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Date: Sun, 23 Nov 1997 19:51:36 +0100
To: *Arithmetic Extract mailing list*
From: Patrick Asselman
Subject: Arithmetic Extract week 47
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Arithmetic Extract week 47
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* Extract of the Arithmetic mailing list *
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~ In This Extract ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Albums Info
- latest chart info
Tour Dates & Info
- equipment update
- more gear info
- NME bit
- Seattle show review
- another Seattle show review
- review on the Fillmore show
- San Fransisco show review
Interviews and Reviews
- Tour specifics
- Billie Gavurin
- Mayan theatre show and more...
- review from San Diego Union-Tribune
Other News
- Guitar tab for So Much
- tab for God Made Me
- tab for My finest hour
- tab for Wild Horses
- tab for Here's Where The Story Ends
- tab for Goodbye
- tab for Monochrome
- some more web links
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~ Albums Info ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: Craig Parker
Subject: Latest US Chart Info
First,here's the US chart info for Static & Silence from the
Nov. 29th,1997 issue of Billboard:
Top 200 Albums chart: plummets 20 spots to #127 in it's 8th week.
And here's the latest US chart info for "Summertime" from the Nov.
29th,1997 issue of Billboard:
Adult Top 40 : up 2 spots to #19 with a bullet in it's 7th week.
Rock Big Picture chart: drops 4 spots to #30 in it's 12th week.
Modern Rock Tracks chart: drops 1 spot to #16 in it's 13th week.
Hot 100 Airplay chart: holds at #53 with a bullet in it's 10th week.
Craig
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~ Tour Dates & Info ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: Dave Gauverin equipment update
Hey I just realized what those two pedals were at Dave's feet that I
didn't recogognize at the show. I saw them at the guitar shop today. The
Echoplex was a "clone machine" pedal, which Robin Guthrie of the Cocteau
Twins used to use on his early albums. It gets a neat tremolo chorus type
sound. I think Dave used it play the piano solo-type parts...
The Sound Tank was an Ibanez Echo Mahine pedal. Good luck getting those
sounds!
Brandon Milner
bmilner@netcom(dot)com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: "John G. Given"
Subject: SF Show details
For the gearheads--
Mystery Guitar Man plays a Gibson SG Electric and what looks like a
Breedlove acoustic. His tone is thin and cheezy. He definitely plays
second fiddle to David most of the time.
David was playing a sunburst ES-335 (stop tailpiece, block inlays), a
cream colored Tele, and a weird flavor of Tele I've never seen before
(natural wood, odd shaped pickguard, humbuckers.) He had at least one
Vox AC-30 (probably rented) and maybe a second. I couldn't get a good
look at his effects, but he was stomping on something that sounded
GREAT! Some sort of Univibe effect, somewhere between a chorus and a
phase. If anyone can figure out what this is, let me know.
Regarding his gear problems--he keeps a tuner, not plugged in to the
effects chain, on top of his amp. He was tuning between most songs. The
real problems didn't start until the second encore. Everyone was looking
at the amp, but to me it sounded like he had a pedal halfway plugged in
somewhere (high, oscillating whistle).
It took them several songs to hit their stride, but when they did, it was
great. The new songs sounded better than the old, I thought (Joy, in
particular, was way too slow.)
John
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: aol.com!TimNich0ls
Subject: Vinnie was sacked!
NME quoted a band spokesman as saying that Vinnie Lamie was sacked by David
and Harriet for announcing a few days before the tour started that he was
still interested in work with other bands and consequently might not appear
at some of the gigs they hed planned. Harriet and David "felt this behaviour
was unacceptable". I can't imagine either of them being so authoritative as
to sack someone.
Thanks for the fantastic Seattle reviews. Did any of you meet eachother?
Tim
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: Michael Murray
Subject: Seattle show review II
Hello All:
Well, I wanted to be the first to tell you about the first
American show in Seattle, but Brandon Milner beat me to
it!... and did such a good job that it leave with little
more to contribute. Still, I'd like to pass along some
additional comments here. So, if you are trying to avoid
reviews at this point, don't read on!
The SUNDAYS
November 15, 1997
The Moore Theater
Seattle, Washington
The Venue/the Crowd
The charming old theater packed in every last seat, but
at a capacity of only 1400, the atmosphere was pretty
intimate. From what I could tell, there were a lot of
devoted and eager true SUNDAYS fans on hand, as well as
a fair bit of new fans there to hear "summertime," I
think. I also heard a few English/Brit accents here and
there.
I had a very nice balcony seat -- up about as close as possible
to the railing, and a perfectly unobstructed view. BUT... I
really longed to be stage-side on the floor.
Opening Act
Garrison Starr. She said she was new and she was nervous.
She was actually great. I agree with Brandon Milner's previous
review. To me, she sounded a bit like Shawn Colvin. After
the show, I got a free promo disc of her's. After listening
to it, I've decided that she sounds better solo with her
acoustic guitar than with the rest of her band.
SUNDAYS show.
After what seemed like much too long of a delay, and having to
sit through numerous loud audience chants for the show to start,
the house lights finally went down and the fans went crazy.
The sound of a what I think was a Frank Sinatra song (Come Fly
With Me?) filled the theater. Finally, the SUNDAYS walked out
in the dark and took their positions. Everybody was ready to
play except David, who seemed to take a long time. It was kind
of strange because the Sinatra song was blaring and they were
just standing there, as if ready to play but unable to. Finally,
the music ended, stage lights came up just a bit, and Harriet
politely apologized for the delay, remarking that it was not
intentional.
Harriet looked great -- pretty much the same. She had casual
blue denim overalls over a short sleeved black top. Her overalls
ended at the top of her bog yellow boots. David was casual in
black t shirt, dark jeans and boots.
They opened with Can't Be Sure. Patch was back on drums. :)
It was SO GOOD to hear them play again! But... they seemed
a bit off at first. I'm no technical expert, but it seemed
like Harriet was struggling a few times to find her place,
as was David??. And the mix! From where I was it sounded
quite out of balance. The bass was very loud, but I could not
hear enough of Harriet. This seems to contradict what Brandon
Milner noted in his review, but we both agree that the sound was
not right. I heard several people yell out suggestions like
"Turn down the bass!" and "more voice" and "we can't hear you,
Harriet."
I guess I kind of expected them to sound a bit rough after all this
time away.
The next song was "What Do You Think." Also sounded a bit
rough -- they seemed nervous to me. Nothing like the last
time I saw them on their Blind tour. After this song,
Harriet remarked: "blimy." She then said something like
"it has been such a long time since we've done this -- 4
years I think."
Next was "Cry." Harriet hummed the string parts you here
in the middle of this track -- nice effect. They seem to
be warming up a bit now.
Homeward was next. I really like this song. And, as Brandon
Milner has already mentioned, they have an unknown second guitarist
playing rhythms and freeing David up to jingle jangle all over
the neck.
After Homeward, David spent a long time getting his guitar and
amps and effects, etc. ready for the next song. This was to be
a recurring pattern throughout the whole show. He fiddles and
fiddles with his instruments -- intently focused on getting them
just right. He never looks out at the crowd -- just concentrates
on his playing, which, by the way, is excellent. Anyway, during
these long delays between songs, Harriet seemed nervous. She
is basically shy and reserved anyway, from what I can tell. So, she
either did not want to say anything or did not know what to say.
The audience WANTED to TALK with her! It was great. She remarked
again what a "rather long time" it had been, after which someone
yelled out something like "imagine what its been like for us!" At
this, Harriet genuinely laughed (not just her nervous giggle). She
also thanked people for standing up in front, and said that they
had been worried they might be playing to a bunch of people all
sitting down. Cute.
I Kicked A Boy was Next, followed by Medicine. They were sounding
better and better now. In between songs, the audience yelled out
comments like "play more often!" and "We miss you!" and "We love
you!", and "Harriet, what are you doing after the show." She
giggled and said, jokingly, that she can't hear anyway because
she has ear phones in.
A big bouquet of flowers was passed forward to Harriet. She said
thank you and placed them at on the stage, where they remained for
the rest of the show.
When I'm Thinking About You was next, and was great. Then came
Leave The City. In between, a few folks yelled out to David: "Hello
David", to which he barely looked up while scurrying about getting his
guitar ready. Harriet jokingly remarked that he "doesn't have time
for that know" because he has got "so much to do." Someone yelled
out "You ROCK, David!" Cheers followed. David kept right on busily
moving from pedal effect to amp and back, again seemingly obsessed
with the technical aspects and not one to bask in the spot light.
Speaking of lights. I was disappointed with the lighting. It was
generally dark. When a spotlight was cast down, it tended to glow
on Patch and leave Harriet in the dark. Several people around me
(and me as well) really wanted to see more light on Harriet.
Next was Another Flavour. This song, which was not at all a favorite
of mine on Static and Silence, was really very good live. It was
uptempo and basically allowed them to rock a bit. Very well received,
as Brandon Milner had also indicated.
Next was Your Eyes, followed by Monochrome. I really liked Monochrome.
David used some cool wah effect, but not overdone. Also, because of the
other guitar player strumming smooth rhythms out on an acoustic (mostly),
David was able to do some extra parts. On Monochrome, he filled in
very nicely for the horn parts you head on the CD. Nice effect.
The next song was the first real magic moment for me. They performed
My Finest Hour so well, it was like going back in time to when I last
saw them. Harriet was clear and strong and confident. At the end of
this song (as you know), when all is stripped away except David's
strumming/jangling and Harriet's VERY high pitched wordless notes,
it really was magical. Harriet was dean on and SO beautiful. I got
shivers, and when this ended the place went mad! They were really
sounding good now.
They ended this set with Goodbye. This too was just incredible.
Harriet looked happy now and not nervous at all. During the verses
when she did not have vocal lines, she stepped back from the mic a few
feet (which she clung too the rest of the night), and danced a bit to
everyone's delight (understated slaps on her swaying hips, etc.) We
loved to see her happy like that.
The demands for the first encore were loud and furious.
When they finally came back out, they launched right in to She.
This was very good. High energy and a lot of fun for everyone.
After that, people applauded as when, for the first time that
night, we saw David put down his electric and pick up an acoustic
guitar. It was like, just the sight of him picking up his acoustic
made everyone happy with anticipation. Me too! And we were right to
be excited about this, because they played Here's Where The Story Ends
and it sounded SO GOOD! Lots of people said to me after the show
that they liked this song best because the instruments were finally
stripped down to a sound level that was perfect to match and showcase
Harriet's sweet voice. I think I agree.
This then ended the first encore. We demanded more, but I was not
sure if we would get it at first. After about what seemed like 10
minutes (but was probably less), they came back out again.
They first performed Joy, which was simply brilliant in every way.
Then, they ended the whole show with Summertime. It's funny, I had
completely forgotten about this song, and it is there new hit! They
don't even need this song for a great show now. But anyway, even though
this one is not my favorite from their new stuff, it went really well
live. Dave pulled off the slide effect well.
And then, just like that, they were gone. Everyone was generally
buzzing. I did. however, continue to hear people complaining about the
sound mix. But most folks I talked to were impressed.
Well, sorry to ramble on like that, but just thought I'd get this
as I remembered it occurring, rather than spend the time to editorialize
my comments and this review.
Hope you all get to see them and you enjoy the show as much as I did!
Mike Murray
mmurray@igc.apc.org
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: Dan Vancini
Subject: Sundays concert in Seattle, 11-15-97
Hello to everyone on the list. this is my first submission and I'd
like to write about the Sundays concert last night here in Seattle that
kicked off their US tour. I'd like to include a lot of details so if
long messages annoy you, you've got your warning.
First, the set list. I don't remember the exact order of all the songs
but I do remember they opened with a sample from each album in this
order:
Can't be sure
What do you think
Cry
The rest of it went something like this:
medicine
homeward
when I'm thinking about you
I kicked a boy
I can't wait
my finest hour
another flavour
monochrome
leave this city
your eyes
First encore:
She
Joy
goodbye
Second encore:
Here's where the story ends
Summertime
I'm sure I don't have the order entirely right, but that's the gist of
it.
This was their first show of their US tour and they definitely have some
kinks to work out, but they sounded great and the crowd loved it none
the less. There were a lot of long pauses between songs as David worked
out problems with his guitar pedals (including a constant low-level
feeedback hum) and took care of tuning. Harriet was great chatting with
the crowd, but said, in her own words, "I suck at between songs."
People in the crowd were yelling "We love you" "Welcome back," and "It's
been too long, come back before you leave the US" all night long. One
guy I was standing next to in the crowd asked Harriet for a drink of her
water and she tossed him a whole bottle without a second thought. When
Harriet retreated back upstage, people started yelling "Hi Dave," "We
love you Dave" etc. to which Dave replied, "I'm busy, sorry can't talk
now." There were several questions about their 2 year old daughter
Billie (Harriet was really amused that people were asking about her),
one request for a Smiths cover song, and I think the most requested
song was "Folk Song" with "More" a close second and "Skin and Bones"
running a close third (none of these were played). Harriet said she
appreciated the fact that people were standing because they weren't
prepared to open to a sitting crowd, and I think that they didn't quite
expect the huge amount of positive adulation the crowd put out that
night.
There were a lot of real quiet pauses between a lot of the songs but the
energy never diminished as the crowd was definitely captivated by a band
that many of them had waited more than 5 years to see. They were not
the least bit disappointing and I think that most people in the crowd
took advantage of the extra time between songs by viewing it as more
time to spend with the band (the entire show lasted, I think, about 75
minutes). The audience clearly loved the opening act - a solo
guitarist/singer by the name of Garrison Starr whose voice rivals
Harriet's in range and intensity, whose style was a perfect preface for
this band - enough to buy up all of her cd's before we were 10 minutes
into the intermission.
I think they also have some work to do with the lighting. It was a
very dark stage and I got the impression that it was unintentionally
so. Fortunately for me, I happened to be right in front of the stage,
but I can't help but wonder if the people sitting up in the top balcony
of this 1400 seat theatre had difficulty seeing them (david was
particularly dark). But again, this crowd was happy enough to see the
band (or so it seemed to me) that the kinks really didn't dampen the
experience. As Harriet put it after the 3rd song: "In about 3 more
shows we'll have this down perfect, but for now you'll get the three and
a half hour version."
Some notable changes include a 5th member - a rhythm guitarist who was
never introduced, but having him there was a wise move as it added a lot
of richness to most of the newer songs, and despite the fact that Raygun
magazine reported they were auditioning drummers before the tour,
Patrick Hannan was behind the kit again. And despite the many rumours I
heard about Paul Brindley leaving, he was on bass so the band seems to
have regrouped for the tour, although it's only Dave and Harriet's faces
that you'll see on the publicity posters.
I last saw them in 1993 in Minneapolis, and I have to say that they were
a lot tighter in their presentation then, but I think Harriet's voice is
stronger then ever and the crowds seem a lot more dedicated to them now
(needless to say, this was just about the most polite audience for a
rock show anyone could imagine).
Anyone else who saw the show in Seattle, please write in with whatever
you think I left out about the show that's worth mentioning - i.e. the
guy in the middle of the floor who seemed about ready to sacrifice a ram
in Harriet's honor right then and there.
For those of you who will have the chance to catch them on this limited
tour, you won't be sorry. With the birth of Billie and the on-set of
family life for the couple, it's likely they won't tour too regularly in
the future, but one can always hope. If you see any of their future
dates, please write in. I for one would love to hear how their set
changes, if at all.
Anyway, to conclude, it was a great show, and I hope this gives you an
idea of what you might hear if you get a chance to see them this show
e-mail responses to dvancini@hotmail.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: sfo.com!xanthra
Subject: Just back from the Fillmore!
Hi all!
Just back from one of the most incredible shows I've ever seen in my
life... My head is still reeling from how cool it all was...
I tried to look for aritmeticians after the show, but it was just too
much of a mob scene (sorry)
The set list seemed to be pretty much the same as the Seattle show...
but this show seemed wrought, from beginning to end, with technical
difficulties... I couldn't have bben happier about this fact... I was
not ten feet away from Harriet (and about fifteen from Dave) and
through every technical diff. it was up to Harriet to entertain the
crowd... and entertain she did... She fielded questions left and right,
(a couple from me and my friends!), she told a joke "What is the
smelliest thing in the world?" Didn't quite get the punchline, but it
was something about a bottom. (Changing too many didies, methinks) She
apologized, laughed, and was genuinely as charming as I had ever
imagined she could be... I made direct eye contact with her, as did my
friends on several occasions, and Dave gave me a smile and a nod during
Summertime.
The highlight of the show, which had 3 encores!!!, had to be at one
point when the technical difficulties were way out of hand, and Dave
switched to the acoustic guitar... I finally heard Turkish... that
hauntingly beautiful song (althoughI had to be told by someone more
obsessed than I, what it actually was) Someone else will have to help
out with what some of the other extra songs they played were... I agree
with the seattle folks that My finest Hour seemed to be where they were
really hitting their stride... Luckily, all the delays brought the show
up to 1hr 45 min or longer. The crowd absolutely loved it, from where I
stood, and she seemed to be having a great time. (as did Dave) She
introduced the extra guitarist as a "long time friend" but I didn't
catch the name, and she introduced "Patrick" on the drums as well... I
know there were tons of you there, so feel free to fill in the rest.
For those of you on the grander obsession scale like I am, Harriet was
wearing a two piece dress kind of deal. I was black, sorta velvety with
a pattern befitting a really elegant couch... very beautiful... and yes,
she did have those bright yellow combat boot on as well. She was wearing
some beautiful jewelry, (as was Dave) and she was extremely expressive
with her hands as she sang. The baby is doing fine... back at the
hotel... you get the picture...
I've rambled long enough, but I know the rest of you yet to go will have
a blast... I didn't get a set list, but I DID get her water bottle,
directly following the show! I can now say I schared a drink with
Harriett!!! For those of you curious, she was drinking Cinnamon-Apple
tea up there... I asked the guy who got the cup.
Ciao....
Xanthra... in Sundays heaven
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: well.com!deucer (Bruce Overby)
Subject: S.F. Show (& Newest Fan!!)
Well, I'm just back from the S.F. show, and since I had to leave
the city early and therefore missed the post-show arithmetic
gathering, I thought I'd take this chance to maybe be the first
reviewer of the the S.F. show. I had to leave early because I
brought my sister Cynthia to the show, and she's got 19 learning-
disabled kids to face at 8 tomorrow morning, so I thought I'd show
some mercy and get her home early.
Anyway, my impressions...with my usual brevity (snicker):
Overall, the show was awesome. This was my first, so you have to
take that into account, but I just really thought the performance
was outstanding. Certainly one of the best concerts I've ever seen.
(Which is saying something, since I've been going to concerts for a
little over 20 years. :-)
Harriet's voice was clear as a bell. Her speaking voice surprised
me, because I expected it to sound much higher-pitched, but the
songs just came out flawlessly.
David was having a bit of trouble with his equipment, which caused
some unseemly delays between songs. (Poor Harriet. Not the grand
public speaker, she, and he left her with *so* much time to fill!)
Anyway, I noticed that his effects seemed to be set to emulate the
S&S sound (which is, of course, much different from the RWA and
Blind sounds), so the RWA and Blind songs sounded very different,
which was a little weird. But this only detracted a few times.
High points of the show for me:
- "Another Flavour" As I expected (for those of you who remember
that one post where I said this), this tune *rocked* in a major
way. Much better live than on the disc.
- "Summertime" (their closer) After much fumbling with the
stubbornly uncooperative equipment, David (and the others as
well) pulled off an impeccable version of this song. This will
be an indelible memory indeed for me.
- The second encore, when David was fumbling with cords, guitars,
pedals, etc., and poor Harriet was ad-libbing to the best of
her scant abilities in this area, someone from the crowd shouted
something to the effect of "You're going home with that guy!?"
To which Harriet first laughed hysterically (as did David), and
then responded, "Not to worry. I'll be alright." God, what a
precious moment.
One last comment: Harriet was wearing a long form-fitting skirt
and a sleevless top. I only mention this because it's the first
time I've ever seen her in anything but jeans.
Apologies if I've repeated anything said in the Seattle reviews,
which I haven't read yet. Those of you further down the line,
get ready man, this one is completely *awesome*!!
Bruce
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~ Interviews & Reviews ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: Cynthia C Y Tsao
Subject: tour specifics
How the crew and band get from one show to the next
in North America: bus
How Harriet, David, & Billie get from one show to the
next in North America: plane
Will they tour North America again next year?
Depends on the success of this mini-tour.
Concert shirts available:
Three (L and XL):
1. Black: moon on left pocket. wording:
"The SUNDAYS"
"cry"
2. Navy blue: Big moon on front. wording:
"The SUNDAYS"
"static & silence"
Moon on back. wording is all cities for tour.
3. Grey: cover of summertime single.
:) Cynthia
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: Cynthia C Y Tsao
Subject: Billie
Name: Billie Gavurin
Age: 2 and 3/4 years
Eye color: Hazel/Brown (like David's)
Hair color: Harriet's natural hair color *GIGGLE!*
(I'll talk more about this in my recount. I'm sure
this will spark some interesting discussion...)
Christmas gift from mum: Sesame Street umbrella
Location during concerts: Hotel room
:) Cynthia
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: earthlink.net!sesor
Subject: Mayan theatre performance and conversations with Harriet
Hi everyone. After a few meals and a decent night's rest I feel much
better. Here're some more details on last night.
Harriet is very down to Earth (as we've heard time and time again).
While I was standing outside (before the show) watching the band
searching intently for Harriet (I saw everyone else) I waved hello once
I did see her and she just calmly asked, "Who are you waving to?" Once
I said that it was her, she walked outside to speak with me.
I don't want to tell everything about what Harriet and I spoke about
since it was semi-private (more private on MY part) and also I don't
think it would be proper for me to divulge a personal chat to a bunch of
strangers. Here're some more interesting bits for you all to enjoy.
I told Harriet that when I spoke with Morrissey a few years back he told
me that he didn't think David sounded like Johnny Marr despite the
press' writings. I also asked if they were bothered by any of these
Smiths-Sundays comparisons since as artists, I figured that they'd want
to find their own voice rather than sit in the shadow of another band.
Harriet said that they didn't mind the comparisons at all since they
weren't really written in a negative light. She also didn't say
anything about being flattered either. To tell you the truth, I got the
impression that she couldn't give two shits about it either way.
One interesting thing that I found out was David actually writes a lot
of the lyrics as well. I stupidly forgot to ask her if she plays the
guitar. I kind of have a new found respect for David now. I'm a
terrible lyricist so I have to bow to David on this one.
I told her that she really has the best voice in pop music and she gave
me the "I'm not worthy" bow with arms raised.
THE PERFORMANCE:
The show began really strong and never let up really. I guess the
earlier shows really warmed them up because the band were really tight
and Harriet... Harriet sang like a dream. Like I've said already, I was
REALLY impressed with her performance and that doesn't happen to me
often. Even with the expectations I had for her singing I was
impressed. I think that says a lot. ....okay, I have to say that David
was really good too. I mean he played pretty flawlessly. I just wish
there were some more improvisations.
We did, however, receive some live show treats which were accoustic
versions of some somgs off of S&S. The one song that stands out in my
memory is "Homeward". Having it stripped down like that allowed the
song and melody to take on a totally different type of energy and it
could've backfired on them but didn't. I thought that in a live
situation it became very moving and intense. Harriet's singing was
perfect. No one could've asked for more and if they did, they'd be
expecting too much from one human being.
Their finest moment was easily the performance of "Cry". Between both
guitarists madly strumming away, Harriet singing like she was trying to
save the world, the lights shining brighter and whiter than they ever
would be all night and the wing-like design on the backdrop, I couldn't
stop the chills. That song sucked all the love out of body and I
literally felt ill afterwards because I felt so drained. For all of you
who refer to Harriet as angelic, this song was exactly why you say those
things. From my angle, those wings on the backdrop lined up perfectly
with Harriet's shoulders. I watched in total adoration of this band as
they played this song. It looked and felt like an angel from heaven
came to Earth to wash the world of its sin through her songs. This song
was so powerful, if I focus on it, I can barely recall the rest of the
night. I remember after the song being over, I felt like I was floating
and I wondered if my feet were touching the ground. Sadly, the band
never was as exciting again all night.
The only song that even came close was "Joy". Once the closing verse
started I got those chills again. As Harriet sang, my mood became very
dark and I realized how heavy this song actually was. Both my arms
started to feel very weighty.
Cynthia, I tried to get you a set list after the show but the security
guard was a jerk. Even as other guards were retrieving things off the
stage for begging fans, the big oaf that I was unlucky enough to stand
in front of kept shrugging his large shoulders saying that it isn't
allowed. Stupid. I hope he dies.
Oh, and about the tribute album. At the little "party" in the bar after
the show, Harriet introduced me to her manager who gave me his phone
number and fax number in the UK. He said that he couldn't help us
directly because they didn't own the rights to the songs but I think he
wants to help which is good because he's obviously got clout. Not that
this matters much since I'm growing very impatient and I'm ready to just
start this project again. What I'm doing is stupid and it's probably
unnecessary. I'm gonna give it a LITTLE more time but if I can't get
any answers, fuck it. We're gonna start the ball rolling again.
If any Arithmetics were waiting outside in front of the bus for
autographs, the Sharpie permanent marker that Harriet was using was
mine. She didn't have anything to sign autographs with so I gave her my
pen. That was a brand new pen too...
Sorry about the length of my post.
- Dougmeister
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: webtv.net!BenFrancis (Ben Simpelo)
Subject: Review of Sundays concert in San Diego
The folowing is a review of The Sundays' November 20 concert in San
Diego. Source: The San Diego Union-Tribune, November 22, 1997, page E-6.
SUNDAYS' ABSENCE MAKES ART GROW FONDER
By David L. Coddon
ASSISTANT NIGHT & DAY EDITOR
What's a five-year layoff, anyway? No big deal to the Sundays.
Questions about how the British foursome's hiatus (for personal and
professional reasons) would impact its cult-band popularity were
answered with the vigor that greeted its new "Static & Silence" album.
Now touring in support of "Static," the Sundays are finding that their
audience has outgrown "cult" status.
The Sundays certainly have outgrown a club the size of 'Canes in
Mission Beach, which was packed shoulder-to-shoulder Thursday night to
hear the band from Bristol.
Except for one equipment snag (the group briefly had to abandon the
stage in the middle of its set so David Gavurin could tend to an
electric guitar), the Sundays' performance was a frolic by the beach, as
satisfying to the talky all-ages crowd as a sweet treat. Could the
Sundays possibly consider changing their name to the Sundaes?
Harriet Wheeler, whose warbling vocals are among the most
recognizable in alternative music, was and always will be the Sundays'
centerpiece. Her note-for-note readings of tunes from all three of the
band's albums were delivered with the self-assurance of somebody taping
an "Unplugged" episode. The entire band, in fact, was hindered only by
Paul Brindley's heavy bass notes, which sometimes washed out Wheeler's
voice.
Cuts from the ballad-heavy "Static & Silence" fared best, including
"Monochrome," "When I'm Thinking About You" and "Homeward."
("Summertime," the Sundays' uncharacteristically giddy hit single, was
an inevitable encore selection.)
Although the band's debut album, "Reading, Writing and Arithmetic,"
is 7 years old, its material is still the Sundays' most compelling. The
oblique lyrics and ambient musical detours have lost none of their
charm, as was clear upon hearing "My Finest Hour," "I Kicked a Boy,"
"Hideous Towns" and "Can't Be Sure" (the Sundays' first single) again.
Poised at the center-stage microphone in her Gen-X overalls, Wheeler
herself seemed most enthusiastic about these gems from her band's
formative days. It was a shame that, again, Brindley's bass intruded,
this time upon "Here's Where the Story Ends."
Wheeler's adieu to the crowd---"Thanks for sticking with us"---was
a reference to the unscheduled break to fix Gavurin's guitar. But it
could just as well have been a salute to Sundays fans who never lost
faith during a five-year wait.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~ Other News ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: here's tablature for the "so much" solo
Dear List,
I had a second so I wrote out the solo in "so much" (track 11 on S&S) note
for note in case you folks wanted to try it at home.
Someone may want to put this on the Sundays Tab page or submit it to the
OLGA archive if the want.
Solo to "So Much" - the Sundays transcribed by Brandon Milner
A note about the tablature. There are a lot of bends in this solo so I
tried to indicate them with / and \ symbols. / = bend up, \ = release
bend.
So 12/14\12 = bend the string at the 12th fret up so it sounds
like the note at the 14th fret (a whole step) and then release the bend
back to the 12th fret. you'll get the idea. Unlike some other tab I've
seen posted on various sundays pages and in the Olga archive, this is
actually correct. Some of those others I've seen are rather
innacurate.
*
12--------12---12---------------------------------------------------------
12/14\12--12/14--14\12-10-----14/16\14-12---------------------------------
-------------------------10---------------13-13/15\13-11-9---------11-11--
----------------------------------------------------------11---9----------
--------------------------------------------------------------8---/11-----
--------------------------------------------------------------------------
*sustain 12th fret 1st string while bending B string
#
12----12-------------12--------12-----------12/14\--14/16\--------------7-7
12/14---14\12---12/14-----12/14--14\12-10----------------------------6-7---
-------------9---------------------------10-----------------------7-5------
-------------------------------------------------------------5-6-7---------
-----------------------------------------------------------/7--------------
---------------------------------------------------------------------------
# slide up to seventh fret before playing this run.
Enjoy
Brandon Milner
bmilner@netcom(dot)com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: Tablature for GOD MADE ME
"God Made Me" (D. Gauverin & H. Wheeler)
from the album "Blind" by the Sundays
Tablature & Transcription by
Brandon Milner
TAB appears below the words sung at the time...
Intro (this same sequence is used again towards the end of the song):
X02220 (A major) 022000 (e min) X02220 022000
XX5788 355433 (G maj) 022100 022200 (E sus4)
x02210
Verse pattern: 002200 -> 000220
Looking for an insult there's a trickle inside my head
002200 000220
seeing it's worth the effort I for- give myself
002220 000220
talks that we had talks that we had are becoming a blur
002200 000220
if only I could love my neigh- bor
320030 200200
CHORUS:
because God made me- eee
022100 X02220 X32030
that's all they told me before and how about you?
320033 022100
tablature by
Brandon Milner
bmilner@netcom.edu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: TAB for My Finest Hour
There is a previous version of the tab for this song in the Olga archive
submitted by dck4@cornell.edu (Dennis C. Ko) but it is rather innacurate
so I corrected his mistakes and am submitting a whole new transcription.
"My Finest Hour" (D. Gauverin & H. Wheeler)
by the SUNDAYS
as recorded on the album "Reading Writing and Arithmetic"
Tablature & Transcription by Brandon Milner (bmilner@netcom.com)
-----------------
Chords Used:
VERSE E: (079900) F#: (0 9 11 11 0 0) C#: (046600) B: (024400)
G-open: (300000) G-High (XXX080)
CHORUS E: (079990) B: (XX9970) or (XX9870) A: (X07657) Bmaj9: (XX9879)
G6:(320000) A6/9: (540000)
ENDING E: (079900) F: (0 9 11 11 0 0) G#: (0 11 13 13 0 0)
A: (0 12 14 14 0 0) B: (0 14 16 16 0 0) B-Low (024400)
Here's the structure:
Intro with verse chords: E E E F#
E E E F#
VERSE 1
E C# B
and the world it shows me up
E C# B
my clothes they show me up
E
I never knew this before
C# B E
the finest hour that I've ever known
C# B G-Open G-High
was finding a pound on the underground
VERSE 2
E C# B
and my words came stumbling out
E C# B
and then I went tumbling out
E
I've never been hit before
C# B E
and the finest hour that I've ever known
C# B G-Open G-High
was finding a pound on the underground
CHORUS
E B A Bmaj9
and I'll keep hoping you are the same as me and
E B A Bmaj9
I'll send you letters and come to your house for tea
E B A Bmaj9
we are who we are what do the others know?
E B A Bmaj9
but poetry is not for me so show me the way to go
G6 A6/9
home
E E E F#, E F# G# A B (from the high "ending" chords)
VERSE 3 (uses the same chords as the "ending")
B E F# G# A B
oh-and the words came stumbling out of my mouth
B (still...) G-Open G-High
I went tumbling out
CHORUS
E B A Bmaj9
but I'll keep hoping you are the same as me
E B A Bmaj9
and I'll send you letters and come to your house for tea
E B A Bmaj9
we are who we are what do the others know?
E B A Bmaj9
but poetry is not for me so show me the way to go
G6 A6/9
oh, I'm going home
E B A Bmaj9
but I'll keep hoping you are the only one
E B A Bmaj9
yes and I'll send you letters wouldn't it be such fun?
E B A Bmaj9
we are who we are whatever the others say?
E B A Bmaj9
poetry is not for me & much as I'd like to stay
G6 A6/9 E (from the ending chords)
oh I just want to go home
ENDING
Just before the vox play: E E E F#
E F# G# A B
E F# G# A B
you're you're you're too young
E F# G# A B
should've been you you're you're too young
G# A G# A#
it should've been you too, you're too, you're too young
G# A G# A#
it should've been you you you're too young
B-Low (024400)
you should've been safer saner (?)
bribed the judge and then sat down (?) <-- what the heck is she saying?
E F# G# A B
ooh you're you're you're too young
Tablature by Brandon Milner (bmilner@netcom)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: TAB for Wild Horses
WILD HORSES written by the rolling stones
Notated as played by the Sundays from the album
"Blind"
Tablature & Transcription by Brandon Milner (bmilner@netcom.com)
The intro is:
320033 (G major) X32033 (Cadd2) 320033 X32033
VERSE:
224432 (B min) 320033 (G) 224432 (Bmin) 320033 (G)
X02210 (A min) X32010 (C maj) 320033 (G) X00232 (Dmaj)
{X00233 X00232 X00232 X00230 } played quick (d suspension)
CHORUS:
Wi- ild horses couldn't
X02210 (a min) X32010 (C) 320033 (G)
drag me a- way
1330XX (F) X32010 (C)
BRIDGE:
There are like 3 acoustic tracks plus more electric here so you can play
just about any voicing of these chords and the notes are probably in there
somewhere.
Fmaj9 (X03010) Cmaj9 (X3001) X 4
the turnaround back into verse is (X320XX) (X540XX)
NOW for the 2nd guitar part during the CHORUS:
I'm going to butcher the time but listen carefully to the song and
you will get it. note the interesting syncopation though (tricky)
Play on high 2 strings:
Wild...
12-12-12-12| eighth note each 10-10-10-10 1 sixteenth note each
10-10-10-10| 12-12-12-12
Horses...
12--10-10-10-10 then 10-10-10-10 fast, 1 sixteenth each
10--12-12-12-12 12-12-12-12
Couldn't......AWAY
8---7-8---10--7-8---10--7--3--3--3--3-
10--8-10--12--8-10--12--8--5--5--5--5-
0--0--0--0--0- (G string played open)
Good luck with my strange rhythmic notating.
TAB by Brandon Milner
bmilner@netcom.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: Tab for Here's where the story ends
THE following TAB is NOT by me, it's by Rob Cabacungan
robertc@phoenix.princeton.edu
I just thought it was pretty accurate and much better than the
over simplified version currently in the OLGA archives.
"Here's Where the Story Ends" (D. Gauverin, H. Wheeler)
by the Sundays from "Reading writing & Arithmetic"
Verse chords: Chorus chords:
Gmaj7 320032 G 320003
Cmaj11 032032 C 032010
Gmaj7 Cmaj11
people I know, places I go
Gmaj7 Cmaj11
make me feel tongue-tied
Gmaj7 Cmaj11
I can see how people look down
Gmaj7 Cmaj11
I'm on the outside
Gmaj7 Cmaj11 Gmaj7 Cmaj11
here's where the story ends
Gmaj7 Cmaj11 Gmaj7 Cmaj11
here's where the story ends
*Chorus* [ See Tablature Above ]
C
it's that little souveneir of a terrible year
G
which makes my eyes go sore
C
and whoever would have thought the books that you brought
G
were all I loved you for
G
Gmaj7 Cmaj11
places I know, places I go
make me feel so tired
and I can see how people look down
they're on the inside
oh here's where the story ends
ooh here's where the story ends
it's that little souvenir of a terrible year
which makes my eyes feel sore
and who ever would've thought the books that you brought
were all I loved you for
oh the devil in me said, go down to the shed
I know where I belong
but the only thing I ever really wanted to say
was wrong, was wrong, was wrong
it's that little souvenir of a colorful year
which makes me smile inside
so I cynically, cynically say, well is that why
surprise, surprise, surprise, surprise, surprise
here's where the story ends
ooh here's where the story ends
End on Gmaj7.
------------------Tablature for Chorus (e is high E-string)
Chords: C C
-e-|---------8-----8-----10-----7-----10--------------------------------|
-B-|-----------8-----8------8-----8------8------------------------------|
-G-|-------0-----0-----0------0-----0-----------------------------------|
and it's that little souveneir of a terrible year
Chords: G G
-e-|---------3-----3-----5-----2-----0---------------------------------|
-B-|-----------3-----3-----3-----3-----3-------------------------------|
-G-|-------------0-----0-----0-----0-----0-----------------------------|
which makes my eyes feel sore
that makes me wonder why
Chords: C C
-e-|---------8-----8-----10-----7-----5---------------------------------|
-B-|-----------8-----8------8-----8-----8-------------------------------|
-G-|-------------0-----0------0-----0-----0-----------------------------|
and i never should have said the books that you read
and it's those memories that we shared that make me turn red
Chords: G G
-e-|---------3-----5-----2-----0-----0---------------------------------|
-B-|-----------3-----3-----3-----3-----3-------------------------------|
-G-|-------------0-----0-----0-----0-----0-----------------------------|
were all i loved you for
Chords: G G
-e-|-----------2-----2-------2-----2-----------------------------------|
-B-|-------------3-----3---3---3-----3---------------------------------|
-G-|---------4-----4-----4-------4-----4-------------------------------|
surprise, surprise, surprise
2nd Chorus follows same pattern...
it's that little souveneir of a terrible year
which makes my eyes feel sore
and whoever would have thought the books that you brought
were all i loved you for
and the devil in me said, "go down to the shed"
i know where i belong
but the only thing i ever really wanted to say
was wrong, was wrong, was wrong
Extra refrain in 2nd Chorus:
Chords: C C
-e-|---------8-----8-----10-----10-----10--------------------------------|
-B-|-----------8-----8------8------8------8------------------------------|
-G-|-------------0-----0------0------0------0----------------------------|
and it's that little souveneir of a colorful year
which makes me smile inside
so i cynically cynically sigh
well is that why--surprise, surprise, surprise, surprise, surprise
Chords: Gmaj7 Cmaj11 Gmaj7 Cmaj11
-e-|----------2----------2----------0----------0-----------------------|
-B-|------3-3---3----3-3---3----3-3---3----3-3---0---------------------|
-G-|----0----------0----------0----------0-----------------------------|
(repeat above till end)
here's where the story ends
here's where the story ends
...
Rob Cabacungan
robertc@phoenix.princeton.edu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: New TAB for "Goodbye" MUCH better
What the heck was I thinking!!!??? I was just fiddling around with the
song "Goodbye" and I came upon a revelation... The song is in open E
tuning! It makes the song SO much easier to play and would be responsible
for why David's hands looked like they were barely touching the neck when
he played it live. It also makes all the little "fills" fall into place.
I haven't worked out all the details yet but this is a whole lot closer
than the last version.
TUNING (low to high) E B E G# B E That's an E major chord
So the intro lead is now...
---------------------------------------
---------------------------------------
----------------------0----------------
----------------10-12------------------
--------10--12-------------------------
--O-12~----------------------(repeats)-
When it comes in with the strum part it is now
unbelievably simple
-0---0---0---0-0----------
-0---0---0---0-0------0---
-0---0---0---0-0-----0--0-
-5---7---0---0-0---02-----
-5---7---0---0-2-02-------
-5---7---0---0-0----------
The verses are exactly the same but without the top 2 strings ringing
(the E and B).
-------------------------- Oh you... and it's good bye...
----------------------0---
-0---0---0---0-0-----0--0-
-5---7---0---0-0---02-----
-5---7---0---0-2-02-------
-5---7---0---0-0----------
Then there is this little arrpegiated part
each dash is a 16th note so the rhythms are right too.
--------------------------------------
--------------------------------------
-------------------------------------- X2
-5-----5-----5---4-----4-----4--------
----5-----5----5----5-----5----5------
--------------------------------------
---------------------0-----0----------
-------------------0----0------0------
----0-----0----0----------------------
-5-----5-----5---45----5--5-----------
--------------------------------------
--------------------------------------
Over this little arrpegio is a 2nd guitar playing:
-9-------7-------5------------------- There is one note per measure.
-----9-------5-----------------------
-------------------------------------
-------------------------------------
-------------------------------------
-------------------------------------
The solo at the end is fairly easy too:
|00-00-00-00-000-|00-00-00-00-000-|
|45-55-55-55-555-|45-55-55-55-555-|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|00-00-0-0-0--0--|00-00-00-0--0---|
|45-55-/12-12-12-|45-55-55-10-9---|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
*to 12th fret *to 10th fret
|00-00-00-00-000-|00-00-00-00--0-0|
|45-55-55-55-555-|45-55-55-59--9-9|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|00-00-00-00--0--0-|00-00-00-00-000-|
|45-55-55-512-12-12|45-55-55-55-555-|
|------------------|----------------|
|------------------|----------------|
|------------------|----------------|
|------------------|----------------|
|------------------|----------------|
* slide to 12th fret
A few more repeats of the above and then slight improv around:
|00-00-00-00-0-0-|00-00-00-00-0-0-|
|45-55-44-44-2-2-|45-55-44-44-2-2-|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
|----------------|----------------|
Occassionally he lets the open B and E strings ring at the end of the
phrase. The law of diminishing TAB kicks in here. Just use your ears,
this should get you close enough.
Enjoy and let me know if you need something that I missed (like I know I
didn't notate the 2nd guitar part in a few places)
Brandon Milner
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: bmilner
Subject: TAB - Monochrome
I saw several people try and post TAB to monochrome and since I didn't
agree with any of them I thought I would take a stab at it myself. They
were close but both of them have the 2nd chord in the verse wrong, and
they definitely have that last chord in the bridge wrong.
So here is my version. Note, there are MANY guitar tracks on the CD (I
mean like 2-3 acoustics and at least 2 electrics) so I tried to come up
with parts that captured the essence of several parts at once :)
Each dash is an eighth note...
|2-------2-------|2-----0-0-------|
|3-------3-------|3-----3-3-------| Here is the pattern for the verse.
|2-------0-------|0-----0-0---!---| On the 2nd half of the 4th chord,
|0-------2-------|0-----0-2-------| he emphasizes the open G string as
|0-------2-------|X-----X-0-------| bass note.
|X-------0-------|3-----3-X-------|
|2-------0-------|2---4---3-2-5---| here's the chorus pattern.
|3-------3-------|2---2---3-3-3---| Note the chords change twice
|2-------0-------|2---2---0-0-0---| as fast toward the end of the phrase
|4-------2-------|4---4---2-2-2---|
|2-------2-------|4---4---2-2-0---|
|X-------0-------|2---2---0-0-X---|
|2-------0-------|2---0---3-2-----|
|3-------3-------|2---3---3-3-----|
|2-------0-------|2---0---0-0-----|
|4-------2-------|4---2---0-0-----|
|2-------2-------|4---2---X-X-----|
|X-------0-------|2---0---3-3-----|
|2-------2---5---|2-------2---3-56| the bridge goes something like
|0-------3---3---|0-------3---3---|
|0-------4---4---|0-------4---3---|
|X-------4---4---|X-------4---0---|
|3-------2---X---|3-------2---X---|
|X-------X---X---|X-------X---X---|
Cmaj9 Bm bm7 Cmaj9 Bm Gm/D
Does that sound more correct? I understand the versions posted before
were more simple on purpose but I thought I would go all out and try and
write some of the passing chords in too.
Brandon Milner
bmilner@netcom(dot)com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Some very good links of Sundays fan sites i forgot to mention last time around:
http://www.huan.com/sundays
http://www.wintermute.co.uk/users/pingu/sunhome.htm
A link to a review on Static & Silence (i hope this works):
http://cgi.pathfinder.com/@@SvAziAYA4zgXGe7@/ew/review/archive/0,1683,14,00.html
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~ Thank you for reading this week's Arithmetic Extract ~~~~~~~~~~~~~~~~
~~~~~ Extract compiled by Patrick Asselman ~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
--=====================_880307496==_--
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