Years of Refusal is utterly brilliant

[theneverplayedsymphony]

That's exactly what I thought after the first listening but it's really grown on me now, surprisingly.

I'll give it a few listens then!

My brother started singing All The Small Things by Blink 182 over it.
Just to clarify he isn't a Blink 182 fan. I couldn't live with that!

Haha, thank Moz for small mercies!

That's ... 'fascinating'. I can see what you mean, vaguely, is it the drums?

The drums, yes, but also when he sings "It's not your biirthday anymore," it reminds me of it. I don't know what it is, perhaps the ascension, I don't know! I've just converted someone to the Church of Moz with It's Not YOur BIrthday and Black Cloud!

 

[unruly boy]

I’m in the minority here because I’m a ROTT fan….

The album art work is very pleasing. Morrissey said the baby represents responsibility, the butterfly and caterpillar re-birth? The "Bodegon con jarra de Vino" is beautiful.

My problem is Jerry Finns over reliance on “machines” synths, layering…for example he killed the harp on “My Life Is a Succession of People Saying Goodbye".

I’m going to ignore “All you need is me”, “That’s how people grow up”, I don’t think they should be on this album as they were already on the greatest hits….and I don't think they are stand out tracks.

Something is squeezing my skull - A strong opener and it’s great live. I can see why a lot of critics use the word “muscular” in describing this album. Oh the friskiness!, “the motion of taxis excites me will you peel it back and bite me?”.

Mama- I really like the marching band drums as the litany of vile cretinous individuals are brought out.

Black Cloud- This is what I mean by Mr. Finn’s love of synths listen to the start, then there’s an odd bit of squeaking towards the end and Jeff Beck ends it with an all too short flourish, are the synths really necessary. The guitar break in the middle is good.
The lyrical content is okay it’s reminiscent of “If you don’t like me then don’t look at me’.

I’m throwing my arms around Paris- Beautiful melody. Morrissey the aesthete for want of human affection turns to architecture. Love this. I can hear an acoustic guitar!

When last I spoke to Carol - I wonder if this is about a fan? It’s rather touching. The mariachi six string guitar intro is great. I also like the macabre sounds in the background of the vultures and the swirling desert winds at the end. Morricone would be proud. The cock crows four times, is this a biblical reference? (Maybe not isn't the denial three times) I also like the Stevie Smith-esque ending “to the rescue nobody ever comes”.

Goodbye will be farewell - Great beat and snare rolls, the Tijuana trumpet reappears. I don’t like the rhyming lyrics “the smiling children tell you that you smell”, but apart from that it’s a good enough track. We are treated to the deprecating wit that Moz is famous for. The urgency of time is ever present -“time grips you sliding in it’s spell“, “Grab me while we still have the time”, slightly reminiscent of Diana Dors “So little Time”.

'It's Not Your Birthday Anymore- I like Bozs’ oboe solo and of course the intriguing lyrics. The theme reminded me a little bit of “the operation”, again about someone in the Morrissey circle who has overstayed their welcome.

You Were Good in Your Time - A touching farewell from a fan to a dying hero, “you made me feel not quite so deformed, uninformed and hunchbacked”. I think a lot of us can relate. The ending is quite profound like Carols’ swirling desert wind, we instead have a sort of base toned haunting Benedictine chant. Has anyone identified the French at the end?

Sorry Doesn’t help - the melody is okay otherwise an innocuous little tune.

I’m okay by myself- I really like this I think it’s great live. The hand around the waist brandishing the knife and the arm around the shoulder holding a revolver, great imagery. I love the way he sings the questions and speaks the answers this will be a show stopper live.

Worst YOR songs- All you need is me, That’s how people grow up, Shame is the name.

Best Tracks - I’m throwing my arms around Paris, You were good in your time, When last I spoke to Carol, I’m Okay By Myself.

Right, gets coat.....

Re, the artwork; am I the only one who thinks that FP shirt Morrissey is wearing is f***ing IMMACULATE and looks great on him?

Secondly, I thought ROTT got a bad press, but, then, I seem to be a minority in my approval of this album.

 

[Vauxhall95]

Re, the artwork; am I the only one who thinks that FP shirt Morrissey is wearing is f***ing IMMACULATE and looks great on him?

Secondly, I thought ROTT got a bad press, but, then, I seem to be a minority in my approval of this album.

ROTT and YOR are apples and oranges. I think ROTT is far more musically adventurous. YOR is a very accessible album. I don't think it offers challenging lyrics and musically it is very poppy with catchy hooks. Given the nature of pop music, I can see why this album is being reviewed well.

I earnestly believe if someone thinks this album is defacto Morrissey then they really are dismissing a legacy of far superior works.

 

[unruly boy]

ROTT and YOR are apples and oranges. I think ROTT is far more musically adventurous. YOR is a very accessible album. I don't think it offers challenging lyrics and musically it is very poppy with catchy hooks. Given the nature of pop music, I can see why this album is being reviewed well.

I earnestly believe if someone thinks this album is defacto Morrissey then they really are dismissing a legacy of far superior works.

I am of the opinion that people are too quick to dismiss more modern works of band/artists for fear that they are being too kneejerk,and give older works from said artists more creedance than necessary simply due to nostalgia.

I LOVE Vauxhall and I and still think it is absolutely the best thing he has done as a solo artists, deserves to stand alongside anything he did whilst with The Smiths and probably won't even be bettered in the remainder of his career. A f***ing majestic album. Equally, Viva Hate is a great album with some excellent guitar work by Reilly.

What I'm saying is, don't be too quick to dismiss YOR, especially for the sole reason that it's recent. It's all about opinions, I'm well aware of that, but I remember MANY people on here panning ROTT on here after it came out...

 

[Vauxhall95]

Yeah, I get what you are saying. Ultimately music is subjective, so we will all have different favorites, etc. My personal problem with the album is I feel Morrissey is dumbing down his lyrics intentionally. Perhaps, it is liberating to not have to worry about every comma and quip being perfect, but to me that was what made Morrissey unique.

Pitchfork summarized the album with the following sentence: "A Morrissey record you can dig into without caring much about the man's lyrics." I have to agree with that. I'll give that the music has catchy hooks and the lyrics match those simple pop melodies. I just don't see this album as "utterly brilliant."

To those who think this is somehow about "not accepting Morrissey changing," I just disagree. I like how his outlook has changed over the past three albums. What I dislike is how that outlook is conveyed: in a simplistic, clumsy, and sometimes coarse way. I know that's harsh, but when Morrissey starts using more profanity than Axl Rose - I just see this as an increasing problem.

I am of the opinion that people are too quick to dismiss more modern works of band/artists for fear that they are being too kneejerk,and give older works from said artists more creedance than necessary simply due to nostalgia.

I LOVE Vauxhall and I and still think it is absolutely the best thing he has done as a solo artists, deserves to stand alongside anything he did whilst with The Smiths and probably won't even be bettered in the remainder of his career. A f***ing majestic album. Equally, Viva Hate is a great album with some excellent guitar work by Reilly.

What I'm saying is, don't be too quick to dismiss YOR, especially for the sole reason that it's recent. It's all about opinions, I'm well aware of that, but I remember MANY people on here panning ROTT on here after it came out...

 

[Maradona]

The new record has changed my views on things a little...

I've been a staunch supporter of Moz's band and have spent many a great night at Moz shows since '92.

After the Quarry and Ringleader releases I'd get quite indignant when people said "sack the band", "Moz needs a change" etc etc. I thought those records were great. I thought Jesse actually improved the band in 2004. The live show certainly improved.

But now, for the first time, this record has me thinking that a change might not be a bad thing. I find the music recycled, samey, bland, predictable...and it saddens me. I genuinely can't believe I'm typing this because I've loved Boz and co. for so long. Something subtler might be nice, for a change...

How much input does Moz really have as regards the music?

 

[David]

Vauxhall95,

Are you really using Pitchfork to bolster your point? Because they also wrote: "It's his most vital, entertaining, and savage record since 1994's Vauxhall and I." So yeah you might want to quote, like, The Guardian or something more on your level next time.

 

[DipYourHeadInAVatOfGhee]

I feel the same about this album as Maradona.

Lyrically it's ok, and I think his voice sounds wonderful on YOT, but the musical formula is sounding pretty old hat now. "Someone is Squeezing...", "All You Need..." and "I'm Ok by Myself" almost sound like pastiches of how to write textbook modern-era Morrissey rockers. It's easy.

Start the song with a funny noise, pick a random phrase, repeat it over and over in the chorus and stick it over a punky sounding track backed by a thrashy rhythm guitar and distorted lead.

This sub-"Hard to Walk Tall"-style song has been done to death.

There were moments on this album where I thought they were onto something. "Black Cloud" starts well, but then descends into... the usual Mozrock™.

Listening to "It's Not Your Birthday" for the first time was a strange experience. I really liked the start of it, but there was a sinking feeling that I just knew those f***ing distorted guitars would come in at some point to destroy any semblance of subtlety. And they did.

The individual musicians are all clearly excellent. The drummer is great. But in terms of composition... zzzzzzzzzz. I'm not saying Morrissey should start churning out some strange shit with Radiohead (though that might be interesting). But he should at least start working with someone with a couple of new ideas, unconstrained by previous works.

I thought YATQ was great. ROTT was decent too, enhanced by a quirky production. YOF might be poppy and accessible, and that might be enough if all you want is a vehicle for Morrissey to appear occasionally and bestow his lyrical gifts.

But musically, it's moribund.

 

[hymeballs]

I feel the same about this album as Maradona.

Lyrically it's ok, and I think his voice sounds wonderful on YOT, but the musical formula is sounding pretty old hat now. "Someone is Squeezing...", "All You Need..." and "I'm Ok by Myself" almost sound like pastiches of how to write textbook modern-era Morrissey rockers. It's easy.

Start the song with a funny noise, pick a random phrase, repeat it over and over in the chorus and stick it over a punky sounding track backed by a thrashy rhythm guitar and distorted lead.

This sub-"Hard to Walk Tall"-style song has been done to death.

There were moments on this album where I thought they were onto something. "Black Cloud" starts well, but then descends into... the usual Mozrock™.

Listening to "It's Not Your Birthday" for the first time was a strange experience. I really liked the start of it, but there was a sinking feeling that I just knew those f***ing distorted guitars would come in at some point to destroy any semblance of subtlety. And they did.

The individual musicians are all clearly excellent. The drummer is great. But in terms of composition... zzzzzzzzzz. I'm not saying Morrissey should start churning out some strange shit with Radiohead (though that might be interesting). But he should at least start working with someone with a couple of new ideas, unconstrained by previous works.

I thought YATQ was great. ROTT was decent too, enhanced by a quirky production. YOF might be poppy and accessible, and that might be enough if all you want is a vehicle for Morrissey to appear occasionally and bestow his lyrical gifts.

But musically, it's moribund.

I agree DIP, you summed up my exact feelings...I've been struggling with how I feel over YOR for a couple days now and I just think his delivery, the bands limited talent and some real uninspiring work are glaringly apparent on this CD. Its got some catchy tunes but I think Moz is best with more of a melodic musical approach. Sure bash me all you want but I know there are people who feel the way I do. I still love the guy and always will but I would love to hear another Viva/Vaux/Bona drag era cd before I die or he does.......

 

[Worm]

An excellent album. Haven't digested the whole thing quite yet (only just bought it) but I'll second the claim I made six months ago that "Something Is Squeezing My Skull" is the best song he's written in the last 15 years. It has an energy and a wit summoned right from a pre-'83 notebook of his-- so I imagine anyway-- but a line like "the motion of taxis excites me when you peel it back and bite me" is so beyond the Morrissey of the Eighties I can't believe it's the same songwriter.

 

[King Leer]

Welcome back -- the more perceptive comments, the better.

Would like to read your track-by-track review. Working on my own.

An excellent album. Haven't digested the whole thing quite yet (only just bought it) but I'll second the claim I made six months ago that "Something Is Squeezing My Skull" is the best song he's written in the last 15 years. It has an energy and a wit summoned right from a pre-'83 notebook of his-- so I imagine anyway-- but a line like "the motion of taxis excites me when you peel it back and bite me" is so beyond the Morrissey of the Eighties I can't believe it's the same songwriter.

 

[joe frady]

An excellent album. Haven't digested the whole thing quite yet (only just bought it) but I'll second the claim I made six months ago that "Something Is Squeezing My Skull" is the best song he's written in the last 15 years. It has an energy and a wit summoned right from a pre-'83 notebook of his-- so I imagine anyway-- but a line like "the motion of taxis excites me when you peel it back and bite me" is so beyond the Morrissey of the Eighties I can't believe it's the same songwriter.

We've missed you round this way. It's been too, too long. Hope you can stick around.

 

[Anaesthesine]

An excellent album. Haven't digested the whole thing quite yet (only just bought it) but I'll second the claim I made six months ago that "Something Is Squeezing My Skull" is the best song he's written in the last 15 years. It has an energy and a wit summoned right from a pre-'83 notebook of his-- so I imagine anyway-- but a line like "the motion of taxis excites me when you peel it back and bite me" is so beyond the Morrissey of the Eighties I can't believe it's the same songwriter.

I was wondering if you still cared (about Morrissey that is).

I was a huge "Skull" fan when the new material first surfaced. After listening to YOR a handful of times, however, it is currently in third place behind "Birthday" and "Carol." This may have as much to do with novelty as anything else.

It's a classic, no doubt. For one thing I can no longer say "lorazipam" with a straight face, and yellow cab rides suddenly have a whole new meaning.

 

[biru]

I love it!

 

[biru]

OH AND BY THE WAY, can someone please explain to this ignorant portuguese girl what the hell does "peel it back and bite me" exactly mean? because I can sense some naughtiness in the goddamn phrase but I can't stick visuals with it. I don't really get it... so... yeah.

 

[EPbabe]

OH AND BY THE WAY, can someone please explain to this ignorant portuguese girl what the hell does "peel it back and bite me" exactly mean? because I can sense some naughtiness in the goddamn phrase but I can't stick visuals with it. I don't really get it... so... yeah.

I'm a very visual person so....

 

[King Leer]

Your colloquial English is really natural. There was another thread where this was mentioned but is seems to be a reference to oral sex (of a non-gentle nature) in the back of a taxi, enhanced by the movements of the car.

Have to ask -- have you by chance met Bozman in Portugal? He has a house there. Hope to visit your country one day.

OH AND BY THE WAY, can someone please explain to this ignorant portuguese girl what the hell does "peel it back and bite me" exactly mean? because I can sense some naughtiness in the goddamn phrase but I can't stick visuals with it. I don't really get it... so... yeah.

 

[hool']

There was another thread where this was mentioned but is seems to be a reference to oral sex (of a non-gentle nature) in the back of a taxi, enhanced by the movements of the car.

Well, i found this fascinating

 

[PregnantForTheLastTime]

I've finally had a chance to listen to it a few times through. I love it. Some of the songs really grab me, and some don't. But I see the way they fit together, and I can tell that further listening will reveal more little hooks and surprises and alternate interpretations, as they always do. I have questions that will never be answered, and that's the beauty of it.

But I'm really frustrated with all the armchair quarterbacking here. You don't walk up to a painting in a museum and say, "Nice, I guess, but I think he should have used more blue." or bitch about what brand of paint or brushes were used. It's art. Walk up to it, admire it, hate it; project yourself into the story, or watch from afar, but it's not yours. If you want to write songs, then do it, but Morrissey's work is his own, and if you constantly second guess everything he does then you're totally missing the point. He isn't going to make Viva Hate II, or Vauxhall & I, Still Together After All These Years. Not everything has to have a damn sequel.

Real art in music is rare enough, you should appreciate what we have.

Ok, sycophantic (I will be accused) rant over.

 

[Not Right in the Head]

I've finally had a chance to listen to it a few times through. I love it. Some of the songs really grab me, and some don't. But I see the way they fit together, and I can tell that further listening will reveal more little hooks and surprises and alternate interpretations, as they always do. I have questions that will never be answered, and that's the beauty of it.

But I'm really frustrated with all the armchair quarterbacking here. You don't walk up to a painting in a museum and say, "Nice, I guess, but I think he should have used more blue." or bitch about what brand of paint or brushes were used. It's art. Walk up to it, admire it, hate it; project yourself into the story, or watch from afar, but it's not yours. If you want to write songs, then do it, but Morrissey's work is his own, and if you constantly second guess everything he does then you're totally missing the point. He isn't going to make Viva Hate II, or Vauxhall & I, Still Together After All These Years. Not everything has to have a damn sequel.

Real art in music is rare enough, you should appreciate what we have.

Ok, sycophantic (I will be accused) rant over.

Uncriticized art isn't art. It's background noise.