Jesus & Mary Chain includes: William Reid, Jim Reid (vocals, guitar); Douglas Hart (bass).
A notable reissue of the Scottish grop's 1985 debut release; Bobby Gillespie (Primal Scream) handles the drumming duty on this recording. 1999.
Arguably Psychocandy is an album with one trick and one trick alone -- Beach Boys melodies meet Velvet Underground feedback and beats, all cranked up to ten and beyond, along with plenty of echo. However, what a trick it is. Following up on the promise of the earliest singles, the Jesus and Mary Chain with Psychocandy arguably created a movement without meaning to, one that itself caused echoes in everything from bliss-out shoegaze to snotty Britpop and back again. The best tracks were without question those singles, anti-pop yet pure pop at the same time: "Just Like Honey," starting off like the Ronettes heard in a canyon and weirdly beautiful with its bells, "You Trip Me Up" and its slinking sense of cool, and most especially "Never Understand." Storming down like a rumble of bricks wrapped in cotton candy and getting more and more frenetic at the end, when there's nothing but howls and screaming noise, it's one hell of a track. However, at least in terms of sheer sonic violence and mayhem, most of the other cuts were pretty hard to beat, as sprawling, amped-up messes like "The Living End" (which later inspired both a band and a movie title) and "In a Hole." "My Little Underground" is actually the secret gem on the album, with a great snarling guitar start, an almost easygoing melody and a great stuttering chorus -- not quite the Who but not quite anything else. What the Reids sing about -- entirely interchangeable combinations regarding girls, sex, drugs, speed, and boredom in more or less equal measure -- is nothing compared to the perfectly disaffected way those sentiments are delivered. Bobby Gillespie's "hit the drums and then hit them again" style makes Moe Tucker seem like Neil Peart, but arguably in terms of sheer economy he doesn't need to do any more. ~ Ned Raggett
A love of classic pop songs and sonic terrorism conspire on this euphoric collection. Fuzz guitar, distortion and feedback drench almost every track, but beneath this assertive noise lies a gift for melody inspired by the Beach Boys and girl-group genre. The contrast is beguiling and if the constituent parts are not original, the audacity of such a combination is. Understated voices and nihilistic lyrics belie the intensity forged within. Created by passionate adherents of pop culture, PSYCHOCANDY is one of the 1980s' landmark releases, inspiring some to follow a similar course, while others took similar influences to forge a quite different perspective. minimize