RELATED: Playlist of all 157 of New Order’s songs, ranked — minus 46 that aren’t on Spotify Based on a total of about 50,000 votes, the full results are presented below. He broke down their defenses with this irresistible display of his strengths and virtues, which also functions as a crafty demonstration of one of popular music’s core maxims: Don’t bore us, get to the chorus. Morrissey’s willing to be that person, though he knows full well the gesture might not go over well—after all, the song ends with him sarcastically saying, “Well, you don’t need to look so pleased.” -, This deceptively breezy song is actually a cutting attack on one of Morrissey’s favorite targets: music-industry weasels. This psychedelic burst has ambiguous origins. -, Thrilling evidence of his rejuvenation in the wake of signing to Decca, this track for 2008’s, ) boasts a surplus of vim, vigor and vitriol. “One November, spawned a monster in the shape of this child,” he wails, “who later cried, ‘But Jesus made me, so Jesus save me/From pity, sympathy, and people discussing me.’” The sentiment is powerful—and represents a viewpoint that deserves more of a pop-culture spotlight. The tune is written from the perspective of someone using a wheelchair, who longs to be taken seriously as a romantic prospect and human being. -AZ, A song set in Morrissey’s beloved Los Angeles that also doubles as a nod to his adoring Latinx fanbase, this chipper and earnest rocker focuses on Hector, who’s known for being the “first of the gang with a gun in his hand/And the first to do time/The first of the gang to die.” Hector is a loveable scamp, however, as he “stole all our hearts away” even though he “stole from the rich and the poor/And not very rich and the very poor.” Sinfully catchy—and even a bit underrated. -JA, Your Arsenal ends with this galloping glam swoon, which features a protagonist tortured by dreams of impossible romantic consummation. Vote for your favorite Morrissey songs, not just singles and hits. Not only is he perceiving a weekend day as just like the rest of the week—“silent and grey,” naturally—but he’s “trudging slowly over wet sand” in a dead-end coastal town and wishing for a “nuclear bomb” to wipe out his very existence. Prime Cart. Morrissey has called dance music “a refuge for the mentally deficient” and described wearing long hair as “an unpardonable offense, which should be punishable by death.”. -JA, This is the Platonic ideal of Morrissey songs. No wonder this tribute—performed with Stephen Street and a trio of former Smiths—is written from the perspective of an especially ardent fan who ponders the stardom granted to those who kill yet is desperate to impress Reggie: “Such things I do/Just to make myself/More attractive to you.” Unusually wiggy guitar effects add to the unseemly drama. Written by Smith after a fight with her sister, it describes a quarrel on a beach that leads to a mysterious death and a keenly existentialist moment of desolation. Things go south and Moz is devastated (“Yes, I walk around somehow/But you have killed me”). Of course, these days, the tune is also a nostalgic reminder of simpler days, when Morrissey wasn’t supporting Brexit and making vile comments rooted in xenophobia and Islamophobia. Still, “Alsatian Cousin” is more notable for the metallic sheen of its drums and anguished guitar drone; Morrissey had clearly absorbed (and was embracing) the mechanized sounds popular in the late ’80s. Were you and he lovers? -JA, No music video in 2014 yielded a sight as incongruous as that of Morrissey pensively posing on the roof of Capitol Records HQ with Pamela Anderson. Morrissey’s recent BBC Maida Vale show and indeed the Jools Holland TV appearance did not bear any of the fruits from 1997’s labour, Maladjusted. And would you say so if you were?” Spoiler alert: These queries were rhetorical and, unsurprisingly, things didn’t go his way. On Sunday, “The Simpsons” aired the episode “Panic on the Streets of Springfield”, which followed Lisa’s discovery of 1980s post-punk singer Quilloughby (voiced by Benedict Cumberbatch) through a streaming music service called Slapify. That’s especially unjust in the case of “Satan Rejected My Soul,” a Smiths-esque jangle during which Morrissey sighs that he’s not accepted in heaven or hell. -, Morrissey’s ’90s solo albums were so strong that, tends to get lost in the shuffle. Morrissey’s first Top 5 hit in the UK, “Suedehead” concerns a subject about which Morrissey has never revealed, though there’s a sense it’s one of his most deeply personal. The classic Smiths’ torch song ‘There Is A Light…’ found Morrissey praying for a car wreck so he and the object of his desires could be fused together forever. Indeed, it’s the closest he ever got to the heavenly-minded gospel numbers that had pride of place in the repertoire of Vegas-era Elvis. If Morrissey hates his ‘racist’ Simpsons character, he only has his big mouth to blame The former Smiths singer is furious with his depiction as an overweight, ham-guzzling xenophobe. This classic was released in 1994 and the first single “The More You Ignore Me, The Closer I Get” would give Morrissey another top 10 single. -, The educational aspect of Morrissey’s lyrics has long been under-acknowledged. “In America, it gave you the hamburger,” goes the snarkiest couplet. “They’re saving their own skins by ruining other people’s lives.” He may have intended it as another shot at his much-loathed Tories, but it fits just fine for ethically bankrupt villains of other eras too. On a deeper level, the song captures what it feels like to be blanketed with a steely fog of depression—and then navigate the clawing desolation and isolation that comes with it. Account & Lists Account Returns & Orders. Probably, that is because there are no fruits on this album. The ex-Smiths front man has built a critically acclaimed solo career after the break-up of his original band. Chalk that up to music that nods to manicured ’60s pop, between bell-like percussion and gentle guitar chimes, and a straight-faced vocal delivery with thinly veiled vitriol. Surely there’s a good Benny Hill sketch in there. Indeed, it’s too bad he’s otherwise been so averse to brass. -. Really, what could be worse than “losing in front of your hometown”? -JA, The minor-chord moodiness of “Black Cloud” establishes Morrissey forever as the Charlie Brown of alt-rock. -, As the focal point of the Smiths, Morrissey was known as a supporter of disability culture because he wore a hearing aid during live performances. -AZ, Morrissey’s Jam cover is faithful to the original’s acoustic foundation and glass-half-empty worldview—in which even lighthearted activities (“feeding ducks in the park”) come with a down side (“and wishing you were far away”). Needless to say, Morrissey sounds like he’s enjoying himself tremendously. Steven Patrick Morrissey has been called a lot of things: miserable, bleak, depressing, you name it. -JA, As the Maladjusted song with the sprightliest melody, this was a natural choice for lead single, and a wise one too—it became his first Top 20 UK hit in three years. World Of Morrissey by Morrissey (1995-02-10): Morrissey: Amazon.ca: Music. 10. -AZ, Despite the unkind sound of his nickname for Cathal Smyth—who goes by Chas Smith as a member of Madness—Morrissey’s feelings for the subject of Your Arsenal’s delightful first single couldn’t be warmer. -AZ, his 11th studio album, Morrissey is poised for a musical upswing—though his career is more controversial than ever. “It was a good lay, good lay,” he trills in the final refrain, knowing full well he’s seduced everyone he needed to. “He stole all hearts away,” he sings of the title outlaw. Exhibit A: This rather cheerful takedown of the Manchester music scene’s hatred of ambitious musicians. His increasingly vocal anti-immigration views and questionable political commentary—including accusations of “rigged” elections against an Islamophobic candidate and a Manchester bombing statement that deservedly caused an uproar—are disappointing, especially since Morrissey built a career by aligning himself with the marginalized and alienated. “You’re the one I really, really love,” he sings to the pal he once tried to hire as his manager. Named after Britain’s notorious far-right party, this Your Arsenal track is often cited as proof of his less admirable opinions—and the mid-song cry of “England for the English!” doesn’t help. But what makes it especially affecting is the way Morrissey uses his self-deprecating wit (“Me without clothes? 1. -, This is the Platonic ideal of Morrissey songs. “But if you have any success or are independent or a free spirit, they hate your guts.” In other words, it’s no surprise the song is dominated by Morrissey’s derisive, devilish laugh. Yet this time around, the subject inspires contempt rather than desire (“He’s got too many girlfriends, he thinks he owns this city”), culminating in a murder fantasy. -JA, Morrissey has had to reckon with people mocking his melodrama—and wanting him to go away—ever since the Smiths formed. i do not own any one of these songs. The closer “Speedway” is a powerful closer to a classic album. -AZ, Although “Let Me Kiss You” possesses glimmers of lyrical humor (“Say, would you let me cry on your shoulder/I’ve heard that you’ll try anything twice”), the song is mostly heartbreaking, as its protagonist is willing to do anything in exchange for physical affection. “In Manchester, you are accepted as long as you are scrambling and on your knees,” Morrissey told Q in 1992. -AZ, Morrissey inexplicably decided to leave “The Ordinary Boys” off a 2012 reissue of Viva Hate, which was a shame: The piano-driven waltz praises a stubborn outsider who retains their iconoclastic outlook and nonconformist attitude despite the small-minded boys and girls around them. Morrissey Alain Whyte You Are the Quarry: 2004 "Ammunition" Morrissey Boz Boorer Maladjusted: 1997 "Angel, Angel Down We Go Together" Morrissey Stephen Street Viva Hate: 1988 "Art-hounds" Morrissey Boz Boorer World Peace Is None of Your Business (deluxe edition) 2014 "Asian Rut" Morrissey Mark E. Nevin Kill Uncle: 1991 "At Amber" Morrissey (It helps to have, A threat more than a promise, this glammy rockabilly barnburner finds Morrissey cautioning a lone wolf that they’re going to need some allies and support. The point seems to be that every person’s life is held back by different things—either external obstacles or self-imposed barriers. The point seems to be that every person’s life is held back by different things—either external obstacles or self-imposed barriers. But as any dedicated Morrissey fan will tell you, his talents have never relied solely on the doom and gloom. “Some men here, they have a special interest in your career,” he sings lightly. -Jason Anderson, This oddly jovial Viva Hate-era B-side, which contains whimsical guitar spirals, reflected Morrissey’s preoccupation with disability imagery. Music Lists Morrissey. “We’re gonna kill this pretty thing,” he sings in a paraphrase of Iggy and the Stooges that seems well-suited to the guitar distortion’s undercurrent of menace. (And we’re not talking about his penchant for canceling shows.) Lines like “The youngest was the cherub/We kept him from the world’s glare and he turned into a killer” suggest Morrissey may have been keeping Lionel Shriver’s then-ubiquitous bad-seed literary thriller, The minor-chord moodiness of “Black Cloud” establishes Morrissey forever as the Charlie Brown of alt-rock. Please feel free to comment, criticise, discuss, argue and fight me. -, ends with this galloping glam swoon, which features a protagonist tortured by dreams of impossible romantic consummation. -AZ, As the focal point of the Smiths, Morrissey was known as a supporter of disability culture because he wore a hearing aid during live performances. -JA, The educational aspect of Morrissey’s lyrics has long been under-acknowledged. The songs for those who just want to know or to jump to Suedehead, Everyday Is Like Sunday, The Last of the Famous International Playboys, You’re the One for Me, Fatty, Tomorrow, Irish Blood, English Heart, First of the Gang to Die, I’m Throwing My … (And we’re not talking about his penchant for, .) Of course, these days, the tune is also a nostalgic reminder of simpler days, when Morrissey wasn’t supporting Brexit and making vile comments rooted in xenophobia and Islamophobia. Over a buoyant melody reminiscent of the Smiths’ “Panic,” he relates a previously unspoken history about the young men who plied this “ancient trade.” -JA, Morrissey and Mark Nevin end their creative partnership on a high note. Share Tweet Submit Pin. An overlooked gem from, , it shares its spare sound—just piano and voice until the strings and a vaguely militaristic drum beat comes in—and elegiac nature with, ’s sublime “Late Night, Maudlin Street” as well as “Sing Me to Sleep,” one of the Smiths’ greatest B-sides. “But if you have any success or are independent or a free spirit, they hate your guts.” In other words, it’s no surprise the song is dominated by Morrissey’s derisive, devilish laugh. Morrissey's lyrics have always stirred up controversy in the music press but few can argue the influence he has had on modern music. “Oh, any excuse to write more lies.” -AZ, Though it’s sadly included only on the version for the video, rather than the one included on The World of Morrissey, the opening swell of strings lends an appropriate sense of grandeur to the single that served as the impetus for Morrissey’s return to performing live after a two-year hiatus. Likewise, there’s an edge of Marc Bolan’s bravado in the way Morrissey describes the rough types he likes: the kind who “break their necks and can’t afford to get them fixed.” It hardly matters that their clothes look like “imitation George the 23rd,” which must be tremendously gauche. Yet this time around, the subject inspires contempt rather than desire (“He’s got too many girlfriends, he thinks he owns this city”), culminating in a murder fantasy. 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