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Perfect This Time

By: Guided By Voices Appears on: Hold On Hope [single] “Perfect This Time” was written for inclusion on the Do The Collapse album, but may well have been one of the poppier tunes that was eschewed at the behest of producer Ric Ocasek in lieu of one of the album’s proggier numbers. So it was […]

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Love 1

By: Guided By Voices Appears on: Universal Truths And Cycles For several of the songs on Universal Truths And Cycles, including “Love 1,” Robert Pollard uses a chord shape that is very common in his arsenal of guitar tricks. It’s the basic “power chord” shape that we typically play on either the sixth and fifth […]

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Mr. Child

By: Guided By Voices Appears on: Styles We Paid For In this post, we’ll take a look at the guitar tablature and chords for “Mr. Child” from Styles We Paid For. Besides the killer opening riff, there are a lot of fun guitar parts throughout the song to keep things interesting. You need to be […]

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Roll Me To Heaven

By: Guided By Voices Appears on: Styles We Paid For There’s a lot to love about “Roll Me To Heaven,” at least from this guitar-player’s perspective. It features quite a few interesting chords, several distinct sections, and an ending that contains an unexpected chord change and arpeggio, in true Robert Pollard fashion. All these elements […]

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Endless Seafood

By: Guided By Voices Appears on: Styles We Paid For The main guitar riff in “Endless Seafood” uses a Robert Pollard guitar technique of playing a common chord shape—in the case of this song, an open Em—in different spots of the guitar neck. This is a bit different from the “Floating Chord Shape” technique I […]

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The Very Second

By: Guided By Voices Appears on: Sweating The Plague “The Very Second” is a high-energy number on Sweating The Plague with not too much fancy guitar work going on for the rhythm guitar. But there is a fantastic guitar solo by Doug Gillard, as if you’d expect anything less than “fantastic” from him. You need […]

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Angelic Weirdness

By: Guided By Voices Appears on: Warp And Woof “Angelic Weirdness” is played with lots of open guitar strings with mostly common chord shapes. Even the ones that are somewhat unconventional are fairly common in Robert Pollard compositions, so they’re good to know. And how about that Mark Shue bass line during the second verse? […]

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