Chords for Johnny Marr and his Rickenbacker 330 (Imagine: The Story of the Guitar)
Tempo:
88.6 bpm
Chords used:
F#
B
G
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Can't really say too much more really.
[B]
[G#] [F#]
[Em] A lot [G] of [F#] rock and roll guitar players or [A] punk guitar players will do this.
[C]
[D] Okay, [E] which has its place but I would say [A] take those chords and instead of playing like that.
[D]
[G] [F#] Just technically and musically [Fm] the same chords but just with a different sort of colouring.
[Gm] So I try and be a bit more [A] bigger and flowy.
Which [C] [Bm] [A]
[C] [D] isn't a [A] million miles away then leads you [A] to like that [C] [D] [A]
[G] kind of thing.
So [D] it was a kind of [D#] a
I wanted to sound like [G] an entire record when I played.
[B]
[D] [B]
Johnny Marr wrote some of the [E] most distinctive and [B] most loved guitar tunes of the 1980s.
[Bm] The jangling of his [E] rickenbacker was central [B] to the sound of the Smiths.
If you've got a certain [F#] vocabulary on the guitar and know [G] how to play, how you [F#] feel.
You can sort of express that and kind of voice [G] it without all the hassle of turning it into words and concepts.
Do you know what I mean?
[D#] Music's less kind of
for me you don't have to translate to make [G] your point.
Or just
you don't even have to be making a point.
It's like turning your daydreams into sound.
[B]
[E] [A] [E]
[C#] [C#m] [E]
[F#m] [B]
[G#] It's all kind of ringy and melodic and there's a lot of emotion in it I think.
[F#] So I kind of
I play that way because that's the way I feel really.
The Smiths riff [C#] that Johnny Marr is most proud of is the [G#m] one on How Soon Is [G#] Now.
[B] At the time, the melody [F#] maker praised its visceral power, capable of blowing the dust off [E] 80s inertia.
[F#]
[A]
[B] [F#]
I'm really proud of it because I've done something that people don't even like the band like the riff.
The song didn't have that tremolo on it at first.
It was initially me just going
[A]
[B] Which is [D#] pretty cool.
But I [G] thought it needed something.
So after we'd recorded it, in the recording process, I had the idea of putting it through the tremolo.
[F#] And [G#] that goes way back because I had
[D#] The genesis of that idea came from
Started off Hamilton Bohannon, Disco Stomp.
[F#] When I was a kid I was absolutely [Fm] obsessed over that [F#] record.
And the rhythm is that kind of
And I think because of that, every time I heard anything like that, so obviously everything that Bo Diddley did.
And particularly Hey Moaner by Bo Diddley.
And there was a
[G]
I Want More by Canne as well.
[A#] Whenever I heard that sound, it just kind of went in there.
Until eventually it just came out and the whole
The kind of mother [F#] of riffs really.
[E] I think in all honesty my dream [F] guitar is
[D]
A Rickenbacker 12 string.
[N]
But 20ft long.
20ft high through a 20ft Fender amp.
That would be it.
A 20ft Rickenbacker 12 string through a 20ft Fender amp.
I'm getting there.
[G]
[B]
[G#] [F#]
[Em] A lot [G] of [F#] rock and roll guitar players or [A] punk guitar players will do this.
[C]
[D] Okay, [E] which has its place but I would say [A] take those chords and instead of playing like that.
[D]
[G] [F#] Just technically and musically [Fm] the same chords but just with a different sort of colouring.
[Gm] So I try and be a bit more [A] bigger and flowy.
Which [C] [Bm] [A]
[C] [D] isn't a [A] million miles away then leads you [A] to like that [C] [D] [A]
[G] kind of thing.
So [D] it was a kind of [D#] a
I wanted to sound like [G] an entire record when I played.
[B]
[D] [B]
Johnny Marr wrote some of the [E] most distinctive and [B] most loved guitar tunes of the 1980s.
[Bm] The jangling of his [E] rickenbacker was central [B] to the sound of the Smiths.
If you've got a certain [F#] vocabulary on the guitar and know [G] how to play, how you [F#] feel.
You can sort of express that and kind of voice [G] it without all the hassle of turning it into words and concepts.
Do you know what I mean?
[D#] Music's less kind of
for me you don't have to translate to make [G] your point.
Or just
you don't even have to be making a point.
It's like turning your daydreams into sound.
[B]
[E] [A] [E]
[C#] [C#m] [E]
[F#m] [B]
[G#] It's all kind of ringy and melodic and there's a lot of emotion in it I think.
[F#] So I kind of
I play that way because that's the way I feel really.
The Smiths riff [C#] that Johnny Marr is most proud of is the [G#m] one on How Soon Is [G#] Now.
[B] At the time, the melody [F#] maker praised its visceral power, capable of blowing the dust off [E] 80s inertia.
[F#]
[A]
[B] [F#]
I'm really proud of it because I've done something that people don't even like the band like the riff.
The song didn't have that tremolo on it at first.
It was initially me just going
[A]
[B] Which is [D#] pretty cool.
But I [G] thought it needed something.
So after we'd recorded it, in the recording process, I had the idea of putting it through the tremolo.
[F#] And [G#] that goes way back because I had
[D#] The genesis of that idea came from
Started off Hamilton Bohannon, Disco Stomp.
[F#] When I was a kid I was absolutely [Fm] obsessed over that [F#] record.
And the rhythm is that kind of
And I think because of that, every time I heard anything like that, so obviously everything that Bo Diddley did.
And particularly Hey Moaner by Bo Diddley.
And there was a
[G]
I Want More by Canne as well.
[A#] Whenever I heard that sound, it just kind of went in there.
Until eventually it just came out and the whole
The kind of mother [F#] of riffs really.
[E] I think in all honesty my dream [F] guitar is
[D]
A Rickenbacker 12 string.
[N]
But 20ft long.
20ft high through a 20ft Fender amp.
That would be it.
A 20ft Rickenbacker 12 string through a 20ft Fender amp.
I'm getting there.
[G]
Key:
F#
B
G
A
E
F#
B
G
Can't really say too much more really.
_ _ _ _ [B] _
[G#] _ _ _ _ _ _ _ [F#] _
_ _ [Em] _ A lot [G] of [F#] rock and roll guitar players or [A] punk guitar players will do this.
_ _ _ _ _ [C] _
_ [D] Okay, [E] which has its place but I would say [A] take those chords and instead of playing like that.
_ _ _ [D] _
_ _ [G] _ _ _ _ [F#] Just technically and musically [Fm] the same chords but just with a different sort of colouring.
[Gm] So I try and be a bit more [A] bigger and flowy.
Which [C] _ _ [Bm] _ [A] _ _
[C] _ _ [D] _ isn't a [A] million miles away then leads you [A] to like that [C] _ _ _ [D] _ [A] _ _
[G] kind of thing.
So [D] it was a kind of [D#] a_
I wanted to sound like [G] an entire record when I played.
[B] _ _ _
[D] _ _ _ [B] _ _ _ _
Johnny Marr wrote some of the [E] most distinctive and [B] most loved guitar tunes of the 1980s.
[Bm] The jangling of his [E] rickenbacker was central [B] to the sound of the Smiths.
If you've got a certain [F#] vocabulary on the guitar and know [G] how to play, how you [F#] feel.
You can sort of express that and kind of voice [G] it without all the hassle of turning it into words and concepts.
Do you know what I mean?
_ [D#] Music's less kind of_
for me you don't have to _ translate _ to make [G] your point.
Or just_
you don't even have to be making a point.
It's like _ turning your daydreams into sound.
_ [B] _
[E] _ _ _ _ _ [A] _ _ [E] _
[C#] _ _ _ _ _ [C#m] _ _ [E] _
_ _ _ [F#m] _ _ _ _ [B] _
[G#] _ _ It's all kind of _ ringy and melodic and there's a lot of emotion in it I think. _
[F#] So I kind of_
I play that way because that's the way I feel really.
The Smiths riff [C#] that Johnny Marr is most proud of is the [G#m] one on How Soon Is [G#] Now.
[B] At the time, the melody [F#] maker praised its visceral power, capable of blowing the dust off [E] 80s inertia.
_ [F#] _ _ _ _
_ _ _ _ _ _ _ [A] _
_ [B] _ _ [F#] _ _ _ _
I'm really proud of it because I've done something that _ people don't even like the band like the riff.
The song didn't have that tremolo on it at first.
It was initially me just going_
_ _ _ _ _ _ [A] _
_ [B] _ _ Which is [D#] pretty cool.
But I [G] thought it needed something.
So after we'd recorded it, in the recording process, I had the idea of putting it through the tremolo.
[F#] And _ _ _ [G#] that goes way back because I had_
[D#] The genesis of that idea came from_
_ Started off Hamilton Bohannon, _ Disco Stomp.
_ [F#] When I was a kid I was absolutely [Fm] obsessed over that [F#] record.
And the rhythm is that kind of_ _ _ _
And I think because of that, every time I heard anything like that, so obviously everything that Bo Diddley did.
And particularly Hey Moaner by Bo Diddley.
And there was a_
[G]
I Want More by Canne as well.
[A#] _ _ Whenever I heard that sound, it just kind of went in there.
Until eventually it just came out and the whole_
The kind of mother [F#] of riffs really.
_ _ [E] I think in all honesty my dream [F] guitar is_
[D] _ _ _ _ _ _ _
A Rickenbacker 12 string.
_ _ _ _ [N]
But 20ft long.
20ft high through a 20ft Fender amp.
That would be it.
A 20ft Rickenbacker 12 string through a 20ft Fender amp.
I'm getting there.
[G] _
_ _ _ _ [B] _
[G#] _ _ _ _ _ _ _ [F#] _
_ _ [Em] _ A lot [G] of [F#] rock and roll guitar players or [A] punk guitar players will do this.
_ _ _ _ _ [C] _
_ [D] Okay, [E] which has its place but I would say [A] take those chords and instead of playing like that.
_ _ _ [D] _
_ _ [G] _ _ _ _ [F#] Just technically and musically [Fm] the same chords but just with a different sort of colouring.
[Gm] So I try and be a bit more [A] bigger and flowy.
Which [C] _ _ [Bm] _ [A] _ _
[C] _ _ [D] _ isn't a [A] million miles away then leads you [A] to like that [C] _ _ _ [D] _ [A] _ _
[G] kind of thing.
So [D] it was a kind of [D#] a_
I wanted to sound like [G] an entire record when I played.
[B] _ _ _
[D] _ _ _ [B] _ _ _ _
Johnny Marr wrote some of the [E] most distinctive and [B] most loved guitar tunes of the 1980s.
[Bm] The jangling of his [E] rickenbacker was central [B] to the sound of the Smiths.
If you've got a certain [F#] vocabulary on the guitar and know [G] how to play, how you [F#] feel.
You can sort of express that and kind of voice [G] it without all the hassle of turning it into words and concepts.
Do you know what I mean?
_ [D#] Music's less kind of_
for me you don't have to _ translate _ to make [G] your point.
Or just_
you don't even have to be making a point.
It's like _ turning your daydreams into sound.
_ [B] _
[E] _ _ _ _ _ [A] _ _ [E] _
[C#] _ _ _ _ _ [C#m] _ _ [E] _
_ _ _ [F#m] _ _ _ _ [B] _
[G#] _ _ It's all kind of _ ringy and melodic and there's a lot of emotion in it I think. _
[F#] So I kind of_
I play that way because that's the way I feel really.
The Smiths riff [C#] that Johnny Marr is most proud of is the [G#m] one on How Soon Is [G#] Now.
[B] At the time, the melody [F#] maker praised its visceral power, capable of blowing the dust off [E] 80s inertia.
_ [F#] _ _ _ _
_ _ _ _ _ _ _ [A] _
_ [B] _ _ [F#] _ _ _ _
I'm really proud of it because I've done something that _ people don't even like the band like the riff.
The song didn't have that tremolo on it at first.
It was initially me just going_
_ _ _ _ _ _ [A] _
_ [B] _ _ Which is [D#] pretty cool.
But I [G] thought it needed something.
So after we'd recorded it, in the recording process, I had the idea of putting it through the tremolo.
[F#] And _ _ _ [G#] that goes way back because I had_
[D#] The genesis of that idea came from_
_ Started off Hamilton Bohannon, _ Disco Stomp.
_ [F#] When I was a kid I was absolutely [Fm] obsessed over that [F#] record.
And the rhythm is that kind of_ _ _ _
And I think because of that, every time I heard anything like that, so obviously everything that Bo Diddley did.
And particularly Hey Moaner by Bo Diddley.
And there was a_
[G]
I Want More by Canne as well.
[A#] _ _ Whenever I heard that sound, it just kind of went in there.
Until eventually it just came out and the whole_
The kind of mother [F#] of riffs really.
_ _ [E] I think in all honesty my dream [F] guitar is_
[D] _ _ _ _ _ _ _
A Rickenbacker 12 string.
_ _ _ _ [N]
But 20ft long.
20ft high through a 20ft Fender amp.
That would be it.
A 20ft Rickenbacker 12 string through a 20ft Fender amp.
I'm getting there.
[G] _