Radiohead Jam With Vol 1
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ISBN 1-85909-575-5
I IIII
9 781859 095751
One. of the world's biggest bands, Radiohead have taken rock music to new heights of stylistic diversity and breathtaking ambition with such classic albums as The_ Bends and OK Computer. The Oxford quintet have topped both critics' and readers' polls alike, including Q magazine's Greatest Album Ever with OK Computer. This guitar workshop is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills. The combination of musical notation and guitar tablature in this book together with backing tracks on the CD gives you the opportunity to learn eight of Radiohead's tracks note for note and then jam with a professional session band. The track listing reflects some of Radiohead's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. The CD is split into two sections; section 1 (tracks 1-8) is the backing tracks minus lead guitar & vocals, while section 2 (tracks 9-16) is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played! The 'JAM WITH ...' series allows you to accurately recreate the original songs, or to use the transcrip~ions in this book in conjunction with the backing tracks as a basis for your own improvisation.
Professional &uitar Workshops
"*****... excellent" ... Guitar World USA
"invaluable, they can practically guarantee progress" ... Guitarist Magazine
"superb, ideal for beginners or advanced players" The Guitar Magazine
"these backing tracks are the best on the market" Total Guitar Magazine
$29.95 in USA
WARNER BROS. PUBLICATIONS ,.
•
15800 NW 48th Avenue, Miami, Florida 33014 A Warner Music Group Company
International Music Publications Limited Soulhend Road, Woodford Green, Essex IG8 8HN, England
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Volume 1
Professional &uitar Workshops
CONTENTS
4 5 8 9
INTRODUCTION PERFORMANCE NOTES TABLATURE EXPLANATION CREEP
My
17
IRON LUNG
LET DOWN
27 33 42 53 59
ELECTIONEERING
74
FAKE PLASTIC TREES STREET SPIRIT (FADE OUT) THE BENDS KARMA POLICE
ON THE CD The CD is split into two sections; section 1 (tracks 1-8) is the backing tracks minus lead guitar & vocals, while section 2 (tracks 9-16) is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played!!
WARNER BROS. PUBLICATIONS - THE GLOBAL LEADER IN PRINT
USA: 15800 NW 48th Avenue, Miami, FL33014
WARNER/CHAPPELL MUSIC
NUOVA CARISCH
INTERNATIONAL MUSIC PUBLICATIONS LIMITED
CANADA: 85 SCARSDALE ROAD, SUITE 101 DON MILLS, ONTARIO, M3B 2R2 SCANDINAVIA: PO BOX 533, VENDEVAGEN 85 B S-182 15 DANDERYD, SWEDEN AUSTRALIA: PO BOX 353 3 TALAVERA ROAD, NORTH RYDE N.S.W. 2113
ITALY: VIA CAMPANIA, 12 20098 SAN GIULIANO MILANESE· MILANO SPAIN: MAGALLANES, 25 28015 MADRID
ENGLAND: SOUTH END ROAD WOODFORD GREEN, ESSEX IG8 8HN FRANCE: 25 RUE D'HAUTEVILLE, 75010 PARIS GERMANY: MARSTALLSTR. 8, D·80539 MUNCHEN DENMARK: DANMUSIK, VOGNMAGERGADE 7 DK 1120 KOBENHAVNK
First Edition 1998
© 1998 International Music Publications Limited
Southend Road, Woodford Green, Essex IG8 8HN, England
All rights reserved
Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher.
No part of this book may be photocopied or reproduced in any way without permission.
Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
Music arranged & produced by Stuart Bull and Steve Finch. Recorded at the TOTAL ACCURACY SOUNDHOUSE, Romford, England.
Stuart Bull: drums, Jamie Humphries: guitar, Mick Ash: bass, Pete Adams: keyboards. Jamie Humphries uses Ernie Ball Music Man Guitars.
Music engraving: Cambridge Notation
Reproducing this music in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988
Professional Guitar Workshops 3
Introduction
The TOTAL ACCURACY 'JAM WITH .. .' series, is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills. The combination of musical notation and guitar tablature in the book together with backing tracks on the CD gives you the opportunity to learn each track note for note and then jam with a professional session band. The track listing reflects some of Radiohead's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. The remaining tracks feature the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collection, we have provided them in the package for your reference. The 'JAM WITH .. .' series allows you to accurately recreate the original, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation. For your benefit we have put definite endings on the backing tracks, rather than fading these out as is the case on some of the original recordings. The accompanying transcriptions correspond to our versions. Remember, experimenting with your own ideas is equally important for developing your own style; most important of all however is that you enjoy JAM with RADIOHEAD and HAVE FUNl Radiohead have to be one of the most unpredictable bands around. It seems that just when you try to pigeon-hole them in a certain sound or style, they come up with something completely different. Maybe that's why it has only taken the band six years to go from performing in empty venues in Oxford, to playing massive headline tours and being labelled the saviours of British rock music. The band was formed after two friends, Thom Yorke, Colin Greenwood, became bored of their school punk band 'TNT'. They decided to team up with two other friends, who s ared 'he same romantic beliefs in rock music, to form a new band called 'On A Friday'. Thom e Ie of vocals and rhythm guitar, Colin played bass, Phil Selway played drums, and Ed a~ n guitar. The line up was completed a year later by Colin's younger brother Jonny i t job was playing harrr:onica, before taking on guitar and keyboard sical ca eer was static from 1987 to the beginning of the nineties, the four on to study at university, and Jonny finished school. There was older members e involvement in other musical projects, at the individual members colleges, but they still played together when their academic commitments allowed them to. 'On A Friday' re-convened in the summer of 1991, when Thom, Ed, Phil and Colin graduated from university. Jonny was due to start a music degree, but dropped out to concentrate on the band. The band continued to play the local circuit to a growing audience. In December 1991 they were signed to Parlophone. It was not long after this that the band decided to change their name. The new name came from a Talking Heads album. Radiohead was born. The band worked hard, touring as a support act to many other artists, and releasing several EPs. But it was not until 1993, when the band released their first album 'Pablo Honey', and the massive hit single 'Creep', that they begun to receive the acclaim they deserved. 'Creep' also proved popular in America, with radio stations in San Francisco, and Los Angeles adopting the song as a summer anthem. This was enough to launch the band to star status in the US. The long awaited second album, 'The Bends' was released in 1995. The album again was a huge success, reeling in a much wider audience. The album contained a diverse collection of songs, each one rich in detail, and full of emotion. The blend of Yorke's expressive vocals, and Greenwood's powerful, yet sometimes disturbing guitar sounds, helped Radiohead begin to carve their own sound, and identity. Through 1995 and 1996 the band also continued to tour, and play some of the most noted rock festivals, including Glastonbury, and Reading. They also contributed to the 'Help!' record, a charity album set up to benefit the War Child charity. Thom was later awarded the Freddie Mercury award, for his involvement with the project. The band's third, and most experimental album yet, 'OK
Computer', was released in the summer of 1997. :t contained a vast collection of styles and in1'luences, with the band being given such titles as the new Pink Floyd, and the new U2. It also boasted a six and a 11alf minute epic, 'Paranoid Android', the 'first single from the album. The band experimented with computer effects and haunting guitar tones, to produce an album that has launched them into the big league, next to many bands who had influenced them earlier. Radiohead continue to push musical boundaries, making them one of the most influential bands of the nineties. This book contains eight of their songs, so sit down and enjoy learning some modern masterpieces, created by a band who are sure to go down in rock history as one of the greatest.
Performance Notes Creep This track was originally released as the lead song on a four track EP, and later became the massive single from their debut album. The whole tune is based around a very simple chord progression of G major, B major, and C minor. The intro and verse sees the chord progression being performed as chord arpeggios, with a clean tone with tremolo effect. This same idea is repeated throughout all the verses. The chorus is introduced wit:1 some chugging string mutes, with a very distorted tone. Because Radiohead have three guitar players, the track has been arranged so one guitarist can perform it successfully on his/her own. With this in mind, the muted part will be performed by a second rhythm guitar on the backing CD, allowing the performer a chance to complete the verse and join the chorus. The end of the chorus features an ascending octave part that is performed with very fast picking. The rhythm of the part varies, so use a little artistic licence when performing it. An extended version of this section is played at the end of the second chorus. The octave melody follows the chord changes, by outlining certain chord tones. When performing this section be sure to mute unused strings to avoid unwanted noise. This track was probably performed using a Fender Telecaster and a Fender transistor amp.
My Iron Lung This song demonstrates Radiohead's creative use of effects, as we see the main theme of the song performed using a pitch shifter set an octave higher. Throughout the verse there is also a haunting G note, that is raised and lowered in pitch, with the tremolo arm. The long sustain was probably created with an E bow. The main guitar performs clean chord arpeggios, and ugly raked diminished chords throughout the verse. The guitars swap between uneffected, and pitch shifted parts, until reaching the chorus. The chorus features a part reminiscent of Jimi Hendrix. The chords of Gm7, C7 and E(b5), are performed with percussive mutes, and heavy distortion. The chord progression is concluded with a chromatic descending run. The second chorus uses the same chord progression, but includes some lead id9as based on the G minor pentatonic scale, (G, Bb, C, D, F, G). The pre-solo section features an unusual guitar harmony line, played over a clean rhythm part. As this was performed originally by two guitars, a fingering has been shown to enable one guitar to perform the harmony. The solo is full of attitude, and uses the notes from the G minor pentatonic scale. The climax of the song includes some random, violent guitar pitches, performed with a whammy pedal. A similar effect could be achieved by randomly sliding up and down the neck, and shaking the tremolo arm. This track was probably performed voJith Fender guitars, and amps.
5
Fake Plastic Trees This track shows a more sensitive side to the band. Performed predominantly on the acoustic guitar, the chord progression makes uses of shared tones between the chords, aiding the melodic flow of the part. The first verse is performed only with the vocals, but the second verse builds with Pink Floyd influenced keyboards and drums. The song builds higher still, with the introduction of heavily distorted electric guitars. This part was originally recorded by two guitars, but for ease of performance it has been arranged for one. The electric guitar outlines the acoustic part, but introduces some atmospheric lead lines based around the A major scale, (A, B, C#, D, E, F#, G#, A). The song drops back to the acoustic guitar for the conclusion, demonstrating the band's use and understanding of dynamics. The song was probably performed with Fender gUitars, Fender and Mesa Boogie amps and a Takamine acoustic.
Street Spirit (Fade Out) Another mellower track taken from 'The Bends' album. Both the verse and chorus of this tune feature a chord arpeggio idea. The verse features the chords of A minor and E minor with a repeating melody line underneath. The melody features shared chord tones, which allows a smooth join between the chords, and a catchy melodic hook. The same melody is used with the arpeggiated C major, E minor and A minor chords in the chorus progression. The second guitar performs higher register chord arpeggios. This part was in and out of the original arpeggiated chord sequence, helping to form a beautifully arranged rhythm part. This song was probably performed using Fender guitars and amps.
The Bends This track is taken from the band's second album, 'The Bends' and uses some classic rock formulas. This transcription has also been arranged for one guitar due to the amount of overdubs, although twin parts have been shown occasionally. The intro and chorus is based around a progression using 0 major, C add9 and G/B chords. The performance is fairly loose, with chordal fills, and is played with distortion. The verse features the chords E minor, G major and C major, performed with a jangly, clean tone. After the first verse, we have a short instrumental section that's based around the A major scale, (A, B, C#, 0, E, F#, G#, A), and the C mixolydian scale, (C, D, E, F, G, A, Bb, C). This section also features some natural harmonics, played on the E and A strings. The second verse uses the same chords as the first verse, with the exception of the occasional C7 chord. The performance relies heavily on accents, and uses a more overdriven tone than the first verse. After the chorus there is a bridge section. The guitar is only used for atmospherics, with the open strings being struck behind the nut. This section is concluded with a building Em chord. While one guitar plays the chord, the other plays a dissonant Bb octave shape, resulting in a flat fifth interval against the chord. The first bar of the build is performed with heavy palm muting, while the second bar is more open. Heavy distortion and flanger should be used in this section. The third verse features a melody performed with octaves, using notes from the E aeolian scale, (E, F#, G, A, B, C, D, E). The melodies continue into the final chorus section, before we reach the final bridge. The two bar build at the end of this section uses the C chord, and features an ascending octave melody, that uses the C Iydian scale, (C, D, E, F#, G, A, B, C). The outro of the song features a melodic sequence based around the chords of G major, D major and C major. This resolves with the verse chord progression being performed by a solo guitar, with a clean tone. This song was probably performed with Fender and Rickenbacker guitars, and Fender amplifiers.
Karma Police This laid back track is taken from the most recent release 'OK Computer'. It is performed solely on acoustic guitar, with a rich open feeling strum pattern. The chorus section of the song is more sparse in its performance. The chords are fragmented into as little as one or two notes at a time, merely outlining the piano. The outro of the tune is given a psychedelic feel with the addition of a swimming tremolo effect. An electric guitar sample is introduced at the end of this section. It is slowed down until it becomes an ugly, almost white noise effect. This song was probably performed on a Takemine acoustic guitar.
Let Down An atmospheric piece from the 'OK Computer' album, Let Down demonstrates Greenwood and O'Brian's trademark twin guitar rhythm parts to great effect. The verse features a loop pattern, performed by guitar one, on the top three strings. Guitar two plays a complementary part on the same strings higher up the neck. With the notes of both guitars left to ring, the two parts mould into a full, and haunting pattern. The chorus features the two guitars playing a part similar in style to the verse. Guitar one incorporates some open strings, to enable the notes to ring and blend into each other when changing position. The second verse sees the continuation of the original loop pattern, but we see a more active rhythm performed by guitar one in the second half. The guitar solo is performed with a capo at the seventh fret, and uses notes from the A major scale, (A, B, C#, D, E, F#, G#, A). Guitar one remains un-capoed, playing a variation on the verse idea. Some lead lines are introduced towards the end of this section and should be performed slightly rushed. The third verse is performed by guitar two, until the second half of the verse, when guitar one enters to help build towards the 'final chorus. The outro is performed by the acoustic guitar. It features the chords of A major and Asus4 played as arpeggios.
Electioneering This song sees both guitars using altered tunings. Guitar one uses a dropped D tuning, with the sixth string being lowered a whole tone, while guitar two has both its first and sixth strings lowered by a tone. The main riff features an aggressive idea based on a Dmadd11 chord, and should be performed with a swing feel. Guitar one plays a melody line based around the D dorian scale, (D, E, F, G, A, B, C, D). The main riff idea continues, with some minor variations, through the verse, while guitar one plays some melodic ideas and chordal vamps. During the chorus the rhythm guitar continues, while guitar two performs some tremolo picked octaves that ascend the D dorian scale. Guitar one plays a complementary melody, also in D dorian. We see more lead ideas introduced before the second verse. Verse two is similar to the 'first verse, but has some additional chords performed with volume swells. The pre-solo section uses a tremolo picked D dorian idea, that is performed fairly freely. The guitar solo uses notes from the D blues scale, (D, F, G, Ab, A, C, D) and D dorian. It should be performed with an aggressive feel, and plenty of attitude. The outro features an open D minor chord being played an octave higher, with the open fourth, fifth and sixth strings to create a massive sound. This section is concluded with another figure based around the Dmadd11 chord, performed with a loose/sloppy fee!.
7
Notation & Tablature Explained
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Words and Music by THOMAS YORKE, EDWARD O'BRIEN, COLIN GREENWOOD, JONATHAN GREENWOOD, PHILIP SELWAY, ALBERT HAMMOND and MIKE HAZELWOOD
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Fake Plastic Trees
Words and Music by THOMAS YORKE, EDWARD O'BRIEN,
COLIN GREENWOOD, JONATHAN GREENWOOD
and PHILIP SELWAY
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Words and Music by THOMAS YORKE, EDWARD O'BRIEN,
COLIN GREENWOOD, JONATHAN GREENWOOD
and PHILIP SELWAY
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Let Down
Words and Music by THOMAS YORKE, EDWARD O'BRIEN,
COLIN GREENWOOD, JONATHAN GREENWOOD
and PHILIP SELWAY
J = 120 II
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Printed by a &
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The Essential GUITAR
ERIES.
o The Essential series contains the most popular songs by the leading proponents of seven different musical genres. • Each book features note-far-note guitar transcriptions including complete solos in both standard notation and tablature, plus all vocal parts. • The series covers many of the most popular electric guitar styles, from country and blues to rock and industrial music. • The included Guitar Tab Glossary illustrates all the techniques necessary to play each riff, lick, fill and solo accurately. The Essential 100 Classic Rock Guitar Fakebook Ref: 0002B Contains 100 songs, including: Stairway To Heaven (Led Zeppelin) • Sharp Dressed Man (ZZ Top) • Light My Fire (The Doors) _ When I Come Around (Green Day) • Long Train Runnin' (Doobie Brothers) • Wild Night (Van Morrison) • Maggie May (Rod Stewart) • Time Is Tight (Booker 1. And The MGs) • Hotel California (Eagles) • Peter Gunn (Duane Eddy) • Heart Of Gold (Neil Young) • Run Baby Run (Sheryl Crow) • Spanish Fly (Van Halen) • American Girl (Tom Petty) • Casey Jones (Grateful Dead) 8 People Get Ready (Curtis Mayfield) • Summertime Blues (Eddie Cochran) • Sheena Is A Punk Rocker (The Ramones) • Hard To Handle (Otis Redding). The Essential Alternative Guitar Ref: 4780A 15 songs, inc. Everything Zen (Bush) ('l Somebody To Shove (Soul Asylum) • No Rain (Blind Melon) • Longview (Green Day) • Run-Around (Blues Traveler) • Three Little Pigs (Green Jelly) • Milquetoast (Helmet) • Gel (Collective Soul).
The Essential Blues/Rock Guitar Ref: 4781A 13 songs, inc. Hideaway (Eric Clapton) • Tin Pan Alley (Stevie Ray Vaughan) •
La Grange (ZZ Top) • Born Under A Bad Sign (Jimi Hendrix) • Oh, Pretty
Woman (Gary Moore) • Bad To The Bone (George Thorogood) • Cities Need
Help (Buddy Guy).
The Essential Classic Rock Guitar Ref: 4970A 20 songs, inc. Sultans Of Swing (Dire Straits) • Eruption (Van Halen) • Whole Lotta Love (Led Zeppelin) • Cinnamon Girl (Neil Young) • Evil Ways (Santana) • Riders On The Storm (Doors) • Show Me The Way (Peter Frampton) • Aqualung (Jethro Tull).
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(Clint Black) • Southern Grace (Little Texas) • Red Wing (Asleep At The Wheel).
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The Essential '90s Rock & Metal Guitar Ref: 4969A 13 songs, inc. Runaway Train (Soul Asylum) • Hole Hearted (Extreme) • Alii
Wanna Do (Sheryl Crow) • Walk (Pantera) • Lie (Dream Theater) • A
Conspiracy (Black Crowes) • Souls Of Black (Testament) • Only (Anthrax).
AVAILABLE FROM ALL GOOD MUSIC STORES
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International Music Publications Limited
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The Essential Industrial Guitar Ref: 0003B 17 songs, inc. Cowboys From Hell (Pantera) • Milquetoast (Helmet) • Filth Pig (Ministry) • Electric Head Parts 1 & 2 (White Zombie) • No Place To Hide (Korn).
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