16. Everything Must Go - Manic Street Preachers 1996
One of the most loved and consistent British Rock band's ever, 'The Manics', as they came to be fondly known, were three, very different, albums deep into their career by '94. That years, 'The Holy Bible' was seen as a dark, disturbing, angular and depressive masterpiece. Lyrically, the band had always been rhythm guitarist, Richey James' baby. His intelligence and knowledge of literature was astounding, and really set the band apart. The Holy Bible, musically, reflected the themes within. It was an uncomfortable listen indeed, eschewing the stadium-sized hooks the band were so competent at creating, for fury, dis-chords and and an almost art-punk vibe. Edwards was mentally and physically ill, he suffered from depression, alcoholism, anorexia and self-harmed. The remaining band mates, Nicky Wire (Bassist/co-lyricist), James Dean Bradfield (Lead Guitar/Lead Vocalist/co-composer) and Sean Moore (Drums/co-composer) stuck by him but insisted he check in to a mental health facility, which he did. All was not well though and when he rejoined the band on tour, the self harming continued. In February of 1995, he vanished. No body has ever been found, no concrete sightings have ever been confirmed and nothing has ever been heard from him since. His tragic, but fascinating story is one unto itself, but the one of the band and their triumph in spite of this adversity, is incredible. In contrast to 'The Holy Bible', which was very instrumentally stark, 'Everything Must Go', is big, bold and ambitious, with string arrangements and synth embellishments. The bands most approachable release, it featured 5 singles, released between April and December of 1996. There were also 5 songs that featured left over lyrics from Edwards, but predominantly were Wire's work, which focused more outward than the bands earlier work, concentrating on political and historic themes that Wire was very well read on. Perhaps, with the absence of Edwards and the change in lyrical and musical direction, the band, aesthetically became much more understated. In the past they always had a very strong image. Initially, a Glam Rock style, coming off like the New York Dolls meets Guns n' Roses, all make up, leopard print and feather boas. Then around the time of 'The Holy Bible', the band wore nothing, but army surplus gear, as a tribute to The Clash. Edwards was always very influential on this side of the band, often wearing clothes with slogans from his favorite writers, emblazoned across them. This time out the benad decided that shirts, jeans and trainers (albeit from expensive fashion houses) was sufficient. Edwards had gone, it wouldn't have felt right to try and keep up the strong visual side, as before. This was also a turning point for the band, audience wise. Their concerts were becoming a clash of cultures. A large part of their earlier fan-base had adopted the make up, feather boas and glammy image of the bands earlier incarnation. Often, male fans would look very androgynous, and replicate the members look, particularly Edwards' and Wire's, who went more down the feminine avenue than Moore and Bradfield, being the prettier members. Now in attendance, was an influx of the Britpop/Britrock crowd. Lads and Ladettes had taken a shine to the band, with their less obtuse direction, and dumbing down of image, these type of people began to be able to relate to the manics, who were much more of an intellectual outfit, rather than a band for the people. The new influx of Manics fans stemmed from the album's first single, 'A Design For Life', that was a mammoth hit. 'The song's chorus featured the lines, "We don't talk about life, we only want to get drunk". The irony was completely lost on most, as the song was written by Wire about the class system that was apparently abolished in the U.K., but clearly had not. The band members were well schooled in the principals of socialism and having being brought up in Wales, held it close to their collective heart. This line was taken out of context of the song and used as more of a "yob" anthem, attracting, for a short while anyway, attention from the sort of people that the band were ridiculed by before. Wire would sometimes antagonize these people, both onstage, and in the press. It was hilarious that the same type of people who were blaring 'Definitely Maybe' and 'Parklife', were eating up a single whose sleeve had a quote on it from modernista architect, Antoni Gaudi. Most of these newcomers wouldn't know how to pronounce his name, let alone have any idea who he was, or, at least, have any interest in who he was. The album did, however, put the band in among the Britrock pack, whether they wanted to be or not, and is a great Rock record. Accessible and enjoyable, as much as it is intelligent and thought provoking.