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Via the Gurdian:

Johnny Marr, the Smiths

I understand the inspiration for “Hand in Glove” necessitated calling at Morrissey’s house without an invitation.
I was round at my parents’ house and I’d moved my cassette player to where I was living. There was this little guitar that Andy [Rourke] had given me and I’d given to my little brother. I played the riff and immediately knew it was a song. Angie had her parents’ little Volkswagen outside; she’d just passed her test, and we drove to Morrissey’s, and by the time she’d driven there she’d said about five times: “Make it sound like Iggy.” So I went from these clipped kind of funky chords to this big open thing. She was absolutely right. I’ve still got this three-track cassette recorder, which is a kind of an anomaly; it’s two-track and you can bounce it down, and we wrote all the early Smiths stuff on that.

“Bigmouth Strikes Again” has just one opening verse, which is unusual for a pop song. Was the shape of the song your vision or was it determined by Morrissey’s vocal decisions?
Both of us had absolute unshakable faith that what the other person was doing was right, whether we heard it or not. Alongside that, unshakable faith in what we were doing individually. In that example, it didn’t need to go anywhere else … It would have got too conceptual, too conceived, too thought out and just too fucking crafted had I put some clever bit in there. It’d have been bottling it. Sometimes it’s cooler just to let it go, let it fly. “Rusholme Ruffians” is an extreme example of that. It’s just the same cycle. The same point being made round and round and round … It would have been the easiest thing in the world to add a device to break it up. I wanted it to be insistent.



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