The Smiths burned briefly yet brightly, their fleeting existence bringing a sense of optimism, ambition and poetry to fans worn down by the bleak inertia of the UK in the early ‘80s. By the time they split in 1987 - barely four years after debuting - The Smiths had become the pivotal influence for the Madchester, Britpop and broader indie scenes that followed. It’s an impact that has resonated ever since, with everyone from The Stone Roses and Oasis through to The Weeknd and My Chemical Romance hailing The Smiths as a pioneering force.
In retrospect, it’s easier to see The Smiths made such an indelible impression. The irrepressible Morrissey was the focal point, his baritone croon expressing lyrics rich with vulnerable emotions, mordant humour, a library of literary references and stories that felt like kitchen sink dramas reimagined through song. Guitarist Johnny Marr was his perfect foil: his distinctive arpeggios and chiming melodies exuding melody and musicality while maintaining a punkish back-to-basics approach. But The Smiths were more than the total of their front duo. Andy Rourke’s fluid basslines seemingly effortlessly complemented Marr’s leads as much as they did Mike Joyce’s propulsive drum rhythms.
Emerging from Manchester, The Smiths inked a deal with Rough Trade and introduced themselves with the instant classic ‘Hand In Glove’. An indie chart hit upon release, it was quickly followed by their first of four Peel Sessions, and the renowned DJ’s support would see them become a mainstay of his Festive Fifty year end charts for their entire existence.
Four albums in four years soon followed: their self-titled debut (1984), ‘Meat Is Murder’ (1985), arguably their defining work ‘The Queen Is Dead’ (1986), and ‘Strangeways, Here We Come’ (1987). A constant fixture at the upper reaches of the album charts, they also achieved three Top 10 hits helped by some unforgettable appearances on Top of the Pops. Suddenly a band beloved by outsiders everywhere had crashed into mainstream consciousness.
Even now, the songs they created still feel as fresh as ever, from big moments such as ‘This Charming Man’, ‘There Is A Light That Never Goes Out’ and ‘Please, Please, Please Let Me Get What I Want’ to album highlights and deep cuts such as ‘Reel Around The Fountain’, ‘Cemetry Gates’ and ‘I Know It’s Over’.
But by December 1986, The Smiths had played what would be their final ever show at Brixton Academy and split long before the release of ‘Strangeways, Here We Come’. While it’s one one rock’s most romanticised “what might have been” stories, subsequent generations of fans have found a wealth of material to adore as they fell deep into The Smiths’ rabbithole, such as the ‘Hatful of Hollow’ and ‘The World Won’t Listen’ compilations as well as the live album ‘Rank’.
More than forty years after first emerging, the music of The Smiths still says everything about our lives.