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With a cold, airy speaking voice that hints at melody and an awkward youth’s flow, the breezy “Iceman” and the tinny industrialism of “Metallic Intuition” touch upon addiction and frustration without a drip of sentimentality.

The slow-winded “Agony,” too, presents stiffness and ire as positive rap-personality traits.

This relationship is given overly self-conscious form as Morrissey hands the microphone to devotees, so they can express how, as one says, "You make my life complete."The fierceness of one fan's face as he stares at the stage, flushed with intense, nameless emotion, says much more.

So does Morrissey as he sinks to his knees, back turned to the crowd to watch slaughterhouse footage during an at first prayerfully quiet "Meat Is Murder".

Such is also the case with this posthumous release with the Dap-Kings, her soul revival touring outfit and the house band for the Brooklyn label that’s been so hard-hit of late, with Jones’ fellow traveler Charles Bradley also dying of cancer this year. The album begins with the hopeful statement of faith that the world’s problems will one day be solved on “Matter of Time,” digs into a Memphis groove on “Pass Me By,” and delights in Stylistics-style Philly soul lushness on “When I Saw Your Face,” all the while displaying Jones’ life-affirming mastery as a singer.

And (Year00001 **1/2) It is odd thinking that what melancholy Swedish artist Jonatan Leandoer Håstad – Yung Lean since he joined Stockholm’s Sad Boys crew at 16 — does is hip-hop.

Having been a fervent teenage admirer of the New York Dolls and Patti Smith, he has made himself a worthy object of such adoration.

Away from the cameras at Hollywood High, I saw the strength of this at a 2011 gig at Brixton Academy in London."The future," he concluded on the fan site True to You with characteristic fatalism, "is suddenly absent."This would be more alarming if Morrissey hadn't been here before.His flop 1997 album, , was followed by seven years of record label exile he knew was coming even before its release, explaining to an interviewer: "I'm box office poison… And unless the wind is in your sails, there's very little you can do." He responded to the depressed period which followed by moving to LA to live like Sunset Boulevard's forgotten silent-film star Norma Desmond in a mansion in the Hollywood Hills, taking pot-shots at short-sighted record labels till a triumphant comeback with 2004's especially "Ammunition", a defiant confession of his thematic limitations.The fascination of the film isn't in the often exciting show, though, but the fans' reaction to it.Their faces and hands reach up to him, till they finally hurl themselves at the stage in kamikaze efforts to touch their idol.But his insistence on social meaning in shows which aren't just entertainment is a reminder of rock's ambition.Morrissey 25: Live is finally a document of Morrissey as a star – in his fans' intelligent, consuming obsession with him, perhaps rock's last.“In the light of day, all I see is the dark of night,” Williams sings over the folk-rock of the set-opening “The Other Side of Pain.” Campbell himself cuts loose with the howling cold-turkey blues of “Three Days in a Row.” He’s been there.Yes, it can get pretty grim, but the word is in the album title for a reason.The set is also about the life-affirming power of love and devotion, whether it’s Campbell taking the lead on his majestic soul ballad “When I Stop Loving You” (written with Stax great William Bell) or Williams delivering an exquisite deep-country take on Carl Perkins’ “Turn Around.” And love and devotion, in their most selfless form, are at the heart of the searing “Contraband Love”: “But the angels have all begun to cry,” Williams sings. Moth stories are true, as remembered by the storyteller and always told live.

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