While some were still wandering around whistling Ravel's Bolero after Torvill and Dean's gold medal in Sarajevo, something new and intriguing emerged from the UK's third largest city.
The Smiths released their self-titled debut album forty years ago, which certainly made a huge impact. Everything seemed fresh, from the captivating cover to the often scathing and bitter lyrics about love and sex written by an awkward-looking frontman. Musically, although skillfully crafted and tighter than a mosquito's fat, John Porter portrayed it with somewhat flat production. Hopefully that detracts from the recording. It transported you to a dank, dingy bedroom with mold on the walls, a dodgy gas fireplace, and a lecherous landlord.
Initially released in the UK as a 10-track vinyl LP, the cassette version contained eleven tracks, including 'This Charming Man'. It reached number two in the UK charts and received critical acclaim. Has the passage of time and all its disgusting crimes been good for this album, or has it aged poorly like a vegetarian sausage lost behind the kitchen during the excitement of Italia 90?
While class is said to be permanent, fashion is a much more fickle mistress. However, certain clothes never go out of style. Think of this album as the little black number: you don't use it often, but it oozes style and quality when you do. Despite forty years, this album still sounds excellent. More importantly, it's still relevant. It gave a voice to people who felt invisible, marginalized or confused about their place in the world. Without a doubt, it was music adopted by those who saw themselves as outsiders. Many people can emphatically relate to that in 2024.
While Morrissey may have lost fans due to his most recent verbal outbursts, his lyrics certainly stand the test of time. Dealing with themes such as love, loss, sexuality, falling in love, and personal insecurities, they remain constant in our lives and fluctuate in relevance throughout our existence. Morrissey always managed to find a different approach to his writing: sometimes brutal, sometimes funny.
“I look at yours, you laugh at mine/And love is just a miserable lie“Moz desperately proclaims on 'Miserable Lie', a prime example of a brutal approach. 'Hand In Glove' shows the playful aspect – “Hand in hand/The sun shines on our butts/No, it's not like any other love/This one is different because it's us!But it was 'Suffer Little Children' that caused a furor, seeing the album withdrawn from sales in all branches of Woolworths and Boots. These retailers also pulled the single “Heaven Knows I'm Miserable Now” as “Suffer Little Children” appears as the album's B-side.
Written about the infamous Moors murders, Morrissey always claimed that his intentions for the song were honorable. Listening to the way the words are delivered and Johnny Marr's beautiful guitar playing, it's hard to see it as anything more. However, it does show that Morrissey wasn't afraid to go to strange places to perform his trade.
Of course, all these lyrics would mean nothing without great music, and The Smiths produced plenty of that on this album. While Marr gets all the plaudits and deserves plenty of praise, Andy Rourke and Mike Joyce deserve their share. Rourke was a better musician than he realized, something many echoed after his death in 2023. Joyce kept everything together and selflessly allowed Rourke and Marr to prosper.
I listened to this album several times while writing this article. It still excites me. While it takes me back in time, it also resonates through the ages for many bands since they were influenced by The Smiths. If you haven't heard this LP before, track it down and enjoy 45 minutes of distinction. If you have it sitting on a shelf collecting dust, wipe it down and dive in once more.
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