View Full Version : The All-Inclusive Morrissey and The Smiths thread

06-18-2010, 04:56 PM
I love Morrissey and The Smiths.

The mixture of Morrissey's voice and lyrics and Johnny Marr's guitar and melodies was a match made in heaven. What are everyone's favourite albums and songs?

06-20-2010, 01:12 AM
I was at his gig in Swindon last year when he collapsed and was taken to hospital after playing 1 song!

07-13-2010, 08:46 PM
Bona Drag getting a 20th anniversary reissue in September. I love that album.

To celebrate its 20th Anniversary, on 27th September, EMI will release through the resurrected 1960s Major Minor label, with Morrissey's full cooperation, a remastered Special Edition of Bona Drag.

Originally released to much acclaim in October 1990, Bona Drag perfectly captures Morrissey's effortless transition in becoming a solo artist. It brings together his exceptional first seven singles, four of which went Top 10: his triumphant Top 5 debut, "Suedehead"; the anthemic, apocalyptic lament to wet seaside towns, "Everyday Is Like Sunday"; "The Last Of The Famous International Playboys"; and "Interesting Drug". The Top 20s "Ouija Board, Ouija Board", "November Spawned A Monster", and "Piccadilly Palare" and a selection of high quality b-sides from the singles complete the album.

The compilation has now been remastered and overseen by Morrissey, and is updated with the addition of six previously unreleased and much coveted songs from the era:

- "Happy Lovers At Last United"
(Outtake from "Sunday" sessions)

- "Lifeguard On Duty"
(Outtake from Viva Hate sessions)

- "Please Help The Cause Against Loneliness" (demo)
(Outtake from Viva Hate, previously covered by Sandie Shaw)

- "Oh Phoney"
(Outtake from Bona Drag sessions)

- "The Bed Took Fire" (early version of "At Amber")

- "Let The Right One Slip In" (alternate long mix)

Directing the artwork for the reissue, Morrissey has chosen to return the cover art - taken from the "November" video - back to its natural colour, so his shirt is black. In addition, he has also decided to update the back and inner artwork with a selection of favourite, hand-picked and rarely-seen photos.

The LP version will be a double heavyweight 180g vinyl, housed in a wide-spine sleeve with a pull-out poster. The CD will be housed in a gatefold, card sleeve with an eight-page booklet, which will contain the aforementioned photos.

Major Minor Records was started by Radio Caroline manager Phil Solomon. Its truly eclectic roster of artists and singles releases makes it a perfect home for Morrissey. These include such esteemed and high-watermark pop classics as:

David McWilliams - Days Of Pearly Spencer
Jane Birkin and Serge Gainsbourg - Je t'aime... moi non plus
Them - Gloria
Tommy James and The Shondells - I Think We're Alone Now & Mony Mony
Taste - Blister On The Moon
July - My Clown
Frazer Hines - Who's Dr. Who?
Malcolm Roberts - May I Have The Next Dream With You
Isley Brothers - It's Your Thing
Karen Young – Nobody's Child
The Dubliners - Seven Drunken Nights

This will be the first release on the label since 1970.

There will be more Morrissey news to come in the next month.

Bona Drag tracklisting (running order subject to change):

1. Piccadilly Palare
2. Interesting Drug
3. November Spawned A Monster
4. Will Never Marry
5. Such A Little Thing Makes Such A Big Difference
6. The Last Of The Famous International Playboys
7. Ouija Board, Ouija Board
8. Hairdresser On Fire
9. Everyday Is Like Sunday
10. He Knows I'd Love To See Him
11. Yes, I Am Blind
12. Lucky Lisp
13. Suedehead
14. Disappointed
15. Happy Lovers At Last United (Previously unreleased)
16. Lifeguard On Duty (Previously unreleased)
17. Please Help The Cause Against Loneliness (Previously unreleased)
18. Oh Phoney (Previously unreleased)
19. The Bed Took Fire (Previously unreleased)
20. Let The Right One Slip In (Alternate long mix, previously unreleased)

07-13-2010, 09:16 PM
What are everyone's favourite albums and songs?

If I had to name just one song it would have to be There Is A Light That Never Goes Out! It's beyond my comprehension it wasn't released as a single at the time but years later in 1992.

Strangeways is my favourite album of theirs.

07-14-2010, 02:02 AM
I'll be perfectly honest: the only Smiths album I've listened to in its entirety is The Queen Is Dead. So with that said, I'll say my favorite songs so far are "Bigmouth Strikes Again", "A Rush and a Push and the Land is Ours," and "Pretty Girls Make Graves."

07-14-2010, 10:03 AM
There's going to be a Smiths/Morrissey dance party in Portland next week. I am so psyched!!


07-14-2010, 11:13 AM
I have to admit I find most of the Morrissey solo material quite dull. He just doesn't have that magic of Marr.

07-14-2010, 04:40 PM
Marr is one of my all-time favourite guitarists and I do agree that some solo Morrissey doesn't have that quality, but Bona Drag is amazing and I love Ringleader of the Tormentors and Live at Earl's Court too. "Dear God Please Help Me" is one of his best songs, imo, with one of his career-best vocals. And the lyrics!

As for The Smiths, I could go on and on about my favourites but my most beloved are probably "Still Ill" and "Back to the Old House" and "This Charming Man." But there are so many: "There Is A Light That Never Goes Out," "Hand in Glove," "How Soon is Now," "Ask," "Bigmouth Strikes Again," "Wonderful Woman," "Heaven Knows I'm Miserable Now." The list goes on.

My next goal is to see Morrissey live.

07-14-2010, 04:50 PM
Menju, I'm not stalking you. I promise. You just keep starting threads about all of my favorite artists!!

Anyway, that reissue (reissue, repackage . . .) of Bona Drag: [dance][dance][dance]

07-15-2010, 01:29 PM
I have to admit I find most of the Morrissey solo material quite dull. He just doesn't have that magic of Marr.

I was like this for a long time, but the past few years I find myself listening to his solo work much more than The Smiths. Viva Hate, Bona Drag, and (my secret favorite) Kill Uncle I'd all rank higher than Strangeways.

07-15-2010, 01:42 PM
What are everyone's favourite albums and songs?

Favorite Smiths Album: The Queen Is Dead
Favorite Smiths Song(s): Unhappy Birthday, That Joke Isn't Funny Anymore, There Is a Light That Never Goes Out
Favorite Moz Album: Vauxhall and I
Favorite Moz Song(s): Tomorrow, Lifeguard Sleeping Girl Drowning, Girl Least Likely To (This is off the top of my head; I hadn't thought about what my favorite solo songs were as much as I had with the Smiths.

07-16-2010, 03:45 PM
Don't care for Meat Is Murder or any of the solo projects (ok, Electronic is ok), and I think the debut and Strangeways are only half-great...but I still love the Smiths. It's not a proper album, but Hatful Of Hollow is one of my favorite CD's.

Favorite song: definitely that BBC version of Reel Around The Fountain. Pretty much everything on The Queen Is Dead is almost as good.

Marr gets all the credit, but Andy Rourke is the main reason I love the Smiths' music. His bass lines on I Know It's Over, This Charming Man, etc. just make those songs.

07-16-2010, 03:50 PM
^ Yeah I could just listen to the bass line in This Charming Man and be happy. The guitar, the lyric, the vocal and the melody on top elevates it to perfect status. I need to hear Hatful of Hollow; I first heard the b-side version of Back to the Old House but the Peel session one from '83, the acoustic one, is also extremely gorgeous.

08-18-2010, 05:05 PM
Morrissey lists his 13 favorite albums. No real shockers are here, except for #12.


08-18-2010, 09:22 PM
I was surprised at that one too, never heard him mention Jeff. Also thought Morrissey liked Nico's Desertshore better, but hey, any Nico's good.

08-28-2010, 02:12 PM
Got Strangeways, Here We Come. Loving it. I had heard the singles but criminally not some of the other classics. Already love "A Rush and a Push and the Land Is Ours," "Death of a Disco Dancer," and "Paint a Vulgar Picture." Morrissey's voice is excellent on the album.

08-28-2010, 02:50 PM
Got Strangeways, Here We Come. Loving it. I had heard the singles but criminally not some of the other classics. Already love "A Rush and a Push and the Land Is Ours," "Death of a Disco Dancer," and "Paint a Vulgar Picture." Morrissey's voice is excellent on the album.

"Unhappy Birthday" is one of my favorite songs of all time.

09-03-2010, 09:53 PM
^ It's fantastic. I've fallen in love with the whole album.

New interview in The Guardian. The comment about the Chinese being a "subspecies" due to their reported treatment of animals is getting some negative attention


It's a bit like being on a date. It's not a blind date exactly; poet meets songwriter seems to be the general idea. But I've no idea if he knows who I am, and for all that I've stalked the man and his music over the years, I can't say with any confidence that I know who Morrissey is either. Can anyone? So when the door opens and he strides into the room, neither of us seems sure of the protocol. I am meeting him of course, that's a given, but is he meeting me? I shake his hand, a square and solid hand, more in keeping with the mobster and bare-knuckle boxer image he's cultivated of late than the stick-thin, knock-me-over-with-a-feather campness of yesteryear. Then he gives a little bow, a modified version of the one I've seen him give about a thousand times on stage, one foot forward and the other behind, head low, eyes to the floor. It's a bit like being greeted by a matador: the gesture of respect is genuine, but we all know what happens to the bull. I cast my eyes downward as well, and notice that he's wearing cute gold trainers, like those football boots reserved for the world's greatest players. They look like they should have wings on the side.

We're in the ballroom of a swanky hotel in a swanky street near London's swankiest department store, and while he's ushered away in the direction of an ornately upholstered chair for a portrait photograph, I head towards the hospitality trolley. Rock'n'roll riders are famously lavish or idiosyncratic, but I am in the company of a man who is famously abstemious. So where there might have been gallons of Jack Daniel's and chopped pharmaceuticals offered on the bare breasts of Filipino slave girls, it comes down to a straight choice between hand-stitched tea bags and several cans of Fanta orange, Morrissey's fizzy drink of choice.

I sidle over to the action. Morrissey is swivelling his head as instructed, registering one pose, then another. The light falls on his rugby-ball chin, then picks out his quiff, somewhat thin these days but still capable of standing a couple of inches above his scalp when given a bit of a finger-massage. He wears a red polo shirt, knuckle-duster rings and the general high-definition radiance of his celebrity. When the camera flashes, there's the occasional glimpse of the younger man within the 51-year-old face, then it fades. Somewhat implausibly in these decorous surroundings, I notice a push-bike leaning against the wall behind the photographer's screen, so I wheel it out and suggest we could do a remake of the This Charming Man video.

"It's been done," he says, with a kind of theatrical dismissal.

I was only kidding.

"Now both of you together," says the photographer.

"Cameron and Clegg," quips Morrissey.

"Which one am I?"

"You're Vince Cable."

The photographer positions us in front of a full-length mirror, not more than three feet apart. It's a me-looking-at-him-looking-at-me-looking-at-him sort of idea.

"Bit closer, please," says the photographer, so I edge a little nearer.

Morrissey: "Am I looking in the mirror?"

Photographer: "Yes, please."

Morrissey: "'Twas ever thus."

Photographer (to me): "A bit closer."

I do what I'm told, until my nose is no further than six inches from his cheek. I can't remember the last time I got within this range of another man's face, and this man is Morrissey, and we've only just met. I notice the grey hairs in his sideburns, his indoor complexion, the cool quartz of his eyes. I inhale the atomised confection of what I assume is an expensive cologne.

For me, this close encounter could be described as the arrival point of a journey that started over a quarter of a century ago. I won't go into the exact circumstances, except to say I was lying in a bath in a house on the south coast of England shared with five geography students and several members of the Nigerian navy. On the windowsill was a battery-operated transistor radio, and out of its tinny speaker, John Peel was talking about a band called the Smiths. Peel was never one for hype or eulogy, but somewhere within the lugubrious voice and deadpan delivery, I thought I heard a little note of excitement and perhaps even an adjective of praise. I dipped below the waterline to rinse the last of the Fairy Liquid out of my hair, and once the water had drained from my ears, I found myself listening to Hand In Glove. And to a homesick northerner honed on alternative guitar music, it was love at first hearing: everything came together with the Smiths, a band whose very name suggested both the everyman nature of their attitude and the fashioned, crafted nature of their output. When Morrissey sported Jack Duckworth-style prescription glasses mended with Elastoplast I went looking for a pair in the market. When he wore blouses and beads, I waited until my mother had gone to a parochial church council meeting then had a flick through her wardrobe and jewellery box. And once he had appeared on Top Of The Pops with a bunch of gladioli rammed in his back pocket, any garden or allotment became a collection point on the way to the disco, and the dance floor, come the end of the night, would look like the aftermath of the Chelsea Flower Show. The Smiths split up in 1987 but Morrissey threw himself into a solo career, going on to produce – in my estimation – an unrivalled body of work, one that confirms him as the pre-eminent singer-songwriter of his generation. I listen to the albums ceaselessly. Despite which, I have never particularly wanted to meet Morrissey. A high court judge famously branded him as "devious, truculent and unreliable", and in interviews he has always appeared diffident, a touch arrogant and always uncomfortable. In fact, I've always wondered why someone who seems so painfully awkward in the company of others would want to punish himself with the agonies of public performance?

"Because as a very small child I found recorded noise and the solitary singer beneath the spotlight so dramatic and so brave… walking the plank… willingly… It was sink or swim. The very notion of standing there, alone, I found beautiful. It makes you extremely vulnerable, but everything taking place in the hall is down to you. That's an incredible strength, especially for someone who had always felt insignificant and disregarded. Coupled with the fact that you could also be assassinated…"

We're now sitting in diagonally positioned chairs with a table between us, Morrissey with his stockpile of Fanta, me with my list of questions.

"Where's home?"

"I'm very comfortable in three or four places. When the world was a smaller place, Manchester was the boundary. But it's a relief to feel relaxed in more places than just one. I know LA well, but it's a police state. I frequent Rome and a certain part of Switzerland. And I know this city very well."

"And presumably it would be a problem now, walking down Deansgate. Because of the fame?"

"Yes, but I don't really do all the things that famous people do."

"You don't dip your bread in, you mean?"

"Yes. That's very well put. I can see why Faber jumped on you."

It's quickly apparent that Morrissey's wit, articulacy and all-round smartness is always going to mark him out as an oddity in the music business. It's also clear that the sharpness of his tongue will make him more enemies than friends, and his list of dislikes is long. Morrissey on other singers: "They have two or three melodies and they repeat them ad nauseum over the course of 28 albums." Morrissey on people: "They are problems." And on the charts: "Nothing any more to do with talent or gift or cleverness or originality. Every new artist flies in at number one, but in terms of live music they couldn't fill a telephone box." And shockingly, on the Chinese: "Did you see the thing on the news about their treatment of animals and animal welfare? Absolutely horrific. You can't help but feel that the Chinese are a subspecies." Neither is he impressed with Arctic Monkeys' Alex Turner ("an NME creation") or George Alagiah (an unspecified complaint signalled with a roll of the eyes), and his views on the royal family would have seen him hanged in former times. He even has a low opinion of our poet laureate, and when I refuse to be drawn into the sniping, pointing out that she happens to be a friend of mine, this seems to encourage his desire to disparage. Like many who've gone before me, as the conversation rolls on I find I can't unpick the contradictions. The charm, but also the barbed comments. The effeminate gestures, then the surly machismo. The desire to be centre stage coupled with the lack of social ease. The obvious trappings of success, fame and fortune, but the repeated complaints of victimisation and neglect. What I am certain of is that nobody is more aware of being in the company of Morrissey than Morrissey himself. Call it self-consciousness, call it self-absorption, call it self-defence, but every gesture seems carefully designed, and every syllable weighed and measured for the ripples it will produce when lobbed into the pond. Sometimes it's in the form of a brilliant, Wildean retort, sometimes it's a self-deprecating comment of suicidal intensity, sometimes it's a shameless remark about the indisputable nature of his own brilliance, and sometimes it's a claim so mystifying that at first I think he's taking the piss.

"I'm cursed with the gift of foresight," he says. Then a few minutes later, he says it again.

"You don't mean in a crystal ball kind of way, do you?"

"That's exactly what I mean. Cross my palm with silver."

I smile at the thought of one of life's renowned social realists staring into the tea leaves, and I'm on the point of asking him to prove his assertion by forecasting the winner of this afternoon's 3.30 at Market Rasen when I notice he isn't joking.

"Do you find that you've accumulated cash?" he asks me, apropos of nothing.

"I get by."

"Is that a way of saying you've got loads but you're too embarrassed to admit it?"

"How would you like it if I asked you how much you earned?"

"Not an answer."

"I earn more than I thought I would when I became a poet."

"When did you know you were a poet?"

"Not until other people said I was."

Referring to his own experience, he tells me, "Once you feel it and other people feel it, too, you stand and are authorised as a poet. I was the boy least likely to, in many ways. I was staunchly antisocial. It was a question of being a poet at the expense of being anything else, and that includes physical relationships, strong bonds with people. I think you discover you are a poet; someone doesn't walk up to you, tap you on the shoulder and say, 'Excuse me, you are a poet.' "

In fact, Morrissey isn't a poet. He's a very witty emailer ("Bring me several yards of heavy rope and a small stool," he wrote, when I'd asked him if he'd like anything fetching from the north), and a convincing correspondent, especially on the subject of bearskin hats, as his recent letter to the Times testified ("There is no sanity in making life difficult for the Canadian brown bear, especially for guards' hats that look absurd in the first place"). He has also penned an autobiography, which he assures me is "almost concluded". But poets write poems, requiring no backbeat, no melody, and no performance. Being the author of There Is A Light That Never Goes Out and other such works of genius doesn't make him WH Auden, any more than singing in a band called the Scaremongers at weekends makes me an Elvis Presley.

"Are you a violent person?" I ask. "You flirt with violent images in your work. Guns, knives…"

"All useful implements. As you must know, living where you live. Do you go out much, into those Leeds side streets?"


"You're missing everything."

I say, "At this moment in time you have no contractual obligations, do you?"

"That's right."

"I thought labels would be queuing to sign you."

"Believe me, there is no queue." Surprisingly, a rant about the music industry develops into a very touching statement about his band, talking almost paternalistically about his responsibilities and loyalties. The tone of voice reminds me of a recent email he posted to a Mozzer website, a tender and poignant citation for a girl who wasn't much more than a regular face in the crowd at his concerts, but whose devotion and death had clearly touched him. In fact, he talks movingly about all his fans, as if they were blood relatives, or even something more intimate. Which, rightly or wrongly, I take as my cue to ask him about his love life, or his alleged celibacy. Not because I want to know if he's gay or bi or straight, but because I can't understand how a man who apparently shuns emotional involvement and physical proximity of any kind can write with such passion and desire. If it isn't personal, is he simply making it all up?

"Well, it is personal because I have written it. But I don't believe you need to be stuck in the cut and thrust of flesh-and-blood relationships to understand them. Because if that was the case, everyone on the planet who had been married or in a relationship would be a prophet of some kind, and they're not. You don't need to be immersed to understand. And if you do take on a relationship you have to take on another person's family and friends and it's… really too much. I'd rather not. You find yourself working overtime at a factory to buy a present for a niece you can't stand. That's what happens when you become entangled with other people."

"But aren't you lonely?"

"We're all lonely, but I'd rather be lonely by myself than with a long list of duties and obligations. I think that's why people kill themselves, really. Or at least that's why they think, 'Thank heaven for death.' "

"How would you describe your level of contentment?"

He muses on the question for a moment. "Even."

"Does that mean your writing is a cold and clinical activity?"

"No, never clinical. I feel I don't have any choice. It's constant and overpowering. It has to happen. Even at the expense of anything else. Relentless. I know it's… insanity. An illness in a way, one you can't shake off."

"Will you keep on doing this till you fall over, or will there come a time when you decide to pack it in and paint pictures or plant an orchard instead?"

"The ageing process isn't terribly pretty… and you don't want yourself splattered all over the place if you look pitiful. You can't go on for ever, and those that do really shouldn't."

"Any names?"

"No names. Why mock the elderly?"

While trying not to lose eye contact, I glance at the list of remaining questions in my notebook.

"Do you own a valid driving licence?"

"What kind of bland, insipid question is that?"

"It's a good question, isn't it? Has anyone asked you it before?"

"No. But that's hardly a surprise, is it?"

"I thought it was a beauty."

"Why? Because you consider me incapable of operating such large and complex pieces of engineering?"

"OK, how about, 'Do you have any pets?'"

"Yes. Cats. I've had lots of cats. But also many bereavements."

A prescient remark, as it turns out, and one that suggests I should have taken Morrissey's powers of prediction more seriously. Because a week or so later I get a message to say he hates the photographs so much he has insisted they will never see the light of day. The bereavement, it seems, is mine, in the sense that he won't be seen dead with me. And I am to be replaced in the images by a cat. Thirty years of admiration bordering on the obsessive, then a date, then dumped. Jilted for a fucking moggy.

Back at the hotel, he doesn't seem to be in any sort of hurry, but the conversation has run its course, and as a way of winding things up I embark on some ill-conceived sentence that begins as a heartfelt compliment but escalates into some lavish toast of gratitude on behalf of the nation. With no obvious end to the burgeoning tribute in sight, I cut to the chase and simply say thank you.

"And I have a little gift for you," I add, pulling my latest slim volume out of my bag.

"Will you write something in it?"

"I already did."

"Two r's and two s's," he says. And I think, don't worry, Morrissey; if anyone knows how to spell your name, it's me.

He spins around on the thick carpet and walks towards the staircase. Except half way down the corridor he opens the book of poems and pulls out – forgive me, people, but who wouldn't have? – a Scaremongers CD.

"Did you know you'd left this in here?" he asks.

"Er, sort of," I admit.

His eyebrows lift and fall, uncomprehendingly. Then the little wings on his golden shoes flutter about his ankles, and he ascends into heaven. •

• Everyday Is Like Sunday is rereleased on 27 September, and Bona Drag on 4 October.

02-23-2011, 08:06 PM
Yet another "Best Of" set coming, plus a single reissue with unreleased songs from Viva Hate as b-sides

From Pitchfork:

The world wasn't exactly hurting for Morrissey compilations, but it's about to get another one, and Morrissey is actually participating in the release of this one. On April 25, EMI/Major Minor will release The Very Best of Morrissey, a CD/DVD package that will cover Moz's years with HMV and Parlophone. There's a fair amount of tracklist overlap with the great singles collection Suedehead (and a little bit with the 2008 collection Greatest Hits), but the new collection includes relative rarities like Morrissey's nearly 10-minute cover of Johnny Mercer and Henry Mancini's "Moon River" and a previously unreleased solo version of "Interlude", which Morrissey originally released as a duet with Siouxsie Sioux.

The DVD features 11 Morrissey videos and a 1990 live performance of "I've Changed My Plea to Guilty" from "The Jonathan Ross Show". The collection will be available on CD and 180-gram double vinyl, and the vinyl version will come with a pull-out poster. We've got the tracklists for the album and the DVD below, as well as the classic video for "Tomorrow".

On April 18, EMI will also release three different "Glamourous Glue" singles-- a 7" in picture sleeve, a 7" picture disc, and an ECD-- backed by previously unreleased songs from the Viva Hate sessions. The 7" versions comes with "Safe, Warm Lancashire Home", and the ECD version includes "Treat Me Like a Human Being".

Morrissey himself art directed the compilation and the singles.

The Very Best of Morrissey:

01 The Last of the Famous International Playboys
02 You're Gonna Need Someone on Your Side
03 The More You Ignore Me, The Closer I Get
04 Glamorous Glue
05 Girl Least Likely To
06 Suedehead
07 Tomorrow (U.S. Radio Edit)
08 Boxers
09 My Love Life (U.S. Mix)
10 Break Up the Family
11 I've Changed My Plea to Guilty
12 Such a Little Thing Makes Such a Big Difference
13 Ouija Board, Ouija Board
14 Interesting Drug
15 November Spawned a Monster
16 Everyday Is Like Sunday
17 Interlude (Morrissey Solo Version)
18 Moon River (Extended Version)

Bonus DVD:

01 The Last of the Famous International Playboys
02 The More You Ignore Me, the Closer I Get
03 Glamorous Glue
04 Suedehead
05 Tomorrow
06 Boxers
07 My Love Life
08 I've Changed My Plea to Guilty (Live)
09 Interesting Drug
10 November Spawned a Monster
11 Everyday Is Like Sunday
12 Sunny

03-09-2011, 01:44 PM
June UK tour. I'm hoping he goes a bit further south too!

Tickets go onsale on Monday 14th March for the following Morrissey concerts :

June 15 (Weds) PERTH City Hall (Scotland) : support group FLATS.

June 17 (Friday) INVERNESS Ironworks (Scotland) : support group FLATS.

June 18 (Saturday) DUNOON Queens Hall (Scotland) : support group FLATS.

June 20 (Monday) DUNFERMLINE Alhambra Theater (Scotland): support group BROTHER.

June 21 (Tuesday) HAWICK City Hall (Scotland) : support group BROTHER.

June 24 (Friday) GRIMSBY Auditorium (England) : support group FLATS.

June 25 (Saturday) YORK Barbican (England) : support group MONA.

June 27 (Monday) BRADFORD St George's Hall (England) : support group MONA.

June 30 (Thursday) CHELTENHAM Centaur (England) : support group MONA.

Very Best Of cover:


"Glamorous Glue" reissue cover:


03-09-2011, 01:45 PM
June UK tour. I'm hoping he goes a bit further south too!

I hope he comes a bit further South and makes it through more than one song without collapsing! :)

03-09-2011, 10:13 PM
Yes, true! I haven't seen him live before, I really want to. Hopefully there'll be some more dates announced for July.

03-18-2011, 09:56 PM
I do like this tour advert


03-18-2011, 11:11 PM
The cat on the top of his head is a nice touch.

04-09-2011, 03:23 PM


Oh how I love this record. Really reconnecting with it lately.

04-10-2011, 05:23 PM

Oh how I love this record. Really reconnecting with it lately.

A dreaded sunny day . . .

04-13-2011, 07:37 PM
It's being re-released on 10" vinyl for Record Store Day on Saturday! I wish I lived closer to a decent record shop so I'd have a chance of actually getting it :(

04-15-2011, 12:50 AM
It's being re-released on 10" vinyl for Record Store Day on Saturday! I wish I lived closer to a decent record shop so I'd have a chance of actually getting it :(

I wished I lived in a country where it was going to be released. ;)

04-20-2011, 11:22 PM
Interesting interview tonight on BBC Radio 4's Front Row, discussing David Cameron, singing songs written in your twenties after you've turned fifty, and an autobiography among other topics

Also found a photo of the 10" vinyl RSD The Queen Is Dead. Wish I had one!


04-21-2011, 04:12 PM
I can't wait for the Morrissey autobio. But I bet it'll be a disappointment. I want him to drop his barriers and talk about how he has really felt about things during his career, but I have a feeling it'll be a (very well-written) collection of barbs and side-swipes that otherwise reveals very little about Morrissey himself.

04-21-2011, 04:25 PM
Same. I'm completely intrigued but not expecting any big revelations.

This is one of my fave Morrissey songs. Everyone talks about the "explosive kegs between my legs" line but I just find this song so personal and beautiful, and at the end when his voice cracks a little on one of the "free"s in "the heart feels free" lines - it's gorgeous


04-26-2011, 08:23 PM
With Dermot O'Leary (Radio 2 interview to air April 30th)


04-28-2011, 10:34 PM
So, Kill Uncle is my first listen to Morrissey, and I cant say that its grabbing me (though Ive only listened once.) I read somewhere that this is considered his worst album. Is that true? Is there a marked difference in his other solo albums?

04-28-2011, 10:44 PM
Oh yes, Kill Uncle is generally regarded the worst and Vauxhall & I the best. I'm still going through Morrissey solo albums myself but my first was Bona Drag, which is a compilation of early one-off singles and b-sides and it hooked me. I think if I heard Kill Uncle first I wouldn't be that enthralled either to be honest.

Have you heard any Smiths records? I generally prefer Morrissey with The Smiths but there is some fine solo work too. For individual songs I would recommend as good starter songs:

Everyday Is Like Sunday
November Spawned A Monster
Interesting Drug
Piccadilly Palare
The Last of the Famous International Playboys
Will Never Marry
The More You Ignore Me, The Closer I Get
Irish Blood, English Heart
Dear God Please Help Me
You Have Killed Me
The Youngest Was The Most Loved
I'm Throwing My Arms Around Paris

04-29-2011, 12:32 AM
Thanks Menju! You are always so helpful! I have had limited exposure to The Smiths, but I’m familiar with a few songs. I thought I would start with Morrissey and save The Smiths for last.

04-29-2011, 05:59 PM
My pleasure. If you'd like a Smiths intro playlist type thing I'd be happy to do that too! I'm still discovering a lot of Morrissey solo as well, and my advice would be even if you end up not that keen on his solo work you should still try The Smiths.

04-29-2011, 06:05 PM
In honour of the day.



05-01-2011, 04:35 PM
Interview with Dermot O'Leary yesterday

Includes the clanger "would you ever do a Meltdown?" "Well, I already have"

05-02-2011, 03:56 PM
Message from Morrissey, about the recent radio interviews and The Very Best Of scraping in at #80

April 30 statement from Morrissey

I'm sorry I made the Detergent O Leary radio interview so difficult but I was in a foul mood, having spent a full week surrounded by the royal dreading. England may very well be a Windsor dictatorship, but - PR Weddings aside, it is usually quite bearable.
If my Front Row (Radio 4) interview sounded chopped and cropped, that's because it was. I had spoken fluently about the royal dreading, but an Iranian censorship confiscated all of my views. It is distressing, but in all manner of British media in 2011 we are only allowed to hear the same old thoughts and feelings expressed over and over and over again.
During the week of the royal dreading, Poly Styrene died. Having made an enormous contribution to British art and sound – at a desperate time when so many of us needed her, Poly Styrene's death was all but ignored by the British television news media, who instead rained hours and hours of blubbering praise onto Kate Middleton – a woman about whom nothing is known on a personal level. The message is clear: What you achieve in life means nothing compared to what you are born into. Is this Syria??
To top off all the pageantry, 'Very best of Morrissey' (EMI/Major Minor) has yet to tunnel its way into what we older types refer to as Record Shops – six days after intended release. The gallant HMV has yet to stock it, and did not manage to stock the 'Glamorous glue' single until four days after its scheduled release. In fact, the CD of 'Glamorous glue' did not EVER make it to HMV. With 'Very best of' I face my first ever non-chart placing – which I shall bear with dignity, although I could never be unkind enough to express my views on EMI's failings. It was John Lennon who coined the phrase 'Every Mistake Imaginable'. I shall not repeat it here.
I am delighted that the June dates sold out so quickly. Beware, we are looking at four more: Copenhagen, Aarhus, Helsingborg and Stockholm.
The follow-up to 'Years of refusal' is ready and fluttering wildly against the bars. There is still no record label and the years shuffle like cards. My talents do not lie in DIY.
I shall be in Perth – older, but no wiser.
With thanks to True To You,


05-03-2011, 01:48 AM
I have to say that I agree for the most part with the man.

06-09-2011, 01:13 PM
Festival bans meat for Morrissey

A Belgian music festival, which prides itself on its horse-meat sausages, is going meat-free on the day that vegetarian singer Morrissey performs.

The 10-day Lokerse Feesten, which boasts online about sales of sausage rolls and snails, will order stalls to sell vegetarian food only on 4 August.

Organisers said "one meatless day" out of 10 was "a healthy break for all".

In 2009, the singer left the stage at California's Coachella festival saying he could "smell burning flesh".

According to Coachella festival-goers, the singer then added: "And I hope to God it's human."

The Lokerse Feesten said it had "dreamed" of booking Morrissey for year.

"Many months we worked on it, for weeks we waited for an answer, many nights were spent sleepless," it said on its website.

The booking "meant a welcomed catering challenge for one day", it added.

"Our food stalls will be serving you an array of healthy vegetarian dishes."

06-09-2011, 09:11 PM
Well good.

06-11-2011, 08:20 PM
Morrissey did a live session yesterday for Janice Long on BBC Radio 2, performing three new songs:

Action Is My Middle Name
The Kid's A Looker
People Are The Same Everywhere

The session will be broadcast on Tuesday. Looking forward to it!

06-12-2011, 06:06 PM
Yay! Might I add in that pic above, he still looks gorgeous. My goodness. I have loved him since I was 12 and is the one person I would get so nervous as to render me incapacitated if I met.

06-15-2011, 08:00 PM
The three new songs aired on Janice Long's show on BBC Radio 2 last night.




06-16-2011, 11:17 PM
Morrissey - review - Perth Concert Hall, Perth (http://www.guardian.co.uk/music/2011/jun/16/morrissey-review)

The world of Steven Patrick Morrissey becomes ever more a jurisdiction unto itself. Citing the prime minister's stance on hunting, the 52-year-old animal rights activist recently supported his former Smiths bandmate Johnny Marr in "forbidding" David Cameron from liking the band's music.

He has quipped that his finally finished 660-page autobiography ought to be published straight away as a Penguin Classic, while just last week he made an entire festival in Belgium go vegetarian on his behalf.

There is no doubting where Morrissey gets his mandate, at least judging by this first date of a tour of typically unfashionable towns in support of his new best-of album.

The people in the front rows – their arms longingly outstretched, craving the faintest brush of their bequiffed idol's hand – would probably eat nothing at all if Morrissey asked them to.

Heaven knows they've got good reason to be cheerful now. The celebrity celibate's current five-piece band – dressed in blue flannel shirts, looking like they've just clocked-off at the brickyard – is one of the most muscular-sounding Morrissey has led, and tonight he's on brilliant and charismatic, if typically standoffish, form.

"Do you forgive me?" he ponders, cryptically, in his most talkative moment between songs at the end of You Have Killed Me. "But I haven't done anything."

Everyday is Like Sunday into a pitch-perfect There is a Light That Never Goes Out into a racing First of the Gang to Die is just one dream combo amid an opening 30-minute slew of anti-hits. Attention seized, Morrissey debuts three brand new tracks back-to-back, each a glorious reassurance that his peerless talent for penning anthemic lyrics lacing despair with droll humour remains undimmed.

"Everybody has a date with an undertaker," he croons fatalistically during Action is My Middle Name, "a date that they cannot break."

The payoff, as the lights dim, is a rare and show-stopping airing of I Know it's Over – a centrepiece of The Smiths' seminal 1986 album The Queen is Dead, which turned 25 this week – its verse line "Oh mother, I can feel the soil falling over my head" representing Exhibit A in the evidence gathered by those who say Morrissey is music's glummest soul.

It's followed by a soaring strict-to-the-original cover of Lou Reed's Satellite of Love, which seems to lift the entire building's spirits.

Hands no longer in gloves in his advancing years, Morrissey is not averse to employing shock tactics when it comes to getting his message across.

During Meat is Murder, footage of poultry and cows being brutally slaughtered is projected on to the backdrop, adding to the feeling of growing unease as the song creeps towards its ferocious apogee, when his drummer dramatically hammers a giant Chinese gong.

Morrissey returns for the encore wearing the shimmering see-through tight black shirt of a figure skater, but he seems unimpressed with the less-than-unanimous call for more in his absence.

"It is a Wednesday night," he concedes, sarcastically, before ending abruptly with a blistering One Day Goodbye Will Be Farewell and a withering wave as he departs – a bittersweet reminder that the love of this most complex of pop stars is never unconditional.

06-17-2011, 12:15 AM
He did "I Know It's Over"!

07-14-2011, 08:41 PM
Throwing out his own fans – has Morrissey finally lost it? (http://www.guardian.co.uk/music/musicblog/2011/jul/14/morrissey-fans)

After a 5,000-mile trip from LA to Copenhagen, a Morrissey fansite owner was looking forward to seeing his favourite artist in concert. Instead he was refused entry and given a lifetime ban

As bad gig experiences go, you'll have a tough time beating David Tseng – who, earlier this week, flew more than 5,000 miles from Los Angeles to Copenhagen only to be surrounded by security, kicked out without refund and later told (via a public statement) that the artist he had devoted his life to had banned him from his concerts. "You know what you did," he was told as security marched him out. "Er, I don't," he replied.

He might have had an inkling, though. Tseng is the owner of Morrissey-Solo.com (or "so low", as the singer calls it) – a popular fansite he has been running for nearly 15 years and whose extremities of love and loathing have earned it a contentious reputation. As one fan recently put it: "Moz once sang that it takes strength to be gentle and kind, but that's not the mentality of the trolls who comment on Solo." It's safe to say Morrissey isn't a member.

The singer recently took to the stage with a "FUCK MORRISSEY-SOLO.COM" T-shirt, while his spokesman declared war this week: "Mr Tseng, via his poisonous website, has caused so much intentional distress to Morrissey and Morrissey's band over the years that Mr Tseng is not welcome at any Morrissey shows."

Tseng told the Guardian he was shocked: "I've never intended to cause distress to Morrissey or his band. I post little commentary on the site, preferring to leave the discussion to site users – he seems to blame me for his fans' opinions. I don't agree with every post on there but I believe in free speech – I don't like to censor, which is something he is supposedly against.

"It's a control thing. If he doesn't have control of the site then he doesn't like it – he wants to knock it down. I think it's because he's having trouble getting a record deal so he's looking for someone to blame. He's frustrated."

The main issue, Tseng says, seems to be vitriolic criticism of Morrissey's "stagnant" new material and a backing band that some fans think needs desperately to be changed. The recent move to ban Tseng, however, has been seen as an attack not only on him, but on fans in general. It marks a turning point in what has been a weird time for Morrissey, when he doesn't have a record deal yet never seems to be out of the press (a cynic would say the two are related).

Producers, support acts, record labels, managers, session musicians, former band members, politicians, celebrity chefs – 30 years into his career, Morrissey has fallen out with them all. Yet fans have remained fervent followers whose devotion is beyond measure. They not only buy the lacklustre reissues he insists never chart, go to the gigs he cancels at a whim and stick with him after questionable comments, they're also the same fans who kept posting on websites such as Morrissey-Solo.com during his "wilderness years" between 1997 and 2003 when no record label would touch him – a prospect he may face now. To fall out with them is not only – as a certain dog did recently – biting the hand that feeds but possibly the moment where Morrissey has finally lost it.

07-14-2011, 11:50 PM
Sounds like he's paying too much attention to the online world, something Tori never does. Maybe they could learn from each other.

10-18-2011, 02:24 PM
Morrissey takes 'racism' battle to court (http://www.guardian.co.uk/uk/2011/oct/17/morrissey-takes-racism-battle-court?CMP=twt_gu)

He once claimed to bear more grudges than lonely high court judges. Now Morrissey wants his date in the high court to rebut years of allegations that he is a racist and a hypocrite.

Lawyers for the former Smiths frontman told the high court on Monday that the singer "continues to suffer" reputational damage from a controversial interview he gave to NME magazine four years ago in which he complained about an "immigration explosion" leading to a loss of British identity.

In a written submission, Morrissey said his comments received "a barrage of press" at the time, and added: "Question marks over my being a racist have never since receded".

Morrissey is attempting to sue NME's former editor Conor McNicholas and its publisher, IPC Media, for libel over the interview. Although he was not in court for the hearing, Morrissey could be cross-examined before a jury if a trial goes ahead. Despite being dogged by fresh accusations in recent years, Morrissey has consistently denied being a racist.

The singer's skeleton argument described the row as "a classic case where vindication is the only remedy".

With a reference to the bitter standoff that spans almost two decades – in 1992 NME accused him of "flirting with disaster" and racist imagery after he wrapped a union flag around himself while on stage in Finsbury Park, north London – lawyers acting for Morrissey told the court that "the fight against NME is a matter of public record" and that "the battle lines for the trial have been firmly drawn".

David Sherborne, acting for the singer, claimed that the "extremely serious" and "highly defamatory" allegations were designed purely to raise publicity for the magazine.

However, lawyers for McNicholas and the NME told the court the claim should be struck out. Catrin Evans, acting for the magazine, claimed that financial difficulties, a legal dispute in the US and an acrimonious fallout with his then manager had "distracted" Morrissey from pursuing his claim against NME.

Morrissey threatened legal action against the magazine in November 2007, days after the interview was published.

According to Evans, the singer dropped the complaint for three years before recently reigniting the row. "The court can infer from this that there has been such a delay that is not a genuine bid for vindication," Evans said. "[The claim] simply didn't figure at the forefront of his mind."

Evans claimed that Morrissey "by his own actions" has provoked "more topical" accusations of racism – including an interview with the Guardian in September 2010 in which he described Chinese people as a "subspecies" – since the NME article was published.

"The fact that [Morrissey] has spent the three years since March 2008 recording albums, touring, promoting his new work and presumably doing well enough commercially to be able now to contemplate funding this libel claim, shows that his reputation has been unaffected. His fans apparently still love him," Evans told the court. She pointed out that the offending interview had never been published online and continues to exist "only in Morrissey fans' bedrooms".

Britain's most senior libel judge, Mr Justice Tugendhat, is expected to decide on Tuesday whether the claim should go to trial. Morrissey could testify in court alongside his former manager, Merck Mercuriadis, as well as McNicholas, Krissi Murison-Hodge, formerly the deputy editor, and Tim Jonze, the interviewer and now editor of guardian.co.uk/music.

If the claim goes to trial, more than 250 emails between the NME and Morrissey's manager, as well as a full transcript of the interview, would be used as evidence.

Sherborne, acting for Morrissey, claimed that the documents "speak for themselves". In one email sent to Morrissey's manager two days before the interview was published, McNicholas is quoted as saying that "no one is accusing Morrissey of racism – that would be mad given what Morrissey says".

According to Morrissey's skeleton argument, Jonze told Morrissey in a follow-up interview that McNicholas "doesn't think you have a problem with other races but it sounds like you wouldn't like someone [non-British] to move in next door to you".

In the interview, Morrissey was quoted as saying that "the gates of England are flooded. The country's been thrown away." Asked by the interviewer whether he would return to live in Britain, Morrissey is quoted: "With the issue of immigration, it's very difficult because, although I don't have anything against people from other countries, the higher the influx into England the more the British identity disappears."

Lawyers acting for the magazine argue that a fair trial would be impossible given that it would rely on the accurate recall of editorial decisions made five years ago. The court heard that the published article was amended three times between 18 November and 21 November before it was eventually published on 28 November.

McNicholas, whose seven-year editorship of the NME was characterised largely by the well-publicised row, was in court for the three-hour hearing on Monday. The hearing continues on Tuesday.

10-20-2011, 08:13 AM
That is ridiculous. Is he saying he didn't say it? I love him but come on. You can't sue someone over something you said to them. If he's so worried, he should issue a public explanation or apology for his remarks and get on with it. I don't think anyone cares.

03-11-2012, 11:32 AM
Is Morrissey a national treasure? (http://www.guardian.co.uk/commentisfree/2012/mar/10/debate-morrissey-national-treasure)

The singer is in trouble for backing Argentina's claims to the Falklands, but we still love him – don't we?

Peter Paphides, music writer

To be a national treasure you have to be likable. Is Morrissey likable any more? I'm almost loth to say that he isn't, because to do so would be to play into the persecution complex he has been nurturing for the best part of his solo career. Even when he makes pronouncements that, broadly speaking, I agree with, there's something about the way he makes them that makes me recoil. I'm not a royalist, but pictures of his band lined up either side of him on his recent Argentinian tour, wearing "We hate William and Kate" T-shirts, momentarily made me feel like becoming one. What made the picture fascinating though wasn't the T-shirts but a) the body language of the musicians wearing them, reminiscent of temps who turn up to the agency only to be handed GOLF SALE sandwich boards; and b) the fact that Morrissey deemed himself exempt from the dress code, preserving his own vanity. Morrissey opposes British occupation of the Falklands. It's a perfectly reasonable opinion. But it's also a classic example of a very Morrissey-ish trope, invoking a wider enemy to endear his immediate fanbase to him. He's always used his fanbase as a sort of human shield. What's interesting is that – as the picture shows – he's now started doing it with his band. Fine if you believe it, but for heaven's sake, don't make your band do it.

Sukhdev Sandhu, cultural critic

For sure, that William and Kate image is truly horrid. And that's odd, as Morrissey is usually very adept at coming up with grabby soundbites, striking photographic images, social-media carrion. Morrissey is a sort of national treasure, but whether he wants to be is another matter. Calling someone a national treasure is just a way of trying to rein in the awkward squad, to make the likes of, say, Alan Bennett or Jarvis Cocker appear less truculent or outsider-ish than they really are. And Morrissey, whether or not you like his music, has always been about outsiderdom. He – like Johnny Marr – has Irish parents. Coming from the north, he's sensitive to the ways in which Englishness is all too often a codeword for home counties. For years he's lived abroad. He's always had an ambiguous relationship with national identity, and these days his most passionate fans are as likely to be Mexicans or Argentinians as they are English. So I wonder not only if he gives a damn about being seen as a national treasure, but whether to give him that accolade would actually be the ultimate insult.

PP I certainly think Morrissey wants to be given that accolade, if only to make a great show of rejecting it. He is, in essence, driven by revenge. He wants the last word. "I do feel as though I have been somewhat victimised," he told Mojo a few years ago. But what has he been "victimised" for? The 1992 show where he sang "The National Front Disco" draped in a union flag seems to have been a turning point. At the time, I was one of the few people in the music press who felt that Morrissey should have been given the benefit of the doubt. Perhaps he was trying to make some arcane point about the nature of Britishness to a park full of Madness fans. In retrospect, though, it seems pretty clear that he was defying people to misunderstand him, fattening his persecution complex in the process and intensifying his disciples' love for him. Yes, he might refer to the Chinese as a "subspecies" but I don't think he's a racist. I think he hates all humans equally. His outsiderdom is a function of his misanthropy. And his vegetarianism is the expedient by which he justifies that misanthropy.

For all of that, it isn't hard to see why he keeps his dislike of people close to him. It's almost exclusively where his music comes from now. Indeed, on his last album, Years Of Refusal, it was hard not to summon a strange awe at the venal sentiments of "It's Not Your Birthday Anymore" or the victorious spite of "All You Need Is Me". By the same token, you wonder what happened to the person who sang "It takes strength to be gentle and kind" ("I Know It's Over"). I suspect Morrissey would deem him naive. So, no: I don't think it's a northern thing. Nor do I think it's a way of keeping his edge. I think he's just allowed himself to become as much of a tosspot as he thinks everyone else is.

SS You're right, Morrissey's vegetarianism and pro-animal rights passions do seem, as with someone like Brigitte Bardot, to go hand-in-hand with some very dark and often stupid "political" statements. As for his music, well I'm not alone in thinking he needs to fire his band, work with better collaborators, and basically have a major rethink (maybe his next LP should be crooner ballads?). He's a stubborn sort and it's probably too late.

Yet the fact that he's always in the news these days speaks volumes about how boring and tongue-tied a lot of modern pop stars are. Watching the Brits and the Grammys and even the NME awards this year has been utterly dispiriting: it's not that you expect Ed Sheeran or Serge from Kasabian to have a position on the Greek debt crisis or do some point-by-point takedown of George Osborne's austerity cuts programme, but if only they would say something – anything – weird, witty, contentious. Perhaps Morrissey is a British Serge Gainsbourg: he's sharp and embarrassing in equal measure, good silly-season-all-year-round fare for the press.

PP He's not sharp though. The issues that bug him are the same issues that bugged him 30 years ago. Animal rights. The Falklands. He even moans about the manufactured pop in the charts. Not so long ago, he wrote a song about it – "The World is Full of Crashing Bores" – which suggests that he believes all the 13-year-olds on the top deck of the bus should have him blaring out of their phones instead of Tinchy Stryder. I really don't think Ed Sheeran's blandness makes Morrissey's willingness to bark from the pop sidelines any more palatable.

These days, when Morrissey opens his mouth, the scale of his delusions is embarrassing. The world is only as generous and yielding a place as the outlook you bring to bear upon it. Ironically, there's no better example of that than Moz's ex-pal Johnny Marr – a musician whose absence of rancour seems to define him. (And if Morrissey's vegetarianism seems inseparable from his dislike of people, Marr's veganism is no less a function of that joie de vivre.) I understand how Morrissey gradually turned into a post-punk Count Olaf. I understand also that it helps him (barely) function as an artist, albeit a pantomime version of his former self. But it diminishes him as a person. Oh, and by the way, Vauxhall And I wipes the floor with Viva Hate.

SS A lot of the issues that riled Morrissey in the 80s are no less important today. "Cameron on the Guillotine" has a certain ring to it. Johnny Marr's recent proposition – "If this government steps down then I'll reform the band. How's that?" – was well-made. Though I don't believe in national treasures, and think pop – like the nation – is so atomised that it's almost impossible for a musician to occupy that notional role, it's far preferable to have Morrissey as a quasi-collective talisman than, say, Adele, who sounds like a 1970s prog-rock inflatosaurus when she moans about having to pay 50% taxes.

04-26-2012, 11:59 AM
The Smiths to reform (http://www.music-news.com/ShowNews.asp?nItemID=51298)

Music-News.com has learnt that one of the greatest bands the world has ever known are to reform.

The Smiths, widely regarded as THE seminal British band, are to throw their differences aside and return to the live stage this autumn.

The legendary songwriting partnership comprising of musical luminaries Morrissey and Marr are set to make a return after finding common ground.

It will be the first time that Manchester's independent monoliths, who were signed to London's Rough Trade label, have graced a stage since their acrimonious split in 1987.

Legal wranglings in the band saw other members, Andy Rourke (bass) and Mike Joyce (drums), sue with varying degrees of success.

This announcement comes after a source revealed that the 80s icons had been in talks to perform with a well-known promoter.

The decision was said to have been made after fellow Mancunians, The Stone Roses, gave in and reformed.

The Smiths had previously turned down a lucrative offer of over 76 million pounds to tour the US.

Watch this space...

Not holding breath.

04-27-2012, 08:26 AM
Surprise, surprise:

Rumours that The Smiths were set to reunite have been put to bed by the band's former guitarist Johnny Marr and drummer Mike Joyce.

10-17-2013, 09:38 AM
So Morrissey's autobiography is finally out.

The first page has been posted on twitter (https://twitter.com/TheMediaTweets/status/390622428772454400)


10-17-2013, 12:03 PM
That sounds... excruciating. :\

also UNRELATED but this Parenthetical Girls cover of "Handsome Devil" is one of my favorite things ever *fanboy*


10-17-2013, 08:33 PM
That sounds... excruciating. :\

also UNRELATED but this Parenthetical Girls cover of "Handsome Devil" is one of my favorite things ever *fanboy*


Cool. I've been meaning to check out Parenthetical Girls for a while after things said around the forumz. Will certainly investigate further now.

Here's Peter Serafinowicz singing the first page of the book:


10-17-2013, 08:59 PM
Here's Peter Serafinowicz singing the first page of the book:


YEEESS. <3 <3

10-18-2013, 02:28 PM
Page 2!


I <3 Peter Serafinowicz.

I have to go into London later today so will have a flick through the book if they've got it in Foyles as I'm still undecided about reading it.

04-14-2014, 09:27 AM
Morrissey reveals ridiculous song titles for his new album (http://www.thefourohfive.com/news/article/morrissey-reveals-ridiculous-song-titles-for-his-new-album-139?utm_content=buffer4aa63&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer)

Oh, Morrissey. His new album is called World Peace is None of Your Business, and we all should have taken the hint from there that the song titles would only be even more bleak and ridiculous. There's no release date yet, but we do know it will be out through Capitol Music Group/Harvest. Some highlights of the album tracks are 'Neal Cassady Drops Dead', 'Earth is the Loneliest Planet', 'Kick the Bride Down the Isle', and 'The Bullfighter Dies'. What a joyful album this one will turn out to be. World Peace is his first album since 2009 and all of the tracks were produced by Joe Chiccarelli in France.

Track list:
01. World Peace Is None of Your Business
02. Neal Cassady Drops Dead
03. Instanbul
04. I’m Not a Man
05. Earth Is the Loneliest Planet
06. Staircase at the University
07. The Bullfighter Dies
08. Kiss Me a Lot
09. Smiler with Knife
10. Kick the Bride Down the Aisle
11. Mountjoy
12. Oboe Concerto

04-14-2014, 10:14 AM
What do they expect? Morrissey has had plenty strange and unusual song titles even when he was in The Smiths.

04-14-2014, 01:25 PM
Page 2!


I <3 Peter Serafinowicz.

I have to go into London later today so will have a flick through the book if they've got it in Foyles as I'm still undecided about reading it.

He's also reading an excerpt here! (https://www.youtube.com/watch?v=1wR5IU-TYHI#t=2250)

04-15-2014, 03:58 PM
What do they expect? Morrissey has had plenty strange and unusual song titles even when he was in The Smiths.
This. I'm looking forward to Kick The Bride Down The Isle very much.

06-02-2014, 04:48 PM
Morrissey and Pamela Anderson together at last. (http://www.thefourohfive.com/tv/morrissey-teams-up-with-pamela-anderson-for-earth-is-the-loneliest-planet-video-140)

We've been pretty critical of Morrissey's recent material here at the 405, but for his latest spoken-word video he really has gone all out. Firstly, the lyrics aren't horrible, which is good. Secondly, the video is beautifully shot. Yes it features Pamela Anderson and isn't that incredible, but just look at it - it's pretty much a Hollywood audition tape.

The track is taken from his forthcoming new album World Peace Is None Of Your Business, which is released on July 15th (head here for more information).

06-21-2014, 04:57 PM
I haven't listened to any of the tracks released from the album yet. I think I'll just wait until I buy the album. Has anybody listened? Thoughts?

07-14-2014, 12:55 PM
I've had the album for a week or so, and am surprised to be absolutely loving it, as I thought the buzz singles were just OK. Happy to see that it has received more or less universally good reviews too.

The production is crisp and great, much better than the relative monotony of the last few albums. I love the flashes of latin influences throughout and some of the lyrics are up there with his best. Overall, I think it's his best record since 'Quarry' and possibly since 'Vauxhall & I'...

Highlights for me are 'Oboe Concerto', 'Art-Hounds', 'Kiss Me a Lot' (which should be a smash single), 'Neal Cassidy Drops Dead' and 'I'm Not a Man'

Steve SFM
07-16-2014, 05:04 AM
Agreed. Best since Quarry.

What I particularly like is a combination of varied instrumental touches (Spanish guitar, horns, etc.) and some really down and dirty guitars. And the lyrics are sharp and nasty. The Pitchfork reviewer apparently decided to briefly review the album and then get down to the real business of reviewing Morrrissey's personality. :rolleyes: Yes, bright boy, we know that the lyrics are "sour", misanthropic and preachy. IT'S MORRISSEY. I must be one dark bastard, because I think the lyrics are quite fun.

As for "Kick the Bride Down the Aisle": anyone else think that the bride in question is Kate Middleton?

07-19-2014, 11:05 PM
I've had one listen on Spotify and like what I heard! Need to listen a few more times before commiting to buying a CD though.

For fellow Brits or anyone else with access to Sky Arts 1 there's a Morrissey concert from 2013 on now.

04-25-2015, 04:44 PM
Why am I only now learning of the existence of Mexrrissey (https://soundcloud.com/mexrrissey)?



Steve SFM
04-25-2015, 04:58 PM
I haven't heard of that band, but I've heard about others like it. Not surprising, given his number of Latino/a fans.

04-25-2015, 05:10 PM
They're playing in London tonight but I already have other gig plans otherwise I would have tried to get a ticket.

04-27-2015, 08:29 PM

Earnest and young Morrissey being, well, Morrissey.

03-07-2016, 06:00 PM
Mayor Mozzer? Morrissey considers running for the London mayoralty (http://www.theguardian.com/music/2016/mar/07/morrissey-considers-running-for-london-mayor-animal-welfare-party-boris-johnson)

The London mayoral race may be about to take a turn for the unusual, with the news that Morrissey has been approached to stand for mayor as the Animal Welfare party candidate. Not only that, but according to the website True to You – the outlet favoured by Morrissey as his conduit to the world – he “is considering the contest very seriously”.

There is a rich but chequered history of musicians turning politician, and Morrissey might hope to have more in common with Midnight Oil frontman Peter Garrett, who became Australia’s minister for environmental protection, heritage and the arts, than with Screaming Lord Sutch, the rock’n’roll singer who became the perpetual joke candidate in British elections with his Monster Raving Loony party.

Morrissey issued a statement to True to You in which he said: “There must be a governmental voice against the hellish and archaic social injustice allotted to animals in the United Kingdom simply because those animals do not speak English.”

He added: “The abattoir is the modern continuation of the Nazi concentration camp, and if you are a part of the milk-drinking population, then you condone systems of torture,” and described chef Jamie Oliver as an “animal serial killer”.

“Social justice for animals is not much to demand,” he concluded, “because we are only asking humans to think rationally and with heart, even if being unable to hunt foxes and shoot birds would leave the Saxe-Coburg-Gotha family with nothing else to do.”

Morrissey has previously expressed strong views about London. In 2007, he told NME: “With the issue of immigration, it’s very difficult because, although I don’t have anything against people from other countries, the higher the influx into England the more the British identity disappears.

“If you walk through Knightsbridge on any bland day of the week you won’t hear an English accent. You’ll hear every accent under the sun apart from the British accent.”

The Animal Welfare party has confirmed it has asked Morrissey to stand. In order to appear on ballot papers, he will need to collect 330 signatures – 10 from each London borough.

This has potential for enterntainment. ;l

I live just outside of London so don't get a vote.

08-23-2017, 03:09 PM
New album Low In High School coming out November 17th on BMG, with a Hollywood Bowl show on November 10th and tour to follow.

09-20-2017, 08:38 PM

1. My Love I’d Do Anything For You
2. I Wish You Lonely
3. Jacky’s Only Happy When She’s Up On The Stage
4. Home Is A Question Mark
5. Spent The Day In Bed
6. I Bury The Living
7. In Your Lap
8. The Girl From Tel-Aviv Who Wouldn’t Kneel
9. All The Young People Must Fall In Love
10. When You Open Your Legs
11. Who Will Protect Us From The Police?
12. Israel

09-20-2017, 09:39 PM
It seems like all of his album titles are always almost sentences.

09-20-2017, 10:06 PM
eeek, I do not like this.

10-03-2017, 11:50 PM

10-17-2017, 06:41 PM

11-07-2017, 07:15 PM