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GUNSN?ROSES
[?tilluffiffiilfiffi]I0
C 2 Introduction
byWolfMarshall
3 Performance
0 hyAndy
llotes
Aledort
I Tablature
Explanation
N BOAnything
Goes
r5 It'sSoEasy
T 36 Mr,Brownstone
5 l MyMichelle
E 20 Itlightrain
30 ()utTaGetMe
N 4I Paradise
BB Rocket
City
Queen
T 65 Sweet
-4
)/
Child0'Mine
ThinkAhout
You

S
-
J WelcomeToTheJungle
41.
/ ) You're
Crazy
M a n a g e m ent: S travi nskiB rothers/A l anN i ven
T ra n s c ri bedby JesseGress
E d i t e db y M a r k P h i l l i p s
A r t D i r e c t i o nA: l i s aH i l l
P r o d u c t i o nM a n a g e rD : a n i e lR o s e n b a u m
A d m i n i s t r a t i o nD: e b o r a hP o l e t t o

IS BN :0 -8 9524-386-5

C o p y r i g h to 1 9 8 8C h e r r yL a n eM u s i cC o m p a n y ,I n c .
I n t e r n a t i o n aCl o p y r i g h S
t e c u r e d A l l R i g h t sR e s e r v e d

A P P E T I T EF O R D E S T R U C T I O N i s a v a i t a b t oe n G e f f e nR e c o r d s ,
C a s s e tte sa nd C ompactD i scs.
 N['ROSES
CTJI\S
t?lilffifilfi[[$Iil[TI0|[
lntroduction

GunsN' Rossssmergsdlromths tulbulentyst fedileL.A.clubscenewhichwasth6spawninggroundfor VanHalen,Quist

RiovRandy Rhoads, MotleyCrue,RattandPoison.Beginning witha smalllocalundergoundlollowing,lhey rapidlygarnored
a greatsrpublicawarsnesswith thsir raw no-nonsonss soundand enorg€ticrock 'n' roll feel. Thsir appsarancsand
subsoqusnlpopularityin 1987was concurrsntwith a psrcoptibl€shift in audiencetasletowardsmoredirectand moro
emotionalforms of rock- a reactionagainstthe slickover-calculated
pop/rockandthetgchnically demanding metallusion
ofthe garlyandmid80's. Inthisr€gard,GunsN' Ros€sadvocateanddelivera musicalpresonc6 whichislho voryssssnce
of rock- rebellious,
immediate andovocative. Themusicinvites, indeedinsislson,audienceparticipationandinvolvemont
on a pur€lygutlevsl.

Thssoundof Appetllalor Destructionrcveals an svolutionary linkwithth€beginnings of modernrock.Sprinklsdthroughout

theGunsN'Roses otferings areallusionstowell-eslablished andunmislakablo'60's blussrools.Thevocabularyolthe bluss/
CrsamandL€dZ€ppelinis appar€ntin thoguitarworkof loadguitarisl
rocktraditionof the Brilishdynastyof ths Yardbirds,
Slash,whi16 therough,aggr€ssiv€ rhylhmworkandpowerhouse songrifisshowtheinfluence ol lhs Kinks,sarlyStonesand
Aerosmith.Thesecentralelements coexistwithhintsol punkrock(inths pronounced chant-talkvocalapproach oftheverss
in "lt'sSo Easy"andthe unabashed explstivesfoundin ths lyricsol "You'r€Crazy'and"OutTaGet Me"),'60'spsychodelic
music(inthe raveupjammingof the rideoutoutrosolool "ParadiseCity"andguitar-gsnsrated soundeffectsin thesecond
guiiarsolo/intedud€ ol "Welcome to theJungle,'inwhichstratospheric slidsguitaraddsa spaceyqualityto theproceedings)
and vintageheavymetal(in lhe drivingrhythmgrooves,sustainingdistortedguitartonesand viscoralpowsrchording
throughout).

of GunsN' Rosssaressssntiallyrilfbasod.The ritf,probablythe most

As invirtuallyallclassichardrock,thecompositions
lundamental structuralcomponentin rocksongwriting,is generallyconstructed
froma strongrepealingthematicunitwhich
succssdsin grabbingtho listensrwith its accessibility
and immediacy.In tho musicof GunsN' Roses,ths riflsare well
constructed - theircompactness makingthomidealforelaboration.

Ths guitar orchestrations and harmonizations are remarkablo.Noticein "RockstQuesn"the mslody-versus-rhythm

counterlinesin the intro,slideguitartimbrosin thesolo,andths numerous textureanddynamic settings employed - lull
forte€nsemblo, spaciousarona-like guitarandrhythmacc€ntaccompanimont, andcleant0nepickodarp€ggiated guitars.
The harmonized guitarlinesare oftenunpredictableandinteresting,
exploitinga numberol intervalr€lationships.
Noteth6
ambivalence belweenmajorandminorintheparallslharmonyof "Wslcome to th€Jungle'aswellasthevari€tyoflrcatments
appliedto the introritfol "MyMichelle,"
froma lighlairystatemenloverquasi-rubatoguitarchordalarpeggiations at rnezzo
toneto a Ioudmetallic answerphrase(reminiscent ol earlyBlackSabbalh) harmonized in unisonandthenparallelthirds.

Indiscussing hispersonalguitarapproachto theGunsN' Rosesmaterial,leadguitaristSlashadmitsto a prsfsrenc€ for im-

provisation.Citingguitarists
JeffBeck,JimmyPags,EricClapton,PetsTownshsnd, Jos PerryandAngusYoungasprimary
influences,he leels an extemporaneous planol attackl€ndsmorelife andenergyto the music. Slashgenerallytendsto
elaboratoon andre-develop lhe solocont€nton stago,exceptfor his"signatur€ solos'(thosemomentswhichoriginally0n
recordproduc6da deliniter€cognizable thematicimpression.)A definitiv€exampleof hisleadguilarplayingis the€xtsnded
outroin"Paradise City.' Her€,hebuildschorusuponchorusol relentl€ss guitarimprovisations
overafiorydoubls{ime rhythm
fael. Startingwithimitativeparaphrasing of the vocalchorusmslodyhs continuallygathersmomentum, finallyreachinga
highenergy climax€mphasizing fastrilfing,
varlous majorandminorpentatonic, blu€sanddiatoniccombinations andsinswy
stdngbsnding.

An importantpoinlotferedbySlashwasmadeln rsgardto compositionalt€chnique. Thebandwritestogsther,poolingtheir

collectiveresourcesand influences,resultingin a multi-lacetad yet coh€siveoutpul. BassistDutf"Rose"McKagan,lor
example, havingproviously playsdin a punkgroup,brought to thetune"ll'sSo Easy."lzzyStradlin'
hisinlluence (second
guilarist)andSlashoriginallycreatedtheritlot"Mr.
Brownstone" onacousticguitars,andthetimbreofwahwahslectricguitar
evolvedlater. Thslirst drattof "You'reCrazy'was initiallyplayedon acoustlcguitarand at a muchslowerpace(almosta
half-timoshutfle)but€volvsdintotho uptempoboogie-m€ets-punk groovscaptursdontheLP. Th6reis constantrethinking
andexperimentation at workwithinthsirarranging andcomposing lramework.

ForAppetitelor Destruction, helavoredhis"GibsonLesPaulandoldMarshallhalfstackwitha minimum

Slashrecalledthat
ofelfects.'Occasionally,achorusunitwasaddedsparinglytoprocesscleanerguitarpickingpassages(a
"ParadisoCity")oravinlageDeanMaftl€ytalkbox(whichcanbehsardtrading "Anything
phraseswithstraightguilarin coes')
or a crybabywah wah pedalwas usod(as in "Sweol ChlldO' Mine"and "Mr.Brownstons").

-Wolf Marshall
CUNS
N{'ROSES
\?ltlllttilfiffi$l[lltTl0|[
PERFORMANCE
NOTES

GunsN' Roses'soundcan be describedas a crossbetweenLed Zeppelin ParadlseClty

rrlyAlicecooper,playingbasic,straight-ahead rockwithaflairforthebizarre.'tne
soundis primarily.straight-jacked GibsonLes paulsthroughMarshallamplifiers Thistunebeginslikea countrytune,arpeggiating firstpositionchordforms.
I l e l n t h e w a y oef f f e c t sw
. hetherplayingcleanrhythmpart-sormaximum-crunch Use a combinationof alternatepickingand consecuiivepiCking,whateverfeels most
thesoundis rawand natural,as opposed_to theuntra-processed soundso many comfortable.RiffB is basedpriinarilybnG pentatonicm'alor1G,n,e,D,E).Again,the
ands..use today.Tf 9 musiccomesout of early70's biuegrock,relyingon blue6 guitaris pusinga lot of distortion,soundingoccasionalartificialharmonics.hiff D is
rlterations andestablished metalhooks,as wellas somenewtwistdof-theirown. basedon G pentatonlcminor(G,Bb,C,D,F).
f th_e guitarsolosarebasedon pentatonic minor(1,b3,4,5,b7)andthebluesscale The guitarsolo featuresthe use of an octavedividerwhich doublesall the
4rb_5F&7)as well as pentatontcmajor (1,2,3,5,6)anil the major scate notesone octavelower. The solo is basedon G oentatonicminorfor bars 1-4 and 7 &
,4,5,6,7). 8. Bars5 & 6 are basedon A pentatonicmlnor(A,C,D,E,G).
ThedoubletimesectionagainfeaturesG pentatonlc minorandG pentatonic
W e l c o m el o t h e J u n g l e major,and the solo guitaris playedin the styleof classicblues/rock,reminiscent of
LynyrdSkynyrd's"FreeBird"outro.
. This tune beginswlth mutedpicking,utilizingan echodeviceto simulate
ll! lgles. Thetonaliryhereis B mlnor;Gti. l's riffisbasedon B pentatonlc minor My Mlchelle
:,Ff ,A),as is thesoloingof Gtr.ll. Thisgivesway to theverserfiythmpartbased
); tne soloing In the last bar of the intro is based on the A blues scale The bestway to articulatethe openingarpegglosis to hold eachchordform
),Eb,E,G).The riffoverE5 at the end of theverseis basedon the E bluesscale tlroug! each beat and use alternatepicking. Ritf A ia based on the F# blues scale
I t t h ef i f t h( E , G , A , B b , D ) . (F#,A,B,C,#,E),againemphasizing
The firstguitarsolohasan E7 tonality,as Gtr. I utilizesdoublestoosmaoe the bs(C). RiffB harmonizesRiffA a majorthird
up. The fourbar sectionbeforethe guitarsolo (after"...Buttill thenya better...")i3 based
:hlrds,fifthsand sevenths.The secondhaifof the solo(bars5-8) is reminiscent primarily on F# pentatonic minor(F#,A,B,C#,E);usethethirdfingerto fretbothnotesin
my fqqe.andis basedon rhe E btuesscate1e,e ,A,AO,B,D) with'briefuse of the barthrse.Thefollowingguitalsolois basedprimarilyon B pentatohicminor(B,D,E,F#,A)
third(G#). with briefreferencesto the G5 chord. Barfourand fiveof thecodarecallrock'n'rollrave-
, The bridgeintroduces a newtonality,D major,wherethe tunecalmsoown ups of old,especiallyEddieCochran's"Summertime Blues."
leforereturningbrieflyto E7. Thisis followedby the semnd guitarsolo,thistime
# minorandtheselinesarqba!"! o_n C#pentatonic minor(C*,8,F#,G#,8)forthe
x bars,E Mixolydian Thlnk About You
(E,F#,G#,A,B,C#,D)forthe nexttwobdrs,B bentatoni'cminor
: bars,E bluesscalefor two bars,and B pentatonicmajor(B,C#,D#,F#,G#) for
rrs. Thi.s gives way to-somead lib soundeffectswith slid-eand echo,foildweijby
maticriffharmonized firstbya minorthird,thenby a majorthird,eventually gettinil . Th.eopenings.o^loing_.lines
here are like revved-upChuck Berry,playedin a
ta.g.
teamfashionby Gtrs.| & lll. The rhythmpartovertheverdecombineschdrdlccents
o the chorus.(ligqeqcloselyto the recording - to-hearthe differenttonesuied b! wlm mutedrggJryqe!; playit so you can distinguishthe rwoclearly,diggingin to the part
ythmguitars,whichfattenup the sound.) as a whole. w. Axl RosesoundslikeKlausMeineof the scorpionson tn'istune. Rhy.
FiO.1and 1A complementeach otherwell, powerchordssupported '' by argeggiated
ll's So Easy triads;use a clean tone for the triads,crunch for the chords.
.llqgg11ar-solo containsmore Chuck Berryismsbased on F# pentatonic
The intro,verseand chorussectionsof thistuneare basedon the E blues mlnor(F#,A,8,69,E),No flamingspeedriffshere,just btd fashionedrock 'ri' roil.
(E,G,A,Bb,B,D). Afterthe inrro,one guitarptaysbasic,,5"chords,supportedby T|r"
,, ...
"Michelle"), soloingat the end of this tune is basedon B pentatonicminor(see
rnd.gultar.playing doubtestops.The oiidgeuriti2es arpeggiated cnbroii,vimopen playedin the standardpentatonicpositton.
i; ailowail tonesto ringas longas possible.Thisis followedby a rhvthmoartthat
rriationon Rhy.Fig.2, usinga similarsyncopation but differentciiords.' Sweet Chlld O'Mlne
Theguitarsolois alsobasedon the E bluesscale,primarilvin 12thposition.
ttack.,is,similar to.AngusYoungof Ac/Dc, featuringthb soundon hunibucking RiffA is basedon D Major(D,E,F#,G,A,B,C#)
)s with heavypicking. and is ptayedon a Les Paul
,,rakes,,'which seton the rhythmpickup,with the tone turnedway down. The grooveis more laidback
. Theoutrosolobeginswithphrasesfeaturing meansto strum thanmostof the othertunes,kindof countryish and reminiscent of U2;the vocalpartis
s r n g roeo w n p r csKw e e pa c r o s sm u t e ds t r i n g s , l o w
t o h i g h .T h i ss o l oi s a l s ob a s e d remlniscent of GrandFunk Railroad.
, E 0luesscale,with momentaryuse of the sixth(C#)and the major
third(G#). The gqltarsolosectionbringsa changein tonalityto E minor,and the solo
llnesarebasedon E Aeolian(E,F#,G,A,B,C,D),with briefreference to E harmonicminor
Nlghtraln (E,F#,G,A,B,q,D#).
"l'd Love.ToChangeBars 25-32recallAlvinLee'ssoloingon Ten YearsAfter'sclassic
the World."The lastpartof the tune containssomefast soloing
The intro featurestwo guitars,one playingsinglenote lines,the other basedprimarilyon E pentatonicminor(E,G,A,B,D); the quintuplet riffis actuallya foui-
3 t r i a d s .T h es i n g l en o t el i n ei s b a s e do n A D o r i a n( A , B , C , D , E , F # ,uGn)t i lt h e G notephraseplayedas fastas possible,so the phrasinglooksa littleconfusing.Listen
( b a re i g h t )w
, h e r et h el i n ei s t h e nb a s e do n G M a j o r( c , A , B , C , D , E , F #r e) ,s o l v i n g to the recordto determinehow the guitaristis feelingthe phraseagainstthe beat.
Therhythmpartfortheversesectionsis basedoh chunkingchordswltha muted
rsedon A pentatonic minor(A,C,D,E,G).
Fill 1 featuressomeartificialharmonics(seetablatureexplanation page).
ru.l.s and similar-guitars withhumbuckingpickupsare greatfor'achieving'tn"es'e You're Crazy
s (Just ask BillyGibbonsot ZZf op). TJrefirstfivebarsof the chorusrhythmpart
iniscentof the chorusrhythmpartto Zeppelin's"BtackDog." This tunesoundsa littlelikeACiDC meetsBachman-Turner Overdriveon
Zp. QimpJg, straight-ahead rock'n'rollplayedFAST.The eighrhnoresin rherhyrhmpart
The guitarsolobringsa shiftin tonalityto B minor,andthe solois basedon shouldallbe downpicked;
:atonicminor(see"Jungle")for the firsteightbars. The nextsectionis basedon thiswllldefinitely takesomepractlceto getdown.Thechorus
rlyJnm part is reminiscentof a San Franciscorobk 'n' roll-band of yesteryear,
rrsof D follorrued by two barsof F#5,whicfiis repeatedthreetimes.D pentatonic Rhinoceros.
( D , E , F # , A , B )ui ss e do v e rF # 5 . T h e o u t r os o l oi s b a s e do n A D o r i a nc o m b i n e d Theguitarsolois basedon B pentatonic
reA bluesscale(see"Jungle.') minor(B,D,E,F#,A). The riffin bars
9 - l 2 l s t h e s a m e a s w h a t : J i m m y P a g e p l a y s a t t h e eh
n idso" fH e a r t b r e a k e r " s ol lt om. a y
taKesomework to be able to hold the bend and apply a strongvibrato.
Out Ta Gel Me
Anythlng Goes
This AC/DC-liketune b-eg.1ng with_aG minor tonatity,with the lead guitar
theG Dorianmoqe(9,Arqb,c,D,E,F).The doubtestopsin the sotoare piayed For the intro, one guitar plays a little riff based on the chord tones of 47
ting bothnoteswithrhethirdfinger.The guitarsolois basedon the samescale (E,G,C#);thisis.averycommonshapein rock,usedby Jimi Hendrixin the openingto
iesthesamethirdfingertechnique.Thissblois particularly reminiscent of Angus "RedHouse."The otherguitarplays
linesbasedon A-pentatonic minor(A,C,D,E,G).
t,with ths fast,tightvibratoand hard pickanack. The seLondhalfof the sot6is The guitarsolo featuresa tonalitychangeto E minor,with linesbasedon'E
on A pentatonicminor(see"Nightrain'). pglJ?tql!c_lllngr(frp,A,B,D)with the inclusionof tfie sixth(C#)and E pentaronicmajor
(E,F#,G#,B,C#). Working back and forth between these t'irioscales is a commbn
Mr. Brownstone practicein rock, broughtto the fore by Eric Clapton. Bars 5-8 featurethe use of a
'talkbox,"a devicewhich amplifies
The returnof the "Bo.Diddley" the guitarthrougha long, thin tube held in the
beat,augmentedby mutedstrumming on
"The guitiarist's mouth,enablinghimto_shape thetonephonetically (si-milar
o a wahwah pedal
wlth wah wah pedal. Followthe symbolstb rock ths pedal mrrectly. but to a muchgreaterdegree). The sound is then plckedup by a microphoneas'if the
ndingriffby Gtr.I is notbasedon soundingprecisepitches;just slideyour finger guitaristwere_slnging. The secondhalfof the solo is basedpiimarilyon B pentatonic
downthesixthstringwhitepickingsixteenth, and thenslidebackup. Rhy.Fig.1 m i n o r( B , D , E , F # , A ) .
sdon E Dorian(E,F#,c,A,B,c#,D) wirha majorthirdadded(G#). The riffin bars The last sectionof the tune featuresa feel changeto an uptemposhuffle,
thechorusis basedon E pentatonic slmilarto but slightlyfasterthanthe Doors'"Roadhouse Blues."The lastriffin the free
minor(E,G,A,B,D). The guitarsolofeatures sectionls basedon the D bluesscale(D,F,G,G#,A,C).
in tonalityto F#5,withthesololinesbasedon F# pentatonic minor(F#,A,B,c#,E).
)undls fanenedup withwah wah pedalandecho.Thlsis oneof the moredifficult
so workout the phrasingscarefully.The secondhalfof the solois basedon G Rocket Queen
: o n l cm i n o r( c , B b , C , D , FC
) , p e n t a r o n im
c i n o r( C , E b , F , c , B ba)n d D p e n r a r o n i c
(D,F,G,A,c)in thenextthreebars,respectlvely. _ RiffA, as well as the ostinatosoloingduringthe firstverse,is basedon
All riffsareverysimilarand use F# pentatonicmlnor (F#,A,B,C*,E)withgrace notes us-edfrom the minorthird (A) to
me basichandpositionsand manioulations. (A#).,Over the 85 and C#5 chordthe lead guitaruses B pentatonic
the.maj_or_third
major(B,C#,D#,F#,G#) and C# pentatonicmajor(C#,D#,E#,c#,A#),respectively.
The slideguitarsolo uses triadsuperimpositions primarjly,muchin the
Jeff Beck style (as in the bridgeof "Beck'sBolero").
The soloingduringthe outro is basedon E pentatonicmaior
(E,F#,G#,B,C#), which-istheEameas C# pentatonicminorstartingfrbma different
note(G,E,F#,G#,B).Bars 13-15utilizethe E majorscate(E,F#,G#,A,B,G,D#),
whichis the sameas C# Aeolian.Sometoughphrasinghere,so analyzethe lines
carefullyand listento the record.
-Andy Aledort
 TABLATUREEXPLANATION
TABLATURE: staffthatgraphically
A six-line theguitarfin-
represents
gerboard,
withthetoplineindicating thehighest soundingstring(highE).
By placinga numberon theappropriate line,thestringandfretof any
notecanbe indicated. Thenumber0 represents an openstring.
1 s rs r r i n g- H i g hE
2nd string- B
3rd slring- G
4th 6tring- 0
sth string- A
61h6tring- Low E
sth Elrlng,3rd fret 1st slrlng, 15th frot, €rnoosn E chord
2nd strlng,15thfrot,
playedto€ethol

Definitionsfor Special Guitar Notation

BEND: Strikethe note and bend up
': VIBRATO: The string is vibrated by TRILL: Very rapidly alternate TREMOLOBAR: The pitcl-
Steo(one frel) rapidly bending and releasing the between the note indrcated and the n o t e o r c h o r d i s d r o p p e da
note with the left hand or tremolo small note shown rn parentheses by n u m b e ro Js t e p st h e n r e t u r
l l
bar. hammering on and pulling ofl. o r i g i n apl i t c h .

BEND: Strikethe note and bend uo a TAPPING: Hammer ("tap") the fret
whole step (two f rets) WIOE OR EXAGGERATEO indicated with the right-hand index
VIBRATO: The pitch is varied to a or middle finger and pull off to the
greater degree by vibrating with the note fretted bv the left hand.
lelt hand or tremolo bar. PALM MUTING: The note
muted by the right hand lig
l o u c h i n g t h e s t r i n g ( s )j u s t
bridoe

BEND AND RELEASE: Strike the

note and bend up r (or whole) step, PICK SLIDE: The edge ot the pick is
then releasethe bend back to the SLIDE: Strike the first note and then rubbed down the length of the string
orgrnal note. All three notes are tied s l i d e t h e s a m e l e f t - h a n df i n g e r u p o r producrng a scratchy sound.
only the first note is struck. down to the second note. The
second nole is not struck

MUFFLED STRINGS: A pe
sound is produced by layir
hand across the strings wrl
depressrng them and stnki
with the right hand.

P R E - B E N DB: e n dt h e n o t eu p
w h o l e )s l e p ,t h e n s t n k e i t . SLIDE: Same as above, excepl the
second note ls struck.
I I r,rr I rtllr

RHYTHM SLASHES: Strun

In rhythm indicated. Use c
voicingsfound in the finge
NATURAL HARMONIC: Strike the diagrams at the top of the
note while the leJthand lightly of the transcription.
touches the string over the frel
indicated.
IIurnr.
:
PRE-BEND ANO RELEASE: Bend HAMMER-ON: Strike the f irst (lower)
note, then sound the higher note
the note up '? (or whole) step Strike
rt and releasethe bend back to the with another f inger by fretting it
ongrnatnote without picking

I : ( ( ) r I r i r l)l

ARTIFICIAL HARMONIC: The note RHYTHM SLASHES (SrNG

is tretted normally and a harmonic is NOTES): Single notes can
produced by adding the edge of the rndicated rn rhythm slashe
lt thumb or the tip of the index finger circled number above the
oJ the right hand to the normal pick indicates which string to p
PULL-OFF: Place both fingers on the attack. High volume or distortion will successive notes are playe
UNISON BEND: Strike the lwo notes notes to be sounded. Strike the first allow Jor a greater variety of same stflng, only the f ret r
srmultaneously and bend the lower note and without picking,pull the harmon rcs. are given.
note up to the pitch of the higher finger off to sound the second lir. ,pen @
@.trt
I:uil
(lower) note.
C B A (
I
| - t z \ l-1 .
- ) ' ) 7 )
lU--
 wErc0ilIE
T0THE JUr\GrE
Words and Music bv
W. Axl Rose, Slash-,
lzzy Stradlin',Duff "Rose"McKagan
and StevenAdler

ts A G5 A5 B5 D G D7 GIII cf 5 A5rl
X O X
i8in 'r%' xxo /---\

ffi ffi'"m m*ffi

x
FFFFF
Ffffi1 i+Yrtl
nlrf ffi
1
"34 ffiffi
,' 'iii
bi,'ii
Iune down tr; step: E5 F*s 2)
F5 G5(t)Pe cils Bbs

m'"
@ =E i O = c b O xxx kxx
O= AbO= sr'
@=SO=eb
ffi=F
rffTtr
Ft-t_*]'
ll
FFFFI
.-litH
ffi

rflTn ' '

133
H#*ffi"
In tirne
N.C.

Copyright
O 1987GunsN' RosesMusic(ASCAP)
ThisArrangementO 1988GunsN'RosesMusic
International
Copyright
Secured All RightsReserved
 Faster t = 124
A5 B5
J

P . M .- - - - - - - l
l st Verse
A5

W e l- c o r n e we got fun g a r n e s_.

Rliy. Fig. I

Rhy. Fig. 1A

P.M.-------------l

'r)' -
Wegot ev - thing-you want.- hon - ey we know the names.- Wc are the peo - ple

P . M . -- I P.M.--------l
2
 you got the mon- ey, hon - ey, got y o u r d i s - e a s e .- In the jun -

(end Rhy. Fig. l)

end Rhy. Fig.

H arnt.1

J - J rr J J

,v.

(" B CiA D/CI D/B D/A

----------,-
i - t+ i.------.-

to your sna na na na na na na na na na na na

R h y .F i g .2
t Both gtrs.)

2--/
t t

kltees.
wan - na watch you_

(endRhy. Fig. 2)
fnd Verse'
w / R h y . F i gl s&. l A
A5

-_=
- I

W e l- c o t r r e to the Jun take it day.-

you want it. you're gon na bleed,- but the price- you pay.- And you're

scx - y girl_ who's ver - y hard- to please. You can t a s t e t h e bright - but you
w / R h y . F i g . 2 ( l s t 5 b a r so n l y )
C C/B C/A D D/Cf D/B D/A
L
1-
; -1
+

rvon't get thenr for free._ In the jun Wel- come to -

the iun gle.
(Ah, a h .) -
w/Fill 1
E5
B5

iltY, lny, my s e r- p e n - t i n e . _ I wan - na hear vou-scream!

Gr-ritar solo I (w/ad lib vocals)

:=\
 P
'-I.\
zl.r
-ll

si. Full
sl. si

Ds D*-s E5 D-su:{r, E5 D5 D*s Dts E5

- 1 A.H.

loc'o

s/

,lrd Verse
w/Rhy. Figs. l & 1 A
A5
_/!
AL; 2
€ -
Wel - conrc to the Jun gets worse here ry f , ^ , ,
udy._ You

le'arn to live- like an an in the jurr ole where we play.- you got
Il D t l
J D E D E

you'll take it e - ven-tu'l-ly.- You can have an y - thingyou want,- but you
w/Rhy. Fig.2
CIA c/G D D /cf D /B D/A

-t/E-, r e
f
- h
4].--'-t
l

>'
bet - tc'r not t l r k e i t l r o r n n r e . - In the jun gle, wel - come to the jun g l e .W a t c h i t bring you to your
(Ah, "fr.l

10
 uh. I'm gon - na watch you bleed.

P
-------------- r--\

---____-___.l

And when you're

F
- l

/ t t / -/ t/ l

;>
ry a
;
t /
1 m,.w steady glrss.

suck

--------*------

s/.

s/.
 Guitar solo II @ztr. @zr.
c{s E 85 A5II 85 A5II 85 A5II 85 C5 Cf 5 E 85 A5IIB5 A5IIB5 A5II 85 C5
,TT*) .D .rTD.--m .rTn
rl? ( I5ma)
Y2 '\: :- Kr ',

i/24.111--^,--^-^^^* I

s / . a . H . p i t c h :E

cfs
I
1

Full
1-,q,*

@:rr.
A5II G E5
w/Rhy. Fill I
D^ FY\
Full a i'
a,Lf
s/. I

*s/. F

st.

Ff5 E55 F **55 E 55 F ffss E 55 F *T 5

E
.D:.m.D.D)

tz
 ii. .s/. ..r
^ 1 , ) ,

I
:- I

, stead.t'gliss.
.V.

Gtrs. I & Il cont. ad lib slide rifi's

Gtr. III

13
 wi Rhy. Fig.3 (3 times)
\,,
tf
Tl
' '- # -
T

You knou' where you are') You're in the jun - gle, ba - by! You're gon - na
F
, , it -r . ' J1 - - - - - - - - - - - - l

A open
v '
F5 2 )e A 5 w/Rhy. Fig. 2 (1st 4 barsonly) (3.tirnes)
Ff5 F+5 Cs(tYP Gf5 A5 B b 5P E
C C/B C/A C/G
s/carirg1i.is. ) ) / ) ) ) ) a
, ^

'
l

t_

d i cI In the jun gle. Wel-come to the jun -

(Ah,
t) D ,C T D/B D/A

,tl e . Watch it bring yotr to your sha na na na na na na na na na na na Knees, knees.- In the jun -
ah.)
C/A C/G D D/cf D/B D/A

Wel - come to the ir-rn gle. Feel- fly, oh, my,

ah.)
C/A C/G D/B

lny ser - pen Jun - ole Wel - come to the jun gle. Watch it bring you to your
(Ah, ah.)
w / R h y . F i g .2 ( l s t 2 b a r so n l y )
C C C/A C/G

sha rra na na na na na na na na na na Knees. knees.- Down in the iun - olp

b'-. Wel - come to the iun -
(Ah,-
D/Cr D/B D/A
E5 D5
*+ Bb5 A5 G 5 E 5 A
*
+'f \
E7 T9

rtl t'. Watelt it bring yorr to your. It's gon-na- bring you downl Huh!
alt. ) (rotn trs)

"
x------------_- ---__--
*Slowly detune
low E string.

14
 IT'S
SOEASY
Wordsand Musicby
W. Axl Rose,Slash,
Duff"Rose"McKagan,
lzzyStradlin',
StevenAdlerandWestArkeen

2)
E5 Es(t-vpe Bb
"f#?r,. 45 Esus4 Ds Ds/cf Gs/Ff Fts
'ffiij C5
Effi-0r,.ffi*sr,. "ffi
Esusi4
O X X xxx
B5
xxx
ffi3s, Ffl#
rmTl ffi*sr,.
}+-tl+.I hq#+r'.gffur,.+H-t
trtrR fEfEtr
l H l t l
7fr.

rrn'ffiffiffiffi-i,,u, ffi
123 Tffiqffiffi Ffit-H
133
EIIIEtr

Tune down 7: step:

.O=EbO=cu
O=eb.)=sb w/Rhy. Fig. 1 (21/: tintes)
@=th(f=sb @
open
Moderately fast; = 15:r E E 5
Intro
Rhy. Fig. 1 ( e n dR h y . F i g . 1 ) .D r ,f .i .n .4.i .n
;-i -1
io olo .I. e o7o
H H H H T I H H
P.M.-- --------J
*f

@ op"n
2)

.n '' ,,\'
E Es(t.vpe

.n 1 n., ,\.r ,ffi ). x>4/.

lst, lnd. 3rd Verses

w / R h y . F i g .l A l s t & 2 n d t i r n e s
w/Rhy. Fig. 2B 3rd time
Rhv. @.p"n
F i g .2 B b 5 As Gs E E5(trne
z)
( e n d R h y .F i g . 2 , w / R h Y F i g ' J
(3 rimes)
t-l
>1,4/
I
/
I
.m Bbs As Gs rEr E5

- J t--/

see your sis - ter in her Sun dress.- She's out to p l e a s e , - she pouts-
Seeadditional lyrics

I J b5 A5 G5 (E) E5 Bh5 45 G5

-T

out to take. need- to try._ She's read - y

Rhy. Fig. 28
Rhy. Fig. Play 4 time.s rl2 Ploy I tintes

CopyrightO
1987GunsN'RosesMusic(ASCAPyVirgin Music(WestArkeen
Music)
ThisArrangement@1988GunsN'RosesMusic/VirginMusic(WestArkeen
Music)
International
Copyright
Secured All RightsReserved 15
 Chorus (end Rhy. Fig. 3)
W / R h y .F i g . 3 A @.p"r @
open @ooen
A5 G 5 A 5 t Jb 5 E Esusf4 Esus4 E Esusf4 Esus4 E
fuiy. l-T-r \ r i-] w/Rhy. Fig.3 (3 times)
F i g . 3) ) )- .n ' ' z l ' ) { / I
/-/
l ^ - l
/ I

s/. P.M. sl' A5 G5 A.5 Bb5

'ry - bod - y's try - in'

eas v' eas - Y, when ev - to please-

E s u s f 4L , s u s 4 ( E ) E s u s f 4 E s u s r l ( E ) A5 G5 A5 Bb5 (E) Esus*4 Esus4 (E) Esusf4 Esus4 (E)

eas

I It
Esusf4 4 Esus4 (E)
E,sus# ur.,rio Esus4 (E) Esusf4

e v - ' r y - b o d - y ' s t r y - in' to please- me.

Ilridge
D/Ff G B5addb6 As(7)

;=------,'---
_\\_-_
eas seems- to- please- me. It all-

Rhy. Fig. -l (end Rhy. Fig.4)

rv/Rhy Fig. .1
D/F{ B5addb6 As(7)

I
when I fade- in - to-
(2nd time:) So

r --- - --}t''n
r1f7 - ----: h':2. \
= o-
hit - you. you - I ' a l l- down

P.M-----I P.\,1.-l

R h y . F i g .3 A
Pluy 4 titrtc:;

16
 Fig. .sA W/Rhy. Fig. 5 (3 times)
D-s/('t D5 c5 G5/Ff E-s g 5 ( t r r e2 ) (end Rhy. Fig. s) Ds D s / c *D sG sG s / r fr s
)- ,-^/') .lrtl t )
t
)

I see you stand-in' there yorl re _

Ds (;s cs/F{Es
Ds/c'$ D5 D 5 / (f D 5 G 5 G 5 F T E 5

Why don fuck offl-

w/Rhy. Fig. I (1 rintcs)
Ub -s A - sG - s (tr) E5 tsb5
,tl't/--- --_--l
45 G5
IK toco p Full
tr-
__L1.-a.-
I-.\ _C
.
_
I::f--_'1-+
_ - E

D.S. (take :n(l cnding)al CorJa

A5 ( E 5t Itb5 A5 G5 E5
\
- +: I

('oda
*rBhy. Fig I (I tintt,s)
+ r\ f\ s
A.
7i
9;.
with- me. Don

G5
s

I ain't got -

Rlty. Fig -5A

Play I tintc.s

r -r-
'f _Jl
fl

17
 O L r t r os o l o
il','Rlty. l:ig J /,\ 1i771357
lJt f .{-5 (;-5 A5 G5

- _ ' - r -1- ]-l - ] l

j
a__ t-
e a s - Y
3- Full
? Fu11
/ 3 , / \
F
tT
' af a r,r_a
P

p Fullt

.\5 C;-5
__ - -=
- !_r
T -r T -'r
f.= i- 1= =
damn- eas - y.

-+
- J ' .t
- r t

A5 G5 A'5 G5

It's s o- eas
tl

l-F- ==<
,<:L)
L f I r

r / P

yl
Full
6
n P P -r/
./^t ^ .------^4----
---*-oj, ) + - +

18
A5 G5 E5

So- eas

s/. sl
D5 E5
?
T_
T-
]-- _r=
l

So fuck

P.M.

so_ eas Y e a h! -

P.M

Additional Lyrics

2. Cars are crashin' every night.

drink 'n' drive.everything'sin sight.
make the fire, but I missthe firefight.
hit the bull's-eyeeverynight. (To Chorus)

3. Ya get nothin'for nothin', if that's what ya do

Turn around bitch, I got a use for you.
B e s i d e s .y o u a i n ' t g o t n o t h i n ' b e t t e r t o d o .
And I'm bored. (To Chctrus)

19
 I{IGHTRAII{
Duff'Ro5;*.figil?
lzzyStradlin',
U,:'li,HS'y€i
( t v p e2 )
A5V D5 G5 A5 E5 B5 F5 Ffs G5 Gf 5 D C5
xxx..
x x x ^- .TTTn4rr. x x x ^"
xxx x xx xodxx xo xx
F# : xxx .TTTn 3lr. rtr.
f!ffi5rr. ffiT5fr. ffitr FFFFF
FfTTF ?-JJ-H-.i FFFFI 5fr. FFffi
ffiA Hffiffi Tf?.f
tsffi HftsH Tr|Il
t-tl.ltl 1+l+{
r-rcTTI TIT'TI

ra$.-. r3a z ll 133 133 rUB lA3 f gOA li}l

'fune
down rr steP:

@=Et-3=Gb
(!=,rbO=sb
,g=obO=ub

FastRockJ=l.lg D/A
lntro A5 Fig. I
(Corvbelland htgh hat) G t r .I P
sl.
/
r
l
v ' T
r
_ T
' r r
o,- -
4 I I I - -e -
€-=-_ ___, s/.
f
,v.

Rhy. Fig

Gsus4 A1

Load -

( e n dR h y . F i g . 1 )

s/

s/

CopyrightO1987Guns N' RosesMusic(ASCAP)

1 9 8 8G u n sN ' R o s e sM u s i c
T h i sA n a n g e m e n t @
20 International CopyrightSecured All RightsReserved
 w/Rhy F i g . I & l A
D/a'

ed like a freight- train. _ fly like an aer p l a n e ,- feel -

,A5V
Gsus.l G Gsus4 A5 G5 A5 Gtr. I
.' )^
-, 1-, p;;---ip --ft--
-rl ---l-=l t-
-
-L
--
l- o

in' like a space brain one l.uore time to - nisht Look outl l.Well. I'm a

( G t r .I )

I st Verse
Rhv. Fig. I
-.n J.

, west coast rat - tle-snake suit - case un - der my arnr.- Said I'
I
R h v . F i c .l A
A i - r
-)# +
i6-:. 4
# -Jr ti
-:]v-:+
- t - -- e-e e-
P.M

b e e nd r i n k - i n g a s- o - l i n e , _ a n ' h o n - e y , y o u c a n n r a k e m y mo - tor l. Well. I got

Full
(ettd Rhy. Fig. ./\
I
a
+
-lv_:l
+_+
i - r
P . M . -- - l
Full

t \ z 1
, / 4 ^ ' a \
a a 4

lnd. 3rd Verses

-llli Figl&rA

left - a nine live c a t .- I got a, dog - eat - dog sly smile._

late,- ey. put on your clothes- and take your cred - card _ to the

21
 cock - tail with
yoLl

w/Rhy Fig. 1 &. 1A

A'7
D/A

Fill I tCtr.Ir

zz
 in' like i.ier-o- plane.
2) A5
E5 G5(type
(]sus.{ Clsus.l c A5 G5 ffi.-m.rnD^
=
T
ln space

Chorus
+ e

night - train. Bot - tonrs on the night - train Fill my

R l t y . F - i g .3 ( b o t h g t r s . )
tll tll
) l
't

+
t11

-t -:-
1 -

Rclcl - y to and nev - er learn.-

(e n d
114
114

I love that stuff.- I'rn on the night train, - and I can nev- er get e - nough. I'nr or.r the
E5 D5 B5
\

{D

pic k slide

.41^11*

/ l _ _ _--l^^^l_--k-^
l a / 4
a - v
n ^
 u5 A5v 85 Es FsF*s E 5 F i l sE s F*s Es F*s B5
.w^,r-m
F,1
-r>
Fu[ Full
,TD^'-M .w-'n )' + N
1 :>.)^

a^-,&,

A , s V8 5 A5V 85 E5 F5 F*5 E5 F*5 E5 F*5 t)6ts

5,5(tvne 45v
.w_ . t/ 1 / 1 / 1 /
> > > t >

l>
P . M . -- I

s/. s/. s/. .rl.

l) Ffs D
\ \ r \ l \ l \ r
/ \' / N
\ l
\! /^.! /^d /'.-d
l t I
/^
Full

-
Fttll Full
A - d g i J
7f f,A t/ a/
LQ- I
a_
I

Full

F*s
)
\
)T-) r
/I / 'N ) /^/
\ l \ r N
ryu
#+ T-) 1
Iru11

,AR H P -", P

Ffs
)---=, )^)
\ l N
/^
s/.
) \ l
) ) /n/
sl. /
s/. *

E5 F5 Ff5
\ ',( t o n l . h t ' t o r r ' )A . l { l r : F5 E5 Fs pfs
)
Full

_E
.slow'release 7+
l>v

A.I{. pitch: Cf,

JJ --J i
a
t+ = 1 d
-'
P.M. Let ring P.M.-

F5 E5 F5 FT5 F5 E5

--1t
1 d

P.M. P.M.----------.1

25
 I)5 C5 A5

-------l--.-

Load freight- traln.-

sl.
,^

u'lSlidc- -----l
slott' stead.t' g/iss.

G5
\ l \ l\\
)-> 1 1 i / ^
_>
+^

a n a e r - o plane, speed-

A5 C5
,\^-, \ \
/r-.
>

brein. tirne night

A.H.
( 6va)
_

!7',ttnn

@6pen lf1.

below)

I'm on the night - train, and I'm s o m e .- I'rn on the

\\ \ \\ \\t\ \\\\ \ \\\\\\\\\,\\\\$ Rhy. Fig. 4 (Gtr. II)

\\ \ \ \\ \\\\\\\\ \\\,\\\\\\T\\\,\M

to
 "haa11-.
!-4,**1ry\**^

read - v

Gtr.I

.-----,;-
' t.-
stow Dend

vv!-,,€

(end Rhy. 4)

-:-tv.
e-

Chorus/Outro
(xVocalad lib till end)
w/Rhy. Fig.4 ( till ertrl)
I t/z
F5 1y,
/'
)
t t _

* S e ea d d i t i o n a ll y r i c s A.H. pitch:G

27
 A5
A.H.
( 8va)

f;"8-

28
 s / . H P

H P P

H P P r / p
:?i>*a + {rj-

F5 Full s/
,/ ,/ n
t
P H [\p
. a r + tii-\ -^l- .'_-
+ + + r-_:fl

Ltertd s k t t vb e r t d
Full ,ll.

Begin fadt:
Full I I P P
z-\
) J F-adcctut

ry I i P

Additional Lyrics
()ttro Chorus:
Nightrain, bottom's up.
l'ni on the nightrain. fill my cup.
I'rn on the nightrain. whoa yeah!

I'nr on the nightrain, love that stuff.

I'nr on the nightrain, and I can never get enough.
R i d i n ' t h e n i g h t r a i n , I g u e s sI .
I g u e s s .I g u e s s ,I g u e s sI n e v e r l e a r n .

On the nightrain. float me home.

Oh, I'm on the nightrain.
Ridin' the nightrain, never to return.

Nightrain.

29
 OUT
TAGET
]|[E
WordsandMusicby
W. Axl Rose,Slash,
Duff"Rose"McKagan
lzzyStradlin',
andStevenAdler

C5 Bb5 G5 A5 B5 B b5lC G 5 ( t Y P2e) F S / C D5 E5

X X X X X X xooxx x x x - o xxx
tllTfi 3fr. Tfffi I+Fffi ffii
qTrn F# cdfr:r,. Fr+\ trIflf 5fr. FFtrFF
T u n cd t r w n ' : s t . ' p : f P f f i Tflf
l-t-trH
ftrt+ H-fFH fi ifi i H i +5 3t' ' f f r ii i ' , Ftftft'
'
ffi.lT1
133 iia 2' 133 iB3' Til-r1
@=rlg=t;b
O=.rhO=et
@
- =obe=r.b Play 3 times B b 5G 5
M o d e r a t e l yf a s t J = 1 4 0 B h 5 G 5 B b 5 G 5 w / R h y .F i g . I ( G t r . I ) BYa- -
Intro - G 5 B t 5 G 5 R h y .F i g F 5 G5 C5 (endRlty. Frg.l) F5 G5 C5 B b 5 "t",r. Full
A Gtr. I -r I T
-:J

. Irig. I ( -ll.:tintes)
F.5 G5 ql_ -
P ! T9 ' F5 G5 _ _ _ q b _- -s' l_B_bGscs s
x I /') lo cr,t
!t2 !--r-,* I q{]
_ )\e

slow bend slow bend slow bend

Fu' Full
1t2
_---/- lr.lt2

xBend top note only.

C5 Bh5 G5 Bbs G5
I F'5 G5 C5 Bb5 G5 Bb5G5
^d=4
-t----__-_-.-.-,
-2
P

_
\ r-T-'l
/^)/
> > :
/
>
)^

slou'bertd pick slides

Bb5 G5
"l^W^o
> : > >

Been hid - out- and- lay It's noth - ing new- to

Sonte-tirnes cas - y to f o r - g e t where you're go - in' some-times it's hard - er to

CopyrightO 1987GunsN' RosesMusic(ASCAP)

ThisArrangement@ 1988GunsN' RosesMusic
30 lnternational
CopyrightSecured All RightsReserved
 w/Rhy. Fig. 3 (first 3 barsonly)
Bb5 C;5 Bb5 G5
^)-D^o "l-m-
l> l> l>

,-
Well, you can ways find a place to g o ,-
'ry
And ev you think you know just what you're do

ts5 C5
4;>
if yolr can keep your san I They break down the doors and they
that'swhen yollr trou bles CX They push me in a cor - ner just to
(Both gtrs.)

rape m y rights- (they- won't me).-

oct me to t'ir'ht (they- won't me).-

screanr and fight all night.- (You - can me.)_

preach and light all n i g h t .- (You - can me.)-
Rhy. Fi (end Rhy. Fig. 2)

++
->

P.M.-----1

31
 w/Rhy. Fig. 2 (l% rintes)
I)
2 2
Bbs/c
+

lose my h e a d .- my eyes. (They- won't totrch me.)-

lose' my It e'acl.
- my eyes. (They- won't touch me.)-
C5 Bb5 G5 Bb5 G5
- - ' ' i
(Bothftr.lffim )_ t_ ')_ ): _ -_
_
) .J )
-_ / ) ^
A-
1>

'Cau
sc I got b e en b u i l d - i n ' u p in - side for fuck- ing
'C'ause SO
I got been build - in' up in - side. I'm al read - y g o n e_. t f Tney'reout ta
Cltorus
C5 Bb5 G5 Bh5 G5 C5 Bb5 G5 Bh5 G5

Tltey won't catclr I'm fuck - in'

-3- ('5
ffilt
B b 5 G5 Bb5 G5 C5 B b 5 G 5 B h 5G 5 C5 A5 Bb5 85
A L _
Y - - -a 1 r ; l
+ v .+- - ari:
L
t _
}.
_ / .
I t \
) 7 2 / ) ^ )
a
n
/ ' o n
s1
a)
in-no-t'cntl_ They w o n ' t b r e a k - mel
Lruttllr sol()
C5 Bbsi(' c's Bbs/ccs Bb5/C C5 Bb/CG5(tvPe2) F 5 / G G 5 ( I Y p " 2F)5 / G 6 5 ( t v n ez )
/ /
l

m---) rt2) ,,rm'-'-) f f i . - -

P.M.----------l

u b5 85 t' 5 Bbs/ccs Bbs/c cs B b 5 / C C 5 B b 5 / C G 5 t t v p zui

/ |-T-l-.r/ / /,^,/ .rTT'------) t-T--l
/ / / / - -
112
./putt
i:10
'-/

- - - - - - - - 1
17''P'N,I

JZ
 (type 2)
2)
F-5/(; C;5 I:5i(; G5(t)' pe tsb5 85 C5 3 r r - 5 i C( . , s B i 5 / C C 5
) m^) ) w) ffi-

B b s i cC st s b s / c s
I

.W--) .n / / / /
. Flrl x 1l )
''f\
.tl. _/ \A\ .\A\\&\4^A\ .^,
-:.^^,,-\-.

Itold bt'tttl lutltl bertd Itokl battl

Full
sl \A\\\A\\\\Ary!W\

*Bend top note only.

A5 C5 A5
t:5 G5 A5 R h y . F i g .3 Di C5 ( e n d R h y . F i g .3 )
.f-."----=-z .-

112 112

r v ,R
i h1. Fig. 3 /-r1: tirrtes)

(;5 A5 G5 A5 C5 A5 C5 A5
Full
Full Full
I\P
t^l

Full p

33
 D5 (5 ( ; r ' Y ! ; F 5 G s ( t v f 2c )
U: u---T-- G5 Bb5 G5
...., .-/ .-
'':
a
2 . a
r2
r
si.
fi+
Jr. tirtl

+ ' t I I ] ] T

G 5 B b 5G 5 G5 Bb5G5

n :> :>- :>

- /t\
t{r,

w / R h y .F i g . 4
t il G Bb G 5B b 5G 5
G 5B b 5G 5 A Full Ftrll
( c r t d R h y . F i g .4 ) Full ,/-^ --------_--t.\
s/.
,/Full
/e,
t; -a1i
-a

r v i R h y . F i g . 4 ( l s t 3 b a r so n l y ) W / R h y .F i g . 1
G5tsbsG-s A ( ; C Bb C]5Bb5 G5 A G F Full

Full Full Ful1

si. Fuil
I
"- _ \rL-^ /.
r l r6.?.
-]]
T':r_-
- I -

slowbend

.\_s (;-5 A5 D5 C5 A5 C5 A5
.D.D I \-
trr /
t-T--l
/ / /
w / R h y . F i g . 4 ( 2 1 / zt i t t t e s )
G5 A5 cr5 A5 C5 A5
A_ I
* t I
n n -
v
a,
Sortre a chip on their shoul - der, and some would say it was nte.-

J4
 G5 A5 A5

But did - n't . buy that fifth of whis - key that you gavc ile, so I'd be quick to dis- a- gree.-
D5 C5 G 5 ( t y e 2 e ) F 56 5 ( t v n e2 )C h o r u s
). Fig.1 (3%riy7s)
ffi^w/Rhy. ^- G5 Bb5G5 F'5 G5
FsGs Br5 2
\

Tlte'y're out ta get mel They won't catch

tsb5 G5 Bb5 F5 G5 G5 Bb5 G5

I'nr tuck - in' i n - n o - c e n tl - They won't break- me!

C5 tsbs +w/Rhy Fig. 1 (31/ztirnes)

\"-! , G5 C;5 C5 Bh5
). / X
F5 G5 Bh5
+'J

They'reout ta get They won't

ll)

Ftrll

*1st time only, lst note of figure is played,not tied.

B bs G 5 BbsG5 F5 Gs Bb5 G5 Bh5 G5

3 #ap 11-
- T T-
- f T-
l l
a _ - , I
catclr 'Cause
I'm- in-no-cent! So you can
114
/

*,€

C5 Bb5 z)
55(tvne
F'5 G5 \ r
)*t ,J^o

sr.rck
Take that TO h e a r t!

35
 il[R.
BR()WI{ST()I{E
Wordsand MusicbY
W. Axl Rose,Slash,
lzzyStradlin',Dutf"Rgs^e'
McKagan
andStevenAdler

D D5 A5 85 C$5 G5 E5 E ( t v p2e)
* o x
rT[fE 7fr. hrm'sr'.E+rh*sr'.
fuff H'* l'rrrTiqr,.
furffrgfr.F# Ho
T u r ) tel , ' r r nl r l s t e P : -fffii ffit1 TilI TH-r 'H-ftFt fiftij Til-n ryll-n
6 = r'h@= cb
Ttrtl
lo33 i3i5 'iii' Tirt TtE i5i'' 'i55., Trn r|[in
O-,,rbO=sb
@=obO=r'.b
Moderatelv= , 105

i-.-.-i---Fr -'r-r iT-r - i.,7

)i # >i rd # >i rd rd )d >d rd y ld 1 A >{ Play 3 times

-!:
.s/" s/. s/.

-Tf-
sl. s/. s/. rL s/.

(end Rhy. Fig.

IJ:
' t f l t.+:
') | .4:
U
H H H

-H-
ll
N
r J
H
P

@:i..
D5 A5 85 G
--i \ w/Rhy. Fig. 1(2 tirnes)
{ r v r l rt r f f) / ' )> )-)' ). E5
Rhy. Fig. 2

h *,ft lt

( e n dR h y .F i e . 2 )

Copyright
O 1987Guns N' RosesMusic(ASCAP)
ThisAnangementO19BBGunsN'RosesMusic
36 International
CopyrightSecured All RightsReserved
 (A5.r ( E 5)

u - rotrttd scv - elt. get out - ta bed- a - round nine. And

--'{---Jr

-3-
( E 5r

I don't wor ry a - borrt no.'cause wor - ry a waste- of n1y time.

(end Rhy. Fig. 3)

Bb
-T q--
f L

l. f-.' 7 -i I
l:<

bccn tlune - in'- Mis ter Brown stone.-

( e n d R h y . F i g .4 )

:--:]
= - - - 1

2rtd tinte to C'oda I,

N.C N . C .( E 5 ) 3rd tint<' to Coda II
+
rne- a - lonel No,- r.to, He won't leave nre a - lone.-
't
l1

/
)'

37
 Bridge
\\ 85 A5 G5
A d r _
; -. . r
ffi* )-F a t \ i llt.. .
f y - . I I

I Lrsed to do a lit - tle but a lit - tle would-n't do and so the lit - tle eot more and more.-

l A.*lT-:'
tf + i l
f t | \ 1 1 F
tr t lr)

85 A.5 B5
-14
A. j,o
ftn i. a ?
I -

jtrst kcc-p try' - in' to get- a lit - tle bet - ter, said a lit - tle bet - ter than be - fore.-

J V

ll lst tirne D.S. at Corta I \

lnd tirne D.S. al Cotta II \ Coda I Guitarsolo
s w/Riff A
BsFfS

Fu n
1

Plav,3 tintes E D5 E/B

38
 Ft 5 Bs F* s Es A5 t '. 5
A5 .\;o/- - -
E5 112 1 ta t) E5 t12
loco / a
P P ^-p U2
\ H P

L ? J -?-J + ?-J
v u P

ll2 P s tl2 P

F fs B sF f s F,5 45 E5
Ffs B5 F*s
t14
H P P loco )
Full H P ,," )'
.t\ / /-:\ | l^/ P ?
T_

L ?--. -3-- -3-.

slox' rc lcuse
ilr Full H P
t t ?p

E5 D5 t:5 w / R h y .F i e . 4
G F (; Bh
Full P *1/* Fuli C
/ Full
Full | \ P
+ / ---n P /^\+-.

L3J
Let ring *J-
w/Wah asfilter (+)
FullO Full Fr Full a Full
O

w/Wah
D5 Cf,5 B5 D5 G5 ) G5
.n^n-- r{ +--* o_J t_J_o
F_l t-t--1
l)
Full
l)
dl'l/----1
JTTJ: r/ .1 \i r,i !i !i U ,{
Fuil Fgll Fpll Full
) '^\ --\
\ P ,r/. - Full
?:1h-? A-> lot'o s/.
.I I
L
< ? r

l p

3rd Verse
rv/Rhy.Fig. 3
rviRlry. Fig. I /J tintt's)& 2 N . C .( h 5 ) ( A 5r (t,,5
t
It

get Llp- a - round when-ev used to get up- on tinte

rrult.- ire's a rcal mlrth - a - fuck - er. son - ni.r kick him on

39
 E5
w/Rhy. Fig. | (2 times)& 2 \
/'
1l ->

Str.rck it in tlie mid - die and I shot it in t h e m i d - d l e a n d

(Two gtrs.

P . M .t h o t h p r r t s t --

it dror c' nlc orrt - ta nry' mind._ I should-'ve known bet - ter. said I wish I nev er met her, said T

P P

\ . a
/ ' I
A
-F
+ I
I- =
I l c a rc it all be - hind. Yow - sal
( G t r .I V t
U2
)

Additirnal L.t'rics

2. The show usually startsaround seven.

W e g o o n s t a g ea r o u n d n i n e .
Gct on the bus around eleven,
Sippin' a drink and fee.lin' fine. (To Cl.torus)

40
 PARADISE
CITY
WordsandMusicby
W. Axl Rose,Slash,
Duff"Rose"McKagan
lzzyStradlin',
andStevenAdler
G5 Cr5 C F5 F' D5 ( t - v p e2 )
Bb G5
\ \ rx -l t + - l - t -:l : ! r - -.#fi.r.
ffi ffi'3i,.x rar rrr r=rrt-1 '^"

ffi ffi','mi"m6"
|+{{+llolr.
F*5trH L!J=|J.J fI I-FII

ffi
ulu.J lr..rr rl--Ttl
'I iI ;I of TA ' TIAAII
lddd It d rodd

T u n ed o w n 1 ! s t c p

@ = E be = c b
O = . q bO = s b
@ = D bO = r bModerar t= 104
I n tr o ( ;
Rhy g. I (end Rhy. tiig.l )

4i n;i
i
- t

('horus
rviRhy. I
C;

Take nre clorvn-to the p a r - a - d i s e c i t - y, where the grass is greenancl th" girt-* *, U^^ ^oh, *on , rou pt..r. take nre home.-
tCt' (;5 (end Rhy. Fig. 2)
F5 F C5 C

wi Rhy.
G5
Riff B )
Riff B u lt
Il

o. G5
X nirr c rr wo gtrs.*) Bbs

F5 C5 Bb5
(end Riff C)

q1i 1-71fr 1-\ i"ai4 I'A{A !''

* i*l

CopyrightO1987GunsN' RosesMusic(ASCAP)
ThisArrangementO1988Guns N'RosesMusic
International
CopyrightSecured All RightsReserved
 I st. lnd. 3rd. 4th Verses
w/Riff D (3rd. 4th tinresadd Riff F)
\ \ r"sl

b e a t .-

42
 (Gs) (Gs)
,

char ty c a s e_
. buy me some-thing to U d L .- pay yoll at an oth er

C (GS;
€

Take it to the end of the l i n e .-

Chorus
w/Rhy. Fig. 2 (2 tintes)
G5

Take nre down - fn fhe ncr

val ty, where the grass green and the girls pret - ty.

F G5
L b-A
z
I t . O l i . w o n ' t yor.rplease take mef home, yeah,-yeah.- Take me down-to the par - a - dise cit- y. where the
lz.:. tat<e nte

?nd time to Cotla I; D.S. (no reTteat)

-Jrd time to Coda II F al Codu I
i(
b

grass is green and the girls are pret - ty. Take horne

43
 F C 5 C Guitar solo

Coda , l_. / / d (cont. in notation)N.C.(f,S)

w/Riff C
G5
s P.M. rl''--
.- -----l\- Bbs

Oh. r.o
l rr't yotr plelrse take me home. Yeah.-

-a
,V. \ w/Octave divider
>-- .s/.

s/. s/

rv/Riff E
G-i C 5 B '5 Bbs F5C5Bb5 Furl C5
Full Full Ai,, Full
/ N
- A . - t \
j-rt-. oa
6-
o
J w / W a h o n a s f i l t e r ( O c t . d i v off)
slov' bend t:ull Full Full
Irull Frril Full

w/RiffC(lstbaronly) wiRhy. Fill I

tl2
D5 C5

(Wah off) 112

!3J -3---
slow bend t1z
sktvv bcncl rake skly bencl rake
Full

Riff E (Two gtrs.) Rhy. Fill 1 (Two gtrs.)

(As) C5 (As) D 5C 5

44
C D5 C5
: . ' ' ' '| ' : | | | | i-i r i']
-
|-l-l-l
a /// / / >l y //,t/,tt ) :.iil ),)) )
P.M.----r

H -

D.S. (no repeat)al Coda II I

+
' -ri
-v
a way.- So way.

->

1 b

w/Riff A (w/cue notes) (2 times)

w / R i f f B ( I s t t i r t t c o n l ) ')
w/Rhy. Fig. 2 (lst titne t'ontplcte;lntl tinte Lst .l burs onlt,)

b :

45
 Oh. won't you please take me

-------------=\ ^
--ar

'0
J{t
o

---------------:O

S l o w s l l d e u p m l ( lle .+ OII *As before

Double tirneJ = 208
G5(t!pe2) C5
Rh1,.
Fig. 3 /I / / \ l \ .Wrl) ) a a a
f\
/
|
a
rr
/
--''i
a t a
r\
/ : a

G5
( t y p e2 ) (end Rhy. Fie. 3)

/
I v
l
4
) 1 .4 ) rn.D

w / L e a d v o c a l a d l i b ( o n C h o r t r s )( t i l l n o t a t i o n r e t u r n s )
*w/Rlry. Fig. 3 (914tinrcs)
xxG5

*Vary strumming rhythrn at will.

* * U s e ." t y p c 2 " t i l l e n d .

46
 P

L_R s/ H p H Ps/.
qL, zX.tot-?;t{l.

' 3 3 L3 ,-3- | _3-

lt/z 1Y2 1Y2 1/2 lYz
H P s / H p H p s i

9: 9:
Fulr,)ya
')u
F,"ll P b
^ P

-3-
Frull p

C5 G5
P
H
 cs lull

slow bend

tlt' p F5
-\ --:-\
fDr

,/
n .\,1"---\P

frull C5
H i H P P
a->,3 _f>.

I ] I I H I I

4-g -.;)

H H P I l . . t
t'
H F I H I I -

, H H H H
l()('(r.--:\ /-'=-
t z 7 I

48
 P P C 5

'?D1..: 1t) Full

F-5 G -) H r t
H H H T I H H /<-_-\ H t t
za-> ,1-.=- .':a

1t2
C5 ./( | 12

Full Full
,s ,*

r J /
ta
ffi

F5 Full
1+

49
 tl)
P
2i!
/i

Slorver
F-s C5
! ol
aFa
+
+
f-
r:

. 112
,)

Full p

? r
a
?ip
E+

slott, bcnd

Additbnal Lyrics

2. Ragz to richez, or so they say.

Ya gotta keep pushin' for the fortune and fame.
i t ' s a l l a g a r n b l ew h e n i t ' s j u s t a g a m e .
Ya treat it like a capital crinte.
Everybody's doin'their time. (To Chorus)

3. Strappedin the chair of the city's gaschamber,

Why I'rn here I can't quite remember.
The surgeon general says it's hazardous to breathe.
I ' d h a v e a n o t h e r c i g a r e t t eb u t I c a n ' t s e e .
'Iell
me who ya gonna believe?(To Chorus)

4. Captain America's been torn a part.

Now he's a court jester with a broken heart.
"Turn
He said. me around and take me back to the start."
I rnust be losin'rny mind. "Are you blind?"
I've seen it all a million times. (To Chorus)
 ilIYilIICHEIIE
WordsandMusicbv
W. Axl Rose,Slash-,
Duff"Rose"McKagan
lzzyStradlin',
andStevenAdler
tr!5 A5 E5 2)
Gs/A
#-,,,Hfr?f,#
#.,.#;;
- E5(type
thx xo xx O XXX
FF=F FFF''N FFFFF
H#x
a-ntr1
TfTll fft]]l
rr-rT-1
133 Tir TIffi ffiffiffiffiffi ffi
f-t-l-t-h
firr'n

SlowlyJ= 72 C I C B GI5 A5V

^trrr{:tr. #
Tunedown l/2 step:
Ffffi1 Ft{ft|
M+ft. sCfr+r'.srffisrr.
( O= E b O = c b FFrf ffiHi Ffttt
Q=ab@=nb
ii5i' 'i56b, Ttry i5d'" i55'''
@=oh@=Eb
A/C f, (end Rhv. Fie. 1) *./|nt Fig' | (2% tines)
Intro Rhy. Fig. 1 (Gtr. I) Amsus2/CB 7 ( n o3 r d ) Ff m A l C f A m s u s 2 / CB 7 ( n o3 r d t
Gtr. II€

Let ring
w/Flanger

w/Fill 1 w/Rhy. Fill

A i C f Anrsus2/CB 7 ( n o 3 r d ) F { m A /c* Amsus2/C B7(no3rd) F*m
e 2+ t'--\
h
i'1 A
€

ModerateRockl)=1O21
C* E5 p*s
Riff A (Gtr. I) (end Riff A)

2 ( G t r .I I )

Rhy. Fill l.fctr. Il

Fill 1

C_opyright
@ 1987GunsN' RosesMusic(ASCAP)
ThisArrangementO1988GunsN'RosesMusic'
International
Copyright
Secured All RightsReserved 51
 w/Riff A & Rhy. Fig. 2 (both It/: times)
c$ c B Ff,5 A E5 F$5

w/Fill I s t . 2nd. 3rd Verses

ctr. II I-'+
5 C*
, \ \

l. Your dad - dy works-in por - no now tnat mom-my's not- a - round.

2.3. Sce additional l.t'rit,,s

,r----=------ Rhy. Fig. 3 (both gtrs.)

, / \

w / R h y .F i g . 3
N . C .( C f , ) Cf

r u s e c lt o lol e- her Iter-o- in- b u t now she's un - der-ground.- So you stay out Iate at night.- and you
(end Rhy. Fig. 3)

long slide

A5 F{5 E5 F*5
(tJothstrs.) I I t t - t t
o " / / ) . ) ) v

do -vorrr eoke for Driv - in' your- friends cra - zy with your life's

2 ( G t r .I )

l'/zsklw /e/eds{, -----r-------

52
 Doubletime(o=2O41
Chorus
D5 F5vrr crfs
.J /. J J-l
p
A-.t +-
Ta;i-1
fit-+
-\i7 -
a
Well. rvell. yoll just catt't
.,*- w/Fill4 2ndtinre @+i'.
D5 t {+-) (;p A5 l;
/ x : { /
I

n 85
)r

iT )
F
A.5
.n:,
l - r , . .

+^€

Mi - chelle.- L o o ko u t !
H a l ft i r n e( e = 1 0 2 )
w/Fill 3
w / R i t f A & R h y . F i g )(both ll'-: titrrcs) w/Rifl'B Ff,5
,c{ (' B A F*5 A Ir5 Ff5 Cf B A Gtr.I I o

UR
) ) /^o

well, w e l l, _
3rd tintc to Crila,
F Svrl F$s D5 c*s $ ss
\
).
+'
j-
/^d. J l ) ,'J-l ) il .t
- Tt- --- l-r€-
=J=
call t e l l .- Well, well, well. my M i - c h e l l e .-
Bridge
t G t r .l l ) Gs/A "i
tr \VII D5 A5 As(type'2)
^) ) ) ) rRhv \ l
) ) )Fis.4 d ). /^) c.
( G t r .I I ) + :.'
a r^€ 1 _ +
-E _-_S_
I t

- 'ry -
Ev one needs love._

Rhy. Fie.4,A (Gtr. I)

s/
Fill 3 @rr'.
Gtr.I
Full
G r r .I I Fill 4

Fullt

53
 tr<(t]pe 2) ( t Y P e2 )
ts5 L J E5VII D5 A5 A5

9. <J )-) J. (end Rhy. Fig. 4)

i)
4+
Yotr knorv that it's I r u c .- day you'll find - some one- that -

Fie.4A)
I
1+
q
--

w/Rhy.Fig.4&4,A
B,5 E5VII D5
:
1

fall

(G) vil
E5

when you're all a - lone.- Some - day you'll find-

B5
(Bothr*r.t.w .rm .-m .rn

soIIe - olle- that you can your But till then - ya bet
H a l f t i r n e ( ) = 1 0 2)
C{ w / R h y . F i e . 2(,rtartat 3rd beat) D p*s
Gtr. I I ) r l . ! C B A F{s A E5 Fi l 5 ) I

A.I]. Full
Gtr. I r8!d'*

A^Jl^*

A.H. pitch: G*

54
 1

Rhy. Fig. 5

V J J J

w/Rhy. Fig. 5 (-l rirrtt's)

B5
314

Full
/

D. S. ( takc 2rttl errclirtg)Lolc,,ao

A s x
 @+ir.
A5 Gf A 5 (Gtr. Il)
;l I
.n'-) ) )
t.
+ 1-,::

rvell. Mi - ehelle. Yeah!-

(Gtr. I )

@:r'.
Gf5 A5V cfs A5v G*5 A5V C

s/.
ffi .i /.
ffi s/. ).
;> Play 4 times
+

My. c h e l l e .-
( lltt'ul acl
tl
----/

-tl

A5

.^-l

{:-t
P P

Addirional Lyrit s

2. Sowin' all your wild oats in another's luxuries.

Yesterday was Tuesday.maybe Thursday you can sleep.
But school startsmuch too early, and this hotel wasn't free.
So party till your connection calls:honey, I'll return the key.(Io Chorus)

3 . N o w y o u ' r e c l e a n a n d s o d i s c r e e t .I w o n ' t s a y a w o r d .
B u t n r o s t o f a l l , t h i s s o n g i s t r u e , c a s ey o u h a v e n ' t h e a r d .
'callse
So corne on and stop your cryin', we both know money burns.
lloney, don't stop tryin' and you'll get what you deserve.(ToChorus)

56
 THII{K
AB()UT
Y()U
Words and Musicby
W. Axl Rose,Slash,
lzzy Stradlin',Duff "Rose"McKagan
and StevenAdler
L,5 B-svrr D5 A5 v 2)
G5 Cs(tvpe G6 A-5 86 4'6 Bb5
foSri, sdilzr.. ffiirr,. 'r#fTtu.+?in sdfr:i,.:frffi:r'.
Fftil]' Fffi F$tti H#
a xxx^^
FEII zrr.
xo xxx
ffi
x
FFffi
--rtrr-
xx

133
frffi
133
t1fill
133' 133
ffitt1
133'
' ' f,ff,
'li '
H.+-t
H+
i-rn-n
TFT lryr
z' aa ifnfl Tf,fi1 3 rB3
o)
4 5 ( t v n e3 ) A 5 ( t v P " f f S t t GilS c f-5 Fis Dls
X- XX X X\ . X XX .
ffrm 4tr. rl-1-[Tl etr. []il-fn 6lr.
T t t r t t ' t l o \ \ r . r1 : s t e p : H## Hfl+i
133
rifri1
'133
1{}3
@=r.pO=c;1,
O=.qb@=sU 2nd tinre substitute
@ = nb@= r , b Gtr. II E5 g5vl Fill 3 for lead gtr. D5
FasR t ockJ= tZO
1
-4 f ctr. I rn;- ;

@ u o " n2 f r . @ o p e n2 f r . l s t t i n t ea d d F i l l l ;
E Ff G5 E Ff C5 2nd.tirne substitLrF t ei l l 1 E5 g5vrr
l o J l c a dc t r
, . .m^

Cowbell A5 B5
'full \
{ r. .r- vrv av - r. : r' : 'r. sr1
-
sl.- .sl. >i n 1 /'+'
--:>

, .'

I;ull

A_--

CopyrightO1987GunsN' RosesMusic(ASCAP)
ThisAnangement@ 1988GunsN'RosesMusic
lnternational
Copyright
Secured All RightsReserved
 I st. lnd. ,lrd Verses
@zrr. @zrr. @zrr. @zrr. \Y oPen
@
onen

8 6 B 85 B 8685 8 6 B 8 5 B 8 6 A . 5 A 6 A A 5 A A 6 A 5
^.w P.M.
r>
P.M. ->
/ r--r-t-
/ /
P.M,
/ ^
:>

l. I sa)' ba - by. you been look - in' r e aIl g o o d ,,-_ you know that re - mem - ber when we met.-
l.-1.Scc udtlitiorutl lt rit's
r v , , l r i l lI l n d t i n r e
u , I : i l l . 1 - l r c it i n r c @ o n e n sop"n @zr'. @zrr @ zi'. @ztr.
A 6 A 4 5 A B b 5 8 5 8 6 B 8 5 B 8 6 8 5 8 6 B 8 5 t s 8 6 4 5
/ . / ' - ' / rT-T-l
/ r-T-l-l-_ / / / D^

It's fun - ny how nev - er felt g o o d .- It's

@open
A 6 A A 5 A6 45 g5tv rli A 5 ( t v p e3 ) 8 5 l v l / 2 45(trner) 6t
- / \ A

)-) ) 1'-W^o

er for g e t .-

t < r

s/'
@zrr. :ir.
( t v n ea )
65(tvne :) p1 C; 45 B 5 l < \ 5 ( t v p e 2 ) B 5 rlv/ 2 A 5 ( t v prc) ( ; 5
^s>
n _
.W^o / n / / / n / / / 2 ^
- _
+ + l i -
best t i r r re I cln mem ber. Ooh,-

+ - J
l>'-/

58
 @zrr. :tr. rlz
Fil C__-Z A5

"Jnw.rTT.w P . M . --

'll
and the that - last for

-J
-+ --+ -
+ + +
P.M.

Chorus
Rhy. Fig. 1
It Cowbell E5 , 5 u t t ll 2 ' B5VII

> l /
_>
i r\.w l>
J f t

er. I think a -bout you. Hon -

Rhy. Fig. l A ( E l e c .& a c o u sg. t r s . )

xl>

Let ring

* l st note of f igureis tied after I st time.

@7ft. 5fr. ( e n d R h y . Fig. I

)
( t Y P2e)
B A G5 A5V B5VII

.w..--). \
/' /. /
\
/ / ^\
:>

I & 1 A ( 2 t / zt i r n e s)
<.ll\

Deep in side- best.-

59
 You know you're the one-

I think a-bout you.

To CoQa
+
/\ I/ - / N

F*5II Gf5 85 cfs

),
r [-l
)'-) /
I /.
I /
\n d I ). y ' \^ d l
:> l> t--

- I
I

yoLl

s/.
D5 Cf,5

P
) r.=-.rTDrm
sl P . M . --

hold bertd
Full

60
Guitar solo
Es Ffs Es Ffs Es P{s Es Ffs 85 Cf5 85 Cil5
l_T__r__t ;*- l-I-r-1 -
)?) ) )?, )?) ) )?, /
I f-l
)d#
Full Full Full 1l)

w'ide fast vib.

85 Cf5 85 Cfs E5 F$s E,5 Ff 5 E5 F*5 E5 p*s

.trn.-:,)
.r/. .sl.
.[E'.fT-n=) /
-F x x .6W .-,-..')
sl.
/
-
I n
x x
tt2
I

H .u'?1|r'"loiJf. with3rdstg'
along
-@utt
85 Cf5 ts-s cf 5 @uzr''
85 Cil5 Bs cf s Ds Df5 E5 u, Es D5

.r/.
)4.ry )T^.D rT.n \
l l

I think a-bor:t You know-

li \ ;---:
a a
a J

s s i J
a

@srt. @+ir. ( e n dR h Y .F i e . 2 )
@+rr.
D Ds cfs c* cfs C f C f 5 cf cfs cfs Ds Dfs Es
/ / ' : / i / /l
:>
) i
.n 'i N .I- '-HW^
P.r,I. EM.----r P.M. P.M.----J

thut I do.-- I think a-botrt

H Ps1

H P s / .

61
 D5

on-ly y o u ._

D5 Df5E5
- +

I think a-bout frrre

s/.
H P

D5 Df5E5

I think a-bout

H P
,-'-.]-:

D.S. ( take 2nd ending) al Coda

c*s tc*sr Cowbell A5v Bsu,lx
) J n . a
Ba - by, yes

62
 A5
\ l \ \
/}_-/' )

B5 A5 B5 A5 85 A5 85 A5
\ t \ \ \
) \ l \ l / \' / r-T---1
/ / /

Itold bertd
Full Full Full
A.I{.

D5 85 A5 B5
\
/--') / ) ). \ t
r-1",

-votl. I think a-bout I think a

B5 A5 B5 rit. A5
\ I .l\-.n ) I \ / \' / t /r
:> l>

2 :- ^ 2
?

I thjnk a - bout you,

63
Freely

c*s
f'!--\o o

on - ly you

( E l e c . a n d a c o u s .g t r s . . 1

c'*s B"s-.fl
$

Additirtnal L)'rics

2. There wasn't much in this heart of mine.

There was a little left and babe, you found it.
It's funny how I never felt so high,
It's a feelin' that I know, I know I'll never forget.
O o h , i t w a s t h e b e s t t i m e I c a n r e m e m b e r , ( e t c .)

3 . S o m e t h i n ' c h a n g e di n t h i s h e a r t o f m i n e ,
You know that I'm so glad that you showed me.
Honey, now you're my best triend.
I want to stay together till the very end.
Ooh, it was the best time I can remember.(etr:.)
 SWEET ()'ilIII{E
CHITD
Words and Musicbv
W. Axl Rose, Slash',
lzzy Stradlin',Duff "Rose"McKagan
and StevenAdler
D5II C'add9 G Dsus4 Dsus2
x o o ooo
A5 B5 C5 D5 D+5 Enr
H FFffi EF11
trxo
trtrfi
xxo o xo xx K X X
-H+
| 4 r r
n-rff F'.mr]
FFFFF FFF+T FFtrF ffi'.,r,. hqfi'sri. hri'orr. ffi\
T-rFr ?+11+1 H+H ffii'1'
rTT]_fl Tfit1 trtrn
r-rra-rl
rtftfl
' i i b '' t-ffiti
'iii' ' 'ffih
i 5 i"
qr:
l3 21 3 2 t 3 L34
t t r
l3
i l
Tj-] 133 lI*|
2)
C;5 Gs(type r-) F5vrr Bsvrr B b5 A5v
xoo x xxx o xxx
TLtnt' tlou n r: str'1t tffif
j-frifi
glln3fr
l-fr+# ffi
f,nnl h'E:il'ur,. .Eli*rr,. Edi\orr.sdi\srr
@=EbO=Gb
2','C t O A" fl-n-h TflN
133
ffitfl
133 133'
"
133'
''
Q=.rbQ=nb ll
@=ob@=nb
MediurrrRock
Intro Rit'fA ((;tr

( r t r . r. lW t m .w
(cnd Ri1'1'A)

'iY:--Go
l ( G t r .I I )
--T

u-J'

r L e t a r p e g g i a t ef idg u r e sr i n g
r v h e n e v epro s s i b l(et h r o u g h o u t ) .

C;
D
lo1 Ro ( e n d R I t y . [ ; r g .1 )
Jo

C_opyrightO1987GunsN' RosesMusic(ASCAP)
ThisArrangementO1g8BGunsN'RosesMusic
International
CopyrightSecured All RightsReserved o5
 Fig. I

I
li.
1
a.
-'

Lt
(\"t
a

1 s t .l n d V c r s t s
rv'Rhv. I-ig.I
D
+ + + + +
1;
lr.: : : : :
1t l t - -
t l

l. Sht"s got a stttile- that it seerns to mc - of cltild mem o - ries.- wltere ev -

l. .St'. ttlcliti,ttttl Ir rit s
P
(-o-

.€-
*e

as fresh- as the brigltt- blue sky. -

.------__----\-

oo
 wiRhy. Fig. t ,t:t barsonly)

Dsus4 D Dsus2 D
( G t Ir I. ) m 4

=
fl
s t a r e d- too - I'll prob -'ly break down antl

Chorus w/Fill 2 3rd time

Rhv. 45 85 C5 D Dsus4 D Dsus2 D
Fis. 2" )
is ^.
',' /a\ l
.D) Al /I N r
1 / ) - ) n' ) i-]- ) ) ,1
|

<-\

whoa.- sweet

o/
 A5 B5 C5
)
\
/^/
l
. D ) . , N l To Coda ).
1 /^al

--+-+ z<-\ +
? t
Whoa, oh,-

r v ,R
i hy. F ig. 1
D

hold bend

I ( l s t 7 b a r so n l y ) . C 1t1 G
.l/. sl. c
t
r
' l L

^
----i-\
z;-.'. l--\
: ril

-3- -J-
, i l) -) ) ) ) )
Coda | |

6B
 w/Rhy. Fig. 2 ( I1/z tintes) B5 C5
A5
j' !fi i^\

oh.- oh, oh.- sweet child- o' m i n e .- - Woo.- y e a h ,_ y e a hI

.,\5 D5

2.
,Tn.rTD

Ooh. o' m i n e .- -

Cluitersolo
Ern - - C Am
8lu- B1
- 1 loc c,t
Full Full
t--\

H P

R h y . F i g .3

wi Rhy. Fig.3 (2 tirrrcs)

Ern

1 / 2A m

69
 w/Rhy. Fill I
A5
w " ' R l t 5 ;I .r i g . 3 ( l s t 3 b a r s o n l y )
t.ur H P C
.ryT rT7a

**-€*-r* H € , % - &

@lrr. 21r. R h y .F i g . 4 @oPen lf1.

(; F-f , E F f , G5
)' --)
\ r
mryndJ',,'
n r I
/ ,) .)n) )

:€1,*
leTo
g t r . --.// )-* x,
Full
Full FylL- Fuil
,A P

f:o

1t F*ip

(end Rhy. Fig.4)

B 5 C5 D5 Gs(ty:))tr4 w / R h y . F i g . 4 ( - l r i m e s )
\ r
.n
Full
I
Full
) ) R
Fu11
Em
n p H F
t ./^\'

t12 H P
,---]-.-
A

70
 G5 A5 z1
B5 C5 65(tvne
Full Full Full Full
P \ ,/ //^ P
+
-.1-

hold bend
F-U_Il__
- Full p
P

"2 H P
---=\ /,

Em
C5 D5 G s ( t Y P2e) , Full
to('o t Fu
- 1 I
?

-3- * 3.. -3.-- < o

.)-_- '-2) '-?.-

Fuil Full Full

P Full p Full p

2)
B5 C5 G5(tYPc
H P Full
,-3-:
/ - - \

L?--
U
' 3 -
H P
% -t-.
Full l'

(end Rhy Fig.5)

Rhy. E5 G5 A5 cl5 D5 G 5 ( r v p e2 )
Fr-e.5 ) \
/^4 ' \ : - -
)\/7/-
s / .
/ ' \ r
)1/^2<
. /
.w.n rI-
l
I
Where clo we go'l- Where do we go- now? Where do we go'l- Ilarm.- .
o o t

steutlv glis.s. *w/V/ah

s/.

-
+ = tretlle
o = bass

-71
I I
 r v i R l r y . F i g . 5 ( 2 t i r r t t , )s
E5 z)
55(tvne

-J
v
\\ he rc clo wc go'l - Whered o we go_ now? Where do we g o ?-
* Harnt.
.H*--------

*1-1r!trrrl
I{

l.-5
a ! - ^
a o . , i -i
_ c a

i i + t
Where clo we go I - (wlti.sTtered)Stveet chitd! Where do we go - now?

' o

';v
P P
E5 G5

C S ( t y p c2 )
/ry,TT/ .TTT 'TT
P.M.throuchout

1 -
I, I,

H P H P I I

open 2fr,
C5 D5 E5 E F *
W .n ). .n
Where do we go?-

72
 G5 A5 B5 C5 D5 2)

).
\ l
).
\ r
.- . n ) ) G5(type

)
( e n dR l t y . F i g . 6 )

Ah. Where do we go- now?

Full

. t
R {
a
p
-l - |r:-
l-

Full
P

wiRhy. [rig.6
E5
2 2

Where clo rve go'l Where do we go_

slov'bt'tttl

w / R h y . F i g . 6 ( 1 s t 3 b a r so n l y )
( t y p e2 )
G5 E5
_--l------._

Where do we go?-

Full Full Full

slow bertd

74,
 E5vIr D5 B 5 v r l B h5 ( t y p e2 )
A5v G5
.-3 .--3.--_
/ / / I ) ) ) w / R h y .F i g .6 ( l s t 2 b a r so n l y )
85 3 --- '=..=."--3----_ E5
* -

Where do we go- now'l No, no. no, tro, flo, Sweet child,-

A5 C5 D5
o J J

sweet child

E,5
A
0 I

( o v e r d u b) 6
__Jl3_- ^-l

-' -.---=---=--..=.=.---
------.-----
----.---------- -\-------l
\!- --.=.-----=-Y\v
s/ =r-- 9
sl. P oeno necK v
112

\==-_______--_/
.r/. s/.

Additional L),rics

2 . S h e ' sg o t e y e s o f t h e b l u e s t s k i e s ,a s i f t h e y t h o u g h t o f r a i n .
I h a t e t o l o o k i n t o t h o s e e y e s a n d s e ea n o u n c e o f p a i n .
Her hair reminds me of a wann safe place where as a child I'd hide,
And pray for the thunder and the rain to quietly pass me by. (To chorus)

74
 Y()U'RE
CRAZY
Words and Music bv
W. Axl Rose, Slash-,
lzzy Stradlin',Duff "Rose"McKagan
and StevenAdler

Gf A DII E5
X^X x o x xxxxoo

ffi
FfFFfr
Tffil
FFFFF

l-lJ-t-rl
att-ffi1
Tffi1
nlil
rfl-rr1
H++F
4 lll
2)
D5 D C5 E5VII G5 E5II F$5 A5 85 A5(IYPC
'ntfi:r,. "6ffi #x ffi
lfEiisr,.hrdsr,.ffi*:r,.ffizi'.
Hffi" ffi"^'ffi"
' iIfl ffi
-ilTl ffi"" ffi
F#
Ftt! rtnt
Hlf-
n-ffl ffizr'.
ffin-Iffi
rca'' iibb iil-t" iit_t tr 1tr'
runedown
r: step:
@ =e l 6 = 6 5 w/Riff A (enter3rd time)
O = A b O= s h
6- = o b o =r l " G f G A G A G A D I I
,
Veiy fust Rtrck )= 2qZ Ctr. ltJ J RhyFig lrTD ) / /n/ /
l
<r. 1 t1

tt'lto (Hi-hat) R h v .F i e . l A -'l-\

Gtr.rf

1
\-r

G A C A

.rrn )

(4tlt tilne:)1. I been

( e n d R h y . F i g . 1 A ) 2 ' 3 ' S e ea d d i t i o n a l l v r i c s

:+ -:+
-l+ +

(As) ( A s)
^ 7, ?T:
tt
?'
-r-
h

+-T+-
H
a world -

Full
Riff A H Fu11 Full
l
/^c
t
t/^-
6i{

H Full Full

CopyrightO1987GunsN' RosesMusic(ASCAP)
ThisArrangementO 1988GunsN'RosesMusic
International
Copyright
Secured All RightsReserued 75
 ( A 5) (G5; E
r^ ^ + . + + --'=-----------
- F
7-+-
f a r '
Y
t hat's n rt rc h too d r r k .- _ You don't - want
D.5 D D5 C5
/ -T-T-1
/ / / / '\ r/>.I
-:>
w / R h y . F i g s1.& 1 A
(As)
P'M'-----------J
a-.-----.------\

l o v c .-

D
(y

Chorus
(cs) (As)
+

t ' i n r l 1o r r r - s c l f ' a n - o t l t - cr piece of the ac - tion,

' c a u s ey o u ' r e
cra

E5 Eb5 D5

cra Ya know- you're

Rhv 2
V 2- ( e n dR h y . F i e . 2 )

r* T - __
:-+-----,
++
fr

/o
 To Coda
' \ \
0t Jr=.,t1
h5 Eb5 D5 (cs)

said you're

Dotrble tirne ( )= 2121

Gtr. I I l)^"
o
Gtr.l
,4
.4

Esvlr E5rl E5vrr EsIl A5 C5 85

ls1. i .)r. l t l
rd )^):- ) )^l ti
:>
/ t-/ ) ) )

( t Y P e2 ) ( t v r ez ) --il
F*s
A5 A5 45 A5 L.)" G5
Jl^r{
>
.D^) 'll^r{ ,D^) I ) )

tjt

lr
lr' Halftinre @:rr. 2fr.
A-s(J=l2l) (l , F-il ( B o t hE 5 r r
J ) . a
|\ / . .t
, rurr\ " " / r i-i-
r" / // //
:T-]j
la /
-li
/ // //
i-
/ /
*f-

77
 Double tirne ( )= 2421
(]uitar solo
A5 85 A5 ,45 85
Fig. 3

s l o u ,b e r t d

A-s
-n F f,.5

cJ
(end Rhy. Fig. 3)
w /R n y.F i g . 3 ( 3 titnes)
( B 5) *

(Bs)
Bva-- -
Full
) -^€-

hold bend

t:5 ( B 5) Fil5
8r'rr-- -

**J

D.S. ( take 2nd ending) al CoQa

(Bs) A5 Ff5
A'H.
tt,ru Fu11 (Bs) Fuil

+
)tl
A (8va)

7B
 ( 1/z
C o d a wiRhy. Fig. 2 4 rirnes)
s (A5) E5 Eb5 D5 w/Riff B (4 times)
(As) E5 Eb5 D5

yoLi're cra Ah!

( cs ) (As) E5 E b s D5 (cs)

You know- yolr're cray - ay ay ay ay Well- you're

(As) F,5 Eb5 D5 (cs) (As) E5 Eb5 D5

You know- you're cra

D5 A5 G5 C5 A5
/ /n/
I \
a r l /
r l
lr
'/..->:t r ' \
r> :>

- - t - 1 - \
? +'

Yotr know- you are!- Bring it down. You're fuck - in' cra
F-ull Full Full Full

.\__:/ >v
>
Full Full Full P H U2

(Two gt

Additional Lyrics

2. Said where you goin'?

What you gonna do?
I been lookin' everywhere
I been lookin' for you.
You don't want my love,(etc.)

3. Say boy, where ya comin' from?

Where'd ya get that point of view?
When I was younger
Said I knew someone like you.
And they saidyou don't want my love, (etc.)

79
 AI{YTHII{G
GOES
Wordsand Musicbv
W. Axl Rose,Slash',
lzzyStradlin',Dutf"Rose"McKagan,
StevenAdlerand ChrisWeber

G5 D5 A5 B5 c5 c* 5 8 5v I I
h rii"uH\ xxx
x x x
ffi FFFF Fmfi(3fr. Lurff+rr.
f ,f, i ii f f 1i3 3f' f i
h,, ll
FFTM
FIfIH
r33
ffirrr FFFEH'+rr'mTfr'
r '.4 r:.'r
133

Bbs Asv z)
Gf5 65(tvne D A5vII
xxx I.LX XXX xxx xxo xx xx
T u n e d o r v n r , :s t e p :
fFm 3fr. FFFFr
@=rl@=c;tr
O=abO=gb
mu"ffisrr'm4fr'
ffir+i Hru ffin
l-f,|l-fl rrr.-rl FFFFHTfr.

@=ubO=rl
M o d e r a t e l y l a s t r= 1 4 8
Intro N.C.(A5 ) A5

long slide

t { H

QopyrightO1987Guns N' RosesMusic(ASCAP)

ThisArrangementOlgBBGuns N'RosesMusic
BO International
CopyrightSecured All RightsReserved
Rhy. I:ig. I

A5

r- ,. -
! D '

1 t k ' ks l i d t '

(end Rhy. Fig. 1)

P.M.--------i

(Both gtrs.,t

-+
+
P.M.--------l

B1
 Bs cts D5 A5

'bout.
1. I b e e n t h i n k - i n ' think - in"bout Al-ways hun-gry tor some thin' that I h a v e- n ' t had yet.-
l. S.'. tltlitirtrrul lt r i t s

(end Rh 2)-

- 4=# l,lil+-
P.M.-----l P.M.-------l

Ds c*s 8 5 C f 5

ell may - by. you got some- thin' to Well, I g o t s o m e- t h i n ' , I

Chorus
F5 Ffs G5 D5
) 0 o

s o n r e- t h i n ' f o r you.- My woY, your waY, an y - thing

@ o o " n 3 f r r. / 4 o p " n3 f r . , , o o p e '
A5 A c)"n c)" t
. . ) . , .w u
M 'TT GJ

lt' ,t

goes- to-. . .

ye - yeah,- yeah.

M1,- thing

82
w/Fill 1
N . C .( A )

B5 C5 rL ' * < n<

r)J
iJ -
wi Rhy. Fill I \
t l FT-] -
-1 I l-t l:'
- c /

>4>4/ >4>4/ >d>4/-

B5 l> l> l>

-/---------'-\a=-o

Rhy. Fill I

83
 Guitar solo
w/Rhy. Fig. 3
E5 D5/E
Ds/E

yeah.- 1
tt) uI 2
Gtr. II 1llytt

\-----l

.s/.
Gtr. I (w/Talk box) D5/E E5
8ru- - - - - - - - - - - ' l

Full 1t1

-/_ \ /^\ s/. P

Ds/E B5 A s iB
Fyrr
1-

Rhy. Irig. 3 l rz
D5/E D s/P

Plul' j 1i*rt
B5 As/B

84
 As/B

Bbs v w/Fill 2
B.5VII A5 G*5
N 2)
65(trne D5 N . C .( A )
t { / ' 1 / ' ' / o
:::- I
s l i g h tA . H . 3 l 4
.
J J J
ta,.n.y)l+

P.M.
(chick en-like)

F G 5
'' #>l o
1 1 3
Full
/ i
Full
/
j:-

Full
a-l

=*^t .//
 3fr.
@open 3fr. , ,,open ,,op.n
Chorus A5 A C')"A C'lA
G5 \
s .D 1 / ' i ) 1 ) 1 . n r T T
:} -i)

goes to - night.-
A5
.n'l n.-T I
1
--l\
) "

an- y - thing goes W h o a- y e a h! -

D
o

+ +

fi tf.
v/""'
'It r- )
D C A5
J. t - " 1
?-/ )
>
tstiss.

y - thing to -' ' ' Al - t"l'

@:rr'
D5 c -----'-
\,
!-) )____),

way. an - y
r = I 56 Triplet t"Jit'.,[' =.,'r\ ,*t
SIiglJ-tly'.t'lsle^r
wiRiff A(8 tinte.s)
,\<
A5
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RiII A

B6
 To - nightl- To - night!- An-y-thing goes
wi Riff B (4 rimes)
\
: )' I ' i m 1 .ry ,,.---------------=
J
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Woh, wo, _ wo,_

.fT, ,D .l ,. '---------=-!
f s-_-:

Said a n - y thing
D A5
s I
l -

goes to - nightl
Full

RiII B

Additional L.v-rics

2. Panties 'round your knees with your assin debris,

Doin' dat grind with a push and squeeze.
Tied up, tied down, up against the wall.
Be my rubbermade baby an' we can do it all. (To Chorus)
 ROCKET
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RifiA(bothgtrs.)----- ------ --t
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ThisArrangementO1988GunsN'RosesMusic
CopyrightSecured All RightsReserved
lnternational
 l s t , 2 n cV
l erses
Ff5t*
s

s a y t h e s et h i t r g s t o y o u . - '(lause
pass bc - fore thcse eyes.- I've had
F.Ull

II
Ff 5t^
-
t/. .J. ri
. l J
!i
J f
rl
r d
rl

? ? ? ?

I eltn turn on just like I turncd on got a

'r) -thing
e\' - that's hon - ey. you'cl be sLlr I'nt a

H xBend B stg.alongrvith G stg.

B iD B / D *
# )d ) # ) '' )d )-> # >i

a r a - 70r, a s w e e t s w i t c l - r- b l a d e k n i f e .
nu - elt - ln burned - out par - a - dise.
r/:do

holtl 1l)
buttl

B 5 r vG n 5 v t B 5 I V c5;vf l p5vII
c{-s
\\ / / / / / .

clo yoLl vors, but tlten you'll do what - ev - er

ol'l to v tlting,yotr bet - ter turtr me olt

F
I-
.F E= f f i
hokl pul
 ('horus
..\*nu.t'l-' G*s Es
Fig. | ."1' .n. o

and you're a rock - et q u e e n ._ I might

Fig.1A

.r/.
A-5 B5 p 5 ( e n dR h y . Fts 85 A5
! / ) F i g . lI d. .n.

tle yolmg, btrt hon - ey. I ain't Here I

Rhy. Fig.

'-222

w / R l i y . F i g sl .& l A
Ff,S
Gfs

lnd you're a rock - et queen, oh yeah.- I might be toomuch,but hon - ey,you're a bit ob -
E5
I F5 3rd time to Coda
1' 'N----=-J +
'j_ _ --=H

Guitar solo
r v l R i f f A / 4 tiln(.\ ) w/Riff A,(ll times)
N . ( ' .( F f i s ) Slide gtr. N . c .( Ff s )
*-1 ^^rytt
3 ^t'Z--------------- _

steacl.t'gli.ss.

on
 w/Riff A I

steady

(tss
) (end slide solo)
w/Riff C
* N.c.(cf s)
/'--ii- locfr
r-Wl

,steady gliss H H
H H

*Slide bar off neck and back.

Riff A I

Riff B

H H
P.M.-:--------r

Riff C
Play 3 times

91
 Here I am,-

H t l

('ocla

s
frtI

v Il VII
@orr.
Fl-5 85 CfS c* B/cf c f E5 A5v A* 85 vII
Rhy. Fig. I ,J
)
l s /
./{ ,n^

s/ H

lend Rhy. Fig. 2)

w/Rhy. Fig. 2 B / c $c f
E5 c*s Full

Fu11A5
llz

Full

92
 @zrr.@lfr.@lrr. @zrr.@lir.@lrr.
E t s E Bs cfs E B E 45 v 85 vII
Rhy.Fig.3n ) . ,D^o .n) 1 D^o
. m,f

see you- stand stand - in' on- your own

R h y . F i g .3 A

I Pt rino- - - .l
I

@zrr.@err.@srr. @zrr.@lrr.@lrr.
E B E Bs c*s E B E Ffs Bs
(end Rhy. Fig. 3)
, . . / ' . r - ' 2 ' - - c .t1 ) F^o

srtclt a lone ly place for- you,- for you to b e .-

(end Rhy. Fig. 3A)

u"Rhy.Figs.3&3A
L5 ts-5 ('il 5

lf -vou- nccrl a shoul - cler. or if you need a triend.-

F*<
L
D <
pJ,------
lJ
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be Itere-stancl - in the

. ,,,, ( e n dR h Y .F i g . 41
F5 85 C*5 Cf B / C *C * E5 A 5 V A T8 5 " "
R h y . F i g .a , J .n^nr ) ) , ( ) ls/ .D^.W )T)1
,f

No No one- needs the paln.

w Rhy. Fig. 4
cfs B/c*c* A5 B5
h,5 ?
f-
4-.---.\
#iT+"
I

I to see_ yolr walk - in' eut- there, out in the rain.-

93
 ct B / c $c *

So- don't chas tise- or think I, I mean you harm.-

B5 E5

those that take- you, leave you strung- out much too far. - Ba - by,-
Outro @ort.
E5 B s c f s E5 Av Af 85vII
Rhy. Fig. 5 ,J ,{ I s/
/< D^
+----\

yeah.- Woh oh oh oh oh oh oh
Full
r>
Full
r>-t H
v\
-3-
P Full

( e n d R h y . F i g .5 ) s/. s/.

^TTT l-----T-]
) ) ) . ' ) w/Rhy. Fig. 5 (3 times)
E5 c$s
) .;\ it\

No no no- no no no_ no no no_ no no no_ no_ no_ no- no oh oh woh oh oh oh-

Full Full
'Pt
h

yeah!
8va- - -
Full Full
[> [\r )

Full Fuil
[--\ p
t \

94
.ll'4- - -
Full

H I )
H P
ia :-:.

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6
H H Hus/.

E B/D* C*rn
i.''''- -:
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Don't leave- me.

U2
a

,w1 **
3-

E B/Df, B5 B/Df C*m A

l
m^.D
a--\

Say yor,r'll al - rvays b e t h e r e . - All I ev-er want - ed was for- you -

Free time
G .f- J r- n .
E5 EI E5VII
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95
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