Chords for Boz Boorer on the Boss pedals in his setlist
Tempo:
70.7 bpm
Chords used:
G
F#
B
F#m
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [N] My name's Boz Borer and I play guitar with Morrissey.
I'm going to go through some of my pedals.
One that I used to use all the time, that I use a little bit more sparingly now, is the DM-2.
I have that set as a rockabilly delay, which is a short, about 150, 160 millisecond with two or three repeats.
[F#]
[B] [F#m] [F#] [G#m]
[G] Whatever the riff is, it's something like that.
But that's certain people I know, some Morrissey song.
The guitar is very much like Ride of the White Swan by T-Rex.
But I play the original on a Gretsch [F#] with the finger picking, with no plectrum.
So it has all [D#m]
[B] [F#m] [F#] [D#m]
[B] [D] [Bm]
[A] [G] [G#]
[C#] [F#m] basic chord shapes with a bit of [D] a drone on the top G and [C#] a basic bassline on it.
So next up is a TR-2 tremolo.
I tend to use it as effect mainly and on the end of certain songs.
Definitely with the Polkats I'd use it on Mary [Cm] Celeste.
I'd probably have a little faster than that and maybe a little bit more depth.
[G] [Cm] [G] [Cm]
It gives you that 60s ghosty thing.
I'd also have some reverb on it as [N] well.
Reverb 3 pedal is the one I use at the moment.
Moving on from that, there's always a driver in.
I don't use it all the time.
I usually have a clean sound, which is always compressed.
But I tend to use an overdrive more than a fuzz.
I have two of those, one set louder and more distorted than the other.
I always have the acoustic simulator in.
I experimented a few times.
I used to have it going through an amp.
But I found it was too unreliable.
So now we just have the acoustic simulator straight from the guitar.
It goes DI'd straight into the board and I have a little of it back through the monitors.
It just fills in a little bit of the top end on the sounds.
Normally when I record songs I will double track the electric rhythm with an acoustic rhythm.
That's quite hard to replicate on stage with only two guitarists.
Another effect I use is the flanger.
There's the BF-2.
That's used on Jack the Ripper at a very slow rate to get the rising and falling of the chord sequence.
I can't actually show it to you now though, unfortunately.
One of the newer pedals I've just got my hands on is the RT-20.
The Rotary Ensemble, which I've had a lot of fun with.
[Em]
I'm using it at the end of tracks for the Leslie simulator.
I love it when the old Roland Jetface had a slow fast button.
You can slow down or speed up the effect.
Once
[A] it's full speed you can [Em] slow it back down.
Which I find particularly pleasing at the end of songs.
I use that on an organ sound on the guitar.
I also use it during the end of a song called Meet His Murder.
Along with the new vibrato pedal which I'm having a lot of fun with as well.
One of the pedals I got about 25 years ago was the Super Feedbacker and Distortion pedal.
It's a good distortion box anyway.
But it has this extra hold, like a latching effect when you hold the pedal in.
It's brilliant at the end of songs because it will give you a sympathetic feedback note to the chord you play.
But if you play more than one note, as the velocity decreases, the note it gives you changes.
So it would be like this.
Like [C] [C#] [G]
[N] that.
Which I find quite nice.
I've not used it for a while but I've just brought it back in.
So I'll be exploring it once again.
It's a great pedal.
One of the most sought after overdrives that Boss made was the OD1.
I think they got the plan right when they did the first one.
It's very simple but the sound is excellent.
I've got one in my board.
There's a level and an overdrive and it just does what it says.
They went up in value because they were so good.
As a lot of those old pedals were the Spectrum and the Slow Gear, the Dimension D pedal.
I prefer the Rackmount myself.
But I'm very pleased with Boss over the years.
They've served me very [G] well and I'm very happy to make this film for them.
Thank you very much.
I'm going to go through some of my pedals.
One that I used to use all the time, that I use a little bit more sparingly now, is the DM-2.
I have that set as a rockabilly delay, which is a short, about 150, 160 millisecond with two or three repeats.
[F#]
[B] [F#m] [F#] [G#m]
[G] Whatever the riff is, it's something like that.
But that's certain people I know, some Morrissey song.
The guitar is very much like Ride of the White Swan by T-Rex.
But I play the original on a Gretsch [F#] with the finger picking, with no plectrum.
So it has all [D#m]
[B] [F#m] [F#] [D#m]
[B] [D] [Bm]
[A] [G] [G#]
[C#] [F#m] basic chord shapes with a bit of [D] a drone on the top G and [C#] a basic bassline on it.
So next up is a TR-2 tremolo.
I tend to use it as effect mainly and on the end of certain songs.
Definitely with the Polkats I'd use it on Mary [Cm] Celeste.
I'd probably have a little faster than that and maybe a little bit more depth.
[G] [Cm] [G] [Cm]
It gives you that 60s ghosty thing.
I'd also have some reverb on it as [N] well.
Reverb 3 pedal is the one I use at the moment.
Moving on from that, there's always a driver in.
I don't use it all the time.
I usually have a clean sound, which is always compressed.
But I tend to use an overdrive more than a fuzz.
I have two of those, one set louder and more distorted than the other.
I always have the acoustic simulator in.
I experimented a few times.
I used to have it going through an amp.
But I found it was too unreliable.
So now we just have the acoustic simulator straight from the guitar.
It goes DI'd straight into the board and I have a little of it back through the monitors.
It just fills in a little bit of the top end on the sounds.
Normally when I record songs I will double track the electric rhythm with an acoustic rhythm.
That's quite hard to replicate on stage with only two guitarists.
Another effect I use is the flanger.
There's the BF-2.
That's used on Jack the Ripper at a very slow rate to get the rising and falling of the chord sequence.
I can't actually show it to you now though, unfortunately.
One of the newer pedals I've just got my hands on is the RT-20.
The Rotary Ensemble, which I've had a lot of fun with.
[Em]
I'm using it at the end of tracks for the Leslie simulator.
I love it when the old Roland Jetface had a slow fast button.
You can slow down or speed up the effect.
Once
[A] it's full speed you can [Em] slow it back down.
Which I find particularly pleasing at the end of songs.
I use that on an organ sound on the guitar.
I also use it during the end of a song called Meet His Murder.
Along with the new vibrato pedal which I'm having a lot of fun with as well.
One of the pedals I got about 25 years ago was the Super Feedbacker and Distortion pedal.
It's a good distortion box anyway.
But it has this extra hold, like a latching effect when you hold the pedal in.
It's brilliant at the end of songs because it will give you a sympathetic feedback note to the chord you play.
But if you play more than one note, as the velocity decreases, the note it gives you changes.
So it would be like this.
Like [C] [C#] [G]
[N] that.
Which I find quite nice.
I've not used it for a while but I've just brought it back in.
So I'll be exploring it once again.
It's a great pedal.
One of the most sought after overdrives that Boss made was the OD1.
I think they got the plan right when they did the first one.
It's very simple but the sound is excellent.
I've got one in my board.
There's a level and an overdrive and it just does what it says.
They went up in value because they were so good.
As a lot of those old pedals were the Spectrum and the Slow Gear, the Dimension D pedal.
I prefer the Rackmount myself.
But I'm very pleased with Boss over the years.
They've served me very [G] well and I'm very happy to make this film for them.
Thank you very much.
Key:
G
F#
B
F#m
C#
G
F#
B
[G] _ [N] _ _ _ My name's Boz Borer and I play guitar with Morrissey.
I'm going to go through some of my pedals.
One that I used to use all the time, that I use a little bit more sparingly now, is the DM-2.
I have that set as a rockabilly delay, which is a short, about 150, 160 millisecond with two or three repeats.
[F#] _ _ _ _
[B] _ _ _ [F#m] _ [F#] _ _ _ [G#m] _
[G] _ _ Whatever the riff is, it's something like that.
But that's certain people I know, some Morrissey song.
The guitar is very much like Ride of the White Swan by T-Rex.
But I play the original on a Gretsch [F#] with the finger picking, with no plectrum.
So it has all _ [D#m] _
[B] _ _ _ _ [F#m] _ [F#] _ _ [D#m] _
[B] _ _ _ _ [D] _ _ _ [Bm] _
_ _ [A] _ [G] _ _ _ [G#] _ _
[C#] _ _ [F#m] _ basic chord shapes with a bit of [D] a drone on the top G and _ [C#] a basic bassline on it.
So next up is a TR-2 tremolo.
I tend to use it as effect mainly and on the end of certain songs.
Definitely with the Polkats I'd use it on Mary [Cm] Celeste.
_ I'd probably have a little faster than that and maybe a little bit more depth. _
[G] _ _ [Cm] _ _ [G] _ _ [Cm] _ _
It gives you that 60s ghosty thing.
I'd also have some reverb on it as [N] well. _
Reverb 3 pedal is the one I use at the moment.
Moving on from that, there's always a driver in.
I don't use it all the time.
I usually have a clean sound, which is always compressed.
But I tend to use an overdrive more than a fuzz.
I have two of those, one set louder and more distorted than the other.
I always have the acoustic simulator in.
I experimented a few times.
I used to have it going through an amp.
But I found it was too unreliable.
So now we just have the acoustic simulator straight from the guitar.
It goes DI'd straight into the board and I have a little of it back through the monitors.
It just fills in a little bit of the top end on the sounds.
Normally when I record songs I will double track the electric rhythm with an acoustic rhythm.
That's quite hard to replicate on stage with only two guitarists.
Another effect I use is the flanger.
There's the BF-2.
That's used on Jack the Ripper at a very slow rate to get the rising and falling of the chord sequence.
I can't actually show it to you now though, unfortunately.
One of the newer pedals I've just got my hands on is the RT-20.
The Rotary Ensemble, which I've had a lot of fun with.
[Em]
I'm using it at the end of tracks for the Leslie simulator.
I love it when the old Roland Jetface had a slow fast button.
You can slow down or speed up the effect.
_ _ _ Once _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ it's full speed you can [Em] slow it back down. _ _ _ _ _ _
Which I find particularly pleasing at the end of songs.
I use that on an organ sound on the guitar.
I also use it during the end of a song called Meet His Murder.
Along with the new vibrato pedal which I'm having a lot of fun with as well.
One of the pedals I got about 25 years ago was the Super Feedbacker and Distortion pedal. _
It's a good distortion box anyway.
But it has this extra hold, like a latching effect when you hold the pedal in.
It's brilliant at the end of songs because it will give you a sympathetic feedback note to the chord you play.
But if you play more than one note, as the velocity decreases, the note it gives you changes.
So it would be like this. _ _ _ _
_ _ _ _ _ _ Like [C] _ _ [C#] _ [G] _ _ _ _ _
[N] that.
Which I find quite nice.
I've not used it for a while but I've just brought it back in.
So I'll be exploring it once again.
It's a great pedal.
One of the most sought after overdrives that Boss made was the OD1.
I think they got the plan right when they did the first one.
It's very simple but the sound is excellent.
_ I've got one in my board. _ _
There's a level and an overdrive and it just does what it says.
_ They went up in value because they were so good.
As a lot of those old pedals were the Spectrum and the Slow Gear, the Dimension D pedal.
I prefer the Rackmount myself.
But I'm very pleased with Boss over the years.
They've served me very [G] well and I'm very happy to make this film for them.
Thank you very much. _
I'm going to go through some of my pedals.
One that I used to use all the time, that I use a little bit more sparingly now, is the DM-2.
I have that set as a rockabilly delay, which is a short, about 150, 160 millisecond with two or three repeats.
[F#] _ _ _ _
[B] _ _ _ [F#m] _ [F#] _ _ _ [G#m] _
[G] _ _ Whatever the riff is, it's something like that.
But that's certain people I know, some Morrissey song.
The guitar is very much like Ride of the White Swan by T-Rex.
But I play the original on a Gretsch [F#] with the finger picking, with no plectrum.
So it has all _ [D#m] _
[B] _ _ _ _ [F#m] _ [F#] _ _ [D#m] _
[B] _ _ _ _ [D] _ _ _ [Bm] _
_ _ [A] _ [G] _ _ _ [G#] _ _
[C#] _ _ [F#m] _ basic chord shapes with a bit of [D] a drone on the top G and _ [C#] a basic bassline on it.
So next up is a TR-2 tremolo.
I tend to use it as effect mainly and on the end of certain songs.
Definitely with the Polkats I'd use it on Mary [Cm] Celeste.
_ I'd probably have a little faster than that and maybe a little bit more depth. _
[G] _ _ [Cm] _ _ [G] _ _ [Cm] _ _
It gives you that 60s ghosty thing.
I'd also have some reverb on it as [N] well. _
Reverb 3 pedal is the one I use at the moment.
Moving on from that, there's always a driver in.
I don't use it all the time.
I usually have a clean sound, which is always compressed.
But I tend to use an overdrive more than a fuzz.
I have two of those, one set louder and more distorted than the other.
I always have the acoustic simulator in.
I experimented a few times.
I used to have it going through an amp.
But I found it was too unreliable.
So now we just have the acoustic simulator straight from the guitar.
It goes DI'd straight into the board and I have a little of it back through the monitors.
It just fills in a little bit of the top end on the sounds.
Normally when I record songs I will double track the electric rhythm with an acoustic rhythm.
That's quite hard to replicate on stage with only two guitarists.
Another effect I use is the flanger.
There's the BF-2.
That's used on Jack the Ripper at a very slow rate to get the rising and falling of the chord sequence.
I can't actually show it to you now though, unfortunately.
One of the newer pedals I've just got my hands on is the RT-20.
The Rotary Ensemble, which I've had a lot of fun with.
[Em]
I'm using it at the end of tracks for the Leslie simulator.
I love it when the old Roland Jetface had a slow fast button.
You can slow down or speed up the effect.
_ _ _ Once _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ it's full speed you can [Em] slow it back down. _ _ _ _ _ _
Which I find particularly pleasing at the end of songs.
I use that on an organ sound on the guitar.
I also use it during the end of a song called Meet His Murder.
Along with the new vibrato pedal which I'm having a lot of fun with as well.
One of the pedals I got about 25 years ago was the Super Feedbacker and Distortion pedal. _
It's a good distortion box anyway.
But it has this extra hold, like a latching effect when you hold the pedal in.
It's brilliant at the end of songs because it will give you a sympathetic feedback note to the chord you play.
But if you play more than one note, as the velocity decreases, the note it gives you changes.
So it would be like this. _ _ _ _
_ _ _ _ _ _ Like [C] _ _ [C#] _ [G] _ _ _ _ _
[N] that.
Which I find quite nice.
I've not used it for a while but I've just brought it back in.
So I'll be exploring it once again.
It's a great pedal.
One of the most sought after overdrives that Boss made was the OD1.
I think they got the plan right when they did the first one.
It's very simple but the sound is excellent.
_ I've got one in my board. _ _
There's a level and an overdrive and it just does what it says.
_ They went up in value because they were so good.
As a lot of those old pedals were the Spectrum and the Slow Gear, the Dimension D pedal.
I prefer the Rackmount myself.
But I'm very pleased with Boss over the years.
They've served me very [G] well and I'm very happy to make this film for them.
Thank you very much. _