From The Smiths to The Strokes: The 10 greatest albums released by Rough Trade
Far Out Magazine - By Joe Taysom
The Smiths – The Queen Is Dead
The Queen Is Dead set the stall for what an album should be and, ever since, few have made a guitar album that can even be mentioned in the same sentence as this iconic effort. The Smiths were on their third record and at the absolute peak of their powers.
The album is The Smiths’ finest work out of the four records they made during their time together and encapsulates everything great about them as an entity. Morrissey’s dark lyricism was juxtaposed alongside Johnny Marr’s sunny guitars that would be the perfect soundtrack to the 1980s. Every single track on the album is a bonafide classic. It simply wasn’t fair on other bands that The Smiths could cram tracks like ‘There Is A Light That Never Goes Out’, ‘Bigmouth Strikes Again’, ‘Cemetry Gates’ and ‘I Know It’s Over’ all on one album, which confirmed their voice of a...
Directed by Stephen Kijak. With Helena Howard, Ellar Coltrane, Elena Kampouris, Nick Krause. 1987. Denver, Co. One crazy night in the life of four friends reeling from the sudden demise of iconic British band The Smiths, while the local airwaves are hijacked at gunpoint by an impassioned Smiths...
1987. Denver, Co. One crazy night in the life of four friends reeling from the sudden demise of iconic British band The Smiths, while the local airwaves are hijacked at gunpoint by an impassioned Smiths fan.
At the peak of their powers, The Smiths were churning out indie hits at such a productive rate that when ‘William, It Was Really Nothing’ was released as a single in 1984, it was backed by both ‘How Soon Is Now’ and ‘Please, Please, Please, Let Me Get What I Want’.
In 2007 Johnny Marr told Uncut that he thought ‘How Soon is Now?’ was “possibly [the Smiths’] most enduring record. It’s most people’s favourite, I think,” he declared.
He may well be the right; the track’s post-night-out sadness has graced a million kitchens in its swooning hue of blue. Marr’s trademark tremolo is in full effect, and Morrisey’s miserable wordplay saunters over the top, swinging a wilting bouquet. Perhaps the record’s most remarkable feat is that it escapes insular oblivion behind the song and has somehow managed to worm its way...