"The Queen Is Dead" was The Smiths' third studio album and came storming into my life just like their previous two. Widely regarded as their masterpiece and recorded primarily in 1985 at studios in England, the album was produced by Morrissey and Johnny Marr, with engineering assistance from Stephen Street. Marr's richly layered, inventive guitar arrangements provided the perfect counterpoint to Morrissey's sly wit, literary references, and often deeply personal lyrics, which explored alienation, romantic longing, class divisions, and the absurdities of British society. The album's provocative title, borrowed from a chapter of Hubert Selby Jr.'s novel Last Exit to Brooklyn, reflected Morrissey's disdain for the British establishment, while songs such as "There Is a Light That Never Goes Out," the buzzing "Bigmouth Strikes Again," and "The Boy with the Thorn in His Side" demonstrated the band's extraordinary ability to combine melancholy with irresistible melodies. Upon its release, "The Queen Is Dead" received widespread critical acclaim and reached No. 2 on the UK Albums Chart, although its commercial success was more modest in the United States. Over the ensuing decades, its reputation only grew, and it is now routinely ranked among the greatest albums ever recorded, celebrated for its enduring influence on alternative and indie rock and for capturing the distinctive brilliance of The Smiths at the height of their creative powers.
Here is the savage title track with its blunt hostility toward the British monarchy, irreverent tone toward national traditions and irritation with England ("through this land's cheerless marshes"), and Morrissey's double-edged use of the word "queen" to explore both royal authority and gay identity.
Equally as savage is "Bigmouth Strikes Again" in which the savagery gets turned inward at the narrator.
And here is "The Boy With The Thorn In His Side" which deftly combines a sweetly upbeat sound with an ache in the soul.
And a hearty Happy 40th Anniversary to Talk Talk's gorgeous "The Colour of Spring," a truly remarkable and ageless record. This album marked a turning point for the British band, as they moved beyond the synthesizer-New-Wave-y sound of their first two albums (which, lest you think otherwise, still contained some superb material) toward a richer, more experimental sound. Produced by Tim Friese-Greene, the album incorporated acoustic instruments, jazz influences, and sophisticated arrangements that reflected singer-songwriter Mark Hollis's growing artistic ambitions. Songs such as "Life's What You Make It" and "Living in Another World" balanced commercial appeal with musical innovation, helping the album reach No. 8 on the UK charts and earn critical acclaim. Its adventurous production and emotional depth laid the foundation for the band's startlingly groundbreaking later albums, "Spirit of Eden" and "Laughing Stock," both influential in the development of post-rock. Four decades later, "The Colour of Spring" remains a timeless achievement, capturing a band in the midst of a remarkable creative transformation. (And after you've celebrated here, do yourself a favor and go listen to their final two albums, "Spirit of Eden" and "Laughing Stock" to either revisit or discover some jaw-dropping musicianship.)
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