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Lot Essay
After Johnny Marr acquired his first Stratocaster in late summer 1984 (see footnote to lot 23), the Strat quickly became an essential tool in his “Guitarchestra” for the particular sounds and tones it allowed him to access. The Strat did facilitate a technique, and it brought music out, he told guitar historian Tony Bacon in 2022. I wasn’t imposing my music on the guitar; the guitar was bringing out things. It was bringing out tunes, really. Marr would specifically turn to a Strat for a twangy Hank Marvin sound, for Nils Lofgren-inspired false harmonics, volume swells and bends à la Jeff Beck, or a Nile Rogers style funky rhythm. By this time a major Strat convert, Marr would jump at the chance when he was offered a handful of 1960s Strats by The Who bassist John Entwistle via famed guitar tech Alan Rogan in mid-1985. This 1964 Fender Stratocaster was one of three 1960s sunburst Strats purchased from Entwistle at that time. Speaking to Premier Guitar in 2018, Marr confirmed that a couple of sunburst 1963 [sic] Strats were among the collection of guitars that he acquired from Entwistle and explained how the deal came about: We have a mutual friend in Alan Rogan, who is the Who’s guitar tech. John knew that Alan was doing some work with me and Alan guided me towards it and thought I should have some guitars. Alan pretty much marched me round to John’s and made me buy them!
While other vintage Strats in Marr’s arsenal were subject to the occasional neck swap and the inevitable wear and tear associated with extensive use on tour, both this guitar and a 1965 sunburst Strat (that Marr would later sell to Noel Gallagher, see Marr’s Guitars p. 104) were reserved for studio use only and therefore survive in very fresh original condition. Marr would enlist this 1964 sunburst Strat in the studio to record the counterpoint guitar melody on ‘Frankly, Mr Shankly’ and ‘I Know It’s Over’, as well as the electric sparkles on ‘Cemetry Gates’ for The Smiths’ third studio album The Queen Is Dead at RAK Studios in London and Jacobs Studios in Farnham, Surrey, between September-November 1985. Marr famously wrote the music for ‘Frankly, Mr. Shankly’ and ‘I Know It’s Over’ along with ‘There Is a Light That Never Goes Out’ back-to-back on his Martin D-28 (lot 21) in under twelve minutes during one extraordinarily productive evening in late summer 1985. Writing in his 2016 autobiography, Marr called ‘I Know It’s Over’ a waltzy ballad that was tentative in the verse and then kicked into a dramatic chorus, building in intensity as it went along. When combined with Morrissey’s spectacular vocals, the almost 6-minute song stands out as an enduring showcase of the band’s virtuosity, ranked by Rolling Stone’s Rob Sheffield as the third best song in the entire Smiths’ catalogue. ‘Frankly, Mr Shankly’, wrote Marr, was in total contrast to the others and sounded like Sandie Shaw or an eccentric vaudevillian romp. Interviewed by NME to celebrate 20 years of The Queen Is Dead in 2006, Marr explained that Being in The Smiths was half being a rock’n’roll band, and half being a ‘60’s movie. We completely drenched ourselves in those influences, and this song really has that atmosphere to it. One of the last songs to be recorded during the sessions, ‘Cemetry Gates’ was only developed into a song when Morrissey by chance heard Marr playing around with the Kinks-inspired tune while tuning up in his kitchen. I did this in my kitchen with Morrissey, Marr told NME in 2006. When I played it, I wasn’t sure about it – but that’s one example of how a partnership works. Because Morrissey loved it, and it came so effortlessly and easy. The song would be released as the B-side to the single ‘Ask’ in October 1986.
Speaking to Guitar Player in 1990, Marr reflected on the album: The Queen Is Dead is certainly the best LP we made, the most focused from start to finish. It was a dark point in my life, but creatively, it made for something really brilliant. I try to take care of myself and live in the real world, but some of my best work has been produced when I wasn't in the real world. Pop music isn't worth killing yourself for, but when you do something extra-special, it's almost worth it. Following a seven-month delay due to a legal dispute with Rough Trade, The Queen Is Dead was eventually released on 16 June 1986 to universal acclaim, spending 22 weeks on the UK Albums Chart and peaking at number two.
While other vintage Strats in Marr’s arsenal were subject to the occasional neck swap and the inevitable wear and tear associated with extensive use on tour, both this guitar and a 1965 sunburst Strat (that Marr would later sell to Noel Gallagher, see Marr’s Guitars p. 104) were reserved for studio use only and therefore survive in very fresh original condition. Marr would enlist this 1964 sunburst Strat in the studio to record the counterpoint guitar melody on ‘Frankly, Mr Shankly’ and ‘I Know It’s Over’, as well as the electric sparkles on ‘Cemetry Gates’ for The Smiths’ third studio album The Queen Is Dead at RAK Studios in London and Jacobs Studios in Farnham, Surrey, between September-November 1985. Marr famously wrote the music for ‘Frankly, Mr. Shankly’ and ‘I Know It’s Over’ along with ‘There Is a Light That Never Goes Out’ back-to-back on his Martin D-28 (lot 21) in under twelve minutes during one extraordinarily productive evening in late summer 1985. Writing in his 2016 autobiography, Marr called ‘I Know It’s Over’ a waltzy ballad that was tentative in the verse and then kicked into a dramatic chorus, building in intensity as it went along. When combined with Morrissey’s spectacular vocals, the almost 6-minute song stands out as an enduring showcase of the band’s virtuosity, ranked by Rolling Stone’s Rob Sheffield as the third best song in the entire Smiths’ catalogue. ‘Frankly, Mr Shankly’, wrote Marr, was in total contrast to the others and sounded like Sandie Shaw or an eccentric vaudevillian romp. Interviewed by NME to celebrate 20 years of The Queen Is Dead in 2006, Marr explained that Being in The Smiths was half being a rock’n’roll band, and half being a ‘60’s movie. We completely drenched ourselves in those influences, and this song really has that atmosphere to it. One of the last songs to be recorded during the sessions, ‘Cemetry Gates’ was only developed into a song when Morrissey by chance heard Marr playing around with the Kinks-inspired tune while tuning up in his kitchen. I did this in my kitchen with Morrissey, Marr told NME in 2006. When I played it, I wasn’t sure about it – but that’s one example of how a partnership works. Because Morrissey loved it, and it came so effortlessly and easy. The song would be released as the B-side to the single ‘Ask’ in October 1986.
Speaking to Guitar Player in 1990, Marr reflected on the album: The Queen Is Dead is certainly the best LP we made, the most focused from start to finish. It was a dark point in my life, but creatively, it made for something really brilliant. I try to take care of myself and live in the real world, but some of my best work has been produced when I wasn't in the real world. Pop music isn't worth killing yourself for, but when you do something extra-special, it's almost worth it. Following a seven-month delay due to a legal dispute with Rough Trade, The Queen Is Dead was eventually released on 16 June 1986 to universal acclaim, spending 22 weeks on the UK Albums Chart and peaking at number two.