FABLES OF THE RECONSTRUCTION: MAPS AND LEGENDS

According to Mr. Stipe this song is loosely about the Rev. Howard Finster.  The eccentric and elusive artist of their hometown.  Finster filled in the artwork on Reckoning among many other things.  Apparently he is also difficult to reach.  They still play this song fairly regularly as evidenced by the performance on their DVD 'Perfect Square' which is worth a look as it rocks!  You can also find it on YouTube.


MAPS AND LEGENDS
He’s not to be reached
He’s to be reached
He’s not to be reached
He’s to be reached

Call the fool and company
(He’s not to be reached, he’s to be reached)
On his own where he’d rather be
Where he ought to be and he sees what you can’t see
Can’t you see that?
(Sees what you can’t see)

Maybe he’s caught in the legend
(Maps and legends)
Maybe he’s caught in the mood
(Maps and legends)
Maybe these maps and legends
(Maps and legends)
Have been misunderstood
(Maps and legends)

Down the way the road’s divided
Paint me the places you will see
Those who know what I don’t know
Refer to the yellow, red, and green
(Can’t you see?)

Maybe he’s caught in the legend
(Maps and legends)
Maybe he’s caught in the mood
(Maps and legends)
Maybe these maps and legends
(Maps and legends)
Have been misunderstood
(Maps and legends)

He’s not to be reached, he’s to be reached
(Maps and legends)
He’s not to be reached, he’s to be reached
(Maps and legends)
He’s not to be reached, he’s to be reached
(Maps and legends)
He’s not to be reached, he’s to be reached
(Maps and legends)

The map that you’ve painted doesn’t seem real
(He’s not to be reached, he’s to be reached)
He just sings whatever he’s seen
Point to the legend, point to the east
Point to the yellow, red, and green

Maybe he’s caught in the legend
(Maps and legends)
Maybe he’s caught in the mood
(Maps and legends)
Maybe these maps and legends
(Maps and legends)
Have been misunderstood
(Maps and legends)
Been misunderstood
(Maps and legends)

Is he to be reached? He’s not to be reached
(Maps and legends)
Is he to be reached? He’s not to be reached
(Maps and legends)
Is he to be reached? He’s not to be reached
(Maps and legends)
Anymore

Another song that I owe gratitude to YouTube for.  You could easily play this song staying on the Em and D for most of it.  Switching the D up to the 7th fret is a nice touch.  There is a delay when playing the A chord during the verse, you can pick it out when you listen to the song.  Also the walkdown to the Em on the G string during the verse is not played every time, but sounds cool.  In the end, add in the D chord instead of the walkdown to pick up the intensity.

MAPS AND LEGENDS

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

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

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

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

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

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

Intro/ Chorus

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

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

G|-0---2---0---4-2-0----|

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

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

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

Verse:

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

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

G|--7-0-0-0-7-0-0-0-7-0-0--4---2-----|

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

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

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

Bridge to Chorus:

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

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

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

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

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

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

Middle Bridge:

D-Dm-F-C-D-Dm-F-D-Dm-F-C

e|---2----1---1---0---2----1---1---1--|

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

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

D|-0-----0--------2--0----0--------3--|

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

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

e|---2----1---1-x-x-0---|

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

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

D|-0-----0----3-3-0-2---|

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

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

End on Em.

FABLES OF THE RECONSTRUCTION: FEELING GRAVITYS PULL

As I said before, nothing sets the tone for this album better than this song.  There's a desperation about gravity and the weight of the world that everyone can relate to.  And how anthemic is the chorus?  Step up!  We also begin to get Stipe as a clear storyteller and manipulator, he brings us interesting characters, but at the same time still occasionally changes and masks his lyrics to make us diligent detectives.  Mapping this song lyrically is not an easy thing to do.  For every easy line there is a blurred image directly behind it. 
  The opening line of the outro is a nice callback to LITTLE AMERICA.

FEELING GRAVITYS PULL
I fell asleep and read just about every paragraph
Read the scene where gravity is pulling me around
Peel back the mountains peel back the sky
Stomp gravity into the floor
It’s a Man Ray kind of sky
Let me show you what I can do with it
Time and distance are out of place here

Step up
Step up
Step up, the sky is open arm
When the light is mine
I felt gravity pull

Somewhere near the end it said “you can’t do this”
I said, “I can”
To shift the swaying river shift
Oceans fall and mountains drift
It’s a Man Ray kind of sky
Let me show you what I can do with it

Step up
Step up
Step up, the sky is open arm
When the light is mine
I felt gravity pour into my eyes
(Pull my eyes)
Pour into my eyes straight
(Looking down)
This is the easiest task I ever had
To do

I fell asleep and read just about every paragraph
Read the scene where gravity is pulling me around
Shift the swaying river ship
Oceans fall and mountains drift
It’s a Man Ray kind of sky
Let me show you what I can do with it
Time and distance are out of place here

Step up
Step up
Step up, the sky is open arm
When the light is mine
I felt gravity pour into my eyes
(Pull my eyes)
Pour into my eyes straight
(Looking down)
This is the easiest task I ever had to do

Reason had harnessed the tame
Holding the sky in your arms
Gravity pulls me in


This song was a lot of fun to figure out.  Particularly the end.  What I have is pretty straightforward for the ending, but feel free to Buck it up by adding harmonics in between the chord forms.  Also in the ending these days, he likes to bend the note on the 15th fret.  I also added some variations for the verse harmonics because that is what he does on the album, but when he plays live he sticks to the harmonic.  Finally as a fun treat, I included a very simple and effective orchestration ending which ends with the last chord of the strings from the album.  A nice way to go into Maps and Legends if you were indeed to do ...

FEELING GRAVITYS PULL

Intro/Verse

e|-7---7-----0----------(7)---------(5)------|

B|--7-6-7-6-0-0---------(7)---------(5)------|

G|----------------------(7)---------(5)------|

D|--------------x-x-x-x-(7)-x-x-x-x-(5)------|

A|--------------x-x-x-x-(7)-x-x-x-x-(5)------|

E|--------------7-x-x-7-(7)-7-x-x-7-(5)------|

e|-7---7-----0----------(7)---------(12)------|

B|--7-6-7-6-0-0---------(7)---------(12)------|

G|----------------------(7)---------(12)------|

D|--------------x-x-x-x-(7)-x-x-x-x-(12)------|

A|--------------x-x-x-x-(7)-x-x-x-x-(12)------|

E|--------------7-x-x-7-(7)-7-x-x-7-(12)------|

Variations:

In place of Harmonic 7:

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

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

G|-7--------|

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

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

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

In place of Harmonic 5 or 12:

e|-7--0--12----|

B|-8--0--12----|

G|-0--9--------|

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

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

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

Chorus:

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

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

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

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

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

E|-0---2---3---5--------|

Bridge to Verse and End: (x3)

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

B|-1--1--1--3--3--3---1--1-1>3-0-3-3------0----|

G|-0---0--0-2---2--2--0---0------2--2-2>4------|

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

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

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

e|-0--------(12)----|

B|-3--------(12)----|

G|-4---OR---(12)----|

D|-0--------(12)----|

A|----------(12)----|

E|----------(12)----|

Outro: x2

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

B|-13-15-13-15-12---13h-----|

G|-12-12-12-12--x----x------|

D|-14-14-14-14-14---14------|

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

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

e|--0--0--0--0-15-15-15-----|

B|-13-15-13-15-13-13-13-----|

G|-12-12-12-12-12-12-12-----|

D|-14-14-14-14-14-12-12-----|

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

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

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

B|-3-----5>7------------|

G|-4-----7>9---FEEDBACK-|

D|-0-----7>9------------|

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

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

End orchestration on guitar:

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

B|-7-0-0-0-7-------0-------|

G|-9-7-8-9-9-x3----7-------|

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

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

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

Intro to FABLES OF THE RECONSTRUCTION

Leave it to Bill Berry to sum up R.E.M.'s feelings.  In the early 90's (coincidentally when this album went gold) he claimed that this album "sucked."  This is definitely not one of the band's favorite efforts, but it is one of mine.  There's something about the tonal change of the band, the orchestration and dark sounds and themes, that is appealing and which has the power to transport the listener to another place. 
  Michael Stipe abandons a lot of the nonsensical ramblings of the past and turns to more of a narrative form of songwriting.  He summons up a lot of the characters he knows from the American south and from the extensive travelling the band had done over five years.  He isn't much easier to understand at times and thankfully his love of language and turns of phrase are still present, but now the band can present stories--or fables if you will.  It is unclear whether the band meant for this to be a 'concept' album or if it just fell together that way. 
  The mood of the recordings was not great.  They abandoned their comfort zone of Easter and Dixon and Charlotte, NC to change up the monotonous pace.  The way things came together was not ideal and the album is patchy.  When they first opted for a new producer, Joe Boyd was at the top of the list having worked with Nick Drake, and Buck the ever astute music lover was salivating.  R.E.M. was a critically acclaimed band, why not enlist the talents of a critically acclaimed producer?  The problem however was timing.
  When Boyd was first brought up, everyone was on board, but the schedules didn't line up.  The band were looking at some other options when Boyd's schedule opened up.  The bad news?  The boys had to record in winter in London.  At first this seemed like a fun idea.  But, they were put up in rooms far from the studio and with all the bad weather there was no desire to get out except to museums.  Man-Ray exhibition anyone?  Plus, the band didn't really have a lot of material going in which created a frenzy of songwriting just before the trip to studio.
  That said, these are not excuses as the album is quite wonderful.  'Feeling Gravitys Pull' is perhaps the most appropriate opening song to any album ever, it sets the perfect tone for the dark discordant album that follows.  Another plus to this album is that it rocks.  The amps are turned up and Peter Buck starts to take the lead.  He is front and center on all the tracks and it gives the band a substantial addition to their touring repertoire.  However, the songs are so different they stand out from their early material ... they are simply out of time and that is not necessarily a bad thing. 
  The group has said that this recording session made them evaluate whether they wanted to keep making music for a living, particularly together.  But as Peter is fond of saying--and I paraphrase--at the end of the day, even the worst day making music is better than the best day waiting tables.

First up Feeling Gravitys Pull ...

-BW

RECKONING: LITTLE AMERICA

This is it.  The end of Reckoning.  And as I've mentioned before, the end of R.E.M.'s first phase.  After this they are no longer the scrappy bar band, but a band with alarming depth and potential.  Not that Little America is free of depth, in fact you could call this track the progenitor of 'It's The End of The World As We Know It' and not be far from the mark.  The free form lyrics are exactly what we have come to expect from time to time from Mr. Stipe.  There are some great live versions of this song on YouTube and it really demonstrates how effective a rock band the boys can be.
  A note on Jefferson.  In the song this of course refers to their manager Jefferson Holt, who was with them through 'Automatic For The People.'  Alas, because of confidentiality, his ouster as their manager is another great mystery surrounding the band.  He was one of the earliest on the bandwagon and was often referred as the unofficial 5th member of the group--which has had many other members.  At this point, I think they have unofficially 10 members ... does KRS-1 count?  Anyway, these days when the song is performed the name Jefferson is changed to Washington.  Makes a more political point, but Michael used to bash the USA overseas with this song anyway ...
  Due to a posting on the REM Facebook group of the copyright page of lyrics I have adjusted this accordingly.

LITTLE AMERICA
I can see myself at 30, I don’t buy a lacquered 30
Caught like flies preserved for tomorrow’s jewelry, who get it
Lighted in the amber your green shell back, green shell back
Preserved for tomorrows eyes in tree beer, tar black, brer sap

The biggest wagon is the empty wagon, is the noisiest, the consul a horse
Jefferson I think we’re lost

Who will tend the far museums, who will dust today’s belongings?
Who will sweep the floor, hedging near the givens?
Rally round your leaders it’s the mediators season
Diane is on the beach, do you realize the life she’s led?

The biggest wagon is the empty wagon, is the noisiest, the consul a horse
Oh man, I think we’re lost
The biggest wagon is the empty wagon, is the noisiest the matter of course
Jefferson, driver

Lighted in the amber your green shell back, green shell back
Skylight, sty-tied, Nero pie-tied, in tree tar black brer sap
Reason has harnessed the tame, a logic knot, stockaders game
Another Greenville, another Magic Mart
Jeffer, grab your fiddle

The biggest wagon is the empty wagon, is the noisiest, the consul a horse
Jefferson I think we’re lost
The biggest wagon is the empty wagon, is the noisiest, the consul a horse
Jefferson I think we’re lost, lost
(lost)
 
This song was a pleasure to figure out and really cool to play.  I think Peter plays it a little differently from this, but I think what I have is the same thing, but easier.  Once you get the basics down it's a really easy song ... sort of like 'Second Guessing' with even less chords.  It is also reminiscent of '7 Chinese Bros.' which was my starting point for figuring out the tune.  Just a tip ... have your ring and pinkie do the first part of the riff with the pointer waiting on the B string.  Once you're in that chord formation, it's all gravy ...

LITTLE AMERICA

Intro/ Verse:

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

B|--7-7-8-7-5-5-5-7h-7-7-7-5----------------|

G|--7-7-7-7-7-7-7-7--7-7-7-7-7-5>7-7-7-9-7--|

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

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

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

e|--0-0-0-0-0-0-0-0--0-0-0-0----------------10--|

B|--7-7-8-7-5-5-5-7h-7-7-7-5---------------8--8-|

G|--7-7-7-7-7-7-7-7--7-7-7-7-7-5>7-7-7-9-7------|

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

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

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

Chorus:

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

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

G|--4---4---4---4->-9------------------|

D|--5---4---5---4->-9------------------|

A|--5---2---5---2->-7------------------|

E|--3---0---3---0->-0------------------|

Bridge to Verse:

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

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

G|--7-9h-9-9-7-4-7-9-7-7-7-7-9h-9-9-7-12-9-7----|

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

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

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

End on:

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

B|-7-------|

G|-7-------|

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

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

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

Now onto Fables.  I've already figured out the last jarring chords to Gravity and the intro to 'Life and how to live it' is awesome!

-BW

RECKONING: (DON'T GO BACK TO) ROCKVILLE

Where to start?
  Maybe that this song was released in 1984 and didn't chart.  What?  Could it be that the world was indeed not ready for R.E.M. as Michael Stipe started claiming soon after?  This is easily the most radio friendly song they had released.  But, there's no video.  Sorry MTV generation. 
  Let's trace its roots.  This was a very early tune.  The original incarnation was a straightforward rock song, not quite the punk song Buck claims it was, but faster.  The lyrics remain largely intact and were most likely written by Mills.  As far as changes, in the original Stipe is too 'fucked up' to see and does not have a country twang.  The story is that they recorded it at the insistence of their lawyer and manager Bertis Downs.  They had talked of putting it on Murmur, etc, but they felt it really didn't fit the direction the songwriting was going.  How ironic.  This song is the first taste of the mainstream R.E.M. and could easily go on Out Of Time and along with the entire Lifes Rich Pageant album is the sign of things to come.  But does it fit on Reckoning?  The song is definitely out of character, but along with 'Little America' rounds out the album quite nicely.
  Let's trace the story.  Mills wrote it to his friend Ingrid Schorr, later a journalist, as a plea to stick around.  Not too long ago I was at a show where Ingrid was in the audience and Mike Mills sang the song lead vocalist style and since then, he's pretty much taken the helm on it. 
  Let's put it in perspective.  Could this be the beginning of Alt-Country?  Well, that might be a broad statement, but it certainly didn't hurt.  Alt-Country can be traced further back, but this song encapsulates everything that Alt-Country is and is still played to this day on country stations.  In 1984, mainstream radio just didn't grab at it and it's safe to say that college radio didn't have much use for it either. 


(DON’T GO BACK TO) ROCKVILLE
Looking at your watch a third time, waiting in the station for the bus
Going to a place that’s far, so far away, and if that’s not enough
Going where nobody says hello, they won’t talk to anybody they don’t know
You’ll wind up in some factory that’s full time filth with nowhere left to go
Walk home to an empty house, sit around all by yourself
I know it might sound strange but I believe you’ll be coming back before too long.

Don’t go back to Rockville
Don’t go back to Rockville
Don’t go back to Rockville
And waste another year

At night I drink myself to sleep and pretend I don’t care that you’re not here with me
Cause it’s so much easier to handle all my problems if I’m too far out to see
But something better happen soon or it’s gonna be too late to bring you back

Don’t go back to Rockville
Don’t go back to Rockville
Don’t go back to Rockville
And waste another year

It’s not as though I really need you
If you were here I’d only bleed you
But everybody else in town only wants to bring you down and that’s not how it outta be
Well I know it might sound strange but I believe you’ll be coming back before too long.

Don’t go back to Rockville
Don’t go back to Rockville
Don’t go back to Rockville
And waste another year

Don’t go back to Rockville
Don’t go back to Rockville
Don’t go back to Rockville
And waste another year


This song is another fairly simple tune, but with some fun chord changes where you wouldn't think them necessary.  The Bm switch in the Chorus Bridge is my particular favorite.  Also, for the last couple of weeks on Grooveshark, Pete Buck has been marketing the album by Tired Pony and because of the placement of the search bar, he looks like Ben Franklin.  It's hard to resolve that image with tabbing these early songs, but I suppose it's just nice to see Buck working.  Hey, the new R.E.M. album is all but done ... 'Collapse Into Now' early next year.  However, Pete ... dye your hair or something.

(DON’T GO BACK TO) ROCKVILLE

Tabbed by: Barnaby Wilde

Email:

Intro: E

Verse:

E-A

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

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

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

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

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

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

Verse (Second Guitar) Starts during second verse

e|--7-5-----7-5-----5-7-9-7-5-7-9-7-5---|

B|-5-9-9-7-5-9-9-7-5-5-5-5-5-5-5-5-5----|

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

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

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

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

Bridge to Chorus

B-A-G#-C#m-Bm-A

e|-2---5-4-4---2-0-0-0-0-0-----------------|

B|-4---5-4-5---3-2-3-2-3-2-----------------|

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

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

A|-2---7-6-4---2-0-0-0-0-0-----------------|

E|-2---5-4-4---2-0-0-0-0-0-----------------|

Bridge to Chorus (Second Guitar)

Pick:

e|-7---5-4-4---2-0--0---0--------------|

B|-7---5-4-5---3-2-3--2--2-------------|

G|-8---6-4-6---4-2-----0---------------|

D|-9---7-6-6---4-2---------------------|

A|-9---7-6-4---2-0---------------------|

E|-7---5-4-4---2-0---------------------|

Chorus

E-F#m-B x3 -A

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

B|-0-2-4-5-4-----2--3-2-0-0-2-3-2-0---0--|

G|-1-2-4-4-4-x3--2-------2---------2-0---|

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

A|-2-4-2-2-2-----0-----------------------|

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

Middle Bridge

E-A-B-A-B x3 F#m-C#m-F#m-C#m-A-B

e|-0---0-2-0-2-----2-4-2-4---0---2----------|

B|-0---2-4-2-4-----2-5-2-5---2---4----------|

G|-1---2-4-2-4—x2--2-6-2-6---2---4----------|

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

A|-2---0-2-0-2-----4-4-4-4---0---2----------|

E|-0---0-2-0-2-----2-4-2-4---0---2----------|

Ending:

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

B|------1>2-0-------0------|

G|-----------0-1h---1------|

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

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

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

Bass Ending:

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

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

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

D|-----2-4h>6-----------|

A|-2-4h-----------------|

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

  One more song on Reckoning and it's a doozy! 

-BW

RECKONING: CAMERA

This track took some time.  Stipe is doing some strange things with the last word of the chorus.  What I think is going on is that he is substituting the 'F' sound on words that should begin with P.  I stand by the first word being 'prints' because it's a nice play on words, but I think this gets changed to friends, then fresh (although it sounds like 'frish') the last word I think is supposed to be prayers, but he says 'frayers.'  This could also be phrase.  Without the master tapes it is hard to hear what is going on there, but that is my perception.  On top of that, I don't think he means to say if "I'm would be your camera," although he is known to play with tenses and verbs, I really think he is just closing his mouth after 'I' and it makes the 'I'm' sound. 
  The song itself is about their friend Carol Levy who died before recording Reckoning.  She was a friend who was a photographer and even took the photo that appeared on the back of the Hib-Tone version of Radio Free Europe. 

CAMERA
From the inside room
When the front room green becomes your special book
It was simple then
When the party lows
If we fall by the side
Will you be remembered?
Will she be remembered?

Alone in a crowd
A borrowed lantern bartered
If I’m to be your camera
Then who will be your prints?

I fell by your bed once
I didn’t want to tell you
I should keep myself in between the pages
Of the green light room
If we fall by the side
Will you be remembered?
Will she be remembered?

Alone in a crowd
A bartered lantern borrowed
If I’m to be your camera
Then who will be your flash?

From the inside room
When the front room green becomes your special book
It was simple then
When the party lows
If we fall by the side
I still like you
Can you remember?

Alone in a crowd
A bartered lantern borrowed
If I’m to be your camera
Then who will be your flash?
Alone in a crowd
A bartered lantern borrowed
If I’m to be your camera
Then who will be your flash?



Pre-ROCKVILLE Interlude
Come back, come on
You got it!
Unh!
Getting in the mood.
(All right)
Well, all right.
(1,2,3,4)


Another reason this track took time was that it is basically one big lead on guitar.  The chorus also has some strange changes that I had to sus out.  I was planning on doing the interlude anyway, but it is especially dedicated to another BW who made the request.  Enjoy!

CAMERA

Bass Intro

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

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

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

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

A|-5-5-7-8-5-7-7-------5---------|

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

Verse

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

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

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

D|--0------3---0-2---------------|

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

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

Bridge to Chorus and Chorus

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

B|-3-3-3-3-3-2-2-2-2-3-3-3-3-3--3-3--3-3-3-3-3-3-3-3-1--------|

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

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

A|-----------------------2-0-2h-0-2h-----------------3--------|

E|-----------------------3-0-3h-0-3h-----------------0--------|

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

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

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

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

A|-3-3-3-------------------------2-0-2h-0-2h------------------|

E|-0-0-0-------------------------3-0-3h-0-3h------------------|

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

B|-1-1-1-3-3-1-3-2-2-2-2-3-3-2-3-0-|

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

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

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

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

Lead/ Intro to Last Verse

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

B|-------10>15-13-10-10-12h-10--10-10-10--|

G|---7>10---------------------12----------|

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

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

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

Pre-Rockville Interlude:

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

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

G|--3-3-3-3-1-3-3-3-3-3-3-1-1----|

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

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

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

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

B|-------------2----------2>4-2--|

G|--3-3-3-3-1-3-3-3-3-3-3------3-|

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

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

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

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

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

G|-1-1-3-3-3-1-3--1-------1-1--3-3-3--|

D|---------------3—1-1-1-3-3----------|

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

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

-BW