Date: Sun, 25 Jun 1995 22:02:51 GMT
From: [email protected] (Kenny Sahr)
Subject: The Relay — The Who
THE RELAY
INTRO:
E / / / | E / D A | E / / / | E / / / ||
[«You can . . .»]
VERSE I:
[You can] hear it in the streets
E
See it in the dragging feet, The
Word is getting out about Control.
Spies, they’ve come and gone, The
Story travels on, The
Only private place is inside your soul.
CHORUS:
From tree to tree
D A
From you to me
D A
Travelling twice as fast as on an empty freeway
G D A
Every single dream
D A
Wrapped up in the scheme
D A
They all get carried on in the Relay.
G D A
(Relay) Things are brewing
B
(Relay) Something’s doing
(Relay) There’s a revolution
(Relay) Hand me down the solution,
C D
Yeah (Pass it on, etc)
E
GUITAR BREAK:
F# / / / | x 7 F# / G D ||
E / / / | / / / / | E / / / | / / / / |
VERSE II:
Someone disapproves
E
What you say I knew, I was
Asked to see if I could really learn you
Don’t believe your eyes, They’re
Telling only lies
What was done in the first place don’t concern you.
CHORUS II:
From tree to tree
D A
From you to me
D A
Travelling twice as fast as on an empty freeway
G D A
Every single dream
D A
Wrapped up in the scheme
G D
They all get carried on in the Relay.
G D A
(Relay) Things are brewing
B
(Relay) Something’s doing
(Relay) There’s a revolution
(Relay) Hand me down the solution,
C D
Yeah (Pass it on, etc)
E
*** Note that the E ‘chord’ throughout the verses is only implied.
The
electric guitar is riffing and picking out notes ‘around’ an E7 chord
(eg, E, D, B, etc). In fact, the riffing is similar to Townshend’s
later song
‘Eminence Front’.
So, for rhythm guitarists, don’t just play a straight E chord through
these
passages. Break it up by playing only part of the chord (trying not
to
emphasise
the major 3rd of the chord (G#)).
____________________________________________________________________________
______
Kerry, this song is so typical of Townshend’s (and many rock
guitarists’)
playing
in that the implied tonality is ‘E major’, but he’s actually drawing
on his
‘black’
influences to blur the song’s tonality. He does this by using bent
minor
3rd notes
(G natural), diminished 5th notes (A#), and minor 7th notes (D
natural).
These notes
in particular give the song (and the E chord, especially) an ambiguous
‘minor’ feel.
(This ambiguity is further compounded by the strumming of the acoustic
guitar — which
IS playing a straight ‘E chord’.)
So it gives it a ‘black’ feel that’s very difficult to chart just by
saying ‘E’!
Anyway, sorry to go on; I’m sure you know what I mean anyway!!
Jason.
P.S. You mentioned that the chart for ‘PUT THE MONEY DOWN’ is not very
accurate.
I used to have that book (but lost it accidentally when purging a
bookshelf).
Can you point to some obvious problems with the chart? I’d like to
compare it
with mine.
Collector of tabs for The Who…
Author of Hebrew language Jordan/Syria Travel Guide