Morrissey - Viva Hate (1988)
| No. | Title | Length |
|---|---|---|
| 1. | "Alsatian Cousin" | 3:13 |
| 2. | "Little Man, What Now?" | 1:48 |
| 3. | "Everyday Is Like Sunday" | 3:32 |
| 4. | "Bengali in Platforms" | 3:55 |
| 5. | "Angel, Angel Down We Go Together" | 1:40 |
| 6. | "Late Night, Maudlin Street" | 7:40 |
| 7. | "Suedehead" | 3:56 |
| 8. | "Break Up the Family" | 3:55 |
| 9. | "The Ordinary Boys" | 3:10 |
| 10. | "I Don't Mind If You Forget Me" | 3:17 |
| 11. | "Dial-a-Cliché" | 2:28 |
| 12. | "Margaret on the Guillotine" | 3:42 |
https://en.wikipedia.org/wiki/Viva_Hate
Golf's verdict: In the nearly 30 (!!!) years since Mozza has been a solo artist his album releases have been eagerly anticipated either by the hard-core fanbase only or by the wider constituency that every now and again his career reaches. This solo debut promised much and - coming after The Smiths' perfect swansong, Strangeways Here We Come - was never going to meet the hype of expectations. But it is arguably his strongest solo album with at least 3 tracks the equal of his Marr partnership: 'Late Night, Maudlin Street', 'Suedehead' and - of course - 'Every Day is Like Sunday' - a picture perfect evocation of adolescence in a backwater seaside town, living on borrowed time.
Maire's verdict: A must-listen-to album.
Album 145/1031
Mott the Hoople - Mott (1973)
All songs written by Ian Hunter, except where indicated
LP Side one[edit]
- "All the Way from Memphis" – 4:55
- "Whizz Kid" – 3:05
- "Hymn for the Dudes" (Verden Allen, Hunter) – 5:15
- "Honaloochie Boogie" – 2:35
- "Violence" (Hunter, Mick Ralphs) – 4:37
LP Side two[edit]
- "Drivin’ Sister" (Hunter, Ralphs) – 4:42
- "Ballad of Mott the Hoople (26th March 1972, Zürich)" (Hunter, Dale "Buffin" Griffin, Peter Watts, Ralphs, Allen) – 5:40
- "I’m a Cadillac / El Camino Dolo Roso" (Ralphs) – 7:40
- "I Wish I Was Your Mother" – 4:41
https://en.wikipedia.org/wiki/Mott_(album)
Golf's verdict: This is the album that came after the one that Bowie produced and provided All the Young Dudes as a much-needed hit for. 'All the Way from Memphis' is fun, but much of it sounds like the Spiders from Mars without Ziggy. I guess their reputation as a phenomenal live act was difficult to catch in the studio. They certainly could do with a stronger songwriter than Ian Hunter.
Maire's verdict: Not sure if it's what they were aiming for but seemed to be a bad version of Bowie (and yes, Gof has filled me in on the history) and a dodgy Rocky Horror attempt. ‘Violence’ was, indeed, painful.
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