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Editorial Reviews. Review. “A page-turner of the first degree” – The Sunday Telegraph Morrissey & Marr: The Severed Alliance - Kindle edition by Johnny Rogan. Download it once and read it on your Kindle device, PC, phones or tablets. Books About Music: Morrissey And Marr: The Severed Alliance, Morrissey And Marr: Peggy Guggenheim: The Life Of An Art Addict by Anton Gill Free PDF. Ive been reading this book, and it is BORING. Hopefully somebody else agrees with me. The book is full of names and little facts on music in the.
Tara Brabazon EnterText 5. Move on. The Last Waltz danced between mockumentary and documentary, generational envy and generational angst. Two other landmark concerts hold a Pacific inflection. Crowded House recorded their final concert on the steps of the Sydney Opera House on November 24, It was a free event and confirmed that when the dream is finally over, a reality can be shared. Ten years of Crowded House built new traditions for the simple pop concert. The customary sing-along between band and crowd was part football chant and part Antipodean hymn.
The other great concert enfolds passionate and complex musical trajectories from Manchester and Melbourne, London and Auckland. They rehearsed for four days at Kare Kare above a gothic beachfront, best known as the setting for the film The Piano, and then performed five concerts at St James Theatre in Auckland.
The band was formed to break up. It was a super-group for an accelerated media age. Neil Finn confirms that, the idea was to put on a special event, in Auckland, a series of shows out of the ordinary in my hometown. I thought we could rehearse a set, put on some shows and break up before anything went wrong.
I made some phone calls, people seemed to like the idea of a Pacific adventure, the timing worked for everyone and one by one all these good people came on board. And along with family and friends and a whole bunch of support crew we gathered in late March for rehearsals in a barn outside of Kare Kare beach. We had to discover what we could become, given only a few days and just the combined will to make it sound good.
It was the reimagining of place through popular music that is of most interest. Colonial histories and sonic legacies jutted from the stage. One more notable performer also journeyed into the Pacific to join the super-group ensemble. The Smiths were an English pop phenomenon who had a scale of success always promised to Split Enz. Steven Morrissey and Johnny Marr were the iconographic songwriting partnership of the s, foreshadowing the explosion of sounds and visions from Manchester in the subsequent decade.
There is a clear parallel between Johnny Marr and David Crosby. After leaving the Byrds, Crosby recorded with friends and played an array of gigs without the anchoring commitment of a band. However the few days he spent in Auckland, performing in a group that would rehearse only to break up, provides a postmodern twist on the Crosby narrative. Johnny Marr recognised this scale of influence.
It is evocative to watch the notes and rhythm move from the mids to the mids, and from a darkened Manchester underpass to a Kare Kare beach outside Auckland in Aotearaoa, New Zealand. Popular cultural movement is difficult to track, and even more complex to understand. A version of s Manchester, gutted by Thatcherism, was re-placed in Auckland to create new media belongings.
Split Enz and Crowded House are a pivot on which much post-war Antipodean music turns. Rarely considered is how they transformed popular cultural geography. Their atonal piano chords, rapid shifts in time signature and odd guitar tunings only increased the strangeness and unfamiliarity.
Occasionally, popular culture reveals a text, a moment of feeling, that is so saturated with the space and time from which it was derived that it provides a commentary more incisive and immediate than that of journalists, theorists and writers.
The song titles, lyrics and melody enter the language. Split Enz constructed an Aotearoa for Australian consumption.
Crowded House performed an Antipodes for the world. Popular cultural studies, at its best, aligns discursive formations and texts that dissent, conflict and struggle. This textual dissonance is particularly potent when exploring how immigration narratives fit into the nation state. How does the music imagine the past and place? How does it function as a memory-machine, a technology for the production of subjective and collective versions of location and identity?
Some of the most fascinating writing about popular music focuses on the limits and potential of one city, rather than a nation. Yet there is much research to be conducted connecting up these histories into a theory of trans-localism, exploring how popular culture is the channel and conduit for creating horizontal relationships between cities, not vertical hierarchies that rank and separate nations.
The Auckland concert is significant because the Empire was singing back. Englishness was translated and transformed by creating relationships between Manchester and Auckland. This was an important colonial dialogue, and a necessary corrective. Musical topographies summon a landscape of memory, recycling lyrics, melodies, samples and remixes.
The concert in Auckland was a collision of The Smiths, Split Enz, Crowded House, Radiohead and Pearl Jam, repackaging history and leaving spaces for countermemories and resistance, but also consumerism and capitalism. To study popular music and its relationship to place requires a mapping of metageographies and the cultural Tara Brabazon: There is a Light that Never Goes Out EnterText 5.
All cities share particular characteristics, with differences instigated through immigration, landscape and economic concerns. Increasingly, as governmental policies aim to develop entrepreneurial rather than social welfare initiatives, cities are sites of marketing and consumption, not collectivised political struggle.
Morrissey opened up a misery dictionary, while Happy Mondays nick-named it Madchester.
These policy initiatives resonated in post industrial England, where it has been necessary to re-inscribe the landscape and permit new economic initiatives to develop. A cartography of music—or a mapping of a beat—offers insight into urban and media studies. Architects, urban planners, politicians, local governments and engineers all organise space, but an attention to music facilitates an Tara Brabazon: There is a Light that Never Goes Out EnterText 5.
There are fine analyses of city music. The Auckland concert serves as a model for linking these investigations. He also recognises the crucial role that student consumers play in the music industry. As Dave Haslam realised, Manchester, like England, is now re-creating itself, looking for a new role, a life without manufacturing industry.
Manchester is known for its music and football, but these successes allow a suite of other industries to thrive in design, fashion and hospitality. Disconnectedness is a trigger for creativity. You get in a taxi and drive across London or you go straight into a venue. But to be on a mountain top overlooking the ocean was pretty surreal, really.
Working through the influences of Roxy Music and early Genesis, diverse musical trajectories were summoned. When the Enz toured Britain, they not only appeared out of place but out of time, and never aligned their music with the contemporary trends gaining success in the charts.
Crowded House was more successful than the Enz as, through the late s and s, popular music fragmented through the rhythmic revelations of Acid House and Grunge. Neil Finn offered safe pop music while house and techno cannibalised the charts, summoning songs of love, loss and isolation. Popular culture transforms and translates the icons and imaginings of a time, remaking it into the fodder of popular memory. Slicing Morrissey from The Smiths, moving Marr from Manchester, meant that s popular music tethered a new Antipodean soundscape to an old industrial landscape.
They never toured the region and because the band rarely made videos, televisual exposure was limited. His impact was potent: Finn reported that Marr came straight off the flight and into the rehearsal studio, without changing his clothes, having a shower or visiting his accommodation in Auckland. Marr remade this song through counter melodies on his harmonica, adding a moody blues-edge not present on the original. He combines a great riff with a great haircut, and knows—intrinsically it seems—that both are required to sustain a pop icon.
The most evocative of popular music freeze-dries feelings, capturing a crying scrag, murmured whimper, or passionate embrace. Frequently, the lyrics are understated and in a minor key. It is a Manchester of Antipodean imagining. It could have gone badly askew. Neil Finn is a fine singer, but no one can cover a myth.
The only caveat to this truth is if another myth can be moulded from memory. Colonial spaces summon liminality, ambiguity and ambivalence. Sonic rules morph and change. We just decided that. Interestingly, they did this by capo as there was little time in rehearsal to transpose the chords and bass line.
With its detailed research and fascinating interview material, Timeless Flight Revisited is a compelling portrait of collective turmoil, peopled by characters who win our sympathy at the same time as they earn our disbelief. Rogan went on to write more than 20 other books, mainly in the field of music and popular culture. Neil Young is quoted praising Rogan's work on the back of the biography along with a five-star review from Uncut and several other prominent music publications.
Not long afterwards Morrissey expressed a desire that the author should die in a hotel fire.
However, in Morrissey testified under cross examination that he had not read the book, only "bits of it". He also testified that comparing some items of witness statements in relation to facts contained in the book that the 'book is correct'; he and Rogan also spoke about various matters at the High Court during a recess. Rogan continues to write extensively about Morrissey, most recently with 's Morrissey: The Albums. Rogan has written two major biographies of Van Morrison and the acknowledgement page of VM: No Surrender states: "This book has probably had the longest gestation of any I have written.
However, this is likely to be eclipsed by Rogan's continuing work on the careers of the Byrds and Neil Young. Morrison on his part is quoted on the 'Dedication Page', saying: "Rogan's got something to hide. What's he hiding? I'd like to do a book on him. No Surrender featured in The Sunday Times Top 10 books of the year and also featured for two consecutive years in hardback and paperback in Mojo's music books of the year.
Among the many favourable press notices attached to the paperback edition was an extravagant review concluding: "Van Morrison: No Surrender is the best book about popular culture written about any Irishman living or dead, and it's certainly the best social history of Belfast in the mids ever written.