In the years following The Smiths’ implosion, guitarist Johnny Marr spent the better part of two decades exploring the surrounding musical environment. His destiny seemed to be an inability to find exactly what he was looking for in any band, collaboration, or studio session.
During this odyssey, he participated in many genres and configurations. He worked with The Pretenders, The The, Electronic, The Pet Shop Boys, Kristie Mac Coll, The Talking Heads, Beck, Modest Mouse, and The Cribs. He participated in projects like Neil Finn’s 7 Worlds Collide. While mingling on these various backstages and in studios, he met the eventual members of the first band he would form after The Smiths, the Healers.
Marr would form the Healers with drummer Zak Starkey, bassist Alonza Beven, percussionist Liz Bonney, keyboardist Lee Spencer and guitarist Adam Grey. Marr described the time in the group as “Holing ourselves up in our other world and experimenting… everything was about discovery.” In retrospect, Boomslang would display Marr taking those first steps toward solo artistry. Ten years later, in 2013, he would release the esteemed Messenger, followed by three successive solo albums. The Healers with Boomslang would be a critical weigh station preparing Marr for his eventually prolific, ongoing solo career.
Boomslang would be a mesmerizing mix of all Marr had learned along his journeys. It would contain heady flashes of The Smiths’ guitar greatness, adding eastern-sounding riffs and funky beats. With the album’s re-release, the listener gets to experience the entire output of the Healers, with the original 11 tracks, five never-before-released songs, and two mixes of existing tracks, providing a comprehensive 18 songs for Marr fans.
Boomslang delivers songs like “The Last Ride” and “Another Day” reflect a Stone Roses sonic while other tracks like “Caught Up” and “The Way That It Is” display the influence Neil Finn and the 7 Worlds Collide project had on Marr’s work. The Smiths guitar sensibilities are found throughout the recording, specifically on “All Out Attack”. There are also glimpses of what the future would hold with “Banging On” and “Down on the Corner”, which could have easily been placed on his solo albums, the Messenger or Playland. There are also moments where Marr takes different approaches with acoustic pieces like “Headland” and the Dylaneque “Don’t Think Twice, It Will Be Alright”. All the offerings reveal an individual breaking out from his first incarnation into something other.
Over two decades later, Boomslang’s reissue not only allows the serious Marr fan to complete their library. It also provides a look into the aftermath of The Smiths. Morrissey undoubtedly was first out of the gate looking to emote and shock. Marr went another route and paused, doing a slow burn, observing and considering. Meanwhile, Marr stretched his talents before launching his esteemed solo career. It is rare to see a legendary performer taking that leap of faith after their first huge success, but that is what Boomslang captures.
This is a must-own disc for Marr fans. However, for the uninitiated, it is recommended to get more acquainted with Marr’s solo works and then jump back to Boomslang to fully appreciate its importance.
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