Chords for JOHNNY MARR TOP TEN GUITAR HEROES CH4

_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D#] Last night I sat down and tried to make a list of the truly great British bands of the 1980s bands
Who's recording and influence would endure after nearly an hour?
I was staring to sheet of paper with only one name on it
I mean they were the bollocks between 83 and 87 there was not a band on the fucking planet that would touch them
And I still wish they were together now
_ [F] _
_ _ _ [C] We [F] call ourselves the Smiths because you decided [G] we were called the Smiths and I decided because [F] it was the most
Ordinary name people were just waiting for something different
So really the 80s guitar bands were just defined by REM and the Smiths and the Smiths had a bona fide a guitar hero
When I got to about seven or eight
I remember having this like little wooden thing and I started to be watching TV and seeing electric guitars on on the television
So I remember I painted it up awfully and I stopped
beer bottle tops
So it looked like knobs and volume controls
And that was the first one I remember I've been around _ _
Local guitarist from bands that had made it in the 60s and the 70s, but I'd never heard anything like what he did
Why do you John think you should have any door money at all?
In fact, we'll just stop your door money.
What do you say about that? _ _ _ _
Ignoring advice from the future Lord McDonald
Our dull sponging young axeman was about to make his contribution to society with a loose lyricist from Manchester's glamorous Stretford
Joe encouraged me to approach Morris
He just go and knock on his door and introduce myself which it did and then really pretty much from that moment on
Bang we were an item there.
They were so
Different as people.
I think that's why the [D#m] combination sort of works
[F#] _ Although the way they worked was a tad unconventional.
I
Would drop off a cassette through Morris's letter box and you would maybe come the next day or next time with his book
Sing along for [D#] five minutes usually only [B] one or two takes
And _ [G#] disappear and then mean John would look at each other and go right we're up and
Then I just start putting like, you know hundreds of guitars on it then all the way through the night
We'll like sort of postmodern androgynous monkeys
[B] _ The first top [Bm] 20 single was according to the enemy
[E] Perfect in its day taunt of tough and tender and [D] also praised Johnny's spring-heeled periphery [B] Riffrey
pretentious one _
[D] _ _ _ _ [B] _ _ _
The [G] song also established the [F#] band as style guru
[Bm] I think it was what difference does it make her the biggest [D] effect because that's when I just pull an echo
I just [F#] read his Red Gibson [Bm] three five five and it was like that's the [B] look
It's to spend up most of my [G] time once I've got the Smiths albums and the records
I wanted just sitting in front of the video watching videos and listen to live tapes
_ That's the only romance I was getting at that time
For sure, but to be honest, that's all I needed and that's all I wanted [C] and if I hadn't had that
Relationship with a group then I know my life would be very different [Em] now
Morrissey and [F#] Mars anthems for misunderstood youth [D] bestowed the 80s like a slightly [Bm] sad Colossus
Everyone had their [B] favorites including Johnny panic [A] alike just because of the sheer [G] exuberance of it _
_ [Em] _ _ _ [G] I
[E] Missed that [B] is one of my favorite songs that we did because I went into redoing a guitar track and I just
Studying this like little booze the outside world [D] doesn't it didn't exist and then when I [E] finished that I kind of like well
Huh look around and the rest of the band were like
Whoa?
[F#] He was doing stuff that I still can't do, you know created a style of zone.
You can't bastard
The [E] _
_ thing that I must about [G#] most about the Smith's _
By guitar players is [F#] how soon is now?
_ [F#m] _ [F#] _
When housing is [Em] now happiness.
It was really strange.
You [G#] know, what is this?
How do you do that on the guitar?
_ _ Easy use a bit of tremolo [F#m] feed the [E] riff through for twin amps sample loop leave the simmer [G#] and hey presto another classic
_ [F#] _
Pretty [G] simple really, but it did the job
_ But in 1987 after five years of non-stop [Em] touring and recording
It wasn't just the Queen that was dead
When Morrissey offered to spank anyone with a wet [B] plimsoll who said the Smiths were splitting he obviously wasn't counting on Johnny
He's building up for a long time.
You know, it wasn't just one night and it [E] wasn't just one week
It built up over quite a few months
[G] And the ending didn't come for another 10 years when drummer Mike Joyce took Johnny and Morrissey to court
To claim back some performance and recording royalties.
He'd been squeezed out of in the original contract
_ _ _ It was a bit surreal being in a courtroom, you know, the four of us in a courtroom
arguing over whether events took place or whether they didn't and
It's just really bizarre.
It's like a mess of divorce
The judge described Morrissey as [C] devious truculent and unreliable
He said Johnny was more reasonable but still ordered them to pay up to the tune of over a million quid
Plus costs [A#] can we talk about the rest of my career now, please?
_ [D#] It will be [G#] in the program
_ _ [C] Johnny soon became known as Britain's most [F] famous session musician with the [E] likes of Brian Ferry and the [Am] Pretenders
[Em] Much to the irritation of the [Dm] UK music press
_ [Fm] They assumed that I wasn't committed and I was maybe being a bit of them
Dilettante and just you know, I just get out my limo and I go hi Chrissy Eindor
I'm at Johnson and we bust out the champagne and I play a few licks and then I'm off
_ But that isn't the way [E] it works _ _
_ [D] _ _ [A] People don't realize he was [E] into the almost as long as in the Smiths, you know
I mean he made a couple of albums a couple of [C] long-form [D] videos world tour a couple of EPS.
It was quite productive period
_ _ So productive Johnny even started up his own band with new orders [G] Bernard Sumner and even [A] started using don't
Synthesizers [D] when Johnny got involved a lot of electronic music.
I said to him I felt that he should stick to the guitar
I mean he's best guitarist in the country and _
That's what people love him for.
I felt personally he made a mistake by getting into
Synths and samplers and trumpetists
_ _ [G] _ _
Think we have a quite a distinctive sound I
Think we've [A] done stuff in in hindsight that couldn't possibly be new order and obviously couldn't be the Smiths
_ [F#] _ _ [C#] And in his new band [F#] the healers he's even taking the shine to a bit of lead vocals
Someone who's been like on the left of the stage for so long
Suddenly going over to the microphone and singing the effects is like a B movie where in the last scene the [D#] little child who can't
Speak all the way through the [F#m] phone goes mama
goes my god
He can [F#] speak _ _ _
_ _ _ _ _ [B] _ [F#] _ _
_ [A] _ _ _ [G#] _ _ _ _
_ _ [G#m] _ _ _ _ _ _
_ [G] Well
_ _ _ _ [N] _