Tabbed by:  Frendy Glasser
Email:      *

As heard on the "The Best Air Guitar Album In World Ever” disc 2

Tuning: Standard

  Fig. 1: Repeat 2x, 1st time acoustic only, 2nd time w/distorted electric
e|----------------------------------------------------------------------|
B|----------------------------------------------------------------------|
G|----------------------------------------------------------------------|
D|------------0------------------------------------0------2-------------|
A|-----0-0-2h---0-2hp-0-----2-2-2--2--------0-0-2h---0-2h---2-2-2-2-----|
E|-0-3------------------3---0-0-0--0-0-3--------------------0-0-0-0-----|

  Fig. 1: continued
e|----------------------------------------------------------------------|
B|----------------------------------------------------------------------|
G|----------------------------------------------------------------------|
D|------------0-----------------------------0-0-2hp-0-------------------|
A|-----0-0-2h---0-2hp-0---2-2-2--2-----0-0-2h---------0-0-2hp-0---------|
E|-0-3------------------3-0-0-0--0-0-3--------------------------3-0-0-0-|

  Fig. 2: Repeat four times
e|-------------------------------|
B|-----------------~12-12-12-----|
G|-----------------~12-12-12-----|
D|-------------------------------|
A|-5/7-7-7-7-7-7-7---------------|
E|-0-0-0-0-0-0-0-0---------------|

  Fig. 3: repeat four times
e|--------------------------|
B|------8-------------------|
G|-7-9h---9-7-9h------------|
D|--------------------------|
A|--------------------------|
E|--------------------------|

Fig. 4a               Fig. 4b: see note
e|--------------7----|-----------------|
B|-----8---10--------|-----------------|
G|-7-9---9----9---9--|-------------4/9-|
D|-------------------|-------5---5-----|
A|-------------------|---5-7---7-------|
E|-------------------|-7---------------|

Fig. 4b note: this is the basic core pattern, you can play with it with Hammers and
and adding passing tones such as G string 7th Fret.  I count 4 beats of 16th notes starting
the D string 5th fret note the 1st time through this riff.  To get them all I need a 
mp3 player that would allow me to zero in on that Pattern.  Its basically an arpeggio
I’m happy with the sound I get using the technique described above. I.e., it’s close enough


Fig 1. 2x
Fig 2. 4x
Fig 3. 4x
Fig 4a. 1x
Fig 4b. 1x

Vocals only:
I can’t help it about the shape I’m in
I can’t sing, I ain’t pretty, and my legs are thin
Well don’t ask me what I think of you
I might not give the answers that you want me to
                                              Fig 1. 1x

Oh well

Fig 3. 2x
Fig 4a. 1x
Fig 4b. 1x

Lead Fig. 5  (Below with notes)


Now when I talk to God I know He’d understand
He said stick by me and I’ll be your guiding hand
Well don’t ask me what I think of you
I might not give the answers that you want me to
                                               Fig 1. 1x
Fig 2. 4x
Fig 3. 4x
Fig 4a. 1x
Fig 4b. 1x

See Figure 7 for the way cool outro heard on the original release
of this song.  Not on the live version we usually hear.

  Fig. 5 Lead (see note)
e|--~12-~12--------------|
B|-----------------------|
G|-----------------------|
D|-----------------------|
A|-5/7-7-7-7-------------|
E|---0-0-0-0-------------|

Fig. 5 note: here is where you let your personal style shine,
             the album’s lead revolves around the pentatonic
             shown in Fig. 6, just have fun and play away.
             Rhythm guitar and the Bass stick to E and A
             pattern shown in figure 5.

Fig. 6: 10th position pentatonic, see note
e|--------------10--12----------------|
B|------10--12------------------------|
G|---11-------------------------------|
D|------------------------------------|
A|------------------------------------|
E|------------------------------------|

Fig. 6 note: based on the classic blues scale used in a million different
             Leads.  Freddie King was known to use only these 5 notes
             In many leads using bends and trills only.

  Fig. 7 (outro) see note
e|--------------------------------------------------------------|
B|--------------------------------------------------------------|
G|-7-----------------------7-----------------------7-7-7-7-7----|
D|-7------5-5-5--4----5-5--7-----5-5-5-4---------5-7-7-7-7-7-5--|
A|--------7 7-7 -5----7-7--------7-7-7-5---2/7---7-----------7--|
E|------0----------0----------0----------------0-------------0--|

  Fig. 7 continued
e|------------------------------7-7-7-7-7----5------------7-7-7-7-7----5-|
B|------------------------------7-7-7-7-78hp-5------------7-7-7-7-78hp-5-|
G|-----7-7-7-7-7----------------7-7-7-7-7----5------------7-7-7-7-7----5-|
D|---5-7-7-7-7-7---5------------9-9-9-9-9----7------------9-9-9-9-9----7-|
A|---7-------------7------ ----------------------------------------------|
E|-0---------------0---3-2-0--7-----------------0-3-2-0-7----------------|

  Fig. 7  note: Let open E’s ring, you can have a lot of fun with these
          Patterns in your own creative playing, the use of the 7th position
          Em is haunting when paired with the diatic D-F#, with the low E
          Ringing to create a very interesting tension - its basically an
          Edim/9.  Fun stuff

Final note:  The song illustrates the importance of using your left
             and right hands in a way to make it almost sound like
             one guitar is two.  The left hand uses hammer-ons and
             pull-offs, the right hand uses palm muting and a very
             funky, loose wrist style. Practice this and you’ll
             see it isn’t as hard as it sounds and it will
             improve your overall playing.

| /  slide up
| \  slide down
| h  hammer-on
| p  pull-off
| ~  vibrato
| +  harmonic
| x  Mute note
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