NEVIN: It was a bizarre experience. There was no sit-down or deciding what we were going to do. One reason was that Morrissey was so private and shy and wasn’t forthcoming. So nobody really took the lead on it. Clive did quite a lot of different things than I’d originally imagined. Where I’d perhaps put an electric guitar, he’d put a piano, which was very much his style from the Madness thing. “Asian Rut” was a good example of trying to bring in different instruments. There’s vibraphone, Indian violin and double bass bows. All these instruments hadn’t been heard on a Morrissey record before. JONNY BRIDGWOOD, bassist: There was a general air of excitement from day one. The feeling was that we were about to create something that was quite special. Everyone was keen and enthusiastic. BRIDGWOOD: Morrissey would come into the control room, have a listen and give his seal of approval, or not. Unlike other singers, he doesn’t interfere in the musical process, although he’ll steer it in a direction he’s comfortable with. Willman, Chris (25 November 1990). "Morrissey: 'Bona Drag' Reprise". Los Angeles Times . Retrieved 1 February 2016.

MORRISSEY: He asked me what kind of LP I wanted to make, and I said, “One people would listen to for a very long time,” and he said, “Oh, all right then,” as if I’d asked him to put the cat out. Solo debut, issued six months after final Smiths album, Strangeways, Here We Come. Guitarist Vini Reilly added descriptive ambience to songs like “Late Night, Maudlin Street” and “Bengali In Platforms”, while Morrissey scored two major hit singles with “Suedehead” (No 5) and “Every Day Is Like Sunday” (No 9). PARESI: When you were having breakfast with Morrissey and something had got to him – whether it’s a criticism or a passionate feeling about something – he would look up and stare straight at you. It was right into your soul. You could actually feel your guts gripped. That was pretty impressive. What I remember is that sense of someone who was a beautiful savant, if you like.

ANDREW PARESI, drummer: There was a terrific forward momentum throughout the recording. It was as if we were recording it on the Titanic and had half an hour to get it done. It had that kind of feel. And in that environment I think you can spark some very interesting things. LILLYWHITE: Morrissey would spend a lot of time in the bath or in his bedroom. We had this dice game that we used to love playing and he would occasionally join in. But he was always on the outside looking in. He’d watch as all these other things went on, just observing.

Bona Drag: 20th Anniversary Edition album released today in the UK - release information (October 4, 2010) Morrissey decided to scrap the idea of a full-length LP and release a compilation of singles and B-sides instead. Thus, the Bona Drag project was born. " November Spawned a Monster" was released in May 1990 to modest success; the album and the single " Piccadilly Palare" followed, both released on the same day that October. Morrissey explained, "People will view it suspiciously in England but not in the rest of the world where all those funny little singles were never released. It was initially for the rest of the world, but EMI were determined to release it here." [11] Composition [ edit ] ARMSTRONG: Morrissey employed a chef at great expense. I think she was billed as Princess Margaret’s chef, so I thought it’d be an opportunity to eat really good food. But it was largely cream and pastries. Morrissey was always eating toast, but then there were these heavy, hearty, rich vegetarian meals. It wasn’t the worthy diet I expected.VINI REILLY, guitarist: Recording with Morrissey was one of the best experiences of my life. I think the fact we were both Irish gave us something in common; we understood each other and there were lots of similarities. And we’d both had difficult childhoods and the rest of it. It forged a friendship between Morrissey and me, and a mutual respect that was based on him taking the piss out of me. Ryan, Gavin (2011). Australia's Music Charts 1988–2010 (PDFed.). Mt Martha, Victoria, Australia: Moonlight Publishing. p.194. Ouija Board, Ouija Board" has a verse removed ("The glass is moving, no, I was not pushing that time") STREET: I’m not a keyboard player, but for “Ouija Board, Ouija Board” it was Morrissey’s request to do something more like Sparks. Then, when I was no longer on the scene, Langer and Winstanley did their version.