The Smiths - cemetry gates, 1986

"Cemetry Gates" originated when Smiths guitarist Johnny Marr was on a train; he recalled, "I was ... thinking, 'If you're so great, first thing in the morning sit down and write a great song.' I started with 'Cemetry Gates'; B minor to G change in open G." Marr was initially sceptical of using the song, believing that the guitar part was not interesting enough to be developed into a song. However, Smiths singer Morrissey liked Marr's performance of the song's music and convinced him it was worthy of release. Marr recalled "I did this in my kitchen with Morrissey. When I played it I wasn't sure about it – but that’s one example of how a partnership works. Because Morrissey loved it, and it came so effortlessly and easy. I was just about to bin it." Producer Stephen Street stated that "the vibe was just wonderful" while recording the song. Street later said of the song: "It's all the best elements of The Smiths. And what a wonderful vocal and lyric. It's a nice bit of blessed relief. It's delicate, but it's still got power".

The Smiths - bigmouth strikes again, 1986

"I would call it a parody if that sounded less like self-celebration, which it definitely wasn't. It was just a really funny song"

The Smiths - the boy with the thorn in his side, 1986

"Margi Clarke asked Morrissey if this song was inspired by Oscar Wilde, and Morrissey replied: "No, that's not true. The thorn is the music industry and all those people who never believed anything I said, tried to get rid of me and wouldn't play the records. So I think we've reached a stage where we feel: if they don't believe me now, will they ever believe me? What more can a poor boy do?"

The Smiths - vicar in a tutu, 1986

"Vicar in a Tutu" centres on a cross-dressing clergyman, with Terence Cawley of The Boston Globe noting its "casual dismissal of gender norms", further describing as "sneakily subversive". Musically, the song features musical elements characteristic of the music hall tradition with Korber describing it as a "slight-yet-enjoyable rockabilly pastiche".

The Smiths - i won't share you, 1987

"Recording at the Wool Hall provided a more relaxed atmosphere, with a fully stocked wine cellar often emptied after long sessions by the band and Street. While Morrissey typically retired early, Street recalled that overdubs would continue late into the night, often followed by partying. The sessions were marked by a shift in musical approach and ongoing communication about the band's evolving sound. Ed Power wrote in The Independent that "everyone else was more than willing to join [Marr] 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".

The Smiths - oscillate wildly, 1987

"Initially the very notion of instrumentals was motivated by me. I suggested that 'Oscillate Wildly' should be an instrumental; up until that point Johnny had very little interest in non-vocal tracks. There was never any political heave-hoing about should we - shouldn't we have an instrumental and it was never a battle of powers between Johnny and myself. The very assumption that a Smiths instrumental track left Morrissey upstairs in his bedroom stamping his feet and kicking the furniture was untrue! I totally approved but, obviously, I didn't physically contribute."

The Smiths - there is a light that never goes out live, 1986

"a testament"

Stars ‎– this charming man cover, 2001

"Last year, we said Stars’ version of “This Charming Man” was the best cover of the song ever. You know who agreed with us? Smiths drummer Mike Joyce (he called it the best Smiths cover period). You know who else? Prince."

The Smiths - half a person, 1987

"This song to me signifies that no matter how famous and rich Morrissey is; it’s not actually going to change his life. He’ll always be 16, clumsy and shy. He even repeats, ‘It’s the story of my life‘ – like his fan who reached out. The song, written in 1986 by Johnny Marr and Morrissey – allegedly on the stairs of Mayfair Studios, London – is one of the lesser known songs by the group. It has remained a fan favourite, although rarely played live by Morrissey."

The Smiths - well i wonder, 1985

"I can remember staying up late on those sweltering rainy Louisiana nights, watching the storms fall outside, while inside, I would re-read Simon Goddard’s The Smiths: Songs that Saved Your Life and listen to Meat is Murder’s “Well I Wonder” on repeat. I loved the way the Manchester rain captured so eloquently on my Smiths’ vinyl, meshed so effortlessly with the southern showers outside my uptown, New Orleans apartment."

The Smiths - some girls are bigger than others, 1986

"the clipped, undulating frivolity of 'Some Girls Are Bigger Than Others', a hypnotic musical travelogue that verges on the transcendental [...] Again, the Morrissey muse and Marr's musical setting collide marvellously, the track illuminated by some lovely slide guitar from the latter. It would have made another classic Smiths single"

The Smiths - there is a light that never goes out, 1986

"I didn't realise that 'There Is a Light That Never Goes Out' was going to be an anthem, but, when we first played it, I thought it was the best song I'd ever heard."

The Smiths - panic, 1987

"The song begins with Morrissey mentioning chaos unravelling throughout Britain and Ireland (specifically mentioning London, Birmingham, Leeds, Grasmere, Carlisle, Dublin, Dundee, and Humberside). In the second part of the song, he reveals that the source of this chaos is pop music, which "says nothing to [him] about [his] life".

The Smiths - ask, 1987

"Its lyrics discuss shyness and encourage listeners to overcome their inhibitions. Its multiple guitar parts and complex production led to disagreements regarding its final mix. Craig Gannon, who at the time was rhythm guitarist for the group, has claimed he wrote – and was denied credit for – the song's chord structure."

The Smiths - stop me if you think you've heard this one before, 1987

"I was really pleased that the first solo as such on a Smiths record was one you could sing... I liked the melody at the end of 'Stop Me If You've Heard This One Before,' but it just felt a little too accomplished. I wanted it to sound like a punk player who couldn't play, so I fingered it on one string, right up and down the neck. I could have played it with harmonics or my teeth, or something clever, but the poignancy would have gone out of the melody."

The Smiths - heaven knows i'm miserable now, 1984

"The music was written by Johnny Marr in an hour in a New York hotel room on 2 January 1984, using a red Gibson ES-355 guitar that was bought for him that day by Seymour Stein. After finishing the song, he wrote the music for B-side "Girl Afraid" the same evening. Marr considers the two songs "a pair"."