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4.5 out of 5 stars189
4.5 out of 5 stars
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8 of 9 people found the following review helpful
on 6 December 2014
While not Morrissey's greatest album, this is still an invigorating addition to the (substantial, bulging) catalogue. The fact that his music is becoming more Latin in flavour all the time, is unexpected, even surreal, but given the make-up of his band, a somewhat natural development. I don't think any fan could have imagined him singing such mournful lyrics as 'Earth is the Loneliest Planet of All' to an uptempo flamenco-drenched backing track, ten years ago, but such is life. It's certainly peculiar, and yet he kind of pulls it off. Still not one of the better tracks on the album though . . . could have been a big hit if Harvest had given a toss about the recordings. Oh well another record label dispensed with . . . how many can he get through before his unthinkable death? It's exciting on this album to hear him being really vocally ingenious again, like he was back in mideighties prime, particularly on 'I'm Not A Man'. The lyric though is a bit predictable for the Moz, as he's essentially repeating everything he's ever said (overfamiliarity also threatens with Kick The Bride Down The Aisle, which is basically a lyrical reworking of William It Was Really Nothing . . . a misogynistic but comic portrait of woman as ensnarer of the previously footloose and fancy free bachelor within the dreaded institution of marriage; if one took a Freudian position, it reflects Morrissey's fear of the vagina, viewing it as a kind of Venus flytrap from which you never can escape; this fear is sublimated through the symbol of marriage as an imprisonment of the male . . . end of lecture). Neal Cassady spotlights Morrissey's own Northern version of rapping, which is highly entertaining, and inevitably, morbid. This is in fact one of Morrissey's funniest albums, not just when he speaks of Allen Ginsberg's tears shampooing his beard, but in the strangely jovial account of student suicide in Staircase At The University, one of his best pop tunes possibly ever. His impersonation of an implacable northern father is priceless ('as far as I'm concerned you're dead'), and all too accurate. He was known in his youth as an accurate imitator of the northern way of life, and nothing's changed. Kiss Me A Lot is one of those curious lightweight pop throwaways that Morrissey has always been capable of, though his vocal seems a bit garbled here (not the only instance). One notes that his pronunciation at times is not what it was; perhaps due to his global traveller status . . . tends to curl his r's alot, you will note. Smiler With Knife is a dark beautiful ballad, fatalistic in typical Morrissey fashion, and let's be honest, homoerotic, but it's somewhat spoiled by a vocal clanger on the second 'alight' where his voice breaks, something I'm sure he wouldn't have let stand in his heyday, but perhaps he doesn't care all that much about mistakes now. Mountjoy contains his deepest and most world-weary lyric; it's a vintage sample of Morrissey's realistic world view, and his endless sympathy for the ghastly human condition (something people like to overlook). Morrissey has always empathised with those who suffer in life, because he feels he has suffered greatly himself (some might argue that is mostly self-inflicted, but I would argue otherwise). Am I the only person to sense an underlying ambivalence in The Bullfighter Dies? As if part of him can't celebrate the death of a bullfighter? Why else say 'you' rather than 'I'? It puts him at a distance from the gleeful emotions. All serious fans will also own the extra disc of material, which is not exactly stingy like some extra discs you get. There are some really great things here, stuff that on another day could have made the album. The only reprehensible moment comes with the keyboards on Forgive Someone (Mozzer never would have allowed this twenty years ago!). My personal favourites are the final two, Julie in the Weeds and Art - Hounds, the latter being a classic Morrissey anthem of the bookish and disenfranchised. (How great is it when he sings, 'In European hushed museums, will I see yer, will I see yer, will I see yer?' and in strained falsetto, 'My life is a fraud!') I love this song to death. Julie is a thing of real beauty, a poignant Morrissey croon topping in pastoral beauty the lyrically lovely Drag The River. Is it 'Forgive Someone' that contains that wonderful section about showers that don't work and behind the bleachers and the woman who opens herself to him (literally) and says 'Here's something you'll never have'? This is a seminal (in every sense) Morrissey moment . . . wonderful. So much to praise if you take the eighteen tracks as a whole offering . . . only a few minor quibbles, and the fact that these aren't generally Morrissey 's very best lyrics (we're talking about a lyrical genius here . . . alot's expected). But nevermind, nevermind. If you don't love this man, it's because he doesn't want you to love him. He would be glad of this. Those who do love him, understand him, or rather, think they do. And that's all that really matters. You're going to miss him when he's gone.
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9 of 12 people found the following review helpful
It would be wrong, and a little lazy, to say that Steven Morrissey is a bit like Marmite, because he's surely a lot more more divisive and strong-flavoured than that. Even people who consider themselves admirers, fans and possibly even friends of the Mancunian mouthpiece must wince at the controversial things he's quoted as saying from time to time, usually when speaking about animal welfare issues. Naturally, it is his unique view of the world, combative mind and razor sharp tongue which all combine to make an artist who is capable of writing some of the best lyrics of his generation and very seldom produces anything that could be labelled as uninteresting. A new Morrissey album is always an event and “World Peace Is None Of Your Business”, Moz's tenth solo album since The Smiths broke up, is one of the strongest records he has made. The material on the album was co-written by Morrissey and stalwart co-songwriter Boz Boorer, as well as half a dozen songs with guitarist Jesse Tobias, a collaborator since “Ringleader Of The Tormentors”, and a handful with piano, organ and keys player Gustavo Manzur, so this record is quite the team effort.

Pleasingly, there are quite a few excellent compositions on this album, which begins with the musically dramatic title track, a scathing assessment of world politics and the control exerted over the people by those who hold the power. The lyrics subscribe to the viewpoint recently expressed by Russell Brand; “Each time you vote/you support the process”. It's an excellent piece to listen to if you want to get angry about the disenfranchisement of the electorate by stealth, but offers no solution, just a talking point. The brash “Neal Cassady Drops Dead” features the kind of lyrics, referencing people from the sixties beat generation, which could easily have come from a Smiths album. “I'm Not A Man” challenges the stereotypes of being a 'real man' and ends up being a defiant statement of Morrissey's own uncompromising individuality, not being able to resist including an anti-meat-eating jibe. The instrumental ending seems to veer into Suede's “New Generation” at one point, although it's not clear whether that was at all intentional, as the entire song seems to have the feel of that particular band. “Istanbul” is a startlingly good composition too, lyrically hard-hitting with an excellent vocal performance. One of the stand-out tracks for me is “Staircase At The University”, a classic Morrissey composition of melodrama, failed expectations and a deliciously delivered punchline (a joke as old as time itself, but wholly brilliant as part of this song) together with a lush, upbeat soundtrack; this is a Smiths-quality piece.

Even those who aren't perhaps as fervent as Steven about animal issues can cheer along with “The Bullfighter Dies”, something most people will be able to agree with him about. Slightly more controversial is “Kick The Bride Down The Aisle” which borders on misogyny, warning the potential groom against the person who wishes to “lazy and graze” on his “living wage”. I'm not entirely convinced these sentiments reflect the society we're living in right now and it is a pity that the message of the song appears to be more than a little dated. The bonus disc on the deluxe edition has a few songs which are easily good enough to have been included on the main album, especially “Drag The River” and the fantastic “Forgive Someone”, so it's well worth paying that little extra for that little more Morrissey. Although not everything on the album is gold, it is, on the whole, an excellent, creative, highly listenable piece of work. My reservations about “Kick The Bride Down The Aisle” aside, the only serious misfire on the album is “Earth Is The Loneliest Planet”, which is musically pedestrian and lyrically veering towards self-parody; it is the least inspired track on offer here. The vast majority of “World Peace Is None Of Your Business”, however, is inspired, and is the work of an artist who has plenty left to say, whist still managing to find interesting, intelligent and witty ways to say it.
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on 12 April 2015
Definitely a standout album with some great tracks. Typical morrissey here with moody broody songs but that's what we love about him. Great digipack packaging. Only thing lacking is lyrics for the deluxe edition tracks.
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2 of 3 people found the following review helpful
on 30 July 2015
Arguably Morrisey's best work to date. A remarkable piece of work. Recommended.
As hypnotic, addictive and enjoyable as Southpaw grammar and Maladjusted, but what makes this album greater is it seems to rise above these, in that it is the more intelligent, more witty and thus more universal, just a better sound as there is more maturity. Every track is perfect, and seems to fit in perfectly. 10/10. Don't be put off by some reviewers claims that this is done in a completely different (latin) style, only one or two tracks have a hint of this, and again it is done well.
A great album not to be missed.
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23 of 32 people found the following review helpful
on 14 July 2014
If you don't like Morrissey already, then I don't expect this record will change your mind. If you do like Morrissey already, well, that doesn't mean you'll like this record... Say what you want about Morrissey, but at least he isn't boring, and unlike some artists he has kept some variety throughout his career. This does mean that some Morrissey fans only like the first couple of albums, some don't like anything released since the 90s, and so on... Personally I like pretty much everything he's done, with the exception of the Maladjusted album, and I think Years of Refusal (the last album, from 2009) was one of his best for a long time. World Peace though certainly does stand out against the more recent Morrissey records. It reminds me a little of Kill Uncle, and perhaps even recalls some Smiths era sounds, but at the same time this certainly isn't a backwards looking album. There is a strong, bright and confident feel that I've not heard in some time. The producer has clearly done a great job, and the band have been allowed to stretch themselves beyond the more conventional sounds heard on the last few releases. I don't think anyone was expecting anything as adventurous as this. In my opinion though this really is up amongst his best work - certainly deserving a place alongside Vauxhall & I and Your Arsenal. I struggled over whether this really is a five star piece of work, but i'm certain it deserves more than four stars. Don't be fooled by the 'singles' releases over the past few months - they really don't represent the best material on the record, and don't think the deluxe edition bonus disc isn't worth bothering with either - a couple of tracks there are a little on the middling side, but others are up there with the best on the album. Can't wait to see what he comes up with next.
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12 of 17 people found the following review helpful
Half a dozen listens were all that was required to confirm it as an almost-work-of-genius. At first, I was a little underwhelmed -turned off even by the title track, with its Russell Brand-ish anti-statist blandishments ("each time you vote, you support the process") and the clunky, gauche artlessness of the closing lyric ("Brazil and Bahrain/Oh, Egypt, Ukraine... so many people in pain"... yuk). Must do better... thankfully, he mostly does. Great title, anyway (as ever, with Morrissey). 'Course, Moz's lyrics will always be scrutinised with a keenness that others' aren't. The man is a first and foremost versifier, not composer - he just 'directs' the music, or so the wisdom goes... and in this case it's mostly c/o Boz Boorer (with a very big nod to new multi-instrumentalist Gustavo Manzur); gone is Alain Whyte, Moz's main songwriting partner since Your Arsenal and a particular influence on the pretty basic, fairly crude 'chug-rock' sound of everything since then, the last three records especially. Musically speaking, World Peace *sounds* much more delicate, demure, and plain interesting than anything on You Are The Quarry, Ringleader of the Tormentors or Years of Refusal; all of them good Moz albums, but tunefully a little... lumpen. Whereas here we have autoharp, Spanish acoustic guitar, accordion; the record was made in Provence and carries a certain (pleasing) Continental aftertaste. The main instrument of note though is Moz's own voice; it's an absolute revelation here; seldom better in recent memory (just listen to the mannered acrobatics on the brilliantly camp 'Kiss Me A Lot'). Highlights? The anti-macho, anti-carnivorous diatribe of 'I'm Not A Man' (the only song I know to rhyme 'T-Bone steak' with 'cancer of the prostate'... and that's not the only airing of militant vegetarianism here - later, on the 'The Bullfighter Dies', guess whose side Moz is on?). Then there's the faintly unsettling 'Smiler With Knife', with its delightful acoustic closing section. A nod, too, for the acerbic 'Staircase at the University' ("If you don't get three A's/Her sweet daddy said/You're no child of mine and as far as I'm concerned you're dead") and ruminative album closer 'Oboe Concerto' ("The older generation have tried, sighed and died / Which pushes me to their place in the queue"). There really is lots to recommend WPINOYB: as ever, the critical hyperbole is predictable, but those calling it his best in 20 years are probably not far off the mark. In fact, in the time it's taken me to write this, the album has played out and the opening title track is back on and I'm begninng to warm to its previously irksome political naïveté; it is a Morrissey album after all - provocation ought to be part of the package!
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on 12 October 2014
a cracking album, much better than I'd expected from some of the reviews. To me it sounds very direct with less of a USA sound than his last one.
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on 3 June 2015
Being a morrissey fan and having seen him in concert recently for sixth time, this is a really good album, one of his best.
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on 26 October 2014
The title track is typical Mozza genius - finding the rest of the album a bit bland - perhaps it's a grower?
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1 of 2 people found the following review helpful
on 13 September 2014
Exquisite production and a Spanish/Latino thread make WPINOYB a strong album, and of course lyrically always interesting, sometimes thought provoking . Highlights for me include (on the deluxe edition) the strangely haunting but crisp and melodic Drag the River, The Bullfighter Dies which bounces and flounces along for two joyful minutes or so and Oboe Concerto with distant echoes of Death of a Disco Dancer in my head and ears, and Kiss me a Lot with its castanet punctuation and singalong chorus. Oddly the title track lost its appeal too soon as did Istanbul and some pot boilers like Mountjoy (more references to judges) and Kick the Bride Down the Aisle force me to drop a star.
Morrissey remains refreshingly interesting to listen to lyrically and as he pushes the musical blends with Chicarelli's creative arrangements and production and with each album Morrissey is worth listening to for his voice alone.
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