The Smiths: The Queen Is Dead

Ready to unravel the enigma of The Smiths' third album, 'The Queen Is Dead'? Brace yourself for a deep exploration into an iconic piece of 80s music history. Together, we'll dissect the craftsmanship behind the songs and poke some fun at Morrissey. We'll also delve into the notorious royalty lawsuits that made their split unrepairable, marking a defining moment for the Manchester music scene. All this while immersing ourselves in the melodious strains of the album's stand-out tracks. It's like a backstage pass into the tumultuous world of The Smiths!

Have you ever wondered about the story behind the classic 'There Is A Light That Never Goes Out'? In the second part, we demystify the songwriting process that gave birth to this epic ballad. We'll shed light on Morrissey's peculiar poetry and the enigmatic lyrics that define the unique persona of The Smiths. By the end of it, you wouldn't help but appreciate the 'arrogant' beauty of the lyrics and the charm of the 'Horny' girls at funerals. It's a journey into the poetic heart of one of the most influential bands in music history.

Wrapping up our exploration, we dive headfirst into the controversial world of "Meat Is Murder," examining the backlash and resistance it faced. Even with Morrissey's strong advocacy for vegetarianism, did it manage to hit the right chord with the audience? You'll get to find out! We also discuss the unexpected rise to fame of the underestimated single, "The Boy With The Thorn In His Side." Get ready for an episode filled with stirring music, captivating stories, and a healthy dose of laughter thrown in for good measure. So, tune in for a musical ride that's as entertaining as it is insightful!

Transcript

Speaker 1 0:01

Hello.

Speaker 2 0:03

Hello.

Speaker 1 0:05

Hello baby, hello Hi, oh, hello Hello.

Speaker 3 0:10

Hello, hello, hello Hello.

Speaker 4 0:25

All right. Thank you for listening to the Greatest Non-Hits. I'm Chris and playing Big Mouth Strikes Again from the Smiths. The Queen Is Dead album is my co-host. Tim All right Got a lot in store today. Great album from 1986. The Smiths third studio album and another Manchester band at that. So we're excited to embark on another strong podcast about an awesome Manchester band from the 80s. So the Queen Is Dead is the name of the album.

Speaker 4 1:06

It's the third studio album from the Smiths, released on June 16, 1986. Recorded between August to May 5 and August 1986 at various studios in London and Manchester. So it was like the. I think it was also produced by Morrissey and Johnny Marv I'm not mistaken Primary songwriting duo of the band. Those two guys Johnny Marv was a guitar player, morrissey, of course, is a singer. Two other guys, mike Joyce and Andy Rourke, rest in peace. He passed away earlier this year.

Speaker 4 1:47

But huge, huge band from the mid 80s to the late 80s. They only had like five studio albums together and Morrissey embarked on a solo career in 88. I think they had some lawsuits in 89 between splitting up the royalties. We'll get into that later. But interesting band, interesting influence that they've had. Morrissey's got some interesting and opinionated tendencies. We can get into that. Not a fan of a lot of that.

Speaker 4 2:20

But this is really about. You know, as you know, we want to get political. But yeah, this is about. This is about the album. It's about the songs. We're going to listen to all of them. We're going to decide on what the hits are. I think we're going to go with the English singles as the hits and the rest are going to be non hits. We're going to listen throughout the whole album. We're going to rank our top three of the non hits and then put a bow on it. Along the way, we're going to have some laughs. We're definitely going to poke fun at Morrissey. There's no question about that. So batting it up itself is a reason to stick around. And yeah, we got some funny sound clips. We got some good non hits. Frankly, mr Shankley is a good one. I'm trying to think the Queen is Dead is a good song. I don't think those are the.

Speaker 5 3:13

Those are going to be non hits, the hits.

Speaker 4 3:18

Where are we going?

Speaker 3 3:19

to be hits.

Speaker 4 3:21

Thorn in its side. I think it's going to be one of them. We'll work it out Nevertheless. Great album Rough trade was there Record label.

Speaker 4 3:44

This band seemed to be like it really had its act together. For his opinion it is. Morrissey was, just from everything I'm reading. You know they fought with each other. They, I don't know. I think their heads just seem to be in clouds. I think you know there was some heroin addiction on the part of it, rourke, there were some ego problems with Morrissey, but nevertheless the music was groundbreaking and I'd say I'm a fan. I mean, it gets a little bit whiny at times, I bet you probably some of the band members probably agree with me, at least the ones that had riffs with Morrissey. But you know he had his own issues. I guess how can we describe their musical style? Morrissey and Johnny Martin did most of the writing. He's a guitar player In the 19th. I did this in Wikipedia. It was a 50-50 thing between Morrissey and me, completely in sync about it, things like that. The other two guys, though I think that they had like a royalty deal go bad where I guess all longer.

Speaker 4 4:56

I don't know if they made this up but, Johnny Martin and Morrissey agreed that they would get 40% of the royalties, Andy Rourke and Mike Joyce would get 10%. I think that this was like around the time you know, and you know, I guess you know, bills were mounting for Andy Rourke.

Speaker 4 5:19

addiction was, you know, setting in and I think like they went to court, went through you know legal proceedings and I think before it all played itself out, he took a deal where he got like 83K or something like that to pay off bills and then retain the 10%. Mike Joyce fought it a little bit longer and I think even Andy Rourke went to his defense in the trial where he ended up getting paid back one million in royalties for what he missed and 25% of royalties moving forward. So I think the judge had some comments. He had something he was like opinionated about, like some of the band members with, I guess you know. You know, saying that Morrissey and Johnny Marr were kind of like they kind of discredited themselves in terms of statements that they made about the arrangement. The other two seem pretty sincere but regardless, it's not our problem.

Speaker 4 6:25

That was just an interesting story that I read. Nevertheless. Yeah, we're excited. I mean, I've never listened to this album too too deeply. I mean, I've heard it a couple of times, or I listened to it.

Speaker 4 6:43

I get a lot of reaffirms you know who they were as a band and I do like the music, part of it especially. And you know the lyrics are quite poetic. They make references to Keats and Yates, oscar Wilde, and they make. You know it's pretty, it's clever at times, I'll give them that. But my God, I just looking through some of the Morrissey interviews, I can't get past the air against. What are you going to do?

Speaker 4 7:23

One thing I do like also is that about the. You know they're from Manchester and you had that whole Manchester movement going on and, to their credit, they were pretty good musicians and they seem to want to, you know, give respect to the craft of musicianship and playing instruments and whereas everything was kind of going towards the direction of synths during that time period, especially in that Manchester scene back in the day. So you know it's sad to say that that is original in and of itself. Or you know something that is lost in today's you know world. You know the reverence to musicianship that Tim is giving so adequately on the guitar. I'll let him, we'll listen to him and let him wrap up. Come join us in a second. All right, that was pretty good man. I like that. That end is. It's not not too much Barbershop Raga in there. It's a, it's good stuff, man. Oh, what do you call that last part of it? Or is it still big mouth?

Speaker 6 9:08

Yeah, big mouth strikes again. The you know lyrical, lyrical version. You know you don't need lyrics, but Morsey is quite poetic and this isn't quite Barbershop Raga. It's not pop Almost. But Indy Mar has reverence for the folk on the either side of the pond and you can hear that it's a lot more reverb.

Speaker 4 9:40

Yeah, there's a lot of reverb on its darkness. It's contemplative, you know it's a lot about death in this album.

Speaker 6 9:50

Spooky season is here.

Speaker 4 9:51

Yeah, well, that, yeah. Maybe it's an apt time to be having this just on the, on the precipice of what we're recording. This is right on the best of times.

Speaker 6 10:02

It was the worst of times.

Speaker 4 10:03

Yeah, but it means every song about death on this. I don't know.

Speaker 6 10:09

It mentions death, or is very much so about death. It's there's no escaping that Morsey has a fascination with it and seems to maybe bring the opinionated side of you know out of him because he doesn't care about death. It seems like I know.

Speaker 4 10:34

I mean to put it in the in the words of Chaz Ringgold from Wedding Crashers yeah death is nature's biggest aphrodisiac. But funerals are insane. Yeah, something like that you know so, but nevertheless we're going to do our thing, go through the album, rank or not hits. Got any last words before we we get into the album or?

Speaker 6 11:02

well, what does the Queen think? Does she think this album is brave? Brave, yeah, I guess she does. Yeah, I mean, how'd we sort of that? Yeah, let's start it up. Let's get some thoughts going on.

Speaker 4 11:18

So the album is the Queen is Dead and this is the song the Queen is Dead, and it's a non-hit. Oh yeah, the hits are the boy with the thorn in his side. There is light that never goes out.

Speaker 6 11:31

And what?

Speaker 4 11:32

was it? Big Mouth Strikes, big Mouth Strikes again, those?

Speaker 6 11:34

are signals.

Speaker 4 11:36

Those are the singles back in the day, I think in the UK. So here we go. So it's like a little intro.

Speaker 2 11:46

Might just put a knife in the ear. Take me back to dear old Blighty.

Speaker 4 11:53

Put me on the train for London Town, take me anywhere, drop me anywhere. Liverpool leads at Birmingham. Because I don't care, I should like to see my. And then I went into this thing. So Shout out to Mike Joyce with the drumming here.

Speaker 2 12:27

Alright, let's get it.

Speaker 4 12:38

I can hear the bass just playing. It's really low and really high, which I like.

Speaker 6 12:54

Dressed in Mother's Bridal Veil or other, never even knew what drugs were.

Speaker 4 13:28

The little Peter Brady.

Speaker 6 13:38

And a knife.

Speaker 2 13:45

It's easy to see his head.

Speaker 4 13:51

It's about him going into the Queen's palace and approaching her. She's like you can't sing. It's like I can play the piano.

Speaker 2 14:02

Sometimes it's alright, the Queen.

Speaker 6 14:28

Precious things you say.

Speaker 4 14:32

These are the things that kill me.

Speaker 2 14:44

As the park is at your body and the church will snatch your money. The Queen is dead boys and the church all at once is your money. The Queen is dead boys and it's so lonely on a limb.

Speaker 4 15:08

So the album's title is a reference to a scene from the 1965 film the Love One, where a character says why don't you just kill yourself? It's no big deal. Which another character replies oh, but it is a very big deal. The Queen is dead, boys, and it's so lonely on a limb. That's the nod to that part of the thing Life is very lonely.

Speaker 6 15:58

Life is very lonely, especially if you're not going to the pubs to wreck your body or you're not going to church to give them your money. You're just going to stay in your house and you're just going to be so lonely.

Speaker 4 16:11

Yeah, I mean it's a trade-off right, long lonely life or A search for God is a search.

Speaker 6 16:22

You're going to go into church, find God.

Speaker 4 16:27

Yeah, the church of booze boy.

Speaker 6 16:28

It is a company, I don't know. Is that scary?

Speaker 4 16:35

Don't, don't. You're going to the dark, you're going to the dark side.

Speaker 3 16:39

To die.

Speaker 4 16:42

Going to a tiny dark eclipse Anyway.

Speaker 5 16:51

Because we expected it, we had very um.

Speaker 6 16:56

We expect that we're going to die, Don't we? I think we do hopefully.

Speaker 4 17:02

I'm not going to live forever.

Speaker 6 17:03

We're not trying to be like frozen in a vault.

Speaker 4 17:08

No, yeah, you've got to take your turn, I guess.

Speaker 6 17:10

Like some old chili, like a bag of chili, a Ziploc bag of chili.

Speaker 4 17:15

Yeah, it starts to tear the ass out of you.

Speaker 6 17:18

It's time to go. I mean, yeah, you heat that thing up, it's just soup, there's not a textures, lost its way, much like your bones.

Speaker 4 17:30

Right, yeah, yeah, when it's getting cold, you know it's time to throw it out.

Soup Analogy, Golf, and Songwriting

Speaker 2 17:38

I might just put a knife in you.

Speaker 4 17:40

I like the soup analogy To death.

Speaker 6 17:42

We are kind of soup, you know.

Speaker 4 17:45

It starts out hot and then, as time goes by, you just get less and less hot and you don't matter.

Speaker 1 17:52

I didn't matter.

Speaker 6 17:54

Exactly, I love that little synthy um what is it? What Synthy like um dobro the little mallets and the string. Oh, the dobro.

Speaker 4 18:10

Yeah, the dobro is good.

Speaker 6 18:12

Okay, is that a dobro?

Speaker 4 18:15

It's a man's ear Something like that. Okay, right, yeah, that was.

Speaker 1 18:23

What the fuck is he talking about? What the fuck is he talking about?

Speaker 4 18:27

All right, we've got the next one. Now we're, frankly, Mr Shankly.

Speaker 2 18:35

All right, that's Mr Shankly.

Speaker 4 18:50

Like when you're playing an instrument can you shank something Is it supposed to?

Speaker 2 18:55

be, a golf turn.

Speaker 6 18:57

I think it's golf turn, I know, I

Speaker 4 19:03

think Carl Spackly was. Uh, mr Shankly.

Speaker 3 19:10

He always, often whacks when a big hitter comes in Long. If you get to shanks, remember most of the time you do it with a closed cup face.

Speaker 5 19:25

Use the head cover drill. You won't shank again.

Speaker 6 19:28

Close that club face. All right, Shout out to the Shankers out there.

Speaker 2 19:33

Stop.

Speaker 4 19:34

Make sure you uh, hey, you wanna, you don't wanna hit it like right on the On the club head and please 30 seconds.

Speaker 6 19:49

It's max for looking for those lost balls. Come on now, that's right. Get moving. All right, I'll be out there for 10 minutes looking for your lost ball, Cause I'm cheap like that.

Speaker 4 20:01

Why follow him on the course, man, it's like you're laying out a T-box and he's just like.

Speaker 6 20:05

Yeah, I don't let people play through, I just hide in the woods.

Speaker 4 20:10

Oh yeah, I think they left. Okay, it's time to go. And then he comes out left.

Speaker 6 20:16

I just play through everyone.

Speaker 4 20:25

We don't call you, mr Shankly.

Speaker 2 20:27

To your face. That's it, that's most.

Speaker 6 20:30

Fine, all right.

Speaker 4 20:35

Get some lessons. Go out to the range, hit some balls, man.

Speaker 5 20:42

We should.

Speaker 4 20:44

All right, shout out to the loopers out there the Jax, the Caddies. Thank you for listening All right, that was Okay.

Speaker 6 20:53

So Mar is a marathon of songwriting. That song and there is a light that never goes out was made in 85. What else about this track?

Speaker 4 21:08

It has nothing to do with golf, I bet.

Speaker 6 21:12

Mojo, april 2011. The line about the song having bloody awful poetry was a reference to a poem he had written for Morsy.

Speaker 4 21:27

Since you ask you're a flatulent pain in the ass. I don't mean to be so rude.

Speaker 6 21:31

Right.

Speaker 4 21:33

And then, oh, give us your money at the end. I don't know. You know what I really like the Sun coming into it Now. I hate it. They're just now, just right after reading that.

Speaker 6 21:41

I don't know. Yeah, it's pretentious a little bit yeah.

Speaker 3 21:48

He calls off an wax, one big hitter.

Speaker 6 21:51

They, he hit one out of the park. With this one, though, in a way you think so well, it's on a great album, that's, that's esteemed so it's playful.

Speaker 4 21:58

I like that part.

Speaker 6 21:59

It's kind of a little reggae feel.

Speaker 4 22:01

Yeah, all right, all right.

Speaker 6 22:02

All right we got the next.

Speaker 4 22:04

Okay, I know it's over. It's like the enchantment of the sea dance.

Speaker 2 22:23

Doing.

Speaker 1 22:23

I never know what she's doing back there.

Speaker 5 22:28

Little mother reference oh mother.

Speaker 6 22:41

This one might grow on me, actually I.

Speaker 4 22:45

Do I need.

Speaker 2 22:54

I need.

Speaker 1 22:57

The me.

Speaker 2 23:00

The sea wants to take me, the knife wants to slit me. Do you think you can help me? I might just put a knife in it. I don't know, I don't know, I don't know. Bright, please be happy Handsome girl.

Speaker 6 23:19

Handsome girl.

Speaker 1 23:21

Put my bike over to a cemetery in here.

Speaker 4 23:29

I don't get to ahead of myself. We're not crashing funerals yet.

Speaker 2 23:45

But funerals are insane.

Speaker 5 23:48

Yes, they are jazz.

Speaker 4 24:03

It's a little bit of a pop song yeah, but he's just like being addicted to somebody.

Speaker 6 24:09

Well the interviewer. Was she being an asshole? She was quite fond of them, I think.

Speaker 4 24:18

Yeah, I agree with that.

Speaker 6 24:19

She wasn't at all trying to poke the bear, that's for sure.

Speaker 4 24:24

No, no, she was just grateful to be in his presence.

Speaker 6 24:28

Rise, rise.

Speaker 2 24:37

Absolutely arrogant, but um arrogant. You say the long time.

Speaker 6 25:02

You just want the whole bed to yourself, or you know?

Speaker 4 25:08

Yeah, just spread eagle every now and then, yeah, you want to Starfish.

Speaker 6 25:17

You had five cups of chamomile after your two afternoon Darjeerlings and you were just a putt. You know you can't sleep together.

Speaker 2 25:33

Yeah, that's a how did sleep get all tied up into that when?

Speaker 6 25:37

that is clearly not sleep. Yeah, that is not sleep.

Speaker 4 25:46

I know.

Speaker 6 25:49

Make some rules.

Speaker 4 25:50

How about sleeping over is optional, optional.

Speaker 6 25:57

No calls the next day.

Speaker 4 26:02

Yeah, I can't remember the others, but yeah, that was one of them. More at the mother.

Speaker 6 26:18

Ma.

Speaker 3 26:24

Ma the meatloaf.

Speaker 4 26:27

Fuck yeah, it's a fair chance.

Speaker 1 26:33

But funnels are insane.

Speaker 4 26:36

The chicks are so horny. Oh my gosh, that was horrible.

Speaker 1 26:40

It's not even fair. It's like fishing with dynamite. Horny, yeah, crazy horny I was. I have a funeral. My bike over to the nature is most powerful aphrodisiac.

Speaker 3 26:57

What was that.

Speaker 4 27:00

That guy Sounds like he's going to funeral to pick up one.

Speaker 3 27:06

Right.

Speaker 4 27:10

Just the way he was talking to his mom about the meatloaf, just ordering her to get him meatloaf she's not right.

Speaker 1 27:20

I don't know what she's doing back there.

Speaker 6 27:27

She's making meatloaf. She's making you your damn meatloaf.

Speaker 4 27:32

She's got the apron on. It's like jazz, pick up your fucking skateboard.

Speaker 6 27:41

Oh my gosh, I don't know. I kind of like this one now. That was nice yeah, it was, I don't know.

Speaker 4 27:53

We at least had fun with that one. This has never had no one ever. Just for an arrogant son of a bitch, he was a lonely guy man.

Speaker 2 28:05

Absolute arrogance, but I mean this again sounds arrogant, but I think they'd probably feel that I'm somewhat too clever to do what I do. Fuck you, man.

Speaker 4 28:16

I'm sorry, I know you're a borsig fan.

Speaker 6 28:21

Yeah, the band as a whole comes together. But it's like when the individual thinks that they're better than the band and they want to preach, it becomes he definitely has the right and good for him, I guess.

Speaker 4 28:44

But yeah, sometimes you just it's a business too. It is you gotta put yourself out there. He was probably just getting sick of everybody, so it was just like.

Speaker 6 29:00

Yeah, I mean he's probably stalking, stalking women.

Speaker 4 29:08

They're stalking Lisa Simpson's thoughts. Man, he's like I will be Like that jingle. Can we play that one? This is like the Simpsons episode. It's like everyone is horrid except me and possibly you.

Speaker 3 29:39

They grew alone down. No one ever.

Speaker 1 29:53

The search for God is absurd.

Speaker 4 29:58

I never had no one, never, never. I should have thought this through it is. It's like a double negative. I never had, so I've always had someone. That's what he's saying.

Speaker 6 30:20

Oh, we got some whistling.

Speaker 4 30:24

Shout out to the whistlers out there.

Speaker 6 30:30

Wet that whistle. Shout out to the whistlers. Whistle wetters Say that ten times. Shout out to the bass players Shout out to the dyslexic bass players. Oh, especially Playing all those wrist backwards For us.

Speaker 4 30:59

The string of the guitar Instead of.

Speaker 6 31:03

It's.

Speaker 4 31:10

Is that a look at it? Listen to us.

Speaker 1 31:14

Perhaps one out of five times, but I can't tell you which times.

Speaker 6 31:20

You gotta listen. Listen to the notes, man. I liked ending this.

Speaker 4 31:30

I did too. Yeah, all my yeah. This is putting a whole new Ping-Pong job on things. That wasn't a bad song, even though it was just so Like oh whoa, it was me. On the surface I hated, but when you listen to the music it was and Morris is like the king of self-loathing and that whole thing. So it's like you just play as the part really well.

Speaker 1 32:03

Listen to others at least a bit. Perhaps one out of five times, but I can't tell you which times.

Speaker 6 32:09

Should we get some more acrobyte?

Speaker 1 32:11

Yeah, let's. I step out my door and I take a deep breath, turn back inside and pray for my death.

Speaker 4 32:22

I like the Simpsons lyrics better than his To be honest with you.

Speaker 6 32:25

Well, they're so catchy as well.

Speaker 4 32:27

I know they are catchy. Ok, this is Symmetry Gates.

Speaker 6 32:31

Spell intentionally wrong Right? Well, we don't know.

Speaker 4 32:37

It was that Manchester school system.

Speaker 6 32:40

That he blasted them. He blasted them as maybe he should. I guess I'll brick in the wall Pink Floyd stuff, you know.

Speaker 2 32:48

That's right, so I meet you at the Symmetry Gates. Keaton Yates are on your side, while Wild is on my side. What is?

Speaker 4 33:00

I don't know, what that means.

Speaker 2 33:02

So we go inside and we play you.

Speaker 6 33:03

Yeah, yeats, and.

Speaker 2 33:04

Gates.

Speaker 4 33:06

Keats and Yeats are oh like. I think this is like the riff that he has with journalists.

Speaker 2 33:13

Or poet.

Speaker 4 33:14

Yeah, they're like Yeats, and Yeats are more refined. And he's like Oscar Wilde, the persecuted gay guy.

Speaker 2 33:20

I want to cry.

Speaker 6 33:23

He dies alone.

Speaker 3 33:26

Just like everyone, and you claim these words as your own.

Speaker 6 33:31

He's always claiming words as his own. Yeah, so arrogant.

Speaker 2 33:37

I mean, there's a game, some kind of a difference, maybe more, if you must write pros and cons the words you use to be around, don't play around.

Speaker 6 33:47

He used to wander Southern Cemetery in Manchester in his youth. Oh, you don't say Morsy was fascinated with James Dean. Yeah.

Speaker 4 34:11

Yeah a lot of these are things of like alienation, love, death.

Speaker 6 34:20

Yeats's poem points out that humans are the only species that dread over death, but even aware of their own mortality. So thus man has created death.

Speaker 2 34:36

Yeats and Yeats are on your side, but you lose.

Speaker 6 34:42

Perfect timing there.

Speaker 4 34:44

He has weird leather wild-time eyes Sugar.

Speaker 6 34:50

I like what Mars do in here on the guitar.

Speaker 4 34:54

Yeah, it kind of sounds like.

Speaker 6 34:56

He's got that open-ended sort of pattern with the bass going on. Right, I think they could almost milk these songs out a little bit.

Discussion on Music and Morrissey's Songs

Speaker 4 35:07

Yeah. In my opinion, yeah, that sounded like Darius Rucker should have just chimed in at the end there too, With what's the name of that? I mean, I forgot the band from early 90s, but I only want to be with you.

Speaker 3 35:22

I'm beginning at the end of that.

Speaker 6 35:24

I only want to be with you.

Speaker 4 35:27

Yeah, I did it.

Speaker 6 35:29

Shout us out. You know that.

Speaker 4 35:32

Those guys. And this sounds like heart crazy on you.

Speaker 6 35:37

Whoa it does, holy shit but this came after that.

Speaker 4 35:46

It really does, whoa it's basically the same back, make a crazy, crazy, crazy.

Speaker 6 36:04

God legend. No, you don't know how Joan of Arc felt. That's a statement.

Speaker 4 36:17

Yeah, it seems like nothing has ever happened. Right, listen really good, I don't know. You wonder if he was just like something like really traumatic happen as a child and all this like anger at everything everybody well and fear of dying Alienation like what. What happened?

Speaker 6 36:42

You know, if you put a lump of coal In a very, you know, a little, tight cornered, it is how it is a part of your body. He's just like singing songs to the graves, like when he's like nine years old, making, making poems. And who is?

Speaker 4 37:18

big, big mouth strikes again.

Speaker 6 37:36

We expect it.

Speaker 4 37:39

I Mean he was sort of like what was that it was Andy Roy playing that regardless.

Speaker 6 38:03

I can see how this would be released as a hit. I mean, it's got that energy to it.

Speaker 4 38:07

Yeah, it's got pretty I had to play half tempo. Really playing three quarter tempo three.

Speaker 6 38:15

Yeah, I mean not a big tempo guy, personally less a bon tempo.

Speaker 4 38:32

Let's say tempo bon Lawn, bonn Relay, that's what I always say okay, I Kind of I slept in French class, but yeah, okay, this is the boy with. I guess this is a hit too.

Speaker 6 38:48

I don't know why this is a hit, but Just because I don't like it. But that's. Yeah the hits don't have to correlate with my preference is fine. It's better for first selecting at the end.

Speaker 4 39:04

Actually exactly Just good good for you. It's going off, the will be on this. I will never believe me, will never do. This Is the boy with the thorn inside, sort of like the boy that cried for something. Is it a British thing that I'm not getting? I'm not bright, I Like.

Speaker 6 40:02

I'm like half of a bike choice this reach 23 on the UK single charts.

Speaker 4 40:10

But I mean like the boy with the thorn is it? Is there like a character from literature, the boy with the thorn in this side?

Speaker 6 40:23

Thorn is the music industry and all those people who never believed anything. I said I Tried to get and tried to get rid of me and wouldn't play the record. So I think we've reached a stage where you feel, if they don't believe me now, will they ever believe me? And what put? What can a poor man do? That's what that's.

Speaker 4 40:55

Very sure Was that Margie Clark.

Speaker 6 41:01

Yeah, yeah, margie Clark, yeah the interview right.

Speaker 4 41:09

Oh, she's kind of like a plant yeah.

Speaker 5 41:27

Because we expected it, we have very Um.

Speaker 4 41:32

I.

Speaker 6 41:35

Know I, but it's a pop song, so it hit, you know, at that time. I guess, you know it hit, then that's kind of some good mix. Yes, shout out to what? Is it Steven Street mixing on that one little violin? I Mean again, these outros are really good. Yeah, it's not whole, yet not horrible.

Speaker 4 42:06

We ready to go to the car in a to-to car.

Speaker 6 42:12

Yes, are we ready to go to the car in a to-to? We're ready this rain's uh.

Speaker 4 42:36

So this is like.

Speaker 6 42:40

Is that comedian car I?

Speaker 4 42:42

think. I'd see you cross-dressing, so I was late as life this way.

Speaker 6 42:51

Oscar Wilde. Every songs about Oscar Wilde. The last one was to the lyric, the roof of the holy name church refers to the, an actual Catholic church building located in Manchester University quarter. Oh Morris, he's a Catholic by birth but said in interviews he has never shed a belief in God. He never constructed a shed in his back and never harbored his beliefs in God in that shed respective shed. That was his moracy moracy quote. I think his vocals are going off the rails right now.

Speaker 4 44:16

You think so what's that all about? Yeah, he's kind of close. Yeah, he's a little off the rail but, also he sings the whole time.

Speaker 6 44:28

It's like every little second has to be his voice, it's so it's kind of annoying. Yeah, I just want a little more. He doesn't let his bandmates shine. Yeah, and that's because he knew that that core case was coming out.

Speaker 4 44:44

Yeah, you might be right about that.

Speaker 6 44:46

I was singing before the song started and after the song was completed I was singing the whole time.

Speaker 4 44:53

Yes, 40, 40, 10, 10 is a great split.

Speaker 2 44:58

Absolutely, I was thinking for them.

Speaker 4 45:04

That was fun Just being an asshole to Morrissey.

Speaker 6 45:07

Shout out to Morrissey. I hope you're doing well.

Speaker 2 45:09

Shout out to.

Speaker 5 45:09

Morrissey yeah, oh Zuna.

Speaker 4 45:25

Zuna, he's like a croner.

Speaker 6 45:29

He's a little croner with a bobshop raga.

Speaker 4 45:31

Yes, it's a fucking bobshop raga.

Speaker 2 45:41

What who's?

Speaker 6 45:41

home. Are you at I don't know. Oh, stalking. Is he stalking here?

Speaker 4 45:48

I think so. Oh, isn't that romantic.

Speaker 2 46:09

Hmm To Don, is he like?

Speaker 4 46:22

Is there like some stalker action going on in this one?

Speaker 2 46:33

To Don, to Don.

Speaker 6 46:46

Little flute. Yeah, it's pop sheathed in some kind of edgy. If the sniffle, send me just another pop group.

Speaker 2 47:02

Who was that?

Speaker 6 47:05

Morrissey Straight, if they were just another. We're not just another pop group. Okay, yeah, we're something special. Okay, also, don't Eat Meat, yeah.

Speaker 4 47:24

Quillaby yeah, he's a very staunch vegetarian.

Speaker 6 47:40

I just, what is the jello they put on those beans when you get them in cans? I just, I like beans, but the little goo Give me a cheeseburger, come on.

Speaker 4 47:54

Yeah, even if the cheeseburger is just as gelatinous.

Speaker 6 48:01

I will eat a veggie patty, but I know I think vegetarian.

Speaker 4 48:06

I mean, I think it's good, it's good for you.

Speaker 6 48:08

I want some sharp cheddar on there.

Speaker 4 48:14

Well interesting. He talks about death a lot. Yeah, he's a vegetarian, but so he can live longer.

Speaker 6 48:20

I don't know that vegetarians live longer, but I think, they do the juries I think the juries out on that.

Speaker 4 48:28

I don't think it is Well. There's gotta be data points on it. It agreed or disagree, I think.

Speaker 6 48:35

It's like that scene in what is it? Soylent green, where they get like like a tiny morsel of beef and they have a fancy dinner.

Speaker 3 48:48

Like it's beef.

Speaker 6 48:51

And everybody's starving outside. Soylent green is people.

Speaker 4 48:56

Trust me, meat is delicious. Yeah, it's just I don't know. I want a hamburger now. Some girls are bigger than others. Yeah, is that where we're going? What Random comment, but yes, Well, that's the name of the next song I'm just trying to go out of the next. Some girls are. Some girls' mothers are bigger than others.

Speaker 6 49:22

Are we gonna do your mama jokes?

Speaker 4 49:27

Yeah, let's do it.

Speaker 6 49:28

Your mama. Your mama's so fat she puts on lipstick with a paint roller.

Speaker 4 49:36

I don't have a tumbang for them. Well, I don't think that's fair. You know your mama's so fat when she goes camping that bears hide their food.

Speaker 3 50:22

Oh my gosh.

Speaker 6 50:25

Mama's so fat she's on both sides of the family.

Speaker 4 50:28

Your mama's so fat when she burped New Orleans thought Katrina came back.

Speaker 6 50:36

Your mama's so fat. When she jogs she makes potholes. Shout out to the joggers out there.

Speaker 5 50:44

Your mama's so fat that when she was born, she gave the hospital a stretch mark.

Speaker 4 50:51

Your mama's so fat she sat on the beach in green peace through her. These are getting very tasty. Your mama's so fat that when she walked by a TV set and there's three seasons of a reunion- Now this tasteless is a veggie burger Brut.

Speaker 6 51:11

Just kidding. You can put some cumin in there. You can make it taste like cumin.

Speaker 3 51:15

Yeah.

Speaker 5 51:22

I mean, there's a game sound, but I think I'd probably feel that I'm somewhat too clever to do what I do.

Speaker 4 51:32

Sometimes I feel like I'm too clever to do what I do.

Speaker 6 51:35

You know, all musical journalists are just failed musicians, right? Oh yeah, the announcer and him were laughing about right after that and yeah, I am a failed musician, okay, no, no, you're awesome, I'm on the airwaves pop, best guitars in the world Self-taught.

Speaker 4 52:08

Well, you're better than the guy from the Pixies, that's true, yeah.

Speaker 6 52:13

I mean thank you and I know.

Speaker 1 52:22

To die.

Speaker 4 52:25

All right To be alone, all right. So there you have it, that's it Wow. All right.

Speaker 6 52:33

Oh my gosh.

Speaker 4 52:34

We got to get to it, man. Now you know what time it is. This is time for top three status. Here and again, it's big mouth strikes. Again there's light that never goes out. And what was the third one? The boy with the thorn in his side, the thorny boy. Which yeah? No worries about that.

Speaker 6 53:00

I went hiking the other week and, you know, went into the brush. I'll tell you, I was a thorny boy after that.

Speaker 4 53:11

Oh, okay, that's where it was going.

Speaker 6 53:13

They don't quite come out in the laundry. You need to pick them out with tweezers.

Speaker 4 53:18

Noted. No thanks, man, I appreciate that.

Speaker 6 53:21

And it doesn't you know cotton's better. Polyester is trash. We all know that.

Speaker 4 53:26

I'm on pins and needles for your number three man.

Speaker 6 53:30

Breathing down my neck. All right, we're going to the cemetery gates.

Speaker 4 53:36

Cemetery, yeah, nice.

Speaker 6 53:39

And it has pop qualities, but it's not just other pop band qualities, it's the Smith's pop band quality. So that's why that's my three. What's your three?

Speaker 4 53:53

Never had, no one ever.

Speaker 6 53:54

Nice.

Speaker 4 53:56

It was very melodic and it was redeeming. Yeah, I thought it was a nice contrast to the playfulness of, frankly, mr Shankly and all that. Okay, all that there.

Speaker 6 54:16

So well, shout out to frankly, mr Shankly and the 21st century breathing down your neck. But mine too is. Queen is dead.

Speaker 4 54:28

Nice yeah.

Speaker 3 54:33

What do you?

Speaker 4 54:33

think of the music.

Speaker 2 54:35

Yeah, I'm just all right.

Speaker 6 54:41

I think the Queen said it best.

Speaker 4 54:43

Okay, I'm thinking. My number two is Some girls are bigger than others.

Speaker 6 54:59

Nice yeah.

Speaker 4 55:03

I like the lyrics. I think it's like some girls are, some girls mothers are bigger than other girls mothers, and so that I just think, for that line alone I'm going to make it. Love that. So where you go.

Speaker 6 55:18

I'm not going to touch that with a 10 foot pole. Yeah, my number two was Queen is dead. Number one Never had no one ever. Yeah, just the music was. It was slow start but it builds and kind of tapers off in a. It felt more organic. Yeah, it was a little more organic.

Speaker 4 55:47

Yeah, it felt like sincere.

Speaker 6 55:50

And my favorite on the album is a big mouth strikes again, I think that's my favorite song on the album.

Discussion on Vegetarianism and Wrapping Up

Speaker 4 55:59

But well, yeah, it was a good hit. So, yeah, what's your number one? The Queen is dead. Nice, I liked I just. I like the bass playing, I like the music, I like the drums, I liked all the music. The music did it for me. Right, exactly, yeah, all right, man. So we stick a fork in this one, because I think I'm done.

Speaker 6 56:21

Yeah, you know, get the meat thermometer. Well, sorry, exactly.

Speaker 3 56:27

That was a little shot at.

Speaker 4 56:28

Morrissey, because we keep going.

Speaker 6 56:30

You know yeah it's like you know it's like he's promoting vegetarianism.

Speaker 5 56:34

I'm on board with it, but he's wanting me to make him eat.

Speaker 4 56:37

He's making me want to eat meat, Just just to make him mad. I don't know.

Speaker 6 56:42

No class wants to see bugs and I'm not going to do that.

Speaker 4 56:47

Okay, noted.

Speaker 6 56:49

Noted it again, man, all right, oh, I hadn't thought of that.

Speaker 4 56:54

Well, yeah, we're going to put a bow on this.

Speaker 6 56:56

Thanks everybody for listening, thanks going deeper Way, way down.

Speaker 4 57:00

All right, take care guys.