After a seven-year hiatus and ten years without a relatively acclaimed record, Steven Patrick Morrissey, best known for fronting revered '80s indie band The Smiths, rocketed back into the pop music scene with 2004's "You Are the Quarry."
"You Are the Quarry" is a relevant and fresh-sounding record which ended up on many year-end top-ten lists, proving that Morrissey still has what it takes to make quality records. "Quarry" not only sold more copies than anything released by Morrissey or the Smiths, but it had two bona fide hit singles with "Irish Blood, English Heart" and "First of the Gang to Die." The record was as close to a perfect comeback as it could be; it appeased long-term fans of the singer while attracting a newer, older audience and was even a big hit in indie circles.
Morrissey's new record, "Ringleader of the Tormentors," has all the makings of a perfect follow-up album: a catchy title, hilarious cover art and a brand-new recording setting (Rome, rather than his former base-of-operations in Los Angeles) and the news that this record would be the most optimistic, least self-deprecating record of his career.
An additional sign that this record would be another step forward for the "Pope of Mope" was Morrissey's decision to work with a new producer, Tony Visconti. Visconti produced the bulk of T. Rex's records, and also had a big hand in the production of nearly every one of David Bowie's glam-rock records from "Diamond Dogs" (1974) to "Scary Monsters" (1980). Morrissey also enlisted the services of legendary Italian film composer Ennio Morricone, as well as an Italian children's choir on songs such as the soaring final track, "At Last I Am Born."
Unfortunately, Morrissey's new production team has a more adverse affect on "Ringleader" than a positive one. Part of the appeal of The Smiths, as well as Morrissey's early solo work, was that they avoided the overly cheesy and polished production of many of their '80s peers. While Morrissey's soaring tenor sounds as epic as that of any pop musician of the past thirty years, it was always at its best when juxtaposed with Johnny Marr's jangling guitar, or more recently, with rockabilly guitars and drums on songs like "Irish Blood, English Heart."
On "Ringleader," coupled with the glamorous strings and brass on songs like "I Just Want to See the Boy Happy," Morrissey's voice does not stand out like it has in the past, though it is as easy on the ears as it has ever been. Instead, Moz's voice merely sounds like part of the layered production scheme, almost lulling the listener to sleep instead of rousing him out of his seat.
One of the consistent knocks on Morrissey throughout his career has been his extreme self-deprecation, and it is a pleasure to note that "Ringleader of the Tormentors" is significantly more upbeat and optimistic than any of his other solo work. It is difficult to believe that someone with Morrissey's wealth and stature in the music community still has trouble meeting girls, and "Ringleaders" has Morrissey looking at love in a positive, joyful light, and rightfully so - the album was recorded in one of the most romantic cities in the world.
While "Quarry," recorded in Los Angeles, showed Morrissey's displeasure with America's decadent nature, "Ringleader" has him appearing captivated and enamored with the Italian capital, even though it may unnerve the listener a bit to hear the 46-year-old King of Croon making the most graphic sexual innuendos of his career, including referring to his you-know-whats as "explosive kegs between [his] legs."
However, this is not to say that Morrissey isn't still the same ol' Morrissey. Song titles on "Ringleaders" are ridiculously long and pompous, and while Morrissey's left-leaning political commentary on "Quarry" was relevant and spot-on, it is not the case with songs on "Ringleaders." On "I Will See You in Far Off Places," Morrissey says that he will see you only if "the USA doesn't bomb you." Good one, Moz.
While the strings and polished production of "Ringleaders" make the album Moz's most mature and sophisticated to date, its rusty and repetitive formula renders it far more forgettable than Morrissey's seminal works.
While "Quarry" was a big step forward for Morrissey, showing that he can be a relevant musician in the 21st century, "Ringleaders" is a step in the opposite direction.
