The Smiths: The Birth (1982)
2024 is a big year, it completes the 40th anniversary from the British rock band The Smiths. Overall, The Smiths played a significant role in representing and articulating the experiences of the UK working class through their music, lyrics, and cultural impact. They remain an important cultural touchstone for many in the UK, particularly those from working-class backgrounds. Let’s encapsulate their journey until their legacy in the present day.
In the early 1980s, Manchester, England, grappled with economic challenges stemming from the decline of traditional industries such as manufacturing and textiles. High unemployment rates, particularly prevalent among working-class communities, fuelled social unrest and discontent, leading to protests against unemployment, government policies, and social inequality. Despite these economic hardships, Manchester experienced a vibrant and diverse cultural scene, particularly in music. The city emerged as a hub for emerging bands and artists, with venues like The Haçienda nightclub playing a central role in shaping the music scene. This era saw the emergence of the "Manchester sound," characterized by a fusion of post-punk, indie rock, and electronic music elements.
Steven Patrick Morrissey, a passionate music fan and aspiring writer, met guitarist Johnny Marr through mutual acquaintances. Marr was impressed by Morrissey's lyrics and invited him to collaborate on music. Morrissey and Marr's partnership proved to be creatively fruitful, blending Morrissey's introspective and often melancholic lyrics with Marr's intricate guitar melodies. They recruited bassist Andy Rourke and drummer Mike Joyce to complete the line-up, and thus, The Smiths were born. According to Morrissey, the name’s origin was "it was the most ordinary name and I thought it was time that the ordinary folk of the world showed their faces."
In October 1982, The Smiths gave their first public performance as a support act for Blue Rondo à La Turk during a student music and fashion show. In December 1982, the band recorded their second demo at Drone Studios in Chorlton-cum-Hardy. The tracks recorded during this session included "What Difference Does It Make?", "Handsome Devil", and "Miserable Lie". By that Christmas, they had created four new songs: "These Things Take Time", "What Do You See in Him?", "Jeane", and "A Matter of Opinion", the latter of which they soon scrapped.
Their early performances in small venues around Manchester quickly garnered attention, as their unique sound and Morrissey’s charismatic stage presence captivated audiences with a repertoire blending original compositions and subversive covers like “I Want a Boy for my Birthday” by the 1960s American girl band Cookies. They soon caught the eye of record labels, and in 1983, they released their debut single “Hand in Glove” on the independent label Rough Trade Records. While it did not chart in the UK Top 40, it received critical and commercial acclaim, helping establish The Smiths as one of the promising acts in the burgeoning indie music industry. Morrissey insisted on using homoerotic photography by Jim French, which he had discovered in Margaret Walters’ book, "The Nude Male."
The Smiths: Meat is Murder (1985)
In early 1985, The Smiths unveiled their second studio album, "Meat Is Murder." It showcased a more assertive and politically charged approach compared to their debut. The album featured the pro-vegetarian anthem "Meat Is Murder," with Morrissey going as far as prohibiting the band from being photographed eating meat. Tracks like "Nowhere Fast" expressed light-hearted republicanism, while "The Headmaster Ritual" and "Barbarism Begins at Home" tackled issues such as anti-corporal punishment.
Musically, the band displayed increased diversity, with Johnny Marr incorporating rockabilly riffs into "Rusholme Ruffians," and Andy Rourke contributing a funk bass solo on "Barbarism Begins at Home." The album's release was preceded by the reissue of the B-side "How Soon Is Now?" as a single. Although it was not part of the original LP, it has since been included in subsequent releases. "Meat Is Murder" became the band's only album (excluding compilations) to top the UK charts.
Morrissey's interviews during this time often carried a political stance, stirring further controversy as he targeted entities such as the Thatcher government, the British monarchy, and even criticized the famine relief project Band Aid.
Following that, the subsequent single-only release "Shakespeare's Sister" attained the 26th position on the UK Singles Chart. However, the sole single extracted from the album, "That Joke Isn't Funny Anymore," saw lesser success, barely breaching the top 50. In 1985, The Smiths embarked on extensive tours across both the UK and the US.
The Smiths: The Queen is Dead (1986)
The Smiths released their third studio album, "The Queen Is Dead," in June 1986, following the release of its singles "The Boy with the Thorn in His Side" and "Bigmouth Strikes Again." Johnny Marr introduced ersatz strings using keyboards on several tracks, notably "There Is a Light That Never Goes Out" and "The Boy with the Thorn in His Side." "The Queen Is Dead" achieved the second position on the UK charts.
During this period, Andy Rourke was dismissed from the band due to his heroin use and was temporarily replaced on bass by Craig Gannon, formerly of the Scottish new wave band Aztec Camera. However, Rourke was reinstated two weeks later, with Gannon shifting to rhythm guitar. This five-piece line-up recorded the singles "Panic" and "Ask," the latter featuring Kirsty MacColl on backing vocals, which reached numbers 11 and 14, respectively, on the UK Singles Chart. They embarked on a tour across the UK.
An arrest on drug possession charges nearly led to Rourke being replaced by Guy Pratt for the band's North American tour later that year. However, Rourke's work visa came through just before departure. Despite successful shows, heavy drinking and drug use among crew and band members, excluding Morrissey, had a detrimental effect on the group.
The Smiths: Strangeways, Here We Come & Split Up (1987)
In early 1987, "Shoplifters of the World Unite" climbed to number 12 on the UK Singles Chart. This was followed by the release of a second compilation album titled "The World Won't Listen," which reached number two on the charts. The frustration with the band's lack of mainstream recognition was evident in the album's title, a sentiment expressed by Morrissey.
The single "Sheila Take a Bow" followed, marking the band's second (and final during their lifetime) UK top-10 hit. Shortly after, another compilation album, "Louder Than Bombs," was released in the US in March 1987, followed by a UK release two months later.
The Smiths' fourth studio album, "Strangeways, Here We Come," took a departure from their typical sound, opening with a piano introduction as Johnny Marr aimed to move away from the band's established style. Marr also incorporated keyboards into other tracks, and the first song, "A Rush and a Push and the Land Is Ours," notably lacked guitar.
Tensions arose within the band despite their continued success. Marr took a break in June 1987, which was perceived negatively by his bandmates. Former Easterhouse guitarist Ivor Perry briefly replaced Marr, and the band recorded some material with him that was never completed. Ultimately, the strain led to the band's split around the time of the album's release in September.
"Strangeways, Here We Come" reached number two in the UK in October 1987 and became the Smiths' most successful album in the US, peaking at number 55 on the Billboard 200. Despite the tumultuous circumstances, both Morrissey and Marr regard it as their favourite Smiths album.
In the following year, the live album "Rank," recorded in 1986 with Craig Gannon still in the band, reached number 2 in the UK and entered the European 100 Albums chart at number 9. After the group disbanded, Morrissey began his solo career while Marr formed the supergroup Electronic with Bernard Sumner and Neil Tennant. Andy Rourke and Mike Joyce continued working together, touring, and recording with various artists including Morrissey.
The Smiths: Legacy
Regardless of the controversies mentioned, The Smiths were the spokespeople of British working-class culture, with lyrics often touching upon themes of working-class life, alienation, boredom, and the struggles of ordinary people. Their songs contained sharp social commentary, addressing issues such as unemployment, poverty, and societal norms. This resonated deeply with working-class audiences who could relate to the struggles depicted in their music. The Smiths emerged during a time when working-class voices were underrepresented in popular music, providing a much-needed platform for their experiences.
Frontman Morrissey often sang about the experiences of ordinary people in a way that was relatable to many working-class individuals, giving voice to their concerns and emotions. The band's music and image became iconic within working-class communities in the UK, with their distinctive sound—characterized by Johnny Marr's jangly guitar riffs and Morrissey's emotive vocals—capturing the zeitgeist of the time and continuing to resonate with audiences today.
The Smiths played a significant role in shaping the cultural identity of working-class youth in the UK during the 1980s. Through their music, they provided a sense of belonging and solidarity for many who felt marginalized or overlooked by mainstream society. Their influence extends far beyond their own era, with numerous artists and bands citing them as an inspiration.
Some notable musicians and bands influenced by The Smiths include Oasis, Radiohead, Blur, The Stone Roses, Arctic Monkeys, R.E.M., Belle and Sebastian, and The Libertines. The Smiths paved the way for a whole generation of artists, leaving an indelible mark on the music landscape that continues to be felt today. Morrissey's lyrics often explored themes of alienation, loneliness, and outsider status, drawing inspiration from the experiences of marginalized communities and individuals that resonate in the present day.
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