Peter Murphy: All Night Long (1988)

Now come hold my hand
No bad vibe hearts
Hold my hand you know
This journey could be long

 I have a copy of this 12" (or EP) on CD as well. There are four tracks: All Night Long, Confession (Live), Blind Sublime, and God Sends (Live). The notes say this:

Tracks A1 & B1 recorded at Jacobs and Abbey Road Studios. Mixed at Abbey Road.
Tracks A2 & B2 recorded live at "The Phantasy Club" Toronto, by CFNY-FM Radio.

That was back in the day when CFNY was the absolute best radio station in the world. That is no longer true.

All Night Long is a fabulous track.

Peter Murphy: Tale Of The Tongue (1986)

On the UK 12" pressing of Tale Of The Tongue you will find the title track and a different version of Should The World Fail To Fall Apart.

Peter Murphy: Blue Heart (1986)

The Canadian release for Blue Heart is really an EP. It contains five tracks:

Blue Heart (Extended Remix Version)
The Light Pours Out Of Me
Blue Heart (7" Version)
Canvas Beauty (Romance Version)
Should The World Fail To Fall Apart (Extended Remix Version)

OMD [Orchestral Manoeuvres in the Dark]: Live at Eventim Hammersmith Apollo (2019)

This concert from November 20th, 2019, is presented on triple blue transparent vinyl. There are also CD and DVD versions available. The sound is really great, and I can recommend it, especially to fans. But, perhaps we have reached peak live OMD? I love it, but one has to figure out how much live material you want. After all, I have a bunch of live stuff, including Live With The Royal Liverpool Philharmonic Orchestra and the live recording of Architecture & Morality - Dazzle Ships.

Peter Murphy: Blue Heart (1986)

This is the original UK 12" pressing of Blue Heart, which has three tracks. They are:

Blue Heart
Blue Heart (Seven Inch Version)
Canvas Beauty (Up Version)

Discogs notes the following, which I had never noticed before: "The B side label incorrectly lists the track order. Blue Heart (7" Mix) is the first track, Canvas Beauty is the second track. The cover lists the correct sequence." TIL.

Peter Murphy: Should the World Fail to Fall Apart (1986)

This is the Canadian Pressing. As I said in the previous post:

"The original UK version is different from the Canadian pressing. I really hate that. The difference, apart of track ordering, is that Canvas Beauty was removed from the Canadian version is preference to Tale of the Tongue. That has never made any sense to me because Canvas Beauty is a much better track"

As you will see, the cover image is the same one used for the UK pressing of Tale of the Tongue.

Peter Murphy: Should the World Fail to Fall Apart (1986)

Peter Murphy's first solo LP, after the collapse of Bauhaus and Dalis Car, contains two cover versions. These are the aforementioned Final Solution and a cover of Magazine's The Light Pours out of Me. Once again, I like Peter's version of the Magazine tune, but the original is so freaking fantastic, it's probably impossible to top it. I don't think anyone could record a better version. It's simply awe-inspiring on so many levels.

Clearly, this record sheds some of the goth feel, or should that read stereotype? This is a solid record, lighter than any Bauhaus outing, but it's really enjoyable. It may not be Bauhaus, but I really like it.

Once again, the record company effed with the track listings. The original UK version is different from the Canadian pressing. I really hate that. The difference, apart of track ordering, is that Canvas Beauty was removed from the Canadian version is preference to Tale of the Tongue. That has never made any sense to me because Canvas Beauty is a much better track. This version is the UK pressing.

Peter Murphy: The Final Solution EP (1985)

For Peter Murphy's first solo single, released in advance of his first solo record -- Should the World Fail to Fall Apart -- he opted to cover a Pere Ubu track. That's tough work, but he managed to do a respectable job. I'm just going to add that it must be difficult to make a cover version your own. As much as I admire Peter's version, the Pere Ubu orignal is better, in my humble opinion.

Any artist who strikes out on a solo career is going to be compared to the band from which they came. As the vocalist for Bauhaus, there were probably some -- perhaps unfair -- expectations. But, I'd say that this first outing is solid.

The Canadian version of this 12" single contains four tracks:

Final Solution (Club Mix)
The Answer is Clear (Version)
Canvas Beauty (The Fast Mix)
Final Solution (Third & Final Mix)

Alson Moyet: Alf (1984)

Somehow, I skipped over this one. The Alison Moyet I like best is the Alison Moyet of Yazoo (or Yaz, as we knew them in North America).  Yaz recorded only two records, and disbanded in 1983. The next yer, Alison released her debut record. This isn't bad, but I much prefer Yaz. She does have a truly amazing voice.

Bob Mould: Blue Hearts (2020)

I am happy to report that Allmusic described this record as "one of the very best solo albums Mould has given us to date." I think we can agree. 

Bob Mould: Circle Of Friends (2007/2020)

This concert, from the 9:30 Club in Washington DC, was originally released on DVD in 2007. In 2020, it got a vinyl release on Record Store Day. I did not buy this on RSD, but I did find a discount copy (at about half price) languishing in a bin in a local record late the following year. I thought, why not? I have to say that the sound is truly excellent. This limited edition is pressed on clear vinyl. 

Bob Mould: Sunshine Rock (2019)

I picked this one up soon after it came out. It was my first new 2019 record. I ended up with the limited edition red and yellow swirl coloured vinyl, because that's all the shop had. The price was amazing so I didn't hesitate.

Sunshine Rock is the fourth installment in one of the most satisfying chapters of Bob Mould's career -- no small statement considering his legacy -- and the tender ferocity of these songs is something no one else could do quite this well. [source]

Yup. Its good, but I have only listened to it a couple of times, so far. 

Bob Mould: Patch the Sky (2016)

"All this adds up to another midlife triumph from Mould, a record that harks back to his past while completely occupying the present moment, no matter how uncomfortable or painful that may be." Allmusic

The amazing thing about Bob Mould's solo output is that it is all very very good. The only weak point for me was Modulate, but I don't hate Modulate. I'd put all of his records at 4 or 5 stars out of five, except for Modulate. It's mostly the vocal treatments that I dislike and maybe the production,, but I enjoy other parts of the record. As for Patch the Sky, this is great, once again. Bob is very consistent.

Happily, my copy came with a bonus live CD with nine live tracks recorded at WXRT in June 2014.

Bob Mould: Beauty & Ruin (2014)

I wonder if Bob Mould wants to break into film. His acting isn't bad.

"Although this opens with the slow, grinding "Low Season" and eventually winds its way to the bright, open "Forgiveness," most of this record is devoted to turmoil, as Mould comes to terms with his impending mortality -- hanging over him through both the passing of his dad and his own middle-age -- by drawing sustenance from his signature combination of crystalline pop and molten noise." [source]

This record is excellent.

Bob Mould: Silver Age (2012)

And just like that, Mould comes back with an album that reminds me of Sugar, though with a video for the lead-off track that leaves much to be desired.

Bob Mould: Life and Times (2009)

I missed Sugar during these Bob Mould solo years. I loved everything Sugar did, and his post-Sugar output was great, but I missed Sugar. To me, Sugar was better than Bob Mould's solo works. But, I really really like everything that Mould ever did, including this one. Oh, I have all of these Bob Mould records on CD too, up to this point.

Bob Mould: District Line (2008)

District Line is the seventh solo record from Bob. If you like Bob, you will like this. It's a solid effort with some great tracks. Somewhere around this time, Bob came out of the closet. I can't remember if I was surprised or not.

Bob Mould: Body of Song (2005)

This is a fantastic record. I don't even mind the voice treatment he uses on some tracks. There's nothing left to say. Just listen to it. I have a copy of this album on CD as well.

Bob Mould: Black Sheets Of Rain (1990)

Since this was released in 1990, my first copy was on CD. I ended up with the 2015 vinyl repress from Demon records. This record was a return to heavier music. I like it; Allmusic does not:

A scalding, monolithic collection of soul-baring lyrics and primal guitars, Black Sheets of Rain is extremely powerful musically, but is also slightly monotonous. Nevertheless, the record features several inspired songs from Mould, including the catchy single "It's Too Late." [source]

Look how young Bob looks here:

Bob Mould: Workbook (1989)

The debut solo record from former Hüsker Dü front man, Bob Mould, was a true surprise. There is a real change of sound. He mellowed, I guess, though not entirely.

"Instead of relying on raging guitars, Mould explores a wide variety of styles, from pure pop ("See a Little Light") to reflective folk laced with cellos. It's an astonishing array of styles, and the songs are among Mould's finest." [source]

I did see Bob in concert, though only once. It was a short concert, but he played with amazing intensity and energy. I assumed that he would have been completely exhausted by the end of the show.

Elton Motello: Jet Boy Jet Girl (1979)

So, Elton Motello is somehow the name of the singer and the band. I guess that's like Alice Cooper, though that really became his name. The singer - Elton Motello - is Alan Ward. The first single was Pogo Pogo (1977) though that was later changed to the flip side (1978), Jet Boy Jet Girl, and then that later morphed into a single with Jet Boy Jet Girl on the a-side, and Jet Boy Jet Girl on the a-side and Apocalipstic on the b-side (1979). I have a later 12" pressing without Pogo Pogo.

Anyway, Jet Boy Jet Girl is awesome. I'd never really heard such explicit lyrics:

Can you tell what's on my mind?
She's with him, it drives me wild
I'd like to hit him on the head
Until he's dead
The sight of blood is such a high
Ooh, hoo, hoo, hoo
He gives me head

We made it on a ballroom blitz
I took his arm and kissed his lips
He looked at me with such a smile
My face turned red
We booked a room into the Ritz
Ooh, hoo, hoo, hoo
He gives me head

Jet boy, jet girl
Gonna take you 'round the world
Jet boy I'm gonna make him penetrate
I'm gonna make you be a girl
Ooh, hoo, hoo, hoo
Jet boy jet girl

And though I'm only just fifteen
I like to kick, I like to scream
And even if I have a kick or two in bed
When I'm with him it's just a dream
Ooh, hoo, hoo, hoo
He gives me head

But, this tune was apparently the first openly gay punk song. Anyway, the backing track was taken from Ça plane pour moi, a track by Plastic Bertrand.

But, check out this lame comment from a user review on Allmusic:

Elton was one of the first rock artists to openly express his homosexuality through music, but likely did the cause more harm than good with the release of his cheesy debut disc "Victims of Time", which prominently featured the crass and tasteless gay anthem "Jet Boy Jet Girl". [source]

I cannot agree with that statement.

Elton Motello: Victim of Time (1978)

I can't believe I skipped Elton! Here it is, out of order. 

My Canadian pressing of this release dates to 1979, rather than 1978. I guess it took a year to make it across the ocean. The only other countries to press this LP were Belgium, Germany, Sweden, Yugoslavia, and Australia. This records contains the aforementioned Jet Boy Jet Girl. This is a damn cool record.

The Motors: Greatest Hits (1981)

This record is either titled Greatest Hits or The Motors Greatest Hits. I prefer the former because the latter should be The Motors' Greatest Hits or The Motors's Greatest Hits. Oddly, Virgin released a CD compilation in 1995 called the Airport: Motor's Greatest Hits. Nice try.

Anyway, the record collects the greatest hits of The Motors.

The Motors: Tenement Steps (1980)

Tenement Steps was the third and last record from The Motors. This was the first Motors record I owned. Bram Tchaikovsky had already left the band for a solo career, after only one record with the band. I always really loved the sound of this band.

The Motors: Approved by the Motors (1978)

Yes, the motors! I've always liked the sound of this band.

"In a contemporary review for Rolling Stone, Jim Farber praised Approved by the Motors as "a near-perfect LP of pure, pulverizing pop in the best Sweet, Slade, and Pilot tradition, cutting through the cuteness of that genre with Nick Garvey's and Andy McMaster's dynamic dual vocals… the band sings sweetly about S&M activities, disarming the entire subject in the same endearing manner as Cheap Trick joyously trivializes suicide." [source]

All of you Motors fans will know that Bram Tchaikovsky had joined the band by this point.

Morrissey: Low In High School (Édition Extrême De Luxe!) (2018)

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.

Morrissey: Bona Drag (1990/2021)

From Wikipedia:

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. 

Morrissey: California Son (2019)

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.

Morrissey: I am Not a Dog on Chain (2020)

I sometimes wonder if the world has lost its patience for Morrissey. The negative reviews are quite common now and almost expected. It seems a bold statement to praise a Morrissey record these days. I cannot adequately explain what The Smiths meant to me (and still mean to me). So many bands were important to me, but The Smiths ... I can't find the words. I found them at the precisely correct time. It's cliched to say that they were the soundtrack, but really, they were. It was a magical time, and I honestly I wish I could thank Morrissey and Marr for everything. I suppose I do by purchasing the records. But, really, the band changed something in me or opened me up to something or made me listen in a different way. That's not quite it, but I think you understand. Just listen; don't judge.

Morrissey: This is Morrissey (2018)

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.

Morrissey: Low in High School (2017)

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.

Morrissey: World Peace is None of Your Business (2014)

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.

Morrissey: Satellite of Love (Live) (2013)

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.

Morrissey: Years of Refusal (2009)

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.

Morrissey: First of the Gang To Die (2006)

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.

Morrissey: Take a Bow (1994)

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)

1. My Love Life (10 October, 1991)
2. We Hate It When Our Friends Become Successful (7 June, 1992)
3. The More You Ignore Me, The Closer I Get (Top Of The Pops, 3 March, 1994)
4. King Leer (Steve Vizard Show, 9 September, 1991)
5. You're The One For Me, Fatty
6. Certain People I Know (The Tonight Show w/ Jay Leno, 9 August, 1992)

Side B

1. Glamorous Glue
2. Suedehead (Saturday Night Live, 14 November, 1992)
3. Sing Your Life
4. There's A Place In Hell For Me And My Friends (The Tonight Show w/ Johnny Carson, 14 June, 1991)
5. We Hate It When Our Friends Become Successful
6. 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.

Morrissey: Hold on to Your Friends (1994)

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.

Morrissey: Our Frank (1991)

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.

Morrisseey: Sing Your Life (1991)

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.

Morrissey: November Spawned a Monster (1990)

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.

Morrissey: Interesting Drug (1989)

"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.

Interesting Drug is a good tune.

Morrissey: The Last Of The Famous International Playboys (1989)

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.

Morrissey: Ouija Board, Ouija Board (1989)

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.

Morrissey: Everyday Is Like Sunday (1988)

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.

Morrissey: Suedehead (1988)

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.

I have a Canadian pressing.

Morrissey: Viva Hate (1988)

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.

Van Morrison: Versatile (2017)

I haven't had this record long enough to have a serious opinion about it. I have spun it a couple of times and I can say that I like it. That's it.

Van Morrison: The Alternative Moondance (2018)

The sound on the record is top-notch. It's a must-have for fan, for sure. It's a limited edition of 10000 copies. That might make me rich one day, right? I got this on sale :)

Van Morrison: The Bang Records Sessions Midnight Special (2012)

This is a limited edition Australian double LP, pressed on translucent blue vinyl in a gatefold sleeve, released for RSD 2018. It was originally released in 2012. I picked this up a couple of weeks after RSD for about half the original list price. I read somewhere, though I am not sure where, that only 1000 copies of these were released.

I'd say that the trouble with any Bang Session release is that there are so many versions, often with the same tracks. The other thing is that, if you already have Blowin' Your Mind (as I do), then the first LP is a repeat of that record in its entirety. The second LP contains alternative mixes and bonus tracks. I guess this is for major Van fans.

I'm happy to have it. 

Van Morrison: Keep Me Singing (2016)

I was pleasantly surprised by this record. Allmusic notes that Morrison "has no interest in innovation, he's already done that. The pace here is (mostly) laid-back, the music drenched in jazz, R&B, blues, and classy pop. He revels throughout in an elegant slow burn; his lyric themes are bittersweet, melancholic, filled with emotional and symbolic memory; his longing for the previous prevalent."  [source] That's a pretty good description.

In watching the two videos, below, I was suddenly hit by the sad reality that Leonard Cohen and Van Morison (to the best of my know) never got up on stage together. At least, I can find no evidence. That seems like a missed opportunity.