Mozipedia: The Encyclopaedia of Morrissey and the Smiths
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Steven Patrick Morrissey is one of the most original and controversial voices in the history of popular music. With The Smiths, he led the most influential British guitar group of the 1980s, his enigmatic wit and style defining a generation. As a solo artist, he has continued to broach subjects no other singer would dare.
Worshipped by some, vilified by others, Morrissey is a unique rock and roll creation. The 300,000 words of Mozipedia make this the most intimate and in-depth biographical portrait of the man and his music yet. Bringing together every song, album, collaborator, key location, every hero, book, film and record to have influenced his art, it is the summation of years of meticulous research. Morrissey authority Simon Goddard has interviewed almost everybody of any importance, making Mozipedia the last word on Morrissey and The Smiths.
praise Nomi’s version of ‘Death’ on numerous occasions, including it as the final track on 2003’s UNDER THE INFLUENCE compilation. ‘Nomi sang like a man trapped in the body of a dead girl,’ he wrote in the accompanying sleeve notes. ‘“Death” is his dying speech, after which he was – quite literally – led away to die, an early bull’s eye for the AIDS machine gun. The words have a dreadful ring because they came true, and so soon: “remember me, remember me, but ah, forget my fate”.’ He may have
first-person autobiography was buried within a series of symbolic melodramas; of prison sentences, life support machines, violent beatings, hatchet murders, poisoned pen letters and the ghostly voices of the hanged. Death stalked the album at every corner, claiming disco dancers, comatose girlfriends, pets and pop stars. While there was noticeably more hate than love, the closing ‘I Won’t Share You’ remains, for many, Morrissey and Marr’s finest romance. But it was on the epic orchestral ballad
isolation. At times, it’s easy to imagine Williams’s words in Morrissey’s own voice. ‘I wonder if anyone will ever know about the emptiness of my life,’ Williams wrote in August 1963. ‘I wonder if anyone will ever stand in a room that I have lived in, and touch the things that were once a part of my life, and wonder about me, and ask themselves what manner of man I was. How to ever tell them? How to explain? How to say that I never found Love – how to say that it was all my own fault – that when
beings’. [226, 298, 334, 360, 361, 529, 531, 535, 562] Day, Gary (Morrissey bass player and co-writer 1991–93, 1999–2006), When Morrissey returned to live performance in 1991 flanked by his new band of young rockabillies, none embodied the 50s street-gang aesthetic better than bassist Gary Day. Trim and heavily tattooed from wrist to nape, Day’s was the face of a gravedigger on the body of a delinquent dodgems attendant. Where guitarists Boz BOORER and Alain WHYTE swaggered and posed in
ingenious inverted patriotism. While Morrissey begs for his surroundings to be obliterated in a mushroom cloud, his descriptions of wet sandy beaches, the ritual of writing postcards home and drinking greasy tea in a seaside café betray an aching nostalgia for a fast-disappearing English existence. At heart, ‘Everyday Is Like Sunday’ is a call for preservation in the language of annihilation – an ironic ‘White Cliffs Of Dover’ for the post-atomic age. Included on the first cassette of demos