It's an interesting time to be a Morrissey fan. Despite serious health concerns, he has been creatively prolific. The excellent World Peace is None of Your Business was improved upon on with the release of (the ridiculously underrated) Low in High School. It proved to be a passionate offering with great melodies and confrontational, poetic lyricism. However, more focus was put on political persuasion rather than the possibility that LIHS could well have been his best release in years...
Over the decades, Morrissey has seduced his fan-base with passionate opinions on feminism, animal rights and an antipathy of establishment figures including the Royals and Margaret Thatcher. However, the unpredictable singer recently voiced support for For Britain and questioned the media's treatment of Tommy Robinson.
This political dalliance had the effect of commercial suicide and threatened to alienate members of his devoted, audience. The (once surreal) prospect of anti-racism activists protesting outside of a Moz live show became a serious possibility. As a result, the whole British tour was cancelled and Moz took to social media to release a statement to quell talk of incongruous right-wing leanings.
Of course, the Walker-esque Low in High School took a backseat amidst the ensuing maelstrom. California Son avoids the lyrical scrutiny that came with LIHS as it is a collection of cover versions. Covers have become an integral aspect of Morrissey shows. Gilbert O'Sullivan, The Ramones, and Lynn Anderson's (I Never Promised You) A Rose Garden have all had a successful Moz-over.
California Son is a selection of new and previously unheard reworks. The album showcases an eclectic collection of songs and pays homage to some of Morrissey's heroes...Maybe Moz could have considered covering The Timewarp, 'a jump to the left and then a step to right' (alright, please yourself)...
Included on the album are the excellent Morning Starship by Jobriath and Joni Mitchell's bittersweet Don't Interrupt the Sorrow. While both artists had been cited as inspirational figures by the singer, other covers come as more of a surprise, including tracks by Dionne Warwick and Bob Dylan. Indeed, the first single from the album is Roy Orbison's It's Over. It an ambitious attempt at a seminal number by an iconic vocalist; the track builds from subtle to soaring, and Morrissey delivers a powerhouse performance.
Wedding Bell Blues features Green Day frontman Billie Joe Armstrong. The result, although radio-friendly, lacks the customary punch associated with both acts. Lady Willpower is amongst the highlights, a pop gem backed with a triumphant brass section.
Whether you are a fan or not, it is undeniable that Morrissey is a unique and readily identifiable vocalist. California Son is reminiscent of Bowie's Pin Ups or Johnny Cash's American Recordings as it showcases a performer with the rare ability to morph and reinvent classic tunes in their own inimitable style.
Hopefully Morrissey is in good health and the divisive politics, that took the focus off the previous release, have felt the soil falling over their heads. California Son is a layered and varied offering that could see Morrissey's prominent return to the airwaves. UK theatre dates to celebrate his 60th (similar to his recent New York residency), would be interesting. With luck they'll receive a warmer welcome this time round for Manchester's capricious Son.
California Son by Morrissey
Four out Five Salford Stars ****
Words by Ian Leslie
.jpg)
.jpg)
.jpg)
.jpg)
(3).jpeg)
.png)
(1).JPG)
