Strange/unexpected Moz references?

The one song Morrissey couldn’t live without: “I think they changed everything”

faroutmagazine.co.uk

The one song Morrissey couldn't live without

We are dipping into the Far Out Magazine vault and bringing you The Smiths frontman Morrissey's single favourite song of all time.
faroutmagazine.co.uk faroutmagazine.co.uk
 
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Please feel free to apply this to any topic you'd like, I'm sure she will.
 
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Steve Diggle:

"Malcolm went back outside to drag more punters in off the street and left us to it. Pete still had to work the door. ‘I won’t be long here,’ he said. ‘You go in and I’ll see you at the bar.’
Inside, the hall wasn’t very busy. To my memory, maybe only 30 or so people there. What I never knew at the time is that those 30-odd people included Mark E. Smith, Bernard and Hooky from New Order and, somewhere lurking in the shadows, a young Morrissey. Then there was me, Pete and Howard, who was doing the lights. If for whatever reason the IRA had decided to bomb the Free Trade Hall that night, then the entire future of Manchester music would have been wiped out in a oner. Apart from Sad Café."

"Their first gig at Manchester Lesser Free Trade Hall on 4 June 1976 has since been mythologised to the point of overkill. But it was all true. That’s really how it felt because just look what it did for Manchester. That night the Pistols showed all of us how to storm the Bastille. Because the next thing Mark E. Smith’s starting the Fall, Bernard and Hooky are starting Warsaw, who become Joy Division who become New Order, and – give him a few years yet – eventually Morrissey starts the Smiths."

"Culturally, the Eighties had little that interested me musically, apart from the Smiths. If you didn’t get them, you didn’t get life. It was the funniness of Morrissey I loved, and the jangle of Johnny Marr, the fact they kept guitars to the fore when everyone else was pissing about on keyboards. You could hear the Buzzcocks influence – I remember seeing Morrissey out in Manchester in the very early days, cutting an enigmatic figure even then, hovering in the corner of the Electric Circus – but it was more a shared aesthetic, not a fuzzy rip-off like a lot of the little indie bands John Peel used to play who were just yodelling poor imitations of ‘What Do I Get?’. But the rest of the stuff in the charts left me cold. The sickly icing on the cake was when Fine Young Cannibals had a Top 10 hit giving it all their silly rickets legs to a cover of ‘Ever Fallen In Love’. Of all Buzzcocks songs, they would have to choose that one. As if the Eighties weren’t bad enough, now they were deliberately goading me from every quarter."

"The love for Buzzcocks had never died, but it never did me any favours in terms of F.O.C. whose fortunes remained mixed at best. I’m still very proud of a lot of the records, especially the album Northwest Skyline, which had a bit of jangle and a Sixties kitchen-sink influence, including the sleeve, so in a funny roundabout way it was a return salute to what the Smiths were up to, especially ‘Pictures In My Mind’: I’d helped inspire them, now they were inspiring me. But F.O.C. weren’t seen as indie enough to be an indie band and weren’t mainstream enough to be a chart band. So we fell between two stools and straight under the floorboards beneath. On stage we always had loads of energy (something I think we captured on the live B-side ‘Keep On Pushing’) and put new records out whenever we could, but the schedule wasn’t enough to occupy my time as it had in Buzzcocks. And we all know what Morrissey says about the devil and idle hands."

"His departure marked the end of the original Buzzcocks dynamic. From then on, and for the next 28 years, it would remain the core of me and Pete plus a changing rhythm section. First to fill John’s drum stool was, aptly enough, his biggest fan. As a teenager, Mike Joyce from the Smiths used to tap out John’s beats on the back of his mum’s sofa. Buzzcocks were his favourite band, so it was a dream-come-true Jim’ll Fix It situation when I asked him to join, thanks to a recommendation from our mutual mate, Gary Rostock from Easterhouse. Mike slotted in perfectly, both as a tight drummer and someone not shy of partying, and stuck with us for the best part of two years before he left to drum for Public Image Ltd. From us to an ex-Pistol, it was like he was making a career moving up the bill of the Lesser Free Trade Hall."

A few mentions.
Regards,
FWD.
 
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Bit of random advertising today.

Can't remember if this is new:

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File name: "boring_mock_grande"!?
FWD.
 
It’s called the Glow Black T-Shirt on the UK site. I could order it, but I’ve come to my senses. I have to wait until I have some play money.
 
DaveJCarr said:
How dare DJs, wedding couples, or clubs exercise their own freedom of dissociative speech by choosing which artists and tracks they will not play in professional capacities, or at private parties they throw, or at events they book in their own venues. Quick! Call the crown investigation unit!
Click to expand...
Nah, that particular DJ was just a twat.
 
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