Is there is new album coming? Does anyone know?
- Thread starter Peterb
- Start date
Orson Swells
Well-Known Member
But not many answers.
Last edited:
Raphael Lambach
Well-Known Member
Yeah.. he's plaining another album and he owns the stuff for that but, you know, the problem is that he has no record label interested in him now.
Actually, I think should've never left Sanctuary, they housed him in so good ways, then he left them and went to Decca.
Actually, I think should've never left Sanctuary, they housed him in so good ways, then he left them and went to Decca.
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Deleted member 1074
Guest
Actually, Sanctuary went bankrupt and his contract was picked up by Universal Music Group, which owns Decca.
Raphael Lambach
Well-Known Member
Really? I didnt know that...
I've just checked out Wikipedia and you're totally right.
Amy
from the Ice Age to the dole age
He's already ruled that out. "My talents do not lie in DIY", etc.
Amy
from the Ice Age to the dole age
I can't help but feel that he's shooting himself in the foot a little bit by not choosing the DIY method. Pride is all well & good but it doesn't look like the bigger labels will be chasing him any time soon
I agree the Superb Amy, without his material getting out to the masses he will fade into history pretty quickly. I think his fan base is of the type who will not care how they get his albums. Speaking for myself, having missed the latest tour, I'm simply gagging for a new album.I can't help but feel that he's shooting himself in the foot a little bit by not choosing the DIY method. Pride is all well & good but it doesn't look like the bigger labels will be chasing him any time soon
Fulham Road Lights
Ill-adjusted
He is no more washed up now than he was pre-Quarry. It might be another few years but I do believe we'll see these songs get an album release.
leedoggpimp
Member
yes the new album is already written but there is no record contract at the moment.
'Another few years'!? I would imagine a lot of interest will begin to fade by then.
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Deleted member 1074
Guest
To be more realistic, I imagine that at some point before this year is finished it will be announced that he has a new record label. The new record will more than likely be released in Fall/Winter 2012 or early 2013. If he actually plans on releasing his autobiography in late 2012, it would be a good idea to release the new album and/or single at the same time for maximum sales and his coveted #1 spot on the charts...I imagine he would be endlessly pleased with himself to have the #1 album, single, and book all at the same time...and it would certainly be a good way to end his career, even though the album and the book will probably be mostly rubbish.
Personally, I don't believe that he DOESN'T have a record deal or at least one already in final negotiations...not for one second.
Hey Viva Hate, I agree the book will be mostly self serving old tosh but lets atleast be optimistic about the album. After all the only reason we're on this site is because at some time or other we believed Morrissey to be a pretty good artist. Is Viva Hate your favourite work?
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Deleted member 1074
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No, my favorite work is 'Meat is Murder'...to me, it's probably the closest thing there is to a perfect album. As far as solo is concerned, it's a toss up between 'Arsenal' and 'Southpaw', which earns such a high rank for me solely for the title track.
After hearing 'ROTT', 'YOR', and the 5 new songs, I have no reason to be optimistic about his current output. His quality control, lyrical ability and variety, voice, and backing band have all greatly diminished since 'Quarry'. I don't believe for one second that he couldn't easily change ANY of these things if he actually cared enough to do so...but he doesn't because he doesn't have to or want to. He's post-Quarry Morrissey now, a living legend who can simply coast along for the rest of his career on his reputation and back catalog and STILL earn millions of dollars for it.
Hey Vivahate, Well, I would find it difficult to argue with you on any of that (although I do prefer 'The Queen is Dead'). I started a thread 'Is Morrissey in a massive musical rut' to discuss the very points you made. I kind of agree but really want it not to be true 'cos I love his voice.
You know an example I think of the sloppy songwriting standards that now prevail, and I wonder if you agree, is The world is full of crashing bores. The verse and chorus is lovely but the song is spoilt by that chromatic bit inbetween which is just awful. Another example is the end of Someone is Squeezing my skull. A great rock song but what the hell is going on at the end! He can't even sing it live. Just dreadful. Such a shame.
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Deleted member 1074
Guest
It's funny you mentioned 'Skull' because that reminds me of another point...It greatly bothers me that Morrissey feels the majority of his songs need to be under 3 minutes and must end abruptly. There is nothing wrong with a fade-out, extended outro, or solo. 'Black Cloud' was NOT a very good song, but to have Jeff Beck on a track and limit him to what ended up on the album was a joke and slap in the face...that would be just as insulting as inviting Marr to guest on a song simply to play rhythm to Jesse's droll lead. Even 'Paris' would have been a much better track had it not ended with that absurd, abrupt "yes, you've made yourself very plain" bit and actually carried on as slow fade out of "yes, you've made yourself plain" repeated 3 to 4 times and into 30-40 seconds of instrumentation before fading out or ending. 'Skull', however, I have no clue as how that should have ended, I just know it ended unsatisfactory...surely Alain could have ended the track much better had it been what Morrissey wanted.
I can already tell Morrissey has made a poor choice in 'Action Is My Middle Name' by not repeating the "Am I moving too fast, am I moving too fast, am I moving too fast for you?" bit a second time before that little "guitar solo" in the song. "Musical interlude" seems to be a naughty word to Morrissey...it wouldn't kill him to not fill nearly every second of a track with either him singing or making some sort of odd noise. However, considering how bad the current backing band is, I don't blame him for wanting to drown them out with irritating noises in the studio just as much as they drown him out with irritating noises during live performances.
I believe one of the problems with Morrissey is, he feels he is writing and recording a POP song rather than just a song...there is a very formulaic feel to the potential singles on the recent records and the album tracks. He wants to place high on the charts, and really, you can't blame him for it...but until he starts writing music for the sake of expressing himself artistically and not for getting a high charting position, his legacy and a large portion of his fanbase is going to continue to suffer.
Orson Swells
Well-Known Member
Some interesting points here. Funnily enough, I often find fade-outs formulaic and unnecessary, as if the band has run out ideas as to how to end the song. The full-endings of Years of Refusal are one of the chief characteristics of that album, all except the last song which fades, of course. I kind of like the consistency that brings and it gives the album a more homogenous feel with each track leading into the next. I think it probably stems from the band laying down the backing tracks live as a band. I always think I Like You should had kept the complete ending of the original live version, as the fade feels a little lazy. For me Panic would be a striking example of a song which suits a fade ending perfectly.
Personally, I think Skull is an excellent, highly amusing song and the outro builds to a really effectively manic crescendo. It's about depression in modern life so this really makes sense in the context of the song. The line at the end of Paris is repeated twice because there's a different meaning each time he sings it - so repeating it over and over would dilute the impact of the double meaning.
As for the much-knocked Black Cloud, it's probably grown on me the most of all the Refusal tracks. In thematic terms, the ending makes absolute sense here because (in narrative terms) the Morrissey-narrator figure is getting nowhere with the person he is addressing the song to. So the abrupt halt is rather like have the rug pulled from under your feet. A lengthy solo would have been predictable here, the sudden cut-out isn't, it's actually a surprise. I don't think Morrissey gets other musicians in to perform a star turn, as it were, it's much more about about adding colour and character and serving the individual needs of the track in question.
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Deleted member 1074
Guest
It's a matter of personal taste...I'd much rather have more instrumentation and a fade-out than an abrupt conclusion that stifles the music. Morrissey is not the whole song, but it certainly seems like he feels that once he is done with his bit, the song must end. I have a problem with that...
'You Were Good In Your Time' fades as well...
I think that is actually one of the huge weaknesses of the album...because it was tracked live, it couldn't be (or just wasn't) properly mixed. On the previous solo albums, you could always clearly distinguish the two guitarists, and I feel you can't on 'Refusal'. Everything just seems to bleed together into a muddled mess. You hear Boz's descending solo on 'All You Need Is Me' live, but how clear is it on the record? Not very. In fact, the only track that seems properly mixed at all is 'That's How People Grow Up' and that is solely because it wasn't even recorded during the 'Refusal' sessions.
I agree completely...the same goes for the original version of 'The World Is Full Of Crashing Bores' and 'Let Me Kiss You' as well...though, I do feel the outro for the latter should have gone on a bit longer.
I agree...but that's probably because there was nowhere else the song could have gone.
I also think 'Skull' is excellent and amusing...until the outro, that is. As I stated before, as much as I dislike that whole bit at the end, realistically, I can't possibly think of any other fitting end for the song OTHER than the one it has.
Considering all the deep analysis each of his songs are put through by fans, journalists, and scholars alike, I don't think the double meaning would have been lost on anyone had it been repeated. If anything, limiting it how he did made it far less subtle than it probably should have been. Really, though, that is the difference between current Morrissey and the old Morrissey - one is blunt, one was subtle.
I really don't think that was the intent with the butchering of Beck's solo...if anything, it is one of two things - it was kept nice and neat for future single use (as 'Black Cloud' was considered for release until 'Skull' bombed) or Morrissey just doesn't like being outdone by the music. I really think it is probably a bit of both...he learned his lesson from Marr.
