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Onearth
 
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Onearth

6 Jun 2002 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
29:34

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Product details

  • Original Release Date: 6 Jun 2002
  • Label: Amazing Feet
  • Copyright: (c) 2012 Microstar (Richard Cotton t/a Interzone Management
  • Total Length: 29:34
  • Genres:
  • ASIN: B008LFJ4OY
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 265,405 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

3.2 out of 5 stars
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Most Helpful Customer Reviews

6 of 7 people found the following review helpful By Jane Aland VINE VOICE on 6 Aug 2004
Format: 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.
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Format: Audio CD
Well I am the largest Smiths fan in the world and so this seemed like a reasonably logical purchase. As for a review of the content I would say that the songs are generally not terribly wonderfully good or examples of Smithesque genius, except in a few instances (I'll come to that later). However it is pleasant enough to listen to and thus not terribly bad either, just a bit nothingy overall. Marr has a natural singing voice as other reviewers have commented upon and his lyrics while not inspiring or quotable aren't shamefully bad, the music itself is somewhat what is to blame it all sounds a bit samey escept for in some cases.
Another Day is one of those cases - I almost wept because it was so beautiful and melodic and gorgeous and Something to Shout About was very good too. What a shame not everything else was so precious - I'll keep the album for these tracks and would say that I found it worth buying.
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6 of 8 people found the following review helpful By "shunichi7" on 1 Feb 2003
Format: 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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