The St. Cleve Chronicle V7 #52
Dave Steiner , The Moderator
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The St. Cleve Chronicle Thursday, 23 May 1996 Volume 7 : Issue 52
Today's Topics:
Re: The St. Cleve Chronicle V7 #43 & #44
Hare narration; Tull on drugs; charity
Re: SCC V7 #44
RE: V7 #42 - "Nothing is Easy"
Where to buy Tull?
Nightcap
Martin's Guitar
Re: flute bands / Somewhere in the Universe
Re: Nightcap and other stuff
R's to B at last
Roots to Branches
WANTED:20th anniversary box set
Collectors of Video
Alive and Well and Living In
Re: The St. Cleve Chronicle V7 #43
Roll_Yer_Own.tab
------------------------------------------------------------------------------
Date: Sat, 4 May 96 19:45:09 +0100
From: N.Tho...@lancaster.ac.uk (Mr. Neil R. Thomason)
Subject: Re: The St. Cleve Chronicle V7 #43 & #44
Hi again,
>From: a-k...@nwu.edu (alex kuli)
>Does anybody know if the hieroglyphs on the "Divinities" album cover have
>any meaning, or are they just something Bogdan Zarkowski dreamt up?
The main ones, behind the Hindi dancing figure are symbols associated with
the major world religions; the Star of David (Judaism) and Chi-Rho
(Christianity) are the two I remember; I don't have the album to hand, so I
forget the others.
The marginal ones are zodiacal, if I remember correctly, with a couple of
others I don't recognise.
**************************
And another thing:
>From: Mar...@catch22.demon.co.uk (Martin O'Nions)
>Subject: Drugs and Creativity
>
>On Fri, 22 Mar 1996 23:44:45 "Harlan Marshall" <hmar...@polarnet.com> wrote:
>
>[in response to comments that drugs do not enhance creativity]
>> I'm pretty certain that drugs have played a positive
>> role in the music of our times (Pink Floyd, The Beatles, etc.) and
>>
>Interesting choice in Floyd.
Yes, VERY interesting choice, and one which totally trashes Harlan's idea.
Remember '_Shine_On_You_Crazy_Diamond_' ? Ever wondered why all Floyd
concerts start with it? It's dedicated to, and about, Syd Barrett, their
original lead guitarist (well, first as Pink Floyd, anyway). His brain was
(allegedly) fried by his illicit chemical experiments, the band was forced
to bring in Dave Gilmour and effectively dump Syd. He's now largely a
recluse who apparently can't bear to talk about his musical career.
Creative drugs, eh? :)
*****************************
And while I'm here:
>From: John Fraraccio <John_Fr...@cch.com>
[Discussing _Nightcap_ ]
>It solved at least one mystery for me: Ian *must* be the narrator of
>"The Hare Who Lost His Spectacles." Listen to Sealion II, as much
>spoken as sung.
Do you think so? I don't think IA's Lancashire accent was ever that strong.
Obviously, whoever narrated _Hare_ was exaggerating the accent, but I think
either of the real Blackpool natives, J H-H or JE, were more likely.
Alright, finished now.
NRT
------------------------------
From: Biffy...@aol.com
Date: Sun, 5 May 1996 09:42:03 -0400
Subject: Hare narration; Tull on drugs; charity
John Fraraccio <John_Fr...@cch.com> wrote:
>Ian *must* be the narrator of "The Hare Who Lost His
>Spectacles." Listen to Sealion II, as much spoken as
>sung.
The vocal on "Sea Lion II" is by Jeffrey Hammond-Hammond, not Ian. Jeffrey
(NOT John Evan, and certainly not Ian) is also the narrator on "The Hare Who
Lost His Spectacles."
On the drug issue, here are a few comments from the 1971 Rolling Stone
interview, one of very few interviews to which the whole band contributes:
Ian: "...I have no contact with dope. I'm a junkie as much as I smoke
ciggies and drink coffee. Beyond that, though, I have a fear of having my
mind or perspective altered by artificial means. I don't want my outlook
altered, because I prefer to work along a very concrete chain of figuring
things out--a kind of self-analysis and objectivity which comes of doing
something and then sitting back and looking at it and then coming back to it
and making a few changes and starting again."
Jeffrey: "I don't use anything. That's why I'm so alert." (Jeffrey's
alertness is a running joke in the interview.)
Barrie: "I tried marijuana once. I couldn't see any point in it at all.
Complete waste of time."
Martin: "I've tried it, and both times I felt really uncomfortable. I hated
being around people who were the same way--everybody looking at you to see
how you reacted."
John: "Well, I personally, as far as drugs go, don't want to close my mind to
an experience so long as it's not going to do me any harm..."
Ian (interrupting John's potentially pro-drug comment!): "People claim that
drugs make music easier to comprehend. My reaction to that is I don't think
music should be easy to listen to. There's an unhealthy tendency afoot
nowadays to make rock music easy to absorb. That's exactly the opposite of
what I want to do musically. I think music of all kinds should require an
effort from everyone involved. Both musicians and audience should be
struggling toward something, even if it's not necessarily the same thing."
Finally, someone suggested a while back that Ian doesn't contribute to
"human" charities. This is false. Although he doesn't go around making a
big production of his charitable activities, Ian has been an active supporter
of a variety of causes, including the National Society for the Prevention of
Cruelty to Children (for whom the band raffled off a flute, a guitar and
autographed CDs during the 1987 tour).
Biffy the Elephant Shrew @}-`--}----
Visit me at http://users.aol.com/biffyshrew/biffy.html
"She spat playfully, 'I'm ahead of you, Johnny'...I studied the swell of her
enormous boobs and said, 'Baby, you're so far ahead it's BEAUTIFUL!'"--Vivian
Stanshall, "Big Shot"
------------------------------
From: Mm...@aol.com
Date: Sun, 5 May 1996 11:59:03 -0400
Subject: Re: SCC V7 #44
Hello All!
I'm afraid that I must disagree (no flame intended :-)) with what Mr. John
Fraraccio posted in issue #44, where he states, "Ian *must* be the narrator
of 'The Hare Who Lost His Spectacles'. Listen to Sealion II, as much spoken
as sung." I agree that it is the same voice as in The Hare Who Lost His
Spectacles, but I do believe that on both of these tracks it is NOT Ian who
is doing the speaking/singing. Check out the 25th anniversary video, where
the film shot for The Hare Who Lost His Spectacles shows that Jeffery
Hammond-Hammond is narrating the story (dressed as the devil, with little
horns on his head), except for the part of "This is the story of the hare who
lost his spectacles," which was spoken by John Evan. I am fairly certain
that it is also Jeffrey who is "rapping" on Sealion II. Whoever it is, to me
it does NOT sound like Ian. Any thoughts? (Again, just a disagreement, no
flame intended.)
Mike
------------------------------
From: "Jordan M. Shapiro" <vil...@primenet.com>
Subject: RE: V7 #42 - "Nothing is Easy"
Date: Fri, 3 May 1996 17:09:34 -0700
A reply to Anna Moses <amo...@christa.unh.edu>
This is a report, not a flame! I know what it feels like to be
functionally illiterate. That's the best I can do when it comes to
reading the sheet music for "Nothing Is Easy", which I DO have. The
time signature for the opening is not marked, but it does look like 6/8
all the way to the 8th measure. Then for the rest of the song, it is
clearly marked as 2/4 time all the way up to where Ian sings NO-THING'S
EAS-Y which is marked 3/4 time.
See Ya,
. . . . . . I don't believe they knew . . . . . I was Jordan Martin!!!
------------------------------
Date: Mon, 6 May 1996 12:26:25 +1000
From: Gordon....@ml.csiro.au (Gordon Yearsley)
Subject: Where to buy Tull?
G'day from Down Under,
I will be travelling to the US and Europe soon and hope to buy some Tull
CDs. CDs are very expensive here in Oz and the range down here in Tassie is
not good. So, can anyone tell me where best to shop in the following
cities:
San Francisco
New Orleans
Paris
London
Thanks in advance.
I've been lurking the SCC for a while (I joined during the Passion Play
lyrics discussion) and thoroughly enjoy it. I've been a Tull fan (on and
off, I must admit) since Broadsword, which is my favourite album.
Unfortunately, I recently gave away my copy which is one of the reasons I
need to do some shopping.
Gus
___________________________________
Gordon (Gus) K. Yearsley (gordon....@ml.csiro.au)
Fish Taxonomist, CSIRO Fisheries
GPO Box 1538, Hobart., Tas., 7001 (Castray Esplanade, Hobart, Tas., 7000)
AUSTRALIA
Tel: 002 325 222 International: 61 02 325 222
Fax: 002 325 000 61 02 325 000
------------------------------
Date: Sun, 5 May 1996 23:03:44 -0400
From: "'D. A. Scocca'" <sco...@gibbs.oit.unc.edu>
cc: John_Fr...@cch.com, Voo...@aol.com
Subject: Nightcap
> From: John Fraraccio <John_Fr...@cch.com>
> Found myself playing the game of "What if?" just as well: Which albums
> did the "Your Round" songs get left off of?
The songs are dated, so it's not hard to guess:
1974: Paradise Steakhouse
Sea Lion II
Quartet
(War Child sessions)
1975: A Small Cigar
(Minstrel sessions)
1978: Broadford Bazaar
(probably Heavy Horses sessions; IA solo so may be separately recorded)
1981: Crew Nights
The Curse
Commons Brawl
No Step
Drive on the Young Side of Life
Lights Out
(Broadsword sessions)
1988: Man of Principle
(March 1988 sessions at which "Part of the Machine" was recorded for the
20th Anniversary Box. There were Rock Island sessions in late 1988, but
Gerry Conway appears on "Man of Principle" and "Part of the Machine" and
not on Rock Island so this is from the earlier sessions.)
1989: Hard Liner
(probably Rock Island sessions; this may have been recorded as a b-side)
1990: Piece of Cake
Silver River Turning
Rosa on the Factory Floor
I Don't Want to be Me
(Catfish Rising sessions)
1991: Truck Stop Runner
(probably Catfish Rising sessions)
Note that "Man of Principle" and the five 1990-91 songs were previously
released--on the UK-released double-EP called "Living in the (Slightly More
Recent) Past".
> It solved at least one mystery for me: Ian *must* be the narrator of
> "The Hare Who Lost His Spectacles." Listen to Sealion II, as much
> spoken as sung.
It solves the mystery, but that's not the solution. The credits say
Jeffrey Hammond-Hammond does vocals on Sealion II.
> From: Voo...@aol.com
> I didn't discuss Nightcap, because it needs to be talked about separatly.
> First, I would like to give my honest opinion about the Chateau D'isaster
> Tapes. I think that these prototypes for A Passion Play are great.
[...]
> As for the Rare and Unreleased tracks, I think some of them are garbage (They
> should have been put on Under Wraps, with the rest of the garbage.). I hate
> Sealion II, and I was disappointed b/c the original Sealion was one of my
> favorite songs on Warchild.
Out of curiousity, if you like the prototypes of _A Passion Play_, why be
so hostile to what is clearly a precursor of "Sealion"? I'm not a big fan
of SLII, but I must admit that on hearing it one gains confidence in Ian's
ability to take the great idea out of a clunker and turn it into a great
song.
D.
* The Minstrel in the Gallery http://sunsite.unc.edu/scocca/ *
* D. A. Scocca (sco...@gibbs.oit.unc.edu) "Heteroskedastic" *
* "Man/ son of man/ buy the flame of ever-life (yours to breathe *
* and breath the pain of living): living BE!" --A Passion Play *
------------------------------
Date: Sun, 05 May 1996 22:30:55 -0500
From: brad couch <bco...@compucom.com>
Subject: Martin's Guitar
Re: Phil Gammon's comments/questions about Martin's guitart in SCC V7 #44
At the show on 4/6 in Dallas, Martin was playing what appeared to be a
customized Fender Stratocaster. The body and neck style where
unmistakably Strat, but I was not quite close enough to see markings
and such. The volume and pickup controls were something specially
done. . . not the standard 3 knobs with a pickup switch.
I can't claim to be an expert on this stuff. I do play a Strat and a
Gibson SG and have played in bands with people who play Les Paul's for
years. Unless Ibanez makes a "Strat copy", he wasn't playing an
Ibanez in Dallas.
I thought the guitar sounded great and Martin seemed to be very
comfortable with it.
- --Brad Couch--
------------------------------
From: "Ed Rybicki" <E...@molbiol.uct.ac.za>
Date: Mon, 6 May 1996 10:19:00 SAST-2
Subject: Re: flute bands / Somewhere in the Universe
> Date: Sun, 14 Apr 1996 14:51:32 +0200
> From: Claude Calteux <claude....@infoboard.be>
> Subject: My first posting
>
...
> Do you jnow that there are 2 deutch groups with a flute played like
> Ian's ?
> FOCUS
> GOLDEN EARING (less often)
Oh, yes...I had forgotten about Golden Earring (no-one who has heard
Hocus Pocus could EVER forget Focus), but was reminded recently while
digging about for material for a classic rock radio show. I featured
a few songs by both, and after making the claim that Tull were one of
the only flute-using bands around, proved myself wrong in that Focus,
GE, Audience (remember them? House on the Hill has to be an all-time
classic), Gravy Train and at least two others (including Traffic of
early 70s vintage) were regular and proficient users of the magic
instrument. Focus in fact could have been mistaken for Tull in their
very early days; it was apparently a toss-up as to who sounded like
who. Both Thys van Leer (he of the flute) and Jan Akkerman are still
going; unfortunately not together, and not making noise like they
used to (Hamburger Concerto, wher are you now? Not on CD...). GE
got commercialised and locked into a "Radar Love" groove and died;
but listen to "Song of a Devil's Servant" or "Eight Miles High" sometime
and appreciate a good band.
Golden times...speaking of which, may still be here in that Ray
Loehner kindly sent me demos of his "Somewhere in the Universe" album
- - and it is gooood...I aired Jackalynn and Broadford Bazaar, and both
are extremely well done; so is the title track. Ray's voice is a
little limited in range, but pleasant, and the backing is first rate.
More this week, on 104.5 FM in the Cape Town area (which excludes
about 99.99% of you).
...he's not the kind you have to
Wind Up
on Sundays....
Ed Rybicki, PhD
Dept Microbiology | e...@molbiol.uct.ac.za
University of Cape Town | phone: x27-21-650-3265
Private Bag, Rondebosch | fax: x27-21-650 4023
7700, South Africa |
WWW URL: http://www.uct.ac.za/microbiology/ed.html
"And then one day you find, ten years have got behind you"
------------------------------
From: Voo...@aol.com
Date: Mon, 6 May 1996 15:22:17 -0400
To: sco...@gibbs.oit.unc.edu
cc: John_Fr...@cch.com
Subject: Re: Nightcap and other stuff
In a message dated 96-05-05 23:04:41 EDT, you write:
<< Out of curiousity, if you like the prototypes of _A Passion Play_, why be
so hostile to what is clearly a precursor of "Sealion"? I'm not a big fan
of SLII, but I must admit that on hearing it one gains confidence in Ian's
ability to take the great idea out of a clunker and turn it into a great
song.
>>
I was just very confused by Sealion II. It wasn't a good follow up. I must
admit, Sealion II was one of the reasons I shelled out $30 for Nightcap. I
wasn't expecting Chateau D'Isaster to be half as good as it is. I was very
disappointed w/ Your Round. I must also admit, I have taken a liking to
Under Wraps, and take back pretty much everything that I said. I just had to
give it a chance. Anyway, you mentioned that Jeffery Hammond Hammond did the
voice for Sealion II, and you are absolutely correct. I noticed someone ask
who did the voice for the Hare Who Lost his Spectacles, and this too was
Jeffery Hammond Hammond (I guess most of you already knew that). I like
Paradise steakhouse, but it doesn't seem very Passion Playish.
Someone e-mailed me and said that Under Wraps was Ian's favorite album. Is
this true? I cannot fathom why Under Wraps would be his favorite album to
the likes of Minstrel or HH. I was certainly under the impression that Stand
Up was his favorite, because he seems to take most of his "Old Favorites" in
concerts from Stand Up. He almost always does Bouree. So I just don't know
why Under Wraps, which doesn't follow up on Tull's famous style very well,
would be his favorite album. Its not that it is a bad album, my opinion of
it over the past few weeks has changed immensily, but it is the most
unorthadox Tull album
------------------------------
From: WAAM...@aol.com
Date: Mon, 6 May 1996 21:43:36 -0400
Subject: R's to B at last
Homes, youngsters, and doubters alike,
Leave us avail your travails concerning the most recent Tull offering. It
is, in fact, a culmination, as cited by dub...@goodguy.goodnet.com (Jeff
Stokes du Bose)) in issue 7-42. It is, in fact, one hell of a nice
recording. It does, in truth, showcase a variety of Ianisms coupled with the
latest Divinities venture. Not to be facetious, but kindly discard your tiny
little MTV mind for about 58 minutes and indulge. Observe, if you will, the
subtlety, nuance, and simple command of the genre. It used to be called
alternative, but nowadays alternative goes platinum. Go figure. Witness the
flute and string and guitar and rhythm section interplay as you settle into
your poison. Swallow the lyric. Watch the chorus suspend like a creeping
fog with an occassional bite. It can sweep you or you can shutter. Tull is
one magnificent thing. Tell your friends. Watch Regis Philbin. Don't be
foolish. He's all ours.
Bill 5/6/96
------------------------------
From: Vru...@aol.com
Date: Tue, 7 May 1996 00:15:20 -0400
Subject: Roots to Branches
All right, here we go.
Bill Smith states:
>>My vote for the album is that it is fantastic. When I first bought it and
gave it a once around on the CD player, I told my roommate that I "hated
it", and that "it was horrible"--Now, after listening to it innumerable
times, I think it is one of JTs best ever musical collection.<<
Exactly how I feel. I listened to it the first time and simply thought,
"What the Hell is this?" I think the initial reaction was also due
to the fact that RtB was the first album I purchased from after IA's
vocal problems. (Yes, I am a rather new fan. Hey, I'm young. It took
me months to find out who sang that "Bungle in the Jungle" song. :-)
Then I found out it was the same band who did "LitP" and
"Skating...", and "Aqualung", so the obsession began; but I digress.)
Also it is simply one of those albums that requires attentiveness
when listening (As all Tull albums do of course). It simply dawned on
me that this was a great album after about the third listen through.
It was quite amazing really.
And Mike Martin says:
>>Tom, as others on this list have discovered, Ian's more sophisticated
material may take _many_ listens to reveal itself fully. For me,
both Divinities and Roots To Branches fell into this category.
Otherwise, you might want to switch to something less challenging;
like say Boyz II Men or perhaps Metallica.<<
Many listens and a careful attention to all the wonderful lyrics the
man writes. And I must also say, no cheap shots against Metallica.
Boyz II Men yes, Metallica is pretty good (Though Tull can beat them
in the Hard Rock/Metal Grammy category!)
Terry Tarnowsky
------------------------------
From: na...@voicenet.com (Nathan Gall)
Subject: WANTED:20th anniversary box set
Date: Mon, 06 May 1996 16:49:08 GMT
Organization: Voicenet - Internet Access - (215)674-9290
hi everyone, i desperately need the 20th anniversary 3 disc box set
willing to pay for it if anyone has it
please let me know as soon as possible at
na...@voicenet.com
Nathan Gall
na...@voicenet.com
------------------------------
Date: Mon, 6 May 1996 15:51:38 -300 (MVD)
From: Javier Olaizola <javi...@inodoro.interfase.com.uy>
Subject: Collectors of Video
Hello, this is Javier Olaizola from Montevideo, Uruguay, South America.
I would like to contact fans and collectors of Jethro Tull audio and video.
I am interested in contacting collectors of video in Japan,
Europe, USA and especially Chile and Brazil. I have videos in PAL and NTSC.
I'll be waiting for your answers.
Thank you very much.
Sincerely,
Javier
------------------------------
From: Voo...@aol.com
Date: Mon, 6 May 1996 20:16:20 -0400
Subject: Alive and Well and Living In
I have become aware of a live album called Alive and Well and Living In. The
cover of this album is sort of a magenta-blue colored thing in which you can
vaguely see the band member's faces. If anyone has this live recording, or
bootleg as it may be, and would be willing to make a copy of in for a copy of
one of my live albums (incl Watchers on the Storm), please contact me at
Voo...@aol.com. Thank you. If anyone knows what songs are on this album, I
would love to know.
[Sounds like a bootleg to me. -ds]
------------------------------
Date: Sun, 05 May 1996 02:46:18 -0400
From: Geoffrey Reiss <mid...@nando.net>
Organization: Midgard Productions
Subject: Re: The St. Cleve Chronicle V7 #43
Hey all-
>> On the subject of bootleg CD's, I certainly can't chastise anyone
for buying them, as I have a couple myself. But I believe these
things should be avoided as retail material. For every boot in the
tull www archive, there are probably 100 live recordings of Tull to be
had. since the beginning of live recording capability, someone has
recorded just about everything. <<
Sorry folks, but I can't resist interjecting here, as I have fairly
strong feelings on the topic of bootleg CDs (or, as I prefer,
"imports")...
Let's start with the Grateful Dead and Phish people, the ones who feel
you can "tape and trade" but are completely against commercial boots.
Suppose you go to a JT concert with a DAT & make a tape. You make
copies for your friends, then copies for their friends, etc. You
create nice cover art. You ship them across the Atlantic. You end up
making 10,000 copies for the friends of all the friends.
At this point, given your time, effort and money, you are either a
business or a charity.
Given the additional expense of acquiring import CDs, the only people
that I know who buy them are *true* fans. Jethro Tull is one of the
few bands I buy imports of, but it's simply because I want to possess
*all* of their music...and given my bad experiences with "tape-eating"
I really want to stick with CDs, rather than fan-swapped cassettes.
Is Ian & company suffering financially because of this? I doubt it.
Many imports are of lower quality and they would not perform well as
official releases. With the exception of "Watchers on the Storm" and a
few others, most would never be bought by the casual listener,
primarily on poor production values alone.
Are copyright laws being broken? I dunno. Italy and other countries
seem to subscribe to their own definition of copyright, and what they
produce in their own countries and export is OK with me, given some
restrictions (otherwise, the Netherlands would be shipping hashish
everywhere). However, let me mention the case of the JT concert in
Sweden. The Swedes published the radio concert, and it became a
"bootleg". Then, on the 25th Anniversary discs, one of the tracks pops
up with the copyright attributed to the Swedish Broadcasting Company.
If Chrysalis had to obtain a copyright clearence from the Swedes, why
is the full concert disk considered a bootleg (i.e. illicit), rather
than releasing leagally-owned material?
btw, all I'm defending is the "concert" boots...the "cloning" done by
the Chinese and others is clearly out-of-line...!
OK, enough ranting, back to lurking...
- -Geoffrey
------------------------------
Date: Sun, 05 May 1996 21:07:47 +0200 (MET DST)
From: lau...@geom2.mat.univie.ac.at (Laurenz Brein)
Subject: Roll_Yer_Own.tab
ROLL YER OWN
tabbed by Laurenz Brein lau...@geom2.mat.univie.ac.at
Put the capo on the third fret.
All tabs and chords are written transposed, i.e. with respect to the capo.
The song is in 6/8 time, a semiquaver corresponds to 2 characters horizontal
space.
I am not sure of anything here, so I welcome and encourage any corrections.
Ami G G Ami E
+-----------------------+---------------------0-+----------------------- R
+-----------------------+---------------------0-+----------------------- i
2---------0-------------0---------2-----------1-+----------------------- f
2---------0-------------0---------2-----------2-+----------------------- f
+-----------------------+---------------------2-+-----------------------
+-----------------------+---------------------0-+----------------------- A
(Play Riff B four times, the lyrics start at the third time.)
Riff B
___________________/\____________________
/ \
Dmi C
+-----------------------+-----------------------+-----------------------
+-----------------------+-----------------------3---------1-------------
+-------------------0---2---0-------------------2---------0---------0---
+---------------0-2---2-+-----2-----0-----------+---------------0-2---2-
+-----------------------+---------------3-0-----+-----------------------
+-----------------------+-----------------------+-----------------------
Roll your own. Don't mean you got no money.
Only that you got no oppor-
Dmi Dmi C Dmi
+-----------------------+-----------------------+----------------------- R
+-----------------------3-----------1---------3-+-----3---3------------- i
2-----0---2-0---2-------2-----------0---------2-+----------------------- f
+---------------0-------0-----------2---------0-+----------------------- f
+-----------------------+-----------------------+-----------------------
+-----------------------+-----------------------+----------------------- C
tunity to shake it with that friend of mine.
C Ami Dmi
+-----0-----------------+-----------------------+-----------------------
1-----1---3-------------+-----------------------+-----------------------
0-----2---2-------------+-----------------------+-----------------------
2-----2---0---- End of Riff C ------------------+-----------------------
+-----------------------+-----------------------+-----------------------
+-----------------------+-----------------------+-----------------------
(2 x Riff B) Roll yer own if you can't buy
readymade; if you won't be
(Riff C)
satisfied when you feel the sudden need to unwind.
(Strumming)
F C Dmi
You know what moves you in the wee hours
when there's nothing on the answer- phone.
And if you don't get e- nough of that e- lectric love
Dmi Dmi Dmi C C C
don't try to get by.
(2 x Riff B) Roll yer own when there's no one
listening, when those re-runs
(Riff C)
play on the late night black and white TV.
(solo)
1-3-5-3-1-3-1-0-----------+---------1-----------1-3-5-3-1-3-1-0-----------
- --+---------------3-------1-3---3-----------------+---------------3-----1-
- --+---------------------2-+---2-------------------+-------------------2---
- --+-----------------------+-----------------------+-----------------------
- --+-----------------------+-----------------------+-----------------------
- --+-----------------------+-----------------------+-----------------------
+-----1-----------------+
3-1-------3-------------+
+---2-------------------+
+-----------------------+ 4 bars without acoustic guitar
+-----------------------+
+-----------------------+
+-----------------------+-----------------------+
+-----------------------+-----------------------+
+-----------------------+-----------------------+
0-0-0-0-0-0-0-----------+-----------------------+ 15 1/2 bars flute solo
+-------------3-0-------+---------0-------------+
+-----------------3-1-0-3-1-0-3-----------------+
(Riff A)
(2 x Riff B) Roll yer own when there's something
missing and those wild cats
(Riff C)
howl, running in the moonshine.
(2 x Riff B) Roll yer own if you can't buy
readymade, if you won't be
(Riff C)
satisfied when you feel the sudden need to unwind.
(Strumming)
F C Dmi
You know what moves you in the wee hours
when there's nothing on the answer- phone.
And if you don't get e- nough of that e- lectric love
Dmi Dmi Dmi C C C
don't try to get by.
(I'm not clear about the chords to the following)
Roll yer own: Got to hit that spot.
Roll yer own when your hands are hot.
(Riff A) Roll yer own.
(Fade out: repeat Riff B ad libitum)
------------------------------
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