What The Critics Say
John Squire's second solo album is a loose, chugging affair built on bright ringing guitars and the artist's appealingly scraggled voice. While Marshall's House is, at heart, a concept album inspired by the paintings of Edward Hopper, Squire's scratchy warbled vocals and the music's bohemian shuffle register stronger than any conceptual theme. Like Liam and Noel Gallagher, Robyn Hitchcock, the Lilys, and World Party's Karl Wallinger, Squire mines the catchy psychedelic landscape of heroes like the Beatles and the Pretty Things. Squire's twist is a punchy bar feeling akin to Nick Lowe's. Where some neo-psychedelic followers strive for catchy choruses, with Squire it's about an overall mood of hazy rock. As such, Marshall's House isn't the sort of album to spawn hit singles. Rather, it's one that sets a single cool tone, rocks a bit here and there, and settles into chilled grooves. It's safe to say that Squire's voice is an acquired taste that some listeners might have trouble appreciating, and with this album his voice becomes increasingly disheveled with each new song. This is actually a blessing for fans, because Squire's voice and guitar are a perfect fit on these 11 songs. Newcomers weaned on the Stone Roses might lose their footing, but listeners looking for a sublime blend of pub rock and psychedelic rock are in for a treat. Marshall's House might sound out-of-place compared to music-topping the charts in 2004, but it's a sublime, rocking experience that kicks out timeless jams and confirms John Squire's ace musical sensibilities. ~ Tim DiGravina, All Music Guide
'Time Changes Everything'
What The Critics Say
This debut solo album was John Squire's first proper release since the only record put out by his painfully mediocre traditional rock band, The Seahorses, in 1997. Though no one doubted his great potential for songwriting, Squire's protracted musical lull and disappointing '90s output didn't exactly set expectations sky-high upon the release of Time Changes Everything. The album was no disappointment. It can be compared with The Stone Roses' swan song Second Coming, especially on the folkier tracks such as "Tightrope" and "Your Star Will Shine Again." The big difference is, of course, the vocals. Let there be no doubt: the singing on this record isn't pretty. Squire croons dementedly throughout the whole album, resembling several other distinctive vocalists such as Peter Perret of The Only Ones, Bob Dylan, and David Bowie. Sometimes, when he restrains his vocal escapades or if the track is particularly wild, the singing works splendidly; on a few other occasions it clearly weakens the album. Lest one forgets, this is a man who took up singing shortly before turning 40 -- don't judge him too harshly. The production is altogether exquisite, giving Time Changes Everything a fittingly warm, organic, early-'70s sound; hammond organ, mellotron, and Fender Rhodes are features throughout the whole record. It is mainly due to his brilliance as a guitarist thatJohn Squire has attained legendary status -- and we get to hear several flashes of his brilliance here; he has, thankfully, restrained himself considerably since the guitar-narcissism that was dominant on his two most recent releases; the guitar textures now beautifully fitting the songs; not the other way around. Lyrically, Squire plays the eloquent bard -- possessed by sageness and telling fragmentary and esoteric tales containing various allusions to The Stone Roses. This album is in no way without flaws. Nevertheless, it's good and utterly likeable folk-rock in the vein of early-'70s Dylan and Rolling Stones. The best songs are the melancholic title track, the great pop song "All I Really Want," and the tranquil, beautiful album closer, "Sophia." ~ Anders Kaasen, All Music Guide
