There’s some overlap with Hatful of Hollow, but non-album songs like ‘Panic’, ‘Shoplifters of the World Unite’, and the gentle ‘Half A Person’ are career highlights. It is typically perverse of Morrissey that while in Paint a Vulgar Picture he sneers at record companies for milking the fans with extra product, The Smiths were issuing compilations when they were only just out of nappies. Still Ill is a masterpiece. ( Log Out /  The songs are good but lack energy, as if the band was terribly bored. Morrissey was something different altogether: icy, acid of wit, and foreign in nearly every regard. The Smiths all songs. "It's so easy to laugh, it's so easy to hate/It takes guts to be gentle and kind" is the most important epiphany in The Smiths' catalogue. Post was not sent - check your email addresses! I can’t disagree with any of this, especially with the inclusion of the two compilations. With the exception of I Know Its Over, he doesn't as such express emotions in that way. Still a solid album though. Great list. But there's not much better to copy. The Smiths all songs. Unfortunately they were like the Beatles in other ways as well. Aja. Countdown to Ecstasy. I did a five best Steely Dan post a few years back – https://albumreviews.blog/2018/04/24/five-best-steely-dan-albums/. And for all the irony and fun that Frankly Mister Shankly has it's hardly that level of complexity. Haha. From those believing their beginning showed them at their purest in "The Smiths" to those stating that by the time "Strangeways, Here We Come" had erupted onto the scene, they had reached their ultimate potential and ended upon their highest note. The band was so utterly flush with great material that timeless classics such as “Heaven Knows I’m Miserable Now,” “Panic,” “Ask” and “Shelia Take A Bow” never even bowled their way onto one of the Smiths’ official full-lengths. He also openly discusses things like domestic abuse in songs like Reel Around The Fountain, and we even see him talk about the difference between working for money and working for joy. Debate inevitably rages as to which version, original or official, is superior, and though both have their individual merits (Tate’s take on ‘Hand In Glove’ is more buoyant and exuberant, for example, while Porter’s ‘Suffer Little Children’ is more eerily atmospheric) my own preference will always be for the official release, for the purely sentimental reason that I heard and loved it first. Full-lengths aside, the Smiths crucially possess the special designation of being perhaps the greatest singles band since the Beatles, issuing A- and B-sides so formidable as to inspire awe. I think Pretzel Logic is actually my favourite sounding era – a nice balance between jazz and rock – but some of the songs are pretty weak. That track listing on a summers day just makes you want to walk around town swinging your gladioli. ‘The Queen Is Dead’ is one such album. Suedehead (Read a big interview with Johnny Marr in this week’s NME). Seen on Sky News; featured in The Guardian, NY Times, The Independent and more. Johnny Marr was bang on the money when he described it as having “an overloading ‘Smiths-ness’ to it” – this is the album that gives everyone what they want, and from the incendiary rush of the title track, through to the self-deprecating wink of ‘Bigmouth Strikes Again’ and the evergreen brilliance of ‘There Is a Light That Never Goes Out’, it is more than simply a collection of wonderful songs, it is the work of a very special band operating in excelsis. I understand what you mean but I genuinely find Morrissey's sentiments more human in the Smiths. And like any great band, the Smiths -- particularly singer Morrissey and guitarist Johnny Marr, the songwriting team behind almost all of their songs -- grew as they progressed. Change ), You are commenting using your Facebook account. Vocalist Morrissey was socially awkward, literate, and camp, while guitarist Johnny Marr was an aspiring football player who trialed with Manchester City. And the other song you mentioned Bigmouth Strikes Again. I don’t know much about their albums…I don’t remember them getting a lot of airplay back then but… the song that sticks with me is How Soon Is Now? Twenty-five years after the fact, you get the sense that the man wouldn’t cross the street to pour water on his former bandmates if they were hairdressers on fire.