Who would you like to see as the co-writers for the next album?

Who would you like to see as the co-writers for the next album?

  • Tobias/Boorer

    Votes: 1 7.7%
  • Tobias/Boorer/Whyte

    Votes: 4 30.8%
  • Tobias/Boorer/Street

    Votes: 6 46.2%
  • Tobias/Boorer/Marr

    Votes: 2 15.4%
  • Tobias/Boorer/other(s)

    Votes: 0 0.0%

  • Total voters
    13

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It looks like Jesse and Boz will have co-written some songs for the next album, but who would YOU like to see as the co-writers for the next album along with Jesse and Boz if any?
 
Frankly, if we're being asked who we would "like" to see, there would be an option that did not include Jesse.
 
Frankly, if we're being asked who we would "like" to see, there would be an option that did not include Jesse.

This!!

I'd like to see Whyte/Street. In the event of new contributions from Marr, I doubt he'd allow them to be used under the "Morrissey solo" banner. It would have to be a separate project.
 
This!!

I'd like to see Whyte/Street. In the event of new contributions from Marr, I doubt he'd allow them to be used under the "Morrissey solo" banner. It would have to be a separate project.

Well it's guaranteed that Boz and Jesse will be co-writers on the next album. People are the same Everywhere will definitely be on it and at least one of the 4 Boz songs previewed already. I was meaning along with them who would you like to see as the extra co-writer (if any) or extra co-writers in any combination as far as my last option is concerned. I agree what you say about Marr. It would have to be a separate project.
 
Well it's guaranteed that Boz and Jesse will be co-writers on the next album. People are the same Everywhere will definitely be on it and at least one of the 4 Boz songs previewed already. I was meaning along with them who would you like to see as the extra co-writer (if any) or extra co-writers in any combination as far as my last option is concerned. I agree what you say about Marr. It would have to be a separate project.

Boz had no songs on "Ringleader". I'm hoping Jesse only has "People..." on the new album, or that Moz decides to relegate it to a B-side. Wishful thinking of course. I'd love to see Street and Whyte back writing with him.
 
It would be great to have Whyte, Street and J Marr writing new material for Moz and hear a new album featuring all his major collaborators. Even Mark E Nevin could pitch in. Doubt it's ever going to happen though.
 
Won't vote in the poll as Tobias is featured on all of them...a whole album of Street and Moz would be great. He could throw all the other songs away on another "Swords" album.
 
Won't vote in the poll as Tobias is featured on all of them...a whole album of Street and Moz would be great. He could throw all the other songs away on another "Swords" album.

How about Ray Davies?
 
My proposal: commission one track from each of his former bandmates/songwriting partners. No more than one from each. It would be a concept album in which a story is told about a young man who begins life as a poor teenager in Manchester, achieves incredible success, and ends up a middle-aged Byronic exile despite being one of the most important artists of the twentieth century. To make the album appealing to record companies, it would be released alongside his memoirs. As a tie-in, the collaborator in each song would be given a chapter from the memoir to read as inspiration. The collaborator would also be asked to write the music in a style reflective of that stage of Morrissey's career. Then, in the studio-- with Johnny Marr behind the desk, overseeing the whole project-- Morrissey would add his words, which would keep to the theme of the given chapter, and sing the vocals.

The album's songwriting credits would look something like this:

Chapter 1. Morrissey/Duffy
Chapter 2. Morrissey/Marr
Chapter 3. Morrissey/Street
Chapter 4. Morrissey/Reilly
Chapter 5. Morrissey/Rourke
Chapter 6. Morrissey/Nevin
Chapter 7. Morrissey/Boorer
Chapter 8. Morrissey/Whyte
Chapter 9. Morrissey/Tobias
Chapter 10. Morrissey/Morricone

Naturally, only Morricone could write the music for the final, grandiose, highly operatic chapter. It would be a nine-minute epic, infused with Marr's recent experience scoring films, delivering a beautifully cinematic conclusion to Morrissey's Life In Pop. Needless to say this would be the final recorded album of his career. A limited-engagement tour would follow, with different guitarists and players lined up to offer different interpretations of Morrissey's songs. The chosen collaborator would not just show up to play, he would be the Musical Director for the evening and would be allowed full freedom to tailor the sound of the songs however he liked (more punk here, more bombast there; a set heavy with solo songs, another with Smiths material). The only constant would be Morrissey.

1. Los Angeles (Musical Director: Boz Boorer and Jesse Tobias)
2. New York (Musical Director: Alain Whyte)
3. Rome (Musical Director: Ennio Morricone, with full orchestra backing Morrissey rather than a band)
4. London (Musical Director: Stephen Street)
5. Manchester I: Only Songs From 1983-1990 (Musical Director: Boz Boorer)
6. Manchester II: Only Songs From 1991-2012 (Musical Director: Johnny Marr)
7. Manchester III: The Final Gig-- 30 Songs-- half acoustic set with Morrissey and Marr alone, half electric set with Morrissey, Marr, Rourke, Boorer, plus "Drummer To Be Named", with special appearances by various luminaries (e.g. Howard Devoto, Tim Booth, Pete Burns, Sparks, etc) (Musical Director: Johnny Marr)

8. Manchester X: Secret Gig - Morrissey, Marr, Rourke, DTBN playing small club-- The Ritz?-- in Manchester, announced hours beforehand via Johnny's Twitter account. Only Smiths songs. No keyboards. No computers. No backdrop. Four guys on a tiny stage belting out tunes. Each audience member receives a single page of Morrissey's memoirs, handwritten by the author. At the roof-raising conclusion of the evening's final encore, "Bigmouth Strikes Again", Morrissey is kidnapped by nuns and whisked away into the night. He is not seen again in public until he accepts the Nobel Prize for Literature.

Double live album to follow. Secret gig included as bonus video DVD/Blu-Ray in the Special Edition box set.

FINIS
 
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Brilliant stuff. Very "Criterion" in conception.
I like how you've switched Boz and Marr to direct eras they weren't a part of for the Manchester shows.

My proposal: commission one track from each of his former bandmates/songwriting partners. No more than one from each. It would be a concept album in which a story is told about a young man who begins life as a poor teenager in Manchester, achieves incredible success, and ends up a middle-aged Byronic exile despite being one of the most important artists of the twentieth century. To make the album appealing to record companies, it would be released alongside his memoirs. As a tie-in, the collaborator in each song would be given a chapter from the memoir to read as inspiration. The collaborator would also be asked to write the music in a style reflective of that stage of Morrissey's career. Then, in the studio-- with Johnny Marr behind the desk, overseeing the whole project-- Morrissey would add his words, which would keep to the theme of the given chapter, and sing the vocals.

The album's songwriting credits would look something like this:

Chapter 1. Morrissey/Duffy
Chapter 2. Morrissey/Marr
Chapter 3. Morrissey/Street
Chapter 4. Morrissey/Reilly
Chapter 5. Morrissey/Rourke
Chapter 6. Morrissey/Nevin
Chapter 7. Morrissey/Boorer
Chapter 8. Morrissey/Whyte
Chapter 9. Morrissey/Tobias
Chapter 10. Morrissey/Morricone

Naturally, only Morricone could write the music for the final, grandiose, highly operatic chapter. It would be a nine-minute epic, infused with Marr's recent experience scoring films, delivering a beautifully cinematic conclusion to Morrissey's Life In Pop. Needless to say this would be the final recorded album of his career. A limited-engagement tour would follow, with different guitarists and players lined up to offer different interpretations of Morrissey's songs. The chosen collaborator would not just show up to play, he would be the Musical Director for the evening and would be allowed full freedom to tailor the sound of the songs however he liked (more punk here, more bombast there; a set heavy with solo songs, another with Smiths material). The only constant would be Morrissey.

1. Los Angeles (Musical Director: Boz Boorer and Jesse Tobias)
2. New York (Musical Director: Alain Whyte)
3. Rome (Musical Director: Ennio Morricone, with full orchestra backing Morrissey rather than a band)
4. London (Musical Director: Stephen Street)
5. Manchester I: Only Songs From 1983-1990 (Musical Director: Boz Boorer)
6. Manchester II: Only Songs From 1991-2012 (Musical Director: Johnny Marr)
7. Manchester III: The Final Gig-- 30 Songs-- half acoustic set with Morrissey and Marr alone, half electric set with Morrissey, Marr, Rourke, Boorer, plus "Drummer To Be Named", with special appearances by various luminaries (e.g. Howard Devoto, Tim Booth, Pete Burns, Sparks, etc) (Musical Director: Johnny Marr)

8. Manchester X: Secret Gig - Morrissey, Marr, Rourke, DTBN playing small club-- The Ritz?-- in Manchester, announced hours beforehand via Johnny's Twitter account. Only Smiths songs. No keyboards. No computers. No backdrop. Four guys on a tiny stage belting out tunes. Each audience member receives a single page of Morrissey's memoirs, handwritten by the author. At the roof-raising conclusion of the evening's final encore, "Bigmouth Strikes Again", Morrissey is kidnapped by nuns and whisked away into the night. He is not seen again in public until he accepts the Nobel Prize for Literature.

Double live album to follow. Secret gig included as bonus video DVD/Blu-Ray in the Special Edition box set.

FINIS
 
Brilliant stuff. Very "Criterion" in conception.
I like how you've switched Boz and Marr to direct eras they weren't a part of for the Manchester shows.

Thanks King. Yes, the switch was deliberate. The idea would be to show the continuity of his entire career, regardless of his songwriting partner. We know how Boz would do Smiths songs, but I'd really love to hear Johnny's takes on the solo classics. Not that he'd improve them, just that he might tweak them a little here and a little there to give us a fresh perspective.
 
My proposal: commission one track from each of his former bandmates/songwriting partners. No more than one from each. It would be a concept album in which a story is told about a young man who begins life as a poor teenager in Manchester, achieves incredible success, and ends up a middle-aged Byronic exile despite being one of the most important artists of the twentieth century. To make the album appealing to record companies, it would be released alongside his memoirs. As a tie-in, the collaborator in each song would be given a chapter from the memoir to read as inspiration. The collaborator would also be asked to write the music in a style reflective of that stage of Morrissey's career. Then, in the studio-- with Johnny Marr behind the desk, overseeing the whole project-- Morrissey would add his words, which would keep to the theme of the given chapter, and sing the vocals.

The album's songwriting credits would look something like this:

Chapter 1. Morrissey/Duffy
Chapter 2. Morrissey/Marr
Chapter 3. Morrissey/Street
Chapter 4. Morrissey/Reilly
Chapter 5. Morrissey/Rourke
Chapter 6. Morrissey/Nevin
Chapter 7. Morrissey/Boorer
Chapter 8. Morrissey/Whyte
Chapter 9. Morrissey/Tobias
Chapter 10. Morrissey/Morricone

FINIS

This is kind of what I was getting at above... but you really ran with the idea! Bravo!

I suppose there's also Langer, Armstrong and Spencer to consider as potential ex co-writers. I don't think Gary Day counts.

Nice inclusion of Vini Reilly though. I always wondered why he didn't submit any music for Morrissey to work with.
 
Gary co-wrote Pashernate Love, Mexico and You Know I Couldn't Last (anything else?). Not a lot, but hey.
Spencer definitely had potential to become a very strong songwriting partner. Would still love to hear his version of It's Hard to Walk Tall...


I suppose there's also Langer, Armstrong and Spencer to consider as potential ex co-writers. I don't think Gary Day counts.
 
Gary co-wrote Pashernate Love, Mexico and You Know I Couldn't Last (anything else?). Not a lot, but hey.
Spencer definitely had potential to become a very strong songwriting partner. Would still love to hear his version of It's Hard to Walk Tall...

Forgot Mikey Farrell for a moment.
 
Gary co-wrote Pashernate Love, Mexico and You Know I Couldn't Last (anything else?). Not a lot, but hey.

The Slum Mums and Noise is the Best Revenge, too.

I remember these two songs got quite a bashing (and still do?) when they were released.
 
Forgot about Noise. There was only that one live radio rendition and never heard from again, yes? I thought it was all right.
Slum Mums, on the other hand, is my least favourite Morrissey track in the entire discography. I don't think I'm sycophantic but I do find something to enjoy in every Morrissey track, weak and otherwise. Except that track -- it's Godawful IMHO.


The Slum Mums and Noise is the Best Revenge, too.

I remember these two songs got quite a bashing (and still do?) when they were released.
 
Brilliant stuff. Very "Criterion" in conception.
I like how you've switched Boz and Marr to direct eras they weren't a part of for the Manchester shows.

Not as detailed and widescreen in scope, but I longed for a nostalgic hybrid of collaborations on a "final" album. Kow-tow to the present with his current band produced by Visconti. Then, three-four songs with the original Lads produced by Lillywhite. Perhaps one-two tracks written with and produced by Street, with musical contributions by Reilly and Paresi/Gibbon. Finally, one-two songs written and performed with Marr, with perhaps a song featuring Rourke and drums on those songs by session man extraordinaire Deano.

I would love to see a b&w photo of Morrissey flanked by the original Lads as they are today.
 
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