The Important Albums and Singles from 1984 for Tosh

 

Finishing up the Twenties and going into being 30-years old in 1984. And living the bachelor life in Hollywood, both West, and Central. The number one album for me at that time was David Sylvian's (of Japan) first solo album "Brilliant Trees." I remember feeling excited about the possibility of the release of this album. In my mind, this album is going to be a masterpiece. And to this day, I feel it is an important work from a pop star turning into a more serious sort of music artist. Embracing world music, and surrounding himself with very forward-thinking musicians this is an album that didn't disappoint me. Also, my real introduction to Scott Walker took place with the release of "Climate of the Hunter," which I wrote about earlier. I also bought my first Prince album "Purple Rain," and clearly this is an extraordinary talent that seems to have a hold on the entire music world at the time. I was working at the record store, and everyone there loved Prince and this album. The dicey area now approaches with Malcolm McClaren's "Fans," his aural approach of mixing opera with pop. Not bad for a total non-musician such as Malcolm. One can argue about the quality of this album, but there is something brilliant in its concept, plus having Jeff Beck on the record as well. Bronski Beat's 'Smalltown Boy" struck me at the time as a very beautiful and moving song about being on the outside of the social world - - meaning if you are Gay on a very hostile planet. "Relax" by Frankie Goes To Hollywood was a fave of mine, just due to the obvious hype and presentation. Also, another version of Gay culture came upon my world due to this song and Bronski Beat. The other 'gay' presence is The Smiths. I have always preferred the Smiths compilations to the actual album releases. "Hatful of Hollow" is a fantastic collection of b-sides and single releases of this once remarkable band. - Tosh Berman

The Important Records from 1983 for Tosh

 

1983, such a strange year. I was working at Licorice Pizza in West Los Angeles with a terrific cast of characters, but it seems to look over the releases that year, I was not into any album. Only singles. There was one mini-album or 12" ep, and that was The Art of Noise's "Into the Battle with The Art of Noise." How can anyone not love "Moments in Love?" Probably one of the first magnificent production of a minimalist piece of music. The other singles that made an impression on me are Fun Boy Three's "Our Lips Are Sealed," The Smiths' "This Charming Man," Kraftwerk's "Tour de France," and last but for sure not least, Peter Schilling's "Major Tom (Coming Home). I presume that song is an answer song to Bowie's "Space Oddity." I remember my friends hating that record, but I had a special love for it, for some perverse reason that I can't remember now. -Tosh Berman

"Peepholism: Into The Art of Morrissey" by Jo Slee (Sedgwick & Jackson) 1994

ISBN: 0-283-06210-X

I remember finding "Peepholism: Into the Art of Morrissey" by the singer's co-designer Jo Slee at a local Virgin music store in Hollywood, and I never bought it, but I always looked through the book on a regular basis whenever I visited that store.  One day I arrived, and the book went missing or got sold, and ever since then I have been thinking about obtaining this book.   Morrissey, in a nutshell, is a fascinating artist.   Of all his talents, and songwriting is one of them, but I also love his sense of design and thought that into his graphics for The Smiths.  Jo Slee worked with Morrissey on the visual side, and it's fascinating how he had brought up a distinctive gay or/and pop culture through his work.  I believe the images he uses or presents is just as important as the music.  His time with the Smiths was the best, visually speaking.  I prefer the solo Morrissey than the Smiths music, which I know is a sin to the average Smiths fan, but on the other hand, his work as a graphic artist/designer is superb during The Smith years.  

His use of actors such as James Dean, Albert Finney, and various British iconic comedians, pop star great Billy Fury and so forth is used as a language to describe an inner world that is very Morrissey specific.  In a manner, his work reminds me of Sgt. Pepper cover, due that one thinks how do these faces in the background connect to the Fab Four.   One feels the same way when approaching a Smiths cover.   Once Morrissey went solo, he pretty much eliminated having another face or person on the cover beside himself.  That, I also found interesting that he made this huge change when he went solo. A difference is good, but, the intensity of The Smiths graphic is exceptional in design and mind. "Peepholism" is not the perfect Morrissey graphic book, or on its subject matter. It would be nice if a cultural critic/historian did a book on just Morrissey's graphics world, nevertheless, "Peepholism" is fascinating in parts, and I'm happy that I eventually found a used copy. 

"Autobiography" by Morrissey (Penguin Classics, UK)

Penguin Classics ISBN: 978-0-141-39481-7

A great memoir needs a strong character who writes, and Morrissey takes that role to the maximum.  Overall each page has a quotable sentence or two, and the way he constructs his sentences is a beauty in form.  The narrative is not important but its the way he tells the tale, and that he does very well. 

A long-time fan or student of Morrissey will not learn anything new.  He does get personal in his own way regarding his love life, which is vague, but one is allowed to connect the dots.   There are people through out his life that is very important to him.  In fact he has two sets of individuals that he cares for.  The people he knows, and the people he admires, which are mostly film and music icons of sorts.  Some are more famous than others, but they're interesting because his admiration for these artists are sort of a clue to what makes Morrissey tick. 

Sadly there is no index of names in the book, because his reading and listening taste is very interesting.  He's very much a curator of taste, his taste mind you, but I consider that one of his highest talents is to both expose these artists, as well as trying to figure how they influenced him.  His great admiration for New York Dolls and Sparks makes perfect sense when you hear his music.  I think Morrissey learned a lot from those two bands with respect to lyric writing, and also the same for various British poets.  Besides his appreciation for French pop music artists, it seems he doesn't make any comments on foreign literature - meaning non-English language books.   Except perhaps Pasolini, but I am not sure if that is an appreciation for his films more than his writing. 

The only drag in this book is him writing about the trial between him and the drummer of The Smiths.  He goes on many pages in detail about this case, which was a major event for him.  But I suspect for most readers it is just a case of money disagreement.  But even that, he writes with incredible passion, almost over-the-top and its kind of amazing piece of the book in its way.   I am going to have to presume that his editor at Penguin probably wanted him to cut this section out ,but I am glad that he stuck to his principal to keep it in.  It tells more about his passion, and this book is about passion.

The first part of the book is Charles Dickens circa Manchester 1970's.  His description of the sadistic gym teachers are right on the button - because i too suffered from these goons in the 70's (Morrissey and I are roughly around the same age), so I found it fascinating that even in America, had weird sex perverted gym teachers as well.  It was an international problem!   The way he paints his school years and the early Manchester punk scene is heartfelt and picturesque.  You can smell the grayness of the landscape off the pages.  Also his commentary on various people are hysterical and sometimes mean - but it is like having Noel Coward tearing into someone.  Morrissey has a sharp tongue that brings out even sharper words to the page.

Overall the book could have used a tighter editor, but in the end of the day (or night) this is a fantastic book that i think will please the Morrissey fans, as well as anyone wanting to read about the music scene of the era of The Smiths and solo Morrissey.  

"A Light That Never Goes Out: The Enduring Saga of The Smiths" by Tony Fletcher

Over the years i have heard or read all the tales in this book, via mostly British music magazines - but the author Tony Fletcher tells the tale very well. Fletcher interviewed Johnny Marr and their bass player Andy Rourke, but sadly not Morrissey or Mike Joyce. Perhaps they didn't want to dwell in the past again, or maybe due to legal issues still on the table.

Nevertheless The Smiths were a perfect band at a very specific and important time in pop music history. in the land of the 'New Romantics," The Smiths were truly romantic about their upbringing and their home town of Manchester. But not only that, Morrissey via his lyrics and visual sense, captured all the great aspects of 1950's and 1960's British culture. Listening to The Smiths and purchasing and studying the album graphics, one can get an incredible education on artists, books, and film culture from that era.

Also The Smiths are probably the last band that actually had the work load of some band from the 60's. Their existence was very short (little bit over four years) yet they produced four studio albums, one live albums, and many many b-sides and singles. Being a Smiths fan at the time of their existence was a lot of fun - a lot of trips to the record store. Remarkable music, incredible personalities (and Morrissey to this day is a fantastic pop music figure) and this book exposes or conveys the inner-relationships of this band. It could be a tale of any band really, because it is always a family type relationship. It goes sour, because that is the nature of the human beast. Some bands go through drummers like a leaky pipe, but The Smiths seemed to use and lose managers on a regular basis. On one level it was their downfall - career wise, but then there is a special brilliance about this band that didn't use logic. Morrissey is the genius of the moment, and i think for a long time, Marr understood and appreciated that. What's kind of surprising to me is the after-life of Johnny Marr. It seems like he does everything except to be a permanent member of a band. One would think he would start over with another singer or songwriter partner - but he seems to be drifting. But that maybe over due to his future solo album and tour.

For me the best book on Morrissey/Smiths is "Mozipedia" by Simon Goddard, but this is an essential read for the fans, and again, Fletcher is a good skilled journalist, and I think The Smiths breaking up was a good move in the long run. I know there are people who will disagree with me, but I actually like the Solo Morrissey better then The Smiths! And I love The Smiths. Go figure! The book will be out this December in the U.S. and its published by Random House.

Fascinating documentary from The South Bank Show on The Smiths down below from the late 80s.

Part 1

Part 2

Part 3

Part 4

Part 5