Things I do not like about the Smiths include, but are not limited to: a generally 80s vibe, bedsit shuffling guitars with too much reverb; ridiculous exaggeration of Morrissey's importance and general godlike qualities, when he's clearly a passive-aggressive wanker; Morrissey's lyrics ("What Difference Does It Make" specially awful); Morrissey's voice, a strangulated hernia in a plastic bag; most of all, tunes which consist entirely of a tiresome oscillation over a small interval (often a third, sometimes a fourth), making Morrissey sound like a fire engine. But looking past that, I love these songs. Morrissey’s vocals are just as great as Marr’s guitar. I like to think sometimes that they are competing for the listener’s attention. More harmonica begins the song, which utilizes a fast tempo full of energetic instrumentation, and yet Marr's guitar lines are soothing and calming. The song ends with another short harmonica solo. William, It Was Really Nothing’, ‘What Difference Does It Make?’, ‘This Charming Man’, ‘How Soon Is Now?’, ‘Hand In Glove’ and even ‘Heaven Knows I’m Miserable Now’, you could argue that all of The Smiths’ most important early songs comprise the album. This is not what makes it so brilliant, though. It is the way that songs on the record are alternative versions that makes it so essential. It is singles, B-sides and rarities all meshed into just over 56 minutes of The Smiths at some of their finest points. Take the David Jensen version of ‘These Things Take Time’, for instance. It was an augmented version of The Smiths that you got on Hatful of Hollow, and as an adult, I now see what the stranger meant. I don’t follow what Morrissey says now, I don’t really care about how he carries himself nowadays. But what he said in his songs is just so incredibly strong, so relatable, so timeless. And his queer persona presented in his early works never fails to put a smile on my face. Because it makes fun of us, mere mortals captivated by superficial things like love, money, and fame. I have great respect for how ahead of the curve, and how unusual he was.

From the contemporary perspective, it sometimes seems as if The Smiths are one of the most consistently talked up bands of all time. However, on Hatful of Hollow, you get a very organic account of the band, and it confirms every common understanding of the group.I could write “gorgeous melodies” as a description for every song on this album quite honestly. Marr employed a jangle style on the guitar lines, which is characterized by an undistorted and heavy treble sound. Morrissey's lyrics focus on sexual ambiguity and he uses a first person narrative technique which show off his storytelling abilities. What Difference Does It Make?’ was recorded during a BBC Peel Session, and it has a natural, darker edge to the single version. You can hear Johnny Marr and Andy Rourke dovetailing beautifully. Transposed to a higher key, it provides an exciting alternative to the single version. Which I suppose is what makes The Smith's up on that next level of greatness, perfect combination of lyrics, beat and singing. Perfect pop. I was not that the same person after I finished this album, and that's a good thing. Everyone's got to get shown this at just the right time, you know. To the stranger who once told me that Hatful of Hollow is the only Smiths album you need, I get it. It trumps their debut in every way and is more consistent than their subsequent records, regardless of how expansive they would go on Meat Is Murder, and The Queen Is Dead. If you want to capture the early magic of The Smiths when arguably they were at their zenith, this is the album for you.

Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term. We can get hold of a copy for you from one of our suppliers, but we cannot guarantee a delivery time. Gorgeous melodies throughout especially during the chorus. When he sings the word “spellbound” I get chills. Still Ill’ is also different, as it opens and closes with a harmonica solo, a more complete take than the version on the band’s debut, The Smiths. One would argue that this is the definitive version of ‘Still Ill’. Jangly and atmospheric, it’s on moments like this that you realise how much of a breath of fresh air the band must have been at the time.I know these songs so well but only ever from digital and hearing them now is like the first time ... how soon is now is one of my all time favourites and it sounds incredible.

My second favorite song on the album. The epitome of depressive lyrical content mixed with happy, jangle pop melodies. It's an infectious blend that soars through your eardrums and ensures a permanent place in your head canon. There are also some darkly funny lines sung by Morrissey in this classic song. melancholic, LGBT, male vocalist, melodic, lonely, introspective, bittersweet, romantic, sentimental, poetic, existential, passionate, sarcastic, quirky, energetic, longing, depressive, alienation, love, sad, atmospheric Recently got a copy of this, the format makes sense as the album's running time of 56 minutes is technically too long for a single LP, whereas 10"s can hold a maximum of around 15 minutes a side when cut at 33 RPM. I don't have an original LP to compare it to, but it certainly has a very decent, clear sound. However, side 1 is much louder than the other three sides, and sides 3 & 4 are pressed off-centre. Also worth mentioning is the fact that the heavy stereo effect for the first 7 seconds of 'How Soon Is Now' (most noticeable when listened to through headphones) is greatly diminished on this pressing (it almost sounds like mono!). It's nothing big, but it makes you wonder why it's different. I read somewhere that Morrissey wrote the lyrics and Marr wrote the beat. This band was just creative all the way, and what lyrics on "This Night Has Opened My Eyes" How the hell am I suppose to feel about this, great storytelling. Matrix / Runout (Both sides, runout, variation 6, stamped - broken/ sideways): ROUGH· 76 B13 IAN (EIRE)

the only downside is they have put too much music on so the end of each side has a slight distortion... almost an hour of music in total, if someone did this on 2 LPs it would be amazing I don't want a lover, I just want to be seen. These damn songs, this collection will never fade away. It has been a constant in my life ever since I heard it. It's been about 4 years of and Jangle Twang. Is it possible to make an album flow as well as this one?(it's not). The second song title on the album that's actually a question. It's also my favorite song and the one that got me into the band. Marr's distorted guitar effect is hypnotic and the lyrical content is an absolutely brilliant piece of sociological analysis. Underneath the music, I could hear the faint whispers of the stranger, in his distinctly Leeds accent, like a musical Banquo haunting me with cries of ‘Hatful of Hollow’ and ‘Only Smiths record…’ as I entered adulthood, I started to realise what the stranger meant.

Superb drumming here by Mike Joyce exemplified by the double snare hits. The first person narrative of the lyrics follows a man suffering from an unhealthy obsession with sex and desire. A mysterious and wise man once told me, “The only Smiths record you’ll ever need is Hatful of Hollow”. To which I responded, from beneath my curly mop, “Really?” in an almost dismissive tone. This mystical stranger responded unequivocally with a nod that was so self-confident, the 13-year-old me had no choice but to take this as gospel. I have a love-hate relationship with this album. I absolutely love the great majority of songs on this, but I hate the fact that it is a compilation album with songs from their self-titled record. I hate that there is no structure or concept to it. No identity. Such a wasted opportunity. It irritates me like an uneven carpet does. Propelled by Andy Rourke's beautiful bass-line, Morrissey sings about a couple with different views on their relationship and how they are perceived by society. There's also a bit of harmonica in the song that works well. Beginning with a jangle style guitar break by Marr, the narrative of the song moves between the two perspectives of a boy and a girl each dealing with their insecurities. Absolutely brilliant music.