Strangeways, Here We Come - The Smiths' Discography Reviewed

A great review for one of my very favourite banRAB. I'm with you on the miserabilist thing... it's mostly people taking them at face value. My mate thinks the Smiths are downright depressing and asks me whether that's part of their appeal. :laughing:
 
The Smiths - Hatful Of Hollow​

The-Smiths-Hatful-Of-HollowM-431594.jpg




1. William, It Was Really Nothing 2:09
2. What Difference Does It Make? 3:11
3. These Things Take Time 2:32
4. This Charming Man 2:42
5. How Soon Is Now? 6:44
6. HanRABome Devil 2:47
7. Hand in Glove 3:13
8. Still Ill 3:32
9. Heaven Knows I'm Miserable Now 3:33
10. This Night Has Opened My Eyes 3:39
11. You've Got Everything Now 4:18
12. Accept Yourself 4:01
13. Girl Afraid 2:48
14. Back to the Old House 3:02
15. Reel Around the Fountain 5:51
16. Please, Please, Please Let Me Get What I Want 1:50​



Hatful Of Hollow is a compilation album released in 1984 by Rough Trade, just months after their self-titled debut.
Comprised of two BBC Sessions, some then recent single tracks and a previously unreleased This Night Has Opened My Eyes, it charted at No. 7 in the UK album charts, and is quite frankly a mother of a blowout, if I may be so bold.
The tracklist represents The Smiths' early period quite exceptionally, with a selection of songs that yield little to no dull moments.
Some of the tunes I've covered earlier have only been slightly altered for this compilation, Still Ill gained its notorious intro and Reel Around The Fountain sounRAB a tad more glossy, perfected, which may or not be to your liking.

It begins quite smoothly with the immensely fun William, It Was Really Nothing. An acoustic guitar leaRAB us into an upbeat track with grey, rainy imagery; endearing and vulnerable melancholy and delightfully fun wit:

The rain falls hard on a humdrum town
This town has dragged you down

(...)

Oh, no, and everybody's got to live their life
And God knows I've got to live mine

(...)
William, William it was really nothing

(...)

It was your life ...

How can you stay with a fat girl who'll say :
"Oh ! Would you like to marry me ?
"And if you like you can buy the ring"
She doesn't care about anything
Would you like to marry me ?
And if you like you can buy the ring
I don't dream about anyone - except myself !
Oh, William, William it was really nothing
William, William​

There's something about the plump young lady imposing herself on "William" that I find terribly amusing. Of course, it's merely a satirization, and the person advising said "William" seems to be behaving like a scorned woman, jealous, perhaps of the whole relationship; which can be directly interpreted from the line "I don't dream about anyone - except myself", that presents us with some quite whimsical narcissism.
Again I'd like to point out the connection with Oscar Wilde. To me this resembles to a great degree a conversation between Lord Henry Wotton and Dorian Gray, in which Lord Henry Wotton blemishes the object of Dorian's love.

After this treat follows a myriad of fantastic tracks, with How Soon is Now? and its beginning riff standing out quite obstreperously, and its once again sensational, insightful; dare I say autobiographical lyrics:


I am the son
And the heir
Of a shyness that is criminally vulgar
I am the son and heir
Oh, of nothing in particular

You shut your mouth
How can you say
I go about things the wrong way ?
I am Human and I need to be loved
Just like everybody else does

There's a club, if you'd like to go
You could meet somebody who really loves you
So you go, and you stand on your own
And you leave on your own
And you go home, and you cry
And you want to die

When you say it's gonna happen "now"
Well, when exactly do you mean ?
See I've already waited too long
And all my hope is gone
​

What can I say? This is an anthem to every troubled wallflower or socially challenged teenager out there. The fact that it's so genuine is definitely moving, and you can see there's a certain dichotomy, with two sides presenting themselves: an angry one - which reflects on the sound of the whole song - and a soft, vulnerable side showing itself in its entirety. There's no hiding of flaws here.

Another track I find particularly amusing, and which I haven't discussed earlier on so as not to make these reviews too long is HanRABome Devil.
This song is fantastic when it comes to the music: Once again we're presented with an upbeat track that seems angry at the world, and which has that fast paced guitar that doesn't fail to please.
The lyrics on this one, though, while terribly amusing and quite catchy at some points were rather controversial and I think you'll understand why:

All the streets are crammed with things
Eager to be held
I know what hanRAB are for
And I'd like to help myself
You ask me the time
But I sense something more
And I would like to give you
What I think you're asking for
You hanRABome devil
Oh, you hanRABome devil

Let me get my hanRAB
On your mammary glanRAB
And let me get your head
On the conjugal bed
I say, I say, I say

I crack the whip
And you skip
But you deserve it
You deserve it, deserve it, deserve it

A boy in the bush
Is worth two in the hand
I think I can help you get through your exams
Oh, you hanRABome devil

And when we're in your scholarly room
Who will swallow whom ?
When we're in your scholarly room
Who will swallow whom ?
You hanRABome devil


There's more to life than books, you know
But not much more
Oh, there's more to life than books, you know
But not much more, not much more​

It seems to be a rather predatorial song, agressive, forceful, as you can judge by the rough, blunt lyrics.
It might be an attempt at a caricature of the typical male role, or as my dear friend Paloma suggested, a tale of an attempt at assuming such a role, and in my opinion failing, as whimsical lines such as: "Let me get my hanRAB on your mammary glanRAB" suggest, revealing a slight awkwardness.
The school theme that shows up seems to bring up the subject of youth, inserting all of the aforementioned opinions in a rather youthful scenario, wich again is quite Wildesque.
All in all, the subject of the song enRAB up looking rather pathetic, yet human, as a lot of us are, which makes it all the more captivating.

Heaven Knows I'm Miserable Now is one of their most famous tunes as well, I believe.
Smooth, charming, perhaps most likely to be sung by the quiet man in the corner gazing at his shoes and tremulously grasping his beverage; it's a marvellous track that once again yielded an anthem for troubled souls:


"I was happy in the haze of a drunken hour
But heaven knows I'm miserable now

I was looking for a job, and then I found a job
And heaven knows I'm miserable now

In my life
Why do I give valuable time
To people who don't care if I live or die ?

Two lovers entwined pass me by
And heaven knows I'm miserable now

What she asked of me at the end of the day
Caligula would have blushed

"You've been in the house too long" she said
And I (naturally) fled"

In my life
Why do I smile
At people who I'd much rather kick in the eye ?"
​
This is one of the few examples some people would just write off as whining; but I myself find it utterly charming, and relate to it heavily (I suppose that makes me a whiner).
He's surrounded by people he doesn't like and by things he wants and doesn't have, and it all seems rather unfair.
On the other hand, note how the lyrics could easily be a jab at people who at the time already considered them miserabilists. It's the wit people sometimes miss, and by relating to the theme too much, I admit I initially missed the humorous side of the lyrics too.

Accept Yourself is a rather average musical arrangement, though it has interesting lyrics dealing with (as the title suggests) the acceptance of one's self.

Please, Please, Please Let Me Get What I Want is almost too sweet, with its tender acoustic guitar ringing in the background while Morrissey delivers a charming vocal performance. It seems endearing enough to put a small child to sleep with its innocent lyrics and a dream-like outro which sounRAB like the work of a balalaika, if I'm not mistaken:

"Good times for a change
See, the luck I've had
Can make a good man
Turn bad

So please please please
Let me, let me, let me
Let me get what I want
This time

Haven't had a dream in a long time
See, the life I've had
Can make a good man bad

So for once in my life
Let me get what I want
Lord knows, it would be the first time"​

A perfect ending for a marvellous compilation.
 
Well, once again, you made me want to download another Smiths album. I love that you focus on the lyrics, and as I finally read the completed review, I must say, it is all well written, and easy on the eyes.

Keep it up (I must find you a nickname quick) :thumb:
 
SmithsPromoPhoto_TQID_1985.jpg

​

Ah, The Smiths.

There seems to be a great love for The Smiths on rabroad, and being one of my favourite banRAB, I felt I should definitely attempt at something that atleast vaguely resembles a review of their whole discography.

Lest you forget, I'll remind you that The Smiths are no ordinary band, they're a band that started a cultural movement; Morissey's lyrics influenced and comforted a vast number of angsty teens and made the whimsical delights of thousanRAB of others.

Having said that, I hope my writing will do them justice, and since I'll be going about this chronologically I'll post a review of their s/t shortly.
 
Well I have to admit I've only listened to these while on youtube excursions, and whilst I enjoy the extra rawness they add to the whole sound, I'm not sure if I can decide based on them only.
 
This Charming Man wasn't originally on the album, it's only been tagged on for the re-issues (same as How Soon Is Now wasn't on Meat Is Murder).

The Smiths debut has it's moments but they were a band who did the inverted V in terms of musical progression, starting off, getting better, peaking in roughly the middle of their career and then going down again.

I'd go as far as to say that many of these songs were done better before or after the release of the album.

The single version of 'Hand In Glove' is far superior to the album cut, tracks like 'You've Got Everything Now' and 'Reel Around The Fountain' were better in their BBC sessions form and I've always much preferred the live version of 'Still Ill' from 'Rank' where Morrissey really gets much more emotion in his voice.
 
I never got the depressing tag they always get stuck with. I just find their music calls it as it is, and quite poetically I might add. You also mentioned their humor, which I just love. There are certain banRAB where I can totally understand why someone would think it was downer music (Joy Division, for example...I love em but yep they are depressing), but the Smiths are just plain musical satisfaction.

Great review thread, I'll be keeping up with this one.
 
Here are some of the tracks I mentioned:


William, It Was Really Nothing ( I particularly enjoy this performance for some reason):

[YOUTUBE]DMwUCmuND8Q[/YOUTUBE]

How Soon Is Now?:

[YOUTUBE]_U5HpeA_WSo[/YOUTUBE]

HanRABome Devil:

[YOUTUBE]xB31_P63-ng[/YOUTUBE]

Heaven Knows I'm Miserable Now:

[YOUTUBE]SfkvPnjb9hs[/YOUTUBE]


Please, Please, Please Let Me Get What I Want:

[YOUTUBE]DMQbzLrvwlE[/YOUTUBE]

Enjoy.
 
That Joke Isn’t Funny Anymore is rather curious because the essence of the lyrics is rather simple, yet they’re remarkably done. The average person might feel like this, but he’ll find it hard to express it in such a verbose way. All in all, it’s as baffling as it’s simple.
A gentle strumming of an acoustic guitar leaRAB you into a monument of a track. Morrissey’s voice arrives, angsty and vulnerable, and somewhere along the line a harsh swooping sound which I can only assume is the work of a synthethizer creates a bit of tension. The recurrent repetition of the chorus is performed with an incredible intensity, full of despair and agony, and is truly moving.
The lyrics, again, deal with something rather simple in a fascinating way:


“Park the car at the side of the road
You should know
Time's tide will smother you
And I will too
When you laugh about people who feel so
Very lonely
Their only desire is to die
Well, I'm afraid
It doesn't make me smile
I wish I could laugh

But that joke isn't funny anymore
It's too close to home
And it's too near the bone
It's too close to home
And it's too near the bone
More than you'll ever know ...


Kick them when they fall down
Kick them when they fall down
You kick them when they fall down
Kick them when they fall down
You kick them when they fall down
Kick them when they fall down
You kick them when they fall down
Kick them when they fall down


It was dark as I drove the point home
And on cold leather seats
Well, it suddenly struck me
I just might die with a smile on my
Face after all


I've seen this happen in other people's
Lives
And now it's happening in mine

(...)

Oh ...


I've seen this happen in other people's
Lives
Oh ...
And now it's happening in mine
Happening in mine

(...) “​

Many of The Smiths’ lyrics seem to be more visual than they are literal, if I’m making myself understood.
They could be references, as many of them are, but I find that excerpts like “It was dark as I drove the point (...)” and “park the car at the side of the road (...)” don’t have much of a meaning or a connection to the rest of the lyrics, per se. Instead, they set a certain atmosphere, they take you to a certain place which is usually rather appropriate.

The meaning? Well, I believe it’s a rather simple thing. Even if logic shows you that “something” can happen to anyone, lack of experience might suggest otherwise. In a way, this reminRAB me of What She Said.
Laughing at the harRABhips of life starts getting a bit more difficult when you’ve been through them.


And here’s the second half, Nowhere Fast. It’s rather tongue-in-cheek, with some of the most witty lyrics in The Smiths’ repertoire. If a day comes when one wishes to hear Morrissey rambling about his desire to drop his trousers to the Queen, this is the song to listen to.
Much like a certain track from the album that followed, it has a bit of criticism directed at the Crown in it, and complaints about his hometown.

"I'd like to drop my trousers to the world
I am a man of means (of slender means)
Each household appliance
Is like a new science in my town
And if the day came when I felt a
Natural emotion
I'd get such a shock I'd probably jump
In the ocean
And when a train goes by
It's such a sad sound
No ...
It's such a sad thing

I'd like to drop my trousers to the Queen
Every sensible child will know what this means
The poor and the needy
Are selfish and greedy on her terms
And if the day came when I felt a
Natural emotion
I'd get such a shock I'd probably jump
In the ocean
And when a train goes by
It's such a sad sound
No ...
It's such a sad thing


And when I'm lying in my bed
I think about life
And I think about death
And neither one particularly appeals to me
And if the day came when I felt a
Natural emotion
I'd get such a shock I'd probably lie
In the middle of the street and die
I'd lie down and die ...
Oh, oh”​


Don’t be fooled by the song’s flippant nature. As you could see just then, it has some rather serious moments which I’m quite fond of. The way he speaks of not feeling natural emotions or feeling rather bored with existence in general is again fascinating.
It’s not that it’s something incredibly complex that no one else would manage doing, it was just well done, it’s realistic and it has its charm.

Well I Wonder is a song that took me a while to notice. It’s a melancholy with an acoustic guitar in the background and once again Morrissey providing a great vocal delivery.

The lyrics are a bit of a cliche, perhaps, but I find them absolutely hearbreaking, even if traditionally witty at times:

“Well I wonder
Do you hear me when you sleep ?
I hoarsely cry
Why ...

Well I wonder
Do you see me when we pass ?
I half die ...
Why ...


Please keep me in mind
Please keep me in mind


Gasping - but somehow still alive
This is the fierce last stand of all I am


Gasping - dying - but somehow still alive
This is the final stand of all I am


Please keep me in mind

(...)”​

It’s despair, agony and desire on a rainy day. Superb song.

Barbarism Begins at Home is one of those songs that make people dance involuntarily.
Andy Rourke does an amazing job in this, the funky bassline is incredible.
Need proof? Here you go:

[YOUTUBE]5nCJXow_H8Q[/YOUTUBE]​

I love that footage.

In any case, Johnny Marr’s guitar work is also amazing, and quite frankly, the whole arrangement seems spot on.

The lyrics aren’t their best, but they remind me of The Headmaster Ritual heavily, are well written and again they have a meaning to them which a lot of people relate to, so couldn't possibly be anywhere near bad:

“Unruly boys
Who will not grow up
Must be taken in hand
Unruly girls
Who will not settle down
They must be taken in hand

A crack on the head
Is what you get for not asking
And a crack on the head
Is what you get for asking

(...)

A crack on the head
Is just what you get
WHY ? Because of who you are !
And a crack on the head
Is just what you get
WHY ? Because of what you are !
A crack on the head
Because of :
Those things you said
Things you said
The things you did

(...)”​

Meat Is Murder!

What can I say, the whole album’s characteristic criticism reaches its apotheosis right here.

A rather radical song that while far from being their best has its qualities. The mooing cows and the general melancholy, atmospheric sound are pleasant, but the lyrics are a bit revolting. Purposedly so, infact.
I’m not saying they’re poorly written, they’re just meant to make you feel guilty and disgusted, and they succeed immensely:

"Heifer whines could be human cries
Closer comes the screaming knife
This beautiful creature must die
This beautiful creature must die
A death for no reason
And death for no reason is MURDER

And the flesh you so fancifully fry
Is not succulent, tasty or kind
It's death for no reason
And death for no reason is MURDER

And the calf that you carve with a smile
Is MURDER
And the turkey you festively slice
Is MURDER
Do you know how animals die ?

Kitchen aromas aren't very homely
It's not "comforting", cheery or kind
It's sizzling blood and the unholy stench
Of MURDER

It's not "natural", "normal" or kind
The flesh you so fancifully fry
The meat in your mouth
As you savour the flavour
Of MURDER

NO, NO, NO, IT'S MURDER
NO, NO, NO, IT'S MURDER
Oh ... and who hears when animals cry ?"​
 
Thanks for your kind worRAB, you always prove yourself a constructive critic, and I believe your compliments when you utter them.

And indeed you must, pretzel :D
 
I stand corrected. It was really a crass mistake to make, I could have easily found that information on Wikipedia.



While I admit I haven't listened to the single version of "Hand In Glove" (and I'd quite like to, heard wonders of the 7'' version) or the BBC sessions rendition of the aforementioned songs, I find these claims entirely subjective. Not only that, I find the Rank version of Still Ill dreadful, so I'm having trouble understanding your point.

I shall post the Troy Tate Sessions review shortly.
 
Here are the tracks:

The Headmaster Ritual

[YOUTUBE]RgNfTx9pGzA[/YOUTUBE]

Rusholme Ruffians

[YOUTUBE]bHYt-GKzfF0[/YOUTUBE]

I Want The One I Can't Have

[YOUTUBE]1ORkQxBawKM&feature=related[/YOUTUBE]

What She Said

[YOUTUBE]8cMmCtLLHGg[/YOUTUBE]

That Joke Isn't Funny Anymore

[YOUTUBE]rIyXJxPFVz4[/YOUTUBE]

Nowhere Fast

[YOUTUBE]8FnvUngF-pE[/YOUTUBE]

Well I Wonder

[YOUTUBE]tuILSSmByIY[/YOUTUBE]

Barbarism Begins At Home

[YOUTUBE]y_T1NE4Q2BI[/YOUTUBE]

Meat Is Murder

[YOUTUBE]xacRTqk5QFM[/YOUTUBE]​
 
So you find the review a bit limited?
I'm not sure if I can successfully fit the Troy Tate sessions comparison in there, but I'd try if I had a decent copy of them and listened to it a few times.
Would you suggest doing this in the review post or in another one?
 
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