on 19 January 2001
Well, it's not quite acoustic, but the tone is certainly softer and more reflective than their other records. As a collection of songs it was their best album since Darklands and there's a lot to love in these seventeen (generally brief) songs. There's atmosphere, melancholy, and some surprising optimism, plenty of strong melodies and sensitive arrangements. This was the first record on which the Reid brothers wrote separately, and their contributions are distinct. William writes most of the album, his songs ranging from the wistful to the bleak to the cautiously optimistic as on the closing 'Feeling Lucky' ('I've found someone who knows me/ And she still wants to hold me'). Jim's songs are more poppy, the best beinng the lovely ballad 'You've Been a Friend'. The one song they co-wrote, 'Save Me', is also a highlight. The single 'Sometimes Always', a duet between Jim and Mazzy Star singer Hope Sandovaal, is a classic pop song, and the guest vocals of ex-Pogues frontman Shane MacGowan lend the sombre but redemptive 'God Help Me' a depth and authenticity that adds to the album's appeal. The album's title reflects both its hazier mood and the band's fall from critical grace, but this album, cruelly underappreciated at the time, is actually a great collection of songs which more than merits attention.
on 5 May 2006
I don't feel that this album is so much a drastic shift in The Jesus and Mary Chain's sound - there's always been songs that reflect the laid-back, slighty melancholic/slightly optimistic sound that this album exudes - "Drop", "Good For My Soul", "About You", to name but a few. Having said that, it is very different from their feedback-riddled debut, but so are all their albums post-Psychocandy. A general unpretentious sound and lyrics, and soft tuneful optimism make this my favourite Jesus and Mary Chain album. If you love Psychocandy, but find the feedback oppresive at times, and think that Sidewalking and Reverence were a step too far, I very much recommend this.
on 24 November 2012
I was fortunate enough to discover The Jesus & Mary Chain very early on - praise be to John Peel & his legendary Maida Vale sessions. I bought those initial, semi-iconic, skree-drenched singles, worshipped Psychocandy at an altar of feedback, & saw them live when they were still spotty, skinny East Kilbride goths with National Express bus tickets. Darklands, perhaps inevitably, was a massive disappointment for me - I played it over & over again, desperate to "click" with it, but it never happened. Worse still, MY DAD LIKED IT - it reminded him of Lee Hazlewood & Johnny Cash I think? - &, as much as I now love Lee's music myself, 20 Year Old Me didn't want to be caught approving of ANYTHING The Old Man listened to (save for those battered copies of Dylan's electric LPs, which I covertly smuggled out with me when I finally left home). Consequently, I opted out of The Mary Chain ride thereafter & didn't buy another record by them until I heard "Sometimes Always" on daytime radio (this WAS the '90s after all) & was utterly mesmerised.
I still don't like Darklands - I bought the deluxe edition for completism's sake &, as much as I dig those squally, amped-up b-sides, the LP itself still leaves me cold. Stoned & Dethroned is, however, an oft overlooked, much neglected corker. It's no masterpiece - the songs all begin to sound the same after a while, & there are too many of them - but a little judicious cherry-picking reveals a very fine album indeed. It's true, I suspect, that The Mary Chain were consciously "doing a Mazzy Star" in the hope of breaking into the American market but, on reflection, the likelihood of that ever happening was ludicrously slim - Hope Sandoval, after all, was a stunner with a beautiful voice. Jim & Reid, meanwhile, were neither (sorry lads). Stoned & Dethroned is still my favourite Mary Chain LP after Psychocandy though, vying with the sporadically brilliant Munki for 2nd place.
This terrific "deluxe edition" is liberally stuffed with excellent additional tracks - the entire Sound Of Speed EP (including a raucous must-hear cover of "Little Red Rooster"), BBC sessions, & a slew of surprisingly caustic b-sides among them - a bona fide "value for money" package, basically. Stoned & Dethroned itself probably only justifies a 4-star rating, but the packaging, annotation & extra material here is so exemplary that it's worthy of that additional 5th star itself.
on 18 May 2007
This album sees the Marychain keeping their collective cool whilst all around them were loosing theirs. Some may cite this recording as the beginning of the end of the Marychain but those people have probably never listened to it in the first place. With hindsight it is very easy to see that this is a diamond hidden amongst the vast amounts of garbage produced in the early 90s.
At the time, there were rumours they were set to record an accustic album supported by a variety of vocalists. For whatever that didn't happen and history has this album instead.
I'll be completely honest; I love this record. It holds many memories; some of them very personal. Consequently, it's difficult to single out particular tracks but "Dirty water", "Bullet lovers", "Girlfriend", "She", "Till it shines" and "Everybody I know" all resonate nearly thirteen years later. Good stuff.
I'd disagree with the previous reviewer on one point - the Marychain where far from being a one trick pony. They were a fine slightly left field pop band who produced a cannon of work that continues to endure.
on 27 July 2007
I actually bought this album after reading some of the other reviews here on Amazon. I, like many, lost interest in the band after Honeys Dead and got engrossed in the whole grunge thing, but like many great bands they never totally leave your musical conscience and I constantly returned to Darklands and Psychocandy to experience those great moments with a smile on my face. I checked on here for new material because i noticed from Mojo magazine they have reformed and was interested in reading some new opinions...curiosity I guess. So i ended up reading about Stoned and Dethroned and bought it.
I gotta say its great, when I read that it was a much more acoustic affair than standard Mary Chain offerings I had my doubts as noise and distorted guitars can very often cover up weak songwriting but the Reids have produced a very good LP here, it has also lead me to purchase Munki, their final offering of the nineties, hope its as good.
on 26 April 2004
I'm not much of a fan of the JMC in the 80s, finding that most of itsuffered from incredibly low production values and tinny feedback. To me,Honey's Dead, Stoned and Dethroned, Munki and Automatic are the JMCmust-haves. S&D stands out in that all of the songs are faultless - laidback, cool, fantastic lyrics. Favourite tracks - God Help Me, You've BeenA Friend, These Days, Feeling Lucky. The CD artwork reflects themelancholic but uplifting feel of this album. Particularly good whendriving with all the windows down (pretending you have a soft top) on asummer's day.
on 14 April 2010
Stoned & Dethroned is the fifth album by the Scottish alternative band The Jesus and Mary Chain. For the first time since Psychocandy, JAMC recorded with an actual full band. ", After making a name for themselves with a blistering, beach boys fuzz-infused wall of sound, the Jesus and Mary Chain took a side step and produced some really beautiful heartfelt works of art including the iconic single "Sometimes Always" (a duet with pop goodness Hope Sandoval of Mazzy Star fame). The previous four albums by nature were dank, tense, indie rock as they distorted their way to precocious legend and created an iconoclastic backdrop of self-destruction synonymous with that speaker filling feeling. But that all ended with this album which comprises largely of minimalist acoustic, ballads incorporating elements of uplifting and thoughtful and unseemly Jim Morrison sexiness. The sound is also menacingly like Nirvana unplugged. The songs are well crafted, and a fine addition to a JMC fan's collection..
The Jesus And Mary Chain never got their due when it came to songwriting. Fact is, few could take two or three basic chords and craft the kind of simple yet memorable melodies like these guys. Yet the focus was always on the noise, the feedback, the attitude and their legendary early shows, 20-minute walls of noise. They could write good pop tunes, but no one talked about that. While the band's earlier albums are marked by sometimes rampant egoism and self-obsession William and Jim Reid wrote, produced and performed all of their own stuff with drum machines or token band members. Take the feedback away from their earlier material and you have boppy pop songs with twisted lyrics, which is just what you'll find here.
However at 17 tracks long its a little on the long side. get rid of three or four and you've got a great album. This is pretty much the sound of Honey's Dead, just played on acoustic guitars, with the same great rhythm section that gives it a nice full sound rather than a sparse ballad-y sound. Very good little pretty pop songs, easygoing with it's addictive tambourines, melancholic at the right measure. It's a real pop pleasure....
Forget the negative hype enjoy, but unfortunately this album was signalled the death of the Mary Chain who had been around for more that ten years. But what a legacy they have left behind.
on 18 August 2012
This album sucks
Rabidly brilliant til now, the Reid Bros tried to do a Mazzy Star,,,,
,,,without the guitarist or tunes
I think goin out with Hope Sandoval made them go soft, not surprising given the beauty of Mazzy Star records,,,
This album could have made a decent EP.
Regarding the remaster, yeah the sound is better so one star for that, and another two for the awesome bonus tracks,
just listen to their versions of Little Red Rooster or Alphabet Street at top volume to appreciate the album they could have made.
As it is, the brilliance of the JAMC meant you got dross like this lp just as you get heaven with just about most everything else they did
on 28 April 2004
This album continues the JMC's move away from the tinny over-feedbacksound of the 80s and towards their laid-back, melancholic-yet-optimisticsound of the 90s. High production values, great lyrics and fantastic tunesmake this my favourite JMC album (Munki comes a close second, followed bySound of Speed and Hony's Dead).
Following `Honey's Dead' and the Rollercoaster tour with Dinosaur Jr, Blur & My Bloody Valentine, the Mary Chain delivered the `Snakedriver' and the relative to `Barbed Wire Kisses', the b-sides collection `The Sound of Speed.' The follow-up proper to `Honey's Dead' was this collection which pretty much stiffed in the era when Britpop was on the rise. It would be their last album on Blanco Y Negro/Warners prior to getting dropped, the band releasing their final album `Munki' on Creation in 1997.
The problem with the Mary Chain was the fact their debut `Psychocandy' was untopabble, some bands release fantastic debuts and just can't reach the peak again - Television, Wu-Tang Clan, The Pixies, The House of Love, Elastica, Gang of Four, Adam & the Ants, The Stone Roses...it happens! `Stoned & Dethroned' is probably the album `Darklands' should have been, the band were rumoured at times to be working on an acoustic album, then a record with guest singers like Scott Walker...this was the result.
Like a lot of unplugged-stuff in the 1990s, it wasn't quite acoustic, the Reid brothers recording with bassist Ben Lurie and drummer Steve Monti (was he in the original line-up of Curve?). As such it sounds like a blend of the Mary Chain, baggy and alt-country - a sound which has dated surprisingly well...I think this is their best album after `Psychocandy.' The blend of the Velvets-Stooges-MC5 template the Mary Chain worked from with country inflections suggests this is a primary work of alt-country and should perhaps be considered alongside bands like Uncle Tupelo, Whiskeytown, Nikki Sudden's solo work (RIP), & Wilco. Brakes have covered `Sometimes Always' from it on their enjoyable debut album, while the acoustic/alt-country directions of the Brian Jonestown Massacre evident on `Thank God for Mental Illness', `Bringing It All Back Home Again' and `We Are the Radio' are apparent here.
The seventeen tracks are all enjoyable, the Reid brothers taking turns to sing and predating the direction of Primal Scream at present by a good decade. The Mary Chain are one of those bands whose bad stuff is still quite listenable. Not really a dud here, there are some classics - `Hole' is fantastic, despite the fact its lyrics are repetitive (1985's `In a Hole') and that it sounds quite a lot like `Heat' - the version of `Teenage Lust' currently used in a beer-advert on TV! Opener `Dirty Water' sounds like a baggy Stones, `What the World is Waiting For' circa `Let It Bleed'; while `God Help Me' has a very suitable lead vocal from the great Pogue Shane MacGowan. The single `Sometimes Always' is the greatest song here, a duet between Mazzy Star's Hope Sandoval (then paramour of William Reid) and Jim Reid it sounds like a scuzzy update on Lee Hazlewood and Nancy Sinatra, - any fan of Calexico should love it! `Stoned and Dethroned' has aged well and along with `Psychocandy', I think it's the pick of the current reissues of the Jesus and Mary Chain.