Morrissey in Olympia: More famous than Jesus?

[Morrissey the 23rd]

http://musique.fluctuat.net/blog/28592-morrissey-a-l-olympia-plus-celebre-que-jesus-.html

Babblefish translation:

Yesterday evening, Morrissey took by storm Olympia like an old deer melts on its prey: bodybuildé chest and curiously bronzed of matador ahead, wooden-soled shoe and hair (gray) with the offensive and... show in front.
Formidably in voice as of the opening, Morrissey greeted the Parisian ones with one of its new pieces, the good named "I' m Throwing My Arms Around Paris", before picking a little everywhere in its repertory. Carefully avoiding the titles emblématiques of Smiths ("There Is A Light" and other "Meat Is Murder"), the pop king English thus arose the indémodables standard rockab ("The Loop", "Sister I' m A Poet"), his first anthems solo ("Last of The Famous International Playboys" sung like good Bruel by enamourée crowd), rarest but always welcome "Billy Budd" (homage sensual with the novel éponyme ofHerman Melville ) as well as individual the most known of its the last two albums, the brilliance "Irish Blood, English Heart", it filling with enthusiasm "The First of The Gang To Die" (in recall), effective and enigmatic "I Want To See The Servant boy Happy" and always easy "The World Is Full Of Crashing Boron". The laymen are astonished by a stage business which transfers sometimes with the mime, microphone-lasso which splits the air and misses cutting the wick to him, gong which sounds the load and sets of emphatic hands which embrace and intertwine with all goes. Morrissey can make there to draw up a crowd (all) against him. "Thanks for being you", murmur a type of the first rank quasi in tears, "I follow you since 1983". You' Re my only lovesong. You' Re the story of my life ". Everyone applauds. The old lorry drivers appreciate, between the new unequal titles (the means "Mama Lay By The Riverbed" and "That' S How People Grow Up", most interesting "All You Need Is Me" and "Something Is Squeezing My Skull"), a second reading cold wave (?) impeccable of "Death of A Dancer Disco music" then a less original version of "Stop Me Yew You Think You' ve Heard This One Before", history to recall to those which would have forgotten it that Strangeways Here We Come is ALSO a very large album. But the great moment of emotion comes a little later with the sublime sequence from "Life Is A Pigsty", the title headlight of the last album, and a stripped version and until one did not wait this place of magic "Stretch Out And Wait". In a rather similar register, Morrissey offers a first twisted exit hair with the beautiful "Tomorrow" (time Your Arsenal), before being used for its faithful people a "Please, Please, Please Let Me Get What I Want" (become with time very sexual Please Let Me Get Who I Want), all carefully and which only suffices for him to justify displacement.

Very eloquent and sure of his business, the ex-singer of Smiths suggests that it is butted if Hillary Clinton is elected President of the United States, deplores the love that one does not give him, makes the promotion of his nearest individual (not a word on Greatest Hits on the other hand). Hello of theatre of the poor wretch groups and maestro. False recall. Disorder. Light and it are finished. One not in it believes ourself in vain, but, even after about fifteen time, even fatty and gray like a Michel Polnareff without dyeing, the Morrissey effect does not weaken. It is each time like first successful once and as a last which is delayed: savage, soft and imperishable. It is good and ridiculous, that is not exchanged for nothing in the world and it is as exciting with thousand people as all alone at home. They is English to the core and that returns in a few months with a new album.

Is the myth of Moz deciphered in the form of vrai/faux, it Morrissey, more famous than Jesus? on the mag of Flu.

 

[Morrissey the 23rd]

http://www.fluctuat.net/6109-Morrissey-plus-celebre-que-Jesus-

The mystery of the old man playboy

Four dates in France in 2008 which complete Olympia, Greatest Hits which leaves on February 4, of the regular couv' for the NME...Morrissey is always, even even more present than at the time of Smiths. Would it be more famous than Beatles which was themselves more famous than Jesus? Answers and reflexions with vrai/faux around Moz.

The myth of Moz
Moz, better than front?
The fans of Morrissey are unhappy people on this side of the Atlantic: they, for the majority, exceeded about thirty, count in their rows not enough girls and have the quiff (this hairy plume which characterizes the true fan since the middle of the Eighties) which beats wing and resembles an old cheeck more and more. Nothing to arrange, they must face the sarcastic remarks of their friends who do not include/understand why they should make it tower of France, in order to attend 4 or 5 one hour concerts and fifteen minutes, whose setlist (18 titles maximum) will not vary iota, ensured by Mancunien ventripotent and flapi, vegetarian and supposément gay (but... virgin).

To be fan of Morrissey in the civil company is at least as risky as to love Christophe Wilhem in a gang of bikers. Many was tried to explain the incredible seduction exerted by the former singer of Smiths without never arriving there. The Writers Simon Goddard (The Smiths: Songs that saved my life) and Mark Simpson (Holy Morrissey) recently made of them excellent books but which are not enough to explain to the skeptics what can be worth well with this strange catch as much of respect and devotion. Attempt at explanation to the attention of the non-believers around assertions been useful by or against the admirors of Moz.

"Smiths were the greatest group of pop English since Beatles ." TRUTH.

Formed in the Eighties, Smiths will have been until their separation in 1986, the English group most relevant and most incisive since Fab Four. Their 4 albums (The Smiths, Meat Is Murder, The Queen Is Dead, Strangeways, Here We Come) are all of very high flight. The group made up of Johnny Marr (guitars), Mike Joyce (battery), Andy Rourke (low) and of Morrissey to the song incarnates by its origins (Irish immigration in Manchester), by its domestic equilibrium (a duet of type-setters, an inventive rhythm section) and its energy the pop, the prototype of group of 4, prolific, able to compose a popular and demanding music, and which, in spite of its success, remains regarded as intransigent and just. Smiths have for them, like Pixies, not to have never written the album of too and not to have taken part in the commercial circus of the Eighties (rock'n'roll of stages). Their music is posed like the quintessence of pop English: dynamics, cultivated (the literary references abound), poetic, aggressive and anchored in its territory. No matter what one thinks about it, Smiths will have been the last group which incarnates at this point the concept of pop English. Radiohead, Oases, Franz Ferdinand functioned or function in a different economy and on other registers.

"Morrissey is the largest singer of the world. It is the heir-at-law to Sinatra. " FORGERY.

The voice of Morrissey was characterized, in its youth, by its capacity to enter a register acuter than its normal register. Quality blunted with the years... on scene but remains admirable in studio. Morrissey keeps a solid voice, sublimates for the ones, badly for the others, but not controlled perfectly. He to allot the term of larger singer of the world remains a business of taste. The legend wants that it posed during the Smiths period its song in a catch or two. While the group adjusted the music, Morrissey looked at television with the hotel and controlled the whole by interposed cassettes. When it considered work completed, it unloaded in studio, revealed the title of the piece to the 3 others, recorded the voice and gave up by leaving them... in tears.

"Morrissey is the best lyricist in activity." TRUTH and FORGERY.

Morrissey does not know the music but is famous for the quality of its texts. Its trademark is to mingle with the literary and under-cultural inspirations marked (Wilde, TV dramas of the Seventies, Pasolini, Visconti more recently) with sets of themes of the daily newspaper. The King of the Moles speaks to the young men isolated particularly by activating springs like the outsider who rebiffe, the membership of the clan, the fight against the adversity. Its figures fetishes (hooligan, wild stock angelinos, boxer) go in this direction there. Its politico-social implication is also prégnante on the major part of its work. Its brilliant texts somewhat faded since ten years. Morrissey surjoue in particular a side "Caliméro" (nobody likes me and I fight against the whole world).

"Morrissey is much sexier than George Clooney." FORGERY.

That jumps to the eyes from now on: Morrissey, although militant vegetarian, is "beefy XXL". Often engoncé in curved costumes, the singer lost the his superb one as its capillary plume was refined. The ritual of end in concert which consisted in for him falling the shirt and to offer it to its fans which put it in parts like a shroud, is carried out today for glory and while trying to dissimulate under the projectors its lubricating masses. That does not prevent it being a showman of exception and from handling the microphone-lasso like a chief. Morrissey posts a majesty and a very British elegance which explain the fascination of the fans partly. Its body, and the mysteries which surround or surrounded its sexuality up to now, continues to cause an ambiguous feeling in the males heterosexuals.

In our world, Morrissey ages and grows bigger, in that of its fans the singer improves with the age. Would Moz have found its Fountain of Youth?

 

[CrystalGeezer]

I want to see the servant boy happy too.