Daniel Earwicker

Same recording as the mono version but remixed, and in stereo.

From 19 years ago, a B-side of the 'Sweetness and Light' EP (which got to number 47 in the UK charts) and which I probably purchased from Our Price Records. Lush always made good use of Rickenbackers as rhythm guitars. Also I think the chords in this are great, moving around in an instinctive way and the bass does something interesting and strange in the chorus, quite Brian Wilson-ish if you ask me, which you didn't, but there we are. Lush = the Beach Boys of Camden in the 90s.

A couple of minutes of the title track.

On the mandolin and 12 string acoustic. I wasn't sure what chords to play so I chose some that sounded nice.

Warning: may contain traces of banjo.

New Smiths instrumental cover. I fixed the intro since doing the video - can you spot the difference?

This is a very different mix to what is on the soundtrack of the video. The guitars build up gradually during the instrumental section, and are quiet in the verses. What you hear in the video is just taken directly from the Roland VS2480CD, and I wasn't touching the faders, so it isn't really how I wanted it to sound. Also the stereo makes a lot of difference.

Not in the same key as the 'Hatful...' session version - a tone lower, like some live versions. there are actually four guitar tracks all playing the same thing to beef it up, two on the Ric (as seen in the video) and two on the Tele custom '72

I've always really liked the sound of this record. And why use one guitar when you can use five? It certainly helps to flesh out the sound. This is simple to play so it's more of an enjoyable production exercise, like How Soon Is Now.

The lead guitar on the record sounds like it's played on electric (probably telecaster) and accoustic guitars, but the credits say Marr only did "electric guitar". So did Billy Bragg play the accoustic track? It seems about ten times as complicated as the stuff he normally plays and is very much in Johnny's style. Anyway, it's quite hard to hear but I've played what I imagine it to be and made it more prominent in the mix.

The 12-inch b-side of This Charming Man, and also appeared in a Radio 1 session that has yet to be commercially released. Sounds better without the vocals (there, I've said it). Video features critically acclaimed trousers.

Playing all these parts, building them up layer by layer, has made me appreciate this song properly for the first time. It's wonderful how the music stands on its own (no slight to Moz - his contribution to the track was among his best).

You can see three different guitar parts being recorded here: rhythm, bass and lead. It took a long time for this song to grow on me. It seemed quite a boring, overly long song about the hard life of a pop star. But it has two things going for it: 1. the way it winds back and forth between the keys of D and B (by playing the C/A shapes with capo on 2nd fret). 2. the solo is one of the few guitar solos I enjoy - a carefully phrased melody with no disgusting unnecessary jazz twiddling. Lean and economical. On a par with 'Stairway to Heaven' and Hendrix's 'All Along the Watchtower'. And, er... Eddie Van Halen in Michael Jackson's 'Beat It'. (That last one was a joke.)

This was a lot of fun to work out and a lot of fun to play, which is why I couldn't resist doing the whole song (it's pretty short anyway), and I hope it's fun to sing along too, it's a bloody great song. Probably my favourite of these Smiths things I've done so far! So thanks for the suggestion, those people who suggested it. EVERY SENSIBLE CHILD WILL KNOW WHAT THIS MEANS.

A Syd Barrett song from 1967's 'The Piper at the Gates of Dawn'.

Introducing the Rickenbacker 660/12.

Capo on the 2nd fret on the bass, because it's much easier to hit the low F# smoothly. And same on the guitar - Marr appears to tune his guitar up a tone instead, which must make the strings more tense so they slice your fingers up. Sod that.