the smiths

"please please please let me get what i want, lord know it would be the first time..."
morissey and johnny marr..
despair, failed love...songs that tell of the saddest thoughts


biography from http://ubl.artistdirect.com

The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths' heyday, and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, performing with a pocketful of gladiolas and a hearing aid, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.

Before forming the Smiths in 1982, Johnny Marr (b. John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract -- one of his bands won a competition Stiff Records held to have Nick Lowe produce your band -- but he never quite made the leap. Though Morrissey (b. Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute -James Dean Isn't Dead, which was published by the local Manchester publishing house Babylon Books in the late '70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fanclub. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Fall's drummer Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer.

The Smiths made their live debut late in 1982 and by the spring of 1983, the group had earned a small, but loyal, following in their hometown of Manchester and had begun to make inroads in London. Rejecting a record deal with the Mancunian Factory Records, the band signed with Rough Trade for a one-off single, "Hand In Glove." With its veiled references to homosexuality and its ringing riffs, "Hand in Glove" became an underground sensation in the UK, topping the independent charts and earning the praise of the UK music weeklies. Soon, Morrissey's performances became notorious, as he appeared on stage wearing a hearing aid and with gladiolas stuffed in his back pockets. His interviews were becoming famous for his forthright, often contrary opinions, which helped the band become media sensations. By the time of the group's second single, "This Charming Man," in late 1983, the Smiths had already been the subject of controversy over their songs "Reel Around the Fountain," a song that had been aired on a BBC radio session and was alleged to condone child abuse. It was the first time that Morrissey's detached, literary and ironic lyrics were misinterpreted and it wouldn't be the last.

"This Charming Man" reached number 25 on the British charts in December of 1983, setting the stage for "What Difference Does It Make"'s peak of number 12 in February. The Smiths' rise to the upper reaches of the British charts was swift, and the passion of their fans, as well as the UK music press, indicated that the group had put an end to the synth-powered New Wave that dominated Britain in the early '80s. After rejecting their initial stab at a first album, the Smiths released their eponymous debut in the spring of 1984, to strong reviews and sales -- it peaked at number two. A few months later, the group backed '60s pop vocalist Sandie Shaw, who Morrissey had publicly praised in an article, on a version of "Hand In Glove" which released and reached the Top 40. "Heaven Knows I'm Miserable Now" reached number 10, becoming their highest-charting single, admist a storm of controversy about its B-side "Suffer Little Children," which was about the notorious Moors Murders. More controversy appeared when Morrissey denounced the hunger relief efforts of Band Aid, but the group's popularity was not effected. Though the Smiths had become the most popular new rock & roll group in Britain, the group failed to make it outside of underground and college radio in the US, partially because they never launched a full-scale tour. At the end of the year, "William It Was Really Nothing" became a Top 20 hit and Hatful of Hollow, a collection of B-sides, BBC sessions and non-LP singles, went to the Top 10, followed shortly by "How Soon Is Now" peaking at number 24.

Meat is Murder, the band's second proper studio album, entered the British charts at number one in February of 1985, despite some criticism that it was weaker than The Smiths. Around the time of the release of Meat is Murder, Morrissey's interviews were becoming increasingly political, as he trashed the Thatcher administration and campaigned for vegetarianism; he even claimed that the Smiths were all vegetarians, and he forbid the remaining members to be photographed eating meat, even though they were still carnivores. Marr, for his part, was delving deeply into the rock & roll lifestyle, and looked increasingly like a cross between Keith Richards and Brian Jones. By the time the non-LP "Shakespeare's Sister" reached number 26 in the spring of 1985, the Smiths had spawned a rash of soundalike bands, including James, who opened for the group on their spring 1985 tour, most of which Morrissey supported. However, all of the media attention on the Smiths launched a mild backlash later in 1985, when "That Joke Isn't Funny Anymore" was pulled from Meat Is Murder and failed to reach the Top 40.

"The Boy With the Thorn In His Side" revived the band's fortunes in the fall of 1985, and their third album, The Queen Is Dead confirmed their popularity upon its release in the spring of 1986. Greeted with enthusiastic reviews and peaking at number two on the UK charts, The Queen Is Dead also expanded their cult in the US, cracking the Top 100. Shortly before the album was completed, former Aztec Camera guitarist Craig Gannon became the band's rhythm guitarist, and he played with the band throughout their 1986 international tour, including a botched American tour. The non-LP "Panic," which was criticized as racist by some observers for its repeated refrain of "Burn down the disco ... Hang the DJ," reached number 11 late in the summer. A few months after its release, Marr was seriously injured in a car crash. During his recuperation, Gannon was fired from the band, as was Rourke, who was suffering from heroin addiction. Though Rourke was later reinstated, Gannon was never replaced.

The Smiths may have been at the height of their popularity in early 1987, with the non-LP singles "Shoplifters of the World" and "Sheila Take A Bow" reaching number 11 and 10 respectively and the singles and B-sides compilation The World Won't Listen (revamped for US release as Louder Than Bombs later in 1987) debuting at number two, but Marr was growing increasingly disenchanted with the band and the music industry. Over the course of the year, Morrissey and Marr became increasingly irritated with each other. The singer wished that Marr would stop playing with other artists like Bryan Ferry and Billy Bragg, while the guitarist was frustrated with Morrissey's devotion to '60s pop and hesitancy to explore new musical directions. A few weeks before the fall release of Strangeways, Here We Come, Marr announced that he was leaving the Smiths. Morrissey disbanded the group shortly afterward and began a solo career, signing with Parlophone in the UK and staying with the Smiths' US label, Reprise. Marr played as a sideman with a variety of artists, eventually forming Electronic with New Order frontman Bernard Sumner. Rourke retired from recording and Joyce became a member of the reunited Buzzcocks in 1991.

Rank, a live album recorded on the Queen is Dead tour, was released in the fall of 1988. It debuted at number two in the UK. A widely-criticized, two-part Best of compilation was released in 1992; the praised Singles compilation was released in 1995. Joyce and Rourke sued Morrissey and Marr in 1991, claiming they received only 10 percent of the group's earnings while the songwriters received 40 percent. Rourke eventually settled out of court, but Joyce won his case in late 1996. An appeal was scheduled. ~ Stephen Thomas Erlewine, All Music Guide


album reviews from http://www.musicfolio.com

"No other lyricist so vividly captured the unbearable plight of the lonely, heartbroken, and disenfranchised. No other vocalist sang with such beauty, bravely crooning where others wouldsimply shout. No other pop star dressed as well or had a better hairstyle than Morrissey. ... Guitarist Johnny Marr provided the perfect musical accompaniment to Morrissey's tales of loneliness while bassist Andy Rourke and drummer Mike Joyce provided the sturdy backbone."
-- www.geocities.com/SunsetStrip/Lounge/3438/Smiths/smiths.htm

1984: Smiths "What Morrissey captures above all is a notion of despair reflected perfectly in the lacklustre sound of his cohorts, a death of the punk ideals that Morrissey is quite old enough to have been closely involved in. In turn what distinguishes him from a Weller is firstly his wit, and secondly the sensitivitiy to deal in despair without resorting to preaching in desperation. What does this suitor offer? A calculated plan, perhaps, but enough to haunt the imagination. For the moment that's enough." -- Don Watson, NME, Feb 84

1984: Hatful of Hollow The LP is a collection of Radio 1 sessions The Smiths recorded for John Peel and David Jensen (forgive him, Lord), four sessions in all that, at the last count, have been transmitted 12 times, according to the rather nicely-written biog included here for the benefit of ignorant hacks. In addition, you get 'Heaven Knows I'm Miserable Now' and 'William, It Was Really Nothing' plus B-sides excluding 'Suffer Little Children'. (...) 'How Soon Is Now?' features an ominous mechanical throb which gives The Smiths a sinister quality somewhat removed from their usual Edwardian drawing-room whisper, while 'Reel Around the Fountain' really deserves better than they dull grey mix it receives here. -- Adam Sweeting, Melody Maker

1985: Meat is Murder "Disciplined and succinct, each song relates an affecting tale or makes a point with killing precision. Musically, writer Johnny Marr contributes a clutch of his best melodies yet... (...) Morrissey and Marr don't so much sink their talents into one, as give you two for the price of one." --Paul Du Noyer, NME, Feb 85 Morrissey's devastating solitude and sadness, and Johnny Marr's captivating textured guitars accompany you through this musical journey. A journey that starts with 'The Headmaster Ritual' and culminates into 'Meat is Murder', a lyrical and acoustic masterpiece, and a statement that will echo in your mind every time you bite into that juicy burger... "and the flesh that you fancyfully fry...it is murder". This is the Smiths most powerful record, including the now-so-famous 'How Soon is Now?', a classic dark tune, and a living assertion of Marr's talent. -- S. Sukkarieh, Musicfolio, 9/99

1986: The Queen is Dead "[The Queen is Dead] the album which history will in due course denote as being the key work in forcing the group's philistine opposition to down chisels and embrace the concept of The Smiths as the one truly vital voice of the Eighties. The whole of the first side is nothing less than perfection, commencing with a title track of epic worth. 'Cemetry Gates' is the most pastoral effort here: a gorgeous loping gambol backing up Morrissey's most elaborate and dexterously rhymed stanzas.(...) 'I Know It's Over' is simply the finest piece of music The Smiths have produced. The song is essentially about loss of innocence or, in my interpretation, of romantic idealism, and is the first piece of music since Frank Sinatra's 'One For My Baby' to have brought me to tears." -- Nick Kent, via geocities.com/SunsetStrip/Lounge/3438/Smiths/Disc/queen.htm Oh Mother, I can feel the soil falling over my head / See, the sea wants to take me / The knife wants to slit me / Do you think you can help me? / Sad veiled bride, please be happy / Handsome groom, give her room / Loud, loutish lover, treat her kindly / (Though she needs you / More than she loves you) / And I know it's over (...) / And it never really began / But in my heart it was so real ...

1987: Louder Than Bombs "A compilation of singles, B-sides, album tracks and BBC sessions assembled for the American market, 'Louder Than Bombs' is an overlong and unfocused collection that nevertheless boasts a wealth of brilliant material." -- allmusic.com 1987: Strangeways, Here We Come "I don't think there's any point in comparing The Smiths with their pop contemporaries; a couple of dodgy singles aside they remained above and beyond the rest, ploughing their own furrow (digging their own grave?), setting their own standards. I passionately hoped this was not to be their last breath, but nevertheless, in case you haven't guessed by now, 'Strangeways, Here We Come' is a masterpiece that surpasses even The Queen Is Dead in terms of poetic, pop, and emotional power. " --Len Brown, New Musical Express, Sep 87 'Strangeways...' was The Smiths farewell jewel, as Johnny Marr decided to put an end to a collaboration that touched so many souls. They were the charming romantic (as opposed to new-romantics) band of the Eighties and the revival voice of the 60's. Morrissey started soon after his solo career, producing records that pretty much resembled The Smiths music style, but failed to reach the height of his memorable achievements with Johnny Marr. Johnny ended up forming Electronic in 1989 with New Order's lead singer Bernard Sumner. -- S. Sukkarieh, Musicfolio, 9/99

Since their breakup in 1987, several Best-of the Smiths compilations were released:

1988: Rank

1992: Best of The Smiths Vol 1

1992: Best of The Smiths Vol 2

1995: The Singles