Apr 4, 2018

RhoDeo 1813 Aetix

Hello, hmm the trigger to this weeks post was last weeks Morrisey referral. I have to admit here i was never in a hurry to post anything by the Smiths "the one truly vital voice of the '80s" and "the most influential British guitar group of the decade" and "the band that inspired deeper devotion than any British group since The Beatles". Morrissey's portrayal of and nostalgia for a bleak urban England of the past, possibly was instrumental in the Brexit vote

Today's artists were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them one of the most important bands to emerge from the British independent music scene of the 1980s. In 2003, four of the band's albums appeared on Rolling Stone's list of the 500 Greatest Albums of All Time............N'Joy

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The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths' heyday and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.

Before forming the Smiths in 1982, Johnny Marr (born John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract -- one of his bands won a competition Stiff Records held to have Nick Lowe "produce your band" -- but he never quite made the leap. Though Morrissey (born Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute James Dean Isn't Dead, which was published by the local Manchester publishing house Babylon Books in the late '70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fan club. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Fall's drummer, Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer.

The Smiths made their live debut late in 1982, and by the spring of 1983, the group had earned a small but loyal following in their hometown of Manchester and had begun to make inroads in London. Rejecting a record deal with the Mancunian Factory Records, the band signed with Rough Trade for a one-off single, "Hand in Glove." With its veiled references to homosexuality and its ringing riffs, "Hand in Glove" became an underground sensation in the U.K., topping the independent charts and earning the praise of the U.K. music weeklies. Soon, Morrissey's performances became notorious as he appeared on-stage wearing a hearing aid and with gladioli stuffed in his back pockets. His interviews were becoming famous for his forthright, often contrary opinions, which helped the band become a media sensation. By the time of the group's second single, "This Charming Man," in late 1983, the Smiths had already been the subject of controversy over "Reel Around the Fountain," a song that had been aired on a BBC radio session and was alleged to condone child abuse. It was the first time that Morrissey's detached, literary, and ironic lyrics were misinterpreted and it wouldn't be the last.

"This Charming Man" reached number 25 on the British charts in December of 1983, setting the stage for "What Difference Does It Make"'s peak of number 12 in February. The Smiths' rise to the upper reaches of the British charts was swift, and the passion of their fans, as well as the U.K. music press, indicated that the group had put an end to the synth-powered new wave that dominated Britain in the early '80s. After rejecting their initial stab at a first album, they released their debut, The Smiths, in the spring of 1984 to strong reviews and sales -- it peaked at number two. A few months later, the group backed '60s pop vocalist Sandie Shaw -- who Morrissey had publicly praised in an article -- on a version of "Hand in Glove" that was released and reached the Top 40. "Heaven Knows I'm Miserable Now" reached number ten, becoming their highest-charting single amid a storm of controversy about its B-side, "Suffer Little Children," which was about the notorious Moors Murders. More controversy appeared when Morrissey denounced the hunger-relief efforts of Band Aid, but the group's popularity was not affected. Though the Smiths had become the most popular new rock & roll group in Britain, the group failed to make it outside of underground and college radio in the U.S., partially because they never launched a full-scale tour. At the end of the year, "William It Was Really Nothing" became a Top 20 hit and Hatful of Hollow, a collection of B-sides, BBC sessions, and non-LP singles, went to the Top Ten, followed shortly by "How Soon Is Now," which peaked at number 24.

Meat Is Murder, the band's second proper studio album, entered the British charts at number one in February of 1985, despite some criticism that it was weaker than The Smiths. Around the time of the release of Meat Is Murder, Morrissey's interviews were becoming increasingly political as he trashed the Thatcher administration and campaigned for vegetarianism; he even claimed that the Smiths were all vegetarians, and he forbade the remaining members to be photographed eating meat, even though they were still carnivores. Marr, for his part, was delving deeply into the rock & roll lifestyle and looked increasingly like a cross between Keith Richards and Brian Jones. By the time the non-LP "Shakespeare's Sister" reached number 26 in the spring of 1985, the Smiths had spawned a rash of soundalike bands, including James, who opened for the group on their spring 1985 tour, most of whom Morrissey supported. However, all of the media attention on the Smiths launched a mild backlash later in 1985, when "That Joke Isn't Funny Anymore" was pulled from Meat Is Murder and failed to reach the Top 40.

"The Boy with the Thorn in His Side" revived the band's fortunes in the fall of 1985, and their third album, The Queen Is Dead, confirmed their popularity upon its release in the spring of 1986. Greeted with enthusiastic reviews and peaking at number two on the U.K. charts, The Queen Is Dead also expanded their cult following in the U.S., cracking the Top 100. Shortly before the album was completed, former Aztec Camera guitarist Craig Gannon became the band's rhythm guitarist, and he played with the band throughout their 1986 international tour, including a botched American tour. The non-LP "Panic," which was criticized as racist by some observers for its repeated refrain of "Burn down the disco...hang the DJ," reached number 11 late in the summer. A few months after its release, Marr was seriously injured in a car crash. During his recuperation, Gannon was fired from the band, as was Rourke, who was suffering from heroin addiction. Though Rourke was later reinstated, Gannon was never replaced.

The Smiths may have been at the height of their popularity in early 1987, with the non-LP singles "Shoplifters of the World" and "Sheila Take a Bow" reaching number 11 and ten respectively, and the singles and B-sides compilation The World Won't Listen (revamped for U.S. release as Louder Than Bombs later in 1987) debuting at number two, but Marr was growing increasingly disenchanted with the band and the music industry. Over the course of the year, Morrissey and Marr became increasingly irritated with each other. The singer wished that Marr would stop playing with other artists like Bryan Ferry and Billy Bragg, while the guitarist was frustrated with Morrissey's devotion to '60s pop and his hesitancy to explore new musical directions. A few weeks before the fall release of Strangeways, Here We Come, Marr announced that he was leaving the Smiths. Morrissey disbanded the group shortly afterward and began a solo career, signing with Parlophone in the U.K. and staying with the Smiths' U.S. label, Reprise. Marr played as a sideman with a variety of artists, eventually forming Electronic with New Order frontman Bernard Sumner. Rourke retired from recording and Joyce became a member of the reunited Buzzcocks in 1991.

Rank, a live album recorded on the Queen Is Dead tour, was released in the fall of 1988. It debuted at number two in the U.K. A widely criticized, two-part The Best of the Smiths compilation was released in 1992; the praised Singles compilation was released in 1995. Joyce and Rourke sued Morrissey and Marr in 1991, claiming they received only ten percent of the group's earnings while the songwriters received 40 percent. Rourke eventually settled out of court, but Joyce won his case in late 1996.

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Arriving in an era dominated by synth pop and gloomy post-punk, the Smiths' eponymous debut was the bracing beginning of a new era. On the surface, the Smiths' sound wasn't radically different from traditional British guitar pop -- Johnny Marr's ringing, layered guitars were catchy and melodic -- but it was actually an astonishing subversion of the form, turning the structure inside out. Very few of the songs followed conventional verse-chorus structure, yet they were quite melodic within their own right. Marr's inventive songwriting was made all the more original and innovative by Morrissey's crooning and lyrics. Writing about unconventional topics, from homosexuality ("Hand in Glove") to child molestation and murder, Morrissey had a distinctively ironic, witty, and literate viewpoint whose strangeness was accentuated by his off-kilter voice, which would move from a croon to a yelp in a matter of seconds. While the production of The Smiths is a little pristine, the songs are vital and alive, developing a new, unique voice within pop music. Though the Smiths continued to improve over the course of their career, their debut remains startling and exciting.

The Smiths - The Smiths (flac  317mb)
01 Reel Around The Fountain 5:55
02 You've Got Everything Now 3:58
03 Miserable Lie 4:27
04 Pretty Girls Make Graves 3:41
05 The Hand That Rocks The Cradle 3:45
06 Still Ill 3:19
07 Hand In Glove 3:23
08 What Difference Does It Make? 3:49
09 I Don't Owe You Anything 4:04
10 Suffer Little Children 5:29

The Smiths - The Smiths   (ogg  115mb)

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With their second proper album Meat Is Murder, the Smiths begin to branch out and diversify, while refining the jangling guitar pop of their debut. In other words, it catches the group at a crossroads, unsure quite how to proceed. Taking the epic, layered "How Soon Is Now?" as a starting point (the single, which is darker and more dance-oriented than the remainder of the album, was haphazardly inserted into the middle of the album for its American release), the group crafts more sweeping, mid-tempo numbers, whether it's the melancholy "That Joke Isn't Funny Anymore" or the failed, self-absorbed protest of the title track. While the production is more detailed than before, the Smiths are at their best when they stick to their strengths -- "The Headmaster Ritual" and "I Want the One I Can't Have" are fine elaborations of the formula they laid out on the debut, while "Rusholme Ruffians" is an infectious stab at rockabilly. However, the rest of Meat Is Murder is muddled, repeating lyrical and musical ideas of before without significantly expanding them or offering enough hooks or melodies to make it the equal of The Smiths or Hatful of Hollow.

The Smiths - Meat Is Murder (flac  282mb)
01 The Headmaster Ritual 4:52
02 Rusholme Ruffians 4:19
03 I Want The One I Can't Have 3:13
04 What She Said 2:40
05 That Joke Isn't Funny Anymore 4:57
06 Nowhere Fast 2:35
07 Well I Wonder 4:00
08 Barbarism Begins At Home 7:00
09 Meat Is Murder 6:05

The Smiths - Meat Is Murder   (ogg  102mb)

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Meat Is Murder may have been a holding pattern, but The Queen Is Dead is the Smiths' great leap forward, taking the band to new musical and lyrical heights. Opening with the storming title track, The Queen Is Dead is a harder-rocking record than anything the Smiths had attempted before, but that's only on a relative scale -- although the backbeat is more pronounced, the group certainly doesn't rock in a conventional sense. Instead, Johnny Marr has created a dense web of guitars, alternating from the minor-key rush of "Bigmouth Strikes Again" and the faux rockabilly of "Vicar in a Tutu" to the bouncy acoustic pop of "Cemetry Gates" and "The Boy With the Thorn in His Side," as well as the lovely melancholy of "I Know It's Over" and "There Is a Light That Never Goes Out." And the rich musical bed provides Morrissey with the support for his finest set of lyrics. Shattering the myth that he is a self-pitying sap, Morrissey delivers a devastating set of clever, witty satires of British social mores, intellectualism, class, and even himself. He also crafts some of his finest, most affecting songs, particularly in the wistful "The Boy With the Thorn in His Side" and the epic "There Is a Light That Never Goes Out," two masterpieces that provide the foundation for a remarkable album.

The Smiths - The Queen Is Dead (flac  264mb)

01 The Queen Is Dead (Take Me Back To Dear Old Blighty (Medley)) 6:23
02 Frankly, Mr. Shankly 2:17
03 I Know It's Over 5:48
04 Never Had No One Ever 3:36
05 Cemetry Gates 2:39
06 Bigmouth Strikes Again 3:12
07 The Boy With The Thorn In His Side 3:15
08 Vicar In A Tutu 2:21
09 There Is A Light That Never Goes Out 4:02
10 Some Girls Are Bigger Than Others 3:14

The Smiths - The Queen Is Dead   (ogg  94mb)

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Recorded as the relationship between Morrissey and Johnny Marr was beginning to splinter, Strangeways, Here We Come is the most carefully considered and elaborately produced album in the group's catalog. Though it aspires greatly to better The Queen Is Dead, it falls just short of its goals. With producer Stephen Street, the Smiths created a subtly shaded and skilled album, one boasting a fuller production than before. Morrissey and Marr also labored hard over the songs, working to expand the Smiths' sound within their very real boundaries. For the most part, they succeed. "I Started Something I Couldn't Finish," "Girlfriend in a Coma," "Stop Me if You Think You've Heard This One Before," and "I Won't Share You" are classics, while "A Rush and a Push and the Land Is Ours," "Death of a Disco Dancer," and "Last Night I Dreamt That Somebody Loved Me" aren't far behind. However, the songs also have a tendency to be glib and forced, particularly on "Unhappy Birthday" and the anti-record company "Paint a Vulgar Picture," which has grown increasingly ironic in the wake of the Smiths' and Morrissey's love of repackaging the same material in new compilations. Still, Strangeways is a graceful way to bow out. While it doesn't match The Queen Is Dead or The Smiths, it is far from embarrassing and offers a summation of the group's considerable strengths.

The Smiths - Strangeways, Here We Come (flac  230mb)

01 A Rush And A Push And The Land Is Ours 2:59
02 I Started Something I Couldn't Finish 3:46
03 Death Of A Disco Dancer 5:24
04 Girlfriend In A Coma 2:02
05 Stop Me If You Think You've Heard This One Before 3:31
06 Last Night I Dreamt That Somebody Loved Me 5:04
07 Unhappy Birthday 2:43
08 Paint A Vulgar Picture 5:33
09 Death At One's Elbow 1:59
10 I Won't Share You 2:45

The Smiths - Strangeways, Here We Come   (ogg  84mb)

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The Smiths - Singles Box (flac  556mb)
01A Hand In Glove 3:17
01B Handsome Devil (Live) 2:53
02A This Charming Man 2:41
02B Jeane 3:02
03A What Difference Does It Make ? 3:26
03B Back To The Old House 3:04
04A Still Ill 3:20
04B You've Got Everything Now 3:58
05A Heaven Knows I'm Miserable Now 3:34
05B Suffer Little Children 5:27
06A William, It Was Really Nothing 2:10
06B Please, Please, Please Let Me Get What I Want 1:50
07A How Soon Is Now? 3:41
07B Well I Wonder 4:00
08A Shakespeare's Sister 2:10
08B What She Said 2:40
09A The Headmaster Ritual 4:51
09B Oscillate Wildly 3:26
10A That Joke Isn't Funny Anymore 3:50
10B Meat Is Murder (Live) 5:34
11A The Boy With The Thorn In His Side 3:15
11B Asleep 4:10
12A Bigmouth Strikes Again 3:18
12B Money Changes Everything 4:40

The Smiths - Singles Box   (ogg  195mb)

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Anonymous said...

Just in case it matters to anyone before downloading, the singles box is actually 556MB, not 317.

Anonymous said...

Hi, the links are not working on the 1st two Smiths.

Anonymous said...

Anon2, they're OK, just keep trying. Both MC and Multiup have been a little buggy off and on for the last day or so.