Johnny Marr

Marr was born on 31 October 1963 in Saint's Mary's Hospital in Manchester,[5] son of John Joseph Maher and Frances Patricia Doyle, Irish emigrants to England from County Kildare.[6] The family lived in Ardwick Green[7] and moved to Wythenshawe in 1972.[8] Marr attended St Aloysius Primary School in Ardwick before moving to Sacred Heart Primary School.[9] From 1975, he attended St Augustine's Catholic Grammar School, which in 1977 merged with other schools to form St John Plessington High School.[10][11] Marr had aspirations to be a professional football player. He was approached by Nottingham Forest and had trials with Manchester City's youth team.[12][13]

Marr's said his family's move to Wythenshawe was "like we'd moved to Beverly Hills", and that the move led to him meeting "a bunch of guitar players" which "changed his life".[14][15] The Cult guitarist Billy Duffy was in a high school band that practised across the street from Marr's new house, and Marr would hang out listening to them rehearsing.[16] He learned to play the guitar with LP vinyl records and a guitar chords dictionary without a teacher.[17] Marr formed his first band, the Paris Valentinos, at the age of 13, with Andy Rourke (who had gone to the same high school as Duffy) and Kevin Williams (later an actor, known as Kevin Kennedy), performing for the first time at a Jubilee party in Benchill in June 1977, playing Rolling Stones and Thin Lizzy covers.[18]

In 1979, he played a single gig at Wythenshawe Forum with a band called Sister Ray and re-united with Rourke in a band called White Dice. White Dice entered a demo-tape competition organised by NME and won an audition for F-Beat Records, which they attended in April 1980 but were not signed.[19] Around the age of 14, he began spelling his name "Marr" to simplify the pronunciation for those who had difficulty with his birth name "Maher", and to avoid confusion with Buzzcocks drummer John Maher.[20]

In October 1980, Marr enrolled at Wythenshawe College, and was President of the school's Student Union.[21] White Dice dissolved in 1981. Marr and Rourke then formed a funk band, Freak Party, with Simon Wolstencroft on drums. Around this time, Marr first met Matt Johnson, with whom he later collaborated.[22]

By early 1982, Freak Party had fizzled out, being unable to find a singer. Marr approached Rob Allman, singer in White Dice, who suggested Steven Morrissey, a singer with the short-lived punk band the Nosebleeds. Marr approached a mutual friend asking to be introduced and they visited Morrissey at his house in Kings Road, Stretford, in May.[23]

Marr's jangly Rickenbacker and Fender Telecaster guitar playing became synonymous with the Smiths' sound. Marr's friend Andy Rourke joined as bass player and Mike Joyce was recruited as drummer. Signing to indie label Rough Trade Records, they released their first single, "Hand in Glove", on 13 May 1983. By February 1984, the Smiths' fanbase was sufficiently large to launch the band's long-awaited debut album to number two in the UK chart. Early in 1985, the band released their second album, Meat Is Murder. It was more strident and political than its predecessor, and it was the band's only album (barring compilations) to reach number one in the UK charts. During 1985 the band completed lengthy tours of the UK and the US while recording the next studio record, The Queen Is Dead.

In 1989 Spin magazine rated The Queen is Dead as number one of "The Greatest Albums Ever Made". Spin was not alone in this designation—numerous periodicals rank the Smiths and their albums, especially The Queen is Dead, high on their best ever lists. NME, for example, has dubbed the Smiths the most important rock band of all time. A legal dispute with Rough Trade had delayed the album by almost seven months (it had been completed in November 1985), and Marr was beginning to feel the stress of the band's exhausting touring and recording schedule. He later told NME, "'Worse for wear' wasn't the half of it: I was extremely ill. By the time the tour actually finished it was all getting a little bit... dangerous. I was just drinking more than I could handle."[24] Meanwhile, Rourke was fired from the band in early 1986 due to his use of heroin, although he was reinstated in short order. Despite their continued success, personal differences within the band—including the increasingly strained relationship between Morrissey and Marr—saw them on the verge of splitting.

In July 1987, Marr left the group, and auditions to find a replacement for him proved fruitless. By the time Strangeways, Here We Come (named after Strangeways Prison, Manchester) was released in September, the band had split up.[25] The breakdown in the relationship has been primarily attributed to Morrissey's becoming annoyed by Marr's work with other artists and Marr's growing frustration with Morrissey's musical inflexibility. Referring to the songs recorded in the band's last session together (B-sides for the "Girlfriend in a Coma" single, which preceded the album's release), Marr said "I wrote 'I Keep Mine Hidden', but 'Work Is a Four-Letter Word' I hated. That was the last straw, really. I didn't form a group to perform Cilla Black songs."[26] In 1989, in an interview with young fan Tim Samuels (later a BBC journalist), Morrissey claimed the lack of a managerial figure and business problems were to blame for the band's eventual split.[27] In a 2016 interview, Marr agreed with this.[28]

In 1996, Smiths' drummer Mike Joyce took Morrissey and Marr to court, claiming that he had not received his fair share of recording and performance royalties. Morrissey and Marr had claimed the lion's share of the Smiths' recording and performance royalties and allowed ten per cent each to Joyce and Rourke. Composition royalties were not an issue, as Rourke and Joyce had never been credited as composers for the band. Morrissey and Marr claimed that the other two members of the band had always agreed to that split of the royalties, but the court found in favour of Joyce and ordered that he be paid over £1 million in back pay and receive 25% thenceforth.[29]

Marr and Morrissey have repeatedly stated they will not reunite the band. In 2005, VH1 attempted to get the band back together on its Bands Reunited show but abandoned its attempt after the show's host, Aamer Haleem, failed to corner Morrissey before a show. In December 2005 it was announced that Johnny Marr and the Healers would play at Manchester v Cancer, a benefit show for cancer research being organised by Andy Rourke and his production company, Great Northern Productions.[30] Rumours suggested that a Smiths reunion would occur at this concert but were dispelled by Marr on his website.[31]

In an October 2007 interview on BBC Radio Five Live, Marr hinted at a potential reformation in the future, saying that "stranger things have happened so, you know, who knows?" Marr went on to say that "It's no biggy. Maybe we will in 18 or 32 years' time when we all need to for whatever reasons, but right now Morrissey is doing his thing and I'm doing mine, so that's the answer really." This was the first indication of a possible Smiths reunion from Marr, who previously had said that reforming the band would be a bad idea.[32] In 2008 Marr and Morrissey met and discussed the possibility of a reunion, but after initial enthusiasm from both parties, neither pursued the idea.[33]

Marr's guitar playing "was a huge building block" for more Manchester bands that followed the Smiths. The Stone Roses guitarist John Squire has stated that Marr was a major influence.[34] Oasis lead guitarist Noel Gallagher credited the Smiths as an influence, especially Marr, whom he described as a "fucking wizard", also stating that "he's unique, you can't play what he plays."[35]

Marr's jangly guitar-playing was influenced by Neil Young's work with Crazy Horse, George Harrison (with the Beatles) and James Honeyman-Scott of the Pretenders. During his time in the Smiths, Marr often tuned his guitar up a full step to F♯ to accommodate Morrissey's vocal range, and also used open tunings and is known for creating arpeggio melodies and (sometimes) unusual chord progressions and makes wide use of open strings while chording to create chiming. Citing producer Phil Spector as an influence, Marr said, "I like the idea of records, even those with plenty of space, that sound 'symphonic'. I like the idea of all the players merging into one atmosphere".[69] Marr's other favourite guitarists are James Williamson of the Stooges, Rory Gallagher, Pete Townshend of the Who,[70] Nile Rodgers, Jimi Hendrix and John McGeoch of Magazine and Siouxsie and the Banshees.[71] When forming the Smiths, the Velvet Underground was a key influence, along with Keith Richards of the Rolling Stones.[72] Marc Bolan of T. Rex also had a strong impact on him because of the groove and the sound that put the listener in a daze.[73] Talking about his instrument, he explained : "I try to think about the guitar along the spectrum of James Williamson, who was in the Stooges during the Raw Power era, on the one hand to John McLaughlin and his solo record, My Goal's Beyond. I like all the spectrum in between, and that might be – and is – Richard Lloyd of Television, John McGeoch from Siouxsie and the Banshees, Nile Rodgers. To me these people are magicians and artists. Additionally, Marr stated that without the Monochrome Set the Smiths wouldn't have existed.[74][75][76]

When performing with the Smiths, he wanted to play a music which was pop. "100% of my focus was on providing interesting guitar hooks and putting some kind of space-age twist on the guitarist's role. The pop guitarist crossed with the mad professor. That's how I thought of myself."[77] In a 2007 interview for the BBC, Marr reported that with the Smiths his goal was to "pare down" his style and avoid rock guitar clichés.[78] Marr forbade himself from using power chords, distortion, lengthy solos, or "big rock chord changes", instead relying on sophisticated arpeggios to create his signature chiming guitar work for the band.

When Marr started to sing as a solo artist in 2012, he explained his decision saying : "[The frontpersons] I related to were Peter Perrett, Colin Newman, Pete Shelley, Siouxsie Sioux. They were singing from the mind and had integrity."[79] He also added : "I'm absolutely not interested in being the frontman in a band that bares my soul or feelings in song. Siouxsie Sioux, or Ray Davies, or Howard Devoto don't sing from some weird, shlocky, sentimental place. What's wrong with singing from the brain?".[80] He also expressed admiration for Bert Jansch, Yeah Yeah Yeahs' Nick Zinner, and Franz Ferdinand's guitarists Alex Kapranos and Nick McCarthy.[17]

Marr playing a Fender Jaguar at the 2019 AIM Awards

Marr has used a variety of guitars throughout his career, but these are his most notable instruments:

• Fender Jaguar – He has played a Jaguar since 2005, and in 2012 Fender issued the Johnny Marr Signature Fender Jaguar, which has several modifications, including specially voiced Johnny Marr custom pickups by Bare Knuckle Pickups and a four position blade switch.[81]
• Rickenbacker 330 – This guitar is most often associated with Marr due to its 'jangly' sound for which he is known. He played it with the Smiths and it can also be seen in the promotional video for "Vivid" by Electronic. He also owns a "360" 12-string model that belonged to Pete Townshend.[82] Marr acknowledged that many of the songs that were thought to have been recorded on this Rickenbacker were, in fact, recorded on a Fender Telecaster.[83]
• Fender Stratocaster - Marr used a 1962 Fender Stratocaster to record "There Is a Light That Never Goes Out" and for much of the Smiths' 1986 UK and US tours. He also used a 1963 Fender Stratocaster to record "The Boy with a Thorn in his Side" which was one of his main guitars on the 1986 tour.[83]
• Fender Telecaster - while Marr was associated with the Rickenbacker 330, he admitted that many of the "jangly" songs that were recorded by the Smiths were in fact done with John Porter's 1954 Telecaster, including "This Charming Man".[83]
• Gibson Les Paul – Marr owns several, including a rare 1960 model. His cardinal red Les Paul was acquired in 1984 and was used extensively with the Smiths and with The The, appearing in the video for "Dogs of Lust". He has now added a Bigsby tremolo system to this guitar as well as Seymour Duncan pick-ups with coil taps. He gave his 1960 model (also previously owned by Pete Townshend) to Noel Gallagher during Oasis's formative years. Gallagher broke the guitar's neck hitting a fan who jumped on stage. Marr then gave Gallagher yet another vintage (black) Gibson Les Paul (used on much of The Queen is Dead) so Oasis could carry on touring.[84]
• Gibson ES-355 – His cherry red model was used heavily with the Smiths during 1984 and inspired Suede guitarist Bernard Butler and Noel Gallagher to buy one for themselves. It was bought for him by Seymour Stein in New York as an incentive for the Smiths to sign to his label, Sire Records.[85] He also owns a black model, which appears in the videos for "Forbidden City" and "For You" by Electronic, and a sunburst, 12-string model that was used heavily on the Smiths' final LP, Strangeways, Here We Come. This 12 string model was later given to Bernard Butler.[86]
• Gibson SG – Marr used a cherry red SG as his main guitar when playing with the Healers. He also owns a unique, blonde SG.[87]
• Fender Jazzmaster – Marr used several Jazzmasters while he was a member of Modest Mouse.

In 2007 Marr was appointed as a Visiting Professor in Music at the University of Salford, where he delivered an inaugural lecture (on 4 November 2008), and a series of workshops and masterclasses to students on the BA (Hons) Popular Music and Recording programme.[90]

On 19 July 2012, he received an honorary doctorate from the University of Salford for "outstanding achievements" and "changing the face of British guitar music".[91][92][93]

On 3 November 2018, Marr unveiled a plaque in his parents' hometown of Athy in County Kildare, Ireland. This was part of the Made of Athy project.[94]

Johnny Marr returns to Athy to accept Made of Athy Award

On 19 January 2021, Marr received the Boss Lifetime Achievement Award as part of NAMM music industry trade show.[95]

Marr was the titular subject of the 2007 single "Johnny Marr" by the Canadian singer Carole Pope, formerly of the band Rough Trade. Pope described her inspiration and choice of Marr thus: "I was actually getting nostalgic, which I never really do, about living on a certain street in Toronto in the '80s. The Smiths were the soundtrack of that time. I love [...] Morrissey, but I know he's trouble."[96]

Marr is the subject of "Johnny Marr Is Dead" by The Brian Jonestown Massacre; however, he is not mentioned in the lyrics. He is also the subject of Clear's 2003 single satirising the music industry "Johnny Marr Was a Mistake".[97]

Marr is portrayed by Laurie Kynaston in the 2017 film England Is Mine.

Marr is also mentioned in the 1988 single "John Kettley Is a Weatherman" by British band A Tribe of Toffs.

Marr and his wife Angie have been together since 1979,[98] before the Smiths formed.[99] They have two children, Sonny and Nile Marr. Nile is also a musician, and was frontman of the band Man Made before going solo. After residing in Portland, Oregon, for more than five years, the family returned to Britain for Marr to record his solo album in Manchester.

Marr gave up eating meat around 1985 in solidarity with Morrissey and Angie.[100] He stated: "It's not a good idea to have a number one album called Meat Is Murder and be seen eating a bacon sarnie."[100] After meeting American rap group Naughty by Nature, he was inspired by their philosophy of strength through health, and soon after quit drinking, smoking and converted to veganism.[100][101] Marr is a keen runner, and completed the 2010 New York Marathon in a time of 3:54:18.[102] Marr has been a supporter of Manchester City F.C. since 1972,[103] and has been seen attending games.[104] Marr is a patron of the Manchester Modernist Society.[105]

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• Official website
• Official The Smiths Website