MURMUR: TALK ABOUT THE PASSION

Not sure of the origin of this song, but at one point in the early days of the song "Second Guessing" one of Mike Mills background vocals (which do not exist in the reckoning version) is "I'm not worried about the passion."  Perhaps this turn of phrase segued into an entirely new song.  Other questions about this song are: Why are there so few words?  Where does the French come from (Translation: How much time)?  Is it really simply a song about hunger?  Well, the video is definitely about that ...

TALK ABOUT THE PASSION
Empty prayer, empty mouths
Combien reaction
Empty prayer, empty mouths
Talk about the passion
Not everyone can carry the weight of the world
Not everyone can carry the weight of the world

Talk about the passion
Talk about the passion

Empty prayer, empty mouths
Combien reaction
Empty prayer, empty mouths
Talk about the passion

Combien
Combien
Combien du temps?

Talk about the passion
Talk about the passion

Not everyone can carry the weight of the world
Not everyone can carry the weight of the world

Combien
Combien
Combien du temps?

Talk about the passion
Talk about the passion
Talk about the passion
Talk about the passion


As far as the guitar goes, this is easily the first real prolonged "riff" from Mr. Buck.    It takes up the entire verse and bridge, plus most of the chorus is picked.  And then there's the lead, rumor has it that it was not Peter who came up with the lead as he claims he wasn't a guy who wrote leads and was too inexperienced.  Not sure if that's true and frankly it's not a difficult lead and it fits his style, so who knows?  For fun, you can also use the end of the lead to begin the song "Friday, I'm In Love" by The Cure.
  Live, Peter plays the full D chord with the opening of the Intro and Verse riff.  It gives the sound more weight live, so the chord progression becomes, basically D-C-A.  The bridge portion was perhaps the hardest bit to figure out, but it was worth it as you won't find it anywhere but right here ...


TALK ABOUT THE PASSION

Intro and Verse: Hit G before Chorus

e|-------------------------------------------------|

B|-------------------------3-------3-2-0-----------|

G|-22--------22-----------0-0-----2-----2----------|

D|-00-0-2-4--00-0-2-4-0--2---2---2-----------------|

A|----------------------3-----3-0------------------|

E|-------------------------------------------------|

Chorus:

e|-0-0-0-0-0-0--3-3-3-2-0--0-----------------------------|

B|-2-0-2-2-0-2--3-3-3-----3-3----------------------------|

G|-2-2-2-2-2-2-----------0---0---------------------------|

D|-2-2-2-2-2-2--2-2-2-2-2--------------------------------|

A|--------------2-2-2-2-2--------------------------------|

E|-------------------------------------------------------|

Bridge: Hit G Chord before returning to chorus

“Combien …”

e|----1----0-0--0-----------------------------------|

B|-1-1-1-1----0-------------------------------------|

G|--2---2-2-2--2------------------------------------|

D|--------------------------------------------------|

A|--------------------------------------------------|

E|--------------------------------------------------|

Lead: x2

e|-2-2-3-5-2-2-3-5-2-3-3-3-2-0-----0-2-0------------|

B|-3-3-3-3-3-3-3-3-3-3-3-3-3-3----3-----------------|

G|-2-2-2-2-2-2-2-2-2-2-2-2-2-2---0------------------|

D|--------------------------------------------------|

A|--------------------------------------------------|

E|--------------------------------------------------|

-BW

MURMUR: LAUGHING

Who is Laocoon and who are her two sons?  Well, first off, Laocoon in ancient Greece was a dude.  Why has Stipe cast him as a woman?  No telling, but perhaps he has not.  This might be just a possession change to show that Laocoon's sons were more closely associated with their mother.  They were also said to be cursed because they were beget on holy ground.  During the Trojan wars, the sons were taken by sea snakes as a punishment to Laocoon by poseidon (trident move... ).  There is also a relatively famous sculpture of this event called Laocoon and His Sons.
Okay, that's settled.  Now what is a lanky room?  Well, it would be a tall narrow room.  Not sure where this phrase originated but with everything else in the Stipe universe it is definitely original.  In listening to this song in real time and slowed down there are some distinct differences. The "is you" at the end of the verses is clear as day when slowed down, but sped up sounds more like and you ... not sure if this is because some instruments stripped away when slower help reveal the 's' sound or not. Also, "I've sailed it for you" is super clear when stripped and slowed down, but sped up sounds like "a slated view." I prefer the sailing reference for now, but hey, mumble away ...

LAUGHING
Laocoon and her two sons
Pressured stone, a trident move
No other more emotion bound
Martyr misconstrue

Lighted (Ahh)
In a room
Lanky room

Lighted, lighted, laughing in two
Lighted, lighted, laughing

Laocoon and her two sons
Run the gamut, I slayed it for you

Northern more emotion bound
Martyr misconstrue

Lighted (Ahh)
In a room
Lanky room

Lighted, lighted, laughing is you
Lighted, lighted, laughing

In a room, lock the door, lets the room
Lighted, lighted, laughing

Laocoon and her two sons
Ran the gamut, I've settled new
Under place, fit to laugh
Lock the doors, lets the room

Lighted (Ahh)
In a room
Lanky room

Lighted, lighted, laughing and you
Lighted, lighted, laughing in tune
Lighted, lighted, laughing and choose
Lighted, lighted, laughing at him


Everything on this song fell into place when after hitting the C#m chord along with the song and picking the chord, the picking sounded off.  Then I threw my pinkie up to the 7th fret on the high E string and voila.  So, hit the regular chord and then pick with the pinkie on the 7th fret.  This is also used in the bridge to the chorus, simply hammer the pinkie a couple of times as noted.
The bridge to the verse technically goes to the chorus first, but who is counting?  There is some doodling on the C#m variation, but the key is the hammer on the E chord.  Play along with the song and you'll hear it.
The bass intro is an approximation, but if you just hammer it out, it sounds cool if you have no bass player.

LAUGHING

Bass Intro for guitar:

e|-----------------------------------------------|

B|-----------------------------------------------|

G|-----------------------------------------------|

D|-------------------------7-9-9-9-9-9-9---------|

A|-4-4-4-4-4-4--4-4----7-7---------------7-------|

E|----------4-------4-7-7------------------------|

Verse:

C#m-C#m(add e)-E

e|-4--7--7-------------------------------------|

B|-5--5--9-------------------------------------|

G|-6--6--9-------------------------------------|

D|-6--6--9-------------------------------------|

A|-4--4--7-------------------------------------|

E|-4--4--7-------------------------------------|

Bridge to Chorus:

A-E-C#m-C#m(add e)x2 then -E

e|-5--7--4--7--4--7--4-0-0---------------------|

B|-5--9--5---------------0---------------------|

G|-6--9--6--------x2-----1---------------------|

D|-7--9--6---------------2---------------------|

A|-7--7--4---------------2---------------------|

E|-5--7--4---------------0---------------------|

Chorus:

e|--0--0--0--0--0--0--0--0--0--0---------------|

B|--0--0--0--0--0--0--0--0--0--0---------------|

G|--2--4--2--4--2--4--1--2--1--1---------------|

D|--4--6--4--6--4--6--2--2--2--2---------------|

A|--------------------2--0--0--2---------------|

E|--------------------0------------------------|

Bridge to Verse:

“In a room … “

e|--0--0-------------------0---------0---------------|

B|--5--0--------0------0---5--5-4-0--0-------0-------|

G|--6--1---1-2h--1-2h------6---------1--1-2h---2-1-0-|

D|-----2-2---------------------------2---------------|

A|-----2-----------------------------2---------------|

E|-----0-----------------------------0---------------|

MURMUR: PILGRIMAGE

The second song off of Murmur holds a couple of surprises from what you can find at lyrics.com.  First of all almost all of the lyrics say "punks with a broken lip" but in Michael's blog interview in Popsongs he states it is 'it's worth a broken lip.'  This is also the first song where Stipe invokes the "L" word.  Love.  A subject he avoids facing directly until Up.  Indirectly he can't stop talking about it starting with Out of Time and particularly on Monster ... probably the only reason he brings up love here is because it rhymes with luck and is a cool replacement.  Also most other versions incorrectly have Stipe saying "Take our fortune." Not sure where that came from ....



PILGRIMAGE
Take a turn, take a turn
Take a fortune, take a fortune

They called the clip a two headed cow
Your hate, clipped and distant, your luck with pilgrimage
Rest assured this will not last, take a turn for the worst
Your hate, clipped and distant, your luck a two headed cow

Pilgrimage has gained momentum
Take a turn, take a turn
Take a fortune, take a fortune

Speakin' in tongues, it's worth a broken lip
Your hate, clipped and distant, your luck with pilgrimage
Rest assured this will not last, take a turn for the worst
Your hate, clipped and distant, your luck a two headed cow

Pilgrimage has gained momentum
Take a turn (take a turn), take a turn (take a turn)
Take a fortune (take a turn), take a fortune

Pilgrimage
Pilgrimage

Speakin' in tongues, it's worth a broken lip
Your hate, clipped and distant, your luck
Rest assured this will not last, take a turn for the worst
Your hate, clipped and distant, your love two headed

Pilgrimage has gained momentum
Take a turn (take a turn), take a turn (take a turn)
Take a fortune (take a turn), take a fortune

Pilgrimage, Pilgrimage
Pilgrimage has gained momentum
Take a turn (take a turn), take a turn (take a turn)
Take a fortune (take a turn), take a fortune (take a turn)
Take a turn (take a turn), take a turn (take a turn)
Take a fortune (take a turn), take a fortune

With the guitar line, I will say only a couple of things.  First, on the album the instruments are tuned to the piano, you'll have to flatten out if you want to play along with the song.  Just adjust the tuning until it sounds right because it's a little in between the notes.  It can also be played without adjusting I assure you.  Also, I played around with a Capo on this one.  If you put it on the third fret it is a lot easier to play and with less bar chords.  I've transposed the riffs for Capo 3, but the chords you'll just have to work out yourself.  For what it's worth, Peter Buck does not use a capo.

PILGRIMAGE

Opening Bass/ Piano Line
e|-------------------|

B|-------------------|

G|-------------------|

D|-------------------|

A|-3-3-3-3-----------|

E|--3-1-3------------|

Verse
e|-------------------------|

B|-------------------------|

G|---0--0------------------|

D|--3--3-0--0--0-----------|

A|-1--1----3--3-0----------|

E|--------1--1-------------|

Capo 3 option
e|---0---0-----------------|

B|--3---3-3----0--0--------|

G|-0---0------2--2-2-------|

D|-----------0--0----------|

A|-------------------------|

E|-------------------------|

Transition to Bridge
e|------0----|

B|------1----|

G|----0-0----|

D|---0--2----|

A|--3---3----|

E|-1----0----|

Capo 3
e|----0-0-------------------|

B|---0--2-------------------|

G|--2---2-------------------|

D|-0----2-------------------|

A|------0-------------------|

E|------0-------------------|

Bridge to Chorus:
F-G

Chorus: (F-C-G)

e|--1----3----3--3--3--|

B|---1----1----3--3----|

G|-2--2-0--0-0--0--0---|

D|---------------------|

A|---------------------|

E|---------------------|

Bridge after Chorus:
C-G-Bb-G

Bridge Transition at the end
Bb-C

End:

e|----------------------|

B|----------------------|

G|------0---------------|

D|--3-3-----------------|

A|-1-1------------------|

E|----------------------|

Capo 3
e|-----0---------------|

B|--3-3----------------|

G|-0-0-----------------|

D|---------------------|

A|---------------------|

E|---------------------|

MURMUR: RADIO FREE EUROPE

From the beginning, let me state that this is RFE from Murmur, not Eponymous/Hib-Tone.  The original recording of this song distributed by Hib-Tone has a number of unintelligible lyrics.  This is on purpose perhaps because the lyrics weren't finished or that the band wanted listeners to be befuddled.  The only line I miss in the Murmur recording is "... pushing foreigners too far." I can do without "Don't ask--pronounced axe--cut you from" or whatever the line is. 
  Below is an edit of my earlier version which I have adjusted based on isolated vocal tracks on You Tube which have since been removed and the account taken down.


RADIO FREE EUROPE
Beside yourself if radio’s gonna stay
Reason it could polish up the grey
Put that, put that, put that up your wall
That this isn’t country at all

Raving station
Beside yourself

Keep me out of country in the word
Dealer porches leading us absurd
Push that, push that, push that to the whole
That this isn’t nothing at all

Straight off the boat
Where to go?

Calling out, in transit
Calling out, in transit
Radio Free Europe, Radio

Beside defying media too fast
Instead of pushing palaces to fall
Put that, put that, put that before all
That this isn’t fortunate at all

Raving station
Beside yourself

Calling out, in transit
Calling out, in transit
Radio Free Europe, Radio

Beside yourself
Calling on a boat
Media’s too fast

Keep me out of country in the word
Disappointers into us absurd

Straight off the boat
Where to go?

Calling out, in transit
Calling out, in transit
Radio Free Europe, Radio Free Europe

Calling out, in transit
Calling out, in transit
Radio Free Europe, Radio Free Europe


On the Eponymous RFE, the tone of the song is more urgent and punky.  The guitar is more sparse, but the opening verse riff is really nice.  Instead of the normal D chord, pull your finger off of the B string and pick this on the way to the E chord, which can be just the high E string open. 
  Below, please note that the bridges are picked madly and that the chorus is made up of jangly open chords, also played madly.  The verse pulses in a staccato rhythm on the A and then opens up in the E chord. Try to emphasize the low end during the verse and chorus and save the high strings for the picked bridges.  There is an urgency to this song, so feel free to flail about madly and with seemingly no purpose.  As with above, feel free to play along with the song, not only will this make you feel like Peter Buck, but it will also give you a clue to his picking patterns and will become useful as you move through the catalog.

RADIO FREE EUROPE

Verse:

A-D-E

e|--0---0---2-0-----|

B|--0---0---3-0-----|

G|--2---2---2-1-----|

D|--2---2---0-2-----|

A|--0---0-----2-----|

E|--0---0-----0-----|

Bridge 1:

“Raving Station …”

e|--0--0--0-0-0----0--0--0----0--------|

B|--0--0--0-0-0----0--0--0----0--------|

G|--3--6--1-2-1----3--6--8----1--------|

D|--4--7--2-2-2----4--7--9----2--------|

A|--4--7--2-0-2----4--7--9----2--------|

E|--0--0--0-0-0----0--0--0----0--------|

Chorus: (Open these chords up without the barre if you want!)

“Calling out … “

e|--7---5-5-5---------------------------|

B|--9---5-5-5---------------------------|

G|--9---6-7-6---------------------------|

D|--9---7-7-7---------------------------|

A|--7---7-5-7---------------------------|

E|--7---5-5-5---------------------------|

Bridge 2:

"Beside yourself ..."

e|---0--0--0-0--0----0--0--0-0--7-----|

B|----4--4----4--4-0--5--5----5--5-5--|

G|--4--4--4----4--4-6--6--6----6--6---|

D|------------------------------------|

A|------------------------------------|

E|------------------------------------|

End on E/A

An introduction to MURMUR

  Murmur is a strange album with a fitting title.  First, it includes Radio Free Europe and Sitting Still which had been released two years prior as singles on the Hib-tone label.  The band and IRS got out of the publishing rights deal to the songs and then the songs were re-recorded (smartly).  The band went back to Mitch Easter and achieved all kinds of great sounds by experimenting.  Songwriting and sound-wise the band stays much the same for this album and the next, perhaps because of Easter's influence. 
  Despite the slurred and accented lyrics there is really nothing new in Stipe's delivery, oblique lines that fit the spirit of the song structurally, if not literally.  If you appreciate language this is a great album, there is some very good alliteration and rhyme, but what frustrates so many is what do the songs mean?  Do not bother analyzing any of these songs, you will go mad because they're not meant to be analyzed.  It's good old fashioned jangly rock with enigmatic lyrics.  As I've said before, I am not going to analyze the songs because I take them at face value.  Someone I know said that they didn't care what was being said primarily because it was unintelligible to her, she simply liked the songs.  This is a great collection of songs and it stands the test of time.
  A good example of Stipe's growth comes with the re-recorded RFE.  In it's first incarnation, there are at least two lines that are completely unintelligible (more so than usual) on purpose. It's this purposeful garbling that weakens the track.  The thing is, with Stipe's already unorthodox delivery and oblique lyrics there is no need to intentionally yodel through lyrics.  By the time Murmur comes around the band has realized this, the lines have been replaced or clarified and are still riddles.
  This is an album that has always been dear to me.  I used to listen to it while walking to school, yes in the snow, yes uphill (but only one way), yes in All-Star's.  There's something inspirational about starting your day with Pilgrimage, maybe everyone should.  That said, as I'm typing this I have pretty much wrapped up all the way to Talk About The Passion.  Are there surprises?  Yes.  Is it going to be different than any other info about this album you can get online?  Yes!  Honestly, being completely through with the first three songs it has been an eye opener.  I briefly looked at some of the other tab and lyric sites and they are so bad and misleading it's maddening. So I hope you enjoy the next few weeks as much as I will ... I hope it doesn't stretch much longer than that.  I sense a Moral Kiosk speed bump and it will take a couple of days to set up the piano for Perfect Circle, and yes I do plan on posting the piano line, and what kind of harmonic jumble is 9-9? 

-BW

PRE-CHRONIC TOWN: NARRATOR (bonus)

Okay, here's the song narrator and it's only available on bootleg, but you can find it on You Tube under Tyrone's Club. 

NARRATOR
When I was watching TV back in ‘73
A skinny old man sure appealed to me.
His name by now I’m sure you know.
The man who played a stellar role in Jacques Cousteau.

Ooh-Wah

Ever since then I pretended to be,
Dreaming of swimming round a coral reef.
I even bought my camera and my scuba gear.
If only Jacques would call to stop a career.

Ooh-Wah

I want to be the narrator, I want to be the narrator
Of the Jacques Cousteau show, of the Jacques Cousteau show.

I’ve written the networks with my picture too.
Done everything I can possibly do.
I’ve give up trying to get through to him.
Maybe he knows I don’t know how to swim.

Ooh-Wah

I want to be the narrator, I want to be the narrator
Of the Jacques Cousteau show, of the Jacques Cousteau show.



NARRATOR
Think surf music ...
F-Bb-F
C-Bb

Chorus:
A-G-A-G
Bb-A-Bb-A

Riff:
With fingers in F position (omit bar) pluck this:
E-----1—1/3/1—1
B----1—1------1
G—2------------

Then do the same on the Bb by adding the 3rd note on the high E.

CHRONIC TOWN: STUMBLE

  And now we arrive at the last song from the CT EP.  Stumble.  This is definitely the most repetitive song on the EP, and the longest.  Is it boring?  Did REM ever play this song live?  There are not a lot of instances of this song being played and the closest you can find on YouTube is Mitch Easter playing it earlier in the year.  There are subtle additions here to what you can find online, particularly the ABC, APT bits, as well as the refrain which everyone lists as ball and chain all the time, sorry but I don't buy it.  Fallen chain and ball and chain are both such great imagery of graveyards and such and he's clearly saying both. In addition, the lyric sheet floating around has fallen chant. Which is probably the most accurate, but without completing the word chant, it sounds like chain--so either will do. I also think he's probably got something like 'Forest fears' on his mind when starting the verse, but intentionally mumbles it--what I have below better approximates how to get the sound of it right.
  I recently took a lot more time with the bridge to the chorus section that has been very wrong online for a long time and I came up with what is below. In the live versions it's a little clearer that he's saying 'Foliage in straw' but this is obscured in the recordings at times where saying 'Foliage in stall' sounds more accurate. Again, he's going for more of a feeling than actually saying something so if you sing along with what is below it sounds closer than a space explorer.



STUMBLE

(Laugh) Teeth (Clap)

We’ll stumble through the yard
We’ll stumble through the yard
We’ll stumble through the A, P, T
We’ll stumble through the yard

Full of spheres
Floor erasing
Foliage in straw
Yellow mix with golden root
Scan the graveyard dig the root

Fallen chain
Fallen chain
Fallen chain
Fallen chain

We’ll stumble through the yard
We’ll stumble through the yard
We’ll stumble through the A, P, T
We’ll stumble through the yard

Voice hails
Floor erasing
Foliage in straw
Yellow mix with golden root
Scan the graveyard dig the root

Fallen chain
Fallen chain
Ball and chain
Ball and chain

Cha (x15)

We’ll stumble through the yard
We’ll stumble through the yard
We’ll stumble through the A, P, T
We’ll stumble through the yard

Full of spheres
Floor erasing
Foliage in straw
Yellow mix with golden root
Scan the graveyard dig the root

Fallen chain
Fallen chain
Ball and chain
Ball and chain

It was round about midnight, hipster town
Imagine going for a walk
Things got around to taking place
What is hipster town
It’s not a waste of time
Imagine going into the wood
Things got around to taking place, as if they’re gonna happen at all
Don’t need that jazz, don’t need that stuff
It was round about midnight, hipster town
It was round about midnight, hipster town

We’ll stumble through the yard
We’ll stumble through the yard
We’ll stumble through the A, P, T
We’ll stumble through the yard

Bullets holes
Floor erasing
Foliage in stall
Yellow mix with golden root
Scan the graveyard dig the root

Fallen chain
Fallen chain
Ball and chain
Ball and chain


Now, guitar-wise I have to thank the internet for the Capo 5 idea, it really simplifies things and might be what we actually hear on CT.  However, after watching Mitch Easter play the song without a capo it is clear that most of the riffing can be done on the B string, but the capo adds a lot, especially when playing on an acoustic.  Also, be wary of the chorus switch, it does not follow a neat 4-4 change. 
  I also added a D chord on the switch to the Bm in the verse because it feels right and tightens up the rhythm of the picking, but you should really just stay on it for one time through picking G-E.  Notice how the form of the 8 and 9 placement in the chorus and bridge 3 are the same as the beginning of Wolves, Lower ... interesting.

Stumble
CAPO V

Intro

e|-0-0-0-0-0-0-0-0------------------|

B|--0-0-0-0-0-0-0-0-----------------|

Verse

e|-0-0--0--0-0-----2--2-2--2--2-2--2----|

B|-0--0--0----0---3---3--3--3----3--3-3-|

G|-1---1--1----1-2--2-4---4--4----4--4--|

D|-2------------------4-----------------|

A|-2------------------2-----------------|

E|-0------------------2-----------------|

Chorus

e|-----------------------------------------|

B|-000-00000-000-00000-0000000-0-00000000--|

G|-444-22222-444-22222>6666666-7>99999999--|

D|----------------------------------------|

A|----------------------------------------|

E|----------------------------------------|

e|-------------------------5-------5----|

B|-0000-0000-0000-00--3-3-3-3-3-3-3-3-3-|

G|-4444-2222-4444-22-4---4---4---4---4--|

D|--------------------------------------|

A|--------------------------------------|

E|--------------------------------------|

Middle Bridge

e|-2---0---2-0------------------|

B|-2---0---2-0------------------|

G|-3---3---3-3------------------|

D|-4---4---4-4------------------|

A|-4---4---4-4------------------|

E|-2---0---2-0------------------|

Bridge 3:

Mostly rhythm, but if you strum or pick a couple of choice times:

e|-0-----------|

B|-3-----------|

G|-4-----------|

D|-0-----------|

A|-------------|

E|-------------|

Then pick intro on penultimate: “It was round about midnight … “

That wraps Chronic Town.  In the next couple of days I will post the pre recording song Narrator which is just fun and great to play.  Then it's on to Murmur, Radio Free Europe is basically a done deal and I had a huge breakthrough on Pilgrimage today ... it's gonna be very cool ...

-BW

CHRONIC TOWN: 1,000,000

Lyrically this song was mostly solved with recently found lyric sheets.  However, I'm not going to get into what meaning might be behind the words as it is all speculation.  I had a friend once who thought it was about vampires, so I guess it's wide open.  As far as singing the following lyric, at many points it sounds like Stipe is saying "marker store" in fact, if you replace the word "stone" with "store" you get closer to the accent of Stipe's speech ... another option is holding out the long O sound and meeting the word "not."





1,000,000

Secluded in a marker store, not only deadlier but smarter too, smarter too
All among the tune, all among the ruin
Secluded in a marker store, not only deadlier but smarter too, smarter too

I could live a million
I could live a million
I could live a million
I could live a million years

Secluded in a marker store, not only deadlier but smarter too, smarter too
All among the tune, all along the ruin
Secluded in a marker store, not only deadlier but smarter too, smarter too

I could live a million
I could live a million
I could live a million
I could live a million years

All among, all among, all among the tune
Secret in, secret in, secret in the river

Secluded in a marker store, not only deadlier--smarter too, smarter too

I could live a million
I could live a million
I could live a million
I could live a million years



This is the first song that I learned off of Chronic Town years ago and was always disconcerted with what I discovered online, because the chorus always sounded wrong.  With this project I decided to get it right.  The cool part is that it is an early example of the open E and B strings Buck likes to use.  Apart from the bridges, the chords are fairly straightforward--just play them as power chords and accentuate the open E and B. 

A note about the hammer on the 7 and 9, just make sure it happens in rapid succession.  You can listen to the song for the example.  Also, I noted the open string before the hammer on the A note, but on the way from the E to the B chord experiment with a little openness on the transition.

1,000,000

Intro/Verse

e|-0--0--0---0----|

B|-0--0--0---0----|

G|-8--8--8---9h---|

D|-9--9--9---9----|

A|-9--0--7h--7----|

E|-7--0--0---0----|

Bridge/ Middle 8: x4

“All among …”

e|--0-----0---0---|

B|---0-----0------|

G|-6---6>8--8-----|

D|-7---7-9--9-----|

A|----------------|

E|----------------|

Chorus:

A-C#m-Bm-E

e|--0--0--0--0---0-0--|

B|--0--0--0--0---0-0--|

G|--6--6--4--1---2-1--|

D|--7--6--4--2---2-2--|

A|--7--4--2--2---2-2--|

E|--5--0--0--0---0-0--|

-BW