JOHNNY MARR
''THE MESSENGER''
FEBRUARY 25 2013
48:22
1. The Right Thing Right/3:41
2. I Want The Heartbeat/2:47
3. European Me/3:56
4. Upstarts/3:38
5. Lockdown/3:58
6. The Messenger/4:29
7. Generate! Generate!/4:21
8. Say Demesne/5:37
9. Sun & Moon/3:23
10. The Crack Up/3:52
11. New Town Velocity/5:11
12. Word Starts Attack/3:29
REVIEW
by Stephen Thomas Erlewine
Upon leaving the Smiths in 1987, Johnny Marr embarked on a musical walkabout, choosing to collaborate rather than build a career. He began playing studio sessions, appearing on records by Talking Heads, Pretenders, Kirsty MacColl, Pet Shop Boys, and Billy Bragg, embarked on an extended collaboration with Matt Johnson of The The, and formed Electronic with Bernard Sumner, effectively sitting out the great Brit-pop explosion of the '90s. By the turn of the millennium, he finally tried his hand at fronting a band, turning in the underwhelming Boomslang with the Healers in 2003, before once again sliding into a supporting role, joining Modest Mouse in 2006 and then decamping for the Cribs a few years later. Marr's time in two bands kick-started something within himself, as after he departed the Cribs in 2011, he relocated to his hometown of Manchester and set about recording The Messenger, his first full-fledged solo album. The Messenger is an unapologetic return to his roots, sounding for all the world as if it could have been released in 1990, just a few years after Strangeways, Here We Come, which isn't to say it's a collection of demos awaiting finished vocals by Morrissey. Marr has long demonstrated an affection for electronics and dance rhythms, evolutions Moz considers as anathema, so it's hard to picture the album's title track, pulsating along to a slick disco beat, or the angular, echoing syncopation of "Word Starts Attack" coming out under the Smiths rubric. Nevertheless, considerable portions of The Messenger are filled with riffs and guitar textures Marr could conceivably have used during the band's brief life, and the effect isn't a desperate attempt at recapturing the past but rather an embrace of his core strengths as both a guitarist and songwriter. The latter is as crucial as the former, perhaps more so, as Marr's painterly skills as a guitarist have never been in question while his steadfast avoidance of releasing new songs under his name has obscured how he was the sonic architect of the Smiths. One quick listen to The Messenger brings all his signatures rushing back -- the intricate, intertwining arrangements, the insistent riffs finding a counterpoint in the elastic yet precise melodies, a romance with the past that doesn't negate the present. Marr has avoided these traits, so hearing each in full bloom on The Messenger is rather thrilling; he's no longer wandering, he's found his way back home.
BIOGRAPHY
by Jason Ankeny
The supple, ringing guitars of Johnny Marr helped establish the Smiths among the most acclaimed and enduring bands of the 1980s. Born John Maher in Manchester, England, on October 31, 1963, he played in such little-known groups as Sister Ray and Freaky Party before forming the Smiths with singer Morrissey in 1982. In the years to follow they emerged among Britain's most successful acts, but in 1987, following sessions for the LP Strangeways, Here We Come, Marr dissolved the group, claiming their musical approach had gone stale.
In the wake of the Smiths' demise, he made cameo appearances on records by the likes of Talking Heads and Kirsty MacColl before joining Matt Johnson's The The for 1989's Mind Bomb. Marr also teamed with New Order's Bernard Sumner and Pet Shop Boys' Neil Tennant in the alternative supergroup Electronic, scoring a hit with the single "Getting Away With It." Apart from a handful of guest appearances, he kept a relatively low profile during the 1990s, most notably lending his talents to The The's 1993 effort Dusk and Electronic's long-awaited sophomore record, 1996's Raise the Pressure.
Marr returned to music three years later on Electronic's third album, Twisted Tenderness, which wasn't released in the U.S. until fall 2000. He also spent time working with his new band, the Healers, playing dates across England. The next few years saw a time of redefinition and reflection for Marr. He finally assembled his Healers with ex-Kula Shaker bass man Alonza Bevan and Ringo Starr's drumming son, Zak Starkey, in 2002; a deal with ARTISTdirect's iMusic followed before the end of the year. Fans of this legendary guitarist were treated to Marr's proper singing debut in early 2003 with the release of Boomslang. In 2007 Marr appeared on the Washington band Modest Mouse's album, We Were Dead Before the Ship Even Sank, and toured with them as a member.
''THE MESSENGER''
FEBRUARY 25 2013
48:22
1. The Right Thing Right/3:41
2. I Want The Heartbeat/2:47
3. European Me/3:56
4. Upstarts/3:38
5. Lockdown/3:58
6. The Messenger/4:29
7. Generate! Generate!/4:21
8. Say Demesne/5:37
9. Sun & Moon/3:23
10. The Crack Up/3:52
11. New Town Velocity/5:11
12. Word Starts Attack/3:29
REVIEW
by Stephen Thomas Erlewine
Upon leaving the Smiths in 1987, Johnny Marr embarked on a musical walkabout, choosing to collaborate rather than build a career. He began playing studio sessions, appearing on records by Talking Heads, Pretenders, Kirsty MacColl, Pet Shop Boys, and Billy Bragg, embarked on an extended collaboration with Matt Johnson of The The, and formed Electronic with Bernard Sumner, effectively sitting out the great Brit-pop explosion of the '90s. By the turn of the millennium, he finally tried his hand at fronting a band, turning in the underwhelming Boomslang with the Healers in 2003, before once again sliding into a supporting role, joining Modest Mouse in 2006 and then decamping for the Cribs a few years later. Marr's time in two bands kick-started something within himself, as after he departed the Cribs in 2011, he relocated to his hometown of Manchester and set about recording The Messenger, his first full-fledged solo album. The Messenger is an unapologetic return to his roots, sounding for all the world as if it could have been released in 1990, just a few years after Strangeways, Here We Come, which isn't to say it's a collection of demos awaiting finished vocals by Morrissey. Marr has long demonstrated an affection for electronics and dance rhythms, evolutions Moz considers as anathema, so it's hard to picture the album's title track, pulsating along to a slick disco beat, or the angular, echoing syncopation of "Word Starts Attack" coming out under the Smiths rubric. Nevertheless, considerable portions of The Messenger are filled with riffs and guitar textures Marr could conceivably have used during the band's brief life, and the effect isn't a desperate attempt at recapturing the past but rather an embrace of his core strengths as both a guitarist and songwriter. The latter is as crucial as the former, perhaps more so, as Marr's painterly skills as a guitarist have never been in question while his steadfast avoidance of releasing new songs under his name has obscured how he was the sonic architect of the Smiths. One quick listen to The Messenger brings all his signatures rushing back -- the intricate, intertwining arrangements, the insistent riffs finding a counterpoint in the elastic yet precise melodies, a romance with the past that doesn't negate the present. Marr has avoided these traits, so hearing each in full bloom on The Messenger is rather thrilling; he's no longer wandering, he's found his way back home.
BIOGRAPHY
by Jason Ankeny
The supple, ringing guitars of Johnny Marr helped establish the Smiths among the most acclaimed and enduring bands of the 1980s. Born John Maher in Manchester, England, on October 31, 1963, he played in such little-known groups as Sister Ray and Freaky Party before forming the Smiths with singer Morrissey in 1982. In the years to follow they emerged among Britain's most successful acts, but in 1987, following sessions for the LP Strangeways, Here We Come, Marr dissolved the group, claiming their musical approach had gone stale.
In the wake of the Smiths' demise, he made cameo appearances on records by the likes of Talking Heads and Kirsty MacColl before joining Matt Johnson's The The for 1989's Mind Bomb. Marr also teamed with New Order's Bernard Sumner and Pet Shop Boys' Neil Tennant in the alternative supergroup Electronic, scoring a hit with the single "Getting Away With It." Apart from a handful of guest appearances, he kept a relatively low profile during the 1990s, most notably lending his talents to The The's 1993 effort Dusk and Electronic's long-awaited sophomore record, 1996's Raise the Pressure.
Marr returned to music three years later on Electronic's third album, Twisted Tenderness, which wasn't released in the U.S. until fall 2000. He also spent time working with his new band, the Healers, playing dates across England. The next few years saw a time of redefinition and reflection for Marr. He finally assembled his Healers with ex-Kula Shaker bass man Alonza Bevan and Ringo Starr's drumming son, Zak Starkey, in 2002; a deal with ARTISTdirect's iMusic followed before the end of the year. Fans of this legendary guitarist were treated to Marr's proper singing debut in early 2003 with the release of Boomslang. In 2007 Marr appeared on the Washington band Modest Mouse's album, We Were Dead Before the Ship Even Sank, and toured with them as a member.
