Please Please Please Let Me Get What I Want

"'Please Please Please Let Me Get What I Want', I did in a period of about four to five days when I was living in a flat in Earls Court. That was done when we needed a follow-up to 'Heaven Knows I'm Miserable Now'."

"I think the mandolin was suggested by the producer John Porter, I had the tune and he thought the mandolin would be good. The music was written because I was thinking about my childhood in Ardwick Green."

"There's a sad song by Del Shannon called 'The Answer To Everything' that my parents used to play, and it struck a chord in me because it sounded so familiar. That song was the inspiration for 'Please, Please, Please Let Me Get What I Want'. I tried to capture the essence of that tune; its spookiness and sense of yearning."

-Johnny Marr

Another beautiful song. I have uploaded a Guitar Pro tab file here. It has 9 tracks, including 4 guitar tracks and 2 mandolin tracks for the outro. Thanks again goes to Nanuke for his help with this tab file.

Here is a short snippet of Johnny playing the song:




Here is the complete score from the "Louder Than Bombs:Off The Record" book:















Here are the scans from the Smiths Best Complete Score:









Dan, a reader, sent word of this great video below. Johnny plays it with Neil Finn and you can get a great view of his hands:




There are a lot of great solo covers of this song on youtube with vocals, but to stay focused I've posted the most helpful non-vocal versions:


Here is kfb76 with no capo:




ResidentSmith78 plays a nice version with the capo at the 2nd fret. He does a nice job with some of the little movements between chords.




KintrickPinch does another capoed version:




Here's backinnyc playing along with his own backing track. He also plays the mandolin solo on his Rick 12-string which sounds really good:




Pandaprops does another great version on an acoustic 12 string:




325C58 does an awesome multi-instrumental version here. Look out for a cool surprise when he does the outro solo:




Here's davidguitarist91 on his Les Paul:

This Charming Man

"Of all our singles I think I like 'This Charming Man' best, just because the rhythms are so infectious. Smiths music really moves me."

- Andy Rourke


"A couple of days before I wrote 'This Charming Man' I'd heard 'Walk Out To Winter' (by Aztec Camera) on Radio 1, and I felt a little jealous. My competitive urges kicked in. I felt that we needed something up-beat and in a major key for Rough Trade to get behind. That's why I wrote it in the key of G, which to this day I rarely do. I knew that 'This Charming Man' would be our next single. I did the whole thing in one go into this TEAC 3-track tape recorder that I used to write on. I came up with the basic chords and immediately overdubbed the top line and intro riff."

"I wrote This Charming Man for a John Peel session. I just leapt out of bed and wrote it. It was the culmination of trying to find a way of playing that was non-rock but still expressed my personality. I felt we needed something more upbeat in a different key and was miffed that Aztec Camera's Roddy Frame was getting on the radio and we weren't. That's why it's got that sunny disposition; my usual default setting was Manchester in the rain. When we were recording it, Rough Trade's Geoff Travis came in and said: 'That's got to be the single.'"

"I remember writing it, it was in preparation for a John Peel single. I wrote it the same night as 'Pretty Girls Make Graves' and 'Still Ill'."

"'This Charming Man' was the first record where I used those highlife-sounding runs in 3rds. I'm tuned up to F# and I finger it in G, so it comes out in A. There are about 15 tracks of guitar. People thought the main guitar part was a Rickenbacker, but it's really a '54 Tele. There are three tracks of acoustic, a backwards guitar with a really long reverb, and the effect of dropping knives on the guitar -- that comes in at the end of the chorus."

"I don't want to be playing 'This Charming Man' when I'm... 22."

- Johnny Marr

Here is a great video of Johnny looping the rhythm part and overdubbing the lead:



Notice he starts the riff on the second and third strings, around the twelfth fret(14th if you have his usual 2nd fret capo on).

I have uploaded several Guitar Pro tab files here. Each file has several different guitar tracks, some with bass tracks as well. I have uploaded a multitrack for the song here. This has the isolated guitar and bass parts, and it's a great tool for learning the song.


Here are the scans from the Singles tab book:








I have uploaded another tab and it's accompanying backing tracks. Those are here(right click to save as). Here's the tab:








UPDATE 10/12/08: I have also uploaded these scans from the debut album song book, for completists only.







lunachangue gives us a pretty spot on version:




The cover sonofdrcross does is equally good:



He also does a great version on bass:




325C58 tackles the hatful version, with bass and rythym guitar as well:




Daniel Earwicker plays just a few bars on his 12 string Ric:




martinyyz has another good version. Really clear recording of the fretboard, too:




Here's nicknoh69 on his les paul:




Here's WilliamFs11 on acoustic:




Here's isisluna23 on a Les Paul:




Here's chiasson65 with another great bass cover:




abyface does an awesome job:




adameater does the Hatful version on acoustic:




Another take by martinyyz:




Here's a cool version by johnnymare:




Here's Pandaprops on guitar:



and bass:




Here's davidguitarist91 on his Les Paul:




Here's a great multitrack version by captaincarwash:

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: