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Product details
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Track Listings
| 1. The Last Ride |
| 2. Caught Up |
| 3. Down On The Corner |
| 4. Need It |
| 5. You Are The Magic |
| 6. Inbetweens |
| 7. Another Day |
| 8. Headland |
| 9. Long Gone |
| 10. Something To Shout About |
| 11. Bangin’ On |
Product Description
Amazon.co.uk Review
Already together for three years, Marr, Zak Starkey and Alonza Bevan form a tight rock trio that knows when to loosen up, not least on the seven-minute "You Are the Magic". While cohort Sumner's career trajectory from Joy Division guitarist to New Order frontman was decidedly faster, the cofounder of Manchester's other best known band has made a two-decade journey from codependency to creative control that, in its own unassuming way, is no less satisfying. --Bill Forman
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful:
2.0 out of 5 stars
Nothing to shout about,
By
This review is from: Boomslang (Audio CD)
Oh dear - what this? Johnny Marr's post-Smiths output has always been varied, but when he finally steps out of the shadows of other frontmen for this solo album the result is a spectacular misfire. In short, this is an album almost devoid of hooks, where the songs just drone on and on, with boring grooves replacing any hint of melody. Johnny's voice is OK, but his thin voice sends you straight to the lyric sheet to understand what he's singing about, and then straight back again when you realise the mumbling lyrics done really mean anything - like the music they're vague and meandering. The guitar playing is average, and massively inferior to the brilliant work Marr produced on Electronic's Twisted Tenderness album. A handful of tracks show potential - Caught Up, Down on the Corner, and Another Day - but far too much of this album sounds like a third-rate Oasis strum along cover band. Smiths/Marr obsessives will buy this anyway, but it's the sound of a man resting on his laurels - if you didn't know this was Johnny Marr you wouldn't give it a second listen. Disappointing.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Very rocky, very 'un' The Smiths,
This review is from: Boomslang (Audio CD)
This is great CD, and it's good to see Marr's still banging out the tunes. There's several influences in here and it should appeal to many. 'The Last Ride' and 'Caught Up' are very 'guitary' with the latter having a Beatles vibe to it. 'Down on the Corner' is a jangly sing-along tune and 'You are the Magic' could have been a Depeche Mode song. It's all very well put together and it's certainly one to play loud in the car.
4 of 5 people found the following review helpful:
3.0 out of 5 stars
Marr's Guitars,
This review is from: Boomslang (Audio CD)
It's justifiably predictable when a label promotes an ageing rock star's new album by focusing on his past achievements, but a bit of skepticism is inevitable. However, this is one of the most influential guitarists of the 80's, Johnny Marr of The Smiths. His playing basically inspired the Brit-pop explosion of the late 90's. Boomslang is the debut album from his new band, The Healers, which also features Ringo Starr's son, Zak Starkey, on drums. Starting with "The Last Ride", the first three songs on this album are driven by the sound of early Oasis, The Verve, and Primal Scream albums. A perfect circle. Smiths' fans might be shocked by just how powerful, heavy, and rock'n'raw some of these songs are, though. Well, not exactly raw. Johnny produced the album himself and it could have stood to keep some of the frayed edges it seems to have lost in the studio. It has been digitally smoothed to the point where it is hard to hang your hat on some of these tunes. Marr is quite adept in the studio, and neither is he afraid to wash his songs with atmospheric synths, percussion, and, of course, his dub and reggae inflected lead guitar. Not that this approach isn't appropriate or effective. It's exhilirating during the six-minute raunch of "You Are The Magic", and the tantalisingly brief and quiet instrumental, "Headland". The lyrics are a bit dissapointing - mostly vague rock clichés partially redeemed by the quality of songs they accompany (sorry, no heartbreaking histrionics from Morrissey here). This is true of the Spaghetthi Western intro to "Need It" which mutates into a runaway train, relentlessly chugging through the night, a strong indication of the diversity of sound this pretty heavy album achieves. Could be a future here for the old timer.
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