HDTenEightyP/NetNews huggingface dataset:
From: sekharn@hkn.Berkeley.EDU (R. Sekhar Narayanaswami)
Newsgroups: alt.guitar.tab,rec.music.makers.guitar.tablature
Subject: Re: REQ: The Last Resort by the Eagles
Date: 21 Nov 1992 00:48:57 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: hkn.berkeley.edu


The Last Resort -- The Eagles, from the album Hotel California


F             Bb           C
She came from Providence
C                F
The one in Rhode Island
F                   Bb            C
Where the old world shadows hang
C            F
Heavy in the air
F              Bb                 C
She packed her hopes and dreams
C          F
Like a refugee
F           Bb            C
Just as her father came
C          F        F F F F*
Across the sea


She heard about a place
People were smiling
Spoke about the red man's ways
How they loved the land
They came from everywhere
To the Great Divide
Seeking a place to stand
Or a place to hide

Down in the crowded bars
Out for a good time
Can't wait to tell you all
What it's like up there
They called it paradise
I don't know why
Somebody laid the mountains low
While the town got high


When the chilly winds blew down
Across the canyon
Through the canyons of the coast
To the malibus
Where the pretty people played
Hungry for power
To light their neon ways
Give 'em things to do

Some rich man came and raped the land
Nobody caught him
Put up a bunch of ugly boxes
And Jesus people bought them
They called it paradise
The place to be
They watched the hazy sun
Sinking in the sea

(Key Change:  changes from F to Ab)

Ab               Db          Eb
You can leave it all behind
Eb         Ab
Sail to Lahaina
Ab                     Db        Eb
Just like the missionaries did
Eb             Ab
So many years ago
Ab                  Db            Eb
They even brought a neon sign
Eb         Ab
Jesus is Coming
Ab                      Db            Eb
Brought the white man's burden down
Eb                      Ab        Ab Ab Ab Ab*
Brought the white man's reign


And we'll provide the grand design
What is yours and what is mine
'Cuz there is no more new frontier
We have got to make it here
We satisfied our endlees needs
And justified our bloody deeds
In the name of destiny
And in the name of God

And you can see them there
On sunday morning
Stand up and sing about
What it's like up there
They called it paradise
I don't know why
To call someplace paradise
Kiss it goodbye

-----

This F* and Ab* are the chords with a raised third, i.e.
FA#C for F# and AbDbEb for Ab*... I don't know how to play
those on a guitar, 'cuz I originally learned this on the piano...

I'm also unsure of a couple of the words, but i'll try to check that
this weekend and correct any mistakes i find...

-----------------------------------------------------------------
Sekhar Narayanaswami
"I wanna find myself a girl
Who can show me what laughter means
And we'll fill in the missing numbers
In each others paint-by-number dreams"		-- Jackson Browne
-----------------------------------------------------------------
Organization: Penn State University
Date: Tue, 17 Nov 1992 20:15:45 EST
From: <GSS111@psuvm.psu.edu>
Newsgroups: alt.guitar.tab
Subject: REQ: BOB MARLEY

 Would really appreciate any of Bob's music mon!
Newsgroups: alt.guitar.tab
From: sg@dke.uni-linz.ac.at (Siegfried Grabner,GuP)
Subject: Re:Re: Want tab for Hotel California
Reply-To: sg@gup.uni-linz.ac.at
Organization: Johannes Kepler Universitaet
Date: Fri, 20 Nov 1992 14:26:45 GMT


In article AD7@mentor.cc.purdue.edu, gpetty@rain.atms.purdue.edu (Grant W. Petty) writes:
>The complete tab for Hotel California is in an Eagles collection
>that just came out (I don't remember the exact title offhand,
>but it's basically a greatest hits collection, Desperado, Witchy
>Woman, Life in the Fast Lane, etc., etc.
>
>It turns out (to my surprise) that there are about 6 separate
>guitars at work in Hotel California (not necessarily all at the
>same time), so you'd have to get a lot of friends together to do
>a reasonable live rendition.
>
>
>
>
>--
>Grant W. Petty                                gpetty@rain.atms.purdue.edu
>Assistant Prof. of Atmospheric Science        (317) 494-2544
>Dept. of Earth & Atmospheric Sciences
>Purdue University, West Lafayette IN  47907-1397


does anybody out therre know the exact title of this songbook (maybe with the isbn number). if so please post it

thanx

siegi
From: caedmon@cats.ucsc.edu (Axeman)
Newsgroups: alt.guitar.tab
Subject: Re: Name of Crossroads piece?
Date: 17 Nov 1992 21:07:41 GMT
Organization: University of California, Santa Cruz
NNTP-Posting-Host: am.ucsc.edu


mvilliar@cvbnet.prime.com (Mark Villiard x2813 5-2) writes:


>I recall someone recently inquiring about the classical piece that was used
>a few times in the film Crossroads.  I believe it was Mozart.  Any more info
>on the piece available?

I'm not aware of any Mozart in Crossroads (with steve vai and Karate KID),
but in the solos at the end, one can a few bars of one of Paganini's violin
caprices (I never know the plural).  I believe it was from the 8th caprice,
but I get those frequently confused.  It's the one that starts with 4-5
very quick sweeps.  I think they're Amin or AMaj arpeggios.

Eugene's "classical-sounding thing" that starts with the 3rd-string hammer-ons
of the second and fourth fret begins with what sounds like a Villa-Lobos etude
-- again, I can't place it.  It has the 3-octave neck jumps that can be found
in Etude #2 for guitar, but the chords are quite different.  Perhaps I'm 
thinking of the chord progression of Etude #1.  Oh for a good memory! :)

IN ANY case, you can pick up the tab for the entire solo from the ftp site
(ftp ftp.nevada.com, cd pub/guitar, I think), but I strongly disagree on
the fingerings of most everything in it.  

-jq
 
-- 
,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,
,;';,   caedmon@ucscb.ucsc.edu               Jeff Ishaq          .,;';,
,;';,   I am a meatball:  Bite me.           Guitar withdrawal!  .,;';,
,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,.,;';,
Newsgroups: alt.guitar.tab
From: 890554h@dragon.acadiau.ca (Andrew Hoogerwerf)
Subject: Re: REQ: Jim Croce
Organization: Acadia University
Date: Fri, 20 Nov 1992 18:48:44 GMT

alwalsh@unix1.tcd.ie (Andreas Walsh) writes:

>Could anyone send me any tablature or chords for any songs by the late
>great Jim Croce??

>Any help much appreciated,

>Andreas


>--
>"You need the dark to see the stars."


From uunet!cbmvax!macon Tue Aug  4 14:42:31 PDT 1992
Article: 1346 of alt.guitar.tab
From: macon@gallifry.Berkeley.EDU (Glen Macon)
Newsgroups: alt.guitar.tab
Subject: music : BAD, BAD LEROY BROWN
Date: 4 Aug 92 13:26:01 GMT
Reply-To: macon@cbmvax.commodore.com (Glen Macon)
Distribution: world
Organization: COMMODORE West Cester PA
Keywords: (Jim Croce)

112

Title:               BAD, BAD LEROY BROWN                   (Jim Croce)

                   G
         Well, the south side of Chicago
                A7
         Is the baddest part of town.
                    B7
         And if you go down there
                     C               D7                G
         You better just beware of a man name of Leroy Brown.
         
         Now, Leroy more than trouble,
                    A7
         You see he stand about 'bout six foot four.
                 B7                        C
         All the downtown ladies call him "treetop lover."
                 D7                 G
         All the men just call him "sir."

Chorus:           G
         And he's bad, bad, Leroy Brown,
             A7
         The baddest man in the whole damn town.
         B7              C
         Badder than old King Kong
             D             C
         And meaner than a junkyard dog.

         Now, Leroy, he a gambler,
         and he likes his fancy clothes.
         And he likes to wave diamond rings
         in front of everybody's nose.
         He got a custom Continental.
         He got an Eldorado too.
         He got a thirty-two gun in his pocket for fun.
         He got a razor in his shoe.

         (Chorus)
 
         Well, Friday 'bout a week ago,
         Leroy's shootin' dice.
         And at the edge of the bar sat a girl name of Doris
         and oh, that girl look nice
         Well, he cast his eyes upon her
         and the trouble soon began.
         And Leroy Brown, he learned a lesson 'bout messin'
         with the wife of a jealous man

         (Chorus)
   
               G
         Well, the two men took to fightin'
                       A7
         And when they pulled them from the floor,
         B7                  C                    D7               G
         Leroy looked like a jigsaw puzzle with a couple of pieces gone.


Out Chorus:            B7                   C
         Yes, you were badder than old King Kong
             D             C        G
         And meaner than a junkyard dog.


\_  \_  \_  \_  \_  \_  \_  \_ 

    \_\_\_      \_      \_                  Glen Macon 
   \_            \_\_  \_\_     any-net: macon@cbmvax.commodore.com
   \_             \_ \_\_ \_            Standard disclaimer...    
    \_   \_\_\_    \_  \_  \_   Commodore doesn't endorse what I say, I do
     \_       \_    \_      \_           Who wants to know...
       \_     \_     \_      \_      
	 \_\_\_       \_      \_    
	                                                
 \_  \_  \_  \_  \_  \_  \_  \_  \_  \_

All those moments will be lost in time, like tears in the rain.


-- 
----------------------------------------------------------------------
Andrew Hoogerwerf               890554@dragon.acadiau.ca
196 Skyway apt 10
542-5339
Newsgroups: alt.guitar.tab
From: megmond@cs.vu.nl (Egmond van M)
Subject: Re: Stop draggin' around
Organization: Fac. Wiskunde & Informatica, VU, Amsterdam
Date: Tue, 17 Nov 1992 08:46:11 GMT

Hi,

Here is my version of "Stop draggin' around":

Firstly, I tune the high E-string of my guitar to Lenny's "Flowers
for Zoe". Then I work my way up to the lower E-string. (I have no
tuning device 8-| )

If tuned that way, I play the song like this:

e|-------------------------------
B|-------------------------------
G|-------------------------------
D|-3-3-1---3---------------------
A|-------3---------5-------------
E|-----------4-5-6---6-4-6-4-1---


It sounds exactly the same!!

A musical salute to all of you:

	Maarten.


---
"Blues ain't nothing but a good man feelin' bad,    |       Maarten van Egmond
 thinking about the woman he once was with."        |         megmond@cs.vu.nl
                                                    | Vrije Universiteit A'dam
          - Willie Brown, Crossroads -              |          The Netherlands	
Newsgroups: alt.guitar.tab
From: tmenner@sei.cmu.edu (Thomas Menner)
Subject: Bay City Rollers tune
Keywords: madness!
Organization: Software Engineering Institute
Date: Tue, 17 Nov 1992 19:48:12 GMT

Look, I know this is an extremely odd request, but...
I happen to have a beat up 45 of the Bay City Rollers song 'Saturday
Nite' (you know... the one that goes "S-A-T-U-R-D-A-Y night!").
Anyway, I figured out the chords to it (or so I think), but I can't
really pick out the fuzztone "riff" that's played before the verses
start (combination of poor turntable and bad 45).  If someone happens
to know this off the top of their head or has a copy they can use to
pick it out I would most most most appreciative.  (And if anyone's
curious about the chords to the song I can post/mail my rendition.)


Tom Menner    	   	     	  I    When you're swimming in the creek
Software Engineering Institute	  I    And an eel bites your cheek,
Carnegie Mellon University   	  I    That's a moray!
Pittsburgh, PA	   	     	  I    	    - Fabulous Furry Freak Bros.

Newsgroups: alt.guitar.tab
From: mlc9g@Virginia.EDU ("Matt Condon")
Subject: REQ: Julian Cope
Organization: University of Virginia
Date: Wed, 18 Nov 1992 14:29:55 GMT

The subject says it all... Does anyone have any Julian Cope tab?
Newsgroups: alt.guitar
From: rgp39716@uxa.cso.uiuc.edu (Rahul G. Patwari)
Subject: PAUL SIMON: Homeward Bound (wanted)
Organization: University of Illinois at Urbana
Date: Fri, 20 Nov 1992 21:43:16 GMT

Does anyone have chords or tab for Homeward Bound by Paul Simon and
Garfunkel?  Please e-mail it to me, and I'll post it up if anyone else
wants....

THanks..




-- 
Rahul G. Patwari         
rgp39716@uxa.cso.uiuc.edu
University Of Illinois  
At Urbana-Champaign    
Newsgroups: alt.guitar
From: jhalvers@plains (Jon Halverson)
Subject: Peavey T=Probs!(sorry)
Date: Sun, 22 Nov 1992 02:31:17 GMT
Organization: North Dakota Higher Education Computing Network
X-Newsreader: Tin 1.1 PL4


Newsgroups: alt.guitar
From: 11439106@eng2.eng.monash.edu.au (SHAWN FOO)
Subject: Re: Bridge adjustments
Organization: Faculty of Engineering, Monash University 
Date: Tue, 17 Nov 1992 01:42:54 GMT

>Intonation can be a little tough to define, but operationally, it
>means that each string is as accurately as possible divided into
>two octaves at the 12th fret ... and the other fret demarcations or
>parsings into tones then are as accurate as possible given a fixed
>fret scale .... Anyone with more wisdom on this and/or a clearer
>definition, please help out with a followup post!

	When you fret a note at any fret, you have to push down on the 
strings, right? This sounds painfully obvious, but this leads onto greater 
things... :) 
	When you push on the string, you are actually stretching it a bit, 
and so the note you've fretted may just go a bit out of tune.... However, 
if the string is in tune, the harmonics should never be out of tune.... So 
comparing the fretted note with the harmonics allows you to get your fretted 
notes in as tune as possible(?!!!).... Note that each fretted note won't be 
perfectly in tune but they'll be very very very very close!! Note also that 
not every string stretches by the same anmount which is why each string has 
a different intonation setting.....
	Also, you should get the intonation adjusted if you change your 
gauge of strings or if you use a different tuning like down half a step or 
open tuning.... also, the intonation tends to go out when your strings get 
old...........

	S.P. Foo
Newsgroups: alt.guitar
From: bud@megatek.com (Wayne Francis)
Subject: Re: String Guages [what to use?]
Reply-To: bud@megatek.com
Organization: Megatek Corporation, San Diego, California
Date: Wed, 18 Nov 1992 15:23:50 GMT

The nasal sound that is usually associated with a stratocaster is a product
of the wood that the guitar is made of, alder and in some of the older ones
ash.  A friend of mine used to have an old B. C. Rich that had a 25.75
inch scale length like a Les Paul but the body was made of alder so it
sounded very much like a strat.  The nasal sound (or as some have called it
"that snarky sound" is usually produced by using the neck pickup which is
positioned where the 24th fret would be.  This is the reason strats have
only 21 or 22 frets and not 24 which is becoming more and more popular
today.  String guage doesn't have much to do with this nasal sound thing.
Since a longer scale length means higher tension on the strings for a
given pitch, you usually get a stronger signal from the longer scale
length.  I personally have an Ibanez with a 25.5 inch scale length that I
string with 10s and am considering trying 11s.  I enjoy just beating the
hell out of them and not breaking any strings.  I also have an old Ovation
solid body with a 24.75 inch scale length that I string with 9s.  I like
how easy it is to push the strings around.  There is something to be said for
lighter and heavier string guages.  It's all in what you like.
Newsgroups: alt.guitar
From: bss2p@kelvin.seas.Virginia.EDU (Brent S. Stone)
Subject: Re: String Guages [what to use?]
Organization: University of Virginia
Date: Fri, 20 Nov 1992 17:08:46 GMT

Response to stevenra@feserve.cc.purdue.edu
>Well actually your increasing the area by (.10^2 -.09^2)/.10^2 which is
>  19%. Actually I don't have a clue to where you say that distortion increases
>  by 10%. 
>Now my string theory is a bit fuzzy, but distortion is caused by a number of
>differnet things. In relation to strings, I believe it has to do with
>certain string harmonics being exited. If this is the case, then the opposiite
>would be true because more force would be required to excite those harmonics.
> I've always found that the heavier strings yield less distortion, and a 
>brighter and "heavier" tone. 
> On the other hand, heavier strings could cause more distortion my exiting
>some lower harmonics, which may be at the lower end of the frequency response
>of the amp and/or speaker which sometimes tend to "distort" the frequency.
> Like I said, I haven't brushed up on string theory lately, so corrections
>are welcome, but flames aren't....
>

Yes, the harmonics are (usually) reduced with the larger strings,
but the key word is mass.

Increase cross sectional area = increasing mass/length =>  
increasing output voltage => increasing distortion. 
And that increase depends on what's between the string and the
speaker.   Piece of pie.

BS


ps.  I'll take a lot more than an E+M book to predict a 10%
increase in distortion.   B)



Newsgroups: alt.guitar,rec.music.makers.guitar
From: fredh@cv.hp.com (Fred Handloser)
Subject: Re: Cry Baby or Hendrix Wah?
Organization: Hewlett-Packard Company, Corvallis, Oregon USA
X-Newsreader: Tin 1.1.3 PL5
Date: Wed, 18 Nov 1992 22:53:13 GMT

: >Which is a better Wah Wah?  The Hendrix costs $75 whereas
: >the CryBaby costs $59.  
: >Thanks in advance.
: 
:      Neither one is really "better"...they just sound different.  The
: Hendrix version is a vintage model so to speak and is narrower in 

I've seen CryBaby pedals that say "The Original" but they are
made by Duncan or some such company.  The CryBaby I bought
in 1971 or 1972 says  "Thomas Organ Company" on the bottom
plate.  Is this the model Hendrix used?

--

  --------------------------------------------------------------------
  Fred Handloser
  Corvallis, Oregon
  fredh@cv.hp.com
Organization: Arizona State University
Date: Monday, 23 Nov 1992 18:20:55 MST
From: <IFMXB@ASUACAD.BITNET>
Newsgroups: alt.guitar
Subject:    Randy Rhoads

I have been looking for a video tape of a live Ozzy concert with Randy playing
guitar.  All I have been able to dig up is a four song taping of the BBC show
After Hours, done in 1981.  If anyone could help me to locate a full concert
tape that Randy plays on, it would be greatly appreciated.

Mark Badolato

By the way, anyone interested in talking about this legendary guitar player,
drop me a line.

Randy rules!
From: napier@cs.ucsd.edu (Jim Napier)
Newsgroups: alt.guitar
Subject: Re: Too late to learn?
Date: 23 Nov 1992 21:20:28 GMT
Organization: AMES Dept., UC San Diego
Distribution: world
NNTP-Posting-Host: sierra.ucsd.edu


In article <1992Nov23.120849.13037@reed.edu>, mblock@reed.edu (Matthew Steven Block) writes:
|> 	There is nothing you can do for yourself that is more rewarding than
|> taking lessons with a thoughtful and intelligent instructor.  Go for it.
|>  <..other stuff deleted>

The gotcha here is finding a thoughtful and intelligent instructor. I took 
lessons from several instructors in my teens and early 20s. Most were talented
musicians but they all pretty much stunk at teaching. None had the ability to
motivate me or get me excited about playing. They knew how to play well but
they didn't know how to present their knowledge. I don't say this to discourage
anyone from taking lessons, just to point out that it isn't necessarily that
easy to find a instructor that fits your musical goals. As far as being "more
rewarding" your statements are largely subjective. I found that after giving up 
going to instructors and tackling learning theory and phrasing on my own that it
was immensely more rewarding for me to improve musically through my own efforts.
It may have taken longer than just having an instructor show me the same thing 
but the fact that I had to sweat and work hard by myself to figure it out made
sure the lessons really stuck. Also I was under no influence to focus on one
thing or another and was free to pursue whatever aspect of theory and technique
I wanted at any point. One thing I remember I disliked about instructors was that
they wanted me to learn "their" method, style, or technique (perhaps this is
what you meant we should avoid by finding a thoughtful instructor). I think
what you get that's most important from an instructor is not theory, scales,
and such (for which there are hundreds of books, video, and audio sources
to chose from) but the experience of playing with someone who provides you
with constructive feedback about how you sound. 

Just a final disclaimer. Although I personally don't put as much stock in
lessons as Matthew I would suggest to anyone who's interested to search out
a good instructor and try it for awhile. Just remember that a good instructor
isn't going to make up for your own lack of effort and a bad instructor will
only waste your time and possibly discourage you if you don't already have
some feel for your own musical ability. 

Cheers.

=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
Jim Napier
Systems Administration
Applied Mechanics & Engineering Sciences Dept.
UC San Diego
(619)534-5414
napier@ames.ucsd.edu

"Shut up before I have to tell you to shut up."
=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*
 
Xref: sparky alt.guitar:10055 rec.music.makers.guitar:270
From: ohumukin@spectra.com (Kawika Ohumukini)
Newsgroups: alt.guitar,rec.music.makers.guitar
Subject: Re: Steve Vai
Date: 19 Nov 92 17:48:12 GMT
Organization: Spectragraphics Corporation

In article <1992Nov19.055316.3771@iconix.oz.au> ajm@iconix.oz.au (Andrew Mack) writes:
>Hi netters,
>
>Does it make any sense if I mention something called the "Steve Vai ten
>hour guitar workout" ?? I've heard vague things about it and I think it
>appeared in one of the guitar mags .. Guitar World maybe. Anyone have a
>reference, or better, have it online?
>Thank you,
>Over and out.

Yes I have the issue.  I don't remember the date or the specific mag
(I get 2 different ones) I will get it tonight.  I don't have it online.
It is interesting, mostly finger gymnastics.  Nice exercises for awhile.

Kawika 
Newsgroups: alt.guitar
From: plumbojt@cray.com (John Plumbo)
Subject: Joe Satriani/Dallas show
Organization: Cray Research, Inc, Mendota Heights, MN
Distribution: usa
Date: 19 Nov 92 17:02:46 CST

The critics from the Dallas newspapers had nothing good to say about the
Joe Satriani show on Wednesday night.  Can any Dallas *GUITARISTS* who
attended the show comment?

For example, the Dallas Morning News said his performance lacked soul. (???)

I suspect that these so called critics know nothing about playing guitar, or
if they do, the extent of their knowledge is the opening bass line to "Smoke
on the Water"...

Enuff said.
From: 6o25@sdf.lonestar.org (Stephen M. Jones)
Subject: Vibrato Effect BOX????
Organization: Super Dimension Fortress - Public Access Unix - Dallas, Tx.. 
Date: Mon, 16 Nov 1992 03:59:41 GMT

i've never seen one?? can it be built? I am sure .. but are they
avaliable????? hehe

-- 
Stephen M. Jones (214)436-4622 
SysAdmin <-> Super Dimension Fortress PAU 
6o25@sdf.lonestar.org - "Put in a quarter and play road rally." - Descendents 
Newsgroups: alt.guitar
From: ronan@ug.cs.dal.ca (brian c ronan)
Subject: RE: Rosewood vs. Maple
Organization: Math, Stats & CS, Dalhousie University, Halifax, NS, Canada
Distribution: na
Date: Mon, 23 Nov 1992 06:54:29 GMT

I have a strat with a maple and a strat with a rosewood
and I have to agree with whoever wrote about the rosewood
having a thick sound...mine plays real warm and makes
for great blues playing when tuned down to e flat with
a set of 11 gauge strings on it...plays havoc with the
frets though...the maple is good for just about everything
else but rosewood is much better....hell SRV used it

					Brian
Newsgroups: alt.guitar