FORMED: 1982, Manchester, England
DISBANDED: August 1987

Acclaimed by many as the most important UK band of the 80s, the Smiths were formed in Manchester, England during the spring of 1982. Morrissey (b. Steven Patrick Morrissey, 22 May 1959, Davyhulme, Manchester, England) and Johnny Marr (b. John Maher, 31 October 1963, Ardwick, Manchester, England) originally combined as a songwriting partnership, and only their names appeared on any contract bearing the title "Smiths". Morrissey had previously played for a couple of months in the Nosebleeds and also rehearsed and auditioned with a late version of Slaughter And The Dogs. After that he wrote reviews for Record Mirror and penned a couple of booklets on the New York Dolls and James Dean. Marr, meanwhile, had played in several Wythenshawe groups including the Paris Valentinos, White Dice, Sister Ray and Freaky Party.

By the summer of 1982, the duo decided to form a group and recorded demos with drummer Simon Wolstencroft and a recording engineer named Dale. Wolstencroft subsequently declined an offer to join the Smiths and in later years became a member of the Fall. Eventually, Mike Joyce (b. 1 June 1963, Fallowfield, Manchester, England) was recruited as drummer, having previously played with the punk-inspired Hoax and Victim. During their debut gig at the Ritz in Manchester, the band was augmented by go-go dancer James Maker, who went on to join Raymonde and later RPLA.

By the end of 1982, the band appointed a permanent bass player. Andy Rourke (b. Manchester, England) was an alumnus of various previous groups with Marr. After being taken under the wing of local entrepreneur Joe Moss, the band strenuously rehearsed and after a series of gigs, signed to Rough Trade Records in the spring of 1983. By that time, they had issued their first single on the label, "Hand In Glove", which failed to reach the Top 50. During the summer of 1983, they became entwined in the first of several tabloid press controversies when it was alleged that their lyrics contained references to child molesting. The eloquent Morrissey, who was already emerging as a media spokesperson of considerable power, sternly refuted the rumours.

During the same period the band commenced work on their debut album with producer Troy Tate, but the sessions were curtailed, and a new set of recordings undertaken with John Porter. In November 1983 they issued their second single, "This Charming Man", a striking pop record that infiltrated the UK Top 30. Following an ill-fated trip to the USA at the end of the year, the quartet began 1984 with a new single, the notably rockier "What Difference Does It Make?", which took them to number 12.

The Smiths ably displayed the potential of the band, with Morrissey's oblique, genderless lyrics coalescing with Marr's spirited guitar work. The closing track of the album was the haunting "Suffer Little Children", a requiem to the child victims of the 60s Moors Murderers. The song later provoked a short-lived controversy in the tabloid press, which was resolved when the mother of one of the victims came out on Morrissey's side. A series of college gigs throughout Britain established the band as a cult favourite, with Morrissey displaying a distinctive image, complete with National Health spectacles, a hearing aid and bunches of gladioli. A collaboration with Sandie Shaw saw "Hand In Glove" transformed into a belated hit, while Morrissey dominated music press interviews.

His celibate stance provoked reams of speculation about his sexuality, and his ability to provide good copy on subjects as diverse as animal rights, royalty, Oscar Wilde and 60s films, made him a journalist's dream interviewee. The singer's celebrated miserabilism was reinforced by the release of the autobiographical "Heaven Knows I'm Miserable Now", which reached number 19 in the UK. Another Top 20 hit followed with "William, It Was Really Nothing". While the Smiths commenced work on their next album, Rough Trade issued the interim Hatful Of Hollow, a bargain-priced set that included various flip-sides and radio sessions. It was a surprisingly effective work, that captured their inchoate charm.

By 1984 the Smiths found themselves f