The Queen Is Dead
by The Smiths

Another of my all-time favorites. It's incredible that it hasn't been long since I discovered The Smiths and they became one of my favorite bands/artists, they have a way of resonating with people (especially outsiders) in a specific way that few bands have, I like many of their songs, That being said I have my favorites, here are my ratings:

1. There Is A Light That Never Goes Out 100/100
2. Bigmouth Strikes Again 99/100 -> 100/100
3. Cemetry Gates 98/100 ->100/100
4. The Boy With The Thorn In His Side 97/100 -> 100/100
5. The Queen Is Dead 95/100
6. I Know It's Over 94/100 -> 95/100
7. Never Had No One Ever 92/100 -> 95/100
8. Some Girls Are Bigger Than Others 89/100 -> 90/100
9. Frankly, Mr. Shankly 87/100 -> 90/100
10. Vicar In A Tutu 80/100

Yes, I'm not really as much of a fan of their 'rockabilly' songs and some quirky but inane Morrissey's lyrics as in "Some Girls..". But I like all the tracks, even the particular one "Vicar in a Tatu".

At one point I thought it was their weakest album. Over time it has become a significant work of art in British history. Become a National treasure

Such a memorable album - the Smiths at their peak.

The album kicks off with the title track, "The Queen Is Dead," which immediately sets a rebellious and satirical tone. It is followed by tracks like "Frankly, Mr. Shankly," a witty and sarcastic take on the music industry, and "There Is a Light That Never Goes Out," a poignant and melancholic song that has become one of The Smiths' most beloved and enduring tracks.

The album kicks off with the title track, "The Queen Is Dead," which immediately sets a rebellious and satirical tone. It is followed by tracks like "Frankly, Mr. Shankly," a witty and sarcastic take on the music industry, and "There Is a Light That Never Goes Out," a poignant and melancholic song that has become one of The Smiths' most beloved and enduring tracks..

A pesar de que el contenido lírico es sublime, la voz de Morrissey no me generó Ningún sentimiento.

Beautiful from front to back. A seamless collection of jangle-pop/alt-rock classics whose evocations run the gamut: coy and playful, fiery and bitter, downright tragic. Marr's breezy guitar passages are masterfully produced, almost chiming like bells at some points. Morrissey is at the height of his power and plays only to his strengths. Rourke and Joyce are absolutely locked in. Unapologetically English, but never to a fault. A perfect album.

This is the master duo of Marr and Morrissey at their very best. Both give us an absolutely stellar performance that combine to create one of the greatest albums ever made. They both seem to come into the peak of their powers at the same time which creates a cohesive masterpiece both musically and lyrically. The instrumental work on here is phenomenal with Marr creating some of the best hooks of all time. Pretty much every song is infectious and posses the power to get stuck in your head for months and I am never annoyed about this as the music is that good. You then pair that with some incredible choruses from Morrissey and you turn the irresistibleness up even higher. There is a lot more to his words than just these choruses however as Morrissey once again demonstrates his intelligence and maturity as a songwriter which results in his best ever lyrical record. His words as well as Marr's music demand your attention and are begging to be explored which sucks you in as a listener and you can't help but fall in love with this release. Overall, this is the best record The Smiths ever created and also one of the greatest records ever created and I don't think there is much of an argument against this opinion.

This is the greatest 80s album and one of the best ever made. I love it so much that I don't really know what to write. Everything from lyrical content to instrumentation is absolutely magnificent here. The opening track is setting the tone of the record which is dark, because the end of 20th century and we gave up on old institutions and now there is emptiness that we don't know how to feel. I love how Morrisey here mixes post-modern perspective with 17-th/18-th century aesthetics on tracks like Cemetary Gates or Bigmouth Strikes Again. He delivers so passionate vocals over gentle instrumentals on I Know It's Over, Never Had No One Ever or one of their most beautiful and powerful songs - There Is A Light That Never Goes Out - it's sad, but yet giving listener hope of changing situation no matter how miserable it is. The way that is album is produced make even seemingly stupid tracks (Vicar In Tutu, Some Girls Are Bigger Than Others) sound more emotional. I like how Frankly, Mr. Shankly is being quite funny song, but at the same time it captures feeling of uncertainty about a future in times that are changing fast. This makes this album still relevant after almost 40 years.

Great album!!