We're sorry you won't translate it either!

I used an internet translating website.
**************************************************

Culture
Beautiful remainders of Morrissey, between autoparodie, melancholy and preciosity

the WORLD
| 02.10.02 | 12h13 UPDATED 02.10.02 | 12h47 To print | To send by mall Publicity

At 43 years, the ex-leader of Smiths is still able to fill of the rooms like Olympia where, September 30, it proved in front of an enthusiastic public that it was not an idol déchue.

Deprived of house of discs, Morrissey is still able to fill in a few hours of the rooms like the Royal Albert Hall, in London, or Olympia, September 30, in Paris. At 43 years, the broken down artist is not a god déchue. Its songs left too many traces. With Smiths, of 1983 to 1987, then in solo, the singer of Manchester upset the English rock'n'roll while putting at the day, in a single mixture of acuity, impudor, of irony and compassion, the small secrecies of a generation.

On scene, Morrissey initially seems to trample these agitations post-teenagers with force of theatrical excess, of "R" rolled like an old actor élisabéthain. A title of Smiths, I Want the One I Can' T Cuts, and Suedehead, which was its first single solo, do not resist this autoparodie. Eternal banana rockabilly, protruding chin, but silhouette pasted by Californian idleness (Mancunian had been exiled in Los Angeles), it proclaims: "Welcome in the British musical." A filiation already assumed by Kinks or David Bowie, but which destroys the emotions here.

It would be necessary some more to cool the enthusiasm of witnesses also come from England, of Portugal, of the United States. One tightens messages, posters, flowers. Morrissey ends up finding right balance between mockery and feelings with sharp. The years of absence did not damage a voice and one not phrased among most singular of the British rock'n'roll. At the rate/rhythm of a writing able to play of frustrations, the singer modulates between melancholy and preciosity, plunges in the low registers, is stretched in the acute ones, is disturbed or retorted of a sarcastic remark.

NOSTALGIA IDENTITAIRE

"This is a new song. It was written at the time of these seven last years." Skilful refrain, malicious construction, The First of the Gang to Die appear to find a form that Morrissey had lost in second half of the years 1990. "the police force stopped me yesterday whereas I pissed on the tomb of Jim Morrison. I met these quatre-là in prison ", explains it by appointing musicians who accompany it in fact since nearly ten years. Able, intermittently, of subtlety. a shivering version of Late Night, Maudlin Street., these second knives tend especially to weigh down the matter. One in vain knows the love which Morrissey carries to certain distortions rock'n'roll ("Ah! Olympia! Sparrow, Aznavour and, December 2, 1973, the concert of the New York Dolls!"), it would be astonishing that a better future takes shape for him with this same group.

New titles like I Like You or The World is Full of Crashing Bores however show beautiful provisions, when Irish Blood, English Heartfait to fear the tendency which has sometimes the singer to slip of narcissism to nostalgia identitaire. One chief-of uvre of Smiths in recall (There is has Light that Never Goes Out). A shirt and a message of dandy offered to crowd: "That God and Wilde Oscar bless you!"

Stéphane Davet
Morrissey in concert, October 27 with the Transporter, Lyon; 28, with Reciprocity, Paris.

Please could someone who speaks French give us an accurate translation? It seems like an interesting review from what I can tell, but I'd like to know exactly what they're saying.

Merci!

Well Morrissey is a serious man, i'm a serious fan so this this had better be a fucking serious newspaper (i'm being serious).

england for the english, england for the english.

(wry grin)

Hi, I quickly translated and I hope it will make sense ... I removed some lines as I could not translate them, but it will be slightly more better than an automatic translator.

g

At 43 years old, the ex Smiths’ singer is still able to sell out venues like the Olympia where, the 30th September, he demonstrated to an enthusiastic audience that he was NOT a dead star.

Even if he is without any record deal, Morrissey is still able to sell out venues like the Royal Albert Hall (London, England) or the Olympia (Paris, France). He is maybe at a quiet time of his solo career, but he is not a dead star yet. His songs can not be erased by the time so easily. The ones from his Smiths period, from 1983 to 1987, and the ones from his solo career: the Manchester singer changed the face of English rock with a unique mix of acuity, irony, compassion and without reserve … those were the little secrets of a generation.

On stage, Morrissey seems at first to walk on his old post-teenagers daemons using an over the top acting, like pronouncing his ‘r’, ‘rrrrrrrrrrrrrrr’ as an old actor from the Elizabethan time. One Smiths’ song, ‘I want the One I can’t have’, and his first solo single ‘Suedehaed’ did not survive to this self parody. Same haircut, same chin, but getting a bit porky due to the lazy lifestyle of California as he now leaves in L.A. He announces: ‘Welcome in the British musical comedy’.
But one need more to cold down the audience enthusiasm. Fans came also from England, Portugal and the USA. They gives letters, posters and flours. His voice is still intact even if he stayed away from the music industry during all those years. And he still have the most unique way to put words on music of British rock.
“This is a new song, wrote during those last 7 years”. Magnificient chorus, malicious structure, ‘The First of the Gand to Die’ seems to reach a top that Morrissey had lost during the second part of the 90s. “The cops arrested me yesterday eve as I was pissing on Jim Morrisson’s grave. I met those fours in prison yesterday.”, he explains pointing his musicians that he in fact knows since almost ten years. His musicians can be sometimes really subtle, like during the moving version of “Late Night, Maudlin Street”, but they mainly give a unnecessary heavy sound. Even if we know that Morrissey likes heavy rock sound: ’ The Olympia ! Piaf, Aznavour and the 2/12/1973, the New York Dolls!’, it will be surprising if he has a bright future staying with such a band.
Even if new titles like ‘I like you’ or ‘The World is Full of Crashing Bores’ show a lot of qualities … ‘Irish Blood, English Heart’ shows an old Morrissey daemon, self absorb nostalgia of his sense of identity.
A tune from the Smiths, ‘There is a light that Never Goes Out’, as an Encore. A shirt and a message to the crowd: “May God and Oscar Wild bless you!”.