We all know the story about the boy named Johnny who met a local Manchester genius and started the greatest group in the history of the world.
Variations on the theme come and go --- people occasionally replace 'genius' with 'wanker', or 'worst' for 'greatest' --- but the one reliable element in the tale is the boy Johnny --- the maker of tunes.
However opinions polarise for his loquaciously quiffed comrade, the person is yet to be born with a bad word to say about Johnny Marr. Universally respected as a musician, he also has the dubious honour of claiming pride of place on the RM 'boiler' board.
But even for Johnny, the last few months in the life of the Smiths have been difficult ones. Months that saw the professional disagreements between the group and Rough Trade result in a six month delay to the release of the third album, culminating in a court injunction that, until recently, effectively stopped the Smiths entering a recording studio.
Then there was the departure of Andy Rourke... the return of Andy Rourke... the appearance of ex-Aztec Camera guitarist Craig Gannon in the Smiths ranks. It all built up to leave a big, squidgy question mark over the future of the group, and set the tongues of their attackers wagging vindictively. Why was the LP so long in coming?
'Because it was rubbish,' some offered by way of helpful explanation. Thankfully --- of course --- they were wrong. 'The Queen Is Dead' is as good as you hoped it would be. And in the current single 'Big Mouth Strikes Again', the Smiths reach new heights of musical pleasure --- like drinking frozen margueritas through your ears. But they had me worried there for a while.
This is an interview in two parts. The first took place in Manchester, back in snowy February. 'The Queen Is Dead' had been ready for release for two months. 'Big Mouth' was lying in wait, but both the dispute with Rough Trade and that fine old chestnut 'problems of a personal nature' were looming large. Johnny seemed subdued and tired, and as the release date for the records slipped backwards and changes in the line-up occurred, that interview got less and less relevant.
With the release of 'Big Mouth', Johnny --- who doesn't do many interviews anyway --- decided yes, he would update it. Meeting him again in the London recording studio where he's working on the instrumental B side of the next single 'Panic', it's like the world's been lifted from his shoulders.
He positively bubbles with enthusiasm, full of energy as he perches bird-like on the back of a chair one minute, rushing around the kitchen is search of an ashtray the next. There's an every-present sparkle in the eyes and a winning grin flashed whenever he's trying to put a point across. A right little charmer, if ever there was one. Your granny would love him.
"We've come through a lot," he says reflectively, "but everything's really good now, really positive. It's all happiness in Smithstown --- for once."

Obviously, a lot's been happening to the group recently. What have the last few months been like?
"I didn't realise the kind of effect the lay-off because of the court case would have on us. We were just deprived of doing what we do -- just going in the studio and making records.
"We'd finished the LP in November and were pretty frustrated about that not coming out. Nothing was happening. It was then I realised that for the first time since I was really young, I wasn't going into a rehearsal room or studio three days out of every week.
"It took ages to dawn on me that I had to try and find something else to do with my time other than music --- to try and lead a normal life. It didn't work at all."
You weren't able to do anything as the Smiths?
"That's right. It was so frustrating. Me and Phil, the roadie, even went on this midnight jaunt from Manchester to Guildford to try and steal the mastertapes of the LP, it got really silly. We drove all the way down in the snow, but they caught us and said we couldn't have them --- not surprisingly, I suppose.
"Still, we wrote some new songs and got a new guitar player in, so there was something going on. And I moved down to London, which is great because things were getting really uncomfortable in Manchester."
In what way?
"No privacy at all really. And no musicians. Well, plenty of musicians, but none I can work with. Since I came down here I've just been working and writing lots of songs, and it's great.
"See, I'm trying to avoid saying anything to offend anyone, but it's been pretty tough in Manchester. There were all sorts of weird things happening. Intruders, people trying to break in, our cars being smashed up, motorbike accidents, drunkards in the garden at two o'clock in the morning singing our songs. Lots has been happening --- it's been great.
"It took me ages to realise that I was staying in a lot more than I used to, and not doing the things that made me happy. When we met before, it was the weirdest time for the group. I can see that in retrospect."
Was that the time when Andy left?
"Well, yeah. I think Andy left straight after the Irish tour. Two of those gigs were great, one of them wasn't. And it was when we got back from there that I realised I wanted to get another guitar player in.
"I didn't really need too much time to think about it, I just instinctively knew. I've noticed since Craig's joined that people are surprised. I don't know why, maybe they think my guitar ego wouldn't deal with it, or something like that. I can understand that --- but it isn't true. The desire to enjoy playing is more important.
"And everything's fine with Andy now, so we're really enjoying things at the moment. It reaffirms my belief that to take things seriously is just not worth it.
"I can't look at any of our old interviews or TV, but I know we took things too seriously a lot of the time."
So, you think you've changed a lot since then?
"Yeah, I do. It's true that you do have to suddenly grow up really quickly. Well-worn cliches and old phrases about success --- it's tough at the top, it's lonely at the bottom --- and cliches about life and getting older, really make sense to you. I was just so full of it when I started. So aware of being a teenager --- it was one of the things that kicked off the group."
What's the position with Rough Trade now?
"We're going to do one more album, then we'll think about the situation."
And after all the delays, does the new LP still stand up when you listen to it?
"Yeah, to me, it stands up better six months after, than the others do. From a guitar player's point of view, it's great because I think maybe I've overplayed a bit in the past. There are a lot more subtle things on this LP."
When we spoke in February, you said you were expecting good reviews. What do you think now?
"I feel that I'll be criticised, if that's the right word, for relying too much on my sound. But of course it sounds like me. If I'm happy with it and it sounds good, then it's up to people to make their choice whether they like that sound. I wasn't going to wreck a song with a new sound or a new feel just to please people I don't give a shit about.
"But I like things to sound like me. I'd rather sound like us than anyone else. And," (with a broad grin) "I think most other groups would too." (Changing tack suddenly, as he takes a sip from a handy can of Red Stripe:) "My love for booze has come back as well, which is great. It went after we started doing tours, because you'd be on stage every night for five weeks going 'glug, glug, glug' and your adrenaline keeps you going, but when you get off stage, you're really, really pissed. So I stopped."
On the 'Meat Is Murder' tour the stage always seemed to be strewn with Lucozade bottles.
"Yeah, well, we're all really into Lucozade."
So it wasn't some conscious decision to avoid being a stereotyped boozy pop star, then?
"Oh, a I being a stereotyped pop star here?" (staring in mock horror at his can) "I've even got the shades and everything! Is that such a crime? I don't want to go 'Long live rock 'n' roll' or anything --- I mean, I'm as hip as the next person --- but certainly, I wouldn't make any apologies about being the way I am. I am your archetypal musician. I think it's a good thing --- don't you? It's pure coincidence that I like to wear sunglasses, I play guitar in a hip group and I'm skinny, with dark hair. Sounds perfect to me!
"I think performance is a part of entertainment. Maybe that's what's wrong with music in 1986 --- there's no performers. No pop stars. It's a very pseud attitude to think that to be entertaining is redundant."
When we met before, you mentioned how your first love was Susan Day, the actress who played David Cassidy's sister in 'The Partridge Family'. ("What a programme that was. An essential part of my musical roots," were the exact words, I seem to remember.) Do you think it works in the opposite way now, and you've become someone that people will remember in 10 years' time as their first love?
"I can't... Oh, I don't know..." (back of neck reddening, just a touch) "I can't say."
Do you think of the Smiths as heartthrobs?
"How do you answer that? Oh yeah, yeah. I always did."
Standing at the front of the Brixton gig last year, there were quite a few people screaming 'Morrissey, I love you', 'Johnny, I love you'. Quite understandably, of course.
"Well, it is flattering. It's what makes our gigs complete. Maybe the night before you'd have gone to see a group who are supposedly 'inspired' by the Smiths. And they play their introspective songs very well and all the rest of it, but you come to a Smiths gig and it's big and noisy, and there's loads and loads of screaming. It is flattering. I never really tried to do anything about it, though," (pausing to consider) "... which I probably regret now...
"It's funny, because no-one's really mentioned that to me before, but it does exist. We get plenty of fan mail. I just wish it was a bit more... detailed," (eyes twinkling) "and explicit.
"But no-one's ever made any big deal about it. So I'm sure you'll put that right."
Possibly.
"But," (warming to the subject) "is it a lie for me to say that of all the important groups over the last few years who've been in our position, no-one's ever had a drummer as good looking as we have. And guitar players --- where are you? Bass players? And everything I've got to say about Morrissey has been well documented. Probably too much so.
"So..." (eyes twinkling for one last time) "I'm glad you noticed. I'm glad someone noticed."

This article was originally published in the June 14, 1986 issue of Record Mirror.
Reprinted without permission for personal use only.