Showing posts with label Morrissey. Show all posts
Showing posts with label Morrissey. Show all posts

Monday, June 26, 2023

The Shoe by Gordon Legge (Polygon 1989)

 



One


‘Buy a couple of fags, mister?’

The enquiring youth wore Wrangler jeans and a Wrangler jacket. The jacket sadly failed to reach his wrists. His T-shirt read AC/DC. You could smell the shampoo and talc, see the shiny hair and smart trainers but he was still a Heavy Metal fan; he’d rather have been scruffy. He had acne. Bad acne.

‘Don’t bother. It’s okay,' said Archie, declining the offer of 16p as he handed the youth two Benson and Hedges.

‘Save your money and buy some cream,’ scorned The Mental Kid.

‘Thanks,’ said the Heavy Metal fan, embarrassed by The Kid’s remark. He lit the cigarettes using a disposable green lighter and returned to his two friends in the next carriage, handing one of the cigarettes to the smaller of the two, who in turn nodded and smiled appreciatively at Archie.

‘Heavy Metal,’ mused The Kid, ‘it’s okay if you don’t have a brain, I suppose.’

Archie smiled at The Kid’s smug disdain while wondering if it was worth getting upset at being called ‘mister'. The previous Friday, a door-to-door salesman had asked if his wife was in. Archie had blushed and said ‘No’. They never asked that. It was always 'Is your mother in, son?’ And now a fat, ugly (Archie had decided to get upset) Heavy Metal fan called him ‘mister. Twenyy-four next month. Older than Johnny Marr and Pat Nevin.

‘Who was playing in Edinburgh tonight, anyway?' asked Mental, three months Archie’s junior.

Archie shrugged a don’t know don’t care whilst wondering how old The Kid looked. Pretty rather than handsome, punky rather than cool; the triumph of content over style. The Kid wore a black Royal Navy raincoat, Levi’s slit at the right knee, black Doc Marten shoes and a Celtic scarf, which until a couple of years ago he had worn with the regularity of a birthmark; now he only wore it for the Hun games and when it was cold. After every Celtic defeat he would begin the post-mortem with the words, ‘What a nightmare, I was going mental!' The Kid’s concession to ageing was an increased dependency on cliché. But he was still too lean and gorgeous to be addressed as an adult. The Kid leaned forward, resting his elbow's on his knees while tapping his fingers in accompaniment to the noise of the train. Bored out of his skull, like.

‘What time is it?’ he asked.

‘11.18.'

‘Okay. So we get food and drink, go to the Apollo, watch the fights, more food and drink then home.' Mental related the forthcoming events as if he were a hesitant bank robber. Mental didn’t like Glasgow and he didn’t like staying up all night. Were he a bird, he would have chosen to be a budgie. ‘If the Hun had brought his van we wouldn't have had all this hassle.’ The Kid referred to the sleeping hulk across the hallway.

Big Davie looked married (within the year it was expected he would be) and he looked twenty-four (which he was); a ‘mister’. Big Davie wore an old man’s bunnet (10p from a jumble sale), a quilted blue jerkin, brand new Levi’s and brand new Sambas. Solid rather than fat, a team man rather than an individual. The Daihatsu van remained at home so that Davie could have a drink on his night out. He couldn’t be arsed driving to Glasgow, anyway.

‘Work does that to you,' said Mental pointing a derisory finger at the sleeper. ‘Fat bastard!' shouted The Kid, hoping, but failing, to wake Davie.

Work was laying insulation for the council. Ten weeks into a six-month job, Davie hated it, but needed the money. He shared a private flat with his fiancee, Terasa.

Mental had never worked in his life. After school he attended college for three years, switching courses continually until one day he had the flu and never went back. The Protestant work ethic was anathema to him.

Archie left school at eighteen with three Highers: English, Modern Studies and a crash course History. His father was disappointed with Archie staying on at school. ‘Get a trade, an apprenticeship. You'll always have it to fall back on.’ Archie asked what the difference between a twenty-year-old tradesman and a fifty-year-old tradesman was. An argument ensued. Arguments never seemed to resolve anything, never a means to an end. Just an outburst of frustration. The father thought in terms of the home rather than holidays, relatives rather than friends, and work rather than play. Archie didn’t know what he wanted, but when Morrissey sang about never having had a job because he was too shy, Archie understood, while his father would never know or admit to knowing.

For Archie, work had been a petrol pump attendant, a double-glazing salesman and a brickie’s labourer. He had been unemployed for three years. The work provided fond memories and a few anecdotes but at the time it all seemed embarrassment and confrontation. He didn’t know' if he would ever work again; he supposed he would.

Saturday, June 05, 2021

The Accidental Footballer by Pat Nevin (Monoray 2021)

 



Another room was swiftly bypassed on the stairs with a flick of the wrist and a ‘You wouldn’t be interested in that one’ comment. Like hell I wouldn’t be interested, that was the one I wanted to see most, now that he had dismissed it with just a little too much disdain! I was already envisaging a picture of Dorian Gray, but with an ageing Morrissey in the frame. He changed his mind and then relented again after some gentle persuasion. He turned the key in the lock so sluggishly and opened the door to the room so slowly that it was even more obvious that he was embarrassed about its contents. I just wanted to push past him at this point, it was such a painstaking palaver.

The door finally opened to reveal the very last thing I expected to see: a fully kitted-out multigym with all the most modern equipment.

Monday, May 11, 2020

30 Day Song Challenge - Day 11


A song you never get tired of.

Yep, I know Morrissey turned into a dick but I'll never get tired of this song. 37 years and counting from when I first saw them performing this on Top of the Pops. I had a impeccable musical taste for a few years around about this time, and then I fell off the rails a bit in my late teens. I still think it's because pop music because really, really universally shit for a sustained period of time (I'm now too old to comment on present pop music), when even potentially great songs got smothered in very dated and cheesy production. That's my story and I'm sticking to it:


The Smiths - This Charming Man (Live on Top of The Pops November 24th, 1983)

Wednesday, December 19, 2018

I Swear I Was There: Sex Pistols, Manchester and the Gig That Changed the World by David Nolan (Music Press Books 2006)




STEVE DIGGLE: They say all these people were there. I don’t remember any of them being there. But then I wouldn’t have known Morrissey from fucking Adam. I never saw Wilson either – but I was short-sighted in those days…

HOWARD DEVOTO: The only people, apart from Pete Shelley, myself, Steve Diggle and all the Pistols crew that I’d be reasonably certain were there were Paul Morley and Morrissey.


Tuesday, October 29, 2013

Autobiography by Morrissey (Penguin Classics 2013)




Johnny Marr was born in Ardwick in a Victorian dwelling not dissimilar to my own. Blocked in by dye works and engineering works, timber yards and iron foundries, the Ardwick of the Avis Bunnage era was an area of seasoned street fighters such as the Little Forty Gang, whose dapper style was well known when there was nothing nice to rest the eye on. Johnny was also of Irish parents, who would eventually inch their way south of the city center (for north is not the road that anyone ever travels). In 1982, Johnny appears at Kings Road immaculately be-quiffed and almost carried away by his own zest to make meaningful music. He reminds me of Tom Bell in Payroll, an early 1960s film set in Newcastle yet minus one single Geordie accent. Johnny despairs of things as they are and wants to change them, even if, beneath the grit and growl, his favorite group of all-time is Pentangle.

‘We’ve met before, y’know,’ he says, ‘I’m glad you don’t remember.’

Ooh, but I do.

It had been in the foyer of the Ardwick Apollo, where Patti Smith had displayed her radiant stallions gradually lapping into seahorses nervousness. I stood in conversation with Philip Towman (another Wythenshawe musicologist), when Johnny first shoved his face in, and he said, ‘You’ve got a funny voice.’ The comment contained an oblique confession, which said: you don’t talk as shockingly bad as I do. In fact, Johnny later confessed that prior to meeting me he had pronounced the word ‘guitar’ without the t, so Ardwick-mangled the parlance. I couldn’t imagine how this would be possible, or how he could be understood. I am shaken when I hear Johnny play guitar, because he is quite obviously gifted and almost unnaturally multi-talented. Since he shows an exact perspective on all things, I can’t help but wonder: What is he doing here with me? Formulating writing systems and mapping out how best to blend our dual natures – here, against the hiss of the paraffin lamp, and me wrapped in the sanctity of an enormous overcoat acquired in a Denver charity shop for $5. Why has Johnny not already sprayed his mark – elsewhere, with others less scarred and less complicated than I am? It seemed to me that Johnny had enough spark and determination to push his way in amongst Manchester’s headhunters – yet here he was, with someone whose natural bearing discouraged openness. Stranger still, we get on very well. It is a matter of finding yourself in possession of the one vital facet that the other lacks, but needs.

Friday, October 25, 2013

Rusholme Ruffle Bars

A hundred pages into Morrissey's autobiography and I'm enjoying it so far. It's more Tony Warren than Mick Farren at the moment but I'm sure the sex, drugs and rock n roll will eventually kick in at some point. (Maybe when Vini Reilly enters the story?) 

But that's not what this post is about. I now not only have to thank Morrissey for the pop bliss that is 'This Charming Man' but also for his mention of ruffle bars in his autobiography. Christ, I'd totally forgotten about ruffle bars. I need ruffle bars.

Thursday, September 04, 2008

How Soon Is Never? by Marc Spitz (Three Rivers Press 2003)


We were all a little high-strung. "Hand in Glove" had been elusive. For nearly two weeks, we'd been obsessing about it like only teenagers can. I wanted to hear it because John wanted to hear it. Jerome, Maria and Richie wanted to hear it because I wanted to hear it. And everybody wanted to be the first one to get it on tape and make themselves a hero to the rest. The days of sitting by the radio for hours waiting for the DJ to play one song are long over for me (and you too, thanks to shit like downloading) but damn if it wasn't a perfect, temporary existence for all the frustration it put us through at the time. That rush of anticipation when the ad ends and the start of a new half-hour block of music takes over was amazing. I didn't even know what I was listening for. Just something called The Smiths. I told myself if I'd know it when I heard it. You know, I can't listen to the radio for ten minutes now. It's all ads and no rush at all.

Friday, April 25, 2008

Steven Patrick: the original wannabe music blogger

Via Martin at Counago & Spaves comes the wee gem of Morrissey's youthful letters to the NME.

I think I've seen excerpts of the letters before - maybe from Johnny Rogan's 'Severed Alliance'? - but this month's Uncut music magazine captures the letters in all their glory.

Read on as a 'Steve' cribs from my school of music journalism when penning a lust letter about the 1974 Sparks album, Kimono My House: 'Here are my favourite tracks in descending order. Don't you dare contradict me'.

Fast forward to 'Steven' doing the original 'I heard of this band before you lot. Suck it up as you cling for dear life on the back of my superior musical knowledge' type music blog post as he coughs up a love you more type letter about the Buzzcocks.

And don't forget the 'guilty pleasure' type music blog post as he mentions having to put his Carly Simon, Buffy Sainte-Marie and Phil Ochs albums on a "smouldering . . . low light" since discovering Johnny Thunder and the Heartbreakers. (Guilty pleasure music blog posts always make me do a double take 'cos I'm like, 'What do you mean you're not supposed to admit in mixed company that you think that S Club 7 rocks?')

Saying that, guilty pleasure or not, I never would have pegged Mozzer for a Phil Ochs fan. Not Moz in any of his musical or personal permutations: Not going by the name of 'Steve', 'Steven' or 'Steven Patrick'.

But I'll take that on board when I listen to Phil Ochs's wonderful 'Love Me I'm A Liberal' in the future. I'll think of Moz and his number one fan in the political blogosphere, Harry Place's David T.

Friday, January 25, 2008

Dance with a Stranger

From I was Morrissey's roadie:

"Then I am asked: “What was the first record you ever bought? Moz asks everyone that, I’m told. What would your answer be?”

Being involved in music I have often been asked this question and my policy recently has been honesty. It wasn’t the Velvet Underground, Sex Pistols or the Jesus and Mary Chain, it was Rocket Man, by Elton John. “F*** me, Andrew,” he says. “Don’t tell Moz that, you’ll be right out the door. T. Rex is always good.”"

Never meet your heroes . . . or put them on google alert . . . it always disappoints.

Tuesday, October 09, 2007

Jukebox Fury #2

And whilst I'm on the subject of ranting and raving about the misuse of favourite songs. What's the deal with Matt Johnson allowing 'This Is The Day' to be used in an M & M's commercial?

That was my favourite misery song from the early to mid-eighties, off one of the best albums from the same period. Morrissey had too much humour in his lyrics for me to be taken in with his carefully crafted image of miserablism, and Red House Painters' Mark Kozelek was yet to appear on the scene with a note from his Doctor, but you could just tell that Johnson thought it was a badge of honour to submerge himself in misery. I mean, he recorded a duet with Sinead O'Connor for his 'Mind Bomb' album. What more proof do you need?

I just hope it was worth it.

Friday, January 05, 2007

Friday's Playlist #5

An ongoing series:

  • The Mystery Jets, 'Ageless' (Eel Pie Island EP)
  • The Reindeer Section, 'Where I Fall' (Son of Evil Reindeer)
  • The Long Blondes, 'Giddy Stratospheres'
  • Flowers, 'After Dark'
  • The Long Blondes, 'Autonomy Boy'
  • George Michael, 'Shoot The Dog' (Patience)
  • Mull Historical Society, 'Barcode Bypass' (Loss)
  • The Reindeer Section, 'You Are My Joy' (Son of Evil Reindeer)
  • Morrissey, 'Life's A Pigsty' (Ringleader of the Tormentors)
  • Terry Hall, 'Sonny And His Sister' (Laugh)
  • Update 11/11/ 22
    The Mystery Jets and the Flowers tracks are both missing from the Spotify playlist. Click on the links above to find both tracks on YouTube. Both brilliant. Especially the Flowers' track. They are great lost band from the Scottish Post-Punk scene from that era.

    Friday, December 29, 2006

    Friday's Playlist #4

    An ongoing series:

  • The Rakes, 'Auslandmission' (Demos)
  • Robert Wyatt, 'At Last I Am Free' (Nothing Can Stop Us Now)
  • Morrissey, 'Come Back to Camden' (You Are The Quarry)
  • Duran Duran, '(Reach Up For The) Sunrise' (Astronaut)
  • Dexys Midnight Runners, 'Dance Stance' (Geno - Best of)
  • Dexys Midnight Runners, 'Geno' (Searching for the Young Soul Rebels)
  • XTC, 'One of the Millions' (Oranges & Lemons)
  • The Organ, 'Memorize The City' (Grab That Gun)
  • Diesel Park West, 'All The Myths On Sunday' (Shakespeare, Alabama)
  • The Boo Radleys, 'Lazarus' (Giant Steps)
  • Update 11/11/ 22
    The Rakes track is missing from the Spotify playlist. Click on the links above to find track on YouTube. Of its time . . . which sounds a bit snotty. I don't mind to be.

    Tuesday, May 24, 2005

    Having a (Brit) Pop

    I'm trying to read five or six books at the moment, which is always a mistake with me because I end up just letting matters drift and invariably a few books fall by the wayside never to be picked up again. Those books I am reading include this,* this, this and this** (sneaky of me not to mention them by name, which means that people will have to click on the links and give me more page views ;-)

    Another book that I am also currently reading at the moment is John Harris's The Last Party: Britpop, Blair and the Demise of English Rock. Yeah I know it was published a few years back and I missed the zeitgeist and all that palaver from when it was originally published (which roughly translates as the fact that it is only now that I have been able to afford to buy it and only 'cos it was being sold for a couple of quid in a record shop in Edinburgh) but from the hundred or so pages I have read of it so far, it is an intriguing enough account of that period in the early nineties when groups such as Blur, Suede and Pulp kicked back against what they considered the drugged out apathy and drone of grunge.

    I never made it to the Good Mixer but I do remember reading what Harris in his book now views as the seminal issue of Select magazine, which had Brett Anderson on the front cover wrapped in the union jack, and the provocative headline emblazoned across its cover of 'Yanks Go Home'. It's strange now to think how important Suede were in the great scheme of britpop things - what with the Art School versus the Arseholes rivalry of Blur and Oasis that followed - but they were a brilliant band in their day, and seeing them perform the incendiary Animal Nitrate live on the Brits on the TV all those years ago was definitely one of those hairs rising on the back of the neck moments in life.

    It's funny to read in the book that by all accounts Brett Anderson was a sweet guy who only adopted the cool and distant persona that he was notorious for in his heyday after getting his ego bruised when Justiine Frischmann went off with Damon Albarn, and that Alex James initial impression of Albarn when he first met him was of someone who was: "A pompous big-headed fucking moron with a shit band . . . He can come across as a total cunt."

    But my reason for blogging on the book is for a couple of choice quotes that made me laugh out loud, that I thought I would share with my three readers - hello Mo, Curly and Reidski - and, though I don't have any particular antipathy against Suede it is the case that they are aimed against Brett and the other three haircuts in the band:

    Alex James again, from when Blur returned from a disastrous tour in America, when they thought that there time had been and gone, and revealing that before the Damon vs Liam homo-erotic bunfight, there was the Goldsmith versus UCL London University inter-college dust up:
    'When we got back, Suede were on all the front covers,' says Alex James. 'Those little pricks from fucking UCL.'
    The second quote is from Morrissey, who Brett Anderson made the mistake of verbally sparring with in the music press. There was only ever going to be one faux English Fop left standing in the ring after that particular mismatch:
    'Suede are . . . a group with all reference points so tightly packed that it consequently leaves no room whatsoever for originality, should any be lurking,' he wrote. 'Despite his claims to the contrary, I have never met Brett and wouldn't wish to; he seems like a deeply boring man with Mr Kipling crumbs in his bed. He'll never forgive God for not making him Angie Bowie.'
    Absolute classic! Ten years later, and Mozzer last album is a corker and it has all ended in tears for Brett. Last time I think I spotted him was when he was fronting this video.

    * The book on Orwell edited by Paul Flewers.
    ** The one on the Russian Communist Left. Anybody who wants to buy me the British Communist Left one for my birthday, feel free. My birthday is next week, btw ;-)