Introduction
The initial idea was to write about The Smiths only, but as the concept of the FotW, as opposed to AotW perhaps, opens up for somewhat broader approach, I thought that focusing on the guitar-man and tunesmith would perhaps open up a few new perspectives on this chapter in music history. The fact that Marr has continued to produce (in my opinion) vital music for 25 years after The Smiths break-up, also makes this a more interesting subject. Furthermore, at least in Europe, where the British music press dominate, The Smiths appear on the cover of one these magazines at least one or two times every year, with new “revelations” (mostly gossip) on the bands carrier and break-up. The focus, if not always, but mostly on the lead singer, Morrissey, and his natural talent for controversy. Hopefully I am able to shift the spotlight to where it belongs for a moment.
3DD being a board celebrating a band very much rooted in American music tradition I am not surprised to find that The Smiths as perhaps an arche-typical British indie-phenomenon does not get much attention here. Also being painfully aware that The Smiths, and especially Morrissey, is a classic example of “either you love-it or you hate-it” I will not at all be surprised if people use this as an opportunity to air their grievances with their music.
I first became aware of Johnny Marr and The Smiths in high-school. I think the year was 1989. I was seventeen. I do not remember exactly what was the entry-point, but there are two incidents that I remember; I heard someone play some music at a party that caught my attention, I asked what it was and I thought the guy said “The Smiths” (I found out later that it was actually The Smithereens I had heard
). At around the same time I had started playing guitar myself and I came over an issue of Guitar Player Magazine that featured Johnny Marr on the cover followed by an article spanning 11 pages. The article had a box stating the “10 ways to avoid becoming a guitar hero”, amongst those; ‘Avoid solos whenever possible’, ‘Put songs before showmanship’, ‘Be subtle in your innovations: don’t pose with a four neck guitar; instead concentrate on offbeat harmonic ideas, unusual tunings, weirdo chord voicings, and finely detailed accompaniment’, ‘Paint with a feather, not a firehose’ and ‘Denounce guitar heroism loudly and frequently’. This was before Grunge took off, punk was pretty much forgotten and guitar heroism was truly a decease with the idioms of people like Malmesteen, Van Halen and Satriani infecting young aspiring guitarists. But for someone who was already heavily into U2 and The Edge’s simplistic and melodic approach to guitar playing, the “10 commandments” of Johnny Marr became my religion. I headed for the record store and bought the only Smiths album they had, which the live album “Rank” and I was sold!
The Smiths
The story of the Smiths formation has been told many times, and has become almost rock-mythology. The year is 1982, Johnny Marr, still only 19 had been aware of Stephen Morrissey for a while, the strange lanky character, who was frequenting the local underground scene, the president of the UK branch of the New York Dolls fan club (!). One day Marr shows up at Morrissey’s doors step (he was living with is mother at the time), hands him a demo of ideas he had recorded with a proposal for a musical collaboration. They would find common ground in 60s single-pop (Motown etc), as well as sharing the vision for their future band. Marr’s former school-mate, Andy Rourke joins on bass and Mick Joyce is brought in on drums. After only a few rehearsals they had their first gigs around the local Manchester scene, and the buzz was on. Their debut single ‘Hand In Glove’ was released may 1983 and the self titled debut album (reaching #2 in UK album charts) was released in February 1984.
The Smiths released only four studio albums, but considering the band effectively broke up in June 1987, this was a remarkable achievement. In addition to the albums (three #2 and one #1 on UK albums chart) they also released a number of singles that weren’t even included on these four albums, as well as b-sides for album singles that were not included on the studio albums, of these several with high positions in the UK singles chart. The singles and b-sides were later to be issued on compilations albums Hatful of Hollow, The World Wont Listen and Louder than bombs. Quite remarkable for a guitar-based alternative band in the hey-days of synth-pop, and for a band that didn’t shy away from controversy such as denouncing the queen, stating that ‘Meat is murder’ as well as the “homo-erotic” album covers and sexually ambiguous lyrics.
By the time they were finishing the studio sessions for their final album Strangeways, Here We Come, the band was in reality history. The band had become dysfunctional by then. Johnny Marr had been serving as the bands “manager” since their first and only real manager was sacked (by Morrissey) after the first album. He had become an alcoholic. His London apartment, where he was living with his wife, was the daily hang-out joint for the other band members and crew when not on tour. Rourke, the bass player had a heroin habit (Police busting his apartment “Stones style” on a couple of occasions), and Morrissey was acting prima donna refusing to involve anyone that might be able to assist the band both artistically or in more mundane matters. Marr was exhausted and went on a two weeks vacation without approval. Marr was sacked and Morrissey tried to carry on without him. But the Smiths without Marr was not The Smiths; soon after the news broke that The Smiths was no more.
The songs were always the result of collaboration solely between Marr and Morrissey. Marr would record simple demo tapes that were handed over to Morrissey for him to come up with lyrics and vocal melodies. Studio recordings would very much follow the same pattern. Marr and the two others would work on the music with the producer until it was time for Morrissey to show up and do the vocal tracks. Often the band would not have a clue what Morrissey was up to until they heard him do the first take in studio.
Morrissey’s lyrics, full of literal references and witty sarcasms could probably aspire for a dedicated FotW, and will not be covered here…
Marr’s guitar style in the early days were often labeled ‘Jingle Jangle’, with references to The Byrds and The Beatles as well as contemporaries R.E.M, his fascination for Rickenbacker guitars, which he used extensively for foto-shoots and TV appearances the first years also contributes to this “image”. His influences however, spans much wider and in interviews he refers to acoustic folk virtuoso Bert Jansch as well as Nels Lofgren, Keith Richards, Pete Townsend, James Honeyman-Scott and Paul Weller. Perhaps not obvious in the music at first glance but Marr has also a funky/afro-beat and the Ohio Players was quoted as a reference in a more recent interview, and the classic track How Soon Is Now is basically a Bo Didley wamp, run through an intricate set-up of guitar-amplifiers and tape loops. His talent for melancholic, simple and hypnotic melodies are apparent in tracks like Rubber Ring (from Louder Than Bombs) and Girlfriend In A Coma (from Strangeways Here We Come) as well as the layering of multiple guitar tracks than can be heard in The Headmaster Ritual (from Meat is Murder)
The Smiths influenced (and perhaps even initiated) the of the brit pop wave that emerged in the ‘90s; Suede, Blur, Oasis and Stone Roses admit being influenced by The Smiths and Johnny Marr in particular. Here is Radiohead paying homage to The Smiths with their cover of ‘The Headmaster Ritual’.
So…the music, and how to indulge;
Studio Albums:
The Smiths(1984)
Meat is Murder (1985)
The Queen is Dead (1986)
Strangeways, Here We Come(1987)
Live Album:
Rank (1988)
Singles-compilations:
Hatful of Hollow (1984)
The World Wont listen (1987)
Louder than bombs (1987)
Depending on your taste and how “alterntative” you like it the first two albums may not be the place to start. In my opinion the production on these unfortunately has not stood the test of time that well. Critics favorite The Queen is Dead may be the best entry point. Both Marr and Morrissey have stated Strangeways Here We Come as their favorite. By far the most heavily produced album with strings and keys and with guitars turned down a bit. Louder Than Bombs is also an excellent starting point with guitar-pop classics like Panic, William It Was Really Nothing and Ask.
Some of my favorite The Smiths tunes:
This Charming Man
What Difference Does It Make?
Well I Wonder
The Boy With A Thorn In His Side
There’s a light that never goes out
Draize Train (live)
Cemetery Gates
Bigmouth Strikes Again
Paint A Vulgar Picture
Please Please Please Let Me Get What I Want
Marr post-Smiths
During the last year or so of The Smiths Marr wanted to collaborate with other artist, and with Morrissey not approving this may have been a contributing factor to the break-up. So after the break-up Marr started as session guitarist and through the ‘90s and ‘00s collaborated with a number of artists, amongst others; Billy Bragg, Talking Heads, Roxy Music, Kirsty MacColl, Neill Finn, Beck, Pearl Jam and Oasis. He was an official member of The Pretenders, The The and Electronic (With Bernard Sumner of Joy Division and New Order) as well as his own band Johnny Marr and the Healers.
Of these I think the work he did with The The on the albums Mind Bomb and Dusk is the most noteworthy. Check out Marr’s soulful Harmonica playing on Slow Emotion Replay from Dusk, or the disturbing soundscape on Good Morning Beautiful from Mind Bomb.
Talking Heads Nothing But Flowers is classic “African high-life” Marr.
Happy Mondays once attempted hi-jacking Marr for recording their last album in Barbados. Here is Marr’s hilarious recap of the event.
In 2006 Marr moved to Portland, OR to join Modest Mouse. Materials for two albums were recorded in 2007 and released as We Were Dead Before The Ship Even Sank (2007) and No One’s First And You’re Next (2009). They achieved a Billboard #1 for the song Dashboard which he co-wrote with Isaac Brook. Particular tracks from these albums: On Spitting Venom Marr is doing his magic and adding his simple but delicate guitar textures at 1:06, at 3:44 and at 4:27 and onwards.
Marr left Modest Mouse to join British trio (of brothers) The Cribs, to record the album Ignore The Ignorant. Quite an unlikely partnership but here Marr really lets loose the guitar wizardry we know from the Smiths on tracks like We Were Aborted, We Share The Same Skies, Last Year’s Snow and Victims Of Mass Production.
Marr is currently not in a band, but rumors has it he his working with new material for Johnny Marr and the Healers.
In 2010 Marr collaborated with Hans Zimmer for the Soundtrack to Inception (The movie with Leonardo DiCaprio sleeping)
For the gear heads. Marr is showing some of his awesome collection of vintage guitars here. Marr who was known for wielding Rickenbacker’s in the early days of the Smiths is now playing Fender Jaguars, and in January this year Fender released their Johnny Marr signature Jaguar.
Some live clips to round it off:
Marr with Pearl Jam (Dylan Cover)
Smiths Live – Still Ill
Enjoy...
