REVIEW: Morrissey, Maladjusted (Mercury)

- Bob Gajarsky

Every time that Steven Patrick Morrissey has faced a crossroads in his career, the enigmatic vegetarian has risen to the challenge and produced a blockbuster album. When there were questions following the breakup of the Smiths, Morrissey blew away critics and stunned fans with the spectacular Viva Hate and its Smiths-like single "Suedehead". After stumbling sharply with Kill Uncle, Mozz returned in top form, with a touch of the hat to T-Rex, on Your Arsenal. So, with the disappointing showing of Southpaw Grammar, it was hoped that Maladjusted would showcase the return to the top of the alternative heap for Mr. Morrissey.

Unfortunately, it just wasn't meant to be.

I'll admit by stating that I have a huge affinity for Morrissey, back to his days with the Smiths and his solo career. All his B-sides remain in my collection, some of which stand out (just as Oasis') as 'just as good as the A-sides'. So my feelings on previous Morrissey albums have usually fallen under the category of "It's not the Smiths, but it's still real good'. This time, on all fronts, he has produced a lackluster effort.

The first single, "Alma Matters", would be widely talked about among Morrissey fans - if it was one of those B-sides. It lacks any of Morrissey's well-known verbal witticisms, and musically forms a bridge between "Break Up The Family" and the B-side "Swallow Round My Neck". The only other potential single, "Ammunition", also moves at a similar pace.

A bellweather track for Morrissey fans to determine their fondness for Maladjusted would have to be "I Know It's Gonna Happen Someday", from 1992's Your Arsenal. Most of the songs on Maladjusted proceed at the same slow pace which made "Someday" either loved or hated among Morrissey's devotees.

The biting "Sorrow Will Come In The End" is an apparent snipe at his former Smiths bandmates who won court damages against Morrissey and Marr. Unfortunately, Steven expresses his venom at the cost of foregoing any sense of musical interest - the closest comparison would be to a failed attempt at spoken word. Similar lyrical misadventures occure on "Roy's Keen", which could be "Hairdresser On Fire", part 2, while the title track extends on "Late Night, Maudlin Street"; musically, however, both lack passion and creativity. The final track, "Satan Rejected My Soul", stands out as a Southpaw Grammar reject, but at least brings up the pace of Maladjusted to tolerable.

On a new label (Mercury in the States; Island in his native land), Morrissey has delivered an album which will not only avoid bringing any new fans into his camp, but likely will drive some loyalists away. It's too bad that a man who has produced fifteen years of brilliant work could release a non-descript, even boring, album known as Maladjusted.