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Review Hatful…'s versions of the debut’s material, including ''Hand In Glove'', ''Reel Around The Fountain'' and ''What Difference Does It Make'', suddenly come alive in this quick and dirty environment – more closely resembling the live favourites that had won them acclaim in the first place. But it was the new material that really shone here. Singles ''William It Was Really Nothing'' and Heaven Knows I'm Miserable Now'' revealed giant steps in both Morrissey's deadpan witticisms and Marr's way with a punchy hook, while ''Please, Please, Please Let Me Get What I Want'', ''Back To The Old House'' and ''This Night Has Opened My Eyes'' all showed the Mancunian bard to be now a master of gothic, Northern pathos. The last is quite desperately sad, with its moral upbraiding of an unwanted pregnancy's termination.
As if this wasn't enough, Hatful… contains the first appearance of what may be the band's finest moment. ''How Soon Is Now'' encapsulates everything good about the Smiths. It has Morrissey’s faintly mocking sense of teenage rejection ('…so you go and you stand on your own, and you leave on your own. And you go home and you cry and you want to die'), Marr's stunning vibrato guitar chimes and a rhythm section you could set your watch to. Within weeks it was winning Peel's Festive 50.
Hatful Of Hollow was the point where even to doubters began to really believe the hype surrounding the band. It was their true debut in every sense… --Chris Jones
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Hatful of Hollow surfaced in 1984 and would elaborate on the style and sonic template developed by the Smiths on their self-titled debut. The range of styles and ideas, both musically and lyrically, is unparalleled here, with the group culling tracks from their first album, from demos and b-sides, and from various radio sessions, to create a collection that, along with the similar/later compilation, The World Won't Listen, represents the very best introduction to the music of the Smiths. The fact that the band had so much great material just laying around at such an early stage of their career, led John Mulvey of the NME to opine, "there's a sense that the band are rolling out of bed and writing a great song a day"... and it's true! You can't imagine modern-day bands like Coldplay or Keane having so much material left over from their first albums, to the extent that they could easily release a compilation months before starting work on their second...
It is, of course, a testament to the strong songwriting partnership of Morrissey and Marr during this era of fruitful creativity... with Marr providing those bouncing, jangly rhythms, whilst Morrissey, in his words, launched his diary to music.
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