12 - The Michigan Daily - Tuesday. June 1. 2004
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Morrissey triumphant with Quarry.
By Amos Barshad
Daily Arts Writer
Morrissey probably doesn't quote LL
Cool J much, but if he did, he might cop
a line from LL's
1991 album, Mama Morrissey
Said Knock You Out
- "don't call it a You Are the
comeback; I've Quarry
been here for Attack
years."
After the dismal sales and apathy
that greeted his 1997 album Malad-
justed, it seemed that Morrissey had
reached that stage in his career in
which great musicians - Elvis Costel-
lo, Bob Dylan, the Rolling Stones -
have floundered for long periods of
their careers. The back catalogue is
revered, but any new work is dismissed;
the artist is charged with becoming a
mere shell of his former self.
But with You Are the Quarry, the for-
mer Smiths frontman is again a relevant
rock 'n' roll figure, enjoying radio air-
play and tons of press, without much
change in his music. The gloom, the
doom, the melodrama, even the hair-
it's all back for another go-around.
It's easy to understand why audiences
are embracing the old codger again. In
the past several years, mainstream rock
began to capitalize on underground and
independent groups. From the success
of those bands, the next logical step for
major labels was to snap up indie acts
with cult followings and assist them in
crossing over onto MTV - Saves the
Day, AFl and Modest Mouse have all
enjoyed mainstream success after releas-
ing several records on independent
labels. And if it's indie cred that sells,
then look no further than Morrissey -
calling the Smiths an influence seems to
be mandatory for bands these days.
Quany lives up to the hype. The first
single, "Irish Blood, English Heart" is
an atypically rocking call-to-arms. And,
while Moz might alienate some with his
portrayal of American society's ills and
references to 17th century British poli-
tics on "America is Not the World," the
rest of the album is filled with tales of
unrequited love that the man is known
for. The highlight of the album, "The
First of the Gang to Die," most likely
marks the first time that a middle-aged,
effeminate Brit has tackled the issue of
gang violence in L.A.
Morrissey embodies the musician
whose inner turmoil will never be
known and, to a certain extent, he has
made his living off of this aura of mys-
tery. And if Morrissey ever quoted Big-
gie, he might drop this
line-"Stereotype of a black male mis-
understood /And it's still all good."
The name Is Morrissey. Morrissey Morrissey. Get it? It's like James Bond.
ASTHMA \
RESEARCH
STUDY
Doctors in the area are conducting
a research study to test the safety
and effectiveness of an investigational
medication in the treatment of asthma.
You may be eligible for the study if:
" You are at least 18 years old
" You are generally healthy with the diagnosis of
persistent asthma
" You can manage your asthma symptoms safely
with regular use of albuterol only
" You have not been a smoker within the past year
" Study-related assessments, albuterol inhalers,
and investigational medication at no charge.
" Compensation: up to $520 for completion of 10
visits over 7 months.
If you are interested, call ClinSite at
734-930-3700 (Ann Arbor area)
or 1-888-254-6748 (toll-free)
www.clinsite.com
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School of General Studies
Old-school rapper hits Pig
0
By Hussain Rahim
Daily Arts Writer
CONCERT REVIEW
In a stroke of incredible luck for area
fans, legendary rapper KRS-One
decided to stop in
Ann Arbor on his KRS-One
latest tour. As one of Thursday, May 27
the early pioneers of
rap, a near 20-year Atthe Blnd Pig
veteran and a leg-
endary stage performer, KRS-One is a
household name to anyone who loves
PJ'rs
IRECORDS &
USED CDS
617 Pickard
Upstairs from
Subway
hip-hop. On the eve of the release of
his eleventh studio album, Keep Right,
KRS dazzled with a run-through of his
catalog, including tracks both from his
Boogie Down Productions days and his
solo career.
It's difficult for "old school" artists
to stay relevant and respected in today's
fickle hip-hop culture. Eighties
upstarts Big Daddy Kane and Kool Mo
Dee, for instance, conjure images of
rope chains and fedora hats. Only
through constant image shifts and mass
commercialization can longevity be
achieved in this industry (we're looking
at you, LL Cool J). KRS stopped danc-
ing that dance long ago and has settled
comfortably into his position as sage of
underground hip-hop.
Looking as hungry as an upcoming
MC and projecting the stage presence,
fire and confidence of an established
veteran, KRS-One ruled the stage. His
audience control and tight delivery
demanded energy from the rapt crowd.
The enthusiasm in the crowd's partici-
pation indicated that those present defi-
nitely knew they were seeing
something big.
One of the purest and most respected
aspects of hip-hop is the freestyle. It
can be hard to tell whether the per-
former is genuinely creating the lyrics
on the spot or reciting memorized
lines, but KRS passed the test, spouting
out rhymes hetween songs that fre-
quently referred to the Blind Pig.
He gave abrief history lesson of hip-
hop with a large projector, full of pic-
tures of the genre's originators. He
rhymed nimbly about each one,
admirably holding audience's attention.
Throughout the show he managed to
draw numerous "oohs" and "ahs" from
the audience with poignant commen-
tary and always-appreciated barbs
against Nelly. Without a moment of let-
up or boredom from viewers, KRS
reminds everyone why he's still the
preeminent stage performer in hip-hop.
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