Benton sends the link:

"Belligerent Ghoul Locked Up" - Catmachine

Manchester headmaster behind bars after allegations made in opening track on album

Steven Vinckier writes:

You can find a review of the show in Birmingham Ac. (30/10/2002) here:

Live: Morrissey - Drowned in Sound by David Merryweather.

Excerpt:

As natural as rain he dances again.

Pulling at his shirt, ducking and reeling across the stage, whip-cracking the microphone lead, Morrissey is in full flow in this his 2002 'comback special' But the question is: is Morrissey still relevant? Ha, no. But then again, was he ever?

Benton writes:

A lazy review by James Delingpole from the Sunday Telegraph 22nd September 2002

Catching gladioli is not enough

Rarely have I seen the touts looking so depressed. "I can hardly give them away," said the man outside the Albert Hall clutching a sheaf of unsold Morrissey tickets. For a tenner I could have got a ringside seat; for £20, the right to stretch my arms adoringly upwards in the mosh pit with all the hardcore fans. If hardcore is the mot juste for polite late thirtysomethings wearing cropped Mozza-style quiffs and waving bunches of gladioli.
Whatever, a tenner seemed a small amount to pay to see the former leader of the most revered, quoted and mythologised band of the Eighties. Especially given that he hasn't played these shores in over five years, preferring to hang out in Los Angeles exile, driving his Porsche, lunching with Michael Stipe and generally worshipping his own company.

So what I was hoping to be able to write, being quite a fan myself (both of his Smiths stuff and of solo masterpieces such as Vauxhall & I), is that the rightful king of English indie music had returned to claim his crown and that those who were not there to witness it should for ever think themselves accursed.

Sadly it was not to be. Excuse me if I sound as petulant as Morrissey here, but when you haven't got a record deal, let alone a new album to promote, and when you're playing a comeback gig before the very most loyal among your supporters, surely the least you can do in return is to treat everyone to all those classics you grew sick of playing, but what the hell, this is a special occasion?

But Morrissey, capricious as ever, refused to play the game. We got three Smiths tracks; the odd dreary-ish single (Every Day is Like Sunday, etc) from his solo period; and far, far too much Morrissey-by-numbers new material in which only the most masochistically prostrate fan could possibly feign any interest. Sludgy sound production and bargain basement lighting didn't much help.

What made his behaviour all the more cruel and unforgivable is that when he wants to, he can still deliver. His banter is gloriously catty; his nonchalantly-catching-gladioli skills remain unsurpassed; and his larynx is in amazing fettle: even when it has to go up an octave for his Smiths numbers, he still hits all the notes beautifully.

Oh, and during Meat Is Murder, his dying cow impression is the best I've seen.

Skane writes:

Bobby Bare Jr., namesake son of a Nashville based country legend discusses Morrissey's influence on his own career throughout article in the Seattle Weekly (see link for full story):

"I'm a huge Morrissey fan," announces Bare, who puts a twangy spin on the Smiths' "What Difference Does It Make" on his new solo album, Young Criminals' Starvation League (Bloodshot). "I stood in the front row when he played the Grand Ol' Opry." That said, Bare's ardor does know limitations. "It's embarrassing to stand next to all these kids with tears in their eyes holding up posters of Elvis while throwing flowers. And I know inside, he's laughing. To sing, 'I smoke cuz I'm hoping for an early death/And I need to cling to something!' That's funny!"
---
An anonymous person writes:

On National Public Radio's All Things Considered, there was a review of Bobby Bare, Jr.'s new solo album, "Young Criminals' Starvation League." He covers The Smiths' "What Difference Does It Make?" For the story, and a snippet of the innovative country cover, go to All Things Considered - Sept. 16, 2002 (RealAudio)

Larry writes:

Pop icons Saint Etienne ended their concert Monday night at the Palace in Hollywood with a great rendition of The Smiths, 'Hand In Glove'. Singer Sarah Cracknell, who already had the crowd in the palm of her hand most of the night handled the song extremely well. Upon finishing the song during the second encore, Cracknell said, "Thank you Morrissey & Marr-goodnight!" Saint Etienne's new album, "Finisterre" is now available on Mantra Records.

thirsty fists writes:

SF Chronicle's Pink Section sez "Smiths' clout endures" as a way of promoting New Wave City's upcoming Smiths tribute night; nothing titillating reported.

BlueGirl writes:

The Smiths came in at #6 on Pitchfork's list of the Top 100 Albums of the 1980s. (This list is chock-full of indie cred. There are some seriously great reviews on here!)

Pitchfork: Top 100 Albums of the 1980s

Here's what they had to say about TQID:

"006: The Smiths
The Queen Is Dead
[Sire; 1986]

In a way, this is the Smiths album-of-choice by default, as it's the record that feels least like it was built around a few great singles. The pacing and sequencing are key, starting off with one of the band's most urgent songs (the title track) moving to the jaunty and clever "Frankly Mr. Shankly", before eventually getting around to the incredible "Cemetery Gates". The back half has two of the finest songs of the modern guitar-pop era ("The Boy with a Thorn in His Side" and "There Is a Light That Never Goes Out"), some of Morrissey's funniest lyrics ("Bigmouth Strikes Again"), and no filler. A new batch of lonely and alienated American teenagers discovers The Smiths every year. The reason is simple: few other bands could ever provide an antidote to adolescent yearnings as powerful as The Queen Is Dead. --Mark Richardson"

And my personal fave, "Strangeways, Here We Come" appeared at #77:

"077: The Smiths
Strangeways, Here We Come
[Sire; 1987]

Though time has made period pieces of The Smiths' first three proper albums, their adventurous finale Strangeways, Here We Come continues to impress, some fifteen years on. Critics cried "Bohemian Rhapsody!" on first listen to melodramas like "Last Night I Dreamt That Somebody Loved Me" and "Paint a Vulgar Picture", but forgiving these tearjerkers, the record houses some outstanding pop songs and an anthem to rival their best material: "Death of a Disco Dancer" is a meticulously measured jam, building toward a finely executed rock and roll crescendo. The Smiths scored hits with the breezy springtime bound "Stop Me If You Think That You've Heard This One Before", and their most infamously maudlin romp, "Girlfriend in a Coma". Beneath these standouts are two equally great Smiths tunes: "Unhappy Birthday", which would have fit nicely on The Queen Is Dead, and the sweet, acoustic "I Won't Share You", which, given the egomaniacal breakdown of the Morrissey/Marr alliance, can be read a number of ways. --Chris Ott"

dave writes:

Friday 22nd November
930-230
£2 before 1030 then £3
The Star & Garter
Fairfield St, Manchester, England
(opposite new Piccadilly station entrance on Fairfield St)

flyer

Seattle based singer-songwriter Coulter will be playing at the EMP liquid lounge (in seattle) on friday, november 22nd, along with 3storyhead and vegas in flames. the show starts at 10, and there is no cover charge. he will be promoting songs from his recent release, "the end of everything", available for purchase or download at www.coulterclub.com. check out the website for news and information, as well as a new downloadable track entitled, "aim your guns at washington".