Mind Bomb

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But that was the album before. He'd done his own country and his own era. What to do next without repeating himself? He fixed upon the world, its geopolitical future, and the fate of humanity as a whole. Whatever criticisms might be levelled at Matt Johnson over the years, thinking small would not be one of them

That, by the way, is not my interpretation of his phrasing. It's a transcript of the album's lyric sheet: The Beat(en) Generation": "The The – The Beat(en) Generation (single)" (in German). GfK Entertainment . Retrieved 9 June 2017.

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austriancharts.at > The The in der Österreichischen Hitparade" (in German). Hung Medien . Retrieved 19 November 2011. Bassist James Eller and drummer David Palmer weren't famous, particularly (the former had played for Clive Langer and Julian Cope, the latter was a member of ABC's classic line-up), but they were just the men for job, as Marr would have been regardless of his fame. If there's anything in Marr's post-Smiths career as good as this, and if his own work on anything since has been as good as it is on this, I've missed it. It's not simply a matter of how different Mind Bomb would be if you took his - by turns - stretched, coiled, wailing, glowing guitar off it; it's that you can't imagine anything akin to the same album might have come about without it in the first place. Bearing witness, to me is cowardice,” he told Rothwell in the film. “It’s a non-intervention. I never understood it.” Johnson spent the next few years collaborating with a diverse range of creative individuals, changing personnel from project to project.

The environmental crisis is more profound than it was in 1971 but it’s being met with a greater degree of apathy in some quarters. And in some countries where Greenpeace have been operating for a long time there is a shrug of the shoulders and ‘there they go again’.”Completed album for Sony, who declined to release it. Part I of a planned "New York" trilogy; NakedSelf was Part II. Kingdom Of Rain" incisively describes the slow decay of a once loving relationship: "you've moved farther from my side, year by year, while still making love….dutifully sincere". And "August And September" accurately depicts the problem in deciding when enough is enough: "was our love to strong to die or were we just too weak to kill it?". In the end it's as if Johnson has completely given up on the corporeal with "Beyond Love"; "take me to a happiness beyond human touch". If Infected seethed and rattled with claustrophobic urgency and loathing, and it did, then Mind Bomb was slow, expansive, looming into inexorable life with a rage that smouldered rather than flamed. It creeps up on you, on 'Good Morning Beautiful', with what sounds like a muezzin's call, which for one reason and another it's likely no major label act would dare to use today (although it might be a Qawwal; it isn't credited and I haven't the ear to tell.) Next, a blast of sluggish brass over ominous piano chords, and pattering, insinuating percussion. Then Johnson's voice, a tense, febrile tenor, a voice living on its nerves, near breaking point, teetering here and there into an aspirated growl, sizzling when pressed against the side of the pan. Hanky Panky: "The The – Hanky Panky (album)" (in German). GfK Entertainment . Retrieved 9 June 2017. During the The's more prolific period of releases, from Soul Mining (1983) to Dusk (1992), most artwork used on the albums and single releases was produced by Johnson's brother Andrew Johnson, using the pseudonym Andy Dog. The artwork has a distinctive style, and sometimes courted controversy, most notably the initial release of the 1986 single "Infected", which featured a masturbating devil and was withdrawn from sale and re-issued with an edited version of the same drawing.