He was the lead singer of The Smiths, one of the most influential alternative bands in the 1980s. The group split up in 1987 and Morrissey started a successful solo career.
His first solo album, Viva Hate was released only six months after The Smiths split, in March 1988. The album's first single "Suedehead" peaked at #5, a higher position than any Smiths single had ever achieved. In 1990, Bona Drag, a collection of his solo singles and b-sides, including popular songs such as "The Last of the Famous International Playboys" and "Everyday is Like Sunday" (which also appears on "Viva Hate")
His second album 1991's Kill Uncle was not as well received as his first, with neither single achieving the Top 20. In 1992, the Mick Ronson-produced Your Arsenal was released and included singles such as "Tomorrow" and "We Hate It When Our Friends Become Successful". A live album, Beethoven Was Deaf, followed in 1993.
In 1994, Morrissey released Vauxhall and I, which contained "The More You Ignore Me, The Closer I Get", his biggest hit in the United States, where it peaked at #46. Later that year, Morrissey also recorded a one-off project with Siouxsie of Siouxsie and the Banshees: they sang in duet on the single Interlude.
After "Vauxhall and I", Morrissey released Southpaw Grammar (1995) and Maladjusted (1997), both of which failed to produce a UK Top 20 single.
A period of musical inactivity followed in the late 90s and early 2000s, which was due to failure in finding a suitable label, according to a 2004 interview with Jools Holland. After seven years without a new album release, You Are the Quarry was released on May 17, 2004 (but one day later in the USA). The first single, Irish Blood, English Heart, was released internationally on May 10, 2004. The single reached number three in its first week of sales in the UK singles chart. To date, this is the highest placing chart position for Morrissey in his entire career as both a solo artist and the lead singer of The Smiths (the 2006 release You Have Killed Me also debuted at number three in its first week in the charts). It has sold over a million copies, making the album his most successful, solo or with The Smiths.
Ringleader Of The Tormentors, produced by former David Bowie producer Tony Visconti, was released in April 2006. The album went straight to the top of the UK Album charts.
Morrissey released a new Greatest Hits collection in February 2008, including two new songs: All You Need Is Me and That’s How People Grow Up, both released as singles. Morrissey is now signed to Decca Records.
In 2009, Morrissey released his latest album, Years of Refusal, which was produced by Jerry Finn, his final production credit before his death. Later in the year, Morrissey released the B-sides collection Swords.
2009 also saw the re-releases of Maladjusted and Southpaw Grammar, two of his most critically maligned albums. The Maladjusted re-release ditched two of its singles, Papa Jack and Roy's Keen, in favour of several other tracks from the period, such as I Can Have Both. Sorrow Will Come in the End, written about Morrissey's vicious legal battle with Smiths drummer Mike Joyce, was also re-instated to the UK edition. Southpaw Grammar retained all of its original tracks, albeit re-sequenced, but recieved the addition of other tracks from that time period, including the new album closer Nobody Loves Us.
Two other Morrissey releases came in 2009; The HMV/Parlophone Singles '88-'95 and Swords, the former a 3 CD compilation of singles and B-sides from Viva Hate through to Vauxhall and I, the latter a compilation of B-sides from You Are The Quarry, Ringleader of the Tormentors, and Years of Refusal.
A new Very Best Of collection was released in 2011, accompanied by a UK tour.
Morrissey's eleventh solo album, 'Low in High School', was released on November 17th, 2017. ' Low in high School' was produced by Joe Chiccarelli same producer as Morrissey’s ‘World Peace is None of Your Business’.
Morrissey's twelth studio album "California Son" is released on 24 May 2019 on the singer's label étienne and licensed on BMG, the album is a collection of cover versions. It is recorded in 2018 by Joe Chiccarelli, a frequent collaborator of Morrissey.
Morrissey's new studio album, I Am Not A Dog On A Chain, is scheduled for March 2020 release by BMG. The album was recorded in St-remy, France, with producer Joe Chiccarelli.
Get Off The Stage
Morrissey Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You silly old man
You're making a fool of yourself
So get off the stage
You silly old man
In your misguided trousers
With your mascara and your Fender guitar
But the song that you just sang
It sounds exactly like the last one
And the next one
I bet you it will sound
Like this one
Downstage, and offstage
Don't you feel all run in?
And do you wonder when they will take it away?
This is your final fling
But then applause ran high
But for the patience of the ones behind you
As a verse drags on like a month drags on
It's very short, but it seems very long
And the song that you just sang
It sounds exactly like the last one
And the next one
I bet you it will sound
Like this one
So, get off the stage
Oh, get off the stage
And when we get down off of the stage
Please stay off the stage - ALL DAY !
Get off the stage
Oh, get off the stage
And when we've had our money back
Then I'd like your back in plaster
Oh, I know that you say
How age has no meaning
Oh, but here is your audience now
And they're screaming:
"Get off the stage"
Oh, get off the stage
Because I've given you enough of my time
And the money that wasn't even mine
Have you seen yourself recently?
Oh, get off the stage
Oh, get off the stage
For whom, oh...
For whom, oh...
For whom, oh...
For whom, oh...
Get off the stage
Get off the stage
Get off the stage
For whom the bell tolls
The lyrics to "Get Off The Stage" by Morrissey are a direct attack against aging musicians who refuse to retire and continue performing in concert. The song speaks to a larger cultural problem of "the cult of youth" and the obsession with staying young and desirable, even at the cost of sacrificing quality artistry. Morrissey, once the lead singer of influential British band The Smiths, has himself struggled with the pressures of aging in the entertainment industry, and this song can perhaps be seen as his own fears projected onto others.
Throughout the song, Morrissey uses the phrase "you silly old man" to address the aging performer, mocking their attempts to excite the audience with their outdated, unoriginal music. He draws attention to the performer's tacky appearance, with their "misguided trousers" and "mascara," suggesting that they are out of touch with contemporary tastes. The song's chorus demands that the performer "get off the stage," repeating the phrase for emphasis, and suggesting that their time as a respected artist is up.
There's a sense of frustration and exhaustion with the aging performer's antics, with Morrissey describing a combination of boredom and disgust as the performer's songs sound "exactly like the last one." He warns the performer that their music will continue to fall on deaf ears, and that they will eventually be forgotten. The song closes with the repeated line "for whom the bell tolls," a reference to a phrase from a poem by John Donne, which speaks to the inevitability of death and the impermanence of fame.
Line by Line Meaning
Oh, you silly old man
Morrissey is addressing a performer who is past their prime and behaving foolishly on stage.
You silly old man
Morrissey repeats his statement from the previous line in a mocking tone, emphasizing the performer's age and lack of relevance.
You're making a fool of yourself
Morrissey believes that the performer's behavior is embarrassing and he should leave the stage.
So get off the stage
Morrissey urges the performer to leave the stage and stop embarrassing himself any further.
In your misguided trousers
Morrissey criticizes the performer's fashion choices, implying that they are outdated or unfashionable.
With your mascara and your Fender guitar
Morrissey describes the performer's appearance, noting that he wears makeup and plays a Fender guitar.
And you think you can arouse us?
Morrissey poses a rhetorical question, suggesting that the performer is trying to create a sexual atmosphere on stage.
But the song that you just sang
Morrissey critiques the quality of the performer's music.
It sounds exactly like the last one
Morrissey notes that the performer's music is repetitive and lacks originality.
And the next one
Morrissey predicts that the performer's next song will be just as unoriginal as the last two.
I bet you it will sound
Morrissey expresses certainty that the performer's next song will be no different from the previous ones.
Like this one
Morrissey implies that the performer's songs all sound the same.
Downstage, and offstage
Morrissey refers to the location of the performer on the stage and the spot they should be aiming to reach.
Don't you feel all run in?
Morrissey asks if the performer is feeling exhausted, emphasizing the physical and emotional toll of performing.
And do you wonder when they will take it away?
Morrissey questions whether the performer knows that the audience is getting tired of them and will eventually ask them to leave.
This is your final fling
Morrissey suggests that the performer is on their last legs and should retire after this performance.
But then applause ran high
Morrissey acknowledges that the audience is applauding, but suggests that their praise is undeserved.
But for the patience of the ones behind you
Morrissey notes that some members of the audience are only tolerating the performer's presence out of politeness.
As a verse drags on like a month drags on
Morrissey comments on the length of the performer's song, suggesting that it feels like it is lasting forever.
It's very short, but it seems very long
Morrissey reflects on the ironic contrast between the short length of the performer's song and the way it seems to drag on endlessly.
So, get off the stage
Morrissey reminds the performer that he wants them to leave the stage.
And when we get down off of the stage
Morrissey speaks directly to the performer, suggesting that he expects them to leave the stage immediately after the show is over.
Please stay off the stage - ALL DAY !
Morrissey emphasizes that he doesn't want to see the performer on stage again, and certainly not for the rest of the day.
And when we've had our money back
Morrissey implies that the audience is disappointed with the quality of the performer's show and would like their money returned.
Then I'd like your back in plaster
Morrissey makes a violent threat against the performer, joking that he would like to physically harm them as revenge for the bad show.
Oh, I know that you say
Morrissey suggests that the performer has previously expressed an opinion about the irrelevance of age in the music industry.
How age has no meaning
Morrissey mocks the performer's stance on age, suggesting that they are clinging to a misguided notion of youthfulness.
Oh, but here is your audience now
Morrissey suggests that the performer should consider the aging demographic of their audience, which may have different expectations than younger listeners.
And they're screaming:
Morrissey describes the reaction of the audience to the performer's bad show.
"Get off the stage"
Morrissey reports what the audience is shouting at the performer.
Because I've given you enough of my time
Morrissey speaks for himself as part of the audience, suggesting that he has already invested too much energy into the performer's show.
And the money that wasn't even mine
Morrissey suggests that the performer has received payment for the show that was not deserved.
Have you seen yourself recently?
Morrissey asks the performer whether they realize how bad they look and sound on stage.
For whom the bell tolls
Morrissey quotes the title of a famous novel by Ernest Hemingway, suggesting that the performer's career is coming to an end.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: ANDY ROURKE, STEVEN MORRISSEY, STEVEN PATRICK MORRISSEY
Lyrics Licensed & Provided by LyricFind
Will Potter
I knew one day this song would come full circle and it'd be relevant to Morrissey
Simon Edgbaston
⭐️🎙✨️@Christopher Hawke Absolutely ✨️🎸⭐️
Johnny Meyer
@ Feel Good Constipation
Hi
Feel Good Inspiration
You take life too seriously. Laugh a little 😂. I think that is the intent of the song. In Mexico they say stop showing your “face with a stuck fart” 😂
Christopher Hawke
@Thorkell Ágúst Óttarsson he’s still making music that’s different to anything else out there, and to say sonically he hasn’t changed is balls.
Not to say it’s to everyone’s taste but you are talking out of your backside if you think he’s phoning it in like rod stewart, Phil Collins, Rolling Stones
There aren’t many musicians who have NEVER sold out , Morrissey, Peter Gabriel, Kate Bush and similar and then I’m struggling
This song was about people like Rod Stewart doing Christmas albums, carrying on for the paycheck when you no longer care if you are putting music out that you care about
even Bowie sold out in the 80s
Thorkell Ágúst Óttarsson
It was relevant to himself when he sang it. He was repeating himself already back then.
Kevin Seo
This is one of the funniest pop songs ever
Vernon Hedge
Love it!
wuxihonco
A rare moment of self-awareness from Moz, here. Gawd bless 'im.
Lemony Biscuits
Hilarious - ;literally in tears!