11 Songs I'm Playing Constantly These Days

In no particular order:

1. The Weakerthans – "The Reasons"
2. Scott Bishop – "The Start (Again)"
3. The Wrens – "Rest Your Head"
4. Ride – "Time of Her Time"
5. Ride - "Furthest Sense"
6. Idlewild – "Little Discourage"
7. All – "She’s My Ex"
8. The Shiela Divine – "Like a Criminal"
9. Manic Street Preachers – "Marlon J.D."
10. Bob Mould - "Paralyzed" (yes, still)
11. The Big Sleep - "Pinkies"

- Snilch

Manic Street Preachers - Journal for Plague Lovers (2009)

I normally like to hold my cards close to the vest when starting a review, but this album has defied my attempts to control it and has a will of its own.  To be brief: this album sums 14 years of one band's journey that has included drama, mystery, and tragedy, into a concise musical statement that exceeds any expectations I had for it.

Now, the story: and what a crazy story it is.  To sum up the Manics (I highly suggest reading the more detailed version here, if you are interested or want a refresher), you need to look at only two albums:  The Holy Bible (1994), their third (and best) album as quartet, and its follow-up, Everything Must Go (1995), their best album as a trio.  The transition element here was rhythm guitarist and principal lyricist Richey Edwards, who disappeared, never to be seen again, between albums.  His vitrol fueled Holy Bible; what he left behind (including all the lyrics) inspired the other three to follow with EMG.  

Since 1995, it's been an odyssey for the Manics; they've never recaptured the form of these two albums in their next four.  They still have moments that remind you of their previous high water mark, but both the rate of their output and the overall consistency of their albums have suffered over time.

Fast forward to 2008.  Edwards' family declared him legally dead; with the family's permission, the Manics went back to Edwards' remaining journals, which included lyrics for the album after EMG.  I can't think of an equivalent scenario; it's equally sentimental, intriguing, and (on some level) macabre.  Scott and I heard a few of the songs when we saw them live; they were clearly of quality, so I went out and picked up the album. 

The result?  Absolutely inspired.  Not only is it consistently good from front to back, but "Peeled Apples," "Journal for Plague Lovers," "She Bathed Herself in a Bath of Bleach," and the standout "Marlon J.D." can stand on their own with any song in their catalog.  Add in bassist and Edwards' lyric co-writer Nicky Wire's first ever Manic lead vocals on the song "William's Last Words" (which seem a little simple and unprofessional at first, but as the song goes on feel more and more haunting and sentimental)... it's the kitchen sink here.  

When the Manics are at their best, they feature James Dean Bradfield screaming over a sensible but inspired Brit rock sound:  it comes off as a beautiful cacophonous rage.  It's insistent and inspiring.  The hidden track (and why, for the love of God, do these things still exist on CD's?  WHY?) is even great. 

My conclusion, rightly or wrongly, is that The Manics were always best when Edwards lyrics fueled a cathartic musical reaction from his bandmates, and it's clear that remains true even today.  They are a good band without him; they make a difference with him.  Why?  I have no idea.  That's just the way it works with these guys.

Richey Edwards final gift to the The Manics was not wasted, and completes the trilogy of his (and their) best work.  R.I.P. Richey.  (Or, if you've somehow actually successfully hidden yourself for 15 years on some deserted island, enjoy a mojito on me.)

Merch rating:

CD Placement rating: Car CD Changer.

Three Nights, Three Shows

I used to get out and watch many more shows than I do now; age, responsibility, and the economy have curtailed that in the past few years.

Inevitably, every band I want to see comes to town in the same two week span. For example, this week I had to pass on Jay Reatard, The Beatings, and Grizzly Bear because of show conflicts, and work is probably going to rule out jumping down to New York to see The Black Watch in two weeks at CMJ (I am still holding out hope, though!).

The shows I did go to see were "must-see" shows. Lots of compatriots over the three days, although Scott was the only one brave enough to hit the trifecta with me (and he threw in a fourth show Thursday -- show-off). Let's start with Wednesday.

Bob Mould, The Paradise - Wednesday, October 7
I've seen Bob ten or fifteen times since 1995; this show was the noisiest of the bunch, and that's saying something. I've complained that Bob doesn't vary his setlist enough; he responded with a show that included six songs (by my count) he hasn't performed with a band in fifteen to twenty-five years. I counted only three missteps the whole night -- one new song and both songs of the encore -- but otherwise A to A+ stuff. Overall, this was more a noise and effort tour de force than a musical one, but in the best possible way. Bob was in a great mood, gave lots of energy to the crowd, and played his butt off. Hearing "Something I Learned Today," "In a Free Land," and "Poison Years" with this band was epic. Jon Wurster of Superchunk on drums: phenomenal technically and smiling the whole set. His positive energy was palpable, much like watching Matt and Kim. Jason Narducy of Verbow on bass, backup vocals, and the e-bow for "Sinners and Their Repentances": a pro all the way, a great compliment to Bob's vocals, and a luxury to have someone of that talent in this band. The (typically lethargic) Boston crowd: as enthused as I've ever seen at one of his shows; Bob really should have come out for a second encore, the crowd was really ready to stay all night. Lots of great energy being passed back and forth. I left with my ears ringing (despite wearing plugs) and I couldn't care less.
Merch rating: I bought a CD on the way out, and would have bought more if I didn't everything already. He's still the best.

The Manic Street Preachers, The Paradise - Thursday, October 8
The Manics' first show in Boston since 1992 (they didn't make it this way in 1995, canceled last minute in 1999, and haven't come to the U.S. since) also did not disappoint. Despite James Dean Bradfield complaining of a cold and this being the last night of the tour (which, for any band, is typically a toss-up between total brilliance and utter disaster), the Manics started strong and stayed strong. I was surprised how few songs I knew; the new songs sounded great. They started with "Motorcycle Emptiness," which seemed to go on for ten minutes; they could have continued for another thirty. They were ferocious, they gave everything they had, and the crowd responded in kind. A great show.
Merch rating: The merch table was pretty empty, as these are the final pickings of the tour, but I would have bought a t-shirt or album if one had been there. I will definitely be picking up the new album and reviewing it.

Built to Spill, Middle East Downstairs - Friday, October 9
This was the first of three shows in Boston, supporting their new album (which I've seen very favorably reviewed but have not picked up yet). BTS has the potential for all-time great shows (I've seen them put on a few) and for pretty average shows (I've seen them put on a few), as well as anywhere in between; but I've never seen them put on a bad show. Until last night, that is. We actually walked out 2/3 of the way through their set, and we weren't the only ones. Something was wrong with Doug Martsch's voice -- he was slurring his words and had some weird head motions throughout the show. I was happy to see him play some more of the leads (as he should) as opposed to old shows; he was giving it his all, but the rest of the band was very flat. When Scott and I agreed we'd prefer sleep to watching any more, that was it for us.
Merch rating: Technically, the merch rating for this show should be that "I'll turn my back on them," but I've got too much of a history with this band to not give them a second chance. I will pick up the new album, but not because of this odd mis-step by a great band.

- Snilch

The Manic Street Preachers - The Holy Bible

The backstory of this album is almost as good as the album itself, which is saying something. The Holy Bible (1994) is not only a great album, but a snapshot in time due to the dramatic circumstances surrounding it.

The Manic Street Preachers broke significantly into public consciousness during a legendary interview with lyricist/rhythm guitarist Richey Edwards. The interviewer was grilling the Manics on live TV about whether they were really sincere or just faking it. After the show, Edwards, who apparently felt sick of answering these questions, met with the interviewer backstage and pulled out a razor, carving the words "4 Real" into his forearm. Next stop? The hospital for 17 stitches. Next question, please.

For the Holy Bible (their 3rd proper album), the Manics (a four-piece: singer/guitarist, bass, drums, "rhythm guitarist"/lyricist) relied heavily on Edwards, a self-mutilating, anorexic drug addict and alcoholic. (I'm sure he was fun at parties.) Despite all that destructive behavior, his lyrics were the driving force behind the album, although he did not sing (that was singer/guitarist James Dean Bradfield, who primarily wrote the music). Edwards was also in charge of the band's visual presentation and their overall "manifesto," but onstage it was pretty obvious he wasn't playing -- sometimes they did not even plug his guitar in. Very odd.

But Edwards was pivotal to the band's edginess and balance. In and out of rehab in 1994, Edwards was back onstage pantomiming in the fall of 94, and the Manics prepared to travel to America for their first big chance to make a big impact there.

On February 1, 1995, Edwards checked out of the Embassy Hotel in London, and has not been seen since. Seriously. Yesterday was the 12-year anniversary of his disappearance, which came and went without a definitive answer as to what exactly happened to him. Did he commit suicide? His car was found two weeks after his disappearance near a bridge known as a favorite spot in London for people to kill themselves. Did he deliberately disappear, fed up of the life and failed rehabs? He took 200 pounds a day out of his bank account for two weeks (2800 pounds total) before his disappearance, and left no note; his family had the option to declare him legally dead in 2002 and declined to do so. And there have been numerous sightings of him over the years, none definitive, of course. Hmmm....

If this sounds interesting, you can get the synopsis here: http://www.richeyedwards.net/. Or by searching Richey Edwards. It's all very bizarre but completely fascinating.

But I digress. Regardless of what happened, it's pretty clear Edwards was in a bad place. This resulted (as it often does) in a great album, both lyrically and musically. Bradfield in particular matches the lyrical intensity with a great grunge-ish sound that much grittier than you would expect from a typical UK band of the time.

The sound overall is heavy, but is very grounded in pop sensibilities. Bradfield's voice is a compliment to the driving guitar and solid rhythm section. Sean Moore is an excellent drummer and his chops show through on the album. Think punk-pop with R-rated lyrics, a great groove throughout. I find no true transcendent single on the album, but it truly is a great album from front to back.

Now, you're probably saying: "Yeah, that sounds great. Why the hell haven't I heard of it?" The Holy Bible was released in 1994 to great fanfare in Europe and to very little attention in the US.

How big is this album in Europe, you say? In July 2005, the BBC conducted a number of polls celebrating the 25th Anniversary of the show "Newsnight," asking their viewers about things like albums, books, works of art, etc., that were their favorites. The top album? The Holy Bible. 2nd was OK Computer by Radiohead, and 3rd was Pink Floyd's Dark Side of the Moon.

Now that is high praise.

Now as for my Merch rating*: I paid $30 for the 10th Anniversary Edition of this album, which contained 2 mixes (UK and US) and a DVD, as well as extra tracks. This album is well worth that, and I'd suggest the US mix to listen to if you pick it up; the DVD is nice but the extras are better for a die-hard. Still totally worth it. I'd definitely go see them the next time they came in concert, but I think I'd draw the line there; I would not buy a t-shirt at the show. I would not buy their next album without listening to it first (see below).

Other albums: Everything Must Go (the album after this one) had much of the lyrical content written by Edwards before he left, and thus is the Manics other great album -- I will buy the 10th Anniversary Edition if it ever comes out in the US. These are the only 2 albums (IMHO) worth purchasing from the catalog -- it's pretty apparent that Feb. 1, 1995 was a huge turning point for the band. On the upslope side at the top of the hill is The Holy Bible, which represented a logical progression as the best of their first 3 albums and their most mature effort. On the downslope side at the top is Everything Must Go, released in 1996 (actually their best-selling album) and also brilliant. The albums that follow can't match it's intensity, intelligence, or insight: not their fault, they just really are a four-piece band who lost a member along the way.

I highly encourage you to listen to this one -- it is definitely a keeper!

- Snilch

*I'm not sure if I will make this my permanent rating system, but rather than going through the blah blah blah of 7.8, 4.5 stars, 18 Lucky Charms Marshmallows or some other system of arbitrary measure, let's just cut to the chase. Cold hard cash -- merch (merchandise) says it all, right?