Jane 39 S Addiction - Best of Digital

from Jane’s Addition - Ritual de lo Habitual
Ain’t No Right
Words and Music by Perry Farrell, Dave Navarro, Stephen Perkins and Eric Avery
Intro
Moderately fast q = 152
  µ (A7)

 
(Drums)
            


Spoken: Uh. Ee. Ah.

  
*Gtr. 1
     
Riff A
 
             
 5 5 5 5 5 5 3 3 3 3 5 5 5 5
*Bass arr. for gtr.

Gtr. 1: w/ Riff A (till fade)
 
         

  
       
My sex, and my drugs, and my rock and roll
 ee,

      
End Riff A
   
5 3 3 3
  

                    
3
 

   

on my brain and bod - y. Ee. The sex, and my drugs, and my
  
          
        
 

rock and roll are the on - ly thing that keeps

Begin fade
    

  
me here. Al - right. Spoken: So get your fucking piss cup out of my fucking face.

 
My sex, and my drugs, and my rock and roll, my fucking own business. I don’t ask your wife
1
Fade out

 
about what position she’s fucking liking. Ah.
Slower q = 134

(F#m) (C#5) (B5) (F#m) (C#5) (B5) (F#m) (C#5) (B5) (F#m) (C#5) (B5)

        
Get

 
 
Gtr. 2 (dist.) 8v a

  
loco
        
mf
Harm.
4 X
X
X

X
Gtr. 2 tacet Verse
 
µ (C#5) (B5)
 
µ(F#m)
  
(C#5) (B5) (F#m)
      
(C#5) (B5)
    
(Bass)
out. 1. I am skin and bones. I am point - y nose,
Bridge
(F#m) (C#5) (B5)
  
(F#m) (C#5) (B5)
 
*A5
         
       

but it moth - er fuck - ing makes me try. It makes me try
 
   
*Gtrs. 2 & 3 (dist.) Rhy. Fig. 1
       
f   
P.S.


X 2 2
X 2 2
X 0 0
*Composite arrangement *Chords symbols reflect overall harmony.

A add9
sus4
     
A
    
C5
 
          
and that ain’t wrong. I’ll tell you why. There ain’t no
 
   
      
End Rhy. Fig. 1
      
  
        


 
 
 34
let ring let ring P.M.
0 0
3 0 2
4 2 2 2 2
X X 2 2 2 2
X X 0 0 0 0 3 3 3 3 3 3 3 3
12
2
Chorus
  
F#m C#5 B5 F#m C#5 B5
    


right! Uh.
 Rhy.
Gtr. 2 8v a
             
8v a
             
Fig. 2

loco

Harm.  Harm. 
2 X X 2 X 2 2 X X 2 X 2
2 X X 2 X 2 4 4 4 4 4 4 4 2 X X 2 X 2 4 4 4 4 4 4 4
 Rhy. Fig. 2A

Gtr. 3
    
             
             
P.M. P.M. P.M.
4
6 6 4
6 6 4
0 2 2 2 2 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2 2 2 2 2 2 2
    
F#m C#5 B5 F#m C#5 B5
    
   
       8va      
Ain’t no wrong, now, ain’t no right!
  loco
8v a
               
loco
Harm.  Harm. 
2 X X 2 X 2 2 X X 2 X 2 4 4 4 4 4 4 4
2 X X 2 X 2 4 4 4 4 4 4 4 2 X X 2 X 2 4 4 4 4 4 4 4

   
       
                      
P.M. P.M. P.M.
6 4
6 4
0 2 2 2 2 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2 2 2 2 2 2 2 2 2
 
F#m
    
C#5

B5
 
F#m
 
C#5 B5
  
Ain’t no wrong, now, ain’t no right.
 loco       
8v a
      
8v a
              
loco
Harm.  Harm. 
2 X X 2 X 2 2 X X 2 X 2
2 X X 2 X 2 4 4 4 4 4 4 4 2 X X 2 X 2 4 4 4 4 4 4 4

   
         
                
P.M. P.M.
6 4
6 4
0 2 2 2 2 2 2 2 2 2 0 0 2 2 2 2 2 2 2 0 2 2 2
3

F#m

C#5 B5 F#m C#5 B5
       
  
There’s on - ly pleas - ure and pain.
           
End Rhy. Fig. 2
 loco
8v a
8v a
               
loco
Harm.  Harm. 
2 X X 2 X 2 2 X X 2 X 2
2 X X 2 X 2 4 4 4 4 4 4 4 2 X X 2 X 2 3.2 3.2 3.2 3.2 3.2

End Rhy. Fig. 2A
      
                  
 

P.M. P.M.
6 X X X X
6 X X X X
0 2 2 2 2 2 2 2 2 0 0 2 2 2 2 2 2 2 2
Bridge
Gtrs. 2 & 3: w/ Rhy. Fig. 1

A5 A add9 A C5
     
sus4
      
2. And a moth - er fuck - ing
 VerseGtrs. 2 & 3: w/ Rhy. Fig. 2 & 2A
 
F#m C#5 B5 F#m C#5 B5 F#m C#5 B5
                   
 

bad wind came, blew down my home and now the green grass
3. Bumped my head I’m a bat - ter - ing ram. I god - damn took the pain.

F#m C#5 B5 F#m C#5 B5 F#m C#5 B5
         
     

grows. Bad wind came, blew down my home.

I cut my - self. I said, “So what?
Bridge
 
F#m C#5 B5 F#m C#5 B5 A5
         
   
God - damn, good - ness knows! Where the green grass grows
Moth - er - fuck - ing took the pain. I said, “So what?”
T o Coda 
  
A add9 A C5
         
sus4
           
there can’t be wrong. And good - ness knows there ain’t no
I can’t be wrong. I thought so but there ain’t no
4
Chorus
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A
F#m C#5 B5

F#m C#5 B5 F#m C#5 B5 F#m C#5 B5
          

       
right! Ow. Ain’t no wrong, now, ain’t no right.

F#m C#5 B5 F#m C#5 B5 F#m C#5 B5 F#m C#5 B5
               

      
Ain’t no wrong, now, ain’t no right, on - ly pleas - ure and pain.
Bridge

 
A5 A add9
sus4 A C5
      

Oo, yeah.
  

Guitar Solo
F#m C#5 B5 F#m C#5 B5
Gtr. 4
                    
   
(dist.)
 
  
mf w/ heavy reverb
1 1 1
17 17 17 14 17 14 16 14 14 17 14 16 14 14 17 14 16 14
16 16 16 16 17 16

Gtrs. 2 & 3
   
Rhy. Fig. 3
    
                   
P.M. P.M.
6 4
6 4
0 2 2 2 2 0 2 2 2 0 0 2 2 2 2 0 2 2 2 2 2

F#m C#5 B5 F#m C#5 B5
         
   

 
  
 
1/2 grad. release
1
16 16 14 14
14 17 0
16 16 16 14 16 14 0

End Rhy. Fig. 3
   
 
                      
P.M. P.M.
6 4
6 4
0 2 2 2 2 0 2 2 2 0 0 2 2 2 2 0 2 2 2 2 2
5
 
F#m C#5 B5 F#m C#5 B5
 loco 
* 8v a

 
Gtr. 4
                       

 
P.H.
1
4 4 2 4 2 4 2
4
2 2 3
4 2 2 4
2 3
4
 4 6
2 4
Pitch: D#
*Applies to P.H. only.
F#m C#5 B5 F#m C#5 B5
 
   
Oo,
        
    
          
5 5 5 14 14
4 6 4 6 4 6 4 6 4 14 14 14 14 14 14 14 14
14 14 14 14 14
Bridge D.S. al Coda

Gtr. 4 tacet
 
A5 A add9 A C5

sus4
     

oh.
 Coda
Chorus
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A
F#m C#5 B5 F#m
 C#5 B5 F#m C#5 B5
            

      

right! Ow. There ain’t no wrong, now, ain’t no



Gtr. 4
                     

mp
P.H.
1 1 1 P.H.
2 X X 2 X 2
4 4 2 4 2 4 4 4 2 4 4 2 2 X X 2 X 2 4
4
Pitch: D
6
F#m C#5 B5 F#m C#5 B5 F#m C#5 B5
             
       
right. There ain’t no wrong, now, ain’t no right.
              
  

     
   

1 1
9 12 9 12 9 10 10 10 10 10 10 10 10
12 17 17 17 14
14 16
16
Bridge

F#m C#5 B5 F#m C#5 B5 A5 A add9
 
sus4
     
     
There’s on - ly pleas - ure and pain.
                            

    
14 12 14 12 14 14 12
17 14 14 17 14 14 17 14 14 17 14 14 14 14 15 15 15 15
16 16 16 16
A C5
       *   µ
F#5

       
Lis - ten to me, dad - dy - oh.
     
      
Gtr. 4

         

1/2
9 12 9 9 9 9
10 10 10 10 12 12 10 2 19
9

     
Gtrs. 2 & 3
      
0 2 2 2 0 2
*w/ echo repeats
7
8
from Ritual de lo Habitual
Been Caught Stealing

Words and Music by Jane’s Addiction
Intro
Moderately q = 102  
 = 
   
3  3 
* Bb7 A7 G7

    

(muffled noise)
              
Gtr. 1 (elec.)
 
10 sec.
            
f w/ slight dist.
4 3

3 2 6 6 5 5 6 5 6 5 6 5 5 6
3 2 7 7 5 5 7 5 7 5 7 5 5 7
5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5
Rhy. Fig. 1

    
                 
Gtr. 2 (acous.)
                 
               
p
4 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 2 3 3 3 3 3 3 3 3 3 3 3 3 3
3 2 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X
3 3 3 3 3 3 3 3 3 3 3 3 3
*Chord symbols reflect overall harmony.
G5 G5add9 G7
            
          



  
 





   

 

  
5 5
8 8 X 8 8 10 10 10 10 8 6 6 6 5 6 6 5 6 5 5 6 6 5
7 7 X 7 7 7 7 7 7 7 7 7 5 7 7 5 7 5 5 7 7 5
5 5 X 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 X 5 5 5 5 5 5 5 5 5 5 5 5 5
                               
                                
                               
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X X X X X X
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
9
Gtr. 2: w/ Rhy. Fig. 1
G5 G7
                      
                     
5
8 8 X 8 8 X 8 X 8 5 6 6 5 6 6 5 6 5 6
7 7 X 7 7 X 7 X 7 5 7 7 5 7 7 5 7 5 7
5 5 X 5 5 X 5 X 5 5 5 5 5 5 5 5 5 5
5 5 X 5 5 X 5 X 5 5 5 5 5 5 5 5 5 5

Gtr. 3 (elec.)
End Rhy. Fig. 1
                
           
                         
                mf w/ clean tone
3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 0 1 1 0 1 0 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X
3 3 3 3 3 3 3 3 3 3 3 3 3 3
G5 G5add9 G7
                        
                  
8 8 X 8 8 10 10 10 10 8 5 6 6 5 6 6 5 6 6 6 6
7 7 X 7 7 7 7 7 7 7 5 7 7 5 7 7 5 7 7 7 7
5 5 X 5 5 5 5 5 5 5 5 5 5 5 5
5 5 X 5 5 5 5 5 5 5 5 5 5 X 5 5
                   
  

 









 
 
            

3 3 3 3 3 3 1 1 0 1 1 1 0 1 0 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Verse
        
G7
   
      
1. I’ve been caught steal - ing once when I was five.
too. She’ll go and get her a skirt.
Rhy. Fig. 2
  












                
                
5
6
5
6
X
X
5
6
5
6
5
6 6 5  6 6 5 5 6 5 6 5 6 5 5 6
7
5
5
7
5
5
X
X
X
7
5
5
7
5
5
7
5
5
7
5
5
5
 7
5
5
7
5
5
5 5
5
5
7 5
5
5
7 5
5
5
7
5
5
5 5
5
5
7
Rhy. Fig. 2A
           
          
                      
       
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3  1
0
1
0
0
0
1
0
1
0
0
0
1
0
0
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0  0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
10
G5 G7
   
     
 
      

I en - joy steal - ing. It’s just as sim - ple as that.
Stick it un - der her shirt. She grabbed a ra - zor for
                        
                   
8 8 8 8 8 8 X X 8 5 6 6 5 5 6 5 6 5 6 5 5 6
7 7 7 7 7 7 X X 7 5 7 7 5 5 7 5 7 5 7 5 5 7
5 5 X 5 5 5 5 X X 5 5 5 5 5 5 5 5
5 5 X 5 5 5 5 X X 5 5 5 5 5 5 5 5
  


 













            
                     
3 3 3 3 3 3 3 3 3 1 1 0 1 1 0 1 1 0 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Gtr. 2: w/ Rhy. Fig. 1 (last 3 meas.)
  
G5 G7 G6add#4 µ G5
             
    
   

A, well, it’s just a sim - ple fact. When I want some -

me. And she did it just like that. When she wants some -
            

 
          
                        
8 8 8 8 8 8 8 X 8 6 5 8 8 8 8 8 8 8 X 8 5
7 7 7 7 7 7 7 X 7 7 6 7 7 7 7 7 7 7 X 7 5
5 5 X 5 5 5 5 5 X 5 5 5 5 5 X 5 5 5 5 5 X 5
5 5 X 5 5 5 5 5 X 5 5 5 X 5 5 5 5 5 X 5
                          
                        
3 3 3 3 3 3 2 X X X X X X 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 X X X X X X 0 0 0 0 0 0 0 0
0 0 X 0 0 0 0 0 X X X X X X 0 0 X 0 0 0 0 X 0 0
11
Chorus
  
G7 G5 C
          
          

thing and I don’t want to pay for it. Yeah, I walk right through the
thing and she don’t want to pay for it. She walk right through the

End Rhy. Fig. 2 Rhy. Fig. 3
                        
                  
     

  

3 3
6 6 5 6 6 5 6 5 6 6 8 8 X 8 8 8 8 X 8 5 5
7 7 5 7 7 5 7 5 7 7 7 7 X 7 7 5 7 X 7 5 5
5 5 5 5 5 5 5 5 5 5 5 5 X 5 5 5 5 X 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 X 5 5 5 5 X 5 3 3
 
End Rhy. Fig. 2A Rhy. Fig. 3A
                   
     


  
  
       
  
 
1 0 1 0 1 0 0
0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 1 1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 X 0 0 0 0 0 0 2 2
3 3
   
Bb C Bb F G Csus4 C
       
     

door, and I walk right through the door.
door, walk right through the door.

     

       
 

    
          
         
3 1 3 3 3 3 3 3
5 3 5 3 1 3 3 3 3 3 3 6 5
5 3 5 3 2 4 4 4 4 4 4 5 5
5 3 5 3 3 5 5 5 5 5 5 5
3 1 3 1 3 5 5 X 5 5 5 5 X 3
1 3 3 X 3 3 3 3 X
          
 


  
 

  

           
         
0 3 3 3 3 3 3 3
1 1 3 3 3 3 3 3 3 6 5
0 3 5 3 2 0 0 0 0 0 0 0 5 5
2 3 5 3 3 0 0 0 0 0 0 0 5
3 1 3 1 3 X X X X X X X
1 3 3 3 3 3 3 3
12
         
 
Csus4 C7 Bb7 A7
     
         
Hey, all right. If I get by it’s
      


 

 End Rhy. Fig. 3
         

6 4 3
5 6 5 3 2
5 5 5 3 2
5 5 5
3 3 3
      



 End Rhy. Fig. 3A
      


6 4 3
5 6 5 3 2
5 5 5 3 2
5 5 3 2
      
G7 G
    

 Let’s 
mine, mine all mine. Hey,
go.
Rhy. Fig. 4 End Rhy. Fig. 4
                    

                    
6 6 5 6 6 5 6 5 6 8 8 8 8 8 8 8 5
7 7 5 7 7 5 7 5 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 X 5 5 5 5 X X 5
5 5 5 5 5 5 5 5 5 5 X 5 5 5 5 X X 5
Rhy. Fig. 4A End Rhy. Fig. 4A
                     
                     
       
1 1 0 1 1 0 1 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
1.
Interlude
Gtrs. 1 & 3: w/ Rhy. Figs. 4 & 4A (2 times)
G7 G
          
Gtr. 4
            
8v a
  
(elec.)
          
f w/ dist. & chorus
19 19 19 19 19 19 19 19 19
18 17 18 18 18 19 18 18 18 18 18 18 18 18
19 19 19 17 17 19 19 19 19 19 19 19 19 19
17
13
     
G7 G
     

2. Yeah, my girl, she’s one
                      
8v a
               
18 17 18 18 18 18 18 18 18 18 18 18 18 18 
19
17
19 19 17 16 17
15
17
15
17
15
17
15
17
15
17
15
17
15
17
15
17
15
17
15 
2.
Guitar Solo
    
G7 G G7
            
Gtr. 4
            
   
f chorus off       
1 1 1 1 P.H.
6 6 6 6 6 6 6
5 5 5 5 5 5 3 5 3 4
5 3 5
5 3 2 9
1 1 1 1 1 1
Pitch: C C

G G7
         
                 
 
    

       
   3

3
P.H.   

P.H. P.H. P.S.
1/2 1 1/2

17
X 16 17 17 17 15 17 15 16 17
X 17 17 17 15 15 17
3 3 1 3 2 2 17 17
1 3 0
Pitch: C E F E D#

    
G G7
         

           
    


  
let ring
1
1 1 1 1
18 18 15
17 17 18 18 18 15 18 18 18 15 18 18
17 15 17 15 16 15
17
14
G Cm7
              
   
A, la, la, da, da, da, da, da, da, da, da, da,
             
        

Gtr. 4
                   


3

let ring
1/2
18 15 15 15 8 8 8 8
18 17 18 17 15 17 15 15 18 11 11 11 10 9 10 10 8 10
18 18 17 15 17 18 15 10 10 8 10 8
         
 

*Gtrs. 1 & 3
 
8 8 8 10 X X
8 8 8 10 X X
8 10 8 10
*Composite arrangement
        
B7 Bb7 B7
     
da, da, da, da, da. A, la,
           

              

     

**T
7 6 7
10 9 10
9 8 7 8
10 8 9 8 9
10 9 8 X
6 7
**T = Thumb on 6th string
  
                 
            
8 8
8 8
8 10 8 X 9 X 8 9
X X X X X X
6 X 7 X 6 7 7 14
15
             
Cm7 B7
     
  

la, da, ba, da, da, da, da, da, da, da, da, da, da, da, da. Brr.
          
        
           
  

P.H.
1/2 1
7
11 8 11 10
8 7 7 8 10 8
10 8 10 9
8 8 6 8 7 6 8 10
8 6 8
            
 
Pitch: A Bb A
             
    
8 8 8 10 10 X 8 X X 8 8
8 8 8 10 8 X X 8 8
8 10 8 10 8 10 8 9
X X
6 7
Gtrs. 1 & 3 tacet

Bb7 B7 µ(G)
        
   

    

  
 
 


 
     
     
   
w/ bar
7 6 7 7
10 9 10 10
8 7 8 8
9 8 9 9
11 11 11
-4

-6 1/2
            
        
9 8 9
X X
7 6 7 7 19
Verse
Gtrs. 1 & 3: w/ Rhy. Figs. 2 & 2A
            
Gtr. 4 tacet Gtr. 2: w/ Rhy. Fig. 1 (2 times)
G7 G
 
       
3. Sat a - round the pile, sat and laughed, sat and laughed
    
  
               
G7 G5 G7 G5

     
and waved it in - to the air. And we did it just like that when we want some - thing
16
Chorus
Gtrs. 1 & 3: w/ Rhy. Figs. 3 & 3A
 
 
 
G7 G5 C
     
           

and we don’t want to pay for it. We walk right through the
            Csus4

    
 
    
Bb C Bb F G Csus4 C C7
     
door, walk right through the door. Hey, all right.
      
 
Bb7 A7 C Csus4 C7
           
 

       



If I get by it’s, a, mine, all mine, all mine, all mine, all
    
Gtr. 1
  
   
 
6
5 6 5
5 5 5
5 5
3
 
  
Gtr. 3
  
  
6
5 6 5
5 5 5
5
Free time

Bb7 A7 A6 G
                       

   

mine, all mine, all mine, all mine, all mine. It’s, a, mine.
    

       
  
   
6 4 3
5 3 2 3
5 3 2 5 4
6 5
6 5

4 3
  
      
 

6 4
5 3
5 X 0
3 2 0
X
3
17
18
from Jane’s Addiction - Ritual de lo Habitual
Classic Girl
Intro
Moderately slow q = 88
** A Dadd9 A Dsus2 D%
*Gtr. 1
 
Rhy. Fig. 1
                       

(elec.)
                             

        
f w/ clean tone and chorus
let ring throughout
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

2 2 2 2 2 2 7 7 7 2 2 2 2 3 3 0 0 0
2 2 2 2 2 2 7 7 7 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 7 7 7 2 2 2 2 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
*Two gtrs. arr. for one.
**Chord symbols reflect basic harmony.
D6 D6sus4 A Dadd9 A
                         
                             
            
2 2 2 2 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 2 2 2 2 2 2 7 7 7 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 7 7 7 2 2 2 2 2
0 0 0 0 0 0 0 0 0 2 2 2 2 2 7 7 7 2 2 2 2 2
0 0 0 0 0 0 0 0
Dsus2 D% D6 D6sus4 A
                    

                          
    
0 0 0 0 2 2 2 2 3 3 3 3 0 0 0 0
3 3 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2
0 0 0 0
Verse
B7

Asus2 Badd11
        
        
1. Four - o - five in
clas - sic girl gives her man a
    
    
     
End Rhy. Fig. 1
             

                 
 

 
0 0 0 0 0 0 5 5 5 5 5
0 0 0 0 2 2 4 4 4 4 4 4 4 4 4
2
2
2
2
2
2
2
2 2
2 2
2
4
4  4
4
0
4
4
4
4
4
4
4
4 4
4
4
4
4
4
4
19
A Asus2

B7 Badd11
  
   

   
     
my neigh - bor - hood when shots go off.
great i - de - a. And hears you tell your friends, “Hey,
                     
                   
 
0 0 0 0 0 0 0 0 5 0
2 2 2 2 0 0 0 2 2 4 4 4 4 5 5
2 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 4 4 4 4 4 4
0 0 0

B7 Badd11 B7 A Asus2
  
           

No one both - ers. A
man, why don’t you lis - ten to my great i - de - a?” It’s
 
     
    
     
          
            
   
5 5 0 5 5 5 0 0 0 0 0 0 0 0
4 4 4 4 4 4 2 2 2 2 0 0 0 0 2 2 4
4 4 4 4 4 4 2 2 2 2 2 2 2 2 2 2 4
4 4 2 2 2 2 2 2 2 2 2 4
0 0 0 0 0
 
B7 Aadd9
       
            



“Pop,” and a re - ply, “Pop,” and no re - ply.

true I am a vil - lain when you fall ill. That’s prob-a-bly be - cause
        

        

         
  
   
5 0 5 0 0 5 5 0 5 0 0 0 0 5 0 0 0 0 0 0
4 4 4 4 4 4 4 4 4 4 5 5 5 0 0
4 4 4 4 4 6 6 6 6
4 X 7 7 7 7
0 0 0 0

B7
       
             
Di - no - saurs on the quilt I wore with a
men nev - er can be. Not like a girl.
                   

   

        
             
    


5 0 0 0 0 0 0 5 0 5 5 0
0 0 0 0 0 4 4 4 4 4 5 5 4 4 4 4 4 4 4
6 6 6 6 4 4 4 4 4 4 4 4 4 4 4 4
7 7 7 7 4 4 X X 4 4 4 4 4 4
0 0 0 0 2
20
Chorus
1st time, Gtr. 1: w/ Rhy. Fig. 1
2nd time, Gtr. 1: w/ Rhy. Fig. 1 (1st 8 meas.)
   
Dadd9 Dsus4 D A Dadd9 A
       
    

girl.
Such a clas - sic girl.
            

   
         
            
       
 077
 70
0 0 5 0 0 0 0 0 0
7 7 7 8 8 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7 7 7 7 7 7 7
0 0 0 0 0 0
1.

Dsus2 D% D6 D6sus4 A Dadd9 A Dsus2 D%
     
    

  
Such a clas - sic girl.
2.
D6 D6sus4 A Asus2 Dadd9 A Dsus2 D%
              
     

2. Such a Oh.
Interlude
Double-time feel
 
D6 D6sus4 A Asus2 C/A A Asus2 Dadd9 C/A A
 
    
Hey, girl.
     

Gtr. 1
       


 
     
  
 
       
       
              
0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 0 5 2 0 0 7 7 5 5 2
2 2 2 2 5 2 2 2 2 2 7 7 5 5 2 2 2
2 2 2 2 2 5 2 2 2 2 2 7 7 5 5 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 X 0 0 0 0 0 0 0
  
                   
Gtr. 2 (acous.)
  
                    
mf
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 X 0 0 0 0 0 0
21
    
Asus2 C/A A Asus2 Dadd9 C/A A
     
      
Uh, uh. Oo, oo, oo.
Rhy. Fig. 2
                    

                        
                        
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 5 2 0 0 0 2 7 7 5 5 2
2 2 2 2 2 5 2 2 2 2 2 7 7 5 5 2
2 2 2 2 2 5 2 2 2 2 2 2 2 7 7 5 5 2
0 0 0 0 X 0 0 0 0 0 0 0 0 0 0 X 0 0 0 0 0

Rhy. Fig. 2A

                 
                    
                   
0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 X 0 0 0 0 0 X 0 0 0 0 0 0
End double-time feel

Asus2 C/A A Asus2 Dadd9 C/A A
         
   
  
Say, say, say, say, say, say, say. They may
    
End Rhy. Fig. 2
                 
  
                        
          
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 5 2 2 0 0 0 0 7 7 5 5 2 2
2 2 2 2 2 2 5 2 2 2 2 2 2 7 7 5 5 2 2
2 2 2 2 2 5 2 2 2 2 2 2 7 7 5 5 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
   
End Rhy. Fig. 2A
                  
                     
                   
0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0
Verse
Gtr. 2 tacet Gtr. 3 tacet

Badd11 A
         
   

say, “Those were the days.”
   
            
  
Gtr. 1
 
           
       
0 0 0 0 0 0 0 0
4 4 4 5 4 4 4 4 2 2 2 2
4 4 4 4 4 4 4 4 2 2
4 4 4 4 4 4 4 4 2
0 0 0 0 0 0 0
22

Asus2 A
   
Badd11
            
       
But in a way, you know for us these are the
                  

           
      
0 0 0 0 0 0 0 0
0 0 0 2 2 4 4 4 5 4 4 5 4
2 2 2 4 4 4 4 4 4 4
2 2 2 2 4 4 4 4 4
0 0 0 0 0 0 0
 
A Asus2 A Badd11
               
 
days. Yeah, for us these are the days,
             
Gtr. 1
   
   
   
  
  
0 0 0 0 0 0 0 0
2 2 2 2 0 0 0 2 2 4 4 4 0
2 2 2 2 2 2 2 4 4 4
2 2 2 2 2 2 2 4
0 0 0 0 2
 
   
Gtr. 2
        

0 0
4 4 4
4 4 4
4 4 4
2 2 2
 
Dadd9 Dsus4 D
       
            

and you know you’re my girl. Such a clas - sic
   
                         
                
  
                 
4
4
0
4
4
0 0
4
4
4
4
 0
7
7
7
7
7
7
7
7
7
7
7
7
8
7
7
7
7
7
5
7
7
7
7
5
7
7
5
7
7
4 4 7 7 7 7 7 7 7 7 7 7 7 7 7
0 0 0 0 0 0 0 0 0 0 0 0 0 0
     
              
          

0 0 0 0 0 0 0 0 0
4 4 4 3 3 3 3 3 3
4 4 4 2 2 2 2 2 2
4 4 4 0 0 0 0 0 0
2 2 2
23
Chorus
Gtr. 1: w/ Rhy. Fig. 1 (1st 4 meas.) (3 times)
         
A D A Dsus2 D% D6 D6sus4
    

girl. Such a clas - sic
           
          
Gtr. 2
          
   

  
      
5 0 0 5 0 0 0 0 0 2 2 3
2 2 2 3 2 2 3 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 0 2 2 0 0 0 0 0 0
0 0 0 0 0
  
        
  

   
girl. You know for us these are the
    
                
             
 

  

0 0 0 5 0 0 0 0 0 2 2 3
2 2 2 3 2 2 3 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 0 2 2 0 0 0 0 0 0
0 0 0 0 0
 
         
     
   
  

  
days. Oh. Hey, days.
Outro
Double-time feel
 
Asus2 C/A A Asus2 Dadd9 C/A A Asus2 C/A A Asus2 Dadd9 C/A A
     
Gtr. 3
                                    

(elec.)
         
mf w/ clean tone & chorus
let ring throughout
0
5 5 5 7 7 5 5 5 5 7 7
6 6 5 6 7 7 6 6 6 6 6 6 6 7 7 5 6 6
5 7 7 5 7 7 7 5 7 7 5 7
Asus2 C/A A Asus2 Dadd9 C/A A Asus2 C/A A Asus2 Dadd9 C/A A
                               
             

0 0 5
5 5 7 7 5 5 5 5 7 7 5
6 6 5 6 6 5 7 7 6 6 6 5 6 7 7 5 6
5 7 5 7 7 7 5 7 7 7 5
0
24
C/A A Asus2 C/A A Asus2 C/A A Asus2
         

               
   
Oh, oh, la, la, la, la. Oo, la, la, la, la, la, la, la, la,
               

            
Gtr. 3
     
           
 55  55  55
5 5 5
5 5 2 0 0 0 5 5 2 2 0 2 5 5 2 2 2
5 5 2 2 2 5 5 2 2 2 2 5 5 2 2 2
5 5 2 5 5 2 2 5 5 2 2 2
                 
Gtr. 1
               


              
                   
5 5 2 0 0 0 0 0 5 5 2 0 0 0 0 0 5 5 2 0 0 0 0 0
5 5 2 2 2 2 2 2 5 5 2 2 2 2 2 2 5 5 2 2 2 2 2 2
5 5 2 2 2 2 2 2 5 5 2 2 2 2 2 2 5 5 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
End double-time feel Free time

Gtr. 3 tacet
  
C/A
 
A D
 
  
la, la, la.
      

      
   

 555 5
5
5
2
2
2
0
                      
       
            
  
5 4 0 2 5 4 0 2
5 5 2 3 3 3 3 3 3 3 3 3 3
5 5 2 2 2 2 2 2 2 2 2 2 2
5 5 2 0 0 0
0 0

A Dmaj7
    
Spoken: Good night.
Good night.
         

   
Gtr. 1
       

 

p
5 4 0 2 2 5
3 3 3 3 3 2 7

2 2 2 2 2 2 6
2 7
0 5
25
26
from Jane’s Addiction - Strays
Everybody’s Friend
Words and Music by Perry Farrell, Dave Navarro, Stephen Perkins, Bob Ezrin and Christopher Chaney
G D Dsus4 Am Asus2 C A
21 34 132 134 231 23 32 1 234
Verse
Moderately slow q = 100
2nd time, *Gtr. 2: w/ Rhy. Fig. 1 (2 times)
A Am Em
             
1. Hey, man, where did you go?
2. Hey, man, what did you do?
Gtr. 1
(acous.) Rhy. Fig. 1
                











                   
mp      
 0 0 0 0 0 0 X X 0 0 X X 0 0 0 X X

2 2 2 2 2 2 X X 1 1 X X 0 0 0 X X
 0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
X
X
X
X
X
X
2
2
0
2
2
0
X
X
X
X
X
X
0
2
2
0
2
2
0
2
2
X
X
X
X
X
X
0 0 0 X X
*Gtr. 2 (acous.) played mp .

Am Em G A
    
                
Thought I, but I guess I don’t know you. I
Walked a - way, we were - n’t through. Last time was a
End Rhy. Fig. 1
                  

                    
               
    
0 0 X X 0 0 X X 3 3 3 3 3 3 3 3 3 3
1 1 X X 0 0 X X 3 3 3 3 3 3 3 3 3 3
2 2 X X 0 0 X X 0 0 0 0 0 0 0 0 0 0
2 2 X X 2 2 X X 0 0 0 0 0 0 0 0 0 0
0 0 X X 2 2 X X 2 2 2 2 2 2 2 2 2 2
0 0 X X 3 3 3 3 3 3 3 3 3 3
1.
Am Em Am Em G

                  
gave it my heart; you looked to take it a - part.
fake shak - en hand; now I think it must be said.


Gtr. 1
     




3
3 
0
0
2

3
27
2.
Chorus
G D Dsus4 D
 
                      
Rhy. Fill 1 End Rhy. Fill 1 Rhy. Fig. 2
*Gtrs.
1&2
 
 
       
Hey, man, can’t be
  
Gtr. 3 (elec.)
    
mp w/ clean tone
1/2
7 7

Am Asus2 D Dsus4
  
           
End Rhy. Fig. 2

       
        
ev - ’ry - bod - y’s friend. Hey, man,
         
       
1/2 1
8 7 5 7 7 10
7 5
D Am Asus2
      
          
can’t be ev - ’ry - bod - y’s friend.
      
     
1/2
7 7 5
10 8 8
Interlude
Gtrs. 1 & 2: w/ Rhy. Fig. 1 Gtr. 3 tacet Gtrs. 1 & 2: w/ Rhy. Fill 1

A Am Em Am Em G

Gtr. 3 Gtr. 4
 
 
                 

Gtr. 4 mp w/ dist.
(elec.) 1 1
divisi
7
8
7 7 7 5 10 9 9 7 7 5 5 5
28
Verse
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (2 times)
            
Gtr. 4 tacet
A Am Em Am Em G
        
3. Man of peace, man of war; tell me, who knows more?
            
A Am Em
  
Peo - ple gath - er - ing by, by the well;
Gtrs. 1 & 2: w/ Rhy. Fill 1
        
Am Em G
   

I think we could meet up a - gain.
  
Gtr. 3
    

w/ slight dist.
1
7 7
Chorus
D Dsus4 D Am Asus2
          
         
 


Hey, man, can’t be ev - ’ry - bod - y’s friend.
        
       
1/2
 1/2

7 7 5 7 7
5 7
    
D Dsus4 D Am Asus2
       
       
  
  
        
    
1
 1/2
7 10 10 7 7 5 3 3
29
Interlude
Am D C
                       
Gtrs.
1&2
                        
Gtr. 3

1 mf
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 5 5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 8 8 8 8 8 8 8 8
           
Am D C
              

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5 5 5 5 3 3 3 3 3 8 8 8 8 8 8 8 8
Am D C

 
          

  
Ah, ah.
                                     

 05
1/2 1/2 1/2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
Am D C
    

         
 

Ah, ah.
                                      

1/2 hold bend 1/2 hold bend 1/2 hold bend
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7 7
30
A Am
                       
Gtrs.
1&2
grad. decresc.
    

     
 
Ah, ah.
                           

grad. decresc.
100 0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
8
0
8
0
8
0
8
0
8
0
8
0
8
0
8 
A Am
                       
      

        
 
Ah, ah.
                          

100 0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
8
0
8
0
8
0
8
0
8
0
8
0
8
0
8
Guitar Solo
A Am Em
           
mp
   
Ah.
      

          
  
mp
 
3
mf
1 1
0 0
7 5
5 7 9 4
9 9 7 9
31
 

Am Em G A
      
 

             

 1 1 1
9
5
8 8
5 7 9 7 7
7 9 7 9 7 5

Am Em Am Em G
      
        
      
1/2 1
 1 1 1/2 1 1 1/2
7 7 5 8
8
9 7 5 7 7 4 4
Chorus
Gtrs. 1 & 2: w. Rhy. Fig. 2 (2 times)
         
Gtr. 3 tacet
    
D Dsus4 D Am
     
 
           
 
Asus2 D Dsus4 D
     

Ain’t no way, man, to be

Gtr. 3 tacet
Am Asus2 A
Gtrs.
      

       
1&2
        
ev - ’ry - bod - y’s friend.

   
Gtr. 3 Gtr. 4

        
  
Gtr. 4
divisi
1/2
1
11
12
 (11
12)
12
10
11
9 9 7
32
from Jane’s Addiction - Kettle Whistle
Had a Dad
Intro
Moderately slow Rock q = 104
   
µ A5 G5 A5 A
    
   
(Drums)
I put up with it!
 

Rhy. Fig. 1

*Gtrs. 1 & 2 (dist.)
         
          
f P.M.  P.M. 
9

10
2 2 2 2 9
2 2 2 2
0 0 0 0 0 0 0
15 3 3 3
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
      End Rhy.Fig. 1

      
                
                             
P.M.  P.M.  P.M.  P.M.  P.M. 
9 9 9 9 9
10 10 10 10 10
2 2 2 2 9 2 2 2 2 9 2 2 2 2 9 9 9
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3
  Verse
1st time, Gtrs. 1 & 2: w/ Rhy. Fig. 1 (2 times)
2nd time, Gtr. 1: w/ Rhy. Fig. 1
           
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A

     
1. Had a dad, big and strong. Turned a - round and
3. I had a dad, he was big and strong. When I turned a - round me, man, I
2nd time, Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st meas.) (4 times)
            
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
      
     
found my dad - dy gone. He was the one made me what I am to - day.
found my dad - dy gone. He was the one who made me what I am to - day.
33
To Coda 2 
    
A5 G5 A5 A A5 G5 A5 A
         
    

It’s up to me now; my dad - dy has gone a - way. Right!
It’s up to me now; my dad - dy has gone a -
Guitar Solo
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
      

   
 
      
   
8v a loco
     
     

 
Gtr. 3 (dist.)
 


f Harm.
 10  13  17  21  10  12  15  16  21  24
w/ tremolo effect & *octaver
w/ bar
10 14 18 24
20 10 12 14 15 20 23 23
5 7
Pitch: G *Set for

an octave
lower.


A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
                      
         


tremolo off
6 6 9 12 12 11 11 11 11 7 7 7 7 5 5 5 5 7 7 6 17 16 16 7 7 6
 
A5 G5 A5 A A5 G5 A5 A
   

2. Well, I
   
          
   
         
   
 

octaver off

1
17  17
1
6 16 16 7 6 16
20
19 19
20
19
 20
19
 20
19
 20
19
 20
19
 20
19
 20
19
 20
19 19
Verse
Gtr. 3 tacet
                      
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
     

spoke to the moun - tain, I lis - tened to the sea, and they told me that the foun - tain was the best
34
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st meas.) (4 times)
 
A5 G5 A5 A A5 G5 A5 A
          
     
that you can be. My dad - dy’s hand, it growed
   
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
           
    
slow to the lick - in’. Son - ny boy, grow to whip him!
Interlude
 
E5 G5 A5 µ E5 G5 A5 µ E5 G5 A5 A
   
     
  
Uh! What?!
   
Gtrs. 1 & 2
                              

        
              
9 9
10 10
0 0 0 2 0 0 0 2 0 0 0 2 X X 9 9
2 2 2 0 0 0 2 2 2 2 0 0 0 2 2 2 2 0 0 0 2 X X
2 2 2 X X X 0 2 2 2 X X X 0 2 2 2 X X X 0 X X
0 0 0 3 3 3 0 0 0 3 3 3 0 0 0 3 3 3
 Chorus
2nd time, Gtrs. 3 & 6 tacet

*Asus2
     
G5 Dsus4 D
      

If you see my dad,
  

   
         
    

let ring  let ring
mp p
3 2 3 2
3 3 3 0
0 2 2 2 2 2 2
0 0 2
X 0
3
*Chord symbols reflect implied harmony.

 
    
C B5 µ Asus2
        
 
tell him my broth - ers all gone mad; (they’re)
           
   
let ring  let ring
0
0 2 2 2
2 2
3 2 3 2 0
35
      
      
       
C B5 µ G
        

beat - ing on each oth - er. I walked a - round, e - ven tried to call.

 

      
 

  
 

let ring  mf
3 3
3 3
0 0 0
2 0 0
3 2 3 2 2 2
3 3
To Coda 1 
Guitar Solo
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st meas.) (3 times)
      
Esus4 E
  
A G5 A5 A
        


Have that fun - ny feel - ing he’s not there at all...
Gtr. 3

8v a
         
 
fdbk.
mp f
19 12 15 12 17 15 17 16 12
Gtrs. 1 & 2
   

 

 
2 1
2 2
2 2
0 0

A G5 A5 A A G5 A5 A

   
Yeah!
 
8v a
                     
Gtr. 3


1/4
19 12 15 12 17 12 15 12 15 19 12 15 12 17 12 15 12 17 12 15
15 17
36
A5 G5

A5
 
A D5 C5 D5
     


Uh, uh, ow!
  

      
8v a
    
Gtr. 3
 
w/ bar w/ bar
17 19 12 15 12 17 17 17 17 17

-1 -1 1/2
mf
 
 
Gtr. 4 (clean)
   
 
Gtr. 5 (dist.) mf
divisi
10 12 10
X X X
7 9 7
12
X
 
10
  
Gtrs. 1 & 2
         

                  
   
     mp
P.M. P.M. P.M. P.M.
9
10 3 3 3 3 3 3
2 2 2 2 9 2 2 2 2 2 2
2 2 2 2 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 3 3 3
3 3 3
   
C5 D5 C5 D5
        

la, la, la, la, la, la, la, la.
8v a
  
  
 
w/ bar 
+1
17 22
-1 1/2 -2 1/2 -1 1/2
    
   
 
 
12 15 14 10
X X X X
9 12 11 7
10 9
X X
8 7
             
             
   
            
P.M. P.M. P.M. P.M.
3 3 3 3 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3
37
Gtr. 4 tacet
C5 D5 E5 G5 A5
     
        
   
La, la, la, la, la, la, la, la, la. Yeah!
              
8v a
  
 
fdbk. 
19 12 15 12 19 12 15 12 19 12 15 12 19 12 15 12
0
0

Riff A
8va         
Gtr. 5
         
 

1
12 17 17 17 17 17 17 17 17 17
X 20 20 20 20 20 20 20 20 20
9
7
X
5
 
    
         
           
           
P.M.  P.M.  f P.M. 
3 3 3 3 3 3
2 2 2 2 2 2 0 0 0 2 2
0 0 0 0 0 0 0 0 0 2 2 0 0 0 2 2
3 3 3 2 2 X X X 0 0 0 0 0 0
0 0 3 3 3

E5 G5 A5 E5 G5 A5
      
              
     
8v a
 
Gtr. 3
19 12 15 12 19 12 15 12 19 12 15 12 19 12 15 12 19 12 15 12 19 12 15 12 19 12 15 12 19 12 15
End Riff A
8v a

Gtr. 5
                                    

1 1
17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17
20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20
38
D.S. al Coda 1
Gtr. 5: w/ Riff A (1st 2 meas.)

G5 Dsus2 D

(Gtrs. 1 & 2, cont. in notation)
    

  
If
8v a
Gtr. 3          

grad. bend 1  1  
20 20 20 20 20


   
 

Gtr. 6 loco
(dist.)
  
   


mf
w/ bar
grad. bend 1
19 19  14  16  17
17
slack
 Coda 1
   
E5 µ A5 G5 A5 A
      
   
 
God is dead. He’s not there at

Gtrs. 1 & 2
       
           
 

P.M. P.M.
9
10
2 2 2 2 9
2 2 2 2 2
2 0 0 0 0 0 0 0
0 3 3 3
Interlude
A5 G5 A5 A A5 G5 A5 A
     

all. Oh, yeah,
   
 
Gtr. 2 Rhy. Fig. 4
          
                     
P.M.  P.M.  P.M.  P.M. 
9 9
10 10
2 2 2 2 9 2 2 2 2 9
2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3
39
D.S.S. al Coda 2
              
A5 G5 A5 A A5 G5 A5 Am7

   
oh, yeah, oh, yeah, oh, yeah, oh, yeah, oh, yeah.
  
   
End Rhy. Fig. 4
 
   
          
                  
P.M.  P.M.  P.M. 
9 12 12 12
10 13 13 13
2 2 2 2 9 2 2 2 2 12 12 12
2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3
 Coda 2
Outro-Guitar Solo
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st meas) (12 times)
A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
               
    



way, gone a - way, gone a - way, gone a - way. Guess I’ll say good - bye.
 
Gtr. 3
   
  
                   


    
w/ bar w/ bar
1 1 1 1 1 1
 19
1
17
10 12 13 14 15 17
12 14 15 16 17 18 18

A5 G5 A5 A A5 G5 A5 A
                

  

And I had a dad. I’m say - in’ now, and I had a dad. Oh,

                            
     
 
 

1 1 1 1 1 1 1 1
 1
17 17 17 17 17 17 17 17
17 17 17 17 17 17 17 20 20 20 20
19 19 19 19 19 19 19 19
40

A5 G5 A5 A A5 G5 A5 A A5 G5 A5 A
             
     



    
yeah! Yeah! Say now, hey. Yeah, yeah, yeah, yeah, yeah.
       
                 
8v a
 
   

 
1 1 1
1 1
20 20 17 20 20 17 20 20 17
20 20 17 20 20 17
17 17 18
19 19 19 17 17
A5 G5 A5 A A5 G5 A5 A

     
loco
     
8v a
              
             
 

6 6
6
3 6 6
1
20 17 19 17
20 20 17 20 17 17
19 19 17 19 17 16 17 16 16
19 19 17 19 17 16 17 16 16
19 19 17 19 17 16 17 16 16 17
15
 

          
A5 G5 A5 A G5
   
I know, I know, I know, I know, I know,
     loco  

* 8v a Gtrs. 1, 2 & 3
             
   

 
 
P.H.
1
3
3
0
0
17 17 15 15 17 17 15 17 15 X
17 17 15 17 3
Pitches: A B A G
*Refers to P.H. only.
                  
Dsus4 D A5 G5 A5 µ
  

I know, I know, I know, I know, I know, I know.
 

   
          
       
let ring  P.M. 
2 3 2
3 3
2 2 2 2 2 2
0 2 2 2 2
0 0 0 0
3 3 3
41
42
from Nothing’s Shocking
Jane Says
Intro
Slowly q = 88
G5 A G5 A
      
*Gtr. 1 (acous.)
                          

               
mf let ring  let ring 
 330 3 3 3 3 3


3 3 2 2 2 3 3 3 2 2 2
 X0 0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2
0
0
X
0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2 
3 3 3 3 3 3
*Two gtrs. arr. for one.
Verse
Gtr. 1: w/ Rhy. Fig. 1 (6 times)
G5 A G5 A G5 A
 *             

         

1. Jane says, “I’m done with Serg - i - o; he treat me like a rag
2. Jane says, “Have you seen my wig a - round? I feel na - ked with - out
*Vocals doubled in unison throughout except where harmonies are indicated.

G5 A G5 A G5 A
           
     

doll.” She hides her tel - e - vi - sion.
it.” She knows they all want her to go.
   
G5 A G5 A G5 A
               
   

 
Says, “I don’t owe him noth - ing. But if he comes back a - gain,
But that’s o - kay; man, she don’t like them an - y - way. Jane says, “I’m go - ing a - way to Spain
      
 
G5 A G5 A G5 A
            
      
tell him to wait right here for me or try a - gain to - mor - row.”
when I get my mon - ey saved. Gon - na start to - mor - row.”
43
 Chorus
        
G5 Gsus2#11 G5 Gsus2#11

   
1., 2. “I’m gon - na kick to - mor - row.
3. “I want ’em if they want me.
                          
Gtr. 1
                           
                         
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 2 2 2 2 2 3 3 3 3 3 3 2 2 2 2 2
0 0 0 0 0 0 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Interlude
       
Gtr. 1: w/ Rhy. Fig. 2 Gtr. 1: w/ Rhy. Fig. 1 (2 times)
  

G5 Gsus2#11 G5 Gsus2#11 G5 A G5 A

     
I’m gon - na kick to - mor - row.”
I on - ly know they want me.”
Verse
G5 A G5 A G5 A G5 A
   
                

3., 5. She gets mad and she starts to cry.

 She
G5 A G5 A
  

     
         
takes a swing, man. She can’t hit! She don’t
       
Gtr. 1
     

 

   
            
     
     
    

let ring let ring
3 3 3 3 3 3 X
3 3 3 2 2 2 3 3 3 X 2 2 2
0 0 0 2 2 2 4 2 0 0 0 X 2 2 2 4 2
0 0 0 2 2 2 2 4 2 0 0 0 X 2 2 2 2 4 2
X X X 0 0 0 0 0 X X X X 0 0 0 0 0
3 3 3 3 3 3 X
44
T o Coda 
1st time, Gtr. 1: w/ Rhy. Fig. 1 (2 times)
2nd time, Gtr. 1: w/ Rhy. Fig. 1 (2 1/2 times)
G5
   
A
 
G5

A G5  A 
            
  
     
 
     

mean no harm; she just don’t know what else to do a - bout
(Don’t know, don’t know.)
Verse
        
G5 A G5 A G5 A G5 A
         
             


it. 4. But Jane goes to the store at eight; she walks up on St.

G5 A G5 A G5 A
         
      



An - drews. She waits and a gets her din - ner there.
                
G5 A G5 A G5 A
   
      


She pulls her din - ner from her pock - et. Jane says, “I ain’t nev - er been in
   
D.S. al Coda
   
G5 A G5 A G5 A
   
             
love; I don’t know what it is.” She on - ly knows if some - one wants her.
 Coda
G5 A G5 A
 
   
   
  
it. Jane says...
45
G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11
         
    
Jane says...
Outro
Gtr. 1: w/ Rhy. Fig. 1 (4 1/2 times)
G5 A G5 A G5 A
     
 
                 
      
Ah. Hoo, hoo, hoo, hoo, hoo,
G5 A G5 A G5 A
   
  


hoo, hoo.
G5 A G5 A G5 A

    
Begin fade
G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11

    
Fade out
G5 Gsus2#11 G5 A G5 A

    
46
from Strays
Just Because
F#5 E5 B5 A5 D5 A5XII B5 XIV C#5 G5 F#5 II
9fr 7fr 5fr 10fr 12fr 14fr 16fr 10fr
134 134 134 134 134 134 134 134 134 134
Tune down 1/2 step:

(low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro
** B5

*Gtr. 1 (dist.) Riff A
               
             
f let ring  let ring  let ring  let ring 

1 1

16 16 16 16 16 16 16 16 16 16 16 16
14 14 14 14 14 14 14 14 14 14
*Doubled throughout.
**Chord symbols reflect overall harmony.

Asus2 B
19 fr.
  
Gtrs. 2 & 3 (dist.)
f
(cont. in notation)
 
End Riff A
              
            
let ring  let ring  let ring  let ring 

1 1
16 16 16 16 16 16 16 16 16 16 16 16
12 12 12 12 12 12 12 12 12 12
Gtr. 1: w/ Riff A (1st 3 meas.)
   

B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5 B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5
Rhy. Fig. 1

Gtrs. 2 & 3
                            
   
   
4 2 4 2 4 4 2 4 4 2 4 2 4 2 4 4 2 4 4 2
4 2 4 2 4 4 2 4 4 2 4 2 4 2 4 2 4 4 2 4 4 2 4 2
2 4 2 4
47

B5 A5 B5 A5 B5 A5 B5 A/B B
 
      


1. If I were you,
         

 
     
End Rhy. Fig. 1

Gtrs. 1, 2 & 3
          
             

 14  16
 14  16
14 14 14 14 14 14 14 16 16 16
4 2 4 2 4 4 2 4 4 14 14 14 14 14 14 14 16 16 16
4 2 4 2 4 4 2 4 4 14 14 14 14 14 14 14 14 16 16 16 16
Verse
Gtr. 1 tacet
B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5 B5 A5 B5 A5 B5 A5 B5
         
     
I’d bet - ter watch out.
 

  
Rhy. Fig. 2
Gtrs. 2 & 3
                           
 
 
4 2 4 2 4 4 2 4 4 2 4 2 4 2 4 4 2 4 4
4 2 4 2 4 4 2 4 4 2 4 2 4 2 4 2 4 4 2 4 4
2 4
 
A5/B D/B F#5/B
     
      
When was the last
                          
End Rhy. Fig. 2
  
 109 10
9
10
9
10
9
10
9
10
9
10
9
10
9
10
9
10
9
10
9
X
X
X
X
7
7
7
7
7
7
X
X
7
6
7
6
7
6
7
6
7
6
14
48
Gtrs. 2 & 3: w/ Rhy. Fig. 2 (1st 3 meas.)
   
B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5 B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5 A5/B
   
      
    

time you did an - y - thing
Gtrs. 2 & 3: w/ Rhy. Fig. 1 (last meas.) Gtrs. 2 & 3: w/ Rhy. Fig. 2 (1 3/4 times)
A/B B B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5 B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5
 
       
     
  


not for me or an - y - one else?
A5/B D/B F#5/B

 
B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5
    
   
   
Just be - cause?
Gtrs. 2 & 3: w/ Rhy. Fig. 1 (last meas.)
 
B5 A5 B5 A5 B5 A5 B5 E5 F#5 A5 A5/B A/B B
         
  
Just be - cause?
 Chorus
       
Gtr. 1: w/ Riff A (1 3/4 times)
 
B5 D5/B
 
       
You, oh, you real - ly should have known.
 
Gtrs. 2 & 3
                             
4 4 X 4 X 4 4 4 X 4 X 4 7 7 X 7 X 7
4 4 X 4 X 4 4 4 X 4 X 4 7 7 X 7 X 7
49
    
B5
     
         
 
Hey, you, you
Oh, you, I think you real - ly should have
Yeah, you, oh, you
 
                             
7 7 X 7 X 7 4 4 X 4 X 4 4 4 X 4 X 4
7 7 X 7 X 7 4 4 X 4 X 4 4 4 X 4 X 4
To Coda 1 


To Coda 2
D5/B F#5 E5 B5 F#

    
     14fr
Gtr. 3 
         

  
     
known. Just be - cause. Just be - cause.
          

Gtr. 2
      
               
  
(Gtr. 3 cont. in slashes)
7 7 X 7 X 7 11 11 9 14 13 13 4 4
7 7 X 7 X 7 X X X X X X X
9 9 7 12 11 11 2 2
Interlude
 
Gtrs. 2 & 3: w/ Rhy. Fig. 1 (1st 3 meas.)
                              
Gtr. 4 (dist.)
 
f
 
16 14 16 14 16 16 14 16 16 14 16 14 16 14 16 16 14 16 16 14
16 14 16 14 16 16 14 16 16 14 16 14 16 14 16 14 16 16 14 16 16 14 16 14
14 16 14 16
50
Gtrs. 2 & 3: w/ Rhy. Fig. 1 (last meas.)
 
A/B B
  
 
 
2. You got the most,
  
       
       
 
let ring 
14 14 14 14 17 16
14 14 14 14 16 16
14
Verse
Gtrs. 2 & 3: w/ Rhy. Fig. 2 (1 1/2 times)
    
      


ah, but no - bod - y
A5/B D/B F#/B

      
   
loves you. No - bod - y
     
   
has to. Just be - cause.
D.S. al Coda 1
A5/B A/B B
   
   
         

           
  
  
Gtrs. 2 & 3

 109 
let ring
14
10 10 10 10 10 10 10 10 10 10 14 16
9 9 9 9 9 9 9 9 9 9 14
14 14 16
51
 Coda 1


E5 B5 A
     
   
17fr
        

P.S.
 
     
Just be - cause.
  
      

        

 (cont. in slashes)
14 14 13 14 13 4
X X X X X X
12 12 11 12 11 2
Guitar Solo
                        
A5 D5 A5 XII B5 XIV A5 XII B5 XIV A5 XII B5 XIV
 
Rhy. Fig. 3
Gtrs.
  
2&3
 
      
Al - right, now.

Gtr. 4

                             
  
15 15 15 15 15 15
 18 18 18 18 18
17 17 17 17 16 17 19 19 19 19 16 17 19 19 19 19 16 17 19
                 
A5 D5 A5 XII B5 XIV C#5 B5 XIV C#5 B5 XIV C#5
 
      
      

 
Oh, bet - ter watch out.
     

                     

 
 21 
15 15 15 15 15 15
18 18 18 18 18
17 17 17 17 18 18 18 18 18 18 18 18 21 21 21 21 21 21
52
   
A5 D5 A5 XII G5 F#5
    
End Rhy. Fig. 3
 
 
(Gtr. 3 cont. in notation)
      
     
      
       
     
        
  
1 1
15 14
12 12 12 12 10 10 10 10 10 12 18 18 17 17 17
15

G5
 F#5
 
  
Gtr. 2
steady gliss.
      
 
      
3. When we first met,
  
   
  
 

Gtr. 4
  
1
 1

18 18 17 17 17
15
    
 
Gtr. 3

       

 

12 12 11
12 12 11 4
10 10 9 4
2
53
Verse
Gtr. 4 tacet
B
  

        
      
ah, we passed a - round gifts.
  
   
Gtrs. 2 & 3

  
let ring
4
4 4 9
4
 
A5/B D/B F#5/B B
  
     
 
That was a long time a -
       
   

  
let ring  let ring  let ring 
10
4 7
7
4 6 7 4
4
4
D.S. al Coda 2
A5/B A/B B
         
        
go, and yours did - n’t fit. Yeah...
        
 
    
    
let ring  let ring 
 14
4 10 14 14 16 17 16
4 4 9 14 14 14 16 16
4
54
 Coda 2
  

F#5 E5 B5 A

    
     

17 fr
              
  
        
Just be - cause. Just be - cause.
            

            
  

11 11 9 14 13 13 14 13 4
X X X X X X X X X
9 9 7 12 11 11 12 11 2
Outro - Guitar Solo

 
A5 B5 A5 B5 A5 B5 A5 B5 A5 D5 A5
   
          
Al - right, now.
               
        
  
Gtr. 4
            
1 1

9
9
10 10 10 10 10 10 9 9 10 10
7 7 7 7 7 6 6 6 6 6 4 4 4 2
7 9 7 9
  
B5 C#5 B5 C#5 B5 C#5 A5 D5 A5
    
      
Oh, you bet - ter watch out.
                             
     



1 1 1 1
9
12 12 12 12 12 12 12 12 12 12 7
9 9 9 9 7 6
55

G5
  
F#5
 

Gtrs.

2&3
          
 
Gtr. 6 (dist.)
        
 
f 1 1
15 14
18 18 17 17 17
15

Gtr. 5 (dist.)
   
    
  
 
      
1
 1

10 10 9 9 9
8

Gtr. 4
 
     
   
1
 1

5 5 4 4 4 3
   
 
G5 F#5 F#5 II
 
    
   
 
  
   

1 1 fdbk.
15 14
18 18 17 17 14 14
 
Pitch: C#
      
  
 

1
 1
10 10 9 9 9
  



          
1
 1

5 5 4 4 4 3
56
from Jane’s Addiction - Nothing’s Shocking
Mountain Song
Words and Music by Jane’s Addiction
D Dsus4
132 134
Intro
Slow q = 76
 
µ
 
   
(Bass)
    

Oo, ah!

Gtr. 1 (elec.)
      
 
 
p mp
*w/ dist., panning delay & wah-wah as filter delay off

0
*Delay set for half note regeneration, w/ 1 repeat.
E E7#9 E E7#9
    
**
     
Oo, ah.
         
Gtr. 1
     
   

    
let ring
f
0
8 8 0 0 8 8 0
7 1 7
6 2 6
2 2
0 0 0 0 0 0 7
      
Gtr. 2 (elec.)
   
     
     
f let ring 
w/ dist.
8 8 8
7 7 7 7 0
2 2
0 0 0 7 0 0 0 7
**w/ echo set for dotted eighth note
regeneration, w/ 3 repeats.
57
Verse
2nd time, Gtrs. 1 & 2: w/ Rhy. Fig. 1 (4 times)
        
 
 
E5 D5 E5 G5 E5 D5 E5
    
1. Com - in’ down the moun - tain,
com - in’ down the moun - tain, I met a

*Gtrs. 1 & 2
    
    
    

P.M. 

 2
7
5
9
7
12
10
9
7
7
5
9
7 2 2 2 2
0 0 0 0 0
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
           
  
one of man - y chil - dren.
child, man, she had pin eyes. We

         

     
       
P.M.  P.M. 
7 9 12 9 7 9 7 9 12 9 7 9
5 7 10 7 5 7 2 2 2 2 5 7 10 7 5 7 2 2 2 2
0 0 0 0 0 0 0 0
 
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
                    
     
Ev - ’ry - bod - y has their own o - pin - ion. Ev - ’ry - bod - y has their own o - pin - ion.
had the same o - pin - ion, had the same o - pin - ion. She was
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
                    
   


Hold - ing it back,
it hurts so bad; jump on out of my flesh and I said...
hold - ing it back,
58
 
D Dsus4 D
   
Rhy. Fig. 2A
Gtr. 3 

(acous.)
   
mp
     
Cash up!
You bet - ter cash in!

Rhy. Fig. 2
         

Gtrs. 1 & 2
    

       
        
7 8 8 7 7 7 7
7 7 7 7 7 7 7 5 4
7 7 7 7 7 7 7 X X
5 5 5 5 5 5 3 2
 
Dsus4 D
   

End Rhy. Fig. 2A

   
    

End Rhy. Fig. 2
                
6 6
      
                
3
let ring 
2 3 3 2 0 0
3 3 3 3 0 0
2 2 2 2 7 7 7 7 7 7 8 8 8 8 8 8
0 0 0 0 X X X X X X X X X X X X
0 5 5 5 5 5 5 6 6 6 6 6 6
Chorus
Gtr. 3 tacet
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
                  
    
Cash in now, hon - ey; cash in now. Cash in now, ba - by.
    
          
      

Cash in now, hon - ey; cash in, Miss Smith.
Gtrs. 1, 2 & 3: w/ Rhy. Figs. 2 & 2A
 
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
       
D Dsus4
  
 
      

Cash in now, ba - by. Oh, oh, oh, oh, oh.
59
1.
   
D Dsus4 D
       
2. I was
2.
Guitar Solo
  
D D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5

Gtr. 4 (elec.)
       
   
               
        
f *w/ delay string noise
w/ dist. & wah-wah as filter
 X   
10 10 9 9 10 10 12 12 15 15
X X X X X X
7 7 6 6 6 7 7 9 9 12 12 X
*Set for eighth note regeneration, w/ 8 repeats.
     
  
D5 E5 G5 E5 D5 E5 D5 E5 G5E5 D5 E5 D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
 
  
      
 
                       

string noise
P.M.
   

1717 X X X X
7 7 7 7 9 7 7 7 9 7 7 6 15 X X X X
7 7 7 7 9 X 17 17 17 17 X X X X
           
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
                            
         
                   
**w/ wah-wah 3
hold bend
1 1 1 1
14 14 14 14 14 14 14 14 14 14 14 14
X 15
0 0 0 0 0 0 0 0 14 14 14 14 14 14 14 14 14 14 14 14 12 14 14 14 14 14
12 14
**  = closed (toe down): = open (toe up)

Gtrs. 1, 2 & 3: w/ Rhy. Figs. 2 & 2A
 
   
D Dsus4 D Dsus4
      
8v a
              
    
 
    
1 1
1
10 13 13 15 15
8 10 13 13 10
11 11 11 11 11 11
60
Outro
Gtrs. 1 & 2: w/ Rhy. Fig.1 (4 times)

D D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5

  
     
   
Oo, oo, oh, oh, oh, yeah.

8v a
                          
      
1 1/2  1 1 1 1 1 1 1
17 17 17 17 19 19 19 19 19 19 19 19 19 19 19 19
Gtr. 4 tacet
          
  
Oo, oo, oh, oh, oh, yeah. Oo, oo,
                
    
oh, oh, oh, yeah. Oo, oo, oh, oh, oh, yeah. Ah,
D Dsus4 D Dsus4
 
        
 
          
 
ah, ah, ah, ah, ah, ah. Ah, ah, ah. Ah, ah, ah,
(Ah ah.
D D5 E5 G5 E5 D5 E5


  
   

  

ah, ah.
Ah, ah.)
  
Gtrs. 1 & 2

  

    
 

7 9 12 9 7 9
5 7 10 7 5 7 2
0
61
62
Ocean Size
E5 G5
11 2 34
Intro
Slowly q. = 48
G6/D F#11/C# Fmaj7#11/C

*Gtrs. 1 & 2
                            
 mf
            
let ring throughout
0 0 0
 5
0 0 0 0 0 0
4 4 4 4 3 3 3 3 2 2 2 2
5 3
5 5 5 4 4 4 4 4 3 3 3 3
*Gtr. 1 (elec.) w/ clean tone; Gtr. 2 (acous.)

Composite arrangement
E/B Fmaj7#11/C F#11/C# G6/D F#11/C#
    
  
Oo.

        
      
        
 

          
0 0 0 0 0
5
0 0 0 0 0 0 0 0
1 1 1 2 3 4 4 4 4 3 3 3 3
2 2 3 4 5
2 2 2 3 4 5 5 5 4 4 4 4 4

Gtrs. 1 & 2 tacet
 
Fmaj7#11/C ** E5 G
    
 
rit.

Three, four!
   
Rhy. Fig. 1
          †Gtr. 3 (elec.)
   
   

        
rit.
   
f
w/ dist.
0 0

0 0 0
2 2 2 2
3 3 3 2 2 2
3 3 3 2 2 2 2 2 2 2
0 0 0 0 3 3 3 3
**Chord symbols reflect overall harmony.
†Doubled throughout
A G E5 µ E5 G A G A G
 
End Rhy. Fig. 1
              
             

      
             
2 2 2 2 2 2
4 4 4 4 2 2 2 2 2 2 2 2 2 2 2 2 2 4 4 4 4 2 16 16 16 16 16 14
5 5 5 5 3 3 3 0 0 0 15 0 0 0 0 3 3 3 3 5 5 5 5 3 17 17 17 17 17 15
63
E5 G A G E5 G
 Rhy. Fig. 2
                               
                   
2 2 2 2 2 2 0 2 2 2
2 2 2 2 2 2 2 4 4 4 4 2 2 2 2 2 2 0 2 2 2 2 2 2 2
0 0 0 0 3 3 3 3 5 5 5 5 3 3 3 0 0 0 0 0 0 0 0 3 3 3 3
 Verse
2nd time, Gtr. 4: w/ Rhy. Fill 1

A G E5 E5
   G 
A

G E5 G5/D
 
       
1. Wish I was o - cean size.
2. I was made with a heart of stone

End Rhy. Fig. 2

     
Gtr. 3
                              
         


let ring
1/4 1/4
0
0
0 0
2 2 2 2 2 0 0
4 4 4 4 2 2 2 2 2 2 2 2 2 2 4 4 4 4 2 2 2 2
5 5 5 5 3 3 3 3 0 0 0 0 3 3 3 5 5 5 5 3 3 3 3 0
 
E5

G
 
A
 G
 A G E5
   
G

      
     
(They) can - not move you, man, no one tries. No one pulls you out

to be bro - ken with one hard blow. I’ve seen the o - cean break
          
     
       
      
         
2 2 2 2 2 2
2 2 2 2 2 2 2 4 4 4 4 2 16 16 16 16 16 14 2 2 2 2 2 2 2
0 0 0 0 3 3 3 3 5 5 5 5 3 17 17 17 17 17 15 0 0 0 0 3 3 3 3
To Coda 1 
  
A
  G
   E5
 
G
 
A

G E5
    
     
 
from your hole like a tooth ach - ing a jaw - bone.
 
on the shore, come to - geth - er with no harm done.

                         
                

      


let ring
(2nd time, cont. in slashes)
1/4 1/4
0
0
2 0 2 2 2 2 2
4 4 4 4 2 2 2 2 0 2 2 2 2 2 2 2 4 4 4 4 2 2 2 2 2
5 5 5 5 3 3 3 3 0 0 0 0 0 0 3 3 3 3 5 5 5 5 3 3 3 3 0 0
Rhy. Fill 1
 

 
Gtr. 4
4
5
4
64
Interlude
1st time, Gtr. 3: w/ Rhy. Fig. 1
               
E G A G E G
           

   
  
Gtr. 4 (elec.) Rhy. Fig. 3
             
f
 109
w/ dist.
 9
4 4 4 7 7 7 7 9 9 9 7 7 7 4 4 4 4 4 4 4 4 7 7 7 7
5 5 5 8 8 8 8 10 10 10 8 8 8 5 5 5 5 5 5 5 5 8 8 8 8
 4 4 4 7 7 7 7 9 9 9 7 7 7 4 4 4 4 4 4 4 4 7 7 7 7
1. 2.
D.S. al Coda 1

A G A
 G A G E5
       
Huh!
          End Rhy. Fig. 3 Rhy.

                                  
 Fill2            End

Rhy. Fill 2
 
9
10
9
10
9
10
9
10
7
8
7
8
7
8
9
10
9
10
9
10
9
10
0
5
0
5
0
5   1099 9
10
9
10
9
10
7
8
7
8
7
8
4
5
4
5
4
5
4
5
4
5
9 9 9 9 7 7 7 9 9 9 9 4 4 4
 9 9 9 7 7 7 4 4 4 4 4
 Coda 1
Pre-Chorus
 
2nd time, w/ Bkgd. Voc. ad lib (next 3 meas.)
2nd time, Gtr. 4: w/ Rhy. Fill 1

2nd time, Gtr. 5: w/ Fill 1
E5
 
Gtr. 3

mp
    
1. It ain’t
2. Vocal tacet
             
Gtrs. 1 & 2
     

    

       
               
mp
2 2 0 2 0 0 2 0 0 0 0 0
0 0 0 0 2 0 0 0 0 2 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1 1 1 1 1 0 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Fill 1
 
   
Gtr. 5
3
4
65

G5
        
   
(cont. in notation)
    
   
eas - y liv - ing. I want to
              
      

    

        
            
 
2 2 0 2 0 0 2 0 0 0 0 3 3
0 0 0 0 2 0 0 0 0 2 0 0 0 0 0 0 3 3
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0
2 2 2 2 2 2 2 2 2 2 2 2 2 2 X X
0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 3
Gtr. 1 tacet
    
G5 D A Asus2 A Asus2
  
        
be as deep as the
                       

*Gtrs. 2 & 3
                   


       
let ring
f
3 3 3 3 3 3 3 2 3 2 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 2 2 0 0 2 2 0
0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2
X X X X X X X 0 0 0 0 0 0 0
3 3 3 3 3 3 3
Chorus
Gtr. 2 tacet
    
E G A G E
    
 
o - cean. Moth - er
                    
   
              
Gtr. 4
       
109
9
4 4 4 7 7 7 7 9 9 9 7 7 7 4 4 4 4 4
5 5 5 8 8 8 8 10 10 10 8 8 8 5 5 5 5 5
4 4 4 7 7 7 7 9 9 9 7 7 7 4 4 4 4 4

 
Gtr. 3
                 
      
  
2 2 2 2 2 2
2 2 2 2 2 2 2 4 4 4 4 2 2 2 2 2 2
0 0 0 0 3 3 3 3 5 5 5 5 3 3 3 0 0 0 15
66
To Coda 2 
G A G µ
    
   
 
O - cean, yeah.
               
         
 
     
Rhy. Fig. 4A End Rhy. Fig. 4A
    
4 4 4 7 7 7 7 9 9 9 9 7 7 7 7
5 5 5 8 8 8 8 10 10 10 10 8 8 8 8
4 4 4 7 7 7 7 9 9 9 9 7 7 7 7
 
 
     
               
   
2 2 2
2 2 2 2 2 2 2 4 4 4 4 2 2 2 2
0 0 0 0 3 3 3 3 5 5 5 5 3 3 3 3
Guitar Solo
Gtrs. 1 & 2 tacet
Gtrs. 3 & 4 tacet Gtr. 3: w/ Rhy. Fig. 2 (2 times)
2
E G5 Asus E5 G
  
4
  
       

Uh, yeah!
8v a
Gtr. 5 (elec.)
   
Gtrs.
    
 


1&2
 
  
 
 


 


  
 mf
w/ dist.
mp grad. bend 1 1 1
*



0 3 0 17 17 17 15
0 3 0 17 17 17 15
1 0 7
2 0 7
2 X 0
0 3
*Both bends executed w/ L.H. ring finger.
    
    
A G E5 G A G E5
            

8v a
  
_1 _1
    
loco
      
   

    
     
     
w/ bar let ring
 12  15
1 1 _1 _1
1
  
14 12 15 12
14 12 15 15 9 9 12 12 12 12 12 15 15 15 15
12 12 12
0 2 0 2
0 2 0 2
0 0 0 0
67
     
Gtr. 4: w/ Rhy. Fig. 3 (1st 3 meas.)
                
G A G E5
    
    
  
  

1/2

12
1 1
12
15 12 15 12 12 15 12 15 12 12 15 12 14 11 12 15 12 14 14 12 14 12
14 14 14 12 12 14 14 12 14 12
14
D.S.S. al Coda 2
Gtr. 4: w/ Rhy. Fill 2
   
G A G E5
         
                     
 
 
1/2
 34
1
12 12
12 12 14 14 12 12 3 3 3 3 5 5 5 5 5 5 3 3 3 3 5 5 5 5 3 3
14 14 12 12 1 4 4 4 4 6 6 6 6 6 6 4 4 4 4 6 6 6 6 4 4
14 0
 Coda 2
Gtr. 3: w/ Rhy. Fig. 2 (last meas.) Gtr. 3: w/ Rhy. Fig. 1
Gtr. 4: w/ Rhy. Fill 2 Gtr. 4: w/ Rhy. Fig. 3
A G E5 G A G E5
           

     
Some peo - ple tell me home is in the sky.

G A G A G E5 G
               
  
     
In the sky lives a spy. (I) want to be more like
Gtr. 4: w. Rhy. Fill 2

A G E5 G A G E5
    
         
 
      
 

the o - cean. No talk - ing and all ac - tion...
68
Gtr. 4: w/ Rhy. Fig. 3 (1st 3 meas) w/ voc. ad lib. (next 4 meas.)
   G

A

G E5 G
      
        


No talk - ing and all ac - tion...
Gtr. 4: w/ Rhy. Fill 2 Gtrs. 3 & 4: w/ Rhy. Figs. 4 & 4A
 
A G E5 G A G µ
    

Asus 24

E G
       
Die,


8v a
Gtr. 5
     
*fdbk.
*Microphonic fdbk.,
not caused by string
vibration.
Outro-Guitar Solo

E5 G Asus 24 G E5
     

    

die!
loco
         
         
  
   

1 1 1 let ring
    
9
15 15 15 15 15 15 15 15 15
14 14 14 14 14 14 14 14 14
  
G A G E5
        
 
               
 
 
w/ pick & fingers
let ring let ring
7 9 7 9 7 12 14 12 14 15 14 14
7 7 7 11 12 12 12 12 14 14
9 9 9 9 11 12 14 12 14
69
w/ voc. ad lib (next 6 meas.)

                            
G A G E5
    

  
  6 6
3
w/ pick 1/2
1/4
14 12
12 12 14 12 14 14 14 14 12 15 14 12 14 12 12
12 12 14 12 14 14 14 14 12 15 15 14 15 14 12 14 12 15 12 12
14 14 14
G A G E5
                           

   
6
17 15 15 15 17 17 17 17 15 15 15 15 17 17 17 17 15 15 15 15 17 17 17 17 5
16 16 16 16 18 18 18 18 16 16 16 16 18 18 18 18 16 16 16 16 18 18 18 18

G A G E5
                          
8v a
                        

      
     
 

1 
15
14
16
15
16
15
16
15
16
15
19
17
19 19 19
17 17 17
16 16 16 16 16  19 19
15 15 15 15 15  17 17
19 19 16 16 16 16 16 19 19 19 20
17 17 15 15 15 15 15 17 17 17
20 20
              
loco
G A G E5
      
          
  6 6

6
3 hold bend
1 1
15 12 12
15 15 12 15 12 12 15
14 14 12 14 12 12 14 14 14 12
14 14 12 14 12 14 12
14 11
 

E5
Grs. 3 & 4  
  
      

Uh.
 

(w/ delay repeats)
 
Gtr. 5
 

14
70
from Jane’s Addiction - Ritual de lo Habitual
Stop
G5
2 34
Intro
Free time

   
Spoken: Señores y señoras, nos otros de nemos mas influencia con sucijos que tu tiene. Pero los queremos. Creado y reado de
Los Angeles, Juanes Adiccion.
Moderate Rock q = 128

* E7 D#7 E7 F7

Gtr. 1 (dist.)
       
    
               
                        
mf 

7 X 7 X 7 X 7 6 7 X 7 X 7 X 7 X X 8 8 8 8 8 8
6 X 6 X 6 X 6 5 6 X 6 X 6 X 6 X X 7 7 7 7 7 7
7 X 7 X 7 X 7 6 7 X 7 X 7 X 7 X X 8 8 8 8 8 8
0
*Chord symbols reflect overall harmony.

E7 D#7 E7 F7 F7#9 
 
    
Here we
           

   
                  
                     
9 9 9 9 9 9
7 X 7 X 7 X 7 X 6 7 X X 7 X 7 X 8 X X 8 8 8 8 8 8
6 X 6 X 6 X 6 X 5 6 X X 6 X 6 X 7 X X 7 7 7 7 7 7
7 X 7 X 7 X 7 X 6 7 X X 7 X 7 X 8 X X 8 8 8 8 8 8
Chorus
Gtr. 1 tacet
   
E5 B5 D5 A/C# A5 B5 E5 B5 D5 A/C# E5 B5 D5 A/C# A5 B5
     

 No 
go. No.
one.
**Gtrs. 2 & 3
  
(dist.)
       
                          
    
f

 9
9
7
9
9
7 9
7
5
7
4 7 9
9
9
7
9
9
7 9
7
5
7
5
7
4
X
X
X
X
9
9
7
9
9
7 9
7
5
7
4 7 9
7 5 7 7 7 5 7
**Composite arrangement
71
   
E5 E7 A G E7 A G
 
   

 
No one. No one.
No way.
   
           

 
 
            

  
 
 1/2 1/2
16 16 16 16
15 15 14 14 14 12 12 X X 15 15 14 12 14 14 12 12 X X
16 16 14 14 14 12 12 X X 16 16 14 12 14 14 12 12 X X
2 14
2
0 19
2nd time, Gtrs. 2 & 3: w/ Rhy. Fill 1
 
E7 A
     
 

Gon - na stop. Now, go.
               
        
  

 P.S.

1/2 let ring

16 16

15 15 14 12 14 12 14 14 14 12 14
16 16 14 12 14 12 14 14 14 12 14 X
14 14 X
0 X
7

E5 G5 A5 E5 G5 A5
  
                
        
  
Gtr. 3 3
     
    
mp let ring  let ring  let ring  let ring 
1 1 1 1/2
0 0 0 0 0 7 0 0 0 7 9
0 0 0 0 0 0 0 0
2 0 7 7 7 7 2 2 0 4 7 7 9
2 2

 
Gtr. 2 Rhy. Fig. 1
  
      
                 
  
   
P.M. P.M. P.M. P.M. sim.
2 2 5 7 2 2 5 7
2 2 5 7 2 2 5 7
0 0 0 0 3 3 5 5 0 0 0 0 3 3 5 5
Rhy. Fill 1
   

Gtrs. 2 & 3
  
1/2
14 14
14 14
14 14
12
72
 
E5 G5 A5 E5 G5 A5
     
1. You’ll
      
    
      
 
3
           
1/2 let ring  let ring 
0 0 0 9 16 16 15 14 13 12
0 0 0
2 2 0 2 9 16 16 15 14 13
2

 
End Rhy. Fig. 1
 
          
  
                  
2 2 5 7 2 2 5 7
2 2 5 7 2 2 5 7
0 0 0 0 3 3 5 5 0 0 0 0 3 3 5 5
Verse
          
     
 
E5 G5 A5 E5 G5 A5 E5 G5 A5 E5 G5 A5
 
  
         


save the com - plaints for par - ty con - ver - sa - tion. The
2. Farm peo - ple, book wa - vers, soul sav - ers
E5 E G5 A5 E5 E G5 A5
        
        
world is load - ed. It’s
love teach - ing. They’re
        
Gtrs. 2 & 3
                
        
 
 

P.M.  P.M.  
P.M. P.M.
9 9 9 9 9 9
9 9 9 9 9 9
2 9 9 9 5 7 2 9 9 9 5 7
2 7 7 7 5 7 2 7 7 7 5 7
0 3 3 5 5 0 3 3 5 5
E5 E G5 A5 E5 µ
             
    
lit to pop and no - bod - y ain’t gon - na stop.
lit to pop and no - bod - y ain’t gon - na stop.
     
              
     
 
 
P.M. P.M.
9 9 9 
2
2
9
9
7
9
9
7
9
9
7
5
5
7
7
4
2
2

0 3 3 5 5 0
73
Gtrs. 2 & 3 tacet
E7 D#7 E7 F9
       
Gtr. 1
                 
                          
 
8 8 8 8 8
7 X 7 X 7 X 7 X 6 7 X 7 X 7 X 7 7 8 8 8 8 8
6 X 6 X 6 X 6 X 5 6 X 6 X 6 X 6 6 7 7 7 7 7
7 X 7 X 7 X 7 X 6 7 X 7 X 7 X 7 7 8 8 8 8 8 7
0 0

E7 D#7 E7 F7#9

      
The
       
         
                    
               

9 9 9 9 9 9 9
7 7 X 7 X 7 X 7 7 X 6 7 X 7 X 7 X 7 7 X 8 8 8 8 8 8 8
6 6 X 6 X 6 X 6 6 X 5 6 X 6 X 6 X 6 6 X 7 7 7 7 7 7 7
7 7 X 7 X 7 X 7 7 X 6 7 X 7 X 7 X 7 7 X 8 8 8 8 8 8 8
0
Interlude
Half-time feel

E7 F7 E7
        

one to

*Gtrs. 1 & 2

        





   

         
**let ring throughout
3 3 4 3 3
1 1 2 1 1 0 1
2 2 3 2 2
2 X
0 0 0 0 0 0 0 0 0 0
 
    
Gtr. 3
   


     
                
w/ bar
**let ring throughout w/ bar + 1/2 + 1/2
0 0 0
0 0 0 0
7 7 7 7
9 6 6 6 6
7 7 7 7 7
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
**Next 40 meas.
74
  
F7 E7 F7
 
            
get con - trol of a mind like that. Move on.
  
 
   
  
       
        

3 4 3 3 4 3
2 1 1 2 1
3 2 2 4 2
0 0 0 0 0 0 0 0 0
     
    
      
           
           
w/ bar
w/ bar w/ bar
+ 1/2 + 1/2
+ 1/2
7 7 7 7 7 7 7 7
6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7
0 0 0 0 0 0 0 0 0 0 0

E7 F7 E
          
   
One come a day the wa - ter will run, no
             
   

            
   w/ bar
 
+ 1/2
3 3 3 4
1 1 2 9 9 9 9 9 11 11 11 11
2 2 3 X X X X X X X X
7 7 7 7 7 9 9 9 9
0 0 0 0 0
 
   
 
Rhy. Fig. 2
     
              
w/ bar
+ 1/2
0
0
7 X
6 2
7 7 7
0 0 0 0 0 0 0 0 0 0 0 0 0
75
 
G5
       
      
man will stand for things that he had done. Hur -
                         
                        
11 12 12 12 12 12 14 14 14 14 14 12 11 12 11 9 7 7 9 9 7 6
X X X X X X X X X X X X X X X X X
9 10 10 10 10 10 12 12 12 12 12 10 9 10 9 7 5 5 7 7 5 4 14
                  
          
          
0 0 0 3 3 3 3 3 3 2 3 0
0 0 0 3 3 3 3 3 3 3 3
X 0 0 0 0 0 0
2 0 0 0 0 0 0 0
X X X X X X
0 0 0 0 0 3 3 3 3 3 3
  
E5 G
  
    
rah. And the
      
       
 
 
0 0 0 0 0 3
0 0 0 0 3
0
0
2
0 3
 
        
 
                      
P.M.  let ring
3
3
0
9 9 9 9 9 9 9 0
7 7 7 7 7 7 7 X
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3
76
   
     

E5 G5
  
wa - ter will run.
              
  


 
  
 
3 2 2 2 0 0 0 0 3 3
0 0 0 3
X 0
2 0
2 X
0 3 3
  
 
                    
               

 
let ring
0 3
0 3
X 0
2 0 0 0 0 0 0 0 0
2 2 X X X X X X X X
3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3
       
 
E5
          
  
One come a day the wa - ter will run, no man will stand for things that he had
   
Gtrs. 1 & 2
    
 
        
          
 
3 2 2 2 0 0 0
0
X 7 7 7 6 6 6 6 4 4
2 X X X X X X X
2 5 5 5 4 4 4 4 2 2
0

   
End Rhy. Fig. 2
        
0 0 0 0 0 0 0 0
X X X X X X X X
3 3 3 3 3 3 3 3

G5 E5

          

done. Hur - rah.
                   

Gtrs. 1 & 2
             
 
3 2 3 2 2 0 2 0 0 0 0 0 0
3 3 3 3 3 3 3 0 0 0 0
0 0 0 0 0 X 1 1
0 0 0 2
X 2
3 0
77
          
G5 E5
     
   
   
 
And the wa - ter will run.
      
        
     
       
3 3 3 5 3 3 0 0 0
3 3 3 5 3 3 0 0
0
0
X 2
3 0 0 0 0
  
     
G5 E5
  
          
It will run. Oh.
           

   
     
   
  
3 3 2 2 0 0 0
3 3 3 0 3 3
0 X 1 2 2 1
0 2
X 2
3 0
  
   
 
    
G5 E5
 
        

It will run. Oh.
                 
      
         
3 3 2 2 2 0 0 0 0 0
3 3 3 0 0 0 0 0
0 X
0 2 2
X 2 2
3 0 0 0 0 0 0 0
End half-time feel

Gtr. 1 tacet
G5 G G5 E B5 D5 A/C# A5 B5

3fr
Gtr. 3
     (cont. in
  
 notation) 
      

Get. Go.
            
Gtrs. 2 & 3
                 
  
      
3 3 3 3 3 3 3
3 3 3 3 3 3 3 9 X 9
0 0 0 0 0 0 0 9 X 9
0 0 0 0 0 0 0 9 X 9 7 7
X X X X X X X 7 X 7 9 5 4 7 9
3 3 3 3 3 3 3 7 5 7
78
Guitar Solo
 
E5 G5 A5 E5 G5 A5

 
 
         
   

 
Gtr. 4 (dist.)

  3
 
f w/ wah-wah
1
1 1

15 15 15 15 12 15
14 14
        
  
Gtr. 5 (dist.)
        
         
mp
w/ bar
w/ bar
15 15 15 15 15 15
-6
-1 1/2 -3 -3 -1 1/2

Gtrs. 2 & 3 -6 -6 -6 -6 -6
     


 
 
 

2
2
0
E5 G5 A5 E5 G5 A5
                         
       
          
Gtr. 4
 6
3 3 3 3 3
15 17 20 17 15 17 15 15 17 19 17 15 17 15 15 17 19 17 15 17 15 15 17 19 17
12 15 12 12 15 12 12 15 12 15 12 15 12 12 17 19 19 19
14
  
    
Gtr. 5
       
w/ bar 
15 15 15
-6 -6

Gtr. 5 tacet
E5 G5 A5 E5 G5 A5
                              

Gtr. 4
 

3 3
1 1 1 1 1/2 1 1 1/2 1 1 1/2 1 1 1 1/2
15 17 15
19 19 17 15 17 15 17 17 17 17 17 17 17 17 17 17 17 17
17
79
E5 G5 A5 E5 G5 A5 E5 G5 A5
                         

    



grad. release
w/ bar
1 1/2 1 1/2 1/2
1 1 1
 
1 1 1 1/2 1 1/2 1/2
17 17 17 17 17 17 17 17 17 17 17 17 16 16 16 0 0
17 17
-3 1/2
E5 G5 A5 E5 G5 A
  
 
3
       
 

Gtr. 4
             
3
   
  
1 1
0 0 0 0 7 0 9 9
0 0 0 0 X 0
2 2 0 6 7 7 2 2 0 2 9 9
2 2
 
Gtrs. 2 & 3
    
        
  
 
                      
2 5 7 2 X X X X X X X X
2 5 7 2 X X X X X X X X
0 0 0 0 0 3 3 5 5 0 0 0 0 0 X X X X X X X X
Interlude
   
G# A Bb B C C# D
          
Give me that. Give back that au - to - mo -
      
          
    
8 9 9 10 11 12 12 14
X X X X X X X X
8 8 9 9 10 11 12 13 14
                 

                                 
           
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
80
           
Gtrs. 2, 3, & 4 tacet
  
µ
      
     
bile, turn off that smoke stack and that god - damn ra - di - o. Hum a - long with
                
       
me. Hum a - long with T V. Oh, oh. Oh,
          
    

     
oh. Oh, oh, oh. Oh, no.
    
E5 B5 D5 A/C# A5 B5 E5 B5 D5 A/C# E5 B5 D5 A/C# A5 B5
     

No one’s gon - na
          
Gtrs. 2 & 3
                           

    
9 9 9 9 9 9
9 9 7 7 9 9 7 7 7 X X 9 9 7 7
7 7 9 5 4 7 9 7 7 9 5 5 4 X X 7 7 9 5 4 7 9
7 5 7 7 7 5 7

E5

    

stop.
 
 
Gtr. 2
        



1
grad. bend
1/2 1
2
2
0 17 17 17

 
Gtr. 3
      

1/2 1/2
2
2
0 15 15
81
82
True Nature
Words and Music by Perry Farrell, Dave Navarro, Stephen Perkins, Bob Ezrin and Martyn LeNoble
Gtrs. 1-6 & 10: Drop D tuning:
(low to high) D-A-D-G-B-E
Gtrs. 7, 8 & 9: Double Drop D tuning, down 1 step:
(low to high) C-G-C-F-A-C
Intro
µ F5 E5 D5 C5 D5 F5 E5 D5

(Sound effects)
  
         
play 4 times
Here we go!
Gtr. 1 (dist.)
 Rhy. Fig. 1 End Rhy. Fig. 1
      
Gtrs. 1 & *2
  
         
             
f
P.M.  P.M. P.M.  P.M.
 

 3 2 0 0
7
5
5
3 0 3 2 0

17 0 0 3 2 0 0 0 0 0 3 2 0 0 0
*Gtr. 2 (dist.) played f . Composite arrangement
Verse
Gtrs. 1 & 2 tacet
2nd time, Gtr. 5 tacet Gtr. 3: w/ Riff A
             
µ
      
Pow - er trip - ping, your luck is switched. Oh, so
Porn chick calls her - self a ther - a - pist. Babe, I’ll call it
               
Gtr. 3
 
(dist.) Riff A End Riff A 8v a
      
Gtrs. 1 & 2 loco

  

mf
Harm.
P.M.
 X
X
X
X
 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
X X
12 0 0
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (2 times) Gtr. 3: w/ Riff A (2 times)
    
 
    
F5 E5 D5 C5 D5 F5 E5 D5 F5 E5 D5 C5 D5 F5 E5 D5 µ

   
now it’s fun - ny? When it’s your turn to laugh,
what it is. For all the mon - ey in the
83
 
    
F5 E5 D5 C5 D5 F5 E5 D5 F5 E5 D5 C5 D5 F5 E5 D5

   
(you) go poke the run - ning joke!
world, we’ll go to war for back - ward he - roes.
 Chorus
      
3rd time, Gtr. 10 tacet
 
** Dsus4 D
 
1., 3. Scor - ing points with God, get no
2. Come to res - cue you just to
                               
*Gtr. 4 (dist.)
                                 
f
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
*Doubled throughout
**Chord symbols reflect implied harmony.
     
    
Dm D
      


 marks,  
marks; man, your grades keep fall - ing.
per - fect
and
lien on you with in - t’rest soar - ing.
                               
                                 
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
         

Dsus4 D
  
How you treat the weak is
                               
                                 
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
84
1.
      
Dm
   
your true na - ture call - ing.
                               
                                 
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Interlude
Gtr. 4 tacet
Gtr. 5 F5 E5 D5 C5 D5 F5 E5 D5 F5 E5 D5 C5 D5 F5 E5 D5
                      
(dist.)
    
f w/ slide
12 10 12 10 10 12 10 12 10 12 10 12 10
10 12 12 10 10 10 10 10 12 12 10 10 10
      
    
           
 

 13
let ring
10
10
10
10
13
13
13
13
13
13
13
13
13
13
13 
12 10
12 10
12 10
12 10
12 10 10

2.
Interlude
Gtr. 4 tacet
  
D5      
  
     


 
na - ture call - ing. Oh, yeah! Oh, yeah!
               
Gtr. 6 (dist.)
     
                  
 
 
 
grad. bend grad. bend
1 1
f *w/ wah-wah
10 10 10 10
13 13 13 13 13 13
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
X X X X X X X X X X X X X X X X
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
0 0
*Used as filter.
85
               
        

 
Oh, yeah! Moth - er - fuck - er, do you real - ly care? Oh, yeah!
     
6
                
                  



                  
 
1 1
*
10 10 10 10
13 13 13 13 13 13
17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17 17
X
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
*Using a guitar with Les Paul style electronics, set lead volume to 0 and rhythm
volume to 10. Strike the strings while the pickup selector is in the lead
position, then flip the toggle switch in the rhythm indicated to simulate the re-attack.
           
      
   
 
       




Oh, yeah! Oh, yeah! Moth - er - fuck - er, do you real - ly care?
      
 
   
 
 
 
1 1
10 10 10 10
13 13 13 13 13 13
Interlude
0 0
Gtr. 6 tacet
*** C7 C7sus4 Ab(#4)/C Ab/C
(D7) (D7sus4) (Bb(#4)/D) (Bb/D)
**Gtr. 7 Rhy. Fig. 2
                
(clean)
          
                      
mp w/ chorus
7 7 7 7 7 7 7 7 7 8 X 5 5 3 3 3 3 3 3 3 6 X
5 5 5 5 5 5 5 5 5 5 X 3 3 3 3 3 3 3 3 3 3 X
0 0 0 0 0 0 0 0 0 0 X 0 0 0 0 0 0 0 0 0 0 X
**Two gtrs. arr. for one.

***Symbols in parentheses represent chord names respective
to detuned guitar. Symbols above reflect actual sounding chords.
Bb/C Bbsus2/C Bb/C Bbsus2/C C7 C5

(C/D) (Csus2/D) (C/D) (Csus2/D) (D7) (D5)
            
Gtr. 7
         
 
   
 
 
 
             
0 0 2 0 0 0 0 0
5 5 3 3 3 3 5 3 3 3 X 1 X 3 3 3 3 3 3 3 3
5 5 5 5 5 5 5 5 5 5 X 2 X 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 X 0 X 0 0 0 0 0 0 0 0

Gtr. 8 (clean)
    
 
mp
0 5
86
C7 C7sus4 Ab(#4)/C Ab/C
(D7) (D7sus4) (Bb(#4)/D) (Bb/D)
                
            
                      
7 7 7 7 7 7 7 7 7 8 X 5 5 3 3 3 3 3 3 3 6 X
5 5 5 5 5 5 5 5 5 5 X 3 3 3 3 3 3 3 3 3 3 X
0 0 0 0 0 0 0 0 0 0 X 0 0 0 0 0 0 0 0 0 0 X

 
         
3 3 3 3 1 1 1 1
Bb/C Bbsus2/C Bb/C Bbsus2/C Csus2 C

(C/D) (Csus2/D) (C/D) (Csus2/D) (Dsus2) (D)
End Rhy. Fig. 2
                        
                         
5 5 3 3 3 3 5 3 3 3 5 5 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7 7 7 7
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

 
       
3 3 5 0 0 5
Bridge
C7 C7sus4 Ab(#4)/C Ab/C Bb/C Bbsus2/C Bb/C Bbsus2/C
                  

(D7) (D7sus4) (Bb(#4)/D) (Bb/D) (C/D) (Csus2/D) (C/D) (Csus2/D)
     
Please be - lieve we live and breathe through na - tive tongue and

Gtr. 8
    
        
3 3 5 1 1 1
3 3 5
87
C7 C5 C7 C7sus4 Ab(#4)/C Ab/C
    
(D7) (D5) (D7) (D7sus4) (Bb(#4)/D) (Bb/D)
        
        
po - et - ry. All these years and we be - lieved,

 
        
  
3 3 5 3 1 1 1
0 0 5
Bb/C Bbsus2/C Bb/C Bbsus2/C Csus2 C

(C/D) (Csus2/D) (C/D) (Csus2/D) (Dsus2) (D)
  
 
yeah.
mf
Gtr. 9            

(slight

 
dist.)
      
Gtr. 8
divisi 1
17 17 17 17 17 17
3 0 3 5 3 0
Guitar Solo
Gtrs. 8 & 9 tacet

   
 
                        
Gtr. 10
   
(dist.)


 
f
hold bend
1 1 1
10
13 13 13 13 10 13 10 13 10 10 13 10 10 13 10 10 13 10
12 12 12 12 12 12
88
 

                                         
  
1  1 1/2
13
10 13 10 10 13 10 10 12 10 10 13 10 10 13 10 10 13 10 10 13 10 10 13 10 10
12 12 12 12 12 12 12 12 12 12 10 10 10
12 10 10
 
   
          
8v a
 

     
   

 
grad. bend
1
1 1
13 13 10 10 13 13 10 10 13 15
13 13 13 13 13
10 15
10
X 12
D.S. al Coda
 

8v a
                
  
 
1 1 1 1 1 1
(15) 15 15 15 15 15 15 15 18 18 20 20
 Coda
D5
    

  
na - ture call - ing!
                
                

w/ heavy chorus & delay
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
X X X X X X X X X X X X X X X X
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
0
89
90
Wrong Girl
B5 C5 G5 G/B Gm/Bb Csus2 Gm6/Bb Cadd9

7fr 8fr
134 134 2 34 1 34 1 34 2 34 1 3 2 3
Tune down 1/2 step:

(low to high) Eb-Ab-Db-Gb-Bb-Eb
Intro
    
µ
                

 
Gtr. 1 (dist.)
         

 
f
1/4
 7 7 7 9

7 9 X 9 X 7 7 7 7 9 7
 9 7 9
7
9 7 9
9 X 9 X 7
9 9 9
7 7 7 9 7
9 7
1. 2.

    
         

Ah.

                    
     
   
                    

  

1/2
1
7 9 X 9 X 7 7 9 7 9  7 7 7 7
10 10 10 10
10 10 10 10
9 7 9
7
9 7 9
9 X 9 X 7
9 9 9
7 9 7 9
 7
9 9 9
7 7 7
Verse
µ
          
     
       
 
1. You messed with the wrong girl; she’s small but she’s fierce.
    
      
        
     

      
 
             
       

  7 7 7 9
1/4
 
7 9 X 9 X 7 7 7 7 9 7 7 9 X 9 X 7
7 9 X 9 X 7 7 7 7 9 7 7 9 X 9 X 7
9 7 9 9 7 9 9 9 9 9 7 9 7 9 9 7 9
91
            
       
  
       

She shat - tered the glass out
                   
      

      
          

  
1/2
1/4
1
7 9 7 X X 7 9 X 9 X 7 7 9 7 9 7
7 9 7 X X 9 7 X X 7 9 X 9 X 7 7 9 7 9 7
9 9 9 7 X X 9 7 9 9 7 9 9 9 9
 Pre-Chorus
 
C#5 E C#5 F# C#5
         
     
 
    
with the highs of a heel. You led with the wrong

    
En - ters in cag -
                          

Rhy. Fig. 1
      

  
         
  1/4
7 9 X 9 X 7 7 9 11
7 9 X 9 X 7 7 9 11
9 7 9 9 7 9 9 9 7 9 9 9 9 11 9 11 9 11 9 11 11 11 9 11
11 9 11 11 9 11 11 9 11
9 9 9 9 9 9 9 9 9
B5 C5
       
*Gtr. 2
(dist.)
    
   
f
        
   
 

  
line when you called her c*** and all.

- es with no bites when she leaves.
       
 
End Rhy. Fig. 1
  
                       
           
       
9 11 9 11 9
9 11 9 11 9
9 11 9 11 11 9 9 9 9 11 9 11 9 11 9 11 11 11 9 11 9 11 9 11 9 10 10 10 10
11 9 11 9 9 9 9 11 9 11 11 9 11 11 9 11 11 9 11 9 10 10 10 10
9 9 9 7 7 7 7 9 9 9 9 9 9 9 9 9 9 9 9 9 8 8 8 8
*Doubled throughout
Gtr. 2 tacet
µ
               
    
    
So what makes a guy think that it hurts a girl?
       
                         
If guys are too rough now; well, that’s what you think!
 
     
        

  7 7 7 9
1/4
 
7 9 X 9 X 7 7 7 7 9 7 7 9 X 9 X 7
7 9 X 9 X 7 7 7 7 9 7 7 9 X 9 X 7
9 7 9 9 7 9 9 9 9 9 7 9 7 9 9 7 9
92
  Chorus
    
E7 F7 µ
         
      
 loves
It don’t hurt a girl 1. who her dan - ger - ous play.

’Cause it don’t hurt a girl; 2., 3. she

*Gtrs. 1 & 2 Rhy. Fig. 3
    
                                 

   
7
7 7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8
9 9 7 9 X X 6 6 6 6 6 6 6 6 6 6 6 6 7 7 7 7 7
7 9 7 9 7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8
0 0
 
E7 F7 µ E7
    
       
She kicks and screams as she danc - es
End Rhy. Fig. 3
     
                                        
   
7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 7 7 7 7 7 7 7 7
6 6 6 6 6 6 6 6 6 6 6 6 7 7 7 7 7 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 7 7 7 7 7 7 7 7
0 0
To Coda 1 
To Coda 2 
    
F7
 µ
 
E7 C7
      
and keeps a pret - ty face.
     
                                       
      
7 7 7 7 7 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 X X 7
6 6 6 6 6 7 7 7 7 7 6 6 6 6 6 6 6 6 6 6 6 X X 6 8
7 7 7 7 7 8 8 8 8 8 7 7 7 7 7 7 7 7 7 7 7 X X 7 7
0 8
Verse
Gtr. 2 tacet
    
µ
      
    
   

    
 
       
                        
2. You messed with the wrong girl; she’s got her ways and
   
Gtr. 1
         
   
1/2
1
7 9 X 9 X 7 7 7 7 9 9 7 9 X 9 X 7
7 9 X 9 X 7 7 7 7 9 9 7 9 X 9 X 7
9 7 9 9 7 9 9 9 9 9 7 9 9 7 9
93
    
        

 

 
means. She laughs at the traf -
       
      
 
 
       
     

  
3
1 1 1/4
7
7 7 7 9 X 9 X 7
7 9 9 9 7 9 7 7 9 X 9 X 7
9 9 7 9 7 9 9 7 9
 
D.S. al Coda 1
   
            

- fic from the eas - y streets.
                      

        
                  
  
               
  

1/2 3
1
7 11 11 11 11 10 11 11 11 11 11 11
7 7 9 9 7 9 7 7 7 9 X 9 6 10 10 10 10 9 10 10 10 10 10 10
7 7 9 9 7 9 7 7 7 9 X 9 7 11 11 11 11 10 11 11 11 11 11 11
9 9 9 7 9 9 7 9
 Coda 1

Interlude
Gtrs. 1 & 2 tacet
C#7 G5
Rhy. Fig. 4A
Gtr. 5
(dist.)
f
    
    
Al - right.
 
Gtr. 4
   
            
Gtrs. 1 & 2 (dist.) Riff A

   
   
f
let ring
3
3
7 7 7 7 X X X 7 4 0 0
6 6 6 6 X X X 6 3
7 7 7 7 X X X 7 4
3
Gtr. 3 Rhy. Fig. 4
             
(dist.)
              

f
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0
3 3 0 0 X X X X 0 0
3 3 3 3
3
94
 
G/B
     
       
Gtr. 6 (dist.)

 
f
1 1 
10 12 10 8 8 8 8 8
10 10 10 10
      
Gtr. 4
      
 
let ring
3 3
3 3
0 0 0 0
2
3
                       
Gtr. 3
                       
            
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 0 0 X X X 0 0 X X X X X X X X X X
3 3 3 2 2 2 2 2 2 2 2 2 2
3
Gtrs. 3 & 5: w/ Rhy. Figs. 4 & 4A

Gtr. 4: w/ Riff A

Gm/Bb Csus2 G5

 
End Rhy. Fig. 4A

         
  
1/2
1 
8
10
8
10
 8
10

   
End Riff A
 
   
   
let ring 
3 3
3 3
0 0
1 3
End Rhy. Fig. 4
            
             
           
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X
1 1 1 1 3 3 3 3 3 3
95

G/B Gm/Bb Csus2
  
    
She’s like a
        

Gtr. 6
              
 
1
1 1  1/2 1 
10 10 8
10
8 8
10
8
10
8
10
8
10
8
10
 10
8
Bridge
Gtr. 4: w/ Riff A (1 1/2 times)
Gtr. 5: w/ Rhy. Fig. 4A (1 1/2 times)
        
Gtr. 3: w/ Rhy. Fig. 4 (last 2 meas.)

G5
    G/B
  
moth - er ea - gle com - in’ down.
        
       
Gtr. 6

   


f
1 1 1
8
10
10 10 8
10
8 8
10
8
10
 108 

Gtr. 3 Riff B End Riff B
                      
8 8 8 8 10 10 10 10 10 8 8 8 8 10 10 10 10
   
Gtr. 3: w/ Riff B
Gm/Bb Csus2

G5
        
   
   
She’s like a moth - er ea - gle com - in’ down.
  
Gtr. 6


        
  
1

8 5
5 5 5 3
5
96
 

G/B Gm6/Bb Cadd9
 


Gtrs. 3,

4&5
 
  



Ow!
             
   
Gtr. 6
    

f
1 1 1 1
1
10 10 8 8 8 13 11 11
10 10 15 13 13
Interlude
Gtrs. 3, 4, 5 & 6 tacet
  
µ
   
     
Gtr. 7 (dist.)
                       
          

f *w/ wah-wah 1 1 1/2 1/2
7 10 10
9 9 7 7
9 9 9 7 9 7 9 7 9 9 7 9 7 9 7 7
7 8 9 9 9 7 5 7 8 9 9 7
7 5 7
*Used as filter.
Guitar Solo
µ
 
 
  

   
Ow!
                 

    



     
w/ bar 
+ 1/2 grad. dive 1/2
7 7 7 7 7 7 7 7 7 7 7 9 9 7
7 7 7 7 7 7 7 7 7 7 7 9 9 7
7 9 9
0 0
0
slack

            
    
   

    
       



 
P.H. 1
1 1
10 10 7 10 7 7 7
7 7 10 10 10 10 10
7 7 7 7 7 7 9
X X X X 9 7 0
5 5 5 5
Pitch: E
97
               
          
      
1 1 1 1 1
1
12 12 12 12 12 12 12 12 12 12
9 10 9 7 0 0 10 10
9 9 7 9 7 11
9 9
       
   
    



Check it out... Na, na, na, na, na, na.

 
   
     
*Gtrs. 7 & 8
     

1 1/2
14
1 1
14 14
7
9 7
X X 9 7
14
*Gtr. 8 (dist.) w/ wah-wah as filter; played f.
        
 
 

   
Na, na, na, na, na.

         
            
      

grad. bends 1/2
1 1 1 1
9 9 10
9 9 9 9 9 7
9 7 9 7
9 5 5
5 7 7 5 7 7 7
Pre-Chorus
Gtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)
Gtrs. 7 & 8 tacet Gtr. 2: w/ Rhy. Fig. 2

C#5 E C#5 F# C#5 E C#5 F# B5 C#5 E C#5 F# C#5
                
         

Oh, now she’s cut - ting ev - ’ry cor - ner; she’s tear - in’ up grass.
98
Gtr. 2: w/ Rhy. Fig. 2 (1st meas.)

E C#5 C5 C#5 E C#5 F# C#5 E C#5 F# B5
              
       
’Cause cars ain’t for park - in’, man;
D.S.S. al Coda 2
C#5 E C#5 F# C#5 E C#5 B5/C# µ
           
       
a car’s what you pass. It don’t stop the girl;
    
Gtrs. 1 & 2
     
Gtr. 1
            
                 


9 11 9
9 11 9
11 9 11 9 11 9 11 11 11 9 11 9 11 9 11 9
11 9 11 11 9 11 11 9 11 11 9 11 9 7 9 7 9
9 9 9 9 9 9 9 9 9 9 9 9 9 0
 Coda 2
      
Gtrs. 1 & 2: w/ Rhy. Fig. 3 (last meas.) Gtrs. 1 & 2: w/ Rhy. Fig. 3 (1 1/4 times)
F7 µ E7 F7 µ
  

   

 

  
Oh, I love her pret - ty face! I love her pret - ty face!
 
E7 F7 µ E7
     
 
   
What a pret - ty face!
F7 E7 F7 E7 F7

 
    
 
      

Al - right, al - right.
   
                        
Gtrs. 1 & 2
         
        
7 7 7 7 X X 7 8 7 8 7 8 8
6 6 6 6 X X 6 7 6 7 6 7 7
7 7 7 7 X X 7 8 7 8 7 8 8
99
100
Jane Says
Intro
Slowly q = 88
w/ voc. ad lib on repeats
* Dsus2 Cadd9 Dsus2 Cadd9
  (Drums) 
Gtr. 1 (acous.)
                        
                         
mf
 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
 2
0
2
0
2
0
2
0
0
0
2
0
2
0
0
X
3
0
X
3
0
X
3
0
0
2
0
2
0
2
0
2
0
2
0
0
0
2
0
2
0
0
X
3
0
X
3
0
X
3
*Chord symbols reflect basic harmony.
1.- 4. 5.
Dsus2 Cadd9 G/B G5 Csus2 G/B G5 Csus2
      
**
  
 




One, two, three, four!
                                   
                                     
         
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3  3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
0
0
2
0
2
0
2
0
2
0
2
0
0
0
2
0
2
0
0
X
3
0
X
3
0
X
3
0
X
2
0
X
2
0
X
2
0
0
X
0
X
3
0
X
3
0
X
3
0
X
3
0
X
3
0
X
3
 0
X
2
0
X
2
0
X
2
0
0
X
0
X
3
0
X
3
0
X
3
0
X
3
0
X
3
0
X
3
3 3
** w/ echo repeats
1. 2.
   
G5 A G5 A G5 A

       
Now, now, now...
         
        
 
   
            
   
 
          
    
                       
let ring  let ring  let ring 
 3
3
3
3
3
3 2 2 2
3
3
3
3
3
3 2 2 2  3
3
3
3
3
3 2 2 2
 0
0
X
0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2
0
0
X
0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2  0
0
X
0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2
3 3 3 3 3 3 3 3 3
101
Verse
 
G5

A

G5
    A 
G5
 
A
    
         
1. Jane says, “I’m done with Serg - i - o; he treats me like a rag
2. Jane says, “Have you seen my wig a - round? I feel na - ked with - out
      
G5 A G5 A G5 A
      
    
doll.” She hides her tel - e - vi - sion.
it.” And she knows they all want her to go.
    
G5 A G5 A G5 A
              
      
Says, “I don’t owe him noth - ing. But if he comes back a - gain,
But that’s o - kay; she don’t like them an - y - way. My Jane says, “I’m go - ing a - way to Spain
     
G5 A G5 A G5 A
 
  
        
      
tell him to wait right here for me or try a - gain to - mor - row.”
when I get my mon - ey saved. Gon - na start to - mor - row.”
 Chorus
    
G5 Gsus2#11 G5 Gsus2#11
    
    
1., 2. “I’m gon - na kick to - mor - row.
3. “I want ’em if they want me.
                          
  
Gtr. 1
                        
                         
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 2 2 2 2 2 3 3 3 3 3 3 2 2 2 2 2
0 0 0 0 0 0 2 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
X X X X X X X X X X X X X X X X X X X X X X
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
102
Interlude
Gtr. 1: w/ Rhy. Fig. 2 Gtr. 1: w/ Rhy. Fig. 1 (2 times)

G5 Gsus2#11 G5 Gsus2#11 G5 A G5 A
       
     
I’m gon - na kick to - mor - row.”
I on - ly know they want me.”
Verse
G5 A G5 A G5 A G5 A

           

         
3., 5. She gets mad and starts to cry. And she
 
G5
 
A
  
G5
  A

      
 takes 
takes a swing... She can’t hit! Don’t
a swing, but... She can’t hit! She don’t
       
Gtr. 1
     

 

   
            
          
   
3 3 3 3 3 3 X
3 3 3 2 2 2 3 3 3 X 2 2 2
0 0 0 2 2 2 4 2 0 0 0 X 2 2 2 4 2
0 0 0 2 2 2 2 4 2 0 0 0 X 2 2 2 2 4 2
X X X 0 0 0 0 0 X X X X 0 0 0 0 0
3 3 3 3 3 3 X
1st time, Gtr. 1: w/ Rhy. Fig. 1 (2 times)

T o Coda 
2nd time, Gtr. 1: w/ Rhy. Fig. 1 ( 2 1/2 times)
   
G5 A G5 A G5 A
                
       
mean no harm; she just don’t know, don’t know, don’t know what else to do a - bout
Verse
G5 A
        
G5 A G5 A G5 A
       
      
       
it. 4. But Jane goes to the store at eight; she walks up on St.
103
G5 A G5 A G5 A
              
    
An - drews. She waits and gets her din - ner there;
G5 A G5 A G5 A
              
  
        
pulls her din - ner from her pock - et. My Jane says, (“I’ve) nev - er been in
D.S. al Coda
G5 A G5 A G5 A
         
      
      

love; I don’t know what it is.” (She) on - ly knows if some - one wants her.
 Coda
 
G5 A G5 A
   
 
       
it. Jane says...
Interlude
G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11
           
    
Jane says...
Outro
w/ voc. ad lib
G5 A G5 A G5

Play 6 times
         
Gtr. 1
                          



 
               
 

3 3 3 3 3 3 3
3 3 3 2 2 2 3 3 3 2 2 2 3
 0
0
X
0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2
0
0
X
0
0
X
0
0
X
2
2
0
2
2
0
2
2
0
4
2
0
2
4
0
2  0
0
X
3 3 3 3 3 3 3
104
Mountain Song
VII
E5 D5 E5 G5
5fr 7fr 10fr
1 13 13 13

Intro
Slow Rock q = 84
µ E5
Gtr. 2
(dist.)
f

15ma
     

 
(Bass)
 
Gtr. 3 (dist.)

f
 36
w/ slide
let ring
*

36 36 36
*Hypothetical fret locations

      
Gtr. 1 (dist.)
 
  
f

 12
2
0 0
   (cont. in notation)
    
   
15ma

loco
 
       
steady gliss. steady gliss. steady gliss. 
steady gliss.
36 34
32 36 32 36 34 39 36
17 17 14
24 22 21 21 19 17
      
 
 
    
 

P.M. P.M.
12 12 12 12
12 12 12 12
2
0 0 0 0 0
105
Verse
Gtr. 3 tacet
        
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
  
1. Com - in’ down the moun - tain,
com - in’ down the moun - tain, I met a
Rhy. Fig. 1
   
  
*Gtrs. 1 & 2
         

       
P.M.  P.M. 

 7 9 12 9 7 9
 7 9 12 9 7 9

5 7 10 7 5 7 2 2 2 2 5 7 10 7 5 7 2 2 2 2
0 0 0 0 0 0 0 0
   
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
     

one of man - y chil - dren.
child, man, she had dark eyes. We

              
          
    
P.M. 

17
7 9 12 9 7 9 7 9 12 9 7 9
5 7 10 7 5 7 2 2 2 2 5 7 10 7 5 7 2
0 0 0 0 0
                     
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5
    
Ev - ’ry bod - y has their own o - pin - ion. Ev - ’ry - bod - y has their own o - pin - ion.
had the same o - pin - ion, had the same o - pin - ion. She was
     
    
      
       
P.M.  P.M. 
7 9 12 9 7 9
 7 9 12 9 7 9

5 7 10 7 5 7 2 2 2 2 5 7 10 7 5 7 2 2 2 2
0 0 0 0 0 0 0 0
106
D5 E5 G5 E5 D5 E5 D5 E5 VII G5 E5 VII D5 E5 VII
Rhy. Fill 1A End Rhy. Fill 1A
Gtr. 2
        
                   



Hold - ing it back, it hurts so bad. I jumped out of my flesh and I said...
hold - ing it back, it hurts so bad. She was jump - ing out of her
  
End Rhy. Fig. 1 Rhy. Fill 1 End Rhy. Fill 1
        
       
Gtr. 1
          
P.M. 
(Gtr. 2, cont. in slashes)
7 9 12 9 7 9
 7 9 7 9
7
X
9 9
X
9
X
7
X
8
X
9
X
5 7 10 7 5 7 2 2 2 2 5 7 5 7 5 7 7 7 5 6 7
0 0 0 0
 
D Dsus4 D
   
Rhy. Fig. 2A


Gtr. 2
 
(cont. in notation)
       
Cash in!
Rhy. Fig. 2
    
  
Gtr. 1
       
        
2 3 3 2
3 3 3 3
2 2 2 2 5 4
0 0 0 0 X X
0 3 2
Dsus4 D µ
  


End Rhy. Figs. 2 & 2A
 
Gtrs. 1& 2
   
6 6
                 
                
2 3 3 2
3 3 3 3
2 2 2 2 7 7 7 7 7 7 8 8 8 8 8 8
0 0 0 0 X X X X X X X X X X X X
0 5 5 5 5 5 5 6 6 6 6 6 6
Chorus
              
   
    
Cash in now, hon - ey; cash in now. Cash in now, ba - by.
107
            
   
      
Cash in now, hon - ey; cash in, Miss Smith.
Gtrs. 1 & 2: w/ Rhy. Fills 1 & 1A Gtrs. 1 & 2: w/ Rhy. Figs. 2 & 2A
D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5 D Dsus4
            
  
Cash in now, ba - by, yeah.
1. 2.
D Dsus4 D µ D µ
 
    
2. (I was)
Guitar Solo
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st 2 meas.) (31/2 times)

  
  

Oh!
8v a
     
loco
  
Gtr. 4
  
(dist.)
     


f
*w/ flanger w/ bar w/ bar
1
1 1
17 17 17
14 14 16 14 14
*Set for wide sweep. -5 -2 1/2

-4 1/2
    


   
       
   

 
w/ bar *w/ delay
  
1
14 18 18
12 15 15 14 12 12
12 14 14
*Set for quarter-note regeneration w/ 1 repeat.

slack slack
108

D5 E5 G5 E5 D5 E5 D5 E5 G5 E5 D5 E5 D Dsus4
    
            
 
1/2
grad. bend
1
P.S. 1 1 
11 11 12 12 12 12
X
 X  X
Outro

 
D Dsus4 D µ D5 E5 G5 E5 D5 E5
 
    
  
Oo, oo,
       
 

  
8v a
  
  
 

1 1 1 1/2
1
10 13 15 17 17 17 17
8 10 13 13
11
Gtr. 4 tacet
         
 
       
      
oh, oh, oh, yeah. Oo, oo, oh, oh, oh, yeah.
  
 

  
        



Oo, oo, oh, oh, oh, yeah. Oo, oo,
       
D5 E5 G5 E5 D5 E5 D Dsus4 D Dsus4
        
oh, oh, oh, yeah.
D µ D5 E5 G5 E5 D5 E5 µ
  

Gtrs. 1 & 2
  
     
        
 
7 9 12 9 7 9

5 7 10 7 5 7 2 2
0 0
109

Jane 39 S Addiction - Best of Digital

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Jane 39 S Addiction - Best of Digital

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from Jane’s Addition - Ritual de lo Habitual

on my brain and bod - y. Ee. The sex, and my drugs, and my

rock and roll are the on - ly thing that keeps

Gtr. 2 tacet Verse

out. 1. I am skin and bones. I am point - y nose,

but it moth - er fuck - ing makes me try. It makes me try

 Rhy. Fig. 2A

 VerseGtrs. 2 & 3: w/ Rhy. Fig. 2 & 2A

grows. Bad wind came, blew down my home.

  

F#m C#5 B5 F#m C#5 B5

Bridge D.S. al Coda

Been Caught Stealing

Gtr. 2: w/ Rhy. Fig. 1 (last 3 meas.)

A, well, it’s just a sim - ple fact. When I want some -

            

      

Rhy. Fig. 4 End Rhy. Fig. 4

                    

Rhy. Fig. 4A End Rhy. Fig. 4A

f w/ dist. & chorus

           

Gtrs. 1 & 3 tacet

    

                       

                       

                             

                    

             

“Pop,” and a re - ply, “Pop,” and no re - ply.

                   

            

     

       

                    

End double-time feel

                  

and you know you’re my girl. Such a clas - sic

Gtr. 2: w/ Rhy. Fig. 3

                                    

               

End double-time feel Free time

      

21 34 132 134 231 23 32 1 234

Gtr. 1: w/ Rhy. Fig. 1

                  

Gtrs. 1 & 2: w/ Rhy. Fig. 2

Gtrs. 1 & 2: w/ Rhy. Fill 1

Gtrs. 1 & 2: w/ Rhy. Fig. 3 (3 times)

      

I put up with it!

      End Rhy.Fig. 1

2nd time, Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st meas.) (4 times)

Pitch: G *Set for

                              

-1 1/2 -2 1/2 -1 1/2

Gtrs. 1 & 2: w/ Rhy. Fig. 3 (2 times)

     loco  

                          

*Vocals doubled in unison throughout except where harmonies are indicated.

Rhy. Fig. 2 End Rhy. Fig. 2

3., 5. She gets mad and she starts to cry.

G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11 G5 Gsus2#11