The Kaatalogue - Reference Charts Sir Army Suit These charts transcend the familiar lyric-plus-chord-symbol format. They include all of the correct harmony, moving bass lines, all of the lyrics as sung on the records, a few of the distinctive drum fills, and some sound effects. The presentation clearly illustrates the structure - all of the intro, link, solo, and fade sections are outlined with attention to the odd 2/4 bars and the numerous variations Klaatu cram into the 'repeated' sections. Finally there is a commentary section explaining some of the musical nuances, or giving more detail which would otherwise clutter the chart. Where available there is some insight into the writing or recording with a comparison to demo material. 2 A Routine Day 5 Juicy Luicy 9 Everybody Took A Holiday 12 Older 15 Dear Christine 19 Mister Manson 23 Tokeymor Field 26 Perpetual Motion Machine 29 Cherie 32 Silly Boys

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= A ROUTINE DAY Lyric and Music by John Woloschuk 2 beats per chord VERSE: (6 seconds of rain sounds - a sprinkler spraying into Terry Brown's pool) A= F6 ` Em7b5 _A7b9 It started off a routine day Dm ` Bm7b5 _E7 I got through the morning in the usual way Bbmaj9 ` Eb9 ` I caught the bus on time Am /G D ` Good morning Mr Driver drive as I Bb ` C7/Bb ` Sat inside my over-coat I clutched my cane Am A/C# Dm _'Am/E 'F And pressed my nose a-gainst the foggy window pane ho 'Gm7 '(4) Gm7 'Csus 'C 'C9 'C7 Hum the life I lead would even make a E7 _F Bbm6 ' 'F|Bbm6 Bbm6 ` Dead man yawn VERSE: F6 _/C Em7b5 _A7b9 Midday comes I break for lunch with my Dm _/C Bm7b5 _E7 Sandwich and a beer I go on a hunch to the Bbmaj9 _/F Eb9 _/Bb Park where I hope to find Am _/G `D/F# _'/E _!/D !/C A little bit of peace of mind as I Bb ` C9/Bb ` Sat there on a bench amidst the rodent race Am A/C# Dm _'Fmaj7 'F I felt a strange sen-sation that with-out a trace ap- Gm7 Gm7/F 'Csus 'C 'Bb/D 'C7/E peared but then as quickly dis- ap- + 4 + 1 + 2 + 3 + 4 + C= F= A= C= Bb=A= G= F= Eb=D= C= <-elec gtr E7 _F Cm7 F7 peared a-gain so tell me

MIDDLE: Bb ` Bo ` What's the bloody point of playing the game F _Am/E F7/Eb _D7 With so much to lose yet so little to gain you Gm7 ` C7 ` F ` Cm7 F7 Sell your life a-way why can't you Bb ` Bo ` See you're just a cog working like a dog F _Am/E F7/Eb _D7 You trade your future for a dead-end job that's Gm7 ` _G7 ` C C6 Full of rou- tine days 'Csus4 'C F/C C C6 C C6 Routine days VERSE: F6 _/C Em7b5 _A7b9 I race the clock to the end of the day Dm _/C Bm7b5 _E7 The pay check in my pocket makes me feel o- kay Bbmaj9 ` Eb9 ` But was it worth the grind Am _/G D/F# _D Just to keep from falling be-hind Bb ` C9/Bb ` I stand here in the queue behind a foul ci-gar Am _A/C# Dm _'Fmaj7 'F/A My face discreet-ly buried in a book on Mars hum 'Gm7 '/F '/D '/Bb 'Csus 'C 'C9/D 'C7/E Drum and I'm waiting on the pier 'til E7 _F Bbm6 ' 'F|Bbm6 'Bbm6add9/G 'Bbm6/A Charon comes (rit) (----- 2/4 bar -----) F (rain sounds)

================================================================================ PLAYING TIPS A= F6 The note A precedes the arpeggio of the F6 chord. In the second bar of each verse the piano plays Em7b5 under the C note in the vocal. The notation emphasises the secondary dominant idea which is repeated in bar four. In the later verses the C is doubled in the arrangement and sounds more like C9/E. Some of the bass movement is included where it adds significantly to the colour of the harmony. The obligatory root-fifth changes are included to indicate the syncopation. The E7 to F at the end of each verse is a very unusual cadence particularly because John sings the thirds sliding up from the minor. The last line of each verse is more simple than it may appear. It is essentially a C major with harmonic movement above: Csus C C9 C7 -------------------- F E D E D C Bb Bb G G G G C C C C sus is shorthand for sus2/4. The middle section features a diminished triad: |Bb |Bo |F | D7 | Bo = B D F Early arrangements of the song feature this progression right up until the guitar overdub playing arpeggios: x1333x Bb F Bb D x2303x B F G D The addition of one note (G) changes the chord into a dominant seventh in first inversion: |Bb |G7/B |F | D7 | It's so subtle that the original idea is preferred in the chart. This is one of Woloschuk's favourite progressions. F|Bbm6 is a polychord. The Bbm6 is sustained while the upper voices move: Db C Bb Bb A G Bbm6add9/G Bbm6/A The final chords of the song add further richness. Call them what you will. Gm11b5 ? Note that they last only two beats hence the 2/4 bar. Alternately the count could end on three. ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= JUICY LUICY Lyric and Music by John Woloschuk 4 beats per chord INTRO: D (octaves) D `Bb/D _`C/D `Dsus4 _`D `Dm/C _`C (piano enters) (wailing siren) `Dsus4 _`D `Dm/C _`C (brass enters) VERSE: D Bm My Juicy Luicy you're so exciting D Bm Eyes of blue and hair of lightning Em _A7 You jet around in your chrome-atomic platform `Dsus4 `D `Dm/C _`C Shoes I'm so in love with you my Juicy `Dsus4 `D `Dm/C _`C Luicy (my Juicy Luicy) VERSE: D Bm You spend your evenings with Alexander D Bm That fire-breathing salamander Em _A7 Who sings the blues and plays electric guitar BRIDGE: `Dsus4 `D _'Dm 'C 'Bb _'C Too Luicy kissed me and she said "Can't `Dsus4 `D _'Dm 'C 'Bb _'C You?" I said "No" but I was wil- ling

MIDDLE: F#m7(11) Bm To love you with all my might though a F#/A# D/A Million nights wouldn't be enough it's + 1 2 3 + 4 + 1 _E7 _Bb 'C(6) 'C 'Bb 'C True 'Cause Juicy Luicy I'm so in love with E F# G G# A Bb <-bass TOO MUCH MIDDLE: `Dsus4 `D _'Dm 'C 'Bb _'C You it's the way you rock and roll you're D7 `D7 _`F7 Too too much you're too too much you're Bb7 `C7 _A Too too much my Juicy Lui-cy (-2/4 bar-) LINK: 'A 'G 'F 'Em SOLO: (verse) + 1 2 + 3 + 4 + 1 2 + 3 + 4 C D Em D Em D A Bm Em Bm + 1 2 + 3 + 4 + 1 2 + 3 + 4 C D Em D Em D A Bm Em Bm + 1 2 3 4 + 1 + 2 3 + 4 D Em A7 bass-> F# G G# A A B C C# BRIDGE: `Dsus4 `D _'Dm 'C 'Bb _'C Ooh Luicy kissed me and she said "Can't `Dsus4 `D _'Dm 'C 'Bb _'C You?" I said "No" but I was wil- ling MIDDLE: F#m7(11) Bm To love you with all my might though a F#/A# D/A Million nights wouldn't be enough it's _E7 _Bb 'C(6) 'C 'Bb 'C True 'Cause Juicy Luicy I'm so in love with bass-> F# G G# A Bb + 1 2 3 + 4 + 1

ALTERNATE BRIDGE: `Dsus4 `D _'Dm 'C 'Bb _'C You it's your chrome-a-tomic plat- form `Dsus4 `D _'Dm 'C 'Bb _'C Shoes won't you let me get my boots on `Dsus4 `D _'Dm 'C 'Bb _'C Too and we'll sail a-cross the sky so CODA: `D _'D6/9 _'D _'Em _'D _'G _'D Blue `D _'D6/9 _'D _A Blue Ah look out sky here we come bass-> A Bb B C C# + 4 + 1 + 2 + 3 + 4 + TAG: `Dsus4 `D `Dm/C _`C `Dsus4 `D `Dm/C _`C my Juicy Luicy my Juicy `Dsus4 `D `Dm/C _`C `Dsus4 `D `Dm _`C Luicy ah my Juicy Luicy my Juicy Lui-cy bass-> E F G A 1 2 3 4 FADE: `Dsus4 `D Dm/C . . . `Dsus4 `D Dm/C . . . my Juicy Luicy ma ma ma ma my Juicy `Dsus4 `D Dm/C . . . `Dsus4 `D 'Fm 'G 'F 'G Luicy ju ju ju my Juicy Luicy 'cause I'm so in love with bass-> E F G A `Dsus4 `D Dm/C . . . `Dsus4 `D Dm/C . . . You hoo ah my Juicy Luicy c'mon come on now `Dsus4 `D Dm/C . . . `Dsus4 `D 'Fm 'G 'F 'G Luicy aw aw aw aw Luicy 'cause I'm so in love with bass-> C C C C `Dsus4 `D Dm/C . . . `Dsus4 `D Dm/C . . . You hoo oh Luicy come on now `Dsus4 `D Dm/C . . . `Dsus4 `D 'Fm 'G 'F 'G Luicy my Juicy Luicy 'cause I'm so in love with bass-> C C C C `Dsus4 `D Dm/C `Dsus4 You hoo

================================================================================ PLAYING TIPS The SOLO section is based on the VERSE and is presented in greater detail reflecting the backing of the verses. MIDDLE: F#m7(11) (B note) is in the vocal C(6) (A note) is in the vocal More detail for the TOO MUCH MIDDLE section: D7 `D7 _`F7 Too too much you're too too much you're F7 is a substitute chord. On the recording these two bars are almost identical. The high brass plays the same trill on beat four in each bar maintaining the harmony of D major but there is a guitar playing a single note on beat three which is C in the first bar and F in the second bar. The lead vocal on "much" sings a D bent up to Eb. Playing F7 here provides a nice transition into the Bb. 1 2 3 4 1 + 2 + 1 2 3 4 1 2 3 4 Bb7 C7 Bbmaj7 C7 A A G F Em Too too much my Jui-cy Lui-cy bass-> E F# G A (---- 2/4 bar ----) In the FADE the recall of the "so in love..." line has a dark bluesy sound over the Dm with John singing Ab "so". The wrong bass notes first time around are probably from a different idea. In the live versions this sounds like Am G F G Fm/E G/F F/G G/A so in love with John's adlibs are excitingly syncopated. The dots indicate the beat to help with the timing of these parts. Dm/C . . . `Dsus4 `D Dm/C . . . my Juicy Luicy ma ma ma ma my Juicy ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= about 50 cents sharp EVERYBODY TOOK A HOLIDAY Lyric and Music by Dee Long 2 beats per chord INTRO: C C/B C/A G VERSE: C C/B C/A C/G It happened back in ancient times F F/A Bb ` When people worked overtime overtime C C/B C/A C/G F Bb \ In fact I think in nineteen eighty-fi-ih-ive C C/B C/A C/G Life was busy in the big ci-ty F F/A Bb ` And the union was sitting pretty C C/B C/A C/G F Bb \ It wasn't easy to stay a-li-ih-ive and they'd CHORUS A: Bb ` Db ` Run from the city to the sun and the country and F F/E F/D F/C Bb ` Never quite get a-way when the weekend came Ab6|Eb ` F ` Every-body took a holi-day Gm ` Am ` Bb ` ` (Gsus4) Every-body took a holi-day-ay- ay-ay- ay VERSE: C C/B C/A C/G On a Sunday in July F F/A Bb ` Every-body made up their minds C C/B C/A C/G F Bb \ And when Monday rolled a-round no one came ho-oh-ome C C/B C/A C/G All the cities and streets were bare F F/A Bb ` Every-body was havin' fun elsewhere C C/B C/A C/G F Bb \ As the weeks went by no one came ho-oh-ome and the

CHORUS B: Bb ` Db ` Stores closed down and the cars stopped runnin' and the F F/E F/D F/C Bb ` Sky cleared day-to-day but no one cared Ab6|Eb ` F ` Every-body took a holi-day Gm ` Am ` Bb ` ` (Gsus4) Every-body took a holi-day-ay- ay-ay- ay SOLO: (verse) |C C/B |C/A C/G |F F/A |Bb | |C C/B |C/A C/G |F Bb |Bb | |C C/B |C/A C/G |F F/A |Bb | |C C/B |C/A C/G |F Bb |Bb | VERSE: C C/B C/A C/G But the world has changed to-day F F/A Bb ` Everyone works in the usual way C C/B C/A C/G F Bb \ But at least we had one month a-way-ay C C/B C/A C/G Things are much much slower now F F/A Bb ` People get a-way anyhow anyhow C C/B C/A C/G F Bb \ And the weekend comes they take a holi-day and they CHORUS C: Bb ` Db ` Run from the city to the sun and the country and F F/E F/D F/C Bb ` Never quite get a-way when the weekend comes Ab6|Eb ` F ` Every-body takes a holi-day Ab6|Eb /F F/D ` Every- body took a holi-day Db ` F/C ` C7 ` Every-body took a ho- li-day F/C ` C7 ` F F/C F Aah aah aah

================================================================================ PLAYING TIPS The majestic INTRO has multiple guitars resembling a brass fanfare. The full harmony is: 1 2 3 4 1 2 3 + 4 gtr-1: E C E B C D gtr-2: C G C E F G G bass: C B A G A B The dominant sound of the G chord on beat four clearly sets up the key as C major however the ensuing vocal melody suggests the key of F. The B (natural) in the descending bass line maintains the ambiguity and when we "resolve" onto Bb we're getting very far from home indeed! In contrast Dee's guitar solo over the verse, while very similar to the vocal melody in terms of note choice, has a strong dominant to tonic progression. Note the early change to the Bb chord in bars seven and fifteen. The CHORUS has some interesting points to note: |Bb |Db | |F F/E |F/D F/C | |Bb |Ab6|Eb | |F |Gm | |Am |Bb |Bb (Gsus4) | The key of F is much clearer but there is still no dominant. Some chords borrowed from the parallel minor. Ten bars would be an unusual length but Dee stretches it out to eleven. Ab6|Eb Polychord. The voices and high keyboards outline Ab6 over the Eb5 in the guitars. Maybe Dee couldn't decide which chord was best. (Gsus4) This is the sound of the vocals but is included as it acts as a dominant leading into the VERSE. Am Early versions of the song have an F chord with an A in the bass providing yet another deceptive dominant. The entire song cleverly avoids any rooted tonality (epitomizing the restlessness of the subject matter) until the very last line. ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= OLDER Lyric and Music by Dee Long 4 beats per chord INTRO: (guitar riff with drums) |Em |G |Em |G | (band enters) |Em |G |Em |G (B) | VERSE: Em7 G Older it seems like each day you get Em7 G6 Older and each day the world becomes A7 C7 'G='F#='F='D= 'C#='C='A5 'A5 Colder in a cynical way VERSE: Em7 G Time do you feel like you've missed your Em7 G6 Time I feel like I've missed A7 C7 'G='F#='F='D= 'C#='C='Bb='G= Mine and I'm losing my way REFRAIN: F# \ G \ I think it's time you rea-lized for I can see it in your F# \ Eyes you seem con-vinced that you will E `Asus4 `A B \(echoes in time) Live for-eh- eh-ver VERSE: Em7 G Over I feel like my life has blown Em7 G6 Over I keep looking over my A7 C7 'G='F#='F='D= 'C#='C='A5 'A5 Shoulder and seeing nothing but grey

SOLO: (verse) |Em7 |G |Em7 |G | |A7 |C7 |G= F#=F= D= |C#=C= Bb=A= | RE-INTRO: (guitar riff with drums) |Em |G |Em |G | bass-> G F# F (band enters) |Em |G |Em |G (B) | It's a VERSE: Em7 G Crime don't it seem like such a Em7 G6 Crime I wish I had more A7 C7 'G='F#='F='D= 'C#='C='A5 'A5 Time but I'm drifting a-way VERSE: Em7 G Older you see it's like I Em7 G Told yer you've gained the right to grow A7 C7 'G='F#='F='D= 'C#='C='Bb='G= Older by living to-day REFRAIN: F# \ G \ I think it's time you rea-lized for I can see it in your F# \ Eyes you seem con-vinced that you will E `Asus4 `A B \(echoes in time) Live for-eh- eh-ver

================================================================================ PLAYING TIPS The chromatic nature of the guitar parts is impossible to notate in text so the chords presented here are mostly the implied harmony. However, the lines at the end of each VERSE demand to be played as single notes: One beat per note name, with varying sixteenths patterns. 'G='F#='F='D= 'C#='C='A5 'A5 to VERSE 'G='F#='F='D= 'C#='C='Bb='G= to REFRAIN 'G='F#='F='D= 'C#='C='Bb='A= to RE-INTRO The main riff of the INTRO and VERSE alternates a power chord and single notes: 1 + 2 + 3 + 4 1 + 2 + 3 + 4 E5 E5 D= C#=D= G5 G5 D= C#=D= 1 + 2 + 3 + 4 1 + 2 + 3 + 4 E5 E5 D= C#=D= G5 G5 D= C#=E= There is a neat pickup into the VERSE: -- notated in the chart as |G (B) | 1 + 2 + 3 + 4 1 + 2 + 3 + 4 + E5 E5 D= C#=D= G5 G5 A= A#=B= D= D#=E= In the SOLO and final VERSE the pattern is slightly different 1 + 2 + 3 + 4 + 1 + 2 e + 3 + 4 E5 E5 E= D= C#=D= G5 G5 A B D= C#=D= Like many of Dee's songs the chord progression never resolves - this time he ends on the dominant. The early mixes feature an additional guitar line over the B chord which proved to be redundant - it's a harmonised, winding, descending lick similar to the 10th bar in The Beatles' Yer Blues. ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= DEAR CHRISTINE Lyric and Music by John Woloschuk 2 beats per chord INTRO: (melodica plays the melody) 4 + 3 + 3 4 + A= E= F# E= A= C#= B= C#= G#= |A A6/C# |F#m7 /E | 2 + 3 4 2 + 3 A= E= F#= A= E= |D /C# /B /A |E G#=F#=G#= | (gtr lick) VERSE: A C#madd11 Bm7add11 'E9 'E9/G# 'Twas one long year to- day A C#madd11 Bm7add11 'E9 'E9/G# I left Bourne-mouth and you A C#madd11 Bm7add11 'E9 'E9/G# Ad-venture salt and spray A C#madd11 D 'G 'G6 'G 'D/F# Eadd9 'E/D 'E King's service I must do (2/4 bar) CHORUS: A /G# /F# 'E7 'A But dear Chris-tine I hold you dear-ly D Bm E 'D 'E If only you could hear me A /G# /F# 'E7 'A I send my love sin-cere-ly D Bm E7 ` In hopes that we're not merely A 'E 'A Esus4 E Hanging on VERSE: A C#madd11 Bm7add11 'E9 'E9/G# At sea there's time for thought A C#madd11 Bm7add11 'E9 'E9/G# My head was filled with you A C#madd11 Bm7add11 'E9 'E9/G# With quill in hand I sought A C#madd11 D 'G 'G6 'G 'D/F# Eadd9 'E/D 'E To bridge the endless blue (2/4 bar)

CHORUS: A /G# /F# 'E7 'A But dear Chris-tine I hold you dear-ly D Bm E 'D 'E If only you could hear me A /G# /F# 'E7 'A I send my love sin-cere-ly D Bm E7 ` In hopes that we're not merely MODULATION: A ' 'E/G# F# 'F#7sus4 'F#7 Hanging on on and on EXTRA CHORUS: B /A# /G# 'F#7 'B And dear Chris-tine I'm just a man who E C#m F# 'E 'F# Be-lieves in dreams that come true B /A# /G# 'F#7 'B And if you feel like I do E C#m F#7 ` When I re-turn I'll find you E= C#= <-whistle (tuned quite sharp) B ` F#sus4 F# Hanging on INTERLUDE: (melodica plays the melody) + 3 + 3 4 + B= F#=G#= F#= B= D#= C#=D# |B B6/D# |B/G# B/F# | + 3 + 4 + + 3 + 4 + B= C#= B= C#= F#= D#=C#= B= |Emaj9 C#m7 |F# /A# | bass re-enters-> G# F# + 3 + 3 4 + B= F#=G#= F#= B= D#= C#=D# |B B6/A# |B/G# B/F# | 2 + 3 4 B= F#=G#= B= F#= |E B/D# C#m E/B |F# E F# |

CHORUS: B /A# /G# 'F#7 'B But dear Chris-tine I hold you dear- ly E C#m F# 'E 'F# If only you could hear me B /A# /G# 'F#7 'B I send my love sin-cere- ly E C#m F#7 ` In hopes that we're not merely B 'F# 'B F# 'E/F# 'F# Hanging on EXTRA CHORUS: B /A# /G# 'F#7 'B And dear Chris-tine I'm just a man who E C#m F# 'E 'F# Be-lieves in dreams that come true B /A# /G# 'F#7 'B And if you feel like I do E C#m9 F#7 ` When I re-turn I'll find you B 'F# 'B F# 'E/F# 'F# Hanging on DO DOO CHORUS: B /A# /G# 'F#7 'B Doo doo do do doo do doo doo E C#m9 F# 'E69 'F# Doo__________ do do doo do doo doo (Do do doo) B /A# /G# 'F#7 'B Doo doo do do doo do doo doo E C#m9 F# 'E69 'F# Doo__________ do do doo do doo doo (Do do doo) B ` F#7 ` Doo do doo do FADE: B /A# /G# 'F#7 'B E C#m9 F#7 ` B Doo-____________________oo

================================================================================ PLAYING TIPS The original recording contains some very rich variations in the string arrangement and vocals some of which are omitted in this chart. Although this song appears to be a I vi ii V progression throughout (with the verses in double time) further investigation reveals it to be the most harmonically rich song in the entire catalog. In the verses on beats 3 and 4 the melody sings F# and A thus the vi chord F#m would be an appropriate harmony. However, the main acoustic guitar plays the iii chord with an extension C#madd11 (C# G# C# E F#) The main finger-picked guitar appears to have been played in G with a capo at the second fret and possibly a varied tuning. Simply dropping the high E-string down to D facilitates the "add11" notes along with the more subtle E9 G6 and Eadd9 while still using the standard chord shapes. However, using a full open-G tuning the bass notes become difficult to reach particularly after the modulation. Another guitar plays single notes very high (doubled in tuned percussion) A C#madd11 Bm7add11 E9 E9/G# 1 2 3 4 1 + 2 3 4 A E G# E B C# D B G# <-high guitar G# E <-variation on repeat Leading into the CHORUS there is a linking phrase which steps out of key making the chorus sound fresh (despite being based on the same progression). 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 G= A= B= D= E= E= F#= F#= G#= B= G G6 G D/F# Eadd9 E/D E blue The progression is rather cleverly repeated in the MODULATION: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 A= B= C#= E= F#= F#= G#= G#= A#= C#= A E/G# F#add9 F#7sus4 F#7 Hanging on on and on This song benefited particularly well from a long "incubation" period. John's first demo was recorded at just 19. It is difficult to believe now, that a song about writing a letter to an absent lover did not have the word "dear" in the chorus - there is a gaping hole on the downbeat. The genius of adding one word makes the imagery clearer and the melody much stronger. The second line was also changed thankfully dropping two more "-erely" rhymes "...I lost you nearly" and "...I can see clearly" in favour of the much more evocative "If only you could hear me". The masterful modulation is present in the demo but is less effective as it leads into a third verse rather than the inventive chorus variation. The lyric is unfinished at this point but the outline is: "... when I return ... see it through how much my ... yearns to comfort me and you" John says of the released version that he recorded ALL of the backing vocals himself between coughs! He made things a LITTLE easier for himself by dropping the key down a whole step. The demo begins in B and modulates to C#. ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= MISTER MANSON Lyric and Music by Dee Long 2 beats per chord INTRO: (slowed cymbal crash with phased effect) count-in: (Rimshot/gunshot with 32nd delay) **|* * * * * * * * | 3 + |Em |Em (2) |Em |Em (2) | VERSE: G5 F#5 Em ` G5 F#5 Em ` He looks at the girls with his evil eye makes them wish they was someplace else G5 F#5 Em ` G5 F#5 Em ` He'll twist their thoughts with his pretty words make them ex-tensions of him-self C D Em ` He's the reincar-nation of Hitler C B A ` \ The daughter of the devil al-ri- ih-ight Em /F# /G /A 'Bb= 'A= 'G= 'F#= Em ` Tell me won't you Mister Manson do you sleep at night TAG: 4 + 2 3 + 4 + |Em /F# |Em/G /A Bb=| A= G=F#=F=E=| LINK: |Em |Em |Em |Em | Well he'd VERSE: G5 F#5 Em ` G5 F#5 Em ` Like to melt your mind with hydro-chloric acid in a little pill he'll take a G5 F#5 Em ` G5 F#5 Em ` Thing called love and make you hate it and claim to cure your ills he took the C D Em ` Madness of a gener-ation C B A ` \ And made them madder sti- ih-ill Em /F# /G /A 'Bb= 'A= 'G= 'F#= Em ` Tell me won't you Mister Leary keep your lit-tle pills TAG: 4 + 1 2 3 + 4 + |Em /F# |Em/G /A Bb=| A= G=F#=F=E=|

RECITATION: (an evangelistic television broadcast a Hitler address and a courtroom hearing with 16 bars of the Em LINK slowing gradually to a stop) TEMPO: 130 |Em |Em | |Em |Em | He said am I not God al- |Em7 |Em A= A#= B= | mighty am I not (gunfire) 124 122 |G= |Em | God al- mighty the 116 108 |Em |Em | answer is yes Lord can I not then do Es ist unser wunsch und wille dass 106 100 |D#= E= |Em | any thing crawl on your hands'n'knees on broken glass dieser Staat und dieser Reich berstehen soll in den kommenden jahrtausenden (gunfire) (------ gunfire ------) (-- gunfire --) 94 88 78 |Em A= A#= B= |D= D#= E= G= | all things are possible with you then Wir können glücklich sein zu wissen dass diese zu- (gunfire) 57 |(band tacet) | do I not wish good for my people of course he he kunft rest- los uns gehört (--- crowd cheering ---) (--------------- gunfire ---------------) (------- gunfire -------) |(band tacet) | he's crazy objection I object your Honour (---------------------------- crowd cheering -----------------------------) (---------- gunfire ----------) (------- gunfire -------) SOLO: (verse) (a tempo) (tutti) 2 3 + 3 + 4 + 3 + 4 + 3 + E= B= G= B= F#= D= G= B= <-gtr harmonics |G5 F#5 |Em |G5 F#5 |Em | |G5 F#5 |Em |G5 F#5 |Em | |C D |Em |C B |A |A | |Em /F# |Em/G /A |Bb= A= G= F#= |Em | TAG: 4 + 1 2 3 + 4 + |Em /F# |Em/G /A Bb=| A= G=F#=F=E=|

LINK: |Em |Em |Em |Em | VERSE: G5 F#5 Em ` G5 F#5 Em ` He'll fill you with his empty statements di-rected to a fool then he'll G5 F#5 Em ` G5 F#5 Em ` Ig-nore his own un-ending speeches and bend the golden rule in the C D Em ` Name of God he'll tell you but is he C B A ` \ Better than all the re- eh-est Em /F# /G /A 'Bb= 'A= 'G= 'F#= Em ` Let me tell you Mister Preacher Jesus has been and left TAG: Em /F# /G /A 'Bb= 'A= 'G= 'F#= Let me tell you Mister Manson Jesus has been and LINK: |Em7 |Em |Em |Em (2) | left CODA: 3 + 3 + 4 + 3 + 3 + 4 + |Em (#11) |Em Gm F#m Em|Em (#11) |Em Gm F#m Em| 3 + 4 + 3 + 3 + 4 + |Em |Em G F# Em|Em (#11) |Em Gm F#m Em| 3 + 3 + 4 + 3 + 4 + |Em6/9 (#11) |Em Gm F#m Em|Em(addC) |Em G F# Em| 3 + 3 + 4 + 3 + 4 + |Em(maj7) (#11) |Em Gm F#m Em|Em6/4 |Em G F# Em| |Em6/4 |Em (Fade)

================================================================================ PLAYING TIPS The minor tonality of the E chord comes from the little licks in the lead guitar part alternating with the power chord: 1 + 2 3 + 1 + 2 3 + |Em |Em (2) | E5 E5 E= D= E= E5 E5 E= G= F#= 1 + 2 + 3 4 |G5 F#5 |Em | E5 E5 E= D= G= E= While they are not played in the A chord the 7 and 6 added in the vocal are very distinctive especially as they add an extra bar into the standard 16 bar structure: C B A7 ' 'A6 A ` The daughter of the devil al-ri- ih- ight The guitar harmonics in the SOLO have been included because they are mostly non-chord tones. 2 3 + 1 3 + 4 + 3 + 4 + 3 + E= B= G= B= F#= D= G= B= E|-----12----------|-----------7-----|-----------------|-----------------| B|-----------12----|---------------7-|-----------------|-----------12----| G|-----------------|-12--------------|-----------7---12|-----------------| The remainder of the solo is fairly typical minor pentatonic with a dyad of harmonics on beat two of the seventh bar: 2 D5 D|-----12----------| A|-----12----------| E|-----------------| There are two interesting guitar parts overdubbed in the FADE. Both parts employ dyads adding extensions to the basic Em The first guitar emphasises the G F# progression in the second bar of the riff - twice as minors, once as majors then repeat. Previously this is heard only as single notes and notated (2) 3 + 3 + 4 + |Em (#11) |Em Gm F#m Em | A# D C# B E Bb A G |Em |Em G F# Em | B B A# G G G F# E The second guitar colours the first bar of the riff. |Em6/9 | |Em(addC) | |Em(maj7) | |Em6/4 | | F# E D# C# C# C B A The Hitler address translates to: It is our wish and will that this state and this realm will survive during the next millenniums. We can be happy to know that this future belongs to us completely. ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= TOKEYMOR FIELD Lyric and Music by John Woloschuk 2 beats per chord (swing eighths) INTRO: (electric piano) + 4 + B= A= Dmaj9 ` \ VERSE: Dmaj7 ` \ B9 ` \ See the rainbow by that grove of trees Dmaj7 ` \ B9 ` \ Has it not appeared quite sudden-ly look _Em /D# /D _C#7 There up in the sky _F#m /E# /E _B7 Can you still pre-tend to de-ny _Em7 ` _A7 ` It's a little bit strange how the D /C# Bm /A Stars rear-range Bm/G# ` Gmaj9 ` \ Every time we wander here it's always the (di di di di di di) REFRAIN: _D G D _A7 D G 'D= _'F#= _'A= _'C#= Same well isn't it strange (di di di di di di) (di di di di) VERSE: Dmaj7 ` \ B9 ` \ A lilting song floats u-pon the air Dmaj7 ` /C# ` B9 ` \ When-ever the wind whispers through your hair Em /D# /D _C#7 And with one great big beautiful smile _F#m /E# /E _B7 You bring out the sun for a-while _Em7 ` _A7 ` Wouldn't you con-sider it odd when the D /C# Bm /A Whole world starts to throb Bm/G# ` Gmaj9 ` \ Every time I hold you here near to my (di di di di di di)

REFRAIN: D G D _A7 D G 'D= _'F#= _'A= _'C#= Heart now isn't that odd a- (di di di di di di) (di di di) MIDDLE: Gmaj7 ` \ Round and a-round and a-round ring-a-rose (di) (di) Gm(maj7) ` \ Let's make be-lieve it's a merry-go-round we (di) (di) Dmaj7 ` \ Dmaj7 ` 'D= _'F#= _'Am _'C#= Go like so I'm as (di di di) (di di) Gmaj7 ` \ Dizzy as a top I'm a-tumb-ling down (di) (di) Gm(maj7) ` \ And what's more fun than a fumb-ling clown (di) (di) E9 ` Dancing through the green grass (di) (di) E9 ` Em ` _A7 ` With your hands in the air touching the sky up (di) (di) (di di di di) MODULATION: 'Fm '/G '/Ab '/A Bb11 ` There Ooh why does (di di di di) VERSE: Ebmaj7 ` \ C9 ` \ Everything you touch feel so fresh and new Ebmaj7 ` \ C9 ` \ How is it spring seems to follow you 'cause _Fm /E /Eb _D7 Where your feet have touched the ground _Gm /F# /F _C7 The meadows with flowers a-bound _Fm7 ` _Bb7 ` Nothing could be quite so wild as Eb /D Cm /Bb Skipping through them like a child (skipping like a Cm/A ` Abmaj9 ` Every time I'm here with you child)

TAG: _G7 ` _Cm7 ` Every time I'm here with you _Fm7 ` _Bb13 ` ' 'C= ` Every time you bring me to-wu-wu-wu-o Tokeymor CODA: Eb Ab Eb _Bb7 Eb Ab Eb _Bb7 Field to Tokeymor Field Tokey-mor Eb Ab Eb _Bb7 Eb Ab Eb _Bb7 Field to Tokeymor Field to to Tokeymor (with phase shifting "flanging" effect) Eb Ab Eb _Bb7 Eb Ab Eb _Bb7 Field to Tokeymor Field Tokeymor Eb Ab Eb _Bb7 Eb Ab Eb _Bb7 Field to Tokeymor Field to to Tokeymor Eb Ab Eb _ Bb7 Eb Ab Eb _Bb7 Field to to Tokeymor Field to to Tokeymor Eb Field (fade) ================================================================================ PLAYING TIPS The first chord of VERSE one and two wobbles between the major and the minor third Almost every word is sung ahead of the beat emphasising the joyous urgency of the lyric. The chords jerk forward across the bar line. The following line however begins slap bang on the down beat, evidence of the arrangement and lyric being finalised well before recording commenced: Em /D# /D _C#7 And with one great big beautiful smile In the MIDDLE section the C natural is so evident thus the chord is notated in this single note run: 'D= _'F#= _'Am _'C#= I'm as ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= about 20 cents sharp PERPETUAL MOTION MACHINE Lyric and Music by Dee Long 2 beats per chord INTRO: E D E6 D6 E D E6 D6 E D E D E D E6 D6 VERSE: E D E6 D6 Send your dollars or your moms and fathers for there's E D E6 D6 Something you should own you can E D E6 D6 Have one today just send right a-way we E D E6 D6 De-liver right to your home E D E D You can't get better value for your money E D E D Than you get right here E D E6 D6 You don't have to see it to know you need it E D E6 D6 It's all the rage this year you can have your CHORUS: \Fmaj7 \ \A7 \ \D \ \B7 \ Own very own Per-petual Mo-tion E D E6 D6 E D E6 D6 Ma-chine You can have your \Fmaj7 \ \A7 \ \D \ \B7 \ Own very own Per-petual Mo-tion E D E6 D6 E D E6 D6 Ma-chine What a VERSE: E D E6 D6 Nice sur-prise it's just the right size for E D E6 D6 Someone just like you it's just E D E6 D6 What you need and it's guaran-teed to do E D E6 D6 Ex-actly what it will do

E D E D It stays to-gether it'll last for-ever which is E D E D Something new these days one E D E6 D6 Thing a-bout it you can live with-out it but you'll E D E6 D6 Order one to-day you can have your CHORUS: \Fmaj7 \ \A7 \ \D \ \B7 \ Own very own Per-petual Mo-tion E D E6 D6 E D E6 D6 Ma-chine You can have your \Fmaj7 \ \A7 \ \D \ \B7 \ Own very own Per-petual Mo-tion Ma- CODA: (3 times, bizarrely including the "chine" vocal) \Bb \ \A \ \F \ \E \ chine BASS SOLO: (E mixolydian including chromatic passing tones) 1 + 2 + 3 etc |B B C# B D D C# D |E E D C# D C# B A |B B A G# A G# F# E | (coming down from the coda) |E D C# D C# D |E C# D C# B |E E G# A A# B | (main riff) (getting ready) |E E G# A A# B | B C# D D# E | E G# A A# B | (going up) (up and up) | B C# D D D# D# |E E E E E E E E |E E E E E E | (ram that one note home) |E EE E E E E D B |D B A B A G E |G ^G# E D E D B G | (coming down) (down and down) |A G E (E) ... | ... E B D D# |E D E G# A A# | (inaudible) (off we go again) |D# D# D# D# D# D# D# D# | (end up in the wrong key) FREE-FORM FREAKOUT: (random machine noises with a repeating atonal fourteen beat motif)

================================================================================ PLAYING TIPS The backing for the VERSE in this song is an interesting combination of instruments repeatedly playing different but related parts. The acoustic guitars play the same two chords throughout: |E D/E | This implies a pedal point but the bass guitar plays a more involved figure: 1 2 + 3 + 4 + |E D C# D C# D | The electric guitars (keyboards?) play alternate inversions of the two chords in two patterns of two bars and add the extensions (6). The top note line is: B A G# F# |E D |E6 D6 | With a variation in bars 9-12 of each verse: G# A B A |E D |E D | Note that the INTRO is an abbreviated version of the VERSE. The CHORUS has an interesting additional line in the electric piano: 1 2 + 4 1 + 3 4 1 2 + 4 1 + 3 4 F E D C A C A B C# D E C# |Fmaj7 |Fmaj7 |A7 |A7 | D F# A F# (rpt) D# F# A F# (rpt) |D |D |B7 |B7 | The bass plays a familiar walking pattern including the seventh under each of the A D B chords, but D7 is not appropriate in the context. The repeat of the "chine" vocal in the CODA could be explained as a consequence of the track being edited to extend the ending however its inclusion in early demos suggests that the idea was deliberate. Some invented symbols in the SOLO: E grace note (hammer from D#) EE sixteenths ^ bend ... inaudible ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= CHERIE Lyric and Music by Dee Long 3 beats per chord \ = 3 beats INTRO: (string quartet) |D |G |A |D | |Bm |Bb |Asus4 A7 |D | |D |D |(D) | bass-> A VERSE: D G A7 D You're the answer to my question Bm Bb `Asus4 'A7 D You're the theme of my ev- 'ry whim D G A7 D You're the highlight of my in-vention Bm Bb `Asus4 'A7 D Tell me whether I sink or swim CHORUS: G G7/B C G/B F6 F/C C/E F6/C Che-rie be my Che-rie mar- ry tr~~~~ E7 E7sus4 E F D G A7 D me my Che-rie bass-> D E F# G A B C# D E D VERSE: D G A7 D In the twilight come to my light (Twi- light my light) Bm Bb `Asus4 'A7 D Chase the dark away when it comes (Ah- way when it comes) D G A7 D Cherie won't you stand to my right (Che- rie won't you) Bm Bb `Asus4 'A7 D Have our memories just be- gun (Mem- or- ie- s just be- gun)

CHORUS: (simplified harmony) G \ C G F \ C F E7 E7sus4 E F D G A7 D Che-rie be my Che-rie mar-ry me my Che-rie SOLO: (verse) |D |G |A7 |D | |Bm |Bb |Asus4 A7 |D | |D |G |A7 |D | |Bm |Bb |Asus4 A7 |D | |D |D | VERSE: D G A7 D Ev'rything's ours if we want it to-gether Bm Bb `Asus4 'A7 D Ev'rything's here if we want it to be D G A7 D Come bring me flowers and bring me a feather Bm Bb `Asus4 'A7 D I'll bring you presents and bring you your tea CHORUS: (simplified harmony) G \ C G F \ C F E7 E7sus4 E F D G A7 D Che-rie be my Che-rie mar-ry me my Che-rie CODA: |D |G |A7 |D | |Bm |Bb |Asus4 A7 |D | (rit) ================================================================================ PLAYING TIPS Note that the time signature is 3/4, but this is not a simple country Waltz or folky Pride of Erin. There is an accent mid-bar (on beat 2+) which is treated differently throughout the song. In the intro the string quartet plays in two, the high strings in the 2nd and 3rd chorus play two against three, the solo introduces a syncopation, and in the final chorus when the low strings also play in two the feel is more like 6/8. Dee's anecdote in the Bullseye CD reveals that the ambiguous timing is a result of arranger Eric Robertson scoring the strings in 3/4 when the original demo was in 4/4. This must be an incorrect recollection because all of the early demos are in 3/4. However, consider that the strings were arranged in 4/4 and the story falls into place. 3/4 song: 1 + 2 + 3 + 1 + 2 + 3 + string accents: x x x x 4/4 count: 1 2 3 4

The vocals in the chorus are very interesting. It sounds like maybe a low harmony in the first half and then a high harmony added in the second half, but it's more complex than that. The melody notes ARE the same for both parts, the harmony changes around it. The full harmony is: High: F A G F G# G# A F# Melody: D F E D D F E D D E F D Low: B D C B A C C A G# B C A Che- rie be my Che- rie mar- ry me my Che- rie Bass: G B C B F C E C E E F D Chords: G G7/B C G/B F6 F/C C/E F6/C E7 E7sus4 E F D Simple chords: Che- rie be my Che- rie mar- ry me my Che- rie G / C G F / C F E Esus4 E F D ================================================================================

=+=+= KLAATU Sir Army Suit =+=+= reference =+=+= SILLY BOYS Lyric and Music by John Woloschuk and Dee Long 4 beats per chord (swing eighths) INTRO: G5 `F `Em G5 `F `C /-- 3 --\ /-- 3 --\ G5 `F `Em G5 'F='E='D= 'C='B='A= PROLOGUE: G5 \ Gm7 `F `Em (Right now we wait for the opportuni-ty) /-- 3 --\ /-- 3 --\ G5 \ Gm7 'F='E='D= 'C='B='A= (Then we will see the sun is reversing) G5 \ Gm7 `F `Em (Right now we wait for the opportuni-ty) /-- 3 --\ /-- 3 --\ G5 \ Gm7 'F='E='D= 'C='B='A= (Then we will see the sun is reversing) LINK: G5 VERSE: D A \ Aaahhh plasticine walls fore-ver and overly E ` G5 `F `Em Hap-py with your a-loof scene (-2/4 bar-) G5 \ Gm7 `F `Em Go off the ledge to snow wish them (goodnight) G5 \ Gm7 `F `C (Oh gorgeous mad-man you are il-luminated) LINK: G5 \ Gm7 \ \ \

SOLO: /--- 3 ---\ /--- 3 ---\ 'D#='D#='D#= `D#= `D= 'C= 'C= 'C= |A5addD# |Asus4 Am | `C= `A= |Am A5 |A5 | /--- 3 ---\ /--- 3 ---\ 'D#='D#='D#=`D#= `D= 'C= 'C= 'C= |A5addD# |Asus4 Am | `C= `A= |Am A5 |A5 | A= G= F#= E= D= C= B= A= |A5 C5 |B5 Bb5 | A= A= A= A= A= A= --gliss up-- |A5 |E5 | A= G= F#= E= D= C= B= A= |A5 C5 |B5 Bb5 | A= A= A= C= E= G= A= C= |E5 /G |E5/A /B | REFRAIN: A= G= F#= E= (sillyboysillyboysillyboysillyboy- E= F= D= C= B= A= sillyboysillyboysillyboysillyboy- F#= G= A= G= F#= E= sillyboysillyboysillyboysillyboy- G#= A= D= C= B= A= sillyboysillyboysillybooooyyysss) A#= F#= VERSE: D A \ Ahhh if he preached the words they beat on and E G5 `F `Em Ig-nored him with their moral in lust G5 \ Gm7 `F `Em Whose four-inch dagger blind your mothers eye to stop /-- 3 --\ /-- 3 --\ G5 \ Gm7 'F='E= ' 'C='B= ' (Ooh are you ugly silly boys love you)

LINK: G5 \ Gm7 VERSE: D A \ Aaahhh sit up they're armed with hooks they'll harm E G5 `F `Em Her you're smashed with ignace G5 \ Gm7 `F `Em (Hark and enamour me may I survive) /-- 3 --\ /-- 3 --\ G5 \ Gm7 'F='E= ' 'C='B= ' Ah Sir Army Suit you're psychic ya (psychic ya) (echoes) LINK: G5 \ Gm7 \ G5 \ Gm7 \ CODA: (two times) 3 1 3 3 2 3 3 3 1 D= E= D= A= C= D= E= E= B= <-slide guitar G5 \ F/G \ F'/G \ G \ G5 \ F/G \ F'/G \ G \ (Silly Boys Silly Bo-oys we love you) OUTRO: (mixed out) E= D#= D= C#= D= E= A= F#= C#= D= E= A= F#= C#= |G5(vamp)| | | | | | | | (---- superimpose vocals from the solo section of Doctor Marvello single (--- mixed out ---) D= E= A= F#= C#= D= E= | | | | | | | | | backwards and slowed down by one whole tone -----) (----------------------- superimpose coda from Little | | | | | | | | Neutrino backwards -------------------------------------------) (drums out then fade in playing in half time) FADE: |. .. .|* .. .| .. .| .. .|. .. .|* .. .| .. .| .. .|. .. (drums and sitar)

================================================================================ PLAYING TIPS Most of the lyric is an interpretation of the vocals from the Hanus Of Uranus single played backwards. The lyrics in parentheses are new vocals which were added to the track. The line "hark and enamour me" for "came a man in a car" is easily the best fitting of these overdubs. The chord progression of G5 to Gm7 is a G pedal with harmony outlining G(no 3rd) then Am up to Bb 3 + |G5 |G5 Am |Bb |Bb | <------ bass stays on G ------> SOLO: Over the A5 C5 B5 Bb5 progression there is a descending line which is later duplicated by the vocals in the REFRAIN. The line traverses the G scale in quarter notes starting on A (A Dorian). These notes are shown in [ ]. On each beat the next two lower notes of the scale are added as eighth note triplets. A5 C5 [A] G F# [G] F# E [F#] E D [E] D C B5 Bb5 [D] C B [C] B A [B] A G [A] G E The low A pattern is slightly different A G E and is held for the next two bars then a 'white-key' gliss up and repeat. Second time around the last two bars are: E5 /G /A /B A G E A G E A G E C A C E . . G E G A . . C A C REFRAIN: sillyboysillyboysil... This section was edited into the track at a late stage of the song's development it is not part of Hanus Of Uranus. There are no real chords here - a chromatic rising line under the descending triplet lick and voices of indeterminate pitch. In a solo performance these chords would work: |C F |D G |E A |F# B | F'/G F' is F major chord in first inversion. The arpeggios in the CODA are: G5 --- D G D F --- F A C F' --- A C F G --- B D G At the end of the solo in Hanus Of Uranus there are two beats missing. This makes for a very surprising cut into the return of the high riff. When played backwards as the basis for this song that section presents a problem because rather than a cut off we have an awkward lurch over what amounts to two EXTRA beats. Klaatu have "shifted" those two beats into the middle of the first verse over the words 'aloof scene'. Hence the remainder of that verse has the vocals phrased slightly earlier than the other three verses. Very subtle, very clever, and probably a lot of work. They could have simply edited the track. ================================================================================