Cornelius Carr: "Warrior in Wellington Boots" Morrissey excerpts (1st published December 5, 2022)

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Morrissey mentions:

"After the fight, the changing room was packed, full of my friends, including Amanda, Damien, Ollie, Shaun, young Marty, and of course, Big Marty. They were all congratulating me. The changing room was buzzing with excitement when a guy approached me and asked if he could have a quiet word. He said, “Do you know Morrissey?” I said, “Morrissey, the singer from The Smith’s?” He nodded his head and told me Morrissey was outside waiting to meet me, and I asked him to bring Morrissey into the changing room to see me, as this was my night, and this was my moment. I didn’t want to leave the crowd of people. I was revelling in my success amongst my friends. The guy left the changing room, and someone popped open a bottle of champagne. Then the guy appeared again, and standing behind him was Morrissey with a photographer. Morrissey congratulated me, put his arm around me, and the photographer quickly snapped a photo of us. I thought it was weird meeting Morrissey. The introduction to him and his departure had happened so quickly."


"Three weeks after the title fight, I had a phone call from one of Morrissey’s representatives asking if it would be possible for Morrissey to meet me. The meeting occurred at one of my training sites, the Battersea running track. Morrissey and I met up, and I shook his hand, and he congratulated me again on my win. He had just finished recording a song, ‘Boxers’, and wanted to make a video to promote the new song. He asked me if I would be interested in starring in the video. I was excited at the thought and told Morrissey that I was interested in filming the video, I thought it would be good fun, and it might help me to further my career.
After we met at Battersea, Morrissey’s people called me to discuss the details of the film shoot. The video would be filmed in a few weeks at York Hall, Bethnal Green, the historic venue where I had many of my fights and had just won my British title fight. Morrissey’s team asked me to bring a few boxing colleagues with me who would also get involved in the filming. On the day of the filming, we arrived at York Hall and met Morrissey and all his team, including the young actor who played my opponent. The video and song were about a boxer being defeated in his hometown, and I would play the part of the challenger. The actor who played my opponent had never boxed before; he was petrified. I think he was worried that I would batter him. I put him at ease and told him not to worry, saying that we would choreograph the boxing moves safely and he wouldn’t get hurt.
We sat down before the shoot to discuss the technicalities of the filming. I did the boxing choreography and other parts of the video, choreographing the fight scenes, skipping in the ring, and shadowboxing. Morrissey made a cameo appearance in the video. We completed filming the scenes in one day, and I hoped the song and the video would be successful. I thought the filming went well, and the song sounded fantastic. Morrissey’s team organised a big marketing campaign to promote the single ‘Boxers’, which was released in January 1995. They also went on a tour of the same name. The single reached number 23 on the UK Singles Chart, despite not featuring on an album at the time of its release. I was proud to feature on the cover of the CD and on a huge backdrop during Morrissey’s ‘Boxers’ tour. I was stopped and asked for my autograph a few times whilst out and about in London, I assumed it was for my boxing fame, but it was due to my appearance on the video ‘Boxers.’ I wanted to be recognised for the years of my hard toil in boxing, and I had done a few hours of work for a video, and I was getting more attention for that. Morrissey still has a cult following and is still performing, and recently he is scheduled to perform as a resident in Las Vegas, USA.
Morrissey has a huge fan base, and he is adored worldwide. A few years after I worked with Morrissey, he appeared in 1995 on the Jules Holland Show. Jules asked him who his favourite boxer was. I felt privileged when he said, ‘Cornelius Carr’. He mentioned me, saying that I was his favourite boxer. He rarely gives interviews, and for him to mention me was truly kind of him. After I filmed the video, Morrissey wrote me a handwritten letter, thanking me for working with him, which I thought was a nice gesture. Sadly, I lost the letter. I have moved homes many times, and I am annoyed with myself that I can’t find it, it was something I treasured."


"That day I spent my time walking, shadowboxing, resting, and mentally preparing myself for the battle ahead. My fight was scheduled for 9.30 that evening at The Point, which was a large venue owned by Bono from the Irish band U2. The previous night Morrissey had performed there to a sell-out crowd, and someone told me he had stayed in Dublin to watch my fight, but I didn’t see him."


"It was a strange coincidence that Jim had sat ringside when I had boxed Steve Collins at The Point a few years previously. I was lucky that Jim offered me a cameo role in the film. I was overjoyed to be a part of the team. As an actor and as a boxing choreographer, I learned a lot from choreographing the Morrissey video, and that experience helped me enormously, and I passed on those skills for ‘The Boxer’ movie."


Culled from the digital version.
The book is worth reading if you like boxing.
Regards,
FWD.
 
The sell out show at the point was part of the Bowie tour. In fairness to Carr he lost on a hometown decision he was the better fighter on the night
 
I'm very fond of the V&I/Boxers era, and Southpaw too. That's before it went bland for a few albums (Maladjusted, Quarry, Ringleader) in my opinion. Each of those albums contain several special/landmark songs in his solo catalog (that I really like too) - and some that are just pretty good tracks, but they couldn't propel the albums to greatness in my eyes (or ears rather). I'm also not very fond of Kill Uncle (LP) in the same way.

The V&I/Boxers/SG era had a haunting quality, excellent interwoven guitars, sound effects, the best lyrics, and it just sounded warm and great. For me, that's the classic Morrissey Band sound. I also have really enjoyed the last 3 original LPs (World Peace, High School, Dog On Chain), and was hoping that Morrissey was still headed forward in that vein because to me it was a fresh direction overall.

I never liked Southpaw G, except the b-sides. Morrissey tried too hard to make a Smoking Popes album and couldn’t pull it off.

I liked Boxers and Sunny, b-sides and all. Quarry was a mixed bag and so was Ringleader. Let’s not talk about Years of Reluctance. It was bloody awful.

Worldpeace should never have seen the light of day. Just Instanbul as a stand-alone single with Mountjoy as a b-side would have been quite enough. All other songs from that period are sub par.

Low in High School made my ears bleed and not in a good way. Just like California Son, an album without a soul. Elevator music at best. What a dreary collection of songs.

Dog on a chain has River Clean on it, which is a pretty good song, but the rest is lyrically poor and literally repetitive. Second verse, same as the first? WTF, our poet laureate can’t be bothered to write another verse?

And that brings us to his new music. “Sure enough, the telephone rings, who wants my money now?” is cringeworthy on a whole new level. Piss poor lyrics. Notre Dame is an alt-right conspiracy theory put to less than mediocre music.

What a fall from grace.

I wonder what happened too him, but it can’t be good. Oh well, let’s wait and see what the future brings.
 
I'm very fond of the V&I/Boxers era, and Southpaw too. That's before it went bland for a few albums (Maladjusted, Quarry, Ringleader) in my opinion. Each of those albums contain several special/landmark songs in his solo catalog (that I really like too) - and some that are just pretty good tracks, but they couldn't propel the albums to greatness in my eyes (or ears rather). I'm also not very fond of Kill Uncle (LP) in the same way.

The V&I/Boxers/SG era had a haunting quality, excellent interwoven guitars, sound effects, the best lyrics, and it just sounded warm and great. For me, that's the classic Morrissey Band sound. I also have really enjoyed the last 3 original LPs (World Peace, High School, Dog On Chain), and was hoping that Morrissey was still headed forward in that vein because to me it was a fresh direction overall.
You find Maladjusted bland? I love it! I'm with you on Quarry referring to blandness. The second disc of B sides is a superior album in my opinion.
 
You find Maladjusted bland? I love it! I'm with you on Quarry referring to blandness. The second disc of B sides is a superior album in my opinion.
Interesting the *ahem* honesty about Quarry in this thread. I was deeply suspect of it at the time it was released and feared that if that was the best he could come up with after seven whole years then he was probably a spent force. Yet at the time of its release most Moz fans seemed to think it was a glorious return to form.
 
Interesting the *ahem* honesty about Quarry in this thread. I was deeply suspect of it at the time it was released and feared that if that was the best he could come up with after seven whole years then he was probably a spent force. Yet at the time of its release most Moz fans seemed to think it was a glorious return to form.
Probably because Journalists love to use that tired old phrase "return to form" simply because they love using it when we haven't heard much from an artist in many years. Some fans I suspect were so excited to seem him release another album they didn't care what he released. I'm happy people love Quarry but it's my least go to album of all of them. Most of the songs on the album are just "okay".

I realise IBEH and FOTGTD are crowd favourites at shows but they don't excite me on the album. I do like them but I don't love them. He got a lot of new fans with Quarry so that's a plus. Teenage Dad On His Estate is lyrically and melodically superior to most of the songs on Quarry.
 
Yes. 92 was mind blowing. I’ll never forget it. If I could live something over and over again it would be that tour. Miss those days so much.
Also notable for giving me one of the most amazing gig moments of my life, and it didn't even involve Moz. At the Alexandra Palace show, days before Xmas, seeing Kirsty (support act) and Shane doing Fairytale of New York about 10ft away from me. One of only three times I've ever cried at a gig.
 
I'm very fond of the V&I/Boxers era, and Southpaw too. That's before it went bland for a few albums (Maladjusted, Quarry, Ringleader) in my opinion. Each of those albums contain several special/landmark songs in his solo catalog (that I really like too) - and some that are just pretty good tracks, but they couldn't propel the albums to greatness in my eyes (or ears rather). I'm also not very fond of Kill Uncle (LP) in the same way.

The V&I/Boxers/SG era had a haunting quality, excellent interwoven guitars, sound effects, the best lyrics, and it just sounded warm and great. For me, that's the classic Morrissey Band sound. I also have really enjoyed the last 3 original LPs (World Peace, High School, Dog On Chain), and was hoping that Morrissey was still headed forward in that vein because to me it was a fresh direction overall.
Whilst I don’t like High School, there’s an undeniable musical development on those latter recordings—as there is in Without Music.

One of my concerns about Bonfire is that (thus far) it sounds like stodgy dad rock.
 
Whilst I don’t like High School, there’s an undeniable musical development on those latter recordings—as there is in Without Music.

One of my concerns about Bonfire is that (thus far) it sounds like stodgy dad rock.

Bonfire isn't a band album - Klinghoffer and other RHCP members (plus Tobias) are the players on it. The 'group' is a huge part of the sound and direction, but he doesn't have a group on Bonfire. It sounds 'phoned-in' to me, well so far anyway as I haven't heard anything else from it besides the single and those live tracks.

Without Music IS a band album though, so if I could choose which LP was actually released - right now my choice would be Without Music based on that alone.
 
Bonfire isn't a band album - Klinghoffer and other RHCP members (plus Tobias) are the players on it. The 'group' is a huge part of the sound and direction, but he doesn't have a group on Bonfire. It sounds 'phoned-in' to me, well so far anyway as I haven't heard anything else from it besides the single and those live tracks.

Without Music IS a band album though, so if I could choose which LP was actually released - right now my choice would be Without Music based on that alone.

Viva Hate sounded pretty good, so … regardless of it not being a ‘band album’ and in spite of a few people not liking the sound of RWApplause. I’m still excited about hearing the BoT album, especially after hearing the production of Iggy’s last which was also done by Andrew Watt.

Though, by the look of things, my money is on WMTWD being released first.
 
Viva Hate sounded pretty good, so … regardless of it not being a ‘band album’ and in spite of a few people not liking the sound of RWApplause. I’m still excited about hearing the BoT album, especially after hearing the production of Iggy’s last which was also done by Andrew Watt.

Though, by the look of things, my money is on WMTWD being released first.
I still think Rebel sounded refreshing (and good, his voice too) after the previous tripe he had recently put out

Couldn't hear the apparent poor production quality but that might be a me thing!

Had it got any decent airplay on Radio 2 it'd done alright I think
 
I still think Rebel sounded refreshing (and good) after the previous tripe he had recently put out

Couldn't hear the apparent poor production quality but that might be a me thing!

Had it got any decent airplay on Radio 2 it'd done alright I think

Yes, agree.

And it is catchy, didn’t get much promotion, to say the least.
 
Viva Hate sounded pretty good, so … regardless of it not being a ‘band album’ and in spite of a few people not liking the sound of RWApplause. I’m still excited about hearing the BoT album, especially after hearing the production of Iggy’s last which was also done by Andrew Watt.

Though, by the look of things, my money is on WMTWD being released first.

Viva Hate was great, he didn't have a solo band at that point also. In BOT's specific case - he recorded WP and LIHS with his solo band, did Cali Son and Dog with his band (all band members not full-time on every track though) plus additional musicians, then seemed to have recorded BOT with only one member of his solo band. Regarding VH, Street and Reilly are both people who knew Morrissey from the past (Street worked with 2nd half Smiths big time and was already well versed with Morrissey's set of musical ideas), That came through in the recording.

BOT was produced by Watt ( 'Super-Producer') who is a Pro Tools expert. Pro Tools is all mechanical, automated, templated. Rebels sounded hollow, like it was recorded in a vacuum - not a room. That's the only studio track from BOT that I've heard, so maybe my opinion will change when I've heard more. For me it's not just about it not being a band album, also very much about the production quality (so far anyway).
 
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Viva Hate was great, he didn't have a solo band at that point also. In BOT's specific case - he recorded WP and LIHS with his solo band, did Cali Son and Dog with his band (all band members not full-time on every track though) plus additional musicians, then seemed to have recorded BOT with only one member of his solo band. Regarding VH, Street and Reilly are both people who knew Morrissey from the past (Street worked with 2nd half Smiths big time and was already well versed with Morrissey's set of musical ideas), That came through in the recording.
@dneuer

Yes, but those on BoT may as well be a band, and can play well and lock in with each other.
I wouldn’t consider the team of musicians that Andrew got together just a bunch of session musicians not familiar with each other, Morrissey, or the music they’re creating together.
BOT was produced by Watt ( 'Super-Producer') who is a Pro Tools expert. Pro Tools is all mechanical, automated, templated. Rebels sounded hollow, like it was recorded in a vacuum - not a room. That's the only studio track from BOT that I've heard, so maybe my opinion will change when I've heard more. For me it's not just about it not being a band album, also very much about the production quality (so far anyway).

Yes, I don’t think it’s fair at all to judge a whole unheard album on one song. That’s why my expectations and hope are still based on hearing Watt’s work with Iggy, at least there, we get a better overview of Andrew’s skill.

That Andrew uses protools is beside the point, I believe Joe Chiccarelli does too, or things are eventually edited using some similar technology. Actually I thought INADOAChain was a little mechanical/restricted sounding.


produced by Andrew in 2023, doesn’t sound mechanical to me …

 
@dneuer

Yes, but those on BoT may as well be a band, and can play well and lock in with each other.
I wouldn’t consider the team of musicians that Andrew got together just a bunch of session musicians not familiar with each other, Morrissey, or the music they’re creating together.


Yes, I don’t think it’s fair at all to judge a whole unheard album on one song. That’s why my expectations and hope are still based on hearing Watt’s work with Iggy, at least there, we get a better overview of Andrew’s skill.

That Andrew uses protools is beside the point, I believe Joe Chiccarelli does too, or things are eventually edited using some similar technology. Actually I thought INADOAChain was a little mechanical/restricted sounding.


produced by Andrew in 2023, doesn’t sound mechanical to me …



Just like others here have said, maybe it's the quality of BOT that is really preventing it's release. As of right now, we don't know. And Watt is way younger than Joe C. anyway. Watt learned on automated consoles/DAWs. He didn't have a team of people with hands on faders during the final 'mixdown', didn't have to splice tape, etc. - not unless he is going for some kind of retro feel. I'm only referring to how new DAWs, like Pro Tools, can easily give you a thinner, more plastic and by-the-numbers kinda sound --- just like FM radio in 2023 (which features many tracks produced by Watt coincidentally). And yes, Klinghoffer played in the Chili Peppers, with Flea and Chad Smith. Last time I checked though, Flea and Chad (and Josh K. too) never played in Morrissey's band. Thus, the musicians who worked on BOT, minus Jesse, are not Morrissey band members. What I'm saying is, when you're 'in the band' - it's your music too, and you push harder to get the best result. After Your Arsenal, it's fair to say that when Morrissey records with his actual band, things sound better. I don't think that can really be debated, but opinions are like...well you know....:D

BTW, this full moon that's coming tomorrow is a real special one, if you couldn't tell already. Not that this is about you, but some bipolar folks are certainly coming out of the woodwork this week. :)
 
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Just like others here have said, maybe it's the quality of BOT that is really preventing it's release.
Who are these ‘others’? and did they ever take into consideration that surely Capitol listened to its ‘quality’ before deciding it was good enough to take on and sign him?
As of right now, we don't know. And Watt is way younger than Joe C. anyway. Watt learned on automated consoles/DAWs. He didn't have a team of people with hands on faders during the final 'mixdown', didn't have to splice tape, etc. - not unless he is going for some kind of retro feel. I'm only referring to how new DAWs, like Pro Tools, can easily give you a thinner, more plastic and by-the-numbers kinda sound --- just like FM radio in 2023 (which features many tracks produced by Watt coincidentally).
I don’t think the new Iggy album sounds ‘thinner, more plastic and by the numbers’ which Watt produced.
And yes, Klinghoffer played in the Chili Peppers, with Flea and Chad Smith. Last time I checked though, Flea and Chad (and Josh K. too) never played in Morrissey's band.
No, silly, I know they never played in Morrissey’s band. I’m saying that they are more of a band, than those used on Viva Hate, they are familiar with each other and can lock in and give a vibe, not like mere session men that have never met or played together. That’s not to say that the musicians on Viva Hate couldn’t gel with each other.
Thus, the musicians who worked on BOT, minus Jesse, are not Morrissey band members.
Yes I know that.
What I'm saying is, when you're 'in the band' - it's your music too, and you push harder to get the best result. After Your Arsenal, it's fair to say that when Morrissey records with his actual band, things sound better. I don't think that can really be debated, but opinions are like...well you know....:D
Oh definitely. But it seems the musicians chosen by Andrew were 100% behind it, not session musicians just there for the paycheck. It’s subjective yes, but I don’t really hear the same Morrissey band magic on Southpaw and Maladjusted when compared to Arsenal and Vauxhall, to be honest.
 
Funny, he did not see Morrissey at The Point fight. I did! He was sitting ringside but about 10 rows back and on the other side of the stands where the audience we mainly sitting. I got him to sign my "Interlude" single which Siouxsie had previously signed. Treasured item to say the least. You can see the autograph along with other fun ones in this old "you tube" clip I made. Still need to make Part 2!

 
Funny, he did not see Morrissey at The Point fight. I did! He was sitting ringside but about 10 rows back and on the other side of the stands where the audience we mainly sitting. I got him to sign my "Interlude" single which Siouxsie had previously signed. Treasured item to say the least. You can see the autograph along with other fun ones in this old "you tube" clip I made. Still need to make Part 2!


After watching that video I can't believe you have a part 2! I can't see many people having a selection as glorious as this.

Me, I have two signatures. A signed vinyl copy of Years Of Refusal bought and paid for in Prague and a signed copy of Autobiography signed at the book signing obviously in his presence. I've got some catching up to do ;)
 
Interesting the *ahem* honesty about Quarry in this thread. I was deeply suspect of it at the time it was released and feared that if that was the best he could come up with after seven whole years then he was probably a spent force. Yet at the time of its release most Moz fans seemed to think it was a glorious return to form.
Yeah I felt this two, despite 3 or 4 cracking tracks on it I could never quite see what all hype was.
 

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