How do you feel about Kill Uncle?

What's your opinion of Kill Uncle?

  • Total voters
    101
I like Sing Your Life but I think Morrissey tried too hard to be funny with the other songs.
 
King Leer, Sing Your Life & Driving Your Girlfriend Home are all undeniably great songs
 
I feel Harsh Truth gets an unfair rap on here. I find it delightfully macabre, and would much rather listen to it than Ammunition, All The Lazy Dykes and the bewilderingly lauded Southpaw to name but a few.
 
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It's my favourite cover and I love Mute Witness, Our Frank, king Leer, There Is A Place..

I was quite happy Morrissey was well on his way to being awesome solo.
 
I love "Our Frank", but thats' as good as it gets. Like Southpaw and YoR, this is definitely a sub-par album. Why this seems to receive more praise than the criminally overlooked Maladjusted is beyond me. Nice cover, though.
 
I love it. Stop asking.
 
ray_afraid said:
Hey Corrissey, how do you feel about Kill Uncle?
Click to expand...

whatyoudidthereoy4.jpg


McLovin said:
I have a lot of great memories associated with this album. But apart from sentimentality, I think the album has got a decent amount of strong melodies and lyrics. Certainly better than a fair few of his other albums in my opinion.
Click to expand...

I feel the same way as McLovin. The album holds a lot of sentimental value, it got me thru a crazy time in my life. The tour was also the first time I saw Morrissey. 1991 was A TIME in my life. :thumb: I think KU gets a bad rap, but those who like it seem to have a stong association with it. I 'spose the same could be said of any Morrissey record, but for one that has gotten so much flack, it's comforting to find others who like it just as much. I can't fathom how anyone thinks it sucks. I even love Found Found Found. Ah well, beauty's in the eye...

I must have hundreds of KU-related posts here, but this one 'says' it all. :lbf: This was a great thread.

http://forums.morrissey-solo.com/showpost.php?p=1049957&postcount=108
 
In defence of Kill Uncle

even more so than Southpaw Grammar, Kill Uncle is the most misunderstood, and thus underrated, album of Morrissey's career. surely, it is one of the most unique and this is likely why it is so chastised by fans and critics alike- yet this uniqueness should be seen as one of its many strengths.

the album begins with its first single, "Our Frank"- a perfect choice for the lead single as it is likely the most similar to his previous solo singles on the album. this song also perfectly sets the tone and progression of the album: an emphatically expressed desire to shake off the weighty thoughts of deep conversation and introspection that eventually gives way to an uncontrollable compulsion to think about "everything" "deeply" and "bleakly". all delivered by means of a racing and poppy musical backing and clever, humourous and undeniably charming lyrics and vocals, this is a fantastic way to open.

"Asian Rut" is easily one of the strangest songs in the Morrissey cannon, but this only adds to its interest. an eerie musical accompaniment, complete with the beautifully harmonious, yet unsettling, violin of Nawazish Ali Khan, a chilling depiction of racism and violence ending with one of the most transcending stanzas of Morrissey's career, "I'm just passing through here/On my way to somewhere civilised/And maybe I'll even arrive/Maybe I'll even arrive...." by that line alone this song is made spectacular.

one of the more widely accepted songs off Kill Uncle is second and final single taken from the album, "Sing Your Life". really, not much needs to be said here: a joyously bouncy musical backing for perhaps Morrissey's most inspirational and encouraging lyrics ever. complete with the Morrissey charm and humour- which has never been displayed more or better than on this album- this is one of Morrissey's finest.

"Mute Witness" serves as a wonderful mirror to the classic "November Spawned A Monster" in its view of a disabled girl from the opposite and seemingly unsympathetic perspective. now, many will criticise Morrissey for having bad taste in attempting to extract humour from such a situation before abruptly sending the poor girl off in her taxi, but the very fact that Morrissey does write about things like this, where most would never attempt, shows his true empathy for the disabled. an ambiguous lyric and a glammed up musical performance, this is another great song.

people juste dont get "King Leer" ithink. ithink theyre juste being too serious or stuck up or something, but when people refer to one of Morrissey's greatest lyrics as his "lyrical nadir," it really makes me wonder what is wrong with them. it's simply a perfect piece of fey pop boasting an absurdly hilarious lyric with its series of cringeworthy, but completely intentional, puns and clichés, including the title's labeling of the boyfriend as "King Leer"- brilliant. imean, if you think he’s being serious, he completely gives himself away when he begins to laugh at himself in the middle of the song. this is the most playful moment of Morrissey's career and it is classic all the way.

"Found Found Found" begins the fall back into that uncontrollable compulsion of introspection suggested in opener, "Our Frank". the hardest music on the album works as a signal call for the shift in mood and perspective. another brilliantly transcending line, even though it was pipped from Noel Coward, comes at the end with "I do believe that the more you give your love, and I do believe that the more you give your trust, the more you're bound to lose." great track.

it has been spoken of before how "Driving Your Girlfriend Home" can be seen as the other side of The Smiths' classic "There Is A Light That Never Goes Out" and itotally buy into that. it’s easy to see how this song may tell from the driver's perspective the return from the night out of seeing "people" and "life" to finally drop the girlfriend off at what he calls "her home" but what she would refer as not her home, but "their home" (iimagine there's a roommate living there along with her and this dislikable boyfriend and in this way she refers to it as "their home"). as she confides to the driver of the problems in her relationship, perhaps they drive through a darkened underpass where she nearly gets up the nerve to ask him his feelings for her or if they could ever be intimate, but then "a strange fear" grips her and she juste cant ask. perhaps he wouldve had to decline anyway in the same way that he "can't tell her" and "can't answer". it’s all very engaging. viewing the song in this way makes it at once an indispensable classic, but regardless it stands up on its own as one of Morrissey's most quietly beautiful and ambiguous songs ever.

"The Harsh Truth Of The Camera Eye" is another song subject to overly harsh treatment from fans. honestly, ithink again too many take it all too seriously. a satire all the way, brilliantly over the top lyrically and musically, bludgeoning the listener over the head with the carnival-like keyboards and "ominous" camera shutter sound effects in case you didnt get it. it’s all amazingly funny- especially the line "This photographer, he must've really had it in for yah!" toofuuny- but it’s also extremely relatable for many, if not most. many people think they take bad pictures and are sometimes horrified by seeing themselves in film or even the idea of having their picture taken at all. the song continues a much loved theme from past and future Morrissey songs such as "Late Night, Maudlin Street" and "Let Me Kiss You" of self deprecating judgment of one's own physical appearance. it’s not #1 single material, but it’s not trying to be and it works perfectly as the final comedic relief on the album (not counting the excellent "Tony The Pony" on NA versions of Kill Uncle).

it’s often a perilous practice to assume that the "I" in a Morrissey song is definitely in the first person and referring to Morrissey himself, but it's hard not to see "(I'm) The End Of The Family Line" as a very personal lyric. given that Morrissey has still never even come close to marriage, let alone fatherhood, this song does seem to be quite autobiographical. a powerful statement of radical independence and breaking from tradition, this is one of Morrissey's greatest and most quintessential lyrics ever. sometimes seen as a possible admission of his oft rumoured but never confirmed homosexuality with the opening verse of "With no complications/Fifteen generations (of mine)/All honouring Nature/Until I arrived (with incredible style)", Morrissey remains ambiguous enough to keep those overly concerned pointlessly guessing- typical Moz. as an added bit of interest or significance, the anti-paternal theme of this song adds another sinister layer to the line "Well, it's your own fault for reproducing" in the song "Ambitious Outsiders" from Maladjusted six and a half years later. simply one of the most clever and beautiful songs he has ever written.

the end of Kill Uncle for many comes with "There's A Place In Hell For Me And My Friends"- one of the most deeply touching pieces of music and poetry Morrissey has ever done. the somber tone reflected in the sparse arrangement and sad, yet somehow redemptive sounding, piano and drums is executed to perfection. some argue that the rockier, far more upbeat live version is superior to the album version, but istrongly disagree. while the live version is a somewhat interesting take on the song and perhaps more appropriate to be toured around stadiums and arenas, it takes too much away from the true mood and message of the song; a beautiful way to close a beautiful album.

but, if your from NA, the fun isnt over yet. whether "Tony The Pony" was truly intended to be on the album or not, idont care. it serves as an excellent, upbeat closer to Kill Uncle and is another great song. bringing back some of the rockabilly feel from The Smiths days, and in the same way hinting towards Your Arsenal, the music is wonderful and suiting to another wonderful and brilliantly funny lyric. endlessly clever in how the song jumps from the perspective of the narrator and protagonist (and possibly the protagonist's big brother as well)- the song tells the charming tragicomic tale of "f***ed-up Tony" (for all those whose jaws dropped when they heard the word "shit" in "The World Is Full Of Crashing Bores" and "How Can Anybody Possibly Know How I Feel?" in 2004). as the song lilts away, it leaves a smile on the listeners face, serving as a fitting end to a more than pleasing album.

all the complaints over the production on this album are as overblown as those complaints over the production of The Smiths' debut. the production on Kill Uncle is perfectly suited to the songs- it’s light, airy, poppy and allows the songs to come to the fore and speak nakedly and honestly for themselves. it’s easy to pick on Nevin, Langer and Winstanley as they basically came and went with this album, but they did an excellent job in helping Morrissey create an album most artists could only dream of creating.

Kill Uncle, though admittedly not Moz's best, is a great album- iwish more people would take the time to realize that.
 
I don't like the production, but there are some strong songs on it. I can't believe the bad press for Asian Rut - it's one of the best songs on the album, I also like Found Found Found and Driving Your Girlfriend Home. Having said all that, I don't play the album that much, and like most Morrissey albums, it's too short.
 
Re: In defence of Kill Uncle

a spirited defence there, Chris, and I would agree with a lott of what you say. KU is miles better than the likes of Who Ate Me Curry, ROTT and Southpaw Grammar.
but for the hundred thousand billionth time, Moz does not say 'f***ed up' on Tony the Pony! listen to it carefully; it is obviously 'soft touch'.
not only does it sound like 'soft touch' but this also fits the rest of the song, lyrically. another verse describes Tony as 'gullible', which pretty much means the same thing. he'll carry the can, he's gullible, he's a soft touch.
Moz had a lyrical deftness and subtlety back then (which has all but deserted him these days) which would have prevented him from using a phrase as clumsy and blunt as 'f***ed up'.


chrisarclark said:
even more so than Southpaw Grammar, Kill Uncle is the most misunderstood, and thus underrated, album of Morrissey's career. surely, it is one of the most unique and this is likely why it is so chastised by fans and critics alike- yet this uniqueness should be seen as one of its many strengths.

the album begins with its first single, "Our Frank"- a perfect choice for the lead single as it is likely the most similar to his previous solo singles on the album. this song also perfectly sets the tone and progression of the album: an emphatically expressed desire to shake off the weighty thoughts of deep conversation and introspection that eventually gives way to an uncontrollable compulsion to think about "everything" "deeply" and "bleakly". all delivered by means of a racing and poppy musical backing and clever, humourous and undeniably charming lyrics and vocals, this is a fantastic way to open.

one of the more widely accepted songs off Kill Uncle is second and final single taken from the album, "Sing Your Life". really, not much needs to be said here: a joyously bouncy musical backing for perhaps Morrissey's most inspirational and encouraging lyrics ever. complete with the Morrissey charm and humour- which has never been displayed more or better than on this album- this is one of Morrissey's finest.

"Mute Witness" serves as a wonderful mirror to the classic "November Spawned A Monster" in its view of a disabled girl from the opposite and seemingly unsympathetic perspective. now, many will criticise Morrissey for having bad taste in attempting to extract humour from such a situation before abruptly sending the poor girl off in her taxi, but the very fact that Morrissey does write about things like this, where most would never attempt, shows his true empathy for the disabled. an ambiguous lyric and a glammed up musical performance, this is another great song.

people juste dont get "King Leer" ithink. ithink theyre juste being too serious or stuck up or something, but when people refer to one of Morrissey's greatest lyrics as his "lyrical nadir," it really makes me wonder what is wrong with them. it's simply a perfect piece of fey pop boasting an absurdly hilarious lyric with its series of cringeworthy, but completely intentional, puns and clichés, including the title's labeling of the boyfriend as "King Leer"- brilliant. imean, if you think he’s being serious, he completely gives himself away when he begins to laugh at himself in the middle of the song. this is the most playful moment of Morrissey's career and it is classic all the way.

"Found Found Found" begins the fall back into that uncontrollable compulsion of introspection suggested in opener, "Our Frank". the hardest music on the album works as a signal call for the shift in mood and perspective. another brilliantly transcending line, even though it was pipped from Noel Coward, comes at the end with "I do believe that the more you give your love, and I do believe that the more you give your trust, the more you're bound to lose." great track.

it has been spoken of before how "Driving Your Girlfriend Home" can be seen as the other side of The Smiths' classic "There Is A Light That Never Goes Out" and itotally buy into that. it’s easy to see how this song may tell from the driver's perspective the return from the night out of seeing "people" and "life" to finally drop the girlfriend off at what he calls "her home" but what she would refer as not her home, but "their home" (iimagine there's a roommate living there along with her and this dislikable boyfriend and in this way she refers to it as "their home"). as she confides to the driver of the problems in her relationship, perhaps they drive through a darkened underpass where she nearly gets up the nerve to ask him his feelings for her or if they could ever be intimate, but then "a strange fear" grips her and she juste cant ask. perhaps he wouldve had to decline anyway in the same way that he "can't tell her" and "can't answer". it’s all very engaging. viewing the song in this way makes it at once an indispensable classic, but regardless it stands up on its own as one of Morrissey's most quietly beautiful and ambiguous songs ever.

"The Harsh Truth Of The Camera Eye" is another song subject to overly harsh treatment from fans. honestly, ithink again too many take it all too seriously. a satire all the way, brilliantly over the top lyrically and musically, bludgeoning the listener over the head with the carnival-like keyboards and "ominous" camera shutter sound effects in case you didnt get it. it’s all amazingly funny- especially the line "This photographer, he must've really had it in for yah!" toofuuny- but it’s also extremely relatable for many, if not most. many people think they take bad pictures and are sometimes horrified by seeing themselves in film or even the idea of having their picture taken at all. the song continues a much loved theme from past and future Morrissey songs such as "Late Night, Maudlin Street" and "Let Me Kiss You" of self deprecating judgment of one's own physical appearance. it’s not #1 single material, but it’s not trying to be and it works perfectly as the final comedic relief on the album (not counting the excellent "Tony The Pony" on NA versions of Kill Uncle).

it’s often a perilous practice to assume that the "I" in a Morrissey song is definitely in the first person and referring to Morrissey himself, but it's hard not to see "(I'm) The End Of The Family Line" as a very personal lyric. given that Morrissey has still never even come close to marriage, let alone fatherhood, this song does seem to be quite autobiographical. a powerful statement of radical independence and breaking from tradition, this is one of Morrissey's greatest and most quintessential lyrics ever. sometimes seen as a possible admission of his oft rumoured but never confirmed homosexuality with the opening verse of "With no complications/Fifteen generations (of mine)/All honouring Nature/Until I arrived (with incredible style)", Morrissey remains ambiguous enough to keep those overly concerned pointlessly guessing- typical Moz. as an added bit of interest or significance, the anti-paternal theme of this song adds another sinister layer to the line "Well, it's your own fault for reproducing" in the song "Ambitious Outsiders" from Maladjusted six and a half years later. simply one of the most clever and beautiful songs he has ever written.

the end of Kill Uncle for many comes with "There's A Place In Hell For Me And My Friends"- one of the most deeply touching pieces of music and poetry Morrissey has ever done. the somber tone reflected in the sparse arrangement and sad, yet somehow redemptive sounding, piano and drums is executed to perfection. some argue that the rockier, far more upbeat live version is superior to the album version, but istrongly disagree. while the live version is a somewhat interesting take on the song and perhaps more appropriate to be toured around stadiums and arenas, it takes too much away from the true mood and message of the song; a beautiful way to close a beautiful album.

but, if your from NA, the fun isnt over yet. whether "Tony The Pony" was truly intended to be on the album or not, idont care. it serves as an excellent, upbeat closer to Kill Uncle and is another great song. bringing back some of the rockabilly feel from The Smiths days, and in the same way hinting towards Your Arsenal, the music is wonderful and suiting to another wonderful and brilliantly funny lyric. endlessly clever in how the song jumps from the perspective of the narrator and protagonist (and possibly the protagonist's big brother as well)- the song tells the charming tragicomic tale of "f***ed-up Tony" (for all those whose jaws dropped when they heard the word "shit" in "The World Is Full Of Crashing Bores" and "How Can Anybody Possibly Know How I Feel?" in 2004). as the song lilts away, it leaves a smile on the listeners face, serving as a fitting end to a more than pleasing album.

all the complaints over the production on this album are as overblown as those complaints over the production of The Smiths' debut. the production on Kill Uncle is perfectly suited to the songs- it’s light, airy, poppy and allows the songs to come to the fore and speak nakedly and honestly for themselves. it’s easy to pick on Nevin, Langer and Winstanley as they basically came and went with this album, but they did an excellent job in helping Morrissey create an album most artists could only dream of creating.

Kill Uncle, though admittedly not Moz's best, is a great album- iwish more people would take the time to realize that.
Click to expand...
 
I had this on again today, and it's actually a really great album. While not as strong as others and not the best production, it has a real charm. For me, while some Morrissey songs are not as good as others musically, from a vocal/melody perspective he is always spot on. Sing Your Life is one of his very best pieces of work. Ok, not the best album, but certainly not a throw-away by any means.
 
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