Morrissey

Returning a year after the demise of The Smiths in 1987, Morrissey set about a wayward, but still remarkable and hugely underrated solo career.
Though there have been huge mis-steps ('Kill Uncle', 'Southpaw Grammar', 'Dagenham Dave') Mozzer still produced songs as startlingly unique, emotionally powerful and as heavily contentious as ever.

The NME may now ignore him, and try to forget that he kept their little indie mag afloat during the 80s, but wheras The Smiths contempories like The Cure and Echo And The Bunnymen gradually faded and New Order dissappeared from the map totally, Morrissey kept on and, crucially this, kept to his principles.

He may be the only indie star not to have sold out or let his (still huge) fan-base down. He has not wavered, he has not jumped through hoops, and though it has won him no favours with the rock press, to those who favour integrity over banality, Morrissey's light has yet to go out.

If you still think he hasn't produced anything of worth in his solo years then sit down, listen to 'Nobody Loves Us', 'Micheal's Bones', 'The Edges Are No Longer Paralell', 'I've Changed My Plea to Guilty', 'Trouble Loves Me', 'Hairdresser on Fire', 'This is Not Your Country', 'Interesting Drug', the title track to 'Maladjusted' and everything on 'Viva Hate', 'Your Arsenal' and his career masterpiece 'Vauxhall And I' and SHUT UP.