There are some tricky sections to get to grips with here. The verses in particular have a few oddities that I hadn’t even noticed before trying to play the song.

Intro: A great little riff in the intro. Well worth learning even if you’re not attempting the whole song.

Verse: This is where you’ll find the oddities. In most of the verse, the Am7 chord lasts two bars. But in the opening verse, the first Am7 chord lasts only one bar.

The second verse (bar 52) is even stranger. The first Am7 is just one bar. But the following F is extended to two bars. Then the second Am7 is also shortened to one bar.

Chorus: The chorus is much more regular. Even so, the second set of “Is this love?”s is slightly different to the first.

Bridge: Nothing too challenging here. Just be sure to keep the strummed Dm chords tight rather than letting them ring out.

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One Love tabs
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Intro: The intro is the most challenging part to get down. But it’s a nifty picking pattern that could come in useful in many places. So it’s well worth learning.

Verse: The fingerpicked verse is simple. Just a bit of sliding around to deal with.

Pre-Chorus: Switch to using strums to build into the chorus. The biggest problem I had here was memorising the chords. They shift around rather than repeating exactly.

Chorus: The chorus is fun to play. You can really bash out the chords.

This arrangement uses just the end of the guitar solo from the original (bars 31 and 32) to build into the bridge.

Bridge: More chord bashing in the bridge. The song’s Springsteen origin really becomes obvious here.

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Intro: Kicking off with strums and a lot of muting (just relax your fretting hand so the notes don’t ring).

Verse: A quick campanela lead into the verse. From there, it’s all open chords and a compact melody. Just a long string of pull-offs in bars 13 and 15 to deal with.

Pre-Chorus: An even longer stretch of campanela notes starting out the pre-chorus. All played on open strings. Even though the song is in C major, the minor third (Eb) crops up here. Giving it a bluesy feel.

Chorus: The falsetto means a big jump up the neck. Other than that, it’s just bashing out chords all the way.

Solo: The solo is only loosely based on the original. So you’re free to use your own ideas. For my take, I’m mostly noodling around the chords and throwing in some bends.

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Jurassic Park (Tabs)

Here’s a quick tab of the main section of the Jurassic Park theme in tribute to, enthusiastic uker, Sam Neill.

Intro: I love the way the Em6 here gives the song a heavy, brooding feel. There are a couple of challenging bits here. First, the slide up to the 7th fret in bar 6. Second, the fast picking on the triplets in bar 10.

Verse: The verses are nice and simple. If you like, you can use the Em6 here as well in place of the Em. I chose the Em here to make the harmony clearer to the listener.

Chorus: It’s important to create as much contrast as possible between the call and the response here. So this arrangement has the call in single notes high on the neck. And the response is low on the neck and in a chord.

Double Time Chorus: This section is a burst of anarchy in the song. It’s also the most difficult to play. So I embraced the chaos and did whatever I felt like in this section.

Outro: A very effective descending chord run to end on.

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If you join Patreon at the Concert level or higher, you’ll get access to all 77 previous exclusive tabs including June’s: The Jackson 5’s I Want You Back.

And extra thanks to June’s Tenor level backers:

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Intro: Kicking off with a dissonant augmented E chord before diving straight into the verse.

Verses: The verses have a call-and-response structure. The vocals are the major scale call, and the guitar licks respond with some minor notes. In this arrangement, I’m playing the vocal part with picking and the guitar part with strums. This helps to make them distinct.

Solo: The solo is a workout for the strumming arm. It’s almost all triplets. But I’m playing them all with downstrums to keep a consistent attack.

This is mostly based on the first solo, with a few ideas from the second one thrown in. Feel free to include your own ideas too. But I’d recommend not straying too far from the Chuck Berry style.

Outro: A fun, if slightly cheesy, descending chord move at the end.

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As you might have noticed, the site has been struggling for a while and it finally collapsed like a Frenchman in the penalty box. It was a long and stressful journey that ended with finding out that most of the old server was unrecoverable.

I do have backups of everything (or mostly everything) but they’ll have to be put back manually rather than automatically. So restoring things is going to be a process rather than an event.

In the meantime, I’ve uploaded an archive of all the tabs to the Internet Archive here.

Thanks in particular to Patreon backers. I can say very concretely the site would be gone for good without your support. With that, thanks to May’s Tenor level backers:

– Arthur Foley
– Brian
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ely Fletcher
– Ivo
– Jeff K
– Jon Kenniston
– Kelby Green
– Leia-lee Doran
– Margit Stadlmann
– Mary
– Noah
– Pat Weikle
– Pauline LeBlanc
– Rick Wurster
– Robert
– Steven Pituch
– Ved

If you join Patreon at the Concert level or higher, you’ll get access to all 76 previous exclusive tabs including May’s Led Zeppelin’s Over the Hills and Far Away

Intro: Starting out dead easy with the parping horns section.

Chorus: This section is fiddly. But it’s all contained on the lower frets. It’s also fun to play once you get it down.

Verse: This section moves up the neck and ramps up in difficulty. Setting up bar 17 is particularly hard. To help with that, I recommend not letting the F chord in the previous bar ring. That gives your fingers more time to set up.

Bridge: This is the fiddliest section. You can replace the 5 – 6 on the E-string with 0 – 1 on the A-string if you find that easier. Or even just use the open A-string followed by the E-string 6th fret.

Pre-Chorus: A welcome easy section. You’re just blasting out chords here. That leads into a chorus with just the melody, then a final chorus with chords.

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The Clash’s Should I Stay or Should I Go like all good punk songs, it’s just four chords. And the melody and chords alternate so you’re only doing one of them at any given time. Just make sure you’re bashing it out.

The only slightly unusual element is the song shifting to double time in the chorus. So you’re strumming twice as fast with this pattern:
d – d – – u d u
d – d – – u d u
d – d – (then a picking section)

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Pink Floyd’s Time is a real epic so I’ve done the most un-Pink Floyd thing of all time and shortened the song by trimming the solo and cutting out the more atmospheric parts.

Intro: Starting off with the ticking sound. Made by muting the strings high up the neck and plucking close to the bridge. Then a lick to lead into the verse.

Verse: This section is forceful and confrontational so keep the chords short and stabby.

Chorus: The chorus switches from the brooding G minor section to a blissed out Ebmaj7. Let the chords ring out in this section to match the mood.

Solo: I’ve changed this considerably from the original. So feel free to make changes for your version. I’m using the G minor pentatonic for the solo plus the occasional A note.

Outro: The outro throws in a few curve balls. It throws in a Gb and modulates to Bb. Then ending on a glum sounding Ebm – E – Cm.

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