Morrissey Central "MIKNNA" - Bobby remix released June 5 (May 19, 2020)




Miknna (above) have re-mixed BOBBY, DON'T YOU THINK THEY KNOW? which is released by BMG on June 5th.

Morrissey commented: "I could dance on a tightrope. It's a magnificent re-mix. I express galley slave thanks to Miknna."

Miknna are a Hip-Hop/R&B production/songwriting duo from Los Angeles.



Regards,
FWD.


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Surface

Vegan Cro’s parents regret the condom splitting
Theres been a number of instances where Morrissey Central has announced things that have never come to fruition, he really needs to get a grip of whoever is running that site.
 
C

carlislebaz

Guest
I can’t wait for the remix of benny don’t you think we know.... it’s a song about an olde timer that constantly talks shite on here, but when challenged, he fucks of underneath a large granite stone, shits it’s self, stays quiet for a while, then when he thinks things have calmed down, reappears to talk even more shite...... it’s gonna be one hell of a song, could even chart.... what do you think benny...... oh wait!!!! I’m probably on ignore again......
 

Nerak

Reverse Ferret
Everything Moz related seems to have flexible deadlines - but they might delay it because of the BLM protests. It's not got a suitable theme, promoting anything on social is difficult right now & Morrissey might attract some racism flack, although Thelma would make it more muted.
 

BookishBoy

Well-Known Member
I suspect it's more prosaic, in that presumably nobody at BMG really gives a crap about putting this remix out there, given that there's no financial reason for doing so.
 

Nerak

Reverse Ferret
I don't really know the music industry - but is BMG not more of a service provider than a traditional record company?

So it would really be Morrissey's team driving any release?
 

ThatDan

Member
I've worked in the music industry for 25 years. It's been baffling to see Morrissey bungle so many "announcements" over the past, what, 6 years? Getting this shit done right is so easy, any 17 year old with a smartphone could release things in a better way than Morrissey. Why announce a week at the Apollo, when that was clearly never going to happen? Would it really be so hard to just wait a second and get the final, confirmed routing from the agent before posting? All the endless single, b-side, "I confirm I am thinking of playing a week in Matt's backyard in Sydney" announcements that never pan out... WHY? For someone who complains about how every. single. label. he has been on has bungled the release, he has certainly shown he can't do any better himself. I assume this is why some managers leave before any announcement was made that he even hired them. This is all coming from M's end I'm sure, "Waiting to get the dates right before the announce" is Management 101.

*EDIT* After getting my head around the dates, clearly what happened is that M' agreed to the remix to attempt to breathe life into the new album after it got lost in the pandemic shuffle. So they announced on May 19 it would be released June 5. Then they smartly decided to hold off on releasing the remix on June 5 because of the current state of the world. Which makes sense, but if you announce something, you also have to announce it's being postponed. That he leaves this stuff to his nephew apparently is shocking. If Sam has time to photoshop Morrissey's catalogue on cassette into Chewbacca's bandoleer, he has time to post "oh hey, that thing we announced has been pushed back. stay tuned".
 
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V

Vegan. Cro. Spirit. 888

Guest
I've worked in the music industry for 25 years. It's been baffling to see Morrissey bungle so many "announcements" over the past, what, 6 years? Getting this shit done right is so easy, any 17 year old with a smartphone could release things in a better way than Morrissey. Why announce a week at the Apollo, when that was clearly never going to happen? Would it really be so hard to just wait a second and get the final, confirmed routing from the agent before posting? All the endless single, b-side, "I confirm I am thinking of playing a week in Matt's backyard in Sydney" announcements that never pan out... WHY? For someone who complains about how every. single. label. he has been on has bungled the release, he has certainly shown he can't do any better himself. I assume this is why some managers leave before any announcement was made that he even hired them. This is all coming from M's end I'm sure, "Waiting to get the dates right before the announce" is Management 101.

:crazy:

quit posting tosh there is no 'music industry' inside the cul de sac FFS?
 

Eustace Walks

Well-Known Member
He moaned about Rough Trade all the time, so....I don't know. I always thought it was odd to discover it existed, considering how opposed they were to videos and re-mixes and anything modern.
Pretty sure Geoff Travis had François Kevorkian do the mixes without approval from Morrissey and/or Marr. I'm sure I read somewhere that Morrissey's first encounter with the "New York" remix 12" was either finding it in a shop rack, or stumbling across a box of the imported vinyl at Rough Trade. He went ballistic at Travis, who promptly pulled the release. Funny to consider the release a kind of 'patient zero' in his long history of bungled releases...
 

GirlAfraidWillNeverLearn

Well-Known Member
Pretty sure Geoff Travis had François Kevorkian do the mixes without approval from Morrissey and/or Marr. I'm sure I read somewhere that Morrissey's first encounter with the "New York" remix 12" was either finding it in a shop rack, or stumbling across a box of the imported vinyl at Rough Trade. He went ballistic at Travis, who promptly pulled the release. Funny to consider the release a kind of 'patient zero' in his long history of bungled releases...
I don't think it was actually pulled by Rough Trade, but it's true that they decided to do the mix without consulting with the band and neither Marr nor Morrissey were happy about that.

From Songs That Saved Your Life:
"Their first single to warrant both seven and 12 inch formats (shrewdly pressed with separate B-sides ensuring completists would buy both), Rough Trade made their first major breech of The Smiths’ trust when, in December 1983, they released a second 12 inch single containing two dancefloor orientated remixes by New York DJ Francois Kervorkian. Simple by today’s sophisticated sampling standards, the ‘New York Vocal’ and ‘New York Instrumental’ cuts were too benign to be considered sacrilegious, swamping vocals and drums with reverb and accentuating Rourke’s bouncing bass pattern. Yet its release — supposedly against the group’s consent, an accusation Travis strongly refuted — prompted Morrissey to scold Rough Trade in ensuing interviews. ‘I’m still very upset about that,’ he brooded to Record Mirror the following February, ‘it was entirely against our principles, the whole thing, it didn’t seem to belong with us. There was even a question of a fourth version, which would have bordered on pantomime. It was called the Acton version, which isn’t even funny.’
Marr, though critical, was slightly more forgiving when speaking to Sounds the same month, admitting they ‘didn’t like the dance mix of “This Charming Man” which they put out as a 12 inch and we told them so, but we’re certainly not going around saying Rough Trade have screwed us up.’ The New York remix debacle was one of the prime catalysts for Morrissey, and soon the rest of the group, to relocate to London by the beginning of 1984 in order to, as he saw it, ‘keep an eye on the record company’. Though relations between the two parties would worsen considerably during the years ahead, for the time being the thrill of their first UK top 30 hit single was an achievement both were justly proud of."

The part about Morrissey stumbling across "a mountain range of boxes bearing the words ‘This charming man remix'" is from Autobiography.
 

Hovis Lesley

Well-Known Member
I don't think it was actually pulled by Rough Trade, but it's true that they decided to do the mix without consulting with the band and neither Marr nor Morrissey were happy about that.

From Songs That Saved Your Life:
"Their first single to warrant both seven and 12 inch formats (shrewdly pressed with separate B-sides ensuring completists would buy both), Rough Trade made their first major breech of The Smiths’ trust when, in December 1983, they released a second 12 inch single containing two dancefloor orientated remixes by New York DJ Francois Kervorkian. Simple by today’s sophisticated sampling standards, the ‘New York Vocal’ and ‘New York Instrumental’ cuts were too benign to be considered sacrilegious, swamping vocals and drums with reverb and accentuating Rourke’s bouncing bass pattern. Yet its release — supposedly against the group’s consent, an accusation Travis strongly refuted — prompted Morrissey to scold Rough Trade in ensuing interviews. ‘I’m still very upset about that,’ he brooded to Record Mirror the following February, ‘it was entirely against our principles, the whole thing, it didn’t seem to belong with us. There was even a question of a fourth version, which would have bordered on pantomime. It was called the Acton version, which isn’t even funny.’
Marr, though critical, was slightly more forgiving when speaking to Sounds the same month, admitting they ‘didn’t like the dance mix of “This Charming Man” which they put out as a 12 inch and we told them so, but we’re certainly not going around saying Rough Trade have screwed us up.’ The New York remix debacle was one of the prime catalysts for Morrissey, and soon the rest of the group, to relocate to London by the beginning of 1984 in order to, as he saw it, ‘keep an eye on the record company’. Though relations between the two parties would worsen considerably during the years ahead, for the time being the thrill of their first UK top 30 hit single was an achievement both were justly proud of."

The part about Morrissey stumbling across "a mountain range of boxes bearing the words ‘This charming man remix'" is from Autobiography.
This makes clear that Morrissey didn’t like the remixes (which I knew), but I might suggest that it seems that the idea of remixes was at some point run past the band, and they were in principle at least, OK with that.

My copy was on CD, which suggests it wasn’t ‘pulled’.

Incidentally, if I have indeed heard the Mikkna remix, then the TCM efforts were comparatively brilliant.
 
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Hovis Lesley

Well-Known Member
They're pretending to be unaware it's insulting.

Someone needs to rescue Moz from this sink of despond.
It’s unbelievably defensive, if not an attack.

They’re not promoting Morrissey here, more explaining why ‘their’ artist is held in some lesser regard.

This isn’t a statement by a record company that sees some extended future with Morrissey.
 

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