The irony at the centre of The Smiths song ‘Cemetry Gates’
Regarded as one of the most influential and iconic bands in the annals of British music, The Smiths have left an indelible mark that transcends generations. What sets them apart and contributes to their enduring appeal is the rare distinction of being wholeheartedly celebrated by both established industry luminaries and a new wave of emerging artists.
Esteemed figures in the industry, veterans who have shaped the course of music history, acknowledge the band’s profound influence and groundbreaking contributions. Simultaneously, a younger generation of musicians find inspiration in The Smiths’ timeless music, drawn to their poetic lyricism, distinctive sound, and unabashed individuality.
The synergy between Rick Astley and Blossoms at last month’s Glastonbury Festival is a case in point: during and after their exclusively Smiths hits set, responses were inundated with praise and excitement. Morrissey himself beamed, thanking them for their “recent recentness” and success in exhuming “that tired old Smiths warhorse”. Morrissey seems out of touch, though, because The Smiths’ popularity may fluctuate, but never does the music tire.
The Smiths are known for their broader themes of artistic integrity and originality, expressed through Morrissey’s unique style and his observations on the world of literature and art, with dark lyrics blended in with upbeat, dichotomous melodies.
One such example is ‘Cemetry Gates’, which appears on the band’s third studio album, The Queen is Dead, released in 1986. Written by Morrissey and Johnny Marr, the song appears gentle and delicate in Marr’s guitar parts and endearing in Morrissey’s accompanying lyrical musings.
Inspired by Morrissey’s walks to a cemetery in Manchester with a friend, the song delves into themes of intellectualism and the quest for authenticity. As he strolls past the graves, Morrissey mentions literary icons, lamenting the presence of “Keats and Yeats on your side” as his voice elicits solace in the company of Oscar Wilde.
One of the most interesting takeaways from this song is its jokes about plagiarism and humorous criticism of originality. About halfway through, Morrissey croons: “If you must write prose and poems / The words you use should be your own / Don’t plagiarise or take on loan”.
It’s an ironic sense of musical craftsmanship, given that the lyrics also borrow lines from Richard III and The Man Who Came to Dinner (“all those people, all those lives, where are they now?”). “It was extremely ironic, if not deliberately self-parodic, of Morrissey to address the issue of plagiarism in a song which itself brazenly incorporated words which weren’t his own,” said British author Simon Goddard.
This creative juxtaposition of ironic self-awareness and borrowed references showcases the artistry of The Smiths and their ability to infuse their music with depth and intellectual playfulness. The song’s intricate lyrical composition and Morrissey’s impassioned delivery make it a standout moment in their discography, offering listeners a thought-provoking glimpse into the complexities of artistic expression and originality.
