Not got my copy yet, but he discusses his work on all Moz albums.
P.
P.
I assume the arthouse line was a flub by the transcriber.
I know you did.
This is brilliant stuff -many thanks Uncle Peter.
One of the biggest tragedies of Morrissey's decision to market himself as a 'solo' act (when he hasn't played or written a single note of music) is that we never hear about the musical side of the songs other than some vague comment about how 'strong' they are.
It's fantastic to hear these little anecdotes e.g. where Boz wrote Paris, the fact that it was Boz's wife's idea to put the accordion type sound on the genius 'When Last I Spoke to Carol', and all the other snippets. So much more interesting than hearing Morrissey bang on about the meat industry or the flood of immigrants for the billionth time.
Wouldn't it be great to have a joint interview with Morrissey and Boz, hear what they're like together (serious, awkward, matey?), with more stories about how songs are developed, who makes the decisions about arrangements etc. We tend only to get the musical background to songs in books like Mozipedia (and these comments by Boz will surely feature heavily in any update).
I wonder if Boz had to check with Morrissey about doing this interview?
Also, interesting to hear him talk about the new album. Morrissey said that it was ready to go way back earlier in the year, but Boz tells us they haven't started recording it. What did Morrissey mean then? Are there demos?
I would personally like to read an interview like this but with Jesse Tobias...I would LOVE to hear him tell stories about how he writes such wonderful and endearing music and how he was inspired to do so.
(Although Action and Art-hounds are decent enough).
I clearly disagree. Action is - like many other songs - built up from standard harmonies and arrangement, and musically rather boring, in my humble and insignificant opinion. It's the Moz's lyrics, voice and melodies that do the trick, as always. From the new songs, Scandinavia is the only one that touches me both concerning lyrics AND music; the rest of the new songs are ... well maybe you're right, they're decent enough but I want more More strings, more trumpets, more orchestral epicness, assuming that word exists - to sum it up, more musical drama. The perfect Morrissey song is musically as witty as the lyrics, which might be hard to achieve but only fools and accomplished adults stop dreaming, right?
When I said they were 'decent enough' it wasn't really meant as a big compliment! Unfortunately, Morrissey's lyrics seem to be continuing their downward spiral. 'Tongue against tongue and we've only just begun' from 'Action' sounds like a lyric from some dire mid-80s soft rock song. And 'can't get a table for fat Aunt Mable' is one of the worst lyrics of all time. We can only hope it doesn't make the final version.
I have to agree. The palette of guitar band with the odd synth. whilst being a fine and wonderful thing, has been a staple for Moz and it would be great to see him extend his range. There are a couple of songs (Never Played Symphonies being one) where he appears to use an orchestra (or a synth using samples) and they're excellent. My guess though, if he is scrabbling around for a recording contract, is that the expense of an orchestra will be beyond him. Shame.I clearly disagree. Action is - like many other songs - built up from standard harmonies and arrangement, and musically rather boring, in my humble and insignificant opinion. It's the Moz's lyrics, voice and melodies that do the trick, as always. From the new songs, Scandinavia is the only one that touches me both concerning lyrics AND music; the rest of the new songs are ... well maybe you're right, they're decent enough but I want more More strings, more trumpets, more orchestral epicness, assuming that word exists - to sum it up, more musical drama. The perfect Morrissey song is musically as witty as the lyrics, which might be hard to achieve but only fools and accomplished adults stop dreaming, right?
Quite - Tobias's songwriting does leave a little to be desired although his best efforts are easily better than Alain's and Boz's worst. Give me 'In the Future' or 'Ok by myself' over 'Father Must Be Killed' or 'Good in your time' any day.
Also, he's much better than Alain when it comes to playing Smiths songs. Jesse's versions of 'I Know It's Over' and 'Please Please Please' are as sublime as the originals, and the current tour's 'Still Ill' is pretty hard to fault. Remember the mess Alain used to make of Smiths songs in the late 90s? Is It Really So Strange and Paint A Vulgar Picture were bordering on unrecognisable!
Still, we clearly need Alain back in the songwriting fold - an album of standard Tobias fare and modern-day Boz contributions does not augur well (Although Action and Art-hounds are decent enough).