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Johnny Marr – Easy Money
The early 1980s weren’t the best of times to be an aspiring guitar player. Twenty years earlier, the head of Decca records, Dick Rowe, had made the biggest A&R gaff in pop history with the legendary clanger “Guitar groups are on their way out, Mr Epstein”. But in 1982, Rowe’s apocalyptic prophecy suddenly sounded frighteningly real. After the initial roar and storm of punk, British pop music had succumbed to a synthesizer-driven pursuit of new waves and new romanticism. In an age of Vienna’s, Tainted Love’s and Too Shy’s, the pure sound of six-stringed, melodic pop – be it as amorous as The Beatles, as lascivious as The Stones or as giddy as T.Rex – was fast becoming a lost cause with few willing to fight its corner.
That all changed with Johnny Marr.
Born in Manchester on Halloween 1963, of Irish heritage, Marr’s earliest musical memories are the get-togethers of his extended family, perhaps – as his early guitar idol Marc Bolan would sing – dancing himself out of the womb to the traditional strains of Black Velvet Band. As a child, he’d be spellbound by his parents’ record collection: the forlorn dramas of Del Shannon, the prison doldrums of Johnny Cash and the heart-popping bliss of his mother’s Four Tops singles. All these influences would linger at the back of the boy Marr’s brain, waiting for the command to attack his fingertips at a later date.
That date finally came during the early summer of 1982 when Marr, just 18 years-old, formed The Smiths after seeking out the reclusive and elusive Stretford poet, Morrissey. Musically, the sound of The Smiths was a guitar noise nostalgically familiar yet equally dumbfounding in its pristine newness. The tunes were giant, euphoric and instantaneous but woven together with such nimble flair it appeared as if the guitar was playing Marr instead of the other way round. Lost for words, early critics of the day undersold him with the words “jingle” and “jangle” when, had they tried, they might better have described the sound of Johnny Marr as that of Van Gogh’s Starry Night in angry animation. Or the echo of diamonds raining down upon zinc-plated cobblestones. Or the sound of kitchen cutlery bouncing off a gaffer-taped Telecaster (which, ridiculous as it sounds, is how Marr achieved some of the resonant clangs in This Charming Man.)
LINKS:
http://www.johnny-marr.com
http://www.facebook.com/officialjohnnymarr
http://www.twitter.com/johnny_marr
http://www.instagram.com/johnnymarrgram -
J-Fresh ft. Predz UK, Yus, Tomy Turner – Lock Down
Dropping alongside his second album, ‘Juice’, J-Fresh released the video for ‘Lock Down’ featuring Predz UK, Yus, and Tomy Turner.
‘Lock Down’ is available to stream/download now alongside the full ‘ Juice’ album and hosts a hard and heavy line-up of the UK urban music scenes favorites including Swiss, Monkstar and Ayo Beatz. J-Fresh’ producers palette is demonstrated in the range of productions that make up ‘Juice’ as he incorporates trending elements of Trap and new age grime, which includes Caribbean elements and even some underlying tones of East Coast Hip Hop, showcased on the heavy hitting ‘Die Young’ (topped with the vocals of Swiss).
SOURCE: Official Release
LINKS:
http://jfresh.co.uk
https://twitter.com/JFreshOfficial
https://facebook.com/jfreshofficialuk -
Good Will Remedy – Johnny
Americana is where the song is king – a broad genre that encompasses country, alt-country, and rock –and it is here that Good Will Remedy find themselves at home.
With a long history in the local and national music scene and a C.V that includes Brisbane legends Pharaoh’s Playground and BUZZkillers – Good Will Remedy are a band awash with strong songwriting and performance craft with an honest southern fried feel tinged with alt Countryesque Americana styling.
Following on from their well-received debut album, GWR have released their second album Silver Lined – launching the album to a packed house at iconic Brisbane venue Lefty’s Old Time Music Hall in May.
Lead Singer Will Lebihan suggests that “the strength of the songs allows quite a bit of flexibility performance wise -we work hard to ensure that the song remains king – the other flashy stuff can come later – if at all!”
That flexibility in performance has seen GWR perform on larger stages in full band mode as well as smaller more intimate venues in a more stripped back format – no matter which way it comes, the crowds continue to grow and word continues to spread – but the song remains king – and so it should!
SOURCE: Official Bio
LINKS:
http://www.goodwillremedy.com
https://www.facebook.com/Good-Will-Remedy-1562219384082100/
https://www.instagram.com/will_remedy
https://goodwillremedy.bandcamp.com
https://soundcloud.com/pharaohleb