Chords for Johnny Marr explains how he became aware of Bert Jansch

Well, before we get away from Guitar Heroes, _ I've read one that kind of surprised me, but
then it made perfect sense.
You've said in a few interviews that Bert Jantz really inspired you to be able to sit
down and make a solo album.
Now, he's this incredibly intricate _ folk stylist, legendary, but he's a musician's musician.
You only ever hear musicians drop that name.
How did you discover him?
When did you discover him?
Why did he inspire The Messenger? _ _ _
Well, [Abm] how Bert Jantz inspired The Messenger is because, _ _ you know, I've been asked a number
of times, _ _ _ _ _ [Ab] and I'm able to give that answer because, _ as I've just explained at length,
it was a lot about records and record culture, [E] but it was Bert Jantz, _ _ _ Nile Rodgers from Chic,
_ _ and James [Abm] Williamson from The Stooges.
What a list.
Can we just pause to see?
No other musician ever would give that list.
_ Those were the only three guys that I really_
And when I was younger, I really liked Rory Gallagher, and I thought his ethos and the
way he carried himself.
_ _ _ But those three guys stuck with me all the way.
They've always_ I've never_
_ _ And _ what happened was I moved to a neighborhood _ at 11 years of age that _ [G] just had loads of guitar players.
[Abm] Everybody around was a guitar player.
It was [Dm] in the suburbs [N] in the early 70s.
I moved from the inner city, which was a very [Abm] tough place, to the suburbs, _ to what
Americans would call the projects.
_ Me and my sister thought we'd move to Beverly Hills because [G] the place we'd come to before
[Fm] that was really, [E] really serious.
But [Bb] there was a bunch of guitar [Gb] players, and these guys, we all took [E] ourselves so seriously.
_ Billy Duffy from The Cult was one of them.
_ He's just got a_ _
It's the first time we've ever played together with [Abm] him.
It's 1975, since we were 13 or something.
Billy was one of them.
There was a bunch of guys.
_ [N] One guy, Billy was into [F] Mick [E] Ronson and Pete Townshend and Paul Kossoff.
Another guy, he was really fiercely talented.
He was very, very into Neil Young. _ _
He was into some other [Bb] guys.
[Abm] _ We all had our specialist subjects.
_ _ When people like Bill Nelson would come along, _ we'd just analyse the hell out of these guitar players.
[A] We were like this [Eb] coterie or a salon.
[F] _
_ _ These guys were [E] older than me.
_ [Bb] They showed me how to walk the [Ab] walk, really. _
They allowed me to [E] be part of it because I could play_ _
In fact, I could play [Eb] rubble without sticking [Bb] my tongue out.
_ They were all like that.
I was just like, give that to me.
I remember that being [Abm] a big moment for me because these [F] older guys didn't want to let
on that they thought I was good.
They were like, this is kind of easy.
_ [B] _ _ Anyway, when New Wave came out, _ _ suddenly then [E] it was all about Tom Boulayne, _ Richard Hell,
Johnny Thunders in a really big way.
I got into James Williamson, Steej.
We all had [Abm] our new guys that were influenced by him.
_ But also because my younger sister really, really loved disco music and she loved black
music, she loved chic.
So I got into Nile Rodgers then.
I had this strange kind of thing.
I was listening to Raw Power and I was really into Nile Rodgers.
He was a great, great pop musician.
Great musician, Paul Stock.
_ So that went into my thing, the composition.
But [E] the attitude of James Williamson_
_ Truth is, I already had a song that sounded like BB Danger by the Stooges.
So I was like, okay, hearing James shone a light on what I was doing and said, [G] carry on.
_ _ So _ _ [Ab]
anyway, one of these [F] older guys, because we took ourselves [E] so seriously, one of these
older guys, he got into Neil [F] Young and we went back through folk music.
First Buffalo Springfield record, there was a thanks to [Abm] Bert Jansh.
So he took it upon himself to get into Bert Jansh.
And loads of us then got _ into_
Well, we investigated _ _ Richard Thompson, Martin Carthy, _ Bert Jansh.
And as [Em] soon as I [Db] heard Bert, I was like, this is my [C] guy.
[Abm] This guy _ is_
The bar was really, really raised as a guitar player.
I thought, wow.
[E] And the great thing about it is it isn't [Abm] slick.
It's funky. _ _ _
Yeah.
So [N] luckily for me, and we're [E] at the end of all of this story, is that _ _ amazing thing about
guitar players, they're very, very welcoming.
_ _ [Gb] They [D] like checking each other out.
And I do it now [Abm] to _ _ _ _ _ _ _ really find out about Bernie Butler when he came on the scene. _ _
_ I _ love Nick Zinner from the year he has.
Guitar players are very good at getting together.
So in my case, now Rogers is now one of my _ really dear friends.
[E] _ _ James Williamson and I have got a friendship.
_ _ _ _ _ _ [N] _
I got to know Roy Gallagher a bit before he died. _
_ _ _ _ Well, you were in the studio with Jansh, right?
Watching him record?
Yeah, I played on a couple of his_
We made a record.
He made a record called [Ab] Crimson Moon, and I played on a few songs with him.
I did a couple [G] of shows with him where he got me out to play.
_ [Gb] _ _ So I got to know Bert.
He [F] died a [Eb] couple of years ago, but [F] Bert and I got to be good friends, and that was an amazing thing.
_ So that thing of_ _
That saying of, _ don't ever get to meet heroes because you'll be disappointed, [N] is not true
in my case. _ _ _ _ _ _ _