There Speaks a True Friend (alternate/full version)

Has this been shared yet? If not, please enjoy. And I hope this encourages others to share unreleased stuff

There speaks a true friend (alternate version (horn and hamonica)).mp3

Shared with Dropbox

www.dropbox.com

 

[ZOOM FROM GLOOM]

Just to point out:
Trust is everything.
That said, this track is 1 minute longer than the cut version and matches the running time for the reference CD Stephane plucked from thin air many moons ago.
Looking at it in Audacity - there's nothing blatant to suggest it's anything other than a studio track.
Regards,
FWD.

to be honest, before you chimed in, I wasn’t really sure if it was authentic. Because the things people can do these days with editing, etc. And those ‘horns’ sound synthetic, I was thinking it was something someone slapped together in their bedroom.

Well, anyway, it’s nice someone shared it.

Btw, this ‘mix’ sounds like they were just trying out/demoing ideas in the studio.

 

[Anonymous]

Thanks - I think this sounds like a better mix than the shorter released version,so it's nice to hear this. The concept of the horns works well I reckon, but it soon gets repetetive hearing the same few synthetic/sampled notes every time - this feels like a placeholder. I kinda wish they had run with the idea and got in a proper horn section and someone to orchestrate it.

That said, I suspect this was always destined to be little more than a throwaway B-Side, as it just doesn't fit in tonally with the rest of 'Your Arsenal' at all. This feels more like a throwback to the Madness-style of 'Picadilly Palare' and that whole 'Bona Drag' era. Presumably little time was spent on it and it wasn't developed further.

 

[Phranc & Open]

I find it strange how some here doubt the authenticity. It is the alternative version with a longer outro and additional instruments. Morrissey made a good decision to make cuts and exclusions on the released version but such a gift is for me in the tradition of the Michael Legge tape or the two Malaldjusted outtakes. One can only say a big thank you to people who voluntarily make this available. The twang-soaked 50s sound he favoured in 91/92 still suits him very well today. VIVA Morrissey 92 forever.

 

[Nikita]

Thank you very much. I always enjoyed the song as it was published initially, but it is interesting to hear this version.

 

[sander]

Just to point out:
Trust is everything.
That said, this track is 1 minute longer than the cut version and matches the running time for the reference CD Stephane plucked from thin air many moons ago.
Looking at it in Audacity - there's nothing blatant to suggest it's anything other than a studio track.
Regards,
FWD.

It is indeed real. I have the reference-cdr and it is exactly the same version.

 

[ZOOM FROM GLOOM]

It is indeed real. I have the reference-cdr and it is exactly the same version.

Thanks for confirming.

 

[Nobody of importance]

I never questioned my source or the authenticity. I believe it was the similar source as the Michael's Bones leaks a few years ago. That is why I thought it might have been leaked already.

 

[Johnny]

This is beautiful. Despite all it's flaws this is exactly the reason why I still love Morrissey Solo.

 

[Phranc & Open]

....I believe it was the similar source as the Michael's Bones leaks a few years ago...

Can you say again what that was exactly? Please.

 

[Famous when dead]

Can you say again what that was exactly? Please.

That was the username of one of the people linked to leaked tracks from the reference CDs alongside Mr. Reynolds & uncleskinny's soundcloud posts. They collectively became 'the soundcloud leaks'
Regards,
FWD.

 

[Phranc & Open]

That was the username of one of the people linked to leaked tracks from the reference CDs alongside Mr. Reynolds & uncleskinny's soundcloud posts. They collectively became 'the soundcloud leaks'
Regards,
FWD.

Thank you very much, I hadn't saved it like that, nor every single alternative version. It was an astonishing amount that could be made accessible.

What I personally consider the Holy Grail is the finished recording of "I know who I love", which was removed at the last second from Maladjusted. I have already expressed my great interest in it many times. It is not quite clear to me, why KIT and IHTWTWYAS, for example, were shared as rehearsal recordings, but others from the 1997 phase were not. No matter whether Hanratty, Nightmare or TLGOR. As I put it together, IKWIL is only known by the musicians involved from that time and Goddard has his knowledge on "Mozipedia" mainly from Bridgwood's narrations. So, there are 2 diferrent scources. Morrissey's musicans have never shared unreleaed masters or outtakes. They'll know why. Otherwise, I think that only the "Bona Drag" period could still offer really finished tracks. All the titles from the Vauxhall phase are just song ideas (IMHO) . Southpaw and Your Arsenal have already revealed more than enough.

 

[ThePoliticalRevolution]

How did I miss this? No bells, or whistles, or harmonicas can make his voice sound less perfect. I love this song so much, and remember the day I first heard it. God, I love this man so much.

 

[The Wild Turkey]

to be honest, before you chimed in, I wasn’t really sure if it was authentic. Because the things people can do these days with editing, etc. And those ‘horns’ sound synthetic, I was thinking it was something someone slapped together in their bedroom.

Well, anyway, it’s nice someone shared it.

Btw, this ‘mix’ sounds like they were just trying out/demoing ideas in the studio.

There's like a extra minute of music at the end of this too.
Did ya ever hear anything about how or why that quick edit
at the end of the 12inch version came about?

 

[Jamie]

What I personally consider the Holy Grail is the finished recording of "I know who I love", which was removed at the last second from Maladjusted. I have already expressed my great interest in it many times. It is not quite clear to me, why KIT and IHTWTWYAS, for example, were shared as rehearsal recordings, but others from the 1997 phase were not. No matter whether Hanratty, Nightmare or TLGOR. As I put it together, IKWIL is only known by the musicians involved from that time and Goddard has his knowledge on "Mozipedia" mainly from Bridgewood's narrations. So, there are 2 diferrent scources. Morrissey's musicans have never shared unreleaed masters or outtakes. They'll know why. Otherwise, I think that only the "Bona Drag" period could still offer really finished tracks. All the titles from the Vauxhall phase are just song ideas (IMHO) . Southpaw and Your Arsenal have already revealed more than enough.

W/r/t Vauxhall, "song ideas" would equate to instrumental demos without Morrissey lyrics or vocal. According to Mozipedia, Jonny Bridgwood allowed Simon Goddard to review a tape of these demos. The only four that didn't make the album were all Alain tunes: "Black-Eyed Susan" (obviously, later recorded as a B-side during the sessions), "Sharp Bend, Fast Car, Goodbye," "Stay As You Are," and a different song/melody titled "Honey, You Know Where To Find Me."

Supposedly, a different version of "No One Can Hold A Candle To You" was also completed during the Maladjusted session, with a Morrissey vocal. I recall reading on one of the vanished fan sites (Five Seconds to Spare?) that some early CD master copies included it. Goddard quotes Morrissey that it got removed due to "something silly and messy [to do] with publishing and so forth."

In a world where both the full-length version of "Kit" and the original Morrissey/Cobrin "It's Hard To Walk Tall When You're Small" have long since dropped, it's a bit amazing that "I Know Who I Love" has survived undetected in the wild for over 25 years now.

 

[Phranc & Open]

W/r/t Vauxhall, "song ideas" would equate to instrumental demos without Morrissey lyrics or vocal. According to Mozipedia, Jonny Bridgwood allowed Simon Goddard to review a tape of these demos. The only four that didn't make the album were all Alain tunes: "Black-Eyed Susan" (obviously, later recorded as a B-side during the sessions), "Sharp Bend, Fast Car, Goodbye," "Stay As You Are," and a different song/melody titled "Honey, You Know Where To Find Me."

Supposedly, a different version of "No One Can Hold A Candle To You" was also completed during the Maladjusted session, with a Morrissey vocal. I recall reading on one of the vanished fan sites (Five Seconds to Spare?) that some early CD master copies included it. Goddard quotes Morrissey that it got removed due to "something silly and messy [to do] with publishing and so forth."

In a world where both the full-length version of "Kit" and the original Morrissey/Cobrin "It's Hard To Walk Tall When You're Small" have long since dropped, it's a bit amazing that "I Know Who I Love" has survived undetected in the wild for over 25 years now.

Again: the rough, unfinished versions of the original Maladjusted track KIT and the B-side session track IHTWTWYAS are one thing. But a finished master, that got removed is another. The Bridgwood family even teases (in talking about it) IKWIL on Twitter. They have it and they think it's a great Martin Boorer penned album track with the potential to be single.
Interesting aspect with NCHACTY. I didn't know it was planned directly for the album, I thought it was one of the tracks they rehearsed during the b-side sessions in England, in the summer of 97. Anyway, Hanratty, Nightmare and The Leeches go on removing would be worthy contenders for the next exciting scoop in 2027 or so.

 

[Famous when dead]

Pulled this text (testing out a gadget) out of a scanned version of Rogan's albums book:

"Wide To Receive The first song in which Morrissey has ever used computers as a metaphor ends with one of his more mournful meditations on loneliness. Is it a love song? "Yes," Morrissey says, "it's supposed to be, but I'd never dash out on a limb. It's supposed to be an Internet song. You know, lying by your computer waiting for someone to tap into you and finding that nobody is, and hence being wide to receive. How awful, of course, to be wide to receive and finding there's no reason to be. Boz Boorer closes the track with an attractive clarinet solo but even that cannot disguise the lack of musical adventure. The sole Morrissey/Cobrin collaboration on the album, this appears to have been included almost as an afterthought. "It was originally a B-side," Bridgwood confirms. "It was then promoted to the album in favour of Boz's 'I Know Who I Love' which was itself demoted to a B-side, then dropped completely. The end of 'Wide To Receive' features the same chord progresion as the Beatles' 'Dear Prudence'. I remember when we were doing it, it was so tempting just to duplicate that bass part but obviously we didn't want to make it sound like that. It's an iconic chord progression and once you hear it you know exactly what it is. I wasn't too keen on the track really. I thought it was probably the weakest song on the album, along with the throw- away 'Roy's Keen'."

I can find Krix's information about Candle, but no removed version escaping or anything more about the '97 version.
Regards,
FWD.

 

[ZOOM FROM GLOOM]

There's like a extra minute of music at the end of this too.
Did ya ever hear anything about how or why that quick edit
at the end of the 12inch version came about?

Guess they felt it worked better edited. And after hearing this, I would have to agree with them.

 

[Phranc & Open]

Pulled this text (testing out a gadget) out of a scanned version of Rogan's albums book:

"Wide To Receive The first song in which Morrissey has ever used computers as a metaphor ends with one of his more mournful meditations on loneliness. Is it a love song? "Yes," Morrissey says, "it's supposed to be, but I'd never dash out on a limb. It's supposed to be an Internet song. You know, lying by your computer waiting for someone to tap into you and finding that nobody is, and hence being wide to receive. How awful, of course, to be wide to receive and finding there's no reason to be. Boz Boorer closes the track with an attractive clarinet solo but even that cannot disguise the lack of musical adventure. The sole Morrissey/Cobrin collaboration on the album, this appears to have been included almost as an afterthought. "It was originally a B-side," Bridgwood confirms. "It was then promoted to the album in favour of Boz's 'I Know Who I Love' which was itself demoted to a B-side, then dropped completely. The end of 'Wide To Receive' features the same chord progresion as the Beatles' 'Dear Prudence'. I remember when we were doing it, it was so tempting just to duplicate that bass part but obviously we didn't want to make it sound like that. It's an iconic chord progression and once you hear it you know exactly what it is. I wasn't too keen on the track really. I thought it was probably the weakest song on the album, along with the throw- away 'Roy's Keen'."

I can find Krix's information about Candle, but no removed version escaping or anything more about the '97 version.
Regards,
FWD.

A fascinating subject, still. From vague memory, wasn't there a person (Stephane) who got a rehearsal room tape from one of the musicians/technicians/friends involved in Maladjusted? That's about how the two tracks sound quality-wise, that are known so far. At a time, when major rock or indie acts are releasing huge reissues of old work, it's curious how little interest #teammorrissey seems to have in it. The amount of material for Maladjusted alone is a mystery.
,

 

[esteban]

Any idea where the other tracks can be found (from that Rhino YA disc posted above?)

 

[Famous when dead]

Any idea where the other tracks can be found (from that Rhino YA disc posted above?)

See post #13.
FWD.