The Smiths - "The Queen Is Dead"

Oops, not good at keeping this account updated. But since I'm back in The Smiths camp, why don't I bore you with my scintillating thoughts about their albums too. Shall we start with The Queen Is Dead? Fair warning: not a shred of professionalism, only fanboyish squeeing ahead. I'm sort of done with writing seriously about Smiths albums because that's what I did for a few years on one of the music forums (discussions, discussions) and now it's time for the infatuated dork routine. Also, no points for guessing who's gonna be the object.



The Queen Is Dead - The fist track is something absolutely wonderful. Starting with the vocal sample from some 60's film (I used ro remember which one, but now I'm too lazy to check) and ending with that odd reverberating guitar clang. And the middle is pure beauty. Drumming is especially powerful (ooh that roll at the beginning) and yet not overbearing. And the bass line, OMG, the effing bass line. It sounds amazingly odd, as if it was an outro or some half-hearted plucking, but it works and works beautifully.
Also, Johnny's guitar - he really lets it shine in the middle part and, wow, that's almost a solo in there.
And of course, Morrissey's lyrics - oh so angry and oh so whimsical and oh at times funny too.

Frankly, Mr Shankly - is it music hall or vaudeville? Either way, it's one of the most unusual Smiths' songs. And the bass line accentuates the melody so prettily...
Morrissey in top form as well: classic line about writing 'bloody awful poetry' that would almost make you feel sorry for Geoff Travis if it wasn't so funny.

I Know It's Over - all maudlin and depressing, but sounding so lovely about that. The middle part stands out for it's sliding bass notes and Morrissey's classical whining (which I like, BTW). The outro could be a little shorter, but I'm not really complaining.

Never Had No One Ever - never really liked this particular song. Until the day I started to notice something else beside Mozzer's voice and lyrics, so a bit of acquired taste for me now. Very nice bass line and great drumming, which could be very straightforward and nothing to write home about, and yet Joyce manages to add his own little tricks.

Cemetry Gates - yes, I'm gonna be boring, but the bass line here is a thing to behold - lovely little melody, especially heard in the quieter parts of the song. Also, beautiful outro which may not seem like much but it is great.
Also, love the song for its sun-drenched funeral realism. There aren't many things that bring the joy to the old heart but a cemetery on a sunny day is one of them *is a creep*.

Bigmouth Strikes Again - fuuuuu, those shimmering guitars and the bass holding it all together - Rourkey's work on that one is outstanding. I repeat, OUTSTANDING.

The Boy With the Thorn in His Side - again not one of my favourites, but great guitars on that one. Also, drumming. Covers of this song (well, not only this one, to be honest) somehow never quite manage to capture Joyce's parts. Odd timing, playing against the bassist and unpredictable patterns. Seriously, The Smiths couldn't as for a better drummer to fit them.

Vicar in a Tutu - that bass *drools*. And the lyrics *grins*. And the delicate jangling of the guitar (notice how different it's from the bass line). And the driving/train-like drums. Definitely one of the favoutites.

There Is a Light That Never Goes Out - Andy's distinctive bass in the front is what actually drives the song. You can recognise the track instantly by the bass part alone. The middle contains one of the most beautiful (and recognisable) guitar parts. And who could forget Morrissey's words about that fated double-decker bus and a ten-ton truck? A true classic.

Some Girls Are Bigger Than Others - Hhnnnnngggh - that't pretty much all I'm capable of saying about this particular song. One of the most beautiful ones in The Smiths catalogue. The guitars - the strings barely touched and echoing. The bass - so many ghost notes it's unbelievable. And the melancholy of the melody which is oddly juxtaposed with Morrissey's playful lyrics, and yet they wind around one other to create something of a rare beauty.

And in the next post, I'm gonna have a go at "The Smiths Is Dead" - a tribute album by various artists. I bet you're all thrilled, aren't ya :)

Various artists - "The Smiths Is Dead"

And now for something... not that different and yet, colossaly different. A tribute album The Smiths Is Dead. I know the grammar in the title can be correct, but it still makes my inner grammar fascist wince. Much like the majority of the album. Although the sleeve is kinda cool.



The Queen Is Dead by The Boo Radleys - if the title and the lyrics weren't the same, you'd have no idea it's a cover. I suppose there are really only two ways of going about covering any song: recording either something that's very similar to the original or something that's radically different. The Boo Radleys chose the latter, and kudos to them for that, but the result is simply not that good. Something vaguely trippy and resembling Tricky (or maybe Massive Attack). To give credit where it's due, though, it's still beter than the next song, where the band chose the same approach and completely failed.
There are some interesting samples in here: Big Ben, an angry mob for a moment... Maybe The Boo Radleys should just stick to making their own songs.

Frankly, Mr Shankly by The High Llamas - I don't know what the Smiths did to deserve such an awful thing done to this song. There's nothing left from the original (well, except the lyrics): no lovely bass line, no oomph-drumming (actually, there's no drums at all, just some lame tambourine) and no originality to the song. Yeah, it is a cover, but if it wasn't the composition would be utterly forgettable. Oh wait, it kinda is anyway.
And the vocalist can't sing.

I Know It's Over by The Trash Can Sinatras - I think they attempted to keep a bit of the original melody in here. At least the vocalist did. A little. Very little. The rest wouldn't be so bad if it wasn't a cover - sort of lazy, spacy, starry tune that brings to mind old children's rooms filled with toy flying saucers. Also, there's a saxophone somewhere in there.
The singer omitted some lyrics - I'd have to listen again to see what impact it had on the meaning of the song, but that means I'd have to listen to it again. Can you guess I'm not in a hurry?

Never Had No One Ever by Billy Bragg - well, at least most of the bass line is still there, but Bragg could have done without those trumpets and dubious orchestra. Still not entirely bad and not a total failure. Or maybe that's just my liking Billy Bragg speaking.

Cemetry Gates by Frank & Walters - not too sure what to make of that one. Obviously some young band and they probably try. Some Irish indie? Feels like it, but at least it's recognisable. Pity about the bass and the drums, though.

Bigmouth Strikes Again by Placebo - You know, I like Placebo. I really do, but this minimalistic version (thank God it's only the beginning) sucks a bit. The rest is definitely better. That is, apart from the bridge and Molko's singing. He should never attempt singing anything Mozzer's ever sung. But the bass is OK and the drumming too and even the guitars (at least to a point).

The Boy with a Thorn in His Side by Bis - Ouch, that was painful to listen to. A bit of a nightmare or if one wants to be charitable - misunderstanding. I thought they'd do more with that bass they had for a moment, but nope.
And there was also Animal Geographic at the end. WTF, Bis, WTF?

Vicar in a Tutu by Therapy? - Hmm, this band and this song. Not the greatest combination (and the cover reminds me slightly of Bloodhound Gang), but bearable. There's of course nothing of the original melody left, but compared to the previous track, this one is almost good. Also, the vocalist omitted a verse at the end, changing the meaning to waht could be a slightly darker version. Curious.

There Is a Light That Never Goes Out by The Divine Comedy - the only cover on this album I could stand to listen more than once or twice. In fact, I'd even recommend it as a very good track. But then, it's Divine Comedy - almost anything they touch turns poetically gold. Here, you can actually hear the melody of the original, but the song is gentler, more contemplative, filtered through Neil Hannon's musical taste and given his particular touch. A midnight sweet.

Some Girls Are Bigger Than Others by Supergrass - I definitely like their bassist - he had a good sense to keep most, or at least some, of the part intact. The cover is very Supergrass-like and definitely not bad. Actually, the second from the album I might listen to a few times more.