BookishBoy
Well-Known Member
Today's song is this Morrissey/Boorer composition, the lead single from Vauxhall and I, reaching #8 in the UK chart and #46 on the Billboard Hot 100 in the US.
What do we think?
I don't think too many people would have an issue with Steve Lillywhite's production at all during this era.Once again a track, that I associate extremely strongly with the very early spring of 1994, when you step more slowly out of the dark into the light, which is even realised in the video. A wonderfully old-fashioned melody and an irresistible Morrissey in image and lyrics, taking coquetry to the extreme, that's all it took back then to get completely lost in it. And for the hundredth time I repeat that Lillywhite's production represents him at his best, whatever problems there were between them. One of my top 5 Morrissey singles.
Except of course Hold On To Your FriendsOne of the true great Morrissey singles, this song is up there with playboys, Sunday, first of the gang.
A welcome return to the charts with this song, but then again any track from Vauxhall could have made the top 20
It's not so much about whether other fans criticise this production. I'm comparing it with his later productions and I don't understand why Chiccarelli, for example, is praised so highly (by Moz too), or even the brave and late Fynn. The classic era of Morriseey ends for me at the end of 1997 with Maladjusted. Even here, I don't see, that Lillywhite did much wrong. This record sounds like a mid 90s bitterswet summer ending: pointing backwards, nostalgic and transfigured. In terms of Morrissey's solo work, still the best approach, to connect it with a certain period in your own life or the mood of the seasons.I don't think too many people would have an issue with Steve Lillywhite's production at all during this era.
It was only the Maladjusted period that suffered.
Chiccarelli is praised because his introduction coincided with a long overdue upturn in the quality of songwriting. But I, like you, feel recent albums would’ve sounded even better with Lillywhite producing.It's not so much about whether other fans criticise this production. I'm comparing it with his later productions and I don't understand why Chiccarelli, for example, is praised so highly (by Moz too), or even the brave and late Fynn. The classic era of Morriseey ends for me at the end of 1997 with Maladjusted. Even here, I don't see, that Lillywhite did much wrong. This record sounds like a mid 90s bitterswet summer ending: pointing backwards, nostalgic and transfigured. In terms of Morrissey's solo work, still the best approach, to connect it with a certain period in your own life or the mood of the seasons.
Whenever he sounds in this direction today (take for example the 3 donated outtakes) the songs are great, but don't seem to fit in with his current thinking about his external impact.
Very good announcement, my friend. Without completely opening up the discussion, I don't understand, that Chiccarelli is praised so much because he ends up recording a lot live, especially Morrissey's vocals. Lillywhite has more overdubs and many more effects on his voice. Of course, it would be a nice statement to say that JC's production is more homogeneous, but to my ears Lilywhite simply offers the more exciting and mysterious sound picture. And that, 3 different times.Chiccarelli is praised because his introduction coincided with a long overdue upturn in the quality of songwriting. But I, like you, feel recent albums would’ve sounded even better with Lillywhite producing.
The More you Ignore Me sounds luscious. It vies with Alma Matters and Playboys, for the status of my most played/loved single.