May 12, 200718 yr Author fBclvFBqKaU Is It Really So Strange? (live Brixton Academy 12-12-1986) I left the North I travelled South I found a tiny house And I can't help the way I feel Oh yes, you can kick me And you can punch me And you can break my face But you won't change the way I feel 'Cause I love you Oh ... And is it really so strange ? Oh, is it really so strange ? Oh, is it really so, really so strange ? I say NO, you say YES (and you will change your mind) I left the South I travelled North I got confused - I killed a horse I can't help the way I feel Oh yes, you can punch me And you can butt me And you can break my spine But you won't change the way I feel 'Cause I love you Oh ... And is it really so strange ? Oh, is it really so strange ? Oh, is it really so, really so strange ? I say NO, you say YES (But you will change your mind) I left the North again I travelled South again And I got confused - I killed a nun I CAN'T HELP THE WAY I FEEL I CAN'T HELP THE WAY I FEEL I CAN'T HELP THE WAY I FEEL (I lost my bag in Newport Pagnell) Why is the last mile the hardest mile ? My throat was dry, with the sun in my eyes And I realised, I realised I could never I could never, never, never, go back home again -------------------------------------------------------------------------------- A comical opener to "Louder Than Bombs", this song was obviously not considered good enough to bother doing a proper studio version. Morrissey's ridiculous tale of confused horse-murderers and tiny Southern houses is backed by a lack-lustre tune from Marr. Jesse R. Grenz suggests that this song has parallels with the characters in much of Albert Camus' work, notably "The Plague" and "The Stranger".
May 12, 200718 yr Author pM7jp0KiPg8 Still Ill (live Brixton Academy 12-12-1986) I decree today that life Is simply taking and not giving England is mine - it owes me a living But ask me why, and I'll spit in your eye Oh, ask me why, and I'll spit in your eye But we cannot cling to the old dreams anymore No, we cannot cling to those dreams Does the body rule the mind Or does the mind rule the body ? I dunno... Under the iron bridge we kissed And although I ended up with sore lips It just wasn't like the old days anymore No, it wasn't like those days Am I still ill ? Oh ... Am I still ill ? Oh ... Does the body rule the mind Or does the mind rule the body ? I dunno... Ask me why, and I'll die Oh, ask me why, and I'll die And if you must, go to work - tomorrow Well, if I were you I really wouldn't bother For there are brighter sides to life And I should know, because I've seen them But not very often ... Under the iron bridge we kissed And although I ended up with sore lips It just wasn't like the old days anymore No, it wasn't like those days Am I still ill ? Oh ... Oh, am I still ill ? Oh ... -------------------------------------------------------------------------------- This heartfelt slice of nostalgia is adored by most people, myself included. The sheer beauty of the lyrics, the sadness of his voice as he looks back on times long gone, is breathtaking. The realisation of the author that things have changed, and never again will those times happen, is so well described here that I defy anyone reading this page to deny Morrissey's genius. A standard rock drum part from Joyce slightly spoils the instrumentation of Marr's tune, but nonetheless it comes shining through as a fine example of his artistry. This very sombre and sad song becomes a mad romp when played live, quite altering the song. It has been pointed out to me the possibility of this song referring to the punk era, a scene in which the young Morrissey was very much embroiled. The confrontational attitude of the lyrics surely hints towards punk's leering stance, while the disillusionment of the later part of the movement is aptly summed up by the line "it just wasn't like the old days anymore."
May 14, 200718 yr Author dbY7WjuiozA Morrissey - Suedehead (live - unknown) Why do you come here ? And why do you hang around ? I'm so sorry I'm so sorry Why do you come here When you know it makes things hard for me ? When you know, oh Why do you come ? Why do you telephone ? (Hmm...) And why send me silly notes ? I'm so sorry I'm so sorry Why do you come here When you know it makes things hard for me ? When you know, oh Why do you come ? You had to sneak into my room 'just' to read my diary "It was just to see, just to see" (All the things you knew I'd written about you...) Oh, so many illustrations Oh, but I'm so very sickened Oh, I am so sickened now Oh, it was a good lay, good lay It was a good lay, good lay It was a good lay, good lay Oh It was a good lay, good lay It was a good lay, good lay Oh, it was a good lay, good lay Oh Oh, it was a good lay It was a good lay Oh, a good lay Oh, it was a good lay Good lay, good lay Oh It was a good lay It was a good lay -------------------------------------------------------------------------------- A fine example of Morrissey's by now finely honed single instinct. An extremely strong song for the radio, his debut single shocked many a doom-merchant who had predicted that Mozzer wouldn't be able to hack it outside The Smiths (as Morrissey himself did, once calling the band his "life-support machine"). Probably Stephen Street's finest composition, it is still fresh today. Morrissey once again displays his fine ability for clever lyrics; there are two obvious interpretations to the song. One, that the protagonist truly doesn't want the person under question around, a notion seemingly scuppered by the admission of his many illustrations (of course, there is no indication as to whether the "illustrations" are of a good or bad nature). The other suggestion is that the author very much does want "silly notes" (possibly a reference to one of Morrissey's adolescent classroom habits, communicating with fellow pupils by means of scribbled messages); indeed, the emotions are so strong that they are almost unwelcome; the protagonist could do without the incredible stress of love in his life. This suggestion is borne out by the line "Why do you come here when you know it makes things hard for me ?". At the end of the song, the author reflects upon the situation with flippant grace, and not a touch of humour. The title is named after a book by Richard Allen about violent teenagers. This further endorses the interpretations (a "suedehead" is the fashionable equivalent of a skinhead i.e. someone with hair who is just as violent).
May 14, 200718 yr Author rjBj5uSdBi8 Disappointed (live at Wembley, London December 8th 2006) Our unsleepable friend Gets the message on an ill wind "All your friends and your foes Would rather die than have to touch you" TO SAY THE LEAST: I'm truly disappointed Truly, truly, truly, oh... Drank too much And I said too much And there's nowhere to go - but Down Young boy - I wanna help you SEE THESE LINES ? : Truly disappointed Truly, truly, truly, oh... Don't talk to me, no About people who are "nice" 'Cause I have spent my WHOLE LIFE in RUINS Because of people who are "nice" Oh, this world may lack Style, I know Each bud must blossom and grow, oh... Young girl, one day you will be old But the thing is, I love you NOW Mmm ... This is the last song I will ever sing (Yeah!) No: I've changed my mind again (Aaw...) GOODNIGHT AND THANKYOU -------------------------------------------------------------------------------- Unparalleled B-side; a true mystery as to why this song did not obtain a higher profile than it did. Morrissey drags out his personal dictionary once again to invent the unusual word "unsleepable", which of course means that sleeping is an active verb, as in "I sleeped him". The shock of this bizarre word is quickly dispensed with by the harmful message carried on an ill wind, and we immediately become confused as to who the song is actually talking about. His mulling over his past life and his young hopes and ambitions as they are dashed against the rocks is once again surrended to a message, as he rejects the whole notion of happiness being found through knowing "nice" people. He seems to be complaining that people being nice to him has led him to see an intimacy in his relationships that isn't in fact there. The closing passage of the song, and of course Bona Drag, is perhaps the canonical Morrissey lyric excerpt. His self-deprecating sound effects (surely a unique concept itself) provides a lead into a seemingly prophetic final phrase, the entertainment industry standard "Goodnight, and thank you". It is a an endorsement of the passion and average intelligence of Morrissey's fans that the self-deprecating crowd response is usually mirrored in a live situation.
May 15, 200718 yr Author BFZS5pXiqVY Morrissey - The More You Ignore Me The Closer I Get (live "Boxers tour 1995) The more you ignore me The closer I get You're wasting your time The more you ignore me The closer I get You're wasting your time I will be In the bar With my head On the bar I am now A central part Of your mind's landscape Whether you care Or do not Yeah, I've made up your mind The more you ignore me The closer I get You're wasting your time The more you ignore me The closer I get You're wasting your time Beware ! I bear more grudges Than lonely high court judges When you sleep I will creep Into your thoughts Like a bad debt That you can't pay Take the easy way And give in Yeah, and let me in Oh, let me in Oh let me ... Oh, let me in IT'S WAR IT'S WAR IT'S WAR IT'S WAR IT'S WAR WAR WAR WAR WAR Oh, let me in Ah, the closer I get Ah, you're asking for it Ah, the closer I get Ooh, the closer I ...
May 17, 200718 yr Author Km7uUFPfqRY November Spawned A Monster (Coachella Festival, USA 1999) Sleep on and dream of Love Because it's the closest you will Get to love Poor twisted child So ugly, so ugly Poor twisted child Oh hug me, oh hug me One November Spawned a monster In the shape of this child Who later cried : "But Jesus made me, so Jesus save me from pity, sympathy And people discussing me" A frame of useless limbs What can make GOOD All the BAD that's been done ? And if the lights were out Could you even bear To kiss her full on the mouth (Or anywhere?) Oh, poor twisted child So ugly, so ugly Poor twisted child Oh hug me, oh hug me One November Spawned a monster In the shape of this child Who must remain A hostage to kindness And the wheels underneath her A hostage to kindness And the wheels underneath her A symbol of where mad, mad lovers Must PAUSE and draw the line. So sleep and dream of love Because it's the closest You will get to love That November Is a time Which I must Put OUT of my mind Oh, one fine day Let it be soon She won't be rich or beautiful But she'll be walking your streets In the clothes that she went out And chose for herself. -------------------------------------------------------------------------------- A controversial mini-epic in which Moz seems to be poking fun at the disabled, in contradiction to his sympathetic hearing-aid adornment at a Top Of The Pops show. This controversy was heightened by an apparently similarly-themed Mute Witness on Kill Uncle. Unlike the comic tone of Mute Witness, however, this song is altogether more grave and serious. The author appears to be torn between pity and revulsion as he sways between the heartless "Poor twisted child" and the empathic "So hug me". He sings "hug me" and then macabrely ponders the situation of physical contact. A sharp atheistic viewpoint is put forward by describing the disabled girl's impassioned cry for Jesus to save her from "pity, sympathy and people discussing me". At times the author almost seems to comparing their situation with the girl's; they carefully refer to "your streets", implying that the author is as alienated from the urban streets as the girl is. A simple hope to fend for herself seems mirrored in the author's despairing look at the world. Mary Margaret O'Hara provided the eerie wailing of what has to be assumed is the disabled girl, adding another black and deeply unpleasant comic element to the song.
May 17, 200718 yr Author rJdVzc1Jhfc Hairdresser On Fire (Live in Manchester 2004) Here is London, giddy of London Is it home of the free - Or what ? Can you squeeze me Into an empty page of your diary And psychologically save me I've got faith in you I sense the power Within the fingers Within an hour the power Could totally destroy me (Or, it could save my life) Oh, here is London "Home of the brash, outrageous and free" You are repressed But you're remarkably dressed Is it Real ? And you're always busy Really busy Busy, busy Oh, hairdresser on fire All around Sloane Square And you're just so busy Busy, busy Busy scissors Oh, hairdresser on fire (Only the other day) Was a client, over-cautious He made you nervous And when he said "I'm gonna sue you" Oh, I really felt for you ...mmm... So can you squeeze me Into an empty page of your diary; And supernaturally change me ? Change me, change Oh, here in London "Home of the brash, outrageous and free" You are repressed But you're remarkably dressed Is it Real ? And you're always busy Really busy Busy clippers Oh, hairdresser on fire All around Sloane Square And you're just too busy To see me Busy clippers Oh, hairdresser on fire (Only the other day) -------------------------------------------------------------------------------- Excellent cavorting B-side to Suedehead, based on an experience where Morrissey couldn't find an appointment with a hairdresser. He ludicrously turned this incident into this very catchy song, which works as well as a track on Bona Drag as a B-side. His intoxication with big city London is soon revealed as built on rocky foundations when he fails to be supernaturally saved by his Sloane Square hairdresser. Affirms that he has not lost his sharp wit by going solo.
May 21, 200718 yr Author uaR19e6buzc Morrissey - Stop Me If You Think You've Heard This One Before (Norway 10-08-2006) Stop me, oh, stop me Stop me if you think that you've Heard this one before Stop me, oh, stop me Stop me if you think that you've heard this one before Nothing's changed I still love you, oh, I still love you ...Only slightly, only slightly less than I used to, my love I was delayed, I was way-laid An emergency stop I smelt the last ten seconds of life I crashed down on the crossbar And the pain was enough to make A shy, bald, buddhist reflect And plan a mass murder Who said lied I'd to her ? Oh, who said I'd lied because I never ? I never ! Who said I'd lied because I never ? I was detained, I was restrained And broke my spleen And broke my knee (and then he really laced into me) Friday night in Out-patients Who said I'd lied to her ? Oh, who said I'd lied ? - because I never, I never Who said I'd lied ? - because I never Oh, so I drank one It became four And when I fell on the floor ... ...I drank more Stop me, oh, stop me Stop me if you think that you've Heard this one before Stop me, oh, stop me Stop me if you think that you've heard this one before Nothing's changed I still love you, oh, I still love you ...Only slightly, only slightly less than I used to, my love -------------------------------------------------------------------------------- In which Morrissey plays havoc with the traditional vocal by placing phrases all over the place in a manner which would have conservative vocalists crying in their armchairs. Saving the song from a potential mediocrity, his vocal is backed by a fine lyric of violence and misunderstandings. His metaphorical descriptions of violent incidents is muted by the dispassionate refrain "I still love you ... only slightly less than I used to..." This song was intended as a single in the UK, but was scrapped due to the sensitivity of the phrase "mass murder" in the wake of the recent Michael Ryan episode where 17 people were killed in Hungerford.
May 21, 200718 yr Author LPTU4HSjk7I Morrissey - Girlfriend in a Coma (Rock Am Ring - Jun.02.2006) Girlfriend in a coma, I know I know - it's serious Girlfriend in a coma, I know I know - it's really serious There were times when I could Have "murdered" her (But you know, I would hate Anything to happen to her) NO, I DON'T WANT TO SEE HER Do you really think She'll pull through ? Do you really think She'll pull through ? Do ... Girlfriend in a coma, I know I know - it's serious My, my, my, my, my, my baby, goodbye There were times when I could Have "strangled" her (But you know, I would hate Anything to happen to her) WOULD YOU PLEASE LET ME SEE HER ! Do you really think She'll pull through ? Do you really think She'll pull through ? Do ... Let me whisper my last goodbyes I know - IT'S SERIOUS -------------------------------------------------------------------------------- A mocking and "controversial" single, this excellent though lightweight song is an example of Morrissey clearly laughing at those who consider him shocking. His unnecessarily journo-baiting flippancy about death in this song is hilarious in context as he gravely sings "I know - it's serious" before the intentionally foot-in-mouth "there were times when I could have murdered her". Morrissey makes it remarkably easy for anyone to see he is provoking controversiality by placing "murdered" and "strangled" in quotes - probably why this song didn't actually cause much of a media ruckus when it was released as a single.
May 25, 200718 yr Author 2Q8Szv2_G0U We Hate It When Our Friends Become Sucessful (live Amnesty International 1993) We hate it when our friends become successful We hate it when our friends become successful Oh, look at those clothes Now look at that face, it's so old And such a video ! Well, it's really laughable Ha, ha, ha ... We hate it when our friends become successful And if they're Northern, that makes it even worse And if we can destroy them You bet your life we will Destroy them If we can hurt them Well, we may as well ... It's really laughable Ha, ha, ha ... You see, it should've been me It could've been me Everybody knows Everybody says so They say : "Ah, you have loads of songs So many songs More songs than they'd stand Verse Chorus Middle eight Break, fade Just listen ..." La, la-la, la-la -------------------------------------------------------------------------------- Candidate for the longest Moz song title, and a great little tune. Parodied by Sultans of Ping FC as "We Love It When Our Friends Become Disabled", this highly caustic ditty describes rivalry between friends, back-stabbing, and basically everything Morrissey is so famed for by his ex-friends. Of course, Morrissey is referring to his critics in this song: he is saying he is only being criticised by them because they are jealous of his success. Morrissey says : "There's the most vicious sense of competition in Manchester... so many jealous, vile creatures. This is what the song is about. In Manchester, you are accepted as long as you are scrambling and on your knees. But if you have any success or are independent or a free spirit, they hate your guts". Despite this, there is another aspect to the song revealed by the mention of his Northern-ness, which seems indicate that the song is partly aimed at the London music critics. The arrogance of the people Morrissey describes here ("It could've been me/Everybody knows") is interesting compared to the initial no-punches-pulled attitude of The Smiths when they first burst on to the UK music scene. A live favourite.
May 25, 200718 yr Author sWNGF1SkAAM Why Don't You Find Out For Yourself (Live - Unknown) The sanest days are mad Why don't you find out for yourself ? Then you'll see the price Very closely Some men here They have a special interest In your career They wanna help you to grow And then syphon all your dough Why don't you find out for yourself ? Then you'll see the glass Hidden in the grass You'll never believe me, so Why don't you find out for yourself ? Sick down to my heart That's just the way it goes Some men here They know the full extent of Your distress They kneel and pray And they say : "Long may it last" Why don't you find out for yourself ? Then you'll see the glass Hidden in the grass Bad scenes come and go For which you must allow Sick down to my heart That's just the way it goes Don't rake up my mistakes I know exactly what they are And ... what do YOU do ? Well ... you just SIT THERE I've been stabbed in the back So many many times I don't have any skin But that's just the way it goes
May 25, 200718 yr Author p1V27pzCcqw Life Is A Pigsty (Unknown 2007) It's the same old S.O.S. But with brand new broken fortunes And once again I turn to you Once again I do I turn to you It's the same old S.O.S. But with brand new broken fortunes I'm the same underneath But this you, you surely knew Life is a pigsty Life is a pigsty Life is a pigsty Life is a pigsty Life, life is a pigsty Life, life is a pigsty Life, life is a pigsty Life is a pigsty And if you don't know this Then what do you know? Every second of my life I only live for you And you can shoot me And you can throw me off a train I still maintain I still maintain Life, life is a pigsty Life is a pigsty And I'd been shifting gears all along my life But I'm still the same underneath This you surely knew I can't reach you I can't reach you I can't reach you anymore Can you please stop time? Can you stop the pain? I feel too cold And now I feel too warm again Can you stop this pain? Can you stop this pain? Even now in the final hour of my life I'm falling in love again Again Even now in the final hour of my life I'm falling in love again Again Again Again I'm falling in love again Again Again Again
May 29, 200718 yr Author lFVdmGIZlyc Boxers (Live 1996) Losing in front of your home crowd You wish the ground Would open up and take you down And will time never pass ? Will time never pass for us ? Your weary wife is walking away Your nephew is true Well, he thinks the world of you And I have to close my eyes Oh ... Losing in front of your home town The crowd call your name They love you all the same The sound, the smell, and the spray You will take them all away And they'll stay Till the grave Your weary wife is walking away Your nephew, is true Well, he thinks the world of you And I have to close my eyes Oh ... Losing in your home town Hell is the bell That will not ring again You will return one day Because of all the things that you see When your eyes close Your weary wife - walking away Your nephew, it's true He still thinks the world of you And I have to dry my eyes Oh ...
May 29, 200718 yr Author rbe3E28-g1o First Of The Gang To Die (Glastonbury June 2004) You have never been in love, Until you've seen the stars, reflect in the resevoirs And you have never been in love, Until you've seen the dawn rise, behind the home for the blind We are the pretty petty thieves, And you're standing on our street.. ...where Hector was the first of the gang with a gun in his hand and the first to do time the first of the gang to die. Oh my. Hector was the first of the gang with a gun in his hand and the first to do time the first of the gang to die. Oh my. You have never been in love, Until you've seen the sunlight thrown over smashed human bones We are the pretty petty thieves, And you're standing on our street.. ...where Hector was the first of the gang with a gun in his hand and the first to do time the first of the gang to die. Such a silly boy. Hector was the first of the gang with a gun in his hand and a bullet in his gullet and the first last lad to go under the sod. And he stole from the rich and the poor and the not-very-rich and the very poor and he stole all hearts away he stole all hearts away he stole all hearts away he stole all hearts away
May 29, 200718 yr Author 9jAUCqmDIFk Morrissey - Shakespeare's Sister (live Glastonbury 2004) Young bones groan And the rocks below say : "Throw your skinny body down, son !" But I'm going to meet the one I love So please don't stand in my way Because I'm going to meet the one I love No, Mamma, let me go ! Young bones groan And the rocks below say : "Throw your white body down !" But I'm going to meet the one I love At last ! At last ! At last ! I'm going to meet the one I love La-de-da, la-de-da No, Mamma, let me go ! No ... I thought that if you had An acoustic guitar Then it meant that you were A Protest Singer Oh, I can smile about it now But at the time it was terrible No, Mamma, let me go No ... -------------------------------------------------------------------------------- Very much a wasted opportunity, Shakespeare's Sister could have made a fine single if they'd got the production right. As it is, it's a rather submerged affair, with Morrissey's voice sounding rather muffled, instead of bursting with power which is surely how the song was intended. Morrissey's theatrical lyrics of suicide and dashed aspirations would have been far better showcased in a surge of raw music instead of the half-c**k production we actually got. His portrayal of a heaving and tired sack of bones, lured to suicide and despair, is acidly placed in context by the trailing absurdity of a wish-to-stardom lifestyle. Undoubtably autobiographical, the flippancy with which he deals with a very real and very terrible part of his life is really quite impressive. The title of the song comes from a Virginia Woolf essay. The line "young bones groan" is a slight adaptation of a line from Elizabeth Smart's "By Grand Central Station I Sat Down And Wept"; in the book, the line "...our bones groaned like old trees..." is soon after a scene where the heroine of the book stands at the edge of a cliff, considering the rocks and the sea below. Mark Burnett says of this song : In Tennessee William's play The Glass Menagarie The Gentleman Caller refers to the girl as Shakespeare's Sister; as well the chorus of this song is for his mother to let him go and the theme of the play is the son trying to escape his dead end life being brought about by his overbearing mother and him finally running away from her after much fighting. To a lesser extent, the verses are about a guy going to meet the one he loves and the gentleman caller did go to meet the sister who thought him to be her one true love.
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