Another song that shouldn't really have been issued as an a-side. Despite Morrissey making some efforts to promote it on TFI Friday and by billing it in the U.K. shows as his "Christmas single", it was never exactly going to set the charts alight.
It's a shame that The Edges Are No Longer Parallel wasn't recorded a couple of months earlier, as it would have been a much stronger album closer.
The intro is perhaps the best aspect of it musically, but the verses are meritless gloop. Not one of Boz's better compositions and the band sometimes struggled to perform it in concert. I recall reports that during one American show the song had to be stopped midway through due to their poor playing.
I don't hate the lyrics, but they are a million miles below those that Morrissey became famous for. To call them lightweight would be generous.
In the poll on the Hoffman board this ranked 136th from 264 solo songs.
I am of the opinion that to me at least this song could be considered as the least best Morrissey single.I am not too fond of this song and as regards to the Hoffman board this doesn't seem to make sense to me.
I think it's a superbly strong pop-rocker. The witty and humorous lyrics never become overbearing or silly (as in some other songs of the same musical nature), but rather show religious angst and classic Morrissey-esque alienation, both equally painful. All of this set to a roaring, driving romper of a tune by Boz. There's really nothing to dislike. Maladjusted has even better songs, of course, but that says more about those songs than SRMS.
Great song, the last Maladjusted favourite. Great “Telstar”-esque opening, coupled with a fun, but still ultimately melancholic, riff and lyrics: this time detailing Moz’s refused descent into Hell, to his chagrin. This song actually presents the band being a bit looser and harken back to the Your Arsenal or even rockabilly days, providing some relief at the end of a very hit and miss album. Also adore the intro, with Moz’s cries of “pull me in” and “come on” that ring out into oblivion. It was also excellent to see it played at Wembley last year, when I attended.
In 1991 there was a place in hell reserved for Morrissey. What on earth did he do over the following 6 years to be barred by the Prince of Evil himself? I suppose 'Southpwaw Grammar' didn't go down well in the Underworld?
It’s an enjoyable song and in some way make for a very playful closer after the more somber maladjusted album. It’s funny, Morrisseys even been rejected by satan, and the tempo is great echoing the energetic enthusiastic way he’s pushing his soul into anyone who’ll take it (for the record I’m claiming Morrisseys soul). It’s not my fav song or one that’s super deep or revealing but I still from time to time find myself skipping to it
This was a perfect single as far as I'm concerned - short, punchy, great melody, and a wickedly unique lyric. Probably the best track on 'Maladjusted' for me, though I think I read somewhere that it originated in the 'Southpaw' sessions, which makes sense - it's got a energetic vibe about it that is missing from the languid, middle-of-the-road feel of the rest of the album.
Also, given how despised Morrissey is by so many folks these days (most of whom seem to consider him to be on the level of Hitler, or worse), this would be great for a reintroduction to the setlist on the next tour.