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Free Baby Jesus Clip Art Biography
The Jesus and Mary Chain are a Scottish alternative rock band formed in East Kilbride, Scotland in 1983. The band revolves around the songwriting partnership of brothers Jim and William Reid. They released a string of albums, singles and EPs between their 1983 formation and their 1999 breakup, and gained notoriety in their early days for short sets and violence that became common at their live shows. In 2007, the band reunited
.Brothers Jim and William Reid had been inspired to form a band as far back as 1977, having heard groups such as the Sex Pistols, but it would be the early 1980s before they actually formed their own. William stated, "It was perfect timing because there weren't any guitar bands. Everybody was making this electronic pop music."[1] Before forming the band, the brothers had spent five years on the dole, and in those five years they wrote and recorded songs at home and worked out the sound and image of the band.[2] Originally called The Poppy Seeds,[3] and then Death of Joey,[1] they initially told journalists that they had taken their eventual name from a line in a Bing Crosby film, although six months later they admitted that this wasn't true.[4][5] Other accounts suggest that the name derived from an offer on a breakfast cereal packet, where customers could send off for a gold Jesus & Mary chain.[3]
The brothers started recording and sending demos to record companies in 1983, and by early 1984 they had recruited bass player Douglas Hart and teenage drummer Murray Dalglish.[4] Early influences included The Velvet Underground, The Stooges, and The Shangri-Las, William stating in 1985, "We all love The Shangri-Las, and one day we're going to make Shangri-Las records."[4] Early demos displayed a similarity to the Ramones, prompting the brothers to add another element to their sound, in William's words: "That's why we started using noise and feedback. We want to make records that sound different."[6] They began playing live in Spring 1984. In the early days Jim Reid's guitar would be left out of tune, while Dalglish's drum kit was limited to two drums, and Hart's bass guitar only had three strings, down to two by 1985; In Hart's words "that's the two I use, I mean what's the fucking point spending money on another two? Two is enough."[7]
Struggling to get gigs, the band took to turning up at venues claiming to be the support band, playing their short set and making a quick exit.[4] After failing to generate any interest from concert promoters and record labels in Scotland, the band relocated to Fulham, London, in May 1984, and soon afterwards their demo tape was passed to fellow Scot Alan McGee by Bobby Gillespie, McGee subsequently promoting a gig for the band at the Living Room in London in June 1984.[1] On the strength of hearing the band sound check, McGee signed them to his Creation Records label on a one-off deal, and McGee also became the band's manager.[8][9] The debut single, "Upside Down", was recorded in October and released in November that year.[10] The sessions were produced by Joe Foster, but McGee, unsatisfied with Foster's work, remixed the A-side, although the B-side, a cover version of Syd Barrett's "Vegetable Man", remained credited to Foster.[11] The band were gaining increasing attention from the music press at this time with Neil Taylor of the NME describing them as "the best band in the world".[12]
Dalglish left in November 1984 after a dispute over money and was replaced shortly afterwards by Bobby Gillespie who would later go on to form Primal Scream.[1] In December the band were arrested for possession of amphetamines, and Jim Reid also confessed to using LSD.[12] "Upside Down" topped the UK Indie Chart in February 1985 and then again in March and stayed on the chart for 76 weeks, selling around 35,000 copies in total, making it one of the biggest-selling indie singles of the 1980s.[13][14]
Playing in front of small audiences, during early shows the Mary Chain performed very short gigs, typically fuelled by amphetamines and lasting around 20 minutes,[9] and played with their backs to the audience, refusing to speak to them. In late December 1984, the band performed as part of the ICA Rock Week. During their performance, bottles were thrown on stage, with press reports exaggerating events and claiming that there had been a riot, and national newspaper The Sun running a story on the band concentrating on violence and drugs, the band attracting the tag "The new Sex Pistols".[15] This led several local councils to ban the band from performing in their area.[15]
Main article: Psychocandy
"Never Understand"
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"Never Understand" combines Beach Boys melodies with the distortion of White Light/White Heat
Problems listening to this file? See media help.
The success of "Upside Down" led to interest from WEA-subsidiary Blanco y Negro Records which signed the group in early 1985. The group released the single "Never Understand" in February which reached number forty-seven in the UK Singles Chart.[5] The label had initially refused to press the single due to its B-side, "Suck", but went ahead given the alternative put forward by the band, a song called "Jesus Fuck".[16] The band were eager to get "Jesus Fuck" released, and Alan McGee got as far as producing test pressings of a re-issue of "Upside Down" with the song on the B-side, before the band insisted that Blanco y Negro include the track on their next single. The follow-up, "You Trip Me Up", was delayed due to staff at the pressing plant refusing to press it due to the presence of the song, now re-titled "Jesus Suck"; The single was released in June 1985 with a new B-side, "Just Out of Reach".[5] John Peel got the band to record a second session for his BBC Radio 1 show in February 1985 (the first was only a few months earlier), and the band also made a TV appearance on Whistle Test in March and The Tube the same year.[17] The third single for Blanco y Negro, "Just Like Honey", released in October, gave them their biggest hit to date, reaching No. 45.[5]
Eager to avoid the violence of earlier gigs and to give an opportunity for their songs to be heard without distortion and feedback, the band planned to perform several unannounced acoustic sets supporting Sonic Youth, but this was abandoned when the plans were leaked.[18] Their debut album Psychocandy followed in November that year.[5] The album fused together the Reids' two primary influences, the guitar noise of The Stooges and The Velvet Underground with The Beach Boys, The Shangri-Las and Phil Spector; In fact, the album's opening song, "Just Like Honey," borrows Hal Blaine's famous drum intro from The Ronettes 1963 classic, "Be My Baby", produced and co-written by Spector.[19] The record received unanimously positive reviews and is now considered a landmark recording.[20] Drummer Gillespie announced his departure from the band in October 1985, to concentrate on Primal Scream.[21] He had recorded most of the drums on Psychocandy, with John Moore filling in when Gillespie was unavailable, eventually joining the band to replace him.[21] John Loder also acted as a stand-in drummer when Gillespie was unavailable for live performances.[5]
When the band signed to WEA subsidiary Blanco y Negro in January 1985, there were stories reporting that they had stolen money from managing Director Rob Dickens' jacket and destroyed his office, all untrue but seen as good publicity by manager McGee.[22] In a performance on Belgian television in March 1985, the band did smash the set and the audio equipment, but this was at the request of the TV producer.[17] Such behaviour became expected of the band and many shows culminated with the Reids trashing their equipment, which was often followed by the audience throwing projectiles onto the stage and damaging equipment.[9][23]
On 15 March 1985, the Jesus and Mary Chain played a gig at the North London Polytechnic in front of one of their largest crowds up to that point. The organizers had overbooked the venue, leaving hundreds of fans locked outside. When Gillespie and Hart attempted to break the locks, the police were called. Support band Meat Whiplash had stirred up violence before the Mary Chain even set foot onto the stage when singer Paul McDermott threw an empty wine bottle into the audience, prompting four members of the crowd to attack him, leading to their set being abandoned.[17] Second act The Jasmine Minks got through their set without incident, but the Jesus and Mary Chain then kept the audience waiting for over an hour before taking the stage, and then left the stage after playing for less than twenty minutes.[17] Members of the audience began throwing cans at where the band were hiding behind the stage curtains, before mounting the stage to smash the equipment that remained there. The violence continued for some time before police eventually took control.[17] The venue blamed the band's late appearance and two equipment breakdowns, while McGee issued a statement saying that "the audience were not smashing up the hall, they were smashing up pop music", going on to say "This is truly art as terrorism".[24] The violence soon started to become a hindrance to the band, with people attending concerts simply for the violence rather than the music, William commenting "I hate it, I despise it. It gets in the way in terms of getting more gigs, and it gets in the way of our image".[24] Many performances were cancelled during the remainder of 1985, with promoters or local councils not prepared to risk a riot.[24] The violence flared up again at a performance at the Electric Ballroom in Camden Town in September, with bottles thrown at the band while they played, and a section of the audience smashing up the amplification equipment and smashing the lights afterwards, with several people injured by flying glass.[25] A major factor in the audience reaction was the length of the band's sets at the time, which lasted less than twenty-five minutes, Jim explaining this with "there's never been a group good enough to play any longer". Lack of songs was also a factor, according to Jim: "We've only got enough songs to play for that long".[26]
After the success of the album in the UK, the band embarked on a tour of the United States in late 1985 and 1986, followed by a tour of Japan.[27] On returning to the UK they toured the UK, this time without the trouble that had marred earlier performances.[28] The band revived their acoustic intentions with a stripped-down session for John Peel in November 1985, which included "Psychocandy", the original album title track that was omitted from the release, and "Some Candy Talking", a song which they had been performing for over a year, but had left off the album.[29] A second version of "Some Candy Talking" was issued on a free EP issued with the NME in January 1986, and the song was released as the band's next single in July. It reached number thirteen in the UK Singles Chart, but attracted controversy when BBC Radio 1 DJ Mike Smith decided that the song was a paean to illegal drugs (denied by the band at the time, but admitted by William a year later) and convinced the station to ban it from being played.[5][30]
Free Baby Jesus Clip Art Biography
The Jesus and Mary Chain are a Scottish alternative rock band formed in East Kilbride, Scotland in 1983. The band revolves around the songwriting partnership of brothers Jim and William Reid. They released a string of albums, singles and EPs between their 1983 formation and their 1999 breakup, and gained notoriety in their early days for short sets and violence that became common at their live shows. In 2007, the band reunited
.Brothers Jim and William Reid had been inspired to form a band as far back as 1977, having heard groups such as the Sex Pistols, but it would be the early 1980s before they actually formed their own. William stated, "It was perfect timing because there weren't any guitar bands. Everybody was making this electronic pop music."[1] Before forming the band, the brothers had spent five years on the dole, and in those five years they wrote and recorded songs at home and worked out the sound and image of the band.[2] Originally called The Poppy Seeds,[3] and then Death of Joey,[1] they initially told journalists that they had taken their eventual name from a line in a Bing Crosby film, although six months later they admitted that this wasn't true.[4][5] Other accounts suggest that the name derived from an offer on a breakfast cereal packet, where customers could send off for a gold Jesus & Mary chain.[3]
The brothers started recording and sending demos to record companies in 1983, and by early 1984 they had recruited bass player Douglas Hart and teenage drummer Murray Dalglish.[4] Early influences included The Velvet Underground, The Stooges, and The Shangri-Las, William stating in 1985, "We all love The Shangri-Las, and one day we're going to make Shangri-Las records."[4] Early demos displayed a similarity to the Ramones, prompting the brothers to add another element to their sound, in William's words: "That's why we started using noise and feedback. We want to make records that sound different."[6] They began playing live in Spring 1984. In the early days Jim Reid's guitar would be left out of tune, while Dalglish's drum kit was limited to two drums, and Hart's bass guitar only had three strings, down to two by 1985; In Hart's words "that's the two I use, I mean what's the fucking point spending money on another two? Two is enough."[7]
Struggling to get gigs, the band took to turning up at venues claiming to be the support band, playing their short set and making a quick exit.[4] After failing to generate any interest from concert promoters and record labels in Scotland, the band relocated to Fulham, London, in May 1984, and soon afterwards their demo tape was passed to fellow Scot Alan McGee by Bobby Gillespie, McGee subsequently promoting a gig for the band at the Living Room in London in June 1984.[1] On the strength of hearing the band sound check, McGee signed them to his Creation Records label on a one-off deal, and McGee also became the band's manager.[8][9] The debut single, "Upside Down", was recorded in October and released in November that year.[10] The sessions were produced by Joe Foster, but McGee, unsatisfied with Foster's work, remixed the A-side, although the B-side, a cover version of Syd Barrett's "Vegetable Man", remained credited to Foster.[11] The band were gaining increasing attention from the music press at this time with Neil Taylor of the NME describing them as "the best band in the world".[12]
Dalglish left in November 1984 after a dispute over money and was replaced shortly afterwards by Bobby Gillespie who would later go on to form Primal Scream.[1] In December the band were arrested for possession of amphetamines, and Jim Reid also confessed to using LSD.[12] "Upside Down" topped the UK Indie Chart in February 1985 and then again in March and stayed on the chart for 76 weeks, selling around 35,000 copies in total, making it one of the biggest-selling indie singles of the 1980s.[13][14]
Playing in front of small audiences, during early shows the Mary Chain performed very short gigs, typically fuelled by amphetamines and lasting around 20 minutes,[9] and played with their backs to the audience, refusing to speak to them. In late December 1984, the band performed as part of the ICA Rock Week. During their performance, bottles were thrown on stage, with press reports exaggerating events and claiming that there had been a riot, and national newspaper The Sun running a story on the band concentrating on violence and drugs, the band attracting the tag "The new Sex Pistols".[15] This led several local councils to ban the band from performing in their area.[15]
Main article: Psychocandy
"Never Understand"
MENU0:00
"Never Understand" combines Beach Boys melodies with the distortion of White Light/White Heat
Problems listening to this file? See media help.
The success of "Upside Down" led to interest from WEA-subsidiary Blanco y Negro Records which signed the group in early 1985. The group released the single "Never Understand" in February which reached number forty-seven in the UK Singles Chart.[5] The label had initially refused to press the single due to its B-side, "Suck", but went ahead given the alternative put forward by the band, a song called "Jesus Fuck".[16] The band were eager to get "Jesus Fuck" released, and Alan McGee got as far as producing test pressings of a re-issue of "Upside Down" with the song on the B-side, before the band insisted that Blanco y Negro include the track on their next single. The follow-up, "You Trip Me Up", was delayed due to staff at the pressing plant refusing to press it due to the presence of the song, now re-titled "Jesus Suck"; The single was released in June 1985 with a new B-side, "Just Out of Reach".[5] John Peel got the band to record a second session for his BBC Radio 1 show in February 1985 (the first was only a few months earlier), and the band also made a TV appearance on Whistle Test in March and The Tube the same year.[17] The third single for Blanco y Negro, "Just Like Honey", released in October, gave them their biggest hit to date, reaching No. 45.[5]
Eager to avoid the violence of earlier gigs and to give an opportunity for their songs to be heard without distortion and feedback, the band planned to perform several unannounced acoustic sets supporting Sonic Youth, but this was abandoned when the plans were leaked.[18] Their debut album Psychocandy followed in November that year.[5] The album fused together the Reids' two primary influences, the guitar noise of The Stooges and The Velvet Underground with The Beach Boys, The Shangri-Las and Phil Spector; In fact, the album's opening song, "Just Like Honey," borrows Hal Blaine's famous drum intro from The Ronettes 1963 classic, "Be My Baby", produced and co-written by Spector.[19] The record received unanimously positive reviews and is now considered a landmark recording.[20] Drummer Gillespie announced his departure from the band in October 1985, to concentrate on Primal Scream.[21] He had recorded most of the drums on Psychocandy, with John Moore filling in when Gillespie was unavailable, eventually joining the band to replace him.[21] John Loder also acted as a stand-in drummer when Gillespie was unavailable for live performances.[5]
When the band signed to WEA subsidiary Blanco y Negro in January 1985, there were stories reporting that they had stolen money from managing Director Rob Dickens' jacket and destroyed his office, all untrue but seen as good publicity by manager McGee.[22] In a performance on Belgian television in March 1985, the band did smash the set and the audio equipment, but this was at the request of the TV producer.[17] Such behaviour became expected of the band and many shows culminated with the Reids trashing their equipment, which was often followed by the audience throwing projectiles onto the stage and damaging equipment.[9][23]
On 15 March 1985, the Jesus and Mary Chain played a gig at the North London Polytechnic in front of one of their largest crowds up to that point. The organizers had overbooked the venue, leaving hundreds of fans locked outside. When Gillespie and Hart attempted to break the locks, the police were called. Support band Meat Whiplash had stirred up violence before the Mary Chain even set foot onto the stage when singer Paul McDermott threw an empty wine bottle into the audience, prompting four members of the crowd to attack him, leading to their set being abandoned.[17] Second act The Jasmine Minks got through their set without incident, but the Jesus and Mary Chain then kept the audience waiting for over an hour before taking the stage, and then left the stage after playing for less than twenty minutes.[17] Members of the audience began throwing cans at where the band were hiding behind the stage curtains, before mounting the stage to smash the equipment that remained there. The violence continued for some time before police eventually took control.[17] The venue blamed the band's late appearance and two equipment breakdowns, while McGee issued a statement saying that "the audience were not smashing up the hall, they were smashing up pop music", going on to say "This is truly art as terrorism".[24] The violence soon started to become a hindrance to the band, with people attending concerts simply for the violence rather than the music, William commenting "I hate it, I despise it. It gets in the way in terms of getting more gigs, and it gets in the way of our image".[24] Many performances were cancelled during the remainder of 1985, with promoters or local councils not prepared to risk a riot.[24] The violence flared up again at a performance at the Electric Ballroom in Camden Town in September, with bottles thrown at the band while they played, and a section of the audience smashing up the amplification equipment and smashing the lights afterwards, with several people injured by flying glass.[25] A major factor in the audience reaction was the length of the band's sets at the time, which lasted less than twenty-five minutes, Jim explaining this with "there's never been a group good enough to play any longer". Lack of songs was also a factor, according to Jim: "We've only got enough songs to play for that long".[26]
After the success of the album in the UK, the band embarked on a tour of the United States in late 1985 and 1986, followed by a tour of Japan.[27] On returning to the UK they toured the UK, this time without the trouble that had marred earlier performances.[28] The band revived their acoustic intentions with a stripped-down session for John Peel in November 1985, which included "Psychocandy", the original album title track that was omitted from the release, and "Some Candy Talking", a song which they had been performing for over a year, but had left off the album.[29] A second version of "Some Candy Talking" was issued on a free EP issued with the NME in January 1986, and the song was released as the band's next single in July. It reached number thirteen in the UK Singles Chart, but attracted controversy when BBC Radio 1 DJ Mike Smith decided that the song was a paean to illegal drugs (denied by the band at the time, but admitted by William a year later) and convinced the station to ban it from being played.[5][30]
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
Free Baby Jesus Clip Art
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