THE JESUS AND MARY CHAIN North London Polytechnic

"CAMP ... INCA RNA TES a victory of style over content. aesthetics over morality, of irony over treqeav." - Susan Sontag on Camp. 1964.

"A society which deprives people of the hope that things might get better is in deep trouble. " - Daily Mirror on football hooliganism, March 1985.

Jesuses come and go, and The Mary Chain Boys - brave cowards like most characters in Shakespeare or Genet - are great pop-art, petulant. pretty. shallow, devoid of blonds. into shades, and futile. But they are not mere coffeehouse revolutionaries. In an age (The Good Old Days) when Alison Moyet and Paul Young are afforded critical respect, a lot of f***ing around is surely called for.

They are not yet exploiting the media because the real. grown-up media - the one with influence - remains unaware of them. Soon, when they swear on Wogan, this will chanqe.

Tonight's brusque 25-minute dutifully onginal mangling of 'The Gift' and 'Bodies' provoked a violent (choreographed? manipulated? who gives a shit?) aftermath which though vaguely frightening was predominantly wild and exciting. History. To (immorally?) perpetuate this snowball, they create their own rare and glorious justification - le. they get a reaction.

With a grace-sozzled viciousness, amps fly through the air like preconceptions. Rock and roll breathes and twitches again like the third rising of the supposedly slain psycho in a tacky horror movie. They know you're a mess! Clutch at this reborn fantasy of youthful rebellion before the amniotic ftuid turns to cellophane; before you're too jaded to fall for it. One last fling? Awful. Gods.


POST GIG celebrations as a road person trounces a punter and police display their new brand of break dancing {pix by Steve. Callaghan}


Belgium uealcs under the tit,_" 01 rfre Jesus and Mary Chain

THE JESUS And Mary Chain returned from Brussels test

:ner!~:~~~~n3u~e~ !~d";c~~t~I~~esSe~f;~d~~~~~~h~~~~:{

were guaranteed to prick up the ears of your Jaws sleuth (to coin a phrase).

According to the wild boys' manager Alan Mclarensorry, McGee - the band destroyed the set that had been SPecially crealed for them while they mimed to their 'Never

~n::hS~f~g~~~nPr~mTt~~ 'b~~~~~t~:~'~~:C:;;~O~aSg~r~t he had

But worse was to follow. The group were due to be intervH~wed 'in a toilet' aher the song but they refused

Instead, the interview was ccne on a sofa but while Jim and Douglas were answering questions at one end, Bobby was Indulging in some heavy peUmg at the olher end With a young nubile.

~They were practically having sex and everyone was Irying to ignore it, ~ exclaimed Alan

JaWS decided to brave the Belgian telephone system to hear the TV producer himself frothing down the line at this latest rock 'n' roU oUfrage I' English Jaws finally got By speaking slow!y and Cle~~:r I~om Huvbrechts. who

~~~~~r~::'~~::'a!~rn~Pyh~f~r~~a\~\;~~ell us how much da'~~~~'~~n~~~:t~~~ ~1!ley. di:~t~?s~~~~o~far~'{;~il~~~~~ea set ;~:~;~n~~~~~ ::v~e;;k~ ttl~em to smash it up."

But what about the damage?

~~:It they bent a mlcropho~e s~as7~e:A~~~~~h~ t~~~~as ~~~~t!~i~~h!!ew~!~e tg"c!i:;'g ~::hrow away aherwards,

an~.a~~~ what about .the interview. Why did you want to

int!!It'!!~~~te:t~?I:t,t~~~~~,y. It wa~ .~~!~feO:e;,h~~~e h:od.!e

toilet in it. But they dJdn t want to I .

changed it tc! a ~Of~. t when the drummer started haVing see~t~O~ :i~1f~i~~dJ::' the sofa while the interview was

gO~H~~~~ sex? I. don't think so. ~e t~!:!'"~~;~~:~~ ~he:~ 'r he ~~~nuk~~~aJ~~~::I~~,'t'h~~:~~~th:r journalist on the phone

fro~x~":e~k7~.;;~;~e~·A~~ ~~M ~ht~nV~lff~~:kr~~ha~EA ~~~~~~s~~~ ffo;~~~~e ~~ard all this before.



OanCeteria, tva! ::~R'Y Clf411V



fiee/lle 801lrOOiTIIOndon

The Inca Babies, four angry YOUng men from M.:n::hesrer,PI'odUCingMeloudfOWotscreed'WIg rumbhnolltJl13rs, Punk's baslardottspnnl1 lias I1rOWlllflt03I1reydePl'eSsmg,SIlappmg3f11ma1

Whdr IS rapidly disappeanng up us own angsl No fUMe.

Talkmll of whICh. are The Jesus And MaryChalll rile new Se.ll PistOls? O!ffiaJlr 10 !eII When 'heir sel lasts only 15minules. Perhaps lhelmpacr 01 rllelr !ouenng hell lor Ita!/Jef rOCk WOUld du~ dUring a _set

They balance 00 lhe edge 01 coJlapseas tne gUItar piCks out SOIitarylmes tllrough a waR 01 Otche~illalleedbacII:, The secret 1$ In the SOUnd Somehow from the Chaos 01 overdrlven amps they produce a radICally new caOOphooy Ihal bofdersOfl lhebeauliful. Their three Slflgles are merelylhe lip Of1heiceberg.

The illl/SIOn's shallered wIIefI rhe angry crowd, denredeven an ercoe. vent their anger on the PA and light rig JMC weredesil1ned to !ngnlen. bur ar!ISIICaIJy AOr PhysiCally




Manchester Hacienda

THE JESUS AND MARY CHAIN Boston, Massachusetts

UFE'S CRUELTIES never cease. While people are tallin, down drunk across town,l am condemned to endure an embarrassing romp through feedback land; 40 minutes 01 music thafs bound to set rock 'n' roll back to, oh, 19n.

Belaboured delusions of grandeur, Jim Reid screaming "p"r over and over and over ... brother Billy's boring barre chords, a 'crowd' of teens conspicuous by their apathy. These are the new Sex Pistols?HQ,V'C» PR~

Without the distractions over overturned amps, smashed luitars. ripped·down PA systems, filhts on stage and eleventh hour rescues by gun-toting cops, JAMC are just another angry night dressed in black. a laconic theatre-ol-the-absurd, an embarrassment to the spirit of Sid. The Pistols at least threw melody into their madness - 'Upside Down' and 'Never Understand', on the other hand, are merely noise disguised as histrionics.

In fairness, there was a moment when I did feel a certain nervous enero, a sudden shuffling of feet you might say. Before the reaper could do his dirty work. we drank one last whiskey to the spirit of 20 minute sets. then kicked dirt on the




THE .-sus AND .... RY CHAIN ~(8&8nc.''''''1 forawn,lebackthere,tlhoughl:1MlAt blgIttongold, losing my gnp Along ClIme the Sm'llIs and the Coc:tNU Twvls and Prelab Sprout end all tht rest oIthem,lndtheyW8f1lallveryfinflbul they 00n~ make you lee! the way reoo<ds ",sed to You remembef how It wtk)hearPaniSm,!h'SHrJt$e$thefitsl lime. Of Unknown PlMSUI'8S. Of EJectnc ~.OflhefitslDoorsalbvm.orthe fir&lClashalbum?();dn~lheydo somethIng"'?~lSoneol thoselllCXlfds Ulatma,," you want to JUsllIe bKk and HOWL A bur1eef1 IraCkflying he.dbun 111 the lace 01 rned!ocnty. I'd n.d ~ngenng 6DubC$, uetu now, thai the SIngles __ lOSpIred lIashes'"thepan,.ndthW~ mif!ula live sets !h,nly dlSQUlMd a oeerth of maIenal How wrong I was Almoat_ryUllCksucksthelistener further ,n, Whe<e most,_ rocks bands are content wLm artful reeombonatoons oIlI'IOI'1Iorlessltandard'lI'IIIgIIfy.the Mary Cham use eU 01 these but stIr thefTl,nlO the lava which ISlhetrYBfY awnen,lplion. UisasdfflCUltloptCkoul


excepoonal trllCtlS as rt 'SIO find • ..,.

wtucn "'l*Otwpar. The..-.-w: grab!iyouiboul IWenty seconds Into

the 'OP8'* Nst UleHonly. end ean.s yoonghtthtouOhlOlhedyingll(:rums oIir:JSOHetd,WlltJalr1Jt'lDlldtll'mblil'lg haJtwaythroughwhileyouMtllt\e ...coroover. r.s.dGn1y .• ~onalreetMe{;'()f!lpillobOn

q .... t8recendy.~IMD. tnathtaklng8fomqlHlsp!endoorol. teen.geboesong.whochttvobl,. Yibnlle&.nd"nallyshatlers'~1 INvingsphnt_st,ngonglIlyrNI80lil$' )bu." .... Upna$beensubtlyre-

tMj,ted . .nct now the r.sIoIthesong toOUndsasmt;eslocasthillirstth,rty semndsoltheSlrtgledld,OI'Ihe sirIgIIs."~.only~~ doesn'1mllmta,nItSMlSIalu",.,1he I conteJrt 01 the dlum. but youwaltNdy goIthatona,rmaure.lshouldgela hoId~~.I·m",,"ongqurleeam.d BWa'f Butch. lhoesho(:k,ng sompllcotyd

~".lhegr-.thesubdlty.the 'P'I''Ib.lIshoukln1_le!me



Barrowland, Glasgow DAVID BELCHER


and V gl~.

'In A Hole" commenced matters

and I kid yoU not, it was quiet,

e nobody can get into. AnYPSYChOlogisi would telryOU Ihaf I'm an insecure person (laughs).

"TherewOU/dbeanacouslicgUitar there,Possiblyagrandpiano. Thewafls WOUJdbesollandsoWOuldtheceiling. There would be lots 01 carpets



YE OlOE Reid brothers don't look like surfers, but these days, they sure sound like they travel by pipeline.

In the dim afterlighl of 'Psychocandy' their Mary Chain have reversed into the future. Proof? Here were several swipes from 'Surfin' Safari'! Plus the world's weirdest and funniest version of Diddley Daddy's 'Mona', and their fuzzy recollections of Andy Williams Show-style 1967 pop. Jim has been altha beach playing his Lee Hazelwood tape a lot, I'd say.

'Some Cancty Talking' erred a little on the safe side, but 'You Trip Me Up' and 'Never Understand' have aged grudgingly, with experienced venom. There was a magnificent new ballad, titled (correct me) 'Don't Get Hit', wherein the fuller-figure (five) live group circled like buzzards round Jim's startlingly genuine ache. The concert Mary Chain are a dilution of a wonderful idea, but if more such songs are riding that pipeline, then they needn't fear a lifetime locked in the studio.

With now two guitarists taking extreme care to produce the desired feed waves, they now offer a richer texture, even though the core of their material is devastatingly simple. So were their audiences, but this night nary a beaker was chucked - the dumbskull fringe have got the message at last.

Dead man's curve is a long way off for the Mary Chain.


THE .JESUS AND MARY CHAIN (above) release a new single next month and setout on a ten-date UK tour in September. 'Happy When It Rains' is the title of the single, produced by Bill Price, and It's out on August 3. Their second album Is almost complete and should

be released just prior to the tour, which takes In Portsmouth Guildhall (September7), Nottingham Rock Citv(8), Newcastle Mayfair (9), Glasgow Barrowlands (11), Manchester



en ::::)

en III ..,

III :z: ~


"THESE LADS .r. from East Kilbride .ren't they? W. did. lot of Tutti Fro"' there ... the IoCliI tandoori do.. • very pa ... ble prawn-in-thebasket.

... really Ilk. them but I'll have to put them In touch with. decent engineer who'll do aomethlng about that flHldbIIck. Actually this group iIIustrat.. yet 8,,8/n Scotland's and especially Glasgow's, unique ablltty to d •• 1 with the n.w. They couldn't heve hap-. pened tf they'd been from London. I'm convinced of that,"

THEJESUSANDMARY CHAIN release their first single of the year on Monday, and their second album IS expected in late summer. The single is called' April Skies' and backed with 'Kill Surl City'. The 12 inch has a longer version of the 'A' Side plus an extra track, 80 Diddlev'a 'Who Do You Love'. There is also a double pack which features 'Mushroom (live In Nuremberg)' and 'Be Diddley Is Jesus',

THE JESUS AND MARY CHAIN: April Skles (Blanco Y Negro) This is bloody GREAT! (Flings legs in the air (IS he's lolling on the (loor in squiffy ~mode~ by this time,) All their records are bloody GREAT! Maybe they are the future of rock 'n' roll! I'm sure they don't want to be though ssssss! It's bloody GREAT! It's a smoocher! It's really really good", it's poetry, it's natural, it's

r ~xciting. To me what's good IS poetry I suppose. Yeah - it's GREAT! Put another one on!

Chain gang


'and William Reidbetter known, of couse, as The Jesus and Mary Chainrelease their tint siD&le of '87 next week.

It's called April Sldes, and the 7 !Deb _Ie __ •

--iDe Bo Diddler I.

}ems and. __ of

CaD's AIumnJoaa.

1Wt Je.s1..6 Aw;\ ~1 ~it\'~ .sJt.<.LE J 'API<.1I. S<:.lES' GoEJ. \N1b 14E (,,'10 AT"" I~

OIJ AflUL '1.~'" ANOT.E. UItO"p ArfE4R. O!.l'Tot' Of 1iH: Pops' ON -ru>£IL 00 ...... -mE fOu.o-:>l~ •

• IF:!)::, J 'Af'lCll SKIES' u<£l, r., NO. 11. .


The National Ballroom. London

EXACTLY a year ago I spent whole days floating in the grey haze of "Psvchocandv". A Mary Chain melody would sing in my head, blend inevitably into another, right through their entire songbook. Their noise filled the mind, not with frenzy, but with a kind of serene oblivion. This is the new psvchedella, I thought.

Tonight, however, I was not blown away. My consciousness was not blotted out. There was no rising smog of white noise to blank out and conceal the ancient familiarity of the tunes, the stumbling, lolloping rhythms. No, the riffs and

the chord-changes were articulated clearly. in all their trite. hoary inevitability, if still tugging feebly at the heart by dint of their sheer immersion in pop history. their manipulation of our reflex memories.

I always thought The Jesus And Mary Chain

was about being frozen in an irradiation of noise. about making no physical response at all, like the group themselves. About letting the noise dance in your head. Still. the audience want to have a jig as audiences do, and despite the stridently undanceable beat. transform themselves into a bobbing, undulating unholy mass.

With the exception of the sky-kissing intensity of "Inside Me" and "In A Hole", this was mild. The novelty has worn off. The first four singles and the LP stand as one of the great pop essays, perfect for that moment.

But now The Jesus And Mary Chain face the problem of moving on from that unsullied suspension, tampering with it, and they're floundering. They badly need to pull off a surprise or two. Incorporate some strings or some scratching t As it is, their compression of the sweetest and the fiercest in pop history. Spector and the Velvets, seems stifled by its own pat good taste, a summation. A full stop.

Of course the fans - a sad-eyed sea of black clothes. black dye, leather and hair gel - were satisfied. But then these people will be here in 1997, wanting the same things from rock, the . same ritual - thin boys in black trashing a stage - reenacted.


The Mary Chain's Reid brothers .. truly splendid performers,


SOUNDS January 31987 Page 33



THE JESUS AND MARY CHAIN Kilburn National Ballroom

~EEEEEYI MONDAY. The Jesus And Mary Chain take th' stage, grey skeletons of their fonner setvee. Five nervous under-rehearsed men with an expectant audience ahead of them and no soundcheck behind them. They are weak and incompetent; the irony behind the unintentional and tedious feedback is too beavy to be humorous. Ob dear, oh dear'!"p~

dear. --

Their only acceptable escape route is a rumbling and ragged decapitation of 'Hey 80 Diddley' which goes "Heeeeeeeeeeeeeeeey", hacked UP. fed through a feedback blackwash and emerging like a musical Jackson Pollock. Tbe Mary Chain are quite suddenly back in the Ambulance Station, or lubricating Mr McGhee's Living Room, screeching their way through a standard. set that was acceptable then because, for the flf'St time in a while, a long while, some Scottish unheard-ofs were perfonning in an exciting and inebriated manner.

It is not acceptable now because the Brothers Reid have supposedly passed their tantrum stage and are now concentrating on the production of classic pop. And rightly so.

It's Tuesday. The boys are looking very Beatles·in· Hamburg, rat-eaten and knackered but notably attractive in their leathers. Never has 24 hours done any band so much good. Tonight, The Jesus And Mary Chain play their confidence as often as their guitars. They are once again affronting, crap tech, bold gold stutters, they are at their fullest, their loudest, and their most rigorously simplistic.

They burn through their set, shorten it in the snooty manner we are accustomed to and garrotte any doubts fanned the night before. James Reid is a suitably nonchalant wee shitbag; he hovers, scowls and dribbles in the way that all good anti-social dragonflies should behave.

'Heeeeeey' is so appropriate because, whereas lyrically The Jesus And Mary Chain rarely differ from the popular subjects and standards kept by Madonna Ciccone Pam and her ilk, musically their roots head right back to the CLANK! Bo Diddley first pulled from his guitar, he being the first person to make the guitar sound like an incensed industrial animal whilst still using it as an accessible pop instrument.

The Jesus And Mary Chain are a hannless piece of brain candy, a sweet stimulant with suitable levels of amplification. Tonight, they showed they have a better heritage thao Madonna.


.. Jim ..JAMe illustration by ..John Geary





If Neil hadn't IiIO careermindedly chronicled the hopes and beliefs of a fistful of subBeefheart and Byrds pub bands then there would never have been 'ca6'. We would nevef have had the tide of worthless groups who namedropped Blondle and the Ramones without understanding the sheer popula,ity of those acts ('Heart of Glass' walil a disco record with 120BPM.FACTI). We would never have been subjected to the jumped-up whining of the bedroom bands whose only ambitions in life were to play at an ICA rock week !:>ponsored by

the biggest fanzine in the world, the hallowed NME.

Ifthe Mary Chain hadn't been so consistently brilliant throughoutthistimethen none of these bands would have had anything to believe in. Naively, there are still hundreds of bands out there who think that by sharing the same reference points and dress sense as the Reid Brothers they will become the nelrt Jesus And Mary Chain. JAMCwerethe biggest WannaBe's of the '80s, so now that they have become Are's it's time to consider the second LP, 'Oarklands'.

Having already provided them

BETWEEN THEM, The Jesus And Ma.yChain lind NeilTaylor destroyed quality control in the Independent sector of popular music. 'Independent' bands used to call themselves so because they believed in independence from a business dedicated to taking art and creativity and turning them into profit. Today being 'Independent' means you haven't got the guts, ideas, or ambition to take on the real pop icons. It's all Jim Reidand Nell..__

with theirfirst Top Ten hit, 'Oarklands' is the band's revolt into style and history. They now have a successful songwriting formula that attaches them to the end of the chain of development that started with Cochran and moved on through the Velvets to early '70s Bowie to Spector_era Ramones. As such, I can now get no greater satisfaction out of pop music than to see those scruffy loud· mouthed louts who've turned dressing down into an art form, who have as much Charisma as ill soiled Nu-Form Extra Safe Durex, performing badly on Top Of The Pops. It's perfect and I'm not ashamed to say so.

'O .. rklands' isn't as immediate a5 'P5ycho Candy' _ if it were there would have been no progression _ and it does take three spins to capture you, but if it didn't It would be no better than a Single.

The Reidlil have canned the candy, motorbikes, and leathers are not dragging themselve5 through the unpleasantness of their own tortuous love lives. They've discarded lyrical banality and have letthemselvesbe consumed by the ambiguity of emotional claustrophobia. Whereas 'Psycho Candy' hooked you with the kick and thrash of feedback, screams, and Gillespie'smotorbeat, 'Oarklands' builds ominous black clouds of aggression that gather to bleed sweet poetry over you.

Song after song you're confronted by the vulgs r co ntrast of their Imagery, ~barbwlre kisses~, Me/ect,;clStarsundermy skfn~, ~triggerltch in the killer's hand"', and ~ making love on the edge o( a kni(e~. It's the razorblade·againlilt-the-wrist situation and the Mary Chain know exactly how hard to slice.

Though William Reid'svocallil share the same unusual depth NlckCave exposed when covering C&W ballads on 'Kicking AgainstThe Pricks', the songs he 5ings- with the exception of 'Darklends' _ tend to give the LP a calm It shouldn't have.

When you're operating on this level you can't afford to let Simple things undermine the rest of the LP.

Lines like ~ Everybody's 'ailing on melAnd /'m elS dead as a Christmas t, •• ~, in 'Fall', and ~ 1'/1 give you my soul/To bettt it with your poI.", in 'Cherry Came Too', should be smiled at, not _inced at. When you've written an LP that could have been releil5ed by a Hunter S Thompson nightmare vision of the Beach Boys gone wrong, you have to allow room for humour.

If at first, you think Side T_o of 'Oarklands' trails out miserably you've only to flip it back over to understand the importance of its subtlety. Hear the glory and aggression of the op,ming riff to 'Happy When It Reins' and the way'Down On Me' leaps right at you immediately afterwards, and that'lil when you'll know how strong the Mary Chain are. That the first verse of 'Oarklands' can be matched _ord for word to the pace of Bowie's 'Heroelil' proves this band know and think nothing of using the past to benefit the present.

The Jesus And Mary Chain's second lP is rich with lyrical power and musical wit that only The Pastels and Pet Shop Boys can otherwise identify with.

When you can'tface going home alone and you despair at the thought of your empty bed, when your eyes burn and your stomach turns at the sight of eomecne who's just left you_ that'5when 'Oarklands' wilt become your best friend and welcome you in.

James Brovvn

____ -----------------------------------------------------------,Barrowland


The Jesus and Mary Chain

Jim: candy wouldn't melt

Photo Nick White



London Hammersmith Petals

something delicate and pretty and increase the urgency of vourdesire for it by burying it under mounds of armouryAxa, Barbarella. 'Just Like Honey',

'Some Candy Talking' isjust a pouting mixture of 'Sloop John S' and 'Living Next Door To Allee'. 'Upside Down'is 'White Horses' in a chain-mail mini-skirt. And soforth. Since they want you to leer at these songs again and again. The Jesus And MaryChain's set must be a series of quick flashes and come-ens separated by thick chunks of riot-shield rejection. And it is. because it's perfectly judged, and everybody's titillated need for cultural violation is catafvsed and truncheoned time and again. And since nothing is ever resolved in this music it never grates. We've reached the stage where it just slips by, and we applaud, and it starts again.

In this huge great dumpy old

place we can hardly see the four floormop-Iooking perlormers, which is ideal, and none of them says a word to us, which

is also ideal. Anything elsepetulance, rioting, anger, chumminesss-wouid be dull and retrogressive orquite simply daft. What they did-a musicianly slow ptod-throuqh their album without an encorewas just fine.

And I think it's a great

success, this gentle

feedbacking of their own cheap notoriety and I still think there's nobody, not Husker Du even, who comes anywhere near matching the Jesus And Mary Chain's best shot, which is getting the squealing and hissingwhichcomesoutof , their twisted amplifiers to bea ~

:~~:I~~~;~~~:~~~~: ~~~oung ,I.

A fitting conclusion: they still come complete with their own canned applause.

William Leith.

NQBQDYTHRQWS a can. But nobody buys the official merchandise either: a balance. And while the scag-faced urban dogs go up to the front to shoulder each other and tread the plastic glasses into the floor with their heels, most of what I can see is the softies at the back, hundreds of them, shrugging and making hand gestures. Theorising. And afterwards, when the dry ice has cleared and the last 5t John'sAmbulanceman has gone home with his unopened box of Elastoplast, everybody will have their own particular theory asto why this gig didn't quite work - too slow, too ordinary. notenough anger. But I thought it was perfect.

Nowit'sanold idea-and one used more by pornographers than pop musicians-to take



The Jesus And Mary Chain: enfants terribles get sudd. aHack of maturity.

UP amid the empty jollity of Britain's top 10 albums IS presently to be found Darklands, an aptly named work from the premier

r::deo':.tsTh~f s:ith~~ra::~d~

long live the Mary Chain.

On Friday night the Mary Chain came and were seen in their own angular, dieaffectedfashion; they conconquered totally. Never ones for orthodox stage show trickery, vocalist Jim Reid provided a gripping focus by default.

Alternately tousling his hair in

:~~~\~d ~s:!~;;' S:U:~:

the mikestand on the floor or crouching unsteadily, he and the band never seemed entirely sure

~!x~~~stw:nl~~I~n t~;~~

career moves months ahead and are very dull as a consequence). Reid's voice frequently seemed his sole means of support, which is as it should be when you think about it.

all~~o~d:i! ntb~t hi:: ~s:d ~:~o~o~~Th~~aa;;dCh~~~~~

pure pur~ative racket for the safely tailored eighties. What happened next always revealed the bands debt to their musical anscestry: they are sole heirs to the angry eccentricity of such melodic melancholies as the Beach Boys' Brian Wilson, Lou Reed, Syd Barrett and Joy Division.

we~nt:!e a~~~~s u~i:!!i~

our alienation. Death to the bo-

'akSe~~f~~::St aofdth!b=~

charts! Adolescent angst is still the only way to be.



Bom in 0 howl of feedback ond a teacup of scandal, The Jesus & Mory Chain quickly estoblished themselves 0$ the pre-eminent enfanfs ferribles of independent rock. Their debullP, Psychocandy, remoins one of the few essential rock albums of the '80s, a screaming slew of disgust and outrage so extreme thot their first record seemed likely to be their lost.

Twa yeors loter,the Mory Chain have grodually emerged os rock classicists, courtesy of 0 trio of singles constructed with the

The Jesu$ And MOI"YChaln: turning into Loggin$ & Messino?

I last week after

being charged with assaulting two members of his audience.

The alleged assault took place during the band's performance at a club in November last year.

Reid was said to have hit two members of the audience with a mike stand after being heckled throughout the set.

A spokesman said at the time: 'The injured parties had been part of a small unruly group in the audience, continually goading the band onstage. Jim Reid requested several times that these individuals be removed, but the club security did not comply. Afterwards, the 'victims' were seen to be laughing and joking about their 'injuries', but insisted on pressing charges, and with some reluctance, the police were obliged to arrest Jlm."

Reid was taken to the cells for the night and charged the next morning with common assault before rejoining the Mary Chain for the rest of the tour.


Doors open at 7.30 p.m.

Management reserve the right of admission - over 18 s



JESUS And Mary Chain Singer Jim Reid has been arrested and charged with assaulting two members of the audience during the group's performance at a club in Toronto.

Reid allegedly hit Ihem with a microphone stand after being heckled throughout the set. However, reports of the event in the national press have been

~~~~~:~:~x~g~:r~:a:, ~hain as

A spokesman said: "Contrary to Ihese reports, no blood was split when two members of the audience were struck by a microphone stand towards the end of the set. The injured parties had been part of a small unru.lygroup in the audience, continually goading the band onstage. Jim Reid requested several times that these inviduals be removed, but the

club security did not comply. Afterwards, the 'victims' were seen to be laughing and joking about their 'injuries' but insisted on pressing charges, and with some reluctance, the police were obliged to arrest Jim. M

Reid was taken to Ihe cells for the night and was charged the next morning with assault. He was later released on bail to return to court in mid-February. The Jesus And Mary Chain then continued with the tccr.

The spokesman added: "The incident was wholly out of character with the rest of the tour. Everyone involved is pleased with the progress the group is making in America, none more so than their American record company Warner Brothers who are impressed by the group's attitude and co-operation. ~


q,o\ILY RECOf\D, ThUfsday, February 18" t988


The prosecutor admitted that two fans, Trevor Gare, 20, Sylvian Pell, 19, "became som~w

discharge by a Canadian judge record after two years but does not obnoxious."

who said he was impressed by the count as a conviction. Reid used his microphone stan

rock star's efforts to say sorry for Reid's Canadian lawyer said a strike Gare on the head, kn '

the attack. conviction might hinder the singer him off his feet.

Reid had written letters to the rrThe~~ t~~~~o;:.,~tr~~~ges of he~~J~~dri:~~~:o~,e~hr~~

~a~~~~~io~~~!~~ ~v~~~r~ur in ~~~~~sn o~ss:;:cl~u~~o~e !:~~~ ~~:~t~ audience. hitting Pell on

He also donated SOO dollars to the were withdrawn. The judge agreed there had b

Salvation Army in Canada in each of Reid's lawyer said that the singer provocation and said he w

the two fans' names. had lived in Glasgow for most of his impressed by the fact Reid made

The absolute discharge is a find- life and "survived without a donations "otherwise [would h

ing of guilt which is erased from h_i~s _ _;',:ec;:o;.:,d;;,.'_· im_;po __ sed_a_f_in_e_··. .....

PUNK ROCK star Jim Reid went on the rampage when fans called his concert boring.

The lead singer of Jesus and Mary Chain bombarded the audience with a broken beer .borde and lashed out with his microphone stand injuring two fans.

But yesterday, Glasgow-born Reid, 26. was given an absolute






Sheffield University

IT WAS the night when the young ; knaves wielded the long knives,

i when the folk lore and lake law of

I pop music was tom viciously to shreads then carefully reconstructed. It's the best group in mewodd! The Murder And Mayhem ChainlThe Riot And

Ruin Chain! They'd love to trip us up, and it looks like they have ..

This is a fine predicament to be in -10 have to offer yet another opinion when more has been written about the Daisy Chain than Westland Helicopters. But almost by accidentl'va stumbled upon the key to their successtripped up again 1

The Pasta And Waste Chain have been press dartings incarnate, the ultimate typewriter lease, leaving in their wake a host of adu!ant writers falling over each other in a desperate struggle to shove one more brick into their pedestal. They had a hype 01 hyperbole,last year's re-make re-rncoet, and a myth of their own pepetoauon. as we all know. Hanging over them was the ~next big thing- syndrome (punk's worst

The Reids, this weeks soap opera. What will it be like next week, or the week

after7. . . "EAtl{ ~ Pic Steve Mitchell

legacy), which reared its ugly last agonised death throes. In

head wtth a crushing predictability fact, the audience should have

and, as their stof'y rocketed into a been paid to suffer it.

legend, an element of the However, far be it from me to

Emperor's New Clothes began to start the backlash. The Judas And

creep in. Nobodydared to tell the Meany Chain have glaring flaws,

Emperorthat he was naked. but flaws of glorious and

Nobody has dared to tum around unashamedly massive

and say Ihat the Messy Chain are proportions. By some miracle

crap. they manage 10 be the best band

Hasn'l il occured to anyone in the world. They possess the

else that The Jesus And Mary prettiest. most pouling faces that

Chain are the worst live band in have ever adorned the glossy

Ihe world? A pile of breeze blocks pages of Smash Hltsand as a

have more stage presence. Their result gaggles of pubescent girls

self-conscious, post-adolescent, can be seen poreing over copies

acned angst posturing is a bad of 'Psychocandy' squealing with

joke. The noise they make is glee at their mean 'n' moodiness.

vacuous, vapid, null and void, and Yet they have fired the intellects of

despite the two support bands, a whole generation of students,

£4.50 is too much to pay to hear a too.

few re-arranged Byrds chestnuts live, they push out all their

mutilated by a. wall of feed-back; boundaries and teeter on the

too much to pay to witness pop's edge of stersnees, on the borders

~~ .. ~~~ .. ~

between total maximum and minimum. They're the ultimate mid 'OO'saJlegory, producing magnificent pop tunes and pummelling them to mush with an acid cynicism. Their arrogant, violent stance is a pure delight, turning upside down the ideals surrounding a business that possesses none, taking anarchy and chaos and markeling it with breathtaking skill. While The Gruesome And Heavenly Chain laugh all the way to the bank, we all limp along behind in stateof advanced dis-orientation.

Creation rebels oroesecration (abble? Who can tell? Admittedly some people never understand, but then some people just couldn't care less. Afterall. TheJesusAnd Mary Chain are only a pop group.