Let me be the first to admit that off the top of my head I know very little about The Smiths. Sure, I’m well aware that gloomy singer/songwriter Morrissey helmed the band. Sure, I’m also well aware that they were in existence during the early and mid-1980’s. The last tidbit of information I can easily cull from my mind is the fact that The Smiths hail from England.
I’m not a huge fan of the band or Morrissey. I never have been nor do I expect to ever be. I don’t mind a certain level of unhappiness but stretched throughout an entire album I soon tire of the act. Though, it’s easy to see based on my experience with 1995’s The Singles why people get great joy out of The Smiths and their four studio albums.
Formed in Manchester, England in 1982, The Smiths lasted just five years. Their lineup for this time included the core members Morrissey (vocalist) and Johnny Marr (guitarist) both of whom wrote the lyrics to the bands many apparently popular songs. Other members included Andy Rourke on bass and finally Mike Joyce on drums. With the four main contributors in place, The Smiths were born unto this ostensibly cruel and unforgiving world.
I’d feel like a jerk to speak in depth about the band’s history. I’m not a true fan nor am I particularly educated about Morrissey or this particular musical movement. Instead of making a jerk of myself, I’ll simply say that that between 1984 and 1987 The Smiths released four albums. Beginning with 1984’s eponymous debut through Meat Is Murder, The Queen Is Dead and finally Strangeways, Here We Come the band gained momentum. By 1987 they were at the top of their game. Nothing The Smiths did could be regarded as wrong. Then they broke up in 1987 following problems with drugs, internal bickering, and looming solo projects.
The only album I have any direct knowledge of is of course the band’s 1995 greatest hits, The Singles. The only real reason I own the CD is because I was curious about the band and why exactly people hold them so dear to their hearts. Alas, I’m still not clear on that specific matter. What I do know is that here and there I can attest to the fact that The Smiths were talented and could have been great. I’m not sure that they were in fact as musically important as I was led to believe.
The Singles is an exceptionally long greatest hits compilation. It contains eighteen of the band’s most popular tracks representing all of their studio albums in addition to even a few only found on EPs and as b-sides. When I first purchased the disc, I wasn’t acquainted with the vast majority of the tracks. Suffice it to say that Michigan doesn’t have a radio station where most of these songs would feel at home therefore aside from actually purchasing and album the possibility of hearing most of these songs was somewhere between slim and none.
The one song that I most associate with The Smiths can be found here. How Soon Is Now is a swirling and incredibly haunting track. The melody is memorable, the words resonate through to my soul as though written specifically for me. I would be absolutely satisfied if the band could replicate this track on an emotional and musical level. Alas, I can’t always get what I want.
I am the son
and the heir
of a shyness that is criminally vulgar
I am the son and heir
of nothing in particular
Another track I’d been exposed to previous to the purchase of this collection is Girlfriend In A Coma. The melody and musical impression it leaves is actually upbeat despite the extremely dark premise. A blend of infectious, simple pop elements is just slightly off kilter as a result of the use of strings and horns and Morrissey’s vocals. Again, the words are memorable:
Girlfriend in a coma, I know
I know - it's serious
there were times when I could
have 'strangled' her
Much of this album is barely fine. I mean I do enjoy songs like There Is a Light That Never Goes Out, This Charming Man, Hand In Glove, Panic and Shakespeare’s Sister. Each song sounds somewhat different on the surface, but underneath the thinly veiled top layer the premise is pretty much the same. They are usually dark, uneven, strange, and not always particularly appealing on a musical level.
I wish I could enjoy every song, but about half are difficult and lack direction. That Joke Isn’t Funny Now is impossible to follow as a result of a too-complex and completely unnecessary changes in tempo. I Started Something I Couldn’t Finish also rubs me the wrong way. Morrissey sounds like hell and the instruments when paired with his vocals are extremely difficult to digest. I do however enjoy the melody a bit and the lyrics are at least of interest:
I started something
forced you to a zone
and you were clearly
never meant to go
Also of particular disinterest is Ask. Once again, Morrissey sounds like hell. I appreciate the band’s attempt to try new things with new instruments. But the fact remains is that the songs is too fast and uneven. The Smiths sound like two entities. The instruments sound good together. Morrissey is fine on his own. Mixing the two elements is brutal.
Maybe I’m of the wrong generation or musical background. Maybe I’m just not listening to the right album. Then again, maybe I right. Is it possible that The Smiths are overrated? That’s up to other listeners to decide I suppose. But for me, The Singles is a bust. For people already acquainted with the band who would like to purchase a disc, sure it’s a good purchase. But if attempting to expand your musical taste don’t just blindly pick up this offering. You too may end up disappointed by what you hear.
Not to say that The Singles or The Smiths are horrible. They aren’t. Rather, I expected something more impressive than what I got. It’s an average album that in my opinion could have been shorter. A whole lot shorter. I will recommend The Singles to fans of The Smiths or Morrissey. Otherwise, skip it. Please.
Rating: 3/5 stars
Track Listing:
1. Hand In Glove [The Smiths, 1984]
2. This Charming Man [The Smiths, 1984]
3. What Difference Does It Make? [The Smiths, 1984]
4. Heaven Knows I'm Miserable Now [Hatful of Hollow, 1984]
5. William, It Was Really Nothing [Hatful of Hollow, 1984]
6. How Soon Is Now? [Meat Is Murder, 1985]
7. Shakespeare's Sister [The World Won’t Listen, 1987]
8. That Joke Isn't Funny Anymore [Meat Is Murder, 1985]
9. Boy With The Thorn In His Side, The [The Queen Is Dead, 1986]
10. Bigmouth Strikes Again [The Queen Is Dead, 1986]
11. Panic [The World Won’t Listen, 1987]
12. Ask [The World Won’t Listen, 1987]
13. Shoplifters Of The World Unite [The World Won’t Listen, 1987]
14. Sheila Take A Bow [Louder Than Bombs, 1987]
15. Girlfriend In A Coma [Strangeways, Here We Come, 1987]
16. I Started Something I Couldn't Finish [Strangeways, Here We Come, 1987]
17. Last Night I Dreamt That Somebody Loved Me [Strangeways, Here We Come, 1987]
18. There Is A Light That Never Goes Out [The Queen Is Dead, 1986]
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