Guns n' Roses - Appetite for Destruction (sheet music).pdf

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GUNS N? ROSES

[?tilluffiffiilfiffi]I0]lPerformance llotes

hy Andy AledortTablature Explanation

by Wolf MarshallC0NTENTS

2 Introduction

3

I

Anything GoesIt's So EasyMr, BrownstoneMy MichelleItlightrain()ut Ta Get MeParadise CityRocket QueenSweet Child 0'MineThink Ahout You

BOr5365l20304IBB65- 4) /

-J

4 1 ./ ) You're

Welcome To The JungleCrazy

Management: Stravinski Brothers/Alan NivenTranscr ibed by Jesse GressEd i ted by Mark Ph i l l i psAr t D i rec t ion : A l i sa H i l lP roduc t ion Manager : Dan ie l RosenbaumAdmin is t ra t ion : Deborah Po le t to

ISBN: 0-89524-386-5

Copyr igh t o 1988 Cher ry Lane Mus ic Company, Inc .In te rna t iona l Copyr igh t Secured A l l R igh ts Reserved

APPETITE FOR DESTRUCTION is ava i tab te on Gef fen Records ,Cassettes and Compact Discs.

CTJI\S N['ROSES

t?lilffifilfi[[$Iil[TI0|[lntroduction

Guns N' Rosss smergsd lrom ths tulbulent yst fedile L.A. club scene which was th6 spawning ground for Van Halen, QuistRiovRandy Rhoads, Motley Crue, Ratt and Poison. Beginning with a smalllocalundergound lollowing,lhey rapidlygarnoreda greatsr public awarsness with thsir raw no-nonsonss sound and enorg€tic rock 'n' roll feel. Thsir appsarancs andsubsoqusnl popularity in 1987 was concurrsnt with a psrcoptibl€ shift in audience tasle towards more direct and moroemotionalforms of rock - a reaction against the slick over-calculated pop/rock and the tgchnically demanding metallusionof the garly and mid 80's. In this r€gard, Guns N' Ros€s advocate and deliver a musicalpresonc6 which is lho vory ssssnceof rock - rebellious, immediate andovocative. The musicinvites, indeed insisls on, audience participation and involvemonton a pur€ly gut levsl.

Ths sound of Appetlla lor Destructionrcveals an svolutionary link with th€ beginnings of modern rock. Sprinklsd throughouttheGuns N'Roses otferings are allusionsto well-eslablished and unmislakablo'60's bluss rools. Thevocabularyolthe bluss/rock tradition of the Brilish dynasty of ths Yardbirds, Crsam and L€d Z€ppelin is appar€nt in tho guitar work of load guitarislSlash, whi16 the rough, aggr€ssiv€ rhylhm work and powerhouse song rifis showthe influence ol lhs Kinks, sarly Stones andAerosmith. These centralelements coexist with hints ol punk rock (in ths pronounced chant-talkvocalapproach of the verssin "lt's So Easy" and the unabashed explstives found in ths lyrics ol "You'r€ Crazy' and "Out Ta Get Me"), '60's psychodelicmusic (in the raveup jamming of the rideout outro solo ol "Paradise City" and guitar-gsnsrated sound effects in the secondguiiar solo/intedud€ ol "Welcome to the Jungle,' in which stratospheric slids guitar adds a spacey quality to the proceedings)and vintage heavy metal (in lhe driving rhythm grooves, sustaining distorted guitar tones and viscoral powsr chordingthroughout).

As in virtually all classic hard rock, the compositions of Guns N' Rosss are ssssntially rilf basod. The ritf, probably the mostlundamental structural component in rock songwriting, is generally constructed from a strong repealing thematic unit whichsuccssds in grabbing tho listensr with its accessibility and immediacy. In tho music of Guns N' Roses, ths rifls are wellconstructed - their compactness making thom ideal for elaboration.

Ths guitar orchestrations and harmonizations are remarkablo. Notice in "Rockst Quesn" the mslody-versus-rhythmcounterlines in the intro, slide guitar timbros in the solo, and ths numerous texture and dynamic settings employed - lullforte €nsemblo, spacious arona-like guitar and rhythm acc€nt accompanimont, and clean t0ne pickod arp€ggiated guitars.The harmonized guitar lines are often unpredictable and interesting, exploiting a number ol interval r€lationships. Note th6ambivalence belween majorand minor in the parallsl harmony of "Wslcome to th€ Jungle'as well as the vari€ty of lrcatmentsapplied to the intro ritf ol "My Michelle," from a lighl airy statemenl over quasi-rubato guitar chordal arpeggiations at rnezzotone to a Ioud metallic answer phrase (reminiscent ol early Black Sabbalh) harmonized in unison and then parallelthirds.

In discussing his personal g uitar approach to the Guns N' Roses material, lead guitarist Slash admits to a prsfsrenc€ for im-provisation. Citing guitarists Jeff Beck, Jimmy Pags, Eric Clapton, Pets Townshsnd, Jos Perry and Angus Young as primaryinfluences, he leels an extemporaneous plan ol attack l€nds more life and energy to the music. Slash generally tends toelaborato on and re-develop lhe solo cont€nt on stago, except for his "signatur€ solos' (those moments which originally 0nrecord produc6d a delinite r€cognizable thematic impression.) A def initiv€ example of his lead guilar playing is the €xtsndedoutro in "Paradise City.' Her€, he builds chorus upon chorus ol relentl€ss guitar improvisations overafiorydoubls{ime rhythmfael. Starting with imitative paraphrasing of the vocal chorus mslody hs continually gathers momentum, finally reaching ahigh energy climax €mphasizing fast rilfing, varlous major and minorpentatonic, blu€s and diatonic combinations and sinswystdng bsnding.

An important poinl otfered by Slash was made ln rsgard to compositionalt€chnique. The band writes togsther, pooling theircollective resources and influences, resulting in a multi-lacetad yet coh€sive outpul. Bassist Dutf "Rose" McKagan, lorexample, having proviously playsd in a punk group, brought his inlluence to the tune "ll 's So Easy." lzzy Stradlin' (secondguilarist)and Slash originallycreatedthe ritl ot "Mr. Brownstone" on acousticguitars, and the timbre of wah wah slectricguitarevolved later. Ths lirst dratt of "You're Crazy' was initially played on acoustlc guitar and at a much slower pace (almost ahalf- timo shutfle)but €volvsd into tho uptempo boogie-m€ets-punk groovs captursd on the LP. Th6re is constant rethinkingand experimentation at work within thsir arranging and composing lramework.

For Appetite lor Destruction, Slash recalledthat he lavored his "Gibson Les Pauland old Marshall half stackwith a minimumofel fects . 'Occasional ly ,achorusuni twasaddedspar ingly toprocesscleanergui tarp ick ingpassages(as intheint roto"Paradiso City")oravinlage Dean Maftl€ytalk box (which can be hsardtrading phrases with straightguilarin "Anything coes')or a crybaby wah wah pedal was usod (as in "Sweol Chlld O' Mine" and "Mr. Brownstons").

-Wolf Marshall

CUNS N{'ROSES

\?ltlllttilfiffi$l[lltTl0|[PERFORMANCE NOTES

Guns N' Roses' sound can be described as a cross between Led ZeppelinrrlyAlice cooper, playing basic, straight-ahead rockwith aflairforthe bizarre.'tnesound is primarily.straight-jacked Gibson Les pauls through Marshall amplifiersI le lnthewayof ef fects. whetherplayingcleanrhythmpart-sormaximum-crunchthe sound is raw and natural, as opposed_to the untra-processed sound so manyands..use today. Tf 9 music comes out of early 70's biuegrock, relying on blue6rlterations and established metal hooks, as well as some new twistd of-their own.f th_e guitar solos are based on pentatonic minor (1 ,b3,4,5,b7) and the blues scale4rb_5F&7) as well as pentatontc major (1,2,3,5,6) anil the major scate,4,5,6,7) .

Welcome lo the Jungle

. This tune begins wlth muted picking, uti l izing an echo device to simulatell! lgles. The tonaliry here is B mlnor; Gti. l 's riff isbased on B pentatonlc minor:,Ff ,A), as is the soloing of Gtr. l l. This gives way to the verse rfiythm part based); tne soloing In the last bar of the intro is based on the A blues scale),Eb,E,G). The riff over E5 at the end of the verse is based on the E blues scaleI t the f i f th (E,G,A,Bb,D).

The first guitar solo has an E7 tonality, as Gtr. I uti l izes double stoos maoe:hlrds, fifths and sevenths. The second haif of the solo (bars 5-8) is reminiscentmy fqqe.and is based on rhe E btues scate 1e ,e ,A,AO,B,D) with'brief use of thethird (G#).

, The bridge introduces a new tonality, D major, where the tune calms oownlefore returning briefly to E7. This is followed by the semnd guitar solo, this time# minorand these lines arqba!"! o_n C#pentatonic minor (C*,8,F#,G#,8)forthex bars, E Mixolydian (E,F#,G#,A,B,C#,D)forthe nexttwo bdrs, B bentatoni'c minor: bars, E blues scale for two bars, and B pentatonic major (B,C#,D#,F#,G#) forrrs. Thi.s gives way to-some ad lib sound effects with slid-e and echo, foildweij bymatic riff harmonized first by a minor third, then by a major third, eventually gettinilo the chorus. (l igqeq closely to the recording to-hear the different tones uied b!ythm guitars, which fatten up the sound.)

-

l l 's So Easy

The intro, verse and chorus sections of this tune are based on the E blues(E,G,A,Bb,B,D). After the inrro, one guitar ptays basic,,5" chords, supported byrnd.gultar.playing doubte stops. The oiidge uriti2es arpeggiated cnbroi i,vim openi; ailow ail tones to ring as long as possible. This is followed by a rhvthm oart thatrriation on Rhy. Fig. 2, using a similar syncopation but different ciiords.'

The guitar solo is also based on the E blues scale, primarilv in 12th position.ttack.,is,similar to.Angus Young of Ac/Dc, featuring thb sound on hunibucking)s with heavy picking.

. The outro solo begins with phrases featuring ,,rakes,,'which means to strumsrngre oownprcK sweep across muted str ings, low to h igh. This solo is a lso based, E 0lues scale, with momentary use of the sixth (C#) and the major third (G#).

Nlghtra ln

The intro features two guitars, one playing single note lines, the other3 t r iads. The s ingle note l ine is based on A Dor ian (A,B,C,D,E,F#,G) unt i l the G(bar e ight) , where the l ine is then based on G Major (c,A,B,C,D,E,F#), resolv ingThe rhythm part for the verse sections is based oh chunking chords wlth a mutedrsed on A pentatonic minor (A,C,D,E,G).

Fil l 1 features some artif icial harmonics (see tablature explanation page).ru.l.s and similar-guitars with humbucking pickups are great for'achieving'tn"es'es (Just ask Billy Gibbons ot ZZf op). TJre first five bars of the chorus rhythm partiniscent of the chorus rhythm part to Zeppelin's "Btack Dog."

The guitar solo brings a shift in tonality to B minor, and the solo is based on:atonic minor (see "Jungle") for the first eight bars. The next section is based onrrs of D follorrued by two bars of F#5, whicfi is repeated three times. D pentatonic(D,E,F#,A,B) is used over F#5. The outro solo is based on A Dor ian combinedre A blues scale (see "Jungle.')

Out Ta Gel Me

This AC/DC-like tune b-eg.1ng with_a G minor tonatity, with the lead guitarthe G Dorian moqe (9,Arqb,c,D,E,F). The doubte stopsin the soto are piayedting both notes with rhe third finger. The guitar solo is based on the same scaleies the same third finger technique. This sblo is particularly reminiscent of Angust, with ths fast, t ight vibrato and hard pick anack. The seLond half of the sot6 ison A pentatonic minor (see "Nightrain').

Mr. Brownstone

The return of the "Bo.Diddley" beat, augmented by muted strumming onwlth wah wah pedal. Follow the symbols tb rock ths pedal mrrectly.

"The

nding riff by Gtr. I is not based on sounding precise pitches;just slide your fingerdown the sixth string white picking sixteenth, and then slide back up. Rhy. Fig.1sd on E Dorian (E,F#,c,A,B,c#,D) wirh a major third added (G#). The riff in barsthe chorus is based on E pentatonic minor (E,G,A,B,D). The guitar solo featuresin tonality to F#5, with the solo lines based on F# pentatonic minor (F#,A,B,c#,E).)und ls fanened up with wah wah pedal and echo. Thls is one of the more difficultso work out the phrasings carefully. The second half of the solo is based on G:onlc minor (c,Bb,C,D,F), C pentaronic minor (C,Eb,F,c,Bb) and D penraronic(D,F,G,A,c) in the next three bars, respectlvely. All riffs are very similar and useme basic hand positions and manioulations.

Paradlse Clty

This tune begins like a country tune, arpeggiating first position chord forms.Use a combination of alternate picking and consecuiive piCking, whatever feels mostcomfortable. Riff B is based priinarilybn G pentatonic m'alor 1G,n,e,D,E). Again, theguitar is pusing a lot of distortion, sounding occasional artif icial harmonics. hiff D isbased on G pentatonlc minor (G,Bb,C,D,F).

The guitar solo features the use of an octave divider which doubles all thenotes one octave lower. The solo is based on G oentatonic minor for bars 1-4 and 7 &8. Bars 5 & 6 are based on A pentatonic mlnor (A,C,D,E,G).

The double time section again features G pentatonlc minorand G pentatonicmajor, and the solo guitar is played in the style of classic blues/rock, reminiscent ofLynyrd Skynyrd's "Free Bird" outro.

My Mlchel le

The best way to articulate the opening arpegglos is to hold each chord formtlroug! each beat and use alternate picking. Ritf A ia based on the F# blues scale(F#,A,B,C,#,E), again emphasizing the bs(C). Riff B harmonizes Riff A a major thirdup. The four bar section before the guitar solo (after "...But till then ya better...") i3 basedprimarily on F# pentatonic minor (F#,A,B,C#,E); use the third finger to fret both notes inbarthrse. Thefollowingguitalsolois based primarilyon B pentatohicminor(B,D,E,F#,A)with brief references to the G5 chord. Bar four and five of the coda recall rock'n' roll rave-ups of old, especially Eddie Cochran's "Summertime Blues."

Thlnk About You

. Th.e opening s.o^loing_.lines here are like revved-up Chuck Berry, played in ata.g. team fashion by Gtrs. | & lll. The rhythm part over the verde combines chdrd lccentswlm muted rggJ ryqe!; play it so you can distinguish the rwo clearly, digging in to the partas a whole. w. Axl Rose sounds like Klaus Meine of the scorpions on tn'is tune. Rhy.FiO.1 and 1A complement each other well, power chords supported by argeggiatedtriads; use a clean tone for the triads, crunch for the chords.

' '

. l lqgg11ar-solo contains more Chuck Berryisms based on F# pentatonicmlnor (F#,A,8,69,E), No flaming speed riffs here, just btd fashioned rock 'ri ' roil.

,, ... T|r" soloing at the end of this tune is based on B pentatonic minor (see"Michelle"), played in the standard pentatonic positton.

Sweet Chl ld O'Mlne

Riff A is based on D Major (D,E,F#,G,A,B,C#) and is ptayed on a Les Paulseton the rhythm pickup, with the tone turned way down. The groove is more laid backthan most of the other tunes, kind of countryish and reminiscent of U2; the vocal part isremlniscent of Grand Funk Railroad.

The gqltar solo section brings a change in tonality to E minor, and the solollnes are based on E Aeolian (E,F#,G,A,B,C,D),with brief reference to E harmonic minor(E,F#,G,A,B,q,D#). Bars 25-32 recall Alvin Lee's soloing on Ten Years After's classic"l 'd Love.To Change the World." The last part of the tune contains some fast soloingbased primarily on E pentatonic minor (E,G,A,B,D); the quintuplet riff is actually a foui-note phrase played as fast as possible, so the phrasing looks a litt le confusing. Listento the record to determine how the guitarist is feeling the phrase against the beat.

You're Crazy

This tune sounds a litt le l ike ACiDC meets Bachman-Turner Overdrive onZp. QimpJg, straight-ahead rock'n' roll played FAST. The eighrh nores in rhe rhyrhm partshould all be downpicked; this wlll definitely take some practlce to get down. The chorusrlyJnm part is reminiscent of a San Francisco robk 'n' roll-band of yesteryear,Rhinoceros.

The gui tar solo is based on B pentatonic minor (B,D,E,F#,A). The riff in bars9- l2 lsthesameaswhat:J immyPageplaysat theendof h is"Heartbreaker"solo. l tmaytaKe some work to be able to hold the bend and apply a strong vibrato.

Anythlng Goes

For the intro, one guitar plays a little riff based on the chord tones of 47(E,G,C#); this is.a very common shape in rock, used by Jimi Hendrix in the opening to"Red House." The otherguitar plays lines based on A-pentatonic minor (A,C,D,E,G).

The guitar solo features a tonality change to E minor, with lines based on'EpglJ?tql!c_lllngr (frp,A,B,D)with the inclusion of tfie sixth (C#)and E pentaronic major(E,F#,G#,B,C#). Working back and forth between these t'irio scales is a commbnpractice in rock, brought to the fore by Eric Clapton. Bars 5-8 feature the use of a'talkbox," a device which amplifies the guitar through a long, thin tube held in theguitiarist's mouth, enabling him to_shape the tone phonetically (si-milar o a wah wah pedalbut to a much greater degree). The sound is then plcked up by a microphone as'if theguitarist were_slnging. The second half of the solo is based piimarily on B pentatonicminor (B,D,E,F#,A).

The last section of the tune features a feel change to an uptempo shuffle,slmilar to but slightly faster than the Doors'"Roadhouse Blues." The last riff in the freesection ls based on the D blues scale (D,F,G,G#,A,C).

Rocket Queen

_ Riff A, as well as the ostinato soloing during the first verse, is based onF# pentatonic mlnor (F#,A,B,C*,E)with grace notes us-ed from the minor third (A) tothe.maj_or_third (A#)., Over the 85 and C#5 chord the lead guitar uses B pentatonicmajor (B,C#,D#,F#,G#) and C# pentatonic major (C#,D#,E#,c#,A#), respectively.

The slide guitar solo uses triad superimpositions primarjly, much in theJeff Beck style (as in the bridge of "Beck's Bolero").

The soloing during the outro is based on E pentatonic maior(E,F#,G#,B,C#), which-is the Eame as C# pentatonic minor starting frbm a differentnote (G,E,F#,G#,B). Bars 13-15 util ize the E major scate (E,F#,G#,A,B,G,D#),which is the same as C# Aeolian. Some tough phrasing here, so analyze the linescarefully and listen to the record.

-Andy Aledort

TABLATURE EXPLANATIONTABLATURE: A six-line staff that graphically represents the guitar fin-

gerboard, with the top l ine indicating the highest sounding string (high E).By placing a number on the appropriate line, the string and fret of any

note can be indicated. The number 0 represents an open string.1sr s r r ing - H igh E2nd str ing - B3rd slr ing- G4th 6tr ing- 0sth str ing- A61h 6tr ing- Low E

sth Elrlng, 3rd fret 1 st slrlng, 1 5th frot,2nd str lng, 15th frot,played to€ethol

€rn oosn E chord

Guitar Notat ionDef ini t ions for SpecialB E N D : S t r i k e t h e n o t e a n d b e n d u p' :

S t e o ( o n e f r e l )

l l

B E N D : S t r i k e t h e n o t e a n d b e n d u o aw h o l e s t e p ( t w o f r e t s )

B E N D A N D R E L E A S E : S t r i k e t h en o t e a n d b e n d u p r ( o r w h o l e ) s t e p ,t h e n r e l e a s e t h e b e n d b a c k t o t h eo r g r n a l n o t e . A l l t h r e e n o t e s a r e t i e do n l y t h e f i r s t n o t e i s s t r u c k .

P R E - B E N D : B e n d t h e n o t e u pwho le) s lep , then s tnke i t .

I I r , r r I r t l l r

P R E - B E N D A N O R E L E A S E : B e n dt h e n o t e u p ' ? ( o r w h o l e ) s t e p S t r i k er t a n d r e l e a s e t h e b e n d b a c k t o t h eo n g r n a t n o t e

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

U N I S O N B E N D : S t r i k e t h e l w o n o t e s

s r m u l t a n e o u s l y a n d b e n d t h e l o w e r

n o t e u p t o t h e p i t c h o f t h e h i g h e r

I : u i lI

| - t z

-lU--

V I B R A T O : T h e s t r i n g i s v i b r a t e d b yr a p i d l y b e n d i n g a n d r e l e a s i n g t h en o t e w i t h t h e l e f t h a n d o r t r e m o l ob a r .

W I O E O R E X A G G E R A T E OV I B R A T O : T h e p i t c h i s v a r i e d t o ag r e a t e r d e g r e e b y v i b r a t i n g w i t h t h el e l t h a n d o r t r e m o l o b a r .

S L I D E : S t r i k e t h e f i r s t n o t e a n d t h e ns l i d e t h e s a m e l e f t - h a n d f i n g e r u p o rd o w n t o t h e s e c o n d n o t e . T h es e c o n d n o l e i s n o t s t r u c k

S L I D E : S a m e a s a b o v e , e x c e p l t h es e c o n d n o t e l s s t r u c k .

H A M M E R - O N : S t r i k e t h e f i r s t ( l o w e r )n o t e , t h e n s o u n d t h e h i g h e r n o t ew i t h a n o t h e r f i n g e r b y f r e t t i n g i tw i t h o u t p i c k i n g

l t

P U L L - O F F : P l a c e b o t h f i n g e r s o n t h en o t e s t o b e s o u n d e d . S t r i k e t h e f i r s tn o t e a n d w i t h o u t p i c k i n g , p u l l t h ef i n g e r o f f t o s o u n d t h e s e c o n d( l o w e r ) n o t e .

T R I L L : V e r y r a p i d l y a l t e r n a t eb e t w e e n t h e n o t e i n d r c a t e d a n d t h es m a l l n o t e s h o w n r n p a r e n t h e s e s b yh a m m e r i n g o n a n d p u l l i n g o f l .

T A P P I N G : H a m m e r ( " t a p " ) t h e f r e ti n d i c a t e d w i t h t h e r i g h t - h a n d i n d e xo r m i d d l e f i n g e r a n d p u l l o f f t o t h en o t e f r e t t e d b v t h e l e f t h a n d .

P I C K S L I D E : T h e e d g e o t t h e p i c k i sr u b b e d d o w n t h e l e n g t h o f t h e s t r i n gp r o d u c r n g a s c r a t c h y s o u n d .

TREMOLO BAR: The pitcl-no te o r chord is d ropped anumber oJ s teps then re tu ro r i g i n a l p i t c h .

P A L M M U T I N G : T h e n o t em u t e d b y t h e r i g h t h a n d l i gl o u c h i n g t h e s t r i n g ( s ) j u s t

b r i d o e

M U F F L E D S T R I N G S : A p esound is produced by lay i rh a n d a c r o s s t h e s t r i n g s w r ld e p r e s s r n g t h e m a n d s t n k iw i t h t h e r i g h t h a n d .

N A T U R A L H A R M O N I C : S t r i k en o t e w h i l e t h e l e J t h a n d l i g h t l yt o u c h e s t h e s t r i n g o v e r t h e f r e li n d i c a t e d .

I I u r n r .:

t h e

R H Y T H M S L A S H E S : S t r u nI n r h y t h m i n d i c a t e d . U s e cv o i c i n g s f o u n d i n t h e f i n g ed i a g r a m s a t t h e t o p o f t h eo f t h e t r a n s c r i p t i o n .

R H Y T H M S L A S H E S ( S r N GN O T E S ) : S i n g l e n o t e s c a nr n d i c a t e d r n r h y t h m s l a s h ec i r c l e d n u m b e r a b o v e t h ei n d i c a t e s w h i c h s t r i n g t o ps u c c e s s i v e n o t e s a r e p l a y es a m e s t f l n g , o n l y t h e f r e t ra r e g i v e n .

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C B A (

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A R T I F I C I A L H A R M O N I C : T h e n o t ei s t r e t t e d n o r m a l l y a n d a h a r m o n i c i sp r o d u c e d b y a d d i n g t h e e d g e o f t h et h u m b o r t h e t i p o f t h e i n d e x f i n g e ro J t h e r i g h t h a n d t o t h e n o r m a l p i c ka t t a c k . H i g h v o l u m e o r d i s t o r t i o n w i l la l l o w J o r a g r e a t e r v a r i e t y o fh a r m o n r c s .

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Words and Music bvW. Axl Rose, Slash-,

lzzy Stradlin', Duff "Rose" McKaganand Steven Adler

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c i l s Bbs

H#*ffi"In tirneN . C .

ts

Copyright O 1987 Guns N' Roses Music (ASCAP)This ArrangementO 1988 Guns N'Roses Music

International Copyright Secured All Rights Reserved

Faster t = 124

B 5A5

J

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

l st Verse

A5

Wel - corne

Rl iy. F ig. I

Rhy . F ig . 1A

Wegot ev - ' r ) ' - t h ing -you wan t . -

we go t fun garnes. _

I

l

we know the names.- Wc are the peo - p le

P . M . - - I

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

hon - ey

2P . M . - - - - - - - - l

you go t the money , hon - ey ,

D/CI D/B D/A----------,-i - t+ i.------.-

got your d is - ease. - In the jun -

(end Rhy. Fig. l)

sna na na na na na na na na na na na

,v.

(" B CiA

to your

Rhy. F ig . 2t Both gtrs. )

2--/t t

k l tees .

end Rhy. Fig.

H a r n t . 1

J - J r r J J

wan - na wa tch you_

(end Rhy. Fig. 2)

fnd Verse'w / R h y . F i g s . l & l A

A5

Wel - cotrre to the J u n

you wan t i t . you ' re gon na b leed , - bu t

scx - y g i r l _ who's ver -

w/Rhy.C

d a y . -

the pr ice- you pay.- And you're

You

take i t

y hard- to p lease.

F ig . 2 ( l s t 5 ba rs on ly )C/B

-_=- I

youcan

D

taste the

D / C f

br ight -

D /B

L1-

I n the jun(Ah ,

C/A

Wel - come to the iun

;

rvon' t get thenr for f ree._

E 5

i l tY , lny ,

Gr - r i ta r so lo I (w /ad l ib voca ls )

my se r - pen - t i ne ._

- g le.ah. ) -

w/Fil l 1B 5

I wan - na hear vou -sc ream!

but

D/A

- 1+

: = \

P

'-I.\

zl.r-ll

s l . s i

Ds D*-s E5 D-s u:{r,E 5

, l rd Versew/Rhy . F i gs .A 5

D t s

gets worse here

le 'arn to

IlJ

l i ve - l i ke an

D t l

in the jurr

D E

e - v e n - t u ' l - l y . -w /Rhy . F ig .2

E5A . H .

ry f , ^ , ,

u d y . _

play. -

E

you gotwhere we

D

You can have an

c/G D

D5

loc'o

D * s- 1

si. Full

You

A L ; 2_ / !

€ -Wel - con rc to the J u n

an o l e

you ' l l t ake i t y - th ingyou want, -

D/cf D/B

but you

D/A

- t /E-, r ef h l->' 4].--'-t

bet - tc 'r not In the jun(Ah,

C I A

"fr. l

s/

l & 1 A

1 0

t l r ke i t l r o rn n re . - g le, wel - come to the jun gle. Watch i t br ing you to your

uh.

Pr--\--------------

---____-___.l

I 'm gon - na watch you bleed.

And when you're

ry

suck

- l

t t - t l/ / / /;>

Ft 1

a /;

m,.wsteady glrss.

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

s/.

s/.

Guitar solo I I

c { [email protected] 85 A5I I 85 A5I I

@zr.E 85 A5 I IB5 A5 I IB5 A5 I I 85 C5

.D .rTD.--m .rTnY2 '\: :- Kr ',

85 A5 I I 85 C5 C f 5

,TT*)r l? ( I5ma)

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

s/ . a.H. p i tch: E

c f sI

1

Ful l

1-,q,*

@:rr.A5I I G E5

D^w/Rhy. Fi l l I

Full as/. I

FY\

i 'a, Lf

* s / . F

F f5 E5 F *5 E5 F f s E5 F *

. D : . m . D . D )

s t .

E5 F*5 E5 F fs E5 FT5

t z

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

, s tead. t 'g l iss..V.

I

:-I

Gtrs. I & I l cont . ad l ib s l ide r i f i 'sG t r . I I I

1

13

wi Rhy . F ig .3 (3 t imes)

T l- # -' '

T

You knou ' where you are ' )

F i r ' 1 - - - - -, , t - . J - - - - - - - l

,\,t f

You ' re i n the jun - g le , ba - by !

A o p e nv '

B b 5 P E, ^ l

a ' a

You're gon - na

w/Rhy . F ig . 2 (1s t 4 ba rs on ly ) (3 . t i rnes )

C C/B C/A C/G

knees.- In the jun -

m y ,

t_

d ic I

t)

I n the jun g le . Wel-come to the jun -(Ah,

, t l

D , C T D / B D/A

C/A

sha na na

D

na na

D/cf

na na na na na na na Knees,

D/B D/Aa h . )

rt l

a l t . )

C/G

Wel - come to the ir-rn gle. Feel- f ly ,ah . )

C/A

Jun -

(Ah ,

C/G D/B

Wel - come to the jun gle. Watch i t br ing you to your

oh ,

lny ser - pen o l e

ah . )

sha rra

D/Cr

*+

na na na

D/B

na na

D/A

na na na na na Knees. knees.- Down in the iun

w/Rhy. F ig . 2 ( ls t 2 bars on ly)C C C/A C/G

- o l pb ' - .

(Ah, -Wel - come to the iun -

E7 T9

\

H u h !

E5 D5 B b 5 A 5 G 5 E 5 A*+'f

t ' . Wate l t i t b r i ng yo r r to you r . I t 's gon-na- br ing you down l

(rotn trs)

" x------------_-

*Slowly detune ---__--

F f 5 F 5 F + 5 C s ( t Y P e 2 ) A 5 G f 5 A 5s/car i rg1 i . is . ) ) / ) ) ) )

e. Watch i t br ing yotr to your

1 4

low E str ing.

SO EASY

;-i -1i o o l o . I . e o 7 o

H H H H T I H HP . M . - - - - - - - - - - J

*f

Words and Music byW. Axl Rose, Slash,

lzzy Stradlin', Duff "Rose" McKagan,Steven Adler and West Arkeen

IT'S

E5 Es( t - vpe 2 ) Bb 45 C5 Esus i4'ffiij "f#?r,. Effi-0r,.ffi*sr,. ffi3s, "ffir r n ' f f i f f i f f i f f i - i , , u ,

Tune down 7 : s tep :

. O = E b O = c uO = e b . ) = s b@ = t h ( f = s b

Moderately fast ; = 15:rIntroRhy. Fig. 1 (end Rhy. F ig . 1)

w/Rhy. Fig. 1 (21/: t intes)

@ o p e n

E E 5

.D r ,f .i .n .4.i .n

F t sx x x

trtrR+H-tFfit-H133

Esus4O X XFfl#rmTlffi

123

Ds Ds/cf Gs/Ffffi*sr,. hq#+r'.gffur,.}+-tl+.IT f f i q f f i f f i

B 5xxx

fEfEtr 7fr.l H l t l

EIIIEtr

@ o p " n

E E s ( t . v p e 2 )

.n '' ,,\ '

l s t , lnd. 3rd Versesw/Rhy. F ig . lA ls t & 2nd t i rnesw/Rhy. Fig. 2B 3rd t ime

.n 1 n. , , \ . r , f f i ) . x > 4 / .

Rhv.F ig . 2 Bb5 As Gs

IJb 5

@ . p " n

E E 5 ( t r n e z ) (end

t-l I I> 1 , 4 / /

Rhy. F ig . 2 , w/RhY Fig ' J (3 r imes)

. m B b s A s G s r E r E 5

see your sis - terSee additional lyrics

E5

- J

in her Sun She's out to

t--/

p lease , - she pouts-dress.-

A 5 G 5 ( E ) 45 G5

-T�

ou t to take . need- to try. _

B h 5

Rhy. Fig. Play 4 time.s

She's read - y

Rhy. Fig. 28r l 2 Ploy I tintes

CopyrightO 1987 Guns N'Roses Music (ASCAPyVirgin Music (WestArkeen Music)This Arrangement@ 1988 Guns N'Roses Music/Virgin Music (WestArkeen Music)

International Copyright Secured All Rights Reserved 1 5

ChorusW/Rhy . F ig .3A

A5 G5 A5 tJ b5fuiy. l-T-rF ig .3 ) ) ) - .n

@.p"r @ open

E Esusf4 Esus4 E\ r

' ' z l ' ) {s / . P .M.

(end Rhy. Fig. 3)@ o o e n

Esusf 4 Esus4 Ei-]I l ^ - l I/ / - / /

sl '

w/Rhy. Fig.3 (3 t imes)

A5 G5 A.5 Bb5

eas

Esusf4 L ,sus4 (E) Esusf4 Esusr l (E)

- Y ,

B b 5

v '

A5

eas

G5 A5

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

(E) Esus*4 Esus4 (E) Esusf4

to please -

Esus4 (E)

eas

Esusf 4 E,sus# 4 Esus4 (E) I It

ur.,ri o Esus4 (E) Esusf 4

e v - ' r y - b o d - y ' s t r y -

IlridgeD /F f

;=------,'---_\\_-_

eas

Rhy. Fig. - l

i n ' t o p lease-

G

me.

As(7)

seems- to- p lease- me. I t a l l -

(end Rhy . F ig .4 )

B5addb6

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

I

when I fade - i n - t o -

r --- -

1 7 - - - } t ' ' n

h ' : 2 . \r f - - - - : =

(2nd t ime:) So

o-

hi t - you. you - I 'a l l - d o w n

Rhy. F ig . 3APluy 4 titrtc:;

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

16

Fig. .sAD-s/ ( ' t D5 c5 G5/Ff E-s g5( t r re 2)

(end Rhy . F ig .t t. l r t l ) ))- ,-^/ ' )

I see you s tand- in ' t he re

Ds/c'$ Ds (;s cs/F{ Es

Why don

w/Rhy . F ig . I (1 r i n t cs )Ub-s A-s G-s ( t r ) E5 tsb5, t l ' t / - - - - - _ - - l

I K

W/Rhy. Fig. 5 (3 t imes)s) Ds Ds/c* Ds Gs Gs/r f rs

D5

( E 5 t I tb 5

45 G5

A5 G5D.S. (take :n(l cnding) al CorJa

E 5\

A 5

- +: I

yorl re _

D5/ ( f D5 G5 G5 FT E5

fuck offl-

toco p Fu l ltr- I-.\__L1.-a. -

. _CI : : f - - _ ' 1 - +_ _ - E

I ( I t in t t ,s)( ' oda

* rBhy . F ig

+ r f sA . \ \

7 i9 ; .

w i t h - m e .

G 5s

Don

I a in ' t got -

Rlty. Fig -5APlay I tintc.s

r -r- _Jl' f f l

1 7

OLr t ro so loi l ' , 'Rl ty . l : ig

l J t f

J / , \ 1 i771357

.{-5 (;-5

-

.\5 C;-5

-

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

a _ _ t -

e a s - Y

Fu11, / \

!_r __ - -=T - r T - ' r

=f.= i- 1=damn- eas - y.

3 -?FtT f' a

Full

/ 3

a r,r_a

P

p Fullt

+ t- - J ' .- r t

G5A5 A'5 G5

I t 's so - east l

==<l-F-

L f I r,<:L)r / P

y l

Fulln P

./^t ^

---*-oj,

6 -r/.------^4----

) + - +P

A5 G5

1 8

G5A5 E5

S o - eas

s/. slD 5 E5

?T_

T-]-- _r=l

So fuck

P . M .

so_ eas

4

P . M

Additional Lyrics

2. Cars are crashin' every night.drink 'n' drive. everything's in sight.make the fire, but I miss the firefight.hit the bull's-eye every night. (To Chorus)

3. Ya get nothin ' for nothin ' , i f that 's what ya doTurn around bitch, I got a use for you.Besides. you ain ' t got nothin 'bet ter to do.And I'm bored. (To Chctrus)

Yeah ! -

19

I{IGHTRAII{

E5

U,:'li,HS'y€i:Jtlzzy Stradlin', Duff 'Ro5;*.figil?

G5 ( t vpe 2 ) G f 5 D C5x x x ^ - x x x . . x x x ^ ".TTTn 3lr. .TTTn4rr.

FFFFI 5fr. FFffi rtr.t-tl.ltl 1+l+{ r-rcTTI T IT'T�I

rUB lA3 f gOA l i } l

A 5 V D 5 G 5xxx x xx xodxx

f!ffi5rr. ffiT5fr. ffitrf f iA Hff i f f ir a $ . - . r 3 a z

' f u n e d o w n r r s t e P :

@ = E t - 3 = G b( ! = , r b O = s b, g = o b O = u b

F a s t R o c k J = l . l g

ln t ro(Corvbel l and htgh hat)

A5x o x xFFFFFTf?.ftsffi

l l

F 5xxx:

?-JJ-H-.i

Tr|Il1 3 3

F f sB5

F#FfTTFHftsH1 3 3

A 5

Gt r . I

D/AFig. I

P sl.r v ' T _ T/ l r ' r r4 I I I - o , - -

f

e- -€-=-_ ___, s/.

,v.

s/

s/

Rhy. Fig

Gsus4

CopyrightO 1987 Guns N' Roses Music (ASCAP)This Anangement@ 1988 Guns N'Roses Music


A1

Load -

(end Rhy. F ig . 1)

20

w/Rhy F ig . I & lA

D/a'

ed l ike a f re ight- t ra in. _

Gsus. l G Gsus4

-, 1-, p; ;---ip --ft-- ---l-=l- L

- r l l - t - o-� --

A5

a nine l iveey . pu t on your

l ike an aer

ra t - t l e -snake sui t - case

fly

G5 A5

plane, -

Gtr . I

-:]v-:+e-e

feel -

,A5V

. ' )^

I st VerseRhv. Fig. I

-.n J.

in ' l ike a space brain one l .uore t ime to - n isht L o o k o u t l l . W e l l . I ' m a

, west coast

IRhv. F ic . lA

A i - r-)# +i6-:. 4# -Jr ti

- t -

un - der my

--

P . M

I go t a ,and take your cred -

dog - eat - dog s lycard _

smi le ._to the

e-

been d r ink - in gas - o - l i ne ,_ an 'honey , you can n rake my mo - to r

(et td Rhy. Fig.

i - r- lv_: l

+_+

P . M . - - - l

l . W e l l . I

Ful l. / \

got

Ia+

lnd. 3rd Verses-l l l i Fig l&rA

left -l a t e , -

ca t . -c lothes-

(G t r . I )

arn r . - Sa id I '

Full

t \ , / 4 ^z 1

' a \

a a 4

21

cock - tail withyoLl

w/RhyA'7

Fig. 1 &. 1A

D/A

F i l l I tC t r . I r

z z

in ' l ike

G 5

E5 G5( type 2 ) A5

(]sus.{

=T

space

A5cClsus.l

l n

on the night - train F i l l my

't

nev - e r l ea rn . -

Chorus+ e

night - t ra in.R l t y . F - ig . 3 (bo th g t r s . )

t l l t l l) l

+

t 1 1

( e n d

Bo t - t on rs

Rclc l - y to

1 1 4

I love that stuf f . - I ' rn on the nightE 5 D 5

train, - and I can nev - er get e - nough. I 'nr or . r theB 5

\

{D

pic k slide

i . i e r - o - p l a n e .

f f i . - m . r n D ^

- t - : -

1 -

and

1 1 4

.41^11*

/ ll a / 4

_ _ _-- l^^^l_--k-^

a - vn ^

u5 A5v 85

.w^,r-mF,1

-r> Fu[ Ful l

Es Fs F*s E5 F i l s Es

,TD^'-MF*s Es F*s

.w-'n )' + 1

B5N

.)^:>

A,sV 85 A 5 V 8 5 E 5 F 5 F * 5 E 5 F * 5 E 5 F * 5

.w_

a ^ - , & ,

5,5(tvne t)6ts 45v

. t / 1 / 1 / 1 /> > > t >

l>

P . M . - - I

l )

\!

- F t t l l

A - d g i

7f f,A t/L Q - I

a_

\ l/ ' .-d

s/.F f s

\ l/^d

s/. s/.

\/ ' /Ful l

.rl.

\ rl t I

\ r N

P

DN

/^

Ful lJ

a/

I

F u l l

\ \ r/^ . !

\ l

\ r)T-)) I N/ / 'Iru11

F * s\ l/ ^ /

ryu-",

, A R

)

H P#+T - ) 1

)---=,

F f sN/^

\ l)^)

s/.

) ) ) \ l/ n /

s/. *sl. /

p f sF sE5E 5 F 5 F f 5

\ ,)

' ( t o n l . h t ' t o r r ' ) A . l { l r :

A . I { . p i t c h : C f ,

F5Full

= 1 dP . M . L e t r i n g P . M . -

F 5 F T 5

_E7 +

l>v

aJ i--

-'

JJt+

E 5F 5E 5F 5

.slow'release

t--1

1 d

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

25

I )5

bre in .

@6pen l f1 .

I 'm on the

a n a e r - o p lane ,

C5 A5

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

Load

,^

u ' l S l i d c - - - - - - lslott' stead.t' g/iss.

freight- t ra ln. -

s l .

speed-

\ l)-> \1 1

G5l\\

i / ^_>+^

A 5

,\^-,C5\

/r-.>

\

t irne nightA .H .

( 6va) _

and I 'm

!7',ttnn

some. - I ' rn on thenight - t ra in,

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

below)

to

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

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

read - v

Gtr. I

Chorus/Outro(xVocal ad l ib t i l l end)w/Rhy. Fig. 4 ( t i l l ertr l)

.-----,;-' t .-s t o w D e n d

-:-tv.e-

vv!-,,€

(end Rhy. 4 )

I t/z

/ '

t t _

1y ,

)

F 5

*See add i t iona l l y r i csA . H . p i t c h : G

27

A5A . H .

( 8va)

f;"8-

28

s / . H P

J

H P P

H P P r / p

:?i>*a

F 5P H

Full

[ \ p-^l-

I i P

Additional Lyrics()ttro Chorus:Nightra in, bot tom's up.l 'n i on the nightra in. f i l l my cup.I ' rn on the nightra in. whoa yeah!

I 'nr on the nightra in, love that stuf f .I 'nr on the nightra in, and I can never get enough.Ridin ' the nightra in, I guess I .I guess. I guess, I guess I never learn.

On the nightra in. f loat me home.Oh, I 'm on the nightra in.Ridin ' the nightra in, never to return.

Nightra in.

s/n.'_-

+ {rj-

F-adc ctut

+tii-\r-_�:fl

t,/,/. a r +

+ +

Ltertd

Fu l lskt tv bertd

,l l.

Begin fadt:Ful l

) J

I I P Pz-\

ry

29

OUT TA GET ]|[E

C 5 B b 5X X X X X XtllTfi 3fr. Tfffi

Tunc dtrwn' : s t . 'p : fPf f i Tf l f@ = r l g = t ; b

1 3 3 i i a

B b5 lC G5( tYPe 2 ) FS /C

F# cdfr:r,. Fr+\f f i H + t f f ii i i i 5 3 ' ' r i i ' ,



D5x x x -trIflf 5fr.Ftftft' i B 3 '

'

G5xooxx

I+Fffil-t-trHftrt+2 '

A5 E5o x x xFFtrFF

ffi.lT1Til-r1

B5

ffiiqTrnH-fFH133

O = . r h O = e t@ = o b e = r . b-

Modera te l y fas t J = 140In t ro - G5 Bt5 G5 Rhy. F ig

A Gtr. I -rF 5 G5

Play 3 timesBh5 G5 Bb5 G5 w/Rhy. F ig . I (Gt r . I )

(end Rlty. Frg. l) F5 G5 C5

F5 G5

B b 5 G 5BYa- -

Ful lB b 5 "t",r. I T

q l _ - _ _ _ q b _ s _ _ G s B b s c s- - ' l

lo cr,t

C5

-:J

. Irig. I ( -l l.: t intes)F.5 G5

slou' bertd

Been hid -

Sonte-t i rnes

slow bend

o u t - a n d - l a yc a s - y t o f o r - g e t

x I / ' )

!--r-,* I

slow bend Fu'

_---/-

B b s G 5F'5 G5

Ful lslow bend

1 t 2l r . l t2

C5

pick slides

I t 's noth - ing new-some-t imes i t 's hard - er

P!T 9 '

! t 2 _ ) \ e

B h 5I

q{]

^d=4-t----__-_-.-.-,

G5

P

C5

-2

B b 5 G 5 B b 5 G 5\ r-T-'l

/ ^ ) / / ) ^_ > > : >

B b 5 G 5

"l^Wô> : > >

totowhere you're go - in'

Copyright O 1987 Guns N' Roses Music (ASCAP)This Arrangement@ 1988 Guns N' Roses Music

lnternational Copyright Secured All Rights Reserved

xBend top no te on ly .

30

w/Rhy. Fig. 3 (f i rst 3 bars only)Bb 5 C;5

^)-Dôl> l> l>

B b 5 G 5

"l-m-

Well ,And

n igh t . -n ight . -

ways findyou th ink

a placeyou know just

,-t o go , -

what you're doyouev

can'ry

ts5 C5

i f yol r cantha t ' s when yo l l r

keeptrou

your sanbles

I

C X

They break down theThey push me in

doors and theya cor - ner just to

rapeo c t

screanrpreach

r ights-t' ir 'h t

m yme to

( they- won' t( they- won' t

m e ) . -m e ) . -

andand

allall

f ightlight

(You - can(You - can

me. )_m e . ) -

(end Rhy . F ig . 2 )

+ +->

P . M . - - - - - 1

R h y . F i

4;>

(Both gtrs.)

31

w / R h y .

I)2

F ig . 2 ( l% r in tes )

head . -It e'acl. -

They

Bb si( ' c 's Bbs/c csm---)

eyes.eyes.

bee n bui ld - in ' up in - s idebeen bu i l d - i n ' up in - s ide .

C 5 B b 5 G 5 B h 5 G 5

B b 5 B b 5 G 5

( B o t h f t r . l f f i m

fuck- ingread - y

T l tey won ' t ca tc l r

ffilt

Bbs/c

t o t r ch me. ) -touch me. ) -

B b 5 G 5 B b 5 G 5- - ' ' i

) t ) ) ) . ) / ) ^_ _ ' _ : _

- _ _

-_ J

f Tney're out tagone. _ t

C5 Bb5 G5 Bh5 G5

I 'm fuck - in'

F5 /GG5( IYp"2 ) F5 /G 65( t vne z )

f f i . - -

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

B b 5 / C C 5 B b 5 / C G 5 t t v p u z it-T--l/ / / / - -

+2

lose mylose' my

mymy

(They- won't(They- won't

C5

A-1>

'Cau sc I

'C 'ause I

C l to rus

i n - n o - t ' c n t l _Lru t t l l r so l ( )

C 5l

/ /

go tgo t

SO

alforI 'm

- 3 -+ v - - } .L .+ ari :

A L _ t _ _

Y - - a 1 r ; l-s1a )

G5('5 C5 Bb5 G5 Bh5 G5 C5 A5I t \ n

/ . ) 7 2 / ) ^ ) a

/ ' o

won ' t b reak - me l

B b 5 / C C 5 B b / C G 5 ( t v P e 2 )

r t2) , , rm'- ' - )

ub 5 85 t '5|-T-l-.r/ / / /,^,/

Bb s/c cs Bb s/c cs.rTT'------)

1 1 2./putt

'-/i:10

- - - - - - - - 11 7 ' ' P ' N , I

B b 5 8 5n

J Z

I

( t y p e 2 )

F-5/( ; C;5 I :5 i ( ; G5(t) ' �pe 2)

) m^)

Bbsic Cs tsbs/c cs.W--)

tsb5 85 C5

) w)

.n / / / /x 1 l )''f\

\A\ .\A\\&\4Â\ .^,- : .^^ , , - \ - .

3rr -5 iC ( . ,s B i5 /C C5

ff i-

. Flrl. t l . _/

I to ld b t ' t t t l lutlt l bertdFul l

sl

t :5 G5 A5 Rhy. F ig . 3.f-."----=-z

\A\\\A\\\\Ary!W\

* B e n d t o p n o t e o n l y .

.-

Itokl battl

C5A5 C5 A5

(end Rhy. F ig . 3)Di

1 1 2 1 1 2

rv , i Rh1 . F ig . 3 / - r1 : t i r r t es )

( ; 5 A5 C5 A5 C5 A5

Ful lI \ Pt ^ l

Ful l Fu l l

G5 A5

Full p

33

U :

2D5 ( 5 ( ; r 'Y ! ;F5 Gs ( t v f c 2 )

u - - - T - -...., .-/ .-J r . t i r t l

f i+I ] ] T

G 5 B b 5 G 5

G5 Bb5 G5

W/Rhy. F ig . 1F Full

s low bend

cr5 A5 C5 A5

r2

rI

t i l

,/Full

G5 tsbs G-s A

( ; - 5 A5

. D . D

si.' ' :a . a+ ' t

i-a1- a

G 5

:>

B b 5 G 5

: > - : >

w/Rhy . F ig .4

AFul l

r v iRhy . F ig . 4 ( l s t 3 ba rs on ly )

Bb

/e,Ft r l l,/-^

Bb C]5 Bb 5 G5 A GFul1

si. Fuil\ r L - ^ / .

w/Rhy. Fig. 4 (21/z t i t t tes)G 5 A 5

G 5 B b 5 G 5Rhy. F ig . 4)

( ; C

Full Ful l

GFull

G 5 B b 5 G 5--------_--t.\( c r t d s/.

t;

I" 6.?.-_ r l r - ] ] �T':r _-

- I -

C5 A5 C5 A5

II

Sortre a chip on their shoul - der, and some would say i t was nte.-

n- / t \t{r,

\- t-T--lt r r / / / /

D5I

.\_s

A_* tn n -

v

a,

J4

A5G5 A5

ButD5

).

did - n't . buy that fifth of whis - key that you gavc ile,C5 G5(tye2e)F5 65(tvne 2) Chorus

ff i^w/Rhy. Fig. 1 (3% riy7s) ^ -

Tlte 'y ' re out

t s b 5 G 5 B b 5

ta ge t

in - no - cen t l -

+ w/RhyG5

so I 'd

B b 5 G 5

be quick

G 52

They won' t

G 5 B b 5 G 5

ca tch

They won ' t b reak - me !

C 5 B h 5

l l )

Ftrll

t o d i s - a - g r e e . -

F '5 G5

G 5 B h 5

They won' t

B b 5 G 5 B h 5 G 5

\ F s G s B r 5

m e l

F 5 G 5

C;5C 5

).

I ' n r t uck - i n '

tsbs\ ,

/ "-!Fig. 1 (31/z tirnes)

F 5X

+'J

*1s t t ime on ly , l s t no te o f f igure is p layed, no t t ied .

Bb s G5 Bbs G5 F5 Gs

'Cause I 'm- i n - n o - c e n t !

B b 5 5 5 ( t v n e z )

,Jô

They're out

3 # a pT- T- 11-- T - f

l � la _ - , I

catclr

*,€

So you can1 1 4

/

F'5 G5C5

ta get

\ r)*t

sr.rck Take that heart !

A

TO

35

il[R. BR()WI{ST()I{E

P

w/Rhy . F ig . 1 (2 t i rnes )

E5Rhy . F ig . 2

Copyright O 1987 Guns N' Roses Music (ASCAP)This AnangementO 19BB Guns N'Roses Music


Words and Music bYW. Axl Rose, Slash,

lzzy Stradlin', Dutf "Rgsê' McKaganand Steven Adler

* o xrT[fE 7fr.Tur)e t l , ' r rn l r l s teP: Tt r t l6 = r 'h@ = cb lo33O - , , r b O = s b@ = o b O = r ' . b

Mode ra te l v , = 105

D D5 A5 85 C$5 G5 E5 E ( t vpe 2 )

hrm'sr'. E+rh*sr'. fuff H'* l'rrrTiqr,. furffrgfr.F# Ho-fffii ffit1 TilI TH-r H-ftFt fiftij Til-n ryll-ni3i5 'iii ' Tirt TtE ' i5i'' 'i55., Trn r|[in

i - . - . - i - - - F r - ' r - r i T - r - i . , 7)i # >i rd # >i rd rd )d >d rd y ld 1 A >{

-!:.s/" s/.

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

s/.

Play 3 times

(end Rhy . F ie .2 )

s/.

N J

l l r H

D5 A5 85--i \

{ r v r l r t r f f ) / ' ) > ) - ) '

-H-

@:i . .G

).

h *,ft lt

(end Rhy. Fig.

I J :' t f l

H

t.+:' ) |H

. 4 :

UH

5

36

(A5.r

u - r o t r t t d s c v - e l t . get out - ta bed- a - round nine. And

--'{---Jr

( E 5 r

I don ' t wor ry a - borrt no . ' cause wor - r y a waste- of n1y t ime .


- T f L q - -

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

bccn t l une - i n ' -

Bb

Mis te r Brown s tone . -

N.C N . C . ( E 5 )

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

: - - : ]= - - - 1

He won ' t l eave n re a - l one . -' t

l1

/

rne - a - l one l No,- r . to,

)'

(E5 )

-3 -

2rtd tinte to C'oda I,3rd tint<' to Coda II+

37

Bridge

\ \ 8 5

r _

; . . \ i l . ra - t l t . .

I I

G5A5A d

ffi* )-Ff y - .

I Lrsed to do a l i t - t le but a l i t - t le would-n ' t do and so the l i t - t le eot more and more.-

j t rs t kcc-p t ry ' - in ' to get- a l i t - t le bet - ter , said a l i t - t le bet - ter than be - fo re . -

l A . * lT - : 't f + i lf t | \ 1 1 Ft r t l r )

B585 A.5A .

- 1 4 j , o ?ftn i. a

I -

d

J V

l l lst t irne D.S. at Corta I \

lnd tirne D.S. al Cotta II \Coda I

sGuitar solow/Riff A

B s F f S

Plav, 3 tintes E D5 E/B

nFu

1

38

E 5loco

1 1 2/ a

P

A51 t a t ) E5

^ - pP

Ft 5 Bs F*s Es A5 t ' .5. \ ; o / - - -

t 1 2

H P

L ? J - ? - J + ? - Jv u

l l 2 P s

F f s B s F f s F,5 45 E5

U2\

P

t l 2 P

B 5 F * s

E 5

Ful l/

slox' rc lcusei l r

F u l l O

H P P

.t\

3rd Verserv/Rhy. Fig. 3

N . C . ( h 5 )

w /Rhy . F ie .4G F

-3--

H P

,r/. - Full

B h Ful i C

?T_

| \ P/^\+-.

L 3 J

Ful l O

F u l l H P , , "/ /-:\ | l^/ P

t 1 4)

F f sloco

) '

G5

, {

lot 'o s/.

Let r ingw/Wah as f i l te r (+ )

L ?--.

Full

(;Ful l

/ n P---Ful l

* J -

Full a

-3-.

t t ? p

D5 t:5P

+

*1/*

l)Ful l

Ful l F r

Fgl l Fpl l Ful l

?:1h-? A->

w/Wah

+--*

JTTJ:o_J t_J_o )F_l t-t--1

r/ .1 \i r,i !i !i Ul)

) Fui l\ P'^\ --\

< ? r

l p

rv iRlry. F ig. I /J t int t 's) & 2It

D5 C f ,5 B 5 D5 G5.n^n-- r{d l ' l / - - - - 1

(A5 r

. I IL

(t,,5 t

ge t L lp - a - round when-ev

rrul t . - i re 's a rcal mlrth - a - fuck - er. son - ni.r kick him on

used to ge t up - on t i n te

39

E5w/Rhy. Fig. | (2 t imes) & 2 \/ '

1l ->

Str.rck it in tl ie mid - die and I shot it in

(Two gtrs.

I

i t dror c ' n l c o r r t - t a n ry ' m ind ._

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

I should- 've known bet - ter . said I wish I

P

nev

P

er met her, said T

A

=

-

\/ ' .

I a

II -

I l c a r c i t a l l be - h ind.

U 2)

Yow - sa l

Addi t i rnal L. t ' r ics

2. The show usual ly star ts around seven.We go on stage around nine.Gct on the bus around eleven,Sippin' a drink and fee.lin' f ine. (To Cl.torus)

(G t r . IV t

the mid - d le and

+-F

40

PARADISE CITY

G5 Cr5 C F5

ff i ff i '3i,.x \ \ rx

ffi ffi',' mi"m6"F' D5 Bb

- :| + { { + l l o l r . l t + - l - t - l : ! r - r a r r r rF*5trH L!J=|J.J fI I-FIIu l u . J l r . . r r r l - - T t lI I I f T' i ; o A ' T I A A I I

l d d d I t d r o d d



G5 ( t -vpe 2)

-.#fi.r.r=rrt-1 '^"

ffiT u n e d o w n 1 ! s t c p

@ = E b e = c bO = . q b O = s b@ = D b O = r b

In tt = 1 0 4

g . I

Moderarro ( ;

Rhy

4in;i

(end Rhy . t i i g . l )

( 'horusrvi Rhy. I

C;

- y , where the grass is green ancl th" g i r t -* * , U^^�ôh, *on , rou pt . . r . take nre home.-

F5 F C5 C tC t ' ( ; 5 (end Rhy . F ig . 2 )

i- t

Take nre c lorvn-to the p a r - a - d i s e c i t

u Riff B )lt

o . G 5

X nirr c rr B b s

w i R h y .G 5

Rif f BIl

q1 i 1 -71 f r 1 - \

wo gtrs. )*

F 5 C 5 B b 5(end Riff C)

i"ai4

CopyrightO 1987 Guns N' Roses Music (ASCAP)This ArrangementO 1988 Guns N'Roses Music


* i* l

I 'A{A ! ' '

I s t . l nd . 3 rd . 4 th Versesw/Ri f f D (3rd. 4th t inres add Ri f f F)

\ \ r"s l

bea t . -

42

(Gs)

char ty case. _ buy me some-thing to U d L . -

(Gs),

pay yoll a t e rothan

C€

(GS;

Take it to the end of the l ine. -

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

yeah,-yeah.- Take me down-to the par - a - d ise c i t - y . where the

F

L

zI t . O l i . won ' tlz . : . ta t<e

Chorus

w/Rhy. Fig. 2 (2 t intes)G 5

Take nre down - f n f h e n c rv a l

yor.r pleasente

b-AG5

take mef home,

?nd time to Cotla I;-Jrd time to Coda II F

b

D.S. (no reTteat)al Codu I

i(

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

43

F

, l_.C 5 C

/ / dP.M. r l ' ' - -

( con t . i n no ta t i on )N .C . ( f ,S )

Guitar solow/Riff CG5Coda

s . - B b s

Oh. r . l o r r ' t yo t r p le l r se take me home.

oJ

slov' bend t:ull

> - -

B b s

w / R i f f C ( l s t b a r o n l y )

-----l\-

Yeah.-

w/Octave divider

rv/Riff E

Ai,, Furl

w/Wah on as f i l te r (Oct . d iv

Full Ful l Frr i l

wiRhy. Fi l l I

-a,V. \

.s/.

s/. s/

F 5 C 5 B b 5G-iFu l l/

- A . -

6- j-rt-. o a

C5B ' 5Ful l

C5Full

Nt \

I ru l l

off)

Ful l

D5 C5t l 2

I

(Wah off)sktvv bcncl

! 3 J

rake skly bencl1 1 2 slow bend t1z

-3---rake

Rhy. Fi l l 1 (Two gtrs.)

Ful l

Ri f f E (Two g t rs . )

(As) C 5 (As) D5 C5

44

C

a

D5 C5-|-l-l-l

) , ) ) )P . M . - - - - r

: . ' ' ' ' ' :| | | | | i-i r i']

/ / / / / > l y / / , t / , t t ) : . i i l

H -

w a y . -

+' -ri- v

a So way .

->

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

1 b

w/Rif f A (w/cue notes) (2 t imes)w/Ri f f B ( I s t t i r t tc onl) ' )w/Rhy. Fig. 2 ( ls t t i tne t 'ontplcte; lnt l t in te Lst . l burs onl t , )

b :

45

Oh. won ' t you p lease take me

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

' 0

oJ { t

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

S l o w s l l d e u p m l (

Double tirne J =G 5 ( t ! p e 2 )

I/ / /

l le .+

208C5

)

O I I

\

*As before

Rh1, .F ig . 3

\ l

G 5 ( t y p e 2 )

I v 4/ l

(end Rhy. Fie. 3)

) 1 . 4 ) r n .D

w/Lead vocal ad l ib (on Chortrs) ( t i l l notat ion returns)*w /R l ry . F ig . 3 (914 t i n rcs )x x G 5

*Vary s t rumming rhy thrn a t w i l l .* * Use. " typc 2" t i l l end .

. W r l ) f\ | rr --''i r\a a a / a / a t a / : a

46

P

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

Fulr ,)ya 9: 9:

' 3

lt/z 1Y2 1Y2 1/2

C5P

3l Y z

')u ^ P

F,"ll

L 3 , -3- |_3-

H P s / H p H p s i

P b

G 5

H

- 3 -

Frull p

cs lull

slow bend

tlt' p F5-\ --:-\

f D r

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

frul l C5

H ia->,3

H P P

_f>.

I ] I I H I I

4-g -.;)

H F I H I IH H P I l . . t

- t '

, H Hl()('(r.--:\t z 7 I

H H/-'=-

48

P P C 5

'?D1..: 1 t ) F u l l

H t tH r t

/<-_-\G

H T I,1-.=-

H Hza->

F-5 -)H H.':a

1 t 2C5 ./( | 12

Ful l Fu l l,s ,*

r J /

t affi

F5 Fu l l

1+

49

t l )

/iP

2i!

5C

ol

+f-+

Slorver

F-s!

a F a

r:

Ful l p

. 1 1 2,)

? ra

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 garnble when i t 's just a game.Ya treat it l ike a capital crinte.Everybody's doin ' their t ime. (To Chorus)

3. Strapped in the chair of the c i ty 's gas chamber,Why I ' rn here I can' t qui te remember.The surgeon general says it 's hazardous to breathe.I 'd have another c igaret te but I can' t see.'Iell

me who ya gonna believe? (To Chorus)

4. Captain America's been torn a part.Now he's a court jester wi th a broken heart .He said. "Turn me around and take me back to the star t . "I rnust be losin ' rny mind. "Are you bl ind?"I've seen it all a mill ion times. (To Chorus)

? i p

E +

ilIY ilIICHEIIE

#-,,,Hfr?f,# #.,.#;;f f i f f i f f i f f i f f i



T u n e d o w n l / 2 s t e p :(O = EbO= cbQ = a b @ = n b@ = o h @ = E b

A/C f,Intro Rhy. Fig. 1 (Gtr. I) Amsus2/C

Gs/AH#xffif-t-l-t-hfirr'n

G I 5 A 5 V

sCfr+r'. srffisrr.ffiHi Ffttti 5 d ' " i 5 5 ' ' '

(end Rhv. Fie. 1) *./|nt Fig' | (2% tines)AlCf Amsus2/C B7(no 3rdt

tr!5- thx

FF=Fa-ntr1rr-rT-11 3 3

SlowlyJ = 72

A5xo xxFFF''N

TfTllTir

E5O X X XFFFFFfft]]lTIffi

E5( type 2)

C I C BM+ft.

^trrr{:tr. #Ffffi1 Ft{ft| FFrfii5i' 'i56b, Ttry

B7(no 3rd) Ff m

Let r ingw/F langer

Anrsus2/C

2+

w/Fi l l 1

B 7 ( n o 3 r d ) F { m

t'--\

A/c*

Gtr. II€

Amsus2/C B7(no 3rd)

w/Rhy. Fi l l

F * mA€

AiCfe hi'1

M o d e r a t e R o c k l ) = 1 O 2 1

C*Riff A (Gtr. I)

Fill 1

E5 p * s(end Riff A)

Rhy. Fill l.fctr. Il

C_opyright @ 1987 Guns N' Roses Music (ASCAP)This ArrangementO 1988 Guns N'Roses Music'


2 (Gtr . I I )

51

w/Rif f A & Rhy. Fig. 2 (both I t / : t imes)

c $ c B Ff,5 A

2nd. 3rd Verses

l . Your dad - dy works - in po r - no2.3. Sce additional l.t 'r it,,s

Rhy. Fig. 3 (both gtrs. )

E 5 F $ 5

w/F i l l

ctr. II I- '+ 5I s t .C*

, \ \

,r----=------, / \

now tnat mom-my's not- a - round.

w/Rhy . F ig .3

C f

now she 's un - de r -g round . - So you stay out I a te a t

A 5 F { 5

rusecl to lo l e- her

do -vorrr eoke for

I t e r - o - i n - b u t


n igh t . - and you

( t Jo th s t r s . ) I Io " / /

E 5 F * 5t t - t t) . ) ) v

Driv - in ' your- f r iends cra - zy wi th your l i fe 's

2 (Gtr . I )

l'/zs klw /e/eds{, -----r-------

N.C. (Cf , )

long s l ide

52

D o u b l e t i m e ( o = 2 O 4 1ChorusD5 F5v r r

.J /. J- lp

A - . t + -Ta;i-1

fit-+-\i7 -

cr fsJ

yol l just cat t ' ta

Wel l .

D 5

/

r ve l l .

. , * -t {+-)

I

x : { /

w/Fi l l 4 2nd t inre @+i ' .85 A.5 ( ;p A5 l ;

r F l - r , . .n ) iT ) .n:,+^€

Mi - che l l e . - Look ou t !

Ha l f t i r ne (e = 102 )

w / R i t f A & R h y . F i g, c { ( '

) (both l l ' - : t i t r rcs)B A F * 5 A I r5 F f5

w/R i f l 'B

Cf B A G t r .

w/Fi l l 3F f , 5

I I o

))UR/ ^ o

F S v r l

).+'j-t-- T

F $ s\

/ ^ d .

--- l-r€-

=J=te l l . -

Gs/A

)

D5

J l )

wel l , we l l , _3rd t intc to Cr i la,c*s $ ss

,'J-l ) il .t

^)

cal l

t G t r . l l )

) )

Wel l ,Bridge

t r \V I I

r Rhv "i)F is .4 d

my

A s ( t y p e ' 2 )

c .:.'

Mi - chel le. -

))(Gt r . I I )

a r ^ €

Fil l 3Gtr . IG r r . I I

@rr'.

Ev - ' r y - one needs love ._

Rhy . F ie .4 ,A (G t r . I )

s/

Fi l l 4 Full

J

Ful l t

wel l ,

D5

).

wel l .

A5\ l/ ^ )

+1 _ +-E _-_S_I t

53

ts5

4+

t r < ( t ] p e 2 )L J

9 .

E 5 V I I

<J

A5

)-)A 5

( t Y P e 2 )

J.D5


I1+q--

Yot r kno rv tha t i t ' s I ruc . -

(G)

when you're all a - l o n e . -

i)

day you'l l f ind - some one- that -

w / R h y . F i g . 4 & 4 , A

E 5 V I I

E5 vi l

Some - day you' l l f ind-

D5B,5:1

fal l

B5

soI IeH a l f t i r n e ( ) =

C {

) r l . !

A . I ] .r8!d'*

A^Jl^*

- o l le -

1 0 2 )w/Rhy. F ie .C B

that you

2(,rtart at 3rd beat)A F { s A E 5

Ful l

your But ti l l then -

p * sI

ya bet

D

)Gtr.

G t r .

I I

I

A.H. p i tch : G*

F ie .4A)

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

can

Fi l5

54

Rhy. Fig. 5

1

V J J J

w/Rhy. Fig. 5 (- l r i rr t t 's)

B53 1 4

Ful l/

D. S. ( takc 2rttl errclirtg)Lol c,,ao

A s x

A5I

+

@+ir.Gf A5

.n'-)(Gtr. I l )

) );l

rvel l .

G f 5 A 5 V

s/.

c f s A 5 v

ffi.i /.

G * 5 A 5 V

ffis/. ;> Play 4 times

t .1-,::

Mi - ehe l l e . Yeah ! -

@:r'.C

) .+

chel le. -My.( l l t t ' u l ac lt l

----/

- t l

A5

.^-l

{:-tP P

Addir ional Lyr i t s

2. Sowin ' a l l your wi ld oats in another 's luxur ies.Yesterday was Tuesday. maybe Thursday you can s leep.But school star ts much too ear ly, and th is hotel wasn' t f ree.So party t i l l your connect ion cal ls :honey, I ' l l return the key.( Io Chorus)

3. Now you're c lean and so discreet . I won' t say a word.But nrost of a l l , th is song is t rue, case you haven' t heard.So corne on and stop your cry in ' , 'ca l lse we both know money burns.l loney, don' t s top t ry in ' and you' l l get what you deserve.(To Chorus)

(Gtr. I )

56

L ,5 B-sv r r D5 A5 v G5 Cs( t vpe 2 ) G6 A-5

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2nd t inre subst i tute

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CopyrightO 1987 Guns N' Roses Music (ASCAP)This Anangement@ 1988 Guns N'Roses Music


I s t . lnd. , l rd Verses

@zrr.8 6 B

^.w@zrr.

8 5 B 8 6 8 5@zrr. @zrr.

8 6 B 8 5 B 8 6 A . 5

I good,- you know that

@zr'. @zrr8 6 B 8 5 B 8 6 8 5

P . M . r >P . M . - >

r-T-l-l-_ rT-T-l/ / . / ' - ' / / / /

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@ zi'.8 6 B

re - mem - ber when w e m e t . -l . I sa ) ' ba - by . you beenl . -1. Scc udt l i t iorut l l t r i t 's

r v , , l r i l l I l nd t i n reu , I : i l l . 1 - l r c i t i n rc @onen sop"n

A 6 A 4 5 A B b 5 8 5

ba - by . you been look - i n ' rea l good ,_

I t ' s fun - ny how nev - er felt good. - I t ' s

g 5 t v r l i A 5 ( t v p e 3 ) 8 5 l v l / 2 4 5 ( t r n e r ) 6 t

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best t i r r r e I c ln ber . Ooh , -

+ - J

58

@zrr. : tr . r lzFil C__-Z A5

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and the that - ' l l last

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for

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59

You know you're the one-

I t h i n k a - b o u t

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Guitar solo

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8 5 C f 5 8 5 C f s

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I t h i n k a - b o t r tt hu t I do . - -

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61

D5

D 5 D f 5 E 5- +

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D 5 D f 5 E 5

I t h i n k a - b o u t

you. _

I t h i n k a - b o u t f r r r e

s/.H P

H P,-'-.]-:

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c*s t c *s r A5v Bsu,lx

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

62

\ l

B5\ l

\ \/ }_ - / '

A5

)

A5

)

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I to ld bertd

\ \ \ lA 5 8 5 A 5 8 5 A 5

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Full Ful lFul lA . I { .

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63

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f'!--\o c*so

on - ly you

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(Elec. and acous. gtrs. .1

Additirtnal L)'rics

2. There wasn't much in this heart of mine.There was a litt le left and babe, you found it.It 's funny how I never felt so high,I t 's a feel in ' that I know, I know I ' l l never forget .Ooh, i t was the best t ime I can remember, (etc. )

3. Somethin ' changed in th is heart of mine,You know that I 'm so glad that you showed me.Honey, now you're my best t r iend.I want to stay together ti l l the very end.Ooh, i t was the best t ime I can remember.(etr : . )

SWEET CHITD ()'ilIII{EWords and Music bvW. Axl Rose, Slash',


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l ( G t r . I I )

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International Copyright Secured All Rights Reserved o5

Fig. I

Il i .1 - 'a .

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1 s t . l n d V c r s t sr v ' R h v . I - i g . I

D

1;1t

+ + + + +

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Cluiter solo

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s/.

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Where do we go - now? Where do we go' l -o o t

*w/V/ah

- + = t r e t l l e

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( e n d R h y F i g . 5 )c l5 D5 G5 (rvpe 2)

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Wheredo we go_ now?

* Harnt .

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chitd!

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a o . , i _ c a

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H P H P I I

r y , T TC S ( t y p c 2 ) / /

P . M . t h r o u c h o u t

55( tvne z )

Where do we go - now?

G5

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o p e n 2 f r ,

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E5

C5

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72

C5 D5. n ) )A5

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

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Full

R. t {p l - |l-

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Ful l

a

wiRhy . [ r i g . 6

E 5

2 2

a

Where clo rve go'l

s l o v ' b t ' t t t l

w/Rhy . F ig . 6 (1s t 3 ba rs on ly )

G 5 ( t y p e 2 )

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Where do we go?-

Ful l Fu l l Fu l l

slow bertd

74,

E 5 v I r D 5 B 5 v r l.-3

I/ / /85 3 ---

B h5 A5v G5 ( type 2)

.--3.--_

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w/Rhy. F ig . 6 ( ls t 2 bars on ly)

E5

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Where do w e go- now ' l N o ,

sweet chi ld

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

Additional L),rics

2. She's got eyes of the bluest sk ies, as i f they thought of ra in.I hate to look into those eyes and see an ounce of pain.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)

f l o ,t ro,no ,n o . Sweet chi ld, -

C5

JA5

o

D5

J

E,50

AI

(overdub ) 6

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v

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74

Y()U'RE CRAZY

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w/Riff A (enter 3rd time)

G f G A G A

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International Copyright Secured All Rights Reserued

G A D I Il

/ / n / / < r .

a world -

(end Rhy. Fig. 1A) 2 '3 ' See addi t ional lvr ics

(As)^ 7 ? ? 't t , T: -r-

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H Full Full

75

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w / R h y . F i g s . 1 & 1 A(As)

don' t - want

Chorus(cs)

too

a-.-----.------\

D(y

t ' i n r l 1 o r r r - sc l f ' an - o t l t - c r p iece of the ac - t ion, 'cause you're cra

E 5 E b 5 D 5

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2V2- (end Rhy. F ie .2)

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77

Doub le t i rne ( )= 2421(]u i tar solo

A 5 8 5 A5 ,45 85

Fig. 3

-n F f, .5

cJ( e n d R h y . F i g . 3 )

Fig. 3 (3 titnes )

*

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t : 5 (B5 )8r'rr- - -

* * J

A-sw/Rny.( B 5 )

(Bs )Bva- - -

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D.S. ( take 2nd ending) al CoQaA 5 F f 5

A'H. Fu i l

+

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hold bend

7B

( 8 v a )

Coda

swiRhy. Fig. 2 ( 4 1/z rirnes)

(A5) E5 Eb5 D5 w /R i f f B (4 t imes)

(c s ) (As)

(As)

You know- yolr ' re cray - ay

F,5 Eb 5 D5

E5 E b 5 D 5

yoLi're cra

D 5

Ah !

(cs )

ayayay

E5 E b s

You know- you're cra

Well- you're

E5 E b 5 D 5(As )

(As)

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Full Ful l

Ful l Ful l

Additional Lyrics

2. Said where you goin'?What you gonna do?I been lookin' everywhereI 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 youngerSaid I knew someone like you.And they said you don' t want my love, (etc.)

+'

Bring i t down. You're fuck - in '

.\__:/P H

cra

F-ul l Ful l

>v

Ful l>

U2

(Two gt

79

AI{YTHII{G GOES

G5 D5 A5

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Words and Music bvW. Axl Rose, Slash',

lzzy Stradlin', Dutf "Rose" McKagan,Steven Adler and Chris Weber

c5 c* 5 85 v I I

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ffirrr FFFEH'+rr'mTfr'r ' . 4 r : . ' r 1 3 3

T u n e d o r v n r , : s t e p :

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B b s A s v G f 5x x x I . L X X X X

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D A5v I Ixxx xxo xx xx

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A5I n t r o N . C . ( A 5 )

long slide

t { H

QopyrightO 1987 Guns N' Roses Music (ASCAP)This ArrangementO lgBB Guns N'Roses Music

International Copyright Secured All Rights ReservedBO

Rhy . I : i g . I

H

A5

r - , . -! D ' �

1tk 'k s l idt '

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

(Both gtrs.,t

( e n d R h y . F i g . 1 )

-++

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

B1

Bs c ts

Al -ways hun-g ry to r some thin ' that I have - n ' t had yet . -1 . I b e e n t h i n k - i n ' ' b o u t .

t h i n k - i n " b o u tl . S . ' . t l t l i t i r t r ru l l t r i t s

- 4 = #P . M . - - - - - l

- by. you got some - thin' toChorus

G 50

D5

2)-

A5

(end Rh

D s c * s

l,lil+-P . M . - - - - - - - l

8 5 C f 5

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Guns n' Roses - Appetite for Destruction (sheet music).pdf