Thurston's first solo album Psychic Hearts was famously written entirely in a tuning he borrowed from Stephen Malkmus of Pavement, which he'd tweaked slightly to make a little more "sonic". Those songs were written and recorded in 1994, but Thurston managed to avoid using the CGDGBB tuning during the songwriting process for Sonic Youth's next album, Washing Machine. Beginning with "Sunday", which popped up at the final date of the Washing Machine tour in '96, Thurston would make great use of the "Pavement tuning" for the early SYR and A Thousand Leaves material. At some point in '98, his brother Gene picked up an acoustic guitar Thurston had been using in this tuning and did his own minor adjustment, raising the unison B strings to C and D. This served as an inspirational spark for Thurston, and by the end of '98 he was performing solo acoustic sets containing songs composed in this new tuning, CGDGCD. Stories of these performances would circulate on the alt.music.sonic-youth newsgroup, along with a rumored title of Dream Investigations. At the time, everyone assumed a follow-up to Psychic Hearts was on its way, likely comprised of these acoustic tunes.
Film of him playing some of these songs at the Cooler on November 21st, 1998 indicates progress on at least 2 songs: sprawling versions of what we would later know as "Radical Adults Lick Godhead Style" and "Disconnection Notice", both with notably different lyrics. He continued to play acoustic sets throughout 1999, and if you track down a recording from one of his September '99 gigs, you'll recognize "The Empty Page" and further polished renditions of "Disconnection Notice" and "Radical Adults". A disc called Hurricane Floyd was released on Sublingual Records in late '99, featuring recordings from his September 16th Cambridge, Massachusetts gig. It's mostly portions of Thurston's free jazz improv with Wally Shoup and Toshi Makihara, but one piece from his solo acoustic set is also included, a 7:50 track called "Altar Boy, Church Basement". Eagle-eared listeners will note that the bulk of this instrumental would become future Sonic Youth track "Turquoise Boy", but it also contains elements that would appear in "Rain On Tin". Curiously, another tune performed earlier in the set would be released on a 2001 compilation titled Hangin' From The Devil's Tree, as "The Widow". This 3-minute instrumental would later form the foundation of "Rain On Tin". In addition to all of these future Sonic Youth tracks, another song in the set would show up in 2007, on the Ecstatic Peach sampler as "Marika" - an outtake from Thurston's actual follow-up to Psychic Hearts, Trees Outside The Academy.
Backing up a bit, in June 1999 Sonic Youth had performed their first new material since A Thousand Leaves, two instrumentals simply known as "1" and "2". Thurston was still using the CGDGBB tuning, and these songs would eventually appear on the next SY record as "Free City Rhymes" and "Renegade Princess". In July, a truck containing most of the band's touring gear was stolen, an incident that left them having to dig through their studio for instruments, some of which radically shaped the sound of their next LP NYC Ghosts & Flowers. While "1" and "2" featured the Pavement tuning, "3" through "10" found Thurston utilizing a Les Paul Special in a bizarre new tuning, with the bottom two strings lowered to a bass register. By August 26th, they had 6 new songs in addition to the 2 pre-theft tunes, and these 8 would comprise the entire new album.
Considering that tracks like "The Empty Page" "Disconnection Notice" "Radical Adults Lick Godhead Style" "Turquoise Boy" and the bulk of "Rain On Tin" were already floating around Thurston's mind, I'm somewhat surprised that none of them were given to the band following the gear theft. Obviously I'm thrilled to have the NYC Ghosts material, but it reinforces the notion that Thurston was still planning on using this material for his own solo acoustic project. Indeed, at some of the Perspective Musicales shows they did in August 2000 (during off nights on a month of dates opening for Pearl Jam), Thurston was still playing solo acoustic versions of "The Widow" "Disconnection Notice" and "Marika" (check out the amazing Carrboro set released on bandcamp to hear the first of these 3 unique nights). This was such an exciting time to be a fan of Sonic Youth - Jim had joined the band and was taking the NYC Ghosts material to new heights on the tour, Kim was working on her own solo project with Ikue Mori and DJ Olive (and later Jim), Thurston was teasing all this new acoustic material, and the band was doing more "special" gigs featuring different improv configurations, as well as a collaboration with Brigitte Fontaine.
In June 2001, they went even farther into uncharted territory and spent a week and a half in Europe attempting to reproduce the SYR4: Goodbye 20th Century material on stage, with William Winant and a host of nightly guests. The first show of this slightly controversial tour is available via bandcamp, and is a sizzling listen. After this tour wrapped up, the band was scheduled to curate their own 3-day All Tomorrow's Parties festival in Los Angeles in October, having made a not-so-slightly controversial appearance at the first installation in April 2000 (also available on bandcamp!). The events of September 11th, 2001 postponed ATP until March 2002, but a new Sonic Youth track (the first with Jim fully integrated as a contributor to the songwriting process) did appear, on a compilation disc that came with the September issue of Jane magazine. That tune, "Plastic Sun", was a fierce Kim skronk rocker, with lyrics written by Thurston. It was the only clue we had to the band's next direction, until the following month...
On October 7th, having finally been cleared to re-enter their Murray Street studio Echo Canyon (located extremely close to "Ground Zero" following the 9/11 attacks - I encourage you to read the appropriate chapter in David Browne's outstanding SY bio Goodbye 20th Century to get an idea of how close they were), the band played a WTC benefit gig at the Cooler, where they debuted five songs they had been working on, including instrumentals "Magick Chord" "Dirge" and three somewhat familiar tunes: "The Empty Page" "Disconnection Notice" and "Celtic Frost", the latter of which now had a brief Thurston verse inspired by post-9/11 fear, before unfolding into a lengthy instrumental mostly drawn from "The Widow" and "Altar Boy, Church Basement", skillfully fine-tuned by the rest of the band with masterful results. The show was filmed by SY webdude and videographer Chris Habib, and videos of each song were made available on their website almost instantly. At the time, it was honestly thrilling to hear such well-crafted, exploratory songs (though it wasn't immediately apparent that they were mostly based off ideas Thurston had been honing for nearly 3 years!).
In March 2002 the rescheduled All Tomorrow's Parties festival was preceded by a CD compilation featuring many of the bands set to appear. It contained the first new studio Sonic Youth track since "Plastic Sun", a sectional instrumental titled "Fauxhemians" that sounded unlike anything else they'd released. When their long-awaited headlining set closed the festival, we were treated to 7 new songs - the 5 premiered at the WTC Benefit (with Kim now singing "Magick Chord", rebranded "Sympathy For The Strawberry" and Lee on vocals for "Dirge", now with the intriguing title "Karen Revisited" - "Celtic Frost" had since been renamed "Rain On Tin"), as well as the surprising live debut of "Plastic Sun" (the "Britney spear" now "greasy hair") and a tune called "Radical Adults Lick Godhead Style" that, again, I had no idea was something Thurston had been playing for years on his own. The previous lyrics, written by Suzanne Angiel (? I am probably mishearing Thurston's introduction at his Sept '99 solo gigs), had been replaced by new lines pieced together from various Thurston poems.
At this point, I was extremely excited to have 7 new SY songs, plus an 8th in "Fauxhemians", and eagerly awaited what else they had in store for their forthcoming LP. Even after the brevity of the previous LP, I don't think anyone was expecting the 7 songs played at ATP to be it. But indeed, when the track list for Murray Street was revealed in the following months, that was exactly the case. I'm certainly not going to argue with the quality of that album, but I was still surprised. A few years later, when SY released their rarities collection The Destroyed Room, "Fauxhemians" was recollected, and put into proper context along with two other tracks that had previously been released as part of their web-only "Mix Tape" series in 2004 - "Three Part Sectional Love Seat" and "Queen Anne Chair". It was explained in the liners that these 3 instrumentals were taken from the "Noho Furniture Sessions" in 2001, which was basically the band writing and recording songs in Kim and Thurston's Northampton living room. Here we have 3 extremely interesting sculptures, particularly "Fauxhemians" and "Three Part Sectional" ("Queen Anne Chair" more or less sounds like various parts of Murray Street stitched together), and I have to ask...why were THESE types of songs not further developed for their follow-up to NYC Ghosts? Why did Thurston finally offer his carefully curated solo acoustic material to the band, rather than saving it for his own album and just cranking out more group-oriented compositions like "Sympathy for the Strawberry" and "Three Part Sectional Love Seat", or "Kim's Chords" (which I always thought was a Nurse outtake but now believe to have been developed with the Murray Street material)?
Well, it's suggested in Goodbye 20th Century that since Kim and Thurston had moved from New York to Northampton, there was less time to work blindly as a group and "see what happens", so it became easier to draw from existing tunes (apparently Thurston had already recorded some acoustic demos at J Mascis's Amherst studio). I recently picked up a 2006 issue of Guitar & Bass magazine with a nice Kim interview, where she basically says the Rather Ripped material was written by Thurston while he was working on his solo album, so I think at some point he just expected to have to donate his overflow of tunes to Sonic Youth. They'd always written songs as a group, but it's no secret that many of their songs were instigated by riffs Thurston had come up with on his own. I suppose the timing wasn't right for a solo album, and he knew he had a really strong batch of songs that would make for a very high quality Sonic Youth product, and indeed it did. With Jim on board to punch things up with fluid basslines and extra guitar parts, Murray Street turned out extremely tight and focused and made for an excellent, high energy tour.
"Rain On Tin" would be performed at basically every show in 2002 and 2003, usually crushing skulls relatively early in the set. In May of 2003, they filmed six songs for the PBS Soundstage series, and when it aired in September, a killer version of "Rain On Tin" was one of three songs that made the cut. In 2004 and 2005, it would take a slight backseat, often promoted to encore status, appearing in roughly 71 of the 106 shows played between those years. The most notable performance may have been at Neil Young's all-acoustic Bridge School Benefit in October 2004, where the band made a triumphant return following their less-than-stellar 1991 appearance, performing four tracks from Sonic Nurse and closing both nights with a flawless run through "Rain On Tin", one of which was released on the Bridge School Benefit compilation and further collected on SY's bandcamp set Rarities 1. After Jim left the band, the song was never played again.
An exhibit of SY ephemera titled Sonic Matters, Sonic Kollaborations was unveiled in NYC in 2000, and it was accompanied by a fascinating book containing all sorts of old SY lyric sheets, tour journals, posters, sleeve art, etc. In 2002, the exhibit appeared in Los Angeles to correspond with the band's All Tomorrow's Parties weekend, and the book was republished with additional Murray Street related materials such as lyric sheets and chord charts. Lee's page of notes for "Celtic Frost" is certainly relevant, but I'm also intrigued by an early mock up of the Murray Street artwork, which features an alternate running order including two curious titles: "Wet Nurse" and "Untitled (Party)". In addition to known titles like "Radical Adults Lick Godhead Style" "The Empty Page" and "Disconnection Notice" are working titles "Magic Chord" and "Dirge Overkill" - this is actually the only time I've seen the track "Dirge" identified by this longer name (a play on Urge Overkill, of course) and I'm not sure if that was just a joke for the dummy track listing or the actual proper title for the early version of "Karenology". More importantly, "Celtic Frost" is conspicuously absent, as is "Plastic Sun". Were "Wet Nurse" or "Party" placeholders for either of these, or just filler joke titles, or did they actually exist? I can't imagine any version of Murray Street that would not have featured "Rain On Tin", but I'm pretty sure "Celtic Frost" was the only working title it ever had. Strange, and I have no real conclusion!
It's worth noting that while Celtic Frost were a Swiss metal band who were disbanded at the time of the song's denomination, I think the actual source of the title can be surmised from Lee's notes below, where the section following the "Drone" intro is identified as "Celtic". The band would often give enigmatic descriptors to riffs/parts for their songs as they sculpted them, and I can imagine they just thought this part (which was the original opening to "The Widow", by the way) had a vaguely "celtic" sound to it, which extended to the working title as a play on the metal band's name. Other sections are referred to as "Submission" or "My Gen" - a reference to the Sex Pistols' "Sub-Mission" (which is also sampled to great effect on Lee's incredible "Live Infinity #1" recorded in Amsterdam, a track collected on his essential East Jesus LP) and the Who's "My Generation", particularly the crazy drum part towards the end of that song. If you're familiar with "Submission" it's immediately obvious which part of "Rain On Tin" this corresponds to, with the "My Generation" riff instantly following (further shorthanded as "Sub - Who" in the full song chart or "schema" as Lee calls it). I don't know if the "Verlaine" riff (played in a "reggae" style) directly relates to a specific Tom Verlaine guitar part or just seemed vaguely reminiscent, and I'm completely clueless as to the Youngbloods reference! This chart might help you figure out the song, or it might not, but it's pretty cool to see how Lee notated his parts (using a custom fretboard design stamp he made). This is the only page pertaining to "Rain On Tin" that was published, but Kim and Jim's notes on other Murray Street era songs are included, and may appear in future columns. Thurston has indicated that he never writes down any sort of tablature and goes solely by memory, an impressive but not particularly useful habit for the sake of these articles!
The unattributed liner notes to The Destroyed Room describe "Fauxhemians" as follows: "Taken from when we were just beginning to write tunes for Murray Street, set up in K+T's living room; a couch, a couple of chairs, and Aaron Mullan recording on portable 16-track digi machine T got off eBay. Titled after an essay profiling the emergence of privileged young NYC dwellers taking on the romantic airs of traditional, genuine NYC beat artists ('bohemians') of the city's past. The most obvious difference being NYC, by dint of super-inflated real estate, had now made such a lifestyle prohibitive." My transcription is mostly guesswork - I can definitely hear open B strings in Thurston's main harmonic riff (which rules out CGDGCD), and the open A strings heard in passing in Lee's channel before the song suggest to me a tuning with unison As, so I went ahead and made one up: GGDDAA (I don't think DDDDAA would be quite right, nor does eventual Murray Street staple GGDGGA seem correct.) For Jim's part, GGDEGB seems to work, but I freely admit I could be wrong about all of this. It sounds like Thurston is playing through a small amp with some heavy reverb, taking advantage of the effect to directly affect his part, which isn't something he normally used. Like his "riffs", Kim's bass part relies on odd muted harmonics, similar to "Side2Side". I doubt they ever seriously considered putting a vocal to it, but I can imagine Kim finding space to fill with lines like "Sympathy For The Strawberry".
For "Rain On Tin", the tunings are clearly defined, but rather than following the album version with its blended mix and occasional tricky panning, I would lean towards the aforementioned PBS Soundstage video, or the acoustic Bridge Benefit version, or the awesome take on the Chicago 08/17/02 set released via bandcamp. All three of these versions have excellent separation in the mix that makes it pretty clear to hear each individual guitar part, even if they've strayed a bit from the recorded version as it appears on Murray Street.
One last note, which I couldn't quite shoehorn in above - it would seem that Thurston's solo acoustic performances were tuned up slightly, a half step in '98 and then a full step during '99 and 2000. There's no visible capo in the '98 video footage, so I think he was tuned to C#G#D#G#C#D#, and then in '99 went even higher to DAEADE, which lends to the more aggressively folky, dare I say "celtic" sound that the material had in this era. Once these songs went through the Sonic Youth blender, he settled on CGDGCD, and never looked back (seriously! It's been 20 years and he's still favoring this tuning above all others).
20 years ago, everyone was eagerly requesting tabs for "Rain On Tin" - many people attempted Thurston's part (including Fanculo, Larsen, Coleman Moore, Marko Anastasov, and an uncredited tab which I used as the biggest reference), but nobody ever submitted Lee or Jim's. Just this year, two people have tried Lee's part (Daniel Ostanek and Raj Paden) and I have incorporated both of those into my tab here. I took a stab at Jim's part based mostly on live versions, since everything is a little mixed together on the album. There was also never a bass tab, so I did that as well. I don't know if anyone is still interested 20 years later, but this should be a relatively accurate map for the entire song now! As for "Fauxhemians", it's not perfect but I don't think it was really the focus of this piece, I just wanted something to highlight the "band composition" angle vs the "Thurston solo acoustic tune used as the foundation for a Sonic Youth song" angle. You can blame me and me alone for any errors there! I hope you found this interesting, and please let me know if you have any comments/corrections!
"FAUXHEMIANS"
LAYOUT
A - B - A - B - C - D - B
KIM
EADG
CENTER
THURSTON
CGDGBB
LEFT
LEE
GGDDAA
RIGHT
JIM
GGDEGB
LEFT
A SECTION 00:00-00:43 Thurston begins with a few slashing pick scrapes, then starts a harmonic riff that is not played precisely each time but goes something like this (with heavy reverb): B---*5*-*5*-*4*-*3*-*4*-*5*-*5*--- B---*5*-*5*-*4*-*3*-*4*-*5*-*5*--- repeat variation G---*5*-*5*-*4*-*3*-*4*-*5*-*5*--- D---------------------------*5*--- G--------------------------------- C--------------------------------- This is a simplification - he doesn't really play all 3 strings at once. Listen for his picking pattern and the way he accents certain notes (and often misses them, letting the open B strings sound instead). Lee does pick scrapes w/ ring mod at the start, then at 0:29 plays: A-----------------------------------------0--- A-----------------------------------------0--- D--------------------------------------------- D-----5-7-4---2---0---------5-7-4---2---0----- G--\7--------------------\7------------------- G--------------------------------------------- Jim comes in at 0:20 playing arpeggios: B--------------------------------- G---------------------------2----- repeat variation E-------------2---------------2--- D-------2---2----------2---------- use index finger to barre 2nd fret G-----4---4----------4---4-------- G---5--------------5-------------- Kim: G--------------------------------------------- D---*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*--- etc A--------------------------------------------- E--------------------------------------------- B SECTION 00:43-01:09 Thurston: B----X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-- etc B----X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-- G----------------------------------------------------------- D----------------------------------------------------------- G----------------------------------------------------------- C----------------------------------------------------------- Lee is mostly silent, but plays a note at 1:00 and then harmonics: A----------------------------------- A----1------------------------------ D----------------------------------- D----------------------------------- G----------------------------------- G-----------------*4*--------*4*---- Jim: B------------------------------------ G------------------------------------ E---*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-- etc D------------------------------------ G------------------------------------ G------------------------------------ Play for a bit then start adding the harmonic on the D string: B------------------------------------ G------------------------------------ E---*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-- etc (variation) D---*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-- G------------------------------------ G------------------------------------ End on: B------------ --------- G------------ --------- E------------ for the next B section, he ends on: ---*7*--- x 4 D------------ x 4 --------- G---*5*------ --(*7*)-- G------------ --------- Kim pauses for a bit, then plays: G---15------------------------- D------------------14---------- A------------------------------ E------------------------------ End on: G--------- D--------- x 4 (or 10th fret) A---*15*-- E--------- A SECTION 01:10-01:32 B SECTION 01:33-01:58 C SECTION 01:59-02:58 Thurston comes in after Kim plays her riff twice: B-------------5-5-5----X-X-X-X-X-- B-------------5-5-5----X-X-X-X-X-- G--------------------------------- x 10 D--------------------------------- G---5-5-5------------------------- C---0-0-0------------------------- B---20-20-20-20-20-20-20-20-20-20-20-20-20-20-- etc B---20-20-20-20-20-20-20-20-20-20-20-20-20-20-- G---------------------------------------------- D---------------------------------------------- G---------------------------------------------- C---------------------------------------------- Lee: A--------------------------5-------------5--- A--------------------------5-------------5--- D---3\5-----3-3\5-----3\5-----5---3\5--5----- D---3\5-----3-3\5-----3\5-----5---3\5--5----- G---3\5-----3-3\5-----3\5---------3\5-------- G---3\5-----3-3\5-----3\5---------3\5-------- A--------5---------5\--1-------5---------5--- A--------5---------5\--1-------5---------5--- D---3\5-----3-3\5---------3\5-------3\5------ etc til end of section D---3\5-----3-3\5---------3\5-------3\5------ G---3\5-----3-3\5---------3\5-------3\5------ G---3\5-----3-3\5---------3\5-------3\5------ Jim: B------------------ G------------------ listen for how he strums while doing a slow slide up to the 15th fret E---10\15----/10--- he holds it, then slides back down to the 10th D---10\15----/10--- (you can include the open high G if you want) G----0--0------0--- G------------------ Kim: G------------------------------------------ D----------------------------------15------ play variation 16 times A---14-14----14------14------14-------14--- E---------15------15----15------15--------- D SECTION 02:58-03:41 "What section is this??" Thurston drops out for a bit then comes in playing pick scrapes, and then his main harmonic riff from the A section. Lee: A---10-0-10-0-10-0-10-0-10-0-10-0-10-0-- etc etc A---10-0-10-0-10-0-10-0-10-0-10-0-10-0-- D---10-0-10-0-10-0-10-0-10-0-10-0-10-0-- D--------------------------------------- G--------------------------------------- G--------------------------------------- Jim: B--------------------------------------- G---12-0-12-0-12-0-12-0-12-0-12-0-12-0-- etc etc E----0-0--0-0--0-0--0-0--0-0--0-0--0-0-- the open E kinda bleeds in D---10-0-10-0-10-0-10-0-10-0-10-0-10-0-- G--------------------------------------- G--------------------------------------- Kim is silent during this part. B SECTION 03:42-04:04 Thurston: B----X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-- etc B----X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-- G----------------------------------------------------------- he is silent for the last note D----------------------------------------------------------- G----------------------------------------------------------- C----------------------------------------------------------- Lee: A--------------------------------------- A---1----------------1------------------ D--------------------------------------- D--------------------------------------- G--------------------------------------- G--------------------------------------- Jim: B------------------------------------ G------------------------------------ E---*5*-*5*-*5*-*5*-*5*-*5*-*5*-*5*-- etc (variation) D-------------------*5*-*5*-*5*-*5*-- G------------------------------------ G------------------------------------ End on: B---------- G---------- E----*7*--- D---------- G----*7*--- G---------- Kim waits for a bit, then plays: G---15------------------------- D------------------14---------- A------------------------------ E------------------------------ End on: G--------- D--------- A---*15*-- E---*15*-- text + tab by Chris Lawrence
"RAIN ON TIN"
(The parts do move around a bit in the mix, and there are overdubs, so this isn't exact.)
LAYOUT
A - B - C - A - B - C - A - D - E - F - G - H - I - J - A - K - L - M - N - O - P
KIM
EADG
CENTER
THURSTON
CGDGCD
CENTER
LEE
CGDCGD
LEFT
JIM
GGDEGB
RIGHT
A SECTION 00:00-00:58
Thurston:
D-----------0--------------------0-----
C-------0-----0-------------0------0---
G---2-----2-----2------2--2---2-------- use your thumb
D---2-------------2----2---------------
G---2------------------2--------------- repeat variation
C---2------------------2---------------
After the vocal and Jim's riff, just hit the single chord four times, no ringing notes.
Lee:
D-------
G---2---
C---2--- play this chord over and over - you can add the open D strings if you wish
D-------
G---2---
C---2---
Jim:
B-------
G---5--- start with this chord while thurston is singing
E---5---
D---7--- sometimes he just rakes it, sometimes he arpeggios
G---7---
G-------
then play:
B------------------------------
G---10br--7-----4-4\5-7--9-7--- he trem picks most notes
E----/----/--------------------
D----/-------0-----------------
G------------/-----------------
G------------/-----------------
Kim:
G-------
D-------
A---5--- x 28
E-------
B SECTION 00:58-01:21
Thurston's part is kind of tricky to tab - he's following a pretty clear pattern of notes, but trying to
track the open strings he throws in makes it look more complicated than it is. My advice would be to learn
the key melody notes and find a picking pattern that works for you.
Thurston:
D------0---10--10-10-9-0---0------0-----------------------------------------------------------------------
C----9---9---------------9------0---------0-0-------0-0--------0-------------------------------------0----
G--0-------------------------10------10-9------9-------------0------------0-0-----0-0------------------0--
D------------------------------------------------10-----10-9-----9-7--0--------------------0-0-----0------
G-----------------------------------------------------------------------9-----9-7------0------------------
C----------------------------------------------------------------------------------------9-----9-7--------
Lee:
D--------------10/12-------------------10/12---------------------------------
G--10/12-------------------10/12-------------------7/9--9-7------------------
C-----------------------------------------------------------------7\9--9-7--- x 2
D--------------10/12-------------------10/12---------------------------------
G--10/12-------------------10/12-------------------7/9--9-7------------------
C-----------------------------------------------------------------7\9--9-7---
Jim is silent for the first cycle, then comes in playing random 12th fret harmonics w/ Mu-Tron Wah/Vol.
Kim:
G----------------------------------------------------------------------------------------------------
D---------------------------------------------------------------------------------------------------- x 2
A-------------------5-5-5-5-5-5-5-5-----------------5-5-5-5-5-5-5-5----------------------------------
E---3-3-3-3-3-3-3-3-----------------3-3-3-3-3-3-3-3-----------------3-3-3-3-3-3-3-3-5-5-5-5-3-3-3-3--
C SECTION 01:22-01:33
Thurston:
D------------------------------------------
C------------------------------------------
G------------------------------------------
D--------0---------0---------0-------0-----
G------0---0-----0---0-----0---0---0---0---
C--7-5-------5\9-------9-7-------7---------
D------------------------------------------------------------------------------
C------------------------------------------------------------------------------
G------------------------------------------------------------------------------
D--------0---------0---------0-------5--------3--------7--------5--------3-----
G------0---0-----0---0-----0---0-5-5-5-5--3-3-3-3--7-7-7-7--5-5-5-5--3-3-3-3---
C--7-5-------5\9-------9-7-------5-5-5-5--3-3-3-3--7-7-7-7--5-5-5-5--3-3-3-3---
Lee:
D-----------------------------------------
G-----------------------------------------
C-------5---------9---------7--------7----
D-----------------------------------------
G-----------------------------------------
C--5-5-----5\9-9-----9/7-7-----7-7-7------
D------------------------------------------------------------------------------ you can add the same notes
G------------------------------------5--------3--------7--------5-------3------ on the high D string
C-------5---------9br-------7--------5--------3--------7--------5-------3------
D------------------------------------------------------------------------------
G------------------------------7/5-5----5/3-3----3\7-7----7/5-5----5/3-3---3---
C--5-5-----5\9-9-----9/7-7-----7/5-5----5/3-3----3\7-7----7/5-5----5/3-3---3---
Jim:
B-------------------------------------------------
G-------------------------------------------------
E---------12----------15-----------13--------13---
D---------10----------14-----------12-12-----12---
G---10-10------\14-14-----14/12-12--------12-12---
G---10-10------\14-14-----14/12-12--------12------
B----------------------------------------------------------------------------------------------------
G----------------------------------------------------------------------------------------------------
E---------12----------15-----------13--------------12--------10----------13-----------12--------10---
D---------10----------14-----------12-12-----------10---------8----------12-----------10---------8---
G---10-10------\14-14-----14/12-12--------12/10-10-----10/8-8----8\12-12-----12/10-10-----10/8-8-----
G---10-10------\14-14-----14/12-12--------12/10-10-----10/8-8----8\12-12-----12/10-10-----10/8-8-----
Kim:
G-------------------------------
D------------------------------- x 2
A-------------------------------
E---1--1-5--5-3-3-3-3-3-3-3-3---
G-------------------------------------------------
D-------------------------------------------------
A---8-8-8-8-6-6-6-6-10-10-10-10-8-8-8-8-6-6-6-6---
E-------------------------------------------------
A SECTION 01:34-01:41
Play chord four times.
B SECTION 01:42-02:04
Everyone else plays the same as before, but Jim adds a new lead:
B-------------------------------------------------------------------------------------
G-------------------------------------------------------------------------------------
E------------------------------------------------------------12-------------5\6/5-----
D---12-12-12--10/9-10^9---------12-12-12--10/9-10^9--------------12---------------5---
G-----------------------10--------------------------10-10\12--------------0-----------
G-----------------------------0-------------------------------------------------------
C SECTION 02:05-02:16
A SECTION 02:17-02:32
Play chord eight times. (There's an acoustic guitar overdubbed here too.)
D SECTION 02:33-03:03
Thurston:
D---9-9-9-9-9-9-9-9--7-7-7-7-7-7-7-7--7-7-7-7-7-7-7-7--0-0-0-0-0-0-0-0---
C---0-0-0-0-0-0-0-0--0-0-0-0-0-0-0-0--9-9-9-9-9-9-9-9--7-7-7-7-7-7-7-7---
G------------------------------------------------------------------------
D------------------------------------------------------------------------
G------------------------------------------------------------------------
C------------------------------------------------------------------------
PLAY WHOLE THING X 2
D---9-9-9-9-9-9-9-9--9-7-7-7-7-7-7-7--7-7-7-7-7-7-7-7--0-0-0-0-0-0-0-0---
C---0-0-0-0-0-0-0-0--0-0-0-0-0-0-0-0--9-9-9-9-9-9-9-9--7-7-7-7-7-7-7-7---
G------------------------------------------------------------------------
D------------------------------------------------------------------------
G------------------------------------------------------------------------
C------------------------------------------------------------------------
Lee stays quiet for 2 reps of Thurston's riff, then plays:
D------------------------------------
G------------------------------------
C---14----16--12---12--12\14-14-11--- x 2
D---12----14--10---10--10\12-12--9---
G------------------------------------
C------------------------------------
Jim stays quiet for 2 reps of Thurston's riff, then plays:
B------------------*12*-----------------------*7*-------
G-------------*12*------------------------*7*-----*5*--- harmonix w/ Mu-Tron Wah/Vol
E-----------------------*7*-----------*7*---------------
D--------*12*---------------*7*------------------------- play variation 3 times
G---*12*------------------------------------------------
G-------------------------------------------------------
Kim:
G-------------------------------------
D------------------------------------- x 8
A---5-5-5-5-5-5-5-5-------------------
E-------------------3-3-3-3-3-3-3-3---
E SECTION 03:03-03:17
Thurston:
D-------------------------------------------------------
C---0-0-0-0-0-0-0-0--0-0-0-0-0-0-0-0--------------------
G---9-9-9-9-9-9-9-9--7-7-7-7-7-7-7-7--0-0-0-0-0-0-0-0---
D-------------------------------------7-7-7-7-7-7-7-7---
G-------------------------------------------------------
C-------------------------------------------------------
D---------------------------------------------------------------------
C---------------------------------------------------------------------
G---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--- you can add low G or high C
D---5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--- if you want...
G---------------------------------------------------------------------
C---------------------------------------------------------------------
Lee:
D------------------------------
G------------------------------
C--14-14-14-12-12--12-11-9-7--- x 4
D--12-12-12-10-10--10--9-7-5---
G------------------------------
C------------------------------
Jim:
B---*7*----------------
G---------*7*---------- linger on 7th/5th fret harmonix w/ Wah/Vol
E----------------------
D----------------------
G---------------*5*----
G----------------------
Kim:
G---------------------------------------
D--------------------------------------- x 4
A---2-2-2-2-2-2-2-2-3-3-3-3-3-3-3-3-3---
E---------------------------------------
F SECTION 03:17-03:45
Thurston begins another scaly lead, and you can include open strings
here and there if you choose.
D------------------------------------------------------------------------
C------------------------7-7-9-9-7-7-------------------------------------
G---------------7-7--9-9--------------9-9-7-7----------------------------
D---5-5-7-7-9-9-------------------------------9-9-7-7--------------7-7---
G------------------------------------------------------9-9-7-7-9-9-------
C------------------------------------------------------------------------
D------------------------------------------------------------------------
C---------------7-7--9-9-7-7---------------------------------------------
G-------7-7-9-9--------------9-9-7-7-------------------------------7-7---
D---9-9-------------------------------9-9-7-7--------------7-7-9-9-------
G---------------------------------------------9-9-7-7--9-9---------------
C------------------------------------------------------------------------
D------------------------------------------------------------------------
C-------7-7-9-9-7-7------------------------------------------------7-7---
G---9-9--------------9-9-7-7-------------------------------7-7-9-9-------
D----------------------------9-9-7-7--------------7-7--9-9---------------
G-------------------------------------9-9-7-7-9-9------------------------
C------------------------------------------------------------------------
D-----------------------------------------------------------------------------------------
C---9-9-7-7-------------------------------------------------------------------------------
G-----------9-9-7-7-----------------------------------------------------------------------
D--------------------9-9-9-9-9-9-9-9--9-9-9-9-9-9-9-9--9-9-9-9-9-9-9-9--9-9-9-9-9-9-9-9---
G-----------------------------------------------------------------------------------------
C-----------------------------------------------------------------------------------------
Lee:
D----------------------------
G----------------------------
C---7-7--7-7-7--7-7--7-7-7---
D---5-5--5-5-5--5-5--5-5-5--- etc
G---0-0--0-0-0--0-0--0-0-0---
C----------------------------
Jim keeps playing 7th/5th fret harmonix then joins in w/ Lee's G drone:
B----------------------------
G----------------------------
E---3-3--3-3-3--3-3--3-3-3---
D---5-5--5-5-5--5-5--5-5-5--- etc
G---0-0--0-0-0--0-0--0-0-0---
G----------------------------
Kim:
G---------------------------------------------------------------------------------------
D---------------------------------------------------------------------------------------
A---3-3-3-3-3-3-3-3-2-2-2-2-2-2-2-2-2-----------------3-3-3-3-3-3-3-3-------------------
E-------------------------------------3-3-3-3-3-3-3-3-----------------3-3-3-3-3-3-3-3---
G-----------------------------------------------------------------------------
D----------------------------------------------------------------------------- repeat variation
A---3-3-2-2-----------------3-3-2-2-----------------2-2-2-2------------------- til end of section
E-----------3-3-3-3-3-3-3-3---------3-3-3-3-3-3-3-3---------3-3-3-3-3-3-3-3---
G SECTION 03:45-04:20
Thurston:
D-----------------------------------7--9-9--------7-9---------------
C--------------------------7--------------------------7-9-----------
G-----------7-----9---7-------9-7-------------------------7-9------- x 4
D-------7-----9-7-------9-------------------------------------7-9---
G---7-9---9---------------------------------------------------------
C--------------------------------------------------------------------
D---7-9---------------
C-------7-9-----------
G-----------7-9-------
D---------------7-9--- x 3
G---------------------
C---------------------
Lee:
D-----------------------------------------------------------------------------------------
G-----------------------------------------------------------------------------------------
C---7-7-7-7-7-7-7-7-7-7-7-7-7-7-7-7--\14-14--14-14---14-14-14-12-12-12-11-11-11-9-9-9/7--- x 4
D---5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5--\12-12--12-12---12-12-12-10-10-10--9--9--9-7-7-7/5---
G---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-------------------------------------------------------
C-----------------------------------------------------------------------------------------
D----------------------------------------
G----------------------------------------
C---14-14-14-12-12-12-11-11-11-9-9-9/7--- x 3
D---12-12-12-10-10-10--9--9--9-7-7-7/5---
G----------------------------------------
C----------------------------------------
Jim:
B--------------------------8------10-12-12----10-12---------------------
G------------7------9-7------9-7--------------------12-14---------------
E---------------------------------------------------------10-12--------- x 4
D-------7-------9-7-----9---------------------------------------7-9-----
G---7-9---9-------------------------------------------------------------
G-----------------------------------------------------------------------
B---10-12---------------------
G---------12-14---------------
E---------------10-12---------
D---------------------7-9----- x 3
G-----------------------------
G-----------------------------
Kim expanded her part for this section as they played it live more often,
but the trick is to master her long slow fluid slides, hitting the notes as
you roll up the E string to get to the G octave, and then punching the high D C G
notes and sliding back from the high G down to the 3rd fret.
G---------------------------------------------------------------------
D---------------------------------------------------------------------
A---------------------------------------------------------------------
E---3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3---
G----------------------------------------------------------------------------
D----------------------------------------------------------------------------
A------------------------------------------------------------17-15\14\-------
E---3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-\15-15-15-15-15-15-15-15-----------15\\--
G--------------------------------------------------------------
D-------------------------------------------------------------- x 2
A------------------------------------------------17-15\--------
E---3-3-3-3-3-3-3-3-7\8-8-8\10\15--15--15-15-15---------15\\---
G----------------
D----------------
A---17/15/------- x 3 (on the album she goes back to down to the low G in between)
E----------15//--
H SECTION 04:21-04:49
During this section, everyone attacks each chord for one bar (or whatever) and then when
they get to the last one, they're basically just bending and furiously picking the highest
strings for a few bars until sliding into the "Submission" part.
Thurston:
D---5--------7--------9--------10--------12--------14--------17--------19--------21-----
C---------------------------------------------------------------------------------------
G---------------------------------------------------------------------------------------
D---5--------7--------9--------10--------12--------14--------17--------19--------21-----
G---------------------------------------------------------------------------------------
C---------------------------------------------------------------------------------------
Lee:
D-------------------------------------------------------------------------------
G-------------------------------------------------------------------------------
C---7--------9-------11--------12--------14--------16--------17--------19-------
D---5--------7--------9--------10--------12--------14--------15--------17-------
G---0--------0--------0---------0---------0---------0---------0---------0-------
C-------------------------------------------------------------------------------
Jim plays some chunky lead riffage over the ascending chords that T + Lee are doing.
This is an approximation based off of live versions, but you can get the gist of it.
Each section below represents two chord changes for the other guitarists.
B----------------------------------------------------------------------
G----------------------------------------------------------------------
E--------------------------------------------------10-10-10-10\12-12---
D---7^9-9--9-7-9~~-9-7^9-9-7---9\10-10-10-9-10\12~---------------------
G----------------------------------------------------------------------
G----------------------------------------------------------------------
B--------------------------------------------------------------------
G--------------------------------------------------------------------
E-------------------------------------------------------12br-10------
D---10\12-12-12~-12-12~-12-12-12--12^14--14~14~-12/10~~---------12---
G--------------------------------------------------------------------
G--------------------------------------------------------------------
B-------------------------------------------------------------------
G-------------------------------------------------------------------
E---13~-13~-13-12-13~~-12-13-12-13\15-12--13\15~15~-15~15~15~15~~---
D-------------------------------------------------------------------
G-------------------------------------------------------------------
G-------------------------------------------------------------------
B-------------------------------------------------------------------
G---------------------------------------14-16-16--14-16br-14-16~~--- move to high random skronk
E---15-17-17-15-17~~-15-17--17~17~17~------------------------------- for a few bars
D------------------------------------------------------------------- like the other guitars...
G-------------------------------------------------------------------
G-------------------------------------------------------------------
Again, Kim's part is a little less formed on the album, but she established
a solid series of root notes for the live takes:
G-------------------------------------------------------------
D-------------------------------------------------------------
A-------------------------------------------------------17---- hold last chord til next section
E---3-----5-----7-----8-----10-----12-----13-----15-----15----
I SECTION 04:50-05:03
Thurston:
D-------------------------------------
C-------------------------------------
G------------------------------------- x 4
D-------------------------------------
G---7-7-7-7-5-5-5-5-9-9-9-9-7-7-7-7---
C---7-7-7-7-5-5-5-5-9-9-9-9-7-7-7-7---
Lee:
D-------------------------------------
G-------------------------------------
C------------------------------------- x 4
D---5-5-5-5-3-3-3-3-7-7-7-7-5-5-5-5---
G---7-7-7-7-5-5-5-5-9-9-9-9-7-7-7-7---
C---7-7-7-7-5-5-5-5-9-9-9-9-7-7-7-7---
Jim:
B-----------------------------------------------------
G-----------------------------------------------------
E----------------------------------------------------- x 4
D---12-12-12-12-10-10-10-10-14-14-14-14-12-12-12-12---
G---12-12-12-12-10-10-10-10-14-14-14-14-12-12-12-12---
G---12-12-12-12-10-10-10-10-14-14-14-14-12-12-12-12---
Kim:
G-------------------------------------
D------------------------------------- x 4
A-------------------------------------
E---3-3-3-3-1-1-1-1-5-5-5-5-3-3-3-3---
J SECTION 05:04-05:10
Thurston:
D-------- -------
C-------- -------
G-------- slide up ------- slide up
D-------- to skronk ------- to skronk x 2
G---5---- chord ---3--- chord
C---5---- ---3---
Lee:
D------------------
G------------------
C------------------
D---3-3-----1-1---- x 2
G---5-5-----3-3----
C---5-5-----3-3----
Jim:
B-------- -------
G-------- -------
E-------- slide up ------- slide up x 2
D---10--- to skronk ---8--- to skronk
G---10--- noise ---8--- noise
G---10--- ---8---
Kim:
G---------------
D--------------- x 2
A---8------6----
E---------------
A SECTION 05:11-05:18
Lee, Jim, and Kim all play their intro chords four times.
Instead of the intro chord, Thurston plays:
D---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---
C---9-9-9-9-9-9-9-9-7-7-7-7-7-7-7-7--- x 3
G---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---
D-------------------------------------
G-------------------------------------
C-------------------------------------
K SECTION 05:18-05:29
Thurston continues his previous part:
D---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---
C---9-9-9-9-9-9-9-9-7-7-7-7-7-7-7-7--- x 1
G---0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0---
D-------------------------------------
G-------------------------------------
C-------------------------------------
Lee is silent during this part.
Jim is silent during this part.
Kim:
G-------------------------------------
D------------------------------------- x 3
A---5-5-5-5-5-5-5-0-------------------
E-------------------3-3-3-3-3-3-3-3---
L SECTION 05:30-06:12
Thurston:
D-------0---10--10----9-0-----------------------------------
C-----9---9--------9------9-0-------------------------7-----
G---0--------------------------9---7-7-7-7-------9--9---9--- x 4
D------------------------------------------10---------------
G-----------------------------------------------------------
C-----------------------------------------------------------
D-----------------------------
C-----------------------7-----
G----7-7-7-7-------9--9---9--- x 3
D------------10---------------
G-----------------------------
C-----------------------------
Lee:
D-----------------------------------------------------------------------------------
G------------12-------------------12-------------------10-----------------10-------- play variation
C------11-------11----11-----11------11-----------9-------9----9-----9-------9------ around those shapes
D---12----12-------12-----12----12------12/10--10---10------10----10---10------10---
G----------------------------------------------------------------------------------- x 4
C-----------------------------------------------------------------------------------
D---------------------------------
G----12-12-12-10---10--10-10\12---
C----11-11-11--9----9---9--9\11--- x 3
D----12-12-12-10---10--10-10\12---
G---------------------------------
C---------------------------------
Jim:
B------------13---13-12-12-10------------------------------
G---14-14-14---------------------------------------12------
E-----------------------------12----------------12----12--- x 4
D-----------------------------------12-12-10---------------
G----------------------------------------------------------
G----------------------------------------------------------
B-----------------------------
G---------------------12------
E----------------\12-----12--- x 3
D---12-12-12/10---------------
G-----------------------------
G-----------------------------
Kim:
G--------------------------------------------------------------------
D-------------------------------------------------------------------- x 4
A---------------------------------------------------5--5-0-----------
E---3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3--------3-3-3-3---
G-------------------------
D------------------------- x 3
A-------------5-5-5-0-----
E---3--3-3-3----------3---
M SECTION 06:12-06:43
Thurston strums lightly behind the bridge for 2 rhythm cycles, then plays:
D---12--------9--------------------------------------------------------------------
C-----------------------12--------9------------------------------------------------
G-------------------------------------------12--------9----------------------------
D---------------------------------------------------------------12--------9--------
G----------------------------------------------------------------------------------
C----------------------------------------------------------------------------------
Lee:
D-------------------------------------------------------------
G-------------------------------------------------------------
C-------------------------------------------------------------
D------12-----12-----12-----12-----10-----10-----10-----10---- x 4
G---12-----12-----12-----12-----10-----10-----10-----10-------
C-------------------------------------------------------------
Jim is silent for two cycles, then comes in with Thurston:
B---15-------12--------13-------10------------------------------------------------
G-------------------------------------------12--------9---------------------------
E---------------------------------------------------------------------------------
D--------------------------------------------------------------12--------9--------
G---------------------------------------------------------------------------------
G---------------------------------------------------------------------------------
Kim:
G--------------------------------------------
D-------------------------------------------- x 4
A--------------------------------------------
E---3-3--3-3--3-3--3-3--3-3--3-3--3-3--3-3---
N SECTION 06:43-06:51
Thurston bides time on this note:
D-----------------------------------------------------------------------------------------------------
C-----------------------------------------------------------------------------------------------------
G-----------------------------------------------------------------------------------------------------
D----9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9--9---
G---12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12-12---
C-----------------------------------------------------------------------------------------------------
Lee starts this progression, which continues into the next section:
D----------------------------------------------------------------------------------------------
G----------------------------------------------------------------------------------------------
C---14-14-14-14-14-14-14-16--16-16-16-16-16-16-17-17-17-17-17-17-17-16--16-16-16-16-16-16-16--- x 1
D---12-12-12-12-12-12-12-14--14-14-14-14-14-14-15-15-15-15-15-15-15-14--14-14-14-14-14-14-14---
G----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---
C----------------------------------------------------------------------------------------------
Jim plays a clearer riff in live versions:
B-------------------------------------------------------------
G-------------------------------------------------------------
E-------------------------------------------------------------
D---9-9-9\10---9-10-9-10\12---12-12-12-12-12/10--10/9-10------
G---0-0-0--0-------------------------------------------------- play open G string throughout riff
G-------------------------------------------------------------
Kim:
G---------------------------------------------------------------------
D---------------------------------------------------------------------
A---------------------------------------------------------------------
E---3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3---
O SECTION 06:51-07:21
Thurston:
D--------------------------------------9--12-12----9^12^9------------------
C------------------------------9--------------------------12-9-------------
G-------------9------12--9-------12-9--------------------------12-9-------- x 4
D--------9-12---12-9-------12---------------------------------------12-9---
G---9-12-------------------------------------------------------------------
C--------------------------------------------------------------------------
Lee:
D----------------------------------------------------------------------------------------------
G----------------------------------------------------------------------------------------------
C---14-14-14-14-14-14-14-16--16-16-16-16-16-16-17-17-17-17-17-17-17-16--16-16-16-16-16-16-16--- x 2
D---12-12-12-12-12-12-12-14--14-14-14-14-14-14-15-15-15-15-15-15-15-14--14-14-14-14-14-14-14---
G----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---
C----------------------------------------------------------------------------------------------
D---------------------------------------------------------------------------------------
G----------------12-------14~--12-------------------------------------------------------
C-------------------------------------------------------------------------11-------11---
D---------12-14-----14-12---------14--14~-12-------12^14-12------------------14-12~-----
G---12-14------------------------------------14~------------12~~----11^12---------------
C---------------------------------------------------------------------------------------
Jim:
B------------------------------10----------12-15-15----12^15-15-10-13--------------
G--------------9------12--9--------12-9--------------------------------9-12--------
E---------------------------------------------------------------------------------- x 4
D--------9-12----12-9-------12----------------------------------------------9-12---
G---9-12---------------------------------------------------------------------------
G----------------------------------------------------------------------------------
Kim plays a very similar part to section G:
G---------------------------------------------------------------------
D---------------------------------------------------------------------
A---------------------------------------------------------------------
E---3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3---
G----------------------------------------------------------------------------
D----------------------------------------------------------------------------
A------------------------------------------------------------17-15\14\-------
E---3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-\15-15-15-15-15-15-15-15-----------15\\--
G--------------------------------------------------------------
D-------------------------------------------------------------- x 2
A------------------------------------------------17-15\--------
E---3-3-3-3-3-3-3-3-7\8-8-8\10\15--15--15-15-15---------15\\---
P SECTION 07:21-07:56
Thurston:
D---9^12^9------------------9^12^9------------------9^12^9------------------
C----------12-9--------------------12-9--------------------12-9-------------
G---------------12-9--------------------12-9--------------------12-9--------
D--------------------12-9--------------------12-9--------------------12-9---
G---------------------------------------------------------------------------
C---------------------------------------------------------------------------
After the repeats of that riff, he basically floats around that scale. I actually thought
I was tabbing the album version when I pointlessly worked this next bit out to the exact note,
and was then surprised by a burst of crowd noise following the final chord. Ooops, this is the
ending to the Chicago 08/17/02 version, not the album! Either way, you get the idea.
The part marked with **** is where the drums/bass stop.
D---------------------------9---------9------12-9-------------------------------------------
C-------------9------12-9-----12-9-12---12-9------12-9----9----9---------9----9----9--------
G--------9------12-9------12---------------------------12---12---12-9-12---12---12---12-9---
D---9-12---12-------------------------------------------------------------------------------
G-------------------------------------------------------------------------------------------
C-------------------------------------------------------------------------------------------
D-----------9------12-9----9------12-9----9------------------------------------------------------
C---12-9------12-9------12---12-9------12---12-9-----9----9------------------------9----9--------
G--------12---------------------------------------12---12---12-9----9---------9-12---12---12-9---
D----------------------------------------------------------------12---12-9-12--------------------
G------------------------------------------------------------------------------------------------
C------------------------------------------------------------------------------------------------
D------9---------9----9----9----9-12-9-12-9-12-9-9--------------****--------------------------------
C---12---12-9-12---12---12---0---------------------12-9----9------------------------9---------9-----
G-------------------------------------------------------12---12-9----9---------9-12---12-9-12---12--
D-----------------------------------------------------------------12---12-9-12----------------------
G---------------------------------------------------------------------------------------------------
C---------------------------------------------------------------****--------------------------------
D---9------12-9----9------12-9----9------12-9------------------------------------------------12---
C-----12-9------12---12-9------12---12-9------12-9----9------12-9---------9---------9-------------
G--------------------------------------------------12---12-9------12-9-12---12-9-12---12-9-9------
D-------------------------------------------------------------------------------------------------
G-------------------------------------------------------------------------------------------------
C-------------------------------------------------------------------------------------------------
Lee:
D------------------------12---
G------------------------12--- play variation 15 times, then drums/bass drop out
C---------------12-12-12-12---
D---------12-14--------------- play variation 6 times til end
G---12^14---------------------
C-----------------------------
end on:
D---12---
G---12---
C--------
D--------
G--------
C--------
Jim:
B---12^15-15-10-13--------------12^15-15-10-13--------------12^15-15-10-13--------------
G-------------------9-12------------------------9-12------------------------9-12--------
E---------------------------------------------------------------------------------------
D------------------------9-12------------------------9-12------------------------9-12---
G---------------------------------------------------------------------------------------
G---------------------------------------------------------------------------------------
B------------------------------------
G------------------------------------
E--------------------------\12------- repeat variation until drums/bass stop
D--------9^12-12~~-------9-----12~~--
G---9^12------------9^12-------------
G------------------------------------
B------------------------- ------
G------------------------- ------
E------------------------- repeat variation until final note: ------
D--------9----12-9-------- --12--
G---9-12---12------12-9--- --12--
G------------------------- ---0--
Kim:
G---------------------------------------------------------------------------------------
D---------------------------------------------------------------------------------------
A---------------------3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-----------------3-3-3-3-3-3-3-3---
E---3-3-3-3-3-3-3-3-3---------------------------------3-3-3-3-3-3-3-3-------------------
G---------------------------------------------------------------------
D---------------------------------------------------------------------
A-------------------3-3-3-3-3-3-3-3-----------------3-3-3-3-3-3-3-3--- PAUSE
E---3-3-3-3-3-3-3-3-----------------3-3-3-3-3-3-3-3-------------------
end on:
G-----
D-----
A-----
E--3--
text + tab by Chris Lawrence
Huge historical thanks to Fanculo, Larsen, Coleman Moore, Marko Anastasov, and the uncredited tab artist
who did (in my opinion) the closest representation of Thurston's part, all those years ago.
Massive present day thanks to Daniel Ostanek and Raj Paden for help with Lee's part.
Also, in case anyone's wonderin', the colour codes are loosely based on Thurston and Lee's signature
Jazzmasters, Kim's extensive use of the J Mascis Jazzmaster, and Jim's Insignificance LP cover.
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