Famous Users of Pro Co Rat Distortion Pedal

famous pro co rat users

If we were to look through the history of rock music, it wouldn’t take long for us to realize the importance of particular amps, pedals, or guitar models that made an impact on the genre.

What’s more, one particular piece of gear along with a random accidental decision can be responsible for a total revolution in a genre.

Such an example can be seen with the Rolling Stones and Keith Richard’s use of Maestro FZ-1 Fuzz-Tone on the legendary hit “(I Can’t Get No) Satisfaction.”

And this wasn’t the only example of a simple compact pedal completely changing the genre.

There are a few great examples, like Boss DS-1, Electro-Harmonix Big Muff Pi, and Ibanez Tube Screamer, just to name a few.

But the one that we’re interested in here is the legendary Pro Co Rat.

Many guitar players like to side with one of the clans – overdrive, classic distortion, and fuzz.

Each of these distortion types has its own distinctive clipping process, which results in a different type of tone.

However, Pro Co Rat sits somewhere close to the distortion, but still not that far from the fuzz territory.

We could say that it offers both brightness and chaos of the fuzz effect, while still keeping tightness we can hear with classic distortions.

Offering that unique-sounding heavy tone, it eventually became so widespread that guitarists of many different genres began using it.

But the pedal’s simple controls and special kind of tone mostly won the hearts of hard rock and heavy metal legends.

This is why we decided to take a closer look at the pedal’s history and see who used it over the past few decades or so.

pro co logo

History of the ProCo Rat

But before we begin, let’s find out more about how this pedal came to be and its different versions over the years.

The story begins in the late 1970s, right around the time when rock music was seeing some significant changes. Obviously, this was the perfect time for a new pedal to emerge.

Scott Burnham (pictured below, right), one of the employees in Pro Co, which was then a cable manufacturing company, always enjoyed modifying different distortion pedals.

craig vestal and scott burnham

After a while, he made a decision to try and create his original circuitry. This was a pretty lucrative idea at the time, as distortion pedals as we know them today weren’t that easy to find.

Interestingly enough, this peculiar circuitry came as a result of an accident – Scott added a wrong type of a resistor in there.

Luckily, the resulting tone was more powerful than anything he’d ever heard at that point. After playing around with this new circuitry, he finally came up with the name – the Rat.

Starting its production in 1978, the pedal saw a huge breakthrough in the 1980s.

There were a few different iterations of this original version, but the real change came in 1988 with the release of Rat 2.

About a year later, the company also released Turbo Rat, with a noticeably fuzzier tone.

Years went by and we got more and more different versions of the Rat. These pedals include Fat Rat, You Dirty Rat, Deucetone Rat, Solo Rat, and others.

Needless to say, its peculiar tone made it really popular among the famous guitar players in the 1980s, 1990s, and even in the 21st century.

But the most surprising thing about Rat is that it’s not expensive at all, making it a great choice for beginners or any other guitarists on a budget.

So let’s see – who are these famous guitar legends who used the Rat over the years?

jeff beck playing guitar

Jeff Beck

Ever since the 1960s, Jeff Beck remains up there as one of the most influential guitar players of all time.

But the secret behind his huge yet incredibly subtle tone is not due to some elaborate rig. No – Jeff just uses a Pro Co Rat pedal. Well, at least he did for a significant portion of his career.

Combined with some legendary amps that he uses, like Fender Bassman, Vox AC30, or any of the Marshalls he loves, it produces a really powerful tone.

After all, what else would you expect from such a pedal when it’s paired up with these tube-driven monsters?

Visit Jeff Beck’s official website

David-Gilmour playing guitar

David Gilmour

If you were to hear David Gilmour’s guitar tone for the first time in your life, you’d never assume that he would use a high gain distortion pedal.

However, he has quite a history of using some pretty heavy stuff, like Big Muff Pi, or even Boss’ HM-2 Heavy Metal that’s mostly known for its use in those more extreme genres.

Another one of these examples is Pro Co Rat.

To be more precise, Gilmour used the famous Rat 2 version. You could see this particular pedal model in his live rig, most notably for the legendary “Pulse” live album.

Knowing that his tone still retains some of the more refined and softer traits, this proves that Pro Co Rat is actually a very versatile pedal.

Which is really a surprise for a device that only has three basic controls. When put in the right rig, it can add that much-needed sustain and attack without ruining the warmth of the tone.

Visit the official David Gilmour website

robert fripp playing guitar

Robert Fripp

King Crimson’s creative force, Mr. Robert Fripp, is one of the most innovative musicians of the 20th century.

Although he’s a guitar player, it’s really hard to just look at him as a regular 6-string rock star.

In fact, he even reinvented the approach to the instrument with his technique, theoretical knowledge, and the practical implementation of both.

Interestingly enough, Fripp is a Pro Co Rat user.

But he’s also known for using EHX Big Muff Pi, so the accent on the overall sustain and “thicker” tones are something he’s very fond of.

And these are just some of the reasons why he inspired so many guitar players in metal music.

Visit Robert Fripp’s website here

john scofield playing guitar

John Scoffield

Looking more into the “old school” side of guitar-based music, we also have Mr. John Scoffield on this list. And this is yet another of these “unexpected” mentions.

Nonetheless, this, once again, proves how Pro Co Rat can be versatile. In many cases, this depends on the other pieces of gear, but Rat is capable of creating very unique tones in almost any setting. And having such flexibility is what makes one pedal so great.

So whenever you hear John Scoffield play with distortion on, there’s a high chance he’s using the almighty Rat.

And if you still haven’t gotten the chance to listen to Scoffield’s music, then you’re missing out a lot.

Visit John Scoffield’s website here

joe perry playing guitar

Joe Perry

Now going over to the classic rock and hard rock territory, we have Aerosmith’s main axeman and one of the Hollywood Undead members, Joe Perry.

Joe is pretty well-known for his extensive collection of many different guitars, amps, and other gear.

Some very valuable pieces can be found in his collection. But even with such a vast and impressive arsenal, he still often used a Pro Co Rat pedal in his signal chain.

This is one of those guitarists that that’s more expected to stumble upon on such a list.

After all, Perry is one of the guys who developed and defined hard rock and heavy metal music.

Therefore, Rat was an obvious choice for a distortion pedal back in the day.

Visit Joe Perry’s website here

james hetfield kirk hammett playing guitar

James Hetfield and Kirk Hammett

And there’s no surprise to see Metallica frontman James Hetfield and lead guitarist Kirk Hammett in here.

Pro Co Rat was an indicator that the music was changing. At the same time, Metallica were one of those bands who were actually changing the music with their unique approach to songwriting.

With the birth of a faster and heavier movement in metal music, a pedal like Rat is an expected choice.

After somewhat of a turbulent start, the band finally got the chance to enter the studio and record their debut album “Kill ‘Em All.”

In order to get that dirty tone that still retains all the tightness, James and Kirt used the Rat. And the results are more than impressive, we must say.

To this day, the album is praised for its innovativeness and especially its raw and powerful guitar tone.

Visit Metallica’s website here

kurt cobain guitar dress crown

Kurt Cobain

The late 1980s and the early 1990s saw another significant change in the world of rock music.

Slowly, but surely, the stereotypical songs about sex, partying, and other superficial issues were replaced with more serious topics reflecting on the society and an individual’s place in it.

And with such a different artistic approach also came the change in the guitar tone as well. It became darker, grittier, and more in the vein of early heavy metal from the 1970s.

However, both glam metal and grunge guitarists used the Rat, which just further proves that this pedal was extremely potent and versatile.

That’s exactly why a grunge legend and an impeccable songwriter like Nirvana’s Kurt Cobain decided to use one of these.

Visit Nirvana’s website here


Dave Grohl

Although first getting the spotlight as a drummer, Dave Grohl also became known as a great guitar player, singer, and songwriter.

And knowing he was in Nirvana with Kurt Cobain, it’s only obvious that he’ll use the same distortion pedal.

The somewhat fuzzy distorted tone of the heavy rhythm guitars you can hear on some of the Foo Fighters’ songs is actually due to Pro Co Rat.

As Dave himself explained, he uses this pedal when he’s layering rhythm guitar tracks in the studio. Knowing what Grohl’s music is like, this pedal is a perfect choice for it.

Visit the Foo Fighters website

nuno bettencourt playing guitar

Nuno Bettencourt

Emerging around the same time when the grunge movement started shaking up the world of rock music, Extreme kicked off their career as well.

Although doing something that’s a bit different compared to grunge, they too relied a lot on some heavier tones.

This is exactly why their lead guitarist Nuno Bettencourt opted to use the Rat back in the band’s early days.

And even years later, Nuno still uses this legendary pedal. As he explains, he can’t go without a Rat when playing through any of his Marshall amps.

Just thinking of how awesome this particular combination is, we completely understand Nuno’s decision.

Visit Extreme’s website here

graham coxon guitar

Graham Coxon

Blur is one of those bands that blew up in the late 1990s thanks to just one hit song.

In their case, it was the legendary “Song #2,” featuring that easily recognizable riff by Graham Coxon.

Being their creative and sonic force, Coxon was really conscious of his guitar tone. In fact, he’s one of the biggest pedal freaks of all time.

And in his signal chain, he often uses the Rat as his main dirt box.

And if a pedal maniac such as Coxon loves this pedal so much, that just speaks about how great it is.

Visit Blur’s website here

peter buck playing guitar

Peter Buck

It’s a little weird to see R.E.M. and their guitar player Peter Buck on this list. While most of the guys in here are known for heavier tones one way or another, one wouldn’t think that about Buck.

Nonetheless, the famous musician really loves the tone of Pro Co Rat. One of the most famous examples is R.E.M.’s entire “Monster” album.

Released back in 1994, there’s a whole lot of song parts where Buck recorded through the Rat.

Again – another example of how this pedal finds use in almost any subgenre of rock music.

Visit R.E.M.’s website here

Thanks for reading our list of the most famous Pro Co Rat guitar pedals users.  Did we forget anyone?  Let us know in the comments!

Visit the Rat Distortion website here

Also check out…

David Gilmour Guitar Setup And Rig Rundown

Kirk Hammett Guitar Setup And Rig Rundown

James Hetfield Guitar Setup And Rig Rundown

Graham Coxon Guitar Setup and Rig Rundown

Our Favorite Albums That Use Proco RAT Distortion Pedals

Chatting About Pre-Beatlemania British Rock ‘n’ Roll with Ex-Mod Bryan Rogers

In this article, I chat with my friend Bryan Rogers, self identified ex-mod, about his time growing up in and around the music of London, England, in the late 1950’s and early 60’s, where he experienced the birth of rock ‘n roll in the UK first hand.  This was before Beatlemania, so pre-1963…

Bryan Rogers was born on the 10th December, 1940, in Hitchin, Hertfordshire, England.

Here he is around age 2.

These were the pre-British Invasion days, and Bryan was there in person as bands like The Beatles, The Stones, and many more started playing small dance halls and theatres in and around London, before heading off to America to make it big.  

Venues like the Locarno Ballroom in Swindon, the Lyceum in London, McIlroys in Swindon, The Locomotive Pub, Farr’s, Gaumont State Kilburn Ballroom, and so forth…these were places that Bryan would frequent to listen to these rock ‘n roll groups, whether they played live, or a DJ was there playing records so the teens could boogie-woogie, as it were.

All this was happening around the same time that American rock legends like Bill Haley and the Comets, Buddy Holly and the Crickets, and many others were coming over to the United Kingdom to find new fans in the youth of England, and influencing those British bands who would later “invade” America.

In speaking with Bryan over the years, I’d heard tell of his adventures in and around jolly old England (particularly London), seeing all of these bands and having some first hand encounters with a few of them.  

Finally, I had a chance to sit down with Bryan Rogers, and chat with him on the topic of early rock ‘n roll in England in the early 1960’s, and what all went down back then – the way it was.

Bryan is, by nature, a curious cat, and usually cats live perilous lives, but this cat has fortunately survived to relate his tale to me, who was very interested to hear about his (mis)adventures and dirty deeds over across the pond.  

Hope you all enjoy our chat, and if you have any comments or stories of your own, please leave them below!

On 50’s music and the 1960 British pop music charts

Bryan: So back in the ’50’s, it was mundane music compared to what it is today, like Doris Day and Frankie Laine …for Chrissakes!  

And then there was The Shadows, who were the back-up group for Cliff Richards…they recorded a tune on their own called “Apache”, which was a knock off of an American group.

Anthony Newly was another English film star who became a singer, and then there’s Shirley Bassey…

Who else we got here?   Roy Orbison’s in there with “Only The Lonely”.  

Presley started to pop up around then too.  Lonnie Donegan, Emile Ford and the Checkmates.  Cliff Richards and the Shadows again, yeah.  The Everly Brothers…these people are slowly coming on…yeah, these are the British, not the American charts, mind you.

And then there was people like Tommy Steele, who wanted to be American, like Elvis Presley, but he never was.

YTMS: Tommy Steele, never heard of him.  Was he really famous?

Bryan: In England, he was…he was on a merchant ship, and he learned how to the play the guitar, so he sung a few songs…became a big hit.  Because people like Bob Dylan were on the go, right?

YTMS: So he was a troubadour kind of guy?

Bryan: He was a folk singer…

YTMS: Big changes in music between 1960 and 1970…

Bryan: Yeah, the whole British Invasion happened.  The Animals, Freddy and the Dreamers, The Kinks, and all those groups.  I think The Animals come from Newcastle…

Seeing Rock Bands in the Early 1960’s (Pre-Beatlemania)

YTMS: When you were growing up over there in England, you saw a lot of these groups when they first came up?

Bryan: Yes, at the local dance hall, on a Saturday, they’d come and play, and we’d dance to them.

YTMS: What was the place called?

Bryan: The Locarno Ballroom, in Swindon.

YTMS: Locarna?

Bryan: Locarno.

YTMS: How big was it?

Bryan: Probably …

YTMS: 1000 people or so?

Bryan: Yeah.  I’d also go to the Lyceum Theatre, in London, just off the Strand, in the center of London.  It was all mainly records there.

YTMS: Just records?

Bryan: DJ’s, yeah.

YTMS: Any bands there?

Bryan: No.

YTMS: Ah, it was just a dance club, not really a venue for live bands to play. 

Bryan: Right.

YTMS: So where did you start seeing actual bands play, and when?

Bryan: Most of the people from that time, most of the bands…like The Undertakers, that was one of ’em…because of the success of The Beatles and The Stones, bands started coming around to the dance halls to play.

Some of these groups found success, like Freddy and the Dreamers.. I didn’t really like them, but there you go.  Uh, who else?  There was the Dave Clarke Five.

YTMS: They were a rock group?

Bryan: Yeah. “Bits and Pieces” was one of their songs. “Glad All Over” was another one of their hits.  They come from Tottenham area of London.

YTMS: So they played at the Locarno? 

Bryan: No, but I saw them play in Tottenham.

YTMS: You’d travel around to see bands play?

Bryan: Oh yeah.  When I was livin’ in London, I had a scooter, and I’d tour around to the different city halls, dance halls…

YTMS: How far would you go to see a group?

Bryan: Half way across London.

YTMS: Really?

Bryan: Yeah, and London’s a big place.

YTMS: Just scoot on over?

Bryan: Yeah, Seven Sisters Road… just down the road from the stadium, there was a pub on the corner… at the pub, they’d have these dances, play all these pop songs…

YTMS: You were big on the clubs at the time around there?  You and your friends?

Bryan: Yeah…we’d hang out at Baker Street, which is in the book about Sherlock Holmes.  22B Baker Street. 

I used to go to a club called Farr’s.  F A double R apostrophe S, Farr’s.  We were about 14 or 15 then.  So we’d go there, and we used to have tailor-made suits.

YTMS: Really?

Bryan: Ok, here’s the scoop.  My friend Dennis and me.. Dennis lived down the road from me.. and he says, “Bryan, do ya want a job?”  Paperboy…I said “Sure.”  We had to walk two miles up the road, to this place called Ellington’s.  We go straight up Carlton Vale, and if you’d continue up Carlton Vale, at the end is a T junction, and that’s Abbey Road.  THE Abbey Road. 

So, prior to coming to Abbey Road, on Carlton Vale, we turn right on Maida Vale I believe it was, and we’d walk along there, and turn left, across from Maida Vale underground, and there was Ellington’s.  So, we were paid to mark up the papers, like, everybody in England had the morning paper.  We’d get the address for some apartment building, or “mansions” as we called ’em, take a Daily Mirror paper and a Women’s Own magazine, put them together, write the address down, fold them, put them aside, and a paper boy or girl would come and take them. 

So we used to mark up the paper rounds, and we also had a round of our own.  Now, let’s put it in dollars, it’ll be easier to understand.  They were pre-paid, say, 50 cents a week to deliver papers…

YTMS:  Ok…

Bryan: Dennis and I would get, say, 3 dollars a week to mark up the papers every morning to deliver a round, and our own round as well.  A suit back then, it used to be guineas, would be, say, around about 17 dollars for a tailor made suit.  So we were makin’ 3 bucks… what do you think we’d spend our money on?  Sharp linen.  So when we’re 14, we’d save our money.  And another thing, we’d have a con game going.  We’d go around to all these different apartment buildings, or mansions, that we knew were the other paper boys’ routes… knock on the door every Christmas, tell ’em we were the paper boy…


Bryan: …and they would give us a tip.  Maybe 50 cents or a dollar. 

YTMS:  That’s pretty good…

Bryan: So that used to go towards our suit fund.  Twice a year we’d have tailor-made suits!

YTMS: Wow!

Bryan: Yeah.

YTMS: You bought more than one I guess…had a whole wardrobe full of ’em?

Bryan: Yeah.  Dennis had some overcoats made, but I never got those.

On Becoming A Mod

YTMS: What were you guys like you called? 

Bryan: Mods.  We had the short hair.

YTMS: You were trying to be a mod on purpose?

Bryan: We never thought about it at the time, but yeah.  We’d pick up some shoes, they were tapered.  Pointy, tapered shoes.  Fake crocodile skin…We had flared trousers…

YTMS:  Yeah…

Bryan: …with a little slit on the side at the bottom.  And maybe 2 or 3 covered buttons going up the seam on our jackets.  Single or double breasted, covered buttons, as well.

YTMS: Hm…This is what it was like to be a mod.  Any other defining characteristics?

Bryan: We had short jackets.

YTMS: Does that mean you were cool? 

Bryan: Yeah, we were with it. 

YTMS: Tough?

Bryan: No, no, no.  We had our own little clan, and we’d gyrate together, at these dance halls.

YTMS: Yeah, yeah.

Bryan: Now, if there’s any “teddy boys” around, or “rockers”…

YTMS: Is that what the other guys were called?

Bryan:  Yes. Now, they wore jackets down to their knees…black velvet collars…and had really tight jeans on.  And they had these boots called “chukka boots”.  They used to have crimped soles about that thick , black or dark blue.

Bryan: So imagine – big pairs of boots and long jacket with hair down back, like Presley, you know.. a D.A. .. Tony Curtis, you know.. film star.. he had that down there, and that was called a duck’s ass.  Parted down the middle, it all come down.. and then a quiff over here …So they were teddy boys, yeah.  And if we ever met… it was a punch up.  Sometimes, we’d get on our scooters, and we’d drive down to Bornemouth or Brighton..south end, that’s on the coast…and we see any rockers, it them or us.. we’d go for it.. like Quadrophelia. 

YTMS: Did you go looking for ’em?

Bryan: Nah.

YTMS: Were you worried about seeing them?

Bryan: No, there was usually more of us than them.

YTMS: Were there a lot of fights? 

Bryan: Just now and again, not that often.

YTMS: People get stabbed?

Bryan: No, no. But, prior to that, the teddy boys…they used to have razor blades, put them in their collar, or in their hat.  That was their weapon of choice – a razor.

YTMS: Sounds dangerous…

Bryan. So I come in at the end of the teddy boy era, basically, and at the beginning of the mod era.  Which was good…I prefer to dress smart than scruffy with messy hair.

YTMS: Did that work better with the birds?

Bryan: The birds, yeah…

YTMS: Did the girls like rockers or mods better?

Bryan: The mod girls liked the mod boys and same with the rockers.  You could tell by looking at somebody who was who.

YTMS: Did mods and rockers ever get together.

Bryan: Probably…well… I doubt it.

YTMS: So for bands at that time, who did you see?

Bryan: Prior to going down to the town Swindon where the Locarno was, I told you before I went to the Gaumont State Kilburn.  It could hold 4000 people. 

Guy Mitchell was in that early list here .  Singin’ the blues, we went and saw him.  When I was a young kid, every time I’d go by this theatre, I’d see Louie Armstrong would be advertised, Ella Fitzgerald, all the jazz people, yeah.

YTMS: Did you check them out?

Bryan: No, we were too young.  Maybe 10 or 11.

YTMS: Not interested?

Bryan: No.  And then we went up and we saw Guy Mitchell.  We went and saw Bill Haley.  I’ve told you this in the past.

Barging In On The Platters

And then, we saw The Platters.  You’ve heard of them?

YTMS: Yeah.

Bryan: So we said, let’s see if we can get in backstage and see them. Well, lo and behold, the first door we tried – it opened.  You don’t usually… We pushed on the door and it opened.  As we walked in, The Platters were there, as close as you are…there they were!  I thought the girl was pretty.

They stood and looked at us, we stood and looked at them.  Nobody said a word.  Then somebody goes, “Hey, what the f*** you doin’ here, get the f*** out of here!  And we were gone!

But…not only did they have this little stage at the state theatre, but they had this little dance area…and Gene Vincent came in…and he sung there.  Be Bop A Lula.  And that was another person who I told you before that you are aware of…The Beatles liked him.  They all followed these guys.

YTMS: This is pre-Beatlemania?  ’62?

Bryan: Maybe a little before that.

YTMS: Did you ever end up seeing those big British bands.  The Beatles, The Who?

Seeing The Beatles

Bryan: No, never followed The Who.  I saw The Beatles and The Stones in Swindon. It was like an Eaton’s store, and they had a restaurant on the second floor…and on a Monday night, they used to have groups there.  Or lone singers…and this was prior to The Beatles becoming famous, they were there…The Rolling Stones another week.  Long John Baldry was there. He was there, he was talking to this guy, he had a woman with him, and I was there with my friend Dave…and we could hear everything they were saying, we were standing by the bar…

YTMS: Didn’t you tell me some weird story about this guy?

Bryan: Yes, I did.  So after a long conversation, this guy says to Long John Baldry, “Who’s the girl?” and Long John Baldry turns to the girl and says, “What’s your name again?”  So, all these singers at the time, they all knew one another… they used to meet up.  Elton John got his name…it’s allegedly said… they were lovers, Elton John and Long John Baldry.  I heard this many years later, on the radio.. and…they split up, Long John Baldry dumped Elton John.. his real name was something like “Jimmy”…

YTMS: Reggie…

Bryan: Reggie something-or-other, yeah yeah…so, he changed his name, and because he liked Long John Baldry, he called himself John…this is the rumour, anyway…where he got Elton from, I don’t know…but it’s been successful for him.

YTMS: Yeah…

Long John Baldry Reuinion (Many Years Later)

Bryan: So, fast forward to a few years ago in Cambridge. There was a bar over by Soper Park and Highway 8.  There was a little blues bar in there. 

YTMS: The Cave?

Bryan: No, that little plaza with the pizza place.  Around the corner, they had a blues bar.  And Martin says to me, cause he was workin’ there…he says, “Dad, come, Long John Baldry’s here! Why don’t you come and see him?” So I went and saw him…he had this hat on, he always had this thing for a hat… and long hair now…When he was at Swindon, he wasn’t wearing a hat when he was talking to that guy and that gal, and he had short hair…blonde hair…he was a tall guy, about 6’4″, maybe taller. That’s why they called him Long John, I guess.  He was in this blues bar here and Cambridge and I went to see him…And, as he walked towards the dressing room I went to speak to him…

YTMS: He didn’t remember you, did he?

Bryan: No, no…I just wanted to say “Hey, I saw you in Swindon!”, but he just poo-poo’d me away and went into the dressing room. So Martin spoke to him after the band were done for the night. He said “Yeah, I remember Swindon, yeah” But I didn’t know he was gay ’til Martin mentioned it. 

YTMS: Really?

Bryan: I had no f***** idea. 

YTMS: He came to Cambridge (Ontario)?

Bryan: Yeah, he came and sung in that bar.

YTMS: Wow.

Bryan: To me it’s the end of the road if you’re singin’ there.  But, he was known by a lot of people. 

YTMS: Yeah, he was famous.

Bryan: Yeah…I’ve got all these books here about all these different musical groups, and now and again they’ll cross paths. 

McIlroy’s in Swindon

YTMS: So what was that place that was in Swindon, the restaurant?

Bryan: Yeah, on Monday nights it was a dance club, and during the day, a restaurant. One night, we saw Jerry and the Pacemakers.  The place was called McIlroy’s.

YTMS: Was this a cool place to play?

Bryan: Yeah, and it probably held about 500 people.  And a lot of the performers came there just when they were getting famous, or prior to.

YTMS: The Stones played there?

Bryan: Yep. This was before they were locked in a room and told not to come out before you write a f***** hit song.

Bryan: If you look up McIlroy’s in Swindon, you’ll see some of the flyers of the Beatles and the Stones.

YTMS: You were allowed in to this place, at 14, 15? 

Bryan: Yeah, there was no booze.  Actually, maybe there was.  You used to be able to drink at the Locarno.  I was 19 or 20 then.  But you could drink when you were 16…there were no drugs back then.  No one talked about them, and they didn’t even really exist to us.  The only people doing drugs were the groups – the Beatles and the Stones.  In the circle of people I moved with within London, and within Swindon, we didn’t do drugs.  We didn’t have a clue.

YTMS: Probably for the best…

Bryan: I remember…I used to hang out with a guy named Eric Heaton.  We eventually had an apartment between us, and had all the birds over.  We had a friend, Willie, who used to hang out at Locomotive pub in Swindon. 

Eric used to go there more than I did.  One time, we finished drinking in there, they closed the bar.  Willie says “Come on boys, let’s go back to my place and have some carrot wine.” “No,” i said…I’d had some of my mother’s homemade wine, knocks the s*** right outta ya. “No, no,” he says, laughing like a crazy Irishman. So we go back to his place and have some carrot wine, on top of all the beer we drank.  Then we staggered up the hill, until we got to the flat we were livin’ in.  I laid on the bed, and the f***** room was goin’ round and round.  Then I had to throw up, so I fell off the bed, got on my hands and knees, and crawled round to the bathroom.  Oh, that carrot wine!

YTMS: I never heard of carrot wine.

Bryan: Brutal.  So those groups back then, we’d watch them, and after a while we’d dance to them.  They were pretty cool.

YTMS: Were you a fan of the American bands when they came to England?

Bryan: We might have seen a few of them.

Jerry Lee Lewis – No Encore?

YTMS: Didn’t you say you saw Buddy Holly?

Bryan: Buddy Holly was when I lived in London, and went to the Gaumont State Kilburn. 

Like I said, the first guy we saw was Guy Mitchell. “Singing The Blues” – that was his big hit song.  After that, it was Bill Haley and the Comets, and then Buddy Holly and the Crickets, and then there was Jerry Lee Lewis. I checked on this – he only sung in three concerts, and that was it.

YTMS: In the UK?

Bryan: Yeah, the press gave him a hard time, cause he had married his 13-year-old cousin. But I read many years ago in about 1980, in the Penthouse or Playboy, I was reading that, and here’s an article on Jerry Lee Lewis, and then there was a paragraph about Jerry Lee singing at the State Kilburn, and it said we boo’ed him off the stage, because he married his 13-year-old cousin.  It wasn’t because of that.  We listened to him…he did his bit, and here’s the reason why we boo’ed him…

YTMS: Why?

Bryan: Why do you think?

YTMS: He sucked?

Bryan: No, he was fabulous.  It was because he left the stage, and wouldn’t come back and do an encore.  NO ENCORE.  And another guy that would not play an encore was Roy Orbison. When I used to ride my scooter around London with my pals, we’d see tour posters with Roy Orbison and the Everly Brothers…

But you know, they were the best of times, the 60’s, and all those groups.  There wasn’t 1 group, or 2 groups…we used to have parties at my house, with my parents. 

After the British Legion closed on a Saturday night, people come over and we’d play records like Little Eva “Locomotion”, The Beatles, The Stones, and whoever else was popular at the time. 

They were good parties, they really were, and then we’d sit around and play cards afterwards, drinkin’ my mothers’ home made wine.  Then I’d get up and say “Holy f***!  It’s broad daylight!” and everybody’d be gone…

And so concluded my chat with ex-mod Bryan Rogers.  Stay tuned, we may yet chat again!  

Read about Bryan Rogers’ life story – http://imnotadoctorbutillhavealook.com

Interview with Sarah Jane Curran of The Violet Stones

Today I spoke with Sarah Jane Curran, an alternative rocker and lead singer for the band The Violet Stones out of Sydney, Australia.  I came across her music recently on Youtube (where she goes by Sarah Jane Music) and was impressed at all of the material on there, from original songs she’s written herself and with her band, as well as vlogs, live cuts, and a ton of cool covers of everyone’s favourite grunge rock classics (including weird B-sides and deep cuts).

Not only is Sarah a talented songwriter, but she can sing and pull off a number of different styles.  Her channel is gaining momentum as I guess people like me stumble across her looking up old and new grunge style rock and metal, and her following grows as her band The Violet Stones do more gigs across Australia.  A new album is also in the works.  Here is our conversation which touches on a number of topics from this to that (and even *that*).  Hope you dig it!

YC: Hey Sarah, how’s it going tonight?

SJM: It’s going pretty good thanks!

YC: Cool cool.  So how’s the Australian music scene these days?

SJM: I don’t really have anything to compare it to honestly but I’ve just started playing around the scene last year and I think it is struggling a bit (mostly around the Sydney area). Although with bigger artists, I think it’s pretty good but it’s harder for smaller acts to get a following around here.

YC: Who’s big there now that everyone loves from the rock world…ermm.. Jet?

SJM: haha I don’t really hear about them tbh. But there’s this one band in particular called Tired Lion and they’re probably one of my favourite bands at the moment but they’re from Perth & I watched them gain more and more people at their shows every time they come back and they have a pretty decent following in every state I think.

SJM: Other bands that are big are bands like Violent Soho & Dune Rats. I guess that’s the sort of genre that is dominating the ‘alternative’ music scene at the moment. (Heavily influenced by grunge).

YC:  Silverchair are done right? They’re like classic rock now i guess.. but they’re like a year younger than me so I remember when they came out I was like who are these little geeks?  That was the second wave of grunge… post Cobain

SJM: haha the early Silverchair albums are probably a huge influence of Australian ‘grunge’. I’ve seen soooo many bands trying to be them

YC: And meanwhile they just wanted to be Helmet

SJM: If they were still around I’m sure they’d be one of the biggest bands here

YC: I think they were always slightly misunderstood in that they were more like Helmet than Nirvana but people just saw them as a mini Nirvana in the 90s

SJM: Yeah I never thought they sounded too similar to Nirvana but that’s what they’re sort of known for (for being the Australian Nirvana). My dad calls them ‘Nirvana in Pajamas’ hahahha

YC: awww.. cute.  they’re a solid band.. I heard Daniel’s solo album and i thought it was half decent, even though it was like not rock at all as i recall.  First few albums were pretty ass kicking.  So your band.. is playing shows and such?

SJM: I actually saw Daniel Johns live! Yeah we are playing shows, and actually in the middle of recording our first album

YC: Daniel has a killer voice and rocks some mean riffs…anyway…How’s that going? I’m listening to Sheets of Denial.. pretty good for a demo…

SJM: It’s going pretty good, we’re getting our name out slowly amongst the Sydney scene. Thanks!

YC: I mean it sounds like not really a demo…how did you record that one?

SJM: We practice with an electric drum kit and plug our guitars straight into a console and it comes out into headphones that we all wear (so basically we can practice without making a lot of noise). And that demo was actually made I think the night we made the song, cause we record the songs so that we remember what we did ?

YC: Yeah. i can relate.. it’s easy to forget stuff…so wait that song has electronic drums?  nahh

SJM: yeah it was recorded on an electric kit haha

YC: so what made you want to learn like 8 million covers?

SJM: hahah I guess in my early teens when I was just getting into Nirvana I decided to learn a lot of the songs cause you know, being able to play your favourite songs is pretty cool. So I did that and my friends and family were encouraging me to post them on youtube and I eventually did and people actually wanted more! I still post them because I guess it forces me to still learn songs even if I don’t feel like it and I guess it’s good for me to listen and try out new things with the covers

YC: lol yeah that makes sense…i mean having people pay attention helps motivation

SJM: yeah definitely hahah

YC: i’ve learned a lot of covers, but i can’t seem to get up the motivation to post them on my channel…i just post originals that no one listens to ? but you probably are aware that youtube’s algorithm kind of craves the stuff you’re doing.. ie. covers of famous songs…that’s how i came across you i think.. i was randomly looking up people covering Alice in Chains songs…

SJM: hahah yeah it really sucks how no one really cares that much about originals unless you’re already known for something else. Yeah, I guess thats part of the reason I do them still.  Cause of course I don’t wanna always wanna do covers, I much rather play my own songs

YC: i’m in a band with a guy that actually despises doing covers. like, i’d be game to be in a covers band if it was cool covers.  but he’s got a real hate for covers bands. cause it pushes original bands out of venues. he has a point i think

SJM: Yeah and theres a real market for cover bands over here.

YC: but people want covers…it pays the bar’s bills and shit

SJM: Yeah guess so, but it sucks. It’s really a hard market to break through in with your original music

YC: but your channel seems to be doing really well from what i can tell

SJM: Doing better than I ever expected like I had no idea what I did right

YC: well i do internet marketing for a living, so i know what i think you’re doing right

SJM: what did I do right then? hahah

YC: well…for one, youtube likes consistency. so you keep doing the same thing in the same format and that’s something youtube likes .. or like, the robots that control youtube. most people are unbelievably retarded and inconsistent

SJM: hahah yeah i knew that consistency was important, thats why I try upload once a week

YC: google / youtube likes to see a really consistent thing happening.. same look, same room, person, blah blah

SJM: ah cool thats good to know

YC: like if you’re too scatterbrained, and everything looks crazily different, youtube will be like “sorry bro”…it’s just like a theme, and also you’re not pissing off the family friendly part of the algorithm…and you’re a girl

SJM: True

YC: so the millions of freaks out there like girls as a rule…i’m not trying to say anything sexist lol but i mean.. it’s not my fault the world is sexist ? there’s probably some marketing thing where people trust girls more or something

SJM: No I know what you mean and I totally agree like I think people can’t get over the fact that a girl is singing and playing guitar on a System of a Down song. I think like 80% of my audience are dudes as well. think thats what my youtube stats say

YC: yeah.. it makes sense. well the other thing is musicians are notorious for not understanding marketing. it’s just not part of their mentality. so for instance the fact you can even interpret youtube stats .. or even know they exist. people in bands could give a fuck about that shit and when they do look at it, they don’t know what the fuck to make of it, and musicians from older generations are double screwed cause they just don’t get technology as it is today

SJM: hahah I think I’m very on top of things and very organized. Like I keep my band in order and I used to be the only one posted anything to our facebook page (they’ve started contributing more recently). my dads one of those people who doesn’t understand how to advertise or anything. 

YC: yeah my band has a FB page but even i hate using it


SJM: it gets tiring but Facebooks been pretty good for my band. but I don’t think it does much for my youtube channel besides advertising and such

YC: i think it’s cool you have a really well rounded social media thing going on.. even on your youtube, you have the vlogs too, originals, covers, live shit

YC: it’s basically a sign that you and your band have your shit together

SJM: hahah I guess so

YC: so who are your biggest influences? i guess you’re big into Nirvana

SJM: yeah well I don’t really listen to them much now, but they’re basically my roots

YC: you’re covering b-sides and whatnot.. so not like.. average fan of Nevermind type thing. i notice with Nirvana you kind of sing the stuff he screams

SJM: um yeah. It’s because I can’t scream at the moment. I really want to though

YC: well you have the kind of voice that might get wrecked if you scream your lungs out

SJM: yeah I have tried and every time I do it, my throat hurts and thats not suppose to happen. But I got really into Korn recently..And other bands System of a down, Incubus, Hole, Foo Fighters, Tired Lion.



YC: how do you go about learning a korn song?

SJM: well its way more difficult since the guitarist use a 7 string so I basically find the tabs and have to transpose it into a way I can play it in standard

YC: yeah i was thinkin.. this isn’t standard. Who are some of your favourite players? like.. did you learn Korn because you’re obsessed with Fieldy? Fieldy crush?

SJM: haha nope I have a young Jonathon Davis crush. nah but I really love their songs and melodies and how its still heavy

YC: ah i see.. yeah chicks dig Jonathon

YC: I see your Cranberries cover got some traction eh

SJM: It did only after Dolores death though

YC: right.. yeah. who’s your fav guitar player at the moment?

SJM: I don’t really have favourite guitar players to be honest. I focus more on people’s ability to write songs and melodies


YC: yeah i feel ya on that.. it’s more about songs. so to tie it back to your album for a sec, when’s it gonna be done?

SJM: the bands album?

YC: yeah..

SJM: Should be done by the end of the year. We’re doing it diy so it doesnt really have a deadline or anything

YC: is there kind of a goal you have with this album? ie make it the heaviest fucking album of all time

SJM: We just want to get our stuff out there and have something to give to people when they ask us if we have an album or EP. Like we get asked after gigs often if we have anything released and we have to say no

YC: man.. you have nothing? for someone who records so much shit and does so much youtube, you should at least have something…….

SJM: That’s what we’re doing now hahah I guess because we didn’t know how we were gonna go about it like we’re broke and so we needed to find a cheaper option to record and we found it eventually. and we have demos and stuff out, enough to keep people somewhat interested

YC: so what do you give people? a USB? with demos? or nothing

SJM: Nah we don’t give them anything, they can just check out stuff online if they really wanted to

YC: hm well then!  one more question – what are you recording stuff with ie. software?

SJM: We’re using Sonar X1. Basically my dads helping us out a lot with this and we’re just using what he has. We recorded the drums in a church and we had to set up everything from scratch and that was very interesting haha

YC: So you’re tracking things one by one, not doing live off the floor. that’s cool though, sounds like fun

SJM: nah we don’t have the set up for that and yeah it’s kinda good not having a deadline but also we just want it done. we kinda just want this album out of the way so we can start our next one because we like the new songs a lot more. just gotta do guitars, vocals and the mixing/mastering.

YC: Awesome.  well it was cool to talk to ya.  thanks for taking the time

SJM: yeah dude, thanks for the chat!

The Smiths – A Brief History of the Legendary English 80’s Rock Band

The Smiths is an English rock band that formed in 1982 and separated in 1987. It was a musical quartet of lads from Manchester, originally founded by two people – Steven Patrick Morrissey (born on May 22 , 1959), the flamboyant and controversial singer and lyricist, and Johnny Marr (born October 31 ,1963), the ground-breaking wizard guitar player. 

The band lineup was soon after completed by drummer Mike Joyce and bassist Andy Rourke.  They made 4 official albums together, and rival The Beatles in terms of popularity in the UK.  Of course, the world loves them, too.

Morrissey and Johnny Marr (whose real name is Johnny Maher, but he changed it to not be confused with the Buzzcocks drummer) officially met each other on May 20th, 1982, at Morrissey’s home in Stretford (384 Kings Road).  They had seen each other previously, at a Patti Smith gig where they were first introduced.

Here is a Smiths fan doing a drive-by of the Morrissey’s old house.  It all started right there!

The Smiths – Band History

Before The Smiths came together, Johnny Marr was looking for a good lyricist and singer, having been in a few bands that didn’t work out, and he met with Steven Morrissey, whose lyrics he’d heard through a friend, Billy Duffy, future guitarist for The Cult and former member of a band whose Morrissey was briefly the singer, The Nosebleeds.  Hard to believe Morrissey sang in this band, even for a short time.  Ladies and germs – the Nosebleeds!  (without Morrissey singing, sorry)

Marr one day showed up on Morrissey’s doorstep to implore him to join his band, which Morrissey eventually agreed.  In the beginning, the two songwriting partners were truly on the same wavelength, although Morrissey was several years older than Marr.

Morrissey presented Johnny with some lyrics he wrote, including “Suffer Little Children”, a dark-themed set of lyrics inspired by the infamous Moor murders, and the two worked on several other songs as well, such as the cast off “Don’t Blow Your Own Horn”, and “The Hand that Rocks The Cradle”. 

After recording several tracks with Simon “Si” Wolstencroft (future member of The Fall) on drums, Morrissey and Marr recruited drummer Mike Joyce in the fall of 1982 after Wolstencroft failed to show interest in joining the band.

Joyce was once a member of punk bands The Hoax and Victim. They then recruited as bassist a fellow named Dale Hibbert, who provided the group with the use of the studio where he worked as recording engineer.  Here is a more recent picture of Dale Hibbert.

And here is a song they recorded with Dale on bass at the time, “I Want A Boy For My Birthday” (1982), which was a cover of a song by the band The Cookies, a girl group from the ’60’s.

According to Marr, neither the personality nor the musical style of Hibbert were well suited to the group (Hibbert thinking the band acted too homosexual on stage) and they replaced him after The Smiths’ first concert, which took place at the Manchester Ritz on October 4 , 1982, put on by a friend of Marr, Andy Rourke.

The group was to be called The Smiths, from that point on. According to Marr: “We wanted a very normal name…not something that would have sounded like space men or that kind of bullshit”.  It was also around this time that Steven Morrissey became simply “Morrissey”, and forbade people from calling him Steven, which he always hated.

The band were beginning to gig more, and had a new swath of demoes, including “Miserable Lie”, “Handsome Devil”, and “What Difference Does It Make?”  They used this demo to hopefully get signed by EMI, but they were declined.  Not deterred entirely from making it to the bigtime, they then approached the indie label, Rough Trade.

Their first single, “Hand in Glove”, was released in May of 1983 on Rough Trade, who had agreed to cut that single only and see where it went from there.  The single did not chart, but it made an impact nonetheless, with its evocative cover art suggesting homoeroticism. 

In turn, this small buzz lead to them appearing on John Peel, who loved the band, and eventually having their first interviews with Sounds and NME.

Here is a live version from 1984 of “Hand In Glove” when The Smiths performed on The Tube.

“Hand In Glove” was then followed by “This Charming Man”, which reached number 25 on the British charts in November 1983, and then “What Difference Does It Make?”, reaching number 12 in January of 1984.  It was at this time that The Smiths started cracking the chart positions and gaining a fanbase.

In February 1984, their first album, simply dubbed The Smiths, sold 300,000 copies, taking second place on the British charts. Two songs, “Reel Around the Fountain” and “The Hand That Rocks the Cradle” were considered controversial, because some tabloids claim that they evoked pedophilia, an assertion vigorously denied by the group.

The first Smiths album is followed the same year by the “Heaven Knows I’m Miserable Now” (the first top-ten hit of The Smiths) and “William, It Was Really Nothing” singles, which includes the future mega hit, “How Soon Is Now?” on side B.

Around this time, The Smiths toured a lot in the UK, but rarely in the rest of Europe (for instance, their concerts in Paris on May 9th, 1984 at the Eldorado, and on the 1st of December that same year at the Exhibition Center, Porte de Versailles, are the only French dates in the history of the Smiths).

In late 1984, The Smiths released their first compilation, called “Hatful of Hollow”, featuring singles, B-sides, and songs recorded for the BBC.  At this time, The Smiths is voted best group of 1984 by the readers of the NME (a title that the group took every year until their break up in 1987).

In 1985, the band released their second album, the socially conscious “Meat Is Murder”. At this time, the band was touring extensively in the UK and the US and were working on their next studio album, the eventual classic, “The Queen Is Dead”. 

Meanwhile, controversy abounded as Morrissey said and did things to draw attention to the group, such as make provocative statements of all kinds to the media, arousing their ire while simultaneously giving them things to talk about.

However, the group was having a number of difficulties. A dispute with Rough Trade delayed the album, completed in November 1985, by almost seven months, and Marr begins to feel stress due to an exhausting schedule: many recordings, and tours. He will say later: “I was very sick … I drank more than I could handle”. Andy Rourke was fired from the group in early 1986 because of heroin use. Andy received the notice of his dismissal by a post-it glued to the windshield of his car, penned by Morrissey.  Andy still claims that this happened, while Morrissey denies it.

Rourke is replaced as Smiths bassist by Craig Gannon (former guitarist of Aztec Camera and The Bluebells), but is restored to his original position after a fortnight. As a quintet, with Gannon on rhythm guitar, The Smiths recorded the singles “Panic” and “Ask” (with Kirsty MacColl on chorus), and did concerts in the United Kingdom and the United States. Gannon left the group in October of 1986.

“The Queen Is Dead” was released in June 1986 with Alain Delon on the cover of the album. This album would go on to be what many consider to be their crowning achievement (no pun intended), with many of their most beloved songs on the album, with perhaps “There Is A Light And It Never Goes Out” being perhaps the perennial Smiths track. 

At the end of 1986, the band changed labels and, after some tug of war between labels, The Smiths ended up with their original dream label, EMI, stirring the brewing discontentment among fans and media alike.

The Smiths put out two new singles (“Shoplifters of the World Unite” in January and “Sheila Take a Bow” in April), performing at the San Remo Festival in May, but it seems that at this time, the man behind the guitar sound of The Smiths, one Johnny Marr, was severing his ties with the band.

The guitarist felt stifled in a band which was, at that time, focused mainly on Morrissey’s persona. Also, Johnny’s enthusiasm for other forms of music such as dance and electro did not find a field of expression: “The Smiths had become a kind of club where all new influences were discredited, even taboo,” he confided to Johnny Rogan for his book on the Smiths, “Morrissey and Marr”: The Severed Alliance (1992).

The August 8 , 1987, Johnny Marr announced that he left the group by sending a message to the NME: “What in the past made me happy makes me unhappy, I had to leave”.

So, “posthumously”, The Smiths released on September 28th, 1987, their last album, “Strangeways, Here We Come”. 

As an epitaph, the band decided to release a live album called “Rank” (1988) from a concert given at the National Ballroom in Kilburn on October 23, 1986.

Legacy of the Band

Although their level of commercial success was relatively modest in their day, The Smiths became one of the most celebrated groups in the British rock pantheon. According to the BBC, it is “the group that inspires a deeper devotion than any British band since the Beatles”.  According to music journalist Simon Goddard, the band is “the most influential guitar band of the 1980s”.

In 2002, The Smiths were named the most important musical artist of all time in a survey conducted by NME. In 2013, The Queen Is Dead was voted best album of all time by NME as well. In both cases, The Beatles took second place. In 1996, The Queen Is Dead was voted Best Album of the Decade 1986-1996 by the inRocKuptibles, which was the subject of a tribute album, The Smiths Is Dead.

Johnny Marr, Post-Smiths

The band split the following year after the departure of Johnny Marr, who would accompany various artists for the next two years (Midge Ure, Kirsty MacColl, The Pretenders, Talking Heads, Pet Shop Boys) before joining The The (Mind Bomb album in 1989, Dusk in 1993) and then founding the group Electronic with Bernard Sumner of Joy Division and New Order and Neil Tennant of Pet Shop Boys . The single “Getting Away With It” by Electronic went on to be a success, a meeting of pop icons.

He also joined Portland alt-rock indie legends Modest Mouse in 2006 for a few years.  Music fans didn’t see that one coming, but he stayed with them for years touring, making TV appearances, and working on at least one popular album.

Marr’s first attempt as a front man came under the band name of Johnny Marr and the Healers with the album Boomslang in February 2004. 

Johnny also continued to broaden his horizons at the beginning of 2006, adding some instrumentation for Jane Birkin’s album, Fictions.

Johnny Marr then joined the band Modest Mouse, where he composed some songs from their album We Were Dead Before the Ship Even Sank LP.  In 2008, he joined the The Cribs as a member of the band, with whom he participated in the recording of the album “Ignore the Ignorant”, released in 2009.

Since 2010, Johnny has been working on all sorts of projects, including recording solo albums (The Messenger, Playland), working on film soundtracks (Inception, The Amazing Spiderman 2, , and guesting on others’ albums (Hans Zimmer, Noel Gallagher, Blondie).


Morrissey, Post-Smiths

After The Smiths ended, Morrissey hooked up with Stephen Street, producer of the Smiths, and begin to work on new compositions with Vini Reilly of the band The Durutti Column as a guitarist.  Thus, he began a solo career in the spring of 1988 by releasing the excellent album “Viva Hate” which, not surprisingly, sounds very Smiths-like, and which spawned the hit singles “Suedehead” and “Everyday is like Sunday”.

The next album was released in 1991, that being Kill Uncle (anti-American plea), recorded with guitarist Mark E. Nevin of Fairground Attraction. Unlike the first album, Kill Uncle is met with less fanfare and it seemed that Morrissey’s career might be behind him, according to the media at the time.

Then, in 1996, Andy Rourke and Mike Joyce sued Morrissey and Marr, arguing that they unknowingly received only 10% of the album royalties from The Smiths’ albums each, whereas 40% went to the “composers”.  This was what many consider to be the final nail in the Smiths reunion coffin, as it drudged up a lot of confusion and ill will between the former bandmates. Rourke and Joyce eventually got what they wanted, with the law being on their side in the end.  Morrissey held a grudge since this took place, especially as he ended up looking to the public like a greedy control freak.

With Morrissey’s next album, “Your Arsenal”, containing very rockabilly tones (thanks to the contribution of guitarists and composers Boz Boorer and Alain Whyte) and glam-rock (via Mick Ronson, former guitarist and producer of David Bowie during the Ziggy Stardust era), Morrissey returns to the foreground and is considered by many to be back in fighting form.  A comeback has officially occurred.

In 1994, “Vauxhall and I” comes out and the single “Interlude” is recorded as a duet with the singer from Siouxsie and the Banshees.

The next two albums, “Southpaw Grammar” (on RCA) and “Maladjusted” (on Island) are commercial flops, and Morrissey’s creative vein seemed to be drying up (again, according to the media, who know nothing of art).

Then, as the pheonix is reborn from the ashes, Morrissey, now based in Los Angeles, then made a successful comeback with the album “You Are the Quarry” on Sanctuary Records.

A live “Morrissey Live at Earls Court” album was released in early 2005, playing songs from all throughout the Smiths and Morrissey’s solo career. Finally, a new album, Ringleader Of The Tormentors with the participation of Tony Visconti (Bowie, T.Rex , The Sparks, Rita Mitsouko and Ennio Morricone), was released on April 4, 2006, and in February 2009 Years of Refusal, with “I’m Throwing My Arms Around Paris” for the first single. In July 2014, Morrissey returned to the front of the stage with an album recorded in the South of France, World Peace is None Of Your Business.  2017 sees the release of Low in High School.


Mike Joyce – Post Smiths

Although Morrissey and Marr tend to get most of the attention when it comes to The Smiths, drummer Mike Joyce has also been heavily involved in music since the band’s breakup way back in 1987.

After the Smiths packed it in, Mike went on to tour with Sinead O’Connor in support of her classic album, I Do Not Want What I Have Not Got.  Here’s Mike playing drums with her and her band at Pinkpop ’88.

Since the break-up of The Smiths mainly revolved around Morrissey and Marr not getting along, it was not surprising that Mike recorded on some of Morrissey’s solo material after the band split, such as his songs, “Interesting Drug”, and “The Last of the Famous International Playboys”.  You can clearly hear his tight, crisp drumming in the mix.

Mike Joyce has also worked with a number of well known bands over the years, such as Suede, Public Image Limited, and The Buzzcocks, in addition to other projects.

The lawsuit that was mentioned earlier which occurred in 1996 was a big deal when it happened, as it pitted Mike against Morrissey and Marr over past band royalties, and things got ugly fast – particularly with Morrissey, who seems to hold a grudge to this day (as you’ll notice if you read Moz’s autobiography).  The sad truth of the matter seems to be that none of the members of The Smiths knew anything about contracts when they started out, and it came back to haunt them later on.

In 2007, “Inside the Smiths” was released, featuring Andy Rourke and Mike Joyce in a documentary about the band that lacked the other two members.  Despite the wrath Morrissey seems to have for Mike, both Mike and Andy put a more positive spin on The Smiths and the two star members.

More recently, Mike Joyce is a DJ and has been known to play shows as such.


Andy Rourke – Post-Smiths

Like the rest of the band, Andy Rourke has kept busy doing music and is still heavily involved in it.

After the Smiths broke up, he and Mike Joyce followed the same path for a while, performing with Sinead O’Connor for her seminal album, I Do Not Want What I Have Not Got, and then recording with Morrissey for his first deluge of solo recordings.  In addition to what Mike did, Andy also appeared on a few other tracks like “November Spawned a Monster” and “Piccadilly Palare”.  He also wrote music for several Morrissey tracks as well, including “Get off The Stage”, “Yes, I Am Blind”, and “Girl Least Likely To”.

Andy has also performed with several well known acts, like Ian Brown (of Stone Roses fame), Badly Drawn Boy (with whom he toured for two years), Moondog One (with Oasis member Bonehead, Mike Joyce, and Craig Gannon), as well as recording with The Pretenders.

Andy was also responsible for forming Manchester Vs Cancer, which became a series of concerts, which began in 2006 and, at one point, saw the on stage reunion of Johnny Marr and Andy Rourke playing several Smiths tracks, including “How Soon Is Now?”

More recently, Andy Rourke has a band with Dolores O’Riordan of The Cranberries called D.A.R.K.  Here is footage of that band practicing.  It’s not perfect, but it’s cool!



The Smiths – Discography

The Smiths – Rough Trade (ROUGH61 – February 1984)

Meat Is Murder – Rough Trade (ROUGH81 – February 1985)

The Queen Is Dead – Rough Trade (ROUGH96 – January 1986)

Strangeways, Here We Come – Rough Trade (ROUGH106 – September 1987)

Live Albums

Rank – Live at Kilburn National Ballroom (10/23/1986) – Rough Trade ROUGH126 – September 1988

The Peel Sessions (BBC, May 1984) – Strange Fruit SF PS 055 – October 1988


Hatful of Hollow – Rough Trade ROUGH76 – November 1984

The World Won’t Listen – Rough Trade ROUGH101 – March 1987

Louder Than Bombs – Sire 9 25568-1 – April 1987

The Sound of The Smiths – November 2008

Trivia and Such

The Smiths has also influenced many bands / artists, such as:

  • Peter Doherty / The Libertines / Babyshambles
  • Oasis
  • The Kooks
  • The Stone Roses
  • The Drums
  • Sweden
  • Placebo
  • Kaiser Chiefs
  • Blur
  • Radiohead
  • Coldplay
  • Belle and Sebastian
  • Supergrass
  • Pulp
  • Chelsea

Watch this video showing bands talk about their favourite Smiths track.  Hard choice!

The song “How Soon Is Now?” has been covered by Love Spit Love, a version that was used for the television series, “Charmed” for the theme song.  This song has been referred to as a seminal ’80’s song and known for its groundbreaking sonic structure on many occasions.  

Johnny Marr has also been known to play “How Soon is Now?” during his concerts in recent times.

The song, “Asleep” was covered by Emily Browning, for the soundtrack of the movie “Sucker Punch”.

The song “Asleep” speaks of the loneliness that accompanies the last moments of a dying person, and his desire to die to go to a better world. The song is part of Charlie’s playlist, who is the main character from the movie Charlie’s World.

The Smiths are a part of the plot in the movie “500 Days of Summer”. The first thing Summer and Tom have in common is their passion for the Smiths. Summer sings “There Is A Light And It Never Goes Out” in the elevator scene.

The Austrian band Mika has a song called “Now I Know How Morrissey Felt”, recalling the phrase about Joan of Arc from “Bigmouth Strikes Again”.