The Smiths – The Smiths

With their debut album, the Smiths launched an all-too-brief, but profound career that, largely owing to their outspoken lead singer, would be enshrouded in controversy and cultlike devotion. Lyrically, Steven Patrick Morrissey waxed haute poetic about homosexuality ("Hand in Glove") and child murders ("Suffer Little Children"). Musically, this album kicked a hole through the lip-glossed synth-pop that dominated the early-'80s music scene. Still cloaked in the lingering influences of New Romantic new wave and Clash-like punk, this album, like most great rock debuts, represents the group at its most raw and stark. But the core elements of the Smiths' sound, rooted in Morrissey's subtly off-key, morose crooning and nearly freeform lyrical arrangements floating over guitarist Johnny Marr's plucky, concise guitar riffs, are well-established here. The rhythm section displayed a similar relationship: Andy Rourke's mobile bass lines seemed almost to disregard any supportive undertones they could have lent to Mike Joyce's straight-ahead, no nonsense drum patterns. All the tugging and pulling worked brilliantly, cementing the sound that made the Smiths a landmark band of the 1980s. --Beth Bessmer

The Smiths - Meat is Murder

Singer Morrissey's brittle wit and guitarist Johnny Marr's incisive guitar helped make the Smiths create both an entranced cult following and pop music of the highest order. The U.S. edition of the band's second album includes the bonus single "How Soon Is Now?" and while it's a welcome addition, the rest of the tracks stand ably on their own. The militant vegetarianism is heavy-handed, but the sly humor of "That Joke Isn't Funny Anymore" and "I Want the One I Can't Have" present proof of the band's scope, as do the anthemic "The Headmaster Ritual" and "Rusholme Ruffians." --Rob O'Connor

The Smiths - Louder than bombs

This 1987 collection of Smiths album tracks, B-sides, and singles (and roughly half of Hatful of Hollow) is a worthy essential Smiths due to its scope and size. Twenty-four tracks in all, it includes hits such as the irresistible and bouncy "Ask," the Smiths prototype "Heaven Knows I'm Miserable Now," "William, It Was Really Nothing," "Panic," and "Hand in Glove." Lesser-known tracks like the lovely, piano-driven instrumental "Oscillate Wildly," the dark "Rubber Ring," and the weary "Half a Person" are strong enough to stand without the benefit of support from the hits. There are a few misses here, but they're hardly noticeable when surrounded by all the great tracks. Plus, a number of must-haves ("You Just Haven't Earned It Yet, Baby," "Stretch Out and Wait," "Half a Person") are virtually unavailable elsewhere. --Lorry Fleming

The Smiths – The Queen Is Dead

This is the value of working at cross-purposes: The Smiths were Morrissey's excuse to undulate his wry, disaffected lyrics, and Johnny Marr's vehicle for his sharp, chiming, pop songs. Their favorite kind of compromise made them essentially a singles band, and The Queen Is Dead has a couple of their best (notably "The Boy with the Thorn in His Side," one of the greatest pop expressions of the Love That Dare Not Speak Its Name). But it also has some wonderful compromises of different kinds: the bizarrely romantic "There Is a Light That Never Goes Out," and "Cemetry Gates," where Marr covers up for Morrissey's floridity with shimmying rockabilly. --Douglas Wolk

The Smiths – Hatful Of Hollow

The Smiths tend to be thought of as a band one grows out of--music you listened to as a depressed adolescent and then abandoned when you overcame it all. Such a notion denies them their place in the rock pantheon, not only as an inspiration to countless indie-rock outfits but also as the band that challenged the received wisdom of rock & roll machismo. Fronted by the fey, sexually ambiguous Steven Patrick Morrissey, who married painfully honest lyrics--almost embarrassing in their self-effacement--with arch humor and a melancholic delivery, the British band was quite an anomaly to an America still emerging from the bloated-rock tyranny of the likes of Journey and REO Speedwagon. Hatful of Hollow, released as an import in 1984 and domestically in 1993, is a collection of singles, many recorded live for various radio shows. More-muscular versions of most of the tracks here can be found on the collection Louder Than Bombs, but Hatful has a vitality to it that the studio-bound, somewhat antiseptic Bombs lacks. Check out Johnny Marr's delicate acoustic guitar on the aching "Back to the Old House" or the band's looser workouts of such now-classics as "This Charming Man" and "Still Ill." Two songs not found on other albums make this a must for fans: "Handsome Devil" and "Accept Yourself," a bouncy, jangly number on which Morrissey croons convincingly, "Others conquered love, but I ran / I sat in my room and I drew up a plan." Perfect music for your awkward inner child. --Steve Landau

The Smiths - Strangeways Here We Come