Morrissey

Travis Shinn

One of the most influential figures in alternative rock, Morrissey's legendarily sensitive, melancholy persona made him a highly polarizing icon, reviled in some quarters with nearly the same intensity he inspired in his passionately devoted fans. As the lead singer of the Smiths, arguably the most... Read More

One of the most influential figures in alternative rock, Morrissey's legendarily sensitive, melancholy persona made him a highly polarizing icon, reviled in some quarters with nearly the same intensity he inspired in his passionately devoted fans. As the lead singer of the Smiths, arguably the most important indie band in Britain during the '80s, Morrissey's theatrical crooning and literate, poetic lyrics -- filled with romantic angst, social alienation, and cutting wit -- connected powerfully with a legion of similarly sensitive, disaffected youth. Yet as much as his fan base revered him, Morrissey was also criticized -- sometimes fairly, sometimes not -- for his self-absorption and determinedly miserable outlook (others simply couldn't stand his effeminacy). The Smiths were stars in Britain, exerting tremendous pull over much of the country's guitar-based music for many years after their breakup, but remained underground cult artists in the States. By the time Morrissey firmly established himself as a solo artist, that cult had grown to the point where he became more popular in the U.S. than in his homeland, where he was frequently dogged by controversy. Prevailing critical opinion on his solo albums holds that they don't measure up to his best work with the Smiths, yet the Mozzer (as he's affectionately nicknamed) has produced enough terrific music to keep his sizable fan base enthralled. Stephen Patrick Morrissey was born May 22, 1959, in Manchester, England; not surprisingly a shy, awkward youth, he became obsessed with music and film as a teenager and devoted his writing talents to penning a New York Dolls fanzine (he was the president of their U.K. fan club), as well as a tribute to James Dean and numerous opinionated letters to the weekly music paper Melody Maker. During the explosion of punk in the late '70s, Morrissey unsuccessfully auditioned for Slaughter & the Dogs and sang for a brief period with a band called the Nosebleeds. He met guitarist Johnny Marr in 1982 and the two began writing songs together, forging one of the most productive partnerships British pop had seen in quite some time. The Smiths' 1983 debut single, "Hand in Glove," a love song filled with oblique references to homosexuality, made them an underground sensation in the U.K. and as Morrissey attracted more attention, he demonstrated a flair for manipulating the media. His interviews were filled with blunt, unpredictable opinions and intentionally outrageous statements and his notoriety wasn't hurt by his stage presence (he performed wearing a hearing aid with flowers sticking out of his back pockets) or his self-proclaimed celibacy in the wake of much speculation about his sexuality. Possessed of a darkly cynical bent as a lyricist, he was often misinterpreted as advocating some of the more disturbing things he sang about, which only added to the furor surrounding the band. The Smiths' eponymous 1984 debut was a smash in the U.K. and in its wake, Morrissey began promoting his political views, heavily criticizing Margaret Thatcher, and advocating vegetarianism (hence the title of the follow-up LP, Meat Is Murder). The Queen Is Dead (1986) was acclaimed as a masterpiece, but friction between Morrissey and Marr was growing. Marr departed after 1987's Strangeways, Here We Come and Morrissey broke up the rest of the band to begin a solo career. Feeling betrayed by Marr's defection, Morrissey channeled his frustration into creating new material with producer Stephen Street. His first two solo singles, "Suedehead" and the gorgeous "Everyday Is Like Sunday," were significant British hits in 1988 and his first album, Viva Hate (its title a reference to the Smiths' breakup), was commercially and critically well-received. He released several more high-quality singles, including "The Last of the International Playboys" and "Interesting Drug," but spent an inordinate amount of time laboring on the follow-up album, issuing the stopgap compilation Bona Drag in 1990. In the meantime, the Madchester fad was sweeping British indie music and when the lackluster Kill Uncle was finally released in 1991, it only magnified the disappointment. U.K. reviewers took Morrissey to task, suggesting that the record marked the end of his glory days and that he would never be able to match the songs he'd written in tandem with Marr. A misperceived flirtation with British nationalism (not helped by a couple of seemingly racial caricatures in recent songs) tarnished his image even more in the U.K. press during 1992, this coming amid even more frequent reports of feuds with his managers, business associates, and ex-bandmates. All the controversy overshadowed the fact that 1992's Mick Ronson-produced Your Arsenal was a smashing return to form; Morrissey used his new guitar tandem of Alain Whyte (who co-wrote much of the material) and Boz Boorer (formerly of rockabilly revivalists the Polecats) to full advantage in crafting a crunchy, glammed-up record. It easily ranked as the hardest-rocking of his career, or at least, that was overshadowed in England; over in the U.S., tickets for his upcoming tour were selling like hotcakes and he managed to sell out L.A.'s Hollywood Bowl even faster than the Beatles had. His confidence renewed by his American success (to the point where he permanently moved to Los Angeles ), Morrissey delivered an equally strong follow-up in 1994's calmer Vauxhall and I, which even got him his first Top 50 singles-chart entry in the U.S. with the MTV-supported "The More You Ignore Me, the Closer I Get." A hit-and-miss compilation, The World of Morrissey, followed in 1995, after which he switched labels (from Sire to RCA) for the first time since the Smiths' debut album. Also issued in 1995 was the prog rock-informed Southpaw Grammar which confounded many and perhaps prevented him from expanding his American audience past a now-sizable group of longtime listeners. In 1996, he moved to another new label, this time Island, and released Maladjusted the following year. It failed to sell well outside of his most fanatical followers and his relationship with Island ended in 1998. In the years that followed, Morrissey remained a massively popular touring attraction on the strength of his singular identity, despite the fact that he had yet to land another record deal. Seven years later, his time had come again. May 2004 saw the release of You Are the Quarry. His eighth solo record, backed by Attack/Sanctuary Records, the label which Morrissey revived and now signs new acts for, You Are the Quarry was recorded live in the studio in Los Angeles and London. The album features a myriad of original songs using keyboards interwoven with crunchy guitars that work to create a lush, musical backdrop. There is a great energy that runs throughout the album leaving listeners with the sense that in brushing more than a few chips from his shoulders, Morrissey is actually enjoying himself again. In fact, Morrissey even proclaims Quarry as "The best album I've ever done." From mandolin to flute to harp to moog keyboard, Quarry's richly textured musical layers see Morrissey exploring new territory. The album crosses many genres, incorporating subtle elements of dance, jazz and rock. Morrissey says the combination will appeal to his core fanbase and will also reel an audience that may not be familiar with his earlier solo work. "This is a much brighter sounding album, than much of my previous work. We've turned the page with Quarry. It's a dynamic album and I couldn't be any happier." From cover to cover, the album illustrates that Morrissey's genius and wit haven't waned a bit. Quarry was produced by Jerry Finn, one of the most in-demand producers working today, who was behind massive selling hit albums by pop-punk rockers such as Blink-182, AFI and Green Day. It may seem strange that a producer who is best known for breathing new life into the punk rock movement would be twisting the knobs for an artist like Morrissey. But to hear Morrissey tell it, theirs is the perfect marriage. "I wanted a louder sound for this record," said Morrissey. "I was introduced to Jerry by a mutual friend. He made me feel very confident. He's not easily pleased and he's not prepared to be overwrought. He knows exactly what he wants to do. He was able to help me create the sound for this album that I had already been hearing in my head." Says Finn on the matter, "This is one of the best records I've produced." Finn recruited acclaimed keyboard player Roger Manning, a founding member of the seminal pop band Jellyfish to play on the record. His keyboard and synthesizer work gives the album a somewhat vintage feel but still manages to sound current and blissful behind Morrissey's dynamic vocal arrangements. Morrissey is backed up on Quarry by his longtime band: guitarists Boz Boorer and Alain Whyte, bass player Gary Day and drummer Dean Butterworth. There's no denying Morrissey's impact on music. As lead singer for The Smiths, he blazed a trail for dozens of modern day alternative rock acts. Morrissey has sold out concerts in minutes as well as selling millions of records worldwide both as a solo artist and during his time with The Smiths. With all of that under his belt and more to come, he still says, "I have an incredibly loyal following and they have made it their mission to support me when ever I play a concert. I'm grateful for that."