The Smiths

The Smiths
Company type	Band
Industry	Music
Founded	1982 in Manchester, England
Founder	Morrissey, Johnny Marr, Andy Rourke, Mike Joyce
Defunct	1987
Headquarters	Manchester, England
Products	Music albums and singles

The Smiths emerged as an English rock ensemble originating from Manchester in 1982, composed of Morrissey (lead vocals), Johnny Marr (guitar), Andy Rourke (bass guitar), and Mike Joyce (drums). The songwriting partnership was primarily driven by Morrissey and Marr. They are widely regarded as a pivotal force within the British independent music scene of the 1980s.

After signing with Rough Trade Records in 1983, their debut album, The Smiths, was released the following year. Their musical style blended traditional guitar, bass, and drum arrangements with influences drawn from 1960s rock and post-punk, setting them apart from the prevalent synth-pop sound of the period. Several singles achieved positions within the UK top 20 charts, while each studio album secured a spot in the UK Albums Chart top five, including their chart-topping release Meat Is Murder (1985). Their popularity extended across Europe with albums like The Queen Is Dead (1986) and Strangeways, Here We Come (1987), both reaching the top 20 on the European Albums Chart.

In 1986, guitarist Craig Gannon briefly joined as an additional member; however, internal disagreements culminated in the band's dissolution in 1987. Following their split, they encountered notable disputes over royalties and have consistently declined opportunities for reunions. Andy Rourke passed away in 2023.

1982: Formation and initial gigs

In May 1982, Johnny Marr and Steve Pomfret visited Steven Morrissey at his home in Stretford to propose forming a band together. Marr and Morrissey had initially met at a Patti Smith concert in 1978, bonding over shared interests in poetry and literature. Motivated by Morrissey's writing on the New York Dolls, Marr pursued collaboration, leading to their first practice session in Marr's attic located in Bowdon. Early compositions included "Don't Blow Your Own Horn" and "The Hand That Rocks the Cradle," which they recorded using Marr’s four-track cassette device. They also performed a cover of "I Want a Boy for My Birthday" by the Cookies, appreciating its ironic twist featuring a male vocalist.

By late 1982, Morrissey selected the name the Smiths for the group, opting for a common surname to symbolize ordinary individuals. He also chose to use only his last name professionally. After several rehearsals, Pomfret departed and was replaced by bassist Dale Hibbert, whom Marr encountered at Decibel Studios. Drummer Simon Wolstencroft contributed temporarily during this period while they recorded demos such as "The Hand That Rocks the Cradle" and "Suffer Little Children." Wolstencroft declined permanent membership; following auditions, Mike Joyce was appointed as drummer.

Morrissey attempted to present their demo to Factory Records but faced rejection. The Smiths made their live debut in October 1982 supporting Blue Rondo à la Turk at Manchester’s Ritz during a student-organized music and fashion event. Their setlist combined original material with cover songs, with Morrissey overseeing the event's visual presentation. Due to musical and personal conflicts, Hibbert was replaced by Andy Rourke, a school friend of Marr’s.

In December 1982, they produced a second demo at Drone Studios containing tracks such as "What Difference Does It Make?", "Handsome Devil," and "Miserable Lie," yet this did not result in a contract with EMI. The band rehearsed at Crazy Face Clothing on Portland Street under new management by Joe Moss. By Christmas time, they had composed additional songs including "These Things Take Time" and "Jeane." Their subsequent performances included shows at Manchester’s Manhattan venue in January 1983 and appearances at the Haçienda nightclub in February 1983.

1983–1984: Rough Trade, "Hand in Glove", and First Album

Marr and Rourke presented a cassette of their demos to Geoff Travis, owner of the independent label Rough Trade Records. Travis agreed to release their track "Hand in Glove" as a single, featuring a cover image chosen by Morrissey from Jim French's photography. Issued in May 1983, the single achieved steady sales but failed to break into the UK Top 40. Following their second performance in London, BBC Radio 1’s John Peel invited the band for a session, praising their distinctive sound. This exposure led to features in NME and Sounds magazines.

After meeting the group in Manchester, Travis signed them to his label; Morrissey and Marr accepted without negotiating how earnings would be divided. Initially, producer Troy Tate recorded their debut album at Elephant Studios in East London, but Rough Trade was dissatisfied with the results and replaced him with John Porter. The singles "This Charming Man" and "What Difference Does It Make?" reached numbers 25 and 12 on the UK singles chart, respectively. Positive media coverage and additional BBC sessions helped expand their audience. Controversy emerged when Garry Bushell of The Sun accused their B-side "Handsome Devil" of promoting paedophilia, an allegation the band strongly denied.

In February 1984, the Smiths released their self-titled debut album, The Smiths, which climbed to number two on the UK Albums Chart. Tracks such as "Reel Around the Fountain" sparked tabloid accusations of paedophilic content, claims firmly rejected by the band. That same year featured non-album singles "Heaven Knows I'm Miserable Now" and "William, It Was Really Nothing", with "How Soon Is Now?" appearing as a B-side. "Heaven Knows I'm Miserable Now" marked the beginning of a long-standing partnership with producer Stephen Street and became their first UK top ten hit.

Further controversy surrounded "Suffer Little Children", the B-side to "Heaven Knows I'm Miserable Now", which addressed the Moors murders. After initial public criticism, Morrissey explained the song’s genuine intent and developed a friendship with Ann West, mother of victim Lesley Ann Downey.

The year ended with the release of the compilation album Hatful of Hollow, compiling singles, B-sides, and radio session recordings from the previous year.

1985–1986: Meat Is Murder and The Queen Is Dead

Early in 1985, the Smiths unveiled their second studio album, Meat Is Murder, which took on a more political stance with songs like the pro-vegetarian title track and critiques of corporal punishment. Musically, they broadened their style by incorporating rockabilly elements and funk-inspired bass lines. Prior to the album’s release, they reissued the B-side "How Soon Is Now?", which preceded what became their only UK number one album (excluding compilations).

Morrissey's outspoken political commentary targeted figures such as Margaret Thatcher’s government, the British monarchy, and Band Aid, generating considerable controversy. The single "Shakespeare's Sister" reached number 26 on UK charts, while "That Joke Isn't Funny Anymore" barely entered the top 50. The band embarked on extensive tours across both the UK and US during 1985.

Their third studio album, The Queen Is Dead, released in June 1986 after singles "The Boy with the Thorn in His Side" and "Bigmouth Strikes Again", featured Marr utilizing an E-mu Emulator synthesizer to replicate string arrangements. The album peaked at number two in the UK but experienced nearly seven months’ delay due to legal conflicts with Rough Trade. Marr later reported health problems caused by the demanding schedule.

In early 1986, bassist Andy Rourke was temporarily dismissed due to heroin use but was reinstated two weeks later when Craig Gannon joined as rhythm guitarist, expanding the lineup to five members. During this period they recorded singles "Panic" and "Ask", which reached numbers 11 and 14 on UK charts respectively.

Rourke faced potential replacement over drug possession charges but maintained his role after resolving visa complications. Despite successful performances in North America, heavy drug use among band members and management difficulties created internal tensions. Conflicts with Rough Trade continued alongside dissatisfaction with promotional efforts by American label Sire Records.

Following a canceled concert in St. Petersburg, Florida, and concluding a UK tour in October 1986, tensions prompted Gannon's departure after contributing to seven studio tracks during his time with the band. The Smiths’ final live appearance was an anti-apartheid benefit held at London’s Brixton Academy on 12 December 1986.

After terminating their contract with Rough Trade, the Smiths pursued deals with major labels; Marr described these negotiations as involving “small-talk” and “bribes,” ultimately resulting in a contract with EMI—a decision that drew criticism from fans and some media outlets.

1987: Strangeways, Here We Come and dissolution

In January 1987, the group unveiled the single "Shoplifters of the World Unite", which climbed to number 12 on the UK singles chart. The next month, they released the compilation album The World Won't Listen, reaching number two, a reflection of Morrissey's dissatisfaction with the band's modest commercial achievements. Their single "Sheila Take a Bow" became their second UK top-10 entry and was their last release before disbanding. Another compilation, Louder Than Bombs, appeared in the US in March 1987 and was issued in the UK two months afterward. The Smiths' fourth studio record, Strangeways, Here We Come, opened with a piano introduction as Marr aimed to expand the band's sonic palette, also contributing keyboard parts on various tracks. Notably, the album’s first song, "A Rush and a Push and the Land Is Ours", contains no guitar elements.

Internal tensions escalated; Marr took a hiatus in June 1987 due to burnout, which his bandmates misunderstood. In July, he departed after mistakenly interpreting an NME article titled "Smiths to Split" as being orchestrated by Morrissey. The piece implied that Morrissey resented Marr’s outside collaborations and that their relationship had deteriorated. Marr clarified with NME that his exit was motivated by a wish to pursue broader musical ventures. Ivor Perry, formerly of Easterhouse, was recruited as Marr’s successor. The band worked on incomplete tracks with Perry, including an early version of "Bengali in Platforms", which later appeared on Morrissey's solo debut Viva Hate (1988). Perry described these sessions as uneasy, feeling they were trying to find "another Johnny Marr," and they ended abruptly when Morrissey left the studio.

By the time Strangeways, Here We Come was released in September, the Smiths had already broken up. The split is largely attributed to Morrissey's irritation over Marr's external projects and Marr's frustration with Morrissey's strict musical preferences—especially his emphasis on covering 1960s pop artists such as Twinkle and Cilla Black. In 1992, Marr remarked that performing such covers was "the last straw." Morrissey later pointed to managerial neglect and business complications as additional causes.

Strangeways, Here We Come reached number two on the UK charts and became their most successful album in the US, peaking at number 55 on the Billboard 200. Both Morrissey and Marr have identified it as their preferred Smiths album. Two further singles from the record included live and demo B-sides. In 1988, the live album Rank, recorded in 1986 featuring Craig Gannon, reached number two in the UK and entered the European Top 100 Albums chart at number nine.

1989: Royalty conflict

Morrissey and Marr each received 40% of the Smiths' recording and performance royalties, while Joyce and Rourke were allocated 10% each. Joyce's legal representative argued that Joyce and Rourke were treated like session musicians—"as easily replaceable as parts in a lawnmower." In March 1989, Joyce and Rourke initiated legal action against Morrissey and Marr, asserting equal partnership status with rights to 25% of profits from all activities except songwriting and publishing. Rourke, burdened by debt, settled promptly for £83,000 plus 10% royalties, relinquishing further claims.

Joyce pursued litigation further, reaching the High Court of Justice (Chancery Division) in December 1996. While Morrissey and Marr conceded that Joyce and Rourke were partners, they contested whether Joyce deserved a quarter share of profits beyond songwriting or publishing revenue. Joyce’s counsel revealed that he only became aware he was receiving just 10% after the band's breakup.

Morrissey and Marr maintained that they had verbally explained the royalty arrangement to Joyce and Rourke; however, no formal contracts were signed—something Marr later regretted. Marr's lawyer noted it was challenging to determine precisely when the 40:40:10:10 profit division began but affirmed that Morrissey and Marr consistently operated under this understanding.

Following a seven-day trial, Judge Weeks ruled in favor of Joyce, awarding approximately £1 million in back royalties along with a continued entitlement to 25%. The judge characterized Joyce and Rourke as straightforward individuals while criticizing Morrissey for deceitfulness and describing Marr as less credible due to exaggerations. Morrissey later voiced frustration over the decision, blaming Joyce for damaging the band's legacy.

Before proceedings began, Morrissey denied allegations of underpaying Rourke and Joyce. His legal team admitted that Morrissey's demeanor exhibited arrogance. Morrissey appealed the ruling; however, the Court of Appeal upheld it in November 1998. Encouraged by Joyce's outcome, Rourke sought legal counsel but was declared bankrupt in 1999.

In November 2005, Joyce disclosed financial difficulties had compelled him to sell rare Smiths recordings on eBay. Morrissey responded by stating that Joyce had received substantial payments from him and Marr between 1997 and 2001 but failed to make a final payment due to being abroad. Joyce obtained a default judgment against Morrissey that garnished much of his income—a grievance Morrissey estimated had cost him over £1.5 million in royalties and legal expenses by late 2005.

Solo careers

Following the dissolution of the band, Morrissey embarked on a solo journey, working alongside producer Stephen Street and guitarist Vini Reilly from the Durutti Column. His first solo album, Viva Hate, released in March 1988, reached number one on the UK charts. The album featured guest appearances by vocalists such as Suggs (Madness) on tracks like "Piccadilly Palare" and "Sing Your Life", as well as Chrissie Hynde (the Pretenders) on "My Love Life". Morrissey also recorded a duet with Siouxsie Sioux titled "Interlude" and collaborated with arranger Ennio Morricone. During the early 1990s, his touring helped him regain significant popularity in North America. By 2020, Morrissey had released a total of thirteen solo studio albums.

Johnny Marr re-entered the music scene in 1989 by forming the supergroup Electronic with Bernard Sumner (New Order) and Neil Tennant (Pet Shop Boys), producing three albums over ten years. He also became a member of the The, contributing to two of their albums between 1989 and 1993. Marr extensively worked as a session musician and collaborator with numerous artists, including the Pretenders, Bryan Ferry, Pet Shop Boys, Billy Bragg, Black Grape, Talking Heads, Modest Mouse, Crowded House, and Beck.

In 2000, Marr established Johnny Marr + the Healers, releasing one album, Boomslang (2003), before disbanding. He contributed to Oasis' Heathen Chemistry (2002) and collaborated with Modest Mouse on their 2007 release We Were Dead Before the Ship Even Sank, joining them officially for their subsequent tour. From 2008 to 2011, Marr worked with indie band the Cribs, appearing on their album Ignore the Ignorant (2009). His solo career includes albums such as The Messenger (2013), Playland (2014), and Call the Comet (2018). Additionally, he produced Marion's The Program (1998) and Haven's debut release Between the Senses (2002).

Andy Rourke and Mike Joyce maintained their partnership after The Smiths ended. They toured with Sinéad O'Connor in 1988; Rourke also appeared on her 1990 album I Do Not Want What I Haven't Got. The pair briefly joined the Adult Net, recorded singles alongside Morrissey during 1988–89, and toured with Aziz Ibrahim in 1998. In 2001 they formed Specter but experienced limited commercial impact. They also created demos under the name Moondog One but did not advance beyond that stage. Later that year, they performed with veteran Manchester group Jeep. In 2005 they collaborated with Vinny Peculiar, releasing "Two Fat Lovers" and contributing to his 2006 album.

Joyce's session career includes work with Suede (1990), Buzzcocks (1990–91), Julian Cope (1992), John Lydon/Public Image Ltd (1992), P.P. Arnold (1995), Pete Wylie (1996–98), Vinny Peculiar and Paul Arthurs (2007), as well as Autokat (2008–09). He has hosted radio programs such as Alternative Therapy on Revolution 96.2 FM and later Manchester Radio Online. Currently, Joyce presents The Coalition Chart Show on East Village Radio in New York.

Rourke contributed to the Pretenders' album Last of the Independents (1994), played with Badly Drawn Boy for two years, featured on Proud Mary's Love and Light (2004), and appeared on Ian Brown's The World Is Yours (2007). In 2007 he co-founded Freebass alongside Peter Hook (New Order) and Mani (the Stone Roses, Primal Scream). Rourke also played a key role in establishing the Manchester v Cancer concert series aimed at supporting cancer research funding. Moving into radio broadcasting, he hosted a Saturday show on XFM Manchester and frequently appeared alongside Joyce on East Village Radio. After relocating to New York in 2009, he formed Jetlag, a DJ and audio production duo with Olé Koretsky. In April 2014, following collaboration with Dolores O'Riordan of The Cranberries, Jetlag was rebranded as D.A.R.K..

Reunion speculation

Both Marr and Morrissey have consistently dismissed the idea of reassembling the band. In 2006, Morrissey famously declared, "I would rather eat my own testicles than reform the Smiths," underscoring his disinterest despite financially attractive proposals. He attributed his refusal to a lack of camaraderie and incompatible work ethics. Similarly, Joyce remarked in 2002 that the Smiths had fulfilled their purpose and concluded their journey.

An attempt by VH1's Bands Reunited in 2004 to orchestrate a reunion fell through as Morrissey declined to participate. Morrissey also turned down a $5 million offer to perform at Coachella in 2006, explaining that the band’s conclusion reflected Marr’s wishes. In 2007, rumors emerged of a $75 million proposal for a fifty-date global tour, which Morrissey rejected; although later called a hoax, the specifics remain ambiguous. Marr maintained an uncertain stance regarding any future regrouping.

In 2008, during the remastering of the band's catalogue, Marr reestablished contact with Morrissey and Rourke. Brief talks about reforming occurred between Morrissey and Marr, excluding Joyce, but communication ceased as Marr became engaged with the Cribs. In 2009, Marr disclosed that they had been offered $50 million for several performances but emphasized that their choice against reuniting stemmed from intangible reasons beyond financial incentives.

Marr and Rourke performed Smiths’ songs together at various benefit events and festivals until Rourke passed away from pancreatic cancer in May 2023.

In August 2024, Morrissey announced that he and Marr had received a "lucrative offer" to tour as the Smiths in 2025; while he accepted, he claimed Marr did not respond. Marr publicly dismissed reunion rumors on social media and later confirmed he had declined the proposal. He also refuted Morrissey's assertions regarding trademark ownership, clarifying that he registered the Smiths' trademark solely under his name in 2018 to safeguard it from third-party claims after failing to receive Morrissey's reply—despite previously agreeing to joint ownership.

Musical style

The Smiths' sound is identified with genres such as indie pop, indie rock, jangle pop, post-punk, and alternative rock. Steve Jelbert of The Independent described their music as a blend combining "Sixties soul and rock, funk, glam, rockabilly, African high life and plenty of studio electrickery." The musical direction was equally shaped by Morrissey and Marr; Marr stated in 1990 that it was "a 50/50 thing" between them. Their approach rejected contemporary dance pop and synthesizers in favor of a "whiter-than-white fusion" merging 1960s rock with post-punk elements. From their second album Meat Is Murder, keyboards became part of Marr’s arrangements.

Marr's distinctive jangly guitar style was influenced by James Honeyman-Scott of the Pretenders and Bert Jansch from Pentangle (band). He frequently tuned his guitar up a whole step to F-sharp using a capo to complement Morrissey's vocal range and employed open tunings. Inspired by producer Phil Spector, Marr aimed for recordings with a "symphonic" quality—integrating all instruments into a cohesive sonic atmosphere. His favorite guitarists included James Williamson (the Stooges), Rory Gallagher, Pete Townshend (the Who), Jimi Hendrix, Marc Bolan (T. Rex (band)), Keith Richards (the Rolling Stones), and John McGeoch (Magazine (band)). Striving to avoid clichés, Marr refined his technique using arpeggiated chords, open-string riffs, and unconventional progressions that fused '60s jangle-pop with the rhythmic sophistication of Nile Rodgers and Keith Richards. He also utilized an overdrive pedal on tracks such as "London."

Morrissey concentrated on crafting vocal melodies and lyrics influenced by punk and post-punk groups like New York Dolls, the Cramps, the Specials, and the Cult, alongside 1960s girl groups and vocalists such as Dusty Springfield, Sandie Shaw, Marianne Faithfull, and Timi Yuro. His lyrics often combined mordant wit with somber themes exploring despair, alienation, and mortality grounded in social realism. While some critics branded the band as "miserabilists" due to Morrissey's melancholic stance, songs like "Still Ill" established him as a voice for disenchanted youth. Julian Stringer characterized the Smiths as "one of Britain's most overtly political groups," while Andrew Warnes described them as "the most anti-capitalist of bands."

Imagery

The group's album artwork was characterized by a unique duotone aesthetic, frequently showcasing figures from film and pop culture. This visual design was crafted by Morrissey alongside Jo Slee, the art coordinator at Rough Trade. Text on single covers was minimal, typically limited to the band's name, and the members themselves did not appear on UK editions—except for Morrissey, who featured on an alternative cover for "What Difference Does It Make?" after actor Terence Stamp raised objections. The individuals portrayed on these covers mirrored Morrissey's fascination with cinematic icons such as Stamp, Alain Delon, Jean Marais, Joe Dallesandro, and James Dean; notable personalities from 1960s British pop culture including Viv Nicholson, Pat Phoenix, Yootha Joyce, and Shelagh Delaney; as well as anonymous vintage photographs.

The Smiths' wardrobe primarily consisted of everyday attire—jeans paired with simple shirts—reflecting their straightforward guitar-and-drums musical approach. This stood in stark contrast to the flamboyant fashion embraced by New Romantic bands like Spandau Ballet and Duran Duran. During a 1986 appearance on The Old Grey Whistle Test, Morrissey sported a faux hearing aid in solidarity with a fan who had hearing difficulties and often wore thick-framed NHS-style glasses while frequently brandishing gladiolus flowers during performances.

As the lead vocalist, Morrissey challenged many established conventions within pop and rock music. The band's minimalist visual style served as a counterpoint to the extravagance of New Romantic acts. Although Morrissey adopted an androgynous image reminiscent of glam rock performers, his presentation was more understated. He was perceived as intellectual and genuine, with music that fused melancholy, introspection, and wit—resonating profoundly with audiences.

Legacy

The Smiths have left a profound mark on music history. Ian Youngs of BBC News remarked that they inspired a level of devotion unmatched by any British group since the Beatles. Marr’s guitar playing significantly influenced Manchester legends like the Stone Roses; their guitarist John Squire acknowledged Marr’s impact on his style. Noel Gallagher of Oasis also credited the Smiths—and particularly Marr—as crucial influences. Early Radiohead drew inspiration from the Smiths, especially evident in their 2001 track "Knives Out." Marr himself noted that Radiohead came closest to capturing the authentic essence of the Smiths’ influence.

Alex Turner from Arctic Monkeys identified the Smiths as major contributors to the sound of Suck It and See. Canadian artist the Weeknd included them among his inspirations for the album Starboy. American singer-songwriter Jeff Buckley admired the band and covered their songs; Morrissey named Buckley’s 1994 album Grace as one of his favorites.

Simon Goddard described the Smiths in Q magazine as "the one truly vital voice of the '80s" and "the most influential British guitar band of that decade," highlighting their independent mainstream success with 1985’s UK Number 1 album Meat Is Murder. Their influence extends through bands such as Stone Roses, Oasis, the Libertines, and modern guitar-driven groups.

Uncut magazine lauded their innovative fusion of rock and pop combined with a distinctive vocal style delivering lyrics that were both candid and clever. The Britpop movement—led by Oasis, Suede, and Blur—drew heavily on Morrissey’s depiction of grim urban England but clashed with the Smiths’ anti-establishment stance due to Britpop’s commercial orientation. Mark Simpson argued that Britpop aimed to sideline Morrissey to facilitate its commercial pop framework.

Contemporary artists like Teez Touchdown have featured the Smiths in curated Spotify playlists. In 2012, Rolling Stone included four Smiths albums in its "500 Greatest Albums of All Time" list and ranked "William, It Was Really Nothing" alongside "How Soon Is Now?" among its "500 Greatest Songs" in 2004. Morrissey appeared on their 2010 list of greatest vocalists. The Smiths received nominations for induction into the Rock and Roll Hall of Fame in both 2014 and 2015.

In 2021 and again in 2023, artists Blossoms and Rick Astley performed Smiths covers at various concerts including Glastonbury Festival 2023. Critics viewed these renditions as opportunities for fans to appreciate the Smiths’ music separate from Morrissey’s recent controversies. Morrissey publicly expressed gratitude toward Blossoms and Astley; Marr described these performances as simultaneously "funny and horrible."

Members

Core lineup

Morrissey – lead vocals (1982–1987)
Johnny Marr – guitar, piano, keyboards, harmonica (1982–1987)
Andy Rourke – bass guitar (1982–1986, 1986–1987; deceased 2023)
Mike Joyce – drums and percussion (1982–1987)

Additional members

Steven Pomfret – guitar (1982)
Dale Hibbert – bass guitar (1982)
James Maker – dancing, maracas, backing vocals (1982–1983)
Craig Gannon – guitar and bass (1986)
Ivor Perry – guitar (1987)

Session and touring musicians

Simon Wolstencroft – drums (1982)
Guy Pratt – bass guitar (1986)

Discography

Sources

External links