Random 5 song review

[Kuiper]

Here's what I'm gonna do. I'm gonna name five (semi) random songs, and we all will say what we think of them. You are free to say something as simple as "I LOVE that song!" or "it just plain sucks", but a more in-depth analysis is welcome. Just to keep things slightly more simple, for now let's not suggest any other songs to discuss beyond the five listed below:
A Swallow on My Neck
Break Up the Family
How Soon is Now?
In the Future When All's Well
Wonderful Woman

Now I have to ponder about the myself...

[Kuiper]

Here's my tentative analysis subject to further revision:

A Swallow on My Neck - While I have obscurely claimed every Smith/Moz has my favorite, this one is very high upon my list. It is beautiful but has this fun vibe to it, not like you want to get up and dance or anything, but where it seems uplifting while having an almost somber appeal. The guitar is so perfectly done, well all the arrangements are constructed in such a delicate and pleasing manner. And the lyrics are really insightful, to what, I don't know, this one is a headscratcher for me, but I know it is meaningful about something at least.

Break Up the Family - This one had to grow on me, but now I like it a lot. It is rather subtle, both musically and lyrically. The music here too has a very well-constructed atmosphere to it and is not a downer, but has a certain musical feel that is serious to me (similar to the feeling I get from A Swallow on My Neck).

How Soon is Now? - It is probably The Smiths' most famous song, so I think because of that it is actually by and large overlooked by the fans. The lyrics I think are like all bets are off, Moz is not going to hold back what he thinks, hence the rather blunt bridge "there's a club if you'd like to go". That part is one of my favorite lyrical exerts from any of his songs, and while I do find it to be very well-written, it does seem to break any rules of subtlety. I can't quite put it into words, but that part just strikes me as very unusual to say out loud (or sing, rather). Anyway, onto the music. It is very unique but honestly I think it could've been better. It is great as is, one of my favorites, but I think it could've used a little more variety musically. A few more touches, a little more complexity.

In the Future When All's Well - This is a fantastic song in my opinion. It is very deep I think, in the midst of its superficially simple lyrics. I think it is about death and not from the standpoint of someone older, but of someone younger in the midst of their troubles, looking to the future, hoping things will get better. I think it is masterfully produced balancing all the components perfectly, and it ranks among one of his most perfectly put together tracks.

Wonderful Woman - I really like the guitar on here and the harmonic a lot too. Moz's vocals work very well with the song, but I feel the lyrics are lacking. I don't think they should've been scrapped, I think they actually could've really developed into something really good, but I would rather have something more serious and darker for this track. The music here seems like a template that just hasn't quite reached it's full potential. I could see it going in any number of directions musically-speaking, but it is still good as is.

[Strange Fear]

I'll only post for one song.
A Swallow On My Neck- I simply adore that song. The music has a great melody. The lyrics are lovely, showing the admiration for male beauty. The song has a really beautiful innocence, especially the way his voice sounds.

[mspendl828]

A Swallow on My Neck

Awesome. A great, fun pop song. One of my favourites. *****

Break Up the Family

Quite a fan of this one. One of Street's better tunes, good lyrics, very good melody. ***1/2

How Soon is Now?

Never really like it. Like the lyrics, but the music does nothing at all for me I'm afriad. Totally fed up of seeing it live as well. *

In the Future When All's Well

Very good little 70s (glam) rock song. Great for a drunken singalong. ****

Wonderful Woman

Eh, it's alright. Not a lost gem or anything like that and certainly not good enough to have been on any album. Bit dull at times if I'm honest. **

[nightandday]

resurrecting this thread (it's a good idea, we might continue it with 5 other songs?)

A Swallow On My Neck - the melody is nice but nothing outstanding, it sounds like a nice little pop song. The lyrics are what really make this song interesting; there is a lot of emotional spontaneity in it together with confusion and ambiguity in it, and it seems almost as if the lines come from a half-drunken state, which is the song's particular charm. It's even funny (rhyming 'foolish' with 'ghoulish' LOL :D) As to what the lyrics mean, we've had a couple of discussions about it:

http://forums.morrissey-solo.com/showthread.php?t=61600&page=4&highlight=song+meanings

http://forums.morrissey-solo.com/showthread.php?t=65489&page=3&highlight=swallow


Break Up The Family - a very underrated song, one of my favourite songs from Viva Hate. A subtle but beautiful melody, understated instumentation, and bittersweet lyrics that, just like a few other songs on Viva Hate, present a look back into one's teenage self, in a sort of anti-nostalgic way, with tenderness but also with the recognition that those days were far from happy and that moving away from them is a good thing. Quite opposite of the usual way that the past, especially one's adolescence, tends to be idealized in pop songs

How Soon Is Now? - Kuiper is right, How Soon Is Now? has been a victim of its mainstream success and due to it it has been overlooked or even hated by many Smiths fans. No, How Soon Is Now? is not overrated or overplayed; the other Smiths songs are underrated and underplayed by the general public. Things like that should not affect out judgment of the song; it is still a GREAT song. Two bluntness and, occasionally, simplicity of Morrisey's lyrics is one of the song's main strengths, if not the main strength; they perfectly describe a situation and a feeling that a very large number (if not majority) of people can identify with, at least at some point in their lives. And quite often the best way to say something is to say it in the simplest and bluntest way possible. The other thing that stands out about this song is that, more than any other Smiths song, musically it sounds like a proper rock anthem - which, I suppose, might be a negative thing for some people, but I think the opposite: it's the combination of that music and the lyrics such as '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' that make this song great; if those lyrics were set to a slow, sad melody, the song would feel completely different, it might feel desperate and unconsolable. But combined with the music, the song proves that all those people who call The Smiths 'depressive'', 'suicidal' or 'whiney' are talking rubbish. On the contrary, it feels defiant and uplifting, it feels like a real anthem for everyone who's ever feel lonely and unloved, it especially with its chorus which sounds like a statement of one's right: "You shut your mouth, how can you say that I go about things the wrong way? I am human and I need to be loved just like everybody else does!"

In the Future When All's Well - I don't rate this song that highly. Definitely my least favourite out of those 5. The music is rather bland pop (as most of Ringleader is, to be honest) and the lyrics are... just OK. The only interesting twist, I suppose, is the description of death in pleasant terms - as a long sleep that presents the (happy?) end to that future. But I suppose that's not something I particularly relate to. Besides, I find the vocal occasionally quite cheesy (another problem I have with much of ROTT).

Wonderful Woman - another underrated song. It has a beautiful melody, guitar, harmonic, and one of Morrissey's best early vocal performances. It's one of the few songs where John Porter's production works perfectly, but the Troy Tate more raw version is equally great in a different way: Marr's guitar on it is not as beautiful as on the officially released version, and the haunting sound of the harmonic is missing, but Morrissey's vocal is even better and more emotional than on the other version. As for the lyrics, they're not among Morrissey's best but I don't really what's such a big problem with them either. It's a basically a simple expression of the paradoxical feeling of love/irresistible attraction to someone whose character is described in seemingly very unflattering terms - sort of like the type of feeling that Shakespeare described in his sonnets to his femme fatale, Dark Lady. I suppose that people aren't not too fond of Morrissey's weird mataphors such as 'robbing the blind' or 'tripping a dwarf' and might consider them silly, especially if they are taking it all literally.

[Hellie]

I think In the Future is about Oscar Wilde from his perspective-in the future when all predjudice is gone.

[Maurice E]

Hey, nice idea for a thread! Here goes...

Swallow is lovely. Rhyming ‘crematorium’ with ‘boring them’ is genius! The music is understated, subtle and melodic, and the backing vocals are particularly affecting. Well done Alain! Such a relief to hear this come along after the bloody awful Southpaw Grammar. Great to hear it live, too, on the 99 tour.

‘Break up the family’ is a bit dull and plodding but, sadly, better than a heck of a lot of stuff on the last two albums.

HSIN is a good song but hugely over-rated. Noel Gallagher once said that Moz ruined a brilliant piece of music with a duff lyric about being unable to pull at the disco. I’m afraid I’m inclined to agree!

In the Future; didn’t think much of this at first but what a grower! A brilliant song. Nothing much happens lyrically but the swooping vocals are splendid and it’s a great chuggy (?) piece of music. Jesse’s finest musical composition to date, and it’s a travesty that Virgin Radio didn’t play this song. It’s a brilliant, upbeat, feel-good song, especially pleasing live.

WW: only heard a few times. Never that impressed. It's alright but ... one of very few Smiths songs that really deserved to be relegated to a b-side.

[nightandday]

HSIN is a good song but hugely over-rated. Noel Gallagher once said that Moz ruined a brilliant piece of music with a duff lyric about being unable to pull at the disco. I’m afraid I’m inclined to agree!


:rolleyes: :rolleyes:

Noel Gallagher. Now that's the right person to judge the quality of a lyric!!! :p

[Kuiper]

I am so pleased this thread has been resurrected. I didn't even notice! I think we can do another 5 songs like nightandday said. So, even if it can get a bit confusing for new posters with 10 songs be discussed at once, here are five more.

Girlfriend in a Coma
Glamorous Glue
Hold On to Your Friends
Irish Blood, English Heart
These Things Take Time

My review(s):
Girlfriend in a Coma - I think this song is really underrated as a unique, refreshing song. The verses are classic Marr melodic guitar work, but it's handled a little bit differently. Maybe it's just me, but I find having the violin in the chorus an unexpected touch that works perfectly; the song would be flat without it. So taken apart I think the song isn't much to write home about, but together just so it works and the possible flaws aren't noticeable.

Glamorous Glue - The lyrics are short, but I really like them, they convey quite a bit despite being so simple. The music is also kind of simple, and I didn't like it for the longest time. So overall it isn't great, but for what it is it achieves a lot.

Hold On to Your Friends - This song took a really long time to grow on me. I never really thought about the lyrics until just recently but I think they are underrated. The music is kind of subtle, but I really appreciate its subtlety now after never really getting into the song.

Irish Blood, English Heart - As his comeback single and tied for his biggest hit, I feel this song actually doesn't get much attention. It is so short because it doesn't need to be too long, it comes at you and leaves before it could get stale or run out of new things to do. And of course it sounds fantastic live.

These Things Take Time - Why this was not the a-side and What Difference the b-side I'll never know. It is classic early Smiths, and while it isn't a fascinating composition or a brilliantly poetic lyric, it works so perfectly being a slightly average (by Smiths standards, considering they were so unique and diverse) song.

[thewarroom]

Glamourous Glue- I've always loved this song. The best example of Moz's Glam Rock stage in my opinion.

Girlfriend in a Coma- Love it. Very simple and also a very good parody of the Death Disk genre of the early 60's.

Hold Onto Your Friends- Love the music, its a great composition. But this is one of the few Moz tracks that I like less when he starts to sing. His vocals (which are just fine, don't get me wrong) I think detract a little from the beauty of a non-Mozlike composition. I dunno, maybe it's me...

IBEH- Doesn't do it for me. I don't even know what it is about it that makes me not care for it too much. First of the Gang should have been the first single from Quarry.

These Things Take Time- This would have made for a great single. Great lyrics, great Marr accompaniment, very good overall. I think Simon Goddard said in his book that this would have been a single for any other group, and he's absolutely right.

Nice thread, Kipe (may I call you Kipe :) ?).

[Kuiper]

IBEH- Doesn't do it for me. I don't even know what it is about it that makes me not care for it too much. First of the Gang should have been the first single from Quarry.

These Things Take Time- This would have made for a great single. Great lyrics, great Marr accompaniment, very good overall. I think Simon Goddard said in his book that this would have been a single for any other group, and he's absolutely right.

Nice thread, Kipe (may I call you Kipe :) ?).

You are right that First of the Gang is a much better lead-off single, and yes Goddard is very right when he said it is good enough to be an a-side.

Yes you can call me Kipe. :)

[thewarroom]

These Things Take Time - Why this was not the a-side and What Difference the b-side I'll never know. It is classic early Smiths, and while it isn't a fascinating composition or a brilliantly poetic lyric, it works so perfectly being a slightly average (by Smiths standards, considering they were so unique and diverse) song.

I may be in the minority in that I love What Difference. I think most fans are kinda indifferent towards it, but I think its a great song. Either song could have been an a-side.

[Kuiper]

I may be in the minority in that I love What Difference. I think most fans are kinda indifferent towards it, but I think its a great song. Either song could have been an a-side.

I like it a lot too, I just don't think it has as much a-side-iness (I decided that's a word from now on) to it. Going a bit off-topic, I think that and Heaven Kknows, while still both very good, were such big hits because The Smiths were popular, not the songs. I think These Things Take Time and Girl Afraid could've been the a-sides and they would've been hits. Just my thoughts.

[Roma De Moz]

Girlfriend in a Coma:

A short, simple, catchy and humourous poppy ditty which works well. Having said that, I dont think 'simple' or 'catchy' neccesarily translate as amateur, especially not in this case. Morrissey's morbid lyric conceals ambigious leanings of the protagonist: is he truly sad and sympathetic, or deceiving? Clever stuff, considering we never know how the girlfriend in the coma came to be that way, coupled with the protagonists pleads of 'No, I dont want to see her!'. Once again, Marr juxatposes all of this with some up tempo, jovial guitar playing. Very nice indeed.

Glamarous Glue:

Morrissey in glam rock mode, and it works. It's placement on the album notwithstanding, this is a personel favourite of mine. The grinding guitars on this throw me back to memories of T.Rex, and lyrically, Morrissey visits familar territory of an England long lost amidst yearning patriotism. Lyrically, not as clever, subtle and strong as the likes of 'We'll Let You Know', but good none the less.

Hold Onto Your Friends:

Musically, this track still doesn't appeal to me, but lyrically, I think this is one of Morrissey most overlooked, interesting and suprising efforts. Otherwise portrayed as the solitary outsider, the maturity of the songwriting in this song really compliments the tone of 'Vauxhall'. I get the impression that in this song Morrissey is facing up to some foolish pride he may have had in the past in estranging himself from people, in an effort to stand apart.

Irish Blood, English Heart:

Wonderful track. Short, sweet, riproaring, thumping, strong and clever! Morrissey avoids dipping into real politics with this song and instead focuses all the energy of the music and songwriting in a bombastic declaration of English determination, and Irish pride. The message is so simple: we are proud, we are here, and we want things to change. The song is so pure and from the heart that it doesn't need to bog itself down in politics, which is what I think many people appreciate about it.

These Things Take Time:

Terribly overlooked early-Smith's era classic. This song contains many memorable and witty lyrical turns my Moz, aswell as an unrelenting guitar peice a'la Still Ill. Great stuff!

[Kuiper]

I think this thread deserves bumping, who are you to stop me? :p

Alsatian Cousin
I Don't Owe You Anything
Lifeguard Sleeping, Girl Drowning
Panic
You Have Killed Me

I'll think of my reviews tomorrow ;)...

[Strange Fear]

I think this thread deserves bumping, who are you to stop me? :p

Alsatian Cousin
I Don't Owe You Anything
Lifeguard Sleeping, Girl Drowning
Panic
You Have Killed Me

I'll think of my reviews tomorrow ;)...


Alsatian Cousin

I love this song. It fits perfectly as the beginning of the album. It gives you a very uplifting feeling. His voice and the lyrics just kind of capture you and put you in this stronger state of mind, well at least for me it has.


I Don't Owe You Anything

This song is beautiful. I love the music. The kind of love that is expressed can bring one to tears. His voice has this sadness to it that makes you think that he probably has been wanting to say this for a long time, but has never been able to. And now that he does, he just lets go.


Lifeguard Sleeping, Girl Drowning

The music is soft. I like this whisper like tone he has in his voice. Strong lyrics. I like it a lot.


Panic

I love this song. Very upbeat. Has been a classic. It has a strong point of view, but that can be humorous. It makes you want to start dancing the way Moz dances in the video.


You Have Killed Me

It's a really good song. The music is good. Both that and his voice give you the sense of this new step in his career, which seems like an entirely different world, but I like it a lot. It compiles perfectly in Ringleader which is a great album

[Roma De Moz]

Alsatian Cousin

Fantastic grower of a song, and an excellent opening track to his debut solo-album. What's more interesting is the style; after having portrayed himself as wistfully yearning for love in The Smiths, Morrissey is actually demanding answers in this song, embittered and envenomed. The distorted, whirling guitar work breathes an atmosphere of paranoia, complimented by Morrissey's scathing lyrics, which produce some of the most haunting lines he has ever put to song. Short and sweet, the track is timeless, and one of Mozzers overlooked best.

I Don't Owe You Anything

Alternatively, this track from The Smiths debut fails to ellicit a reaction from me; it's just dull. Supported musically by a continous, but uninteresting bassline, Morrissey walks through otherwise dull lyrics. I haven't heard the version accompanied by Sandie Shaw, but this otherwise has to be one of The Smiths most forgettable songs and melodies.

Lifeguard Sleeping, Girl Drowning

A truly haunting song, this is one reason to go and purchase Vauxhall right now. Morrissey's whispered vocals almost take on the personality of the sea itself, as it taunts, teases and tantalises the protagonist of the song with visions of her doom by drowning. Lyrically dreamlike and deliberately vague, the composotion as a whole could be said to preclude the prog-rock of Southpaw Grammar. However, this song is altogether more succesfull as demonstrating that Morrissey can just as easily make your hair stand on end as he can make you laugh and cry. Great stuff.

Panic

One of The Smith's most well regarded singles, and a catchy, humorous pop song in it's on right. Marr's arrangement is actually borrowed from a T.Rex song (was it Metal Guru?). I think this is one of the quintessential Smith's tracks, but I have never really adored it as much as I feel I should. It's good, but not great. Hearing it live at Wembley it blew me away, but that was in part because it was my first Moz gig, and the opening song. Not a personal favourite, but a decent song nonetheless.

You Have Killed Me

Much like Panic, this song is good, but not great to me. Morrissey can work within the pop formula with the best of them, and yet still come up with surprising turns of phrase in the lyrical department, and this song demonstrates that. Addressing themes of sexual ambiguity and shattered expectations, the song alerts the listener more than usual through the rather explicit nature of the lyrics. A good pop song, interesting lyrics, the song is by-the-numbers Moz pop; he can write this stuff in his sleep, and while it's decent song, there's better material from the Ringleader sessions.

[So Far Away]

Alsatian Cousin
Now, this track is definitely one of my all-time favourites, when I first got Viva Hate, I skipped it (shameful I know) because I found the guitar and intro to be a bit strange and so I stuck to the songs I knew on the album for a little while before finally listening to this song. The first couple of times I heard it, I wasn't paying attention to the lyrics as such, I was just fascinated by the guitar, but on a few more listens the lyrics really hit me- what a refreshing change from Moz's old ways- sneering the words 'On the desk is where I want you'- when I heard that line I nearly fell off my chair because I was so shocked (in a good way) and I can't say a line in a song has made me laugh as much as that did, as serious a song as it is, when I first heard it, brilliant. The bassline is awesome in this song too. I'm currently thinking about doing this song (I play guitar you see) for my GCSE ensemble piece and this song has made many of my friends respect and understand the humour of Moz, which is good.
Panic
Love this song. When I heard it live at the GMEX I went crazy. The 'hang the DJ' chorus stuck in my head for weeks when I first heard it a couple of years ago. The guitar is very vibrant and makes you want to shout along, brilliant track which shows Moz's sense of humour once again and has a very British feel to it, I would explain, but it's hard to put into words.
You have killed me
Although I don't think it's the best song off ringleader, I think it's brilliant, musically a bit of a change and Moz's voice in the studio version sounds rather different, a lot softer. Like many of the ringleader songs, I think it sounds way better live and the studio recordings don't really do it as much justice. This song helped get quite a lot of my friends interested in Moz.

[Jukebox Jury]

[QUOTE=mspendl828;433154
How Soon Is Now?
Totally fed up of seeing it live as well. *

[/QUOTE]

Morrissey told me he was fed up of seeing you at all of his gigs too :p

Jukebox Jury

[Kuiper]

A bit late in the coming but who cares. ;)

Alsatian Cousin
This is definitely one of my top favorite Morrissey songs, easily in the top 5 and top 10 all-time of all songs by any artist. The lyrics are rather short, but they are so perfectly written. Every line just seems so poetic and yet real, and Morrissey's singing and vocal melody are the perfect vehicle for the lyrics and accompaniment of the music. Every component to the music is, to overuse the word again, perfect. The bass line is one of the best of his career I think, easily tops Barbarism Begins at Home. And of course the harsh beauty and rough majesty of the guitar is, well I'm afraid I'm out of superlatives at the moment. :p I just really love the song more than I can put into words but I still foolishly try. :o

I Don't Owe You Anything
The music is more simple and laidback, but I find it beautiful. I really like the lyrics even if Morrissey doesn't any more, and I think these vocals are among the best from the early period. I don't really know exactly what to say about it except that I really like it, it seems to fly under the radar, so I can't pick up any attention-grabbing traits like those easily found in Alsatian Cousin, so for that reason I think it lures me in. I know I'm not making much sense, I never claimed I did! ;)

Lifeguard Sleeping, Girl Drowning
Roma De Moz I think covered almost all of this song. The lyrics fit so well with the music for some reason, while both are rather vague, something mysterious about them. At first I wasn't so sure about the whisper vocals, but not only does he deliver the lines well using that voice and not only does it sound pleasing with the music, it is like, a character in the song. The sound of his voice is like a prop in the play of this song, it adds such a unique atmosphere and environment to it, like it isn't just used because it fits best with the music, that it actually means something. Like Roma De Moz said (as he always puts things so eloquently), it does seem to take on the personality of the sea itself.

Panic
A supposed take on Metal Guru, and while my memory is a bit sketchy on that song, I don't see much of a resemblance except for the beat to the song. The rest of the arrangements seem unique to me, but I should probably go listen to Metal Guru again. The lyrics could only have been written by Morrissey. They are too successful about being cleverly written, humorous, and simultaneously making a somewhat serious point. And of course causing unnecessary controversy, another thing only Moz could do so successfully.

You Have Killed Me
I don't quite know about this one. I definitely enjoy it, I rate it rather highly, I'm just not so sure what to think of the lyrics. It is classic Morrissey, but is it good? "As I live and breathe, you have killed me/yes I walk around somehow, but you have killed me". Definitely sounds like him, but does it live up to his standard, is it just a cheesy second-rate take on his lyrics? But, after Ringleader having been out for close to a year, I think I can say this is one of Jesse's better compositions. It isn't too complex, and neither are the lyrics, so I think overall the song wraps up in a neat little package. Nothing that turns the world upside down, but far from a failure. A very good song that delivers what you would want, but doesn't surpass anyone's expectations or change anyone's views of Morrissey or make much of an impact in comparison to his other classics.

[nightandday]

Alsatian Cousin
This is definitely one of my top favorite Morrissey songs, easily in the top 5 and top 10 all-time of all songs by any artist. The lyrics are rather short, but they are so perfectly written. Every line just seems so poetic and yet real, and Morrissey's singing and vocal melody are the perfect vehicle for the lyrics and accompaniment of the music. Every component to the music is, to overuse the word again, perfect. The bass line is one of the best of his career I think, easily tops Barbarism Begins at Home. And of course the harsh beauty and rough majesty of the guitar is, well I'm afraid I'm out of superlatives at the moment. :p I just really love the song more than I can put into words but I still foolishly try.

I Don't Owe You Anything
The music is more simple and laidback, but I find it beautiful. I really like the lyrics even if Morrissey doesn't any more, and I think these vocals are among the best from the early period. I don't really know exactly what to say about it except that I really like it, it seems to fly under the radar, so I can't pick up any attention-grabbing traits like those easily found in Alsatian Cousin, so for that reason I think it lures me in. I know I'm not making much sense, I never claimed I did! ;)

Lifeguard Sleeping, Girl Drowning
Roma De Moz I think covered almost all of this song. The lyrics fit so well with the music for some reason, while both are rather vague, something mysterious about them. At first I wasn't so sure about the whisper vocals, but not only does he deliver the lines well using that voice and not only does it sound pleasing with the music, it is like, a character in the song. The sound of his voice is like a prop in the play of this song, it adds such a unique atmosphere and environment to it, like it isn't just used because it fits best with the music, that it actually means something. Like Roma De Moz said (as he always puts things so eloquently), it does seem to take on the personality of the sea itself.

Panic
A supposed take on Metal Guru, and while my memory is a bit sketchy on that song, I don't see much of a resemblance except for the beat to the song. The rest of the arrangements seem unique to me, but I should probably go listen to Metal Guru again. The lyrics could only have been written by Morrissey. They are too successful about being cleverly written, humorous, and simultaneously making a somewhat serious point. And of course causing unnecessary controversy, another thing only Moz could do so successfully.

You Have Killed Me
I don't quite know about this one. I definitely enjoy it, I rate it rather highly, I'm just not so sure what to think of the lyrics. It is classic Morrissey, but is it good? "As I live and breathe, you have killed me/yes I walk around somehow, but you have killed me". Definitely sounds like him, but does it live up to his standard, is it just a cheesy second-rate take on his lyrics? But, after Ringleader having been out for close to a year, I think I can say this is one of Jesse's better compositions. It isn't too complex, and neither are the lyrics, so I think overall the song wraps up in a neat little package. Nothing that turns the world upside down, but far from a failure. A very good song that delivers what you would want, but doesn't surpass anyone's expectations or change anyone's views of Morrissey or make much of an impact in comparison to his other classics.

This time I agree with almsot everything you wrote about those songs. I have to say that I never really liked You Have Killed Me, and you've nailed some of the reasons why. It's a catchy pop single that people would expect from Morrissey, and that's it. It's got a catchy, trite tune married to lyrics such as 'as I live and breathe, you have killed me, you have killed me' that sound like something he could write on a lazy day when he decided to write some typical 'Morrisseyesque' lyrics without much effort. Luckily, the references to Rome and Italian cinema, however expected they were, are clever and ambiguous, and that's the only thing that saves the song. But, unfortunately, I'm not too fond on his singing on Ringleader; it's great at times, but at times it gets almost poperatic :eek: and YHKM is the most obvious example. :(


I agree that I Don't Owe You Anything is one of his best early vocal performances, the music is very nice and the lyrics might not be amazing but they're certainly not an embarassement. Not a masterpiece, but a fine early Smiths song, which only doesn't get much attention because there are so many great early Smiths songs.

Panic is a classic of course, Alsatian Cousin is one of the best Morrissey solo songs, and so is Lifeguard Sleeping, Girl Drowning. One of the things I love about them is that, in their different ways, they're not the type of song that the public typically associates with Morrissey. Lifeguard Sleeping... in particular is a very unusual song, with the chilly, spooky atmosphere and Morrissey's whispered vocal, the ambiguous, mysterious lyrics that still tell a tragic story; and the sample from an old British film ("In which we serve"), sounding like a female voice echoing through the beach, endowes it with even more potential meanings. Absolutely amazing.

But how could you call These Things Take Time average, even by Smiths standards?! It's one of my favourite Smiths songs, and IMO the lyrics are among the best Morrissey has ever written!!!

[treygar]

wow...well, if you've been reading my blog the past three weeks or so you'd see i've been doing somewhat of the same thing with my reviews and stuff...i've done i think four or five albums...alternating Solo and Smiths recordings...think Meat is Murder is up next for me....

http://blog.myspace.com/treymfdm

[nocturn0wl]

I may be in the minority in that I love What Difference. I think most fans are kinda indifferent towards it, but I think its a great song. Either song could have been an a-side.

Oh I love it a lot too! It's one of my favorite Smiths songs. The lyrics are excellent. It really speaks to me. I've felt that way so many times.

[nocturn0wl]

Since I'm new to this thread, I'm only going to pick and choose songs out of the three sets that have been mentioned.

1. Break Up the Family - absolutely love it. the melody is great and I love singing along with it. I like it almost as much as "Dial a Cliche"

2. How Soon Is Now? - first Smiths song I ever heard--a classic. The guitar riff is so unique--not just for a Smiths song, but for ANY song. The lyrics are to the point and they pack a punch!

3. In the Future When All's Well - I hate to say this because everyone seems to love this song, but I really don't like it at all. I can't really say why either. It just annoys me. It seems to prattle on with no shift in the way it sounds.

4. Girlfriend In a Coma - LOVE it. I love how a song about such a "serious" subject matter can sound so musically cheery. It's quite humorous. I only wish it were longer.

5. Glamorous Glue - At the risk of everyone hating me, I have to say that I dislike this song a great deal as well. I don't like the guitar effect in it or the way it is sung.

6. Hold On to Your Friends - I love it. Very good message, nice melody.

7. Irish Blood, English Heart - I like this one a lot as well. I think it's a good lead off single. It says a lot about who Morrissey is.

8. Alsatian Cousin - LOVE this song. It sounds sexy to me. Maybe that's because I can appreciate the "demanding" accusatory tone of the narrator.

9. Lifeguard Sleeping, Girl Drowning - I don't like this song at all. I don't like Moz's muffled tone in it. Reminds me of something The Cure would do. It creeps me out.

10. Panic - Believe it or not, this song took some getting used to for me to really embrace it. Now, I love it. It's obviously a classic, and very fun to dance to, not to mention the statement it makes about the state of pop music today.

11. You Have Killed Me - This song took a while for me to warm up to as well. When I first heard it as the lead singer off of Moz's yet-to-be-released new album, I thought, "oh no, I hope the rest of the CD won't be like this." It just didn't "grab" me at all. I wasn't too thrilled and was anxious to hear the rest of the album. Then, with time, it totally grew on me. I like it now, but I don't LOVE it.

[nightandday]

9. Lifeguard Sleeping, Girl Drowning - I don't like this song at all. I don't like Moz's muffled tone in it. Reminds me of something The Cure would do. It creeps me out.


The Cure never did anything like that. I can't even imagine Robert Smith pulling it off with his voice.

It creeps me out too, but for me that's a good thing :)

[nocturn0wl]

The Cure never did anything like that. I can't even imagine Robert Smith pulling it off with his voice.

It creeps me out too, but for me that's a good thing :)

I was thinking primarily of Robert Smith's whispery tone in "Lullaby." I think that's why it reminds me of The Cure.

[nightandday]

I was thinking primarily of Robert Smith's whispery tone in "Lullaby." I think that's why it reminds me of The Cure.
Ha, I stand corrected, Robert Smith did pull a creepy whisper in that one, but IMO the two songs are still miles apart. Morrissey's voice is so eerie and strangely hypnotic and seductive while conveying so much sadness at the same time. I don't get the same feeling when I listen to Lullaby.