Newspapers / Daily Tar Heel (Chapel … / April 7, 1988, edition 1 / Page 24
Part of Daily Tar Heel (Chapel Hill, N.C.) / About this page
This page has errors
The date, title, or page description is wrong
This page has harmful content
This page contains sensitive or offensive material
The Daily Tar HeelThursday, April 7, 198815 on fcfo aora Here's some By JOHN SHERER Staff Writer The title of Morrissey's new record, Viva Hate, betrays the deliberateness that pervades this first solo effort. Sure, this self righteous Brit is still down on everything from London hair dressers to dreaming about guil- lotines. But he has something to prove. The Smiths were the most important English group of the '80s. Johnny Marr's biting but Finding true happiness By RANDY BULLOCK Staff Writer Hey you. Pay attention. You could very well be living in the golden age of so-called "under ground" music. Appreciate it. The present American scene allows bands like Agitpop, mediocre for many years, to subsist long enough to refine their talents and emerge as a creative force despite the monopolistic tendencies of corporate rock. It also allows bands W (L if melodic, musical landscaping: viva Morrissey layered perfection on guitars, coupled with Morrisseys' dismal crooning, had reached an accessi bility that left the Smiths on top of the progressive rock world. Their demise last summer was as shocking as it was depressing. When Marr left the band, Mor rissey was left without a song like the Talking Heads, who were in grave danger of becoming corporate puppets, to overcome the top 40 meat grinder and release truly f ine music once again. Happiness is . . . writer. After briefly considering a replacement, he opted for a solo career. Enter Stephen Street, producer of the Smiths since their 1 986 release The Queen is Dead and longtime friend of Morrissey. Street receives all the songwrit ing credits on Viva Hate. But make no mistake, this is a showcase for the now melodic, often bouncy, and sometimes joyful wankering vocals of Morrissey. Even if you only loved the smiths because of the guitar, give this record a chance. After all, Marr's work with in the golden underground sound Agitpop Open Season (Twin . Tone) ... not having to ignore Agitpop anymore. The band's training session, in which their music agi tated more than it entertained, is over. They've reached the big time with their third album. It is a noisy, sophisticated assault on conven tional pop tunes. It's like great sex. They establish a quirky, jagged rhythm (you know how boring metronomes are); they alternate Bryan Ferry and Talking Heads has not come close to the inspiration of the Smiths. The opening cut, "Alsatian Cou sin," is driven by Street's grinding guitar and establishes the record's legitimacy. Following are 11 tracks with a remarkable variety and consistency, from the swinging pop of "Suedehead" to the gentle, rhythmic, lounge music of "Bengali in Platforms" and "Break Up The Family." Some of these songs do not work. "Little Man, What Now?" is between frenzied and subdued (variety is always the spice); and they tease you with frequent stops and starts (leaving you breathless and giving you fits), in other words, all the equipment is the same - they just learned how to use it. Anyone have a smoke? Talking Heads - Naked (Sire) . . . watching an old favorite fight back. The Heads weren't down, but their last two albums had them on the ropes with a Come in for a live demonstration. ILaip1Ltijbbeirs SEAFOOD RESTAURANT The cookin's timed in seconds. downtempo trudge that doesnt get anywhere. "Angel, Angel, Down We Go" is just simply whining from which only the most devout fans will glean something. But failures are the exception on Viva Hate, it's a safe record that follows Morrissey through a plea sant variety of musical landscapes, dotted with his prose "but on the desk Is where I want youSo I ask (even though I know) Were you and he lovers?" Who else can make you blush and feel depressed at the same time? nasty gash in their integrity. After winning the support of the Clear asil set with their last two albums, they achieve the glory of "Fear of Music" and "Remain in the Light" with their new one. It is because they arent concentrating on pop songs anymore; they are writing the same intricate, African-based rhythms that launched those other two albums onto everyone's all-time top 100 list. And that is just the beginning. SMflio Hwy. 54 at I-40 493-8096-967-8227
Daily Tar Heel (Chapel Hill, N.C.)
Standardized title groups preceding, succeeding, and alternate titles together.
April 7, 1988, edition 1
24
Click "Submit" to request a review of this page. NCDHC staff will check .
0 / 75