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Darklands Original recording reissued

22 customer reviews

Price: £5.68 & FREE Delivery in the UK on orders over £20. Details
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Amazon's Jesus & Mary Chain Store


Image of album by Jesus & Mary Chain


Image of Jesus & Mary Chain


Biography by Jason Ankeny

Like the Velvet Underground, their most obvious influence, the chart success of the Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine ... Read more in Amazon's Jesus & Mary Chain Store

Visit Amazon's Jesus & Mary Chain Store
for 47 albums, 9 photos, discussions, and more.

Frequently Bought Together

Darklands + Psychocandy [Remastered Re-issue] + Honey's Dead
Price For All Three: £22.61

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Product details

  • Audio CD (14 Nov. 1994)
  • Number of Discs: 1
  • Format: Original recording reissued
  • Label: Blanco Y Negro
  • ASIN: B00000I2UE
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (22 customer reviews)
  • Amazon Bestsellers Rank: 8,372 in Music (See Top 100 in Music)

Product Description

Product Description

n. dischi1data13 novembre 1987supportocd audiogenerepop e rock internazionalebraniascolta 30''1.darklandsascolta2.deep one perfect morningascolta3.happy when it rainsascolta4.down on meascolta5.nine million rainy daysascoltaascolta 30''6.april skiesascolta7.fallascolta8.cherry came tooascolta9.on the wallascolta10.about you

It is a rare band that ever recovers from releasing a genuinely classic and revolutionary debut album. The Jesus & Mary Chain succeeded with almost indecent ease, leaving their legion followers and assorted stragglers and chancers to pick at the carcass of Psychocandy while they busied themselves making an album that was, arguably, even better. Darklands saw the Mary Chain take the audacious step of abandoning their signature motif-feedback--which suggested that either they thought they'd made their point or had finally figured out how their amplifiers worked. Instead, they chose to make an issue of the acute melodic sense that had underpinned the squalling racket of Psychocandy. Darklands boasted a bunch of tunes that Brian Wilson himself would have been delighted to have written (indeed, in "Cherry Came Too", it boasted at least one "Surfin' Safari", to be specific--that Brian Wilson already had written, but the Mary Chain have always had the sense to steal from the best). The two singles, "April Skies" and "Happy When It Rains" were both deservedly hailed as classics, and both served notice that Jim Reid was a fine rock & roll singer, possessed of an admirable laconic sneer. --Andrew Mueller

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Pj Beirne on 18 Oct. 2008
Format: Audio CD
I bought this when it originally came out on cassette. It must be one of my most played albums ever. I cant quite see why the comparisons between this and the debut album have to polarise opinion so much. Personally I love the melody and the lyrics on this album whilst the buzz saw guitars are still a prescence if more accessible than on PyscoCandy. And I really did 'live my life in black' back then though the album is still contempary and has survived the years well.
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20 of 22 people found the following review helpful By Jean Bradbury on 20 May 2004
Format: Audio CD
Even though anything and everything that the Reid brothers produce will be forever over shadowed by their 1986 debut album "Psycho Candy", I feel that they went one better with the 1987 follow up "Dark Lands".
Even though "Psycho Candy" was a great album, the song writing tended to get lost underneath the impenetratable sheets of feedback that were so central to the album's sound. There are no such problems on "Dark Lands", the dissonant, Sonic Youth-style guitar noise that was so prevelant on "Psycho Candy" is largely absent, allowing the Reid's love of the melodic and gift for melody to shine through. Their debt to the Velvet Underground is not as over bearing as it was on "Psycho Candy", and the Velvet Underground influences on "Dark Lands" hark back to songs like "Sunday Morning" and "There She Goes Again" rather than the primal, proto-punk noise of "White Light/White Heat". On this album, the Reid brothers draw from a wider range of influences and this is immediately apparent from the melodic opening of the lead, title track. The song "Dark Lands" is driven by a melodic bass line and acoustic guitar on the verses before exploding into a melodic, but noisy and distorted, guitar-driven chorus. It reveals a greater understanding of melody than most of "Psycho Candy" did, and the chorus hangs around dead pan delivery of "do, do, do, dooh", similar to Lou Reed's "Walk on the Wild Side".
Far from all sounding the same, as "Psycho Candy" did, "Dark Lands" sounds distinctly different from track to track. "Deep One Perfect Morning" sounds very much like early period Velvet Underground, and "Nine Million Rainy Days" laces a poppy melody with freeze dried, gothic vocals and a dark, brooding backing track.
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2 of 2 people found the following review helpful By K. K. Jakubczyk on 1 Mar. 2013
Format: Audio CD
This is a great pop record both in terms of its musical and lyrical content. If you are a connoisseur of pop then you must own this fine album.

In my opinion this record is the natural evolution of the sound contained within their debut. Sure the group's 'trademark' feedback has been replaced with a cleaner guitar sound that betrays the brother's love for Americana but the substantive content remains the same - solid song writing, strong melodies and pure pop sensibility. There is a slight shift in subject matter, with the brothers taking a tighter focus upon lost, or misplaced love, and feelings of despair and angst. On the surface rather gloomy subject matter but in reality the staple diet for quality pop songs since the dawn of vinyl.

"April Skies", "Happy when it rains" and "Nine million rainy days" are all perfect break-up pop songs that still hit the right spot (somewhere dead centre of your heart) over twenty years after their original release.

Fortunately, the prospect is not all gloomy. Tracks like "Cherry Came Too" and "About you" point towards potentially happier times ahead for the listener, providing a useful balance to this record that is missing from their earlier (but still excellent) work "Psychocandy".

In a funny sort of way the lyrical qualities of the songs contained within this album are, in my humble opinion, just as good as anything that came out of the Brill Building back in the golden age of pop. There is a genuine sense of empathy and engagement between the band and the listener throughout this record - teenage listeners take note, this record remains relevant to you. Recommended for nostalgic curmudgeons and heartbroken teens alike.
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6 of 7 people found the following review helpful By Kevin Clarke on 30 Mar. 2005
Format: Audio CD
Although not as influential, 'Darklands' sounds considerably less dated than its more acclaimed predecessor, 'Psychocandy.' Shorn of their trademark feedback, the melodies are what really shine through on these songs. Sure, the influences are clearly detectable - Beach Boys, Velvet Underground, Stooges - but with just enough of a modern twist to refute the claim of mere imitation.
The first two singles, 'April Skies' and 'Happy When It Rains', are cut from the same cloth - irresistible, chugging rock songs with memorable hooks.
'Deep One Perfect Morning' nods to Johnny Cash, a good 10 years before he became a fashionable name to drop. 'Cherry Came Too' is the best song Brian Wilson never wrote, and 'Fall' will delight anyone who thinks 'I Wanna Be Your Dog' by The Stooges is one of the best rock'n'roll songs ever.
William Reid takes over vocal duties for 3 of the slower songs on the album - the elegant 'Darklands', the epic miserablism of 'Nine Million Rainy Days' and 'On The Wall', to my mind the only duff track on the album.
The album concludes with one of the Reids' warm, acoustic ballads, 'About You.'
I still regularly play this album almost 20 years after it was released. It's an object lesson in how to make a timeless guitar record.
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