¥ cele a= SAB UA ee OU812 eS Rea by WOLF MARSHALL.27 80 38 59 69 48 90 21 VAN HALEN OU812 GUITAR/VOCAL EDITION 0 N T E N T A.F.U. (Naturally Wired) BLACK AND BLUE CABO WABO FEELS SO GOOD FINISH WHAT YA STARTED MINE ALL MINE SOURCE OF INFECTION SUCKER IN A 3 PIECE WHEN IT’S LOVE Introduction and The Van Halen Guitar Style by Wolf Marshall Tablature Explanation Management: Ed Leftler/E.L. Management, Inc. Transcribed by Wolf Marshall Edited by Jon Chappell, Mark Philips, and Andy Aledort Production Manager: Daniel Rosenbaum ‘Art Direction: Alisa Hill ‘Administration: Tom Haydock ISBN: 0-89524-409-8, Copyright 1988 Cherry Lane Music Company, Inc. International Copyright Secured All Rights ReservedVAN HALEN 0U812 INTRODUCTION Eddie refers to OUB12 as the “rock ‘n’ roll album." Surpassing 1984 and even 5150 in its wealth of varied material, sonic textures, orchestral implications and stylis- ticapproaches, OUB 2is amature and pivotal worktor Van Halon. It represents a turning point — a gimpse ot the modern VanHalen forthe 90 sang, atthesame ime, afond look back on the classic group which set rock standards throughout the 80's. Beyond tne firstimpressions of assorted tlavors and colors ‘on this album there is a well-balanced structural grouping ofitsnine piecesinto a “trio of trios.” Three are hard rocking guitar raveup tunes which feature an independent Eddie Van Halen spotlight intro — a tradition which began with Van Halen’s first album in “Eruption,” and continued in “Spanish Fly" (Van Halen I, “Tora, Tora, Tora” (Fair Warning), “Catnedra'” (Diver Down) and “Hot for Teacher" (1984). In each of these songs, Eddie seemed to redirect the course of modern rock guitar and redefine its role as bothasolo and ensemble instrument. On 0U812“A.F.U.," “Source of Infection” and “Sucker in a 3 Piece' all feature thespotightintro. “A.F.U." exploits the“tap-on with chords, below’ technique (pioneered in “Spanish Fly,"“Women in Love" and “Dance the Night Away” trom Van Halen 11); the intro to *Source of Infection” is an elaboration on the triad ‘xpequi ep-on idea Ede popularized in “Eruptn” and “Hot for Teacher.” The opening measures of “Sucker ina 3 Piece” finds him playing a duet for one, juggling power ‘chord phrases with characteristic guitar tlis made up of pickslides, tapped harmonics and pinch harmonicitremolo bar antics — a natural extension of the concept of guitar, sound effects (‘neat noises”) as musical statements Eddie has developed over the last ten years. The second set of three pieces are guitar-dominated riff songs. Here, the opening guitar phrase is a strong but ‘simple recurring thematic idea which provides the basis for the song. Van Halen continues theit well established Practice of rif making in *Cabo Wabo" (with its AC/DC- inspired pentatonic simplicity), "Black and Blue" (which continues the strutting hard 1 er pop rhythmic tra- dition heard in Jamie's Crying,” “Hear About It Later” and “Bestof Both Worlds”), and “Finish What Ya Started.” The lattes an anomaly in the Van Halen catalog by virtue of ts atypical countryiblues mood, which gives the listener an indication of the typeof eclectic experimentation underway and a glimpse of what may be on the horizon. The remaining three pieces —*Mine All Mine," "When It's Love" and “Feels So Good" — are keyboardipop songs. With “Jump” and *T'l Wait” (1984), “Why Can't This Love" and “Love Walks In” (both from 5150), Van Halen made highly visible steps in this direction. In “Mine All Mine’ the opening synth-bass groove is therhythmical glue which binds the coloristc, textural guitar parts together, with the guitar parts being essentially subordinate accom: Panimentfigures. In another departure fromthe Van Halen orm, this song establishes the type of heavy synth texture usualy associated with Toto, Survivor or Journey. "When Its Love" offers a massive orchestral sound with layered synthesizer parts (strings, synth-bass, harps, marimba and acoustic piano timbres) in the iniro and choruses Contrastedwith atunkier power-pop feelin the verses (Rifts A.B, and C: guitar and synth ensemble). "Feels So Good” combines a lighthearted organ sound in the opening figure with a pumping sixteenth-note pattern (synth-bass) and sparse guitar comping (Gtr. Ill — bar 9's entrance). Un- doubtedly, the keyboard element will continue to be an important aspect of the evolving Van Halen sound, (On 0U872, Eddie continues his quest for new guitar colors and applications. His palette of sounds in the past have included nylon string acoustic, steel string acoustic, 12- string electric, Steinberger Trans-Trem and various elec- ines (Les Paui Flying Vand min-gutan, ‘Finisn What Ya Started’ finds Eddie on a twangy direct-input (straight into the recording board) Fender Stratocaster which enhances the down-nome bivesiness of the Ry Cooderish finger- plucked rhythm feel throughout and the chicken-pickin attack of the solo. The Fender Strat is also used for the glassy sound achieved in the solo of ‘When It's Love"; here, we find Eddie soloing in an Eric Clapton-type groove, with singing vibrato, choppy phrasing and sultry bends ali with the distinctive Strat tone. In “Cabo Wabo," Eddie's main guitar (the 5150 Kramer) is processed with a very ‘wet sound” (reverb, delay, doubling) for the main riff (Rhy. Fig 4), Awah-wah pedal (set, ike Michael Schenker’ inafixed rather than rocked position) is added to the guitar in the solo for added sustain, frequency filtering and boosting, and an gleatc 12-sing (a Fender neck on a Schecter Tele- style ody) provides the sparkle o the chordal arpeggiationinthe outro and behind the guitar solo. Furthermore, Eddie experiments with backwards guitar in“When It's Love" (the reverse envelope just before Riff A in the intro), various mechanical trem. bar sound effects in “Black and Blue” (the overdubbed guitar noises) and alealoric string sounds strumming behind the nut in the opening bars of the “Feels, So Good" guitar solo, slackened string noise in the intro to “AF.U.” and intense hand-muted percussive noises in the verses of “Source of Infection.” Edge Van Halen's siyistic guitar Innovations resurace in practically every track on OUB12. The trademark use of tremolo bar, bi-dextral tap-on technique, fast legato scale Passages and harmonics (artificial, tapped and open) are all reminders that his techniques, solo approaches and sense of musical adventure and humor have shaped the Guitar sound of the 80's. Over the past decade we have Seen Eddie Van Halen's influence — once affecting only a small cicie of guitarists — proliferate into a veritable schoo! of rock guitar performance (sometimes referred to as “L.A Meta") with countless hybrids, mutations, clones, spinotts and disciples. (0U812is the most eclectic and ambitious Van Halen album todate, aswell as the most musically demanding. Demand- ing, yet accessible — seemingly a contradiction in terms, but the album grows more ingratiating with repeated play: ings, and rewards the listener with subtleties, pacing, Cratismanship and a maturity not found in previous efforts. ‘The back cover of OU812 depicts Darwin's Ape (the statue) Pondering the human skull — the symbol of the concept of evolution. Whether or not this is a direct metaphor for the artistic growth captured on the album or a bizarre private joke is irrelevant. Van Halen is reappraising their ancestral roots — the spint, energy, and essence of rock 'n’ roll — while continuing 1 evolve into aviable and formidable band for the 90's. ~ Wolf MarshallTHE VAN HALEN GUITAR STYLE Atter eight innovative records and a solid decade of Eddie Van Halen’s reign as the strongest influence on rock guitar since Hendrix, it seems appropriate to explore the contributions he has made which have so profoundly affected the course of modern guitar playing. In the newest effort, QU812, the landmark techniques and innovations that put Eddie on the map are all present and have evolved into powerful new musical statements. TAP-ON TECHNIQUE Unquestionably, one of Van Halen's greatest contributions has been the development of the bi- dextral (two-handed) tap-on technique. This has appeared in dozens of permutations sinoe it first astonished rock guitar audiences and players ten years ago in “Eruption” (Van Halen i). The basic conceptis to use a right-hand finger to fret notes in conjunction with the normal left-hand fingers. In Ex. 1, the first four bars of “Source of Infection,” a ‘combination of an open string (A), fretted nates (E and G) and tap-ons (A and B) produces a line which loosely implies the chords A5, A7, Asus4 and AS. I'm sure Eddie was thinking more of the chythmicimelodic tlow than its harmonic ‘content. This figure has the openness and ambiguity of the second phrase of the “Mean Street” intro (Fair Warning) mixed with the deliberateness of the funky keyboard riff of “Dancing in the Street’ (Diver Down). In an attempt to ilustrate Edaie’s tap-on technique exactly, the tap-on finger has been designated in a circle ()= right hand index finger). Eddie generally holds the pick with his thumb and midale finger, leaving the index free to add tap-on notes within a passage of music: x. 1 (Source of tntscton:tntro, bars 1-4) ss ar ie er eer ‘Another slightly different example uses the tap-on technique to create chordal/arpeggio-type textures at breakneck speeds. This approach is the basis for Edaie's signature phrases heard in the final section of “Eruption,” the third section of “Spanish Fly” ( Van Halen i and the intro to “Hot for Teacher’ (1984). In Ex. 2, bars 15-18 of the “Source of Infection” intro, Eddie skilfully combines D and E chord arpeggios with the more open A and Asus4 forms. Again, this excerpted line is played entirely on the A string) Ex. 2 (Source of Infection; Intro, bars 15-18)Eddie often seamlessly incorporates a rapid tap-on phrase into his single-note solo improvisations. Inthe soloof*Mine ‘All Mine,” he adds tap-ons to a held bend (D to E) to produce a droning pedal point type of melody: x3 (lige AU Mine: Gisolo, bars 7.8) 02 be E Ss. OND ADO OO OID IDIOMA ODO D3 San SST S Tass, hott behdFT Pow TP TroTr Tr. TP Fal. Note also the tapped slide at the conclusion of the phrase — a feature of many Van Halen solos. Here, the tap-on finger remains fretted while sliding up the string to produce a slippery portamento effect within the phrase. ‘Another frequently heard example of the tap-on technique within improvised solos can be found in “Black and Blue.” In this case the tapping finger adds an extra melody note to the fast diatonic cascade, producing a definitive ‘example of the integration of left- and right-hand moves: Ex. 4 (Black and Blue Gtrsol. bars 56) Check out the solos in “Source of infection” for two paraphrases of classic Van Halen tap-on lines. The first (Ex. 5) had appeared in “I'm the One" and “You Really Got Me" (Van Halen ). tinvolves tapping on a repeated note while the left hand descends (chromatically in this example). The overall sound suggests the characteristic harmonic move of ablues cadence — nota farfetched concept, considering the pronounced biues influence in Eddie's playing: Ex. 5 (Source of Infection: Gtr. solo 2, tar 3 Ta Egg STThe second (Ex. 6) is similar to the double-timed lines in “Sinner’s Swing" (Fair Warning) or “Surnmer Nights” (5150). Here, a fast and intricate-sounding riffis created by juggling a simple pentatonic shape symmetrically from the second, to the first string: Ex. 6 (Source of Infection: Gir, solo 3, bar 3) (ch — Sety poo TAPPED HARMONICS Eddie Van Halen is an absolute master at coaxing every imaginable type of harmonic out of the guitar. His unique invention of the chordal harmonic tap-on technique has been a sonic trademark since "Spanish Fly,"*Women in Love" and “Dance the Night Away” (all on Van Halen If). This technique re-emerges on OUB?2in the introduction to “A.F.U." (Ex. 7). The chord voicings used are A5, DivF, G, G7sus4 and G7 in the first two bars, answered by A5, DavF, G, C, and Bb in the next two bars. The harmonic is produced by holding lower chord forms with the left hand and tapping out the harmonics tweive frets higher. All the slides and hammer-ons are played by the left hand only. When watching Eddie play these types of tap-on harmonics live, | was amazed at how forcefully yet accurately he attacks them —with no background string noise, unwanted sympathetic notes or indistinct tones: Ex. TAF. Intro, burs 46) nS Daye J-n® © © pS Fume = — A variation of the harmonic tap-on technique can be heard in the intro to “Sucker in a 3 Piece,” where Eddie taps out the overtone series (root, 3rd, Sth_and octave) all on the low E string. Let the 6th string ring as the notes are tapped at the 12th (E), 9th (G#), 7th (B), Sth (high E) and 4th (G#) frets. When improvising, Eddie frequently applies the tap-on harmonic technique to fretted bent notes, asin the solo from "Feels So Good! (Ex. 8). Here, finger the D note on the G string and tap the D and A harmonics at the 12th and 14th frets respectively, while applying left-hand vibrato. Two other examples of this approach can be heard on OUB12 in “Source of Infection” (Interlude, bars 4 & 5) and “Black and Blue” (Solo, bar 3). Ex. 8 FeelgSo Good: Gte solo, bar 3) i _ ‘ Dn » a deg, aT 2 Se Ota teSOLO IMPROVISATION Edgie Van Halen brought to rock guitar an unprecedented level of technique and adventurousness in his improvisational style. Guided by an intuitive feel for melody direction, rhythmical placement and an irrepressible wittiness, his solo lines havea unique quality which is immediately recognizable and compelling. His high-energy runs especially biaze on “Source of Infection” (Solo 1, bars 3 & 4). The type of melodic sequence in Ex. 9 has been a Van Halen signature since their first album (on “Im on Fire") and has become a stylistic trait of the “L.A. Metal” school of the 1980's: Ex. 9 Source of Infection: Gtr. solo 1, bars 3 & 4) ee re og rs == | devo! FF van mod ‘Compare that phrase with Ex. 10—an aggressive double-timed line from*A.F.U." Notice the similar legato phrasing (hammer-ons, pull-o'fsandslides) but that the line from "A.F.U.” has more extended harmonic and melodicimplications. ‘The smoath combinations of scale materials and wide stretches are reminiscent of one of Eddie's personal guitar heroes — Allan Holdsworth Ex. 1O(AF.U. Gite. solo, bats 47) (en SS SS AJ eirontun inAlso check out "Mine All Mine” (Solo, bars 3 & 6), "Source of Infection” (Solo 3, bars 1 & 2) and the “A F.U." cadenza for more examples of the Van Halen fire. Eddie balances his high-tech, high-energy line forms with an underlying soutful biuesiness — undoubtedly, a resultof his obsession with the workof Eric Clapton in the late 60's. (Eddie stil plays the milestone “Crossroads” solo at the drop of a hat.) The blues influence can be felt in the vocalesque bending, emotional vibrato, pentatonic melody framework and laid-back rhythm feel that spice up practically every solo on OUB12. Specifically listen to the guitar work in “When It's Love” (entire sola), “Sucker in a3 Piece” (Solo, bars 9 - 11), “Source of Infection” (Solo, bars 5 -8) and the quirky country/biues flavor of "Finish What Ya Started! (fils and Solo). The latter reveals a side of Van Halen previously notheard on record: his ability o chicken-pick with his fingers and to rift wth a sparse loose-buttight Stones attitude, TREMOLO BAR TECHNIQUE Eddie Van Halen possesses a noteworthy tremolo bar technique that goes beyond the obvious dumps and ives (slackening the string), bends (depressing the bar before striking a note and then returning to piten) and vibrato (wiggling the bar to produce an exaggerated quaver). He canbe thought of, in this regard, as the crucial link between the 60's wnammy bar stylings of Jimi Hendrix and Jett Beck and the ultra-modern 80's approach exemplified by Brad Gillis, Steve Vai and Joe Satriani. Consider this typical phrase from "A.F.U." (Ex. 11) as a case in point Ex. 11 (A.W: Gtr. solo, bars 12-14) 32170 mea? Notice the combination of string bending withthe left- hand fingers (up two steps) and the trem. bar dive (down two steps), with the articulation of notes by only the trem. bar (just the first note is picked). Variations of this type of phrasing with the bar can be heard in “Mine All Mine" (Solo, bars 4 & 5), “Feels So Good” (Solo, bars 5 - 7) and “Cabo Wabo" (throughout the solo but particularly in bars 11 and 12) SOUND EFFECTS Van Halen has always managed to find new ‘neatnoises"for every record. QUB12 is noexception. In“Source of infection” all sorts of unorthodox sounds (muted scrapes, thumpingon the strings, etc.) actas fills between the verse Cchords. In "Black and Blue” Edie twirls the tremolo arm which acts as a sound source (though largely buried in the overdubs) and mimics a helicopter by allowing the slackened strings to produce a propeller effect. The Van Halen cascade of random harmonics (heard a decade ago in “Somebody Get Me a Doctor’) is brought back to comment on ‘Sammy's lyric". suck tall up in “Sucker in a3 Piece.” This characteristic flurry of muted notes mixed with harmonics is produced by gliding the palm edge of the right hand along the A string while continuously tilling withthe left hand. Move the right hand slowly in small increments and heavily mute the string to achieve the desired result. Edie Van Halen managed to rewrite the rock'n'roll guitar rulebook and then proceeded to tear it up and just play. With that in mind, this overview of Eddie's stylistic traits and the more innovative musical aspects of OUB12is, meant as a springboard to help the player gets his feet wet with some of the facets of Eddie's singular musicianship and unique approach to the guitar. Use the example set by Eddie as a source of inspiration for your own playing; experiment, be alittle reckless, and a lot creative and adventurous. And above all..nave fun! = Wol Marshall 7TABLATURE EXPLANATION TABLATURE: A six-line staff that graphically represents the guitar fin- ‘gerboard, with the top line indicating the highest sounding string (high E). By placing a number on the appropriate line, the string and fret of any note can be indicated. The number 0 represents an open string. etaeg Hone aac 8 Slime 8 = fume sew ‘omega = ‘ig 2 et Definitions for Special Guitar Notation en AMD RELEASES PICK SLIDE: Ym oe ot rw ck ‘cept ene PRE Beno: brane noe. or Chew tre {erate wo (or woe} sep. Ske mon BOO: ine es ‘em pte ms tn ra ge SS Teneo osea seca PALM MUTING: the ote earth {Buering me saga at bare emery amen ent done) (proaved by saa ree tre rau orr mace an ngeson ne Spa Rane dare fava stasnes smncue Morea) SngernnconteMine All Mine Words and Music by Edward Van Halen, Sammy Hagar, Michael Anthony and Alex Van Halen CS FSGS AST CSIP Gig AIM GSR FstOPEAIGSIOFED FSIOPE DS a Bie. gifs gfe. GAR Hal Hato. 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NC.(A7) Gn trem. bar ts, Ist Verse Half time feet AS Nine - ty days— “Droning A nove (G)open is payed witendom semvharmonics (pinch Ste wpick) throughout verses as = When my axe— it Bleed —+ = Et ==—# fon the stage,— off —— face and all —__ over me, — Yeah! = +2 26 — é- gt r = Pumpin up SSeS aire r = = So — $a ee — et a 7 . all 2 iy Fa-2) 5 Se f Zzee a eufeceet ect etiy aS : =a —, ce Te teen ‘era :) i — Ss He2nd Verse Half ime feet, AS Through the ice— in-to the fre, — NorthDon't ike the. mid dle squeez - ing me. When the rest have packed— it up. ick slideEss Bhs FS Gs _ a ‘Depron and ease Wem barat cach rate While Hing Bridge bs csp By csp ps csi wD Oo fa = aL Fousa/D FID sy cs/D B/D csID os cp BbBGS) bs cs BhYD. eS csp B/D ey al, let rings AM tema oe AA “ET pied Wy bas pat. Pps dup wr ue —a —— —j— a rea te Te Te TPH TeM TeM TPH tar tdon't pick).Uh-ow! Uh-ow! Uh- ow! Ow! RF ae me wired, — (end Rhy. Fig 1A) Rhy. FlHPs HE FF a prwnee sem. pick “Open harm. Std te, S67) wisting nie (thst) Depres tem. bar before sounding and return to PitchCabo Wabo Words and Music by Edward Van Halen, Sammy Hagar Michael Anthony and Alex Van Halen Moderate Rock J = 88 +61. and gis i 4 ==) A gus” i W “Gir one proceed with reverb Hasmonizer {outing Maneing), sn delay to produce As DIA Es AS D/A _ (end Rhy. Fig 1) Ist Vere wiRhy. Fig. 1 Dal=las, Tex = as. Aeron even, ach h mot ee Mn oud ht the ea Ry Fata SS % ar : ir = — 3 ed i vet as = 23 a (©1068 Yosup Mi Company Ey ‘Aight Recovedw/Rhy. Fig. 1 ES eee Gand iny 2nd Verse wiRby, Fig. 1 ES AS Dia, = tft p TERE pS There's a sleep-y town- that’s south of the bor» der— If you go there once, you'll be there twice — w/Rhy. Fig. 1A (1st 2 bars only) = pete ot Bt ete = = Lots of pret ty girls com + in" bythe doz -ens, Whoo! AS DS AS) DSAS og Preshonis ES — SEE ff ‘The whitesand suremakes a tan look nice Rhy. Fig. 1BCome on! Let—sme - fend Rhy. Fig. 2 ag, (ond Ry F.2) Rhy. Fig. 3 wea wee ee 2 ¢ cs fs % 7 + BEE tate eee sept f (Down in Ca - bo.) take you down, bie dag ot aa 7 foe a a aay HEY = ort oT resents Kissin’ the ground (ond Rhy. Fig. 3) oS Line 1 ogDIA ES it Eps yard hae to we ie fice potas sar oy ie wy Fig. 1A (st 2 bars oy) 5 as mes 4 == [=o = oe SESS Gar 4 ESS Wain? the sets dovig Bat le Ga bo Was both! Tress w/Rhy. Fig. 1B AS DS AS — DS B_ w/Rhy, Fig. 2 BSA Sp epee ge eh ae £ £ $4) pepe ~ eby ==! 2 = 7 Place comes to. life ev - "ry night. No! —___ 1 wan-na crash on the beach. (Whoo, — AS Bs winoo,- grote Ee tthe tet You know 1 wan = na make love in the sea ‘whoo,— ‘whoo, — ES/A E/Gt an eer patty! =f Fits par -a-dise— toa T. Yeah. eal ~ rit there. Wedon't have to chue= it = ‘whoo, 00, whoo) horas wiRhy ig 3 r > 4 os a + =e ~—4| Whoo! ue wi Rhy Fi Fos * 2 1 will show. (Resume Rhy. Fig. 3) Rhy, Fil bite D Asusd you all a ~ round own in Ca ~ nig = (ara), p ee ttedleGuitar solo Harmon hold bend Gur (2-stgclec.) gp let rng a. ler ring. Cas2 awed (Sra) Sener Sa et J ya = = = trem bar hold bend qe ee m YY Yew A MA (grad. ascent)Asus trem, bar (rem. pick) ee pee cee er FennGuz Am? Feu? Gaus? Am? D taf = Cus GS Cus? Guus? Ass? BS cud G/B Cas G/B e e att GD © O_O & YG cCma7 sgh PAL Muted sigs. (allow osoun4th Verse ww/Rhy. Fig, 1A w/Rhy. Fig. 1 BS As. DA ight from the bot- tle. — Salt shaker, little lick a lime,— ah w/Rhy. Fig. 1 (Ist 2 bars only) w/Rhy. Fig. 1B ES as AS DIA ES Band in Throw” down, down, ty to rene he ot om wll, hes as meas 4 Sieh tt oe RE =e ‘mine, all mine, Ha he. Come on, crash on the beach (go, — ‘whoo, ho a Ws all— right by—____ me. Torus whoo,— whe Let me take you down. 1 will show (Resume Rhy. Fig. 3) Let ome take— you down, face down in Ca (Down in Ca bo.) wiRhy. Fill 3 BsEas? Daue2 Eo causs Dus? ’ Asus? Gsus2 Asus? "Dovin’ the CaboEau? \ cous Dsus? =e Come on, get it, get it! ae peer ap Begin fade EsusdSource of Infection Words and Music by Edward Van Halen, Sammy Hagar, Michael Anthony and Alex Van Halen Moderately fast Rock J = 136 N.C.(A7) (Band tacet) aoe Se pees ae tea SS Sr Se Intro — Hi = oe 2 parm cp Wana En Tea ae dy 14 in £2 Ay Q t a wn) tt = Fe = we Pee fete @ SS DFG asa oe oo 70 |e 07 Bo BOS rm = @ G + + ee ee —— nS 7h Spot as toe ee ee ey 2 5 37-8. ee Slightly faster J = 140 ()—(Asust) (D) TPH TPN TPH TPH TPA TPH “TPH TPH TPNH TPHA TPH OW : 5 (ass) (D)) Par assay) ae IRay canst) poeta seatiies 6 nies pelt =a tre z ors Tear ee + ene orl wes eos eee watp en| wes wes cossee reer] TePH TPH TPHN TPH H TPPHM TPH TPH TPHN TP HH TPP sm ©1900 Yoenup Mi Company ‘Aight Reered7 7 vuwr away PH RP TRH TPH TPHH IPH TPHP a “Heaey mating (PM, co produce exiremely ercunive buss note) rash muted sigs, sharply. (Allow random Marmont Sound) i i = $f 3 —— Cepntie ritieciaaeny Cie ems —1— cae 2 2 2 ; oct —— a : = —| Up and down.— A round and ‘round. — bs == "Round and— ‘round.)- cr ch pt SSwag - FEE] Now,.flip on 0- ver. — 7 ; "Round and— round. — (Mov-ing up and— down, Pepe 51‘Stoke chords w/tp of pick lowing A. 0 sound, ASIFA EJS ASIFA SIE BS/FH) Ash ga = = $ is Goes $ = st ao‘Interlude c ocd oD @ cto c oct Hey Eddie! say what? hold bend fa ‘trem, bar rake AL 7 ke A Bej g oem “Gir & Vor dialog over at hars of Vere changes A Go En9 © ctD o co * hold bend grad, release q axe Fall oa a al fee veew peu mewne(Gtr. Hout) Fut enFis Bs cts (Vocal: That's right.) ick slide rem pk . Fon (secs ss) : wear naara waa ae x ——— satan ion onesie Chorus Ash ast a Fir ASIF srt a i = Asie SFA sit = £ E weeas rece Guitar solo 2 Fut : s Sneicr Woweu teu TRH TRH TRH T Sk oP aChorus ASIFE BS/FtASIFE foes eet, love is the —— souree— (of in - fee - tion. ASIFE BS/FE SIPS E/E ASIFE aS/FE nag I PF, Tovey love is— the souree,— of in - fee = thon.) — ae 4. gate ofen Guitar solo 3 anew cts i al eects eeeeeeeeees acu es ee i i nop wee Meee ow ‘9 a =AS/FE BS/FS ASIFS Pf Pf a ——— BSIFE ee : Fa B59 AD Ab *Free time oo. by = trem. bar ——— Mn bb 2 Sein 0) 2 a fe: | eet 3 = sree ee ‘7 = ada roving Room. ap “Depron aga weil stng dace int etboarFeels So Good ‘Words and Music by Edward Van Halon, Sammy Michael Anthony and Alex Van Halen FIC Fmij7iC C5 CS DS OG GS stoma rs ays as Fa i Fe str Ha fe tr. ag i qr fe a Moderate Rock d= 90 Intro ait wiFitt 1 Sh Ema a ADI ITI STFA STF IITA ITB ITT AT ee = Te th Bassin steady Toba ae. forge (Gta Pagal tord er forge ie (pn nd) ee Ox 3 w/t 2 Bn AAR SP em FTF FS A Sa —————— Om (end RUFA) gr Dae Fe IT gd Ps NADY = ————— here we go! 2nd synth bes are fora © 108 Yunip Mle Company ‘ALi Ronee, 0Osi. Hs “s stm DS _CSEOREDFMajTIC Fic oc os SDD AF8: FTF3: y ATG AIS ED ee ES oan 2. CC Fmajric Fic cs C5 DS_CStmD Oem om Gore osm. E A A > Gt DID STIS STIS ATT FISD FT) ATT) FTGoven om. Om. or Ost. te at, FE c A rams os oe 2 Sy aL Let rings === Ist Verne Ost. c - ad TOI one Rhy. Fig. 1 Gtr Let ring Organ til are. for at 6.w/Fil 2 ere Oye PIDD STII ITS FTF FT FTF FTF re sea daa gt vio S== == let ring == rx 5 cea r PM. wt oe (end Rift B) w/Rhy. Fig. 1 & Riff B (Ist 5 barsonl aS ee Pe iv) === love will come or g0.— But yes ter~day— 1 was a one. end Rhy. Fig. 1)tay ep + SHS ars Sud-den = y— 1 walked you home.— To onev-erreal= 1y knew what Sasa 2 ade a gene eee ones ATT ae Ta eae a FSSA SSS s na 3 SSD LT * : + = Stor ee love could make. me do.— TH send the mes- sage ina Pa Rhy. Fie. 2 “in send the mes-saee)= Gre. t tbeetid ob tebe ¢ AFF3 FFD SIF TS t BABII 2 BRAT gS a ee ft. tT 2. at ft. Oss. on Bee % Qu ? se Tt mae cf ote coucatunie fpaaglitieer at! giturtittegutegl Sea Rhy. Fil Gutoem om. ee em Ose Oe mse PRARAD IN as Sam Pssst t a pest oe i aint tor toe to vet me fre, (oon, (end Rhy Fig 2) % ts - ft. 7 2 beepleE dE feet fee rf ote Ep eg : : = 1 oe A se TaRiee PEE Tae wrk i aks ee se cone Om Bier oon AAA. st te ste a on Ot bt GAG aoredses see 4 - i. FRBAB aa 3 ow Jeep op et Stay un til it rolls a -way.— Though noth‘n’s on the shore,—— I'm w/Rhy. FY Pre-chorus e wiRhy. Fis. 2 & RiffC st * ¢ ° Fim G A Elie flier ees Sees (PU send the mes = sage.) — pospretces <5 Pray for the mer ~ cy of — the sea, —— Stormy weath- er. On, yeah. (oh) (oh.) (Ooh)cs'3f" Ds csr JD, AT 2S Chorus ‘w/Riff A (Ist 7 bass only) FIC afi 2 & ori —__ Andit_fels— rice — (gS eS aS a yee os gs BES Ee 2 > EI when love (80 nice So (Go good.) bes See eo se > w/Fi2 i= =e “ str DSCs FIC eh a 2700, 9 8 AFIS) 7 OF 4, fFeD STII? Fe 0 — And it feels s0 Wook! Wonice) ee let ring ‘Sipe ting nt Tene top ig {ner CAG on Tat Sn 8d stInterlude RID @3e. Sh OS Ste. ste He Os, Os. af Ste Oat. ste Dc DB A D c FA be Dab *k FIFA FSIS STIS SIS SIIB STB SIT SI FS 3 FFI SF FS Pe gees = = fo. eatiteiogs fe =e ie om [Ry Fe? RPA gt Au ‘A (end RED) Dm TRINA ae TAH pick 7 (end Rhy. Fig 3) 5 Oe = Ss 7 Co a a, Ost Dm © Dm = a 234 PEPSI UIPE tu feast a UIE : Le A ep Done die need wile apg on ai amos. if Beet th - ————— J SS : é _ Ss ee ; 4oe c Os. D % in 'Gtr 1 bbs ioe (cont in sashes) tet per Ful penne gree anes sate = = ° er 6 5 (8 wie ar w jp 4a RUT A a steady sls CS DS cst cs S773 daa ZT a a 12am =) 5 i ab Sy _ ; : =f zl —_ , ~ Fecls.30 No ~Andit feels. 30 nice Yeah! ra! Fut Fal Fal fat 4 ood. Woh! “(Bkgd. Voe. Figs 1) So good.) — Rhy. Fig 44, tr fa Fol Full Full Pull Fall — oe 8Ray. Figs Ost. me ste ate Gos D FD CLEC iota STAT STS d Fass 3062 J ‘ 7 when love comes a - round. L—feel good. (end Rhy, Fig. 44) Rhy. Fig 4B fon pie aS ‘end Rhy, Fig 5) w/Rhy. Fie. 5 CSE DS CSM AEIC Go © G) Gast) (end Bkgd. Voc. Fig. 1) fet fi feere When love comes.a - round, I— feel good.— 5 a (end of Rhy. Fig. 48) Hey! Gon-na make—her foo! = > = £ aE hare ta = by, feet good. — Wooh!(wiecho) So, come— ont Rhy. Fill ctr |Finish What Ya Started Words and Music by Edward Van Halen, Sammy Hagar, Michael Anthony and Alex Van Halen ESAS ES@™ DS/EGS/A. GIA Astor) psa) ig & Bor He ao we te Rate. 0. i ui e ig i ta EB Bm Gs Ff Gsm) ps ET Asst moe e uee i if Moderate Rock = 126 ‘Count (spoken) 7 2 2 a4 eo sot ec Strat played throughout i ites Gm Oey ese =“ at dot pad De po aaa Tplapel om wae ae ‘A Fights Roser cyOrn Ds/E ES E DS/E Es GsiA AS GsiA AS DS/E ne ee ee ava an 3 = = Este) Ds/E Est GSA AS GSA AS DS/E S24 Ay SID Ay JID 4 ds FI 3 ds D- hg Ist Verse ae tine iz vse son ua ois eee ie er ee ee ee S55 Fr = me eS : ps SSS Well, if you wan -na see ba- by, 1 could Jet it - ‘a Sa gftesg | aS ; 3 3 j =(end Rhy. Fig. 1) w/Rhy. Fig. 1(st3 bars only) a Dsje BS Dsje Ese) GAA Gia Sas AD SS pra SS Geer 2 Ge. | Prechors Bia Z22a 7d 6 ieee a UE Dim chm 3") chm Nite alt eel al fall shy 7 7 . Chorus Comeon, ba -by, in -ish what you start nAs ad Ave ade Wi) bno—— Vm in ~ complete ed © WH Ind Verse Ww atts Bi Eee Ne se Bs yo ay aa I need some sym-pa - thy. stores) E GA A GIA A DS/E an Avy deTTD 2 Ay hI! 4 Dy dae pom psp pion cas GA A ast Rem SD 2 ds he Dei 4 Ay hae a7 > = = ee ster Per ¢ Seay 3 z + + a asPrechorus wey Ore ee) Geren Baas BB sas AAS SI FIT Ie J JAA IG = ee ee @ S cat 7 = —— AS GSIA Chm vas TA, odds a8 3 Come on, ba-by, finish what you start Fm in -complete, — “SS 2 nilade x Sprtitattor-t peep it eed ‘Thatain’t no way to treat the bro - ken-heart Come on and fin epee Ba 139% or 1HGuitar solo stm Ds A Come on, ba - by! Ba- by, come on. Ba = by, ba + by, ba by, ba- by, ba- by, bal Tay book tne gly for one bu a wae7 va Ave Road Me OS Saha a Comecon, baby, finish what you start - ed, Ah Rhy. Fill |That aint no way to teat the bro Kens heat > ed Nan tf = + et — : St Sah + — = _Esttrre a), os DS/E Es tree 3) GS/A a SDT a TT TTF ae 2 £ = =a faicd = sf Fis 6 ps == = ~ vor wo Comes aby fin- bh wht you tat ok SS SS S25) SS eases = ——a === sia a4 GA A ss 2 oT MID TAS AS GSIA Set Estre) Tye Tad FS DS/E__GS/A DS/E jt fs fs ss) Gimme! sive) Ds/E__GS/A Z7a 1 As bro ken - heart = That ain't no way to treat the ose bse GS/A Est AS a gies 4 ere ftEstee) GSA aS GSA GIN aA sTTa os IST Ta TTT ate es a = 2 = cach te, om @om ae A GSE DSB ESOm) bse ES") SIE GIA sa 4 STAa ey tsa Ty ei TAIT? (Ba - by, come on.) — Ws GAA GIA ESO"? why, Fi? AS SI TH Ta AOS (Baby, come on.j— 1 got the tools, Rhy, Fil 2 Gtr.Es (Ba - by, come on) — Rhy. Fill 3 Gite I be Eew/Rhy. Fit S| gH aheesf _ (Ba -by, come on. — = —t av or ——————— Shout! — Ga - by, come on.) — ae a = Fade ou nia Ox Oe neti a a nd - 3 re Now, come on.— Now, come on. — No —TBa--by, come on) a (Ba - by, come on) — c= ig 4 14 1/a J & gine 7s 5 Rhy. FillS Gee. acai (be Trem. PR eS ee ¢Moderate Rock J = 104 N.CAED) (e6) Intro G1 Black And Blue AS ES GS Halos. athe ea TPP moma Chorus tet ring Words and Music by Edward Van Halen, Sammy Hagar, Michaol Anthony and Alex Van Halen Se = bx = + a (Bass & drums eset) NCE) (6) ES All Daddz/A AS ¢ 4 Ss eras ve e é * * ra eT Intime NCE (E6) + = — + + 4+ a = cot * a - ‘open BD r = cy to sound as F wee Neen 6 ts us bs 7 ts 4: —, =e a — 4 "é Slip “n’ — slide, : == ‘The bitch sure got the shy-thm, 3 fa z a Pane i = ott =e et ra = WP WP HP a Es a New = FS =5—— ot con- to (On! Hooked fn = to her ys tem wn un (e5)N.c.AET) (6) Bs 2 top tee : —— 2 Sz unt The hard - er the a Do it till we're ‘ tava oS cet Rees be t a7 Gir Qaniger Rie 1 1 1 Bee eee,Chorus NC.(E7) (6) eo Li N.cAET) eee Unt The hard -er the| mon, ba - by! Do it! Black and. blue (Blgd. woo) «blue — Guitar solo tt dal FS, noone ? a aah uF ae 7 Tapped harmonive C5map Dame o£ 7 rw Es ‘rem bar me ME rs pou eeena te ° aH Pall bar wp 12 p tel tp wl oF TP tke ts<< Rgery' Ze 2 aa. Int bend ao Fall BeringNCE?) 6) ES 7 Un The hard -er the bet - ter. Oo. petcti ER omy We'll do it till we're ys ie = = ee ee 2 $i et ee | t pe ae a gt ——— sate = Ba-by. I ain't through with you. 00. “Hard = er the bet-ter.— Wel doit il Ba qe — er eetrem. bar aas ES vs as ts bs 22 ptee Ta ‘ : ga : The wet = ter the better. — Let's doit til we're black and blue. *Rirengs ly thogened wen, ba Iw found ty upg estan peak i bradpeAtrhythaws ar ulated yishagine the bar sew/ctr'l bs 7G plays random sound effects bared ete ok iletfect chewed with lowe tremolo bar Le twig the bar, ieochet against bridge unite NET) (E6) (es) Wa w a ciSucker In A 3 Piece Words and Music Edward Van Halen, Sammy wichaol Anthony and Alex Van Halen Free time (Rubato) (J = 106) (and tact) ro ~ Bs ' fe Be + E 3 fick lies (steady iss ~ Gy = = 2 Z & + — bs GSD DSA. AS i ae E ‘ a __<¢ Pick sides ot = ——- = sot : 3 p + TT a1 dt? ‘ap harmonics om open F (6th st) Side pick back and forth sos sigs indicated while descending ina steady wi yp vs ayp Dirt TA puck (© 1908 Yeeup Made Company ~ ‘APs RewardModerate Rock J = 140 (Band in) as DS/A as SIA (as) pees eee iesvvasesvuatestye PHPPHPPHPPUPPROP H 2 WIPO FRO RP OTe Her ape urP PP uP Rae PH ching i) whe hanimerng om so paling ot wh Tet fund, sounding rondo harmonic nd palmate as Ds___as. Gs As aa 2 — ¢ =) 3 33 5 3 = PP Wikrato dad eS a oe ES ps As DSA eee AS Gs as bs= vo Fe picks © with long legs Win dad a das don't war-na Whoo! Sweet lit - te wish = sa i a. a. + ft coe " — sa = é =break her in half Lick up a-one side and down the oth - er waysmake her laugh. Haha! down, down to the bot- ick side ‘ry-thing you” want FS cs Gs bs sive you ev = “ry-thing you need, still you want that sug - ar dad - dyHunt She want a == surem. bar r help bend BU Ue Bo» » pf 2 bs whoo, with just one look. — ph sada es Ft eee ae 2nd 8d st.AS ES AS ps (as) as Got me a brand-new — num-ber my Hit tle black bs (as) gs Ds bs os AD bs Sb Well, she don’t like the way shedon't like— the way I wear my —hair,~ «s te es "> ——— See Just take me down, down, down, down t0 the bot-6 Ds «GS DS. I tp ee ‘ry-thing 1 need, aL trem, bar VU UY ev, ont She wantpeas Gs as Ds As NC) eh Bridge He justGs Ds aa suck - er. Look at all that mon-ey, baby. Ya. kiow your sug - ar dad - dy. ts. bs emia gie ee 2 EE E Se ee a Mey! You'e both a bunch of sick - en é sraualy it mate ler ring-- i Chord names implied by bas Em7/A, i rem. bar a old bendet sees TPH TP TPP op reper reer, oes wee cs 3 EmT/A por ow Boe a Tit typ tee tee fo hed ateh z nn = 5, toca as AH AAMAS SSS fake seman, ANN **Vibato and aptly depres sTopen harmon teh har mbar depressed) maaan Ema PodFAs Bs FAS BS FAS Bs 100Out chorus Bs a wee SEE s8 As SES bs He got a big old bel - Wy ES ditt t — FF = piepertecr ‘01dips Stone cold, sug = ar dad- 102Gs ps ES Fre time (#25 eS ab That's alright go ahead, suck it all op, Ante usd of ight hand ie hammering om and pulling of with eft hand, sounding random harmonics and palmate notes right down to the last drop, seuESSSCEEEeentaatione ; a as Sg ea aa ag aii ene ‘radial rit eee) + — * + ° >VAN HALEN OU812 Mine All Mine When It’s Love A.F.U. (Naturally Wired) Cabo Wabo Source Of Infection Feels So Good Finish What Ya Started Black And Blue Sucker In A 3 Piece $19.95 in U.S. , 4 SBN 0-89524-409-8 TL i '3999"40022! 02507104 Printed inthe U.S. } ited in the MB etna