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Tunes

Eighties’ best 100 redux: #77 Morrissey “Interesting drug” (1989)

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Song #77 on my Eighties’ best 100 list is Morrissey’s fourth solo single, “Interesting drug”.

Stephen Patrick Morrissey was quick in releasing his first solo album, “Viva hate”, less than a year after the dissolution of The Smiths. “Interesting drug” was released the following year in 1989 as a non-album single, though it would be included on the 1990 compilation “Bona drag”. The song features three former members of The Smiths (Rourke, Joyce, and Gannon) as Morrissey’s backing band, as well as the lovely, inimitable backing vocals of Kirsty MacColl*.

I’m near certain that “Interesting drug” was my introduction to Morrissey as a solo artist. It was track number two on a mixed tape (simply titled “Mixed tape”) that my friend Elliott made for me a very long time ago, a friend whom I haven’t seen or heard from in years, but who played an important part in my discovering my own personal musical tastes during my teen years**. I still have said mixed tape packed away in a shoebox in my basement, and though it hasn’t been played in decades, and likely wouldn’t play even if I could find a tape deck to play it on, I doubt very much that I could bring myself to part with it, like the other tapes in that box.

The song, notwithstanding the nostalgia piece, is one of my all-time favourite Morrissey tunes. Likely because it is also one of his more upbeat songs, the music, I mean, not the lyrical subject matter. “Interesting drug” sounds like it could have been a late Smiths track, given the jangly guitars, though the drumming is a bit heavier handed and funkier than most songs by that earlier band. It jumps and cavorts, getting deep under your skin and crawling up and down your spine, while Mr. Morrissey warbles and croons, giving it to the right. He’s defending the use of drugs for release and accusing the conservative government of the day of clamping down on drug use as a means of control.

It’s definitely an… interesting point of view. I didn’t know any of this back in the day but I did appreciate the anti-establishment sentiment. And of course, it had a great beat and I could dance to it.

 

*Spoiler alert: Despite not having her own song on this list, MacColl will likely get a couple more mentions in relation to other songs.

**Indeed, Elliott’s name has appeared a few times on these pages over the years and likely will again.

Original Eighties best 100 position: 80

Favourite lyric: “On a government scheme / Designed to kill your dream ” Does this really need a comment?

Where are they now?: Morrissey is still performing and making music but unfortunately, his career has been sidetracked by controversy of late, much of it of his own making. He just last week announced the upcoming release of a fourteenth studio album, his first since 2020.

For the rest of the Eighties’ best 100 redux list, click here.

Categories
Vinyl

Vinyl love: The Clientele “Bonfires on the heath”

(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)

Artist: The Clientele
Album Title: Bonfires on the heath
Year released: 2009
Year reissued: 2017
Details: standard black vinyl

The skinny: Happy new year everyone! I’m starting off my blogging year by returning to the series I started back in November, sharing the copies in my vinyl collection of The Clientele’s LPs. Originally released in 2009, “Bonfires on the heath” was the London-based dream pop quartet’s 5th studio album. It continued moseying on down the beautiful road they’d been thus far paving, mixing jangly atmospherics with hazy, technicolour psychedelics. I purchased this bare-bones Merge records reissue back in 2017 from Amazon’s UK platform*, a few weeks after I ordered the 10th anniversary reissue of The Clientele’s previous album. “Bonfires” is a total mood record, one that I am always ready to face.

Standout track: “Bonfires on the heath”

*Something I was doing with regularity back in those days because they had access to records more in line with my tastes and it was still relatively affordable, even with the shipping across the ocean and the exchange rate.

Categories
Albums

Best albums of 2025: #1 No Joy “Bugland”

Well, here we are. We’ve finally made it to the last full day and hence, the last post of the year and exactly as planned, we’re going to be talking today about my favourite album of 2025: No Joy’s “Bugland”.

Originally formed as a duo in Montreal, Canada in 2009 by Jasamine White-Gluz and Laura Lloyd, No Joy has gone through a number of personnel compositions over the years but is these days, for all intents and purposes, the musical vehicle for White-Gluz. My first exposure to No Joy’s music was sampling their 2013 sophomore release “Wait to pleasure”. As I hinted back at the beginning of December*, I was alerted to this record care of a post on a Facebook group page that I had forgotten joining on all things Shoegaze. This happy introduction began a long love affair with their music. I immediately went back to pick up the debut “Ghost blonde”, ate that up, and since then, have stopped to take notice whenever a new EP or LP was announced. It was the term shoegaze that first drew me to No Joy but White-Gluz keeps adding to the arsenal and experimenting with sounds, colouring far outside the lines and stretching the label to its limits.

Indeed, when I wrote about No Joy’s fourth album “Motherhood” for my Best albums of 2020 list, I suggested that Wikipedia might soon need to erase all reference to shoegaze from its No Joy page. And though I think the progression has continued ever onward on “Bugland”, I’ve changed my thinking on that sentiment, especially after finally catching No Joy live back in October and seeing White-Gluz and company perform these songs in the flesh. This fifth record doesn’t always live in that space where guitars are layered, screeching, fuzzed out, and dreamy controlled chaos, but it’s still there at the heart. And there’s so much more. There’s some metal, some dance, experimental noise, prog, and synth pop. White-Gluz makes music for herself, that’s obvious, bucking trends and taking names, and she’s most definitely having fun on this album.

“Bugland” is big and magical. It begs to have all the knobs cranked to eleven. It calls you dance along with it, though its ups and downs, to close your eyes and sing/scream. It is definitely weekend music. Eight songs for living free. Each one worth your attention but as always, I’ve picked three from the group for you to sample.


“Garbage dream house”: “Erased the laughs all off from your face. And I’m wondering how.” The opening track feels like a collage. It starts and ends with mutated dial tone sounds, bringing to mind the days of dial up internet, when the world seemed limitless, if you could only have the patience for it. Then, there’s the heavy handed drum beat and the muscular guitar skipping the light fantastic around it. White-Gluz’s vocals sound at times a part of the ether, an echo of a dream, and at others fed through the machine, syllables and vowel sounds becoming key strokes. By the end, everything is thrown through the blender, and the song sounds like many different songs from one moment to the next, roaring and soaring and challenging your ear drums.

“Bits”: “I walk around the back and you’re all around me. You’re all around.” Track three is a dichotomy, setting angst and discordance against pastoral freedom. It is angry and noisy and angular guitars. These build and get more aggressive but when they take a break, to gear up for more, you notice that the dreamy synths were there all along. The vocals float around the proceedings, fading in and out of coherency. When you do catch a word or an idea, you can’t help but wonder whether you are missing something important with all those other words and ideas flitting about. You aren’t given long to ponder though. The vocals just continue to play hide and seek in the mix, even the spoken word bit at the end feels like a conversation walked in on halfway through, but before you can ever ask for a repeat, the song is over and you press play again.

“Bugland”: “You’re in bugland. Leave you suntanned. You look better with eyes eyes eyes.” The title track is only two and a half minutes long but it sounds infinitely bigger and more pronounced. The beats are frenetic, almost rave material, and they don’t quit, though they do slip behind the screen of heavy riffing guitars at points and the washes of synths at others. The words almost unintelligible, voice in the high registers, calling to mind early Cocteau Twins, but the energy and tech interruptions scream Curve. Indeed, White-Gluz is leaving us breathless, really selling us on this Bugland. I would never think that I might enjoy a place that would be run by the creepy crawlers but she almost has me convinced.


*In a story I’ve told a couple of times that I won’t repeat here.

So that’s it, my favourites for 2025. In case you missed them, here are the previous albums in this list:

10. Snocaps “Snocaps”
9. Nation Of Language “Dance called memory”
8. Robert Ascroft “Echo still remains”
7. Doves “Constellations for the lonely”
6. Miki Berenyi Trio “Tripla”
5. Suede “Antidepressants”
4. Wet Leg “Moisturizer”
3. Pulp “More”
2. The Limiñanas “Faded”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.