All By Myself (lyrics, tab etc)

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All By Myself (lyrics, tab etc)

Postby govanspoonful » Sun Jun 04, 2006 10:55 am

Not sure if this is the correct place for this one given its an available B side.

All By Myself is one of my favourites.

But it sounds as though he laughs at the start or is about to laugh. The vocal is a bit ropey at the start.

I often wonder why he never re recorded the vocal during the session.???

No one has mentioned this before so I thought as not much is happening I'd throw it up for discussion

Daggsy
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Postby James » Sun Jun 04, 2006 1:17 pm

I think its a laugh aye, almost as if his vocal cracks when he's singing, which makes it sound quite weird since its quite a mournful song in that sense...

I think he liked the fact he was able to play around on b-sides... see 'Over' (in its ghetto blaster hissy glory), 'Who Knows', 'Ride Yer Camel'... they don't have the same 'perfect' studio sound, theres background noises, random overdubs thrown in, you can even hear the creaking of the stool and the squeak of his acoustic strings on 'Who Knows'...
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Postby Evertonian » Sun Jun 04, 2006 4:36 pm

Yeah, I always thought he was trying to make it sound like he's nearly crying :cry:

Is that the only version of it available?

I think it was that Boo character in the book who said Lee would spend ages on songs like TSG and then just thrash out the likes of Come In Come out. Madness!
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Postby whitesnake » Sun Jun 04, 2006 8:02 pm

Its definately a laugh i'd say. Probably John pulling faces or something silly like that. I reckon its just to distract from the deep sentiment of the song, almost like he's slightly embarrassed by the lyrics raw subjectivity. They probably left it in after warming to it hearing it over and over again in mixing.

The awkward 'G' bass note (if played in 'A') is just inspired. Gives the song extra genius when its already apparent. Always thought the song registers in Lee's top 3 song writing exploits.

Does anyone one know how the straining 'large ship' type noise is made on the intro and throughout the song? The bassy strains? Always thought it was possibly a Space Echo unit.
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Postby Scott » Sun Jun 04, 2006 8:06 pm

whitesnake wrote:Its definately a laugh i'd say. Probably John pulling faces or something silly like that. I reckon its just to distract from the deep sentiment of the song, almost like he's slightly embarrassed by the lyrics raw subjectivity. They probably left it in after warming to it hearing it over and over again in mixing.


I always thought it was something like that, someone distracting him while he's singing, trying to make him laugh, i like little things like that, clinical perfectionism is for Phil collins records :P
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Postby govanspoonful » Mon Jun 05, 2006 9:52 am

whitesnake wrote:
The awkward 'G' bass note (if played in 'A') is just inspired. Gives the song extra genius when its already apparent. Always thought the song registers in Lee's top 3 song writing exploits.




Can you give me some more info on this???

I totally love yhe sound of All By Myself. Is it down to different tuning?

Cheers
Daggsy[/b]
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Postby govanspoonful » Mon Jun 05, 2006 9:56 am

whitesnake wrote:
Does anyone one know how the straining 'large ship' type noise is made on the intro and throughout the song? The bassy strains? Always thought it was possibly a Space Echo unit.


I think the strianing ship sounds as if the part has been played faster then slowed down or recorded double speed and then played back at normal speed......its got that vibe..........could be wrong though.

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Postby iz rite la » Mon Jun 05, 2006 11:25 am

I think its nice to leave stuff like that in songs, it gives em a human quality, like the Dylan song 'Bob Dylans 115th dream" when the band forget to come in at the start:

'I was riding on the Mayflower when i thought i spied some land...hahaha start again'

An he nearly breaks into laughter loads on Another Side Of.. , an does break into laugher a coupla times like on All I Really Wanna Do.

So yer, it adds a nice warmth to all by myself, especially considerin its a dead sad song.
Last edited by iz rite la on Mon Jun 12, 2006 10:03 am, edited 1 time in total.
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Postby James » Mon Jun 05, 2006 7:36 pm

govanspoonful wrote:
whitesnake wrote:
Does anyone one know how the straining 'large ship' type noise is made on the intro and throughout the song? The bassy strains? Always thought it was possibly a Space Echo unit.


I think the strianing ship sounds as if the part has been played faster then slowed down or recorded double speed and then played back at normal speed......its got that vibe..........could be wrong though.

Daggsy


standard tuning daggsyo... sutton playing 2nd acoustic 'lead' guitar isnt it?
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Postby whitesnake » Mon Jun 05, 2006 11:00 pm

govanspoonful wrote:
whitesnake wrote:
The awkward 'G' bass note (if played in 'A') is just inspired. Gives the song extra genius when its already apparent. Always thought the song registers in Lee's top 3 song writing exploits.




Can you give me some more info on this???

I totally love yhe sound of All By Myself. Is it down to different tuning?

Cheers
Daggsy[/b]



All by Myself has a bottom E string 'G' note (3rd fret) on the intro. Its the awkward sounding first note of the fith bar (half way through the intro chordal round). Think thats right

I always worked it out in 'A' but not to the song thinking back and i havent heard it in ages so if its in a different key i apologise. The above applies to the key of A though!

Lovely picking part, Looking Glass's pretty younger sister!
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Postby govanspoonful » Tue Jun 06, 2006 9:37 am

Cheers chaps

Daggsy :D
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Postby Rod Cow » Mon Jun 12, 2006 5:57 pm

Hi,

How To Play The Solo
(the solo info and tab is futher down the page)

Just a quick explanation of how I think the song is played.

This song is in B and has to be for the low 'E' note as first heard properly after the word "again" in the first verse.

I've discussed this with other people and they agree.I am informed that Lee is using standard tuning and while this makes the main body of the song is hard to play,it's not impossible.

This makes the awkward 'G' note that W.S. speaks of a much easier to play as an open A string over a 'B' chord shape(ie an A major chord but fretted with your 3rd finger across the D,G and B strings and moved up two frets and the A string left open).Or you can fret the G and B strings at the fourth fret with your third and little finger and move your first finger and second finger(for the third note of th bass line-the Ab) around the bass notes.

To play the song in 'B' you have to play a Bb note as the second note in the bass(the rest of the chord virtually stays the same throughout).So barring the D,G and B strings with the third finger you play the desceding bass line as follows.

B.........Bb.......Ab........F# twice


then you play the A in the bass followed by the E in the bass and A again.

The repeated riff on the high notes is achieved by using a 'sus4' shape(making the Eb an E natural) B chord and the F# at fret 2 of the high E string,ending on a C# note played at the 2nd fret of the B string which requires some tricky fingering.
Alternatively you can get the E note simply by playing the open high E string.

Here's the tab for the solo,which has an open B string ringing out throughout,further proving the song to be in 'B' major.

It's kind of fingerpicked with you plucking the G string note(with thumb of right hand) first and then cascading down the E B and G strings over and over again(3rd finger,2nd finger,Thumb).

The explanations all look more complicated than just playing the bloody thing but I'm trying to be as helpful as I can and once you CAN play it I promise you'll be playing it all the time.

Also your ears will recognise the sounds when you play the shapes and this should also help you to work out how to play it.

So..Here we go.......


Phrase One(play twice)

This is a 'double stop' technique so use your second finger on the G string and your 3rd on the E string and keep plucking the open B string in between(you'll see on the tab what I mean hopefully).

Try and play all transitions of notes on the G string as slides(both down-for the first half,and up-for the 2nd half)
I wont bother representing the lower E A and D strings as they are not used at any point in the solo
The shape is the same for the 1st,2nd and 4th shapes (both fingers at the same fret) with a slightly different shape for the 3rd shape
(bring your first finger into play here to fret the E string at the 7th fret) like this..............



(I wont bother representing the lower E A and D strings as they are not used at any point in the solo)

E____11____________9___________7___________6_____________
B________0___________0___________0___________0___________
G_11_______11___9______9____8_______8____6_______6_______

Played twice the above represents the first 4 bars of the solo(remember the beats are counted slow on this slow song so don't count the beats too quick and get confused)

I wont bother representing the E A and D strings now as they are not used at any point in the solo)

Phrase two
This time the E string is left constantly open and the B string is used as part of the double stop for the first half,then it's back to fretting the G and E strings and leaving the B string open for the second half of the phrase.

Basically we are playing here are the last few strings of a standard E chord,then F#7 (with the '7' being the open E string) and then Emaj7(but it's actually more like a Bsus 4 with the open E string)

Confused?-I don't blame you! Just play it and it will become clearer.

E____0__________0__________0_________0_______________________
B______0__________2__________4_________2_____________________
G__1_____1____3_____3___4______4___3_____3___________________



E____0_________2___________4___________6_____________________
B______0_________0___________0____________0__________________
G__1_____1__3_______3___4______4___6__________6______________

This represents bars 5-8 of the solo.

Then play the first part again(twice again!) with this little bit thrown in as the last half-bar before you repeat Phrase Two..........................


_12_12__11____9_____7__________________
___________0_____0_____0_______________
_13_13__11____9_____8__________________


It's not precisely spaced but I hope you can get an idea of how to approach the solo.


Good luck with it.
Cheers,
Paul
Last edited by Rod Cow on Tue Jun 13, 2006 11:31 am, edited 3 times in total.
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Postby Anonymous » Mon Jun 12, 2006 7:45 pm

Thanks for posting.....i can play it..... :lol: ...but too slow at the mo, :(

Great,great song. :D
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Postby Rod Cow » Mon Jun 12, 2006 11:07 pm

Hi Rob,

Well I'm pleased you could understand it as I thought I'd over-compilcated it a bit,so that's great.

It's a beautiful little solo Lee constructed for that song (Barry Sutton,who said in the Record Collector article that this is the only officially released song he plays on seems to be doing the feedback stuff and maybe playing that low sound people have been discussing-which to me always sounded like a cello-but could easily be a guitar which has been sound-modified.

As for the creaking and 'string squeak' as heard on Who Knows and the other strange noises heard on b-sides and stuff I agree that Lee seems to have seen the b-side as a place for more experimentation than he would usually allow on the main 'a-side'.You can hear what sound to me like one of the band whipping their guitar lead(causing an intermittent buzzing sound) at the end Come In,Come Out(and NOT the Hedges version of IOU as I earlier said.That's not even a proper B-side.I divn't knar waht I was thinkin')

Also if you listen closely to the intro of Who Knows,it seems to be Lee just warming up,doodling on his acoustic(as opposed to any pre-meditated idea as to how to begin th song) and an intake of breath is heard from Lee just before the track(track as in the multi-track studio tape) is muted(this sudden 'switching off' of the track with Lee's implied comment after the intake of breath is masked by the fact that the entire song is bathed in a lovely 'endless-echo' digital reverb effect,and I suspect that Lee said something to the folk in the control booth at this point,maybe indicating he was going for a take and when this doodling was played back it was decided it was a good way to begin the song so they left it in)

It always interested me how they got that tape saturated,never ending reverb effect on Who Knows and Man,I'm Only Human and it was only when I got a digital reverb effects rack for my own use that I found out it was (probably) done in this way.

Even though Lee is thought of as some kind of technophobe I think that it's likely that digital effects were used at the mixing stage of at least some La's studio recordings(Lee may not have even been there for the mixing of the There She Goes b-sides but we do know from Boo's account that he was there for the mixing of There She Goes)

We know he wasn't there for Steve Lillywhite(wash) mixing of the album(although he was invited he stayed away in protest of being forced to release the album),and there's definitely some digital trickery on that album's mix.

Lee reports on Rapido that the finished mix has "voices appearing where no voices were (recorded)" suggesting that Lillywhite 'flew in' backing vocals and who-knows-what-else in from earlier discarded sessions.

I've often wondered if this is how the ending of Looking Glass where lines from several other La's songs are heard in the crescendo at the end of the song-my guess would be yes.

Also on the '91 Cammy-era live tapes Cammy uses a wide range of digital effects on his guitar-distortion and flange/chorus type effects(not always acheiving a good sound,it must be said.

Anyway,as usual,just some thoughts,like

Cheers,
Paul
Last edited by Rod Cow on Wed Jun 28, 2006 8:09 pm, edited 1 time in total.
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Postby lasersafari » Tue Jun 13, 2006 12:00 pm

I reckon hes crying.
Throw your spear through me....
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