xLindsey Buckingham - Go Insane
From the album "Go Insane," 1984
Tabulated by Reed Peterson
*Standard Tuning*
CHORDS
C#maj7 Cm7 Fm D#
e|---4--- e|---3--- e|---8--- e|---6---
B|---6--- B|---4--- B|---9--- B|---8---
G|---5--- G|---3--- G|---10-- G|---8---
D|---6--- D|---5--- D|---10-- D|---8---
A|---4--- A|---3--- A|---8--- A|---6---
E|---4--- E|---3--- E|---8--- E|---6---
INTRO - Strum out the progression . . .
[C#maj7 Cm7 Fm D# Fm] X4
VERSE 1
Fm D# Fm
Two kinds of people in this world
Fm D# Fm
Winners; losers
Fm D# Fm
I lost my power in this world
Fm D# Fm
'Cause I did not use it
CHORUS 1
C#maj7 Cm7 Fm D# Fm
So I go insane
C#maj7 Cm7 Fm D# Fm
Like I always do
C#maj7 Cm7 Fm D# Fm
And I call your name
C#maj7 Cm7 Fm D# Fm
She's a lot like you
VERSE 2
Fm D# Fm
Two kinds of trouble in this world
Fm D# Fm
Livin'; dyin'
Fm D# Fm
I lost my power in this world
Fm D# Fm
And the rumors are flyin'
CHORUS 2
C#maj7 Cm7 Fm D# Fm
So I go insane
C#maj7 Cm7 Fm D# Fm
Like I always do
C#maj7 Cm7 Fm D# Fm
And I call your name
C#maj7 Cm7 Fm D# Fm
She's a lot like you
C#maj7 Cm7 Fm D# Fm
Yes, I go insane
C#maj7 Cm7 Fm D# Fm
Like I always do
C#maj7 Cm7 Fm D# Fm
And I call your name
C#maj7 Cm7 Fm D# Fm
She's a lot like you
ODD INTERLUDE - This happens immediately after the second chorus; a bunch of interesting
sound effects are applied over the basic chord progression of the song. As in "INTRO,"
strum out . . .
[C#maj7 Cm7 Fm D# Fm] X4
FINAL CHORUS
C#maj7 Cm7 Fm D# Fm
So I go insane
C#maj7 Cm7 Fm D# Fm
Like I always do
C#maj7 Cm7 Fm D# Fm
And I call your name
C#maj7 Cm7 Fm D# Fm
She's a lot like you
C#maj7 Cm7 Fm D# Fm
Yes, I go insane
C#maj7 Cm7 Fm D# Fm
Like I always do
C#maj7 Cm7 Fm D# Fm
And I call your name
C#maj7 Cm7 Fm D# Fm
She's a lot like you
C#maj7 Cm7 Fm D# Fm
She's a lot like you
C#maj7 Cm7 Fm D# Fm
She's a lot like you
OUTRO - This happens immediately after Lindsey's last "She's a lot like you." Just strum
out the chord progression of "INTRO" and "INTERLUDE" over and over again, until the song
fades out.
NOTE: It sounds as if multiple guitar parts were overlayed in the recording - for
example, during "INTRO," the chord "Fm" may be heard in addition to every "Cmaj7."
The sound is delightfully "liquidy."
