#-----------------------------------PLEASE NOTE------------------------------#
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#----------------------------------------------------------------------------#
INTRO
A G C A
||-5------|-3------|-8------|-5---5-3--3--||
||-5------|-3------|-8------|-5---5-3--3--||
||-6--r---|-4---r--|-9---r--|-6---6-6--6--||
||-7------|-5------|-10-----|-7---7-5--5--||
||-7------|-5------|-10-----|-7---7-5--5--||
||-5------|-3------|-8------|-5---5-3--3--||
MAIN/CHORUS RIFF
||-5----5----5-|-3-3------|-3-3-----3-3-|-5---5-3--3--||
||-5----5----5-|-3-3------|-5-5-----5-5-|-5---5-3--3--||
||-6----6----6-|-4-4------|-5-5-----5-5-|-6---6-6--6--||
||-7----7----7-|-5-5------|-5-5-----5-5-|-7---7-5--5--||
||-7----7----7-|-5-5------|-3-3-----3-3-|-7---7-5--5--||
||-5----5----5-|-3-3------|-------------|-5---5-3--3--||
Both riffs are doubled up with a distorted guitar playing something like:
||-------------|----------|-------------|----------------||
||-2----2----2-|----------|-5-5-----5-5-|-2--------------||
||-2----2----2-|-0-0------|-5-5-----5-5-|-2--------------||
||-2----2----2-|-0-0------|-5-5-----5-5-|-2---2-0---0----||
||-0----0----0-|-x-x------|-3-3-----3-3-|-0---0-x---x----||
||-------------|-3-3------|-------------|-------3b4-3b4--||
* see note
* NB: The bends in the intro and main riff are microtonal, so bend half-way
(ish) between frets 3 and 4.
VERSE
Basically open chords (AGCA) with the odd fill, fleshed out with some organ
stuff.
|-0--|---3--|---0--|--------|
|-2--|---0--|---1--|-2------|
|-2--|---0--|---0--|-2------|
|-2--|---0--|---2--|-2------|
|-0--|---2--|-0h3--|-0------|
|----|-0h3--|------|----3(b)|
A G C A
A fill that comes up occasionally on the last bar is...
-------------|
-2-h-3-p-2---|
-2~----------|
-2~----------|
-0~----------|
-------------|
... or variations on that.
Just before it flips out there is a little fill which is a reverse-rake
(from
the treble strings to the bass strings) on a harmonic on fret 3.8-ish (i.e.
just
behind 4th fret).
THE FLIP OUT
The crazy sustained note itself is:
-----------
-10~~~~~~~-
-----------
-----------
-----------
-----------
and occasionally (for dissonance value)
-------------
-10~~~~~~~~--
-13~~~~~~~~~-
-------------
-------------
-------------
Obviously, some sustain device (e-bow or pedal) or feedback is required to
make
this hold for long enough. There is also some more octave pedal stuff
happening.
SOLO
Some crazy octave pedal things here, but the main melody is...
(A.... G.... then...)
||--------------|------------------|-----------------|--------------------|
||--------------|------14-15-14-15-|-14--------------|--------------------|
||-------------|------------------|-----14----------|--------------------|
||------------|------------------|-----------------|--------------------|
||--3~-3b4r3-|-0----------------|---------12--10-|-----------*2------|
||--------------|------------------|-----------------|--3~-------/------|
C A (G) A G (slide up + down
neck)
(hold note)
|-------------|-----------------|----------20-----------|-20--------------|
|-------------|-----------------|-20b22-22----(22)-r-20-|----20~-----17-x-|
|-------------|-----------------|----*************------|-----------------|
|-------------|-2---------------|-----------------------|-----------------|
|-3b4r3-3b4r3-|-0---------------|-----------------------|-----------------|
|-------------|-------3b4-3b4---|-----------------------|-----------------|
C A (G) A G
|-------20-----20----|------------||
|-20b22----22-----20-|b22~-22-22-||
|----********--------|------------||
|--------------------|------------||
|--------------------|------------||
|--------------------|------------||
C A
*2 : The first of a few nice little organ fills comes here. It can be played
with harmonics something like:
-------------------------------
-------------------------------
---------------------------
-----------------------
-----------------------
-*********---------------------
(rake)
BRIDGE
|------------|------------|------------|-------------|
|-7--7--7--7-|-7--7--7--7-|-5--5-------|-------------|
|-7--7--7--7-|-7--7--7--7-|-5--5--6--6-|-6--6--6-----|
|-7--7--7--7-|-7--7--7--7-|-5--5--5--5-|-7--7--7--*3-|
|-5--5--5--5-|-5--5--5--5-|-3--3--5--5-|-7--7--7-----|
|------------|------------|-------3--3-|-5--5--5-----|
D C G A
*3: Another organ fill is (I think) a G7 chord, try sliding down from:
------
-----
-10--
-12--
-10--
------
Then it's back to the main riff. There is some more A pentatonic
improvisation
over this bit with more octave pedal stuff.
Also, there is another organ fill after the G chords...
----9--
/10----
-------
-------
-------
-------
...but I think it sounds better an played octave down:
------
------
---5--
/7----
------
------
Outro with verse chords, then the main riff. Fade.
End!
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|
No Picture
Matt Lead Player |
#1 by Matt Beach at May 18, 1973 at 8:00 PM EST |
| this song sounds alot like dead leaves and the dirty ground | |
|
No Picture
Marcus19 Rhythm Player |
#2 by Marcus19 Doug at Nov 5, 1978 at 12:45 PM EST |
| I listened to this song turned up to 11 in my car over and over with the windows rolled down after my ex and I exchanged "fuck you"'s. The last verse is probably my favorite. | |
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No Picture
Courtney Wanna Be |
#3 by Courtney L. at Aug 6, 1979 at 10:10 PM EST |
| The middle part of the song reminds me of something ... but I can't think of it right now ... What other band did a weird harmony bit right in the middle of a song? Jack White is a living legend. Can't wait for the new album! | |
|
No Picture
Rebecca Average |
#4 by Rebecca Lira at Feb 26, 1982 at 2:16 PM EST |
| One of their best. This and "Ball and Biscuit" have some of the best music to me. | |
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No Picture
David Average |
#5 by David Turner at Apr 5, 1982 at 6:09 AM EST |
| I think it sounds more like 'the air near my fingers' to me. | |
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No Picture
Jon Lead Player |
#6 by Jon Shuffler at Oct 24, 1984 at 3:16 PM EST |
| this is a chapter two to 'dead leaves and the dirty ground' and i love it so much, awesome lyrics, like usual | |
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No Picture
The Great South Lead Player |
#7 by The Great Southern Trendkill at Feb 10, 1985 at 11:57 PM EST |
| I like how at one part of the song, it just goes to pure feedback for the background. I get the main meaning of the song(it's obvious) however, I'm not sure what he means by the line where he talks about why it helps to have a mirror in the room. I guess it could be an excuse to not look at her(fixing his hair or whatever, so he didn't have to look at her) or if it's like he just can't look directly at her, so he looks at her reflection. I need someone to explain this. | |
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No Picture
ALEX Lead Player |
#8 by ALEX FOWLER at Jun 11, 1992 at 12:35 PM EST |
| This song features brilliantly bitter, cynical, and comical lyrics depicting the inner thoughts of a person bored with his lover and rejecting her. I'm impressed by the anger and detail in this song, as well as Jack White's fierce performance! Thumbs up from me! | |
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No Picture
Ace Average |
#9 by Ace Of Spades at Aug 10, 1992 at 9:32 AM EST |
| Among current songwriters, Jack White is a master in his own right. I guess he has brought back garage rock from the dead...I don't think he could fit into some other genre...wait a minute, Jack White is a genre unto himself...by the way, this is a straightforward fuck you to an ex-girlfriend, what sets it apart from other songs is how lyrical and menacing it is. It puts the hairs up on the back of my neck. It rocks without a doubt. | |
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No Picture
Shotgun Average |
#10 by Shotgun Joe at Jun 16, 1996 at 5:17 PM EST |
| Ok I said that like it was a direct quote, but that wasn't exactly what they said :\ | |
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No Picture
Kyle Rhythm Player |
#11 by Kyle Wait I Aint Telling You at May 8, 2003 at 3:46 PM EST |
| this song sounds alot like dead leaves and the dirty ground | |
|
No Picture
bec Average |
#12 by bec madden at May 13, 2007 at 5:11 PM EST |
| Baubles are the round Christmas ornaments on trees. And it's "talking quickly", not "talking quietly". | |