But what was undeniable was that here was a movement that not only matched but also exceeded punk rock in terms of reach and influence. And like punk, it was viewed as a major threat to society. Also causing ever expanding waves was the sound of acid house.
As with punk before it, it too emerged from the American underground before being picked up by British youth and refined with its own argot, fashion and drug of choice. And like punk and hip hop and pretty much every youth movement before, it soon had the mass media in a moral panic.
But this time, the backlash differed in its upset; while the likes of teddy boys, mods, punks, skinheads and others had been demonised over the violence that had been prevalent in their cultures, here the self-appointed guardians of morality were frothing at the mouth over the drug taking at its centre. And the irony of course was that violence was the least likely outcome of getting loved up on the dancefloor; the clue, after all, was in the name: ecstasy. The Jesus And Mary Chain were far from unaware of what was going on beyond their own universe.
They were, after all, pop kids from the get-go, always alert to changes on the musical landscape. But they were also taking note of the other sounds making an impact on the cultural landscape. Finding himself gradually drifting away from Jim and William Reid as the pair took greater control of the music they were creating, Hart had begun exploring the possibilities of film making and had begun to make promotional videos for other artists. Like William Reid, Hart dabbled with his own acid house experiments in the studio, but unlike the older brother had actually released his effort.
Elsewhere, The Shamen began their transformation from 60s-inspired psych-rockers to fully paid-up ravers on the stepping stone album, In Gorbachev We Trust. From the vantage point of 30 years, both tracks hold up far better than the chart-worrying hits with which they broke through to the mainstream. Their label had applied pressure in terms of securing the services of a big name producer with the ultimate objective of making further in-roads into the US market. The layering on the former track displays an ability to take the guitar out of its comfort zone to stretch out into soundscapes and vistas.
But if that working relationship failed to leave the starting block, the recording of Automatic saw the Reids cementing one with engineer, mixer and producer-to-be, Alan Moulder. It proved to be an astute choice. Not that this was new territory for Jim and William Reid. Recording Location Sam Therapy. Track Listing. Here Comes Alice. Coast to Coast. Blues from a Gun. Between Planets. Uv Ray.
Her Way of Praying. Head On. Take It. Halfway to Crazy. Gimme Hell. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version.
Alternative rock. Blanco y Negro Records. Jim Reid , William Reid. Barbed Wire Kisses Automatic Honey's Dead The Rolling Stone Album Guide. Australian Albums Chart . Swedish Albums Chart. MBRG : 13e2baddbf8-a13ecce84b8a
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