Alain Whyte: "The Loop" - Safe At Home Sessions (June 25, 2020)

Regards,
FWD.

 

[Anonymous Bread]

Yes, I saw this on that same tour. Another classic that Jesse can barely play.

To give Jesse credit, he is trying to go with a different sound here, which is more fitting with the sounds we would come to hear with the bombastic YOR a year later. The band changed and went with a heavier guitar sound for a while, which is evident in this version of 'Loop' and also 'This Charming Man', which was in the setlist around YOR too.

Also, Alain is using a different guitar, which gives the song that prickly sound we associate with the original version.

That said there is something about the Whyte/Morrissey songs that really made an imprint, which cannot be said with the Tobias/Morrissey songs. However, I think part of that is because Morrissey has been experimenting for quite a while now and hasn't been necessary going for those catchy-pop songs (that does well for any singer), whereas it's all about building an atmosphere and creating a mood in a different way. This is also the reason why he probably isn't getting the airplay he thinks he should.

 

[Benny-the-British-Butcher]

Smooth as snake shit Alain

For me one of the best in the SAHS. Thank you so much for doing all of this.
(loved the ending as well)

??

 

[Moz Fan]

“I’ll be winding up the safe at home sessions very soon ...”

Nooooo Alain !

Don’t go outside! Stay forever in that little room and give us more Moz songs !

This song ROCKED live in 92! and is great even on just acoustic.


Morrissey really liked this song. I assume because not only is it a great song but also live it may have given his voice a little rest.

Hopefully others will chime in,
but The Loop and occasionally “I’ve Changed my Plea” are they not the only songs from the Kill Uncle period that have remained longest in his live sets?

Yes, Alain, stay with us and give us more Moz songs!

 

[Moz Fan]

To give Jesse credit, he is trying to go with a different sound here, which is more fitting with the sounds we would come to hear with the bombastic YOR a year later. The band changed and went with a heavier guitar sound for a while, which is evident in this version of 'Loop' and also 'This Charming Man', which was in the setlist around YOR too.

Also, Alain is using a different guitar, which gives the song that prickly sound we associate with the original version.

That said there is something about the Whyte/Morrissey songs that really made an imprint, which cannot be said with the Tobias/Morrissey songs. However, I think part of that is because Morrissey has been experimenting for quite a while now and hasn't been necessary going for those catchy-pop songs (that does well for any singer), whereas it's all about building an atmosphere and creating a mood in a different way. This is also the reason why he probably isn't getting the airplay he thinks he should.

I totally agree.

 

[ZOOM FROM GLOOM]

To give Jesse credit, he is trying to go with a different sound here, which is more fitting with the sounds we would come to hear with the bombastic YOR a year later. The band changed and went with a heavier guitar sound for a while, which is evident in this version of 'Loop' and also 'This Charming Man', which was in the setlist around YOR too.

Also, Alain is using a different guitar, which gives the song that prickly sound we associate with the original version.

That said there is something about the Whyte/Morrissey songs that really made an imprint, which cannot be said with the Tobias/Morrissey songs. However, I think part of that is because Morrissey has been experimenting for quite a while now and hasn't been necessary going for those catchy-pop songs (that does well for any singer), whereas it's all about building an atmosphere and creating a mood in a different way. This is also the reason why he probably isn't getting the airplay he thinks he should.

“That said there is something about the Whyte/Morrissey songs that really made an imprint, which cannot be said with the Tobias/Morrissey songs.”


As far as imprinting goes, I also think it’s very important to keep in mind when the individual heard these songs and who and what their needs were at the time.

This greatly influences how the person hears the songs and impacts the importance or non importance of the song to them.

 

[Verso]

Even were that true, it's still a million times better than the versions from the early 90s.

By the way, multi-million selling artists Alanis Morrissette and the Red Hot Chilli Peppers, who could have had virtually anyone play guitar with them, employed Jesse specifically for his guitar playing abilities. Imagine if Alain had turned up for those auditions. It would have been like the early rounds of Pop Idol or Britain's Got Talent.

I know whenever I’m listening to Vauxhall & I, I can’t help but feel like the songs just need a little extra something from a session guitarist for Alanis Morrissette.

 

[Far Forward]

Yep, he was fired from the Chilli Peppers after one month, and played on one tour with Morrissette. Like everyone, you are entitled too your opinion, mine is that Jesse is shit compared to Alain.

Typically clueless and predictable response from someone who can't play a note. Jesse obviously passed the auditions, why he left is immaterial. I maintain that no sooner had Alain plugged in his guitar his shortcomings would have been exposed and he wouldn't have lasted 5 minutes.

 

[Vegan. Cro. Spirit. 888]

?

AlainT would never have been allowed into the Chilli Peppers

also, nobody has been fired from more bands than Lepew

 

[Verso]

Typically clueless and predictable response from someone who can't play a note. Jesse obviously passed the auditions, why he left is immaterial. I maintain that no sooner had Alain plugged in his guitar his shortcomings would have been exposed and he wouldn't have lasted 5 minutes.

How is that clueless? It’s completely true. Jesse was hired and fired in less than a month. There aren’t even press photos of RHCP with Jesse present.

Be honest, are you Jesse’s wife or something? I refuse to believe that anyone on earth could possibly prefer his compositions of their own volition.

 

[NealCassidy]

Retro https://www.theguardian.com/music/quiz/2014/feb/16/how-much-do-you-know-smiths

 

[Far Forward]

How is that clueless? It’s completely true. Jesse was hired and fired in less than a month. There aren’t even press photos of RHCP with Jesse present.

Be honest, are you Jesse’s wife or something? I refuse to believe that anyone on earth could possibly prefer his compositions of their own volition.

I value all of the Morrissey/Whyte songs, primarily for Morrissey's contribution. The engineers/producers did a great job making Alain's rudimentary sketches listenable, as did the other band members, but it's Morrissey that made the songs great.

As much as you and others try to belittle Jesse's achievements, the fact that he was hired at all by RHCP indicates that they were impressed by his playing, irrespective of why he ended up leaving. By comparison Alain's a half-decent busker, at best.

Jesse doesn't have a wife as far as I'm aware.

 

[Far Forward]

I know whenever I’m listening to Vauxhall & I, I can’t help but feel like the songs just need a little extra something from a session guitarist for Alanis Morrissette.

I suppose that whenever you were listening to Viva Hate or Kill Uncle you longed for the day that a roadsweeper for Camden council would be offered the job as chief songwriter and lead guitarist.

 

[Mayfly]

To give Jesse credit, he is trying to go with a different sound here, which is more fitting with the sounds we would come to hear with the bombastic YOR a year later. The band changed and went with a heavier guitar sound for a while, which is evident in this version of 'Loop' and also 'This Charming Man', which was in the setlist around YOR too.

Also, Alain is using a different guitar, which gives the song that prickly sound we associate with the original version.

That said there is something about the Whyte/Morrissey songs that really made an imprint, which cannot be said with the Tobias/Morrissey songs. However, I think part of that is because Morrissey has been experimenting for quite a while now and hasn't been necessary going for those catchy-pop songs (that does well for any singer), whereas it's all about building an atmosphere and creating a mood in a different way. This is also the reason why he probably isn't getting the airplay he thinks he should.

I certainly agree that Alain has left an imprint on the Morrissey catalogue. He was the main songwriter for nearly 15 years, with him being more proliferent than Boz.

It is indeed harder to put the finger on Jesse ´s style. In addition to the reasons you mentioned, it is also fair to say that Jesse has never been in the position of being Morrissey's main songwriting partner. It is only on the last album that Jesse was responsible for the majority of compositions and the result was most enjoyable ( to my own surprise).

 

[Deleted member 29417]

I'm enjoying the Alain songs. I feel its unfair of people to have a go at Jesse though. Morrisseys hung on to him for all this time so he can't be doing that much wrong. People lament the loss of Alain, but I lamented the loss of Marr before him. Believe it or not, I was listening to the bonus tracks on World Peace Is None Of Your Business for the first time the other day and I wouldn't say I was ecstatic about them but they were intriguing enough. Jesse comes in for a lot of flack, but making out Alain was head and shoulders above him seems unfair to me. That position is reserved by Marr for me. I feel a lot of people deride Jesse simply because all the shit seemed to happen to Morrissey after his Alain period, and they perhaps blame Jesse. Morrisseys always liked quirky, awkward, music himself, like the Sparks. He was fortunate to fall in with Marr but dare I say, it wasn't really the type of spastic music Morrissey would have enjoyed listening to himself. Not really avante garde and sparse enough. It was rich and luscious and easy to listen to, but it never really jarred. Morrissey much preferred the rawness of the Hatful Of Hollow version of What Difference Does It Make to the polished sound on the single. It's always Morrisseys voice that prevails for me. Whatever the weather, when I listen to his vocals early in the morning with a raging hangover, it's always sunshining. He has such a clarity to his delivery and a sprightly airiness that loves the microphone.

You're probably right - he does seem to like discordant.

The only time I was ever depressed I couldn't stand anything lush or cheerful & just listened to The Velvet Underground. European Son was my favourite.

 

[No1uno]

“That said there is something about the Whyte/Morrissey songs that really made an imprint, which cannot be said with the Tobias/Morrissey songs.”


As far as imprinting goes, I also think it’s very important to keep in mind when the individual heard these songs and who and what their needs were at the time.

This greatly influences how the person hears the songs and impacts the importance or non importance of the song to them.

Totally agree.

 

[ACTON]

View attachment 57261

Regards,
FWD.

The raw power of one talented musician and his guitar can fill a song better than a whole band sometimes.

 

[ACTON]

Even were that true, it's still a million times better than the versions from the early 90s.

By the way, multi-million selling artists Alanis Morrissette and the Red Hot Chilli Peppers, who could have had virtually anyone play guitar with them, employed Jesse specifically for his guitar playing abilities. Imagine if Alain had turned up for those auditions. It would have been like the early rounds of Pop Idol or Britain's Got Talent.

Alanis Morrissette and the Chilli Peppers. If those are the types of bands Alain should be auditioning for then I give up. Everyone is so quick to forget all the great songs Alain wrote. Plus he was a hell of a lot easier to look at on stage.

 

[MozIsGod]

Thank God Morrissey didn't meet Jesse Tobias in 1991.

 

[Verso]

I value all of the Morrissey/Whyte songs, primarily for Morrissey's contribution. The engineers/producers did a great job making Alain's rudimentary sketches listenable, as did the other band members, but it's Morrissey that made the songs great.

As much as you and others try to belittle Jesse's achievements, the fact that he was hired at all by RHCP indicates that they were impressed by his playing, irrespective of why he ended up leaving. By comparison Alain's a half-decent busker, at best.

Jesse doesn't have a wife as far as I'm aware.

If Alain was fired from RHCP within weeks of joining, this fact would be the entire crux of your argument against him. Alain and Boz wrote the songs that made Morrissey's career. Jesse has written the fodder to keep the bloated, latter-half of Morrissey's third act afloat. They can hardy be compared.

 

[Vegan. Cro. Spirit. 888]

?
crux of the argument is that AlainT has never been in any real band at allafter Moz was kind enough to give him work from Camden Council where he did road maintenance.
not for a week not for a minute.