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Album :: The Smiths

The Smiths

(Feb/Apr 1984)

Hand In Glove - The Smiths
I Don't Owe You Anything - The Smiths
Miserable Lie - The Smiths
Pretty Girls Make Graves - The Smiths
Reel Around The Fountain - The Smiths
Still Ill - The Smiths
Suffer Little Children - The Smiths
The Hand That Rocks The Cradle - The Smiths
What Difference Does It Make? (Album version) - The Smiths
You've Got Everything Now - The Smiths

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Pubblicato nel 1984, l'album di debutto degli Smiths era atteso con ansia da coloro che erano diventati seguaci dello strano quartetto di Manchester. Nonostante la fase di composizione avesse generato brani eccellenti, la produzione dell'album risulta stranamente opprimente, anche se questo trattiene un certo fascino. La versione originale non conteneva "This Charming Man", ma forniva ugualmente una visione straordinaria, seppure abbastanza giovanile, degli Smiths e della loro musica. Inizialmente l'album era stato prodotto da Troy Tate ed intitolato "The Hand That Rocks The Cradle". Ma gli Smiths erano comprensibilmente scontenti della produzione ed insistettero per registrare nuovamente l'album. Prenotarono uno studio per due settimane per registrare di nuovo i brani con John Porter, con il quale avevano lavorato poco prima per la registrazione delle sessions alla BBC. Riuscirono così a stendere le tracce che appaiono sull'album con un budget risicato di 20.000 sterline.

Released in 1984, The Smiths' eponymous debut album was eagerly awaited by those who had become followers of the odd quartet. Despite some excellent songwriting, the production was strangely leaden, although it certainly has a charm of its own. The original version did not have "This Charming Man" on it, but still provided an excellent if fairly young view of The Smiths and their music. This album was originally produced by Troy Tate, and entitled The Hand That Rocks The Cradle. The Smiths were understandably unhappy with the production, and insisted on re-recording the album. They booked a studio for two weeks to re-record the songs with John Porter, whom they had recently worked with recording BBC sessions, and layed down the tracks which appear on this album on a shoe-string budget of £20,000.