Live!, Six Of The Best

Six Of The Best – Johnny Marr

Six Of The Best is a semi-regular feature that pokes, prods and persuades your favourite bands, bards and barometers of hip opinion to tell us six of the best tracks they’ve ever heard. The tracks could be mainstream million-sellers or they could be obfuscatingly obscure, it doesn’t matter. The only criteria set is that, aye, they must be Six of the Best. Think of it like a mini, groovier version of Desert Island Discs…

Number 22 in a series:

Johnny Marr_JUN14_Colour_Portrait_II_PHOTO CREDIT_Jon Shard

Johnny Marr is the wunderkid guitar player who, one day in 1982 knocked on the door of 384 King’s Road in the Stretford area of Manchester and encourgaged the bequiffed answerer to be the wordsmith that would sing atop his unique tunes. Together, they formed a partnership that would over a few short years become the most unique British guitar group of all time. To many of a certain age they were our Beatles, our Pistols, our band. There was no-one like them before and there’s been no-one like them since. From the first time I heard them (unusual for such a seismic event, I can’t actually remember when this was), The Smiths became my favourite band and, as a ham-fisted, fat-fingered guitar player with lofty ambitions, Johnny Marr became my instant hero.

With a guitar in his hands, Johnny is a magician. In The Smiths, brightly ringing, sparkling arpeggios fell from his fingers as regularly and as rhythmically as the Mancunian rain. Over the course of one memorable weekend the barely 21 year-old Johnny wrote three of the tunes that would define not only his band but an entire era; William, It Was Really Nothing, How Soon Is Now? and Please, Please, Please Let Me Get What I Want were all committed to tape in order to have something new to present to producer Stephen Street come the Monday morning. Three time-tested classics. One weekend. 21 years of age. Unbelievable.

smiths 85

As a Smith, Johnny wrote an obscene number of brilliant, inventive tunes. Lazy writers would go on about his ‘chiming‘, ‘jangly’ guitar sound, but there was far more to his arsenal than that. There was always, even in the Smiths’ most tender moments, a bite to his guitar. He could fingerpick. He could play inventive chord patterns. He could fingerpick and play an inventive chord pattern underneath it at the same time, with 10 fingers sounding like 25. ‘Like Lieber and Stoller piano lines playing alongside the guitar‘, to misquote him from those early days. Then there were the open tunings, the Nashville tunings, the hitting of the strings with knives to get the desired effect. He reinvented the wheel.

Johnny agreed to an interview ahead of his forthcoming October tour, a tour that takes in the west coast forgotten backwater of Kilmarnock (a show I’m involved in putting on) and telephoned me from his car, “somewhere on the outskirts of Manchester, just out of rehearsals. It’s good to get the band back together and blow the dust off the songs. I’m energised and enthused and I can’t wait for the tour to start.“

johnny marr freckfest

I explain to Johnny that our interview will be in two parts. The first part will focus on his recent work, his upcoming tour and his in-the-pipeline autobiography. The second part will focus on his Six Of The Best, albeit a 6otB with a difference. But more of that later.

Tell me about the last couple of years, then. It seems to me that it’s been quite full-on and intensive – two albums (The Messenger and Playland) written, recorded and released in two years and toured around the world and back again. This is the sort of behaviour I’d expect from a band with it all to prove, not from someone who’s made his mark in the world and who, by now, should be sitting back admiring his body of work from the comfort of an easy chair.

I’ll take that as a compliment. I really enjoy my work. It’s what I do and I’m good at it. It’s actually been 10 years of non-stop action! I joined Modest Mouse in 2005, just in time to record the ‘We Were Dead Before The Ship Even Sank’ album. That album really took off in the US and we toured there for a few years. It was pretty great, playing in a band again. Then, as fate would have it, Modest Mouse decided to take a break from touring and at the same time, The Cribs asked me to join as a guitar player. Without so much as a pause, it was back to being full-on and intense all over again. But I like that. I’m not into taking a year off.

Over my time in The Cribs I collected lots of ideas for songs. My travels informed what I was writing about, and as I wrote I had a specific sound in my head for a group that could play them. It was important to me that the band I put together should operate like the best bands; we should live in the same city and we should all be friends. I’m lucky that my best mates also happen to be the bass player, the guitar player and the drummer in my band.

Johnny Marr_Yellow Wall_II_JUN14_Landscape_PHOTO CREDIT_ Jon Shard

The Messenger was released in 2013 and was really well-received. This gave me the encouragement to keep going, and I got on a bit of a roll. The songs that ended up on Playland the following year were very much a narrative for city life. I’ve always seen the two albums as a pair. Playland was my ‘difficult second album’, but I think I pulled it off. It sounds vital and NOW!

I point out that, from The Smiths via Electronic and The The to Modest Mouse and The Cribs, Johnny Marr has had a lot of ‘difficult second albums’.

Ha! Yeah! That’s true. ‘Meat Is Murder’ was a pretty good 2nd album, wasn’t it? I’ve always been a fan of them – I loved Talking Heads and The Only Ones second LPs. You don’t always have the luxury of having a long time to write your follow-up album. Usually, they’re written on the hop. Both Talking Heads and The Only Ones were made under the conditions conducive to getting the job done.

And now, following the wham-bam knockout of the two LPs, you have a tour that will see the Messenger/Playland era come to a close and immortalised for posterity in your first live album, the aptly-named Adrenalin Baby (recorded earlier this year in Manchester and due November.)

johnny marr adrenaline live

Yeah. The live album. I’m really proud of it. It’s a really good document of the time. I’ve kept it to one CD (although it’ll be a double LP) as it’s short ‘n sweet and doesn’t outstay its welcome. It’s a good representation of the live set. Hopefully, people who come to the shows will enjoy it as a reminder of what the shows were like, and those who never made the shows will get an idea of what the live set is all about. I wanted it to sit alongside my favourite live LPs, albums like Bowie’s ‘Stage’ and Iggy’s ‘TV Eye’.

I remark that my favourite live album is The Ramones’ ‘It’s Alive’. Oh yeah! The energy on that is amazing. D’you know, I stole my copy! I wasn’t sure I was going to like it, so I ‘borrowed’ it from the local newsagent and never gave it back. It’s a brilliant album, isn’t it? Like all the best live albums it has volume and energy. Hopefully, people will get that from Adrenalin Baby.

Adrenalin Baby is a good potted history of Johnny’s best bits – half a dozen or so tracks from The Messenger/Playland eras, a cherry picking of the Smiths tracks he plays live, Electronic’s perennially melancholic Getting Away With It and a garage band ramalama run through of I Fought The Law. It’s Alive indeed.

Looking at the tracklisting of the album and scrutinising the playlists from the recent tours, it’s clear that Johnny holds his back catalogue dear to his heart. This is where my idea for this Six Of The Best came from – if Johnny were to put 6 of his own tracks into a time capsule to be dug up in 100 years time, which tracks would he choose? What are the tracks that Johnny Marr is defined by?

You want me to pick my own tracks? Cool! I’ve never been asked that before. Usually, everyone wants to talk to me about The Stooges. You want me to pick my own records? Alright then. Let me think about that.

Johnny Marr_JUN14_Colour_Landscape_PHOTO CREDIT_Jon Shard

And think about that he does. Johnny then very methodically gives me a chronological list of what he deems to be his best bits. An impossible task, most folk would agree (and a final choice that many would also disagree on), but, for the record, here are the tracks that Johnny Marr is most proud of having been involved in.

The SmithsHow Soon Is Now?

Y’know? The Smiths really blew me away. I’m defined by them and I can quite happily live with that. The combination of guitar sounds on How Soon Is Now? is amazing. The layering. The patience required to put it all together….it hadn’t been done before and it hasn’t been done since. I’m very proud of How Soon Is Now?

ElectronicGet The Message

The band was borne out of The Smiths and New Order, but sounded like neither. We were very unique. Bernard and myself had a real spark. Get The Message is a great example of what we do best. Those early days in Electronic were great fun. I remember the first tour, drinking pints of champagne after an insane Barrowlands show.

The TheSlow Emotion Replay

I can only play harmonica one way (!), and it’s all there on Slow Emotion Replay. The guitar part – it’s what people think I sound like. You and I know differently, of course.

Modest MouseDashboard

This is the track that kind of kicked off the 1st phase of my ‘new’ career. When we wrote the album, all my guitar parts were worked out in advance. I spent ages with my effects pedals making mad Captain Beefheart sounds until I discovered what I was looking for. I’m extremely proud of the guitar sound on the whole record. Everything you can hear in the left-hand speaker is me, doing my best Beefheart impression.

The CribsWe Share The Same Skies

I’ve chosen this for the same reasons as Slow Emotion Replay. The guitar playing – classic me, isn’t it?!?

Johnny MarrThe Messenger

This song is a good representation of how I like to sing. I was never known as a singer, but I’m comfortable doing it. The Messenger is kinda post-punk in feel, jagged and spiky but the vocals are warm and textured. I like that juxtaposition.

johnny marr fender

Never one to look back, Johnny is always looking forward to the next thing. After “10, 15 years of offers”, now is the right time for him to commit his memories to print in the form of an autobiography.

There’s a genuine interest in my life from enough people to warrant this. I was always unsure about doing this, but then I saw the satisfaction – no pun intended! – that Andrew Oldham got from penning his two memoirs. And Nile (Rodgers) writing his – well, that’s me been given the seal of approval to do my own.

We have a wee chat about music autobiographies in general and enthuse about Keith Richard’s book, specifically the section where he talks about discovering open G tuning and how that opened up a whole new world of guitar playing.

We also chat about our kids, how it must be great, I say, to look out and see your son (Nile’s band Man Made are the support on the October tour) on stage, following in your footsteps. And then, the gent that he is, Johnny passes on some advice for my own son (he’s only 8) who’s beginning his first tentative steps on the six string. Getting guitar tips from Johnny Marr – does it get any better than that? I even have the cheek to pass on a capo trick I’ve discovered for myself – not quite the whole new world that Keith Richards discovered in open G, but enough of a trick for Johnny to prick his ears and say, “Right, run that past me again! Ah! Got it! I’m gonna try that next time I play ‘There Is A Light..’”

Whether he will or not remains to be seen, but what a great way to finish an interview!

Johnny Marr is on tour this month. Check all the usual places for ticket details.

West of Scotland fans might like to get themselves to Kilmarnock for his only date in the area on Thursday 15th October. See you down the front.

Get This!

It’s All Right Marr, I’m Only Bleeding

I got my first real six string when I was 16. Bought it second hand from a wee guitar shop in Irvine that disappeared the day after I paid my £30 for it. The guy who ran it was never seen again. About 2 days later, indulging in a spot of fat-fingered She Sells Sanctuary riffing, the pick-up gave me an electric shock and a temporary Sid Vicious haircut.  That guitar was a right temperamental block of wood, but I loved it. I played it till my fingers bled. To paraphrase even further, it was the Summer of ’89. That’s when I realised I’d never be Johnny Marr.

I’ve always loved Johnny Marr. In The Smiths, he wrote an obscene number of brilliant, inventive tunes. Lazy writers would go on about his ‘chiming‘, ‘jangly’ guitar sound, but there was far more to his arsenal than that.  There was always, even in the Smiths’ most tender moments a bite to his guitar. He could fingerpick. He could play inventive chord patterns. He could fingerpick and play an inventive chord pattern underneath it at the same time. With 10 fingers sounding like 25. ‘Like Lieber and Stoller piano lines playing alongside the guitar‘, to misquote him from the early days in The Smiths. Then there were the open tunings, the Nashville tunings, the hitting strings with knives to get the desired effect. He reinvented the wheel.

Johnny was (and probably still is) my idol. Even though he dyes his hair. And runs over 50 miles for fun each and every week.

Slightly on the wrong side of cocky (and so would you be if mercurial quicksilver tunes like those fell off your fingers and onto the fretboard as effortlessly as a bride’s knickers), he’s not much older than me, yet he’s done a ridiculous amount of music. Previous posts on here have gone on at length about all the non-Smiths stuff he’s done. There’s literally hundreds of things he’s been involved in. Not always up there with the vintage riffing of yore, but always fresh-sounding and never anything less than interesting. Clearly, he’s the guitarists’ guitarist, the one they call when they need a bit of magic sprinkled on top.

Last week when he broke his hand, my first thought was, “I wonder if I can play ‘Some Girls Are Bigger Than Others’ better than him now?

Probably not, is most definitely the answer. One of my favourite non-Smiths Johnny moments is on Electronic‘s Forbidden City, from the patchy Raise The Pressure LP released in (gulp) 1996.

It runs the whole gamut of Johnny’s guitar attack. A heady rush of major and minor chords played on an acoustic guitar here and electric guitars there, Johnny picking his trademark arpeggios atop some mid-paced strumming. He plays terrific little 2-string run-downs and fills between the singing that are concise and snappy and perfect. On the chorus he lets the right notes ring out at the right times. In a lesser pair of hands, it all might sound a wee bit lumpen. But Johnny knows just how to make his guitar sparkle and sing. By the middle eight, he’s flung in a backwards bit and dooked the whole lot in a bath of feedback before coming back to the song in a ringing, shimmering blaze of glory. The whole track is, of course, carried along brilliantly by a Bernard vocal that recalls New Order at their uplifting, melancholic best. And I believe that’s Kraftwerk’s Karl Bartos on drums as well.  What’s not to like?

johnny marr bang

In a typically Marresque coda to all of this, Johnny’s broken hand was put into a special sling that’ll allow him to perform his day job without compromise. Broken hand or not, no-one plays guitar like Johnny.

Cover Versions, demo, Get This!, Hard-to-find, Peel Sessions, Sampled

Victoria Wood. Morrissey Did.

Rusholme Ruffians is The Smiths at their sticky-fingered peak. From the alliteratively-alluring Ealing comedyesque title down, it’s a masterclass in Morrissey’s stolen kitchen sink observations backed by a Johnny Marr riff flat-out filched from Scotty Moore via Elvis Presley’s (Marie’s The Name) His Latest Flame 1961 single.

smiths bw tumblr

By the time they came to record Rusholme Ruffians for second album Meat Is Murder, The Smiths were at the top of their game. As was usually the way, Johnny would present the band with a cassette demo. The musicians would go off and shape Marr’s ideas into a band performance while Morrissey would twist and turn what lyrics he had into the new tune, writing and re-writing as he went along until, between band and bard, they had the genesis of a song.  “Let’s do a song about the fair,” suggested Morrissey. “For some reason my association was to pull out that Elvis riff,” explained Marr.

His appropriation of the riff as a frantically scrubbed rockabilly knee-trembler alongside Mike Joyce’s rattlin’ and rollin’ percussion is in stark contrast to Andy Rourke’s slap happy elastic band of a bassline. Played at half the speed, it wouldn’t have sounded out of place on any mid-period Sly and the Family Stone record. Played as it was, it gives the tune that certain je ne sais quoi; the essential ingredient that turned an average Elvis pastiche into an undeniable Smiths’ tune. To use what is surely by now a cliche, Andy Rourke really was the unsung musical hero in The Smiths. And by the time the vocal went on top, well, an undeniable Smiths’ tune had become an undeniable Smiths’ classic.

As a child I was literally educated at fairgrounds. It was a place of tremendous violence and hate and stress and high romance and all the true vital things in life. It was really the patch of ground where you learned about everything simultaneously whether you wanted to or not.”

waltzers

The lyrics that poured out of Morrissey for Rusholme Ruffians are pure 24 carat gold. Every line features classic Morrisseyism after classic Morrisseyism; perfectly executed observations on what happens when the fair comes to town;

The last night of the fair, by the big wheel generator…a boy is stabbed and his money is grabbed and the air hangs heavy like a dulling wine…she is famous, she is funny…..an engagement ring doesn’t mean a thing to a mind consumed by brass (money)….and though I walk home alone…..I might walk home alone ….but my faith in love is still devout…..From a seat on a whirling waltzer …her skirt ascends for a watching eye …it’s a hideous trait on her mother’s side…someone falls in love, someone’s beaten up…..the grease in the hair of the speedway operator is all a tremulous heart requires…how quickly would I die if I jumped from the top of the parachutes….scratch my name on your arm with a fountain pen, this means you really love me….

Classic Morrisseyism after classic Morrisseyism.

Or are they?

victoria-wood

Morrissey was, and remains, a fan of slightly posh, slightly batty northern comedienne Victoria Wood. Her dry ruminations and reflections clearly struck a  chord with him, mirroring as they did his own skewed and melodramatic views on life and living. Sonically, she’s about as far removed from The Smiths as Take That are from the MC5, but her skits and sketches have proven a rich seam for mining lyrics and snippets that pop up across many Smiths recordings – ‘ten ton truck‘, ‘singing to the mentally ill‘, ‘not natural, normal or kind‘, the list goes on….

Wood’s 1983 concert album Lucky Bag was a big favourite of Morrissey’s. On the LP was a track called Fourteen Again. A track featuring a spoken-word intro, including a line proclaiming “they didn’t even know what drugs were” that the eagle-eared amongst you will recognise from the title track of The Queen Is Dead, Fourteen Again includes such lyrics as;

I want to be fourteen again, tattoo my self with a fountain pen….free rides on the waltzer off the fairground men for a promise of a snog….. the last night of the fair…..French kissing as the kiosks shut…..behind the generators with your coconut…..the coloured lights reflected in the Brylcream on his hair…..when I was funny, I was famous

OK, so he didn’t steal them all, and he came up with some genuine crackers of his own  – tremulous hearts and minds consumed by brass (money) and jumping from the tops of parachutes (the ‘skirt ascends‘ line is my favourite) but old Morrissey certainly utilised his love of Victoria Wood to full extent, that much is clear. And just in case you still aren’t convinced, the ‘my faith in love is still devout‘ line was taken from another Wood song, Funny How Things Turn Out, where she proclaims ‘my faith in myself is still devout’.

Hear for yourself:

Elvis Presley (Marie’s The Name) His Latest Flame

Victoria WoodFourteen Again

Victoria WoodFunny How Things Turn Out

The SmithsRusholme Ruffians (demo, first take recorded with John Porter July 1984)

The SmithsRusholme Ruffians (Peel Session 9th August, 1984)

The SmithsRusholme Ruffians (Meat Is Murder LP version, February 1985)

…and, acknowledging their debt to The King….The SmithsHis Latest Flame/Rusholme Ruffians (Rank LP version, recorded October 1986)

morrissey marr face 1985

Like This? Try these…

The Smiths How Soon Is Now explained

The Smiths A Rush And a Push explained

The Smiths There Is A Light That Never Goes Out explained

Johnny Marr’s Dansette Delights