Chords for The Smiths - The South Bank Show (part 5)

Said that you're more religiously inclined than you think.
So, uh_
_ _ So how much has being a journalist set you up?
Oh, a great deal.
It was an effort first off, Morrissey.
It was a good four years' effort.
Nice.
She's a teacher.
_ _ _ I like being a teacher.
Do you know how many other people who are teachers?
Oh, it certainly is.
Two and a half million.
I have always admired Viv Nicholson
because of her background
and the way she [Fm] fought against her background
[B] of total poverty and [Db] practical destitution.
[Gb] I was happy in the [Ebm] haze of a drunken hour
[B] But heaven knows I'm miserable now
[Db] Her whole story of winning the polls
[Ebm] and her [A] husband's dying
[Abm] and [Ebm] the disasters that followed
[Bb] and the way the newspaper [Gb] tabloids haunted her
[G] and tried [Abm] to drag her down
[Eb] [Db] and decry her as an [Abm] individual.
But constantly through [Bb] the face of this [Ebm] disaster
she [F] had a [Db] remarkable [B] resilience
and fortitude and humour
[Gb] and [B] a great sense of living
[Gb] which [G] I think [Db] is quite [N] rare.
I've come_
When the money's gone down, I've come down.
There's no need to be there if you've got it, sorry.
I've come down the stages and that's how I got down to where I am.
It's the rock bottom now.
But I'm enjoying it. _ _
_ I just keep trapped, you know.
And it's nice to say
if you'd like to come and sit with Laura in the car, you know.
It gets me out.
[Gb] _ In [Ebm] my life
Oh, why do I give [Db] valuable [Gb] time
To people who look terrified
[Abm] It's all for [Gb] the_ _
_ _ I _ _ _ [G] _
_ [Abm] like the fact that when punk came along
that it did demystify the whole process of making records.
That people realised that if they knocked over a few phone boxes
and sold somebody's motorbike
they could raise enough money to put out a single.
But in those days, a lot of bands, having done that,
then broke up because they were perfectly happy to do that.
They'd achieved something that they'd wanted to achieve.
They didn't see it as part of a kind of lifelong career process.
When punk began, I was 16, 17.
It meant a great deal to me because within the Manchester area
it was very, very exciting.
And it was very [Gb] big and it was [Gm] very important.
And there were a lot of key voices within the punk movement
[E] who came from Manchester.
So therefore, special attention was paid to the area
and it was [Cm] a very thriving place.
[Gm] I only get to close my eyes
Long hair in my office_
Here were people practically in one's own backyard
_ [Ab] who were suddenly known throughout the country
because there you could see possibilities for yourself.
What do I get?
[G] Oh, what [C] do I get?
Chicken sandwich!
_ _ [G] _ _
[C] _ _ _ _ _ _ [G] _ [C] _
_ _ [D] _ [Ab] _ [G] _ _ [Cm] _ _
_ _ I thought all those [G] groups were crap
because [Ab] it was at a time when I was getting into crafting songs
and writing [A] chord changes and [N] moving things towards the Middle Ages
and all those technical _ building of songs kind of techniques.
And none of [Gm] those groups could do that.
I understand now it was probably a good thing for [Ab] music
but at the time it meant [N] nothing to me.
Girl groups and Full Spectre [Gm] was a big influence,
a Redbird record label.
That was really [Ab] my main inspiration in trying to play the music
that we ended up playing.
Get away from particularly the synthesizer duo kind of music.
Drum machine [G] orientated disco music was quite a big thing even then.
_ _ _ [Ab] I was delving into the Redbird collection.
A lot of Lieber & Stoller stuff mainly.
They were and probably still are my favourite writers.
There was one day Joe Moss gave me a video
which is really important to us now
[G] of a Lieber & Stoller interview.
[Ab] _ [Gm]
As I said, we were a really big influence.
One of them, I can't remember which,
said he just got to the point where he knew who the other guy was
and they hadn't met and he thought,
if we're [Ab] ever going to get together,
I'll just go over there and knock on his door
and [Fm] say, let's [G] get together and write songs.
We sounded very, very idealistic
but it caught my imagination [C] probably because I was,
[Ab] and I'm [G] an idealistic kind of guy. _
So that's what I did.
I think Johnny was [Ab] the instigator really.
He just went round and knocked on Morris' door basically.
_ Then [G] he got Mike in and he [E] phoned me up.
The rooms are lovely, all assembled [G] away
[E] Now, today, tomorrow, and onward
My only weakness is a listed [G] crime
But I had to plan for [E] a future war
That was all I saw, and I'm trying to [Gb] avoid
[G] _ [C]
Chocolate [A] is of the _ [G] world
[C] United, [Bm] say [A] [D] lover
[G] _ [C] Chocolate [A] is of the [G] world
Hand it over, [C] hand it [Am] over, hand it [G] over
[E] The _ _ _ _ _ [A] _ [E] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ way our [Ab] relationship worked right from the word off
without getting too sooty about it was that
I saw a lot [G] of good things, obviously, in him
that I didn't see in myself and vice versa.
[Am] He [F] didn't say much and he just_