"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.

 

[realitybites]

NO

He met that 4 young london rock-a-billy Lads, minus Boz, they were first used for the 'Sing Your Life' video clip,
than Boz came in, Morrissey wanted to tour Kill Uncle, the 4r reherseled just a month, at least very short.

And The Kill Uncle Tour was his most Legerdary ever, mostly cause the songs from Kill Uncle got a more
rock version live, well Mr. Barleycorn I've read lots of your comments, and you are definately aware of his
solo carreer, and the Tour in 1991, it had to stop becauise of Beatlemania,police and security couldn't
handle Morrissey and the Lads safety anymore in the venue's

For this fact and if you've been to one of those gigs, like me, it's hard to compare Kill Uncle to others
with that tour in mind

Morrissey himself claimed it was not good, well

Our frank
Sing your Life
Driving your girlfriend home [or is this on Bona Drag]
Mute Witness [a personal favourite]
Found Found Found
The end of the Family line
There's a place in hell for me and my Friends

are good enough if you compare them with His 1995 and 1997 albums, Southpaw Grammar and Maladjusted

again my eurocent

' and they say he's mentall'... lost in sunny Northside Clapham Common

Love Mute Witness as well. Underrated, imo.

 

[satchmo76]

Tell me which Smiths song, exactly, Now My Heart is Full sounds like.

You can't be serious. Sounds like a windup.

I said "taken to it's extreme", which is acknowledging that the statement would be an overstretch. However, I think something like "You're The One For Me Fatty" could have been a Smiths single circa 1986, but just not as good (infact something of a self-parody).

On the other hand, "First of the Gang to Die" would have been a very good Smiths single, as would "Last of the Famous International Playboys."

 

[Anonymous]

Viva Hate and Your Arsenal are the only 2 classic or near classic Moz solo albums.

Vauxhall sounds like a collection of Smiths B to C sides, and Hold Onto and Now My Heart are the corniest pieces of shit he had written since Ask (which have now been eclipsed by I'm Throwing My Arms Around Paris); and Lillywhyte's blurry/fuzzy/dreamy production is f***ing awful.

Philistine

 

[realitybites]

I said "taken to it's extreme", which is acknowledging that the statement would be an overstretch. However, I think something like "You're The One For Me Fatty" could have been a Smiths single circa 1986, but just not as good (infact something of a self-parody).

On the other hand, "The First of the Gang to Die" would have been a very good Smiths single.

I think the lyrics hark back to the Smiths days because they have the same person writing the lyrics... Morrissey. He still has that warped sense of humor that we love in his solo works. But the music doesn't sound Smithy to me at all. It pairs well with the other rockabilly songs from Your Arsenal.

 

[CrystalGeezer]

I think the lyrics hark back to the Smiths days because they have the same person writing the lyrics... Morrissey.

Finally shit is getting explained around here.

 

[realitybites]

Finally shit is getting explained around here.

Mwahahaha!

 

[Chip]

I find there's absolutely no point arguing with others about ther relative merits of various releases; individual tastes always win out.

http://en.wikipedia.org/wiki/De_gustibus_non_est_disputandum

P.

I totally agree and I stated earlier in this thread that musical taste is ultimately subjective. But when people make remarks that one of Morrissey's most critically acclaimed and commercially successful albums was a career disaster that's not about personal taste in music. That's allowing one's own subjective musical taste to create an alternate reality.

For example, I rather like the much maligned Southpaw Grammar. Not Morrissey's greatest record, but it certainly is better than it's reputation. I chalk this up largely to my personal subjective taste in my music (though I will confess I am bewildered by the visceral negative reaction it produces in some). I wouldn't dare say it was a triumphant moment for Morrissey's career. In fact, I would say it was a career disaster for Morrissey. That and not touring for three years and than walking out on David Bowie.

I mean prior to Southpaw Morrissey did seem to be on the up and up, at least in the United States. The legendary Kill Uncle tour, Your Arsenal and the Your Arsenal Tour, being nominated for a grammy for Your Arsenal, releasing Vauxhall and I, receiving a Grammy for Vauxhall and I.

Could Morrissey ever have been a mainstream artist? I don't know. It seems hard to imagine him ever being something other than a cult indie artist, albeit one with an iconic and legendary. Though if you look at the trajectory of his career from 1991-1994 it seems like he was heading towards something resembling mainstream success. And than something went wrong. What I don't know. But all signs point to Southpaw. Which I rather liked as an album. Like I said these things are subjective.

 

[Uncleskinny]

I totally agree and I stated earlier in this thread that musical taste is ultimately subjective. But when people make remarks that one of Morrissey's most critically acclaimed and commercially successful albums was a career disaster that's not about personal taste in music. That's allowing one's own subjective musical taste to create an alternate reality.

For example, I rather like the much maligned Southpaw Grammar. Not Morrissey's greatest record, but it certainly is better than it's reputation. I chalk this up largely to my personal subjective taste in my music (though I will confess I am bewildered by the visceral negative reaction it produces in some). I wouldn't dare say it was a triumphant moment for Morrissey's career. In fact, I would say it was a career disaster for Morrissey. That and not touring for three years and than walking out on David Bowie.

I mean prior to Southpaw Morrissey did seem to be on the up and up, at least in the United States. The legendary Kill Uncle tour, Your Arsenal and the Your Arsenal Tour, being nominated for a grammy for Your Arsenal, releasing Vauxhall and I, receiving a Grammy for Vauxhall and I.

Could Morrissey ever have been a mainstream artist? I don't know. It seems hard to imagine him ever being something other than a cult indie artist, albeit one with an iconic and legendary. Though if you look at the trajectory of his career from 1991-1994 it seems like he was heading towards something resembling mainstream success. And than something went wrong. What I don't know. But all signs point to Southpaw. Which I rather liked as an album. Like I said these things are subjective.

There's also a universal additive effect of opinion and taste, which boils down to cold, hard, commercial cash. If something has that quality of transcending universal taste into popularity at the record store (or iTunes, or whatever), then the cash rolls in, and it can be measured. The differing way we now buy our music is not to Morrissey's advantage. Downloads have made it easier and more immediate than taking a journey into town, a more considered choice. So the falling numbers of sales of Morrissey albums could be either the additive composite opinion, a different way we buy music now, or a bit of both.

P.

 

[realitybites]

I totally agree and I stated earlier in this thread that musical taste is ultimately subjective. But when people make remarks that one of Morrissey's most critically acclaimed and commercially successful albums was a career disaster that's not about personal taste in music. That's allowing one's own subjective musical taste to create an alternate reality.

For example, I rather like the much maligned Southpaw Grammar. Not Morrissey's greatest record, but it certainly is better than it's reputation. I chalk this up largely to my personal subjective taste in my music (though I will confess I am bewildered by the visceral negative reaction it produces in some). I wouldn't dare say it was a triumphant moment for Morrissey's career. In fact, I would say it was a career disaster for Morrissey. That and not touring for three years and than walking out on David Bowie.

I mean prior to Southpaw Morrissey did seem to be on the up and up, at least in the United States. The legendary Kill Uncle tour, Your Arsenal and the Your Arsenal Tour, being nominated for a grammy for Your Arsenal, releasing Vauxhall and I, receiving a Grammy for Vauxhall and I.

Could Morrissey ever have been a mainstream artist? I don't know. It seems hard to imagine him ever being something other than a cult indie artist, albeit one with an iconic and legendary. Though if you look at the trajectory of his career from 1991-1994 it seems like he was heading towards something resembling mainstream success. And than something went wrong. What I don't know. But all signs point to Southpaw. Which I rather liked as an album. Like I said these things are subjective.

Agree. Listening to it now. Love Best Friend on the Payroll.

 

[Chip]

Agree. Listening to it now. Love Best Friend on the Payroll.

I mean I get why some people were disappointed by it. Don't get me wrong. For one thing I think it's the only Morrissey solo album where Morrissey's band at times outshines Morrissey's input.

I also think it was a somewhat unexpected move for Morrissey. I don't think it's as experimental or edgy or artsy or prog rock like some people say it is. To me it sounds the way I would expect an alternative rock album from the mid 1990s to sound like. After Vauxhall, Your Arsenal, Kill Uncle, Viva Hate/Hate Bona Drag, and the Smiths I think that comes as quite a shock to many listeners.

That being said I do think Reader Meet Author, Boy Racer, Southpaw (though it could have used some editing), and the Teachers Are Afraid of the Pupils are excellent track. The only real mediocre tracks are Dagenham Dave and Do Your Best and Don't Worry and they aren't awful they just aren't great. And I think if Dagenham Dave had had some better input from Moz that song could have been salvaged.

It does seem to get a bad rep, even from fans, so I do suspect it has something to do with derailing Morrissey's track to increased commercial/mainstream viability as an artist (not that I really care about. I don't as I've stressed on other threads). That and I suspect maybe he should have toured in support of Vauxhall and I and not walked off the David Bowie tour.

In fact I think walking away from Bowie and the ensuing feud was one of the biggest blunders of Morrissey's career. I know he had his reasons, but he didn't handle it well. I remember in an interview with Brian Molko Bowie seemed quite perplexed by Morrissey's walking off the tour, but was also very reconciliatory stating he'd like to work with Morrissey still. Morrissey, of course, held his tongue and than came back years later saying a whole bunch of nasty things about Bowie.

Of course, I'm biased because I'd still like to see a Bowie/Morrissey tour. Not that that's ever going to happen.


On an interesting (or an uninteresting depending on your perspective) last week I had a friend over who was a big Smiths fans, but didn't really care for Morrissey's solo career. She was looking through my vinyl and we ended up putting Southpaw Grammar on and she was really blown away by The Teachers Are Afraid of the Pupils. She also stated though that it sounded it nothing like Morrissey and reminded her of...Nine Inch Nails and Ministry. She added it to her iPod and it's now one of her favorite songs.

It's anecdotal evidence, but I think it confirms a little what I've always said about Southpaw. She didn't care much for reader meet author though.

 

[Uncleskinny]

This reviewer has an opinion (needs sign-in)

http://grolschfilmworks.com/ca/reviews/morrissey-25-live

P.

 

[realitybites]

This reviewer has an opinion (needs sign-in)

http://grolschfilmworks.com/ca/reviews/morrissey-25-live

P.

Prick. The reviewer, not you, Skinny.

 

[Johnny Barleycorn]

I totally agree and I stated earlier in this thread that musical taste is ultimately subjective. But when people make remarks that one of Morrissey's most critically acclaimed and commercially successful albums was a career disaster that's not about personal taste in music. That's allowing one's own subjective musical taste to create an alternate reality.

[...]

Could Morrissey ever have been a mainstream artist? I don't know. It seems hard to imagine him ever being something other than a cult indie artist, albeit one with an iconic and legendary. Though if you look at the trajectory of his career from 1991-1994 it seems like he was heading towards something resembling mainstream success. And than something went wrong. What I don't know. But all signs point to Southpaw. Which I rather liked as an album. Like I said these things are subjective.

Chip, you partly make my point for me in that last paragraph. He pursued the mainstream after Your Arsenal, specifically in the US. He saw his chance, and no-one should blame him for that, but my point is did that end up being good for his career? Was it worth it? I would argue that it was not. In fact I did argue that, didn't I?

I rather like Southpaw Grammar too. It's a bit hit and miss, because it's Morrissey, but if Nobody Loves Us, Boxers and Sunny, three great tracks from that year, had made it onto the original tracklist, and that bloody drum solo was left on the cutting room floor it would have been a small triumph.

Of course, from this perspective in the timeline we do see it partly through the filter of the risible Maladjusted, so perhaps that's part of it. Lovely artwork too, almost Smithsian, and up there with the best of his solo stuff, before he stopped trying completely.

 

[Girlmostlikely]

This reviewer has an opinion (needs sign-in)

http://grolschfilmworks.com/ca/reviews/morrissey-25-live

P.

I'm going to venture a guess, that this reviewer never really cared for Morrissey.

His major "criticism" revolves around Moz's looks. Can you believe his hair has thinned over the last 30 years?! Unbelievable! It's just silly really. And I'm sorry but Moz rocked that shirt

As far as the director getting more out of Morrisey, this was a fairly typical show. It is what he does. Do you think Morrisey would change his live show based on a directors suggestion. No way in hell.

 

[Chip]

This reviewer has an opinion (needs sign-in)

http://grolschfilmworks.com/ca/reviews/morrissey-25-live

P.

"First of The Gang to Die" (about his mates marrying off one-by-one, leaving Morrissey holding the torch alone), is a dynamic, honest missive to his own life

Um....what? Did I miss something? I know Morrissey is a subtle writer whose lyrics are open to many levels of interpretation, but what the f*** is the reviewer talking about? Or am I just dense?

 

[Chip]

Chip, you partly make my point for me in that last paragraph. He pursued the mainstream after Your Arsenal, specifically in the US. He saw his chance, and no-one should blame him for that, but my point is did that end up being good for his career? Was it worth it? I would argue that it was not. In fact I did argue that, didn't I?

I rather like Southpaw Grammar too. It's a bit hit and miss, because it's Morrissey, but if Nobody Loves Us, Boxers and Sunny, three great tracks from that year, had made it onto the original tracklist, and that bloody drum solo was left on the cutting room floor it would have been a small triumph.

Of course, from this perspective in the timeline we do see it partly through the filter of the risible Maladjusted, so perhaps that's part of it. Lovely artwork too, almost Smithsian, and up there with the best of his solo stuff, before he stopped trying completely.

I guess I am just confused how coming close to mainstream commercial success, and thus improving his career, hurt his career. I honestly can't follow your arguments.

I know that a lot of times artist in the pursuit of mainstream/commercial success compromise the integrity of their art, but I wouldn't say that's bad for their career as career has connotations of being merely about monetary success. You could Moz's pursuit of commercial success led him to make questionable and careerist choices--except it didn't since he followed up Your Arsenal with Vauxhall and I and Southpaw Grammar. I know you've explained the harm it did, but I just don't quite get what you're talking about that. And I am not saying that to be a prick or anything, like I said on previous thread while I tend to disagree with you on most things you are one of a hand full of posters here who I actually respect.

I am also rather surprised to discover you like Southpaw Grammar given your disdain for Your Arsenal and Years of Refusal. I've always thought you've just hated Morrissey's heavier sound. That being said I do think he could have made wiser decisions regarding the track list of Southpaw (I feel like we had this conversation before and you almost--almost changed my opinion of Morrissey's lyrics to Dagenham Dave).

For what it's worth (and I know my opinion means very little) I've never liked the song Boxers, but I did love it's B-side Have-a-Go Merchant. Much like Nobody Loves us I think it should have been a single in its own right. Sunny I like too, along with its B-side Swallow on my neck. If those songs had been on Southpaw and maybe he chose different singles (Nobody Loves Us, Have-a-Go Merchant, Reader Meet Author, and Boy Racer I think would have made a strong set of singles) I agree with you Southpaw maybe might have been seen as a minor triumph and not a career killer for Morrissey. But what do I know I have far from mainstream taste is music or anything else.

 

[realitybites]

"First of The Gang to Die (about his mates marrying off one-by-one, leaving Morrissey holding the torch alone), is a dynamic, honest missive to his own life."

Um....what? Did I miss something? I know Morrissey is a subtle writer whose lyrics are open to many levels of interpretation, but what the f*** is the reviewer talking about? Or am I just dense?

Strange interpretation, I agree. First time I heard that. Says more about the listener than the lyricist, imo.

 

[CrystalGeezer]

I'm comfortably adopting Morrissey's "I don't even read the reviews." stance and it's quite lovely.

 

[Girlmostlikely]

Um....what? Did I miss something? I know Morrissey is a subtle writer whose lyrics are open to many levels of interpretation, but what the f*** is the reviewer talking about? Or am I just dense?

It was weird that the reviewer offered this interpretation. I too thought like the majority of Moz's work (not all) was fairly straight forward. And did Morrissey have a gang of bros that he watched marry off? Would Morrissey care? What I thought was strange, was how the author stated this was the meaning so matter of factly. How could one know 100% unless Morrissey had stated it in an interview?

 

[realitybites]

It was weird that the reviewer offered this interpretation. I too thought like the majority of Moz's work (not all) was fairly straight forward. And did Morrissey have a gang of bros that he watched marry off? Would Morrissey care? What I thought was strange, was how the author stated this was the meaning so matter of factly. How could one know 100% unless Morrissey had stated it in an interview?

Because he is a pompous ass.