You Should Have Been Nice To Me

Giant

user number 440 from 1997
can someone please kindly send an Mp3 link to download it? had it lost it

my email is [email protected]


much obliged

Giant
 
can someone please kindly send an Mp3 link to download it? had it lost it

my email is [email protected]


much obliged

Giant

It's not the classiest thing in the world to ask for commercially available items here.

That song is on the 2009 reissue of Southpaw Grammar, which you can buy from Amazon here.

At less than 13 dollars, it's well worth it; especially considering you get four excellent previously unreleased songs plus a remastering of the original LP, and liner notes by Morrissey.

If buying it is not your thing, you can look for the vinyl rip of the 2010-released Revelation rarities bootleg that Motorways posted here right after it leaked; it has an unmastered version of the same track.

Search this forum or Smithstorrents.
 
As an Amazon Associate we earn from qualifying purchases.
It's not the classiest thing in the world to ask for commercially available items here.

That song is on the 2009 reissue of Southpaw Grammar, which you can buy from Amazon here.

At less than 13 dollars, it's well worth it; especially considering you get four excellent previously unreleased songs plus a remastering of the original LP, and liner notes by Morrissey.

If buying it is not your thing, you can look for the vinyl rip of the 2010-released Revelation rarities bootleg that Motorways posted here right after it leaked; it has an unmastered version of the same track.

Search this forum or Smithstorrents.

Or...

http://www.sendspace.com/file/4chb9f
 
As an Amazon Associate we earn from qualifying purchases.
It's not the classiest thing in the world to ask for commercially available items here.

That song is on the 2009 reissue of Southpaw Grammar, which you can buy from Amazon here.

At less than 13 dollars, it's well worth it; especially considering you get four excellent previously unreleased songs plus a remastering of the original LP, and liner notes by Morrissey.

If buying it is not your thing, you can look for the vinyl rip of the 2010-released Revelation rarities bootleg that Motorways posted here right after it leaked; it has an unmastered version of the same track.

Search this forum or Smithstorrents.

Actually I was thinking about it after my lunch break; technically the reissue only has three unreleased tracks; Nobody Loves Us was a b-side and was also collected on My Early Burglary Years.

But still.



Well shit, in that case can you upload the liner note scans, because I never got to read them and there's no way I'm buying the reissue.
 
As an Amazon Associate we earn from qualifying purchases.
No...but I'll do this:

SG stumbled into being at miraval studios in the south of france, and although Nice was nice, full conception was held off until we re-convened at faithful old hook end, where i had been a feared apparition since 1986. it is near oxford or marlow or reading depending upon the crow.

i had initially approached brian eno to produce, but he declined, which sent me to chris thomas, who also declined, which threw me sheepishly back to steve lillywhite who had been so magnificent on vauxhall & i, but who i felt had little patience for my I-REFUSE-TO-BE-BORN lyricisms. in the event lillywhite excelled on southpaw, and fate led the way.

the aim with Southpaw was to allow the musicians more room to breathe and blow like killer whales, striking away the tiresome assumption that if it wasn’t played by the musicians of the past then it shouldn’t be played. Vauxhall had been wordy personal stocktaking - a bomb burst for the constricted heart. Southpaw had no model to look to once freedom became the key. For me, the moral intent is always love, even in the heat of the squabble. have you ever escaped from a shipwrecked life ?

A great personal joy for me on SP is spencers drumming, which was largely the result of steve lillywhite jabbing away at spencer almost to the point of cruelty. Spencer was pushed & pushed without mercy and although his best emerged, he could not be befriended and he held alain and boz in mild disregard, and once his craft had been impressively mastered he gave up the drums and … he waved his goodbyes. The personal consideration of this recording stand out more sharply to me now. it is a question of what i do, and how people react to what i do. in truth, i often don’t know what i do, other than turn up and ‘be’. accidentally i tie it all together with identity

in the context of the commercialized media, serious artists must become media entertainers who grab instantly, and should you fail to sparkle in the host of promotional parades then the truth of you as an artist is in doubt. the demands for instant stardom result in everything being market-driven and popularity registers as a creative goal. With the creation of southpaw there would be no concession to accessibility. Alain, for me, provides the best of moments : the climbing-falling solo of “reader meet author” and the impish shadow backing vocals of “BFOTP”. Alain was best when he least tried and when he was certain that no-one was looking. you can tell a lot about a person from the sound of their voice, as you can tell everything about a person from the way they sing. there is enough of the cattle-prod of pain in alains voice to make the heart think, but will he see out his morrissey days without a single line of press recognition?

Instinct, more so than understanding leads me through the detailed recording of southpaw grammar, with joy and sadness side by side. There is enough of a record company absence to assume, way ahead of release, that there are no plans to take me further than i have already been - the commercial chances of any album always determined months ahead of its release by people who haven’t even heard it. and oh but there is something totally inflexible to this singing and a rare musical toughness that brooks no argument. it simply is. one day i step into the control room unexpected and i overhear lillywhite say “the singing on teachers was awful wasn’t it ?” - and i catch engineer Danton supple in a reluctant half nod. it is brutal , but not unfunny - oh we poor little humans.

banging against the bars, “reader meets author” is my favourite track. I feel certain i’m at my best when gabbling from fatigue, arguing back at the social landscape and dreading the worst case scenario (even though the worst case scenario is something that very rarely happens). resignations questioned, the freedom of risk, the soup of language; completion of this track moves me forwards- as everything in life, good or bad, moves us forward. i am delighted when, years later Reader meet author crops up in a bbc television documentary about what we hastily term the british working class- and yes, here is our version of posterity- a quintet conclusion rounded off nicely with a clenched- fist from spencer. on the other hand i groan inwardly at the shivery tough of ilford throughout dagenham dave - so masterfully played but the lyrics place a heavy burden. in one verse i describe dave as being without the need to question anything and yet in the next verse he’s troubled enough to question whether or not he should risk touch. well there it is…life’s like that.

a fair description of where i live is the “kicking away from the mundane” tag on “honey..”. you know where to find me. it is good mixer from the days before the british invasion, when i was the youngest person in a pub with no jukebox. change came quickly.

for the start of “the operation” we all gathered on the studio forecourt at midnight to record a leaden gallop; anything involving everyone always became a diverting amusement. the song is another test of mind versus body, and as always the body wins because the heart is the organ that does the thinking. alains we, the accused wails at the close of the song represents the childlike confusion at the need for security to be recaptured over and over again in life, as every single day anew, it is.

“teachers..” harps on a single hook, and almost tilts at an unmanageable indulgence. Boz developed the song in a natural process- the talkative vocal leaning on traveling sounds, with enough imaginative space for combative bass. strings warm any track but they are not without menace. the small boy voice is slowed down slightly in order to make him sound joyless and put-upon, as all children should be.

the intent of the song “southpaw” shrinks back at least four times, stuck in blame ;the concluding help me, help me voice virtually undetectable as the track is sucked away. we have never played this song live because it belongs only to that moment in 1995, and none other. “nobody loves us” is the continued psychologizing from the long and narrow solitary bed - wherein lies the caress. There seems to be no way to deal with the unresolved drumming of the heart, so do your best…and don’t worry.

“fantastic bird” is an unmixed throwaway, this vocal being the one and only ever attempted. everything has its place and is part of the riddle unraveled.

why bother to record southpaw grammar anyway ?
why not simply stay at home and criticize others for doing ? for doing something that you yourself have not yet mastered ? yes, life would be so much easier.

A recording is a demarcation of one’s own being: look, there it is. I can point to it - THAT was my 1995, and no other explanation is necessary. in order to record is it necessary to find yourself to be excessively fascinating? No, the opposite of that luxury is often how you feel.

assessment depends upon the ear of the beholder. we are taught doubt and attack so assiduously that these reactions trigger faster than thoughts of love and support. Our answers are formatted to a permanent state of judgement - or , at most civil, the comparison game. it is the critics calling to make something wrong. i am sustained only by the knowledge that skeptics never seem to know anything .

ice cold reviews welcomed southpaw grammar into the world, with the death of the smiths repeatedly put forward to justify journalistic indifference - as if, now, we remained in may 1987, jogging on the spot. There is no point in being provoked by people who do not respond to whatever you do, because…there is no point.

out in the cattle market, southpaw boots its way onto the pop chart at number 4 . there is nothing on the media horizon to keep us afloat, so we sink. As with your arsenal the weaker tracks become the singles and the secret of our existence remains undisturbed. In the U.S , reprise will not issue a single at all , and some months later i am on a train heading for chicago when i meet J who is a reprise executive, and he explains ; “you know southpaw grammar was deliberately buried by the company because they knew you wouldn’t extend your contract” .. how very very lovely.

for the sleeve of southpaw i repeated my world of morrissey gaffe by gluing together very unappealing artwork - the use of other peoples faces relieved me from staring back at my own. But it didn’t work, and drabness reproached me from the HMV racks, with no-one to blame but myself. Reprise had originally refused to use the photograph, and to my cost i had argued them down .. when sometimes .. you should just let go…a little.

do i own the thoughts on this album?

how do i love thee / let me count the ways

would a fat sniveling child have brought me more happiness?

is there still time to exchange southpaw grammar for a fat sniveling child?

the heart sinks as recording time winds down and i am the only one who can possibly feel this way. for others, the job done and the mind wanders back to the approaching jaws of what is mistakenly referred to as ‘real life’. a joyful recording - that can never ‘be’ again - booms, anchors, then folds away. there are whispers about the incoming session and i am left alone with my personal fallibilities. the artist as the enemy. we will all meet again to register in ? the wars within - the suspended dominant versus agitated progressions ? what to do with the standard bridge ? i lie awake at night ; are there enough curves in the vocal melody ? will anyone care ? must the bass always be in ? why can’t all parts tangle ? will this album keep people interested.. for years, for days , for hours, or at all ? in eternity southpaw grammar will bring me to life even when i’m dead. the age i was i shall always remain, head in the clouds and a mouth full of pie

Morrissey in conversation with himself los angeles 2009
 
This looks awesome. I'm out the door to dinner but will read it first chance I get, when I can absorb it. Thanks.
 
Thank you.
 
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