The Smiths
The World Won't Listen

THE REVIEW

From 1983 to 1987, the Smiths gifted enthusiasts with some of the most interesting and evocative tracks of the Eighties. Their music has always been based on a melodic and guitar-driven pop enriched by intelligent, literary, intellectual, cynical, and ironic lyrics sung with conscious detachment. Led by the charismatic Morrissey and the talented guitarist Johnny Marr, the British quartet captured general attention from their beginnings, showcasing, among other things, an extreme prolificacy. Their not-too-long tracks, characterized by harmonies that often bring to mind the classics of the beat era, and Morrissey's unmistakable and highly personal voice dominating the whole are the ingredients with which the Smiths even win over the sympathies of the general public, on the wings of music that undoubtedly has all the right elements to be appreciated even by those who don’t closely follow the international pop-rock scene.

However, when the Smiths' offerings begin to veer too close to the patterns of more predictable pop, Johnny Marr, who in the meantime has become a well-regarded session musician, announces his decision to leave the band, soon imitated by Morrissey who embarks on a successful solo career inaugurated by the album "Viva Hate!", probably his most accomplished record. The hasty posthumous live album "Rank" and a farewell concert without Marr mark the end of the Smiths' saga, a group among the most important in pop-rock history.

Released in 1987 during peak Smiths mania, "The World Won't Listen" is a coherent collection that at the time enjoyed good commercial success. For those who are still unfamiliar with their discography, this record represents an excellent summary of their elevated art. "The World Won't Listen" shows us how masterful Morrissey and Marr were at producing great tracks for the short forty-five records format. "Panic", "Ask", and "London" are sinuous pop pieces while from the classic masterpiece "The Queen Is Dead" the well-known and captivating "Bigmouth Strikes Again", "The Boy With The Thorn In His Side", and the unparalleled "There Is A Light That Never Goes Out" are offered again. The collection also reveals the more introspective side of the ensemble thanks to gems like the piano-driven "Asleep", the delicate "Half A Person" and "Unloveable". There is also a welcome reprise of the beautiful "That Joke Isn't Funny Anymore" from the album "Meat Is Murder" and the anthem "Shoplifters Of The World Unite" which, along with other interesting tracks, complete this intriguing collection.

A non-essential work, unlike their entire official discography, but recommended to everyone despite its slight fragmentariness. Especially to those who are still unfamiliar with the fascinating musical universe of these four boys from Manchester and to those who ignore the enormous influence they managed to exert on the English rock landscape in the past twenty years.