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When it comes to defining the sound of the 80s, The Smiths stand out with their jangly guitars and poetic lyrics. I’ve always been fascinated by their unique blend of melancholy and wit, which is why I’m diving into their discography to rank their albums from the essential must-haves to the lesser-known gems.
As a die-hard fan, I’ve spent countless hours dissecting every track, and I’m eager to share my insights with fellow enthusiasts. Whether you’re a newcomer to the cult of Morrissey and Marr or a seasoned fan, you’ll find this ranking stirs up nostalgia and perhaps a bit of friendly debate.
So, let’s walk down this memory lane together as I break down what makes each album a distinct piece of The Smiths’ enduring legacy. Get ready to revisit the angst, the irony, and the sheer brilliance of one of indie rock’s most influential bands.
The Smiths Debut Album: “The Smiths”
Diving into The Smiths’ self-titled debut album, I’m struck by the rawness and energy that leap from the grooves of the vinyl. Released in 1984, “The Smiths” became the definitive statement of a band set to leave a lasting mark on the music scene. The album’s cover, featuring a portrait of actor Joe Dallesandro by Andy Warhol, is as iconic as the music itself, hinting at the band’s penchant for marrying art with their auditory expressions.
Tracks like “Reel Around the Fountain” and “This Charming Man” showcase Morrissey’s unique vocal style and Johnny Marr’s jangly guitar work that would become hallmarks of their sound. With Morrissey’s poetic storytelling and Marr’s innovative guitar melodies, they pushed against the synth-pop grain that dominated the early ’80s scene. This defiance not only carved out a niche for The Smiths but also paved the path for similar artists that followed. Bands like R.E.M., The Cure, and Joy Division also found a way to blend introspective lyrics with atmospheric sounds, but The Smiths’ sheer directness set them apart.
The debut album’s influence on indie and alternative rock can’t be overstated; it’s the cornerstone on which the genre built a foundation. It’s a necessary addition to any record collection, not only for die-hard fans but for those looking to understand the genesis of this influential movement. While subsequent albums would explore greater complexity and production refinement, there’s an undeniable purity in “The Smiths” which embodies the rawness of a band eager to make an impact.
Listening to the album again, I’m drawn to the track “Hand in Glove” – it encapsulates the band’s sense of camaraderie and revolt. It also laid down the gauntlet for future compositions, with lyrics that navigate through love, loneliness, and existential ponderings. This album is a must-have not only for its musical merit but for the snapshot it offers of a cultural turning point.
Delving further into their discography, it’s compelling to see how their sound evolved yet always resonated with a sense of authenticity. Whether it’s the melancholic “Still Ill” or the rhythmically driving “What Difference Does It Make?”, each track offers a different shade of The Smiths’ stylistic palette.
Exploring the Depths: “Meat Is Murder”
Delving into The Smiths’ second album, “Meat Is Murder,” I find a poignant political statement enshrouded in the band’s evolving sound. Released in 1985, this album marches to the forefront of their discography with a heightened sense of purpose.
“The Headmaster Ritual” and “That Joke Isn’t Funny Anymore” are tracks that reflect Morrissey’s scathing lyrics and Johnny Marr’s burgeoning guitar riffs. Meat Is Murder doesn’t just echo the sentiments of an era; it’s a manifesto for change. The title track’s visceral protest against animal cruelty marked a definitive moment for the band, shaping their identity as much more than mere musicians.
Here’s how Meat Is Murder stands up against notable releases from similar artists during the mid-80s:
- Echo & The Bunnymen’s “Ocean Rain”
- The Cure’s “The Head on the Door”
- R.E.M.’s “Fables of the Reconstruction”
While each of these bands contributed to the rich tapestry of alternative rock, The Smiths’ sophomore effort bears a unique signature of introspection and advocacy.
The album’s production, mirroring the complexity of its themes, was a step-up from the raw sound of their debut. Guitar layers on “Barbarism Begins at Home” exude a funk-influenced bounce that was somewhat unexpected, yet utterly captivating. This track, alongside “Rusholme Ruffians,” exhibits a band that was unafraid to experiment and push their musical boundaries.
My deep dive into the depths of Meat Is Murder reveals an album that’s as fearless in its composition as it is in its message. It stands as a critical pillar in The Smiths’ legacy, proving their capacity to meld message with melody in a way that resonates beyond the confines of time.
The journey through The Smiths’ discography is a revealing one. Each album peels back a layer of the band’s persona, and Meat Is Murder shows them baring their teeth to the industry and society alike. What awaits in their subsequent releases is a continuation of this exploration—of both themselves and the world they’re speaking to.
The Quintessential Smiths Experience: “The Queen Is Dead”
When considering the pantheon of The Smiths’ albums, “The Queen Is Dead” emerges as not just a fan favorite but a monumental triumph within their discography. Released in 1986, this album represents the zenith of the band’s creative synergy, with Morrissey’s vivid lyricism and Johnny Marr’s mesmeric guitar work in perfect alignment.
“The Queen Is Dead” is an album that’s equal parts tender and trenchant, featuring wistful melodies underscored by a biting critique of British society. Songs like “There Is a Light That Never Goes Out” and “Bigmouth Strikes Again” have become anthemic, standing tall among the most influential tracks of the 1980s. Through these songs, The Smiths reached new heights, marrying their distinct indie sound with broader accessibility.
This album also marked a significant evolution from the politically charged “Meat Is Murder.” While the band maintained their intellectual edge, there was a noticeable shift towards more personal themes, with tracks like “I Know It’s Over” resonating with audiences on an emotional level. Overall, “The Queen Is Dead” demonstrates The Smiths’ deft balancing act between introspection and social commentary.
Sonically, the album is a testament to The Smiths’ influence on a whole generation of artists. Echoes of their sound can be heard in the work of bands like Echo and the Bunnymen, The Cure, and later on, in the anthemic crescendos of Oasis. These similarities highlight the pervasive reach of The Smiths’ compositional genius and their undeniable role in shaping the musical landscape of their era.
On “The Queen Is Dead,” The Smiths managed to encapsulate the essence of their artistic vision. With its piercing observations wrapped in melodic sophistication, the album is a compelling portrait of the band at their most quintessential. It’s a cornerstone in the Smiths’ discography and a pivotal reference point for understanding their enduring legacy in the music world.
A Change of Sound: “Strangeways, Here We Come”
By the time The Smiths got around to recording their fourth studio album, “Strangeways, Here We Come”, they were teetering on the brink of a sonic evolution that would once again call attention to the band’s innovative spirit. Released in 1987, this album unveiled a shift from their earlier jangle-pop sound to a more elaborate and richly orchestrated arrangement. As their final studio album, it is a fitting swansong that reflects both the culmination of their previous work and a foray into uncharted territories.
Bold experimentation with studio techniques is evident throughout “Strangeways”, distinguishing it from earlier albums. Songs like “Death of a Disco Dancer” and “I Won’t Share You” exhibit a level of sonic sophistication and intricacy that hadn’t been as prominent in The Smiths’ repertoire. Even within the band, there was a sense that their musical canvas was broadening, with Johnny Marr incorporating piano and synthesizer textures, and Morrissey exploring new depths in his vocal performances.
Morrissey’s lyricism remains a hallmark, and in “Strangeways”, it weaves through the music with characteristic introspection and wit. Both him and Marr were peaking artistically, though the specter of their impending split casts a poignant shadow over the album’s reception and legacy. Produced by Stephen Street, the refined sound quality of the album provides a lush backdrop for the evocative lyrics and Marr’s more ambitious guitar work.
“Strangeways, Here We Come” might not enjoy the same commercial or critical acclaim as “The Queen is Dead”, but it’s a pivotal part of The Smiths’ discography that hints at what might have been had the band continued. It certainly influenced the alternative scene, with bands like Radiohead, Oasis, and The Stone Roses citing The Smiths as an inspiration for their own change in sound and success.
The Smith’s final effort doesn’t reside in the shadow of its predecessors; instead, it stands out for its boldness in facing change. It serves as a bridge between The Smiths’ unique brand of indie rock and the next wave of British alternative music that would dominate the late ’80s and early ’90s.
The Underrated Gem: “Rank”
When diving into the catalog of The Smiths, one can easily overlook the live album “Rank” given its unconventional place amidst a trove of seminal studio works. Recorded live at The National Ballroom in Kilburn, London, October 1986, “Rank” hit the shelves in 1988, offering an authentic snapshot of the band’s electric live performances.
“Rank” doesn’t typically enjoy the limelight like “The Queen Is Dead” or “Meat Is Murder.” Yet, it’s a record that captures the raw vitality of The Smiths in their element on stage. Experiencing the band’s trademark sound, crafted by Johnny Marr’s innovative guitar work and Morrissey’s distinctive vocals, “Rank” rises above the label of a mere concert recording. It showcases the intimacy and urgency that only a live setting can evoke.
This album elucidates a different aspect of The Smiths, one that may surprise listeners who are used to the meticulous production of their studio releases. The tracklist spans across their career, featuring fan-favorites and B-sides alike, all performed with a gusto that studio limits cannot confine.
For fans of artists like Echo & the Bunnymen, The Cure, and New Order, who share The Smiths’ penchant for shaping the landscape of alternative music, “Rank” offers a familiar yet distinct listening experience. These artists may have also successfully captured both the studio polish and live energy in their recordings, but there’s something singular about The Smiths’ offering in “Rank.”
It’s essential to view “Rank” not as a footnote but as a key chapter in understanding the full scope of The Smiths’ artistry. It’s a potent reminder of their influence on the live circuit and their indelible mark on the indie genre which continues to resonate through the halls of music history.
In a discography loaded with critical darlings, “Rank” stands out precisely because it doesn’t try to align with the expected studio refinement. Instead, it secures its spot by exuding unfiltered passion—a testament to The Smiths’ legacy as performers.
Conclusion
Ranking The Smiths’ albums has taken me on a nostalgic journey through their groundbreaking work. Their music, from the raw emotion of “The Queen Is Dead” to the underappreciated live dynamism of “Rank,” has left an indelible mark on the indie scene. Each album offers a unique glimpse into the band’s evolution and the era they helped define. As I’ve revisited their discography, it’s clear that The Smiths weren’t just a band; they were a cultural phenomenon whose influence resonates to this day. Whether you’re a long-time fan or new to their sound, their albums are a testament to the timeless quality of truly great music.