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Alternative & Indie - Released June 15, 2018 | New Voodoo Records

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Pop - Released February 25, 2013 | Warner Records

Booklet
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 him, 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. © Stephen Thomas Erlewine /TiVo
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Alternative & Indie - Released October 9, 2015 | New Voodoo Records

After a grueling international touring schedule over the course of three years in support of his first two solo albums, 2013's The Messenger and 2014's Playland, former Smiths guitarist/songwriter (who has become a legendary legendary guitarist/singer/songwriter) Johnny Marr compiled this 17-track live album mostly from shows at O2 Academy Brixton and his hometown's Manchester Apollo in October 2014. With his steady touring lineup of guitarist/keyboardist James Doviak, bass player Iwan Gronow (the Mutineers, Haven), and drummer Jack Mitchell (Haven, Bad Lieutenant), he showcases his rhythmic, textured guitar playing and reinforces the fact that he's not a bad vocalist, either, even proving a fine substitute for Morrissey on their former band's "Bigmouth Strikes Again" (an album highlight), "The Headmaster Ritual," "There Is a Light That Never Goes Out," and "How Soon Is Now." Marr also performs a tune by a different former band, Electronic's "Getting Away with It," and covers the Sonny Curtis (er, the Clash) classic "I Fought the Law." It's a pedal type of show, the guitars are mixed loud and clear, and one just might catch oneself singing along with the crowd on "There Is a Light...." © Marcy Donelson /TiVo
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Alternative & Indie - Released September 30, 2014 | New Voodoo Records

Johnny Marr always wanted nothing more than to play guitar in a rock & roll band, so once he finally got his solo career off the ground in 2013 with The Messenger, he couldn't stop. As he toured the album, he continued to write new songs, then he took his touring band back into the studio with producer Doviak -- the same collaborator as on the 2013 record -- to knock out Playland. Unsurprisingly, the 2014 sequel feels cut from the same cloth as The Messenger, containing the same blend of classicist British pop values and modernist rock production that constitutes something of a throwback to the pre-Brit-pop '90s. If anything, Playland places a heavier emphasis on prominent dance beats ("Easy Money") and shimmering synthesized surfaces ("Candidate," "25 Hours"), which means this winds up recalling Electronic nearly as much as it does the Smiths, a nice transition that emphasizes Marr's sonic palette nearly as much as his songwriting and expert instrumental skills. Furthermore, Playland proves Marr wasn't wrong to rush into the studio to cut a second album quickly: it may glisten more than The Messenger, but it's a more visceral experience, gaining energy from its performance and also the sense that nothing here was fussed over. All this means that Playland is superficially more pop with all its style and flair, but it plays more like a rock & roll album, always in a hurry to make its point understood as quickly as possible. © Stephen Thomas Erlewine /TiVo
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Alternative & Indie - Released April 19, 2015 | New Voodoo Records

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Alternative & Indie - Released February 22, 2019 | New Voodoo Records

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Alternative & Indie - Released August 8, 2019 | New Voodoo Records

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Alternative & Indie - Released April 19, 2015 | New Voodoo Records

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Alternative & Indie - Released December 11, 2017 | New Voodoo Records

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Alternative & Indie - Released October 3, 2014 | New Voodoo Records

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Alternative & Indie - Released December 14, 2018 | New Voodoo Records

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Alternative & Indie - Released May 11, 2018 | New Voodoo Records

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Alternative & Indie - Released November 9, 2018 | New Voodoo Records

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Rock - Released July 19, 2013 | Warner Records

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Alternative & Indie - Released June 26, 2015 | New Voodoo Records

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Alternative & Indie - Released March 22, 2019 | New Voodoo Records

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Alternative & Indie - Released December 12, 2014 | New Voodoo Records

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Alternative & Indie - Released September 21, 2018 | New Voodoo Records

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Alternative & Indie - To be released October 15, 2021 | BMG Rights Management (UK) Ltd

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Alternative & Indie - Released April 6, 2018 | New Voodoo Records