7 Craig Gannon recalled that Morrissey was not with them on Concorde, suggesting that he might have returned to Colorado.
CHAPTER THIRTY-FIVE
1 The parliamentarian backlash against homosexual permissiveness began in earnest in 1986, with “An act to refrain local authorities from promoting homosexuality” introduced in the House of Lords. The following year, Clause 28 was successfully amended to the Local Government Bill. It stated that a local authority “shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship.”
CHAPTER THIRTY-SIX
1 The original demo for “Is It Really So Strange?” has subsequently become available, and it can be confirmed that the two versions are precisely the same tempo. As for “Sweet and Tender Hooligan,” the original Porter recording has not surfaced to allow for such a comparison.
CHAPTER THIRTY-SEVEN
1 The recording completed with Porter eventually emerged, many years later, without Shaw’s vocals, and with a sitar-like introduction, played by Porter on the Emulator.
2 The David Bowie song “Kooks” on Hunky Dory includes the line “If the homework brings you down, then we’ll throw it on the fire.”
3 Morrissey, on the other hand, would demonstrate his own loyalty to Hinc by returning to the agent as a solo artist.
CHAPTER THIRTY-EIGHT
1 For publishing Speranza’s words, the Nation’s editor, Gavan Duffy, was charged with sedition. At his trial, Lady Wilde stood up and took responsibility. “I am the culprit. I wrote the offending article.” Perhaps because of her status, she was not charged.
CHAPTER THIRTY-NINE
1 The one exception was “The Draize Train,” which was also absent from The World Won’t Listen. The reason was never made clear.
2 In an interview for the Brit Girls TV show in 1997, Morrissey admitted, “Cilla Black, unbeknownst to herself, actually broke the Smiths up.” At the same time, he insisted of his motivation for choice of song that it was merely “amusing … quite funny, and very throwaway, a bit of a tease really.”
CHAPTER FORTY
1 “I don’t perform,” Morrissey insisted years later during an interview, correcting Russell Brand, then a radio host and consummate Smiths fan and not yet a world-famous actor and Morrissey compadre. “Seals perform, unfortunately.” Morrissey said that he preferred the term “appear live.”
2 The next time they met—“Quite a long time later,” said Street—Marr “was a bit cold towards me, to be honest with you. I just thought, ‘Well he’s obviously felt I’ve thrown in my hat on that side of the fence, as it were.’ ” The pair would eventually rebuild those fences and work together on the remastering of the Smiths catalog in the 2000s.
3 Marr played on The The’s album Mindbomb and the Pretenders’ single “Windows of the World,” neither of which were released until 1989. He also toured with The The as a full member, and subsequently played on the act’s 1993 album, Dusk, as well.
4 The guitar riff for “How Soon Is Now?” as sampled by British act Soho for their indie-dance single “Hippy Chick,” made it into the American charts later in 1990. As the legal cowriters of the single, it gave Morrissey-Marr as composers, and the Smiths as a group (though Marr was the only one actually sampled) their only American top 20 credit.
5 It followed Marr anyway. Matt Johnson noted to the author that, “in some ways I suppose The The became a bit of a shelter in a storm for him as he was getting a huge amount of grief from certain elements in the music press, specifically the NME, who really resented the fact he’d just killed the goose that was laying their golden eggs.” Johnson recalled that Danny Kelly “would do his utmost to undermine Johnny’s move from the Smiths to The The at every opportunity.… This post-Smiths atmosphere became really poisonous and I remember Johnny actually apologizing to me for bringing all this negativity with him. It wasn’t his fault, of course, and though he used to get quite down about it, I just told him to simply stop reading the music papers.”
6 Those three songs: “Stop Me If You Think You’ve Heard This One Before,” “Death at One’s Elbow,” and “Sweet and Tender Hooligan.”
7 The Smiths’ instinct regarding the commercial appeal of “Stop Me If You Think You’ve Heard This One Before” was confirmed a full twenty years later, when the club DJ/producer Mark Ronson took a version of it to number 2 in the British charts, as sung by Daniel Merriweather. Entitled simply “Stop Me” and including a brief refrain from the Supremes’ Motown classic “You Keep Me Hanging On” for its finale, this was to be the highest-charting Morrissey-Marr composition in the UK.
8 “I Started Something I Couldn’t Finish” ended an otherwise unbroken run of UK independent number one singles dating back to “This Charming Man.”
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