Viva Hate: a nice effort from a not-so-nice snob (Viva Hate - Morrissey)

Member Name: Jay Pendragon

Product:	Viva Hate - Morrissey
Date:	06/06/01 (93 review reads)
Rating:

Advantages: some truly good pop tunes, Nice introduction to Morrissey-in-general, 'Everyday is Like Sunday'

Disadvantages: Morrissey, if you don't like that sorta thing, sub-par where Smiths are concerned

Morrissey's debut solo record, 1988's 'Viva Hate' is an admirable offering full of catchy hooks, melodies and straightforward production values; an incredibly mainstream LP, this is a major departure from the edgy, unpolished sonic harrowing the Smiths' usually pummelled the listener with. It teams Morrissey with Vini Reilly of the Durrutti Column, and sees Smiths' producer Stephen Street flexing his muscles instrument-wise(he plays bass and other stuff here!)

'Viva Hate's lyrical content tackles everything from downhome, kissin' cousins( the oddly metallic screech of 'Alstatian Cousin') to suicide(the chiming, string-driven 'Angel, Angel, Down We Go Together'). Right down to criticism of England's political climate,at the time at least('Margaret on a Guillotine'). It is less-annoying and redundant than the releases to come, relying on basic song-structures and stripped-down vocals. This is probably his most cohesive solo effort.

Songs such as 'I Don't Mind if you Forget Me' and 'Late Night, Maudlin Street' are permeated with that sense of melancholia which every adolescent misfit should identify with completely. On the sweet, light 'Bengali in Platforms', Morrissey even assumes the playful role of bigot(yuck!), sympathizing with the plight of a foreigner-in-a-strange-land('life is hard enough when you belong here" Moz sings over suspiciously Marr-esque guitar chords). 'Little Man, What Now?' sheds a hilarious light on washed-up teen idols while 'Dial-a-Cliche' even sees the Moz joking about his own moany-redundancy.

There ARE some classic pop tunes such as 'Suedehead' and the catchy-as-heck 'Everyday is Like Sunday': all rocking along in a fashion Morrissey would never really partake of again. Reillys' songs and arrangements try to steer clear of you-know-who, and while retaining some dignity, somehow th
e whole thing reeks of something Marr would've vetoed before it got to rehearsal stage.

This is a truly excellent album- for what it is, of course- catchy, disposable(for the most part)pop musick for forlorn outsiders and sensitive girls with eating disorders. And recommended, lads.

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