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Honey's Dead

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Editorial Reviews

All Music Guide - Ned Raggett
Again working with Alan Moulder but now also using a live drummer on most tracks -- namely Monti from Curve, one of the Mary Chain's many descendants -- the Reids came back strong with Honey's Dead, on balance a more consistent and satisfying record than Automatic. There's a sense of greater creativity with the arrangements, while the balance between blasting static rampage and precise, almost clinical delivery is the finest yet, making the album as a whole the best straight-through listen since Psychocandy. Monti's drumming finally replaces Bobby Gillespie's properly; he's a much more talented musician than the Primal Scream overlord, using the warped funk hits familiar ...
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Editorial Reviews

All Music Guide - Ned Raggett
Again working with Alan Moulder but now also using a live drummer on most tracks -- namely Monti from Curve, one of the Mary Chain's many descendants -- the Reids came back strong with Honey's Dead, on balance a more consistent and satisfying record than Automatic. There's a sense of greater creativity with the arrangements, while the balance between blasting static rampage and precise, almost clinical delivery is the finest yet, making the album as a whole the best straight-through listen since Psychocandy. Monti's drumming finally replaces Bobby Gillespie's properly; he's a much more talented musician than the Primal Scream overlord, using the warped funk hits familiar from Curve's work to the Mary Chain's advantage. Even the drum machine-driven cuts work better than before, especially the brilliant, coruscating opener, "Reverence." Burning with some of the best nails-on-chalkboard feedback the band had yet recorded, combined with a whipsmart sharp breakbeat, all it took was the finishing touch of Jim Reid's sneering lines like "I wanna die like Jesus Christ" to make it another stone-cold classic single from the band. Other winners include "Sugar Ray," with beats and melody so immediate and addictive the track was actually used for a beer commercial, of all things, and the steady slap and crunch of "Good for My Soul." If there's a danger in Honey's Dead, it's that the near bottomless pit of reworked melodies and lyrics had almost reached its end -- even the final track, "Frequency," combines both "Reverence" itself with the Modern Lovers' "Roadrunner" -- which made the stylistic shift on Stoned & Dethroned a logical follow-up. William and Jim Reid split all the vocals almost evenly, the former especially shining on the nearly gentle "Almost Gold," the closest the record comes to a sweet ballad.
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Product Details

  • Release Date: 7/11/2006
  • Label: Rhino/Wea Uk
  • UPC: 081227767020
  • Catalog Number: 277670
  • Sales rank: 150,949

Tracks

Disc 1
  1. 1 Reverence (3:40)
  2. 2 Teenage Lust (3:06)
  3. 3 Far Gone and Out (2:51)
  4. 4 Almost Gold (3:19)
  5. 5 Sugar Ray (4:41)
  6. 6 Tumbledown (4:10)
  7. 7 Catchfire (4:47)
  8. 8 Good for My Soul (3:05)
  9. 9 Rollercoaster (3:46)
  10. 10 I Can't Get Enough (2:56)
  11. 11 Sundown (4:59)
  12. 12 Frequency (1:19)
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Album Credits

Performance Credits
The Jesus and Mary Chain Primary Artist, Primary Artist
Monti Drums
Jim Reid Vocals
William Reid Vocals
Technical Credits
Greg Allen Art Direction
Flood Engineer
Bill Inglot Mastering
Alan Moulder Engineer
Jim Reid Producer
William Reid Producer
Kieron Tyler Liner Notes
Daniel Hersch Mastering
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Customer Reviews

Average Rating 5
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    Posted October 19, 2008

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