Entertainment For Lively Minds
Getting Away With It
Posted by daddyorchipsblog on 2 March 2010 - 10:36pm.
Later I read an interview with Morrissey where he was asked what he thought about his former Smiths bandmate (Marr) making Italo disco records, to which he replied something like: "I just don't understand why he would want to."
To that I say: Fuck you, Morrissey. That Electronic single alone is better than every album you made post-Viva Hate.
From a rather touching post from a US blogger on his Anglophilia as a teen. Kind of hard to argue with the post-Viva Hate bit actually; 'Getting Away With It' was pretty stonking.
http://chartrigger.blogspot.com/2010/03/throwback-getting-away-with-it-a...
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I recently listened to Morrissey's Desert Island Discs...
...and I realised the great truth about him.
He can't stop himself blurting out the first unkind thought that goes through his head. It's a psychological condition that ought to have a clinical name.
Awkward
I listened to that myself and was rather non-plussed at the suspicion he showed in response to fairly straightforward questions. Why did he even agree to do the show, I wonder?
He's always seemed to be in love with certain institutions
(Top Of The Pops for instance) while simultaneously taking up a posture of being anti-just about everything else. The offer to appear on a show like Desert Island Discs was probably irresistible.
I've always loathed his persona: he's seemed to want to be Oscar Wilde but his only line of wit is the put-down. *Everything* is either sanctioned as "good" by him or worthy of disdain and he can't help but take an adversarial position. I can understand why he made such an impact when The Smiths first emerged, but he's hardly really since. Am I the only one that now finds the whole act a bit boring?
Kind of boring
and a bit ill-fitting in a formerly big pop star. It's like he's begging to become irrelevant. I loved The Smiths as a teen.
He's sadly typical
of the type of Artist with more ego than talent.
Big ego + Lack of confidence + small talent = Snotty Bitch.
Gorgeous...
...the sweetest bits of New Order and the Pet Shop Boys rolled into one. Raises the hairs on the back of my neck every time. The strings throughout are equally as rousing as the best of ABC, especially on this, the extended version:
With the exception of Disappointed, I don't think Electronic ever got as good as this again.
I remember reading
Julie Burchill's article about the day she met him and her deep regret for doing so. Being Burchill though you can imagine the depth of the claw marks.
Not true though is it......
Vauxhall and I towers head and shoulders over anything Marr has done post split.
Morrissey? Bad? Really?
This song testifies otherwise:
(I Will See You In Far Off Places - weird Mariachi metal thing)
And this, my personal favourite.
(The Teachers Are Afraid Of The Pupils)
Morrissey is definitely at his best when thinking outside of the indie pop vein.
on balance...
…despite a promising early start, Electronic provided diminishing returns with every release. While their debut inches it over Viva Hate, Morrissey’s career has been littered with many more highs than Marr’s. It is a shame that Morrissey seems to have such narrow musical tastes (quoth: “reggae is vile”). But that’s kind of part of his appeal (would we really want to hear him fronting a euro trance anthem???)
sorry,
but don't agree. Marr has taken his career into many different avenues since 1987 and the end of the Smiths. While I think Moz has done some great stuff (viva hate, vauxhall, arsenal), you'd be surprised at the amount of great songs Marr has played/written in the same period.
Electronic produced a handful of classics that stand up to both Johnny and Barney's previous work (Getting away with it, Get The Message, Forbidden City, Flicker, Vivid). Marr's work with The The produced some great stuff (beyond love, beat(en) generation, slow emotion replay), the entire Modest Mouse album, a load of PSB songs, a great Talking Heads album, some of Kirsty Maccoll's finest work plus many other great cameo appearances.
It's become quite a cliche that Marr apparently wasted his talent when he has simply followed his muse and refused to repeat himself.
hmm..
...I've followed quite a few of the acts which Marr has been involved with since the Smiths but my question would be - has he really improved their sound?
Talking Heads, The Pretenders, Bryan Ferry, Barney Sumner all produced superior work without Marr. The only exception could be The The, who's sound he really beefed up with his guitar, though I sill like (pre-Marr) "Infected" best.
Either way, his input to all of these acts seems to be more that of a sideman than a creative lynchpin.
Furthermore - "Vauxhall and I" and "Bona Drag" win the argument..
I would donate a testicle to
I would donate a testicle to hear Morrissey fronting a Euro trance anthem.
Morrissey
No beard, no sweater, no love from the massive.
Not to be trusted
Never trust a punk, they missed the 60s.
Also, never trust a man whose favourite group are The New York Dolls.
And never, ever trust anyone who saw the bleedin' Sex Pistols in Manchester in 1976 (doesn't work on any level) and hasn't stopped talking about it ever since.
It's all too contrived.
Morrissey rarely emerges
Morrissey rarely emerges from his own ideological cocoon - he's told by all those ageing Smiths fans that he's the same still edgy, witty, urbane and relevant artist he undoubtedly was in the mid 80s and he still believes it.
He's now as relevant as Yootha Joyce or Bronski Beat.
He's perhaps never learned that his archness has never translated well as the kind of irony he hoped it would and strangely as a 'pop' scholar he's never realised that the art form has ebbs and flows of fashion. As a result he's never realised that the adulation he received in his golden period was of its time.
Marr has just gone on making records he wanted to and never cared for how much pop cultural status is accorded him.
He's also a genuinely likeable cove, while yer man clearly isn't,