RECKONING: 7 CHINESE BROS.

The story of the 5 Chinese Bros is a bit infamous.  A lovely book that I remember reading to my daughter, but controversial for its rather ... um, yellow depiction of its Chinese participants.  The story relates that the brothers had certain physical abilities.  The one who could hold the ocean in his mouth decided to help someone who needed to find a fish in the ocean.  When the brother let the ocean go too early and killed the fisherman, he was sentenced to death.  However, he looks just like his brothers and one has an iron neck, etc ... until they thought that the man could not be killed and sent him on his way.  The book was banned for its racial depiction in many places.  It's a good story.  And little of it is here in R.E.M.'s song and the Chinese mother has been busy with two more sons thanks to Mr. Stipe.  As far as speculating on the meaning of the song again I will not, but as with Murmur Stipe has a penchant for referencing stories and fairy tales to boost his narrative. 
  I'm not sure if the word "Bottom" at the end of the piece is Shakespeare's fairy or just part of Bottom waded ... as in the bottom of the ocean.  If it's Robin Goodfellow, well there are many conotations we can make in the song.  It would be an interesting seasonal twist from Autumn to Mid-summer and the "She will return" line could be waiting for her (Hippolyta?) to return from trying to discover who her husband will be.  A traditional midsummer fancy among young women.  Alas, this is Stipe world where these kind of tangents can be drawn over and over ... it's fun to speculate though ...

7 CHINESE BROS.

This mellow sweet short haired boy woman offers pull up a seat
Take in one symphony now that we've just begun the battle
Wrap your heel in bones of steel turn of leg a twist of color
Autumn waited hold me to you when the color become another

Seven Chinese brothers swallowing the ocean
Seven thousand years to sleep away the pain
She will return, she will return

This mellow sweet short haired boy woman offers pull up a seat
Take in one symphony now that we've just begun to battle
Wrap your heel in bones of steel turn of leg a twist of color
Autumn waded seven seas when the color become another

Seven Chinese brothers swallowing the ocean
Seven thousand years to sleep away the pain
She will return, she will return (She will return)

(She will return, she will return)

This mellow sweet short haired boy woman offers pull up a chair
Take in one symphony mound, guess you lost that battle
Wrap your heel in bones of steel turn of leg a twist of color
Bottom waded seven seas when the color become another

Seven Chinese brothers swallowing the ocean
Seven thousand years to calm you and I did reign
She will return, she will return

She will return.


I literally just made a change on this one 10 minutes ago.  Thank you again to YouTube because I couldn't make the C chord at the beginning of the chorus fit until I saw the hands of Buck.  Also, Buck on the recording uses two guitars in order to get the distortion on the 5 note riff that bridges the entire chorus.  And live he plays it as noted, but I've included the option of playing it on the E string because it's easier and you don't have to go up and down the fretboard.

7 CHINESE BROS.

Verse:

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

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

G|-11-11-11-12-14-16-16-16-16-16-14-11-11-11-11-12-11-9-7-7-7-7-|

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

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

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

Before vocal hit:

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

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

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

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

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

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

Riff and Bridge to Chorus:         Or:

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

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

G|-11-12-11-9-7----------------------------------|

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

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

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

Chorus

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

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

G|-5--5--5----5--5--2-2--2-----------|

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

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

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

Bridge:

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

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

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

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

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

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

RECKONING: HARBORCOAT

Let's start with a ghost story.  Michael has said that this is a rewriting of Anne Frank's story, Peter claims to have never known what it was about and Mike claims a harborcoat is a "protection ... against less tangible things."  In any case it's kind of a spooky story.  My journey with this song had more to do with the background vocals.
  Under the main line, Mike is singing a completely different narrative.  There is little correlation between his lyric and Michaels and it convolutes the song in a rather nice way.  I must point out that at a number of points what I have credited to Mike is speculation ... some of what he is saying would be impossible to discern without the master recordings.  For instance, I really don't think he's saying 'would I kiss her ass,' but it does sound like it.  However, I think what I have here is pretty damn close.  In the Dublin live recordings, he doesn't even bother with the background vocal.

HARBORCOAT
They crowded up to Lenin with their noses worn off
A handshake is worthy if it’s all that you’ve got
Metal shivs on wood, pushed through our back
There’s a splinter in your eye and it reads react

They shifted the statues for harboring ghosts
(Laocoon is host)
Reddened their necks and collared their clothes
(The library hollowed)
When we ditched the books with the middles cut out
(When we caught her ghost)
She gathered the corners and collared her gown
(She went to tell it to you)
And said

(MIKE: He's not going any-)
Find my harborcoat
(BILL: Harborcoat is long away)
(MIKE: where my harborcoat oh whoa)
Can’t go outside without it
(BILL: Harborcoat is long, whoa whoa whoa)
(MIKE: She’s not going any-)
Find my harborcoat
(BILL: Harborcoat is long away)
Can’t go outside without it
(MIKE: where my harborcoat oh whoa)
(BILL: Harborcoat is long, whoa whoa whoa)


They crowded up to Lenin with their noses worn off
(Tell her I sent hers ahead)
A handshake is worthy if it’s all that you’ve got
(You'll have done no wrong)
Metal shivs on wood, pushed through our back
(Would I kiss her ass?)
There’s a splinter in your eye and it reads react
(Would I read the signs?)
R-e-a-c-t

(MIKE: He's not going any-)
Find my harborcoat
(BILL: Harborcoat is long away)
(MIKE: where my harborcoat oh whoa)
Can’t go outside without it
(BILL: Harborcoat is long, whoa whoa whoa)
(MIKE: She’s not going any-)
Find my harborcoat
(BILL: Harborcoat is long away)
Can’t go outside without it
(MIKE: where my harborcoat oh whoa)
(BILL: Harborcoat is long, whoa whoa whoa)

They shifted the statues for harboring ghosts
(With your feathers in)
Reddened their necks and collared their clothes
(You'll have done no wrong)
Then we ditched the books with the middles cut out
(And we caught her ghost)
She gathered the corners and collared her gown
(She went to tell you)
Which in she said:
Does she
Does she
Does she know?

(MIKE: He's not going any-)
Find my harborcoat
(BILL: Harborcoat is long away)
(MIKE: where my harborcoat oh whoa)
Can’t go outside without it
(BILL: Harborcoat is long, whoa whoa whoa)
(MIKE: She’s not going any-)
Find my harborcoat
(BILL: Harborcoat is long away)
Can’t go outside without it
(MIKE: where my harborcoat oh whoa)
(BILL: Harborcoat is long, whoa whoa whoa whoa)


This is another song that I really didn't have much to go on.  I watched some of the live footage, but it was so hazy I found myself scratching my head.  So I started from scratch and put on my WWPBD hat on, which is a long lanky wig.  And voila, it came to me.  The B chord is all high notes, but with the B string open.  Sounds cool and is really the focal point of the song, particularly when picking it at the end of the bridge and hitting it at the end of the song.  And then the tuning: you have to tune down a 1/2 step to play with the album.  They rarely tune down live and it sounds just as good.

HARBORCOAT

Tune down 1/2 step

Intro/ Chorus:

E-B-A

e|--0--0-2-0-0----------------|
B|--0--0-0-2-0----------------|
G|--0--1-1-2-2----------------|
D|--0--2-1-2-2----------------|
A|--0--2-0-0-0----------------|
E|--0--0-0-0-0----------------|

Verse:

Pick the last two sliding chords.

e|--4-4------5-5-5---5>7-|

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

G|--6-6-2-1--6-6-6---6>8-|

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

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

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

Bridge to Chorus:

e|-5-5>7-7-7------5-5-5---5-5---5-5----|
B|-7-7>9-9-9------7----5-5---5-5---5-5-|
G|-6-6>8-8-8---x3-6--------------------|
D|-7-7>9-9-9------7--------------------|
A|------------------------------------|
E|------------------------------------|

Bridge 2:

Scratch the frets like a wild man, then hit the note on the B string before

jumping to the B chord to pick.

e|-5--7-7--2-------------|

B|-5--7-9--0-------------|

G|-5--7-7--4-------------|

D|-5--7-7--4-------------|

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

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

Second Guitar on final Chorus:

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

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

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

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

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

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

-BW

An introduction to Reckoning

The band was writing songs fast and furious, so they were in the studio a year after Murmur to record the follow up.  They had the same set up as most bands with a second album ... go back to songs that didn't make the first and see if they stick.  Pretty Persuasion, Second Guessing, Harborcoat, and Rockville were all early staples of the beginnings of R.E.M.  In fact, Rockville in it's early incarnation was almost a punk song it was so fast ... it was slowed down to a country feel in tribute to their manager Bertis Downs.  Thank you Bertis ...
  The album was recorded quickly (4 weeks), in a better studio, with better equipment, and more help.  The result is definitely a more lush album.  It received rave reviews from all reviewers and placed #1 on the college charts for some time, but it only made it to 27 on the Billboard charts.  Part of the reason was the lack of a strong single.  So. Central Rain and Rockville were released, but they didn't get much play, the album art is a touch inaccessible, and the songs are quite dark ... moody in fact. 
  In listening to the album a lot lately, it seems that it perhaps doesn't flow as well as it could.  7 Chinese Bros. is a strange second song choice, I constantly mix up Letter Never Sent and Little America (two travel songs), and Time After Time is a little boring.  That said, as a whole the album is crisper and stronger than Murmur, mostly due to Harborcoat, Pretty Persuasion, and Second Guessing.  Camera is perhaps the unsung hero of the album, and these days surely would've had a choir singing on the last chorus measures. 
  For my project, the stumbling blocks will come I'm sure with vocals on Pretty Persuasion and Harborcoat, although I'm really trying to sus out Mills' backing vocals and am almost finished.  The rest of the album is pretty straightforward, but with plenty of turns of phrase, mumbles, and guitar riffs to keep me busy.  Lots of water imagery because as Stipe said, the real name of the album if File Under Water.  First up ... Harborcoat!
-BW

MURMUR: WEST OF THE FIELDS

So we come to the end of Murmur.  I have to tell you that it has been extremely eye opening for me.  I know that not everything is perfect, but it's a more complete account of the album than you can find anywhere else.  This is one of the songs that inspired me in the first place.  On their Live Dublin album and, well you can also find it on YouTube, Michael is clearly reading the words straight from the internet.  Why does he do this?  To prove a point maybe?  Although he says ... "The lyrics are what they are.  I wrote them.  I don't know what they are."  Perhaps there is a ring of truth in that.  But if you don't have the lyrics, why don't you call Mitch Easter for the masters and transcribe the lyrics, or better yet have someone do it for you.  In the live version he reads out what you can now find online for the bridge: "The animals, how strange. Try to stick it in."  So, my lyrics are decidedly different, but in fairness in listening to the song I can see how one might hear about animals ...
  That snippet inspired me to research all of R.E.M.'s obsequious songs in both lyrics and guitar, for both parts are a little far from the norm.  They bear close scrutiny and at the same time welcome it.  The lyric reading in Dublin was most likely just a wink at the world to say, "See? 30 years later and you still don't get it ..."  However, due to other performances of the song, I'm pretty sure that Stipe has no transcripts either.  And now a lovely song about death ...

WEST OF THE FIELDS
Long gone intuition
To assume are gone
When we try
Dream of living jungle
In my way back home
When we die

We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
West of the fields

Dreams of Elysian
To assume are gone
When we try
Till now, what is dreaming?
When we try to listen with your eyes
Oversimplify

We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
West of the fields

The added walls have strained
Try drugs to get sane
The cabinet walls have strained
Try drugs to get in

Dreams of Elysian
To assume are gone
When we try
Till now what is dreaming?
When we try to listen to your eyes
When we drop

We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
West of the fields
We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
We-hest
(West of the fields)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
Long … Gone
(Long … Gone)
West of the fields

Another deceptively simple guitar part.  The intro is a simple matter of moving the bar on the F to get an open B.  This is that rare track that has no riff or Buck picking. 

WEST OF THE FIELDS

Intro:

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

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

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

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

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

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

Verse:

e|-7-5>6<5-0-0--3-1-1-1-1-|

B|-8-7-------1--3-1-0-1-0-|

G|-9-7-------2--0-2-2-2-2-|

D|-9-7-------3--0-3-3-3-3-|

A|-7-5-------0--2-3-3-3-3-|

E|-7-5-------0--3-1-0-1-0-|

Chorus:

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

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

G|-0-0—x8---2-------------------------|

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

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

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

Bridge : x4

“The outer walls … “

e|-0-1-1-3---|

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

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

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

A|-2-3---2---|

E|-0-1---3---|

Second Guitar on Last Verse:

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

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

End on Em

On to Reckoning ...
-BW

MURMUR: WE WALK

Okay, this is definitely the most silly song on the album.  It's great and a lot of fun, but you cannot deny that it is weird.  It also gets back to R.E.M. at its most repetitive in both narrative and melody.  Reminiscent of Stumble and 1,000,000.  In case you're wondering, Jean Paul Marat was a major player in the French Revolution.  He had mostly retired due to a skin condition for which he took medicinal baths for hours at a time.  On July 13, 1793 Charlotte Corday visited him claiming to have news and killed him in his bath with a knife she had hidden in her corset.

WE WALK
Up the stairs, to the landing
Up the stairs and to the home, uh-oh ome
Take oasis, Marat’s bay-ay-ay-athing

We walk through the wood, we walk

Up the stairs, to the landing
Up the stairs and to the ho, uh-oh ome
Take oasis, Marat’s bay-ay-ay-athing

We walk through the woods, we walk

Take oasis
Take oasis
Take oasis
Take oasis

Up the stairs, to the landing
Up the stairs and to the ho, uh-oh ome
Take oasis, Marat’s bay-ay-ay-athing

We walk through the world, we walk

Up the stairs, to the landing
Up the stairs and to the home, uh-oh ome
Take oasis, Marat’s bay-ay-ay-athing
Up the stairs, to the landing
Up the stairs and to the home, uh-oh ome
Take oasis, Marat’s bay-ay-ay-athing
Up the stairs, to the landing
Up the stairs and to the home, uh-oh ome
Into the oh-ome
Into the oh, oh, oh, oh, oh, oh, oh, oh …


For the guitar here, you have to tune up a 1/2 step like in Pilgrimage.  Listen to the song for the correct tuning.  I find it easier to Bar the F and G chords for the Intro/Chorus. 

WE WALK

Intro/Chorus: F-Dm-F-G

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

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

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

D|-3-2-0-0-3-2-5----|

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

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

Verse: C-Am (x6)

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

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

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

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

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

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

Em

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

B|-----8---------|

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

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

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

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

Bridge (Picked):

Am-F-Bb-C (x3)

Second Guitar Riff:

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

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

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

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

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

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

Am-F-Bb-Bb/B/C

Second Guitar Riff:

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

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

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

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

A|------1-2-3-----------|

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

Fun right?  Okay, one more song to go on Murmur and then it's on to Reckoning. 
-BW

MURMUR: SHAKING THROUGH

This song always surprises me on the album.  It seems like the last half of Murmur gets darker and darker until this song.  It's very bright and could have easily been featured on the first half.  It also features one of my favorite opening lines of a song ... it's just a nice statement of innocence. 


SHAKING THROUGH
Could it be that one small voice doesn’t count in the ruin?
Yellow like a geisha gown
Denyin' all the way

Could this by three beaten?
Order marches on
Yellow like a geisha gown
Denier all the way

Shaking through
Opportune
Shaking through
Opportune

A week worth waiting for
Take in after the rain-ing-ing-ing
Yellow like a geisha gown
Denyin' all the way

Shaking through
Opportune
Shaking through
Opportune

In my life …

Wheels that are still
Children of today on parade
Yellow like a geisha gown
Denyin' all the way

Shaking through
Opportune
Shaking through
Opportune
Shaking through
Opportune
Shaking through
Opportune


This song is nicer to play if you have a piano player.  In the song, the chords are handled by piano while Peter picks away.  However, to fill in the song, feel free to throw in a strum of the chords if you don't happen to be near a pianist.   In this song everything is picked besides the intro, feel free to listen to the song to figure out the picking pattern.  Speaking of the intro, if you didn't notice, the first two formations are the same as the first two from Wolves, Lower ... only backward. 
   I've also included the little interlude between this song and We Walk, so enjoy ...

SHAKING THROUGH

Intro and last Bridge to Chorus:

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

B|-10-8-7-5-------|

G|-11-9-7-5-------|

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

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

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

Verses: D-Bm:

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

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

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

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

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

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

Bridge 1: Em-A

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

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

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

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

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

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

Chorus: D-A-G

Hit the A chord going back to the D

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

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

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

D|-0-2-5-----|

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

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

Bridge 2: A-D-G-A-D-Em-A

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

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

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

D|-2-0-5-2-0-2-2------------------|

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

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

Last Chorus: E-B-A

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

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

G|-9-8-6------|

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

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

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

End on B.

Interlude:

e|-0-5-10-7-5-10-7-5--|

B|-5-5--9-6-5--9-6-5--|

G|-4-4--8-7-4--8-7-4--|

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

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

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

MURMUR: 9-9

Just a few songs to go and I must say that this was the most difficult.  There is nothing online at this time to go by, everything is wrong.
  A special nod to whoever originally figured out what Stipe was saying in the spoken word bits ... I just added and subtracted a couple of things ...
  If you're wondering, the stripe down his back thing ... it always conjured up the color yellow because growing up I heard people who were afraid referred to as having a yellow stripe down there back, so that is what the line always meant to me.  Even though the song never mentions the color yellow, the stripe thing does date back to a quote by a guy who was quoting an English evangelist who was reported to say something to the effect of the lord putting yellow stripes down the backs of those who were not yet converted, so he could identify them and preach the gospel to them. This could explain the religious quoting in the bridge section.


9-9

Steady rep … steady repetition is a compulsion mutually reinforced. Now what does that mean? Is there a just contradiction? Nothing much. Now I lay me down to sleep, I pray the lord my soul to keep if I should die before I wake, I pray the lord hesitate.

A two-punch
Right on target
Twistin’ tongues
Got a stripe
Down his back
All 9 yards
Down her back

Give me a cup of charm
Give me a couple of pointers
Turn to lies
In conversation fear

A two-punch
Right on target
Twistin’ tongue
Got a stripe
Down his back
All 9 yards
Down her back

Give me a cup of charm
Give me a couple of pointers
Turn to lies
In conversation

What you see na,na
Listen, na, na
Steady repetition is a compulsion mutually reinforced. Is there a just contradiction? Now I lay me down to sleep, I pray the lord my soul to keep if I should die before I wake, I pray the lord come on hesitate … hesitate.

A two-punch
Right on target
Justice done
He’s got a stripe
Down her back (down his back)
All 9 yards (yards)
Down his back (her back)

Give me a cup of charm
Give me a couple of pointers
Turn to lies
In conversation fear
The conversation fear
Conversation fear
Conversation fear

The guitar on this was a lot of fun as I had to start from scratch as you can only find chords online at this point.  I found that a lot of the trick to figuring out some R.E.M. songs lies in the bass part.  If you can figure that out, you're in good shape.  This isn't the easiest song to play as there is only one true chord hit and the rest is scratching, harmonics and picking.  By the way, I think the overlaying guitar in the chorus with the heavy effect is just hitting a B chord.  You really have to listen and play with this song a few times to get the correct rhythm. You can alternately tune the high E string down to D and it sounds really nice, but if you don't want to mess with tuning the below works just as well.

9-9

Bass Intro:
e|------------------|

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

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

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

A|--4-5-5>7-7-5<4-4-|

E|-5-5-5>>7<<<5-----|

Intro over bass (strum):

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

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

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

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

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

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

Verse:
e|-----7-7-7-7-7--7--7--7-7---------------|-----------|

B|-----9-9-9-9-9-10-10-10-9--12-12>13<12--|-----------|

G|-----9-9-9-9-9--9--9--9-9---------------|-14-0-14-0-|

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

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

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

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

B|-----9-9-9-9-9-10-10-10-9--10-7-10-7-10-7-|

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

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

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

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

Harmonics:
e|-----7-7-7-7-7--7--7--7-7--9-8-6--|

B|-----9-9-9-9-9-10-10-10-9--9-8-6--|

G|-----9-9-9-9-9--9--9--9-9--9-8-6--|

D|-7-7-9-9-9-9-9--9--9--9-9--9-8-6--|

A|-7-7-7-7-7-7-7--7--7--7-7--9-8-6--|

E|-7-7-7-7-7-7-7--7--7--7-7--9-8-6--|

Chorus:
e|-0--0--0---|

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

G|-8--6--4---|

D|-9--7--5---|

A|-9--7--5---|

E|-7--5--3---|

Bridge (Pick and slide):
e|-5--7--10<7<5--7----7---7-|

B|-3--5---8<5<3--5----------|

G|-4--6---9<6<4--6-4>6—4>6--|

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

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

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