Post Tagged with: "Johnny Marr"

Johnny Marr, “Easy Money” from Playland (2014): One Track Mind

Johnny Marr, “Easy Money” from Playland (2014): One Track Mind

“Easy Money,” from Johnny Marr’s forthcoming solo album ‘Playland,’ is ridiculously listenable.

Juaneco Y Su Combo: The Birth Of Jungle Cumbia (2013)

I always think of music born from culture as being a purely organic thing. Say, the country blues of the American south; the chants of Tibet; the music of the Sufis. But here we have a counterexample

(Cross the) Heartland: Pat Metheny, “Omaha Celebration” (1976)

(Cross the) Heartland: Pat Metheny, “Omaha Celebration” (1976)

Last week I said that Unquity Road came the closest to what we think of as a traditional jazz tune. With “Omaha Celebration,” we might as well conclude that this particular trio is just not going to approach “normal.”

The Friday Morning Listen: The Smiths – Meat Is Murder (1985)

The Friday Morning Listen: The Smiths – Meat Is Murder (1985)

Why the hell am I listening to The Smiths? The simple answer is that I saw a friend tweeting that he was listening to them. I was surprised, because I could have sworn that he found Morrissey’s voice off-putting.

Johnny Marr – The Messenger (2013)

A hired gun and a second fiddle for almost his entire career thus far, Johnny Marr finally slips into the driver’s seat with The Messenger. His debut solo record is his own creation from top to bottom, a propulsive and diverse recording top-loaded with raucous accoutrements and immense souvenirs. NME’s “Godlike Genius” dealt magic in the Smiths and co-wrote songsRead More

One Track Mind: Johnny Marr, “Upstarts” from The Messenger (2013)

One Track Mind: Johnny Marr, “Upstarts” from The Messenger (2013)

Credentialed alterno-god Johnny Marr, who was cool when today’s hipsters weren’t even glimmers in their parents’ eyes, returns with a stark, riff-fueled message: “The underground is overground.”

One Track Mind: The Smiths, "How Soon Is Now?" (1984; 2011 reissue)

In its way, Johnny Marr’s riff on this Smiths song was every bit as important in its era as Keith Richards’ on “I Can’t Get No Satisfaction” a generation before. It sounded like angry desperation — and it worked in perfect contrast to the lyrics

Hans Zimmer – Inception (2010)

by Tom Johnson I found myself entranced by the horn-laden theme that repeatedly roared through the ads for Inception. Less song-like and more a series of massive, rumbling horn crashes, the music seemed as important as it was mysterious. Hans Zimmer’s score was no mere backing music. Like the biggest scores we’ve come to know, it was a thematic monster,Read More

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