Only.as played by lazy, spiteful, nearly hopeless people who didn’t care one way or the other and therefore covered the whole thing in screeching. Luckily- intuitively- the JAMC wrote pop songs, basic three-chord rock’n’roll and all-hook melodies, vaguely in the style of early Beach Boys, girl groups, or the laid-back end of the Rolling Stones. If the band had applied these tactics to knotty, difficult music, you would never have heard of them, and Dominique Leone would be reviewing these reissues. A similar approach was taken to bass guitar and vocals.
Obviously the drummer for such a group couldn’t sit behind a big kit looking like he knew what he was doing, so the JAMC stood Bobby Gillespie (yes, that one) up behind only two drums- a floor tom and a snare- and had him bash away like he was pissed off at them but either too bored or too drunk to finish them off. The JAMC did not like this situation, because those poses tended to be either uncool or boring, and often made one look like a complete twat.īut after a brief scientific study of their equipment, it came to the JAMC’s attention that electric guitars, when paired with high amplifier volume and harmonic distortion, could create feedback, thereby producing aggressive noises mostly on their own, and freeing their actual players to stand around looking half dead, depressed, and generally too contemptuous and disgusted to really bother playing- all of which seemed, in 1985 and in the particular case of the JAMC, totally super-awesome. Before they came along, many people still assumed that in order to make aggressive, energetic noises, the members of rock bands had to actually move around, do guitar windmills, and look engaged. The Jesus and Mary Chain (henceforth “JAMC”) was the musical project of Jim and William Reid, who were (a) Scottish, (b) brothers, and (c) the foremost technological and scientific innovators of the modern rock era.
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