For enthusiasts, spectators, and aficionados, the '80s proved to be a fascinating time in the evolution of guitar-driven music.
In the '70s, rock music was mostly about sex appeal, glam, glitz and high-octane machismo. And while the '80s would provide plenty of hot-rodded presto-clones, a budding movement was bubbling to the surface.
The '80s indie and alt-rock era would ultimately diverge in many directions, detouring to the depths of goth-rock and riding the speedway of punk while hitting the off-ramp to post-punk on the way, before finally nestling into the safe harbors of jangle pop. But amidst the chaos, fresh music was forged via increasingly interesting and off-beaten techniques.
Remembered as a time when the elicit sounds of angst and discontent were allowed to run free, '80s six-stringers inadvertently amalgamated eccentric sounds and ideas, rewiring the brains of unsuspecting fans and critics alike. Call it blissful devastation via over-amplified glory – or, more simply, a changing of the guard.
The soundscape of indie and alt-rock had many originators, and while we'd love to cover them all, below we've narrowed down 22 guitar heroes who played a particularly significant role in shaping the sound of '80s indie and alternative rock.
22. Guy Perry (The Motels)
These days, The Motels' former lead guitarist goes by Adrian Peritore, but back in the group's heyday, the new wave strummer was known as Guy Perry. Perry served as a perfect sideman to The Motels leader, vocalist and star of the show, Martha Davis.
He used a variety of guitars in his day but could most often be seen brandishing a Fender Stratocaster. A capable songsmith with an innate sense for texture, Perry is one of new wave's earliest heroes.
21. Peter Case (The Plimsouls)
This Buffalo-born indie original was a staple among a bustling '80s scene with his band The Plimsouls. As the leader, vocalist, primary songwriter and guitarist, Case carried a heavy load for The Plimsouls but did so with style and class.
Though he's shifted chiefly to an acoustic guitar later in life, in the '80s Case often wielded a Fender Telecaster when laying down his indie magic. Though The Plimsouls' run was short-lived, their two early '80s records are essential listening.
20. Andy Partridge (XTC)
Swindon-forged art rock outfit XTC has never been known as a "guitar band" per se, but make no mistake, the contributions of vocalist/guitarist Andy Partridge are not to be taken lightly. As one of the originators of art rock, post-punk, new wave and more, Partridge formed an intrinsic musical relationship with bassist Colin Moulding, resulting in sheer musical magic.
Though Partridge was never one to showboat or take an excessive solo, his use of layering and chameleon-like approach to chord progressions handily defined the early years of the art rock and new wave scenes.
19. Craig Scanlon (The Fall)
Between 1979 and 1995, Mark E. Smith, leader of the legendary Manchester post-punk act, The Fall, worked with myriad musicians. But of all those various cohorts, Smith never once connected with any in the same way he did with guitarist Craig Scanlon.
Featuring across 17 albums and the co-writer of over 120 of The Fall's songs, Scanlon's use of Hagstrom II and III guitars, along with Fender Jags, quite literally defined The Fall's disruptive sound. After leaving The Fall, Scanlon was rumored to be dormant, with whispers of him possibly joining Elastica afoot as well. And though that never materialized, Scanlon does resurface for air now and again.
18. Gordon Gano (Violent Femmes)
With an acoustic guitar in his hand and enthusiasm for days, New York native Gordon Gano aided in the Violent Femmes' '80s ascent. As critical darlings and commercial underdogs, Gano and the Femmes merged folk, alt and punk into a blissful blend of unsettling and downright weird glory.
Surely, you've heard Blister in the Sun, but the depth of Gano's songsmith runs far deeper, as evidenced by the gospel-punk group he formed in the late '80s, The Mercy Seat. An avid storyteller and an enthusiastic guitarist, if you have the chance to see Gano live, don't forsake it.
17. Michael Timmins (Cowboy Junkies)
Hailing from Toronto, Canada, the Cowboy Junkies were mainly comprised of three siblings, Margo Timmins (vocals), Peter Timmins (drums) and chief songwriter and guitarist, Michael Timmins. The early days of the Cowboy Junkies are the stuff of cowpunk lore, after the group's debut record was recorded in their family garage with a single ambisonic mic.
But the group's second record, The Trinity Session, changed the game. Timmins' varied stylings are all over the Junkies' music, funneled through an electric mix of hollow body and Telecaster guitars. Known for playing while seated, Timmins' approach to his instrument is genuinely singular among his peers.
16. Jason Pierce (Spaceman 3)
The epitome of Rayban-wearing cool, and with a vintage Fender Jag adorning his wiry frame, Jason Pierce – AKA J. Spaceman – dazzled Spaceman 3's cult audience during the '80s.
Seamlessly splicing alt, space rock, and neo-psych, Peirce's shapeshifting tendencies as a guitarist proved a linchpin for Spaceman 3's chaotic blend. In addition to being increasingly active within the free jazz networks, Pierce found time to form another seminal band in the early '90s, the experimental Rugby-based act, Spiritualized.
15. Jon Auer (The Posies)
As a disciple of Big Star's Alex Chilton, Jon Auer carried on with the '80s tradition of lionizing forgotten '70s forefathers to power-pop perfection. Alongside partner Ken Stringfellow, Auer formed a bond via music that resulted in a sublime blend of indie heaven. Though not an innovator, Auer is undoubtedly a defender of the faith.
His status as an able guitarist and über-talented songwriter made him worthy of the 12-string Epiphone he often proudly strapped across his chest. As one of the architects of 1988's Failure, Auer's legacy is cemented. But if you asked him, his aiding in a reformed Big Star's '90s return may well be the proverbial feather in his cap.
14. William Reid (The Jesus and Mary Chain)
A master of feedback and noise via a Gibson ES-330, William Reid deeply weaved himself into the fabric of '80s post-punk. The fuzzed-out, gain-drenched ruckus the Glasgow native conjured alongside his brother Jim verged on white noise, with just a touch of pop sensibility to keep things on the rails.
As frontrunners among the masses, The Jesus and Mary Chain's first two records, Psychocandy (1985) and Darklands (1987), proved to be hyper-critical moments in a decade awash with pertinent music. Though a bit petulant, Reid and his brother still soldier on with their flagship band to this day, keeping intact the core of their sound via Reid's able fingertips.
13. Bob Mould (Hüsker Dü)
Considered an icon among the punk, alt and indie scenes, and a champion of human rights, vocalist and guitarist Bob Mould took the '80s by storm with his band Hüsker Dü. An aggressive guitarist flaunting an array of Strats, and the occasional Gibson Flying-V, Mould's aggressive approach, coupled with his cheeky songwriting, provided listeners with a shuttering display of off-beat duality.
While Zen Arcade (1984), New Day Rising (1985), and Candy Apple Grey (1986) are showstoppers, Mould nearly managed to better them in his second and third act's with Sugar and as a solo artist in the '90s and beyond.
12. Daniel Ash (Bauhaus/Love and Rockets)
After challenging consumer appetites for oddity via music with goth rock act Bauhaus, guitarist Daniel Ash sought new ways to break the soundscape. The result of that yearning was Love and Rockets, an act Ash formed with fellow Bauhaus alum, bassist David J. While Love and Rockets featured much of Ash's signature brooding cache, he was able to flex his melodic side as well.
From the start, Ash was on a mission to "make the guitar not sound like a guitar", and with a Fender Telecaster slung over his shoulder, Ash did just that. In retrospect, Ash's tone is like no other, proof of which can be seen through his enduring influence over the likes of Dave Navarro, Kim Thayil, and John Frusciante.
11. Lee Ranaldo/Thurston Moore (Sonic Youth)
Hailing from Long Island, New York, with noise rock stalwarts Sonic Youth, Lee Ranaldo and Thurston Moore sought to tear down the idea of guitar-driven music completely. One of many struggling bands in a busy NYC scene, Sonic Youth emerged as Greenwich Village darlings, riding to the top of the heap through a string of genre-defying albums. The pair's viewpoint on their instruments was fresh, vivid and untethered to all established norms.
Most associated with Fender Jazzmaster, Ranaldo and Moore weren't afraid to deploy modified Les Pauls, luthier-built Moonlanders, and Tele Deluxes to forcefully push their alternative tunings into unsuspecting listener's earholes.
10. Bob Stinson (The Replacements)
He was by no means a virtuoso or a hard worker, but as a founding member and the lead guitarist of The Replacements, Bob Stinson changed alt-rock forever. Known for being completely unhinged and often disastrously inhibited by copious amounts of drugs and alcohol, Stinson angrily attacked his guitar like a sloppy drunk on payday. Still, the six-stringer seemed to have a heaven-sent gift, and though he fought it through the use of intentionally abused guitars, garish technique and a punk rock attitude, his gift bled through.
Stinson proved integral to the band's first four albums before being ejected from the band for bad behavior. In the wake of his departure, though, The Replacements soldiered on for three more records. Alas, without Stinson, their sound and vibe were never the same.
9. Bernard Sumner (Joy Division/New Order)
Sumner is primarily known in the modern age for his consistent jarring with former friend and bandmate, bassist Peter Hook. And though the state of the band may be something of a sad situation in 2022, dial the clock back some 40 years, and New Order was a true pillar of the alt and post-rock communities.
In the wake of Ian Curtis's death, New Order rose from the ashes of Joy Division, embarking on a musical journey for the ages. Sumner's approach to the guitar is not unlike many of his contemporaries, but his ability to write catchy riffs via his Gibson SG set against a gothic background proved a distinctive and successful calling card.
8. David Byrne (Talking Heads)
Scottish-born artist David Byrne's resume is as long as it is varied. As such, to simply rule him a "guitar player" would be doing him a great injustice. Byrne was the leader, vocalist, primary songwriter and guitarist of the legendary art-rock meets new wave act, Talking Heads.
While Byrne played many guitars during the Talking Heads reign, he was most often seen with his beloved red Fender Telecaster Thinline Deluxe, which accompanied him on the Talking Heads Rock and Roll Hall of Fame induction in 2002. Perennially underrated, Byrne was a highly inventive guitarist and energetic performer, crafting many tracks throughout his career that are considered some of the greatest of all time.
7. Andy Gill (Gang of Four)
As one of the premier purveyors of post-punk, Gang of Four's Andy Gil deconstructed all preconceived notions of what the guitar could achieve within a three-to-four-minute cut. With an angular, jagged style, Gill harbored little regard for listeners' delicate eardrums. As a guitarist, Gil was unique, to be sure, but as a songwriter, he was in a class nearly unto himself, penning many of Gang of Four's most famous tracks.
A notable producer as well before his 2020 death, Gill managed to oversee records by the Red Hot Chili Peppers, the Jesus Lizard, the Stranglers, Killing Joke, Therapy? and many more. As a man of many hats, Gill's impact is everlasting.
6. James Honeyman-Scott (The Pretenders)
As one of the most versatile and talented guitarists of his era, it's tragic that Honeyman-Scott is most often remembered for leaving us too early at age 25. He was handpicked by Chrissie Hynde, a choice that paid dividends immediately. To be sure, Hynde is an able songstress, but Honeyman-Scott handily added melodic fretwork and skillful-yet-subtle lead lines that tied Hynde's songs together.
The duo's contrasting styles resulted in a divergent yet magical stew set to take the '80s by storm, but Honeyman-Scott's sudden death changed the trajectory of The Pretenders forever. While his moment in the sun was brief, his influence over his bandmates and peers is felt to this day.
5. Joey Santiago (Pixies)
Seemingly allergic to pentatonic scales and harboring an aggressively defiant swagger, Filipino-American indie hero Joey Santiago broke in with the Pixies in the late '80s. As originators of the loud/quiet/loud dynamic that would be perpetually mimicked in the '90s, Santiago and the Pixies should be considered true precursors to grunge.
A perfect sideman for Frank Black, Santiago was a willing participant in a vision to erratically steer the Massachusetts-bred act off the beaten path and into an unknown wilderness. The Pixies internally combusted in the early '90s but would reform in 2004. Some 18 years on, Santiago can still be seen with his favored jet-black Les Paul, dutifully strumming for indie rock's favorite band.
4. Robert Smith (The Cure)
It's not a stretch to deify The Cure's Robert Smith. As The Cure's vocalist, guitarist and voicebox, Smith, set the gold standard for post-punk, goth rock, new wave, and art rock. With his skillful blending of melody and a never-ending desire to genre hop, Smith found himself an unwilling critical and commercial success, exploding to worldwide fame in the mid to late '80s.
As one of indie rock's first "influencers", Smith evoked an emo aesthetic using lipstick, black eyeliner and a nasty habit of scribing depressing lyrics, bookended by classically influenced, detuned-yet-poppy guitar stylings. These days, Smith and The Cure aren't always active, so when they take the stage, be sure you're there to see it.
3. Peter Buck (R.E.M.)
At its crux, R.E.M. was a cavernous blend of sweeping desire, with its Rickenbacker-toting guitarist, Peter Buck, at its epicenter. While Buck is a capable songwriter and master crafter of memorable melodies, his approach to the guitar has always been simple. Through the idiosyncratic use of open strings and delicate chording to create chiming effects, Buck made a name for himself.
Known to be prickly with a strong sense of "fuck off" exuding from his bristling fingers, Buck could quickly provide sudden bursts of aggression. And though R.E.M. shuttered its doors in 2011, Buck recently released his first new music in 12 years, All the Kids are Super Bummed Out, proving the unassuming legend's story has yet to be entirely written.
2. John McGeoch (Siouxsie and the Banshees/Public Image Ltd.)
Few guitarists in the 1980s could elicit sounds akin to Siouxsie and the Banshee's John McGeoch. With a tobacco sunburst Yamaha SG1000 in hand, McGeoch possessed an authoritative style, propped up by an array of inventive arpeggios, delicate string harmonics and a seething disdain for conventional scales. McGeoch would prove a massive influence over his contemporaries and future standouts alike.
Still, sadly, he ended his career without a band and with no outlet for his music before his untimely death in 2004 at the young age of 48. The passing of time has been kind to McGeoch and his work, though, and as the years wear on his influence becomes staggeringly apparent.
1. Johnny Marr (The Smiths)
Marr has been described as "arguably Britain's last great guitar stylist", a "God-like genius", and most affectionately, "the man who would not solo". No matter the title, Johnny Marr effortlessly shrugged off once-ironclad notions. Unafraid to lay back, Marr's jangly sound, open tunings, melody-ridden arpeggios and chordal chiming are all notable components of his playing style.
Marr's restraint, dynamic refrain and fluid action while using various Fender Jags, Strats, Teles and Rickenbacker 300s set him apart from the pack. Marr starred with The Smiths before playing sideman with The Pretenders, The The, and Electronic, showcasing a pared-down approach to create harmonious space.
As his career has worn on, Marr has continued to reshape and upend established norms with Modest Mouse, The Cribs and his solo work. In short, Johnny Marr is an indie guitar treasure.
