The Smiths The Smiths 1st Press Vinyl '84 Rough Trade 61 Stencilled RT Logo VG+

	£		19
	$		25

The Smiths The Smiths 1st Press Vinyl '84 Rough Trade 61 Stencilled Rough Trade Logo on label VG+.

FREE FOR UK - Will Post Worldwide, but only International Tracked & Signed - I’ve put 25 Pounds as a benchmark price Worldwide - But contact me first before paying to let me know where you are in the world and I will work out a price for you and change the price accordingly.
 
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General description of Record Collector grading = Vinyl

Very Good Plus (VG+)

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. Defects should be more of a cosmetic nature, not affecting the actual playback as a whole. 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. Spindle marks may be present. Picture sleeves and inner sleeves will have some slight wear, slightly turned-up corners, or a slight seam split. An LP cover may have slight signs of wear, and may be marred by a cut-out hole, indentation, or cut corner.

PLEASE SEE PHOTOS AS PART OF DESCRIPTION

I have cleaned and play-tested both sides of the record and it plays really well and still sounds great!

This album hit me straight between the eyes like no other record I'd heard before. I'd loved other records, but no album spoke to me in quite the same way before. Many people say that Hatful of Hollow represents the band better in this period and that The Queeen Is Dead and Strangeways Here We Come are better albums. Hard to argue with any of that, but this was one still holds a special place in my heart nonetheless. It was a beacon of light that shone out of the darkness in an era dominated by Spandau Ballet and Duran Duran.
I am only selling because I have another copy. Thanks for looking.

ONLINE REVIEW:
It is difficult to describe just how different The Smiths sounded when it was released in early 1984. In an era of overproduced crash, bang and very often, wallop, this album defined northern British pop in a manner not unlike the Beatles had two decades earlier. Vocalist and lyricist Steven Patrick Morrissey cut a very singular swathe with lyrics that quoted freely from kitchen sink dramas, great literary heritage, and, in doing so, gave awkward youth its new (and enduring) hero.

After the group crashed on to the scene with their debut single, “This Charming Man”, in summer 1983, The Smiths was initially recorded with ex-Teardrop Explodes guitarist Troy Tate as producer, before abandoning it and getting ex-Roxy Music producer and bassist, John Porter, in to re-record. The sound – playing to Johnny Marr’s obsession with 60s guitar supported by Mike Joyce and Andy Rourke’s economical rhythm section – created a music, that like its accompanying lyrics, was completely out of step with the times, yet has come to define them as much as any Frankie Goes To Hollywood track.

Morrissey's utter disdain for playing pop's game, combined with the group's control over their artwork and being part of Rough Trade mapped out a new stage of indie music; blending classic, focussed melodies with this witty intensity, tackling taboo subjects such as child abuse (“Reel Around The Fountain”), the Moors Murders (“Suffer Little Children” with its infamous “Manchester, so much to answer for” line) and sexual politics, dressed in pretty, northern music. Although it’s not their greatest work, The Smiths remains an incredible statement of intent.