Crimes Of Paris

[G]

I [G]thought it was [C]you and your [D]optimist's view of the [G]clock[C]  [G]
And [G]how it's always a[G/F]nother day
[E]Just after twelve o'clock's [Am]struck
You [Am]said "Now I only want [Am/G#]you so I don't have to [D]promise"
But [Am]tiny children in [C]grown-up clothes

[C/E]Whispered all the Crimes of Par[D]is  [D/C]       [D/B]            [D/A]

You're not the [G]girl next-[C]door or a [D]girl from France
Or the [G]cigarette-[G/F]girl in the [C/E]sizzle hot-[C/D]pants
All the [C]words of [G/B]love seem [D/A]cruel and [G]crass
            [C]              [G/B]       [D/A]      [E]  (possibly [G])
When you're tough and transparent as armoured glass
You're [C]everywhere [G/B]girl in an [D/A]everyday [E]mess
[Am]Who'll pay for the Crimes of[C] Pari[G]s  [C]    [G]

I heard that you fell for the "Hell or to Hammersmith Blues"
In the tiny torn up peices of his mind he's irresistible too
Now it's hard to say now if he's only stupid or smart
When he crawled through the door
And poured out more of his creeping-Jesus heart

[E]And it's all [E7]here and now
She [Am]hit him with that [Am/B]paper-weight [Am/C]Eiffel Towe[A/E]r
[Dm]And I tried to [G]hold on to you [Dm]but I don't know [G]how
And I [C]find it hard to [C/B]swallow [C/Bb]good advice[C/A]
Like [Am]going down [Am/B]three times to only [Am/C]come up twic[Am/D]e
[Am]Com[Eb]e up twice[Am/E]        [G]            [C]              [G]

She's so convenient, he's always stiff as hair-laquer
It's hard to discover now he's in love with her
It was her way of getting her own back
You never did anything she couldn't do on her own
You're as good as your word and that's no good to her
You'd better leave that kitten alone

Fade out:
(repeat last four bars of chorus)

[Am]     [C]     [G]  [C]  [G]     [G]  [C]   [G]

The tough thing about Crimes of Paris (as in many EC songs) is that he's
actually only playing five chords on the guitar, but the changes in the
bass notes and the vocals are what you really hear.  So, if you play it by
yourself the way EC does on the album, it sounds like you're missing a lot
of important changes- and you are.  Luckily, it's not too tough to work the
bass notes into the chords on this one...I imagine that's how Elvis played
it as he was writing it, and if he ever performed it by himself.

Mark's chords were on the right track, but his choruses and a few other
parts were off.  There are a few frustrating things about playing this song
on guitar.  One is the pesky G with F  bass (there's no F major in the song)
in the verses, which is tough to play on guitar.  It sounds *okay* if you
play a G7 there- the F will be in the chord, just on top instead of on the
bottom.   A similar problem is the Am with G
flatting the A on the G string (what the hell chord is that anyway?
Ammaj7?????)  As for chords like C/E and G/B, well, the bass notes are in
the normal major chords anyway, but I included the bass notation for
fingerpicking purposes- or if any bass players want to give it a shot.

[...]

Whew!  I guess that's it.  Only Costello could make such a mess out of G,
C, D, Am, and E.  I mean that as a compliment.

If anyone thinks I messed up, feel free to add corrections.  And if anyone
thinks this is on target and wants other transcriptions, just ask.  I don't
have the time to do this every night, but if I have the time, I'll figure
any Costello song out.  I've even been trying to put together some guitar
arrangements for songs from "The Juliet Letters"  to play with my sister
(no way my voice can handle some of that stuff...).  It's easy to hear the
notes clearly with the Brodskys, but trying toactually play that stuff on
guitar is a different matter.  Even the occasional stuff that resembles
good ole Costello pop melodies ("Why must I always apologize...") is way
more complex than it sounds.

You know, I said I was going to study tonight...

-Clyde

(use Monaco font for proper chord alignment)

And [G]how it's always a[G/F]nother day
[E7]Just after twelve o'clock's s[Am]truck
You s[Am]aid "Now I only want y[Am9]ou s[Ab]o I don't have to promis[D]e"

Or the ci[G]garette-g[G/F]irl in the s[C/E]izzle hot-pan[C]ts
All the w[C]ords of l[G/B]ove seem c[D/A]ruel and cr[G/B]ass
When you're [C]tough and trans[G/B]parent as a[D/A]rmoured g[G/B]lass
You're [C]everywhere [G/B]girl in an [D/A]everyday m[E/G#]ess

[E]And it's all [E/D]here and now
She [Am]hit him with that [Am/B]paper-weight [Am/C]Eiffel Tower [A/E]
[Dm]And I tried to [G]hold on to you [Dm]but I don't know [G]how
And I [C]find it hard to [C/B]swallow [C/Bb]good advice[A]
Like [Am]going down t[Am/B]hree times to only c[Am/C]ome up twice  [D]        [Eb]
[A/E]Come up twice

***analysis***

The recurring device here is a major chord with the flat 7th in the bass.
It happens on "another day" "cigarette girl" and "here and now" and "good
advice".

Also lots of 1st & 2nd inversion chords. The most original part is the
bridge with the bassline walking up beneath the Am chord. Ami/B is, by
itself very dissonant, as the B isn't part of an Am or Am7, but in context
it sounds great. The end of the bridge is really strange with the same line
continuing through D D
it-I don't know what to call those chords.

Anyone care to analyze the lyrics? I like the line about going down 3 times
to only come up twice.