Top 68 Quotes & Sayings by Johnny Marr

No one has any respect for someone who can play a million notes per minute but can't put together a decent tune that someone can sing to or feel some sort of emotion from.

I had to work and it never occurred to me not to. But then it's never really been about the money.

I really had a great time working with 'Modest Mouse,' just because of the people. I loved writing songs with Isaac Brock, and Jeremiah Green is probably my favorite musician that I've worked with.

I live a super-healthy lifestyle not because it's sensible or that I'm contrite, but because I need to keep my focus on the music I'm making. To do that, I need to be wide awake.

Andy Rourke and I had been playing together from 14 or 15, and we had a very great musical chemistry. Andy's just a very respected and unusual musician.

I can show bands how to produce themselves. In the same way, many bands think you can't make it without some fat cat in London or New York to manage you. That's just crap. All you need is someone a bit older than you with a bit of business nous whom you trust.

If you're in a successful band, you tend to fall into a role. But I'm not remotely laddish. I'm a grown-up. I'm vegan and teetotal. I run 50 miles a week, listening to Franz Ferdinand and the Four Tops at top volume.

You can grow up without having to conform, stop going to shows, stop having a record collection, start being politically iffy.

I played guitar from the age of four or five. Every year there would be a slightly larger triangular box under the Christmas tree, until finally I got one that was big enough to make a proper sound.

Nick Zinner has been one of my favorite guitar players for a long time.

I explored rock culture and what the guitar can do though people like Jimmy Page and John McLaughlin, and the music moves away from pop.

Guitars have been the obsession of my life. I first picked one up at the age of four and I've been a guitar junkie ever since.

I would join a band, learn from that band and be committed and passionate and bring my thing to the band. Then, when I felt like we were going to repeat ourselves, and I needed to learn more, I would go somewhere else.

I think good artists know when they're on a roll, and they recognize when lightning is striking. It's a very fortunate thing to have that inspiration and not to overanalyze it or mess with it; you just follow it if you love what you do.

Festivals are great because you get to just walk around the corner and see a new band that you've heard but not had the chance to check out.

Joining Modest Mouse was just consistent with what I used to do as a teenager: I followed where I thought I would make some interesting music.

If people can finally recognize you on radio without being told who it is, that's what you aim for.

I don't like to waste notes, not even one. I like to put the right note in the right place, and my influences have always been those kinds of players. Keith Richards comes to mind, and I really like Nils Lofgren's soloing, because he's so melodic. I love John Lennon's rhythm playing, and George Harrison was an incredible guitarist.

A day-time song like 'Word Starts Attack,' I want to make your heart blow up and make you want to punch the air with your fist. It can't be ponderous.

I seem to attract and be attracted to very willful, fascinating people.

My experience tells me, unfortunately, that so many people ask the question about 'The Smiths' reforming without really caring about the answer. They just really want to ask the question.

I've almost never played the 'Smiths' records, once they've gone out. I was always like that and probably always will be.

As a youngster, I used to try to pick up any bits of wisdom about the guitar I could. It's not like now where you have books and books about every aspect of anything. Any little pearl of wisdom was welcome back then.

The biggest musical influence on me was my mum. We were both enraptured by music.

In the earlier part of the 90s, I was really hell-bent on discovering how new technology works and how to make records entirely without a producer, which isn't necessarily what fans wanted. But I had to do it because I felt it was in my destiny or whatever.

I think it's a shame when pop culture forgets that theatricality is a big part of it. When Neil Young is fumbling around in his pocket looking for the right harmonica, it doesn't matter that he's a dude in the hat who is a man of the people - there's a theatricality there. You don't have to be David Bowie or the Kabuki theater to have that theatricality going on.

Guitars have been the obsession of my life. I first picked one up at the age of four and Ive been a guitar junkie ever since.

I'm not interested in trying to have people who might like other kinds of music follow me. I don't want to please them.

I've run all the bands I've been in. A great front man needs that other person. It's not enough to have a guy with a cute face standing behind a microphone. I see it like the classic romantic relationships with men and women, where the woman lets the man think he's running it. It's a classic matriarchal trait, and that's always been part of my personality.

When Morrissey and I started The Smiths, we thought pop music was the most important thing in the world. It was almost a spiritual thing for us, and because of that, we knew what it meant to be a fan.

I don't really care what music's made on - I love guitars, but I'm fine with great electronic music.

Having your own space is getting rarer and rarer these days. It's dangerous giving someone like me - who grew up fantasizing about studios and records - the freedom and resources to build your own studio. I would just live in it, which is what I pretty much did for all of the '90s.

I suppose in some ways that's why my collaborations worked out, because I would go in the studio with such enthusiasm and it would never be a chore for me. I was never itching for the process to be done so we could get out live. It's a different matter for me now. Now I've noticed that I actually have one eye or one ear on how I'm going to do it on stage. And maybe that's because I'm the frontman in the group; I do believe that any good frontman should be impatient in the studio to get out.

Coming from a working-class background, where my father did manual labor, was a good grounding; I was obsessed with getting a job or getting out of the house at 15.

Now chart music is a genre all of its own and it's slipped away from what I understand pop music as. It's pretty difficult to take; it clogs up the airwaves.

I've also been with the same girl, Angie, since I was 15.

Earlier in my career, fans weren't a big consideration for me.

Occasionally, a great band would come along, like Blondie or OutKast who could be pop and bring interesting ideas into the mainstream at the same time. That's now gone, because of this weird mutation of pop, rap, R&B, bad rave, and supposedly soulful singing on top of it.

I think some musicians can almost forget that the stage is something to do something on, even if that thing is standing still.

I never took fans for granted. I always assumed subconsciously that people who followed what I did were just people who were kind of like me.

We're in a society where no one's putting a gun to your head and making you use your phone, but some people start to crack. "I Want the Heartbeat" is about the downside of it. People can and do break up friendships and relationships because of the internet, and that can't be good. You have to find a balance. You can't let it be the boss of you.

I moved to Portland because Modest Mouse is there. I didn't necessarily mean to live there permanently, but I've got a really good feeling for it. The sensibility there really suits me. I happened to have grown up in Manchester, a city that was a pretty cool place to be a musician. It's close to Portland in a lot of ways.

People say to me, 'Do you dye your hair?' and I say, 'Well, does f**king Siouxsie Sioux? Does Bowie?'. Of course I'm going to have a decent haircut. It's one of the first things I learnt to do - get a few songs together and get your hairstyle right.

I had a feeling about what I wanted to say, and I wasn't really qualified to discuss real things out of America because I didn't grow up there.

I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.

That enforced time when you have to switch off, that you're on a plane, is so unusual these days. It's just that thing of not being able to interact with other people through e-mails or social media or whatever. It's crazy how you even notice that you're not able to do that. I find that the kind of traveling - long days, particularly if you go somewhere to do a show, and then traveling again the next day - a lot of people would find pretty challenging, but I find it energizing in a weird way.

The actual process of travel I really like, because that time on planes and in airports makes me feel like I'm moving around like a ghost. There's a certain aspect of justifiable downtime. I really feel like being online is so pervasive now.

I dont like to waste notes, not even one. I like to put the right note in the right place, and my influences have always been those kinds of players. Keith Richards comes to mind, and I really like Nils Lofgrens soloing, because hes so melodic. I love John Lennons rhythm playing, and George Harrison was an incredible guitarist.

I really like Howler and an American band on Sub Pop called Jaill. There will always be new bands that I like, it's always been that way. I still go out to shows. One thing I don't like now is this idea that all singing needs to be expressed at maximum volume with so much bullshit sentimentality - it's pervading regular pop music.

Growing up in public is a test, and not many people know how to do it.

I am very proud of the fact that 20 years on people tell me they became a vegetarian as a result of 'Meat is Murder'. “I think that is quite literally rock music changing someone's life - it's certainly changing the life of animals. It is one of the things I am most proud of.

The reason I don't drink is that the drinking lifestyle robs me of my musical intensity and sharpness. I live a super-healthy lifestyle not because it's sensible or that I'm contrite, but because I need to keep my focus on the music I'm making. To do that, I need to be wide awake.

I think one of the things about being around for a while and getting to know yourself is that when you do have these positive experiences, you don't take them for granted - you identify them and you make the most of them. I don't know - it's kind of cool getting old in a lot of ways.

Now, I'm a dad, I'm an adult. I've been solo for 25 years; I've been in other people's groups but I'm solo [in a broader sense]. I stopped comparing myself to other people's maps when I was maybe 24, really. The trajectory that I've gone on is not one that I can compare with anybody else.

Navigating with a partner makes it half as difficult. We keep each other in check. It's not like she [Angie Marr] was ever a quiet little wifey wife behind the scenes. She's exactly like me. She's very smart. We're very lucky that we've always wanted the same things. She loves guitar music, she loves important records, and our lives are about records and shows and great bands.

If people can finally recognize you on radio without being told who it is, thats what you aim for.

You've got to understand that. We all look out for Morrissey. It's a very brotherly feeling. When we first rehearsed, I'd have done anything for him. And as a person Morrissey is really capable of a truly loving relationship. Every day he's so open, so romantic and sensitive to other people's emotions.

Anything that's ever gotten on the charts as a result of "American Idol" or "The X Factor" in the UK. It's born out of karaoke culture. It's been a long time coming, but it's absolutely affected radio.

I find this kind of folk with guys in Wellington boots and washboards not good to listen to. That music is one step away from barn dancing as far as I'm concerned. Anyone under the age of 60 should not be wearing Wellington boots on stage.

Sometimes people confuse contrivance and authenticity, and sometimes I think authenticity can get in the way of a good excuse to do something theatrical. I just don't like wasting opportunity - if you're going to do a photo session, if you're going to walk on stage, why not make it interesting?