By now, you’ve hopefully seen David Bowie and Bing Crosby’s unlikely encounter in 1977, where they sang a hastily prepared medley of “Peace On Earth/Little Drummer Boy.” It’s a curious Christmas classic, and now the subject of a tribute by The Flaming Lips. Above, watch their psychedelic take on the mashup. And if you need to revisit the original, just head here.

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It couldn’t have lasted—a flame burning twice as bright, and so on. One of the best bands to emerge from the explosion of British new wave and post-punk in the 1980s, The Smiths built a template for thousands of mope-rock bands who followed. Longstanding animosity has meant that their brief time together contains their total legacy. No reunion shows or albums—despite rumors over the decades since they broke up in 1987; no ersatz version of the band, missing key members but limping ever on.

Live albums, compilations, and box sets may have appeared over the years, but they all contain music written, played, and recorded between 1982 and 1987, a period during which the songwriting duo of Morrissey and Marr had as much creative energy and purpose as any of the famous songwriting duos of twenty years earlier. Love them or hate them—there seem to be few people in-between—The Smiths’ importance to alternative and indie rock is inescapable.

Like many other hugely influential bands in popular music, the mythology can eclipse the complexities. Unmentioned in many a glowing account, for example, are the unsung onetime-members who played bass or guitar at points in the band’s short life—most significantly guitarist Craig Gannon, sometimes called the “fifth Smith.” Gannon played on such seminal hits as “Ask” and “Panic” before being let go from the band before they played their final concert, an Artists Against Apartheid benefit at London’s Brixton Academy on December 12th, 1986. See it above in a fan-recorded video.

Delayed after Marr was in a car accident, the concert shows them back to their core four lineup, reunited with fired, then rehired (then arrested) bass player, Andy Rourke. They play “Shoplifters of the World Unite” from their upcoming final album, 1987’s Strangeways, Here We Come; they play The Queen is Dead’s “Some Girls Are Bigger Than Others” for the first, and last, time live onstage; they end the night where they began, with their very first single, “Hand in Glove.” No one knew at the time that it would be their last gig, including the band.

They continued on for the next few months, recording, making TV appearances, and pondering a major label move. Differences personal, legal, and creative soon drove the four members apart. They have all continued to contribute significantly to the direction of alternative rock, as supporting players, superstar indie guitarists, and, well, Morrissey. We might wish for a more polished document of their last show, but so it is. Fans are extremely unlikely to ever get chance to see it happen again.

“Yes, time can heal,” wrote Morrissey in his often embittered autobiography. “But it can also disfigure. And surviving the Smiths is not something that should be attempted twice.” We should count ourselves lucky—those of us in the love-the-Smiths camp—that they survived as long as they did, producing jangly, gorgeous, snide, maudlin, and morbidly hilarious indie-pop gems from the very beginning to the very end of their maybe-perfectly-concise career.

See the full setlist below:

Ask
Bigmouth Strikes Again
London/Miserable Lie
Some Girls Are Bigger Than Others (only live performance)
The Boy With The Thorn In His Side
Shoplifters Of The World Unite
There Is A Light That Never Goes Out
Is It Really So Strange?
Cemetry Gates
This Night Has Opened My Eyes
Still Ill
Panic
/The Queen Is Dead
//William It Was Really Nothing
//Hand In Glove

via Sonic More Music

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness.

During the past few months of this year, as in those same months of any year, we’ve been hearing a great deal of Christmas music. Some of the songs in the mix — “Rudolph the Red-Nosed Reindeer,” “Have Yourself a Merry Little Christmas,” “The Christmas Song” — few of us have ever known a time without, and others make it in because of their seasonally themed lyrical content. But certain songs just sound like Christmas songs, somehow, and to understand what, in musical terms, fills those compositions with the spirit of the holiday season, watch the five-minute Vox explainer above that reveals “the secret chord that makes Christmas music sound so Christmassy.”

First we should distinguish popular Christmas songs from popular non-Christmas songs, especially ones recorded in the past half-century. “Rock ’n’ roll songs (and the subsequent pop songs influenced by the genre) may only contain three or four chords, each chord usually being just a major or a minor — the two chord ‘flavors’ analogous to chocolate and vanilla,” writes Slate‘s Adam Ragusea. In contrast, a selection from “the Great American Songbook” might “use a Baskin-Robbins shop full of chords and chord flavors — 7^ths and 9^ths, half and fully diminished, various inversions, and more” under melodies that “tend to include a lot of chromatic notes (the black notes on the piano when playing in the key of C major).”

In the era when most beloved Christmas standards were conceived, songwriters still made much use of that wide musical palette, the sonic colors of which had as much to do with jazz as with pop. But since the 1960s, writers of pop songs  have used these now-exotic harmonies “to get a ‘classic’ sound. For instance, John Lennon and Yoko Ono’s ‘Happy Xmas (War Is Over)’ includes some notes in its choral parts that I think are intended to recall the harmonic vocabulary of those 1940s Christmas standards.” No coincidence, surely, that Mariah Carey’s “All I Want for Christmas Is You,” perhaps the only Christmas song written in recent decades to attain the same popularity as the old standards, uses the same compositional techniques.

“I count at least 13 distinct chords at work in ‘All I Want for Christmas Is You,’ resulting in a sumptuously chromatic melody,” writes Ragusea. “The song also includes what I consider the most Christmassy chord of all — a minor subdominant, or “iv,” chord with an added 6, under the words ‘underneath the Christmas tree,’ among other places.” As in Irving Berlin’s “White Christmas,” he notes, “the chord comes immediately after a major subdominant chord, giving the effect of a ‘bright’ major subdominant that you might say ‘sighs’ or ‘melts’ into a ‘dark’ minor subdominant spiked with a ‘spicy’ extra tone (the added 6), before the songs settle back into their tonic, or ‘home,’ chords.” And so we come to the unexpected finding — though hardly a displeasing one — that a properly made Christmas song has more than a little in common with a properly made Christmas cocktail.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.