This is something I've never heard before. The story is told on Twitter by Dennis Herring, who produced Modest Mouse.
Yes I know of those three songs, I was replying to Dirk Blaggard's comment reproduced below, where he suggests Morrissey did a couple of accapella songs lolMoney Changes Everything:
Goddard calls it a 'choice',
SPIN, June '88 asserted:
"Clearly Johnny Marr needed other outlets for his guitarwork. Although occasional solos crept into songs like “Shoplifters of the World Unite” and “Sheila Take a Bow,” the crafted instrumentals that graced several Smiths’ B-sides disappeared. Rumor has it that Morrissey opposed their inclusion or refused to write lyrics for them, although Morrissey claims that “there was never any political maneuvering. It was never a battle of power between Johnny and myself. The very assumption that a Smiths instrumental track left Morrissey upstairs stamping his feet and kicking the furniture was untrue.“
Still, Morrissey refused to write lyrics for “Money Changes Everything,” which, after the Smiths’ demise, passed into Bryan Ferry’s hands and became “The Right Stuff” (the first single on Bête Noire)."
Oscillate Wildly:
"Surprisingly, the concept of a vocal-free Smiths track came from Morrissey rather than Marr. ‘I suggested that “Oscillate Wildly” should be an instrumental,’ the singer revealed. ‘Up until that point Johnny had very little interest in non-vocal tracks … I totally approved but, obviously, I didn’t physically contribute.’ As Marr verifies, ‘There was never any plan for it to have lyrics. It was always going to be an instrumental and Morrissey encouraged me all the way.’"
Daize Train:
"Marr wrote it – as always – in the hope that Morrissey would provide lyrics. According to the singer, ROUGH TRADE’s Geoff Travis had tried to pressurise him into providing words for the tune, insisting that the result could be The Smiths’ first number one. ‘[But] I thought it was the weakest thing Johnny had ever done,’ explained Morrissey. ‘I said, “No, Geoff, it’s not right.”’ Producer John PORTER also regretted Morrissey’s vetoing of the tune (‘It could have made a great song’) though agreed that as an instrumental it was ‘a bit of a throwaway’."
Regards,
FWD.
Just like arguing?Yes I know of those three songs, I was replying to Dirk Blaggard's comment reproduced below, where he suggests Morrissey did a couple of accupella songs lol
"..Also Morrissey famously refused to even put music on a couple of songs (or was it one?)"
Arguing? I was taking the piss.Just like arguing?
'Famously' = Smiths.
That quote appears to be in a Smiths context. The whole of that reply is about The Smiths. Does not refer to any a capella and appears to be referring to exactly what I've posted background information about.
FWD.
I'd guess 'music' should read 'lyrics'
I miss the days when Morrissey's standards were so high that he would challenge even rare, once-a-blue-moon misfires like The Draize Train - something he probably wanted to bin - and then be challenged back, ultimately keeping the instrumental. That alone proves they were two equal partners. Mind-boggling to think that just a few years later, he was writing lyrics for dross that made Draize look like a masterpiece.Money Changes Everything:
Goddard calls it a 'choice',
SPIN, June '88 asserted:
"Clearly Johnny Marr needed other outlets for his guitarwork. Although occasional solos crept into songs like “Shoplifters of the World Unite” and “Sheila Take a Bow,” the crafted instrumentals that graced several Smiths’ B-sides disappeared. Rumor has it that Morrissey opposed their inclusion or refused to write lyrics for them, although Morrissey claims that “there was never any political maneuvering. It was never a battle of power between Johnny and myself. The very assumption that a Smiths instrumental track left Morrissey upstairs stamping his feet and kicking the furniture was untrue.“
Still, Morrissey refused to write lyrics for “Money Changes Everything,” which, after the Smiths’ demise, passed into Bryan Ferry’s hands and became “The Right Stuff” (the first single on Bête Noire)."
Oscillate Wildly:
"Surprisingly, the concept of a vocal-free Smiths track came from Morrissey rather than Marr. ‘I suggested that “Oscillate Wildly” should be an instrumental,’ the singer revealed. ‘Up until that point Johnny had very little interest in non-vocal tracks … I totally approved but, obviously, I didn’t physically contribute.’ As Marr verifies, ‘There was never any plan for it to have lyrics. It was always going to be an instrumental and Morrissey encouraged me all the way.’"
Daize Train:
"Marr wrote it – as always – in the hope that Morrissey would provide lyrics. According to the singer, ROUGH TRADE’s Geoff Travis had tried to pressurise him into providing words for the tune, insisting that the result could be The Smiths’ first number one. ‘[But] I thought it was the weakest thing Johnny had ever done,’ explained Morrissey. ‘I said, “No, Geoff, it’s not right.”’ Producer John PORTER also regretted Morrissey’s vetoing of the tune (‘It could have made a great song’) though agreed that as an instrumental it was ‘a bit of a throwaway’."
Regards,
FWD.
Good points. No question, The Draize Train is definitely not one of Johnny's finest, but I like the live version on Rank. It seems to have a stepped-up enthusiasm that the recorded version lacks.I miss the days when Morrissey's standards were so high that he would challenge even rare, once-a-blue-moon misfires like The Draize Train - something he probably wanted to bin - and then be challenged back, ultimately keeping the instrumental. That alone proves they were two equal partners. Mind-boggling to think that just a few years later, he was writing lyrics for dross that made Draize look like a masterpiece.
Vegas Crotch Sphincter .812
why didnt the annoying little twat
save all this 'groovy'
for his suco solo albums. lets
plug the twit and find the truth
Well, I never!!!Beyond this year, Marr will continue to live and create great music while Morrissey leaves this physical world at the end of his final run of shows in Vegas. While Moz suffers in Hell, we’ll continue to enjoy the brilliance of Marr here on Earth.
Vegas Crotch Sphincter .812
Go to bed fool
unhinged weak minded troll
not enough Le fans to open a forum
To me, the Rank version is the official version. I always thought it was great and am surprised to hear some people don't like it.Good points. No question, The Draize Train is definitely not one of Johnny's finest, but I like the live version on Rank. It seems to have a stepped-up enthusiasm that the recorded version lacks.
Can't help but wonder if Morrissey at all tried to write lyrics for it and then said screw it... or he really had no interest from the get-go?
Go to bed fool
well they were released as instrumentals B sides and B Ferry put words to oneWhat songs are they?
Well, I wasn't suggesting he was aiming at acapella, at all. Though granted, it was a sloppy sentence. I was carrying a couple of coffees when I wrote it , so I can see why you inferred that - what I meant was Morrissey refused to put his VOCAL music on Johnny's songs .Yes I know of those three songs, I was replying to Dirk Blaggard's comment reproduced below, where he suggests Morrissey did a couple of accapella songs lol
"..Also Morrissey famously refused to even put music on a couple of songs (or was it one?)"
Possibly, a similar reason as to why he turned down Bernard Butlers Yes . He couldn't do anything with itGood points. No question, The Draize Train is definitely not one of Johnny's finest, but I like the live version on Rank. It seems to have a stepped-up enthusiasm that the recorded version lacks.
Can't help but wonder if Morrissey at all tried to write lyrics for it and then said screw it... or he really had no interest from the get-go?
Well, this is true but he didn't have to put up with Johnnys gangs behind the back gossip. So, maybe there was at least that.I miss the days when Morrissey's standards were so high that he would challenge even rare, once-a-blue-moon misfires like The Draize Train - something he probably wanted to bin - and then be challenged back, ultimately keeping the instrumental. That alone proves they were two equal partners. Mind-boggling to think that just a few years later, he was writing lyrics for dross that made Draize look like a masterpiece.