Viva Hate

Not bad but not good enough to justify his personality

There has never been, nor will there most likely ever be again, a pop star like Morrissey. Sure, there have been many icons in the history of popular music. But not a single one of them can lay claim to the same blend of nonchalant authenticity and unbridled star power embodied by the morose Mancunian. A commonplace opinion in casual music parlance is the recognition of Morrissey’s lyrical genius as frontman of The Smiths, while also sidelining his solo works as proof of the law of diminishing returns. Written amid the literal ruins of his bands’ dissolution, Viva Hate delivers upon the undisputed potential for Morrissey to bridge that gap between eccentric 80s has-been to genuine pop stardom. Produced and largely written by Stephen Street, with the enigmatic Vini Reilly serving as Moz’s creative foil in place of Johnny Marr, the album is not a radical departure from The Smiths’ brand of 60s infused jangle pop. And yet the flourishes of bossa-nova rhythms and spiralling sitar-sounding riffs give it just enough flavour to mark it out as a distinctly Morrissey affair. Couple all that with two bonafide hit singles (“Everyday is Like Sunday”, “Suedehead”) and you have yourself a winner. This is just the platform for what I consider one of the frontman’s finest lyrical outings committed to record. From “Alsatian Cousin”‘s acrimonious tale of romantic scandal to the melancholic nostalgia of “Late Night, Maudlin Street”, there is no single lyricist who could ever get away with such genius lines as “Rejection is one thing, but rejection from a fool is cruel”. It’s the commonplace elevated to the level of the sublime that earmarks Morrissey as the single most important lyricist in pop music history - and that’s not hyperbole. A few minor detractions however. Leaving aside the questionable tone of “Bengali in Platforms”, a song that’s bafflingly clumsy at best and downright racist at worst, Morrissey’s decision to remove “Ordinary Boys” in favour of a tinny demo of “Treat Me Like a Human Being” is beyond comprehension. The album is slightly front-loaded in its original running order, but this just draws out side 2 with a completely redundant skipper of a track. Going off of my vinyl copy, this album is a masterpiece. Arguably a more true distillation of Morrissey the artist than any other album in his enviable discography. It’s hard to believe there were some who doubted his ability to survive the demise of one of Britain’s most beloved groups. But this album secured Morrissey’s relevance in pop culture (on and off) for the next 20-30 years. As one of my friend frequently puts it: “The guy’s a cunt. But he’s our cunt”.

I won't listen to this. I struggled with the Smiths, but this is where Morrissey started going off the rails for me; the (ambiguously) anti-immigrant content of Bengali in platforms, appearing on stage draped in the Union, seemingly playing to the skinhead crowds at Madstock. he was challenged on it at the time, and never satisfactorily apologized or clarified that he was anti-racist; he just muddied the waters. His statements and actions since then really cemented his anti-immigrant, intolerant views. I struggle with the issue of when an artist's behaviour crosses the line and I need to cancel my consumption of their work. I don't have a hard and fast rule. Often it is when their problematic views and behaviour start creeping into their work (like when Michael Jackson starts singing about saving the children) But, really, when it comes down to it, the line is when the ick-factor overwhelms my ability to enjoy the music. That's a pretty subjective line, but no more Morrissey for me. Too icky.

There are some songs on this album that I would like if someone else sang them. In my review of the last Morrissey solo album we were sent, I said his voice had worn on me by the time the Smiths blew up. Getting another Morrissey solo album so soon after the first is like rubbing vinegar in the wound. No way this brother should have two solo albums in the 1001. If he has a third it's getting a 1. 

Unfortunately he’s very talented

Pretty good. Why is he so sad?

I like the Smiths alright, Morrissey's solo stuff less so. I think this album is saved for me by Vini Reilly's guitar work. I like his sound, particularly on "late night, maudlin street" with the delay. I find this album to be a bit of a drag. 2.5 rounded up to 3.

Morrissey is like a few other talented douchie artists out there, yes I'm talking to you Van Morrison. Its hard to separate the art from the artist, but yet we must try to preserve the integrity of 1,001 rating system. That being said, I really find Morrissey's voice annoying and he seems to put out albums with one decent song and the rest is just dreck. Eg on this album its Everyday is like Sunday. On The Queen is Dead its only saved by There is a light that never goes out. Unfortunately one good song does not an album (that you have to listen to before you die) make.

Not too many people or really anyone, can carry the desperation, longing, and hopefulness that Morrissey provides with his solo debut. Something about these bossanova beats and his crooning voice creates a melancholy dance and makes me yearn for unrequited teenage love and regret. Even though these heavier feelings emerge, I still am filled with happiness as the album makes it seem possible to go back to the past with new enlightenment and say things you never could’ve said then. Overall: fantastic record and the first 5/5 so far. Instant buy and a mark in the collection.

I'm remembering when this album first came out, on the heels of the Smiths' breaking up. All good Smiths fans took this album in with great anticipation, and maybe with a hint of disappointment. It's an early lesson that people move on and grow up, and do things we don't entirely appreciate or understand. I agree with others here that Morrissey's work in general is a notch below what he did in the Smiths. That said, this album is lyrically more mature and has some beautiful arrangements that you probably would never find on a Smiths album. I'm still moved by "Suedehead" and "Everyday is Like Sunday," as much as I was at 17. Nobody does sweet pathos and longing like Morrissey.

Morrissey may have better albums than Viva Hate, but it's hard to go wrong with almost anything he's put out. Favorite Song: Alsatian Cousin

Him being a bad person does nothing to me as I am a Kanye West fan. Separating the art from the artist I enjoyed this more than I thought I would. 3.5 I’ll be mean and round down.

I'm still not a big Moz fan, but hating Thatcher will always be based.

Fairly boring. Easy enough listen.

bit of a prick

It has to be said... Morrissey needs to be consigned to history. Sure, he came along at a time that kinda tolerated him, even appreciated his work. But that time has gone, and it won't ever come back. He's railing against his own irrelevance, desperately voicing hateful bilge just to court some controversy. He is the GB News of music, and it would genuinely be better just to forget him.

Morrissey can go soak his head. I'd give zero stars if they'd let me.

Morrissey sucks, I can not imagine possibly caring about something less than I do listening to this person's music. Get it out of here. Wish I could give it less than 1 star.

I head into this with some pretty negative Morrissey prejudices. Instead I found a wonderful, charming, lovely album that drew me in like a friend. Quite unexpected especially since it is called “Viva Hate” and is filled with hard sentiments. Still, it all struck me as a warm and human expression or love, hate and frustration that really resonated. So while I had to contend with some idiotically shortsighted notions dating back to my youth, what I get in return was a really wonderful addition to my music library. I love Viva Hate!

Dark, humorous, and hip as usual. Great album!!

Suedehead <3

Was pleasantly surprised by this and have a. We respect for Morrissey

Upon re-visiting, much groove. Much verve. Much emotion.

Okay

I enjoyed it. I generally love the Smiths so a Morrissey album is not a hard listen for me. Though I would rather just listen to the Smiths

Eh...there's a big difference between solo Morrissey and The Smiths. Maybe it just this album but eh

A year after the Smiths split up, Morrissey already released his solo debut album which was this one. It is a continuation of the Jangle Pop sound that made the Smiths popular in the first place but already with this project you can feel that without the other band members, the ideas are all over the place and rarely turn into anything close to what the Smiths had created. Still, it was a successful album with many people recognizing it as a pretty good album which I agree. It is a pretty good album with a couple of really great songs but when its held against albums like "The Queen is Dead", this feels rather pale and bland. The albums opening track 'Alsatian Cousin' combines elements of Post-Punk, Noise Pop & Neo-Psychedelia with mainly Indie Rock as the genre that ties it all together. It is much less "jangly" than most of the album but it works quite well. It really ties into the more alternative side of Morrissey which I do sometimes prefer. The song is pretty interesting sonically and the songwritings quite alright but my main problem with the song is that I feel Morrissey tries way to hard to sound Post-Punk and dark and edgy which he obviously isn't. It's a pretty great song but I do feel that some moments feel forced. The song transitions into the next and actually quite short 'Little Man, What Now?' which is way more Pop sounding but for some reason has drums that feel like straight from a marching band which does add a little weird twist to it but that twist doesn't fit. This not only feels forced but it feels off and just not good. The song itself is actually quite nice and cute but these drums absolutely destroy it. It's not a good song but not terrible either. 'Everyday Is Like Sunday' is probably the albums best known song. A great blend of Pop Rock, Chamber Pop and Jangle Pop which has some incredible songwriting with how the song is structured and builds up towards the chorus. It's an incredible song but nothing close to the highest points of the Smiths' career. Mainly the vocal delivery takes away from the enjoyment even if it's just a little bit. He does put in enough emotion for the song to work but he does it in a way that feels arrogant and like he thinks he's the greatest (he probably does) which he just isn't. But still, the highlights it has to offer are just incredible. The most "Smiths" sounding yet is 'Bengali in Platforms' which from the title to the performance feels like something you'd might find in the "The Queen is Dead" sessions. And the song does really feel like it's just a session piece as it doesn't feel finished and like they are still trying to figure out how the song is supposed to sound. It's a good song but with a lot of uninteresting moments and a finished track that doesn't really go too far out of its way. Another short "interlude like" track is 'Angel, Angel, Down We Go Together' which is a pretty sweet mix of Baroque Pop and Chamber Pop but it doesn't really stick with me with anything that it does. It feels like an interlude and not necessarily a good one. It tries way to hard to be epic and full of agitation which it isn't. While talking about epic, 'Late Night, Maudlin Street' tries a similar thing but succeeds way better. It's over seven minutes long and features acoustic guitar, piano, weird "lashing" drums and moves through different sonic stages and builds more and more while keeping it steady for the listener. It's a great and even if the vocals do feel like they want to be way more, the song is incredible. It's sentimental, bittersweet and full of great moments. It isn't a perfect song as there are a couple moments that feel dragged but all in all, pretty great. 'Suedehead' is the other commonly known song this album offers. It also feels a lot like The Smiths but much more like this might actually be on one of their albums mainly because the few Post-Punk influences are incorporated much better than on other songs here and the hook feels similar to how it's made up. Many love the song but I personally don't really find a lot to love about the song. I like it and I think it's good but I don't care for it much. The quite interesting drums to add a little bit of interesting stuff to 'Break Up the Family' but it overall feels dull and just average. It's a basic song with neither a great chorus/hook or great lyrics to make up for that. It feels just basic and like something that has aged just like you'd expect. It's good in the context of its release but from today's eyes it's just boring. ('The Ordinary Boys' was omitted from the album but was a part of the original release) The exact same thing is happening with 'I Don't Mind If You Forget Me' only that there isn't even one thing that stands out, not even the sound of the vocals. It feels dull and like before, just boring and average. 'Dial-a-Cliché' does add more of the lush Chamber Pop sound but the result is as average as the couple tracks before. The songwriting doesn't feature any highs or build-ups and the lyrics are quite middlebrow for Morrissey and the performance of them doesn't help that much. It's a snoozer like most of the last songs. The final song 'Margaret on the Guillotine' is a rise in quality from the last couple songs but it doesn't achieve the highs that some songs had so far. It's a good song and the lyrics are much better and are performed way better but the result feels still a little too average. It's a good song but there is still a lot of room for improvement. favourites: Everyday Is Like Sunday, Late Night, Maudlin Street, Alsatian Cousin least favourites: Little Man, What Now?, I Don't Mind If You Forget Me, Break Up the Family, Dial-a-Cliché Rating: decent to strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Since there is more than one listenable track on this album (don't get excited; the exact number is two), I'm going to assume this is the best Morrissey album. I'm making that assumption because there's no way that anybody is keeping track of this, just like nobody has a ranking of the best tooth to have pulled or the safest bleach to drink. I viva hate you, Morrissey. Best track: Everyday is Like Sunday

It’s a decent album, but it suffers without Johnny Marr and Morissey is just too melodramatic for anything more than a three

I went into this not sure how I’d feel about it. I haven’t heard much of Morrissey’s music, but I’ve gotten the general impression that he’s kind of a dick. After listening to most of the album, I was inclined to give it 2 stars because it just seemed kind of generic and didn’t really do anything for me. Sure, Morrissey has a good voice, but he uses it to do this kind of mopey crooning that’s just blah. But, Margaret on the Guillotine convinced me to bump that up to 3 stars. That song is great and a perfect way to end the album.

Sonically there's a lot of interesting things going on here. Viva Hate has a very distinctive sound that's different to much of the Smiths output. Lyrically though, I don't care all that much at times for Morrisey's politics and social commentary.

I cannot stand Morrissey's Kermit voice. Songs sound alright, but that voice would ruin anything.

Oh man, no. When I sleep with that picture of you Framed beside my bed Oh, it's childish and it's silly But I think it's you in my room By the bed Yes, I told you it was silly And I know I took strange pills But I never meant to hurt you Oh, truly I love you. No. Just no. No no no no no no no no. No. No.

mu God, how'd this dude get a second album out.. If Xanax had an attitude problem..

It's okay to be a whiney bitch. It's not okay to be Morrissey.

One Morrissey solo record down, three more to go.

Morrissey just straightup sucks

I came to this with what I hoped was an open mind. The first couple of tracks were quite bouncy. However, I did find myself being dragged down by the mood of this album by the midway point. I don't really like Morrissey's voice, and the bleak 'humour' of the Smiths seems to have moved into 'man angry at the world for not recognising how special he is' territory. I just wish he would stop whinging and blaming everyone but himself for what is a fairly turgid set by this point of his career.

Shite. Shite singer, shite songs, shite production, shite lyrics. The guy sings like he has been kicked in the plums, but I don't think we are that lucky. Would give it zero, or even less than that if I could. Absolutely pish. He can't sing, and is a Nazi, and isn't a good lyricist, and is a Nazi, and writes terrible music, and is a Nazi, and really puts the "pretentious" in "pretentious wanker", and also, and I can't stress this enough, is a Nazi. 0 🌟

I'm so very tired of being subjected to this man. And the songs are really starting to all sound the same.

I’ve never listened to a more pretentious fuck than listening to morrissey. Hopeful don’t have to hear him again anytime soon.

::reads 'Bengali in Platforms' lyrics:: YO FUCK THIS RACIST TRASH

u could say i viva Hate morrissey.... but i fear hes goated at music smh

I loved this when it came out - I still have it 😊 morrissey is such a gifted and clever songwriter it was a pleasure to revisit this one.

It may sound weird, but I discovered this album before I was aware of The Smiths. It was my formal introduction to Morrissey; and it's still my favorite of his solo albums. The obvious highlights are Suedehead, and Everyday is Like Sunday. But those are really just pillars, holding up a great set of songs. Break Up the Family is equally great, as is I Don't Mind If You Forget Me. There's a distinct sound that I associate with producer Stephen Street that we only get from Morrissey on Viva Hate, and a handful of singles from the period. By the time Morrissey made his next studio album, he'd settled on a completely different sound. The albums that followed are great too. But Morrissey never made another Viva Hate. It's a very special snapshot of the transitional period between The Smiths, and later sounds that Morrissey's muse would follow.

Album 475 of 1001 Morrissey - Viva Hate Rating : 5 / 5 Favorite Tracks : Everyday is Like Sunday, Suedehead As controversial and hated as he may be, I like Morrissey's music. When I first listed to him, I wasn't aware that he was such a lightning rod of controversy. I just enjoy the tunes. Like his voice and the tracks. Maybe in the future, I'll learn more about what it is about him that pisses off so many people.

David Bowie enjoyed would probably love this

When I first started listening to the 1001 albums list, I did not want to like The Smiths or Morrissey. But goddammit, I love them, and this man is a genius. Great fucking album

I quite liked this album. The vocals were distinctive and evocative with the trilled r's. Probably a 4.5/5 for me, but we'll round up. Most songs were quite good but my favorites were "Everyday Is Like Sunday" and "Suedehead."

Favorite album yet, incredible incredible

Very nice and chill

Not my favorite Morrissey album but probably top 3. It starts off a little meh for me but really picks up with track 3, the classic Every Day is Like Sunday. Overall it's probably a 4 but because everyone's always gotta hate on my boy Moz it gets a 5.

so good

Just a very well put together album. Two monster hits, with Suedehead being one of my favorite songs of all time.

beautiful and relaxing af

Tchê sonzao, estilo inconfundível mas surpreendeu pela envolvência, boa banda

Moz

After the wonderful Strangeways Smith album a strong 1st solo album, with Suedehead (where he even seems to sing 'it was a good lay', good times for a change), Every Day Is like Sunday and the in some opinions (including mine, UB40 (madame Medusa) Simply Red's (Money's Too Tight) then well deserved punch in the face for Thatcher (Margaret on the Guillotine). Stephen Street is no Johnny Marr, 5 stars but 4.7. Is 5

Perfect, just ignore his shithouse right-wingery

👍👍👍👍👍👍👍👍👍

Yeah . I dig this. Morrissey, like many Brits of this era, have this kind of grand sad moody kind of sound to me. Sometimes others go too far in either direction, but this feels balanced. I'm gonna dig in more.

Only love for Morrissey

So I now know not what is the Smiths and what is Morrissey. I just like the voice okay?

In probably a surprise to no one, I loved it. 80s alternative, mopey tunes with mopey lyrics, singer I can easily sing along with, it's everything I love. Favourites: "Angel Angel Down We Go Together" and "I Don't Mind if You Forget Me"

Härligt!

Si les gusta morrisey, medio ya sabían que esperar. Y este álbum cumple y siento que da todavía un poco más

Está bien verga. Es un chingón.

Creo que ya lo dije, pero Morrissey entra en la categoría de artistas que me gustan, pero que no escucho con tanta frecuencia. Este disco medio lo conocía, hace mucho no lo escuchaba y sí me parece muy bueno. Creo que Morrissey sabe hacer un buen balance de letras y melodía, si bien a veces no es nada espectacular. Pero de acá, "Suedehead" sí es una gran gran canción y en realidad no tengo skips, porque casi todas me gustan por igual. El final, hermoso con "Margaret on the Guillotine". Siempre político él, aunque se haya hecho nefastito. Viva Viva Hate! 9.5/10

Giving this a 4, strictly because "Bengali in Platforms" is a stand-out track for me. This could be seen as a hot take by most people, but as someone whose family were a bunch of immigrants to the US, Morrissey details with the complexities of trying to fit in to a new land so well.

zippy opening - wow bassline and cowbell like the cure but blue oyster cult great voice catchy and driving melodic guitar lines that vamp and sudden cut off final track

Отличная музыка, понравился этот альбом

Having never heard Morrissey before I didn’t know what to expect. I enjoyed how upbeat this album was musically. Should probably give it a closer listen but probably won’t!

Loved Morrissey 30 years ago in my younger days. Went to see him at UCF when he toured your arsenal. I’ve definitely moved on from his melancholic ways. Nonetheless, it’s a solid album.

Thought it was good. Better than I expected. Solid.

21/11/24 The album was alright. I don't think Morrissey is as bad as everyone says.

I really wanna give this a 2 or 3 because; -Morrissey is an all-around miserable and insufferable human. -Morrissey solo albums don’t have Johnny Marr playing guitar. -there’s four Morrissey solo albums on here, in addition to the more deserving Smiths albums that made the list. That is way too many. Despite all the reasons not to give this a 4, it’s just too good to rate anything lower.

Huge Smiths fan here. Hearing Morrissey's voice with the somewhat jarring, disonant guitar of Vini Reilly instead of the unmistakeable sounds of Johnny Marr's delicate melodies is at first disconcerting on the opener Alsatian Cousin, but after a bit of a throwaway in Little Man What Now, things take a turn for the gorgeous with Everyday is Like Sunday with it's simple but haunting melody, beautiful string arrangements and sing-along chorus, its as beautiful a song as anything by The Smiths. And there are more nuggets; Late Night on Maudlin Street, Heardresser on Fire, Suedehead and the scathing Margaret on the Guillotine. It's not quite the Queen is Dead but it absolutely established Morrissey as a worthy solo artist. 4 stars

Very good. And Vinny Reilly’s guitar is lonely as usual

groovy little debut album from the former smiths frontman. signature crooning with sullen lyrics. highlights: “everyday is like sunday” “bengali in platforms” “suedehead” “margaret on the guillotine”

The comments section all agrees: Morrissey is a fucking dweeb. This batch of songs, however, are absolutely fantastic

Sorry, giving another Morrissey project high marks, but I kinda love this album. This is good Morrissey, the stuff you’d want! Mostly bangers, little to no stinky self-indulgent garbage!

Went thru all the smiths last week so this is perfect timing. It was alright. A few songs I really liked. I’ve already gotten Your Arsenal on this list and think I liked that one more and obviously all the smiths stuff more than this one but it was still decent. Rating: 3.7

Viva Hate, viva! For his first solo effort since the split of The Smiths, Morrissey bursts out the door swinging with much sharper stances on his now established targets and a more refined (if not muscular) musical palate that nearly eclipsed what he had done previously. Taking advantage of the new situation, Morrissey delivers a tightly wound up collection that largely hits and scarcely misses, so much so that one wonders (at times) whether or not it would have fared equally well if it were songs for his previous band, such was their batting average. But alas... Viva Hate is definitely worth the listen and the time spent doing so. Favorites: Alsatian Cousin, Everyday is Like Sunday, Bengali in Platforms, Late Night, Maudlin Street, Suedehead, Treat Me Like a Human Being, Dial-a-Cliche, Margaret on the Guillotine.

Solid album with a couple of standout tracks

Disappointed in the singer, not the songs.

Ah, Morrissey when he was only flirting with racism. The man is a fool, but this album is great. There was a chance he may struggle without Marr's genius but this is a strong album. Best Tracks: Alsatian Cousin; Everyday is Like Sunday; I Don't Mind if You Forget Me

Better than what he did with The Smiths. Good.

I was certain I’d give this 3 stars or less. The Smiths are a band that I had assumed, before I listened to them, that I would eventually become obsessed with. They broke up the year I was born, but they influenced many bands that I loved as my tastes in music were forming, so I just assumed whenever I gave them a try I’d like them a lot. As it turned out, I liked them just okay at best. I love Johnny Marr as a guitarist, but I found Morrissey… well… annoying. He’s often just a tad too whiney or something for me, and I’ve developed sort of a preconception of him, fair or not, that he’s just sort of a self-righteous and snobby sort of guy. I’ve listened to Viva Hate before, but only once that I can remember, and I didn’t give it a fair chance then. After listening to it twice for this I must say that it’s an incredible sounding album. Even without Marr’s guitar and arrangement, it sounds fantastic throughout. Morrissey’s voice is great as well, and perhaps sounds a tad less whiney than on much of the Smith’s records. Everyday is Like Sunday; Late Night, Maudlin Street; and Suedehead are my favorite tracks. I think this record is as good as any Smith’s record, maybe tied with The Queen Is Dead.

voisin yhdistää sen johonkin eleganttiin tai ehkä perinteiseen jokseenkin vanhanaikainen, mahdollisesti brittiläinen tai irlantilainen kaveri, kun otetaan huomioon nimen hieman hienostunut ja kirjallinen sävy. "Morr-"-osa tuo myös hieman mystisen tai synkän fiiliksen...

I liked this, but it just made me want to listen to The Smiths

Dig his voice and vibe

Strong one

Morrissey has a lot of problems but he also has a great voice and a lot of very good songs so it’s impossible to say if he’s bad

The fourth(!) Morrissey album on the list. Hard to understand: a couple of Smiths album would have been fine and perfectly justifiable. Nevertheless this album has both Vini Reilly and Stephen Street, which means that the quality of the music is very high, and the album contains some of the best singles from the 80s: Suedehead and Everyday is Like Sunday. It is a shame the album also contains a song with some lyrics that are just horrible in any interpretation of them, but even more so in the light of his support to extreme right politicians.

"Rejection is one thing but rejection from a fool is cruel." Musically - sounds different than I remember. Spikier. Stranger. Lyrically- the Morrissey we know and love.

I've always been puzzled by the amount of hate Morrissey receives. While I don't know much about him personally, discovering his music through this musical journey has been a highlight. I slightly prefer The Smiths over his solo work, but his music really resonates with my normal bassline mood—easy-going, with catchy hooks, lush, jangly, and smooth.

Sadness.

This is a great album, but Morrissey can eat a dick.

brilliant and beautiful

Teen me loved it. Smiths extension. Stephen Street cowriting much of it and delicate guitars from Reilly gave a different vibe to the Moz’s mopeyness. Still gets an occasional play as an adult