Skip to main content

100 Albums: "Playland" by Johnny Marr

Kurt is going through his favorite records. Read the explainer or view the master list.

Artist: Johnny Marr
Title: Playland
Released: 2014
Genre: post-punk britpop


Best known as a guitarist and co-writer for the Smiths, a band that broke up in 1987, Johnny Marr has had a long career in the background of rock-and-roll. He was briefly in the Pretenders and Modest Mouse. He did a lot of session work. He produced a few albums, did a stint with the Cribs. And then in 2011, he started putting out solo albums. And... this is one of them. And it's really quite good.

Playland is the sort of album that gets written by a rhythm guitarist. The leads are slow and thick and melodic. The rhythm parts are densely layered but still pop and jangle. There's a definitely britpop sheen to the whole thing: solid hooks, simple structures with lots of tiny variations over the course of a song, a bit of the old post-punk jangle, and a healthy dose of reverb on everything. Although, for as atmospheric as its musical elements are, it's got a real sense of movement. The single Easy Money is the standout song and the clear radio track. The opener Back In The Box is excellent. 25 Hours is a bass-forward chunky, almost punk track. I love the chorus on The Trap and Candidate, two of the slower songs.

But really, what's most enjoyable about this record is how well put together it is. Yes, the songs are catchy and impressive and all of the instruments sound good, but you also have to take a step back to appreciate the craftsmanship on display. Marr has been playing in bands for over four decades now. He's really quite good at this.

Further Listening: Marr has two other solo albums that I haven't listened to, although I've liked the snippets I've heard. But if you just want to revel in some rhythm guitar awesomeness, then there's nothing better from him than How Soon Is Now?

Comments

Popular posts from this blog

Alexandra Rowland And Bad Faith Accusations

This morning, writing twitter was blown up by a post from Alexandra Rowland accusing Scott Lynch and Elizabeth Bear of some nasty manipulative behavior. I have reason to believe that Rowland is acting in bad faith. Seven or eight years ago, Rowland and I were in the same writing group. I didn't know them well, but we became Facebook friends because that's what you do. At some point after we fell out of contact with each other, they made a post about an affair with an influential older male who had lied about being in an open marriage and proceeded to manipulate and gaslight and emotionally abuse them. I didn't know any of the people involved other than Rowland, but I was affected enough by Rowland’s post that I can still recall reading it all these years later. So when I saw Rowland's blog this morning, I assumed it was the same situation... except the dates weren't right. The Bear/Lynch events took place in 2016, but the post I remembered was older than that. So I

100 Album: "Game Of Thrones Season 3 Soundtrack" by Ramin Djawadi

Kurt is going through his favorite records. Read the  explainer  or view  the master list . Artist:  Ramin Djawadi Title:   Game Of Thrones, Season 3 Soundtrack Released:  2013 Genre:  DAH duh, duh-duh-DAH duh, duh-duh-DAH duh He's not as big a name as Hans Zimmer or John Williams or the various Newmans out there, but Ramin Djawadi is easily the most interesting composer working in television right now (with due respect to Bear McCreary). Soundtracks, especially television soundtracks because they're produced so quickly, have a tendency to serve more as a wall of atmosphere than anything else. But Djawadi's work here and on Westworld  has generated some amazing musical themes. There's a strong undercurrent of leitmotif informing the way the music flows together and the themes those motifs are built around are damned  catchy--which you know if you got the joke in the genre description above. While all of the soundtracks for GoT  are very listenable, this is m

On Getting Laser Eyes

Last week I got Lasik. I was looking forward to not having to deal with glasses getting smudged by my kids or slipping off my face. I figured that not needing them would be pretty convenient. However, the words I heard over and over from other people who'd already done it were: "life-changing." That seemed to be overstating a bit. Convenient, yes, but life-changing? I didn't get it. I get it now. I've had some kind of vision correction, either glasses or contacts, for the last thirty-odd years, which is nearly as far back as I can remember. And what I hadn't realized was the extent to which this had become part of my identity. It's not that I thought glasses were cool because I wore them--although I did and they are. It's that the ability to see was, for me, artificial and temporary. And my vision was pretty bad, so my natural state was one of... not so much "blindness" as "isolation." There was a layer of vagueness that sat bet