John McGeoch

John Alexander McGeoch (25 August 1955 – 4 March 2004) was a Scottish musician and songwriter.

McGeoch was born on 25 August 1955 in Greenock, Renfrewshire, Scotland, where he spent his childhood years.

He began to play the guitar at 12 years of age, first learning British blues music, being influenced by the work of Eric Clapton, and also that of Jimi Hendrix.

He took piano lessons for five years until the age of twelve.

When his parents bought him a guitar, he stopped piano.

In 1970 he played with a local band called the 'Slugband'.

In 1971 his parents moved to London.

In 1975 he went to art school in Manchester where he received a degree in Fine Art.

In his final year in 1976, he was enraptured by a new music that "ended up being called punk rock".

He qualified it "the revolution, and I really do think that's the right word for it".

He maintained an interest in photography, painting and drawing throughout his life.

He is best known as the guitarist of the rock bands Magazine (1977–1980) and Siouxsie and the Banshees (1980–1982).

He has been described as one of the most influential guitarists of his generation.

In April 1977 McGeoch's Manchester student flatmate Malcolm Garrett introduced him to Howard Devoto, who had recently left the band Buzzcocks and was looking for a guitarist to form a band with.

The pair formed a new act entitled Magazine, along with Barry Adamson, Bob Dickinson and Martin Jackson.

The new band released its debut single, "Shot by Both Sides" in January 1978.

The song's music was written by Pete Shelley with new Devoto lyrics ( Buzzcocks version was titled "Lipstick"); on release it reached #41 on the UK Singles Chart.

(The same year McGeoch graduated from Manchester Polytechnic).

McGeoch went on to play on Magazine's first three albums, Real Life (1978), Secondhand Daylight (1979) and The Correct Use of Soap (1980).

He was also a member of the bands Visage (1979–1980), the Armoury Show (1983–1986) and Public Image Ltd (1986–1992).

McGeoch has been cited as an influence by guitarists including Johnny Marr, Jonny Greenwood, Ed O'Brien, the Edge, John Frusciante, Geordie Walker, Robert Smith, Steve Albini, Duane Denison, and Dave Navarro.

In 1979, while still a member of Magazine, McGeoch joined Steve Strange's electronic band Visage along with erstwhile Magazine bandmates Adamson and Dave Formula, recording songs for their first single "Tar" and later, in 1980, for their eponymous album Visage, McGeoch playing guitar and saxophone on the record.

Although he saw Visage as something of a joke, the band provided McGeoch with early professional credibility and success.

The band's single "Fade to Grey" went to #1 in a number of European countries and McGeoch said the money from the song allowed him to buy a house.

McGeoch did not record on the group's second album, The Anvil, as it was recorded in London and he was unable to participate.

While still a member of Magazine and Visage, McGeoch also worked occasionally with other bands.

He left the band in 1980 shortly after the release of the latter album, frustrated with its lack of commercial success despite its recognition with music press critics.

In mid-1980 he recorded most of the guitar work on Gen X's album Kiss Me Deadly at AIR Studios in London.

He left Magazine during that time.

In September 1980 he guested with Skids for a Peel Session, standing in for Stuart Adamson who was unwell.

Other session work included Tina Turner's comeback track with the British Electric Foundation and for Propaganda He also collaborated with ex-Magazine drummer John Doyle on Ken Lockie's album The Impossible.

When recording with Siouxsie and the Banshees in early 1980, McGeoch entered a period of both creative and commercial success.

During his first session with the Banshees he began a new style of playing.

He later commented: "I was going through a picky phase, as opposed to strumming. "Happy House" was lighter and had more musicality in it. They invited me to join. I was sad leaving Magazine but the Banshees were so interesting and it felt like a good move".

He became an official member of the group at the release of "Israel" in November 1980, which was the first single he composed with the band.

He recorded guitar on the Banshees' long-players Kaleidoscope (1980), Juju (1981) and A Kiss in the Dreamhouse (1982).

The Banshees' hit singles of this era featured some of McGeoch's most acclaimed work, particularly 1980's "Happy House", "Christine" and "Israel", and 1981's "Spellbound" and "Arabian Knights".

McGeoch's contribution to the band was important in terms of sounds and style.

In 1996 he was listed by Mojo in their "100 Greatest Guitarists of All Time" for his work on the Siouxsie and the Banshees song "Spellbound".

Signature characteristics of his playing style included inventive arpeggios, string harmonics, the uses of flanger and an occasional disregard for conventional scales.