This is Mozzer’s first solo album, and it finds him in fine form. As far the best song on the album, I’m going with a sentimental favorite (and quite possibly my favorite Morrissey song ever), “Hairdresser on Fire”. Yes, yes, I know it’s a bonus track on the U.S. edition, but still, it’s vintage SPM.
And you?
I had a copy of this on vinyl which was mistakenly printed with the title “Education in Reverse” and both sides had the same label - side A I think.
I almost voted for Suedehead just because it is so catchy and none of the other album tracks ever really stood out to me, but then I went to youtube and listened to Every Day is Like Sunday and realised I prefer it, despite the ridiculous synthesizers and strings. Then I listened to it three more times, and Suedehead twice more. Damn, they are cathy songs. I quite like Stephen Street’s songwriting on this record but session musicians are almost always going to lack the charm of a real band, so it does make me miss the Smiths too.
Years ago, the videos for Suedehead and Every Day is Like Sunday played on TV back to back and I asked my older brother why Morrissey acts that way. He replied as if it were objective fact, “Oh, it’s because he’s a wanker.”
Viva Hate is particularly important in the Moz canon because it paired him with another genius axeman, Vini Reilly. “Alsatian Cousin” and “I Don’t Mind If You Forget Me” are highlights on this disc.
“Margaret On The Guillotine” was the working title for The Smiths’ Strangeways, Here We Come.
I really like this album, because I got into The Smiths fairly late (1988 or 1989) and of course missed hearing Strangeways as a new record (though I think Louder Than Bombs was a 1987 or 1988 release, and there was no internet so hearing a “new” Smiths album a year after its release was cool. So I got Viva Hate just as it came out, so my first Morrissey experience in real time.
I love (and voted for) “The Ordinary Boys” because lyrically, I thought it described me at the time. I think Morrissey/Street worked well as a songwriting team and this is perhaps one of their best works.
This month’s Q magazine has a review of a Viva Hate reissue - by Parlophone, I think.
When I was in high school, I loved “Bengali in Platforms” – I was a sucker for the emo-riffic line, “Life is hard enough when you belong here” – but listening to it as an adult, I hear all the racial overtones and get uncomfortable. I don’t know how to take that song now.
So I voted for “Angel, Angel, Down We Go Together,” because although I can’t say it’s the best song on the album, it’s my favorite. Morrissey’s vocal performance is wonderful – I love the hushed way he sings, “Believe me,” so earnest and full of concern. Supposedly, this was written about Johnny Marr, which makes it even better.
Late Night, Maudlin Street is my hands-down favorite off of this album and one of my favorite Morrissey songs period.
Mozzer showed me that the world keeps on turning despite what you do, and don’t worry about who thinks what about you. Dang good tunes.
Maudlin Street gets me every time.
Well put. Well put, indeed.
Similarly, I’ve taken the overarching theme of his work to be be between being upset, or at least melancholy, about not seeming to fit in in the world, and the defiance to declare that that’s the world’s problem, not yours.
Anyways, I tend to go for the upbeat ones, so I chose Hairdresser. Suedehead’s about as good, too. On another day, it could have gotten my vote.