Morrissey "Years of Refusal"

After a multi-year hiatus, Morrissey has returned to prominence with now his third album since his return to actively recording and touring following "You are the Quarry" and "Ringleader of the Tormentors". Reviewing records of artists with a rich backcatalogue presents me with an opportunity for much context because I can refer back to my historical knowledge of the artist and their past output.

'Something is Squeezing My Soul"
With an explosion of guitar this song heralds the beginning of this new release. Morrissey's literary style is so unique, his songs rich in meaning and double-meaning. One thing is clear is that his voice has not changed much throughout the years. I can't tell if there's wear on his voice which makes him sound the samem here as he did on Your Arsenal. While artists like Bono are struggling with vocal skills that are stained by years of yelling and projecting, Morrissey's vocal abilities are still intact. This track is punk/Smiths like in it's energy and propels the album forward quickly.

"Mama Lay Softly on the Riverbed"
Another quick start and Morrissey's ability to ask the right questions of his subjects draws the listener into the story. The melody doesn't quite stick as in the first track and seems a bit forced with "Mama Lay..." but the urgency/marching-like pace of the song's second half is redeeming. It's not clear if the "Mama" in this song is a maternal figure or a love interest or perhaps some kind of national entity that needs saving. Matt Walker's marching drums finish up this track well.

"Black Cloud"
A queer opening that builds with techno-laden synths underneath finding an instrumental crescendo at the end before Morrissey steps in. At this point Morrissey's band is tight and he can take them anywhere musically. Boz Boorer on guitar has been with Mozz for at least 10 years now. Similar themes for Morrissey are presented here, frustration, loss and hopelessness.

"I'm Throwing My Arms Around Paris"
With a quiet car starting up a delicate guitar leads into Morrissey's vocals that soar and take us back to his early-90's singles driven success. I hear "November Spawned a Monster" and "We Hate it When Our Friends Become Successful" but it's a welcome reference. Such is the case when an artist with a deep backcatalogue releases new material - it's the older stuff that the fans want to hear in addition to newer material as long as the new material isn't without perspective. The ending is abrupt for the point is well made.

"All You Need is Me"
Barks quickly out with a fuzzy bass and it's surprising how down in the mix Morrissey's vocals appear at times. Morrissey is very much a solo act but live and on record the sounds of his albums are not about him but also about the band he's put together. This is a track that makes Morrissey sound like the name of a band and not just a vocalist. With instrumental breaks and a catchy chorous "All You Need is Me" also harkens back to Morrissey's 90's output but with a strong energetic embrace and more Rock influences with less Pop.

"When Last I Spoke to Carol"
Morrissey's titles are so specific and call events and people into question that we are led to believe are part of his (or his character's) life. Carol - seems like a desparate fatgirl's name - with a latin flair that portends some kind of challenge or duel that Carol must undertake with Morrissey's counsel. In fact, it's a somber good-bye that Mozz has offerred up to Carol,wistful and longing - although not for a lover but merely a friend. Morrissey's wails of unhappiness lead into the horns and a strong rhythm-driven section that leads to a flourish and windswept plain-effects that imply Carol's remains blowing in the wind.

"That's How People Grow Up"
A yodel and wild hair up the ass of a female vocalist open this song with Morrissey singing in broad platitudes about society and his world of love and lust gone awry. Apparently it's not possible to mature without knowing loss and frustration in the game of love. It's all relative in terms of what it's like to be frustrated in love. Not all dead ends are mistakes or signs of panic. This message is at odds with Mozz's earlier material that makes it seem as though nothing else could be more important than finding that special someone which leads me to believe that Morrissey is subtly mocking his loyal fans who have learned to love his time-honored approach to lyricwriting.

"One Day Goodbye will be Farewell"
With a motorcycle's motor humming the band led by Solomon Walker's fuzzy bass find Morrissey sounding more operatic than usual. This message is more tragic in love and makes Morrissey the narrator out to be more of a brute and clumsy in love. An instrumental section with chimes and horns serves as an interesting bridge. A note of hope is offered up at the end that pleads for one last chance in love.

"It's Not Your Birthday Anymore"
A quiet opening shows more Morrissey than before. More twidling with the notion of birthday as a sacred day in one's life. Here Morrissey seems to debunk the entire idea of birthdays ironically being thankful that the person to whom this song is being sung no longer demands doting and favors on account of a birthday being celebrated. Even the sweet tone of Morrissey's voice belies the sarcasm that poo-poos presents of material value as meaningless when compared with real love and sex. In fact, the whole idea of a birthday being a special day of gift-showering and card-giving is trite to Morrissey at this point. As his voice carries into high melody you wonder if it's a symbol of exasperation. Thundering drums and cymbal clasps finish the song as the candles are blown out.

"You Were Good in Your Time"
Beginning with dialogue from an old French film from the 40's, this song would be a fitting eulogy to a departed film starlet. Without a trace of irony I can envision Morrissey singing this about a departed Joan Crawford, Helen Hayes or Katherine Hepburn. Lyrically straight-forward but musically haunting with a picked guitar and lush strings Morrissey's voice carries and lilts emotionally. Sonic effects of military variety punctuate the last 1.5 minutes with scary distortion and effects in a ghostly pastiche of music and sound with film audio playing in the background. Strings that scrape and screech point to an untimely death for the subject of this song.

"Sorry Doesn't Help"
Complaining guitars grind out the beginning leading to Morrissey's recounting of pleadings of forgiveness on behalf of the one doing the apologizing. But instead of the issue driving this song being love-related, instead it's a feeling of hopelessness that feeling sorry will not alleviate whatever situation has presented itself whether it be age, lost love or other seemingly unchangeable situation. Being sorry in itself isn't a solution or an action but just a hollow state that is often not shared with any meaning.

"I'm Ok By Myself"
Most of these songs break in abruptly and buffett Morrissey's vocals in a way that is unique and has been branded as Morrissey's style. The music in "I'm Ok.." is unspectacular with shades of what we've heard before. It's completely indistinguishable from other tracks on this record. But the lyrics on all Morrissey songs are usually unique and quite literate which is what sets him apart from most other Pop/Alternative artists and that is the case with "I'm Ok..". Showing a frustration with those who have not supported the narrarator in his endeavours the singer has elected to shun those who have let him down and to solider on alone. The frantic pacing and noisy finish redeem the weak opening of this song and a vocal/distortion effect makes Mozz' vocals seem distant. The song fades out quickly with a flurry of bass, drums and more distortion.