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Autobiography
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Audible Audiobook
Listening Length: 12 hours and 45 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Penguin Audio
Audible.com Release Date: December 3, 2013
Language: English, English
ASIN: B00H2BVT0U
Amazon Best Sellers Rank:
Most rock stars aren’t expected to be men of letters, so all that’s asked of their memoirs is an adequate retelling of sex-drugs-and-rock-and-roll anecdotes fleshed out by a competent ghost writer. Not so with Morrissey. His brilliant lyrics (for those like myself who consider them so) inspire high literary expectations, and with this long-awaited autobiography Morrissey proves himself up to the challenge.The first quarter of the book, in which he vividly describes his youth in Manchester, is a phenomenal piece of writing. In eloquently rendered, unconventional prose that resembles a sort of thesaurus-wringing beat poetry, Morrissey depicts latter-20th-century working-class life in Northern England as a bleak, modern Dickensian world in which children are beaten by sadistic teachers and every day is silent and gray. Music is the only means of escape for young Morrissey, and one day he decides to stop idolizing bands and start becoming one. Fans of the Smiths will probably be disappointed by the brevity with which he covers his tenure with that band, but it was after all only 10 percent of his life span. The centerpiece of the book is his Kafkaesque account of The Smiths trial in which drummer Mike Joyce sued Morrissey and guitarist Johnny Marr for additional royalties. Here Morrissey really piles the acrimonious invective on Joyce, the lawyers, the judge, and the British justice system in general. He insists over and over again how he got the shaft, and, from his one-sided account, it certainly appears that he did. One can understand Morrissey’s desire to state his case once and for all, and his account is quite riveting for a while, but it goes on far too long. What really kills the book, however, is its final quarter, which consists of an elaborate tour diary in which Morrissey travels the world, basking in the glory of his You Are the Quarry renaissance. He recounts every city he stopped in, how the crowd loved him, and how he loved them loving him. This sort of writing would be fine for a what-it’s-like-to-be-a-rock-star fluff piece in Rolling Stone, but it feels out of place in this otherwise uncommonly literary memoir.There’s not much in this book about writing songs or recording music. If you’re interested in details of that sort, I would suggest checking out Simon Goddard’s Mozipedia. There is, however, quite a bit said about the marketing of music—as in, no record company or manager ever did enough for Morrissey. It’s surprising how much he obsesses over the chart position of each and every recording. Despite all his scorning of the mainstream and his honorary status as a godfather of “alternative†music, what he really wanted all along was to be the next Beatles. Those hoping for bits of show-biz gossip won’t be disappointed, as Morrissey recounts myriad run-ins with musicians, movie stars, and television personalities and how each and every one of them somehow disappointed him.Morrissey, in his own words, makes himself sound egotistical, cantankerous, petty, vindictive, querulous, ungrateful, and mean-spirited. Nevertheless, he somehow comes across as quite likeable and frequently hilarious. After reading Autobiography, I don’t think I’d want to hang out with the guy, but one can’t help but admire what he’s achieved in his music career and what he has accomplished with this exceptional book. This may not be quite the memoir diehard fans have been waiting for, but still it’s definitely well worth its cover price.
Disclaimer: I have loved Morrissey since 1983 and my review may be biased, but here goes...The most endearing passages of his story were his descriptions of the emotional connection he feels with his audience. I've seen him appear live twice in my life with a 32 year span between. At both shows, the love in the air was almost palpable and I wondered, "Does he feel what we, his audience, are giving him?" These questions were put to rest after reading this book. Regardless of whether you feel too many pages were dedicated to the Joyce debacle, we must remember that this is his story, from his perspective, and quite honestly, I didn't mind it. He could write about a fart in a bathtub and it would read like classic literature.
Google it - the US edition has details of Morrissey's personal life edited out - details that were apparently deemed likely to upset American readers, who (even when looking to read Morrissey's autobiography) are apparently likely to be offended by discussion of homosexuality. I returned mine and will be buying the British edition. Scandal.
Ah….Morrissey. Who in Generation X doesn’t have an opinion on Manchester’s Bard? I suppose one’s opinion of Morrissey would dictate the level in which you would like his AUTOBIOGRAPHY, but honestly, what non-fan, or hater, would want to read 454 pages on the life of Moz? Obviously I’m a fan, having only survived college due to the relentless sturm und drang of VIVA HATE. Even with that bit of trivia, I can still honestly call a duck a duck, and Morrissey has always seemed, well, not so much unlikable as hard to like. So it was with great excitement that I delved into the life of one Stephen Michael Morrissey, born May 22, 1959 in gloomy Manchester, England. The book is divided into basically three sections: childhood and secondary school, the formation and reign of the Smiths, and the solo career and touring schedule of the new romantics leading statesman. To say that this is the best musical autobio since Dylan’s CHRONICLES would be a correct statement. The description of life in the 1960s in Manchester sounds even gloomier than one could imagine, and young Moz does not fit in, especially after his discovery of Bowie and the New York Dolls. Much like CHRONICLES, Moz’s bio strays from a traditional “tell-all†approach of the 1970s-80s Winters-Bacall-MacLaine variety and more into a meditation of time, place and emotion. Since Morrissey emerged on the scene in 1983 the UK press has been filled with negative press about him, and that continued through his solo career and even last summer after the aborted US tour. The question is, why? Morrissey gives no clue as to what makes him feel unpopular, and in almost every story he tells he is the unintended victim, whether it being Paul McCartney’s refusal to have his picture made with him (despite Morrissey working with Linda on vegan causes) or the constant vilification from the NME. Maybe he can’t provide said insight? As someone who considers myself quite knowledgeable on pop culture I counted over 150 names that were new to me, most British actors from the 1970s, but their influence on Morrissey is great, and his meetings with them usually not. SPARE RIB magazine, Norma Winstone and Simon Topping all get name-checked. Unless you’re a fan on the man, I can’t see how you would get enjoyment from this book, but if you, well, then you’ve probably already read it.
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