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"William, It Was Really Nothing" is a song by the English rock band the Smiths. It was released as a single in August 1984, featuring the B-sides "Please, Please, Please, Let Me Get What I Want" and "How Soon Is Now?", and reached No. 17 in the UK Singles Chart.
At the time of their deaths, many of the victims were only a few years older than Morrissey (born 1959), who wrote the lyrics of the song after reading a book about the murders, Beyond Belief: A Chronicle of Murder and its Detection by Emlyn Williams. [2] "Suffer Little Children" was one of the first songs that Morrissey and Johnny Marr wrote ...
Steven Patrick Morrissey (/ ˈ m ɒr ɪ s i / MORR-iss-ee; born 22 May 1959), known mononymously as Morrissey, is an English singer and songwriter.He came to prominence as the frontman and lyricist of rock band the Smiths, who were active from 1982 to 1987.
"Asleep" is a song by the English rock band the Smiths. It was released as a B-side to the single " The Boy with the Thorn in His Side " in September 1985, reaching No. 23 in the UK Singles Chart . It appears on the compilation albums The World Won't Listen and Louder Than Bombs , and on the deluxe edition of The Queen Is Dead in 2017.
[3] Despite its prominent place in the Smiths' repertoire, it is not generally considered to be representative of the band's style. [2] Although a club favourite, it did not chart as well as expected. Most commentators put this down to the fact that the song had been out on vinyl in a number of forms before being released as a single in its own ...
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"Please Please Please Let Me Get What I Want" is a song by the English rock band the Smiths. It was released on the B-side of the single "William, It Was Really Nothing" in 1984 [4] [5] and later featured on the compilation albums Hatful of Hollow [6] and Louder Than Bombs. [7] It has been covered by several other artists. [8]
[2] [7] The live album Rank followed in 1988. [8] The majority of the Smiths' songs were written by the songwriting partnership of Morrissey and Johnny Marr. [1] Throughout their career, their songs differed from the predominant synth-pop British sound of the early 1980s, [2] instead fusing together 1960s rock and post-punk. [9]