Whatever Happens, I Love You

MORRISSEY

Admiração e paixão que crescem a cada dia.

Uma das melhores faixas de aberturas de álbums, na minha opinião...

Whatever Happens, I Love You

Nomes, nomes secretos

Mas nunca em meu favor

Mas quando tudo estiver dito e feito

É você quem eu amo

Fria prosa amorosa

Nós roubamos nossas roupas um do outro

Mas quando tudo estiver dito e feito

É você quem eu amo

Lutar por direitos

Todos, oh, tão rápido com conselhos

E quando todos eles disserem o seu preço

Ainda é você quem eu amo

Agora como sempre

(sempre, sempre, sempre)

Swallow On My Neck

Uma andorinha no meu pescoço

Eu andei bebendo todas de novo

Com os rapazes do

Crematório da estrada velha de valhalla

Uns caras chatos com o mesmo papo de sempre

Eu sou um homem simples

Com nada a ganhar ou perder

E não sei por que eu resisti

Tanto tempo a mim e a você

Até ele desenhar

Uma andorinha no meu pescoço

E o que mais eu não vou contar

Ele desenhou uma andorinha, nítida e azul

E logo todo mundo soube

Daí eu fiquei bêbado de novo

Com os caras cheios de papo e entusiasmo

De uma bem conhecida funerária

Eu sou um homem simples

Com nada a ganhar ou perder

‘vivendo e aprendendo'

Nunca se aplica a mim

Até ele desenhar

Uma andorinha no meu pescoço

E o que mais eu não vou contar

Ele desenhou uma andorinha, nítida e azul

E logo todo mundo soube

Você tem me dito

Que eu venho agindo de forma infantil

Tola, medonha e infantil

Oh, eu sei, eu sei, eu sei!

Eu sei, eu sei

Mas eu não ligo

Eu não ligo

Eu não ligo

Andy Rourke of the Smiths: "I hate it when people say, 'Oh, you're a DJ now'"

Andy Rourke (due at Lipgloss this Friday, January 24, at Beauty Bar) came to the attention of the world as the gifted bass player of the Smiths. Alongside drummer Mike Joyce, Rourke, with his eclectic and creative style, provided a subtle but unmistakable backbone to Johnny Marr's inspired jangle and Morrissey's neo-decadent poetry and theatrically melodramatic vocals.


After the Smiths split in 1987, Rourke has guested on numerous records and contributed to the bass player supergroup Freebass. Beginning with a gig at Lipgloss in 2004, Rourke has also deejayed across the globe -- well, deejayed in the sense of choosing songs from his collection of music to play. Ahead of his return engagement playing some of his favorite music at the classic Denver club night, we spoke with the drily humorous and engaging Rourke about what drew him to the bass in the beginning, his current projects and how in the late '70s most of the Manchester bands practiced in the same run down building.


Westword: What was it about bass that attracted you to playing it?

Andy Rourke: Interesting question, and I'll give you an interesting answer. Me and Johnny [Marr] met at school when we were eleven or twelve and started playing together at that time. We started a band, and at that point, I was on rhythm guitar, and the bass player was terrible. He went on to become a very famous actor on a television show called Coronation Street.

So one day Johnny said, "Why don't you try the bass and let him play the guitar." I said, "Okay, I'll give it a whirl and see what happens." I liked it, and here I am. It was just a new challenge. Something completely different. I had learned classical guitar when I was a kid, and I embraced it, and apparently I got good at it.

When you were playing with Freebass, you were doing the more mid-range-y thing in that band. Do you feel your style gravitated toward those frequencies?

With Freebass, there were no rules really. It was all rather chaotic. Obviously Hooky was playing the high end stuff, which he always does, Mani was doing the bottom end, and I thought I'd go midway and meet everyone in the middle.

You and Johnny were in what has been described as a funk band before The Smiths. How did you get interested in playing that style of music then?

When I started playing the bass, I became kind of fascinated by it and started investigating various styles of bass playing, and I was really struck with funk music, mainly American funk music -- Stanley Clarke, Funkadelic and that kind of stuff. That comes out in a couple of songs like "Barbarism Begins at Home." It's just a style I like. I found it easy to express

myself in that way.

Do you feel you continued playing in that style, or do you feel you changed things up considerably later on?

I became more adaptable, put it that way. You don't want to be a one-trick pony. On a lot of Smiths songs, I used a pick or a plectrum, and for some of the slow songs, I used my thumbs and my fingers. That's why I love the bass -- it's adaptable, and you can express yourself so well with it.

You did an interview with The Daily Beast where you said that in New York people don't ask you to play in their projects as much as you were used to in Manchester. Have you been asked to play on any records recently?

I've got a few things on the boil. I've got my personal project with Olé Koretsky, Jetlag. [Our album has taken] a long time to finish, but we're almost there. I've also had a collaboration with a talented musician called Timothy O'Keefe. I got a random call from his manager and the [project, Daddy, includes the actor James Franco]. I'm helping him with those songs and it should be out in April. It sounds really good so far. I'm also working with a record label called French Kiss and I'm jamming with [two guys at the label including Syd Butler], so we're working on some material. I've done a few remixes here and there, and I DJ all over the place, not so much in New York.

What got you started doing the DJ thing?

Probably about eight years ago. The first time I think Michael Trundle actually booked me and Mike Joyce to play at Lipgloss. And then, I don't know, I think it was just born out of frustration, really, because I wanted to hear the songs that I wanted to hear in night clubs instead of all this shitty music. I enjoy it, and I get to meet people and travel the world.

Is there a particular era of music you focus upon?

I play a lot of classics like, I suppose, indie classics and rock and roll classics. Beatles, Stones, a lot of English music. The Kinks. And more up-to-date stuff. I try to keep up with that, which can be difficult, but I try. I hate it when people say, "Oh, you're a DJ now." No, I'm not a DJ. I will always be a musician. Deejaying is my play time.

Are there particular new artists you enjoy? Probably a lot.

I like Parquet Courts, the Allah Las. I never have set list, I just grab things randomly. I like the Palma Violets, too, as well as Ty Segall. He's a bit laid back. Unknown Mortal Orchestra, I like that stuff. There's so many new bands. In Manchester, when I was growing up, there were five bands in the whole of Manchester:

There was The Fall, there was Joy Division and a couple of others, and that was about it. There was one rehearsal space, and you could hear each other and actually see each other because the walls were rotten. That place was called TJ Davidson. It was right behind Deansgate Station. I think it's demolished now because it was an unsafe building.




Publicado em: http://blogs.westword.com/backbeat/2014/01/interview_andy_rourke_the-smiths.php

Andy Rourke no Brasil

Informações, visitar site oficial do Andy: http://andyrourke.com/

Last night I dreamt that somebody love me

Estou terminando de ler a Mozipédia, e um dos trechos mais bacanas que li foi o verbete de Last night I dreamt that somebody love me. Fiquei muito emocionada com o que li, pois para mim, esta música sempre foi uma das mais tocantes não só dos Smiths, mas da música em geral. Talvez nem seja uma das minhas favoritas deles, mas teve um impacto grande na minha adolescência. Como eu costumo dizer, "tem coisas que marcam". 

Para Johnny Marr, é a faixa que resume o espírito do grupo mais do que todas as outras. "Tem drama, poesia e uma intensidade quase gótica. É uma efusão de pensamentos. Como um pequeno filme. Vai além de quatro pessoas tocando rock'n'roll, o que parece grandioso, mas eu sinto que ela tem certo classicismo. Quase operístico".

Segundo o autor do livro, Simon Goddard, "É difícil imaginá-los superando-a. Morrissey não conseguiu. Nem Marr. É improvável que eles ou qualquer outra pessoa um dia consigam". 

Na noite passada eu sonhei

Que alguém me amava

Nenhuma esperança, nenhum dano

Apenas outro alarme falso

Na noite passada eu senti

Braços reais me abraçando

Nenhuma esperança, nenhum dano

Apenas outro alarme falso

Então, me diga quanto tempo faz

Antes da última pessoa?

E me diga quanto tempo faz

Antes da pessoa certa?

A história é velha - eu sei

Mas continua

A história é velha - eu sei

Mas continua