Discovery of the Smiths to 16 years in 1986 Bigmouth Strikes Again in English. Big culture shock, high identification with certain texts, later wanted to become Johnny Marr. Venerate the Smiths does not prevent me out in acid-house, or listen to the Beastie Boys and Public Enemy, or even eventually consider the group as deeply reactionary, although still valuable 25 years later. Hang the DJ because the music that he plays has nothing to do with my life. I find the song lyrics but the super double-edged: already at that time the music of the Smiths who has nothing to do with my life and not the house, funk, rap, rock fusion, Happy Mondays, Primal Scream and all that the group is conchier mine.

I do not Strangeways Here We Come, the last Smiths, but when released in 1988 Viva Hate, the first solo Morrissey, I’m totally captivated. It is on this disc will move forward to try lots of things that could not be done in the context of the group. There is a weird side to the disc and singles debut, a very “science fiction”, frankly staggered. This is the direction I wanted to see evolve Morrissey, the scenario of the word dandy fragile beating top is a world disrupted. In fact, it’s very simple, I wanted to become Morrissey Jarvis Cocker, Pulp plays it. In its place, he preferred to send his fellow Stephen Street turn these badgers in Blur of the kings of pop, was surrounded by a group of rock opera and began to toss the wrong stadium announcing glam music Kaiser Chiefs a few years ahead but with less features. In short, Morrissey, very quickly, became an artist as the Morrissey of 1984 would have insulted interview. A caricature, even a sham.

Enjoying a cult and tenacious global position as an apostle of misunderstood romantic, this “going in couille” has, I think, never been too commented. We told tons this traitor of Johnny Marr to the party in kakou electropop but except when he was accused of racism by the English press, Morrissey has never had too much to explain its crappy albums ( including Vauxhall and I, do not shit), his songs tell unless the Patricia Kaas and eternal idiot cabotinage (45 brushes Dépucelé? It celaaaa, yes …). Like Bowie, he was too much excuse and refuses intrinsic truth: artistically, this guy has released his latest dazzling 21 years ago (Late Night, Maudlin Street: text to cry, cosmic music) and capitalize on its legend since; helped by a confident public here to take the ultimate rebel, while fundamentally the report to the entertainment industry for a Britney Spears may be more adventurous and creative than Morrissey, who ever that does not deliver what is expected of him, possibly with a cynical grin as a bonus gift.

The Church of Puck inviolée His Holiness Stephen Patrick trouvera perhaps, surprises and pleasures in this Years Of Refusal to us, we, well done laughing, writing. It gave the game of musical similarities Adam & The Antz and Plastiiiic Bertrand, felt that the article too fast when his lyrics, Morrissey sounds like Jacques Villeret in La Soupe aux Choux. A great piece mariachi appears to honor Latino gangs who worship the man in Los Angeles but never that bad Calexico. Another song sample dialogue of a French film that we did not bother to try to recognize asleep well before the final credits. And Black Cloud, hahaha! Black Cloud on not only t’as JEFF BECK (yes, Jeff Beck), but also a small line acid 303 TB: No, you do not dream, just that there, it’s a little mercy compared to what made by Bomb The Bass with the same idea (but with Jon Spencer in place of the old scrap Beck!) on his last album! Only song to save (which would have been a face B2 of the time of The Smiths): I’m Throwing my Arms around Paris, go, you reason, Momo is a great city! So what? You dare? Yes, we dare: THIS ALBUM IS A Goddammit! That .