Morrissey - October 4 1991 - Hammersmith Odeon - London England

I see you shared this on ST a while back - thanks.
This was originally broadcast on Japanese TV before doing the bootleg rounds (members here say the subs are reasonably accurate).
It's worth mentioning that this is the full gig not the shortened one.
The audio could be from the broadcast or the 'upgrades' that have been synced in the past (TV wouldn't broadcast different bit rates?)
I'm not sure Dolby Digital Surround would have been used in 1991 !? :)
Lots of Alain backing vocals and some Boz blood.
Great gig and worth a watch.

The Last Of The Famous International Playboys / Sister I'm A Poet / November Spawned A Monster / Pregnant For The Last Time / Alsatian Cousin / Interesting Drug / Mute Witness / My Love Life / Piccadilly Palare / Driving Your Girlfriend Home / Everyday Is Like Sunday / Sing Your Life / The Loop / Suedehead / I've Changed My Plea To Guilty / Disappointed (Cosmic Dancer intro) / King Leer / Our Frank / Angel, Angel, Down We Go Together / Asian Rut
Thanks for sharing. It's much appreciated.
Excellent video. Superb audio. Immaculate hair.

Thank You. {í realise that you had nothing to do with the hair ~ or did you? ~ but Thanks anyways}

I agree it's nice to reminded of how energetic the original band was , Boz kicking around, Alain backing vocals(you can tell Morrissey passion had rubbed off on him, he is enjoying himself touring) and Morrissey fun fun days,
But unfortunately the clock on the wall makes fun of us all. Now we fast forward to today.
And unlike other Artist where their voices fading away, it seems Mozzer just keeps getting alot better
Not sure if this is the full concert as I distinctly remember Moz walking off stage asking "why does the security have to be so Ugly"
Not sure if this is the full concert as I distinctly remember Moz walking off stage asking "why does the security have to be so Ugly"
From Rogan's The Severed Alliance:

"4 OCTOBER 1991

After a season of Morrissey performances at which audiences marvel at his newfound power, the final London gig of the year promises much. The sound system at Hammersmith Odeon is most impressive, but such considerations are soon dwarfed by more dramatic events. Not surprisingly, the show commences with everybody on their feet, as Morrissey lunges his way through the pulsating ‘The Last Of The Famous International Playboys’. A surge to the front of the stage is intercepted by zealous security guards, whose collective muscle will be in constant need this evening. Gradually, the crowd settles. Morrissey, sensing frustration among his more expressive enthusiasts, quizzically enquires whether we are feeling fettered. Almost inviting a display of stage-invading worship, he suggests that “it only takes one”, before adding “I will forgive you”. At the beginning of the poignant ‘Driving Your Girlfriend Home’, at least one youth takes him at his word, and can be seen desperately clambering onstage, only to be brutally beaten back by a barrel-bodied security guard. Morrissey hovers uneasily at the side of the stage, questioning the need for such security and demanding: “Why does it have to be so UGLY?” Seconds later, he signals for the group to stop and leaves the stage, claiming that he will sort out the security problem. It is at this point that an already promising performance is utterly transformed.
Over five minutes pass. The backstage scenes must be extraordinary, but they can hardly match what is occurring in the theatre. The atmosphere is electric. The audience voice their antipathy towards the security guards with a stream of abuse that grows louder and more insistent as the minutes creep by. One beer-bellied, burly bouncer crouches at the front of the stage looking uncannily like an unleashed Rottweiler. The unstoppable cries of “You fat bastard” reverberate around the auditorium. One playful fan takes this opportunity to run across the stage and back, much to everyone’s amusement. By now, it seems that Morrissey is absolutely adamant about neutering the security, even at the cost of abandoning the show. The tension is tangible.
Finally, the singer re-emerges with a look of victory on his face. Even before he announces the lifting of the draconian security measures, the spattering of overweight guards has retreated. The scenes that follow are amazing."

could anyone please re up this and House of blues.

Also ,has anyone every put together a vid of every smeiths appearance or ecery moz video all all moz interviews. I used to have all these until my computer died.
Please, for the love of God and all else that is holy can someone reupload this?
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