This tune sounds like two completely different songs duct taped together. I dig the slower part although the guitar part does sound like Reel Around the Fountain's kid brother. Definitely not my favorite Smiths song but it still is so much better that other music of the time. I'm giving it 3/5, which is probably the lowest grade I'll give to any song by The Smiths.
Miserable Lie I think this track might sometimes be passed over during the album it sits on. I have read a fair few Smiths discussions and seen it maligned or unloved, thankfully never loathed. I think it is one of many high points on the album, such a doleful but tranquil and lazy slide before it smashes into a frenzied beast of a number. I could listen to this, not once, but twice. I rate Miserable Lie as a 4/5.
Miserable Lie – On the plus side, I really like when the tempo picks up after the first verse. I think Marr’s guitar playing is fantastic, despite what he may say about it. On the down side: The bright sound of the album is very apparent on this one. The cymbals are painful. I’m not a fan of Morrissey’s falsetto which goes on and on and on some more. That is ultimately the downfall of this song for me. I think it works better live than studio. The low point of the album for me but not without some worth. 2.5 out of 5 ranking.
Awesome version....I happened upon mine in a used bin about a year ago....minus the "O.B.I."....Found out later this c.d. was originally issued without an "O.B.I."!I paid $9 bucks for it in mint condition.
The Smiths is my favorite Smiths album, and I think I've listed it on a few of the various "top ten lps of all time" threads on this forum. I think it's a perfect record for the most part. I love how the Moors murders hang over the proceedings. I do like the version with This Charming Man added... It makes things just a bit less dour. "Reel Around The Fountain" is one of the Smith's signature songs as far as I'm concerned. I don't think this one is about the Moors murders but it's not hard to read a mix of violence and dark desire in the lyrics. Musically, this song is like a lot of the others on this record... a rolling, laid back groove with Marr's guitar flitting around the edges. Like some of the other great post punk records from the early eighties, this album sounds almost like the work of a jazz trio + vocalist. On the other hand, thanks mostly to Morrissey's vocals (which are croony and monotonous at the same time) and meandering, almost Dylanesque songwriting, this record doesn't really sound like anything else at all, including most of The Smith's later work, where the songs have more structure (imo).
I'm stepping in a bit late to this thread, and I'm probably going to be cutting in and out due to my somewhat erratic schedule. But as The Smiths are one of my very favorite bands, I'll try to contribute when I can. Of their four studio albums, the debut is the one I like the least, but I still adore it. It's a fine collection of songs; I just wish they had figured out a way to do a good mix of the Troy Tate sessions instead, as I find the debut to sound tinny, overly bright, and even a bit stiff and soulless (making Joyce play to a click track was a bad idea). "Reel Around the Fountain": Great track, but I feel it's overproduced on the debut. There's a real haunting quality to the comparatively sparse Troy Tate version, which is my favorite recording of this track. "You've Got Everything Now": Ultimately, I think the Hatful version is better (more muscular and energetic), but I love Marr's gorgeous playing on the album version. For me, this is an album highlight. (Speaking as a guitarist, this is a very fun song to play, but then lots of Smiths songs are.) "Miserable Lie": Starts off great - I love the intro, and could do with a whole song built around this part. When it shifts gears into the manic, breakneck tempo, I feel it's not served well by the production. And then when Morrissey breaks into that falsetto, it's both annoying and yet weirdly sort of gutsy that he does it over the remainder of the freaking song! Ultimately, this is probably the weakest track on the album, IMO.
Miserable Lie .. not a favourite..starts well ...like the tempo shift ...then ..well it just goes on too long with not a lot happening for me..prefer the peel session version and on clips I’ve seen of it live it seems more of a beast on the stage .. sorry 2/5
Like others have said, 'Miserable Lie' starts off gorgeously, had a fantastic change of tempo, and then outstays it's welcome by a full minute. They said what they needed to say - and it shoulda' been wrapped up in a nice pink bow at about 3.00 or so. Must have been hilarious when played live. 3/5
It totally isn't! You say what you say and we'll say what we say. The track is misunderstood and undeservedly maligned. I gave it 4/5.
Today's song is Pretty Girls Make Graves. Again a harsh 3/5 and the group didn't help themselves by placing several non-exceptional songs so early in the album. This song probably represents the biggest transformation from the Troy Tate sessions and I wonder whether John Porter's harsh comment of, "Out of tune and out of time" was partly based on this track. While it's interesting to listen to, that attempt sounds clumsy to my ears. I think this can be considered one of Porter's successes though as it is a solid production with a much improved ending (the BBC session is similar, but slightly weaker imo). It also would have been a terrible choice for 3rd single if Morrissey had had his way, but listening to this song again now I actually enjoy it more than previously. Having to follow a pretty average track like Miserable Lie probably didn't do it any favours.
I'll go first, then. PRETTY GIRLS MAKE GRAVES Solid album track, holds up well in the middle order, nothing outstanding about it but no need to be trying to make a case against it. 4/5.
"Pretty Girls Make Graves" A fine example of an early Smiths song, with a kind of naive and carefree feel despite the tale told by the lyrics. This one seemed to have quite a high profile in 1983, appearing in sessions and live appearances on TV, but seems kind of forgotten these days (and didn't even make an appearance on Hatful). The Troy Tate version tries something different by doubling the tempo, but personally I prefer the original loping beat, and I feel that the John Porter production is the go-to version here. I particularly like the way the ending dissolves into just the two guitars, kind of reminiscent of The Chameleons, who I was discovering at about the same time (what a time to be alive!) Pity that Morrissey's vocal is a bit off-key - perhaps the ideal version might be the Tate vocal over the Porter backing! Seems a bit mean for me to only give it 3/5, but it's not quite on the same plateau as those which are going to get fours and fives.
See, we agree already! My favourite track on the debut- it’s got everything. Wonderful lyrics, beautiful breakdowns, some interesting colour with a female backup, and Marr’s oustanding guitar. Great bass line too. Gorgeous top to bottom. “I Lost My Faith In Womanhood.” Hasn’t he though?... 5/5
"Pretty Girls Make Graves" is a great song. In the context of the album, after the slight misstep of "Miserable Lie," this song gets the record back on track. I find the album version to be a vast improvement over the awkward original Troy Tate version. However, I think the BBC version (Dave Jensen Show) is probably the best recorded performance I've heard of this song, because they play it a bit slower, and for me it's more effective than the rushed pace that they recorded it for the album. I like the faux-reggae feel (it makes the tune stand out a bit from the more straightforward rock/pop beats that dominate the record) and Marr's guitars are, as always, stellar and gorgeously detailed. For me there's little to fault about this inventively catchy track, except for, again, John Porter's overly thin production (which really makes some of those crash cymbal hits quite harsh, especially at the end).
Pretty Girls Make Graves – The verses are classic Smiths. Morrissey’s falsetto works much better on this one than “Miserable Lie”. I really love the guitar part at the end. Overall, pretty solid song. 3.5 out of 5 ranking.
Morrissey’s falsetto is like Worcester Sauce - just a dash of it can make a dish much more interesting. Unfortunately, the end of Miserable Lie is like trying to drink a shot glass full of it. Graves however is a fantastic track. Love the loping bassline, and it’s a great lyric, going places I don’t think rock/pop/indie really had before. The female voice interspersing is interestingly under-produced, giving it a verité feel which sells the skepticism/suspicion the girl in question feels.
All about the lyrics again, always thought of this as a twin with girl afraid, awkward teenage experiences of the opposite sex, is it shyness ? Lack of experience, or perhaps a realisation of something deeper ... No wonder The Smiths became so important to their fans 4/5 as the music doesn’t quite match the words and they didn’t quite nail the recording (the Troy Tate version is lighter and worth comparing with the final version, hoping for a proper reissue with the full complete Tate version ) love that little hand in glove coda at the end Upon the sand, upon the bay "There is a quick and easy way" you say Before you illustrate I'd rather state I'm not the man you think I am I'm not the man you think I am And sorrow's native son He will not smile for anyone And pretty girls make graves End of the pier, end of the bay You tug my arm, and say "give in to lust Give up to lust, oh heaven knows we'll Soon be dust" Oh, I'm not the man you think I am I'm not the man you think I am And sorrow's native son He will not rise for anyone And pretty girls make graves (Oh, really?) I could have been wild and I could have been free But nature played this trick on me She wants it now And she will not wait But she's too rough And I'm too delicate Then, on the sand Another man, he takes her hand A smile lights up her stupid face (And well, it would) I lost my faith in womanhood I lost my faith in womanhood I lost my faith Hand in glove The sun shines out of our behinds
I kind of like Miserable Lie but the vocals needed to be cut short about a minute early - Morrissey really didn't need to do that, the opening and build up is pretty nice, really. For Pretty Girls Make Graves - the song itself is sort of unremarkable but the outro is bliss.
Really looking forward to this thread,The Smiths are one of my favorite bands so I will be interested in seeing how this develops. On the subject of the 1st album,I will echo what I've said previously that I prefer the Hatful versions of the songs and the production is a big swing and a miss. I've also found the tracklist to be very odd so here is my resquence (in relation to the original which didn't have This Charming Man) 1. Reel Around The Fountain 2. What Difference Does It Make? 3. The Hand That Rocks The Cradle 4. Still ill 5. Pretty Girls Make Graves 6. Hand In Glove 7. I Don't Owe You Anything 8. You've Got Everything Now 9. Miserable Lie 10. Suffer Little Children Try that order and see what you think!
