"I Don't Owe You Anything" At last we reach the most compelling reason to own The Smiths. A beautiful song, and one to which John Porter's production does full justice. The best use of the organ on the album. I'm actually not acquainted with any other version of this song, and I'm fine with that. I probably heard a session version at the time, but never since. Only just found the Troy Tate version, and it sounds like a work in progress, whereas the John Porter version is complete, and to my mind, definitive. 5/5 for this one.
I LOVE "I Don't Owe You Anything." It's a sublimely beautiful song, and the version on the album is for me the definitive version as the arrangement is perfect. Porter and the band wisely chose not to overcrowd this track, and the relative spareness of it serves the tune perfectly. The way Marr's guitar melody unfolds during the verses (when he goes from playing that clipped chord into the melody) is weak-in-the-knees gorgeous. Rourke's bass line is relatively simple but it anchors the song perfectly and serves to enhance Marr's guitar part. Paul Carrack's organ is absolutely perfect. I felt like his piano on "Reel Around the Fountain" was overdone, but his sparer Hammond part on this track is exactly what the song needed. I love those flourishes he does in the verses between Morrissey's lines that you can hear at 1:47 and 2:04. Absolutely spine tingling! Definitely an album highlight for me: deeply moving, melancholy, sophisticated, and beautiful. 5/5.
I Don’t Owe You Anything – I may have overlooked this one a bit in the past. Love the organ humming in the background. Beautiful song. Great sequencing to slow things down after the previous up-tempo classics. 4 stars out of 5 ranking.
A bit dirgey for me...too much, although I agree with everyone else about the high points of the song. Still an essential for this album and fits in with the overall mood beautifully. I find it interesting that Morrissey's voice is every questioned, as it is perfect for all the songs The Smiths wrote. Radiohead's Thom Yorke owns a less than perfect traditional voice and it should never get questioned either, in the context of that band's songs. Same reason. 4/5
"I Don't Owe You Anything" is gorgeous songcraft, a gorgeous arrangement and a gorgeous performance by all involved. 5/5
Couldn't have said it any better @Lance LaSalle - one of the finest moments on this album and 5/5 from me!
“You should not go to them...” Worst piece of dating advice ever Wonderful song for me , has grown in stature over the years, and the Sandie Shaw version is well worth seeking out 5/5
I think it's absolutely the best actually and has always worked for me. You don't need to chase girls (smacks of desperation anyway) - "let them come to you" - if they're interested, they will.
Whenever I think of I Don’t Owe You Anything it’s the Sandie Shaw version that plays in my mind. The album version is superb but I prefer Sandie’s vocal. Best thing she recorded with them.
I didn't see a ton of this thread... right before the good songs Still Ill is probably the second best track on the album. The guitar here is so well put together and Morrissey just sort of floats over the entire thing, the lyric is scathing and it has a bit of pure new romanticism with "under the iron bridge we kissed and" bit, plus it shows off the LGBT themes that are scattered all around the record in spades. As does the next track Hand in Glove. This is one of those tracks if I was a DJ, I'd queue them up together since the flow is too good. It just goes right with that distinct sound and like Reel Around the Fountain, I did have my own Hand in Glove at one point which probably makes this a bit higher than most people. The "kiss my shades" bit is also, again, very post-punk esque in it's feeling. What Difference does it Make is fantastic, a little heavier in the verses and the chorus brings it back down, the falsetto doesn't work that well admittedly though it doesn't last long. I Don't Owe You Anything is quite nice. It has a great Rourke bass line throughout and the lyric is at least interesting and while I've said this about 3 times, Morrissey does carry some of the repetition of these tracks with his lyrics.
Today's song is Suffer Little Children. Again, I rate this a rather harsh 4/5. Another incredibly bold song for the group to attempt so early in their careers and one that would indeed later cause controversy. Even from the early Decibel demo it is clear how ambitious this song was and I like the inclusion of both Annalisa Jablonska's voice and Johnny's piano on that recording. It was probably a sensible decision not to include the latter however, as it allowed them to use a similar piece of music much later for 'Asleep'. The music provides a fine backdrop on the album version (which is slightly superior to the Troy Tate recording), but I think Morrissey's lyrics, and particularly the subject matter, dominate this song. Obviously not a carefree listen, but a very powerful way to end the very strong Side 2 of this album.
Retroactively rating songs if this is going to be scored total Still Ill 5/5 Hand in Glove 5/5 WDDIM 5/5 I Don't Owe You Anything 4/5 On to Suffer Little Children. I really do enjoy the mood displayed here. Marr was very good at pulling off scenes with his guitar and this is no exception. The vocal delivery is completely mute and I don't think that's really bad. The lyric itself, I honestly think the music manages to work with it well enough. The part where Moz addresses the persons directly is very well done, and Marr seemingly changes the tone to be a bit more down during the chorus, if that's what you'd refer it to. The entire thing is probably a lot more difficult to listen to if you're in the UK and/or Manchester, or had some knowledge of the deaths beforehand but before The Smiths I knew nothing about what happened, and while it doesn't chill me it certainly is quite a powerful track. 5/5
"Suffer Little Children" A powerful song to end the album, and it includes a much-quoted line ("Manchester, so much to answer for"). However, I find myself drifting during the second half of the album version - the Troy Tate version holds my attention more and I think Morrissey's vocal is stronger and more compelling on this version. Obviously a controversial subject for a song, but Morrissey's lyric is respectful. In truth, not one of my favourites, which is why I am only giving it 3/5.
Suffer Little Children Anyone brought up in 70’s Britain will have no doubt about the haunting subject matter of the moors murderers , twisted evil that escaped the death penalty recently abolished in the 60’s and cast a large shadow from prison until their eventual deaths sadly taking the locations of some victims to their graves. The free Hindley campaigns of Lord Longford did more to damage rehabilitation of offenders than most , and in the hands of a mancunion child of the 60’s the tale was indeed told in a wonderfully chilling way . This track may be Morrisseys true claim to greatness when all is said and done .. For a child cries : "Oh, find me...find me, nothing more We are on a sullen misty moor We may be dead and we may be gone But we will be, we will be, we will be, right by your side Until the day you die This is no easy ride We will haunt you when you laugh Yes, you could say we're a team You might sleep You might sleep You might sleep BUT YOU WILL NEVER DREAM ! Oh, you might sleep BUT YOU WILL NEVER DREAM ! You might sleep BUT YOU WILL NEVER DREAM !" Oh Manchester, so much to answer for Oh Manchester, so much to answer for It’s perfect for me , music matching words , deft production, that chillling female laughter (because indeed hindley laughed at little girls begging for their mothers as they were abused in the most depraved way by the sadistic Brady) .. read the book Beyond Belief .. you will not forget it and neither did Morrissey as his autobiography revealed the impact on his generation of those murders. One of the best pieces of music ever 5/5 and a touching tribute to the victims and families who are sadly often forgotton
Suffer Little Children – Morrissey was always great at artistically telling a story within the context and flow of a song. This song is a good example. Not really a standout closer but a solid song. (And a bold one) 3 stars out of 5 ranking
"Suffer Little Children" is an absolutely perfect track. Musically, it's a deeply moving, devastatingly beautiful song. Marr's richly melodic guitar really takes you on a journey, and the result is stunningly creative, haunting, and gorgeous. I especially love those chord changes in the chorus, or whatever you call the part where Morrissey sings "Lesley Anne..." and later "Hindley wakes," etc. And the melodic flourishes that Marr overdubbed really help elevate the song. You can't overstate what an inventive and talented guitarist/composer Marr was, as this track handily proves. Such a powerful, melancholy song, and the perfect way to close out the album. I think the album version is the best - the guitar arrangement really sings and it sounds fully developed. I'd give this song 5/5 without a shred of hesitation.
If UGH means OMG how dreadful then I wholly concur. She sounds like she's trying to be Tracey Thorn! Just awful.
