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Track List
01) William, It Was Really Nothing
02) What Difference Does It Make?
03) These Things Take Time
04) This Charming Man
05) How Soon Is Now?
06) Handsome Devil
07) Hand in Glove
08) Still Ill
09) Heaven Knows I'm Miserable Now
10) This Night Has Opened My Eyes
11) You've Got Everything Now
12) Accept Yourself
13) Girl Afraid
14) Back to the Old House
15) Reel Around the Fountain
16) Please, Please, Please, Let Me Get What I Wa
01) William, It Was Really Nothing
02) What Difference Does It Make?
03) These Things Take Time
04) This Charming Man
05) How Soon Is Now?
06) Handsome Devil
07) Hand in Glove
08) Still Ill
09) Heaven Knows I'm Miserable Now
10) This Night Has Opened My Eyes
11) You've Got Everything Now
12) Accept Yourself
13) Girl Afraid
14) Back to the Old House
15) Reel Around the Fountain
16) Please, Please, Please, Let Me Get What I Wa
2:11
3:11
2:33
2:43
6:44
2:45
3:15
3:35
3:34
3:39
4:18
4:02
2:48
3:02
5:51
1:52
Data Complete
80%
Total Rating
80%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1984
Indie
Quirky
Rock/Pop
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Compilation
0 copies
Album Description
Available in:
Hatful of Hollow is a compilation album by the English rock band The Smiths, featuring BBC Radio 1 studio recordings and two contemporary singles with their B-sides. It was released on 12 November 1984 by the band's British record company, Rough Trade, just months after the band's debut, The Smiths. The album reached No. 7 on the UK Albums Chart and stayed on the chart for 46 weeks. Eventually, on 9 November 1993, it was also released by their American label, Sire Records, which had initially declined to release the album. Sire instead released Louder Than Bombs in the US in 1987, which contains several of the same tracks as on Hatful of Hollow, as well as The World Won't Listen.
In 2000, Q magazine placed Hatful of Hollow at number 44 in its list of the 100 Greatest British Albums Ever.
User Album Review
Already the darlings of the evening tastemakers at Radio 1 and the music press, Morrissey and Marr's Smiths had, by 1984, yet to make a satisfying entry in the album stakes. Their eponymous debut had some fine songs, but the production had left them sounding rather tinny and un-finished. Luckily their prodigious work-rate and sensible decision to use Radio 1 sessions as substitute studio/rehearsal time meant that they were soon perfecting their recorded sound as well as honing their formidable writing skills. Equally luckily someone at Rough Trade noticed, and a deal was struck to release these sessions along with some non-album A and B sides as Hatful Of Hollow. In one fell swoop the mistakes of the previous 6 months were forgotten.
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”¦
External Album Reviews
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User Comments
Available in:
Hatful of Hollow is a compilation album by the English rock band The Smiths, featuring BBC Radio 1 studio recordings and two contemporary singles with their B-sides. It was released on 12 November 1984 by the band's British record company, Rough Trade, just months after the band's debut, The Smiths. The album reached No. 7 on the UK Albums Chart and stayed on the chart for 46 weeks. Eventually, on 9 November 1993, it was also released by their American label, Sire Records, which had initially declined to release the album. Sire instead released Louder Than Bombs in the US in 1987, which contains several of the same tracks as on Hatful of Hollow, as well as The World Won't Listen.
In 2000, Q magazine placed Hatful of Hollow at number 44 in its list of the 100 Greatest British Albums Ever.
User Album Review
Already the darlings of the evening tastemakers at Radio 1 and the music press, Morrissey and Marr's Smiths had, by 1984, yet to make a satisfying entry in the album stakes. Their eponymous debut had some fine songs, but the production had left them sounding rather tinny and un-finished. Luckily their prodigious work-rate and sensible decision to use Radio 1 sessions as substitute studio/rehearsal time meant that they were soon perfecting their recorded sound as well as honing their formidable writing skills. Equally luckily someone at Rough Trade noticed, and a deal was struck to release these sessions along with some non-album A and B sides as Hatful Of Hollow. In one fell swoop the mistakes of the previous 6 months were forgotten.
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”¦
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