the best review of moz at reading you'll see by hectorr/broken

I

impartial observer

Guest
say what you like about broken/hecorr, I personally think he's a twat but the man knows how to put a review together. says he wrote this in 20 mins. Top quality review.

Now is soon enough (Score:2, Informative)

The NME wrote earlier this week that tonight's show would be the highpoint of Morrissey's Summer. It seemed inevitable. Morrissey's comeback has gained a momentum all of its own - the kind of momentum he hasn't had since "Viva Hate" was released, backed up with two fantastic singles that kept it in the top 40 for a fair old while.

Thumbing through the Reading programme earlier on that afternoon, the notes discussed Morrissey's comeback and pondered on the reasons for his return to the pinnacle of British pop. It seems Morrissey has finally become that most British of things - a "national treasure." The programme notes proclaimed him so, and so it seems that during the course of the past 5 months, the questions about his comeback have been answered and he has finally proven the doubters wrong. Everyone likes Morrissey again. Not least the two bands on stage immediately before Morrissey today - the Libertines and Franz Ferdinand. Tonight's show would be an opportunity to show the young upstarts how it's really done, and to cap a fine Summer with a performance at one of the most prestigious festivals. The only question was, could he manage to top his slightly tired Glastonbury display?

Razorlight were the first band I caught. They looked like Busted, only not as attractive, and sounded like Busted meets the Darkness, only without the tunes. I did a little sunbathing, then returned to watch the New York Dolls. They managed to hit a few highs, notably "another piece of my heart" and "personality crisis." It was a good show. The Roots managed to go through an entire set without playing a single discernable tune. Franz Ferdinand were up next and played most of their recent album. It worked much better live than on record, and they really got the crowd going. The Libertines were up next, and first twenty rows were pandemonium. Carl played his way through a good selection of songs, cigarette hanging out of his mouth, and virtually every teenager in the crowd lost the plot. They really have won the hearts of the kids. Their set lacked the variety and quality of songs to really fly, but they performed well and the audience really seemed to love them.

Around 8.20 and the lights dimmed. The cover was removed from the "Morrissey in Las Vegas" lighting and "the imperfect list" began. Morrissey took to the stage, and from the outset it was obvious tonight was going to be his night. The first chords began and instinctively I thought it was "I Know It's Gonna Happen Someday" as the effect they used was very similar. Morrissey struck a pose straight from the cover of "Kill uncle" - palm outstretched, looking upwards towards the sky. The lights zoned in on him and suddenly the drums started and we all knew it was "How Soon is Now." There was an enormous cheer, a mixture of surprise and elation and Morrissey simply held the pose as the huge chords chimed away in the background. It sounded immense, and the crowd seemed to know every word. "November Spawned a Monster" was as weird and intoxicating as ever, but it wasn't until "First of the Gang to Die" that the crowd really went quite bonkers. It says a lot about Morrissey's new material that probably the most exuberant reactions were reserved for his two latest singles. Can you imagine a similar reaction in the late 90s to "Dagenham Dave" and "The Boy Racer?" Exactly.

An excellent "I Like You," a singalong "Everyday" and "Shoplifters," complete with Marr's only real guitar solo, played perfectly and even embellished slightly by Boz and Jesse, and then the songs just flowed. "Now My heart is Full" sounded less guitar-heavy than on "INtroducing Morrissey" but much heavier than the almost acoustically-light version played on the Oye Esteban tour. It almost sounded like a distant cousin of "I Know It's Gonna Happen Someday" and worked very well. "Have you watched Emmerdale?" asked Morrissey, "well you may not have watched it, but you know the world is full of crashing bores." "Bores" and recent b-side "Munich" slowed the tempo a little, and allowed us all to catch bretah, before Morrissey went off on one again. This time, he didn't choose to lambast Bush, or Blair. No, instead he decided to have a dig at the London borough who had the audacity to stop him for driving "32 miles an hour in a 30.. blah blah limit when there was nobody within a 100 mile radius... this song is not for you..." before he waded into a delightfully light "There is a Light" - it was a very amusing preamble to the song. It's easy to see why Morrissey provokes such differing responses in people. He possesses an ego and yet appears shy and self-depreciating; He's awkward and yet oozes charisma; He's witty and yet, as we all know, insecure about himself. All of these things come across on stage. His fans were virtually eating out of his hand two or three songs into the set, while those at the back perhaps gave a shrug of the shoulders and wandered off to the comedy tent. This is what makes Morrissey special - he's unique - an eccentric and, in my opinion, a genius. His music exudes these qualities too - often deeply touching, sometimes soaring, occasionally odd, or simply annoying. Every human emotion is captured, not least loneliness and exquisite sadness, tempered with delicious irony and slapdash humour. "There is a Light" exemplifies all of these qualities so very well, and yet again it was received rapturously by this festival crowd.

"Let Me Kiss You" was announced as "our new single" and, complete with horn, sounded sublime. If the opening of tonight's set was glorious and vibrant, the set was closed with sleaze and a touch of vitriol. "You're a sight for sore eyes, and these are very sore eyes" Morrissey said earlier. "Daddy's Voice" was a perfect piece of glam trash. It bettered almost the whole of the earlier New York Dolls set, and by the time Mikey got out his maracas for the grinding outro, and Morrissey was wailing in falsetto, it dawned on you what a performer Morrissey is. He gave every other artist on stage today a lesson in the theatre of performance. He was singing beautifully, but it wasn't only his voice, his entire body was speaking to us, every mannerism and posture told a story. In short, he transfixed the audience and as a regular at Morrissey gigs, this is quite a normal event, but it was clearly a surprise to those not well acquainted with his live shows. After hearing the tales of "dour grey" Morrissey, they were probably expecting him to sob his way through the set from the comfort of a rocking chair.

"Jack The Ripper" sounded fabulous, pounding drums and a touch of keyboard really making it sound almost other-wordly. The show was almost over. Morrissey has charmed us, moaned a little, made us laugh, and had taken us on a journey. The set was book-ended by "How Soon is Now" - described in one review as "Morrissey turning rejection at a party into a Wildean experience" - and "You Know I Couldn't Last" - Morrissey's "I Will Survive" meets "Bohemian Rhapsody." Although the piano could have done with being a little louder to achieve the blissed-out sound created on record, the song was the perfect way to finish tonight's show. It's not the festival crowd-pleaser most artist would finish with, but then Morrissey isn't "most artists." Camp, bitter, beautiful, and really *the* archetypal "Morrissey" song. Ironically, after a a lifetime idolising tragi-comic icons of popular culture, Morrissey has now become a figure fit to adorn a Smiths single sleeve, and this song is about Morrissey the icon. Revelling in his role as a self-styled martyr, a fallen pop idol of the old school, a persecued/misunderstood/victimised popstar, every word was stained with bitterness and melodrama. This wasn't a festival-pleaser, it was a song from him to his fans. "oh but the squalor of the mind..." he sang, and then he was gone.

Broken
 
B

barry norman

Guest
that's a great review

where did hectorr steal it from?

> say what you like about broken/hecorr, I personally think he's a twat but
> the man knows how to put a review together. says he wrote this in 20 mins.
> Top quality review.

> Now is soon enough (Score:2, Informative)

> The NME wrote earlier this week that tonight's show would be the highpoint
> of Morrissey's Summer. It seemed inevitable. Morrissey's comeback has
> gained a momentum all of its own - the kind of momentum he hasn't had
> since "Viva Hate" was released, backed up with two fantastic
> singles that kept it in the top 40 for a fair old while.

> Thumbing through the Reading programme earlier on that afternoon, the
> notes discussed Morrissey's comeback and pondered on the reasons for his
> return to the pinnacle of British pop. It seems Morrissey has finally
> become that most British of things - a "national treasure." The
> programme notes proclaimed him so, and so it seems that during the course
> of the past 5 months, the questions about his comeback have been answered
> and he has finally proven the doubters wrong. Everyone likes Morrissey
> again. Not least the two bands on stage immediately before Morrissey today
> - the Libertines and Franz Ferdinand. Tonight's show would be an
> opportunity to show the young upstarts how it's really done, and to cap a
> fine Summer with a performance at one of the most prestigious festivals.
> The only question was, could he manage to top his slightly tired
> Glastonbury display?

> Razorlight were the first band I caught. They looked like Busted, only not
> as attractive, and sounded like Busted meets the Darkness, only without
> the tunes. I did a little sunbathing, then returned to watch the New York
> Dolls. They managed to hit a few highs, notably "another piece of my
> heart" and "personality crisis." It was a good show. The
> Roots managed to go through an entire set without playing a single
> discernable tune. Franz Ferdinand were up next and played most of their
> recent album. It worked much better live than on record, and they really
> got the crowd going. The Libertines were up next, and first twenty rows
> were pandemonium. Carl played his way through a good selection of songs,
> cigarette hanging out of his mouth, and virtually every teenager in the
> crowd lost the plot. They really have won the hearts of the kids. Their
> set lacked the variety and quality of songs to really fly, but they
> performed well and the audience really seemed to love them.

> Around 8.20 and the lights dimmed. The cover was removed from the
> "Morrissey in Las Vegas" lighting and "the imperfect
> list" began. Morrissey took to the stage, and from the outset it was
> obvious tonight was going to be his night. The first chords began and
> instinctively I thought it was "I Know It's Gonna Happen
> Someday" as the effect they used was very similar. Morrissey struck a
> pose straight from the cover of "Kill uncle" - palm
> outstretched, looking upwards towards the sky. The lights zoned in on him
> and suddenly the drums started and we all knew it was "How Soon is
> Now." There was an enormous cheer, a mixture of surprise and elation
> and Morrissey simply held the pose as the huge chords chimed away in the
> background. It sounded immense, and the crowd seemed to know every word.
> "November Spawned a Monster" was as weird and intoxicating as
> ever, but it wasn't until "First of the Gang to Die" that the
> crowd really went quite bonkers. It says a lot about Morrissey's new
> material that probably the most exuberant reactions were reserved for his
> two latest singles. Can you imagine a similar reaction in the late 90s to
> "Dagenham Dave" and "The Boy Racer?" Exactly.

> An excellent "I Like You," a singalong "Everyday" and
> "Shoplifters," complete with Marr's only real guitar solo,
> played perfectly and even embellished slightly by Boz and Jesse, and then
> the songs just flowed. "Now My heart is Full" sounded less
> guitar-heavy than on "INtroducing Morrissey" but much heavier
> than the almost acoustically-light version played on the Oye Esteban tour.
> It almost sounded like a distant cousin of "I Know It's Gonna Happen
> Someday" and worked very well. "Have you watched
> Emmerdale?" asked Morrissey, "well you may not have watched it,
> but you know the world is full of crashing bores." "Bores"
> and recent b-side "Munich" slowed the tempo a little, and
> allowed us all to catch bretah, before Morrissey went off on one again.
> This time, he didn't choose to lambast Bush, or Blair. No, instead he
> decided to have a dig at the London borough who had the audacity to stop
> him for driving "32 miles an hour in a 30.. blah blah limit when
> there was nobody within a 100 mile radius... this song is not for
> you..." before he waded into a delightfully light "There is a
> Light" - it was a very amusing preamble to the song. It's easy to see
> why Morrissey provokes such differing responses in people. He possesses an
> ego and yet appears shy and self-depreciating; He's awkward and yet oozes
> charisma; He's witty and yet, as we all know, insecure about himself. All
> of these things come across on stage. His fans were virtually eating out
> of his hand two or three songs into the set, while those at the back
> perhaps gave a shrug of the shoulders and wandered off to the comedy tent.
> This is what makes Morrissey special - he's unique - an eccentric and, in
> my opinion, a genius. His music exudes these qualities too - often deeply
> touching, sometimes soaring, occasionally odd, or simply annoying. Every
> human emotion is captured, not least loneliness and exquisite sadness,
> tempered with delicious irony and slapdash humour. "There is a
> Light" exemplifies all of these qualities so very well, and yet again
> it was received rapturously by this festival crowd.

> "Let Me Kiss You" was announced as "our new single"
> and, complete with horn, sounded sublime. If the opening of tonight's set
> was glorious and vibrant, the set was closed with sleaze and a touch of
> vitriol. "You're a sight for sore eyes, and these are very sore
> eyes" Morrissey said earlier. "Daddy's Voice" was a perfect
> piece of glam trash. It bettered almost the whole of the earlier New York
> Dolls set, and by the time Mikey got out his maracas for the grinding
> outro, and Morrissey was wailing in falsetto, it dawned on you what a
> performer Morrissey is. He gave every other artist on stage today a lesson
> in the theatre of performance. He was singing beautifully, but it wasn't
> only his voice, his entire body was speaking to us, every mannerism and
> posture told a story. In short, he transfixed the audience and as a
> regular at Morrissey gigs, this is quite a normal event, but it was
> clearly a surprise to those not well acquainted with his live shows. After
> hearing the tales of "dour grey" Morrissey, they were probably
> expecting him to sob his way through the set from the comfort of a rocking
> chair.

> "Jack The Ripper" sounded fabulous, pounding drums and a touch
> of keyboard really making it sound almost other-wordly. The show was
> almost over. Morrissey has charmed us, moaned a little, made us laugh, and
> had taken us on a journey. The set was book-ended by "How Soon is
> Now" - described in one review as "Morrissey turning rejection
> at a party into a Wildean experience" - and "You Know I Couldn't
> Last" - Morrissey's "I Will Survive" meets "Bohemian
> Rhapsody." Although the piano could have done with being a little
> louder to achieve the blissed-out sound created on record, the song was
> the perfect way to finish tonight's show. It's not the festival
> crowd-pleaser most artist would finish with, but then Morrissey isn't
> "most artists." Camp, bitter, beautiful, and really *the*
> archetypal "Morrissey" song. Ironically, after a a lifetime
> idolising tragi-comic icons of popular culture, Morrissey has now become a
> figure fit to adorn a Smiths single sleeve, and this song is about
> Morrissey the icon. Revelling in his role as a self-styled martyr, a
> fallen pop idol of the old school, a persecued/misunderstood/victimised
> popstar, every word was stained with bitterness and melodrama. This wasn't
> a festival-pleaser, it was a song from him to his fans. "oh but the
> squalor of the mind..." he sang, and then he was gone.

> Broken
 
C

Colleen1962

Guest
> say what you like about broken/hecorr, I personally think he's a twat but
> the man knows how to put a review together. says he wrote this in 20 mins.
> Top quality review.

> Now is soon enough (Score:2, Informative)

> The NME wrote earlier this week that tonight's show would be the highpoint
> of Morrissey's Summer. It seemed inevitable. Morrissey's comeback has
> gained a momentum all of its own - the kind of momentum he hasn't had
> since "Viva Hate" was released, backed up with two fantastic
> singles that kept it in the top 40 for a fair old while.

> Thumbing through the Reading programme earlier on that afternoon, the
> notes discussed Morrissey's comeback and pondered on the reasons for his
> return to the pinnacle of British pop. It seems Morrissey has finally
> become that most British of things - a "national treasure." The
> programme notes proclaimed him so, and so it seems that during the course
> of the past 5 months, the questions about his comeback have been answered
> and he has finally proven the doubters wrong. Everyone likes Morrissey
> again. Not least the two bands on stage immediately before Morrissey today
> - the Libertines and Franz Ferdinand. Tonight's show would be an
> opportunity to show the young upstarts how it's really done, and to cap a
> fine Summer with a performance at one of the most prestigious festivals.
> The only question was, could he manage to top his slightly tired
> Glastonbury display?

> Razorlight were the first band I caught. They looked like Busted, only not
> as attractive, and sounded like Busted meets the Darkness, only without
> the tunes. I did a little sunbathing, then returned to watch the New York
> Dolls. They managed to hit a few highs, notably "another piece of my
> heart" and "personality crisis." It was a good show. The
> Roots managed to go through an entire set without playing a single
> discernable tune. Franz Ferdinand were up next and played most of their
> recent album. It worked much better live than on record, and they really
> got the crowd going. The Libertines were up next, and first twenty rows
> were pandemonium. Carl played his way through a good selection of songs,
> cigarette hanging out of his mouth, and virtually every teenager in the
> crowd lost the plot. They really have won the hearts of the kids. Their
> set lacked the variety and quality of songs to really fly, but they
> performed well and the audience really seemed to love them.

> Around 8.20 and the lights dimmed. The cover was removed from the
> "Morrissey in Las Vegas" lighting and "the imperfect
> list" began. Morrissey took to the stage, and from the outset it was
> obvious tonight was going to be his night. The first chords began and
> instinctively I thought it was "I Know It's Gonna Happen
> Someday" as the effect they used was very similar. Morrissey struck a
> pose straight from the cover of "Kill uncle" - palm
> outstretched, looking upwards towards the sky. The lights zoned in on him
> and suddenly the drums started and we all knew it was "How Soon is
> Now." There was an enormous cheer, a mixture of surprise and elation
> and Morrissey simply held the pose as the huge chords chimed away in the
> background. It sounded immense, and the crowd seemed to know every word.
> "November Spawned a Monster" was as weird and intoxicating as
> ever, but it wasn't until "First of the Gang to Die" that the
> crowd really went quite bonkers. It says a lot about Morrissey's new
> material that probably the most exuberant reactions were reserved for his
> two latest singles. Can you imagine a similar reaction in the late 90s to
> "Dagenham Dave" and "The Boy Racer?" Exactly.

> An excellent "I Like You," a singalong "Everyday" and
> "Shoplifters," complete with Marr's only real guitar solo,
> played perfectly and even embellished slightly by Boz and Jesse, and then
> the songs just flowed. "Now My heart is Full" sounded less
> guitar-heavy than on "INtroducing Morrissey" but much heavier
> than the almost acoustically-light version played on the Oye Esteban tour.
> It almost sounded like a distant cousin of "I Know It's Gonna Happen
> Someday" and worked very well. "Have you watched
> Emmerdale?" asked Morrissey, "well you may not have watched it,
> but you know the world is full of crashing bores." "Bores"
> and recent b-side "Munich" slowed the tempo a little, and
> allowed us all to catch bretah, before Morrissey went off on one again.
> This time, he didn't choose to lambast Bush, or Blair. No, instead he
> decided to have a dig at the London borough who had the audacity to stop
> him for driving "32 miles an hour in a 30.. blah blah limit when
> there was nobody within a 100 mile radius... this song is not for
> you..." before he waded into a delightfully light "There is a
> Light" - it was a very amusing preamble to the song. It's easy to see
> why Morrissey provokes such differing responses in people. He possesses an
> ego and yet appears shy and self-depreciating; He's awkward and yet oozes
> charisma; He's witty and yet, as we all know, insecure about himself. All
> of these things come across on stage. His fans were virtually eating out
> of his hand two or three songs into the set, while those at the back
> perhaps gave a shrug of the shoulders and wandered off to the comedy tent.
> This is what makes Morrissey special - he's unique - an eccentric and, in
> my opinion, a genius. His music exudes these qualities too - often deeply
> touching, sometimes soaring, occasionally odd, or simply annoying. Every
> human emotion is captured, not least loneliness and exquisite sadness,
> tempered with delicious irony and slapdash humour. "There is a
> Light" exemplifies all of these qualities so very well, and yet again
> it was received rapturously by this festival crowd.

> "Let Me Kiss You" was announced as "our new single"
> and, complete with horn, sounded sublime. If the opening of tonight's set
> was glorious and vibrant, the set was closed with sleaze and a touch of
> vitriol. "You're a sight for sore eyes, and these are very sore
> eyes" Morrissey said earlier. "Daddy's Voice" was a perfect
> piece of glam trash. It bettered almost the whole of the earlier New York
> Dolls set, and by the time Mikey got out his maracas for the grinding
> outro, and Morrissey was wailing in falsetto, it dawned on you what a
> performer Morrissey is. He gave every other artist on stage today a lesson
> in the theatre of performance. He was singing beautifully, but it wasn't
> only his voice, his entire body was speaking to us, every mannerism and
> posture told a story. In short, he transfixed the audience and as a
> regular at Morrissey gigs, this is quite a normal event, but it was
> clearly a surprise to those not well acquainted with his live shows. After
> hearing the tales of "dour grey" Morrissey, they were probably
> expecting him to sob his way through the set from the comfort of a rocking
> chair.

> "Jack The Ripper" sounded fabulous, pounding drums and a touch
> of keyboard really making it sound almost other-wordly. The show was
> almost over. Morrissey has charmed us, moaned a little, made us laugh, and
> had taken us on a journey. The set was book-ended by "How Soon is
> Now" - described in one review as "Morrissey turning rejection
> at a party into a Wildean experience" - and "You Know I Couldn't
> Last" - Morrissey's "I Will Survive" meets "Bohemian
> Rhapsody." Although the piano could have done with being a little
> louder to achieve the blissed-out sound created on record, the song was
> the perfect way to finish tonight's show. It's not the festival
> crowd-pleaser most artist would finish with, but then Morrissey isn't
> "most artists." Camp, bitter, beautiful, and really *the*
> archetypal "Morrissey" song. Ironically, after a a lifetime
> idolising tragi-comic icons of popular culture, Morrissey has now become a
> figure fit to adorn a Smiths single sleeve, and this song is about
> Morrissey the icon. Revelling in his role as a self-styled martyr, a
> fallen pop idol of the old school, a persecued/misunderstood/victimised
> popstar, every word was stained with bitterness and melodrama. This wasn't
> a festival-pleaser, it was a song from him to his fans. "oh but the
> squalor of the mind..." he sang, and then he was gone.

> Broken
EXCELLENT, Hectorr, (applauding) truly first class writing, I felt as if I were actually there experiencing the whole event with you! A truly truly beautiful piece of writing. Colleen
 
R

robhenson

Guest
very nice review, i agree with all of it. great show! much better than Glasto.
 
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