"Viva Meh: On Morrissey's Second Sustained Battle with Mediocrity" - The L Magazine

Found this on The L Magazine.

Viva Meh: On Morrissey's Second Sustained Battle With Mediocrity - by Ryan Chang, The L Magazine

Excerpt:

On August 29th, I’m going to see Morrissey 25: Live, the Pope of Mope’s first concert film since Who Put the M in Manchester? On August 29th, I promise you, I will be disappointed, and not in an immediately direct way that compliments the Mozzer. I’m legitimately going to be disappointed, and I’m going to be totally OK with it. In fact, I think it’s going to strengthen my love for Morrissey. He’s just going through something—the second major artistic slump of his 25-year recording career.

 

[celibate]

While I disagree with the author's dismissal of Kill Uncle (surely a fan who can appreciate SG and Maladjusted can see/hear that KU is better than both), the article is generally on the money.

Morrissey's career with The Smiths was by-and-large without a misstep and the trend mostly continued through the end of the 80's and beginning of the 90's despite the lukewarm reception of KU. With 92's Your Arsenal, it seemed Moz had finally found his solo voice- the album did not sound like a Smiths-minus-Marr record (as much of VH and BD did) and it was every bit as good as anything he'd ever done. 94's Vauxhall and I- arguably his best work of any era- appeared to solidify Morrissey's solo-career.

95's Southpaw Grammar and 97's Maladjusted were a step back, but were still well worthwhile (despite a couple of truly duff tracks on the latter) and the quality of the non-album tracks from the era sustained fans' belief (most didn't even know about the brilliant "You Should Have Been Nice To Me" until nearly a decade and a half later). This was followed by over 6 years of largely self-imposed exile.

Morrissey's 2004 comeback, while triumphant, proved to be somewhat lacking. Once the initial excitement and sheer gratitude surrounding the return had worn off, it was clear that You Are the Quarry was not any better (if at all better) than Moz' late-90's efforts. 06's Ringleader of the Tormentors was much the same story and while 2009's Years of Refusal seemed to have a little more range and a little more passion, it was ultimately another example of Morrissey shouting too loudly with too little effect.

This decade has been truly miserable. The new songs are terribly mediocre. The constant maladies and cancellations are more tiresome and inexcusable than ever. The one clip I've seen from Morrissey 25: Live was lifeless to say the least. The rhetoric of his last statement on true-to-you wreaked of defeat.

Lately, the unflinching have reminded us that many great artists have gone through similar sustained slumps in the later stages of their career, only to return with remarkably great efforts to mark their last chapter (Bowie, Dylan, etc.), but I remain more pessimistic. I don't think Morrissey has anything left in him. Coincidentally or not, Morrissey has never been the same since the notorious court case with Joyce- I don't think he's ever gotten over that or at least I think it changed him and his perspective as an artist forever. He's become bitter and selfish and there is little remaining that is in any way redeemable. At this point, I wish he'd just leave the legacy be instead of lazily trying to recapture what escaped him long ago- at this point he's simply padding his retirement account on the backs of the naive who still cling to the misguided belief that he is anything more than a shell of the great man he once was.

I will always be the highest fan of what he once was, I can no longer hope that he will ever return again. If it ever happens, I will surely welcome Moz back with open arms, but I've let go of that dream... for now.

nothing to add Chris, well written, or better an openminded comment, which said it about all, but I completely diagree about Morrissey and his Smiths time, without being a Smith, their would never been a solo career, but I wholy agree with your opinion about His solo years.

Thanks, and 1 question do you have Smiths albums cd's in your collection Chris?

 

[Girlmostlikely]

While I disagree with the author's dismissal of Kill Uncle (surely a fan who can appreciate SG and Maladjusted can see/hear that KU is better than both), the article is generally on the money.

Morrissey's career with The Smiths was by-and-large without a misstep and the trend mostly continued through the end of the 80's and beginning of the 90's despite the lukewarm reception of KU. With 92's Your Arsenal, it seemed Moz had finally found his solo voice- the album did not sound like a Smiths-minus-Marr record (as much of VH and BD did) and it was every bit as good as anything he'd ever done. 94's Vauxhall and I- arguably his best work of any era- appeared to solidify Morrissey's solo-career.

95's Southpaw Grammar and 97's Maladjusted were a step back, but were still well worthwhile (despite a couple of truly duff tracks on the latter) and the quality of the non-album tracks from the era sustained fans' belief (most didn't even know about the brilliant "You Should Have Been Nice To Me" until nearly a decade and a half later). This was followed by over 6 years of largely self-imposed exile.

Morrissey's 2004 comeback, while triumphant, proved to be somewhat lacking. Once the initial excitement and sheer gratitude surrounding the return had worn off, it was clear that You Are the Quarry was not any better (if at all better) than Moz' late-90's efforts. 06's Ringleader of the Tormentors was much the same story and while 2009's Years of Refusal seemed to have a little more range and a little more passion, it was ultimately another example of Morrissey shouting too loudly with too little effect.

This decade has been truly miserable. The new songs are terribly mediocre. The constant maladies and cancellations are more tiresome and inexcusable than ever. The one clip I've seen from Morrissey 25: Live was lifeless to say the least. The rhetoric of his last statement on true-to-you wreaked of defeat.

Lately, the unflinching have reminded us that many great artists have gone through similar sustained slumps in the later stages of their career, only to return with remarkably great efforts to mark their last chapter (Bowie, Dylan, etc.), but I remain more pessimistic. I don't think Morrissey has anything left in him. Coincidentally or not, Morrissey has never been the same since the notorious court case with Joyce- I don't think he's ever gotten over that or at least I think it changed him and his perspective as an artist forever. He's become bitter and selfish and there is little remaining that is in any way redeemable. At this point, I wish he'd just leave the legacy be instead of lazily trying to recapture what escaped him long ago- at this point he's simply padding his retirement account on the backs of the naive who still cling to the misguided belief that he is anything more than a shell of the great man he once was.

I will always be the highest fan of what he once was, I can no longer hope that he will ever return again. If it ever happens, I will surely welcome Moz back with open arms, but I've let go of that dream... for now.

Your post depressed me so! It was too informed and thought out to dismiss. I really hope though you are dead wrong! I hold out hope for a blistering comeback! But even though things dont look great for Moz now, just earlier this year he put on some amazing shows.

 

[Johnny Barleycorn]

Coincidentally or not, Morrissey has never been the same since the notorious court case with Joyce- I don't think he's ever gotten over that or at least I think it changed him and his perspective as an artist forever. He's become bitter and selfish and there is little remaining that is in any way redeemable. At this point, I wish he'd just leave the legacy be instead of lazily trying to recapture what escaped him long ago- at this point he's simply padding his retirement account on the backs of the naive who still cling to the misguided belief that he is anything more than a shell of the great man he once was.

There's no coincidence regarding the court case. It was the time his antipathy towards Britain ignited into undisguised fury and he's often come across as a deeply unpleasant character ever since. Bearing in mind many reports suggest he wasn't a very nice person beforehand that is really quite an achievement.

He should have paid Joyce and moved on. He'd be a far happier individual today if he had.

 

[Anonymous]

No one mentions that he was really sick at the hollywood high show, he seemed pretty good considering.... no blind devotion here, I wish there were more men like him, most men are boys , he is def. A man. Wish I could clone him.

This~

 

[Anonymous]

Interesting discussion. My take on the situation is that a dense fog descended on Morrissey during the wilderness years (caused by court case, criticism of Southpaw and Maladjusted, and the subsequent disinterest of record labels) robbing him of much of his subtlety, charm and humour, and his musical judgement. Since then we've had considerably lower quality songs especially from a lyrical point of view. The music's been ok in places but losing Alain Whyte (and not adding anyone else to replace him) may have been the last straw as we're now largely left with poor lyrics and weak music.
Occasionally the dense fog lifts and Morrissey rediscovers his wonderful powers of poetry, musicality and observation, and adds another gem to his back catalogue (It's Not Your birthday, Christian Dior, When I Spoke to Carol, Life is a Pigsty) but we have to trawl through so much poor quality material to find the good stuff that having to sit through a new Morrissey album is no longer a particularly appealing prospect. A brilliant new songwriter would make a huge difference.

 

[CrystalGeezer]

Interesting discussion. My take on the situation is that a dense fog descended on Morrissey during the wilderness years (caused by court case, criticism of Southpaw and Maladjusted, and the subsequent disinterest of record labels) robbing him of much of his subtlety, charm and humour, and his musical judgement. Since then we've had considerably lower quality songs especially from a lyrical point of view. The music's been ok in places but losing Alain Whyte (and not adding anyone else to replace him) may have been the last straw as we're now largely left with poor lyrics and weak music.
Occasionally the dense fog lifts and Morrissey rediscovers his wonderful powers of poetry, musicality and observation, and adds another gem to his back catalogue (It's Not Your birthday, Christian Dior, When I Spoke to Carol, Life is a Pigsty) but we have to trawl through so much poor quality material to find the good stuff that having to sit through a new Morrissey album is no longer a particularly appealing prospect. A brilliant new songwriter would make a huge difference.

Although I don't align myself with those criticizing his output (Every album is a masterpiece with it's own duds and gems, they're all different and everyone wants to compare them to The Smiths album.) I believe that the dense fog also created in Morrissey a need to keep company with people who were genuinely loyal. Boz has been that, Jesse has proven to be that, etc.. His band is quite literally his little family gang. While it's easy to envision him going out and "just getting a new songwriter" he's not going to be scraping his gang anytime soon. They got him through the rough patches. I think.

 

[Anonymous]

Well written, it could be a monologue from Eastenders.

While I disagree with the author's dismissal of Kill Uncle (surely a fan who can appreciate SG and Maladjusted can see/hear that KU is better than both), the article is generally on the money.

Morrissey's career with The Smiths was by-and-large without a misstep and the trend mostly continued through the end of the 80's and beginning of the 90's despite the lukewarm reception of KU. With 92's Your Arsenal, it seemed Moz had finally found his solo voice- the album did not sound like a Smiths-minus-Marr record (as much of VH and BD did) and it was every bit as good as anything he'd ever done. 94's Vauxhall and I- arguably his best work of any era- appeared to solidify Morrissey's solo-career.

95's Southpaw Grammar and 97's Maladjusted were a step back, but were still well worthwhile (despite a couple of truly duff tracks on the latter) and the quality of the non-album tracks from the era sustained fans' belief (most didn't even know about the brilliant "You Should Have Been Nice To Me" until nearly a decade and a half later). This was followed by over 6 years of largely self-imposed exile.

Morrissey's 2004 comeback, while triumphant, proved to be somewhat lacking. Once the initial excitement and sheer gratitude surrounding the return had worn off, it was clear that You Are the Quarry was not any better (if at all better) than Moz' late-90's efforts. 06's Ringleader of the Tormentors was much the same story and while 2009's Years of Refusal seemed to have a little more range and a little more passion, it was ultimately another example of Morrissey shouting too loudly with too little effect.

This decade has been truly miserable. The new songs are terribly mediocre. The constant maladies and cancellations are more tiresome and inexcusable than ever. The one clip I've seen from Morrissey 25: Live was lifeless to say the least. The rhetoric of his last statement on true-to-you wreaked of defeat.

Lately, the unflinching have reminded us that many great artists have gone through similar sustained slumps in the later stages of their career, only to return with remarkably great efforts to mark their last chapter (Bowie, Dylan, etc.), but I remain more pessimistic. I don't think Morrissey has anything left in him. Coincidentally or not, Morrissey has never been the same since the notorious court case with Joyce- I don't think he's ever gotten over that or at least I think it changed him and his perspective as an artist forever. He's become bitter and selfish and there is little remaining that is in any way redeemable. At this point, I wish he'd just leave the legacy be instead of lazily trying to recapture what escaped him long ago- at this point he's simply padding his retirement account on the backs of the naive who still cling to the misguided belief that he is anything more than a shell of the great man he once was.

I will always be the highest fan of what he once was, I can no longer hope that he will ever return again. If it ever happens, I will surely welcome Moz back with open arms, but I've let go of that dream... for now.

 

[Anonymous]

As merry as the days were gone...

 

[Anonymous]

If someone said to me: "You can only keep One of these in your collection- "Southpaw Grammar", Maladjusted" or "Kill Uncle"......I'm picking "Kill Uncle".

Obviously it's not on the list of all-time great Moz releases but I like it so much more than the other two. I actually think it gets short-schrift around here. It's not a great release but it's far better than it gets credit for.

I openly admit to very much enjoying: "Our Frank", "Sing Your Life", "Mute Witness" and"King Leer".

I also certainly prefer it to ROTT and YOR, that's for sure. I cannot stand those two releases. I listen to them and just feel disappointed about how good Moz was in his solo career (through "Quarry") then he went in a complete downward spiral after that.

 

[Anonymous]

If someone said to me: "You can only keep One of these in your collection- "Southpaw Grammar", Maladjusted" or "Kill Uncle"......I'm picking "Kill Uncle".

Obviously it's not on the list of all-time great Moz releases but I like it so much more than the other two. I actually think it gets short-schrift around here. It's not a great release but it's far better than it gets credit for.

I openly admit to very much enjoying: "Our Frank", "Sing Your Life", "Mute Witness" and"King Leer".

I also certainly prefer it to ROTT and YOR, that's for sure. I cannot stand those two releases. I listen to them and just feel disappointed about how good Moz was in his solo career (through "Quarry") then he went in a complete downward spiral after that.

Yep, I'm with you on this one. KU's reception at the time was understandable as it came straight after the Marr and Street eras - Morrissey's finest songwriters - and it was clearly a step down. However, it contains 4 or 5 really good songs (e.g. Driving, Sing, End Of, Place In, Frank, Witness etc) unlike any of his 21st century albums. The songwriting is miles better than most of the compositions from the last 10 years, and when you add in the extra Morrissey/Nevin songs from the era (Loop, Changed my Plea, Tony Pony, I Know It's Gonna Happen, Lovelife etc) you realise how much Moz would benefit if he patched things up with Nev.

 

[chrisarclark]

nothing to add Chris, well written, or better an openminded comment, which said it about all, but I completely diagree about Morrissey and his Smiths time, without being a Smith, their would never been a solo career, but I wholy agree with your opinion about His solo years.

Thanks, and 1 question do you have Smiths albums cd's in your collection Chris?

Not sure what you are referring to by saying that you "completely disagree about Morrissey and his Smiths time"- I completely agree with you that "without being a Smith, there would never have been a solo career" and never implied otherwise.

And yes, of course I have the Smiths albums in my collection- I have every song Morrissey has ever recorded, Smiths or solo.

 

[Anonymous]

For me it's a close call between Maladjusted and Southpaw. Kill Uncle I can't bear and never listen to (I only put Sing Your Life into my iTunes). It's all about personal taste though. I rate Life Is A Pigsty as highly as anything he's ever done and always enjoy the simple unaffected catchiness of You Have Killed Me (they're certainly more rewarding and enduring than anything on the lacklustre Kill Uncle), but not a huge fan of much else on ROTT.

Personally I don't get this idea that going back would solve everything - "Moz would benefit if he patched up things with Nev" - others say the same about Marr. New blood is what will revitalise his songwriting, not backward-looking old blood.

 

[chrisarclark]

Your post depressed me so! It was too informed and thought out to dismiss. I really hope though you are dead wrong! I hold out hope for a blistering comeback! But even though things dont look great for Moz now, just earlier this year he put on some amazing shows.

In an attempt to cheer you up somewhat, I will add that it hasn't been all doom and gloom in the past 15 years or so- there has been a considerable amount of quality material- music and lyrics that I would much prefer to listen and sing along to than much of the tripe that passes for pop music nowadays.

On my work-day commute today I listened to the following custom compilation of YATQ-era non-album material- I've entitled the collection The Never-Played Symphonies:

My Life Is A Succession of People Saying Goodbye
It's Hard to Walk Tall When You're Small
Don't Make Fun of Daddy's Voice
Munich Air Disaster, 1958
Mexico
I Am Two People
Noise Is The Best Revenge
Teenage Dad on His Estate
Slum Mums
Friday Mourning
The Public Image
The Never-Played Symphonies
No One Can Hold a Candle to You

The preceding makes for a relatively strong tracklisting, to my mind better than YATQ itself. The only real duff track which I typically skip is NITBR.

Similarly, another custom compilation of ROTT/YOR-era non-album material fares decently (though not as strong as the aforementioned)- I went with If You Don't Like Me, Don't Look At Me for the title on this one:

Human Being
Good Looking Man About Town
I Knew I Was Next
If You Don't Like Me, Don't Look At Me
Children In Pieces
Shame is the Name
Ganglord
Christian Dior
Because of My Poor Education
My Dearest Love
A Song From Under the Floorboards
Sweetie-Pie

Again, there's only one or two tracks I'd care to skip from time-to-time (one of them being the somehow widely loved, yet truly weak "Ganglord")

The albums- YATQ, ROTT and YOR- are not terrible either. If YA and VAI represent perfect 10s (and that may be underrating them), than SG through to and including YOR probably occupy a range of 6-7 out of 10 (you could maybe reach just shy of an 8 for some, but certainly could not fairly go beneath a 5 on any). It's just that for the first decade or so of Moz' career we came to expect nothing less than a solid 9 and his post-VAI output has not measured up.

The new songs that he has recently performed live are easily his worst string of songs to date- if he recorded them and releases them as an EP, I'd be hard pressed to give it anything more than a 3 and at that point it might as well be a zero.

I really think it's about time to hang it up- at least for a while. He needs to stop issuing releases just for the sake of it and wait until he has something worthwhile to release. I don't doubt that despite the pathetic performance that makes up the Morrissey 25: Live film (for which he apparently was sick- but what else is new?), Morrissey is still more than capable of putting on a great show; after all, he is Morrissey and there have been very few in pop music history with the kind of presence that he still wields. But I'm not the type who gets excited for my heroes to endless trot out "the hits" when the answer to the all-important question "What have you done for me lately?" is "Not much." We'll see how it goes, but I for one would be satisfied if this was end.

 

[chrisarclark]

And on the topic of Kill Uncle; I like to re-post this one every chance I get (and will continue to do so until the whole world, Moz included, understands how brilliant this album is):

In defense of Morrissey's Kill Uncle;

Even more so than the under-appreciated prog of Southpaw Grammar, Kill Uncle is the most misunderstood, and thus underrated, album of Morrissey's career. Surely, it is one of the most unique and this is likely why it is so chastised by fans and critics alike- yet this uniqueness should be seen as one of its many strengths.

The album begins with its first single, "Our Frank"- a perfect choice for the lead single as it is likely the most similar to his previous solo singles on the album. This song also perfectly sets the tone and progression of the album: an emphatically expressed desire to shake off the weighty thoughts of deep conversation and introspection that eventually gives way to an uncontrollable compulsion to think about "everything" "deeply" and "bleakly". All delivered by means of a racing, poppy musical backing and clever, humourous and undeniably charming lyrics and vocals, this is a fantastic way to open.

"Asian Rut" is easily one of the strangest songs in the Morrissey cannon, but this only adds to its interest. An eerie musical accompaniment, complete with the beautifully harmonious, yet unsettling, violin of Nawazish Ali Khan, a chilling depiction of racism and violence ending with one of the most transcending stanzas of Morrissey's career, "I'm just passing through here/On my way to somewhere civilised/And maybe I'll even arrive/Maybe I'll even arrive...." by that line alone this song is made spectacular.

One of the more widely accepted songs off Kill Uncle is second and final single taken from the album, "Sing Your Life". Really, not much needs to be said here: a joyously bouncy musical backing for perhaps Morrissey's most inspirational and encouraging lyrics ever. Complete with the Morrissey charm and humour- which has never been displayed more or to better effect than on this album- this is one of Morrissey's finest.

"Mute Witness" serves as a wonderful mirror or addendum to the classic "November Spawned A Monster" in its view of a disabled girl from the opposite and seemingly unsympathetic perspective. Now, many will criticise Morrissey for having bad taste in attempting to extract humour from such a situation before abruptly sending the poor girl away in a taxi cab, but the very fact that Morrissey does write about things like this, where most would never attempt, shows his genuine empathy for the disabled. An ambiguous lyric and a glammed up musical performance, this is another great song.

People juste dont get "King Leer". I think they're just being too serious or stuck up or something, but when people refer to one of Morrissey's greatest lyrics as his "lyrical nadir," it really makes me wonder what is wrong with them. It's simply a perfect piece of fey pop, boasting an absurdly hilarious lyric with its series of cringeworthy, but completely intentional, puns and clichés, including the title's labeling of the boyfriend as "King Leer"- brilliant. I mean, if you think he’s being serious, Moz completely gives himself away when he begins to laugh at himself in the middle of the song. This is the most playful moment of Morrissey's career and it's classic all the way.

"Found Found Found" begins the fall back into that uncontrollable compulsion of introspection suggested in opener, "Our Frank". The hardest/loudest music on the album works as a signal call for the shift in mood and perspective. Another brilliantly transcending line, even though it was pipped from Noel Coward, comes at the end with "I do believe that the more you give your love, and I do believe that the more you give your trust, the more you're bound to lose." Great track.

It has been suggested of before how "Driving Your Girlfriend Home" can be seen as the other side of The Smiths' classic "There Is A Light That Never Goes Out" and I totally buy into that. It’s easy to see how this song may tell from the driver's perspective the return from the night out of seeing "people" and "life" to finally drop the girlfriend off at what he calls "her home" but what she would refer as not her home, but "their home" (I like to imagine there are others (family, roommates) living there along with her and this dislikable boyfriend and in this way she refers to it as "their home"). As she confides to the driver the problems in her relationship, perhaps they drive through a darkened underpass where she nearly gets up the nerve to ask him his feelings for her or if they could ever be intimate, but then "a strange fear" grips her and she just cant ask. perhaps he would've had to decline anyway in the same way that he "can't tell her" and "can't answer". It’s all very engaging. Viewing the song in this way makes it at once an indispensable classic, but regardless it stands up on its own as one of Morrissey's most quietly beautiful and ambiguous songs ever.

"The Harsh Truth Of The Camera Eye" is another song subject to overly harsh treatment from fans. Honestly, I think again too many take it all too seriously. A satire all the way, brilliantly over-the-top lyrically and musically, bludgeoning the listener over the head with the carnival-like keyboards/organ and "ominous" camera shutter sound effects in case you didn't get it. It’s all amazingly funny- especially the line "This photographer, he must've really had it in for yah!" Too funny, but it’s also extremely relatable for many, if not most. Many people (myself included) believe they continually take bad pictures and are oftentimes horrified by seeing themselves in film or by even just the idea of having their picture taken at all. The song continues a much loved theme from past and future Morrissey songs such as "Late Night, Maudlin Street" and "Let Me Kiss You" of self deprecating judgment of one's own physical appearance. It’s not #1 single material, but it’s not trying to be and it works perfectly as the final comedic relief on the album (not counting the excellent "Tony The Pony" on NA versions of Kill Uncle).

It’s often a perilous practice to assume that the "I" in a Morrissey song is definitely in the first person and referring to Morrissey himself, but it's hard not to see "(I'm) The End Of The Family Line" as a very personal lyric. Given that Morrissey has still never even come close to marriage, let alone fatherhood, this song does seem to be quite autobiographical. A powerful statement of radical independence and breaking from tradition, this is one of Morrissey's greatest and most quintessential lyrics ever. Sometimes seen as a possible admission of his oft rumoured but never confirmed homosexuality with the opening verse of "With no complications/Fifteen generations (of mine)/All honouring Nature/Until I arrived (with incredible style)", Morrissey remains ambiguous enough to keep those overly concerned pointlessly guessing- typical Moz. As an added bit of interest or significance, the anti-paternal theme of this song adds another sinister layer to the line "Well, it's your own fault for reproducing" in the song "Ambitious Outsiders" from Maladjusted six and a half years later. Simply one of the most clever and beautiful songs he has ever written.

The end of Kill Uncle for many comes with "There's A Place In Hell For Me And My Friends"- one of the most deeply touching pieces of music and poetry Morrissey has ever written. The somber tone reflected in the sparse arrangement and sad, yet somehow redemptive sounding, piano and drums is executed to perfection. Some argue that the rockier, far more upbeat live version is superior to the album version, but I strongly disagree. While the live version is an interesting take on the song and perhaps more appropriate to be toured around stadiums and arenas, it takes too much away from the true mood and message of the song. A beautiful way to close a beautiful album.

But, if your from NA, the fun isnt over yet. Whether "Tony The Pony" was truly intended to be on the album or not, I don't care; it serves as an excellent, upbeat closer to Kill Uncle and is another great song. Bringing back some of the rockabilly feel from The Smiths days, and at the same time hinting towards upcoming Your Arsenal, the music is fantastic and suiting to another wonderful and brilliantly funny lyric. Endlessly clever in how the song jumps from the perspective of the narrator and protagonist (and possibly the protagonist's big brother as well), the song tells the charming tragicomic tale of "soft touch Tony." As the song lilts away, it leaves a smile on the listener's face, serving as a fitting end to a more than pleasing album.

All the complaints over the production on this album are as overblown as the complaints over the production of The Smiths' debut. The production on Kill Uncle is perfectly suited to the songs- it’s light, airy, poppy and allows the songs to come to the fore and speak nakedly and honestly for themselves. It’s easy to pick on Nevin, Langer and Winstanley as they basically came and went with this album, but they did an excellent job in helping Morrissey create an album most artists could only dream of creating.

Kill Uncle, though admittedly not Moz's best, is a great album- I wish more people would take the time to realize that.

 

[Anonymous]

chrisarclark: And on the topic of Kill Uncle; I like to re-post this one every chance I get (and will continue to do so until the whole world, Moz included, understands how brilliant this album is):




Hey, I'm on board with you. I like "Kill Uncle". It's certainly not my favorite and I stop well short of calling it "great" but it IS enjoyable. There are a number of very good songs on it. It kicks ROTT's ass and YOR's as well.

I'll be honest, I find the whole Jesse Tobias era completely depressing. I just don't like anything that guy is involved in. Ever since he joined the band, I've been aggravated, irritated and depressed. To me, he is ground-zero as to why Moz's music has suffered so much since after Quarry. From song writing and guitar playing, the guy has been a disaster for Morrissey's music.

 

[Anonymous]

I can honestly say that I find value in every Morrissey record. Most of the songs are beautiful, a couple are easily discarded, but there are always one or two that have such a strong emotional impact that I instantly remember why I became devoted to this man; and these lyrics are what keep me loyal and hopeful. More importantly, when compared to the songs that currently dominate pop music, even Morrissey's less than stellar work still outshines most other lyricists. At the moment, I am listening to Swords (that's right, I said Swords) and I am amazed by how many great songs I can find on a record that I would never consider to be his best production or my personal favorite (If You Don't Like Me, Then Don't Look at Me, Shame is the Name, My Dearest Love, Sweetie Pie, just to name a few). This just demonstrates that, while he is not perfect, he is by far one of the best (the absolute best, in my opinion, but that is a subjective topic). I just hope that Morrissey is sitting somewhere in a room with moody lighting, writing with a vengeance, literally. He needs to produce one more record that truly showcases his talent so that he can put all of the negativity and doubt to rest. Of course, it would mean that he would have to revise his stance on independent production, but imagine the triumph of putting all of the critics in their place. C'mon Morrissey, do it for the team; more importantly, do it for yourself. Success is the greatest revenge, and from a less bitchy perspective, it would be the perfect way to solidify the legacy.

I keep hoping, I keep hoping
Lynnda

 

[chrisarclark]

He doesn't need to solidify the legacy- it already towers above most everyone- he just needs to stop tarnishing it.

 

[BrummieBoy]

He doesn't need to solidify the legacy- it already towers above most everyone- he just needs to stop tarnishing it.

Excellent writing, very considered and balanced.

Morrissey has wasted so many chances. He could have redeemed the faults of 'Kill Uncle' by 'reimagining' it along the lines of the tour that followed it: stripped down, bare bones rockabilly band like Stray Cats springs to mind, replacing the turgid production with something more exciting. Changing fonts on titles and adding bizarre tracks / deleting others/ changing artwork without addressing the underlying mis-steps in the original has just become a total joke and smacks of desperation, attempting to justify what's dross whilst leaving some real good stuff buried under timewarp soundscapes and production. Kate Bush realised she's fcuk'd up and did "Director's Cut" to rescue some of her best, buried work from a previous era. If Moz wasn't so solipsistic as an artist, he'd notice things that other equally gifted people are doing to leave a legacy that's worthy of the time, money and emotion an audience must re-invest to reconsider artef