Strangeways, Here We Come
Strangeways, Here We Come is the fourth and final studio album by English rock band the Smiths. Released on 28 September 1987 (several months after their disbandment) by Rough Trade Records, it reached number two on the UK Albums Chart, staying in the chart for 17 weeks. All of the songs were composed by Johnny Marr, with lyrics written and sung by Morrissey. The album was certified gold by the British Phonographic Industry on 1 October 1987 and also by the Recording Industry Association of America on 19 September 1990.
|Strangeways, Here We Come|
|Studio album by|
|Released||28 September 1987|
|Studio||The Wool Hall, Beckington, Somerset|
|The Smiths chronology|
|Singles from Strangeways, Here We Come|
Slant Magazine listed the album at No. 69 on its list of "Best Albums of the 1980s", writing that "Whether or not Strangeways, Here We Come ended the Smiths' brief career with their best album has been the subject of considerable debate for nearly a quarter century, but it definitively stands as the band's most lush, richest work."
The Smiths recorded what was to be their final studio album at The Wool Hall studios in Beckington, Somerset, England (established and then-owned by the band Tears for Fears). Between the album's recording in March and its release in September 1987, Johnny Marr exited the group, ending the band. Strangeways is the only Smiths album to feature Morrissey playing a musical instrument: piano, on the song "Death of a Disco Dancer".
Marr felt the band was ready to enter a new musical phase, and was determined to avoid formula and move away from their previous "jingle jangle" sound. He started to look for different influences, finding an interest in The Beatles' White Album. Marr further stated that he intended Strangeways as an homage to early records by The Walker Brothers. The band's instrumentation branched out as well, including synthesised saxophone, string arrangements, and drum machine additions.
Recording in The Wool Hall made the sessions more relaxed, as the wine cellar was fully stocked and producer Stephen Street came slowly to understand the idea that the writing partners Morrissey and Marr were trying to put forth. Street (who engineered previous Smiths efforts) later said that after the recording days there would always be late-night drinking. "That was always after Morrissey had gone to bed ... it wasn't really his bag. We'd carry on finishing overdubs and then the records would come out. We'd be partying all hours." Marr would later defend this by saying "But only after ten or twelve hours of making some really good music, not as a substitute ... It wasn't all one Spinal Tap mongo fest!"
Morrissey and Marr feel the album is the band's best, with Morrissey asserting that, "We say it quite often. At the same time. In our sleep. But in different beds."
Artwork and titleEdit
The sleeve for Strangeways, Here We Come, which was designed by Morrissey, features a murky shot of East of Eden co-star Richard Davalos. Davalos is looking at James Dean, who is cropped from the image. Dean was a hero of Morrissey's, about whom the singer wrote a book called James Dean Is Not Dead. Five years later, when designing the sleeve for WEA's Best compilations, Morrissey again chose Davalos as a cover star, and Davalos is looking at Dean, who is once again cropped.
As revealed in Jo Slee's collection of Smiths and Morrissey sleeve artwork, Peepholism, Davalos was not the original choice for cover star. Morrissey wanted to use a still of Harvey Keitel in Martin Scorsese's I Call First (also known as Who's That Knocking at My Door), but Keitel declined to allow him to use the image. In 1991 Keitel relented, and the image was used on T-shirts and stage backdrops for Morrissey's 1991 Kill Uncle Tour.
The album takes its title from Manchester's notorious Strangeways Prison (now HM Prison), whilst the line "Borstal, here we come" is taken from the novel Billy Liar. "Strangeways, of course, is that hideous Victorian monstrosity of a prison operating 88 to a cell," Morrissey has explained.
On the title, Marr has said "I've learned to love the title ... it was a bit overstating things somewhat. A little bit obvious. But it's OK. I was always intrigued by the word Strangeways. I remember as a kid, when I first heard that the prison was really called that, I wondered had it not occurred to anybody to change the name? It's still befuddling, really." Morrissey has also stated, "Really it's me throwing both arms to the skies and yelling 'Whatever next?'"
Two final songs were recorded in May 1987 to provide B-sides for the album's lead single, "Girlfriend in a Coma". Two more singles were taken off Strangeways, Here We Come; their B-sides were drawn from archival recordings.
|Los Angeles Times|||
|The Rolling Stone Album Guide|||
|The Village Voice||B|
Reviewing the album for AllMusic, Stephen Thomas Erlewine said it was "a subtly shaded and skilled album, one boasting a fuller production than before ... while it doesn't match The Queen Is Dead or The Smiths, it is far from embarrassing and offers a summation of the group's considerable strengths."
All tracks written by Morrissey and Johnny Marr.
|1.||"A Rush and a Push and the Land Is Ours"||3:00|
|2.||"I Started Something I Couldn't Finish"||3:47|
|3.||"Death of a Disco Dancer"||5:26|
|4.||"Girlfriend in a Coma"||2:03|
|5.||"Stop Me If You Think You've Heard This One Before"||3:32|
|6.||"Last Night I Dreamt That Somebody Loved Me"||5:03|
|8.||"Paint a Vulgar Picture"||5:35|
|9.||"Death at One's Elbow"||2:01|
|10.||"I Won't Share You"||2:48|
- Morrissey – vocals, piano (on "Death of a Disco Dancer"), handclaps (on "Paint a Vulgar Picture"), production
- Johnny Marr – guitar, keyboards, harmonica, harmonium (on "Unhappy Birthday"), autoharp (on "I Won't Share You"), synthesised strings and saxophone arrangements, additional vocals (on "Death at One's Elbow"), handclaps (on "Paint a Vulgar Picture"), production
- Andy Rourke – bass guitar, keyboards, handclaps (on "Paint a Vulgar Picture")
- Mike Joyce – drums, percussion, handclaps (on "Paint a Vulgar Picture")
- Stephen Street – producer, additional drum machine programming on "I Started Something I Couldn't Finish", "Paint a Vulgar Picture" and "Death at One's Elbow", strings arrangement for "Girlfriend in a Coma", sound effects on "Last Night I Dreamt That Somebody Loved Me" and "Death at One's Elbow"
- Steve Williams – engineering assistance
|1987||New Zealand Albums||14|
|1987||UK Albums Chart||2|
|1987||US Billboard 200||55|
- David Roberts British Hit Singles and Albums, Guinness World Records Limited
- "The 100 Best Albums of the 1980s - Feature - Slant Magazine".
- Goddard, Simon (1 October 2009). Mozipedia: The Encyclopedia of Morrissey and The Smiths. Random House. p. 96. Retrieved 8 January 2012.
- Goddard, Simon (1 October 2009). Mozipedia: The Encyclopedia of Morrissey and The Smiths. Random House. p. 422. Retrieved 8 January 2012.
- Murray, Noel (December 6, 2012). "Gateways to Geekery: Scott Walker". The AV Club. The AV Club. Retrieved December 10, 2018.
- Brown, Len (2008). Meetings with Morrissey. Music Sales Group. p. 171. Retrieved 8 January 2012.
- "The Smiths - The Stories Behind All 27 Of Their Provocative Album And Single Sleeves - NME". 3 August 2015.
- Goddard, Simon (1 October 2009). Mozipedia: The Encyclopedia of Morrissey and The Smiths. Random House. p. 421. Retrieved 31 March 2015.
- Erlewine, Stephen Thomas. "Strangeways, Here We Come – The Smiths". AllMusic. Retrieved 25 September 2015.
- Power, Tony (15 September 2004). "The Smiths: Strangeways, Here We Come". Blender. Archived from the original on 30 June 2006. Retrieved 9 November 2015.
- Kot, Greg (7 July 1991). "The Smiths And Solo". Chicago Tribune. Retrieved 10 November 2015.
- Willman, Chris (27 September 1987). "Morrissey—Still The Lonely Wordsmith". Los Angeles Times. Retrieved 10 November 2015.
- Wolk, Douglas (18 November 2011). "The Smiths: The Smiths Complete". Pitchfork. Retrieved 25 September 2015.
- "The Smiths: Strangeways, Here We Come". Q (87): 139. December 1993.
- Sheffield, Rob (2004). "The Smiths". In Brackett, Nathan; Hoard, Christian. The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 753–54. ISBN 0-7432-0169-8.
- Harrison, Andrew (May 1993). "The Smiths". Select (35): 104.
- Dalton, Stephen (1998). "The Smiths: Strangeways, Here We Come". Uncut.
- Christgau, Robert (23 February 1988). "Christgau's Consumer Guide". The Village Voice. Retrieved 25 September 2015.
- "Albums and Tracks of the Year: 1987". NME. 2018. Retrieved 24 November 2018.
- Goddard, S, 2013. Songs That Saved Your Life - The Art of The Smiths 1982–87. 2nd ed. U.K.: Titan Books. P. 260.
- Fletcher, T, 2012. A Light That Never Goes Out: The Enduring Saga of the Smiths. 1st ed. U.K.: Random House. p. 588.
- Goddard, S, 2013. Songs That Saved Your Life - The Art of The Smiths 1982–87. 2nd ed. U.K.: Titan Books. P. 272.
- Goddard, S, 2013. Songs That Saved Your Life - The Art of The Smiths 1982–87. 2nd ed. U.K.: Titan Books. P. 275.
- The Smiths - Strangeways, Here We Come - dutchcharts.nl
- "Offizielle Deutsche Charts - Offizielle Deutsche Charts".
- Hung, Steffen. "charts.org.nz - The Smiths - Strangeways, Here We Come".
- Hung, Steffen. "swedishcharts.com - The Smiths - Strangeways, Here We Come".
- "Official Albums Chart Top 100". Official Charts Company. Retrieved 30 August 2017.
- "The Smiths - chart history". billboard.com. Retrieved 12 April 2015.