A must for any vinyl collector and everyone’s streaming service just got a little better! Released in 2003, Boomslang is the only album by Johnny Marr + The Healers. The band consisted of Zak Starkey, drummer for the Who and son of Beatle drummer Ringo Starr. Bass guitar provided by former Kula Shaker bassist Alonza Bevan and with Johnny Marr playing guitars, lead vocals and keyboards.
Marr is talking post Brit pop and time wise 2003 was certainly that, but, the sound of that time is unmistakable in these tracks. ‘The Last Ride’ opens up the album and we all know the first song sets expectations and opinions. It sets the scene well. Nothing over complicated but a driving base, Marrs vocal with intertwining guitar fills and overlays in plentiful display. The electronic side takes a back seat here but the influence of Alonzo Bevan shows influence which continues through the album, hints of ethereal Kula flowing along.
Johnny Marrs vocals sound awesome on this record. Ok I’m a fan and have been since I first heard The Smiths too many years ago so probably wouldn’t say different but it’s a fact. They are not the vocals you’d either expect or hear today. With the opening track ‘The Last Ride’ you could see that song as comfortable here as it could be on a Stone Roses or Seahorses record and maybe there is a Squire comparison to the guitar but I’m referring purely to vocals. It sounds and works superbly.
Next track in ‘Caught Up’ shows that Kula Shaker influence in the band with that ethereal feel both musically and vocally. ‘Down in the Corner’ is a feel good album track. The kind of song you’d expect to exist on this record. A relaxed to tapper that doesn’t pass you by but inadvertently puts a smile on your face and occasionally giving you a nudge. ‘Need Up’ is next and although not an instrumental it leans that way, not a far cry but certainly a cry from a bit further down the road from the previous track. Grittier and darker feeling like a track forcing a change in album direction from here on in. Not so ‘You are the Magic’ is up next which takes up the electronic journey, the expected guitar alongside electronic pips and pops and twisted knobs, simplicity reigns here a long way from the previous track but experimental and interesting. ‘Inbetweeners’ brings it back to what to what you expected at the start, that late 90s Brit pop influence is back to check the albums trajectory but with a big swing of influence from Black Rebel Motorcycle Club, it could almost exist on B.R.M.C following Red Eyes and Tears. This is pure Johnny Marr experimental, not afraid to play with influence but borrow and make it his own.
On first play you’ll not be able to know or guess the sound coming next, each songs has a life of its own bringing in influence and style from many years, obvious at times which is a good thing! Experimental at times but always interesting.
In the YouTube shorts interview Johnny Marr talks about electronic music and that it was late 90s early 2000s and you couldn’t ignore it. He had formed a band at the end of the eighties post-Smiths with Bernard Sumner called ‘Electronic’ and there are hints of this sprinkled like guitar magic throughout.
Influences cited in the interviews are Secret Machines, Boards of Canada and Black Rebel Motorcycle Club as mentioned being around at that time and they are all present if you know the sound.
As stated at the beginning this is one to own. It’s like a Sorbet! Not comparing it to a sorbet from colour, texture or taste, but no matter what you’re listening to this would be a pallet cleanser that opens up many musical avenues for ‘what next’. Or just play it on repeat, I’ll never bore of its soundscape!
