Scribd Logo
Upload

Welcome to Scribd!

  • Legendary Bass Guitar Songs

    Uploaded by

    Rafael
    487 views258 pages

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    487 views258 pages

    Legendary Bass Guitar Songs

    Uploaded by

    Rafael

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 258
    ) SONC fa Ze Ae cay) a aa} LEGENDARY BASS GUITAR SONGS Published by Wise Publications Mats Berners Stree, London WIT 3Y, UK xelusive Dstibutors Music Sales Limited Dostebution Centre, Newmarket Road, Bury S Edmunds, Suffolk ISS 38, UK “Muse Sales Py Limited 20 Resolution Drive, Caringbah, NSW 2229, Australi. Onder No, AMINO ISBN: 97. 1.8836-406-7 ‘This book © Copyright 2010 Wise Publications, a diviston of Music Sales Limited. {Unauthorised reproduction of any part of this plication by any means including photocopying sa infringement of copyright Compiled by Nik Crpin Music procesed by Paul Ewers Music Design and WR Music Service. Cover and book design by Fresh lemon. Box design by Balley Design Lied Photo research by acgu Black, Photographs courtesy of LET and Getty Images. Textby Graham Vickers, Project manager and music editor: Tom Farncombe With thanks to Arthar Dick and Chris Charlesworth Your Guarantee of Quality ‘As publishes, we strive to produce every bck tothe highest commercial standards ‘Thisbook hasbeen carefully designed t0 minimise awkward page torn ad to wake playing from fa el pleasure. articular cate has been given to specifying aci-fe, neutral seed paper ‘made om pulps which have not been elemental elorne bleached This pulp from farmed sustainable forests and was produced wth special regi forthe environmen “Throughout, the printing ad binding have been planned to ensure a sturdy, tractive publication which shoul give years of enjoyment 1 your copy fils to meet our high standard, please inform us and we wil gladly replace swowmasctlescom CONTENTS Introduction ACID ‘The Beach Boys The Beatles Black Sabbath James Brown Jef Buckley Chic Stanley Clarke ‘The Clash Cream Fleetwood Mac ‘The Four Tops Free ‘The Jimi Hendrix Experience Iron Maiden Joy Division Led Zeppelin Bob Marley & The Wailers Alanis Morrisette Van Mortison Jaco Pastorius Pearl Jam The Shadows Paul Simon Sly & The Family Stone ‘The Smiths Sting The Who Stevie Wonder War Bass guitar tablature explained BACK IN BLACK GOOD VIBRATIONS ALLMY LOVING RAIN LUCY INTHE SKY WITH DIAMONDS DON'T LET ME DOWN IRON MAN 1GOT YOU (FEEL GOOD) LICKING STICK — LICKING STICK GRACE GOOD TIMES SCHOOL DAYS LONDON CALLING ‘CROSSROADS STRANGE BREW SUNSHINE OF YOUR LOVE ‘THE CHAIN BERNADETTE ALL RIGHT NOW ALL ALONG THE WATCHTOWER PHANTOM OF THE OPERA LOVE WILL TEAR US APART ‘THE LEMON SONG ISHOT THE SHERIFF YOU OUGHTA KNOW BROWN EYED GIRL PORTRAIT OF TRACY JEREMY ‘THE FRIGHTENED CITY YOU CAN CALL ME AL DIAMONDS ON THE SOLES OF HER SHOES SING A SIMPLE SONG HEAVEN KNOWS I'M MISERABLE NOW ROXANNE WALKING ON THE MOON SEVEN DAYS MY GENERATION SIR DUKE LOW RIDER RELesaReesas Re Resa ay 130 138 12 1M 162 173 130 185 192 194 210 207 mm 231 22 254 INTRODUCTION egendary Bass Guitar Songs isa classic collection of famous songs in RYT Tire enero vere ere eee Ce ee PCa AUS CCNA ROC MRR CC SLL ere re en rece etn CO eT e T eeCe CT eT RU Cee ea Renn et ent tn one Cena eee] ETC SRC CR eT ere Cena et ec Uc ee AUSTEN ee CaS cen ence er eRe Le ene TSR OT COT Cea eRe ee nan eco oe Ce PTR Re Re RCC Tn ee CTS PERRIS etree eet ee cn eC RC ceo ONC RON RRs eT ec ene eee Renee , Ne Neen e Cran Tee cere Peete Rey en eR TUT LS Cee Oe NTR SUT en See CCT ee TELCO oe STR RURC RU eRe etree ed CT roe Re ren ra eee TRO CR NR OS Cans ee ee TCE Rem NECN eterno rece tet Aaeetneen nee ru nen Sree a Nee ecm mttaer en re teen er Ce Ree eee Reta een RU eee eek ee ete Cee Ne eT PORTO TUaRCCTRE RCO OTN enone EUG eNO Sr ene at eed TN Te COON UeNeen rear CROCUS BASS GUITAR TABLATURE EXPLAINED ‘Bass Tablatures fourline staf that graphically represents che has fingerboard. By placing a aumber onthe appropriate tine, the string and fret of any note can be indicated, The numer 0 represents an open string. Fo example — — Sed string, Serer Ach steing, open SLIDE (not restruck:Steke the SLIDE (vith restrike): Same SLIDE: Side upto the note SLIDE: Steike the note indicated ist note etd thenslide the same presiousside except the second indicated From afew notes below. andalide up an indefinite number, fet hand finger upor down to the Rote s struck arta second note => HAMMER-ON: Steke the frst PULL-OFF:Place both fingerson_-PALM-MUTE: The noteispartlly MUFFLED-STRINGS: A percusive flower) nowewith one finger then the notestoBesounded, Strike the muted bythe pick hand lightly sound is produced by laying the left ‘oui the higher note (on the fist note and without picking, pull touching the strings) just before hand aos the tings) without Same string) with anatheringee by thelinger ff tosound the exond the bridge depressing cto the fretboard fretting it without picking Tower note =~ BEND (half step): Strike the note BEND & RELEASE: Strike the note PRE-BEND: Bend the note as PRE-BEND & RELEASE: Bend the and bend upa semitone (half ‘and bend up as indicate, then indicated then strike’, hnote as indicated. Senke it and rae pe) fot 12 | 12, 3 Hes a Hi 4 cB “TRILLS Very rapidly alternate VIBRATO; Thestringis vibrated by NATURALHARMONIC:Sirike TREMOLO PICKING: The note ‘erween the nots indicated by fapidly bending and releesing the the note while the tre-hand lightly picked rapidly and continuously Conuinuoesly hummeringon and notewith the Wetting hand, touches the string directly overthe aspossible pulling Frotndste. ie (9: ~er ww NOTE The speed of ny bend indicated by the music notation and tempo. BACK IN BLACK WORDS & MUSIC BY ANGUS YOUNG, MALCOLM YOUNG & BRIAN JOHNSON © Copyright 560. Albert & Son ry, Limi. AIL Raght Reserved nernacional Copyight Soc ae ; a ——— =: Z - ig — — Verse B Ds as $f = = eee —— = = SS ee ee SS 1. Back in back 1 hit thesack, Vive been too long, Tm glad_ w be beck. Yes I'm. 2. Back in the back of Ga-di-ls, mum-ber one with “a. bul-kt, 'm pow-er pack YesT'm . - = = - 4 re — — : ape IE, 7 ” ——— ff — 7 from the noose tha’s kept me ange in? a - bout ikeep wih. gm. they got-ia catch me ‘if they want me 10 ae = 7 z Z orsSS r : ~ — = 2 0- = 4 Z 6- eS 7- BE DS AS pppstat — == SS: = == + ———- wae Ss = ext = Tooke in’ at the sky ‘cause i's get tin?” me high, forget the hearse cause P'l nev-er die. got tack on the wack and I'm beatin’ the ack, no. —bosdy's gon-na get on. an-oth-er rap. So = fiat = gt De St —— = == ; — + 3 apa = ° ¢ B DS AS # —== = = = =te- ge SS Co nine tives, cats eyes, 2 busin’ ev "ry one ofthem and rn-ninWild) a. yy look at me now, I'm just=a mak-in’ my play, don't try to push your luck, just get_out-ta my way) — == = = Coo aS - = + z tes = Dackin black, Ds act ES AS ES Well Pm os Ds AS back in black, Iwan-na say it! ace BIAS BS AS = Soa aoe act BS Ds Alc ESAT ES aS 3 - Soe = za =e es =F: — J - soe ote ors { Le 55a r1 e566 ate + 0-0-0 o-oo oso 5 Ds Alc ESAS ESAS 5-5-5. aaa ° IR SACRE ENTE CAROL KAYE The Beach Boys: GOOD VIBRATIONS ETE NCO eM NCaE Ceram ete ee a eel ( Aer SE Recon ee eea OMEN Re Corer Cece een er ee starting her studio work career in 1957 with Sam Cooke and going on to play not just bass but often guitar on an encyclopaedic list of CRO Se ce ar co en ee ee eee eS eter eee PROTEC Seca nee eee TTC eC een et ETC CT SS eNO COCO NC ETUC OREN CR ea ere Tne ene ORT OR eR a CesT Re eT eee Nee Tee Simon & Garfunkel, Elvis Presley, J.J. Cale, Barbra Streisand, Glen Campbell, The Monkees. CON e en ee ae eae en en cre ee eC ee CTS eRe ee eee eee Tene Cece Ce een er eee eT UO SLSR aT ae Cee CUCU SLL a RoC ee een Ne en ce TTS COT TOR RCE eee Ee eae oe ane REIN en ee ee en ee ee CTT ee er eT enabling her casually to compare experiences that were unlikely to be shared by any other CUO ROE eS RCC en eee eR cee PP CRU Ce UT OLCeTE ORCUTT LN Peg enon ROC OTe Ne ee used on la The Heat Of The Night movie cues with Quiney Jones, but that didn’t make to CL COL Oe ET SOs OT Od Oe ee eee Re CR Ce ee eae Penne ee rR ann See eee SR eT eee eee most recorded bassist, male or female, GOOD VIBRATIONS WORDS & MUSIC BY BRIAN WILSON & MIKE LOVE {© Copyeight 96 Sea OF Tune Fublshing Companyving Musk corporate, USA, Rendor Musi ntrnattona. Atlaghisin Germany adintered by Rend Maskvetg Gb All ight Reserved, ernasona Copyeight Soar she wears and the 2. Close my eyes, Bass Gtr. (elee,) al Sat Inf ic, ed 515 1312 — I 7% wee i orer h E : - : cs Bb = ——— a = = 2 — way the sum Hight plays up~ on her hain, sot - ly smile, 1 know she must be Kind, 7 — — ° = eS 0 te 1____ hhear the sound of her gen - tle word,___ on the When T look inher eyes, she goes 45 5— 43 43 : 8 315 —16 ot 11315 om Be = SS SSS : © ————— wind that’ lifts her per - fume through the alr. - with me to a_blos - som room, Double tempo - = 154 (J7 » Gb RL 2 ? = = > Tm pick-ing up good vi = bra tions, she’s giv = mo = oo # oe 3 4S Tm pick-ing up good vi - bra - tions, she’s giv- ing me q 1 gal = ta = tions, — a qe Sor pyd Pde - fe fF = = pO SSS prof sf = (Coed, good, geod, good, vi = ben Hom) rm Fiokiog up ged vi bm tins Ges giving me ex = ci = tons BP J eb ia £ _ py d dod : - SS Tt —— aa Good, 200d, ‘good good vi - bra - tions) Ym loking vp goad vi" bm ~ tomy aes ox = oi = sons ber —15s—13 12 ~ 1613-12 — 13—15. B18 He 13: = —fis—15 13: f13—15. Bridge pb? Bb oRyB BYR Bopp» BY Bb hym> SSS as wad lib, vocals L hee ef ee Bopp op Be Thm) >> BEB BBB 16 don’t know sends Slower «= 132 UF Gn B ; aS EB S55 Weta - oe Gn c F ay o be ben . — 6 =] ee Fr SSF SS =——+ =F vi bra - tions a ~ hap’ - nin’ with her. Got - ta Keep those tov ~ in” good if? SS So — Ej — 10 — 100 —10 = os * . : 3338 = 10 —10 — 10 —10 re Atempo J=153 B AD ame wo 4 ret he OP eet r good good vi- bra - tions 10d, vi - bra-tions, P Acoustic bass dbles. sim. 8vb a oe as 131 = a4 43 13-15. 1 ba se Na, mana, nana, Outre TPN IRY See SOS ee PAUL McCARTNEY The Beatles: MA. MY LOVING: RAIN; LUCY INTHE SKY WITH DIAMONDS; DONE LET ME DOWN OTT ee ON STE IMS CUTre Treen ee rear eta PERU OR COCR ERO ROM CSC on TUR CaU W PROPOR aCe eR es Urea eer Ce ren ee NG ENO ee eee en ent eee eee enc pene eee et ee ce een et Re Frere ReNSS NCC a sen ere Ce Ste UE eT COR Free ener UO POON e Re er eee CCS ee ee PT eae Tee Oe eee eT Re TS ea On cree Ue ee ee eee ee ee he tended to hold that model higher than be would most other electric bass instruments, EO Sn Te eT ee eno OER NC CU eee Ce ere Motown's ubiquitous James Jamerson became a hero, although MeCartnes did not ACSC RC ENTER TSO MeCartney fvourite “because he went to very unusual plices”. Going to unusual places BUI RS TET OSCE TS Oe eS SCN CT ITER SCTE NNO NOT OTTO UCC ea RSC ee eee UTS ON eT ne COCCI CUCU NRO aCe an te Cee Re nee a ee ee Tee CSS SOO CESS eee ETRE CEN Ce OTT Po RR eC CLC Ne eee eC ALL MY LOVING WORDS & MUSIC BY JOHN LENNON & PAUL McCARTNEY {© Copyigh 198 Sony/ATV Music Pubshing (UK) Limited All Rights Reserved, Inernasonal Coprit Secured, Fm B 1.Close your eyes —__ and Tl a that I'm +—2 *Hlarmony verse 3 (4) only Fim D B : Fem | n SS SS = —— = a - was be tne) ; dreams will __ come true. } ee cee Ld 2 = and Til send all omy : = —: =—— = = 4 4—fo—o 4 = 2.0 pre = tend — All omy Baking wens ee 2% 3.Close your eyes cota E ct E RAIN WORDS & MUSIC BY JOHN LENNON & PAUL MeCARTNEY ‘© Copynght 1968 Sony/ATV Marc Publishing (UK iit AII Right Reserved nterntonal Copyright Secure. re ‘ew cone = : = = ® = to mae Saidte ete ft ieee vat" pices osoeeoea=e oc ram) wipick Weta Oe — sot — 12 1042-10 He oH oe 7 = 10- 7 —fr — Fr rain comes they mn and hide 2—12 4 2—1i 10 0 2 1012 2— 10 —10— 02 —"12 - 1042 2] 10 = 10. “ oC D o o pte : = —_ = F == dé —12— 12-12 = 100212 10-42 2—} 1010 =| Fe 10—10. carers saeta wiz 0 When the When the sun shines our eseeaeee enn SereveRESIE RARE i Gsust fo ff eee £ £5 $F $F fF oO ye) a a a Pe (O22 — a — 2 — a — ell z = — 10 a rer 2 tor 70 . a Gaus? gee de Ss = of —— t Shin. z G o. oe & oo ff os ee £ we ef ee ee — foe ee, en ee O_O aa a. Oa oe r PaO Far 2a a — a —a— a 1 = ae Ee) sha. $202. 10 40: 7 12-10-1212 10—8 16 — 310 — 10-1092 10—10 10—| fH When the rin =e EF i —— ————_— ——12. 7 ra 16—0)-10— 10. 10—10 Bridge? t hoe, 2—, 2 12 a eo == = — + — 1 dont ind = ~ as pee = f 12 12 = ‘0 10 rs 42. a2 10—42- 40—12- 40—42- a— 7 He — 4 10—(8}- 10810-1212 ce D o ° L pt fot Z o S++ ¥ = SF jut ast comin? can you hear, met Ween it nit aaah) : _ tbae + tS Se bp 10—€8)-10-——10-12-10-12-10-12— OO 1018) ~i2-10-42- | = — - =10 (10)-10—10- : 0 10—8—10- 3810. = 12 10—10 10. 10 efoto S10 10) 10-—10 10 10100) — sized. g= 3: Repeat ad lib. 10 fade in) 1 wal Fig. 1 vere) eee 2 Woe Fig 2 (evened) Eade See —1 $2 AD2 ADD 110 2 10 12121010 Ef 10-12 10-12 P04 a oe 0 0 10- 10: 10" LUCY IN THE SKY WITH DIAMONDS WORDS & MUSIC BY JOHN LENNON & PAUL MeCARTNEY {© Copsrgh 1967 Sony/ATV Msc Pbishing (UK) Limite AIT Right Resersd, International Copyright Secures, Inteo 1, N Ly Vere AS AyG AYRE Dm/F AYE 1. Pic = ture your ~ self tan - ge rine 2. Fol - low her down tain, where rock- ing horse. Some - bo - dy calls Ev - ‘ty - one AIG Ayre Dm/F AYE AG wer quite slow - ly, girl with ka = ei = do scope past the flow - ers grow so in - ce-di - bly Cel-lo - phane flow -ers of yel-low and green tow - er - ing ov = er your cc} G DA she’s D Lu-ey in the sky with dia - monds, Lu-ey in the sky with dia - monds, slightly detached c D DS. al Coda 5 ee ee eee ee 5 5 F eee eS News -pt-per tax = ap-pet—_ on the shor, waiting 1 ke you away. = iy t) ti i ti WW = SSS aan Climb in the back — with your head inthe clouds — an” youve gone —— t — ie 3—3—3- —2- - e a ctor 6 c D G c D a a xa pte t ft : S S ae anaes Lacey in the sky with d= monds, Lacey in the aly with dia - monde, = Pierre eee eet = = = SS a ee Se — pin | pn] a8 7 Lu-cy in the sky with dia. = monds, Verse as AG Ayr DnyF AYE AyG iS a mn 7 _—— SS a = SS < & f = 3. Picture your = self on tin in a sta - tion. with plas - ti-cine —por- tes with eee = = IT 3 % Ts - oe ea = £ F . - - Ayre F AS AG at - _ : =. a = Se = = = = looking - glass ties, __ Sud - den = ly some -one is the tum- — ty = [peas =. = z: = I + 3 ——s 2: 2 5 —s- 4 4: 4 “3 ps DmyF AYE AG ave D/A 2 : - + i ate — =e 2 as z = sile, the girl with ka = tei - do-seope eyes ee satis = = ———— [Spat = 2 zs =" 2 2 2 — 3 2 ats s—4 + 4 : M4 Chorus Lucey in the sky with dia = monds, uucey in the sky with dia -monds, G c D A ~ SS. Lu-ey im the sky with diamonds, 55-555 55-55 Lucey in the sky with dia - monds, G oC D —_—————_A Repeat ats fade —— } Lu-cy in the sky with dia-monds,- 55-5555 55-5 DON’T LET ME DOWN WORDS & MUSIC BY JOHN LENNON & PAUL McCARTNEY {© Copyright 1969 Sony/ATV Mac ubishing (UK) Lid AI ight Rewred: international Copyright Secured Intro =78 Chorus down. * ESftt we stent ; FN E ee Foes. f= aaiawed 2c £ SS 2-9: 9 2 9- Z=e : EP op —attettt-tt ~ I a 41 ein = 7 7 ver, Fm jet SS © —_=r ——T — 1. Nocbo-dy ever loved me lke she does, if ook, she dos, yeah she does me, cok, she done me, she done me good aaa se = 7 = ' a Ps Po — SON =| 7 I = Andi some-bo dy love me like she do ooh, she do Teves no bod) eve feel ly done me toh she dove eee ee sce pa : : 7 ee 7 = E Esust E yeah, she does.__} she done me good.) Fn Esus* E te 7 ae S f+ dome aoe stttttic ett ee FEA: = aeaertttt 1 iit f-——11 9 a9. T Sy T'm in love for the first aftet: — rs 1 It ananstatat =" “a4 tH ee doo" you know_ it's gon-na last? Tes Tove-ttat lass for-ev- Se F 2 7f— + ! se Se a — — 3 = = 7s =e a E Esust E vee is a love. that has m0 past. Don’t etme ate — Z = y ~ T- 6- = 4—8-6—7-1-1-7-1-6—4 | — — a ee ee 7 7 = Fem E Esus* fg ttt ttt em —_-9-9-9-»-9_-= 14 sit 19 9 7 He 2 : = 99 7 = S| E Fém — Don’t tet me_ down, don’t Iet__ me eg ; oe tesese Ze f2n, E Bsus! Eo Verse DS. al Coda E Esust E IRON MAN WORDS & MUSIC BY TERENCE BUTLER, FRANK IOMMI, JOHN OSBOURNE & WILLIAM WARD © Copyright 171 Westminster Msc Lied AII Right Reserved niernatnnal Coprigh Secuted J=73 Solo drums Ne. (Spoken) Lam Iron Man! BS DS ES GS Ds BS BOD ES Gs DE ee S 5A : ~ 5—4—§—4—5—4 <= = BoD BS o DB B B a eS f = f —— 1. Mas he lost his mind? Can he seer is be Blind?” Can he walk tall? 2. hee or dead? Has be thoughts with-in his head? We'l jut pass him there, st ee =z = —— opr Se ES = — SSS + 5—S><1—T- — $=<7T—T = Or if he moves__ will he fall? why should we. ev -en care? 0 NC.(B) (B) , = oe Se] TT? . 7 6 (A) (A) 5454-54 5 8T 7 = ne = tie field, to spread fear. bs ES annem == tue of man ~ kind ple he once saved = =a — ——— Dp {B) Pore > a = Nobo-dy want him hehe saree wh de wer Novbo-dy wan in hoc tam Gee ede oe Se ee eee, AE ES a te ee Plan-ning his ven - — geance No bo = dy helps him, be ~* 2 ~ Ds NCB) 221460 = 2) (c#) A _ — __ —. SSS SSS SS Gtr sole CPt et ete, aa 1 119104 epeees teeters ete ete [11—9—10-11-9-10-11-9 = Po woes peeivecclive eileoe a Weta ett et en atte] yt 5454-54 6 Vere BS DS ES Gs Ds ES BS Ds B > FD iets 1 fee ee — = —— — ===. 5, Hea - vy boots of lead fill. his. vie - tims full of dread, un-ning ai fast as they can, = ; Poe ee teh fte eee gap ot = SS r = EY rs ——— 8 pS NCLB) (a) 8) 8) (a) — 5 Nap pe =e ee % 6 be ae Ea 6 z se NC. TTT F714 T1-} rn otro Ply tines (E5) 3 ES Ds nomena SSS —— Hae a pe aaa att 8 [ S45 655555555 5] 4 1 GOT YOU (I FEEL GOOD) WORDS & MUSIC BY JA OWN dais Verse NC. Dv > pb — =f = S$ 2 — = 1. Wow! 1 feel good, T knew that 1 would, nice ike sug -ar and spice. 5 f_te rg - 5 = im — of = 1616767 — = = r 8 = 3 = a —__ pats ig pipe = . === — now 1 fee 00d, = 1 fee. nice Ie i. » Ly tH i Rie iy » . I knew that 1 would, — now. So g00d, like sug -ar and Spice, So sie, = 1 Bete ee tte Hs vote f= : poe =z = ——— pa oa ==: L_; — 1076 76 1—— 3 te : 3s 5 A G Nc.(D%) like sug - ar and spice [knew that I would, now. To Coda © G Nip») Inveriuae NC[Dm’) Bridge 6 © Coda A G NCAD§) 80 good, “eause I got-a you. A G NC(D%) —~ 80 good, ‘cause I got-a you. LICKIN /=105 NC(E*) G STICK-LICKING STICK WORDS & MUSIC BY JAMES BROWN, ALFRED ELLIS & BOBBY BYRD Inf wisghty swangsemiquaver fel ere and t—t—s—_s_s 5 ss = - a . = a — e — eae = = : = . Owl. eee fthetes, # > tthe ————— === =£PsF 2 === 7 = = ss ss _s-s-6 1s —— i $ = as horas yt tee 2G = _ tepee (a> SS Ss SSS oe Macma come here quick and bing that Hek-ing tick — Mama comehere quick Siete pe r pee § art. fte Peete, See, si =o 8—8—8——0-6-8-6 rr se sos = Ee ee] @ Ht i: bg cx, on (fo bring that licking sick Mama come here quick. and bring me tat licking stick. Horst . £ thee petee tee get i . = SRE =5ES z on $89 pees. a “8 ats re $ . mas + ete = berm 6 SSS = = Maca come bere quik. and. bring me that ick-ing stick ft there ge, Bphee a Sa £5 =’ == = = SS — tts p59» 56 : ~2—1—5—8 i 3 = a8 3 $ bee ~ GSS ———SSSS=— > 5 . Ma-ma = come__ here quick. and bring that lick- ing stick. ze 2 fhete, te tthe s pS £ ae So = = = =) L.Peo-ple stand-in, sand-iny ina trace. 2. un-ior don't Kill me with his a= zy stokes 3. Siscter says the dance you're din is the ines ting ze f be te, fe, foes p ————— Se Ee fe tea 5 as oo ae = = = dt : = PSS ———— ° Sis - ter out in theback yard do-ing an out - tasight dance. Would take his fet Feht off the ground. at eo - ple now te-gn tk Ha! Eff _¢} thee —— = ag a gee re appt SS = SSS eS Come tell-ing me the oth-er day she did- n'twant to be a - Do- in’ the mashed po ta toes and then he'd be-gin to slide. Call im - jump_ back in with that soul- ful stride. Ba- by, fe 2£ 2tbhete te pee a SSS DS. al Coda To Coda @ a =S— ad 2 sas 7 + = SS dont kno what s’s doin, thin ste’s got a band wow tag wa doin eames Brown roe | (Sey ge thet ene, te ft thee A = = == at _ ee ——— es Chorus Ma~ma —come_ here quick_ and bring me that lick-ing stick feet thee te, = fb, ; pe a es = @ 7 é — eee soe orrei fF = SSS eee =] Ma-ma come. here — quick and bring that Tick-ing stick. Now look- @ here. tte fhete, te, thee SSS Se 8—a—s-—_5—9-s-5_p¢ ooo @ Coda (Ga ES pe ee #2) Ma-ma come. here quick. and bring me that lick-ing stick. Ma- Ma-ma come. here quick. and give me that lick-ing stick — Sister! Ma-ma come. here quick. and bring that lick-ing stick — Ma-ce = 0, tee bee fe 2b. . co Grete + * £2. — et He (ad lib.) « ae 2e 2 s2hee eS — 3 ut == = Se ; bring your lick-ing —stick——Lickeing’ stick _ epee gee be te £ pe x —_——— =: == —— £ ft ff. 8—3—s—8. —8—3—8 8—s—a—6. 36. fey Repeat o fade ad lib [Se — rsaO—o— — TP 2S aS # FS = Pt : — Like ing. se Licking stick tprer gett pete, te, tpber ‘ E == : - 3 ieee Se =e ert pt penne nes _ GRACE WORDS & MUSIC BY JEFF BUCKLEY & GARY LUCAS. © Copy 194 Sony/ATV Tunes LCE! Veto Musa Laces Mus UA, Sony/ATV Mase Pblabing (UK) ited (7) Universal Mili (3) (administered in ermany by Unsersa MCA Mei Publ, Gib) {All RightsReserved ntesnatinal Copyeght Secured = Ti funing 4=D 2=D) 324 1=G Gm ace I= = 2 D pet . ————— rs 7 = Zz moet = —————— vee ee vee 2 sim a Uh — eI z = ary 7 110 o $ Doss D paws = == E = 1. There's the 2. And she ——= oe a =—— H — : Bo oo Z o—o 3 Em marc Em — ———— ————— pte + = = SS x 4 2 = toon ask = ing to stay ie © = nowh forthe lous fly me a= weeps on my am, walk - ing tothe bright lights ia ” —" 2 3 = 2 = i ra EmyEP mardi Py SS it's my time com = ing, Pm. not a - drink a bit of wine, we both might go to- fad = ing voice nin is fall = af sin ab 555 22 Ts to the click -ing the pain time, ‘ine iene + hin 5 — _s : [D4 Se 5 = EI i = _— ‘ Fr 2>=4- ~ — -5—1—5- 2- 2: S Z 7 maint) Em EnyE> pmgjrin a Wait in the fir, wait in the fre, Wait in the fire, be En Ewe To Coda 0 Em DG al Code _— 2 — vat inthe te, = —— = = = 2 + 5 + 2 2 O-coda Em EmyE? FMajnéin oe SSS SS = Bur. Bum. — Hie e= TH i a Feu Fmajéin Em GS Anos pst 6 ‘Aaddy Em Fein bape fp she SS cute po = ay tls and cu We won't set - tle. for legs only) === =e: ——, Ss * 7 - Coy = - ad =| 3 os 3 os o Em? eto eR SS Must put an ond we is sees Ss = rg , = Ss = ay - - = = soe Le 0- 0- — 0- ei Z 0—0- -0- 0—0- —0- 3—0- fi. 1 Asust A AS A é = SS EH ° z 7 F =F ; think 1 want to ve he spon = ng Good times, — “ Ste 7 z - ; LB 5 5 5 0. 5: 5: 5 —0— 5 —12: a DS. al Coda ‘Asust A Ae A 6 = —— = — — Ler Ler} Goodies — ae = ! 5 7 —— @ Coda ou ro - Em’ E’sust ‘Asust AS Play Fig. 1 SCHOOL DAYS WORDS & MUSIC BY STANLEY CLARKE © copyright 17 Clarke Mus Univers MCA Muli Allightsn Germany admired by Uniera CA Ms AU Right Reserved International Copyright Secure fone t—t ee ie Guitar Solo e (ae = j por = si on repet a st a 93 + —~. Ve ~~~ _— ———— ee: Pe = ote. Pa = + et aoe — a7 —-Fy—4 2 243 x - ° a ae Z a Pas. 3 Sr 3 3 _ 76 Chorus En 6 Em Ss SSS $e = = £ —= is LaRosa arr Melt-down expected, the 2,3)lce Age is com-ing, the sun's Encgince sop fuming, the “yin see pe f= iz = ———— T — $3 0010 100 III | G Em c _ —I— — — ie == a = — > wheats grow-ing thin En-pincs stop running but fave no. fear “cause Wiest is_gowing hm = Amu cele) ar er cree) but oT haven. fer “cause ae = pas SoS eo oe == Em D To Coda @ —— —— ——— = — 7 eo. == Len-donisdrowring amd ie bythe ive ro oo 10—40—10- 1010105. “40—10— 10101010 oh, ooh, ooh, ook, ooh ad lib ® — = = = Now set tis _ — —S Se =e eee : z = 2 2 _————— =F = — iPr 7s 2 Em Lon-don call ~ ing. Yes, was there too And youknow what they said? Well some of itwas true! London call = ing at the top of the dial And af-ter all this won't you give me a smile? never felt somuch a like... Re PROM EOS Rete CoN ErS JACK BRUCE Cream: CROSSROADS; STRANGE BREW: SUNSHINE OF YOUR LOVE OR tS ete cc ee ee eee aS eee and world music. His greatest fame came in the mid-1960s with Se RSET Ss eC Te sera Tent eT et eee en eee SS CC ea cc ee Te eee Oe ee Se ELSE cece eee en ee eaten ear a SLE So oO ee ce eR Sea LSU SOC La SECON Te ey eee Ua aa LLL LLL RCSL Leer a SSC LL CLD Sn RSLS a Rcd co eco een Pe a SUL ee cee Te USO OLD eee eo eee a al ere To ae SR ee ete eeu CES Ln eect] cree ree et cee PO co Ss a SS Se te ee eee ee eC Ae Cee ore Ce eT bee AD ALLS UEC Loe TP alongside James Jamerson, Paul McCartney and Jaco Pastorius as being among the greatest electric bass players of all time CROSSROADS WORDS & MUSIC BY ROBERT JOHNSON (© Copyegh 2010Doney Brothers Music ited, AUR Reserved. international Copright Secured 4 =132 ie = PSS Sf slightly overdiven baa a 2+ 2—+ 2-0-2 i =p z ps = D AT et ot == oe pp gp ot E oes bg ese = Dees = wee a ge : oe oo Lo went down fell__ down on my knees. ‘Asked the Lord a-bove for mer-cy, “Save _me ifyou please.” z — to the cross PS = No-bo-dy seemed toknow me, cevery-bo-dy passed. by.— 3. Well I'm Vere to Rosedale, take my ri -der by__my side. go-ing down 7 Bi eee = = = | aes erty my ade Ween tie ee Rie ee pa Sree _————— eaato rel house ba - by. Gtr.solo 7 > ar o— 7] 300 03 = I 8 7 ras 1a 51-5 6. {ize TSTs 7 53033] a eh + A111 AAA 1-11-8985 — : ES DQ ~eepecie Settee morprriery? PEEP se tt ttt ttt 20 0-2 re ef ef a a8 33-38 Verse ” Dv a” hee. * —__ he SS = = = = z 4.Go-ing downto Rose-dale, take my ri-der by my side Go- oe tie we a ee Pe aS sie ing down to Rose-dale, take my ri-der_ by my side. fie ee QP still ~s bar-rel house ba-by, br con the river - side, Gtr. solo 2AM AAA NAAN 12- 4414141414412: nen 6 2—2 2 at S555 5538 220-2 + 1515-1 1-8-1 3 s—s—35 5 Pp s 35 K F = 4 — 8 x ee 88 » > ” ee ftp ue — ———: $ can rn you can Tun tell my fiend boy Willie Brown, fun ee tt = - fo 3 ” = —— = —— =: = =e f = = you cana Tell. my_frend boy Wil-lie Brown, — Pees eee ee 2a ee E D Well I'm stand-ing at the cross -roads, be - lieve I'm sink ~ ing wpe 5 = —— peepee Soe z 44121412. 12—14— = Es — be uv STRANGE BREW WORDS & MUSIC BY ERIC CLAPTON, FELIX PAPPALARDI & GAIL COLLINS. {© Copyright 6,186 1985 Univeral Mac Paling MCB Lite (672) (amintered in Germany by Musk Eon Dcoton Gani, cision of Univeral Ms Publishing Groep Eric Clapton (33.32). All Right Reseed International Copyright Secured, Intro pt pw Strange brew, Kkill-in’what’s in -side_ of you. wwe A D A re Tee ee s—2 — = fe Se SS Se with —of__uou-ble ine = lec-tric blue In her own madmind she's in love with you, with you. ste = == aw eS aaa x - a a ae gee [Now what you gon pie A Kill-in'what’s inside of you. Verse A D A tet os ae oe _ = oe Se & —S— as = SSS some kind of de-monmess in’ in the glue Ifyou don"t watch out itll tick to you, © you \ = ote see ty he te ee es 5 t — —— 1—$ 7 ss 7 7 a o— 3-5 D A at : Ss : = — What kind of fol are you? ote ff = Se =D s—r z —— : i = 3 = — 3 A 55 1S ———— = [a tg 8 = SS earsae oo ae boo se a eean cence Ee e 5 3.00 a aa ee : f 6 — {a —— = 30 Verse A Db A tat ffie e229 5% ein ee — ig 2 f =—— = 6 SSS a se boat in the middle of @ raging sea. shewouldmake a scene for it all to be ignored = = —— = MES 5 Sy SE j = pees Shee. Joe — te ==: i ye he + - 8 55 0—0—3- aS 2 3 45s 3 46s 0- 5 as and wouldn't you be = pile pi A 1? ee ESSE 6 — = = — oso: z strange brew, Xill-in'wit’s in - side of you o te 4 yi See woe To ies Se fF SS EF . oie se Kill-in’what’s in -side_ of you. SUNSHINE OF YOUR LOVE WORDS & MUSIC BY JACK BRUCE, PETE BROWN & ERIC CLAPTON © Copyright 1957 & 1996 Warner} Chappell Masi Limited (6 66) Ese Clapton (S39) ALU Rh Reserved aernatonal Copyright Sure Jens Nc ftiee 4 j E s = ee Pay 5 pep Pet gr 11-1 — — qo — Ss 5 : = TE E oe D Cc? DING. Dp Cc’ DING. Verse Db cD? NC, Db c’ oD’ NG. esate == = SSS — () see oe ae when phe sow Oar ied Be @2) wit you my lve tre gt ining Gouge —_—— a a = ie — as SS SS = = br c? pr NC. ee + 7 SS z = > ———= = — il soon be with you my love e : Yes, Vm with you my love es the —— —— See > re, 2 a p 2 te i —=} F —— 7 5 a EN 5 a 3 3 Dp D’ NC. dawn, just ive you sur mora -ing my and we prise. two. G F be with you, stay with you, dar dar G NC. ling, ling, G F GNC é an Piss 7 be. ie pe oF SS TH be with you when the = sts stat fall - ing — Til stay with you ‘iL my seeds are dried up. + - te =e Se f + ei rs $—Ps—s— 35. 2 — 3 : Db Cc? DTN, bp cl DING. iS Tve_ been wait = ing = shine of your Dp’ C’ DING. AS 96 I—6 ¢ = A c G A = fa —Fs— 2—2—2 is a A c G A 2— 2-2. 6 ° 0 ° pcp NG pic’? NC. o D cl Dp NG Yes, I'm love with you, my mom-ing and just we. rl stay with you, ar potas = eet a4 —0-¥ 6 FF te = $ ie Se abe Doc DNC. 98 Tve_ been wait ‘0—0—0—0—-0—0-—0—0—0—0—0— 0000-0] Repeat od lib sim. 10 fae RAY See Sere eens JOHN MeVIE Fleetwood Mac: VHE. CHAIN ohn McVie was in Fleetwood Mac almost from the start, his Gaclic prefix being tagged on to Mick Flectwood’s surname even before he properly joined the band. (rhe name actually originated from Peter Green Ree Ce een UC TON TEP eee Oe Ss OR SOT Ss ee oc TCT Mayall’ band.) John MeVie joined Fleetwood Mac in 1967, replacing temporary bassist Bob Tee Cer SS ee ee Ce DEN ECR COS See CeCe Fe Se eee ee eee a classic album Rumours, the MeVies were on the point of splitting up. In fact the whole ET re ect eect ee Cer ne ee members, set out of chaos came a critical and commercial success with the track “The CC ae CS EOC Ce en CNR eT EC on Lo pee Re Ce eC eee SOT EN re ee erence Fer ene ea eS eee FRc ee TE POCO NCTE eee Re Cee SEE Ce AL that time all his friends played guitar so he thought he ought to be at bass plaver BCT NO Co Oe RT Ree eA SU ce eC ASTER NO COCO Ce Re COO CT TCT eRe Tee TS OUTCROPS Freer eT CS NCO TS STO Ce Cee FTP eee TCO ce rock “n’ roll job of a tay inspector), joined theny in 1963 anal stayed for four years before a eee TORE Cera Re TGCS Ta Nee Cre RST eR CRO Re ets ie eR OC OTT SST Tere TUS Cee CC LOS SCO ToT Pn THE CHAIN WORDS & MUSIC BY LINDSEY BUCKINGHAM, CHRISTINE McVIE, STEVIE NICKS, |OHN McVIE & MICK FLEETWOOD, © Copyight 197 Welsh Wich MuskCareer- BMG Musi Publishing lncorprsted)Now Sounds Music, USA Sony/ATY Ms Publishing (UK) lined (2st Music Fubshing Internatnal MGB Lined (279) MI Mas Publishing lined (218 )\Copyeghs Conte All Rights Reserved. International Copyright Secured Verse Intro ES A 8 (Gtr. + Drums) = tig Run in the sha - dows, damn your love, damn your lies And if Chorus you don't love me now, you will © mey- er love _ hhear you saying you would nev - er 2 Am ———= = & x you don't love me now, nev- er loves me_— a gan, T can — —-s — = = En D #$—+ 7 fs =e et ee = — — ——= = sill bear you sy ing youwould never break the chain 0 15: SSS SSS SS SSS = a — = u — SS A veo eS ——— bts £ . — ° ; = = id - : = : the night Run in the shad - ows, damn your love, damn your lies, Break the si - lence,. Chon An Em c ———— foes | 6 —— Se Et —— you don't love me now, you will nev-er love me again. Team still hear you say-ing you would = ee = ja eae a” = ——- =— eS oS (ee sss 3 pe Am never beak the chain eee it ode elt oe you ill Le = t _——_—— rs 4 bs 5 sss pov- doves opal Ten il Tear you ying you would ——— = =—— 2S z vee J — — 8: =1- - 7 5- 3- 3- 3- + ES —— — D Am ran . ese = = oe ft itor per = ev- er break the chain. and if you don't love ime now yoo il ——— SE - pa z SS ee = Jy = — qs po $e : : 3 5 0 never love. me a-gain, still hear you say-ing you would nev-er break, nev-er break the chain. Double tempo ? An c G Ba keep us to ge - ther. (We're run-ning in the sha - dow.) ER Se CST ENCES JAMES JAMERSON Ta ee Ora NAO a or many years the invisible giant of Motown, James Jamerson had to wait until the 1970s to be identified as the bass powerhouse on CORO CON ROS ee OTRO ene Ce COSC TER CD Oana Cae ae Om ee eee COS te NUT eo Se RT eRe oe en Cee ea Ree TE RO Ne Ce eS ec Seen Re Cn Rec ern nT ee eco ee nS eet or cree neta ORO eee Cn eC eee eee Ce een ts ee Te AR ee cee Ces ee eS NS Se eS SOOO on eee eee eC FT Cees cero ener eC ere eee Crt tn Tra RU TTR Ce UT Ce ee Tee Sree SC eee Co enn eg cece ee reneeae PEO Le eRe en ore eee a ce om ee eee oO TRCN CN eC eee te Cee eT SCOUT ENERO ORE OR Ce COURT eRe oo RN ce eet Seren eee ee eee eee eee te Cee FeO ET RCN RU NCO eRe he OU ee Cr cee ace Ce Rene een CT eee Pe Ce ee ee eo Cc FEN SRO UT Core Te eee Ten en allaccounts long since pawned, Jamerson died of drink. related illnesses, broke and largely BERNADETTE WORDS & MUSIC BY BRIAN HOLLAND, EDDIE HOLLAND & LAMONT DOZIER {© Copylght 1967 abe Muse Cornpany Incorporate, USA, Fat Mase oder Msi AID Rights Reserve ntermatioal Copyright Secured ‘To match origina recording, rane bass dawn one semitone Intro J = 108 z pS SS Se Ber-na - dette, Some_go on search -ingtheir whole life—through, 108 Voe. Fig. | ends Verse Gp Em. Am op EnyD 1. And when I speak of you, 1 see en-vy in oth-er men’s eyes. you toknow. Gp Em Am GD Emp And I'm well a - ware of what's on Dsust they long to. per-suade you from my side, Am op Daust D = 1 a * _# Ee SSS = give the world. and all__. theyown for just one mo - ment we have known. 5 a 7 Chorus Ber - na ~ dette,— wwivee. Fig. 1 = — SS —= Am Am can they con tol you, Ber = GB ‘can = not con-trol them selves, = SS ~, — Ares - . (oe 6 = fell the world you be - long to___ me, ru Em = a pS Spr wind the word issuing # yas mind the world is sah ing nn z 7 ze 7 7 ? 14 you give— me give the joy the joy this this ean of mine has heart of mine has bbeen long - ing, been tong -ing ote for) |p 3.ln you 1 ‘wie, Fig,2 gop 78-9 x a = 55 Am GD EmD Gp Em 3 a —~e 2. _——— — PT —— ¥ = oth - er men long for. All men need some - one Am Gp to wor- ship EmyD a ~ bove, place you high on sly Dsust Am op lov - ing me, wiVoc. Fig. (st 4 meas) 116 Outro Chorus et 5 = ee =F # — 4 = = tm Ber-na -dette, my dar - Fade out lin’. ALL RIGHT NOW WORDS & MUSIC BY PAUL RODGERS & ANDY FRASER © capyigh 170 Ble Monin Msi Limited AI Rights Reserve, International Copyright Sout tno J=122 a . . ml 5 7 D/A A’ psy op rt 5 ae fa ow! 1. Thee she are AS D/A AS pedi D AS > (1) sod al l= iplom ter tend. wo ter fet T mid-a, (2) home omy ple Sean Ter geste ea Shea DA AS pedi BI 5 z : == SS ee Eee mca ee ee ee 1 adm “Look what's your game, ‘ba - by? Are__. you try’n’ to put me__ in shame?” I said -a, — DA AS patty D as “Hey, huh, what's your name. ba-by?” May = ‘be we can see thingsthe same. Nowdon't you “Slow don't go so. fast_— Don't you think that love can_ last?" She ssid D/A AS ‘Daddy D AS aa £ ieee DM totode or he-si-tate, le’s move be ~ fore they raise the park-ing rate." Ow! ) Lord a - bove, ‘now you're try'n” to trick me in ove.” Chorus = Allright now, ba = byits-a all right. now, woh. i. DS. at Coda | Let me tell you now. (Mm eh) 2.1 took her + =: ar Gutta Sole (4) (ai (0) (a) (@) (D) # 49 16-17-16 — = oo @ o—_ a7, 16-17-16] = —— Outro Chorus I ssid don’t you know. ight now, ba = byits-a all ALL ALONG THE WATCHTOWER WORDS & MUSIC BY BOB DYLAN ‘© Copyeght 968; Renewed 19 Dwarf Mus All Rights Reseed Internationa Copyright Serres “To match recording, tune bass down one semitone Bo Chm B A BO Chm e—t = f—f—e f—e—F af ee a Ven chm B B cfm say the jok - er to the thief There’s too much con - fu ~ sion, 7 i 1 7 cim B A B cm B Busi - ness men, they ab, ah, drink my wine, Pene BS SS SS Se SS h—— = = 41-8 None— will lev - el on the fine, m2. cfm B A - —- = i 7 no = bod -y of itis worth, __ Hey, hey! losgees +" 2 = 1 ae ee ee 10-10-11 1412-13-13 Guitar Soto Verse cfm B A B cfm B : _ —— — = . =e 2.No rea-son to get ex-cit = — —— BSS) z oo Se —— : 7 ——— re cin B A B ——— ——- = the thie, he kind =ly spoke —__ ———_ SS Sa ss = a a cin B A B cin B o 2: - —— = = + re ‘a == Sao There ere many here a= mong ws Who feel that life is but a joke. =—=——-—- rn _ Pts Sa pete eo aoe CE 99 — 09 7 7 0 7 tes oo A B chm B A B gt oe 3 7 SS = aS — But, uh, but you and been through that, butt, me tf -+G et zs =———— foe pe - oie. See foes te ——= # = an 9 reste — = a 7a. a = ctm B A ctm B act = Fe je ae = = f $ oe = SS SSS = and this is not our fate. So let us not wk false eat = + = ————= i ae SS ee Hy 7 = 3 0-7. x Taye 77 ba A 1-12-12-13-13-7 Guitar Solo cin B A B cin B cin B A a 2 al ae = = 2 = eee = == = = | : } 7 7— : EF 9 7 5- 7 Guitar Solo cored — = 8 of SCs 3 7s a7 cfm B A ctn B a at = ee — = 5 De = = SSS — _ — — = — a 11: — ~ 44 9—9- q——a ° af aoe 2 7 — = = 26 A B Chn z a ee ctm B te == i eee pe ads Sees ee ee a 7s Ch B A B cfm B While all the wom - en came__ and went, A B cin B A B dis - tance, uh chm B A B chm B wild cat Two rid ers were ap - proach ~ in’ 9 —11-11-14-1242-13-13-13-13-7 ae car He = == 3 ° oT? ‘outro — All a-long the watch - tow - they say come sttt-tt-14 Sao Begin fade A B chin B Ho 12-12-12—-12-12—| Fade out Eee oe : eet —— —— 2 ee 14-16-14: = a1 __— eee = ane PHANTOM OF THE OPERA WORDS & MUSIC BY STEVE HARRIS. {© Copyigh 10 Iagem Landon Line, AIURights Reserved Internat Consiga Secured Intro 4 coos spe ci Allright, yeaht eee teeeeeetesee peeeeee . Best Se 3 3 3 3 $ + f 7-1-1 9—9—9—9. Sores % Em : Paynes 10 Em Live been liv ing 80 Tong, for you, now you tnd gn ia te wings te, Jou arm mine ang ann = ing pI won't get a way ftom omy grasp. wait for the cur = tain__ to fal my dreams—you're al =~ ways there. —_ You've been You're the Em a es = z = = = SS f f Tiveing v0 long in hid -ing, and hid -ing be ~hind. that fase mask, : Tow ing tr vror and Hold ing you Rave om os a= Phan = tom=of the Op =r you'e the dev ~ ik you'te just out see os a fp ff FS Chorus Play Fig. 1 Play Fig. 3 ES —— you know and you ain't got. that long to T know that you're gon - na scratch = me = and) maim = me and maul dam - aged my mind and my soul, it’ just floats through the air, (3) To Coda @ Play Fig | D Em bs ES B 3s se - Your looks and your feel = ings are And — you know I'm help - less from — You (19 Pay Fig 2 (25 Pay Fie B Db Em —— a ———— Re 7 += f f just the re = mains of your past Hey, uh your mes - mer - iz - ing cat ~ call co rt 5 D> NC. is Ds BE B c DP Gs DF 35 2. You're Ooh. 132 Half time feel Intertude Keep your dis - tance, walk =a - way, dont, «take. his____ bat Watch your step, he's out =f get_ you, = Come = what__— may, don’t you say from the 222 ss vrs, a—3—3f 20 7 2 a — @ c Em Be Ze = se sf HS Es oa a = ° — Em a im Em. oe. 2 of ffs — Soe 14-16-—-14-16- 14 1 14 14-16-—14-16- 14 14-16 14-16-_14-16-—-14-16. 4 tg a 42-44 2 ae 42-44—12-46 12 == wt TS SS ST TS 12-14—12-44—42-14 12-14. ae 2 1 40-42—40-12-_-10-12-—10-42. EE 10: 10 0 14 AAD ADA AZAD" 42-412-14-12-12—} [71177117 See a a a 3 ee c Bm 38 ? 5-55-5554 —-4—4 11+ te ee 10-9-7. ease 9—7-10-9—7 T1-1-1-1-1-1-1-1-1-1-5| c Bm == Play $imes cs Guitar Solo ES a as cops T1--T--1-1-1-1-1-1 Play 3 times | Interlude @ as cp “a cps SOS SSS SSE 2,3. a *D.S. al Coda SwiTempo ® Coda ES —3— att f ES haunt me, you taunt me you tor - ture me back at your ait 3 7 3 er SS SS SS 7 ptr = LOVE WILL TEAR US APART WORDS & MUSIC BY IAN CURTIS, PETER HOOK, BERNARD SUMNER & ST © Copyright 180 Univeral Music Pubshing Lint Allighsia Gerenay adesinstened by Univer Mus Pl Gi AI Rghts Reversed lnernasonal Copyright Sot HEN MORRIS, J=144 ® mo 2 onnann & forge PEPE —9—9—-9-9-9 i 711-1 Em ye Bm A nonv Van coms 55s Serf £ eagce te f 9—9—9 44— 12-11 — 97 ——r. HE 13 o— 0000} 99 $9 9 o Ez . 7 Em D Bm A 4 = = 5 1. When Ga te 22 Li fee igh PEE PES ESSEC scene tepeeceest ae f Pee ——————t 4 = FO = 138 Land Em D Bm == = to 0 02 soo -sentment rides hg, — but © - mo- tions won't grow. And we're tim = ing that flawed? Our re spect mun 0 ay? Yet there's taste in my mouth a5 desper- ation— takes hold it fe @ fe £ Ft ep Pee et ee - = LE Hy * chang- ing our. ways, tak - ing dif-fe-rent roads, ‘Then D Bm A love will tear. us a - par a gain, e usa - part Toteriude (AS) beceess So 40 D Bm A DAS. al Coda (29) © Coda rs Em D Bm A A =5 love will tear usa ~ part ) Repeat ts fae aepetttett i re 7 IRC Om aD Se ET EN aTS JOHN PAUL JONES Led Zeppelin: THE LEMON SONG Tea en CSC OTT Gennes \ /| (born John Baldwin) got his start in the music business after ono ieee Co CaCO ee COTS CORSO LGU ts on RO re ce eee ee ER ME ETOCS MS eC TS eC eT eee nC eT Cen Se a ene eee Ta eee ee Ten ET een TE eG Pore Cc Score ee COUT eR Cer a eRe eee Tee until 1975. He pliyed in a couple of bands, including The Jett Blacks which also featured TODOS CUS Sec Cn CeCe eee Te OTe Stee te a eee Coan Cea en eete eee eee TTT SP ce er ae ee cena Ten ee Peete Cccem Ce rd er eRe eects NS IAT eT rece ere Paes OR ee oc er ae eT ems TOT Com ORR ete eRe ICME ahora UOT ere OCONEE ONTOS CoOL CO OCC RONG re enn OTT aT Ponte musical projects that saw Jones contributing to and in some cases arrangir SATCU TEN CO Te Cerra ee Re aR OSC eT CTT ee Te OO Stewart, Shirley Bassey. Lulu and Dusty Springfield. Eventually he was invited by Jimmy Page to become bass player with Led Zeppelin, wele CS eT OC oe) ree RCO en Re cease eR Cee eee ee rte ROR ERD eC ee ee Cee ce carly output ay a bass player, writer and keyboard player. The band’s second album, Led a ee Re Se Te SC CS I OS eee Te eS ee eRe ROOM Se Se ene eee Te Following the 1980 disbandment of Led Zeppelin he returned to producing, playing and performing with a wide variety ofartists, such as arranging strings for R.LMJs Automatic Cee ea Sn eee Cerca Te eee) THE LEMON SONG WORDS & MUSIC BY JIMMY PAGE, ROBERT PLANT, JOHN PAUL JONES, JOHN BONHAM & CHESTER BURNETT © Copyright 189 Jewel Mase Publishing Corspary Liste, All Rights Reserved Iteration! Copyright Secured Intro E Et EB Ee re swung E EM E ee 1, Lshould have eee fff HE = 71 x 71 tf = —— 7 —— =e ear 0-64-5567 7 Vere E — ft oh fof» #_ : & ———— x == i z : (1) quit you a long-time a - g0. 2) lis-tened ba-by to my— se - cond mind OO fhe a ~~ = 4 “ —_ * <———— = yeah, yeah, — should have lis-tened ba-by fee E Be Fe a 2 2 f ¢ sie 2 igi = = z oo i = z = Iwould-n't be here my child ~ ren, se = cond mind, Ev‘ry-time I go a - wayand leave you dar -ing, eee be ety me * _ , 2 pot a ory = 7 is down on this ill ing for 2. should have you send me the blues, ght 41-9 2 Ks 1 I oot 0-0-4 X55 55 67. as 146 6 x6 616)7- x9 x6 78 99. sr (spb —. 4 r+ Ete» ot S| 7 s—9—1. t—x-9 10-14 or x : be: = a ori tte ret ert rete = = a - = Squeeze _me my ba - by. Interlude E 3 = 27 4 _ Gite {2 f+ —e f=" i 1. Peo ple tell me ba = by, can't be sa tis = fied 2 1 went to sleep. last night, 1 work as hard as 1 can, . _ : tite 2 tate SS = 8 SS — ste eeepepese se a ee ae ee Sf : tryin’ to wor-1yme ba-by, but I nev-erend up get to be my - self Tring home my mo ney, you take my mo-ney, give it to an-oth - erman. 1 x” t a = = [= = = ——— 6 + a= = S c eo -ple wor-ry baby can't keep you sa = tis should have quit you ba = by, oh, such a longtime a - _——— 5—6—T. OO 587-9] ~ ° = —¢ 6-6-7 7-7-8 8 8] 9 <7 = 6 ‘two -bit__ this kill ing you ain't no ~ thing but a. down on here with all my trou-bles, be = See g¢ 2 he, Sf pa eeepc att cup A : - a Oh, squeeze, squseze me baby. ‘utile juice rans down my : i: ——— Mir SS = SHete ee eee asa 5 + — ‘* BE eS leg. ot aceat te et r 18-9. aes Ate DS pee (e)sty eee EE ite rs S677 7 5 Guitar Soto P Ps “ rie =e EERE tee he x9 7-6-7] B fea ccoeuitcerple.s tries frpieter epee rosters, = = [-9-9:99-97-7-8-9 115-340-004 KS —_K5-6-7 RN ERY OMe ROO R EET ENCES ASTON BARRETT Bob Marley & the Wailers I SHOT THE SHERIFF ston Francis Barratt was one of two brothers who played with Bob A Marley & The Wailers as well as Lee Perry's The Upsetters. As a bass player his contribution to the success of Marley's records was CTO CCoeOONCSSeR ee e Ev MU CUO CCUrO SR LN LC OTe Cen TIA CST Le oe ee peer ROR eMC Re RO eS eee for co-producing, arranging and creating the bass lines of Marley's biggest hits. De oD RL A CRO ee RCC eee TOE RT Tea UNE en CU eee ee ON eRe OLE are CN ce Nc ee eee eC RSL eco eee Te CO TC peed ELT ESL te ek Se Ce eee ey SC TS Seen re eee eT hay said. “A mixture of music was on Jamaican radio. By listening to the favourite players Loyd Brevett, Lloyd Spence, Jackie Jackson — Fd grab olf their style and then Pd improvise TON eC Rc OE RU Ne ee) that Lam singing baritone, On the bass I make a line, Hill in the gaps to make the singer flow more.” The technique iy well demonstrated on the ckissic Marley composition “I Shot The Sen oe re ee eee eT CR COO eS ee Ere SITeNMeC Ce RCSL eter Peo ee ee Chili Peppers. He iygenerally considered one of the founding fathers of of reggae bass guitar TID RCL est STS Ue CeCe en tS I SHOT THE SHERIFF WORDS & MUSIC BY BOB MARLEY (© Copyright 17S Fy nl AIL igh Reser Gm jet eR i ty e ae - + = ~ dep - ~ ‘Oh, no, ‘oh. I shot the sher - iff z a ef sh = = pa a Poa ree ¥ = a fie 1 S — — Yeah 00h, ooh, ooh) ce = # 7 Hes Fie Lends o— EE = Ss 156 Vee phe Dm Gm — out == S55 SS [SA (Gf SG oa Lalla = round in myhome = town___ they 2.Shet iff John Brown als ways hitved me Fe 4. Revflexes had the ieee Seer _____ And ty - im track sme down, yeah. — They what, T don't know. Eve y what is be, must be, Ev. 'y = Uf [fs 2 pepe 2 pe 8 1 3 3 . = 5 Dm Gm a mI say they want to bring ome ing = for the a " pots ay the we -ket as go ee ft, ft, (2: os = = = 8 2 = 2 EE = = ts Ete Dm Gm ne — 5 ———— > SSS — == j Jail - ing of the = dep =u —_ unt for the Kil it be = fore it ‘grows, He said, day, the bot-tom a - go drop out One £ Gm z=fe = —— = Jie of a dep ey Bot 1 aay il them be = fate they grow And 30 dy, the bot-tom a= go drop out 2 z == 200 9 op = Fig, ends = z z 3 ] ss £ = z = — 7 o SE SSS SS =| HE * 3 | + ra ——— = == z= — Ob now, now, oh Ando Reed i in the news. SSS — SS ae Chorus Play Fig. The sheriff t Lord, —____ ‘a shot the sher iff, but Ts swear it was in ‘Bkgd. Voc. tact; Lend Voc. sim (2°) get bd SS 5555555 and they say itis a — ' ee [Om tort — Ob, now I shot the sher = iff but swear it was in To Coda ©[T, 2 ae a3 Clee ee Verse Play Fig.2 ‘bs Dm Gm Bp Dm 3.Free-dom came my_ way, one day. And I start - ed out of town, —— yeah. A of a sud-den 1 saw sher - iff John Brown sim Dm Gm QS ae SS SS SSS = in’ to shoot. me down. So 1 shot, sho, 1 shot him Gm NC(Gm) — —s — ey 3 > | £ ste ete le pe aS Es a shot the sher iff cm : Ti r,t i ie Zz === $ == 3 —= ; + — i ws, ae ee ee As 160 ok I shot the sheriff DAS. al Coda t Oh, yeah. — 4.Re but I didn't shoot no dep - u - ty, oh, ooh, ooh.) Gm Play Stimes RE ER Sat Sr UENCE FLEA Alanis Morrisette: YOU OUGHTA KNOW he colourful life of Michael Peter Balzary, known as Flea, began | NCO cee mY Cc CC CO PY A Oroe MNS CU eae cee relocating to Westchester County, New York, allegedly to advance his Fost Oe ere RT tre ee ee STONE EOC eC ET Cod eee eR eee ee Ce ne eee OU Re cc ee eee ee eee eee NOOO ee ne cee CC ene ONS Oe Oe Oe eee SU CR ne Cee Re ee CTO Re eee LED eee eee eee coc ee TUN eNOS ne eee cee ecco ST Len ee ad a eee ee Ree ee ed RT en are eee ta ne cae ONO TE OS ee er Pee EI Teen Cor SOE OCT ene Se eee eee eee eee OC eC ee ee Ce Pea C Re Ue ee ee ee er eee ee acting in several films that include The Big Lebowski and My Owen Private ldutho. YOU OUGHTA KNOW WORDS BY ALANIS MORISSETTE MUSIC BY ALANIS MORISSETTE & GLEN BALLARD © Copyright 195 Vasurst Place Mus Aeroation Corporation Musi Corporati Of Ane Icosperated MCA Msc Publishing Incorporated. USA. Alleghs in Germany administered by Unversa MCA Mus PUBL Gib AI Rights Reserved, nterntional Copyright Secured To match recording, tune bass down one semitone Vere d= 106 Nc. 3 r = z = Lt want you. to know that Pm hep - py for you. I wish noth = ing but the best__ for you both An old - er Gm? OG version of me, is she per-vert -ed like_me? Would she go down on you in a thea af cies) x Gm a = ee = —_— = net Docs she speak el =o - quent = ly and would she 2 SSS SSS r = a = = f 33 X33 3 ee 164 OG have your ba - by? I'm sure she'd make a real -Iy ex "Cause the Pre-Chorus Gm? that you gave, that we made was-n't_a - ble to make time_ you speak her name, does she know. how you told_. me you'd hold. 35 » ge you le__when you went a 1. aL ie iS a= way, Its not 31313-13431 166 BP c “She 6 pe ee ek oR, ¥ +t ee ere SS SS ae 3— SE Verse Gm? 2.¥ou som very wall =—— =a ted ae 3 10-910 gk Cute 3 oles 7 ce A a =e Ee SS r aot S45 . = ef r you should know. Did_you forget a-bout me Mister Du- - = ; - 5 Fre a fel See He A 2 es (Bg oe —— a «= plie-i = ty? 1 hate oc fo bug you in the mid-dle of din - ner. oe how quickly 1 vas re-plaed and are you thinking of me when you ay - lee — SSS =S==— Fe oe aa vam, > I X-5—3- 8-0 : 7 ut ont = x8 33S aS oss ro Pre-Choras Gn? = - 7 — = SSS Se fick he? “Caise the love that you give, that we made wasn't a> be . = SS SS ae ==: at B33. —— = o—-1 3—3- X—X—3—3- —— au 01. C/G = pee ae = a 2 z = make it ¢-nough for you to be 0 ~ pen wide. no. And ev eee . . oat es aires = woe = So = ee x1010 101-3 3 1005, = a ee ono" e 3-3— 3-3- 3-3-3. mt ~ _ es GSS = panne = Sse =| sry ine you speak ber mame, does she know-how you tld me you'd fold me aS —— == = = 5—5- 5—5—5- —x—3 5—3— — — 7 = as ee 168 2 var you're still 2 - live of the mess you —_left__ when you went bear that you gave to me, Bass acet, Cisust = Crsust Pre-chores Gm? 5 — 7 be > a Ee = aS = joke that you laid in the bod thatwas me and I'm == pS ae ee mf — 2—3- ~ Ss M33 aa ht ae ae ney tan es AN cece NRC RN eae Re == = ie SSS A oat = — 2—3- X—2-3- 2- = = 3 x4 a3 a8 7 = 24 ¢ epee fF £: fret zi = SS ee fe Wel, ang you el iv Well Tm here = = er = aa: —— = so 0-4 4—1—3— 1 3—3—. os ot B ap Fh ge np of the mess you Ie when you went SS eH Bb c “ee — be a ee flee Ce oO et tt f # f == fis : — 1 bear that yougnve to me. You you, you ought -a know. Timber == ee SSS Se See fs-5-3—3—3-3-3— 33-3 3-3 B a sole p—e 5 see ee x £ you of the mess you eft when you went = = == SS a ‘bear that you gave ———— ought =a know, —__ oo oe ) ee 4 4 1 4 BROWN EYED GIRL WORDS & MUSIC BY VAN MORRISON © Copyright 1967 Web V Masi Mu J=16 NcAG) © io) (eg ere mf — = 22-4 45 = 55 st = ead @ © @ i) : se s pee t oe see = te z z f — : = = s ———— SS vere G c G D L.Hey, where did we gp days_when the rans came? ——. — [= St a = ad < = soe f 2—1—ts - = = ae — G c G gS = . Down in the hol - low, play - in’ a new _ game, SS = —— G bt —— S553 skip-ping and a -jump - ing, 5 ee oe te te = - a ; 7 in the mist - y mom - ing fog with _ my brown eyed girl. our hearts = thump - in’, And you— foe = a EB = ——- = = : ? SF = — : - . —.. oats — s 2 a 2.Now, what -ev-er hap - pened = day and s0____ slow? Going down the old__mine with a hid = ing be - hind a Slip-ping and a slid - ing fall_— with you. Do you remem - ber when we used to sing? Chores s Se re $ eee aT a eer ust ike that Ee oo eapteete 29 ve = eS | = — rt el Interude (Bass Solo) NCJG) (c) (G) {D") F SS SSS SS _ 5 He ——3 = —— 5 : fH D G a T saw you just the oth -er day; G bp ete = SF yt yo? = my, — how you have grown.— 7 > Cast my mem-'ry back 178 a= we used to sing? Chores Sha, Ia, (wiad tb vocals) Repeat and fade ST NS JACO PASTORIUS OTS Wav ie) ae haan OE nee tae erect TROT STO ts Se ere ert eo TTI ett oe OTTO EGO Oe CRTC TT Om TT ET COm Ny ea ea EULA ET Cea cece eee een RR RON eT Ce ee er eee RUT es Tee Lec Te een ee Cee Pare TET upright bass. The upright proved expensive to maintain and when it developed a crack he Tee ene ea Cee RC eRe eT See Ue ee ee ee ee en ee Rc eee een er eee ere ee Te TEM TRS Re SUC OS OS aCe eer TOT RETO Cree ee Teen eee I PoveSees CONTI IC eee ST RCCL Ree TCT Rte Tee ere FORCE RU ORCUTT Ct a te ee eTOnTAeCU NEeTET eet Sere NTT eet ee eee eae eee TOTO RU CES CC GSTS eC ETE OE eS Aes ee eee ca eee ee NNER TE Re Teen eA ea Aer ee ore Nr om rT ee Tee ec ec sessions for their album Black Market. Pastorius soon became a vital part of the COTES Oe Dee NO CT EEC ec eT ee Cece eRe ee Tn eee ena SSC Smee te ee SRO eee ee ete eee cae Te FEST err eT er ears eet ae me eRe ere ree Oe RTT TRPO TURTON ONTO ES Te SPORT OOO ene Cee ee ee eae eee eS ee een ce Pome Ra Oech ete Cee een Te nea e SRSA Oe ee Ten PORTRAIT OF TRACY WORDS & MUSIC BY JOHN PASTORIUS (© Copyright 191 Ett fob atria. Catlin Musi Corporaten [A Rights Reserve lotenational Copyright Secured Harm- let ving throughout 5 = —_ ry — 4 : = = 5 ° * 30 **All upstemmed notes ar baronies *++De harp bam ie produced by retin Bon the od fet, Pitches sound vo octaves higher tan ofthe A sng withthe st ger, then playing be witen Sarmoni onthe th fet wih te ager, Gmaj? Emaj? Epis ——s— J E ee a F ? — hu 4 5 4—p = — 3 11 Hea i —_— 4 — 0- — 9. At: 4 = emcee ne Dirt BS Nan! th Hp eK Pee K z y a iH = — 3 4A E = — ; abet, o DG AG DIG abeen avees et ee ee 6 5 — 6 5+ 54 a 32—4 54. 54 — +—+ 43s. 3s +—a——a! "Upstemmed notes sound two octaves higher than writen wo end, DG NG D/G abner G DG ANG DIG bby XQ maj? cmap Emaj’ HH, 206) ‘Harp arm. payed by baring th fet withthe index finger and extending Fourth finger tothe 13th fet JEREMY WORDS BY EDDIE VEDDER MUSIC BY JEFF AMENT {© Copyeigh 191 Innocent Bystander Senin G Ment Songs USA, Unser Me Pubivhing Limited (SS) (aminered in Germany by Uneal Mas Pl Gb) SonyiATV Mas Pblshing (UK) Limite (2) AID Rights Reserved lnternatonal Copyright Secured , xe ee _ (tasers iy ~ oF E 1 5 iB 0—5-7-0 o- Bass 2(*12-07.) ES “Each svng (EA D G) i wipled, with a second string 8va, and a third sting 15a 104 ————— draw - ing pie = 7 SS ; =: = 6 ————— = : — with him on. top. Jem-on yel-low = sun = £ == ja — : iB —— 9 sy Play Fig. — ams ised in a V. an'the dead layin pools of ma-roon_be-lov. A a D/F* Alsust AS at hae _ s : — SSS & e = oe did-n't give at-ten = tom... oh, to the —ae eS r = —— FF —— z a # Zz ce + — af o— 67-0 @ oo fact that Mom-my——did-n'e cate King Jer =e > my. the wick ed... —, e = se we = zie = z —— 7. o oe Corns Alsust AS ‘Asus? Fsus? Ta . for = Jere -my spoke in + —— w . = 3 = 186 Ds ES BS as sa aE = = — = : class__ to = day. Vere Pay Fig 1d NC. See = eee ss Sa SSS 7 fe mom = ber. picking on the boy... — seemed a harm - les smashed his teeth an’ bit the re-cess lad - y's breast how could 1 for- get an’ he hit me with a ——— = se Tet hurt -in’ 00, dropped wide 0 - pen. Just like— the day... oh, like the day T heard. Play Fig.2 rc a pF Alsust AS z — Daddy did-n't give af-fee-tion, no... andthe boy was some -thing that Mom -my would -n't Gs Dre Alsust AS — Le wear... King__ Jer = my the wick - oh, riled his world, car Alsus? F(sus?) Ds BS FS AS ee re ee Jay ® = S eee can ae _—— : ee —— aan —+- po eee = as os Dm gS FIC aS fo rs i Le Fie 2 f= pee Er : Et fe-e-my ole Blas ea (day), = = = : —— oe _— SSS SS Sa t Cc Co EE 0 10 5 1 —3 oe Alsus? Foust bs ES BAS fet = —————> (G2 == a 5 — ¥ Jer - e - my spoke. in, class. to- day!. % ~ — ——= = ——-F 5 f= d= FS 188, Try— to for-get black - to e-rase Chorus ‘Asus? NCAF) DOr FAS NC. Amc + board, ‘Asus? Gsust DOES as Alsus? Fous? DOES FS as Jer =e -my spoke in Asus? Gsust DEBS ONG AS oy 10 10-10-10) Jer-e-my spoke outro wiVoeal adi, Play 4 mes B a as Sais Eee = ~ T es ° - 33 33338 190 THE FRIGHTENED CITY MUSIC BY NORMAN PARAMOR {© Copyright 1961 Flas Pablshing Company Limited ‘UnsenDick ames Muse ited All sghsin Gertnany administered by Unter Mas Pu Gib AILRights Rescred ternational Copyright Secret 192 To Coda @ hn Dn Mv SSS SS SaaS See 2 2— 4—2- + Exe am PS SSeS SSS] ees : 2 a = SS SS See] An Am An eee Fea : RP NIAY SMS Oat ee eee BAKITHI KUMALO Paul Simon: DIAMONDS ON THE SOLES O1 HER SHOES; YOU CAN CALL ME Al rom the moment Bakithi Kumalo’s bass playing was heard on Paul eo 1986 groundbreaking Graceland album, any listener PET RUT aeRO USC RU Rec a OER CS Re STG CeO OREO OUR MLO Serer atte nn ty ee rete Ce ee Ne OO eer eRe ee aCe Cee Cee Ee a een te oe ere CeCe SR ee OO Perce Sa ere eT Ne PRU re een RU ee eee eC ree RE Cee cece eR POS Re ne ed eer Pe CUR CO eT the left-hand work of accordion players in the township bands Ina unique stroke of good fortune Kumalo was introduced to Paul Simon (whose music he hardly knew) by a producer friend just as he way seriously considering aa PTR ee oR eee Ne ee Cn SOL RC tren te ere oe RON ere ern ence nine COUN Ce CSCS eRe PRR OT Cee eT pee CTR OCC Pe EN Ce nT eS oR pea CER ere eee ne RO een eS Feeaer ee eee CTR Kumalo’s work on Graceland brought him anew carcer in the US recording with Herbie Fenestra SSeS YOU CAN CALL ME AL WORDS & MUSIC BY PAUL SIMON (© Copyright 196 Fl Son (BMD, AM Rights Reeve International Copyright Secured Fretless bi bb aS — = == SS Ss 1A man walks down the street, he says, 1 soft in the mid -dle now? 2.A man walks down the street, he says, I shot’ of at -ten-tion? Got 2 3.A man walks down the street, It's a strange world. a . *Slap ll notes withumb til Chorus. Why am TL sof in short it, - tle span of, May = be i's the third world, the mid dle, the at - ten tion_and cl SS eS rest of omy fife eso. had ‘oh, my nights are so long. may - beit’shis fist ime a - round SS === ox 14+ — — — ss I F c a ——— oo T needa pho -t0. op -por-tun - i - ty, 1 want shot at re = dem ton Where's my wife and fam - i - Wy? wht if 1 de here? Does -n't speak the lan suse. He holds wo cur -ren cy — —- : > — — P so ee a — — o F c Gm c + toon. gave = yard?” digger, bone dig-ger, Don’t want toend up a car - toon in a car ‘pone? He Who'll be my role mod -el_ now — that my —role mod - el He is a for - eignman. He is sur - round-ed by the sound; dogs in the moon light fara way in my ducked back down the al = ley with some rm + ly po- ly iit - de cat = tle inthe mar - ket place, scat = ter = ings andor - phan - ag - es well = lit door Mis - ter beer bel = ly, beer bel ly, bat = faced girl, —_ All a Jong, a long, there were He looks. a - round, a ~ round, He sees z = .—3—_* os —I—4 198 Gm get these mutts. a - way from me, 1 don't find this suf oa in -ci = dents and ac - ci-dents. There were hints and al le : an -gels inthe ah - i= tec ~ ture spin-ning in in - fin - i - ty, He says ee If you'll be my bod-y ~ guard— canbe your long a= omen and alle «hu -joh.} 11-4 *wltingers can call you Bet-ty To Coda © Bet-ty, when you call_me, you cen 2439 4 =i Penny Whistle Solo F G Gm fc] F c |: 0—3—x- a 43. 111 33-3 Stop tes withumb il Interlude 03x 0-3 + 4 ~ Bass 2 Rretes) ge. Ve. Fig. 2d ib, sim FW T=<10-1410— Interlude Gm c F c DS. al Coda Gm ic} F G Gm c 200 ° Bt 1a 0 Slap all notes withum til Bass Solo. E c F c Fe ace e _, _f SSS = = a Nana ma na Nana om oma manana a Nona ona om Nama ona nena, X93 F c} Gm ic} F ic} ‘Bass 2 plays Fig. 1 ad i, HE SS 0 x 053-0. x= a Snap pop’) string with RH. finger *eom this point, reverse tape fx applied to recorded Slap wim: performance; ties approximated inthis arrangement. 2m, DIAMONDS ON THE SOLES OF HER SHOES WORDS & MUSIC BY PAUL SIMON BEGINNING BY PAUL SIMON & JOSEPH SHABALALA J=us(0=I3) — 4 NC a SS ee SS SS Cocalay She's a rich. girl; she a oot ty to bide Diamonds onthe soles of her shown — Wee 2 poor fi ees SS SE: SS SSS pt —— === SS = === : By _ oe === E SSS SSS = Git z = = no Dia - monds on the soles of her shoes. FE =i J=108 » E a on 7 = = = ¢ 4 ty SKS ee SS =: Z E es S . : IE =F — — 5 = F B> c Play 3 times Day Fig. ft) F 1.Peo- ple say she’s cra = oy, She's got dia - monds on the —soles. of, 2She makes the sign ofa tea - spoon. He makes the sign. ber shoes. Wall, that’s one way to lose these walk = ing blues, —__ poor boy chang - es clothes and puts on after = shave Dia = monds on the —_soles__ of her shoes to com-pen - sate for his or — She's And she said, 204 Play Fig. 1 3) F BP c She said you've tak en me for grant = ed be-cause 1 please— way by the bo - de - gas and the lights on up-per Broad = = monds onthe soles___ of their__—_shoes.__ 12-1410 ‘ty - bod - y here would know ex - act + ly what Twas talk = ing = bout, 1m talk in? "bout the soles of her shoes. dia - monds on. Interlude F BP c 12—14—10- DS. al Coda 12~10>-<7. © Coda Play ig. Bb c > Verse Play Fig. 13) F 3.Peo- ple say I'm ca + yy. 1 got dia - monds on the soles. of Welt, that’s one way 208 F BP ic) Dia - monds on the soles outro Play Fig. (22) F (Ta nana na_—oa) (Ta manana ma) Play Fig. 2 F Te om ena Ba BB z g mana) (jana Play Fig. 18) F BR BRO nana) “ta moma na) "Additonal bg. vor. sings “ooh's” ad ib, (next 32 bars. a Repeat and fade RNA SOOT eee LARRY GRAHAM Sly & The Family Stone: SING A SIMPLE SONG arry Graham from Beaumont, Texas first found fame as the bass player in Sly & The Family Stone from 1967 to 1972, then as the founder and front man of Graham Central Station from 1973 to Te eC ee eee OO EU ee Rn erect Cert Ce eR ee ea ae Re eR ee ee Pe ee ROAR eee ee Cee OS ee SOE EC Sees CL Ren Se ecnd ee CON COR CST FROM a Oreo TOO ce TNC Ree a crete Oe eS eC Pen Ree ee ee cc NO COLL Cee Ce nee eS ER ear ere Reece PTT te eC Reece ee eS Ahits in the 1970s, CARR ok eee ROR eRe betty Davis, a former wife of Miles Davis who, following the breakup of her marriage had Pte Rem Re en ce tren OTe en CeIn ECU TE CUO Tepes Rann en te eC ee PSU ee ener ee Renee ee eRe eS PORE em ote ee Re eee re meee ea Cen ec CCST TS CE Station in the carly 1990s and latterly collaborate several times with Prince, SING A SIMPLE SON WORDS & MUSIC BY SYLVESTER STEWART © Copyright 1968 Carin Mosk Corporation All Rights Reserv Ineratonal Copyright Secured = = == f= i, talk ~ in’, tk ~ i’, tk - im tak ins int) liv = in? fe with al ae | t = 5 = 7 § 7 aT 7 — o — = 22 Y - eters eee Te = in’, walk ~ in’, walk - in’, - in giv = in, giv - in’, walk ~ in’, love and — is passin’, L__grow old = er, things ___ are — in trou - bie’ when you find is hard for eS — # $ = SS hold on make. it (Chorus (with ad ib, booking vocals) ~ sim-ple for a song at lit = de last] while. | Let me he + 12 14—14——14—14 . 312 12212 24 {B) @.. Do re ‘me fa so la te do) aptis te ee te She te ee ee ee ee ee oe auaz f Ere see a a a a a. 1—¥ SI =; zs - in, Talk- 'm liv. ei ———— —————— € = =—— —— = (with ad Wis, backing vocals) 7-7) ra HEAVEN KNOWS I’M MISERABLE NOW WORDS & MUSIC BY MORRISSEY & JOHNNY MARR © Copyright 1984 Artemis Musihastgeer B V/Mae Songe Lined ‘ner Mus bling Limited (308) (Administered in Germany by Univeral Muse Pu, Gb Warner|Chappell rem Mus Lined (3) AIURights Rested International Copyright Sst Femaj? Dmaj? ct B Boust B Bsus? ct cfu ct fata Verse Fhmaj? Dém Dim’ Gtm but Hea-venknows I'm mis-'ra -ble now... B c Ffmaj? btm Din? was look-ing for job, and then I found a job B ct Fhinaj? ptm c give val -u-able_ time peo-ple who don’t care if Gh GtuyFt —, oe = ‘and Hea-ven knows I'm misra-ble now. Gtm = Fraps a fe and Heaven knows. I'm mis-ra-ble Tahe eS Fai? Dima Gtm —_Gtmyr# —Ctnust peo-ple who don’t care if 1 B But B Baus? Ce chads C8 Chadds Bo Buus? B Bus? c# chance ctaun 3.What she ~— —s—— Ss end of the day — Ca- lig -u- la would. have blushed 20 B ct Fhnay? Dm you've been in the house. too Gm B ce FAmaj? vy 72 Chsust Pha? Ditmas “Oh, you've been in the Gtm Gtayrt Ctaust Fg? nat "ral -ly fled m2 Ditmas Gtm Ginyjrt Ctaust give val = u- able. time Fina? Dns Gin GtnyF# Chast peo-ple who don’t care if Fmajt Dmaj Femaj? Fen /B BO RP NEeT Se eee eee STING The Police: ROXANNI WALKING ON THE MOON Sting: SEEN DAYS PIR re TERS LETC ee Me) ET RCTS STR R ee eet Oe ENROL een RO ee aeRO Te eRe ee een ee re ne eee etree ka POT ENC CRer rer Ce NCO eae er TTD aR Rr re SR Ta RU Cae CU To Oot een ere eT PRU ee ORE Ct Ne gee eC TE CE Teen CTD APU U ESO RMTS ENC IUTA TS TC ORCC CONTEC COSTER en Rete | UTR Oe eee ee eT ED rere ta ear NCTC er TROT DO cee CeCe Cee ee Ferret Rents NU Rn reoSTUL oe esta Te OSES EROS CUTEST CONTE 7 Ree eer cece nee er ete ec ee eee POE Te tr RST Peet ete ee ert Ce CP ea ee cre ee Ceara ee ec EO eRe en eee eee ee gee ee PO ENERO COU LOTT neem rece CO eT eC Tas eee TOC eT audmitted disciple of Paul MeCartney’s bass phy ing and musical approach in general, Sing Ne nee etc te rete na eee eee Perea eC eee rea Tn ROXANNE WORDS & MUSIC BY STING (© Copyright 197 Steere LiratedSterpke (Overseas) Limited EMI Mas Pablabing Lied ‘A RightsReserved International Copyright Secured. If wisi B89 Dm Cm? Fsust Gsust vet Ge Fe Bbmaj? = Sct p+ poe pt in ee —SS = = SSS = == = youdon't have to put_on the red ight Toved you sine L know ya 1 would -n't tak down toy ty ee San SS poe Ss — ik as ; cm? Fsust ————— : * + ¥ = == ———— _ those ays wey = ey you don'thave to = 1 fave to tell you just) Bow T feel, T won't share ae = —- Se = = SS SS = ve i _ 3 KP = .8- —— = = — 4—4 X—K—=1——3- Gm _ a SSS =e = = —— sel your bo = dy to the night Rx mae, = you with an cot =e boy T know my mind is made i : = x—x x] Fe E?maj’ Dm mal a = =—= f-S : SS Sese= roe you don'thave to wear that dress > -—nigh,___ so "put a= way your make up Eni : = SSS = ——F ——_ Ss ———S CS = SSS SS SS es

    You might also like