They were always something of a conundrum to me. An indie outfit from Blackburn called Bradford, who at the time the North West of England showed the way with the late ‘80s Madchester scene, didn’t…
Back to questionable right-wing sentiments though, and I have to ask about your old pal Morrissey. I imagine it was quite a rush initially to get that plug from him though, in turn offering a tour support.
Ian: “Yes, we played Wolverhampton Civic Hall, his first solo gig, where we first met him, becoming friends. He’d come round my house quite a lot, send postcards, ring me on a fairly regular basis, and yeah … a really fantastic, highly intelligent icon.
“Recently, I think he’s fallen off the perch a little, perhaps, but in a way, he’s doing what he’s always done – for good or ill, speaking his mind, I suppose.”
We’ve had this again recently, John Lydon photographed backing...
The 1980s pop superstar talks about backstage antics at the BBC, being cornered by Bob Geldof at Heathrow, and those notorious outfits
The article is gated - so reproduced in full below:
It’s 11.30am or thereabouts on Monday, so it’s time for Nik Kershaw to get out the wine. “We were drinking this,” the musician is saying, hefting into laptop-screen view a bottle of Gevrey-Chambertin.
It just so happens that the 1980s pop star, responsible for retro-radio staples Wouldn’t It Be Good, I Won’t Let the Sun Go Down on Me and The Riddle, has to hand a bottle of the same red wine he enjoyed one fateful Sunday at Elton John’s Windsor estate. (Probably not the same pricey vintage, he points out, but you get the picture.)
In late 1984, the year of his chart breakthrough, Kershaw – now a well-preserved 62 years old...
Matt Berninger webchat: your questions answered on Morrissey, Taylor Swift and infinite creativity.
"I want my daughter to listen to the Smiths.
I don't want her to pay attention to what Morrissey says now.
Hi Matt, we are about the same age, with many of the same formative influences. The reception of all art changes over time, but I’m wondering how you reconcile your love of the Smiths with Morrissey’s recent political dalliances. Of course, I want to trust the art rather than artist, but sometimes it’s not easy. Your thoughts on the issue would be greatly appreciated!
I'm really glad somebody asked me. I brought up Morrissey and the Smiths so many times to journalists over the past few years because I'm interested to talk about that, and so often it never makes it into the interview because it's just such tricky territory, right? Because Morrissey was one of the voices, writers, performers that made...
Noel said this before playing "How Soon Is Now", "When bands try to cover other bands..Two people that you should never try to cover are Morrissey and John Lydon. Because they are so original in everything...you know Johnny was such a wizard on the guitar...the way that he plays the guitar is not derived from anything I could think about back in those days. The Smiths were on a different level, they still are. Every time I listen to The Smiths it's just lyrically and musically is just f*%&king unreachable for me."
I agree that it was the marriage of the music and lyrics that solidified the band as the best. Lot's of groups have amazing songs, but do they have both? Link for On Demand if you have Sirius
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...Jump to high school, and my sister joined a Columbia record house or something like that. It was great, it was a lot of music for really cheap. And my sister brought home—I remember in that first batch—she had The Queen Is Dead, she had Under a Blood Red Sky, by U2.
SS: The live one?
MB: Yeah, the live one. I think she also had Violent Femmes. And so I remember it wasn’t until I was like a sophomore or something that I then heard Violent Femmes and then I heard The Queen Is Dead.
When I was riding around on a golf cart, picking up—I worked at a driving range. And so I worked the front, you know, I washed the balls. I worked at the front counter, I worked at the candy desk, I fixed the video game. This was right down the road from where I lived in Miamitown, Ohio...
...reporrting the passing of Dele Fadele, a pivotal figure in the NME and particularly famous for his part in the 'Flirting With Disaster?' cover story about Moz's attitudes towards race.
Dele personally told me that Morrissey had sent over a drink - probably a pint of cider - to Dele when both were in the Good Mixer during Moz's stint living in Camden, and he took it it to be a burying of the hatchet of sorts.