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The Smiths – There is a Light That Never Goes Out

Take me anywhere, I don’t care.
I don’t care.

Another seminal Smiths moment! One of their best known and best loved classics! Originally from their greatest album, The Queen Is Dead from 1986.

Despite the song’s massive popularity, strangely it was not released as a single until 1992, after The Smiths split up!

Morrissey later re-released the song as a double A-side live single (with his cover of Patti Smith’s “Redondo Beach”) in 2005, which reached #11 in the UK singles chart.

This magnificent song has been voted very highly in countless “best ever” song lists and has been covered by numerous artists.

There is a Light That Never Goes Out is a song that strikes home powerfully. A first-person narrative concerning yearning, anxiety, and obsession tells the tale of a sad soul who has been kicked out of home, and seeks solace and company from the person they love, the person the song addresses – the enigmatic driver of some car in which the protagonist is being taken somewhere!

All backed up by sublime Marr instrumentation.

Musically, the song begins with a staccato bridge similar to that heard on “Hitch Hike” by Marvin Gaye and “There She Goes Again” by The Velvet Underground, which recurs as a musical motif throughout the song.

With synthesized strings, a balladesque arrangement and yearning lyrics, many listeners have viewed “There Is a Light That Never Goes Out” as a love song despite no small level of ambiguity in the lyrics themselves.

The wonderful poignant title of this song has long been a source of wonder. One suggestion has been that the title is a paraphrase of what Hugh Latimer said to Nicholas Ridley as they were about to be burned at the stake as heretics during the reign of “Bloody Mary,” Queen Mary I of England:

“Play the man, Master Ridley; we shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out.”

Simon Goddard argues in his book Songs That Saved Your Life that the basic narrative story is similar to that of the James Dean film Rebel Without a Cause, in which Dean – an idol of Morrissey’s – leaves his tortuous home life, being the passenger to a potential romantic partner.

Given Morrissey’s previous thematic and lyrical borrowings from literature and cinema, this is a viewpoint with some plausibility. According to Goddard, an earlier version lacked some of the finished version’s ambiguity, culminating in the line “There is a light in your eyes and it never goes out“.

Additionally, the video for Morrissey’s solo song Suedehead shows him visiting Dean’s childhood home, and at one point displays the words “There is a light that never goes out.”

There Is a Light That Never Goes Out was originally planned to be a single from The Queen is Dead, but Rough Trade Records label boss Geoff Travis selected “Bigmouth Strikes Again” from the same album as the release instead.

There Is a Light That Never Goes Out has subsequently been covered by an array of artists, including UK singer David Ford, Anberlin, Neuroticfish, Braid, Eurythmics, Noel Gallagher of Oasis, The Magic Numbers, The Divine Comedy, Neil Finn, Walleye (on the tribute album The World Still Won’t Listen), Nada Surf, The Ocean Blue, Ghost Mice and Schnieder TM (their version of the cover song is known as “The Light 3000”). There is also a Spanish version by Mikel Erentxun, called “Esta Luz Nunca Se Apagará”. Speedstar also recorded a cover which featured on the Triple J Like A Version compilation CD.

Please do not ever listen to the abysmal version by The Magic Numbers ! I listened to it once and had to be hospitalised!


There is a Light That Never Goes Out

Take me out tonight
Where there’s music and there’s people
And they’re young and alive.
Driving in your car
I never never want to go home
Because I havent got one
Anymore

Take me out tonight
Because I want to see people and I
Want to see life
Driving in your car
Oh, please dont drop me home
Because its not my home, it’s their
Home, and I’m welcome no more

And if a double-decker bus
Crashes into us
To die by your side
Is such a heavenly way to die.
And if a ten-ton truck
Kills the both of us
To die by your side
Well, the pleasure – the privilege is mine.

Take me out tonight
Take me anywhere, I dont care
I dont care, I dont care
And in the darkened underpass
I thought ‘Oh God, my chance has come at last’
but then a strange fear gripped me and I
Just couldn’t ask.

Take me out tonight
Oh, take me anywhere, I don’t care
I don’t care, I don’t care
Driving in your car
I never never want to go home
Because I havent got one …
Oh, I havent got one

And if a double-decker bus
Crashes into us
To die by your side
Is such a heavenly way to die
And if a ten-ton truck
Kills the both of us
To die by your side
Well, the pleasure – the privilege is mine

Oh, there is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out
There is a light and it never goes out



The Smiths – There is a Light That Never Goes Out

Morrissey – There is a Light That Never Goes Out

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January 12, 2009 Posted by | Johnny Marr, Morrissey, The Smiths, _MUSIC, _VIDEO | Leave a comment

The Smiths – How Soon Is Now

When you say it’s gonna happen “now”, well when exactly do you mean?

Starting with a seminal and sublime Johnny riff laid upon by Morrisey’s unique vocals and distinctively fucked up powerful poetic lyrics, this is a perfect song! A song you urgently want to immediately hear again once it’s over! And then hear again once that’s over!

Although, shockingly, not the biggest hit in the Universe at the time of its original release, like the song’s great line “when you say it’s gonna happen “now”, well when exactly do you mean?”, the track has slowly but surely, down the years, garnered the oceans of universal critical recognition it all so properly deserves, and now sits proudly amongst the pantheon of modern songwriting!

A truly classic piece of modern songwriting, “How Soon Is Now?” represents the peerless Smiths at their prime.

A crucially important, timeless, incendiary track!

We get the magnificent Morrissey lyrics, ostensibly simple yet extremely powerful – lyrics that really strike you in the gut; lyrics not only left of field, but from another time and place, a cross between Milton, some obscure Victorian writers, Oscar Wilde, Hubert Selby Jr, Kitchen sink drama, Patti Smith, Harold Pinter and a million other eclectic influences!

And all this majesty above a beautifully original, scintillating, wildly-oscillating Johnny Marr guitar riff!

How often do you hear words like “seminal” in a song? How often do you hear a magic unforgettable riff like this?

Nowhere but here, motherfuckers!

This song is perfection itself!!

I am the son
and the heir
of a shyness that is criminally vulgar
I am the son and heir
of nothing in particular

You shut your mouth
how can you say
I go about things the wrong way
I am human and I need to be loved
just like everybody else does

I am the son
and the heir
of a shyness that is criminally vulgar
I am the son and the heir
of nothing in particular

You shut your mouth
how can you say
I go about things the wrong way
I am human and I need to be loved
just like everybody else does

There’s a club if you’d like to go
you could meet somebody who really loves you
so you go, and you stand on your own
and you leave on your own
and you go home, and you cry
and you want to die

When you say it’s gonna happen “now”
well, when exactly do you mean?
see I’ve already waited too long
and all my hope is gone

You shut your mouth
how can you say
I go about things the wrong way
I am human and I need to be loved
just like everybody else does

“How Soon Is Now?”was credited to Morrissey and Johnny Marr and first released by The Smiths back in 1984.

Sire Records chief Seymour Stein – kind of damning it with faint praise! – called the song “the ‘Stairway to Heaven’ of the Eighties”, while co-writer Johnny Marr more sensibly described it as “possibly our most enduring record. It’s most people’s favourite, I think.

Originally a B-side with “Please, Please, Please Let Me Get What I Want” on the 12″ single version of “William, It Was Really Nothing” in 1984, the song was subsequently featured on the compilation album Hatful of Hollow and on certain (U.S., Australian and Warner UK) editions of Meat Is Murder.

It was subsequently belatedly released as an A-side in the United Kingdom in 1985, reaching #24 on the singles chart.

Although a club favourite, “How Soon Is Now?” did not chart as well as writers Morrissey and Marr had expected. Most commentators put this down to the fact that the song had been out on vinyl in a number of forms before being released as a single in its own right.

The original track ran for nearly 7 minutes; however, the 7″ single edit cut the length down to under four minutes. The complete version is generally used on compilations.

The song contains only one verse which is repeated twice, plus a chorus and a bridge.

The subject is not one normally touched upon in realm of popular music. It’s an existential tale of a desparate individual who cannot find a way to break free of his crippling shyness – a tale with strong resonance to all sensitive intelligent souls across the world! (no, not one, thankfully, for the dumb Jocks!)

Two couplets from the song have since found their way into mass pop culture. Those being the opening to the verse: “I am the son, and the heir, of a shyness that is criminally vulgar / I am the son and heir, of nothing in particular“, and the chorus: “I am human and I need to be loved / Just like everybody else does“.

The opening was actually adapted from a line in George Eliot‘s novel Middlemarch: “To be born the son of a Middlemarch manufacturer, and inevitable heir to nothing in particular”.

While the track is cited as having changed the dumb U.S. media’s incorrect perception of the band, the lyrics have also been taken as specifically relating to contemporary Manchester club culture.

In any event the lyrics represent Mozza at his powerful poetic best, totally out of step with any other lyricist from this or indeed any other period!

The tune is built around an impactful guitar chord that rapidly oscillates in volume. As to how this amazingly distinctive resonant sound was achieved, Johny Marr gave the following account to Guitar Player magazine in 1990:

The vibrato sound is fucking incredible, and it took a long time. I put down the rhythm track on an Epiphone Casino through a Fender Twin Reverb without vibrato. Then we played the track back through four old Twins, one on each side. We had to keep all the amps vibrating in time to the track and each other, so we had to keep stopping and starting the track, recording it in 10-second bursts …..

We did it in three passes through a harmonizer, set to some weird interval, like a sixth. There was a different harmonization for each pass. For the line in harmonics, I retuned the guitar so that I could play it all at the 12th fret with natural harmonics. It’s doubled several times.

The song was originally included as a bonus track on the 12″ single release of The Smiths’ “William, It Was Really Nothing“, released in the United Kingdom on 24 August 1984.

According to John Porter: “I thought ‘This is it!’…but I don’t think the record company liked it…They totally threw it away, wasted it”. The track was subsequently included on The Smiths’ compilation album Hatful of Hollow, released on 12 November 1984.

The song was released on Sire Records in the United States, backed with “Girl Afraid”, in November 1984. It was expected to sell well and, for the first time, a video was made to promote a Smiths track. However, the song failed to chart.

Rough Trade boss Geoff Travis blamed poor promotion: “I can’t understand why ‘How Soon Is Now?” wasn’t a top 10 single, but perhaps I’m being naive. If only their singles had been played on the radio”.

Morrissey too expressed his disappointment in an interview with Creem magazine: “It’s hard to believe that ‘How Soon Is Now?’ was not a hit. I thought that was the one...”.

“How Soon Is Now?” was released as an A-side in the United Kingdom later, on January 28, 1985. The 7″ featured an edited version of the track, and the B-side was “Well I Wonder“, from the about-to-be-released Meat Is Murder album. The 12″ single also included a great new instrumental track, “Oscillate Wildly“.

In spite of being considered, by this time, something of a classic, “How Soon Is Now?” only managed to rise to #24 in the U.K. singles chart. The reality though, as stated in an interview by John Porter was that “Everybody knew the Smiths’ fans already had it”!

Following the acquisition of the Rough Trade catalogue by Warner Bros. Records, “How Soon Is Now?” was issued again as a single in the United Kingdom in September 1992.

A 7″ single and cassette featured the edited version, backed with a live version of “Handsome Devil“, recorded at The Haçienda on 4 February 1983 (this had originally been the B-side to The Smiths’ first single “Hand in Glove”).

Two CD singles featured tracks from The Smiths’ back-cataolgue which were, following the demise of Rough Trade, unavailable in the United Kingdom at that time. The re-issue reached #16 in the U.K. singles chart.


Reviews of this great track upon initial release were generally excellent, such as this one from the now defunct Melody Maker – a top weekly Brit music mag back then;

“Morrissey and co have once again delved into their Sixties treasure-trove, and produced a visceral power capable of blowing the dust off Eighties inertia. The majestic ease of Morrissey’s melancholic vocals are tinted with vitriol, as they move through vistas of misery with plaintive spirals around the pulse of Johnny Marr’s vibrato guitar. The string’s muted strains conjure wistful signs that bridge the schism between crass sentimentality and callous detachment. Each repeated phrase intensifies the hypnotic waves, with results that outflank anything since ‘This Charming Man’. Catharsis has rarely been tinged with so much regret, and shared with so much crystalline purity.”

– Melody Maker, 2 February 1985

The Smiths were always known for a sublime artwork aesthetic. This track continued in that vein.

The single’s cover art was a still from the film Dunkirk (1958) featuring British actor Sean Barrett, praying but looking sufficiently as though he was holding his crotch to have the sleeve banned in the censorial United States, where a photograph of the band backstage at the 1984 Glastonbury Festival was used instead!!

According to Morrissey: “‘How Soon Is Now?’ was released in an abhorrent sleeve — and the time and the dedication that we put into the sleeves and artwork, it was tearful when we finally saw the record…”

A music video was made – see end of this post – using the 7″ edit of the song which intercut clips of the band playing live (including a shot of Johnny Marr showing Morrissey how to play the guitar), an industrial part of Manchester, and a girl dancing.

Whilst unauthorised and heavily criticised by the band, the video has been credited with helping make the song their most famous in the United States, along with helping them attain heavy exposure on college radio.

Morrissey wasn’t a fan of the vid though and said:

“We saw the video and we said to Sire, ‘You can’t possibly release this… this degrading video.’ And they said, ‘Well, maybe you shouldn’t really be on our label.’ It was quite disastrous”!

“How Soon Is Now?” was always considered a “major problem” to play in concert, and live versions are rare.

One version was recorded during the concert for The Smiths’ live album Rank, but was not used. Instead, a raw version of this song (and entire concert) appeared on the bootleg A Bad Boy from a Good Family.

However, one live version was used to open Morrissey’s solo album Live at Earl’s Court.

Furthermore, the track has also been played on almost all of Morrissey’s tours since 2004.

“How Soon Is Now?” has been since been covered by various artists of very very varying quality!!

The guitar track was sampled, with the Smiths’ approval, in 1990 by indie-dance band Soho on their UK Top 10 single “Hippychick”.


The song was covered by Psychedelic Furs spin-off band Love Spit Love.

Their version was used on the soundtrack to the film The Craft – a dumb tale about a group of curvy nubile teen witches!

It was also later used as the theme tune to the witchcraft-themed television show Charmed, and has since, rather surreally, become associated with the series. It appears on Charmed: The Soundtrack and as a UK bonus track on its follow-up album, Charmed: The Book of Shadows.

Mad Russian lesbian-chic pop duo t.A.T.u.‘s cover of the song is featured on the album 200 km/h in the Wrong Lane (2002). Johnny Marr properly found their version “just silly”, but Morrissey, probably tongue in cheek, considered it “magnificent”!

t.A.T.u.’s version of “How Soon Is Now” is the opening track on the album Tribute to The Smiths, a compilation of Smiths covers.

Other artists to have covered the song include UK indie band Hundred Reasons, U.S. post-hardcore band Quicksand (bonus track on their Slip album) in 1993, U.S. post-grunge band Everclear, US punk band Meatmen (on the compilation “The World Still Won’t Listen”), UK band Paradise Lost (on the limited edition Say Just Words EP), and industrial rockers Snake River Conspiracy.

The song has, down they years, gone on to garner many many well deserved critical accolades;

In 2004, Rolling Stone magazine rated the song #486 in its list of The 500 Greatest Songs of All Time. We think it should really really be far higher though! For example, Macca’s mawkish “Let it Be” was in their top twenty, for f*ck sake!!

In March 2005, Q magazine placed it at #28 in its list of the 100 Greatest Guitar Tracks.

In 2006, “How Soon Is Now?” was voted runner up in VH1’s “Top Lyrics” poll for the lyrics, “So you go and you stand on your own, and you leave on your own, and you go home, and you cry, and you want to die” and marginally missed out on top spot to U2’s “One”. None of those judges had heard of Bob Dylan or Leonard Cohen though!!

In May 2007, NME magazine placed “How Soon Is Now?” at # 7 in its list of the 50 Greatest Indie Anthems Ever.

The Smiths – How Soon Is Now
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January 8, 2009 Posted by | Canon, Johnny Marr, Morrisey, Music_Alternative, The Smiths, _MUSIC, _POETRY | Leave a comment

The Smiths – Live in Germany – 1984

the Good Life is out there somewhere

One of the greatest groups of recent time knock out some sublime classics at a fine early period live show in Deutschland!

We think this was from a show at Rockpalast in Markthalle, Hamburg, Germany back on 4 May 1984!

Deutschland? We thought that Germans were too busy listening to David Hasselhoff and Chris De Burgh back then (and indeed still now are too!)
Some true classics here including “Hand in Glove”, “Heaven knows I’m Miserable Now”, “Girl Afraid”, “This charming Man” and “Pretty girls make graves”!

Oh the mammaries! The mammaries!

Hand in glove
The sun shines out of our behinds
No, it’s not like any other love
This one is different – because it’s us

Hand in glove
We can go wherever we please
And everything depends upon
How near you stand to me

And if the people stare
Then the people stare
Oh, I really don’t know and I really don’t care

Kiss My Shades

Hand in glove
The Good People laugh
Yes, we may be hidden by rags
But we’ve something they’ll never have

Hand in glove
The sun shines out of our behinds
Yes, we may be hidden by rags
But we’ve something they’ll never have

And if the people stare
Then the people stare
Oh, I really don’t know and I really don’t care

Kiss My Shades … oh …

So, hand in glove I stake my claim
I’ll fight to the last breath

If they dare touch a hair on your head
I’ll fight to the last breath

For the Good Life is out there somewhere
So stay on my arm, you little charmer

But I know my luck too well
Yes, I know my luck too well
And I’ll probably never see you again
I’ll probably never see you again
I’ll probably never see you again
Oh …

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January 7, 2009 Posted by | Johnny Marr, Morrissey, Music_Alternative, The Smiths, _MUSIC, _POETRY, _VIDEO | Leave a comment

Morrissey’s Suedehead and Conchord dreams !

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Last night I dreamt,

somebody woke me …

Rather disturbingly, I had a dream about Morrissey last night! I think my already fragile mind is nigh approaching collapse! Or maybe it was just the extra five tumblers of Jack Daniels after closing-time in the go-go bar!

I mean, I was a huge huge fan of The Smiths back in the day, but only a casual follower of Mozza’s solo work, which although having some sublime moments, has produced no sustained work remotely in the calibre of say “The Queen is Dead”.

Mozza without Marr was a tad like Lennon without Mc Cartney. Or more like Jagger without Richards!

The dream wasn’t exactly as weird as Bret’s wonderful dreams of David Bowie in the classic series 1 episode of Flight of the Conchords (see clip below!) but still rather vivid! Maybe I need to get a funky funky eye patch !!

Within much dumb conversation came the question why his solo work, according to critical opinion, never reached the heights of the Smiths, to which the great Manc. said that it did reach those heights and beyond! And moreover that his fine solo catalogue dwarfed what the Smiths ever released! Fair enough! If Morrissey said it, then it must be true! (Yes, Morrissey did say it, not some fucked-up and disturbing quirk in my subconscious that I never want to endure again!!)

Which brings us, rather stumblingly, to “Suedehead“, Mazza’s amazing debut solo single and still, in our view, his greatest solo moment.

//upload.wikimedia.org/wikipedia/en/thumb/8/8f/MorrisseySuedehead.jpg/200px-MorrisseySuedehead.jpg” cannot be displayed, because it contains errors.Hard to believe this was released over 20 years ago! Yap, in February 1988! I must’ve been about 7 then!

Before the release, there was an incredible amount of fevered anticipation amongst Smiths fans, still reeling from the sudden demise of the seminal group. And so much media hype!! But, for once, the final product lived up to the hype!

I rushed out to the record store on the day of the release and played the single about a million times that first week!

The track later featured on Morrissey’s pretty decent debut album Viva Hate and again on the compilation album Bona Drag; the latter of which also featured the single’s B-side “Hairdresser on Fire“.

Strangely, this single charted higher than any of the singles released by The Smiths, reaching number 5 in the UK Singles Chart.

Suedehead remains a powerful track even though Mozza’s trademark lyrics are far from being at their best here. The track really has the feel of a great Smiths song with delicious instrumentals worthy of Johnny Marr (and stylistically not dissimilar to a set of Marr riffs).

The top class band here included Stephen Street on Bass Guitar, Guitars, Vini Reilly on Guitars, Keyboards and Andrew Paresi on Drums and Percussion.

Brit music mag NME gave Suedehead a euphoric review, awarding it ‘Single of the Week’ saying that “Morrissey’s vocals hit a pitch that turns your stomach with queasy delight. It makes you feel vulnerable and provokes emotions you’ve forgotten about.

In the 1988 NME Year in Review the song was described as “The best No. 1 ’88 never gave us“!

A typically strange video too! Mozza on a quest through Americana for Jimmy’s ghost! Way OTT on the James Dean BS!

The highlight? Easy! Morrissey trying to start a tractor! The first and last time Mozza ever saw a fucking tractor!

Lowlight? Yap, Mozza in the bath! Could’ve really done without seeing that!

Why do you come here ?
And why do you hang around ?
I’m so sorry
I’m so sorry

Why do you come here
When you know it makes things hard for me ?
When you know, oh
Why do you come ?
Why do you telephone ? (Hmm…)
And why send me silly notes ?
I’m so sorry
I’m so sorry

Why do you come here
When you know it makes things hard for me ?
When you know, oh
Why do you come ?
You had to sneak into my room
just to read my diary
It was just to see, just to see
All the things you knew I’d written about you…
Oh, so many illustrations
Oh, but I’m so very sickened
Oh, I am so sickened now

Oh, it was a good lay, good lay
It was a good lay, good lay
It was a good lay, good lay
Oh
It was a good lay, good lay
It was a good lay, good lay
Oh, it was a good lay, good lay
Oh
Oh, it was a good lay
It was a good lay
Oh, a good lay
Oh, it was a good lay
Good lay, good lay
Oh
It was a good lay
It was a good lay

Here’s Mozza;

Here’s Bowie and Bret!;

This is a dream Bret. It’s all part of your freaky dream. Am I freaking you out Bret? Is this a freaky dream?

Wear the eye patch Bret,
Wear the funky funky eye patch

NOTE:

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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October 31, 2008 Posted by | David Bowie, Flight of the Conchords, Johnny Marr, Morrisey, The Smiths, _MUSIC, _VIDEO | Leave a comment

The Smiths – Troy Tate Sessions (1983)

The Smiths Troy Tate Sessions (1983)

The legendary original unreleased recording of tracks for the seminal 1984 debut album from the mighty Smiths!!

These are the original studio recordings from the summer of 1983 for The Smiths” debut LP with producer Troy Tate and are usually referred to as the Troy Tate outtakes or sessions, or incorrectly as the Troy Tate demos.

Unsatisfied with his work as a producer, the Smiths re-recorded their debut with producer John Porter and this is what ended up being released.

Unfinished versions (at varying degree) of the shelved Tate recordings are in circulation on various bootlegs.

There are three Troy Tate Sessions “sets;

  • TATE 1 (core tracks),
  • TATE 2 (alternative mixes)
  • a third set that contains 2 demos: Jeane and What Difference does it make?

https://i0.wp.com/lorimoz.googlepages.com/Smiths.JPG/Smiths-large.jpg

There are two circulated Troy Tate versions of most songs he worked on, but for a few titles there are either only one or three versions out there. The first versions to have leaked (let’s call the set TATE1) feature seemingly rougher outtakes while the versions in a later set (TATE2) seem to be more polished, possibly considered finished, and include or exclude different vocals/sounds/elements. The Troy Tate recordings of “Jeane” and “Pretty Girls Make Graves” were considered good enough to see an official release so the versions of those two titles on most bootlegs are the studio ones, lifted from vinyl. For more information of the availability of the official sources for the latter two songs, click on the titles above in bold.

TATE 1 set

The first Troy Tate sessions bootlegs appeared on the market in the early 1990s. They featured what appears to be unfinished mixes. The pitch (speed) on these is often slower than it should be. Some bootleg feature speed-corrected versions. Timings given here for each title are respectively those of the uncorrected speeds followed by the corrected ones.

– Reel Around The Fountain (version 1; 6:13/6:02)
– You’ve Got Everything Now (version 1; 4:28/4:15)
– Miserable Lie (version 1; 4:52/4:39)
– These Things Take Time (only version; 2:48/2:40)
– Wonderful Woman (version 1; 3:29/3:19)
– Handsome Devil (version 1; 3:00/2:50)
– Hand In Glove (version 1; 3:30/3:20)
– What Difference Does It Make? (version 1; 4:13/4:01)
– I Don’t Owe You Anything (version 1; 4:37/4:24)
– Suffer Little Children (version 1; 5:54/5:39)
– Pretty Girls Make Graves (officially released version 3:35)
– Jeane (officially released version 3:03)

TATE 2 set (first half)

In the mid-1990s the following Troy Tate outtakes were released on the “Reel Around The Fountain” and “Wonderful Woman” manufactured bootlegs. They have since been lifted and included on other fan-made compilations. They are sometimes referred to as alternate or alternative versions. Please note that two titles were not included in the first set. The other four are significantly different to their counterparts in the first set.

– Accept Yourself (only version 4:03)
– The Hand That Rocks The Cradle (only version 5:15)
– Miserable Lie (version 2; 4:37)
– Reel Around The Fountain (version 2; 5:55)
– What Difference Does It Make? (version 2; 3:19)
– Wonderful Woman (version 2; 3:18)

TATE 2 set (rest)

The complete set from which the above six were lifted has since leaked onto the internet, and is gradually finding its way onto fanmade bootlegs. Again they are sometimes referred to as alternate or alternative versions. A set circulated on the internet and labeled as ‘remixed’ is actually this one, with an inferior sound. So besides the above 6, this set also includes the following songs/versions, different to any one above (except for the two officially released ones of course).

– You’ve Got Everything Now (version 2; 4:29)
– Handsome Devil (version 2; 2:52)
– Hand In Glove (version 2; 3:24)
– I Don’t Owe You Anything (version 2; 4:30)
– Suffer Little Children (version 2; 4:54)
– Pretty Girls Make Graves (officially released version 3:35)
– Jeane (officially released version 3:03)

TATE3 set

A different set leaked on the internet was labeled “Rough Trade Demos”. This actually includes inferior sounding versions of many songs in the TATE2 set above, but the two songs listed below are different. They sound like pre-mixed versions of the ones above. Whether or not Troy Tate had anything to do with these is unknown as this point, but because they are circulated among Troy Tate sessions, they are mentioned here.

– What Difference Does It Make? (version 3 aka demo; 3:56)
– Jeane (demo 2:46)

In short, the completist will have more luck finding the best versions of all the above on the internet. Manufactured bootleg cds either have slow versions of the TATE1 set, or 2nd or 3rd generation fan-‘remastered’ versions of all sets. At this point in time great lossless versions of all the above is available on torrent sites. Still, in case one wants to know what is found on various titles, here is a rundown.

https://i1.wp.com/lorimoz.googlepages.com/bootlegs.JPG/bootlegs-large.jpg

Differences between versions

Differences between the various circulated Troy Tate outtakes of each title are given below. These descriptions are not exhaustive, only the most obvious differences are mentioned.

“Accept Yourself”

Only version, TATE2 set – 4:03

This song was not part of the TATE1 set, or if it was, it was never released with the rest.

Ironically Simon Goddard in the fantastic “Songs To Save Your Life” mentions that the band recorded two different versions of this song with Troy Tate, but the other one is still uncirculated at this point in time.

“Hand In Glove”

Version in TATE1 set – 3:20 corrected / 3:30 uncorrected
Version in TATE2 set – 3:24

This one is quite easy. At 1:36 in the TATE1 version, there is an echoey background vocal of “kiss my shades…” absent in the other version. Also there’s something that sounds like flute in the outro of the TATE1 mix, but not in the TATE2 mix. There are many other minor differences, but these are the most obvious ones.

“Handsome Devil”

Version in TATE1 set – 2:50 corrected / 3:00 uncorrected
Version in TATE2 set – 2:52

The two mixes sound quite different. A very obvious difference is found at 1:45 when in the TATE1 version Morrissey stretches the ‘you’ in “yooooooou deserve it”, while in the TATE2 mix he sings “you deserve it, deserve it, deserve it”. At the very end of the song, after singing “Oh you handsome devil!”, he shouts “aah!” in the TATE1 mix, and “ow!” in the TATE2 mix.

“The Hand That Rocks The Cradle”

Only version, TATE2 set – 5:15

This song was not part of the TATE1 set, or if it was, it was never released with the rest.

“I Don’t Owe You Anything”

Version in TATE1 set – 4:24 corrected / 4:37 uncorrected
Version in TATE2 set – 4:30

These two versions are very similar. Not much work was done on the song between one and the other. The TATE1 mix has a one note bass intro before the drum kicks in, while the TATE2 mix, which is also sounds slower or smoother, has a 2-note bass intro. At 3:05 the finger clicking is more prominent in the TATE1 version. At 3:50 when Morrissey sings “life is never kind”, the inflexion is more on ‘never’ in the TATE1 version, and more on ‘kind’ in the TATE2 mix.

“Jeane”

Single version – 3:03
Demo – 2:46

All the Troy Tate outtakes bootlegs seem to feature the officially released version of this song, lifted from the “This Charming Man” 7″ single. However an obvious demo was found in a ‘Rough Trade Demos’ package circulated on the internet which mainly featured inferior sounding versions of the TATE2 set except for this song and “What Difference Does It Make”. This “Jeane” demo is shorter, rougher and lacks backing vocals. Its outro doesn’t have the accelerating drum and “ooh!” ending.

“Miserable Lie”

Version in TATE1 set – 4:39 corrected / 4:52 uncorrected
Version in TATE2 set – 4:37

The TATE2 mix usually starts with a drumstick click. At the end of the TATE1 version the echo fades out properly, while at the end of the TATE2 version, it is abruptly faded out, on whatever source in circulation.

“Pretty Girls Make Graves”

Studio version – 3:35

Because the Troy Tate produced version of this song had already been officially released by the band at the time of the initial release of the Troy Tate sessions on bootlegs, it seems like the makers decided to include it with the rest. The presence of the song at the very end of the track listings of the earliest bootlegs adds more weight to this theory, but doesn’t necessarily confirm it. Until someone finds any difference between the official and bootleg versions, this theory can be safely considered.

“Reel Around The Fountain”

Version in TATE1 set – 6:02 corrected / 6:13 uncorrected
Version in TATE2 set – 5:55

The TATE1 version starts with three notes not on the other one. The note is heard again at the very end after Morrissey’s voice fades out. There is no ‘oh’ before ‘people said’ in the TATE1 version, while in the other one Morrissey sings ‘*oh* people said’.

“Suffer Little Children”

Version in TATE1 set – 5:39 corrected / 5:54 uncorrected
Version in TATE2 set – 4:54

This one is rather obvious. At the end of the TATE2 mix, the outro guitar is accompanied by cymbal, but at the end of the TATE1 version, there is no cymbal. Instead the song segues into the piano part that was later used by the band in “Asleep”. The woman giggling or crying at the 4:00 mark is present in the TATE1 mix, and absent in the other one. Also, the “you might sleep but you will never dream” line differs.

Another slight but noticeable difference is the presence of an echoey ‘tock’ sound at the very beginning of the TATE2 mix. The same sound can be heard at the very beginning of the TATE2 mix of “Wonderful Woman”, but in a lower pitch.

“These Things Take Time”

Only version, TATE1 set – 2:40 corrected / 2:48 uncorrected

There is only one Troy Tate version of this song in circulation.

“What Difference Does It Make?”

Version in TATE1 set – 4:01 corrected / 4:13 uncorrected
Version in TATE2 set – 3:19
Demo – 3:56

This one is rather obvious. A look at the song lengths alone is enough to tell the versions apart. However it is worth mentioning the “oh!” before the drum kick in the intro of the TATE2 mix, and the piano that comes in right after that. Also what sounds like a violin is heard in the background soon after, while it only comes in at about 0:38 in the TATE1 mix.

At 1:36 when Morrissey sings “it makes none”, the violin (or something that sounds like that) is heard in the background of the TATE1 mix, while in the TATE2 mix, there is guitar picking and an added “aaahh” back vocal. At 1:46 there is slide after “tonight” in the TATE1 version, and dreamy echo on the background vox, but in the TATE2 version there is no slide and much less echo.

The ‘Rough Trade Demos’ version is unique, and different to both of the above mixes. It sounds like a primitive pre-overdub version of the TATE1 mix. It could be speculated that this version predates Troy Tate’s involvement.

“Wonderful Woman”

Version in TATE1 set – 3:19 corrected / 3:29 uncorrected
Version in TATE2 set – 3:18

The two versions of this song are very similar. The guitar seems to be slightly higher in the mix of the TATE1 version, particularly around the 1:45 mark. The only obvious difference is the presence of an echoey ‘tock’ sound at the very beginning of the TATE2 mix. The same sound can be heard at the very beginning of the TATE2 mix of “Suffer Little Children”, but in a higher pitch.

“You’ve Got Everything Now”

Version in TATE1 set – 4:15 corrected / 4:28 uncorrected
Version in TATE2 set – 4:29

The two versions are reasonably similar. From the 3:35 mark in the TATE 1 version, a kid’s voice (or perhaps slide guitar or some studio effect) can be heard.

from http://www.passionsjustlikemine.com/smiths-tate.htm
https://i2.wp.com/farm3.static.flickr.com/2156/2377945673_ffa8540dfb.jpg

All thanks gperkins151 who has uploaded the complete TATE 1 and TATE 2 sets (they are labeled and tracklisted as above)

He says

“The link below is the two complete sets (TATE 1 and 2), with correct speed and the best sound that I believe is available. It’s on mediafire, so no charge, no download limit, no canceled uploads , no waiting for second downloads, etc. It’s on four ZIP files labeled TATE 1, parts 1 and 2 and TATE 2, parts 1 and 2.”

http://www.mediafire.com/?sharekey=4…b52376b7712547

He also kindly uploaded a third set that contains 2 demos: Jeane and What Difference does it make? He says “unfortunately at only 128 kbps”!

All thanks gperkins151



We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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October 20, 2008 Posted by | Canon, Johnny Marr, Morrisey, Music_Alternative, The Smiths, _MUSIC | 4 Comments

The Smiths – DISCOGRAPHY

The greatest group of the eighties.

One of the greatest of all time.

Morrisey and Marr struck up a seminal partnership. Up there with Lennon/ Macca.

In a decade filled with crassness and emptiness, the Smiths shone like diamonds in the music gutter!

Nuff said.

Fine collection of their unmissable official LPs, some collections and some nice boots! Oh and some videos also!

What the fuck else could you want?!



TROY TATE SESSIONS
1. Reel Around The Fountain
2. You’ve Got Everything Now
3. Miserable Lie
4. These Things Take Time
5. Wonderful Woman
6. Handsome Devil
7. Suffer Little Children

8. Pretty Girls Make Graves
9. Hand In Glove
10. What Difference Does it Make
11. I Don’t Owe You Anything
12. Jeane


Download:

http://rapidshare.com/files/39541818…Tate_album.rar
troy tate sessions.btjunkie

THE SMITHS(1984)
1. Reel Around the Fountain
2. You’ve Got Everything Now
3. Miserable Lie
4. Pretty Girls Make G
raves
5. The Hand That Roc
ks the Cradle
6. This Charming Man
7. Still Ill

8. Hand in Glove
9. What Difference Does It Make?
10. I Don’t Owe You Anything

11. Suffer Little Children

Download:
the smiths.gigasize
the smiths.rapidshare
the smiths.btjunkie

THE SMITHS(Japanese cd)
1. Reel Around The Fountain
2. You’ve
Got Everything Now
3. Miserable Lie

4. Pretty Girls Make Graves
5. The Hand That Rocks The C
radle
6. Still Ill
7. Hand In Glove
8. What Difference Does It Make
9. I Don’t Owe You Anything
10. Suffer Little Children
11. This Charming Man
12. These Things Take Time
13. Hand In Glove (version)
14. Heaven Knows, I’m Miserable Now

Download:
the smiths.btjunkie



HATFUL OF HOLLOW(1984)
1. William, It Was Really Nothing
2. What Difference Does It Make?

3. These Things Take Time

4. This Charming Man

5. How Soon Is Now?
6. Handsome Devil
7. Hand in Glove
8. Still Ill

9. Heaven Knows I’m Miserable Now

10. This Night Has Opened My Eyes

11. You’ve Got Everything Now

12. Accept Yourself

13. Girl Afraid

14. Back to the Old House

15. Reel Around the Fountain

16.
Please Please Please Let Me Get What I Want

Download:

SESSION AT AMSTERDAM ROCKRADIO FM(21/04/1984)
1. Hand In Glove
2. Heaven Knows, I’m Miserable Now
3. Girl Afraid

4. This Charming Man
5. barbarism Begins at Home
6. This Night Has Opened My Eyes

7. Miserable Lie
8. Stil Ill
9. I Don’t Owe You Anything
10. What Differenc Does It Make
11. Handsome Devil

12. You’ve Got Everything Now
13. These Things Take Time

Download:
live amsterdam.rapidshare
live amsterdam. btjunkie



MEAT IS MURDER(1985)


1. The Headmaster Ritual

2. Rusholme Ruffians
3. I Want the One I Can’t Have

4. What She Said

5. That Joke Isn’t Funny Anymore

6. How Soon Is Now?

7. Nowhere Fast

8. Well I Wonder

9. Barbarism Begins at Home

10. Meat Is Murder



Download:
meat is murder.btjunkie
meat is murder.rapidshare
meat is murder.rapidshare

THE QUEEN IS DEAD(1986)

1. The Queen Is Dead
2. Frankly, Mr. Shankly
3. I Know It’s Over

4. Never Had No One Ever

5. Cemetry Gates

6. Bigmouth Strikes Again
7. The Boy With the Thorn in His Side
8. Vicar in a Tutu

9. There Is a Light That Never Goes Out
10. Some Girls Are Bigger Than Other

Download:
the queen is dead.btjunkie
the queen is dead.rapidshare
the queen is dead.rapidshare

THE WORLD WON’T LISTEN(1987)
1.Panic
2.Ask
3.London
4.Bigmouth Strikes Again
5.Shakespeare’s Sister
6.There Is A Light That Never Goes Out
7.Shoplifters Of The World Unite
8.The Boy With The Thorn In His Side
9.Money
Changes Everything
10.Asleep
11.Unloveable
12.Half A Person
13.Stretch Out And Wait
14.That Joke Isn’t Funny Anymore
16.Oscillate Wildly
17.You Just Haven’t Earned It Yet Baby
18.Rubber Ring
19.Golden Lights

Download:
the world won’t listen.btjunkie
the world won’t listen.rapidshare

LOUDER THAN BOMBS(1987)
1.Louder Than Bombs
2.Is It Really So Strange
3.Sheila Take a Bow

4.Shoplifters Of The World Unite
5.Sweet And Tender Hooligan

6.Half A Person

7.London
8.Panic

9.Girl Afraid
10.Shakespeares Sister
11.William, It Was Really Nothing
12.You Just Haven’t Earned It Yet Baby
13.Heaven Knows I’m Miserable Now
14.Ask

15.Golden Lights
16.Oscillate Wildly

17.These Things Take Time
18.Rubber Ring
19.Back To The Old House
20.Hand In Glove
21.Stretch Out And Wait

22.Please, Please, Please Let Me Get What I Want

23.This Night Has Opened My Eyes
24.Unlovable

25.Asleep


Download:
louder than bombs.btjunkie
louder than bombs.rapidshare
louder than bombs.rapidshare




STRANGEWAYS, HERE WE COME(1987)

1. Rush and a Push and the Land Is Ours
2. I Started Something I Couldn’t Finish
3. Death of a Disco Dancer

4. Girlfriend in a Coma

5. Stop Me If You Think You’ve Heard This One Before
6. Last Night I Dreamt That Somebody Loved Me

7. Unhappy Birthday

8. Paint a Vulgar Picture

9. Death at One’s Elbow

10. I Won’t Share You

Download:
strangeways here we comes.btjunkie
strangeways here we comes.rapidshare
strangeways here we comes.gigasize

RANK(LIVE 1988 [1986])
1. The Queen Is Dead
2. Panic
3. Vicar in a Tutu

4. Ask
5. Rusholme Ruffians
6. The Boy With the Thorn in His Side
7. What She Said
8. Is It Really So Strange?
9. Cemetry Gates
10. London
11. I Know It’s Over
12. The Draize Train
13. Still Ill
14. Bigmouth Strikes Again

Download:
rack.btjunkie
rack.gigasize
rack.rapidshare

BEST…I(1992)
1. This Charming Man
2. William, It Was Really
Nothing
3. What Difference Does It Make?
4. Stop Me If You Think You´ve Heard This One Before

5. Girlfriend in a Coma
6. Half a Person

7. Rubber Ring

8. How Soon Is Now?
9. Hand in Glove

10. Shoplifters of the World Unite

11. Sheila Take a Bow

12. Some Girls Are Bigger Than Others

13. Panic

14. Please, Please, Please, Let Me Get What I Want

Download:
best I.btjunkie
best I.rapidshare

…BEST II(1992)
1. The Boy With the Thorn in His Side
2. The Headmaster Ritual
3. Heaven
Knows I’m Miserable Now
4.
Ask
5. Oscillate Wildly
6. Nowhere Fast
7. Still Ill 8. Bigmouth Strikes Again
9. That Joke Isn’t Funny Anymore
10. Shakespeare’s Sister
11. Girl Afraid
12. Reel Around the Fountain
13. Last Night I Dreamt That Somebody Loved Me
14. There Is a Light That Never Goes Out

Download:
best II.rapidshare

best II.rapidshare

SINGLES(1995)
1. Hand In Glove
2. This Charming Man

3. What Difference Does It Make?
4. Heaven Knows I’m Miserable Now

5. William, It Was Really Nothing

6. How Soon Is Now?

7. Shakespeare’s Sister

8. That Joke Isn’t Funny Anymore

9. The Boy With The Thorn In His Side

10. Bigmouth Strikes Again

11. Panic

12. Ask
13. Shoplifters of The World Unite

14. Sheila Take A Bow

15. Girlfriend In A Coma

16. I Started Something I Couldn’t Finish
17. Last Night I Dreamt That Somebody Loved Me
18. There Is A Light That Never Goes Out

Download:
singles.btjunkie

THE VERY BEST OF THE SMITHS(2001)
1. Panic
2. The Boy With The Thorn In His Side
3. Heaven knows, I’m Miserable Now
4. Ask 5. Bigmouth Strikes Again
6. How Soon Is Now
7. This Charming Man
8. What Difference Does It Make
9. William, It Was Really Nothing

10. Some Girls Are Bigger Than Others
11. Girlfriend In a Coma

12. Hand In Glove
13. There Is a Light That Never Goes
14. Please, Please, Please… Let Me Get What I Want
15. That Joke Isn’t Funny Anymore
16. I Know it’s Over

17. Sheila Take a Bow
18. I Started Something I Couldn’t Find
19. Still Ill

20. Shakespeare’s Sister
21. Shoplifters Of The World Unite
22. Last Night I Dreamt That Somebody Loved Me

23. Stop Me If You’ve Heard This One

Download:
the very best of the smiths.btjunkie


Big thanks to musiqueindieegeste



We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us: stupidand@gmail.com

Home Art Babes Cartoons Dylan Editorial Music Videos Other

October 20, 2008 Posted by | Canon, Johnny Marr, Morrisey, Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Handsome Devils (1992)

The Smiths – Handsome Devils (1992)

We haven’t posted much Smiths stuff and for that we are whole-heartedly ashamed!

We truly loved the innovative, intelligent, powerful music of the Smiths which stood out like a blinding diamond in the sewer of eighties music.

In October 1992, French music mag “Les Inrockuptibles” issued this special edition CD, limited to 2,500 copies.

The CD was offered in issue 39 (October 1992) and features many uncollected Smiths B-sides.

It basically served as an indirect promotional tool for the release of the “Best…I” and “Best…II” compilations in France.

“I Know It’s Over” is not a song but an extract of the interview given by Morrissey on 8 September 1987 to the magazine, during which he announced that the future of the Smiths was uncertain! Yeah … very fucking uncertain!!

All the streets are crammed with things
Eager to be held
I know what hands are for
And I’d like to help myself
You ask me the time
But I sense something more
And I would like to give
What I think you’re asking for
You handsome devil
Oh, you handsome devil
Let me get my hands
On your mammary glands
And let me get your head
On the conjugal bed
I say, I say, I say
I crack the whip
And you skip
But you deserve it
You deserve it, deserve it, deserve it
A boy in the bush
Is worth two in the hand
I think I can help you get through your exams
Oh, you handsome devil
Oh, let me get my hands
On your mammary glands
And let me get your head
On the conjugal bed
I say, I say, I say
I crack the whip
And you skip
But you deserve it
You deserve it, deserve it, deserve it
And when we’re in your scholarly room
Who will swallow whom ?
When we’re in your scholarly room
Who will swallow whom ?
You handsome devil
Oh, let me get my hands
On your mammary glands
And let me get your head
On the conjugal bed
I say, I say, I say
There’s more to life than books, you know
But not much more
Oh, there’s more to life than books, you know
But not much more, not much more
Oh, you handsome devil
Oh, you handsome devil
Ow

Tracklisting

01- Handsome Devil (live at Manchester’s Hacienda 4/2/83)
02- Jeane
03- Some Girls Are Bigger Than Others (live London 12/12/86)
04- Money Changes Everything
05- Work Is A Four-Letter Word
06- I Keep Mine Hidden
07- I Know It’s Over (Morrissey Interview)

Here she be:

The_Smiths_-_Handsome_Devils

August 31, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

VA – The Best Beatles Tribute (2007)

VA – The Best Beatles Tribute (2007)
177 MB | VA | MP3 @ 256 Kbps VBR | Stereo | 44.1 Hz

We know nothing about the origins of this rather strange collection. But we are big Beatles fans!

We’re not sure what eclectic means – cos we never been having no schooling or word learning neither, back there in our cabin!! – but this selection is truly fucking eclectic!

Ranging a vast spectrum from the sublime (The Smiths, Michael Penn, Aimee Mann, David Bowie, Frank Sinatra, Joe Cocker, Jimi Hendrix, Jeff Healey, et al) to the ridiculous (Phil Fucking Collins, Elton Fucking John, Bee Gees, Ben Folds,Styx et al), this is the proverbial “mixed bag”!!

Some interesting versions here, however. Thank Satan though for the ability to delete tracks!

What the hell is The Doors’ Light My Fire going in here?

Did Ringo really write Light My Fire? Yap, he probably did!

liar, fire, mire, pyre, fire, higher, fire, mire …. pure genius!!

Tracklisting

01. Aerosmith – Come Together
02. Aerosmith – Helter Skelter
03. Aimee Mann – Lucy In The Sky With Diamonds
04. Aimee Mann and Michael Penn – Two of Us
05. Badfinger – Come And Get It
06. Bee Gees – A Day In The Life
07. Ben Folds – Golden Slumbers
08. Ben Harper – I Am Sam Soundtrack-Strawberry Fields Forever
09. David Bowie – Penny Lane
10. Earth Wind And Fire – Got to get you into my life
11. Elton John – Lucy In The Sky With Diamonds
12. Eyes – Good Day Sunshine
13. Frank Sinatra – Something
14. Grateful Dead – Jerry Garcia Band – Dear Prudence
15. Jeff Beck & George Martin – A day in the life
16. Jeff Healey Band – Yer Blues
17. Jimi Hendrix – Sgt. Pepper’s Lonely Hearts Club Band
18. Joe Cocker – Let it Be
19. Joe Cocker – She Came In Through The Bathroom Window
20. Joe Cocker – With a little help from my friend
21. Joe Cocker – Something
22. Michael Hedges – Mother Nature’s Son
23. Michael Hedges – Tomorrow Never Knows
24. Michael Hedges – While my Guitar Gently Weeps
25. Phil Collins – Tomorrow Never Knows
26. Spooky Tooth – I Am The Walrus
27. Steve Wariner – Get Back
28. Stevie Ray Vaughn – Taxman
29. Styx – I Am The Walrus
30. The Family Cat – Across the Universe
31. The Smiths – Across The Universe
32. The Tingling Mother’s Circus – Yellow Submarine
33. The Doors – Light My Fire
34. Todd Rundgren & BourgeoisTagg – Tomorrow Never Knows live
35. Toto – While My Guitar Gently Weep
36. Tuck & Patti – Honey Pie

Here not be the beats;

PART 1

PART 2

Big thanks to the original poster

August 31, 2008 Posted by | Aimee Mann, David Bowie, Frank Sinatra, Jimi Hendrix, Joe Cocker, Michael Penn, The Beatles, The Smiths | 1 Comment

The Smiths – Thank Your Lucky Stars (Los Angeles August, 1986)

The Smiths – Thank Your Lucky Stars
(Los Angeles August, 1986)

MP3 @ 192

This is the best Smiths bootleg ever made!

After the completion of their magnum opus The Queen Is Dead, the supporting tour took the Mancs to Yankland!

From this tour, we get an exceptionally high quality soundboard recording of The Smiths playing at the Universal Amphitheatre in Los Angeles on August 26, 1986.

Now shut your mouth
How can you say
I go about things the wrong way
I am Human and I need to be loved
Just like everybody else does
I am the son
and the heir
Of a shyness that is criminally vulgar
I am the son and the heir
Of nothing in particular



The song selection is excellent, opening with “Please Please Please Let Me Get What I Want” and drifting through such highlights as “There Is A Light That Never Goes Out,” “Stretch Out And Wait,” and “That Joke Isn’t Funny Anymore”.

Morrissey makes numerous comments between the songs and Johnny Marr is in fine form.

The concert takes a dramatic turn towards the end, as Morrissey interrupts the tender second verse of “I Know It’s Over” with a shout of “Jesus Christ! Don’t be so stupid! Leave him alone, you stupid idiot, leave him!” directed at the “neanderthal” security guards who were making the fans miserable.

All this puts a dramatic, dark overtone on an incredible concert. The packaging, by the wonderful Italian company Big Music, meets their usual high standards, with numerous excellent photos of the band, a picture disc, and a flawless track listing.

An all-around exceptional product and a far better concert memento of the Queen Is Dead tour than the officially released Rank.

Tracklisting

01.Please Please Please Let Me Get What I Want
02.Still Ill
03.I Want The One I Can’t Have
04.There Is A Light That Never Goes Out
05.How Soon Is Now?
06.Frankly Mr Shankly
07.Panic
08.Stretch Out & Wait
09.The Boy With The Thorn In His Side
10.Is It Really So Strange?
11.Cemetry Gates
12.Never Had No One Ever
13.What She Said/Rubber Ring
14.That Joke Isn’t Funny Anymore
15.Heaven Knows I’m Miserable Now
16.The Queen Is Dead
17.Money Changes Everything
18.I Know It’s Over

Thanks to the original poster

http://stupidd.blogspot.com/

Mail us: stupidand@gmail.com

May 9, 2008 Posted by | Morrisey, Music_Alternative, Music_Bootleg, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment

The Smiths – Strangeways, Here We Come

mp3@224kbps

The Smiths’ second greatest great album (after The Queen Is Dead). They don’t come much better than this! (except The Queen Is Dead!) Named after a victorian era prison in what was then a very grim Manchester, it captures the last glows of the majestic songwriting pairing of Morrissey and Marr .

Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group’s catalogue. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals.

With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths’ sound within their very real boundaries.

And they mostly succeed. “I Started Something I Couldn’t Finish,” “Girlfriend in a Coma,” “Stop Me if You Think You’ve Heard This One Before,” and “I Won’t Share You” are classics, while “A Rush and a Push and the Land Is Ours,” “Death of a Disco Dancer,” and “Last Night I Dreamt That Somebody Loved Me” aren’t far behind. However, a few songs also have a tendency to be glib or forced, particularly on “Unhappy Birthday” and the anti-record company “Paint a Vulgar Picture,” which has grown increasingly ironic in the wake of the Smiths’ and Morrissey’s love of repackaging the same material in new compilations. Check out Mozza’s latest greatest hits package for example!

Still, Strangeways is a graceful way to bow out and offers a summation of this magnificent group’s considerable strengths.

Here be something strange:

http://www.mediafire.com/?dwgaimb2sqi

Thanks to the original poster

February 15, 2008 Posted by | Music_Alternative, The Smiths, _MUSIC | Leave a comment