Showing posts with label "B Sides". Show all posts
Showing posts with label "B Sides". Show all posts

Money Changes Everything

"'The Right Stuff' [from Bryan Ferry's Bete Noire] was born accidentally out of a backwards riff at the end of a piece of tape on my 4-track. I learned the part, then recorded it forwards. That's one of the great things about being in the studio, those 'tricks,' for want of a better term. Maybe I'll have a part that's almost fantastic, and then I'll flip the tape over, learn it backwards, and then play it backwards. Originally, the song was called 'Money Changes Everything,' and it was the B-side of a Smiths single, an instrumental. Bryan heard it, and he wanted to put some words to it. All the volume swells were done on the volume pot of an American Standard Strat. The bass track and the Roland drum machine pattern had already been put down, so it was the first session where I did purely overdubs. It was a novelty, but when it comes to my songs, I like to put things down as a group, especially drums and rhythm guitar. Neil Hubbard also plays on Bryan's version."

- Johnny Marr

Here are the scans from the Complete Chord Dictionary:

Here's a really beautiful version by pljnr:

And here's another excellent cover by stereovaritone:


"It didn't have any strong design behind it. It wasn't like I was nessecarily trying to play a Kinks track. That staccato, block chord thing was just me trying to get away from the other jangly riffs I was playing at the time, just to get a bit of variety really. I always thought 'Jeane' was quite original."

- Johnny Marr

"I remember asking Johnny once who ['Jeane'] was about. He replied, 'Morrissey's mum probably!'"

- Sandie Shaw

"There's a great bit on one of the studio master reels where Sandie Shaw is there with Johnny and they're about to do 'Jeane' and he quickly picks the riff of 'In My Life' -- Sandie even asks him 'what's that?'! So there's no denying the influence of The Beatles on Marr."

- Simon Goddard

Here are the scans from the Complete Chord Dictionary:

marrzipan nails the Smiths version:

He posted a comment on Youtube explaining the chords:

"the chords are C, G, C, G, C, G, C, G, Fmaj7 (with open G string, ie 1-3-3-0-1-0), G, Am, G during verse, and Fmaj7, G, C, G (x3), Fmaj7, G during "we tried, we failed" and Em add9 (0-2-4-0-0-0) during the break."

The Draize Train

"'The Draize Train' is vivisection terminology, a kind of conveyor belt, you can guess the rest. I've been Vegetarian since 1983. "

"I use Nashville tuning all the time. I've got an Epiphone Coronet with one pickup, and I string it with the high strings from a 12-string set. It's a really zingy, trebly guitar. I used that on a lot of things that people think are 12-string, like the end of 'The Headmaster Ritual'. I also used it on the studio version of 'The Draize Train', along with two Rickenbackers. I was working with Alan Rogan, the famed English guitar technician. He said, 'Well, if you want a Pete Townshend sound, I'll bring down two of Pete's guitars.' I don't know whether Pete knows about that!"

- Johnny Marr

I have put up a tab contributed by David K, a reader, here(click to view, right-click to save as).

Here are the scans from the Complete Chord Dictionary:

Lexicon15 does a cool version on acoustic:

lunachangue did a great electric version from the Rank album:

Wonderful Woman

"I loved that song. I really, really loved it. Thats a good example of John Porter bringing out the essence of the band and a certain kind of sadness and putting it on the record. I always saw 'Wonderful Woman' as this thick, melancholic, dense atmosphere. It needed to drip with atmosphere and John had the patience to pour over it and do that. It all started to come together at about half four in the morning. I was thrashed through sheer tiredness because we'd been working three days non-stop. Those schedules that Rough Trade put John Porter under were unbelieveable by anyone's standards. But I was dying on me knees and John was going, 'Let's put a vibrato on that bit, let's do a high string thing here.' We were restringing guitars at five in the morning, just for one little bit, but he helped me through it."

"I always liked that song. I did it with John Porter during the night and I was pretty spaced out, it was magic though. I think I was 'muffled and strange' so that's why it sounds the way it does. "

- Johnny Marr

I have a Guitar Pro tab file and have uploaded it here(right click to save as). It seems fairly accurate to my ears, which is fantastic, because this is an amazing song that is often overlooked. The bass part is included in the tab.

Here are the scans from the Complete Chord Dictionary:

Daniel Earwicker does a haunting instrumental version on his Rickenbacker:

Here is captaincarwash, with a great sounding multi-track version:

dhowellbassist does a great version on his Ric 360:

And here are The Smiths, playing the song live, on July 6th, 1983: