The Smiths: The Queen Is Dead (Review & Stream)

It took 31 years, three months and six days, and now we’re hearing the demo of “Never Had No One Ever,” and it’s got a trumpet in it, a crazy jazz horn, and Morrissey yodels and begs and whimpers and laughs, it is “Miserable Lie” with “Suffer Little Children” and “Last Night I Dreamt That Somebody Loved Me”. You didn’t take it. “Cemetry Gates” and “Bigmouth Strikes Again” and “I Know It’s Over” aren’t much different from the later versions – but the small deviations, the crackling bass, the dangling vocals, the drier drums, the wrong beginning of “Some Girls Are Bigger Than Others” is, how to say, invigorating. How often have you heard the songs? two hundred times? Not enough.

There really isn’t a better song than this, and every demo of the songs proves that The Smiths were the answer to prayers we didn’t say. Not so golden and redundant thoughts and songs like “Money Changes Everything” and “Unloveable” came on single b-sides like in the old days. The live versions of “What She Said” and “Hand In Glove” and “Rubber Ring” and “How Soon Is Now?” (performed in no other city than Boston) suggest that Johnny Marr may be fond of a robust rock band led and played solos.

“The Queen Is Dead” has melancholy, wit, moaning, bitterness, has poetry in a word and so forth and immediately. The album is a trinity of Lord Byron, John Keats and Miss Marple. The slightly showy green vinyl of the first edition referred to the mossy character of the record: the last English album of the 60s. The dead Alain Delon on the cover photo (from the 1964 film L’Insoumis) is of course the most beautiful corpse possible.

Now the photo is black and white, it’s been a year since the throne jubilee, and Morrissey is releasing a new record. But this box is a beautiful, graceful thing and also of, well: historical value. (Warner)

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