Jesus & Mary Chain - 21 Singles
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Artist: Jesus & Mary ChainBrand: JESUS & MARY CHAIN
Edition: Music CD
CD Release Date: 2002-07-02
Music Label: Rhino
Soundtracks:
- Upside Down
- Never Understand
- You Trip Me Up
- Just Like Honey
- Some Candy Talking
- April Skies
- Happy When It Rains
- Darklands
- Sidewalking
- Blues From A Gun
- Head On
- Rollercoaster
- Reverence
- Far Gone And Out
- Almost Gold
- Snakedriver
- Sometimes Always
- Come On
- I Hate Rock 'N' Roll
- Cracking Up
- I Love Rock 'N' Roll
Music reviews of 21 Singles
Music Review: JAMC Compilation
Rating: 4 Stars
It is surprising that JAMC has taken so long to release their 1st compilation album. The band dissolved several years ago and solo careers have gone to nothing. Perhaps need for income has finally surpassed the need for artistic aloofness. The epitome of uncompromising ego, the Reid bros, who have been at the core of the band since its early 1980's inception, have shunned the spotlight and created a unique blend of sound. This particular album chronologically documents that progression from their first to last album. Not unlike U2, for example, each successive JAMC album has a distinct quality, but with the trademark dead-beat, somber vocals of William Reid and amped up or acoustic guitar-work of his brother Jim.
The first four tracks are taken from the album Psychocandy, released in mid 1980's when JAMC blazed onto the scene with sonic madness. Hair teased and tossled, clad in black from head to toe, the band resembled the New Wave of British musicians. Their music is most noted for the wall of distortion and feedback kept in rythym by a single tom-tom and bass guitar. Jim's vocals, dark, soft and dreary, do not change much with each successive album.
On the next two albums, Sidewalking and Darklands (tracks 6-9, track 5 is a single release), you'll hear a drum machine backing B-side songs reminiscent of the first album, and newer recordings in which the over-the-top guitar wailing has dropped off and is replaced with a jangly electrified straight-ahead rock, country or rock-a-billy ring.
The next album, Automatic, sees JAMC revved up again. The album has been categorized by some as industrial because of the fast driving beats on some tracks, but it is really just a harder edged rock. The new-wave sensitivity and dark clothing is gone by the time this album was produced. The next album, Far Gone and Out, released in a new decade is represented by tracks 12-15. Again, aggressive guitar work and beats, but with a slightly different sound. Resonating reverb and metal drumwork are heavily implemented.
Snakedriver, is the only song representing the Sound of Speed albums (American and Tokyo releases). JAMC seems to be sampling bits and pieces of previous albums and creating new songs. They seem less interested in blowing up amps and again are exploring the dark/moody side. Interestingly, the country and rock-a-billy guitar riffs are dabbled here and there.
Tracks 17-18 are from the Stoned and Dethroned album. Folk, rock, and country acoustic sounds with, of course, the trademark somber vocals of William are the trademark of this album. Out goes the wah-wah, reverb, and distortion. Hope Sandoval of Mazzy Starr and Shane McGowan, of The Poques, provide vocals on two tracks. With the release of I Hate Rock and Roll the Reids make the public aware that they are not too happy with the music industry and their lack of notoriety. A rehash of music resembling the last two albums is presented.
Finally, the album Munki is released: an album that I have only listened to twice. JAMC seems to have found a new inspiration, but will receive none of the fanfare from their cult following that previous albums were assured. This album was sadly neglected by all. And that was the last of a band that created a unique sound of their own for over a decade.
Description of 21 Singles
This album links the bands UK and US singles, soundtrack cuts and key album tracks released on Creation, Blanco Y Negro/Warner Bros., Blanco Y Negro/Deaf Jam, and Sub Pop. Rarities include alt-rock favorites 'Just Like Honey', 'April Skies', 'Sidewalking' and 'Come On'. Warner Bros./Rhino.It's a rare trick to uphold the sacred tenets of rock & roll while simultaneously reinventing them. But over the course of their 21 Singles, compiled here, the Jesus and Mary Chain did just that. When the first of them, "Upside Down," emerged on Creation in 1984, the template was set. The Reid brothers took the idea of sullen, black-leather-clad rebellion to a darker and more inhospitable place than anyone had before. Even now, the early Mary Chain singles sound astounding, the way pop and avant-garde elements are mangled together so beautifully. 21 Singles goes far beyond these, through another 14 years of protean glumness, patchy albums, and, fortunately, many excellent singles. For the Mary Chain's forte was the three-minute pop thrill, the precisely calibrated jukebox hit. An uncanny number of them--"Some Candy Talking," "Sidewalking," "Reverence"--remain among the very best of the 1980s and '90s.
The Mary Chain's last two singles, from 1998, "I Hate Rock & Roll" and "I Love Rock & Roll," neatly close affairs: bitter and celebratory; consumed and confused by music and the impulse to make it, which has driven them for so long. This band was genius, and here's why. --John Mulvey
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