Morrissey - "This is Morrissey" Vinyl, LP, Compilation, 2018 (Parlophone/Regal)

This is the Morrissey I love.   Not the guy who is giving opinions out like he's a Donald Trump, but the brilliant songwriter, performer, and quite aware of recorded music history.  "This is Morrissey" is a new compilation of music of his the late solo 1980s/early 1990s material.  Seeing this album, I know there are traces of the great wit/artist that is still with us.  As if one who either reads Discogs as a narrative or is a fan of Morrissey, there are a lot of compilations of his music out in the market.  On one level, and on a surface one at that, it seems he floods the market of releases perhaps for the financial stake in doing so.  Which may be true, but it is also the aesthetic of Morrissey to do a compilation album like this.

The label, Regal is very old school compilation where they released music by an artist, and usually not expensive to purchase on a consumer front.  "This is Morrissey, just cost me under $20, and the selection of his music is excellent.  I'm not sure if Morrissey himself selected the songs/tracks or someone from his record label/management, but whoever did an excellent job.  The key tracks to purchase "This is Morrissey" is the Ron Mael/Russell  Mael remix of "Suedehead," which is really the bastard child of Sparks and Morrissey. It's already a beautiful song, but Ron and Russell give it another dimension, and in their mix, they make it into a Sparks piece - but still in spirit, very much of Morrissey.  It is one of the great re-mix recordings, just because it's not a DJ overshadowing the artist, but another artist's approach to something that is already fantastic. It is never meant to replace the original.  The other great song here is "Whatever Happens, I Love You," which initially was on another compilation album, and I'm not sure if it was ever released as a single, or b-side, but it is one of the Morrissey classics.  Beautiful production, and just a wonderful Alain Whyte collaboration with the singer. 

Morrissey's brilliance is not always just the music.  His witty appreciation for the practices of record labels from the 1960s and so forth is very much honored here with this release.  It's Morrissey looking back at his past, and his habitual record buying practices.  So yes, one may have these songs in different formats, but I feel Morrissey is sincere in that he wants to present these collections as an art object, or a work to be admired or thought of in such manner. Even the liner notes which are in French shows an absolute love for the medium.  And this is the Morrissey I love.  

The Smiths - "Louder Than Bombs" 2 x Vinyl, Compilation, 1987 (Sire)

The Smiths represent an era or a time when things were felt with great wonder and excitement. It was also the last band that really expressed themselves through their design of album and 12" single covers.  Each one was an entrance to a world that seemed gay or at the very least, a portrait of an artist who railed against the system or machine, and either played the price of becoming obscure or a footnote to a series of sad moments.  The Smiths became the voice for those who felt differently or couldn't fit in the world that was clearly made for other people.

There is no such thing as a bad Smiths record, but for me, it is their compilations that speak loudly to me.   The Smiths were one of the last bands to make the 45 rpm single separate from the album.  Albums were important, but I suspect that The Smiths true aesthetic was the A-Side and the additional B-Side. "Louder Than Bombs" is a compilation of their singles, and none (as far as I know, and being a lazy sod, I'm not looking this up as I write this essay) ever made it on to an official Smiths album.    My favorite songs of theirs tend to be the singles and b-sides.  The Smiths were brilliant in releasing incredible B-Sides, which traditionally were throw-a-way songs, and not meant to have any attention attached to them.  But, all of us vinyl lunatics know that is not necessarily true, and The Smiths had brilliant songs placed in the obscure position of being forgotten.  Or not, because The Smiths has paid attention to these 7" little wonders by releasing "Louder Than Bombs," which for the consumer, is a bargain, due to the cost of purchasing 45 rpm imported singles. 

Then, we didn't watch the footsteps leading to a horror show that we now have on hand.   Who would have known?  So in that sense, The Smiths are a band that very much wears the past as a shield, even in its original time of release, but now, it seems that this world didn't exist, or did it?

Morrissey - "Low in High School" (Apple Music )

Morrissey's "Low in High School" is a very odd album. For one, he's an incredible lyricist, but this album is not a work of a great lyric writer. He is a fantastic observer of moods and the character of a place he knows, such as Manchester. When he leaves that world, he's basically a tourist and commenting from a travel guide. I can't tell if the song "Israel" is a political commentary or a song he wrote for their tourist board. And if he is praising Israel as a country or culture, how can he, on the one hand, put down a soldier who is fighting in a war ("I Bury the Living"), and yet praising a country that has the largest war merchandise with respect to military power in that region? People join the military for various reasons, perhaps financial, social, or family practice. Morrissey doesn't go into the subject matter with much insight into the soldier's mind. 

His fascination with Tel-Aviv is basically a mystery to me. But then again, he was like that with Rome, but at the very least he mentions his love for Pasolini and Morricone's music - but what does he say about Tel-Aviv? How does he feel about the Gaza? If he was writing about a location as if it was in a journal that is one thing, but he's making a huge statement that's "Israel."

Musically and style wise "Low in High School" reminds me of a bit of Jacques Brel, but without the intellect or his life experience. The album is very 'produced' with no space or silence. It's like a TV commercial where one stops thinking, and you are just being preached upon, but in a manner that's annoying. Still, some musical delights come and go throughout the album. 

Which comes to mind his singing on this album is superb, but the great voice can't hide the mis-thinking and naivety of his political stance. If, and or if he is making a political position. He's not Woody Gutherie that's for sure. His attack on 'mainstream' media is basically a conformist blaming others - in fact, he blames others a lot. What's disappointing to me is that I admire Morrissey's work. When he's great, he's really great. The sad thing and the great irony is that he sort of became a Donald Trump. There is a bullying aspect of his recent work, that is unsettling. One time he was with his audience, but now I feel that he's making judgments on other's culture without understanding that specific society or grouping.

Unlike Trump, Morrissey eroticizes his passions. There is a sexual manner where the brains stops and the body takes over. And I presume his take on race, war, diet, is very fetish orientated in that he fetishizes his likes that are not really true in nature or everyday life. As an artist, I think this is perfectly OK. On the other hand, when there is so much suffering in the world, he could show more compassion for those who have to do what they do to exist. At one time I felt he had a feel for those not in power - but now, things change. Life does change. We will see what tomorrow brings and what his reactions will be with the world in crisis.

Morrissey - "Southpaw Grammar" CD, Album, 1995 (Reprise Records)

The opening 10-minute track "The Teachers Are Afraid of the Pupils" is Morrissey's (at least music-wise) a tribute to Roxy Music's great "In Every Dream Home a Heartache."  It builds similarly, and even the orchestration of all the instruments sound familiar.  This also clearly states that "Southpaw Grammar" is a much different album by Morrissey than his other solo works at the time. I like it because it's a big introduction and very much of a different type of work from Morrissey.  On the other hand, I think the song could have been edited down by a minute or so less.   But things are back to Morrissey-land by the next track "Reader Meet Author," about the delicate relationship between one who confronts a work of art, and how it can or can't add something to one's life. "Boy Racer" is the classic Morrissey portrait but done through the singer's eyes, as an object of desire and wonder.

"The Operation" starts off with a very long drum solo, which seems to be the most un-Morrissey like presence ever on an album.   The solo is cool; it reminds me of Gene Krupa.  It's a song of sadness, which is a put-down, but on the other hand, it may be a person who has naturally changed and causing stress on the community around the subject matter.   Morrissey is a very tricky writer to me, because one, you can never be sure if he is the narrator, or he's going through another character.  The intimate manner of his singing expresses a feeling that you're getting the singer's character, and there's truth in that, but at the same time it may be a technique of his as a writer to get into someone else's head.

"Dagenham Dave" is a song that I like very much, and I can see it as a weakness.  Compared to "Reader Meet Author" it sounds like a wonderful b-side of a single. It's a song about a figure who has a swagger, a ladies man, which is interesting coming from Morrissey's perspective.  It's Morrissey's appreciation for a ruffian that again, he puts up on a statue stand, to admire greatly.

"Do Your Best and Don't Worry" is regarding a fellow who looks high to the skies, but tends to fail. Morrissey's way of tribute to those who fall greatly due to their high inspirations.  "Best Friend on the Payroll" is his version of Joseph Losey/Harold Pinter's "The Servant."   Not a very good song.  The idea is there, but it's not fully realized.  "Southpaw" is another 10-minute song, and again, it's the narrator that is fascinating due to his commentary on someone else's life.   Morrissey to me is not about truth or reporting, but always a reflection of his personality or character.  Never a good journalist, but an artist whose thoughts are still in his head and his ability to express doubts about the person he's singing about, but alas, it may be more of his concerns for his ability to connect with this person.

The unusual "Southpaw Grammar" is the textures put into the songs.  As mentioned, there are references to Roxy Music's "For Your Pleasure" album.  There are Phil Manzanera moments and in parts, sounds very Roxy like especially when the song is stretched out.  Steve Lillywhite, the producer, is very much part of the package.  I think he was encouraged to add textures here and there, and it works well.  It's interesting that years later Morrissey releases another version of "Southpaw Grammar."   Perhaps taking advantage of the CD technology of adding songs, but he didn't only do that, but he also re-arrange the song order as well.   I heard both, and I prefer the original edition of "Southpaw Grammar."  By no means is it one of Morrissey better releases, but an interesting route to a side-street musically speaking.

Morrissey - "Bona Drag" CD, Compilation, 1990 (Sire)

I'm one of the few (or not) that feel 'solo' Morrissey is better than The Smiths.  Nothing against the brilliance of Johnny Marr and the other lads in that band, but more of Morrissey becoming a better writer and singer.  "Bona Drag" is a greatest hits album in theory, but also a perfect snapshot of Morrissey's stance and work in 1990, the release of this collection of singles, b-sides, and choice album cuts.  For me, there is not one weak cut here, and on top of that, there are some of my all-time favorite Morrissey songs.  For example:  "Interesting Drug," "The Last of the Famous International Playboys,"  (the magnificent) "Ouija Ouija Board," "Hairdresser on Fire," and "Disappointed."  I would add more but be listing songs is boring to read! 

The great thing about Morrissey is that he's culture.  It's not really about Morrissey (for me), but also the ingredients that he brings to "Morrissey."  For instance the kitchen-sink British literature and films, forgotten music hall artists, gay icons, and so forth.  He's a great curator or someone who likes 'Show & Tell."  He brings his influences out front and exposes them to a wider audience, yet, still keep their mystery and charisma intact.  In that sense, Morrissey is the gift that keeps on giving.  Everything he does is coded within and from the Morrissey world.  I'm sincerely thankful for his presence in my life. 

Also of note, it's interesting that when one brings up the word "Morrissey" to a mixed crowd, one is going to hear strong opinions for and against this provocateur artist.  In a world of crashing bores, it is an accomplishment to have a figure like Morrissey that can still cause a reaction from people's gut, soul, and brain.  Sometimes I feel there is general 'logic, ' but Morrissey operates on his own 'logic,' that is sometimes confusing, frustrating, and weird.  Still, if you go pass that, Morrissey is clearly one of the great British lyricists of our times/era.   He never pleases the listener with something digestible and easy to swallow.   And not every song is a masterpiece; still, he's a remarkable public figure and artist. 

1990 was a peak year for Morrissey.  "Bona Drag" is an excellent record of those times, and he's truly one-of-a-kind figure in modern pop culture.  For those who love him, he will always be around, and if you hate him, at the very least, he's an outlet for one's frustration against the world.  Genius sometimes doesn't play by the rules.  Feel free to criticize the artist that's Morrissey, but understand to do so is very much part of the masterstroke of his genius.  Attention is something that will always be in Morrissey's hands. 

The Smiths - "Strangeways, Here We Come" Vinyl, LP, Album, Remastered, Reissue, 1989/2009 (Rhino)

"Strangeways, Here We Come" is the best Smiths album.   For me, the weakest album was the first, then the second is better than the debut, and then the third is better than.... till we reach the best, SHWC.  As a singles band, always brilliant from the very beginning.  Overall I feel Morrissey/Marr & company are true believers in the 45 rpm single.  That is one reason why some of their compilation albums are so superb.   When I listen to a Smiths album, I think of it as a collection of B-sides waiting for their better half (the A-Side) to show up.  Then again, I do greatly admire the aesthetic of a good B-Side song or set of songs. 

"Strangeways, Here We Come" is the last Smiths album. In fact, I think they broke up before the album's release in 1987.   A hardworking band with one of the most incredible front man of all times. Morrissey never fails as a lyricist.  Like Serge Gainsbourg, he has the knack of turning a phrase around to give the song its complexities.  Highly literary as well as working in the pop format of a song, Morrissey was (and still is) an exceptional talent. Also as their albums get better so does Morrissey's singing.  This maybe an argumentive statement, but I truly believe Morrissey solo is a better artist than he was in The Smiths.  I feel The Smiths was a training ground or a University for Morrissey.  Johnny Marr was a perfect partner.  In his looks as well as talents on the guitar and melodic songwriting.   Mike Joyce on drums and Andy Rourke on bass are equally important in The Smiths.  They were truly a band. 

Listening to this album, I realize that the Smiths couldn't go any further   As mentioned each album was a springboard to the next, and "Strangeways" was the end of the road.  This is not a tragedy.  Although there were tears, them breaking up at this point was the best thing that they have done as a band.  To leave on a perfect note is perfection in practice.  Johnny Marr made that brilliant choice to leave.  Oddly enough, I would think his career would take off like a missile, but as fate would have it, Morrissey had put together many other collaborators.  Marr seemed to like the position of being in a band or partner with other acts - all a great distance from his previous singer.  

"Strangeways" appeals to me because I feel that the band knew exactly what they wanted to do, and they could make the noise that will serve their purpose.  "Death of a Disco Dancer" is a troublesome song, due to Morrissey's odd sense of humor.  It is also my favorite piece on this album. The way Morrissey distances himself from the world, and in this case, he is reporting news that he heard, but it's not precisely known what or who the Disco Dancer is, or why they are defined by the term "Disco Dancer."   Morrissey is very much a coded artist, in that I feel everything he has done is related to one or the other or everything.    I can see The Smiths' albums being one long narrative or novel, perhaps in the sense of Marcel Proust's "In Remembrance of Things Past."   The same goes for "Girlfriend in a Coma."   Is he joking?  Or is he just stating a narrative in place of him?  It is these type of Morrissey lyrics that one goes back to him again and again because it's like a story coming out of the fog.  That's, in a nutshell, is his genius. 

The most beautiful and of course, dramatic is "Last Night I Dreamt That Somebody Loved Me."  It's classic Morrissey woe me, but clearly, I don't think he really cares if someone loves him or not.  He likes to project an image of him in pain, but in his own way, he's delighted in his world.  Morrissey is all about projection of a picture, a style, a piece of cultural (usually Gay) history, and pain as a theatrical presentation.  Like Andy Warhol, the surface has lots of information, and all we need to do is to rub our hands on it.  However, he stirs controversy (his bread and non-animal butter) as an art form, and he is the artist who keeps on giving.  

The Associates - "The Affectionate Punch" Vinyl, LP, Album, 1980 (Fiction Records)

"The Affectionate Punch" is the first Associates' album, and it's a classic introduction to the amazing talents of Alan Rankine and the amazing vocals by Billy MacKenzie.  At this stage of their career, MacKenzie's singing style reminds one of Bowie's classic croon, with Russell Mael's ability to define and pronounce words in a speedy manner.  Which sounds like MacKenzie is imitating them, but in fact, it's an influence and one that MacKenzie uses for his own unique purposes.  The Associates will remind you of other artists, but in truth, they are very original.  Rankine pretty much plays all instruments on this album, except for drums. It's very electric guitar (with effects) and bass with drums.  Then on the top, you have the Billy voice which of course, is a wonder.  

Lyrically some of the songs are vague and fragmented, in that one would think another influence on this album would be Iggy Pop's "The Idiot," as well as Bowie's "Low."  There is a mechanical feel for the beat, as one works in a factory environment.  It's hard, but then you have the soulful voice of MacKenzie relating to an emotional response that is taking place outside of the song.  Morrissey as a young man must have had this album.  Lyrically there are Morrissey touches, but of course, this album was recorded in 1980.  Not that Morrissey is imitating MacKenzie, but I feel he was an influence on his outlook, coolness, and intelligence that was felt much later in The Smiths. 

Rankine and MacKenzie made two other albums that are essential listening experience, especially on the post-punk landscape.  As this is their first album, the songs are well-defined, but happily, their experimental stage is still to come.   Meanwhile marvel at the beautiful melodies of "Paper House," and "Even Dogs In The Wild" (an animal that MacKenzie was devoted to).  These are guys locked in their own world and making brilliant music.  

Morrissey & Siouxsie - "Interlude" CD single, 1994, (Parlophone)

When I heard this recording back in 1994, I didn't know the song.  I usually know all of Morrissey's cover songs, because I feel we have a common taste in music.  His obscurity is my front yard.  Nevertheless, "Interlude" was a total mystery.   Not only the source of the song, but the haunting melody and lyrics were dreamlike and didn't seem possible to exist in the waking world.  It was a decade later that I found the original recording by Timi Yuro, and once heard, I couldn't stop playing her recording.  It was the theme song to a film that I never saw, and tough for me to locate.  Yuro has numerous best of albums, but "Interlude" never seemed to be in these collections.  

I'm not a fan of Siouxsie Sioux's voice.  I just never warmed to her goth aesthetic or her band's music.  When I read in the music papers that Morrissey did a recording with her, I thought it was an odd choice for him to do such a recording.  "Interlude" is very goth in its sense of romantic misery and doom.  I immediately loved the record and Morrissey's right-handed musician (to this day) Boz Boorer did the arrangements and production. This was also the first record where I thought of Morrissey as a singer rather than a cultivated pop star.   Now, I think of him as an underrated singer.  Over the years he has gotten better and better as a vocalist.  As he aged, his voice became an instrument that can only be him.  

The original "Interlude" is a much better record, but it's also a  classic piece of song craft written by Georges Delerue.   Timi Yuro's interpretation cannot be made better, yet, Morrissey and Siouxsie do add their magic touch to the song. 

Morrissey - "Swords" (Polydor) 2 x Vinyl, 2009

I love Morrissey.  Without a doubt one of the great songwriters of the late 20th century and 21st century.  But is he consistent?  No.  Finding his brilliance one has to really check out the b-sides to his singles.  For instance, I do like his stand-alone solo albums, but it's the collections that are much more satisfying.  I'm not sure how or who decides what goes on the final album, or how he chooses what becomes a B-side and not on the A-side, but I find him at times, consistently wrong.   His "B" choices are excellent.

For me, the great classic Morrissey is "Don't Make Fun of Daddy's Voice," which when I first heard, I cried.  I haven't the foggiest idea what is in that song that made me tear up.  It could be the Daddy image or the passionate delivery of Morrissey's voice.  The song is poetic, with a significant amount of anger reflecting on sadness.  "Good Looking Man About Town" and "Christian Dior" have a novelist approach in nailing down a character's traits - but with Morrissey, it's a combination of a mirror image as well as a projection of sorts.

Credit should go to his band and his co-writers, who are credited for the music composition.  Whyte, Boorer, and Tobias fit into the Morrissey orchestra.  In a way, it reminds me of Duke Ellington's big band.  Each member can express their 'identity, ' but it has the Morrissey stamp as well.  "Swords" is my favorite Morrissey album.   A B-side may be the throwaway material, but for that reason alone, I love it more.

Anthony Newley - "The Decca Years 1959 - 1964

Anthony Newley - The Decca Years 1959 - 1964

CD, Compilation, 2008

Decca Records

My strong interest in U.K. life right before The Beatles hit the world made me buy this collection of Anthony Newley early recordings.   I knew of him, because he was on American TV a lot during the late 60s and 70s.  Also years later I read that David Bowie was a fan of his, due to the fact that he sang with an English accent, just like his other singing idol Syd Barrett.  

Newley is an interesting figure in 20th Century pop.  Hardcore show biz figure but one with a lot of personality, especially in the songs he wrote and covered.  He had a personal touch, the voice always had that quiver quality but I feel he was singing for the great masses and not to that one sole individual in the audience or by the record player.  He was the Cockney version of Sammy Davis Jr.  A true song and dance man in the world of the swinging 60s. 

 “Bee-Bom” is a fantastic piece of recording.   A fantastic piano riff is played with Newley doing a British version of Broadway doing rockabilly.  Overall his music is very conservative but still, there is something ‘there’ that is interesting.  In my imagined world, Bowie would have produced him.   Or maybe even Morrissey?   If you are going to get a Newley album, I think this is the one to get.  Also on a personal note, I bought this CD at HMV on Oxford Street, while working on the “Sparks-Tastic” book, so it has deep importance to my life