Oh, but you are. Perhaps becoming disgruntled at the declining album support, you sequestered yourself overseas to be a Prince over the water and then proceeded to make a series of big, pseudo shocking pronouncements in order to gain the attention of your masters, not really minding if the resulting hooplah is damaging you. We yank the chain, you come running and bare your teeth.
Which is a shame, as its dulled Morrissey’s musical senses. The last release, ‘California Sun‘, was a bitter collection of warmed over covers, but this? It starts with an electro backing more familiar to Marc Almond’s later work, ‘Jim Jim Falls‘, let down by a Dad Rock chorus, but boasts a smudgy sitar; all said, rather good. We’ve also got a harpsichord strutting the dancefloor for ‘Love Is On Its Way Out‘, Thelma Houston’s backing vocal smothering him in ‘Bobby Don’t You Think They Know?’ with groovy rolling organ solo and skronking sax.
It’s all becoming rather stunning. And if the title track unfortunately brings to mind Freddie And The Dreamers and ‘Darling, I Hug A Pillow‘ contains Bacharach horns so thin they could be from the toy box, even when the vaguely Industro Depeche Mode ‘The Secret Of Music‘ mixed with an opus feel jars with his 60’s Dusty Springfield intention like Tom Jones doing ‘Kiss‘, its still more interesting than talking about Stephen’s apparent far right preferences. And we could do without his aching ‘done me wrong’ lyric in ‘Knockabout World‘, but its a part of him.
Then the sun shines in ‘What Kind Of People Live In These Houses‘, this is a bright Californian day with a bitterness for people who are not like him lyrically of course; Morrissey appears never have had the emotional intelligence to understand views different to him, but many love him for it.
This is generally bass heavy and those fizzy electronic feelings suit very nicely, in that they’ve dated terribly but add sequins to a cardigan. He’s right, when you’re looking away ‘…time will shaft you’ and his raging against the dying of the light can be embarrassing for him, something he appears to be very hurt by, considering the petulance he portrays. The music though is a constant and this is such a trier, this album showing there is no such thing as old and new, just new to him and that electro hint works so well with the torch song wannabe; if as he sings, time gives you an invoice, I’m buying this.
Out On BMG
Remedy Rating: 4/5 Aversion Therapy