The title track is a terrific way to start, with a snippet from some little-known film Morrissey fetishized, cut off by galloping drums and a strong band performance driving the cutting lyrics. Here the guitar is more part of the sound than dominating it. “Frankly. Mr. Shankly” is something of an ‘80s version of “Take This Job And Shove It”, but with the knowing, parodic angle of the narrator. Any chance of “I Know It’s Over” being just another gloomy lament of unrequited love is dashed by beginning (and repeating) “Oh mother, I can feel the soil falling over my head.” In between, he does manage to stir some sympathy as well as empathy. The album’s clunker is “Never Had No One Ever”: it sounds too much like the song that precedes it, retreads the same territory, and is about three times as long as it needs to be. Here are some options: either incorporate some of the lyrics into other songs, or move it to the end of the side, change the arrangement, and make it only as long as it needs to recite the lyrics once, and done. To their credit, the side ends instead with “Cemetry Gates”, a jaunty stroll through said territory, where Our Hero sees the graves of people who’ve died and it seems so unfair that he wants to cry.
Side two, however, is enough to suggest that all those best album ever claims might be on to something. Two of their best singles dominate: “Bigmouth Strikes Again”, with its relentless attack and sped-up counterpart; and “The Boy With The Thorn In His Side”, a gorgeous lament decorated by Johnny Marr’s deft orchestration. “Vicar In A Tutu” returns to the rockabilly shuffle that dominated the previous album, and a much better pastiche too. “There Is A Light That Never Goes Out”, Mozzer’s own “My Way”, would have been a fine closer, that place is instead bestowed upon the one-liner of “Some Girls Are Bigger Than Others”. While countless songs utilize the fake ending, this one sports a fake beginning.
The Queen Is Dead was easily the band’s best album to date, and they knew it. Their confidence extended to the artwork, which challenged their apostles to squint at the tiny pink lettering on a dark green background. In many ways, it epitomizes what people both love and hate about the band today.
The Smiths The Queen Is Dead (1986)—4