BookishBoy
Well-Known Member
Today's song is this Morrissey/Boorer/Day composition, released as a B-side of "I Have Forgiven Jesus".
What do we think?
Yes, I remember reading about that in the recent Save Us Morrissey book - an interesting fact that emerged from a book that I broadly didn’t like. I’m guessing this is one of the only kinds of study enacted on his music - although it’s a bit of an obscure choice for an examination of his approach to a theme, isn’t it?And for anybody crazy enough to want to read it, the song was the subject of an academic book chapter by three scholars from the University of Limerick, a few years ago. You can read the whole thing online and here's a snippet of what to expect:
‘The Slum Mums’, by popular music artist Morrissey, deals with the contempt felt for lone female mothers on welfare in the United Kingdom under the New Labour governments of the 1990s and 2000s. Rather than providing a straightforward critique of this ‘contempt’, Morrissey deftly creates a song whose meaning relies on the ambiguous inter-relationship between the socio-political context, the lyrical content, and musical structure and sound as they relate to issues of gendered embodiment in particular.
Jerry Finn, not Visconti, though, right?Welcome back, everyone.
This is an OK song at best, really, with a thin instrumental palette and that grating Visconti vocal effect again used on Moz’s voice. There’s not much development overall, and Moz’s words seem to be trying to fit over the time signature: a unique case of having too much to say (think Bruce circa his debut - great, but much too densely worded - for a similar comparison.
However, the lyrics are interesting: interesting enough for a study, at least. Empathetic once again, a showcase of Moz’s ability to reconnect with his working class youth to highlight systemic problems in a modern day situation. Just a shame it didn’t have a better accompaniment: as is (and with its state as an exclusive bonus track on the now disappeared Swords), it’s been lost through the cracks a little.
5/10
My hunch is that there's a fair amount of scholarly articles (as well as one or two full-length academic books) around Morrissey/The Smiths but I'm not sure if there's a comprehensive list/archive of it anywhere? (Or whether there'd be any appetite for such a thing.)Yes, I remember reading about that in the recent Save Us Morrissey book - an interesting fact that emerged from a book that I broadly didn’t like. I’m guessing this is one of the only kinds of study enacted on his music - although it’s a bit of an obscure choice for an examination of his approach to a theme, isn’t it?
Ah, yes, of course. I’ve always associated that effect with Visconti, so my timeline was being combatted in my head. It’s used very broadly on Ringleader.Jerry Finn, not Visconti, though, right?
That paper is such an interesting read, & made me wonder if Moz does this sort of thing instinctively, or deliberately.And for anybody crazy enough to want to read it, the song was the subject of an academic book chapter by three scholars from the University of Limerick, a few years ago. You can read the whole thing online and here's a snippet of what to expect:
‘The Slum Mums’, by popular music artist Morrissey, deals with the contempt felt for lone female mothers on welfare in the United Kingdom under the New Labour governments of the 1990s and 2000s. Rather than providing a straightforward critique of this ‘contempt’, Morrissey deftly creates a song whose meaning relies on the ambiguous inter-relationship between the socio-political context, the lyrical content, and musical structure and sound as they relate to issues of gendered embodiment in particular.
I’d agree, the production does sound like Ringleader’s.Ah, yes, of course. I’ve always associated that effect with Visconti, so my timeline was being combatted in my head. It’s used very broadly on Ringleader.
I love it, love it, love it. To heaven with it!
Seriously, CD single 2 of "I have forgiven Jesus" was hard to get outside the UK for the first time in late 2004. No large numbers were made. The production on this track is more 90s Morrissey than many of the very bare produced YATQ tracks. Somewhat more obscure, with background vocals and subtle melody, this little obscurity ekes out a shadowy existence in the master's oeuvre and still delights me;
Morrissey's social studies from the perspective of the ivory tower.
I always liked this metaphor of the ivory tower. where Morrissey has been for some time. It stands symbolically unfortunately also little for the fact that he has lyrically lost contact with his former fanbase and describes social studies just from a great distance. In the 80s, it was all more existential!Maybe he made this observation as a young teen. Or maybe Morrissey, has always observed this pigsty world from the ivory tower of his mind.
I always liked this metaphor of the ivory tower. where Morrissey has been for some time. It stands symbolically unfortunately also little for the fact that he has lyrically lost contact with his former fanbase and describes social studies just from a great distance. In the 80s, it was all more existential!
What about the alternative mix (on SWORDS donwload only?). Never heard that consciously. Is there a difference?