THE SMITHS -"LOUDER THAN BOMBS"- 2 LP 1987 ORIGINAL 1ST PRESSING - MINT / RARE

$

35

ULTRA - RARE!!!! THE SMITHS - Louder Than Bombs [Double LP / VINYL]  - original 1st pressing; ROUGH TRADE [UK] Records 1987!!
My own personal copy, bought NEW in '87, played once to tape it and stored meticulousy for decades. Cover is M / Vinyl is M - incl. Original Sleeves
Morrissey and Johnny Marr!
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

Track listing

1. "Is It Really So Strange?" (John Peel session, 12/2/86) – 3:04 [B-side of "Sheila Take a Bow"] *
2. "Sheila Take a Bow" – 2:41 [single A-side]
3. "Shoplifters of the World Unite" – 2:57 [single A-side]
4. "Sweet and Tender Hooligan" (John Peel session, 12/2/86) – 3:35 [B-side of "Sheila Take a Bow"] *
5. "Half a Person" – 3:36 [B-side of "Shoplifters of the World Unite"]
6. "London" – 2:07 [B-side of "Shoplifters of the World Unite"]
7. "Panic" – 2:20 [single A-side]
8. "Girl Afraid" – 2:48 [B-side of "Heaven Knows I'm Miserable Now"]
9. "Shakespeare's Sister" – 2:09 [single A-side]
10. "William, It Was Really Nothing" – 2:11 [single A-side]
11. "You Just Haven't Earned It Yet, Baby" (US mix) – 3:23 [remix of aborted single A-side] *
12. "Heaven Knows I'm Miserable Now" – 3:34 [single A-side]
13. "Ask" – 3:18 [single A-side]
14. "Golden Lights" – 2:39 [B-side of "Ask"]
15. "Oscillate Wildly" – 3:27 [B-side of "How Soon Is Now?"]
16. "These Things Take Time" – 2:23 [B-side of "What Difference Does It Make?"] *
17. "Rubber Ring" – 3:48 [B-side of "The Boy with the Thorn in His Side"]
18. "Back to the Old House" – 3:05 [B-side of "What Difference Does It Make?"] *
19. "Hand in Glove" (single version) – 3:13 [single A-side]
20. "Stretch Out and Wait" (original version) – 2:38 [B-side of "Shakespeare's Sister"] *
21. "Please, Please, Please, Let Me Get What I Want" – 1:52 [B-side of "William It Was Really Nothing"]
22. "This Night Has Opened My Eyes" (John Peel session, 9/14/83) – 3:40 [from Hatful of Hollow]
23. "Unloveable" – 3:55 [B-side of "Bigmouth Strikes Again"]
24. "Asleep" – 4:11 [B-side of "The Boy with the Thorn in His Side"]

• Vinyl
• Number of Discs: 2
• Format: Double LP
• Label: Rough Trade / ROUGH 255 (UK)
• ASIN: B007RHJHUI

Biography by Stephen Thomas Erlewine

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 group's 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 Isn't 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 Fall's drummer, Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's 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, Morrissey's 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 group's 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 Morrissey's detached, literary, and ironic lyrics were misinterpreted and it wouldn't 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 Make"'s 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 I'm 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 group's 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 band's 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, Morrissey's 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 "Shakespeare's 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 Isn't 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 band's 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 band's 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 Won't 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 Morrissey's 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 group's 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.

• Mint (M)   Absolutely perfect in every way. Certainly never been played, possibly even still sealed.(More on still sealed under "Other Considerations"). Should be used sparingly as a grade, If at all.
• Near Mint (NM or M-)   A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly)that no record is ever truly perfect. 
  The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. 
  An LP cover should have no creases, folds, seam splits or other noticeable similar defects. No cut-out holes, either. And of course, the same should be true of any other inserts, such as posters, lyric sleeves and the like. 
  Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap. 
  Near Mint is the highest price listed in all Goldmine price guides. Anything that exceeds this grade, in the opinion of both buyer and seller, is worth significantly more than the highest Goldmine book value.
Very Good Plus (VG+)   Generally worth 50 percent of the Near Mint value. 
• A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. 
  Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". 
  The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. 
  Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. 
  In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.
• Very Good (VG)   Generally worth 25 percent of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. 
  Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them. 
  Goldmine price guides with more than one price will list Very Good as the lowest price. This, not the Near Mint price, should be your guide when determining how much a record is worth, as that is the price a dealer will normally pay you for a Near Mint record.
• Good (G), Good Plus (G+)   Generally worth 10-15 percent of the Near Mint value. Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). 
  A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. 
  It is a common item, you'll probably find another copy in better shape eventually. Pass it up. But, if it's something you have been seeking for years, and the price is right, get it...but keep looking to upgrade.
• Poor (P), Fair (F)   Generally worth 0-5 percent of the Near Mint price. The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon. 
  Except for impossibly rare records otherwise unattainable, records in this condition should be bought or sold for no more than a few cents each