GUITAR * VO sonigbook Arranged by Fred Sokolowsonigbook GUITAR * VOCAL Arranged by Fred Sokolow Either/Or Either/Or Either/Or xo Elliott Smith Roman Candle From a Basement on the Hill Figure 8 xO From a Basement on the Hill Good Will Hunting Original Soundtrack Elliott Smith From a Basement on the Hill Either/Or Either/Or Figure 8 Figure 8 xO CONTENTS PAGE ALBUM Introduction 2 Discography 3 Angeles 4 Ballad of Big Nothing 8 Between the Bars 12 Bottle Up & Explode 16 Clementine 19 ‘Condor Avenue 23 A Distorted Reality Is Now a Necessity to Be Free 28 Everything Means Nothing to Me 32 I Didn't Understand 35 Memory Lane 39 Miss Misery 45 Needle in the Hay 48 Pretty (Ugly Before) 54 Rose Parade 58 Say Yes 62 Somebody That | Used to Know 65 Son of Sam 69 Waltz #2 (XO) 74 GUITAR NOTATION LEGEND 80 Editorial assistance provided by Ronny Schiff Cover photo by Autumn de Wilde ISON 978-1-4294-4012.0 HAL*LEONARD® CORPORATION For at work contained herein:INTRODUCTION Eliott Smith said that the Beatles’ multi-faceted White Album inspired him to be a musician, so it’s not surprising that the six albums he released during his short life (1969-2003) reveal an eclectic, varied musical taste. Pop, folk, classical, and punk sensibilities abound. Lyrically, the songs are full of pain, disillusionment, and despair, but also beauty, humor, and sometimes hope. Above all, the nihilism and anguish of his words are belied by the musical craftsmanship he poured into his compositions and performances, both live and recorded. He wrote every song on his albums, played most of the instruments, sang all the lead vocals, and most of the vocal harmonies. The obvious commitment he made to his artis in itself a statement of hope and value. In the early 1990s, when Smith’s band Heatmiser was building a following in Portland, his girlfriend talked him into sending a demo of eight original songs he had cobbled together on borrowed equipment to Cavity Search Records; so began his career as a solo artist. Four years later, in 1998, he signed with DreamWorks. ‘Smith came close to achieving pop stardom. His song, “Miss Misery” was nominated for a “Best Original Song” Oscar in 1998 for its use in the film Good Will Hunting. He appeared on Saturday Night Live, The Letterman Show and other TV shows, and by the time of his death in 2003, he had attained quite a large following as an indie-pop hero. Two biographies have been written and a number of tribute albums have been released by other indie artists, as well as tribute songs by Rilo Kiley, Third Eye Blind, Ben Folds, Rhett Miller, Earlimart, and others. He continues to inspire a great amount of web activity among his fans. ‘Smith’s main instrument was guitar, but he also played bass, drums, clarinet and had some Classical piano chops (there’s a YouTube video of him playing Rachmaninoff). He performed both as a solo acoustic act and with a full band on electric guitar. He usually played with his fingers, in unique style that blended folk/blues fingerpicking with strumming. A Dylan “Don’t Think Twice” influence is evident in songs like “Somebody That | Used to Know” and “Memory Lane,” while “Condor Avenue” is reminiscent of Simon and Garfunkel. The a capella “I Didn't Understand” shows his classical roots (as well as an affinity for the Beatles and the Beach Boys). Other, fully- produced rock offerings like “Son of Sam” and “Pretty (Ugly Before)" reveal all kinds of pop influences spanning the Sixties, Seventies, Eighties, and Nineties. Smith also employed some ‘unusual open guitar tunings that added to the individuality and uniqueness of his sound. Despite the indie and punk influences in Smith's music, his songs are more harmonically complex than most pop or rock. There are more chords per tune, including jazz or orchestral chords, ‘more unique and rambling progressions, and ascending or descending bass lines. Above all, he created his own sound (which he described as “impressionistic”) and presented his work with the commitment and passion of a genuine, authentic artist. This book is an offering to make his music and guitar styling accessible to his fans, to keep his songs circulating, and to spread the word. about the legacy he left behind. Fred Hk Row Fred SokolowDISCOGRAPHY Smith recorded six albums, although the last was not totally finished when he die ~ Roman Candle (Cavity Search), released 1994, was recorded in the basement of his girlfriend's house in Portland in 1993. — Elliott Smith (Kill Rock Stars), released 1995, was mostly recorded at Elliott's friends’ houses. ~ Either/Or (Kill Rock Stars), released 1997. ~ XO (DreamWorks), released 1998, was mostly recorded in Los Angeles. — Figure 8 (DreamWorks), released 2000, was partly recorded in Los Angeles, and some tracks were recorded at Abbey Road Studios in England. — From a Basement on the Hill (Anti-) was unfinished when Elliott died. Most of the album was recorded at Satellite Park Studios in the Malibu hills. His friends and family completed it for release in 2004. — New Moon (Kill Rock Stars), also released posthumously in 2007, consists of previously unreleased tracks Smith recorded during the Kill Rock Stars years, 1994-97. - Elliott Smith (Domino) is a repackaging of Roman Candle, Elliott Smith and Either/Or into a single package.Angeles Words and Music by Elliott Smith Emo A Bm+ Dadd4/AG Gore FR t Ee ost tee pyre ale capo v Intro Moderately fast AB GoaAA G ® ® ae TIM nA eo SVerse E Em E Em AAT A aT @ ® © open open re Ir) ode) pees erry) PEED, 1.Some-one’s al = ways com-in" a round here, 2 Pick - in’ up the — ticket shows there's 3.1 could make you sat is = fied in Bm+ Dadda/A G ore Emo money be made, ety + thing you do, All your se - cretAT Bm+ Dadg/a, G — = pic- tue ona hundred dol = tari” __ What's a game— gamble, that's the his- try of the trade, Did you wish - es could — right now be com - ing trie, and be for - Fe A D E pyre ot chance you, to him is op al the cards kit * ih fe ee To Coda A 6 Bm A 6 A ite ——$4 ms cf a ———— of real skill So glad to meet you, An - ge - les ow + 1 Signup with e - vi, An - ge - les. a-round you No one's gonna fool @ = round with P 2 Bridge G G Fe ree A ce ms ein Don't start me ay = inno — ah ho, uh bu, uh hut DS. al Coda wr tiek ——_, ‘cause Tm all o-ver it An = ge - kes -Q-Coda G Bm A G Bm A Hw tis 4 witch 4 . no one’s gon-na fool a - round with us. So glad to meet you, An - ge- G AG AG AG eG)‘capo V Verse I Verse 2 Bridge Verse 3 from - Elther/Or Angeles Words and Music by Elliott Smith Em AT Bm+ Dsus4/A G Gre Someone's always coming around here trailing some new kill. Em a7 Bm+ —Dsus4/A G Says, “I seen your picture on a hundred dollar bill.” FRAG D E prRG AG What's a game of chance to you, to him is one of real ski Bm A GAG So glad to meet you, Ange - ies. Em AT Bm+ Dsus/A —G G/FE Pickin’ up the ticket shows there's money to be made, Em9 aq Bm+ Dsus/A G Go on, lose the gamble that’s the hist'ry of the trade. FeAG D E prtG A G Did you add up all the cards left to play toze - 10? Bm A GAG Sign up with evil, Ange - les. Fé rtcta c# rt A G D EDFEGA Don’t startme —try-in’ now, uh-huh, uh-huh, uh-hub, G Bm A GAG D/Fe "Cause I’m all over it, Ange - les. Em AT Bm+ Dsus4/A G G/FE I could make you satisfied in every thing you do. Em9 a7 Bm+ —Dsusf/A GG {All your secret wishes could right now be com - ing true, FRAG D E DFG A G And be for - ev - er with my poison arms a- round you. Bm A G No-one’s gonna fool a - round with us. Bm A G ‘No-one’s gonna fool a - round with us. Bm A GA So glad to meet you, Ange - les. |e A\G A\G A\G i]from - Either/Or Ballad of Big Nothing Words and Music by Elliott Smith Toning or high) CO-CE-GC c Am Fm Giuwsd «G7 GCG Grp Fakd/G ° ot Heb dee the Hatin rw ss FRR ayglee eee © Fm Gr An? Am Dm GH Ami ae Ee Intro Moderately or Ry Figs Verse Gro “akd9/G Grsushor2) io D od FV ITT IAT TINTS ste LThrow-ing can - dy out tothe crowd, drag, ging down the main, 2 all spit and spite, you're up. all night and down ev "ry day, — 2nd ine onlyGrom Fadd9/G_ GTsust om? the —help-less lit - de thing with the dirt ‘tired man with on - ly y mouth, who's a. hours 10 go just wait Grom + ways. got - ing tbe tk- en some-thing to say. You're sitting a - round_ a ow Getting in - to the back — Fadd9/G_— G7sust ee ee Sone ee ame ama : aes ee ee 5 SS watey hg te po levi ni oes fil oF” oid” Chorus c Amo Amo of it all Said you can} gy what you want to, when = ev - er want. > ering an gee. You can a ~ Fm Fm/D Fm Gr c Amo Am? You can do what you want, there's no one 10 stop_._you.Fm Fo/D Fm G70 G70 c — os = . = =| 6 SSS wo - ever you want w, do what you want to, when - ev - er you want to, cu E Ambet do what you want, when - ev - er you want 0, though it’ does -n't_ mean a thing, big noth - ing. Outro wR. Fig. ic Am c Am Fm Gtsust“Toning from - Either/Or Ballad of Big Nothing Words and Music by Elliott Smith low thigh) CG-C-E-G-C Intro Verse I Chorus 1 Verse 2 Chorus 2 Outro Ic |Am Ic |Am Fm G7sus4| G7 C/G G9 | Gm c D Throwing candy out to the crowd, dragging down the main, G7 Fadd9/G G7sus4°™" F The helpless little thing with the dirt - y mouth who's always got something to say. ore Fadd9/G G7sus4"™= —C D You're sitting around at home now, wait - ing for your brother to call. Dm Gres Fm Gr I saw him down in the alley,__ having had e - nough of it all c Am9 Am°"? Fm Fm/D Fm 67°" Said, you can do what you want to, when - ever you want to. c Am9 Am"? Fm Fm/D Fm G7" ‘You can do what you want to, there’s no one to stop you, Gre Fadd9/G G7sus4°"" C D All spit and spite, you're _ up all night__and down ev'ry day, pe Fadd9/G G7sus4""*——C F A tired man with only hours to go just wait - ing to be taken a - way. GT Fadd9/G G7sus4 °C D Getting into the back ofa car for candy from some stranger, Dm or Fm are ‘Watching the pa - rade with pinpoint eyes full of smoldering anger. c c Am9 Am°"? Fm Fm/D Fm G7°™* You can do what you want to, when - ever you want to. c Am9 Am‘ Fm Fm/D Fm G7" You can do what you want to, there’s no one to stop you. C Am9 Now you can do what you want to, when - ever you want to, c Am? Do what you want to, when - ever you want to, Gu E Do what you want to, when - ever you want to, DOF F Though it doesn’t mean a thing, big nothing. m Ic |Am lc |Am |Fm G7sus4] G7 CG G9 G7" | x C 1trom - Either/Or Between the Bars Words and Music by Elliott Smith Am? Fadd9 CC Emi/B F = = G3 Am Ab Em ate ee He Gowinhigh) DECEAD Verse Moderately “Amt Am? Fad simile [rte oo ire See a 1.Drink up, ba - by, stay up all night withthe 2. Drink up, ba - by, Took at the stars, I'll “All notation and chord symbols respective to detuned guitar. c Em7/B Am oo —— a 2 SSS = things you could do, you won't, but you might. The po - ten - tial you'll be, that kiss you a - gain bbe- tween the bars, where I'm see - ing you there with your = see: the promis - es you'll on - ly make. __ Drink. wait-ing to fi = ly be caught. Drink - Am? Fada ic bout the mine and and for - get all a ‘make you pres - sure of keep you a -AmT Fadd9 —_ - BS —— SS - - =o = = Do what 1 say and Tl make you 0 - kay, and drive them a = way, the deep “in my hear, sep - a - re from the rest) where Tike you the best and Chorus c eT F F on am c —e FE SS ¥ f Ses = sae: a ; —— —— 7 — ia eee rom heel) 0 le u've been be - fore that you keep_ the things you for - got.___} Es 1m x quo pe - fore ote Abe G6 pore F GB don't want = round «any = more,___— that push and shove and won't tae ' ™ om [+--+ Lick 2 ——4 ae ee ort ee ee S = am oa Am? Am cfrom - Either/Or Between the Bars Words and Music by Elliott Smith Tune down | step (low thigh DGCEAD Am7 Fado Verse I Drink up, baby, stay up all night c Em7/B With the things you could do, you won't, but you might. Am7 Fada9 The po - tential you'll be, that you'll never see c E7 F ‘The promises you'll only make. Am7 Faaa9 Drink up with me now and for get all about @ Em7/B The pressure of days. Do what I say Am7 Fadd9 And T’ll make you okay and drive them away, co F The images stuck in your head. F GI3Am c Ab6 G6 Dore Chorus 1 Peo ple you've been be - fore that you don’t want a - round anymore, F GB Am c ‘That push and shove and won't bend to your will, F Fm T'll keep them still.Verse 2 Chorus 2 Am7 Fada9 Drink up, baby, look at the stars. c Em7/B Tl kiss you again, between the bars Am7 Fadd9 Where I'm seeing you there with your hands in the air, c E7 F Waiting to fin'ly be caught. Am7 Fadd9 Drink up one more time and I'll make you mine, c Em7/B Keep you apart, deep in my heart, Am7 Fadd9 Sepa - rate from the rest, where I like you the best c E7 F And keep the things you for - got F GI3Am c Abs G6 DyyFE The peo - ple you've been be - fore that you don’t want a - round anymore, F GB Am ic ‘That push and shove and won't bend to your will, F Fm I'll keep them stillfrom - XO Bottle Up & Explode Words and Music by Elliott Smith Bs cbs) C#m By BE" atmbs A EGE ae ipo Rie Ha He iB Fe E Gust Gt Bsusd a Gn sie Intro Moder " C(b5) chm ByDF E Atmtbs InAD i nap nA as Verse com L.Bot-tle up and ex ~ plode © - ver and 0 = ven keep the 2You look at him like you've never known him, but GFsus4 at A re a a trou = ble - mak-er be - Put ita - way, now fee a fect that you bev The ant timo you cnc 2nd ime, Bousd A Esust chm feheck out for the day, And in for a round_ FE «word jou taka pay int side ne ee ‘Think-ing that you —A E Gteusa ot _« o-ve-en-po = ame the thing Mother Nature pro = vides — wee toot come >> en ta tm ted tow of wal-ing ee yoo. Chorus A re B oo za fo get up and go, Bot-tle up and ex - lode, seeing — stars ee Younev-er show. _Bot-tle up and go, if you're gon-na hide, G) Bot-tle up and go, 1 can make it out - cém B/D E Abmrbs A EG? —_ sur-round - ing you, white— and blue. = it's up w yon com : ing through. side, Tl get through, - com : ing you. 0 Coda roCote ® ota Slo # ot Chm a E Gta GtIntro Verse 1 Chorus 1 Verse 2 Chorus 2 Guitar Solo Chorus-Outro from - XO Bottle Up & Explode Words and Music by Elliott Smith Ips cbs) ~—|c#m Bot je’ atm7bs [a fect ~— ir | cm| cém A Gtsust Gt A Bottle up and ex - plode over and o - ver, keep the trouble - maker below. FRA Esus4 Put it away, check out for the day. chm A E Gtsust GE A And in for a round__of overexpo - sure, the thing Mother Nature provides re To get up and go. B C7 ctm Bot E Bottle up and ex - plode seeing stars Abmmbs A Eye Fe Gt Sur - rounding you, red, white and blue. chm A E Gksust Gt A ‘You look at him like__ you've never known him, but I know for a fact that you have. A Fea Bsus4 The last time you cried, __ who'd you think was in - side? ‘Am, A E Gésust GP A Thinking that you__were "bout to come o - ver, but I'm tired now of waiting for you. re You never show B or cém Bt BE Bottle up and go. If you're gonna hide, Abm7bs A EG Ft Gt It's upto — you, I'm coming through. Ic#m A lz |c#suss G# [a | B cr cém Bot E Bottle up and go, can make it out - side. Atm7s A Ect Fe Gt Tl get through, be - coming you. A E rect aE Becom - ing you__hoo-hoo, be - coming you.cea) from - Elliott Smith Clementine Words and Music by Elliott Smith Cust CE Tsust «FS Frm GT. F6 G car fe ae ee + cm DT Ema? «DSB ADS FOD Font he si 0 Rs RIS ea” fem : Difancocean Iniro Moderately ca) ont zs oe = 3 33 v Fs SES (AH 'B verse ic ee 5 1. Waking you up— 2. You drank your - self tt 4 = close. the bar, = to slo - mo, EB ETsusd ® LT ——— Se = Sureet’s wet, you can tell by the sound of the cars. made an an - gel inthe snow. Tick Tick?ro c c — == = z z a = eee The bar-tend-er’s sing - ing “Clem - en - tine” An-y thing. to —pass— the time. Eran noes ® ATL Am SJ whilehe's um-ing a= round. the “o = pen” sign, — and keep that song out of your mind. — Fra 5 ge * op pee > — —— = — Clem-en = tine. End hy. Fie & cay Coust € End Rhy. Fig. Sn en mDmem am G = ——— FE = a S| ‘Though you're sill herman, ___ it seems. a long— time gone. -br Fmaj7 Fangio pe simile — May-be the whole thing's wrong. DS. al Coda Fmaj7 F majo a an a i 6 = - = tts What if she thinks so, but just o-e Coda Ab Foe Fai? F60R'C t t CS (Ob, my dar = fin’, — dar | in’ Clem-on tines (Ob, Gers 9 Ry. Fi. be FS Fai FS a cab x = é Trt tp poe 8 9 eee woe S = = iff — =i acl Dred = ful sor-ry, Clem = en = i : 7 (ets Ry Fig. be Fi Fina FS a ——————— = Pl = — wee t = —— = ine, dread = ful sor ry, Clem-en = tne (ue 1: Ry Fig. 221 ies) © ca) Csust c c cia) Cust & © cl) Csust c wuts a Licks Csust Jofrom - Eliott Smith Clementine Words and Music by Elliott Smith Tuning low thigh) CGCEAD Intro Icbs) — Csusd |e ll c Verse 1 Waking you up to close the bar. E7susd Street's wet, you can tell by the sound of the cars. c The bartender’s singing “Clementine” E7sus4 While he’s turning around the “open” sign. FB Fmaj9 F§ G7 € C5) Csus4 C Dread - ful sorry, Clementine. F6 G ic D7 Though you're still her man,__ it seems a long__ time gone. Fmaj7 Fmaj9 D9 Fmaj7 Fmaj9 G7 G13. G7 Maybe the whole thing's wrong. What if she thinks so, but just didn’t say so? c ETsus4 Verse 2 You drank yourself into slo-mo, made an angel in the snow. c E7sus4 Anything to pass the time and keep that song out of your mind. Ab6 F6°"? Fmaj7 F6°""C D9 Oh, my darlin’, oh, my darlin’, oh, my darlin’ Clementine, FB Fmaj9 FS GT C Ab Do Dread = ful sorry, Clementine. FS Fmaj9 FS G7 (63) Csusd C Dread = ful sorry, Clementine. keds cuss | cffrom - Roman Candle Condor Avenue Words and Music by Elliott Smith E Fem re G cm oc oD foe sat + Am Bm Fee GB Ge Em cB oer i i capo Intro eee Moderately fast (J =~.) “NC. E aut ‘wo gus. a for one “All oat and chord symbol respective wo caped guitar re G Cai c Am Am CIBC oa ny. Fe.Verse W/Rby. Fig. (2 time) E Fam Fe G She took the Olds mo - bile out past Con - dor Av =e - nue, and she 2.She took the Olds - mo bile out___ past. Con- dor AV =e nue The 3.She tok the Olds mo - bile out past Con - dor AV =e - nue, Cmaj7 c D Em? locked the car and slipped in-t0 a thyth-mic qui - ¢ fair-ground’s lit, — a drunk man by the gate she's driv - ing Cops were" run-nin’ a - round the look - ing for some kind of, Cmaj7 c Am Bm Pao Am G/B OC tude. Lights Pte oe voice dry and hoarse. through. Got his hat tipped, “bot - tle back: in - be-tween_ his teeth clue ‘They ney - er get up = tight when 2 moth gets. crushed, E Fem FR G threw the sereen— door like a bas. - tard backand forth, the Looks like — he's bur = ied in the sand atthe beach, unless a light = bulb really loved him ver-y much, — Cimaj7 c D Em? chimes fell ver each other fell on = to my knees. = 1 can’t. think a = bout you driv - ing off to—eave, hare = ly a wake, rm ly- in” down, blowin? smoke from my cig- a rette, ‘Cmaj7 c. Am Bm FE oe Am = G/B g — The sound_ of the car driv - ing off __ made me feel_—_dis- eased. . pas to uke a lit de nap while the road is straight = his ~ per smoke signs — that you'll nev-er get. x E Gm Am Sick shout ~ ing like you hear atthe fair = ground, 1 wish that car had omev- er been dis-cov = ered. ‘They ‘You're in your Olds - mo - bile, ih ih oe weAm Now I'm pick-ing up. fo put a = way am y-thing of yours that's. still a = round ook a way the bot - le andthe hat he was un - der, Head = — lights bbum-ing bright a = head of you. E Go Am oa 1 don't know what todo. with your clothes. or____your let - ters. ‘That's the one thing. that he could nev - er ‘Some - one’s burn ing out, ou on Con - dor Av =e = ue, = hen do, and it - make a whis = per out of you. — ty 0 To Cota Ind tine, DS. at Coda Rubato Additional Lyrics 4. What a shitty thing to say. Did you realy mean it? ‘You never said a word to me about what passed between us. So now I'm leaving you alone, You can do whatever the hell you want to Nana, na, ma, na, na.capo Intro Verse 1 Verse 2 from - Roman Candle Condor Avenue Words and Music by Elliott Smith le [Fem FR |G | % |cmayjz fc > fem | |cmaj7 C |Am Bm F# |Am GBC | E Fim FE EG She took the Oldsmo - bile out past Condor Avenue, Cmaj7 c D Em7 Cmaj7 ‘And she locked the car and slipped past into a rhythmic quie - tude. C Am Bm F#™ AmG/BC Lights burning, voice dry and hoarse. E Fim FROG threw the screen door like a bastard back and forth, Cmaj7_C D Em? Cmaj7 The chimes fell over each other. I fell onto my knees. c Am Bm Fe"? Am G/B C The sound of the car__driving off made me feel dis - eased, Er -c™ Am Sick shouting like you hear at the fairground, E Gz Am Now I'm picking up to put a - way anything of yours E er Am That's still around, Idon’t know what to do with your clothes or your letters. Em D ccpce™ Ill make a whis - per out of you. E Fim FE OG She took the Oldsmo - bile out past Condor Avenue. Cmaj7 c D Em7 Cmaj7 ‘The fairground’s lit. A drunk man sits by the gate she’s driving through. Cc Am Bm FH Am G/BC Got his hat tipped, bottle back in - be - tween his teeth. E Fim FB OG Looks like he’s buried in the sand Cmaj7€ D Em7 Cmaj7 Atthe beach, I can’t think about you driving off to leave, barely awake,Verse 3 Verse 4 Am Bm F# Am G/B C To take a little nap while the road is _ straight. noe = I wish that car had never been discovered. = Ge a They took away the bottle and the hat he was under. E om Am ‘That's the one thing that he could never do, Em D c CBC G™ And it'll make a whis - per out of you. E Fim F# G She took the Oldsmo - bile out past Condor Avenue. Cmaj7 c D Em7 Cmaj7 Cops were runnin’ a - round the scene, looking for some kind of clue. c Am Bm Fe Am G/B C They never get up - tight when a moth gets crushed, E Fim FE EG Unless a light bulb really loved him very much. Cmaj7_ cD Em7 Cmaj7 T'mlyin’ down, blowin’ smoke from my cigarette, c Am Bm FR? Am G/BC Little whisper smoke signs that you'll nev-er get. fe Gort ‘Ane You're in your Oldsmobile, driving by the moon. E on Am Headlights burning bright, ahead of you. E Ge Am Someone's burning out, out on Condor Avenue. Em D ccpcGe™ Tryin’ to make a whis - per out of you. E Gee Am ‘What a shitty thing to say. Did you really mean it? E on Am You never said a word to me a - bout what passed between us, E Ge Am So now I'm leaving you alone. You can do whatever the hell you want to. Em D Cc CBC GPE Na, na, na, na, na, na,—— © from - From a Basement on the Hill A Distorted Reality Is Now a Necessity to Be Free Words and Music by Elliott Smith of eS wes ve a b/w tie 4 “All otton& chord symbols especie to detuned guitar D simile ee - = a === == SSS = 55555 1.0m floating in a black bal-loon ‘Am GB “Ba = by, stay clean, there's no in be - tween.”Am on c D E = os J — =} ——s o-—= a - = And all you la dies and you gen - de - men, be-tween’s all you've ev = er 3.Sun's ris ing on atop ic glare, raindrop pin’ ac > id brought up F Am op For c eee Fu por-ty amd - me the sig dol oupta a the a ise oe eet ee ioe tale Ace oP D Pm 6 % — ¥ — — = vse vie ge ee ey, te hee, NMA maAmam You. —dis-ap = point me, you peo-ple rak-ing in on the world. Ws so disap - point - ing: at fist T put it all down to luck. — — The dev = i's script sells = Gos knows why’ my — you the heat of a black = bird, ___ Shine on me, ba — coun - try don't give a fuck. DS. al Coda = by, ‘cause it’s rain =i! in my — heart,-Q-Coda ‘Guitar Solo Am ot c pyre be Puck! Shine on me, ba by. cause i's ain in’ in my heart Shing ot me, bay, cause it's rain - (Vocal ad by Repeat & fadefrom - From a Basement on the Hill A Distorted Reality Ils Now a Necessity to Be Free Words and Music by Elliott Smith (low o high) E>-A>-Db.Gh.Bb Bb Verse 1 Guitar Solo 1 Verse 2 Guitar Solo 2 Outro F c D E rue I'm floating in a black balloon. O. D. on Easter afternoon. Am G/B oo Cc D F My momma told me, “Baby, stay clean, there’s no in-between.” Am GB oC D EF And all you ladies and you gentlemen, “between” is all you've ever seen or been. Am_ G/B ee c D ee Fit poorly and e - rase the sight, doll it up in virgin white. Am G F D E ‘You disappoint me, you people raking in on the world. GD Frc G Am G# The dey - il’s script sells___ you the heart of a black - bird. c D F Shine on me, ba - by, ‘cause it’s rain - in’ in my heart. lam GB |F™?C |D F | Am G/B C D c Fr Sun’s rising on a tropic glare, rain droppin’ acid brought up in the air. Am GB Fr“ .¢ D EF G Am A dis - torted re - ality isnow anec-essity to be free. Am G F D E It’s so disappoint - ing, At first I put it all down to I rP™G oD FC G Am G# God knows why my__ country don’t give a fuck. Fuck! ic [pre ct lc |G Am | Gt |c pr? ct fc | Am ct ¢ D Shine on me, ba - by, ‘cause it’s rain - in’ in my heart. é Am G Shine on me, ba - by, ‘cause it’s rain Cc |pre ct = in’ in my heart. Ic Ic Am |G |. Repeat and fadefrom - Figure 8 Everything Means Nothing to Me Words and Music by Elliott Smith F chm B Fem F#°7_—_Bbm mm f Ht rH Ads) bjab- Gmvbs Gb bm amt Intro Verse Moderately L.Some- one found a fa te asa stat- 2 1 picked up the song and found my A B A Ger ) f ) 7 simile nae ve ina foun - tain, at at-ten tion Jook-ing back - ward in picture in the pa - per, the te - flec- tion in the wa ter showed. anpty RA eee rae Be eee ee i sont cy ge Sta ca oe a ee a Se Gmibs = po —S sing - ing 0 = ver ev = ‘ry - things) ev = ‘ty - thing he's s'posed tbe.) ¢ + = = ———— —— ww thing means noth - ing 10 ov thing means noth - ing tome." _ F rick ——___ a ef — PE 6 2 SS pce ev = "ty ~ thing means noth - ing 10 me, ev - ‘ry - thing means noth - ing to me, ev = thing means noth - ing t0 me, Ab e = —t—f SSS ev = "ry ~ thing means noth - ing to me, ev “ry ~ thing means noth - ing 10 me, Outro Play 7 times and fade (vocal fist 3 times) a Db Ab (i Pinch mite an a aan ial ee | aes Ne ee heeIntro Verse 1 Verse 2 Outro from - Figure 8 Everything Means Nothing to Me Words and Music by Elliott Smith G7 cin A B Someone found the future as a statue in a fountain A Gtr Fem Fe7 At attention looking backward in a pool of water wishes with a blue F Bbm —a(#5)—Dbyab Gm7>5 Songbird on his shoulder who keeps singing over everything, Gb “Everything means nothing to me, everything means nothing to me, Gb F Everything means nothing to me.” G7 chm A B I picked up the song and found my picture in the paper, A G7 Fem Feo7 The re - flection in the water showed an iron man still trying to salute F Bbm A(#s) bab Gm7>5, People from a time when he was everything he’s s’posed to be. Gb Everything means nothing to me, everything means nothing to me, Ebm Gb Everything means nothing to me, everything means nothing to me, Ebm Everything means nothing to me, everything means nothing to me, Db al Everything means nothing to me. Gb |: Everything means nothing to me, everything means nothing to me, Db Ab Everything means nothing to me. ‘| Play 3 times Gb Db ab Everything means nothing to me. I: Gb | |pb Ab |] Repeat and fadefrom - XO | Didn’t Understand Words and Music by Elliott Smith ‘Smith recorded “I Didn't Understand” a capella, with multiple vocal harmony overdubs, on the album XO. Here's a guitar/vocal arrangement. You can simply strum the chords all the way through, or play the fingerstyle figure (Rhy. Fig. 1) at the beginning and end of the verses where indicated Dm DmyC Bb A c act Feb FC Ru HE Fr C/B> FA Gm? cr — pesca ral ‘ae Verse Moderately Dm DmyC BD Am Dm BD c Thought you'd be looking for the next - wait-ed for a bus 10 sep - a- rate Rhy. ig act pm Fyeb Dm. F/C Bb SF — im line to love, then ig nore, put out,_______andput a - way, ‘And, — the both of us, and take me off far a- way from you, "Cause my End Ry. Fig.1 Ry Fe Aa De BR CAE eb Fre Dm He > sai cata SS 0 you'dsoon be leaving me a lone like I'msup-posed— to be to night, to-mor - row and _ev-'ry day... feel-ings nev-er change. a bit, I al-ways feellike shit. I don't know why, I guess that =I just do. Bb cmb FIA Gmt Pop Pod ee ‘There’s nothing here that you'll miss, — I can guar-an-tee you You once talked to me a bout love, __ tnd you painted pic ~ tures F Gm7 Dm cr is a cloud of smoke, —__ ty- in’ toc -cu-py___ space. a nev-er-nev - er land. — And T could have gone to that— place, — a Gi I: Rhy. Fig F Gm? F Gm7 Am Dm Bb c [Ete ote = What a fuck - ing joke, what a fucking joke butI didn't un - der ~ stand, Tdid n't un = der - Dm Dmyc Bb F Gm7 o——— = ==> S— = aes 4 SeIntro Verse 1 from - XO | Didn’t Understand Words and Music by Elliott Smith Dm Dm/C Bb Ahhh... Am Dm Bb c a/c? Dm F/Eb Thought you'd be looking for the next___ in line to love, Dm FC Bb Then ignore, put out,__and put away. Am Dm Bb oc Ace opm F/ED And so you'd soon be leav - ing me a - lone like I'm supposed__to be, Dm F/C Bb Tonight, tomorrow and everyday. cy/B> F/A There’s nothing here that you'll miss Gm7 FF Gm7 Dm Tcan guarantee you this is a cloud of smoke, cr F Trying to occupy space._ Gm7 Fo Gm7 Am = Dm Bb C What a fucking joke, what a fucking joke. A/c# Dm F/ED [Dm Dm/C_ [BbVerse 2 Am Dm Bb C A/C# Dm FyEb I waited for a bus to separate___ the both of us_ Dm H/C Bb And take me off — far a - way from you. Am = Dm_ Bb c act pm FyEb “Cause my feelings never change a bit, I always feel like shit. Dm F/C Bb Idon't know why__T guess that I just do. cyBb F/A You once talked to me about love Gm7 F Gm7 Dm And you painted pictures of a never-never land. cr F And I could’ve gone to that place Gm7 F But I didn’t under - stand, Gm7 F I didn’t under - stand, Gm7, Am Dm Bb C I didn’t under - stand. |avc# Dm F/Eb A7 |Dm Gm A7+ A [Dm !from - From a Basement on the Hill Memory Lane Words and Music by Elliott Smith cl cmé BPC CBS FmaiC Am GB CFIC = sat 16a ae 13 24 co FG Em et Sroosar Be onan aii tae Pie MT a1 cyp> at 7 cig FHe7 GH Fe Fm Fmgj7 sc ER fe fa ty tro Moderately fast “All noation ad chord symbol respective wo capoad ula cm Bs Faj7/CAm F/G se End Rhy. Fig. F Abe e 5O> | simile is the place you end up. when you lose the may -\or's name is fear; his fore pa - wok the com - fta - ble a pa, irs all writ = ten on my cus Dm7bs Ev Am, CG chase, where you're dragged a - gainst_ your will from a base - ment on the bill pier from the moun- tin of _ cli = hd that ad-vane = es ev = ‘ry day. char, and take what's giv - en me. most co-op - er - a - tive - F G Fr c op = And allan = y-bod-y knows — is you're not like = The doc - tor spoke aloud. He rained cout ¥y T do. what peo-ple say and tie in bed all Am Dm G —— ‘And they kick you inthe head __ and send you you keep your doors and win - dows shut and swear you'll nev = et show a day, ab = so tute - ly hor - ri ~ fied T hope you're