Posted April 12, 200718 yr The Smiths & Morrissey are Live thread I've noticed on Youtube that there are a few Smiths Live performances in concert. So I thought as a New Thread that I will post one of these videos per day for you to enjoy. :lol: List of Videos Here: 1. Reel Around The Fountain (live in Manchester, July 6 1983) 2. How Soon Is Now (live, unknown) 3. London / Miserable Lie (live Brixton Academy 12-12-1986) 4. Some Girls Are Bigger Than Others (live Brixton Academy 12-12-86) 5. Hand In Glove (Three Versions: Live at the Hacienda, Manchester 24-11-1983; Live on the Tube, 16-03-1984; Live in Madrid 18-05-1985) 6. Handsome Devil (Live in Madrid 18-05-1985) 7. Headmaster's Ritual (Live in Madrid 18-05-1985) 8. What Difference Does It Make? (Live at the Hacienda Manchester, 6 July 1983) 9. Meat Is Murder (live in Madrid 18-05-1985) 10. The Queen Is Dead (live 20 July 1986 University Of Salford, Salford) 11. Sheila Take A Bow (Live on Channel 4's The Tube, 10-Apr-1987) 12. Bigmouth Strikes Again (live Brixton Academy 12-12-1986) 13. Panic (live Brixton Academy 12-12-1986) 14. William It Was Really Nothing (Live in Madrid 18-05-1985) 15. This Charming Man (live in Paris 01-12-1984) 16. The Joke Isn't Funny Anymore (live in Madrid 18-05-1985) 17. Heaven Knows I'm Miserable Now (live in Paris 01-12-1984) 18. Frankly Mr Shankly (live in Irvine 1985) 19. Is It Really So Strange? (live Brixton Academy 12-12-1986) 20. Still Ill (live Brixton Academy 12-12-1986) 21. Suedehead (Morrissey live - unknown) 22. Disappointed (live at Wembley, London December 8th 2006) 23. The More You Ignore Me The Closer I Get (live "Boxers" tour 1995) 24. November Spawned A Monster (Coachella Festival, USA 1999) 25. Hairdresser On Fire (Live in Manchester 2004) 26. Morrissey - Stop Me If You Think You've Heard This One Before (Norway 10-08-2006) 27. Morrissey - Girlfriend in a Coma (Rock Am Ring - Jun.02.2006) 28. We Hate It When Our Friends Become Sucessful (live Amnesty International 1993) 29. Why Don't You Find Out For Yourself (Live - Unknown) 30. Life Is A Pigsty (Unknown 2007) 31. Boxers (Live 1996) 32. First Of The Gang To Die (Glastonbury June 2004) 33. Morrissey - Shakespeare's Sister (live Glastonbury 2004) When I get to around 20 I will start to include Morrissey live performances Please feel free to comment on these tracks/performances?
April 12, 200718 yr Author _rdV7p3Qudc Reel Around The Fountain It's time the tale were told Of how you took a child And you made him old It's time the tale were told Of how you took a child And you made him old You made him old Reel around the fountain Slap me on the patio I'll take it now Oh ... Fifteen minutes with you Well, I wouldn't say no Oh, people said that you were virtually dead And they were so wrong Fifteen minutes with you Oh, well, I wouldn't say no Oh, people said that you were easily led And they were half-right Oh, they ... oh, they were half-right, oh It's time the tale were told Of how you took a child And you made him old It's time that the tale were told Of how you took a child And you made him old You made him old Oh, reel around the fountain Slap me on the patio I'll take it now Ah ... oh ... Fifteen minutes with you Oh, I wouldn't say no Oh, people see no worth in you Oh, but I do. Fifteen minutes with you Oh, I wouldn't say no Oh, people see no worth in you I do. Oh, I ... oh, I do Oh ... I dreamt about you last night And I fell out of bed twice You can pin and mount me like a butterfly But "take me to the haven of your bed" Was something that you never said Two lumps, please You're the bee's knees But so am I Oh, meet me at the fountain Shove me on the patio I'll take it slowly Oh ... Fifteen minutes with you Oh, I wouldn't say no Oh, people see no worth in you Oh, but I do. Fifteen minutes with you Oh, no, I wouldn't say no Oh, people see no worth in you I do. Oh, I ... I do Oh, I do Oh, I do Oh, I do -------------------------------------------------------------------------------- Review of the album track from The Smiths LP: A leaden production slightly spoils this tale of sexual wishes. An organ and a keyboard part add a little sparkle, but still fail to reach the brilliance of later tracks. The lyrics are typical Morrissey; unsubtle sexual references, and a deep undercurrent of romanticism. The way that such a basely puerile a song is presented within a framework of a love song (harmonic slow-tempo balladry) is just excellent; the first time you hear it, you think "what a nice song"; it's only when you listen to the lyrics that you realise that the song is about sexual desire, and nothing more. This is one of the songs that was involved in the ridiculous child-molesting scandal; with the result that Auntie Beeb wouldn't play the version of this song recorded for them.
April 13, 200718 yr Author FYGVaQJxn1E How Soon Is Now? (Live, Unknown) I am the son and the heir of a shyness that is criminally vulgar I am the son and heir of nothing in particular You shut your mouth how can you say I go about things the wrong way I am human and I need to be loved just like everybody else does I am the son and the heir of a shyness that is criminally vulgar I am the son and the heir of nothing in particular You shut your mouth how can you say I go about things the wrong way I am human and I need to be loved just like everybody else does There's a club if you'd like to go you could meet somebody who really loves you so you go, and you stand on your own and you leave on your own and you go home, and you cry and you want to die When you say it's gonna happen "now" well, when exactly do you mean? see I've already waited too long and all my hope is gone You shut your mouth how can you say I go about things the wrong way I am human and I need to be loved just like everybody else does ---------------------------------------------------------------------------------------- AMG: Song Review by Tim DiGravina Probably the most played Morrissey/ Marr song of all time, "How Soon Is Now?" is an epic throwback to '60s psychedelia, a lushly produced symphony of Johnny Marr guitar perfection, and perhaps the ultimate statement of Morrissey's bold miserablism. That it's one of the most compelling songs of the 1980s is nearly impossible to deny. Marr's guitar wraps around itself and back again, its tremolo seemingly echoing straight out of an ecstasy-hazed Hacienda. The sole song from Meat Is Murder produced by John Porter, "How Soon Is Now?" certainly seems more dance-oriented than most of the tracks from the Smiths' sophomore album. Mike Joyce's drums virtually mimic a drum machine, as he two-fistedly pounds the same sharp beat for nearly seven minutes. Morrissey exudes confident depression, foregoing the crooning whine present on so many of the band's early songs. He seems relatively detached offering droll lines like "I am the son and the heir of a shyness that is criminally vulgar." His lyrics might be hopeless, but he sounds coolly at ease. A semi-jokey whistle that crops up now and again paints the picture of a bold swagger, suggesting that Morrissey knew the band would continue to be revered by a growing army of fans and discussed in tones the British press hadn't used since the Beatles. Along with the more dancefloor-friendly songs of their Manchester peers New Order, the Smiths helped to inspire an entire cache of local talent with the druggy textures of this song, spawning similar genre-hopping outfits like the Stone Roses and the Happy Mondays. Though it isn't necessarily indicative of the Smiths' general style, and though die-hard fans might feign disgust at those who instantly label it a favorite, "How Soon Is Now?" etches and rattles with a seemingly timeless sense of cool. So what if it was the first introduction to a mass audience across England's borders? So what if the song makes countless appearances across the band's discography? Any song at once so standoffish and yet so charming deserves as broad an audience as possible.
April 15, 200718 yr Author EP83PqUo6n8 London / Miserable Lie (live 12-12-1986) London lyrics: Smoke Lingers 'round your fingers Train Heave on - to Euston Do you think you've made The right decision this time ? You left Your tired family grieving And you think they're sad because you're leaving But didn't you see the Jealousy in the eyes Of the ones who had to stay behind ? And do you think you've made The right decision this time ? You left Your girlfriend on the platform With this really ragged notion that you'll return But she knows That when he goes He really goes So do you think you've made The right decision this time ? Miserable Lie lyrics: So, goodbye Please stay with your own kind And I'll stay with mine There's something against us It's not time It's not time So, goodbye, goodbye, goodbye, goodbye I know I need hardly say How much I love your casual way Oh, but please put your tongue away A little higher and we're well away The dark nights are drawing in And your humour is as black as them I look at yours, you laugh at mine And "love" is just a miserable lie You have destroyed my flower-like life Not once - twice You have corrupt my innocent mind Not once - twice I know the wind-swept mystical air It means : I'd like to see your underwear I recognise that mystical air It means : I'd like to seize your underwear What do we get for our trouble and pain ? Just a rented room in Whalley Range What do we get for our trouble and pain ? ...Whalley Range ! Into the depths of the criminal world I followed her ... I need advice, I need advice I need advice, I need advice Nobody ever looks at me twice Nobody ever looks at me twice I'm just a country-mile behind The world I'm just a country-mile behind The whole world Oh oh, oh ... I'm just a country-mile behind The world I'm just a country-mile behind The whole world Oh oh, oh ... Take me when you go Oh oh, oh... Take me when you go Oh oh, oh ... I need advice, I need advice ------------------------------------------------------------------------------------------------------- Reviews: AMG Miserable Lie Song Review by Stewart Mason The opening of "Miserable Lie" makes it sound like the most conventional post-punk song in the Smiths' career, a minute or so of Echo and the Bunnymen-style elegant gloom over which Morrissey softly croons a farewell to a paramour. So far, so college rock. But after an elongated "goodbye, goodbye, goodbye, goodbye," Mike Joyce and Andy Rourke suddenly goose the tempo up into double time, and both Johnny Marr's guitar and Morrissey's voice take on a new, harsher tone. The lyrics turn from elegiac to vituperative, as Morrissey spits out the real reasons why he's leaving. In particular, the general distaste for sex that was a big part of his early public persona gets a strong workout here, particularly in the withering put-down "I recognize that mystical air/It means 'I'd like to see your underwear.'" Finally, the tension ratchets up yet again, to the point that Morrissey starts squealing in a bizarre strangled falsetto that he keeps for the remainder of the song, repeating disjointed phrases with maniacal obsession as his bandmates start to press the tempo yet again. On an album that singlehandedly rewrote a lot of the rules of the UK indie scene, "Miserable Lie" is likely the most overtly strange, rule-breaking song, and the song on which Morrissey's well-publicized anti-romanticism tips over into outright revulsion.
April 16, 200718 yr Author IVgBGOtS8Y4 Some Girls Are Bigger Than Others (Live Brixton Academy 12-12-86) From the ice-age to the dole-age there is but one concern I have just discovered Some girls are bigger than others some girls are bigger than others some girls mothers are bigger than other girls mothers As Antony said to Cleopatra as he opened a crate of ale oh I say Some girls are bigger than others some girls are bigger than others some girls mothers are bigger than other girls mothers -------------------------------------------------------------------------------- Track Review taken from Johnny Rogan's superb Definitive Story of the Smiths: Morrisey & Marr - The Severed Alliance: ...The Smiths close the album (The Queen Is Dead) with the bathetic 'Some Girls Are Bigger Than Others'. On the previous two albums, the final tracks mourned murder and animal slaughter, but here Morrissey breaks with tradition to lighten the tone. In citing Antony and Cleopatra, Morrissey does not borrow from Shakespeare, but prefers the uproarious film Carry On Cleo, in which actor Sid James is shown cracking open a bottle of ale. As the song fades, Morrissey revisits the early sixties for a muted reprise of Johnny Tillotson's 'Send Me The Pillow You Dream On'. The purposely unportentous finale, with some excellent slide work from Marr, supplies a playful coda to an album of classic distinction. .......
April 17, 200718 yr Author sUe4ejI5rBU Hand In Glove (Live at the Hacienda, Manchester 24-11-1983) Xik6LrUvygs Hand In Glove (Live on the Tube, 16-03-1984) juSJ4OCWzjg Hand In Glove (Live in Madrid 18-05-1985) Hand in glove The sun shines out of our behinds No, it's not like any other love This one is different - because it's us Hand in glove We can go wherever we please And everything depends upon How near you stand to me And if the people stare Then the people stare Oh, I really don't know and I really don't care Kiss My Shades Hand in glove The Good People laugh Yes, we may be hidden by rags But we've something they'll never have Hand in glove The sun shines out of our behinds Yes, we may be hidden by rags But we've something they'll never have And if the people stare Then the people stare Oh, I really don't know and I really don't care Kiss My Shades ... oh ... So, hand in glove I stake my claim I'll fight to the last breath If they dare touch a hair on your head I'll fight to the last breath For the Good Life is out there somewhere So stay on my arm, you little charmer But I know my luck too well Yes, I know my luck too well And I'll probably never see you again I'll probably never see you again I'll probably never see you again Oh ... Review: Of course, The Smiths' debut single. Its tale of an ideal relationship marred by one person's pessimism and a perjorative society is matched by Marr's rambling guitar, and Joyce and Rourke's solid rhythm section, producing a rather rocky sound for their first release. There are two mixes of this track released, of which only one fades in. The original single version was produced by The Smiths and fades in, rather a limp start to such a bombastic track. The track was subsequently remixed by John Porter for the debut album. The version on Hatful Of Hollow is the original single version. Famously, The Smiths were incensed by their single's lack of chart success, and Morrissey avenged the single by putting it on practically every record they released (see below). Still, I'm not complaining. Later on, they enlisted the help of Sandie Shaw to bring the song slap bang into the charts, with Morrissey demoted to backing vocals.
April 18, 200718 yr Author zc4w7zQpmqs Handsome Devil (Live in Madrid 18-05-1985) All the streets are crammed with things Eager to be held I know what hands are for And I'd like to help myself You ask me the time But I sense something more And I would like to give What I think you're asking for You handsome devil Oh, you handsome devil Let me get my hands On your mammary glands And let me get your head On the conjugal bed I say, I say, I say I crack the whip And you skip But you deserve it You deserve it, deserve it, deserve it A boy in the bush Is worth two in the hand I think I can help you get through your exams Oh, you handsome devil Oh, let me get my hands On your mammary glands And let me get your head On the conjugal bed I say, I say, I say I crack the whip And you skip But you deserve it You deserve it, deserve it, deserve it And when we're in your scholarly room Who will swallow whom ? When we're in your scholarly room Who will swallow whom ? You handsome devil Oh, let me get my hands On your mammary glands And let me get your head On the conjugal bed I say, I say, I say There's more to life than books, you know But not much more Oh, there's more to life than books, you know But not much more, not much more Oh, you handsome devil Oh, you handsome devil Ow ! -------------------------------------------------------------------------------- Understandably a live favourite, Handsome Devil was never granted a studio recording (excepting Troy Tate's version), with the only available versions being this BBC version and a live version from The Smiths' 3rd gig. Its rather unsubtle lyrics provided a fine fuel for the debates about Morrissey's writings during the first phase of their career. Its tone of almost rape-like forcefulness, where the protagonist sees things differently from the subject ("I sense something more"), rankled with many critics.
April 19, 200718 yr Author VI2m-EPZEJU Headmaster's Ritual (Live in Madrid 18-05-1985) Belligerent ghouls Run Manchester schools Spineless swines Cemented minds Sir leads the troops Jealous of youth Same old suit since 1962 He does the military two-step Down the nape of my neck I wanna go home I don't wanna stay Give up education As a bad mistake Mid-week on the playing fields Sir thwacks you on the knees Knees you in the groin Elbow in the face Bruises bigger than dinner plates I wanna go home I don't wanna stay Da-da-da ... Belligerent ghouls Run Manchester schools Spineless bast*rds all ... Sir leads the troops Jealous of youth Same old jokes since 1902 He does the military two-step Down the nape of my neck I wanna go home I don't want to stay Give up life As a bad mistake Please excuse me from gym I've got this terrible cold coming on He grabs and devours He kicks me in the showers Kicks me in the showers And he grabs and devours I want to go home I don't want to stay... Da-da-da ... ------------------------------------------------------------------------------- The bombastic "Headmaster Ritual" sets the tone of the New Smiths immediately. Uncompromising in its musical and lyrical attack of institutionalised brutality, this song finds Morrissey at his most vitriolic yet, deep enough in the mire of anger to spit out a swearword, previously unheard from his sugar-sweet mouth. Indeed, Viv Nicholson objected to being used as a cover star due to this unprecedented outburst. This is consistently brought up as one of the fan's favourite songs, and it's no real surprise. Bursting with energy, this song smacks you in the face on arrival, and never really stops. This song was released in edited form on the American promo, and fades quickly after the last line.
April 27, 200718 yr Author DXU5O-HMGbQ What Difference Does It Make? (Live at the Hacienda Manchester, 6 July 1983) All men have secrets and here is mine So let it be known For we have been through hell and high tide I think I can rely on you ... And yet you start to recoil Heavy words are so lightly thrown But still I'd leap in front of a flying bullet for you So, what difference does it make ? So, what difference does it make ? It makes none But now you have gone And you must be looking very old tonight The devil will find work for idle hands to do I stole and I lied, and why ? Because you asked me to ! But now you make me feel so ashamed Because I've only got two hands Well, I'm still fond of you, oh-ho-oh So, what difference does it make ? Oh, what difference does it make ? Oh, it makes none But now you have gone And your prejudice won't keep you warm tonight Oh, the devil will find work for idle hands to do I stole, and then I lied Just because you asked me to But now you know the truth about me You won't see me anymore Well, I'm still fond of you, oh-ho-oh But no more apologies No more, no more apologies Oh, I'm too tired I'm so sick and tired And I'm feeling very sick and ill today But I'm still fond of you, oh-ho-oh Oh, my sacred one ... Oh ... -------------------------------------------------------------------------------- A pointer towards Morrissey's later fondness for stupidly long songnames (qv We Hate It When Our Friends Become Successful) this is an "early" Smiths song - after a while, the attraction sort of drains out of it, and you don't like it half as much (at around the same time you learn to appreciate growers like I Don't Owe You Anything). The riff is based on Jo Jo Gunne's "Run Run Run" and the recording features about 15 overdubbed guitars. A playground noise towards the end of the song leads into Morrissey screeching "my sacred one !" theatrically which goes someway to making this rather humdrum tune more interesting.
April 27, 200718 yr Author 2pB18RcAW8c Meat Is Murder (live in Madrid 18-05-1985) Heifer whines could be human cries Closer comes the screaming knife This beautiful creature must die This beautiful creature must die A death for no reason And death for no reason is MURDER And the flesh you so fancifully fry Is not succulent, tasty or kind It's death for no reason And death for no reason is MURDER And the calf that you carve with a smile Is MURDER And the turkey you festively slice Is MURDER Do you know how animals die ? Kitchen aromas aren't very homely It's not "comforting", cheery or kind It's sizzling blood and the unholy stench Of MURDER It's not "natural", "normal" or kind The flesh you so fancifully fry The meat in your mouth As you savour the flavour Of MURDER NO, NO, NO, IT'S MURDER NO, NO, NO, IT'S MURDER Oh ... and who hears when animals cry ? -------------------------------------------------------------------------------- This, the title track of the album, an overly melodramatic anthem for the world's vegetarians, reputedly caused Andy Rourke to give up meat. It really does tread the line between impact and farce, what with the unearthly effects on Morrissey's voice that sound like an unwell alien, and the absurd cows, sheep and bird noises. I do believe it does manage to get away with it, but it is a close line, and the song is often treated with derision. The opening and closing reverse piano jabs are, I suppose, meant to remind of the "screaming knife". One of the finest bits in this song is the image of the cheery rustic kitchen, bustling with family; he then mercilessly sees through the pleasant image to the dead animal being cooked. Morrissey noticeably has no qualms about comparing animals with humankind; indeed the very first line claims the similarity. His mis-use of "MURDER" further nods towards his anthropomorphism of animals.
April 27, 200718 yr Author GQ5F9yQCu_Y The Queen Is Dead (live 20 July 1986 University Of Salford, Salford) Oh ! Take me back to dear old Blighty, Put me on the train for London Town, Take me anywhere, Drop me anywhere, Liverpool, Leeds or Birmingham But I don't care, I should like to see my ... I don't bless them Farewell to this land's cheerless marshes Hemmed in like a boar between arches Her very Lowness with a head in a sling I'm truly sorry - but it sounds like a wonderful thing I said Charles, don't you ever crave To appear on the front of the Daily Mail Dressed in your Mother's bridal veil ? Oh ... And so, I checked all the registered historical facts And I was shocked into shame to discover How I'm the 18th pale descendant Of some old queen or other Oh, has the world changed, or have I changed ? Oh has the world changed, or have I changed ? Some 9-year old tough who peddles drugs I swear to God I swear : I never even knew what drugs were Oh ... So, I broke into the palace With a sponge and a rusty spanner She said : "Eh, I know you, and you cannot sing" I said : "That's nothing - you should hear me play piano" We can go for a walk where it's quiet and dry And talk about precious things But when you're tied to your Mother's apron No-one talks about castration Oh ... We can go for a walk where it's quiet and dry And talk about precious things Like love and law and poverty Oh, these are the things that kill me We can go for a walk where it's quiet and dry And talk about precious things But the rain that flattens my hair ... Oh, these are the things that kill me All their lies about make-up and long hair, are still there Past the Pub who saps your body And the church who'll snatch your money The Queen is dead, boys And it's so lonely on a limb Past the Pub that wrecks your body And the church - all they want is your money The Queen is dead, boys And it's so lonely on a limb Life is very long, when you're lonely Life is very long, when you're lonely Life is very long, when you're lonely Life is very long, when you're lonely -------------------------------------------------------------------------------- Superb for its intro alone, with the sample from "The L-Shaped Room" leading into crazed feedback before settling into the drum-led rhythm that is so distinctive. Morrissey & Marr apparently planned each of their ideas separately, and somehow two totally disparate ideas came together in a unique way. Both Rourke and Joyce are exemplary on this track, easily fending off the idea that they are secondary to the nature of The Smiths. The title track of the album, this song borrows the title phrase from Hubert Selby Junior's classic "Last Exit To Brooklyn", dropping the transvestite implications to decry the downfall of "dear old Blighty". An apocalyptic epic, "The Queen Is Dead" starts off as a furious diatribe against the Royalty and quickly moves to the state of the Empire, before reflecting introspectively on the author's personal situation. This could, of course, also be referring to the royal family themselves, but it can be read that the author is more concerned with his personal life than any perceived national collapse. The author clearly perceives himself as alone in his opinions : "it's so lonely on a limb". The unclear line beginning "All their lies..." is almost definitely what I have; listen carefully and I'm sure you'll agree. It has been pointed out to me that the line "Hemmed in like a boar between arches" could contain a slight pun. Although the line is written like this in the lyric sheet, it sounds like "arches" could be "archers". Rather than a grunting pig stuck in an archway too narrow, this brings up a much more interesting image of the hounded boar surrounded by malevolent bowsmen. It has also been brought to my attention that the "arches" could be referring to the infamous Golden Arches of Mcdonald's; I wouldn't be surprised to see Morrissey try and lever another subject in there.
April 29, 200718 yr Author QOaiQaHZQsY Sheila Take A Bow (Live on Channel 4's The Tube, 10-Apr-1987) Is it wrong to want to live on your own ? No, it's not wrong - but I must know How can someone so young Sing words so sad ? Sheila take a, Sheila take a bow Boot the grime of this world in the crotch, dear And don't go home tonight Come out and find the one that you love and who loves you The one that you love and who loves you Oh ... Is it wrong not to always be glad ? No, it's not wrong - but I must add How can someone so young Sing words so sad ? Sheila take a, Sheila take a bow Boot the grime of this world in the crotch, dear And don't go home tonight Come out and find the one that you love and who loves you The one that you love and who loves you Take my hand and off we stride Oh, la ... You're a girl and I'm a boy La ... Take my hand and off we stride Oh, la ... I'm a girl and you're a boy La ... Sheila take a, Sheila take a bow La ... Throw your homework onto the fire Come out and find the one that you love Come out and find the one you love -------------------------------------------------------------------------------- A catchy single with a fine effort from Marr. Morrissey sings of juvenile depression and angst whilst Marr plays one of his better middle-era songs. As ever, Morrissey adds a dash of gender-confusion towards the end of the song, before purposefully cutting off the last line (surely to imply that the one she loves doesn't really love her). Morrissey's choice to use a specific gender in this song is interesting. Although more flippant than his previous gender-free songs, it is still fairly unusual for a Smiths lyric to be so specific. The use of Sheila as the name, though, is undoubtedly a touch of comic genius. Unusually, the prime plagiarists Morrissey and Marr borrow from the same source, with Marr lifting parts of the melody and Morrissey the line "Throw your homework onto the fire" from David Bowie's "Kooks".
May 1, 200718 yr Author X_1NoPuSsgc Bigmouth Strikes Again (live Brixton Academy 12-12-1986) Sweetness, sweetness I was only joking When I said I'd like to smash every tooth In your head Oh ... sweetness, sweetness, I was only joking When I said by rights you should be Bludgeoned in your bed And now I know how Joan of Arc felt Now I know how Joan of Arc felt As the flames rose to her roman nose And her Walkman started to melt Oh ... Bigmouth, la ... bigmouth, la ... Bigmouth strikes again And I've got no right to take my place With the Human race Oh, bigmouth, la ... bigmouth, la Bigmouth strikes again And I've got no right to take my place With the Human race And now I know how Joan of Arc felt Now I know how Joan of Arc felt As the flames rose to her roman nose And her hearing aid started to melt Bigmouth, la ... bigmouth, la ... Bigmouth strikes again And I've got no right to take my place With the Human race Oh ... Bigmouth, oh ... bigmouth, la ... Bigmouth strikes again And I've got no right to take my place With the Human race Oh ... Bigmouth, oh ... bigmouth, la ... Bigmouth strikes again And I've got no right to take my place With the Human race Oh ... Bigmouth, oh ... bigmouth, la ... Bigmouth strikes again And I've got no right to take my place With the Human race Oh ... -------------------------------------------------------------------------------- A bombastic single with a powerful performance from Marr and a biting vocal. A speeded-up Morrissey occasionally accompanies the vocal proper, giving an eerie effect (this is credited to Ann Coates in the "The Queen Is Dead" sleeve, a pun on an area of Manchester). I've found that most people new to The Smiths initially pick this track as favourite, whereas later it tends to grate a little bit. Morrissey marries the old with the new in these lyrics, mentioning Joan of Arc's Walkman, seeming to imply that the situation under discussion (i.e. the protagonist saying very much the wrong thing, like his thoughts of angered violence) has been going on forever and will go on forever. Of course, he is pointing out a similarity between him and Joan of Arc rather melodramatically, lending a quite comical tone to what could have been an empty vessel. Painting Joan of Arc's talk of God's communications as something that "just slipped out" is in stark contrast to his harsh sentence upon himself "I've got no right to take my place with the Human race". The sleeve lyrics to this song provide one example of Morrissey's Wildean propensity to capitalise nouns such as Human and Love. His mention of Joan the Arc's hearing aid is surely a reference to the contraption he wore on Top of the Pops.
May 3, 200718 yr Author aMegfxtHApI Panic (live Brixton Academy 12-12-1986) Panic on the streets of London Panic on the streets of Birmingham I wonder to myself Could life ever be sane again ? The Leeds side-streets that you slip down I wonder to myself Hopes may rise on the Grasmere But Honey Pie, you're not safe here So you run down To the safety of the town But there's Panic on the streets of Carlisle Dublin, Dundee, Humberside I wonder to myself Burn down the disco Hang the blessed DJ Because the music that they constantly play IT SAYS NOTHING TO ME ABOUT MY LIFE Hang the blessed DJ Because the music they constantly play On the Leeds side-streets that you slip down Provincial towns you jog 'round Hang the DJ, Hang the DJ, Hang the DJ Hang the DJ, Hang the DJ, Hang the DJ HANG THE DJ, HANG THE DJ, HANG THE DJ HANG THE DJ, HANG THE DJ HANG THE DJ, HANG THE DJ Hang the DJ, Hang the DJ, Hang the DJ HANG THE DJ, HANG THE DJ HANG THE DJ, HANG THE DJ Hang the DJ, Hang the DJ, Hang the DJ HANG THE DJ, HANG THE DJ HANG THE DJ, HANG THE DJ Hang the DJ, Hang the DJ, Hang the DJ HANG THE DJ -------------------------------------------------------------------------------- Catchy multi-themed single that caused little ripples of delight to any ardent fans who happened to live in the cities mentioned (I myself spent many glorious hours slipping down the numerous side-streets of nearby Leeds). One of Marr's more basic compositions, and unfortunately accompanied by a lacklustre drum part of Joyce's. The inherent contradictory nature of the song is further displayed in the coda of children happily chanting the threatening refrain "Hang The DJ". For anyone who doesn't already know the story, Morrissey wrote this song as a response to DJ Steve Wright's insensitive placing of Wham's vacuous "I'm Your Man" directly after a news report of the horrible Chernobyl disaster. Done live, Morrissey often twirled a noose around, wearing a T-shirt with the "zany" Steve Wright's face stamped, like a passport, with "HANG THE DJ". This song often prompted Morrissey to discourse on his hatred of "puerile" dance music, which he refers to in this song. Steve Wright penned an "hilarious" pastiche of Morrissey, which you can read at Stephane Daigles' site.
May 3, 200718 yr Author IeBbfJn4EqA William It Was Really Nothing (Live in Madrid 18-05-1985) The rain falls hard on a humdrum town This town has dragged you down Oh, the rain falls hard on a humdrum town This town has dragged you down Oh, no, and everybody's got to live their life And God knows I've got to live mine God knows I've got to live mine William, William it was really nothing William, William it was really nothing It was your life ... How can you stay with a fat girl who'll say : "Oh ! Would you like to marry me ? "And if you like you can buy the ring" She doesn't care about anything Would you like to marry me ? And if you like you can buy the ring I don't dream about anyone - except myself ! Oh, William, William it was really nothing William, William -------------------------------------------------------------------------------- A light, upbeat, and very short single, William, It Was Really Nothing, is very sweet, really. It's a bit of a pantomime number actually, with the vaudeville "fat girl" and marriage proposals all over the shop. Guaranteed to start off your day in a good mood. Rumour is that this song is also about a relationship Moz had with Billy Mackenzie, a member of The Associates. This mainly comes from the fact that Mackenzie's friend Alan Rankine wrote a song called "Steven, It Was Really Something". A version of this song was recorded at the BBC's Maida Vale studios; it is almost the same in production etc., and identical in lyrics.
May 6, 200718 yr Author 3GKIlkzIP_8 This Charming Man (live in Paris 01-12-1984) Punctured bicycle On a hillside desolate Will nature make a man of me yet ? When in this charming car This charming man Why pamper life's complexity When the leather runs smooth On the passenger seat ? I would go out tonight But I haven't got a stitch to wear This man said "it's gruesome That someone so handsome should care" Ah ! A jumped-up pantry boy Who never knew his place He said "return the ring" He knows so much about these things He knows so much about these things I would go out tonight But I haven't got a stitch to wear This man said "it's gruesome That someone so handsome should care" La, la-la, la-la, la-la, this charming man ... Oh, la-la, la-la, la-la, this charming man ... Ah ! A jumped-up pantry boy Who never knew his place He said "return the ring" He knows so much about these things He knows so much about these things He knows so much about these things New York version adds : I would go out tonight But I haven't got a stitch to wear I would go out tonight But I haven't got a stitch to wear Oh, la-la, la-la, la-la, this charming man ... Oh, la-la, la-la, la-la, this charming man ... Ah ! A jumped-up pantry boy Who never knew his place He said "return the ring" He knows so much about these things He knows so much about these things He knows so much about these things -------------------------------------------------------------------------------- Probably The Smiths' second most famous song (after How Soon Is Now ?), this whimsical tune is enchanting in its flowery lyrics and complex guitar part. This song really did quite a lot to fuel the critic's fire when it came to Morrissey being effete and inconsequential. Stuart James says of this song : "The punctured bicycle is our protagonist's bisexuality. It is punctured because his attraction to men has been repressed up to now. The desolate hillside represents the general unhappiness of his life at this moment. He is confused and asks 'Will nature make a man of me yet?' because he wishes to fit into our society's popular perception of what it is to be a 'man' (macho, heterosexual etc) but knows deep down that he cannot. The charming man in the charming car is the sexual breakthrough our protagonist has been hoping for. The driver is the ultimate gay icon (Ed: shades of James Dean in his Mini Cooper ?) and comforts our protagonist by telling him not to 'pamper life's complexities' and to join him in the exiting bisexual lifestyle he should be leading. Immediately on entering the world of liberated sexuality, our protagonist feels free to dicuss his worries about appearance ('I would go out tonight...') and flurts openly with the driver of the car. The driver suggests his passenger forgets about the previously punctured side of his sexuality ('return the ring') and our protagonist is confident in the wisdom of this ultimate gay man ('he knows so much about these things'). The overall impression is that of hope for the triumph of human sexuality over the repression of our culture." Several mixes of this song have been released. These are the lyrics for the Manchester, New York Vocal and original single mixes.
May 6, 200718 yr Author aEmsjyUrslk The Joke Isn't Funny Anymore (live in Madrid 18-05-1985) Park the car at the side of the road You should know Time's tide will smother you And I will too When you laugh about people who feel so Very lonely Their only desire is to die Well, I'm afraid It doesn't make me smile I wish I could laugh But that joke isn't funny anymore It's too close to home And it's too near the bone It's too close to home And it's too near the bone More than you'll ever know ... Kick them when they fall down Kick them when they fall down You kick them when they fall down Kick them when they fall down You kick them when they fall down Kick them when they fall down You kick them when they fall down Kick them when they fall down It was dark as I drove the point home And on cold leather seats Well, it suddenly struck me I just might die with a smile on my Face after all I've seen this happen in other people's Lives And now it's happening in mine I've seen this happen in other people's Lives And now it's happening in mine I've seen this happen in other people's Lives And now it's happening in mine I've seen this happen in other people's Lives And now it's happening in mine Oh ... I've seen this happen in other people's Lives Oh ... And now it's happening in mine Happening in mine Happening in mine Happening in mine Happening in mine I've seen this happen in other people's Lives Oh ... And now, now, now it's happening in mine (I've seen this happen) Happening in mine Oh... now, now I've seen this happen in other people's Lives Oh ... And now it's happening in mine (Happen) Happening in mine Oh ... Happening in mine Happening in mine Happening in mine I've seen this happen in other people's Lives Oh ... And now, now, now it's happening in mine Happening in mine Mine, mine Happening in mine -------------------------------------------------------------------------------- A marvellous song with an excellent backwards guitar fade-out with the singer backing himself, endlessly repeating a plagiarised phrase. Its enigmatic sad lament, an inwards-looking reflection of his life as compared with the image he presents to the world, seems to point towards an urge to reveal his soul to the general public. Although repetition is a by-word in most of Morrissey's lyrics, this song is very noticeable for the build-up that the endless cycling of the same phrase creates. At times almost unbearably poignant, this song, as is par for the course, features a seemingly contradictory and ambiguous section. Exactly why does he feel he might die with a smile on his face ? Is it the implied sexual activity on the "cold leather seats" ? Or is he planning on taking someone with him to his grave as he crashes his car, James Dean style ? Can Morrissey be suggesting the irony of onlookers to his forthcoming funeral seeing his smiling corpse and wrongly assuming he has had a happy life ? David Amor gives a simpler explanation - the final verse as he "drove his point home" is followed by a victorious and celebratory finale, as, at last, it happens for him... This song was bizarrely released as a single, and its un-chartworthy nature was proven by The Smiths' second worst chart performance in the UK. There apparently are strong rumours that this song is about a journalist with whom Morrissey had a relationship. According to Dave Simpson in his Uncut article (August 1998), the unnamed journalist steadfastly refuses to discuss Morrissey to this day.
May 6, 200718 yr Some of these are absolutely spectacular.. Seen the Hand In Glove one in Manchester before :D Brilliantly structured thread btw, people can find us through google with the lyrics :D
May 9, 200718 yr Author _m0EVSbhavk Heaven Knows I'm Miserable Now (live in Paris 01-12-1984) I was happy in the haze of a drunken hour But heaven knows I'm miserable now I was looking for a job, and then I found a job And heaven knows I'm miserable now In my life Why do I give valuable time To people who don't care if I live or die ? Two lovers entwined pass me by And heaven knows I'm miserable now I was looking for a job, and then I found a job And heaven knows I'm miserable now In my life Oh, why do I give valuable time To people who don't care if I live or die ? What she asked of me at the end of the day Caligula would have blushed "You've been in the house too long" she said And I (naturally) fled In my life Why do I smile At people who I'd much rather kick in the eye ? I was happy in the haze of a drunken hour But heaven knows I'm miserable now "You've been in the house too long" she said And I (naturally) fled In my life Why do I give valuable time To people who don't care if I live or die ? -------------------------------------------------------------------------------- This perrenial tongue-in-cheek classic never really fades in its sheer brilliance. One of Morrissey's most memorable vocals are combined with the comic lyrics perfectly. This song is often cited by critics, along with Everyday Is Like Sunday, as "proof" of Morrissey's miserablist stance. They seem to be utterly unaware that the song is of course a parody; it's Morrissey, once again, taking the p*** out of himself. Did they really think that even Morrissey would write a song called "Heaven Knows I'm Miserable Now" without his tongue tearing a hole in his cheek ? The title is adapted from Sandie Shaw's "Heaven Knows I'm Missing Him Now".
May 9, 200718 yr Author m-O665wmJhQ Frankly Mr Shankly (live in Irvine 1985) Frankly, Mr. Shankly, this position I've held It pays my way, and it corrodes my soul I want to leave, you will not miss me I want to go down in musical history Frankly, Mr. Shankly, I'm a sickening wreck I've got the 21st century breathing down my neck I must move fast, you understand me I want to go down in celluloid history, Mr. Shankly Fame, Fame, fatal Fame It can play hideous tricks on the brain But still I'd rather be Famous Than righteous or holy, any day Any day, any day But sometimes I'd feel more fulfilled Making Christmas cards with the mentally ill I want to live and I want to Love I want to catch something that I might be ashamed of Frankly, Mr. Shankly, this position I've held It pays my way and it corrodes my soul Oh, I didn't realise that you wrote poetry I didn't realise you wrote such bloody awful poetry, Mr. Shankly Frankly, Mr. Shankly, since you ask You are a flatulent pain in the arse I do not mean to be so rude Still, I must speak frankly, Mr. Shankly Oh, give us your money ! -------------------------------------------------------------------------------- The comical "Frankly, Mr. Shankly" is even more amusingly forceful when considering its placement in the track listing, inbetween the epic "The Queen Is Dead" and the bleakly beautiful "I Know It's Over". His arch comments on soul-less industry types contains a mere hint of his future seeming animosity towards the mentally disabled, most notably on Kill Uncle track Mute Witness. Rumour has it that his portrait of a "righteous and holy pain in the arse" was a jab at sometime manager, Geoff Travis. Geoff replied to this accusation with : "Well, it's not a particularly charming thought, is it ? There's a huge amount of humour in the song and I'm not really upset by it. Camp spite ? I think there's a lot of that there, but I don't take it too seriously. Morrissey like to have some fun and that's what rock 'n' roll is about." Apparently an unreleased version of this song exists featuring a synth trumpet line.
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