There Is A Light That Never Goes Out

"I remember being in a Pizzaland in Altrincham, giving the waitress my order - yeah, yeah, cheese and tomato, all that - and she said, You know the strings on 'There Is A Light' - is that an emulator or is it played? (Laughs) I was like, Whaaat? Are you fuckin' joking or what? What a fucking question!"

-Mike Joyce


"I think if we'd had a string quartet at the time we would have used it. But the fact that there was a keyboard there at the time... We just made it sound as real as possible."

"I was a bit fucked up, but I also had the worst roadie in the world. Throughout the set, me and Johnny used two tunings: one in F sharp and one in E, 'cos of Morrissey's range. Out of four or five gigs, this guy got it right once. I'd say, Right — There Is A Light That Never Goes Out. Pass me the one in F sharp. He'd pass me the E bass, and I'd be a tone out."

-Andy Rourke


"If we needed some songs fast, then Morrissey would come round to my place and I'd sit there with an acoustic guitar and a cassette recorder. 'There Is A Light That Never Goes Out' was done that way."

"Morrissey was sat on a coffee table, perched on the edge. I was sat with my guitar on a chair directly in front of him. He had A Sony Walkman recording, waiting to hear what I was gonna pull out. So I said, 'Well, I've got this one' and I started playing these chords. He just looked at me as I was playing. It was as if he daren't speak, in case the spell was broke."

"We recorded 'There Is A Light That Never Goes Out' in 10 minutes. I went on to add some flute overdub and strings and a couple of extra guitars, but really, the essence and the spirit of it was captured straight away, and that normally means that something's gone really, really right. I have a version of that take with just the three instruments and the voice on it – it absolutely holds up as a beautiful moment in time. The Smiths were all in love with the sound that we were making. We loved it as much as everyone else, but we were lucky enough to be the ones playing it."

"I didn't realise that 'There Is A Light' was going to be an anthem but when we first played it I thought it was the best song I'd ever heard. There's a little in-joke in there just to illustrate how intellectual I was getting. At the time everyone was into the Velvet Underground and they stole the intro to 'There She Goes' - da da da-da, da da-da-da, Dah Dah! - from the Rolling Stones version of 'Hitchhike,' the Marvin Gaye song. I just wanted to put that in to see whether the press would say, Oh it's the Velvet Underground! Cos I knew that I was smarter than that. I was listening to what The Velvet Underground was listening to."


-Johnny Marr

I have found an extended version of the Johnny Marr BBC video that I posted earlier. Here, he plays more of "There is a light" all the way up to the end of a verse, and the sound isn't faded out like it was in the first video. I have to say, this clip gives me chills. It's just so cool to see him up close playing a Smiths song.




This video has a different camera angle, which might be helpful.





Here is Johnny playing it at 7 Worlds Collide, you can also get some good angles of his playing. Thanks go to lordez185 for shooting this video:




Guitar Pro tabs for this song are here(right-click to save). There are 2 different versions of the tab that I've included... one has 7 tracks, one has 3. There is also a tab of Johnny's arpeggio from the BBC segment above, submitted by Mathieu.


Here are the tabs from the Singles book:











Here are the scans from the Smiths Best Complete Score:













Here are the scans from the Complete Chord Dictionary:




Here are the scans from the Queen Is Dead piano book, with guitar chord boxes:









Here is a breadown lesson of the BBC chords and riff by 74949 on youtube:





Here's the evergreen Daniel Earwicker with another spot on cover:




djs1986 gives another multi-instrumental take, inspired by Daniel's version above:




Jahnli does a really nice version here, with a gentle vocal arrangement:




TboneWilson1978 uploaded a cool lesson here:




IrishBog does his take on Johnny's playing from the BBC video:




Here's davidguitarist91 on his Les Paul:




chiasson65 contributes another spot-on bass cover:

Bigmouth Strikes Again

"With 'Bigmouth Strikes Again', I was trying to write my 'Jumping Jack Flash.' I wanted something that was a rush all the way through, without a distinct middle eight as such. I thought the guitar breaks should be percussive, not too pretty or chordal -- I wanted a cheap, Les Paul sort of sound. The main riff is based on an Am shape, with a capo at the 4th fret. I buried this one little guitar part in just the right place, so it sounds like overtones of the main part, but it's really there. On the first of the two breaks, I'm playing slide through an AMS harmonizer, really high. For the second one, I used a Gibson Les Paul Black Beauty and a Rickenbacker together, playing a regular Em shape, but it's sampled and triggered off the snare drum roll."

"People sometimes ask me who Anne Coates is, but it's actually a name I made up. The high, synthetic-sounding backing vocal on that song was down to a bit of kit called an AMS Harmoniser."

"[Morrissey’s high-pitched vocals were] done with a harmoniser, we just put the vocal through it and set it at some strange interval. We tried a few intervals until we found one that was weird in the right way. Later on we invited Kirsty McColl to come down. Morrissey and I had wanted to meet her because we were fans of her single 'They Don’t Know'. It seemed like a good way to meet her, to invite her to come down and get in on the session, which was unusual because we didn’t have a lot of guest musicians. She came down and she only appeared on the "ooohs" that appear in the guitar break. That was the start of an amazing friendship and partnership that I had with her, so a lot happened on that day, it was a big day for me."

- Johnny Marr

Nanuke has been kind enough to provide these scans from the "Smiths Best" complete scores book published by Shinko Music in Japan. This book is even rarer than the Louder Than Bombs: Off The Record book, so this is just fantastic to have access to it. At this point, I think we have almost every published version of Bigmouth now available on this page.

lunachangue sent me this rough translation of the performance notes:

this is strong accoustic 16 beat cutting guitar tune. for this song side guitar(or 2nd guitar?) use capo 4 fret and C#m E F# A B chords turns to Am C D F G, so turns to simple chords to play, but this songs speed is so fast and need sustainable power, so you not to be strain, right hand need to be smooth and fast,

not only guitar, but also bass and drum as well need speed and keep 'groove'
drums high-hat and guitar cutting must be same timing

D part slide guitar is like string sound effect on this song, If you play improvised slide guitar, you really need to practice hard, but this songs slide play is simple so good to start slide play from this song as your first step.

C and G　part harmonized woman chorus gives mysterious effect on this song, if you play in band it will be good by woman chorus support.

On D part there's electric piano, but its not an important part so you can omit when you play in band.











Here is another tab, along with 2 backing tracks which have been uploaded here(right click to save as).











Here are the guitar and bass tabs from Guitar For The Practicing Musician, July 1990 issue. Notice the first guitar break calls for a slide part played at the 31st fret(!).










Here are the scans from the Singles tab book:









I have uploaded 2 Guitar Pro tab files here. Compare them to the tabs above.

I have also added the pages from the Queen Is Dead piano songbook with guitar chord boxes:










Here is Johnny doing a super quick run through on his Martin D-35:




Here is Daniel Earwickers awesome take, including the bass part:




Another cool version from lunachangue:




Daveyc25, rhythm on a Rickenbacker:




From nicknoh69, a pretty complete version:




thirdynumberone includes the second guitar break in his version:




Here's IFoughtTheLaw369, doing the whole song:




Here's a slowed down, simplified lesson from michaeltonge1:




Here's kusaka2580 on a Ric:




Here's dhowellbassist on a Ric 12. Awesome job on the break!




Here's 325C58 on acoustic, hofner bass and les paul:




Daniel Earwicker also added guitars and drums to 325C58's video:




Here's johnnymare, playing along to a backing track:




Here's sonofdrcross, doing Rourke's entire bass part:




Here's davidguitarist91 on his Les Paul: