The Smiths - "Louder Than Bombs" 2 x Vinyl, Compilation, 1987 (Sire)

The Smiths represent an era or a time when things were felt with great wonder and excitement. It was also the last band that really expressed themselves through their design of album and 12" single covers.  Each one was an entrance to a world that seemed gay or at the very least, a portrait of an artist who railed against the system or machine, and either played the price of becoming obscure or a footnote to a series of sad moments.  The Smiths became the voice for those who felt differently or couldn't fit in the world that was clearly made for other people.

There is no such thing as a bad Smiths record, but for me, it is their compilations that speak loudly to me.   The Smiths were one of the last bands to make the 45 rpm single separate from the album.  Albums were important, but I suspect that The Smiths true aesthetic was the A-Side and the additional B-Side. "Louder Than Bombs" is a compilation of their singles, and none (as far as I know, and being a lazy sod, I'm not looking this up as I write this essay) ever made it on to an official Smiths album.    My favorite songs of theirs tend to be the singles and b-sides.  The Smiths were brilliant in releasing incredible B-Sides, which traditionally were throw-a-way songs, and not meant to have any attention attached to them.  But, all of us vinyl lunatics know that is not necessarily true, and The Smiths had brilliant songs placed in the obscure position of being forgotten.  Or not, because The Smiths has paid attention to these 7" little wonders by releasing "Louder Than Bombs," which for the consumer, is a bargain, due to the cost of purchasing 45 rpm imported singles. 

Then, we didn't watch the footsteps leading to a horror show that we now have on hand.   Who would have known?  So in that sense, The Smiths are a band that very much wears the past as a shield, even in its original time of release, but now, it seems that this world didn't exist, or did it?

Morrissey - "Bona Drag" CD, Compilation, 1990 (Sire)

I'm one of the few (or not) that feel 'solo' Morrissey is better than The Smiths.  Nothing against the brilliance of Johnny Marr and the other lads in that band, but more of Morrissey becoming a better writer and singer.  "Bona Drag" is a greatest hits album in theory, but also a perfect snapshot of Morrissey's stance and work in 1990, the release of this collection of singles, b-sides, and choice album cuts.  For me, there is not one weak cut here, and on top of that, there are some of my all-time favorite Morrissey songs.  For example:  "Interesting Drug," "The Last of the Famous International Playboys,"  (the magnificent) "Ouija Ouija Board," "Hairdresser on Fire," and "Disappointed."  I would add more but be listing songs is boring to read! 

The great thing about Morrissey is that he's culture.  It's not really about Morrissey (for me), but also the ingredients that he brings to "Morrissey."  For instance the kitchen-sink British literature and films, forgotten music hall artists, gay icons, and so forth.  He's a great curator or someone who likes 'Show & Tell."  He brings his influences out front and exposes them to a wider audience, yet, still keep their mystery and charisma intact.  In that sense, Morrissey is the gift that keeps on giving.  Everything he does is coded within and from the Morrissey world.  I'm sincerely thankful for his presence in my life. 

Also of note, it's interesting that when one brings up the word "Morrissey" to a mixed crowd, one is going to hear strong opinions for and against this provocateur artist.  In a world of crashing bores, it is an accomplishment to have a figure like Morrissey that can still cause a reaction from people's gut, soul, and brain.  Sometimes I feel there is general 'logic, ' but Morrissey operates on his own 'logic,' that is sometimes confusing, frustrating, and weird.  Still, if you go pass that, Morrissey is clearly one of the great British lyricists of our times/era.   He never pleases the listener with something digestible and easy to swallow.   And not every song is a masterpiece; still, he's a remarkable public figure and artist. 

1990 was a peak year for Morrissey.  "Bona Drag" is an excellent record of those times, and he's truly one-of-a-kind figure in modern pop culture.  For those who love him, he will always be around, and if you hate him, at the very least, he's an outlet for one's frustration against the world.  Genius sometimes doesn't play by the rules.  Feel free to criticize the artist that's Morrissey, but understand to do so is very much part of the masterstroke of his genius.  Attention is something that will always be in Morrissey's hands. 

The Smiths - "Strangeways, Here We Come" Vinyl, LP, Album, Remastered, Reissue, 1989/2009 (Rhino)

"Strangeways, Here We Come" is the best Smiths album.   For me, the weakest album was the first, then the second is better than the debut, and then the third is better than.... till we reach the best, SHWC.  As a singles band, always brilliant from the very beginning.  Overall I feel Morrissey/Marr & company are true believers in the 45 rpm single.  That is one reason why some of their compilation albums are so superb.   When I listen to a Smiths album, I think of it as a collection of B-sides waiting for their better half (the A-Side) to show up.  Then again, I do greatly admire the aesthetic of a good B-Side song or set of songs. 

"Strangeways, Here We Come" is the last Smiths album. In fact, I think they broke up before the album's release in 1987.   A hardworking band with one of the most incredible front man of all times. Morrissey never fails as a lyricist.  Like Serge Gainsbourg, he has the knack of turning a phrase around to give the song its complexities.  Highly literary as well as working in the pop format of a song, Morrissey was (and still is) an exceptional talent. Also as their albums get better so does Morrissey's singing.  This maybe an argumentive statement, but I truly believe Morrissey solo is a better artist than he was in The Smiths.  I feel The Smiths was a training ground or a University for Morrissey.  Johnny Marr was a perfect partner.  In his looks as well as talents on the guitar and melodic songwriting.   Mike Joyce on drums and Andy Rourke on bass are equally important in The Smiths.  They were truly a band. 

Listening to this album, I realize that the Smiths couldn't go any further   As mentioned each album was a springboard to the next, and "Strangeways" was the end of the road.  This is not a tragedy.  Although there were tears, them breaking up at this point was the best thing that they have done as a band.  To leave on a perfect note is perfection in practice.  Johnny Marr made that brilliant choice to leave.  Oddly enough, I would think his career would take off like a missile, but as fate would have it, Morrissey had put together many other collaborators.  Marr seemed to like the position of being in a band or partner with other acts - all a great distance from his previous singer.  

"Strangeways" appeals to me because I feel that the band knew exactly what they wanted to do, and they could make the noise that will serve their purpose.  "Death of a Disco Dancer" is a troublesome song, due to Morrissey's odd sense of humor.  It is also my favorite piece on this album. The way Morrissey distances himself from the world, and in this case, he is reporting news that he heard, but it's not precisely known what or who the Disco Dancer is, or why they are defined by the term "Disco Dancer."   Morrissey is very much a coded artist, in that I feel everything he has done is related to one or the other or everything.    I can see The Smiths' albums being one long narrative or novel, perhaps in the sense of Marcel Proust's "In Remembrance of Things Past."   The same goes for "Girlfriend in a Coma."   Is he joking?  Or is he just stating a narrative in place of him?  It is these type of Morrissey lyrics that one goes back to him again and again because it's like a story coming out of the fog.  That's, in a nutshell, is his genius. 

The most beautiful and of course, dramatic is "Last Night I Dreamt That Somebody Loved Me."  It's classic Morrissey woe me, but clearly, I don't think he really cares if someone loves him or not.  He likes to project an image of him in pain, but in his own way, he's delighted in his world.  Morrissey is all about projection of a picture, a style, a piece of cultural (usually Gay) history, and pain as a theatrical presentation.  Like Andy Warhol, the surface has lots of information, and all we need to do is to rub our hands on it.  However, he stirs controversy (his bread and non-animal butter) as an art form, and he is the artist who keeps on giving.