The Jesus and Mary Chain

However, it could be said that the Mary Chain's great legacy was the realization that punk rock/industrial noise was not diametrically opposed to pop melody, that the two could be woven together into music far more than the sum of its parts. * - indicates wholly or partially live album. Contemporary bands such as The Raveonettes simply would not exist without the Mary Chain's influence. On January 4, Ray was shot in the leg while chasing thieves who had snatched the purse of his companion in the French Quarter of New Orleans, and on June 30 Dave suffered a stroke in an elevator at the London offices of the BBC, where he had been promoting his latest solo album, Bug, he was hospitalised and released on August 27. The Mary Chain's influence remains to this day, an influence that has been confirmed by the numerous cover versions of Mary Chain songs. Moreover, both Ray and Dave suffered injuries in 2004 which will postpone any Kinks reunion for some time. Their debut album Psychocandy, along with the Cocteau Twins, was a huge influence on the British Shoegazing movement of the late '80s as well as on numerous American bands. They have each released solo albums and toured extensively.

The Jesus and Mary Chain are easily one of the most influential bands of all time in indie circles. One of Ray's projects included a symphony commissioned by the Norfolk and Norwich Festival. In 2005, some six years after the Mary Chain split up, their Heat track, taken from the Sound of Speed compilation, was used in a television advertising campaign for Coor's Beer in the UK. In the early 2000s, talk of a Kinks reunion has circulated, but for the past several years, both Ray and Dave Davies have been preoccupied with their own projects. William left the band following that show and the band finished up their US and Japanese dates without him. Dave Davies' "Kink", was published in the spring of 1996. Though it was not until October 1999 that the split was made official, on September 12 1998 the Reid brothers had a falling out onstage during a sold out gig at Chicago's famous House of Blues club about 15 minutes into their set. Ray Davies also took his toll and acted as a godfather, while promoting his autobiography, "X-Ray", which was published in early 1995 in the U.K.

For Sub Pop they recorded 1998's Munki album, which would turn out to be their last before splitting the following year. Particularly Blur frontman Damon Albarn several times stressed that the Kinks are one of the bands that made biggest impact on his songwriting. Following the final album in their odds-n-sods trilogy, 1995's Hate Rock N' Roll, the Mary Chain parted ways with Blanco y Negro, their record label of over a decade, and signed to American indie rock label Sub Pop. Several of the most popular Britpop bands of the decade, including Blur and Oasis cited the Kinks as a major influence on their careers. Following the tour to support the album and the release of another compilation of odds-n-sods, The Sound of Speed, they returned to the studio to record their fifth album proper, the largely acoustic Stoned & Dethroned which would see release in 1994. Despite a lack of commercial success, the band's profile began to rise in 1995. The single was followed by the release of the album Honey's Dead in 1992. and without a label in the U.S.

Spitting feedback and punk rock bile in every direction, the track was banned from Radio and the video was banned from TV play due to its potentially offensive lyrics ("I wanna die just like JFK, I wanna die in the USA".) The Reid brothers had not calmed down after all, proving that they could still rage, kick and spit with the best of them. In 1994, the band was dropped from Columbia Records, leaving the group to release the live To the Bone on an independent label in the U.K. They proved their detractors wrong with their next single, Reverence. By this time, only Ray and Dave Davies remained from the original lineup. It seemed that they had calmed down. The Kinks' first album for Columbia, Phobia, arrived in 1993 to fair reviews but poor sales. By this time, the violence that was originally associated with the band was practically non-existent and the Reid brothers were being less antagonistic and aggressive in general. Later in the year, the band signed with Columbia Records and released an EP called Did Ya, which didn't chart.

Boasting heavy use of synthesized bass and keyboards, the album was not received quite as well as its predecessors though it was still a strong, consistent album, and contained the singles Head On and the Dylan ode, Blues From a Gun. In 1991, a compilation of their MCA records, Lost & Found (1986-1989), appeared, signalling that their contract with the label had expired. Following the odds-n-sods collection Barbed Wire Kisses in 1988 and constant touring, the album Automatic was released in September 1989. The Kinks were inducted into the Rock & Roll Hall of Fame in 1990, but the induction did not help revive their career. The fluid nature of the Mary Chain's line up continued throughout their entire career, with a revolving door of drummers, bassists and guitarists being recruited for TV appearances and gigs whenever they were required, the only constants being the Reid brothers. During 1989, keyboardist Ian Gibbons left the band. The gigs were very poorly received and they quickly reverted back to live drums, drafting in Richard Thomas for two years, subsequently replaced by Steve Monti in 1990. Two years later, the Kinks released their last studio record for MCA, UK Jive.

In 1987 and 1988 they toured without a drummer, instead employing a roadie to play a tape of drum tracks through the PA system. The following year, the Kinks released another live album, appropriately titled The Road, which spent a brief time on the charts. Ironically, the band's live shows, at one time considered the most exciting element of the band and the reason for most of their success, were now overshadowed by their records. Think Visual, their first album for their new label, was released in late 1986. It was a mild success but there were no hit singles from the record. Featuring a more melodic sound, the album was recorded almost entirely by the Reids themselves, replacing live drums with a drum machine, and received overwhelmingly positive reviews by the British music press. In early 1986, the band signed with MCA Records in the U.S., London in the U.K. He was replaced with John Moore, though he was gone as well by the release of the band's second album, Darklands, in September 1987 (Moore went on to form Black Box Recorder with Luke Haines). Word of Mouth was the last album they would record for Arista Records.

Following the release of the follow up single Some Candy Talking, Bobby Gillespie left to front Primal Scream on a full time basis. Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never ever released another record that entered the Top 40. The record received unanimously positive reviews and is now considered a landmark recording. As Ray finished production on Return to Waterloo, he wrote the next Kinks album, Word of Mouth. The album fused together the Reid's two primary influences, the indie guitar noise of The Velvet Underground with the '60s pop leanings of Phil Spector and The Beach Boys. Nevertheless Mick continued his work in the Konk studios. The same year, the band signed to Blanco y Negro and released the You Trip Me Up and Never Understand singles which were soon followed by their debut album Psychocandy. Instead of breaking up, the Kinks reshuffled their lineup, but Mick Avory, the band's drummer for 20 years, tired with incessable punch-ups and break-ups quit the band and was replaced by Bob Henrit.

The music press were present at the show, and this event subsequently became known as "The Jesus and Mary Chain Riot". For the remainder of 1983, Ray Davies worked on a film project, Return to Waterloo, which caused considerable tension between himself and his brother. By the time the Mary Chain started their short set, the audience was already in the mood for violence, and because of the size of the audience, the riot that occurred was far bigger and wilder than any other that had occurred at a Mary Chain gig. State of Confusion followed the release of "Come Dancing", and it was another success, peaking at number 12 in the U.S. Support band Meat Whiplash had stirred up violence before the Mary Chain even set foot onto the stage by throwing a wine bottle into the audience. it climbed to number 12. On March 15, 1985, the Mary Chain played a gig at the North London Polytechnic in front of one of their largest crowds up to that point. In spring of 1983, "Come Dancing" became the group's biggest American hit since "Tired of Waiting for You," thanks to the video's repeated exposure on MTV; in the U.S., the song peaked at number six, in the U.K.

The violence that followed the band's every action culminated in an event that is now a part of indie folklore. For most of 1982, the band was on tour. He would simply make sure people from the music press were present while these events naturally transpired, and so ensuring blanket coverage in the music papers. The Kinks' next album, Give the People What They Want, appeared in late 1981; the record peaked at number 15 and went gold. All of this delighted manager and Creation Records boss Alan McGee, who obviously found it very easy to get attention for the band. Even though punk rockers like the Jam and the Pretenders were covering Kinks songs in the late 70s, the group was becoming more commercial with each release, culminating in the heavy rock of Low Budget 1979, which became the group's biggest American success, peaking at number 11. Many shows culminated with the Reids trashing their equipment, which was often followed by the audience rioting. Soon, the band was playing arenas in the United States.

Any reporters or photographers from the music press would be verbally insulted and spat at. After a British tour, Dalton left the band again, along with keyboardist John Gosling; bassist Jim Rodford and keyboardist Gordon Edwards filled the vacancies. Playing in front of small audiences, the Mary Chain earned their notoriety by playing very short gigs, some lasting no more than 10 minutes and consisting of a either the mangling of a couple of covers songs or a constant wall of feedback and distortion, as well as playing with their backs to the audience and refusing to speak to them. success. Controversial by design, the Mary Chain's early gigs have become the stuff of legend in indie circles. Misfits, the band's second Arista album, was also a U.S. Though the single received universal critical acclaim from the British music press, and the band were championed fanatically by the NME, it was their live shows that drew them the most attention and notoriety. As the band was completing the follow-up to Sleepwalker, Pyle left the group and was replaced by the returning Dalton.

The latter was quickly replaced in favour of Primal Scream frontman Bobby Gillespie, and the band recorded their debut single, Upside Down, that would be released in October 1984 on Creation Records. Sleepwalker, the Kinks' first album for Arista, became a major hit in the U.S. To fully realise their vision of the band, the Reid brothers recruited bassist Douglas Hart and drummer Murray Galglish. Bassist John Dalton left the group near the completion of their debut Arista album; he was replaced by Andy Pyle. In much the same way as The Smiths, The Mary Chain originally revolved around the songwriting partnership of its two main members. On Arista, the band refashioned themselves as a hard rock band and bounced back to the charts. Hailing from East Kilbride in Scotland, they released a constant string of albums, singles and EPs until their demise in 1999. In 1976, the Kinks left their record company RCA and signed with Arista Records.

The Jesus and Mary Chain were a British Indie rock band that revolved around the songwriting partnership of brothers Jim Reid and William Reid. In 1976, the Kinks recorded Davies' third straight rock opera, Schoolboys in Disgrace, which rocked harder than any album they released on RCA. BBC - Live in Concert, 2003. Despite poor reviews, Soap Opera was a more commercially successful record than its predecessor. 21 Singles, 2002. Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera, which was released in the spring of 1975. The Complete John Peel Sessions, 2000. Act 2 appeared in the summer of 1974; the sequel received worse treatment than its predecessor.

Munki, 1998. When the first installment of the opera finally appeared in late 1973, it was harshly criticized and given a cold reception from the public. Hate Rock N' Roll, 1995. Inspired by fellow modders the Who in 1973, Ray Davies composed a full-blown rock opera called Preservation. Stoned & Dethroned, 1994. A few months after the release of Muswell Hillbillies, Reprise released a double-album compilation called The Kink Kronikles, which outsold their RCA debut. Everybody's in Showbiz (1973), a double record set consisting of one album of studio tracks and another of live material, was a disappointment in the U.K., although the album was more successful in the U.S. The Sound of Speed, 1993. The album failed to be the commercial blockbuster RCA had hoped for.

Honey's Dead, 1992. Released in late 1971, Muswell Hillbillies, the group's first album for RCA, marked a return to the nostalgia of the Kinks' late-'60s albums, only with more pronounced country and music hall influences. Automatic, 1989. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance. Barbed Wire Kisses, 1988. The band's contract with Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. Darklands, 1986. and U.K., helping the band become concert favorites in the U.S.

Psychocandy, 1985 - Perhaps their finest moment. Released in the fall of 1970, Lola versus Powerman and the Moneygoround, Part One was their most successful record since the mid-'60s in both the U.S. and the U.S. The first appearance of Gosling on a Kinks record was "Lola." Featuring a harder rock foundation than their last few singles, "Lola" was a Top Ten hit in both the U.K. As they were recording the follow-up to Arthur, the Kinks expanded their lineup to include keyboardist John Gosling.

Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. Before they began the tour, the Kinks released Arthur (Or the Decline and Fall of the British Empire). In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S. for the first time in four years. Peter Quaife soon grew tired of the band's lack of success, and he left the band by the end of the year, being replaced by John Dalton.

While the album was unsuccessful, it was well-received by critics, particularly in the U.S. Released in the fall of 1968, the latter was culmination of Davies' nostalgic tendencies. Released in the spring of 1968, the Kinks' "Wonderboy" was the band's first single not to crack the Top Ten since "You Really Got Me." They recovered somewhat with "Days," but the band's commercial decline was evident by the lack of success of The Kinks Are the Village Green Preservation Society. hit for the band.

Following the lackluster performance of Something Else, the Kinks rushed out a new single, "Autumn Almanac," which became another big U.K. Despite the Kinks' musical growth, their chart performance was beginning to stagnate. Released in the fall of 1967, Something Else By The Kinks continued the progressions of Face to Face. in the spring of 1967.

In May 1967, they returned with "Waterloo Sunset," a ballad that reached number two in the U.K. "Sunny Afternoon" was a teaser for the band's great leap forward, Face to Face, a record that featured a vast array of musical styles. "Sunny Afternoon" was one of Davies' wry social satires and the song was the biggest hit of the summer of 1966 in the U.K., reaching number one. The Kinks' next album, The Kinks Kontroversy, demonstrated the progression in Davies' songwriting.

Consequently, Davies' songs grew more introspective, relying more on English influences such as music hall and English folk, than the rest of his British contemporaries. For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the world's largest music market, but that they were effectively cut off from the musical and social upheavals of the late 60s. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American government for unspecified reasons. Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band.

During this time, the band also produced two full-length albums and several EPs. "All Day and All of the Night," the group's fourth single, was released late in 1964 and it rose all the way to number two; in America, it hit number seven. "You Really Got Me" reached number one within a month of its release; released on Reprise in the U.S., the single climbed into the Top Ten. Not only was the final version the blueprint for the Kinks' early sound, but scores of groups used the heavy, power chords as a foundation.

The band's third single, "You Really Got Me", was much better received and shot the charts. "Long Tall Sally" was released in February 1964, but it failed to chart, as did their second single, "You Still Want Me". Before the single was released, the group changed their name to the Kinks. The Ravens recorded their debut single, a cover of Little Richard's "Long Tall Sally," in January 1964.

Before signing to the label, the Ravens replaced drummer Willet with Mick Avory, who became drummer for the band in the next 20 years. Talmy helped the band land a contract with Pye in 1964. Eventually, their demo tape reached Shel Talmy, an American record producer who was under contract to Pye Records. By the summer of 1963, the group had decided to call itself the Ravens and had recruited a new drummer, Mickey Willet.

Soon, the brothers recruited a schoolmate of Ray's, Peter Quaife, to play with them; like the Davies brothers, Quaife played guitar, but he switched to bass. 3 February 1947), who were born and raised in Muswell Hill, London. In their teens, the brothers began playing skiffle and rock & roll. 21 June 1944) and Dave Davies (b. Throughout their long career, the core of the Kinks remained brothers Ray (b.

. Ray Davies' intensely British outlook and his penchant for nationalist nostalgia was consciously imititated by 90s Brit Pop bands such as Pulp or Blur. Their early incarnation as rebellious three-chord rockers provided a template for punk, and their later psychedelic albums (particularly The Village Green Preservation Society) are frequently cited by underground musicians and music fans as an apogee of pop songwriting. Nevertheless, the Kinks are one of the most influential British Invasion bands.

The band never gained the same degree of popularity as their peers because legal problems prevented them from touring in America throughout most of the late 1960s. The Davies brothers had a tempestous relationship, and their frequent quarrels often degenerated into fist-fights, sometimes taking place onstage. The name is thought to refer to the style of "kinky" boots and clothing then in fashion, partly thanks to the Avengers television series. The group was briefly called The Ravens until, at their manager Larry Page of Page One Records' urging, they changed their name to The Kinks just before their first recording.

The lineup with which they began their recording career was Dave Davies (lead guitar, vocals, songwriting); his brother Ray Davies (primary songwriter, primary vocalist, rhythm guitar); Pete Quaife (bass guitar, vocals); and Mick Avory (drums). The Kinks, a British Invasion pop/rock band, were formed in London in 1963 by Dave Davies and Peter Quaife. January 1997 The Days EP #35 UK. August 1983 "Come Dancing" #12 UK.

May 1972 "Supersonic Rocket Ship" #16 UK. December 1970 "Apeman" #5 UK. July 1970 "Lola" #2 UK. January 1970 "Victoria" #33 UK.

April 1969 "Plastic Man" #31 UK. July 1968 "Days" #12 UK. April 1968 "Wonderboy" #36 UK. October 1967 "Autumn Almanac" #3 UK.

May 1967 "Waterloo Sunset" #2 UK. November 1966 "Dead End Street" #5 UK. June 1966 "Sunny Afternoon" #1 UK. March 1966 "Dedicated Follower Of Fashion" #4 UK.

December 1965 "Till The End Of The Day" #8 UK. August 1965 "See My Friend" #10 UK. May 1965 "Set Me Free" #9 UK. March 1965 "Everybody's Gonna Be Happy" #17 UK.

January 1965 "Tired Of Waiting For You" #1 UK. October 1964 "All Day And All Of The Night" #2 UK #7 US. August 1964 "You Really Got Me" #1 UK.  ??? 1964 "You Still Want Me".

February 1964 "Long Tall Sally". To the Bone, 1994 (UK), 1996 (US)*. Lost & Found (1986-1989) (1991). UK Jive, 1989.

Live: The Road, 1987*. One for the Road, 1980*. Everybody's in Show-Biz, 1972*. The Kink Kronikles 1971.

Live at Kelvin Hall, 12 Jan 1968 (recorded 1966)*. Schoolboys in Disgrace, 1975. Soap Opera, 1975. Preservation Act 2, 1974.

Preservation Act 1, 1973. Phobia, 1993. Think Visual, 1986. Word of Mouth, 1984.

State of Confusion, 1983. Give the People What They Want, 1981. Low Budget, 1979. Misfits, 1978.

Sleepwalker, 1977. Muswell Hillbillies, 24 Nov 1971. Lola versus Powerman and the Moneygoround, Part One, 27 Nov 1970. Arthur (Or the Decline and Fall of the British Empire), 10 Oct 1969.

The Kinks Are the Village Green Preservation Society, 22 Nov 1968. Something Else By The Kinks, 15 Sept 1967. Face to Face, 28 Oct 1966. The Kinks Kontroversy, 26 Nov 1965.

Kinda Kinks, 5 Mar 1965. The Kinks (Released in the US as You Really Got Me), 2 Oct 1964.