İngiliz Bağımsız Müziğinin Zirvesi: The Queen Is Dead (1986)

**The Smiths**’in 1986 tarihli başyapıtı *The Queen Is Dead*, sadece bir albüm değil; melankoli, alaycı bir mizah ve sosyal huzursuzluğun harmanlandığı bir ruh halidir. Albüm, görkemli bir hayal kırıklığı ve yerleşik düzene karşı geliştirilen entelektüel bir başkaldırı ile şekillenir. Dinleyiciyi, kişisel yalnızlığın toplumun çarkları arasında nasıl ezildiğini sorgulatan yoğun bir atmosferin içine çeker. Bu çalışma, hem bireysel kimlik arayışını hem de dışlanmışlığın verdiği o tuhaf, buruk hazzı en saf haliyle ortaya koyar.

### The Queen Is Dead

* **Ana Tema:** Kurumsal otoriteye ve geleneksel değerlere karşı geliştirilen alaycı, nihilist bir reddediş.

* **Lirik Analizi:** Albümün ismini taşıyan bu parça, aristokratik yapının ve toplumsal statükonun parodisini yapar. Sözler, kişisel bir kaçış isteğiyle başlasa da kısa sürede kraliyet ailesine ve toplumsal hiyerarşiye sert eleştirilere dönüşür. "Her very Lowness" gibi ifadelerle otoriteyi aşağı çeken anlatıcı, kendi kimliğini bu çürümüş yapının dışına konumlandırmaya çalışır. Şarkı, uzun süren yalnızlık hissini "Life is very long, when you're lonely" dizeleriyle bir kapan gibi dinleyiciye mühürler.

### Frankly, Mr. Shankly

* **Ana Tema:** Sanatsal özgürlük, şöhretin ağırlığı ve mesleki tatminsizlik.

* **Lirik Analizi:** Bu şarkı, yaratıcılığın ve iş yaşamının kesişiminde bir gerilim yaratır. Anlatıcı, ruhunu körelten bir pozisyondan kurtulma arzusuyla, üstlendiği görevlere ve otorite figürlerine karşı isyan eder. Şöhretin "fatal" (öldürücü) yanlarına dikkat çekilirken, "I'd rather be famous than righteous or holy" dizeleriyle ahlaki değerlerin önünde bir duruş sergilenir. Sözlerdeki samimiyet ve kabalık, bireyin sistem içindeki sıkışmışlığını vurgulayan keskin bir araçtır.

### I Know It's Over

* **Ana Tema:** Umutsuzluk, reddedilmişlik ve aşkın imkansızlığı.

* **Lirik Analizi:** Albümün en karanlık ve duygusal yoğunluğu en yüksek parçalarından biridir. Ölüm metaforları (toprak altında olma hissi) ile aşkın bitişi birleştirilir. "It takes strength to be gentle and kind" dizesi, acımasız dünyada nazik kalabilmenin ne kadar zorlu ve yüce bir eylem olduğunu hatırlatır. Şarkı, yalnızlığın en derin dehlizlerinde bile içsel bir diyalog kurmaya çalışan, yaralı bir ruhun haykırışıdır.

### Never Had No One Ever

* **Ana Tema:** Aidiyetsizlik ve kalıcı bir izolasyon duygusu.

* **Lirik Analizi:** Bu parça, geçmişin hayaletleriyle ve yerleşik düzenin dışında kalmışlıkla ilgilidir. Anlatıcı, kendi evinin önünde bile bir yabancı gibi hissetmektedir. "I'm alone" tekrarı, durumun geçici olmadığını, aksine bir yaşam tarzına dönüştüğünü gösterir. Yıllar süren kötü bir rüya metaforu, kişinin kendi dünyasında kurduğu yalnızlığın ne kadar derinlere işlediğini anlatır.

### Cemetry Gates

* **Ana Tema:** Entelektüel birikim, tutku ve yaşam ile ölümün ironik karşıtlığı.

* **Lirik Analizi:** Şarkı, mezarlık ziyareti gibi oldukça kasvetli bir ortamı, edebi tartışmalar ve kişisel tutkularla birleştirir. "Don't plagiarise or take on loan" uyarısı, özgünlüğe verilen önemi simgeler. Yaşamın kısalığı ve "ölümlülük" gerçeği, bir yandan hüzün verici bir şekilde ele alınırken, diğer yandan gündelik yaşamın absürtlüğüyle dengelenir.

### Bigmouth Strikes Again

* **Ana Tema:** Yanlış anlaşılmanın verdiği pişmanlık ve kişisel dramın büyüklüğü.

* **Lirik Analizi:** Dilin yarattığı yıkıcı etki ve ardından gelen sosyal izolasyonun ironisi işlenir. Anlatıcı, kendi düşüncesizce söylediklerinin kurbanı olurken, tarihsel figürlerin (Joan of Arc) trajik kaderine atıfta bulunarak kendi durumunu abartılı bir şekilde dramatikleştirir. İnsanoğlunun toplumsal normlar içindeki uyumsuzluğu, yüksek perdeden bir melodiyle anlatılır.

### The Boy With The Thorn In His Side

* **Ana Tema:** Dışlanmışlık ve sevgi görme arzusunun yarattığı içsel gerilim.

* **Lirik Analizi:** İnsanların anlama kapasitesinin yetersizliğine odaklanan bir şarkıdır. Anlatıcı, sevgiye olan ihtiyacını "murderous desire" (ölümcül bir arzu) olarak tanımlar; bu, sevginin yokluğunun ne kadar yıkıcı bir güce dönüşebileceğini gösterir. "Will they ever believe me?" sorusu, samimiyetin ve gerçek duyguların dünya tarafından bir türlü kabul görmemesinden duyulan derin şüpheyi temsil eder.

### Vicar In A Tutu

* **Ana Tema:** Toplumsal normların yıkılması ve absürt özgürlük arayışı.

* **Lirik Analizi:** Dini kurumların ciddiyetiyle bir tutu (bale eteği) içindeki rahibin uyumsuzluğunu karşılaştıran neşeli ve eleştirel bir şarkıdır. "He just wants to live his life this way" dizesi, toplumsal baskıların ötesinde, kendi özgünlüğünü seçen bireyin bir savunmasıdır. Bu şarkı, kuralların ne kadar yapay olabileceğini ve bireyin özgürlüğünün bu yapaylıkları nasıl anlamsızlaştırdığını kanıtlar.

### There Is A Light That Never Goes Out

* **Ana Tema:** Kaçış, tutkulu bağlılık ve varoluşsal sığınak arayışı.

* **Lirik Analizi:** Bir araba yolculuğu sırasında kurulan, dünyanın geri kalanından soyutlanmış bir yaşam hayalidir. "To die by your side is such a heavenly way to die" dizeleri, dünyevi gerçeklerden (yuva yoksunluğu, yalnızlık) kaçış için tek kurtuluşun, yanındaki kişiye olan bağlılıkta olduğunu simgeler. "I never, never want to go home" haykırışı, kişinin toplumsal aidiyetten ziyade, duygusal bir aidiyetin peşinde koştuğunu netleştirir.

### Some Girls Are Bigger Than Others

* **Ana Tema:** Hayatın anlamsızlığı, yüzeysellik ve ironik detaylar.

* **Lirik Analizi:** Albümün kapanış parçası, büyük soruların ve varoluşsal dertlerin ardından gelen tuhaf bir gerçekliğe odaklanır. Şarkı, hem fiziksel hem de duygusal kıyaslamaların ne kadar boş olduğunu gösteren absürt ve eğlenceli bir yaklaşıma sahiptir. "From the ice age to the dole age" dizeleri, insanın tüm tarih boyunca benzer önemsiz endişelerle uğraştığını vurgulayarak, albümün başından beri süren o ciddi atmosferi ironik bir şekilde sonlandırır.

The Smiths - "The Queen Is Dead" Albüm Şarkı Sözleri (1986)

"The Queen Is Dead"

Oh, take me back to dear old Blighty

Put me on the train for London Town

Take me anywhere

Drop me anywhere

In Liverpool, Leeds or Birmingham

But I don't care

I should like to see—

I don't bless them

Farewell to this land's cheerless marshes

Hemmed in like a boar between archers

Her very Lowness with her head in a sling

I'm truly sorry but it sounds like a wonderful thing

I say Charles don't you ever crave

To appear on the front of the Daily Mail

Dressed in your mother's bridal veil?

(Oh, oh-oh, oh)

And so I checked all the registered historical facts

And I was shocked into shame to discover

How I'm the 18th pale descendant

Of some old queen or other

Oh has the world changed, or have I changed?

Some nine year old tough who peddles drugs

I swear to God, I swear I never even knew what drugs were

(Oh, oh-oh, oh)

So I broke into the Palace

With a sponge and a rusty spanner

She said, "Eh, I know you, and you cannot sing"

I said, "That's nothing, you should hear me play piano"

We can go for a walk where it's quiet and dry

And talk about precious things

But when you are tied to your mother's apron

No-one talks about castration

(Oh, oh-oh)

We can go for a walk where it's quiet and dry

And talk about precious things

Like love and law and poverty, oh, oh

(These are the things that kill me)

We can go for a walk where it's quiet and dry

And talk about precious things

But the rain that flattens my hair, oh

(These are the things that kill me)

All their lies about makeup and long hair, are still there

Past the pub that saps your body

And the church who'll snatch your money

The Queen is dead, boys

And it's so lonely on a limb

Pass the pub that wrecks your body

And the church, all they want is your money

The Queen is dead, boys

And it's so lonely on a limb

Life is very long, when you're lonely

☆☆☆☆☆

"Frankly, Mr. Shankly"

Frankly, Mr. Shankly, this position I've held

It pays my way, and it corrodes my soul

I want to leave, you will not miss me

I want to go down in musical history

Frankly, Mr. Shankly, I'm a sickening wreck

I've got the twenty-first century breathing down my neck

I must move fast, you understand me

I want to go down in celluloid history, Mr. Shankly

Fame, fame, fatal fame

It can play hideous tricks on the brain

But still I'd rather be famous

Than righteous or holy, any day, any day, any day

But sometimes I'd feel more fulfilled

Making Christmas cards with the mentally ill

I want to live and I want to love

I want to catch something that I might be ashamed of

Frankly, Mr. Shankly, this position I've held

It pays my way, and it corrodes my soul

Oh, I didn't realise that you wrote poetry

I didn't realise you wrote such bloody awful poetry, Mr. Shankly

Frankly, Mr. Shankly, since you ask

You are a flatulent pain in the arse

I do not mean to be so rude

Still, I must speak frankly, Mr. Shankly

Oh, give us your money!

☆☆☆☆☆

"I Know It's Over"

Oh Mother, I can feel the soil falling over my head

And as I climb into an empty bed

Oh well, enough said

I know it's over – still I cling

I don't know where else I can go

Over

Oh Mother, I can feel the soil falling over my head

See, the sea wants to take me

The knife wants to slit me

Do you think you can help me?

Sad veiled bride, please be happy

Handsome groom, give her room

Loud, loutish lover, treat her kindly

Though she needs you more than she loves you

And I know it's over – still I cling

I don't know where else I can go

Over and over and over and over

Over and over

I know it's over, and it never really began

But in my heart it was so real

And you even spoke to me, and said:

"If you're so funny

Then why are you on your own tonight?

And if you're so clever

Then why are you on your own tonight?

If you're so very entertaining

Then why are you on your own tonight?

If you're so very good-looking

Why do you sleep alone tonight?

I know... 'cause tonight is just like any other night

That's why you're on your own tonight

With your triumphs and your charms

While they're in each other's arms..."

It's so easy to laugh, it's so easy to hate

It takes strength to be gentle and kind

Over, over, over, over

It's so easy to laugh, it's so easy to hate

It takes guts to be gentle and kind

Over, over

Love is natural and real

But not for you, my love

Not tonight, my love

Love is natural and real

But not for such as you and I

My love

Oh Mother, I can feel the soil falling over my head

Mother, I can feel the soil falling over my head

Oh Mother, I can feel the soil falling over my head

Mother, I can feel the soil falling over my head

☆☆☆☆☆

"Never Had No One Ever"

When you walk without ease

On these

Streets where you were raised

I had a really bad dream

It lasted 20 years, 7 months, and 27 days

I never, I'm alone

And I never, ever oh

Had no one ever

Now I'm outside your house

I'm alone

And I'm outside your house

I hate to intrude

Oh, alone, I'm alone, I'm alone, I'm alone

I'm alone

And I never, never ... oh ... had no one ever

I never had no one ever

I never had no, no one ever

Had no one ever

Never... no

☆☆☆☆☆

"Cemetry Gates"

A dreaded sunny day

So I meet you at the cemetry gates

Keats and Yeats are on your side

A dreaded sunny day

So I meet you at the cemetry gates

Keats and Yeats are on your side

While Wilde is on mine

So we go inside and we gravely read the stones

All those people, all those lives, where are they now?

With-a loves and hates and passions just like mine

They were born, and then they lived, and then they died

Seems so unfair, I want to cry

You say: "'Ere thrice the sun done salutation to the dawn"

And you claim these words as your own

But I've read well and I've heard them said

A hundred times, maybe less, maybe more

If you must write prose and poems the words you use should be your own

Don't plagiarise or take "on loan"

'Cause there's always someone, somewhere with a big nose, who knows

And who trips you up and laughs when you fall

Who'll trip you up and laugh when you fall

You say: "'Ere long done do does did"

Words which could only be your own

And then produce the text from whence was ripped

Some dizzy whore, 1804

A dreaded sunny day, so let's go where we're happy

And I meet you at the cemetry gates

Oh, Keats and Yeats are on your side

A dreaded sunny day, so let's go where we're wanted

And I meet you at the cemetry gates

Keats and Yeats are on your side, but you lose

'Cause whale blubber Wilde is on mine

Sugar!

☆☆☆☆☆

"Bigmouth Strikes Again"

Sweetness, sweetness I was only joking when I said

I'd like to smash every tooth in your head

Oh-oh, sweetness, sweetness, I was only joking when I said

By rights you should be bludgeoned in your bed

And now I know how Joan of Arc felt

Now I know how Joan of Arc felt

As the flames rose to her Roman nose

And her Walkman started to melt (Oh)

(Hoo-hoo-hoo)

Bigmouth la-da-da-dada, Bigmouth la-da-da-da

Bigmouth strikes again

And I've got no right to take my place

With the human race (Oh, oh, oh-oh)

Bigmouth la-da-da-dada, Bigmouth la-da-da-da

Bigmouth strikes again

And I've got no right to take my place

With the human race

And now I know how Joan of Arc felt (Oh)

Now I know how Joan of Arc felt

As the flames rose to her roman nose

And her hearing aid started to melt

Bigmouth la-da-da-dada, Bigmouth la-da-da-da

Bigmouth strikes again

And I've got no right to take my place

With the human race (Oh, oh, oh)

Bigmouth oh-ho-ho, ha ha, Bigmouth la-da-da-da

Bigmouth strikes again

And I've got no right to take my place

With the human race (Oh, oh, oh)

Bigmouth oh-ho-ho, ha ha, Bigmouth la-da-da-da

Bigmouth strikes again

And I've got no right to take my place

With the human race (Oh, oh, oh)

Bigmouth la-da-da-dada, Bigmouth la-da-da-da

Bigmouth strikes again

And I've got no right to take my place

With the human race (Oh, oh)

☆☆☆☆☆

"The Boy With The Thorn In His Side"

The boy with the thorn in his side

Behind the hatred there lies

A murderous desire

For love

How can they look into my eyes

And still they don't believe me?

How can they hear me say those words

Still they don't believe me?

And if they don't believe me now

Will they ever believe me?

And if they don't believe me now

Will they ever, they ever believe me?

Oh, ohh... ohhh... ohhhh

The boy with the thorn in his side

Behind the hatred there lies

A plundering desire

For l-l-love

How can they see the love in our eyes

And still they don't believe us?

And after all this time

They don't want to believe us

And if they don't believe us now

Will they ever believe us?

And when you want to live, how do you start?

Where do you go? Who do you need to know?

Oh, ohh... ohhh... ohohohohoh

Oh oh oh oh oh oh oh

La lalala la da da

☆☆☆☆☆

"Vicar In A Tutu"

I was minding my business

Lifting some lead off

The roof of the Holy Name church

It was worthwhile living a laughable life

To set my eyes on the blistering sight

Of a Vicar in a tutu

He's not strange

He just wants to live his life this way

A scanty bit of a thing

With a decorative ring

That wouldn't cover the head of a goose

As Rose collects the money in a canister

Who comes sliding down the bannister?

A vicar in a tutu

He's not strange

He just wants to live his life this way

The monkish monsignor

With a head full of plaster

Said "My man, get your vile soul dry-cleaned"

As Rose counts the money in the canister

As natural as rain

He dances again

My God!

The Vicar in a tutu

Oh yeah

Oh yeah, yeah, yeah, yeah, yeah

The Vicar in a tutu

Oh yeah

The next day in the pulpit

With freedom and ease

Combating ignorance, dust, and disease

As Rose counts the money in the canister

As natural as rain

He dances again and again and again

In the fabric of a tutu

Any man could get used to

And I am the living sign

☆☆☆☆☆

"There Is A Light That Never Goes Out"

Take me out tonight

Where there's music and there's people

And they're young and alive

Driving in your car

I never, never want to go home

Because I haven't got one anymore

Take me out tonight

Because I want to see people

And I want to see life

Driving in your car, oh, please don't drop me home

Because it's not my home, it's their home

And I'm welcome no more

And if a double-decker bus crashes into us

To die by your side is such a heavenly way to die

And if a ten-tonne truck kills the both of us

To die by your side, well, the pleasure, the privilege is mine

Take me out tonight

Take me anywhere, I don't care, I don't care, I don't care

And in the darkened underpass

I thought "Oh God, my chance has come at last"

But then a strange fear gripped me and I just couldn't ask

Take me out tonight

Oh, take me anywhere, I don't care, I don't care, I don't care

Driving in your car

I never, never want to go home

Because I haven't got one, la-di-dum, oh, I haven't got one

Oh, oh

And if a double-decker bus crashes into us

To die by your side is such a heavenly way to die

And if a ten-tonne truck kills the both of us

To die by your side, well, the pleasure, the privilege is mine

Oh, there is a light and it never goes out

There is a light and it never goes out

☆☆☆☆☆

"Some Girls Are Bigger Than Others"

From the ice age to the dole age

There is but one concern

I have just discovered:

Some girls' are bigger than others

Some girls' mothers are bigger than other girls' mothers

Some girls' are bigger than others

Some girls' mothers are bigger than other girls' mothers

As Anthony said to Cleopatra

As he opened a crate of ale:

"Oh I say"

Some girls' are bigger than others

Some girls' mothers are bigger than other girls' mothers

Some girls' are bigger than others

Some girls' mothers are bigger than other girls' mothers

Send me the pillow (pillow)

The one that you dream on

Send me the pillow (pillow)

The one that you dream on

And I'll send you mine

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