You Are The Quarry

Now, after a break of seven-years, Morrissey has finally returned with possibly the greatest album of his career... eschewing the sound of the past for something slightly more contemporary, invigorated and direct. The record-sleeve is a clear reflection of this new, up-front mentality, acting as the most candid statement that Morrissey has ever put across... posed with his Thompson machine gun, decked out in a sharper-than-sharp suit, and with a quizzical grin on his face, it is clear that Morrissey is quite literally on the 'attack' and is gunning for the quarry without humility or remorse. This no-holds-barred approach is apparent in both the sound and the lyrical concerns also, with it becoming fairly obvious to even the most myopic of listeners that Morrissey's time spent away from the public eye was not a period of readjustment - nor was it spent on reflection and forgiveness - with You Are the Quarry offering us a more confrontational singer, who croons spiteful vitriol like never before... as those familiar with first single Irish Blood-English Heart will no doubt attest.

The rougher, 21st century sound is unarguably the work of producer and mixer Jerry Finn (he of Greenday, Blink 182 and Sum 41 shame) who incorporates a few digital samples and 'swishy' effects in order to enliven Morrissey musings, though, that said, the melodies created by the star and his ever-faithful backing band (Alain Whyte, Bozz Boorer and Gary Day, who have been co-writing and performing with Morrissey since Your Arsenal) are truly stupendous, with at least six of the songs here going beyond the melodious excellence set in stone by the Smiths' own classic The Queen is Dead. Opening track America is not the World sets up a political theme that runs throughout many of the subsequent numbers, whilst also acting as the flipside to Irish Blood... by detailing Morrissey's apathy for the country he now calls home, for reasons that allude to the current problems in the middle-east. Though it is a song of real emotional honesty, it most certainly does not represent Morrissey's skill as a communicator of feelings and ideas as well as some of the other songs found on the album... such as I Have Forgiven Jesus ("...for all this desire he placed in me, when there's nothing I can do with this desire") and All the Lazy Dykes ("at last... your life begins").

Though politics (both governmental and emotional) are central to the record, giving this a definite Kevin Rowland theme, You Are the Quarry is also a brilliant example of Morrissey's wry juxtaposing of cultural ideals... as it manages to reflect on both his move to America and the changes in the social (or anti-social) climate, whilst also acting as a nostalgic peen to the country that made him the man he is today (as lyrics like "drinking tea with the taste of the Thames, sullenly on a chair on the pavement" from Come Back to Camden or "I've been dreaming of a time when to be English is not to be baneful, to be standing by the flag not feeling shameful" from the aforementioned Irish Blood... clearly demonstrate). It's also an album that gives us enough of that trademark lonely romanticism that Morrissey is so adored for, as illustrated on that transcendent, heavenly wonderment The World is Full of Crashing Bores, in which Morrissey manages to attack both mindless technocrats and spineless pop stars whilst also delivering that beautiful, classical Morrissey chorus "the world is full of crashing bores, and I must be one, 'coz no one ever turns to me to say, take me in your arms and love me".

This is a song that is up there with Alsatian Cousin, Everyday is Like Sunday and The More You Ignore Me... - as far as classic Morrissey solo goes - and I really hope that Sanctuary release it as the next single... if not, then it should definitely be The First of the Gang to Die; a typical example of Morrissey guitar pop if ever there was, with a tremendous sing-along-chorus and the kind of subject matter that has been prevalent in his past output, with songs like Last of the Famous International Playboys and Now My Heart is Full. Though some of the tracks, such as I'm not Sorry and Let Me Kiss You aren't quite as well rounded as some of the ones previously noted, the record does end with You Know I Couldn't Last... which along with Crashing Bores, I Have Forgiven Jesus, and Last of the Gang exemplifies Morrissey's new-found creative freedom and a return to the kind of sniping, heartbreaking pop-rock that he has always done so much better than anyone else. ...and he stole all hearts away.

Strong melody, lyrical wit, genuine controversy, drama, relevance, excellent production, but most of all: GREAT SONGS, SUPERBLY SUNG & PLAYED - NO FILLERS. His Master's Voice? Too right! In a word: BRILLIANT!!!