MORRISSEY
"I tried living in the real world instead of shell but I was bored before I even began"
Viva Hate (1998)
Rating (Out of 10): 8
Tracklisting: Alsatian Cousin/Little Man, What Now ? /Everyday Is Like Sunday/ Bengali In Platforms /Angel, Angel, Down We Go Together /Late Night, Maudlin Street/Suedehead /Break Up The Family/ The Ordinary Boys/ I Don't Mind If You Forget Me /Dial-A-Cliché /Margaret On The Guillotine
The Smiths had split up. No-one knew what the future held in store for Morrissey. Many music journalists believed that he would be lost on his own without Johnny Marr at his side. But in late 1988, less than a year after the Smith’s demise Morrissey released his very first solo album ‘Viva Hate’ much to the delight of his fans. Steven Street produced the album and co-wrote all the tracks and played lead guitar, while Vinnie Riley of of Durutti Column fame was enlisted as second guitarist. With ‘Viva Hate’ Morrissey proved to critics once and for all that he was the real talent behind The Smiths and could go it alone without Johnny. It contains all his characteristic witticisms and wonderful lyrics, yet at the same time marks a new chapter and style for the artist. With viva hate he most definitely makes it clear that he is putting the past behind him and marking out a new career for him self, but he does it without compromise.
‘Viva Hate’ contains an overall atmosphere of nostalgia and quiet despair that pervades the album, but that does not subtract from the general beauty and maturity of the album. The lyrics are pure poetry. The songs range from the stark quietness of ‘Alsatian Cousin’ to the anthemic ‘Everyday is like Sunday’ and the comic ‘Margaret On The Guillotine’. Everyday is like Sunday and Sudehead would go on to become Morrissey classics. ‘Viva Hate’ can be seen as a storytelling album, with each song making up one chapter in the story. Morrissey regales us with tales of childhood, adolescence, loneliness and the human condition
One big difference between ‘Viva Hate’ and The Smith’s albums is the presence of synthesizers. The Smiths sound was always a very heavy guitar led sound that didn’t need keyboards, so perhaps the inclusion of keyboards on this album was to make sure that there was no doubt that this was not the Smiths, and to mark out a new identity for the now solo Morrissey.
With the release of ‘Viva Hate’ Morrissey proved to critics that the demise of The Smiths did not signal the end of Morrissey, he also proved that his solo career would mark a new era in his career and whilst carrying on naturally from The Smiths, his solo work would be distinctive enough to make it new, exciting and fresh.
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Bona Drag (1990)
Rating (Out of 10): 8.5
Tracklisting: Piccadilly Palare / Interesting drug / November spawned a monster / Will never marry / Such a little thing makes such a big difference / Last of the famous international playboys / Ouija board ouija board / Hairdresser on fire / Everyday is like Sunday / He knows I'd love to see him / Yes I am blind / Lucky lisp / Suedehead / Disappointed
While Morrissey was working on his second album proper, his record company released ‘Bona Drag’, a collection of singles, b sides and rarities. It may seem strange that so soon into his solo career that he was releasing a compilation, but it was something that was greatly needed. It had been almost two years since the release of ‘Viva Hate’ and Morrissey had released several great singles including ‘Last Of The Famous International Playboys’, ‘Ouija Board, Ouija Board’ and ‘Interesting Drug’, yet they weren’t available on any album, so bringing them together here for the first time along with other Morrissey gems, was a great idea.
‘Bona Drag’ sees Morrissey at the height of his creativity. It is absolutely bursting to the seems with wonderful songs. It acts as a great introduction to early Morrissey work and most definitely cements him as a great songwriter and icon. It contrasts greatly with the bittersweet despair that proliferates through ‘Viva Hate’. This time the atmosphere is electric, and buoyant and sees Morrissey at his best lyrically with witticisms galore. Similarly to ‘Viva Hate’, ‘Bona Drag’ is an album of stories, but instead of laments of lost youth, and childhood, Morrissey tackles stories from other peoples lives deliving into subjects as diverse as hairdressers, gangland murderers and the occult. The inclusion of ‘Everyday Is Like Sunday’ and ‘Suedehead’ on ‘Bona Drag’ even though they had previously been on ‘Viva Hate’, was a very good move indeed, as it results in all of Morrissey’s best songs from his early period being available on the one album.
Bona Drag isn’t generally considered a ‘proper’ album, which is a shame as it is a very strong album and a very important piece of Morrissey history. It may have been a collection of singles and rarities, but that is not to say that it lacks artistic integrity and cohesion. All the tracks blend together perfectly and it exudes creativity and beauty. It is a record that captures a moment in time in the career of Morrissey and is a timeless piece of work.
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Kill Uncle (1991)
Rating (Out of 10): 7
Tracklisting: Our Frank / Asian Rut / Sing Your Life / Mute Witness / King Leer / Found Found Found / Driving Your Girlfriend Home / Harsh Truth Of The Camera Eye / I'm The End Of The Family Line / There's A Place In Hell For Me And My Friends
Morrissey’s second ‘official’ album and third actual album is the obscurely titled ‘Kill Uncle’. It is an album that received a lot of negative criticism in the music press, most of it undeservedly, and most of which can be explained by Morrissey choice of new songwriting partner. Since splitting up from the smiths, Morrissey had collaborated with Steven Street and there had been much speculation that he was going to replace Johnny Marr as Morrissey’s long term writing partner. But ‘Kill Uncle’ sees Street Being replaced by Nevin who writes the tracks and plays guitar while Alan Winstanley takes the role as producer. It seems such a strange choice for Morrissey, famous as king of melancholia to team up with Mark E. Nevin from pop act Fairground Attraction whose biggest hit was the inanely cheerful ‘Perfect’. Perhaps Morrissey was trying to go for a different sound or perhaps he was trying to go against stereotype. Whatever the reason, the result was a very inadequate 33 minute long album that lacks a certain cohesion and artistic integrity. That’s not to say that the album is bad; it’s just not up to Morrissey’s usually high standards, and it doesn’t seem to be Morrissey that’s to blame. There are some excellent songs on ‘Kill Uncle’ and Morrissey is in very good form lyrically. ‘Our Frank’ ‘Sing Your Life’ and the wonderfully titled and bound to be played at many a Morrissey fans funeral, ‘There’s a place in hell for me and my friends’, are all great tracks with wonderful lyrics. But there seems to be something missing. It’s true that there aren’t as many stand out tracks as on previous albums. ‘Kill Uncle’ is definitely missing it’s own version of ‘Suedehead’ or ‘Last of The Famous International Playboys’. There is just maybe a little bit of magic missing from this album, but it is definitely not as bad as the music press at the time made out.
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Your Arsenal (1992)
Rating (Out of 10): 9
Tracklisting: You're Gonna Need Someone On Your Side / Glamorous Glue / We'll Let You Know / National Front Disco / Certain People I Know / We Hate It When Our Friends Become Successful / You're The One For Me Fatty / Seasick Yet Still Docked / I Know It's Gonna Happen Someday / Tomorrow
‘Your Arsenal’ is where is can all be seen as really coming together for Morrissey. After the disappointment of ‘Kill Uncle’ Morrissey gets himself a good band, a brilliant producer and a whole new sound. Boz Boorer, Alain Whyte, and Gary day, who are all now long serving Morrissey band members joined the band around this time and gave Morrissey exactly what he had been missing since he left The Smiths – a strong band line up and with Boz and Alain he formed a songwriting team that would equal anything he had achieved with Johnny Marr .
Your Arsenal is very different to anything Morrissey had done before. It is a rock album with a very strong sound and influences taken from glam rock and rockabilly.
National Front Disco, we hate it, you’re the one for me fatty. It was an album that saw the birth of a very different image for Morrissey also. Long gone were the flowery shirt, national health glasses and hearing aids, and instead, Morrissey took on a very glamorous image. All of the songs on Your Arsenal are strong. Morrissey manages to combine witty lyrics, clever song titles and a fabulous sound. ‘You’re Gonna Need Someone On your Side’, ‘Glamorous Glue’ and ‘National Front Disco’ are all strong guitar-lead tracks while ‘Seasick yet still Docked’ provide moments of tender and subtle beauty. The final track on the album ‘Tomorrow’ is a gorgeous song, full of longing and desperation and ends the album on a very tender note.
Your Arsenal is a truly great album. It is full of raw energy and passion. It is an album that marks a big departure in Morrissey’s career, but one that can be seen as the start of something brilliant. The start of Morrissey as we now know him.
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Vauxhall And I (1994)
Rating (Out of 10): 10
Tracklisting: Now My Heart Is Full / Spring Heeled Jim / Billy Budd / Hold On To Your Friends / More You Ignore Me The Closer I Get / Why Don't You Find Out For Yourself / I Am Hated For Loving / Lifeguard Sleeping Girl Drowning / Used To Be A Sweet Boy / Lazy Sunbathers / Speedway
1994 was a great time to be a Morrissey fan. After a period where it was almost fashionable not to like him and when the music pressed seemed to take great pride in disparaging him every chance they got, Morrissey released ‘Vauxhall And I’ and all that changed. Practically overnight Morrissey became the darling of the music industry. His album went to no 1 in the album charts, the first single ‘The More You Ignore Me The Closer I Get’ went to no. 5 in the singles charts – the highest ever chart position for Morrissey or The Smiths – and Morrissey adorned the cover of every music magazine in Britain. Life was sweet for Morrissey fans; it was perpetual summer. The good reviews he received were long overdue and definitely well deserved. ‘Vauxhall and I’ is a truly beautiful album and signals a significant departure from his previous offerings. The loud rock guitar riffs and energetic sound of ‘Your Arsenal’ is replaced by a much softer, tender feel. There is something about this album, a certain feel to it, an ambiance that is hard to explain. The songs are all wonderful, but that is only part of what makes this album so special. The overall sound and mood is exquisite.
The opening track, ‘Now My Heart Is Full’ is a beautiful song and provides a strong beginning to the album. Lyrics include references to the classic Graham Greene novel ‘Brighton Rock’ (“Dallow, Spicer, Pinky, Cubit….”), and it’s not the only song on the album that references popular culture as practically every song pays tribute to poetry, film or music in one way or another. ‘Billy Budd’ which takes it’s name from both a novella by Herman Melville and a Benjamin Brittain opera, has a rockabilly influenced melody and is one of the most upbeat and enjoyable tracks on the album. The More You Ignore Me The closer I Get’ provided Moz with his first hit single from ‘Vauxhall…’ and whilst being far from the strongest track on the album it has a strong appeal. It is a very intense song, with a slightly sinister humorous lyrics ‘Beware I bear more grudges than lonely high court judges’. ‘Lifeguard Sleeping Girl Drowning’ takes its lyrical influence from the Stevie Smith poem ‘Not Waving But Drowning’ and is a very beautiful, ambient song. The closing track ‘Speedway’ which opens with the sound of a pneumatic drill has a very aggressive overall sound and biting lyrics, sees Morrissey have a go at the music journalists who hounded him for so many years.
‘Vauxhall and I’ is still widely considered to be Morrissey’s finest hour, and happens to be my favorite Morrissey album, although his most recent two records come very close. The reason for me liking Vauxhall so much probably has something to do with my memories of the time in which it was released. But it still remains a very strong Morrissey album that stands the test of time. Morrissey has never managed to recapture the ambient sound of Vauxhall. Maybe he never tried, but that is exactly what makes it stand out from the others and what makes it so special.
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From Molly Parker - 20/12/2006
Just wanted to write a note to say how much I enjoyed your morrissey reviews. You have a great site. I'm glad to meet another morrissey fan. I especially like your review of vauxhall and I. It's my favourite. Glad you gave it 10 out of 10. It's a brilliant work of art.
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Southpaw Grammar (1995)
Rating (Out of 10): 7.5
Tracklisting: The Teachers Are Afraid of the Pupils / Reader Meet Author / The Boy Racer / The Operation / Dagenham Dave / Do Your Best and Don't Worry / Best Friend on the Payroll / Southpaw
Morrissey’s follow up to the glorious Vauxhall and I is probably the most misunderstood album of his career. Widely criticized amongst the music press and generally considered to be Morrissey’s weakest album, Southpaw Grammar is dark and complex. It is a very difficult album to get to grips with, but it is definitely worth putting the effort into as the rewards are well written songs all with Morrissey’s trade mark wit, talent and poetry. ‘Southpaw Grammar’ is markedly different to all of Morrissey’s previous albums. It is made up of 8 tracks, 3 of which are over 6 minutes long and two of which are over 10 minutes long. Perhaps Morrissey was trying his hand at his very own brand of prog rock! Or more likely, he was pushing back the boundaries, going beyond what people expected of him, testing the limits of his own creativity. And that’s where the problem lies. Very few people actually understood what he was trying to do with Southpaw Grammar, and instead of accepting it for what ever it might be and just enjoying it, they dismissed it as substandard.
The cover of ‘Southpaw Grammar’ depicts boxer Kenny Lane and the title can be seen as coming from a combination of the term for a left handed boxer and a reference to the school of hard knocks. Throughout the album the theme of boxing is extended as Morrissey ‘has a go’ at a variety of people. In ‘The Boy Racer’ it is the turn of hedonistic, arrogant young men who drive around in sports cars. This is a great song and contains one of the funniest Morrissey lyrics ever written (“He thinks he’s got the whole world in his hands stood at the urinal”). The opening track, ‘The Teachers are afraid of the pupils”, sees Morrissey revisit ‘The Headmaster Ritual” only to turn it on its head and focus attention on the kids rather that the adults. ‘Reader Meet Author’ sees Morrissey deliberate over the complex relationship between writers and their fans. This songs is one of the best on the album and it contains some great lyrics “Books Can’t Save us, Books aren’t Stanley knives’.
All in all ‘Southpaw Grammar’ is a collection of very good songs, but it is not the most accessible of Morrissey’s albums. But I think that was Morrissey’s intention. You don’t open a track with a two and a half minute drum solo if you want to make a song easy to listen to. I think that Morrissey’s goal in making this album was to create something challenging both for himself and the listener, and if that is true, then he has most definitely succeeded.
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From TJ - 23/12/2006
Why does this album always get a slating? Has anyone actually bothered listening to it, or does everyone just jump onto the i hate moz band wagon? this is a brilliant album. It's morrissey's finest. It's so dark, it's like nothing he's done again. A masterpiece. It's not easy to listen to and takes a lot of listens to 'get' it, which is probably why everyone hates it, but give it a change and it really is great.
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Maladjusted (1997)
Rating (Out of 10): 7
Tracklisting: Maladjusted / Alma matters / Ambitious outsiders / Trouble loves me / Papa Jack / Ammunition / Wide to receive / Roy's keen / He cried / Satan rejected my soul
After the glorious Vauxhall and I and wondrous reception it received in the music press, followed by the hugely negative criticism of Southpaw Grammar, came Morrissey’s 1997 album ‘Maladjusted’ which fits somewhere in the middle in terms of media criticism. While Southpaw Grammar was absolutely slated in the music press and was grossly misunderstood, Maladjusted was criticized for just not quite reaching the mark, and although such criticism was much too harsh, the album does seem to be a bit lackluster in places and is definitely missing the good old Morrissey magic. There is a certain lack of glamour about this album, which is even evident on the front cover which depicts Morrissey wearing jeans and a V neck jumper and squatting down looking pale and uninterested. This lack of glamour that begins on the front cover permeates into the album which on the whole comes across as rather flat. It is an album with good strong substance and some great songs, but what is lacking is gloss and that little little something extra that you normally get with a Morrissey album. The album is full of Morrissey style humour and great song titles, but the songs seem to lack depth and the album lacks a certain amount of direction. But on a more positive note, ‘Maladjusted’ also contains one of the best Morrissey songs of all time. ‘Trouble Loves Me’ is a fantastic song with a blues style melody, strong vocals and great lyrics, (‘Show me a barrel and watch me scrape it/faced with the music as always I’d face it’). Other tracks on the album are also good. The first single to be released, ‘Alma Matters’ is a great pop song and ‘Ammunition’ and ‘Wide To Receive’ all provide high points. It’s just a shame that ‘Maladjusted’ isn’t as complete as it could be. It has all of the potential of a good album, but there just seems to be something missing.
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You Are The Quarry 2004
Rating (Out of 10): 9
Tracklisting: America Is Not The World / Irish Blood, English Heart / I Have Forgiven Jesus / Come Back To Camden / I'm Not Sorry / The World Is Full Of Crashing Bores / How Could Anybody Possibly Know How I Feel? / The First Of The Gang To Die / Let Me Kiss You / All The Lazy Dykes / I Like You / You Know I Couldn't Last
After seven long years, Morrissey at long last has released a new album. He had been sorely missed, and at times it seemed like he might never returned but we should have known better than to think that Morrissey would just fade away into the ether. And with ‘You Are The Quarry’ he most definitely comes back with a bang. You don’t even need to look any further than the album cover to know that Moz is well and truly back on form. The cover pictures depicts the man himself dressed like a 1920’s gangster, wielding a Tommy gun; and as the title suggests just about everyone and anyone is going to come under attack – Americans, traffic wardens, lesbians, even Jesus can’t escape Morrissey’s wrath! ‘You Are The Quarry’ was very well received in the music press: perhaps even the journalists who claim to despise him had missed Moz while he was away! The atmosphere surrounding it reminds me of the time of the release of Vauxhall and I. Once again Morrissey was everywhere, and it was ok to love him again.
You are the quarry was produced by Jerry Finn who had previously worked with the likes of Blink 182 and Green Day, so he seems a strange choice to produce a Morrissey album, but something about this partnership really works. Finn seems to have injected a sort of youthful energy into the album and given it a really exciting tone. Morrissey’s right hand men Boz Boorer and Alain Whyte are also present on this album and have written some great tracks.
The album’s opening track sees Morrissey very much on form lyrically. As he slags off the very nation that has provided him with a home for the past seven years, he sets the tone for the rest of the album. The lyrics are very funny, biting and ironic and the tone is one of tongue in cheek anger. ‘Irish Blood, English Heart’ had been the single that proceeded the album and worked very well as a good introduction to Morrissey’s new material, but is by no means the best track on the album. That accolade most definitely goes to ‘First of The Gang To die’ which has already become a classic Morrissey anthem.
You Are The Quarry is a fabulous album that sees Morrissey very much back on form. The songs include all the characteristics that make us love Moz. The humorous lyrics, the infectious melodies, the strong vocals, the irony, they are all their in abundance coupled with a new found energy which makes this a brilliantly refreshing album to listen to.
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Morrissey Live At Earls Court (2005)
Rating (Out of 10): 8
Tracklisting: How Soon Is Now?/First Of The Gang To Die/November Spawned A Monster/Don't Make Fun Of Daddy's Voice/Bigmouth Strikes Again/I like You/Redondo Beach/Let Me Kiss You/Subway Train/Munich Air Disaster 1958/There Is A Light That Never Goes Out/The More You Ignore Me The Closer I Get/Friday Mourning/I Have Forgiven Jesus/The World Is Full Of Crashing Bores/Shoplifters Of The World Unite/Irish blood, English Heart/You Know I Couldn't Last/Last Night I Dreamt That Somebody Loved Me.
Recorded on 18th December 2004 at Earls Court, London
After the release of 'You Are The Quarry' last May there was no doubt that Morrissey was very much back on form and his upcoming national tour was met with a lot of excitement and high expectations, and he didn't let us down. The performance I saw in Dublin in December was incredible. Morrissey gave the performance of a life-time, dressed as a priest he delivered an immaculate airing of songs old and new with his own brand of energy and irony. 'Morrissey Live At Earls Court' album manages to capture the essence of his 2004 tour. Recorded on 18th December 2004 in front of 17,183 people it demonstrates Morrissey's talent as a live performer, song-writer and frontman. Having already released a live album, 'Beathoven was Deaf' in 1993, 'Live At Earls Court shows that 11 years later Morrissey has definitely still got it, and in actual fact this new offering is a much better album.
The album begins with The Smiths' classic 'How Soon Is Now', which is a fantastic song to open with. Widely considered to be the Smiths greatest hour, opening with this song sees Morrissey pronouce once and for all that his ban on playing Smiths material is well and truly over and finally sees him reclaim these songs as his own again. 'First Of The Gang To Die' ensures the listeners attention is held and cements the notion that this is a great concert and a great album. The strongest song on 'You Are The Quarry', Morrissey gives a great live performance which is probably even better than the studio version. Overall, there is a good diverse mixture of tracks on the album. Whilst mainly consisting of the best tracks from his most recent album, there are also 5 Smiths songs, a couple of classic Morrissey solo tracks and a few surprises here and there. The biggest surprise comes in the form of a cover of the Patti Smith classic 'Redondo Beach, something has been a long time coming with Morrissey being a Patti Smith fan since he was a teenager. His version is very different from the original. Listening to it, it takes a moment to actually work out what it is. He slows it right down, taking a much more subtle and delicate approach to the frantic original. He takes a well known and well-loved song and makes it his own, and it definitely works. Whilst the majority of the album is good, there are a few tracks on the set that shouldn't really be there. 'Don't Make Fun of Daddy's Voice' is a B-side and isn't really Morrissey at his best and 'Friday Mourning' is a track I hadn't heard before buying this album and to tell the truth it doesn't really do a lot for me. But overall, 'Morrissey Live At Earls Court' is a good album which conveys the energy and excitement of his 2004 tour and shows Morrissey's talent as a live performer and goes some way to explaining his attraction as an icon.
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Ringleader Of The Tormentors (2006)
Rating (Out of 10): 9.5
Tracklisting: I Will See You In Far-Off Places/ Dear God Please Help Me/ You Have Killed Me/The Youngest Was The Most Loved/ In The Future When All’s Well/The Father Who Must Be Killed/ Life Is A Pigsty/I’ll Never Be Anybody’s Hero Now/ On The Streets I Ran/ To Me You Are A Work Of Art/ I Just Want To See The Boy Happy/ At Last I Am Born
Waiting for the next Morrissey album is a bit like a child on Christmas Eve waiting for Santa to deliver the presents. You wait with nervous anticipation not knowing what to expect, wondering what delights Morrissey will deliver for us this time. And you read the reviews, and all the hype an impending Morrissey album inevitably brings, sucking in every piece of information yet at the same time not wanting to believe it, trying to keep an open mind so that when you listen to the album for the first time, you get those first impressions unadulterated by music press nonsense.
With ‘Ringleader Of The Tormentors’ Morrissey has offered up a very solid piece of music, with well written and produced songs throughout. It is a very upbeat record on the whole. There are still the characteristically self pitying and self-deprecating lyrics, lyrics that speak of a darker side of life; but there is also a very relaxed feel to it, with Morrissey seeming in very good form indeed. This is most evident in ‘The Youngest Was The Most Loved’ when Morrissey accompanied by an Italian children’s choir joyously sings ‘There’s no such thing in life as normal!’, and rather than lamenting at that fact, he celebrates life’s abnormalities. Morrissey’s characteristic humour and witticisms are very much present in ‘Ringleader Of The Tormentors’, not least in the album’s second track ‘Dear God Please Help Me’ which contains the now legendary lyric ‘I have explosive kegs between my legs’. This line has caused much excitement and amusement amongst the music press causing one journalist to come to the conclusion that it was no wonder Morrissey was asking God to help him if he was walking around Rome with swollen testicals! This same song has also caused a lot of speculation about Morrissey’s sexuality with many journalists pronouncing that at the grand old age of 46 Morrissey has finally discovered sex, but seems a bit ridiculous for the millions of Morrissey fans who never once doubted that he was a sexual being. But all of this nonsense aside, ‘Dear God Please Help Me’ is one of the best songs on the album and my own personal favourite. It is a chilling track that pushes Morrissey’s voice to the forefront with minimal accompaniment, a voice that at times sounds as if it might break, producing maximum effect and an overall haunting feel to it. The third track on the album is ‘You Have Killed Me’ which was released as a single about a week before Ringleader….went on sale and acts as a great introduction to what is in store for us on the rest of the album. It is a very strong, upbeat track with a beautiful string accompaniment and sees Morrissey give an excellent vocal performance.
‘Ringleader Of The Tormentors’ is packed full of amazing, well written songs, and heart-rending special moments. (Listen to the last minute of ‘I’ll Never Be Anybody’s Hero Now’ with that tantalizing falsetto that seems to go on forever, and try not to cry! It’s impossible!) There are so many different things that have gone into making it a fantastic album – the fact that it was written and recorded in Rome, and produced by Toni Visconti, music business stalwart and long time hero of Morrissey, are just two. There has also been a bit of a change in the band line up with new guitarist Jesse Tobias taking on the majority of the songwriting. But the ultimate test for knowing whether a Morrissey album lives up to standards is to listen to it again and again and if you are consistently left feeling warm and loved and understood, then you’ll know it’s a success!! But then again, did you ever doubt it?!
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Joe F - USA
"Enjoyed your Ringleader review. Great album. My favourite tracks are 'Life Is A Pigsty' and 'At Last I am Born'. 'Dear God Please Help Me' is a great Morrissey vocal. Really chilling."
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Morrissey - Live Review - Olympia Theatre, Dublin, Sunday 16th April 2006
First Of The Gang To Die / Still Ill / You Have Killed Me / The Youngest Was The Most Loved / I Just Want To See The Boy Happy / Reader Meet Author / Let Me Kiss You / My Life Is A Succession Of People Saying Goodbye / Girlfriend In A Coma / I Will See You In Far-off Places / To Me You Are A Work Of Art / At Last I Am Born / Trouble Loves Me / How Soon Is Now? / A Song From Under The Floor Boards / Life Is A Pigsty // Irish Blood, English Heart
My third visit to a Morrissey concert just happened to co-incide with my first visit to the Olympia theatre in Dublin. Having previously seen him at The Point I was a bit disappointed to see that he was going to be playing such a small venue and even more disappointed at the fact that the only tickets I could get were in the upper circle and I would probably need a set of binoculars to be able to see anything! But the reality of it was much different and the seats I had provided a excellent view, very close to the stage and looking right down on the man himself! Playing a smaller venue proved to be a good move on Morrissey’s part; the place was packed and the atmosphere electric! After a very weird and wonderful support act from Kate Bush Wannabe, Christine Young (I’m sure artists deliberately choose crap support acts to make themselves look better!), Morrissey himself took to the stage dressed in grey trousers, a black shirt and black jacket. Opening with ‘First Of The Gang To Die’ to a rapturous response from the audience, Morrissey got the concert off to a great start and got the audience on his side right from the start.
Morrissey was in great form throughout the concert appearing very relaxed and having good banter with the crowd. With the concert being in Dublin on Easter Sunday the city centre had held its Easter Rising Commemorative Parade earlier that day and Morrissey comically asked the crowd “Did you march today? I marched for the Dingles to be taken out of Emmerdale. I can’t stand them!” The funniest moment came when he took a good long look into the crowd before announcing “It’s remarkable, but some of you look almost normal!” Recent reports that Morrissey had finally found happiness appeared to be true as his mood was definitely upbeat and he really seemed to be enjoying himself. The set list was made up mainly from tracks from Ringleader of the Tormentors and You are the Quarry with a few surprises like ‘Reader Meet Author’ from his ‘Southpaw Grammar’ album and a cover of Magazine’s 1980 track ‘Song From Under The Floorboards’. He also pleased the crowd by performing three Smith’s classics - ‘Still Ill’ ‘Girlfriend in a Coma’, and ‘How Soon Is Now?’ all of which went down a storm. One of the highlights of the concert for me was an amazing rendition of ‘Trouble Loves Me’ a track from his highly criticized album ‘Maladjusted’. The track has always been one of my favourites and one that has constantly been overlooked and the live version was remarkable.
Morrissey’s band has had a slight line up change since the last tour, but proved themselves to be in great form. All time favs Boz Boorer and Gary Day were there as always, but Dean Butterworth has been replaced on drums by Matthew Walker and Alain White was missing (and sorely missed) while new guitarist and songwriter Jesse Tobias was there along with keyboard player and trumpeter John Farrell.
All in all, the concert was a huge success, and one that seemed to be enjoyed by all present. After the gig, I did what any self-respecting Morrissey fan with no shame would do, and went to the stage door to see the man himself coming out and getting into his car! I then went to the pub still singing Morrissey songs in my head, with a warm feeling inside!
Damien O'Brien - Dublin
"I was at both concerts at the Olympia and Sunday night was definitely the better one. There were problems with sound and stuff on Saturday. But Sunday was great, really enjoyed it. Mozza is definitely seeming dead relaxed at the minute. Great Stuff"
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