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John McGeoch
John McGeoch1
John McGeoch circa 70's

Birth name

John Alexander McGeoch


August 25th 1955 Greenock, Renfrewshire, Scotland






Punk rock, Post-punk, New wave, Gothic rock, Alternative rock Synthpop

Years active



Musician, Guitarist







John Alexander McGeoch, (25 August 1955 – 4 March 2004), was a Scottish guitarist who played with a number of bands of the post-punk era, including Magazine, Siouxsie and the Banshees, Visage and Public Image Ltd.

He was described as "one of the most influential guitarists of his generation"[1] and he was also considered as "the new wave Jimmy Page".[2] 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".[3]

Life and careerEdit

Early years (1955–1976)Edit

McGeoch was born and brought up in Greenock, Renfrewshire, Scotland, and got his first guitar when he was twelve. He first learned to play guitar learning blues songs, including the repertoire of Hendrix and Clapton.[4] In 1970 he played in a local band called The Slugband. In 1971 he moved to London with his family, and in 1975 he began to attend Manchester Polytechnic, where he studied art.

McGeoch had a degree in Fine Art and an ongoing interest in photography, painting and drawing. He provided some of the cover art for his future band The Armoury Show, years later.

Magazine (1977–1980)Edit

In April 1977 McGeoch's flatmate Malcolm Garrett introduced him to Howard Devoto, who had recently left the Buzzcocks and was looking for a guitarist to form a band which would transcend the limitations of three-chord punk. Devoto found what he was looking for in McGeoch and the pair formed Magazine, along with Barry Adamson, Bob Dickinson, and Martin Jackson.

Magazine released their debut single, "Shot by Both Sides", in January 1978. The music was written by Pete Shelley with new Devoto lyrics (the Buzzcocks version is known as "Lipstick"), and the single reached number 41 on the UK singles chart. The same year, he graduated.

McGeoch played on the band's first three albums, Real Life (1978), wikipedia:Secondhand Daylight (1979), and The Correct Use of Soap (1980). He left the band in 1980, shortly after the release of the latter album, frustrated about their lack of commercial success despite being very popular with the music critics.

Visage (1979–1981)Edit

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

Although he saw Visage as a joke,[5] McGeoch did have the success he craved, however brief. The band's single "Fade to Grey" went to number one in a number of European countries. McGeoch couldn't participate in the group's second album, The Anvil because he couldn't be present as Visage were recording in London.

Whilst still a member of Magazine and Visage, McGeoch had played with other bands such as Generation X, for some songs from the "Kiss Me Deadly" album, and The Skids, for a late 1980 Peel Session replacing Stuart Adamson, who was ill. During those days, he left Magazine.

By that time, he collaborated with Ken Lockie's "The Impossible" album (1981), along with ex-Magazine mate John Doyle.

Siouxsie and the Banshees (1980–1982)Edit

After joining Siouxsie and the Banshees in early 1980,[6] McGeoch entered a period of both creative and commercial success. During his first session with the Banshees, he began a new way 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."[7]

He played guitar on the Banshees albums Kaleidoscope (1980), Juju (1981), and A Kiss in the Dreamhouse (1982). The Banshees' hit singles of this era featured some of McGeoch's greatest work, particularly 1980's "Happy House", "Christine" and "Israel". McGeoch's contribution to the band was important in terms of sounds and style. Singer Siouxsie Sioux later honoured him :

John McGeoch was my favourite guitarist of all time. He was into sound in an almost abstract way. I loved the fact that I could say, "I want this to sound like a horse falling off a cliff", and he would know exactly what I meant. He was easily, without a shadow of a doubt, the most creative guitarist the Banshees ever had."[2]

However, McGeoch suffered a nervous breakdown due to the stresses of touring and drinking and collapsed on stage at a Madrid concert. This marked the end of his membership in Siouxsie and the Banshees.[5]

PIL (1986–1992)Edit

Following three years in The Armoury Show (which included Richard Jobson and Russel Webb, both ex-Skids members, and John Doyle who was McGeoch's bandmate from Magazine), McGeoch joined Public Image Ltd. in 1986, a decision which may have been partly motivated by financial difficulties incurred during his time with The Armoury Show. McGeoch had been a great admirer of P.I.L, particularly John Lydon's lyrics, yet had reportedly turned down an invitation to join the band in 1984 due to prior commitments.

Despite being hit in the face with a bottle during one of his first concerts with the band, McGeoch remained with P.I.L until they disbanded in 1992, making him the longest-serving member apart from Lydon. He worked on the albums Happy?, 9 and wikipedia:That What Is Not.

During his time with P.I.L, McGeoch married Denise Dakin, on 14 September 1988.[8] The couple had a daughter in 1989 – Emily Jean McGeoch.

Life after music and later years (1992–2004)Edit

After Public Image Ltd. split up, McGeoch attempted to form projects with Glenn Gregory of Heaven 17 and songwriter/producer Keith Lowndes and also with John Keeble of Spandau Ballet, however, neither came to fruition. With John Keeble and vocalist Clive Farrington of When in Rome he formed the short-lived project Pacific (not the band who recorded an album called "Inference" for Creation Records in 1990).

McGeoch, who had been a great pioneer in the 1970s and 1980s, found himself stranded in a new era. He retrained as a nurse in 1995, although before his death he had been writing some music for television. He was reported to have died in his sleep.[9]

Playing styleEdit

The first guitar riff he learned to play was apparently "Sunshine of Your Love" by Cream.[citation needed] Key characteristics of his playing style included inventive arpeggio, flange effect pedal, string harmonics and an occasional disregard for conventional scales.


His first electric guitar was a red Commodore.[citation needed]

During his Magazine days, he played a Yamaha SG 1000 guitar, used along a MXR flanger.[10] He bought his first model in 1977 (or 1976, as he also declared), by the time Magazine got their first recording deal.[11]

When he was in The Armoury Show, he also used a Squier 1957 Stratocaster.

During his last days with PIL and during his time with Pacific, he played a solid wood Carvin electric guitar.

Legacy and influenceEdit

McGeoch has been cited by many artists as a major influence.

Johnny Marr from The Smiths stated on the BBC Radio 2 in February 2008 that he rated McGeoch very highly for his work with Magazine and Siouxsie and the Banshees (especially on the Banshees' "Spellbound"). Marr stated about this song :

It's so clever. He's got this really good picking thing going on which is very un-rock'n'roll and this actual tune he's playing is really quite mysterious."


Radiohead was inspired by him to record "There There": they explained that they were "in heaven" when their producer Nigel Godrich made Jonny Greenwood sound like McGeoch of Siouxsie and the Banshees for that session.[13] The Edge of U2 often stated McGeoch as one of his influences. U2 selected the Siouxsie song "Christine" from the Kaleidoscope album for a compilation made for Mojo.[14]

Other guitarists also mentioned him. Dave Navarro of Jane's Addiction said that he learned guitar listening to the albums McGeoch recorded with the Banshees.[15] John Frusciante of The Red Hot Chili Peppers likewise said that he taught himself to play "learning all John McGeoch's stuff in Magazine and Siouxsie and the Banshees".[16]


Generation X
Siouxsie and the Banshees
The Armoury Show
Public Image Ltd.


  1. Perrone, Pierre. "Obituary – John McGeoch: Influential post-punk guitarist". The Independent. 11 March 2004. "Often cited as an influence by leading guitarists such as the Edge from U2, John Frusciante of Red Hot Chili Peppers and Radiohead's Jonny Greenwood, John McGeoch played in several post-punk bands of the late Seventies and early Eighties."
  2. 2.0 2.1 Perrone, Pierre. "Obituary – John McGeoch: Influential post-punk guitarist". The Independent. 11 March 2004.
  3. Mojo – 100 Greatest Guitarists Of All Time June 1996 Issue 89 John McGeogh – Spellbound (Siouxsie & the Banshees, Juju) – 1981 – Yamaha
  4. [1]
  5. 5.0 5.1 Simpson, Dave (12 March 2004). "Obituary – John McGeoch: Innovative and influential guitarist of the post-punk era". The Guardian. Retrieved 7 May 2010. 
  6. "Obituary , John McGeoch". 15 March 2004.
  7. Perrone, Pierre. "Obituary – John McGeoch: Influential post-punk guitarist". The Independent. 11 March 2004.
  8. Gregory, Andy. "The International Who's Who in Popular Music 2002", p. 233. Published by Routledge, 2002. ISBN 1857431618, 9781857431612
  9. Simpson, Dave (12 March 2004). "John McGeoch Innovative and influential guitarist of the post-punk era". The Guardian. Retrieved 7 May 2010. 
  10., Magazine, 12/12/2008With Magazine, McGeoch played a Yamaha SG1000 + MXR Flanger + a few other bits.
  11. [2]
  12. Mitchell, Pete. "Spellbound : the story of John McGeoch" BBC2. February 2008. Radio 2’s Pete Mitchell talks to Howard Devoto, Siouxsie Sioux and Johnny Marr among others, as he shines a light on the life of this unsung guitar hero.
  13. Radiohead Biography Excerpt. Colin Greenwood remembers: "The running joke when we were making this record was that if we recorded a track that stretched over 3mn 50 sec., we'd say "Oh fuck, we've buggered it then. It's gone on too long." Of course, the irony is that the first single we're releasing is actually the longest song on the record. ("There There"). It was all recorded live in Oxford. We all got excited at the end because Nigel was trying to get Jonny to play like John McGeoch in Siouxsie And The Banshees. All the old farts in the band were in seventh heaven."
  14. "U2 Jukebox" U2'Compilation for Mojo Magazine featuring "Christine"
  15. Paytress, Mark. Siouxsie & the Banshees: The Authorised Biography. Sanctuary, 2003. ISBN 1-86074-375-7
  16. Simpson, Dave (12 March 2004). "John McGeoch". The Guardian (London). Retrieved 7 May 2010. 

External linksEdit