Who is on the cover of The Smiths’ self-titled debut album?
While Morrissey is – and will always remain – one of the most controversial figures in contemporary music history, his sullen wit, along with Johnny Marr’s crisp guitar playing, were major factors that contributed to the success of The Smiths‘ debut album. Widely considered one of the greatest albums of the 1980s, their self-titled debut was met with immediate praise and continues to be regarded as one of the greatest debuts of all time.
The album showcased Morrissey’s forlorn take on the weird and wonderful encounters that filled everyday life. Upon its release, the contradicting elements of the music were hugely lauded as Morrissey sang about considerably dark or sinister topics in a rather upbeat manner. This was the crux of their appeal, which added a layer of humour and provided a fresh take on the alternative music scene at the time.
Songs like ‘Suffer Little Children’ also reinstated the power of the murder ballad as Morrissey reimagined the story of the Moors murders that took place in the 1960s. Equally, their debut single ‘Hand in Glove’ demonstrated their penchant for seeming “poetic” yet “jubilant”, as Morrissey put it, while they conveyed working-class consciousness through both the lyrics and Marr’s harmonica. However, this didn’t arrive critically, as Morrissey later described. Instead, he penned the song as a way of articulating how his lack of privilege didn’t impact how he felt mentally.
In this way, the album’s cover art seems to be a perfect depiction of the array of contrasting themes. Though simple, it shows a still of Joe Dallesandro from Andy Warhol’s 1968 controversial film Flesh. Dallesandro was one of Warhol’s muses and was significant as a sex symbol of 1960s and 1970s gay culture.
So, who designed The Smiths’ artwork?
The Smiths’ music artwork was largely designed and chosen by Morrissey. An avid fan of photography, the frontman employed a keen eye for detail and an ability to spot meaningful designs that intelligently and provocatively reflect the themes explored in the music.
Within conversations about the best and most memorable 1980s album covers, The Smiths’ debut album almost always ranks among the most favourable. Although, aesthetically, it may seem straightforward, it comments on wider issues like celebrity culture, sexuality, and the human spectacle. Morrissey’s appreciation of 1960s celebrity culture no doubt impacted his choice when putting together the sleeve, with Joe Dallesandro epitomising the place at which art and controversy intertwine, much like Morrissey himself.
The band often opted for famous or polarising figures for their album and single covers, like Viv Nicholson for ‘Heaven Knows I’m Miserable Now’, Terence Stamp for ‘What Difference Does It Make?’, Richard Davalos for Strangeways Here We Come, Shelagh Delaney for Louder Than Bombs, and many more. What makes the debut a particular standout, however, is that it was the first in a series of thought-provoking projects. The Smiths arrived already boasting a head-strong position on where they deserved to be, and this particular image provided a well-rounded glimpse into their future.
