HDTenEightyP/NetNews huggingface dataset:
From: tinag@kean.ucs.mun.ca
Subject: REQ: many & varied
Organization: Memorial University. St.John's Nfld, Canada
Date: Tue, 6 Oct 1992 17:16:05 GMT

I seek:

any REM tabs or chords
ditto Billy Bragg, Sue Medley, Melissa Etheridge (from Never Enough)
and
Indigo Girls mailing list info.

All donations are tax deductible.

tg
tinag@kean.ucs.mun.cs       tinag@morgan.ucs.mun.ca

Newsgroups: alt.guitar.tab
From: g92k4260@ru.ac.za (Bryan Kilian)
Subject: REQS: (Just one or two :-)
Reply-To: csbk@alpha.ru.ac.za
Organization: Rhodes University, Grahamstown, South Africa
X-Newsreader: Tin 1.1 PL5
Date: Wed, 30 Sep 1992 15:03:33 GMT

Hi,
I need the lyrics/chords for some songs. If anyone can be helpful and Email
them to me or tell me a place where I can ftp them I would be very grateful.
I've already looked at ftp.nevada.edu and it doesn't have them.

Here they are : 
  "Good night girl" - Wet, Wet, Wet
  "More than words" - Extreme (Nevada has the tab.. but I canna read tab )
  "In your Eyes"    - Peter Gabriel
  "Wind beneath my wings" - Bette Middler (? I think)
  "Hold me now"     - Johnny Logan
  "Only You"        - (Written by Andrew Lloyd Webber)
  "You're the voice"- John Farnham

Many thanks in advance.
Bryan

/////////////////////////: csbk@alpha.ru.ac.za ://////////////////////////
// Bryan Kilian        // This universe never did make sense, I suspect //
// Rhodes University   // that it was built on government contract.     //
// South Africa        //                            - R. A. Heinlein   //
//////////////////////////////////////////////////////////////////////////
   Disclaimer: This message is a product of my own warped imagination
From: tms@cs.umd.edu (Tom Swiss (not Swift, not Suiss, Swiss!))
Newsgroups: alt.guitar.tab
Subject: Re: password for nevada ftp
Date: 30 Sep 92 18:56:45 GMT
Organization: The Reality Liberation Front (pixels to the people!)

(jkies) writes:
>I'm new to the net and was wondering how to get into the nevada ftp
>site--keep getting stumped with an "improper password prompt".  Please post
>a *foolproof* guide for all those of us who mamas *did* raise fools ;-)....

Anonymous FTP - A Brief How-To

     FTP stand for "File Transfer Protocol". The term can refer either to the
protocol or to the programs that implement it. FTP allows file transfer
between any machines on the Internet.

     The FTP client is invoked on the UNIX command line as 

          ftp <host-name>

     Alternatively, the host-name can be specifed with the "open"
command from within ftp.

     A user can access files on any account for which he has the password.
Many systems also make certain files available for any user, via
anonymous ftp.

     To begin an anonymous FTP session, invoke the client; for example,

     ftp flubber.cs.umd.edu

     The client will respond by propmting for "Name". Use the id "anonymous":

     Connected to flubber.cs.umd.edu.
     220 flubber.cs.umd.edu FTP server (SunOS 4.1) ready.
     Name (flubber.cs.umd.edu:tms): anonymous
                                    ^^^^^^^^^ (you type this)

     You will then be promptrd for a password. While some systems
accept any password, others require that you respond with your e-mail
address:

     331 Guest login ok, send ident as password.
     Password: tms@flubber.cs.umd.edu [will not be printed]
     230 Guest login ok, access restrictions apply.

     To end your FTP session, use the "quit" command. Use "ls" or "dir"
to list files, "cd" and "cdup" to change directories. Use "get <filename>"
to transfer a file to your  client machine, or "mget <regular-expression>"
to get several files. Display files on your terminal with 
"get <filename> |more". (No space between the "|" and "more".)

     For more information, see the man page (use the UNIX command "man ftp"),
and use the ftp command "help".


===============================================================================
Tom Swiss/tms@cs.umd.edu  |  "Born to die"   |   Keep your laws off my brain!
     "What's so funny 'bout peace, love and understanding?" - Nick Lowe 
          This is a .signature antibody. Vaccinate your .sig!
     "The reasonable man adapts himself to the world; the unreasonable one
      persists in trying to adapt the world to himself.  Therefore all
      progress depends on the unreasonable man."
      -- George Bernard Shaw
From: ssw@aber.ac.uk (Simon Ward)
Newsgroups: alt.guitar.tab
Subject: REQ: Another Journey by Train (The Cure)
Date: 2 Oct 92 23:14:00 GMT
Organization: University of Wales, Aberystwyth

Subject line says it all .... does anyone have an accurate transcription of
the *bassline* (not chord diagrams!) of 'Another Journey By Train' by The 
Cure ?

Thankx in advance.

Simon.

--
.sig?
Newsgroups: alt.guitar.tab
From: tbmg9061@uxa.cso.uiuc.edu (Thomas B MacIukenas)
Subject: Re: Perfect pitch
Organization: University of Illinois at Urbana
Date: Wed, 30 Sep 1992 21:39:33 GMT

petrop@vccsouth07.its.rpi.edu (Philip A. Petrocelli) writes:

>In article <BvDoC9.AA@news.cso.uiuc.edu> tbmg9061@uxa.cso.uiuc.edu (Thomas B MacIukenas) writes:
>>Francis.Gardner@comp.vuw.ac.nz (Francis Gardner) writes:
>>
>>>  implication appears to be false.  I beleive the same applies to sound
>>>  (bit I could be wrong :-)         ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>>   ^^^^^^^^^^^^^^^^^^^^^^^^^
>>This is the important point to remember.  Who ever said there was a strong
>>correlation between our perceptions of pitch and color?  The advertisement
>>has absolutely no basis for making the analogy.  For all we know, these two
>>perceptions may very well be governed by two totally different mechanisms.

>We DO know that both percepetions indeed ARE governed by two totally different
>mechanisms.  I know we are not all physicists, but for those of us who know 
>a little, have we forgotten that color is an ELECTROMAGNETIC WAVE, and it's 
>perception is a result of a chemical reaction that occurs in the rods and cones
>in our retinas????  And, that sound is a MECHANICAL WAVE that occurs as
>compressions and rarefactions of air molecules - and it is that transfer of 
>vibratory motion (thru our ear drums and the bones in our ear) that gets 
>translated into a form that our brain can process???

Actually, this doesn't work.  It's what happens _in_the_brain_ that
determines what we can or can not distinguish.  Sure, the two phenomena
are transported *through the air* by two different mechanisms, but it's
totally possible that the brain could translate them both into the same
type of representation internally.  It's this *internal* representation
which determines what type of processing the brain can do on the input.

>The same mathematical methods that we apply to sound waves (ie overtones, etc)
>simply CANNOT be applied to electromacnetic waves.

This is also untrue.  Waves are waves -- mathematical methods don't care
in the slightest what medium is used to transport them.
-- 
___-Tom_Maciukenas_(tbmg9061@uxa.cso.uiuc.edu)______________________________

"S.E.T.E.C. : Special Extra-Terrestrial Earthling Counter"
"A turnip cures Elvis = Universal Studios"                -- from "Sneakers"
Newsgroups: alt.guitar.tab
From: pmc@world.std.com (Patrick M Chase)
Subject: Re: REQUEST: Beatles/In My Life
Organization: The World Public Access UNIX, Brookline, MA
Distribution: na
Date: Thu, 1 Oct 1992 03:34:39 GMT

In article <90976@netnews.upenn.edu> simmonsb@eniac.seas.upenn.edu (Brian F Simmons) writes:
>In article <BvCort.902@world.std.com> pmc@world.std.com (Patrick M Chase) writes:
>
>>etc, which is very kind. I was working on this one myself this weekend when I
>>realized that the chords aren't much when you play it. The beauty is in the
>>intricate detail work of the songs. It's brilliant.
>
>>So while the chords are nice, and appreciated, is there anyone out there who
>>has actually tabbed this classic tune? I don't have the best ear for pulling
>>it straight off the recording, and my songbook has exactly what Ronald posted
>>(plus the piano sheet music which I can't read). Anyone?
>
>In my Life is transcribed completely in the April 1992 edition of Guitar For
>the Practicing Musician. Part with the $3.50, it's worth it. Plus you get
>Communication Breakdown with the mag!
>Duff and Slash are on the cover, I'm sure you'll be able to find it somewhere.

OK. I'll bite. where do I write for back issues?
+-------------------------------------------------------------------------+
| Patrick Chase                             InterNet: pmc@world.std.com   |
| Technical Support Specialist              UUCP: uunet!world!pmc         |
| Genzyme Corporation                       UUCP: bu.edu!world!pmc        |
| One Kendall Square                        AOL: Patrick0 (That's a ZERO!)|
| Cambridge, MA  02139-1562                 (617)252-7804 (voice & vmail) |
|    FidoNet: Patrick.Chase@f270.n101.z1.fidonet.org (or 1:101/270.2)     |
Newsgroups: alt.guitar.tab
From: putz@parc.xerox.com (Steve Putz)
Subject: Re: REQ: Halloween tunes
Keywords: Halloween
Reply-To: putz@parc.xerox.com (Steve Putz)
Organization: Xerox PARC
Date: Tue, 29 Sep 1992 08:43:51 GMT

This song is on the Peter, Paul and Mary "Such is Love" album (sold at
concerts in 1983).

(ChordPro format)

----------------------------------
# Performed by Peter, Paul & Mary
{title:Don't Go Down to the Quarry}
Don't go d[G]own to the quarry in the middle of the night,
'Cause you'll n[Em]ever come back, you'll never be right.
[Am]We lost Maggie there just last spring,
And [D]Big Ben Johnson, he couldn't do a thing.

Big Ben Johnson made a bet with Mad Man Mike
That he could cross the quarry in the middle of the night.
He got there about half way across,
He started sinking down in the red clay moss.

Nearby standing on the tracks where the trains used to come
Was Mad Man Mike, beatin' on his drum,
Laughing out loud, eyes rolling in his head,
Standing on the tracks in Lucifer's stead.

With a long red cape and fire in his eyes,
He lifted up his hands to the midnight skies,
And the thunder start to roll, and the lightning flash wild,
And Big Ben Johnson started crying like a child.

Don't go down to the quarry, don't don't go down,
Don't go down to the quarry, don't don't go down,
Don't go down to the quarry, don't don't go down,
Down, down, down, down.

Then the earth gave a shudder and the quarry start to split,
Screaming down on Johnson to the fiery pit.
With a laugh that shivered the center of the bone,
Mad Man Mike just standing there alone.

He's calling all the people to take their turn
And fall into the pit and eternally burn.
Down, down, don't don't go down,
Down, down, down, down.

Lucifer's caught on the railroad track,
He's howling at the moon, 'cause be can't come back.
In the evening when we're sitting there in front of the fire,
We laugh at old Lucifer before we retire.

Don't go down to the quarry in the middle of the night,
'Cause you'll never come back, you'll never be right.
We lost Maggie there just last spring,
And Big Ben Johnson, he couldn't do a thing.
#
# Submitted to the ftp.nevada.edu:/pub/guitar archives
# by Steve Putz <putz@parc.xerox.com> 
# 7 September 1992
From: satch@wpi.WPI.EDU (Michael Victor Corbin)
Newsgroups: alt.guitar.tab
Subject: Re: Eric Clapton, "Layla"
Date: 28 Sep 1992 23:34:37 GMT
Organization: Worcester Polytechnic Institute
Distribution: alt
NNTP-Posting-Host: wpi.wpi.edu
Keywords: Layla

The entire transcription to the unplugged version of "Layla" can be found in 
the Sept/Oct 1992 issue of Acoustic Guitar magazine.  The verse progression of chords is the following.

   C#m7                              G#7  C#m7        C       D       E   E7
1. What will you do when you get lone-ly? with no-one waiting by your side

    F#m             B           E                A  F#m          B             
      you've been running and hiding much too long  You know its just your

              E      A
      foolish pride, Layla

For the rest of the song parts I suggest getting the magazine because they are written out in full tab and would be very tedious to type out on this.



Newsgroups: alt.guitar.tab
From: phys174@csc.canterbury.ac.nz
Subject: re: Back in Black
Organization: University of Canterbury, Christchurch, New Zealand
Date: Fri, 2 Oct 1992 01:10:31 GMT

Correct me if I'm wrong, but I'm 99% sure that the B in B chords are E D A.
Not E(m) G D.
Newsgroups: alt.guitar.tab
From: gish@NCoast.ORG (Tyson Chihaya)
Subject: REQ: Smashing Pumpkins
Organization: North Coast Public Access *NIX, Cleveland, OH
Date: Sun, 27 Sep 1992 03:07:21 GMT

I'm looking for tab of anything by the Smashing Pumpkins, preferably
Bury, Crush, Snail or Rhinocerous. They've been pretty much ignored
by all the magazines, and IMHO they have one of the most original
sounds of any recent bands out there. I've figured out several of
their songs, but some of the chords just don't seem right. Anyone
got any pointers? (Or tab?)


-- 
Tyson Chihaya	|  capricorn sister taste of eucalyptus chartreuse regalia
gish@ncoast.org	|  purple pie petes dance electra burgundy baby blue eyed
                |  soul capricorn sister freddie mercury jezebel child
                |  motherlovebone breeds like rabbits gonna set you free
Newsgroups: alt.guitar.tab
From: whc2993@ritvax.isc.rit.edu
Subject: Request: Peace Train
Reply-To: whc2993@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Thu, 1 Oct 1992 19:20:06 GMT

This sounds like it would be a great tune to play solo acoustically.  Does
anyone have the chords and lyrics?  I guess it is by Cat Stevens.  
							Bill


********************************************************************************
"The blues is a low down achein' chill"  Robert Johnson
********************************************************************************

Newsgroups: alt.guitar.tab
From: ben@neti.arc.nasa.gov (Ben Chang)
Subject: Re: REQ: Suite: Judy Blue Eyes
Followup-To: alt.guitar.tab
Reply-To: ben@neti.arc.nasa.gov
Organization: RIACS, NASA Ames Research Center
Distribution: na
Date: Wed, 30 Sep 92 21:49:35 GMT

In article <1992Sep30.162516.10409@microsoft.com>, ericbe@microsoft.com (Eric Berman) writes:
-> Check out last month's Guitar World; they do a better job
-> than I ever could.
-> 

	The only minor problem with it is the transcriber used open E
(EBEG#Be) when Still's tuning is EBEEBe.


Ben
Newsgroups: alt.guitar.tab
From: willie@amalthea.osf.org (William Williams)
Subject: REQ: Blueberry Hill
Organization: Open Software Foundation
Distribution: alt.guitar.tab
Date: 2 Oct 92 15:17:29


I'm never sure if I've got this one right.
Newsgroups: alt.guitar.tab
From: jvs@lester.appstate.edu (John V. Scalco)
Subject: REQ: "the Clap" by  Yes...
Organization: Appalachian State University
X-Newsreader: TIN [version 1.1 PL6]
Date: Sun, 4 Oct 1992 23:15:25 GMT

	greetings fellow 'gtr-plyrs',

	I was wondering whether anyone had the tab to the tune
	the "clap", which is by YES and from their first album.  
		I know a portion of it, but I don't have the 
	tape up here with me (at school), but i would like to
	get the tune together....

		would appreciate any help possible,

		thanks,
			jvs

		ps - would appreciate it, if you mail direct to
			me, or let me know that you posted it,
			sometimes, I don't get down to this group
			for a few days, as we comp.sci folks keep
			very busy!
From: almanb@hpspdla.spd.HP.COM (Bob Alman)
Date: Thu, 1 Oct 1992 00:32:03 GMT
Subject: CRD: JOHN BARLEYCORN
Organization: HP Stanford Park - Palo Alto, CA
From: bolduc@McRCIM.McGill.EDU (Marc Bolduc)
Newsgroups: alt.guitar.tab
Subject: No Myth, Michael Penn.
Keywords: Penn, No Myth
Date: 30 Sep 92 18:07:21 GMT
Organization: McGill Research Centre for  Intelligent Machines
Originator: bolduc@lightning.mcrcim.mcgill.edu


This version of No Myth is taken from an acoustic recording of the song.  It's
in a different key than that in which it is recorded in the "March" album.
I also have the chords for "The Innocent one" of the same album: 
anyone interested?

The file is in chord format.  I recommend this program for it makes writing songs
faster than doing it in ascii.  Also, I'll try to port the program to the PC
platform: anyone interested?


Here's the song:

=================== CUT HERE ====================

{t:No Myth}
{st:Michael Penn}

[G]                    [Em]       [Em9]
[G]                    [Em]       [Em9]
[G]So,               [Em]       [Em9] 
[G]                    [Em]she says [Em9]it's 
[C]time she goes [D]
But [D]wanted to be [C]sure I know [D]
She hopes we can be  [G]   friends [Em]        [Em9]
[G]                    [Em]       [Em9]

[G]I                   [Em]       [Em9] 
[G]think,           [Em] yeah I guess [Em9]we 
[C]can say I [D]
But [D]didn't think to [C]ask her why   [Bm]
She blocked her eyes and [C*]drew the cur[B]tains
with [C]knots I've got [D]yet to un[A7]tie

Chorus:
{soc}
What if I were [C]Romeo in [Em]black jeans?
[G]What if I was [C]Heathcliff it's no myth  [D]
[A7]Maybe she's just  [C]   looking for
[Em]Someone to [F]dance with
[G]                    [Em]       [Em9]
[G]                    [Em]       [Em9]
{eoc}

[G]See,             [Em]       [Em9] 
[G]                    [Em]it was just [Em9]too
[C]soon to tell   [D]
And looking for some [C]parallel   [D]
Can be an endless  [G]   game [Em]        [Em9] 
[G]                    [Em]       [Em9]
[G]We-ee          [Em]       [Em9]         
[G]               we [Em]said good[Em9]bye be[C]fore hello   [D]
My secrets she will [C]never kn[Bm]ow
And if I dig a [C*]hole to Chi[B]na
I'll [C]catch the first [D]junk to So[A7]ho

{c:chorus}

Some[F]time from now you'll [Am]bow to pressure
[D]Some things in life you cannot measure [G]by degrees  [Em]
I'm be[F]tween the poles and [Am]the equator
[D]Don't send no private investigator to [G]find me please
'less he speaks [B]Chinese
And can [G]dance like As[Em]taire over[A7]seas

Okay?
(Solo, same chords as chorus)

[G]          [Em]What if I [Em9]was?
[C]          [Em]          [G]What if I  [C]   was?    [D]
[A7]Maybe she's just  [C]   looking for 
[Em]someone to [F]dance with.
[G]                    [Em]       [Em9]
[G]                    [Em]What if I [Em9]was
{c:chorus}
[G]                    [Em]       [A7]


{define: C* 3 1 3 3 3 1 -1}
{define: Em9 1 0 3 0 0 2 0}
{define: Am 5 0 0 0 2 2 0}





-- 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Marc Bolduc			McGill Research Center for Intelligent Machines
bolduc@mcrcim.mcgill.ca		McGill University
				3480 University St.
From: gavras@acs.bu.edu (alexis gavras)
Newsgroups: alt.guitar.tab
Subject: Re: Aqcuisiton of perfect pitch
Date: 1 Oct 92 17:25:13 GMT
Organization: Boston University, Boston, MA, USA
  quite differently]
Originator: gavras@acs.bu.edu

>Regardless of the merits of that analogy, some people seem to have
>this "perfect pitch", and the add claims that it can be learned.

>Is there anyone out there who did not originally have perfect pitch
>and then learned it, either through this advertised set of cassettes
>or some other means? Anyone who completed this course and 
>improved/didn't improved their sense of absolute pitch? 

>I would love to hear about your experiences.

>-Cody Coggins <acoggins@phoenix.princeton.edu>

   I haven't tried out the course in question, so I won't comment on it, but
despite the popular belief that you can only be born with perfect pitch, I've 
managed to acquire it on my own without any cassettes or other crap. I used a
generic technique wich is taught in basic music theory courses to teach re-
lative pitch and applied it to perfect pitch. For example, with relative pitch
you would memorize a musical segment which features the interval you're trying
to learn (i.e. for perfect fourths, you could memorize for reference the ope-
ning notes to the music of the original Star Trek TV series, which succeed
one another by this interval). Applied to perfect pitch, you could use a 
memorable riff as a referance for identifying pitches (i.e. the individual     
note sequene in the openong riff to 'Layla' is a-c-d-f-d-c-d or to 'smoke on 
the water' is g-b(flat)-c-g-b(flat)-d(flat)-c-g-b(flat)-c-b(flat)-g, as they
appear on the original recordings). If you're using a tape or record player
to do this, you might want want to check the notes against a piano if you 
plan to use these examples, since your equipment might be a half step faster
or slower than mine, but if you memorize the note sequences and refer therm to
the sound of the riff you have memorized, you'll find yourself identifying 
pitches without touching any instruments, and with a little practice, you'll
get to a point where you'll instantly know what an A or an E or a G flat sounds
like without refering to musical exmples, and you'll likewise be able to ide-
ntify pitches as soon as you hear them, which will also enable you to notate
anything you hear in your head to manuscript paper as if you were writing a
letter. It'll take some work, but it's not all that hard and it beats the 
fuck out of risking money on a cassette series advertised by a guy who looks
like a blond Pee-Wee Herman. 

                             Cheers,
                                 
                                 Alexis Gavras

"Without music there would truly be reason to go mad" 
                                       
                                                  -Tchaikovsky
                                    
Newsgroups: alt.guitar.tab
From: momotaro@cwis.unomaha.edu (Bryan Stack)
Subject: Forever Young -- intro message
Organization: University of Nebraska at Omaha
Date: Wed, 30 Sep 1992 16:09:32 GMT


Bob Dylan recorded two versions of Forever Young (on the Planet
Waves album?):  the familiar Muzak-ballad arrangement covered by
Joan Baez, and I think also Rod Stewart, and a three-chord rock-
and-roll arrangement which is totally incongruous with the text,
but a nice rockin' tune otherwise.  I will post both, as I hear
them, in separate files.

>>>====================>
   Bryan Stack 
   Omaha, Nebraska, USA
   momotaro@cwis.unomaha.edu
From: ccs@aber.ac.uk (Christopher "Jd" Samuel)
Newsgroups: alt.guitar.tab
Subject: REQ: Killing Joke - Kings and Queens
Date: 2 Oct 92 10:13:55 GMT
Organization: University of Wales - Aberystwyth - Prifysgol Cymru

This is a request for a friend of mine who does not have net access at
the moment, and is after either the tab, or at least some idea of the
chords for "Kings and Queens" by Killing Joke.  Both he (a very
competent guitarist) and his friends guitar tuitor (an even more competent
guitarist) have been trying to work them out, to no avail.

He saw Killing Joke live before they split up, and although the guitarist
doesn't actually play that fast, he does apparently use very bizzare chords.

advTHANKSance

Chris

-- 
 Christopher Samuel, c/o Computer Unit, UCW Aberystwyth, Aberystwyth, WALES
  RFC: ccs@aber.ac.uk   UUCP: *!mcsun!uknet!aber!ccs   JNT: ccs@uk.ac.aber
          Deddf Iaith Newydd i Gymru | New Language Act for Wales