GUITAR TABLATURE EDITION

DYLAN BOB, ANTHOLOGY GUITAR. 344 pages. GUITAR TABLATURE EDITION

Over 60 songs from the pen of one of this generation's most distinct and eloquent voices. Arranged in easy guitar tablature with strum patterns, full lyrics and large chord diagrams with fingerings.

A HARD RAIN'S A-GONNA FALL
ABSOLUTELY SWEET MARIE
ALL ALONG THE WATCHTOWER
ALL I REALLY WANT TO DO
BABY BLUE
BLOWIN' IN THE WIND
BOOTS OF SPANISH LEATHER
CHANGING OF THE GUARDS
DEAR LANDLORD
DIGINITY
DON'T THINK TWICE, IT'S ALL RIGHT
DOWN IN THE FLOOD
EVERYTHING IS BROKEN
FOREVER YOUNG
GIRL OF THE NORTH COUNTRY
GOTTA SERVCE SOMEBODY
HIGHWAY 61 REVISITED
HURRICANE
I SHALL BE RELEASED
I WANT YOU
IF NOT FOR YOU
I'LL BE YOUR BABY TONIGHT
IT AIN'T ME, BABE
IT'S ALL OVER NOW
JUST LIKE A WOMAN
JUST LIKE TOM THUMB'S BLUES
KNOCKIN' ON HEAVEN'S DOOR
LAY DOWN YOUR WEARY TUNE
LAY, LADY, LAY
LEOPARD-SKIN PILL-BOX HAT
LIKE A ROLLING STONE
LOVE MINUS ZERO/NO LIMIT
MAGGIE'S FARM
MAKE YOU FEEL MY LOVE
MASTERS OF WAR
MISSISSIPPI
MOST OF THE TIME
MOZAMBIQUE
MR TAMBOURINE MAN
MY BACK PAGES
ONE MORE CUP OF COFFEE (VALLEY BELOW)
ONLY A PAWN IN THEIR GAME
POLITICAL WORLD
PRECIOUS ANGEL
QUINN THE ESKIMO (THE MIGHTY QUINN)
RAINY DAY WOMEN #12 & 35
SAD-EYED LADY OF THE LOWLANDS
SAVED
SHE BELONGS TO ME
SHELTER FROM THE STORM
SIMPLE TWIST OF FATE
SUBTERRANEAN HOMESICK BLUES
TANGLED UP IN BLUE VIEW
THE MAN IN ME
THE TIMES THEY ARE A-CHANGIN'
THIS WHEEL'S ON FIRE
TONIGHT I'LL BE STAYING HERE WITH YOU
UNDER THE RED SKY
VISIONS OF JOHANNA VIEW
WHEN I PAINT MY MASTERPIECE
WHEN THE SHIP COME IN
YOU AIN'T GOIN' NOWHERE

BOB DYLAN GOES ELECTRIC
BOBDYLANWASking ofthe folkies in the early Sixties, a man
who moved millions with nothing more than his voice, lyrics
and acoustic guitar. So it came as a shock to Dylan fans when,
at the 1965 Newport Folk Festival, he appeared on stage carrying
the hated symbol of rock and roll-an electric guitar.
He might as well have been carrying a sign that said "Kick
Me." At first, the crowd simply stared as Dylan and his backup,
the Paul Butterfield Blues Band, rocked the house. After
the third number, people began to heckle him openly. "Get
rid of that guitar!" someone yelled. "Go back to the Ed Sullivan
Show,"jeered another "fan" (referring to the television
variety show where British Invasion acts like the Beatles and
Rolling Stones had made their American debuts). As the derisive
laughter swelled, Dylan left the stage. Peter Yarrow, of
the popular folk trio Peter Paul And Mary, pleaded with the
crowd to call for his return with a round of applause. When
Dylan finally did take the stage, it was with his old acoustic
guitar in his hands and, some say, tears in his eyes. He faced
the hostile audience and sang "It's All Over Now, Baby Blue."
But a whole new thing had just begun. -
 

PINK FLOYD, A MOMENTARY LAPSE OF REASON. TAB.

72 Pages.

A New Machine Part I
A New Machine Part Ii
Learning To Fly
On The Turning Away
One Slip
Round And Round
Signs Of Life
Sorrow
Terminal Frost
The Dogs Of War
Yet Another Movie

PINK FLOYD, WISH YOU WERE HERE, GUITAR TABLATURE EDITION

Pink Floyd - Wish You Were Here
Series: Music Sales America
Publisher: Music Sales America
Format: Softcover - TAB
Artist: Pink Floyd

Matching folio to the 1975 follow-up to Dark Side of the Moon that was dedicated to Syd Barrett. Includes: Wish You Were Here - Shine on You Crazy Diamond - Welcome to the Machine - Have a Cigar.

Inventory #HL 14025582
ISBN: 9780825612879
UPC: 752187800118
Publisher Code: AM80011
Width: 9.0"
Length: 12.0"
128 pages

Released 12 September 1975
Recorded January - July 1975, Abbey Road Studios, London

TITLE - COMPOSERS - LEAD VOICE
Wish You Were Here - Music: Waters, Gilmour - Gilmour
Shine On You Crazy Diamond (part 1) - Music: Wright, Waters, Gilmour - Waters
Shine On You Crazy Diamond (part 2) - Music: Gilmour, Waters, Wright - Waters
Shine On You Crazy Diamond (part 3) - Music: Waters, Gilmour, Wright - Waters
Shine On You Crazy Diamond (part 4) - Music: Gilmour, Wright, Waters - Waters
Shine On You Crazy Diamond (part 5) - Music: Waters, Gilmour, Wright - Waters
Shine On You Crazy Diamond (part 6) - Music: Wright, Waters, Gilmour - Waters
Shine On You Crazy Diamond (part 7) - Music: Waters, Gilmour, Wright - Waters
Shine On You Crazy Diamond (part 8) - Music: Gilmour, Wright, Waters - Waters
Shine On You Crazy Diamond (part 9) - Music: Wright - Waters
Have A Cigar - Words and Music: Waters - Harper
Welcome To The Machine - Words and Music: Waters - Gilmour

Words: Roger Waters

... that I want to be involved with really. I don't like it. I don't like all that
Superstar hysteria. I don't like the idea of selling that kind of dream 'cos I know
its unreal 'cos I'm there. I'm at the top ... I am the dream and it ain't worth
dreaming about. Not in the way they think it is anyway. It's all that "I want to
be a rock 'n roll singer" number which rock 'n roll sells on. It sells partly on the
music but it sells a hell of a lot on the fact that it pushes that dream.
A lot of people have made remarks to me over the album's sadness.
I'm glad about that ... I think the world is a very, very sad fucking place ... I
find myself at the moment, backing away from it all ... I'm very sad about Syd,
I wasn't for years. For years Isuppose he was a threat because of all that
bollocks written about him and us. Of course he was very important and the
band would never have fucking started without him because he was writing all
the material. It couldn't have happened without him but on the other hand it
couldn't have gone on with him. He mayor may not be important in Rock 'n
Roll anthology terms but he's certainly not nearly as important as people say in
terms of Pink Floyd. So I think I was threatened by him. But when he came to
the 'Wish you were Here' sessions - ironic in itself - to see this great, fat, bald,
mad person, the first day he came I was in fucking tears ... 'Shine On's' not
really about Syd - he's just a symbol for all the extremes of absence some
people have to indulge in because it's the only way they can cope with how
fucking sad it is - modern life, to withdraw completely. And I found that
terribly sad ... I think finally that that maybe one of the reasons why we get
slagged off so much now. I think it's got a lot to do with the fact that the people
who write for the papers don't want to know about it because they're making a
living from Rock 'n Roll.
And they don't want to know the real Barrett/Pink Floyd story.
Oh, they definitely don't want to know the real Barrett story ... there are no
facts involved in the Barrett story so you can make up any story you like - and
they do. There's a vague basis in fact ie Syd was in the band and he did write the
material on the first album, 80% of it, but that's all. It is only that one album,
and that's what people don't realise. That first album, and one track on the
second. That's all; nothing else.
Some of the reviews have been particularly scathing about 'Shine On' ... calling
it an insult to Syd.
Have they? I didn't see that, but I can imagine because its so easy for them. Its
one of the very best king of rock 'n roll stories:- we are very successful and
because we're very successful we're very vulnerable to attack and Syd is the
weapon that is used to attack us. It makes it all a bit spicy - and that's what sells
the papers that the people write for. But its also very easy because none of its
fact - it's all hearsay and none of them know anything, and they all just make it
up. Somebody makes it up once and the others believe it. All that stuff about
Syd starting the space-rock thing is just so much fucking nonsense. He was
completely into Hilaire Belloc, and all his stuff was kind of whimsical - all fairly
heavy rooted in English literature. I think Syd had one song that had anything
to do with space - Astronomy Domine - that's all. That's the sum total of all

Syd's writing about space and yet there's this whole fucking mystique about
how he was the father of it all. It's just a load of old bollocks - it all happened
afterwards. There's an instrumental track which we came up with together on
the first album - 'Interstellar Overdrive' - thats just the title, you see, it's
actually an abstract piece with an interstellar attachment in terms of its
name. They don't give a shit anyway .
. . . I'm very pleased that people are copping the album's sadness, that gives me a
doleful feeling of pleasure ~ that some of the people out there who are listening
to it are getting it. Not like the cunts who are writing in the papers> "gosh, well,
we waited so long for this", and then start talking about the fucking guitar solo
in wierd terms, and who obviously haven't understood what it's about. That
guitar phrase of Dave's, the one that inspired the whole piece, is a very sad
phrase. I think these are very mournful days. Things aren't getting better,
they're getting worse and the seventies is a very baleful decade. God knows
what the eightie~ will be like. The album was very difficult; it was a bloody
difficult thing to do, and it didn't quite come off, but it nearly happened ...
difficult because of the first six weeks of the sessions ie. 'Shine On', not the
sax solo which was put on afterwards, but the basic track was terribly
fucking hard to do because we were all out of it and you can hear it. I
could always hear it, kind of mechanical and heavy. That's why I'm so glad
people are copping the sadness of it - that in spite of ourselves we did manage
to get something down, we did manage to get something of what was going on in
those sessions down on the vinyl. Once we accepted that we were going to go off
on a tangent during the sessions it did become exciting, for me anyway, because
then it was a desperate fucking battle trying to make it good. Actually we
expended too much energy before that point in order to be able to quite do it.
By the time we were finishing it, after the second American Tour, I hadn't got
an ounce of creative energy left in me anywhere, and those last couple of weeks
were a real fucking struggle.
The nightmare was simply all of you arriving at doing it, and not really knowing why?
Yes, absolutely. Which is why it's good. It's symbolic of what was going on.
Most people's experience is arriving at a point at which others are arriving from
somewhere else and not knowing what they're doing or why. And all we were
doing making 'Wish you were Here' was being like everybody else ~ full of
doubts and uncertainties. You know, we don't know whats happening either. ..
You were just fulfilling a contract?
Not really. because we don't have to make albums. Fulfilling a contract with
ourselves if you like, because although legally we don't have to do anything, we
do have to do something otherwise we'd all shoot ourselves.

Contents:
Wish You Were Here
Shine On You Crazy Diamond (part 1)
Shine On You Crazy Diamond (part 2)
Shine On You Crazy Diamond (part 3)
Shine On You Crazy Diamond (part 4)
Shine On You Crazy Diamond (part 5)
Shine On You Crazy Diamond (part 6)
Shine On You Crazy Diamond (part 7)
Shine On You Crazy Diamond (part 8)
Shine On You Crazy Diamond (part 9)
Have A Cigar
Welcome To The Machine 

STONE TEMPLE PILOTS, CORE. TAB.

STONE TEMPLE PILOTS, TINY MUSIC... SONGS FROM THE VATICAN GIFT SHOP. TAB.