In a way it seems strange that we still hold on to the slim hope that the Stone Roses’ guitar messiah will once again produce anything on a par with the vision and vibrancy of that seminal Roses’ debut.
After all, that was 15 years ago and Squire’s post-Roses group, The Seahorses, were never anything more than a lumpen pub rock band. On the other hand, this is the man that blew us away with the epoch-defining licks of "Fools Gold" and one of the finest guitar codas ever on "I Am The Resurrection".
Sadly, "Marshall’s House", Squire’s second solo offering, should extinguish that hope for good. Confusingly inspired by miserablist pre-war American artist Edward Hooper, the lack of creativity on display here is palpable. Musically, it’s a stodgy form of dad rock influenced by sixties guitar sounds that makes Toploader sound life-changing and Paul Weller funky again. Occasionally, we’re treated to a dash of Squire’s well-renowned fret-wan*ery which, against all odds, comes as light relief.
Worse still though are Squire’s vocals, which retain a Kurt Cobain meets Tom Waits via mockney Jamie Oliver consistency throughout. Ian Brown clearly wasn’t the most talented vocalist in the world, but at least he didn’t sound like a cat being slowly asphyxiated whilst simultaneously being force-smoked Marlboro Reds.
It’s not an abject disaster. "People In The Sun" is a soulful folk-fuelled tune with some nifty percussion and laid back harmonising, only blighted by Squire’s croak. "Yawl Riding A Swell" meanwhile is a decent enough organ-driven love song, possibly because it directly steals the lilting lick of REM’s "Everybody Hurts". Even then, when Squire wails “oooooh come on now dahling” you’re left begging for Michael Stipe to step in.
On the upside, "Marshall’s House" is mercifully only 36 minutes (too) long.
