A follow-up to Strangeways - I've waited 17 years for this!

G

GreatGael

Guest
Rolling Stone sum it up perfectly :
“The album, like Morrissey's tenor, never stops defining and reinventing itself....YOU ARE THE QUARRY is a triumph of maladjusted vitality"

It can't be reviewed it in the normal one or two dimensional way.
It can't be pinned down. Many peoples favourites are other peoples least favourites & vice versa. It's multi-dimensional & does keep redefining itself - it's almost alive.
The Smiths were all about musical experimentation within ingenious tasteful constraints - with rockabilly (RR), metal(WSS), folk(PPP), funk (BBAH), oo0m-pah (FMS), psychedelic(TQID), orchestration (LNIDTSLM), etc.
This is Morrissey's background for those who don't know...

"Let Me Kiss You" is one of the secret highpoints for me.
Sounds like Johnny Marr wrote it. The ending where the piano comes in over the very Marr-like guitar style & chord progressions and reminds me of "Oscillate Wildly". Oh such memories!. Can't wait for Nancy's version. A duet would have been sublime. Who's doing the backing vocal harmonies, I wonder?

The flute solo in "I'm not sorry" - a good song - is one of the best things I've heard in a Moz song. Why? because it's an unusual departure, melodic and it suits the song. Somebody who suggested that it was there to piss off NME is just an ignorant philistine. This is kind of like a slowed down "Unhappy Birthday", except it's better...

In fact a lot of the stuff sounds like the direction Marr might have gone in post Strangeways had he stayed on. He said in this month's Word magazine that had The Smiths continued he would have steered the musical ship somewhere in the direction he went with "Last Night I Dreamt...". Moz sounds in his singing that he's actually enjoying the music he singing over again. At last some emotion - he must have jumped in the ocean. The opening riffs of "All The Lazy Dykes" harks back to the opening "Never Had No-One Ever" - and oh it has a good chorus also. "How Can Anybody Possibly Know..." sounds like standard Moz fare at the start, but on further listens - it's a nice little tune.

The whole thing bubbles over with a consistent understated brilliance across the board that hasn't been there in 90% of his other solo albums, each of which have had a couple of potholes to disturb the journey. Jerry Finn has done a very good job apart from FOTG & Crashing Bores which have, ok, lost a bit of their flair, but this I think was done to fit in with the generally silky smooth mood of the whole thing. And it was worth doing.
I am not dismissing all of his other solo stuff - just a fair proportion of it.
I've been waiting 17 years for a great album like this from you Moz.
Congrats.
 
G

GreatGael

Guest
Re: hi, did it get a score?

As I said, it can't be pinned down in the normal way or even like a butterfly.
It needs more listens...but out of 20 I might be persuaded to give it a score!
 
M

moby

Guest
oh you wrote that? i thought it was rolling stone, duh i'm thick! good review though!
 
B

bloodmeridian

Guest
> Rolling Stone sum it up perfectly :
> “The album, like Morrissey's tenor, never stops defining and reinventing
> itself....YOU ARE THE QUARRY is a triumph of maladjusted vitality"
> It can't be reviewed it in the normal one or two dimensional way.
> It can't be pinned down. Many peoples favourites are other peoples least
> favourites & vice versa. It's multi-dimensional & does keep
> redefining itself - it's almost alive.
> The Smiths were all about musical experimentation within ingenious
> tasteful constraints - with rockabilly (RR), metal(WSS), folk(PPP), funk
> (BBAH), oo0m-pah (FMS), psychedelic(TQID), orchestration (LNIDTSLM), etc.
> This is Morrissey's background for those who don't know...

> "Let Me Kiss You" is one of the secret highpoints for me.
> Sounds like Johnny Marr wrote it. The ending where the piano comes in over
> the very Marr-like guitar style & chord progressions and reminds me of
> "Oscillate Wildly". Oh such memories!. Can't wait for Nancy's
> version. A duet would have been sublime. Who's doing the backing vocal
> harmonies, I wonder?

> The flute solo in "I'm not sorry" - a good song - is one of the
> best things I've heard in a Moz song. Why? because it's an unusual
> departure, melodic and it suits the song. Somebody who suggested that it
> was there to piss off NME is just an ignorant philistine. This is kind of
> like a slowed down "Unhappy Birthday", except it's better...

> In fact a lot of the stuff sounds like the direction Marr might have gone
> in post Strangeways had he stayed on. He said in this month's Word
> magazine that had The Smiths continued he would have steered the musical
> ship somewhere in the direction he went with "Last Night I
> Dreamt...". Moz sounds in his singing that he's actually enjoying
> the music he singing over again. At last some emotion - he must have
> jumped in the ocean. The opening riffs of "All The Lazy Dykes"
> harks back to the opening "Never Had No-One Ever" - and oh it
> has a good chorus also. "How Can Anybody Possibly Know..."
> sounds like standard Moz fare at the start, but on further listens - it's
> a nice little tune.

> The whole thing bubbles over with a consistent understated brilliance
> across the board that hasn't been there in 90% of his other solo albums,
> each of which have had a couple of potholes to disturb the journey. Jerry
> Finn has done a very good job apart from FOTG & Crashing Bores which
> have, ok, lost a bit of their flair, but this I think was done to fit in
> with the generally silky smooth mood of the whole thing. And it was worth
> doing.
> I am not dismissing all of his other solo stuff - just a fair proportion
> of it.
> I've been waiting 17 years for a great album like this from you Moz.
> Congrats.
EXCELLENT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!This is the best birthday pressie a girl could ever have! Thank you MOZ!!!!!!!!!!
 
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