Morrissey - Years Of Refusal Review
Posted by Vanessa Willoughby on 02.18.2009
The Moz is back with his ninth studio album. After releasing multiple "Greatest Hits" compilations, can Morrissey prove that he's still relevant in today's music scene, or is it time to finally call it quits?
TRACK LISTING:
1. Something Is Squeezing My Skull
2. Mama Lay Softly On The Riverbed
3. Black Cloud
4. I'm Throwing My Arms Around Paris
5. All You Need Is Me
6. When I Last Spoke To Carol
7. That's How People Grow Up
8. One Day Goodbye Will Be Farewell
9. It's Not Your Birthday Anymore
10. You Were Good In Your Time
11. Sorry Doesn't Help
12. I'm OK By Myself
The cover of Morrissey’s latest album, Years of Refusal, shows Moz holding a complacently cute baby, complete with a dreamy, slow smile and what appear to be safety pins slipped through the skin of his creamy-white forehead. Some people have argued that this cover is “ridiculous,” while others don’t have a clue as to the baby’s significance.
Perhaps, people have seemed to forget that this is Morrissey, we’re talking about. Part of his appeal is the fact that his fans feel as though they know everything about their blue-eyed deity, yet in reality, all they know is an artfully-crafted persona. With this in mind, Years of Refusal proves to be a succinct, creative, witty example of Morrissey’s musical longevity and fascinating allure.
Previous efforts, such as Ringleader of the Tormented and his slew of Greatest Hits albums have generally left most fans wondering if Moz has lost a hold on his lyrical crown. However, with Years of Refusal, Morrissey proves that he forever deserves his title as one of the cleverest, if not best, figure of the pop and alternative scene. Yes, some of the usual topics are explored, such as loneliness, isolation, depression, alienation and forgiveness. Yet this album is not the leftovers of You Are the Quarry or even Tormented.
Although the album is not a total reinvention of the typical Morrissey musical style, it still maintains a strong level of refreshing ingenuity that is almost unexpected. Today, with the recent flood of “emo” music and “pop-punk” bands, listeners are used to the musical exploration of teenage angst, the underside of being a wallflower and the primal urge to rebel. Although Years of Refusal may appeal to the teenage black sheep, the music stands above the rest due to spot-on guitar arrangements, sharp lyrics, a surge of unabashed self-confidence and Morrissey’s vocal style.
The opening song, “Something Is Squeezing My Skull,” has the vivacity and latent ferocity of a track from Viva Hate or Your Arsenal. Morrissey laments:
“Oh, something is squeezing my skull
Something I can barely describe
There is no hope in modern life”
The song is a smart and realistic reflection of someone battling with a mental illness, most likely depression, and the constant tug-of-war between struggling with the heaviness of one’s emotions and the conflicting desire to avoid prescription medications. Later on, he croons:
“Diazepam as valium
Temazepam
Lithium
HRT
ECT
How long must I stay on this stuff?
Don't give me any more
Don't give me any more”
The song is full of the chaotic and arresting energy that hums throughout the rest of the album. The second track, “Mama Lay Softly On The Riverbed,” relies on the steady backbone of the drums, which takes on a rhythm akin to a battle- or in this case, funeral- march. Imagery and metaphor abound in this song, as the frantic spirit of the song and Morrissey’s haunting voice keep sentiment from crossing the line of ironic to trite.
“Mama, why did you do it?
Mama, who drove you to it?
Was it the pigs in grey suits
Persecuting you?
Uncivil servants unconcerned
That’s how they frightened you
With no care for how they tortured you
Life is nothing much to lose
It's just so lonely here without you”
Perhaps Morrissey never defines the unspoken tragedy of the mother. However, the implications speak louder than the concrete. There’s something undeniably bittersweet about the track, as it closes with the culmination of the percussion, guitar and Morrissey’s vow to reunite with her.
The third and fourth tracks, “Black Cloud,” and “I’m Throwing My Arms Around Paris,” respectively, are threaded with that particular touch of nihilism and cynicism that cringe at the mere mention of sympathy. Despite the mentions of alienation and detachment that fuel both songs, Morrissey is not asking for a savior.
With an air of assured acceptance, Morrissey states:
“In the absence of your love
And in the absence of human touch
I have decided
I'm throwing my arms around
All of Paris because
Only stone and steel accept my love”
His voice attempts to reach operatic levels, as he willingly exchanges humanity for the lifeless affection of The City of Lights.
Although Morrissey seems to have directly addressed his fans in previous songs, (“Will Never Marry”), “All You Need Is Me,” tackles the subjects of both fan adoration and fanatical criticism with equal parts fascination and mockery.
“You hiss and groan and you constantly moan
But you don't ever go away
And that's because all you need is me
You don't like me but you love me
Either way, you're wrong
You're gonna miss me when I'm gone”
The song provides an immediate contrast to “Throwing My Arms Around Paris,” the previous track. Driven by the consistency of the bass, Morrissey’s voice is a perfect fit for the nature and the mood of the song, as he flexes his vocal prowess with frequent vibratos.
In direct contrast to the controlled chaos of the opening track, “I’m OK By Myself,” is a proclamation of self-reliance and independence. Much in accordance with the stately reserve emitting from the album’s cover, “I’m OK By Myself,” can be taken as a personal confession from Moz himself. He reflects:
“Could this be an arm around my waist?
Well, surely the hand contains a knife
It’s been so all of my life
Why change now?
It hasn't!
Now this might surprise you, but
I find I'm OK by myself
And I don't need you
Or your morality to save me”
Packed with the sneering defiance of classic punk rock, Morrissey battles with the drums and guitar, chanting NO over and over again, as though the louder he wails, the truer and concrete his declaration. It’s the perfect ending for a musician that cloaks himself with the safety of mystery, a man that breathes life into the very pages of his personal journal, yet continues to keep his adoring public at an arm’s length.
The 411: Old fan or new, Years Of Refusal is an impressive and notable effort to add to Morrissey's large discography. Full of thought-provoking imagery, metaphors and honesty, Years Of Refusal is reaffirmation of Morrissey's importance in music, as well as his relevance.
