#

CRUSH WITH EYELINER

by Dave Silverstone
(*)

This is almost exactly like the album version.  I placed an asterix next to
the sole change I've included from the live performances.

4/4 time, quarter note=104 (with funk)

OPENING:

Guitar A chord for 3 1/2 measures.  I reccomend counting it as starting on
the third count. (3-4,1-2-3-4,1-2-3-4,(percussion counts on
beat)1x-2x-3x-4x).  That way the whole thing starts on 1.

Then:
   1&2&3&4&....      A   G    D
G-|--------|--------|--------|--------|
D-|--------|--------|--------|--------|
A-|------34|5-----53|------34|5-----53|
E-|5---3---|--------|5---3---|--------|
__________________________________________________

VERSE:
   1&2&3&4&....      A   G    D
G-|--------|--------|--------|--------|
D-|--------|--------|--------|--------|
A-|------34|5-----53|------34|5-----53|
E-|5---3---|--------|5---3---|--------|
   I know you.  I know you've seen her.


G-|--------|--------|--------|--------|
D-|--------|--------|--------|--------|
A-|------34|5-----53|------34|5-----53|
E-|5---3---|--------|5---3---|--------|
   She's  a sad tomato.  She's three miles of bad road.

G-|--------|--------|--------|--------|
D-|--------|--------|--------|--------|
A-|------34|5-----53|------34|5-----53|
E-|5---3---|--------|5---3---|--------|
   Walkin' down the street.  Will I never meet her?

G-|--------|--------|--------|--------|
D-|--------|--------|--------|--------|
A-|------34|5-----53|------34|5-----5-|
E-|5---3---|--------|5---3---|--------|
   She's a real woman-child.  Oh, my kiss, breath, turpentine.

PRE-CHORUS:
   B             *
G-|--------|--------|
D-|--------|--------|  The "T"represents 10.  an alternative lead in goes like
A-|--------|-----T98|  this: E-|7-7-7-7-|7-7-7653|
E-|7-7-7-7-|7-7-7---|

CHORUS:
   E   D    G   A    E   D    G        E   D    G   A    G(Hold)
            ##########                          ##########
G-|--------|--------|--------|--------|--------|--------|--------|--------|
D-|--------|--------|--------|55345875|--------|--------|--------|--------|
A-|7--65---|--------|7--65-5-|--------|7--65---|--------|--------|--------|
E-|--------|3---5---|--------|--------|--------|3---5---|3-------|--------|
   I am smitten.     I'm the real thing
                              (I'm the real thing).
                                       Have you seen her come around?
                                                         [My crush with
eyeliner]

VERSE:
I'm in like.
I'm in-fatuated.
It's all too much - the pressure
She's all that I can take.
What position should I wear?
or cop an attitude? - Faker
How can I convince her - faker -that
I'm inventive, too?  Yeah.

CHORUS:
I am smitten
I'm the real thing (I'm the real thing)
We all invent ourselves and,
[uh, you know me]

BREAK:
                                                           (Hold)
G-|--------|--------|--------|--------|------ --|------ --|0-------|--------|
D-|--------|--------|--------|--------|------ --|------ -4|5-------|--------|
A-|--------|--------|--------|--------|5-5-54h55|7-7-76h7-|--------|--------|
E-|7-----97|5----035|7-----97|5----035|------ --|------ --|--------|--------|

VERSE:
She's a sad tomato
She's 3 miles of bad road
She's her own invention.
(She's her own invention)**
That gets me in the throat.
What can I make myself be?
Uh, life is strange,
Yeah, life is strange.**
What can I make myself be? - faker -
To make her mine.**

CHORUS:
I am smitten
I'll do anything (I'll do anything).
Oh my kiss breath turpentine
[my crush with eyeliner]

In the last measure of each chorus, right before the next one, insert the
following segue (only in these last three):
        *
G-|--------|
D-|--------|
A-|-----T98|
E-|--------|

CHORUS:
I am smitten
And you know me, yeah
You know me
I could be your frankenstein***
[My crush with eyeliner]

CHORUS:
I am smitten
I'm the real thing (I'm the real thing)
Won't you be my valentine?
[My crush with eyeliner]

INSTRUMENTAL CHORUS

ENDING:
(from the last chorus measure)
   G        E
G-|--------|--------|
D-|--------|--------|
A-|-----T98|7-------|
E-|3-------|--------|

VARIATIONS:
at the beginning, try starting in with A at the 15th fret of the E string
at the start of the first full measure, then slide into the verse with a
rip from 15 to five. Cool effect.

At the end, you can do as the king of the bass guitar did on Letterman and
also in concert by ending with a slide from B (7th fret) to open E on the E
string on the second (implied) measure of the E chord ending.
________________________________________________

NOTES:

###- this is where the backing vocal (as done by the incredible Mr. Mills)
is a falsetto G to A to E, the second time per chorus G to A to G.  You can
work out best for yourself how to handle this (some people relegate it to
keyboard), but I find that it is easiest to do it mouthing "Aah" and
throwing the sound up to the roof of the mouth.  Other variations discard
this backing vocal entirely or replace it with an echoing of the lead
vocal.  Try screwing around with it to see what kind of effect you can get.
Don't forget the other backup vocals, too, 'cause they're kinda important.

**-these are a combination of lead voacal and two backing vocals, in the
case of the original that'd be Mr. Stipe, Mills, and Berry.  You can
probably get by with one or no backing vocals on this, but its so easy, why
bother?

***-Not only the name of that great novel and horror flick classic, but
also the title of a scummy track by the New York Dolls (It can be found on
both their eponymously titled album and their compilation.)  Check it out.
According to Stipe in an interview with Anthony DeCurtis (rolling stone)
this is the source of the name and Crush w/ Eyeliner is his attempt at a
Dolls' like song.
____________________________________________________________________________
_________
(which, by the way, includes a great live version of Fall on Me), and the
tab is very, very accurate (or so I've been told), so therefore copyright
R.E.* 1995, Night Garden Music 1994 is implicit.  But really, for
all intent and legal purposes, it's still just a fan's interpetation of a
good song.