
Morrissey has severed all connections with Red Light Management/Pete Galli Management.

MANAGEMENT - MESSAGES FROM MORRISSEY - MORRISSEY CENTRAL - MANAGEMENT
MESSAGES FROM MORRISSEY

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Wow.He or a lot of fans would probably always find a way to say he is down because of 'something that's happened to him', or 'something that's been done to him'.
Which begs the question - by his own definition, when is he not down?
I.e. when is there ever a good time to offer up any form of criticism whatsoever, without being accused of kicking someone when they are down (when the person being scrutinised would always find a way to define themselves as already down, or under attack)
On that basis, as 'get out' clauses go, it's a pretty good one.
No chance: Morrissey himself beats everyone to it.
I've said before that his last decent album was Years of Refusal.
2010 onwards has been a huge disappointment. All of the albums he's put out since then have been sub-Kill Uncle, which I now appreciate a lot more in comparison.
enjoy what you can of his live shows while you've still got the chance.
I have come to view Morrissey's solo recording career in the following ways:
1988-1997: The Poet Years
2004-2009: The Post-Wilderness Years
2014-2020/2021: The Post-Whyte Years
we all know and understand the Poet years ad nauseam, but it's his transition from the poet who questions and yearns into the post-wilderness man who knows best, that I believe is the main culprit of the decline in quality of Morrissey's material -- play the songs Maladjusted and America back to back if you need to to get what i'm saying.
in regards to the actual post-wilderness recordings:
Quarry's production is unlistenable and the songs are only decent, at best.
Ringleader is a slop of an album with uneven production and only one true quality song (Pigsty).
Refusal is decent, like you said, but I only really like Mama and OK by Myself.
in regards to the post-Whyte albums:
World Peace is forgettable.
High School at least has Lonely, but that's about it.
California Son is ridiculous.
Dog however, in my opinion, is decent, but is also uneven like always -- Love, Bobby and Ruth should never have been released.
BOT sounds like more of the same and the production on Rebels was amateurish -- he should've rerecorded the entire thing with the Alain lineup when they went in for Without Music.
in regards to whatever his final phase will end up being:
Without Music has my interest in that the songs played live sounded a bit different than usual, but I can't say I really liked them -- Notre Dame is idiotic and I dread one day hearing Suspicious Minds.
all in all, he had an amazing run during the Poet years and we should all be thankful for it. there's no going back and the genie will never be put back in the bottle, so as I've said previously:
I enjoyed your post, but as I mentioned above, there were actually significant issues even during the 'poet years' and before then.
That is to say, he used 'cemented minds' as an accusatory attack, whilst his own mind was very precisely and securely fixed on a particular path of creative subject matter and output (as well as an incredibly fixed worldly outlook) - seemingly without the ability to remove himself from the position he had adopted, in order to view and present things from a different perspective as the situation might require.
I wasn't responding to your post where you mention that, but yes, Moz has always been a stubborn mule.
the difference between the stubborn mule of the Poet years and the man that emerged Post-Wilderness is that he no longer felt like he needed to prove himself -- as I said in my original post, he now KNOWS best and the world exists to be enlightened to the facts that he already believes that he knows.
it's all in the lyrics and he isn't shy about it.
Each to their own, but I think there's more than a hint of nostalgia there...all in all, he had an amazing run during the Poet years and we should all be thankful for it. there's no going back and the genie will never be put back in the bottle, so as I've said previously:
The change in Morrissey's lyrical style actually game with Southpaw Grammar and he openly told the press that he wasn't going to look to the past any more and was writing lyrics in a different way. He also openly told the press that it wasn't as good as Vauxhall and I.
Southpaw Grammar and Maladjusted, with a few exceptions, could hardly be described as poetic and they contributed to his career being in the doldrums in 1997. I watched one of his concerts that year and the headline in the local press was, "Heaven Knows Why Anyone Would Want to See Him." Morrissey was considered to be irrelevant to many people and the idea that he would ever again be having top ten hit singles and playing arenas seemed a remote possibility.
You could argue many of the same things about Morrissey now, but there is a difference. It is quite common for a singer to be considered irrelevant at the age of 65. Back in 1997, he was considered irrelevant and he was still only 38 years old.
The only thing holding Morrissey back is Morrissey. Blaming it on “woke” is pretty crazy.You do have to laugh when Morrissey is called 'unpopular' for the 'controversial' things he has said - all those so called 'controversial' things are the views of the majority of the population. Most people in the UK would applaud the sentiment of Bonfire of Teenagers. The problem for Morrissey is 2 fold: he works in the 'music industry' - which, like all 'the arts', from the theatre, to publishing, to cinema, to television, is woke from top to bottom. And the arts rely on journalism to communicate with the general public - journalism, and music journalism in particular, is also woke from top to bottom. So Morrissey can never win. He will always be f***ed over twice.
Good points.A couple of things:
1: Southpaw Grammar is very much still poet Moz with Teachers and Southpaw being the best examples.
2: Maladjusted even more so.
3: it is well known that Morrissey felt like he hit his peak with Vauxhall, considered quitting afterwards, then an acoustic album, until finally ending up with Southpaw. it makes sense that he would change up his lyrical process in response, but the introverted poet still remained.
yes, there is a difference. I believe the shift occurred during the Wilderness years and is actually a response to exactly what you're saying: he was written off, knew the quality of his past work and used those years of rejection to empower his evolution into the person that believes that he knows best.
Again, I think that's nostalgia talking to some extent.A couple of things:
1: Southpaw Grammar is very much still poet Moz with Teachers and Southpaw being the best examples.
2: Maladjusted even more so.
Jake!Good points.
What were the exact reasons for not further cementing the fame he achieved live in 91/92 with a accompanying tour to his best solo record in 1994? I never thought about the fact, that he only briefly toured the UK and Japan in 1993-1996. It seems to me, that this is where he lost touch to a larger audience. The 90s demanded hits, clips and live presence to stay on top. See Paul Weller!
Why shouldn't people contribute? At least the posts are about Morrissey and not complaints about other posters with some insane video that you think is related to your comment attached to it.Yes and no, you see it here every day, so why do folks insist on contributing?
strange kicks, indeed.
You think he'd prefered to stay with him in 94 instead of touring the world? He even managed to make only 1 video for 3-4 singles in 1994. A handful of record-store signings and 1 appearance @TOTP hardly filled his calendar.Jake!
Agreed, Weller was popular with the Britpop crowd, Morrissey was not. He deliberately stayed away from that movement as far as possible.
I think that cost him 7 years of his career, and I agree that the comeback of 2004, with all the hits and his best selling album of his career, was something of a miracle.
Yes, I spoke to Howie Klein at the time, of Sire records, and he told me that for years and years Morrissey was angry with them for not promoting his work well enough. ‘I sell out the Hollywood Bowl faster than the Beatles, I sell out all my US shows, I’m at every big US tv show and yet you can’t get any of my songs on the radio or in the Billboard-charts. You’re useless.’You think he'd prefered to stay with him in 94 instead of touring the world? He even managed to make only 1 video for 3-4 singles in 1994. A handful of record-store signings and 1 appearance @TOTP hardly filled his calendar.