Ranking the best The Smiths songs means choosing between chiming guitar brilliance and razor-sharp lyricism, and the picks below cover the finest moments from the Manchester band. Fans exploring more classics can browse the full songs category for similar deep dives.
Between 1983 and 1987, Morrissey, Johnny Marr, Andy Rourke and Mike Joyce built one of the most influential catalogs in British guitar music. Marr’s layered, jangling guitar work met Morrissey’s wry, heartbroken storytelling, and the result still sounds startlingly fresh on every format, from vinyl crackle to streaming playlists. The list moves from the towering anthems to the quieter album cuts that reward repeat listens.
There Is a Light That Never Goes Out
Taken from the 1986 album The Queen Is Dead, this is the song that defines the band for countless listeners. Marr’s rolling guitar figure and the sweeping, almost cinematic arrangement lift a simple tale of devotion into something enormous. It reached the UK top 30 as a single in 1992, yet its reputation as the ultimate Smiths ballad was cemented decades earlier. Few tracks sound this romantic and this morbid at the same time.
This Charming Man
Released in late 1983, this single introduced the world to Marr’s sparkling, rhythmic guitar style. The John Porter produced version is bright and propulsive, with Rourke’s bass bouncing underneath a playful vocal from Morrissey. It sits in the UK top 30 and remains a staple of the Hatful of Hollow era. On headphones, the interlocking guitar lines reveal just how much detail is packed into three minutes.
How Soon Is Now?
Few guitar sounds in pop history are as instantly recognizable as the shimmering tremolo that drives this track. Released in 1984 as a B-side and later reissued as a single in 1985, it features a hypnotic rhythm inspired by Bo Diddley and a vocal that aches with loneliness. The production feels huge and strange, like a dance floor floating in fog. It is the band at its most atmospheric.
Heaven Knows I’m Miserable Now
Gloriously self-mocking, this 1984 single gave the group its first UK top 10 hit. The bright, bouncy melody clashes deliberately with the gloomy lyric, a contrast that became a signature trick. Marr’s guitar hook is pure sunshine, which makes the sorrowful delivery even funnier. Played loud in the car, it works as both a sing-along and a sly joke.
Bigmouth Strikes Again
Marr’s urgent, slashing guitar opens this 1986 single from The Queen Is Dead and never lets up. A speeded-up backing vocal credited to Ann Coates, actually a pitched-up Morrissey, adds a mischievous twist. The track peaked in the UK top 30 and is one of the most energetic entries in the catalog. Live performance energy practically leaps out of the speakers.
The Boy With the Thorn in His Side
Another highlight from The Queen Is Dead, this 1985 single pairs a delicate, tumbling guitar melody with a bittersweet complaint about not being believed. Its arrangement is graceful and restrained, with Marr layering guitars in a way that feels almost orchestral. The single reached the UK top 25. A perfect example of how the band could sound gentle and wounded at once.
What Difference Does It Make?
A grittier, riff-driven side of the band appears on this 1984 single from the debut album. The stomping guitar line and tight rhythm section from Rourke and Joyce give it a raw edge that suits the youthful frustration in the vocals. It reached the UK top 15 and helped establish the group as a chart force. Morrissey later criticized the song, yet listeners have never agreed with him.
Hand in Glove
The debut single, released on Rough Trade in 1983, announced a band that sounded unlike anything else in the early eighties. Marr’s bright, strummed guitar and the harmonica flourishes give the song a rush of nervous excitement. Sandie Shaw later recorded a version with the band backing her, a neat moment of cross-generational respect. It remains a thrilling snapshot of the group at the very start.
Panic
Built on a stomping glam-flavored beat, this 1986 single reached the UK top 15 and found the band commenting on pop radio itself. The chanted hook is almost football-terrace simple, which makes it irresistible in a crowd. Marr’s chugging guitar keeps the mood punchy and direct. It later appeared on the compilation The World Won’t Listen.
Girlfriend in a Coma
Dark humor meets a breezy, sing-along melody on this 1987 single from Strangeways, Here We Come. Produced by Stephen Street, the track has a polished, almost jaunty sheen that hides the grim subject matter. It reached the UK top 15 and arrived shortly before the group split. The contrast between sound and story is classic Smiths.
Ask
This 1986 single is one of the most uplifting entries in the catalog, with a bright, driving guitar part and an encouraging message about taking chances. Kirsty MacColl contributed backing vocals, adding warmth to the chorus. It climbed into the UK top 15. Instrumentally, it is among the most joyful and radio-friendly moments the band ever recorded.
Reel Around the Fountain
The opening track of the 1984 debut album sets a slow, sensual and slightly unsettling tone. John Porter’s production leaves plenty of space around the guitar and vocal, which gives the song a hushed intensity. The lyric drew controversy at the time, though the melody itself is tender and graceful. It still works beautifully as an album opener.
I Know It’s Over
Among the bleakest songs in the catalog, this slow-burning track from The Queen Is Dead builds from a sparse arrangement into a devastating emotional peak. Marr’s guitar glimmers behind a vocal full of resignation, and the dynamics rise and fall with real drama. It is a favorite for late-night listening. The song proves the band could be just as powerful when moving slowly.
Frankly, Mr. Shankly
Bouncy and mischievous, this track from The Queen Is Dead is widely read as a sarcastic farewell note to a record label boss. The jaunty, rockabilly-tinged rhythm keeps the mood light even as the words sting. Morrissey’s comic timing is sharp throughout. It offers welcome relief between the album’s heavier moments.
William, It Was Really Nothing
This 1984 single reached the UK top 20 and bursts with a bright, ringing guitar line. The melody has a carefree, almost jangly energy while the lyric pushes back against social expectation. It appears on Hatful of Hollow, one of the most beloved compilations of the decade. Short, sharp and catchy, it never overstays its welcome.
Back to the Old House
Stripped back to acoustic guitar and voice, this 1984 B-side shows a gentler, more intimate side of the band. The arrangement is simple, yet the melody carries a heavy sense of nostalgia and loss. It was collected on Hatful of Hollow, where it sits as one of the quietest highlights. Fans often name it as a hidden gem.
Still Ill
A fan favorite from the 1984 debut album, this track pairs a lively, skipping guitar part with a restless lyric about youth and disillusion. Rourke’s melodic bass lines deserve special attention here. The mood is both anxious and defiant, capturing the energy of the early sessions. It remains one of the strongest deep cuts from the first record.
Asleep
Built around gentle piano and delicate atmospheric touches, this 1985 B-side is among the most fragile songs in the catalog. The vocal is soft and consoling, delivered with almost lullaby-like calm. It later appeared on The World Won’t Listen and Louder Than Bombs. Quiet, haunting and deeply moving, it often reduces listeners to silence.
Some Girls Are Bigger Than Others
Closing The Queen Is Dead, this track ends the album on a strange, wry and strangely majestic note. Marr’s chiming guitar chords swell beneath a vocal that blends humor with melancholy. The arrangement feels like a curtain call for one of the finest albums of the eighties. It rewards close listening, especially on a good pair of speakers.
Half a Person
Released as a B-side in 1987 and later gathered on Louder Than Bombs, this song tells a tender story of loneliness and longing. Marr’s gentle, melodic guitar work keeps the mood warm even as the lyric turns wistful. Many devoted fans rank it among the finest non-album tracks ever released by the band. It makes a fitting final entry for a list built on emotional depth.
How to Get the Best Listening Experience
Marr’s layered guitars reward careful listening, so gear matters. A quality pair from the headphones comparison guide reveals the subtle overdubs on tracks like How Soon Is Now?, while the earbuds comparison guide helps find a portable option for commuting with these classics.
Final Thoughts on the Best The Smiths Songs
The band released only four studio albums, yet the quality across singles, B-sides and album tracks is extraordinary. Whether the mood calls for the soaring romance of There Is a Light That Never Goes Out or the quiet heartbreak of Asleep, this catalog delivers. Which track earns the top spot in your personal ranking?
Frequently Asked Questions
What is the most popular The Smiths song?
There Is a Light That Never Goes Out is widely considered the most beloved song by the band, and it consistently leads streaming totals and fan polls. This Charming Man and How Soon Is Now? also rank among the most played tracks.
Which The Smiths album should beginners hear first?
The Queen Is Dead from 1986 is the most common starting point, since it contains several of the biggest songs. Hatful of Hollow is another excellent entry point because it gathers early singles, session recordings and B-sides.
Who wrote The Smiths songs?
Johnny Marr composed the music and Morrissey wrote the lyrics and vocal melodies for nearly all of the band’s material. This partnership is often compared to the great songwriting duos of British pop.
How many studio albums did The Smiths release?
The band released four studio albums: The Smiths in 1984, Meat Is Murder in 1985, The Queen Is Dead in 1986 and Strangeways, Here We Come in 1987. Compilations such as Hatful of Hollow and Louder Than Bombs added many essential tracks.
Why are The Smiths still so influential?
The combination of Marr’s inventive guitar style and Morrissey’s witty, vulnerable lyrics created a sound that inspired generations of indie and alternative artists. Their songs remain relatable because they treat loneliness and longing with both humor and honesty.