The Smiths carved out a space in music history that remains unmatched, blending Morrissey’s literate melancholy with Johnny Marr’s jangly guitar brilliance. Between 1983 and 1987, this Manchester quartet released four studio albums that redefined British indie rock, creating a template that countless bands still follow today. Their catalog is deceptively deep—yes, there are the radio staples, but dig deeper and you’ll find tracks that showcase the band’s range from tender vulnerability to caustic wit. What makes The Smiths so enduring isn’t just the quality of individual songs, but how Morrissey’s theatrical vocals and Marr’s inventive arrangements created something genuinely unique. These twenty tracks represent the best of what The Smiths achieved: songs that balance despair with humor, romance with cynicism, and guitar pop with genuine artistry.
There Is a Light That Never Goes Out
This track from The Queen Is Dead (1986) stands as The Smiths’ most beloved song, and for good reason. Morrissey’s lyrics paint a picture of romantic desperation so vivid you can almost feel the dashboard lights flickering as he sings about dying in a car with someone he loves. Johnny Marr’s arrangement builds from a gentle beginning into something genuinely anthemic, with string sections that never feel overwrought. The production by Morrissey and Marr themselves captures a certain rawness that major studio polish might have diminished. What really sells this song is how it transforms suicidal ideation into something strangely uplifting—only Morrissey could make “to die by your side is such a heavenly way to die” sound like the most romantic sentiment imaginable. On headphones, you catch all the subtle guitar overdubs that make this more than just another indie rock ballad.
How Soon Is Now?
Originally released as a B-side to “William, It Was Really Nothing” in 1984, this track eventually became The Smiths’ signature song in many ways. The tremolo guitar effect that opens the song is one of the most recognizable sounds in rock music, created by Marr running his guitar through multiple effects pedals in what became a production masterclass. Morrissey’s lyrics about social alienation and loneliness hit differently when you’re young and feeling like an outsider—”I am human and I need to be loved, just like everybody else does” remains one of the most direct emotional statements he ever made. The song was later remixed and released as a single in 1985, reaching number 24 on the UK charts. Comparing different audio equipment reveals just how much is happening in the mix, from the layered guitars to Andy Rourke’s pulsing bassline that drives everything forward.
This Charming Man
The Smiths’ breakthrough single from 1983 showcased everything that made them special: Marr’s rockabilly-influenced guitar work, Morrissey’s playful wordplay, and a melody that seemed impossibly catchy for a band that rejected mainstream pop conventions. The song was recorded at several different sessions, with the single version produced by John Porter featuring a slightly different arrangement than the album version on The Smiths. Marr’s guitar work here influenced an entire generation of indie guitarists—that opening riff is simultaneously complex and accessible, requiring genuine technical skill while sounding effortless. Morrissey’s lyrics about a punctured bicycle and a charming man in the countryside work as both straightforward narrative and something more coded and knowing. When this comes on in the car, it’s impossible not to turn up the volume and appreciate how fresh it still sounds decades later.
Bigmouth Strikes Again
The opening track from The Queen Is Dead announces itself with one of Mike Joyce’s most propulsive drum performances, immediately followed by Marr’s cascading guitar lines. Morrissey’s self-deprecating lyrics about his inability to keep quiet feel particularly meta given his reputation as one of rock’s most quotable interview subjects. The production captures the band playing at their most energetic, with a live-in-the-studio feel that makes it sound like they’re performing directly in front of you. That brief spoken-word intro (“Sweetness, I was only joking…”) adds a theatrical element that became increasingly common in Morrissey’s later work. The song reached number 26 on the UK Singles Chart in 1986, proving that The Smiths could be simultaneously confrontational and commercially viable.
Please, Please, Please Let Me Get What I Want
This heartbreaking minute-and-fifty-three-seconds appears on Hatful of Hollow (1984) and demonstrates The Smiths’ ability to create devastating emotional impact in minimal time. The string arrangement adds a layer of melancholy that amplifies Morrissey’s plea for just one moment of happiness, making it feel like the most important request ever made. Marr’s guitar work here is deliberately restrained, allowing space for the vulnerability in Morrissey’s vocal delivery to take center stage. The song has been covered numerous times, but no version captures the original’s combination of desperate hope and resigned acceptance. On quiet evenings, this track hits particularly hard, especially that final line asking for good times before an inevitable end. https://globalmusicvibe.com/category/songs/ features countless tracks that attempt this kind of emotional directness, but few succeed as completely as The Smiths did here.
The Boy with the Thorn in His Side
Released as a single in 1985 and later included on The Queen Is Dead, this track finds Morrissey addressing the music industry’s treatment of The Smiths with characteristic passive-aggression. The acoustic guitar work that opens the song sets a deceptively gentle tone before the full band enters with a more robust arrangement. What’s remarkable is how a song ostensibly about record label frustrations transforms into something more universal about feeling misunderstood and undervalued. The vocal melody in the chorus showcases Morrissey’s gift for crafting hooks that feel conversational rather than calculated. Producer Stephen Street helped create a warmer sound than some of their earlier, more stark recordings, though purists sometimes debate whether this polish dilutes The Smiths’ rawer edge.
Hand in Glove
The Smiths’ debut single from 1983 remains a bold statement of intent, with Morrissey declaring “the sun shines out of our behinds” with a confidence that bordered on arrogance. The original independent release on Rough Trade featured production by Troy Tate that captured the band’s live energy, though they later re-recorded it with John Porter for their debut album. Marr’s guitar tone here is warmer and less jangly than what would become his trademark sound, influenced by his love of 1960s soul music. The lyrics work as both a celebration of outsider love and a middle finger to conventional society, themes Morrissey would return to throughout his career. When played through quality headphones, you can appreciate how much sonic detail exists in what initially seems like a straightforward rock song—listen for the subtle guitar overdubs and the way Joyce’s drumming pushes and pulls against the beat.
Heaven Knows I’m Miserable Now
This 1984 single perfectly encapsulates The Smiths’ paradoxical ability to make depression sound oddly uplifting. The bouncing bassline from Andy Rourke provides a cheerful counterpoint to Morrissey’s complaints about work, life, and everything in between. The song reached number 10 on the UK Singles Chart, proving that British audiences were receptive to lyrics about calamitous love and being dragged down by various burdens. Marr’s guitar work adds layers of texture without ever overwhelming the vocal, demonstrating the restraint that made him such an effective collaborator for Morrissey’s theatrical delivery. The bridge section features some particularly clever wordplay about two lovers entwined passing them by, showcasing Morrissey’s ability to be both specific and universal simultaneously.
What Difference Does It Make?
The fourth single from The Smiths’ debut album showcases the band refining their sound while maintaining the raw energy of their earlier releases. Morrissey’s vocal performance here is particularly dramatic, with his voice cracking and soaring in ways that feel genuinely unhinged rather than calculated. The guitar solo that erupts in the middle of the song demonstrates Marr’s ability to shred when the moment called for it, even as he generally preferred more textured approaches to lead guitar. Producer John Porter captured a sense of space in the recording that makes it sound larger than its individual components. The song’s chart performance (reaching number 12 in the UK) helped establish The Smiths as more than just critical darlings, proving they could connect with actual record buyers.
Some Girls Are Bigger Than Others
Closing out The Queen Is Dead with this track was a bold choice, as it’s more playful and less immediately devastating than much of the album. Marr’s guitar work incorporates Spanish influences and complex chord progressions that reward repeated listening. Morrissey’s lyrics about mothers and daughters and their relative sizes work as both literal observation and something more metaphorical about power dynamics. The production features subtle touches like the way the bass drops out at certain moments, creating breathing room in an otherwise densely arranged track. For audiophiles comparing different playback systems, this song reveals how much care went into the stereo imaging— can help you hear all the spatial details in the mix that cheaper equipment might miss.
Stop Me If You Think You’ve Heard This One Before
From Strangeways, Here We Come (1987), their final album, this track demonstrates that The Smiths remained creatively vital until the very end. The song was initially planned as a single but was pulled after the Hungerford massacre made lyrics about mass murder seem insensitive, a controversy very typical of The Smiths’ career. Marr’s guitar arrangement here is particularly dense, with multiple guitar parts weaving in and out of the mix to create something that sounds both immediate and complex. Morrissey’s storytelling about a protagonist who steals and then gets killed by a ten-ton truck has a darkly comic quality that some listeners find off-putting but longtime fans recognize as quintessential Smiths. The backing vocals add a surprising element of warmth to what could have been a much bleaker recording.
Girlfriend in a Coma
Another track from Strangeways, Here We Come, this song takes a morbid premise and somehow makes it sound almost upbeat. The jangly guitar riff that opens the track could easily fit on a sunshine pop record, creating a jarring contrast with Morrissey’s deadpan delivery about a girlfriend’s serious medical condition. Released as a single in 1987, it reached number 13 on the UK charts despite—or perhaps because of—its controversial subject matter. The production is notably cleaner than their earlier work, with producer Stephen Street crafting a sound that was radio-friendly while maintaining The Smiths’ essential character. That moment when Morrissey sings “There were times when I could have murdered her” manages to be simultaneously shocking and hilarious, walking a tonal tightrope that few lyricists would even attempt.
Last Night I Dreamt That Somebody Loved Me
Opening with extended crowd noise recorded at the 1984-85 miners’ strike protests, this Strangeways track builds slowly before exploding into one of The Smiths’ most emotionally powerful songs. The orchestral elements in the introduction create a sense of drama that pays off when the full band enters. Morrissey’s vocal performance captures genuine anguish, particularly in the way his voice cracks on certain phrases, making the song’s desperate loneliness feel almost uncomfortably intimate. Marr’s guitar work here is more textural than melodic, creating atmosphere rather than memorable riffs. In concert footage, this song often extended into lengthy instrumental passages, showing how the band could stretch beyond their studio constraints when performing live.
Panic
Released in 1986, “Panic” became one of The Smiths’ most controversial songs, with its repeated refrain of “hang the DJ” sometimes interpreted as inciting violence (Morrissey has always insisted it was about DJs playing disco music rather than The Smiths). The song emerged from Morrissey and Marr’s frustration with hearing Wham!’s “I’m Your Man” played on the radio following news coverage of the Chernobyl disaster. Marr’s guitar work on this track is deliberately abrasive, with a tone that cuts through the mix like broken glass. The addition of child vocals singing “hang the DJ” adds an unsettling quality that makes the song more memorable than it might otherwise have been. Reaching number 11 on the UK Singles Chart proved that The Smiths could score hits even when actively antagonizing the music industry.
Shoplifters of the World Unite
This 1987 single showcased a different side of The Smiths, with Marr’s guitar taking on an almost glam-rock quality influenced by Marc Bolan. The song’s title references a quote often attributed to various revolutionary figures, typical of Morrissey’s tendency to mix high and low cultural references. Production-wise, this track features a fuller sound than many of their earlier recordings, with multiple guitar layers creating a wall of sound that Phil Spector would have appreciated. The lyrics about learning from pop icons and finding oneself through music speak directly to The Smiths’ young fanbase, who saw the band as genuine alternatives to mainstream pop. When evaluating audio equipment through https://globalmusicvibe.com/compare-earbuds/, this track serves as an excellent test of how well different models handle dense, layered rock production.
Still Ill
From their self-titled debut album, “Still Ill” finds Morrissey cataloging various ailments while insisting “I decree today that life is simply taking and not giving.” The guitar work here shows Marr already developing the jangly style that would define The Smiths’ sound, with arpeggiated chords that shimmer and ring out. Andy Rourke’s bass playing is particularly noteworthy, providing melodic counterpoint rather than simply following the root notes. The song’s structure follows a fairly conventional verse-chorus format, but the details—like the way Morrissey’s voice doubles on certain words—keep it interesting across multiple listens. John Porter’s production captures the band sounding hungry and vital, a group of young musicians who knew they had something special but hadn’t yet figured out how to fully articulate it.
Sheila Take a Bow
Released in 1987 and later included on various compilations, this single showed The Smiths embracing a more straightforward pop approach without sacrificing their identity. The opening guitar riff is immediate and memorable, exactly the kind of hook that gets stuck in your head for days. Morrissey’s lyrics reference “arrogance, swank and a bad character” while encouraging Sheila to throw her homework in the fire, capturing teenage rebellion with more specificity than most rock songs manage. The production by Morrissey and Marr features a prominent keyboard part that adds a new dimension to The Smiths’ typically guitar-centered arrangements. Reaching number 10 on the UK Singles Chart, it proved the band could still deliver hits even as they were beginning to fracture internally.
I Know It’s Over
Perhaps the most devastating track in The Smiths’ entire catalog, this centerpiece from The Queen Is Dead finds Morrissey at his most vulnerable and theatrical. The song builds slowly over nearly six minutes, with Marr’s guitar gradually adding layers of texture as Morrissey’s vocal performance becomes increasingly anguished. Those lines about the soil falling over his head and Mother Earth making his new bed remain genuinely chilling, especially when Morrissey’s voice breaks with emotion. The sparse production—credited to Morrissey and Marr—allows space for the emotion to breathe rather than filling every moment with instrumentation. Late at night, lying in bed with this playing through quality headphones, you can hear every subtle detail, from the creaking of Morrissey’s voice to the barely-audible guitar parts that float in and out of the mix.
The Queen Is Dead
The title track from their third album opens with Morrissey sampling Cicely Courtneidge’s “Take Me Back to Dear Old Blighty” before launching into a full-band assault. Lyrically, this represents some of Morrissey’s most overtly political writing, taking aim at the monarchy and British class system with specific, pointed barbs. Marr’s guitar tone here is rougher and more aggressive than usual, matching the song’s confrontational stance. The song’s structure keeps things interesting across its six-plus minutes, shifting between different sections that feel connected but distinct. Mike Joyce’s drumming deserves particular recognition for driving the song forward with genuine power while maintaining the musicality that separated The Smiths from more straightforward punk bands.
Barbarism Begins at Home
One of The Smiths‘ longest and most experimental tracks, this album cut from Meat Is Murder (1985) features an extended funk-influenced groove that showcases the rhythm section’s abilities. Andy Rourke’s bassline is the star here, delivering a melodic, syncopated part that sounds more influenced by James Jamerson than typical indie rock. Morrissey’s lyrics about domestic violence are delivered in a near-spoken-word style that fits the song’s unsettled, uncomfortable mood. At over six minutes, the song gave the band space to stretch out in ways their singles never could, with instrumental passages that revealed their chops beyond three-minute pop songs. John Porter’s production captures excellent separation between instruments, making this an ideal track for testing stereo imaging when comparing different playback systems.
Frequently Asked Questions
What is The Smiths’ most famous song?
“There Is a Light That Never Goes Out” stands as The Smiths’ most enduring and beloved track, despite never being released as a single during the band’s active years. The song’s combination of romantic desperation and Johnny Marr’s sweeping arrangement has made it a staple of alternative rock radio and countless “best of” lists. “How Soon Is Now?” runs a close second in terms of recognition, particularly due to its distinctive tremolo guitar effect and use in the television series Charmed. Both songs exemplify what made The Smiths special: the ability to balance Morrissey’s literate melancholy with genuinely memorable melodies.
Why did The Smiths break up?
The Smiths disbanded in 1987 primarily due to tensions between Morrissey and Johnny Marr, though the exact circumstances remain disputed by the parties involved. Marr has stated he felt creatively stifled and wanted to explore different musical directions, while also being frustrated with the business aspects of managing the band. Morrissey has suggested that Marr wanted to work with other artists and that the partnership had run its natural course. The breakdown in communication between the two primary songwriters made continuation impossible, despite the band being at a commercial peak with Strangeways, Here We Come receiving critical acclaim.
What genre are The Smiths considered?
The Smiths are primarily classified as indie rock or alternative rock, though their sound incorporated elements of jangle pop, post-punk, and new wave. Johnny Marr’s guitar work drew from rockabilly, 1960s girl groups, and folk music, while Morrissey’s vocal approach combined elements of 1960s British pop with punk’s directness. The band essentially helped define what “indie rock” meant in the 1980s, establishing a template of jangly guitars, literate lyrics, and emotional directness that influenced countless bands from R.E.M. to Oasis. Their rejection of synthesizers and electronic production techniques helped distinguish them from many of their 1980s contemporaries.
Did The Smiths ever have a number one hit?
The Smiths never achieved a UK number one single during their active career, though they came close with several top ten hits. “Heaven Knows I’m Miserable Now” reached number 10 in 1984, while “Sheila Take a Bow” and “Girlfriend in a Coma” also broke into the top 13. Their albums performed better commercially, with The Queen Is Dead reaching number two on the UK Albums Chart in 1986 and Strangeways, Here We Come peaking at number two in 1987. The band’s commercial success demonstrated that alternative music could achieve mainstream recognition without compromising artistic vision, paving the way for indie bands in subsequent decades.
What makes Johnny Marr’s guitar playing distinctive?
Johnny Marr’s guitar style is characterized by intricate, jangly chord progressions and arpeggiated patterns that create melodic counterpoints to Morrissey’s vocal lines rather than simple accompaniment. He frequently employed open tunings and capo usage to achieve ringing, chiming tones that became The Smiths’ sonic signature. Marr’s approach drew from diverse influences including Bert Jansch’s folk fingerpicking, James Williamson’s Detroit rock aggression, and the orchestrated guitar layering of Phil Spector productions. His production technique of overdubbing multiple guitar parts created depth and texture while maintaining clarity in the mix. Marr’s unwillingness to rely on distortion or obvious effects pedals (with notable exceptions like “How Soon Is Now?”) forced him to find interest through composition and arrangement, influencing generations of indie guitarists who prioritized melody over volume.