“Sweetness, sweetness I was only joking when I said, I’d like to mash every tooth In your head.” – The Smiths – Bigmouth Strikes Again
Where to begin. As far as I’m concerned, 1986’s The Queen Is Dead was the pinnacle of The Smiths‘ short lifespan. And I’m not alone: It regularly tops various ‘all time best’ charts with the likes of the Beatles, Elvis Presley or David Bowie. Everything the band is known and loved for – angst, humour, politics, wit – is best represented on this album. The first Smiths tape I ever heard in its entirety was Meat is Murder, which was given to me by Nick Allard in the parking lot of LPSS in 1987 (This was also the very first CD I ever bought) – but quickly transfixed by this strange Manchester outfit, I soon had all 4 of the proper albums and ‘The Queen’ strode to the front of the pack as my fast favorite.
Bigmouth Strikes Again is the first song on this album that will really grab you by the throat, but eventually I ended up preferring the title track. Still, Bigmouth is a great introduction to the band, and I don’t want Radio Pye to get too obscure. Truth be told, if I had to pick my favorite Smiths song, it would be a toss-up between The Headmaster Ritual and You Just Haven’t Earned It Yet, Baby. Truth be told, Morrissey would also probably prefer to grab you by the cock.
A was going to write a quick explication of the song, but surprisingly found a great one it’d be hard to top: A bombastic single with a powerful performance from Marr and a biting vocal. A speeded-up Morrissey occasionally accompanies the vocal proper, giving an eerie effect (this is credited to Ann Coates in the “The Queen Is Dead” sleeve, a pun on an area of Manchester). I’ve found that most people new to The Smiths initially pick this track as favourite, whereas later it tends to grate a little bit. Morrissey marries the old with the new in these lyrics, mentioning Joan of Arc’s Walkman, seeming to imply that the situation under discussion (i.e. the protagonist saying very much the wrong thing, like his thoughts of angered violence) has been going on forever and will go on forever. Of course, he is pointing out a similarity between him and Joan of Arc rather melodramatically, lending a quite comical tone to what could have been an empty vessel. Painting Joan of Arc’s talk of God’s communications as something that “just slipped out” is in stark contrast to his harsh sentence upon himself “I’ve got no right to take my place with the Human race”. The sleeve lyrics to this song provide one example of Morrissey’s Wildean propensity to capitalise nouns such as Human and Love.
If that wordy and pretentious take made any sense to you whatsoever, you desperately need to spend some time with the Smiths. If not – I think Motley Crue is coming back to the Worcester Centrum in November.




