The Smiths-Louder Than Bombs

Originally Written and Posted at Epinions.com on 1/27/09.

By late 1986 after the release of the band's third studio album The Queen Is Dead, the Smiths were truly the band young audiences counted as an alternative to the mainstream pop music scene in Britain. Despite some chart success with singles and albums, the Smiths were still considered underground heroes as their lack of commercial profile frustrated singer/lyricist Morrissey. In early 1987, Rough Trade and EMI released the compilation album The World Won't Listen that consisted of more rarities, B-sides, and non-LP singles. While the album was a hit with fans, the record was not released in the U.S. as they were a cult band in that country. The album would be released as an import prompting Rough Trade and EMI to compile an expanded version of The World Won't Listen with some changes for its U.S. audience through the band's U.S. label Sire Records. The album would be released in March of 1987 as Louder Than Bombs.

Louder Than Bombs is an album consisting of twenty-four tracks filled with non-LP singles, B-sides, radio session tracks, and other rarities. Expanding The World Won't Listen with a few alterations in terms of different versions of a couple of tracks. The album is meant to give fans the chance to hear rarities and B-sides they didn't have at the time. Especially U.S. fans as the record includes tracks from the Hatful of Hollow compilation that still wasn't out in the U.S. Filled with many highlights from the band including BBC radio sessions with John Peel from December of 1986 plus another Peel session that was heard previously from the Hatful of Hollow compilation. Louder Than Bombs is a superb, exciting compilation record from the Smiths.

The album opens with Is It Really So Strange?, a B-side track from the Sheila Takes A Bow single and from John Peel's December ‘86 session. The mid-tempo, bouncy track led by Johnny Marr's washy guitar track and thumping rhythms by drummer Mike Joyce and bassist Andy Rourke. With Morrissey's witty, sardonic lyrics and calm, wailing vocals, it's a great opener to reveal the gems the band has. The non-LP single Sheila Takes A Bow is another upbeat song with a blaring horn intro and thrashing guitar track that becomes this smooth yet powerful song with Joyce's hard-pounding drums and Rourke's growling guitar accompaniment. With Morrissey's melancholic yet direct lyrics and engaging vocals, it's one of the band's great singles proving the band's sense of prowess while remaining simple which includes a guitar slide in the background by John Porter. Another great non-LP single Shoplifters Of The World Unite features a smooth, chug-like rhythm from Marr's guitar and the rhythm section of Joyce and Rourke. With Morrissey's calm vocals and very political-driven lyrics that are very poignant. Featuring a wailing solo from Marr near the coda, it's one of the band's best cuts.

Sweet And Tender Hooligan, a B-side from Sheila Takes A Bow and from the Peel December ‘86 session, opens with Marr's shimmering guitar note before going into this fast, pounding track with rumbling, rapid drums by Joyce and Marr's jangly, washy guitar track. With Morrissey singing fast, sardonic lyrics filled with angst along with direct vocals, it's the band being a bit primal in their sound while keeping true to their sound. Half A Person, a B-side for Shoplifters Of The World Unite, is a ballad with smooth, thumping rhythms and Craig Gannon's washy acoustic guitar accompaniment along with Marr's electric guitar arpeggio flourishes. Morrissey's soft, elegant vocals filled with melancholia is a poignant song filled with very personal lyrics that prove his brilliance as a lyricist. London, another B-side from Shoplifters Of The World Unite, is a rollicking, punk-inspired track with hard-pounding beats and crunching guitar riffs from Marr and Gannon along with Rourke's wobbly bass fuzz. With Morrissey getting a bit confrontational in his vocals with descriptive lyrics about the city, it's a great B-side showing the band delving into their punk influences with help from Stephen Street's mix on the drums.

The non-LP single Panic with Craig Gannon on rhythm guitar, is a rich, upbeat song filled with Marr's intricate, arpeggio flourishes that opens the song with Joyce's pounding drums and Morrissey's angry, dramatic vocals. With his wailing, near-operatic vocals, Morrissey sings a verse about the music that is being played that says nothing to him while wanting to burn down the disco and hang the DJ. Girl Afraid, a B-side for Heaven Knows I'm Miserable Now that also appeared in Hatful of Hollow, is a rich, upbeat track with bouncy rhythms and Marr's jangly, intricate arpeggio melodies that complements Morrissey's calm, melancholic vocals filled with morose lyrics. The non-LP single Shakespeare's Sister is a fast, rollicking track led by Joyce's rapid drumming and Marr's washy, slithering guitar tracks. With Morrissey singing through a hollow mix, it's one of the band's key singles filled with a blues-bar based rollicking rhythm and Morrissey's dramatic lyrics. The single William, It Was Really Nothing from Hatful of Hollow appears with its swift rhythm, Marr's rich, arpeggio guitar flourishes, and Morrissey's morose lyrics.

Next is a remix of an aborted single entitled You Just Haven't Earned It Yet, Baby, a mid-tempo song that features bouncy rhythms from Joyce and Rourke's low bass line along with Marr's rich, arpeggio guitar melodies. With Morrissey's calm, glorious vocals that sings along to the song's somber lyrics, it's a great song that shows a gem unearthed by the band. The non-LP single Heaven Knows I'm Miserable Now from Hatful of Hollow, is one of the band's rich singles with Marr's flourishing guitar chimes, Morrissey's melacholic lyrics and dramatic vocals, and a smooth, thumping rhythm from Joyce and Rourke. The non-LP single Ask appears in a remixed form than in its original single features Craig Gannon on rhythm guitar and backing vocals from Kirsty MacColl. With its upbeat rhythms, washy acoustic guitar riffs, and Morrissey's somber vocals filled with morose, lonely lyrics that includes MacColl singing along in the latter-half of the chorus. With Marr's rich arpeggio guitars in the background, it's one of the band's key singles.

The B-side for Ask is a cover of Twinkle's Golden Lights that also features Gannon and MacColl with John Porter providing drum machine tracks in the background. With a haunting, shimmering intro that accompanies MacColl's vocals with soft, sputtering drum machines and Marr's intricate guitar. With Morrissey and MacColl singing along with a warbled vocal mix and Marr's rich guitar along with Rourke's wobbly bass and Joyce's tapping drums. Oscillate Wildly is a B-side for How Soon Is Now? that is essentially an instrumental track with a piano melody that opens the track with Joyce's tapping drums, Rourke's warbling bass, and Marr's washy guitar track. Then it becomes this thumping track with Joyce's snare beats and Marr's washy guitar chimes that is followed by spurting keyboard melodies. These Things Take Time is an upbeat track that is a B-side for What Difference Does It Make? and appeared from Hatful of Hollow. With its rich, intricate guitar work from Johnny Marr, thumping rhythms, and Morrissey's low-wailing vocals and direct lyrics, it's another of the band's great B-sides.

Rubber Ring, a B-side for The Boy With A Thorn In His Side, features swanky guitar riffs from Marr and Rourke's wobbly bass line. With Joyce's smooth, thumping drums joining in, Morrissey sings witty, sardonic lyrics filled with melancholic references to great songs of the past. With Marr's flourishing chimes in the background, it's another fantastic song from the band featuring voices talking in the coda. Back To The Old House, a B-side for What Difference Does It Make? that also appeared from Hatful of Hollow, is a rich ballad led by Marr's rich guitar melodies and Morrissey's somber vocals filled with melancholic lyrics. Another track that appeared from Hatful of Hollow is the single version of Hand In Glove, the band's first single that defined the Smiths' sound. An alternate version of Stretch Out And Wait, a B-side for Shakespeare's Sister, is an acoustic ballad featuring Marr's rich, washy guitar, soft tapping rhythms, and Morrissey's somber vocals filled with melancholic-laden lyrics. The song's presentation reveals the band's brilliance in its simplicity and approach to ballads that often revels in Morrissey's amazing vocals.

Two tracks from Hatful of Hollow appear next, first is the acoustic ballad Please, Please, Please Let Me Get What I Want that is a B-side for William, It Was Really Nothing. The second is This Night Has Opened My Eyes from the September ‘83 John Peel session, the haunting song featuring Marr's spurting guitars, smooth, thumping rhythms, and Morrissey's hollow vocals filled with eerie lyrics. Unloveable, a B-side for Bigmouth Strikes Again, is a ballad led by Marr's washy, jangly guitar, thumping rhythms, and Morrissey's soothing vocals. Filled with morose, somber lyrics, it's another fascinating B-side that features Morrissey's superb vocals and Marr's rich guitar work along with a soft cowbell in the background. The album closer is Asleep, a B-side for The Boy With A Thorn In His Side, is another ballad led by Marr's somber piano playing to Morrissey's brilliant vocals filled with soothing, sad lyrics about death. A simple piano ballad with just Marr and Morrissey, it's a fitting closer to the album.

Five tracks that appear in the U.K. compilation record The World Won't Listen are two single versions for That Joke Isn't Funny Anymore and The Boy With The Thorn On His Side plus an alternate mix of You Just Haven't Earned It, Baby and an alternate version of Stretch Out And Wait with different opening lyrics and an alternate vocal mix. Another exclusive track that appeared in cassette versions of that album is a song called Money Changes Everything. An instrumental track with thumping, twangy rhythms led by Rourke's bass and Marr's swanky guitar, and synthesized strings to explore the band's versatile music styles. When Louder Than Bombs was released on March 1987 in the U.S., the record came out two months later in the U.K. to great success. For the Smiths, it helped raise their profile to the mainstream as they were set to make their fourth album. Yet, rising tension between Morrissey and Johnny Marr along with pressures from EMI to make another hit album that would get the band bigger would only mark the beginning of the end for the Smiths.

Louder Than Bombs is a brilliant, sprawling compilation album from the Smiths. While the album contains many B-sides, non-LP singles, and rarities that fans would love, it's incomplete due to the material that didn't make it from The World Won't Listen plus tracks that already appeared from Hatful of Hollow. While the record is essential for fans of the Smiths, it's an album that shows the band's brilliance with their B-sides and singles proving that there's a lot of gems that don't appear in their studio albums. In the end, Louder Than Bombs is a superb album that fills all of the need for great music from the Smiths.

The Smiths Albums: The Smiths - Hatful of Hollow - Meat is Murder - The Queen is Dead - Strangeways, Here We Come

(C) thevoid99 2011

The Smiths-Hatful of Hollow

Originally Written and Posted at Epinions.com on 1/22/09

Following the release of the band's self-titled debut release in early 1984, the Smiths were the new heroes of British independent music as they've become the band that disenfranchised youths have championed. Thanks to hit singles like This Charming Man, William, It Was Really Nothing, and Heaven Knows I'm Miserable Now, the Smiths were becoming the leading band for a new British indie scene as they brought an alternative to the overly-commercialized music of artists like Phil Collins and Paul Young along with the left-overs of acts from the new wave and synth-pop scene. The band's cult following was massive that their label Rough Trade decided to release a compilation of the band's non-LP singles, B-sides, rarities, and BBC radio sessions for the fans to have entitled Hatful of Hollow.

Featuring songs written by singer/lyricist Morrissey and guitarist Johnny Marr, Hatful of Hollow is a compilation of material cultivated from the band during the release of their debut album. Featuring non-LP singles along with BBC radio sessions from John Peel and David Jensen. The album includes B-sides that proved to be popular with fans including one that would eventually come out as a single of its own that would break the band into the American underground/alternative rock music scene. While the album features various versions of songs from the first album performed in radio sessions including the original single version of their first single Hand In Glove. The compilation is a record that would prove to be essential to fans of the Smiths.

The album begins with the non-LP single William, It Was Really Nothing with its fast, shimmering rhythm with Mike Joyce's rumbling beats and Johnny Marr's flourishing, washy semi-acoustic guitar riffs. With Morrissey singing in a clam, tenor vocal style with lyrics about a man marrying a fat girl for nothing, it showed Morrissey's dark-wit in his lyrics that featured Marr's elgaic, chiming arpeggio melodies that would be the basis for the Smiths' unique sound. From a May 1983 BBC session with John Peel comes a rough version of What Difference Does It Make? with loud, pounding rhythm section from Joyce's drums and Andy Rourke's rumbling bass. With Marr's ringing, arpeggio guitars and Morrissey's rough tenor vocals. Though it sounds like a radio session, the track showed an idea of what the Smiths were sounding like before the first album. From David Jensen's June 1983 radio session is These Things Take Time, an upbeat song with a thumping, driving rhythm from Joyce's hard-hitting drums and Rourke's wobbly bass. With Marr's rich, arpeggio guitar washes, Morrissey sings in a clearer, dramatic vocal style with lyrics filled with carelessness and wit as it's a standout cut.

From John Peel's September 1983 session is This Charming Man that doesn't feature the song's original, famed intro as it's shortened a bit. Though the sound is clearer than their earlier session with Peel, it's clearly a song that is in development with Marr's intricate guitar playing, thumping rhythms, and Morrissey's distant vocals which sounds a bit high in the recording. Next is the classic How Soon Is Now? that was originally a B-side from William, It Was Really Nothing. The six-minute, forty-five second track features a vibrato-style of guitar playing that swoons to the smooth but intense drumming of Mike Joyce and Andy Rourke's sturdy bass line. With Morrissey singing in a calm, haunting vocal style, the song is filled with poignant lyrics of loneliness and despair that also features Marr's amazing guitar playing with arpeggio riffs and flourishes that is truly defining in its solos and vibrato presentation. Handsome Devil from the May ‘83 Peel session is an upbeat, driving song with Joyce's swift drumming and Rourke's bouncy bass line as Marr plays fast, jangly riffs to Morrissey's detached yet hollow vocals with dark lyrics that are filled with Morrissey's wit and sense of melodrama.

The single version of Hand In Glove opens with a fading intro of ringing, intricate guitar playing from Marr with the thumping rhythms of Joyce and Rourke. While Morrissey's vocal seems more distant than in the remix version, it's still one of the song's highlights as the difference in the mixes between the original single and remixed version on the band's debut is the fade-in intro and Morrissey's vocal mix. Still Ill from the debut album appears from the September 1983 John Peel session with its rough mix that features a chug-like opening rhythm and swift, mid-tempo signature changes with Morrissey's vocal sounding hollow. While it's a song that sounds closer to its final version from the album with Marr's chiming guitar melodies, it would show the promise the band would have in the year to come. The non-LP single Heaven Knows I'm Miserable Now is one of the band's great songs thanks to Johnny Marr's flourishing, jangly guitar playing filled with washy riffs and intricate melodies during the guitar solos. With a mid-tempo rhythm led by Joyce's drums and filled by Rourke's hollow bass, Morrissey's dramatic vocal styles mixed in with his despairing lyrics are key to one of the band's greatest songs.

From Peel's September ‘83 session is The Night Has Opened My Eyes is a smooth, thumping track led by Morrissey's quiet, hollow vocals, Rourke's sturdy bass line, Joyce's slow drums, and Marr's spurting guitar riffs. With Morrissey's reflective lyrics, it's a nice song though its rough production tends to be its only major flaw. You've Got Everything Now from the June ‘83 Jensen session is an upbeat track with Rourke's wobbly bass line, Joyce's propelling drums, and Marr's washy riffs as Morrissey sings melancholic lyrics through his hollow vocals. With Marr playing rich, chiming melodies during the middle section of the song, it's a standout cut from the band. Accept Yourself from Jensen's August ‘83 session is another upbeat track with thumping rhythms that features breaking bass beats and a superb production that is clean as Marr's arpeggio, washy guitar playing really shine along with Morrissey's vocals and witty lyrics filled with despair.

The B-side track Girl Afraid from the single for Heaven Knows I'm Miserable Now is a swift, jangly track with sputtering beats and bouncy bass lines along with Marr's melodic guitar swirls as Morrissey sings fearful lyrics with his calm, soothing vocals. Marr's intricate guitar playing and Morrissey's vocals are the highlight along with its swift, sputtering rhythms making it a fantastic B-side. Back To The Old House from the September ‘83 Peel session is an acoustic ballad featuring Marr's enchanting, melodic guitar playing and Morrissey's calm vocals sung with haunting lyrics about loss and nostalgia. From the Peel Session in May of 1983 is a rough version of Reel Around The Fountain from the band's debut album. With a louder drum mix and a more intense bass performance, Morrissey's vocals sound more engaging along with Marr's guitar playing though the mix of the guitar is in the background. The album closer is a B-side from William, It Was Really Nothing in the acoustic ballad Please, Please, Please Let Me Get What I Want. The smooth, acoustic ballad performed by Morrissey and Marr has Morrissey singing poignant, nostalgic lyrics with Marr playing flourishing, intricate guitar riffs. Morrissey's vocals are the highlight along with a shimmering, rich mandolin solo from Marr that closes the song as it's one of the band's high moments.

The album was released in 1984 as it became a hit with fans of the Smiths. Yet, the B-side for How Soon Is Now? reached into the U.S. college radio stations as it would become an underground hit attracting the attention of Sire Records who would release the band's albums in the U.S. for the remainder of their career. The song would also be included as a bonus track in the American version of the band's sophomore studio release Meat is Murder. The B-side Please, Please, Please Let Me Get What I Want would famously be covered by the Dream Academy that would make its most famous appearance in John Hughes' 1986 film Ferris Bueller's Day Off.

Hatful of Hollow is an excellent compilation record from the Smiths featuring fantastic B-sides, rarities, and non-LP singles including the 80s staple How Soon Is Now? While some of the mixing from the BBC sessions might be a bit rough in some parts, the rare tracks are the reason for fans to have this record along with the B-sides since singles have now become a thing of the past. For fans of the Smiths, it's a record that is truly worth having as it's one of those compilations outside of best-of albums to have. In the end, Hatful of Hollow is a record that truly defines the brilliance of the Smiths.

The Smiths Albums: The Smiths - Meat is Murder - The Queen is Dead - Louder Than Bombs - Strangeways, Here We Come

(C) thevoid99 2011

PJ Harvey-The Peel Sessions 1991-2004

Originally Written and Posted at Epinions.com on 4/23/09.

Of the rock disc jockeys to come into the world, none were as revered as John Peel for the BBC. Peel's emphasis to discover new bands, especially in the punk rock movement helped expose British audiences to new worlds while being honest about his ideas on the mainstream. To many young musicians, John Peel was the person to go to in hopes of getting heard on the radio or be exposed to audiences who had never heard of them. When John Peel suddenly died of a heart attack on October 25, 2004, the world of British music lost one of its unsung heroes. One of the artists whose career benefitted from Peel's unwavering support was PJ Harvey who compiled a collection of some of her best performance from her sessions for John Peel entitled The Peel Sessions 1991-2004.

The record is a compilation of Harvey's career from her early beginnings to a tribute performance she gave to the renowned disc jockey. Featuring four different sessions plus a tribute performance weeks after his passing. The album features deep cuts from studio albums plus rarities and cover songs as it's a record that doesn't really have a lot of hits nor any other big songs. The result is a well-compiled record that serves as a fitting tribute to the late John Peel.

The first four tracks which features Harvey's old trio that included bassist Steve Vaughn and drummer Rob Ellis. From the September 29, 1991 Peel session are four tracks that would later appear in PJ Harvey's 1992 debut album Dry. First is Oh My Lover, the desperate love song led by Steve Vaughn's sturdy bass line and Rob Ellis' slow, hollow beats. With Harvey's washy guitar and wailing vocals with smooth, pounding rhythms, it's one of Harvey's great songs. Victory is a mid-tempo song led by Vaughn's twangy bass line and Ellis' rumbling bass beats with bouncy rhythms that is led by Harvey's washy guitar riffs, wailing vocals, and sneering lyrics. The famed single Sheela-Na-Gig with its bouncy rhythms, washy punk riffs, and Harvey's calm vocals with sexy, dirty lyrics is shown in a simple yet rollicking performance. The last track of the session is Water with is smooth, bouncy rhythm and melodic-washy guitars with Harvey's wailing vocals with powerful lyrics as she delves into a sexual maniac.

From the March 2, 1993 session are two tracks which are essentially rarities that either appeared as B-sides or soundtrack material which also features Vaughn and Ellis performing. First is Naked Cousin, a song that would later appear in the soundtrack to The Crow: City of Angels. With its blistering, rumbling beats from Ellis, wailing keyboards, and crunching guitars from Harvey, it's a song has Harvey singing in a wailing, bluesy vocal with dark lyrics about death. It's one of Harvey's best rarities featuring a great vocal in the song's chorus along with some growling guitar riffs. Next is a cover of Willie Dixon's Wang Dang Doodle, a B-side from the Man-Size single. With its melodic, funky riff and smooth, sputtering rhythms, Harvey goes to a growling, bluesy vocal with wailing falsetto to emphasize on the sexiness of the song.

From the September 5, 1996 session are three tracks from two different periods in which Harvey performs by herself. The first is a cover of Rainer Ptacek's Losing Ground from the That Was My Veil single. With its fast, crunching guitar riff, it's a song where Harvey sings in a calm, playful manner to the song with her vocals with its abstract, weird lyrics. Next is Snake from Rid of Me, the angry song with Harvey's wailing vocal with swift, driving guitar riffs that exemplifies Harvey's love for punk-rock and grunge with growling riffs coming later in the song. That Was My Veil from the Dance Hall at Louse Point album with John Parish is an acoustic ballad filled with Harvey singing in a somber vocal style with melancholic vocals that features a keyboard solo in the background. Especially in an intimate setting as she performs with just an acoustic guitar and a keyboard.

From the November 10, 2000 session are two tracks from her acclaimed 2000 release Stories from the City, Stories from the Sea. First is the U.K./Japanese bonus track This Wicked Tongue, a sinister song with growling guitar riffs as Harvey sings in a hollow vocal style with Rob Ellis' thumping beats. With its dark, mean lyrics, it's a song with an intense performance that features soft, swirling guitars that play up to Harvey's angry energy. Beautiful Feeling is a soothing, atmospheric ballad led by Harvey's calm, somber vocals with dreamy lyrics as she is accompanied by a piano and a washy guitar during the performance. The last track on the record is from a December 16, 2004 BBC tribute performance for the late John Peel in You Came Through from Uh Huh Her. Performing to a live audience with just a swift, electric guitar strum, Harvey sings the somber ballad with her smooth, wailing vocals as she's accompanied by an acoustic and tapping percussions. Harvey's simple, emotive vocals is the highlight of the record as it's a fitting closer and tribute to John Peel.

While the record doesn't have all of the material PJ Harvey has done for John Peel in numerous BBC sessions. It's still a fascinating record that features rare performances that fans can collect who missed them the first time around. While the material Harvey selected is definitely excellent, it's a record that's really more about how much John Peel meant to her and other artists. In the end, The Peel Sessions 1991-2004 is an excellent album from PJ Harvey that pays tribute to the late, great John Peel.

PJ Harvey: Dry - Rid of Me - 4-Track Demos - To Bring You My Love - Dance Hall at Louse Point (w/ John Parish) - Is This Desire? - Stories from the City, Stories from the Sea - Uh Huh Her - White Chalk - A Woman A Man Walked By (w/ John Parish) - Let England Shake

(C) thevoid99 2011