MEAT IS MURDER (WEA)
Released: February 11, 1985
The Headmaster Ritual
I Want The One I Can’t Have
What She Said
How Soon Is Now?
Well I Wonder
Barbarism Begins At Home
Meat Is Murder
Recorded: November-December, 1984, Amazon Studios, Liverpool and Ridge Farm, Surrey; mixed at Island Studios, London
Personnel: Morrissey, Johnny Marr, Andy Rourke, Mike Joyce
Producers: The Smiths (except How Soon Is Now? – John Porter); engineered by Stephen Street
UK chart: 1
US chart: –
The late Ian MacDonald strikes just one bum note in the otherwise consummate Revolution In The Head. It’s the bit about Penny Lane where he says, “Anyone unlucky enough not to have been aged between 14 and 30 during 1966-7 will never know the excitement of those years in popular culture.” What about people “unlucky enough” to have been 13 or 31? Pah. No good can come of such exclusive, self-mythologising, snotty cultural protectionism.
That said, anyone unlucky enough not to have been in higher education during 1983-1987 will never know the excitement of The Smiths.
When they released their second studio album Meat Is Murder a few days shy of Valentine’s Day in 1985, The Smiths were aged 25, 21, 20 and 21, from Morrissey to Joyce respectively. Though Morrissey, having left school in 1976 to sign on, was getting on a bit, the other three, grammar school boys to a man, might have been at college themselves in 1985. They weren’t, but the music they made spoke to those who were. Meanwhile those who weren’t had the pleasure instead of saying, “That Morrissey – he’s so miserable.”
It is surely no slight to call the Smiths a student band (nor, obviously, does such a label preclude the sensitive soul in gainful employment or, like Moz, on the dole). For it was deep within the fertile soil of the nation’s study bedrooms, draughty, Soviet-style halls and rented rooms in Whalley Range that their unique, intoxicating, life-altering guitar music took root. Higher education, its freedoms increasingly besieged in the mid-80s from a begrudging Sir Keith Joseph and his harebrained idea of top-up fees, used to be a place where you took stock of your life as you passed from late teenage to early 20s. Another Eden, protected from the outside world by subsidy, rebate and time, where you formed your political beliefs away from parental influence, coagulated as a human being, experienced the self-loathing of casual sex, and saw bands on the cheap in the union bar. Historians will need to go back to 1973 and wipe the resinous smudges off a used copy of Dark Side Of The Moon to find a record as beloved of the student class as Meat Is Murder.
The Smiths’ formative gigs were in low-ceilinged clubs and rooms above pubs, but in late 1983 they moved on to the college circuit: Warwick, Durham, Bangor, Kingston, Leicester, Portsmouth, North Staffs. As Morrissey noted of the band’s growing audience, “They don’t spit or gob, they bring flowers.” That’s because they could afford to – they were on grants.
Two years, a dose of mainstream success and a bit of trouble with the tabloids later, and The Smiths still held every safe student seat in Britain. Even though the Meat Is Murder tour would take them into Britain’s pavilions, hippodromes and winter gardens, the students followed. And brought flowers. Support act James found themselves garlanded in prematurely-chucked gladioli, “Don’t waste them on us,” Tim Booth would humbly implore.
Is it any wonder that Meat Is Murder scored such a direct hit with the band’s traffic cone-collecting constituency? For a start, it’s Morrissey’s vegetarian manifesto album. The seeds of his flesh boycott were sown in 1973, when McDonald’s opened its first UK restaurant in Manchester (“It was like the outbreak of war,” he said), but on the powerful title track – saved till the end – he throws down a political gauntlet to his followers (“it’s not natural, normal or kind, the flesh you so fancifully fry”). It made veggies of thousands on the spot.
In tune with this militant tendency, Morrissey’s republicanism rears its lyrical head too: “I’d like to drop my trousers to the Queen … the poor and the needy are selfish and greedy on her terms.” How well this chimed with the sloganeering, NME-reading socialism of the student demo. (Moz attended an anti-Abortion Act march himself in 1980, saying, “I love a good demonstration.” This man could have got himself elected rector of any university in Britain by 1985.)
The album’s masterful opener The Headmaster Ritual – a much punchier affair than the first album’s Reel Around The Fountain, suggesting a new sense of drama and masterplan – was even set at a seat of learning (the unnamed St Mary’s Secondary School), another bullseye with those just putting the gym and playing fields behind them. It even tapped into trendy Vietnam-movie fetishism with an unusually doctored sleeve still from documentary In Year Of The Pig.
The abiding irony of the Smiths is that their deepest appeal tended toward middle-class kids, when Morrissey’s milieu is stoutly working class. Rusholme Ruffians, Johnny Marr’s nod to Elvis’s His Latest Flame, describes “the last night of the fair” in terms not of someone who’s been dropped off by his dad. The “tough kid raised on Prisoner’s Aid” in I Want The One I Can’t Have and the “tattoed boy from Birkenhead” in What She Said seemed like fictional characters to most Smiths graduates, but first-hand authenticity hangs heavy like a dulling wine. It was as exotic as the beat poetry of hip-hop to some pale studes.
Though it’s ultimately Morrissey’s triumph – what Smiths album isn’t? – Meat Is Murder is also a notably musical album. Marr’s on scintillating form, confidently moving between skiffle, heavy metal and whatever you’d call the freight train/wailing riff of How Soon Is Now? Only on the awkward funk of Barbarism Begins At Home do our boys come slightly unstuck, although hats off to an “indie” band countenancing a 15-second bass solo.
Their first and only, it went to number one here, supplanting Bruce Springsteen’s Born In The USA like an agitated Dad’s Army-style Union Jack triangle. Morrissey’s ubiquity in the press meant that like ’em or loathe ’em, you could no longer ignore The Smiths.
Crunchily produced, inspiringly ordered, melancholy and witty in just the right measure (a balance that would be tipped in favour of the latter on the next two albums), it’s hard to disagree with Smiths chronicler Johnny Rogan’s assessment that Meat Is Murder is “the group’s most abrasive and satisfying work”. It certainly fulfilled Morrissey’s earlier prediction and helped us get through our exams.
(First published in a Q magazine Smiths Special Edition, 2004)