Loveless isn’t simply My Bloody Valentine’s shoegazing masterpiece; the 1991 album is also the basis for one of alt-rock’s greatest yarns. It’s been reported that MBV leader Kevin Shields spent three years and a half-million dollars painstakingly piecing together Loveless in the studio, bankrupting the band’s label, Creation Records, in the process. On the 15th anniversary of the LP’s release, Shields tells MAGNET that things aren’t always as they seem.
The two things we’re really known for are spending Creation’s money and making records with loads of overdubs on them. The exact truth is this: About a month before we started Loveless, Creation pulled away from Rough Trade distribution and said, “Our contract is up with you. We don’t want to sign again.” By the time we resumed recording in September of ’89, Creation was already bankrupt.
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No regrets. For founding Clash singer/guitarist Mick Jones, it’s a good motto to live by. “We didn’t even have time to think about what we were doing,” he says. “The train was going 1,000 miles an hour before it crashed at the end.” The occasion for such reflection? The recent The Clash—The Singles (Epic/Legacy), a boxed set featuring all 19 of the band’s original a- and b-sides in replica sleeves (with numerous bonus tracks on the CD edition); the DVD release of the quartet’s ’78 flick Rude Boy (Epic Video/Legacy); not to mention Revolution Rock, a Clash-centered exhibition currently on display at the Rock and Roll Hall of Fame. The 51-year-old Jones, of course, has soldiered on since the Clash with successful follow-up Big Audio Dynamite and a production gig with the Libertines. His latest project is Carbon/Silicon, a collaboration with Tony James (Generation X, Sigue Sigue Sputnik), who founded pre-Clash outfit the London SS with Jones in 1975. But Jones’ Clash profile haunts him to this day, he happily admits: “I never would’ve thought that the Clash would’ve carried on like it has. Thanks to all these re-releases, it’s gonna carry on to the next generation, and they seem interested.” Regrets? There might be a few, but Mick Jones certainly did it his way.
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Despite being the band’s sole proprietor since 1990, why would Evan Dando go back to being a Lemonhead? He released his first solo album in 2003 (the well-received Baby I’m Bored) and hasn’t used the Lemonheads name since 1996’s Car Button Cloth. Maybe he’s resurrecting the moniker because, deep down, he’ll always be a noisy pop/punk guy who’ll gather old hardcore buddies (J Mascis, Descendents Bill Stevenson and Karl Alvarez) to make an album for Vagrant called The Lemonheads that’s vicious and twitchy without lacking lyrical maturity.
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Once known as the anguished voice of emo pioneers Sunny Day Real Estate, Jeremy Enigk has done a lot of growing up in public. At 21 years of age, Enigk sacrificed Sunny Day—a band on the verge of a commercial breakthrough—in favor of Christianity, announcing his religious convictions in a 1994 e-mail to friends. Enigk later rejoined his bandmates in various configurations (both in the Fire Theft and a reunited Sunny Day, which split for good in 2000), and he issued an ornate, orchestral-pop solo album, Return Of The Frog Queen, in 1996. The new World Waits (the first release on Lewis Hollow Records, which Enigk started with manager Steve Smith) contains songs written over the past decade and revisits the grandeur of Frog Queen. Enigk creates a multi-tracked choir over transcendent swells of organ (“Been Here Before”), contemplates forgiveness while delicately strumming (“River To Sea”), then segues into a slick, nocturnal Billy Idol send-up (“City Tonight”). Enigk’s singing conveys a chilling world-weariness without emitting a single crack, each note thin, smooth and amazingly resilient—a far cry from his speaking voice when MAGNET caught up with him the morning after his 32nd birthday. Raspy but still energetic, Enigk “whooped it up a little bit” the night before, having spent his birthday at the house of longtime friend and bandmate William Goldsmith, barbecuing, enjoying champagne and chatting with friends.
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Whether playing Camper Van Beethoven’s lysergic brand of cheerfully insane indie rock or prying Cracker’s bourbon-stained mother lode from roots rock, David Lowery has always been an American storyteller. Cracker was twice anthologized in 2006: Once by its former label, Virgin, in the form of Get On With It: The Best Of Cracker; and the other courtesy of the band itself, which re-recorded its songs for Greatest Hits Redux. Cracker also has a new studio album, Greenland (Cooking Vinyl), which weaves gritty blues, country folk and even Indian raga into its dusty, grand design. Corey duBrowa caught up with Lowery to get his take on the group’s warring best-ofs.
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