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[?tilluffiffiilfiffi]I0 C 0 N T E N T S
2 Introduction byWolfMarshall 3 Performance llotes hyAndy Aledort I Tablature Explanation
BOAnything Goes
r5 It'sSoEasy
36 Mr,Brownstone 5 l MyMichelle 20 Itlightrain 30 ()utTaGetMe 4I Paradise City BB Rocket Queen 65 Sweet Child0'Mine -4 )/ -
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ThinkAhout You Welcome ToTheJungle You're Crazy M a n a g e m ent: S travi nskiB rothers/A l anN i ven T ra n s c ri bedby JesseGress E d i t e db y M a r k P h i l l i p s A r t D i r e c t i o nA: l i s aH i l l P r o d u c t i o nM a n a g e rD : a n i e lR o s e n b a u m A d m i n i s t r a t i o nD: e b o r a hP o l e t t o IS BN :0 -8 9524-386-5 C o p y r i g h to 1 9 8 8C h e r r yL a n eM u s i cC o m p a n y ,I n c . I n t e r n a t i o n aCl o p y r i g h S t e c u r e d A l l R i g h t sR e s e r v e d
A P P E T I T EF O R D E S T R U C T I O N i s a v a i t a b t oe n G e f f e nR e c o r d s , C a s s e tte sa nd C ompactD i scs.
N['ROSES CTJI\S
t?lilffifilfi[[$Iil[TI0|[ lntroduction GunsN' Rossssmergsdlromths tulbulentyst fedileL.A.clubscenewhichwasth6spawninggroundfor VanHalen,Quist rapidlygarnored RiovRandy Rhoads, MotleyCrue,RattandPoison.Beginning witha smalllocalundergound lollowing,lhey a greatsrpublicawarsnesswith thsir raw no-nonsonss soundand enorg€ticrock 'n' roll feel. Thsir appsarancsand subsoqusnlpopularityin 1987was concurrsntwith a psrcoptibl€shift in audiencetasletowardsmoredirectand moro pop/rockandthetgchnically emotionalforms of rock- a reactionagainstthe slickover-calculated demanding metallusion ofthe garlyandmid80's. Inthisr€gard,GunsN' Ros€sadvocateanddelivera musicalpresonc6 whichislho voryssssnce of rock- rebellious, immediate andovocative. Themusicinvites, indeedinsislson,audienceparticipation andinvolvemont on a pur€lygutlevsl. of modernrock.Sprinklsdthroughout Thssoundof Appetllalor Destructionrcveals an svolutionary linkwithth€beginnings otferings areallusionsto andunmislakablo'60's blussrools.Thevocabularyolthe bluss/ theGunsN'Roses well-eslablished rocktraditionof the Brilishdynastyof ths Yardbirds, CrsamandL€dZ€ppelinis appar€ntin thoguitarworkof loadguitarisl songrifisshowtheinfluence ol lhs Kinks,sarlyStonesand Slash,whi16 therough,aggr€ssiv€ rhylhmworkandpowerhouse oftheverss Aerosmith.Thesecentralelements coexistwithhintsol punkrock(inths pronounced chant-talkvocalapproach in "lt'sSo Easy"andthe unabashed explstivesfoundin ths lyricsol "You'r€Crazy'and"OutTaGet Me"),'60'spsychodelic soundeffectsin thesecond music(inthe raveupjammingof the rideoutoutrosolool "ParadiseCity"andguitar-gsnsrated guiiarsolo/intedud€ ol "Welcome to theJungle,'inwhichstratospheric slidsguitaraddsa spaceyqualityto theproceedings) and vintageheavymetal(in lhe drivingrhythmgrooves,sustainingdistortedguitartonesand viscoralpowsrchording throughout). As invirtuallyallclassichardrock,thecompositions of GunsN' Rosssaressssntiallyrilfbasod.The ritf,probablythe most structural lundamental componentin rocksongwriting, is generallyconstructed froma strongrepealingthematicunitwhich succssdsin grabbingtho listensrwith its accessibility and immediacy.In tho musicof GunsN' Roses,ths riflsare well - theircompactness constructed makingthomidealforelaboration. Ths guitar orchestrations and harmonizations are remarkablo.Noticein "RockstQuesn"the mslody-versus-rhythm - lull guitar counterlines settings in the intro,slide timbrosin thesolo,andths numerous textureanddynamic employed guitars. guitarandrhythmacc€ntaccompanimont, forte€nsemblo, spaciousarona-like andcleant0nepickodarp€ggiated guitarlinesare oftenunpredictable The harmonized andinteresting, exploiting a numberol intervalr€lationships. Noteth6 ambivalence belweenmajorandminorintheparallslharmonyof "Wslcome to th€Jungle'aswellasthevari€tyoflrcatments guitarchordalarpeggiations appliedto the introritfol "MyMichelle," at rnezzo froma lighlairystatemenloverquasi-rubato toneto a Ioudmetallic answerphrase(reminiscent ol earlyBlackSabbalh) harmonized in unisonandthenparallelthirds. Indiscussing hispersonalguitarapproachto theGunsN' Rosesmaterial,leadguitaristSlashadmitsto a prsfsrenc€ for improvisation. Citingguitarists JeffBeck,JimmyPags,EricClapton,PetsTownshsnd, Jos PerryandAngusYoungasprimary planol attackl€ndsmorelife andenergyto the music. Slashgenerallytendsto influences,he leels an extemporaneous elaboratoon andre-develop lhe solocont€nton stago,exceptfor his"signatur€ solos'(thosemomentswhichoriginally0n recordproduc6da deliniter€cognizable thematicimpression.) A definitiv€exampleof hisleadguilarplayingis the€xtsnded guitarimprovisations outroin"Paradise City.' Her€,hebuildschorusuponchorusol relentl€ss overafiorydoubls{ime rhythm gathersmomentum, fael. Startingwithimitativeparaphrasing of the vocalchorusmslodyhs continually finallyreachinga highenergy climax€mphasizing fastrilfing, varlous majorandminorpentatonic, blu€sanddiatonic combinations andsinswy stdngbsnding. poinlotferedbySlashwasmadeln rsgardto compositionalt€chnique. An important Thebandwritestogsther,poolingtheir yet coh€siveoutpul. BassistDutf"Rose"McKagan,lor collectiveresourcesand influences,resultingin a multi-lacetad playsdin a punkgroup,brought example, (second havingproviously hisinlluence to thetune"ll'sSo Easy."lzzyStradlin' "Mr. guilarist)and Slashoriginallycreatedthe ritlot Brownstone" onacousticguitars, andthetimbreofwahwahslectricguitar evolvedlater. Thslirst drattof "You'reCrazy'was initiallyplayedon acoustlcguitarand at a muchslowerpace(almosta half-timoshutfle)but€volvsdintotho uptempoboogie-m€ets-punk groovscaptursdontheLP. Th6reis constantrethinking andexperimentation at workwithinthsirarranging andcomposing lramework.
ForAppetitelor Destruction, Slashrecalledthat helavoredhis"GibsonLesPaulandoldMarshallhalfstackwitha minimum ofelfects.'Occasionally,achorusunitwasaddedsparinglytoprocesscleanerguitarpickingpassages(a "Paradiso "Anything City")oravinlage phraseswithstraightguilarin DeanMaftl€ytalkbox(whichcanbehsardtrading coes') "Sweol "Mr. or a crybabywah wah pedalwas usod(as in ChlldO' Mine"and Brownstons"). -Wolf Marshall
CUNS N{'ROSES
\?ltlllttilfiffi$l[lltTl0|[ PERFORMANCE NOTES GunsN' Roses'soundcan be describedas a crossbetweenLed Zeppelin rrlyAlicecooper,playingbasic,straight-ahead rockwithaflairforthebizarre.'tne soundis primarily.straight-jacked GibsonLes paulsthroughMarshallamplifiers I l e l n t h e w a y oef f f e c t sw . hetherplayingcleanrhythmpart-sormaximum-crunch thesoundis rawand natural,as opposed_to theuntra-processed soundso many ands..use today.Tf 9 musiccomesout of early70's biuegrock,relyingon blue6 rlterations andestablished metalhooks,as wellas somenewtwistdof-theirown. guitarsolosarebasedon pentatonic f th_e minor(1,b3,4,5,b7) andthebluesscale 4rb_5F&7)as well as pentatontcmajor (1,2,3,5,6)anil the major scate ,4,5,6,7). W e l c o m el o t h e J u n g l e . This tune beginswlth mutedpicking,utilizingan echodeviceto simulate minor ll! lgles. Thetonaliryhereis B mlnor;Gti. l's riffisbasedon B pentatonlc :,Ff ,A),as is thesoloingof Gtr.ll. Thisgivesway to theverserfiythmpartbased ); tne soloing In the last bar of the intro is based on the A blues scale ),Eb,E,G).The riffoverE5 at the end of theverseis basedon the E bluesscale I t t h ef i f t h( E , G , A , B b , D ) . The firstguitarsolohasan E7 tonality,as Gtr. I utilizesdoublestoosmaoe :hlrds,fifthsand sevenths.The secondhaifof the solo(bars5-8) is reminiscent my fqqe.andis basedon rhe E btuesscate1e,e ,A,AO,B,D) with'briefuse of the third(G#). a newtonality,D major,wherethe tunecalmsoown , The bridgeintroduces leforereturningbrieflyto E7. Thisis followedby the semnd guitarsolo,thistime # minorandtheselinesarqba!"! o_n C#pentatonic minor(C*,8,F#,G#,8)forthe x bars,E Mixolydian (E,F#,G#,A,B,C#,D)forthe nexttwobdrs,B bentatoni'c minor : bars,E bluesscalefor two bars,and B pentatonicmajor(B,C#,D#,F#,G#) for gives rrs. Thi.s way to-somead lib soundeffectswith slid-eand echo,foildweijby maticriffharmonized firstbya minorthird,thenby a majorthird,eventually gettinil o the chorus.(ligqeqcloselyto the recording - to-hearthe differenttonesuied b! ythmguitars,whichfattenup the sound.) ll's So Easy The intro,verseand chorussectionsof thistuneare basedon the E blues (E,G,A,Bb,B,D). Afterthe inrro,one guitarptaysbasic,,5"chords,supportedby rnd.gultar.playing doubtestops.The oiidgeuriti2es arpeggiated cnbroii,vimopen i; ailowail tonesto ringas longas possible.Thisis followedby a rhvthmoartthat rriationon Rhy.Fig.2, usinga similarsyncopation but differentciiords.' Theguitarsolois alsobasedon the E bluesscale,primarilvin 12thposition. ttack.,is,similar to.AngusYoungof Ac/Dc, featuringthb soundon hunibucking )s with heavypicking. ,,rakes,,'which meansto strum . Theoutrosolobeginswithphrasesfeaturing s r n g roeo w n p r csKw e e pa c r o s sm u t e ds t r i n g s , l o w t o h i g h .T h i ss o l oi s a l s ob a s e d , E 0luesscale,with momentaryuse of the sixth(C#)and the major third(G#). Nlghtraln The intro featurestwo guitars,one playingsinglenote lines,the other 3 t r i a d s .T h es i n g l en o t el i n ei s b a s e do n A D o r i a n( A , B , C , D , E , F # ,uGn)t i lt h e G ( b a re i g h t )w , h e r et h el i n ei s t h e nb a s e do n G M a j o r( c , A , B , C , D , E , F #r e) ,s o l v i n g Therhythmpartfortheversesectionsis basedoh chunkingchordswltha muted rsedon A pentatonic minor(A,C,D,E,G). Fill 1 featuressomeartificialharmonics(seetablatureexplanation page). ru.l.s and similar-guitars withhumbuckingpickupsare greatfor'achieving'tn"es'e (Just s ask BillyGibbonsot ZZf op). TJrefirstfivebarsof the chorusrhythmpart iniscentof the chorusrhythmpartto Zeppelin's"BtackDog." The guitarsolobringsa shiftin tonalityto B minor,andthe solois basedon :atonicminor(see"Jungle")for the firsteightbars. The nextsectionis basedon rrsof D follorrued by two barsof F#5,whicfiis repeatedthreetimes.D pentatonic ( D , E , F # , A , B )ui ss e do v e rF # 5 . T h e o u t r os o l oi s b a s e do n A D o r i a nc o m b i n e d reA bluesscale(see"Jungle.') Out Ta Gel Me This AC/DC-liketune b-eg.1ng with_aG minor tonatity,with the lead guitar theG Dorianmoqe(9,Arqb,c,D,E,F).The doubtestopsin the sotoare piayed ting bothnoteswithrhethirdfinger.The guitarsolois basedon the samescale iesthesamethirdfingertechnique.Thissblois particularly reminiscent of Angus t,with ths fast,tightvibratoand hard pickanack. The seLondhalfof the sot6is on A pentatonicminor(see"Nightrain'). Mr. Brownstone The returnof the "Bo.Diddley" beat,augmentedby mutedstrumming on "The wlth wah wah pedal. Followthe symbolstb rock ths pedal mrrectly. ndingriffby Gtr.I is notbasedon soundingprecisepitches;just slideyour finger downthesixthstringwhitepickingsixteenth, and thenslidebackup. Rhy.Fig.1 sdon E Dorian(E,F#,c,A,B,c#,D) wirha majorthirdadded(G#). The riffin bars thechorusis basedon E pentatonic minor(E,G,A,B,D). The guitarsolofeatures in tonalityto F#5,withthesololinesbasedon F# pentatonic minor(F#,A,B,c#,E). )undls fanenedup withwah wah pedalandecho.Thlsis oneof the moredifficult so workout the phrasingscarefully.The secondhalfof the solois basedon G : o n l cm i n o r( c , B b , C , D , FC ) , p e n t a r o n im c i n o r( C , E b , F , c , B ba)n d D p e n r a r o n i c (D,F,G,A,c)in thenextthreebars,respectlvely. All riffsareverysimilarand use me basichandpositionsand manioulations.
ParadlseClty Thistunebeginslikea countrytune,arpeggiating firstpositionchordforms. Use a combinationof alternatepickingand consecuiivepiCking,whateverfeels most comfortable.RiffB is basedpriinarilybnG pentatonicm'alor1G,n,e,D,E).Again,the guitaris pusinga lot of distortion,soundingoccasionalartificialharmonics.hiff D is basedon G pentatonlcminor(G,Bb,C,D,F). The guitarsolo featuresthe use of an octavedividerwhich doublesall the notesone octavelower. The solo is basedon G oentatonicminorfor bars 1-4 and 7 & 8. Bars5 & 6 are basedon A pentatonicmlnor(A,C,D,E,G). ThedoubletimesectionagainfeaturesG pentatonlc minorandG pentatonic major,and the solo guitaris playedin the styleof classicblues/rock,reminiscent of LynyrdSkynyrd's"FreeBird"outro. My Mlchelle The bestway to articulatethe openingarpegglosis to hold eachchordform tlroug! each beat and use alternatepicking. Ritf A ia based on the F# blues scale (F#,A,B,C,#,E),againemphasizing the bs(C). RiffB harmonizesRiffA a majorthird up. The fourbar sectionbeforethe guitarsolo (after"...Buttill thenya better...")i3 based primarily on F# pentatonic minor(F#,A,B,C#,E); usethethirdfingerto fretbothnotesin barthrse.Thefollowingguitalsolois basedprimarilyon B pentatohicminor(B,D,E,F#,A) with briefreferencesto the G5 chord. Barfourand fiveof thecodarecallrock'n'rollraveups of old,especiallyEddieCochran's"Summertime Blues." Thlnk About You here are like revved-upChuck Berry,playedin a . Th.eopenings.o^loing_.lines ta.g. teamfashionby Gtrs.| & lll. The rhythmpartovertheverdecombineschdrdlccents wlm mutedrggJryqe!; playit so you can distinguishthe rwoclearly,diggingin to the part as a whole. w. Axl RosesoundslikeKlausMeineof the scorpionson tn'istune. Rhy. FiO.1and 1A complementeach otherwell, powerchordssupported by argeggiated '' triads;use a clean tone for the triads,crunch for the chords. contains more Chuck Berryisms based on F# pentatonic .llqgg11ar-solo mlnor(F#,A,8,69,E),No flamingspeedriffshere,just btd fashionedrock 'ri' roil. T|r" soloing at the end of this tune pentatonic is basedon B minor(see ,, ... "Michelle"), playedin the standardpentatonicpositton. Sweet Chlld O'Mlne RiffA is basedon D Major(D,E,F#,G,A,B,C#) and is ptayedon a Les Paul seton the rhythmpickup,with the tone turnedway down. The grooveis more laidback thanmostof the othertunes,kindof countryish and reminiscent of U2;the vocalpartis remlniscent of GrandFunk Railroad. The gqltarsolosectionbringsa changein tonalityto E minor,and the solo llnesarebasedon E Aeolian(E,F#,G,A,B,C,D),with briefreference to E harmonicminor (E,F#,G,A,B,q,D#). 25-32recallAlvinLee'ssoloingon Ten YearsAfter'sclassic "l'd Love.ToChangeBars the World."The lastpartof the tune containssomefast soloing basedprimarilyon E pentatonicminor(E,G,A,B,D); the quintuplet riffis actuallya fouinotephraseplayedas fastas possible,so the phrasinglooksa littleconfusing.Listen to the recordto determinehow the guitaristis feelingthe phraseagainstthe beat. You're Crazy This tunesoundsa littlelikeACiDC meetsBachman-Turner Overdriveon Zp. QimpJg, straight-ahead rock'n'rollplayedFAST.The eighrhnoresin rherhyrhmpart shouldallbe downpicked; thiswllldefinitely takesomepractlceto getdown.Thechorus rlyJnm part is reminiscentof a San Franciscorobk 'n' roll-band of yesteryear, Rhinoceros. Theguitarsolois basedon B pentatonic minor(B,D,E,F#,A). The riffin bars 9 - l 2 l s t h e s a m e a s w h a t : J i m m y P a g e p l a y s a t t h e eh n idso" fH e a r t b r e a k e r " s ol lt om. a y taKesomework to be able to hold the bend and apply a strongvibrato. Anythlng Goes For the intro, one guitar plays a little riff based on the chord tones of 47 (E,G,C#);thisis.averycommonshapein rock,usedby Jimi Hendrixin the openingto "RedHouse."The otherguitarplays linesbasedon A-pentatonic minor(A,C,D,E,G). The guitarsolo featuresa tonalitychangeto E minor,with linesbasedon'E pglJ?tql!c_lllngr(frp,A,B,D)with the inclusionof tfie sixth(C#)and E pentaronicmajor (E,F#,G#,B,C#). Working back and forth between these t'irioscales is a commbn practicein rock, broughtto the fore by Eric Clapton. Bars 5-8 featurethe use of a 'talkbox,"a devicewhich amplifies the guitarthrougha long, thin tube held in the guitiarist's mouth,enablinghimto_shape (si-milar thetonephonetically o a wahwah pedal but to a muchgreaterdegree). The sound is then plckedup by a microphoneas'if the guitaristwere_slnging. The secondhalfof the solo is basedpiimarilyon B pentatonic m i n o r( B , D , E , F # , A ) . The last sectionof the tune featuresa feel changeto an uptemposhuffle, slmilarto but slightlyfasterthanthe Doors'"Roadhouse Blues."The lastriffin the free sectionls basedon the D bluesscale(D,F,G,G#,A,C). Rocket Queen RiffA, as well as the ostinatosoloingduringthe firstverse,is basedon _ F# pentatonicmlnor (F#,A,B,C*,E)withgrace notes us-edfrom the minorthird (A) to (A#).,Over the 85 and C#5 chordthe lead guitaruses B pentatonic the.maj_or_third major(B,C#,D#,F#,G#) and C# pentatonicmajor(C#,D#,E#,c#,A#),respectively. primarjly,muchin the The slideguitarsolo uses triadsuperimpositions Jeff Beck style (as in the bridgeof "Beck'sBolero"). The soloingduringthe outro is basedon E pentatonicmaior (E,F#,G#,B,C#), which-istheEameas C# pentatonicminorstartingfrbma different note(G,E,F#,G#,B).Bars 13-15utilizethe E majorscate(E,F#,G#,A,B,G,D#), whichis the sameas C# Aeolian.Sometoughphrasinghere,so analyzethe lines carefullyand listento the record. -Andy Aledort
TABLATUREEXPLANATION TABLATURE: A six-line staffthatgraphically represents theguitarfingerboard, withthetoplineindicating thehighest sounding string(highE). By placinga numberon theappropriate line,thestringandfretof any notecanbe indicated. Thenumber0 represents an openstring. 1 s rs r r i n g- H i g hE 2nd stringB 3rd slringG 4th 6tring0 sth stringA 61h6tring- Low E sth Elrlng,3rd fret
1st slrlng, 15th frot, 2nd strlng,15thfrot, playedto€ethol
€rnoosn E chord
Definitionsfor Special Guitar Notation BEND: Strikethe note and bend up ': Steo(one frel) l l
BEND: Strikethe note and bend uo a whole step (two f rets)
BEND AND RELEASE: Strike the note and bend up r (or whole) step, then releasethe bend back to the orgrnal note. All three notes are tied only the first note is struck.
VIBRATO: The string is vibrated by rapidly bending and releasing the note with the left hand or tremolo bar.
WIOE OR EXAGGERATEO VIBRATO: The pitch is varied to a greater degree by vibrating with the lelt hand or tremolo bar.
SLIDE: Strike the first note and then s l i d e t h e s a m e l e f t - h a n df i n g e r u p o r down to the second note. The second nole is not struck
TRILL: Very rapidly alternate between the note indrcated and the small note shown rn parentheses by hammering on and pulling ofl.
TREMOLOBAR: The pitcln o t e o r c h o r d i s d r o p p e da n u m b e ro Js t e p st h e n r e t u r o r i g i n apl i t c h .
TAPPING: Hammer ("tap") the fret indicated with the right-hand index or middle finger and pull off to the note fretted bv the left hand. PALM MUTING: The note muted by the right hand lig l o u c h i n g t h e s t r i n g ( s )j u s t bridoe
PICK SLIDE: The edge ot the pick is rubbed down the length of the string producrng a scratchy sound.
MUFFLED STRINGS: A pe sound is produced by layir hand across the strings wrl depressrng them and stnki with the right hand.
P R E - B E N DB: e n dt h e n o t eu p w h o l e )s l e p ,t h e n s t n k e i t .
SLIDE: Same as above, excepl the second note ls struck.
I I r,rr I rtllr
NATURAL HARMONIC: Strike the note while the leJthand lightly touches the string over the frel indicated.
RHYTHM SLASHES: Strun In rhythm indicated. Use c voicingsfound in the finge diagrams at the top of the of the transcription.
IIurnr.
:
PRE-BEND ANO RELEASE: Bend the note up '? (or whole) step Strike rt and releasethe bend back to the ongrnatnote
HAMMER-ON: Strike the f irst (lower) note, then sound the higher note with another f inger by fretting it without picking
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PULL-OFF: Place both fingers on the notes to be sounded. Strike the first note and without picking,pull the finger off to sound the second (lower) note.
ARTIFICIAL HARMONIC: The note is tretted normally and a harmonic is produced by adding the edge of the thumb or the tip of the index finger oJ the right hand to the normal pick attack. High volume or distortion will allow Jor a greater variety of harmon rcs.
RHYTHM SLASHES (SrNG NOTES): Single notes can rndicated rn rhythm slashe circled number above the indicates which string to p successive notes are playe same stflng, only the f ret r are given. @.trt C
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s/
,lrd Verse w/Rhy. Figs. l & 1 A A5
2
AL;
_/!
€
Wel -
conrc
le'arn
to
Il
to
liveD
J
the
like an t
gets
Jun
in
an
l
D
you'll take it
worse
the jurr
ole
f
r
4].--'-t h
>'
got
E
You can have an
D
c/G
you
y - thingyou want,-
D /cf
D /B
but you D/A
e l
bet - tc'r not t l r k e i t l r o r n n r e . -
In
the
jun
gle, (Ah,
10
play.-
D
e - ven-tu'l-ly.w/Rhy. Fig.2
You
f , ^ , ,
udy._
where we
E
CIA -t/E-,
ry
here
wel - come to
the
jun
g l e .W a t c h i t
"fr.l
bring you
to your
uh.
I'm gon - na watch you bleed.
P
--------------
r--\
---____-___.l
And when you're
-
l
/ t t / -/ t/
l ;>
ry
a
;
t
F /
1
suck
--------*------
s/. s/.
m,.w
steady glrss.
Guitar solo II
c{s
@ztr. E 85
@zr. A5II 85 A5II 85 A5II 85 C5 Cf 5
E
85
.D .rTD.--m
,TT*) rl? ( I5ma)
Y2 '\:
i/24.111--^,--^-^^^*
A5IIB5 A5IIB5 A5II 85
.rTn
:-
Kr
',
I
s / . a . H . p i t c h :E
cfs I
1
Full 1-,q,*
@:rr. A5II G
D^ Full s/.
E5
w/Rhy. Fill I
FY\
i'
a I
a,Lf
*s/.
F
st.
Ff5
E E55 F **55 E 55 F ffss E 55 F *T 5
.D:.m.D.D)
tz
C5
ii.
^
1
.s/.
,
)
,
..r
:-
I I
, stead.t'gliss.
.V.
Gtrs. I & Il cont. ad lib slide rifi's Gtr. III
1
13
wi Rhy. Fig.3 (3 times)
\,,
' '-
# -
tf
Tl
T
You
knou' where you are')
You're
F , , it -r . ' J1 - - - - -
in
the jun - gle, ba - by!
You're gon - na
- - - - - - - l
s/carirg1i.is.
)
open '
A v
2 )e A 5 F+5 Cs(tYP / ) )
F5
Ff5 )
Gf5 A5 ) )
w/Rhy. Fig. 2 (1st 4 barsonly) (3.tirnes)
B b 5P E a
,
^
'
l
C
C/B C/A
C/G
a
t_
d i cI
In the
t)
D ,C T
D/B
Watch it bring yotr
,tl e .
jun
gle.
Wel-come
to
the jun -
(Ah,
D/A
to your
sha na na na na na
na
na na na
knees.-
na na Knees,
In the
jun -
ah.)
C/A
C/G
Wel - come
to
D/cf
D
gle.
the ir-rn
D/B
Feel-
D/A
fly,
oh,
my,
ah.)
C/A
lny
ser - pen
Jun (Ah,
C/G
D/B
Wel - come to the jun
ole
gle. Watch it
bring you
to
your
ah.)
w / R h y . F i g .2 ( l s t 2 b a r so n l y ) C C C/A C/G
sha rra na na na na na na na na na na Knees.
knees.- Down in the
iun
-
olp
b'-.
Wel - come to
the iun -
(Ah,-
D/Cr
D/B
D/A
*+ rtl
alt. )
t'. Watelt it bring yorr
E5 D5
Bb5
A5
*
+'f
to your.
It's
(rotn
gon-na-
E7 T9
G 5 E 5 A
bring you
downl
\ Huh!
trs)
" x------------_*Slowly detune low E string.
14
---__--
IT'S EASY SO Wordsand Musicby W. Axl Rose,Slash, lzzyStradlin', Duff"Rose"McKagan, StevenAdlerandWestArkeen 2)
E5 Es(t-vpe Bb 45 C5 Esusi4 "f#?r,. 'ffiij "ffi Effi-0r,.ffi*sr,. ffi3s,
Ds
Esus4 O X Ffl#
X
rmTl
rrn'ffiffiffiffi-i,,u,
ffi 123
Ds/cf
Gs/Ff
Fts
xxx
trtrR ffi*sr,. hq#+r'.gffur,.+H-t }+-tl+.I
Tffiqffiffi
Ffit-H 133
B5
xxx fEfEtr 7fr. l H l t l EIIIEtr
Tune down 7: step:
.O=EbO=cu O=eb.)=sb @=th(f=sb
w/Rhy. Fig. 1 (21/: tintes) @
Moderately fast; = 15:r Intro Rhy. Fig. 1
;-i
( e n dR h y . F i g . 1 )
.D r ,f .i .n
.4.i
.n
-1 olo
io
open
E E 5
.I.
e o7o
H H P.M.--
H
H
T
I
H
H --------J
*f
@ op"n 2) E Es(t.vpe
.n '' ,,\'
.n
lst, lnd. 3rd Verses w / R h y . F i g .l A l s t & 2 n d t i r n e s w/Rhy. Fig. 2B 3rd time Rhv. @.p"n F i g .2 B b 5 As Gs E
,\.r ,ffi ).
1 n.,
z) E5(trne
x>4/.
(3 rimes) ( e n d R h y .F i g . 2 , w / R h Y F i g ' J t-l I I Bbs As Gs rEr >1,4/ / .m -
J
in
her
E5
t--/
see your sis - ter Seeadditional lyrics
I J b5
A5 G5
(E)
E5
Sun
dress.-
Bh5
45
She's out
to
p l e a s e , - she pouts-
G5
-T
out
Rhy. Fig.
to
take.
Play 4 time.s
need- to
try._
She's read - y
Rhy. Fig. 28 rl2
CopyrightO 1987GunsN'RosesMusic(ASCAPyVirgin Music(WestArkeen Music) ThisArrangement@ 1988GunsN'RosesMusic/Virgin Music(WestArkeen Music) International Copyright Secured All RightsReserved
Ploy I tintes
15
(end Rhy. Fig. 3)
Chorus W / R h y .F i g . 3 A A5 G 5 A 5 t Jb 5 fuiy. l-T-r
F i g . 3)
)
)-
@.p"r
@
open
.n
s/.
eas
A5
/
i-] I
Esus4 E
/-/
l ^ - l
-
eas A5
G5
/
I
sl'
P.M.
v'
E s u s f 4L , s u s 4 ( E ) E s u s f 4 E s u s r l ( E )
@ooen
Esusf4
Esusf4 Esus4 E \ r ' ' z l ' ) { E
'ry - bod - y's try - in' when ev -
Y,
Esus*4 Esus4 (E) Esusf4
(E)
Bb5
w/Rhy. Fig.3 (3 times) A5 G5 A.5 Bb5
please-
to
(E)
Esus4
eas
4 Esus4 (E) E,sus#
Esusf4
e v - ' r y - b o d - y ' s t r y - in'
to
Ilridge D/Ff
I It
ur.,rio Esus4 (E) Esusf4
please-
me.
As(7)
B5addb6
G
;=------,'--_\\_-_ seems- to-
eas
please-
me.
It
all-
(end Rhy. Fig.4)
Rhy. Fig. -l
rv/Rhy Fig. .1 D/F{
As(7)
B5addb6
I
when
I
in - to-
fade-
(2nd time:) So
r --- r1f7 hit -
P.M-----I
you.
h':2. you -
= I ' a l l-
\
odown
P.\,1.-l
R h y . F i g .3 A
16
--}t''n ----:
Pluy 4 titrtc:;
Fig. .sA D-s/('t D5 c5 G5/Ff E-s
)-
g 5 ( t r r e2 )
,-^/')
W/Rhy. Fig. 5 (3 times) (end Rhy. Fig. s) t .lrtl t ) )
see you stand-in'
I
Ds
D s / c *D sG sG s / r fr s
there
Ds/c'$ Ds (;s cs/F{Es
yorl re _
D5
D 5 / (f D 5 G 5 G 5 F T E 5
Why don
fuck
offl-
w/Rhy. Fig. I (1 rintcs)
Ub -s
A - sG - s
(tr)
E5
tsb5
,tl't/---
--_--l
IK
45 toco
tr-
I-.\
_
_
__L1.-a.I::f--_'1-+
A5
( E 5t
+ A.
.
_C
- E
D.S. (take :n(l cnding)al CorJa E5
A5 G5
\
+: I
-
('oda
Itb5
G5
p Full
*rBhy. Fig I (I tintt,s)
r\ f\ s
7i
9;. with-
me.
Don
G5 s
I
ain't
got -
Rlty. Fig -5A
Play I tintc.s r
-r-
'f
_Jl
fl
17
O L r t r os o l o il','Rlty. l:ig J /,\ 1i771357
(;-5
.{-5
lJt f
A5 G5 _
-
' - r -1- ]-l - ] l j a__ t-
e a s - Y
3? F tT ' af
Full Fu11
/ 3
,
/
\
a r,r_a P
Fullt
p
.\5
C;-5
-
!_r T -r
f.=
A5
A'5 G5
G5
It's
s o-
eas tl
==<
l-F-
,<:L) L f I r
/
r
P
yl Full
n
./^t
P
^
---*-oj,
18
P
6
)
-r/
.------^4---+ - +
-'r
1= =
i-
damn- eas
-+ - J ' .t - r t
- -=
__ T -
y.
A5
G5
E5
So-
eas
s/. sl D5
E5 ? T_
T]--
So
_r= l
fuck
P.M.
so_
eas
Y e a h! -
4
P.M
Additional Lyrics 2. Cars are crashin' every night.
drink 'n' drive.everything'sin sight. make the fire, but I missthe firefight. hit the bull's-eyeeverynight. (To Chorus)
3. Ya get nothin'for nothin', if that's what ya do Turn around bitch, I got a use for you. B e s i d e s .y o u a i n ' t g o t n o t h i n ' b e t t e r t o d o . And I'm bored. (To Chctrus)
19
I{IGHTRAII{
U,:'li,HS'y€i
Duff'Ro5;*.figil? lzzyStradlin',
D5
A5V x
xxx
f!ffi5rr.
xx
G5
A5
xodxx
xo xx FFFFF
ffiT5fr. ffitr
Tf?.f tsffi
ffiA Hffiffi r3a ra$.-. z
'fune
E5
B5
F5
F# FfTTF
: xxx ?-JJ-H-.i
HftsH 133
ll
Tr|Il
133
Ffs
( t v p e2 )
Gf 5 xxx.. x x x ^- .TTTn4rr. .TTTn 3lr. G5
t-tl.ltl
1+l+{
rUB
lA3
D
C5 x x x ^" rtr. FFFFI 5fr. FFffi r-rcTTI f gOA
TIT'TI li}l
down rr steP:
@=Et-3=Gb (!=,rbO=sb ,g=obO=ub FastRockJ=l.lg
D/A Fig. I
A5
lntro
(Corvbelland htgh hat) G t r .I
/ r
l v
'
T
4 I
r
_
T
'
I
r
P
sl.
r
I -
o,-
-e €-=-_
-
___,
f
s/. ,v.
Rhy. Fig
A1
Gsus4
Load -
( e n dR h y . F i g . 1 )
s/ s/
20
CopyrightO1987Guns N' RosesMusic(ASCAP) 1 9 8 8G u n sN ' R o s e sM u s i c T h i sA n a n g e m e n t @ International CopyrightSecured All RightsReserved
w/Rhy F i g . I & l A D/a'
ed like
a
freight-
Gsus.l
G
1-, p;;---ip
-, -
-L
fly
Gsus4
--ft--rl
-in' like
train. _
a space
brain
A5
---l-=l tlone
l.uore
time
like
an
aer
feel -
p l a n e ,-
,A5V
Gtr. I
G5 A5
.'
)^
o
to - nisht
Look outl l.Well. I'm
a
( G t r .I )
I st Verse Rhv. Fig. I
-.n J. west
,
coast
rat - tle-snake
I
suit - case
un - der my arnr.- Said I'
R h v . F i c .l A A i r -)# + i6-:. 4 ti # -Jr -
t
--
-
-:]v-:+
e-e
e-
P.M
g a s- o - l i n e , _ a n ' h o n - e y , y o u c a n n r a k e m y
b e e nd r i n k - i n
mo - tor
l. Well.
I
got
Full
(ettd Rhy. Fig.
./\
I
a +
-lv_:l
i - r
+_+
P . M . -- - l Full t \ a
a
,
/
4
^
' a \
z
1
4
lnd. 3rd Verses
-llli Figl&rA
left late,-
a nine live ey. put on your
c a t .clothes-
got I a, and take your cred -
dog - eat - dog sly card _
to
smile._ the
21
cock - tail with yoLl
w/Rhy Fig. 1 &. 1A A'7
Fill I tCtr.Ir
zz
D/A
in'
(]sus.{
c
Clsus.l
i.ier-o-
like
A5
G5
plane. 2) A5 E5 G5(type
ffi.-m.rnD^
= T space
ln
Chorus + e
night - train. R l t y . F - i g .3 ( b o t h g t r s . ) tll tll
)
Bot - tonrs
on
the
night
- train
Fill my
l 't
+ t11
-:-
-t
1
Rclcl - y
to
(e n d
love that
nev - er
and
114
I
-
learn.-
114
stuff.-
I'rn
on
the night E5 D5
train, -
and
I
can
nev- er get
e - nough.
\
{D
pic k slide
.41^11*
/ l
l a
/
n
^
_ 4
a
-
v
I'nr or.r the B5
_
_--l^^^l_--k-^
u5
.w^,r-m -r>
F,1
Es FsF*s
A5v 85
F*s
E 5 F i l sE s
.w-'n
,TD^'-M
Fu[
Es F*s
+
)'
Full
B5 N 1 :>.)^
a^-,&,
A , s V8 5
A5V 85
E5 F5 F*5
E5 F*5 E5
t)6ts 5,5(tvne
F*5
.w_
45v
. t/ 1 / 1 / 1 / >
>
>
t
>
l>
P . M . -- I
s/.
\
\!
\
/^.!
s/.
s/.
.rl.
Ffs
l)
r
\
\ /^d
l
l
/ \' /
\ /'.-d
Full
A -
d
g
t/
7f f,A
LQ- I a_
\
l
l
r
t
I
D N /^
Full J
Fttll i
a/
I Full
F*s )
\
)T-)
#+ T-)
)---=,
r
/I
/ 'N )
\
/^/
Iru11 1
,AR
H
-",
P
\
)^) s/.
l
\
r
N
ryu P
l
Ffs N /^
)
)
\
)
l
/n/
sl. /
s/. *
E5
)
\ ',( t o n l .
F5
Ff5 F5
h t ' t o r r ' )A . l { l r :
Fs pfs
E5
Full
_E 7+
.slow'release
l>v
A.I{. pitch: Cf,
a
--J i -'
JJ
t+
=
1 d
P.M. Let ring P.M.-
F5 E5
F5 FT5
F5 E5
--1t
1 d
P.M.
P.M.----------.1
25
I)5
C5 A5
-------l--.-
Load
traln.-
freight-
sl.
,^
-----l
u'lSlidcslott' stead.t' g/iss.
G5 \
)->
l
1
\
i
1
l\\ ^
/
_>
+^
a n a e r - o
plane,
speed-
C5
A5
,\^-,
\
\
/r-. >
brein.
tirne
night A.H. ( 6va) _
!7',ttnn
@6pen lf1.
below)
I'm \\ \ \\ \\t\
\\ \ \ \\ \\\\\\\\
to
\\\\
\ \\\\\\\\\,\\\\$
\\\,\\\\\\T\\\,\M
on
the
night
-
train,
Rhy. Fig. 4 (Gtr. II)
and
I'm
s o m e .-
I'rn
on
the
"haa11-. !-4,**1ry\**^
read -
v
Gtr.I
.-----,;' t.-
stow Dend vv!-,,€
(end Rhy.
4)
-:-tv.
e-
Chorus/Outro (xVocalad lib till end) w/Rhy. Fig.4 ( till ertrl) I t/z
F5
1y,
/' t
* S e ea d d i t i o n a ll y r i c s
t
)
_
A.H. pitch:G
27
A5 A.H. ( 8va)
f;"8-
28
s
/
.
H
P
J H
H
P P
P
P
r / p
:?i>*a
F5
,/ ,/ r +
t
. +
+
a +
Ltertd
P
+
Full
s/
n .'_-
[\p -^l-
H
tii-\ r-_:fl s k t t vb e r t d
Full
Begin fadt: Full )
{rj-
,ll.
I I P P
z-\
F-adcctut
J
ry
I i P
Additional Lyrics ()ttro Chorus: Nightrain, bottom's up. l'ni on the nightrain. fill my cup. I'rn on the nightrain. whoa yeah! I'nr on the nightrain, love that stuff. I'nr on the nightrain, and I can never get enough. R i d i n ' t h e n i g h t r a i n , I g u e s sI . I g u e s s .I g u e s s ,I g u e s sI n e v e r l e a r n . On the nightrain. float me home. Oh, I'm on the nightrain. Ridin' the nightrain, never to return. Nightrain.
29
OUT TAGET ]|[E WordsandMusicby W. Axl Rose,Slash, lzzyStradlin', Duff"Rose"McKagan andStevenAdler C5 X
X
Bb5 X
X
X
tllTfi 3fr. Tfffi T u n cd t r w n ' : s t . ' p : f P f f i Tflf 133 iia @=rlg=t;b
G5
A5
xooxx I+Fffi l-t-trH
X
B5
F#
ffii qTrn
ftrt+ 2'
F 5 G5
Ftftft'
'
ffi.lT1 Til-r1
iB3'
Play 3 times B h 5 G 5 B b 5 G 5 w / R h y .F i g . I ( G t r . I ) (endRlty. Frg.l) F5 G5 C5 B b 5
M o d e r a t e l yf a s t J = 1 4 0
- G 5 B t 5 G 5 R h y .F i g Gtr. I -r
E5
D5
x x x - o xxx 5fr. FFtrFF trIflf
cdfr:r,. Fr+\
fi ifi i H i +5 3t' ' f f r ii i ' ,
H-fFH 133
O=.rhO=et @ - =obe=r.b Intro A
G 5 ( t Y P2e) F S / C
B b5lC
C5
B b 5G 5
"t",r.
BYa- Full
I T
-:J
. Irig. I ( -ll.:tintes)
F.5 G5
P ! T9 ' !t2
ql_ -
F5 G5
_ _ _ q b _- -s' l_B_bGscs s lo cr,t
x I /')
!--r-,*
_ )\e
slow bend
slow bend
q{]
I
Fu'
Full
lr.lt2
_---/-
slow bend 1t2
xBend top note only.
C5
Bh5
G5 Bbs G5
F'5 G5
I
^d=4
C5
P
/^)/
-2
-t----__-_-.-.-,
Bb5 G5 Bb5G5 \ r-T-'l _
slou'bertd
>
/
>
pick slides
Bb5 G5
"l^W^o >
Been hid Sonte-tirnes
30
outcas - y
:
>
>
andlay to f o r - g e t where you're go - in'
Copyright O 1987GunsN' RosesMusic(ASCAP) ThisArrangement@ 1988GunsN' RosesMusic lnternational CopyrightSecured All RightsReserved
It's noth - ing newsome-times it's hard - er
to to
:
)^
>
Bb5
^)-D^o l>
l>
C;5
w/Rhy. Fig. 3 (first 3 barsonly)
Bb5
"l-m-
l>
G5
,Well, you And ev
can 'ry
ways find you think
ts5
yolr if can that'swhen yollr
keep trou
your san bles
g o ,to a place you know just what you're do
4;>
C5
They break down the They push me in
I
CX
doors a cor - ner
and just
they to
(Both gtrs.)
rape m y oct me
screanr preach Rhy. Fi
to
rightst'ir'ht
(they(they-
and and
fight light
all all
night.n i g h t .-
won't won't
(You (You -
me).me).-
can can
me.)_ me.)(end Rhy. Fig. 2)
++ ->
P.M.-----1
31
w/Rhy. Fig. 2 (l% rintes) I) 2
2
lose my lose' my
Bbs/c +
h e a d .It e'acl. -
my eyes. my eyes.
(They(They-
won't won't
totrch touch Bb5 - - ' ' i )_ t_ ')_ ): _
C5
(Bothftr.lffim
me.)me.)G5 -_
Bb5
G5
/
) ^
) .J ) -_
_
A-
1>
'Cau sc I 'C'ause I Cltorus
got got
b e en b u i l d - i n ' u p been build - in' up C5
Bb5
in - side in - side.
A
L
_
t
_
('5
B b 5 G5
C5 / .
/
l
They w o n ' t b r e a k -
rt2)
B b 5 G 5 B h 5G 5 t \ ) 7 2
C5
A5 Bb5
n
n /
) ^
a
)
/ ' o
85
mel
Bb5/C C5
m---)
G5 Bh5 G5
ffilt
Bb5 G5
Bbsi(' c's Bbs/ccs
Bb5
I'm fuck - in'
I
in-no-t'cntl_ Lruttllr sol()
f Tney'reout ta
g o n e_. t
catclr
Y - - -a 1 r ; l s1 a)
/
al
C5
_
C5
fuck- ing read - y
SO
G5 Bh5 G5
Tltey won't
-3+ v .+- - ari: }. L
for I'm
Bb/CG5(tvPe2)
,,rm'-'-)
F 5 / G G 5 ( I Y p " 2F)5 / G 6 5 ( t v n ez )
f
f
i
.
-
-
P.M.----------l
u b5
/ |-T-l-.r/
85
t' 5
/
/,^,/
Bbs/ccs Bbs/c cs 112 ./putt
i:10 '-/ - - - - - - - - 1
17''P'N,I
JZ
.rTT'------)
B b 5 / C C 5 B b 5 / C G 5 t t v p zui t-T--l
/ / / / - -
(type 2)
)
2) F-5/(; C;5 I:5i(; G5(t)' pe
m^)
B b s i cC st s b s / c s
.
Flrl
x 1l ) ''f\
.tl. _/
Itold bt'tttl
/ \A\
/
.\A\\&\4^A\
-:.^^,,-\-.
ffi-
/
/ .^,
lutltl bertd
sl
3 r r - 5 i C( . , s B i 5 / C C 5
C5
w)
.n
.W--)
I
tsb5 85
)
Itokl battl
Full
\A\\\A\\\\Ary!W\
*Bend top note only.
t:5 G5 A5 .f-."----=-z
Di
R h y . F i g .3
C5
A5 C5 A5 ( e n d R h y . F i g .3 )
.112 112
r v ,R i h1. Fig. 3 /-r1: tirrtes)
G5 A5
(;5 A5 Full
I\P
Full
C5
A5
C5 A5
Full
t^l
Full p
33
(5 ( ; r ' Y ! ; F 5 G s ( t v f 2c ) u---T--
D5 U:
a
2 .
a
+
'
t
...., si.
'':
r2
r
I
.-/
G5 Bb5 G5
.-
Jr.
tirtl
fi+ I ]
] T
G5 Bb5G5
G 5 B b 5G 5 -
n /t\
:>
:>-
:>
t{r,
w / R h y .F i g . 4
t il ,/Full
Ftrll
Full
Full
G 5B b 5G 5
Bb
G
A
G 5B b 5G 5 ( c r t d R h y . F i g .4 )
,/-^
/e,
s/.
--------_--t.\
t; -a1i -a
W / R h y .F i g . 1
r v i R h y . F i g . 4 ( l s t 3 b a r so n l y )
G5tsbsG-s
A
(
;
C
Full
Bb C]5Bb5 G5
Full
Full
/.
\rL-^
r l r6.?. -]]
F
Ful1
si. Fuil
I
"- _
G
A
T':r_-
- I -
slowbend
.\_s
A_
* t n n v a,
(;-5 A5
.D.D
A5 C5 A5
C5
\trr
/
t-T--l / /
/
w / R h y . F i g . 4 ( 2 1 / zt i t t t e s ) G5 A5
cr5 A5 C5 A5
I I Sortre
J4
D5 I
a
chip
on their shoul - der,
and some would say
it
was
nte.-
G5
A5
A5
But D5
did - n't . buy that fifth of whis - key C5 G 5 ( t y e 2 e ) F 56 5 ( t v n e2 )C h o r u s
).
ffi^w/Rhy.
).
get
ta
gavc ile,
so I'd
F5 G5
They won't
+w/Rhy
Fig. 1 (31/ztirnes) F5
G5
/
X
C;5
be quick
to dis- a- gree.-
Bb5G5
They won't Bb5 G5
G5
i n - n o - c e n tl -
tsbs \"-! ,
G5 2
Br5
mel
G5 Bb5
I'nr tuck - in'
C5
you
Fig.1 (3%riy7s) ^FsGs \
Tlte'y're out tsb5
that
F'5 G5
catch
break-
me!
C5
Bh5
G5 Bh5
+'J
They'reout
ta
get
They won't
ll)
Ftrll
*1st time only, lst note of figure is played,not tied.
B bs G 5
BbsG5
F5 Gs
Bb5
G5 Bh5 G5
3
- T T- f
#ap T-
a _ - , 'Cause
catclr
I'm-
in-no-cent!
So you
11-
l
l
I
can
114
/
*,€
F'5 G5
sr.rck
C5
Bb5
\ )*t
r
55(tvne
z)
,J^o
Take that
TO
h e a r t! A
35
il[R. BR()WI{ST()I{E Wordsand MusicbY W. Axl Rose,Slash, McKagan lzzyStradlin',Dutf"Rgs^e' andStevenAdler D D5 A5 * o x rT[fE 7fr. hrm'sr'.E+rh*sr'. fuff -fffii ffit1 TilI Ttrtl lo33 i3i5 'iii' Tirt
T u r ) tel , ' r r nl r l s t e P : 6 = r'h@= cb O-,,rbO=sb @=obO=r'.b Moderatelv= , 105
i-.-.-i---Fr -'r-r iT-r )i # >i rd # >i rd rd )d >d rd y
85
C$5
H'* TH-r TtE
i.,7 ld 1
A
G5
E5
l'rrrTiqr,. furffrgfr.F# fiftij Til-n 'H-ftFt i5i'' 'i55., Trn
E ( t v p2e)
Ho ryll-n r|[in
>{
Play 3 times
-!: .s/" s/.
sl. s/. s/. rL
s/.
-Tf-
s/.
(end Rhy. Fig.
IJ: ' t f l H
N
r
ll
D5 --i
{ r v r l rt r f f) / '
-H-
J
A5
85
)>
)-)'
\
).
H
.4:
U H
P
H
@:i.. G
t.+: ') |
w/Rhy. Fig. 1(2 tirnes) E5 Rhy. Fig. 2
h
*,ft
lt
( e n dR h y .F i e . 2 ) 5
36
Copyright O 1987Guns N' RosesMusic(ASCAP) ThisAnangementO19BBGunsN'RosesMusic International CopyrightSecured All RightsReserved
(A5.r
u - rotrttd
( E 5)
scv - elt.
get
out - ta
bed-
a - round
nine.
And
--'{---Jr
-3-
I don't
wor
ry a - borrt
no.'cause
( E 5r
wor - ry
a
waste-
of
n1y
time. (end Rhy. Fig. 3)
Bb -T
l. bccn
f
f-.'
L
q--
7 -i
tlune -
l:<
I
in'-
Mis
ter
Brown
stone.( e n d R h y . F i g .4 )
:--:]
= - - - 1
N.C
2rtd tinte to C'oda I, 3rd tint<' to Coda II
N . C .( E 5 )
rne-
+
a - lonel
No,-
r.to,
He won't leave nre a - lone.'t
)'
l1
/
37
Bridge 85
\\ A d
; a
ffi* )-F f y - .
r
-. .
t \ i llt.. .
A5
G5
_
r
I I
I
Lrsed to do
lit - tle but a
a
lit - tle would-n't do and so the
lit - tle eot
more and more.-
l A.*lT-:' + tf f t |
\
i
t
tr
1
l 1
F
lr)
85
A.
-14 ftn
i.
A.5 a
B5
j,o
?
-
I
jtrst
kcc-p
try' - in'
to
get-
a
lit - tle
bet - ter, said
a
lit - tle
bet - ter than
be - fore.-
d
J
ll
V
lst tirne D.S. at Corta I \ lnd tirne D.S. al Cotta II \
Guitarsolo w/Riff A
Coda I
s
BsFfS
Fu n
1
Plav,3 tintes
38
E D5
E/B
E5 loco
A5 112 /
a
1 ta
P
P
-?-J
L ? J
Ft 5
+ v
u
B sF f s
U2
H P
\
P
tl2 P
s
F,5
E5
45
B5 F*s
Ffs H
P
P
Full H / /-:\
.t\ L
ilr
P
/
H
Full
t:5
D5
Full
w / R h y .F i e . 4 G F
*1/*
P
-3--
?--.
slox' rc lcuse
E5
t '. 5
t12
?-J
ll2 P
F fs
A5
Es
F* s
Bs
.\;o/- - -
E5 t) ^-p
P
loco
,," | l^/ P
t14
)
-3-. t t ?p
(;
Bh
Full
+
Full
| \ P /^\+-.
---n P
Let ring w/Wah asfilter (+) FullO
Fuli C
Full
/
L3J
*JFull a
Fr
)'
? T_
Full
O
w/Wah
D5 l)
)
B5
.n^n--
l)
Full
Cf,5
Fuil \ P
Fgll
'^\ --\
Fpll
?:1h-?
Full
A->
D5
G5
r{
o_J
+--*
JTTJ:
F_l r/ .1
t_J_o
\i
) G5
t-t--1 r,i !i !i
U
,{
dl'l/----1
,r/. -
Full lot'o
s/.
I L
.I
< ? r
l p
3rd Verse rv/Rhy.Fig. 3 N . C .( h 5 )
rviRlry. Fig. I /J tintt's)& 2
It
get Llp-
rrult.-
ire's
a
rcal
(t,,5 t
( A 5r
a - round when-ev
mlrth - a - fuck - er. son - ni.r kick him
used to
get up-
on
tinte
on
39
E5 w/Rhy. Fig. | (2 times)& 2 \
/'
1l
->
Str.rck it
in
tlie mid - die and
I
shot
in t h e m i d - d l e a n d
it
(Two gtrs.
P . M .t h o t h p r r t s t --
I
it dror c' nlc orrt - ta
I should-'ve known bet - ter. said
nry' mind._
I
wish I P
\
/ '
.
I
it
all
er met her, said
P
a
+ -F I l c a rc
nev
A
I I-
be - hind.
=
Yow - sal
( G t r .I V t
U2
)
-
Additirnal L.t'rics 2. The show usually startsaround seven. W e g o o n s t a g ea r o u n d n i n e . Gct on the bus around eleven, Sippin' a drink and fee.lin' fine. (To Cl.torus)
40
T
PARADISE CITY WordsandMusicby W. Axl Rose,Slash, lzzyStradlin', Duff"Rose"McKagan andStevenAdler G5
Cr5
ffi
ffi'3i,.x
C
\
\
F5
rx
F'
ffi ffi','mi"m6"
D5
|+{{+llolr. F*5trH ulu.J 'I iI ;I of TA '
L!J=|J.J lr..rr
lddd
T u n ed o w n 1 ! s t c p
@ = E be = c b O = . q bO = s b @ = D bO = r bModerar I n tr o ( ; Rhy
Bb
-l t + - l - t -:l : ! r It
rar rrr fI I-FII rl--Ttl TIAAII rodd
d
G5
( t - v p e2 )
-.#fi.r. r=rrt-1 '^"
ffi
t= 104 g. I
(end Rhy. tiig.l )
4i
i - t
n;i
('horus rviRhy. I C;
Take nre clorvn-to the p a r - a - d i s e c i t - y, where the grass is greenancl th" girt-* F5
wi Rhy. G5 Riff B Il
F
C5
*, C
U^^ ^oh, *on , rou pt..r. take nre home.tCt' (end Rhy. Fig. 2) (;5
Riff B ) lt
u
o. G5
Bbs
X nirr c rr wo gtrs.*)
F5 C5 Bb5 (end Riff C)
q1i 1-71fr 1-\ *
i"ai4
i*l
CopyrightO1987GunsN' RosesMusic(ASCAP) ThisArrangementO1988Guns N'RosesMusic International CopyrightSecured All RightsReserved
I'A{A !''
I st. lnd. 3rd. 4th Verses w/Riff D (3rd. 4th tinresadd Riff F)
\ \ r"sl
b e a t .-
42
(Gs) ,
(Gs)
ty
char
c a s e_ .
buy
me some-thing to
pay
U d L .-
yoll
at
an
oth
er
(GS;
C
€
Take it
to
the
end
of
l i n e .-
the
Chorus w/Rhy. Fig. 2 (2 tintes) G5
Take
nre
down -
fn
fhe
ty, where the
ncr val
F
grass
green
and the
pret - ty.
G5
L
b-A
z t . O l i . w o n ' t yor.rplease I lz.:. tat
take mef home,
yeah,-yeah.-
Take me down-to
i(
b the girls are pret - ty.
Take
the par - a - dise cit- y. where the
D.S. (no reTteat) al Codu I
?nd time to Cotla I; -Jrd time to Coda II F
grass is green and
girls
horne
43
C 5 C
F Coda
s
, l_.
Guitar solo w/Riff C G5
/ / d (cont. in notation)N.C.(f,S) P.M. rl''--
.-
l rr't yotr plelrse Oh. r.o
take
me
Bbs
-----l\-
home.
Yeah.-
-a
,V.
>--
\
w/Octave divider
.s/.
s/.
s/
rv/Riff E G-i
- A . -
6-
C 5 B '5
Full
F5C5Bb5
Full
/
j-rt-.
Bbs
Ai,,
Furl
C5 Full N t
\
oa o J
w / W a h o n a s f i l t e r ( O c t . d i v off) Full Full Frril Full
slov' bend t:ull
Irull
w/RiffC(lstbaronly)
wiRhy. Fill I
tl2
D5 C5
I
(Wah off) sktvv bcncl
Full
112
!3J
rake
skly bencl
Riff E (Two gtrs.)
(As)
44
C5
(As)
slow bend t1z
Rhy. Fill 1 (Two gtrs.) D 5C 5
-3--rake
C
D5
a
///
C5
: . ' ' ' '| ' : | /
| /
| >l
y
|
i-i //,t/,tt
r )
i'] :.iil
),)) ) |-l-l-l
P.M.----r
H
-
D.S. (no repeat)al Coda II I
+ ' -ri
-v a
way.-
So
way.
->
1 b
w/Riff A (w/cue notes) (2 times) w / R i f f B ( I s t t i r t t c o n l ) ') w/Rhy. Fig. 2 (lst titne t'ontplcte;lntl tinte Lst .l burs onlt,)
b :
45
Oh. won't you
please
take
me
-------------=\
^
--ar
J{t
'0
o
---------------:O
S l o w s l l d e u p m l ( lle .+
Rh1,. Fig. 3
*As before
OII
Double tirneJ = 208 G5(t!pe2)
/I
/
/
\
l
\
C5
.Wrl)
)
G5 /
w / L e a d v o c a l a d l i b ( o n C h o r t r s )( t i l l n o t a t i o n r e t u r n s ) *w/Rlry. Fig. 3 (914tinrcs) xxG5
*Vary strumming rhythrn at will. * * U s e ." t y p c 2 " t i l l e n d .
46
I
a
a
a
f\
/
|
a
rr
/
--''i
a
4
a
r\ / :
a
(end Rhy. Fie. 3)
( t y p e2 ) v l
t
)
1 .4
) rn.D
P
L_R s/ H
qL, '
3 lt/z
Fulr,)ya
1Y2
,-3-
L3
3 1Y2
lYz
1/2
9:
H P s / H p
9: ')u ^
P
F,"ll
P
-3Frull
C5 P
p
H
Ps/.
zX.tot-?;t{l.
p
G5 H
b
| _3H p s i
cs lull
slow bend
tlt'
p F5
-\ --:-\ fDr
,/
n .\,1"---\P
C5
frull
H
i
H
H
a->,3
I
]
I
I
4-g
H
I
I
-.;) H
H
F
I
H
I
I
H
P
I
l
.
. -
t t'
, H H l()('(r.--:\
t z 7
48
I
/-'=-
H
P
P
_f>.
P P C 5
'?D1..:
1t)
F-5
G -) H H za->
1t2 ./(
C5
,s
Full
Full r
J
H T I ,1-.=-
H H .':a
Full
H r t /<-_-\
H t t
| 12
,*
/
ta ffi
F5 Full
1+
49
P 2i!
tl)
/i
Slorver
F-s
C5
!
ol
aFa
+
+ f-
r:
. 112 ,)
Full p
? a
?ip
E+
slott, bcnd
Additbnal
Lyrics
2. Ragz to richez, or so they say. Ya gotta keep pushin' for the fortune and fame. i t ' s a l l a g a r n b l ew h e n i t ' s j u s t a g a m e . Ya treat it like a capital crinte. Everybody's doin'their time. (To Chorus) 3. Strappedin the chair of the city's gaschamber, Why I'rn here I can't quite remember. The surgeon general says it's hazardous to breathe. I ' d h a v e a n o t h e r c i g a r e t t eb u t I c a n ' t s e e . 'Iell me who ya gonna believe?(To Chorus) 4. Captain America's been torn a part. Now he's a court jester with a broken heart. "Turn He said. me around and take me back to the start." I rnust be losin'rny mind. "Are you blind?" I've seen it all a million times. (To Chorus)
r
ilIYilIICHEIIE WordsandMusicbv W. Axl Rose,Slash-, lzzyStradlin', Duff"Rose"McKagan andStevenAdler tr!5 thx FF=F a-ntr1 rr-rT-1 133
A5
xo
FFF''N
xx
TfTll Tir
E5
O XXX FFFFF
fft]]l TIffi
#-,,,Hfr?f,# #.,.#;; ffiffiffiffiffi
C M+ft.
SlowlyJ= 72 Tunedown l/2 step:
I
C B ^trrr{:tr. #
Ffffi1 Ft{ft| ( O= E b O = c b ii5i' 'i56b, Q=ab@=nb @=oh@=Eb A/C f, Rhy. Fig. 1 (Gtr. I) Amsus2/CB 7 ( n o3 r d ) Intro Ff m
FFrf Ttry
GI5
E5(type
2)
Gs/A H#x ffi f-t-l-t-h
firr'n
A5V
sCfr+r'.srffisrr. Ffttt ffiHi
i5d'"
i55'''
*./|nt Fig' | (2% tines) A l C f A m s u s 2 / CB 7 ( n o3 r d t Gtr. II€
(end Rhv. Fie. 1)
Let ring w/Flanger
w/Fill 1
A i C f Anrsus2/CB 7 ( n o 3 r d ) F { m 2+ e t'--\
w/Rhy. Fill
A /c*
Amsus2/C B7(no3rd) h i'1
F*m A
€
ModerateRockl)=1O21 C* Riff A (Gtr. I)
E5
p*s (end Riff A)
2 ( G t r .I I )
Fill 1
Rhy. Fill l.fctr. Il
C_opyright @ 1987GunsN' RosesMusic(ASCAP) ThisArrangementO 1988GunsN'RosesMusic' International Copyright Secured All RightsReserved
51
w/Riff A & Rhy. Fig. 2 (both It/: times)
c$
c
B
w/Fill
Ff,5
E5 F$5
A
I s t . 2nd. 3rd Verses C*
5 ctr. II I-'+
, \ \
l. Your
,
,r----=-----/ \
por - no dad - dy works-in 2.3. Sce additional l.t'rit,,s Rhy. Fig. 3 (both gtrs.)
a - round.
now tnat mom-my's not-
w / R h y .F i g . 3 N . C .( C f , )
r u s e c lt o
lol e-
her
Iter-o- in-
Cf
b u t now she's un - der-ground.-
So you stay out
Iate at
night.-
(end Rhy. Fig. 3)
long slide
A5
F{5
(tJothstrs.) I o
do
-vorrr eoke for
Driv - in'
your-
friends
cra - zy
2 ( G t r .I )
l'/zsklw /e/eds{, -----r-------
52
"
with your
/
life's
I /
E5 F*5 t
t
-
t
t
) . ) ) v
and you
Doubletime(o=2O41 Chorus D5 F5vrr
A-.t
Ta;i-1
fit-+ -\i7
a
.J p +-
crfs
J
/.
J-l
-
Well.
rvell.
.,*t {+-)
D5
n
I
/
just
yoll
w/Fill4 2ndtinre 85 A.5
x : { /
)
iT )
r
F
catt't
@+i'. (;p A5 l;
.n:, l - r , . .
+^€
Mi - chelle.-
L o o ko u t !
H a l ft i r n e( e = 1 0 2 ) w / R i t f A & R h y . F i g )(both ll'-: titrrcs)
('
,c{
B
A
w/Rifl'B
F*5
A
Ir5 Ff5
Cf
B
w/Fill 3 Ff,5 A Gtr.I I o
UR )
a
r^€
)
il
$ ss
.t
=J= t e l l .-
Well, Bridge
Gs/A
t G t r .l l )
)
,'J-l )
--- l-r€-
call
^)
c*s
D5
J l )
/^d.
+' j-
/^o
well, w e l l, _ 3rd tintc to Crila,
F$s \
F Svrl
).
- Tt-
)
)
)
)
rRhv
well,
"i
tr \VII
)Fis.4 d ( G t r .I I )
Ev
-
well.
D5
A5
).
/^)
+ 1 -E I
_ + _-_S_ t
'ry
-
one needs
\
my
M i - c h e l l e .-
As(type'2) l c.
:.'
love._
Rhy. Fie.4,A (Gtr. I)
s/ Fill 3 @rr'. Gtr.I G r r .I I
Fill 4
Full
J
Fullt
53
tr<(t]pe 2)
ts5
A5
D5
E5VII
L J
( t Y P e2 )
J.
)-)
9.
A5
i)
4+ Yotr
(end Rhy. Fig. 4)
knorv
that
it's
I r u c .-
day
you'll find -
some
that -
one-
Fie.4A)
I 1+ q --
w/Rhy.Fig.4&4,A B,5
D5
E5VII
: 1 fall
(G)
when
you're
E5
vil
Some - day you'll
a - lone.-
all
B5
(Bothr*r.t.w you soIIe that olleH a l f t i r n e ( ) = 1 0 2) C{ w / R h y . F i e . 2(,rtartat 3rd beat) A E5 C B A F{s ! Gtr. I I ) r l .
A.I]. Gtr. I
r8!d'*
A^Jl^*
A.H. pitch: G*
54
Full
can
your
But
D
Fi l 5
.rn
.-m
.rm
)
then -
till
p*s I
ya
bet
find-
1
Rhy. Fig. 5
V
J
J
J
w/Rhy. Fig. 5 (-l rirrtt's) B5 314
Full
/
D. S. ( takc 2rttl errclirtg)Lolc,,ao
A s x
@+ir. Gf A 5
A5
;l
.n'-)
I
(Gtr. Il)
)
)
t. 1-,::
+
Mi - ehelle.
rvell.
Yeah!-
(Gtr. I )
@:r'. Gf5
cfs
A5V
ffi
s/.
A5v
G*5
C
A5V
ffi s/.
.i /.
). +
My. tl
c h e l l e .-
( lltt'ul acl
----/
-tl
A5 .^-l
{:-t P
P
Addirional Lyrit s 2. Sowin' all your wild oats in another's luxuries. Yesterday was Tuesday.maybe Thursday you can sleep. But school startsmuch too early, and this hotel wasn't free. So party till your connection calls:honey, I'll return the key.(Io Chorus) 3 . N o w y o u ' r e c l e a n a n d s o d i s c r e e t .I w o n ' t s a y a w o r d . B u t n r o s t o f a l l , t h i s s o n g i s t r u e , c a s ey o u h a v e n ' t h e a r d . 'callse So corne on and stop your cryin', we both know money burns. lloney, don't stop tryin' and you'll get what you deserve.(ToChorus)
56
;>
Play 4 times
THII{K AB()UT Y()U Words and Musicby W. Axl Rose,Slash, lzzy Stradlin',Duff "Rose"McKagan and StevenAdler L,5
B-svrr
D5
A5 v
G5
2) Cs(tvpe
G6
86
A-5
foSri, sdilzr.. ffiirr,. 'r#fTtu. +?in sdfr:i,.:frffi:r'. Fftil]' Fffi F$tti H# frffi t1fill ffitt1 f,ff, ' ' 'li ' 133 133 133' 133 133' z' aa
a xxx^^ zrr. FEII H.+-t
H+ Tf,fi1
ifnfl
o) 4 5 ( t v n e3 ) A 5 ( t v P " f f S t t
c f-5
GilS
Fis
X\ . X X- XX 4tr. rl-1-[Tl etr. ffrm
4'6
Bb5
xo xxx ffi i-rn-n
xx x FFffi --rtrr-
TFT 3
lryr rB3
Dls
XX . X []il-fn 6lr.
rifri1 Hfl+i H## '133 133 1{}3
T t t r t t ' t l o \ \ r . r1 : s t e p :
@=r.pO=c;1, O=.qb@=sU @ = nb@= r , b FasR t ockJ= tZO
Gtr. II E5
2nd tinre substitute g5vl Fill 3 for lead gtr.
D5
1 f
-4 4
ctr. I rn;-
;
l s t t i n t ea d d F i l l l ; @ o p e n2 f r . substitLrF t ei l l 1 E Ff C5 2nd.tirne l o J l c a dc t r . ,
@ u o " n2 f r . E Ff G5
.m^
Cowbell 'full { ,
r. .r- vrv av - r. : r' : 'r. sr1
-
sl.- .sl.
>i
g5vrr
E5
B5
A5
n
1
\
/'+' --:>
.'
I;ull
A_--
CopyrightO 1987GunsN' RosesMusic(ASCAP) ThisAnangement@ 1988GunsN'RosesMusic lnternational Copyright Secured All RightsReserved
I st. lnd. ,lrd Verses
@zrr. @zrr. 8 6 B 85 B 8685
^.w
r>
P.M.
l. I ba - by. sa)' l.-1.Scc udtlitiorutl lt rit's
@zrr. @zrr. 8 6 B 8 5 B 8 6 A . 5 P.M.
you been look - in'
g o o d ,,-_
r e aIl
r v , , l r i l lI l n d t i n r e sop"n u , I : i l l . 1 - l r c it i n r c @ o n e n A 6 A 4 5 A B b 5 8 5
\Y
oPen
A 6 A
@
A 5 A A 6 A 5
/ r--r-t/ /
->
re - mem - ber when
you know that
nev - er
how
we
^
:>
met.-
@ zi'. @ztr. 8 6 B 8 5 t s 8 6 4 5
/ r-T-l-l-_ / . / ' - ' / rT-T-l / / /
fun - ny
/
P.M,
@zr'. @zrr 8 6 B 8 5 B 8 6 8 5
It's
onen
D^
g o o d .-
felt
It's
@open
A
6
A
A
5
A6
45
g5tv rli -
)-)
<
\
)
er
t
A 5 ( t v p e3 ) 8 5 l v l / 2
/
for
1'-W^o
g e t .-
s/'
@zrr. :ir. ^s>
C;
45
( t v n ea )
B 5 l < \ 5 ( t v p e 2 ) B 5 rlv/ 2 A 5 ( t v prc) ( ; 5 n _ / n / / / n / / / 2 ^
.W^o
- _
best
45(trner) 6t
r
65(tvne :) p1
+ +
A
l t i r r re
i
I
cln
mem
ber.
Ooh,-
+ - J l>'-/
58
@zrr. :tr. rlz Fil C__-Z
"Jnw.rTT.w and
A5 P . M . --
'll that -
the
last
for
-+ +
-J
+
--+
-
+
P.M.
It
E5
Cowbell >
l
/ _>
Chorus Rhy. Fig. 1
, 5 u t t ll 2 '
i
B5VII
r\.w
J f t
l>
er.
I
think
a -bout
Hon -
you.
Rhy. Fig. l A ( E l e c .& a c o u sg. t r s . ) xl>
Let ring
* l st note of f igureis tied after I st time. @7ft. 5fr. B
A G5
( e n d R h y . Fig. I )
( t Y P2e)
A5V
.w..--).
\ /'
/.
/
\
/
B5VII
/ ^\ :>
I & 1 A ( 2 t / zt i r n e s)
<.ll\ Deep
in
side-
best.-
59
you're
You know
I
think
the
you.
a-bout To CoQa
+
/\
I/
F*5II
r ),
[-l )'-)
/
:>
l>
t--
I
I /. -
/ N
-
Gf5 /
\n d I
85 ).
I I
yoLl
s/. Cf,5
D5
) P
r.=-.rTDrm sl
P . M . --
hold bertd Full
60
cfs y ' \^ d
l
one-
Guitar solo
Es Ffs l_T__r__t
)?)
)
Es Ffs ;*-
Es Ffs
Es P{s l-I-r-1
)?,
)?)
Full
Full
)
85 Cf5
Cil5
85
-
)?,
/
I
f-l
)d#
Full
1l)
w'ide fast vib.
85 Cf5
85
.trn.-:,) .r/.
Cfs
F$s
E5
.[E'.fT-n=)
.sl.
E,5 Ff 5
E5 F*5
-F /
.6W
x x
p*s
E5
-
.-,-..') sl.
tt2
I
/
n x x
I
H
85
Cf5
ts-s cf 5
85 Cil5
Bs cf s
)4.ry
.r/.
.u'?1|r'"loiJf. with3rdstg' along -@utt @uzr'' Ds Df5 E5 u, Es
)T^.D
I
rT.n
think a-bor:t
s
i
\
know-
;---:
a a
s
\
l l
You
li a
D5
J
J
a
@srt.
@+ir.
D Ds
/
/
P.r,I.
thut
cfs c* : / i / /l
'
:>
I
do.--
cfs )
EM.----r
i
@+rr. C f C f 5
.n
P.M.
'i
cf
N
.I-
P.M.----J
( e n dR h Y .F i e . 2 )
cfs
cfs
Ds Dfs Es
'-HW^
I
think a-botrt
H Ps1
H P s / .
61
D5
y o u ._
on-ly
D5 Df5E5 +
I
think a-bout
frrre
H P
D5
I
think
s/.
Df5E5
a-bout H
P
,-'-.]-:
P
D.S. ( take 2nd ending) al Coda
c*s tc*sr
Cowbell
)
Ba - by,
62
yes
J
A5v
Bsu,lx
n . a
A5
\
B5
A5
\ t
\
\
\
\
)
\ \ /}_-/'
l
)
A5 85 A5 85 A5
B5 l
/ \' /
\ l
r-T---1 / / /
Itold bertd Full A.I{.
Full
D5
85
A5
B5
\ /--')
/
)
).
Full
\ t
r-1",
I
-votl.
B5
A5
\
I
I
think a-bout
.l\-.n ) 2
?
I
thjnk
B5
I :-
a - bout
\
think
a
rit.
A5
:>
l>
/ \' / t ^
/r
2
you,
63
Freely
c*s
f'!--\o
o
on - ly
you ( E l e c . a n d a c o u s .g t r s . . 1
c'*s
B"s-.fl
$
Additirtnal L)'rics 2. There wasn't much in this heart of mine. There was a little left and babe, you found it. It's funny how I never felt so high, It's a feelin' that I know, I know I'll never forget. O o h , i t w a s t h e b e s t t i m e I c a n r e m e m b e r , ( e t c .) 3 . S o m e t h i n ' c h a n g e di n t h i s h e a r t o f m i n e , You know that I'm so glad that you showed me. Honey, now you're my best triend. I want to stay together till the very end. Ooh, it was the best time I can remember.(etr:.)
()'ilIII{E SWEET CHITD Words and Musicbv W. Axl Rose, Slash', lzzy Stradlin',Duff "Rose"McKagan and StevenAdler D5II
G
C'add9 x o o FFffi n-rff
H -H+ | 4 r r
T-rFr l3
21 3
TLtnt' tlou n r: str'1t
@=EbO=Gb Q=.rbQ=nb @=ob@=nb
ooo EF11 F'.mr]
?+11+1 t 3
2
Dsus4
Dsus2
trxo
xxo
trtrfi
rTT]_fl H+H ffii'1'
C;5 xoo x tffif
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2','C
t O A"
j-frifi
o
FFFFF
t
L34
2)
l-fr+#
t
r
i
l3
r-) o xxx ffi
f,nnl fl-n-h ll
A5 xo
FFF+T
l
Tfit1 Tj-]
F5vrr
C5 ffi'.,r,. rtftfl ' i i b ''
B5
xx
K X FFtrF
X
trtrn r-rra-rl 133
Bsvrr
B b5
D5 D+5 Enr hqfi'sri. hri'orr. ffi\ qr: t-ffiti 'iii' ' 'ffih i 5 i" lI*|
A5v
h'E:il'ur,. .Eli*rr,. Edi\orr.sdi\srr
TflN 133
ffitfl
133
133'
"
133'
''
MediurrrRock Intro
Rit'fA ((;tr
.w
( r t r . r. lW t m
(cnd Ri1'1'A)
'iY:--Go l ( G t r .I I ) --T
u-J'
r L e t a r p e g g i a t ef idg u r e sr i n g r v h e n e v epro s s i b l(et h r o u g h o u t ) . C;
lo1
Ro
D Jo
C_opyrightO 1987GunsN' RosesMusic(ASCAP) ThisArrangementO1g8BGunsN'RosesMusic International CopyrightSecured All RightsReserved
( e n d R I t y . [ ; r g .1 )
o5
Fig. I
I
li.
1 -' a.
Lt
(\"t a
1 s t .l n d V c r s t s rv'Rhv. I-ig.I D + + + + + 1; 1t
lr.:
:
:
:
:
l t - t l
a stttilel. Sht"s got l. .St'. ttlcliti,ttttl Ir rit s
that
it seerns
to
of
mc -
cltild
mem
o - ries.-
wltere ev -
P
*e
(-o-
.€-
as fresh-
as
the
brigltt- blue
sky. -
.------__----\-
oo
wiRhy. Fig. t ,t:t
barsonly)
Dsus4 D Dsus2 D
( G t Ir I. ) m 4 = s t a r e d-
too -
prob -'ly
I'll
break down antl
H
Chorus Rhv. 45 Fis. 2" )
is ^.
w/Fill 2 3rd time 85
',' /a\
l
C5
.D)
Al
D
/I
<-\
N r 1 / )
Dsus4 D Dsus2 D
- ) n' ) i-]- )
)
,1
|
whoa.- sweet
o/
fl
B5
A5
)
\
/^/
1
l
. D ) . ,
N
l
/^al
To Coda
+
z<-\
--+-+ ? t Whoa,
C5 ).
oh,-
r v ,R i hy. F ig. 1 D
hold bend
I ( l s t 7 b a r so n l y )
. C .l/. ----i-\
: ril
sl.
1t1
c
t
' l L
r
G
^
l--\
z;-.'.
-3-
-J-
, i l) -) ) ) ) )
Coda
6B
|
|
w/Rhy. Fig. 2 ( I1/z tintes)
A5 j'
B5
C5
!fi
i^\
oh.-
oh,
oh.-
sweet
child-
o'
m i n e .- -
Woo.-
y e a h ,_ y e a hI
D5
.,\5
,Tn.rTD
2.
Ooh.
o'
m i n e .- -
Cluitersolo Ern - 8lu-
C
B1 - 1
Full
Am loc c,t Full
t--\
H
P
R h y . F i g .3
I
wi Rhy. Fig.3 (2 tirrrcs) Ern
1 / 2A m
69
w/Rhy. Fill I A5
w " ' R l t 5 ;I .r i g . 3 ( l s t 3 b a r s o n l y )
t.ur
H
**-€*-r*
H
rT7a
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f
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r
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Full
FylL-
Fuil
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:€1,*
f:o
1t
F*ip
(end Rhy. Fig.4)
\
r
.n
I Full t
Full
t12
A
70
D5
B 5 C5
)
)
Gs(ty:))tr4 w / R h y . F i g . 4 ( - l r i m e s )
R
Fu11
n p
./^\'
Em H
F
H
P
,---]-.-
P
G5
A5
B5
Full
Full
\
P
z1 65(tvne
C5
Full
,/
Full P
//^
+ -.1-
hold bend F-U_Il__
-
P
"2
H P ---=\
C5
D5
Full p
/,
Em
G s ( t Y P2e) - 1
Full , to('o t
Fu I ?
* 3..
-3-
Fuil
Full
P
B5
Rhy. E5 Fr-e.5 )
\
'-?.-
'-2)
Full
p
Full
G5(tYPc
2)
/ - - \ ' 3 -
P
Full l'
-t-.
A5 '
.)-_-
Full
G5 /^4
p
U
H %
< o
Full
C5
H P ,-3-:
L?--
-3.--
\ : - -
)\/7/-
s / .
\ r )1/^2<
'
/
. /
(end Rhy Fig.5) D5 G 5 ( r v p e2 )
cl5
.w.n
rI-
l I Where clo
we
go'l-
Where do
we
go-
now?
Where do
o
steutlv glis.s.
go'l-
we o
Ilarm.- .
t
*w/V/ah
s/.
-
+ = tretlle o = bass
-71 I
I
r v i R l r y . F i g . 5 ( 2 t i r r t t , )s E5
55(tvne
-J v
\\ he rc clo
Whered o
go'l -
wc
we
go_
now? *
Where do
we
g o ?-
Harnt.
.H*--------
I{
*1-1r!trrrl
l.-5 a
i
o
.
i
Where clo
,
a i
+ we
!
-
^ c
-i
_
a
t (wlti.sTtered)Stveet
go I '
chitd!
Where
do
go -
we
now?
o
P
P
';v
E5
G5
ry,TT
.TTT
/ / C S ( t y p c2 ) P.M.throuchout
'TT
1 I,
H P
I,
H P I I
open 2fr,
W
C5
D5
.n
E5
F
.n
).
Where do
72
E
we
go?-
*
z)
G5 \
).
A5
l
\
).
Ah.
Where do
we
go-
B5
r
.-
C5
2) G5(type
D5
. n ) )
) ( e n dR l t y . F i g . 6 )
now?
Full
.
p l-
t
R
a
{
-l - |r:-
Full
P
wiRhy. [rig.6 E5
2
2
a
Where clo rve go'l
Where do
we
go_
slov'bt'tttl
w / R h y . F i g . 6 ( 1 s t 3 b a r so n l y ) G5
( t y p e2 )
E5
Where do Full
Full
_--l------._
we
go?-
Full
slow bertd
74,
E5vIr
D5
.-3 /
85
B 5 v r l B h5
A5v G5
( t y p e2 )
.--3.--_
/
3 ---
/ I
w / R h y .F i g .6 ( l s t 2 b a r so n l y ) E5
) ) ) '=..=."--3----_
* Where do
we
go-
now'l
No,
no.
no,
tro,
flo,
Sweet
A5 o
sweet
C5
D5
J
J
child
E,5
A
0
I
-' -.---=---=--..=.=.---
------.--------.----------
-\-------l
s/
sl.
.r/.
\!-
--.=.-----=-Y\v
P 112
^-l
=r--
oeno necK
\==-_______--_/ s/.
Additional L),rics 2 . S h e ' sg o t e y e s o f t h e b l u e s t s k i e s ,a s i f t h e y t h o u g h t o f r a i n . I h a t e t o l o o k i n t o t h o s e e y e s a n d s e ea n o u n c e o f p a i n . Her hair reminds me of a wann safe place where as a child I'd hide, And pray for the thunder and the rain to quietly pass me by. (To chorus)
74
6
( o v e r d u b)
__Jl3_-
9 v
child,-
Y()U'RE CRAZY Words and Music bv W. Axl Rose, Slash-, lzzy Stradlin',Duff "Rose"McKagan and StevenAdler
Gf
A
X^X
x o x
Tffil
D5
D
C5
Hffi" ffi"^'ffi" ' iIfl iibb rca''
runedown r: step: @ =e l 6 = 6 5 O = A b O= s h
ffi -ilTl
E5II
F$5
A5
ffi"" iil-t"
ffi iit_t
Ftt! tr
F#
#x rtnt
,
Veiy fust Rtrck )= 2qZ tt'lto (Hi-hat)
"
G f
Ctr. ltJ
C
.rrn
2) A5(IYPC
ffi n-ffl ffizr'. ffi
Hlf-
G A
G A
J RhyFig lrTD
)
1tr'
n-Iffi
G A /
R h v .F i e . l A
Gtr.rf
\-r
A
85
w/Riff A (enter3rd time)
6- = o b o =r l
G
H++F
G5
'ntfi:r,. "6ffi
lfEiisr,.hrdsr,.ffi*:r,.ffizi'.
E5 xxxxoo FfFFfr rfl-rr1
ffi
Tffi1 nlil
l-lJ-t-rl att-ffi1 4 lll
E5VII
DII
FFFFF
D I I l /n/
/
1 t1
1
A
)
(4tlt tilne:)1. I
been ( e n d R h y . F i g . 1 A ) 2 ' 3 ' S e ea d d i t i o n a l l v r i c s
:+
-l+
-:+
+
(As) ^ 7, ?T:
tt
( A s) h
?' -r-
+-T+-
H
a
world -
Full
Riff A
Fu11 Full
H
l
/^c
H
6i{
t
t/^-
Full
Full
CopyrightO 1987GunsN' RosesMusic(ASCAP) ThisArrangementO 1988GunsN'RosesMusic International Copyright Secured All RightsReserued
75
( A 5) ^ ^ + . r
7-+-
f
Y
(G5;
-
a
+
+
r
'
F t hat's
D.5
--'=-----------
n rt rc h D
too
E
d r r k .- _ D5
/ -T-T-1 / /
You
don't -
want
C5
/
P'M'-----------J
/ '\ r/>.I
-:>
w / R h y . F i g s1.& 1 A
(As)
a-.-----.------\
l o v c .-
D (y
(cs) t ' i n r l 1o r r r - s c l f ' a n - o t l t
-
piece
cr
of
the ac -
tion,
' c a u s ey o u ' r e
Chorus
(As) +
cra
E5 Eb5 D5
cra Rhv
Ya
2 V 2-
r* T __ :-+-----,
/o
know- you're
( e n dR h y . F i e . 2 )
++ fr
To Coda
'
\
\
0t Jr=.,t1
h5
(cs)
Eb5 D5
said you're
Dotrble tirne ( )= 2121
Gtr. I I l)^" o Gtr.l
,4 .4
)^):-
E5vrr
E5rl
Esvlr rd
ls1.
)
)^l
A5
EsIl
i
.)r. ti
/
)
t-/
l
85
C5
)
t
)
l
:>
A5
( t Y P e2 )
Jl^r{ >
45
A5
( t v r ez )
'll^r{
.D^)
--il
A5
L.)"
,D^)
I
G5
F*s
)
)
tjt
lr
lr' Halftinre @:rr. A-s(J=l2l) (l
J
*f-
)
.
2fr.
, |\ a
( B o t hE 5 r r
F-il /
.
.t
, rurr\ " " / r i-ir" / //
//
:T-]j la
/
-li / //
i//
/
/
77
Double tirne ( )= 2421 (]uitar solo A5
A5
85
,45
85
Fig. 3
s l o u ,b e r t d
-n
A-s
F f,.5 cJ (end Rhy. Fig. 3)
w /R n y.F i g . 3 ( B 5)
( 3 titnes)
*
(Bs)
Bva-- Full
-^€-
) hold bend
t:5 8r'rr-- -
( B 5)
Fil5
**J
D.S. ( take 2nd ending) al CoQa
(Bs) )tl
+
7B
Ff5
A5
Fu11
tt,ru
A
(Bs)
A'H.
Fuil
(8va)
( 1/z C o d a wiRhy. Fig. 2 4 rirnes) (A5)
s
E5
Eb5 D5
w/Riff B (4 times)
E5
(As)
Eb5 D5
Ah!
yoLi're cra
( cs )
You know-
(As)
F,5 Eb5
yolr're
(As)
cray - ay
ay
(cs)
E5 E b s D5
ay
Well-
ay
(cs)
D5
You know-
(As)
A5
'/..->:t r ' \ - t - 1 -
G5
\
I -
\
Bring
it down. You're fuck - in'
A5
lr
l :>
cra
Full Full
.\__:/ Full
r
+'
?
Yotr know- you are!-
C5 / r>
a r l
/n/
F-ull Full
Eb5 D5
you're cra
D5 /
E5
you're
Full Full
P
H
>v
>
U2
(Two gt
Additional Lyrics 2. Said where you goin'? What you gonna do? I been lookin' everywhere I been lookin' for you. You don't want my love,(etc.) 3. Say boy, where ya comin' from? Where'd ya get that point of view? When I was younger Said I knew someone like you. And they saidyou don't want my love, (etc.)
79
AI{YTHII{G GOES Wordsand Musicbv W. Axl Rose,Slash', lzzyStradlin',Dutf"Rose"McKagan, StevenAdlerand ChrisWeber G5
ffi
D5
A5
h rii"uH\
f ,f, i ii f f 1i3 3f' f i h,, Bbs T u n e d o r v n r , :s t e p :
@=rl@=c;tr O=abO=gb @=ubO=rl Intro
xxx
ll
B5
c5 c* 5 Fmfi(3fr. Lurff+rr.
x x x FFFF FFTM
FIfIH r33
Asv
Gf5
I.LX
XXX
8 5v I I xxx
ffirrr FFFEH'+rr'mTfr' r '.4
r:.'r
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133
A5vII xx xx FFFFHTfr.
mu"ffisrr'm4fr' ffir+i Hru ffin
M o d e r a t e l y l a s t r= 1 4 8 N.C.(A5 )
A5
long slide
t
BO
{
H
QopyrightO1987Guns N' RosesMusic(ASCAP) ThisArrangementOlgBBGuns N'RosesMusic International CopyrightSecured All RightsReserved
Rhy. I:ig. I
H
A5
r!
,. D
-
'
1 t k ' ks l i d t '
(end Rhy. Fig. 1)
P.M.--------i
(Both gtrs.,t
-+ + P.M.--------l
B1
Bs cts
'bout. 1. I b e e n t h i n k - i n ' think - in"bout r i t l. S.'. tltlitirtrrul lt s
Al-ways hun-gry
tor some
thin' that
D5
I
h a v e- n ' t
2)-
(end Rh
- 4=#
l,lil+-
P.M.-----l
P.M.-------l
Ds c*s
)
s o n r e- t h i n ' f o r
8 5 C f 5
- by. you got some- thin' to Chorus F5 Ffs G5
ell may
. . ) . ,
Well, I
woY,
your waY, an @ o o " n 3 f r r. / 4 o p " n3 f r . , , o o p e '
A
u
I
o
My
.w
g o t s o m e- t h i n ' ,
D5
0
you.-
A5
yet.-
had
M
c)"n
'TT
c)" t
y - thing
GJ
lt' ,t
goes-
to-. . .
ye - yeah,-
M1,-
82
thing
yeah.
A5
w/Fill 1 N . C .( A )
B5
C5
t l
FT-] >4>4/
\
wi Rhy. Fill I B5
l>
l>
rL ' * <
n<
r)J
iJ
-
-
- c /
-1 I l-t l:' >4>4/ >d>4/l>
-/---------'-\a=-o
Rhy. Fill I
83
Guitar solo w/Rhy. Fig. 3
D5/E
E5
Ds/E
yeah.-
uI 2
tt)
1
Gtr. II 1llytt
\-----l
.s/.
Gtr. I (w/Talk box)
E5
D5/E
8ru- - -
1t1
Full
/^\
-/_ \
Ds/E Fyrr
l rz
Rhy. Irig. 3
D s/P
Plul' j 1i*rt B5
84
s/. P
A s iB
B5
1-
D5/E
- - - - - - - - ' l
As/B
As/B
B.5VII
Bbs
A5
v
G*5
N t
{
/ J
'
1
/
:::J
'
'
/
65(trne o
2)
w/Fill 2 N . C .( A )
D5 I
.
s l i g h tA . H . 3 l 4
J
P.M. (chick en-like)
''
F G 5 #>l
o
1 1 3 Full
=*^t
/ i
/
a-l
j:-
Full
Full
.//
ta,.n.y)l+
Chorus G5 s
3fr. @open 3fr. , ,,open ,,op.n
A5
A
\
C')"A C'lA
.D 1 / ' i ) 1 ) 1 . n r T T :}
-i)
goes
to - night.A5
n
.n'l
an- y - thing
1
.-T
goes
I
W h o a-
) "
--l\
y e a h! -
D o
+
+
fi tf. v/""'
'It r- )
D
C
J.
t - " 1 ?-/
A5
)
>
to -' ' '
y - thing
tstiss.
-
Al D5
an - y
way.
,\<
\ )'
A5
./
I
r
RiII A
B6
..
1
l-T-1 # r
d
#
)
t"l'
\, )____),
!-)
SIiglJ-tly'.t'lsle^r r = I 56 Triplet t"Jit'.,[' =.,'r\ ,*t wiRiff A(8 tinte.s)
@:rr' c -----'-
o.ft
To - nightl-
:
\
)'
I
To - night!(4 wi Riff B rimes)
An-y-thing
.ry
' i m 1
goes
,,.---------------= J
,---l---'-
Woh,
.fT,
,D
.l
wo, _
wo,_
,. '---------=-! f s-_-:
Said A5 I
D s
goes
to - nightl
Full
RiII B
Additional L.v-rics 2. Panties 'round your knees with your assin debris, Doin' dat grind with a push and squeeze. Tied up, tied down, up against the wall. Be my rubbermade baby an' we can do it all. (To Chorus)
y
a n -
l
-
thing
ROCKET QUEEilI
Wordsand MusicbY W. Axl Rose,Slash, McKagan Duff"Rgs^en lzzyStradlin', andStevenAdler
F,*5t*
E5/Ff
E/Ft
FfrnT
F{s
Htrffi igi1'n',.ffin''liffii TITTI T1TN ffiS] ft-F1 ltrn ?+t-l-l-.]
85 IV
G *.5VI
G$s
A.5
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XXX
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ffi
w
133"'
B / D*
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trHfl ' ' 1 3 -'
13'
F5
@=r'rO=(;b O=,rlO=sb @=rlO=r.b l l l o d e r a t e n o . L=Jl l 2
B/C$
ffiffi F5r-rt-1
Ft-hlfl
H.'1
i$f'll
B
A
t
B s/D
c$s
B sD i f
ffi m*'m'''ffi* m-"ffi"' ffi"'ffi'"
'
Fil
ffi''m.'
Tune dorvn 1/i step:
B5
A5V
85
VII
E
EI offi#o
G$rn ffi+rr. FT}I-H
FFTTI
r6riTl EJfl E,5/Fil h3,
,JLo=--
o*
-
Ff5tx
E5/F* \o
s/
.s/.
Fj*3
E/Ft o
E/Ff
J+
s/.
\=--
Es/Ff
Ff 5Ix o
!\
s/. RifiA(bothgtrs.)----\.('. ltr*51
-----------r--O
O----
------ --t
CopyrightO1987Guns N' RosesMusic(ASCAP) ThisArrangementO1988GunsN'RosesMusic CopyrightSecured All RightsReserved lnternational
112 r
t t) l
ttz tt2
/-3-
l s t , 2 n cV l erses Ff5t* s
'(lause
s a y t h e s et h i t r g s t o y o u . pass bc - fore thcse eyes.F.Ull
II
Ff 5t^ t/. .J.
?
I've had
?
?
I eltn turn 'r) -thing e\' -
ri .
l
J
!i
J
f
rl r
? just
on that's
like I hon - ey. you'cl
# )d
-
-
70r, ln
r/:do
B 5 r vG n 5 v t B 5 I V c5;vf l
c{-s \\
/
/
/
clo
yoLl
vors,
ol'l
to
v
F .F E= f f i I-
)
# )
''
)d )->
a s w e e t s w i t c l - r- b l a d e k n i f e . par - a - dise. burned - out
1l)
holtl buttl
hokl pul
/
/
got I'nt
on sLlr
xBend B stg.alongrvith G stg.
H
a r a nu - elt
turncd be
p5vII
.
you'll but tlten tlting,yotr bet - ter turtr
do what - ev - er me olt
B iD B / D *
# >i
a a
d
rl
('horus
..\*nu.t'l-'
G*s
Es
.n.
Fig. | ."1'
and you're a
o
rock - et
q u e e n ._
I might
Fig.1A
.r/. p 5 ( e n dR h y . F i g . lI )
B5 /
A-5 !
tle
yolmg,
btrt
hon - ey.
I
85
Fts
A5
.n.
d.
Here
ain't
I
Rhy. Fig. '-222
w / R l i y . F i g sl .& l A Ff,S
Gfs
lnd you're a
rock - et
queen,
oh
I might be toomuch,but hon - ey,you're a bit ob E5
yeah.-
I
1'
Guitar solo w/Riff A,(ll
r v l R i f f A / 4 tiln(.\ )
N . ( ' .( F f i s )
Slide gtr.
3
on
*-1
^t'Z---------------
steacl.t'gli.ss.
times)
N . c .( Ff s )
^^rytt _
F5
3rd time to Coda
'N----=-J
'j_ _
--=H
+
w/Riff A I
steady
(tss )
(end slide solo)
/'--ii-
*
r-Wl
,steady gliss
w/Riff C N.c.(cf s) locfr
H
H
H
H
*Slide bar off neck and back.
Riff A I
Riff B
H
P.M.-:--------r
Riff C
H
Play 3 times
91
Here I
am,-
H t l ('ocla
s
frt I
v Il Fl-5
85
c*
CfS
B/cf c f
E5
Rhy. Fig. I ,J
s/
Fu11A5
Full
92
./{
B / c $c f
c*s
Full
llz
A*
,n^
H
w/Rhy. Fig. 2
E5
A5v l s /
)
lend Rhy. Fig. 2)
@orr.
VII
85 vII
@zrr.@lfr.@lrr. E t s E . Rhy.Fig.3n ) . m,f
Bs
@zrr.@lir.@lrr. E B E
cfs
.n)
,D^o
see you-
45 v
1 D^o
stand - in' on-
stand
85 vII
your own
R h y . F i g .3 A
I
Pt
- - .l I
rino-
@zrr.@err.@srr. E B E
@zrr.@lrr.@lrr. E B E
Bs c*s
.t1
, . . / ' . r - ' 2 ' - - c
srtclt
lone
a
ly
place for-
Ffs Bs F^o
)
for you to
you,-
(end Rhy. Fig. 3)
b e .(end Rhy. Fig. 3A)
u"Rhy.Figs.3&3A L5
('il 5
ts-5
lf
-vou-
nccrl
a
shoul - cler.
or
you need
if
a
F*< L
D < pJ,------
lJ
^r---t
be
F5 R h y . F i g .a , J
Itere-stancl - in 85
.n^nr
-4---
)
the
Cf
C*5
triend.-
B / C *C *
) ) , (
. ,,,, A 5 V A T8 5 " "
E5
.D^.W
ls/
)
( e n dR h Y .F i g . 41
)T)1
,f
No
No
one-
needs the paln.
w Rhy. Fig. 4
cfs h,5
#iT+"
B/c*c*
A5
B5
in
the rain.-
? f-
4-.---.\
I
I I
to
see_
yolr
walk - in'
eut- there,
out
93
ct
So-
B / c $c *
tise-
don't chas
or think I,
B5
those
Outro E5 Rhy. Fig. 5 ,J
I mean you
harm.-
E5
that take-
you,
leave you
strung- out
much too
B s c f s
E5
Av
by,-
@ort. 85vII Af
D^
I s/ /<
,{
-
Ba
far. -
+----\
yeah.Full
r>
Woh
oh
oh
oh
oh
oh
oh
v\
Full
r>-t
H
-3P
s/. s/.
( e n d R h y . F i g .5 )
^TTT
l-----T-]
) ) ) . ' )
No no
no- no no
w/Rhy. Fig. 5 (3 times)
c$s
E5
)
.;\ no_ no no
no_ no no
Full
no_
it\ no_
no_
no-
no
oh
oh
woh
oh
Full
Full
h
yeah! 8va- - -
[>
94
Full
[\r
)
Fuil
Full
t
Full
\
[--\
p
oh
oh-
'Pt
.ll'4- - Full
v
H I )
H
ia
P
:-:. '
H
E I
U2
6
t )
-!)
i.''''-
)
Hus/.
H
B/D*
# ' l f)
C*rn -
)
n l)^)
Don't
-:
-
.)
leave-
me.
B/Df
C*m
ev-er
want
)
,ll)
)
)
'l'J
a
,w1
E
3-
**
B/Df,
B5
m^.D
l
A
a--\
Say yor,r'll al - rvays b e t h e r e . Free time E5
G .f- J r- n . ),it)
l-3---
)
J
All
I
- ed
EI
was
you -
for-
E5VII I
#H
d{
t
r
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AP|}ITITI IOR ilI$IRIIITIO|I
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