Complete List Of The Smiths Band Members

Feature Photo: Paul Cox; Distributed by Sire Records, Public domain, via Wikimedia Commons

When a reclusive music journalist and a teenage guitar prodigy knocked on each other’s doors in Manchester during 1982, neither could have predicted they would assemble one of Britain’s most discussed bands. The quartet that emerged would carve out a five-year existence releasing albums that consistently landed in the UK’s top five chart positions. Their output included a chart-topping record in 1985 and three additional studio releases before interpersonal fractures tore the group apart in 1987.

The Manchester-based outfit signed with Rough Trade Records during 1983, launching their recording career the following year. Between 1984 and 1987, they issued four full-length albums alongside numerous standalone singles and compilation collections. Their commitment to traditional rock instrumentation stood in sharp contrast to the synthesizer-dominated landscape of early 1980s popular music. Multiple singles cracked the UK top twenty while every studio album reached the top five, with Meat Is Murder claiming the number one position.

The band’s catalog encompasses The Smiths from 1984, Meat Is Murder from 1985, The Queen Is Dead from 1986, and Strangeways, Here We Come from 1987. Additional releases included compilation albums Hatful of Hollow, The World Won’t Listen, and Louder Than Bombs. A concert recording titled Rank surfaced in 1988, one year following their dissolution. Financial disputes over earnings spawned legal battles between members that stretched across years. Despite recurring proposals for reunification, the musicians have uniformly declined such opportunities. The group’s bass player succumbed to illness in 2023.

Complete List Of The Smiths Band Members

Morrissey

Steven Patrick Morrissey handled vocal duties throughout the band’s entire lifespan from 1982 through 1987. Manchester-born on May 22, 1959, to parents who had emigrated from Ireland, he encountered guitarist Johnny Marr at a Patti Smith performance in 1978 when Morrissey had reached nineteen years. Prior to forming The Smiths, he briefly fronted punk ensemble the Nosebleeds and pursued music journalism, authoring published works about the New York Dolls and James Dean for Babylon Books. When Marr materialized at his Stretford residence in May 1982 proposing band formation, their mutual appreciation for literature, poetry, and music created immediate rapport.

Across all four studio releases, Morrissey delivered vocals while collaborating with Marr on lyrical content. His contributions appeared on their 1984 debut, 1985’s Meat Is Murder, 1986’s The Queen Is Dead, and 1987’s Strangeways, Here We Come. His theatrical delivery and sharp wordplay generated substantial attention and helped crystallize the group’s public identity. Morrissey deliberately crafted an outsider persona emphasizing sexual ambiguity and proclaimed celibacy, consciously rejecting traditional rock star masculinity. His signature quiffed hairstyle and sardonic lyrics exploring alienation, unfulfilled romantic desire, and societal critique became defining characteristics.

Post-dissolution, Morrissey initiated solo operations in 1988 with Viva Hate, which captured the UK’s top chart position and spawned successful singles “Suedehead” and “Everyday Is Like Sunday.” He enlisted producer Stephen Street, who had helmed The Smiths’ later recordings. His sophomore effort Kill Uncle arrived in 1991, succeeded by Your Arsenal in 1992 and Vauxhall and I in 1994. Southpaw Grammar emerged in 1995 with Maladjusted following in 1997. Following a seven-year recording absence, You Are the Quarry materialized in 2004, trailed by Ringleader of the Tormentors in 2006 and Years of Refusal in 2009. Subsequent releases encompassed Low in High School during 2017 and I Am Not a Dog on a Chain in 2020. His solo discography now spans thirteen studio albums, complemented by his 2013 autobiography published through Penguin Classics.

Johnny Marr

John Maher adopted the stage name Johnny Marr to distinguish himself from the Buzzcocks’ identically-named drummer, serving as The Smiths’ guitarist from 1982 to 1987. Manchester native born October 31, 1963, to Irish immigrant parents, Marr began performing in groups at thirteen and established Freak Party alongside future Smiths bassist Andy Rourke. Drawing inspiration from the Leiber-Stoller songwriting partnership, Marr sought out Morrissey in May 1982 to propose forming a band. Their immediate discovery of overlapping musical tastes led to compositional sessions in Marr’s attic quarters.

Guitar, piano, keyboards, and harmonica all fell under Marr’s instrumental purview across the band’s four studio albums. His signature jangly guitar tone became inseparable from the group’s sonic identity, drawing influence from the Pretenders’ James Honeyman-Scott, Bert Jansch, and Magazine’s John McGeoch. He contributed instrumentally to their 1984 debut, 1985’s Meat Is Murder, 1986’s The Queen Is Dead, and 1987’s Strangeways, Here We Come. Marr’s approach merged 1960s pop sensibilities with post-punk angular urgency. Capo usage and alternative tunings accommodated Morrissey’s vocal range while generating their characteristic sound. Exhaustion from relentless touring and recording combined with management responsibility tensions prompted his July 1987 departure.

Following the split, Marr enlisted with Matt Johnson’s The The, playing on 1989’s Mind Bomb and 1991’s Dusk. Electronic, his collaboration with New Order’s Bernard Sumner, produced three albums throughout the 1990s including their self-titled 1991 debut. The single “Getting Away with It” achieved commercial success and featured Pet Shop Boys’ Neil Tennant. Marr’s session work encompassed Talking Heads collaborations, recordings with Kirsty MacColl, and co-writing Billy Bragg’s 1991 anti-homophobia anthem “Sexuality.” He joined Modest Mouse in 2006, contributing to their chart-topping 2007 album We Were Dead Before the Ship Even Sank. A three-year tenure with the Cribs from 2008 to 2011 included work on Ignore the Ignorant. Johnny Marr and the Healers released Boomslang in 2003. His solo catalog encompasses The Messenger from 2013, Playland from 2014, Call the Comet from 2018, and Fever Dreams Pts 1-4 from 2022. Additional pursuits include session musicianship, production work, Hans Zimmer film score collaborations, and designing a signature Fender Jaguar guitar.

Andy Rourke

Andrew Rourke anchored the bass position from 1982 to 1986 and resumed briefly from 1986 to 1987. Manchester-born January 17, 1964, Rourke established friendship with Johnny Marr at eleven during primary school years. Their shared passion for guitars and music led to participation in multiple bands including Freak Party before The Smiths coalesced. Marr’s encouragement prompted Rourke’s transition from guitar to bass following their early band formation. He supplanted Dale Hibbert on bass after the band’s inaugural public appearance in October 1982.

Rourke’s bass work graced all four studio albums, delivering his distinctive melodic approach to their 1984 debut, 1985’s Meat Is Murder, 1986’s The Queen Is Dead, and 1987’s Strangeways, Here We Come. Critical praise highlighted his contributions on “This Charming Man,” “How Soon Is Now?,” and the seven-minute funk-influenced “Barbarism Begins at Home” from Meat Is Murder. Rourke’s mobile bass patterns created dynamic interplay with Mike Joyce’s percussion that shaped the band’s rhythmic character. His temporary dismissal in early 1986 arrived via windscreen note, with Craig Gannon recruited as substitute. Rourke’s reinstatement occurred within two weeks, shifting Gannon to rhythm guitar.

Post-breakup collaborations with Morrissey spanned several early solo singles including “Interesting Drug,” “The Last of the Famous International Playboys,” “November Spawned a Monster,” and “Piccadilly Palare” between 1989 and 1990. He composed music for Morrissey tracks including “Yes, I Am Blind” and “Girl Least Likely To.” The Pretenders enlisted Rourke in 1994, featuring him on six Last of the Independents tracks. His performance resume included Sinéad O’Connor, Badly Drawn Boy touring spanning two years, and various collaborators. Freebass, formed in 2007 with Stone Roses’ Mani and New Order’s Peter Hook, united three prominent bassists. New York City became his home in 2009, where he established the DJ partnership Jetlag with Olé Koretsky. D.A.R.K., formed in 2014 with the Cranberries’ Dolores O’Riordan and Koretsky, released Science Agrees in 2016. Rourke organized the Manchester v Cancer benefit concert series beginning 2006 supporting cancer research. Pancreatic cancer claimed his life May 19, 2023, at Memorial Sloan Kettering Cancer Center in New York City, aged fifty-nine.

Mike Joyce

Michael Adrian Paul Joyce maintained percussion duties from October 1982 through 1987. Born June 1, 1963, in Fallowfield, Manchester, Joyce previously performed with Manchester’s the Hoax and Northern Ireland’s punk group Victim before joining The Smiths. He secured the position through auditions after original session drummer Simon Wolstencroft declined permanent membership. Joyce subsequently disclosed being under psilocybin influence during his audition.

Joyce’s drumming appears across all four studio albums, delivering consistent percussion throughout their catalog. His work features on their 1984 debut, 1985’s Meat Is Murder, 1986’s The Queen Is Dead, and 1987’s Strangeways, Here We Come. His percussion philosophy emphasized straightforward, purposeful patterns establishing solid foundations for Johnny Marr’s guitar explorations and Andy Rourke’s bass movements. Joyce’s approach prioritized restraint over technical showmanship, generating atmosphere on tracks like “How Soon Is Now?” His playing maintained the band’s distinctive angular sound throughout their five-year trajectory.

The 1987 dissolution prompted Joyce and bassist Andy Rourke to pursue collaborative projects. The duo performed with Sinéad O’Connor in 1988. Morrissey recruited both musicians for early solo singles “Interesting Drug” and “The Last of the Famous International Playboys” with accompanying B-sides, completing the trio with Craig Gannon. Joyce’s subsequent work encompassed Suede, Buzzcocks, Public Image Limited, Julian Cope, and Pete Wylie throughout the 1990s. He reunited with Rourke and Gannon for Moondog One featuring Manchester musician Aziz Ibrahim and ex-Oasis guitarist Bonehead. Joyce initiated 1996 legal action against Morrissey and Johnny Marr seeking equal royalty distribution, prevailing in court and receiving approximately one million pounds damages. The 2007 documentary Inside the Smiths, co-produced with Rourke, chronicled their band experiences. Joyce maintains dual careers as DJ and broadcaster, making guest appearances on BBC 6 Music while hosting weekly programming on XS Manchester since October 2017. His show received 2018 ARIAS nomination for Best Specialist Music Show. East Village Radio also features his broadcasts. The memoir The Drums awaits November 2025 publication.

Steven Pomfret

Steven Pomfret participated as guitarist during The Smiths’ earliest formation period in 1982. Pomfret accompanied Johnny Marr during May 1982 when Marr visited Morrissey’s Stretford home proposing band formation. Pomfret joined early rehearsal sessions as Morrissey and Marr developed initial compositional material. The three musicians rehearsed throughout summer 1982 in Marr’s Bowdon attic quarters.

Pomfret’s acrimonious departure occurred after several rehearsals before any demo recordings or public performances materialized. He exited before the group adopted The Smiths moniker and before their August 1982 inaugural demo session. No released recordings feature Pomfret’s guitar contributions. His brief involvement concluded before bassist Dale Hibbert joined to complete the early configuration.

Available information regarding Pomfret’s post-Smiths musical pursuits remains limited. His participation represents a minor footnote in their formative history, occurring during the initial assembly phase when Morrissey and Marr were still recruiting musicians and refining their sonic direction. Pomfret’s exit cleared the path for the eventual lineup that would record The Smiths’ debut album.

Dale Hibbert

Dale Hibbert occupied the bass position during The Smiths’ initial 1982 formation. Hibbert’s employment at Manchester’s Decibel Studios connected him to Johnny Marr, who had utilized the facility recording Freak Party demos. His studio access facilitated The Smiths’ first demo recording session. August 1982 saw the band recording “The Hand That Rocks the Cradle” and “Suffer Little Children” at Decibel Studios with Simon Wolstencroft providing drums. Hibbert played bass on “The Hand That Rocks the Cradle” during this session.

Hibbert performed at The Smiths’ inaugural public concert at Manchester’s Ritz on October 4, 1982. The band supported Latin-jazz ensemble Blue Rondo à la Turk during this performance. James Maker appeared onstage as dancer with maracas during the show. Following this appearance, band tensions emerged regarding musical and aesthetic directions. Morrissey and Marr expressed dissatisfaction with Hibbert’s bass performance and determined replacement was necessary.

Post-Smiths, Andy Rourke, Johnny Marr’s longtime friend and former Freak Party bandmate, assumed Hibbert’s bass duties. Hibbert subsequently published Boy Interrupted, his 2015 Pomona memoir detailing his brief band tenure. He has expressed uncertainty regarding his departure reasons, disputing certain circulated accounts. Hibbert relocated to Prague where he performed street music on Charles Bridge with partner Svet, a classically trained violinist. Their musical output from recent years appears on SoundCloud under the Petrin Hill name.

James Maker

James Maker contributed dancing, maraca playing, and backing vocals from 1982 to 1983. Maker maintained close friendship with Morrissey before band formation, prompting Morrissey’s invitation to participate in early performances. Maker introduced The Smiths from stage at their inaugural public performance at Manchester’s Ritz in October 1982. He remained onstage throughout the show wielding maracas, consuming red wine, and gesturing within a chalk circle Morrissey had drawn demarcating his performance space.

Maker appeared again as dancer at The Smiths’ Manchester Manhattan gig in late January 1983, marking his final band appearance. His theatrical presence contributed to the aesthetic Morrissey was cultivating for the band’s early shows. Maker’s involvement represented an experimental phase in The Smiths’ development as they continued defining their image and performance style. His participation concluded as the band achieved greater establishment and focused on their core lineup.

Following his Smiths tenure, Maker became lyricist and lead vocalist for 1980s indie ensemble Raymonde. He subsequently fronted 1990s rock group RPLA, which issued Metal Queen Hijack in 1992. RPLA singles included 1991’s “City of Angels.” Maker has been referenced as “The Fifth Smith,” though this designation sometimes faces dispute. He published memoir AutoFellatio documenting his Morrissey friendship and music industry experiences. Maker supported the New York Dolls on 2004 tour dates. He condemned unauthorized Morrissey biopic England Is Mine in 2017, criticizing its Morrissey portrayal and noting his own film absence.

Craig Gannon

Craig Gannon performed bass and rhythm guitar throughout 1986. Manchester-born July 30, 1966, Gannon had participated in bands since age twelve. He joined Aztec Camera in 1983 after responding to a Melody Maker advertisement. Brief 1984 participation with The Colourfield preceded joining The Bluebells, followed by another Colourfield stint. When Andy Rourke received dismissal from The Smiths in early 1986, Gannon was recruited for bass duties. Rourke’s reinstatement occurred within two weeks, prompting Gannon’s shift to rhythm guitar as official fifth member.

Gannon’s playing appears on singles “Panic” and “Ask” plus B-sides “The Draize Train” and “Golden Lights.” He additionally contributed to “Half a Person,” “London,” and “You Just Haven’t Earned It Yet, Baby,” which appeared on compilation releases. Gannon toured the UK, Canada, and United States with The Smiths throughout 1986, appearing on all live album Rank tracks, recorded during this period but released 1988. His rhythm guitar added textural depth complementing Johnny Marr’s lead guitar during live performances and recordings.

The October 1986 tour conclusion marked Gannon’s lineup departure. He received no callbacks for further rehearsals, with friend Ivor Perry subsequently informing him that manager Geoff Travis indicated he was no longer band member. Gannon reunited with Morrissey for his 1989 debut solo performance and played on singles “The Last of the Famous International Playboys” and “Interesting Drug.” That year Gannon initiated legal action against Morrissey and Johnny Marr regarding unpaid wages and songwriting involvement, particularly concerning “Ask.” Out-of-court settlement totaled £44,000, encompassing £30,000 unpaid wages and £14,000 legal costs. Gannon has since pursued film and television composition, with credits spanning ITV and other productions. He composed music for Inside The Smiths documentary released by Mike Joyce and Andy Rourke. Gannon currently maintains recognition as film and television composer continuing work in that field.

Ivor Perry

Ivor Perry briefly assumed guitar duties in 1987 following Johnny Marr’s departure. Perry was guitarist for Easterhouse, a band that had supported The Smiths and held Rough Trade Records affiliation. Easterhouse had supported The Smiths during one of their first Dingwalls London performances on August 30, 1983, after Perry persuaded Morrissey to grant them the opening slot. Morrissey maintained friendship with Easterhouse and admired Perry’s guitar abilities.

Following Marr’s July 1987 exit, guitarist auditions were conducted and Perry received selection. Two-day sessions were scheduled at a Willesden, North London studio. The band recorded material including an early “Bengali in Platforms” version, later released on Morrissey’s 1988 debut solo album Viva Hate. Perry stated Rough Trade manager Geoff Travis pressured him into the session and he had clarified he didn’t seek Marr replacement status. Sessions proved uncomfortable, with Perry noting it felt like they wanted another Johnny Marr. The first recording day occurred, but Morrissey failed to appear for the pre-scheduled second session. According to Perry, sessions concluded with Morrissey fleeing the studio. The band dissolved shortly after these unsuccessful sessions.

Perry had previously departed Easterhouse after their Contenders album and formed The Cradle with Gary Rostock and Craig Gannon. The Cradle achieved number 12 indie chart success with 1987’s “It’s Too High,” but the band was shelved when Johnny Marr left The Smiths and Perry was considered replacement. Following his brief Smiths involvement, Perry recorded additional projects including Arabian Sugar work and Parchman, which signed to XL and Citybeat labels and appeared on 1991 SNUB TV. These project albums received 2013 digital re-release via Beggars Banquet. Perry subsequently formed bigflower, which performs modern instrumental rock.

Simon Wolstencroft

Simon John Wolstencroft served as session drummer for The Smiths’ inaugural demo recording during August 1982. Born January 19, 1963, Wolstencroft maintained childhood friendships with Ian Brown and John Squire, drumming in the Patrol, an early Stone Roses incarnation. He also drummed for Freak Party, featuring Johnny Marr and Andy Rourke. Marr invited Wolstencroft to provide drums on The Smiths’ first demo session at Manchester’s Decibel Studios.

Wolstencroft drummed on “The Hand That Rocks the Cradle” and “Suffer Little Children” recordings during the August 1982 session. These tracks would later appear on The Smiths’ 1984 debut album, though re-recorded with Mike Joyce drumming. Following the demo session, Marr invited Wolstencroft to join The Smiths as permanent drummer. Wolstencroft declined because he disliked Morrissey’s vocals and harbored reservations about the band’s prospects. In memoir Set The Boy Free, Marr stated Morrissey was reluctant accepting Mike Joyce because he still hoped for Wolstencroft’s participation.

Following his Smiths refusal, Wolstencroft briefly reunited with Ian Brown and John Squire in nascent Stone Roses before undertaking a stint with Terry Hall’s Colourfield in 1985. He formed the Weeds with friend Andrew Berry, releasing “China Doll” single on In Tape label. Wolstencroft joined the Fall in 1986 after altercation between Mark E. Smith and Fall drummer Karl Burns prompted Smith to offer him the position. He remained with the Fall over a decade, appearing on albums including 1986’s Bend Sinister and co-writing their sole self-penned Top 40 single “Free Range” from Code: Selfish. Wolstencroft departed the Fall in 1997 following Levitate album recording dispute. He later reunited with Ian Brown, performing and co-writing on Brown’s 1999 Golden Greats album. Wolstencroft published memoir You Can Drum But You Can’t Hide in 2014, with updated 2017 edition. He joined House of All in 2023 alongside ex-Fall members Martin Bramah, Steve and Paul Hanley, and Pete Greenway.

Guy Pratt

Guy Adam Pratt served as session bassist for The Smiths during 1986 rehearsals for their Queen Is Dead tour. London-born January 3, 1962, Pratt is the son of Mike Pratt, a songwriter and actor. He commenced professional music at nineteen when he joined Australian band Icehouse for a 1983 global tour, supporting David Bowie’s Serious Moonlight tour. Pratt had established session musician credentials by mid-1980s, working with artists including Robert Palmer, Bryan Ferry, and Womack & Womack.

During 1986, Andy Rourke faced legal troubles and arrest on drug possession charges shortly before The Smiths’ scheduled North American tour departure. Anticipating Rourke’s United States and Canada work visa denial, Johnny Marr contacted Pratt for bassist substitution. Pratt spent nearly two weeks learning basslines and rehearsing with the band for the tour. Shortly before Britain departure, Rourke’s visas materialized and Pratt was no longer required. Craig Gannon ultimately accompanied the band on tour as second guitarist.

Following his brief Smiths involvement, Pratt received David Gilmour’s invitation to play bass for Pink Floyd following Roger Waters’ departure. He joined Pink Floyd’s Momentary Lapse of Reason Tour commencing 1987, which he described as his defining professional engagement. Pratt has maintained Pink Floyd and related project associations, performing on The Division Bell Tour and joining Nick Mason’s Saucerful of Secrets in 2018. His session bassist work encompasses Madonna’s “Like a Prayer,” Michael Jackson’s “Earth Song,” Roxy Music, Gary Moore, Tears for Fears, Echo & the Bunnymen, Iggy Pop, Tom Jones, Debbie Harry, Whitesnake, and Pete Townshend. Pratt maintained Icehouse membership and co-founded Toy Matinee. He has contributed to film and television soundtracks. Beyond music, Pratt performs stand-up comedy and hosts The Rockonteurs podcast. He married Gala Wright, Pink Floyd keyboardist Richard Wright’s daughter, in 1996, though they later divorced. Pratt relocated to Brighton in 2013 and stood as Renew Party candidate in Brighton Kemptown during the 2019 general election.

Check out more The Smiths articles on ClassicRockHistory.com Just click on any of the links below……

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