Ok, here goes... please fasten your seatbelts.
1-------------------------------------------
2-------------------------------------------
3-11~~12-----11--10~~9---7------------------
4-11r~12r----11r-10r~9---7-9----8--7~~7L----
5---------12-----------9---9A---8A-7A~7A--7A
6------------------------------9----------7-
7----------------------------------------7--
8-------------------------------------------
9-------------------------------------------
10------------------------------------------
1-------------------------------------------
2-------------------------------------------
3-------------------------------------------
4------------------------9~9---9~9~~9-------
5-6------5~3-------------9~9A--9~9A~9-------
6---------------------------------------9B--
7-------------3-----------------------------
8-------------------------------------------
9----6~5---------3--------------------------
10------------------3~2---------------------
1-------------------------------------------
2-------------------------------------------
3-------------------------------------------
4-2--9~9~~9----12~12--12~12---12~12--9~~9---
5-2--9~9A~9----12~12a-12~12A--12~12A-9A~9---
6-2---------9B----------------------------9b
7-------------------------------------------
8-------------------------------------------
9-------------------------------------------
10------------------------------------------
1----------------
2----------------
3----------------
4----------------
5----------------
6--11B~12b~~13b--
7----------------
8----------------
9----------------
10---------------
A couple of notes;
- This is written in F#, as per the recording. If your band plays it in G, of course you can crank it all up one fret.
- Would someone please identify the steeler on this cut; because I think it contains some refreshing ideas in an age where everyone complains about vanilla playing.
Hats off.
- BobG, although I haven't really organized my own part very well yet, I suppose I'll cop the dobro parts in the first verse with a Matchbro, if I can possibly get the lead player to back off for 5 seconds
- William, I'm not sure how serious your comment was about the tritone, but once you are familiar with them, your ears tell you right away that's what's going on there...which of course helps you to find it faster. If you would like one of my lengthy boring discourses on Tritones, just say the word
- Jim Bob, when you said "I guess I don't think that way", I meant to mention this as well; Much like finding the tritone subs easier when you recognize them by sound, the same applies to that bluesy feel of the ending lick. I'd be willing to bet the producer requested something "bluesy" there, which calls for 7ths, flattened thirds, and also flattened 5ths sometimes. The two most common positions for those sounds on the E9th neck are: Three frets
above open position, with your A pedal down as the root, and 2 frets
below the open position, with the 7th string as the root. And, if you look at that lick, that's exactly what's going on there.
I'd like Ricky or Jeff or somebody to have a look at that tab, and see if I've got it right, as I don't tab much E9 stuff.
And finally, my usual disclaimer: I'm not much of a steel player, and make no claims of knowledge of it... but I hope this helps.
-John
