Coming off the 1993 Lollapalooza tour (back when it a tour and still had good lineups), The Jesus and Mary Chain went into the studio in 1994 to record what was originally supposed to be an acoustic record for their fifth album, but making Stoned & Dethroned took longer than they’d expected and was also the first time since Psychocandy that they used a full band in the sessions instead of brothers Jim and William Reid doing everything.
“Dirty Water” (a sort of lament mixed with a sort of challenge) has those acoustic guitars, but the electric guitars and bass, and Ben Lurie‘s harmonica and Steve Monti‘s shuffling drums almost push it into psychedelic country territory. “Bullet Lovers” continues this love affair with the dusty west (I mean, look at that main cover image…).
Mazzy Star‘s Hope Sandoval joins Jim Reid on vocals for “Sometimes Always,” which has Reid begging for Sandoval to let him back into her life after he’s left her yet again. “Come On” is a lovable track with a cool groove and simple, yet completely relatable lyrics about trying to convince a lover that things will eventually turn around and be all right. The electro-acoustic guitar on “Between Us” is a nice touch, once again bridging the gap between western psych and shoegaze.
“Hole” is a dark one, with Jim Reid wishing he had some motivation (“All I want is a dream. Give me something to dream.). Monti’s simple drum beat is perfect for the track, while the guitars grumble like Oscar the Grouch deep inside his trash can. “Never Saw It Coming” might be a song about the end of the world, with William Reid telling us there will be no need of money, clothing, or even running when it comes. The bass groove on this by Lurie is top notch.
“She” is an interesting track (with nice guitar work throughout it) as Jim Reid tries to figure out a woman who “spends her time out of space and out of line, planning some unholy crime that comes to nothing.” Meanwhile, his brother wishes he and a woman could make it work on “Wish I Could.” “Save Me” and “Till It Shines” go heavy on the acoustic guitar chords, with “Till It Shines” again delivering a (mostly) hopeful message (“Junk the junk, love the love.”).
Shane McGowan from The Pogues takes over lead vocals on the sad (Notice the initials of the album’s title?) “God Help Me,” which is a straight-up prayer of someone at the end of their rope. Jim Reid tries to talk a lady friend out of going back to her old addict habits on “Girlfriend” (“We done our time and we had some fun. I want to get things done.”). He expands this to wonder what’s going on not only with her, but people in general on “Everybody” (“Everybody I know is falling apart.”) – a song which I’m willing to bet Radiohead has on a couple playlists. On “You’ve Been a Friend,” Jim Reid is missing someone who’s left him – possibly because of his actions.
William Reid, at least, feels a bit better on “These Days,” in which he claims, “I feel immune to the sadness and gloom.” On the closing track, “Feeling Lucky,” he’s finally found “someone who knows me, and she still wants to hold me.” The Brian Jonestown Massacre probably play this on repeat while on tour.
This album doesn’t have a lot of the loud, fuzzy riffs you might expect from TJAMC, but it does have the introspective lyrics, the good guitar work, and the interesting mix of American southwest vibrations.
Keep your mind open.
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