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Critical | Johnny Marr without The Smiths: the soul of youth, the shell of nostalgia

divorces, civilized or traumatic, they were never good business in the history of rock. Compare that to Oasis, with the Gallagher solo to Pink Floyd after Roger Waters, The Police in front of Sting in his mansion in Tuscany, to the glorious Kinks and the blurred, Ray Davies and, glubs, any disc of the Beatles with the Wild Life of the Wings, or the wreck of the beloved Lennon after exhausting the jar of the genius to Imagine. As you want that the Smiths were one of the greatest things that could happen to british music (and even the popular culture) of the TWENTIETH century, we are doomed to añorarlos every time we cross paths with their irreconcilable craftsmen. And to hasten the entire glimpse of those essences, which kid who wipes up the last crumb of his chocolate cake.

MORE INFORMATION the architect of The sound the Smiths ‘There is a light that never goes out’, the target final of The Smiths

nostalgia is an exercise in sterile, but inevitable. Rang two dozen long songs last night in a Room But abarrotadísima, as it corresponds to the illustrious visitors and long-aguardadas: it was the debut English solo Johnny Marr. But none overshadowed the fascination generated by the six lean visits to the songbook that earned him our friend John Maher your little piece of immortality. With the exception of obvious but critical that Johnny doesn't sing, even remotely, like the old Morrissey. It is correct, even interesting, but poorly defined. Romo, no profile, indistinguishable. And without a hint, of course, mannerism, affectation, the requiebro with the one twenty-year-old sassy is contoneaba, mic in hand, he put the soundtrack to a passage relevant to our lives.

Marr has always understood that that legacy will exceed the wreck, and maybe that is why it has invested long years in collaborative projects or polishing the facet of gregarious. In puridad, we were yesterday to a 55 year old man that only takes five to serve as a leader and soloist. And we plantificaba with a very Kaçak İddaa recent album, under the arm (Call the Comet), the third of the collection, as a lad, eager to show their recent work and become a hollow in the immense labyrinth of the new record. The proposal is skillful and meritorious, is enriched by the taste of elegant old-school, exudes craft and his good drops of passion. But we suspect that no one desempolvará this collection is not already within a decade, but in 2019. If anything, to be reunited with a Walk Into the Sea, which last night shone as the best intersection between the rock mancuniano of school, the arpeggio obsessive and whip synthesized.

A Marr always liked the antics techno, since the times of Electronic in the early nineties, and something of that pulse still remains in New Dominions), while it would be easy to imagine the excellent Hi Hello with the gorgoritos of Moz. Oh, the dance. Marr introduced as “a song disk of Manchester, England,” Getting Away With It, a means of success of Electronic that, by that reivindicarlo, we would have loved to relive with a pitch a little bit more careful.

there were Even hollow for the poison darts, as give it the catchy Bug (“Insect”) to “our friend in the White House.” And for the camaraderie: Johnny likes to repeat repertoire, but yesterday canturreó some phrases Fly Like an Eagle (Steve Miller Band), almost like a prank, after asking the track if you had any request from the listener. But all of that is salt and pepper. The authentic protein is found in the two encores the end, There Is a Light That Never Goes Out, and You Just Haven t Earned It Yet, Baby. More large, especially the first, than any of us. Even the own Johnny, a young man of spirit after the shell of nostalgia.

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