The Smiths - Rarities
Following three recent posts (The Smiths - Singles, The Smiths - Bootlegs and Morissey Bootlegs) here’s a final Smiths-related post.
A few words on Smiths’ rarities taking in: Leeside Music on Cork’s MacCurtain Street, green and white price stickers, kitchen sink dramas, Shelagh Delaney’s A Taste of Honey, Albert Finney, Billie Whitelaw, Rita Tushingham, Yootha Joyce, Colin Campbell, Murray Head, Terence Stamp, Viv Nicholson, Pier Paolo Pasolini and James Dean.
The Smiths - various 12”s. Photograph by Paul McDermott.
The last post was a run through all 17 singles released by The Smiths in the UK and Ireland between May 1983 and December 1987. I’ve titled this post “The Smiths - Rarities” but there’s nothing particularly rare here from a monetary perspective - all of these are readily available on Discogs.
These records were (for the most part) released by Rough Trade licensees in European or other territories. In the late 80s and early 90s Smiths’s European singles would be discussed in fanzines and occasionally in the NME I’d see a classified advert for a record shop selling the imported singles. They were always outside of my budget and remained items I could only dream about.
As the CD format came of age in the early-90s people got rid of their vinyl. Most of my record collection was purchased around this time and in recent years I’ve seen records, that I was lucky enough to pick up for a few quid back in the 90s, displayed on the wall of record shops with insane price tags.
Money I earned from DJing was quickly pumped back into Leeside Music on Cork’s MacCurtain Street. When I flick through my records the bargains from Leeside - known to a previous generation of Cork record collectors as the “Swap Shop” - always jump out at me. It’s easy to identify a Leeside find - it’ll have a scar in the top right-hand corner where I painstakingly removed a green and white price sticker. The stickers had industrial strength glue and it took hours of slow teasing to get them off without ruining the sleeve. Removing Leeside stickers without a trace verged on an obsession.
“What did you spend most of the early-90s doing Paul?”
“Slowly, very slowly, peeling Leeside Music price stickers from records. Good times!”
In the ‘90s even Smiths’ fans got rid of their records, including European imports, and cashed them in to places like Leeside Music. I’ve never been one to splash out big on records so all of these were bought cheaply secondhand in the mid-1990s. The thrill was in the hunt and it was always a buzz finding records like these in secondhand shops, charity shops and record fairs in Ireland and the UK. Or “in the wild” as today’s generation of vinyl crate diggers would have it.
The Smiths’ Singles Box now fetches upwards of €200 while some of the European 12” releases can go north of €150. I’ve added a few of the more recent Record Store Day releases at the end of this post - again nothing particularly rare about any of these but it’s nice to group them all together.
What I really love about these records is the different cover stars that were chosen for each release: actors from films of the 1960s and 1970s. Films from some legendary British directors: the Boulting Brothers, Tony Richardson and John Boorman. Kitchen sink dramas: A Taste of Honey and The Leather Boys. Films that were hard to find in the 1990s such as The Collector, The Family Way and Charlie Bubbles - Albert Finney’s only film as a director.
These releases didn’t offer unreleased songs and really only served to continue the myth that Morrissey had cultivated around The Smiths. “The essence of Smiths Art was the will to have every Smiths sleeve as well turned out as possible,” he writes in Autobiography.
“And it came from an idea I had to take images that were the opposite of glamor and to pump enough heart and desire into them to show ordinariness as an instrument of power - or, possibly, glamor. Bits of neo-realism, bits of brutality, with the task being to present cheerless and cluttered bed-sitter art in a beautiful and proudly frank way.” Morrissey in Autobiography (2013, Penguin).
Johnny Marr also writes about The Smiths artwork in his autobiography: “The Smiths aesthetic drew heavily on the imagery of the early 1960s in a way that I thought was truly innovative.”
“I became well versed in the films Saturday Night and Sunday Morning, A Taste of Honey and a lot more from the period. There was plenty to like in those films, but I didn’t view them as portraying a great lost era or some romantic ideal. Life in a two-up two-down with no hot water was something that my family had managed to work our way out of, so I never mistook hardship for virture or associated poverty with romance, nor did I want to go back there.” Johnny Marr in Set the Boy Free (2016, Century)
Still Ill
‘Still Ill’ (12” - 1984, RTD018T Rough Trade Deutschland) and ‘Hand in Glove’ (7” - 1983, RT113 Rough Trade). Photograph by Paul McDermott.
George O’Mara photographed by Jim French from Margaret Walter’s book The Nude Male (1979).
A-Side: ‘Still Ill’
B-Side: ‘Reel Around The Fountain’ / ‘Please, Please, Please, Let Me Get What I Want’
Released: November 1984
Cover Star: George O’Mara
Note: ‘Still Ill’ was issued in Germany on 12” to promote Hatful of Hollow. It used the same photograph from ‘Hand in Glove’.
2. This Charming Man (New York)
‘This Charming Man’ (12” - 1983, RTT136 Rough Trade) and ‘This Charming Man’ (New York) (12” - 1983, RTT136NY Rough Trade). Photograph by Paul McDermott.
Jean Marais in Orphée (1950).
A-Side: ‘This Charming Man’ (New York)
B-Side: ‘This Charming Man’ (New York Instrumental)
Released: December 1983
Cover Star: Jean Marais in a still from Jean Cocteau’s Orphée (1949)
Note: ‘This Charming Man’ was remixed by François Kevorkian, the French-born, US-based DJ, producer and remixer. ‘This Charming Man’ (New York) was first released on the Belgian label Megadisc. British and Irish Smiths’ fans imported the single from Europe so Rough Trade later released the 12” in the UK. Morrissey wasn’t a fan of Kevorkian’s remix but it brings Rourke’s amazing bassline to the fore. I always loved it. The still from Orphée wraps around the 12” with Marais’ outstretched arm on the back sleeve.
Scans from vulgarpicture.com
3. What Difference Does it Make?
‘What Difference Does it Make?’ - Third Press (12” - 1984, RTT146 Rough Trade) and ‘What Difference Does it Make?’ - Second Press (12” - 1984, RTT146 Rough Trade). Photograph by Paul McDermott.
Terence Stamp in an outtake from The Collector (1965). Freddie Clegg (Stamp) holds a pad soaked in chloroform with which to overpower his victim.
A-Side: ‘What Difference Does it Make?’
B-Side: ‘Back to the Old House’ / ‘These Things Take Time’
Released: January 1984
Cover Star: Terence Stamp in an outtake from The Collector (1965) / Morrissey recreating Stamp’s pose
Note: In Iron Fist in Velvet Glove - the story of Microdisney, Richard Boon and Cathal Coughlan mention the re-sleeving of ‘What Difference Does It Make?’:
Richard Boon — Rough Trade Records was expressing an interest in their work but nothing had been confirmed at the time so during part of the summer of ’83, as they were two unemployed Irish navvies in London, whenever records needed stickers applied to them, they’d come in and do piecework. Then of course the label made an agreement with them and they started releasing records.
Cathal Coughlan — We counted the days, you know, a certain amount of menial labour, quite a lot of sloth, frustration, long walks, drink, acid, speed. We worked in Rough Trade re-sleeving Smiths’ records when they couldn’t get the right to use Terence Stamp’s picture on the cover of ‘What Difference Does it Make?’. [Laughing] Richard saw us alright on that elite activity.
The Collector (1965) - Lobby Cards.
4. Hand in Glove
Sandie Shaw - ‘Hand in Glove’ (12” - 1984, RTT130 Rough Trade). Photograph by Paul McDermott.
“When they started writing to me I thought they were right nutters.”
Sandie Shaw on The Smiths
Rita Tushingham in A Taste of Honey (1961)
A-Side: ‘Hand In Glove’
B-Side: ‘Jeane’ / ‘I Don't Owe You Anything’
Released: April 1984
Cover Star: Rita Tushingham in a still from Tony Richardson’s film adaptation of Shelagh Delaney’s A Taste Of Honey (1961).
Vinyl Matrix Etching: A - None / B - None
Charts: UK Indie Chart: No. 1 / UK Singles Chart No. 27 / Irish Singles Chart No. 13
Note: Sandie Shaw recorded three Smiths’ songs with Johnny Marr, Andy Rourke and Mike Joyce. Shaw’s version of ‘Hand in Glove’ was her first hit single in over 15 years.
Morrissey told the NME in 1986, “At least 50% of my reason for writing can be blamed on Shelagh Delaney.” When A Taste of Honey debuted at London’s Theatre Royal Stratford East in May 1958, it divided critics. Many loved its depiction of real people in real situations but not all. In February 1959 Alan Brien wrote in The Spectator that Delaney’s A Taste of Honey was, “the inside story of a savage culture observed by a genuine cannibal.”
In September 1960 BBC broadcast Shelagh Delaney’s Salford, a documentary short, directed by Ken Russell, as part of the arts series Monitor. In the film Delaney reflects on life in Salford.
5. William It Was Really Nothing
‘William, It Was Really Nothing’ (12” - 1987, RTT166 Rough Trade). Photograph by Paul McDermott.
Billie Whitelaw as Lottie Bubbles in a still from Charlie Bubbles (1967).
A-Side: ‘William, It Was Really Nothing’
B-Side: ‘How Soon is Now?’ / ‘Please, Please, Please, Let Me Get What I Want’
Released: August 1984
Cover Star: The second version of the sleeve featured a lilac tinted photograph of Billie Whitelaw from the film Charlie Bubbles (1968)
Charts: UK Indie Chart: No. 1 / UK Singles Chart No. 17 / Irish Singles Chart No. 8
Note: The original withdrawn sleeve featured a man sitting on a bed. The photograph was taken from an advertisement for ADS speakers (the original advert is below). According to Jo Slee in Peepholism:
“The original sleeve was withdrawn following a claim for ‘violation of privacy’ and ‘deceptive trade practices’. When it became apparent that the culprit was Rough Trade rather than Warner Bros, the US licensee, the complaint was abandoned, possibly because Rough Trade was a considerably smaller target. As The Smiths gained momentum, Rough Trade was learning some swift lessons about opportunistic litigation in the face of commercial notoriety.”
Peepholism: Into the Art of Morrissey (1994, Macmillan)
‘William, It Was Really Nothing’ (12” - 1984, RTT166 Rough Trade) - first and second pressings. Photograph by Paul McDermott.
ADS advertisement taken from Audio magazine (November 1980).
Even though it was the second version of the single, the Billie Whitelaw sleeve commands more in resale value these days. Charlie Bubbles was directed by Albert Finney and written by Shelagh Delaney. Billie Whitelaw later appeared in the video of Morrissey’s ‘Everyday is Like Sunday’
Charlies Bubbles (Albert Finney):
“The back door was wide open. Anybody could have walked in instead of me. You might have got a sex maniac.”
Lottie Bubbles (Billie Whitelaw):
“Not with my luck.”
Charlie Bubbles (1968) - Lobby Cards.
6. How Soon is Now?
‘How Soon is Now?’ (12” - 1985, USA 0-20284 Sire Records). Photograph by Paul McDermott.
The Smiths. Photograph by Paul Slattery.
A-Side: ‘How Soon is Now?’ (Long Version)
B-Side: ‘Girl Afraid’ / ‘How Soon is Now?’ (Edit)
Released: 1984
Cover Star: A group photograph that was taken by Paul Slattery backstage at Glastonbury in 1984.
Note: The photograph had originally appeared inside the gatefold of Hatful of Hollow. On the US 12” the photograph wraps around the sleeve with Mike Joyce appearing on the back. I always loved that Rourke (The Smiths) and Joyce (‘Heaven Knows I’m Miserable Now’) were both wearing Smiths’ t-shirts in the photograph.
Scans from vulgarpicture.com
7. Barbarism Begins at Home
‘Barbarism Begins at Home’ (12” - 1985, RTD021T Rough Trade Deutschland). Photograph by Paul McDermott.
A-Side: ‘Barbarism Begins at Home’
B-Side: ‘Shakespeare’s Sister’ / ‘Stretch Out and Wait’
Released: April 1985
Cover Star: A photograph of Viv Nicholson.
Note: ‘Barbarism Begins at Home’ wasn’t released as a single in the UK but it did get a release in Germany, Italy and Australia. It was the second time that Nicholson had appeared on the cover of a Smiths’ single having already adorned the sleeve of ‘Heaven Knows I’m Miserable Now’ in May 1984.
‘Heaven Knows I’m Miserable Now’ (12” - 1984, RTT156 Rough Trade) and ‘Barbarism Begins at Home’ (12” - 1985, RTD021T Rough Trade Deutschland). Photograph by Paul McDermott.
Nicholson famously told the media that she would “spend, spend, spend” after her husband Keith won over £152,000 (equivalent to over £4.3m today) on the football pools in 1961. Both Nicholson photographs are taken from Spend Spend Spend her autobiography (co-authored with Stephen Smith).
The picture on ‘Barbarism Begins at Home’ was described on the back sleeve as: “Viv at the Pithead. Here is Viv with suitcase before going to Malta on a later spending-spree after tragedy had almost robbed her of what remained of her fortune.” In Spend Spend Spend the ‘Heaven Knows I’m Miserable Now’ photograph is described as: “Viv returns to her childhood home after Keith’s death.”
Vivian Nicholson & Stephen Smith - Spend Spend Spend (Jonathan Cape, London 1977).
The photograph at the pithead was also used on the cover of two Smiths’ tour programmes.
The Smiths - Meat is Murder UK 1985 UK Tour Programme and Meat is Murder 1985 US Tour Programme.
In 1988 a third photograph of Nicholson was used for the CD single release of ‘The Headmaster Ritual’ in the UK. Nicholson’s agent contacted Rough Trade and explained that Nicholson was now a Jehovah’s Witness and was embarrassed by the lyric “spineless bastards” in the song. The CD single was withdrawn.
Season 4, Episode 1 of the BBC’s Trouble at the Top series focused on producer Andre Ptaszynski’s theatre production Spend Spend Spend, a musical staring Barbara Dickson based on Nicholson’s life.
8. The Headmaster Ritual
‘The Headmaster Ritual’ (12” - 1985, MD125295 Megadisc Holland). Photograph by Paul McDermott.
A-Side: ‘The Headmaster Ritual’
B-Side: ‘Nowhere Fast’ / ‘Stretch Out And Wait’ / ‘Shakespeare’s Sister’ / ‘Meat Is Murder’
Released: 1985
Cover Star: A photograph of a young boy (Robert Duncan) dressed in a rodeo outfit is taken from the 1965 film The Uncle.
Note: The four B-Sides were all recorded live at the Apollo, Oxford on 18 March, 1985. ‘The Headmaster Ritual’ didn’t get a UK release but it was released in the Netherlands.
The Uncle was director Desmond Davis’ second feature. He made his debut with Girl With Green Eyes in 1964. Girl With Green Eyes was filmed in Dublin and adapted by Edna O’Brien from her novel The Lonely Girl, it starred Peter Finch and another Smiths’ cover star Rita Tushingham.
The Uncle tells the story of seven-year-old Gus (Robert Duncan) who struggles with the responsibility placed upon him when his difficult nephew Tom (Christopher Arris) - his older sister’s son - comes to spend the summer holidays with his family.
The Smiths in Scotland - 1985 Tour Programme.
The photograph of a young Robert Duncan from The Uncle was also used on the cover of The Smiths’ tour programme for their September 1985 tour of Scotland.
‘The Headmaster Ritual’ (7” - 2009, MD 5295 Rhino) and ‘The Headmaster Ritual’ (7” - 2011, 2564665526 Rhino). Photograph by Paul McDermott.
Two further versions of ‘The Headmaster Ritual’: The 2009 7” recreates the original Dutch Megadisc 7” release and was reissued for Record Store Day. Although the 2011 7” was reissued as part of The Smiths - Complete boxset some copies ended up being sold individually. Both 7”s have ‘Oscillate Wildly’ as a B-Side.
10. Bigmouth Strikes Again
‘Bigmouth Strikes Again’ (12” - 1986, VG2071Z Virgin Records Greece). Photograph by Paul McDermott.
A-Side: ‘Bigmouth Strikes Again’ / ‘Panic’
B-Side: ‘Money Changes Everything’ / ‘The Draize Train’ / ‘Unloveable’
Released: May 1986
Cover Star: A 1948 photograph of James Dean by his friend Nelva Jean Thomas.
Note: In Greece Virgin Records released ‘Bigmouth Strikes Again’ as a 5-track EP featuring tracks from the UK ‘Bigmouth Strikes Again’ and ‘Panic’ 12” singles. The EP is notable for the text in the Greek alphabet in the top lefthand corner of the sleeve which translates to: “Special Edition. Released only in Greece. Limited copies”.
James Dean photographed in 1948 by Nelva Jean Thomas.
The photograph of James Dean was taken in 1948 by his friend Nelva Jean Thomas in his hometown Fairmount, Indiana. Dean is riding his first motorcycle, a 1947 CZ 125-cc (Česká zbrojovka) aka. a Czech Whizzer.
11. Some Girls Are Bigger Than Others
‘Some Girls Are Bigger Than Others’ (12” - 1986, 6.14656AC Teldec/Zensor Records Germany). Photograph by Paul McDermott.
Yootha Joyce on the set of Catch Us If You Can. Photograph by David Austen.
A-Side: ‘Some Girls Are Bigger Than Others’
B-Side: ‘Frankly Mr. Shankly’ / ‘The Draize Train’
Released: 1986
Cover Star: Yootha Joyce photographed on the set of the 1965 film Catch Us If You Can.
Note: Cover star Yootha Joyce, is probably best remembered for her portrayal of Mildred in the 1970s UK TV series George & Mildred. It’s the same photograph that was used on the UK ‘Ask’ single, but the photo is tinted pink on red background instead of beige. Yootha Joyce is photographed on the set of the 1965 film Catch Us If You Can.
Catch Us If You Can was the debut film of director John Boorman it was a film vehicle for The Dave Clark Five and was named after the band’s song. In the US the film was re-titled Having a Wild Weekend after another one of the band’s songs.
12. Ask
‘Ask’ (12” - 1986, 6.20676 Teldec/Zensor Records Germany). Photograph by Paul McDermott.
A-Side: ‘Ask’
B-Side: ‘Cemetry Gates’ / ‘Golden Lights’
Released: October 1986
Cover Star: Actor Colin Campbell from The Leather Boys (1963).
Note: This version of ‘Ask’ was released in Germany. The photograph of Campbell was taken from the January 1964 issue of Films And Filmmaking. Rita Tushingham, another Smiths’ cover star, stars opposite Campbell in the film. Clips from The Leather Boys were also used by director Tim Broad in the video for ‘Girlfriend in a Coma’.
Rita Tushingham and Colin Campbell in The Leather Boys (1963) - Lobby Card.
The Leather Boys is another classic British kitchen sink drama. It follows newly weds Reggie (Colin Campbell) and Dot (Rita Tushingham). All is well until Reggie develops feelings for Pete (Dudley Sutton), a member of a rival biker gang. Directed by Sidney J. Furie The Leather Boys is regarded as an important example of early queer cinema. Furie’s next film was The Ipcress File (1965).
13. Shoplifters of the World Unite
‘Shoplifters of the World Unite’ - US Promo (12” - 1987, PRO-A-2712 Sire Records). Photograph by Paul McDermott.
A-Side: ‘Shoplifters of the World Unite’
B-Side: ‘Shoplifters of the World Unite’
Released: 1987
Cover Star: Band photograph by Lawrence Watson.
Note: This one track Sire Records promo 12” was produced to promote the US release of Louder Than Bombs. It has ‘Shoplifters of the World Unite’ on both the A and B sides.
Watson’s band photograph was taken outside the Salford Lads Club, not from the December 1985 Stephen Wright session famously used on the inside sleeve of The Queen is Dead, but from a second visit to the club in January 1987 for a photo session for an NME cover story.
NME - 14 February 1987. The Smiths photographed by Lawrence Watson. Image from nothingelseon.
14. Stop Me If You Think You’ve Heard This One Before
‘Stop Me If You Think You’ve Heard This One Before’ (12” - 1987, LMS 3.00013 Line Records Records Germany). Photograph by Paul McDermott.
A-Side: ‘Stop Me If You Think You’ve Heard This One Before’
B-Sides (Germany): ‘Work Is A Four-Letter Word’ / ‘Girlfriend in a Coma’ / ‘I Keep Mine Hidden’
B-Sides (Holland): ‘Pretty Girls Make Graves’ (Troy Tate version) / ‘Some Girls Are Bigger Than Others’ (live)
Released: November 1987
Cover Star: Murray Head in a still from the film The Family Way (1966). The image is tinted red in Germany (above), blue in the USA, grey in Holland (below) and Japan and yellow in Australia.
Note: ‘Stop Me If You Think You’ve Heard This One Before’ was scheduled to be a single in the UK but Rough Trade thought that the lyric, “and plan a mass murder” was too sensitive so soon after the Hungerford massacre, the song was released in other territories.
‘Stop Me If You Think You've Heard This One Before’ (12” - 1987, MD125280 Megadisc Records Holland). Photograph by Paul McDermott.
The Family Way was directed by the Boulting Brothers and starred Hayley Mills and Hywel Bennett and Paul McCartney composed the music. A still of Avril Angers from the film also features on the cover of ‘I Started Something I Couldn’t Finish’.
Murray Head had a huge hit single in 1984 with ‘One Night in Bangkok’, the Benny Andersson and Björn Ulvaeus song from their musical Chess.
The Family Way (1966).
Infamously Roy Boulting and Hayley Mills, despite a 33-year age difference, began a relationship during the production of The Family Way. They married in 1971. Their son Crispian Mills is the singer and guitarist in the band Kula Shaker.
15. Stop Me
Stop Me (CD - 1988, VDP-28025 Victor Records Japan). Photograph by Paul McDermott.
CD: Stop Me
Released: 1988
Cover Star: Murray Head in a still from the film The Family Way (1966).
Note: Stop Me is a Japanese compilation album that compiles the singles ‘Stop Me If You Think You’ve Heard This One Before’, ‘Girlfriend in a Coma’ and Sheila Take a Bow’ and their B-Sides. Stop Me was released in January 1988 by The Smiths’ Japanese record label, RCA Victor. Murray Head is the cover star.
16. William, It Was Really Nothing
‘WiIlliam, It Was Really Nothing’ (CD Single - 1988, RTT166CD Rough Trade). Photograph by Paul McDermott.
CD Single: ‘WiIlliam, It Was Really Nothing’ / ‘How Soon Is Now?/ ‘Please, Please, Please, Let Me Get What I Want’
Released: 1988
Cover Star: Actor Colin Campbell from The Leather Boys (1963).
Note: In 1988 Rough Trade released a number of CD singles of Smiths’ songs including ‘William, It Was Really Nothing’.
17. The Peel Sessions
The Peel Sessions (12” EP - 1988, SFPS055 Strange Fruit Records). Photograph by Paul McDermott.
A-Side: ‘What Difference Does It Make?’ / ‘Handsome Devil’
B-Side: ‘Miserable Lie’ / ‘Reel Around the Fountain’
Released: 1988
Note: This is a release by Strange Fruit on 12” of The Smiths’ first John Peel session. All but ‘Miserable Lie’ had already been released on Hatful of Hollow. The cassette version was released in the US in 1991. This tape was purchased in a record shop in Cambridge, MA in 1992.
The Peel Session (Cassette - 1988, DE18302-4 Dutch East India Trading, US). Photograph by Paul McDermott.
18. Singles Box
Singles Box (12x7” - 2008, Rhino Records). Photograph by Paul McDermott.
Joel Fabiani
Boxset: Singles Box
Released: December 2008
Cover Star: The American actor Joel Fabiani in a press promo for the 1969-70 British spy-fi adventure series Department S.
Note: This boxset has reproductions of the first 10 UK 7” singles. Two extra 7” singles are included: ‘Still Ill’ (a reproduction of the promo 7” issued to promote the debut album) and ‘The Headmaster Ritual’ (a reproduction of the 1995 Megadisc Records 7” in Holland). The set also contains a poster and a set of four badges.
This boxset doesn’t really do The Smiths story any real justice. It’s a partial celebration of the band. Instead of the two extra 7” singles Rhino should have produced a boxset of all 17 7” singles released in the UK and Ireland, from ‘Hand in Glove’ in May 1983 to ‘Last Night I Dreamt That Somebody Loves Me’ in December 1987.
19. The Boy With The Thorn In His Side
‘The Boy With The Thorn In His Side’ (7” - 2017, TSRSD Warner Bros). Photograph by Paul McDermott.
Albert Finney photographed by Cecil Beaton.
A-Side: ‘The Boy With The Thorn In His Side’ (Demo Mix)
B-Side: ‘Rubber Ring’ (Early Drone Studios Version)
Released: April 2017
Cover Star: Albert Finney photographed by Cecil Beaton.
Vinyl Matrix Etching: A - TRUMP WILL KILL AMERICA / B - None
Note: The version of ‘Rubber Ring’ is a beautiful early demo with slightly different lyrics.
20. The Queen is Dead
‘The Queen is Dead’ (12” - 2017, 12QID2017, Warner Bros) and ‘The Queen is Dead’ (7” Picture Disc - 2017, QID2016, Warner Bros). Photograph by Paul McDermott.
Margherita Caruso in Il Vangelo Secondo Matteo.
A-Side: ‘The Queen is Dead’
B-Side 12”: ‘Oscillate Wildly’ / ‘Money Changes Everything / ‘The Draize Train’
B-Side 7” Picture Disc: ‘I Keep Mine Hidden’
Released: June 2017
Cover Star: Margherita Caruso in a still from Il Vangelo Secondo Matteo (The Gospel According to St. Matthew) (1964) directed by Pier Paolo Pasolini.
Vinyl Matrix Etching: A - TRUMP WILL KILL AMERICA / B - None
Note: ‘The Queen is Dead’ was released as a single to promote the 2017 re-release of The Queen Is Dead album. The 12” version compiles the three Smiths’ instrumentals as its B-Sides, the first time these tracks had been sequenced together on any release..
Pasolini and Caruso on the set of Il Vangelo Secondo Matteo.
21. Complete
Complete (8xCD Boxset - 2011, Rhino Records). Photograph by Paul McDermott
Photograph by Jurgen Vollmer
Boxset: Complete (8xCD)
Released: September 2011
Cover Star: Photograph taken from Jurgen Vollmer’s Rock ’N’ Roll Times: The Style and Spirit of the Early Beatles and Their First Fans (1983)
Note: This boxset is obviously not rare but I’m including here to “complete” the post. Complete came in different formats: CD and LP versions and a deluxe set with CDs, LPs, 7” singles and a DVD. I bought the CD box and it contains nice reproductions of all eight Smiths LPs. The cover photograph had previously been used as the back sleeve to 1987’s The World Won’t Listen. The LP and Deluxe versions of Complete go for silly money but the CD boxset can be picked up for a around €20 online - a bargain.
Note: The great passionsjustlikemine website was a hugely valuable resource in pulling some of this information together.
And finally, here’s my original poster nabbed from Golden Discs back in 1987.