Tall-poppy syndrome can either kill a career or fan its flame. In Steven Morrissey's case, criticism of his band the Smiths as cardigan-wearing miserabilists, and of himself as a self-pitying bigmouth, simply served to sharpen the tip of his quill.
Third album The Queen Is Dead (1986) found the Smiths batting aside suggestions they had drained the outsider-pop wellspring dry, turning out a heavily textured work laced with innovative sounds and knowing lyrical winks in the direction of their detractors.
Guitarist Johnny Marr, Morrissey's chief partner in chime, responded to the challenge of topping 1984 debut The Smiths and 1985 follow-up Meat Is Murder by working tirelessly on the album's rich instrumental backgrounds.
He presented a tantalising set of tunes that ranged in style from aggressive rock to jangly pop and paisley-tinged rockabilly, leaving Morrissey to snatch some of his finest words and vocal melodies out of the ether.
The title track is the album's dynamic opener. Propelled by drums, a surging bass line and waves of wah-wah guitar, it's more muscular than anything that came before, encapsulating all of Morrissey's sardonic qualities in a tale of a palace invasion.
Next, Rough Trade record label boss Geoff Travis cops a thinly disguised serve in Frankly, Mr Shankly.
But Morrissey saves some ammo for himself.
After painting what is probably the clearest picture yet of his attitude to love and sexuality in the down-tempo I Know It's Over and jibing at those who accuse him of plagiarism in Cemetery Gates, he willingly caricaturises himself in Bigmouth Strikes Again, accepting the label as a fait accompli.
When a quartet of songs that includes top tracks The Boy With The Thorn In His Side and There Is A Light That Never Goes Out rounds out proceedings, great things have been achieved in the name of wit and wordplay.
