Morrissey Central "SO THIS IS WHERE YOUR FATHER WAS BORN?" (February 22, 2024)

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"Maxwell Hall was the end of the 'heavy petal' aspect of live Smiths. The level of determination from the audience was hysterical and life-changing … suddenly they were a comic-strip photomontage of bare-chested lads of immovable strength … each an out-stretched grab of rough kindness - loudly singing sand-paper voices and square chins, and all of a sudden I'm the Fabian of the slums. In fact, not an audience at all, but a gathering of wrestlers still chewing on yesterday's Hubba Bubba. They look as if someone is out to get them … and they are right! Everything happened so quickly in 1986. Ten years earlier I had seen three Sex Pistols gigs in Manchester, and they were fantastically agitated whereas this night in Salford is a glory celebration. 'Panic' would be released at 9:AM the next day; number 11 by the following weekend; no airplay of course because Smiths songs described the way people actually lived, which then, as now, wasn't ever the point of daytime radio. 'Panic' had been muttered about as being "waaaacist" by the people who shout out insults for a living (they never die! God help us!) … it was an accusation not dependent on any evidence, as usual. It was the opening song, and the blaze of the crowd tells you how this moment - how YOU - are in the "now" of everything. When we are afraid we want to be controlled, but this audience were not afraid and will never be controlled. The music is a fighter jet of guitar, of military crossfire drumming, of bass full of manhoods fire yet played with nobility - no crass New Romantic slow dance bass jerks … as they all did in those days. And then there was me, of course, in gleeful rage, suddenly bare-chested at the lip of the stage; demented - but why not? You only live twice, and I was here because I was no good doing anything else. You must take charge of your life! Everything we had done as a band had moved us forward to this very point, and Maxwell Hall was important because we had seen enough of the outside world to now cherish our own backyard. The venue had the creak of old ward doors, and the rooms had that strange smell of stale bark. Rough Trade workforce walked around the venue like itching activists ready to light the touch paper. They all know how to smoke and how to use the right words. These are the days when everyone still travels up north in a 'van', miles measured by Blue Boar service stations and chips with everything. Each time I'm caught in conversation I can't stop laughing. It's a Sly Stone family affair and all the WRONG people are NOT there. Everyone seems to be saying either "well, we've done it!" or "now THIS is something interesting." Scott Piering repeatedly brushes his hand across the top of his head as he takes a philosophical view, and Mike Hinc rips open his 41st Carlsberg of the night; either one, or both, will quote Kafka and somehow link it to 'Panic' - looking like characters from The L-Shaped Room. Jo Slee and Martha DeFoe are there … trailing their hands in the water. On the stage, the night started as a tornado and moves faster and faster … three encores? It was a fanaticism of discontent 200 miles away from cashpoint SW1.'Still ill', 'Rusholme Ruffians', 'What She Said', along with the unplayed 'Miserable Lie' had developed into soaring blasts that were street-fights rather than 'musical numbers', and this is why Smiths' concerts were essentially about physical proximity. No one ever went to a Smiths concert to sit in their seats. But we would never make it into the arenas of England. Art is time bound. And so are you. Overheard: "What's so important about the Smiths?", "Well, their songs are about something," - "Oh? that's unusual, isn't it?"
Sandra Gough and Jennifer Moss were in the audience? No? Oh that was just a miserable lie. The outro fades and the stragglers straggle and you run down to the safety of the town. We all scuttle home like dust mice: the secrets and the sweat remain on the hall walls forevermore.
Was it really so strange?
To the best of my knowledge it was a pleasure."

MORRISSEY, 2024

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Having seen The Smiths twice this is the closest I have ever read of the experience being described.
After the first one I said to my pal we will never see a gig or a band as good as this again.
I was right.
 
Fantastic piece of writing. Imagine Autobiography part II. Imagine the scores he could settle.
 
Yes, a collaborative retrospective—I'd actually rather them do that than try to make new music together. And promote it with an interview. For me, this hour-long joint interview of Anderson and Butler looking back on the making of the first Suede album on its anniversary is way more rewarding than their blah musical reunion, The Tears, was. If Morrissey and Marr could do something like this with a good host, it would be a delight. Reminiscences, wit, even the occasional bitchy disagreement; I'd consider it a good epilogue to the Smiths.


That would be great, rather than a musical reunion, totally agree, two men in their 60s reflecting on what greatness they achieved but sadly, as usual, it aint ever gonna happen.
Disagree about the Tears album tho Aubrey, i thought it was one of the best albums of the noughties, some top tunes on there.
 
Fantastic piece of writing. Imagine Autobiography part II. Imagine the scores he could settle.
It would be all the more fantastic and I would respect him more if he didn't settle old scores! To be honest though, I thought the first half of the book was nostalgic (that word, sorry Moz) and miserable , and it didn't tell me what I wanted to know about him - I was a fan of 5 days standing at that point. I could relate to it though, having been brought up Catholic in the north at the same time; and all the cultural references were familiar. But halfway through I burst out laughing five pages on the trot at his observations about people. And feeling I'd missed the point and tone entirely, I stayed awake reading till 5 am the next day so that I could read it again in a more enlightened way! So maybe I am being hypocritical about the old scores - what I aspire to versus what I secretly enjoy, perhaps!
 
Well, if it makes anyone feel better, when my husband met Johnny a few years back, he had a Smiths ticket he asked him to sign. Johnny looked at it and flashed a big smile and said 'this is an old one, isn't it?' and signed it. So it would seem he has fond memories as well and he was willing to answer a lot of questions about how he and Morrissey wrote together.
 
Having seen The Smiths twice this is the closest I have ever read of the experience being described.
After the first one I said to my pal we will never see a gig or a band as good as this again.
I was right.
My husband got to see them, I did not, and he says it is by far the best concert experience he has ever had.
 
The Charlie Bubbles movie referenced in the headline and clip is of course, about a writer from working class Manchester who has become successful but who has lost the capacity to feel and therefore to write and returns to his hometown, Manchester and ends up attempting to connect with his working class roots and own history.:unsure:
 
The Charlie Bubbles movie referenced in the headline and clip is of course, about a writer from working class Manchester who has become successful but who has lost the capacity to feel and therefore to write and returns to his hometown, Manchester and ends up attempting to connect with his working class roots and own history.:unsure:
Haven’t seen that movie in nearly 15 years. High time for a rewatch!
 
Haven’t seen that movie in nearly 15 years. High time for a rewatch!
I watched it yesterday. It's atmospheric, well-acted, and the collision between worlds and their estranged characters believably revealed and gradually more or less resolved. From the limited amount we know of recent events and what's going on behind the scenes, several parts could say something to Morrissey about his life at the moment.

In 1986, I was only becoming aware of The Smiths, compared with several lucky people recounting their unforgettable presences at the very concert being described. I did make it to Salford 20 years later, now nearly 20 years ago :eek: , and saw Victoria Woods' show at the Lowry, before Morrissey's full house at the G-Mex as it entered another reincarnation as event venue.

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I watched it yesterday. It's atmospheric, well-acted, and the collision between worlds and their estranged characters believably revealed and gradually more or less resolved. From the limited amount we know of recent events and what's going on behind the scenes, several parts could say something to Morrissey about his life at the moment.

In 1986, I was only becoming aware of The Smiths, compared with several lucky people recounting their unforgettable presences at the very concert being described. I did make it to Salford 20 years later, now nearly 20 years ago :eek: , and saw Victoria Woods' show at the Lowry, before Morrissey's full house at the G-Mex as it entered another reincarnation as event venue.

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I can’t believe 2006 is nearly 20 years ago. I want to vomit.
 
Yes, a collaborative retrospective—I'd actually rather them do that than try to make new music together. And promote it with an interview. For me, this hour-long joint interview of Anderson and Butler looking back on the making of the first Suede album on its anniversary is way more rewarding than their blah musical reunion, The Tears, was. If Morrissey and Marr could do something like this with a good host, it would be a delight. Reminiscences, wit, even the occasional bitchy disagreement; I'd consider it a good epilogue to the Smiths.


Oh my God, I'd give everything for something like that ❤️
 
He still has it in him to write lines to stir. Getting him to do so on a single or album? That's when things get interesting - or exasperating, depending on yer point of view.
 

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