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"Suedehead" is the debut solo single by English singer Morrissey, released on 15 February 1988. Co-written by Morrissey and former Smiths producer Stephen Street, the song was Morrissey's first solo release after the Smiths break-up.
"I'm Not Sorry" Morrissey Boz Boorer You Are the Quarry: 2004 [1] "I'm Not a Man" Morrissey Jesse Tobias World Peace Is None of Your Business: 2014 [15] "I'm OK by Myself" Morrissey Jesse Tobias Years of Refusal: 2009 [3] " (I'm) The End of the Family Line" Morrissey Mark E. Nevin Kill Uncle: 1991 [7] "I'm Throwing My Arms Around Paris ...
Steven Patrick Morrissey (/ ˈ m ɒr ɪ s i / MORR-iss-ee; born 22 May 1959), known mononymously as Morrissey, is an English singer and songwriter. He came to prominence as the frontman and lyricist of rock band the Smiths, who were active from 1982 to 1987. Since then, he has pursued a successful solo career.
Morrissey's role was to create vocal melodies and lyrics. [130] Morrissey's songwriting was influenced by punk rock and post-punk bands such as New York Dolls, the Cramps, the Specials and the Cult, along with 1960s girl groups and singers such as Dusty Springfield, Sandie Shaw, Marianne Faithfull and Timi Yuro. Morrissey's lyrics, while ...
You Are the Quarry is the seventh solo studio album by English singer-songwriter Morrissey.It was released on 17 May 2004 by record label Attack, and was his first album in seven years following 1997's Maladjusted.
Morrissey, the former lead singer of the Smiths, took the stage of the city's New Jersey Performing Arts Center on Nov. 13 for 90 minutes of vocal swoons, audience hugs and flippant asides.
It was the second show of Morrissey’s U.S. tour, Spin reported. And it was the last show on the Greek Theatre’s calendar for the year, as the venue does not reopen until April.
Morrissey's rejuvenation is most obvious in the renewed strength of his vocals. For much of Years of Refusal Morrissey is turning his fire outwards – taking on lovers, enemies, wannabes, or some combination of all three. This is Morrissey's most venomous, score-settling album, and in a perverse way that makes it his most engaging. [17]