Honey's Dead
| Company type | Album |
|---|---|
| Industry | Music |
| Founded | 1992 |
| Founder | The Jesus and Mary Chain |
| Products | Alternative rock music album |
Honey's Dead represents the fourth full-length release by the Scottish alternative rock group The Jesus and Mary Chain, issued in 1992 through Blanco y Negro Records. This album signified a shift back towards a harsher sonic palette, integrating aspects of alternative dance. It reached number 14 on the UK Albums Chart and, by May 1998, had sold 122,000 units in the United States as reported by Nielsen SoundScan.
The album's title alludes to their early success with "Just Like Honey", indicating a move away from their previous musical approach. The artwork showcases a segment from Ophelia (First Version), painted by the Pre-Raphaelite artist Arthur Hughes.
Its lead single, "Reverence", generated controversy due to lyrics mentioning "Jesus Christ" and "JFK". Although it was banned from Top of the Pops, the track still climbed to number 10 on the UK Singles Chart and received airplay on US alternative radio stations.
Honey's Dead was among the shortlisted contenders for the 1992 Mercury Prize.
Background
The recording of Honey's Dead took place at the band's own London facility named "Drugstore," with engineering by Flood and future JaMC producer Alan Moulder, benefiting from a substantially increased budget.
The single "Far Gone and Out," one of their most acclaimed tracks, found support on alternative and campus radio outlets, reaching number 23 in the UK. The Jesus and Mary Chain participated in segments of the 1992 Lollapalooza tour alongside acts such as Pearl Jam, Soundgarden, Ministry, Lush, Ice Cube, and Red Hot Chili Peppers. Additionally, samples from "Sugar Ray" were utilized by Anheuser Busch in their 1993 Bud Ice advertising campaign.
Reception
Ned Raggett of Allmusic lauded the album as "a more cohesive and fulfilling effort than Automatic'," emphasizing its inventive arrangements and effective blend of distortion with clarity, considering it their finest work since Psychocandy. Richard Cromelin from the Los Angeles Times characterized it as featuring "dry, deadpan vocals set ironically against an expansive sound," comparing the band to a grunge-tinged descendant of the Pet Shop Boys.
In terms of commercial success, this album ranks just below their subsequent release, Stoned & Dethroned (1994), which includes the successful single "Sometimes Always" featuring Hope Sandoval from Mazzy Star. Vocal responsibilities alternate between the Reid brothers, likely mirroring their songwriting contributions.
Jimmy Eat World's lead singer Jim Adkins commended the album for its dynamic progression within songs and innovative use of musical textures, noting its distinctive blend that felt simultaneously familiar yet novel.
Track listing
All compositions credited to Jim Reid and William Reid.
LP (BYN 26) and Cassette (BYNC 26)
Side one
- "Reverence" – 3:40
- "Teenage Lust" – 3:06
- "Far Gone and Out" – 2:51
- "Almost Gold" – 3:19
- "Sugar Ray" – 4:41
- "Tumbledown" – 4:10
Side two
- "Catchfire" – 4:47
- "Good for My Soul" – 3:05
- "Rollercoaster" – 3:46
- "I Can't Get Enough" – 2:56
- "Sundown" – 4:59
- "Frequency" – 1:19
CD (BYNCD 26)
- Tracks 1 through 12 as listed above.
Notes
- The sixth track incorporates an approximate 18-second sample starting at 1:25 from Einstürzende Neubauten’s "Tanz Debil," originally featured on their 1981 album Kollaps.
- Track nine, noted as "copyright 1990," is a re-recorded version produced during these sessions with live drumming and modified vocals, differing from its original appearance on the 1990 EP.
Personnel
The Jesus and Mary Chain
- Jim Reid – lead vocals on tracks 1, 2, 3, 5, 6, and 8; guitar; production
- William Reid – lead vocals on tracks 4, 7, and 9 through 12; guitar; production
- Steve Monti – drums and percussion
Additional personnel
- Alan Moulder – engineering for all tracks except track 9; mixing duties
- Flood – engineering on track 9
- Andy Catlin – photography