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The Smiths vs. Echo and the Bunnymen: Who was better?

© Jason C. Reeher

Anyone who is familiar with 1980’s rock knows that two of the best bands of that era were The Smiths and Echo and the Bunnymen. Both groups were British, and both had brilliant guitarists and flamboyant, outspoken lead singers who just happened to despise one another. But which group was best?

Sharing a similar history, the Smiths and Echo and the Bunnymen were both heavily influenced by the punk scene of the previous decade – that goes without saying. Both groups, however, brought other ingredients to the table, elements that distinguished each from the myriad other post-punk bands. In the case of The Smiths, singer Morissey’s love of poetry, especially Oscar Wilde, was especially differentiating, while the Bunnymen allowed psychedelia to seep into their heady mix of gothic guitar rock.

That neither group gained as big a following in the U.S. as, say, the Cure, only compounded the frustrations for these great bands. For their part, the respective singers began to take things out on each other in the press, as ‘the Moz’ (Morissey) and ‘Mac the Mouth’ (Ian McCulloch) called each other every name in the book. Yet the bands themselves were mirror images of one another in so many ways: both contained superlative guitar players, who with the singers, formed undeniably fantastic songwriting teams. The failure of The Smiths and the Bunnymen to really break big in the U.S. was but a small part in this saga, for the fine work of these groups lives on.

For the Smiths, four studio albums, several best-of compilations, and a live LP would prove plenty. Morissey was simply too much for the serious, down-to-earth guitarist, Johnny Marr, to handle. But in their time together, The Smiths produced some classic work. First and foremost in their catalog is “The Queen Is Dead,” (1986) often listed by critics as one of the best records in rock history. Every track is brimming with energy, and the Moz is on full, effeminate display. The contrasting tones – the rollicking rhythms fronted by Morrisey’s enigmatic, fey poetry – make for fine drama, and great rock and roll on unforgettable tracks like "Big Mouth Strikes Again,” “There Is a Light That Never Goes Out,” and the devastatingly vicious wordplay of the title track. In fact, the only real quibble with “The Queen Is Dead” is a complaint common to The Smiths’ LPs in general: it’s too short. Other than that, it’s vital British post punk at its best.

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