Morrissey has always said that it’s enough to talk about the Smiths, because his solo career is already almost 10 times longer. Although not 10 times better, the artist has delivered a huge collection of singles and also several impeccable albums. Following the chapter of the REVELACIÓN O TIMO podcast that we dedicated to the career of the Smiths, we analyze Morrissey’s solo career, in the company of Inma García, former Mano de Santo.
And although the artist has not published this album of reconciliation that we long for this year, he has decided to visit us. He canceled in Valencia for the strangest reasons, but he did appear days later in Zaragoza and Seville and returns to Spain in July. Morrissey will perform, if he wants, on July 25 at the Poble Espanyol in Barcelona, and on July 29 at the Movistar Arena in Madrid. Tickets are available at Primavera Tours.
Inma, who was in Zaragoza, offers us the chronicle of such a recent show that she calls “great”, but not before confessing that she will use this podcast as “therapy” for what has been Morrissey’s drift in recent years. We talk about his controversial political statements, sometimes close to the extreme right, sometimes threatening to denounce anyone who maintains that he is extreme right.
But above all we focus on the musical, going from the goodness (and not so goodness) of the new ‘Make Up Is a Lie’ – of which he is only performing 3 songs live – to the best of his repertoire. We talk about all of Morrissey’s post-Smiths albums, since we give some insight into all of them, although focusing on 5 essential ones. Among them, the debut ‘Viva Hate’ -perhaps somewhat irregular, but containing their 2 most notable songs-, ‘Vauxhall and I’, ‘Morrissey, You Are the Quarry’… and then some surprises.
García confesses to us that she decided to be a vegetarian at a Morrissey concert and reveals curiosities such as Morrissey’s inspiration in “kitchen sink realism.” For example in the work ‘A Taste of Honey’ by Shelagh Delaney. The movement that portrayed youth disenchantment in the 50s and 60s could have parallels today.
