The Smiths (1st LP) (CD) ~ The Smiths (Artist) Cover Art

The Smiths (1st LP) (CD)

By: The Smiths (Artist)

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The Smiths Artist Snapshot:

Pair a disciple of Oscar Wilde (Morrissey) with an innovator of the electric guitar (Johnny Marr) and you have the most clever cult band of the 1980s, the Smiths. Though they made some of the most effortlessly catchy music of the era, the tension between the fey frontman and the rocker eventually doomed the band at its height. Marr now records sporadically with Bernard Sumner in Electronic, and Morrissey went on to have a long and equally cult-driven solo career, emerging as one of the most distinct icons in all of alternative rock.

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Track Listing

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DISC 1 for The Smiths (1st LP) (CD) Album By The Smiths (Artist)
1   Reel Around The Fountain
2   You've Got Everything Now
3   Miserable Lie
4   Pretty Girls Make Graves
5   Hand That Rocks The Cradle, The
6   This Charming Man
7   Still Ill
8   Hand In Glove
9   What Difference Does It Make?
10   I Don't Owe You Anything
11   Suffer Little Children
 

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Review

Rolling Stone (11/89) - Ranked #22 in Rolling Stone's `100 Best Albums of The Eighties' survey.
Spin (p.108) - "[Morrissey] understands the essence of attractive mopiness: Imply, never explain."
Q (12/93, p.139) - 4 Stars - Excellent - "...THE SMITHS gleefully introduced the arts to each other, drawing up party invites that sat Tony Richardson, Dusty Springfield and John Renbourne at the same table..."
NME (Magazine) (9/25/93, p.19) - Ranked #24 among The 50 Greatest Albums Of The '80s.
NME (Magazine) (10/2/93, p.29) - Ranked #72 in NME's list of the `Greatest Albums Of All Time.'

Title Note

The Smiths: Morrissey (vocals); Johnny Marr (guitar, harmonica); Andy Rourke (bass); Mike Joyce (drums).

Recorded at Pluto and Eden Studios, Manchester, and Matrix and Strawberry Studios, London in the winter of 1983.

This self-titled opening salvo of the Smiths' four-year war with mediocrity stands proud as one of the era's most innovative and unique works. Flying in the face of the pomp and artifice that prevailed in pop music at the time, the Smiths raged against their makeup- wearing, synth-playing contemporaries and squarely put rock back on the agenda. Guitarist Johnny Marr married the tunesmanship and harmonic richness of his Motown heroes with the rage of punk, while Morrissey's bedroom confessionals were catnip to England's (and later the world's) disenfranchised youth.

THE SMITHS demanded, and received, instant attention, desirable and otherwise, making a reluctant guitar hero out of Marr and a poster boy out of Morrissey. The jarring juxtaposition between Marr's lilting, densely-layered guitar lines and Morrissey's lyrics and plaintive delivery makes magic of "This Charming Man" (whose theme of sexual ambiguity was to remain prevalent in the group's work) and the gentle major-seventh chords of "I Don't Owe You Anything." The tender "Suffer Little Children," a paean to a group of murdered children in the band's native Manchester, gave the band their first (though far from their last) taste of public controversy.

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