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Showing reviews 1-5 of 26
 Quite possibly the ultimate highlight of his career. August 21, 2005
Jonathan James Romley (Dublin, Ireland)
27 out of 28 found this review helpful
This is, quite possibly, the best Morrissey solo album. Indeed, there is stiff competition from 1992's heavier Your Arsenal and then, more recently, You are the Quarry, but still, this 1994 release remains something of a pinnacle within the context of his career.pVauxhall I was released during the period in which Morrissey still found favour amongst the record buying public - no doubt clinging to the nostalgia of the Smiths - though it was clear that the music press, particularly those at the NME, were poised for a break towards the retro sounds of Britpop, and the whole Blur versus Oasis debacle in general. This was also the period in which Morrissey found himself accused of racism due to the content of songs like Asian Rut, Bengali in Platforms and the National Front Disco, whilst his flirtation with nationalist iconography, Union Jacks and so-on, made those in the press feel slightly uncomfortable. All these factors now seem silly when looked at a decade on, and merely detracted from the greatness of this album and, in effect, soured a time when Morrissey should have been as celebrated as the likes of Paul Weller and Joe Strummer, etc. Instead, the negative press would lead him to those two difficult albums (Southpaw Grammar and Maladjusted), a bust up with his record label, and eventually, his exile from Britain.pThis is a sad fact, since Vauxhall I remains one of the best albums of the last decade, and is the one that, along with Viva Hate, remains the best introduction to the wonders of Morrissey solo. The album as a whole has a great sound to it, with Morrissey once again writing with guitarists Boz Boorer and Alain Whyte, who here craft a series of intoxicating textures for the singer to couple his wordy and evocative tales of woe. There's also a great sense of cohesion, with Morrissey using the songs to analyse a set theme, whilst sound samples are used to heighten the atmosphere... all supervised by Steve Lillywhite, who here, for the first of three albums with Morrissey, does some of the best production work of his career.pHis presence gives the record an almost conceptual flow, though none of the subtle instrumental touches are lost within the mire of creativity; with opening track Now My Heart is Full capturing both Morrissey and the band at something approaching an artistic peak. The melody is stunning, whilst the lyrics give us swathes of that trademark melancholic romanticism, with evocative verses that conjure real images in our mind. There are even nods towards Graham Greene's classic novel Brighton Rock, with the chorus "Dallow, Spicer, Pinkie, Cubitt, all the jammy Stressford poets, loafing oafs in all night chemists... ah, but Bunny I loved you!!"... all adding up to create possibly the greatest four minutes and fifty-seven seconds that Morrissey has ever created.pMeanwhile, Spring Heeled Jim covers a similar subject matter as the previous track (that being street crime and wayward/misspent youth), but with a sonic-soundscape that is as far removed from anything he ever created with the Smiths (...the whole song features non-stop sound-samples from an old British crime film - the title of which escapes me - which helps to give the track an even greater sense of narrative flow!!). Billy Budd is a more up-temp number and feels like a throwback to the harder, Mick Ronson-produced sound of Your Arsenal... certainly at odds with the lulled, distorted melodies found herein, but still, a great track; bringing to mind old classics like We Hate it When Our Friends Become Successful and Glamorous Glue. Both Hold on to Your Friends and Why Don't You Find Out For Yourself offer up that trademark Morrissey sound and, along with one of the album's all-time high-points, I am Hated for Loving, shows Morrissey in a confident, reinvigorated light. The record manages to maintain a dreamlike feeling throughout, but also offers more than enough moments of pure alternative perfection, with big single of the time, The More You Ignore Me the Closer I Get, even managing to dent the UK top ten, as well as offering an early prophetic glimpse of Morrissey's views surrounding the legendary Smiths' court case, with the lyric "I bear more grudges, than lonely high court judges".pLifeguard Sleeping, Girl Downing is an atmospheric downer that shows Morrissey making allusions to progressive-rock (something that would become more pronounced, to an extent, on the next album), whilst mumbling almost spoken-word vocals and lyrics that take their inspiration from writers like Douglas Coupland and Stevie Smith ("it was only a test, but she swam too far against the tide... she deserves all she gets") and can be seen in continuation with the summery, though, at the same time, completely threatening, The Lazy Sunbathers (with the great refrain "please, keep the noise down low..."). This of course primes us for that great closing number, Speedway, which is another harder-sounding track, with guitars that sound like chainsaws (...though I think the desired effect was supposed to be motorcycle engines) and, as ever, some extraordinary lyrics.pAs stated before, Vauxhall I represents Morrissey's best strengths as both a vocal performer and as a lyricist, and features some of his best ever songs. Although, it must be stressed that those just discovering Morrissey following the commercial success of You Are the Quarry should probably try Viva Hate and the compilation Bona Drag first - which show Morrissey working with a style that is closer to the Smiths - those looking for something that elaborates on that sound (not to mention being a little more emotionally expressive) should proceed directly to this masterpiece right here.
undoubtedly morrissey's finest hour June 23, 2003
mick ransom (Darlington, England.)
8 out of 8 found this review helpful
I have recommended this collection of wonderous tunes to 'all of my friends, i dont have too many'over the years. even those misguided types who still believe morrissey to be 'that miserable git with the flowers' still have enough savvy to comprehend real quality when they witness it.brthe tracks 'why dont you find out for yourself, now my heart is full, and I am hated for loving are among the most accomplished pieces of music you will ever come across. In Vauxhall and I morrissey captures the true essence of human emotion, a rare quality in the history of popular music.brJust take a few moments to look through your cd collection and ask yourself; 'How many of these am I truly proud of?'brThen put on track 6 of Vauxhall and I, and find out for yourself.brenough said.
Morrisey at his best April 6, 2005
D. Evans (Southport)
8 out of 8 found this review helpful
Released in 1994, just as Britpop was beginning to dominant the British music scene, Morrisey emerged with his finest album to date, showing the likes of Jarvis,Damin and Noel, how it should be done. There are no filler tracks on this album. Perhaps its most familar song is the single, The More You Ignore Me,The Closer I get, the kind of song The Smiths could have done a decade earlier. Billy Bud, also deserves special mention. But the best track is the superb, Spring Heel Jim, a real gem of a song.
Start with this album if you are new to Morrissey February 1, 2005
leeboywonder (Bromley)
6 out of 6 found this review helpful
I could wax lyrical ad nauseum about this guy, but yet another hagiography won't help the casual observer. Suffice to say he is often grossly misrepresented, inspires deep devotion or absolute, unbridled ridicule, and the grey area inbetween is non-existent. However, to excite such polarity of opinion, for over twenty years, is fairly suggestive of a certain uniqueness.p'Vauxhall I' was recorded seven years after the Smiths spluttered out, when most of the music cognoscenti gleefully believed his early solo promise had similarly petered out. Not so, oh so wrong.pI seriously commend this album to Morrissey beginners, as not only is the the best example of all his strengths (wonderful obliqueness, lyrical humour, mordancy, ambiguity, idiosyncratic cultural references, a clutch of superb tunes), it remains, with 'You Are The Quarry', the most well-produced and symbolic of the man's talents. Personal faves - Billy Budd (rumoured to be about him and Marr, though with Morrissey one is never sure) and Why Don't You Find Out For Yourself - so, as Mozza says, why don't you?pAnd he is awesome live - catch him if you get the chance.
So Knowing August 20, 2003
11 out of 12 found this review helpful
I probably can't add anything to what has already been said but I concur with those who think this is Morrissey's finest hour. pUnquestionably it is.pThe Smiths, undeniably produced some fine songs that worked on many different levels but their albums were prone to lapses. The occassional ditty that didn't work or self-indulgent drone. There is nothing like that here. It is one of the most consistently moving albums I have ever heard.pMorrissey is at his cutting best on Spring Heeled Jim. A song that is both satirically swiping yet similarly saddening. Why don't you find out for yourself is both resigned and defensive. And only Morrisssey could come up with a song called "Lifeguard Sleeping Girl Drowning". What is more, only Morrissey could make it work. Breathtaking.pThe whole lapse into decadation and despair is inevitable according to this album. Morrissey seems resigned to it (Used to be a Sweet Boy) and moreover there is nothing one can do to prevent it (The more you ignore me the closer I get.)pIn short this is an incredibly consistent and emotive album. The humourous asides exist to be juxta posed against, and to reinforce, tragedy. Blinding.
Showing reviews 1-5 of 26
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