Morrissey has finally released a covers album, long awaited by no one but me. In typical aggravating fashion the controversy overshadowed the music. Did he or didn’t he surreptitiously show his support for a right-wing political candidate on late night TV? I don’t know anything about the nuances of British politics and I don’t particularly care; lots of celebrities have supported shitty candidates and/or blurted out ignorant opinions and it doesn’t stop them selling records. Morrissey’s record probably would have earned better reviews without the reminder that he’s a twat in real life, but it sold well anyway. And frankly, I loved it. Morrissey may be a twat but he’s still one of our most inimitable vocal talents, and it’s great to hear him apply himself to something besides his own writing. The problem with Morrissey’s writing is that it hasn’t changed much since the 80’s and he still fundamentally sees himself as a set-upon loser with an achy-breaky heart, which was endearing in a frail youth but less so coming from a successful older man. There’s only so much you can feel sorry for yourself when you’ve been at the top of your profession for decades. One thing he does still have going for him, which I think is an underrated aspect of the Morrissey persona, is his knack for high camp. Morrissey has the camp instincts of a cabaret queen. It’s always been a part of his work, but it’s become more pronounced with age. You could say that his recent string of albums have been leaning into self-parody, and sometimes it’s unclear if that’s intentional. Here, with the writing clearly removed from the man, it’s very much intentional. I think this might be Morrissey’s gayest album yet.