Ok, so the format of this blog needs sorting; it's just so dull! I've been going since last August with reviews, and I want to change things up a bit with some artist specific top 10 song countdowns. There won't be a ★ rating because, as my 10 favourites, these songs will be ★★★★ or ★★★★★ songs so there's really no point (and it spoils my polished formatting)...
I'm starting with Morrissey, firstly because the idea of the countdown format came to me when I was listening to his music, but also because he is the single most important musician in my life; he inspired me to write lyrics and poetry and co-Smiths Andy Rourke and Johnny Marr got me to pick up bass and guitar, respectively.
He is my musical hero, and after reading today the heart-wrenching news that he may have to retire from music altogether, I feel compelled to show you all the greatest and best of his output. The lyrics are amazing, the vocal phrasing is truly unique, and some of tunes rock as well.
Sit back, read and listen...the pleasure, the privilege, is truly mine...
I'm starting with Morrissey, firstly because the idea of the countdown format came to me when I was listening to his music, but also because he is the single most important musician in my life; he inspired me to write lyrics and poetry and co-Smiths Andy Rourke and Johnny Marr got me to pick up bass and guitar, respectively.
He is my musical hero, and after reading today the heart-wrenching news that he may have to retire from music altogether, I feel compelled to show you all the greatest and best of his output. The lyrics are amazing, the vocal phrasing is truly unique, and some of tunes rock as well.
Sit back, read and listen...the pleasure, the privilege, is truly mine...
"I'll Never Be Anybody's Hero Now" (4:14) (2006)
(Track from album, "Ringleader Of The Tormentors")
A recent discovery for me, this song is special in capturing the intelligence behind Morrissey's vocal phrasing, the true signature genius of his musical style. The song erupts into being with a sputter of trotting horse hooves and then a veracious orchestral sway in waltz timing, an instantly gripping crescendo that's brimming with over-dramatic character and dark humour. Whilst the lyrics are not especially sarcastic or poetic in comparison with other Morrissey songs, the sheer volume and magnitude of the sound is breath-taking from the start, continually amplified by the bold and meandering vocal. An ode to a late loved one and focused on the impossibility of moving on, my first listen of this song's melodic perfection genuinely almost moved me to tears, caused by an eclectic mix of both the varied, escalating delivery of the vocal and also the soulfully musical explosion of the chorus, a real and perhaps, rather rarely, hair-raising moment...
(Track from album, "Ringleader Of The Tormentors")
A recent discovery for me, this song is special in capturing the intelligence behind Morrissey's vocal phrasing, the true signature genius of his musical style. The song erupts into being with a sputter of trotting horse hooves and then a veracious orchestral sway in waltz timing, an instantly gripping crescendo that's brimming with over-dramatic character and dark humour. Whilst the lyrics are not especially sarcastic or poetic in comparison with other Morrissey songs, the sheer volume and magnitude of the sound is breath-taking from the start, continually amplified by the bold and meandering vocal. An ode to a late loved one and focused on the impossibility of moving on, my first listen of this song's melodic perfection genuinely almost moved me to tears, caused by an eclectic mix of both the varied, escalating delivery of the vocal and also the soulfully musical explosion of the chorus, a real and perhaps, rather rarely, hair-raising moment...
"I've Changed My Plea To Guilty" (3:14) (1991)
(B-side to standalone single, "My Love Life")
Easily this artist's most soulful piece to date, the condemning self-portrait painted bleakly by this piano backed damning of a loveless life, not only complements the A-side wonderfully, but also represents beautifully the epitome of a catalogue stricken with pondered loneliness and self-deprecation. Here, the narrative 'changes [his] plea to guilty', presumably in the wake of trial for a crime, one that remains unexplained, but one which could so easily instead be a crime of love. The disapproving rumination comes to the emotional conclusion that 'freedom is wasted on [him]' and that 'reason's a waste', going on to state that 'it's a lot like love' in one final burst of tragic emotion. A tug on the strings of the heart, the song's initially stripped back instrumentation lends itself to the raw, candid feel of the lyric, building exquisitely to crescendo alongside the rising critique of the narrative before a somewhat violently abrupt ending, echoing the self-deprecating damnation of the whole song.
(B-side to standalone single, "My Love Life")
Easily this artist's most soulful piece to date, the condemning self-portrait painted bleakly by this piano backed damning of a loveless life, not only complements the A-side wonderfully, but also represents beautifully the epitome of a catalogue stricken with pondered loneliness and self-deprecation. Here, the narrative 'changes [his] plea to guilty', presumably in the wake of trial for a crime, one that remains unexplained, but one which could so easily instead be a crime of love. The disapproving rumination comes to the emotional conclusion that 'freedom is wasted on [him]' and that 'reason's a waste', going on to state that 'it's a lot like love' in one final burst of tragic emotion. A tug on the strings of the heart, the song's initially stripped back instrumentation lends itself to the raw, candid feel of the lyric, building exquisitely to crescendo alongside the rising critique of the narrative before a somewhat violently abrupt ending, echoing the self-deprecating damnation of the whole song.
"Ambitious Outsiders" (3:55) (1997)
(Track from album, "Maladjusted")
Over the years, quirky song topics have remained one of Morrissey's signature traits, from ouija boards, to appreciating life outside of the confined boundaries that wheelchair users endure. With this song, the touchy, taboo subject of child abuse is examined from the darkly humorous perspective of the same horrific crime's perpetrators, justified in their defence by fantastically sharp lines such as 'we're keeping the population down' and perhaps most pointedly, 'it's your own fault for reproducing'. It's a controversial theme, but one that becomes quite facetious in its execution, rather than plain inappropriate, as the delicate balance is quickly tipped in Moz's favour, perhaps most notably as he snarls, 'and we knows when the school bus comes and goes'. A layered orchestral grandeur, complete with warm, gloopy vocal remain testament to the bizarre topic, standing as the important reminder that child abuse can never actually be condoned - quirky yet still poignant.
(Track from album, "Maladjusted")
Over the years, quirky song topics have remained one of Morrissey's signature traits, from ouija boards, to appreciating life outside of the confined boundaries that wheelchair users endure. With this song, the touchy, taboo subject of child abuse is examined from the darkly humorous perspective of the same horrific crime's perpetrators, justified in their defence by fantastically sharp lines such as 'we're keeping the population down' and perhaps most pointedly, 'it's your own fault for reproducing'. It's a controversial theme, but one that becomes quite facetious in its execution, rather than plain inappropriate, as the delicate balance is quickly tipped in Moz's favour, perhaps most notably as he snarls, 'and we knows when the school bus comes and goes'. A layered orchestral grandeur, complete with warm, gloopy vocal remain testament to the bizarre topic, standing as the important reminder that child abuse can never actually be condoned - quirky yet still poignant.
"The Lazy Sunbathers " (3:08) (1994)
(Track from album, "Vauxhall And I")
Encompassed in these three minutes is perhaps the most cynical and poetically perfect Morrissey lyric there is; 'the lazy sunbathers, too jaded to question stagnation'. An utterly superb couplet, the remainder of the song retains a similar punch in its idiosyncratic but musically light ode to the careless and free of this world, comprising they who remain unaware of wars, and also the insolent whose pining for peace and quiet drives their existence. The song's accessibility is its main strength, employing a realistic and attitudinal observation in lines such as 'that's all very well' and 'would you please keep the noise down low'. This makes the subjects easily identifiable to the listener, massively improving the atmosphere. In a discography defined by seething cynicism, this song is complimented greatly by brilliant mid-90s Morrissey guitar lines creating something rather unique, for pop music at least...
(Track from album, "Vauxhall And I")
Encompassed in these three minutes is perhaps the most cynical and poetically perfect Morrissey lyric there is; 'the lazy sunbathers, too jaded to question stagnation'. An utterly superb couplet, the remainder of the song retains a similar punch in its idiosyncratic but musically light ode to the careless and free of this world, comprising they who remain unaware of wars, and also the insolent whose pining for peace and quiet drives their existence. The song's accessibility is its main strength, employing a realistic and attitudinal observation in lines such as 'that's all very well' and 'would you please keep the noise down low'. This makes the subjects easily identifiable to the listener, massively improving the atmosphere. In a discography defined by seething cynicism, this song is complimented greatly by brilliant mid-90s Morrissey guitar lines creating something rather unique, for pop music at least...
"I Know It's Gonna Happen Someday" (4:21) (1992)
(Track from album, "Your Arsenal")
Crossfading from the backend of the slowly lamenting "Seasick, Yet Still Docked", this track is as much a defining statement of resoluteness against a lonely future as it is a tragic and tear-jerking revelation of delusional desolation. At the title moment, Morrissey's tone, drenched in fatigued misery, calls to an as-yet-unknown future lover in assured explanation. At the same time though, love seems suddenly as unlikely as before; 'my love, wherever you are, whatever you are, don't lose faith', the last of these lines suggesting that there may even be cause for adoration to slide away after it is procured. The tune is boldly drenched in a sonic enormity and yet gentle in the swooping majesty of the chords. Borrowing in it's climax from David Bowie's "Rock 'n' Roll Suicide" for a resounding, heart-wrenching stomp of bass-line, this really is a beautiful moment from Mick Ronson's final production credit before his death aged 46 in 1993.
(Track from album, "Your Arsenal")
Crossfading from the backend of the slowly lamenting "Seasick, Yet Still Docked", this track is as much a defining statement of resoluteness against a lonely future as it is a tragic and tear-jerking revelation of delusional desolation. At the title moment, Morrissey's tone, drenched in fatigued misery, calls to an as-yet-unknown future lover in assured explanation. At the same time though, love seems suddenly as unlikely as before; 'my love, wherever you are, whatever you are, don't lose faith', the last of these lines suggesting that there may even be cause for adoration to slide away after it is procured. The tune is boldly drenched in a sonic enormity and yet gentle in the swooping majesty of the chords. Borrowing in it's climax from David Bowie's "Rock 'n' Roll Suicide" for a resounding, heart-wrenching stomp of bass-line, this really is a beautiful moment from Mick Ronson's final production credit before his death aged 46 in 1993.
"It's Hard To Walk Tall When You're Small" (3:31) (2004)
(B-side to single, "Irish Blood, English Heart", from album, "You Are The Quarry")
From a period that saw very few weak songs written, came this topically bizarre pop music foray, exploring the concept of lives plagued by the difficulties and tribulations of shortness. It also features one of contemporary music's most exceptionally dated, named addresses of 'hey Ringo' (which, later transforms into 'hey gringo' as falsetto yelps of 'compadre - please do this for me' close the record). The track also contains some great lines, from 'I can assail while wearing very nice jewellery' to 'I burst into public baths and throw my weight around, but nobody can see me'; these are all superbly witty ways of explaining the plight of stunted growth, and how character will be overlooked however extreme personal traits may be. Employing the strangest of observations, Morrissey once again drives home his point, with both cynicism and hilarity - being short truly is rubbish...
(B-side to single, "Irish Blood, English Heart", from album, "You Are The Quarry")
From a period that saw very few weak songs written, came this topically bizarre pop music foray, exploring the concept of lives plagued by the difficulties and tribulations of shortness. It also features one of contemporary music's most exceptionally dated, named addresses of 'hey Ringo' (which, later transforms into 'hey gringo' as falsetto yelps of 'compadre - please do this for me' close the record). The track also contains some great lines, from 'I can assail while wearing very nice jewellery' to 'I burst into public baths and throw my weight around, but nobody can see me'; these are all superbly witty ways of explaining the plight of stunted growth, and how character will be overlooked however extreme personal traits may be. Employing the strangest of observations, Morrissey once again drives home his point, with both cynicism and hilarity - being short truly is rubbish...
"Christian Dior " (3:57) (2006)
(B-side to single, "In The Future When All's Well", from album, "Ringleader Of The Tormentors")
When it comes to lyrical diversity, this man is king. This anti-tribute to the fashion house legend Christian Dior comes brimming with declarations that he 'wasted [his] life on grandeur and style and making the poor rich smile'. It's a tragic comedy, with the mocking narrative perversely lamenting as to how he too has endured a wasted life, the song concluding with the realisation that despite recognising Dior's failures, Morrissey is in fact equal to him in falling short of semi-homo-erotic bouts of happiness. It's a brilliantly cynical concept, and having not '[kissed] mad street boys from Napoli who couldn't even write their own name', is perhaps the most idiosyncratic of any regret in music - ever. As ever, the instrumentation is top quality, featuring explosive, big-band style drums and serenading guitar throughout...
(B-side to single, "In The Future When All's Well", from album, "Ringleader Of The Tormentors")
When it comes to lyrical diversity, this man is king. This anti-tribute to the fashion house legend Christian Dior comes brimming with declarations that he 'wasted [his] life on grandeur and style and making the poor rich smile'. It's a tragic comedy, with the mocking narrative perversely lamenting as to how he too has endured a wasted life, the song concluding with the realisation that despite recognising Dior's failures, Morrissey is in fact equal to him in falling short of semi-homo-erotic bouts of happiness. It's a brilliantly cynical concept, and having not '[kissed] mad street boys from Napoli who couldn't even write their own name', is perhaps the most idiosyncratic of any regret in music - ever. As ever, the instrumentation is top quality, featuring explosive, big-band style drums and serenading guitar throughout...
"Alsatian Cousin " (3:13) (1988)
(Track from album, "Viva Hate")
A sharp and accusing lyric, written, as ever it would seem, from the perspective of an outsider to love, "Alsatian Lover" is the unrelentingly cruel and yet strangely hilarious ode of late-80s Moz, brutally attacking the adulterous concept with its instrumentation, encompassing driving bassline and backing screeches of guitar and falsetto vocals. However, the words themselves are somewhat juxtaposed, nitpicking instead. The opening hiss of 'were you and he lovers?' begins an escalating assault, peaking at the sexually unrefined, "but on the desk is where I want you". The rawness of Vini Reiley's guitars, coupled with the battered rage of the words' topic lend an entirely new and exciting sonic to Morrissey's music, a violence somewhat less prevalent in his previously more gentle and literary accompaniments to Johnny Marr's jangle pop genius, the premature end of which, fuelled much of the "Viva Hate" era writing. Regardless, it's brilliant...
(Track from album, "Viva Hate")
A sharp and accusing lyric, written, as ever it would seem, from the perspective of an outsider to love, "Alsatian Lover" is the unrelentingly cruel and yet strangely hilarious ode of late-80s Moz, brutally attacking the adulterous concept with its instrumentation, encompassing driving bassline and backing screeches of guitar and falsetto vocals. However, the words themselves are somewhat juxtaposed, nitpicking instead. The opening hiss of 'were you and he lovers?' begins an escalating assault, peaking at the sexually unrefined, "but on the desk is where I want you". The rawness of Vini Reiley's guitars, coupled with the battered rage of the words' topic lend an entirely new and exciting sonic to Morrissey's music, a violence somewhat less prevalent in his previously more gentle and literary accompaniments to Johnny Marr's jangle pop genius, the premature end of which, fuelled much of the "Viva Hate" era writing. Regardless, it's brilliant...
"First Of The Gang To Die " (3:39) (2004)
(Single from album, "You Are The Quarry")
The track played most often by Morrissey and his band when live in concert, the tragic story of Hector, stealer from 'the rich, the poor, the not very rich, and the very poor', gunned down in broad daylight, and player in the romance of crime, is one of pure pop magic. A top 10 hit in 2004, and rightly so, this track is the ultimate culmination of this artist's career, incorporating sarcastic lyrics and catchy, Brit-Pop/jangle guitar in the sonics, but in both cases, to 500% efficiency and quality. The production here (and throughout "...Quarry" is incredible, and from the eccentric glam of the opening riff to the oscillating synthesiser in the background, "First Of The Gang To Die" is populated by the very best lyrical gems, the finest of which, is without a doubt the second line - "You have never been in love, until you've seen the dawn rise from behind the home for the blind". Its the epitome of Morrissey to me, and if you disagree, then go and find me a sharper lyric - go on, I dare yer...
(Single from album, "You Are The Quarry")
The track played most often by Morrissey and his band when live in concert, the tragic story of Hector, stealer from 'the rich, the poor, the not very rich, and the very poor', gunned down in broad daylight, and player in the romance of crime, is one of pure pop magic. A top 10 hit in 2004, and rightly so, this track is the ultimate culmination of this artist's career, incorporating sarcastic lyrics and catchy, Brit-Pop/jangle guitar in the sonics, but in both cases, to 500% efficiency and quality. The production here (and throughout "...Quarry" is incredible, and from the eccentric glam of the opening riff to the oscillating synthesiser in the background, "First Of The Gang To Die" is populated by the very best lyrical gems, the finest of which, is without a doubt the second line - "You have never been in love, until you've seen the dawn rise from behind the home for the blind". Its the epitome of Morrissey to me, and if you disagree, then go and find me a sharper lyric - go on, I dare yer...
"We'll Let You Know" (5:17) (1992)
(Track from album, "Your Arsenal")
Selected purely on the basis of musical quality, "We'll Let You Know" is the most beautiful of all the tracks that Morrissey has (or perhaps, Morrissey's musical co-writers have) written. Its wonderful, meandering bass-line is responsible for getting me interested in learning bass and, on top of this, the rhythm is solemn creating am atmosphere that is tense and menacing, magnified by murky voice sampling and windy sound effects. This track brings out the very best in the term 'melancholy', the lyrics sympathising with and celebrating the loyal violence of football hooliganism. Sadly, the live version, whose shinier guitars and overall quieter sound initially complement the song, is very short, missing the final verse and instrumental section. That aside, Morrissey takes the sonics of waltzing majesty and applies thematic juxtaposition of the highest, and most sarcastic order - in all its glorious incarnations, it truly is something to behold...
(Track from album, "Your Arsenal")
Selected purely on the basis of musical quality, "We'll Let You Know" is the most beautiful of all the tracks that Morrissey has (or perhaps, Morrissey's musical co-writers have) written. Its wonderful, meandering bass-line is responsible for getting me interested in learning bass and, on top of this, the rhythm is solemn creating am atmosphere that is tense and menacing, magnified by murky voice sampling and windy sound effects. This track brings out the very best in the term 'melancholy', the lyrics sympathising with and celebrating the loyal violence of football hooliganism. Sadly, the live version, whose shinier guitars and overall quieter sound initially complement the song, is very short, missing the final verse and instrumental section. That aside, Morrissey takes the sonics of waltzing majesty and applies thematic juxtaposition of the highest, and most sarcastic order - in all its glorious incarnations, it truly is something to behold...