Take out I Bury The Living, In Your Lap, and The Girl From Tel-Aviv, and you'd have a much stronger album. Take out those 3 as well as Who Will Protect Us, When You Open Your Legs, and Israel and you'd have a really great, if not classic, EP.
The first half of this album is so much stronger than the second, barring All The Young People.
Completely agree.Whatever your views of the songs, his voice has never sounded better. I mean he really does sound wonderful.
Yup, I can go along with all of that.I bury the living- A contender for one of his most interesting songs of all time, with lyrics that are so bad I'm just baffled. I love the violin and crickets intro, the 70's soul funk sound of the bass, I like the shouty bits, I like the pretty falsetto and lovely soothing outro, but Jesus Christ, does he need a lyricist?
In Your Lap isn't even there, really, tune-wise. At all.
Girl From Tel Aviv- It borders on that tacky Squirrel Nut Zippers part of the 90's. I could see it being nice background for a boozy summer night in the background, but it's so campy that you should probably bring a tent.
Who will protect us- It's alright. It's weird hearing almost industrial sounding synths kicking off a Morrissey song, but there they are.
Israel- f***, that's pretty. Let's get him a lyricist and try again.
Interesting Charles.On the critisisms of the mix I've got a theory. I had it on in my car for the first week and since then I've listened to it on headphones. The album is obviously aimed towards his ageing, hopefully more affluent audience and so is mixed to sound best on high end systems. Half of the album is lost through mono-incompatability but when all of the sound is present it sounds fantastic. Really good job on that front.
Musically it's all subjective innit? I like it. It's a second take on World Peace but this one seems to hit the mark far more often.
I have only listened to it in the car so far.
I'll get it on the not-so-high-end CD player in the house.
Do you work, or intend to work in the music industry?I'm currently learning mastering, it's very insightful. I never realised that things are mastered for different audiences until now. For example, ignoring musical taste, Muse will sound much better on a good stereo system and on a mono system much of their songs will be lost. Much like with this new album. Whereas stuff aimed at a more popular audience such as Happy will sound very similar no matter what it's played on. I guess most people will just hear the voice and say, this sounds like Morrissey, or Muse, or whatever, I like or I don't like it. But the difference between what you listen to it on is quite a lot.