June 21, 2025 • 42 mins
On this episode of Adventures in Vinyl, Adam and I discuss this 1985 debut studio album, considered a landmark recording due to its influence on the shoegaze genre. That band is The Jesus and Mary Chain and the album is Psychocandy.
Song of The Week!
Here’s The Thing - Fontaines D.C. - Romance
(No) Reason to Believe - Spanish Love Songs - Losers (Single)
Stump The Barron!
The Killing Moon - Echo & The Bunnymen - Ocean Rain
The Jesus and Mary Chain - Psychocandy
Genre: Alternative
Release Date: November 18, 1985
Studio(s): Southern Studios, Wood Green, LondonP
roducer(s): The Jesus and Mary Chain
Label: Blanco y Negro
Length: 38:55
Number of Tracks: 14
For more information on the band The Jesus and Mary Chain you can check out their website www.themarychain.com . If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Song of The Week!
Here’s The Thing - Fontaines D.C. - Romance
(No) Reason to Believe - Spanish Love Songs - Losers (Single)
Stump The Barron!
The Killing Moon - Echo & The Bunnymen - Ocean Rain
The Jesus and Mary Chain - Psychocandy
Genre: Alternative
Release Date: November 18, 1985
Studio(s): Southern Studios, Wood Green, LondonP
roducer(s): The Jesus and Mary Chain
Label: Blanco y Negro
Length: 38:55
Number of Tracks: 14
For more information on the band The Jesus and Mary Chain you can check out their website www.themarychain.com . If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On this episode of Adventus and Vinyl, Adam and I
discussed this nineteen eighty five debut studio album, considered a
landmark recording due to its influence on the shoegaze genre.
That band is The Jesus and Mary Chain and the
album is Psycho Candy. We are in the suck time
(00:40):
of the year. It's turned hot, the time of year
when we chew our air. Yes, yeah, that's right.
Speaker 2 (00:45):
It's that nice.
Speaker 1 (00:46):
You got lots of rain and then massive humidity ninety
degree days and heat indexes above one hundred and the
hogs loose.
Speaker 2 (00:55):
The College World Series is just incredibly painful. Wasn't that
just like air after air, just a repeat a twenty
eight not not getting the double play in the ninth
inning and everyone's screaming the double play, the double play.
Speaker 3 (01:08):
I mean it was right there, right to the shortstop
and through its third It just killed me.
Speaker 2 (01:12):
Man. That's our life, those razorback fans. Is we uh
a lot of hole snatch defeat from the jaws of victory?
Speaker 1 (01:19):
Yeah, we have frequently tons of talent and tons of
hope and then we destroy.
Speaker 3 (01:23):
It exactly, and you know, but there's always next year
to experience the same thing.
Speaker 1 (01:28):
Well, at least I've made my allotted baseball watching you know,
yearly quota.
Speaker 2 (01:36):
Yeah.
Speaker 3 (01:37):
Yeah, I'm definitely a fair Weather Baseball fan. Yeah, which
is crazy because when I was a kid, it was
my entire life.
Speaker 2 (01:43):
Oh yeah, yeah.
Speaker 1 (01:43):
I just never really liked the support of baseball. But
I you know, College World Series of Hogs we've always
been kind of good.
Speaker 2 (01:49):
So I try to get for our team. Man.
Speaker 1 (01:51):
You know, when Regionals hit is when I start paying attention.
And then if we do make it to o Maha,
then I'm pretty dolled in, of course. But you know
that's what we talked about.
Speaker 3 (02:00):
Now.
Speaker 2 (02:00):
Everyone's like it's hot. It's hot, and we're gonna suck
it up.
Speaker 3 (02:05):
And all of our activities, especially with kids, revolve around water. Oh,
I know, Like we think we're gonna go to Magic
Springs this weekend.
Speaker 2 (02:11):
Good.
Speaker 3 (02:11):
We have season pass big Good. There's concert Saturday night too.
Oh who's playing a guy named Torn Wells. I think
he's like a Christian artist, but Danielle and the kids
know who he Isn't like him. I'm not a fan,
but I'll live. Take me for a team. Well, you know, yeah, man,
Lazy River. Yeah, the Lazy River, all the water slides,
all the stuff.
Speaker 2 (02:30):
I mean, Lazy River. That's like the best adult placed
give kids to go playing.
Speaker 3 (02:33):
This closed down the last time we were there, which
was last year, so hopefully they've got it back open
now because I love the Lazy River.
Speaker 2 (02:39):
Man, I like that.
Speaker 1 (02:40):
Let me chill, all right, Well, hey this week I
kind of kicked things off for my song of the week.
Speaker 2 (02:46):
Uh.
Speaker 1 (02:47):
It's from a band called Fountains DC. It's off their
latest album from last year. He was released in August
twenty twenty four, Romance, And.
Speaker 2 (03:00):
Okay, this just came out right yeah last year.
Speaker 3 (03:03):
Okay, I think they just released a new single too,
because I was, I was. I actually put it on
my my kind of like my heavy rotation playlist.
Speaker 2 (03:12):
But yeah, yeah, but the track good, Yeah, the track is.
Here's the thing.
Speaker 1 (03:15):
It's the third track off the album Romance. It's from
Dublin's own post punk band, Fountains DC. Romance is the
band's fourth album, is released in August last year. The
band received two nominations at this year's Grammy Awards, the
Best Rock Album and Best Alternative Music Performance. So you know,
if you hadn't read of Dublin's Fountains DC's.
Speaker 2 (03:34):
It's not bad. It sounds like an English football club.
Speaker 3 (03:37):
It does the way the way their name does, and
they're from Doublin.
Speaker 2 (03:40):
It's a football club and it's kind of shoegazy. Yeah,
I like it, man.
Speaker 3 (03:45):
I actually just recently was diving into about once a
week I go out into Apple Music. I go to
search by genre, and then I look at what's new
and what's upcoming, And these guys have a new single
out as well. I can't remember the name of it,
but I remember I liked it. I threw it on
my playlist and I like their sound.
Speaker 1 (04:02):
Yeah, it's growing on me. Yeah, yeah, I mean it's
it's good. It's kind of catchy. This here's the thing.
Speaker 2 (04:06):
It's good. It's kind of laid back. Yeah.
Speaker 1 (04:08):
I got this from one of the friends. We went
with to the Electric Avenue eighties cover band.
Speaker 2 (04:14):
He recommended this. Nice. He's a big shoegaze guy. Oh cool,
my own heart right. Yeah.
Speaker 1 (04:19):
We were just sat there and you know, before the concert,
drink and talked about music for an hour and a half.
Speaker 2 (04:25):
Great. Hey, that sounds like a good time, man. What
about you man, what are you? I saw your list
and I thought that was pretty interesting.
Speaker 3 (04:31):
Yeah, so Spanish love songs. The band and the song
is no reason to believe. It's actually the B side
on the Losers single Okay, And it was actually you
Todd that sent this song my way.
Speaker 2 (04:42):
Oh yeah, yeah, I was there. That was their new one, right,
which is their new one or something?
Speaker 3 (04:46):
No, it's one of the older ones, but I think
I remember it's the lyrics. Yeah, the lyrics this song
just grab you. I mean they are man, they're tough,
they ate hard. It's singing on the struggle of just
getting through a grinding life full of multiple jobs, financial oppression.
Speaker 2 (05:05):
Oh yeah, I remember a loss. I remember this. I
was like, hey, is this the theme song? Something like?
This is like the theme song for the Anti Friends?
Is this like what my life? Is? This my life
right now? Weird? I can relate to it right now.
Speaker 3 (05:20):
Be honest with you, You like, you feel like you're
working your ass off and sometimes there's you know, it's
it's hard to find a little bit of hope sometimes
because because.
Speaker 2 (05:27):
You're so mired in the crap of the day to day.
Speaker 1 (05:29):
Well, you enter this routine, right and you know, people
don't talk about this when you're in your forties or whatever, right,
but you kind of enter this as you kind of
get on the other side of forty and approach in
the fifties.
Speaker 2 (05:44):
You're kind of like, you start trying to.
Speaker 1 (05:47):
Figure out where you want your life to be balanced,
how you want to spend stuff, and then you realize, Okay,
you've wasted forty years really working, probably too much, just grinding,
just grind, grinding, without really thinking about what you were doing. Yeah,
and then you're like, hey, what have I gotten from
all that effort?
Speaker 3 (06:06):
So, you know, I think it's and that's the nature
of this song. It's a hard message wrapped up in
like a catchy rapper.
Speaker 2 (06:12):
Yeah, yeah, but it's it's a great song though.
Speaker 3 (06:16):
I mean again lyrically, very profound and musically, dude, it's
just super catchy.
Speaker 2 (06:20):
And I've got this one.
Speaker 3 (06:22):
As soon as you send it to me and started
listening to it, those like, oh hell yeah, this is great.
Speaker 1 (06:25):
Well, and I think what's what's really cool about songs
like this is you could still find relevance today in music. Yeah,
it said all those all those songs that we tend
to gravitate towards did they really awesome because of a
time that we listen to going in our life. I
think that those they're soul artists out there going through stuff. Yeah,
we just they don't have the right an R backing.
I think they're having to really hit the road. The
(06:48):
record companies are small.
Speaker 3 (06:49):
They don't have a big management, big label, all that
behind them, and so they're just grinding away.
Speaker 2 (06:54):
And so I mean, yeah, they can relate to us
in that respect. Yeah.
Speaker 3 (06:57):
A lot of people think, all your musician, you must
not have any worries, you know, Maybe not true.
Speaker 2 (07:01):
You know, we all go through the same stuff.
Speaker 1 (07:03):
Doesn't matter if you're a you know, in the entertainment industry,
the music industry, or just a.
Speaker 2 (07:08):
Blue collar, white collar or great collar type of dude.
There you go. No, you're still going through shit. There
you go.
Speaker 3 (07:14):
Man, Well, hey, it's that time. You're ready to do
something fun unless depressing.
Speaker 2 (07:19):
Hey, at least I got two out of three last week. Hey,
we'll see if you can get this one.
Speaker 1 (07:22):
All right, all right, it's another episode of Adventures and Vino,
and that means another round of stump the baron on,
Stump the baron. I pick a random song from a
random genre. Give Adam a few clues with all his
semi genre specific general knowledge of music attemps to guess
the artist, album and song title. Adam pay attention to
the words I say as clues can go hippity hop away.
(07:43):
We were in the year nineteen eighty four with the
lead single from the four studio album from a band
that was featured on the soundtrack of the two thousand
and one science fiction film Donnie Darko.
Speaker 2 (07:56):
Okay, alright, you got that. I got it? Are you ready?
M hm chat GBT gave you a thirty percent chance.
Speaker 3 (08:15):
Thirty percent might be a little bit ambitious. Hey, listen
to this one from it?
Speaker 2 (08:22):
Yeah, I think it's it's gonna take a while.
Speaker 3 (08:33):
Oh I know that voice, yep, but it's not coming
immediately to mine.
Speaker 2 (08:42):
And I'll tell you straight up, I do not recognize
the song.
Speaker 1 (08:44):
Yeah, okay, So this is the Killing Moon, which is
the lead single on eighth track off the album Ocean Rain.
That was the fourth studio album of the UK's own
Echo and the Bunny Man.
Speaker 3 (08:55):
Oh that's why I never really listened to them Echo
and that was not a band I was connected with.
Speaker 1 (08:59):
It's see when you kind of look at we kind
of got in this eighties and we're getting in this
kind of bands that influenced Shoegate. So normally when I
try to pick something for stuff to bear and right,
I try to find, okay, something relevant, relevant, relevant to
the episode, but also something he may have been introduced to.
And I know Donnie Darko, like we all kind of
saw it. Like I didn't realize it was there, and
I had to figure out what scene it was in
(09:20):
the movie.
Speaker 2 (09:21):
But hey, it's echoing the bunny Man. What scene is
it in the movie?
Speaker 1 (09:24):
You know what I was, I don't remember. I was like, Okay,
it's in the movie, and I think it's come towards.
Speaker 2 (09:29):
The end, the end. What a weird movie. Yeah, that
was such a weird movie. Weird. We're good, yeah, but weird. Yeah.
Jake Gillenhall did a really awesome job. He was like
a teenager. Yeah. Yeah, I would say Mace.
Speaker 1 (09:42):
Way better job than he did in the Ronthhouse remake.
Speaker 2 (09:45):
Oh lord, that was that was not I'm not at all.
I was like, dude, I mean.
Speaker 1 (09:52):
Wade, I was like YouTube already, you took an awesome
film and just ruined it.
Speaker 2 (09:58):
Yes, ruined it. Shame on you, Amazon Prime from you?
Speaker 1 (10:01):
Yeah?
Speaker 2 (10:02):
No good? All right, man, so you like that? It
was good?
Speaker 3 (10:07):
Actually I like that song. All right, are ready to
get started? Yeah, let's do it. Let's do it. Here
we go, Psycho Candy. I know, so the first track, man,
this is just like honey, right. This is the song
that first got me into the Jesus and Mary change.
Really listening to this song during the closing scene of
(10:31):
Lost in Translation.
Speaker 2 (10:32):
Yep.
Speaker 1 (10:32):
Yeah, we talked, we talked about featured this song.
Speaker 3 (10:36):
Yes, we did a song in the week. Yeah, so,
I mean, what was it? New Music Experience and Amy
out of the UK they have this is number two
on their Tracks of the Year for nineteen eighty five.
It was beaten only by the band's lead single on
this album, Never Understands. They have the top two songs
YEP in that list, and Amy's a big.
Speaker 2 (10:57):
Deal over in the UK. Yeah it is. But I
love this.
Speaker 3 (11:00):
The guitar tone is just reverb drenched and kind of nasty,
but it works.
Speaker 2 (11:06):
So well in the context of this song.
Speaker 1 (11:08):
Yeah, we're talking about Psychocandy, which is the debut studibut
album YEP from Scottish rock band that Jesus and Mary Chain.
It was released on November eighteenth, nineteen eighty five. Consists
of fourteen tracks clocks in with a total link of
thirty eight minutes of fifty five seconds. Just like Adam said, right,
was in The Lost of Translation, which had Bill Murray
and carlat and which was Copola Copla coch Sophia.
Speaker 2 (11:34):
That was such a good movie, great movie movie, a
great song.
Speaker 3 (11:36):
And you and I both been to Japan, so like
we both know a little bit about that culture.
Speaker 2 (11:41):
Yeah yeah, I mean when you spend so apropos.
Speaker 1 (11:43):
Yeah, well you go, all you really need is to
you go to a country on a business trip or
you know, for a week, and you're like, okay, this
is way different.
Speaker 2 (11:51):
Yes, it's just very very different.
Speaker 3 (11:55):
So the beat in this is actually a direct callback
to Hal Blaine, the famous Wrecking Crew drummer, his playing
on the Ronettes track be My Baby.
Speaker 2 (12:04):
Oh that's cool.
Speaker 3 (12:05):
Yeah, it's the exact same beat to go back and
listen to be My Baby.
Speaker 2 (12:08):
It's the exact drum.
Speaker 3 (12:10):
Pattern be my Baby from Pet Sounds No, The Ronettes,
the Runts and the Ronettes Phil Spector Oh okay, ye
yeah yeah, but man like the vocals are low key
but smooth, just makes the song work so well.
Speaker 2 (12:25):
I listened to this one a lot. I mean, yeah, listen.
Speaker 1 (12:29):
I immediately kind of like favored it, Like once it
was introduced, I was like, oh, yeah, I remember the
song so good.
Speaker 2 (12:34):
Yeah yeah, And I just kind of liked that.
Speaker 1 (12:36):
In the eighties, especially mid eighties, you had a lot
of like really cool tracks that were like this, and
you have like you thought, maybe, hey, am I listened
to the Cure?
Speaker 2 (12:44):
No you're not? Yeah, am I listening to like echoing
the Button?
Speaker 1 (12:47):
No? You know, you had all these bands that had
very similar sounds, but they were very different, but they
all had unique, really awesome tracks.
Speaker 3 (12:52):
But it's funny because this song is kind of an
exception to their normal sound. As we'll find out as
we start getting into the rest of the album, a
lot of the tracks are not necessarily like this one,
with those harmonic vocals and low key guitar not as
much noise.
Speaker 1 (13:07):
I would absolutely agree with that, yeh, which is as
we kick off the second track off the album, The
clocks in in two minutes and sixteen seconds, we're talking
about the living end and you really had to crank
this one up to understand what was going on. But
I love the fuzz. I want more more fuzz.
Speaker 3 (13:29):
The good news is that you're gonna get more more.
It's pretty much the theme of the majority of this
album is fuzz, fuzz, fuzz and noise.
Speaker 1 (13:36):
Yeah, distortion and feedback, right, And I think that's and
it's distracting, right, It's it's it's noise.
Speaker 3 (13:46):
So one of the things about this band, the Jesus
and Mary Chain, which I'll give a little bit of
history on them. Yeah, it was kind of a disdain
of the music of the time that drove Jim and
William Reid to start this band. They had a coin
toss sighting which brother would sing. They were originally the
Poppy Seeds and then Death of Joey before deciding on
the Jesus and Mary Chain. But whenever they started recording,
(14:08):
started writing songs, they realized we sound too much like
the Ramones Yeah, and so what they started doing was
incorporating all the noise and the feedback to set themselves
apart and to make themselves different. So when you listen
to a track like the Living End, it sounds very Ramonesish.
Speaker 2 (14:24):
Right, Yeah, but it's washed. But it's washed exactly.
Speaker 3 (14:27):
It's very noisy, reverbi feedback, all the things that you
didn't necessarily hear with the Ramones. But when you break
it down to its core, it's very ramonesish. They were
influenced by the Ramones, and they've made no bones about that,
but at the same time they wanted to set themselves apart.
Speaker 2 (14:44):
Yeah.
Speaker 1 (14:45):
I think it's just use of the guitar effects, right, Yes,
how they use those effects to burden their sound, and
there's detail in.
Speaker 2 (14:52):
There that you have to get through the noise. You do, right,
So I could see.
Speaker 1 (14:55):
If someone turning the song for the first time, they're
gonna be like, Wow, I don't like this.
Speaker 3 (15:00):
It's noisy. It's noisy. A lot of feedback. Was this
just poorly recorded? No, this was you know, like it
was intentional exactly exactly. All right, man, let's move on
to the next one. Come on, Todd, geez okay, dude.
Speaker 1 (15:18):
Taste the Floor is the third track off the album
that clocks in two minutes and fifty six seconds. I
need to figure out how to use these, Uh what
are the lenses? The progressive lenses. This is twice where
I've looked down to change the track and by vocals
or I have progressives, so it's like, you got this
a visible line and when I but it moves the
(15:39):
track up, and then when I click it, it's like
it's just my vision.
Speaker 2 (15:44):
I'm gonna have to start like putting it way back here.
Don't worry about it, all right.
Speaker 3 (15:48):
I love the nasty guitar on this one, yeah, man, Like,
especially when the instrumental breaks come in, it kind of
ratchets it up and not further.
Speaker 2 (15:57):
This feels like they took this Phil Specter like wall
of noise right and made it even noisier. Yeah, you know.
Speaker 1 (16:04):
Well, it's like there was distinct differences in the washed
out sound in the previous track and this one it
seems like there's a little bit more blend, yeah, with
the effects, and it's more prominent. What I like and
what I find really interesting is the vocals and how
(16:25):
they harmonize with the guitar noise. Yeah, and that's yeah,
that dry and an offe vocal tone. It's key, but
like it just like it's almost like it's a step down, yes, right,
and it works with the feedback from the fuzz.
Speaker 2 (16:44):
Yes, it works. I agree with that absolutely. This one.
Speaker 3 (16:48):
It does get a little bit redundant after a bit,
but overall I found that, like, I enjoyed it.
Speaker 2 (16:53):
Yeah, I just found it unique.
Speaker 1 (16:54):
I found myself listening to it just due to the
guitar sounds and then and see how and I realized, Okay,
this is how people are inspired, this is how that
John because so they took this and then made okay,
we're gonna keep the wash out out of it. But
that pure carnal aspect of the guitar tone that they have,
you see that being.
Speaker 2 (17:15):
Did you ever hear of the band Star Flyer fifty nine?
Speaker 3 (17:17):
No, Their Shoe Gay's band came out in the mid
nineties early nineties. You go listen to them and you
will absolutely hear the Jesus and Mary chain and that
they do. But they do it so well with better
recording quality, and especially their first two albums. Our buddy
Donnie's going to know exactly what I'm talking about. He
loves them. But they had two albums to start. One
(17:38):
was called Silver, which the first album, and one was
called Gold, the second album. Both are excellent and you'll
hear so much of this album in that, but they
do it in a different way.
Speaker 2 (17:48):
Cool.
Speaker 3 (17:48):
I think I recommend them. I recommend you give him
a shot a right, all right, on to number four.
Speaker 1 (17:54):
Yeah, we're talking about the Hardest Walk, which clock's in
another sub three minute track off the album four track
two minutes and forty seconds. I would say, a drastic
departure from the living end and paste the floor.
Speaker 2 (18:09):
Yeah.
Speaker 3 (18:09):
Honestly, the bass drum vocal beginning to the outro just
kind of grabs me. I love how it brings the
tone of the song down well to prepare for the guitar.
Yet back end, well, it's just you've got a boost.
Speaker 1 (18:22):
Like I was like, okay, so this is a boost
pedal that's going right into the fluzz.
Speaker 2 (18:26):
Yeah.
Speaker 3 (18:26):
I was like, okay, that's always this song. Once I
was like, okay, I see exactly what he's doing. Boost
his signal up. You're still driving the amp YEP. But
when he kicks well, I think later in the song
makes the boost, he ratches up the volume, he ratches
up or yeah, so this is good.
Speaker 2 (18:40):
I really like this song.
Speaker 3 (18:41):
This has like that early sixties vibe to it, but
with all the extra noise of the Jesus and Mary Chain.
Speaker 2 (18:47):
Adds a different dynamic. I think to the song.
Speaker 3 (18:49):
Exactly exactly, so a little bit about the album and
its influence. This got a whole bunch of like industry placement,
love I AllMusic, Mojo, Q Record Collector, Rolling Stone Album
Guide select All gave this five stars. We got four
point five out of five from Rolling Stone, YEP nine
out of ten from Spin and a minus from The
(19:11):
Village Voice. It's number eighty eight on Q Magazine's hundred
Greatest British Albums Ever, number twenty three on the forty
Best Albums of the Eighties, number two sixty eight on
Rolling Stone's five hundred Greatest Albums of All Time, number
forty five on the one hundred Best Debut Albums of
All Time, and it's in the book one thousand and
one Albums You Must Hear Before you Die. So honestly,
like pretty Illustrious Company, there acharded well number one eighty
(19:34):
eight on the Billboard two hundred, which when you think
about this band and how weird they are, I'm just
glad they made it at all. Yeah, number thirty one
on the UK Albums and it was certified gold in
the UK. I mean, honestly, they juxtaposed that noise punk
with songs like this that bring those early sixties do
wopish influences to the four And I think that's really cool.
(19:55):
You know, they made they took those two influences, but
then they added their own flavor into it it and
created something entirely new in the way that they approached shoegaze.
I mean, and they didn't even think of it as shoegaze,
Like they just wrote the music that they want.
Speaker 2 (20:08):
Well, they were just like, hey, this is what we want.
Speaker 3 (20:10):
To do those different They weren't aiming for a genre,
they were actually helped create one, which is I mean,
pretty amazing. And it's a style that I love just
because it does harken back to music from the sixties
and such that I love, but with that more modern
noise and distortion. So it's good stuff.
Speaker 2 (20:25):
Man. Let's get on to the next one, all right,
we're talking about Cut Dead.
Speaker 1 (20:29):
It's the fifth track off the album clocks in a
two minutes and forty seven seconds.
Speaker 3 (20:33):
So this clean, re reverberated guitar tone at the beginning here,
it just sounds so good. Yeah, I like the reverb
and that shangri laws influence with.
Speaker 1 (20:43):
The I've been messing around with like you and I
have talked about this where I'm trying to put together
just a basic pedal board and looking at some of
these multi effects processors with AMP and CAB sims, and
I just you know, I've been messing with the Kimper player.
Speaker 2 (21:02):
I kind of liked it, so.
Speaker 1 (21:03):
I sold it and I just bought an HX Stomp
going back to line six. And it's interesting when you
can stat all these once you start figuring out signal
chain and different effects, how it all works, it's really
really cool and you can emulate a lot of stuff,
but really interesting what.
Speaker 2 (21:18):
You could do with like reverb. Yes, like I love
all the different all the different kinds of reverb and how.
Speaker 1 (21:25):
You can mix them together a long with your delay
and just how prominent and thick and full I think
it makes you sound.
Speaker 2 (21:34):
Yeah, So the low key vocals on this man, they just.
Speaker 1 (21:38):
Work it an interesting how he harmonizes his vocals and
it helps. It's almost like it's one big sound.
Speaker 3 (21:47):
Yeah, he doesn't have like a huge register. He's got
a relatively monotone delivery. But because of the music they're
playing and the way they're playing it, it's perfect. Yeah,
I mean you don't. You can't really, it's almost like
as m R.
Speaker 2 (22:02):
It is.
Speaker 3 (22:03):
Yeah, it's kind of that. It's like deprivation tank yeah
kind of music.
Speaker 1 (22:08):
Yeah, like you would think that like when you watch
this in a movie, like if you're thinking about a
song like this shoot Yeah, It's like I could think
of two things. This is what comes on right when
you shoot hare and then it would kick into a
King Crimson track there you go right, or or this
is you're going in that space you're going on that
long space trip and you go on the isolation thing
(22:30):
where you go into whether they call it incubation or something,
where you going to stasis. And I could see like
when you're about to go in stasis the first time
and it's the new guy and he starts to kind
of like lean his lean his head back and close
his eyes and this, Yeah, this would be what would
you know, kind of as you start to fade out.
Speaker 2 (22:49):
That's good stuff, man, All right, let's move on to
the next one. Yeah, let's see.
Speaker 1 (22:53):
And the next one we have in a Hole, which
is pretty much where everyone gets in at some.
Speaker 2 (22:59):
Point in their life if they're just getting a hole.
And this is noise punk. Yeah, that's all it is.
Speaker 3 (23:04):
I mean, screeching guitar, simple pounding, bassed drums, three minutes
of noise exactly, not many chords in the progression, pretty
monotone delivery of vocals the beginning, and admittedly not my
cup of tea. Yeah, I mean, just as you crank
it up. I mean, it's really hard to distinguish what's
going on exactly, and I couldn't. It was like I
had trouble listening just to the.
Speaker 2 (23:26):
Track from let alone getting into it. Yeah, like it was.
Speaker 1 (23:29):
It was like after I got through it a couple
of times, I realized, Okay, this is six minutes.
Speaker 2 (23:33):
I'm not going to get back and I'm not going
to try harder. Yeah, that's kind of where I left
tough with that. I feel you there, man, All right,
let's move on, all right.
Speaker 1 (23:40):
Hit the track number seven, We Are a Taste of Cindy.
I think we understand what the song's about. It clocks
in at one minutes and forty two cents.
Speaker 2 (23:47):
Yeah.
Speaker 3 (23:48):
So as I listened more and more to this album,
especially this song in particular, Yeah, I feel like I
start to understand why these guys were such a big
influence on Shoecase, Yeah, I mean them and My Bloody Valentine.
There's bands, like I said, the Starfire fifty nine I
already mentioned, I.
Speaker 1 (24:05):
Think influential, Like this is another one of those albums, like, yeah,
you're influenced by My Bloody Valentine, but I think you'd
be influenced by this too, just as much. And then
understanding where these guys were heavily influenced by their moons,
like you can see just that same type of evolution.
Speaker 3 (24:23):
Yeah, yeah, I mean there's so many other bands who
write songs like this in the genre later that feel
like a Jesus and Mary change two point zero.
Speaker 1 (24:32):
Well, and when you look at shoegaze, right, you had
all this stuff about punk, and then you had like
the electronica like type of stuff mixed in and lots
of guitar effects. So that created a whole subgenre just
from punk. Yeah, and like grunge subgenre that kind of
came from that mix of punk and hard rock battle
and hard rock influences, and then you got all this
(24:54):
weird dude country stuff that's not even country coming out
that's a little bit of like shoegame, a lot of
grunge and a lot of country, and you're like, wait
a minute, what's going on a.
Speaker 3 (25:07):
Lot of these people that were products of the mid
early nineties. Yeah, listened to all three of those things
because they were all over the radio, and now they
took in juxtapose them into one style.
Speaker 2 (25:15):
Yeah, it's interesting.
Speaker 1 (25:16):
Yeah, I'm very confused with music today and I can't
figure it out, but I'm enjoying when I'm listened. All right,
man on to the first single, just like my old
ass in today's different genres. Never Understand the eighth track
off the album, beginning of side to beginning of side two,
that clocks in at two minutes and fifty seven seconds.
Speaker 2 (25:39):
So three chords pretty much the whole song.
Speaker 3 (25:41):
Yeah, a ton of feedback and screech, pounding rhythm section,
monotone delivery. I mean, when you think about it, this
might have been some folks introduction to the Jesus and
Mary Chain. Well, it was their first single, first single.
They had one other single that was just a single
that came out before. But you know, some folks might
not have heard that one.
Speaker 1 (25:59):
Well, yeah, when you when you look at it off
the debut album, this was the first single, Never Understand
what the first I.
Speaker 3 (26:05):
Think they had a song called upside Down that was
their first single. It wasn't on this album, but it
was a song they like and get them on.
Speaker 1 (26:12):
The Yeah, yeah, just a normal single use Yeah. And
then then when.
Speaker 3 (26:16):
This album came out, this was the first song single
from the album. But I mean, imagine hearing this on
like college rock radio for the first time in nineteen
eighty five.
Speaker 2 (26:23):
Oh, I imagine it probably blew your doors off.
Speaker 3 (26:25):
Yeah, I mean, people like, what the heck is this?
I could picture some people loving it, some people hating it.
I mean, you you've been introduced to bands like that
first time you're held, that's such a great experience where
you're like, oh my god, what is that?
Speaker 2 (26:36):
What is that? And that's there's nothing like that. Yeah,
nothing like that. You don't get.
Speaker 3 (26:40):
You don't get any of that today, you really don't.
It's pretty rare. It's pretty rare. I mean, there's not
a lot of new genres coming out. So when a
band comes out that helps start a genre, it's a
really special thing.
Speaker 1 (26:52):
Well, and it's almost like you got to follow them
through social media to get any of their exposure, then
figure out what they're linked to on Spotify, Apple Music.
Speaker 2 (27:00):
I mean it's just like hard.
Speaker 1 (27:02):
I mean, look how much we try to figure out
Dexter in the Moon Rocks and some other kind of
bands that we were starting to like more.
Speaker 2 (27:07):
It's just hard.
Speaker 3 (27:09):
So in this one, I love the feedback effects in
the last forty five seconds of the track. Yeah, I mean,
just some really cool I think the term would be
harmonic dissonance. That's what I can think of. It's the
only way I could think of to describe it. You've
got these really cool things happening with the guitars, but
there's also this like dissonance screeching in the background.
Speaker 2 (27:29):
I think it kind of starts here the lead guitar
is doing it. Yeah, Yeah, there's just yeah, yeah, yeah,
he's just and it's so low within the mix. It's interesting. Yeah,
Like it's subtle, it is, but you hear it driving, driving, Driving,
and it's so good. I love that.
Speaker 3 (27:50):
Great song. I mean, I could see why they made
it the first single. It's really good stuff, all right.
So onto the next one.
Speaker 1 (27:55):
Inside B is the ninth track of the album, and
the clocks in at three minutes and nine seconds. So
I'll admit a little bit different of a.
Speaker 2 (28:04):
Guitar tone compared to other songs. I got a little
bored with this one.
Speaker 3 (28:08):
Yeah, there's not a lot going on here that's necessarily
better or different from what's come before.
Speaker 2 (28:15):
It just feels if it were done and something could
have been left off the album in my opinion.
Speaker 1 (28:18):
You know what, a lot of this reminds me of.
You remember the movie Scott Pilgrim? Yeah, what was the The
End of the World? Scott Pilgrum versus the World? Versus
the World? Right, so, you know the band Scott Pilgrim's
in and where they're having that battle and then he
hits the you know, gain pedal on.
Speaker 2 (28:37):
The bass and it creates all this distortion and the noise.
This is kind of that similar type of sound.
Speaker 3 (28:42):
Yeah almost, I'm with you there, Yeah, I think that
makes sense.
Speaker 2 (28:45):
Great movie, by the way, Yeah, it is good. That
was really well done. All right, are you ready next?
Speaker 1 (28:51):
All right, Sewing Seeds. We were at the tenth track
off the album. It's another sub two minute.
Speaker 3 (28:56):
So listen, listen to this. What does it sound like?
Oh yeah, it's like like they ripped off themselves, just
like Honey. It's the exact same drug pattern, same bassline,
same guitar. It's the same progression until they get to
like the first pre chorus, and then that's when the
(29:19):
progression changes. It just kind of cracked me up that
they're ripping themselves off on the same album.
Speaker 2 (29:26):
It's just interesting.
Speaker 1 (29:27):
Well maybe you're like, Hey, it worked so well on
this other song, let's try it on another one.
Speaker 3 (29:30):
Hey, it's the other side of the album. This is
where it changes. So they moved to a different progression
right there. But uh, don't get me wrong. I'm not
saying I don't like it because I love Just Like Honey.
It's just odd that they close they chose to make
this one so closely resemble that track. Well, they should
have put it in a track to Marie, which is
the B side of the album, or made it the autrot.
Speaker 2 (29:51):
Yeah. I think I think it would have been better
at position fourteen. Yeah. I don't even like the last song,
but we'll get there.
Speaker 3 (29:59):
But I mean, like the the outro of the song
is so reminiscent of Just Like Honey too, the way
it drops down and then builds back up.
Speaker 2 (30:07):
Good song though. Yeah.
Speaker 1 (30:09):
All right, clocking into two minutes and thirty one seconds
to see eleven track off the album, titled My Little Underground.
Speaker 3 (30:16):
Yeah, so this one is very simple. It's just a
two chord progression with a third one thrown in occasionally.
I mean, but despite being really simple, again, that harmonic dissonance, it.
Speaker 2 (30:28):
Must be very relaxing for as the guitar player. I
would imagine not a whole lot he has to.
Speaker 1 (30:32):
Do that I gotta do, Like, hey, just hit that one.
It's like when you once that Creden's clear Water song,
it's like three core, like uh oh, this one is
like really it's like D and G the whole song.
Oh yeah, here comes the rain, Here comes the rain.
Speaker 2 (30:51):
Yeah yeah, it's just like you're just not a lot
to do, Yeah, not a whole lot to do. You're like,
it's just maybe a little bit differently occasionally.
Speaker 3 (30:59):
But yeah, I mean, good song, honestly, like nothing amazing,
but it's good.
Speaker 2 (31:06):
Yeah yeah, yeah, that bad It's fine, all right.
Speaker 3 (31:09):
Next, all right, we're at the twelfth track, which is
You Trip Me Up, and it's the second single off
the album that was released in May of nineteen eighty
five and clocks in at two minutes and twenty six seconds.
Speaker 1 (31:20):
The B side of the single is the track just
out of Reach. On the UK Singles Chart, the single
reached number fifty five. It was right number six some
under the Tracks of the Year, as you mentioned earlier,
number six, number six.
Speaker 3 (31:32):
They had three in the top ten. It's nine eighty
five by Enemy Man.
Speaker 2 (31:36):
That's great.
Speaker 3 (31:36):
So this is definitely a throwback to that early sixties
pop yep. I mean just the progression and the way
he sings it. But of course it's done in that
Jesus and Mary chainway. Yeah, you know, it's so noisy
and like low key downbeat, like shoe gayzy essentially, but man,
like really good stuff. Just a basic one four to
(31:57):
five progression, but all that noise just make the harmon
portions of the song pop out even more. Yeah. I
love the guitar solo in there too. It's very punk
but at the same time kind of like noisily attractive.
Speaker 2 (32:09):
Man. Just I like this song. It's good, really good stuff.
Speaker 3 (32:15):
Like right here that guitar, well, it's crazy, but it
just what the lead comes in over the feedback, yes,
and it's distinct, but then you could still hear the
feedback that's like driving the rhythm of the song.
Speaker 2 (32:31):
Yeah, it's really interesting. Yeah, it is. It is. The
way they play with noise is really cool. Yeah yeah,
I think that's the it's just different. Yeah all right.
Second to last track.
Speaker 1 (32:41):
Something's Wrong, is the thirteenth track off the album, and
it's probably one of the longest tracks, if not the
longest track on the album, and clucks in four minutes
and one second flight.
Speaker 2 (32:50):
So that lead guitar line in the opening there you know,
is so good. Yeah. Again, nothing complex, but it just
sounds great.
Speaker 3 (32:58):
And again it's got that throw back flared at like
their early sixties.
Speaker 2 (33:03):
Man, like the ethereal vocals from Jim Reid here, just.
Speaker 3 (33:08):
Really good stuff that washed out reverbs so common on
the album.
Speaker 2 (33:11):
Some nice fuzzy guitar that really makes it pop.
Speaker 3 (33:15):
I cranked the volume while listening to this one because
I felt like, I don't know, I was just listening
to it, was like, man, I.
Speaker 2 (33:19):
Need to crank the volume up on them.
Speaker 1 (33:21):
I found myself was because I was so interested in
what was the background of the noise. I ended up
cranking the volume a lot when I was listening to it,
just to make sure I could hear all the different parts.
Speaker 3 (33:31):
Yeah, I mean, I had this one up loud because
I felt like, this is a song that you need to.
Speaker 2 (33:35):
Listen to loud.
Speaker 3 (33:37):
I don't know why this one in particular, but like
it was the one where I was like, I need
to crank this up.
Speaker 2 (33:42):
And it's really good man.
Speaker 3 (33:44):
Like you said, it's the longest track on the album
at like right around four minutes, but it's practically an
epic by this album standards.
Speaker 2 (33:51):
But man, really good stuff, dude. Yeah, I thought this was.
Speaker 1 (33:55):
As for the last track, yeah, I think that's where
we kind of, you know, closing out the album. Is
the fourteenth and final track that's titled It's So Hard.
Speaker 2 (34:07):
That's what she said.
Speaker 1 (34:11):
That pretty much sums up our thoughts on the last
track of the album.
Speaker 3 (34:14):
Yeah, yeah, because I will agree, Like I kind of
was done, you know by this point, and I was like, well,
just let something's wrong, keep on playing. I don't really
want to go to It's so Hard. But yeah, I
didn't really like it at all. But as for the album,
so this is one of those albums that I have
to take myself back to nineteen eighty five, yeah, and think, like,
if I'm hearing this for the first time through the
(34:36):
lens of that time when that album was released.
Speaker 2 (34:41):
I mean, it is so unique and so different.
Speaker 3 (34:44):
Yeah, and I would imagine some people hated it and
some people probably loved it.
Speaker 1 (34:48):
Yeah, And that's what I kind of was when I
was thinking about final thoughts, I was like, well, maybe
we should talk about who would like this album and
who would not like this album.
Speaker 3 (34:57):
This would not be like your frat boy athlete, like
if your kids stuff.
Speaker 1 (35:03):
And so if you like certain bands, like if you
like my Bloody Valentine, of course you're gonna like this.
Speaker 2 (35:08):
Yeah. If you like hum you're probably gonna like this.
I think that there's a sixty five percent chance you're
gonna like this.
Speaker 3 (35:15):
Right if you like eighties new wave, If you like
eighties new wave, I think there's a seventy five percent
chance you're really gonna dig that album.
Speaker 2 (35:23):
That's what's unique.
Speaker 1 (35:24):
But I think if you're if you're like a pure
Ramones fan, you may not like the.
Speaker 2 (35:28):
Album, might not depending on your leanings.
Speaker 1 (35:31):
Right, if you're a fan of nothing but grunge, you're
not gonna like this album.
Speaker 2 (35:37):
If you like garage rock, you just might like the album.
Speaker 1 (35:40):
Yeah, if you're a King Crimson fan, I think you'll
like the album.
Speaker 2 (35:44):
For sure. You know, I think you're looking too that
progressive rock category.
Speaker 3 (35:50):
Yeah right, So this was a lot of both modern
and classic influences tossed into kind of a dissonant pot.
Speaker 2 (35:57):
Yeah right.
Speaker 3 (35:58):
So these guys were very influenced by a like Neil
Sedaka from the early sixties, right, that kind of like
teen idol yep, like what do they what did they
call it at the time, teeny bopper radio, but the
Velvet Hunger Underground yep. Right, hugely influenced by them, The Ronettes,
they loved the Ronettes. The Shangri Laws were like one
of their biggest influences. I think I remember reading a
(36:19):
quote from Jim Reid saying, if we can just make
an album that sounds like the Ronettes with our sound,
will we'll be happy. Yeah, there were not the Ronettes,
I'm sorry, but the Shanga Laws like that was one
of their biggest influences. They were influenced by the Beach
Boys and again the Ramones.
Speaker 2 (36:34):
Well, and I could hear Beach Boy, you could hear
pet sound influence. Absolutely.
Speaker 1 (36:39):
You can hear a lot of my Bloody Valentine, Yes,
you can hear. I would say, there's some new wave
stuff that like I could definitely hear like a little
bit of like Talking Heads, sure right, a little bit
of like early Blondie, Like there's some other other mixes
(37:00):
is that I kind of hear, and especially like the eighties,
a lot of eighties movies, Like it seems like it's
a dirty tears for fears.
Speaker 2 (37:10):
Sure, yes, I'm with you there. That's where I would classify.
Speaker 3 (37:13):
It's very dirty tears for a dirty in a musical sense,
not a lyrical yeah, well, and lyrics except for that
one song.
Speaker 2 (37:23):
Well, just like Honey is apparently about you know.
Speaker 1 (37:25):
Well yeah yeah, okay, so yeah, there may be there's
a few of them, and there's a few of them
in there.
Speaker 3 (37:29):
Yeah, I mean there's a few misses on the album,
like It's so Hard Inside Me the Living End. There's
also a lot of songs that really hit with me
far more than didn't honestly, and kind of pointed me
to later bands that took their influence from this album.
Speaker 2 (37:42):
Yeah. I mean, these guys.
Speaker 3 (37:44):
Were completely unapologetic about their style, which I totally respect.
They caused several riots just by getting up on stage
and being freaking loud, and I mean, man.
Speaker 2 (37:55):
Because if you are going to Riot then will be loud,
as will be loud.
Speaker 3 (37:59):
So I wasn't as prepared for how many like distinct
lines I could draw back to the band's influences as
I actually was able to with this. So, man, when
I think about this album and what I would rate
it like, I'll definitely be coming back to it.
Speaker 2 (38:13):
I gave it night and a half. What do you think.
Speaker 1 (38:18):
It's gonna be? Kind of hard? I respect kind of
what they did on the album. I found a lot
of it to be noise. So when I think of
it my own personal view of what I liked, I
give it a six six gotcha, just because it was
just hard to really listen.
Speaker 2 (38:40):
To the times.
Speaker 3 (38:42):
Because I've been a shoegaze fan for such a long time,
I think that also colors.
Speaker 2 (38:46):
The way that I look at the album.
Speaker 3 (38:47):
It may be because I've loved shoegase since like the
mid nineties.
Speaker 1 (38:51):
And I loved and don't get me wrong, I love
my Bloody Valentine right, and I love but a very
different kind of noise. It's just a different type of noise.
This was from my ears and what I like too much.
But what I there are tracks I really liked about
it because how the lead singer harmonized the vocals with
(39:11):
the noise. That's very interesting, like and there's but it's
one of those albums for me, there's two or three
tracks that I really like and the rest of the.
Speaker 2 (39:19):
Album gotcha not my bag. Yeah, I get that, I understand,
But it's still I think a solid six.
Speaker 1 (39:25):
Sure, you know, but it probably bet you know, influential,
maybe more influential than that, but you know, I don't
have enough knowledge to to perform a rating of that,
but at least my own preference, it's a six.
Speaker 2 (39:39):
Yeah, I mean, and I understand that completely.
Speaker 3 (39:42):
I grew up researching shoegaze bands in particular because there's.
Speaker 2 (39:46):
So many of them that I loved.
Speaker 3 (39:48):
Yeah, and you almost universally see them draw a line
directly back to the Jesus and Mary Chain. Oh, there's
no doubt like that to me was what got me
really interested in these guys. And so when I think
of it through that lens and I think, Okay, these
are the guys that influenced these other bands that I like.
There are some things about them that I'm not a
huge fan of. But at the same time, when I
(40:09):
think about, like what drew all these other bands to
take influence from the Jesus and Mary Chain. The elements
that I love are there, like the noise, well within
the noise, yeah, the beats and the guitar tones, yep,
all of those are there. Yes, there's other elements I'm
not a huge a fan of, which is why I
don't give it a ten. But at the same time,
(40:32):
I give it partially for its legacy. That's a lot
of what drove it to me.
Speaker 1 (40:36):
Now, Yeah, for me, Yeah, I can see that all right, man,
all right, and that's fun. Yeah, I think that was
a good It was a good discussion. Yeah, really good.
And with that we are at the close of yet
another episode of Adventures in Vinyl. If you like the
music featured on this episode, please check out today's website
on the episode and you can get all links to
all the all the segment tracks, so song of the Week,
(40:57):
Stumped the Baron and then a link to the album
so UH you can get your link sample music there
so you listen to the same stuff we listen to. UH.
For more information on the band that Jesus and Mary Chain,
check out their website at www dot Themary Chain dot com.
Speaker 2 (41:11):
They're touring. Oh really, yeah, they're touring.
Speaker 1 (41:15):
So, I mean, you know, it's one of those older
eighties bands and they're still doing it. Probably probably a
really cool show show to see.
Speaker 2 (41:21):
Awesome. I hope they keep touring.
Speaker 3 (41:23):
Those those brothers that you know, the lead to guys
in the band, they have to fight a lot and break.
Speaker 2 (41:28):
Well, we'll see what happens. I think it has to
do with all those brother bands. Yeah, Gallaghers and you know,
all those guys.
Speaker 1 (41:38):
If you enjoyed this podcast, be sure to check us
out at our website at www dot Adventures in Vinyl
dot com, or you can find links to all of
our episodes through our Supports section. You can find a
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Follow us on Instagram at Adventures not in dot Vinyl.
Be sure to subscribe to the podcast and leave a
review or not, we really don't care at this point.
Follow at them on Instagram at the Pillow and myself
(42:01):
at Todd David Ward and with that on Todd Board.
And I'm Adam and we will see you next time
on another thrilling episode of Adventures in Vinyl
On this episode of Adventus and Vinyl, Adam and I
discussed this nineteen eighty five debut studio album, considered a
landmark recording due to its influence on the shoegaze genre.
That band is The Jesus and Mary Chain and the
album is Psycho Candy. We are in the suck time
(00:40):
of the year. It's turned hot, the time of year
when we chew our air. Yes, yeah, that's right.
Speaker 2 (00:45):
It's that nice.
Speaker 1 (00:46):
You got lots of rain and then massive humidity ninety
degree days and heat indexes above one hundred and the
hogs loose.
Speaker 2 (00:55):
The College World Series is just incredibly painful. Wasn't that
just like air after air, just a repeat a twenty
eight not not getting the double play in the ninth
inning and everyone's screaming the double play, the double play.
Speaker 3 (01:08):
I mean it was right there, right to the shortstop
and through its third It just killed me.
Speaker 2 (01:12):
Man. That's our life, those razorback fans. Is we uh
a lot of hole snatch defeat from the jaws of victory?
Speaker 1 (01:19):
Yeah, we have frequently tons of talent and tons of
hope and then we destroy.
Speaker 3 (01:23):
It exactly, and you know, but there's always next year
to experience the same thing.
Speaker 1 (01:28):
Well, at least I've made my allotted baseball watching you know,
yearly quota.
Speaker 2 (01:36):
Yeah.
Speaker 3 (01:37):
Yeah, I'm definitely a fair Weather Baseball fan. Yeah, which
is crazy because when I was a kid, it was
my entire life.
Speaker 2 (01:43):
Oh yeah, yeah.
Speaker 1 (01:43):
I just never really liked the support of baseball. But
I you know, College World Series of Hogs we've always
been kind of good.
Speaker 2 (01:49):
So I try to get for our team. Man.
Speaker 1 (01:51):
You know, when Regionals hit is when I start paying attention.
And then if we do make it to o Maha,
then I'm pretty dolled in, of course. But you know
that's what we talked about.
Speaker 3 (02:00):
Now.
Speaker 2 (02:00):
Everyone's like it's hot. It's hot, and we're gonna suck
it up.
Speaker 3 (02:05):
And all of our activities, especially with kids, revolve around water. Oh,
I know, Like we think we're gonna go to Magic
Springs this weekend.
Speaker 2 (02:11):
Good.
Speaker 3 (02:11):
We have season pass big Good. There's concert Saturday night too.
Oh who's playing a guy named Torn Wells. I think
he's like a Christian artist, but Danielle and the kids
know who he Isn't like him. I'm not a fan,
but I'll live. Take me for a team. Well, you know, yeah, man,
Lazy River. Yeah, the Lazy River, all the water slides,
all the stuff.
Speaker 2 (02:30):
I mean, Lazy River. That's like the best adult placed
give kids to go playing.
Speaker 3 (02:33):
This closed down the last time we were there, which
was last year, so hopefully they've got it back open
now because I love the Lazy River.
Speaker 2 (02:39):
Man, I like that.
Speaker 1 (02:40):
Let me chill, all right, Well, hey this week I
kind of kicked things off for my song of the week.
Speaker 2 (02:46):
Uh.
Speaker 1 (02:47):
It's from a band called Fountains DC. It's off their
latest album from last year. He was released in August
twenty twenty four, Romance, And.
Speaker 2 (03:00):
Okay, this just came out right yeah last year.
Speaker 3 (03:03):
Okay, I think they just released a new single too,
because I was, I was. I actually put it on
my my kind of like my heavy rotation playlist.
Speaker 2 (03:12):
But yeah, yeah, but the track good, Yeah, the track is.
Here's the thing.
Speaker 1 (03:15):
It's the third track off the album Romance. It's from
Dublin's own post punk band, Fountains DC. Romance is the
band's fourth album, is released in August last year. The
band received two nominations at this year's Grammy Awards, the
Best Rock Album and Best Alternative Music Performance. So you know,
if you hadn't read of Dublin's Fountains DC's.
Speaker 2 (03:34):
It's not bad. It sounds like an English football club.
Speaker 3 (03:37):
It does the way the way their name does, and
they're from Doublin.
Speaker 2 (03:40):
It's a football club and it's kind of shoegazy. Yeah,
I like it, man.
Speaker 3 (03:45):
I actually just recently was diving into about once a
week I go out into Apple Music. I go to
search by genre, and then I look at what's new
and what's upcoming, And these guys have a new single
out as well. I can't remember the name of it,
but I remember I liked it. I threw it on
my playlist and I like their sound.
Speaker 1 (04:02):
Yeah, it's growing on me. Yeah, yeah, I mean it's
it's good. It's kind of catchy. This here's the thing.
Speaker 2 (04:06):
It's good. It's kind of laid back. Yeah.
Speaker 1 (04:08):
I got this from one of the friends. We went
with to the Electric Avenue eighties cover band.
Speaker 2 (04:14):
He recommended this. Nice. He's a big shoegaze guy. Oh cool,
my own heart right. Yeah.
Speaker 1 (04:19):
We were just sat there and you know, before the concert,
drink and talked about music for an hour and a half.
Speaker 2 (04:25):
Great. Hey, that sounds like a good time, man. What
about you man, what are you? I saw your list
and I thought that was pretty interesting.
Speaker 3 (04:31):
Yeah, so Spanish love songs. The band and the song
is no reason to believe. It's actually the B side
on the Losers single Okay, And it was actually you
Todd that sent this song my way.
Speaker 2 (04:42):
Oh yeah, yeah, I was there. That was their new one, right,
which is their new one or something?
Speaker 3 (04:46):
No, it's one of the older ones, but I think
I remember it's the lyrics. Yeah, the lyrics this song
just grab you. I mean they are man, they're tough,
they ate hard. It's singing on the struggle of just
getting through a grinding life full of multiple jobs, financial oppression.
Speaker 2 (05:05):
Oh yeah, I remember a loss. I remember this. I
was like, hey, is this the theme song? Something like?
This is like the theme song for the Anti Friends?
Is this like what my life? Is? This my life
right now? Weird? I can relate to it right now.
Speaker 3 (05:20):
Be honest with you, You like, you feel like you're
working your ass off and sometimes there's you know, it's
it's hard to find a little bit of hope sometimes
because because.
Speaker 2 (05:27):
You're so mired in the crap of the day to day.
Speaker 1 (05:29):
Well, you enter this routine, right and you know, people
don't talk about this when you're in your forties or whatever, right,
but you kind of enter this as you kind of
get on the other side of forty and approach in
the fifties.
Speaker 2 (05:44):
You're kind of like, you start trying to.
Speaker 1 (05:47):
Figure out where you want your life to be balanced,
how you want to spend stuff, and then you realize, Okay,
you've wasted forty years really working, probably too much, just grinding,
just grind, grinding, without really thinking about what you were doing. Yeah,
and then you're like, hey, what have I gotten from
all that effort?
Speaker 3 (06:06):
So, you know, I think it's and that's the nature
of this song. It's a hard message wrapped up in
like a catchy rapper.
Speaker 2 (06:12):
Yeah, yeah, but it's it's a great song though.
Speaker 3 (06:16):
I mean again lyrically, very profound and musically, dude, it's
just super catchy.
Speaker 2 (06:20):
And I've got this one.
Speaker 3 (06:22):
As soon as you send it to me and started
listening to it, those like, oh hell yeah, this is great.
Speaker 1 (06:25):
Well, and I think what's what's really cool about songs
like this is you could still find relevance today in music. Yeah,
it said all those all those songs that we tend
to gravitate towards did they really awesome because of a
time that we listen to going in our life. I
think that those they're soul artists out there going through stuff. Yeah,
we just they don't have the right an R backing.
I think they're having to really hit the road. The
(06:48):
record companies are small.
Speaker 3 (06:49):
They don't have a big management, big label, all that
behind them, and so they're just grinding away.
Speaker 2 (06:54):
And so I mean, yeah, they can relate to us
in that respect. Yeah.
Speaker 3 (06:57):
A lot of people think, all your musician, you must
not have any worries, you know, Maybe not true.
Speaker 2 (07:01):
You know, we all go through the same stuff.
Speaker 1 (07:03):
Doesn't matter if you're a you know, in the entertainment industry,
the music industry, or just a.
Speaker 2 (07:08):
Blue collar, white collar or great collar type of dude.
There you go. No, you're still going through shit. There
you go.
Speaker 3 (07:14):
Man, Well, hey, it's that time. You're ready to do
something fun unless depressing.
Speaker 2 (07:19):
Hey, at least I got two out of three last week. Hey,
we'll see if you can get this one.
Speaker 1 (07:22):
All right, all right, it's another episode of Adventures and Vino,
and that means another round of stump the baron on,
Stump the baron. I pick a random song from a
random genre. Give Adam a few clues with all his
semi genre specific general knowledge of music attemps to guess
the artist, album and song title. Adam pay attention to
the words I say as clues can go hippity hop away.
(07:43):
We were in the year nineteen eighty four with the
lead single from the four studio album from a band
that was featured on the soundtrack of the two thousand
and one science fiction film Donnie Darko.
Speaker 2 (07:56):
Okay, alright, you got that. I got it? Are you ready?
M hm chat GBT gave you a thirty percent chance.
Speaker 3 (08:15):
Thirty percent might be a little bit ambitious. Hey, listen
to this one from it?
Speaker 2 (08:22):
Yeah, I think it's it's gonna take a while.
Speaker 3 (08:33):
Oh I know that voice, yep, but it's not coming
immediately to mine.
Speaker 2 (08:42):
And I'll tell you straight up, I do not recognize
the song.
Speaker 1 (08:44):
Yeah, okay, So this is the Killing Moon, which is
the lead single on eighth track off the album Ocean Rain.
That was the fourth studio album of the UK's own
Echo and the Bunny Man.
Speaker 3 (08:55):
Oh that's why I never really listened to them Echo
and that was not a band I was connected with.
Speaker 1 (08:59):
It's see when you kind of look at we kind
of got in this eighties and we're getting in this
kind of bands that influenced Shoegate. So normally when I
try to pick something for stuff to bear and right,
I try to find, okay, something relevant, relevant, relevant to
the episode, but also something he may have been introduced to.
And I know Donnie Darko, like we all kind of
saw it. Like I didn't realize it was there, and
I had to figure out what scene it was in
(09:20):
the movie.
Speaker 2 (09:21):
But hey, it's echoing the bunny Man. What scene is
it in the movie?
Speaker 1 (09:24):
You know what I was, I don't remember. I was like, Okay,
it's in the movie, and I think it's come towards.
Speaker 2 (09:29):
The end, the end. What a weird movie. Yeah, that
was such a weird movie. Weird. We're good, yeah, but weird. Yeah.
Jake Gillenhall did a really awesome job. He was like
a teenager. Yeah. Yeah, I would say Mace.
Speaker 1 (09:42):
Way better job than he did in the Ronthhouse remake.
Speaker 2 (09:45):
Oh lord, that was that was not I'm not at all.
I was like, dude, I mean.
Speaker 1 (09:52):
Wade, I was like YouTube already, you took an awesome
film and just ruined it.
Speaker 2 (09:58):
Yes, ruined it. Shame on you, Amazon Prime from you?
Speaker 1 (10:01):
Yeah?
Speaker 2 (10:02):
No good? All right, man, so you like that? It
was good?
Speaker 3 (10:07):
Actually I like that song. All right, are ready to
get started? Yeah, let's do it. Let's do it. Here
we go, Psycho Candy. I know, so the first track, man,
this is just like honey, right. This is the song
that first got me into the Jesus and Mary change.
Really listening to this song during the closing scene of
(10:31):
Lost in Translation.
Speaker 2 (10:32):
Yep.
Speaker 1 (10:32):
Yeah, we talked, we talked about featured this song.
Speaker 3 (10:36):
Yes, we did a song in the week. Yeah, so,
I mean, what was it? New Music Experience and Amy
out of the UK they have this is number two
on their Tracks of the Year for nineteen eighty five.
It was beaten only by the band's lead single on
this album, Never Understands. They have the top two songs
YEP in that list, and Amy's a big.
Speaker 2 (10:57):
Deal over in the UK. Yeah it is. But I
love this.
Speaker 3 (11:00):
The guitar tone is just reverb drenched and kind of nasty,
but it works.
Speaker 2 (11:06):
So well in the context of this song.
Speaker 1 (11:08):
Yeah, we're talking about Psychocandy, which is the debut studibut
album YEP from Scottish rock band that Jesus and Mary Chain.
It was released on November eighteenth, nineteen eighty five. Consists
of fourteen tracks clocks in with a total link of
thirty eight minutes of fifty five seconds. Just like Adam said, right,
was in The Lost of Translation, which had Bill Murray
and carlat and which was Copola Copla coch Sophia.
Speaker 2 (11:34):
That was such a good movie, great movie movie, a
great song.
Speaker 3 (11:36):
And you and I both been to Japan, so like
we both know a little bit about that culture.
Speaker 2 (11:41):
Yeah yeah, I mean when you spend so apropos.
Speaker 1 (11:43):
Yeah, well you go, all you really need is to
you go to a country on a business trip or
you know, for a week, and you're like, okay, this
is way different.
Speaker 2 (11:51):
Yes, it's just very very different.
Speaker 3 (11:55):
So the beat in this is actually a direct callback
to Hal Blaine, the famous Wrecking Crew drummer, his playing
on the Ronettes track be My Baby.
Speaker 2 (12:04):
Oh that's cool.
Speaker 3 (12:05):
Yeah, it's the exact same beat to go back and
listen to be My Baby.
Speaker 2 (12:08):
It's the exact drum.
Speaker 3 (12:10):
Pattern be my Baby from Pet Sounds No, The Ronettes,
the Runts and the Ronettes Phil Spector Oh okay, ye
yeah yeah, but man like the vocals are low key
but smooth, just makes the song work so well.
Speaker 2 (12:25):
I listened to this one a lot. I mean, yeah, listen.
Speaker 1 (12:29):
I immediately kind of like favored it, Like once it
was introduced, I was like, oh, yeah, I remember the
song so good.
Speaker 2 (12:34):
Yeah yeah, And I just kind of liked that.
Speaker 1 (12:36):
In the eighties, especially mid eighties, you had a lot
of like really cool tracks that were like this, and
you have like you thought, maybe, hey, am I listened
to the Cure?
Speaker 2 (12:44):
No you're not? Yeah, am I listening to like echoing
the Button?
Speaker 1 (12:47):
No? You know, you had all these bands that had
very similar sounds, but they were very different, but they
all had unique, really awesome tracks.
Speaker 3 (12:52):
But it's funny because this song is kind of an
exception to their normal sound. As we'll find out as
we start getting into the rest of the album, a
lot of the tracks are not necessarily like this one,
with those harmonic vocals and low key guitar not as
much noise.
Speaker 1 (13:07):
I would absolutely agree with that, yeh, which is as
we kick off the second track off the album, The
clocks in in two minutes and sixteen seconds, we're talking
about the living end and you really had to crank
this one up to understand what was going on. But
I love the fuzz. I want more more fuzz.
Speaker 3 (13:29):
The good news is that you're gonna get more more.
It's pretty much the theme of the majority of this
album is fuzz, fuzz, fuzz and noise.
Speaker 1 (13:36):
Yeah, distortion and feedback, right, And I think that's and
it's distracting, right, It's it's it's noise.
Speaker 3 (13:46):
So one of the things about this band, the Jesus
and Mary Chain, which I'll give a little bit of
history on them. Yeah, it was kind of a disdain
of the music of the time that drove Jim and
William Reid to start this band. They had a coin
toss sighting which brother would sing. They were originally the
Poppy Seeds and then Death of Joey before deciding on
the Jesus and Mary Chain. But whenever they started recording,
(14:08):
started writing songs, they realized we sound too much like
the Ramones Yeah, and so what they started doing was
incorporating all the noise and the feedback to set themselves
apart and to make themselves different. So when you listen
to a track like the Living End, it sounds very Ramonesish.
Speaker 2 (14:24):
Right, Yeah, but it's washed. But it's washed exactly.
Speaker 3 (14:27):
It's very noisy, reverbi feedback, all the things that you
didn't necessarily hear with the Ramones. But when you break
it down to its core, it's very ramonesish. They were
influenced by the Ramones, and they've made no bones about that,
but at the same time they wanted to set themselves apart.
Speaker 2 (14:44):
Yeah.
Speaker 1 (14:45):
I think it's just use of the guitar effects, right, Yes,
how they use those effects to burden their sound, and
there's detail in.
Speaker 2 (14:52):
There that you have to get through the noise. You do, right,
So I could see.
Speaker 1 (14:55):
If someone turning the song for the first time, they're
gonna be like, Wow, I don't like this.
Speaker 3 (15:00):
It's noisy. It's noisy. A lot of feedback. Was this
just poorly recorded? No, this was you know, like it
was intentional exactly exactly. All right, man, let's move on
to the next one. Come on, Todd, geez okay, dude.
Speaker 1 (15:18):
Taste the Floor is the third track off the album
that clocks in two minutes and fifty six seconds. I
need to figure out how to use these, Uh what
are the lenses? The progressive lenses. This is twice where
I've looked down to change the track and by vocals
or I have progressives, so it's like, you got this
a visible line and when I but it moves the
(15:39):
track up, and then when I click it, it's like
it's just my vision.
Speaker 2 (15:44):
I'm gonna have to start like putting it way back here.
Don't worry about it, all right.
Speaker 3 (15:48):
I love the nasty guitar on this one, yeah, man, Like,
especially when the instrumental breaks come in, it kind of
ratchets it up and not further.
Speaker 2 (15:57):
This feels like they took this Phil Specter like wall
of noise right and made it even noisier. Yeah, you know.
Speaker 1 (16:04):
Well, it's like there was distinct differences in the washed
out sound in the previous track and this one it
seems like there's a little bit more blend, yeah, with
the effects, and it's more prominent. What I like and
what I find really interesting is the vocals and how
(16:25):
they harmonize with the guitar noise. Yeah, and that's yeah,
that dry and an offe vocal tone. It's key, but
like it just like it's almost like it's a step down, yes, right,
and it works with the feedback from the fuzz.
Speaker 2 (16:44):
Yes, it works. I agree with that absolutely. This one.
Speaker 3 (16:48):
It does get a little bit redundant after a bit,
but overall I found that, like, I enjoyed it.
Speaker 2 (16:53):
Yeah, I just found it unique.
Speaker 1 (16:54):
I found myself listening to it just due to the
guitar sounds and then and see how and I realized, Okay,
this is how people are inspired, this is how that
John because so they took this and then made okay,
we're gonna keep the wash out out of it. But
that pure carnal aspect of the guitar tone that they have,
you see that being.
Speaker 2 (17:15):
Did you ever hear of the band Star Flyer fifty nine?
Speaker 3 (17:17):
No, Their Shoe Gay's band came out in the mid
nineties early nineties. You go listen to them and you
will absolutely hear the Jesus and Mary chain and that
they do. But they do it so well with better
recording quality, and especially their first two albums. Our buddy
Donnie's going to know exactly what I'm talking about. He
loves them. But they had two albums to start. One
(17:38):
was called Silver, which the first album, and one was
called Gold, the second album. Both are excellent and you'll
hear so much of this album in that, but they
do it in a different way.
Speaker 2 (17:48):
Cool.
Speaker 3 (17:48):
I think I recommend them. I recommend you give him
a shot a right, all right, on to number four.
Speaker 1 (17:54):
Yeah, we're talking about the Hardest Walk, which clock's in
another sub three minute track off the album four track
two minutes and forty seconds. I would say, a drastic
departure from the living end and paste the floor.
Speaker 2 (18:09):
Yeah.
Speaker 3 (18:09):
Honestly, the bass drum vocal beginning to the outro just
kind of grabs me. I love how it brings the
tone of the song down well to prepare for the guitar.
Yet back end, well, it's just you've got a boost.
Speaker 1 (18:22):
Like I was like, okay, so this is a boost
pedal that's going right into the fluzz.
Speaker 2 (18:26):
Yeah.
Speaker 3 (18:26):
I was like, okay, that's always this song. Once I
was like, okay, I see exactly what he's doing. Boost
his signal up. You're still driving the amp YEP. But
when he kicks well, I think later in the song
makes the boost, he ratches up the volume, he ratches
up or yeah, so this is good.
Speaker 2 (18:40):
I really like this song.
Speaker 3 (18:41):
This has like that early sixties vibe to it, but
with all the extra noise of the Jesus and Mary Chain.
Speaker 2 (18:47):
Adds a different dynamic. I think to the song.
Speaker 3 (18:49):
Exactly exactly, so a little bit about the album and
its influence. This got a whole bunch of like industry placement,
love I AllMusic, Mojo, Q Record Collector, Rolling Stone Album
Guide select All gave this five stars. We got four
point five out of five from Rolling Stone, YEP nine
out of ten from Spin and a minus from The
(19:11):
Village Voice. It's number eighty eight on Q Magazine's hundred
Greatest British Albums Ever, number twenty three on the forty
Best Albums of the Eighties, number two sixty eight on
Rolling Stone's five hundred Greatest Albums of All Time, number
forty five on the one hundred Best Debut Albums of
All Time, and it's in the book one thousand and
one Albums You Must Hear Before you Die. So honestly,
like pretty Illustrious Company, there acharded well number one eighty
(19:34):
eight on the Billboard two hundred, which when you think
about this band and how weird they are, I'm just
glad they made it at all. Yeah, number thirty one
on the UK Albums and it was certified gold in
the UK. I mean, honestly, they juxtaposed that noise punk
with songs like this that bring those early sixties do
wopish influences to the four And I think that's really cool.
(19:55):
You know, they made they took those two influences, but
then they added their own flavor into it it and
created something entirely new in the way that they approached shoegaze.
I mean, and they didn't even think of it as shoegaze,
Like they just wrote the music that they want.
Speaker 2 (20:08):
Well, they were just like, hey, this is what we want.
Speaker 3 (20:10):
To do those different They weren't aiming for a genre,
they were actually helped create one, which is I mean,
pretty amazing. And it's a style that I love just
because it does harken back to music from the sixties
and such that I love, but with that more modern
noise and distortion. So it's good stuff.
Speaker 2 (20:25):
Man. Let's get on to the next one, all right,
we're talking about Cut Dead.
Speaker 1 (20:29):
It's the fifth track off the album clocks in a
two minutes and forty seven seconds.
Speaker 3 (20:33):
So this clean, re reverberated guitar tone at the beginning here,
it just sounds so good. Yeah, I like the reverb
and that shangri laws influence with.
Speaker 1 (20:43):
The I've been messing around with like you and I
have talked about this where I'm trying to put together
just a basic pedal board and looking at some of
these multi effects processors with AMP and CAB sims, and
I just you know, I've been messing with the Kimper player.
Speaker 2 (21:02):
I kind of liked it, so.
Speaker 1 (21:03):
I sold it and I just bought an HX Stomp
going back to line six. And it's interesting when you
can stat all these once you start figuring out signal
chain and different effects, how it all works, it's really
really cool and you can emulate a lot of stuff,
but really interesting what.
Speaker 2 (21:18):
You could do with like reverb. Yes, like I love
all the different all the different kinds of reverb and how.
Speaker 1 (21:25):
You can mix them together a long with your delay
and just how prominent and thick and full I think
it makes you sound.
Speaker 2 (21:34):
Yeah, So the low key vocals on this man, they just.
Speaker 1 (21:38):
Work it an interesting how he harmonizes his vocals and
it helps. It's almost like it's one big sound.
Speaker 3 (21:47):
Yeah, he doesn't have like a huge register. He's got
a relatively monotone delivery. But because of the music they're
playing and the way they're playing it, it's perfect. Yeah,
I mean you don't. You can't really, it's almost like
as m R.
Speaker 2 (22:02):
It is.
Speaker 3 (22:03):
Yeah, it's kind of that. It's like deprivation tank yeah
kind of music.
Speaker 1 (22:08):
Yeah, like you would think that like when you watch
this in a movie, like if you're thinking about a
song like this shoot Yeah, It's like I could think
of two things. This is what comes on right when
you shoot hare and then it would kick into a
King Crimson track there you go right, or or this
is you're going in that space you're going on that
long space trip and you go on the isolation thing
(22:30):
where you go into whether they call it incubation or something,
where you going to stasis. And I could see like
when you're about to go in stasis the first time
and it's the new guy and he starts to kind
of like lean his lean his head back and close
his eyes and this, Yeah, this would be what would
you know, kind of as you start to fade out.
Speaker 2 (22:49):
That's good stuff, man, All right, let's move on to
the next one. Yeah, let's see.
Speaker 1 (22:53):
And the next one we have in a Hole, which
is pretty much where everyone gets in at some.
Speaker 2 (22:59):
Point in their life if they're just getting a hole.
And this is noise punk. Yeah, that's all it is.
Speaker 3 (23:04):
I mean, screeching guitar, simple pounding, bassed drums, three minutes
of noise exactly, not many chords in the progression, pretty
monotone delivery of vocals the beginning, and admittedly not my
cup of tea. Yeah, I mean, just as you crank
it up. I mean, it's really hard to distinguish what's
going on exactly, and I couldn't. It was like I
had trouble listening just to the.
Speaker 2 (23:26):
Track from let alone getting into it. Yeah, like it was.
Speaker 1 (23:29):
It was like after I got through it a couple
of times, I realized, Okay, this is six minutes.
Speaker 2 (23:33):
I'm not going to get back and I'm not going
to try harder. Yeah, that's kind of where I left
tough with that. I feel you there, man, All right,
let's move on, all right.
Speaker 1 (23:40):
Hit the track number seven, We Are a Taste of Cindy.
I think we understand what the song's about. It clocks
in at one minutes and forty two cents.
Speaker 2 (23:47):
Yeah.
Speaker 3 (23:48):
So as I listened more and more to this album,
especially this song in particular, Yeah, I feel like I
start to understand why these guys were such a big
influence on Shoecase, Yeah, I mean them and My Bloody Valentine.
There's bands, like I said, the Starfire fifty nine I
already mentioned, I.
Speaker 1 (24:05):
Think influential, Like this is another one of those albums, like, yeah,
you're influenced by My Bloody Valentine, but I think you'd
be influenced by this too, just as much. And then
understanding where these guys were heavily influenced by their moons,
like you can see just that same type of evolution.
Speaker 3 (24:23):
Yeah, yeah, I mean there's so many other bands who
write songs like this in the genre later that feel
like a Jesus and Mary change two point zero.
Speaker 1 (24:32):
Well, and when you look at shoegaze, right, you had
all this stuff about punk, and then you had like
the electronica like type of stuff mixed in and lots
of guitar effects. So that created a whole subgenre just
from punk. Yeah, and like grunge subgenre that kind of
came from that mix of punk and hard rock battle
and hard rock influences, and then you got all this
(24:54):
weird dude country stuff that's not even country coming out
that's a little bit of like shoegame, a lot of
grunge and a lot of country, and you're like, wait
a minute, what's going on a.
Speaker 3 (25:07):
Lot of these people that were products of the mid
early nineties. Yeah, listened to all three of those things
because they were all over the radio, and now they
took in juxtapose them into one style.
Speaker 2 (25:15):
Yeah, it's interesting.
Speaker 1 (25:16):
Yeah, I'm very confused with music today and I can't
figure it out, but I'm enjoying when I'm listened. All right,
man on to the first single, just like my old
ass in today's different genres. Never Understand the eighth track
off the album, beginning of side to beginning of side two,
that clocks in at two minutes and fifty seven seconds.
Speaker 2 (25:39):
So three chords pretty much the whole song.
Speaker 3 (25:41):
Yeah, a ton of feedback and screech, pounding rhythm section,
monotone delivery. I mean, when you think about it, this
might have been some folks introduction to the Jesus and
Mary Chain. Well, it was their first single, first single.
They had one other single that was just a single
that came out before. But you know, some folks might
not have heard that one.
Speaker 1 (25:59):
Well, yeah, when you when you look at it off
the debut album, this was the first single, Never Understand
what the first I.
Speaker 3 (26:05):
Think they had a song called upside Down that was
their first single. It wasn't on this album, but it
was a song they like and get them on.
Speaker 1 (26:12):
The Yeah, yeah, just a normal single use Yeah. And
then then when.
Speaker 3 (26:16):
This album came out, this was the first song single
from the album. But I mean, imagine hearing this on
like college rock radio for the first time in nineteen
eighty five.
Speaker 2 (26:23):
Oh, I imagine it probably blew your doors off.
Speaker 3 (26:25):
Yeah, I mean, people like, what the heck is this?
I could picture some people loving it, some people hating it.
I mean, you you've been introduced to bands like that
first time you're held, that's such a great experience where
you're like, oh my god, what is that?
Speaker 2 (26:36):
What is that? And that's there's nothing like that. Yeah,
nothing like that. You don't get.
Speaker 3 (26:40):
You don't get any of that today, you really don't.
It's pretty rare. It's pretty rare. I mean, there's not
a lot of new genres coming out. So when a
band comes out that helps start a genre, it's a
really special thing.
Speaker 1 (26:52):
Well, and it's almost like you got to follow them
through social media to get any of their exposure, then
figure out what they're linked to on Spotify, Apple Music.
Speaker 2 (27:00):
I mean it's just like hard.
Speaker 1 (27:02):
I mean, look how much we try to figure out
Dexter in the Moon Rocks and some other kind of
bands that we were starting to like more.
Speaker 2 (27:07):
It's just hard.
Speaker 3 (27:09):
So in this one, I love the feedback effects in
the last forty five seconds of the track. Yeah, I mean,
just some really cool I think the term would be
harmonic dissonance. That's what I can think of. It's the
only way I could think of to describe it. You've
got these really cool things happening with the guitars, but
there's also this like dissonance screeching in the background.
Speaker 2 (27:29):
I think it kind of starts here the lead guitar
is doing it. Yeah, Yeah, there's just yeah, yeah, yeah,
he's just and it's so low within the mix. It's interesting. Yeah,
Like it's subtle, it is, but you hear it driving, driving, Driving,
and it's so good. I love that.
Speaker 3 (27:50):
Great song. I mean, I could see why they made
it the first single. It's really good stuff, all right.
So onto the next one.
Speaker 1 (27:55):
Inside B is the ninth track of the album, and
the clocks in at three minutes and nine seconds. So
I'll admit a little bit different of a.
Speaker 2 (28:04):
Guitar tone compared to other songs. I got a little
bored with this one.
Speaker 3 (28:08):
Yeah, there's not a lot going on here that's necessarily
better or different from what's come before.
Speaker 2 (28:15):
It just feels if it were done and something could
have been left off the album in my opinion.
Speaker 1 (28:18):
You know what, a lot of this reminds me of.
You remember the movie Scott Pilgrim? Yeah, what was the The
End of the World? Scott Pilgrum versus the World? Versus
the World? Right, so, you know the band Scott Pilgrim's
in and where they're having that battle and then he
hits the you know, gain pedal on.
Speaker 2 (28:37):
The bass and it creates all this distortion and the noise.
This is kind of that similar type of sound.
Speaker 3 (28:42):
Yeah almost, I'm with you there, Yeah, I think that
makes sense.
Speaker 2 (28:45):
Great movie, by the way, Yeah, it is good. That
was really well done. All right, are you ready next?
Speaker 1 (28:51):
All right, Sewing Seeds. We were at the tenth track
off the album. It's another sub two minute.
Speaker 3 (28:56):
So listen, listen to this. What does it sound like?
Oh yeah, it's like like they ripped off themselves, just
like Honey. It's the exact same drug pattern, same bassline,
same guitar. It's the same progression until they get to
like the first pre chorus, and then that's when the
(29:19):
progression changes. It just kind of cracked me up that
they're ripping themselves off on the same album.
Speaker 2 (29:26):
It's just interesting.
Speaker 1 (29:27):
Well maybe you're like, Hey, it worked so well on
this other song, let's try it on another one.
Speaker 3 (29:30):
Hey, it's the other side of the album. This is
where it changes. So they moved to a different progression
right there. But uh, don't get me wrong. I'm not
saying I don't like it because I love Just Like Honey.
It's just odd that they close they chose to make
this one so closely resemble that track. Well, they should
have put it in a track to Marie, which is
the B side of the album, or made it the autrot.
Speaker 2 (29:51):
Yeah. I think I think it would have been better
at position fourteen. Yeah. I don't even like the last song,
but we'll get there.
Speaker 3 (29:59):
But I mean, like the the outro of the song
is so reminiscent of Just Like Honey too, the way
it drops down and then builds back up.
Speaker 2 (30:07):
Good song though. Yeah.
Speaker 1 (30:09):
All right, clocking into two minutes and thirty one seconds
to see eleven track off the album, titled My Little Underground.
Speaker 3 (30:16):
Yeah, so this one is very simple. It's just a
two chord progression with a third one thrown in occasionally.
I mean, but despite being really simple, again, that harmonic dissonance, it.
Speaker 2 (30:28):
Must be very relaxing for as the guitar player. I
would imagine not a whole lot he has to.
Speaker 1 (30:32):
Do that I gotta do, Like, hey, just hit that one.
It's like when you once that Creden's clear Water song,
it's like three core, like uh oh, this one is
like really it's like D and G the whole song.
Oh yeah, here comes the rain, Here comes the rain.
Speaker 2 (30:51):
Yeah yeah, it's just like you're just not a lot
to do, Yeah, not a whole lot to do. You're like,
it's just maybe a little bit differently occasionally.
Speaker 3 (30:59):
But yeah, I mean, good song, honestly, like nothing amazing,
but it's good.
Speaker 2 (31:06):
Yeah yeah, yeah, that bad It's fine, all right.
Speaker 3 (31:09):
Next, all right, we're at the twelfth track, which is
You Trip Me Up, and it's the second single off
the album that was released in May of nineteen eighty
five and clocks in at two minutes and twenty six seconds.
Speaker 1 (31:20):
The B side of the single is the track just
out of Reach. On the UK Singles Chart, the single
reached number fifty five. It was right number six some
under the Tracks of the Year, as you mentioned earlier,
number six, number six.
Speaker 3 (31:32):
They had three in the top ten. It's nine eighty
five by Enemy Man.
Speaker 2 (31:36):
That's great.
Speaker 3 (31:36):
So this is definitely a throwback to that early sixties
pop yep. I mean just the progression and the way
he sings it. But of course it's done in that
Jesus and Mary chainway. Yeah, you know, it's so noisy
and like low key downbeat, like shoe gayzy essentially, but man,
like really good stuff. Just a basic one four to
(31:57):
five progression, but all that noise just make the harmon
portions of the song pop out even more. Yeah. I
love the guitar solo in there too. It's very punk
but at the same time kind of like noisily attractive.
Speaker 2 (32:09):
Man. Just I like this song. It's good, really good stuff.
Speaker 3 (32:15):
Like right here that guitar, well, it's crazy, but it
just what the lead comes in over the feedback, yes,
and it's distinct, but then you could still hear the
feedback that's like driving the rhythm of the song.
Speaker 2 (32:31):
Yeah, it's really interesting. Yeah, it is. It is. The
way they play with noise is really cool. Yeah yeah,
I think that's the it's just different. Yeah all right.
Second to last track.
Speaker 1 (32:41):
Something's Wrong, is the thirteenth track off the album, and
it's probably one of the longest tracks, if not the
longest track on the album, and clucks in four minutes
and one second flight.
Speaker 2 (32:50):
So that lead guitar line in the opening there you know,
is so good. Yeah. Again, nothing complex, but it just
sounds great.
Speaker 3 (32:58):
And again it's got that throw back flared at like
their early sixties.
Speaker 2 (33:03):
Man, like the ethereal vocals from Jim Reid here, just.
Speaker 3 (33:08):
Really good stuff that washed out reverbs so common on
the album.
Speaker 2 (33:11):
Some nice fuzzy guitar that really makes it pop.
Speaker 3 (33:15):
I cranked the volume while listening to this one because
I felt like, I don't know, I was just listening
to it, was like, man, I.
Speaker 2 (33:19):
Need to crank the volume up on them.
Speaker 1 (33:21):
I found myself was because I was so interested in
what was the background of the noise. I ended up
cranking the volume a lot when I was listening to it,
just to make sure I could hear all the different parts.
Speaker 3 (33:31):
Yeah, I mean, I had this one up loud because
I felt like, this is a song that you need to.
Speaker 2 (33:35):
Listen to loud.
Speaker 3 (33:37):
I don't know why this one in particular, but like
it was the one where I was like, I need
to crank this up.
Speaker 2 (33:42):
And it's really good man.
Speaker 3 (33:44):
Like you said, it's the longest track on the album
at like right around four minutes, but it's practically an
epic by this album standards.
Speaker 2 (33:51):
But man, really good stuff, dude. Yeah, I thought this was.
Speaker 1 (33:55):
As for the last track, yeah, I think that's where
we kind of, you know, closing out the album. Is
the fourteenth and final track that's titled It's So Hard.
Speaker 2 (34:07):
That's what she said.
Speaker 1 (34:11):
That pretty much sums up our thoughts on the last
track of the album.
Speaker 3 (34:14):
Yeah, yeah, because I will agree, Like I kind of
was done, you know by this point, and I was like, well,
just let something's wrong, keep on playing. I don't really
want to go to It's so Hard. But yeah, I
didn't really like it at all. But as for the album,
so this is one of those albums that I have
to take myself back to nineteen eighty five, yeah, and think, like,
if I'm hearing this for the first time through the
(34:36):
lens of that time when that album was released.
Speaker 2 (34:41):
I mean, it is so unique and so different.
Speaker 3 (34:44):
Yeah, and I would imagine some people hated it and
some people probably loved it.
Speaker 1 (34:48):
Yeah, And that's what I kind of was when I
was thinking about final thoughts, I was like, well, maybe
we should talk about who would like this album and
who would not like this album.
Speaker 3 (34:57):
This would not be like your frat boy athlete, like
if your kids stuff.
Speaker 1 (35:03):
And so if you like certain bands, like if you
like my Bloody Valentine, of course you're gonna like this.
Speaker 2 (35:08):
Yeah. If you like hum you're probably gonna like this.
I think that there's a sixty five percent chance you're
gonna like this.
Speaker 3 (35:15):
Right if you like eighties new wave, If you like
eighties new wave, I think there's a seventy five percent
chance you're really gonna dig that album.
Speaker 2 (35:23):
That's what's unique.
Speaker 1 (35:24):
But I think if you're if you're like a pure
Ramones fan, you may not like the.
Speaker 2 (35:28):
Album, might not depending on your leanings.
Speaker 1 (35:31):
Right, if you're a fan of nothing but grunge, you're
not gonna like this album.
Speaker 2 (35:37):
If you like garage rock, you just might like the album.
Speaker 1 (35:40):
Yeah, if you're a King Crimson fan, I think you'll
like the album.
Speaker 2 (35:44):
For sure. You know, I think you're looking too that
progressive rock category.
Speaker 3 (35:50):
Yeah right, So this was a lot of both modern
and classic influences tossed into kind of a dissonant pot.
Speaker 2 (35:57):
Yeah right.
Speaker 3 (35:58):
So these guys were very influenced by a like Neil
Sedaka from the early sixties, right, that kind of like
teen idol yep, like what do they what did they
call it at the time, teeny bopper radio, but the
Velvet Hunger Underground yep. Right, hugely influenced by them, The Ronettes,
they loved the Ronettes. The Shangri Laws were like one
of their biggest influences. I think I remember reading a
(36:19):
quote from Jim Reid saying, if we can just make
an album that sounds like the Ronettes with our sound,
will we'll be happy. Yeah, there were not the Ronettes,
I'm sorry, but the Shanga Laws like that was one
of their biggest influences. They were influenced by the Beach
Boys and again the Ramones.
Speaker 2 (36:34):
Well, and I could hear Beach Boy, you could hear
pet sound influence. Absolutely.
Speaker 1 (36:39):
You can hear a lot of my Bloody Valentine, Yes,
you can hear. I would say, there's some new wave
stuff that like I could definitely hear like a little
bit of like Talking Heads, sure right, a little bit
of like early Blondie, Like there's some other other mixes
(37:00):
is that I kind of hear, and especially like the eighties,
a lot of eighties movies, Like it seems like it's
a dirty tears for fears.
Speaker 2 (37:10):
Sure, yes, I'm with you there. That's where I would classify.
Speaker 3 (37:13):
It's very dirty tears for a dirty in a musical sense,
not a lyrical yeah, well, and lyrics except for that
one song.
Speaker 2 (37:23):
Well, just like Honey is apparently about you know.
Speaker 1 (37:25):
Well yeah yeah, okay, so yeah, there may be there's
a few of them, and there's a few of them
in there.
Speaker 3 (37:29):
Yeah, I mean there's a few misses on the album,
like It's so Hard Inside Me the Living End. There's
also a lot of songs that really hit with me
far more than didn't honestly, and kind of pointed me
to later bands that took their influence from this album.
Speaker 2 (37:42):
Yeah. I mean, these guys.
Speaker 3 (37:44):
Were completely unapologetic about their style, which I totally respect.
They caused several riots just by getting up on stage
and being freaking loud, and I mean, man.
Speaker 2 (37:55):
Because if you are going to Riot then will be loud,
as will be loud.
Speaker 3 (37:59):
So I wasn't as prepared for how many like distinct
lines I could draw back to the band's influences as
I actually was able to with this. So, man, when
I think about this album and what I would rate
it like, I'll definitely be coming back to it.
Speaker 2 (38:13):
I gave it night and a half. What do you think.
Speaker 1 (38:18):
It's gonna be? Kind of hard? I respect kind of
what they did on the album. I found a lot
of it to be noise. So when I think of
it my own personal view of what I liked, I
give it a six six gotcha, just because it was
just hard to really listen.
Speaker 2 (38:40):
To the times.
Speaker 3 (38:42):
Because I've been a shoegaze fan for such a long time,
I think that also colors.
Speaker 2 (38:46):
The way that I look at the album.
Speaker 3 (38:47):
It may be because I've loved shoegase since like the
mid nineties.
Speaker 1 (38:51):
And I loved and don't get me wrong, I love
my Bloody Valentine right, and I love but a very
different kind of noise. It's just a different type of noise.
This was from my ears and what I like too much.
But what I there are tracks I really liked about
it because how the lead singer harmonized the vocals with
(39:11):
the noise. That's very interesting, like and there's but it's
one of those albums for me, there's two or three
tracks that I really like and the rest of the.
Speaker 2 (39:19):
Album gotcha not my bag. Yeah, I get that, I understand,
But it's still I think a solid six.
Speaker 1 (39:25):
Sure, you know, but it probably bet you know, influential,
maybe more influential than that, but you know, I don't
have enough knowledge to to perform a rating of that,
but at least my own preference, it's a six.
Speaker 2 (39:39):
Yeah, I mean, and I understand that completely.
Speaker 3 (39:42):
I grew up researching shoegaze bands in particular because there's.
Speaker 2 (39:46):
So many of them that I loved.
Speaker 3 (39:48):
Yeah, and you almost universally see them draw a line
directly back to the Jesus and Mary Chain. Oh, there's
no doubt like that to me was what got me
really interested in these guys. And so when I think
of it through that lens and I think, Okay, these
are the guys that influenced these other bands that I like.
There are some things about them that I'm not a
huge fan of. But at the same time, when I
(40:09):
think about, like what drew all these other bands to
take influence from the Jesus and Mary Chain. The elements
that I love are there, like the noise, well within
the noise, yeah, the beats and the guitar tones, yep,
all of those are there. Yes, there's other elements I'm
not a huge a fan of, which is why I
don't give it a ten. But at the same time,
(40:32):
I give it partially for its legacy. That's a lot
of what drove it to me.
Speaker 1 (40:36):
Now, Yeah, for me, Yeah, I can see that all right, man,
all right, and that's fun. Yeah, I think that was
a good It was a good discussion. Yeah, really good.
And with that we are at the close of yet
another episode of Adventures in Vinyl. If you like the
music featured on this episode, please check out today's website
on the episode and you can get all links to
all the all the segment tracks, so song of the Week,
(40:57):
Stumped the Baron and then a link to the album
so UH you can get your link sample music there
so you listen to the same stuff we listen to. UH.
For more information on the band that Jesus and Mary Chain,
check out their website at www dot Themary Chain dot com.
Speaker 2 (41:11):
They're touring. Oh really, yeah, they're touring.
Speaker 1 (41:15):
So, I mean, you know, it's one of those older
eighties bands and they're still doing it. Probably probably a
really cool show show to see.
Speaker 2 (41:21):
Awesome. I hope they keep touring.
Speaker 3 (41:23):
Those those brothers that you know, the lead to guys
in the band, they have to fight a lot and break.
Speaker 2 (41:28):
Well, we'll see what happens. I think it has to
do with all those brother bands. Yeah, Gallaghers and you know,
all those guys.
Speaker 1 (41:38):
If you enjoyed this podcast, be sure to check us
out at our website at www dot Adventures in Vinyl
dot com, or you can find links to all of
our episodes through our Supports section. You can find a
place to order your very own Adventures and Vinyl t shirts.
Follow us on Instagram at Adventures not in dot Vinyl.
Be sure to subscribe to the podcast and leave a
review or not, we really don't care at this point.
Follow at them on Instagram at the Pillow and myself
(42:01):
at Todd David Ward and with that on Todd Board.
And I'm Adam and we will see you next time
on another thrilling episode of Adventures in Vinyl
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