Morrissey, Smith, Bernard Sumner discussed on Rolling Stone Music Now
A subset right. Yes, it was very sad, but it was meant to be, why was it untenable? I mean, one thing that's unspoken is you were doing so much work and sometimes instead of being grateful to the person who's doing so much work, who's arranging everything in staying and not sleeping for weeks to do all this sometimes instead of being grateful. Some people are resentful, whether it's in the context of a band or in another context, I felt that might have been. Yeah. Well, maybe that was the case. I don't know about the there was probably a time in my life when I would have felt. I don't really feel now as an adult now configure like when things come to an end a meant to come to an end all kinds of months. Shit happens. People will know talking about with relationships and jobs, and even if you wanna, you know, wanna move out your palm and you just don't tune in the game state, you know. So things kind of stopped breaking down when then when when they've run out shelf-life, you know, as as mature at all less the way I see things, how. Mean you and things out meant to bay. They just they break down like cogs in a machine stop working. They stop being harmonious and it's the same in buns. As is in relationships in his is in jobs, Fultz of life of ink. So without beating still don't feel like, what was it a personality thing? Or was it just all of the book of? Yeah, all of the above. Just different people, you know. So chemistry was a think. The differences in personnel is a won't often make for interesting chemistry. And then inevitably, you know, the differences in personnel e comes a point when those things are gonna stop forward, motion guess, and you know. So I, I suppose, well, a, he just saw futures differently. ASA, why I just didn't see my future being in that group anymore. That is a very circular statement. Will get so soundcheck. I don't wanna be a tool like fix five hours. The issue of you doing outside projects seems to have which inure telling isn't a big deal at all, like working with Bryan ferry and stuff that that was nothing to you at the time. And yet it seems seems to have been very hurtful to Morrissey barely you have to ask him about that's his account. Is that. You know, maybe so yeah, I'm not gonna disagree with if that's what he says. I'm not. I'm not gonna disagree with it. Fine. It's so wall. As we said. I mean, it's hard to imagine a better outcome for someone who lost their amazing bandits such a young age. You were what? Twenty three, yeah. Yeah. Yeah. And I mean, that's when your life is just getting started and then it it could have gone a lot of different ways, but you've had this amazing career. Cute. Yeah, I didn't know he was going to will count that way, but I don't really. I didn't really feel like a lost my band because somewhere along the line of they say. So it's kind of about so sore projection that people kind of pull on the Smith because a big part of that was inside me was a probably knew I always wanted to work with different people before the Smith. I reco- came out a discussion with Bernard Sumner so there was a clue right there, and that's because I'm a musician, and in some ways, I'm kind of. Almost archetypal musician. The lights play with people a like to learn. And from that very first session I did when Boone at someone who was producing a factory band, I walked in there and what's in Emily, sorry, like walked into. So the future, an ominous early, my future for he was working. He was working with sequences on with the bunko section, twenty five on a song called view from a hilltop. He was done a remix of what I what, not studio. As I say, the Smithsonian even the first record out on I owed of you from a hilltop remix of it. That was next level psychedelic electro music. So I was excited when I heard that will burn. It was working on, and so it was worth me walking in the studio just for that. So I'm a musician. So I'm like the five years..