Chords for BOSS YourTone Artists — Billy Duffy Interview

_ [F#] _ _ _ _ _ With the cold, the way [D#] we've written songs, probably like the [D#m] majority of rock bands,
[F#] a lot of it has come music first.
[B] You know, Ian has a lot of lyrics and a lot of [D#m] ideas and words, [F#] but he waits until I actually
[B] present some music for him to kind of [F#] marry the words and what does that [D#] music suggest,
and then he's, oh, I've got some lyrics, that's what that one feels like.
And that's [D#m] kind of how we've operated on [Dm] a creative level, and that's [A#] how kind of guitar
tone suggests certain things.
We had this song, She [C#] Sells Sanctuary, we were going to go and record it.
We [C#] insisted on using a studio in London called Olympic.
I remember we were kind of getting set up in this room, and I remember standing there
with all my guitar and I had my little boss pedal board.
I looked down on the floor and I saw a violin bow.
I picked it up and I thought, I'll mess around, play the Song [F#] Remains the Same violin bow
thing that Jimmy Page did for a [C#] laugh.
Then I just hit every pedal I had.
So that was basically it.
And it was always going to be the middle section of the song, but we just used it as an intro.
At the time, the only other thing, there's a big background noise, like this kind of
ominous sound, but we set a sound upon that, and then I just played the guitar riff on
top of it, and that was it.
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_ [G#] _ _ _ [B] _ _ [G#] _
On [F#] the Sonic Temple album with [C#] Bob Rock producing, the idea was [F#] to try and combine elements of
the Love album and elements of Electric into kind of like [G#] a complete cult package.
So [B] that's what we attempted to do on [G#] Sonic Temple.
And Fire Woman was our biggest [C#] American chart single.
[F#] _ _ _ _ _
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[C#] _ _ _ _ _ _ _ _
[A#] I think I might have [A] introduced Johnny Marr to the concept of being a guitarist [G] in a band.
I certainly [F] never showed him [A] how to play any guitar parts.
What it was, was my high school band [A#] used to practice in the drummer's [Gm] house, and Johnny
lived across the street.
He didn't go to the same high school as [D] me.
The bass player from the Smiths did, Andrew Rourke, but Johnny didn't.
And Johnny used to just come [B] and watch my high school band rehearse and hang out.
He's about two or three years younger [F] than me.
[D] So he definitely kind of caught what was going on, and then [B] in a weird way kind of [Dm] followed,
I believe, some similar paths [F#] to being in a band.
[G] You know, I mean, I [D] kind of did some playing with Morrissey before [B] the Smiths, and I think
I [C] wrote the first songs that [D] Morrissey ever wrote.
Played [Dm] a couple of gigs in 1978 with [B] Morrissey in a band in [D] Manchester that's in a couple
of books on the Smiths.
But [F] as regards Johnny, I think I kind of just introduced [D] him to the idea of like, oh yeah,
it's pretty cool to be a guitar hero and, you [C] know, that kind of thing, which [D] is all
I ever wanted to be.
I just wanted to be a guitarist in a rock band and [C] make a living doing it.
So it's kind of like [A] a be careful of what you wish for story, you know.
The [D] first time I got my hands on a Boss [G] pedal was, I think, [A] really early in 83.
A guy called Jamie Stewart joined the band.
[A#] He used to be a guitar player, [A] so he came with his guitar effects, handed them over
and said, oh, [E] we don't need these anymore.
[G] One of them was a [A] Boss Super Overdrive, which I pretty much have used until [A#] today.
I might even still have it somewhere.
[A] I use Boss pedals primarily because [D] they're reliable and [A#] they're consistent [A] and they're readily available.
And [D] as far as I can tell, and [A#] certainly in a live [D] environment, they still, to me, sound the best.
I haven't heard much [A#] that sounds [Dm] better. _ _ _ _
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