Blah blah blah gear theft. Blah blah blah Bumbershoot. If you've been reading the entries in this series, you're probably already overly familiar with the gear theft and its immediate aftermath, but for the next couple of weeks we'll be looking at songs directly affected by this incident. The NYC Ghosts & Flowers album had a curious reaction when it was originally released in May 2000, but for me it stands up as one of the most interesting records in their catalog, and one that deserves a closer look. So, my apologies if it feels like we've been here before, but let's go back to that fateful date in July 1999...

Having headlined an event billed as This Is Not A Festival! in Berkeley, California on July 2nd, Sonic Youth were prepared to play one more date in California before heading to Austin, Texas for two shows and one more in Santa Fe, New Mexico. After their February European tour, they'd played a few one-off shows in NYC, including the premiere of the SYR4 material on April 1st, and a largely instrumental set at the Seaport Atrium on June 13th, where they unleashed two new songs: "1" and "2". In Berkeley they had fashioned a set list that began with some "classics" before shifting to the few remaining A Thousand Leaves songs, and then the second appearance of "1" and "2", followed by more classics. After two years of focusing primarily on their newest material, it was exciting that they were having fun playing the old songs again, with a couple of new ones mixed in to prove they were still looking forward.

In the early hours of July 4th, the Ryder truck containing all of the equipment the band had brought with them for the five dates was stolen outside of the Ramada Inn they were staying at. Scheduled to headline the This Ain't No Picnic festival in Irvine that evening, the band was faced with the immediate issue of how to approach that show, let alone the implications for any future performances. Much of Sonic Youth's gear had been radically modified over the years, some dating back to the earliest days of the band, specifically altered in ways that they relied on for particular songs or sounds. For the July 4th set, they were able to cobble together gear from the supporting bands, and play a pretty damn solid show, all things considered. Realistically, the 13-song set required around 16 different tunings between the 3 guitarists, which they mitigated by having the set flow based on changing Lee's tuning - from GGDDGG for "She Is Not Alone" and "Teenage Riot" to GGDDFF for "Mote" to GGDDD#D# for "Brother James", then switching to a CGDGBB/GGDAGA block, etc. They made it work, but there were three gigs left, so when they arrived in Austin they bought some new equipment, including a couple of Gibson Les Paul Specials, some Jazzmasters, a Dearmond Jet Star, and a P-Bass. They returned home and rummaged through the mountain of gear they'd accumulated at their Echo Canyon studio, and did exactly what you'd expect when faced with adversity: began writing more new material.

A month and a half later, the band appeared unannounced at the Knitting Factory in NYC, testing out eight brand new songs on a small audience a week before they were due to return to Seattle's Bumbershoot festival, where they'd played a set of all-new instrumental material in 1997. For their Sunday afternoon set on September 5th, they would play the same eight new songs, with only the encore piece featuring any vocals (and the lone oldie, "She Is Not Alone"). Like the '97 gig, I found myself in the front row, this time with a recordable walkman, very excited to have captured a full batch of new tunes (barring a tape flip mishap that caused me to miss the first minute or two of the last song in the main set). Afterwards, some of us shouted at a stagehand for a set list, who lifted one up and laughed at us - the sheet of paper merely read "1" "2" "3" "4" etc. However, one was offered to the crowd, and the guy next to me caught it, where we confirmed that it did indeed simply say:

So, while 16-year-old me would have much preferred a set list equivalent to their February/July "classic" tours, looking back I can really appreciate being in attendance for this insanely oddball debut of these eight songs (at the time, the Knitting Factory show wasn't known). I instantly transferred and uploaded my tape when I got home, sharing these new tunes with other rabid fans on alt.music.sonic-youth. The songs were even weirder than the A Thousand Leaves material, reminding me in some ways of classic Confusion is Sex era compositions, with Thurston scripting entire parts with a drumstick or metal file or bike horn (!) under his strings. As I mentioned in the "She Is Not Alone" entry, that song felt right at home with the freshly developed future NYC Ghosts material. Of course, everyone assumed this was just the beginning and more songs would be cooked up for the forthcoming album, but the joke was on us. When NYC Ghosts & Flowers dropped the next year, it contained these exact 8 songs in this exact order (and the liners suggest it was mostly recorded in August 1999, predating the Bumbershoot performance!).

"1" and "2" had already been premiered prior to the gear theft, but I believe the remainder of the set was written after they got back from the July tour. I could be mistaken, but the fact that songs 3 through 10 all feature Thurston on a maroon Les Paul Special (which Kim had been using in Austin) suggest to me that he gravitated towards it as something out of his ordinary arsenal, put it in a really weird tuning, and just went from there. "1" and "2" (later titled "Free City Rhymes" and "Renegade Princess") shared the same tunings, with Thurston still in the Pavement tuning (CGDGBB), Lee on a 12-string strung up with 10 strings (over all the years he used 12-string guitars, he would never double up the lowest 2 strings), and Kim on a Les Paul in a new tuning (DGDDBB). I think that before the theft, Lee was using a Fender XII for these two songs, but for the Bumbershoot set he was wielding a 12-string Kent (he'd previously used a Kent guitar for the creation of the GDD# tuning in 1983, until it broke onstage during the EVOL tour). Thurston had a new black Jazzmaster, and Kim was using a mustard coloured Les Paul Special, which Lee had originally been playing when it was freshly purchased in Austin.

i would love to see more pix from this show if anyone has any!

Now, my memory is that Lee used the Mustang for all of the new songs aside from the ones he played the 12-string on (or the encore, where he played a synth). However, I can't reconcile that with this picture from the show where I swear he's playing the white Jazzmaster (which Thurston had initially played in Austin). With Kim on bass and Thurston on the maroon Les Paul, it has to be either "Side2Side" "StreamXSonik Subway" or "NYC Ghosts & Flowers" (aka "9"), but on my tape I clearly comment before "Side2Side" that Lee is back on "the first guitar" and afterwards I say he's "back to the Mustang" (for "StreamXSonik"). Because of the tape flip drama, it's possible I just didn't register that he was using the white Jazzmaster (which he did indeed use for the DFCDFF tuning for the 2000 tour, with Jim adopting the Mustang for himself). In any case, I remember everyone going WILD after they finished playing the future title track, totally blown away by the wall of sound they'd created for the outro. I suspect they knew they'd have to cut the Tenney piece so they just incorporated some of that intensity into "NYC Ghosts".

For the encore of "10", Thurston wedged a bike horn under his strings, Kim played a trumpet (and a new Ibanez Talman, which Thurston first played in Austin), Lee played a Moog Rogue synthesizer, and I didn't know it but Steve was jammin' on a (presumably Roland?) Groovebox. Kim repeated a sole lyric: "Lightnin' strike me down" and just like that, they were gone.

That would be their only full show until April 2000, when they made their infamous appearance at the first All Tomorrow's Parties festival, either taunting or tantalizing the crowd with "New Drone" (later "J'Accuse Ted Hughes"), followed by the premiere of most of the NYC Ghosts material with vocals. However, they did two more shows in '99 - back-to-back nights at St. Ann's Church as a tribute to Harry Smith, backing Roswell Rudd on "Dry Bones" (a track from the American Anthology of Folk Music box set curated by Smith), and performing two of their own new instrumentals: "1" and "3".

While Wharton Tiers had initially assisted the band with recording these songs in their Echo Canyon studio, it was Jim O'Rourke who came on board to fully realize them, taking time to re-record drum parts and electronically process some of the tracks, even adding some bass here and there. His influence pushed the sound in a new direction, less straight Confusion and more produced, though the songs were still extremely abstract. It was hard to imagine anything serving as a single, even after the vocals were revealed. As it turned out, "Nevermind (What Was It Anyway)" would be the spotlight track, with a video directed by the band's web designer and visual archivist, Chris Habib (under his frogme imprint). Starring Sleater-Kinney and Pierre Bailly, it can be seen on the Corporate Ghost DVD. Unfortunately, the single planned to accompany the video (featuring the All Tomorrow's Parties version of "Lightnin'" as a b-side) would never see release, likely a result of massive mergers occurring at the time in the record industry, with Geffen being swallowed up by Interscope, a sign of the changing landscape of popular music as a whole (or something? - not my area of expertise, so check out David Browne's excellent Goodbye 20th Century for some inside info on the band's experience with their label around this time, particularly crossing awkward paths with their new A&R dude).

When they began touring in June to support the album, they asked Jim O'Rourke to tag along as a fifth member, providing extra guitar, bass, synth, and overall good times. Most shows featured six or seven songs from the album, depending on whether they included both "Renegade Princess" and "Small Flowers Crack Concrete". "NYC Ghosts & Flowers" closed every single set, having become an even more formidable force of nature since its big stadium debut, with Lee's vocal propelling the first half of the song to build tension towards the explosive climax, which grew longer with each passing night. "Lightnin'" was almost always the encore, unless it got sadly bumped for a "classic" (it too would expand as the tour progressed - a personal favorite is an 18-minute version in Los Angeles on July 23rd!).

"Nevermind (What Was It Anyway)" and "Side2Side" became permanently fused together, with Thurston beginning the behind the bridge strumming intro of the latter song as "Nevermind" was winding down. Jim, who had added a bass part to "Nevermind", would use his laptop to feed Kim's backing track of random spoken words for "Side2Side", while she sang the proper lead overtop. As the tour progressed, he would add further manipulation and effects, playing her voice backwards for an even spookier effect. This medley served as the centerpiece for most 2000 shows (including every Pearl Jam opener!), with the only exceptions being the first night of the European tour in Evreux, France, where the band played a shortened festival set and cut "Side2Side", and a special pair of Ystad, Sweden gigs where they played "Side2Side" but not "Nevermind", focusing primarily on older material.

And then there was Conan! On July 18th, the band made their third appearance on Late Night, the second with Conan O'Brien as host, performing an abbreviated version of "Nevermind (What Was It Anyway)". It's a really nice take, with time allowed for the intro to build, trimming the outro instead. And Thurston still teased the behind-the-bridge segue to "Side2Side", which was naturally left unfulfilled. For this appearance, Thurston's maroon Les Paul was unavailable so he borrowed a real Les Paul, which inspired him to buy his own for the west coast tour that started a couple of days later. However, he still seemed to prefer the maroon Les Paul Special, so the shiny new one was abandoned until Lee needed something to get Rather Ripped with.

Sonic Youth only played 25 shows in 2001, which began with a 5-date Japanese tour and a handful of American dates in late April and early May. These sets were consistent with the previous year, aside from the reemergence of "Drunken Butterfly". The "Nevermind"/"Side2Side" pairing retained its frequency up until the last of these dates, when a shorter gig in Memphis found "Side2Side" getting axed. The tables would turn in June when the band did their infamous "Goodbye 20th Century" tour in Europe, bringing the SYR4 material to the stage for the first time since that April 1st, 1999 NYC show. After challenging audiences with their interpretations of scores by Tenney, Cage, Reich, and Ono, they would treat them to three Sonic Youth originals: "She Is Not Alone" "NYC Ghosts & Flowers" and "Side2Side". With William Winant along for the ride, "Side2Side" became even more majestic in its live presentation (Winant had also provided percussion on the album version). Am I crazy, or do I hear a jaw harp on the version from the tour debut in Paris?

The band played only two proper "rock" sets on this tour, and both featured the "Nevermind"/"Side2Side" combo. Probably the most curious performance was at the Sonar Festival in Barcelona, Spain on June 14th, where their set consisted of a lengthy improv leading into an even lengthier "She Is Not Alone", followed by half-hour SYR4 monolith "Four6", and closing with the wonder of "Side2Side". After the final show in Rome, most of NYC Ghosts & Flowers had been played for the last time, aside from the title track, which squeezed through til the end of the year, and "Nevermind"/"Side2Side" - "Nevermind" made an isolated appearance in the March 2002 All Tomorrow's Parties set, and both songs would be played one last time in Berlin, Germany on July 9th, the Murray Street era well underway.

"Nevermind (What Was It Anyway)" revolves around a signature Kim riff, with unusually fluid lead guitar work by Thurston, and Lee making the most of his new Moogerfooger Ring Modulator, which replaced his classic Maestro ring mod after it was stolen. The radically detuned low notes of Thurston's Les Paul drive the remainder of the song, with Kim playing a slicing melodic counterpart riff overtop. In Lee's score chart (pictured above), he identifies this section as "Fela/afro", a reference to Fela Kuti and Afropop, but I remember thinking it sounded just like "I Wanna Be Yr Dog" the moment I first heard it. Either way, it's a great groove with some really cool guitar work by everyone, and a fine example of Steve's storytelling ability, shaping the pace of the song with his choice of beats.

"Side2Side" is such an odd tune, very minimal in concept, but tied together so well with Kim's vocal treatment. When she first sang it live at All Tomorrow's Parties, I was underwhelmed, but then I heard the record with her running commentary style background vocal and it all made sense. This song demonstrated Jim O'Rourke's massive importance to the 2000 tour (and beyond), with him processing her vocals on his laptop making the song possible to be replicated live in a worthwhile manner. I'm pretty sure Lee used the Kent 12-string in its original "Free City Rhymes" tuning on the record, but when he assigned a new Fender XII to that song for the 2000 tour, he retuned the Kent to a much wilder series of notes that really elevated his part on "Side2Side" to a higher level with its totally atonal open chord. Having worshipped my audience tape of that Bumbershoot show, I always hoped the band would release some instrumental versions of the songs, and I got my wish when they dropped "Side2Side2" on the Elysian Fields soundtrack released in conjunction with SY's May 2000 Paris installation. The track was literally the album version of "Side2Side" without the vocals, the skeleton revealed. Still waiting on the rest...

I tabbed both songs back when they first came out and I'd seen them played night after night, but to be honest my "Nevermind" transcription was kinda weak. I've done a deeper inspection and think I've gotten it pretty close, but I'm always open to comments and corrections! Stay tuned next week when we'll check out at least one more song from this ghostly batch of tunes, so don't retune that Les Paul just yet...

Check out the Gear Guide for more info on the stolen gear (and all of the equipment used throughout the band's history). Also, check out a video of this week's featured songs performed live in Washington, DC on June 20th, 2000 - filmed from the front row by yours truly (and yes, that is goofy teenage me getting blindsided by Thurston at the start and totally cracking under the pressure of having to say something clever - at least my other site got a plug from Lee!).

A SECTION				00:00-02:00

Kim's verse riff:

B-----------------------------
B-----------------------------
A---8-8--8-8--8--8-8---------- x 31
D---7-7--7-7--7--7-7----------
A---0-0--0-0--0--0-0--8-8-8---
D---0-0--0-0--0--0-0--0-0-0---

Thurston comes in after Kim has played her riff twice:

F#------------------------------------------------------11~----------------------------------
A-----------------7br-------------------------------12--------12-----------------7-----------
F---7^9-------7^9---------7^9--9-9\11--9-9~~-----11--------------11~~--------7-----9-7-9~~---
C------------------------------------------------------------------------7-9---9-------------
G--------------------------------------------------------------------------------------------
F--------------------------------------------------------------------------------------------

F#----------------------------------------------------------------------------------------------
A-----------7---------------------------7----------------------7--------7-----------------------
F-------7-----9-7-9~--7-------------7-----9-7-9br~~~-------7-----9-7-9----9-7----7--7-9-9br~~---
C---7-9---9-------------9--9-9--7-9---9----------------7-9---9-----------------9----------------
G-----------------------------------------------------------------------------------------------
F-----------------------------------------------------------------------------------------------

F#---------11------------11-------------11-------------11--------------------
A------12------12-----12----12-------12------12-----12----12\----------7br---
F---11------------11-------------11-------------11-----------------7-9-------
C----------------------------------------------------------------------------
G----------------------------------------------------------------------------
F----------------------------------------------------------------------------

Kim starts singing:

F#--10-------------10-10---10-10------10-10------10---10---10-10--------------
A------7-----------------7----------7----------7----7----7--------------------
F--------9-9--9-9---------------------------9--------------------9-9--9-9-9---
C-----------------------------------------------------------------------------
G-----------------------------------------------------------------------------
F-----------------------------------------------------------------------------

F#----------------------------------------------------------------------------------
A---------------------7-----------------------7-------------------------7-----------
F-----------------7-----9-7-9~~-----------7-----9-7-9---7-----------7-----9-7-9br---
C---9-9-9-9-9-7-9---9-----------------7-9---9-------------9--7--7-9---9-------------
G-----------------------------------------------------------------------------------
F-----------------------------------------------------------------------------------


F#----------------------------------------------------------------------------------
A-----------------------------------------------------------------------------------
F-----0---0---0-----0-----0---0----0---0---0-----0----------------------------------
C---2---2---4~--4^2---2-0---0----2---2---4~--4^2---2-0--0-0-0-0---0-0-0-0-0-0-0-0---
G-----------------------------------------------------------------------------------
F-----------------------------------------------------------------------------------

F#----------------------------------------------------------------------10-----10------10-----10-------
A---------------------------------------------------------------7---7------7------7-------7------7-----
F-------------------------------------------7----7----7---7-9-----9---9------9------9-------9------9---
C---7-9-9-9-9-9-9-9--9-9-9-9-7-7-7--7-9-9-9----9----9---9----------------------------------------------
G------------------------------------------------------------------------------------------------------
F------------------------------------------------------------------------------------------------------

F#---10----
A-----7----  hold this chord until the next section
F-----9----
C----------
G----------
F----------

Lee uses his Moogerfooger Ring Modulator to make swooshy noises for most of Kim's verse. He had 
an expression pedal plugged into it that he would use to change pitch, etc. So, it's tough to tab 
exactly what he's playing since it's so dependent on the ring mod. He begins by playing notes 
around the 7th to 9th fret on the middle C/D strings. On the record, it sounds like there's two 
different tracks, panned left and right.

Per his notes, he raises the rate and LFO amount up when Kim begins the "Hipsters stand..." line. This 
makes for a "wobblier" effect. 

Around the time she sings "Gave you a flower...", he starts picking some notes in the left speaker 
without the ring mod, but there is still a ring mod track going in the right speaker:

F-----------------------------------------------------------------------
F-----------------------------------------------------------------------
D-----------9-----9-------10------------------9-----10---10---12---12--- repeat variation til next part
C---9-9-9-9---9-9---9-9-9-----9-9-9---9-9-9-9---9-9----9----9----9------
F-----------------------------------------------------------------------
D-----------------------------------------------------------------------

A SECTION (CONTINUED)			02:00-02:15

Kim continues the same riff, although on live versions she would just strike the first chord
without going to the F note on the A string.

B----------
B----------
A---8-8---- (live)
D---7-7----
A---0-0----
D---0-0----

Thurston:

F#---------
A----------
F----------
C----------   x 4
G----7-----
F----------
	
Lee's guitar switches to the center:

F-----------------------
F-----------------------
D------------------14--- x 4  (w/ slight bend on last note sometimes)
C---------------12------
F------------16---------
D---(0)-----------------

B SECTION				02:15-03:17

Kim plays:

B------------------------------
B------------------------------
A--7--9--12---7--9--15-15-15--- x 17
D------------------------------
A------------------------------
D------------------------------

She does play the open D string along with the ascending riff, but the very sharp treble
of the Eterna makes the notes on the A string much more prominent. It can sound "wrong"
to have the D droning, but it's there.

Thurston:

F#-------------------------------------------------------------------------------
A--------------------------------------------------------------------------------
F--------------------------------------------------------------------------------
C--------------------------------------------------------------------------------
G--------------------------------------------------------------------------------
F---19-19--19-19-19-19--18-18--18-18-18-18--14-16--16-16-16-16--14-16-16-16-16---
	
Lee starts by mirroring Thurston's riff:

F---------------------------------------------------------------
F---------------------------------------------------------------
D---------------------------------------------------------------
C---------------------------------------------------------------
F---------------------------------------------------------------
D---10-10--10-10-10-10--9-9--9-9-9-9--5-7--7-7-7-7--5-7-7-7-7---

Then his center guitar starts a lead after Kim begins singing:

F--------------------------------------------------------------------
F--------------------------------------------------------------------
D--------------------------------------------------------------------  w/ slight phase + delay
C-------12^14-14--12^14-14----------12^14-14-16--16-16-16-16/14-12---
F--------------------------------------------------------------------
D---0---------------------------0------------------------------------

F------------------------------------------------------------------
F--------------\14-14-14\16-16-------14\16-18-18~--18-18\19-19~/---
D------------------------------------------------------------------
C-------12^14------------------------------------------------------
F------------------------------------------------------------------
D---0---------------------------0----------------------------------

F----------------------------------------------------------------------------------
F----------------------------------------------------------------------------------
D----------------------------12\14-14~~--14---------------------12^14-14-14-14\----
C-------12^14^12^14-14^12^14----------------14-14~~--12-12^14~~--------------------
F----------------------------------------------------------------------------------
D---0------------------------------------------------------------------------------

F----------------------------------------------------------------------------
F--------18~18~18~~19~19~19~/----------------14\16~16~16~16~16~~--18~19b~~~--
D----------------------------------------------------------------------------
C------------------------------------12--14~~--------------------------------
F----------------------------------------------------------------------------
D---0---------------------------0--------------------------------------------

A second guitar doubles that last note, bending w/ delay (you can add the unison F string as well).
They both bend/return til the next section.

C SECTION				03:17-03:48

Kim plays this chord in the same rhythm as her main riff. The way she picks, she often
gets the low DA strings in the mix as well, but again, that trebly bite of the Eterna
makes them less defined.

B-------
B-------
A---3---
D---0---
A-------
D-------

Thurston's guitar is now doubled, one in the left and one in the right, playing basically
the same thing. It's a simple riff but the timing can be a bit tricky, especially since
he doesn't always strike the same harmonics:

F#------------------------------
A-------------------------------
F-------------------*7*---------
C-------------------*7*--*12*---
G-------------------------------
F---9-9--9-9-12-9-9-------------
	
Lee drops off to a low D w/ delay, then starts again w/ ring mod swoops.

F--------
F--------
D--------
C--------
F--------
D---0----

C SECTION (continued)			03:48-05:37

Kim returns to her main riff. She plays it three times, then goes back to the previous chord 
at 3:58 for 2 reps, and then back to the main riff til the end. This moment at 3:58 sounds like
it might be an edit to a different take, there's a noticeable shift in the balance of the mix.

B-----------------------------
B-----------------------------
A---8-8--8-8--8--8-8----------  play 21 times (after the above edit)
D---7-7--7-7--7--7-7----------
A---0-0--0-0--0--0-0--8-8-8---
D---0-0--0-0--0--0-0--0-0-0---

Strum the last note idly at the very end.

Thurston continues the same riff:

F#------------------------------
A-------------------------------
F-------------------*7*---------
C-------------------*7*--*12*---
G-------------------------------
F---9-9--9-9-12-9-9-------------

Lee turns off the ring mod and starts playing a trilly little riff:

F------------------------12^11^12---
F----------11^12^11^12^11-----------
D-----------------------------------
C-----------------------------------
F-----------------------------------
D---0-10-12-------------------------

Play that a few times, then switch to:

F--------------------7^6^7---
F----------6^7^6^7^6---------
D----------------------------
C----------------------------
F----------------------------
D--0-10-12-------------------

Sometimes he combines them:

F-------------------------------       ---------------------
F----------11^12^11^12^11-6-7---       ---6^7^6^7^6-11-12--- etc
D-------------------------------  OR:  ---------------------
C-------------------------------       ---------------------
F-------------------------------       ---------------------
D--0-10-12----------------------       ---------------------

At the very end when everyone's trailing off, he just picks at the 12th fret of the high F strings
and then pulls off to the open F strings for a moment and stops.


text + tab by Chris Lawrence

A SECTION				00:00-01:43

Thurston begins the song by strumming behind the bridge. This continues until the B section.

Lee picks behind the bridge of a 12-string Kent guitar for the majority of the song.
During this section, he strikes the strings in a rhythmic fashion, with delay.
He uses upstrokes, muting them with his left hand for a staccato sound.

On live versions, he will occasionally strum all of the open strings (not behind the bridge)
for a really wild atonal chord.

Kim plays one muted harmonic note through the entire song:

G----------------
D----------------
A----------------
E--*4*-*4*-*4*--- etc

B SECTION				01:43-02:28

Thurston switches to ringing harmonics:

F#--------*7*---------------------------------
A-----*7*-------------------------------------  play 4 times
F-------------*7*-----------------------------
C--------------------------------*7*----------
G----------------------------*7*--------------
F------------------------------------*7*------
	
Lee stops picking as sharply and begins using more delay ambience. On live versions he's
really twisting the knobs for wild pitch shifting sounds, it's more subdued on the record.

Kim continues her muted harmonic riff.

C SECTION				02:28-03:34

Thurston starts a single-note riff on the low strings:

F#-----------------------------------
A------------------------------------
F------------------------------------	play 15 times
C------------------------------------
G--------------------------8-8-7-7---
F--7-7-7-7-7-7-7-7-7-7-7-7-----------
	
Lee continues with the delay swells, although you can hear him start picking behind the bridge
again during the last 30 seconds or so.

Kim continues her muted harmonic riff.


text + tab by Chris Lawrence