Mr. Chimp wrote:Personally the Smiths bass player is in my top ten.
I love The Smiths and still listen to them regularly. They were my sole concession to "faggy" British 80's music of the semi-independent variety. The Cure? Heard one record and thought it was BORING (though their singles are okay). Echo & The Bunnymen? Never bothered. Bauhaus? Please. U2? I never understood why they were considered any better than Big Country or The Alarm, both of which I flirted with very briefly.
But The Smiths captured my imagination from the beginning, mainly because they sounded unlike anyone else and because, as "gay" as the singing was, the music absolutely kicked ass, albeit in a very lush, lyrical way. I agree that the bass playing is the foundation for everything, totally great, but all three musicians were ace. And Morrissey, however you judge him, was a singular something-or-other. Love him or hate him, he was
audacious, a quality that goes a long way in being a successful rock frontman. He's also intelligent and articulate, which gives him a leg up (ulp!) on 90% of his lyrical competition.
If you ask me, and I realize you didn't, the three finest singles of the eighties (and by "singles," I mean songs you could actually here regularly on the radio) are as follows:
1. "Sweet Child o' Mine" by Guns N Roses
2. "When Doves Cry" by Prince & The Revolution
3. "There Is a Light That Never Goes Out" by The Smiths