Album The Queen Is Dead

[Barb Magario]

Thealbum was produced by the band's singer, Morrissey, and their guitarist, Johnny Marr, working predominantly with engineer Stephen Street who engineered the Smiths' previous album, Meat Is Murder (1985).[3] Marr wrote several songs while the Smiths toured Britain in early 1985, working out arrangements with bassist Andy Rourke and drummer Mike Joyce during soundchecks.[4] The album title is taken from American writer Hubert Selby Jr.'s 1964 novel, Last Exit to Brooklyn.[5] The cover art features the French actor Alain Delon in the 1964 film L'Insoumis.[6]

The Queen Is Dead spent 22 weeks on the UK Albums Chart, reaching the number two position.[7] 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. Critically acclaimed, Rolling Stone ranked the album 113th on its 2020-updated list of the ""500 Greatest Albums of All Time"".[8] In its 2013 list, NME named The Queen Is Dead the greatest album of all time.[9]

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."[19]

"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.[19]

"Cemetry Gates" was Morrissey's direct response to critics who had cried foul over his use of texts written by some of his favourite authors, notably Shelagh Delaney and Elizabeth Smart. Oscar Wilde, who was also accused of plagiarism, figures as a patron saint of Morrissey's in the song's lyrics. A Wilde quote, "Talent borrows, genius steals", was etched in the vinyl run-out grooves of the single single off the album, "Bigmouth Strikes Again".[21] These etchings appear almost exclusively on the UK releases (denoted by the RT and RTT prefixes on the catalogue number).

"The Queen Is Dead", 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.[22] Mayo Thompson of the 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.[23][24] Another instance of Morrissey's fascination with 1960s British cinema, the film featured performances by Pat Phoenix (who had already appeared as a cover star on the 1985 single "Shakespeare's Sister") and Cicely Courtneidge as an elderly lesbian veteran of the music halls. The soundbite is Courtneidge's character nostalgically singing the First World War song "Take Me Back to Dear Old Blighty". The actress had also appeared in a gala performance for the Silver Jubilee of Elizabeth II, entitled God Save the Queen; she died in 1980.

The Queen Is Dead was released in 16 June 1986, and was previewed by the release of "Bigmouth Strikes Again" as a single in 19 May. Many encouraged the band to release "There Is a Light That Never Goes Out" as a single, but Johnny Marr is said to have wanted an explosive, searing single, along the lines of the Rolling Stones' "Jumpin' Jack Flash", to announce that the Smiths had returned from hiatus. It did not fare as well as expected, stalling at number 26 on the British charts. However, the album became an international success upon release, staying in the European Albums Chart for twenty one weeks,[25] peaking at number 19 in that chart based on the sales from 18 major European countries.[26] It also reached No. 70 on the US Billboard Top Pop Albums chart, and was certified Gold by the RIAA in late 1990.

From contemporary reviews, Mark Coleman of Rolling Stone 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."[42] Writing in 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".[43] Robert Christgau of The Village Voice 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".[41] J. D. Considine found that the group "epitomize 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".[44] Considine concluded that Morrissey was "mostly in control of his voice" praising "Cemetry Gates", "Bigmouth Strikes Again" and declaring that "There Is a Light That Never Goes Out" as "the most affecting performance".[44]

Pitchfork listed The Queen Is Dead as the sixth-best album of the 1980s.[45] In 2000 it was voted number 10 in Colin Larkin's All Time Top 1000 Albums.[46] In 2003, The Queen Is Dead was ranked number 216 on Rolling Stone's list of The 500 Greatest Albums of All Time,[47] and 218 in a 2012 revised list.[48] In 2006, it was named the second-greatest British album of all time by the NME.[49] In 2006, Q magazine placed the album at number three in its list of "40 Best Albums of the '80s".[50] UK-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."[7] 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".[51] In 2013, The Queen Is Dead was ranked the greatest record of all time on the NME's Greatest Albums of All Time list.[52] 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."[38]

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My introduction to The Smiths came via Morrissey's Bona Drag album. Songs like "Suedehead" and "Every day is Like Sunday" spoke to my angsty teenage self, it was bloody brilliant. I loved The Smith's message that being an outsider, a misfit is OK. I delved into their back catalogue, via The World Won't Listen, before stumbling onto The Queen is Dead a little late.

But to me, the Queen is Dead was a mixed bag. How can anyone really love "Vicar in a Tutu"? or "Frankly Mr Shankly"? or "Some Girls are Bigger than others"? They are almost novelty records to my ears even if the lyrics are clever. There's still much to love in the album: the opening drums of "The Queen is Dead", "I know Its Over" and more, but I don't revere this album - dare I speak up? Dare I go against the prevailing view?

At times in my own career I've been fearless: unafraid to speak truth to power- and often its been (afterwards) a positive even cathartic experience. Recently I was on a call with FTSE COO, and he remarked that it was those that challenged and spoke up that are remembered. Even if the opinion riled at the time then it usually provokes reflection afterwards.

Other times, I didn't speak up because of a fear of looking foolish or being seen as 'awkward'. I've been slapped down for offering a counter view. I've had the powerful take pleasure in seeing me 'tripped up'. Being in Procurement it was over a silly number discrepancy (and it was an avoidable error so definitely a shot in my own foot). When this happens, the more junior member of the relationship leaves these sessions deflated, fearful and less likely to speak up next time. Probably questioning their self-worth and their future in the company.

Fear of looking stupid. Fear of being wrong or foolish. Of punishment, Of being excluded from the tribe. Of conflict. Or simply not meeting standards or deadlines that you set yourself. Fear is a pugnacious influence in our work interactions.

Perhaps you've started a new role, having been out of work for a while. Perhaps you are suffering under the torture of being placed on a "Performance Improvement Plans" with the corporate humiliation that that entails. Or you may simply be new to an industry, function or topic. Or worrying about a client or the boss rejecting your work or ideas. You are most likely to speak up when you feel empowered and powerful. And least likely to speak up when you are fearful or powerless.

Fear and powerful others have a significant impact on career and job performance. A desire to please the powerful can sometimes trump our desire to do the right thing and speak up. I've seen others make the challenge, but fluff their lines. I see this internal conflict frequently. Our instincts encourage us to stay silent or shut down- it is really hard to speak up or speak out! When is the time to speak up? and how to make your point well? Here's a few tips:

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