Upon hearing “I’m Throwing My Arms Around Paris,” the first single from Morrisey’s newest album, I thought we were in for a rather predictable affair. Don’t get me wrong, I enjoyed the song quite a bit, and thought it was quite catchy, but it seemed awfully similar to, well, everything else Morrissey’s ever released. Lyrics like “I’m throwing my arms around Paris, because nobody can love me,” break no new ground, and aren’t as effective as they were in 1984, 1994, or even 2004. I feared Years of Refusal would be a strictly by-the-numbers release. Luckily, with the album here, I have been proven wrong. Very wrong indeed. Not only is Years of Refusal Morrissey’s most vital album since 1994’s Vauxhall and I, it also might be the happiest he’s ever released. After all of those years of, well, refusal to cheer up, it seems our dear old Moz is finally looking on the sunny side. It’s a refreshing change, and it breathes new life into his music.

One of the main reasons for Morrissey’s relatively cheery disposition this time around seems to be producer Jerry Finn. Finn had previously worked with Moz on 2004’s You Are The Quarry, but while he took a fairly hands-off approach to that album, this time around he makes his presence known on every track, adding the loud guitar and drums sound that he had previously used on albums by Blink 182 and Sum 41. You’d think that this would be a recipe for disaster, but it works surprisingly well, giving his songs far more bite than usual. This is especially true on album opener “Something Is Squeezing My Skull,” a raucous, up-tempo track that wouldn’t be out of place on modern radio. The effects can also be felt on “All You Need Is Me,” a track from last year’s Greatest Hits album also included on here. Morrissey’s usually dreary tracks are given a new edge with these arrangements, and it works for the better. This is one of the most genuinely fun albums Morrissey has ever made.

Now, don’t get me wrong, not every track on this album is upbeat. This is Morrissey we’re talking about. They don’t call him the “Pope of Mope” for nothing, and sure enough, he does take out a little bit of time to complain. Besides the aforementioned “Paris,” there’s the ballad “You Were Good In Your Time,” a song praising an aging star, reminiscent of The Smiths’ classic “Paint a Vulgar Picture,” as well as “It’s Not Your Birthday,” in which he displays his delightfully cruel wit one more time, this time laying into someone who’s been the recipient of pity for too long. Finally, there’s “That’s How People Grow Up,” another Greatest Hits holdover, which functions as a bit of a response to his most famous song, “How Soon Is Now?” Where he once proclaimed “I am human and I need to be loved / Just like everybody else does,” he now points out “There’s worse things in life then never being someone’s sweetie.” Harsh words to say the least, but if they get Moz to sleep at night, who are we to judge?

There is very little to complain about with this album. Most of these songs are catchy and memorable, and even the weaker numbers are not without merit. The idea of a not-so-miserable Morrissey making music with a pop-punk guru may scare you away, but this album is well worth your time. After 25 years on the scene, Morrissey’s music is as strong and relevant as ever. No wonder he’s starting to lighten up.

Heaven knows he’s not miserable now. Even if that scares you, give this a shot. It’s well worth your time.