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The Queen Is Dead

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The Queen Is Dead
Studio album by
the Smiths
Released16 June 1986 (1986-06-16)
RecordedJuly–December 1985
Studio
  • Jacob (Farnham, Surrey)
  • RAK (London)
  • Drone (Manchester)
Genre
Length36:48
LabelRough Trade
Producer
The Smiths chronology
Meat Is Murder
(1985) 		The Queen Is Dead
(1986) 		The World Won't Listen
(1987)
Singles from The Queen Is Dead
  1. "The Boy with the Thorn in His Side"
    Released: 16 September 1985
  2. "Bigmouth Strikes Again"
    Released: 19 May 1986
  3. "There Is a Light That Never Goes Out"
    Released: 12 October 1992

The Queen Is Dead is the third studio album by the English rock band the Smiths, released on 16 June 1986, by Rough Trade Records. Following the release of their second album Meat Is Murder, the Smiths retreated to Greater Manchester to begin work on new material, with Johnny Marr and Morrissey writing extensively at Marr's home in Bowdon. The band sought to escape the pressures of London and their label Rough Trade. The album was produced by Morrissey and Johnny Marr, with engineering by Stephen Street. Recording for the album took place between July 1985 and December of that year, with sessions held at RAK Studios in London, Jacob Studios in Farnham and Drone Studios in Manchester. The album features a blend of indie rock and post-punk.

The Queen Is Dead spent 22 weeks on the UK Albums Chart, peaking at number two. It reached number 70 on the US Billboard Top Pop Albums chart and was certified Gold by the Recording Industry Association of America (RIAA) in late 1990. The Queen Is Dead received widespread critical acclaim and has since been included in multiple lists of the greatest albums of all time. Rolling Stone ranked the album 113th on its 2020-updated list of the "500 Greatest Albums of All Time". In its 2013 list, NME named The Queen Is Dead the greatest album of all time.

Background and recording

[edit]

Following the completion of Meat Is Murder in December 1984,[1] guitarist Johnny Marr began developing new ideas for the next the Smiths album. In early 1985, the band returned to Greater Manchester, with Morrissey settling in Hale and Marr purchasing a home in Bowdon, Greater Manchester, which served as a writing base for the group. Marr described this period as an attempt to "shut out the outside world" and focus creatively, distancing themselves from the pressures of London and their record label. Drummer Mike Joyce likened Marr's home to a personal "Brill Building" due to the creative intensity.[2] During this time, Morrissey channeled his frustrations with the media and music industry into lyrics, notably for "The Boy with the Thorn in His Side".[3]

The album was produced by Morrissey and Marr, working predominantly with engineer Stephen Street, who had engineered the band's 1985 album Meat Is Murder.[4] Street recalled: "Morrissey, Johnny and I had a really good working relationship – we were all roughly the same age and into the same kind of things, so everyone felt quite relaxed in the studio".[5] At the time the group was having difficulty with its record label Rough Trade. However, according to Street, "this didn't get in the way of recording because the atmosphere in the studio was very, very constructive".[5]

RAK Studios building in 2011

The first song from the album to be recorded, in July 1985, was "The Boy with the Thorn in His Side" at Drone Studios in Manchester.[3] The recording, made with engineer Stephen Street at a small studio in Manchester and initially intended as a demo, was considered by the band to be good enough for release as a single. It went on sale on 16 September 1985 and made number 23 in the UK Singles Chart.[6] In August 1985, "Bigmouth Strikes Again" and "Some Girls Are Bigger Than Others" were recorded at RAK Studios in London, along with the B-sides to "The Boy with the Thorn in His Side"; "Asleep" and "Rubber Ring".[7][5] Kirsty MacColl sang a backing vocal for "Bigmouth Strikes Again" but it was considered "really weird" by Marr, and was replaced with a sped-up vocal by Morrissey in the final mix, for which he is credited as Ann Coates on the sleeve of The Queen Is Dead.[8] "Some Girls Are Bigger Than Others" includes a false fade near the start, intended by Street to give the impression of a door closing and opening again.[9] During the same session, a first version of "Never Had No One Ever" was recorded.[10]

The bulk of the album was recorded in the winter of 1985 at Jacob Studios in Farnham, under the working title "Margaret on the Guillotine".[11] "Frankly, Mr. Shankly" was an attempt to recreate the "vibe" of Sandie Shaw's "Puppet on a String", although "it didn't quite work out that way", according to Marr. Linda McCartney was asked to play piano on the track, but declined,[12] and a first take featuring a trumpeter was scrapped. The version originally intended for inclusion on The Queen Is Dead was ruined by a technical glitch on the tape, and so the song was re-recorded with John Porter at Wessex Studios in London.[13] "The Queen Is Dead" was among the last songs to be recorded. Its distinctive tom-tom loop was created by Mike Joyce and Stephen Street using a sampler. A line of guitar feedback was played by Marr through a wah-wah pedal throughout the song.[5] The album was shortly completed before Christmas 1985.[10]

Composition

[edit]

Music critics have categorised The Queen Is Dead as an indie rock[14] and post-punk[15] recording. Marr was heavily influenced by the Stooges, the Velvet Underground, and the Detroit garage rock scene while crafting the album.[4] Mark Lindores praised Morrissey's lyrics on the album for their wit and sensitivity, noting his ability to craft both humorous and genuinely moving lines.[16] Simon Reynolds highlighted how Morrissey's lyrics, inspired by both absurd humor and serious reflection, positioned the singer as a "spurned savior" of British music.[17]

Songwriting

[edit]

The album's opener and title track "The Queen Is Dead" was based on a song Marr began writing as a teenager.[18] The track, which leads off the album and notably became an expressionistic music video directed by Derek Jarman, starts with a sampled excerpt from Bryan Forbes' 1962 British film The L-Shaped Room.[19] Mayo Thompson from the band Red Krayola was an associate producer for the film and through working for Rough Trade Records persuaded Jarman to direct a promotional video for the Smiths.[20][21] "Frankly, Mr. Shankly", "I Know It's Over" and "There Is a Light That Never Goes Out" were written by Morrissey and Marr in a "marathon" writing session in the late summer of 1985 at Marr's home in Bowdon.[13] The first of these is reputed to have been addressed to Geoff Travis, head of the Smiths' record label Rough Trade, however Morrissey denies this.[22] Travis has since described it as "a funny lyric" about "Morrissey's desire to be somewhere else", acknowledging that a line in the song about "bloody awful poetry" was a reference to a poem he had written for Morrissey.[23]

Lyrically, "I Know It's Over" shares elements with the two mentioned ballads: the suicidal connotations of the first and the agonising diary of many mornings waking up alone of the latter.[24] Despite the "obvious depression" of Morrissey, the song retains some hope in its message, stating that being "kind and gentle" is a noble trait that requires rare courage, and that love is "natural and real", even if not for Morrissey, whose unfulfilled heart's desire is further tormented by the sight of "loutish lovers" taking their partners for granted.[25] The composition for "Never Had No One Ever", completed in August 1985, was based on a demo which Marr had recorded in December 1984, itself based on "I Need Somebody" by the Stooges.[26] According to Marr: "The atmosphere of that track pretty much sums up the whole album and what it was like recording it".[27] The lyric to the song reflects Morrissey's feeling unsafe and, being from an immigrant family, not at home on the streets of Manchester.[28] "Cemetry Gates" was a late addition to the album. Marr had not believed that the guitar part was interesting enough to be developed into a song, but Morrissey disagreed when he heard Marr play it.[29]

"The Boy with the Thorn in His Side", "Bigmouth Strikes Again" and "Frankly, Mr. Shankly" were debuted live during a tour of Scotland in September and October 1985,[30] during which "The Queen Is Dead" and "There Is a Light That Never Goes Out" were sound-checked.[18] "The Boy with the Thorn in His Side" was, according to Marr, "an effortless piece of music", and was written on tour in the spring of 1985. The song's lyrics refer allegorically to the band's experience of the music industry that failed to appreciate it. Marr later recalled composing the song's melody while riding a bus during the Meat Is Murder tour.[3] In 2003, Morrissey named it his favourite Smiths song.[31] A few songs, including "The Queen Is Dead" and "Bigmouth Strikes Again", feature pitch-shifted backing vocals by Morrissey. Morrissey liked to experiment with effects on his voice, so Street ran his voice through a harmoniser for the backing tracks. Street recalled, "At that time, apart from the harmoniser, he didn't go for much backing vocal or harmony work – he's done that more on recent albums – but he did like to experiment". The backing vocals are attributed to "Ann Coates" on the record sleeve (Ancoats is a district in Manchester, just north-east of the city centre).[5]

The song "Vicar in a Tutu" was considered "throwaway" by Marr, who stated "It made a change from trying to change the fucking world".[4] "There Is a Light That Never Goes Out" features lyrics drawn from "Lonely Planet Boy" by the New York Dolls. According to Marr: "When we first played it, I thought it was the best song I'd ever heard".[32] The song's guitar part drew on the Rolling Stones' cover of Marvin Gaye's "Hitch Hike", whose original version by Gaye himself had acted as an inspiration for the Velvet Underground's "There She Goes Again".[33] A demo of the music for "Some Girls Are Bigger Than Others" was posted by Marr through Morrissey's letterbox in the summer of 1985. Morrissey then completed the song by adding lyrics. Marr has stated that he "preferred the music to the lyrics".[9]

Release

[edit]
Promotional photograph of the Smiths in 1985. The same photo is used in the album's inner gatefold.

The Queen Is Dead was released in 16 June 1986 via Rough Trade Records.[34] A legal dispute with Rough Trade had delayed the album by almost seven months, and Marr was beginning to feel the stress of the band's exhausting touring and recording schedule. He later told NME, " 'Worse for wear' wasn't the half of it: I was extremely ill. By the time the tour actually finished it was all getting a little bit ... dangerous. I was just drinking more than I could handle".[35] "The Boy with the Thorn in His Side" was released as a single in 16 September 1985.[36]

Although The Queen Is Dead was initially planned for a February 1986 release, tensions with Rough Trade delayed its launch until June of that year. The album's release was preceded by the single "Bigmouth Strikes Again" in 19 May, and it would become the last Smiths album supported by a tour.[10] Many at Rough Trade favoured releasing "There Is a Light That Never Goes Out" as the lead single, but Johnny Marr insisted on "Bigmouth Strikes Again", believing it was a more energetic and striking choice that better represented the band's sound,[32] though it was not released as a single until 12 October 1992, five years after their split, to promote the compilation album ...Best II.[37] However, the album became a commercial success upon release, spending 22 weeks on the UK Albums Chart, peaking at number two.[38] It was in the European Albums Chart for twenty one weeks,[39] peaking at number 19 in that chart based on the sales from 18 major European countries.[39] It also reached number 70 on the US Billboard Top Pop Albums chart,[40] and was certified Gold by the RIAA in late 1990.[41]

The album title is taken from American writer Hubert Selby Jr.'s 1964 novel, Last Exit to Brooklyn.[42] The cover of The Queen Is Dead features a still of French actor Alain Delon from the 1964 film The Unvanquished. Delon granted permission for the image's use, though according to Morrissey's Autobiography, the actor mentioned that his parents were dismayed by the album's title.[43][44] In June 2017, one year after the album's 30th anniversary, the Smiths released the full version of "The Queen Is Dead" on vinyl with other Smiths songs: "Oscillate Wildly", "Money Changes Everything", and "The Draize Train" serving as B-sides. The band also released a 7" single containing "The Queen is Dead" and "I Keep Mine Hidden".[45] Later that month, Morrissey accused HMV of trying to "freeze sales" on the new re-issues after the store limited the number of records sold to one per person.[46] Later in 2017, the album was re-released on Warner Bros. Records including new studio takes of "There's a Light That Never Goes Out" and "Rubber Ring" as well as a previously unheard live album recorded in 1986.[47] In a press release for the re-issue Morrissey said of the album "You progress only when you wonder if an abnormally scientific genius would approve – and this is the leap The Smiths took with The Queen Is Dead".[47]

Critical reception

[edit]
Professional ratings
Retrospective reviews
Aggregate scores
SourceRating
Metacritic99/100
(deluxe edition)[48]
Review scores
SourceRating
AllMusic[49]
Blender[50]
Chicago Tribune[51]
The Encyclopedia of Popular Music[52]
Mojo[53]
Pitchfork10/10[17]
Q[54]
Rolling Stone[55]
The Rolling Stone Album Guide[56]
Uncut[57]
The Village VoiceB+[58]

The Queen Is Dead has received acclaim from critics. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream critics, the deluxe version of The Queen Is Dead received a rating of 99 out of 100 based on eleven critic reviews, indicating "universal acclaim".[48]

From contemporary reviews, Mark Coleman of Rolling Stone rated the album a total score of five stars and remarked on Morrissey's sense of humour and singled out the singer's performance on "Cemetry Gates" as a highlight, concluding that "like it or not, this guy's going to be around for a while".[59] Writing in British pop magazine Smash Hits, Tom Hibbert gave a favourable review, stating that "the guitars are great, some of the words are marvellous, others like scratchings on a Fifth Form desk", as well as describing Morrissey as "half genius half buffoon".[60] Stephen Dalton, writing for Uncut, gave the album a score of five stars, describing the album as the Smiths' "most confident and coherent album yet" despite the escalating internal friction within the band.[57] Robert Christgau of The Village Voice gave the album a grade of B+ wrote that despite his dislike of the Smiths' previous albums, he held an "instant attraction" to The Queen Is Dead, where he found that "Morrissey wears his wit on his sleeve, dishing the queen like Johnny Rotten never did and kissing off a day-job boss who's no Mr. Sellack", which "makes it easier to go along on his moonier escapades".[58] J. D. Considine found that the group "epitomize[s] all that is admirable and annoying about British new music" finding the groups material "is terrifically tuneful" due to Marr's "incisive, visceral guitar work", but that Morrissey "had a tendency to wander away from conventional notions of pitch often mangling the band's melodies in the process".[61]

In more recent reviews, Pitchfork writer Simon Reynolds described The Queen Is Dead as a masterpiece that marked the Smiths' "imperial phase". He highlighted Morrissey's "idiosyncratic" and "grandly moving" lyrics and delivery, alongside Johnny Marr's "sparkling" melodies and intricate arrangements. He observed that, for true believers, the album cemented the Smiths' status as "the greatest group in the world" despite their struggle to gain widespread commercial success at the time.[17] Stephen Thomas Erlewine, writing for AllMusic, described it as the Smiths' "great leap forward", showing their ascent to new musical and lyrical heights. He noted that while the album was "harder-rocking" than previous efforts, it didn't conform to conventional rock structures. Instead, Johnny Marr's "dense web of guitars" created a variety of moods, ranging from the "minor-key rush" of "Bigmouth Strikes Again" to the "faux rockabilly" of "Vicar in a Tutu", and the "lovely melancholy" of tracks like "I Know It’s Over" and "There Is a Light That Never Goes Out".[49]

Accolades

[edit]

In 2000 it was voted number 10 in Colin Larkin's All Time Top 1000 Albums.[62] In 2002, Pitchfork listed The Queen Is Dead as the sixth-best album of the 1980s.[63] In 2003, The Queen Is Dead was ranked number 216 on Rolling Stone's list of The 500 Greatest Albums of All Time,[64] and 218 in a 2012 revised list.[65] In 2006, it was named the second-greatest British album of all time by the NME.[66] In 2006, Q magazine placed the album at number three in its list of "40 Best Albums of the '80s".[67] The album was included in Spin Alternative Record Guide, a reference book part of the American Spin magazine. It was reviewed by Rob Sheffield, who gave the album a total score of ten.[68] English-based magazine Clash added The Queen Is Dead to its "Classic Album Hall of Fame" in its June 2011 issue, saying it "is an album to lose yourself in; it has depth, focus and some great tunes. It's easy to see why the album is held in such high esteem by Smiths fanatics and why, a decade later, it became a key influence for all things Britpop".[38]

In 2012, Slant Magazine listed the album at number 16 on its list of "Best Albums of the 1980s" and said: "There may never again be an indie-rock album as good as The Queen Is Dead".[69] In 2013, The Queen Is Dead was ranked the greatest record of all time on the NME's Greatest Albums of All Time list.[70] At Rolling Stone, Gavin Edwards retrospectively viewed the album as "one of the funniest rock albums ever", noting that Morrissey had "learned to express his self-loathing through mockery" while Johnny Marr "matched his verbal excess with witty, supple music", and concluded, "If the queen's reaction to Morrissey was 'We are not amused,' then she was the only one".[55] In another revised Rolling Stone 2020 list, this time voted on by musicians instead of music critics, the album moved to the 113rd spot.[71]

Track listing

[edit]

All lyrics are written by Morrissey; all music is composed by Johnny Marr.[72]

Side one
No.TitleLength
1."The Queen Is Dead" (includes "Take Me Back to Dear Old Blighty" (medley))6:24
2."Frankly, Mr. Shankly"2:17
3."I Know It's Over"5:47
4."Never Had No One Ever"3:36
5."Cemetry Gates"2:38
Side two
No.TitleLength
6."Bigmouth Strikes Again"3:11
7."The Boy with the Thorn in His Side"3:15
8."Vicar in a Tutu"2:22
9."There Is a Light That Never Goes Out"4:02
10."Some Girls Are Bigger Than Others"3:16
Total length:36:48

2017 collector's edition

Disc one features the 2017 master of the album. Disc four DVD features the 2017 master in 96 kHz / 24-bit PCM stereo.[73]

Disc two: Additional recordings
No.TitleLength
1."The Queen Is Dead" (full version)7:14
2."Frankly, Mr. Shankly" (demo)2:18
3."I Know It's Over" (demo)5:49
4."Never Had No One Ever" (demo)4:41
5."Cemetry Gates" (demo)3:01
6."Bigmouth Strikes Again" (demo)3:07
7."Some Girls Are Bigger Than Others" (demo)3:57
8."The Boy with the Thorn in His Side" (demo mix)3:19
9."There Is a Light That Never Goes Out" (take 1)4:25
10."Rubber Ring" (single B-side)3:54
11."Asleep" (single B-side)4:02
12."Money Changes Everything" (single B-side)4:42
13."Unloveable" (single B-side)3:55
Total length:54:24
Disc three: Live in Boston
No.TitleLength
1."How Soon Is Now?"5:25
2."Hand in Glove"2:58
3."I Want the One I Can't Have"3:24
4."Never Had No One Ever"3:26
5."Stretch Out and Wait"3:12
6."The Boy with the Thorn in His Side"3:34
7."Cemetry Gates"3:01
8."Rubber Ring / What She Said / Rubber Ring"4:17
9."Is It Really So Strange?"3:22
10."There Is a Light That Never Goes Out"4:09
11."That Joke Isn't Funny Anymore"4:51
12."The Queen Is Dead"5:05
13."I Know It's Over"7:36
Total length:54:14
Disc four – DVD: The Queen Is Dead – A Film by Derek Jarman
No.TitleLength
11."The Queen Is Dead"6:28
12."There Is a Light That Never Goes Out"4:03
13."Panic"2:18
Total length:12:49

Personnel

[edit]

Credits are adapted from the album's liner notes.[72]

Charts

[edit]
1986 weekly chart performance for The Queen Is Dead
Chart (1986) Peak
position
Australian Albums (Kent Music Report)[75] 30
Canadian Albums (RPM)[76] 28
Dutch Albums (Album Top 100)[77] 11
European Top 100 Albums[39] 19
German Albums (Offizielle Top 100)[78] 45
New Zealand Albums (RMNZ)[79] 17
Swedish Albums (Sverigetopplistan)[80] 39
UK Albums Chart[81] 2
US Billboard Top Pop Albums[40] 70
2017 weekly chart performance for The Queen Is Dead
Chart (2017) Peak
position
German Albums[78] 33
Greek Albums (IFPI Greece)[82] 11
2024 weekly chart performance for The Queen Is Dead
Chart (2024) Peak
position
Croatian International Albums (HDU)[83] 2

Certifications

[edit]
Certifications for The Queen Is Dead
Region Certification Certified units/sales
Brazil (Pro-Música Brasil)[84] Gold 100,000*
Italy (FIMI)[85]
sales since 2009 		Gold 25,000‡
Spain (PROMUSICAE)[86] Gold 50,000^
United Kingdom (BPI)[87] Platinum 300,000^
United States (RIAA)[41] Gold 500,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

References

[edit]
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  3. ^ a b c Goddard 2009, p. 48.
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  73. ^ The Smiths (2017). The Queen Is Dead (DVD liner notes). Warner Records. 0190295783365.
  74. ^ Fletcher, Tony (2012). A Light that Never Goes Out: The Enduring Saga of the Smiths. William Heinemann. p. 453. ISBN 978-0-434-02066-9.
  75. ^ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. p. 279. ISBN 0-646-11917-6.
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  81. ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved 30 August 2017.
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  85. ^ "Italian album certifications – The Smiths – Queen Is Dead" (in Italian). Federazione Industria Musicale Italiana. Retrieved 27 June 2022. Select "2022" in the "Anno" drop-down menu. Type "Queen Is Dead" in the "Filtra" field. Select "Album e Compilation" under "Sezione".
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Bibliography

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