After The Fall tab - elvis costello
After The Fall - Elvis Costello
~~~~~~~~~~~~~~
Transcribed by John Kean (keanj@agresearch.cri.nz).
Uses acoustic guitar on chords,
and classical guitar on fills (tabbed below).
6/8 timing.
Bm Bm
Bm F#
In an anonymous rendezvous
F#7 Bm
Where the forbidden lovers repair
D A
They're burning down another damn candle
F# G
They're melting the tables and chairs
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Classical |----------------------|
Guitar: |----------------------|
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|----------------2h3h2-|
Approx Timing: , . . , . .
Bm F#
Beneath them applause from the balcony
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|--------------------------------|-----------------4--------------|
|--2-----------------------------|---------------4------7----5----|
|--------------------------------|--2-------2-6-------------------|
, . . , . . , . . , . .
F#7 Bm
Whenever they accomplished making love
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|--------------------------------|------------7----7----5---------|
|--------------------------------|------------7----7----6----6----|
|--------------------------------|---------------------------7----|
|--4-----------------------------|--------------------------------|
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, . . , . . , . . , . .
D A
Other times they thought they heard laughter
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|--7-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F# G (bass run: G F#)
Coming from the balcony above
|--------------------------------|-----------------7---------7-10-|
|--------------------------------|---------------8---------8---12-|
|--------------------------------|------------7---------7---------|
|--------------------------------|----------9---------9-----------|
|--------------------------------|------10------------------------|
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, . . , . . , . . , . .
Em
She
|-10-----------10-10---9-------7-|
|-12-----------12-12--10-------9-|
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, . . , . .
A E
lies to his right and she carelessly recites
|--9-----------------------------|--------------------------------|
|-10-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F#m C#m
All of her brand new appetites She seems
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|--------------------------------|---------------7-9----7---------|
|--------------------------------|----------6s9-----------------9-|
|--------------------------------|-----2s6------------------------|
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, . . , . . , . . , . .
A E
brittle and small it don't sound like her at all
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|--6-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F#m F#
Since she came back to him After the fall
|--------------------------------|---------------------------9s---|
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, . . , . . , . . , . .
F#
She said
|-s6-----------------------------|
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|-----------------6----4-------3-|
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, . . , . .
Bm F#
"You never visit the countryside So I've
|----------------10--------10----|--9-------------12---10----9----|
|----------------12--------12----|-11-------------14---12---11----|
|--4-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F#7 Bm
made you a country to order" She
|--6-----------------------------|-10----9------7-----------------|
|--7-----------------------------|----------------10----8-------7-|
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, . . , . . , . . , . .
D A
put up a little tent in the bedroom
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|--7-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F# G
Crickets played on a tape-recorder The
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|----------------------2----4----|
|--------------------------------|--------------0--5--------------|
|--------------------------------|------0---2---------------------|
|--------------------------------|--3-----------------------------|
, . . , . . , . . , . .
Bm F#
ceiling was festooned with phosphorous stars She
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|--3-----------------------------|---------------5-5----3----5----|
|--------------------------------|---------------6-6----4----6----|
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, . . , . . , . . , . .
F#7 Bm
noticed his skin turning cold
|--------------------------------|-----------------7s9-10----7----|
|--7-----------------------------|---------------7-------------10-|
|--------------------------------|----------6-7-------------------|
|--------------------------------|-------9------------------------|
|--------------------------------|-----9--------------------------|
|--------------------------------|--------------------------------|
, . . , . . , . . , . .
D A
Burning all his clothes on the bonfire
|--------------------------------|------------9----9----9----9----|
|--7-----------------------------|-----------10---10---10---10----|
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, . . , . . , . . , . .
F# G (bass run: G F#)
"Relax" she whispered and tightened the blindfold
|--9-----------------------------|-10-------------10------------7-|
|-11-----------------------------|-12-------------12------------8-|
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|--------------------------------|--------------------------------|
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, . . , . . , . . , . .
Em
She
|--7------------3-3----2---------|
|--8------------5-5--------------|
|--------------------------------|
|--------------------------------|
|--------------------------------|
|--------------------------------|
, . . , . .
A E
lies to his right and she carelessly recites
|--0-----------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|-----------------0----2----4----|
, . . , . . , . . , . .
F#m C#m
All of her brand new appetites She seems
|--------------------------------|--------------------------------|
|--------------------------------|---------------------------5----|
|--------------------------------|-------------------------6------|
|--------------------------------|-----------------2----6---------|
|--------------------------------|---------------4----------------|
|--2-----------------------------|--------------------------------|
, . . , . . , . . , . .
A E
brittle and small it don't sound like her at all
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--6-----------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
, . . , . . , . . , . .
F#m F#
Since she came back to him After the fall
|--------------------------------|--------------------------------|
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, . . , . . , . . , . .
F#
You've
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|--------------------------------|
|---------------------------1----|
|-----------------2----4---------|
, . . , . .
Bm F#
changed but not for the better babe
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|--------------------------------|--------------------------------|
|--------------------------------|-----------------3--------------|
|--------------------------------|---------------4-----------6--5-|
|--2-----------------------------|----------1-4-------------------|
|--------------------------------|-------2------------------------|
, . . , . . , . . , . .
F#7 Bm
I'd tell you why but what's the use
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|--------------------------------|--------------------------------|
|--4-----------------------------|--------------------------------|
|--------------------------------|--9h10p9p7------------------7---|
|--------------------------------|-----------10-9s6-7----9--------|
, . . , . . , . . , . .
D A
'Cos it's the same kind of pity A
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|--------------------------------|--5------------7-8----7----5----|
|-----------------7--------------|--6-----------------------------|
|--0-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F# G
drunkard gives as his excuse You were
|--------------------------------|------------7----7----7----7----|
|--------------------------------|------------8----8----8----8----|
|--6-----------------------------|--------------------------------|
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, . . , . . , . . , . .
Bm F#
sharp and ideal as a bobby pin Now your
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|--7-----------------------------|--------------------------------|
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, . . , . . , . . , . .
F#7 Bm
eyes are deserted and quiet We
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, . . , . . , . . , . .
D A
both look like those poor shattered mannequins
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, . . , . . , . . , . .
F# G (bass run: G F#)
Thrown through the window in the riot
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|--------------------------------|--------------------------------|
|--------------------------------|---------------0-0h2-------2--4-|
|--------------------------------|--3---------3-------------------|
, . . , . . , . . , . .
Em
She
|--------------------------------|
|--------------------------------|
|--------------------------------|
|------------2--4-4s5--4----2----|
|--5-----------------------------|
|--------------------------------|
, . . , . .
A E
lies in his arms and without any qualms
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, . . , . . , . . , . .
F#m C#m
Revels in shallow delights She seems
|--------------------------------|--------------------------------|
|--------------------------------|--9--------------5--s-3--s-2----|
|--------------------------------|--9--------------6--------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
, . . , . . , . . , . .
A E
brittle and small it don't sound like her at all
|--------------------------------|----------------------4---------|
|----------------------5h7p5-----|----------------------5---------|
|----------------------6----6----|--------------------------------|
|----------------------7---------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
, . . , . . , . . , . .
F#m F#
Since she came back to him After the fall
|--5-----------------------------|--------------------------------|
|--7-----------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
, . . , . . , . . , . .
F#
|----------------------9---------|
|---------------------11---------|
|--------------------------------|
|--------------------------------|
|--------------------------------|
|---------------------------2----|
, . . , . .
Bm F#
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--2---------2--2-2----2h4--2----|--1--2-4------------------------|
|--------------------------------|--------------------------------|
, . . , . . , . . , . .
F#7 Bm
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|-------------------0-2---0---4--|--4s2--2------------------------|
|-4h5p4p2-4h5p4p2-4--------------|------------------------------4-|
|--------------------------------|----------------------7--5-7----|
, . . , . . , . . , . .
D A
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|------------4--5-7----5----4----|--4-h5p4s2------------2--4-2--0-|
|--5-------7---------------------|--------------------------------|
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, . . , . . , . . , . .
F# Bm G
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--------------------------------|--------------------------------|
|--4---------4--5-5s7--5----4----|--------------------------------|
|--------------------------------|--7-----------------------------|
, . . , . . , . . , . .
Bm
|-----------7--9h10p9p7-----------------|------------------||
|--------7---------------7--------------|------------------||
|-----7---------------------9--7--------|------------------|| Fine
|--9------------------------------9--7--|--9---------------||
|---------------------------------------|------------------||
|---------------------------------------|------------------||
ad lib.
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After The Fall pdfVideo After The Fall
I'll Never Fall In Love Again (Elvis Costello)
I watched Austin Powers 2 the other day and I saw Burt Bacharach (on piano) and Elvis Costello (on guitar) playing this, and I decided I'd have a go.
Enjoy. =)
Peace & Love.
LYRICS:
What do you get when you fall in love?
A guy with a pin to burst your bubble
That's what you get for all your trouble
I'll never fall in love again
I'll never fall in love again
What do you get when you kiss a guy?
You get enough germs to catch pneumonia
After you do he'll never phone you
I'll never fall in love again
I'll never fall in love again
Don't tell me what it's all about
'Cause I've been there and I'm glad I'm out
Out of those chains those chains that bind you
That is why I'm here to remind you
What do you get when you fall in love?
You get enough tears to fill an ocean
That's what you get for your devotion
I'll never fall in love again
I'll never fall in love again
Don't tell me what it's all about
'Cause I've been there and I'm glad I'm out
Out of those chains those chains that bind you
That is why I'm here to remind you
What do you get when you fall in love?
You only get lies and pain and sorrow
So for at least until tomorrow
I'll never fall in love again
I'll never fall in love
Fall Out Boy - What a Catch, Donnie
FOB - What a catch, Donnie
After "I don´t care" and "Headfirst slide into cooperstown on a bad bet" the band released the third single from the album "Folie a deux"
Featuring:
Patrick Stump
Pete Wentz
Joe Trohman
Andy Hurley
Others:
Pharrell Williams
Xavi Hernandez
Pilar Rubio
Jeff Hardy
Kelly Kelly
At the end of the song the voices are:
* Elvis Costello - "Headfirst Slide into Cooperstown on a Bad Bet" "What a Catch, Donnie"
* Gabe Saporta - (Midtown), (Cobra Starship) - "Grand Theft Autumn/Where Is Your Boy"
* Travis McCoy - (Gym Class Heroes) - "Sugar, We're Goin' Down"
* Brendon Urie - (Panic at the Disco) - "Dance, Dance"
* Doug Neumann - (Doug Does) - "This Ain't a Scene, It's an Arms Race"
* Alex DeLeon - (The Cab) - "Thnks fr th Mmrs"
* William Beckett - (The Academy Is...) - "Growing Up"
This video is un official and was made with Paint, Flash and Movie Maker in a few hours.
The Doctor I'll Never Fall In Love Again
No Copyright Infrindgement Intended!
Song - I'll never fall in love again by Elvis Costello
Episode - Doomsday, Doctor Who, Series 2.
After losing Rose, The Doctor vows never to fall in love again.
Fiona Apple - Elvis Costello - I Want You
I want you
Oh my baby baby I love you more than I can tell
I dont think I can live without you
And I know that I never will
Oh my baby baby I want you so it scares me to death
I cant say anymore than I love you
Everything else is a waste of breath
I want you
Youve had your fun you dont get well no more
I want you
Your fingernails go dragging down the wall
Be careful darling you might fall
I want you
I woke up and one of us was crying
I want you
You said young man I do believe youre dying
I want you
If you need a second opinion as you seem to do these days
You can look in my eyes and you can count the ways
I want you
Did you mean to tell me but seem to forget
I want you
Since when were you so generous and inarticulate
I want you
Its the stupid details that my heart is breaking for
Its the way your shoulders shake and what theyre shaking for
Its knowing that he knows you now after only guessing
I want you
Its the thought of him undressing you or you undressing
I want you
He tossed some tatty compliment your way
I want you
And you were fool enough to love it when he said
I want you
I want you
The truth cant hurt you its just like the dark
It scares you witless
But in time you see things clear and stark
I want you
Go on and hurt me then well let it drop
I want you
Im afraid I wont know where to stop
I want you
Im not ashamed to say I cried for you
I want you
I want to know the things you did that we do too
I want you
I want to hear he pleases you more than I do
I want you
I might as well be useless for all it means to you
I want you
Did you call his name out as he held you down
I want you
Oh no my darling not with that clown
I want you
Youve had your fun you dont get well no more
I want you
No-one who wants you could want you more
I want you
Every night when I go off to bed and when I wake up
I want you
I want you
Im going to say it once again til I instill it
I know Im going to feel this way until you kill it
I want you
I want you
Not What I Expected
Dave Nachmanoff performs "Not What I Expected" with Liz Bligan and Mike Lindauer.
Dave grew up listening to a lot of folk and bluegrass in the DC area, including Pete Seeger and Arlo Guthrie and Weavers, the Seldom Scene, John Denver, Kingston Trio and more, then through one of his babysitters, heard Simon and Garfunkel and the Beatles, got into Bob Dylan and some of the British folk rock, like Steelye Span and Fairport Convention, but after discovering the Beatles music, went more into rock, including many of the West Coast folk-rock acts like the Eagles, America and Jackson Browne. In the late 70's he got into Al Stewart and never really recovered from that.
Other influences in the 80's included some of the 'pub rockers' like Nick Lowe and Graham Parker, and the New Wave bands like the Cars, Elvis Costello and Joe Jackson. Also Bruce Springsteen, who was in inspiration as much for his style of performance as the for the songs. Later in the 80's Dave got into mainstream country for awhile, particularly Mary Chapin Carpenter, and then alt country like Steve Earle, Lucinda Williams and Rodney Crowell. The singer-songwriter boom of the 90's was the time that Dave really started to develop as a songwriter, and of course he was influenced by both the well known artists like David Wilcox, Shawn Colvin and Richard Shindell, and some of his friends and peers who were less well-known, but great writers. More recently Dave has become obsessed with the clever power pop of Fountains of Wayne and some of the other melodic alternative rock bands.
For more info on Dave see www.davenach.com.
Singer/songwriter/multi-instrumentalist Dave Nachmanoff saw Al Stewart live for the first time at Royal Albert Hall in London in 1985 and in 2006 came back and performed with him. At the age of ten he played with Libba Cotton ("Freight Train"). He's led songwriting workshops for German school children, synagogue groups, a Native American tribe, stroke survivors, and for the Silcocks, a family with 44 adopted boys. In addition, he's a heckofa songwriter in styles ranging from folk to pop who's sold over 15,000 recordings. He's a father of two and writes custom songs for weddings and other special occasions. As a side player (guitar, piano, bass, accordion and more) he's worked with Stewart on a regular basis, as well as many others at venues as far ranging as The Bottom Line and the Edmonton Folk Festival. Oh, and he's got a doctorate in Philosophy. That he earned in his spare time.
Dave grew up in the 60'and 70's surrounded by the active folk scene of northern Virginia and Washington DC and inspired by Pete Seeger, country rock, early revival folk like the Kingston Trio and later on, 80's new wave. Toss in a bit of celtic folk-rock a la Fairport Convention and it's clear how he got his rich melodic sound. His latest effort, "Time Before the Fall" offers a diverse palate of genres, from the traditional English ballad style "Midnight Sea" to the folk-pop of "Lucky." There are just enough hooky guitar licks on these songs to make you smile but not so much that they distract from the wonderful stories and out of the ordinary characters. There's the guy who brightens a city corner with flowers in the upbeat "George's Corner" and a man who remorsefully reports his brother's activities to the authorities in "Judas Kiss." He's got eight albums in all, including his first, Candy Shower, released in 1997. Plans are in the works for a new release in the next year.
With a personable style that's adaptable to a variety of stages, he looks larger than life although he's a vertically challenged five foot two (and no, he doesn't have blue eyes).
Just Plain Folks honored him with the 2001 Songwriter of the Year award. For five consecutive years he was the Susan Lucci of the South Florida Folk Festival, earning a place as a finalist before winning Best Overall in 2002. SingOut! has praised his "... heartfelt, inspired songwriting ... with a delivery both biting and assured."
Al Stewart (born Alastair Ian Stewart on 5 September 1945), is a British singer-songwriter and musician. He is best known for his 1976 single "Year of the Cat" and its 1978 follow-up "Time Passages" (both of which were produced by Alan Parsons). Stewart grew up in the coastal resort town of Bournemouth, Dorset, England. He moved to the United States in 1977 and recorded/produced most of his work in Los Angeles during the late 1970s and throughout the 1980s.