FORMED: 1982, Manchester, England
DISBANDED: August 1987
Acclaimed by many as the most important UK band of the 80s, the Smiths were formed in Manchester, England during the spring of 1982. Morrissey (b. Steven Patrick Morrissey, 22 May 1959, Davyhulme, Manchester, England) and Johnny Marr (b. John Maher, 31 October 1963, Ardwick, Manchester, England) originally combined as a songwriting partnership, and only their names appeared on any contract bearing the title "Smiths". Morrissey had previously played for a couple of months in the Nosebleeds and also rehearsed and auditioned with a late version of Slaughter And The Dogs. After that he wrote reviews for Record Mirror and penned a couple of booklets on the New York Dolls and James Dean. Marr, meanwhile, had played in several Wythenshawe groups including the Paris Valentinos, White Dice, Sister Ray and Freaky Party.
By the summer of 1982, the duo decided to form a group and recorded demos with drummer Simon Wolstencroft and a recording engineer named Dale. Wolstencroft subsequently declined an offer to join the Smiths and in later years became a member of the Fall. Eventually, Mike Joyce (b. 1 June 1963, Fallowfield, Manchester, England) was recruited as drummer, having previously played with the punk-inspired Hoax and Victim. During their debut gig at the Ritz in Manchester, the band was augmented by go-go dancer James Maker, who went on to join Raymonde and later RPLA.
By the end of 1982, the band appointed a permanent bass player. Andy Rourke (b. Manchester, England) was an alumnus of various previous groups with Marr. After being taken under the wing of local entrepreneur Joe Moss, the band strenuously rehearsed and after a series of gigs, signed to Rough Trade Records in the spring of 1983. By that time, they had issued their first single on the label, "Hand In Glove", which failed to reach the Top 50. During the summer of 1983, they became entwined in the first of several tabloid press controversies when it was alleged that their lyrics contained references to child molesting. The eloquent Morrissey, who was already emerging as a media spokesperson of considerable power, sternly refuted the rumours.
During the same period the band commenced work on their debut album with producer Troy Tate, but the sessions were curtailed, and a new set of recordings undertaken with John Porter. In November 1983 they issued their second single, "This Charming Man", a striking pop record that infiltrated the UK Top 30. Following an ill-fated trip to the USA at the end of the year, the quartet began 1984 with a new single, the notably rockier "What Difference Does It Make?", which took them to number 12.
The Smiths ably displayed the potential of the band, with Morrissey's oblique, genderless lyrics coalescing with Marr's spirited guitar work. The closing track of the album was the haunting "Suffer Little Children", a requiem to the child victims of the 60s Moors Murderers. The song later provoked a short-lived controversy in the tabloid press, which was resolved when the mother of one of the victims came out on Morrissey's side. A series of college gigs throughout Britain established the band as a cult favourite, with Morrissey displaying a distinctive image, complete with National Health spectacles, a hearing aid and bunches of gladioli. A collaboration with Sandie Shaw saw "Hand In Glove" transformed into a belated hit, while Morrissey dominated music press interviews.
His celibate stance provoked reams of speculation about his sexuality, and his ability to provide good copy on subjects as diverse as animal rights, royalty, Oscar Wilde and 60s films, made him a journalist's dream interviewee. The singer's celebrated miserabilism was reinforced by the release of the autobiographical "Heaven Knows I'm Miserable Now", which reached number 19 in the UK. Another Top 20 hit followed with "William, It Was Really Nothing". While the Smiths commenced work on their next album, Rough Trade issued the interim Hatful Of Hollow, a bargain-priced set that included various flip-sides and radio sessions. It was a surprisingly effective work, that captured their inchoate charm.
By 1984 the Smiths found themselves f坱ed as Britain's best band by various factions in the music press. The release of the sublime "How Soon Is Now?" justified much of the hyperbole and this was reinforced by the power of their next album, Meat Is Murder. This displayed Morrissey's increasing tendency towards social commentary, which had been indicated in his controversial comments on Band Aid and the IRA bombings. The album chronicled violence at schools ("The Headmaster Ritual"), adolescent thuggery ("Rusholme Ruffians"), child abuse ("Barbarism Begins At Home") and animal slaughter ("Meat Is Murder"). The proselytizing tone was brilliantly complemented by the musicianship of Marr, Rourke and Joyce.
Marr's work on such songs as "The Headmaster Ritual" and "That Joke Isn't Funny Anymore' effectively propelled him to a position as one of Britain"s most respected rock guitarists. Despite releasing a milestone album, the band's fortunes in the singles charts were relatively disappointing. "Shakespeare's Sister" received a lukewarm response and stalled at number 26, amid ever-growing rumours that the group were dissatisfied with their record label. Another major UK tour in 1985 coincided with various management upheavals, which dissipated the band's energies.
A successful trek across the USA was followed by the release of the plaintive summer single "The Boy With The Thorn In His Side", which, despite its commerciality, only reached number 23. A dispute with Rough Trade delayed the release of the next Smiths album, which was preceded by the superb "Big Mouth Strikes Again", another example of Marr at his best. During the same period, Rourke was briefly ousted from the band due to his flirtation with heroin. He was soon reinstated, however, along with a second guitarist, Craig Gannon, who had previously played with Aztec Camera, the Bluebells and Colourfield. In June 1986, The Queen Is Dead was issued and won immediate critical acclaim for its diversity and unadulterated power.
The range of mood and emotion offered on the album was startling to behold, ranging from the epic grandeur of the title track to the overt romanticism of "There Is A Light That Never Goes Out" and the irreverent comedy of "Frankly, Mr Shankly" and "Some Girls Are Bigger Than Others". A superb display of Morrissey/Marr at their apotheosis, the album was rightly placed alongside Meat Is Murder as one of the finest achievements of the decade. A debilitating stadium tour of the USA followed and during the group's absence they enjoyed a formidable Top 20 hit with the disco-denouncing "Panic". The sentiments of the song, coupled with Morrissey's negative comments on certain aspects of black music, provoked further adverse comments in the press.
That controversy was soon replaced by the news that the Smiths were to record only one more album for Rough Trade and intended to transfer their operation to the major label EMI Records. Meanwhile, the light pop of "Ask' contrasted with riotous scenes during the band"s 1986 UK tour. At the height of the drama, the band almost suffered a fatality when Johnny Marr was involved in a car crash. While he recuperated, guitarist Craig Gannon was fired, a decision that prompted legal action. The band ended the year with a concert at the Brixton Academy supported by fellow Mancunians the Fall. It was to prove their final UK appearance.
After another hit with "Shoplifters Of The World Unite" they completed what would prove to be their final album. The glam rock-inspired "Sheila Take A Bow" returned them to the Top 10 and their profile was maintained with the release of another sampler album, The World Won't Listen. Marr was growing increasingly disenchanted with the group's musical direction, however, and privately announced that he required a break. With the band's future still in doubt, press speculation proved so intense that an official announcement of a split occurred in August 1987.
Strangeways, Here We Come, an intriguing transitional album, was issued posthumously. The work indicated the different directions towards which the major protagonists were progressing during their final phase. A prestigious television documentary examining the group's career followed on The South Bank Show, and a belated live album, Rank, was issued the following year. The junior members Rourke and Joyce initially appeared with Brix Smith's Adult Net, then backed Sind O'Connor, before Joyce joined the Buzzcocks.
DISBANDED: August 1987
Acclaimed by many as the most important UK band of the 80s, the Smiths were formed in Manchester, England during the spring of 1982. Morrissey (b. Steven Patrick Morrissey, 22 May 1959, Davyhulme, Manchester, England) and Johnny Marr (b. John Maher, 31 October 1963, Ardwick, Manchester, England) originally combined as a songwriting partnership, and only their names appeared on any contract bearing the title "Smiths". Morrissey had previously played for a couple of months in the Nosebleeds and also rehearsed and auditioned with a late version of Slaughter And The Dogs. After that he wrote reviews for Record Mirror and penned a couple of booklets on the New York Dolls and James Dean. Marr, meanwhile, had played in several Wythenshawe groups including the Paris Valentinos, White Dice, Sister Ray and Freaky Party.
By the summer of 1982, the duo decided to form a group and recorded demos with drummer Simon Wolstencroft and a recording engineer named Dale. Wolstencroft subsequently declined an offer to join the Smiths and in later years became a member of the Fall. Eventually, Mike Joyce (b. 1 June 1963, Fallowfield, Manchester, England) was recruited as drummer, having previously played with the punk-inspired Hoax and Victim. During their debut gig at the Ritz in Manchester, the band was augmented by go-go dancer James Maker, who went on to join Raymonde and later RPLA.
By the end of 1982, the band appointed a permanent bass player. Andy Rourke (b. Manchester, England) was an alumnus of various previous groups with Marr. After being taken under the wing of local entrepreneur Joe Moss, the band strenuously rehearsed and after a series of gigs, signed to Rough Trade Records in the spring of 1983. By that time, they had issued their first single on the label, "Hand In Glove", which failed to reach the Top 50. During the summer of 1983, they became entwined in the first of several tabloid press controversies when it was alleged that their lyrics contained references to child molesting. The eloquent Morrissey, who was already emerging as a media spokesperson of considerable power, sternly refuted the rumours.
During the same period the band commenced work on their debut album with producer Troy Tate, but the sessions were curtailed, and a new set of recordings undertaken with John Porter. In November 1983 they issued their second single, "This Charming Man", a striking pop record that infiltrated the UK Top 30. Following an ill-fated trip to the USA at the end of the year, the quartet began 1984 with a new single, the notably rockier "What Difference Does It Make?", which took them to number 12.
The Smiths ably displayed the potential of the band, with Morrissey's oblique, genderless lyrics coalescing with Marr's spirited guitar work. The closing track of the album was the haunting "Suffer Little Children", a requiem to the child victims of the 60s Moors Murderers. The song later provoked a short-lived controversy in the tabloid press, which was resolved when the mother of one of the victims came out on Morrissey's side. A series of college gigs throughout Britain established the band as a cult favourite, with Morrissey displaying a distinctive image, complete with National Health spectacles, a hearing aid and bunches of gladioli. A collaboration with Sandie Shaw saw "Hand In Glove" transformed into a belated hit, while Morrissey dominated music press interviews.
His celibate stance provoked reams of speculation about his sexuality, and his ability to provide good copy on subjects as diverse as animal rights, royalty, Oscar Wilde and 60s films, made him a journalist's dream interviewee. The singer's celebrated miserabilism was reinforced by the release of the autobiographical "Heaven Knows I'm Miserable Now", which reached number 19 in the UK. Another Top 20 hit followed with "William, It Was Really Nothing". While the Smiths commenced work on their next album, Rough Trade issued the interim Hatful Of Hollow, a bargain-priced set that included various flip-sides and radio sessions. It was a surprisingly effective work, that captured their inchoate charm.
By 1984 the Smiths found themselves f坱ed as Britain's best band by various factions in the music press. The release of the sublime "How Soon Is Now?" justified much of the hyperbole and this was reinforced by the power of their next album, Meat Is Murder. This displayed Morrissey's increasing tendency towards social commentary, which had been indicated in his controversial comments on Band Aid and the IRA bombings. The album chronicled violence at schools ("The Headmaster Ritual"), adolescent thuggery ("Rusholme Ruffians"), child abuse ("Barbarism Begins At Home") and animal slaughter ("Meat Is Murder"). The proselytizing tone was brilliantly complemented by the musicianship of Marr, Rourke and Joyce.
Marr's work on such songs as "The Headmaster Ritual" and "That Joke Isn't Funny Anymore' effectively propelled him to a position as one of Britain"s most respected rock guitarists. Despite releasing a milestone album, the band's fortunes in the singles charts were relatively disappointing. "Shakespeare's Sister" received a lukewarm response and stalled at number 26, amid ever-growing rumours that the group were dissatisfied with their record label. Another major UK tour in 1985 coincided with various management upheavals, which dissipated the band's energies.
A successful trek across the USA was followed by the release of the plaintive summer single "The Boy With The Thorn In His Side", which, despite its commerciality, only reached number 23. A dispute with Rough Trade delayed the release of the next Smiths album, which was preceded by the superb "Big Mouth Strikes Again", another example of Marr at his best. During the same period, Rourke was briefly ousted from the band due to his flirtation with heroin. He was soon reinstated, however, along with a second guitarist, Craig Gannon, who had previously played with Aztec Camera, the Bluebells and Colourfield. In June 1986, The Queen Is Dead was issued and won immediate critical acclaim for its diversity and unadulterated power.
The range of mood and emotion offered on the album was startling to behold, ranging from the epic grandeur of the title track to the overt romanticism of "There Is A Light That Never Goes Out" and the irreverent comedy of "Frankly, Mr Shankly" and "Some Girls Are Bigger Than Others". A superb display of Morrissey/Marr at their apotheosis, the album was rightly placed alongside Meat Is Murder as one of the finest achievements of the decade. A debilitating stadium tour of the USA followed and during the group's absence they enjoyed a formidable Top 20 hit with the disco-denouncing "Panic". The sentiments of the song, coupled with Morrissey's negative comments on certain aspects of black music, provoked further adverse comments in the press.
That controversy was soon replaced by the news that the Smiths were to record only one more album for Rough Trade and intended to transfer their operation to the major label EMI Records. Meanwhile, the light pop of "Ask' contrasted with riotous scenes during the band"s 1986 UK tour. At the height of the drama, the band almost suffered a fatality when Johnny Marr was involved in a car crash. While he recuperated, guitarist Craig Gannon was fired, a decision that prompted legal action. The band ended the year with a concert at the Brixton Academy supported by fellow Mancunians the Fall. It was to prove their final UK appearance.
After another hit with "Shoplifters Of The World Unite" they completed what would prove to be their final album. The glam rock-inspired "Sheila Take A Bow" returned them to the Top 10 and their profile was maintained with the release of another sampler album, The World Won't Listen. Marr was growing increasingly disenchanted with the group's musical direction, however, and privately announced that he required a break. With the band's future still in doubt, press speculation proved so intense that an official announcement of a split occurred in August 1987.
Strangeways, Here We Come, an intriguing transitional album, was issued posthumously. The work indicated the different directions towards which the major protagonists were progressing during their final phase. A prestigious television documentary examining the group's career followed on The South Bank Show, and a belated live album, Rank, was issued the following year. The junior members Rourke and Joyce initially appeared with Brix Smith's Adult Net, then backed Sind O'Connor, before Joyce joined the Buzzcocks.
Morrissey pursued a solo career, while Marr moved from the Pretenders to The The and Electronic, as well as appearing on a variety of sessions for artists as diverse as Bryan Ferry, Talking Heads, Billy Bragg, Kirsty MacColl, the Pet Shop Boys, Stex and Banderas. In 1992, there was renewed interest in the Smiths following the furore surrounding Johnny Rogan's controversial biography of the band, and Warner Brothers Records' acquisition of their back catalogue from Rough Trade. In 1996, the long-standing legal action taken by Mike Joyce was resolved with Morrissey and Marr losing their case. Joyce was awarded damages of ? million, and Morrissey his appeal..
Türkçe
1982'de Manchester'da Steven Patrick Morrissey ve Johnny Marr tarafımdan kurulmuş bir İngiliz grubu olan The Smiths pek çoklarınca 80'lerde İngiltere'den çıkmış en önemli alternatif rock grubudur. The Stone Roses, Gene, Radiohead, Blur, Suede, Oasis, The Libertines, The Verve ve Doves gibi pek çok grubun üzerinde etkisi olmuştur. Grubun isminin kaynağı tam olarak bilinmemekle beraber döneminde çıkan uzun ve gösterişli grup isimlerine bir tepki olduğu söylenir. Kimilerinceyse grup üyelerinin tamamının İrlandalı olmasına rağmen, İngilizlere has bir erkek ismiyle yaratılan bir ironiden ibarettir.
Grup Tarihçesi
Kuruluşu ve ilk 45likleri
The Smiths, 1982 yılının başlarında işsiz bir yazar olan New York Dolls hayranı Steven Patrick Morrissey ile gitarist ve besteci John Maher tarafından kurulmuştur. Maher daha sonra Buzzcocks grubunun davulcusuyla karıştırılmamak için adını Marr olarak değiştirmiştir. Morrissey de sahne yaşantısı boyunca hep sadece soyadını kullanmıştır. The Fall grubunun davulcusuyla yaptıkları birkaç demo kaydından sonra 1982 sonbaharında Mike Joyce'u gruba almışlardır. Joyce, daha önce The Hoax and Victim adlı punk grubunda çalmıştır. Aynı zamanda, çalıştığı stüdyolarda demo kaydedilmesini sağlayan Dale Hibbert'ı da basçı olarak almış olsalar da Marr'ın arkadaşı Andy Rourke daha sonra onun yerine geçmiştir. Çünkü grup, Hibbert'ın ne bas sesinin, ne de kişiliğinin gruba uymadığını düşünmüştür.
Grubun adı, 80lerin Orchestral Manoeuvres in the Dark ve Spandau Ballet gibi synth-pop gruplarının kibirli ve kendini beğenmiş isimleriyle dalga geçmek için The Smiths olarak seçilmiştir. Melody Maker'da 1984'te yaptığı bir ropörtajda Morrissey, Smith adının düşünebildiği en sıradan isim olduğunu düşünmüş ve sıradan insanların artık yüzlerini göstermeleri gerektiğini dile getirmiştir. Rough Trade Records'la sözleşme imzalayan grup 1983 yılının Mayıs ayında ilk single'ları Hand in Gloveı yayınladı. Bu single'ı ve takip eden bütün single'larını büyük ölçüde kitlelere tanıtan DJ John Peel olmuştur ancak ilk single'ları listelerde başarı yakalayamamıştır. Arkasından gelen This Charming Man ve What Difference Does It Make? 45'likleri listelerde daha yüksek numaralara yükselmiş, İngiltere listelerinde sırayla 12. ve 25. olmuştur. Müzik medyasının devamlı övgüleri ve John Peel ve David Jensen gibi DJ'lerle yaptıkları radyo kayıtlarıyla Smiths kendisine iyi bir hayran kitlesi yaratmıştır.
The Smiths
1984 yılının Şubat ayında grup İngiltere listelerine 2 numaradan giren The Smiths adındaki ilk albümlerini çıkarmıştır. Hem Reel Around the Fountain hem The Hand That Rocks the Cradle şarkıları pedofiliyi savunduğu gerekçesiyle eleştirilmiştir. Ayrıca Suffer Little Children şarkısını barda duyan ve Moors cinayetlerinde ölen çocuklardan birinin dedesi olan bir adam, şarkıyı cinayetler üzerinden para sağlamaya çalışmayla eleştirmiştir. Morrissey'le tanıştıktan sonra şarkının cinayetlerinin kökenine inmeye çalıştığının farkına varmıştır. Morrissey daha sonra, şarkıda adı geçen cinayet kurbanı Lesley Ann Downey'nin annesi Ann West ile arkadaş olmuştur.Albümün prodüktör Troy Tate tarafından oluşturulan tamamlanmadan önceki ilk hali Temmuz/Ağustos 1983 yıllarında kaydedilmiştir. Piyasaya sürülen versiyonuyla büyük farklılıklar gösteren bu albüm Troy Tate Sessions adıyla da bilinir ve piyasada az bulunur. Jeane isimli single, burada This Charming Man single'ının B yüzü olarak planlanmıştır. Albümün yayınlanmasından kısa bir süre sonra Morrissey'in idollerinden Sandie Shaw, Hand in Glove'ı Marr, Joyce ve Rourke ile birlikte kaydetmiştir. Bu single'ın yakaladığı başarıdan sonra grup üyeleri Sandie Shaw gibi ayakları çıplak olarak Top of the Pops'ta şarkıyı söylemiştir.
1984 yılında grup, albüm için kaydedilmemiş bazı single'ları yayınlamaya başlamıştır: Heaven Knows I'm Miserable Now grubun ilk Top 10 başarısı olmuş, William It Was Really Nothing de How Soon Is Now 45'liğinin B yüzünde yerini almıştır. Grup seneyi Hatful of Hollow isimli toplama albümle noktalamıştır. Bu albümde tüm 45'likler, B-yüzleri ve şarkıların önceki yıl içinde grubun Peel ve Jensen kayıtlarında yorumladığı versiyonlar bulunmaktadır.
Meat Is Murder
1985 yılının başlarında grup ikinci albümlerini yayınlamıştır: Meat Is Murder (Et Cinayettir). Bu albüm ilk albümden çok daha hızlı ve politiktir: albüme adını veren şarkı vejetaryenliği savunmaktadır (Morrissey grubun geri kalanının et yerken görüntülenmesini yasaklamıştır), Nowhere Fast kaygısız bir cumhuriyetçilik içermektedir, The Headmaster Ritual ve Barbarism Begins at Home ise okullarda dayağa ve baskıya karşı bir tutum sergilemiştir. Grup aynı zamanda müziksel anlamda da atılımlar yapmış ve Smiths sesini oluşturmuştur; Marr'ın Rusholme Ruffiansa eklediği rockabilly riffleri ve Rourke'un Barbarism Begins At Homeun iskeletini oluşturan funk bass solosu da bunlara birer örnektir. Albümün B yüzü 45'liği olarak sonradan eklediği How Soon Is Now ilk LP versiyonunda bulunmasa da sonraki versiyonlarda bulunmaktadır. Meat Is Murder, grubun listelerde birinci olan tek albümüdür (toplamalar dışında).Morrissey ropörtajlarında politik tavırlar sergileyerek şimşekleri daha da üzerine çekmeye başlamıştır. Eleştirdiği şeylerin başında Margaret Thatcher'ın başında bulunduğu hükümet, kraliyet ailesi ve Afrika'da yoksulluğu giderme projesi olan Band-Aid vardır. Morrissey, Band-Aid projesi hakkında Bir insan Etiyopyalıların iyiliğini gözetebilir, ama İngiltere'nin halkına her gün işkence çektirmek de az buz değil. Sadece 45'lik olarak sürülen Shakespeare's Sister 26 numaraya yerleşirken, That Joke Isn't Funny Anymore zorlukla İlk 50'de kendisine bir yer bulmuştur.
The Queen Is Dead
1985 yılında grup bir sonraki stüdyo albümleri The Queen Is Dead'i (Kraliçe Öldü) kaydederlerken bir yandan İngiltere'yi ve ABD'yi baştan sona turlamışlardır. Albüm Bigmouth Strikes Again 45'liğinden kısa bir süre sonra piyasaya sürülmüştür. 45likte yine Marr'ın aceleci akustik gitar ritmleri ve aralıklı melodik gitar riffleri kendine yer bulmuştur. Albüm listelerde 2 numaraya yükselmiş, kasvetli şarkıları (Never Had No One Ever), ince mizahı (Frankly Mr. Shankly Rough Trade Records sahibi Geoff Travis'ine bir çalışanının yazdığı bir istifa mektubu gibi yazılmıştır) ve bazen ikisinin bir sentezini bir araya getirmiştir (There Is A Light That Never Goes Out ve Cemetry Gates). Ancak grupta işler tamamen iyiye gitmemektedir.Yasal bir anlaşmazlık yüzünden Rough Trade albüm Kasım 1985'te hazır olmasına rağmen yayınlanmasını yedi ay geciktirmiştir ve Marr da grubun devamlı turnede ve kayıtta olmasının stresini hissetmeye başlamıştır. NME'ye daha sonra işin bitkin düşmekten ötesine geçtiğini ve bir dönem acayip hasta olduğunu, turnenin bittiği dönemde artık kaldırabildiğinden fazla içki içmeye başlamış olduğunu dile getirmiştir. Bu arada Rourke, 1986'nın başlarında eroin kullandığı gerekçesiyle gruptan atılır. Bu gelişmeyi arabasının ön camına yapıştırılmış bir post it notu aracılığıyla öğrenecektir: Andy, The Smiths'ten ayrıldın. Hoşça kal, iyi şanslar, Morrissey. Rourke'un yerine bas gitara bir süreliğine eski Aztec Camera üyesi Craig Cannon getirilmiş, ancak Rourke iki gün içinde tekrar gruba alınmıştır. Gannon'sa bunun üzerine gruptan ayrılmamış, ritm gitara geçmiştir. Grup 5 kişiyken Panic ve Ask 45'liklerini kaydetmiş ve İngiltere'yi birlikte turlamıştır. Turne bittikten sonra Gannon gruptan kendi rızasıyla ayrılmıştır.
Grup Rough Trade'in tutumundan giderek rahatsız olmaya başlamış ve büyük bir plak şirketiyle anlaşmak istemiştir. Marr 1987'nin başlarında NME'ye şöyle söylemiştir: "Bütün plak şirketleri bizi görmeye geldi. Bizi sohbete, rüşvete falan boğdular. Bundan acayip zevk aldım." Grup sonunda EMI'la sözleşme imzalamaya karar kılmış ve hayranlarının tepkisini çekmiştir.
Strangeways, Here We Come ve grubun dağılışı
1987 yılının başlarında Shoplifters of the World Unite 45'liği çıktı ve İngiltere listelerinde 12 numaraya yükseldi. Bunu ikinci bir toplama albüm The World Won't Listen (Dünya Kulak Asmıyor) (Albümün adı Morrissey'in genel kitlelerce tanınmamaktan dolayı hayıflanmasını ifade ediyordu) ve Sheila Take A Bow 45'liği takip etti. Sheila Take A Bow grubun ikinci ve grup dağılmadan önceki Top 10'a girmiş son şarkıları olacaktı. Louder Than Bombs ABD piyasası için hazırlanmıştı ve The World Won't Listenla aşağı yukarı aynı içeriğe sahipti, ancak içinde Sheila Take A Bowu ve henüz ABD'de yayınlanmamış Hatful of Hollowdan bazı parçalar da bulunduruyordu.Sürekli başarılarına rağmen kişisel farklılıklar, özellikle Morrissey ve Marr arasında oluşan gerginlikler grubu dağılmanın eşiğine getirdi. Ağustos 1987'de Marr gruptan ayrıldı, yerine birini bulmak için yapılan seçmeler ise sonuç vermedi. Grubun son albümü Strangeways, Here We Come (Strangeways (Hapishanesi), İşte Geliyoruz) albümü Eylül'de yayınlandığında grup çoktan dağılmıştı. Grubun dağılmaya sürüklenmesi çoğunlukla Marr'ın başka sanatçılarla çalışmasının Morrissey'in hoşuna gitmemesi ve Morrissey'in müziksel olarak esnek olmamasının Marr'ı sinirlendirmesine yorulmaktadır. Marr en çok da Morrissey'in Twinkle ve Cilla Black gibi 1960'ların pop yıldızlarının şarkılarını söylemekte ısrar etmesinden nefret etmiştir. Marr 1992 yılında, "Bardağı taşıran son damla oydu aslında. Bu grubu Cilla Black şarkıları söylemek için kurmamıştım," demiştir. 1989 yılında yaptığı bir ropörtajda ise Morrissey, başlarında iyi bir menajer bulunmaması ve ticari sorunların grubu dağılmaya sürüklediğini söylemiştir.
Strangeways İngiltere'de listelere 2 numaradan giriş yapmış olsa da ABD'de pek başarılı olmamıştır; yine de grubun orada en başarılı olmuş albümüdür. Eleştirmenlerin albüm için fena olmadığı yorumlarını yapmış olsalar da grubun tüm üyeleri en sevdikleri albümün Strangeways olduğunu farklı zamanlarda dile getirmişlerdir. Daha önceden kaydedilmiş demo ve konser kayıtlarının B yüzünde yer bulduğu albüm 45'likleri çıkmış ve ertesi yıl da Gannon'ın grupta çaldığı zaman canlı kaydedilmiş olan Rank albümü piyasaya sürülmüştür.
Albümleri
- The Smiths
- Hatful of Hollow
- Meat Is Murder
- The Queen Is Dead
- The World Won't Listen
- Louder Than Bombs
- Strangeways
- Here We Come
- Rank
- The Sound Of (Very Best Of)