If I had known that a deluxe edition was on the way, I probably would not have purchased the regular edition. Oddly, I bought this on December 4th 2018, and yet Discogs notes that the release date is December 7th, 2018. Did I get it three days early?
This edition has two 180 gram records. The first is Low in High School presented on clear vinyl. The second record, on purple vinyl, contains five live b-sides, three unreleased tracks, and a cover of Back on the Chain Gang, originally written and recorded by The Pretenders. I'm a huge fan of that track. It's one of my favourite tunes from The Pretenders. It's a truly magnificent pop song. Morrissey's version is OK, but it just doesn't compare to the original. In the video, Morrissey is shown playing the guitar, but that is all pretend. Maybe that's a veiled reference to The Pretenders?
This limited edition set also comes with a print or Morrissey.
Bona Drag is a compilation album by Morrissey released on 15 October 1990. The album features an array of Morrissey's most popular songs from his early solo career, most of which had not been released on any previous album. The album name meaning nice outfits is an example of the subculture slang Polari explored further on the album's first track "Piccadilly Palare". The album was certified Gold by the RIAA on 6 December 2000. In 2010, the album was remastered and expanded to include six bonus tracks.
When I first got this CD back in 1990, I played it to death. The 2021 release is the dame as the 2010 20th anniversary release, with six bonus tracks. I picked up a discounted copy on tea coloured vinyl with the poster. Here is something else, from Wikipedia:
The following changes have been made to the original album: "Ouija Board, Ouija Board" has a verse removed ("The glass is moving, no, I was not pushing that time") "Piccadilly Palare" has an extra verse, as has circulated on bootlegs ("A cold-water room") "Interesting Drug" fades into "November Spawned a Monster" "Suedehead" edited to remove guitar fade on the intro.
I have to say that some of these changes, particularly on Piccadilly Palare are a bit jarring.
I had no intention of purchasing this record after reading a few reviews. But, one day, I found a sealed copy in a used record bin in a local store for under $15, so I thought I would give it a try. It's not as dire as some would have you believe. It's not top shelf Morrissey, but I do not hate it. I mean, one can only do so much with cover versions, but, to be honest, I only knew three of four of these tracks.
I bought the record with only a cursory glance at the track listing. I knew it was a compilation, but what an odd compilation it is. Have a look at this really awesome statement from Nitrous.McBread on Discogs:
Utterly bizarre choice of scraps from beneath the table of the
increasingly laughable has-been. Parlophone seem to be doling out a
bunch of industry sweeteners, allotting royalties-as-favours to various
chums, cohorts and back-orifice management types. This is record company
machination par excellence and has virtually nil to do with any
pretence of offering a coherent set of songs in any kind of thought-out
sequence. This album serves two purposes: firstly, persuading
marginalised Morrissey fans (looked upon now as the deluded
Scientologists of the music firmament) to part with yet more cash to
further feather the nest of their curdled fuhrer; and secondly, to make
the lyrics of The Smiths' "Paint A Vulgar Picture" even more
staggeringly prescient. [source]
Now, I wouldn't go as far as to say that, but I will say that I fail to understand the song choices. It starts off well enough, but then we get Have-a-Go Merchant. What? And, the Mael Mix of Suedehead, which is truly awful. The record starts strong and ends strong, but to argue that "this is Morrissey" is a truly mystifying statement.
I did not run out to buy this record when it was released. I wasn't even sure I wanted to buy it, but I saw it online for about $8 (plus $5 shipping) so I decided to get it. I ended up with the limited edition, pressed on green vinyl, from the UK.
I find some of Morrissey's political views to be problematic, especially his support of Brexit. I've never been able to figure out if he believes this, or if he is trolling. I'd like to believe the latter, but who can say? I do like some, but not all, of these tunes.
I have a number of Morrissey albums on CD that I will likely never own on LP. That is either because they are either way too expensive or because I am not interested, probably because I already have the CD and find that I don't listen to them very much. But, I did pick this up after it was released. Somehow, I ended up with the first UK pressing, rather than the US pressing, which one would have thought would have been more accessible in North America. Someone is trying to sell one of these for $164 on Discogs, which is far far more than I paid. Even the cheapest is about $55, which is more than double what I paid.
I think we are in an age where it is uncool to listen to Morrissey. All I seem to see is backlash. This is one of the things I hate about social media. Any public post about pretty much any well-known band or artist is filled with hate. The world hates The Smiths, Morrissey, Radiohead, U2, and even the Beatles. It boggles the mind, but I will say that I hate Coldplay and Nickelback :) I lack the energy to post a negative comment on a post about a band I hate. Why would anyone take the time to slag Radiohead? Do they have nothing better to do?
As uncool as it might sound, I don't mind this record. There is one thing I do not like, however, and that is the jacket. It is a tad taller than most, and it will not fit on my shelf.
Argh! Why did he change the lyrics? Lou Reed sang: "I like to watch things on TV." Morrissey sings: "I cannot stand the TV." This ruins the song. Maybe Morrissey missed the fact that the singer is watching the satellite launch on TV! There are other more minor lyrical changes, but none of them as irksome as this.
Hearing a live run through of Vicar in a Tutu reminds me of how much I miss the Smiths and how much better the Smiths were compared to Morrissey solo.
The other tracks on this 12" are You're Gonna Need Someone On Your Side, originally from Your Arsenal, and All You Need is Me (Live), from Years of Refusal. It also appears on a greatest hits package.
Discogs notes that: "The USA LP was sold with a bonus 7" single of "I'm Throwing My Arms
Around Paris" (European edition) in select stores. However, many copies
were also given away with purchases of the cd, or with no purchase at
all." Sadly, my copy did not have the bonus 7". Although I am not really into 7", it would have been nice to have it.
My short review would be something like, Morrissey's ninth record is pretty good. I'd say that it is one of his stronger later records. It's not The Smiths, but it's enjoyable.
First Of The Gang To Die was the second single from Your Are the Quarry, an album I have on CD. It's a pretty good song, I'd say. The b-sides are: My Life Is A Succession Of People Saying Goodbye, Teenage Dad On His Estate, and Mexico.
This is a bootleg, recorded at various places. Here is the track list with dates and locations, where available:
Side A
Wayward Sisters
(used to introduce Morrissey concerts in 1991 and 1992)
My Love Life (10 October, 1991)
We Hate It When Our Friends Become Successful (7 June, 1992)
The More You Ignore Me, The Closer I Get (Top Of The Pops, 3 March, 1994)
King Leer (Steve Vizard Show, 9 September, 1991)
You're The One For Me, Fatty
Certain People I Know (The Tonight Show w/ Jay Leno, 9 August, 1992)
Side B
Glamorous Glue
Suedehead (Saturday Night Live, 14 November, 1992)
Sing Your Life
There's A Place In Hell For Me And My Friends (The Tonight Show w/ Johnny Carson, 14 June, 1991)
We Hate It When Our Friends Become Successful
You're The One For Me, Fatty (The Late Show, 5 May, 1992)
All three pressings (yellow, red, or purple) are from the US. My version is on yellow vinyl. The sound reflects the source, in some ways, but I would say that poor mastering diminishes the experience.
I paid $8 for this item. Discogs has made it impossible to figure out resale values for bootlegs now that the sire has banned sales of unofficial releases. Slowly, sales figures and for sale listings are disappearing, though one can still add an unofficial item to a collection. Discogs hasn't caught up to this one yet, so I see that there one copy in on offer for about $45 Canadian.
I have the limited edition, numbered, gatefold pressing from the UK. The flip-side contains the extended version of Moon River. This might be a hard record to find locally, but there are some for sale on Discogs between $30 and $60, Canadian. I think $40 would be a fair price. This track originally appeared on Vauxhaul and I. I have that album on CD, by the way.
Our Frank is drawn from Morrissey's second LP, Kill Uncle. The b-sides are Journalists Who Lie and Tony the Pony. I have the original UK pressing. I've always felt that Morrissey's second record was his least interesting.
And make no mistake, my friend
Your pointless life will end
Sing Your Life is one of the better tunes from Kill Uncle. Morrissey's cover version of the Jam's That's Entertainment is on side two, along with a tune called The Loop. Morrissey's version of That's Entertainment is OK, but I prefer the original. I have the US pressing of this 12" single. Prices for this 12" start at $30+ on Discogs. Wow.
Poor twisted child
So ugly, so ugly
Poor twisted child
There is a Canadian connection to the title track: Mary Margaret O'Hara sings backing vocals, and is responsible for all of that baby wailing in the background. Once again, a b-side -- He Knows I'd Love to See Him -- appears on Bona Drag. The other b-side is Girl Least Likely To.
From Wikipedia:
"The song tackles the plight of the disabled, an unusual subject matter
for a pop single. As ever with Morrissey the tone and sentiments are
riddled with ambiguity. His use of words such as 'monster' and 'twisted'
creates a strange mix of revulsion, sympathy and black comedy, all used
to enlighten, and disturb, the audience. By forcing the ambivalent
persona of tormentor and saviour, Morrissey forces the listener to
confront their own prejudices head on." [source]
I honestly didn't get that until I read that segment on Wikipedia. I assumed that this song was some sort of bizarre sequel to This Night Has Opened My Eyes. I always thought that a normal baby was synonymous with monster. To some people, I suppose that's the truth. The video is perplexing and has absolutely no bearing on the theme of the song. I do not like this video.
"Most people keep their brains between their legs"
The flip-side contains Such a Little Thing Makes a Big Difference and a rendition of Sweet and Tender Hooligan, a Smiths song. Like so many other b-sides, Such a Little Thing Makes a Big Difference later as well as Interesting Drug appeared on Bona Drag.
Dear hero imprisoned
With all the new crimes that you are perfecting
Oh, I can't help quoting you
Because everything that you said rings true
And now in my cell
(well, I followed you)
And here's a list of who I slew
The Last Of The Famous International Playboys is probably my favourite Morrissey tune. Side b contains Lucky Lisp and Michaels [sic] Bones. I find it surprising that such a strong track never made it onto a studio record, but, instead, was collected on Bona Drag. By the way, Bona Drag is a fine compilation.
OK, I will admit it. I don't really like this song, and neither did the press. One of the b-sides, Yes, I am Blind, is a far better track. The other b-side is a cover of East West, written by Graham Gouldman. Doubts started to accumulate in my mind when I heard this song. Was this the end of Morrissey? Oddly, I had never seen the video until now. At one time, I assumed that this track was a sequel to Girlfried in a Coma. Who knows? Maybe it is. This track ended up on the Bona Drag compilation, a year later.
Trudging slowly over wet sand
Back to the bench where your clothes were stolen
This is the coastal town
That they forgot to close down
Armageddon, come Armageddon!
Come, Armageddon! Come!
The Everyday is Like Sunday 12" single contains four tracks:
A
Everyday Is Like Sunday
B
Sister I'm a Poet
Disappointed
Will Never Marry
Like the single for Suedehead, there are really strong b-sides, two of which were collected on Bona Drag, as was Hairdresser on Fire. from Suedehead. Again, I have the Canadian pressing of this one. To me, Everyday Is Like Sunday is a top five Morrissey tune. I particularly like the record store scene in the video. It makes me nostalgic for that glorious past.
Side b of the first Morrissey single (which came out a month before Viva Hate) contains Hairdresser on Fire and I Know Very Well How I Got My Name. I have to admit that the suedehead subculture is something I had never heard of before. Because I am lazy, I have only read the Wikipedia entry, which says:
The suedehead subculture was an early-1970s offshoot of skinhead subculture in the United Kingdom. Although sharing similarities to 1960s skinheads, suedeheads grew their hair longer and dressed more formally.[1][2] Although often working class like skinheads, some had white collar jobs. A female suedehead was a sort. [source]
It goes on to describe clothing and musical tastes and concludes with this statement: "Morrissey made a single called "Suedehead" in 1988, although the lyrics appear to have nothing to do with suedehead subculture." So much for that.
Here is my full disclosure statement: I am a huge fan of the Smiths, and have been so ever since I heard them for the first time so many years ago. They were the best band of that era, by far. In my opinion, Morrissey's solo years have been less interesting, and a bit uneven. Even so, I have followed it, and have enjoyed some of it very much.
I know that the final Smiths studio record - Strangeways Here We Come - received generally positive reviews, but for me, it was a bit of a let down, though I would rate it higher than Meat is Murder. In any case, I worried about what Morrissey would come up with on his first post-Smiths outing. I was pleasantly surprised. I think Viva Hate is better than the last Smiths record. Imagine, a good record without Johnny Marr. That might sound a bit sacrilegious, but here we are. Spin, it should be noted, disagrees with me: "without guitarist/composer Johnny Marr
at his side, the mahatma of mope rock seems to have gone out for a nice
depressing stroll without noticing that he didn't have a stitch to
wear" [source]
The crowning achievement of this record has to be Everyday is Like Sunday, which I rate as truly amazing. There is also Suedehead, an especially notable track among a bunch of other really strong tracks. I put this LP in the win column. Oh, and Margaret on the Guillotine makes me chuckle out loud every time I hear it.
Now, the interesting thing about Morrissey -- much like the Beatles and, indeed, the Smiths -- was the use of singles. If you wanted copies of tracks following this record, you had to find the singles (either 7" or 12") or hope that they would be compiled. As it happens, compiled they were, though some of the b-sides were not. But, at the time, one never really knew. Sometimes, you just had to buy the single. At least then, you could get some b-sides that might never end up on a compilation.
I have the original Canadian pressing. The median price on discogs is about $25, but if you see a copy in Toronto, you will have to pay at least $50. Such is the fetishization of all things Morrissey and the Smiths in this town.
