John Squire: one of Britain’s greatest guitarists
Evoking glacial post-punk and the bombastic fire of hard rock, John Squire exists at the nexus of several opposing energies. Yet, this friction created one of the most compelling sonic palettes a guitarist has ever established. Largely shunning the limelight in favour of the creative sanctuary of his Macclesfield art studio since The Stone Roses first split, there’s no doubt that Squire is one of Britain’s greatest players.
Although each member of the definitive baggy outfit brought something vital to the fold, John Squire was always The Stone Roses’ most resounding weapon. A wholly multifaceted guitarist, in addition to his accomplished technical ability, his fusion of opposing textures and aural sentiments into one distinctive force is his greatest triumph. Furthermore, his use of echo, delay and reverb units took his playing to another level and allowed him to stand out.
Drawing heavily on the Eastern-influenced mysticism of 1960s hippiedom, the jangly sound of The Byrds’ in-house guitar icon Roger McGuinn is smattered across The Stone Roses’ two albums through Squire’s delicate and busy arpeggiating and often trebley tone. However, this ethereal facet is not the only one comprising his legendary music.
In different instances, the intricacy and propulsive style reminiscent of fellow Mancunian Johnny Marr of The Smiths come to the forefront. Another pivotal figure in post-punk, John McGeoch, is also notable. His dynamic and effects-laden sound on classics like ‘Spellbound’ evidently left a significant impression on Squire.
Despite the prominent features of Squire’s minimalist post-punk ethos, there exists a formidable element of hard rock and metal prowess in his musical arsenal. This contradiction is exemplified in tracks like ‘Love Spreads,’ where the expansive nature of the sound is apparent. Furthermore, the assertive, attitude-laden guitar work during his synergy with bandmates Reni and Mani on The Stone Roses’ opener, ‘I Wanna Be Adored,’ draws inspiration directly from the hard rock and metal sphere. Beyond the stoned choruses and echo effects, reports indicate that Van Halen left a significant impact on the group during their formative years.
Many guitarists cite an array of influences as key to their art, but none have packaged them into such a uniform sound as Squire – not even Johnny Marr. Even Jonny Greenwood’s approach lurches from post to post, depending on the general vibe of a track. Squire seamlessly leapfrogs time and space in songs to full effect. This magnetism saw The Stone Roses burst onto the scene and instantly put Madchester on the map in the late 1980s.
From a technical standpoint, Squire stands out as truly exceptional. He effortlessly weaves intricate patterns, employs arpeggios, executes hammer-ons and pull-offs, and effortlessly navigates through unconventional chord shapes. What sets him apart is not just the complexity of his playing but also his muscular propensity, which not only counterbalances the lighter moments but introduces a distinct set of tricks that underscore the potent contradiction inherent in his musical style.
‘Begging You’ is one of his most searing efforts. It toes the line between vibrance and total insanity thanks to the riff and the glitchy locomotion of the wah effect. Elsewhere, the evil created using a bluesy D Dorian mode and the slide across ‘Love Spreads’ as well as chugs, bends, and the occasional stab of a chord shows how far Squire’s talent ranges stylistically and technically.
He might not be as prominent as other British legends of the fretboard, but John Squire is one of the greatest guitarists this tiny island has ever produced. Not enough weight is placed on him earning this status with just two albums. That’s not counting his work with The Seahorses or as a solo artist, either.
