Lavaging Expectorate of Lysergide Composition
(Tune down 2.5 steps to B)
(segue from Carneous Cacoffiny)
Rhy. Fig. 1 (End Rhy. Fig. 1)
Intro play 5x
|------------------|------------------|------------------|-------------------|
|------------------|------------------|------------------|-------------------|
|*-----------------|------------------|------------------|------------------*|
|*------------7/10-|---------10\7-----|-------------7/10-|-9766--------7/10-*|
|---------6/9-5/8--|----------8\5-9\6-|---------6/9-5/8--|-----8755----5/8---|
|-0-000-0-4/7------|-0-000-0------7\4-|-0-000-0-4/7------|---------7544------|
e sse e e e e e sim. sssssssssssse e
(lead: Administration of toxic compounds by M. Amott)
w/Rhy. Fig. 2 (first two measures only, 4x)
|----------------------------------|------------------------------|
|-/15p12---------------------------|-15b17--15b17--15p13-12~~~~---|
|--------13------------------------|------------------------------|
|-----------15p12-----------dive---|------------------------------|
|-----------------14~~~~~~~-w/bar--|------------------------------|
|---------------------------(0)\---|------------------------------|
\
|--------15-------14~~~--|--------15-------14~~~---14-12-12-12-|
|-/12-13----12-13--------|-/12-13----12-13---------------------|
|------------------------|-------------------------------------|
|------------------------|-------------------------------------|
|------------------------|-------------------------------------|
|------------------------|-------------------------------------|
|-12-15------------------------------|-------------------------------------|
|-------12----12---------------------|-------------------------------------|
|----------14----14-14-12-11---------|-------------------------------------|
|----------------------------14~~~~~-|-14b16-14b16--(16)r14--14p12-14~~~~~-|
|------------------------------------|-------------------------------------|
|------------------------------------|-------------------------------------|
|------------------------------------------------|
|--------------------15-12-15-12~~~~~-(12)\------|
|--/11~~~~~-11h12p11--------------------------9--|
|------------------------------------------------|
|------------------------------------------------|
|------------------------------------------------|
pick repeatedly
|---------------------------------------|--------------------|
|------------------12h15--15b17--15b17--|--15b17~~~~~~~------|
|-11~~~~~~~~-12h14----------------------|--------------------|
|---------------------------------------|--------------------|
|---------------------------------------|--------------------|
|---------------------------------------|--------------------|
Rhy. Fig. 2
1st verse... "Officinal, immiscible compounds are mixed..."
|-------------------------|-------------------------|
|-------------------------|-------------------------|
|-------------------------|-------------------------|
|-------------------------|-3-----3/4-3-------------|
|-2-----2-----2-----3---5-|-1-111-1/2-1-3-----3-5-3-|
|-0-000-0-000-0-000-1-0-3-|-------------1-111-1-3-1-|
e sse e sse e sse e e e e sse e e e e sse e e e
|-------------------------|--------------------------|
|-------------------------|--------------------------|
|-------------------------|--------------------------|
|-------------------------|-3-----3/4-3--------------|
|-2-----2-----2-----3---5-|-1-111-1/2-1-3------3-5-3-|
|-0-000-0-000-0-000-1-0-3-|-------------1------1-3-1-|
e sse e sse e sse e e e e sse e e e e q e e e
|-------------------------|-------------------------|
|-------------------------|-------------------------|
|-------------------------|-------------------------|
|-------------------------|-3-----3/4-3-------------|
|-2-----2-----2-----3---5-|-1-111-1/2-1-3-----3-5-2-|
|-0-000-0-000-0-000-1-0-3-|-------------1-111-1-3-0-|
e sse e sse e sse e e e e sse e e e e sse e e e
(End Rhy. Fig. 2)
|-------------------------|-------------------------|
|-------------------------|-------------------------|
|-------------------------|-------------------------|
|-------------------------|-3-----3/4-3-------------|
|-3-----3-----3-----3-5-2-|-1-111-1/2-1-3-----3-5-3-|
|-1-111-1-111-1-111-1-3-0-|-------------1-111-1-3-1-|
e sse e sse e sse e e e e sse e e e e sse e e e
Rhy. Fig. 3
Chorus:
|------------------|----------------------|
|------------------|----------------------|
|*-----------------|----------------------|
|*---------7-------|-----4----------------|
|--9---6---5---8---|-3---2---2------------|
|--7---4-------6---|-1-------0-000-0-0-0--|
q. q. q. q. q. q. e sse e e e
(End Rhy. Fig. 3)
1... 2...
|------------------|----------------------|--------------------|
|------------------|----------------------|--------------------|
|------------------|---------------/9~~~-*|--------------------|
|----------7-------|-----4---------------*|---------7----------|
|--9---6---5---8---|-3---2---2-----/7~~~--|-9---6---5-----5-8--|
|--7---4-------6---|-1-------0-000--------|-7---4-------7------|
sim.
Rhy. Fig. 4 (4/4 time)
|------------------|-----------------|---------|---------|---------|---------|
|------------------|-----------------|---------|---------|---------|---------|
|*-----------------|-----------------|---------2---------|---------2---------|
|*-6---------------|-----------------|---------%%--------|---------%%--------|
|----8-5p0---------|-------------5-8-|---------|---------|---------|---------|
|----------7p0-0-0-|-0-0-0-0-0-7-----|---------|---------|---------|---------|
e e e e e e e e sim.
(End Rhy. Fig. 4)
1... 2...
|----------------|-----------------|-------------|
|----------------|-----------------|-------------|
|----------------|-----7----------*|-----7-------|
|-6--------6-9---|-6-9------------*|-6-9---------|
|------5-8-------|------------5-8--|-------------|
|----------------|--------0-7------|-------------|
(leads: Gross disorientation by W. G. Steer)
Half-time
w/Rhy. Fig. 5
|------15-/19--15------------------------------------------|
|-/17--------------17------17b19--15--19--17~~~~~~--(17)\--|
|----------------------16----------------------------------|
|----------------------------------------------------------|
|----------------------------------------------------------|
|----------------------------------------------------------|
|-----------------------------------------------12-14-12-10-
|-/17b19r17-13-15----------------------15-12-15-------------
|-----------------16h17p16-14-16-14-12----------------------
|-----------------------------------------------------------
|-----------------------------------------------------------
|-----------------------------------------------------------
-12---------------------------------------dive w/bar------|
----12-10-12-10-12b13r12b13r12~~~~~~~-(12)\---------------|
-------------------------------------------\--------------|
--------------------------------------------\-------------|
----------------------------------------------------------|
----------------------------------------------------------|
The next ascending lick is extremely palm-muted, and difficult
to pick up exactly, so I approximate it with this, although
this isn't right:
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------12--1212-14121414-
|-9799-1091010-12101212-/14121414-/15141515---15--------------
|-------------------------------------------------------------
P.M.------------------------------------------------------+
-------------------------------------|---------------------------------|
-------------------------------------|---------------------------------|
-------------------14--1414-16141616-|-16h17p16p14-16h17-16~~~~~-(16)\-|
-16141616-17161717---17--------------|---------------------------------|
-------------------------------------|---------------------------------|
-------------------------------------|---------------------------------|
P.M.------------------------------+
End half-time, then play Rhy. Fig. 4, again, into the second of Bill's
masterpieces (again half-time):
w/Rhy. Fig. 5 (first three measures)
|-----------------------------------------|
|-17~~~~~~~~-(17)b19r17b19r17-(17)~~~~~~--|
|-----------------------------------------|
|-----------------------------------------|
|-----------------------------------------|
|-----------------------------------------|
|----------------------------------------------------------------|
|-t20\19p17-15-17-13-13~~~---15p13-12~~-(12)b13r12-(12)~~~-(12)\-|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|--------------------------------------------------12-14-15p14-15p14p12-
|-/15-13-12-13-12h13p12-10h12p10-------12-12-13-15----------------------
|--------------------------------12h14----------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
|-----------------------------------------------------------------------
w/Rhy. Fig. 5 (1st measure only)
Harm /\
------------------------|----------------------3---\--------|
-1515-14-13-12-10-12-10-|-12b13r12~~~~~-(12)--------\-------|
------------------------|-------------------\--------\------|
------------------------|--------------------\--------\-----|
------------------------|---------------------\-------------|
------------------------|-----------(vibrato & dive w/bar)--|
w/Rhy. Fig. 5 (first three measures)
|-----------------------------------|-14~~----/19~~~~~-(19)b20r19~~~-19-20-|
|-/17~~~~~-17\12~~~-12/15~~~-/17-15-|------15------------------------------|
|-----------------------------------|--------------------------------------|
|-----------------------------------|--------------------------------------|
|-----------------------------------|--------------------------------------|
|-----------------------------------|--------------------------------------|
w/Rhy. Fill 1
|-19~~~-19h20-17~~~~-17/19-17p15-17p15-14h15-|-14~~~-14h15p14----------|
|--------------------------------------------|----------------17~~~~~--|
|--------------------------------------------|-------------------------|
|--------------------------------------------|-------------------------|
|--------------------------------------------|-------------------------|
|--------------------------------------------|-------------------------|
(Bill uses an extremely wide vibrato, in many cases bending up a half-step
or more on some notes, which is notated in some places as a series of
repeated bends and releases, e.g. 15b17r15. Live, at least, he uses the
whammy bar throughout much of this solo.)
End half-time again, with this structure for the second half of the song:
Rhy. Fig. 1 (4x - the first time, subst. Rhy. Fill 2 for the first measure)
second verse w/Rhy. Fig. 2
chorus w/Rhy. Fig. 3
outro w/Rhy. Fig. 4 (first seven measures, and take the second ending)
Rhy. Fig. 5 (under "Gross disorientation") is as follows:
(three measures of 4/4, and one of 2/4)
|----------------|----------------|----------------|------------------|
|----------------|----------------|----------------|------------------|
|----------------|----------------|----------------|------------------|
|----------------|----------------|----------------|------------------|
|-3-----2--(2)---|-3-----6--(6)---|-3-----4--(4)---|-3-----2-----5-8--|
|-1---x-0--(0)---|-1---x-4--(4)---|-1---x-2--(2)---|-1---x-0---7------|
e s s (h.) sim. e s e s s s
Rhy. Fill 1------------+ Rhy. Fill 2----+
|-------------------------| |-------------------|
|-------------------------| |-------------------|
|-------------------------| |-------------------|
|-------------------------| |-------------7/10--|
|-3-----2---2-2-2-2-2-2-2-| |-2-------6/9-5/8---|
|-1---x-0---0-0-0-0-0-0-0-| |-0---0-0-4/7-------|
e s e s s s s s s s q e e e e e e
(Rhy. Fill 1 is a meter of 3/4)