Spandau Ballet - True

Prior to the release of their third album, Spandau Ballet's lead single for the LP was "Lifeline", which I thought was an amazing song, and I quickly went out and purchased it. The follow-up was "Communication", which whilst I thought was decent I didn't buy it, but when "True" was released as the third single I put my hand in my pocket as splashed out on the LP.

I thought it was all excellent, by some distance the best in their career to-date, and something I thought they would never surpass. Spandau Ballet had clearly moved away from trying to be a trendy, niche funk band and turned into a pop band with catchy choruses, lyrics that were actually worth listening to, and ever increasing sax solos as Steve Norman had taken up playing the instrument rather than rhythm guitar and miscellaneous percussion. Also, John Keeble had gone back to playing real drums rather than electronic ones, and Tony Hadley increasingly sounded like Bryan Ferry. The ballad "True" would launch them into global superstars.

Look at the track-list now, I could remember all 8 tracks on the album, which is a rarity these days. 

The side one opener "Pleasure" has a bouncy intro, liquid bass lines, a catchy chorus and a snazzy sax solo. Its almost middle of the road !

"Communication" has a synth and "ooh, ooh, ooh" vocals for the intro before leading into a solid pop-dance song. "Communication let me down, and I'm left here, I'm left here, I, I, I".

"Code Of Love" has a slower pace, with a funky riff and a gorgeous pre-chorus. There is a short sax blast after the chorus and before the verses, and the sax is melancholic for the outro "Well, she wrote you a song saying that she approved, but you didn't understand. And when love comes along, it's just a Catcher in the Rye. It's hard to make those long-term plans".

"Gold" was used in a 80s or 90s quiz show with a snippet played before every round, but I can't remember which show it was, but was probably something hosted by Jonathan Ross. It has a soft piano and voice for first verse before the big chorus, and a meandering sax solo "But love is like a high prison wall and you could leave me feeling so tall. Gold ! Always believe in your soul. You've got the power to know you're indestructible, always believing".

The up-tempo, sing along "Lifeline" opens side two and is still fantastic. I love the backing vocals and the vocal fade out at the end, and there is a great sax solo. It's 3 minutes 36 of pop perfection. "Changing her colours, she's off to the shore. She rides the soul train and he fights the law. There's power in his voice, and it makes her feel so sure, so live and let live in love. One day he'll build a statue with his hands, so gentle when he tries to understand. This subterfuge he never really planned, now you're living in the lifeline".

"Heaven Is A Secret" has a lively toe-tapping beat, "a-hey hey hey" backing vocals and a smooth chorus. "Scripted pleasures made forever, easier said than done together. Heaven is a secret, it's a passion, it's a long way over there. Far from her arms tonight".

"Foundation" has silky synth intro and is the closest to something that might have been on "Diamond". There is also a mazy sax solo.

The 6 and a half minute ballad "True" closes the album  notable for the "a-ha ha ha" vocals throughout, its relaxed, laid-back groove, and probably the best sax solo on the album. It was apparently written about Altered Images singer Clare Grogan and Gary Kemp's unrequited love for her. "I bought a ticket to the world but now I've come back again. Why do I find it hard to write the next line. Oh I want the truth to be said" & "Listening to Marvin all night long, this is the sound of my soul".

In summary "True" remains a fantastic album, every track is a banger ! 

Track Listing :

Side One :

1. Pleasure
2. Communication
3. Code Of Love
4. Gold

Side Two :

1. Lifeline
2. Heaven Is A Secret
3. Foundation
4. True

Released 1983
UK Chart Position : 1

Singles : 

Lifeline ( No 7 - 1982 )
Communication ( No 12 - 1983 )
True ( No 1 - 1983 )
Gold ( No 2 - 1983 )

 

Spandau Ballet - Diamond

 

I initially gave this album a miss, but after enjoying "True", Spandau Ballet's third album, I took the plunge when I saw it was only £1.99 in the bargain bins. I think I hardly played it though, and looking at the track-listing now I couldn't remember any of side two, nor "Coffee Club" on side one.

After their first album, Spandau's main contemporaries were Duran Duran. For their second release it was more like Earth, Wind And Fire or maybe Level 42 or even Haircut 100 on a bad day for side one, and David Bowie and Japan for side two.

I remember radio DJ Danny Baker telling a story of when there was a a serious injury at a Millwall game, and some of the crowd spontaneously burst into "We don't need this stretcher on" to the tune of Chant No 1. 

The funky "Chant No 1 ( I Don't Need This Pressure On )" is the highlight of the album. The horns, conga like bass and the laddish chanting of the chorus are superb, as is the trumpet solo. There is also a tiny bit of rap near the end.

"Instinction" has more funky bass, synthesized brass, call and respond vocals for the verse and a rising chorus. I didn't like it much at the time as it sounded like Level 42, but I thought it was better now, although I could have done without the short bongo drum section in the middle.

"Paint Me Down" was a song that I quite liked when it came out, and despite it not having much of a tune I found it quite hypnotic, with a strong bass line, a toe-tapping guitar riff and some snippets of sax. In parts it reminded me of The Smiths' "Handsome Devil", which came a year later, so perhaps Johnny Marr had been listening to Spandau Ballet ?!

"Coffee Club" has more funky staccato bass but the song is terrible until it briefly bursts into a Haircut 100 style chant. I could have done without the extended brass solos.

Side two begins with "She Loved Like Diamond", a single I had totally forgotten about,  which straight away moves away from the funk inspired side one. It has a poppy intro and a slow verse, but melody is fairly weak although saved by a tremendous vocal from Tony Hadley. Listening to it made me think of Duran Duran's "Rio". However, in truth it sounds like an out-take from True, but it is the only track under three minutes.

"Pharoah" is six and a half minutes with a lot of heavy drums and a slight middle-eastern feel, but it is fairly tuneless and goes on way too long. It is over two minutes before the vocals join the fray. The occasional piano lines are quite nice though and the backing vocals are decent.

"Innocence And Science" has sounds of water at the start then just slow oriental music played by just one instrument, which apparently is a guzheng. Hadley's vocal is unusually soft and the water sounds at the end made me think of Pink Floyd's "Alan's Psychedelic Breakfast". Spandau had probably been listening to David Bowie in his "Low/Heroes" era.  The track closes with a slow pounding drum which continues into the seven minute long "Missionary" and initially I thought is was still "Innocence And Science" but with a clearer vocal. There are synths, some guitar and again the guzheng but it is very dull.

Listening to Diamond again after nearly forty years hasn't changed my opinion and I have already again forgotten all of side two and "Coffee Club". The only tracks worth listening to are the three funky singles. 

Track Listing :

Side One :

1. Chant No 1 ( I Don't Need This Pressure On )
2. Instinction
3. Paint Me Down
4. Coffee Club

Side Two :

1. She Loved Like Diamond
2. Pharoah
3. Innocence and Science
4. Missionary

Released 1982
UK Chart Position : 15

Singles : 

Chant No 1 ( I Don't Need This Pressure On ) ( No 3 - 1981 )
Paint Me Down ( No 30 - 1981 )
She Loved Like Diamond ( No 49 - 1982 )
Instinction ( No 10 - 1982 )

Spandau Ballet - Journeys To Glory

I first became aware of Spandau Ballet when the New Musical Express did a feature on a trendy unsigned band who were apparently destined to become the next big thing, and the label New Romantics had already been attached. I was intrigued so it was therefore a bit of a surprise when I came home from school one day shortly afterwards, to hear a session version of "To Cut A Long Story Short" being played on Radio One's Peter Powell's afternoon show, who at the time was far from trendy. However, the song had a fresh new sound, and I was impressed, but not enough to go out and buy a frilly shirt or some tartan !

Several Radio One DJs then played the song on their programmes even though Spandau Ballet didn't have a recording contract at the time, so it was several months before the single was officially released. I didn't buy the song when it came out, and it was 5 to 6 months later before the first album, "Journeys To Glory", hit the record stores.

It was only when the third single, "Muscle Bound" was released that I went out and bought the album, and the sticker shows I paid £3.49. Although I liked the LP, I was actually slightly disappointed with the record, as I was expecting it to be a little better ! 

Looking at the track listing now, I can remember all of the songs on side one, but side two is a bit of a haze, but I expect it will all come flooding back after the opening couple of bars of each song !

The album begins with "To Cut A Long Story Short", with its sizzling synthesizer riff, a commanding vocal, a rising middle 8 and an interlude of just bass and drums before the synth returns. It is by far and away the standout song on the album.

"Reformation" is a synthpop track, with a bouncing Euro/Cossack disco beat intro. "Bleak and tired western skies. Silence crashing with quiet lies. Shattered glass reflects elation. Reformation, reformation".

The Ultravox influenced "Mandolin" has a big synth intro before leading to softer bass lines for the verse. No mandolin is played on the song...."Mandolin, oh mandolin, waiting in the dark. Centuries passed down upon your smooth Venetian skin".

"Muscle Bound" has dramatic heavy drums and a stomping Russian/Cossack guitar/bass beat for the intro, and laddish "Work till you're muscle bound all night long" chanting backing vocals in the chorus. Ironically, a mandolin is played in the outro !

The fast paced instrumental "Age Of Blows" opens side two, with the guitar and synths sounding like something from a 1960's spy thriller or a detective show. There is a hint of Joy Division in bass line and there's a bit of Gregorian chanting with the "la la la"s near the finish. 

The punk-funk "The Freeze" has funky choppy guitar and bass for intro and a delightful cartoonish synth solo break in the middle. Unusually there is no chorus, with instead the guitar and synth filling in. Furthermore there is only one verse, which is repeated two and a half times. I had forget this was a single ! "Blue sing La Lune, sing Lagoon. These visions are making me stay. The art in pretending it's art.The question is where do you pay?

The toe-tapping "Confused" has a circular guitar riff throughout that reminded me of something else, but maybe it's this song ! The synth towards end is similar to the that at the end of Emerson Lake and Palmer's "Lucky Man" !

The six minute long album closer "Toys" has a much slower pace, but a big dramatic vocal. It has a slight Siouxsie And The Banshees feel to it but is probably the weakest track on the album. "They'll look for reasons again and again. Let them go,let them go let them go".

Listening again after over 40 years, "Journeys To Glory" is a good album, and was much better than I expected it to be ! 

Track Listing :

Side One :

1. To Cut A Long Story Short
2. Reformation
3. Mandolin
4. Muscle Bound

Side Two :

1. Age Of Blows
2. The Freeze
3. Confused
4. Toys

Released 1981
UK Chart Position : 5

Singles :

To Cut A Long Story Short ( No 5 - 1980 )
The Freeze ( No 17 - 1981 )
Muscle Bound ( No 10 - 1981 )

 

The Smiths - Rank

 

Although recorded in 1986, the live album "Rank" was only released in 1988, a year after The Smiths had split up, and the concert it was taken from had earlier been part of a broadcast on BBC Radio One. The title apparently comes from J Arthur Rank, which is Cockney rhyming slang.....

I'm not really sure why I bought the album as there was little in the way of new songs on it, just live versions of songs I already had, and my memory was that these were mostly faithfully adhered to, without any of the extended guitar solos, improvised jamming or dare I say it, tedious drum solos, which are often associated with live albums. 

The bass line in "Rusholme Ruffians" was accused of being stolen from Elvis' "His Latest Flame" and the live version on "Rank" begins with the first two verses from the Elvis song, before seguing into the rockabilly "Rusholme Ruffians". 

The instrumental "The Draize Train" was the only other track I didn't previously have, being a B-Side to "Some Girls Are Bigger Than Others", which was only released as a single in Germany 

Of the lesser know tracks "Is it Really So Strange ?" was the B-side to "Sheila Take A Bow" whilst "Rubber Ring" and "London" were on "The World Won't Listen" compilation. There were five songs from "The Queen Is Dead" album, three from "Meat Is Murder", one from "The Smiths" plus two non-album singles. I don't think I played the album very often.

Listening to the album again I can safely say that this would not be a good introduction for anyone new to The Smiths' material, and they would be much better off sticking to the studio versions. The main issue with "Rank" is that musically it is just electric guitars, bass, drums and voice, and apart from the exception of "I Know It's Over", played at the same fast pace, and generally has a tinny sound. There is none of the rich variety of the studio albums eg acoustic guitars, keyboards, harmonica etc and some of Morrissey's histrionic yelps, exaggerated crooning, growls and squeals are rather irritating. Furthermore the production values make it sound like it was recorded in a toilet.

In summary, "Rank" is an album best avoided......

Track Listing :

Side One :

1. The Queen Is Dead
2. Panic
3. Vicar In A Tutu
4. Ask
5. His Latest Flame/Rusholme Ruffians
6. The Boy With A Thorn In His Side
7. Rubber Ring/What She Said

Side Two :

1. Is It Really So Strange ?
2. Cemetry Gates
3. London
4. I Know Its Over
5. The Draize Train
6. Still Ill
7. Bigmouth Strikes Again

Released : 1988
UK Chart Position : 2 

The Smiths - Strangeways, Here We Come

 

"Strangeways, Here We Come" was the fourth and final studio album by The Smiths, and was released after the group had disbanded. I purchased it shortly after it came out, and the sticker shows I paid £5.49.

Although I thought there wasn't a bad song on the album, I didn't think it was nearly as good as either "The Queen Is Dead" or "Meat Is Murder". That said I really liked the two slow, gloomy ballads, "Girlfriend In A Coma" and "I Won't Share You, which are still two of my all time favourite The Smiths' songs. However, looking at the tracklisting now, the only other song I could remember was "A Rush And A Push And The Land Is Ours".

Side one opens with "A Rush And A Push And The Land Is Ours" which is piano driven and has a jaunty beat that is almost a tango. Morrissey produces an impressive growl before singing the chorus and interestingly it is a rare Smith's song without any guitar. "A rush and a push and the land that we stand on is ours. It has been before and it will be again".

" I Started Something I Couldn't Finish" begins with glam rock guitar, bass and drums similiar to "Panic". There are more growling vocals, saxophone and handclaps."Hair brushed and parted, typical me, typical me, typical me. I started something and now I'm not so sure."

"Death Of A Disco Dancer" is very slow and the guitar playing reminded me of The Beatles' "Dear Prudence". It has a long outro with synthesizer and rinky-dinky piano, heavy drumming and menacing guitars.

The tempo changes with the brilliant "Girlfriend In A Coma" which has a great bass intro, some pleasant plucked guitar, and big strings for the chorus. The music is gloriously upbeat despite the subject material and the lyrics are suitably cryptic in that the singer is either a genuinely concerned loving boyfriend, or an abusive one who put her in the coma and is about to finish her off. "There were times when I could have murdered her, but you know I would hate anything to happen to her" & "Do you really think she'll pull through, let me whisper my last goodbyes I know its serious".

The upbeat "Stop Me If You Think You Have Heard This Before" has a rare but short guitar solo at the end the end. "And so I drank one, it became four. And when I fell on the floor it became more".

Side two begins with crowd noises over a sad piano for the two minute intro of "Last Night I Dreamt Somebody Loved Me". Its a low-paced string-driven ballad about loneliness that drips emotion, and lyrically feels similar to "I Know It's Over".

"Unhappy Birthday" has a toe-tapping beat in the vein of "Frankly, Mr Shankly" with a lively bass and strummed acoustic guitar. "I've come to wish you an unhappy birthday, because your evil and you lie. And if you should die I might feel slightly sad but I won't cry"..."From the one you left behind".

"Paint A Vulgar Picture" has a jangly upbeat guitar and a whimiscal solo but the song is a cynical view on a record label's explotation of the death of one their stars. Ironically one of the major topics that Morrissey brings up here is the repackaging of old material and selling it off to make more money off the fans, something The Smiths became renowned for doing after their split ! "At the record company meeting, on their hands a dead star. And, oh, the plans they weave. An, oh, the sickening greed".

"Death At One's Elbow" is the only rockabilly track on the album, with more great bass, harmonica and train-like drumming. "Oh Glenn, don't come to the house tonight".

"I Won't Share You" is a beautiful song to end the album and as a sign-off for The Smiths, with just a gentle lyre, sounding a lot like an acoustic guitar, and the vocal, which is one of Morrissey's finest. There is a hint of harmonica right at the death, "Has the Perrier gone straight to my head, or is life sick and cruel instead ? Yes ! No, no, no, no, no, no".

Overall, "Strangeways, Here We Come" sounded much better than I was expecting but remains my least favourite of the their four studio albums.

Track Listing :

Side One :

1. A Rush And A Push And The Land Is Ours
2. I Started Something I Couldn't Finish
3. Death Of A Disco Dancer
4. Girlfriend In A Coma
5. Stop Me If You Think You Have Heard This Before

Side Two :

1. Last Night I Dreamt Somebody Loved Me
2. Unhappy Birthday
3. Paint A Vulgar Picture
4. Death At One's Elbow
5. I Won't Share You

Released 1987
UK Chart Position : 2

Singles :

Girlfriend In A Coma ( No 13 - 1987 )
I Started Something I Couldn't Finish ( No 23 - 1987 )
Last Night I Dreamt Somebody Loved Me ( No 30 - 1987 )

The Smiths - The World Won't Listen

"The World Won't Listen" was the second compilation album from The Smiths that I purchased whilst they were an active band. It was a collection of the band's singles and B-sides from between 1985 to 1987, plus "You Just Haven't Earned It Yet, Baby" which was initially intended to be a single but passed over for "Shoplifters Of The World Unite", and the near-single "There Is A Light That Never Goes Out", that was ultimately rejected for "Bigmouth Strikes Again".

Intriguingly, all the singles were on Side One, whilst the experimental B-Sides were on side two, which meant that once I had bought the album, I mostly played Side One, as at the time I thought most of side two was forgettable. 

I had already purchased the "Ask" single, plus "Bigmouth Strikes Again", "The Boy With A Thorn In His Side" and "There Is A Light There Never Goes Out" were on "The Queen Is Dead" album. "That Joke Isn't Funny Anymore" was included on the "Meat Is Murder" album.

However, this was the first time 4 of the singles had been available on an LP, but the sticker on the cover promotes the inclusion of "Panic", "Ask" and "Shoplifters Of The World Unite", which all reached the Top 20 in the UK, whereas the other three singles were only Top 30.

From the singles on this compilation album, "Panic" remains my favourite. Remeniscent in places of T-Rex's "Metal Guru", I love the drumming leading to the chorus, in which some children provide backing vocals. "There's panic on the streets of Carlisle, Dublin, Dundee, Humberside. I wonder to myself"

"Ask" has a jaunty guitar intro, train-like drumming, a chuntering harmonica and a gorgeous pre-chorus "Spending warm summer days indoors, writing frightening verse to a buck-tooth girl in Luxembourg".  "If it's not love, then its the bomb that will bring us together".

"Shakespeare's Sister" is fast paced with hints of rockabilly but has a short, slow dreamy interlude before the rhythm returns. "I thought that if you had an acoustic guitar you were a protest singer".

"Shoplifters Of The World Unite" has more T-Rex hints, this time "Children Of The Revolution". There is a tender rising chorus and a wonderful but brief guitar solo. Some friends would rename the first word of the title as "Shirtlifters", but Fatbear usually thought of "Bad spellers of the world untie" " 

"Bigmouth Strikes Again" has a fast acoustic guitar intro, a drum burst then the first verse. The female sounding backing vocal is actually Morrissey but was credited to Ann Coates. Ancoats is apparently a surburb of Manchester ! "Now I know how Joan Of Arc felt, as the flames rose and her Walkman started to melt".

Although "The Boy With A Thorn In His Side" is about a boy being misunderstood, it has perhaps the most joyous music recorded by The Smiths, and I love the extended outro. "How can they hear me says those words and still they don't believe me ? And if they don't believe me know now, will they ever believe me ?".

"There Is A Light That Never Goes Out" is a song that has been interpretated as both being a depressive anthem or a hopeful testament of live. Fatbear's take is on the latter ! The song has a driving acoustic guitar and bass and a glorious chorus  "And if a double decker bus crashes in to us, to die by your side is such a heavenly way to die. And if a ten tonne truck crashes into us, to die by your side , well the pleasure, the privilidge is mine". 

Of the B-sides, the best is the gentle piano ballad "Asleep" which in parts reminds me of Depeche Mode's "Somebody" whilst "Rubber Ring" rounds off the collection in a jolly manner, with a sing-a-long "Oh, la da dey, la da dey, la da dey, la da dey" chorus. Another of the better B-sides is "Stretch Out And Wait", which is a slow acoustic song with a tender vocal. "How can you consciously contemplate when there is no debate, no debate, so stretch out and wait".

Of the two instrumentals, "Money Changes Everything" is quite funky and Bryan Ferry added some lyrics to become his 1987 single "The Right Stuff", whereas "Oscillate Wildly" has a music hall style piano intro before becoming something that could have been the theme music to a 1960s TV series.

"London" starts as if it will be The Beach Boys "Sloop John B" but after a few seconds becomes a frantic punkish song, whilst the slow and mounful "Unloveable" and the toe-tapping "Half A Person" were labelled as "mope music". "Sixteen clumsy and shy, I booked myself into the YWCA. I like it here can I stay ?".

"That Joke Isn't Funny Anymore" is another mostly acoustic song that starts nicely and the bass is also prominent. However, the psychedelic guitar in the outro is probably the low point of the album.

It was probably a good decision to not release "You Just Haven't Earnt It Yet, Baby" as a single as it isn't a particularly strong song and sits much better as just a B-side.

Listening again to "The World Won't Listen", overall it was a lot better than I was expecting. Whilst many of the singles are great songs, several of the B-sides sounded much better than I remembered !

Track Listing :

Side One :

1. Panic
2. Ask
3. London
4. Bigmouth Strikes Again
5. Shakespeare's Sister
6. There Is A Light That Never Goes Out
7. Shoplifters Of The World Unite
8. The Boy With A Thorn In His Side
9. Money Changes Everything

Side Two :

1. Asleep
2. Unloveable
3. Half A Person
4. Stretch Out And Wait
5. That Joke Isn't Funny Anymore
6. Oscillate Wildly
7. You Just Haven't Earned It Yet, Baby
8. Rubber Ring

Released 1987
UK Chart Position : 2

Singles : 

Shakespeare's Sister ( No 26 - 1985 )
The Boy With A Thorn In His Side ( No 23 - 1985 )
Bigmouth Strikes Again ( No 26 - 1985 )
Panic ( No 11 - 1986 )
Ask ( No 14 - 1986 )
Shoplifters Of The World Unite ( No 12 - 1987 )
 

The Smiths - The Queen Is Dead

It was an appearance on The Old Grey Whistle Test in 1986 then got me back in the buying The Smiths' records, having only previously purchased the "This Charming Man" single. The band played "Bigmouth Strikes Again" and "Vicar In A Tutu" and I was suitably impressed, and bought the "The Queen Is Dead" album when it was released shortly afterwards. 

The sticker on the cover show I purchased it in WH Smiths but part of the label is missing, revealing I paid 5 pounds something for the LP ! It also states the album includes the hit singles "Bigmouth Strikes Again" and "The Boy With The Thorn In His Side", both of which had been released prior to the album.

I thought the album was excellent, liking every track on side 2, with the only songs I found a little disappointing to be the title track and "Never Had No One Ever". My favourite track was probably "The Boy With A Thorn In His Side".

The album continued the usual formula for The Smiths' records, combining sparkling, joyous, uplifting music with mournful sing, complaining about alienation, frustration or things going wrong in UK society but often with witty and humourous lyrics, and the occasional burst of hope.

The anti-monarchist "The Queen Is Dead" starts the album and begins with the singing of a musical hall number, which is listed as "Take Me Back To Dear Old Blighty". There is a toe-tapping intro with the drums to the fore, but it quickly goes downhill with the weakest melody on the album. A bad parody of The Smiths would sound something like this.

Matters improve with "Frankly, Mr Shankly", which has a bouncing bass line and is a galloping sing-along with superb lyrics. "Fame, fame, fatal fame, it can play hideous tricks on the brain. But I'd rather be famous than righteous or holy. Any day, any day" & "Frankly Mr Shankly since you ask, you are a flatulent pain in the arse. I don't mean to be rude, but I must speak frankly, Mr Shankly"

"I Know It's Over" is a slow, tender ballad, with more lyrical bass and one of Morrissey's better vocals. "Sad veiled bride be happy, handsome groom give her room. Loud loutish lover treat her kindly, though she needs you more than she loves you",  "If you are so funny then why are you on your own tonight ?.....I know because tonight is just like any other night".

The bleak "Never Had No One Ever" has a slow tempo and a slightly menacing guitar but overall it's dreary.

It's back to lively pop for the side one closer "Cemetry Gates" which has a nice guitar riff in a song about plagarism. "Keats and Yeats are on your side, while Wilde is on mine !". "If you must write prose and poems then the words you use should be your own. Don't plagarise or take on loan 'cause there is always someone with a big nose who knows".

"Bigmouth Strikes Again" has a fast acoustic guitar intro, a drum burst then the first verse. The female sounding backing vocal is actually Morrissey but was credited to Ann Coates. Ancoats is apparently a surburb of Manchester ! "Now I know how Joan Of Arc felt, as the flames rose and her Walkman started to melt".

Although "The Boy With A Thorn In His Side" is about a boy being misunderstood, it has the most joyous music on the album, and I love the outro. " How can they hear me says those words and still they don't believe me ? And if they don't believe me know now, will they ever believe me ?".

"Vicar In A Tutu" is an enjoyable rockabilly song about a cross-dressing vicar. "As Rose collects the money in the canister, who comes sliding down the bannister ? A vicar in a tutu".

"There Is A Light That Never Goes Out" is a song that has been interpretated as both being a depressive anthem or a hopeful testament of live. Fatbear's take is on the latter ! The song has a driving acoustic guitar and bass and a glorious chorus  "And if a double decker bus crashes in to us, to die by your side is such a heavenly way to die. And if a ten tonne truck crashes into us, to die by your side , well the pleasure, the privilidge is mine".

"Some Girls Are Bigger Than Others" has a quick tempo intro that fades in and out, and the song has some lovely guitar and a fantastic rhythm. "As Antony said to Cleopatra as he opened a create of ale, oh I say, some girls are bigger than others"

Listening now, "The Queen Is Dead" remains a fantastic album, with 7 killer songs and two more modest contributions. 

Track Listing :

Side One :

1. The Queen Is Dead
2. Frankly, Mr Shankly
3. I Know It's Over
4. Never Had No One Ever
5. Cemetry Gates

Side Two :

1. Bigmouth Strikes Again
2. The Boy With A Thorn In His Side
3. Vicar In A Tu-Tu
4. There Is A Light That Never Goes Out
5. Some Girls Are Bigger Than Others

Released 1986
UK Chart Position : 2

Singles :

The Boy With A Thorn In His Side ( No 23 - 1985 )
Bigmouth Strikes Again ( No 26 - 1986 )