Coordinates	41°52′55″N87°37′40″N
name	Dick Morrissey
background	non_vocal_instrumentalist
birth name	Richard Edwin Morrissey
birth date	May 09, 1940
death date	November 08, 2000
instruments	Tenor sax, soprano sax, flute
genre	Jazzhard bopsoul jazzjazz-rockjazz fusion
occupation	Musician and composer
years active	c. 1960–2000
label	Various
associated acts	IfMorrissey-MullenAlexis KornerJon & VangelisVangelisRocket 88Gary NumanPete York
notable instruments	}}

Richard Edwin "Dick" Morrissey (9 May 1940, Horley, Surrey - 8 November 2000, Deal, Kent) was a British jazz musician and composer. He played the tenor sax, soprano sax and flute.

Biography

Background

Dick Morrissey emerged in the early 1960s in the wake of Tubby Hayes, Britain’s pre-eminent sax player at the time. Self-taught, he started playing clarinet in his school band at the age of sixteen and then joining the Original Climax Jazz Band. Going on to join trumpeter Gus Galbraith's Septet, where alto-sax player Peter King introduced him to Charlie Parker's recordings, he began specialising on tenor saxophone shortly after.

Making his name as a hard bop player, he appeared regularly at the Marquee Club from August 1960, and recorded his first solo album at the age of 21, ''It’s Morrissey, Man!'' (1961) for Fontana, featuring Stan Jones on piano, Colin Barnes on drums, and The Jazz Couriers founding member Malcolm Cecil on bass. He spent most of 1962 in Calcutta, India as part of the Ashley Kozak Quartet, playing three 2-hour sessions seven days a week, before returning to the UK and forming his quartet with Harry South - who had also been in the quartet in Calcutta - on piano. They were joined by former The Jazz Couriers bassist Phil Bates and variously, another ex-The Jazz Couriers member, Bill Eyden, Jackie Dougan or Phil Seamen on drums. The Dick Morrissey Quartet recorded three LPs, ''Have You Heard?'' (1963); the live recording ''Storm Warning!'' (1965) on Mercury; and ''Here and Now and Sounding Good!'' (1966). The quartet, played regular London gigs at The Bull's Head, Barnes and at Ronnie Scott's, whose manager, Pete King, once said that Ronnie's was kept going in those days due to the crowds Dick Morrissey pulled in. During this time he also played extensively in bands led by Ian Hamer and Harry South, including The Six Sounds, featuring Ken Wray and Dick Morrissey, a band which by 1966 had developed into the Ian Hamer Sextet featuring South, Dick Morrissey, Keith Christie, Kenny Napper and Bill Eyden, among other leading UK-based jazz musicians.

He also played briefly in Ted Heath's Big Band, which featured many name jazz musicians over the years, as well as appearing as a featured guest on the classic Johnny Dankworth and his Orchestra recording, ''What the Dickens!'' and the Harry South Big Band. Likewise, together with fellow tenors Stan Robinson and Al Gay, baritone sax Paul Carroll, and trumpets Ian Carr, Kenny Wheeler and Greg Brown, Dick Morrissey formed part of (Eric Burdon and) The Animals' Big Band that made its one-and-only public appearance at the 5th Annual British Jazz & Blues Festival in Richmond (1965).

By the mid-60s, he had over two consecutive years come in second place behind Hayes in the Melody Maker Jazz Poll (1966 & 1967) and many US musicians touring Britain at the time, notably Brother Jack McDuff, a live recording with Jimmy Witherspoon, two LPs with J.J. Jackson, and Sonny Stitt together with guitarist Ernest Ranglin (live at Ronnie Scott's) recorded with him during the Sixties and early Seventies.

Dick Morrissey performed regularly at the National Jazz Festival in the 1960s; his last appearance under his own name there was at the 6th festival held at Windsor (1966), although he would return to the festival with ''if'' in 1972 for their only appearance.

In 1969, Dick Morrissey, by then many-time winner and runner-up of the Melody Maker Jazz Poll, teamed up with another Melody Maker award-winner, guitarist Terry Smith, with whom he had worked in J.J. Jackson’s Band, to form an early jazz-rock group, ''if''.

Morrissey-Mullen

When ''if'' disbanded in 1975, Dick Morrissey went to Germany on a tour with Alexis Korner and then to the United States to tour and record with the Average White Band, and met up with Glaswegian guitarist, Jim Mullen, who had played with Brian Auger's Oblivion Express with some of the members of AWB, and together they formed Morrissey - Mullen (aka M&M;), recording their first album, ''Up'' (1976) in New York. On returning to Great Britain, Morrissey - Mullen formed a band which rapidly became Britain’s most highly acclaimed jazz-fusion band of the day, initially including two top session musicians from New Zealand, Frank Gibson, Jr. and Bruce Lynch.

M&M; recorded seven albums over the 16 years they were together, with Morrissey and Mullen collaborating on each other’s solo albums, notably ''After Dark'' (1983) with John Critchinson, Ron Mathewson, Martin Drew, Barry Whitworth. The line-up for later gigs also featured John Burch on piano, with whom Dick Morrissey would also form an informal group called "Our Band", also featuring Louis Stewart and/or Jim Mullen on guitar, as well as the above-mentioned Ron Mathewson and Martin Drew.

During that period, Dick Morrissey also recorded ''Souliloquy'' (1986), featuring Max Middleton, Kuma Harada, Robert Ahwai (all three of whom had also appeared on Morrissey - Mullen's first UK-recorded album, ''Cape Wrath'', in 1979), Steve Ferrone, Danny Cummings, Bob Weston and Lenny Zakatek.

Other collaborations

As well as leading his own jazz combos, as a "musicians' musician", Dick Morrissey was in continuous demand as a guest artist with other British or UK-based jazz musicians, most especially with trios and quartets. Thus he was often to be found jamming with established names such as Tubby Hayes, Bill Le Sage, Roy Budd, Ian Hamer, Ian Carr, Tony Lee, Tony Archer, Michael Garrick (who dedicated him his 1965 composition "Leprechaun Leap"), Spike Robinson, Allan Ganley, alto saxophonist Peter King, Ray Warleigh, etc.

In between regular M&M; gigs, Dick Morrissey would also meet up with old friends Ian "Stu" Stewart, Charlie Watts, Alexis Korner, Jack Bruce, Colin Hodgkinson, Don Weller, Zoot Money, John Picard and Colin Smith, to play boogie-woogie/jazz/rock with the back-to-the-roots fun band, ''Rocket 88'', that Stewart put together with boogie-woogie pianist Bob Hall.

Apart from the early recordings with visiting US performers mentioned above, Dick Morrissey also toured and/or recorded with Charly Antolini, Alexis Korner (several albums), Hoagy Carmichael, participating on Hoagy's last album, ''In Hoagland'' (1981) featuring Georgie Fame and Annie Ross, with arrangements by Harry South, Mike Carr, Georgie Fame, Brian Auger, Dusty Springfield, Freddie Mack, Pete York, Paul McCartney, Gary Numan, Phil Carmen, Herbie Mann, Shakatak, Peter Gabriel (The haunting and uplifting solo in "Start" from his third "Melting Face" album), Jon Anderson (and as a member of the New Life Band's The Song of Seven Tour in 1980), Demis Roussos, Jon & Vangelis and Vangelis, as well as playing the haunting saxophone solo on the Vangelis composition "Love Theme" for the 1982 film ''Blade Runner''.

Other musicians and performers Dick Morrissey shared the stage with include David "Fathead" Newman, Tommy Körberg, Boz Scaggs, Johnny Griffin, David Sanborn, Steve Gadd, Richard Tee, Billy Cobham, Michael Brecker, Randy Brecker, Sonny Fortune, Sonny Sharrock and Teddy Edwards (with whom he jammed a "duel" at London's 100 Club in the early 1980s), Mel Collins, Dick Heckstall-Smith, John Surman, Graham Bond, Klaus Doldinger, Al Casey, Miller Anderson, Bridget St. John and so on.

Whatever the style of music he was playing, be it pop, rock, hard bop or straight ahead jazz, Dick Morrissey showed that music could be appreciated at many different levels, and that even the most simplistic pop or rock song could be embellished with an authentic jazz groove. In this way he was able to reach new audiences and albeit indirectly, introduce people to jazz. When at different stages of his career, journalists asked him to define his style, he would refer to Duke Ellington's definition: "It's all music" and pointing out that for Ellington there were only two types of music: "good" or "bad". To that end, his last few recordings concentrated more than ever on jazz standards and the Great American Songbook.

Death

Dick Morrissey died on 8 November 2000, aged 60, after many years fighting various forms of cancer. To the end of his life, he could be seen and heard, seated in his wheelchair, playing to a full house at his local pub "The Alma" in Deal, Kent. His last gig was a reunion with the Morrissey/Mullen band (inc Jim Mullen and Pete Jacobsen) at The "Astor" Theatre in Deal. His funeral, held in Deal, was attended by many of his fellow musicians including Allan Ganley. Following his death, the UK national press published the following obituaries (excerpts):

In the obituary published in ''The Times'', British music critic Chris Welch wrote that Dick Morrissey was a

"fiery musician who straddled the worlds of jazz and rock, but with a style built firmly on bebop and widely regarded as the most brilliant British saxophonist to emerge in the wake of Tubby Hayes. His advocacy of jazz-rock fusion successfully brought jazz to a rock audience and rock to a jazz audience".

Steve Voce writing an obituary for ''The Independent'' added:

"The key to Dick Morrissey's talent, in a career that spanned four decades, was his ability to get through to an audience. He was one of the great communicators of jazz and ... able to communicate with his listeners and quickly to establish a bond with them ... [l]ike Charlie Parker before him, he was somehow able to lift audiences that knew little or nothing about his music".

Although one could from time to time imagine a feel of the American players Sonny Rollins or Johnny Griffin in Morrissey's work, he was outstanding among British players for his originality. Despite the sophistication of his ideas there was often a down-home quality to his punchy and hard swinging solos, and this was a reflection of one of his idols, the tenorist Stanley Turrentine. He was a lightning improviser and the flood of his inventions flew through his fingers with ease, for he was a masterful player."

Ronald Atkins, writing in ''The Guardian'', put it thus:

"John Coltrane's approach to the tenor had yet to make much of an impact in Britain, and Morrissey came up with a startling and warmly appreciated blend of Stan Getz and Sonny Rollins, the phrasing of one allied to the abrasive tones of the other. He was also influenced by the example of Tubby Hayes, whose lightening-quick [sic] forays through complex harmonies he was probably the first to emulate".

The obituary in ''The Daily Telegraph'' read:

"Dick Morrissey, who has died aged 60, was among the finest European jazz musicians of his generation. His command of the tenor saxophone was masterly, but it was the unforced fluency of his playing, expressed in a characteristically broad and sweeping tone, that attracted the greatest admiration.

Stylistically, Morrissey was so flexible that he was able to fit happily into many contexts, from straightforward hard-bop, through jazz-rock and jazz-funk to soul-inflected pop music. He possessed the remarkable knack of making everything he played sound not only exciting but happy."

Discography

References

External links

Dick Morrissey at Artist Direct

Dick Morrissey obituary in "The Last Post"

Dick Morrissey collected obituaries and tributes

National Jazz and Blues Festival

Category:1940 births Category:2000 deaths Category:English composers Category:English jazz musicians Category:Jazz saxophonists Category:English jazz saxophonists Category:Jazz tenor saxophonists Category:Bebop saxophonists Category:Hard bop saxophonists Category:Post-bop saxophonists Category:Soul-jazz saxophonists Category:Mainstream jazz saxophonists Category:Jazz fusion saxophonists Category:English session musicians Category:People from Deal, Kent Category:People from Horley Category:Cancer deaths in England

de:Dick Morrissey

Coordinates	41°52′55″N87°37′40″N
name	Morrissey
imgsize	100px
background	solo_singer
birth name	Steven Patrick Morrissey
birth date	May 22, 1959
genre	Alternative rock, indie pop, indie rock
instrument	Vocals
occupation	Singer-songwriter, lyricist
years active	1977–present
label
associated acts	The Smiths, The Nosebleeds, Slaughter & The Dogs, Nancy Sinatra
website	Itsmorrisseysworld.com }}

Steven Patrick Morrissey (born 22 May 1959), known as Morrissey, is an English singer and lyricist. He rose to prominence in the 1980s as the lyricist and vocalist of the alternative rock band The Smiths. The band was highly successful in the United Kingdom but broke up in 1987, and Morrissey began a solo career, making the top ten of the UK Singles Chart on ten occasions. Widely regarded as an important innovator in indie music, Morrissey has been described by music magazine ''NME'' as "one of the most influential artists ever," and ''The Independent'' has stated "most pop stars have to be dead before they reach the iconic status he has reached in his lifetime." Pitchfork Media has called him "one of the most singular figures in Western popular culture from the last twenty years."

Morrissey's lyrics have been described as "dramatic, bleak, funny vignettes about doomed relationships, lonely nightclubs, the burden of the past and the prison of the home." He is also noted for his unique baritone vocal style (though he is known to sometimes use falsetto for emphasis), his quiff haircut and his dynamic live performances. His forthright, often contrarian opinions, especially on the subject of race, have led to a number of media controversies, and he has also attracted media attention for his advocacy of vegetarianism and animal rights.

Biography

Early life: 1959–76

Morrissey was born on 22 May 1959 at Park Hospital in Davyhulme, Urmston, Lancashire to Irish Catholic immigrants who had emigrated to England with his only sibling, elder sister Jackie, a year prior to his birth. His father, Peter Morrissey, was a hospital porter and his mother, Elizabeth Dwyer, was an assistant librarian. Morrissey was predominantly raised within inner-city Manchester; his family first lived at Harper Street in Hulme before moving to Queen's Square, near Moss Side, in 1965. In 1969, when many of the old streets and tenements were facing demolition, Morrissey's parents moved to a three-bedroomed house on King's Road in the suburb of Stretford.

As a child, Morrissey developed a number of interests and role models that distinguished him from his peers, including female singers and pop stars like Dusty Springfield, Sandie Shaw, Marianne Faithfull and Billy Fury. He was also interested in the "kitchen sink"-style social realism of late 1950s and early 1960s television plays, ''Coronation Street's'' Elsie Tanner, actor James Dean, along with authors Oscar Wilde and Shelagh Delaney. The Moors Murders—which involved a young working-class couple, Ian Brady and Myra Hindley, who had abducted, raped and killed three children and two teenagers from the Manchester area between July 1963 and October 1965—devastated and scandalised the city when the matter came to trial in April–May 1966, and this collective trauma is said to have made a profound and lasting impression on Morrissey growing up.

In adolescence, Morrissey has said his athletic ability saved him to a large degree from bullying. Still, he has described this period as a time when he was often lonely and depressed. As a teenager, he began taking prescription drugs to help combat the depression that would later follow him throughout his life. He attended St. Mary's Secondary Modern School and Stretford Technical School, where he passed three O levels, including English Literature. He then worked briefly for the Inland Revenue, but ultimately decided to "go on the dole."

Of his youth, Morrissey said, "Pop music was all I ever had, and it was completely entwined with the image of the pop star. I remember feeling the person singing was actually with me and understood me and my predicament." From 1974, he frequently wrote letters to music magazines like ''Melody Maker'' and the ''NME'', giving his forthright opinions on various bands. Morrissey would sometimes venture out to see bands at local Manchester venues; the first such occasion being T. Rex at Belle Vue in 1972. He was taken there by his father, fearing for his safety in the notoriously rough district. Morrissey has described the occasion as "messianic and complete chaos."

Early bands and published books: 1977–81

Throughout the 1970s, a teenage Morrissey acted as president of the UK branch of the New York Dolls fan club. He articulated his love for the group in the documentary ''New York Doll'': "Some bands grab you and they never let you go and, no matter what they do, they can never let you down... the Dolls were that for me." This New York Dolls influence made Morrissey an early convert to punk rock. Morrissey, then still with forename, briefly fronted The Nosebleeds in 1978, who by that time included Billy Duffy on guitar (Duffy went on to form the post-punk band The Cult). They played a number of concerts, including one supporting Magazine, which resulted in an ''NME'' review by Paul Morley. Morrissey also founded The Cramps fan club, the Legion of the Cramped, with another enthusiast for their music, Lindsay Hutton, but he progressively scaled down his involvement in the club over time because of the increasing amount of time he was devoting to his own musical career.

Morrissey wrote several songs with Duffy, such as "Peppermint Heaven," "I Get Nervous" and "(I Think) I'm Ready for the Electric Chair," but none were recorded during the band's short lifespan, which ended the same year. After The Nosebleeds' split, Morrissey followed Duffy to join Slaughter & the Dogs, briefly replacing original singer Wayne Barrett. He recorded four songs with the band and they auditioned for a record deal in London. After the audition fell through, Slaughter & the Dogs became Studio Sweethearts without Morrissey.

The singer interrupted his music career at around this time, focusing instead on writing on popular culture. He published two works with Babylon Books: ''The New York Dolls'' (1981), about his favourite band; and ''James Dean is Not Dead'' (1983), about actor James Dean's brief career. A third book, ''Exit Smiling,'' which was actually written first (in 1980) and which dealt with obscure B movie actors, was initially rejected and remained unpublished until 1998.

The Smiths: 1982–87

In early 1982, Morrissey met the guitarist Johnny Marr and the two began a songwriting partnership: "We got on absolutely famously. We were very similar in drive." After recording several demo tapes with future Fall drummer Simon Wolstencroft, in autumn 1982 they recruited drummer Mike Joyce. They also added bass player Dale Hibbert, who provided the group with demo recording facilities at the studio where he worked as a factotum. However, after two gigs Marr's friend Andy Rourke replaced Hibbert on bass because neither Hibbert's bass playing nor his personality "meshed" with the rest of the group. Signing to independent record label Rough Trade Records, they released their first single, "Hand in Glove", in May 1983. It was championed by DJ John Peel, as were all their later singles, but it failed to chart. The follow-up singles "This Charming Man" and "What Difference Does It Make?" fared better when they reached numbers 25 and 12 respectively on the UK Singles Chart. Aided by praise from the music press and a series of studio sessions for Peel and David Jensen at BBC Radio 1, The Smiths began to acquire a dedicated fan base. In February 1984, they released their debut album ''The Smiths,'' which reached number two on the UK Albums Chart.

In 1984, the band released two non-album singles: "Heaven Knows I'm Miserable Now" (their first UK top-ten hit) and "William, It Was Really Nothing". The year ended with the compilation album ''Hatful of Hollow.'' This collected singles, B-sides and the versions of songs that had been recorded throughout the previous year for the Peel and Jensen shows. Early in 1985 the band released their second album, ''Meat is Murder'', which was their only studio album to top the UK charts. The single-only release "Shakespeare's Sister" reached number 26 on the UK Singles Chart, though the only single taken from the album, "That Joke Isn't Funny Anymore", was less successful, barely making the top 50.

During 1985, the band undertook lengthy tours of the UK and the US while recording the next studio record, ''The Queen is Dead''. The album was released in June 1986, shortly after the single "Bigmouth Strikes Again". The record reached number two in the UK charts. However, all was not well within the group. A legal dispute with Rough Trade had delayed the album by almost seven months (it had been completed in November 1985), and Marr was beginning to feel the stress of the band's exhausting touring and recording schedule. Meanwhile, Rourke was fired in early 1986 for his use of heroin. Rourke was temporarily replaced on bass guitar by Craig Gannon, but he was reinstated after only a fortnight. Gannon stayed in the band, switching to rhythm guitar. This five-piece recorded the singles "Panic" and "Ask" (with Kirsty MacColl on backing vocals) which reached numbers 11 and 14 respectively on the UK Singles Chart, and toured the UK. After the tour ended in October 1986, Gannon left the band. The group had become frustrated with Rough Trade and sought a record deal with a major label, ultimately signing with EMI, which drew criticism from the band's fanbase.

In early 1987, the single "Shoplifters of the World Unite" was released and reached number 12 on the UK Singles Chart. It was followed by a second compilation, ''The World Won't Listen,'' which reached number two in the charts – and the single "Sheila Take a Bow," the band's second (and last during the band's lifetime) UK top-10 hit. Despite their continued success, personal differences within the band – including the increasingly strained relationship between Morrissey and Marr – saw them on the verge of splitting. In July 1987, Marr left the group and auditions to find a replacement proved fruitless.

By the time the group's fourth album ''Strangeways, Here We Come'' was released in September, the band had split up. The breakdown in the relationship has been primarily attributed to Morrissey's annoyance with Marr's work with other artists and to Marr's growing frustration with Morrissey's musical inflexibility. ''Strangeways'' peaked at number two in the UK, but was only a minor US hit, though it was more successful there than the band's previous albums.

Solo career: 1988–97

In March 1988, a mere six months after the Smiths' final album, Morrissey released his first solo album, ''Viva Hate.'' To create the album, Morrissey teamed up with former Smiths producer Stephen Street, Vini Reilly of Durutti Column (and formerly of the Nosebleeds), and drummer Andrew Paresi. ''Viva Hate'' reached number one upon release, supported by the singles "Suedehead" and "Everyday Is Like Sunday". ''Viva Hate'' was certified Gold by the RIAA on 16 November 1993.

Morrissey initially planned to release a follow-up album entitled ''Bona Drag'' after releasing a few holdover singles from the ''Viva Hate'' sessions. As such, he released "The Last of the Famous International Playboys," "Interesting Drug," and "Ouija Board, Ouija Board" over the course of 1989. The first two of these became top ten hits. However, by the end of 1989 it became apparent that he would not be able to put out an album of new material soon enough. Morrissey decided to scrap the idea of a full-length LP and release ''Bona Drag'' as a compilation of singles and B-sides instead. The album collected these early singles along with further non-album cuts such as "November Spawned a Monster," "Piccadilly Palare," "Disappointed" and the B-side "Hairdresser on Fire."

After a falling out with Stephen Street, Morrissey recruited the production aid of Clive Langer and songwriting services of Mark E. Nevin, of Fairground Attraction, for the studio follow-up to ''Viva Hate,'' entitled ''Kill Uncle.'' The album peaked at number eight on the UK charts. The two singles released in promotion of the album, "Our Frank" and "Sing Your Life," failed to break the Top 20 on the singles charts reaching number 26 and number 33 respectively. Morrissey released two non-album singles, "Pregnant for the Last Time" and "My Love Life." The band Morrissey assembled in 1991 for his ''Kill Uncle'' tour went on to record 1992's hit album ''Your Arsenal.'' Composition duties were split between guitarists Boz Boorer and Alain Whyte, who have been the core of Morrissey's band until the later stages of his comeback period. ''Your Arsenal'' was produced by former David Bowie guitarist Mick Ronson, and earned a Grammy Award nomination for Best Alternative Album. The album peaked at number four on the UK charts, with two of its three singles, "We Hate It When Our Friends Become Successful" and "You're the One for Me, Fatty," both debuting in the Top 20 in the UK.

By 1994, Morrissey had suffered the loss of three people close to him: Mick Ronson, Tim Broad and Nigel Thomas. Channelling his grief, Morrissey wrote and recorded his second number one album in the UK, ''Vauxhall and I.'' Years after the release, Morrissey acknowledged that he felt at the time that it was going to be his last album, and that not only was it the best album he'd ever made but that he would never be able to top it in the future. One of the album's songs, "The More You Ignore Me, the Closer I Get," reached number eight in the UK and number 46 in the US. That year, he also released a single "Interlude" in duet with Siouxsie Sioux of Siouxsie and the Banshees. Following the success of ''Vauxhall and I'' Morrissey began work on ''Southpaw Grammar'' in early 1995. When released in August, the album was a hit, reaching number four in the UK. However, both of its singles failed to chart in the Top 20. The nature of the album was different to past Morrissey releases. Musically, the inclusion of two tracks which surpass the ten minute mark, the near two and half minute drum solo courtesy of Spencer Cobrin which opens the track "The Operation" and the sampling of a Shostakovich symphony have led some to dub the album as 'Morrissey's flirtation with prog-rock.' Some critics were impressed by this apparent attempt at progression, while others dismissed the longer tracks as mere self-indulgence. With the exception of the single "Sunny" in that December it would be another year before Morrissey released a new album or single.

In 1996, Joyce took Morrissey and Marr to court, claiming that he had not received his fair share of recording and performance royalties. Morrissey and Marr had claimed 40% each of the Smiths' recording and performance royalties and allowed ten percent each to Joyce and Rourke. Composition royalties were not an issue, as Rourke and Joyce had never been credited as composers for the band. Morrissey and Marr claimed that the other two members of the band had always agreed to that split of the royalties as they had consented to an account of the royalties sent to Joyce during the band's existence, but initially the High Court and then the Court of Appeal found in favour of Joyce and ordered that he be paid over £1 million in back pay and receive twenty-five percent henceforth. As Smiths' royalties had been frozen for two years, Rourke settled for a smaller lump sum to pay off his debts and continued to receive ten percent. While the judge in the case described Morrissey as "devious, truculent and unreliable," he did not state that the singer had been dishonest. Morrissey claimed that he was "...under the scorching spotlight in the dock, being drilled..." with questions such as " 'How dare you be successful?' 'How dare you move on?'" He stated that "The Smiths were a beautiful thing and Johnny [Marr] left it, and Mike [Joyce] has destroyed it." Morrissey appealed against the verdict, but was not successful.

Morrissey returned on a new record label in 1997 with the single "Alma Matters" in promotion of his album ''Maladjusted.'' Though the single was hailed by some as a return to form for Morrissey, the resulting album is considered both a commercial and critical disappointment. The album peaked at number eight in the UK album charts and its further two singles, "Roy's Keen" and "Satan Rejected My Soul" both peaked outside the UK Top 30. Morrissey would not release another studio album for seven years.

Comeback: 2003–10

Despite the absence of any record deal, Morrissey undertook a world tour throughout 2002, with dates across the US, Europe, Australia, and Japan. Setlists consisted of material from his Smiths and solo years, and new songs that would later be recorded for his seventh studio album. It was during this time that Channel 4 filmed ''The Importance of Being Morrissey,'' a documentary which eventually aired in 2003. In June 2003, it was revealed Sanctuary Records had given Morrissey the one-time reggae label Attack Records to record new material and to sign new artists. ''You Are the Quarry'' was released in 2004. The album peaked at number two on the UK album chart and number 11 on the Billboard album chart in the United States. Guitarist Alain Whyte described the work as a mix between ''Your Arsenal'' and ''Vauxhall and I,'' and the album received strong reviews. The first single, "Irish Blood, English Heart," reached number three in its first week of sales in the UK singles chart. This was the highest placing chart position for Morrissey in his entire career at that point. Three other hit singles followed: "First of the Gang to Die," "Let Me Kiss You," and "I Have Forgiven Jesus." With the release of "I Have Forgiven Jesus," Morrissey along with McFly became the only artists to score four top-10 hits in the UK singles chart that year. The album has since sold over a million copies, making the album his most successful one, solo or with the Smiths. To coincide with the release of the album, Morrissey embarked on an accompanying tour spanning several continents from April to November. In August 2004, Morrissey was slated to headline a week-long set of shows on Craig Kilborn's ''The Late Late Show.'' Morrissey did not perform every night of the weeklong series due to a throat illness. He did, however, perform the following week. The performance at the Manchester Evening News Arena on Morrissey's 45th birthday was recorded and released on the DVD ''Who Put the M in Manchester?'' in 2005.

Morrissey's eighth studio album, ''Ringleader of the Tormentors,'' was recorded in Rome and released on 3 April 2006. Upon release, it debuted at number one in the UK album charts and number 27 in the US. The album yielded four hit singles: "You Have Killed Me," "The Youngest Was the Most Loved," "In the Future When All's Well," and "I Just Want to See the Boy Happy." Originally Morrissey was to record the album with producer Jeff Saltzman, however he could not undertake the project. Producer Tony Visconti, of T.Rex and David Bowie fame, took over the production role and Morrissey announced that the album was "the most beautiful—perhaps the most gentle, so far." ''Billboard magazine'' described the album as showcasing "a thicker, more rock-driven sound." Morrissey attributes this change in sound to new guitarist Jesse Tobias. The subsequent 2006 international tour included more than two dozen gigs in the UK, including concerts at the London Palladium. Morrissey was scheduled to appear at the 2005 Benicassim festival in Spain but pulled out at the last minute. In January 2007, the BBC confirmed that it was in talks with Morrissey for him to write a song for the 2007 Eurovision Song Contest. If an agreement could be made, Morrissey would be writing the song for someone else, rather than performing it himself, a BBC spokesperson claimed. The following month, the BBC ruled this out, and stated Morrissey would not be part of Britain's Eurovision entry.

In early 2007, Morrissey left Sanctuary Records and embarked on a ''Greatest Hits'' tour. The tour ran from 1 February 2007 to 29 July 2008 and spanned 106 concerts over 8 different countries. Morrissey cancelled 11 of these dates, including a planned six consecutive shows at the Roundhouse in London, due to "throat problems." The tour consisted of three legs, the first two encompassing the US and Mexico were supported by Kristeen Young from February to October while the remainder featured Girl in a Coma. The final leg was a small scale European tour that saw Morrissey headlining the O2 Wireless Festival in Hyde Park, London on 4 July and culminated in Morrissey playing at the Heatwave Festival in Tel Aviv, Israel on 29 July.

After a show in Houston, Texas, on the first leg of the tour Morrissey rented out the Sunrise Sound Studio to record "That's How People Grow Up." The song was recorded with producer Jerry Finn rather than previous producer Tony Visconti for a future single and inclusion on an upcoming album. In an interview on BBC Radio 5 Live with Visconti, the producer stated that his new project would be Morrissey's next album, though that this would not be forthcoming for at least a year. However, in an interview with the BBC News website in October 2007, Morrissey said that the album was already written and ready for a possible September 2008 release and confirmed that his deal with Sanctuary Records had come to an end. In December he signed a new deal with Decca Records, which included a ''Greatest Hits'' album and a newly-recorded album to follow in autumn 2008. Upon signing with Decca, Morrissey released "That's How People Grow Up" as the first single off of his new ''Greatest Hits'' album. Despite lukewarm reviews, especially in the ''NME,'' the lack of airplay on British radio (except on XFM), and even the incredulity of fan sites, "That's How People Grow Up" reached the Top 15, reaching number 14 on the British charts. Reviews for the Greatest Hits compilation were very mixed; reviewers noted that the album only includes songs which reached the Top 15 in the charts, putting the emphasis on new songs, making the CD more suitable for new listeners than for old fans. The album charted at number 5 in the British album chart on its week of release. A limited edition of the ''Greatest Hits'' album also featured an eight-track live CD which was recorded at the Hollywood Bowl in 2007. A second single from the ''Greatest Hits,'' "All You Need Is Me," was released in March. In May 2008, Morrissey parted ways with his manager of five years, Merck Mercuriadis, in favour of a new contract with IE Music, however by September Morrissey left the group and acquired the services of Irving Azoff.

On 30 May 2008, it was announced that Morrissey's ninth studio album, ''Years of Refusal'' would have 12 tracks and be produced by Jerry Finn. On 5 August 2008 it was reported that, although originally due in September, ''Years of Refusal'' had been postponed until February 2009, as a result of Finn's death and the lack of an American label to distribute the album.

On 15 August 2008, Warner Music Entertainment announced the upcoming release of ''Morrissey: Live at the Hollywood Bowl,'' a DVD documenting the live performance that took place at the historic Hollywood Bowl in Los Angeles, California, on 8 June 2007 on the first leg of Morrissey's 2007/2008 Greatest Hits tour. Morrissey greeted news of the DVD's release by imploring fans not to buy it. Originally due to be released 6 October 2008, the DVD has subsequently been delayed until 1 March 2009 by Warner Music according to HMV. This DVD has never been released.

In November 2008, ''Rolling Stone'' magazine named Morrissey one of "The 100 Greatest Singers of All Time." The list was compiled from ballots cast by a panel of 179 "music experts," such as Bruce Springsteen, Alicia Keys and Bono, who were asked to name their 20 favourite vocalists. Morrissey was ranked 92.

In February 2009, following persistent rumours over preceding months of an imminent Smiths reunion, Morrissey was once again forced to deny that any such reunion would take place. In an interview with BBC Radio 2, he remarked that "people always ask me about reunions, and I can't imagine why... the past seems like a distant place, and I'm pleased about that." In a separate interview, with London radio station Xfm, Morrissey also stated that "chances were slim" that he himself would continue performing past the age of 55.

''Years of Refusal'' was released worldwide on 16 February 2009 by the Universal Music Group. Upon release, it reached third place in the UK Albums Chart and 11 in the US Billboard 200. The record was widely acclaimed by critics, with comparisons made to ''Your Arsenal'' and ''Vauxhall and I''. A review from Pitchfork Media noted that with ''Years of Refusal,'' Morrissey "has rediscovered himself, finding new potency in his familiar arsenal. Morrissey's rejuvenation is most obvious in the renewed strength of his vocals" and called it his "most venomous, score-settling album, and in a perverse way that makes it his most engaging." "I'm Throwing My Arms Around Paris" and "Something Is Squeezing My Skull" were released as the record's singles. The song "Black Cloud" features the guitar playing of Jeff Beck. Throughout 2009 Morrissey toured to promote the album. As part of the extensive Tour of Refusal, Morrissey followed a lengthy US tour with concerts booked in Ireland, Scotland, England, Russia. He had never before performed in Russia.

In April 2009, remastered editions of 1995's ''Southpaw Grammar'' and 1997's ''Maladjusted'' were released in the UK. These both featured a rearranged track listing with the inclusion of B-sides and outtakes, resulting in albums quite different to the original. They also featured new artwork and liner notes written by Morrissey. The reissues were available in the US from June that year.

October 2009 saw the release of a 2004–2009 B-Sides collection, named ''Swords''. The album peaked at 55 on the UK albums chart, and Morrissey later called the compilation 'a meek disaster.' On the second date of the UK tour to promote ''Swords,'' Morrissey collapsed with breathing difficulties upon finishing the opening song of his set, "This Charming Man," at the Oasis Centre, Swindon. He was discharged from the hospital the following day.

Following the completion of the ''Swords'' tour it was announced that Morrissey had fulfilled his contractual obligation to Universal Records and was without a record company. Shortly after this announcement, it was also revealed he had split with Front Line Management.

In July 2010, it was announced that EMI will reissue the 1990 album ''Bona Drag'' on its Major Minor imprint, resurrected specifically for the release. The release features six additional previously unreleased tracks, and was released on 4 October, entering at number 67 in the UK charts. The 1988 single "Everyday Is Like Sunday" was also reissued to coincide with the release on both CD and 7" vinyl formats.

2011 and future

In February 2011, EMI announced a brand new compilation – ''Very Best of Morrissey'' – would be released in April that year. The press release stated both the tracklist and artwork were chosen by Morrissey himself, and the single "Glamorous Glue" would also be reissued the same week with two previously unreleased songs.

In March 2011, it was announced Morrissey was now under the management of Ron Laffitte and would be headlining the Hop Farm Festival in July that year. Shortly after this announcement, a UK tour was unveiled – mainly consisting of small venues in the North of Britain plus Glastonbury Festival – taking place in June 2011. In July and August he is also touring venues in Europe. Only two exclusive festival dates, namely Hultsfred Festival in Sweden and Lokerse Feesten in Belgium, are announced.

Morrissey has stated that he has completed a 660-page autobiography which he intends to offer to publishers.

On 14 June 2011, Janice Long premiered three new Morrissey songs in session on her BBC Radio 2 program. Those songs are titled: "Action Is My Middle Name", "The Kid's a Looker" and "People Are The Same Everywhere".

On 24 June 2011, Morrissey played on the pyramid stage at Glastonbury. While he was there he criticised the UK Prime Minister David Cameron for attempting to stop the ban on wild animals performing in circuses, calling him a 'silly twit'.

Image and politics

Music industry feuds

Morrissey has criticised singers like Madonna, Elton John and George Michael, generally claiming their lyrics are pointless and they are more interested in being celebrities than in their music. He has also had disagreements with The Cure's Robert Smith, who stated "If Morrissey says not to eat meat, then I'll eat meat; that's how much I hate Morrissey." Lol Tolhurst, another founding member of the Cure, has claimed he likes Morrissey's music; however, he also said Smith is "quite justified in his ire", alleging their feud was instigated by Morrissey:

"We had never met Morrissey or the Smiths at that point and Morrissey made a very uncalled for remark concerning Robert in the English press. I never understood why as we or Robert had done nothing to upset him that I could think of, but after that it kind of snowballed.... Especially as journalists love feuds!!"

Morrissey also once openly wished ''Morrissey & Marr: The Severed Alliance'' author Johnny Rogan "ends his days very soon in an M3 pile-up." Neil Tennant of the Pet Shop Boys co-wrote two songs inspired by Morrissey's public stereotyping as miserable and unlovable ("Getting Away with It" and "Miserablism").

In 1994, Morrissey was criticised by Manic Street Preachers' bassist and lyricist Nicky Wire, in regards to comments Morrissey had made about immigration and national identity in NME. Other targets of his disapproval have been Band Aid, rap and rave music, and teenage pop stars. He once stated he disapproved of reggae – a criticism he later retracted, stating he was being facetious and he grew up partly on the classic singles released by the British reggae label Trojan in the early to mid-1970s.

Attitude towards political leaders

Morrissey has always been politically outspoken, directing his criticism at figures ranging from Oliver Cromwell, the British Royal Family, former British Prime Ministers Margaret Thatcher and Tony Blair and former U.S. President George W. Bush. He has criticised both the two main political parties of the United Kingdom, the Labour Party and the Conservative Party.

In a 1984 interview, Morrissey spoke of the then-Prime Minister, Margaret Thatcher: "She is only one person. She can be destroyed. It is the only remedy for this country at the moment." Morrissey's first solo album, ''Viva Hate'', included a track entitled "Margaret on the Guillotine", a tongue-in-cheek jab at Thatcher. British police responded by searching Morrissey's home and carrying out an official investigation, while Simon Reynolds, who had interviewed Morrissey for ''Melody Maker'', was questioned about the tone in which Morrissey had made certain remarks about Thatcher.

At a Dublin concert in June 2004, Morrissey caused controversy by announcing the death of former US President, Ronald Reagan and stating that he would have preferred it if the then current President, George W. Bush, had died. In October 2004, Morrissey released a statement urging American voters to vote for Democratic Party candidate John Kerry for President, calling this vote a "logical and sane move". Morrissey opined that "Bush has single-handedly turned the United States into the most neurotic and terror-obsessed country on the planet."

In February 2006, Morrissey said he had been interviewed by the Federal Bureau of Investigation (FBI) and by British intelligence after having spoken out against the American and British governments. Morrissey said that "They were trying to determine if I was a threat to the government, it didn't take them long to realise that I am not." During a January 2008 concert Morrissey remarked "God Bless Barack Obama" and ranted against Hillary Clinton after a performance of "The World Is Full of Crashing Bores."

In December 2010, he publicly supported Johnny Marr, who had stated that he forbade British Prime Minister, David Cameron, from liking the Smiths. Morrissey added "I would like to, if I may, offer support to Johnny Marr who has spoken out to the media this week against David Cameron. David Cameron hunts and shoots and kills stags – apparently for pleasure. It was not for such people that either ''Meat Is Murder'' or ''The Queen Is Dead'' were recorded; in fact, they were made as a reaction against such violence". In his statement, he also lambasted the British Royal Family, noting their continued violence toward animals (in their pursuit of hunting and their use of bearskin to make the hats of the British guards) and their utter irrelevance in British life. He referred to Prince William and his then fiancée Kate Middleton as "so dull as people that it is actually impossible to discuss them".

Accusations of racism

Morrissey was accused of racism throughout part of the 1980s and much of the 1990s, primarily due to the ambiguous lyrics in songs such as "Bengali in Platforms," "Asian Rut" and "The National Front Disco," the latter containing the lyric "England for the English." These criticisms also stemmed from Johnny Rogan's biography of the singer which claimed that, in his late teens, the singer wrote "I don't hate Pakistanis, but I dislike them immensely." In 2006 Liz Hoggard from ''The Independent'' argued that "Morrissey didn't help his case with an uneasy flirtation with gangster imagery: he took up boxing and was accompanied everywhere by a skinhead, named Jake." She claimed that the "man who abhorred violence became strangely fascinated by it." ''Encyclopædia Britannica'' argues that Morrissey's 1990s albums, including ''Your Arsenal'' (1992), ''Vauxhall and I'' (1994), ''Southpaw Grammar'' (1995) and ''Maladjusted'' (1997) "testified to a growing homoerotic obsession with criminals, skinheads, and boxers, a change paralleled by a shift in the singer's image from wilting wallflower to would-be thug sporting sideburns and gold bracelets."

A trigger for much of the criticism was Morrissey's performance at the first Madness ''Madstock!'' reunion concert at Finsbury Park, London, in 1992, in which he appeared on stage draped in the Union Flag, often associated with nationalism and the British far-right. As a backdrop for this performance, he chose a photograph of two female skinheads. The British music magazine ''NME'' responded to this performance with a lengthy examination of Morrissey's attitudes to race, claiming that the singer had "left himself in a position where accusations that he's toying with far-right/fascist imagery, and even of racism itself, can no longer just be laughed off with a knowing quip."

In the early days of the Smiths, Morrissey stated that "all reggae is vile," leading to the first reports of his alleged racism. He later explained that this was a tongue-in-cheek answer to "wind up the right-on 1980s NME" and that he grew up partly on the classic singles released by the British reggae label Trojan in the early to mid-1970s. The Smiths' "Panic," released in July 1986, fades out with the refrain "hang the DJ, hang the DJ, hang the DJ..." Rogan's biography reports that initial critical response to this content was interpreted as distaste for the increasing influence of rap and R&B; over popular music at the time.

Morrissey has strongly rejected claims that he is racist, saying "If I am racist then the Pope is female. Which he isn't," and "If the National Front were to hate anyone, it would be me. I would be top of the list." He qualified that by saying that far-right rage "is simply their anger at being ignored in what is supposed to be a democratic society." In the 2002 documentary, ''The Importance of Being Morrissey'', he posits the question, "Why on earth would I be racist? What would I be trying to achieve?" In the film, he also takes issue with those who fail to discern the subtlety of his supposedly racist lyrics, stating that "Not everybody is absolutely stupid."

In 1999, Morrissey commented on the rise of Austrian far-right politician Jörg Haider, stating "This is sad. Sometimes I don't believe we live in an intelligent world." In 2004 he signed the Unite Against Fascism statement, and in 2008 he made a personal donation of £75,000 to the organisers of the Love Music Hate Racism concert in Victoria Park, London, after the withdrawal of the ''NME'''s sponsorship left the event facing a financial shortfall.

In 2007, Morrissey sparked controversy by claiming British identity has disappeared because the country has been “flooded” by immigrants in his interview with ''NME''. Morrissey's lawyers are now pressing legal action against ''NME'' for defamation, with the magazine declining to print a retraction or apology. Within days of issuing the writ against NME, Morrissey also released a detailed explanation of his side of the story via an online fanzine. The statement included a firmly worded rebuttal against the accusations of racism, a condemnation of racism itself and an exposition on his belief that NME's editor had deliberately staged and scandalised the outcome of the interview in an orchestrated attempt to boost the paper's "dwindling circulation." In 2008, Word Magazine was forced to apologise in court for an article by David Quantick that accused Morrissey of being a racist and a hypocrite.

In September 2010, during an interview with Simon Armitage in the Guardian's weekend magazine Morrissey described the treatment of animals in China as "absolutely horrific" and in reference to other reports of animal welfare violations in China he said, "you can't help but feel the Chinese are a subspecies." A spokesman for Love Music Hate Racism, which received a donation of £28,000 from the singer in 2008 after his apparently anti-immigration comments made in music magazine NME, said it would be unable to accept support from Morrissey again if he did not rescind or dispute the comments, saying: "It really is just crude racism. When you start using language like 'subspecies', you are entering into dark and murky water. I don't think we would, or could, ask him to come back after that."

Despite accusations of racism in the United Kingdom Morrissey maintains a large Latino fan base in the United States and in Los Angeles particularly. His height in popularity among U.S. Hispanics was the subject of William E Jones' documentary ''Is It Really So Strange?'' Morrissey himself has written about Mexico in his song of the same title and has stated his affection for the Mexican people in interviews.

Animal rights activism

Morrissey has been vegetarian since he was 11 years old. He has explained his vegetarianism by saying "If you love animals, obviously it doesn't make sense to hurt them." Morrissey is an advocate for animal rights and a supporter of People for the Ethical Treatment of Animals (PETA). In recognition of his support, PETA honoured him with the Linda McCartney Memorial Award at their 25th Anniversary Gala on 10 September 2005.

In January 2006, Morrissey attracted criticism when he stated that he accepts the motives behind the militant tactics of the Animal Rights Militia, saying "I understand why fur-farmers and so-called laboratory scientists are repaid with violence—it is because they deal in violence themselves and it's the only language they understand."

Morrissey has criticised people who are involved in the promotion of eating meat, specifically Jamie Oliver and Clarissa Dickson Wright – the latter already targeted by some animal rights activists for her stance on fox hunting. In response, Dickson-Wright stated “Morrissey is encouraging people to commit acts of violence and I am constantly aware that something might very well happen to me.” The Conservative MP David Davis criticised these comments, saying that "any incitement to violence is obviously wrong in a civilised society and should be investigated by the police." On 27 March 2006, Morrissey released a statement that he would not include any concert dates in Canada on his world tour that year—and that he supported a boycott of all Canadian goods—in protest against the country's annual seal hunt, which he described as a "barbaric and cruel slaughter".

In 2009 he abandoned a stage at the Coachella Festival in California because of the smell of cooking meat. He later returned to finish his set.

In September 2010 he ignited a public controversy for describing Chinese people as a "subspecies" because of their treatment of animals. In an interview with British poet, playwright and novelist Simon Armitage he said: "Did you see the thing on the news about their treatment of animals and animal welfare? Absolutely horrific. You can't help but feel that the Chinese are a subspecies." He later made a statement saying "if anyone has seen the horrific and unwatchable footage of the Chinese cat and dog trade – animals skinned alive – then they could not possibly argue in favour of China as a caring nation. There are no animal protection laws in China and this results in the worst animal abuse and cruelty on the planet. It is indefensible."

At a concert in Warsaw, Poland on Sunday, July 24, 2011, Morrissey caused more controversy when stating "''We all live in a murderous world, as the events in Norway have shown, with 97 [sic] dead. Though that is nothing compared to what happens in McDonald's and Kentucky Fried Shit every day.''" in relevance to the recent attacks of Anders Breivik in Norway on the 22nd of July, which resulted in the killing of 69 people who were attending a Youth Labour Party camp on Utøya Island, and eight people working in and around a government building which was bombed. His statement has been seen by many as crude and insensitive.

Sexuality

Morrissey's sexuality has been a matter of conjecture, and this has been fuelled by many conflicting statements from the singer, none of which has ever explicitly stated his sexual orientation. ''Encyclopædia Britannica'' argues that he created a "compellingly conflicted persona (loudly proclaimed celibacy offset by coy hints of closeted homosexuality)" which has "made him a peculiar heartthrob." "Morrissey has always taken great pains to maintain the ‘undecidable' nature of his sexuality." In 1983 he claimed to be "a kind of prophet for the fourth sex," on the grounds that he was "bored with men and ...bored with women." In 1984, he stated that he refused "to recognise the terms hetero-, bi-, and homo-sexual" because "everybody has exactly the same sexual needs." A 1984 Smiths article in ''Rolling Stone'' stated that Morrissey "admits he's gay," but Morrissey replied that it was news to him and the article used the term "fourth-gender" in its title.

The speculation was further fuelled by the frequent references to gay subculture and slang in his lyrics. In 2006, Liz Hoggard from ''The Independent'' noted, "Only 15 years after homosexuality had been decriminalised, his lyrics flirted with every kind of gay subculture"; for example, she claims that "This Charming Man" "is about age-gap, gay sex." Reviewer Stephen Thomas Erlewine claims lyrics to the Smiths single "Hand in Glove" contain very thinly "veiled references to homosexuality."

Throughout much of his career, he maintained in interviews that he was asexual and celibate. Johnny Marr stated in a 1984 interview that "Morrissey doesn't participate in sex at the moment and hasn't done so for a while, he's had a lot of girlfriends in the past and quite a few men friends." In 1986, Morrissey claimed that he was "dramatically, supernaturally, non-sexual." In a 1994 interview, he claimed that "sex is actually never in my life," and as such, he argued that "I have no sexuality." In 1995, he claimed "I'd like to have a sex life, if possible." In a 1997 interview, he revealed he had been in a relationship with someone for two years but that it had ended and the person in question had just stopped loving him. He did not reveal the sex of his partner or whether it was a sexual relationship. However, he did admit to caring deeply and he stated he had hoped he or she had shared similar feelings. In a 2006 ''NME'' interview, he stated he was no longer celibate, but he did not give any additional details. A 2006 article in UK paper ''The Independent'' stated the singer "...has even hinted at a late-blooming sex life." John Murphy of musicOMH has even speculated that the lyrics "Nothing entered me, 'til you came with the key" to Morrissey's 2006 song "You Have Killed Me" give reference to a sexual encounter he had.

Morrissey frequently tells interviewers who ask him about his sexuality the question is irrelevant to his music, or he gives an evasive or ambiguous response. While the debate over Morrissey's sexuality has become widespread on fan websites, including attempts to analyse the meaning of his ambiguous song lyrics, their attempts are often stymied because, as ''The Times'' critic Tom Gatti puts it, "Morrissey's music offers infinite capacity for interpretation" because "they are too flexible, too rich, too textured.”

Legacy and influence

Morrissey is routinely referred to as an influential artist, both in his solo career and with the Smiths. The BBC has referred to him as "one of the most influential figures in the history of British pop," and the ''NME'' named the Smiths the "most influential artist ever" in a 2002 poll, even topping the Beatles. ''Rolling Stone,'' naming him one of the greatest singers of all time in a recent poll, noted that his "rejection of convention" in his vocal style and lyrics is the reason "why he redefined the sound of British rock for the past quarter-century." Morrissey's enduring influence has been ascribed to his wit, the "infinite capacity for interpretation" in his lyrics, and his appeal to the "constant navel gazing, reflection, solipsism" of generations of "disenfranchised youth," offering unusually intimate "companionship" to broad demographics. Journalist Mark Simpson calls Morrissey "one of the greatest pop lyricists – and probably ''the'' greatest-ever lyricist of desire – that has ever moaned" and observes that "he is fully present in his songs as few other artists are, in a way that fans of most other performers...wouldn't tolerate for a moment. Simpson also argues that "After Morrissey there could be no more pop stars. His was an impossible act to follow...[his] unrivalled knowledge of the pop canon, his unequaled imagination of what it might mean to be a pop star, and his breathtakingly perverse ambition to turn it into great art, could only exhaust the form forever." In 2006, he was voted the second greatest living British icon in a poll held by the BBC's ''Culture Show.'' The ''All Music Guide to Rock'' asserts that Morrissey's "lyrical preoccupations," particularly themes dealing with English identity, proved extremely influential on subsequent artists. Journalist Phillip Collins also described him as a major influence on modern music and "the best British lyricist in living memory."

Cultural historian Julian Stringer notes that the Smiths and Morrissey were a product of and a reaction against Thatcherism, and that their rise to fame "can be seen as the only sustained response that white, English pop/rock music was able to make against the Conservative Government's appropriation of white, English national identity; and that being the case, it is not really surprising that the response is utterly riddled with contradiction". Other scholars have responded favourably to Morrissey's work, including academic symposia at various universities including University of Limerick and Manchester Metropolitan University. Gavin Hopps, a research fellow and literary scholar at the University of St. Andrews, wrote a full-length academic study of Morrissey's work, calling him comparable to Oscar Wilde, John Betjeman, and Philip Larkin, and noting similarities between Morrissey and Samuel Beckett. The ''British Food Journal'' featured an article in 2008 that applied Morrissey's lyrics to building positive business relationships. A major book of academic essays edited by Eoin Devereux, Aileen Dillane and Martin Power, ''Morrissey: Fandom, Representations and Identities'', which focuses on Morrissey's solo career, was published in 2011.

A ''Los Angeles Times'' critic wrote that Morrissey "patented the template for modern indie rock" and that many bands playing at the Coachella Valley Music and Arts Festival "would not be there – or at least, would not sound the same – were it not for him." Similarly, the critic Steven Wells called Morrissey "the man who more or less invented indie" and an artist "who more than anybody else personifies" indie culture. Stephen Thomas Erlewine of Allmusic writes that the Smiths and Morrissey "inspired every band of note" in the Britpop era, including Suede, Blur, Oasis, and Pulp. Other major artists including Jeff Buckley and Radiohead have also been influenced by Morrissey. Colin Meloy of the Decemberists, who recorded a 2005 EP of Morrissey covers titled ''Colin Meloy Sings Morrissey,'' acknowledged Morrissey's influence on his songwriting: "You could either bask in that glow of fatalistic narcissism, or you could think it was funny. I always thought that was an interesting dynamic in his songwriting, and I can only aspire to have that kind of dynamic in my songs." Brandon Flowers of the American Rock band The Killers has revealed his admiration for Morrissey on several different occasions and admits that his interest for writing songs about murder such as "Jenny Was A Friend of Mine" and "Midnight Show" traces back to Morrissey singing about loving 'the romance of crime' in the song Sister I'm A Poet. Flowers quoted "I studied that line a lot. And it's kind of embedded in me."

In addition to the numerous pop culture homages to Smiths songs, bands Suede, The Ordinary Boys and The Boy Least Likely To chose their names based on solo Morrissey songs.

Solo discography

{|class="wikitable" |- ! Release date ! Title |- | 1988 | ''Viva Hate'' |- | 1991 | ''Kill Uncle'' |- | 1992 | ''Your Arsenal'' |- | 1994 | ''Vauxhall and I'' |- | 1995 | ''Southpaw Grammar'' |- | 1997 | ''Maladjusted'' |- | 2004 | ''You Are the Quarry'' |- | 2006 | ''Ringleader of the Tormentors'' |- | 2009 | ''Years of Refusal'' |}

See also

Morrissey personnel

Notes and references

Morrissey bibliography

Morrissey, Steven Patrick, ''James Dean is Not Dead'', Babylon Books, 1983.

Morrissey, Steven Patrick, ''Exit Smiling'', Babylon Books, 1998 (reprint).

Morrissey, Steven Patrick, ''The New York Dolls'', Babylon Books, 1981.

Turner, Jeff; Bushell, Gary; Morrissey, Steven Patrick (introduction), ''Cockney Reject'', John Black Publishing, 2005.

Visconti, Tony; Morrissey, Steven Patrick (introduction), ''The Autobiography'', Harper Collins Entertainment, 2007.

Willians, John; Thomas, Caron; Morrissey, Steven Patrick (introduction), ''Marc Bolan: Wilderness of the Mind'', Xanadu, 1992.

Further reading

Bret, David, ''Morrissey: Scandal and Passion'', Anova, 2007.

Brown, Len, ''Meetings with Morrissey'', Omnibus, 2008.

Campbell, Sean and Coulter, Colin, eds., ''Why Pamper Life's Complexities? Essays on The Smiths'', Manchester University Press, 2010.

Devereux, Eoin; Dillane, Aileen; and Power, Martin J., eds., ''Morrissey: Fandom, Representations and Identities'', Intellect Books, 2011.

Goddard, Simon, ''Mozipedia: The Encyclopedia of Morrissey and The Smiths'', Ebury Press, 2009.

Goddard, Simon, ''The Smiths: Songs That Saved Your Life'', Reynolds & Hearn, 2006.

Greco, Nicholas P., "Only If You Are Really Interested: Celebrity, Gender, Desire, and the World of MORRISSEY", McFarland and Co., 2011.

Hingley, Martin; Leek, Sheena; Lindgreen, Adam, "Business relationships the Morrissey way", ''British Food Journal'', Vol. 110, No. 1, pp. 128–143, 2008.

Hopps, Gavin, ''Morrissey: The Pageant of His Bleeding Heart'', Continuum, 2009.

Rogan, Johnny, ''Morrissey'', self-published, 2007.

Rogan, Johnny, ''Morrissey & Marr: The Severed Alliance'', Omnibus, 1993.

Simpson, Mark, ''Saint Morrissey'', SAF UK 2003; Touchstone US, 2006.

Sterling, Linder, "We Are Your Thoughts", ''Linda Works: 1976–2006'', JRP Editions, 2006.

Stringer, Julian, "The Smiths: repressed (but remarkably dressed)", JSTOR, ''Popular Music'', Vol. 11, No. 1, pp. 15–26, January 1992.

Sørensen, Jesper, ''Alle dage er som søndag'', Rosenkilde, 2009.

Woods, Paul A., ed., ''Morrissey in Conversation: The Essential Interviews'', Plexus, 2007.

Woronzoff, Elizabeth, "'Because the Music That They Constantly Play, It Says Nothing to Me About My Life:' An Analysis of Youth's Appropriation of Morrissey's Sexuality, Gender, and Identity", monograph, Simmons College of Arts and Sciences Graduate Studies, February 2009.

External links

Official website

True-To-You

Morrissey-solo

MySpace

Passions Just Like Mine

Moz Art

Vulgar Picture

Morrissey on BBC Radio Desert Island Discs

Category:1959 births Category:Living people Category:Alternative rock musicians Category:Animal rights advocates Category:Asexual people Category:Decca Records artists Category:English activists Category:English baritones Category:English expatriates in the United States Category:English male singers Category:English rock singers Category:English people of Irish descent Category:English singer-songwriters Category:English vegans Category:Lost Highway Records artists Category:Mercury Records artists Category:Musicians from Manchester Category:People from Davyhulme Category:Rough Trade Records artists Category:RCA Records artists Category:Sire Records artists Category:The Smiths members

ca:Steven Patrick Morrissey cs:Morrissey da:Morrissey de:Morrissey es:Morrissey eo:Morrissey eu:Morrissey fr:Morrissey ga:Morrissey gl:Morrissey hr:Morrissey id:Morrissey it:Morrissey he:מוריסי ka:მორისი (მუსიკოსი) ku:Morrissey lv:Morisejs hu:Morrissey nl:Morrissey ja:モリッシー no:Morrissey pl:Morrissey pt:Morrissey ru:Моррисси simple:Morrissey sk:Morrissey sr:Мориси fi:Morrissey sv:Morrissey tr:Morrissey zh:莫里西

Coordinates	41°52′55″N87°37′40″N
name	Jim Mullen
background	non_vocal_instrumentalist
birth date	November 26, 1945
instrument	Guitar
genre	Jazz, jazz-rock
occupation	Musician
associated acts	Brian Auger's Oblivion ExpressKokomoAWBMorrissey-MullenThe AllStarsThe Jim Mullen Organ Trio
notable instruments	}}

Jim Mullen (born 26 November 1945) is a Glasgow-born jazz guitarist with a distinctive style, like Wes Montgomery before him, picking with the thumb rather than a plectrum.

Biography

Having played with Brian Auger's Oblivion Express, appearing on the band's first three albums together with future Average White Band drummer Robbie MacIntosh, Mullen then joined Kokomo and later toured with the Average White Band.

It was while both musicians were touring the U.S. with AWB in the mid-70s that Mullen met up with tenor saxophone player Dick Morrissey, and throughout the 1980s, he found considerable critical, if not commercial, acclaim as joint leader of the pioneering British jazz funk band Morrissey - Mullen. Record producer Richard Niles, who produced the band's sixth album, ''It's About Time'', would go on to produce three solo albums for Mullen.

Mullen has also played and recorded with, among others, Pete Brown & Piblokto!, Mose Allison, Hamish Stuart, Joanna Eden, Tam White, Claire Martin, Mike Carr, Jimmy Witherspoon and Georgie Fame.

He has won many British music awards including "Best Guitar" in the British Telecom Jazz Awards (1994, 1996 and 2000).

Most recently, Jim Mullen has recorded as part of The AllStars a collective of session musicians on their Paul McCartney-produced album ''All About the Music'', alongside special guests Jocelyn Brown, Hamish Stuart and Angelo Starr.

Discography

''The Atlantic Family Live in Montreaux'' (1977)

'''Live' at Ronnie Scott's'' (1980) - with Mike Carr and Harold Smith

''Good Times and The Blues'' (1993) - with Dick Morrissey and Mike Carr

''Soundbites'' (1993)

''Big Blues'' (1997) - with Jimmy Witherspoon

''jimjam'' (2000) - with Hamish Stuart

''Burns'' (2000)

''...but beautiful'' - Jim Mullen Helmut Nieberle Sextett, bobtale records (2001)

''Cartoon Capers'' (2001)

''We Go Back'' (2001)

''The Mose chronicles: live in London, vol. 2'' (2002) - with Mose Allison, Blue Note

''Live in Glasgow'' - (2003) - with Gary Husband, Mick Hutton and Gareth Williams

''He Never Mentioned Love'' - Claire Martin (2007)

''All About the Music'' - The AllStars (2007)

''Smokescreen'' - The Jim Mullen Organ Trio featuring Stan Sulzmann (2007)

References

External links

Mullen's myspace page

Category:Scottish jazz musicians Category:British jazz guitarists Category:1945 births Category:Living people

de:Jim Mullen

Coordinates	41°52′55″N87°37′40″N
Post	Lord Mayor
Body	London
Insignia	Coat of Arms of The City of London.svg
Insigniasize	100px
Alt	Michael Bear at his Lord Mayor's Show in 2010
Incumbent	Michael Bear
Incumbentsince	2010
Residence	Mansion House
Appointer	Liverymen of the City of London Livery Companies
Termlength	1 year
Formation	1189
Inaugural	Henry Fitz-Ailwin de Londonestone
Website	www.cityoflondon.gov.uk }}

The Right Honourable Lord Mayor of London is the legal title for the Mayor of (and head of) the City of London Corporation. The Lord Mayor of London is to be distinguished from the Mayor of London; the former is an officer only of the City of London, while the Mayor of London is the Mayor of Greater London and as such governs a much larger area. Within the City of London, the Lord Mayor has precedence over other individuals and has various special powers, rights and privileges.

In 2006 the Corporation of London changed its name to the City of London Corporation. At the same time the title Lord Mayor of the City of London came into use, partly to avoid confusion with the Mayor of London. However, the legal and commonly-used title remains the Lord Mayor of London.

The Lord Mayor is elected each year at Michaelmas 'Common Hall', and takes office on the Friday before the second Saturday in November, at 'The Silent Ceremony'. On the day after taking office, the Lord Mayor's Show is held; the Lord Mayor, preceded by a procession, travels to the Royal Courts of Justice on the Strand, Westminster to swear allegiance to the Sovereign in the presence of the judges of the High Court.

The Lord Mayor's main role is, as it has been for centuries, to represent, support and promote the businesses and the people of the City of London. Today, these businesses are mainly in the financial sector and the Lord Mayor is seen as the champion of the entire UK-based financial sector regardless of ownership and location within the country. As head of the Corporation of the City of London, the Lord Mayor is the key spokesman for the local authority and also has important ceremonial and social responsibilities. He is apolitical which gives added credibility at home and abroad when representing the financial sector. He gives over 800 speeches in the year and spends over 100 days abroad in some 22 countries. The Lord Mayor is also the chancellor of the City University of London and is assisted in the daily operation of the city by the leading personnel for the City of London whose titles are the Town Clerk and Chief Executive, Chamberlain and Remembrancer.

The Lord Mayor is Alderman Michael Bear.

Titles and honours

Of the 66 cities in the United Kingdom, the City of London is among the 30 that have Lord Mayors (or, in Scotland, Lords Provost). The Lord Mayor is entitled to the style The Right Honourable; the same privilege extends only to the Lord Mayors of York, Cardiff and Belfast, and to the Lords Provost of Edinburgh and Glasgow. The style, however, is used when referring to the office as opposed to the holder thereof; thus, "The Rt Hon The Lord Mayor of the City of London" would be correct, while "The Rt Hon John Smith" would be incorrect. The latter style applies only to Privy Counsellors.

A woman who holds the office is also known as a Lord Mayor. A male Lord Mayor's wife is known as a Lady Mayoress; no equivalent privilege exists for a female Lord Mayor's husband. A female Lord Mayor or unmarried male Lord Mayor may appoint a female consort, usually a fellow councillor, to the role of Lady Mayoress. In speech, a Lord Mayor is referred to as "My Lord Mayor", and a Lady Mayoress as "My Lady Mayoress".

It was once customary for Lord Mayors to be created knights upon taking office and baronets upon retirement, unless they held those titles already. The custom was applied inconsistently from the 16th until the 19th centuries; creations became more regular from 1889 onwards. From 1964 onwards, the regular creation of hereditary dignities such as baronetcies ceased, but Lord Mayors continued to be granted knighthoods (usually of the rank of Knight Grand Cross of the Order of the British Empire) until 1993. Since 1993, Lord Mayors have not received any automatic honours upon appointment; instead, they have been created Knights Bachelor upon retirement. Furthermore, when foreign heads of state visit the United Kingdom, they sometimes confer honours on the Lord Mayor. For example, in 2001, David Howard was created a Grand Cordon, First Class, of the Order of Independence of Jordan following the state visit of King Abdullah II.

History

The office was instituted in 1189; the first holder of the office was Henry Fitz-Ailwin de Londonestone. The mayor of the City of London has been elected by the City, rather than appointed by the Sovereign, since a Royal Charter providing for the same was issued by King John in 1215. The title "Lord Mayor" came to be used after 1354, when it was granted to Thomas Legge (then serving his second of two terms) by King Edward III.

Lord Mayors are elected for one-year terms; by custom, they do not now serve more than one consecutive term. Numerous individuals have served multiple terms in office, but only one man has served six terms; Hamo de Chigwell (1319, 1321, 1322, 1323, 1325 and 1327). Four have served four terms; Nicholas de Farndone (1308, 1313, 1320 and 1323), Richard ('Dick') Whittington (1397, 1398, 1406 and 1419) and John de Pulteney (1330, 1331, 1333 and 1336). The last individual to serve multiple terms was Robert Fowler (elected in 1883 and in 1885).

Dame Mary Donaldson, elected in 1983, is the only woman to have held the office thus far. Almost 700 people have served as Lord Mayor.

Election

The Lord Mayor is elected by Common Hall, all Liverymen of the City's Livery Companies. Common Hall is summoned by the sitting Lord Mayor; it meets at Guildhall on Michaelmas Day (29 September) or on the closest weekday. Voting is by show of hands; if, however, any liveryman so demands, balloting is held a fortnight later.

Since 1385, prior service as Sheriff has been mandatory for election to the Lord Mayoralty. Two Sheriffs are selected annually by Common Hall, which meets on Midsummer's Day for the purpose. By an ordinance of 1435, the Lord Mayor must be chosen from amongst the Aldermen of the City of London. The people of each of the city's 25 wards select one alderman, who formerly held office for life or until resignation. Now each alderman must submit himself for re-election at least once in every six years. An individual elected Lord Mayor need not relinquish membership of the Court of Aldermen.

The Lord Mayor is then sworn in November, on the day before the Lord Mayor's Show (see below). The ceremony is known as the "Silent Ceremony" because, aside from a short declaration by the incoming Lord Mayor, no speeches are made. At Guildhall, the outgoing Lord Mayor transfers the mayoral insignia—the Seal, the Purse, the Sword and the Mace—to the incoming Lord Mayor.

Lord Mayor's Show

On the day after being sworn in, the Lord Mayor participates in a procession from the City of London to the Royal Courts of Justice in the City of Westminster, where the Lord Mayor swears his allegiance to the Crown. This procession is known as the "Lord Mayor's Show" and is one of the longest established and best known annual events in London. The Lord Mayor travels in a State Coach that was built in 1757 at a cost of £1,065.0s.3d. (£|r=-1}}}} as of ). In its modern form, it is a fairly light-hearted combination of traditional British pageantry and elements of carnival. Since 1959 it has been held on the second Saturday in November. Participants include the Livery Companies, bands and members of the military, charities and schools. In the evening, a fireworks display is held.

Role

The Lord Mayor is a member of the City of London's governing body, the City of London Corporation (incorporated as ''The Mayor and Commonalty and Citizens of the City of London''). The Corporation comprises the Court of Aldermen and the Court of Common Council; the former includes only the Aldermen, while the latter includes both Aldermen and Common Councilmen. The Lord Mayor is a member of and presides over both bodies.

As noted earlier, the main role of the Lord Mayor is to represent, support and promote the financial, maritime and other business services industry in the UK. He undertakes this as head of the City of London Corporation and, during his year, hosts visiting foreign Ministers, businessmen and dignitaries; furthermore, he conducts several foreign visits of his own in order to promote the British financial sector.

Banquets hosted by the Lord Mayor often serve as opportunities for senior Government figures to make major speeches. At the Lord Mayor's Banquet (held on the Monday after the Lord Mayor's Show), the Prime Minister delivers the keynote address. At the Banker's Dinner in June, the Chancellor of the Exchequer delivers a speech known as the Mansion House Speech, which takes its name from the Lord Mayor's residence. At the Easter Banquet, which is also hosted at Mansion House, a speech is delivered by the Secretary of State for Foreign and Commonwealth Affairs.

The Lord Mayor performs numerous other functions. He serves as the Chief Magistrate of the City of London, Admiral of the Port of London, Chancellor of City University, President of Gresham College, President of City of London Reserve Forces and Cadets Association, and Trustee of St Paul's Cathedral. The Lord Mayor is also the head of the Commission of Lieutenancy, which represents the Sovereign in the City of London (other counties usually have Lord Lieutenants, as opposed to Commissions), and annually attends the Treloar Trust (named after Sir William Treloar, Lord Mayor in 1906), in Hampshire. Treloar Trust runs two educational sites for disabled children, a school and college.

A detailed account of the role of the Lord Mayor can be found in a book published in December 2008 by Phillimore & Co (ISBN 978-1-86077-586-4) and written by former Lord Mayor Sir John Stuttard entitled ''Whittington to World Financial Centre - The City of London and its Lord Mayor''.

Rights and privileges

The residence of the Lord Mayor is known as Mansion House. The creation of the residence was considered after the Great Fire of London (1666), but construction did not commence until 1739. It was first occupied by a Lord Mayor in 1752, when Sir Crispin Gascoigne took up his residence in it.

It is sometimes asserted that the Lord Mayor may exclude the Sovereign from the City of London. The legend is based on the misinterpretation of the ceremony observed each time the Sovereign enters the City. At Temple Bar the Lord Mayor presents the City's pearl-encrusted Sword of State to the Sovereign as a symbol of the latter's overlordship. The Sovereign does not, as is often purported, wait for the Lord Mayor's permission to enter the City.

The importance of the office is reflected by the composition of the Accession Council, a body which proclaims the accession of new Sovereigns. The Council includes the Lord Mayor and Aldermen of London, as well as the Lords Spiritual, Lords Temporal and Privy Counsellors. At the coronation banquet which followed, the Lord Mayor of the City of London had the right to assist the royal butler. The same privilege is held by the Lord Mayor of Oxford; the Mayor of Winchester may assist the royal cook. Such privileges have not been exercised since 1821, when the last coronation banquet (commemorating the coronation of George IV) was held.

Since 1545 the lord mayor of London has worn a royal livery collar of Esses. This collar, however, has its origin in no royal favour, Sir John Alen, thrice a lord mayor, having bequeathed it to the then lord mayor and his successors "to use and occupie yerely at and uppon principall and festivall dayes." It was enlarged in 1567, and in its present shape has 28 Esses (the Lancastrian ‘S’), the Tudor rose, the tasselled knots of the Garter and also the portcullis.

See also

City status in the United Kingdom

List of Lord Mayors of London

Lord Mayor of Dublin

Mayor of London

Mayors in the United Kingdom

Town Clerk of London

References

City of London Corporation home page

Jenkins, S. (2004). "Royal Coronations and Oxford Mayors."

"London (England)." (1911). ''Encyclopædia Britannica'', 11th ed. London: Cambridge University Press.

"Lord Mayor's Show." (2002).

"The Lord Mayor's Show Saturday 13th November 2004." (2004).

"Temple Bar." (1911). ''Encyclopædia Britannica'', 11th ed. London: Cambridge University Press.

Notes

External links

Lord Mayor official page

Category:Local government in London Category:City of London Category:Politics of the United Kingdom Category:People associated with City University London Category:People associated with the Royal National College for the Blind Category:Ceremonial officers in the United Kingdom

de:Lord Mayor of London eo:Lordo-Urbestro de Londono fr:Lord-maire de Londres it:Nobile Sindaco della Città di Londra he:הלורד ראש העיר של לונדון ja:ロンドン市長 no:Lord Mayor of London pl:Lord Mayor Londynu pt:Lord Mayor of London simple:Lord Mayor of London

Coordinates	41°52′55″N87°37′40″N
name	Max Middleton
background	non_vocal_instrumentalist
birth name	David Maxwell Middleton
born	August 04, 1946Amersham, Buckinghamshire, England
instrument	Fender Rhodes piano, Hohner Clavinet, melotron, Electric organ, Synthesizers
genre	Rock blues, Rock, Melodic rock
occupation	Musician
years active	1966–present
label	Epic, A&M;, Atco, RCA
associated acts	Jeff Beck, The Jeff Beck Group, BBA, Hummingbird, Chris Rea, Kate Bush, Bobby Tench, Nazareth, Cleo Laine, Cozy Powell, Snowy White, Robert Ahwai, Streetwalkers, Mick Taylor
website	www.maxmiddleton.com
notable instruments	Fender Rhodes piano, Hohner Clavinet }}

David Maxwell "Max" Middleton (born 4 August 1946, Amersham, Buckinghamshire, England). He is an English composer and keyboardist and was originally a docker on the Liverpool docks. Middleton is known for his work on the Fender Rhodes Electric piano, the Minimoog synthesiser and his percussive playing style of the Hohner Clavinet. He started on his professional music career by playing keyboards for Jeff Beck and is best known for his work on Beck's Blow by Blow.

Biography

After being introduced to Beck by bassist Clive Chaman during 1970, he played keyboards on the third Jeff Beck Group album Rough and Ready and the fourth Jeff Beck Group also known as "Orange album", in a line-up with Chaman, vocalist and guitarist Bobby Tench and Drummer Cozy Powell. He went on to record ''Blow by Blow'' and Wired with Jeff Beck before moving on to record and tour with Nazareth, Hummingbird, Streetwalkers, Chris Rea, Kate Bush, Annette Peacock, Rolling Stones guitarist Mick Taylor and singer-songwriter John Martyn.

Middleton worked with Beck in the Jeff Beck Group line-up with vocalist and guitarist Bobby Tench, Clive Chaman and drummer Cozy Powell. He stayed with Beck as the power trio Beck, Bogert & Appice began to emerge as an established act before leaving to join Tench in Hummingbird during 1976. Hummingbird released two successful albums with Middleton as keyboard player ''We Can't Go On Meeting Like This'' (1976), and ''Diamond Nights'' (1977), both produced by Ian "Sammy" Samwell. He record ''Blow By Blow'' (1975) and ''Wired'' (1976). By this time Middleton had become a sought after session musician, playing on albums such as the soundtrack to the film ''Sgt. Pepper's Lonely Hearts Club Band'' (1978) and Nazareth's most successful album, ''Hair of the Dog'' (1975).

In 1979, he played keyboards on Morrissey Mullen's ''Cape Wrath'' and released ''Another Sleeper'' in the same year, an instrumental album with guitarist Robert Ahwai. This classic jazz-funk album was released along with Cape Wrath, on Fusion Harvest/EMI Records, the duo is supported by Richard Bailey, Kuma Harada, Darryl Lee Que, Steve Gregory, Bud Beadle, George Chisholm, Trevor Barber, Chris Rainbow and some backing vocalists.

In 1980 Middleton played was involved with the arrangements and played keyboards for Kate Bush's Never For Ever, which had album and single success. In the '80's he was also involved with Chris Rea playing on On the Beach, Dancing with Strangers, The Road to Hell, Auberge, and others. He produced Dick Morrissey's ''Souliloquy'' (1988) on which he played keyboards. Middleton is credited as co writer of "The Loner" from Gary Moore's ''Wild Frontier'' (1987). Middleton released the smooth jazz album ''Land of Secrets'' (2003) and became a member of Snowy White & The White Flames in 2005. In 2009 and 2010 he played with Mick Taylor band.

In November 2010 Middleton released the album ''One Thousand Sails''.

Notes

References

Bilyeu, Melinda; Cook, Hector; Hughes, Andrew Môn; Brennan, Joseph and Croban, Mark. ''The Bee Gees: tales of the brothers Gibb''. Omnibus Press (2004).ISBN 9781844490578

Moy, Ron. ''Kate Bush and Hounds of Love''. Ashgate Publishing Ltd (2007).ISBN 978-0-7546-5798-9

External links

Eder, Bruce [ Max Middleton] Biography. Allmusic.com

Laney, Erokan. It's Only Rock 'n' Roll, But He Likes It. ''Synthesis''

Stringer, Bruce. (2000) "Max to the Max!". ''The Jeff Beck Bulletin #8''

Stringer, Bruce. (2002) "An Interview With Max Middleton". ''The Jeff Beck Bulletin #10''

Max Middleton Snowy White Fanclub.

RL-2 Current record label

Category:English keyboardists Category:English session musicians Category:1946 births Category:Living people Category:People from Amersham