Editorial Reviews And yet, the man's popularity steadily grows. For grown-up, former fans, it seems the more we ignore him, the closer he gets to the Rock and Roll Hall of Fame. --Roni Sarig Music Review:
Music Review
Not If It Pleases Me: BBC Live 76-77 [Live]
Renotte & Raick: Pièces & Suites Pour le Clavecin
Music: Hq Presents DJ Jp [Import]
Trance: The Vocal Session 2005, Vol. 2 [Import]
Scottish Fiddle Rally Concert Highlights, 1985-1995 [Live]
Slanted & Enchanted: Luxe & Reduxe [Original recording remastered]
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Pop stars who last more than a decade often survive but change: U2 goes from righteous to cartoonish, Sting from new wave to adult contemporary, Prince from purple to nameless. Morrissey, though, survives by staying the same, by pushing the flashing-red alienation buttons of each new year's crop of outsider adolescents. So while fans tend to grow out of the great Moz sometime after they lose their virginity, there's always a new, larger batch of pubescent mopers to take their place. For older listeners, it may seem Morrissey hasn't written a consistently incisive or catchy album since his first solo effort, 1988's Viva Hate, which itself pales next to his classic work with the Smiths. Since going solo, he's completely abandoned evocative poetry, opting instead for funny titles (remember the empty tease of "Hairdresser On Fire"?). Southpaw Grammar, Morrissey's fifth studio record, has a number of stellar song names--"Best Friend on the Payroll," for instance--but musically, adds up to just another indistinguishable mush of groaned haiku ready to be heaped onto the pile of other cleverly titled but otherwise forgettable releases. To be fair, Southpaw Grammar is not all bad. A moody epic like the 11-minute orchestrated opener "The Teachers Are Afraid of the Pupils," a classic Morrissey modern-day crucifixion tale, at least balances the recycled MTV-fare of "The Boy Racer" and "Dagenham Dave." There's even a hint of career development: Long instrumental sections, such as in the 10-minute finale "Southpaw," plus an overall heavier rock sound, indicate more creative input from the band. But would anyone put on a Morrissey record to hear a two-and-a-half minute drum solo like the one that starts Southpaw's "The Operation"? Then again, perhaps we should just be thankful Morrissey didn't use the moment to berate us with more shameful triteness like Southpaw's "Do Your Best and Don't Worry."