![]() ![]() ![]() I think he was just sort of checking me out, because he’d liked what I’d done. What was that session intended to achieve? I think he was using a lot of the songs that were touchstones for him when he started out. It was quite a popular movement, so I knew a bit of Scotty Moore and Chet Atkins - that kind of stuff. So there was a lot of Eddie Cochran - ‘Twenty Flight Rock’, ‘Come On Everybody’ - and I think he was surprised that I knew that stuff, because obviously it was made before my time, but I’d checked out a fair bit of rockabilly before The Smiths had formed. The interesting thing was that, understandably, he likes to play the music that inspired him when he was a kid, when he was starting out. You can’t really avoid The Beatles if you’re breathing air and you’re a musician, I don’t think. He and I were singing harmonies on ‘I Saw Her Standing There’ - that was a pretty good moment, too. I got him to play ‘Things We Said Today’, and I think we played some Wings stuff. We played ‘I Saw Her Standing There’, ‘Twenty Flight Rock’, ‘Tutti Frutti’. Yeah, man! I remember everything about it. We’ve not played together, but he’s always very friendly and very gracious. That was pretty much the first thing I did when The Smiths stopped being together. He was pretty good! He can play that bass and sing pretty well, I must say. I didn’t do a recording session with him as such, but we did get together for a good long eight-or-nine-hour day, and just played and played and played very intensely, really loudly. Is it true that you briefly joined Paul McCartney’s band? Did that really happen? I want to start off by going back to the early days after The Smiths, when you developed a reputation as a gun for hire. ![]() “I’m always doing what I call ‘producing with my feet’.” Since his early teenage years, he has lived and breathed music, and his encyclopaedic knowledge of rock and (more specifically) pop was an essential part of the foundations on which The Smiths morphed into the most important British group of their era.Īs he prepares to release The Messenger, a debut solo album after 25 years of playing on records for other people, he talks to The Autojubilator about the artists he once emulated in the bedroom mirror, the development of his latest songs, and some of the more surprising collaborations that have taken place during his 30 years as a professional musician. Obviously infatuated with his subject, Marr is fast becoming the man the magazines go to when they need a musicologist’s point of view. In my experience, the best interviewees have a tendency to ramble, and in this respect Johnny Marr is right up there with Sir Tom Jones. ![]()
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