Live · --:--:-- UTC
← Back to asia news feed
OFFICIALSource: nme.com

Morrissey ranks his solo albums and singles

Published October 16, 2026 · ASIA

Morrissey ranks his solo albums and singles

SOURCE: NME.COM

Morrissey has disclosed his personal hierarchy of solo albums and singles, providing a rare glimpse into his own assessment of his post-Smiths work. The ranking notably features his unreleased album 'Bonfire Of Teenagers,' alongside recent and classic releases spanning his extensive solo career.

At the forefront of Morrissey’s selected albums is the long-delayed 'Bonfire Of Teenagers,' recorded in 2021 but withheld from official release due to disagreements with Capitol Records. Despite plans for a 2023 launch, the album remains shelved after Morrissey severed ties with the label. The record’s limbo status was further complicated when Miley Cyrus, who contributed backing vocals to one of its tracks, requested their removal. Morrissey later reacquired the rights to the album, though its public availability continues to be on hold.

Following this unreleased work, Morrissey’s latest effort, 'Make-Up Is A Lie,' which debuted earlier in 2026, ranks as his second-favorite. This album marked his first new studio release in six years and his 14th overall solo project, signaling a return to prolific output.

Other notable entries in his top albums include 'You Are The Quarry' (2004), 'Vauxhall And I' (1994), and 'Years Of Refusal' (2009). The list also encompasses 'Ringleader Of The Tormentors' (2006), 'Your Arsenal' (1992), 'Swords' (2009), the Smiths’ live album 'Rank' (1988), and 'Southpaw Grammar' (1995). This selection reflects a broad temporal sweep and highlights works that have resonated most with the artist himself over the years.

Morrissey also offered his ranking of solo singles, showcasing a blend of fan favorites and deeper cuts. Topping this list is 'Irish Blood, English Heart' from 2004’s 'You Are The Quarry,' followed closely by 'First Of The Gang To Die' from the same album. Other singles highlighted include 'It’s Over' (2018), 'Alma Matters' (1997), and 'I’m Throwing My Arms Around Paris' (2009), with additional nods to tracks like 'Everyday Is Like Sunday' (1988) and 'Wedding Bell Blues' (2018), a collaboration with Billie Joe Armstrong of Green Day.

This curated list illustrates Morrissey’s continued connection to his earlier work while acknowledging his more recent musical explorations. The inclusion of 'Wedding Bell Blues' emphasizes his openness to collaborative projects within his solo career framework.

Looking ahead, Morrissey is scheduled to embark on a UK tour in December 2026, with performances planned in Brighton, Cardiff, Liverpool, Glasgow, and Leeds. This tour follows a limited number of live shows earlier in the year, including a single UK concert at London’s O2 Arena in February.

His recent touring schedule has seen disruptions, including cancellations in the United States and Europe attributed to health issues and other complications. Notably, a planned Las Vegas residency was cancelled just a week prior to its start date, underscoring ongoing challenges faced by the artist in maintaining consistent live appearances.

Overall, Morrissey’s public sharing of his personal rankings offers an insightful contrast to critical and fan assessments, revealing the works he holds in highest regard despite industry setbacks and controversies. While 'Bonfire Of Teenagers' remains unreleased, its position at the top of his list suggests it holds particular significance for Morrissey’s artistic identity going forward. Further details on the album’s eventual release remain limited.

This self-reflective exercise by Morrissey not only reaffirms his enduring influence in alternative music but also highlights the complexities of his solo career’s trajectory amid industry disputes and personal challenges.

Full story & global impact

This article was synthesized and rewritten by MusicTop Editorial from reporting published by nme.com. Read the publisher's report for the complete source context.

Read original source: nme.com