Chords for Interview with Morrissey & Johnny Marr
Tempo:
83 bpm
Chords used:
G
E
Ab
Bm
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
But I think [G] we definitely are English [Bm] and we feel like very British people
[E] But once you get [G] beyond the point of saying English, yes, but where from in [Ab] England it just becomes [E] boring and nonsensical
I mean, there's many many [N] groups in Manchester who are totally useless and you never get any attention whatsoever
and yet the British music press have this particular idea that Manchester is this wonderful [E] place and everybody that
[G] Sprouts from Manchester has an [Am] incredible brain
But [E] I've seen many many groups that are [N] totally shambolic and you can say that about almost anywhere
You can't get into the whole and geographical obsessiveness.
You can't do that
[Ab]
This miss is a very [G] young bone a young band
You started by [Ab] the end of 82 and you had already very quickly [B] these huge reactions in England
[F] What happened in your opinion and why did everybody started [G] to like this miss?
And can it really be explained [N] I think it either happens or it doesn't happen [Ab] it's from [Bb] initially
[Abm] On our part.
We were [G] very very sure of what we wanted to [Abm] do and we were very positive about every [N] single aspect
However, minuscule connected with the Smiths and it was really important that people understood us
Completely and saw us straight away.
I think because we all had this very strong attitude
It worked [Ab] we didn't rely upon anybody we didn't wait for anybody [Gb] to come along and pick us up and [N] do something for us
really a matter of action
instead of you know words, so I think also when when we first appeared and on the British music scene and
All the elements that make up the Smiths and make up our music and the way we present ourselves
Seem to totally contradict
[Bm] in the Britain the British music charts and [Gb] the way things [N] tend to
Tend to be sliders and then we came up with an [G] approach that was different to the time but [F] necessarily
[E] Completely different and [Fm] unseen and that was just to be
foreign individuals, but I'm joining [G] together in a collaboration and
[N] What is the outcome of it is just presented very very naturally which was something I've been lacking for a long time in the
British music scene certainly because of everything seemed very preconceived and pretentious
I think we just came around at the time when everybody had just had enough of people wearing silly costumes and playing
Kind of eight synthesizers and that's [Bm] it
There is already something in [F] common in your young career
These covers singles [N] and and JLP so what about all these guys in the cover
It's just really quite selfish they're just very
Interesting images something that's quite different.
It wouldn't really be enough just to have the usual and type of
artistry on record sleeves because almost everything seems to have been done and
it had to be really quite different for the Smiths in one way or another and
When I thought of groups especially in the 1970s who constantly used female images
Who constantly use naked women and it was never held in question.
It was just there and this is rock and roll
But of course, it's not
It had to be quite different and it crossed my mind that male images had never ever been used for one reason or another
When rock and roll is obviously quite traditionally a very male sphere
So I thought it was time that they were but not in a way that would exploit them
Exploit the male body for instance in much the the way that the female
Bodies always exploited whether clothed or not.
So it had to be something quite different and it was quite a risk, but it's worked
It would you made a choice between a Jean Marais and a Clint Eastwood, for example
Oh my second day and I shouldn't have to explain why
[E] But once you get [G] beyond the point of saying English, yes, but where from in [Ab] England it just becomes [E] boring and nonsensical
I mean, there's many many [N] groups in Manchester who are totally useless and you never get any attention whatsoever
and yet the British music press have this particular idea that Manchester is this wonderful [E] place and everybody that
[G] Sprouts from Manchester has an [Am] incredible brain
But [E] I've seen many many groups that are [N] totally shambolic and you can say that about almost anywhere
You can't get into the whole and geographical obsessiveness.
You can't do that
[Ab]
This miss is a very [G] young bone a young band
You started by [Ab] the end of 82 and you had already very quickly [B] these huge reactions in England
[F] What happened in your opinion and why did everybody started [G] to like this miss?
And can it really be explained [N] I think it either happens or it doesn't happen [Ab] it's from [Bb] initially
[Abm] On our part.
We were [G] very very sure of what we wanted to [Abm] do and we were very positive about every [N] single aspect
However, minuscule connected with the Smiths and it was really important that people understood us
Completely and saw us straight away.
I think because we all had this very strong attitude
It worked [Ab] we didn't rely upon anybody we didn't wait for anybody [Gb] to come along and pick us up and [N] do something for us
really a matter of action
instead of you know words, so I think also when when we first appeared and on the British music scene and
All the elements that make up the Smiths and make up our music and the way we present ourselves
Seem to totally contradict
[Bm] in the Britain the British music charts and [Gb] the way things [N] tend to
Tend to be sliders and then we came up with an [G] approach that was different to the time but [F] necessarily
[E] Completely different and [Fm] unseen and that was just to be
foreign individuals, but I'm joining [G] together in a collaboration and
[N] What is the outcome of it is just presented very very naturally which was something I've been lacking for a long time in the
British music scene certainly because of everything seemed very preconceived and pretentious
I think we just came around at the time when everybody had just had enough of people wearing silly costumes and playing
Kind of eight synthesizers and that's [Bm] it
There is already something in [F] common in your young career
These covers singles [N] and and JLP so what about all these guys in the cover
It's just really quite selfish they're just very
Interesting images something that's quite different.
It wouldn't really be enough just to have the usual and type of
artistry on record sleeves because almost everything seems to have been done and
it had to be really quite different for the Smiths in one way or another and
When I thought of groups especially in the 1970s who constantly used female images
Who constantly use naked women and it was never held in question.
It was just there and this is rock and roll
But of course, it's not
It had to be quite different and it crossed my mind that male images had never ever been used for one reason or another
When rock and roll is obviously quite traditionally a very male sphere
So I thought it was time that they were but not in a way that would exploit them
Exploit the male body for instance in much the the way that the female
Bodies always exploited whether clothed or not.
So it had to be something quite different and it was quite a risk, but it's worked
It would you made a choice between a Jean Marais and a Clint Eastwood, for example
Oh my second day and I shouldn't have to explain why
Key:
G
E
Ab
Bm
F
G
E
Ab
But I think [G] we definitely are English [Bm] and we feel like very British people
[E] But once you get [G] beyond the point of saying English, yes, but where from in [Ab] England it just becomes [E] boring and nonsensical
I mean, there's many many [N] groups in Manchester who are totally useless and you never get any attention whatsoever
and yet the British music press have this particular idea that Manchester is this wonderful [E] place and everybody that
[G] Sprouts from Manchester has an [Am] incredible brain
But [E] I've seen many many groups that are [N] totally shambolic and you can say that about almost anywhere
You can't get into the whole and geographical obsessiveness.
You can't do that
_ [Ab]
This miss is a very [G] young bone a young band
You started by [Ab] the end of 82 and you had already very quickly [B] these huge reactions in England
[F] What happened in your opinion and why did everybody started [G] to like this miss?
_ And can it really be explained [N] I think it either happens or it doesn't happen [Ab] it's from [Bb] initially
[Abm] On our part.
We were [G] very very sure of what we wanted to [Abm] do and we were very positive about every [N] single aspect
However, minuscule connected with the Smiths and it was really important that people understood us
Completely and saw us straight away.
I think because we all had this very strong attitude _
It worked [Ab] we didn't rely upon anybody we didn't wait for anybody [Gb] to come along and pick us up and [N] do something for us
really a matter of action
_ instead of you know words, so I think also when when we first appeared and on the British music scene and
All the elements that make up the Smiths and make up our music and the way we present ourselves
Seem to totally contradict
[Bm] in the Britain the British music charts and [Gb] the way things [N] tend to
Tend to be sliders and then we came up with an [G] approach that was different to the time but [F] necessarily
[E] Completely different and [Fm] unseen and that was just to be
foreign individuals, but I'm joining [G] together in a collaboration and
[N] What is the outcome of it is just presented very very naturally which was something I've been lacking for a long time in the
British music scene certainly because of everything seemed very preconceived and pretentious
I think we just came around at the time when everybody had just had enough of people wearing silly costumes and playing
Kind of eight synthesizers and that's [Bm] it
There is already something in [F] common in your young career
These covers singles [N] and and JLP so what about all these guys in the cover
_ It's just really quite selfish they're just very
Interesting images something that's quite different.
It wouldn't really be enough just to have the usual and type of
artistry on record sleeves because almost everything seems to have been done and
it had to be really quite different for the Smiths in one way or another and
When I thought of groups especially in the 1970s who constantly used female images
Who constantly use naked women and it was never held in question.
It was just there and this is rock and roll
But of course, it's not
It had to be quite different and it crossed my mind that male images had never ever been used for one reason or another
When rock and roll is obviously quite traditionally a very male sphere
So I thought it was time that they were but not in a way that would exploit them
Exploit the male body for instance in much the the way that the female
Bodies always exploited whether clothed or not.
So it had to be something quite different and it was quite a risk, but it's worked
_ It would you made a choice between a Jean Marais and a Clint Eastwood, for example
Oh my second day and I shouldn't have to explain why _ _ _
[E] But once you get [G] beyond the point of saying English, yes, but where from in [Ab] England it just becomes [E] boring and nonsensical
I mean, there's many many [N] groups in Manchester who are totally useless and you never get any attention whatsoever
and yet the British music press have this particular idea that Manchester is this wonderful [E] place and everybody that
[G] Sprouts from Manchester has an [Am] incredible brain
But [E] I've seen many many groups that are [N] totally shambolic and you can say that about almost anywhere
You can't get into the whole and geographical obsessiveness.
You can't do that
_ [Ab]
This miss is a very [G] young bone a young band
You started by [Ab] the end of 82 and you had already very quickly [B] these huge reactions in England
[F] What happened in your opinion and why did everybody started [G] to like this miss?
_ And can it really be explained [N] I think it either happens or it doesn't happen [Ab] it's from [Bb] initially
[Abm] On our part.
We were [G] very very sure of what we wanted to [Abm] do and we were very positive about every [N] single aspect
However, minuscule connected with the Smiths and it was really important that people understood us
Completely and saw us straight away.
I think because we all had this very strong attitude _
It worked [Ab] we didn't rely upon anybody we didn't wait for anybody [Gb] to come along and pick us up and [N] do something for us
really a matter of action
_ instead of you know words, so I think also when when we first appeared and on the British music scene and
All the elements that make up the Smiths and make up our music and the way we present ourselves
Seem to totally contradict
[Bm] in the Britain the British music charts and [Gb] the way things [N] tend to
Tend to be sliders and then we came up with an [G] approach that was different to the time but [F] necessarily
[E] Completely different and [Fm] unseen and that was just to be
foreign individuals, but I'm joining [G] together in a collaboration and
[N] What is the outcome of it is just presented very very naturally which was something I've been lacking for a long time in the
British music scene certainly because of everything seemed very preconceived and pretentious
I think we just came around at the time when everybody had just had enough of people wearing silly costumes and playing
Kind of eight synthesizers and that's [Bm] it
There is already something in [F] common in your young career
These covers singles [N] and and JLP so what about all these guys in the cover
_ It's just really quite selfish they're just very
Interesting images something that's quite different.
It wouldn't really be enough just to have the usual and type of
artistry on record sleeves because almost everything seems to have been done and
it had to be really quite different for the Smiths in one way or another and
When I thought of groups especially in the 1970s who constantly used female images
Who constantly use naked women and it was never held in question.
It was just there and this is rock and roll
But of course, it's not
It had to be quite different and it crossed my mind that male images had never ever been used for one reason or another
When rock and roll is obviously quite traditionally a very male sphere
So I thought it was time that they were but not in a way that would exploit them
Exploit the male body for instance in much the the way that the female
Bodies always exploited whether clothed or not.
So it had to be something quite different and it was quite a risk, but it's worked
_ It would you made a choice between a Jean Marais and a Clint Eastwood, for example
Oh my second day and I shouldn't have to explain why _ _ _