If that is true, I guess they deliberately went for a non-heard single, because putting out something which has been available as a live version for years just wouldn't have the same effect.
Inside information on Moz, Marr & management
- Thread starter Odbmke
- Start date
Thewlis
Very Senior Member
No Veronica? Did you get to hear I Ex Love You?
Dorothy
Well-Known Member
Stop it! I can't even read this any more. It's so infuriating and sad.
T
Trans
Guest
I don’t know, an attraction to self destructive men who all ended up cracking up might worry morrissey about his own future and nature. Same with Neil Cassidy drop dead. Ginsberg both loved and mourned him because of his wild uncontrollable passion and that’s just one of life’s paradoxes. I think the thing that’s changed is that he’s become more of a songwriter in that he used to put everything into the lyrics and now he seems to use things like song structure and his vocal performance to infer meaning. Take a song like love is on its way out. The way the music is so flat and square at the start, the way he sings so flatly and unemotionally set against the musical change and sweep when love enters carry’s a lot of meaning that just reading the lyrics wouldn’t convey where as in the past it was a lot more cerebral. Now the meaning is presented more so with his heart and emotional senses than with simply the words
T. H. Auden
Well-Known Member
A "steady scrutineer", like Helen Conford, is always nice.
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Mozzypaws
Well-Known Member
Same. I don't get why he'd scuttle this, if true. Unless he got super depressed for whatever reason and it's affecting his judgement. Not good if that is the case, especially with the shows coming up in a month time
A
Anonymous
Guest
I wonder if alcohol has also impaired his judgement.
I agree completely that his focus on the melody, and rendering aspects of the vocal performance from a songwriting perspective. And I think all critics and fans and music writers could plumb the depths of those choices as you have demonstrated here. I just don't think that he would be any more forthcoming about explaining those choices – why he chose to sing how he sang on a particular track, the elements of the musical arrangement that his cowriter presented that were intriguing, any sort of production suggestions or notes that were helpful in completing the song etc. he's never been that forthcoming about that kind of stuff I don't expect that to change. And further to use Johnny as an example, there's a pretty delightful YouTube video of him playing "Heaven knows I'm miserable now" I think NME's song stories, and he explains a little bit about how it developed, mostly it's one of those I picked up this guitar and this is the song that came out" I mention that because even if they wanted to, I'm not sure that that artissts/and musicians could explicate with precision, their creative choices beyond something like "oh this moved to me and these of the words that came out " The work of analysis is listener, I don't think the writers have much to offer to demystify the process.
I will say though I agree with. Overall analysis of the points of emphasis for current day Morrissey songwriting, I also think the drawback to his writing in this way is that even if one can appreciate the aesthetic of the performance, the heartfelt nature of the singing, the emotion behind it, because there's so pointed (often political) simple messaging from a lyrical perspective, unless one gets on board the "message" or find its it resonant I think that's going to limit the appeal of the song. So much of his current output seems predicated on on "old man ranting at the cloud" or finding deep somber disappointment at the way life has unfolded, if its not Moz in political protest singer mode.
I can fully hear the rage, sorrow and condescension in almost every aspect of "Bonfire of Teenagers" for instance. I don't dismiss skill of the performance, nor the authenticity of the heartfelt emotion, but I all of those elements (when combined with the lyrics) contribute to a snidely dismissive song that does nothing for me.
I think Morrissey would feel much the same way if Al Martino wrote the most searingly beautiful standard extolling the virtues of veal v cutlets or Chrissie Hynde wrote a righteous rocker celebrating the cosmopolitan multiculturalism of the UK and dismissing the idea of a rooted geographic and concrete legacy of fixed ethnic identity in the UK and elsewhere that Moz seems dedicated to preserving and articulating.
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Tell us all you know. It’s getting so boring around here.
TheSmiths_1985
“The smell of you, And your intimacy”
Does the pope shit in the woods?
Is water wet?
Any news on the promo that was planned, or was it to be like Rebels and completely ignored by all.
Surprised it wasn't to be Veronica. Seems the most obvious choice?
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I rather like the mystery. We still don't know for sure quite how dongs are made by him, I'd guess demos are sent to him to consider and he sends back his comments to whoever wrote the music. But he has more musical control then you'd think, Boz recently said the only part of Maladjusted he liked was a 4 chord sequence so the rest got cut.
But then for some songs like All The Young People were made entirely in the studio and I think The Girl From Tel Aviv was too. He did a few interviews for World Peace and for Low In where he touched on the process of doing making but it seemed contradictory.
We all know his relationship with dongs.
A
Anonymous
Guest
Oh well, at least I've saved some cash there. Gotta look for the silver lining!
Was there any news on how they resolved the issue of Mileys backing vocals?
A
Anonymous
Guest
More show announcements ? Europe?
Odbmke
Well-Known Member
If Veronica were released first and got any momentum, it would be cut short by Christmas/New Years. Going with it in January means if it has legs, it can run for a bit.
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