"There is no love in modern life." Morrissey has made a career out of deflating lines like that - first with The Smiths, then in a solo career that has managed to remain remarkably successful despite the lack of his diminutive songwriting partner and guitarist Johnny Marr. It's a maxim that's defined the singer for well over 30 years. The hopeless romantic, the biting cynic: Morrissey. He does it well.
The thing is, Morrissey hasn't really changed much in 25 years. While Marr has found ways to contradict and move beyond his time in The Smiths, Morrissey seems comfortable in the same groove he's been in since The Smiths' classic run. The Smiths were Johnny Marr, and Morrissey's solo career has largely stood as proof of that. For all of Morrissey's abundant talent, Marr carried The Smiths, and made them distinct.
Where does that leave Morrissey, 20 years after the release of his first solo album, "Viva Hate?" Morrissey may be a badass, but is he actually any good on his own?
His eighth solo album, "Years of Refusal," follows a period of mild resurgence for the singer, and for the most part, he continues the same good-but-not-great path that began with 2004's, "You Are the Quarry." Each Morrissey album has its moments, and "Years of Refusal" is no different. "I'm Throwing My Arms Around Paris" stands as its best. Morrissey pleads, moans and writhes his way through his lyrics, something he rarely does on this record.
"Years of Refusal" feels like an attempt to keep up with the times. Aggressive, boisterous guitar work, pulsating drums and the presence of quite a bit of studio manipulation ironically sucks most of the energy and hurt out of Morrissey's voice. One applauds vibrancy, and this record is certainly that. But it's not what one wants in a Morrissey record.
Much of Morrissey's post-2000 work has been the same: loud, aggressive and sometimes violent. But it's also been melodic. 2004's "First of the Gang," from "You Are the Quarry" is a good example of that effective sense of melodicism. The majestic, lifting lead guitar came as close to replicating the effect Marr had on Morrissey as anything else.
Dare I say it, Morrissey sounds bland. Perhaps it's age, and as anyone who has watched the decline of any number of baby boomer and punk rock musicians (McCartney, Elvis Costello, etc.) can attest, it's always depressing.
It's better to burn out than fade away, I guess.
The Quick Hit
The Thermals - "Now We Can See" - The Thermals' previous record, "The Body, The Blood, The Machine," was anything but uplifting. The extended alternative version of Jesus' life and death was wrapped up in a depressing comment on Bush's and the Christian right's America. This single, from the band's upcoming release, sounds like a healthy release. The band made it available for free download pretty much all over the Web. Try seeking it out at www.elbo.ws or hypem.com
Raekwon ft. Ghostface Killah and Method Man - "Wu Ooh" - It's been 15 years since the release of Wu-Tang Clan member Raekwon's "Only Built 4 Cuban Linx" and judging from this single, the man has not lost his touch. Featuring classic dark, gritty RZA production and sampling, all three MCs are on top of their game.
Shows of noteRodeo Ruby Love, Eric Alexander, Bears of Blue River, 8 p.m., Friday at Cornerstone Center for the Arts
Stealing from Thieves - 10:30 p.m. March 2, at Doc's on Dill Street
Write to Matt at hipster.is.the.new.hippie@gmail.com
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