John McGeoch

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Alexander McGeoch (25 August 1955 – March 4, 2004) was a Scottish pop music guitarist who appeared with many bands of the post-punk period, including Magazine, Siouxsie and the Banshees, Visage, and Public Image Ltd. He has been dubbed one of the most influential guitarists of his generation.

He was named by Mojo in their "Best Guitarists of All Time" in 1996 for his contributions to Siouxsie and the Banshees' "Spellbound."

An inventive arpeggios, string harmonics, the use of flanger, and a smidgeon of traditional scales were among his playing style's key features. McGeoch's guitar playing with Magazine and Siouxsie and the Banshees was lauded by musician and producer Steve Albini, who described him as "great choral swells, great scratches and commotions, heavy dissonant noise, and a squealing humour and a lot of death noise." "Anybody can make notes," says the musician.

There is no trick.

Making a guitar do things that don't sound like a guitar at all is a trick and a good one.

The point here is that the boundaries are being stretched.

Early life

McGeoch was born in Greenock, Renfrewshire, Scotland, where he spent his childhood years. He started playing the guitar at 12 years old, first learning British blues music, while still being influenced by Eric Clapton's work and then Jimi Hendrix's. He played piano for five years before he reached the age of 12. When his parents bought him a guitar, he stopped playing piano. He appeared in 1970 with the 'Slugband,' a local band. His parents immigrated to London in 1971.

He went to art school in Manchester in 1975, where he obtained a diploma in Fine Art. In his last year, he was captivated by a new style that "ended up being called punk rock." He referred to it as "the revolution," and I agree that it is the right term for it. He had an obsession with photography, painting, and drawing throughout his life.

Personal life

McGeoch married Janet Pickford, his girlfriend at Manchester Polytechnic, on September 9, 1981, resulting in divorce. Denise Dakin, his second marriage that resulted in a daughter, Emily Jean McGeoch (b. ), was born on September 14, 1988. 1989 (British, 1989)

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Career

Malcolm Garrett, McGeoch's student flatmate, met Howard Devoto, who had just left the band Buzzcocks and was looking for a guitarist to form a band with. The two musicians, Barry Adamson, Bob Dickinson, and Martin Jackson formed Magazine, a new act. In January 1978, the new band's debut single, "Shot by Both Sides," was released. Pete Shelley's music was written by Pete Shelley with new Devoto lyrics (Buzzcocks' version was named "Lipstick"); on release, it reached #41 on the UK Singles Chart, with the song's number at #41. (McGeoch graduated from Manchester Polytechnic in the same year as McGeoch did.)

McGeoch continued to play on magazine's first three albums, Real Life (1978), Secondhand Daylight (1979), and The Correct Use of Soap (1980). Despite the band's success with music press critics, he left the band shortly after its 1980 debut, feeling dissatisfied with its lack of commercial success despite its recognition among music press critics.

McGeoch, alongside erstwhile Magazine bandmates Adamson and Dave Formula, recorded songs for their first album "Tar" and later, in 1980, McGeoch played guitar and saxophone on the record, while still a member of Magazine.

Although he thought Visage was a joke, the band gave McGeoch early career recognition and success. McGeoch said the money from the band's single "Fade to Grey" reached the top in a number of European countries, and McGeoch said the money earned him to buy a house. McGeoch did not appear on the group's second album, The Anvil, because it was not recorded in London and he was unable to attend.

McGeoch performed with other bands whilst still a member of Magazine and Visage. He recorded the majority of the guitar work on Gen X's album Kiss Me Deadly at AIR Studios in London in mid-1980. At that time, he left Magazine. He joined the Skids in September 1980 for a Peel Session, filling in for Stuart Adamson, who was unwell. Tina Turner's return to the British Electric Foundation and Propaganda He collaborated with ex-Magazine drummer John Doyle on Ken Lockie's album The Impossible.

McGeoch began recording with Siouxsie and the Banshees in early 1980, marking a period of both creative and commercial success. He developed a new way of playing during his first session with the Banshees. "I was going through a picky period, not to strumming," he later said. The original "Happy House" was lighter and had more musicality in it. They invited me to join. I was sad to leave Magazine, but the Banshees were so neat, and it seemed to be a good idea." At the unveiling of "Israel" in November 1980, he became a permanent member of the group, marking the first single performed with the band.

He played guitar on the Banshees' long-players Kaleidoscope (1980), Juju (1981), and A Kiss in the Dreamhouse (1982). Some of McGeoch's most popular work, including 1980's "Happy House," "Christine" and "Israel," as well as 1981's "Arabian Knights" and "Arabian Knights," were among the Banshees' hit singles of this period. McGeoch's contribution to the band was crucial in terms of sound and style.

Singer Siouxsie Sioux later said:

McGeoch, on the other hand, had a nervous breakdown as a result of touring and an increasing personal issue with alcohol. He was in Madrid for a work stint in a bad shape and made several uncharacteristic mistakes at a gig. He was forced to leave the band in October 1982 to rest and recover.

During a break from playing music, he formed Swedish punk-funk band Zzzang Tumb's debut long-player.

Doyle, as well as ex-Skids members Richard Jobson and Russell Webb, were among the exhibits on the Armoury Exhibition. Waiting for the Floods, McGeoch's first album, features some of McGeoch's finest guitar performances. Former Bauhaus singer Peter Murphy's debut solo long-player If the World Fail to Fall Apart, he performed.

Propaganda added guitar parts to the production of "A Secret Wish." Notably, P-Machinery and the B-side Frozen Faces are cited as the product of the past.

McGeoch joined John Lydon's Public Image Ltd in 1986, a move that may have been partially motivated by financial constraints at the time. He had been an admirer of PiL, especially in terms of Lydon's songs, but the band had previously declined his invitation to join the band in 1984. Despite being struck in the chest by a bottle during one of his first gigs with the band, McGeoch remained with PiL until it disbanded in 1992, making him the longest-serving member apart from Lydon. The long-players were recorded on the site: "Hello!, 9" and "That Is Not."

He was invited by the Icelandic band The Sugarcubes to play lead guitar on their album "Gold" for their Stick Around for Joy long-player.

He ended his life without a band by starting with a series of short-lived ventures, including working with Glenn Gregory and producer Keith Lowndes. With John Keeble of Spandau Ballet and vocalist Clive Farrington of When in Rome, he created a line-up with the name 'Pacific', but no commercial content was found.

McGeoch resigned from active music and trained as a nurse/carer in the mid-1990s. He was described as attempting to re-enter professional music by working on musical scores for television productions in the early 2000s.

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