T he Smiths were supposed to be the band who saved all the drama for their music. Yet their great, 12-month unravelling was a true Grand Guignol epic, sloshing with vitriol, tears, tragic misunderstandings and Moz throwing a hissy fit on a revolving stage in Italy.

All of that and a great record, too. As Morrissey prepares to release his 13th solo album, I Am Not A Dog On A Chain, it feels instructive to reflect on the demise of The Smiths. The group has, after all, cast a shadow over everything he has done in the past 33 years.

The obvious reason for looking back is that for the Morrissey of today, there is a sense of looming finality. Pariah status beckons for the former generational icon. His 2019 endorsement of the far right New Britain party, and his claim – the latest in a series of outrageous outbursts – that “everyone ultimately prefers their own race”, have pushed him past respectability for many former fans. The campaign to “cancel” Morrissey gathers pace. Might I Am Not A Dog On A Chain ring a closing bell on his life as mass-market entertainer?

It is hard to say. The Smiths had no idea the end was nigh when they assembled at Wool Hall studios near Bath in March 1987. As had been the case since Morrissey and Johnny Marr first played together five years previously, in an attic rehearsal space in the Manchester suburb of Bowdon, it was a tightly knit group that had gathered at the facility. There was singer Morrissey, guitarist Marr, bassist Andy Rourke, drummer Mike Joyce, Marr’s wife Angie, producer Stephen Street, and the group’s manager Ken Friedman.

Friedman, who also worked with UB40, was new in the job and quickly becoming a cause of unhappiness. Morrissey liked to boast that The Smiths were unmanageable. They had recently parted from Matthew Sztumpf, who had helped negotiate a lucrative major label deal with EMI after the quartet concluded they were better off leaving their indie powerhouse Rough Trade.

Their desire to quit Rough Trade had been a source of tension with its founder Geoff Travis. He had gone so far as to take out an injunction, essentially preventing them from bringing their 1986 album The Queen is Dead to another record company.

Morrissey’s brag about The Smiths and unmanageability was an extension of his belief that the band could take care of business themselves. He was the guiding light in the group’s artwork and, via his gladioli and James Dean fandom, largely shaped their public persona.

The Smiths perform on ITV’s ‘The Tube’ in March 1984 ( ITV/Shutterstock )

The less glamorous heavy lifting, meanwhile, fell to Marr. In addition to playing guitar and writing all the music, he negotiated contracts, organised tours and even got on the phone to sort out buses and hotels. Marr had pushed for Friedman because he was fed up with being the one literally keeping the show on the road.

Still, that March, the outlook was rosy. Positively ebullient in fact. The evening they pitched up at Wool Hall, the band – minus the puritanical Morrissey – had partied until daylight. Marr, whose cocaine and crisps diet had seen his weight at one point shrink to dangerous levels, had moved on to a fresh obsession: brandy.

Everyone else was more than willing to join him in this new love affair. Parties at Wool House became a nightly event. With Morrissey tucked up in bed with his favourite Sylvia Plath anthology, the musicians would cover their favourite Spinal Tap songs into the wee hours. How bracing to picture the great sensitive tunesmiths of their generation howling “the bigger the cushion, the sweeter the pushin’” at 3am in a converted barn in Somerset.

It was a happy time. And despite their very different lifestyles, Morrissey and Marr were at that point working well together – like hand in glove, as it were. Outsiders generally assumed that Morrissey wore the figurative corduroys in the songwriting partnership. And it is true that Marr deferred to him, though the situation would grow more complex as the band fell apart.

Yet in many ways, Morrissey was the more stable component of the relationship. He struck many beyond the group’s immediate circle as immensely odd – a sense that would accentuate as The Smiths hurtled towards their break-up. Still, he was happy in his bubble and could actually be more approachable than the mercurial Marr. Geoff Travis, for instance, got on far better with Morrissey than with Marr, whom he is said to have found distant.

Marr, in his way, was just as needy as Morrissey. And he was sensitive about being exploited, feeling he had for years carried The Smiths in an organisational capacity. What he needed, more than anything, was to feel supported and appreciated. In his 2016 biography, Set the Boy Free, he described the early weeks in Wool Hall as among the happiest of his time in The Smiths.

Pariah: Morrissey performs in Delaware in 2014 (Getty/Firefly) ( Ilya S Savenok/Getty Images for Firefly )

“I was in my element,” he wrote. “I didn’t need to know what was going on in the outside world or see anyone other than the band and Angie … I loved the new songs.”

They didn’t know it yet, but The Smiths had already played their final concert. It was in February 1987, at northwest Italy’s San Remo Festival, on a revolving stage. Spandau Ballet and Paul Young were on the bill, too, and happy to sing in the round.

However, when the stage malfunctioned, Morrissey declined to continue with what he felt was a charade. It had been Friedman who convinced him to go on and belt out a selection of the band’s hits as they slowly pivoted through 360 degrees.

At Wool Hall, though, Morrissey’s relationship with the manager started to fray. The closer the newcomer grew to Marr, the more Morrissey seemed to take a dislike to him. Smith and Joyce were quick to side with the frontman – as Marr immediately noticed.

“New allegiances were formed between band members and I was having to defend the merits of our new manager,” he wrote in his book. “I didn’t understand why there was a problem. The band’s business was finally being looked after … But the rest of the band made a sudden U-turn and it was three against one. I could feel the positivity I had for the future slip away.”

In the end, he was pressured into firing Friedman. He didn’t want to, and resented being pushed into a corner. The tension also seemed to get to producer Street. He felt stung after an incident in which he had helped Marr write a string section. Street suggested, as matter-of-factly as he could, that he was open to receiving a songwriting credit for his contribution. Marr gawped at the producer as if he’d asked the guitarist to pledge him his first-born child.

Then there were the fraught interactions with Rough Trade. After the disagreements over The Queen Is Dead – the label had genuinely feared The Smiths would cut and run to a major with the master tapes – the relationship was shaky. Morrissey had taken a snarky shot at Travis on The Queen is Dead’s “Frankly, Mr Shankly”, singing “I want to leave, you will not miss me/ I want to go down in musical history.”

“I saw the lyric as part of Morrissey’s desire to be somewhere else, so it’s not completely silly,” Travis would say. “It was The Smiths’ prerogative to leave Rough Trade and Morrissey can only write about his own experiences.”

The Smiths perform live for the final time on television, in an April 1987 episode of ‘The Tube’ ( ITV/Shutterstock )

The Smiths had signed a five-album deal with Travis. As a goodwill gesture, though, Rough Trade would allow them to leave after Strangeways, Here We Come, their fourth official LP (there had been compilations and B-side collections). A more cynical band would have tossed out 50 minutes of filler and gone on their way.

Marr, however, wanted to use the opportunity to expand The Smiths’ sound. In particular, he was eager to escape the jangly, student-disco pigeonhole into which they had been wedged.

Morrissey, too, was yearning to move in a different direction – just not the one favoured by Marr. This would come to a head that summer, when the singer pushed Marr to cover Cilla Black on a B-side.

“Towards the end of The Smiths, I realised that the records I was listening to with my friends were more exciting than the records I was listening to with the group,” Marr said in Johnny Rogan’s seminal Smiths history Morrissey and Marr: The Severed Alliance. “Sometimes it came down to Sly Stone versus Herman’s Hermits. And I knew which side I was on.”

Tensions were starting to bubble up. In April, with their profile rising in the US, where they were signed to Warner Music’s Sire Records, it became necessary to film a video for the (non-album) single “Sheila Take A Bow”.

The 40 best albums to listen to before you die Show all 40 1 / 40 The 40 best albums to listen to before you die The 40 best albums to listen to before you die The Velvet Underground & Nico (1967), The Velvet Underground It was Andy Warhol who wanted Lou Reed and John Cale to let his beautiful new friend Nico sing with their avant-garde rock band. Truthfully, though, Victor Frankenstein himself couldn’t have sewed together a creature out of more mismatched body parts than this album. It starts with a child’s glockenspiel and ends in deafening feedback, noise, and distortion. Side one track one, “Sunday Morning”, is a wistful ballad fit for a cool European chanteuse sung by a surly Brooklynite. “Venus in Furs” is a jangling, jagged-edge drone about a sex whipping not given lightly. “I’ll Be Your Mirror” is a love song. European Son is rock’n’roll turned sonic shockwave. That’s before you even get on to the song about buying and shooting heroin that David Bowie heard on a test pressing and called “the future of music”. Half a century on, all you have to do is put electricity through The Velvet Underground & Nico to realise that he was right. Chris Harvey The 40 best albums to listen to before you die I Never Loved a Man the Way I Love You (1967), Aretha Franklin When Jerry Wexler signed the daughter of a violent, philandering preacher to Atlantic records, he "took her to church, sat her down at the piano, and let her be herself". The Queen of Soul gave herself the same space. You can hear her listening to the band, biding her time before firing up her voice to demand R-E-S-P-E-C-T 50 years before the #MeToo movement. Helen Brown The 40 best albums to listen to before you die Master of Puppets (1986), Metallica Despite not featuring any singles, Metallica’s third album was the UK rock radio breakthrough they’d been looking for. In 1986, they released one of the best metal records of all time, which dealt with the potency and very nature of control, meshing beauty and raw human ugliness together on tracks like “Damage Inc” and “Orion”. This album is about storytelling – the medieval-influenced guitar picks on opener “Battery” should be enough to tell you that. Although that was really the only medieval imagery they conjured up – they ripped Dungeons & Dragons clichés out of the lyrics and replaced them with the apocalypse, with bassist Cliff Burton, drummer Lars Ulrich, guitarist Kirk Hammett and singer/rhythm guitarist James Hetfield serving as the four horsemen. Roisin O’Connor The 40 best albums to listen to before you die Remain in Light (1980), Talking Heads “Facts are simple and facts are straight / Facts are lazy and facts are late…” sang David Byrne, submerging personal and planetary anxieties about fake news and conspicuous consumption in dense, layers and loops of Afrobeat-indebted funk. Propulsive polyrhythms drive against the lyrical pleas for us to stop and take stock. Same as it ever was. HB The 40 best albums to listen to before you die Catch a Fire (Jamaican version) (1973), Bob Marley and the Wailers The album that carried reggae music to the four corners of the Earth and made Bob Marley an international superstar also set the political tone for many artists to follow. Marley sang of life “where the living is hardest” in “Concrete Jungle” and looked back to Jamaica’s ignoble slaving past – “No chains around my feet but I’m not free”. He packed the album with beautiful melodic numbers, such as “High Tide and Low Tide”, and rhythmic dance tracks like “Kinky Reggae”. Released outside of Jamaica by Island Records with guitar overdubs and ornamentation, the original Jamaican version is a stripped-down masterpiece. CH The 40 best albums to listen to before you die Revolver (1966), The Beatles An unprecedented 220 hours of studio experimentation saw George Martin and The Beatles looping, speeding, slowing and spooling tapes backwards to create a terrifically trippy new sound. The mournful enigma of McCartney’s “For No One” and the psychedelia of Lennon’s “Tomorrow Never Knows” and “She Said, She Said” can still leave you standing hypnotised over the spinning vinyl, wondering if the music is coming out or being sucked back in. HB The 40 best albums to listen to before you die Like a Prayer (1989), Madonna It may be the most “serious” album she’s ever made, yet Like a Prayer is still Madonna at her most accessible – pulling no punches in topics from religion to the dissolution of her marriage. In 1989, Madonna’s personal life was tabloid fodder: a tumultuous marriage to actor Sean Penn finally ended in divorce, and she was causing controversy with the “Like a Prayer” video and its burning crosses. On the gospel abandon of the title track, she takes the listener’s breath away with her sheer ambition. Where her past records had been reflections of the modern music that influenced her – Like a Prayer saw her pay homage to bands like Sly & the Family Stone, and Simon & Garfunkel. The album was also about an artist taking control over her own narrative, after releasing records that asked the audience – and the press – to like her. RO The 40 best albums to listen to before you die Led Zeppelin IV (1971), Led Zeppelin Millennials coming at this album can end up feeling like the guy who saw Hamlet and complained it was all quotations. Jimmy Page’s juggernaut riffs and Robert Plant’s hedonistic wails set the bench mark for all subsequent heavy, hedonistic rock. But it’s worth playing the whole thing to experience the full mystic, monolithic ritual of the thing. Stairway? Undeniable. HB The 40 best albums to listen to before you die The Best of the Shangri-Las (1996), The Shangri-Las Oh no. Oh no. Oh no no no no no, no one ever did teen heartbreak quite like the Shangri-Las. Long before the Spice Girls packaged attitude for popular consumption, songwriter Ellie Greenwich was having trouble with a group of teenagers who had grown up in a tough part of Queen’s – “with their gestures, and language, and chewing the gum and the stockings ripped up their legs”. But the Shangri-Las sang with an ardour that was so streetwise, passionate and raw that it still reaches across more than half a century without losing any of its power. "Leader of the Pack" (co-written by Greenwich) may be their best-known song, but they were never a novelty act. This compilation captures them at their early Sixties peak. CH The 40 best albums to listen to before you die The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), David Bowie Flamboyance, excess, eccentricity – this is the breakthrough album that asserted Bowie as glam rock’s new icon, surpassing T Rex. He may have come to rue his Ziggy Stardust character, but with it, Bowie transcended artists seeking authenticity via more mundane means. It was his most ambitious album – musically and thematically – that, like Prince, saw him unite his greatest strengths from previous works and pull off one of the great rock and roll albums without losing his sense of humour, or the wish to continue entertaining his fans. “I’m out to bloody entertain, not just get up onstage and knock out a few songs,” he declared. “I’m the last person to pretend I’m a radio. I’d rather go out and be a colour television set.” RO The 40 best albums to listen to before you die Unknown Pleasures (1979), Joy Division In their brief career, ended by the suicide of 23-year-old singer Ian Curtis, Joy Division created two candidates for the best album by anyone ever. Closer may be a final flowering, but Unknown Pleasures is more tonally consistent, utterly unlike anything before or since. The mood is an all-pervading ink-black darkness, but there is a spiritual force coming out of the grooves that is so far beyond pop or rock, it feels almost Dostoevskyan. There are classic songs – "Disorder", "She’s Lost Control" and "New Dawn Fades" – and for those who’d swap every note Eric Clapton ever played for one of Peter Hook’s basslines, the sequence at 4:20 on "I Remember Nothing" is perhaps the single most thrilling moment in the entire Joy Division catalogue. CH The 40 best albums to listen to before you die Hejira (1976), Joni Mitchell Though her 1971 album, Blue, is usually chosen for these kinds of lists, Mitchell surpassed its silvery, heartbroken folk five years later with a record that found her confidently questioning its culturally conditioned expectations of womanhood. Against an ambiguous, jazzy landscape, her deepening, difficult voice weighs romance and domesticity against the adventure of “strange pillows” and solitude. HB The 40 best albums to listen to before you die Body Talk (2010), Robyn The answer to whether Robyn could follow up the brilliance of her self-titled 2005 album came in a burst of releases in 2010, the EPs Body Talk Pt 1, Pt 2 and Pt3, and this 15-track effort, essentially a compilation album. It includes different versions of some tracks, such as the non-acoustic version of “Hang With Me” (and we can argue all night about that one), but leaves well alone when it comes to the single greatest electronic dance track since “I Feel Love”, “Dancing On My Own”. Body Talk is simply jammed with great songs. CH The 40 best albums to listen to before you die Off The Wall (1979), Michael Jackson “I will study and look back on the whole world of entertainment and perfect it,” wrote Jackson as he turned 21 and shook off his cute, controlled child-star imagery to release his jubilant, fourth solo album. Produced by Quincy Jones, the sophisticated disco funk nails the balance between tight, tendon-twanging grooves and liberated euphoria. Glitter ball magic. HB The 40 best albums to listen to before you die Illmatic (1994), Nas How good can rap get? This good. There are albums where the myth can transcend the music – not on Illmatic, where Nas vaulted himself into the ranks of the greatest MCs in 1994, with an album that countless artists since have tried – and failed – to emulate. Enlisting the hottest producers around – Pete Rock, DJ Premier, Q-Tip, L.E.S and Large Professor – was a move that Complex blamed for “ruining hip hop”, while still praising Nas’s record, because it had a lasting impact on the use of multiple producers on rap albums. Nas used the sounds of the densely-populated New York streets he grew up on. You hear the rattle of the steel train that opens the record, along with the cassette tape hissing the verse from a teenage Nasty Nas on Main Source’s 1991 track “Live at the BBQ”: ‘When I was 12, I went to Hell for snuffing Jesus.” RO The 40 best albums to listen to before you die Trans-Europe Express (1977), Kraftwerk This is the album that changes everything. The synthesised sounds coming out of Kraftwerk’s Kling-Klang studios had already become pure and beautiful on 1975’s Radio-Activity, but on Trans-Europe Express, their sophistication subtly shifts all future possibilities. The familiar quality of human sweetness and melancholy in Ralf Hutter’s voice is subsumed into the machine as rhythms interlock and bloom in side two’s mini-symphony that begins with the title track. Released four months before Giorgio Moroder’s "I Feel Love", Trans-Europe Express influenced everything from hip-hop to techno. All electronic dance music starts here. CH The 40 best albums to listen to before you die Kind of Blue (1959), Miles Davis With the sketches of melody only written down hours before recording, the world’s best-selling jazz record still feels spontaneous and unpredictable. Davis’s friend George Russell once explained that the secret of its tonal jazz was to use every note in a scale “without having to meet the deadline of a particular chord”. Kind of Blue is unrepeatably cool. HB The 40 best albums to listen to before you die Astral Weeks (1968), Van Morrison “If I ventured in the slipstream, between the viaducts of your dream…” To enter this musical cathedral, where folk, jazz and blue-eyed soul meet is always to feel a sense of awe. Recorded in just two eight-hour sessions, in which Morrison first played the songs to the assembled musicians then told them to do their own thing, Astral Weeks still feels as if it was made yesterday. Morrison’s stream-of-consciousness lyrics within the richness of the acoustic setting – double bass, classical guitar and flute – make this as emotionally affecting an album as any in rock and pop. CH The 40 best albums to listen to before you die West Side Story Soundtrack (1961) “Life is all right in America / If you're all white in America” yelp the immigrants in this passionate and political musical relocating of Romeo and Juliet to Fifites New York. Leonard Bernstein’s sophisticated score is a melting pot of pop, classical and Latin music; Stephen Sondheim’s lyrics sharp as a flick knife. An unanswered prayer for a united and forgiving USA. HB The 40 best albums to listen to before you die Sign o' the Times (1987), Prince Sign o’ the Times is Prince’s magnum opus from a catalogue of masterworks – a double album spanning funk, rock, R&B and most essentially, soul. It is the greatest articulation of his alchemic experiments with musical fusion – the sum of several projects Prince was working on during his most creatively fruitful year. On Sign o’ the Times, the bass is king – Prince cemented his guitar god status on Purple Rain. There are tracks that drip with sex, and love songs like “Adore”, which remains one of the greatest of all time. Stitched together with the utmost care, as if he were writing a play with a beginning, a middle and an end, the album is a landmark in both pop and in art. RO The 40 best albums to listen to before you die Pet Sounds (1966), The Beach Boys Caught in the psychological undertow of family trauma and all those commercial surf songs, 23-year-old Brian Wilson had a panic attack and retreated to the studio to write this dreamlike series of songs whose structural tides washed them way beyond the preppy formulas of drugstore jukeboxes. Notes pinged from vibraphones and coke cans gleam in the strange, sad waves of bittersweet melody. HB The 40 best albums to listen to before you die Ys (2006), Joanna Newsom Weave a circle round her thrice… Joanna Newsom is dismissed by some as kookily faux-naif, but her second album, before she trained out the childlike quality from her voice, may be the most enchanted record ever made. At times, she sounds other-worldly, sitting at her harp, singing to herself of sassafras and Sisyphus, but then a phrase will carry you off suddenly to the heart’s depths – “Still, my dear, I’d have walked you to the edge of the water”. Ys’s pleasures are not simple or immediate. Newsom’s unusual song structures, with their fragmented melodies, and strange and beautiful orchestral arrangements by 63-year-old Van Dyke Parks, take time to work their magic. But once you’re bewitched, Ys’s spell never wears off. CH The 40 best albums to listen to before you die It Takes a Nation of Millions to Hold Us Back (1988), Public Enemy Public Enemy’s second album is hip-hop’s game-changing moment, where a new musical form that arrived fully born after years of development away from meddling outsiders found its radical voice. It Takes a Nation of Millions… is still one of the most powerful, provocative albums ever made, “Here is a land that never gave a damn / About a brother like me,” raps Chuck D on “Black Steel in the Hour of Chaos”. Producer Hank Shocklee creates a hard-edged sound from samples that pay homage to soul greats such as James Brown and Isaac Hayes, and Flavor Flav gives it an unmistakeable zest. CH The 40 best albums to listen to before you die Dark Side of the Moon (1973), Pink Floyd It’s easy to knock these white, male, middle-class proggers, with their spaceship full of technology and their monolithic ambitions. But the walloping drums, operatic howls and “quiet desperation” of this concept album about the various forms of madness still resonates with the unbalanced, overwhelmed and alienated parts of us all. Play loud, alone and after dark. HB The 40 best albums to listen to before you die The Miseducation of Lauryn Hill (1998), Lauryn Hill Lauryn Hill raised the game for an entire genre with this immense and groundbreaking work. Flipping between two tones – sharp and cold, and sensual and smoky – the former Fugees member stepped out from rap’s misogynist status quo and drew an audience outside of hip hop thanks to her melding of soul, reggae and R&B, and the recruitment of the likes of Mary J Blige and D’Angelo. Its sonic appeal has a lot to do with the lo-fi production and warm instrumentation, often comprised of a low thrumming bass, tight snares and doo-wop harmonies. But Hill’s reggae influences are what drive the album’s spirit: preaching love and peace but also speaking out against unrighteous oppression. Even today, it’s one of the most uplifting and inspiring records around. RO The 40 best albums to listen to before you die Histoire de Melody Nelson (1971), Serge Gainsbourg The great French singer-songwriter provocateur probably wouldn’t get too many takers today for a concept album about a tender love between his middle-aged self and a teenage girl he knocks off her bicycle in his Rolls-Royce. But, musically, this cult album is sublime, an extraordinary collision of funk bass, spoken-word lyrics and Jean-Claude Vannier’s heavenly string arrangements. “Ballade de Melody Nelson”, sung by Gainsbourg and Jane Birkin, is one of his most sublimely gorgeous songs. CH The 40 best albums to listen to before you die In My Own Time (1971), Karen Dalton There’s nothing contrived about Karen Dalton’s ability to flip out the guts of familiar songs and give them a dry, cracked folk-blues twist. Expanding the emotional and narrative boundaries of songs like Percy Sledge’s When a Man Loves a Woman is just what she did. Why has it taken the world so long to appreciate her? HB The 40 best albums to listen to before you die Let England Shake (2011), PJ Harvey “Goddamn Europeans, take me back to beautiful England.” PJ Harvey may have sounded like she was channelling Boris and Nige when she made this striking album in 2015, but few Brexiteers would want to take this journey with her. Let England Shake digs deep into the soil of the land, where buried plowshares lie waiting to be beaten into swords. Death is everywhere, sometimes in its most visceral form: “I’ve seen soldiers fall like lumps of meat,” she sings on “The Words That Maketh Murder”, “Arms and legs are in the trees.” Musically, though, it’s ravishing: Harvey employs autoharp, zither, rhodes piano, xylophone and trombone to create a futuristic folk sound that’s strikingly original yet could almost be from an earlier century. CH The 40 best albums to listen to before you die Boy in da Corner (2003), Dizzee Rascal It’s staggering to listen back to this album and remember Dizzee was just 18-years-old when he released it. Rising through the UK garage scene as a member of east London’s Roll Deep crew, the MC born Dylan Mills allegedly honed his skills in production after being excluded from every one of his classes, apart from music. If you want any sense of how ahead of the game Dizzee was, just listen to the opening track “Sittin’ Here”. While 2018 has suffered a spate of half-hearted singles playing on the listener’s sense of nostalgia for simpler times, 15 years ago Dizzee longed for the innocence of childhood because of what he was seeing in the present day: teenage pregnancies, police brutality, his friends murdered on the streets or lost to a lifestyle of crime and cash. Boy in da Corner goes heavy on cold, uncomfortably disjointed beats, synths that emulate arcade games and police sirens, and Dizzee himself delivering bars in his trademark, high-pitched squawk. RO The 40 best albums to listen to before you die Hounds of Love (1985), Kate Bush Proof that a woman could satisfy her unique artistic vision and top the charts without kowtowing to industry expectations, Kate Bush’s self-produced masterpiece explored the extreme range of her oceanic emotions from the seclusion of a cutting-edge studio built in the garden of her 17th-century farmhouse. The human vulnerability of her voice and traditional instruments are given an electrical charge by her pioneering use of synthesisers. Thrilling and immersive. HB The 40 best albums to listen to before you die Blue Lines (1991), Massive Attack A uniquely British take on hip hop and soul that continues to influence booming modern genres like grime and dubstep, the Bristol collective’s debut gave a cool new pulse to the nation’s grit and grey. You can smell ashtrays on greasy spoon tables in Tricky’s whisper and feel the rain on your face in Shara Nelson’s exhilarating improvisations. HB The 40 best albums to listen to before you die Surfer Rosa (1987), Pixies It only takes 20 seconds of opening track Bone Machine to realise Pixies and producer Steve Albini have stripped down the sound of rock ’n’ roll and rebuilt it piece by piece. The angry smack of Led Zep drums, ripe bass, and sheet metal guitar straight off the Stooges’ Detroit production line are separated and recombined. Pixies’ sound is already complete before Black Francis embarks on one of his elusive pop cult narratives (“your bone’s got a little machine”). The tension between the savagery of his vocals and Kim Deal’s softer melodic tone won’t reach its perfect balance until their next album but their debut, Surfer Rosa is gigantic, and deserving of big, big love. Its “loud, quiet, loud” tectonics would prove so influential that Nirvana’s Kurt Cobain would later say he “was basically trying to rip off the Pixies”. CH The 40 best albums to listen to before you die Talking Timbuktu (1994), Ali Farka Toure and Ry Cooder If you ever doubt the possibility of relaxed and respectful conversation across the world’s cultural divisions, then give yourself an hour with this astonishing collaboration between Mali’s Ali Farka Toure (who wrote all but one of the tracks) and California’s Ry Cooder (whose slide guitar travels through them like a pilgrim). Desert meets Delta Blues. HB The 40 best albums to listen to before you die The Great Gospel Men (1993), Various artists Compared to the blues, the incalculable influence of gospel music on pop, soul and rock ’n’ roll has been underplayed. It can be found in every song on this brilliant 27-track compilation. If you can’t hear James Brown in the foot-stomping opener “Move on Up a Little Higher” by Brother Joe May, you’re not listening hard enough. The road to Motown from “Lord, Lord, Lord” by Professor Alex Bradford is narrow indeed, but you could still take a side-turning and follow his ecstatic whoops straight to Little Richard, who borrowed them, and on to the Beatles who copied them from him. The swooping chord changes in James Cleveland’s “My Soul Looks Back” are magnificent. All the irreplaceable soul voices, from Aretha Franklin to Bobby Womack, were steeped in gospel. This is a great place to hear where they came from. Companion album The Great Gospel Women is a marvel, too. CH The 40 best albums to listen to before you die Hopelessness (2016), Anonhi “A lot of the music scene is just a wanking, self-congratulatory boys club,” said this angel-voiced, transgender artist in 2012. Four years later, the seismic drums and radical ecofeminist agenda of Hopelessness shook that club’s crumbling foundations to dust. The horrors of drone warfare, paedophilia and global warming are held up to the bright lights in disconcertingly beautiful rage. HB The 40 best albums to listen to before you die In Utero (1993), Nirvana Kurt Cobain had one goal with In Utero: to pull Nirvana away from what he dubbed the “candy-ass” sound on Nevermind – the album that had turned them into one of the biggest rock bands on the planet – and take them back to punk-rock. He asked Pixies’ producer Steve Albini to oversee production. It didn’t exactly eschew commercial success upon release (it went on to sell 15m copies worldwide), but the heaviness the band felt as they recorded it bears down on the listener from the opening track. Disheartened by the media obsession with his personal life and the fans clamouring for the same old shit, In Utero is pure, undiluted rage. “GO AWAYYYYYYYYYYY” he screams on “Scentless Apprentice”, capturing the essence of Patrick Suskind’s novel Perfume: Story of a Murderer and using it as a metaphor for his disgust at the music industry, and the press. RO The 40 best albums to listen to before you die Curtis (1971), Curtis Mayfield Curtis Mayfield had been spinning golden soul music from doo-wop roots with The Impressions for more than a decade before releasing his first solo album, which contains some of his greatest songs. While some point to the 1972 Blaxploitation soundtrack Superfly as the definitive Mayfield album, Curtis is deeper and more joyous, its complex arrangements masterly. Mayfield’s sweet falsetto sings of Nixon’s bland reassurances over the fuzz-bass of “(Don’t Worry) If There Is a Hell Below We’re All Going to Go”; doleful horns give the politically conscious “We the People Who Are Darker Than Blue” a profound emotional undertow; “Move On Up” is simply one of the most exhilarating songs in pop. To spend time with Curtis is to be in the presence of a beautiful soul. CH The 40 best albums to listen to before you die Rumours (1977), Fleetwood Mac Before they went their own way, Fleetwood Mac decided to tell a story that would be the quintessential marker for American rock culture in the Seventies. As Lindsey Buckingham and Stevie Nicks tossed the charred remains of their relationship at one another on “Dreams” and “Go Your Own Way”, the rest of the band conjured up the warm West Coast harmonies, the laid back California vibes of the rhythm section and the clear highs on “Gold Dust Woman”, in such a way that Rumours would become the definitive sound of the era. At the time of its release, it was the fastest-selling LP of all time; its success turned Fleetwood Mac into a cultural phenomenon. RO The 40 best albums to listen to before you die Are You Experienced? (1967), Jimi Hendrix A virtual unknown to rock fans just a year before – Hendrix used Are You Experienced? to assert himself as a guitar genius who could combine pop, blues, rock, R&B, funk and psychedelia in a way no other artist had before. That’s even without the essential contributions of drummer Mitch Mitchell and bassist Noel Redding, who handed Are You Experienced? the rhythmic bridge between jazz and rock. Few album openers are as exquisite as “Purple Haze”. Few tracks are as gratifying, as sexy, as the strut on “Foxy Lady”. And few songs come close to the existential bliss caused by “The Wind Cries Mary”. Hendrix’s attack on the guitar contrasted against the more polished virtuosos in rock at the time – yet it is his raw ferocity that we find ourselves coming back to. Few debuts have changed the course of rock music as Hendrix did with his. RO The 40 best albums to listen to before you die We Are Family (1979), Sister Sledge Disco’s crowning glory is this album that Chic’s Nile Rodgers and Bernard Edwards made with Kathy Sledge and her sisters Debbie, Joni and Kim. Nile and ’Nard were at the peak of their powers, classic songs were pouring out of them – We Are Family was released in the same year as the epochal “Good Times” by Chic – and this album has four of them, “Lost in Music”, “He’s the Greatest Dancer”, “Thinking of You” and the title track itself. Sister Sledge gave Rodgers a chance to work with warmer, gutsier vocals than the cool voices he used to give Chic records such laid-back style and the result is a floor-filling dance party, punctuated by mellow ballads. CH

Twenty-three year old hotshot American video director Tamra Davis was flown in to oversee the shoot (Davis would go on to marry Beastie Boy Mike D). As arranged, the band turned up at Brixton Academy. But Morrissey had chosen to absent himself.

Frustrated, Marr went with Davis and Friedman (who wouldn’t be sacked until the second week in May) to the singer’s Knightsbridge flat. He refused to come out.

“I remember very distinctly that I had no idea if Morrissey was standing behind that door laughing at the three of us pleading with him, or crying,” Davis told Tony Fletcher in A Light That Never Goes Out: The Enduring Saga of The Smiths. “Johnny was like, ‘That’s it. The band is over’... And he walks away.”

Davis had already made an effort to win over Morrissey. She had visited and they chatted at length in his bedroom. He declined to get out of bed and struck her as the oddest person in the world. The young director couldn’t work out whether he was genuinely eccentric or simply putting it on to unnerve her.

Dragged into a confrontation between Morrissey and Sire, and having fired Friedman, Marr was close to packing it in. The mood within the group had turned even darker during their final recording sessions in May, where they were to work on B-sides for the “Girlfriend In A Coma” single. Morrissey wanted to cover Cilla Black’s “Work Is A Four Letter Word”. Marr recoiled. “I hate ‘Work is a Four Letter Word’,” he said. “I didn’t form a group to perform Cilla Black songs.”

And then there were Morrissey’s pointed lyrics in the other B-side, “I Keep Mine Hidden”. “The lies are easy for you,” he crooned. “Because you let yours flail into public view.” Marr felt he know at whom the words were directed.

The cover art for the band’s final album, ‘Strangeways, Here We Come’ ( Rough Trade Records )

He visited Morrissey’s flat and they had a heart-to-heart. A few days later, the band convened at Geales, an upmarket fish and chip restaurant in Notting Hill. There, according to Fletcher’s biography, Marr revealed that he’d received offers to play on a new record by Talking Heads and to collaborate with Bryan Ferry, and would be saying yes. With that, he was off. Morrissey, Rourke and Joyce concluded that he had just quit.

“I don’t remember if I said I was going to leave the band or not … But I said that we needed a break and that we needed to rethink what we were doing,” Marr recalled. “They could have sat there and listened to me being re-enthusiastic about a reinvention of my life and their lives. Or they could have heard me say those words as, ‘This is the end, I want out, I’m not coming back.’ Which is what they did.”

The death knell was sounded by an NME cover on 1 August declaring that The Smiths were about to split. The story was largely cobbled together. But Morrissey was sure Marr had leaked it. Marr, in Los Angeles for a holiday and to explore future musical opportunities, likewise thought Moz was whispering in the ears of journalists.

For the guitarist, it was one slight too far. A week later, convinced Morrissey would be the first to bail, Marr called NME to tell them the story was correct: he was out. The band briefly tried to soldier on. They even considered hiring Ivor Perry as a replacement. But on 28 September, Rough Trade confirmed it was all over.

Strangeways, Here We Come was released the same day, to a predictably bittersweet reception. It is, in many ways, The Smiths’ most diverse work. Morrissey acknowledges his Irish family heritage on opening track “A Rush and a Push and the Land Is Ours”, which takes its title from a quote by Oscar Wilde’s mother, Lady Jane Francesca Wilde, published in 19th century Irish nationalist journal The Nation.

The singer even plays piano – well, it’s more a crazed banging, really – on the loose-limbed and playful “Death of a Disco Dancer”, the only time he’s played an instrument on a Smiths record. And the record contains one of The Smiths’ catchiest hits, the aforementioned “Girlfriend In A Coma”.

Strangeways, Here We Come was clasped tightly by fans as a farewell memento from a band that had remade pop and changed lives. How different a reception Morrissey is likely to receive with his new album. It’s a perfectly respectable affair that, alas, cannot escape the fatal gravity of his divisive persona.

As for any hopes of a Smiths reunion… even in the unlikely event of Morrissey’s former bandmates getting his politics, it’s clear the singer has little interest in returning to old glories. “Yes, time can heal,” he wrote in his rambling 2013 autobiography. “But it can also disfigure.”