Published on Jun 14, 2006
For a band that existed only five years, cult
favorites The Smiths definitely made an impact, which is best heard
on their third proper studio album The Queen Is Dead. It’s
been lauded repeatedly by magazines such as Spin, NME
and Rolling Stone as being one of the greatest albums ever
created; then again, I’ve never been one for hype, so I had to give
this one a spin for myself (add to the fact that Rolling
Stone is rarely to be trusted…).
The Queen Is Dead is the most cohesive display
of the band’s unique sound. With most of the eighties defined by
hair metal, New Wave and synths, the Smiths instead relied on the
lyrical prowess of songwriting duo Morrissey (vocals) and Johnny
Marr (guitars), and Morrissey’s cynical, angsty delivery that has
made him an alternative icon.
Opening the album is its title track, “The Queen Is Dead (Take Me
Back To Dear Old Blightly).” It’s the longest song on the album,
which clocks in at just under 40 minutes, and features a lengthy
outro that spotlights bassist Andy Rourke. The highlight of the
track is Morrissey’s acerbic take on the church, the royal family
and British culture in general.
“Frankly Mr. Shankly” continues with a biting stance
towards the music industry; lyrics like “I’d rather be famous than
righteous or holy / any day, any day, any day” are the focal point
of the song, while the steady bassline and acoustic guitar take a
backseat. “I Know It’s Over” has Moz in top moody form, bemoaning
loneliness and lost love with the rest of the band providing a
loose, dramatic backdrop. It’s one of the finest on the album, with
Morrissey at his most open — he even uses it to close present-day
live sets, more of a testament to its strength than I could
probably make.
Also deserving of mentions are “Cemetery Gates” and
“Vicar In A Tutu.” “Gates,” which manages to pack in references to
Keats, Yeats and Oscar Wilde within the first 20 seconds, is an
upbeat track with breezy guitars courtesy of Marr and a few parting
shots to plagiarism, while “Vicar” is a loose, rockabilly tune
whose odd title is completely befitting.
The Smiths, always adept at crafting successful
singles, don’t disappoint in “Bigmouth Strikes Again,” the
stick-in-your-head slice of pop which features lines like
“Sweetness, sweetness, I was only joking / When I said by rights
you should be / Bludgeoned in your bed” and helium-infused backing
vocals.
But I think that may be just what’s so endearing
about The Smiths. Even at Morrissey’s snarkiest or most despairing,
the band always managed to be unique, controversial and indulgent.
So, it’s not hard to see why countless indie bands today cling to
the Smiths, and The Queen Is Dead is surely their shining
moment.