Remember the passionate, stream-of-conscious overflow of Maladjusted? All the words just pouring out of him?
I want to start from
Before the beginning
Loot wine, "Be mine, and
Then let's stay out for the night"
Ride via Parkside
Semi-perilous lives
Jeer the lights in the windows
Of all safe and stable homes
(But wondering then, well what
Could peace of mind be like?)
Anyway do you want to hear
Our story, or not?
As the Fulham Road lights
Stretch and invite into the night
From a Stevenage overspill
We'd kill to live around
SW6 - with someone like you
Keep thieves' hours
With someone like you
...As long as it slides
You stalk the house
In a low-cut blouse :
"Oh Christ, another stifled
Friday night!"
And the Fulham Road lights
Stretch and invite into the night
Well, I was fifteen
What could I know?
When the gulf between
All the things I need
And the things I receive
Is an ancient ocean
Wide, wild, lost, uncrossed
Still I maintain there's nothing
Wrong with you
You do all that you do
Because it's all you can do
Well, I was fifteen
Where could I go?
With a soul full of loathing
For stinging bureaucracy
Making it anything
Other than easy
For working girls like me
With my hands on my head
I flop on your bed
With a head full of dread
For all I've ever said
Maladjusted, maladjusted
Maladjusted maladjusted
Never to be trusted
Oh, never to be trusted
There's nothing wrong with you, oh
There's nothing wrong with you, oh
There's nothing wrong with you, oh
There's nothing wrong with you
There's nothing wrong with you
Morrissey needs to sit down and WRITE. Not just lazily ad-lib this shit in the studio and call it a day. The complaint used to be that Morrissey's band sucked but his lyrics were still great. Who could have predicted that within a decade it would be the other way around?
^^^ completely! Just this small piece from Maladjusted:
When the gulf between
All the things I need
And the things I receive
Is an ancient ocean
Wide, wild, lost, uncrossed
blew me away the first time I heard it and towers head and shoulders above anything he has written in over a decade. People here are posting that it is "all about the voice" now, and that "lyrics aren't that important to him anymore." That's funny because they are of the utmost importance to myself and many others here. Who knows maybe like many here if I listen to it over and over and over again I can learn to love it. You know, like you have to do with all great music.
Synthesizer: Gustavo Manzur
Guitar: Jesse Tobias
Electric Guitar: Jesse Tobias
Bass Guitar: Mando Lopez
Drums, Percussion: Matt Walker
Vocals: Morrissey
Synthesizer: Roger Manning Jr.
Backing Vocals: Roger Manning Jr.
Well Barnaby if lyrics are SOOO important to you, make some and record them.
I dont foresee Moz taking musical advice from crackpot hater trolls.
Anyone could scribble these lyrics in less than 5 minutes and where are the f***ing guitars? Wimp music.Yeah. Have listened to this a lot and not liking any of it. Back to listening to “Love Is On The Way Out”!
So - no Boz on anything? Interesting.
So - no Boz on anything? Interesting.
Aren't we all?It's absolutely screaming out for a 12”
I was just thinking exactly the same thing.The verse melody reminds me a lot of Action Is My Middle Name.
Yah but what part of the 80's? Lionel Richie? It is not cutting edge or daring, as the great 80's music was (New Order, OMD, The Cure, etc.). To me it sounds like naff 80's.
Aren't you supposed to be dead?? Loved your fights with Danny Romero ;-)so true. This is a crock of shit. Listen to "Louder than Bombs" or "Vauxhall" and then this. Poles apart. f*** me, I love him and will always love him, but where is the witty, desperate, disparate, hilarious (accident with a 3-bar fire) Morrissey?
It's probably better than Sting's latest single.It does suck. Lol.
Gonna listen to it 60 times in a row til I love it tho.
Yes, we do remember. And "Late Night, Maudlin Street", "The Queen is Dead", at al. Lyrical epics.
Or even shorter, but still lyrically complex and dense works of wordsmithery.
Given that he was the man responsible for such a plethora of genius lyrics, over several decades, {and avoiding the notion that one might just choose to say Thanks for the sublime memories, but í am tuning out now}, í cannot come to any other conclusion than that Morrissey, as a thinking artist, has chosen to write in this way now.
He has done the other style {some say to death} and taken it to the greatest heights of the artform.
í believe that he has made the choice now to foreground his voice, and the intimate & complex intricacies of pop singing, over & above the words that he writes.
"Maladjusted", a song í worship, is not an especially great vocal. It has a powerful, narcotised, seething tension to it, but not a whole lot of beauty. "Late Night, Maudlin Street" is little more than Northern recitation of a mesmerising tale.
Morrissey's voice latterly has matured in to a thing of rare and subtle beauty.
That's his bag now, and he seems more than happy sitting in it.
.