(Single from compilation album, “Bona Drag”)
The next little interlude between stops on the rock 'n' roll request line comes from none other than the controversial lead singer of The Smiths, turned controversial solo artist. Perhaps one of the most witty amongst the singer's lyrics, and, subsequently, from the earliest years of his solo career, "The Last Of The Famous International Playboys" is the enduring plea for fame through crime, addressed to East-end gangster legends, the Kray twins, and taken from one of the finest singles/B-sides compilation albums ever, "Bona Drag", initially intended to be an album, but, with each of the songs strong enough to feature as part of a UK chart eligible single, it later evolved into a full-blown collection of excellence as a result.
"The Last Of The Famous International Playboys" is the first (and only) Morrissey solo song to feature the original rhythm section from The Smiths, with Andy Rourke on bass, and Miek Joyce on drums. As such, it is is musically superb, and feels dumbed down in comparison to said band's solo material, simply from the absence of Johnny Marr. It's simply this short of a post-Smiths masterpiece. However, it is still, as I say, amazing.
The song opens with a cymbal crash, initiating a thick, heavy, glam rock bass line. An electric guitar meanders in circles above the deep, hip thrusting groove of the bass and, at 0:38, a deranged electric synth waver, flies over the ears, escalating the full boom of the backing band to the explosive chorus. The drums are energetic despite the slow-ish speed, though remain nothing special. The trumpet-like electrical oscillation returns on and off throughout, until around 2:26 when it launches into something of a solo; a bizarre one, and very 1989, especially considering the clubby/house dance scene, but quirky, indie, and very Morrissey still. In fact, strangely enough, this song has a very dance orientated atmosphere about it, which, despite the morbid humour of the lyrics, remains a core aspect of it's enjoyable, bouncing sound.
In fact, if anything, the lyrics contrasting the optimism of the music only amplifies the brilliant wit and irony of the track. The narrator is addressing a 'hero imprisoned', discussing his love for the criminal and his scheming nature, and explaining how he 'can't help quoting [them]' since everything they say is 'so true'. The vocal later reveals itself to have been, in the past imprisoned in their own cell, whereby they 'followed' the mis-doings of the adored criminal, the narration callously providing a list of 'who [they] slew' immediately after explaining this. He also makes a point of mentioning Ronnie Kray, asking if said London gangster 'knows his name?' (which Morrissey later changed to 'Ronnie Kray always knew my name' to lessen confusion, in live performances).
For the chorus, the anecdotalist rejoices in his lonesomeness as the 'last of the famous international playboys', going on, in the second verse, to explain further his love for criminality, and referring to the second Kray twin.
The bridge, is, lyrically, superb. 'In our lifetimes, those who kill, the news-world hands them stardom; and these are the ways on which I was raised'. This line is amongst Morrissey's best ever, and, after the pride, glitz and glam displayed regarding his criminal activities, the weak, hubristic relater backs down, defending himself, hands up, explaining his activities to be not his own fault, but the fault of the society, which, intelligently, the listener is a part of. This very well written lyric, turns the tables on the unsuspecting audience; we are a part of the world that buys and sells the news, making us responsible for people as vulgar as that expressed by the verses and chorus.
As a final swipe, the narration explains 'these things I do, just to make myself more attractive to you - have I failed?'. It's the wonderful romance and poetry of crime, explored after 1988's B-side to "Everyday Is Like Sunday", "Sister I'm A Poet", but with more instrumental bang, more explosive balladry, and more sarky style. Against a backdrop of glam rock, famously from a decade labelled 'innocent', Morrissey makes his acute comment with all the sarcasm and ironic grace of poets before and after him, in a time (1989) when the UK chart was plagued with narcissistic, soft pornographic dance music videos, and visually exploitative record sleeves. It's a beautiful oasis of indie genius. And fading out to a schizophrenic vocal whine of 'yeah, no, yeah no', a self consideration into the life that's been led, one can't help but feel the profound and intellectual effect the record has had. Strangely for this singer, the British public apparently agreed, and, concluding a brief spell of chart success in the late 1980s, "The Last Of The Famous International Playboys" rocketed to #6 in the first week of release.
I first heard "The Last Of The Famous International Playboys" whilst on holiday, in Portugal, in 2011. After a frustrating time trying to interpret the words, I read about the song, hoping to making a lot more sense of what had otherwise been presumptions. To me, it seemed a bit random, the subject matter sounding hopelessly juxtaposed with the poppy sound. Bearing in mind I was still something of a naive listener to Morrissey at this point, having only just discovered the strength of his solo-material on the flight out on that same holiday, it makes sense that I was a little jaded but what I heard.
However, much has changed, and, comparing the irony and sarcasm with the singer's actual character, and also, the hilarity of the entire lyrical scenario combined with the glam rock vibe, I would recommend this song as one of the singer's early greats. Truth be told, even after the glorious resurrection in 2004 with "You Are The Quarry", this songwriter's catalogue weakens with chronology, and this, written a mere year or so after the split of The Smiths, represents some of his strongest work to date.
★★★★★
Versions of "The Last Of The Famous International Playboys"
Compilation Album/Single Version - 3:37