Johnny Marr’s 10 Best Riffs, Ranked: The Smiths and Beyond

From 1982 with Morrissey, Andy Rourke, and Mike Joyce, right through to the present day, in which along the way collaborators have included Chrissie Hynde, Matt Johnson, Oasis, and Modest Mouse, Johnny Marr is arguably the greatest riff-writer England has produced since Keith Richards. As one of the most inspiring and talented musicians ever, Marr is one of the most unique and constantly fresh guitarists of all time, inspiring generations for years to come, and despite signature sounds, an always evolving guitarist, exploring new musical endeavours.

Johnny Marr's Best Riffs © Aaron Parsons

Picking just 10 of his iconic riffs is a near impossible task – but we have given it a good go, finding the right balance between his iconic years in The Smiths and journeys the Mancunian has been on since the day they ended:

10. New Town Velocity

The penultimate song on ‘The Messenger’, Johnny Marr’s debut solo record, proved his strengths as a lyricist and songwriter, whilst simultaneously further adding to his credits as one of the most original and accomplished riff-writers of all time. The chords on the rhythm guitar are enough to make this song a killer, but the riff that follows complements the song so well it is impossible to ignore. ‘New Town Velocity’ grows and grows, with a slower build-up than usual for Johnny Marr (though something he’s explored more in his solo years), and the melodic, compressed riff stands out on his debut album. The tone used on the white signature Fender Jaguar makes the song a mulit-layered Marr classic, as the delay struggles to keep up with the ever-moving right hand of the guitar maestro.

9. Bug

An album track on a top 10? Yes. ‘Bug’ is track 8 on Marr’s third album, ‘Call the Comet’, and the infectious riff’s throughout the song are a strong-point in the solo-career of the indie-pioneer. Though it rarely gets played live, ‘Bug’ has a uniqueness and ever-changing quality – something that will become more and more prevalent throughout this list, as it is a predominant quality in the work of Marr. ‘Bug’ is a great electric track, nicely mixing the old-school familiarity of Marr’s jangle sound, with a mix of modernity and an evolved sound.

8. Hand in Glove

The story is nearly as famous as the song itself – Johnny Marr found the basis for ‘Hand in Glove’ on an acoustic guitar whilst at his parents’ house, and the chord progression that came out moved him so much he went straight to Morrissey’s house, so nothing would be forgotten. On the way, Marr’s now wife, Angie, suggested he make the song sound more like Iggy Pop. Translating the open chords to power chord shapes, it stuck, and The Smith’s debut single was born. Played on a rare 1977 Gretsch 7680 super axe, the simple but effective riff that goes over the top of the powerful chords demonstrated the arpeggiated brilliance of Johnny Marr, along with a killer tone and great rhythm section to accompany it and create one of The Smith’s defining songs.

7. Dashboard

The lead single off Modest Mouse’s fifth studio album, ‘We Were Dead Before the Ship Even Sank’, came from the first meeting between Isaac Brock and Johnny Marr, in a music renovated attic somewhere in Portland, Oregon. Involving wine, Fender super six amps, and a now iconic Fender Jaguar, the biggest indie guitar record of 2007 was born, and Johnny stuck around with Modest Mouse for a further three years. It introduced Marr to his now signature Jaguars, acting as a pivotal moment in the musician’s career, and creating one of his best ever riffs.

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6. The Headmaster Ritual

A riff that was described perfectly in Johnny Marr’s own words – ‘what Joni Mitchell would have done if she was an MC5 fan’. The opening track to ‘Meat is Murder’ is immediate, detailed, and holds an interesting, everchanging guitar line. A noticeable factor amongst most Marr riff’s is the immediacy of them, kicking in straight away with no messing, and the opening track to The Smith’s second album is no exception. After the talent and riff-filled-frenzies heard throughout the self-titled debut, ‘The Headmaster Ritual’ proved to the world that The Smiths and Johnny Marr were no ‘one hit wonders’, and the second album syndrome seized to exist with this Mancunian outfit. When Johnny Marr performs this song live (as he did on his previous tour), the crowd still love it, knowing every moment and note Marr fills the space with.

5. What Difference Does it Make

Coming in at number five is yet another song from The Smith’s debut. Released as the third single from the album, Marr’s ferocious, cutting, and extremely exciting guitar work here makes for one of his best riffs. The song was recorded again for the John Peel sessions the band did in 1984 and can be heard on The Smith’s compilation album ‘Hatful of Hollow’. ‘What Difference Does it Make’ is a complete standout in the career of Johnny Marr and accomplishes a sound that many guitarists have been thriving for for years, mixing the catchy jangle and effective repetitiveness every riff needs to be this great.

4. Hi Hello

The lead single to Johnny Marr’s third album is probably his most old-school and nostalgic sounding riff he’s done on the guitar since 1987, making it a quick fan-favourite and highlight in his solo career. The iconic jangle returns for one of Marr’s strongest solo compositions, and as the 12 string acoustic provides the rhythm, a simple and effective riff makes the song both instantly recognisable and catchy, standing out in the solo years of Johnny.

3. This Charming Man

What would happen if King Sunny Ade joined an 80’s indie band? Answer = ‘This Charming Man’. The 1983 single introduced the world to the jangle of Marr and the power of The Smiths, with one of the most recognisable riffs in music, predominantly due to the sound being so new and fresh, unlike anything music was doing at that point. The originality of The Smiths is a key factor as to why they are still so loved, revered, and admired, and ‘This Charming Man’ is not just unique, it defines Marr, with the song being one of the first things most people think of when mentioning Johnny Marr or The Smiths. The song put the band on the map as pioneers of their genre, as well as making Johnny Marr’s name one of the most respected in music. There was nothing like it before it, and nothing after it has managed to capture the sound Marr created so effectively.

2. How Soon is Now

Johnny Marr’s interest in The Rolling Stones shines through on this track, with Keith Richard’s clearly inspiring the rhythm that runs through the song. Though this is not immediately obvious, why not listen to the 1964 Bo Diddly cover the Stones did of ‘Mona (I Need You Baby)’. Richard’s approach to the stomping rhythmic style of the rock n roll legend seems to influence Marr’s approach to the 1984 B-Side, accompanied with his interest in the 1975 Hamilton Bohannon song ‘Disco Stomp’ – also playing a key role in the creation of this track. Ironically, this mix of influences creates one of the most distinctive, unique, identifiable songs of all time, acting as a benchmark in the career of The Smiths and modern guitar culture. Accompanying the stomping, Bo Diddley rhythm, achieved via two Fender Twin amps and an Epiphone Casino guitar, Marr then adds a haunting slide guitar part, something the guitarist said gives the song ‘real tension’. ‘How Soon is Now’ is not just one of The Smith’s greatest ever songs, but also one of the greatest songs of the 1980’s, and a key moment in alternative and guitar culture.

1. Some Girls Are Bigger Than Others

No matter what your opinions are regarding Morrissey’s somewhat farcical lyrics on the final track of ‘The Queen is Dead’, (a talking point that continues to be contentious amongst Smith’s fans) Marr somehow manages to create one of the best guitar lines of all time, with arguably his most beautiful, moving, ethereal instrumentation for The Smiths. The song starts with repeated fade-in and fade-outs, (something similar to the end Elvis’ ‘Suspicious Minds’) before transcending the listener to one of the best riff’s and all-round guitar parts a song has ever been blessed with. The magic of Marr shines on this track and has proven to mean more to fans over the years, with the appreciation for Johnny Marr’s writing on this song ever evolving and growing, as new audiences and fans are finding The Smith’s and their most acclaimed album.

Honourable Mentions

Picking 10 is virtually impossible – some honourable mentions include: You Just Haven’t Eanred it Yet Baby, Get the Message, Easy Money, Stop Me If You Think You’ve Heard This One Before, Nowhere Fast, The Messenger, and Long Gone.

Johnny Marr’s fifth studio album, ‘The Age of Everything’, releases Friday 2nd October.

Read about: How Much Did Johnny Marr’s Guitars Sell For? Inside the £3.6 Million Christie’s Auction

Joel Hill
Contibutor, BritRock Heaven