I like to be very specific and thorough, so this is a bit long.

Tuning:
Appears to be in drop-D, although I'm not 100% sure of that. But it sounds
good, and makes you look cool when you do the chord-riffs. ;-] I'll show
chords for both tunings.
EFFECTS:
On the intro, a stereo filter effect is being used with a clean guitar. It
sound exactly like a MF-105 Moogerfooger MURF Analog Guitar Effect (and
probably is). They run about $400. There is also possibly a compressor,
depending on the clean sound of your own guitar. Distortion on the remainder
of the song is kind of crunchy/chunky, most likely analog distortion, or a
nice quality digital distortion (like in an expensive effects floor
processor. Sounds more analog to me, though.
Vocals on the intro have been either filtered or EQ'ed so there are no lows
and lots of highs, then the effect is turned off once distortion on the
guitars is active.
CHORDS
-First, the clean chords on the intro:
Standard - Drop D
G5 - 3x0033
- 5x0033
D5 - xx023x
- same
C2 - x3x03x
- same
Am7 - x0201x
- same
These next ones are not clean, but I thought I'd include them anyway.
Eb - x65046
- 111343
F - 133211
- 333211
G - 355433
- 555433
-Now, power chords. Please note that using power chords on only the lowest
three strings will produce a more crunchy distortion and a more consistent
timbre (tone color).
G - 355xxx
- 555xxx
D - 10-12-12-x-x-x - 12-12-12-x-x-x or 000xxx (depends on your taste.
I prefer the 1st, then I slide way down to
a low Eb when it comes around.)
C - 8-10-10-x-x-x - 10-10-10-x-x-x
Am - 577xxx
- 777xxx
Eb - x688xx
- 111xxx
F - 133xxx
- 333xxx
NOTE about alternative bass notes:
The guitar(s) do(es) not play any alternative bass notes, as is sometimes the
case with other songs. For example, with a D/F#, the guitar(s) play(s) a D
power chord, the bass player will completely handle the alternatives. So
make sure your bass player is EQ'ed good and mixed at a proper level with the
rest of the instruments. Bass is supposed to be the 2nd loudest instrument,
2nd only to drums, and vocals should be louder than all instruments. This is
the professional standard.
Each |
Into: |G5
|G5

| is one measure in 4/4 time.

|D5
|D5

|C2
|Eb

|Am7 D5|
|F |

*(Then the riff plays around with a G power chord using a basic Gm pentatonic
scale.)

VERSE (use power chords, or only 5ths and roots, never 2nds or 3rds):
beat 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
|GG
|GG
|FF
|FF
|CC
|CC
|GG
1
|Am

3
D/F#

4
|

CHORUS
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
|G
|D
|C
|Am D |
|G
|D
|Eb
|F
|
|G
| - this last measure wraps around back into the verse, or into
the instrumental. In other words, it doesn't technically
belong to the chorus, if we went by strict rules of timing.
INSTRUMENTAL
This just stays on G for about 8 measures, one of the rhythm guitars is
using a filter-type effect either controlled by an expression pedal, or
automatically by sensitivity of the player's strum. I think it sounds
kinda dumb, and it would be way better with a screaming guitar solo with
lots of harmonics, bends, vibratoes, and maybe a divebomb or pick slide.
And definitely some fast arpegios. That's what I do anyway, although I'm
still trying to get the divebomb into there somehow. You might also
consider lengthening the solo.
TABS:
G riff (in drop D). Note this riff isn't possible in standard tuning.
e-----------------------------B-----------------------------G-----------------------------D--0-3-5--5-x-x-5--x--5/6/5---x
A--0-3-5--5-x-x-5--x--5-------x
D--0-3-5--5-x-x-5--x--5-------x
Chorus.
(chord): G
| D
|
e---------------------------------------|-------------------------------------|
B---------------------------------------|-------15--15--(15)--x-x-------------|
G--------12/14--14--14--14\12--12-12-12-|-12/14----------14---x-x--14--14--14-|
D---------------------------------------|-------------------------------------|
A---------------------------------------|-------------------------------------|
D---------------------------------------|-------------------------------------|
C
| Am
D
|
e------------------------------------|-------------------|---------------|
B------------------------------------|-------------------|-15--15--15----|
G---14/17--17--17--17\12--12--12--12-|-12/14--14--14--14-|-------------x-|
D------------------------------------|-------------------|---------------|
A------------------------------------|-------------------|---------------|
D------------------------------------|-------------------|---------------|
Repeat top G and D sections, then do this:
(parts of it are kinda hard to hear.)
Eb
| F
| G
|
e----------------|----------------|-------------|
B----------------|-------------18-|-18s20-\-----|
G---15---14------|--14--15--17----|-------------|
D-------------15-|----------------|-------------|

If you are going into a verse

or into the instrumental, or
into the G riff (like the one
before the verses), ignore
this last G section.

A----------------|----------------|-------------|
D----------------|----------------|-------------|
Personal Recommendations:
On the chorus on the Eb-F-G part, add some vibratos to the leads wherever
possible to give it some life. What I like to do at the end of the first
chorus where the other guitarist is playing the G riff (and also on the very
last chorus) is the above part, minus the slide at the end, plus this:
(Keep a vibrato going on the last note, and get it to scream if you can do it
without killing the note or hitting the string again.)
e---------------------------------|
B---18v---16v---16h18---15v--\----| Make sure you end before the double G
G---------------------------------| strum on the rhythm, or you may risk
D---------------------------------| killing the dynamic effect of the song
A---------------------------------| there.
D---------------------------------|
To get a full sound out of your guitar, try having your sound guy pan your
guitar completely left then add a small delay, like 0.05 sec. (500 ms) or so in
the right channel at the same volume level. If that isn't possible, try using
stereo chorus in conjunction with stereo reverb, set so it's not obvious and
overdone, yet still gives the impression of more than one guitar. The idea is
to cut through the mix, and it sounds awesome on rhythm. You can also simply
have one rhythm guitarist in the left channel, and another in the right, but
that means the two will have to have perfectly identical strums to get the same
effect. I'm not sure which of these things have been done on this particular
song, but if you listen, you'll notice a difference in the left and right
channels.