Everyday Is Like Sunday

Sorry, I couldn't resist that title. I thought today was as good a chance as any to finally talk about last Thursday's concert. I had seen Morrissey live a few times before, so I felt I was somewhat prepared...

The first time I saw the Mozzer was in 1992, Springfield, Massachusetts--it was my junior year of college, and around the time I really started getting into his work. He had just released Your Arsenal, and I was taken by the aggressive, guitar sound (at times rockabilly) that somehow worked alongside his personal, introspective lyrics. In retrospect, it was an approach he had already successfully utilized during his time with the Smiths, but I wasn't as aware of that music when it was originally released. This album, however, came out right during the grunge music years... and it seemed a bit more energetic and fresh in comparison. There was also the "look" of Morrissey (again, sort of a rockabilly meets beat poet) and the opinionated yet ambiguous way that he presented himself, which both confounded and intrigued the public. He just seemed awfully cool and different... somehow I always find myself going "against the grain."



Another album followed in the spring of 1994--the more reflective Vauxhall and I. It seemed a perfect "release" for me at the time (especially the track "Hold On To You Friends"), as I had experienced a rather rocky, emotional year, and was just figuring out how to find my footing. I appreciated the comfort of the artist's work so much that I traveled out to New York City to try and meet him during a signing he was giving at Tower Records. What I found were blocks of fans lined on the streets for the opportunity, making me realize the extent to which people had connected with his work. Unfortunately, I did not get in... I stood out for a few hours, and only caught a glimpse of the artist, holding up a sign that read "I'm sorry" for the many he did not have time to get to--I think that simple gesture said something about the respect he felt for his fans, in contrast to the acerbic nature of some of his opinions and lyrics. 



Things got quieter as the years went on... although I frequently played his new material during my stint as a DJ, I didn't find it quite as melodic and engaging, even though the love of all things Britpop was getting stronger and stronger for me. I did find myself going back to the early Smiths albums, and realizing that these were even more special for their heartfelt music and lyrics. 

In 2004, Morrissey returned to form with the album You Are the Quarry, and it had some splendid songs that seemed to come back around to a more simple, direct form of songwriting. After a long absence, a new tour was announced, with a special date at New York's legendary Apollo Theater... considering my love of soul music and Britpop, it was too tempting to resist. That was a lovely concert... with a lush theater providing quite the backdrop to Moz's melodramatic flourishes... plus, he was finally playing Smiths songs! Hearing "There Is a Light That Never Goes Out" live was sheer joy... I caught him again in Boston a few months later, but that was marred by a drunken girlfriend who was causing me trouble at the time... heaven knows I was "miserable" now.



So this year, Morrissey was finally coming to me... Albany's Palace Theater, and I looked forward to bringing my sweet wife Sarah and good friend Frank to share in the experience. As I mentioned, the fantastic independent station WEQX was giving tickets away the other week, and I thought I would give it a shot... and won! So our upgrade to the second row promised to make this show all the more memorable.

There were the expected Morrissey clones--hair quiffs and moody black... people you half-expected to have a book of poetry under their arm. The one thing I haven't mentioned yet is that people have often thought that I resembled the artist (especially during the early 90s), and I haven't heard the last of that once Sarah and Frank made the same observation. I wondered if Moz himself considered it... we were literally looking straight across from each other during the show!

Yes, we realized that our second row seats were actually in the first-- we couldn't have been closer to the stage in some respects. We only caught a little of opening act Kristeen Young, which sounded interesting to me... more like a Bjork clone to Sarah. This was followed by a stream of film clips which I mentioned yesterday... offering a taste of some of Morrissey's early influences, including writer Oscar Wilde, whose wit the Brit certainly shares. 



Once Moz took the stage, you could feel the energy. Devoted fans who held on to their heart, and mouthed every lyric. I enjoyed doing the latter, especially to such songs as "You Have Killed Me" and "Everyday is Like Sunday." Morrissey looked older and didn't seem to move around as much as I remembered, but he and his band certainly did not lack energy or playing ability. At times I found myself impressed at how strong the singer's voice remains... he belted a cover of Frankie Valli's "To Give (The Reason I Live)" that made you think it was a song of his own creation. 

A Morrissey show is not a typical rock show, I think. Because of the nature of his music, it has the air of melancholy... slight depression... yet the music usually succeeds in countering that, and turning it into something quite emotional and, at times, uplifting. This was the case again at this show, although at times I felt it veered too much into a downbeat direction. Case in point: during his rendition of The Smiths' controversial "Meat Is Murder," the outspoken vegetarian showed film clips of the abuses of cattle and poultry farms. I have seen such footage before and been moved by it (I haven't actually eaten red meat in over ten years), but I think showing it in this venue was a bit much. Perhaps something a bit more abstract would have made it easier to digest... my poor wife averted her eyes, and I think many in the audience did not know how to react following this depressing visual... the songs that followed didn't help lift the spirits much. I think it's always a very fine line with this type of music, to not make it too despairing. 

Energy came back to the show in a big way with the common spectacle of fans trying to rush the stage and offer the singer a hug. It is always interesting... I think has been a part of every show I have seen. What happens is a dramatic tug of war between fans, security, and the artist... in some ways it is more "rock and roll" than the more typical shows I see! I was tempted at one point, but did not want to jeopardize my perfect seat. The same reason, I took very few photos... proper cameras were actually prohibited, but once I saw others disobeying and snapping shots with their phones, I decided to do the same. By the end of the concert and an encore of The Smiths classic "How Soon Is Now?" the true emotional energy of a Morrissey concert was revealed, and we were lucky to be able to witness it live, up-front and direct.

After the show, Sarah and Frank kidded me about the resemblance, and also picked up on the fact that many of my "moves" when I am performing seem borrowed from Morrissey. Looks like I have been found out! I hadn't really thought of it, but there is something I have picked up on with some of his stage antics, the same way that I have observed soul artists, The Beatles, Morten Harket, and David Bowie over the years. I especially liked one review of the concert that described Morrissey's use of the microphone cord as resembling a whip for a lion tamer... too true--I have used that trick, as well as the overdramatic sauntering around and falling to the stage. Why not?... I'm not really conscious of it, but I guess I have always been a bit of a sponge for pop music, much like Morrissey himself... 

One cool ending to the night: we ended up landing a V.I.P. pass, and hung out afterwards to try and meet the reclusive singer. After a bit of a wait, security came out and said that unfortunately he had "long gone"... we started to head out, when the singer's long-time guitarist Boz Boorer came out to greet some friends. We managed to speak to him as well, and I finally got my copy of Vauxhall and I signed... not by Morrissey, but I guess this was the next best thing (Boorer had also collaborated on this album that I so enjoyed). 

As I wrote, the next day I was exhausted... but did pull myself together to perform with my improv group. I guess people enjoyed it, but I had mixed feelings. It's hard to just switch it on when you're not really feeling it... especially with comedy. I wondered how musicians like Morrissey manage to do it every night on tour? Performing is not easy, and it must be challenging for the acts who care enough to give their fans a great show every time... Moz seems to find a way--I have yet to attend a bad concert, where he didn't seem to be giving it his all... I'm sure it won't be the last.

All photos ©Jeremy Clowe. All rights reserved.

Related Links:

"Morrissey Pleases Crowd at the Palace," Albany Times Union, October 19, 2012

"Morrissey is the same old Morrissey (in seal-hunt free Albany, N.Y.)," National Post, October 19, 2012

Morrissey's Official Facebook page


Still intrigued? Check out this great documentary we discovered yesterday:
"The Importance of Being Morrissey"

The Swing of Things

Imagine having the perfect view, but knowing you are in the wrong place... Yup. That's me today. I'm afraid I again have a case of the melancholies.

In times like these I turn back to music, which has always helped me when I am feeling down, and no music artist has ever served that purpose better than the band A-ha. Most people know the Norwegian rockers for their ultra-80s hit Take on Me-- in fact, many in North America might think that was all they had up their Swatch watch infested sleeves. But for me, and many others, the band has meant the world and continues to play an important part in our lives.

Delve a little deeper into A-ha's catalogue (which lasted for over 25 years) and you will find a perfect mix of melody and melancholy. I was hooked pretty early on: raised on the Beatles, I recognized a similar songwriting thread from this 80s band that was also influenced by the sound of the 60s. I wore out tapes of their first album Hunting High and Low, which perfectly mirrored the feelings of an introverted teen striving to break free. Their second album, Scoundrel Days, was even moodier, and showed the band's rougher side... this album also came out right before I lost my father. I could never thank the band enough for the support they gave me (through their music) during a very grey and challenging time.



I actually had the great fortune of interviewing the band in 2005 before they performed a sold-out concert in New York City's Irving Plaza. They were just about to release Analogue, one of their strongest albums, and seemed in good spirits-- especially to be back in the U.S. again, where their profile had basically disappeared through the years. I learned many things about their career: how their record company viewed them as difficult for not trying to duplicate their early pop hit; how they remained popular throughout much of the rest of the world, even setting a world record in 1991 for the highest-attended show in Rio de Janeiro... but above all, it was amazing to be sitting next to these artists who had created a body of work that has had such a lasting impact on me.

In 2010 the band decided to call it a day, after releasing another critically acclaimed album, Foot of the Mountain. They returned once again to the U.S., for a final string of shows, before playing around the rest of the world. I was fortunate to make it to each of the American gigs, but felt a little embarrassed that I hadn't quite managed to finish the documentary I had been working on about their music. Part of the delay was due to it being an independent project I had to fit in between regular work, but also... how do you accurately sum up the career of a band that has meant that much to you personally? I did manage to produce a rough version, which I shared with the band, some fans, and with members of the press, to promote their shows in North America. You can view several of the clips here.

2012 marks the 30th anniversary of the founding of A-ha-- they formed in Oslo, Norway back in September 1982, and became the biggest act ever to make it from the Scandinavian country. Artists such as Coldplay, Sondre Lerche, Keane, Kings of Convenience, Morrissey, and even U2 have cited them as an influence. Still, many people only know them for one or two songs in this country. I feel this is the year I need to finish this documentary, and share not only the band's story, but a piece of my own. As they sang back in 1986: Oh, have I come to the point where I'm losing the grip, or is it still time to get into the swing of things...

Standing In The Shadows?

So we have our co-officiants, Sarah has her dress, flowers have been ordered, and now we have chosen a DJ for the wedding. Last night we spent some time clicking through YouTube to figure out some songs we would like to include. Suddenly, I noticed a trend-- many of my favorite bands specialize in "sad songs." I prefer to call it melancholia, but yeah... even the Temptations. Dilemma: I need to hear some classic soul on my big day!

Ok, so there's "My Girl" and "Get Ready," but what made me fall hard for the Tempts about ten years ago were such agonizing classics as "(I Know) I'm Losing You," "I Can't Get Next To You," and "I Wish It Would Rain." When I think about it, a lot of those old soul songs are so sweet because of the combination of seemingly upbeat music and heartbreaking lyrics-- "Standing in the Shadows of Love" says it all. Last night I realized that even Fitz & The Tantrums, one of my current retro-soul faves, continues the tradition... huh!

I don't know what it is that attracts me to the bluesier side of music. I guess part of the charm of the Temptations was lead singer David Ruffin's impassioned vocals: "I know you wanna leave me... but I refuse to let you go..." However, I want to start my wedding off "on the good foot," so I guess I'll need to dig a little deeper. Actually, Stevie Wonder had some great hits back in the early days that still managed to have some edge (thanks in part to the Funk Brothers).  And come to think of it, there IS a great Eddie Kendricks/David Ruffin duet by the Tempts that would work perfectly for the occasion... for my everything. Ok, I'll be fine: signed, sealed, and delivered!

Oh, and one more thing to add to this year's to do list: finish my Motown documentary- seriously. Here's a preview clip: