Tag Archive: Johnny Marr


m & m

Morrissey and Marr – pre severed alliance

In a recent interview with Krishman Guru-Murthy, Johnny Marr publicly distances himself from Morrissey’s more outspoken statements that have been widely interpreted as endorsements of racism and far right bigotry.

Wisely in my view, Marr has resisted the temptation to go any further by joining in the rising tide of venom towards his ex-Smiths partner.

To understand what he’s opting out of, you only have to read the scurrilous one star review of Morrissey’s latest covers album ‘California Sun’ in The Guardian. This makes it plain that there are now many who are no longer able the separate the man from the music.

The mood of zero tolerance was also evident when a lone complaint by a commuter in Liverpool led to posters for ‘California Sun’ being removed from the entire rail network.

I would be the first to concede that Morrissey has brought much of this unprecedented backlash upon himself. Publicly lending his support to ‘For Britain’ was for many the last straw. Prior to this, his comments against Halal meat and China’s abysmal record on animal rights could at least be defended on the grounds that they reflected his radical veganism. Now he seems to have bitten off more than he can chew.

Morrissey has a history of exaggerating for effect and knows that moderation doesn’t generate the required level of publicity. This is a man who likens animal slaughter to murder and once sang about a dream of Margaret Thatcher being guillotined.

Like all narcissistic populists, Morrissey works on the basis that there’s no such thing as bad publicity. But these days, different rule books seem to apply to the worlds of politics and entertainment. The likes of Trump, Farage and Johnson revel in the controversies they provoke and gain support from a public who distrust those who take the moral high ground. Continue reading

ENGLAND IS MINE directed by Mark Gill (UK, 2017)

England_is_MineIn the British Indie music scene the meeting of Marr and Morrissey is comparable in importance to that of Lennon and McCartney. Nevertheless, this biopic of Steven Patrick Morrissey is not about this alliance or indeed any aspect of the music the two made together with The Smiths.

Instead, the movie seeks to piece together the details of Morrissey’s life before he became famous. It explores the surroundings and events that inspired his amazing songs and made the band so unique. The title comes from the lyrics to the song ‘Still Ill’ : “England is mine, it owes me a living, ask me why and I’ll spit in your eye”.

We see the young Morrissey as a shaggy-haired lost soul sucked into deadend jobs and living in the grey suburbs of Manchester, a city significantly drabber and less dynamic then than it is now. The early 1970s was a grim period and that’s just the way it looks.

The key relationships for Morrissey were with strong women – a platonic girlfriend named Angie, budding artist Linder Sterling and his mother. When he complains that he can’t fit in anywhere his mother wisely advises him to “Create your own world”. Continue reading

MORRISSEY ON SUCCESS AND SELF TORMENT

MORRISSEY AUTOBIOGRAPHY (Penguìn books, 2013)

"There is no self-discovery in a safe life"

mozzaSteven Patrick Morrissey has, to some extent, always courted equal measures of praise and ridicule. The mean-spirited criticism by the NME and other hacks within the music press was less evident while The Smiths were still together mainly because only those with cloth ears would have dared criticise the band’s four magnificent studio albums and peerless run of singles.

As a solo artist, however,  he has become fair game for the haters so he is not exaggerating too much when he complains that “all I ever read about myself is one of intolerable egocentricity and dramatized depression”.

Carole Cadwalladr’s ridiculous Guardian article (‘Morrissey, You’re A Fraud’) exemplifies the kind of feeble-minded reporting he tends to generate these days. Cadwalladr effectively blames him for all the ills of modern Britain and writes that “he is the very definition of old news”.  If this were true, character assassinations like hers would be rejected as irrelevant but the reality, as she well knows, is that the man remains newsworthy and, moreover, is still greeted with adulation from millions of fans.

Of course, for someone with such a well-developed martyr complex, Morrissey sets himself up to be knocked down.

Morrissey’s outspoken opinions have always been designed to grab headlines and ruffle feathers so he rarely troubles to use temperate language. Likening the treatment of animals to child abuse and their slaughter for food to the holocaust is deliberate exaggeration for effect. The mass media are only too happy to rise to the bait presenting these statements with fake outrage while attracting a sizeable readership in the process.

Just one of Morrissey’s excellent solo albums.

One might argue, with some justification, that his best work is behind him but too many are quick dismiss all Morrissey’s post-Smiths work as second-rate. This judgement is one of blind (deaf?) prejudice which ignores the consistently high quality of his song writing. Morrissey acknowledges that Kill Uncle (“recording something for the sake of recording”) was a mistake but his evident pride in fine albums like Vauxhall & I, Your Arsenal and You Are The Quarry is wholly merited.

There is a rush to dismiss his autobiography in the same terms that I went out of my way to avoid reading any reviews or spoilers before reading and I think long time fans or foes should make up their own minds before being so hasty in their criticism. Continue reading

R.I.P. BERT JANSCH

Jansch from 1965

Sad to read of the passing of one of Bert Jansch at the age of 67.

Bert was one of the towering figures of British Folk and Blues and also an inspiration to a new generation of artists in the UK and America.

Those who influenced by his distinctive guitar playing style include Jimmy Page, Neil Young, Johnny Marr and Devendra Banhart.

Colin Harper‘s book Dazzling Stranger and the exemplary CD compilation curated by Harper are the best introductions to his work and will help to ensure he is not forgotten.

Part of an irregular series of bite-sized posts about 7″ singles I own – shameless nostalgia from the days of vinyl. (Search ‘Backtracking’ to collect the set!)

THE SMITHS – Hand In Glove b/w Handsome Devil (Live)  (Rough Trade, 1985)

Hand in Glove

"The sun shines out of our behinds"

“There’s more the life than books, you know, but not much more”. As soon as I heard Morrissey sing this line from Handsome Devil, I knew that The Smiths were the band for me.

When you start describing the words to the band’s songs you quickly run out of superlatives. Most have at least half a dozen quotable lines and delivered in droll Mancunian tones with Johnny Marr’s inspired guitar backing there was no-one to touch them.  Imitators have come and gone since but nothing can compare to the original template.

Hand In Glove was their first single and I bought it a few days after buying This Charming Man. Every other single of their I got on 12″ on the week of release.

The cover shot and some lyrics (especially to Handsome Devil) have a fairly obvious homoerotic slant (“A boy in the bush is worth two in the hand”) but there is deliberate ambiguity too – “Let me get my hands on your mammary glands”.

No one was writing songs like this with the combination of foppish poetry and Northern plain talking. With Hand In Glove, The Smith arrived fully formed and pop music never sounded so vital.