THE SMITHS

from left: Mike Joyce, Johnny Marr, Stephen Patrick Morrisey, Andy Rourke

place of origin:

Manchester, England

styles:

highly original guitar-driven sophisticated, shimmering popish-rock

records:

The Smiths (1984)

Hatful of Hollow (1984)

Meat is Murder (1985)

The Queen is Dead (1986)

Strangeways Here We Come (1987)

Rank (1988)

The Peel Sessions (1988)

Singles (1995)

members:

Morrisey (vocals); Johnny Marr (guitars); Andy Rourke (bass guitar); Mike Joyce (drums)

personal quotes:

"I tremble at the power we have, that's how I feel about the Smiths. It's there and it's going to happen."

-Morrisey

There were all sorts of weird things happening in Manchester. Intruders, people trying to break in, our cars being smashed up, motorbike accidents, drunkards in the garden at two o'clock in the morning singing our songs. Lots has been happening It's been great.

-Johnny Marr

"And when one looks at all the individuals within the Royal Family they're so magnificently, unaccountably and unpardonably boring! I mean Diana herself has never in her lifetime uttered one statement that has been of any use to any member of the human race. If we have to put up with these ugly individuals why can't they at least do something off the mark!"

-Morrisey

The Smiths were comprised of the wonderfully dynamic bassist Andy Rourke, superb drummer Mike Joyce, innovative, intelligent guitarist Johnny Marr and the sophisticated, poetic vocalist Stephen Patrick Morrisey. A diverse lot of English lads, no doubt, but this contrast (especially between songwriting nucleous Marr/Morrisey) was one of the factors making The Smiths the greatest band of the 1980's, not to mention one of the most powerful groups in rock history. Their sound is elegant, condescending, universal and wonderfully catchy, driven by Marr's shimmering guitar style and Morrisey's romantic, crooning vocals sung over eloquent, intellectually superior lyrics. With a total of five years of existance, The Smiths came to an end far too early for such a brilliant vehicle, yet their output between this time space is lightyears beyond what most artists could even hope to achieve. Their rise put and end to the synth-driven electropop era and their outspokeness made many of the pop-stars of the day appear as fools. They set a new standard for art and quality in pop music and their independant, anti-rock-establishment flag remains high held by their endless flood of followers.
Consumed by the work of poet Oscar Wilde, 19th Century English culture, The New York Dolls, Marilyn Monroe, James Dean, The Beatles, old books and literature, Stephen Patrick Morrisey was anything but your typical college-age man of 1982. Although he'd been involved with local Manchester outfits The Nosebleeds and Slaughter & The Dogs, Morrisey was most comfortable as a devoted fan of underground film and music. He wrote to The Melody Maker, and his letters were frequently published. He also wrote books on James Dean and The New York Dolls which were published by local Babylon Books (he headed the later's British fan club). Johnny Marr (b. Johnathan Maher) recognized Morrisey's kindred spirit when the two met in the Spring of 1982. Marr was a veteran of local Manchester rock, having been heavilly involved in Sister Ray, Freaky Part, Paris Valentinos and White Dice. He'd once even won a contest sponsored by Stiff Records; "Win Recording Sessions with Nick Lowe". Although the two were as different as oil and water they decided to form a band, and Marr helped ressurect Morrisey from his self-imposed isolation.
Marr and Morrisey's partnership began with recording sessions with The Fall's drummer Simon Wolstencroft. By Autumn they'd hooked up with Marr's classmate, bassist Andy Rourke through whom Mike Joyce was enlisted on drums. They selected the name 'The Smiths' soley to contrast with the rediculously named synth bands of early 80's mainstream, such as Orchestrational Maneuvers in The Dark. Rejecting a contract with Mancunian Factory Records, they signed to up-and-coming indie label Rough Trade and so begins the tale of The Smiths.
By the time the band's debut single, "Hand in Glove" and appeared they'd already attracted a modest, yet loyal Manchester following (word was even spilling into London). With their astounding, brilliant melodies, solid pop sound and Morrisey's intriguing, literate lyrics they won instant press attention. Morrisey himself was becoming infamous for his eccentric performances, often tossing roses and sporting a hearing aid. His onstage energy was a considerable contrast from the melancholic feel to his lyrics. A second single appeared in late 1983, "This Charming Man" (#25, U.K.) which was followed by "Reel Around the Fountain".
Febuary, 1984 saw "What Difference Does it Make" peaking at #12 and the debut album, The Smiths, finally appeared that year. It was raw, and certainly only a glimmer of the glory that was to come, but indeed it was like nothing anyone had yet heard. Another single, "Heaven Knows I'm Miserable Now" was a breathtaking insight into working class England. Yet it was the b-side, "Suffer Little Children", about the gruesome Moors Murders, which triggered a fury of controversy. It was only when the Moors Family publicly proclaimed their appreciation of Morrisey's reflection on the incident when the speculations by the press ended. But they would only be replaced with the combustion inniciated by the singer's outspoken disgust with the hunger-relief project Band Aid. The Smiths were indeed media sensations. The band was dark and difficult in interviews, with Morrisey never warying from his sophisticated sense of humor and blatant attacks on contemporary pop musicians such as Prince, Madonna and Michael Jackson. He often referred to Madonna and Prince as 'meaningless, nothing but a lot of prostitutional rubbish'. Morrisey himself was one of the most unsexual figures in rock history, proudly proclaiming his self-omposed celibacy. 1984 closed with the release of Hatful of Hollow, which collected all non-LP Smiths tracks up to that point.
The Smiths wasted no time in unleashing their second studio album, Meat is Murder in 1985. Although it initially received accusations of weakness (compared to The Smiths) from the press, the album's edgier feel came across as unmistakabley innovative and an obvious step-up from its predecessor. It entered the British charts at #1 although, strangely, wielded no hit singles. Marr's guitar jangle became more jagged as did Morrisey's lyrical content, taking on the guise of his new angry and abused subjects. As the title would indicate, 1985 was the year Morrisey dove head first into animal right's activism, behaving irrationaly, and certainly dishonestly, in interviews. He even went so far as to claim that every member of The Smiths had taken on vegetarianism, when in reality Marr, Rourke and Joyce couldn't have been less interested in the singer's leftist political demonstrations.
That Fall the spark of The Smiths was rekindeled with "The Boy With the Thorne in His Side", a gloriously gleaming single offering sweet guitar chiming and romantic utterances from the ever eloquent Morrisey. Although it peaked one slot lower than its predecessor, 1986's The Queen is Dead would become the band's defining moment and ultimatly their peak. It was an astounding display of rampant genius, unbridled creative brilliance captured beautifully on record. Moments such as the touching "Cemetry Gates", the fasinatingly strange "Bigmouth Strikes Again" and the radiant darkness of "Some Girls Are Bigger Than Others" would cement The Smiths in the musical kaleidoscope and confirm their presence for generations to come. The album also marked the band's cracking of the American Top 100, but more importantly, the solidifying of their American following. For their 1986 tour The Smiths added rhythm guitarist Craig Gannon from Aztec Camera. A non-album single, "Panic", peaked at #11 and caused yet another stir of controversy with its 'Burn down the disc/Hang the D.J.' refrain. Late 86 saw The Smiths experiencing personal crisis when Marr was seriously injured during an automobile accident and Rourke was hospitalized for heroin addiction. Amidst the flury Gannon was fired and Rourke was booted out due to his drug use. But the founding bassist would be back on board by the time of Marr's full recovery, clean and sober.
As 1987 rolled around things couldn't have been better for The Smiths, who were at the height of their career both comercially and artisicly. Two non-LP singles, "Shoplifters of the World" and "Sheila Take a Bow" reached the upper regions of the Top 20. Both of these would appear on the 1987 singles and b-sides compilation The World Won't Listen, released as Louder Than Bombs in the U.S. It peaked at #2, but Marr and Morrisey's differences were becoming overwhelming. They were two completely different people, with, as was now becoming apparent, increasingly constrasting musical visions. Marr was the innovative guitarist, exploring new realms of style with Billy Bragg and Bryan Ferry, while Morrisey remained dilligent in his quest for superb art and was hesitant to explore beyond what The Smiths had already cultivated. In 1987 Marr announced that he was nolonger a member of The Smiths, and ofcourse, there is no Smiths without Johnny Marr. That Fall, the band's final studio album, Strangeways Here We Come appeared. Although recorded prior to the band's inner decay, the album clearly shows signs of a band that is dissolving, as the triumphant arrogance is absent and Morrisey and Marr are both clearly miles apart. Instead the focus falls upon record industry contempt and weariness. The following year the live collection Rank was released much to the joy of the band's fanbase. 
Morrisey wasted no time in launching a solo career, signing to Rough Trade in the U.S. while Parlaphone took care of him in the U.K. He has since soared through a string of colorful and innovative records that, while not quite the breathtaking stuff of The Smiths, is surely worth diving into. Marr has indulged his guitar self as a sought-after sideman, eventually forming his own outfit with the like-minded Bernard Summer of New Order. Rourke and Joyce have provided Sinead O'Conner with a rhythm section and Joyce eventually joined the re-formed Buzzcocks in 1991. As far as a reunion goes? It would most likely be best to not hold one's breath. Since Rorke and Joyce sued Marr and Morrisey in 1991 (claiming they received only 10-percent of songwriting royalties when in reality, they had made major contriubtions) the band hasn't been extremely chummy, although Marr and Morrisey have, surprisingly, remained close.
The Smiths are argueably the most important group in the past twenty years. No doubt their influence has been tremendous, and their presence shows no signs of growing any less prominent in the work of future artists. Their music was beautiful, tasteful, and completely original. They trully mattered. Essential records are The Smiths, Meat is Murder, The Queen is Dead, Louder Than Bombs, Rank and The Singles.

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