The Smiths: The Queen Is Dead

In 1986, The Smiths were responsible for developing one of the most lyrically ornate, musically brilliant albums of the past thirty years. The Queen Is Dead represents a milestone in the furtherance of more complex pop records and served to unequivocally establish The Smiths as the most meaningful band of their era.

The burgeoning eighties indie scene gave rise to artists as eloquent as Elizabethan poets while still musically proficient enough to fashion those words around catchy, hook-filled songs.

The DIY aesthetic that permeated early punk rock recordings also fueled like-minded indie musicians who desired to branch outside of the limited confines of popular radio, Top 40 countdowns, and cheap dancefloor programs.

The Queen Is Dead commences with the rip-roaring title track which very nearly sounds like an early punk recording, before branching off into the whimsically astute observations on dealing with spiteful industry types with "Frankly, Mr Shankly."

"I Know It's Over", which essentially parallels a breakup with death, stands as a bleak testament to both the internal turmoil of its author and his ability to sum up a lifetime of agony in a few brief minutes. "Cemetry Gates", another whimsically droll melody, is a clever response to critics who accused Morrissey of outright plagiarism.

"Bigmouth Strikes Again" proved to be an exceptionally popular single, with its war-cry of "Now I know how Joan of Arc felt" and relentlessly energetic guitar work. Immediately following the intensity of "Bigmouth" was the impassioned "The Boy With The Thorn In His Side", a favorite here at Hurry Home Dark Cloud.

The final highlight is "There Is A Light That Never Goes Out", which has over time became known as The Smiths signature track. Darkly elegant in feel, the timbre of Morrissey's voice accentuates every sympathetic syllable. It is small wonder fans have embraced the track as an anthem.

Curiously, despite the universal critical acclaim this record received, both Morrissey and guitarist Johnny Marr consider their next album to represent the peak of their creative output as the collective Smiths.

Check back soon for a review of that final album: Strangeways, Here We Come.

"The Boy With The Thorn In His Side" from The Queen Is Dead (1986)

"I Know It's Over" from The Queen Is Dead (1986)