reviews:

This is sacred ground, of course. Not many groups have had the nerve to attempt a Smiths cover, yet here we have a whole album of them from Matinée's finest. The Smiths are my favouritestestestest band in the world - EVER! - and so I should simply take one glance at this seemingly worthless piece of pudding and stamp on it with my slippers, but hang on a moment! What's this? A fuzz-polka version of 'I Know It's Over' by Pale Sunday? A even more sinister than the original version of 'This Night Has Opened My Eyes' by Pipas (who are on such a great run of form that they could burp into a microphone and it'd be great)? And just over there is a beautifully lush version of 'Girlfriend in a Coma' by Lovejoy. Add to this Simpático's - excuse my French - fucking stunning version of 'That Joke Isn't Funny Anymore', and the Liberty Ship's almost metal (stop laughing!) version of 'Sweet and Tender Hooligan' and things have turned out fine again... Only Matinée bands could pull something like this off. And, by crikey, they have.  --Tasty

To say the truth, we weren't really expecting any of this. Of course, the news of the Matinée tribute to the Smiths did get us all excited, but you know how tribute albums are: you buy them out of curiosity, you listen with a smile to the familiar songs and then after a month you put the record somewhere, collecting dust until you move house again. But the fact that "Romantic and Square is Hip and Aware" is another matter is clear from the first seconds of song one. From that moment you know that the right place for it is in the same filing row of "The Queen is Dead".  --Indiepop.it

Bands you love covering the songs of a band you love equals a unique pleasure that's hard to describe. That's the case I find myself in with Matinée Recordings' Romantic and Square Is Hip and Aware album, with the stable of Matinée artists (Simpático, Lovejoy, The Would-Be-Goods, Pipas and 8 others) playing the songs of The Smiths. 2004 is the perfect time to pay tribute to The Smiths, not just because they were a great and influential band which doesn't get enough tributes like this, but because Morrissey + co.'s brand of nervous nonconformity was undoubtedly shaped by the political climate of the Thatcher years...and the recent conservative retrenchment in the US, UK and elsewhere echoes that period in a way that gives these songs an added importance. The way Morrissey's self-deprecating view of love is tied to the Cold War climate of fear and paranoia is clear right from the first track on Romantic and Square, The Pines doing "Ask," with its indelible line "If it's not love than it's the bomb that'll bring us together." That sentiment rings through powerfully, but so do Pam Berry's lovely singing of it and Joe Brooker's overlapping guitars, which are truly stunning in how lovely and melancholy they sound. The Pines and all of the rest of the bands here take a loving approach to the material; it shows in the way they highlight what was great about the originals and in how handily they showcase their own styles and aptitudes without overshadowing The Smiths. The collection is filled with magic moments: The Lucksmiths stripping the immortal "There Is a Light That Never Goes Out" to its essence; Slipslide casting a soft, lovely sheen on "Please Please Please Let Me Get What I Want"; Simpático's Jason Sweeney doing a brilliant Morrissey vocal impersonation on "That Joke Isn't Funny Anymore" while still sounding like himself and keeping the song as heartwrenching as ever. Romantic and Square Is Hip and Aware is one of those rare tribute albums that makes you remember how much you love the original musicians and makes you love the interpreters even more at the same time.  --Erasing Clouds

The Smiths are the kind of band who inspire devotion and demand loyalty from their fans for whom the music speaks with more empathy than any other language. With a trademark of clever lyrics sang with unerring conviction, The Smiths have carved themselves a unique place in the history of music. Needless to say the brave Matinée artists paying tribute to this legendary band had their work cut out. The bands, who include Pipas, Lovejoy, and Simpático to name but a few, met this challenge head on. Although melodically there is not a song on this compilation which is a million miles from the original version, each brought a snippet of their own to the song which they were covering. Changes in tempo, emphasis and styles contribute to a multitude of different flavours. The Pines song is a characteristic acoustic slowed down version of "Ask". Meanwhile Pale Sunday manage to give a slight Brazilian feel to "I Know It's Over" and the Slipslide version of "Please Please Please Let Me Get What I Want" is sung in a hushed whisper becoming a gentle but heartbreaking lullaby. For me though the highlight comes from the Lucksmiths cover of "There Is A Light That Never Goes Out". The mixed male and female vocals along with the fastly strummed guitars ring out with a passion as the band takes hold of the song and makes it their own. The album is not full of pale imitations, but who needs that anyway? Instead expect to find old songs being told from a new angle with a strength of feeling that the artists involved in this project must be given credit for.  --Friends Of The Heroes

I've been listening to a lot of the Smiths lately, due mostly to a novel I recently read about an avid Smiths fan and a co-worker who is almost as avid. So this tribute album comes at a suitable time, although in the grand scheme of things, the Smiths' music will likely go down as timeless. Never the biggest fan of the Smiths' entire catalog, I'm completely sold on the value of their individual hits. If the Smiths were the definitive 80s pop band, pop in the 21st century has a home on the indie label Matinée, and all of the acts here are fans of the Smiths. So like any tribute, you get loving renditions of the best songs, but what sets Romantic and Square apart is the thought that went into these songs. It would be easy to do a tried-and-true cover, but these bands cover the Smiths songs in their own style. So you get a diverse group of styles that feature the tremendous songwriting talents of Morrissey and co. The Pines do a beautiful stripped-down folk-style version of "Ask," with a nice mixture of male and female vocals, and the Lucksmiths get the cake for best song with an astoundingly brilliant cover of "There is a Light that Never Goes Out." Again, male and female vocals and lovely acoustic guitar make this version nearly as good as the original. Pipas give a kind of smoky, loungy feel to "This Night Has Opened My Eyes," and Would-Be-Goods' "Back to the Old House" is a lovely, folk-inspired, melodic track. The Young Tradition use synths and acoustic guitar beautifully on a lush version of "Sheila Take a Bow," and the ever-brilliant Simpático do a lovely classic-pop sounding "That Joke isn't Funny Anymore," easily one of the best here. The album closer, a live cover of "Bigmouth Strikes Again" by The Snowdrops, is also brilliant. My favorite Smiths song anyway, with acoustic guitar, perfect percussion, gorgeous vocals, and the crowd's encouragement, it's a fantastic cover. Some tracks are bit more akin to the original. Slipslide's Graeme Elston even sounds a bit like Morrissey on the moody "Please Please Please Let Me Get What I Want," and Lovejoy does a fairly stoic version of "Girlfriend in a Coma" that unfortunately just sounds slowed down. The Guild League's "Panic" is passable at best, and it sounds like the band is trying too hard to sound appropriately British (they're Australian). The Liberty Ship's "Sweet and Tender Hooligan" similarly sounds like a lo-fi original. The Smiths played some amazing songs, no doubt about it, and they'll likely be heard on the radio in perpetuity. Yet what makes this tribute so perfect is that these are talented bands putting their own take on Smiths songs, giving them a fresh and new feel while showcasing the Smiths' brilliant songwriting. And since Matinée is at the forefront of the best modern indie-pop, the quality here is assured. In short, this is the perfect tribute to the Smiths.  --Delusions Of Adequacy

A Smiths tribute album no less, and mighty fine with it. There was a time in the mists of time when the Smiths were the most crucial band on the hi-fi, perhaps the world, nights spent huddled in front of pre digitalised radio, hard to imagine as it may seem to today's generation, but no internet by which to amuse ourselves. The Smiths, were, all said and done, the first bed-sit band, in Morrissey they had a singer who spoke to societies supposed misfits / outsiders, a person who understood the dark depths of existence and whose lyric writing gave each passing release a sense of being a minutiae kitchen sink drama, innately aware that records were more than mere passing novelties and that you could touch people by the power of words alone, hence feelings of hate, loneliness, abandonment and maudlin musings of suicide / death often laced their early work all the time the miserablist undercurrents kept buoyant by Marr's often delicately brittle atmospheric chord grooves; passionately English, Morrissey's world was all Keith Waterhouse and Alan Sillitoe, a post war factory fuelled Northern England where drudgery met humour head on, the sleeves of each Smiths single adorned with monochrome images of actors and artists close to the lead singers heart simply bore out the attention to detail in every respect. So to 'Romantic and Square is Hip and Aware', (the title taken from the run out groove of 'William, it was really nothing') a collection featuring 12 Smiths classics re-appraised by a generation they influenced, and when we say re-appraised we mean re-appraised, this isn't some idle show of fan-dom at work here, each band, admittedly to differing degrees of success, has tried to make their chosen song their own. Opening the events, the Pines, who lets face can't do no wrong at our gaff tackle perhaps one of my least favourite Marr / Morrissey cuts, the dreaded 'Ask'. In their own imitable way Brooker and Berry stamp their authorative folk magic on the whole proceedings to such an extent that they endow it with a warming pastoral presence that's both crisp and endearing. Fools some would call them, but Pale Sunday take on the daunting 'I know it's over' and completely decimate it by adding an almost tongue in cheek quick step dynamic that's drowning amid the peppering of sophisticated string sections and shot through with the showering of sonic storms, still sounds miserable but it does have that feel of early Flying Saucer Attack eyeballing a Bontempi accompanied Bacharach. Now we've been marvelling at the latest Lucksmiths mini-album 'A little distraction' so there's no surprise that they opt to re-jig one of the Smiths finest, deciding to take away it's lasting sting by approaching it as an amiable male / female duet with the aid of Karen Morcombe and giving the whole process a lasting pop vibe that replaces the originals sense of desperation with a stubborn non-chalance. And if this was a vote on Morrissey soundalikes then Slipside's Graeme Elston would win hands down, covering one of my personal faves 'Please please please let me get what I want' which aside having everything including the kitchen sink (drama) only falls short of the original due to the absence of the stupefying flamenco style guitar lead out, equal fondness goes to the Pipas jaunty re-tread of 'This night has opened my eyes' which switches harrow for numbing dreaminess. Multi instrumentalist Dick Preece AKA Lovejoy pulls 'Girlfriend in a coma' out of the flames to give it a good life saving slap with heartbreaking consequences while the Would Be Goods get all dusty and lovingly misty eyed on the romantically revisited 'Back to the old house'. 'Sheila take a boy' is given a Parisienne workout by the Young Tradition and firmly measured out by the Nico-esque vocals of Laura Watling. However perhaps the compilations finest moments come with the interpretations by Simpático and the Guild League, the former tangle meaningfully with 'That joke isn't funny anymore' and give it a froze through to the bone dynamic while the latter appear to completely strip 'Panic' to give it a seriously goofy music hall make-over and into the bargain providing the most original or at the least, interesting cover. 'Sweet and Tender Hooligan' is put through the fuzz box and tooled up with shiny Doc Martens and an energetically aggressive groove by Nottingham's the Liberty Ship which leaves the Snowdrops to bring up the rear with the trembling laid back snoozing acoustic sweep they so indelibly cast over 'Bigmouth strikes again'. All in all a beautifully gathered collection of long forgotten memories and a long overdue reminder of some of the greatest treasures to be found in pop's crown.  --Losing Today

Countless artists have pledged allegiance to the Smiths since their 1987 breakup. Morrissey and co. captured a generation with their lovelorn melodies during their five-year reign, and the Ocean Blue, Pete Yorn, Supergrass, Placebo, and the Thrills are just a few who've covered their songs. Somehow it's really enjoyable to sing along to the bittersweet words written by Morrissey, because they're so true. Indie pop label Matinée Recordings make a lovely dedication to Manchester's favorite sons with Romantic and Square Is Hip and Aware: A Matinée Tribute to the Smiths. Acts such as the Young Tradition, Lovejoy, the Pines, and Pale Sunday offer sweet renditions of classic Smiths tunes that indie pop fans and Smiths loyalists alike should take pleasure in. The Lucksmiths' version of "There's a Light That Never Goes Out" is much more rosy-cheeked compared to its original on The Queen Is Dead. Tali White and vocalist Karen Morcombe make for a charming duet as Morcombe switches up the lyrics at the close -- "There's a light in your eyes and it never goes out." The U.K. duo Pipas get sultry on "This Night Has Opened My Eyes." Keeping with Johnny Marr's jangle clamor, the honeyed hush from Lupe Nuñez-Fernandez tames Morrissey's heartache. The Snowdrops go beyond that on their acoustic-driven live version of "Bigmouth Strikes Again" and massage Morrissey's bruised heart in the process. The lesson learned with Romantic and Square Is Hip and Aware is that any Smiths song can be your own and no interpretation is wrong.  --All Music Guide

Ah, the Smiths! As I'm sure you know, Mozzer and company have transcended mere cult status and are now considered to be a rite of passage, a holy grail, and a religion all their own. I know that in my case, they helped me out in my time of angst-ridden teenager-hood and became the holy grail for me, my angsty drama club friends and, oddly, the skateboarding punks in the neighborhood. Strange but true! My own indoctrination came from a mixture of Reflex magazine, mentions in Spin and the Just Say Yes sampler series. Upon hearing "Work Is A Four Letter World" I ran out and bought Strangeways, Here We Come--and the love affair began. But I wasn't alone. A lot of you readers out there know exactly what I mean, because you went through exactly the same thing. Being dejected in the dorm room or in the corner of History class, Morrissey, Marr, Rorke and Joyce were the Sad Four, who sang to you and you alone, because you were smarter and better and all of the things that your classmates and friends just couldn't see--and the Smiths understood that. (In other words, they were the 80s version of emo. Blame Morrissey for emo. Come on, you know you should.) As I look on with sadness that one of my favorite indiepop websites (In Love With These Times, In Spite of These Times) has decided to cease, I realize that the Smiths influenced us all--because if you knew the Smiths, then you automatically know the followers upon sight. They influenced us all. "But I've already got all of the Smiths records, do I really need the tribute?" Do you need to hear Tali White crooning to "There Is A Light That Never Goes Out" or leading a fast sing-along version of "Panic?" Do you really need to hear the lovely and talented Pam Berry crooning "Ask"? Do you need to hear the austere stylings Would-Be-Goods's Jessica Griffin on "Back To The Old House?" Do you need Pale Sunday's Fabrico Cantoni adding an innocent, sincere pensiveness to "I Know It's Over," making it better than the original? Do you need Pipas' Lipe Nunez-Fernandez singing "This Night Has Opened My Eyes" over a wonderful electronic backing? Do you need to hear all of the other classic and sincere renderings of some of the best songs of the 1980s? Yes. You do. Matinée hasn't come to slay the Smiths; they're not trying to. They're simply wanting to give a little bit of love back to Morrissey, and I really respect them for that. Plus, I'm sure the hope is there that not only would you Smiths fans use this as a way to learn more about Matinée's fine roster, but also that the few of you who haven't come to know the Smiths (heaven forbid!) would have a motivation to do so. Just read Keith Snowdrop's beautifully and unsurprisingly well-written liner notes. I have nothing more to add to that. This is, hands down, the best and most worthy unnecessary tribute record I've heard in years. Besides, it's not really a tribute, it's a declaration of love and a thank-you back to the ones who made good music and who made music good. Do you really need Romantic & Square Is Hip and Aware? I don't know....do you? I know that I already knew all of these songs by heart, and I knew all of the words and the nuances and the pouts and all of the things that lonely and crushed teenagers do when they happen upon something that makes them feel better. I bet you do, too. It's okay, and this record isn't gonna change all of that. It will, of course, make you remember why you fell in love with them in the first place--and, for that, this record is worth its weight in gold. Besides, you already know these songs. Go on, don't be ashamed--sing along! It would make Morrissey disgusted--which would make him depressed--which would make him write a depressing song--which might make him break out of his creative lull. A world with Morrissey making good music again? That would make me happy. But I'll never tell the world that. After all, all men have secrets, and this one's mine....  --Mundane Sounds

Any drift back to the 1980s for me really ought to include some mention of The Smiths. The last time I wrote anything about Morrissey and his troupe of Mancunian vagabonds I was swamped with vitriolic hatemail, so forgive me if I'm more than a little wary of mentioning them ever again. It's inescapable however, in the light of the new Matinée tribute collection Romantic And Square Is Hip And Aware. Slotting this into the CD player and spinning it for the first time was a strange experience. Having avoided playing any Smiths records for a long time, I'd not heard many of the songs for some years, and yet each one immediately felt like an old accomplice. A strange feeling indeed. Even stranger was the feeling that each of these versions felt immediately more bearable than the originals. Maybe it's the lack of difficult memories, or maybe it's the fact that most of the songs chosen are late-period Smiths and I'm therefore more open to new interpretations of songs I never particularly warmed to in the first place (Lovejoy's take on 'Girlfriend In A Coma', The Young Tradition's 'Sheila Take A Bow' or the Lucksmiths' glorious duet take on 'There Is A Light That Never Goes Out' for example all seduce me more successfully than I remember the originals ever doing), but whatever; this is a collection that doesn't allow admiration (or indeed adulation) get in the way of a good time; is an artful nod and a wink instead of a deferential grovelling. And for this we should be more than happy. Oh, and Keith Snowdrop's sleevenotes say all that ever needed to be said about The Smiths ever. Full stop. End of story.  --Tangents

the title, we think, was morrissey's (deliberate) misappropriation of a john lennon quote, immortalised for our purposes by being scratched into the run-out groove of "william, it was really nothing" (god how we miss vinyl). and herein, matinée recordings ups the levels of heresy displayed by previous releases (the "a smile took over" sarah tribute and the cosily incestuous but indubitably toppermost "matinée 50" tribute) and decides to give us a cd of cover versions of what they rightly acknowledge as the greatest band of all time - for a tiny signal of our agreement check out our title page photo - more than twenty years after "hand in glove" first ran up and down our spines, giving us first-kiss shivers and tingles like no other group could. now nobody in this particular bitch is going to pretend that any of these songs are up to the originals. but but but those are not the standards by which albums like this should be judged (if they were, there would have been approximately no albums worth hearing since 1987) - any more than when you listen to discharge tribute albums (come on, we all do) any of the contributors can really hold a candle to the originals. inevitably some play it straight - the lucksmiths, after their own "there is a boy that never goes out" on last year's "naturaliste" lp, see fit to reinterpret "there is a light", fairly smoothly and with a helping hand on vocals from karen morcombe; slipslide unimpeachably crown "please please please let me get what i want" as the most uncynically bounteous of pop ballads; and the liberty ship's lively rendition of morrissey's comment on crime and punishment, "sweet and tender hooligan" is the rockiest effort on here, although there would still have been room for a little more feedback and perhaps turning the amps up to eleven: indeed, a shame that sportique weren't up for this particular jamboree, as they would no doubt have added a dash of abrasiveness and a little less reverence. in bravery corner, meanwhile, pale sunday open themselves up to all sorts of obluquoy from smiths devotees by even daring to perform "i know it's over", but with luiz gustavo's cute almost-vocoder vocal, some snug bursts of shoegaze guitar and inexpensive drum machine bossanova, they just end up cuddling the song and taking you with them. and tali white's the guild league bound through a jovial, reasonably heretic and not unannoying "panic" as hopes continue to spiral up through the grasmeres. however, where things get really great for us is the hat-trick of tracks that starts with pipas subverting "this night has opened my eyes" and lovejoy taking on "girlfriend in a coma" (both rourke-tastically dub up the bass - perhaps reggae isn't so vile after all, eh, stephen ?) and then in not inconsiderable contrast sees the would-be-goods' jessica griffin delicately re-decorate "back to the old house": but not far behind is the way that the pines rearrange "ask" to make it a delicately arranged mini symphony that is both less compact but also less cloying than the original, and in doing so create a strong companion piece to the would-be-goods' gentle prompting. this record is a present. it has been put together with love (unlike all those discharge tributes, they haven't just lobbed on any fourth-rate band that's ever sent them a track!) and yes it will also send you scurrying back to your smiths records and if you think that's a bad thing then there is little we can do for you. with valentine's day fast approaching, you may find yet again that these songs will save your life.  --In Love With These Times

When a label with a roster which is largely occupied by guitar pop acts decides to ask them all to contribute to an LP paying tribute to THEE guitar pop act, you're unlikely to be struck by many radical departures from the original. Indeed the majority of the melodies here stay true to the Morrissey/Marr originals. So the Smiths it is then and this isn't the first tribute LP afforded to them. It's not an unworthy set though, by any means. The excellent Pines give 'Ask' a coastal serenity, while Pipas bring a tired lethargic charm to 'This Night Has Opened My Eyes'. Elsewhere, Pale Sunday's 'I Know It's Over' has a robotic sheen, and The Guild League put 'Panic' on the streets of the East End with a chirpy Cockney-ish approximation. An entertaining set, not sure what S.P.M. would make of it though.  --Vanity Project

More than 15 years after their breakup, the passing of time has made the Smiths prominent again. A new album, You Are the Quarry, displays Morrissey's undiminished gift for the poetry of solitude. The unceasing aftershocks of the emo earthquake continue to proclaim the relevance of a man whose only avowed sexuality is "sensitive". And though the adolescent melancholy of his songs can be, as he sang in "Rubber Ring", "so easily outgrown", their impact continues to resonate, with everyone from Ryan Adams to Outkast naming Morrissey as an influence. In short, it's as good a time as any to re-interpret the work of the band that NME touted in 2002 as the most influential of the last 50 years. Not every effort succeeds, but on Matinée's new compilation of Smiths covers, Romantic and Square Is Hip and Aware, just the attempt recalls the glory of the sacred wunderkind. At its best, Romantic and Square serves as a tuneful reminder of why the Smiths still matter. The Lucksmiths' underrated Tali White provides two such moments, both with his primary group and as lead vocalist in his Guild League side project. With the help of additional vocalist Karen Morcombe, the Lucksmiths turn "There Is a Light That Never Goes Out" into an affecting, acoustic guitar-driven duet. (Old Mozzer would delight in the subtle change of lyrics at the song's close, "There is a light in your eyes and it never goes out.") With the Guild League, White turns in a boisterous, theatrical rendition of "Panic" that makes the "hang the DJ" refrain even more incongruously cheerful than on the 1986 original. Far from Pete Yorn's recent dirge-like rendition, the Guild League version amplifies the spirit of the original while still stripping away its MTV-decade production. Though the rest of the album offers few triumphs on the level of these two recordings, opener "Ask" by the Pines and Slipslide's "Please Please Please Let Me Get What I Want" come closest. Then there are the adventurous whiffs: a Eurodisco/shoegaze take on "I Know It's Over", a trippy "That Joke Isn't Funny Anymore", a mournful "Sheila Take a Bow". The Smiths are a difficult band to cover, in part because Morrissey's vocals and Johnny Marr's guitar leads were so distinctive. How can one separate the songs from their performances? Tali White's outings shine the way, doing what the best covers always do: taking another band's song and making them his own (although it helps that his own style is so clearly rooted in the Smiths' bedsit pop). Other moments (such as a straightforward cover of "Sweet and Tender Hooligan") can't possibly live up to their influences. But then, it just isn't like the old days anymore. No, it isn't like those days.  --PopMatters

Matinée has been a much beloved label for some time, boasting names like Sportique, Lucksmiths and The Liberty Ship. However, the idea of paying tribute to a band which endeared itself more than any other to the ears and hearts of our generation may turn out to be a disaster. Having said that, "Romantic…" is a collection which, between surprising moments of inspiration and inevitable wrong moves, finds its way driven by the same feelings which we had listening and having others listen to the songs of Morrissey and Marr for so many years. In this way we marvel at the moving "I know it's over" reworked in bossanova by Pale Sunday, and let ourselves be lifted up and carried away by the dancing march of "This night has opened my eyes", or moved by a transparent rendition of "Ask" by the Pines. Other tracks, above all those which stay closer to the original, are altogether more perplexing, but all things considered this is a declaration of love, and to say something like that after twenty years is never easy.  --Losing Today

A pleasant Smiths tribute album. The Lucksmiths steal the show with their unique take on "There Is a Light That Never Goes Out." Bands like the Pines, Pale Sunday, the Guild League, and Lovejoy all try their hand at standards by England's most obsessed over band since the Beatles. An enjoyable, low key affair. Fans should enjoy.  --Cut The Chord

Covering a song by Morrisey is quite similar to covering the Beatles or Led Zeppelin—it never really lives up to the original. Thus, skepticism is common in approaching the Matinée Records tribute album. However, the artists' similarity in and among themselves and towards the Smiths make the album a pure delight. While some may argue the songs follow the originals too closely, others will absolutely fall for the lineup's rendition of songs by one of the most influential artists of the 1980s. I was born in 1980. That means I was three when The Smith's first record was released. Romantic & Square is Hip & Aware is Matinée Records’ tribute to the 20 th anniversary of that release, snagging the title from the single "William, It Was Really Nothing." It was a different time, one I barely remember. For me, music did not become a big part of my life until the '90s. The '80s, in the book of Fense, were all about toy cars and baseball cards. Looking back, I almost long to have been a teen during those years. I would have been able to experience a time quite different from the one in which I grew. Such an experience is outlined on the inner cover of Romantic & Square is Hip & Aware and is attributed to The Snowdrop Foundation (July, 2003): A world without mobile phones, Britney or Sky, and maybe in all honesty we were better off without them. We didn't have 'house music' or 'Dianagate'; instead people bought pop records--tiny round bits of vinyl that were housed in cardboard sleeves. People loved them, cycled twenty miles to buy them, smelled them, fell in love with them, and sometimes cried with them... For some, those days haven't changed. For me they never began, but I feel I can easily relate. I will drive twenty miles to the store to pick up a fresh new record. I enjoy the new vinyl smell, the excitement of waiting for the mail each day for that rare piece of plastic in which only 400 copies exist (Tragadiscos' Siete 7" came in the mail today, numbered 201 of 400), the physical experience of placing the needle on on the record and watching it spin. Those feelings are nostalgic, reminding me of my pubescent days when I would put giant headphones on and carefully place albums by the Beach Boys and Beatles on the record player so I could tap my foot along to the harmonies and watch the records turn round 'n round like a hypnotic device telling me one day my record collection would grow to an impressive size, my obsession with music unlimited. Nostalgia is present for many in the Matinée tribute as well. The songs speak for themselves, bringing forth the positive side of each Matinée artist and combining it with the wisdom and genius of the Moz. The Pines create a haunting version of "Ask" with the rich female vocals of Pamela Berry. The rendition of “I Know It's Over” by Pale Sunday enhances the morose song with Fabricio Cantoni's sullen vocals. The Lucksmiths' duet of "There Is A Light & It Never Goes Out" adds Karen Morcombe on female vocals to create a song both mystical and romantic, despite morbid and tragic lyrics. Pipas mixes a light echoing guitar over a prominent bassline in "The Night Has Opened My Eyes." The Would-Be-Goods version of "Back To The Old House" is breathtakingly minimalistic. The Snowdrops recorded a live version of "Bigmouth Strikes Again," using the 12-String guitar and reverberated vocals to their full potential. Each song on this album warrants pages of comparisons and contrasts to the originals, lists of influences The Smiths had on all the bands... there is so much behind the art, the words printed on the inner covers, the look and feel and smell of the CD, and how everything ties back into the impact of the The Smiths upon the world. There is just not enough time to cover it all. If you buy only one tribute album in your life, make it Matinée Records' Tribute to the Smiths. Make it Romantic & Square is Hip & Aware.  --Fensepost

Smiths completists among you could do yourselves no wrong by investing in the brand spanking new Matinée compilation entitled 'Romantic and Square is Hip and Aware' which collects together 12 swooning cover versions of old Marr / Morrissey favourites by some of the catchiest dudes around and featuring among other the delightful Pines, the Lucksmiths, Simpático and the Liberty Ship, believe you will not be disappointed.  --Losing Today

Ah les Smiths ! S'il ne devait rester qu'un groupe, ce serait certainement bien celui là ! Pas étonnant alors que l'on entende tant de reprises (pas toujours très réussies), et ce 20 ans après leur apogée. Le nombre de tribute se compte également par poignées mais celui de Matinée Recording est quelque peu singulier. En effet, Romantic and square is hip and aware rassemble des groupes pas forcément très connus mais qui ont la particularité d'interpréter les plus grands morceaux des Smiths avec des orchestrations complètement différentes et plus dépouillées. Vous ne trouverez pas sur cet album de pale copie sans âme des Smiths. Les groupes ont retravaillé les titres avec des atmosphères pop intimistes, lounge, low-fi, folk... Il en résulte un projet louable, celui d'avoir enregistré un tribute calme, chaleureux tout en conservant une ambiance cohérente tout au long de l'album. Cette adaptabilité des morceaux à des styles musicaux différents confirme bien le génie des Smiths.  --Popingays

A tribute to The Smiths - this time by groups really influenced by morrissey/Marr. You'll find amazing songs like Pale Sunday's shoegazey bossa-nova approach on 'I Know it's Over', The Pines unique touch on 'Ask', the acoustic guitar of Would-be-goods on 'Back to the Old House', Pipas' own 'The Night Has Opened My Eyes' and seven other great versions of songs we've loved for so long. Highly recomended!!  --Pop Polar

the smiths are not an easy band to cover, and I'm not sure anyone should be making tribute albums to them! it's just total madness. still, for some reason, and I know I sound totally predictable with this assessment, but the winners here are the girls: lupe pipas doing a sinister take on "this night has opened my eyes"; jessica would-be-goods doing a la-la-lovely version of "back to the old house"; and pam pines does "ask" and makes it all look so damn easy as usual. the boys' takes vary in quality however but are generally too faithful in execution, too deliberately smithsy in style (danger!). !!!  --Chickfactor

Les années 80 en Angleterre c'était le thatcherisme, les grèves, les Malouines, la série "Coronation Street", Dead or Alive, Bronski Beat mais aussi... les Smiths. Ils représentaient l'autre vision de la musique et de la vie, auront profondément marqué des générations d'adolescents et influencé des dizaines de groupes de Belle and Sebastian à Good Charlotte. Les Smiths furent l'un des groupes les plus importants des années 80 et l'un des plus prolixes. En cinq années d'existence ils éditèrent 4 albums majeurs (hors compilations et lives) et 25 singles qui sont autant de joyaux de la pop. Régulièrement un album de reprises vient nous rappeler l'influence du groupe et nous replonger dans son univers. Le dernier projet en date arrive des Etats-Unis mais réalisé sous la férule d'un fan britannique de la première heure, Keith Snowdrop, qui va même jusqu'à poser fièrement sur la pochette de l'album ! A la différence d'autres compilations existantes, "Romantic and Square is Hip and Aware" ne s'attarde pas à un album précis ni se cantonne à un style musical mais regroupe effectivement des adorateurs des Smiths. Peu de faute de goût dans cette compilation malgrè la diversité de la provenance des groupes (Brésil, Angleterre, Etats-Unis, Suède...) et la diversité des styles proposés qui n'alourdissent en rien ce panégyrique. Au contraire ils ne font que renforcer la beauté des chansons. La pop à guitares y est forcément sur-représentée mais la bossa nova, l'electro, le glam y trouvent leur compte. Preuve est faite que l'on peut faire n'importe quoi d'une chanson, si elle est divine, elle le reste. 9/10  --M-La Music

The Smiths han sido posiblemente el grupo de pop británico más influyente de las dos últimas décadas. Casi todos los grupos de pop les rinden pleitesía y muchos de ellos se han visto influenciados por su música. Desde su disolución, la prensa musical británica les ha intentado buscar una banda que los sustituya (fracasando casi siempre de manera estrepitosa). No se pueden encontrar sustitutos para dos personalidades tan fuertes como la de Morrisey y Jonhy Marr, dos artistas que se complementaban de manera perfecta y que con sus canciones consiguieron cautivar el corazón de varias generaciones de amantes del pop. Fruto de este amor por su obra nos llega ahora este "Romantic And Squere is Hip And Aware (A Matinée Tribute To The Smiths)", un recopilatorio que viene a celebrar los veinte años de la publicación del primer disco de The Smiths y que recoge versiones de sus canciones interpretadas por varios grupos de la discográfica Matinée. Si hay algo que no se les puede negar a todos los grupos que han participado en este tributo es el respeto con que se acercan a las canciones y el cariño que demuestran a la hora de interpretarlas. The Pines interpretan en clave semiacústica y potenciando la sensación de melancolía "Ask"; en "I Know It's Over" Pale Sunday introducen unos preciosos arreglos de cuerda con ligeros toques electrónicos; Lucksmiths combinan voz femenina y masculina en "There Is a Light Thata Never Goes Out" en la que quizás sea la mejor versión del disco; "Panic" se convierte en una pequeña pieza casi de juguete con arreglos de cuerda gracias a la frescura con que la re-interpretan The Guild League; Would-Be-Goods envuelven "Back to The Old House" en un halo de folk bucólico y acústico...; y así con un tono de pop cristalino y por momentos etéreo el disco avanza hasta completar un total de doce canciones que se cierra con la interpretación en directo de "Bigmouth Strikes Again" por The Snowdrops. La única pega que le pondría al disco, en una puntualización muy personal y que seguro no compartirá la mayoría de gente que escuche el disco, es que hubiera sido deseable un mayor riesgo a la hora de escoger las canciones y no centrarse en las más conocidas del grupo.  --Popchild

Ci sono state canzoni che ci hanno fatto piangere, ed altre che ci hanno salvato la vita. Forse non ce ne siamo nemmeno accorti; le abbiamo digerite dopo un lento assaporare, e oggi quasi non ce le ricordiamo. Un sorriso triste ci attraverserebbe ancora il viso se solo le sentissimo passare in radio. Ma non le sentiamo, mai. Un tributo agli Smiths (di questo parliamo, nel caso foste stati su Marte negli ultimi due mesi) è faccenda complessa. L'impresa - e qui parlo di impresa dell'ascolto, ché l'immedesimazione con Morrissey e soci è sempre stata parte essenziale alla fruizione - è delicata a livello emotivo prima ancora che musicale. Come si ascolta la cover di una canzone che ti ha fatto piangere? Ci si può predisporre alla blasfemìa, apprezzare le diversità, lodare il coraggio, ma la faccenda delle lacrime non è di facile soluzione, resta in sospeso. A pensarci bene, il successo dell'operazione Matinée (perché di successo si tratta, e da standing ovation) ha a che fare proprio con questo. Bastano i primi 20 secondi di "Ask" lasciata tra le mani dei Pines, liberata da tutto fuorché dal riff che l'inizia e la definiscce, che resta silenzioso in aria senza sparire, e la voce di Pam Berry che liricheggia. Bastano per capire che questa è una storia tutta diversa dagli usuali tributi. Le band chiamate al lavoro non maneggiano una materia lontana e mitizzata, né canzoni ascoltate con spirito leggero in radio o alla discoteca. No, la maggior parte di loro ha versato lacrime su queste canzoni, e non lo dimentica. Per questo "Romantic..." è un omaggio fatto con il cuore, e non potrà che piacere a chi ha seguito - con lo stesso muscolo - questa band. Negli inevitabili alti e bassi di una operazione del genere, la raccolta ha almeno quattro canzoni di formidabile spessore, che rendono omaggio all'originale piegandolo ai propri ineffabili bisogni. Pines, di cui dico sopra, e poi Pale Sunday, Pipas e Guild League (progetto sul quale Tali White pare ormai concentrare la migliore ispirazione), di cui dirà Alessandro più sotto. Tutti loro sfuggono il confronto con l'originale distanziandosene con eleganza, a differenza dei Lucksmiths che in una "There is a Light That Never Goes Out" sin troppo fedele inciampano nell'unico vero flop della collezione. Ma queste quattro, sporcate di bossa e dub, elevate su improbabili strutture d'archi, con il vocoder e/o Lupe (che ormai fa categoria a se') ad impreziosire la materia vocale, ecco, mi sento di dire che nessuno potrà mai migliorarle. Bastano a rendere imperdibile questo tributo indiepop al più amato gruppo indiepop di sempre. E soprattutto a farlo amare da noi. Spazio alle canzoni, in ordine di scaletta: The Pines "Ask" - Nonostante la scelta della famigerata canzonetta da vulgata smithsiana, i toni son alleggeriti, e aleggia un alito di campestre spensieratezza, fors'anche leggermente psichedelica. Ma aggiustare più di tanto questa filastrocca epocale non si può e rimaniamo alla fine sempre io, il mio ingombrante passato e la solita tenera, vergognosa schifezza. Pale Sunday "I Know It's Over" - Arrangiamento eccentrico: su un tempo contestualmente bossanovato (buon sangue...) si aprono squarci di chitarre sognantemente riverberate, come in una bislacca collaborazione fra Tom Zé e gli Slowdive. E per un attimo la furberia della trovata ci fa dimenticare la lagnosa verità di chi sa che è già finita. The Lucksmiths "There Is A Light That Never Goes Out" - Delusione. Ok, sull'originale smithsiano l'arrangiamento di archi era un po' come una bella incudine sui coglioni, e averlo rimosso è tutta salute. Ma dai Lucksmiths era lecito attendersi più di questa scialba copia in carta carbone. Poco o nulla incisivo il duetto male/female. Slipside "Please Please Please Let Me Get What I Want" - Beh, essere amanti degli Smiths è già, in qualche modo, rendergli giustizia. Un po' meno studiare a memoria la parte e riprodurla pedissequamente. Senza infamia e senza lode, comunque. Pipas "This Night Has Opened My Eyes" - Il capolavoro del disco, efficace alchimia di elemento femmineo (che beh, sembra poco credibile, coverizzando gli Smiths) e leggiadria strumentale. S'un tempo dub traballante, dolci accordi carezzano il sostrato not happy and not sad dell'originale. Il tutto ticchettante come una bomba ad orologeria. Lovejoy "Girlfriend In A Coma" - Appena appena più moribondo dell'originale, meno enfasi e verve, fiacco sulla strofa, più ammodo sul ritornello. La sensazione finale è che si sia ad un passo dalla cover geniale, ma niente, non decolla. Would-Be-Goods "Back To The Old House" - Cover algida, apatetica quindi sostanzialmente stravolta, con un minimo artificio: scegliere una canzone che non è coessenziale alle proprie corde. Avrei visto meglio per loro, chessò, Nowhere Fast, You've got Everything Now... The Young Tradition "Sheila Take A Bow" - Ok, non era difficile produrre una cover superiore all'originale. Cmq qui la frenesia dei dubbi di Sheila si placa e trova la via di una bella resa acustica con tanto di fisarmonica. Conciliante. Simpático "That Joke Isn't Funny Anymore" - Ha scelto bene Jason Sweeney il pezzo da coverizzare: di fatto potrebbe averlo scritto lui. Le sue chincaglierie elettroniche vintage ben si addicono alla materia musicale. Non aggiunge e non toglie, tutto scorre fino al termine amaro. Del resto questo pezzo un po' più corto semplicemente non esisterebbe. The Guild League "Panic" - Una bella versione vaudevillizzata, teatralizzata di un pezzo che teatrale già era e tanto. Begli archi, la giusta scanzonatezza e la leggerezza che riguadagna un pezzo che era difficile non migliorare. Specie poi considerando il rango dei Guild League. The Liberty Ship "Sweet And Tender Hooligan" - Boh. Perché? Non saprei. Eppure c'erano cose da fare s'un originale che non brilla certo per arrangiamento. E invece, se è possibile, i Liberty Ship (che da queste parti stimiamo assai) lo hanno ulteriormente banalizzato. The Snowdrops "Bigmouth Strikes Again - live" - Ariosa e compassata, arricchita da delay e controcanti estensivi ed estendenti. Beh, sì, non cambia nulla nella sostanza, ma è sempre un bell'ascoltare.  --Indiepop.it

C'è un piccolo elemento di follia in tutti coloro che decidono di realizzare un disco tributo: perchè il tipo di persona che va a comprare un disco tributo, generalmente non pensa che la band omaggiata sia semplicemente un buon gruppo, quanto uno dei gruppi della propria vita, ed ha dunque un'immedesimazione nelle canzoni originali, che lo porteranno facilmente ad odiarne le cover: realizzare un disco tributo vuol dire, in parole povere, darsi in pasto ai fan. Non ne ha paura la Matinèe recordings, che va addirittura a risvegliare, con gli artisti del proprio catalogo, una lussuosa rappresentanza del repertorio degli Smiths. Merito forse degli artisti coinvolti, gotha dell'indie-pop dei nostri giorni (Guild league, Lucksmiths, Pines, Liberty ship), o della scaletta particolarmente indovinata, fatto sta che questo è probabilmente il miglior tributo alla band di Morrissey che sia mai stato realizzato: con canzoni trasformate sempre quel tanto che basta a giustificare l'operazione, mantenendo però un'attitudine fedele a quell'accostamento di intimismo e ironia da parte di Morrissey e di ricerca musicale da parte di Marr. Circoletti rossi per le due cover migliori, i Guild league alle prese con Panic, e gli Snowdrops con una Bigmouth strikes again che, permettetemi il fascino dell'eresia, arriva a superare la bellezza dell'originale, con cadenze rallentate e più indecise tra echi e rimandi; deludono i soli Pale sunday, che alle prese con un brano evidentemente più grande di loro (I know it's over), non sanno far di meglio che accellerarne il ritmo perdendone tutta la bellezza e l'atmosfera. C'è da sperare che quell'elemento di follia di cui parlavamo all'inizio rimanga a lungo nelle teste di coloro che gestiscono le etichette discografiche, perchè la felicità nell'ascoltare canzoni nuove, eppure già conosciute ed amate così tanto in ogni loro sfumatura, davvero non ha prezzo.  --Movimenta.com

En cierto modo, los recopilatorios desprestigian a los artistas. La cultura del hit nunca hace justicia con el trabajo de los músicos que reúnen su concepto artístico y compositivo en álbumes de larga duración. En realidad no es otra cosa que desgajar varios bloques decididamente compactos para recolectar piezas sueltas que encajen en un producto comercial. Pero "Romantic And Square Is Hip And Aware: A Matinée Tribute To The Smiths", una compilación de doce canciones de los Smiths interpretadas por los grupos más representativos del sello norteamericano Matinée, no es tanto un recopilatorio como un tributo merecido a una de las formaciones más importantes de la música independiente de todos los tiempos. Y aunque pudiera entenderse como tal, existen dos buenas razones para hacerse con él sin necesidad de rasgarse las vestiduras por la profanación de ninguno de los cuatro discos de Johnny Marr y Morrissey. En primer lugar, el disco puede suponer una muy interesante introducción a la música de los Smiths, para el oyente incauto que pueda seguir viviendo sin haber escuchado aún a los de Manchester. En segundo lugar, "Romantic And Square Is Hip And Aware" es la excusa perfecta para comenzar a descubrir las pequeñas joyas que esconde este sello, a través de versiones novedosas de lo que son ya clásicos indiscutibles: "I Know It's Over" adornada de bossa-nova por Pale Sunday, "The Night Has Open My Eyes" rodeada de misterio por Pipas, "Bigmouth Strikes Again" enfatizada por la emoción fanática de escuchar sus inconfundibles acordes en directo por los Snowdrops, y la pieza estrella de este disco, la maravillosa adaptación a dos voces de los Lucksmiths de "There Is A Light That Never Goes Out", o el acompañamiento femenino que puede que siempre le faltara a la inmortal aunque apesadumbrada voz de Morrissey. Capaz de hacer rectificar al oyente más recceloso frente a los recopilatorios, "Romantic And Sqare Is Hip And Aware" es una extraordinaria compilación en la que quizá no estén todas las mejores canciones de los Smiths, pero en la que sí que han sido recogidas las mejores representaciones de Matinée. Y aunque sólo sea por escuchar aquello de "to die by your side..." por Tali White (Lucksmiths) acompañado por la dulce voz de Karen Morcombe, ya merece la pena acercarse a este disco. Un triubuto merecido, y siempre necesario.  --Supernovapop

Era una deuda pendiente. Si la generación Britpop había rendido pleitesía a The Smiths -en aquel tributo organizado por Les Inrockuptibles para conmemorar los diez años de "The Queen is Dead"- esta vez son los indie-pop quienes satisfacen su débito. Y con mayor motivo. Probablemente el género es el que más le debe a Morrissey y compañía. Ellos que explotan la afectación adolescente como pocos, saben que Morrissey es el maestro de la soledad y del llanto, del romanticismo idealista que sólo se puede tener cuando te domina el espíritu juvenil. "Y si un autobús de dos pisos se estrella contra nosotros, morir a tu lado qué divina forma de morir/y si un camión de diez toneladas nos mata, que placer y que honor morir a tu lado..." cantaba Morrissey en "There is a light that never goes out", y los indies se tomaron al pie de la letra sus palabras, haciendo una profesión de fé en ello. Matinée Records, el mejor -¿el único que queda?- sello indiepop del momento se pusieron manos a la obra para celebrar los veinte años de la publicación del primer lp del grupo mancuniano y el resultado se llama "Romantic and Square is Hip and Aware". En él, doce grupos del sello repasan el cancionero del grupo que les acongojó. Y lo hacen con devoción y cariño, como no podía ser menos, y en algunos casos incluso con originalidad, como el tratamiento hipnotico-eletrónico que le dan Pipas al "This Night Has Opened My Eyes", el dueto chico-chica de The Lucksmiths del "There is a Light That Never Goes Out" o el brillante repaso acústico del "Ask" por parte de The Pines. ¡The Smiths are Dead!, ¡Vivan The Smiths!  --Ya No Puedo Mas

Não há menor dúvida. The Smiths foi a melhor banda dos anos 80. As melhores capas, canções, letras e maneira de cantar. É claro que estou excluindo bandas importantes da mesma década como Talulah Gosh, Pastels e Field Mice. Mas estamos falando aqui de bandas mundialmente conhecidas como The Cure, U2, Echo and Bunnymen e Duran Duran. Do primeiro single "This Charming Man" lançado em 1983, até o último suspiro em 1987, os Smiths mostraram que ainda era possível criar belas canções, com letras que falavam sobre pessoas comuns, como você e eu. Letras cantadas por um vocalista com extremo carisma junto ao público, que por motivos óbvios se identificavam com as canções da banda. Nada de mensagens messiânicas, hedonismo, morbidez ou ostentação da detestável postura rock and roll tão em voga na época. Por isso mesmo criaram uma legião de fãs (não estou falando em números) só comparável a Beatlemania. Deixou um legado que foi absorvido por uma centena de bandas, que não só se inspiram na sonoridade da banda, mas também no jeito de ser. Então nada mais natural que apareçam um monte de grupos tirando covers da banda, em alguns casos acabam reunidos em um disco tornando-se tributos. Todos os tributes foram lançados por gravadoras pequenas e são pouco conhecidos. Talvez o mais famoso seja "TheSmiths is Dead" que foi organizado em 1996 pela revista francesa Les Inrockuptibles para comemorar os dez anos do lançamento de "The Queen is Dead", eleito pela revista como o melhor álbum dos anos 80. E traz bandas como Supergrass, Therapy ? The Boo Radleys, Billy Bragg, Bis e Placebo tocando as faixas na mesma ordem do álbum. O resultado é razoável, Talvez por causa da escolha das bandas participantes. Outro tributo que só vale a título de curiosidade é "The Word Still Won't Listen" também lançado em 96, só com bandas de punk rock e hardcore. De longe dá para notar que algumas bandas nunca ouviram com a devida atenção uma música dos Smiths, outras estão ali com a única intenção de debochar. Não perca o seu tempo. Melhor procurar por "Pisni Iz The Smiths" que tem a honra de ser o primeiro de todos os tributos. Lançado pela gravadora americana Cooking Vinil em 1992, só com quarto faixas tocadas por uma única banda chamada The Ukrainians, onde cantam versões da banda de Manchester em ucraniano!!! Então "Big Mouth Strikes Again" virou simplismente "Batyar" e "The Queen Is Dead" ficou como "Koroleva Ne Polerma" e por aí vai. Na verdade The Ukrainians é um projeto do pessoal do Wedding Present. Representando bandas da Florida (!?) de vários gêneros temos "Godfathers of Change" que reúne vinte e cinco bandas como Gerald, Vampire Slayers (isso não é o nome de manga?) e Rosewalter Elizabeth. Foi lançado em 1996 por uma gravadora chamada 24H que não existe mais. Em 2000 ela foi relançada com o nome de Cover Star, e com uma quantidade menor de faixas, pela gravadora 3D Entertainment. Em 2000 o fanzine italiano Speedway especializado em Morrisey, acrescentou mais um disco homenageando os Smiths que ganhou o nome de "There Is A Light That Never Goes Out" com Grupos dos mais variados estilos, passando da música eletrônica ao pop. Para quem está buscando algo mais sofisticado pode ir direto em "String Quartet Tribute To The Smiths", como o nome já entrega, músicas como "Last Night I Dreamt Somebody Loved Me", "How Soon Is Now" mais nove canções ganharam arranjos de cordas. Sem contar a música especialmente composta pelo quarteto, inspirada nas composições dos Smiths. Ainda em 2003 a Rough Trade, casa dos The Smiths, lançou um disco para comemorar os vinte e cinco anos de existência. Para isso convocou bandas do próprio cast para fazer versões de bandas que já passaram por lá, ou que ainda continuam na ativa como The Strokes. O disco ganhou o nome de "Stop Me If You Think You've Heard This One Before", uma clara homenagem a banda que por tanto colocou o nome da Rough Trade em evidencia. O mais curioso é que não existe nenhuma cover dos Smiths. Vai entender... Agora em 2004 foi lançado pela Matinée o melhor tributo que a banda já recebeu. Chama-se "Romantic and Square is Hip and Aware". O motivo pelo o qual o disco merece muitos elogios se deve principalmente de que todas as bandas presentes gostam MESMO dos Smiths. Ninguém esta ali para se promover, debochar, ou fazer versões vergonhosas da banda. É um tributo feito por quem gosta e entende do assunto. Ouvindo este disco podemos perceber essa grande diferença. Basta ouvir a versão que o Slipside fez para Please Please Please Let Me...ou o Pipas tocando This Night Has Open My Eyes para confirmar que este é o disco que supera todos os outros. A primeira faixa do cd ficou por conta do The Pines, dupla formada por Joe Brooker e Pam Berry, figurinha conhecida do indiepop, que já passou por bandas como Glo Worm, Belmondo e muitas outras. Aqui eles melhoraram os arranjos de Ask, tiraram a bateria, só ficaram as vozes de Pam Berry e Joe Brooker, moldadas por suaves violões e guitarras. Na faixa seguinte temos o Pale Sunday que fez a versão mais comovente de I Know It's Over que já ouvi. A batida bossa nova caiu muito bem, e a interpretação ficou tão boa que parece que a música foi feita por eles. O mais incrível é que ela foi gravada no quarto do vocalista Fabrício. Ficou perfeita! A versão para "There Is A Light That Never Goes Out" feita pelos os australianos The Lucksmiths foi bem original. Aqui o vocalista Tali White faz um dueto com Karen Morcombe, especialmente convidada para participar dessa faixa. E a marca da banda está presente com suas guitarras acústicas e baquetas vassourinha. Sem contar que eles escolheram uma das melhores músicas da banda. Nunca ouvi um álbum inteiro do Slipside, as poucas músicas que eu conhecia, foram ouvidas em coletâneas da Matinée e nunca dei muita atenção. Mas ao ouvir a banda tocando "Please Please Please Let Me..." a minha curiosidade despertou. Sim, a voz de Graeme Elston lembra muito a maneira de cantar de Morrissey, mas sem a afetação habitual do exvocalista dos Smiths. Eu diria que esse e um caso raro, em que a versão saiu melhor que a original. O Pipas deixou "This Night Has Opened My Eyes" com a cara da dupla: levadas simples, bateria eletrônica, e a voz apaixonante de Lupe dando o toque final. Quando surge a introdução da sexta faixa, a música lembra imediatamente uma canção do Lovejoy, mas logo depois você já reconhece Girlfriend In A Coma, que nesta versão ficou insossa, talvez a voz de Dick Preece não ajude muito, ou então ele não escolheu a música certa. Já o Would-Be- Goods fez uma cover perfeita de "Back To The Old House", cantada como se fosse à capela, façanha que só a bela voz de Jessica Griffin consegue. Ganhando pontos ao escolher uma música não tão obvia para fazer a sua versão, temos The Young Tradition, uma dupla formada por Brent Kenji e Eric Hanspens, aqui eles tocam "Sheila Take A Bow" e para deixa-la melhor ainda convidaram Laura Wattling (The Autocollants, Evenings Lights) para fazer os vocais junto com Brent. A idéia de colocar um acordeão nos arranjos ficou muito boa! Outra banda australiana que comparece no tributo é o Simpático, mostrando uma versão correta de"That Joke Isn't Funny Anymore" e o resultado é bem repetitivo. Também da Austrália vem o The Guilde League , a banda paralela de Tali White do Lucksmiths, tocando "Panic" da maneira deles. Infelizmente eles não souberam aproveitar o potencial da música, acelerando o andamento,e a impressão que se tem é a de que a banda queria acabar logo com tudo. Por outro lado o Liberty Ships traz "Sweet and Tender Hoolingan" e toca como uma banda punk 77, que caiu como uma luva. Ficou ótima! Para fechar o disco chamaram The Snowdrops, tocando "Bigmouth Strikes Again". Confesso que ao ouvir pela primeira vez essa versão ao vivo eu não gostei muito, mas depois de ouvi-la várias vezes, fui percebendo o quanto havia ficado boa, deixando no chinelo a versão do Placebo para a mesma música lançada em The Smiths Is Dead". As guitarras ficaram excelentes, repetindo a base, diminuindo a velocidade da música, e ainda deixaram de lado o solo característico da bateria. Sem contar a voz de Keith, uma das melhores vozes que já ouvi. Para o tributo ele não só participou com o Snowdrops, como também escreveu o ótimo texto do encarte,contando de uma maneira muito pessoal a estória dos Smiths, e ainda sim o texto consegue ser bem superior a qualquer biografia da banda. Além disso ele serviu de modelo para as fotos da capa (monocromática é claro) e do encarte, onde aparece vestido como o Morrissey nos anos 80, com o terno quadriculado, óculos aro preto do tipo que é fornecido pela previdência, topete e o indefectível buquê de flores. Enfim, um disco que vai deixar os fãs da banda orgulhosos e recompensados.  --Biff Bang Pop!

Après le goudron, les plumes. En début d'année, le valeureux label Matinée a sorti lui aussi un tribute consacré aux Smiths. Les intentions qui ont présidé à cette sortie sont plus évidentes : Matinée est un des héritiers de l'esprit indie des eighties, tous les groupes présents sur la compilation ont assurément été d'une façon ou d'une autre influencés par les Smiths et l'on a affaire à un tribute de vrais fans - il faut l'être pour choisir comme titre la phrase "Romantic and Square is Hip and Aware", à l'origine gravé en tout petit, à la fin du microsillon, sur la face B du cinquième quarante-cinq tours du groupe ! Le risque était donc qu'un sentiment d'admiration béate ne paralyse tout ce beau monde. Et bien loupé, chacun a fait l'effort de s'abstenir de la copie carbone et de s'accaparer pleinement les morceaux. Le résultat est très honnête, avec bien entendu les défauts habituels de l'exercice de l'album-hommage, accentués ici par le fait que les interprètes originaux des titres étaient, musiciens comme chanteurs, hors norme. La reprise à deux voix de "Ask" qui ouvre le disque frôle peut-être le bébête, mais se révèle assez vite charmant. Les Lucksmiths déçoivent quelque peu en offrant une version sans grand risque de "There is a Light That Never Goes Out", Pipas, pourtant l'un des groupes les plus intéressants du label, peine avec "This Night Has Opened My Eyes" (ligne de guitare trop compliquée à jouer ?). Au chapitre des réussites, Pale Sunday et son "I Know it's Over" judicieusement débarrassé de tout pathos, entre bossa-nova et shoegazing (au sens propre), le sautillant "Panic" de the Guild League, les très classiques versions de "Please Please Please Let Me Get What I Want" et "That Joke Isn't Funny Anymore" par Slipside et Simpático. The Liberty Ship se bat bien avec "Sweet and Tender Hooligan", et les Snowdrops livrent pour finir une version retenue mais intense de "Bigmouth Strikes Again", enregistrée en concert. En parlant de Snowdrops, c'est Keith, l'un des membres du groupe, qui, non content de poser pour la couverture de l'album, signe les notes de pochette : touchant, nécessaire et suffisant pour comprendre l'importance qu'eurent les Smiths pour toute une génération de garçons britanniques mal à l'aise.  --PopNews

Eigenlijk had ik tribute-albums definitief afgezworen, maar omdat The Smiths toch wel een erg goede band was én omdat de covers gespeeld worden door 'mijn soort bands' (lees: Matinée-bands) was ik te benieuwd om deze compilatie te laten liggen. En daar The Smiths ver genoeg 'van voor mijn tijd' zijn om niet te gaan roepen dat men er Met Hun Gore Poten Vanaf Moet Blijven kan ik nuchter vaststellen dat er geen enkel slecht nummer op staat. Dat komt natuurlijk door de kwaliteit van de originelen, maar ook doordat alle bands hun taak zeer serieus genomen hebben. En dat is ook meteen het grootste (maar tevens enige) probleem met deze compilatie: bands als Lovejoy, Pale Sunday en Sympático zijn te veel door The Smiths beïnvloed om iets aan het origineel te kunnen toevoegen. Dan ben zelfs ik conservatief genoeg om te zeggen dat je toch beter dat origineel kunt aanschaffen (voorzover je het niet al in de kast hebt staan natuurlijk). Maar het neemt niet weg dat er ook een aantal erg leuke nummers op staan. Het mooie tweestemmige There Is A Lignt... van The Lucksmiths bijvoorbeeld, Pipas' Pipasiaanse bewerking van This Night Has Opened My Eyes of de staccato-versie van Panic door The Guild League. En zeker niet te vergeten Sweet And Tender Hooligan door The Liberty Ship, het mooiste nummer van het album en tevens het enige dat het origineel overtreft zonder er te veel van af te wijken.  --Think Small

Dass The Smiths eine der einflussreichsten und meistverehrten Bands aller Zeiten ist, pfeifen die Spatzen schon seit Jahren von allen Dächern. Deshalb liegt es nah, in mehr oder weniger großen Abständen eine Tribute-Platte für diese fantastische Band zu veröffentlichen.. Nach "The Smiths is dead", an der Größen wie The Divine Comedy, Placebo oder Supergrass beteiligt waren, kommt nun eine kleine aber würdevolle Huldigung aus dem Hause Matinée Recordings. Mit viel Herz verbeugen sich Bands wie The Lucksmiths, Slipslide oder Pale Sunday vor der großen alten Dame. Abgespeckt und größtenteils recht spartanisch instrumentiert, überzeugt diese Platte mit viel Liebe zum Detail und "leidenschaftlicher Verehrung", wie es in der dazugehörigen Info heißt. Erwähnt werden muss dabei der Beitrag von The Lucksmiths, welche das bombastische "There is a light that never goes out" in eine schlankere Form packen und als Duett mit Frauenstimme intonieren. Frevel, würde man denken. Dennoch. Es funktioniert und hört sich hinreißend an. Wer The Smiths heiß und innig liebt, wird diese Platte mögen, jedoch an einigen Ecken den melancholischen Schmelz von Morrisseys Stimme und die Kraft von Johnny Marrs Gitarrenspiel vermissen.  --Soundmag

Agora em 2004 foi lançado pela Matinée o melhor tributo que a banda já recebeu. Chama-se "Romantic and Square is Hip and Aware". O motivo pelo o qual o disco merece muitos elogios se deve principalmente de que todas as bandas presentes gostam MESMO dos Smiths. Ninguém esta ali para se promover, debochar, ou fazer versões vergonhosas da banda. É um tributo feito por quem gosta e entende do assunto. Ouvindo este disco podemos perceber essa grande diferença. Basta ouvir a versão que o Slipside fez para Please Please Please Let Me...ou o Pipas tocando This Night Has Open My Eyes para confirmar que este é o disco que supera todos os outros. A primeira faixa do cd ficou por conta do The Pines, dupla formada por Joe Brooker e Pam Berry, figurinha conhecida do indiepop, que já passou por bandas como Glo Worm, Belmondo e muitas outras. Aqui eles melhoraram os arranjos de Ask, tiraram a bateria, só ficaram as vozes de Pam Berry e Joe Brooker, moldadas por suaves violões e guitarras. Na faixa seguinte temos o Pale Sunday que fez a versão mais comovente de I Know It's Over que já ouvi. A batida bossa nova caiu muito bem, e a interpretação ficou tão boa que parece que a música foi feita por eles. O mais incrível é que ela foi gravada no quarto do vocalista Fabrício. Ficou perfeita! A versão para "There Is A Light That Never Goes Out" feita pelos os australianos The Lucksmiths foi bem original. Aqui o vocalista Tali White faz um dueto com Karen Morcombe, especialmente convidada para participar dessa faixa. E a marca da banda está presente com suas guitarras acústicas e baquetas vassourinha.Sem contar que eles escolheram uma das melhores músicas da banda. Nunca ouvi um álbum inteiro do Slipside, as poucas músicas que eu conhecia, foram ouvidas em coletâneas da Matinée e nunca dei muita atenção. Mas ao ouvir a banda tocando "Please Please Please Let Me..." a minha curiosidade despertou. ;Sim, a voz de Graeme Elston lembra muito a maneira de cantar de Morrissey, mas sem a afetação habitual do ex-vocalista dos Smiths. Eu diria que esse e um caso raro, em que a versão saiu melhor que a original. O Pipas deixou "This Night Has Opened My Eyes" com a cara da dupla: levadas simples, bateria eletrônica, e a voz apaixonante de Lupe dando o toque final. Quando surge a introdução da sexta faixa, a música lembra imediatamente uma canção do Lovejoy, mas logo depois você já reconhece Girlfriend In A Coma, que nesta versão ficou insossa, talvez a voz de Dick Preece não ajude muito, ou então ele não escolheu a música certa. Já o Would-Be-Goods fez uma cover perfeita de "Back To The Old House", cantada como se fosse à capela, façanha que só a bela voz de Jessica Griffin consegue. Ganhando pontos ao escolher uma música não tão obvia para fazer a sua versão, temos The Young Tradition, uma dupla formada por Brent Kenji e Eric Hanspens, aqui eles tocam "Sheila Take A Bow" e para deixa-la melhor ainda convidaram Laura Wattling (The Autocollants, Evenings Lights) para fazer os vocais junto com Brent. A idéia de colocar um acordeão nos arranjos ficou muito boa! Outra banda australiana que comparece no tributo é o Simpático, mostrando uma versão correta de "That Joke Isn't Funny Anymore" e o resultado é bem repetitivo. Também da Austrália vem o The Guilde League , a banda paralela de Tali White do Lucksmiths, tocando "Panic" da maneira deles. Infelizmente eles não souberam aproveitar o potencial da música, acelerando o andamento,e a impressão que se tem é a de que a banda queria acabar logo com tudo. Por outro lado o Liberty Ships traz "Sweet and Tender Hoolingan" e toca como uma banda punk 77, que caiu como uma luva. Ficou ótima! Para fechar o disco chamaram The Snowdrops, tocando "Bigmouth Strikes Again". Confesso que ao ouvir pela primeira vez essa versão ao vivo eu não gostei muito, mas depois de ouvi-la várias vezes, fui percebendo o quanto havia ficado boa, deixando no chinelo a versão do Placebo para a mesma música lançada em The Smiths Is Dead". As guitarras ficaram excelentes, repetindo a base, diminuindo a velocidade da música, e ainda deixaram de lado o solo característico da bateria. Sem contar a voz de Keith, uma das melhores vozes que já ouvi. Para o tributo ele não só participou com o Snowdrops, como também escreveu o ótimo texto do encarte,contando de uma maneira muito pessoal a estória dos Smiths, e ainda sim o texto consegue ser bem superior a qualquer biografia da banda. Além disso ele serviu de modelo para as fotos da capa (monocromática é claro) e do encarte, onde aparece vestido como o Morrissey nos anos 80, com o terno quadriculado, óculos aro preto do tipo que é fornecido pela previdência, topete e o indefectível buquê de flores. Enfim, um disco que vai deixar os fãs da banda orgulhosos e recompensados.  --Alucinaticos

Jag har aldrig varit särskilt hängiven över greatest hits-upplagor, singelboxar eller coversamlingar. Hela innebörden med att samla vartenda släpp av en och samma artist har jag aldrig varken eftersträvat eller i grunden orkat med - såvida det inte är ett band jag levt och gillat parallellt i samtid med, redan från början. The Smiths är ju ett av det där kända banden som dragit på sig en mängd best of, singels och deluxe-upplagor efter sin storhetstid på åttiotalet, men inte är det heller konstigt. Efterfrågan har ju alltid funnits och kommer nog fortsätta göra det, till min förvåning till och med hos mig ibland. För nu när Matinée ger ut en hyllningsskiva till The Smiths med covers av sina egna band känns det hela plötsligt roligare och betydligt fyndigare. Man sitter och flinar åt att man känner till vartenda ord i förväg som grupperna förtäljer, men häpnas när det bjuds på andra, lika vältänka melodier. Även på en sån här skiva finner man olikheter, det här är ju varken någon talangjakt eller förhastad skräputgåva, och låtmelodierna är heller inte hämtade rakt av. Det är det som gör Matinée-släppet lite mer speciellt. Det hela sätter igång med att Joe Brocker och Pam Berry i The Pines gör sin egen version av »Ask« från »The World Won´t Listen«. Den låter kanske inte helt övertygande som inledningslåt på en skiva likt denna, men inte kan jag påstå att den är undermålig och heller inte Pale Sundays bossanova/shoegaze-version av »I Know It´s Over«. Ingen jättestark inledning. Men The Lucksmiths kompenserar det hela ganska snabbt och redan i inledningen kommer man att tänka på Johnny Marrs otroliga talang för melodier, sedan sätter den fenomenala låten »There Is A Light That Never Goes Out« igång, och det är nästan så att man ryser när Talli Whites och Karen Morcombes stämmor möts i textraden »And if a double-decker bus/Crashes into us/To die by your side/Is such a heavenly way to die/And if a ten-ton truck/Kills the both of us/To die by your side /Well, the pleasure - the privilege is mine/« Men inte hinner man ta in särskilt mycket innan nästa grupp sveper över en med lika fascinerande toner. Pipas gör en grym loungh-mystisk version av »This Night Has Opened My Eyes«, Dick Preece i Lovejoy tar på sig »Girldfriend In A Coma« ensam och gör det förvånansvärt väl, Simpático gör »That Joke Isn´t Funny Anymore«, The Guild League en uptempoversion av »Panic« och The Liberty Ship »Sweet and Tender Hooligan«. Och när Keith, Dick och Pam i The Snowdrops avslutar skivan med en live-version av »Bigmounth Strikes Again« är det inte långt ifrån att skivan känns fullbordad. Även Slipeslide gör en schysst version av »Please Please Please Let Me Get What I Want«, Would-Be-Goods trallar till »Back To The Old House« och The Young Tradition bevisar återigen sin talang efter »California Morning« med »Sheila Take A Bow«. Allt är på sin plats, vissa låtar bjuder på bastantare distgitarrer, vissa lenare akustik, men det är också det som gör det hela betydligt nöjsammare att lyssna till. Det här är ju trots allt ingen »låta-så-likt-som-möjligt«-utgåva. Ibland studsar man däremot till av häpnad över hur likt artisterna kan komma Morrisseys röst, men det märks aldrig tillräckligt för att det ska låta för efterapat. Matinée-banden lyckades trots allt väldigt bra med att påminna en om hur mycket The Smiths egentligen har betydigt för musikvärlden, men om jag kommer börja lyssna mer på de än vad jag gjort tidigare har jag svårt att tro. Snarare mer på denna skiva.  --Le Manchester