Hatful Of Hollow

Album: Hatful Of Hollow
Artist: The Smiths
Year: 1984
Track picks: What Difference Does It Make?, This Charming Man, How Soon Is Now?, Hand In Glove, Back To The Old House, Reel Around The Fountain, Please Please Please Let Me Get What I Want
Synopsis: A good compilation that serves as a great introduction to the early days of one of the more interesting indie rock bands of the '80s

Note: I couldn't really finish this "review"! So think of it more like a musing inspired by the album rather than a guide to the album itself.

It's been a while since any talk of music here, which is not all that surprising, given that there hasn't been much music to speak of that I've listed to. 'Fact, Stranded is probably the last album I've heard, and that was at least a few months ago. However, I have rediscovered the wonderful medium that is the compilation, which I talked about previously in terms of how I was at one stage opposed to the whole thing on principle (no doubt mimicking my friend GS, who I believe said something similar, but in a different context). I think the only consistent soundtrack of these past few months has been the Smiths' Hatful Of Hollow. Even after numerous listenings, it's hard to say just what it is that is appealing with some of these songs. Fair enough question, and one that I've enjoyed trying to answer.

The first problem you have is trying to characterize some of these songs. Post-punk? A bit later than most post-punk bands, but even so, it's more New Wave, yet not quite. After all, where are the Beatlesque pop songs? Hmm, so what is it? At first, I hesitated to call them pop, because you don't usually get pop songs that start off with lines like "All men have secrets and here is mine / Let it be known". But musically, they really aren't all that complex, and so I think the best way to describe most of these songs is introspective (some may say egotistical) guitar-based pop.

If that doesn't sound all that exciting, I don't blame you, especially considering that in terms of melodies, the band isn't supremely gifted - and to many, that is the most important thing for a pop band ("What else is there?"). Now, sure, there are some very strong melodies, don't get me wrong, but all I'm saying is that these guys are no Wings. No, the emphasis is definitely more on the feeling; that wallowy, mopey feeling...and here's where Morrissey comes in.

Morrissey may be one of the most grating performers of the last 25 years to some, but to others he is one of the most talented lyricists. A Morrissey love song is really quite unique ("William, It Was Really Nothing"), but so is a Morrissey put-down (I don't know why, but I just love "You shut your mouth" for the sheer helplessness it conveys). I don't think it's possible to name anyone to be the "best" at anything, but I will say that I consider Morrissey to be one of the most unique lyricists/songwriters in all of rock (which is saying something, given how many talented lyricists there are).

Granted, uniqueness doesn't mean quality. After all, the mere fact that no-one has written anything quite like "How Soon Is Now?" doesn't make it good, now does it? Clearly, you need to be doing something of value to boot, and that he does. The Oscar Wilde of rock? Spot on, for all I know. His reputation for being mopey is most certainly deserved, but that's not all there is to the guy. The romantic side of Morrissey is definitely worth knowing, after all it produces such gems as "Why pamper life's complexities / When the leather runs smooth on the passenger's seat?". I hesitate to say that his style was unprecedented, but I can say that I haven't heard anyone write quite like him, no sir.

As with all "love him or hate him" performers, I think it's best not to take everything he says too seriously. I don't blame you if you find "How Soon Is Now?" unbearable; it's perfectly understandable to see it as mere self-pity and pointless ego-stroking. But take it from a slightly more distanced view, and I really think you can see it as an amazingly confessional song. I really don't think there was anyone who was as startlingly naked in saying "I am the son and the heir / Of a shyness that is criminally vulgar / I am the son and heir / Of nothing in particular".

This brings me onto Johnny Marr. It's no surprise that he was often overlooked as Morrissey took center stage, but man the guy is good. Oh, if only I had continued my studies in music theory, for then I could try to explain something behind the Pedia's statements that his sense of harmony and counter-melody were ahead of its time. All I can offer is the pedestrian remark that it all sounds great, but what stands out is how it's often something very simple, which makes it all the more interesting. Kind of like some of those Robbie Krieger riffs on some of the Doors' songs like "Wild Child" and "Five To One", so simple yet so effective.

What about them songs, then? Well, they're mostly good, sometimes great, at worst tolerable, and that about sums it up. As a compilation, it's pretty good, although clearly since the band had only the one album out when this was released, the songs aren't able to cover as wide a variety of styles and moods as one would like (nothing humorous, for starters).

You know, there was a video for "This Charming Man" on TV today (yes, there is a video!), and on seeing it I began to wonder "Wait on, if I was channel surfing and came across this, would I even pay a second glance to it?" Perhaps I was in bit of a critical mood at the time, but the point is that on analysis, it seems perplexing to me to try and pin point what makes this song as likeable as it is. My initial response is of course to say the lyrics, but really, after the intro ("Punctured bicycle on a hillside desolate"...see, I'm swooning already, and I don't know why!), there's far too little to totally satisfy. I end up wanting more of "Why pamper life's complexities" and the brilliant "This man says it's gruesome that someone so handsome should care". Then it hits me that there's Morrissey, and that voice. You might hate it, but I dig it; so emotive, and so fitting with the mood I feel. The Hatful version is actually rather different to the original album one. Going by the video, the original is even shorter, and I find it to be far too quick to be effective. This one tries to gently squeeze out the quality, and gives the song a far more deserving platform I feel.

I've already referenced "What Difference Does It Make" more than a few times these past few months, so I don't know what more there is to say about it. It rules, for starters. "Yet another catchy Marr riff and some interesting lyrics" doesn't really say enough, I fear. Heck, is this pop? Well, I guess so. Friggin' good.

My other favourite would have to be "Reel Around The Fountain", which I think risks being forgotten seeing how it is buried late in the track listing. There are some very memorable lines here, but it's also Morrissey's little vocal tricks that I really like. The content might be a bit...risque, though you wouldn't think as much listening to the music.

I don't think the Smiths were really an album band - they really did put a lot of effort into singles, and so compilations like this are an excellent representation of the bad. Since it was my introduction to them, I of course think it is a great first album to get, though I suppose The Queen Is Dead would be a good choice though. Nonetheless, this is a thoroughly enjoyable compilation - not endowed with killer material from start to end, but it certainly has charm in spades.