Released on 29 March 2005 in the US and 4 April in Europe, "Live At Earls Court" was a live album by English singer Morrissey, it was recorded liv at Earls Court In London on 18 December 2004, in front of 17,183 people." The album spawned a single "Redondo Beach" and the Smiths classic "There Is A Light That Never Goes Out".
Another cash-in, the moment it captures is indeed somewhat phenomenal and nearly documental on Mozza carrer, Morrissey's moving into an interesting and barely explored territory here: he is a pre-rock crooner commanding
Beatle-level hysteria; a smooth, urbane party host backed onstage by
anonymous young chord-bashers. He's grown distinctly comfy around the
old hits-- or as comfy as one could possibly be in that jagged terrain his Smiths-era vocal lines careen against the chord progressions in
astonishingly counterintuitive ways and the recent songs appear to
have been written with a new vocal prowess in mind.
Morrissey's singing appears to have taken a
giant leap over the past seven years or so. Listening to the newly
velvety Moz tackle "How Soon Is Now" is a pleasure of an entirely confusing sort: the song is still a
roaring, lurching Grendel, all rage and laser tremolo, but the listener
can't help feeling luxuriously entertained. The frustration, the
urgency, the hormonal madness of the original are politely disinvited;
that stuff is, after all, a bit infantile. Morrissey may well be the
world's first rock star to fashion a successful shtick out of
enthusiastically embracing middle age.
For
the record, middle age does become him. That face, oddly enough, is
hitting the iconic stage just now, with the crow's feet and a bit of sag
in the jowls, and the Yves Saint Laurent shirts feel a little more
warranted. The
uproarious chorus of the B-side "Don't Make Fun Of Daddy's Voice" attests to this directly-- but a fatherly.
At the same time, it is now harder
than ever to imagine Morrissey settling into a Bacharachian loungy
twilight-- not after the controlled squall of "Irish Blood, English
Heart", the loudest, most pissed-off, and most direct song of his
career.
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