II:C I C IF G IC IF G IC G/B Am IF G IC :II

3/4 I:C/ B/ Bb/ A7/ Dm/ A7/ Dm/ G7/ C/ C7/ F/ Fm/ C/ G/ C/ G7:I

Eb/ D/ Db/ C/ Eb/ D/ Ab/ G/

VERSE
D / D6 / D / D6 / Em G / A / Em G / A //
CHORUS
G A / D C / G A / F D / G A / D C / G A / F Eb / D / D6 //
MIDDLE 8
F Eb / Bb C / G Eb / Bb C / G Eb / Bb C //

Verse

A A/G# A/G A/G D A/C# Bm D/A G C#7 F#m E D A G D
Chorus
/ / / /
D E A E Bm A Bm A
Bridge
Em D A G D Dmaj7

Conway/Zygier
Verses & Choruses
D G Bm A
Bridge
G Em Asus4 F# Bm D E
Note: the F# isn’t exactly an F# but is easier to play and sounds nicer

Tim Hackett provided these.

Conway/Zygier

Chords worked out by Tim Hackett.

Intro

| A | Dm/A | X4

Verse 1

| A | Dm/A | X8

 Chorus 1

| B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

 | A | Dm/A | X4

 Verse 2

| A | Dm/A | X8

 Chorus 2

| B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

 | A | Dm/A | G#sus4 G# | Gsus4 G |

 Middle 4

| F#m | F#m | E | E |

 Guitar Solo

| A | Dm/A | X4

 Verse 3

| A | Dm/A | X8

 Chorus 3

| B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

 | B D | A | B D | G#sus4 | B D | A | G#sus4 G# | Gsus4 G |

 Outro

| A | Dm/A | Keep repeating – going a bit crazy then descending into
feedback and 50Hz hum

 

Conway/Zygier

Chords worked out by Tim Hackett.

Intro

| Em | (X4)

 First Verse

| Em | Em | D6 | D6 | A7 | A7 | Cmaj7 | Cmaj7 |

 | Fmaj7 | Fmaj7 | Em | Em | G | G | Cmaj7 | B7 | Em |

 Second Verse

| Em | Em | D6 | D6 | A7 | A7 | Cmaj7 | Cmaj7 |

 | Fmaj7 | Fmaj7 | Em | Em | G | G | Cmaj7 | B7 | BbAug11
|

 Middle 8

| Am | (X8)

 Third Verse

| Em | Em | D6 | D6 | A7 | A7 | Cmaj7 | Cmaj7 |

 | Fmaj7 | Fmaj7 | Em | Em | G | G | Cmaj7 | B7 |

 | BbAug11 | Am | Cmaj7 | B7 | Em | Em | Em | Em |

“twanga” bit before solo

| Em |  (X8)

 Fourth Verse (Guitar Solo)

| Em | Em | D6 | D6 | A7 | A7 |

 Fourth Verse (vocals contd)

| Cmaj7 | Cmaj7 | Fmaj7 | Fmaj7 | Em | Em | G | G |

 | Cmaj7 | B7 | BbAug11 | Am | Cmaj7 | B7 | Em | Em |

 Outro

| D | Bb | Em | Em | D | Bb | Em | Em | D | Bb | Emsus2+13… ||

These chords provided by Tim Hackett who said

“Here in My Arms” is definitely another of my favourites off “My
Third Husband” – definitely a song to alter your state of
consciousness. I had to apply some DIY musical theory to name
some of these chords so they may be theoretically wrong. I don’t have
a clue of the names of the first six chords in the intro, so I put
them into the chord chart as is. The very nice thing about this song
is that you can play the chords with your fingers in a rather loosely
timed manner – very good for those of us who are chronologically
challenged (i.e. have lousy timing). Enjoy …

These chords provided by Tim Hackett who says

“Only the Bones” is one of my favourite songs off “My Third
Husband”. Ignoring guitar solos, there appear to be two distinct
guitar parts to this song. The first set of chords are the basic ones
underlying the whole song. I don’t thinks these are exactly the
originals as used by Willy Zygier, but leaving them all down the
bottom of the fretboard makes them a bit easier to play. They’re kind
of subdued and muffled chords, so if you don’t like the ones I’ve
suggested, just use your favourite chord formations instead.

This second set of chords are a kind of melody/harmony line you can
play along with the chorus. When you’re listening to the song,
these jump out at you at the beginning of each chorus. The
lyrics are at the top of each row of chords so you know where abouts
you are in the song.

These fret diagrams represent the distorted arpeggio chords Willy
Zygier plays at the tail end of the song. The numbers at the bottom
of each diagram is to let you know in which order to play each note.

or for those who prefer tab for the last bit

e:-0v--3--5--------------------0v--1--3--1--0-|
B:----------0v--3--5--0v--1--3----------------|
G:--------------------------------------------|
D:--------------------------------------------|
A:--------------------------------------------|
E:--------------------------------------------|
e:-0v--3--5-------------------0v--1--3--0-|
B:----------0v--3--5--0--1--3-------------|
G:----------------------------------------|
D:----------------------------------------|
A:----------------------------------------|
E:----------------------------------------|

These chords provided by Tim Hackett who said

“All of the Above” is a magic song full of all sorts of little timing
labyrinths. Willy Zygier very kindly pointed out a couple of errors I
made, so this is the revised version. I’ve used some 3 note chords
for the verses, but garden variety A, F, C & G chords work just as
well. If you feel a bit adventurous, you can always have a go at the
guitar fills and solos which I’ve represented schematically (my
knowledge of music theory is somewhat below par). Probably the best
way to use these chords and fills is to listen closely to the
recording and play along. If you don’t have a copy of “My Third
Husband” …

(a) go out and buy it
(b) put it on your birthday & Christmas list
(c) go to Gaslight Records’ nude day and get it free
(d) hassle your favourite radio station to play it
(e) all of the above

These chords provided by Tim Hackett who said
If you ignore the diverse array of time signatures, “By Then
Dead” seems to be a kind of blues-meets-grunge affair – but then,
who cares what kind of a song I think it is. Rather than
drive myself crazy writing the whole thing out, I’ve just put in the
main parts of the song in order of appearance (naturally you’ll have
to go back between the verses & choruses). It’s probably safest if
you perform “By Then Dead” in your lounge room along with the
recording, as it doesn’t really lend itself to that cozy little
singalong around the campfire – then again…

This is deadly simple treat for guitar strugglers such as myself. It is in 4/4 (two beats to each line of lyrics), capo on the 8th fret, D and A formations (what you are really playing is Bb to F)
The break (after every second verse) has a keyboard sequence through it that I am told is pretty straight forward but beyond my meagre wit.
Thanks to Willy Zygier for explaining these chords to me.
Ross was always on blinder
David’s mostly running late
Shane prefers it gentler kinder
Alan likes to eat his cake
John’s beloved by all who meet him
Andrew makes a lot of dough
Roman’s trying vegetarian
Ralph wants everyone to know
James can understand both parties
Grant’s a fundamentalist
Gary’s fights get very narky
Gerry’s a ventriliquist
Tom likes wearing short pyjamas
Dick has joined his local team
Harry’s into green bananas
served with passionfruit and cream
Larry thinks he’ll join the navy
Joe is lively talks non stop
Matthew says he loves me truly
Herman’s into heavy rock
Winston loves to wear mascara
Truman’s moved to Ivanhoe
Pablo’s trying to reach Nirvana
he must be the last to know
Bob defies all defintion
Darwin makes it obvious
Ted is one big indecision
Scott is so industrious
Roger has the best intestines
Gough makes everybody laugh
Keith is fragile likes prescriptions
Toby thinks he’s really tough
Dan is daring not to gamble
Nevin never ever would
Geoff reads any tabloid scandal
Ben picks pockets and he’s good
Jordan never learned to tango
Noel is always practicing
Simon says he knows the lingo
but no-one really believes him
Bertoldt can’t stop muscle building
Humboldt’s table manner suck
Hercules is undernourished
Evil Homer lives to fuck

These chords provided by Tim Hackett who said
In my opinion “3 Love” combines the writing and playing skills of
seasoned musicians with the drive and freshness of a high school
band. The parts I especially like are Willy Zygier’s
McLaughlinesque* arpeggio guitar breaks in the final
stages of the song.
“3 Love” is basically in 5/4 timing with a 3 and 2 feel, but watch
out for the occasional switch to 7/4 and 3/4. A fun song to
play along with.
*John McLaughlin, best known to
jazz-fusion buffs, is an exceptionally talented guitar player who’s
been recording music for at least three decades. Many his songs
feature formidable time signatures over which he
plays cross-timing arpeggios and blistering solos. As to this
self-indulgent piece of esoteric music trivia, I’m sure to regret it
in the morning.

These chords provided by Tim Hackett who said
Musically speaking, DCN#348 is the epitome of simplicity and honesty;
an unexpected and insightful ending to “Bitch Epic” (which you’re
likely to miss if you press the “stop” button too quickly). The
“vocals and guitar to one microphone” makes for a lovely organic
guitar sound and intimate vocals. It sounds like a very personal song
so I hope Deborah doesn’t mind me putting it up here.
Although it’s actually in “the people’s key” (E), Deborah plays it
with a capo on the 4th fret using a C formation. I don’t know if the
way I’ve written it down is strictly correct but, for simplicity’s
sake, I’ve used the names of the chord formations rather than the
actual chords. I haven’t included the hammered on notes that Deborah
plays in the C chord, but these aren’t too hard to work out if you
listen carefully. Hope you enjoy playing it.

Conway/Zygier
E D A G – Verse…the problem is the verse is more of a riff than strummy chords, but this will do for the moment.
C#m Am E G – Bridge
A7 – Choruses
C G Asus2 C G E – Middle 8
These chords have been supplied by the tremendous Willy Zygier. If fans have chords they have pieced together, please send them in to be included on this site.

These chords have been supplied (indirectly) by the tremendous Willy Zygier. They were kindly made available for this site by Lisa J Young.

These chords have been supplied (indirectly) by the tremendous Willy Zygier. They were kindly made available for this site by Lisa J Young.

These chords have been supplied (indirectly) by the tremendous Willy Zygier. They were kindly made available for this site by Lisa J Young.

These chords from Tim Hackett.

These chords are probably right but could just as easily be wrong.

Intro:D, hammering onto Dsus4, times 4

Verse:G  C9 G  D

Chorus:C     D      C     D     C       D  C

Middle 8:Em    Em     D     D  C       C       C      C+Bnote Am    Am
G     G     C       C       D      D

The C+Bnote is just the top string of the C chord (C note) and the B note.

some of this is pinched from Meeks.

Deborah Conway/Dorland Bray