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As the lead singer of the Smiths, arguably the most important indie band in Britain during the '80s, Morrissey's theatrical crooning and literate, poetic lyrics - filled with romantic angst, social alienation, and cutting wit - connected powerfully with a legion of similarly sensitive, disaffected youth. These fans turned the Smiths into stars in Britain, exerting tremendous pull over much of the country's guitar-based music for many years after their breakup, and even if the group remained underground cult artists in the States, they had a fan base that slowly, steadily grew larger over the years. Indeed, a few years after the Smiths' breakup in 1987, Morrissey's American cult had grown to the point where he became more popular in the U.S. Than in his homeland, where he nevertheless was never far from the music press headlines. After a quiet period around the turn of the millennium, Morrissey launched a comeback in 2004 with You Are the Quarry, an album whose success proved that he remained one of the most beloved figures in alternative rock. Stephen Patrick Morrissey was born May 22, 1959, in Manchester, England; not surprisingly a shy, awkward youth, he became obsessed with music and film as a teenager and devoted his writing talents to penning a New York Dolls fanzine (he was the president of their U.K. Fan club), as well as a tribute to James Dean and numerous opinionated letters to the weekly music paper Melody Maker.

During the explosion of punk in the late '70s, Morrissey unsuccessfully auditioned for Slaughter & the Dogs and sang for a brief period with a band called the Nosebleeds. He met guitarist Johnny Marr in 1982 and the two began writing songs together, forging one of the most productive partnerships British pop had seen in quite some time. The Smiths' 1983 debut single, 'Hand in Glove,' a love song filled with oblique references to homosexuality, made them an underground sensation in the U.K. And as Morrissey attracted more attention, he demonstrated a flair for manipulating the media.

His interviews were filled with blunt, unpredictable opinions and intentionally outrageous statements and his notoriety wasn't hurt by his stage presence (he performed wearing a hearing aid with flowers sticking out of his back pockets) or his self-proclaimed celibacy in the wake of much speculation about his sexuality. Possessed of a darkly cynical bent as a lyricist, he was often misinterpreted as advocating some of the more disturbing things he sang about, which only added to the furor surrounding the band. The Smiths' eponymous 1984 debut was a smash in the U.K.

And in its wake, Morrissey began promoting his political views, heavily criticizing Margaret Thatcher, and advocating vegetarianism (hence the title of the follow-up LP, Meat Is Murder). The Queen Is Dead (1986) was acclaimed as a masterpiece, but friction between Morrissey and Marr was growing. Marr departed after 1987's Strangeways, Here We Come and Morrissey broke up the rest of the band to begin a solo career. Feeling betrayed by Marr's defection, Morrissey channeled his frustration into creating new material with producer Stephen Street.

Uloz.to is the largest czech cloud storage. Upload, share, search and download for free. Credit allows you to download with unlimited speed. 'Everyday Is Like Sunday' is the third track of Morrissey's debut solo album, Viva Hate, and the second single to be released by the artist. It made number nine in the UK Singles Chart and remains one of his best-known songs.

His first two solo singles, 'Suedehead' and the gorgeous 'Everyday Is Like Sunday,' were significant British hits in 1988 and his first album, Viva Hate (its title a reference to the Smiths' breakup), was commercially and critically well received. He released several more high-quality singles, including 'The Last of the International Playboys' and 'Interesting Drug,' but spent an inordinate amount of time laboring on the follow-up album, issuing the stopgap compilation Bona Drag in 1990. In the meantime, the Madchester fad was sweeping British indie music and when the lackluster Kill Uncle was finally released in 1991, it only magnified the disappointment. Reviewers took Morrissey to task, suggesting that the record marked the end of his glory days and that he would never be able to match the songs he'd written in tandem with Marr.

A misperceived flirtation with British nationalism (not helped by a couple of seemingly racial caricatures in recent songs) tarnished his image even more in the U.K. Press during 1992, this coming amid even more frequent reports of feuds with his managers, business associates, and ex-bandmates.

All the controversy overshadowed the fact that 1992's Mick Ronson-produced Your Arsenal was a smashing return to form; Morrissey used his new guitar tandem of Alain Whyte (who co-wrote much of the material) and Boz Boorer (formerly of rockabilly revivalists the Polecats) to full advantage in crafting a crunchy, glammed-up record. It easily ranked as the hardest-rocking of his career.

Meanwhile, over in the U.S., tickets for his upcoming tour were selling like hotcakes and he managed to sell out L.A.' S Hollywood Bowl even faster than the Beatles had.

His confidence renewed by his American success (to the point where he permanently moved to Los Angeles), Morrissey delivered an equally strong follow-up in 1994's calmer Vauxhall and I, which even got him his first Top 50 singles chart entry in the U.S. With the MTV-supported 'The More You Ignore Me, the Closer I Get.'

A hit-and-miss compilation, The World of Morrissey, followed in 1995, after which he switched labels (from Sire to RCA) for the first time since the Smiths' debut album. Also issued in 1995 was the prog rock-informed Southpaw Grammar, which confounded many and perhaps prevented him from expanding his American audience past a now sizable group of longtime listeners.

In 1996 he moved to another new label, this time Island, and released Maladjusted the following year. It failed to sell well outside of his most fanatical followers and his relationship with Island ended in 1998. In the years that followed, Morrissey remained a massively popular touring attraction on the strength of his singular identity, despite the fact that he had yet to land another record deal. Finally, he signed his Attack label to Sanctuary, and released his first studio album in seven years, 2004's You Are the Quarry featuring production by Jerry Finn (blink-182, Sum 41, and Green Day). The album's leadoff single, 'Irish Blood, English Heart,' garnered considerable press, radio, and music television attention, and established a comeback of sorts. The concert recording Live at Earls Court followed one year later, as did the DVD concert Who Put the 'M' in Manchester?, which saw a brief theatrical release.

His second full-length for Sanctuary, Ringleader of the Tormentors, was produced by Tony Visconti (T. Rex, David Bowie) and released in spring 2006. Recorded in Rome, the album also featured some orchestration by famed composer Ennio Morricone. Around this time, Morrissey's longtime guitarist and writing partner Alain Whyte left the band. Although Whyte continued to contribute songs for Morrissey, he was largely replaced on album and in live shows by guitarist Jesse Tobias. In 2009, Morrissey released Years of Refusal, his first under Decca after label changes found Sanctuary being absorbed into the Universal Music Group (which owned Decca).

Produced by Finn and once again showcasing guitarist Tobias, Years of Refusal found Morrissey going for a more stripped-down, back-to-basics rock approach. Sadly, Finn suffered a cerebral hemorrhage just after wrapping production on the album. He fell into a coma and died just over a month later on August 21, 2008. Despite the tragedy surrounding it, Years of Refusal was largely hailed as Morrissey's best album in years. Over the next few years, Morrissey busied himself with rejiggered reissues of his solo material and various other compilations surfaced, including the 2009 B-sides collection Swords and the 2011 set Very Best of Morrissey; he also played live with semi-regularity. Early in the summer of 2012, he announced in an interview with JuiceOnline.com that he was tentatively planning to retire in 2014. Morrissey then spent much of 2012 and 2013 touring the world, either side of an early-2013 period of bad health that saw him hospitalized first for an ulcer and then for a bout of pneumonia.

A film of a March 2013 show at L.A.' S Hollywood High School saw a cinema release as 25Live that August and was issued on DVD and Blu-ray before the end of the year.

His autobiography - published through Penguin Classics that October - was well-received and became a number one best-seller in the U.K. In January 2014, despite his earlier proclamation of retirement, Morrissey signed a new record deal, this time with Capitol. Six months later he released his tenth studio album, World Peace Is None of Your Business, on Capitol's Harvest imprint. In promotion of the album, Morrissey shot several short films, released online, in which he delivered spoken word versions of the title track as well as the singles 'Istanbul,' 'Earth Is the Loneliest Planet,' and 'The Bullfighter Dies.' By August of 2014 Morrissey was once again without a label, having parted ways with Harvest. He also revealed that he'd undergone treatment for an undisclosed form of cancer. Nonetheless, he continued touring, wrapping up the year with a two-month stint in Europe.

In January 2015, following several live shows in the U.K., Morrissey appeared in a high-profile concert at New York's Madison Square Garden supported by Blondie. That March he released a fifth single from World Peace Is None of Your Business, the digital download 'Kiss Me a Lot.' Also in 2015, Morrissey announced the publication of his debut novel, List of the Lost, for Penguin.

In 2017 he returned with the Low in High School LP. Steve Huey.

It’s Smiths/Morrissey week here on the Analog Kid blog! Why, you ask? Because it may all end tomorrow, or it could go on forever (in which case I’m doomed).

Back in the ancient early days of the Analog Kid blog (i.e. Last December), one of my first posts was about some of Morrissey’s rarest b-sides. This was my introduction to that blog entry: Morrissey’s solo career has been a record collector’s dream, but also a bit of a nightmare. Moz always adds new tracks to his single releases, and he even occasionally releases stand-alone singles that do not appear on any album.

He has also released many compilation CDs that include some of these rare songs, but these discs often contain multiple versions of album tracks that fans already own. It can be very frustrating for someone to track down every Morrissey song, not to mention quite expensive. In fact, many of Morrissey’s best b-sides remain unavailable on any compilation.

If you want to get them, you have to track down the original releases and spend big bucks– unless, of course, you happen to stumble upon the Analog Kid blog and find the idiot who has already done just that Read/listen to the whole post here: And now, I present Part 2 of Morrissey’s Rarest B-Sides! Morrissey: Pregnant For The Last Time U.K. 12″ HMV, 1991 1. “Pregnant For The Last Time” (Morrissey/Nevin) 2. “Skin Storm” (Hodgson) 3. “Cosmic Dancer Live” (Bolan) 4. “Disappointed Live” (Morrissey/Street) I included the song “Pregnant For The Last Time” in Part 1 of this post, but the entire single is really a rarity.

“Skin Storm” is a great track that has never appeared on any Morrissey compilation, and the live versions of “Disappointed” and T-Rex’s “Cosmic Dancer” effectively capture the lunacy of early Moz solo gigs. Morrissey: “Get Off The Stage” (Morrissey/Rourke) From the U.K. 12″ single Piccadilly Palare HMV, 1990 Hard-core Morrissey fans understand his wicked sense of humor, and this self-deprecating track is a great example of it. Andy Rourke co-wrote the song and plays bass, and this single marks the last collaboration between Morrissey and any former members of The Smiths. Morrissey: “Journalists Who Lie” (Morrissey/Street) From the U.S. 12″ Our Frank Sire Records, 1991 An interesting b-side if only for the hint it provided into Morrissey’s future rockabilly leanings Morrissey: “Will Never Marry” (Morrissey/Street) From the U.K. 12″ Everyday Is Like Sunday HMV, 1988 This is the full-length “Will Never Marry,” not the neutered version featured on the Bona Drag compilation.

Morrissey: “There Speaks A True Friend” (Morrissey/Whyte) From the U.K. 12″ You’re The One For Me, Fatty HMV, 1992 “There Speaks A True Friend” is another slight-but-slightly-charming b-side that has never appeared anywhere else. I especially enjoy the George-Harrison-circa-1962 attempt at a guitar solo. Morrissey: “Sweet And Tender Hooligan Live” (Morrissey/Marr) From the U.S. 12″ Interesting Drug Sire Records, 1989 Morrissey usually ignored The Smiths’ catalog at his solo gigs until the mid-’90s, but he did play “Sweet And Tender Hooligan” at his very first live show in Wolverhampton in 1988. Mike Joyce and Andy Rourke were with him (along with Smiths touring guitarist Craig Gannon), so this was really as much a goodbye to the Smiths as the start of a solo career. Morrissey & Sioxsie: “Interlude” (Delerue/Shaper) From the U.K.

12″ Interlude Parlophone, 1994 Two legends collide! Inexplicably unavailable for purchase anywhere on planet Earth at the moment Bonus Tracks! The first rule of The Analog Kid blog is that if you write about a song on the Analog Kid blog, you share the song on the Analog Kid blog. Morrissey: “Our Frank” (Morrissey/Nevin) From the U.S. 12″ Our Frank Also available on the album Kill Uncle Sire Records, 1991 Morrissey: “Everyday Is Like Sunday” (Morrissey/Street) From the U.K. 12″ Everyday Is Like Sunday Also available on the album Viva Hate HMV, 1988 Morrissey: “You’re The One For Me, Fatty” (Morrissey/Whyte) From the U.K. 12″ You’re The One For Me, Fatty Also available on the album Your Arsenal HMV, 1992 Morrissey: “Interesting Drug” (Morrissey/Street) From the U.S.

12″ Interesting Drug Also available on the compilation album Bona Drag Sire Records, 1989 Morrissey & Sioxsie: “Interlude Extended” (Delerue/Shaper) From the U.K. 12″ Interlude Parlophone, 1994 Morrissey: “Piccadilly Palare” (Morrissey/Armstrong) From the U.K. 12″ Piccadilly Palare Also available on the compilation album Bona Drag HMV, 1990 The Beatles: “One After 909 Take 2” (Lennon/McCartney) From the bootleg CD Ultra Rare Trax Vol. 1 Swingin’ Pig Records, 1988. Every Tuesday, the Analog Kid blog goes back in time and features some groovy R&B/soul songs from a specific year. Sometimes you’ll hear songs from individual artists, and other times you’ll get an entire full-length classic LP ripped directly from the Analog Kid’s vast vinyl vault.

Warning: by R&B/soul, I also mean disco. I could go all C + C Music Factory on your ass at any given moment, so just be ready! It’s Smiths/Morrissey week here on the Analog Kid blog!

Why, you ask? Because I wear black on the outside, ’cause black is how I feel on the inside.

When I decided to do a Smiths/Morrissey week on Sunday night, my first thought was about how much fun it would be. My second thought: what could I possibly post on Groovy Tuesday, a day in which I traditionally feature soul and R&B classics? The Smiths were many things, but soulful isn’t really one of them. And then it came to me: “Hippychick!” OK, so “Hippychick” is really more dance than R&B/soul– but it’s close enough, and it’s a damn fine song to boot.

I have written many times about my fondness for 94.5 The Edge (an alternative music station based in North Texas in the late ’80s and early ’90s), and The Edge played the shit out of “Hippychick” in 1990. In fact, they even put “How Soon Is Now?” back into regular rotation just to mess with listeners’ brains– you were never quite sure which song it was until the beat kicked in. Confession time: I wasn’t really into The Smiths or Morrissey until 1989. That’s when The Edge came into existence, and that’s when I first started hearing the classic Smiths songs mixed in with new Morrissey material on a daily basis. My first Moz-related purchase was the 12″ single for “Ouija Board, Ouija Board,” and after that the floodgates opened. Within months I owned all of The Smiths’ albums and Viva Hate, and my daily wardrobe soon consisted of a variety of oversized Smiths/Morrissey t-shirts.

“Hippychick” was there in the beginning for me, and it will always hold a special place for that reason. The fact that it brilliantly samples what many consider to be The Smiths’ masterpiece only makes it better.

Important programming note: be sure to check out the bonus tracks for two incredibly rare versions of “How Soon Is Now?” And yes, one of them is the Holy Grail of Smiths collectables: the Italian 12″ mix! Soho: Hippychick U.S.

CD Single Atco Records, 1990 1. “Hippychick Extended Vocal” (London) 2. “Hippychick No Acid Ted Mix” (London) 3. “Hippychick Never Trust A Hippy Mix” (London) 4. “Hippychick Happiness Is A Warm Hippy Mix” (London) 5. “Hippychick Dub Plate Instrumental” (London) Bonus Tracks! The first rule of The Analog Kid blog is that if you write about a song on the Analog Kid blog, you share the song on the Analog Kid blog.

Soho: “Hippychick” (London) From the album Goddess Atco Records, 1990 Morrissey: “Ouija Board, Ouija Board” (Morrissey/Street) From the U.S. 12″ single Ouija Board, Ouija Board Sire Records, 1989 Morrissey: “I Don’t Mind if You Forget Me” (Morrissey/Street) From the album Viva Hate Sire Records, 1988 The Smiths: “How Soon Is Now?” Withdrawn Italian 12″ Version (Morrissey/Marr) From the Italian 12″ single William, It Was Really Nothing Rough Trade/Virgin, 1984 The Smiths: “How Soon Is Now? Single Edit” (Morrissey/Marr) From the U.S.

7″ single How Soon Is Now? Sire Records, 1984 The Smiths: “Unloveable” (Morrissey/Marr) From the U.K. 12″ Bigmouth Strikes Again Rough Trade Records, 1986. As you probably know by now, The Analog Kid lives for b-sides and non-album cuts.

In this continuing series, I will share some of my favorite EPs and 12″ singles from over the years in their entirety. And since it’s digital, you don’t have to worry about correctly setting the turntable speed to or 33⅓ or 45!

It’s Smiths/Morrissey week here on the Analog Kid blog! Why, you ask? Because the pleasure– the privilege– is mine.

We’ll start out with the U.K. 12″ single for “The Boy With The Thorn In His Side,” one of my favorite Smiths singles.

The song reached #23 on the British charts in the fall of 1985, and a slightly remixed version was also included on 1986’s The Queen Is Dead. As much as I love “The Boy With The Thorn In His Side,” it’s the b-sides that make this single so special to me.

Both “Rubber Ring” and “Asleep” are classic Smiths songs, and this 12″ is the only place you can hear the original mixes in which both songs are fused together on side two. Obviously the WordPress links won’t allow you to play the songs with no gap, but HINT HINT you can right-click HINT HINT the song titles HINT HINT and use save-as HINT HINT to transfer the songs locally HINT HINT and listen to them as The Smiths intended. Can you guess the identity of the celebrity on the cover of “The Boy With The Thorn In His Side” single? Hint: he lived at 22 Twain in a certain mid-’70s mystery movie spoof The Smiths: The Boy With The Thorn In His Side U.K.

12″ Rough Trade Records, 1985 1. “The Boy With The Thorn In His Side” (Morrissey/Marr) 2. “Rubber Ring” (Morrissey/Marr) 3. “Asleep” (Morrissey/Marr) Bonus Tracks!

The first rule of The Analog Kid blog is that if you write about a song on the Analog Kid blog, you share the song on the Analog Kid blog. The Smiths: “The Boy With The Thorn In His Side” (Morrissey/Marr) From the album The Queen Is Dead Rough Trade Records, 1986 The Smiths: “Rubber Ring” (Morrissey/Marr) The Smiths: “Asleep” (Morrissey/Marr) From the compilation album The World Won’t Listen Rough Trade Records, 1987 The Smiths: “There Is A Light That Never Goes Out” (Morrissey/Marr) From the album The Queen Is Dead Rough Trade Records, 1986.

On July 2, 2005, the classic ’70s-era Pink Floyd lineup played live together for the first time since 1981 at the Live 8 charity concert. It will also be the last, as keyboardist Richard Wright passed away in 2008. The smile on Roger Waters’ face that day was as big as mine, and it’s a musical moment that I will never forget. Pink Floyd: Live At Live 8 Recorded on July 2, 2005, in London 1.

“Speak To Me/Breathe” (Mason/Waters/Gilmour/Wright) 2. “Money” (Waters) 3. “Wish You Were Here” (Waters/Gilmour) 4. “Comfortably Numb” (Waters/Gilmour) Bonus Tracks!

The first rule of The Analog Kid blog is that if you write about a song on the Analog Kid blog, you share the song on the Analog Kid blog. Pink Floyd: “When The Tigers Broke Free” (Waters) From the 7″ single The Wall – Music From The Film Columbia Records, 1982 Pink Floyd: “The Last Few Bricks” (Waters) From the album Is There Anybody Out There? The Wall Live 1980-81 Columbia Records, 2000 Pink Floyd: “Come In Number 51, Your Time Is Up” (Waters/Gilmour/Mason/Wright) From the soundtrack album Zabriskie Point MGM Records, 1970. “The Lost Boys: Hard-To-Find ’80s Albums” gives you exactly what the title implies: a rare or out-of-print album from the ’80s in its entirety. Some will be from CD, but most will have been lovingly transferred from pristine vinyl culled directly from the Analog Kid’s vast collection. Whatever album I choose, it will be one that you can’t easily find a physical copy for sale on Amazon or in your local record store (if you even have one anymore).

Deathby stereo! Something really weird happened in 1986: all of a sudden, progressive rock was somehow cool. Madonna and Whitney Houston may have been dominating the charts, but some prog-rock “dinosaurs” managed to do pretty damn well for themselves. Consider the following: -On July 19, Genesis’ “Invisible Touch” hit #1 on the Billboard Hot 100.That same week, the #2 song in the U.S.A. Was Peter Gabriel’s “Sledgehammer.” -Emerson, Lake & Powell had a #2 Mainstream Rock hit with “Touch And Go.” -ELO had their first Top 20 hit in years with “Calling America.” -Kansas hit #19 on the Hot 100 with “All I Wanted.” What caused this seemingly-out-of-nowhere explosion of chart success for these so-called progressive rock bands?

I have a theory, but I won’t discuss it in detail because it would force me to mention (and therefore post) a certain song from a certain band that I think just might be the worst song of all time. The song I will not mention was a huge #1 smash in 1985, and I think that song’s success may have inspired some of these bands to modernize their sound in search of a hit. OK, OK, I’ll say it: Starship’s “We Built This City” may have induced migraines for me (and countless other listeners) throughout 1985, but in the end it really helped out the careers of some long-existing bands who really needed a kick in the ass. Perhaps it wasn’t really the modernization of sound that led these groups to success, but just a very simple realization instead: “If that piece of shit can hit #1, why can’t we?” One new band that fed off the “dinosaur” resurgence in 1986 was GTR.

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Legendary guitarists Steve Howe (Yes, Asia) and Steve Hackett (Genesis) combined forces to create the new supergroup, and their first (and only) album was an instant success. “When The Heart Rules The Mind” reached #14 on the Hot 100 and was an MTV staple, and the follow-up single “The Hunter” was also a big rock radio hit. “The Hunter” was written by Buggles/Yes/Asia keyboardist Geoff Downes, who also produced the GTR album.

Despite the success of the record ( GTR peaked at #11 on the album charts), Hackett left the band in 1987 and GTR was no more. The GTR album has been out of print for years, and isn’t even available as a digital download. Knee Deep In The Hoopla, of course, is still readily available for purchase. GTR: GTR Arista Records, 1986 1.

“When The Heart Rules The Mind” (Hackett/Howe) 2. “The Hunter” (Downes) 3. “Here I Wait” (Hackett/Howe) 4. “Sketches In The Sun” (Howe) 5. “Jekyll And Hyde” (Hackett/Howe/Bacon) 6.

“You Can Still Get Through” (Hackett/Howe) 7. “Reach Out (Never Say No)” (Hackett/Howe/Spalding) 8. “Toe The Line” (Hackett/Howe) 9. “Hackett To Bits” (Hackett) 10. “Imagining” (Hackett/Howe/Mover) Bonus Tracks! The first rule of The Analog Kid blog is that if you write about a song on the Analog Kid blog, you share the song on the Analog Kid blog.