Critical Review: Morrissey’s You Are The Quarry

This album, one of the best by Morrissey and in the history of wide-scale distributed music, was released seven years after its predecessor, the 1997 Maladjusted. We want to write about You Are The Quarry on these pages to affirm that it is a record that occupies an undisputed place in music history, exactly like the singles released under the name of The Smiths; this distinguishes this record from Morrissey's past and present production, placing it firmly on the shelf of classics.

Classics, yes—because exactly like The Smiths' singles, or those of The Beatles (or other similar masterpieces in other categories of music recognized by both cultured and general audiences, as well as industry professionals)—the construction of the songs, like the architecture of

the entire album, stands out for its synthesis, sophistication, elegance, and organicity. There is a depth of intent in the direction of the form, in which the expression, despite its great personal style, is channeled with accuracy and fits perfectly.

Compared to the other two examples cited, however—and this is certainly the highest merit of the work in question—the poetic nature and energetic compactness are also evident from the point of view of the content. The themes are not sporadically ideological, apparently random, or occasional; rather, they are organically tempered and strongly oriented in terms of personal poetics on very precise subjects.

The record opens with "America Is Not The World," a track in which feelings of love and hate toward the United States and its politics emerge—a subject on which the author can certainly have his say, since he resided in Los Angeles in the years preceding the album's release. In this sense, referring to former U.S. President George Bush (whose death he wished for during the 2004 concert at Dublin Castle), he sings:

And I love you, I just wish you'd stay where you is / Steely-blue eyes with no love in them Scan The World / And a humourless smile With no warmth within

A highlight and a high-impact single is undoubtedly "Irish Blood, English Heart." Morrissey is English but of Irish origin; in this song, he sings of this duality and launches a frontal attack on the choices of English politics, highlighting the historical arrogance of politicians past and present:

I've been dreaming of a time when / The English are sick to death of Labour and Tories / And spit upon the name Oliver Cromwell

In "I Have Forgiven Jesus," the theme of dissatisfaction with life is recurring:

Monday - humiliation / Tuesday - suffocation / Wednesday - condescension / Thursday - is pathetic / By Friday life has killed me

While listening to "Come Back to Camden," one is immediately projected into the most classic and traditional atmospheres of England:

Under slate grey Victorian sky / A discoloured dark brown staircase

The tracks are signed by guitarist Alain Whyte, who has always succeeded in creating phrasings and melodies reminiscent of the style of Johnny Marr (guitarist of The Smiths), while also allowing his own personality and style to shine through to the point of unmistakably accompanying Morrissey in his most interesting works: Your Arsenal(1992), Vauxhall and I (1994), and Southpaw Grammar (1995).

Finally, the production entrusted to Jerry Finn (Green Day, Bad Religion, Blink 182) makes the album decidedly dynamic compared to the previous (and subsequent) ones, enhancing the vocals like never before—measured and organic more than elsewhere—and the instruments, with great attention to detail and the final result. Beyond those who consider the entire work an exercise in style or a "mannered" performance, the result is undoubtedly powerful and clear. [L. Marranini]