Tag Archives: the smiths

Henry Rollins: “Morrissey Is No Longer On My Hitlist”

In an interview with the Guardian, legendary Black Flag ex-vocalist and inspirational speaker/comedian/poet, “The Abraham Lincoln of Punk Rock,” Henry Rollins engaged in an interview with the publication and discussed a multitude of issues including Monsanto, the US Congress, politics and oddly enough, Morrissey:

Guardian: On reflection, do you think it was harsh to say you wanted to make a house record out of the sound of Morrissey being burned to death?

Rollins: “Well, I like the guy. I think he’s very intelligent and has real good taste in music. It’s nothing I’d say on stage now because I think it’s poorly meant, but that’s why we humans are allowed subtly evolve here and there. There are definitely some people I wouldn’t mind seeing burned to death – I absolutely have a kill list. But not good old Morrissey. I think the world is a much better place with him in it.”

Indeed, the two have had a somewhat tumultuous relationship in their years in music, with Rollins historically being critical of him. Rollins eventually came to the conclusion, however, that Morrissey’s worldview is a lot more amicable with his worldview than he used to think. However, Rollins does still instate his hit list is far from over:

Guardian: Who is on the kill list?
Rollins: “Just people who need to get got. And there’s two for sure. There are different grades. There are a few people who could do with losing a hand. And I’d happily carry the petrol can, the cleaver, whatever it takes. As far as the kill list goes, though, there are two who’ve REALLY gotta go. Every day I don’t get them I consider a partial failure.”

Author’s note: italics reverted.

Video circa 1990 of Rollins on Rage criticizing Morrissey before playing the music video for “November Spawned a Monster.” It should be taken in mind that this video is aged and is very tongue-in-cheek. Take it with a grain of salt, but it’s funny to watch.

Henry Rollins just announced a world tour, just as Morrissey wrapped up his tour, ironically. Tour dates are below:




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Alte Feuerwache
Mannheim, Germany

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Frankfurt, Germany

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St George’s Hall
Bristol, UK

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Tyne Theatre
Newcastle, UK

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Bridgewater Hall
Manchester, UK

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London, UK

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Town Hall
Birmingham, UK

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London, UK

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Vicar Street
Dublin , Ireland

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Glasgow, UK

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Het Depot
Leuven , Belgium

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De Roma
Belgium, Antwerp

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Warsaw, Poland

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Sala Koncertowa Radia Wrocław
Wroclaw, Poland

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Kampnagel 26
Hamburg, Germany

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Cologne, Germany

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Amsterdam, Holland

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Theatre De Spil
Roeselare, Belgium

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Helsinki, Finland

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Göta Lejon
Stockholm, Sweden

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Club Moscow
Moscow, Russia

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Club Kosmonavt
St. Petersburg, Russia

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Kiev , Ukraine

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Havana Club
Tel Aviv, israel

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Liberty Hall
Lawrence, KS

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Thalia Hall
Chicago, IL

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Thalia Hall
Chicago, IL

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Turner Hall Ballroom
Milwaukee, WI

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SOKA University
Orange County, CA

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More Rare Smiths and Morrissey Demos and Live Tracks Leak

Well, it looks like I got my wish. As previously reported, a few days ago rare Smiths and Morrissey demos circulated to the surface of the Internet and were publicized on Morrissey-solo. As a disclaimer, I was aware some of these demos had existed in the collections of certain diehards but were not available on any major published bootlegs. As bootlegs collectors like myself know, a plethora of selfish collectors of certain music exist – and if they come all along something rare, they will oftentimes not share with a community of people who might be interested in it. Why else did Martin Shkreli raise the price of Pyrimethamine (trade name Daraprim) from $13 a pill to $833? But I digress…

The good news is that, right before 2016, even more demos, rare, uncommon, uncirculated or unheard, were publicized to the larger community of Morrissey fans on Morrissey-solo. While the site has a disputable reputation with Morrissey, many of their members can be quite resourceful.

Some of these unreleased tracks were to be included on Kill Uncle and Your Arsenal reissues planned by Warner/Sire in 2004, but the idea was eventually tossed aside. They are available as follows (previously unavailable bolded) :

Kill Uncle

1. “My Love Life” (Full Length at 4:50)
2. “Striptease with a Difference” (Available on the Revelation and Reader Meet Author bootlegs)
3. “Pregnant for the Last Time”
4. Trash (Live in Irvine, b-side to Everyday is Like Sunday 2010 reissue)
5. That’s Entertainment (Live in Irvine)

Your Arsenal

1. Fantastic Bird (Demo, available on the remastered Southpaw Grammar)
2. Pashernate Love (Long Version)
3. Let the Right One Slip In (Long alternate mix, available on the remastered Bona Drag)
4. Jack the Ripper (b-side to “Certain People I Know”)

The real treasures here though have been shared by Anonymous user going as “Michael Bone” (though the pseudonym’s origin is not as ambiguous as the mystery of the person’s identity). There are both Smiths and Morrissey demos that are previously unsurfaced as long as that term carries its torch. There are in descending order demos of: “Why Don’t You Find Out for Yourself,” “Dagenham Dave,” “You Must Please Remember,” “Bigmouth Strikes Again,” “Unloveable,” “Best Friend on the Payroll” and “I Know Very Well How I Got My Name”.

“Unloveable”, a Smiths b-side, is not just a different mix but exists as a different arrangement of the song entirely and “Bigmouth Strikes Again” has a much a stronger percussion presence, with slightly different articulation and lyrics. All these solo Morrissey demos with the exception of “I Know Very Well How I Got My Name” and “Why Don’t You Find Out for Yourself” originate from the Southpaw Grammar sessions, the other two from the Viva Hate and Vauxhall and I sessions respectively. “I Know Very Well How I Got My Name” is exceptionally beautiful in its acoustic majesty, and what I believe to be a higher quality mix of the long version available from the extensive bootleg series, The Never Heard Symphonies. The rest of these demos from Southpaw are not strictly acoustic but have a stronger acoustic presence than their studio versions, in a similar manner to the last leak from a couple days ago. Enjoy listening and keep collecting.

Rare Smiths & Morrissey Demos Leak: A Track By Track Review

Earlier today, Morrissey-solo forum member Uncleskinny released several rare/previous unreleased demos from the Smiths and Morrissey onto his Soundcloud. The earliest demo comes from the Smiths’ sessions during the recording of the 1986’s The Queen is Dead, an alternate version of “Never Had No One Ever”. The most recent demos would be an acoustic versions of “Nobody Loves Us”, “The Boy Racer” (with drums) and “Southpaw” (with strings and drums) from the Southpaw Grammar sessions during the spring of 1995. Early versions of “Bengali in Platforms” and “He Knows I’d Love to See Him” are also included. On the Soundcloud there are also instrumental live tracks from soundchecks, including unknown Smiths material.

Let’s go through them track by track, yes?


“Bengali in Platforms” from Morrissey’s debut album Viva Hate is an interesting inclusion because the song was originally jammed on during the last Smiths sessions, with Ivor Perry sitting in for absent guitarist Johnny Marr. Though this version probably does not bare any resonance to the Smiths’ unrecorded version, but the history of the song’s evolution is particularly interesting. Wicked guitar solo as well, presumably from Vini Reilly who collaborated on the album.


“He Knows I’d Love to See Him”, a b-side to 1990’s hit “November Spawned a Monster” marks the end of post-Smiths collaboration between Morrissey and Smiths bassist Andy Rourke, who continued to record, write and perform with Morrissey infrequently following the Smiths’ breakup. This version is more stripped down but the track makes up for it with a sparkling and stunning detailed vocal track.


“Never Had No One Ever”, the fourth track from The Queen is Dead after the macabre masterpiece “I Know It’s Over” is by no means lackluster but no one had told us about this! There’s a fullblown jazz trumpet chorus, out of this world falsetto and maniacal laughter throughout the background. Not the classic Smiths sound at all, but it is produced incredibly well.


This version of “The Boy Racer” is more reminiscent of the era between Vauxhall and I, Southpaw Grammar and Maladjusted, the string of acoustic driven singles like “Boxers” or “Sunny” that became adventurous ballads with the acoustic air. The guitar almost sounds Spanish, an influence which arise on latter albums such as his latest, World Peace is None of Your Business.


“Southpaw” the 10 minute title track to Southpaw Grammar, here is condensed to about 9 minutes. It presents the different sort of majesty, like what was highlighted in the Boxers and Sunny with a strong acoustic presence. This would easily be the climax of an acoustic Morrissey record. The material from this album holds up very strong, with Morrissey quoted as saying during our interview with him that, “I think it’s a criminally underrated album​ and the band were in full flourish… thought the band were so fantastic that the world would open up and finally admit that the Morrissey band were a formidable force.” It would have been interesting to see how a more acoustic direction would have taken this album and here we have a glimpse.


Lastly, we have “Nobody Loves Us”, the b-side to “Dagenham Dave”, the lead single off of Southpaw Grammar. The last testament to the acoustics of Southpaw Grammar, while it is missing the strong electric guitar leads, simply just Morrissey and two acoustic guitars makes for an amazing torch song. Some of my favorite Morrissey lyrics here too, “born again atheist, practicing troublemaker.” I can only hope more of these demos are released.

On the Soundcloud are several Smiths instrumentals which are truly masterful pieces, with Johnny Marr in his prime, none of which are previously known.

Morrissey is about to close off a successful tour with concerts in San Francisco, Los Angeles and Las Vegas the end of this December until early January. More info here.