Biography:
Suzanne Vega (born Suzanne Nadine Vega on 11 July 1959 in Santa Monica, California) is an American singer-songwriter noted for her eclectic folk-inspired music. Two of Vega's songs (both from her second album Solitude Standing, 1987) reached the top 10 of various international chart listings: " Luka" and "Tom's Diner".
Though born in California, Vega has lived most of her life in New York City. There, she attended the High School of the Performing Arts (the school seen in the feature film musical Fame), where she studied modern dance.
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Other songs:
- Marlene On The Wall
- Tom's Diner
- Angels Doorway
- Bad Wisdom
- Caramel
- Fools Complaint
- Frank Ava
- Frank Eva
- Freeze Tag
- Gypsy
- I Never Wear White
- In Liverpool
- Ironboundfancy Poultry
- Knight Moves
- Language
- Left Of Center
- Luka
- New York Is A Woman
- Night Vision
- Ny Is A Woman
- Penitent
- Pornographers Dream
- Queen And The Soldier
- Rock In This Pocket
- Rosemary
- Small Blue Thing
- Solitude Standing
- Songs In Red And Gray
- Straight Lines
- The Man Who Played God
- Toms Diner
- Undertow
Four years of hard work!This month of May we celebrated four years on the air. We continue working on the dissemination of this wonderful instrument, thank you for participating in our story!
#----------------------------------PLEASE NOTE---------------------------------#
#This file is the author's own work and represents their interpretation of the #
#song. You may only use this file for private study, scholarship, or research. #
#------------------------------------------------------------------------------##
<[email protected]>
To: [email protected]
Subject: /v/Suzanne.Vega/Language.tab
LANGUAGE (Suzanne Vega)
-----------------------
[I learned this from the book _The_Authentic_Guitar_Style_of_Suzanne_Vega_,
published by Cherry Lane Music. No guitar-playing Suzanne Vega fan should
be without it. Buy it; it's only $12.95, and it has very good transcriptions
of eleven songs from Suzanne's first two albums. If your local music store
doesn't have it, do a special order or call Hal Leonard (Cherry Lane's
distributor) directly; that's how I got it.]
Every chord in this song has exactly four strings in it. Play each chord as
an arpeggio of six sixteenth notes (each chord is half of a 12/16 measure.)
Here's an example:
A(9)/E G/D Cmaj7 Bm7
|------------------------|------------------------|
|------0-----------0-----|------0-----------0-----|
|----6---6-------4---4---|----9---9-------7---7---|
|--7-------7---5-------5-|--9-------9---7-------7-|
|7-----------5-----------|------------------------|
|------------------------|8-----------7-----------|
A(9)/E: x7760x G/D: x5540x Cmaj7: 8x990x Bm7: 7x770x
Am9: 5x550x G: 3x000x G/F: 1x000x Esus4: 0x220x
Esus4/B: x2220x F#m7(4): 2x220x G6(9): 3x220x Asus9: x0220x
C#m9: x4x440 B(4)/F#: 2xx440 Emaj7/G#: 4xx440 Asus9(#4): x0x440
D6(9): x5x400 A(9)/C#: x4x200
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
[intro]
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
If language were liquid, it would be rushing in
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
Instead here we are, in a silence more eloquent than any word could ever be
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
These words are too solid, they don't move fast enough
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G/F
To catch the blur in the brain that flies by and is gone
Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9)
And is gone, and is gone, gone,
F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9
Gone, gone, and is gone
I'd like to meet you in a timeless, placeless place
Somewhere out of context and beyond all consequences
Let's go back to the building on Little West 12th; it is not far away and
the river is there (Words are too solid, they don't move fast enough)
And the sun and the spaces are all laying low, and we'll sit in the slience
that comes rushing in (To catch the blur in the brain that flies by...)
And is gone, and is gone, gone,
Gone, gone, and is gone
C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4)
[instrumental]
C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4)
[instrumental]
C#m9 C#m9 D6(9) D6(9) A(9)/C# A(9)/C# D6(9) D6(9)
[instrumental]
A(9)/E G/D Cmaj7 Bm7
[instrumental]
I won't use words again, they don't mean that I meant, they don't say
what I said
It's just the crust of the meaning with realms underneath, never touched,
never stirred, never even moved through
If language were liquid, it would be rushing in
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G/F
Instead here we are in a silence more eloquent than any word could ever be
Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9)
And is gone, gone,
F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9
Gone, gone, and is gone [repeat and fade]
#This file is the author's own work and represents their interpretation of the #
#song. You may only use this file for private study, scholarship, or research. #
#------------------------------------------------------------------------------##
<[email protected]>
To: [email protected]
Subject: /v/Suzanne.Vega/Language.tab
LANGUAGE (Suzanne Vega)
-----------------------
[I learned this from the book _The_Authentic_Guitar_Style_of_Suzanne_Vega_,
published by Cherry Lane Music. No guitar-playing Suzanne Vega fan should
be without it. Buy it; it's only $12.95, and it has very good transcriptions
of eleven songs from Suzanne's first two albums. If your local music store
doesn't have it, do a special order or call Hal Leonard (Cherry Lane's
distributor) directly; that's how I got it.]
Every chord in this song has exactly four strings in it. Play each chord as
an arpeggio of six sixteenth notes (each chord is half of a 12/16 measure.)
Here's an example:
A(9)/E G/D Cmaj7 Bm7
|------------------------|------------------------|
|------0-----------0-----|------0-----------0-----|
|----6---6-------4---4---|----9---9-------7---7---|
|--7-------7---5-------5-|--9-------9---7-------7-|
|7-----------5-----------|------------------------|
|------------------------|8-----------7-----------|
A(9)/E: x7760x G/D: x5540x Cmaj7: 8x990x Bm7: 7x770x
Am9: 5x550x G: 3x000x G/F: 1x000x Esus4: 0x220x
Esus4/B: x2220x F#m7(4): 2x220x G6(9): 3x220x Asus9: x0220x
C#m9: x4x440 B(4)/F#: 2xx440 Emaj7/G#: 4xx440 Asus9(#4): x0x440
D6(9): x5x400 A(9)/C#: x4x200
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
[intro]
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
If language were liquid, it would be rushing in
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
Instead here we are, in a silence more eloquent than any word could ever be
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G
These words are too solid, they don't move fast enough
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G/F
To catch the blur in the brain that flies by and is gone
Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9)
And is gone, and is gone, gone,
F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9
Gone, gone, and is gone
I'd like to meet you in a timeless, placeless place
Somewhere out of context and beyond all consequences
Let's go back to the building on Little West 12th; it is not far away and
the river is there (Words are too solid, they don't move fast enough)
And the sun and the spaces are all laying low, and we'll sit in the slience
that comes rushing in (To catch the blur in the brain that flies by...)
And is gone, and is gone, gone,
Gone, gone, and is gone
C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4)
[instrumental]
C#m9 C#m9 B(4)/F# B(4)/F# Emaj7/G# Emaj7/G# Asus9(#4) Asus9(#4)
[instrumental]
C#m9 C#m9 D6(9) D6(9) A(9)/C# A(9)/C# D6(9) D6(9)
[instrumental]
A(9)/E G/D Cmaj7 Bm7
[instrumental]
I won't use words again, they don't mean that I meant, they don't say
what I said
It's just the crust of the meaning with realms underneath, never touched,
never stirred, never even moved through
If language were liquid, it would be rushing in
A(9)/E G/D Cmaj7 Bm7 Am9 G G/F G/F
Instead here we are in a silence more eloquent than any word could ever be
Esus4 Esus4/B Esus4 Esus4/B F#m7(4) F#m7(4) G6(9) G6(9)
And is gone, gone,
F#m7(4) F#m7(4) G6(9) G6(9) Asus9 Asus9 Asus9 Asus9
Gone, gone, and is gone [repeat and fade]
Swedish House Ma (...)
Sweet
Sweet Thing
Swiss Army Man
Switchfoot