The Manics released their debut album Generation Terrorists in 1992. Their combination of androgynous glam punk imagery, outspoken invective and songs about "culture, alienation, boredom and despair" soon gained them a loyal following and cult status. The band's later albums retained a politicized and intellectual lyrical style, while adopting a broader alternative rock sound. Enigmatic lyricist Richey Edwards gained early notoriety by carving the words "4 REAL" into his arm with a razor blade (narrowly missing an artery and requiring seventeen stitches) in response to the suggestion that the band were less than authentic. The dark nature of 1994's The Holy Bible reflected the culmination of Edwards' instability.
Following Edwards' disappearance, Bradfield, Moore, and Wire persisted with the Manic Street Preachers and went on to gain critical and commercial success, becoming one of Britain's premier rock bands. They have had eight top ten albums and fifteen top ten singles. They have reached number one three times, with their 1998 album This Is My Truth Tell Me Yours and the singles "If You Tolerate This Your Children Will Be Next" (1998) and "The Masses Against The Classes" (2000). The Masses Against The Classes Songfacts reports that the latter was the first UK #1 of 2000. They have also won the Best British Album and Best British Group accolades at the BRIT Awards in 1997 and 1999, and were lauded by the NME for their lifetime achievements in 2008. Their ninth studio album, Journal For Plague Lovers, was released on 18th May 2009 and features lyrics Edwards had left behind to the band weeks before his disappearance.
They came together in 1986, when James Dean Bradfield, Nicky Wire, Sean Moore and rhythm guitarist Flicker formed Betty Blue in the small South Wales town of Blackwood. Two years later, Flicker had left and Nicky's friend Richey Edwards (previously the group's driver) joined in his place. Richey would later say in Vox magazine, "If you built a museum to represent Blackwood, all you could put in it would be shit. We used to meet by this opening called Pen-y-Fan. It was built when the mines closed down but now the water has turned green and slimy. They put 2,000 fish in it, but they died. There's a whirlpool in the middle where about two people die every year". A bleak image, then, but it provided the necessary fuel to drive the band.
Inspired by the passion of The Clash, and moved by Thatcher's suppression of the miners, the band's lyrics exploded with politicised anger. Their first single, the self-financed Suicide Alley, didn't make great waves, and the band moved to London. There, they found a sympathetic character in the form of Bob Stanley: later a member of St Etienne, but then a freelancer for the Melody Maker.
Stanley released a collection of their demos as the New Art Riot EP in June 1990. It caught the attention of Philip Hall, who became their publicist and co-manager.
In early 1991 Heavenly released Motown Junk, an inspired three-minute punk blast. Later that year it was followed by You Love Us, a swaggering, arrogant self-regarding slice of brilliance.
The Manics paved the way for a resurgence of guitar bands in Wales. In the press, they were forced to live with punning headlines referring to sheep, boyos and leeks - they got all the clichés out of the way so the bands of the so-called Cool Cymru would be taken more seriously.
Yet their image often overshadowed the music. On 15 May 1991 came a turning point for the Manics. Following a gig at Norwich Arts Centre, Steve Lamacq, then writing for the NME, argued with the band that they were a cartoon band - not real punks. The band refuted this, but still Lamacq persisted. Frustrated, Richey Edwards took a razor and calmly carved the words 4 REAL into his forearm. Lamacq was horrified; Richey needed 17 stitches. Six days later the Manics signed to Sony. Richey had suffered from depression for many years, and self-mutilation had become increasingly common for him. But the Norwich incident was the first time the guitarist had aired his emotional problems in public.
In February 1992 the debut album Generation Terrorists was released. Heavily influenced by Appetite For Destruction, Richey said of it, "We wanted to sign to the biggest record label in the world, put out a debut album that would sell 20 million, and then break up. Get massive and then just throw it all away". The album sold 250,000 copies worldwide. Predictably they didn't split up, but the album polarised opinion between those that saw them as the new saviours of rock and roll, and detractors who considered them contrived and insincere. Not that the Manics cared: they were off on their first American tour, shortly after the LA riots, and singles such as Slash 'N' Burn and Motorcycle Emptiness were climbing up the charts.
The second Manics album was released in June 1993. Gold Against The Soul was overproduced and less passionate, but did contain the classic songs La Tristesse Durera (Scream To A Sigh) and From Despair To Where. However, they also chose to support Bon Jovi for a string of unwise live dates. The troubles continued with the death on 7 December 1993 of their mentor Philip Hall, who had been battling cancer for two years. Meanwhile, Richey's problems were worsening. Weighing less than six stone and subjecting his body to drinking and cutting binges, he was eventually admitted to the Priory in Roehampton.
Richey's despair was documented in what is now considered the Manics' masterpiece, 1994's 'The Holy Bible'. Unremittingly bleak, the opening song Yes contained the lines "I eat and I dress and I wash and I still can say thank you / Puking, shaking, sinking / Can't shout, can't scream, I hurt myself to get pain out". The song was about prostitution, but every line emanated from Richey's fragile state of mind. He rejoined the band for tours with Therapy? and Suede (and an early incarnation of Vitriol I.D.) in Europe, and a series of frantic shows at the London Astoria in December. The final night saw them destroying 10,000 worth of their equipment. "We'll never be that good again," said Nicky after the event. It was also their last live appearance as a four-piece.
Although they had never found transatlantic success, at the beginning of 1995 they were preparing to give America one last try. However, on 1 February Richey walked out of the Embassy hotel in London and never returned. His passport and money were found in his Cardiff Bay flat, and two weeks later his car was discovered beside the Severn Bridge - a notorious local suicide spot. The file on his disappearance remains open.
"We decided to carry on in April," said Nicky Wire in The Guardian, "after two months of waiting by the phone and feeling ill and exhausted. We thought we'd been so close, and in the end we couldn't do anything for him." September saw the band record a cover of Raindrops Keep Falling On My Head for the War Child "Help" album, and by January 1996 the Manics were recording their comeback album 'Everything Must Go'. It was released on 20 May to critical acclaim, went double platinum and yielded four top ten singles: 'A Design For Life', the title track, 'Kevin Carter' and 'Australia'. The sound represents a cross between the heavy rock of 'Gold Against The Soul' and a new, less agressive, almost Britpop like sound.
Two Brit Awards later, they released the LP This Is My Truth Tell Me Yours which gave the band their first number one single in If You Tolerate This Your Children Will Be Next, perhaps the only song that references the Spanish Civil War to ever appear on Top of the Pops.
On December 31st 1999 the band said goodbye to the 20th Century with a gig at Cardiff Millennium Stadium, attended by upwards of 50,000 people. This was followed by their second number one single, The Masses Against The Classes, which hit the top spot despite not having a video or marketing support from their record company.
Shortly afterwards, Nicky stated that "the fourth era of the Manics is beginning".
The fourth era, so far, has involved an audience with Fidel Castro in Cuba, the 2001 album Know Your Enemy, and continuing success. Their long awaited greatest hits collection, Forever Delayed, appeared in October 2002, followed in 2003 by Lipstick Traces, a two-disc collection of covers, B-sides, and outtakes including the last song recorded with Richey, 'Judge Yr'self'.
The Manics returned in November 2004 with the more reflective Lifeblood, which featured the singles The Love Of Richard Nixon and Empty Souls, both of which went straight in at number two in the charts.
Not to rest on their laurels, the band released a 10th anniversary edition of The Holy Bible in December 2004 which included a digitally remastered version of the original album, a never before heard U.S mix and a DVD of live performances and extras.
In April 2005 the Manics released a limited 3 track E.P. titled God Save The Manics as a free download but with hard copies distributed also without cost at the final date of their small, intimate 'Past Present and Future' tour at Hammersmith Apollo, London - their last show before a two year hiatus.
Later that year the band contributed the new track Leviathan to September's War Child charity album Help: A Day in the Life, becoming one of the few bands to contribute tracks to both albums.
2006 saw both James Dean Bradfield and Nicky Wire releasing solo albums, The Great Western and I Killed the Zeitgeist respectively. But both insisted that this in no way meant an end to the Manics and in December the band headlined XFM's Winter Wonderland gig in Manchester.
2007 sees the band enter yet another era with their 8th studio album, Send Away The Tigers, which was released on May 7th.
The album Journal For Plague Lovers was released in May 2009 and features lyrics left to the band by Richey before he disappeared. They released several different versions of the album, including a special edition, which has a book featuring copies of the original typed lyrics and pictures that went with them, and a bonus disc with all the original demos, recorded at Rockfield Studios in Monmouth, which they say is one of their favourite studios.
Their 10th studio album, Postcards from a Young Man, was released in September 2010. The album features several guest artists: Duff McKagan on A Billion Balconies Facing the Sun, John Cale on Auto-Intoxication and Ian McCulloch on Some Kind of Nothingness. A deluxe edition was also released containing a bonus disc with the original demos on it.
In 2011 the band released their second compilation National Treasures- The Complete Singles Collection, a release preceded by new single This Is The Day a cover of a ´¨The The song. The collection featured every single released since and including Motown Junk.
http://www.manicstreetpreachers.com
Born A Girl
Manic Street Preachers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Will you accuse me as I hide
Behind these layers of disguise
In the mirrors of my own happiness?
I've loved the freedom of being inside
Need a new start and a different time
Something grows in the space between me
And I wish I had been born a girl instead of what I am
Yes I wish I had been born a girl and not this mess of a man
And not this mess of a man
And not this mess of a man
The censorship of my skin
Is screaming inside and from within
There's no room in this world for a girl like me
No place around there where I fit in
And I wish I had been born a girl instead of what I am
Yes I wish I had been born a girl and not this mess of a man
And not this mess of a man
And not this mess of a man
And not this mess of a man
And not this mess of a man
Ooh
In "Born A Girl," Manic Street Preachers explore themes of gender identity and the constraints of societal expectations. The singer of the song questions their appearance, wondering if they're hiding behind a mask of happiness and beauty. The lyrics reflect the internal struggle of individuals who feel trapped in their assigned gender roles and societal expectations.
The lines "I've loved the freedom of being inside/Need a new start and a different time" suggest that the singer is repressed and wants to break free from their current life. They feel a disconnect between their body and their identity, and wish they had been born differently. The repeated chorus line "Yes I wish I had been born a girl and not this mess of a man" emphasizes their yearning for a different gender identity.
The song talks about the censorship of one's skin, which is a common experience for people who feel trapped in gender roles that don't align with their identity. The lyrics "There's no room in this world for a girl like me/No place around there where I fit in" reflect the isolation and ostracism felt by those who are different from societal norms.
Overall, the song tackles important themes of gender identity, societal expectations, and the struggle to be true to oneself.
Line by Line Meaning
Do I look good for you tonight?
I am concerned about my appearance and want to be desirable to you.
Will you accuse me as I hide
I am afraid of being exposed and judged for who I really am.
Behind these layers of disguise
I am hiding behind a façade of femininity to conceal my true identity.
In the mirrors of my own happiness?
I am trying to find contentment and fulfillment within myself but struggle to do so.
I've loved the freedom of being inside
I have felt a sense of liberation in embracing my feminine side.
Need a new start and a different time
I yearn for a fresh beginning and an opportunity to live openly as a woman.
Something grows in the space between me
There is an inner conflict between my male body and my female identity.
And it's twisting and changing this fragile body
My struggle with gender identity is causing a physical and emotional toll on me.
The censorship of my skin
Society's norms and expectations are suffocating me and preventing me from expressing myself authentically.
Is screaming inside and from within
I feel trapped and overwhelmed by my gender dysphoria.
There's no room in this world for a girl like me
I feel like an outsider in a society that only recognizes binary gender identities.
No place around there where I fit in
I struggle to find acceptance and belonging in a world that rejects my identity.
And I wish I had been born a girl instead of what I am
I long to have been born with a feminine body to match my gender identity.
Yes I wish I had been born a girl and not this mess of a man
I regret being born male and feel like a flawed version of myself.
And not this mess of a man
I am deeply unhappy and at odds with my assigned gender.
Ooh
An expression of emotional pain and frustration.
Lyrics © BMG Rights Management
Written by: James Bradfield, Nicholas Jones, Sean Moore
Lyrics Licensed & Provided by LyricFind
@CARLBARTER1
Do I look good for you tonight
Will you accuse me as I hide
Behind these layers of disguise
And the mirrors of my own happiness
I've loved the freedom of being inside
Need a new start and a different time
Something grows in the space between me
And it's twisting and changing this fragile body
And I wish I had been born a girl
Instead of what I am
Yes I wish I had been born a girl
And not this mess of a man
And not this mess of a man
And not this mess of a man
The censorship of my skin
Is screaming inside and from within
There's no room in this world for a girl like me
No place around there where I fit in
And I wish I had been born a girl
Instead of what I am
Yes I wish I had been born a girl
And not this mess of a man
And not this mess of a man
And not this mess of a man
And not this mess of a man
And not this mess of a man
@Ancilondu
This is one of the songs that helped me work out who I was, to hear it put into words by someone else had such an impact... The first time I heard it I broke down and cried like a baby. :')
@verenavermas5850
In 1999 I visited my mother in Arizona, a hot summer, red dust, red sand and once we went into a virgin music store in Phoenix. I remember listening to some of their songs in Germany. So I bought the whole album. And suddenly there was the song I was longing for. Born a Girl. Since I can dream I was always dreaming of me as a girl...Now, with 35, I am where I wanted to be...and I still see that 18 year old person listening to that song in a car driving around arizona in a desert like environment being desperate...
@homerjsinnott
One of my favourite songs ever. For everybody who has ever wished they were someone else, no matter who.
@MrJaxDemon
How people have different opinions of this song. For me it's meaning a man who's struggling in life and believing that if he was born a girl it would have been easier to deal with the emotions he's having to deal with.
@shaunbarratt6745
JaxDemon always how I interpreted it too, how it’s seen as unmanly to be depressed/expected to ‘man up’ and just be strong and it’s easier for women to be able to open up and express themselves
@lilithhawkins6454
It's how a lot of trans women feel too. That's why a lot use it as their anthem.
@GhostGlitch.
@@lilithhawkins6454yea. Whatever they originally meant to say with the song, that's the only way I can read it
@ebp5530
One of the most intellectually influential and sincere bands of the last 40 years
@b.bailey8244
amazing... you don''t often hear a man voice these feelings....
@vhchcfhmb9358
What makes me love this song more is that the singer can put this much power into these words, when it was the bassist that wrote them. Just powerful, beautiful stuff.