Morrissey appeared this week on The Late, Late Show With James Corden, giving a bravura, if clap-happy, performance of his new single, a cover version of ‘Back On The Chain Gang’.
Originally released in 1982 by The Pretenders, written and sung by the indomitable Chrissie Hynde, I’ve always liked this up-tempo melancholic pop song musing wistfully-angrily on the discovery of ‘a picture of you’ that ‘hijacked my world last night’.
But I hadn’t realised until now how… Smithsian it sounds.
So much so, that you think Moz has changed some of the lyrics. But on checking it turns out to be very little, just a pronoun here and there. The most substantial change seems to be:
'In the wretched life of a lonely heart'
'Lonely hearts, lonely hearts'
Morrissey-esque turns of phrase like:
The phone, the TV and the News of the World Got in the house like a pigeon from hell, oh oh oh oh
Or the sun-shines-out-of-our-behinds exhilarating extravagance of:
The powers that be That force us to live like we do Bring me to my knees When I see what they've done to you But I'll die as I stand here today Knowing that deep in my heart They'll fall to ruin one day For making us part
Turn out to be pure Hynde. I just hadn’t listened properly before.
But then it’s probably not a coincidence that The Smiths were formed the same year as this catchy-jangly, bitter-sweet, poetic-dramatic pop song was released.
For the next few days only, Saint Morrissey is available on Kindle for just 99 cents/pence.
I recently got around to watching the video for ‘Spent the Day In Bed’, Morrissey’s first single from his new Low in High School album.
Since writing Saint Morrissey – which was something akin to an exorcism – I’ve taken a somewhat more leisurely approach to the Stretford Bard’s output. Perhaps I’m slightly disappointed that he didn’t have the decency to finally retire incommunicado to Bognor Regis after it was published over a decade ago.
Instead my 58 year-old subject has, very selfishly, continued to tour furiously, put out new albums, as well as open his big Manc mouth and managing to epater les bourgeoisie fairly regularly, getting his name in the papers. I’m positively dreading all the updating I’d have to do for a new edition. Just when you think you’ve pinned and mounted your butterfly….
To make matters worse, ‘Spent The Day in Bed’ is Morrissey’s strongest, catchiest, most lyrical single for years.
Yes, the themes are very familiar – you might almost say… ‘tired’. The lines ‘Spent the day in bed/As the workers stay enslaved’ could be a three decades on sequel to ‘Still Ill’: ‘And if you must go to work tomorrow/Well if I were you I wouldn’t bother…’. And also ‘Nowhere Fast’ of course, with its lying in bed thinking about life and death and discovering ‘neither one particularly appeal to me’.
Morrissey - Spent the Day in Bed (Official Video)
‘Spent the Day in Bed’ and the video are full of lazy intimations of mortality and gallows humour – but this time, a third of a century on, and with recent cancer scares, the gallows looms rather larger. Those sheets for which he’s paid and in which he’s laid could also be winding sheets, just as those pillows are ‘like pillars’.
But why not lie in your bed mausoleum taunting death?
‘Oh time do as I wish/Oh time do as I wish’
And avoiding life. Or at least, the impostor version of it we have to submit to:
‘No bus, no boss, no rain, no train./No emasculation, no castration’
In the video, when he gets to ‘no castration’, I think I detect a flicker of a self-mocking grin.
The video is almost as darkly funny as the lyrics. Morrissey in a Whatever Happened To Baby Jane? wheelchair is trundled into what looks like a dimly-lit 1960s Manchester working men’s club by a smirking, fresh-faced Joey Barton (I’d like to think Moz insisted that he get a shave if he wanted to be in his promo).
Barton, a famous Morrissey fan, is a professional ruffian footballer and tattooed boy from Birkenhead – well, Huyton if you want to be pedantic. And who wouldn’t want to be wheeled around by him in their dotage? Especially since Bette Davis is no longer available. (Though a passable stand-in does make an appearance later…)
Moz then performs the entire song seated, head tilted backwards, perhaps to catch the little light there is, perhaps to stretch out his 58-year-old neck, while his band perform on their feet around him – finally falling off his chair and out of shot at the end. A reminder that:
‘Life ends in death/So, there’s nothing wrong with/Being good to yourself/Be good to yourself for once!’
Life ends in death, so pamper yourself. By rehearsing it.
But it is the dreamy ‘Oh time do as I wish’ interlude in the video which is the main reason I’m writing this post. I almost fell off my chair when my old chum the performance artist David Hoyle suddenly appeared onstage at this point doing some sexy dancing with something shimmy. Watched avidly by Morrissey and Joey Barton, the latter hungrily popping peanuts into his mouth.
David, someone I got to know in the early 80s in London when we were both teenage runaways to Sodom-on-Thames, now lives in Manchester but grew up in Blackpool – where as a teenager he performed Shirley Bassey numbers in working men’s clubs, rather like the one in the video.
Hoyle and Morrissey have a lot in common – both northern, scornful, working class poet-prophets of the absurdity of desire, both determined not to keep the customer satisfied, and both keeping on keeping on, though one rather closer to the breadline than the other. It’s about time they got together.
And in fact much of the sentiment of ‘Spent the Day in Bed’ is also present in many of David’s shows (you can see many of them on YouTube) – which are also chock-full of gallows humour.
David likes to remind his audience regularly that they’re all going to die, despite their precious identities, ideologies and Sainsburys loyalty cards. He also likes to urge them to not bother to go to work tomorrow and try a little bit of anarchy instead. No bus, no boss, no train, no rain….
Here’s a review I wrote of one of David’s shows at the Royal Vauxhall Tavern in London in 1998, a frightening two decades ago, when he was still appearing as The Divine David (a persona he was shortly to kill off – before it killed him). All will be explained. Or perhaps not….
Joan and Bette together again
THE DIVINE DAVID AT THE ROYAL VAUXHALL TAVERN, LONDON
by Mark Simpson (Independent on Sunday, 1998)
Last year a one-man avant-garde whirlwind arrived on the London alternative cabaret circuit. Looking and sounding like Bette Davis meets Iggy Pop (and drinks him under the table) he proclaimed the death of drag and traditional crowd-pleasing en-ter-tain-ment.
Oh yes, and the redundancy of sexuality and gender as well.
“REMEMBER!” he would howl at the audience, after some crazed portrait-painting or singing Bowie’s Heroes in the style of Tommy Steele, “you may be standing there feeling very proud of yourself for being ‘a man’ or ‘a woman’ , ‘a straight’ or a” – spitting the word out like a piece of four-day old mince he found lodged between his teeth – “‘gay’, but you’ve all got something in common, something much more certain than any of these fragile illusions. YOU’RE ALL GOING TO DIE!!!”
“Now,” he’d add softly, “isn’t that lovely, ladies and gentlemen? Doesn’t that give you a warm feeling inside?”
But The Divine David has decided that this isn’t the kind of thing that the punters want. The embodiment of the avant-garde after the death of the avant-garde, the zombie Spirit of Humanity that used to urge audiences not to go to work tomorrow or pay any bills has gone corporate. A glossy colour leaflet advertises his latest show, Viva 5 Apathy, with pictures of smiling people in suits clutching lap-tops at board-meetings and includes a statement from the President, The Divine DavidTM, about how market research has convinced him that what is needed is a more consumer-led product.
“This time,” he concludes, “it’s corporate!”
Although this sensible mission statement is undermined slightly by a photo on the last page depicting The Divinely Skinny One snapped from behind in a pair of purple briefs, looking over his shoulder, sloppily lip-sticked lips parted coquettishly, mouthing a faux surprised “OH!”.
At the Royal Vauxhall Tavern, now re-named the Royal Vauxhall Conference Centre, Jay Cloth, The Divine David’s delectable-yet-efficient secretary and receptionist, takes your money (£3 waged/£3.50 unwaged), issues you with a name badge and does a spot of niche-market research, showing you some flash cards featuring fire, ambulance, police and mountain rescue and asking: “Have you used any of these services recently?”
The Vauxhall Tavern is a perfect venue for the Divine David’s reinvention of himself. Built in the mid-nineteenth century as a music-hall venue, after the Second World War it became a drag pub. In the seventies disco lights, black paint and a dj booth was added and it became a gay drag pub. Corinthian columns, flaking paint and a century of tobacco smoke, alcohol fumes and rowdy, anarchic performance reaches its apotheosis and nadir in The Divine David.
Except, of course, he’s now gone corporate. “I’ve learnt that people want entertainment”’ he announces when he finally steps out onto the stage, wearing a business-like mauve woollen twin-set with padded shoulders Herman Munster would have envied. “Audiences don’t want anything that will stretch them a bit. There’s going to be none of that avant-garde rubbish tonight. None of you need go home tonight to your rented accommodation feeling stupid.” He then performs a cappella quite the most disturbing version of ‘You Made Me Love You’ – so inane that it takes on meanings you never wanted to think about before: I didn’t wanna do it…
Entertainment over, David conducts a flip-chart seminar on how to “make a go of it” in business. “First,” he says, all schoolmarmish, “you take your self,” and writes ‘SELF’ at the top of the chart. “And then you get rid of that.” He strikes the word through. “And you become a what? Does anybody know?”
“A CUNT!” shouts out a drunken Scottish voice.
“Yes, a cunt that’s right.” He writes ‘CUNT’. “And what do you end up in?”
“A FOOKIN’ NIGHTMARE!”.
“A nightmare, exactly,” agrees David in a businesslike fashion, writing ‘= A NIGHTMARE’. “Does everyone see how that works? That’s lovely.”
The Divine David, corporate or avant-garde, doesn’t have much time for sentimentality. At one point he declares his support for Tracy Edwards: ‘Any woman who kills a man is a friend of mine.’
A little later he ruminates: “When I’m at a garden party or some such social occasion, people often come up to me and say, ‘Oh, David, there’s a gay over here, you must meet him.’ And I say, ‘Oh a gay, I know all about that – that’s about gristle up your shitter – if memory serves me right….’.
Not very fond of ‘men’ or ‘gays’, The Divine David has what some might call a certain distance on his predicament. Others, of course, will accuse him of ‘self-hatred’. But the whole point of The Divine David is drama and conflict, a refusal to become what you are supposed to be, a refusal to relax into identity, into niche markets and corporate/corporal values, into predictability. Or profitability.
So before the second half of his performance, we hear him announce over the p.a.: “Ladies und gentlemen, I’ve a confession to make. I’m terribly sorry, but I’ve gone avant-garde again!”
Out he prances on stage in an alarming vented black body-suit, stretched over his gangly frame and his head, leaving a mad little oval of smeared red lips and melting mascara eyes. To the tune of a disco rhumba he then dances and mimes in a delightfully demented way with a couple of hoops, including an hilarious wheelchair moment straight out of Whatever Happened to Baby Jane?.
The Divine David is back – quite the scariest, funniest, smartest, truest, noblest thing you can see for three quid. Invest now.
1991’s big, busty novelty hit ‘I’m Too Sexy’ was as zeitgeisty and bitchily funny as it was ear-wormingly annoying.
I remember it playing everywhere in London that summer: builders’ vans, barber’s shops, caffs, pubs, nightclubs, funeral parlours. OK, I didn’t actually hear it in funeral parlours but I’m sure that even the dead didn’t escape it’s strutting beat and croaking vocal. A perfect trashy radio song for a then still trashy London that was, back then, all mouth and no trousers. Of course, today it’s all oligarch trousers and hipster mouth.
Cruelly, Right Said Fred – who were all leather trousers – saw their cheeky, giggly song about self-love cheated of the No.1 spot in the UK. They were pinned down at No.2 for six weeks by Bryan Adam’s heavyweight paean to his own altruism: ‘Everything I Do I Do It For You’. A ballad to end all ballads which selflessly hogged the top spot for sixteen weeks that felt like years of Canadian winter.
‘I’m Too Sexy’ was the camp, saucy music-hall dance pop counterpoint to the naff north American mawkishness of EIDIDIFY. Though in truth we Brits deserved Mr Adam as much as anyone could deserve that fate: the UK pop music scene, like the UK economy, was in a right post-80s, post acid-house state. Right Said Fred were the only living British act in the top five top-selling UK singles that year. At No.1 was EIDIDIFY (natch), No.2 a reissue of Queen’s 1975 hit ‘Bohemian Rhapsody’ (after Freddie Mercury’s death that year from Aids-related illness), at No.3 Cher’s ‘It’s in His Kiss (The Shoop Shoop Song)’, at No.4 ‘I’m Too Sexy’, and at No.5 ‘Do The Bartman’ by The Simpsons.
Even a cartoon American managed to sell sold more records in the UK that year than any British act that wasn’t wearing just leather trousers. Britpop, which got underway a couple of years later, in large part as a reaction to a US-dominated UK hit parade, was of course all about cartoon Mancunians.
Right Said Fred are back in the news after Taylor Swift’s recent acknowledged use of ‘I’m Too Sexy’ baseline in her latest single ‘Look What You Made Me Do’. Everyone it seems likes a bit of ‘I’m Too Sexy’: the Guardian, along with many others, recently ran an interview with Richard Fairbrass, lead singer (middle in photo) about the hit.
There’s some interesting background: I didn’t realise that it got to No.1 in the US (in 1992). I also enjoyed the anecdote Richard Fairbrass relates: ‘In Texas, there was a fight in a bar because some girls played the video for eight hours, and when a guy tried to turn it off, they attacked him.’ I wonder though whether after eight hours of ‘I’m Too Sexy’ anyone would have been capable of doing much more than drooling insensately. I also didn’t realise Right Said Fred were still performing and recording.
But it was the (slightly edited) pull-quote at the top of the article that grabbed my attention.
‘Everyone thought we were sad gym queens… but we were proper musicians’
Now, I have nothing to say about the Fairbrass brothers’ musical prowess. But I do want to mention that out bisexual Richard and his slightly shorter straight brother Fred (left in the pic and on guitar in the vid) were gym queens, and as Richard mentions in the article, actually owned one – which is where part of the inspiration for the song apparently came from: watching people interact with the gym mirrors.
Their own gym queeniness though was very much part of the novelty of their very gay looking novelty act – you had to hire muscle by the hour in London in 1991: pub culture not gym culture ruled back then, even in the gay world. London had not yet turned into a rainy version of Southern California with no parking spaces. Everyone smoked. Everyone drank like fishes. No one ate anything except crisps and chips and the occasional kebab. And no one had seen the inside of a gym since school – except for escorts and bouncers. The Fairbrass brothers looked like both, but even gayer. It’s why if they wore anything on stage apart from leather trousers it was just waistcoats. Really awful waistcoats.
And why I’m pretty sure I tried chatting one of them up in a gay pub in West London not long before their hit. The straight one of course. Fred or someone the spitting, salivating image of him actually was a bouncer back then, working on the door of the Penny Farthing in Hammersmith at the time. As I recall he was very patient and indulgent with me. And soon he would have a much bigger fan-base, some of whom would be even more annoying than me. I think he may have told me about being in a band and having recorded a single, but I can’t be sure because of the passage of time – and because I was anyway mightily distracted by his biceps.
The early nineties was an era when metropolitan male vanity – something celebrated and mocked but mostly, in spite of the lyrics, celebrated with ‘I’m Too Sexy’ – was just beginning to get into its stride in the UK. It was almost a soundtrack to my book about male narcissism and homoeroticism in a mediated world, Male Impersonators (which I wrote 92-93). ‘I’m Too Sexy’ was probably still ear-worming in my head in 1994 when I predicted, after attending an exhibition organised by GQ magazine called ‘It’s a Man’s World’, that the future was metrosexual.
True, the model of the song (‘I’m a model, you know what I mean’) and their little tush they shake on the catwalk, who is ‘too sexy for Milan’, their car, their cat, their hat, their love, their shirt and even the song, is gender non-specific at a time when models were generally assumed to be women. And the official story about the lyrics is that my short-lived imaginary boyfriend Fred was dating an American female model when the song was written. But the song was performed by the Fairbrass brothers. In leather trousers (sorry, I can’t stop mentioning them). And in 1991 London’s idea of a Chippendale body that was too sexy for their shirts.
Right Said Fred - I'm Too Sexy (Original Mix - 2006 Version)
In the promo the boys sashay topless on the catwalk and down the street followed by female pappers – a reversal of Duran Duran’s early 80s ‘Girls On Film’ moment, and also of course the usual clichés about the ‘male gaze’ (which wasn’t entirely new then, but a quarter of a century on some still think they are the first to subvert).
‘I’m Too Sexy’ started out satirising the fashion industry, but ended up massaging the muscles of male exhibitionism and narcissism – a noble cause the boy band Take That were to eagerly further evangelise later in the 1990s with their leather harness rent boy aesthetic. But ‘I’m Too Sexy’ for all its apparent silliness also turned out to be strangely prophetic about our 21st Century shirtless selfie-obsessed culture and the e-catwalk of Instagram – before most people even had a mobile phone, let alone one that could take really cool, app-filtered photos of their favourite gym changing room mirror. We’re all now way too sexy for not just our shirts but real life.
Which reminds me. Although they were kind of proto-spornos, the Fairbrass brothers’ bodies, which were glad-handled and devoured by the great British public’s eyes at the time as if we’d only just come off the meat ration, don’t look terribly ‘shredded’ to our much more jaded and judgey 2017 eyes. After all those back issues of Men’s Health/Fitness, and the ever-increasing refinement of what is supposed to be a ‘sexy’ male body, they look somewhat ‘watery’ – to use a technical term that only a handful of keen bodybuilders knew back then but probably your granny knows now. Were they eating clean? Were they doing enough cardio? Planking? And where’s the ink, bro?
But then, as someone who used to spend too much time hanging around gyms in London then, ‘watery’ was very much the look. I channelled it myself.
And yes, I did work as a bouncer for a while – just one of the so many things Fred and I had to talk about.
This month also happens to be the 20th anniversary of the surprise 1997 hit UK movie The Full Monty, about laid-off working class men in the (largely former) steel-making city of Sheffield, South Yorkshire, who decide to put together a male strip troupe to entertain the women that they used to provide for.
It was a serious (possibly overly-didactic) ‘crisis of masculinity’ movie which used male stripping as a visual metaphor for changing gender roles, particularly in the wake of 80s de-industrialisation. But it was also about male ‘sexiness’ as a kind of salvation. The whole point is that most of the guys are not vain, or conventionally sexy, or much wanted at all – and in fact have been dumped on the scrapheap of the late 20th Century.
But in learning how to act as if they were ‘too sexy’ – and move their hips to Donna Summer’s ‘Hot Stuff’ – they have somehow re-skilled themselves for the brazen new world and century bearing down on them.
I wrote an essay for Rolling Stone celebrating the 30th anniversary of the demise of The Smiths, explaining why we’re really lucky that they split in 1987
There’s nothing quite like realizing that it’s three entire decades since the most perfectly-beautiful, perfectly-worded, perfectly-pitched and perfectly-quiffed relationship you ever had ended for making you feel dead and buried already.
Yes, this month is the big 30th anniversary for the 1987 breakup of the Smiths – possibly the most fraught, emotional and oft-lamented breakups in musical history. The Smiths generation keeps trying to piece back together its broken home, even as they find themselves closer now to their own retirement home than the 1980s. If only the lead guitarist Johnny Marr and lead singer Morrissey hadn’t fallen out of handsome love with one another. If only they’d had a manager that they – i.e. Morrissey – could work with. If only Moz hadn’t chosen to record that silly Cilla Black track that Marr hated! If only the NME hadn’t run that premature “break-up” story. If only Marr, who was living on cocaine and booze at the time, had got himself a cheese and pickle sandwich from Boots instead of going home in a huff.
And if they’d stayed together – for the sake of the kids – imagine how the Smiths would have gone on to make the world listen! Imagine how they would have silenced with total, global, crushing success all those vulgar people that hated them and laughed at us loser fans back then! Imagine the body of work they would have produced by now! Instead of forcing us to keep going back to those four albums – and buying all those countless compilations, reissues, repackages and retro-vinyl limited release scratch-and-sniff picture discs.
But actually, really, very deep down, among our squidgesiest bits, I think we’re all, even the biggest, die-hardest fans, secretly really quite glad the Smiths broke up. And if you’re not, you probably should be. Their “premature” demise was entirely timely. It saved us from ever having to suffer the unspeakable outrage of a mediocre Smiths album. Something considerably less survivable than end of the band. And it would have come, as surely as bed death follows boredom. That’s what happens when any band, let alone one as passionate and truthful as the Smiths, don’t like each other anymore but “keep the show on the road.”
The expiry of the Smiths after five incandescent years saved them not only from existing in the same timeline as acid house, but also from becoming the very thing they hated and which they rallied the disaffected youth of the “entrepreneurial” Eighties against: just another business. We were spared them ever becoming the Indie Rolling Stones. Or Coldplay with a frontman. Or, that form of musical living death as ghastly as it is commonplace, their own tribute band. Thanks to Cilla Black and that missing cheese sandwich, the Smiths now live on forever in their – and our – pomp: shining, stainless, peerless. No one can touch a hair on their head.
The Smiths, that’s to say the creative, emotional, sexy-but-sexless marriage of Morrissey-Marr, were not simply a band, they were, as the name advertised, a family – the non-nuclear, passionate, alternative family to the thermo-nuclear Price Is Right primetime family sired by the monetarist marriage of Thatcher-Reagan. This was the 1980s, if you’re crumbly enough to remember, that was not just dominant at the time, but compulsory: “There is no alternative” Maggie famously decreed.
So the Smiths were effectively banned from daytime BBC Radio 1 – except as a punchline – and from pretty much all of the non-NME press, and thus from the upper reaches of the singles charts. The highest charting Smiths single ever was a 1992 reissue of “This Charming Man,” five years after they had given up the ghost – it got to Number Eight. The original release in 1983 stalled, criminally, at Number 25 – one of the greatest singles in pop history didn’t even reach the Top Twenty. Even then their hippy record company Rough Trade reportedly struggled to press enough copies of their records, so it’s probably just as well it seemed to have a publicity budget smaller than Phil Collins’ annual spend on combs.
All of which, while a source of great frustration to the band and to Morrissey in particular (and also bitter inspiration: e.g. “Frankly Mr Shankly”), was rather wonderful from the selfish point of view of the fans.
Because it meant that the Smiths remained a well-kept secret, one that belonged entirely to them – and being a Smiths fan in the Eighties was to be part of a very exclusive misfit club. Though in fact this exclusivity just came down to three requirements: Do you have any taste? Do you have a heart? And do you have a sense of humor? “The Smiths are sooooooo depressing!” said every naff twat you knew in the Eighties – which was millions upon millions. But, annoying as it was, every time you heard that lazy dismissal it confirmed something deeply, almost sexually satisfying: that most people simply didn’t deserve to be Smiths fans.
All this was about to change in 1987. The Smiths had a brand new non-hippy record label, EMI, with plenty of printing presses and even cash to splash on publicity. The monster that is the American market was beginning to stir and had fixed its rapacious eye upon them. They were poised to finally reap the rewards of all their hard and tender work: the misfit Mancunians were about to become masters of the universe. And probably end up playing stadiums full of those people who used to tell you: “The Smiths are sooooooo depressing.”
Many of those people now pretend they were fans anyway, since the Smiths, a band at gentle but total war with the Eighties, has ended up defining that decade, artistically, aesthetically, and even politically (now that neoliberalism is no longer topping the charts). Everyone wants a piece of them – precisely because thanks to the “untimely” split The Smiths never were bought and sold to everyone.
And because they never reformed, despite the perennial feverish speculation – Smiths reformations have become the latter-day Elvis sightings. As Morrissey himself put it back in 2006, mercilessly squashing yet another reunion/resurrection rumor: “We are not friends, we don’t see each other. Why on earth would we be on a stage together?” Of course, the answer is money – great steaming ever-increasing wodges of the stuff – but that really wouldn’t be the Smiths, who were never about the moolah. Only the Sex Pistols could (just about) get away with calling their (1996) reunion: “The Filthy Lucre Tour.” The closest the Smiths seem to have come to reforming was in 2008 when Marr and Morrissey almost rekindled their friendship – before Morrissey lapsed into Morrisseyean silence again.
Besides, since the termination of his union with Marr, Morrissey has had a long and (mostly) successful solo career doing pretty much precisely what he wants – which is partly why the Smiths reforming without him is so inconceivable. Morrissey was the face, the voice, the poet, the ideologist, the polemicist, the art director, the photo researcher, the archivist, the skinny vegan sex symbol, the stand-up comedian, the ego, the invalid and the big fat mouth of the Smiths that a generation of “losers” fell hopelessly-hopefully in love with. And it is probably Steven Patrick Morrissey’s own needy, emotional attachment to the Smiths as the band that saved him from being a fanboy forever smothered in a box bedroom in Stretford that has – so far – saved it from the ritual cannibalism of a reunion.
The breakup of the Smiths was pre-ordained anyway. It was foretold in their very first and perfectly-formed single, conceived between their second and third gigs and released in May 1983 – the startlingly original yet bafflingly timeless “Hand in Glove,” a three minute, derriere-scorching epic which peaked at Number 124 (I told you the 1980s were swinish). It announces the snug union of Morrissey-Marr as a kind of updated Jo-Geoff odd/queer alliance (from Morrissey’s uber-text, Shelagh Delaney’s A Taste of Honey), and the Smiths as their alternative family looking to adopt a generation. It also urgently evangelizes the Smiths’ ironic but entirely sincere credo:
“The sun shines out of our behinds No, it’s not like any other love this one is different – because it’s us.”
Here, in the first single, is a declaration of war on the shoulder-padded sensibility of the Eighties: “Yes, we may be hidden by rags/But we have something they’ll never have” promising to “fight to the last breath.” But for all the bravado and insolent optimism, Morrissey imploring his new-found “charmer” to stay on his arm and find the “good life out there, somewhere,” the song ends on a melancholic and, as it turns out, accurately prophetic note:
“But I know my luck too well And I’ll probably never see you again.”
There’s something in the third repeat of that last line and it’s drawn-out delivery that is wistful and pensive – “I’ll prob-ly ne-ver see you-ou a-gain” – but deliciously so.
The prospect of losing what has been gained just after gaining it is what is already preoccupying Morrissey. But then, the masochistic logic of pop music decrees that the whole point of possessing someone is so that you can lose them – so that you can possess them forever, nostalgically. By the end of “Hand in Glove,” the very first Smiths single is already nostalgic about the end of the Smiths.
At its happy-sad heart, the magic of great pop music is this bitter-sweet-sweeter blend of hope and despair, possession and loss: The sweetness of happiness and the even sweeter sadness that lies behind happiness and the prospect of losing it. The Smiths, of course, had this magic in spades and were a beautifully-doomed band for a beautiful, doomed generation.