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The Smiths is the debut studio album by English rock band the Smiths, released on 20 February 1984 by Rough Trade Records. After the original production by Troy Tate was felt to be inadequate, John Porter re-recorded the album in London, Manchester and Stockport during breaks in the band's UK tour during September 1983.

The album was well received by critics and listeners, and reached number two on the UK Albums Chart, staying on the chart for 33 weeks. It established the Smiths as a prominent band in the 1980s music scene in the United Kingdom. The album also became an international success, peaking at number 45 in the European Albums Chart,[4] remaining in the chart for 21 weeks.[5] After its exit of the European chart, it then re-entered in the Hot 100 Albums from September for another run of three weeks.[6]

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After signing with independent record label Rough Trade, the Smiths began preparations to record their first album in mid 1983. Due to the suggestion of Rough Trade head Geoff Travis, the band selected Troy Tate (former guitarist of the Teardrop Explodes) as producer for sessions at Elephant studios in Wapping, London.[7] During the following month the group recorded fourteen songs.[8]

While recording a BBC session for Dave Jensen in August 1983, The Smiths met producer John Porter, who was working in one of the studios. Travis, harbouring reservations about the group's session with Troy Tate, gave Porter a cassette of the sessions beforehand in the hopes that he could remix them. Porter told Travis that the sessions were "out of tune and out of time". Feeling the Tate sessions were unsalvageable, Porter offered to re-record the album himself. Despite praising the work with Tate, only a week prior, to the press by stating "we've done everything exactly right and it'll show", Smiths singer Morrissey accepted (as did Travis), while Marr hesitantly agreed.[8] Marr would later claim in his autobiography that when the band heard the finished work done under Tate, Morrissey didn't like the album and the others weren't entirely happy with the results either. "I could hear myself that the mixes sounded underproduced and were not the finished article that we needed as our introduction to the world," Marr wrote. "Why it was deemed necessary to scrap the album entirely rather than just mix it again I didn't know, but I wasn't going to make too much of it...it was a document of how the band really were at that point though...".[10]

The Smiths began work with Porter in September 1983. Due to tour commitments, the group had to make the record in a piecemeal fashion. Marr later recalled that "working with John immediately got us results...he and I formed a musical and personal relationship that was inspiring...he nurtured not just me but all the band". Recording started at London's Matrix Studios, with the majority of the work undertaken during a week's stay at Pluto, just outside Manchester. A final overdub session was performed at Eden Studios in London that November.[11] After listening to a finished mix of the album the following month, Morrissey told Porter and Travis that the album "wasn't good enough". However, the singer said that due to the album's cost of 6,000, "[they said] it has to be released, there's no going back".[12]

"This Charming Man" was included as the sixth track on all original US releases of the album on Sire Records (LP, CD and cassette) and on the UK cassette on Rough Trade. Since 1992, when WEA acquired the Smiths' catalogue, nearly all reissues worldwide also include this song, with the exceptions being a 2009 vinyl reissue on Rhino Records in both the US and the UK and the 2011 vinyl version box set collecting the Smiths albums titled "Complete".

The music critic Garry Mulholland included it in his list of the 261 greatest albums since 1976 in Fear of Music: "The Smiths made safe their early legend with a debut album about child abuse. The production was flat and dour, yet it succeeded in conjuring yet another Manchester-in-song, distinctly different from that of Ian Curtis and Mark E. Smith. But everything about The Smiths ran contrary to mid-80s pop, from Joe Dallesandro on the cover to the restrained jangling of the songs, but mainly through Moz's [Morrissey's nickname] dramatised disgust at sex, which here exists to ruin true love at best, and to ruin an entire young life at worst."[24]

Slant Magazine listed the album at 51 on its list of "Best Albums of the 1980s" saying "There's no reason why a mordant, sexually frustrated disciple of Oscar Wilde who loved punk but crooned like a malfunctioning Sinatra should've teamed up with a fabulously inventive guitarist whose influences were so diffuse that it could be hard to hear them at all and formed one of the greatest songwriting duos of the '80s."[25] PopMatters included the album on their list of "12 Essential Alternative Rock Albums from the 1980s" saying: "Morrissey's career are fully accounted for on The Smiths, where they are rendered all the more piercing by Johnny Marr's delicate guitar-picking and John Porter's stark production".[1]

In 1989, the album was ranked number 22 on Rolling Stone magazine's list of the 100 greatest albums of the 1980s.[26] In 2003, the album was #481 on that magazine's list of the 500 greatest albums of all time.[27] The magazine ranked it at #473 on an updated list in 2012, calling it "a showcase for Morrissey's morose wit and Johnny Marr's guitar chime".[28] The album was ranked number 51 on Rolling Stone's list of the 100 Best Debut Albums of All Time.[29] It placed at number 73 in The Guardian's list of the 100 Best Albums Ever in 1997.[30]

The English alternative rock band the Smiths released four studio albums, one live album, 10 compilation albums, three extended plays (EPs), 24 singles, one video album and 13 music videos on the Rough Trade, Sire and WEA record labels. The band was formed in 1982 in Manchester by vocalist Morrissey, guitarist Johnny Marr, bass player Andy Rourke and drummer Mike Joyce.[1]

The Smiths' debut single was "Hand in Glove" (May 1983); it failed to chart. Its follow-up, "This Charming Man" (October 1983), met with critical approval and reached number 25 on the UK Singles Chart.[2] In 1984 the band reached number 12 in the UK with the single "What Difference Does It Make?" and went to number two on the UK Albums Chart with their debut album, The Smiths. Their next three singles all went into the top 20 of the charts in the UK, helping to consolidate their previous chart success. The next studio album, Meat Is Murder (1985), reached the top of the British charts; the only single to be released from the album, "That Joke Isn't Funny Anymore" (1985), failed to break into the UK Top 40. The Smiths' next six singles all made the top 30 in the UK, and their third album, The Queen Is Dead (1986), climbed to number two in the UK.[3]

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The album is out now on iTunes and has also been made as a traditional LP with full cover jacket and internal artwork. The work was commissioned by Sony Music and Columbia Records, New York at the beginning of 2012.

Conner Smith is gearing up for the release of his full-length debut album Smoky Mountains on Jan. 26 via The Valory Music Co. The anthemic title track from the upcoming project is out now.

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When Kill Rock Stars started working on the 25th anniversary reissue of Elliott's self titled album, we were thinking about how it could be fun to bring his music back into people's lives in a way that was bigger than sharing the original recordings.

We decided to ask a handful of artists to cover his songs in whatever manner made the most sense to them, including Marisa Anderson, MAITA, Palehound, Shaylee, Portland Cello Project, Prateek Kuhad Califone and Bonny Light Horseman. More will be announced as we make our way through the rest of the album.

The album is of a similar musical style to Roman Candle in its minimalist, acoustic folk sound. Smith mostly appears alone on his acoustic guitar, although he is occasionally backed up by the odd musical instrument, such as the harmonica and drums.

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