Ultimately, when Aneurysm '95 resumed on May 15th in Mountain View, CA for three nights at the Shoreline Amphitheatre, the opening band was given a roughly 35 to 40-minute slot to allow time for Michael Stipe to rest his voice between songs, and presumably give Bill Berry a break, even if he knew restraint. Sonic Youth used these sets to primarily road test the Washing Machine material ahead of that summer's Lollapalooza tour, which they'd be headlining. The first night featured six songs: "Self-Obsessed" "Bull" "Starfield Rd" "Washing Machine" "Saucer-Like" and "Diamond Sea". Like "The Diamond Sea", "Washing Machine" had an abbreviated arrangement for this tour, wrapping up the song in roughly 7 minutes rather than the average 8 minutes of the April tour (or the 9 and a half minutes on the record). Every other night settled into a 7-song rhythm that would have varying openers but almost always feature the trio of "Bull" "Starfield" and "Washing Machine", and close with "Diamond Sea". Lee's content wavered evenly between "Saucer-Like" and "Skip Tracer", his voice no longer unheard (well, unless you went to the first night in Englewood). The songs were all clearly finished by this point, though Thurston still kept introducing them as "new songs we're working on".

The twelve R.E.M. opening sets featured 18 different songs, which is pretty good when you consider they were only doing 7 songs a night with a heavy focus on a specific new few. They did a one-off club gig in Minneapolis on May 29th that has a beautiful set list - all Washing Machine songs minus "Skip Tracer", mixed with Jet Set winners and assorted oldies. Ignoring that gem of a gig, here's a Hyperrust-style chart detailing their song choices for the R.E.M. gigs:

When I consider the show I was fortunate enough to see, I'd say I did pretty well. Since my pleas to attend Lollapalooza were denied, and I doubt I was even aware of the November Seattle or Bellingham(!) shows, this was my only opportunity to hear material from what is probably my favorite Sonic Youth album. As far as songs from Washing Machine, I think the only change I'd make is swapping "No Queen Blues" for "Junkie's Promise". I'm actually surprised to see that "No Queen" was played more often on that tour, but it looks like it was neck and neck with "Junkie's" through Lollapalooza, and then its appearances radically tapered off beginning with the North American tour in the fall, while "Junkie's" was played almost nightly. Again, this is just in theory, on paper, since I wouldn't have known the songs at that point anyway, but I think "Becuz" "Junkie's Promise" "Saucer-Like" "Washing Machine" and "The Diamond Sea" would be a pretty fucking amazing show to see. Now, here's what I'm ashamed to say actually bothers me...I saw one of only three shows where they didn't play "Bull in the Heather" and "Starfield Road". Most shows were a "3 old / 4 new" configuration, but Vancouver got five new songs and only 2 oldies. "Bull in the Heather" and "Starfield Road" were played at almost every single show in 1995 and 1996 with very, very few exceptions, and mine just happened to be one of them. Why does this matter to me? I mean, it doesn't matter, but it's such an epic pairing of songs that were two of my favorites on Jet Set, and I can only imagine the impact that "Self-Obsessed" "Bull" and "Starfield" followed by four new songs would have had. I know it's silly, but the odds of not hearing those songs in that year were so low that I can't help but laugh. I never would hear "Starfield Road" live. Should've bought those tickets to South America.

After the R.E.M. tour they did a month and a half headlining Lollapalooza, the sets filled with still unreleased Washing Machine songs plus a vast list of classics dating back to "The World Looks Red" and "Confusion is Next". If there's any Sonic Youth performance I wish I could have been in attendance for, it's their six-hour rehearsal for Lollapalooza that took place at the Gorge in George, WA prior to the opening night. To witness them casually practicing their entire repertoire in an amphitheatre on the edge of a canyon on a long July night...damn. The album finally came out just before the fall North American tour, which was followed by a Pacific Rim tour that crossed into '96, and at last a European run in March and April. By this point the songs had transformed into beautiful creatures, and I'd point no further than the classic "Easter" set from Rockpalast '96 in Dusseldorf to hear the songs played at the height of perfection. A few more festivals back home, a short European run in August, and one last gig in Las Palmas, Spain on November 23rd which marked the final performances of "Becuz" "Junkie's Promise" "Saucer-Like" "Washing Machine" and "The Diamond Sea" (and also possibly the first performance of "Sunday"!). Any show from this era is worth a listen, the sets were rich and diverse, the Washing Machine songs always growing, the classics still full of energy. But for now, I wanted to focus on how it all started for these songs, and how it all started for me as a fan of Sonic Youth finally getting to see them in person, considering that I kinda became the Sonic Youth set list guy when I created the Concert Chronology two years later.

For the record, by the end of 1995 I was officially an R.E.M. fanatic, and I still treasure the memories of discovering their music. On September 21st, 2011 R.E.M. officially broke up, and a few weeks later Sonic Youth announced their own sort of break up. In a stupid way, it felt like my childhood was ending (particularly stupid since I'd be turning 30 the following year), but I think you'll get what I mean if you feel the way I do about music and the process of really developing a love for a band and their songs, especially as a teenager. I'll be 40 next year, Sonic Youth and R.E.M. remain disbanded, yet I continue to find myself excited to discuss their music. I realize this was a pretty self indulgent preamble for some tablature, but sometimes it's fun to write about an experience you remember fondly and put it into a larger perspective. Live music itself feels like a distant memory at this point, but I'm hoping to finally get out there this year and see some of my favorite still active bands. Whether or not you got to see Sonic Youth play live, I hope this was somewhat of an interesting read, and at the very least I hope the tabs are good!

"Self-Obsessed and Sexxee" was debuted on June 21st, 1993 - the same NYC gig that brought "Total Trash" back from the dead, and gave the world a taste of a Lee-Free Sonic Youth. The song, which closed the main set, was introduced as "Party". The band sounds shaky and the lyrics sound made up on the spot, aside from the "party party party" refrain. It comes together over the following month, and they move it from its closer position to about halfway through the set. It was recorded for Experimental Jet Set, Trash and No Star circa October, now a fully defined rocker that was a contender for the second single, following "Bull in the Heather". While a CD was pressed and issued as a promo, the release was ultimately cancelled, though they sold off the remaining stock via the Sonic Death fan club. The b-sides were oddly the same as on Bull in the Heather: "Razor Blade" and "Doctor's Orders (T-Vox)". Its cancellation didn't stop them from performing a hot take on Jon Stewart's show in September 1994, one of two TV appearances they would make to promote Jet Set (and one of only three appearances total in 1994, the year of Coco). Though it had a strong start in 1995, opening many of the early shows I discussed above, it would fall out of favour during Lollapalooza and be retired forever on October 28th in Milwaukee, Wisconsin.

The existing tab for "Self-Obsessed and Sexxee" originates from May 1997 when I first launched this site with a Jet Set tab book. This is definitely an improvement!

Jumping ahead to "Schizophrenia", I mean - what is there to say? Is there a more classic, perfect Sonic Youth song? By my current count, it is the most frequently performed tune in their entire catalog, a set list staple during every single era aside from the Daydream Nation and A Thousand Leaves tours which reduced old material to a distant, unspeakable memory. It never really changed, aside from the addition of Jim on third guitar, or Mark on second bass, and I honestly never tired of hearing it. Its structure is flawless, the fact that they could even compose something so complex and beautiful using the combination of guitar tunings they did (F#F#GGAA and DDDDAA) is mystifying, and being one of the few early songs where Thurston and Kim each sang a verse gave it a distinction above all else. The harmonic combinations of Lee's open D chord and Thurston's third, suspended fourth, and fifth (with no actual D root) are genius, and the slow "spooky" bit at the end culminating with Lee's dropping trem bar is perfection! They premiered "Schizophrenia" (or "Sister", as it was often introduced) on April 23rd, 1987 in Hoboken on the first night of a short warm-up tour. It gets backburnered along with most of the back catalog in 1988 and 1989, but after they open with it on August 3rd, 1990 (two nights into the first North American Goo tour), it is a worthy set list contender until the band's final gig on November 14th, 2011, where they did indeed play "Schizophrenia" halfway through the show. In 1995, when I first heard it, it still had the rock bite that they gave it in the early 90s (see The Year Punk Broke) but more Big Muff than Rat, if that makes any sense. It was usually reserved for a special slot in the set, either opener or closer, encore, etc. Its significance was clearly regarded. Later versions of the song maybe became a bit cleaner and laidback, but the shifting dynamics that make it such a fascinating composition were always exciting to witness live.

The original tab for "Schizophrenia" by Sam Rowe dates back to September 21st, 1993!! He tabbed both guitars in F#F#GGAA. Years later, Larsen would crack the code for Lee's tuning after much discussion between the two of us - it turns out the "DDA" annotation for one of the Fender Jaguars on the band's stolen gear list was indeed a clue pointing to Lee's long-debated tuning (which he used for a few songs on Sister and then 20 years later for most of The Eternal!). Larsen worked it all out circa '98 and I've done a bit of clean-up on that.

The instrumental version of "Becuz" premiered in Granada kinda sounded like a twisted version of "The Ineffable Me", though that song was not yet conceived. This is one of my all-time favorite Sonic Youth songs and the album version has so many specific parts that delight me, from the moment the guitars enter, Thurston's sick wah solo, the way he shakes that last harmonic at 3:35 and then peels out on a slide into the final verse, playing his part an octave lower now, while Lee introduces about five new riff ideas before the song ends, all bound by the tight repetition of drums and not-bass-guitar...!! Yeah, I dig it. Regarding the odd "Jim Carroll" working title, Thurston explains while introducing the song on April 28th in Amherst, Massachusetts: "This is another new song, this is for Jim Carroll. He asked us to do a song for his movie, and we did, and uh, the Hollywood movie people sent the song back cuz they thought it sucked. And instead they used a song by Pearl Jam." Kim interjects: "This song, the lyrics have nothing to do with Jim Carroll...so fuck him!" Thurston retorts: "Yeah, and fuck Hollywood!" They must be referring to The Basketball Diaries, released in April. Kim has many of the lyrics in place during these early versions, but it's not properly organized. (In Dusseldorf, Kim would offer: "This is a song about a girl I saw once.") Curiously, she's also playing the main intro riff differently, playing each note twice rather than three times as she does on the album. Like the extra intro to "Junkie's Promise", they don't seem to start playing it "like the album" until the first night of the North American tour in October. If you told me they hadn't recorded Washing Machine until summer, I would believe you! Although they'd recorded an extended outro for the song in Memphis, it had been spliced out and given its own untitled track segment late in the album (the infamous untitled track #9, aka "Becuz Coda" based on its BMI registry). They would eventually begin adding this outro back to the song during Lollapalooza, drawing it out more and more each night until it became fully reinstated as part of "Becuz". The Easter boot is a great place to hear the outro after months of sculpture. A week later during an appearance on MTV Europe's Hanging Out program, they played the first three songs from Washing Machine, although I've never been able to find footage of "Becuz" or "Saucer-Like". "Becuz" was retired forever after the Las Palmas show in November.

The existing tab for "Becuz" was last updated in 2002 - I've redone Thurston and Lee's parts completely, and Riley has provided Kim's riffs in the proper tuning.

"No Queen Blues" has an interesting backstory: the Washing Machine version is actually stitched together from the band's NYC demo and the Memphis studio take. Lee discusses the song in a great Guitar Player piece on him: "I like that song a lot. I play the really snaky lead-like lines. Thurston's doing the wah scratches at the beginning, and then I'm doing the more straight-up lead guitar stuff throughout that song, that sort of cat-up-on-tiptoes kind of thing. [...] It's a Les Paul with an additional pickup between the first two. It's played with a lot of the treble rolled off, so it's really warm and round and not too biting. The first minute or two of that song - where all the scratchy stuff is happening - that's an 8-track demo. And then right as it kicks into the song proper, it's cross-faded to the 16-track mix. At the beginning it's pretty ratty and lo-fi, but as the first vocal hits, just about all the instrumentation except my guitar becomes 16-track. For the first verse, we kept my 8-track lead lines. When the second verse hits, I'm back in the 16-track domain as well, so another tonal shift happens. I'm really proud of the way we managed to seam that one together." The live versions of this song followed a bit of a different script: though Kim has a unique intro riff in the "demo" portion of the song, she would just play the verse riff during the live intro. Everyone played a slightly different part during the intro of "No Queen Blues" when they did it live, likewise for the outro. On the record, Steve attacks a cracked cymbal resting on a pair of congas, as detailed in Musician magazine: "Sometimes I'm hitting the cymbal, sometimes the congas. The cymbal's getting muted by the congas, so it almost sounds gated, but in an organic way." As I mentioned, the song started to see less set list representation and on April 27th, 1996, at the last full length North American Washing Machine show in Providence, Rhode Island, the queen of noise sang her blues one last time. Hey, does anyone know if it's reminiscent of any particular Voidoids song?

The existing tab for "No Queen Blues" was probably from '98 or so but I'd tabbed Lee's leads by request in very early 2003. I fixed Kim's tuning and tightened everyone's parts up (there may still be some wrong notes in Lee's part, let me know!).

Not only would "Kim's Tune" become the title track of the next album, it would've been the band's signature song had they gone through with the Washing Machine rebranding. Built around a series of Kim riffs, it almost sounds like each guitar is fighting against the others as they cycle through changes for the first two minutes. This is one of the songs with the more questionable mix decisions on the album - during the first section, Kim is mixed to the left, Lee is basically down the middle leaning left, Thurston is on the right, and so is Steve. Yes, they panned the drums entirely to the right for this part - I get what they were going for, it creates a wider soundstage when the guitars drop out and the second part of the song fades in, with Kim and Steve properly down the middle and Lee and Thurston split left and right (when Lee re-enters, he's actually playing a different guitar, a change he made every night on stage). I'm just not sure they needed to have George Martin mix the first part to achieve the effect. The second part of the song is one of my favorite things the band ever recorded, and the extensive Wah/Vol-fueled G-note jam would become the centerpiece of every show for the next two years. The "Easter" version is sensational, go watch it - hell, watch the whole show! Actually, I haven't mentioned it yet but supposedly Sonic soundman Terry Pearson used a device to add an octave below Kim's guitar parts on this tour, which you can hear pretty clearly during the second part of this song in the "Easter" set - play the same thing she's playing on your own guitar and then listen to how it sounds when she plays it...

Larsen was brave enough to take on this song back in '98 - I've redone it from scratch but thank him for his efforts!

While I suspect the "Thumb" working title came from Thurston's verse riff, Lee does acknowledge the Dinosaur Jr song with a dedication to J Mascis at the Amherst gig on April 28th. Aside from "Cross the Breeze" (and "Starpower", for different reasons) I can't think of any Sonic Youth songs that were originally sung by a different member live. Kim's take on "Thumb" didn't last too long, though her "ooo-aah" vocals remained in the final song. Lee ran through some early drafts on the college tour before landing on the final lyric, supposedly inspired by a poem he'd written. When he took over vocal duties, he adapted his part a bit (presumably to make it easier to sing and play). He simplified his verse to a single chord, and seems to have rewritten his chorus progression. Now, a comment he made in Guitar Player always confused me: "On "Saucer-Like" we're probably in the same tuning, what we used to call the "Death Valley" tuning. It started out as a low pair of F#s, double F#s in the middle, and then E and B on the high end. For a bunch of songs on this record I altered it so the bottom string of the low two pairs changed. I think it ended up being EF#AF#EB." Ignoring the EF#AF#EB error, I used to interpret this quote that he and Thurston both used F#F#F#F#EB on "Saucer-Like", but he may have been saying "It's the same tuning, just modified." Regardless, he did use AF#EF#EB live, but it would explain his alternate parts if he was in F#F#F#F#EB on the album. Really, I think it was just a case of him changing his part after becoming the song's voice, as he'd later do in "Karenology". The song's structure sometimes led to issues with live versions - some members forgetting the extra 2 lines at the end of the first verse ("your magic fit + free / taxi horns on the breeze") and going straight to the chorus (it probably didn't help that this part is only 1 line in the second verse!). Check out the Tibetan Freedom Concert below for a particularly high profile blunderous take (played at lightning speed compared to the album!). Such a fucking awesome song, though. I'm still not even sure I understand how it all fits together.

The original tab I did for this song was pretty bad. Gav and Larsen helped out tremendously but there were still a lot of aspects that weren't adding up, so I redid it from scratch and I think it's pretty close. Too bad it only took 25 years!

The last song written for the album, the last song on the album, and the last song played in every show they did between May '95 and November '96 - "The Diamond Sea" was a tough act to follow. I should clarify: it always closed the main set, but often (particularly at Lollapalooza or other festival appearances) there was no time for an encore (so they usually just stretched "The Diamond Sea" until the clock ran out). It was also the first single from Washing Machine, trimming the 19:36 album cut to a clean 5:29. Live footage recorded by multiple camerafolk during Lollapalooza (curiously misattributed to phony venues) made for a beautiful music video, which you can check out below (or on the excellent Corporate Ghost DVD if you'd like to hear the band's commentary, and I recommend you do!). They also played a radically truncated version on The Late Show w/ David Letterman and The State (and a slightly longer, looser take on French show Nulle Part Ailleurs in '96). It's actually slightly interesting to compare all of the different edits of the song:

Of course, there's also the extended edit, which first appeared on The Diamond Sea single (along with earlier entry "My Arena") and was later collected on The Destroyed Room. If you play the last "bonus" 6 minutes backwards you can hear that it's literally the song itself played in reverse, without the vocals (or the drums, sometimes), from the start all the way through the various jam sections, to the final verse and chorus. There are hints of this in the album version, but not to such a blatant extent.

The longer they played the song, the longer they would stretch out the portion between the first three verses and the final verse (rather than the outro). In some versions, they would end immediately after the final chorus, having done an extremely dense section of improvised noise following all of the kinda-scripted parts that normally tie up that part of the song. The song was typically between 15 to 20 minutes (20 being the extreme end, but again...Easter!). Obviously Easter is a great example of them drawing out both noise sections - the final verse doesn't come until 13 minutes in, but there's still 6 minutes of music afterwards. Two nights later in Hamburg, they don't hit the last verse til 14 and a half minutes, but the song ends immediately afterwards, for a total length of just under 16 minutes. Of course, Hamburg got an encore! Another curious note about all live versions: Kim changed her bass part for the verse. On the album, she plays G up to B, but live she played G to E. I assume it was to help Thurston sing more in tune (he also didn't play while singing the song live). Lee would often have a second guitar handy to come back into the final verse, in case the deconstruction had detuned him beyond repair. In the Easter film, you can see him pull out another guitar for the last four minutes of swirling beauty: a Fender ST-Champ Mini Stratocaster (with a built in speaker!). People always campaigned for them to bring this song back and I used to think it was unlikely, but considering some of the 20+ minute versions of "Expressway" that they blessed us with in the mid-2000s, it doesn't seem that crazy. Plus, they'd demonstrated that it was easy enough to edit down, so it didn't need to be the powerhouse setpiece it once was. Of course, Thurston wasn't lugging that notorious Ludwig Phase II Guitar Synthesizer everywhere anymore, and the song just isn't the same without that "woo woo woo woo"...Right?

The original tab hadn't been updated since 1998 (Thurston) and 2002 (Lee). Thanks again to Larsen for his original work on Thurston's part. Please let me know if you have any comments or corrections for any of this stuff!

A SECTION				00:00-00:20

Thurston:

D#---------5------------5--5-5-5--------
D#---------5------------5--5-5-5-5------
D--------5------------5----------5-5-5--  play twice
D--------5------------5------------5-5--  
G---0------------0----------------------
G---0------------0----------------------

Lee:

D--------------------------------------------------
C---5\7-------------------------------5br----------  very slow bend and return!
G---5\7---------------------------------------7----
C---5\7--------------------------------------------
G---0----------------------------------------------
G---0----------------------------------------------

Kim:

G-------------------------
D-------------------------
A-------------------------
E---3-3-3-3-3-3-3-3-3-3--- etc

B SECTION				00:20-01:03

Thurston:

D#-----4-4-4-4-4--0--0-0--0-0-0----  use your thumb to mute low strings
D#-----4-4-4-4-4--0--0-0--0-0-0----    while playing the open string "chord"
D------0-0-0----------------0-0-0--
D---0--0-0-0--------------------0--
G---0--0---------------------------
G---0--0---------------------------

Lee:

D--------------------------------------------------------
C--------------------------------------------------------
G------------------------------3h2-2-3-3h2-2-3--3-5-7b---   play w/ wah modulation
C---2\3--3\5--5\7---7-9-9\-------------------------------
G--------------------------------------------------------
G--------------------------------------------------------

D------------------------------------------------------------
C------------------------------------------------------------
G---7-7-7-7-------------7-7-7-7------------------------------  repeat variation as verse
C---7-7-7-7-------------7-7-7-7------------------------------
G---7-7-7-7--8--8--8----7-7-7-7--8---8-10-8-10\12-10/8-7~~---
G---0-0-0-0--8--8--8----0-0-0-0--8---------------------------

Kim:

G----------------------------------
D----------------------------------
A----------------------7-6---7-6---
E---3--3--3-3-3--3-5\6-------------

C SECTION			01:03-01:37

Thurston:

D#---------------------------------------11-11-11-11----11-11-11-11--
D#---------------------------------------11-11-11-11----11-11-11-11--
D----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5------0--0--0--0-----0--0--0--0--
D----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--0---0--0--0--0-----0--0--0--0--
G----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--0------------------------------
G----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--0------------------------------

D#---------------------------------------11-11-11-11---7--7-7-7-7--
D#---------------------------------------11-11-11-11---7--7-7-7-7--    you can add the 11/7th fret notes
D----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5------0--0--0--0---0--0-0-0-0-- **      <- to this D string
D----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--0---0--0--0--0---0--0-0-0-0--    for extra dissonance in the chords
G----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--0----------------------------
G----5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--0----------------------------

Play twice.

Lee (w/ modulation on leads):

D----------13^12----12---------------------------------------------------
C---\12----------12-----12--------------------------7-7-7-7----7-7-7-7---
G--------------------------14-12-14br~~14br~~/------x-x-x-x----6-6-6-6---
C---------------------------------------------------7-7-7-7----7-7-7-7---
G---------------------------------------------------0-0-0-0----0-0-0-0---
G---------------------------------------------------0-0-0-0----0-0-0-0---

D--------12--13^12----12---------------------------------------------------------------
C---\12------------12-----12-----------------------------------------------------------
G----------------------------14-14-14br~~14br~~------------14-15---14------------------
C---------------------------------------------------14-15-------------15---14-----15\--
G--------------------------------------------------------------------------------------
G--------------------------------------------------------------------------------------

Repeat. End on:

D----------------------
C----------------------
G----------------------
C---4--4-4-4-4\5-4-----
G---2--2-2-2-2\3-2-0---
G---2--2-2-2-2\3-2-0---

Kim uses distortion on the high notes in the chorus. I think she plays the droning
open D string but you should emphasize the actual fretted notes.

G-----------------------------------------8-8-8-8-----8-8-8-8---
D-----------------------------------------0-0-0-0-----0-0-0-0---
A---------------------------------------------------------------
E---8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-----------------------------

G-----------------------------------------8-8-8-8--14--14-14-14-14-14---
D-----------------------------------------0-0-0-0---0---0--0--0--0--0---
A-----------------------------------------------------------------------
E---8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-------------------------------------

G-----------------------------------------8-8-8-8-----8-8-8-8---
D-----------------------------------------0-0-0-0-----0-0-0-0---
A---------------------------------------------------------------
E---8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-----------------------------

G-----------------------------------------8-8-8-8--2--2-2-2-2-3-2---
D-----------------------------------------0-0-0-0--0--0-0-0-0-0-0---
A-------------------------------------------------------------------
E---8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8---------------------------------

A SECTION				01:37-01:45

Play once.

B SECTION				01:46-02:28

Thurston and Kim are the same, Lee plays a different lead:

D-----------------------------------------------------------------
C-------------------9---------------------------------------------
G---7~---8--7---\10----12-10-12~~---12\14--15/14-15\17-17~~~/-----
C-----------------------------------------------------------------
G-----------------------------------------------------------------
G-----------------------------------------------------------------

C SECTION				02:28-03:01

A SECTION				03:02-03:19

Thurston:

D#---------5------------5--5-5-5--------------------------------5--5-5-5--------
D#---------5------------5--5-5-5-5------------------------------5--5-5-5-5------
D--------5------------5----------5-5-5------------------------5----------5-5-5--
D--------5------------5------------5-5------------------------5------------5-5--
G---0------------0-----------------------0----10-10-10b---0---------------------
G---0------------0-----------------------0-----0--0--0----0---------------------

Lee:

D--------------------------------------
C---5\7------------------------7br-----  very slow bend/return w/ delay
G---5\7--------------------------------
C---5\7--------------------------------
G---0----------------------------------
G---0----------------------------------

Kim:

G---------------------------------
D---------------------------------
A---------------------------------
E---3--3---3-3-3---3--3---3-3-3--- etc

D SECTION				03:20-04:30

Thurston (now in center):

D#---------------------------------------11-11-11-11---7--7-7-7-7--
D#------------------------------0--------11-11-11-11---7--7-7-7-7--
D----5-5-7--5-7--5--5-7--5-7--5-0---------0--0--0--0---0--0-0-0-0--
D----5-5-7--5-7--5--5-7--5-7--5-0---------0--0--0--0---0--0-0-0-0--
G----5-5-5--5-5--5--5-5--5-5--5-0----------------------------------
G----5-5-5--5-5--5--5-5--5-5---------------------------------------

End on:

D#------
D#------
D---2---
D---2---
G---2---
G---2---

Lee just makes wild noise until the final chord:

D-------
C-------
G-------
C---4---
G---2---
G---2---


In the Jon Stewart appearance, Kim can be seen tapping a tambourine against her leg as 
the "Party" refrain begins, before using the same tambourine and a couple of distortion 
boxes to get some disgusting sounds from her bass.

End on A if you must.


text + tab by Chris Lawrence

A SECTION			00:00-01:48

Kim:

B---7-7---5-5-5---3-3-3---5-5-5---
B---7-7---5-5-5---3-3-3---5-5-5---
D---------------------------------
G---------------------------------
E---------------------------------
B---------------------------------

Thurston:

B------------------------------------
E------------------------------------
F#-----------------------------------   x 8
F#-----------------------------------
F#---19--19--18-18---18-18-18-18-18--   play 12 times on the third rep
F#----0---0--17-17---17-17-17-17-17--

B---------------------------------------------------------------------
E---------------------------------------------------------------------
F#--------------------------------------------------------------------
F#--------------------------------------------------------------------
F#---21--21-21-21-21\--12--12--12----12--12-12-12\15--15-15-15-15-15--
F#---21--21-21-21-21\--12--12--12----12--12-12-12\15--15-15-15-15-15--

B-----------------------------------------------------
E-----------------------------------------------------
F#----------------------------------------------------
F#---18-18-18-18-18-18-18-18-18-18-18-18-18-18-18-18--
F#---17-17-17-17-17-17-17-17-17-17-17-17-17-17-17-17--
F#----0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--

Play this whole sequence three times.

Lee:

B----*7*---  harmonic - play twice during intro
E----------
F#---------
E----------
F#---------
A----------

B----*7*----------------------
E--------*7*------------------
F#-----------*7*-------------- repeat variations for a while
E----------------*7*----------
F#-----------------------*5*--
A--------------------*7*------

Eventually he's playing very loosely around 7th fret harmonics w/ delay + some sloppy mutes/open strings

@ 1:10

B----0-0-0-0-0-0-0-0-0-0-0-0--0-0-0-------0-0-0-0-0-0-0-0-0-0-0-0-0---0--0--0--0-0-0---
E----7-7-7-7-7-7-7-7-7-7-7-7-\9-9-9-------7-7-7-7-7-7-7-7-7-7-7-7-7-\10-10-10-10-9-9---
F#---0-0-0-0-0-0-0-0-0-0-0-0--0-0-0-------0-0-0-0-0-0-0-0-0-0-0-0-0---0--0--0--0-0-0---
E----7-7-7-7-7-7-7-7-7-7-7-7-\9-9-9-------7-7-7-7-7-7-7-7-7-7-7-7-7-\10-10-10-10-9-9---
F#---0-0-0-0-0-0-0-0-0-0-0-0--0-0-0-------0-0-0-0-0-0-0-0-0-0-0-0-0---0--0--0--0-0-0---
A--------------------------------------------------------------------------------------

then:

B-------------------------------------------------------
E----\12-12-12-12-12-12-12-12-14-14-14-14-14-14-14-14---
F#-----0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0---  x 2
E----\12-12-12-12-12-12-12-12-14-14-14-14-14-14-14-14---
F#-----0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0---
A-------------------------------------------------------

then:

B------------------------------------------------------------------
E----\12-12-12-12-12-12-12-12-12-12-12-12-12/7-7-7-7-7-7-7-7-7-7---
F#-----0--0--0--0--0--0--0--0--0--0--0--0--0---0-0-0-0-0-0-0-0-0---
E----\12-12-12-12-12-12-12-12-12-12-12-12-12/7-7-7-7-7-7-7-7-7-7---
F#-----0--0--0--0--0--0--0--0--0--0--0--0--0---0-0-0-0-0-0-0-0-0---
A------------------------------------------------------------------

B----------------------------------------------------------------------------
E----\12-12-12-12-12-12-12-12-12-12-12-12-12/9-9-9-9-9-9-9-9-9-9-9-9-9-9-9---
F#-----0--0--0--0--0--0--0--0--0--0--0--0--0---0-0-0-0-0-0-0-0-0-0-0-0-0-0---
E----\12-12-12-12-12-12-12-12-12-12-12-12-12/9-9-9-9-9-9-9-9-9-9-9-9-9-9-9---
F#-----0--0--0--0--0--0--0--0--0--0--0--0--0---0-0-0-0-0-0-0-0-0-0-0-0-0-0---
A----------------------------------------------------------------------------

B----0-0-0-0-0-0-0-0--
E----9-9-9-9-9-9-9-9--  to instrumental =>
F#---0-0-0-0-0-0-0-0--
E----9-9-9-9-9-9-9-9--
F#---0-0-0-0-0-0-0-0--
A---------------------

B SECTION			01:49-02:56

I will show you Kim's notes and the times she changes them:

   1:49         2:15  2:23  2:32  2:40	2:49
B---3------------2-----3-----2-----3-----9----
B---3------------2-----3-----2-----3-----9----
D---------------------------------------------
G---------------------------------------------
E---------------------------------------------
B---------------------------------------------

Thurston plays a gloriously mindblowing solo utilizing his whammy bar, Mu-Tron Wah/Vol, and notes beyond 
the fretboard. I will certainly not be tabbing it, but if you scope out the "Easter" vid you can see him 
in action for some inspiration. Enjoy!

When it's all over, he settles into this chord until the next section:

B-------
E-------
F#------
F#------
F#--14--
F#--14--

Lee:

B---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--
E---9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-- strum this for a while...
F#--0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--
E---9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9--
F#--0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--
A----------------------------------------

then at 2:02 start trem picking these notes, listen for the timing:

B----0-----0-----0-----0-----0-----0----
E---14----17----16----19----21b---22b---  bend the last chord up and hold it for a while
F#---0-----0-----0-----0-----0-----0----
E---14----17----16----19----21b---22b---
F#---/-----/-----/-----/-----/-----/----
A----/-----/-----/-----/-----/-----/----

2:19:

B------------------------17--15----- *RING MOD*  ---------------------  *RING MOD*
E----17----19----21b-----21b----21--             --22-22-22-22-22-21--
F#----0-----0-----0--------------0--             ---------------------
E----17----19----21b-----21b----21--             --22-22-22-22-22-21--
F#----/-----/-----/--------------/--             ---------------------
A-----/-----/-----/--------------/--             ---------------------

then at 2:45 play:

              2:49            2:53       2:55
B-----0----0----0--------------------------4------
E----12---14----8--------------4-----------4------
F#----0----0----0--------------0-----------0------
E----12---14----8--------------4-----------4------
F#----0----0----0--------------0-----------0------
A-------------------------------------------------

C SECTION			02:56-03:34

Kim:

B---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--2-2-2-2-2-2-2-2-2-2-2-2-2-2/3-3-3---
B---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--2-2-2-2-2-2-2-2-2-2-2-2-2-2/3-3-3---   x 4
D------------------------------------------------------------------------
G------------------------------------------------------------------------
E------------------------------------------------------------------------
B------------------------------------------------------------------------

B---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0----
B---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0----
D--------------------------------------
G--------------------------------------
E--------------------------------------
B--------------------------------------

Thurston:

B----------------------------------
E----------------------------------
F#--10---10-10-10-*12*---12-12-12--  x 8 
F#--10---10-10-10-*12*---12-12-12--
F#--10---10-10-10-*12*---12-12-12--   (harmonics optional @ 12th fret)
F#--10---10-10-10-*12*---12-12-12--

Then move to striking this chord before the final verse:

B------
E------
F#--5--
F#--5--
F#--5--
F#--5--

Then hit this note and let it feedback while shaking w/ trem bar. Bonus points if you can
change octaves.

B---------
E---------
F#--*12*--
F#--------
F#--------
F#--------

Then do a sick slide into the final verse!

Lee:

B------------------------------
E------------------------------   play simile four times
F#---------0-------------*7*---
E-------5-------------7--------
F#-----------------------------
A-----5------------\7----------

B----------------------------------------------
E----------------------------------------------
F#---5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--\8-7-7---
E----------------------------------------------
F#---5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--\8-7-7---
A---------------------------------------------- 

A SECTION			03:34-04:26

Kim plays her main riff til the end.

Thurston:

B----------------------
E----------------------
F#---------------------  x 16
F#---------------------
F#---7-7--6-6-6-6-6-6--
F#---0-0--5-5-5-5-5-5--

B-------------------------------------
E-------------------------------------
F#------------------------------------
F#--12-12--10-10-10--8-8-8--10-10-10--  x 2
F#--12-12--10-10-10--8-8-8--10-10-10--
F#--12-12--10-10-10--8-8-8--10-10-10--

Lee:

B----*7*----------------------
E--------*7*------------------
F#-----------*7*--------------  x 4
E----------------*7*----------
F#-----------------------*5*--
A--------------------*7*------

THEN to this riff:

B----------------------------------
E----------------------------------
F#--2\3-3\5-5-7~~--2\3-3\5-5-2~~~--  x 6
E----------------------------------  
F#--2\3-3\5-5-7~~--2\3-3\5-5-2~~~--
A----------------------------------

then:

B-------------------
E-------------------
F#--------------0--- x 2
E-------5~~---------
F#------------------
A---2\5-----5/2-----

D SECTION			04:27-04:43

The final chord:

B----0---
B----0---
D--------
G--------
E--------
B--------

B--------
E--------
F#---0---
F#---0---
F#---0---
F#---0---

B----0---
E----0---
F#---0---
E----0---
F#---0---
A--------

The song's theme is reprised later in the album as a mysterious untitled track,
and the longer they played the song live the more they stretched out the ending. 
Check out the "Easter" video for a wonderful rendition of the coda.

text + tab by Chris Lawrence

special thanks to Riley Ponce for Kim's part on "Becuz" and Larsen for his original work '98

A SECTION				00:00-00:58

This section is taken from the band's NYC rehearsal space during demos for the album.
They transplanted it from the 8-track recording over to 16-track to merge with the 
final Memphis take. The Memphis version takes over around a minute in, but Lee's leads
during the first verse are from the original 8-track demo.

Thurston is just letting his guitar squeal while rocking his Mu-Tron Wah/Vol exaggeratedly.

Lee is silent during the intro.

Kim:

B----4--4-4--7-7-7---
B----4--4-4--7-7-7---
D----4--4-4--7-7-7---
G--------------------
E--------------------
B--------------------

For live versions, Kim just played her verse riff during the intro.

B SECTION				00:58-01:49

Thurston:

D#--0---0--0----0--0--
D#--0---0--0----0--0--  use your thumb
D---8---8--8\4--4--4--
D---8---8--8\4--4--4--
G---8---8--8\4--4--4--
G---8---8--8\4--4--4--

Lee:

his first lead begins at 1'07":

D-----------------------------7\8--------------------------------------------
C---------------------8--8\10-----10-9-8-------------------------------------
G-------8-10-11-10-11----------------------13-12-11/10-10\11-11/10-8~~~~~~\--
C--8^10----------------------------------------------------------------------
G----------------------------------------------------------------------------
G----------------------------------------------------------------------------

1'20":

D---------------------------------------------------
C------------------8----8-9-10-9-8------------------
G-------8-10-11-10---10------------10-11-10-8~~~~\--
C--8^10---------------------------------------------
G---------------------------------------------------
G---------------------------------------------------

repeat that same basic idea for the next two. then, at 1'46":

D---------------
C--15\17-17~~~--
G---------------
C---------------
G---------------
G---------------

Kim:

B----7--7---12-12-12---
B----7--7---12-12-12---
D----------------------
G----------------------
E----------------------
B----------------------

C SECTION				01:49-02:01

Thurston:

D#--------------------------------------------
D#--------------------------------------------
D---------------------------------------------
D----3--3--X-X-X-6-6-6--\10--10--10-10-4-4-4--
G----3--3--X-X-X-6-6-6--\10--10--10-10-4-4-4--
G----3--3--X-X-X-6-6-6--\10--10--10-10-4-4-4--

D#-------------------------------------------------------------------
D#-------------------------------------------------------------------
D--------------------------------------------------------------------
D----3--3--X-X-X-6-6-6--\10-10-10------------------------------------
G----3--3--X-X-X-6-6-6--\10-10-10-\16-16-16-16-16-16-16-16-16-16-16--
G----3--3--X-X-X-6-6-6--\10-10-10-\16-16-16-16-16-16-16-16-16-16-16--

Lee:

D---------------------------------
C---------------------------------
G--3--3\6-6-6--\10-10--10/4-4-4---
C--5--5\8-8-8--\12-12--12/6-6-6---  mutes optional but encouraged!
G--3--3\6-6-6--\10-10--10/4-4-4---
G--3--3\6-6-6--\10-10--10/4-4-4---

D-----------------------------------------------------------
C-----------------------------------------------------------
G--3--3\6-6-6--\10-10--10/16-16-16-16-16-16-16-16-16-16-16--
C--5--5\8-8-8--\12-12--12/18-18-18-18-18-18-18-18-18-18-18--
G--3--3\6-6-6--\10-10--10/16-16-16-16-16-16-16-16-16-16-16--
G--3--3\6-6-6--\10-10--10/16-16-16-16-16-16-16-16-16-16-16--

Kim:

B----7--7--\9-9-9-\12-12-/7-7-7---7--7--\9-9-9-\12/7----12-12-12-12-12-12-12-12-12-12-12-12-12-12-12\--
B----7--7--\9-9-9-\12-12-/7-7-7---7--7--\9-9-9-\12/7----12-12-12-12-12-12-12-12-12-12-12-12-12-12-12\--
D------------------------------------------------------------------------------------------------------
G------------------------------------------------------------------------------------------------------
E------------------------------------------------------------------------------------------------------
B------------------------------------------------------------------------------------------------------

B SECTION				02:01-02:43

Lee:

next lead (2'01"):

D----------------------9-------9--------------------
C---------------8-9-10-----9-8---10-9-8-------------
G----------8-10-------------------------10-8~~~~~~--
C--8^10-10------------------------------------------
G---------------------------------------------------
G---------------------------------------------------

back into verse (2'14"):

D-------------------------------------------------
C----8-9---9----10------10----11----12----15~~~---
G--8---------11-------11----12----13----14--------
C-------------------------------------------------
G-------------------------------------------------
G-------------------------------------------------

next (2'23"):

D---------------------------
C--15\17-17~~--15\18-18~~~--
G---------------------------
C---------------------------
G---------------------------
G---------------------------

next (2'31"):

D-------------------------------------
C------------8--9-8-------------------
G-----8-10----------10-8-11-10-8~~~~--
C--12---------------------------------
G-------------------------------------
G-------------------------------------

next (2'40"):

D--------------------
C--------------------
G--------------------
C--8--10--11--10~~~--
G--------------------
G--------------------

C SECTION				02:43-02:54

B SECTION				02:55-03:28

Lee:

D------------------------------------------------------------------
C---------8-9-10-9-11-10-12----10-----------------10---------------
G--8-10-8-------------------11----10-11~--10~--11----11-10-8~~~~\--
C------------------------------------------------------------------
G------------------------------------------------------------------
G------------------------------------------------------------------

D-----------------8---------------------------
C------------8-10---11-12------12~------------
G-------8-10--------------11~-------11-8~~~~\-
C--8^10---------------------------------------
G---------------------------------------------
G---------------------------------------------

D---------------------------------------------------------------
C---------------10-----------------------10-11-10---------------
G-------8-10-11----11-10~--11-10-8~-8\10----------11-10-8~~~~\--
C--8^10---------------------------------------------------------
G---------------------------------------------------------------
G---------------------------------------------------------------

D-------------------------------------------------------------------------
C------15----15-17-18-----------------------------------------------------
G--\15----15-------------15-14------------------13------------------------
C-------------------------------15-14-13-----15----15---------------------
G------------------------------------------------------13-14-15-13-15~~~--
G-------------------------------------------------------------------------

C SECTION				03:29-03:44

D SECTION				03:44-04:35

During the outro, everybody basically improvises noise. The intense percussion sounds
are Steve hitting a broken cymbal that is resting on a pair of congas.

text + tab by Chris Lawrence

A SECTION			00:00-00:14

Kim:

B----7-7-7-6-6-6-0-0-0---0-0-0---
B----7-7-7-6-6-6-0-0-0---0-0-0---
D-------------------------------- x 4
G--------------------------------
E--------------------------------
B--------------------------------

Thurston:

D#----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
D#----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
D-----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12--- x 4
D-----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
G-------------------------------------------------
G-------------------------------------------------

Lee:

B-----------14\----------12\----------7---
E-------------------------------5-5-5-5---  x 4
F#----12-12--------10-10--------5-5-5-5---
E-----------------------------------------
F#----------------------------------------
A-----------------------------------------

B SECTION			00:15-00:28

Kim:

B---------------------
B---------------------
D---------------------
G--------------------- x 8
E---------------------
B---5-5-5-5-7-7-7-7---

Thurston:

D#------------------------------------------------------
D#------------------------------------------------------
D-------------------------------------------------------
D----11-11-11-11-10-10-10-10-4-4-4-4-12-12-12-12-12-12-- x 4
G----11-11-11-11-10-10-10-10-4-4-4-4-12-12-12-12-12-12--
G----11-11-11-11-10-10-10-10-4-4-4-4-12-12-12-12-12-12--

Lee:
                    
B----------------------------------------------------------------
E----------------------------------------------------------------
F#---------------------------------------------------------------
E-----12---15------7---10-----7---10-----------------------------
F#----10---13------5----8-----5----8-----13-13-13-13-12--12-12---
A----------------------------------------------------------------

B------------------------------------------------------------------------
E------------------------------------------------------------------------
F#-----------------------------------------------------------------------
E-----12---15------7---10-----7---10-------------------------------------
F#----10---13------5----8-----5----8-----13-13-13-13-15-15-15-15-15-17\--
A------------------------------------------------------------------------

C SECTION			00:28-00:35

Kim:

B----7-7-8-0--0-0-0---
B----7-7-8-0--0-0-0--- x 4
D---------------------
G---------------------
E---------------------
B---------------------

Thurston:

D#---9-9-9--14--14-14--9-9-9--16--16-16---
D#---9-9-9--14--14-14--9-9-9--16--16-16---
D----9-9-9--14--14-14--9-9-9--16--16-16--- x 2
D----9-9-9--14--14-14--9-9-9--16--16-16---
G-----------------------------------------
G-----------------------------------------

Lee:

B--------------------------------------------------
E--------------------------------------------------
F#-------5-7-8-7--7-5-5---------5-8\7-5--8\7-5-5~--
E----5-7--------------------5-7--------------------
F#-------------------------------------------------
A--------------------------------------------------

A SECTION			00:35-00:48

Thurston:

D#---0-0-0-0-2-2-2-2-0-0-0-0-3-3-3-3---
D#---0-0-0-0-2-2-2-2-0-0-0-0-3-3-3-3---
D-------------------------------------- x 2
D--------------------------------------
G--------------------------------------
G--------------------------------------

D#---11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
D#---11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
D----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12--- x 2  (for this section, but he 
D----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---           continues playing it when
G------------------------------------------------                   kim changes her riff)
G------------------------------------------------

This whole sequence is repeated for the next "A SECTION" at 01:09.

Lee:

B-------------------------------------------------
E-------------------------------------------------
F#--------5-5--5-7-5-5----------5-7-8-7-7\5-5-5---
E-----5-7------------------5-7--------------------
F#------------------------------------------------
A-------------------------------------------------

B-----------14\----------12\----------7---
E-------------------------------5-5-5-5---  x 2
F#----12-12--------10-10--------5-5-5-5---
E-----------------------------------------
F#----------------------------------------
A-----------------------------------------

B SECTION			00:49-01:02

Thurston:

D#---11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
D#---11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
D----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12--- x 2
D----11-11-11-11-10-10-10-10-4-4-4/12-12-12-12---
G------------------------------------------------
G------------------------------------------------

D#------------------------------------------------------
D#------------------------------------------------------
D-------------------------------------------------------
D----11-11-11-11-10-10-10-10-4-4-4-4-12-12-12-12-12-12-- x 2
G----11-11-11-11-10-10-10-10-4-4-4-4-12-12-12-12-12-12--
G----11-11-11-11-10-10-10-10-4-4-4-4-12-12-12-12-12-12--

This whole sequence is repeated for the next "B SECTION" at 01:22.

C SECTION			01:02-01:09

Lee:

B-------------------------------------------------------
E-------------------------------------------------------
F#-------5-7-8-7--7-5-5---------5-7-8-7--8\7--5--5--5~--
E----5-7--------------------5-7-------------------------
F#------------------------------------------------------
A-------------------------------------------------------

A SECTION			01:09-01:22

Lee:

B------------------------------------------
E------------------------------------------
F#---5-5--5-5--5-7-5-5----5-7-8--7--5--5---
E------------------------------------------
F#-----------------------------------------
A------------------------------------------

B-----------14\----------12\----------7---
E-------------------------------5-5-5-5---  x 2
F#----12-12--------10-10--------5-5-5-5---
E-----------------------------------------
F#----------------------------------------
A-----------------------------------------

B SECTION			01:22-01:36

C SECTION			01:36-01:43

Lee:

B---------------------------------------------
E---------------------------------------------
F#-------5-7-8-7--5-5-5---------5---5-7-5-5---
E----5-7--------------------5-7---------------
F#--------------------------------------------
A---------------------------------------------

A SECTION			01:43-01:56

Thurston:

D#---0-0-0-0-2-2-2-2-0-0-0-0-3-3-3-3---
D#---0-0-0-0-2-2-2-2-0-0-0-0-3-3-3-3---
D-------------------------------------- x 4
D--------------------------------------
G--------------------------------------
G--------------------------------------

Lee:

B--------------------------------------------
E--------------------------------------------
F#-------5-7-8-7--7^8^7-5--------7----5--5---
E----5-7---------------------5^7---7---------
F#-------------------------------------------
A--------------------------------------------

B-----------14\----------12\----------7---
E-------------------------------5-5-5-5---  x 2
F#----12-12--------10-10--------5-5-5-5---
E-----------------------------------------
F#----------------------------------------
A-----------------------------------------

B SECTION			01:57-02:27

Kim:

B---------------------               --------------------
B---------------------               --------------------   play about 18 times until fade...
D---------------------               --------------------
G---------------------               --------------------
E---------------------  sometimes:   ----------7-7-7-7---
B---5-5-5-5-7-7-7-7---               --5-5-5-5-7-7-7-7---


At roughly 2:22, the stereo field of the song changes, as Kim's guitar fades out 
and Thurston and Lee (now in a new tuning) return, in proper left and right stereo
with Kim (and the drums) returning down the center at 2:55.

Thurston strums this chord:

D#----16----
D#----16----
D-----12----
D-----12----
G------0----
G------0----

Lee drops out at 1:57 to literally switch guitars. Every night he would use his Travis Bean Artist
for the first part of the song, then switch to the Gibson Les Paul. At 2:22 he fades in on this chord:

D-----5----
C-----5----
G-----7----
C-----7----
G-----0----
G-----0----

D SECTION			02:27-09:33

Kim doesn't enter until 2:50 or so, but her riff carries the remainder of the song:

B-------------------
B-------------------
D---0--0-0--5-5-5---   (don't always play the D string)
G---0--0-0--5-5-5---
E-------------------
B-------------------

Around 5:10 she stops the riff and just plays the open G string continuously until the
end of the song.

Thurston:

D#----------16----------16--------16-----------16---
D#----------16----------16--------16-----------16---   repeat simile while kim sings
D-----12-12----12-14-14----12--12----12-14-14-------
D-----12-12----12-14-14----12--12----12-14-14-------
G------0--------0-----------0---------0-------------
G------0--------0-----------0---------0-------------

Around 3:30 he backs off to lightly strumming the chord (0-0-12-12-16-16), then he
drops out completely, before coming back in with this sick lick at 3:57:

D#-------------------------------------------------------
D#------18b~~~-r18-16~~~~-------18b~~~-18-18-r18-16~~~~--  the 18th fret is bent up about 1 1/2 steps
D--------------------------------------------------------                                 (21st fret)
D--------------------------------------------------------	 shake w/ trem bar too
G--------------------------------------------------------
G--------------------------------------------------------

D#-----------------------14---
D#--------------13----13------  12th fret is lightly muted, 13th + 14th frets are pinch harmonics
D---12-12-12-12----12---------
D-----------------------------  play twice
G-----------------------------
G-----------------------------

D#-------------------------------------------
D#-------------------------------------------   play simile 10 times
D-------------------------x-x----------------
D--------------15-14------x-x--12-12-15-15---     w/ pinch harmonic attempts
G-----12---12--------15----------------------         + increased sloppiness
G--------------------------------------------

Dissolve into low G drone around 5:00:

D#------         --------------------------------------
D#------         --------------------------------------
D-------         --------------------------------------
D-------         --------------------------------------
G---12--  then:  ---12--12-12-12-12--12b-12-12-12-12r-- bend the 12th fret 1/2 step and hold it
G----0--         ----0---0--0--0--0---0---0--0--0--0---

Around 5:30 he turns on his Mutron Wah/Vol and takes the song to another level. At this point,
there's no sense in really transcribing anything - go watch the Easter set and see that spin cycle 
in action.

The Wah comes off at 7:50 and he starts playing the open G strings.

At 8:00 he starts picking something like:

D#------------------------------16-16-16-16---
D#------------------------------16-16-16-16---
D---------12-----12-------12------------------ Play four times
D---------12-----12-------12------------------
G------0------0------0--0----0----------------
G------0------0------0--0----0----------------

Switch to a variation like this: 

D#--------------------------------------------
D#--------------------------------------------
D---------12-----12-------12----12-12-12-12--- Play four times
D---------12-----12-------12----12-12-12-12---
G------0------0------0--0----0----------------
G------0------0------0--0----0----------------

Then start picking behind the bridge. At first he just plays one "note" steadily
then begins playing a rhythm of sorts before fading out.

Lee starts picking around the same chord shape:

D---------------------5-----------
C-------------5-----------5-------
G--------7-------7----------7-----  etc repeat simile 
C----------7-------7----------7---
G------0--------------------------
G----0----------------------------

When Kim starts singing, he adds a little lick:

D---------------------5-------7br--5-5--   or:   ---7br-5-------
C-------------5-----------5-------------         ---------5^7---
G--------7-------7----------7-----------         ---------------
C----------7-------7--------------------         ---------------
G------0--------------------------------         ---------------
G----0----------------------------------         ---------------

Then he just sinks back into arpeggiating the chord, getting quieter as Kim sings her last lines...

When Thurston starts his flaming lead, Lee kinda just rocks out around the open G strings.
There are a few moments where he plays something noteworthy, but for the most part just holds it down.

Around 5 minutes in Lee just starts letting his open strings feedback, with some nice analog delay 
encouragement. He goes from a lower drone to a higher squeal and back to open G & C...

Around 7 minutes in he starts light pick scrapes w/ ring mod + delay, Thurston's wah cloud mostly 
dominates the mix at this point.

When Thurston turns off the wah, Lee mostly sticks to lightly playing open G strings, then winds down 
completely.


text + tab by Chris Lawrence

special thanks to Larsen for original tabs

A SECTION			00:00-00:35

Thurston:

B----8------4------8------4------8------5------8------4------8--8-8-8-8-8-8-8-8-8-8--  keep picking note
E----8------4------8------4------8------5------8------4------8--8-8-8-8-8-8-8-8-8-8--   w/ more intensity
F#---0------0------0------0------0------0------0------0------0--0-0-0-0-0-0-0-0-0-0--
F#-----------------------------------------------------------------------------------  open F# string
F#-----------------------------------------------------------------------------------   optional?
F#-----------------------------------------------------------------------------------

Lee:

B----------------------
E----8-8-8-8-8-6-9-8--- x 6
F#---------------------
E----8-8-8-8-8-6-9-8---
F#---------------------
A----------------------

B-----------------------------------------------------------------------------------------------
E----8-9-8-9-10-9-8-9---10-9-8-9-10-9-10-11---11-10-9-10-11-10-9-10---11-10-11-12-11-10-11-10---
F#----------------------------------------------------------------------------------------------
E----8-9-8-9-10-9-8-9---10-9-8-9-10-9-10-11---11-10-9-10-11-10-9-10---11-10-11-12-11-10-11-10---
F#----------------------------------------------------------------------------------------------
A-----------------------------------------------------------------------------------------------

B----------------------------------------------------------------------------------
E----12-11-10-13-12-11-12-11---13-12-11-13-12-11-13-14---16-15-14-15-16-15-14-17---
F#---------------------------------------------------------------------------------
E----12-11-10-13-12-11-12-11---13-12-11-13-12-11-13-14---16-15-14-15-16-15-14-17---
F#---------------------------------------------------------------------------------
A----------------------------------------------------------------------------------

B-----------------------------------------------------------------------------
E----17-16-15-16-17-16-17-16---18-18-18-17--18-18-18-17--18-19-19-20-20-20\---
F#----------------------------------------------------------------------------
E----17-16-15-16-17-16-17-16---18-18-18-17--18-18-18-17--18-19-19-20-20-20\---
F#----------------------------------------------------------------------------
A-----------------------------------------------------------------------------

Kim:

B----9-9--9---
B----9-9--9---
D----9-9--9---
G-------------
E-------------
B-------------

B SECTION			00:35-01:17

Thurston:

B--------0-----   x 4 no solo
E--------0-----   x 4 with solo   
F#---3--(3)----   x 12 for verse
F#---3---------
F#---3---------   use yr thumb  // strum
F#---3---------   

Lee:

B-------0----
E-------0----	play 4 times no solo
F#------3----   play 4 times w/ solo
E------------   play 12 times as verse (see below)
F#---3-------
A----0-------

B----3-0-------0------------0^3-----0------0-------
E--------0-3-----3-3\5----------0^3----0-3---5br---
F#-------------------------------------------------
E--------------------------------------------------
F#-------------------------------------------------
A--------------------------------------------------

On the album, and verrry early live versions, Lee plays an additional melody
during the verse. However, once he started singing the song, he mostly stuck
to the above chord shape (03x300) for his verses.

B-------0------------------0----------------0------------0------------------0----------------0----------
E-------0------------------0----------------0------------0------------------0----------------0----------
F#---3------------------3----------------3------------3------------------3----------------3-------------
E-------------------------------------------------------------------------------------------------------
F#---3------------------3----------------3------------3------------------3----------------3-------------
A----0---0-0-5-5/4-2-0--0---0-0-5-5/4-2--0---0^2-2-2--0---0-0-5-5/4-2-0--0---0-0-5-5/4-2--0---0^2-2-2---

Kim:

B-------------------------------
B-------------------------------
D----7--9-9-------7--9-9--9-9---   repeat simile
G----0--0-0-0-0-0-0--0-0--0-0---
E-------------------------------    she does her invisible kim slide between notes
B-------------------------------

C SECTION			01:17-01:36

Thurston:

B-------------------------------------------------------------------
E-------------------------------------------------------------------
F#---5\7-----7---X-X-X-X--10\12--X-X-X-X--20-20-20-20-20-20-20-20---
F#---------------X-X-X-X---------X-X-X-X----------------------------
F#---5\7-----7---X-X-X-X--10\12--X-X-X-X--20-20-20-20-20-20-20-20---
F#---0---0-0-0------------------------------------------------------

B-------------------------------------------------------------
E-------------------------------------------------------------
F#---5\7-----7---X-X-X-X--10\12--X-X-X-X--8-8-8-8-8-8-8-8-8--- 
F#---------------X-X-X-X---------X-X-X-X----------------------
F#---5\7-----7---X-X-X-X--10\12--X-X-X-X--8-8-8-8-8-8-8-8-8---
F#---0---0-0-0------------------------------------------------

Play both twice and end on:

B---13--
E---13--
F#---0--
F#------
F#------
F#------

I always thought he fretted right across the bottom F# strings but I'm pretty
sure I hear the low F# droning during his riff. Listen to see how he plays it kind of sloppy.

Lee:

Album version:

B-----------------5\7-10-----------------5\7-7\10-10\12---
E---------------------------------------------------------
F#---5\7----------5\7-10----5\7----------5\7-7\10-10\12---
E---------7-7\9------------------7-7\9--------------------
F#---5\7--------------------5\7---------------------------
A---------7-7\9------------------7-7\9--------------------

B-----------------5\7-10-----------------5\7-10----13-----
E--------------------------------------------------13-----
F#---5\7----------5\7-10----5\7----------5\7-10----11-----
E---------7-7\9------------------7-7\9--------------------
F#---5\7--------------------5\7---------------------------
A---------7-7\9------------------7-7\9--------------------

Live version:

B-----------------5\7/5-3-----------------5\7-10---
E--------------------------------------------------
F#---5\7--7-7-7---5\7/5-3----5\7--7-7-7---5\7-10---
E--------------------------------------------------
F#---5\7--7-7-7--------------5\7--7-7-7------------
A--------------------------------------------------

B-----------------5\7/5-3-----------------5\7/5-12---   end on: --13--
E----------------------------------------------------           --13--
F#---5\7--7-7-7---5\7/5-3----5\7--7-7-7---5\7/5-12---           --11--
E----------------------------------------------------           ------
F#---5\7--7-7-7--------------5\7--7-7-7--------------           ------
A----------------------------------------------------           ------

Kim:

B----12--12-12-12---0--0-0-0-0---                   ----9----
B----12--12-12-12---0--0-0-0-0---  x 4    end on:   ----9----
D--------------------------------                   ---------
G--------------------------------                   ---------
E--------------------------------                   ---------    
B--------------------------------                   ---------

B SECTION 			01:36-02:10

This time the layout is:

- 2 times no solo
- 4 times w/ solo
- 10 times as verse

C SECTION			02:10-02:30

Lee plays a slightly different progression for the 2nd chorus (on the album).

B-----------------5\7-10-----------------5\7-7\10-10\12---
E---------------------------------------------------------
F#---5\7----------5\7-10----5\7----------5\7-7\10-10\12---
E---------7-7\9------------------7-7\9--------------------
F#---5\7--------------------5\7---------------------------
A---------7-7\9------------------7-7\9--------------------

B-----------------5\7-10-----------------5\7-3----13-----
E-------------------------------------------------13-----
F#---5\7----------5\7-10----5\7----------5\7-3----11-----
E---------7-7\9------------------7-7\9-------------------
F#---5\7--------------------5\7--------------------------
A---------7-7\9------------------7-7\9-------------------

D SECTION			02:30-03:35

Thurston:

B----2---   play once w/ wah + heavy trem bar action
E----2---
F#---0---
F#-------   
F#-------
F#-------

2:39
B---13---   play a few times w/ wah + heavy trem bar action
E---13---
F#---0---
F#-------
F#-------
F#-------

2:55
B----8---   play over and over w/ wah + heavy trem bar action       --13---
E----8---                                                           --13---
F#---0---                                                           ---0---
F#-------    @3:16 turn the wah off                                 -------
F#-------                                                           -------
F#-------                 keep playing note.... eventually end on:  -------

Lee:

B----9---
E----9---
F#---7---
E--------
F#-------
A--------

I think Lee might be using some mild ring modulation for the next part, or I've just
done a really bad job at finding the notes. I'd recommend watching a live version to see
how he approaches this section, since he is clearly playing a random series of notes
with an intentional rhythm. If you can figure out the exact notes he's playing on the record,
please let me know! 

Like the intro, he repeats a similar phrase while moving it around the fretboard in slight
increments, ending around the 19th + 20th frets.

B----12-0-10----------10-12--10-0----------10\12-- etc etc improvise sloppy simile 
E------------10-11\12--------------11-9-11--------   while slowly moving up the neck
F#---12-0-10----------10-12--10-0----------10\12--
E------------10-11\12--------------11-9-11--------
F#------------------------------------------------
A-------------------------------------------------

end on:

B----13---
E----13---
F#---11---
E---------
F#--------
A---------

Kim:

B----7-------------5-5-5----5-5-5----5-5-5----5-5-5---    eventually end on:    ---9---
B----7-------------5-5-5----5-5-5----5-5-5----5-5-5---                          ---9---
D------------------------------------5-5-5----5-5-5---                          -------
G-----------------------------------------------------                          -------
E-----------------------------------------------------                          -------
B-----------------------------------------------------                          -------

B SECTION			03:35-04:25

Thurston:

B------------0--------                                       ---2---
E--------0-----0------   repeat simile                       ---2---
F#---------3-----3----                             end on:   ---0---
F#-----3-----------3--                                       ---0---
F#---3----------------   use thumb                           ---0---
F#---3----------------                                       ---0---

Lee arpeggiates this chord, and his solo is also played underneath his vocal:

B----0---           ---2---
E----0---   end on: ---2---
F#---3---           ---0---
E--------           -------
F#---3---           -------
A----0---           -------

Kim plays her main verse riff and ends on:

B----9-----
B----9-----
D----------
G----------
E----------
B----------


text + tab by Chris Lawrence

DRUM INTRO (guitars silent)		00:00-00:07

A SECTION				00:08-01:32

Thurston's chords:

A---9------0------5------0---
A---9------0------5------0---
G---0------9------0------7---
G---0------9------0------7---
F#---------------------------
F#---------------------------

Lee sets the mood w/ some 12th fret harmonic whammy bar action, but his verse
riff follows Thurston's closely. Lee improvises additional melody lines around
these notes.

A----9---------7---------5---------0------
A----9---------7---------5---------0------
D----0---------0---------0---------0------
D----0---------0---------0---------0------
D-----------------------------------------
D-----------------------------------------

Alt melodies based on live versions:
A----9-(9-10-12-10-9)-7---(7^9-7)----(7)-5--(5^7-7-7-7-7^5-5)----0------
A----9----------------7------------------5-----------------------0------
D----0----------------0------------------0-----------------------0------ w/ 5th or 12th fret harmonics 
D----0----------------0------------------0-----------------------0------     + bar drop @ end
D-----------------------------------------------------------------------
D-----------------------------------------------------------------------

Kim:

G-------------------------------------------------------------------------------------
D---------------------------------------------------------------12--0-0--0-0--0-0-0---
A----5--0-0--0-0--0-0-0--7--0-0--0-0--0-0-0--5--0-0--0-0--0-0-0-----------------------
E-------------------------------------------------------------------------------------

B SECTION				01:32-01:46

Thurston:

A--------------------------------- toss in open A strings if you want
A---------------------------------
G---------------6b--6-6-6-6-r6-6-- bend up and return
G---------------6b--6-6-6-6-r6-6--
F#-----7--7-7-7-------------------  x 4
F#--0--0--0-0-0-------------------

Lee:

A----0----0-----0--0--0---0--
A----0----0-----0--0--0---0--
D---11---11----11-11-11--12--   x 4
D---11---11----11-11-11--12-- 
D----0----0-----0--0--0---0--  not sure about that 12th fret - maybe not in '87...
D----0----0-----0--0--0---0--    drop last chord w/ bar

Kim:

G---------------------------------  
D---------------------------------  x 2
A--4-4--4--4-4--------------------
E------------------4-4--4--4-4----   bend last notes slightly  

C SECTION			01:46-02:15

Thurston plays all harmonics:

A---------------------*12*-*12*---------------------------*12*-*12*------------
A---------------------*12*-*12*---------------------------*12*-*12*------------
G------------*12*-*12*---------*12*-*12*---------*12*-*12*---------*12*-*12*---
G------------*12*-*12*---------*12*-*12*---------*12*-*12*---------*12*-*12*---
F#--*12*-*12*---------------------------*12*-*12*------------------------------
F#--*12*-*12*---------------------------*12*-*12*------------------------------

A------------------*7*-*7*-*7*---------------------------------------
A------------------*7*-*7*-*7*---------------------------------------
G-----------*7*-*7*-----------*7*-*7*-*7*-*7*-*7*-*7*-*7*-*7*-*7*----
G-----------*7*-*7*-----------*7*-*7*-*7*-*7*-*7*-*7*-*7*-*7*-*7*----
F#---*7*-*7*---------------------------------------------------------
F#---*7*-*7*---------------------------------------------------------

Play entire sequence four times.

Lee also does harmonics:

A-----------*7*-*7*---------*7*-*7*---------*7*-*7*---               -------
A-----------*7*-*7*---------*7*-*7*---------*7*-*7*--- etc etc       -------
D---*7*-*7*---------*7*-*7*---------*7*-*7*-----------               -------
D---*7*-*7*---------*7*-*7*---------*7*-*7*-----------               -------
D-----------------------------------------------------        then:  --*7*--  shake w/ bar
D-----------------------------------------------------               --*7*--  

Repeat 7th fret harmonic variations until Kim starts singing.

Kim:

G----------------------------------------------------------------------
D----------------------------------------------------------------------
A--5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--\9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9--- x 4
E----------------------------------------------------------------------

C SECTION continued			02:15-02:44

Thurston reduces his picking when Kim starts singing:

A---------------*12*--------------*12*------------*7*--------
A---------------*12*--------------*12*------------*7*--------
G---------*12*--------------*12*-------------*7*-------*7*--- x 4
G---------*12*--------------*12*-------------*7*-------*7*---
F#--*12*--------------*12*--------------*7*------------------
F#--*12*--------------*12*--------------*7*------------------

Lee:

A--------------------------------------------------------------------------------------
A--------9--9br---------12--12b----------17---------17~~----14/12---------14/12--12~~--  play twice
D---5\7-----------7\11--------------\16------16/14-----------------14/12---------12~~--      
D--------------------------------------------------------------------------------12~~--  w/ slight      
D--------------------------------------------------------------------------------------    trem bar 
D--------------------------------------------------------------------------------------

Kim:

G----------------------------------------------------------------------
D----------------------------------------------------------------------
A---5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--\9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9--
E----------------------------------------------------------------------

G--------------------------------------------------------------------------------------------------------
D------------------------------------------------------12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12---
A---12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12---------------------------------------------------
E--------------------------------------------------------------------------------------------------------

Play twice as verse.

D SECTION				02:41-03:40

Thurston:

A--*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-------------------------------------------------
A--*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-------------------------------------------------
G--------------------------------------------------*5*-*5*-*5*-*5*--------------------------------- x 2
G--------------------------------------------------*5*-*5*-*5*-*5*---------------------------------
F#-----------------------------------------------------------------*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-
F#-----------------------------------------------------------------*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*- etc

A----0-0-0-0-0-0-0-0-0-0-0-0---------------------------------------------
A----0-0-0-0-0-0-0-0-0-0-0-0---------------------------------------------
G----------------------------0-0-0-0------------------------------------- x 2
G----------------------------0-0-0-0-------------------------------------
F#-----------------------------------0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---
F#-----------------------------------0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---

A----12-12-12-12-12-12-12-12-12-12-12-12-12-------------------------------------------------------
A----12-12-12-12-12-12-12-12-12-12-12-12-12-------------------------------------------------------
G-------------------------------------------12-12-12-12------------------------------------------- x 2
G-------------------------------------------12-12-12-12-------------------------------------------
F#------------------------------------------------------12-12-12-12-12-12-12-12-12-12-12-12-12-12-
F#------------------------------------------------------12-12-12-12-12-12-12-12-12-12-12-12-12-12- etc

A----0-0-0-0-0-0-0-0-0-0-0-0---------------------------------------------
A----0-0-0-0-0-0-0-0-0-0-0-0---------------------------------------------
G----------------------------0-0-0-0------------------------------------- -> big skronky slide up neck
G----------------------------0-0-0-0-------------------------------------
F#-----------------------------------0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---
F#-----------------------------------0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---

A----12-12-12-12-12-12-12-12-12-12-12-12-12-------------------------------------------------------
A----12-12-12-12-12-12-12-12-12-12-12-12-12-------------------------------------------------------
G-------------------------------------------12-12-12-12------------------------------------------- 
G-------------------------------------------12-12-12-12-------------------------------------------
F#------------------------------------------------------12-12-12-12-12-12-12-12-12-12-12-12-12-12-
F#------------------------------------------------------12-12-12-12-12-12-12-12-12-12-12-12-12-12- etc

Lee plays these notes in the same rhythm as Thurston:

A--------------------------
A--------------------------
D----19------17------16---- x 2
D----19------17------16---- 
D--------------------------
D--------------------------

A----19------17------16----
A----19------17------16----
D----19------17------16---- x 2
D----19------17------16----
D--------------------------
D--------------------------

The next part is played very quickly w/ tremolo picking. Once you figure out the timing of the riff
it's pretty fun to play. At first he spaces the riffs out, then he speeds it up. I'll specify the
lengths below. This is kind of separated between two guitar parts on the album, but if you listen
to a live version it should be clear.

 "RIFF A"                       "RIFF B"
A----16-16-17-16--16-16-19--      --16-16-17-16--16-16-21--
A----16-16-17-16--16-16-19--      --16-16-17-16--16-16-21--
D---------------------------      -------------------------
D---------------------------      -------------------------
D---------------------------      -------------------------
D---------------------------      -------------------------

RIFF A x 2
RIFF B x 2
RIFF A x 2
RIFF A x 2
RIFF A x 4
RIFF B x 4
RIFF A x 4
RIFF B x 4

On the last 2 reps of "RIFF B", only play the riff twice then slide back from 21st fret tremolo picking...

Kim:

G------------------------------------
D------------------------------------
A---5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-- x 2
E------------------------------------

G---------------------------------------------------------------------------------------
D---------------------------------------------------------------------------------------
A---12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12--5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--  x 3
E---------------------------------------------------------------------------------------

E SECTION				03:40-03:56

Thurston:

A----0----------0------
A----0----------0------
G----6----------2------ x 2
G----6----------2------
F#--(0)----------------
F#--(0)----------------

Lee:

A----0----------0------
A----0----------0------
D----0---------11------  x 2
D----0---------11------ 
D----0----------0------
D----0----------0------

Kim:

G------------------------------------------------------------------------------------------------------
D---12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12--\19-19-19-19-19-19-19-19-19-19-19-19-19-19-19-19--
A------------------------------------------------------------------------------------------------------
E------------------------------------------------------------------------------------------------------

This is how she plays it in footage from '87, but on the record it does almost sound like the 
open D string is droning and she's playing the high notes on the G string (7th fret to 14th fret). 
It may just be the guitar-like sound of the bass mixing with Lee's low Ds though, not sure.

then:

G------------------------
D---12---------19-------- x 2
A------------------------
E------------------------

E SECTION continued			03:56-04:38

Thurston:

A---1----1-1-0-1-3-0---0-0-0-0------                 ---1---
A---1----1-1-0-1-3-0---0-0-0-0------                 ---1---
G----------------------------0-0---- x 4    end on:  ---0---
G------------------------------0----                 -------
F#----------------------------------                 -------
F#----------------------------------                 -------

Lee:

A----0----------0------
A----0----------0------
D----0---------11------  x 2
D----0---------11------ 
D----0----------0------
D----0----------0------

Then start playing the low D strings while tweaking the trem bar, finally lowering it all the way 
to slack.

Kim:

G---------------------------------------------------------------------
D---------------------------------------------------------------------
A--5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--\9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9-9--
E---------------------------------------------------------------------

G-----------------------------------------------------------------------------------------------------
D------------------------------------------------------12-12-12-12-12-12-12-12-12-12-12-12-12-12-12---
A--12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-------------------------------------------------
E-----------------------------------------------------------------------------------------------------

Play twice.


text + tab by Chris Lawrence

special thanks to Larsen '98 + Sam Rowe '93

A SECTION			00:00-00:20

Thurston uses a Ludwig Phase II Guitar Synthesizer for most of his part. 
It is the "yadayadayadayada" sound heard at the start.

D---------------------------------------
E---------------------------------------
G---------------------------------------
D---12--12--12--14---------------------- x 4
G----0---0---0---0---14--16--16--16-----
E---------------------0---0---0---0-----

This section is repeated for the verse, but Thurston does not play while he sings.

Lee:

F#----------------------
E---17---15---14--------  w/ analog delay
B------------------17---
B-----------------------
E-----------------------
E-----------------------

Kim:

G-----------------------------------
D-----------------------------------
A----------------------------------- X 4
E--15--15-15-15---15-17--19-19-19---

For live versions, she changed to:

G-----------------------------------
D-----------------------------------
A-----------------------------------
E--15--15-15-15---12-12--12-12-12---

B SECTION			00:20-00:38

Thurston:

D------------------------------------------------------------------------------
E------------------------------------------------------------------------------
G------------------------------------------------------------------------------
D------------------------------------------------------------------------------  x 2
G---16-14-12-14---------12----14/16----16-14-12-14--------12----14/16-14-12---- 
E---------------12---12----12----------------------10--10----10----------------

This section is repeated for the chorus, and Thurston does play guitar while he sings.
During live versions, he did not play at all while singing.

Lee:

F#----------------------------------        ---0------
E-----------------------3^5-3--3----        ----------
B--------5\7--5---------------------  PLAY  ------0---
B--------5\7--5---------------------  TWICE ----------
E---0--------------3----------------        ----------
E---0--------------3----------------        ----------

The album version doesn't have much variation, but he started to improvise a lot more
during the chorus as they played the song live. He would also end the chorus by
sliding up a full barre chord across the 3rd fret all the way up the neck.

Kim:

G-----------------------------------------------------------------------
D-----------------------------------------------------------------------
A----------------------------------------------------------------------- x 2
E--15-17-15--12--12-12-12--12-12-12--15-17-15--10--10-10-10--10-10-10---

A SECTION			00:38-00:55

B SECTION			00:55-01:13

A SECTION			01:14-01:31

B SECTION			01:31-01:49

A SECTION			01:49-02:06

B SECTION			02:06-02:24

C SECTION			02:25-02:41

Thurston lightly strums this chord:

D---------
E---------
G----9----
D---------
G----9----
E----0----

Lee:

F#---5\7-7-7/5--5--5-5-5--5\8-8-8-8/5-5--5--5-5-5--5\7--7-5--5--5-5-5--
E----0--------------------0------------------------0-------------------  you can drone both
B----5\7-7-7/5--5--5-5-5--5\8-8-8-8/5-5--5--5-5-5--5\7--7-5--5--5-5-5--   the high and low E strings...
B----------------------------------------------------------------------
E----------------------------------------------------------------------
E----------------------------------------------------------------------

Kim:

G---------------------------------------------------------
D---------------------------------------------------------
A---------------------------------------------------------
E----12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12---

D SECTION			02:42-03:15

Thurston:

D--------------------------------------------------------------------
E--------------------------------------------------------------------
G--------------------------------------------------------------------  x 2
D--------------------------------------------------------------------
G--------------------------------------------------------------------
E---10~--10-7~~--7-7\14-14--14br~~\--0---3~~--3-3-3\7-7-7-7-7br-7~~--

Lee:

F#---------------------------------------
E---10---10\7--7-7-7--7\14--14-14-14-14--
B---10---10\7--7-7-7--7\14--14-14-14-14--
B---10---10\7--7-7-7--7\14--14-14-14-14--
E---10---10\7--7-7-7--7\14--14-14-14-14--
E---10---10\7--7-7-7--7\14--14-14-14-14--

F#--------0----------------3--------------------7---------------
E-------------0----------------3------------7-----7-------------
B-----------------0----------------3------7---7-----7-----------
B-----0----------------3------------------7-----------7--7-7-7--
E-------------------------------------3\7-------------7--7-7-7--
E---0---0---0---0----3---3---3---3----3\7-------------7--7-7-7--

Play all twice. 

Kim:

G------------------------------------------------------------------------------------
D------------------------------------------------------------------------------------  x 2
A------------------------------------------------------------------------------------
E---15--15-15--15-17--17\19--19-19-19----12--12\15-15---15\19--19-19-19-19-19-19-19-- w/ slight bend

E SECTION			03:15-04:35

Thurston starts playing harmonics:

D---*7*-*7*---------*7*-*7*--------------------------- 
E-----------*7*-*7*---------*7*--*5*-*5*-*5*----------     
G--------------------------------*5*-*5*-*5*----------  repeat simile
D--------------------------------*5*-*5*-*5*----------
G--------------------------------------------*5*-*5*-- 
E--------------------------------------------*5*-*5*--

He doesn't play a specific riff, just a general trem bar assisted attack on harmonics from
the 7th fret to the 5th fret (he changes when Kim plays her 2nd note). 

He switches to 3rd or 4th fret harmonics, so make sure you have some biting trebly distortion
to squeeze them out. Watch a video of them doing it to see what he gets up to.

Eventually he starts just strumming harmonics aggressively up the entire fretboard, then
settles into something like this:

D---14----21---  furious trem picking, slide up to the higher strings and then just 
E---12----19---       make a big skronky chord circa 19-21st fret and shred!
G----/-----/---
D----/-----/---
G--------------
E--------------

Lee:

F#-------------------------------------------------------------------
E--------------------------------------------------------------------
B--7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-6-6-6-6-6-6-6-6-6-6-6-6-6-6-6-6---
B--7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-6-6-6-6-6-6-6-6-6-6-6-6-6-6-6-6---
E--------------------------------------------------------------------
E--------------------------------------------------------------------

F#-------------------------------------------------------------------
E--------------------------------------------------------------------
B--7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8---
B--7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-8---
E--------------------------------------------------------------------
E--------------------------------------------------------------------

F#------------------------------------------------------------------
E-------------------------------------------------------------------
B------------------------------------------------------------------- x 2
B-------------------------------------------------------------------
E--8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-10-10-10-10-10-10-10-10-10-10-10---
E--8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-10-10-10-10-10-10-10-10-10-10-10---

F#-15--15--15-15--12--12-12--12-12--    play variation 6 times
E--15--15--15-15--12--12-12--12-12-- 
B--15--15--15-15--12--12-12--12-12--    vary between high + low strings
B--15--15--15-15--12--12-12--12-12--
E--15--15--15-15---0---0--0---0--0--
E--15--15--15-15---0---0--0---0--0--

F#-15--15--15-17--12--12-12--12-12--    play variation 6 times
E--15--15--15-15--12--12-12--12-12--
B--15--15--15-15--12--12-12--12-12--
B--15--15--15-15--12--12-12--12-12--
E--15--15--15-15---0---0--0---0--0--
E--15--15--15-15---0---0--0---0--0--

Kim:

G--------------------------------------------------
D----12-12-12-12-12-12----------------------------- x 20
A-----------------------12--12-12------------------
E----------------------------------12---12-12-12---

F SECTION			04:35-06:53

At first Thurston continues his racket from the previous section, then he lets the open
strings ring softly, settling into this lead at 5:07:

D-----9-------------------------
E-------------------------------
G-----------9-----7------------- -> drop open strings w/ trem bar (general noise)
D-----------------------9-------
G-------------------------------   repeat!
E-------------------------------

He lets some feedback ring, then at 6:16 starts slowly hitting this chord:

D---10---
E----0---  x 10		(x 4 in the single)
G----0---
D---(0)--
G--------
E--------

During live versions, this chord was always the signal to the rest of the band that they'd be 
wrapping up the noise and going back into the final verse.

Lee:

F#----------------------------------------------------
E-----------------------------------------------------
B--7-7-7-7-7-7-7-7-7-7-7-7-7-6-6-6-6-6-6-6-6-6-6-6-6--
B--7-7-7-7-7-7-7-7-7-7-7-7-7-6-6-6-6-6-6-6-6-6-6-6-6--
E-----------------------------------------------------
E-----------------------------------------------------

F#----------------------------------------------------
E-----------------------------------------------------
B--7-7-7-7-7-7-7-7-7-7-7-7-7-8-8-8-8-8-8-8-8-8-8-8-8--
B--7-7-7-7-7-7-7-7-7-7-7-7-7-8-8-8-8-8-8-8-8-8-8-8-8--
E-----------------------------------------------------
E-----------------------------------------------------

F#-----------------------------------------------------------------
E------------------------------------------------------------------
B------------------------------------------------------------------ x 2
B------------------------------------------------------------------
E--8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-10-10-10-10-10-10-10-10-10-10-10--
E--8-8-8-8-8-8-8-8-8-8-8-8-8-8-8-10-10-10-10-10-10-10-10-10-10-10--

then dissolve into a dissonant chord like this:

F#-----
E--13--
B--12-- change the fingering a bit, just bend a skronky chord around...
B--11--
E--10--     go wild!
E---0--

Beyond that, Lee just goes deeper into droning delay heavy noise. Have fun!

Kim:

G-----------
D-----12----
A------/----
E------/----

A SECTION			06:53-07:33

Lee:

F#-------------17-----------------------------------17----
E----17---15------------17---15---14------17---15---------
B---------------------------------------------------------
B---------------------------------------------------------
E---------------------------------------------------------
E---------------------------------------------------------

Return to normal verse riff when vocals begin.

B SECTION			07:33-07:55

G SECTION			07:55-19:36

I suspect each guitarist overdubbed at least one track to the outro of this song,
so I've tabbed what felt like a clear continuation of their parts and then made
notes of other key moments.

Thurston starts lightly strumming a chord like this:

D---14---
E----0---          (another gtr arpeggiates a similar chord)
G----0---
D---14---
G----0---
E----0---

And uuuh he basically doesn't stop! It gets a little more intense at times but always keeps
the same pace, until about 14:36 when (I assume) an overdub of him playing a similar "flaming lead" 
appears to wake everyone up, and the main guitar sinks lower in the mix.

D----7---9-----------
E--------------------
G------------7---9---
D--------------------
G--------------------
E--------------------

Based on the way it's mixed, I'm not sure if Thurston is doing all of the really loud heavy
wah noise stuff. I would assume so...and at this point, does it matter? Run wild on the diamond sea!

Lee arpeggiates around chords like this w/ heavy phase:

F#-----------5------       -----------3------   
E------0-3-------3--       -------2-------2--
B----------0--------  and  -----0---0---0----
B----0--------------       ---0--------------
E----0---------0----       ------------------
E----0--------------       ------------------

Around 11 minutes in he starts lightly attacking the open strings over a loop of the alternating
chords. He starts picking the open strings out and then around 12 minutes is trem picking notes
on the B strings with the other open strings ringing in.

Around 12:30 he starts trem picking these notes:

F#-------                     --------
E--------                     --------
B--------                     --12br--  let open E strings drone 
B-------- then releases to:   --12br--    while trem picking 
E---12---                     ---0----      + slowly bending B note
E---11---                     ---0----

Then he just starts letting the open strings feedback w/ delay. This lasts until 14:48 when
a very loud chord suddenly explodes in the left speaker, however if you listen to the extended version
you'll hear that this is a continuation of Thurston's lead, and the big wah burst is in the right speaker,
not the left.

As such, there's probably not much point in tabbing the remainder of the song - it is an awesome display
of blistering noise improvisation with some mixing enhancements. Do whatever you'd like, and have fun!

Kim:

G----------------------------------------------------------------------------------------------
D----------------------------------------------------------------------------------------------
A----------------------------------------------------------------------------------------------
E---15-15-15-15-15-15-15-15-15-15-15-15-15-15-15-15-12-12-12-12-12-12-12-12-12-12-12-12-12-12--

At 10:30 or so, she sticks to the E at the 12th fret.


text + tab by Chris Lawrence (aka "Diamond C", my failed hip-hop moniker)

special thanks to Larsen