Recoil was born in 1986 as a two-track experimental EP. Simply entitled ‘1 + 2’, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, Hydrology, soon followed in 1988 and both were eventually re-issued by Mute on CD as Hydrology plus 1+2. These early Recoil recordings revealed Alan’s position as a pioneer in the newly emerging world of sampling technology and demonstrated how he could turn the Depeche sound around to create something entirely new. Wilder described the project at the time as “... an antidote to Depeche Mode; a way to alleviate the frustrations of always working within a pop format”.
Almost immediately, Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date,‘Violator’. It wasn’t until the band finally allowed themselves an extended break after the enormously successful 'World Violation' tour that Alan could return to Recoil - not, however, before agreeing to produce Ebbhead, an album for label-mates Nitzer Ebb. It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil’s next album,‘Bloodline’.
Released in 1992, Wilder recruited guest vocalists for the first time with further contributions from Curve's Toni Halliday and Moby, helping to produce an album that demonstrated his ability to concoct slow-burning soundscapes drenched in drowsy paranoia. Bloodline also marked the first Recoil single, a cover of Alex Harvey’s song ‘Faith Healer' as well as the innovative 'Electro Blues For Bukka White', featuring the posthumously sampled voice of Blues-man Bukka White set into a post-modern context - an influential idea later popularised by others.
Between 1992-93 Wilder resumed his Depeche duties as the band recorded the album ‘Songs Of Faith And Devotion’. Released to universal acclaim, it topped the charts in the UK, USA, Germany and a host of other countries. Enjoying hits with ‘I Feel You’, ‘Walking In My Shoes’, ‘In Your Room’ and ‘Condemnation’, the Mode embarked on their most adventurous tour to date, enduring a gruelling 15 months on the road. Although the group had reached the pinnacle of success, aspects of the lifestyle had taken their toll on everyone and things eventually came to a head. In June 1995, having spent 14 years as an integral part of one of the most popular and influential bands the UK has ever produced, Alan Wilder made the difficult but inevitable decision to leave Depeche Mode.
Free from his group commitments, Wilder could now focus solely on Recoil. In September 1996, he began work in his own studio, ‘The Thin Line’, gradually piecing together the unnerving scores that would eventually reveal Recoil's next album ‘Unsound Methods’. The final results were more impressive than ever. What emerged appeared to take up where ‘Songs Of Faith And Devotion’ had left off. Guest vocalists featured Maggie Estep, Siobhan Lynch, the reappearance of Douglas McCarthy, and Hildia Cambell. The styles of each could not be more removed from one another helping to create a startlingly original and diverse collection. The more organic style of Unsound Methods incorporated every imaginable musical genre from trip-hop to gospel whilst dealing with the subject of obsession in all its manifestations, taking the listener to the edge of unease, through dark, dub-infected landscapes, reverberating with shivering piano, seductive strings and a deep electronic pulse.
In the Spring of 2000, Recoil gave us Liquid which this time utilised the unique qualities of internationally acclaimed fellow Mute artist Diamanda Galás, 1940's Gospel crooners The Golden Gate Jubilee Quartet, along with New York spoken-word performers Nicole Blackman and Samantha Coerbell. The worldwide music press received the Liquid album with a host of glowing reviews and Wilder was awarded the Charles Cros Grand Prix 2000. Strangely enthralling and genuinely unhinging, Liquid masquerades as the aural equivalent of a disturbing movie. Wilder's intoxicating soundscapes kick up clouds of the same dark dust that falls on David Lynch or Nine Inch Nails, but where others may hammer out their message with histrionic force, his touch is lighter and characteristically more subtle.
Now, following a 5 year break from recording, Alan Wilder returns with Recoil's 5th studio album, entitled subHuman released in July 2007.
Collaborating this time is Blues-man Joe Richardson with his band Joe Richardson Express, whose evocative vocal style is complimented by accomplished guitar and harmonica performances. Born in Southern Louisiana, Richardson spent years immersed in the murkier side of New Orleans life and offers a unique commentary on conflict, religion, incarceration and personal struggle. English singer Carla Trevaskis, a songwriter in her own right, brings an expressive range and control to subHuman and has worked with artists as diverse as Fred de Faye (Eurythmics), Cliff Hewitt (Apollo 440) and Dave McDonald (Portishead).
Says Wilder: “We seem to have learnt nothing from past experiences and our so called ‘civilised’ world is still awash with personal and global atrocities. From suicide bombings in the Middle East, to ethnic cleansing in the Balkans; from the homophobic rhetoric of the Christian fundamentalist preacher, to the activities of Western governments engaged in their ‘war on terror’".
subHuman asks us to reach within ourselves and extract the very essence of what makes us human - and more importantly what allows us to subordinate others, sometimes with the most brutal consequences. "We are all 'subhuman' in somebody's eyes."
Official site: http://www.recoil.co.uk
Jezebel
Recoil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The lyrics of Recoil's "Jezebel" are based on the biblical story of Queen Jezebel, who was notorious for her wicked deeds. The song describes how Jezebel refused to repent for her sins and instead tried to silence John, who was preaching the gospel. In response, God intervened and protected John from harm. Finally, Jezebel's time ran out and she was called to face judgment for her evil ways.
The lyrics employ vivid imagery to convey the story, such as the image of Jezebel's soul "leaping and jumping" into Hell. The lyrics also emphasize God's power and authority, depicting Him as thundering, clapping his hands, and causing creation to tremble. The repetition of the phrase "you got to go to judgment, stand trial" reinforces the idea that everyone, no matter how powerful or wicked, will one day be held accountable for their actions.
In addition, the song critiques the hypocrisy of those who refuse to repent and, instead, choose to silence those who speak out against them. Overall, the lyrics suggest that even the most powerful and wicked individuals cannot escape the consequences of their actions.
Line by Line Meaning
Well stop, great God, stop there and listen, listen to the story ‘bout Jezebel.
Pause for a moment and pay attention as I tell you the story of Jezebel.
Her sins were so wicked Jehovah got angry, her soul went leapin' and jumpin' into Hell.
Jezebel's sins were so terrible that even God was angered, and her soul was condemned to Hell.
Way back yonder in the olden days, John told Jezebel to borrow her ways, said her evil deeds had ruined the land and repent for the kingdom of God was at hand.
In ancient times, John warned Jezebel that her evil deeds were destroying the land and urged her to repent, as the kingdom of God was approaching.
She got mad at John ‘cause he told her ‘bout the gospel, told her servants to boil him in oil. Well they tell me God looked from the windows of the heavens, spoke one word and the oil wouldn't boil.
Jezebel became furious with John for preaching the gospel and ordered her servants to kill him by boiling him in oil. However, God intervened and prevented the oil from boiling.
He raised his hand, creation trembled, stamped his feet and time stood still, raised his voice, looked down and thundered “John! Go do my will.
God's power was so great that when he commanded John to fulfill his will, nature itself trembled and time seemed to halt.
Then they tell me John moved through the power of the gospel, told Jezebel her time was nigh. On the book of life, her days were ended, her time run out and she had to die.
John proclaimed through the gospel that Jezebel's time was running out, and according to the divine records of life, her days were numbered and she was destined to die.
Well they tell me God walked his footsteps thunderin', he moved his head and his eyes flashed fire, clapped his hands and death come jumpin', Jehovah was angry, somebody had to die.
God's wrath was terrible as he approached, his footsteps shaking the earth, his eyes ablaze with fury, and death came swiftly at his command. His anger demanded that someone must die.
Then Death come knockin' on Jezebel's door and said “Come on woman ain't you ready to go? Of your evil deeds God's done got tired, you got to go to judgment, stand trial.
Death arrived at Jezebel's door and demanded that she come with him, as God was fed up with her wickedness and she must face judgment.
Then Death come leapin' she jumped into Hell, great God Almighty I heard them tell. Nine days she lay in Jerusalem's streets, her flesh was too filthy for the dogs to eat.
Jezebel leaped into Hell at Death's command, where she suffered torment for nine days. Her body was so unclean that even the dogs refused to eat it.
“Jezebel, mind God's talking, says he's tired of your evil ways. You got to go to judgment, stand trial.
God's message to Jezebel was clear: he was exhausted by her evil ways, and she must face trial before him.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@Cesnakov
Well stop, great God, stop there and listen,
Listen to the story 'bout Jezebel.
Her sins were so wicked Jehovah got angry,
Her soul went leapin' and jumpin' into Hell.
Way back yonder in the olden days,
John told Jezebel to borrow her ways,
Said her evil deeds had ruined the land
And repent for the kingdom of God was at hand.
She got mad at John 'cause he told her 'bout the gospel,
Told her servants to boil him in oil.
Well they tell me God looked from the windows of the heavens,
Spoke one word and the oil wouldn't boil.
He raised his hand, creation trembled,
Stamped his feet and time stood still,
Raised his voice, looked down and thundered
"John! Go do my will."
You got to go to judgement, stand trial.
Then they tell me John moved through the power of the gospel,
Told Jezebel her time was nigh.
On the book of life, her days were ended,
Her time run out and she had to die.
Well they tell me God walked his footsteps thunderin',
He moved his head and his eyes flashed fire,
Clapped his hands and death come jumpin',
Jehovah was angry, somebody had to die.
You got to go to judgement, stand trial.
Then Death come knockin' on Jezebel's door and said
"Come on woman ain't you ready to go?
Of your evil deeds God's done got tired,
You got to go to judgement, stand trial."
Then Death come leapin' she jumped into Hell,
Great God Almighty I heard them tell.
Nine days she lay in Jerusalem's streets,
Her flesh was too filthy for the dogs to eat.
You got to go to judgement, stand trial.
"Jezebel, mind God's talking,
Says he's tired of your evil ways.
You got to go to judgement, stand trial."
@MakayaGemini3
Alan Wilder= Musical Geniusness! Wish he had stayed with Depeche Mode but I can still enjoy all he did do with them as well as listen to Recoil!
@SynthxP0pXStar5
He def took Depeche Mode with him when he left.
@tyufg1
古い音源の楽曲もクオリティも凄いが これを蘇生させたAlan Wilderの天才性には驚くばかりだ この曲にスクラッチを入れたり途中でエスノの要素を取り入れたりDAW上の編集だからできたとしても この緊迫感に迫れるものは誰もいない
@JacqBLUEjay
Love the rhythm and the tone of this song! quite entrancing.
@sucubusdeath.9716
This is so amazing. Thanks Alan for this perfect music.
@vincentprado
this song is great because is a really different way of electronic music. all days we hear "this is new electronic music", but this song is truly different, is unique.
@davidvanmark7288
2023. Still a brilliant song.
@proteanfix
The track is from The Golden Gate Quartet who recorded Jezebel in the 30's or 40's. Louis Saint Juste is the actor singing in the video.
@begogo9259
❤️
@danieltavares2890
Fantastic! The videoclip and letter is great!