headlessparrot's Full Review: Hatful of Hollow by The Smiths
My discovery of the Smiths was largely an accident; serving as a testament to how little knowledge most people have of the Smiths and the origins of Britpop in general in today’s music scene. If you’ve heard only a single song by the Smiths - and even that may be a stretch if you haven’t actively sought out their music or heard it in a film - it’s very likely that it was How Soon Is Now? or Please Please Please Let Me Get What I Want. The prior, despite never reaching higher than number twenty-four on the British rock charts (and not cracking into the American charts at all), is the most well-known of the band’s songs (in spite of the fact that it’s largely unrepresentative of their overall work, appearing in the film The Wedding Singer in 1998. The latter is only slightly more representative of the Smiths’ overall approach, appearing in the John Hughes film Pretty In Pink. And that’s about it, really. Despite influencing hundreds of bands to pick up instruments and write - bands like Blur, Radiohead and the Verve - the Smiths have languished largely in obscurity except in indie circles and in their home of Britain.
Prior to a few weeks ago, How Soon Is Now? was the only Smiths song that I could name, a little distressing considering the band’s historical importance. It wasn’t until I was thumbing through my enormous collection of vinyl that my uncle had given me last Christmas (I'll save that story for another time) that I discovered the Smiths compilation Louder Than Bombs in a somewhat faded and grungy looking sleeve. Curiosity piqued, I popped it onto my turntable right away, and I was absolutely floored by the record. At over seventy minutes, Louder Than Bombs kept me entertained for weeks as I was amazed by the sheer musical beauty and lyrical poignancy of the songs. Ask and the instrumental Oscillate Wildly completely blew me away with their energy and passion, as did the rest of the record. It was only deliciously appropriate then that I would stumble on a record sale and pick up two Smiths albums for less than fifteen bucks Canadian. The first of the two was The Queen Is Dead, the quartet’s third record for $4.99 (can you believe that?). And the second was Hatful Of Hollow, an early collection of album tracks, singles and B-sides originally only available in United Kingdom.
Possibly the single most important indie rock group in music history, the Smiths were the brainchild of vocalist Steven Morrissey and guitarist Johnny Marr. For those familiar with rock history, those two names may or may not be significant as two of the men who are the very best at their chosen craft. Both with the Smiths and as solo artists, Morrissey and Marr have carved a name for themselves as brilliant musicians capable of crafting immensely affecting, genuinely interesting pop songs. Formed in 1982 after a series of other unsuccessful stints as a guitarist in other indie bands for Marr and a past in writing for Morrissey (who had previously written biographies of the New York Dolls and James Dean), recruiting Mike Joyce on drums and Andy Rourke on bass to fill out the sound. The Smiths would be split before the end of 1987, but the five years that they did spend together would prove to be an extremely profitable and fruitful relationship that saw the release of dozens of magnificent songs and four studio albums, at least two of which are regarded today as rock masterpieces that border on perfection.
The reason for the songwriting success of the Smiths can almost directly be traced back to the shared writing credits of Morrissey and Marr, a relationship much in the same vein of the Beatles and the Lennon/McCartney songwriting credit. Their compositions always seemed to work because the two were never completely in agreement with one another, always challenging ideas and striving to create new sounds. Morrissey was focused on his lyrics while Marr was more concerned with the guitars, creating constant conflict, and the duo’s relationship gradually turned from that of a friendship to mutual animosity, and eventually, to all out hatred. But even with a cold relationship, the two still combined to write absolutely beautiful songs - much in the same way that Lennon and McCartney did almost twenty years. That isn’t the only comparison that can be directly drawn between the two bands either, as there were many distinct similarities between the most important British band of the sixties and the most important British band of the nineteen-eighties.
The Smiths’ eponymous debut was released in 1984, and in spite of the fact that they are best known for the masterpieces that were their studio albums, the Smiths - again, much like the Beatles - were just as much of a singles band as they were an album band. And not just a singles band either, but a band that frequently released non-album singles. This lone fact separated the Smiths from just about every other band in existence at that time, as the concept of the non-album single had all but disappeared during the sixties and the first widespread popularity of the LP. They didn’t just release any non-album singles, either. They were masters of the intricate skills required to craft a high quality three-minute pop song, and they used those skills to their advantage. In fact, the majority of the Smiths’ biggest hits were singles that aren’t available on any of their original LPs. The fact that the Smiths’ albums are all masterpieces without the presence of a driving radio single only affirms Morrissey and Marr’s abilities at crafting excellent songs. Unfortunately, if you’re interested in getting a hold of many of these songs, you’re going to have to invest in one of many Smiths collections available.
For all of their other traits, Morrissey and company had one flaw - not in their music, but in the fact that their material was constantly, repeatedly, and unnecessarily repackaged for no other reason than the fact that it was obvious the public would eat it up. There are currently no less than four Smiths greatest hits records, and the number of compilations released while the band was actually still together is staggering. Hatful Of Hollow is the first of these, a 1984 collection released to tide over fans between the Smiths’ eponymous debut and the 1985 follow-up Meat Is Murder. Hatful Of Hollow is a collection of tunes that draws from the band’s previous singles, album cuts, and several songs taken from BBC radio sessions recorded specifically for air on the government sanctioned and operated BBC radio system. For those not familiar, when BBC radio was established in the sixties, playing actual records was perceived as a threat to the livelihood of working musicians, and so the number of times a recorded could be spun were limited. In order to fill the space, the BBC would bring in many of the top acts of the day and have them record songs specifically for broadcast on BBC radio. This concept, known as ‘needletime,’ wasn’t abandoned until 1988, and much like the Jimi Hendrix Experience, Cream, The Who and Led Zeppelin before them, the Smiths recorded a significant number of tracks in the BBC’s low-fidelity studios for use by the station. Of course, these aren’t really the main point of Hatful of Hollow - while the diehard fans would almost assuredly pick up the record for these alternate, rawer versions, the chief element of Hatful… was collecting the Smiths’ hit singles and compiling them together to make them more accessible for the casual fan. The occasional B-side and album cut are essentially just a bonus to a record that’s designed to simultaneously appeal to the hardcore and casual fans at the same time. Many compilations try this tactic, and truth be told, it usually fails. But with Hatful Of Hollow, it’s a plan that succeeds, if only because of the strength of the material collected.
I suppose the biggest question in regards to Hatful Of Hollow is whether it’s worth purchasing for the casual fan if you already have another Smiths compilation of some kind. The Louder Than Bombs compilation that I mentioned earlier in this review was actually originally intended as the American version of Hatful…, as that compilation wasn’t available in the States until several years after the split of the Smiths. Essentially, Louder Than Bombs collects the highlights of Hatful Of Hollow and another British compilation The World Won’t Listen (which is actually out-of-print right now), so if you have Louder Than Bombs and you’re only casually interested in the group, there’s really no point - same goes for if you already have a greatest hits compilation. While it originally served the purpose of a hits compilation quite well, three more Smiths albums after it really made it obsolete in that sense (even though it is still a great introduction to the group). With so many other records available, the function Hatful Of Hollow serves today is that of either a companion or alternate to The Smiths. Generally speaking, it features many of the same songs (most of which are in the alternate BBC versions), but also adds some of the singles missing from the actual debut record, which will definitely appeal to some - and it helps that most of the alternate versions are just as, if not better than the original. And for a compilation, it holds up surprisingly well; there’s a good overall flow to the songs that is about as good as that of The Smiths, and it’s also helped by added length and more instantly recognizable songs.
Given that Hatful Of Hollow is an early Smiths collection, it features the band doing what they did best in the most straightforward way possible. And historical significance and influence aside, the Smiths sound is as good a reason as any as to why they were such an important and excellent band. Musically, the Smiths are a paradox, a total contradiction of tremendous proportions that shouldn’t technically succeed. Johnny Marr’s upbeat guitar overdubs and instrumentation are at a total odds with Morrissey’s lyrics and singing style, so drab, depressed and melancholic, but the two musicians somehow find a middle ground where this contradiction seems to work. Obviously drawing on a heavy influence from the Beatles and punk, the Smiths also featured subtle musical shading that recall everything fro sixties pop to girl groups, jazz, blues and rockabilly. The overall impression I got of the Smiths was of the redheaded bastard offspring of the Byrds and Syd Barrett-era Pink Floyd on heavy depressants. Bright, shimmering, carefully overdubbed, ringing, and jangly guitar work by Marr juxtaposed with Morrissey’s howling, forlorn croon, the Smiths seem to come almost completely out of left field. Morrissey is one of the few British vocalists who actually sounds distinctly British when he sings, accompanying Marr’s ringing chords with a thick drawl, as much spoken as it is sung, mumbling with conviction, passion, fury and emotion. The bass and drums are, for the most part, pushed further back in the sound spectrum, overshadowed not only by the volume of the guitars and vocals, but by the dazzling charisma that shines through even on a studio recording. Both instruments, however, contribute beautifully to the atmosphere of the songs, especially on the BBC cuts that are much more raw and stinging in their delivery. Music aside, it’s the lyrics that have made the Smiths as famous as they are today. Morrissey is not the archetypical rock and roll vocalist, as he completely rejects the more destructive and indulgent aspects of the position in favour of forlorn, wistful, sad and bitter lyrical imagery, winding chillingly detailed narratives that embrace everything from death to lost love. It’s a brooding and melancholic approach that truthfully owes as much to the poetry of Oscar Wilde and others as it does most rock bands, and is as romantic as it is depressing, self-deprecating and angry. It’s fascinating to listen to the interaction between Marr’s guitar textures and Morrissey’s vocals, as they come together in such a way that it gives the jangly, upbeat guitar an almost sinister feel to it.
Hatful Of Hollow opens on a high note with the lush, jangly guitars, bouncy rhythm and vibrant production on William, It Was Really Nothing, accompanied by a more laidback Morrissey delivering his lyrics at a fast pace to keep up with the bouncing rhythm of the drum and bass. At barely over two minutes, it’s a near perfect pop song, delivering its message with a sense of ethereal beauty in a short period of time. What Difference Does It Make? is often referred to as an amateurish mistake by the Smiths’ primary songwriters, but for what reason I cannot fathom. Simple chords accompany a much thicker rhythm while Morrissey delivers an angry spiel to a lover who just doesn’t care any more. These Things Take Time continue with the basic Smith sound.
How Soon Is Now? is a vital track on Hatful… establishing both the band’s growth and displaying some of their influences. Dabbling in 60s Pink Floyd-esque psychedelia, Marr’s guitars are a wall of tremolo, shimmering and ringing with the tempo of the number. More overdubbed guitars squeal and whoosh overtop as Morrissey’s echo-drenched vocals come as close to an outright singing voice as they ever have. At over six minutes, the song is a true epic, a dense swirling layer of overdubbed guitars and a sharp, rudimentary one-two beat. Steeped in dance and heavily polished, How Soon Is Now? isn’t particularly representative of the Smiths, but it’s one of their finest moments just the same. Handsome Devil has a sort-of barely noticeable Black Sabbath vibe, chugging along in a raw and lightly distorted vigorous riff, while Hand In Glove features spare use of the harmonica and subtly overdubbed electric and acoustic guitars. The band’s very first single, Hand In Glove features only sparse presence of the drums and bass, and featuring a eerie metallic whoosh that envelopes the chorus.
Still Ill bears a slight resemblance to the Beatles Love Me Do (which can be attributed mostly to the opening harmonica lick) as Morrissey proclaims “I decree today that life is simply taking and not giving.”Heaven Knows I’m Miserable Now, meanwhile, moves at a slower pace, an angry and bitter attack on anything and everything from a terrible new job to lovers passing by in the street. You’ve Got Everything Now is bass-heavy, an almost dance-club feel in the funky movement of the band and Girl Afraid has definite punk leanings with it’s forceful, driving tempo and fast picked guitar progression. Back To The Old House is a haunting, largely acoustic finger picked number that is simultaneously soothing and unsettling, personifying the incongruity that is the Smiths’ music. Our closer is Please Please Please Let Me Get What I Want, a song with more emotion packed into one minute and fifty seconds than some bands can fit into a whole record. A largely strummed acoustic guitar overdubbed with a gentle progression accompanies Morrissey’s yearning, self-defeatist and powerfully dry vocals.
I’m not sure that I’m even capable of doing justice to the brilliance of the Smiths and the emotion of Morrissey and Johnny Marr’s songwriting. It’s simply too beautiful, too sad, and too touching to even put into words, defying any adjective that I can possibly think of. There’s definitely something about their music that touches people, and that definitely comes through on the Hatful of Hollow compilation just as much as it does on any of the group’s studio albums. Taken by itself, it’s a good - albeit quite incomplete - overview of what the Smiths were all about. But in conjunction with the Smiths eponymous debut, it comes off as something much more significant and important. The rawer and grittier BBC radio versions stand up well on their own and rival their traditional counterparts in quality, and the inclusion of some of the group’s early non-album singles definitely makes Hatful… a good record to pick up. It’s pretty much obsolete if you already have Louder Than Bombs or a greatest hits album, but if you don’t, it’s an excellent album to pick up (especially for the more hardcore fans who, no doubt, already own it meaning there was no point for me to review it in the first place). In some ways, I suppose, Hatful Of Hollow has been rendered obsolete by three additional studio albums and several greatest hits compilations, but taken at face value, Hatful is still a good addition to any Smiths fan’s collection and a great compilation of Smiths songs.
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