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  1. The wonder that makes us ponder: Morrissey in Glasgow review

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    Morrissey Tour Live Report. Glasgow: Sunday, October 2. 

    “It’s great to be grabbed by the Gorbals.” – Morrissey 

    Morrissey is the wonder that continues to make us ponder. To try to properly review a Morrissey gig, one should be a philosopher, a critic, as well as an unbiased music writer. I am none of the above. Alas, here goes. 

    The setting for the most welcome of unwelcome uncles (especially in modern-day Britain) took place at Glasgow’s SEC Armadillo, an all-seater affair that is noticeably smaller than Morrissey’s last visit here. The last Moz show in Glasgow took place just across the road in the Hydro, a venue that holds a much bigger audience; a fact which before the gig here gave me a momentary sense of sadness. “Maybe the fuckers, haters are winning after all?”, I thought. Thankfully, such nonsense dispersed (Balls to the idea that anyone should even dare try to cancel this genius) as I looked around at the eager faces: some familiar, some young, and some as old as my own beamed as we looked at Morrissey’s best-ever support band. As is customary nowadays, Morrissey’s legions were treated to a backdrop of the man’s own favorite artists before he came on. We got the Sex Pistols, Ramones, Bowie, and even iconic British actors like Kenneth Williams prior to Mozza taking the stage.

    Early in tonight’s show, Moz was keen to point out a few things about his last time in Glasgow. Specifically, he spoke about the torrent of fake news published after his last appearance. “Do you see what I have to put up with?”, he asked, referring to lies peddled by those who should know better. Indeed, those of us with integrity in our hearts do know what this great man has to put up with. Many reports from his previous Glasgow show claimed that half the crowd ‘booed’ and stormed out after Morrissey dared lampoon Scotland’s very own dear leader, Mrs. Sturgeon. Side note for my own kudos: The review by yours truly pointed out this narrative was complete bullshit.

    “Blah blah, blah, blah blah!” was the cry from Morrissey when taking the stage. Britain’s greatest living poet, singer, and songwriter felt the need to let his lyrics do the talking upon his arrival. And as he should. “How Soon Is Now”, The Smiths classic, set a wonderful tone and benchmark for what was to come. Those of us who hadn’t seen Morrissey live for a while, like I, were struck instantly, dumbfounded at the man’s range. There is no sense of decline in his output. Despite what shit other notable media outlets try to throw, Morrissey’s voice is as strong and as booming as ever.


    Moz belted his way through classic tracks like ‘Our Frank’, ‘We Hate It When Our Friends Become Successful’ and ‘Billy Budd’, all in what seemed like one perfect moment. I managed to miss his rendition of ‘Frankly, Mr. Shankly’ but enough said about that. At the time of writing, Morrissey has already shared the track list for his new album, ‘Bonfire of Teenagers’, however a release date is yet to be confirmed. Despite the lack of a recorded album (yet), Morrissey treated the crowd to a quick succession of tremendous new tracks from said album. The first, ‘Sure Enough, The Telephone Rings’ was, in scotch language, ‘a belter’ and recalled the heavier, crunch-rock moments of 2009’s ‘Years of Refusal’ album. ‘I Am Veronica’ and ‘Rebels Without Applause’ are other new songs that sounded just as fresh and important as anything Morrissey has sung. The latter was instantly recognizable as a sister or brother track to The Smiths’ classic ‘Cemetary Gates’.

    Morrissey often likes to throw a somber tune into his live shows, and rightly so. Usually, it will be a rendition of ‘Meat is Murder’. But this evening it came in the form of the title track of his new yet-to-be-released record, ‘Bonfire of Teenagers’, which directly refers to the 2017 massacre in Manchester. As Morrissey said, ‘Bonfire of Teenagers’ is a track that many won’t talk about. “But… I will”, he maintained. “All the silly people say, don’t look back in anger/ I can assure you I will look back in anger till the day I die.”

    Indeed, he remains the only artist with anything interesting to say about such atrocities. These things, and what drives them, need to be addressed and thank God Morrissey has the guts to do so.

    An instrumental intro of Auld Lang Syne rang out before Morrissey belted out a song as great as anything he’s ever created. ‘Everyday is Like Sunday’ is a breathtaking song in its own right. But in a live setting, it had the customary effect of sending the crowd all into ecstasy.

    “Come armageddon, come armageddon come, come, come nuclear bomb” Morrissey pleaded, and for another moment, many of us here would have been happy to go down weeping along to this ultimate plea for disappearance. Words cannot do this man justice in his delivery and ability to seduce and comfort those willing to listen.

    Not for the first time in a Morrissey finale, we were given ‘Jack The Ripper’ as a starting sign-off.

    “Crash into my arms” is just about the most Morrissey of Morrissey-Esque lines ever delivered. Morrissey indeed does welcome those brave souls willing to storm the stage in the hope of crashing into his arms. And, as with many gigs on this and previous tours, many of the crowd made their own way onto the stage, some with more success than others. Aging and cowardly as I am, I was happy to observe the beauty on show.


    As is almost always the case, I doubt anyone here will have been truly satisfied by Morrissey’s setlist. So it goes. Yes, he paid attention to the few fans who knew only The Smiths, and gave us heart-wrenching renditions of ‘Never Had No One Ever’, ‘Half a Person’, and ‘Please, Please, Please, Let Me Get What I Want’. Another VERY short encore of ‘Irish Blood, English Heart’ did its job in almost reducing the crowd to our knees in wonder. But the biggest problem with Morrissey is the very reason he’s still so adored. It’s his own Catch-22. We want more. We need more. And I think he really understands that, which is, of course, what makes him so special to those of us with half a brain cell. There are many songs I would have loved to have heard, however as with every Morrissey live gig, I was utterly speechless during and upon leaving. Just witnessing this man in a live setting is enough.

    Morrissey will continue to get one in the neck from mainstream British media. They cannot help themselves. Whether it be his opinions, unfavorable political badges, or dedication to animal welfare, Morrissey (strangely) gets it very tough in dear old Blighty. So it goes. 

    At one point Morrissey addressed his rapturous crowd and said, “If I fall down the stairs tomorrow, split my head open and die, can I thank you now for all the years of support…”

    Dear Morrissey, the pleasure and the privilege is always ours.

    Images by Marcel P. 

  2. Morrissey debuts new song on “England’s 9/11: Silly people sing don’t look back in anger”

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    Morrissey has recently been playing a series of gigs in Las Vegas, and a joyous ‘hurrah’ must be in order, sincerely. During his sets, he’s debuted new songs from his forthcoming (yet unscheduled for release) new record, ‘Bonfire Of Teenagers’, all of which have been met with the usual approval you get from admirers and lovers who ‘get’ and have a deep understanding of this most complex man. Yes, the new material is sublime and the former Smiths’ front continues to misunderstand the meaning of the word ‘disappoint’, as it’s clearly not in his arsenal. Decline comes in many forms, but thankfully, in this case, we are to be spared, for now, majestic as Morrissey’s new material is. The man himself shows no sense of letting go. Maybe the quiff could be thicker, but then, that goes for all of us.

    Amongst Morrissey’s sets, he’s played many new songs, including one which he remarked was about “England’s 9/11”. The tune was ‘Bonfire of Teenagers’, which refers directly to the  23 people who were murdered whilst attending an Ariana Grande concert in May 2017. Most people didn’t and ceased to talk about the reasons of the attacks (Douglas Murray aside) at the time or since, but then Morrissey talks about everything, thankfully.

    “This song is new… it’s about England’s 9/11 and obviously, most people in jolly old England won’t talk about it… but I will”, Morrissey said.

    The words to Bonfire of Teenagers follow: “And the silly people say, don’t look back in anger…  all the morons sing and sway, don’t look back in anger… I can assure you I will look back in anger till the day I die… go easy on the killer.”


    You can buy tickets for Morrissey’s forthcoming shows at LINK


    Incidentally, Morrissey did play some other utterly tremendous tunes during his time in Vegas, so check them out via  Mitch Wight on YouTube:

  3. “Bonfire of Teenagers” – New Morrissey album is due in February 2023

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    “The worst year of my life concludes with the best album of my
    life.” – Morrissey.

    Morrissey is back with a new record, thank God (or whichever higher power does his bidding).

    Morrissey has announced that a new record is on its way, entitled “Bonfire of Teenagers”. The new album will be released in February 2023 and features many interesting and notable star names on the tracks. Flea, Chad Smith, Mylie Cyrus and Iggy Pop all make an appearance and I for one, cannot fucking wait.

    Morrissey published the following on his official website:

    “The musicians on the album are Jesse Tobias, Andrew Watt, Josh Klinghoffer (ex-Chili Peppers), and Chad Smith and Flea (both of the Chili Peppers). The album features Miley Cyrus and Iggy Pop on additional vocals.”

    The eleven tracks are: 

    I Am Veronica

    Rebels Without Applause

    Kerouac’s Crack

    Ha Ha Harlem

    I Live in Oblivion

    Bonfire of Teenagers

    My Funeral

    Diana Dors

    I Ex-love You

    Sure Enough The Telephone Rings

    Saint In a Stained Glass Window

    Capitol Records signed Morrissey and will release Bonfire Of Teenagers in February 2023 in the United States. However, there is no current deal for the album to release in the UK.

  4. ‘I Am Not A Dog On A Chain’ – Morrissey’s best album (since his last)

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    ‘I Am Not A Dog On A Chain’ – Morrissey. Released 20 March. 

    There’s always been a huge element of​ mainstream isolation throughout Morrissey’s career, both with The Smiths and then into his solo years. He’s always been a willing outsider, it’s part of the charm. However recent times in particular have seen him alienate some of the more sensitive among his  ‘fans’, and these days, indeed any new comment or badge is likely to inspire the now standard placed media outpouring of vitriol. God forbid anyone dare give an opinion at odds with the latest status quo.

    The important thing to remember is that Morrissey has always remained true to himself, never willing to self-censor for the sake of what society of the time deems kosher. He’s also remained true to those of us willing or even able to think for ourselves. ​The fact remains that for alot of people, every new Morrissey record, every upcoming gig, every *gasp* new opinion is an event to take notice of, none more so in the age of the eagerly ‘offended’.

    Alas, ‘I Am Not A Dog On A Chain’, Morrissey’s 13th solo album, is required now more than ever. His last, ‘California Son’, was an impressive and an interesting look at how a man so rich in originality can transform his personally favourite songs and make them his own. With this, Morrissey manages to take the listener to far-off places like never before. It’s arguably the most powered and adventurous of his career.

    Opening song ’Jim Jim Falls’ is the most alarming start to any Morrissey record I’ve ever heard, and will immediately throw first time listeners off guard. It begins with unnerving yet bombastic 90’s electro thrusts before turning into an indie-rock call for attention seekers to get off their arses and into action. With lines like “If you’re gonna kill yourself, then to save face, get on with it”, we get a harsh, unsentimental narrator fed up with talk. Next comes the brilliant ’Love Is On The Way Out’, which again appears slightly off the mark at first, but like it’s predecessor, grows, grows and blossoms with further listens. ‘Bobby, Don’t You Think They Know?’, the albums lead single, comes complete with Motown Legend Thelma Houston on backing vocals, and the results are like Gospel; a call from heaven for the secular among us. Lines like “You’re tortured down below!” is pure signature Morrissey, and the song as a whole sets the album at one of its highest bars.

     ‘I Am Not A Dog On A Chain’, however, is from another planet altogether. For the most part, better or worse, it sounds like something from a whimsical musical, like a Moz cameo in ‘La La Land’, playing to the crowd with lines like ‘I see no point in being nice!’… believe me, by now, we know. 

    We’re brought back to more familiar territory with ‘What Kind of People Live In These Houses?’, a blissfully light and airy pop tune most comparable to things like ‘Jeane’, and certainly the most Smiths-esque song that Moz has done in a while. “Bedsitter, bedwetter, or penthouse go getter? What carpet chewer lights up this sewer?” he ponders, bringing us back to the days when ‘kitchen sink drama’ was still a tag he was synonymous with.

    The second half of ‘I Am Not A Dog On A Chain’ is just as impressive as the first. There is a brief stray into misplaced electronica, coming and going with ‘Once I Saw The River Clean’, fascinating itself in how it managed to meet the final album cut. In stark contrast, Morrissey seems so at ease to produce a track like ‘Knockabout World’, another pop gem in which he seems to be addressing himself (“You’re ok by me!”). It’s in these moments in the final section where the record really ‘arrives’.

    ‘Darling, I Hug A Pillow’ is a triumphant plea to a potentially better half to hand over some ‘physical love’, ending with results like almost every other Morrissey love story. “Why can’t you give me some physical love?” he asks, to no reply, but in true Morrissey style, the sign off is one of defiance: “Darling, you will cry out for me for years to come!”

    ‘The Truth About Ruth’ is a multi-layered piano ballad which evolves into an almost Italian rock-opera, with what sounds like a cameo backing vocal from Klaus Nomi. The truth is, Ruth is actually called John, doing what he and we all can ‘to just get along’.

    ‘The Secret of Music’ is a place to become lost in, and it gives us a breather for reflection. It meanders along, slowly and steady, guided by a booming bass firmly in control while Morrissey, comfortable to appear as a passenger here, comes in and out to offer his mind: “Glockenspiel could never feel the way I feel tonight”. As strange a lyric that is, you believe him. You could stay here forever, just to think about everything that’s came before, as we’re drawn ever closer to the album’s finale. 

    With the horrors of time and ‘Mama, mama and teddybear’, ‘My Hurling Days Are Gone’ is a sincere, tearjerking beauty, and a breathtaking end to a truly complex record made by the most complex of living treasures. And lest Morrissey to be one to leave us bereft, he sums up the final song, and album as a whole, so hilariously with: 

    “Time will mould you and craft you, when you’re looking away it will slide up and shaft you…”

    Say no more.

    At 60, time may be no longer be a friend of Morrissey, but with output like this, time is showing no signs of slowing his abilities down. Maybe the world won’t listen. But then, the world has never deserved Morrissey. 

    ‘I Am Not A Dog On A Chain’ is out now. 

    Order on MPORIUM

  5. To Morrissey, with love!

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    [Editor opinion]

    For those of us willing to think for ourselves and take an artists opinions in good faith and in context, the recent and ongoing Morrissey hate campaign carried out by UK mainstream media was and is nothing short of repugnant, childish and pathetic. Britain’s greatest living icon never really left our loving gaze.

    These days, opinions which don’t fit a certain narrative are now be deemed ‘unacceptable’ to the ambulance-chasing Stasi-esque modern left. So it goes. But we go on. Why? To quote Mr M., “Because we must”.

    “It’s very easy to be controversial in pop music because nobody ever is.”

    Following on from news of a new Morrissey album due for March 2020 – “I Am Not A Dog On A Chain” – there will now be a new photography exhibition, “To Morrissey, With Love”, set to take place in United Arab Emirates at the Elham Gallary.

    A statement from the Elham Gallery read: “(this) response from us at the gallery, and the artistic community in Ras Al Khaimah, is because we have been following with shock and concern the unjustified hate campaigns from media towards Morrissey. We have decided to stand by Morrissey, as his Muslim friends, to acknowledge that we are aware of him as a true and passionate friend, and to tell the world that we know he’s not our enemy or hater, and we dedicate a group exhibition to him as thanks for being brave against this cruel and hypocritical world.”

    Needless to say, no Halal or any meat products will be available during the exhibition.

    And as for the new album? the tracklisting for “I Am Not A Dog On A Chain” will run as follows:

    Jim Jim Falls
    Love Is On Its Way Out
    Bobby, Don’t You Think They Know?
    I Am Not A Dog On A Chain
    What Kind Of People Live In These Houses?
    Knockabout World
    Darling, I Hug A Pillow
    Once I Saw The River Clean
    The Truth About Ruth
    The Secret Of Music
    My Hurling Days Are Done

    Morrissey has described ‘I Am Not A Dog On A Chain’ as: ” … the very best of me … too good to be true … too true to be considered good … ”

    The first single will be “Bobby, Don’t You Think They Know?”, which features vocals by Thelma Houston.

    More messages from the man himself can be found on Morrissey Central.