Great lyrics, minimum effort, maximum effect, typical Morrissey.
It's a decent tune, too. A good single.
is entirely superior and deserving of its own release. Suppose Morrissey thought so too but then he went "Ah no, we're gonna kill this pretty thing" and buried it deep in the vault.
Well, they changed all the acoustic arrangements they did at first because Morrissey apparently wanted a heavier sound. And that's fine.Regarding the acoustic version..
don’t know if it’s superior, has it’s moments though. The lyrics are more driving and the music could have been changed to fit the mood of the lyric, or they tried an electric version and that won everyone over. Also those first chords on this acoustic version remind me of the first cords on ‘Why don’t you find out for yourself’
so maybe it sounded too much like a Vauxhall track so they changed it too (?).
agree.Well, the production of Vauxhall drove the songs from electric to more acoustic/moody, while it was the opposite on Southpaw, Morrissey's choice as far as I understand,
don’t know, thought the album and the heavy bombastic vibe of the Arsenalbut I always thought that his band was never really good in sounding loud/heavy.
That's not my favorite tour at all and I am one of the few that believe they butchered Kill Uncle (and Street compositions) during the 1991 tour.agree.
don’t know, thought the album and the heavy bombastic vibe of the Arsenal
tour proved that they could play loud/heavy.
That's not my favorite tour at all
and I am one of the few that believe they butchered Kill Uncle (and Street compositions) during the 1991 tour.
That's true up to a point, but I think the warning signs were there back in 1992. I felt that - with the exception of The More You Ignore Me - Morrissey almost forgot how to write singles at this point and over that 5 year period you had the likes of We Hate It When Our Friends Become Successful, Fatty, Dagenham Dave, Alma Matters and this one. All very repetitive and none of them with much lyrical substance.
2004 brought a big improvement, thankfully.
It always cracks me up how Alain flubs a chord at around the 17 second mark - you can see him turn round afterwards with a pissed expression on his face. Guess they didn't consider it a big enough f*** up to stop and go for a retake!
Liked how his backing vocals worked with Morrissey's here.
Not the best audio as a whole, but one of the better Jools appearances.