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Johnny Marr wrote the music for “This Charming Man” while The Smiths were still searching for their first real breakthrough. Built around his bright, intricate guitar riff and Morrissey’s deliberately ambiguous storytelling, the song was first recorded for a John Peel session before being re-recorded at Strawberry Studios in... show more

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The Smiths — “This Charming Man” (1984). Johnny Marr wrote it fast for a John Peel session, and you can hear that “first spark” energy in it — bright, nervous, impossible to sit still to. One of the cleanest guitar-pop riffs ever.

The Smiths — “This Charming Man” (1984). Johnny Marr wrote it fast for a John Peel session, and you can hear that “first spark” energy in it — bright, nervous, impossible to sit still to. One of the cleanest guitar-pop riffs ever.

All Rock Music

120,636 次观看 • 6 个月前

A punctured bicycle tyre sets the entire story of “This Charming Man” in motion. Morrissey imagined a young man stranded on a hillside who is picked up by an older, sophisticated stranger, filling the encounter with flirtation, uncertainty and deliberately ambiguous sexuality. Johnny Marr matched that strange little narrative with one of his most intricate guitar parts, creating the bright, chiming sound that became instantly recognisable. In Derby in December 1983, The Smiths were still only months into their recording career, performing a song that was already establishing exactly what made them different.

A punctured bicycle tyre sets the entire story of “This Charming Man” in motion. Morrissey imagined a young man stranded on a hillside who is picked up by an older, sophisticated stranger, filling the encounter with flirtation, uncertainty and deliberately ambiguous sexuality. Johnny Marr matched that strange little narrative with one of his most intricate guitar parts, creating the bright, chiming sound that became instantly recognisable. In Derby in December 1983, The Smiths were still only months into their recording career, performing a song that was already establishing exactly what made them different.

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19,997 次观看 • 17 天前

Only months after The Smiths had split, “Suedehead” proved Morrissey could immediately succeed under his own name. Recorded with producer Stephen Street, who also co-wrote the music, the song introduced a more polished solo sound while retaining Morrissey’s characteristically ambiguous lyrics about an unwanted, intrusive relationship. It became the first single from his 1988 debut album, Viva Hate, and reached No. 5 in the UK, charting higher than any Smiths single had managed during the band’s lifetime. Four years later, Morrissey performed it on Later... with Jools Holland, by then firmly established as a solo artist rather than simply the former Smiths frontman.

Only months after The Smiths had split, “Suedehead” proved Morrissey could immediately succeed under his own name. Recorded with producer Stephen Street, who also co-wrote the music, the song introduced a more polished solo sound while retaining Morrissey’s characteristically ambiguous lyrics about an unwanted, intrusive relationship. It became the first single from his 1988 debut album, Viva Hate, and reached No. 5 in the UK, charting higher than any Smiths single had managed during the band’s lifetime. Four years later, Morrissey performed it on Later... with Jools Holland, by then firmly established as a solo artist rather than simply the former Smiths frontman.

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37,519 次观看 • 11 天前

From their appearance on The Old Grey Whistle Test in 1986, Bigmouth Strikes Again captures The Smiths during the run of The Queen Is Dead. Released that year as a single, the song reached number 26 on the UK Singles Chart and became one of the band’s most recognisable tracks. Driven by Johnny Marr’s rapid, layered guitar work and Morrissey’s self-referential lyric, it reflected the sharper, more confrontational edge of the band’s mid-80s peak, with performances like this placing them firmly at the centre of British alternative music.

From their appearance on The Old Grey Whistle Test in 1986, Bigmouth Strikes Again captures The Smiths during the run of The Queen Is Dead. Released that year as a single, the song reached number 26 on the UK Singles Chart and became one of the band’s most recognisable tracks. Driven by Johnny Marr’s rapid, layered guitar work and Morrissey’s self-referential lyric, it reflected the sharper, more confrontational edge of the band’s mid-80s peak, with performances like this placing them firmly at the centre of British alternative music.

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22,215 次观看 • 7 个月前

Captured in 1986, The Smiths performed "Some Girls Are Bigger Than Others" during their final tour, a rare live take on one of their most distinctive songs. Released that same year as the closing track on The Queen Is Dead, it showcased Johnny Marr’s shimmering guitar and Morrissey’s dry humour, blending melancholy and wit in equal measure. The song’s fade-in effect, engineered by Stephen Street, became one of the album’s defining touches, subtle, surreal and unmistakably The Smiths.

Captured in 1986, The Smiths performed "Some Girls Are Bigger Than Others" during their final tour, a rare live take on one of their most distinctive songs. Released that same year as the closing track on The Queen Is Dead, it showcased Johnny Marr’s shimmering guitar and Morrissey’s dry humour, blending melancholy and wit in equal measure. The song’s fade-in effect, engineered by Stephen Street, became one of the album’s defining touches, subtle, surreal and unmistakably The Smiths.

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19,128 次观看 • 9 个月前

Captured at Pinkpop in 1994, Cannonball documents The Breeders at the height of their mainstream breakthrough. Released in 1993, the song appeared on Last Splash, the band’s second album, and became their biggest hit, reaching the UK Top 40 and dominating alternative radio worldwide. Written by Kim Deal and built around a distinctive bass intro and stop start dynamics, Cannonball helped push Last Splash to multi platinum success. Festival performances like this showed the band translating their off kilter studio sound into a powerful live setting during the peak of their 90s run.

Captured at Pinkpop in 1994, Cannonball documents The Breeders at the height of their mainstream breakthrough. Released in 1993, the song appeared on Last Splash, the band’s second album, and became their biggest hit, reaching the UK Top 40 and dominating alternative radio worldwide. Written by Kim Deal and built around a distinctive bass intro and stop start dynamics, Cannonball helped push Last Splash to multi platinum success. Festival performances like this showed the band translating their off kilter studio sound into a powerful live setting during the peak of their 90s run.

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40,453 次观看 • 7 个月前

The performance of "This Charming Man" at Glastonbury 2019 became one of the festival's standout moments when Johnny Marr joined The Killers on stage for a surprise appearance. Brandon Flowers has frequently cited Marr as one of his greatest musical influences, making the collaboration a symbolic meeting between two generations of alternative rock. Originally released by The Smiths in 1983, "This Charming Man" was written by Johnny Marr and Morrissey and became one of the defining songs of the indie rock movement, reaching No. 25 on the UK Singles Chart before climbing to No. 8 when it was reissued in 1992. The 2019 Glastonbury performance introduced the classic track to a new generation of listeners while celebrating Johnny Marr's enduring influence.

The performance of "This Charming Man" at Glastonbury 2019 became one of the festival's standout moments when Johnny Marr joined The Killers on stage for a surprise appearance. Brandon Flowers has frequently cited Marr as one of his greatest musical influences, making the collaboration a symbolic meeting between two generations of alternative rock. Originally released by The Smiths in 1983, "This Charming Man" was written by Johnny Marr and Morrissey and became one of the defining songs of the indie rock movement, reaching No. 25 on the UK Singles Chart before climbing to No. 8 when it was reissued in 1992. The 2019 Glastonbury performance introduced the classic track to a new generation of listeners while celebrating Johnny Marr's enduring influence.

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30,204 次观看 • 6 天前

Recorded for the band’s debut album Bleach, “Love Buzz” was released in 1988 as Nirvana’s first single on the Sub Pop label. Written by Dutch band Shocking Blue, the track became an early calling card for Kurt Cobain’s raw vocals and the group’s heavy, sludgy sound before their mainstream breakthrough. Though it did not chart on release, the song later gained cult status as a snapshot of Nirvana’s pre-Nevermind era, capturing the band at their most abrasive and unpolished.

Recorded for the band’s debut album Bleach, “Love Buzz” was released in 1988 as Nirvana’s first single on the Sub Pop label. Written by Dutch band Shocking Blue, the track became an early calling card for Kurt Cobain’s raw vocals and the group’s heavy, sludgy sound before their mainstream breakthrough. Though it did not chart on release, the song later gained cult status as a snapshot of Nirvana’s pre-Nevermind era, capturing the band at their most abrasive and unpolished.

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47,309 次观看 • 7 个月前

On The Tube in 1982, The Jam perform Beat Surrender as Paul Weller brought the band’s story to a deliberate close. The song appeared as a standalone single later that year and became their fourth UK number one, marking the end of The Jam at their commercial peak. Built around restraint, reflection, and a clear sense of finality, performances like this captured a band choosing resolution over repetition, stepping away just as British pop and mod revival culture reached its height.

On The Tube in 1982, The Jam perform Beat Surrender as Paul Weller brought the band’s story to a deliberate close. The song appeared as a standalone single later that year and became their fourth UK number one, marking the end of The Jam at their commercial peak. Built around restraint, reflection, and a clear sense of finality, performances like this captured a band choosing resolution over repetition, stepping away just as British pop and mod revival culture reached its height.

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55,166 次观看 • 8 个月前

By 1987, The Smiths were nearing the end of their remarkable run, yet singles such as "Shoplifters of the World Unite" and "Sheila Take a Bow" showed there was no drop in quality. Their appearance on The Tube in April 1987 captured Morrissey, Johnny Marr, Andy Rourke and Mike Joyce during the final months of the band's existence, still producing some of the most distinctive guitar pop of the decade.

By 1987, The Smiths were nearing the end of their remarkable run, yet singles such as "Shoplifters of the World Unite" and "Sheila Take a Bow" showed there was no drop in quality. Their appearance on The Tube in April 1987 captured Morrissey, Johnny Marr, Andy Rourke and Mike Joyce during the final months of the band's existence, still producing some of the most distinctive guitar pop of the decade.

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24,014 次观看 • 1 个月前

"Need You Tonight" is a song by the Australian rock band INXS, released as the first single from their 1987 album, Kick, as well as the fourth song on the album. It is the only INXS single to reach No. 1 on the Billboard Hot 100. It also achieved their highest charting position in the United Kingdom, where the song reached number two on the UK Singles Chart; however, this peak was only reached after a re-release of the single in November 1988. On its first run on the UK charts in October 1987, it stalled at No. 58. It was one of the last songs recorded for the album, yet it would arguably become the band's signature song.

"Need You Tonight" is a song by the Australian rock band INXS, released as the first single from their 1987 album, Kick, as well as the fourth song on the album. It is the only INXS single to reach No. 1 on the Billboard Hot 100. It also achieved their highest charting position in the United Kingdom, where the song reached number two on the UK Singles Chart; however, this peak was only reached after a re-release of the single in November 1988. On its first run on the UK charts in October 1987, it stalled at No. 58. It was one of the last songs recorded for the album, yet it would arguably become the band's signature song.

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12,346 次观看 • 7 个月前

"Supersonic" was written and recorded in a single day, with Noel Gallagher reportedly finishing the song while the rest of Oasis took a break from the studio. Released as their debut single and later featured on Definitely Maybe, it was the first glimpse of the sound and attitude that would define the band. Two years later, this performance at Maine Road in 1996 shows just how far Oasis had travelled, playing their first single to a huge hometown crowd.

"Supersonic" was written and recorded in a single day, with Noel Gallagher reportedly finishing the song while the rest of Oasis took a break from the studio. Released as their debut single and later featured on Definitely Maybe, it was the first glimpse of the sound and attitude that would define the band. Two years later, this performance at Maine Road in 1996 shows just how far Oasis had travelled, playing their first single to a huge hometown crowd.

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12,243 次观看 • 22 天前

Nashville Skyline was released on this day in 1969. Bob Dylan and Johnny Cash recorded “Girl from the North Country” as a duet for the album. Later that year, Dylan was one of the first guests on The Johnny Cash Show, where they performed the song together.

Nashville Skyline was released on this day in 1969. Bob Dylan and Johnny Cash recorded “Girl from the North Country” as a duet for the album. Later that year, Dylan was one of the first guests on The Johnny Cash Show, where they performed the song together.

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166,298 次观看 • 1 年前

“Going for Gold” arrived at exactly the right moment for Shed Seven. Written by Rick Witter and Paul Banks, its huge chorus helped push the York band further into the Britpop mainstream, reaching No. 8 in the UK in March 1996 and giving them their first Top 10 single. The song was recorded for their second album, A Maximum High, released the following month, and later lent its name to their 1999 greatest hits collection. This Top of the Pops appearance caught Shed Seven during a remarkable year in which they scored five UK Top 40 singles.

“Going for Gold” arrived at exactly the right moment for Shed Seven. Written by Rick Witter and Paul Banks, its huge chorus helped push the York band further into the Britpop mainstream, reaching No. 8 in the UK in March 1996 and giving them their first Top 10 single. The song was recorded for their second album, A Maximum High, released the following month, and later lent its name to their 1999 greatest hits collection. This Top of the Pops appearance caught Shed Seven during a remarkable year in which they scored five UK Top 40 singles.

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11,319 次观看 • 13 天前

“How Soon is Now?” by The Smiths: A Hauntingly Beautiful Classic “How Soon is Now?”, released in 1984, is one of The Smiths’ most beloved and enduring songs. This iconic track showcases the band’s unique blend of jangly guitars, poetic lyrics, and Morrissey’s unmistakable vocals. The song’s dreamy, swirling guitar intro, courtesy of Johnny Marr, sets the tone for Morrissey’s poignant and introspective lyrics. His soaring vocals convey the anguish and isolation of feeling like an outsider, desperately seeking connection. The lyrics are a masterclass in poetic storytelling, exploring themes of loneliness, rejection, and the crippling insecurity of youth. Morrissey’s words paint vivid pictures, making the listener feel the pain and longing. Musically, the song’s hypnotic groove and Marr’s innovative guitar work create a sense of tension and release. The track’s production, handled by John Porter, perfectly captures The Smiths’ signature sound. “How Soon is Now?” is a timeless masterpiece, resonating with anyone who’s ever felt like an outsider. It’s a testament to The Smiths’ profound influence on indie music and their enduring legacy. #thesmiths #morrissey #johnnymarr #alternative #PostPunk

“How Soon is Now?” by The Smiths: A Hauntingly Beautiful Classic “How Soon is Now?”, released in 1984, is one of The Smiths’ most beloved and enduring songs. This iconic track showcases the band’s unique blend of jangly guitars, poetic lyrics, and Morrissey’s unmistakable vocals. The song’s dreamy, swirling guitar intro, courtesy of Johnny Marr, sets the tone for Morrissey’s poignant and introspective lyrics. His soaring vocals convey the anguish and isolation of feeling like an outsider, desperately seeking connection. The lyrics are a masterclass in poetic storytelling, exploring themes of loneliness, rejection, and the crippling insecurity of youth. Morrissey’s words paint vivid pictures, making the listener feel the pain and longing. Musically, the song’s hypnotic groove and Marr’s innovative guitar work create a sense of tension and release. The track’s production, handled by John Porter, perfectly captures The Smiths’ signature sound. “How Soon is Now?” is a timeless masterpiece, resonating with anyone who’s ever felt like an outsider. It’s a testament to The Smiths’ profound influence on indie music and their enduring legacy. #thesmiths #morrissey #johnnymarr #alternative #PostPunk

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29,000 次观看 • 1 年前

Released in March 1983, Blue Monday appeared as a standalone single and later featured on the Power, Corruption & Lies era. It became the best-selling 12-inch single of all time, reaching number nine on the UK Singles Chart and redefining the sound of electronic dance music in the mainstream. Built around a distinctive drum-machine beat, sequenced bassline, and icy synths, the track marked New Order’s full break from their post-punk roots into club culture, influencing dance, synth-pop, and alternative music for decades.

Released in March 1983, Blue Monday appeared as a standalone single and later featured on the Power, Corruption & Lies era. It became the best-selling 12-inch single of all time, reaching number nine on the UK Singles Chart and redefining the sound of electronic dance music in the mainstream. Built around a distinctive drum-machine beat, sequenced bassline, and icy synths, the track marked New Order’s full break from their post-punk roots into club culture, influencing dance, synth-pop, and alternative music for decades.

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32,130 次观看 • 7 个月前

On this day in 1983, Prince released "Little Red Corvette," the second single from his breakthrough album 1999, and his first ever single to enter the US Top 10, peaking at #6 on the Billboard Hot 100, and #15 on the Billboard Black Singles charts. “That song was a real-life incident. A girl in a little red corvette…” -Prince The car that inspired the song was a pink and white 1964 Mercury Montclair Marauder, which belonged to Prince's then-keyboardist Lisa Coleman. Prince recorded the basic tracks at his home studio in Chanhassen, Minnesota and later called Coleman to contribute vocals and Dez Dickerson to add his vocals as well and overdub the guitar solo, which Guitar World magazine ranked 64th in their list of 100 best guitar solos of all time.

On this day in 1983, Prince released "Little Red Corvette," the second single from his breakthrough album 1999, and his first ever single to enter the US Top 10, peaking at #6 on the Billboard Hot 100, and #15 on the Billboard Black Singles charts. “That song was a real-life incident. A girl in a little red corvette…” -Prince The car that inspired the song was a pink and white 1964 Mercury Montclair Marauder, which belonged to Prince's then-keyboardist Lisa Coleman. Prince recorded the basic tracks at his home studio in Chanhassen, Minnesota and later called Coleman to contribute vocals and Dez Dickerson to add his vocals as well and overdub the guitar solo, which Guitar World magazine ranked 64th in their list of 100 best guitar solos of all time.

Prince

80,329 次观看 • 2 年前

“Cruel Summer” was released in 1983 as a standalone single by Bananarama and was later included on the American edition of the group’s 1984 self-titled album. Inspired by a rare heatwave in London, the song captured the frustration and restlessness of a sweltering city summer, while its video was filmed in New York during another bout of intense heat. The single reached #8 in the UK, but it was its inclusion in The Karate Kid (1984) that gave it major exposure in the United States, where it reached #9 on Billboard Hot 100 and became Bananarama’s first American Top 10 hit.

“Cruel Summer” was released in 1983 as a standalone single by Bananarama and was later included on the American edition of the group’s 1984 self-titled album. Inspired by a rare heatwave in London, the song captured the frustration and restlessness of a sweltering city summer, while its video was filmed in New York during another bout of intense heat. The single reached #8 in the UK, but it was its inclusion in The Karate Kid (1984) that gave it major exposure in the United States, where it reached #9 on Billboard Hot 100 and became Bananarama’s first American Top 10 hit.

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135,879 次观看 • 16 天前

Today is the 45th anniversary of the release of the single Don't Stand So Close To Me which reached #1 in the UK. The Police re-recorded this track in 1986 and also filmed a Christmas themed music video for the original that was released from the archives in 2021. 💿

Today is the 45th anniversary of the release of the single Don't Stand So Close To Me which reached #1 in the UK. The Police re-recorded this track in 1986 and also filmed a Christmas themed music video for the original that was released from the archives in 2021. 💿

The Police

51,195 次观看 • 11 个月前

The hypnotic guitar figure in “A Forest” emerged from a song The Cure had been experimenting with long before they recorded its definitive version. Producer Mike Hedges helped strip the arrangement down, creating the cold, spacious atmosphere that became central to the band’s developing sound. Released in 1980, “A Forest” came from their second album, Seventeen Seconds, and gave The Cure their first UK Top 40 single. Its repetitive structure also allowed the band to stretch it far beyond the studio recording onstage. At Belgium’s Werchter Festival on 5 July 1981, that darker, increasingly intense live approach was already transforming the song into a Cure concert staple.

The hypnotic guitar figure in “A Forest” emerged from a song The Cure had been experimenting with long before they recorded its definitive version. Producer Mike Hedges helped strip the arrangement down, creating the cold, spacious atmosphere that became central to the band’s developing sound. Released in 1980, “A Forest” came from their second album, Seventeen Seconds, and gave The Cure their first UK Top 40 single. Its repetitive structure also allowed the band to stretch it far beyond the studio recording onstage. At Belgium’s Werchter Festival on 5 July 1981, that darker, increasingly intense live approach was already transforming the song into a Cure concert staple.

Batfox Pictures

35,429 次观看 • 9 天前