FOR THE RECORD: Morrissey ‘You Are The Quarry’ (2004)

10 years on from a masterpiece

After a difficult 2013 plagued by bad luck, health problems and cancellations – but also with the release of a successful autobiography, a tribute to Lou Reed on vinyl and the reissues of Kill Uncle and ‘The Last Of The Famous International Playboys’ – Morrissey returned in 2014 to the media blitz. The cause? A US tour that preceded the release of his tenth studio album, World Peace Is None Of Your Business, ready to see the light on 15 July. But beyond drawing conclusions and assumptions about the future of the upcoming album, it is important to go back and re-evaluate his last masterpiece. This month we celebrate ten years of You Are The Quarry.

Before You Are The Quarry

Morrissey’s career has run between tragedy and brilliance. Despite several revelations in his autobiography, his personal and professional life still have an air of mystery, while his legendary status has given him the honorary title of being the most irreverent, enigmatic and thoughtful popstar/anti-rockstar of the last 30 years. The unexpected separation of The Smiths in 1987 and a pending record deal forced Morrissey to pursue a solo career that mutated into an overwhelming amount of singles, B-sides, live albums, compilations, LPs and the reissue of a large quantity of his back catalogue. “Re – issue! Re -package! Re -package! Re -evaluate the songs / Double -pack with a photograph / Extra Track (and a tacky badge)”, sang Morrissey in ‘Paint A Vulgar Picture’, a tirade against the greed of the music industry. After all these years, it seems that this syndrome of consumerism had also absorbed Manchester´s musical poet. Long before You Are The Quarry, fans had embraced Morrissey´s unexpected debut, Viva Hate (1988), which was followed by the spectacular compilation, Bona Drag (1990) Next came a flirtation with rockabilly and the confusing haze of Kill Uncle (1991), followed by a fascination with glam and the opportunity to work with Mick Ronson on Your Arsenal (1992). And after the glitter we fell in love with his most introspective and perfect album to date – Vauxhall & I (1994). But then came the difficult years: the totally underrated and misunderstood, Southpaw Grammar (1995), and the overwhelming commercial decline with the darkness of Maladjusted (1997). The hard years came with creative stagnation and the absence of a record label that lead Morrissey into seven long years in the darkness, until California came to the rescue.

The ‘LA album’

“Disgusted, I left England. The good life is elsewhere” (Morrissey, Autobiography)

After a painful experience with his record label, bad reviews of Maladjusted and the exhausting lawsuit with Mike Joyce, Morrissey emigrated to Los Angeles to take a break from the UK and soak up with new influences: the Mexican-American community in California enriched by his frequent trips to the border; the Hollywood-esque glamour and decadence of past decades; good weather and nature and, sadly, US post 9/11 psychosis. Signed by Sanctuary Records (to the previously dormant Attack label) and produced in Los Angeles by Jerry Finn, You Are The Quarry remains Morrissey´s last album with almost the majority of his classic lineup: the fierce battle of riffs and melodies between Boz Boorer and Alain Whyte, and Gary Day´s bass lines, which blend perfectly with the melancholic poetry of Morrissey. The cover art – a Morrissey obsession that dates back to 1982 – is probably the best of his solo career and perfectly defines the purpose of the album. Morrissey is back and has brought an entire armoury: machine gun in hand and dressed like an Italian-American gangster from the 1920s to retrieve past glories and continue his omnipresent legacy.

You Are The Quarry

The twelve tracks included on the standard version of the album contain some of Morrissey’s most brutally honest lyrics and answer important questions about a number of political and social issues: a ruthless attack on the US (‘America Is Not The World’), a strong critique of the British class system (‘Irish Blood, English Heart’), a reproachful look at showbiz and its inherent mental laziness and intellectual stupidity (‘The World Is Full of Crashing Bores’) and a show of support for reclusive lesbians (‘All The Lazy Dykes’). There’s also a nostalgic longing for London (‘Come Back To Camden’), an exploration of the dark pleasure of not regretting anything (‘I’m Not Sorry’), the three minute story of a Chicano gang member (‘First Of The Gang To Die’), a touching moment of rebellion against Catholicism (‘I Have Forgiven Jesus’), open letters to love, insecurity and assumptions (‘Let Me Kiss You’ / ‘I Like you’) and what could be the greatest answer to the curse of fame fame, fatal fame (‘You Know I Couldn’t Last’). The special edition contains B-sides that easily match the quality immortalized on the LP. Another criticism against American racism towards Latinos (‘Its Hard To Walk When You’re Small’), the best response against monotony, social rules and a meaningless life (‘Teenage Dad On His State’), a gloomy tribute to the fallen of Manchester United and a personal prayer to be six feet under (‘Munich Air Disaster 1958’) and one more declaration of his fascination and love for the Latino community (‘Mexico’).

The rebirth after darkness

You Are The Quarry revived the myth and fascination with Morrissey that previously lived only in nostalgic and obsessive fans. Without underestimating Ringleader Of The Tormentors (2006), Years Of Refusal (2009) and World Peace Is None Of Your Business (2014), You Are The Quarry remains Morrissey´s last classic and bears comparison with the moments of intellectual clarity and eloquence on Vauxhall & I and earlier material. Morrissey will probably never reach such peaks of creativity and inspiration, but here we have an essential album for anyone interested in thoughtful pop music.

Alejandro De Luna

@thesenseofdoubt British singer Morrissey performs during

Alejandro De Luna

Alejandro De Luna

Founder & Editor @ TSOD (thesenseofdoubt.com) and obsessed with the possibilities of recorded noise as a tool to squeeze your skull. Wish we were in 1977...