The Smiths

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风格: #后朋克　#独立流行　#独立摇滚　#噪响流行　#另类摇滚　#学院摇滚　#曼彻斯特音乐
地区: United Kingdom 英国

艺人介绍

史密斯乐团(The Smiths)是活跃于1982年到 1987年的英国摇滚团体。团主要的创作人物是主唱摩瑞西(Morrissey)和强尼马尔(Johnny Marr)，虽然只有两张单曲进英国十大排行，但唱片销售量仍然很多。

在1980年代英国的独立音乐背景中，史密斯乐团算是最成功的另类摇滚乐团之一，他们对后来的独立音乐影响很大，包括英伦摇滚的音乐趋向和一些乐团，例如石玫瑰、电台司令、布勒乐团、麂皮乐团（Suede）、绿洲乐队、放荡乐团、鸽子乐团（Doves）等等。

当时史密斯乐团最引人著目的事情有两项，一是摩瑞西那特别、措辞巧妙、又充满争议的歌词；二是马尔的音乐，让以吉他为主的歌曲在跌出英国排行榜后再度受到欢迎。

短短五年间，他们发行过四张专辑和许多单曲。在他们未解散前，英国以外的唱片销售市场并不太好，但在迈向21世纪前的那几年，无论是在家乡还是海外，他们的拥护者则逐渐增加了起来。

Strangeways,Here We Comes 大概应该算是 the Smiths 乐队最好玩的一张专辑，第一首[Rush and a Push and the Land Is Ours]就在八十年代轻快的节奏里，增添了一些不协调的苦涩，还有Girlfriend in a Coma（昏迷中的女友），Unhappy Birthday（不快乐的生日），Paint a Vulgar Picture（画一幅粗俗画）等，在充分展示了 Morrissey 的诗人式的智慧之外，也清晰地打上了他的标签，吉他手Marr 似乎处于一种被弱化的尴尬地位.1987年8月The Smiths 宣布解散，随后即发行了这张已经完成了的专辑，看起来在 The Smiths 的最后阶段，Morrissey 和 Johnny Marr已在朝着各自不同的方向前进。乐队解散之后，Morrissey 开始开拓个人生涯，Marr 则辗转于各乐队之间，Pretenders、The The、 Electronic、 Bryan Ferry、Talking Heads、Billy Bragg、Kirsty MacColl、Pet Shop Boys、Styx...1992年当 Johnny Rogan 的一本有关 The Smiths 的传记发地后，英国又掀起了一次“The Smiths狂热”，人们又开始了对他们辉煌岁月的怀念。

The Smiths 当年被视作“另类”，九十年代以后，随着在其影响下成长起来的OASIS、BLUR等新晋乐队的走红，the Smiths又成为众人顶礼膜拜的对象。

然而，尽管The Smiths在英国的流行音乐史上有着与Pink Floyd一样并驾齐驱的地位，但他们离中国乐迷还是很远。而Boy George则要比他们幸运得多。这主要是因为The Smiths的音乐实在有欠娱乐性，而且还带点不正常“性”。但是作为80年代最闪耀的一支乐团，The Smiths已经受到了两个时代乐坛的尊敬。1982年春天，曼彻斯特诞生了一支日后光芒四射的伟大乐团——它便是此文的主角。主音Morrisey和吉它手JohnnyMarr是乐团的中坚人物。之前Morrisey曾短暂地加入过两个乐团，也曾在《Record Mirror》写过乐评。Marr则参与过许多乐团，但那些乐团都没有在英国历史上留下什么影响。到了1982年夏天，他们决定录制样带，于是乐团吸收了鼓手Mike Joyce和贝司手Andy Rourke，后者也是Marr的校友，那一年Marr、Mike和Andy都是19岁。第二年春天，乐团与独立厂牌Rough Trade签约了，并发行了第一张单曲“Hand In Glove”，它打入了Top 50。1983年夏天，有几家小报指责The Smiths的歌词对儿童有不良诱导倾向，以雄辩着称的Morrisey此时以Smiths发言人的身份，坚定地驳倒了谣言。随后乐团开始为他们的第一张唱片作准备。1983年11月，乐团发地了他们的第二支单曲 “This Charming Man”，这首极富攻击性的作品进入了英国榜Top 30。1984年，Smiths再上一层，单曲“What Difference Does It Make? ”升至12位，首张大碟《The Smiths》显示了他们的潜能，以及倾斜的中性歌词、 Marr生机勃勃的吉它演奏。唱片中有一首“Suffer LittleChildren”是Smiths送给60年代摩尔人大屠杀惨案儿童受害者的一首挽歌。后来Morrisey在一次现场演唱时让一位儿童受害者的母亲站在自己身边，当这幅照片在报纸上刊登时引起了社会哗然。

熟悉Smiths的朋友都知道这个乐团拥有一位突出的同性恋者主音，不错，Morrissey确是同道中人。人们有兴致的话，还可以往下数出很多红得发紫的名字：Boy George、 Pet Shop Boys、 Erasure、Little Richards、K.D.Lang、Anne Lennox、Melissa Etheridge……Morrissey的独身态度开启了人们对人类性行为反思的大门，他常常站在一个人文主义者的立场去思索这个世界：动物权益、特权阶层、功名地位、新旧文化。他用广博的音乐来实现一个旅行家对梦进行寻访的宿愿。在一首自传性的歌曲“Heaven Knows I'm Miserable Now” 中，这位歌者尽情欢颂着痛苦。到了1984年，Smiths已被所有音乐评论誉为英国当代最佳组合。专辑《Meat Is Murder》展示了Morrissey日益关注社会的倾向，同名歌曲被《Q》杂志评为改变世界的10首歌之一。专辑抨击了当时英国猖撅的校园暴力、少年凶杀和虐待儿童。Marr出色音乐表演使他也成为英国80年代最受尊敬的摇滚吉它手之一。《Meat Is Murder Smiths》是Smiths短短音乐生涯中一张里程碑式的唱片。

1985年夏， Smiths开始危机四伏。先是与Rough Trade唱片起争执，耽搁了新唱片的如期发行；贝司手Andy因吸食海洛因而被短暂地逐出乐团，但他很快改过自新了。乐团增加了第二吉它手Craig Gannon。1986年6月，Smiths发行了乐团历史上最重要的一张专辑《The Queen Is Dead》，它的多变风格和庞大力量为Smiths赢得了日趋沉闷的英国乐坛集体性的欢呼。唱片的基调和情感是令人吃惊的，从标题曲的雄伟壮观、“There Is A Light That Never Goes Out”的浪漫幻想到“Frankly Mr Shankly”和“Some Girls Are Bigger”的荒谬喜剧。Morrissey当时针对的对象其实不是伊丽莎白女皇，而是撒切尔夫人。不过后来Morrissey在他90年的大碟《Viva Mate》中收录了一首“Margret On Guillotine”，终于圆了他的美梦。《Queen》和《Meat》并肩成为十年里英国最优秀的唱片，一本法国杂志还把《Queen》评为80年代最佳唱片。至此，Morrissey与Marr已成为英国有史以来最耀眼的一对搭档组合，同时他们也达到了Smiths音乐生涯的巅峰。

1986年当Smiths进行英国巡演时差一点遭受一次厄运，原因是Marr遇上了车祸。当时还有一个谣言说Smiths准备跳到大公司EMI去。在Marr养病期间，另一位吉它手Gannon顶替了他的位置。Marr病好后又替换了Gannon。年底Smiths在布莱克顿学院进行了一场表演，这也是他在英国的最后一次露面。这时，一首新发行带有华丽摇滚风格的单曲“Sheila Take A Bow” 把他们重新又拉回了Top 10。很快他们又发表了一张排练作品汇录的专辑《The World Won't Listen》。此时Marr对Smiths的方向已不抱更大的幻想，于是他私下宣布准备离开。Smiths的未来已是一个问号了。经过冷静的思索，87年8月Smiths终于宣布解散了。随后，一张《Strangeways Here We Come》发行了，这张唱片清晰地显示出在Smiths的最后阶段， Morrissey和Marr已在朝着各自不同的方向前进。

以上便是Smiths这支80年代以来最具传奇性的乐团塑造的一段神话。Smiths后，Morrissey开始开拓个人生涯，Marr则开始了跳马式的一次次练习，从Pretenders到The The、 Electronic、 Bryan Ferry、Talking Heads、Billy Bragg、Kirsty MacColl、Pet Shop Boys、Styx. ……92年当Johnny Rogan的一本有关Smiths的传记发地后，英国又掀起了一次Smiths的狂热，人们又开始了对Smiths辉煌岁月的怀念。

The Smiths were the definitive British indie rock band of the 80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the 90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The groups core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths heyday and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, performing with a pocketful of gladioli and a hearing aid, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.

Before forming the Smiths in 1982, Johnny Marr (born John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract — one of his bands won a competition Stiff Records held to have Nick Lowe produce your band — but he never quite made the leap. Though Morrissey (born Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute James Dean Isnt Dead, which was published by the local Manchester publishing house Babylon Books in the late 70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fan club. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Falls drummer, Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marrs schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer.

The Smiths made their live debut late in 1982, and by the spring of 1983, the group had earned a small but loyal following in their hometown of Manchester and had begun to make inroads in London. Rejecting a record deal with the Mancunian Factory Records, the band signed with Rough Trade for a one-off single, Hand in Glove. With its veiled references to homosexuality and its ringing riffs, Hand in Glove became an underground sensation in the U.K., topping the independent charts and earning the praise of the U.K. music weeklies. Soon, Morrisseys performances became notorious as he appeared on-stage wearing a hearing aid and with gladioli stuffed in his back pockets. His interviews were becoming famous for his forthright, often contrary opinions, which helped the band become a media sensation. By the time of the groups second single, This Charming Man, in late 1983, the Smiths had already been the subject of controversy over Reel Around the Fountain, a song that had been aired on a BBC radio session and was alleged to condone child abuse. It was the first time that Morrisseys detached, literary, and ironic lyrics were misinterpreted and it wouldnt be the last.

This Charming Man reached number 25 on the British charts in December of 1983, setting the stage for What Difference Does It Makes peak of number 12 in February. The Smiths rise to the upper reaches of the British charts was swift, and the passion of their fans, as well as the U.K. music press, indicated that the group had put an end to the synth-powered new wave that dominated Britain in the early 80s. After rejecting their initial stab at a first album, the Smiths released their eponymous debut in the spring of 1984 to strong reviews and sales — it peaked at number two. A few months later, the group backed 60s pop vocalist Sandie Shaw — who Morrissey had publicly praised in an article — on a version of Hand in Glove that was released and reached the Top 40. Heaven Knows Im Miserable Now reached number ten, becoming their highest-charting single amid a storm of controversy about its B-side, Suffer Little Children, which was about the notorious Moors Murders. More controversy appeared when Morrissey denounced the hunger-relief efforts of Band Aid, but the groups popularity was not affected. Though the Smiths had become the most popular new rock & roll group in Britain, the group failed to make it outside of underground and college radio in the U.S., partially because they never launched a full-scale tour. At the end of the year, William It Was Really Nothing became a Top 20 hit and Hatful of Hollow, a collection of B-sides, BBC sessions, and non-LP singles, went to the Top Ten, followed shortly by How Soon Is Now, which peaked at number 24.

Meat Is Murder, the bands second proper studio album, entered the British charts at number one in February of 1985, despite some criticism that it was weaker than The Smiths. Around the time of the release of Meat Is Murder, Morrisseys interviews were becoming increasingly political as he trashed the Thatcher administration and campaigned for vegetarianism; he even claimed that the Smiths were all vegetarians, and he forbade the remaining members to be photographed eating meat, even though they were still carnivores. Marr, for his part, was delving deeply into the rock & roll lifestyle and looked increasingly like a cross between Keith Richards and Brian Jones. By the time the non-LP Shakespeares Sister reached number 26 in the spring of 1985, the Smiths had spawned a rash of soundalike bands, including James, who opened for the group on their spring 1985 tour, most of whom Morrissey supported. However, all of the media attention on the Smiths launched a mild backlash later in 1985, when That Joke Isnt Funny Anymore was pulled from Meat Is Murder and failed to reach the Top 40.

The Boy with the Thorn in His Side revived the bands fortunes in the fall of 1985, and their third album, The Queen Is Dead, confirmed their popularity upon its release in the spring of 1986. Greeted with enthusiastic reviews and peaking at number two on the U.K. charts, The Queen Is Dead also expanded their cult following in the U.S., cracking the Top 100. Shortly before the album was completed, former Aztec Camera guitarist Craig Gannon became the bands rhythm guitarist, and he played with the band throughout their 1986 international tour, including a botched American tour. The non-LP Panic, which was criticized as racist by some observers for its repeated refrain of Burn down the disco...hang the DJ, reached number 11 late in the summer. A few months after its release, Marr was seriously injured in a car crash. During his recuperation, Gannon was fired from the band, as was Rourke, who was suffering from heroin addiction. Though Rourke was later reinstated, Gannon was never replaced.

The Smiths may have been at the height of their popularity in early 1987, with the non-LP singles Shoplifters of the World and Sheila Take a Bow reaching number 11 and ten respectively, and the singles and B-sides compilation The World Wont Listen (revamped for U.S. release as Louder Than Bombs later in 1987) debuting at number two, but Marr was growing increasingly disenchanted with the band and the music industry. Over the course of the year, Morrissey and Marr became increasingly irritated with each other. The singer wished that Marr would stop playing with other artists like Bryan Ferry and Billy Bragg, while the guitarist was frustrated with Morrisseys devotion to 60s pop and his hesitancy to explore new musical directions. A few weeks before the fall release of Strangeways, Here We Come, Marr announced that he was leaving the Smiths. Morrissey disbanded the group shortly afterward and began a solo career, signing with Parlophone in the U.K. and staying with the Smiths U.S. label, Reprise. Marr played as a sideman with a variety of artists, eventually forming Electronic with New Order frontman Bernard Sumner. Rourke retired from recording and Joyce became a member of the reunited Buzzcocks in 1991.

Rank, a live album recorded on the Queen Is Dead tour, was released in the fall of 1988. It debuted at number two in the U.K. A widely criticized, two-part The Best of the Smiths compilation was released in 1992; the praised Singles compilation was released in 1995. Joyce and Rourke sued Morrissey and Marr in 1991, claiming they received only ten percent of the groups earnings while the songwriters received 40 percent. Rourke eventually settled out of court, but Joyce won his case in late 1996. An appeal was scheduled.

The Smiths　史密斯 / 铁匠乐队

艺人介绍

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最新简评（共484条）

The Smiths 史密斯 / 铁匠乐队

艺人介绍

热门评论

最新简评（共484条）

The Smiths　史密斯 / 铁匠乐队