JAMC's early gigs have become the stuff of legend in underground circles. Playing in front of small audiences, the band earned their notoriety by playing very short gigs, some lasting no more than ten minutes and consisting of a constant wall of feedback and distortion. The group became know as well for playing with their backs to the audience and refusing to speak to them. Many shows culminated with the Reids trashing their equipment, which was often followed by the audience rioting. All of this delighted manager and Creation Records boss Alan McGee, who obviously found it very easy to get attention for the band, as well as aliened more commercially-minded music business figures.
Their debut single, "Upside Down", came out in 1984 on Creation, but they signed to the WEA-backed Blanco y Negro the following year. Said label released their debut album, titled 'Psychocandy', which fused together the Reid's two primary influences, the guitar noise and avant-garde rock of The Velvet Underground with the 60s pop leanings of Phil Spector and The Beach Boys. It included songs such as the indie sensation "Just Like Honey". The record divided many music fans due to its deliberately abrasive sound yet still received positive critical reviews and is now considered a landmark recording in the history of alternative music.
Gillespie left the band before the next album, 'Darklands, came out, going on to front Primal Scream. He was briefly replaced by John Moore (later of Black Box Recorder), before former Biff Bang Pow! drummer Dave Evans. The aforementioned 'Darklands' also received supportive reviews, and it showed a less noisy and more contemplative sound that was welcomed by both many post-punk fans and many mainstream rock fans. Notable songs from that period include "April Skies" and "Happy When It Rains".
Albums
# Psychocandy (November 1985)
# Darklands (September 1987)
# Automatic (September 1989)
# Honey's Dead (March 1992)
# Stoned & Dethroned (1994)
# Munki (June 1998)
# Damage and Joy (2017)
Plus the following - (sessions, singles, b-sides, live recordings et cetera)
# Barbed Wire Kisses (April 1988)
# The Sound of Speed (1993)
# Hate Rock N' Roll (1995)
# 21 Singles (2002)
# BBC Live in Concert (2003)
# The Complete John Peel Sessions (2003)
# The Power of Negative Thinking: B-Sides & Rarities (2008)
For the iconic indie label Sub Pop, the band recorded 1998's 'Munki' album, which would turn out to be their last before splitting the following year. The album is often thought of as sounding 'divided' due to the Reids' crumbling relationship. Jim Reid has recalled: "Me and William weren't really getting along at all. That last year we barely even spoke. 'Munki' is one of my favorite albums, but it was really divided. William would go into the studio with the rest of the band and record while I wasn't there, and then I'd go in with them when William wasn't there."
William Reid then recorded as the artist Lazycame. Brother Jim formed the band Freeheat, which disbanded in 2003. Jim Reid is currently recording solo material and he has, to date, recorded and released one single Song For A Secret which was released on Transistor Records.
Like some of their influences such as Dee Dee Ramone, Lee Hazelwood, Iggy Pop and Lou Reed, throughout their career the boys were rumored to have ongoing substance abuse issues, which may have contributed to their notoriety. They reportedly dabbled in regular use of things like amphetamines and heroin, which made for lyrical reference in songs like Some Candy Talking and the album title Stoned & Dethroned.
Despite not having huge commercial success, they've gone on to influence a range of other music groups such as Black Rebel Motorcycle Club, Butthole Surfers, My Bloody Valentine, and Spacemen 3.
The Jesus and Mary Chain reunited to play at the Coachella Festival on April 27, 2007, followed by two more shows in Spain at the Summercase Festival. More shows followed in late 2007 and early 2008 in London.
Calling themselves 'Sister Vanilla' an LP, Little Pop Rock, was released in 2007 and reunites the brothers along with their sister, Linda, singing on most tracks.
Damage And Joy is the brand new studio album by The Jesus And Mary Chain, released on March 24th, 2017.
Other personnel;
Richard Thomas (drums 1988-1990)
Ben Lurie (bass/rhythm guitar/backing vocals 1989-1998)
Steve Monti (drums 1990-1995)
Matthew Parkin (bass 1992)
Barry Blackler (drums 1992)
Nick Sanderson (drums 1993-1998)
Mark Crozer (rhythm guitar 2007-now)
Loz Colbert (drums 2007-now)
JAMC singer Jim Reid is name-checked in the 2017 song "Lollipop (Ode to Jim)" by Canadian band Alvvays which begins "I saw Jim Reid in the corridor.." and contains other allusions to JAMC themes.
http://thejesusandmarychain.uk.com/
Tower Of Song
The Jesus and Mary Chain Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I ache in all the places where I used to play
And I'm crazy for love, but I'm not coming on
I'm just paying my rent every day in the tower of song
I said to Hank Williams, "How lonely does it get?"
Hank Williams hasn't answered yet
But I hear him coughing all night long
Come on
I was born like this, I had no choice
I was born with the gift of a golden voice
And twenty seven angels from the great beyond
They tied me to this table right here in the tower of song
So you can stick your little pins in that voodoo doll
I'm very sorry baby doesn't look like me at all
And I'm standing by the window where the light is strong
They don't let a woman kill you, not in the tower of song
Come on
Now you can say that I've grown bitter, hut of this you maybe sure
The rich have got their channels in the bedrooms of the poor
And there's a mighty judgment coming, but I maybe wrong
You see I hear these funny voices in the tower of song
Now I bid you farewell I don't know when I'll be back
They're moving us tomorrow to that tower down the track
But you'll be hearing from me baby long after I'm gone
I'll be speaking to you sweetly from my window in the tower of song
Come on
The Jesus and Mary Chain's Tower of Song is a melancholic and introspective take on the passing of time and the effects it has on one's life. The opening lines paint a desolate picture of a man left alone as his friends have gone and his hair has turned grey. He feels the aches and pains of growing old and reminisces on the carefree days of his youth. Despite being in love, he is not pursuing anyone and instead focuses on earning his living, which he likens to paying his rent in the tower of song. He then imagines himself talking to the late country singer Hank Williams and hearing his coughing from a one hundred floors above in the tower of song.
The second verse is a reflection on the singer's own life, as he claims to have been born with the gift of a golden voice but ultimately finds himself tied down to a table in the tower of song. He tells off anyone who may try to harm him, figuratively speaking, by saying that they cannot kill him in the tower of song. He then comments on the social divide between the rich and the poor and foretells of an impending judgment, before concluding on a bittersweet note. He bids farewell to his listeners and states that they will hear from him long after he is gone, as he plans to continue speaking sweetly to them from his window in the tower of song.
Line by Line Meaning
Well my friends are gone, my hair is grey
I feel lonely and aged. My friends are gone, and my hair has turned gray.
And I ache in all the places where I used to play
My body is not as young as it used to be, and I feel the pains from where I used to play.
And I'm crazy for love, but I'm not coming on
I desire love deeply, but I am not actively pursuing it.
I'm just paying my rent every day in the tower of song
My job is making music, and I am dedicating my life to it.
I said to Hank Williams, 'How lonely does it get?''
I asked Hank Williams, how lonely one can get?
Hank Williams hasn't answered yet
Hank Williams has not responded yet.
But I hear him coughing all night long
Sometimes I can hear Hank coughing in the distance.
A one hundred floors above me in the, in the tower of song
Hank Williams may be in the same business with me, but he is much more experienced.
I was born like this, I had no choice
I have a gift for music, and I did not choose it.
I was born with the gift of a golden voice
I was born with the gift of a beautiful voice.
And twenty seven angels from the great beyond
I feel like I have the support of a higher power.
They tied me to this table right here in the tower of song
Music is all I know, and I am committed to it.
So you can stick your little pins in that voodoo doll
You can try to bring me down, but I won't let you.
I'm very sorry baby doesn't look like me at all
I'm not perfect, and I apologize if I don't meet your expectations.
And I'm standing by the window where the light is strong
I am in a place where I can see things clearly.
They don't let a woman kill you, not in the tower of song
Music can't hurt me, even if a woman does.
Now you can say that I've grown bitter, hut of this you maybe sure
People may think I have turned bitter, but that's not the case.
The rich have got their channels in the bedrooms of the poor
The wealthy have control over the poor.
And there's a mighty judgment coming, but I maybe wrong
There may come a reckoning, but I can't be certain.
You see I hear these funny voices in the tower of song
Music is always present in my life, and I am always hearing voices and sounds.
Now I bid you farewell I don't know when I'll be back
I am leaving now, and I am not sure when I will be able to return.
They're moving us tomorrow to that tower down the track
I will be moving to a new place where I can make music.
But you'll be hearing from me baby long after I'm gone
I will continue making music even if I am not here.
I'll be speaking to you sweetly from my window in the tower of song
My music will speak to you long after I am gone.
Lyrics © Sony/ATV Music Publishing LLC
Written by: LEONARD COHEN
Lyrics Licensed & Provided by LyricFind