Johnny Marr Says 'Hi Hello' to the Old Style in New Single
- Billboard
Johnny Marr is making a reintroduction to a new world on his latest single “Hi Hello” from his forthcoming third solo record Call The Comet.
‘It was one of the songs that just fell into my hands and mind as I was playing,” Marr tells Billboard. “The tune evoked something natural so I just followed it and it felt like I had to sing something personal, something we might all feel about someone sometime.”
The song loosely follows the overarching concept of the next record, which is informed by an alternate utopian reality, even as Marr looks ahead at a dystopian future. It calls back to some of the former Smiths songwriter’s most instinctive sensibilities with its jangly guitar and gloomy keyboard...
Morrissey's 'Viva Hate' Turns 30: How His Solo Debut Predicted His Post-Smiths Career
by Kenneth Partridge 14th March, 2018 "In his days as the headstrong, enigmatic lead singer of The Smiths, the most important U.K. guitar band of the ‘80s, Morrissey wasn't itching to go solo. Why would he? The band was defined by his peculiar psychology—narcissism tempered by self-effacement topped with a wicked sense of humor—and driven by a genius guitarist, Johnny Marr, with no desire for the spotlight. It was a nice arrangement.
When Marr left The Smiths in 1987, ending the group’s run after four brilliant albums, Morrissey felt bewildered and betrayed. “The split is our final loss of innocence,” Moz writes in Autobiography, the 2013 memoir that reveals little about what actually what actually broke up indie’s Leiber and Stoller. To make matter worse, Morrissey soon learned he was contractually obligated to give EMI another album. Such was the impetus for his debut solo, Viva Hate.
Viva Hate is the singer’s only album produced and co-written by Stephen Street, who’d overseen the Smiths’ final effort, 1987’s Strangeways, Here We Come. With Strangeways, Marr had been determined to ditch the jangling guitars The Smiths had become known for, and Street seemed eager to pick up where Johnny left off.
The result was an uneven, unfocused album that nevertheless proved Morrissey capable of making music without Marr. It wasn’t that Street was the wrong man for the job—it was more that the job of writing Morrissey solo music hadn’t yet been defined. That would come on Moz’s next few albums, where he culled from rockabilly and glam to create a musical identity separate from The Smiths. On Viva Hate, Street and guitarist Vini Reilly of The Durutti Column try a bit of everything, giving Morrissey drum loops, synths, and strings to sing over. Some experiments work better than others, but the team fares best when it sticks to traditionally Smiths-y sounds.
“Angel, Angel, Down We Go Together,” a dramatic chamber-pop piece seemingly about suicide but actually written for Marr, who'd already begun playing with other musicians. It’s a classic case of Morrissey offering sympathy for someone while digging into them at the same time. “When they've used you, and they've broken you, and wasted all your money…” Morrissey sings, dwelling on these indignities a little longer than he needs to before finally pledging his devotion. It’s like his backhanded reassurance on the early Smiths tune “Reel Around the Fountain”: “People see no worth in you, but I do.”
The Smiths' masterpiece "The Queen Is Dead" is getting the royal
remastered and expanded treatment and makes its debut on Friday 10/20!
Widely considered to be both The Smiths' finest work and one of the greatest albums ever made, The Queen Is Dead has cast a significant influence over subsequent generations since it was first released in the summer of 1986.
The album features several of the band's finest moments including the title track and "There Is A Light That Never Goes Out," as well as the iconic singles "The Boy With The Thorn In His Side" and "Bigmouth Strikes Again."
This reissue represents the first time that The Smiths' back catalog has been revisited in such a way.
It follows two recent limited edition vinyl singles sourced from the archives: a demo mix of "The Boy With The Thorn In His Side" which was released for Record Store Day, and a "The Queen Is Dead" (live at Irvine Meadows) 7" which debuted at #1 on the official vinyl chart in the U.K. when it was released in June.
Warner UK released a demo mix version of The Boy With The Thorn In His Side as a physical 45. The sleeve is by Morrissey, with layout by Darren Evans at Warner UK.
The B-side is a previously unissued version of Rubber Ring.
The sleeve image is Salford actor Albert Finney.
There are three physical formats for this release – which has updated artwork – a 3CD+DVD deluxe includes
the remastered album,
a bonus CD of demos, alternates and b-sides,
a further CD: Live In Boston (recorded at the Great Woods Center For The Performing Arts on August 5, 1986) and
a DVD featuring the 2017 master of the album in PCM stereo. The DVD also includes The Queen Is Dead – A Film By Derek Jarman.
Disc One: Original Album – 2017 Remaster
Disc Two: Additional Recordings
“The Queen Is Dead” (Full Version)
“Frankly, Mr. Shankly” (Demo)
“I Know It’s Over” (Demo)
“Never Had No One Ever” (Demo)
“Cemetry Gates” (Demo)
“Bigmouth Strikes Again” (Demo)
“Some Girls Are Bigger Than Others” (Demo)
“The Boy With The Thorn In His Side” (Demo Mix)
“There Is A Light That Never Goes Out” (Take 1)
Tracks 1-7 and 9 are previously unreleased.
Track 8 was released on 7? for Record Store Day.
Tracks 10 and 11 are 2017 masters of b-sides from The Boy With The Thorn In His Side.
Tracks 12 and 13 are 2017 masters of b-sides from Bigmouth Strikes Again.
Disc Three: Live In Boston (Previously Unreleased)
“How Soon Is Now?”
“Hand In Glove”
“I Want The One I Can’t Have”
“Never Had No One Ever”
“Stretch Out And Wait”
“The Boy With The Thorn In His Side”
“Cemetry Gates”
“Rubber Ring/What She Said/Rubber Ring”
“Is It Really So Strange?”
“There Is A Light That Never Goes Out”
“That Joke Isn’t Funny Anymore”
“The Queen Is Dead”
“I Know It’s Over” Recorded at the Great Woods Center For The Performing Arts on August 5, 1986.
A five-LP box set (good value a $91) includes all the audio listed above
(the album, an outtakes double LP, and the live album double LP).
A two-CD edition pairs the remaster with the bonus disc of demos, etc.
"The Boy With The Thorn In His Side" (Demo Mix) / "Rubber Ring" (Early Drone Studios Version) - The Smiths, 7" vinyl is out via Rhino for Record Store Day 2017.
Warner UK released a previously unissued version of The Boy With The Thorn In His Side as a physical 45 in Europe.
The sleeve design, is by "Esteban" or Morrissey, with layout by Darren Evans at Warner UK.
The B-side is a previously unissued version of Rubber Ring.
From: Five Bands That Must Go Into the Rock & Roll Hall of Fame
Posted: 10/10/2014
...Morrissey and Marr have long vowed to never again perform together, and the singer is notoriously anti-establishment and would probably hate being associated with something like the Hall; but, given his recent revelation that he is battling cancer, this may be the time to recognize the band and hope against hope for a one-off reunion.
As a teenager in the 1980s, I amassed a large, eclectic
collection of that decade's vinyl. In going through it all, I find
myself listening more often to the hits less travelled, and after some
research, I discovered a surprising array of brilliant, beloved singles
that failed altogether to grace Casey Kasem's countdown. So I compiled a
list (in alphabetical order) of the best 80s singles that, despite
their awesomeness, never made Billboard's Top 40 (and in many cases, the
Hot 100)...
Anchorage (1988) - Michelle Shocked
A brittle, heartbreaking ode to friendships growing apart, this folk-pop
classic (#66) written in the style of a postal letter reminds us that
in the not so distant past, reconnecting with long lost friends didn't
happen with a Facebook search. (no music video available)
Ashes To Ashes (1980) - David Bowie
Despite a riveting music video, and a tuneful, inventive hook, Bowie
somehow missed the charts (#101) with this moody and memorable Scary Monsters jewel.
Bad Reputation (1981) - Joan Jett
In a catalog legendary for fiery badass rock hits, this two minute and
42 second fireball showcases Jett at her punk best. Missing the Hot 100
altogether, it's proof that the charts don't know anything.
Bizarre Love Triangle (1986), Blue Monday (1983) or anything by New Order
Top 40 success finally arrived with True Faith (#32, 1988), but come on - I hear Bizarre Love Triangle
more frequently on 21st century radio than I ever did in the 80s, and
the most bizarre thing about it to me is that it only made it to #98 in
its heyday.
Bringing On The Heartbreak (1982) - Def Leppard
One of the first metal videos on MTV, this dark beauty of a headbanging power ballad rocked its way to #61.
Burning Up (1983) - Madonna
"Unlike the others I'll do anything, I'm not the same, I have no shame,
I'm on fire." With these lyrics Madonna laid the foundation for her
career. A rock-infused dance treat (the second single from her debut
album), Burning Up failed to catch radio's attention in its day, but still ranks among her most delicious.
Cities In Dust (1986) - Siouxsie & The Banshees
Was her image too goth? Was singing about the volcanic eruption that
buried everyone in the lost city of Pompeii just too much for pop radio?
Whatever pop radio. Siouxsie Sioux cranked out some of the coolest,
smartest and catchiest singles (and videos) of the decade. I still get
chills listening to her croon "my friend" after essentially declaring
all is lost.
Dear God (1987) - XTC
Probably never stood a chance on U.S. Top 40, but college radio (as it
was called back then) ate it up. XTC's scorching laundry list of
everything wrong with the Bible (bookended with the vocals of an eight
year old girl) was the crowning jewel of Skylarking -- a
stunning concept album spanning the cycle from birth to death.
Destination Unknown (1982) - Missing Persons
Sexy pop tarts from Madonna to Gwen Stefani to Lady Gaga owe props to
Dale Bozzio, who (to my surprise) narrowly missed the Top 40 with her
band's two best known hits: Destination Unknown and Words (both peaked at #42).
Everywhere I Go (1986) - The Call
With echoes of U2 and Simple Minds, California's The Call made its mark
on college radio with dark, poetic radio ready anthems, yet were nowhere
to be found on Top 40. More essential Call singles: I Still Believe, Let The Day Begin, I Don't Wanna, The Walls Came Down.
Fascination Street (1988) - The Cure
An hypnotic, ghoulish wall of sound by rock's great gloomsters peaked at
#46 -- so why not six notches higher? In 1988, The Cure were
considered hot up and comers in late-to-the-party mainstream America,
which is crazy considering they already had a vast catalog including a
Greatest Hits album under their belt.
Here Comes Your Man (1989) - The Pixies
In a year when fellow alterna-darlings Love & Rockets and The Cure
cracked the top 10, the moment seemed right for The Pixie's three
minutes and twenty one seconds of pure pop perfection to rule the
charts, but for whatever reasons, it was to remain "alternative."
How Soon Is Now (1984) - or anything by The Smiths for that matter
Huge in their native England, The Smiths dark, jangling melodies had no impact whatsoever on mainstream U.S. radio in the 80s. How Soon Is Now tops my list of breathtaking Smiths singles, but any in their catalog will do.
I Melt With You (1982) - Modern English
This radio mainstay (#78) may be the most famous 80s track never to hit the Top 40.
I Need A Man (1987) - Eurythmics
Roaring Stonesy rocker from Eurythmics' underappreciated Savage
(#41). Its edgy video earned well-deserved MTV Video Music
nominations, but radio didn't roar along, and it stalled at #46 joining
the ranks of the duo's other great non Top 40 singles: Thorn In My Side (#68), You Have Placed A Chill In My Heart (#64), It's All Right Baby's Coming Back (#78), and Sexcrime (#81).
I Want Candy (1982) - Bow Wow Wow
Iconic 80s radio/MTV staple that much to my amazement only peaked at #62.
I'm In Love With The German Film Star (1981) - The Passions
A shimmering wash of layered guitars and synths opens this seductive,
unsung jewel, which went to #25 in its native UK, but was M.I.A. on US
radio. To quote the tune's final desperate lyric "I'm in love!"
Despite disbanding 26 years ago after only four albums, The
Smiths have never stopped receiving praise. Now, the band's short career
is being said to have produced the greatest album of all time.
NME gave that title to "The Queen is Dead,"
The Smiths' third album, on its newest list of the 500 best LPs in
music history. The British music publication's updated rankings -- the
last list came in 2003 and is frequently cited as a compendium of
music's greatest releases -- appear in this week's magazine. The Smiths
top lauded album by The Beatles, David Bowie, Pixies and Radiohead.
"The
Queen is Dead" provided some of the band's most beloved songs,
including "The Boy with the Thorn in His Side" and "There Is a Light
That Never Goes Out." Released in 1986, "Queen" garnered perfect reviews
from Rolling Stone, Pitchfork and Q Magazine. The album peaked at No. 2
on the U.K. Albums Chart and No. 70 on the Billboard Hot 100, and was
certified gold a few years after its debut. The Smiths went on to
release one more album, 1987's "Strangeways, Here We Come," before their
notorious split.
"Queen" appeared at No. 8 on NME's previous
list of the greatest albums, while The Stone Roses' self-titled release
slotted at No. 1. The new list finds The Beatles' "Revolver," David
Bowie's "Hunky Dory," The Strokes' "Is This It" and The Velvet
Underground & Nico's eponymous album rounding out the Top 5.
What do you think of The Smith's hefty accolade? Are they deserving of NME's crown? Sound off in the comments below.
Conversations:
italbear
"The U.S. is bound to have a different perspective on this choice, but
the Smiths were a radical force to emerge during Thatcher's England, and
their music was outrageously sophisticated and intelligent compared to
the pablum that was being foisted on the public at the time. I'm an
American, but I was blown away by the Smiths, and by that album in
particular. I think it is certainly one of the greatest albums of the
rock era. To quibble over which is best is a futile exercise in
individual tastes."
marred
"I love the smiths dearly but this is not the best album of all time and
it's not even the best smiths album. Strangeways is way better!"
Dan Delago
"Actually The Smiths' 'Meat is Murder' is a better album because it has their best song on it, 'How Soon Is Now.'"
totaleclipse
"I also prefer Meat is Murder but primarily for "Rusholme Ruffians". "I
might walk home alone...but my faith in love is still devout!" or
"Scratch my name on your arm with a fountain pen...this means you really
love me!""
I'm a pop song junkie, and I owe it all to 1983 -- the year I
started buying music. Hard to believe 30 years have passed. 1983 was a
rare year where many of the finest singles actually ended up at #1:
"Billie Jean," "Every Breath You Take," "Total Eclipse Of The Heart,"
"Come On Eileen," "Sweet Dreams (Are Made Of This)," "Let's Dance,"
"Down Under," "Africa," "Flashdance," "Maniac," "Baby Come To Me,"
"Maneater" -- tuneful, innovative productions that still sound fresher
than most of 2013's pop playlists.
With MTV's 24/7 music video
onslaught, 1983 was also a year when previous decade's acts had to
assimilate or become quickly irrelevant. Thankfully many of them (The
Kinks, Bowie, Stevie Nicks, Billy Joel, Yes, Donna Summer, Robert Plant
to name a few) reached fresh musical heights in the face of the new wave
invasion.
Highlighted by a colorful sea of debuts, here are 20
noteworthy acts (in no order) that made their first stateside mark in
1983...
Eurythmics
Though Culture Club took '83s Best New Artist Grammy, Annie Lennox and
Dave Stewart should've walked home (in matching suits) with the award.
"Love Is A Stranger" (#23, November) was the dark electro-dessert that
followed the main course of "Sweet Dreams," which fueled Eurythmics
around the world and the seven seas. This video was initially banned for
Lennox's then-shocking androgyny.
"Love Is a Stranger"
Culture Club
In the short span of three and a half years, Boy George and his band
shook the music world -- and placed 10 singles in the U.S. Top 40
including "Time" (#2) which The Rock & Roll Hall of Fame ranked as
one of the 500 most influential singles in the rock era.
"Time (Clock of the Heart)"
Cyndi Lauper
At the end of '83, Lauper's instant splash on MTV grew into a pop culture tsunami as her debut LP, She's So Unusual,
sold 16 million copies worldwide. Shot on Manhattan's lower east side,
"Girls" features cameos by her mother, brother, attorney, manager,
wrestler Captain Lou Albano, and secretaries pulled from her label's
offices.
"Girls Just Wanna Have Fun"
Madonna
"Unlike the others I'll do anything. I'm not the same. I have no shame.
I'm on fire." With these words, Madonna set her stage. The edgy,
punk-infused "Burning Up" (#3 U.S. dance) was the second single from her
self titled debut, which (at only eight songs deep) still holds up as
one of her best albums.
"Burning Up"
The Smiths
Recording four terrific proper albums before splitting in 1987, The
Smiths, with their literate, melodic singles, and lead singer
Morrissey's penchant for the dramatic, paved the way for the
guitar-driven sound that dominated British rock in the 1990s.
"This Charming Man"
INXS
1983 saw the Australian group's first U.S. tour, and chart hits, "The
One Thing" (#30) and "Don't Change" (#80) from their breakthrough LP, Shabook Shoobah
"The One Thing"
Metallica
Certainly not pop, but still a debut well worth mentioning, Metallica's blazing Kill Em All peaked at #120, selling a modest 300,000, but as the band's popularity grew, so has Kill Em All's sales, which now total over three million copies in the U.S.
"Whiplash"
Nena
An apocalyptic tale wrapped in German lyrics building to a breakdance
beat -- Nena's one glorious hit remains a unique pop treasure. Debuting
in '83s final weeks, Nena proved new wave wasn't all British. Danke
schoen!
"99 Luftballons"
Naked Eyes
The U.K. duo of Naked Eyes placed four synth-driven hits in the U.S. Top
40 including "Promises Promises" (#11) and a percussive reinvention of
the Bacharach/David chestnut "Always Something There To Remind Me" (#8)
before vanishing by mid-decade.
"Promises Promises"
Tears For Fears
Tears For Fears' debut, The Hurting, was a musical ode to the
misery-drenched family histories of band members, Roland Orzabal and
Curt Smith set to pulsing rhythms and stirring melodies.
"Pale Shelter"
Art Of Noise
An avant garde sound-collage ensemble of British composers whose
innovative methods of sampling and electronic experimentation created
musical tapestries both industrial and weirdly romantic. 1983's sensuous
epic, "Moments In Love" became an unlikely hit on R&B, pop and jazz
radio.
Thomas Dolby
Imaginative and cinematic, synthesizer wizard Thomas Dolby's debut, The Golden Age of Wireless
-- a concept record about science, radio and modern technology --
prompted Musician Magazine to call it "The best damned synth-pop record
ever, period."
"One Of Our Submarines"
The The
Britain's Matt Johnson essentially is The The. His legacy is a string of beautiful and biting rock albums, beginning with '83's Soul Mining and its underground pop hits, "This Is The Day" and "Uncertain Smile."
"Uncertain Smile"
Big Country
One of '83's most promising new rock acts, Scotland's Big Country
featured bagpipe-like guitars, and Stuart Adamson's passionate vocals.
Their Celtic-inspired anthems were a bold departure in the pop landscape
at the time.
"Fields Of Fire"
R.E.M.
Only four years before they were filling stadiums, REM was stretching
the boundaries of rock with their atmospheric, understated full length
debut, Murmur, which Rolling Stone ranked as the best album of '83.
"Catapult"
Excellent Soundboard Recording. Better than RANK! Were you there? I was at the SDSU Open-Air performance.
1. Please, Please, Please Let Me Get What I Want
2. Still Ill
3. I Want The One I Can't Have
4. There Is A Light That Never Goes Out
5. How Soon Is Now
6. Frankly, Mr Shankly
7. Panic
8. Stretch Out And Wait
9. The Boy With The Thorn In His Side
10. Is It Really So Strange
11. Cemetary Gates
12. Never Had No One Ever
13. Rubber Ring - What She Said
14. That Joke Isn't Funny Anymore
15. Heaven Knows I'm Miserable Now
16. The Queen Is Dead
17. Money Changes Everything
18. I Know It's Over
Recorded Live at Irvine Meadows - August 28, 1986.
Thanks to Vivalesbootlegs.blogspot.com for posting text file with the source URL.
Recorded on March 18, 1985 at The Apollo, Oxford for broadcast on the BBC.
Tracks from this concert appear on the b-side of the Rough Trade 5-track 12" single *That Joke Isn't Funny Anymore. I have been searching for this complete show for many years!
set list
William It Was Really Nothing
Nowhere Fast*
What She Said
Hand In Glove
How Soon Is Now
Stretch Out And Wait*
That Joke Isn't Funny Anymore
Shakespeare's Sister*
The Headmaster Ritual
Still Ill
Meat Is Murder*
Miserable Lie
Barbarism Begins At Home
You've Got Everything Now
Available as an unofficial release titled
"Same Day Again." Many thanks going out to Greatwhitewonders.blogspot.com for providing the source!
When it comes to icons of the indie world, none are bigger
and get more credit than The Smiths. During their time together from
1982-1987, the band transformed the decade's musical scene with their
swagger, style and sound. Today, decades later, their music continues to
do the same. The band has not played together since their famous split,
and fans have waited for them to reunite through famous feuds and
fights, though it looks as if it may never happen.
However, since
the fall of The Smiths, the members of the band have had very successful
solo careers, as singer Morrissey has had a string of hits as a solo
artist; guitarist Johnny Marr has released many solo projects, as well
as playing with bands such as Oasis, Modest Mouse and The Cribs; drummer
Mike Joyce has played with many bands and artists such as Morrissey
himself, Sinead O'Connor, Suede, Public Image LTD and Buzzcocks. While
bassist Andy Rourke has also played in various bands and projects such
as Sinead O'Connor, Morrissey, The Pretenders and Badly Drawn Boy, these
days he can be heard DJing on East Village Radio and at various nightclubs, doing remixes for artists and enjoying his life to the max.
In
our interview, Mr. Rourke opens up about his time in Manchester's
iconic band, the 80's music scene, music today and his current endeavors
-- but do not expect a Smiths reunion anytime soon.
What was the Manchester music scene like when you were coming of age?
AR: It was virtually nonexistent! Apart from Sad Cafe and 10cc, Thin
Lizzy... luckily I liked all of these bands. I was learning guitar and
bass, so I took all the good things I liked from these musicians; that
is what makes music go round and around. Everybody takes their
influences from their peers. It is perpetual.
Did you
ever imagine you would have such an impact to the city you grew up in?
Ever imagine that your legacy would be as big as it is?
AR:
It was strange; I never had an interest in school, because from an
early age I knew the only thing I wanted to do was to play music! So I
didn't feel so bad not going into school when I was supposed to be there
-- why do I need Latin, geography, physical education, etc., and to get
beaten on a daily basis ? When I went into school they beat me for not
being there. My classmates would congratulate me for being the most
beaten boy in the school without crying. I quit age 15 to concentrate on
my music; Johnny Marr was not far behind me! We continued to work on
our music... eventually The Smiths arrived, we knew we had something
special. The rest is history.
While in The Smiths,
each of you were instantly put at the center of attention for your
individual playing styles and formula. Was it hard fighting the egos in
the room?
AR: Luckily there was no fighting in the
room, just positivity. We were very united and focused and excited about
the sound we were creating, from its creation to the performance,
always solidarity.
How do you feel about the bands
that are coming out of Manchester today? Have you heard of Heartbreaks,
Everything Everything, The Whip?
AR: I like all the
bands above. I have been out of town for a couple of years you have to
remember. I really liked The Whip; I hope they do well... It's really
hard for me to keep up with local MCR bands when I'm not there, but they
can send me stuff to my radio show, EastVillageRadio.com. If I like it, trust me, I will play it!! There is a band from the UK called Riff Raff that I am doing a remix for right now -- check them out.
You
played in a slew of bands post-The Smiths. From The Pretenders to
Sinead O'Connor, Killing Joke, Badly Drawn Boy to even some of
Morrissey's solo material. Who was the most impressive to play with?
AR:
It's an impossible question... it has been a pleasure to play with all
these artists, Pretenders was a real highlight, but also Damon, aka
Badly Drawn Boy, Sinead... Ian Brown... all of these people I learn from
and love to work with.
Playing with these other acts, did you have to change your style of playing since it is someone else's music?
AR: Thankfully NO! They employed me to make my bass sound! Why else?
Is there anybody you would love to play with?
Sadly a lot are dead!! But there are a couple on my wish list... but I can't tell!
Johnny
has been playing with The Cribs and Modest Mouse; what do you think
about his collaborations? Would you ever do something of that kind?
AR:
I think It's great what Johnny is doing. I saw him playing with The
Cribs in NYC in the last 3 months, being a musician, if you find
something you like you grab it!!!
You seem to be and have always been the closest with Johnny. Would you two ever do another musical project together?
AR: I can say 100% me and Johnny don't have a problem working together; when it will happen it will happen.
Shifting
gears for a second, you left England and moved to New York in 2009. Has
the city influenced you? What do you think of New York's music scene?
AR: You can take whatever you want from any city. I've seen good bands... bad bands!
You
DJ now in New York at clubs and for online radio station
eastvillageradio.com. How much fun are you having playing your favorite
music?
AR: Hmmmmm? On a scale from one to 10?... 10!!!!!
Remixing
has always been a big thing in the DJ world; would you ever remix a
band's track and make it your own? Any one band or song you would love
to remix?
AR: Doing a few remixes right now, and got
a few under my belt. Did Tokyo Police Club remix with my music partner
Ole Koretsky under the name of JETLAG doing one now for a great London
band called Riff Raff .
From a rare NME 7" included with the magazine, is a live version of a song from the Meat Is Murder album. You can find more of this show on the flip side of the 12" single for "That Joke Isn't Funny Anymore." Recorded Live at Oxford on the 18th of March, 1985, "What She Said."
The Smiths "Thank Your Lucky Stars," aka "Life Is Very Long When You're Lonely"
Pro Recorded On a hot summer evening in the open air amphitheater at Irvine Meadows, Los Angeles, California The Queen Is Dead tour August 26, 1986.
Please Please Please, Let Me Get What I Want Still ill 02:21 I Want The One I Can't Have 06:14 There Is A Light That Never Goes Out 10:05 How Soon Is Now 14:09 Frankly Mr Shankly 19:56 Panic 22:41 Stretch Out And Wait 25:35 The Boy With The Thorn In His Side 29:20 Is It Really So Strange 33:07 Cemetery Gates 36:42 Never Had No One Ever 39:41 What She Said / Rubber Ring 43:15 That Joke Isn't Funny Anymore 47:33 Heaven Knows I'm Miserable Now 52:03 The Queen Is Dead 56:35 Money Changes Everything 1:02:02 I Know Its Over 1:06:19
Line Up: Morrissey, Johnny Marr, Andy Rourke, Mike Joyce & Craig Gannon.
BBC recorded live audio, Meat Is Murder Tour, Apollo Theatre, Oxford, March 18 1985. 01. William, It Was Really Nothing 02. Nowhere Fast 02:11 03. What She Said 04:47 04. Hand In Glove 07:39 05. How Soon Is Now 10:34 06. Stretch Out And Wait 16:48 07. That Joke Isn't Funny Anymore 19:57 08. Shakespeare's Sister 23:49 09. The Headmaster Ritual 26:16 10. Still ill 30:47 11. Meat Is Murder 34:32 12. Miserable Lie 40:27 13. Barbarism Begins At Home 45:56 14. You've Got Everything (Nothing) Now 53:16
1. Please, Please, Please Let Me Get What I Want
Tracks from this concert appear on the b-side of the Rough Trade 5-track 12" single *That Joke Isn't Funny Anymore. I have been searching for this complete show for many years!
Available as an unofficial release titled
"Same Day Again." Many thanks going out to Greatwhitewonders.blogspot.com for providing the source!
