The Smiths - Glastonbury 1984 Full Audio

Below is a video of the audio of The Smiths performance at Glastonbury 1984. I don't know if it was filmed at all (these were the days before Glastonbury was the massive event it is today.) In 1984 the licence was for only 35,000 people compared the the 150,000 who now attend.

The Smiths were a controversial addition to the bill as they were deemed to be too popular by the hardcore new age travelers who were the core audience at this time. I think The Smiths managed only two top ten singles in their lifetime so it wasn't like putting on Duran Duran!

The gatefold photo from Hatful of Hollow was taken backstage at Glastonbury before the gig.



These are Johnny Marr thoughts on the performance:

"...When the Smiths played Glastonbury in 1984, we were slightly out of our element. Previously, we'd always played to manic, devoted audiences who were more like supporters at a cup final, but at Glastonbury we were playing to people who largely hadn't seen us before. It wasn't like when Jay-Z played, but we were very "urban" compared to the other acts. Our songs were so fast that we got through our first four in about the time it took for the other bands to finish their intro. Eventually, I did manage to instigate a stage invasion, which raised a few eyebrows. One fan was trying to climb on stage, I helped pull him up, and then a few more people followed, and all of a sudden we'd managed to turn it into a Smiths gig.

What people don't realise is how mellow and low-key Glastonbury used to be. It wasn't televised, and it wasn't a career-defining moment back then. You'd turn up to find just three fields – and they would be by no means full. You had a choice between the shit field, the field no one cares about, or the muddy one. Today's video screens would have seemed like an utter abomination.
Glastonbury's rise in popularity has a lot to do with rave culture. People were getting together in warehouses at the end of motorways just to avoid the police, and then they realised Glastonbury offered thousands of people a chance to get together legally. Suddenly, Glastonbury no longer seemed an outdated idea, whereas in the 80s, it had been caught between the ideals of the 70s and something which had yet to be defined.
Worst Glastonbury moment The first 10 minutes of the Smiths' performance in 84, because the sound got screwed up on stage. My guitar was coming out of the bass amp, and the vocals were, too. They pulled things together . . . by the time of the last song...."

http://www.guardian.co.uk/music/2010/jun/04/glastonbury-festival-memories

Set List

• Nowhere Fast
• Girl Afraid
• Handsome Devil
• This Charming Man
• William, It Was Really Nothing
• Heaven Knows I'm Miserable Now
• Still Ill
• Jeane
• Barbarism Begins At Home
• Hand in Glove

{FULL BOOTLEG CONCERT}-{The David Jones Tape}
CND Festival, Worthy Farm, Glastonbury, Somerset, England 23rd June 1984.

http://www.smithstorrents.co.uk/forum/

The Smiths - Demos and Instrumentals Side Two

This is my review of the second side of the demos, instrumental and studio outtakes from The Smiths.

The link to the original blog post that alerted me to the existence of the Demo’s LP is here:

http://thepowerofindependenttrucking.blogspot.com/2011/01/mastered-smiths-stereo-demos-outtakes.html

Ask (early demo take)

The song sounds almost complete even at this early stage in its development. There is noticeable less guitars on this version and the song kicks off with clever interplay between Andy Rouke’s bassline and Mike Joyce’s drums before the guitars chip in. Johnny Marr’s single guitar beautifully carves out the chord structure and the instrumental coda wonderfully played.

Is it Really So Strange (Studio recording)

Is it Really So Strange is another song that was only released in its Peel Session version. This time as the b-side of Sheila Take A Bow. The studio recording features some slightly different lyrics “I found a tiny tidy house..”, different phrasing from Morrissey and a less frantic pace. Part of Johnny Marr’s guitar work is close to the sound of the reverbed soaked effect of How Soon is Now. This phrasing is mixed fairly low in the mix but adds a touch of colour that is missing from the peel session version. I think I prefer this take.

Shoplifters of The World Unite (Instrumental)

This take of Shoplifters starts much darker and harder than the single version. The swampy guitars are given more room to breathe and the rhythm is much tighter. Mike Joyce’s drums have a great harsh kick that powers the song along. The guitar break is a little less focussed but still glorious. Lovely interplay between the guitars and bass in the coda as well. The only pity is that this lacks a guide vocal.

Shelia Take a Bow (John Porter Version)

A much more sparkling arrangement than the single. A electric sitar echo’s the bassline. This version is very T Rex with the slashing guitars and thumping glam beat. It stands out as a new sound for the band and I think it is a better version than the one released.

Girlfriend in a Coma (Early Take)

This is the track that seems to have been causing the biggest stir on the internet and blogs. The Smith’s playing reggae! I must admit my heart sunk as I thought of Ob La De Ob La Da. I should have had more faith! In truth to my ears the arrangement is much close to Ska than full on reggae. This makes sense when you think of Suedehead and the kind of music listened to by 1970’s skinheads. The guitar part is all chicken strach funk with a lilting beating and bouncing bassline. The song has always been my least favourite Smith’s single a trite throw away trifle. This version is miles better than the official version, its shows a band willing to attempt different sounds and it would have been great to see how the indie masses (myself included) would have greeted it release.

Death of Disco Dancer (1^st Take)

This early version of one of the highlights of Strangeways Here We Come lacks the haunting production of the released version but for a first take its frankly amazing. It is the sound of a band at the height of their powers with a musical understanding that allows the song to ebb and flow naturally. Morrissey vocal is pitched slightly differently and the vocal phrasing varies from the later version. There is also a prolonged whisling part in the mix. Is it Morrissey? The version extends out musically showcasing just how tight the band were at this point. To think it all fell apart so soon afterwards.

Paint a Vulgar Picture (Early Take)

The intro on this version sound strangely flat compared to the Strangeways version. Andy Rouke’s bassline is much higher in the mix carrying the melody. The guitars lack the punch and sparkle of the fully studio release. Slightly different lyrics as Morrissey sings “It’s too late to tell him, how great he really was..” in the first first and then in a later verse “..and they paint a vulgar picture of they way they say that you were..” and at the very end its repeated with a twist “ and they paint a vulgar picture of the way you really were”. So we know were the title came from now! Morrissey seems to tripping over the words as the arrangement hasn’t yet been nailed down.

Heavy Track (instrumental 1987)

An instrumental outtake from the Strangeways sessions. As the title suggests this is the band in much heavier territory. A really thumping backing tracking close to the indie metal sound of London than anything else the band recorded. It does seem to be more about the groove than melody at this point in its construction and isn’t as interesting as I Misses You. I assume it was included to signpost the sound the band might have been developing if they had continued post Strangeways.

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The Smiths - Unreleased Demos and Studio outtakes

The Smiths - Instrumentals and Studio Outtakes

Part One

Slap me on the patio. What a great late Christmas present or early kick start to the New Year. Thanks to friend who pointed me towards the Power of Independent Trucking Blog I was able to download the stereo mix of Smith’s studio out-takes,demo's and instrumentals. The tracks first surfaced before Christmas on the Morrissey Solo Forum.

The link is here - http://www.morrissey-solo.com/article.pl?sid=10/12/21/1757207

Used to spending warm summer days indoors it was great to have these tracks to shed light on the song writing process and undoubted genius of The Smiths. The unreleased songs are a collection of demos, finished mixes and instrumentals that appear to have once been part of a rarities disc prepared by Warners as part of their management of The Smiths back catalogue. The disc was never issued which is a real shame. For a band as big as The Smiths there has been precious little in terms of bootlegs outside the aborted debut LP by Troy Tate and live shows. This feels like it has been sent from heaven. Well I Wonder what else is tucked away in the vaults?

Below I have outlined my take on the songs. I am no musicologist and have listened to them with reference back to the official releases and let me memory guide me. If you haven’t read Simon Goddard's book Song's That Saved Your Life it is worth seeking out a copy and cross referencing but I lost my copy years ago.

Reel Around the Fountain (Troy Tate Final Version.)

Lovely spidery light fingered opening to the track that is missing from version released on the debut LP. The sound is much sharper, less muddy and brighter than on the versions of the Troy Tate sessions than I have heard before. Morrissey is in fine voice and the bands trademark shimmer is present in the blend of electric and acoustic guitars and tight high wire bass placing. I would love to hear a fully master official release of the whole of the Troy Tate sessions. Some added extra acoustic riffs towards the end also add some additional lightness to the song.

Hand the Rocks The Cradle (John Porter Monitor Mix)

This is a much rougher sounding take on the song. It is a basic mix for the band and producer to work from, a step between a demo and the finished product. The tempo is faster than the final version that surfaced on The Smiths and Morrissey’s vocal is not as focussed or sharp. Mike Joyce adds far too many hi hats to the backing track. The official version is a much better take.

This Night has Opened My Eyes (Studio Recording)

A version of the track that was recorded for the bands 2nd Peel Session in September 1983 and later appeared on Hatful of Hollow. The band had however recorded a full studio version that was never released. The studio version doesn’t differ greatly from the Peel session version. Some wordless vocalising from Morrissey in the mid-section of the song and a slightly different outro are the clear differences but there is nothing here of great interest.

Rusholme Ruffians (First Take – John Porter)

A much longer version than that released on Meat is Murder this first version of Rusholme Ruffians is dominated by Andy Joyce’s bassline that anchors the song as Johnny Marr riffs around the edges. Morrissey’s vocal is wonderfully ragged and aching. It shifts between his lower register and that keening falsetto that has sadly disappeared from his vocals now. The lyrics seem to be tumbling out of him and there are slight variations in his phrasing compared to the final released version. The phrasing around “parachutes” is completely different and rather lovely. The coda is completely different and this is well worth a listen.

I Misses You (Instrumental)

I Misses You is a completely unreleased instrumental from the Meat Is Murder sessions. A trademark set of mournful chords, sparkling guitars riffs and an impossibly tight rhythm section mark this out as another gem on this collection. It shows how sure the band was of their genius at the time that this could just disappear for years. It is the type backing that most mid 80’s indie bands would have killed to produce. Wonder if Morrissey ever penned lyrics for it?

There Is a Light That Never Goes Out (Early Version)

There Is a Light That Never Goes Out is one of my favourite Smith’s tracks. This take is a very early version. Even at this point that trademark bass line was in place along with the vocal melody and lyric. The rhythm track lacks the urgency of the released version and Johnny Marr’s acoustic guitar seems to power the track compared to the one on The Queen is Dead. There is also the added lyric that gave the song its name but was omitted from the official release. Morrissey sings quite beautifully “There is a light in her eyes, and it never goes out..”

The Queen is Dead ( Full Version)

The legendary full length of the title track from The Queen is Dead. This is album version with added venom and more guitars! Clocking in at 7.30 it is over a minute longer than the official versions and the extended coda seems to contain most of the extra blast. Johnny Marr’s guitar gets more furious, dirtier and harder. The piano part is slightly more extended and the funk is located more clearly. I can’t see why this was the version released it is amazing.

Frankly, Mister Shankly (Trumpet Version)

Another completely finished version that was omitted from The Queen is Dead. This Steven Street mix is more of a curiosity than anything else. This version has a very odd trumpet line and lacks the bite and focus of the official release. I am not surprised at all that this was re-recorded and this version hidden away.

I will listen through to the remaining tracks and post my thoughts later this week.

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The Boyfriends - The Boyfriends

The Boyfriends - The Boyfriends

A certain Mr Steven Patrick Morrissey hand picked the The Boyfriends to provide the support on his UK tour. From the opening bars on their eponymously titled debut LP is easy to hear why. Martin Wallace's croon bears a striking resemblance to the bard of Manchester's own weary tones. The band punch their instruments with the passion that fired The Smiths.

There is a crackle, a swoon, a thump that rushes out of your speakers in vaguely 1980's indie style. But are the Boyfriends more than a bunch of Handsome Devils, a gang of Charming Men? Does the music oscillate wildly or is it a pale imitation or a well thumbed record collection? Are The Boyfriends a miserable lie?

Well, strike me down with a feather, hang out the bunting and turn off your phone. This is something to treasure. Despite my huge reservations and my obsession with The Smiths, I am smitten with this record. There is more than enough invention, wit, wisdom and zeal here to mark the Boyfriends out as something special - a rare band, even. Wallace's words are by turns heartfelt, funny, clever and well observed.

Thankfully all the quick word play is not lost in a stew of Albion skiffle. That fragile indie sound that has ruled the roost since Pete and Carl split is nowhere to be seen. The lyrics soar across the ominous mechanical throb generated by the band. If you were looking to The Smiths for reference then this would be them in their post The Queen Is Dead glory. This is not meek or delicate - the guitars lash like Bernard Butler jamming with The Who.

The opening Brave Little Soldiers is a bold statement of intent. A set of chords ripped through with glorious abandonment, the rhythm snarls with dark intent. The lyric a call to arms, a plea to keep your dignity and your individuality in face of indifference. The guitar riff is as catchy as a common cold. British Summer Time opens on a reverb heavy riff that builds slowly to its Graham Coxon style fractured melody.

When Martin Wallace sings "It is far too a nice day to be in playing scrabble, let's slap on some factor 15 on and join the half naked rabble..." I can't suppress a smile. The picture he paints of London hanging out in the summer time would make Ray Davies proud. It could be a Blur classic apart from the fact that Wallace displays empathy for his subject matter and not misplaced scorn. The military drum rolls match the mood delightfully.

The bassline and toms that open Adult Acne provide Richard Adderley the space to show off his chops. From atonal sparks, via wah wah funk to the chiming chorus, the playing is a master class in precision; mind your backs for a new guitar hero. Adderley further enhances his reputation with the dissolving chords that open I Love You. An aching plea, a declaration of love that pricks the skin like a tattoo needle, leaving an impression long after the sensation has faded. The guitars are like whiplash on the bullet train. There is Always Hope closes the LP in a slowly drifting maze of melody and noise. Eight minutes of melancholy bliss.

Everything here is disciplined and succinct, nothing over stays its welcome, the whole collection hums with purpose. The only thing that stops me declaring it a stone cold classic is a certain lack of variation. It's nick picking really. This is music of passion and soul. If you miss this you're a fool.

- Tony Heywood (C)