A
Lyrics of the four new songs
- Thread starter JoeSellMozza
- Start date
He could at least say thank you.
Waving at Kevin
FWD.
Waving at Kevin
FWD.
ZOOM FROM GLOOM
LASCIATE OGNI SPERANZA!
He could at least say thank you.
Waving at Kevin
FWD.
I’ve only listed to the first nights YouTube version
Could be wrong, but I’m hearing
‘rages so high’….
Myself: not ever asserting my ears were fully correct when writing them out.
Kevin's cut & paste of said & putting out as accurate = not helpful, but such is life...
FWD.
And on it goes...
TheSmiths_1985
I know, right?
He definitely posts on here.
ZOOM FROM GLOOM
LASCIATE OGNI SPERANZA!
I don’t hear it so much as Morrissey criticizing the grieving. I hear it more as Morrissey expressing his emotions, most likely what he felt in that moment, not caring what others may think, or if he’s ‘right’ or ‘wrong’, just pure feeling, put into song.
But isn’t Kevin here criticizing Morrissey’s outpouring of grief expressed in that song?
We’re all entitled to our opinions, sure. And criticize and vent if you must. But his lyrics and voice (do they even listen?) express his grieving. And we should all be pleased to know that Morrissey doesn’t censor himself, or let the critics get in the way of his art. Would we really want it any other way? I don’t think we would.
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Gregor Samsa
I straighten up, and my position is one of hope.
I called it. This could be the beginning of another bleak chapter in the book of Moz.
A
A Waind
Guest
I think I know what he is trying to say on Bonfire...... but the subtlety of Suffer Little Children is long gone
One of M's biggest and longstanding fans was at the Arena that night.
Would love to know his take on this.
One of M's biggest and longstanding fans was at the Arena that night.
Would love to know his take on this.
SuedeMoz
Well-Known Member
Many here pointed out that even the title BOT was at the very least problematic. But hey, let's wait until we hear it. We have - opinions differ - I'm in the camp that it's clumsy and insensitive. Is this the reason he has a completed album and no record contract? I don't know. But it's easy to see why a corporate entity (record company) would not want to stand with him on this one.
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Mike Rourke
Well-Known Member
Yep, agree with all of this. My hope is that the album will be renamed and the Bonfire song ideally relegated to bonus track status on a deluxe version. An unlikely outcome!
Gregor Samsa
I straighten up, and my position is one of hope.
This could very well be the reason for that. And like you say, it’s easy to see why a record company in this day and age does not want to be associated with this album. They would get caught in a shit storm. It’s sad. But what’s more sad is the lyrical decline/change. It’s like he doesn’t even try to be poetic or clever or empathetic anymore. And he used to be the most poetic and the most clever and empathetic.
NealCassidy
FREE SPEECH #FBPB
Gregor Samsa
I straighten up, and my position is one of hope.
Who is this Paddy fellow? Is he an important figure?
I fail to see how the fact that KC has been flogging old Moz pictures somehow disqualifies him from being allowed to criticize Moz’ lyrics.
K
Ketchup
Guest
Yes, I'm hearing it that way too.
Bonaparte Shandy
Well-Known Member
'RWA' we feel, is rather touching and heart-felt. 'V' is at best an Oasis b-side whilst 'SE,TTR' is just dull. 'ILIO' - well, never going to get confused with a ray of sunshine, is it? We'll come back to 'BOTT'.
The overall tone is bitter and nasty (leaving aside RWA). 'Who wants my money now . . . ' urgh, the kind of thing your Gran might say when flicking past a TV advert for poor donkeys or blind kids in Africa.
Where there was once wit and humour there's now bitterness and rancour. Not the pantomime slap-stick of old, but real deep-dyed nastiness and misanthropy. NOT a pleasant listen, not even a genuinely challenging or confrontational listen - just a darkness and unhappiness from which there seems no chance of redemption. As a novel, as a polemic, the themes may work. Instead, we get lazy minimalist lyrics - where he just doesn't seem to give a toss anymore - spunked around a third-rate garage band clocking in and out as ordered.
'BOTT', however, does have something to say about revenge, performative grief, pretend emotion and manufactured outrage. The sentiments here are worth exploring, but, again, not by a past-his best lyricist who hasn't been handed a half-decent tune for almost 20 years.
The album will never be, and should never be, released. Call it a day.
The overall tone is bitter and nasty (leaving aside RWA). 'Who wants my money now . . . ' urgh, the kind of thing your Gran might say when flicking past a TV advert for poor donkeys or blind kids in Africa.
Where there was once wit and humour there's now bitterness and rancour. Not the pantomime slap-stick of old, but real deep-dyed nastiness and misanthropy. NOT a pleasant listen, not even a genuinely challenging or confrontational listen - just a darkness and unhappiness from which there seems no chance of redemption. As a novel, as a polemic, the themes may work. Instead, we get lazy minimalist lyrics - where he just doesn't seem to give a toss anymore - spunked around a third-rate garage band clocking in and out as ordered.
'BOTT', however, does have something to say about revenge, performative grief, pretend emotion and manufactured outrage. The sentiments here are worth exploring, but, again, not by a past-his best lyricist who hasn't been handed a half-decent tune for almost 20 years.
The album will never be, and should never be, released. Call it a day.
BookishBoy
Well-Known Member
Yes, agree with some of this, particularly that the "Bonfire" song "does have something to say about revenge, performative grief, pretend emotion and manufactured outrage. The sentiments here are worth exploring, but, again, not by a past-his best lyricist who hasn't been handed a half-decent tune for almost 20 years."
I haven't yet been able to fully articulate my thoughts about this song beyond the fact that he's chosen to target the unthinking mass reaction to a horrific crime, rather than (thank god) the terrorist himself, or his religion. It does feel like Morrissey at this stage is too tired/lazy to really sit down and write a proper set of lyrics about a topic that is a brilliant one for a pop song. (All of that said, I do somehow find this song rather moving.)
As for ILIO, to me it's magnificent. So bleak, so dark, so grim, and a lovely melody. I'd love a whole album of stuff like this from him, about ageing, death, disease, decrepitude, decline. But maybe that's just me!
BookishBoy
Well-Known Member
Also, as much as I miss the wordy magnificence of those early years, it is of course entirely possible to write brilliant songs in a more minimal way. A great example being this one, by East River Pipe, from the early 90s:
Real good time
She's a real good time
I know
She's a real good time
You and me
You and me
We know
She's a real good time
She's a real good time
For you
She's a real good time
For me
Real good time
She's a real good time
I know
She's a real good time
You and me
You and me
We know
She's a real good time
She's a real good time
For you
She's a real good time
For me
BrokenFrame
Well-Known Member
In regard to Kevin Cummins.....grieving? I think Morrissey was referring to certain type of person. I live near Manchester and I think a lot of those people were just jumping on the bandwagon.
Gregor Samsa
I straighten up, and my position is one of hope.
If so, Morrissey should perhaps have spent another five minutes on his lyrics and directed his criticism at these bandwagon-jumpers, instead of just categorically spew ill-conceived and poorly worded bile at everyone who sang Don't Look Back in Anger.
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