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Contents 4 as eo ss 28 o7 55 36 49 78 ahh, omnes : “A ich €% Introduction by Wolf Marshall ... And Justice for All Blackened Dyers Eve Eye of the Beholder The Frayed Ends of Sanity Harvester of Sorrow One The Shortest Straw To Live Is To Die Mle, TABLATURE EXPLANATION TABLATURE: A six-line staff that graphically represents the guitar fin- . ‘gerboard, with the top line indicating the highest sounding string (high E). By placing a number on the appropriate line, the string and fret of any ote can be indicated. The number 0 represents an open string. mele gee eee Definitions for Special Guitar Notation ‘emo: Se note snd be TABPIG Fare Cup eet fee Monafo:tapicn vanes ‘tm igor pu oh te 2 Sthedorrentose ieee a PALM MUTING: the note fea by ne ghana nwnannnasnni {Secret PICK SLIDE The ng ona che ‘nebo Sonia ponrnsby ore Pekesan ay and como al Sconisowiasoee o— > = Soa Ronee Naame. ove si eon —— [= ure suasies (sma Noresh Sirgen ‘Seid rnb = Cy ped hearer ‘SON BEND: ke ew oes tcc Spagseme erst ee Gren reer See ete ‘3 cae! eee L355 INTRODUCTION PALLY AND JUSTICE FORALL In 1988, the leading heavy metal band of the burgeoning thrash scene is unquestionably Metallica Having taken metal into its next evolutionary epoch with 1986's Master of Puppets, their 1988 release ...And Justice for All represents the most ambitious, complex and powerful work in the genre to date. Metalica is notorious for creating some of the heaviestriffs foundin metal music, The timbral sound of theirrifs, ike the nature of the melodies they choose, is unmistakable. Thundering power chords, (made to sound even thicker by mult-rack layering), galloping palm-mute bass notes and vicious rhythmic accents played ensemble are obvious aspects of Metallica's bone crunching delivery and are heard throughout ...And Justice for All. The tonal relationships contained in a majority of their riffs (‘Blackened”: Rhy. Figs. 1 and3;"...And Justice for All": Verse rif; “Eye of the Beholder’ Intro riff and 12/8 figure: "Shortest Straw”: Rhy. Figs. 1 and 2; “Harvester of Sorrow": Rhy. Fig. 1) are striking and unusual. Frequently, the dissonance of atritone (b5 or #4; in E: Bb or Ad) is exploited forits expressive and emotional value. Since its early inceptioninpieces lke “Black Sabbath’ (Black Sabbath), ithas appeared in countless forms becoming a staple in heavy metal. Artists as diverse ‘as Gary Moore (‘Law of the Jungle"), Randy Rhoads (‘Over the Mountain’) and Anthrax (‘A ‘Skeleton in the Closet’) have employed this characteristic dissonance into their repertoire. Metallica seems to have taken the tension-building effect of dissonance to new extremes in ...ANd Justice for Allin the application of the three most dissonant intervals possible in tonal music: the tritone, the minor 2nd and the major 7th (in E: Bo or Aft, F4, and Dif or Eb). Note how often these interval relationships appear as either chord structures over an E (tonic) pedal orwithin ari melody. Inview of the evocative and poignantlyris, the use of these dissonances isnotaffected butactually, appropriate. ‘The musicon...And Justice for Allis distinguished by its complexity. Tempo, mood, feel and textural ‘changes abound in every track. There are radical fluctuations between half-time and double-time rhythms (‘Blackened,” ‘Dyers Eve,"*The Frayed Ends of Sanity’), sections of extreme contrast in. mood and tone juxtaposed within the same composition (‘One,” “Harvester of Sorrow’) and remarkable orchestral use of varied instrumental textures and layering ("...And Justioe fr All” *To Live Is To Die"). With regard to rhythm, Metallica's rifts are often accommodated by extra bars of 24, 3/4, 5/4 oF 6/4 to form interesting units of time span and some rifts (‘Dyers Eve" Intro in 4/4 + '3/4.0r...And Justice for All" Outro in 6/4) are built specifically to function in unusual meter. Concerning guitar orchestration in relation to form, Metallica displays a well-developed sense of balance, proportion and development. “To Live Is To Die" is apertect example. Beginning with an acoustic guitar section in which a mezzo-piano quasi-Renaissance consort quality prevails (Rhy. Fig. 1), itbuilds to a loud distortion-laden groove of power chords and chunky muting (Rhy. Fig. 2). Rhy. Fig. 3 is comprised of the palm-mute figure which gallops through power chords essentially derived trom Fi Phrygian (F## G AB C# D E). A Spanish moorish melody in octaves is introduced ‘over the repetition of Rhy. Fig. 2. The first theme (over Rhy. Fig. 2) is essentially a chord outining of the background F#5, G5 and AS (again the Fi Phrygian mode). The guitar solo which follows includes Randy Rhoads-ish toggle-switch flicking (tstbar), F# minor pentatonic (F#ABC#E) ideas (including single-note blues-lavored runs and double-stop bends, bars 2-17), b-dextral tap-on arpeggios which spell out F# minor and G major (bars 19-21: over Rhy. Fig. $) and a climax of tremolo picking in ascending scale form (bar 22: F# Loorian mode: Fit GAB C DE). Abriefrecap of the firsttheme leads to an interesting transition section in which the theme is played in 3/4 time, and then it sets up the second theme in A minor (3/4 time). This theme is stated by one guitar for eight bars and then harmonized in diatonic 3rds for the second eight bars. ‘Atimbral and dynamic contrast of a clean-tone chordal part (Rhy. Fig. 4) recalls the opening mood ‘but is now played on electric guitar—a clear piece of reorchestration. Again, this time after thrty- ‘wo measures, a solo guitar enters building towards a harmony guitar recap of the second theme, played first in A minor and then continued through the modulation to B minor. The ensuing recited lyrics (over Rhy. Fig. 2) form an eight-bar section which isthe only vocal portion ofthis piece. The coda includes a recap of the octave Spanish melody (from the intro) as well as both the first theme and hy. Fig. 2. The segue into ‘Dyers Eve" is a retum of the opening acoustic texture acting as an instrumental bridge. This type of complexity is rare in the metal genre and isa teing example Cf why Metallica must be seen as an important band in the course of rock music. The composing, arranging and orchestrating concepts which are familiar trademarks of thelr unique style are influencing the evolution of modem rock much as Led Zeppelin and Van Halen didin the 1960's and 1970's. Aword about Kirk Hammett: as a guitarist, heis ablend of the traditional and the ultra modem: gutsy andearthy on one hand, hi-tech and bizarre on the other. His inesborrow equally from ChuckBerry, Jimi Hendrix, Michael Schenker (note the use of biues-based double stops and pentatonic blues scale melodies inhis solos) as well as more sophisticated Eurometal influences like Uli Roth, Randy Rhoads and Ritchie Blackmore and the new “space rock" idiom represented by Steve Vai and Joe Satriani, Interestingly, Hammettwas a pupilof Satriani's andhas obviously incorporated the theory and exotic scale/mode principles which are hallmarks of Joe's approach. As a case in point, consider the solo in “Shortest Straw.” Note the diversity of techniques and stylistic devices atwork: artifical harmonies bent with the trem. bar (bars 1 and 2), scalar sequences (E Dorian: bars 4-6) and open harmonics (bars 7 and 8), blues ideas (bars 9-12), pinch harmonics a la Billy Gibbons (bars 13-15) contrasted with florid Eurometal scale sequences a la Uli Roth (bars 17-23), chromaticism (bars 25-27), jazz-inspired tritone arpeggios—reminiscent of a bebopish sax phrase—of juxtaposed E minor and Bb major triads (bars 29-31) and chordal outining of triad arpeggios (ala Randy Rhoads in “Mr. Crowley") on Fi major, G major, E major and A major which form a neoclassic modulating sequence (bars 33-40) as a climax. The closing bars of the solo are, contrastingly, song-like—arranged in simple singable phrases employing elements of contour, rhythmic imitation and melodic sequence. Also on ...And Justice for All notice the incorporation. of the Phrygian-Dominant scale in the guitar solo of “Eye of the Beholder” (bars 0-8: F# G A# BC DE). Thisis also a favorite scale source for Joe Satriani ("Surfing with the Alien": Guitar solo, for example. Metalica—Hammett, Hetfield, Urrich and Newste¢—have amended the constitution of heavy metal; *rad’-ied not by parliamentary procedure but by the voice ofthe people...And to the young public for which they stand, one generation, into rock, indivisible, with volume ...And Justice for All. Wolf Marshall BLACKENED Words and Music| vJames Hetfield, Lars Uti ‘and Jason Newsted str, se. fat me oh a Mote. Fa | nn ee ‘Slowly J= 72 woe geo x *Downsiemmea al Ea fitar is notated to the gt of dates a v ro a a w Nc, Play 3 times Rhy. Fig. (end Rhy. Fig. 1) Moderately fast Rock J= 182 Gs ES FAS New NOG) Pay 4 times Rhy. 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GS FAS ‘event iris ES chord agin ti [Wind effects) eed Lee . Nc. (ES) ‘ eo (Both gt.) catacean G5 PISNC. BS BbSN.C. GS FAS B95 Nc. GS FAS Ry Fig G5 FAS_NC_BS_BISNC. GS_FIS FS GS-FISNC.BS (end Rhy. Fie 1) Set 8 Csi ee “ ES Gs Rhy. Fig. 1A GS FISN.C. BS BIS NCGS FAS FS G5 F#5 N.C. BbS(end Rhy. Fig, 1A) =Psh a BS Gig e Gtr, IL N.C. (Gtr, Tout) (alight vib.) st Verse Nc EB My life mf - fo-cates. Trapped far be- yond my fate.— this life that 1_ for - sake Boon cheated of my—youth, E NC youll suf-fer un = 7 Guns Za {end Rhy. Fig. 2A) BS G FES NC. BS BIS N.C. GSFIS FS GSFISN.C_BS BIS NC GS FAS 4 Za pu. a PM. Choris Tr = za w/Rhy. Fig 2 BS G5 FASN.C.BSBISNC.GS FAS FS OF FIs NE BS BENG Os PIS wy. Fie 1A (lan + gee of — the mt) — ES GS FISNC. BS BISNC.GSFIS FS GS FAS N.C. BbS Gs 0. — : ESE Hr = veer of wow orig ROE 2nd Verse wiRhy. Fig, 2 NC E Ne. E NE. Eg NC. Pure black look ~ ing clear. My work is done soon-here. ‘Try get-ting back tome. ca bakchomia to be OMe) wt Ee at Gtr, 1ES_ J 5 8 Ne 6 Set L. 2 Dis-trib- u- tor of pain. Your loss be-comes. my gain. —— Prechorus w/Rhy. Fig. 24, Gee. 183_ NG ENCE NCE NGS ° ‘An-er, miner - y, you'll suf-fer un = to. me, Chorus w/Rhy. Fig. 1 w/Rhy. Fig. 1 BS GSFISN.C.BSBDSNC.GSFSS FS GSFISN.CBSBISN.C.GSFSS ES G5 FAS N.C. BS BDS N.C. GS FES Har-vest-er— of sor - row.. w/Rhy. Fig. 1A, FS GSFIS NC._BS BRSNC. GSAS ES G5 FES N.C. BS BISN.C.GSFES FS GSFISN.C.BISGS (Lan - guage of_— the mad.) @ematr, te LES oo cE Ne. es GS FHS N.C.BS BOS N.C.GS FES XS. on = a z pe gs D>. Goth at) feu Ot. Ore. 7 ae ES FPS OF ES 5a po Pu ints & 2 Ne ve hi = PMs PM PMs 3rd Verse Ne. ‘AIL have ssid thelr prayers In-vade their night-mares. or BS |—_———__ 8 Ne 6 noted : To see in-to. my-eyes You'll find where mur - der lis. . ES GS FAS NC. BS BSN, GSFHS_ FS GSF$S N.C.BS BSS NC. GS FAS (Spoken:) In « fan - ti cide. a = hom . # swiRhy. Fig, 1(2 times) ES GS FESNC.BSBISN.C.GSFS FS G5 FESN..BSBRSN.C.GSPISES GSFISNC.BSBISN.C.GSFSS Harvest-er— of sor - row. (Lan - guage of — the mad.) — wiRhy. Fig. 1 Play Ist bar only 10 times) ‘WIFI 1(10 times) Fs G5_FAS_NC.BS BISNC.GSFIS ES GSFISNC.BSBISN.C.GSFIS ES GSFISNCBSBSSN.C.GSFES et the mag LANE S0r- som. —— an = gage of the ma wi 2 Play 4 times "BS, ES ___GSFISNCRSBISNCGSFIS BS OsFtsNcasBSNCcsHIsd FA S72 Har-vest-er_ of sor - row. — er of sor = ro. JAMES HETFIELD La LARS ULRICH — 7 A JASON NEWSTED a THE FRAYED ENDS OF SANITY James Hetfield, Lars Ui ‘and Kirk Hammett BS css ee iB Bis Mosentenock Jie Ef =e tom TBs wi & oo Est Bhs ESM 54 BOS Oe ee eee le PY SPAT SPAT da Sm 7 NN = ees oh, Oh - ee - oh - ce oh one NCES) —BISNC BBS FISNC. FS. ES BOSNC. Bs: FESNC FS (Sing 1st time only) =( ES BISN.C. Bos FISNC. PS y.ES BbS NC. Bhs NC.(E5) _BISNC. BHS _FFSNC. PS.) BS NOES) BASNC BBS FESNC_FS BOSNC. BES. ics A IM. Patea gh PMe=o4 Senne te cme Deane ASCAP) TYoraieed Capt besos AIR Ras Ca Ist, 2nd, 3d Verses (Doubie'ime fee) (Gatetime feel) ys BS) as Biot NC BESNC. BBS FES. FS L.Nev-er hun-ger. Nev- er pros-pet I haveffall- en prey to fail - ure 2 Birth of terror. Death of muchmore. I'm the slave of fear, my cap ~ tor —— 3. In-to ruin Tam sink-ing. Hostage of. this name-les feel - ing. in a Pe Pans 1R, (Double-time feet) BS BISNCC.BIS FESNC. FS ES E65) As Strugele with-in trig-gered a -gain, Now the candle bums at both ends.— ‘Never wamings, spreading its wings as I wait for the hor-ror she brings Hel is "set free, flooded Il be, feel the un-der = tow in -side me.— in “Galtime feet) (Doubletime fel) (atime fel) BDSNC. BOS -FISNC. FS BS BBS AS GHS_NCQES) BISNC. BOS FISNC FS - ‘Twist-ing un -der schiz~ 0 - phre- nia. — = Loss of intrest, ques-tion, won der— = Height, hell, time, haste, ter =ror, ten ~ sion.— is (Double-time fee!) (Battie feet) BS BES AS_——GHS_—_NC(ES)BYSNC.BbS ISN. FS ES BISN.C. BIS FISNC. FS Fall “ing deep in - to de - men- tia—) Waves of fear, they pull me un - der—| Life, death, want, waste, massde ~ pres - sion. (Doubletimne feel) B5 GS ASNG.GS AS NC. GS Gf ASBIS NCGS ASNC.GS BS NCGS G45 AS pbs mu Pes Peal Chorus ES a on os_ofs asinsy J J age ego xl & Bs d a ole hab - its reap ~~ pear Fight - ing the fear of fear GS_GIS AS BbSY BS as FIs 5 Efe OH v2 oe 4 4 3 Z Fs Glow ae con aa By one a ere a ee ee ee zs bs G5_Gts_as BIS" cs! of DS DIS’ Gs_GHS AS Bis! J J 27222, Fee Bt ee eee g iu Fryed ends of san-i = ty. Hear them call - ing,— hear them call - ing (Haletime feet) NCCES) BISNC. BBS FASNC.FS BS BISNC. BBS FESNC. FS ES BBSNC. BBS FASNC. FS BOS N.c.BIS ig B Og 7 0 one . Dad Ger. 1 2s 2 un (na ine one 7 om on cts see os 5 I a2 22 (Drum 6) Gtr nm ‘and time w/Riff A (2 times) 3rd time w/RiftB uu BES Ret ? ou s Guitar 5018 F222 ay News os Sa Herm. n “ape aspr tert pra grr ureter wl prt Tee ree rer er TePTer TPP TPP ¢ ¢ 7 TyPh THE TA PEM TPE Ta FP TTY Ty PP OT Tee Ter Tee TR TER THE TEE TEE n Cait PHPAPHP HP An An An. Fn Ugg - (ma na) (Bi BS NC(AS) ™ ES FASC. As Fa » upwe Ful Fall pat Fu Gus. Play 3 times ir Em ps ES Em__DS ES Em ps _BS Em DS_ES BS aut t Tk ; 75 me Pate-+ (All gt.) WP WP Halftime J= 96 irs 1a. DS. al Coda NCGS) BISNC. BS FESNCFS,B BONG. BIS FISNCFS, BS Bhs NCIS ‘{ + F code ESM" bs G5 GS AS BIS” ESM Ds G5 _GES_AS BIS*'CS.C$5 DS DIS Noe ee eee ’ oH2.2 7 Fa foes Frayed ends. of san - i- ty Hearthemeall-ing. Frayed ends. of san-i - ‘Her them call = ing, — bletime J 192 cscs asmis Bite al NCES) BISNC. Bis FISNC FS ES BISNC. hear them call-ing Bbs FISNC. FS, ES BIS NC. Bos FIs NC. FS, ES BbS NC. Ss Bis NC. BISNC. Bos NC. FS ES BbS NC. a Bibs FISNC FS, BS BISN.C. Bbs FISNC. FS, BS 8 2 rm Play 3 times Nc. FAS ES ig Em DS ES Em? ps BS Em? DS ES TO LIVEIS TO DIE Words and Music James Hetfield, Lars Ui ‘and Ciff Burton Mis Gs BA, gar? am te AS BS on Ra : sn, F a i Hy ew Nc.Em) Stow ) =56 Ne. Rhy. Fig. t HP Slam, CYC Sealer rea Haga om Te, ee (Dros enter with 6 note sare htt = 100," 12 fom. which at for quien of 3 bss t= 56; ea Fa, Fig 1) SERA pay mated open nine - v: Fig Dare) "Sow Rock J=100 mia i Rhy. Fig. 2 (ee) FF jade ou p eto a a FHS GSES AS FAS GS-F#S AS FAS GS FAS AS FAS GS FES ASN: (nd Rhy. Fig. 3) copy ©1098 rer Death Mik ASAP ri een ag 0s Cae Sa te 8 "ioatind Cayeh Seam Al ais Reed 45 GS FES _AS_FASGS FHS AS FES G5 FAS AS_N.C. FIs Gs__FAS AS w/Rhy. Fig, 2 (2 times) oe, y BSFIS G Ft ES FIS A oc oF at 7 is Gua et PIS) AS IS CS, BS AS FAS AS FAS . cts ,_CS ps 2nd time to Code As FAS as FAs tg BSH Ag A Sa FAS cs, BS 155 AS, FAS W/Rhy, Fig. 2(2 times) ' conv FP mw ESFIS Gna oR ESFIS A co A Ges & FISGS__FES_AS FHS_GSFISAS_FIS GS FES AS N.C. ayy aaa Tee Stan EN cats ere) bere! spprPreeel " me Bs Guy ee = rad. bend oid bends 172 Ful “Fi tome wich a spcled tigi bobrece eck (N) pckyp and bigs (B) pickup: um volume {o'zero on nck pup so ences produced when ‘icing switch vo tat pup. c A ru, FR, Bs FS “hu a AL AE st # A z BS FIs A c Ft REE BEL: wiRhy. Fig. 3 Pisa cs rts) As Fis os FIs AS ‘ep Tee ,rPP TPP Ter TP yer TPP Se SSH SS SE SSE TpR TEP TPR TER TPP TER TER TEP Re Se SS ‘Tp THR TP TPR TER TPP TEP TPP w/Rhy. Fig. 2(2 times) RUS... SS. FIS_AS_FIS. G5 FAS AS Ne Fh aco Piva ss yep ,TeP Ter teP TPP TPP TPP TPF = ak ar pa ot a Se SEE SS SS Tee ThE TE Tee TER TEP TPR Ti co Rw ES RIS A e Ft BS FAS WPF ? at ms wes A on sa Seal co -w/Rhy. Fig 4 (Ist 7 bars only) Os. @ome (cod Rhy. Fit 4) Am EG Em DG Lr —— ee Guy ® (ooth notes vib.) 2 Ore, am Am Gee Tw, 4 Boerne tr E Th, MIF (4 Times) An : Riy.Fes En Hu (end Rhy. Fig. $) w/Rhy. Fig. 5 (2 times) Gu. Am wu 6 Em Dm/F w/Rhy, Fig. 4 (2 times) Ger Itt Geren Gere Fs rs ag a ¥ tH Ta. on ight Gi “Tb no on eft = Gt WV. Ost Ost. or « Dc. Em DG Am a Gv Guilt (both notes vb.) ewe o Geom Om, at Om 3 om ome AS E_G AS E__FE Gsemn E 2 Ata 4 ATA ds TO TE Ort. @orm Oat at, (oth notes vb.) rasa oo 4 579 x“ 4 a 59 2 (Three FAS a Dd I Owen) ourgts) 88), or W/Rhy. Fig 2(2 times) Ft ES FIs G Ft Bs FIs (Spoken:) When a man ties, he murders some part ofthe world. These are the pale A G BS FIs G Ht deaths which men miscall, their lives All this Feannot bear 0 witness any —_Tonger. DiS. al Cod BS FIA G Ft Cannot the kingdom ofsalvation take me home? Gtr SL coda FHS cs FIs As 16S FAS Se ———_——C“‘“EEUCC ad Je ir. TV ey Lo c ee ee ee ee eT) F ES FES G ra BS FAS A GF SFIS G Ft ESFIS A crt ‘Slow J =56 Gers. I1& If cont. Rhy. Fig, 6 at Br Geet Jota sony ngs gS Ee ade in) Listy =p “ag me Ls D. Hp NC. Em) ‘Segue to “Dyers Eve” DYERS EVE Words and Music| James Hetfield, Lars Ul ‘and Kirk Hammett Bvt BS GAS BGs ps ESD pgm) FAS fg ei me me im hg igi ; a ‘Moderate Rock 4= 102 Half tme fel Intro Nc. ES FS BS os BS FS BS FS oe fimo Bs Bs FS BS Goes es BsS_NC. Rhy. Fig. 1 FS (WC) BS os ree Fast Rock J = 194 (rm su) BSNC Bs Fs NC ps tend Rhy. Fig 1) gs ra Rhy.Fig2 ___C5.BS_A6 BS Ne. SBS AG BS NC. CS BS AG BS NG BS NC 3 BS AG BS NC. cs Bs AG BS NG cs BS AG OBS NC (ond Rhy. Fig.2) BS GS ES GS ES Gs BS Gs BS BS NC PP PP Pe, e PP v! Bs NC um & eee wo girs) PP Pro wiRhy. Fig. 2 BSN. CSBSAG BS NC. CSBSASBS NC. CSBS.A6BS N.C. B+ Ne. CSBS AG BS NC CSBSAG BS_NC . 2 F222 “and time play 13D on beat 2. iy 2nd. Verses te as Bs cs #3 5 me aot ee Sat pene et Le SS eS Deer Mother, dear Father — meee ee eet Dour Mother, dear Tine tes fos en SL wings Bt "Wo be Dar Mother dear d-den tm your word. youve made for me as ES Gs a g 5 oo 2 Bo = tev = es, de - ceiver Day in, day out, Ie my ife_ for you Hear noth ing, sy noth” ing—— Cannot fac the fact Think forme Tm seeth- ng, Tm bleed - ing —— Rip-ping wounds. in| me-— that nev et eal, To Coda Hs & & es a Pushed on- to me what's wrong or Hidden ‘No fiar-an- tee, Ii But damn you Un - Gy -ing spite T Living HC wihty F214 2banony) Do Ad Bene csDsAeRs NC. 5516 ea lite. Deer ear Fa-ther— chance, Dear Mothoer, dear Father — 6s as BB Fors = Ey - ty thought I'd think you'd dis - ap-prove. Cur = ator, dic = ta ton— = You clippedmy wings be - fore 1 leamed_ to fly. Un - spoiled,-un - spo~ ken.— g ¢ $9 _ ‘Al-wayt cen - sor - ing— my ev = “ty move, Chil- dren are seen but_ are = Tve out’ = grown that fuck = ing lull - a= by. Same thing I've al - ways heard — ef om Bs aS 3 — not heard. Tear out ev = ty - thing in = gpl = ed Strom you Dos I sy not # I do w/Rhy. Fig. 2 (Ist 4 bars only) BS NC. C5 _BS AGBS NC CSBS AG BS NC (SBS AG BS NC BS GS ES GS _BS BS NC cs el es cee es Tom from me— with - out your shel ~ w/Rhy. Fig. 2 (Ist 7 bars only) BS N.C. (SBS AS BS NC C5 BS AG BS NC. CS_BSA6 BS N.C Ot. 3 2h He. 2. 36. 2. BCR C hes log rie Be ae BS NC. CSBSASBS NC. SBS AG BSC. CSBSASBS fx. wiRhy. Fig. 1 Play 3 umes 2 A pyerm pytom) 1 C5.BSAGBS NCE), CSBS wif. Fie 4 NGF) GS FESO? Be RES s . BS_NC. aed NC.(FS) Gs FESR Be FISH NED Gs FES) BG FESR oe coma ema Be FNS NCH cs rises Fis [FB ema) conalt NC eh os HS) es ORS NCE Noch ome, NCE) cs “FAS Be Pps Ba. let ring omy coma, NCH Gs pom 6 FHS NCH) Gs FES 6 ORES Soa. tocot_? Faseme) Fim os Ncw), FAS JF) FT) SH 3— ps 3g ° ITD mnty. Fig take 2nd ening) coe ween ph NCE canes FMM ES FAs ") Purr ure ra pr opr PPHP PHR PREP 2» ra Ffstomn FAS 5 NCH) G5 FASO Bs NCH) Gs_Fis® Tite PP PP PP H Pew PPR PP PP PP a PP PP PH ‘w/Rhy. Fig. 3 (Ist bars only) NCE) FAS FASO? co es = 4 FD meowe | we PEP TEP Tee Ter Tee aRGIAN top tee Tee Tee TER fe NCE) FAS ps AS rer itr pate = ree ree teary PAF os BRAD ART SAT, oe np eee Deas He PHMMP PH puun e r Moderate Rock J =168 Nc.) FSBS D6 ES NC) FSES D6 ES Ruy. Fis eS = SSE Heeu eee WHPPH APE = ak NCE) FS_ES D6_ES NC. Bs FES D6_ES FS NC) FS_ES De ES FS_ES D6_ES NCS) (end Rhy. Fig. 5) Bridge wiRhy. Fig, 5 NC.) FSES DGES NC @) FS ES DES NC @) SES D6 ES_NC Low Tm in hell with-out you. Can - not cope — without you two. = FSES 6 BS NC® BSS Ds Es BES D6 ES — Shocked at the world that I see. In = no- cent vie om eer ei FRIIS eo w/Rhy. Fig. 1 ES ES FS NG ES cs ES FS ONC BS ONG Ario-=