What has happened to Bonfire of Teenagers? - media request

[All the things you love]

Hello everyone,

I'm a freelance music journalist (I've written for Telegraph, Times, FT, Sunday Times, Independent, Guardian) and I've been commissioned to write a feature for the Telegraph on what has happened to Bonfire of Teenagers. I know that Morrissey bought it back from Capitol in April (as per his Morrissey Central post and "long, hard, bloody war" comment). As a big Smiths and Morrissey fan, I'm intrigued. He has said it's the best album he has made, and certainly Rebels Without Applause is a fantastic song.

I'd love to know what people in the fan community have heard about a possible release, and also hear about levels of intrigue/ frustration out there about what has happened. Please also say in any replies whether you're happy to be quoted in my feature.

Many thanks,
James

Being a fan is, for so many, NOT a casual thing. We listen everyday, because there isn't anything out there quite as good in the same way. Fans are mostly desperate to hear the fantastic songs that we already know about from their live appearances. Personally I find it really sad to wonder when, if ever, I will get to hear the songs Sure Enough the Telephone Rings and I Live In Oblivion, both of which I know to be up there with anything he's ever written.

 

[Phranc & Open]

I wasn't really commenting on whether Bonfire would be the crowning glory of his solo career in terms of albums sold. I was suggesting that it might be the crowning glory of his career as an artist.

Interesting contradiction. The best solo album of his career, which almost nobody knows, because most of the potential listeners turned away. I hardly believe, that this is what he had in mind.

 

[Phranc & Open]

The only thing, that interests me about BOT, is the fact that it wasn't produced by Uncle Joe, who has also been making sure, that almost every record is a flop for over 10 years.

 

[SteveWS]

The following opinion is likely nonsense, not fully thought-through, or at least half-baked. ~

There's a borderland between what might be the truth - that Morrissey has really tried to get the album released - and a more Romantic 'truth':

The film director Orson Welles was frequently criticised for supposedly leaving many of his various projects half-finished. Though Welles, exasperated by these complaints, insisted that this was mainly due to a lack of funds, he had at least these 'Romantic truths' in common with Morrissey: both would often insist that their latest projects were 'the best thing they'd ever done' (even when this was clearly not objectively true)...and both became indulgently fond of protesting - genuinely or falsely - that audiences would have recognised the profound qualities of their most recent works. With Welles, such fond nostalgia for lost works became a kind of beloved 'trademark' of his, and occupied him for years; as regards Morrissey, his endless struggles with the music business are also emblematic of certain themes: the rebel against the system, the misunderstood artist, the soullessness of institutions...and perhaps a blissful personal ignorance of the part that egotism plays in such 'rebellions' and struggles.

Nostalgia - for good, bad or better times - is arguably key to the mindsets and works of both Welles and Morrissey. And both had tellingly similar career-arcs to someone they admired (Oscar Wilde): sensational beginnings to great acclaim, gradually followed by the near-ruination of hopes and focus. A foolish person like me might wonder if there was an element of (unconscious) design to these thwarted careers; because each of the three possessed the egos and ambitions to want it all...and if the world, life, or personal flaws inevitably got in the way of that ceaseless desire then they would settle for the glamour of 'tragedies' - the tragedies of their potential genius unrealised because of a cruel, spiteful authority - played-out before devotees and critics. Wilde, Welles, and Morrissey had that poetic obsession of seeking deeper meanings in so many things, profound or even trivial...so then, from their perspectives, what greater and more tempting hallmarks of their artistic lives could there be for them than either untouchable levels of success or else Christ-like tragedy at the hands of an uncomprehending, hostile world? Each alternative positions them at the centre; fittingly, because all their works were or are intensely autobiographical at heart.

 

[Orange Crush]

I've heard that by the time it's released it will be called, wait for it, "Embers of The Elderly"

 

[FillUpThePage]

Hello everyone,

I'm a freelance music journalist (I've written for Telegraph, Times, FT, Sunday Times, Independent, Guardian) and I've been commissioned to write a feature for the Telegraph on what has happened to Bonfire of Teenagers. I know that Morrissey bought it back from Capitol in April (as per his Morrissey Central post and "long, hard, bloody war" comment). As a big Smiths and Morrissey fan, I'm intrigued. He has said it's the best album he has made, and certainly Rebels Without Applause is a fantastic song.

I'd love to know what people in the fan community have heard about a possible release, and also hear about levels of intrigue/ frustration out there about what has happened. Please also say in any replies whether you're happy to be quoted in my feature.

Many thanks,
James

Hi James. Great to hear that the Telegraph is keen to carry a story about the album. My name is George Allen and I edit the Morrissey Mercury fanzine and co-host the Morrissey and Wine podcast. Information is quite limited about the Bonfire of Teenagers album - we only get scraps of info via Moz's website. My suspicion is that record execs are put off by the non-PC tone of the album's lead song and they fear that the sales they would achieve would not be worth the feared backlash. That would explain the original label's reluctance to release it and the subsequent apparent lack of interest from other labels now Morrissey has the rights to it. As fans we are very keen to hear the album and it's a cultural crime that an artist as revered and talented as Morrissey is in the wilderness yet again. A democratic society and pop culture should have room for all points of view unless they incite hatred or violence - a song making one feel a bit "icky" is not a good enough reason to stop it from being released.

 

[ZOOM FROM GLOOM]

has anyone thought that he simply makes music because its a joy? just the physical euphoric feeling of doing it making it living in it is an amazing sensual experience. for themselves most of all for at its heart its a feeling only they will really know understand comprehend etc. theres so much joy in morrissey that people seem to just overlook

for once I wholeheartedly agree with you.

 

[ZOOM FROM GLOOM]

Hi James. Great to hear that the Telegraph is keen to carry a story about the album. My name is George Allen and I edit the Morrissey Mercury fanzine and co-host the Morrissey and Wine podcast. Information is quite limited about the Bonfire of Teenagers album - we only get scraps of info via Moz's website. My suspicion is that record execs are put off by the non-PC tone of the album's lead song and they fear that the sales they would achieve would not be worth the feared backlash. That would explain the original label's reluctance to release it and the subsequent apparent lack of interest from other labels now Morrissey has the rights to it. As fans we are very keen to hear the album and it's a cultural crime that an artist as revered and talented as Morrissey is in the wilderness yet again. A democratic society and pop culture should have room for all points of view unless they incite hatred or violence - a song making one feel a bit "icky" is not a good enough reason to stop it from being released.

Not dismissing your opinion on this, because I leaned towards that belief at one point also. And I may be wrong, but don’t you think they would have given a listen to the tapes, it’s contents, and especially if there’s a single, before buying the rights from M to release it?

They also would have known that M is a bit of trouble, (which is not always a negative) and would have known about his falling out with Harvest.

 

[FillUpThePage]

Forgot to say, James, happy to be quoted if there’s anything you can use.

Zoom From Gloom - interesting point. But I wonder if perhaps with a legacy artist they just sign off a new album not really caring what the contents are because they know roughly how many copies it will sell. Maybe Bonfire took the execs by surprise?

 

[Lionsy]

...legacy artist..

I bet Morrissey would pull out of a billion pound record deal for being called that

 

[robertw93]

I'm happy to be quoted - I think it's gonna be a stunning album and as with I Am Not A Dog On A Chain and Low In Highschool I am stunned by the quality and importance of his output, the urgency, venom, anger, beauty and inspiration. I can't think of anyone releasing music like this so late in their careers. The last true artist doing something different, singing something unique. Arguably not a dog on a chain.

 

[SteveWS]

My suspicion is that record execs are put off by the non-PC tone of the album's lead song and they fear that the sales they would achieve would not be worth the feared backlash. That would explain the original label's reluctance to release it and the subsequent apparent lack of interest from other labels now Morrissey has the rights to it.

I agree with this...and have my own opinion on the lyrical content (something which would be a distracting digression here, and so I'll not discuss it).

However, whatever we might happen to think of the song's words and the sentiments expressed, I find the cowardice/trepidation of some record companies - in regard to Morrissey - amazing at least. When we look back at the history of popular music, there have been numerous acts which deliberately courted extreme controversy, while they and others were practically pursued by companies until they finally succeeded in signing those acts...exactly because of that confected outrage, because of the reaction to it, because of their newsworthiness; yet Morrissey - who hardly compares in actions and words with these infamous names in terms of outraging the nations - is apparently persona non grata. This is strange, at least, and can appear like pathetically selective 'morality' on the labels' part.

 

[DaveJCarr]

While the timeline and links curated by @Famous when dead and others are useful (and the sentiments of posters here can give some indication of relative enthusiasm, I would hope that the focus of any investigatory article on BOT centers on the folks who actually know what happened: Moz, Miley, Capitol and other management staff. There have to be (more) emails/communiques that can establish a timeline and corroborate the truth of the matter. Anything else is just waffling speculation, no matter how much the online sleuths and prognosticators (and I'm one too) claim to "know"

 

[Famous when dead]

Forgot to say, James, happy to be quoted if there’s anything you can use.

Zoom From Gloom - interesting point. But I wonder if perhaps with a legacy artist they just sign off a new album not really caring what the contents are because they know roughly how many copies it will sell. Maybe Bonfire took the execs by surprise?

This view doesn't really tally with the known 'facts'.
BOT was announced in 2021 and available to "the highest (or lowest) bidder.".
October '22, Capitol obviously made a bid as they are named as releasing it.
That announcement came ~6 months after the press furore about the song title/contents re: BOT (which was debuted live May, 2022).
This and the fact they go further and state other Morrissey reissue albums will be coming via Capitol probably evidences a working relationship that wasn't affected by the press going after the title track.
That kind of diminishes the 'surprise' argument.
Later on in the year (November 2), Columbia confirms Miley won't be released to have vocals elsewhere.
12 days later, it is announced that the 2023 release is now not happening and "Its fate is exclusively in the hands of Capitol Records (Los Angeles.)"
November 25, despite the uncertainty, Rebels is released/licensed via Capitol.
A month later (December 22), the whole of Morrissey's YT gets renamed to that of Capitol's Digital Marketing Director.
The day after, Morrissey parts ways from Capitol.
The day after that - Miley wants vocals off the record...
This stalemate then provides Central with material to bemoan Capitol until the BOT breaking free image is posted.
Morrissey was trying to position Veronica as the first single from the album as far back as January, 2022.
It would appear this not happening, some PR 'goofs' combined with Columbia's actions were more likely to be at the root of this - not the song's already known subject matter.
Regards,
FWD.

 

[TheSmiths_1985]

Hello everyone,

I'm a freelance music journalist (I've written for Telegraph, Times, FT, Sunday Times, Independent, Guardian) and I've been commissioned to write a feature for the Telegraph on what has happened to Bonfire of Teenagers. I know that Morrissey bought it back from Capitol in April (as per his Morrissey Central post and "long, hard, bloody war" comment). As a big Smiths and Morrissey fan, I'm intrigued. He has said it's the best album he has made, and certainly Rebels Without Applause is a fantastic song.

I'd love to know what people in the fan community have heard about a possible release, and also hear about levels of intrigue/ frustration out there about what has happened. Please also say in any replies whether you're happy to be quoted in my feature.

Many thanks,
James

Antipathy, antipathy, we’ve all got antipathy.

 

[SuedeMoz]

has anyone thought that he simply makes music because its a joy? just the physical euphoric feeling of doing it making it living in it is an amazing sensual experience. for themselves most of all for at its heart its a feeling only they will really know understand comprehend etc. theres so much joy in morrissey that people seem to just overlook

That's a nice way to look at it. I guess he's now in his "Prince" phase and recording music for the vault. While I'm not at all expecting these to be career-defining albums, there would be something sad and tragic about these becoming posthumous releases.

 

[trans]

That's a nice way to look at it. I guess he's now in his "Prince" phase and recording music for the vault. While I'm not at all expecting these to be career-defining albums, there would be something sad and tragic about these becoming posthumous releases.

hasnt he always said that his fav part of a song is its creation. if so why would he stop. i guess im just noticing how people dont wanna see morrisseys perspective as that of any human being. he obviously adores his music and the feeling he gets when he does it has got to be enormous. i dont think that feeling is a product of the sharing or validation of the song which of course can have its own great feeling. why wouldnt he want that anymore and stop. i dont know if he'll die on stage but i imagine him an ancient man sitting in a chair staring off into nothing while he mutters to himself some possible line or lyric. i always wonder what hes thinking about, what little movie plays in his mind, while hes singing. at the heart of it i guess i think hes still going because he wants to live that movie as much possible while he can to hold on to that special feeling. i think very little of his music these days is for anyone other than himself and maybe a select few. he just still needs us to show up support and play our part which is fine with me because hes got a part in my movie

-

i dont think the label really cares about notre dam or anything else off the record (they for sure listened before purchasing) being offensive cause its pretty tenuous and like no one here, in the large us market, knows or really cares about any of those things. they might in the uk but i dont think the label is worried about the sales and they dont have a bite of the live show which did get hurt in the uk. if the labels only financial interest is streaming album sales then people saying youve got to listen to this its so wrong etc really only helps increase streaming numbers more and they still get paid more. he did eff up with the announcement cause it was an unforced error/opening but i dont think he cared at that point cause i think he still thought he had the support of miley, you can almost hear the desperation when hes asking what the artist thinks in that email reply (this implies that he hasnt and presumably cant get through to her) and that after the incident with the crew she was less enthusiastic and the label, which didnt want her to do it in the first place, pounced on that opening and got her separated from what they probably saw as a distraction to her own album release (it arguably was honestly so there perspective is probably just one of self interest and relief). im betting miley said she was fine after it happened, left, backed out and blocked all calls

 

[goinghome]

hasnt he always said that his fav part of a song is its creation. if so why would he stop. i guess im just noticing how people dont wanna see morrisseys perspective as that of any human being. he obviously adores his music and the feeling he gets when he does it has got to be enormous. i dont think that feeling is a product of the sharing or validation of the song which of course can have its own great feeling. why wouldnt he want that anymore and stop. i dont know if he'll die on stage but i imagine him an ancient man sitting in a chair staring off into nothing while he mutters to himself some possible line or lyric. i always wonder what hes thinking about, what little movie plays in his mind, while hes singing. at the heart of it i guess i think hes still going because he wants to live that movie as much possible while he can to hold on to that special feeling. i think very little of his music these days is for anyone other than himself and maybe a select few. he just still needs us to show up support and play our part which is fine with me because hes got a part in my movie

-

i dont think the label really cares about notre dam or anything else off the record (they for sure listened before purchasing) being offensive cause its pretty tenuous and like no one here, in the large us market, knows or really cares about any of those things. they might in the uk but i dont think the label is worried about the sales and they dont have a bite of the live show which did get hurt in the uk. if the labels only financial interest is streaming album sales then people saying youve got to listen to this its so wrong etc really only helps increase streaming numbers more and they still get paid more. he did eff up with the announcement cause it was an unforced error/opening but i dont think he cared at that point cause i think he still thought he had the support of miley, you can almost hear the desperation when hes asking what the artist thinks in that email reply (this implies that he hasnt and presumably cant get through to her) and that after the incident with the crew she was less enthusiastic and the label, which didnt want her to do it in the first place, pounced on that opening and got her separated from what they probably saw as a distraction to her own album release (it arguably was honestly so there perspective is probably just one of self interest and relief). im betting miley said she was fine after it happened, left, backed out and blocked all calls

Many lovely thoughts there.

Some people may feel dubious about the title track, Bonfire of Teenagers, but ask most Manchester locals, and they are very grateful to Morrissey for writing this song which reflects their outrage and grief after the horrific attack. In that sense, it is a work authentically representative of his home community's response to what he described as England's 9/11 - https://www.nme.com/news/music/morr...nagers-about-manchester-arena-bombing-3262238

He might have been just really unlucky, especially with the Miley turnabout throwing a major spanner in the works, but what we know already is that there are several beautiful and powerful songs on the album.

 

[DaveJCarr]

Many lovely thoughts there.

Some people may feel dubious about the title track, Bonfire of Teenagers, but ask most Manchester locals, and they are very grateful to Morrissey for writing this song which reflects their outrage and grief after the horrific attack. In that sense, it is a work authentically representative of his home community's response to what he described as England's 9/11 - https://www.nme.com/news/music/morr...nagers-about-manchester-arena-bombing-3262238

Some Mancunians undoubtedly find "Bonfire of Teenagers" resonant - other Mancunians might find it dull, rather daft. and cruelly dismissive. After all, it was some of the same folks in and from Manchester who started spontaneously singing "Don't Look Back in Anger" in the first place.! This was not some crass promotion from label or whatever – it was a spontaneous outpouring.

Moz (or anyone else) can find that response aggravating and nauseating, but that doesn't mean it wasn't genuine on the part of the people who sang the song.

It is impossible for any work art – be it "Don't Look Back in Anger", or "Bonfire of Teenagers" to be fully representative of s place or "home community" for whatever that means, reaction to a tragedy. People have too many differing opinions and reactions for any artistic expression to speak for all of them
.
(For that matter, it's a bit of an open question if Moz meaningfully lives in Manchester in any sense, in the present, or has for the past number of years). So his version of Manchester might only exist in his mind something that certainly seemed to be evident in his autobiography.

 

[SteveWS]

IMO, generally-speaking, unconditional loyalty to anyone is essentially worthless to all involved parties: it's simply too much - too entitled, in truth - to ask for (by those who demand it) and it demeans those who give it. It's like fawning praise from a sycophant: worthless.

We're all, I'm sure, well-used by now to giving Morrissey the benefit of doubt, regarding many areas of his career; whether it be his spoken words or his actions (or even his inactions) or, saliently, his lyrics. Sometimes this 'giving' is quite difficult and BOT's lyrics are an especially troublesome instance for me: regardless of how much I would like to give that benefit-of-doubt yet again, I feel that virtually every aspect of the song's words is problematical...and I don't mean in terms of political correctness. The whole thing is draped in Morrissey's bitterness, envy, scorn and more besides; and it's tellingly poorly-disguised.