This page is BELIEVEYOUME — chord charts (v4). In v1 a computer guessed the "home note" of each song and got a bunch of them wrong. In v4 we listened to the singing track and the bass track by themselves, then matched them to the album book, and fixed the wrong ones. Jackie was called F but is really A-flat. The Mutiny was called F-sharp but is really B-flat. The Alligator was called G-minor but is really G-major. And more.
10-track Shiner album (2025, self-titled). Letter chords above lyrics, now with the true tonic on every song. · v1 built 2026-06-14, v4 built 2026-07-07
| Song | v1 rail key | v4 truth (stems + v6 book) | Why v1 missed |
|---|---|---|---|
| 01. Asleep In The Trunk | F minor | F, third withheld · 3/4 | The guitar never states the 3rd. Third is contested, not committed minor. Meter is 3/4, not 4/4. |
| 02. Broken Satellites | E♭ major | E♭ major, lives on its own dominant · 116 BPM | Confirmed. Held. |
| 03. Endless Summer | B♭ major | B♭ major · 140 BPM | Confirmed. Held. |
| 04. Jackie | F major | A♭ major / Lydian · 144 BPM | Classic subdominant bias — F is the IV of A♭. The intro hides the root behind the 6th and 7th; the detector locked on IV. |
| 05. Lazarus | C minor | C minor · 117 BPM | Confirmed. Held. |
| 06. My Mirror Hates Me | E minor | E, contested third · Standard tuning · 114 BPM | The guitar sounds G♯ then G♮ then stacks both. Not committed E minor — the whole song sits between the two thirds. |
| 07. Not Too Much | A♭ major | A♭ major · ~85 BPM | Confirmed. Held. |
| 08. So Far, So… | D | D mixolydian → D major · 130 BPM | Tonic held. Mode nuance added: third-less mixolydian verse, D major when the voice sings the F♯ the guitars leave out. |
| 09. The Alligator | G minor | G major · 120 BPM | Wrong mode. Guitar sounds G, A, D with no third — the bass moves define it, and the album book reads G major. |
| 10. The Mutiny | F♯ | B♭ · 130 BPM | Enharmonic mislabel + relative confusion. A root clamp lands the whole band on B♭; F♯ is nowhere in the harmonic center. |
A cross-album look at the major song elements and the most interesting vocal-chord interactions on Shiner's BELIEVEYOUME, with the vocal MIDI track held out of the chord-detection pool and then mapped back in as scale-degree commentary.
The album-wide insight up front: **Shiner's rhythm guitar and bass mostly voice power chords (root + 5), and the vocal supplies the third.** That single observation reframes the chord chart. The earlier MIDI extraction was treating vocal notes as chord tones, which inflated F5 power chords into spurious F5add9, Cmsus4, Bbm7 and so on. With the vocal removed from chord detection, the rhythm + bass voicing reads cleanly, and the vocal's role becomes legible as a separate harmonic decision: usually the third (completing the triad), sometimes a held pivot (same note across a chord change), sometimes a high-register decoration on the 6th or 7th.
Four behaviors recur across the record.
1. **Vocal-supplies-the-3rd.** The signature move. Tracks 1, 6, 9 are clearest. Rhythm + bass give a power chord, the vocal lands on the 3rd, the chord lands.
2. **Vocal-pivot.** The same vocal note is held across a chord change, so the listener feels the chord move underneath while the melody stays put. Tracks 2, 3, 5, 10.
3. **High-register decoration.** Vocal sits on the 6th or 7th of the chord, above the harmony rather than inside it. Tracks 8 and 10.
4. **Mode-mixing.** The rhythm guitar voices a power chord, and the vocal sometimes lands on ♮3 (major) and sometimes on b3 (minor), so the song slides between major and minor without changing chord. Tracks 2 and 5 most explicitly.
Rhythm + bass live on F5 for most of the song (the bar-level extraction shows F5 as the dominant chord for 121 bars). The rhythm guitar adds a high Db ringing on top, a Phrygian color above the power chord.
Verse signature. The vocal floats A natural over the F5 + Db bed. F to A is the major 3rd, not the minor 3rd that the surrounding F-minor context would predict. That's the song's central ambiguity, a bright vocal melody over a darker harmonic bed. The prior extraction was reading A as a chord tone and labeling F major or F6 in spots, but the rhythm + bass alone are unambiguously F5 with Db.
Most interesting. The chorus progression is Db5 → Bb5 → Ab5 → F5, and the vocal lands on each chord's 3rd or b3 in sequence:
Db5 + vocal F = Db major (vocal = ♮3) Bb5 + vocal Db = Bb minor (vocal = b3) Ab5 + vocal C = Ab major (vocal = ♮3) F5 + vocal Ab = F minor (vocal = b3)
The vocal completes every chord. No fourth voice is needed because the vocal IS the third.
Rhythm + bass voice G (with a strong B natural in the rhythm guitar's middle voice) alternating with Bb (♭III, borrowed from G minor). The verse riff sits between G major and G minor parallel modes.
Verse and hook signature. The entire vocal melody is two notes, B and C, alternating. The chord underneath changes (G → Bb → G → Bb), and the role of those two vocal notes changes with it.
Most interesting. The same B-C melody means three different things depending on the chord underneath:
Over G: B = ♮3, C = sus 4 (the vocal completes G major and decorates it) Over Bb: B = ♯1, C = 9 (the same vocal B is now a chromatic clash) Over B: B = root, C = b9 (briefly atonal, in the bridge passing chord)
Same melody, three meanings. That's the songwriting payoff. The prior extraction was reading the sus 4 vocal as a chord member and labeling Bb6/9 or Gadd9.
v4 note. This section previously read the song on an F♯ tonic, an artifact of the summed-stem detector locking on the enharmonic. The three paragraphs below are the B♭-tonic analysis paraphrased from the believeyoume-book-v6 Mutiny chapter (the album's DEFINITIVE SOURCE hard gate).
Three stages. The Mutiny moves in three stages. A root clamp crushes the whole band onto B♭, then a flat-side opening lets the bass lead and the vocal follow it down, then a late body brings the major third into voice and guitar at once over a floor that never clears. Where the first two songs on the record hid the third behind a pedal or a frozen voicing, this one weaponizes unison, playing one note until the missing color becomes the loudest thing in the room.
Intro, a bare B♭ power chord. The lead guitar opens alone on a B♭ power chord, root and fifth on a Drop-C neck. No third enters the texture. The bass leans on B♭ with a dip to G♭, and the voice stays out of singing range through these bars. A fifth with no third keeps the question open, neither major nor minor readable in it, and the song lets that hang at 130 BPM.
The locked verse, and the flat-side opening. The arrangement narrows until every part hits the same pitch class, the vocal delivering a long string of B♭ notes while guitar and bass strike B♭ underneath, the tightest window dropping even the fifth so mostly root and octave sound. The singer joins the instrument grid, the missing third becomes active because the ear keeps waiting for a G or a D to clarify the color, and Shiner withholds it. When the lock finally breaks, the bass moves first toward G♭ and A♭, the guitars follow into the same flat-side shapes, and the vocal stays inside the same gravity. A high D flickers through the vocal in this region and the guitars touch D early, so the major third is in the room without yet becoming the thing the song leans on.
Rhythm + bass anchor on D (the song lives on the D bass for 91 of its bars). The rhythm guitar adds F natural (b3, confirming D minor) and Bb (b6, Aeolian color).
Verse signature. The vocal anchors on A natural, the 5th of D minor. A is the most-stable possible scale degree, and the song uses that stability deliberately, the vocal sounds calm while the harmony churns underneath.
Most interesting. When the chord moves from Dm to Bb (the b6 chord), the held A natural in the vocal becomes the major 7th of Bb. That's a wistful lift, the same physical pitch suddenly carries a different emotional weight. The prior extraction labeled it Bbmaj7 because A was being counted as a chord tone. With the vocal excluded, the chord is plain Bb, and the vocal A is correctly a melodic ♮7 sitting on top.
Rhythm + bass voice E5 with a strong D in the rhythm guitar (the b7 of E, suggesting E Mixolydian or E Dorian rather than pure E Aeolian). The rhythm guitar also has G# in several bars, the major 3rd, which would make E major.
Verse signature. The vocal hovers on G# and B (the ♮3 and 5 of E), so the verse-with-vocal resolves as E major even though the chord is just E5. The mode-mixing is built into the song's basic voicing.
Most interesting. The vocal sometimes lands on F# natural, which is the major 2nd / 9th of E. F# is in E major scale but also in E Dorian (where the chord underneath would be Em, with F# = ♮9 / Dorian color). So F# is the vocal's mode-tester, it commits to neither pure major nor pure minor. The prior extraction had moments of E6 or Eadd9 from this F# being counted as a chord tone, when it's really a melodic decision.
Rhythm + bass live on Bb5 for 109 bars. This is the album's most-concentrated single-chord song, the entire structure orbits Bb.
Verse signature. The vocal centers on D natural, the major 3rd of Bb. So the same trick as track 1, vocal supplies the third, but now in the bright key. Bb5 + D = Bb major triad, completed by the vocal.
Most interesting. The vocal also visits Eb (the 4th of Bb, briefly a sus 4 color) and C (the 2nd / 9th). When the chord briefly drops to F5 in the bridge area, the C# (which had been a chromatic note over Bb) becomes the 5th of F#. There's a subtle pivot moment where C# moves from b6-of-F to 5-of-F# as the harmony shifts. The prior extraction was occasionally calling Bb6 or Bbsus when these decorative vocal notes got pulled in.
No vocal track in this MIDI. The song is built on a Drop-C rhythm guitar with C5 → Gm → G5 → Em movement.
Note for the band book. Lazarus is the album's instrumental, so the vocal-supplies-the-3rd pattern doesn't apply. The chord chart for this track is stable without vocal-degree commentary, the rhythm + bass voicing IS the harmony. The most-interesting feature is the Drop-C tuning itself, which gives the rhythm guitar a low C (C2) that sits below the bass's normal range in places, doubling and reinforcing the root.
Rhythm + bass voice Ab (root + 5, often with C completing Ab major in the rhythm) alternating with Bb5 and C5.
Verse signature. The vocal sits on F natural, which is the 6th of Ab major. The 6 is NOT a chord tone of a basic triad, the vocal is decorating from above rather than completing the chord. The completed chord is Ab major (rhythm gives the major 3rd C), and the vocal sits one step higher on the 6.
Most interesting. When the chord moves Ab → Bb, the same vocal F becomes the 5th of Bb. The vocal hasn't moved, but its function shifted from a high decoration (6 of Ab) to a structural chord tone (5 of Bb). The prior extraction was calling Ab6 or Ab(add9) because the F was being pulled into the chord label. With the vocal excluded, Ab is plainly Ab major, and the F is a melodic high-register decision.
Rhythm + bass voice Eb5 (with the rhythm guitar adding G = ♮3 in many bars to complete Eb major). Bass walks Eb → C → Ab → G → Bb across the verse.
Verse signature. The vocal anchors on the root and 5 of Eb, with D natural (the major 7) showing up as a leading-tone color on the cadences. The melody is more chord-anchored than the rest of the album.
Most interesting. The bridge has a C5 → Bb5 → F5 → Eb5 walk. The vocal sustains F across the C5 → Bb5 change, which means F moves from sus 4 of C to 5 of Bb in two bars. That's another vocal-pivot example, but quieter than the Mutiny version, the held note resolves a sus 4 by changing chord rather than by moving down. The prior extraction labeled Csus4 explicitly because F was sitting in the chord, but the rhythm + bass alone are just C5 with the vocal supplying the sus.
Rhythm + bass voice Cm, Eb, Ab in rotation. The bass walks C → Eb → Ab → G across the verse.
Verse signature. The vocal sits HIGH, mostly on the 6th and 7th of the chord underneath. This is the album's most-extreme high-register-decoration vocal, the melody almost never lands on the chord's root or third.
Most interesting. When the chord moves Eb → Ab, the held vocal G stays put. G is the major 3rd of Eb, then the major 7th of Ab. That's a fancy pivot: same vocal note, the chord moves IV → ♭VII (or III → VI in C minor), and the held G transforms from a stable 3rd into an unstable ♮7. The prior extraction was reading this as Ebmaj7 and Abmaj7 because the G was getting included in the chord labels. With the vocal excluded, the chord changes are plainly Eb and Ab, and the G is melodic, the song's emotional climb.
**Power chord + vocal-supplied third is the signature.** Asleep in the Trunk, Endless Summer, and Broken Satellites use it most explicitly. The rhythm + bass give a 5th, the vocal lands on the 3rd, the chord lands. This is why the prior extraction kept inventing 7ths and 9ths, the third was sitting in the vocal track, not the rhythm guitar.
**Vocal pivots are the slow-payoff move.** The Alligator, The Mutiny, My Mirror Hates Me, and Jackie all do this. The vocal holds, the chord changes, and the listener feels the harmonic shift through the unchanged melody. The Mutiny is the cleanest example (A# = ♮3 of F#, then root of A#m, one bar apart). Jackie is the most extreme (G = ♮3 of Eb, then ♮7 of Ab, the function flips from anchor to suspension).
**Two tracks decorate from above.** Not Too Much sits the vocal on the 6th of Ab. Jackie sits the vocal on the 6th and 7th of every chord. In both cases the vocal is not part of the triad, the rhythm + bass give the chord, and the vocal is doing high-register melodic work above it.
**Mode-mixing lives in the rhythm guitar's voicing.** The Alligator has both B and Bb in the rhythm. My Mirror Hates Me has both G and G# in the rhythm. The vocal then picks one or the other depending on the line. This isn't ambiguity, it's a deliberate songwriting choice, the song slides between major and minor parallel modes without changing the chord root.
Every per-song FIXED_HYBRID chart now has a "what changed from the earlier MIDI extraction" section spelling out which inflated chord names came from vocal contamination. The shared theme: the vocal's third, sus, 9, b9, or sus 4 was being counted as a chord member by the auto-detector. Once the vocal track is held out of the pool, the rhythm + bass voicing is unambiguous, and the vocal can be mapped back in as scale-degree commentary rather than chord material.
For the band book, the practical impact is that chord charts should list power-chord voicings as the base layer (what the listener can play on guitar), and the completed triad name as the layer the listener hears (what the band actually does). That two-layer view is what the per-song HYBRID charts now provide.
Tracks 4-10 covered in this synthesis only. If a single-song deep chart is needed for any of them, run the same extraction pipeline (rhythm + bass for chord, vocal as separate scale-degree map).
Source: the full 4:39 song, transcribed from the Moises stemsbass.flac+other.flac+vocals.flacvia basic-pitch (ONNX). MIDI at~/Projects/_outputs/believeyoume-midi/full_asleep/. Chord roots are read from the bass (reliable), quality from the other stem, vocal held out of detection and used only for phrase timing.
v4 correction. Key center: F, third withheld · 3/4 per believeyoume-book-v6. The v1 sheet asserted F minor; the guitar never states the 3rd on this song, and meter is 3/4 not 4/4. The bass vocabulary still lives on F, A♭, B♭, C, D♭, E♭ (with a G passing chord in the bridge) because the bass moves flat-side around the withheld third. Chord-quality labels below carry the v1 composite reading and need re-derivation from the isolated vocal stem.
Two readings shown. The bar grid below is the source-true read: the guitar and bass play power chords (root + 5, no third). The lyric chart shows the composite chord, the power chord plus the third the vocal supplies (so F5 reads as Fm, Db5 as Db, Bb5 as Bbm). Word placement in the lyric chart is forced-aligned to the vocal, not eyeballed.
Db5 → Bb5 → Ab5 → F5 (composite Db → Bbm → Ab → Fm), one per bar, descending bVI–iv–bIII–i. The slash voicings I invented last pass (Bbm/Db, Eb5/Ab) are not in the bass and have been removed.Ab5 and Eb5 with a G5 passing chord. The 56 s extract never reached it.Placement is forced-aligned: every lyric word was timestamped against the vocal stem with torchaudio MMS_FA, then each bass chord-change was anchored to the nearest word. Composite chords shown (vocal third folded in).
bass_basic_pitch.mid + other_basic_pitch.mid (click to expand)| start s | end s | dur s | chord (bass-root) |
|---|---|---|---|
| 0.30 | 8.20 | 7.90 | F5 |
| 8.20 | 9.00 | 0.80 | Csus4 |
| 9.00 | 59.00 | 50.00 | Fsus4 |
| 59.00 | 61.10 | 2.10 | Db5 |
| 61.10 | 63.20 | 2.10 | Bb5 |
| 63.20 | 65.50 | 2.30 | Ab5 |
| 66.10 | 67.40 | 1.30 | F5 |
| 67.40 | 71.10 | 3.70 | Db5 |
| 71.10 | 76.00 | 4.90 | C5 |
| 76.10 | 109.30 | 33.20 | Fsus4 |
| 109.30 | 111.30 | 2.00 | Db5 |
| 111.30 | 113.40 | 2.10 | Bb5 |
| 113.40 | 115.50 | 2.10 | Ab5 |
| 115.50 | 117.60 | 2.10 | F5 |
| 117.60 | 119.70 | 2.10 | Db5 |
| 119.70 | 121.90 | 2.20 | Bb5 |
| 121.90 | 124.00 | 2.10 | Ab5 |
| 124.00 | 126.00 | 2.00 | F5 |
| 126.00 | 128.10 | 2.10 | Db5 |
| 128.10 | 130.20 | 2.10 | Bb5 |
| 130.20 | 132.30 | 2.10 | Ab5 |
| 132.30 | 134.40 | 2.10 | F5 |
| 134.40 | 136.50 | 2.10 | Db5 |
| 136.50 | 138.50 | 2.00 | Bb5 |
| 138.50 | 142.70 | 4.20 | C5 |
| 142.70 | 205.50 | 62.80 | F5 |
| 205.50 | 209.60 | 4.10 | Ab5 |
| 209.60 | 213.80 | 4.20 | Eb5 |
| 213.80 | 218.20 | 4.40 | F5 |
| 218.20 | 221.70 | 3.50 | Ab |
| 221.70 | 222.50 | 0.80 | G5 |
| 222.50 | 226.40 | 3.90 | Eb5 |
| 226.40 | 234.30 | 7.90 | F5 |
| 234.70 | 236.90 | 2.20 | Db5 |
| 236.90 | 239.00 | 2.10 | Bbsus4 |
| 239.00 | 241.00 | 2.00 | Ab5 |
| 241.00 | 243.40 | 2.40 | F5 |
| 243.40 | 244.60 | 1.20 | Db |
| 244.60 | 245.40 | 0.80 | G5 |
| 245.40 | 247.50 | 2.10 | Bb5 |
| 247.50 | 251.60 | 4.10 | Csus4 |
| 251.60 | 252.90 | 1.30 | Db |
| 252.90 | 253.70 | 0.80 | G5 |
| 253.70 | 255.80 | 2.10 | Bb5 |
| 255.80 | 257.80 | 2.00 | Ab5 |
| 257.80 | 259.80 | 2.00 | F5 |
| 259.80 | 261.30 | 1.50 | Db |
| 261.30 | 262.00 | 0.70 | Csus4 |
| 262.00 | 264.10 | 2.10 | Bb5 |
| 264.10 | 268.30 | 4.20 | Csus4 |
| 268.30 | 276.30 | 8.00 | F5 |
Key Eb. Same chords as the published v1 sheet, repositioned so each chord sits over the syllable it lands on. Inner-line placement on the multi-chord lines is by ear, verify against the recording.
Key Bb. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
The sun shines on me always The fun never leaves all day And I, I can see forever Ride these ocean waves And drink myself to sleep Tune the radio F Eb On these endless summer days F Eb Pray for rain F Bb We, we don't need no one We don't believe your answers We won't be fooled again, and Ride these ocean waves And drink ourselves to sleep Tune the radio F Eb On these endless summer days F Pray for rain Eb Bb Dance for rain You, you and I tonight Fly on our wings tonight They won't believe their eyes Ride these ocean waves And drink ourselves to sleep Tune the radio F Eb On these needless summer days F Pray for rain Eb Dance for rain
v4 correction. Key A♭ major / Lydian per believeyoume-book-v6 (the v1 sheet asserted F, which is the subdominant of A♭ — the classic summed-stem detector bias). Root from bass MIDI, guitar mostly power chords. Chord-quality labels below still reflect the v1 F-tonic composite reading and need re-derivation. Nashville / Roman numerals in this pane now compute against A♭.
Gm Bb Ab Why'd you make a mess? Bb Waiting on your prince again Ab Bb Rip up half the yard Ab Bb Searching for your gold Eb Are you left alone? Gm Eb Have you been left alone? Ab Bb Ab If I knew what to say Bb Eb How to make you understand Bb If I could ease your pain Eb Ab And stay at home I would Bb Ab I wonder what you think Bb Eb When I'm far away from you Bb Did you find another love? Ab Bb Eb And chew up all their shoes too? Are you left alone? Have you been left alone? Bb Dm Did you get left alone tonight?
Key Cm. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
Cm Fm Gb DdimFm Yeah you're high, so high Gm Fm Gb DdimFm The ruler of the earth Gm Eb E Cm Ddim Ab But the hair on your head Gm Bb Gm Has sewed you to the bed Fm Gb Ddim Fm Cm But the best of all Fm Gb DdimFm Gm Is when it opens up Eb DdimCm E Gm Now you sleep in the deep Bb Gm Fm Ab The fishes swimming by Gm Bb Fm Eb Fm Now you hear what they think Gb Ddim Gb Cm They’re planning your demise Fm Gb Ddim Fm Eb But the best of all E Fm DdimCm Fm Is when it opens up Cm I'm old then I'm young AbGm Burn til I freeze Bb Gm Dead and alive Fm Ab Gm Buried at sea Bb Gm Ab Gm Now you dance on your grave Bb Gm Lazarus arise Cm Now you’re high, so high Look down upon the flock Ab Gm Cm But the best of all Is when it opens up Gm I'm old then I'm young Cm Gm Cm Burn til I freeze Gm Dead and alive Cm Gm Buried at sea I'd trade in my pills Cm For one chance to fly
v4 correction. Key E, contested third · Standard tuning per believeyoume-book-v6. The v1 sheet asserted E minor as committed, but the guitar sounds G♯ then G♮ then stacks both, so the song sits between the two thirds rather than resolving to minor. The verses hold an E drone (Verse 2 leans to a C flat-VI color); the chorus rides the E-Bm-G-A-D loop with the third contested throughout. Composite chord labels below are the v1 reading. Fine word placement is by ear, verify against the recording.
Key Ab. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
Bbm Ab It's more than make believe Bbm There's things I can't unsee Ab Through the medicines Bbm And out to the evergreen Ab Past the traffic lights She revealed to me Db Bbm Db Only you see me Bbm Ab We'll find my keys and drive Bbm Out where stars are bright Ab All the battle scenes Bbm Ab Are reruns made for me I'm a cannon ball Shot through the evergreen Db Past the traffic lights Bbm She revealed to me Db Only you see me We'll find my keys and drive Cm Ab Bbm Out where stars are bright Eb Weaving through the cars Cm Ab We're disappearing stars Bbm GdimEb Cm You and I drive away Ab Fly away Bbm Eb Make it go away Db Weaving through the cars We're disappearing stars
Key D. Root from bass MIDI, quality diatonic to key (guitar = power chords). Word alignment approximate , verify by ear.
D [Verse] I've been saved I've been blamed I got lost I've paid the cost I've been washed 'Cause I been saved And I've been blamed I've been clowned And fooled again Bb I've been washed D So far so, [Chorus] Bb But if you leave D And if you leave me now Bb D Bb The sky won't fall and the Earth won't open But if you lave D And if you leave me now The sky won't fall and the Earth won't swallow me whole [Verse] 'Cause I got sold Em For a speck of gold Baptized clean In gasoline Yes I got washed F So far so, Bb [Chorus] C But if you need Bb If you need something you can run from Then run from me D But if you leave Bb And if you leave me now D Bb The sky won't fall and the Earth won't open And if you leave D Bb And if you leave me now D The moon won't crash into the ocean A Bb And if you leave And if you leave me now D The sky won't fall and the Earth won't swallow me whole
v4 correction. Key G major per believeyoume-book-v6 (the v1 sheet asserted G minor). The guitar sounds G, A and D and states no third, so the chord's identity comes entirely from the bass moving underneath it. Root from bass MIDI, guitar power chords. Chord-quality labels below still show the v1 minor-composite reading and need re-derivation. Nashville / Roman numerals in this pane now compute against G major.
Gm What is that you say? Bb What is it you think you have to say? Gm I know what you need Bb I know what you love and where you been What is that you say? Gm I know what you think before you say it I'm an alligator I'm an alligator Bb I know what you need Gm Eb I know what you need and where to get it Cm Eb I can let you see Cm Gm I won't leave you cold in stormy weather I can let you know B I can keep you deep inside a hole Gm I know what you need B I know what you need and where to get it I'm an alligator I'm an alligator Gm I'm an alligator (I can let you know) (I can let you know) Bb I'm an alligator (I can let you know) Gm (I can eat you whole) I can eat you whole Bb I won't let you go I can eat you whole Gm I won't let you go Eb I can eat you whole I won't let you go Gm (I am an alligator) I can eat you whole F I won't let you know (I am an alligator) EbGm I can eat you whole I won't let you go
Key B♭ major (♭VI/♭VII mixture), re-spelled per the 2026-06-11 claim audit (`_audits/deep_chapter_claim_audit_mutiny_2026-06-11.md`). Root from bass MIDI, quality diatonic to key (guitar = rootless Drop C power chords, the major third is sung). Word alignment approximate, verify by ear. Resolved key verified:false.
Re-spelling from the earlier F# read: A#m → B♭ (I), F# → G♭ (♭VI), G#m → A♭ (♭VII), Fdim → F (V). The old "F#" was the loud G♭ (♭6) misread as a tonic six sharps from home.
Captain I believe we've sprung a leak Captain I believe we're lost at sea All the men are at their stations But now they're at the end of the patience B♭ Captain I believe we've sprung a leak G♭ Portside breach and taking on the sea Now the men abandoned stations A♭ Our destiny has finally found us Soon the men will come to hang us F The dawn will come and they won't find us In the waves Who would think A♭ I'd die with you tonight? Set the sails ablaze and partied F They drank a toast to their mutiny Then they danced And rowed away B♭ And left us in the waves Captain our ship is almost gone Listing badly waiting for the dawn I can't say I ever really knew G♭ Who you were and why I died with you A♭ B♭ Captain I believe I see it clear The sun is rising as we disappear