Morrissey

Morrissey 25 Live is a legacy concert film marking 25 years of the solo career of one of the world’s most iconic and enigmatic performers. Shot during Morrissey’s most intimate gig in decades at the Hollywood High School in Los Angeles on 2 March 2013, the film opens with fans talking about their unwavering devotion to the singer and the unique appeal of this unusual venue…

Morrissey - 25 Live (2013) [BLU-RAY] {Eagle Rock}
BLU-RAY -> 31.0 Gb | 1080i HD WS | DTS-HD Master Audio 5.1 / LPCM 2.0 | ~ 116m | ISO Image
Subs: English, French, Spanish, German
Full Artwork @ 300 dpi (jpg) -> 45 Mb | 5% repair rar
© 2013 Eagle Rock Entertainment | EVB334739
Rock / Alternative / Indie Rock

MORRISSEY 25 LIVE is a legacy concert film marking 25 years of the solo career of one of the world’s most iconic and enigmatic performers. Shot during Morrissey’s most intimate gig in decades at the Hollywood High School in Los Angeles on 2 March 2013, the film opens with fans talking about their unwavering devotion to the singer and the unique appeal of this unusual venue – a striking contrast to the sold out arena concert at the Staples Centre on the previous night.

Morrissey is never one to do things the accustomed way, instead throughout his career he's carved a niche in the musical landscape which only he can occupy. This Is Morrissey. A collection of studio classics, live tracks and the alternative Mael mix of the ever-popular ‘Suedehead', all chosen by the man himself. He explains all on this brand new interview with this neat little summary of the tracks he's chosen: "The album is so full of life, and worthy questions, and great choruses, and quite playful."

Following the breakup of the Smiths, Morrissey needed to prove that he was a viable artist without Johnny Marr, and Viva Hate fulfilled that goal with grace. Working with producer Stephen Street and guitarist Vini Reilly (of the Durutti Column), Morrissey doesn't drastically depart from the sound of Strangeways, Here We Come, offering a selection of 12 jangling guitar pop sounds. One major concession is the presence of synthesizers – which is ironic, considering the Smiths' adamant opposition to keyboards – but neither the sound, nor Morrissey's wit, is diluted. And while the music is occasionally pedestrian, Morrissey compensates with a superb batch of lyrics, ranging from his conventional despair ("Little Man, What Now?," "I Don't Mind If You Forget Me") to the savage political tirade of "Margaret on a Guillotine." Nevertheless, the two masterstrokes on the album – the gorgeous "Everyday Is Like Sunday" and the infectious "Suedehead" – were previously singles, and both are on the compilation Bona Drag.