2015-08 Special 2015
.pdf
Noel Gallagher
September 29, 2012
PHOTO BY DEAN CHALKEY
The Cure
June 12, 1993
PHOTO BY STEVE DOUBLE
“It felt like we were in outer space”
In 2013, Arctic Monkeys returned to Glastonbury festival to prove themselves as one of the greatest bands on the planet.
Matt Wilkinson hitched a ride with a spangle-suited, Elvis-channelling troupe brimming with bravado
PHOTOS: ZACKERY MICHAEL
“ lastonbury... Glastonbury? GI love you.” In just five words,
49 minutes into what’s turning out to be the biggest gig of his life, Alex Turner sweeps up 100,000 people and puts them
right in the palm of his hand. He’s just become the first man in Pyramid Stage history to have the audacity – and cool – to stop his band’s set so that he can comb his qui behind the amps. He’s spent the past 24 hours wondering
whether or not nerves will get the better of him, and whether he’ll “fall on my arse” and make an embarrassment of himself in front of the world.
But right now, on a dry and jubilant Worthy Farm, all of the emotional baggage is suddenly gone. “Let’s just leave all that showmanship shit for a bit,” he shrugs. “I just want to tell you
– I’m yours.” In the wings, just a few metres to his right, an old man in a scarf and baseball cap watches with great intensity. Now Mick Jaggerknowsexactly what he needs to do on Saturdaynight.
For the lastdayorso,ArcticMonkeys havebeentwiddlingtheirthumbsafewmiles fromGlastonbury. EverytimeIaskhowthey’re feeling,they’readamantthey’renotnervous atall. Ensconcedwiththeirgirlfriendsanda small road crew at their plush hotel (owned by
NME
July 2, 2013
Alex Turner
onstage at
Glastonbury
1 AUGUST 2015 | NEW MUSICAL EXPRESS
ARCTIC MONKEYS
93
94
Arctic Monkeys
headline the
Pyramid Stage
DuncanBannatynefromDragon’s
Den,noless)it’skindofeasyto believethem.Thisiswherethe biggestactsin the world come everylastweekendinJunetopsych themselvesupbeforeplayingwhat couldbe thedefiningmoment of theircareer–BeyoncéandJayZ stayed in 2011.
GuitaristJamieCookiseasily themostrelaxed maninCamp Monkeys,with his stoic,solid-as-a- rockpresenceacornerstoneforthe restoftheparty.Basically,thegistis this:ifhe’scoolthensoiseveryone else.AskhimonFridaymorningfor thefirstthoughtthatwentthrough hisheadwhenhewokeupandhe’s totallydeadpan:“Fry-up”.
BassistNick O’Malleyanddrumer MattHeldersaremorepensive(“I just kept thinking aboutthe first song,singing‘DoIWannaKnow?’ overandover,”saysthelatter).Alex, meanwhile,hasatypicallypoetic response.“Idothatthingwhere youcannevertellwhat’sgoingon behindthecurtains.Isitabright dayornot?Sotherewasabitofthat thismorning,abit ofaguessing gamewiththespirits.” For“most weekends”inthepastsixyears,he says,he’swoken up in astrange city,sometimesnotevenknowing thenameofthe festivalhe’splaying
at.“Whereasthismorning,Idefinitelyknew
–GlastonburyFriday.Becauseasyouknow, nothinghasthepropertiesofGlastonbury.” Thecruxoftheirplanning thistimehas
restedon twothings,he says:whatsongsthey’ll play,andwhatsongsthey’llDJtothecrowd overthePAbeforetheygoon.“Wegotthis playlisttogether for thechangeover between Dizzee and us. We’vejustgone forbigtunes. Usuallyyoutryandputacoupleofweirdones soeveryone’sfuckingShazamingitorwhatever, butthere’sdefinitelygonnabenoneedforthat. MeandCookieweredoingitontheplane –you playatuneandtrytoimaginethecrowd,allthe flagsandthat,seeifitworks.”
He and the restofthebandhave takeniteasysofar,partlybecauseofwhat happenedthelasttimetheyheadlinedhere,in 2007.“MeandMiles[Kane]werejustrippingit uponthesite,”saysAlex,“andItotallyhadthe fearthenext day.”Lastnightwasasdi erent to2007as canbe,he says–acoupleofglasses of redwine,a‘family’meal,everythingnice andrelaxed.“AndthenIputthetellyonand thefuckingGlastonburydocumentarycame
“I just don’t know anything other than this, I can’t imagine it any other way”
Alex Turner
on!Iwatched,like,fiveminutesofit.It’sweird, maybeitshouldhaveshittedmeup,watching that.Butyouknowwhat,nowit’scomeround
–nottotakeanythingawayfromit–but there’sabitofmethat’slike,thisissortof whatwe do now. It’s notjust anotherdayatthe o ce,definitelynot,butsomanythingshave changedsincethelasttime wewerehere.Ifeel kindof...alright.”
Cutforwardfive hours,andI’minArctic Monkeys’dressingroomdirectlybehindthe PyramidStage,myarmcoveredincolourcoded wristbands.There’saco eebaristain
NEW MUSICAL EXPRESS | 1 AUGUST 2015
thecorner,hugesofaseverywhere,plasmaTVs, bandinstrumentsandaginormouswhitecake intheshapeofthePyramidStage.There’ve beennotripstothesiteontheWednesdayor Thursday for thebandthemselves,so thefirst timeanyofthemgettoseethehugecrowdis whenMattgoestocheckon hisdrum kit. The Monkeysgoonstageinexactlyonehour’stime, andhe couldn’tresisthaving apeek outsidejust asDizzeeRascalwasbringinghissettoaclose.
“Irememberedthatsamefeelingfrom2007 whenweheadlined, and Kasabianwereon beforeus,”hesays.“Irememberseeingitall andthenshittingmyself.”Andthistime?“It wasn’tquiteasbad–I’mmoreexcitedthan anythingnow.Ifeelready,Ithink.”Andthenhe turns toTurner.“Someone’sgota flag thatsays ‘Where’sAl?’,Al.Abigyellowflagwithapicture ofyourfaceonit.”
“Oh, nice,” Alexquips.“Well, Ihaven’tgot timetogoandlookformyself.We’regonna spendthenexthour-and-a-halfstaringatthem
–whatdoweneedtogoupnowfor?” Allfourmembersseemprettytwitchy,
talkingloadsquickerthanusualaboutanything andeverything:fromtheairconditioning
ARCTIC MONKEYS
Alex and Matt
pre-gig at
their hotel
WannaKnow?’forareason,says Matt. “It’snew,it’sus,andit’sgot exactlytherightkindofgroove togetpeoplemovingtheway welike.”He’sprovedcompletely right. Thewholeofthestageis swathedindustandsmoke,but whenitlifts – justintimefor ‘Brianstorm’ – theentirehorizon iscoveredbypeoplegoingbatshit crazy. It’sthefirsttimetheband haveseenthecrowdproperly, andAlexinstantlyturnsround
|
|
oldself) ‘You’re a long way |
to his drummerandshootshimthebiggest |
|
|
from T’Grapes now, aren’t |
grin possible. He’sspentthepast18months |
|
|
ya, love?!’ I can’t believe |
becomingasextrovertedonstageaspossible, |
|
|
it, who’d have fucking |
reinventinghimselfasabullishmodern-day |
|
|
thought it?” |
Lennon(frontinghispre-BeatlesbandJohnny |
|
|
Helders cuts in. |
& TheMoondogsthough,withultragang- |
|
|
“Actually somebody who |
leadermentalitythekeyingredient). Hispatter |
|
|
knew us 10 years ago was |
is as muchaboutwhohecaneyeballandpoint |
|
One last drink |
saying that earlier, but they |
at, ratherthanwhatheactuallysays. Andthe |
|
backstage before |
were like ‘...you’re still here. |
wholebandthriveo it. |
|
the headline set |
WHY are you still here?!’” |
There are moments wherehe |
|
“But I just don’t know |
||
|
|
anything other than this,” |
snapsoutofit,though,andthesearethepoints |
|
|
Alex answers. “I can’t |
whenthegigbecomesbeautifullypersonal:his |
|
|
imagine it any other way.” |
sinceredeclarationofloveforGlastonbury,a |
|
|
The next time I see the |
bit in ‘PrettyVisitors’wherehewaveshisarms |
|
|
band I’m huddled at the |
along withthecrowd,andasweetmoment |
|
|
side of the stage along |
whenhegetseveryonetosing‘HappyBirthday’ |
|
|
with a bunch of friends |
to his mum,Penny. |
|
|
and family, just opposite |
Straightaftertheset,I’mbundledintothe |
|
|
Mick Jagger and Chris |
band’sdressingroomwherethey’retotally |
|
|
Martin. ‘Don’t Look Back |
giddywithexcitement. “Ifeelincredible!”says |
|
|
In Anger’ plays over the PA |
Alex. “It’soneofthebestgigswe’veeverdone. |
|
|
and the entire crowd are |
Ever! Justbecauseit’s... Glastonbury. Itwasn’t |
|
|
going mental. As ‘My Sweet |
raining,and... it’sGlastonbury!” |
|
|
Lord’ starts, the band |
“I wassayingtothemintheencorethatit |
|
|
suddenly sidle up to the |
felt likeIwasfloatingwhenIwasupthere,like |
Arriving onsite |
|
huge, paper-thin curtain |
I had rollerbladesonorsomething!”laughs |
|
that shields them from the |
Nick. “Honestly,IthoughtI’dbeshittingit,but |
|
on Friday |
|
||
|
masses. It’s just the four |
I just feltstrangelycalm!” |
|
|
|
||
|
|
of them, jostling around |
Howdoesitrankcomparedtoeverything |
|
|
on their own for a good 10 |
else thebandhavedone?“Thisisthebestit |
(which is freaking them out because it sounds |
minutes, by which time ‘Imagine’ has kicked |
gets!”saysAlex. “Youonlyeverdo,like,five |
|
like rain), to ping pong (Alex is brilliant, |
in and everyone is singing along. It sounds like |
gigs likethis. Thatonewastheone. Youdo |
|
supposedly, but there’s no table backstage for |
the loudest thing on earth. Jamie and Alex both |
big shows,bigfestivalsallthetime. Butit’sa |
|
him to prove it), to Miles Kane, with whom the |
do a shaky ‘Elvis-leg’ dance together, the kind |
di erentbeast,Glastonbury. We’llbeplaying |
|
singer made a surprise appearance earlier on. “I |
of thing that Joe Strummer used to do when he |
to a lotofpeopleoverthesummer,butitwon’t |
|
went on and sang ‘Standing Next To Me’ at the |
got really intense onstage. They each point out |
have thatfeelingwehadjustthen. Itfeltlike |
|
John Peel Stage,” he says. “ It was full and it was |
where the other is going wrong with it, while |
I was inouterspace. Now,areyougonnahave |
|
fucking great. He’s the Turbo Mod isn’t he? Iron |
Matt drums on his thighs and high-fives Nick. |
a beertocelebrate?” |
|
Mod 3, we call him!” |
All of them look completely enclosed in their |
As thesingerdivesintotheband’srider,I |
|
I ask if they’re proud that after 10 years as a |
own little bubble, focused and confident as hell. |
ask onefinalquestion. WherethehelldoArctic |
|
band they’re still at the top of their game, when |
The gig itself is mesmerising. As all four |
Monkeysgofromhere?“Idon’tseewhywe |
|
so many other key guitar acts – The Libertines, |
have said, they’re a completely di erent beast |
can’t doitagain!”Alexbeams. “Inafewyears’ |
|
The Strokes, The White Stripes, Kings Of Leon |
now compared to 2007. Back then they were |
time… Imeanit!Itseemedlikeeveryonewas |
|
– have fallen from grace. “Yeah, I definitely |
great, but still timid. Now, they’re a rollicking |
havingagoodparty,youknow?AndIknowwe |
|
do feel proud,” says Alex. “There’s no doubt |
rock’n’roll monster with eight years of success |
certainlywere. Sowhynot?”MichaelandEmily |
|
about it. It’s like (a ectspersonaofhis17-year- |
under their belts. They’ve picked opener ‘Do I |
Eavis:youknowexactlywhattodo. ■ |
|
|
1 AUGUST 2015 | |
NEW MUSICAL EXPRESS |
|
95
This charming man
96
Like any long-term love affair, the relationship between NME and Morrissey has suffered turbulent times. But following a triumphant solo show in Wolverhampton, James Brown found the former Smiths frontman on the upswing and in provocative form
PHOTOS: LAWRENCE WATSON
NME
February 11, 1989
NEW MUSICAL EXPRESS | 1 AUGUST 2015
|
andassumethattheynoticeyou.I’veseenthe |
MORRISSEY |
|
|
|
|
filmofWolverhamptonbutIwouldn’tcallthat |
|
|
divingorslobbering.Ithinkthatwasquite |
|
|
di erent,itwaslove.Unmistakablyitwaslove. |
|
|
IwaschokedbeforeIsangasyllablereally.” |
|
|
Ahh,yes,Wolverhampton.Ifthere’sone |
|
hedoorbellringsonce.Morrissey |
eventtomarkthetriumphofMorrissey’ssolo |
How do you feel about the split now? |
looksuncomfortable. |
career,andmorespecifically,toclarifythe |
“Welltherearepersonal,thereareprivate,there |
“Ican’timaginewhothatis. |
relationshipbetweenMorrisseyandhispublic, |
arepublicreasons.TheSmithshadreached |
We’lljusthavetoignoreit.But |
itwashisperformanceatWolverhamptonCivic |
apointwheretheycoulddominatetheworld |
theymaynotgoaway.Ithappens.” |
Centre[hissolodebut,December22,1988,at |
iftheywishedto.Afteryearsofsemi-struggle |
T Thereisnotasecondringbut |
whichfellowSmithsMikeJoyceandAndy |
everythingwasfinallylaidoutbeforeusand |
Morrisseyisclearlyalarmed. |
Rourkejoinedhisbackingband]. |
thatwaswhenTheSmithsended.Iwasquite |
“Somepeoplesitandringandring.And |
Theexcitementandatmosphereinside |
annoyedbythatbecausesuddenlytherewere |
circlethehouseandpeerthroughthewindows. |
thehallwasthemostelectricIhaveever |
questions.Suddenlythequestionwas‘Wellcan |
It’sverytediousandveryembarrassingbecause |
experiencedatanypublicevent.Sensible |
heactuallymakearecordnow?’Soitwasavery |
Idon’tknowwhytheydoit.Ioftenthinkthatif |
andintelligentfansweretransformedinto |
dodgyperiodformeandIthinkmyrecords |
peoplereallylikedmeandunderstoodmeand |
screamingMozettes(maleandfemale)atthe |
veryaccuratelyillustratedthat.Ifeelasthough |
appreciatedmethey’dringonceandgoaway. |
returnoftheirbelovedrebelboy.Itwasanight |
I’mactuallyinmythirdcareernow.” |
Butthepeoplewhopersist,andbelievemethis |
Morrissey,also,willneverforget. |
Morrissey is currently more |
happenseveryday,Idon’thaveanythingto |
“Theconcertwasaveryimpulsivething… |
|
saytothosepeople.Tomethat’snotadoration, |
allthebestthingshappenonimpulse,Ifind. |
popularthanhehaseverbeenbefore.His |
it’scompleterudeness.Howwouldyoufeelif |
Iwasinterestedtoseehowpeoplewouldreact |
firsttwosolosinglesbothenteredtheTop10 |
Istoodoutsideyourgateandcalledyourname |
towardsme.Therewasnointentiontocause |
inthefirstweekoftheirrelease,andIhave |
outeveryday?” |
chaos.Itwasn’tanattention-seekingdevice, |
alreadyheardserioussuggestionthat‘TheLast |
It’sMondayontheoutskirtsofManchester |
Ijustneededtoseesomeparticularfaces.Itwas |
OfTheFamousInternationalPlayboys’will |
andMorrisseyisfencingwithNME,his |
nicetobekissedrepeatedly.Idon’tthinkthat |
beMorrissey’sfirstNumberOnehitrecord. |
favouritemusicpaper.Thetopicsaheadare |
happensveryoften,Ialsothinkit’sveryrarefor |
Thoughlyricallyconcernedwithcriminal |
sex,crime,honestybeauty,fame,performance, |
amaleaudiencetokissamalesinger.Idon’t |
notoriety,usingTheKraysasitsexample, |
adorationand,forthesakeofcapitalismand |
thinkitevenhappens. Doesithappen? |
thetitleof‘LastOfTheFamousInternational |
cliché,‘TheLastOfTheFamousInternational |
“FormonthsprevioustothatIhad |
Playboys’screamsforamorespecificand |
Playboys’,asingle. |
languishedinthisveryroom,seeingpractically |
familiarnominee.AppropriatelyMorrisseyhas |
“‘TheLastOfTheFamousInternational |
nobody.AndIhadtogofromthatsituationto |
alreadyfurnishedhimselfwithfourcandidates. |
Playboys’isthefirstrecordthatIfeelhysterical |
Wolverhamptonwhereyourlimbsarespread |
“TheLastOfTheFamousInternational |
about,”hegushes,exercisinghiscareer-making |
over…beingdistributedamongstanaudience |
PlayboysareDavidBowie,MarcBolan,[former |
talentforself-promotion.“AndI’mverypleased |
isanincrediblefeeling.Canyouimaginebeing |
Buzzcocksfrontman]HowardDevotoandme,” |
tofeelthatway.Icompareitto‘Shoplifters |
kissedbyhundredsofpeople?It’sprobably |
heannouncesmodestly. |
OfTheWorldUnite’.Iheard‘ShopliftersOf |
happenedtoyou,Idon’tknow.Wheredo |
Do you see similarities between yourself |
TheWorldUnite’onceontheradio,achart |
youspendyourevenings?Itwasimmensely |
and Bowie? |
rundown.Itwasanewentry.Theyhadto |
uplifting.Practicallymedicalreally.They |
“What,thelivingBowieorthepresentdead |
playit.Theyhadnochoice.AndIlaughed |
appearveryaggressiveandbrusquebutwhen |
one?ThelivingBowie,therearesome,yes.Yes, |
hystericallyasitlistenedtoit.Ifeltagreat |
theytouchmeit’sverygentle.” |
Idoseesimilarities.” |
senseofvictory.” |
What was it like to play with your former |
Like all immediate success |
Morrisseyistangledupinbluejeans,blue |
Smiths? Was it something you had planned? |
|
T-shirt,bluedeckpumpsandblueeyes.Hisflat |
“Wellitwasapartofitforme.Itmademefeel |
storiesTheSmithshaveleftintheirwake |
isspick’n’span.There’saportabletypewriter |
moreconfidentthanifithadbeenotherwise. |
aseaofassortedrespectful,bemused,and |
andapileofanti-vivisectionleafletsonthe |
SoIwasveryhappyandverypleasedwiththe |
sometimesembitteredpersonnel.Andlikeall |
tableinthehall.Thetelevisioniso ,thereare |
onstageline-up.Thatmademefeelrelaxed.It |
successfulrock’n’rollbandswhodon’tsplash |
noclothestotidyaway,thesetteeandarmchair |
doeshelptohavesolidpeoplearoundyou. |
theirunderwear,theirsex,andtheirmother’s |
aredrawnalittlecloser,theteaispoured,the |
“It’saninterestingquestionwhetherwe’ll |
littlehelpersacrossthefishandchipwrap |
biscuitsignored. |
continuetoworktogether.Thesedaysof |
oftabloids,thereisanequallylargestackof |
There’sagreatdealtobediscussedwith |
courseitisn’tlikeearliertimeswhenmoney |
unfounded,unproven,andunwantedrumours, |
Morrissey,yetastheshriekofthedoorbellhas |
andcontractswerelessconcerngenerally.The |
lies,andfantasies. |
proved,thereareothersbeside NMEwhofeelit |
secretofTheSmithswasthatwedideverything |
Andyet,apartfromaveryearlyinterview |
istheirprivilegetohavetheman’sattention. |
onimpulseforourownamusement.That’swhy |
withourownCathCarrollwhereMorrissey |
“Somepeopleseemeasonethingandsome |
itflowedsoperfectly. ButthesedaysIsuppose |
spokedirectlyabouttheeroticismofthemale |
peopleseeanother.Andthepeoplewhoseeme |
peoplearealittleolderandIsupposetheyneed |
body(andaninterviewinalesserragthatwas |
asa‘popsinger’arethepeoplewhopersistand |
asaferarrangement,whichisfairenough.” |
litteredwithtawdryreferencestopublictoilets), |
ringthedoorbell.Butthepeoplewhoseeme |
Do you find people are still interested in your |
Morrisseyhasrarelybeenquestionedaboutthe |
asavaluableadditiontomusicarethepeople |
relationship with Johnny Marr? |
highlysexualnatureofhislyrics. |
whowouldn’tdreamofcomingnearthehouse. |
“NoIdon’tactually.Ithinkpeoplehaveputthat |
Withoutwishingtounderminehisaggressive |
Iamobsessiveaboutpracticallyeverything, |
oneaway,inthecupboard,asitwere.” |
challengetothestaidinstitutionofcompulsory |
butIcancontrolmyobsessions.Iamnot |
Have you put it in the cupboard? |
heterosexualityandmonogamy,Ifindithard |
uncontrollablyobsessive.” |
“Yes,Ihave.InalltruthIhave.Ittookmea |
tobelievethatitisaCrownPrinceOfCelibacy |
Soyoudon’tgoandstandoutsidepeople’s |
while,but,yesIhave.Ashestoashesreally.” |
whoisresponsibleforsuchknowingor |
housesthen? |
Was there sadness when you realised this? |
flirtatioussongsas‘LateNight,MaudlinStreet’, |
“Notlately,I’mrational,very,veryrational. |
“Well,embarrassmentmorethansadness |
‘ReelAroundTheFountain’,‘HandInGlove’ |
EvenindaysofoldwhenIfollowedothersandI |
becauseitwasutterly,utterlyphenomenally |
and‘AlsatianCousin’.Orforthespecifically |
stoodbythecoachatsoundchecksandsoforth, |
stupid.Thesplitshouldneverhaveoccurred. |
sexualvisualcontrolofhisimage,fromthe |
Iwouldn’tdiveontopofpeopleandslobber |
Itwasutterlystupid.‘Youhatemycat,soIhate |
toplessNMEfrontcovertotheparticularly |
andsayallthethingsyou’resupposedtosay.It |
yourcat.’Itwaspettiness,itwasliterallymycat |
lustfuldancingoftheyoungtearawayhoodlum |
wasjustenoughtoseethemdrivebyinacoach |
andJohnny’sdog.” |
onthenewvideo. |
|
1 AUGUST 2015 | NEW MUSICAL EXPRESS |
|
97
98
MORRISSEY
Are your lyrics really honest?
“YesIthinktheyareveryhonest.They’re honesttoeverything.Obviouslythatwordisso dangerousbecauseassoonasit’susedyou’re suddenlysuspect.They’reverytruetomeand whatIwant.”
There is a very high and strong sense of sexuality running through your lyrics.
“Wellthat’smeallover.Idon’tthinkI’veever saidwordsthatdon’thavethattinge…”
It’s not just a tinge.
“WellI’mbeingmodest.Thatoverblownbrew ofbrimmingsexuality,Ithinkthat’sthere. IthinkwhatIsaidwasthatmeasaliving, breathingspecimenwasbereftofanyphysical whatever.IlistentoStock,Watermanand Faceachewithallitsbrimmingdiscoandtome it’ssadlyclinical,itisn’tsex;it’sobviouslythe A-Zofcliché.”
Do you see yourself as a sex object?
“IthinkImustbe,absolutely,atotalsexobject. Ineverysenseoftheword.Alotofmenanda lotofwomenfindme…findme…unmistakably attractive.Itamusesme,Isitdownandwonder why,andthensomebodywritesabeautiful letterandtellsmewhy.Ifinditba ingina particularsensebecause,asIsaidearlier,Ican’t rememberanyfigurewhoattractedsomany malefollowers.Andalotofthemalefollowers whoare,asfarastheeyecansee,natural specimens,havevery,veryanguishedand devilishlyrabiddesiresinmydirection. AndIfindthatquitehistoric.”
What about emotional circles and physical relationships?
“Well,Idon’thavethem.Ihaveverygood friendsandwecanmakephonecallsandlaugh hystericallyforthreehoursbutthat’sasfar asitgoes.”
All the times when you have discussed your asexuality and celibacy, have you
been giving a fair representation of the experiences that you also draw your lyrics from?
“Ithinktheyhavebeenfair.Totally accurate.”
Why are you so guarded about the life you write about?
“I’mguardedbecausealotofpeople makefunandalotofpeoplethink I’mclinicallymad.SoI’mreadyto erectasmallwallwhensomebody mentions‘sillybutties’–celibacy. I’vebeenaroundabitnow,I’mnota thinswirlingcreatureanymore.And Isupposemanhooddoesarriveat somestage,youcan’tfendito .”
People have this impression of you as a…
“YesIknow,I’veheardthis.”
…As a celibate, as someone who stands back, yet the knowledge you put across through your lyrics and the pain, the emotion, the
excitement that you capture, they aren’t the |
Meanwhile back attheraunch, |
words of a celibate. Unless the person was |
itisthiscleverchoiceofasexuality,combined |
promiscuous prior to celibacy… |
withaveryphysicalsexualreality(evenif |
“Nottrue,becauseIthinkthepeoplewho |
itisonlyconfinedtothelevelof‘look,don’t |
areknee-deepinbodiesandfleshcan’tbe |
touch’)thatmakesMorrisseysoattractiveto |
botheredtowriteaboutthosethings.Iftheysit |
hishordes.Thesweetandtender,untouchable, |
downtoconstructastanzatheyactuallywant |
toplessAdonis,alwaysreadytorevealhisinner |
towriteaboutsomethingabitdi erent.They |
thoughtsandpassionsyetjustaseagertoveil |
wanttogetawayfromitbecauseflailingfleshis |
theminlyricalandsexualambiguity. |
verymuchpartoftheirlives.It’snotinteresting |
WhenIaskabouttheparadoxofhistwo- |
andnothingnewandperhapstheydon’thavea |
sidedcharacterhereplieswithastandard, |
clearvisionofit.They’resosteepedinit. |
“WellIthinkit’seasiertobeoneselfonstage.” |
“SoIthinkifthroughoutmylifeIhad |
Isn’t that sad? |
beenpopularandactive,shallwesay |
“Yeahbutit’sjustlikesaying‘Isn’titsadthat |
[chuckles],Imighthavewrittenabout |
someoneneeddrugstobehappy’.” |
somethingelse.ButbecauseIwas,asImay |
Have you ever felt like that? |
havecasuallymentionedonce,plunging, |
“Err,whenIwasateenager.” |
plunging,plungingIhadtoscribble, |
So you’ve never been a rampant cocaine |
scribble,scribble.” |
fiend then? |
Do you ever find yourself attracted |
“Idon’tevenknowwhatcocainelookslike. |
to people? |
WhenIwasateenagerIusedtomakemy |
“Yessometimes.Idohavetheoccasional |
weeklytriptotheGPandcomeawayladen.” |
flushesbuttheydopass.Isitdownandhavea |
You must have been offered cocaine as The |
chipbutty.Youdon’tacceptthatdoyou?Yes, |
Smiths became the classic rock’n’roll band? |
Idohaveflushes,usuallyatbankholidays. |
“Ineverheardthewordmentioned,ever. |
Mostly,no,peopleareagreatdisappointment |
More’sthepity,haha.” |
tome.IthinkIaminterestedandthenI |
Never on tour? |
discoverthereality.Peoplearequitelightand |
“No,notatall.Iwentbacktothehotelevery |
frothy,whichisfairenough.Iknowsome |
nightwithatangerine.” |
peoplearen’tfrothyatall.Ithinkthere’salotof |
Do you feel like you’re constantly living out |
frothinessabout,especiallyinPeterborough.” |
your fantasies? |
When you write, are you trying to soothe the |
“I’mnotBatman.I’mnotThePenguin.Ihave |
way you feel about sex? |
alwaysbeenhonestandithasalwaysbeen |
“It’sbeyond‘nudgenudge’.Idon’tfitintoany |
worthit.Therehavealwaysbeenrisksfrom |
sexualcategoryatallsoIdon’tfeelpeopleseeit |
theveryfirstSmithssleevetotheverylatest. |
asbeingsexual,butasbeingintimate.” |
Ithoughtmalenakedbuttockswerearisk.Not |
|
tomeofcourse,buttoeveryoneelse.” |
“People to me were never sexual. I’m beyond that”
Morrissey
Do you see your songs as being heterosexual?
“No.IwasbeyondallthatwhenIwasthree- and-a-halfyearsofage.Ileftheterosexuality, umbrellasexuality,whatever,behind.Ialways saidpeopletomewerejustsexual.Ilied; actuallypeopletomewereneversexual. I’mbeyondthatandIthinkifyouconsider whatyouhavetodotobethat,youhaveto bebeyondit.SalvadorDali,whodiedtoday, wasbeyondthat,althoughclinically
heterosexual,Ibelieve.”
Your lyrics are so amazingly sexual, very flirtatious, very knowingly saucy, double-edged, steeped in innuendo. Is that all drawn from your past?
“Well,yes,because,asI’vesaid,I’ve
beenaroundnearly30yearsnow youknow,I’veseenquiteabit.I’m notateenagerbyanymeans,despite outwardappearances.IthinkI’domit ‘saucy’,Idon’tfeelverysaucynow.”
You laid yourself absolutely naked on ‘Viva Hate’, didn’t you?
“Absolutelynaked.Partsofitwere quicksandbutbraverywontheday.”
Would you like to appear actually naked on your sleeves?
“Well,itmightdetractfromrecord sales.Idon’twanttoenterat Number92.”
Shall we call it a day?
“Yes,IthinkI’vebeennakedenough today.Ifeellikeputtingaverysmall flannelon.”■
NEW MUSICAL EXPRESS | 1 AUGUST 2015
*" ( (( *#
$
!
"
'
'
% &" %
A manic episode
NME
January 5, 1991
100
One of NME’s most vicious and viciously talented writers, the late Steven Wells was suspicious of Manic Street Preachers at first, but following an epiphany found himself hopelessly “in hate” with their bile-filled, indie kid-baiting manifesto
PHOTOS: MARTYN GOODACRE
SmashHits is more e ective in polluting minds than Goebbels ever was...”
The following article is 100 per cent head-over-heels hype. I am in hate with a poxy Welsh rock band.
They look like shit. Their music is stunted and struggling. They will smash their way into the Top 10 or self-destruct in the process. Manic Street Preachers are a speed band in an E generation, slogan-vomiting missionaries for violence in The Garden Of Good Vibes.
“The E generation still faces the long suicide of work every Monday morning. We need a constant state of kicking. Turn on to a winter of hate. Keep Warm – Make Trouble. Music is
useless if it keeps on prompting hedonism in a war zone...”
At a recent London show, floweredup muppets stood and stared when the
Preachers, necks rigid with tension, knee-deep in bum notes and spittle, poured hate and war over an audience chemically inclined towards love. “You’re wearing a girl’s blouse!” yelled punk veteran and Observer journalist Jon Savage, pogoing furiously. “We’re the first androgynous band of the ’90s!” screamed
the mascara-ed guitarist. He wore a page torn out of the London A-Z stuck to his mum’s old cheesecloth and he’d disfigured it with the stencilled message, “DEATH SENTENCE HERITAGE”.
NEW MUSICAL EXPRESS | 1 AUGUST 2015
“Parliament is more ugly than a gas chamber. Money controls. Palestine is invaded and occupied like Kuwait but there’s no oil
so nobody cares. The state says a soldier’s or a politician’s life is worth more than a dead lrishman’s. The working class cannot draw its poetry from the past but only from the future.” Look at the real legacy of punk – a generation of coked-out rock pigs, greying journos in love with George Michael and Van Morrison while former punk gurus, Garry Bushell and Julie Burchill, both jump through hoops and snu e Good Boy chocolate drops from the sweaty hands of the Tory press. Manic Street Preachers are already beyond the reproach of ageing punks. They are, quite simply, the most articulate, and the most politicised
and the most furious and the sexiest white rock band in the entire world. See, I told you this was hype.
Tight and jittery, singer James smashed to shards a guitar he had always hated. A 23-inch-beflared lovechild ran up to him like an eager puppy. “Uh!” said the kid. “Uh! That was fucking brilliant!” When you’ve grown up taking drugs that make you act nice and you’re encouraged to think that a flickering
strobe and a man dressed as little weed add up to something radical, Manic Street Preachers