Andrew Loog Oldham podcast with Johnny Marr

Famous when dead

Vulgarian
Moderator
Topics discussed:

Charly García
Bob Marley in the studio
Mott the Hoople - "All The Young Dudes"
T. Rex - "Hot Love"
John Porter: From The Smiths To The Blues
Johnny Marr is shining brighter than ever before - GQ Magazine
Terence Donovan
Mary Quant
Johnny Marr - Call The Comet (2018 album)
The Shangri-Las
Lou Adler on producing Carole King's Tapestry
Peggy Lee & George Shearing - Beauty and the Beat! (overdubbed "live" album)
Regent Sounds
The Rolling Stones - "Tell Me"
Mick Rock
Shadow Morton
Redbird Records
Jerry Dammers: How The ‘Devil’s Chord’ Split The Specials
The Smiths - "Hand In Glove" (early version)
Johnny Marr - Set the Boy Free (autobiography)
25x5: The Continuing Adventures of the Rolling Stones
Allen Klein
Frank Sinatra in the studio
The Man With The Golden Arm
Joe Smith
Qwest Records
The MINI Cooper Countryman
Downtown Detroit's essential architecture: A walking tour
Mitch Ryder - "When You Were Mine"
Motown Museum | Home of Hitsville U.S.A.
Rolling Stones - Bright Lights Big City (bootleg demos album)
Glyn Jones
Rolling Stones - "You Can't Catch Me On"

Non-spotify link (which allows downloading):

Regards,
FWD.
 

Amy

from the Ice Age to the dole age
V

vegan cro spirit 444

Guest
:rolleyes:

more :handpointright::guardsman::handpointleft: babble, this time with the fellow old coot. what a difference a wig makes :hammer:
 
A

Anonymous

Guest
This looks very interesting, thanks! If I remember correctly, Johnny modeled himself on Andrew Loog Oldham as a mover and shaker pre- and early-Smiths days.
 

Ketamine Sun

HANG THEM HIGH VERONICA
Interesting. & Supposedly there’s a part 2 ?
 

BrummieBoy

BrummieBoy - "Facebook Non-Entity"
Topics discussed:

Charly García
Bob Marley in the studio
Mott the Hoople - "All The Young Dudes"
T. Rex - "Hot Love"
John Porter: From The Smiths To The Blues
Johnny Marr is shining brighter than ever before - GQ Magazine
Terence Donovan
Mary Quant
Johnny Marr - Call The Comet (2018 album)
The Shangri-Las
Lou Adler on producing Carole King's Tapestry
Peggy Lee & George Shearing - Beauty and the Beat! (overdubbed "live" album)
Regent Sounds
The Rolling Stones - "Tell Me"
Mick Rock
Shadow Morton
Redbird Records
Jerry Dammers: How The ‘Devil’s Chord’ Split The Specials
The Smiths - "Hand In Glove" (early version)
Johnny Marr - Set the Boy Free (autobiography)
25x5: The Continuing Adventures of the Rolling Stones
Allen Klein
Frank Sinatra in the studio
The Man With The Golden Arm
Joe Smith
Qwest Records
The MINI Cooper Countryman
Downtown Detroit's essential architecture: A walking tour
Mitch Ryder - "When You Were Mine"
Motown Museum | Home of Hitsville U.S.A.
Rolling Stones - Bright Lights Big City (bootleg demos album)
Glyn Jones
Rolling Stones - "You Can't Catch Me On"

Non-spotify link (which allows downloading):

Regards,
FWD.
Thank you for this summary as it makes investing time in listening to this essential given the topic range.
 

BrummieBoy

BrummieBoy - "Facebook Non-Entity"
As I approach mid-point in 'sober October', I was entranced by Johnny Marr's fascinating and inspiring explanation of his decision to remain 'Straight Edge', other than the occasional delightful spliff. If you’re blessed to be able to earn a crust making a livelihood 'lost in music' then why would you fcuk up access to that portal by getting trashed to conform to the ideological banalities of traditional, exhausted 'rockist' meta-narratives of dissipation? The 'rock & roll' conformist 'road of excess' often swerves past the 'palace of wisdom' and crashes pissed and drugged into career oblivion.

Interesting discussion of the jurassic era when access to the musical 'means of production' were controlled by managers, contracts and corporations who usually shafted creatives. Now that everyone and their aunt can churn out Garageband albums, it's interesting how the 'Traditional Muso Class' try to retreat back into analogue perfectionism via reifying defunct era's museum piece equipment and technology. I'm thinking Lenny Kravitz clones, not JM who gets it: if Lee Perry built the Black Ark on 4 track, prats moaning about lack of access to Abbey Road vocal mics can trot on. The corollary would be techno navel-gazing laptop glitch bullshit as excuse for being unable to deliver the goods. Sorry Ralf, it is what it is...Excellent podcast platform and Andrew is an extremely significant figure in the history of commercially weaponising recorded sound innovations. I can picture young Maher sat before the telly as the OGWT aired each week, feverishly trying to absorb it all in one take, one viewing. As was Morrissey elsewhere in the conurbation. As we're so many others who'd later go in to form beat combos in the slipstream of Punk-Rock's ideological Maoist Year Zero and, like almost everyone else on the scene, Morrissey and Marr ( as well as the contractually muted Joyce and Rourke) were compliant and conformist with that scorched earth regime at the time of their emergence, parlaying the resonant tapestries of their separate 'altars of influence' as evidence of 'originality'. Of course, in music 🎶there's no such thing as originality as everything builds on, stands on the 'shoulder' of everything and everyone else. Even Status Quoasis knew that...a pleasant start to the day. Thanks for the link.

BB

https://en.m.wikipedia.org/wiki/List_of_people_who_follow_a_straight_edge_lifestyle
 

NealCassidy

FREE SPEECH #FBPB
“During the Smiths….”
 
S

Seymour Glass

Guest
As I approach mid-point in 'sober October', I was entranced by Johnny Marr's fascinating and inspiring explanation of his decision to remain 'Straight Edge', other than the occasional delightful spliff. If you’re blessed to be able to earn a crust making a livelihood 'lost in music' then why would you fcuk up access to that portal by getting trashed to conform to the ideological banalities of traditional, exhausted 'rockist' meta-narratives of dissipation? The 'rock & roll' conformist 'road of excess' often swerves past the 'palace of wisdom' and crashes pissed and drugged into career oblivion.

Interesting discussion of the jurassic era when access to the musical 'means of production' were controlled by managers, contracts and corporations who usually shafted creatives. Now that everyone and their aunt can churn out Garageband albums, it's interesting how the 'Traditional Muso Class' try to retreat back into analogue perfectionism via reifying defunct era's museum piece equipment and technology. I'm thinking Lenny Kravitz clones, not JM who gets it: if Lee Perry built the Black Ark on 4 track, prats moaning about lack of access to Abbey Road vocal mics can trot on. The corollary would be techno navel-gazing laptop glitch bullshit as excuse for being unable to deliver the goods. Sorry Ralf, it is what it is...Excellent podcast platform and Andrew is an extremely significant figure in the history of commercially weaponising recorded sound innovations. I can picture young Maher sat before the telly as the OGWT aired each week, feverishly trying to absorb it all in one take, one viewing. As was Morrissey elsewhere in the conurbation. As we're so many others who'd later go in to form beat combos in the slipstream of Punk-Rock's ideological Maoist Year Zero and, like almost everyone else on the scene, Morrissey and Marr ( as well as the contractually muted Joyce and Rourke) were compliant and conformist with that scorched earth regime at the time of their emergence, parlaying the resonant tapestries of their separate 'altars of influence' as evidence of 'originality'. Of course, in music 🎶there's no such thing as originality as everything builds on, stands on the 'shoulder' of everything and everyone else. Even Status Quoasis knew that...a pleasant start to the day. Thanks for the link.

BB

https://en.m.wikipedia.org/wiki/List_of_people_who_follow_a_straight_edge_lifestyle
Is that all you have to say? Do you actually think someone is going to read all that?
 
E

Ernie McCracken

Guest
As I approach mid-point in 'sober October', I was entranced by Johnny Marr's fascinating and inspiring explanation of his decision to remain 'Straight Edge', other than the occasional delightful spliff. If you’re blessed to be able to earn a crust making a livelihood 'lost in music' then why would you fcuk up access to that portal by getting trashed to conform to the ideological banalities of traditional, exhausted 'rockist' meta-narratives of dissipation? The 'rock & roll' conformist 'road of excess' often swerves past the 'palace of wisdom' and crashes pissed and drugged into career oblivion.

Interesting discussion of the jurassic era when access to the musical 'means of production' were controlled by managers, contracts and corporations who usually shafted creatives. Now that everyone and their aunt can churn out Garageband albums, it's interesting how the 'Traditional Muso Class' try to retreat back into analogue perfectionism via reifying defunct era's museum piece equipment and technology. I'm thinking Lenny Kravitz clones, not JM who gets it: if Lee Perry built the Black Ark on 4 track, prats moaning about lack of access to Abbey Road vocal mics can trot on. The corollary would be techno navel-gazing laptop glitch bullshit as excuse for being unable to deliver the goods. Sorry Ralf, it is what it is...Excellent podcast platform and Andrew is an extremely significant figure in the history of commercially weaponising recorded sound innovations. I can picture young Maher sat before the telly as the OGWT aired each week, feverishly trying to absorb it all in one take, one viewing. As was Morrissey elsewhere in the conurbation. As we're so many others who'd later go in to form beat combos in the slipstream of Punk-Rock's ideological Maoist Year Zero and, like almost everyone else on the scene, Morrissey and Marr ( as well as the contractually muted Joyce and Rourke) were compliant and conformist with that scorched earth regime at the time of their emergence, parlaying the resonant tapestries of their separate 'altars of influence' as evidence of 'originality'. Of course, in music 🎶there's no such thing as originality as everything builds on, stands on the 'shoulder' of everything and everyone else. Even Status Quoasis knew that...a pleasant start to the day. Thanks for the link.

BB

https://en.m.wikipedia.org/wiki/List_of_people_who_follow_a_straight_edge_lifestyle
Best post on this board in a long while!

I share your love for music and curiosity about its production and history. I’ve had the amazing opportunity to record on 2” tape - via Neve console - in a proper orchestra room. I’ve also tracked and bounced on a 4-track and even recorded through my phone. Mostly digital, in a small studio now - but that’s simply because of space and money restraints. It’s amazing what can be accomplished with different approaches. So much fun and so fulfilling, when you get interesting results, regardless of the approach. Any recording musician knows this. It’s not about the how. Just get it done. …and the results don’t have to be for other people. They can be just as rewarding for YOU, regardless of whether you make the Top-5 in Poland.

I LOVE that you referenced The Upsetter. There are a whole load of confidently ignorant, stuck, angry people out there, who’d benefit from some Arkology.

Thanks for your post. Very refreshing to know that not everyone around here is a Melvis-f****ing twat. :)
 
U

Uri Twit

Guest
What a very obvious black wig.
Fake as f***.
What if it were a wig? What does that have to do with the music? …and the fact that he’s one of the greatest guitar players of my generation? …MINE, not yours. Only a talent-devoid twat - who keeps up with the Kardashians - would put fashion over music and then attempt to use it as an insult toward an artist.

Fak Arf.
 

Ketamine Sun

HANG THEM HIGH VERONICA
‘ART ANY ROAD ‘ but will it be good?


“The first thing we recorded was a song called ‘The Beat(en) Generation’, which became Matt’s first Top 20 hit. When we recorded the album’s opening track, ‘Good Morning, Beautiful’, a story of a satellite addressing our planet and an exposition on humanity’s self-destruction, we did it in the middle of the night, having been ingesting psychedelics for several days. When I plugged in my guitar, Matt approached me conspiratorially with saucer eyes and said, ‘Can you make it sound like Jesus meeting the devil?’ His request made total sense to me and I summoned up the appropriate response, which he followed by hollering demonically into an old blues mic ...”

Some of Marr’s best playing he’s done after The Smiths. And during the Smiths, sure the occasional spliff
to inspire those songs, believe Johnny also did coke, during Strangeways (?).

Anyway maybe there’s a connection between drug use and writing really great songs/creating?
 
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Gregor Samsa

I straighten up, and my position is one of hope.
Not related to this interview, but Marr recently called Isaac Brock the best lyricist he’s ever worked with. https://consequence.net/2021/10/joh...95175&utm_medium=social&utm_source=linkin.bio

I usually stand behind Johnny, I think he’s a great guy, but this is just revolting. I like Modest Mouse (at least I did, back when I regularly listened to indie rock), but claiming that his abstract and drugged out ramblings are better than M’s lyrics is just ignorant.
 
A

Anonymous

Guest
Not related to this interview, but Marr recently called Isaac Brock the best lyricist he’s ever worked with. https://consequence.net/2021/10/joh...95175&utm_medium=social&utm_source=linkin.bio

I usually stand behind Johnny, I think he’s a great guy, but this is just revolting. I like Modest Mouse (at least I did, back when I regularly listened to indie rock), but claiming that his abstract and drugged out ramblings are better than M’s lyrics is just ignorant.

I think Johnny's allowed to have his own opinion. If someone constantly wrote lyrics about how you didn't love them back, wouldn't it creep you out no matter how beautiful they were?
 
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