Manic street preachers life becoming a landslide rar

NOTE: In 1994, when Nicky Wire announced from the Glastonbury stage that "I say lets build some more fucking bypasses over this shithole", the bad vibes generated from the Green Futures Fields caused the Manic Street Preachers to drop a rather expensive vase as they left the site later that day.

Not the complete concert - missing 3 tracks. 

A must have!

Exclusive concert & divided into separate tracks by Live Bootlegs Blog.

Source: FM Broadcast
Sound Quality: 10/10

Setlist

1.     Faster

2.     From Despair to Where

3.     P.C.P.

4.     Slash 'n' Burn

5.     Life Becoming a Landslide

6.     Drug Drug Druggy

7.     Yes (from other source)

8.     She Is Suffering

9.     La Tristesse Durera (Scream to a Sigh)

10.  Roses in the Hospital

11.  Motorcycle Emptiness

12.  You Love Us

• Manic Street Preachers Allmusic
• NME Award For Best Band
• The Holy Bible Manic Street Preachers Lyrics

. ' Released: 6 June 1994. ' Released: 1 August 1994. ' Released: 3 October 1994 The Holy Bible is the third studio album by band.

It was released on 29 August 1994 by record label. At the time the album was written and recorded, lyricist and rhythm guitarist was struggling with severe, and, and its contents are considered by many sources to reflect his mental state.

The songs focus on themes relating to politics and human suffering. The Holy Bible was the band's last album released before Edwards' disappearance on 1 February 1995. Although it reached number 6 on the, initially, global sales were disappointing compared to previous albums and the record did not chart in mainland Europe or North America. It was promoted with tours and festival appearances in the UK, the and – in part without Edwards. The Holy Bible has sold over half million copies worldwide as of 2014 and over the years it received significant critical acclaim. The album has been featured and listed highly on lists of the best albums of all time by British music publications such as, and. Contents.

Recording According to drummer, the band felt they had been 'going a bit astray' with their previous album, 1993's, and so the approach to the follow-up was for the band to go back to their 'grass roots' and rediscover 'a little bit of Britishness that we lacked'. Singer and guitarist recalls the band feeling they had become 'a bit too. we had lost our direction'. The band stopped listening to American rock music and returned to influences that had inspired them when they first formed, including, and. Had proposed that the album be recorded in, but the band had wanted to avoid what Bradfield called 'all that decadent rockstar rubbish'. It was bassist 's idea, says Bradfield, that the band 'should not use everything at its disposal' in recording the album. Instead, recording began with Alex Silva at the low-rent, 'absolutely tiny' Sound Space Studios in.

The album was by Mark Freegard, who had previously worked with. 'She Is Suffering' was produced by Steve Brown. The recording took four weeks. Bradfield has described the recording of the album as preventing him from having a social life and Alex Silva attributes the break-up of his relationship with his girlfriend at the time to the long hours involved in the recording.

Guitarist attended recording sessions but would, according to Wire, 'collapse on the settee and have a snooze' while the other band members did all the recording. He was drinking heavily and frequently crying. 'Inevitably', says Bradfield, 'the day would start with a 'schhht!' ; the sound of a can opening.'

The album was constructed with 'academic discipline', according to Bradfield, with the band working to headings and structures 'so each song is like an essay'. Content Lyrics Whereas lyric-writing on the two previous albums was split fairly evenly between Richey Edwards and Nicky Wire, the lyrics on The Holy Bible were 70-75% written by Edwards, according to James Dean Bradfield. At the time of the album's 10th anniversary reissue Wire claimed to be largely responsible for 'This Is Yesterday' and 'Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart' , contributing only titles to some of the other songs.

However, on later reinspecting his notebooks, Wire was surprised to find he had contributed more lyrics than he had previously remembered, having also written significant portions of 'Of Walking Abortion' and 'Mausoleum' and a number of lines from 'Faster', now believing himself to be responsible for around 30% of the words on the album. The album's lyrics deal with subjects including prostitution, American, British, the, self-starvation, the, political revolution, childhood, and suicide. According to: 'the tone of the album is by turns bleak, angry and resigned'. The same magazine commented in 1994 that 'even a cursory glance at the titles will confirm that this is not the new album'. Sean Moore has described the content of the lyrics as being 'as far as Richey's character could go'. According to Bradfield: 'Some of the lyrics confused me.

Some. were voyeuristic and some were coming from personal experience. I remember getting the lyrics to 'Yes' and thinking 'You crazy fucker, how do I write music for this?' Critic Simon Price notes that the potential radio-friendliness of the song is undermined by its focus on the subject of prostitution and the recurrence of sexual swearing in the lyric. One of the inspirations for the lyrics on the album was a band visit to.

A photograph of this gate features in the album's artwork. Interviewed at the time of the album's release, Nicky Wire said that the track 'Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart' was 'not a completely anti-American song', but instead was about 'how the most empty culture in the world can dominate in such a total sense'. 'Of Walking Abortion' is about, of which Wire commented: 'there's a worm in human nature that makes us want to be dominated'. 'Archives of Pain', dealing with the glorification of serial killers and seemingly advocating, he said 'was the song that me and Richey worried about most. the song isn't a right wing statement, it's just against this fascination with people who kill'. Later in 1994, Bradfield described the song as 'one of the most important things we've done' but said it was also 'very right-wing' and 'miscalculated'. Wire described 'Revol' as being about Edwards' idea that 'relationships in politics, and relationships in general, are failures'.

, he said, was about how ' followers take up the idea of being liberal but end up being quite the opposite'. He said that he was 'completely confused' by 'Faster' (most of which he had written), although Edwards had told him that it was about self-abuse. 'Mausoleum' and 'The Intense Humming of Evil', Wire said, were both inspired by visits by the band to former at and. A first draft of the latter song had been considered insufficiently judgemental by Bradfield, who had asked for a re-write ('you can't be ambivalent about the Holocaust').

According to Wire, 'Die in the Summertime' and ' were 'pretty obviously about Richey's state of mind'. However, Edwards attested that the former song is actually about a pensioner wanting to die with memories of childhood in his mind. 4 stone 7 pounds (29 kg) is the weight below which death is reputed to become medically unavoidable for anorexics. 'This Is Yesterday', according to Wire, is 'about how people always look back to their youth and look on it as a glorious period'. Wire and Bradfield have both expressed a disliking for the lyrics to the song ', Wire saying it suffers from 'man-coming-to-the-rescue syndrome'. According to Edwards, the 'she' in the song title is desire: 'In other Bibles and Holy Books no truth is possible until you empty yourself of desire'.

This was the first single from the album, it features a very distant and cold voice and a heavy sound. Problems playing this file?

Use of dialogue samples Several tracks on the album are also complemented by samples of dialogue, in keeping with the themes of the songs themselves, as follows:. 'Yes' contains dialogue from the 1993 documentary Hookers, Hustlers, Pimps and their Johns, by, about the prostitution trade. 'Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart' begins with a TV trailer for GOP TV's Rising Tide show. 'Of Walking Abortion' begins with an extract from an interview with. 'She is Suffering' on the U.S.

Mix of the album begins with a sample of British scientist/philosopher saying 'It is impossible to achieve the aim without suffering.' This dialogue is not present on the standard album/single version of the song. 'Archives of Pain' begins with the words of the mother of one of serial killer 's victims from a TV report on his trial. '4st 7lb' begins with dialogue from the 1994 documentary about, Caraline's Story, by Jeremy Llewelyn-Jones about Caraline Neville-Lister. 'Mausoleum' features a quotation from an interview with explaining his motivation for writing the novel.

'Faster' begins with dialogue from the of 's, spoken. 'The Intense Humming of Evil' begins with an extract from a report on the. Ends with dialogue spoken by from '.

Musical style Musically, The Holy Bible marks a shift from the sound of their first two albums, and. It was described as, and, with influences from, and. During the recording of the album, the band was mainly influenced by post-punk bands such as, and, and their new sound drew comparisons to similar artists such as, and. The record's heavy style was also compared to that of popular act. Aesthetic. French avant-garde writer, quoted on the sleeve of The Holy Bible James Dean Bradfield has described the album as representing 'the most definitive period for us visually as well as the songs we were writing and the record. we've never been scared to admit that'.

While touring in early 1994, the band visited army surplus stores and bought clothing to wear on stage, in a homage to. This military image was used consistently by the band during the promotion of The Holy Bible, including in their videos and television appearances. A performance of 'Faster' on the 's in June 1994 resulted in a record number of complaints—over 25,000—due to Bradfield wearing a paramilitary-style. The album cover, designed by Richey Edwards while hospitalised, features a by depicting three perspectives on the body of an obese woman in her underwear, and is titled Strategy (South Face/Front Face/North Face). Saville gave her permission for use of her work for free after a discussion with Edwards in which he described each song on the album. The back cover features a photo of the band in military uniforms and a quote taken from 's book. This album is also the first instance of the Manic Street Preachers using typeface with a reversed 'R' in their album art.

The typeface would later be re-used on later albums and has become an easily recognised motif of the Manics' artwork. The typeface is similar to one used on by, one of James Dean Bradfield's favourite records.

The lyrics booklet features various images including Christian iconography, photographs of the gate at and a plan of the gas chambers at, a photograph of 's corpse, an engraving depicting an execution by in, a picture of an apple, a photograph of a woman with a, photographs of each of the Manic Street Preachers as children and a photograph of a group of British policemen in gas-masks. The booklet also contains a Buddhist saying from the alongside a dedication to the band's publicist, Philip Hall, who had died of cancer in 1993. The title 'The Holy Bible' was chosen by Edwards to reflect an idea, according to Bradfield, that 'everything on there has to be perfection'. Interviewed at the end of 1994, Edwards said: 'The way religions choose to speak their truth to the public has always been to beat them down. I think that if a Holy Bible is true, it should be about the way the world is and that's what I think my lyrics are about. The album doesn't pretend things don't exist'. Health of Richey Edwards.

Many songs, like this one, reflect Richey's mental state. '4st 7lb' is about one of Richey's conditions, anorexia. Problems playing this file?

Richey Edwards had had long-term problems with, and. During 1994, these problems had, according to Wire, 'escalated to a point where everybody got a bit frightened' and Edwards had also begun to suffer from. During April and May, when the band played concerts in Thailand and Portugal, Edwards was habitually cutting himself and appeared onstage in Bangkok with self-inflicted wounds across his chest. He talked openly in the music press about his problems, telling the: 'When I cut myself I feel so much better. All the little things that might have been annoying me seem so trivial because I'm concentrating on the pain', and 'I'm the sort of person who wakes up in the morning and needs to pour a bottle down my throat'.

His problems continued and, during the recording of the album, his mental state deteriorated after learning of the suicide of a close friend from university. In July, he was taken to hospital after severely lacerating himself at home, then transferred to, an psychiatric facility in Cardiff. His weight had fallen to 6 stone (38 kg).

By the time of the album's release in late August 1994, Edwards was hospitalised at the private in. He rejoined the band to tour during the autumn of 1994. Other band members felt that his drinking was under control at this point, but his eating continued to be a problem and he continued to self-harm.

On 1 February 1995, he disappeared and is presumed to have committed suicide. His car was found close to the. The Holy Bible has been described by as a 'graphic, violent torrent of self-lacerating punk fury which infamously details the horrors in Richey Edwards' head'. Tom Ewing of once said: 'Writing about The Holy Bible without somehow addressing the vanishing of Richey Edwards would be pointless: you would only be tracing his outline as you gradually and gingerly tiptoed around it.' Release The album reached No. 6 on the, remaining in the chart for 11 weeks. Despite not charting outside the UK and Japan, by mid-2014 The Holy Bible had sold more than 600,000 copies worldwide.

On 6 December 2004 an expanded version of The Holy Bible was released, containing two and a. Disc one comprised a digitally re-mastered version of the original album plus four live tracks. The DVD features an interview with the band, footage of TV and festival appearances and promo videos.

The second disc includes a remix of the album. The remixed version had been intended for release in the US, but this never happened 'for well-documented reasons', according to James Dean Bradfield.

The band felt the second mix was superior to the version originally released. As Bradfield puts it: 'For once we got something back from the American record company—who we despised—and it was brilliant'.

A new special edition was released in December 2014, commemorating the 20th anniversary of the album. This edition includes the vinyl edition of the full album, plus a three-CD set, the first CD with the full album remastered for the special release, the second with the US mix remastered and the third including a performance at the Astoria in 1994 and an acoustic session for Radio 4 Mastertapes in 2014. The special edition also contains a 40-page book full of rare photos and handwritten lyrics and notes by Richey and by the band. As part of Record Store Day 2014 a 12' picture disc of the US Mix of the album was released. Side A featured a mix of the Revol cover overlaid with the Jesus image from the CD. Side B was a white label image. The album was housed in a clear plastic sleeve.

1500 copies were pressed. Reception Professional ratings Review scores Source Rating 9/10 8.4/10 4/5 Despite not charting in mainland Europe, and not selling very well initially, The Holy Bible received significant critical acclaim when it was released in August 1994, and in the years following. Simon Williams of saw The Holy Bible as primarily the work of James Dean Bradfield, saying ' The Holy Bible isn't elegant, but it is bloody effective'., seeing it as primarily the work of Richey Edwards, described it as 'the sound of a group in extremis. hurtling towards a private armageddon'. Observed Roy Wilkinson in: 'Amid all the references to coma, carcasses, 'walking abortions' and dying in the summer sits the spectre of Richey, holed up in a private clinic, having drunk too much, eaten too little and cut himself for reasons varying between dramatic gesture, a surrogate for screaming out loud and something 'sexual'.

Let's hope that, with a record of such unsettling, morbid resonance as The Holy Bible, no further gestures are required.' In a retrospective review, from called The Holy Bible 'Richey James' last will and testament', concluding: 'Every song has a passage frightening in its imagery. Although the music itself isn't as scarily intense, its tight, terse hard rock and glam hooks accentuate the paranoia behind the songs, making the lyrics cut deeper.' Upon its re-release ten years later, Dan Martin of NME described The Holy Bible as 'a work of genuine genius'. Joe Tangari of wrote: 'In a way, the story of Edwards' spiral into some unknown oblivion is tied to the experience of The Holy Bible, which in retrospect has become a sort of horror-show eulogy for a man who couldn't live with the world around him.' Of wrote that 'even the pall of Edwards' absence can't cancel out the life-affirming force that hits you with the very first song'. Mark Edwards of opined that ' The Holy Bible is easily one of the best albums of the 90s—ignored by many, but loved intensely by the few who've lived with it over the years.

Manic Street Preachers Allmusic

It puts everything the Manics have done since to shame, not to mention nearly everything else in music'. Nick Butler of dubbed it a 'classic' and concluded: ', and even fans owe it to themselves to hear this. Anyone else may be scared off, but may just find they never look at life the same way again. I certainly haven't.' Touring In April and May 1994 the band first performed songs from The Holy Bible at concerts in Thailand and Portugal and at a benefit concert for the at, London. In June, they played the. In July and August, without Richey Edwards, they played in Scotland, the Alte Wartesaal in, the Festival in and the.

During September, October and December there was a headline tour of the UK and Ireland and two tours in mainland Europe with and In December, three nights at the ended with the band smashing up their equipment and the venue's lighting rig, causing £26,000 worth of damage. James Dean Bradfield and Richey Edwards were due to fly to the United States for media interviews on 1 February 1995, the day of Edwards' disappearance, and Bradfield ended up doing this alone. Bryony s only. Concerts in US cities as well as in Prague and Vienna had been scheduled for March and April 1995, but were cancelled. In late 2014 the band performed the album in full for the first time, at concerts in Glasgow, Manchester, Dublin and London, marking the 20th anniversary of its release. Following the UK concerts, the Manics took The Holy Bible tour to North America, and in April 2015 the band played in Washington DC, Toronto, New York, Boston, San Francisco, Los Angeles and Chicago.

They also played in the with 10,000 fans attending the gig, it was broadcast nationwide by BBC Two Wales. Legacy The Holy Bible has continued to receive praise in the years following its release, with many British music magazines listing the album among the greatest ever made. The writers of Melody Maker ranked it 15th on its list of the top 100 albums of all time in 2000, and placed it 10th in a similar list five years later. It has also remained popular with the British public – in 2005 it topped a poll of viewers' favourite albums. Readers of voted it as the 10th best album released during the magazine's lifetime in 2001 and as the 18th greatest album ever in 2003.

In 2011 NME ranked it number 1 in their '50 Darkest Albums Ever' list. The same magazine placed the album at number 5 in their end of the year list of the best albums of 1994. In 2003 it was voted on number 37 on NME's poll of best albums of all time and, more recently, number 44 in their list of. The album is also featured in 's list '1000 Albums You Must Hear Before You Die'. At the 2015, the album won 'Reissue of the Year' for its 20th anniversary edition. Ben Patashnik of later said that the album in the time of its release 'didn't sell very well, but its impact was felt keenly by anyone who'd ever come into contact with the Manics', and that it is now a 'masterpiece. the sound of one man in a close-knit group of friends slowly disintegrating and using his own anguish to create some of the most brilliant art to be released on a large scale as music in years.

It's not a suicide note; it's a warning.' The album was also included in the book. A 2017 collection by Repeater Books, entitled 'Triptych', 'consider(s) The Holy Bible from three separate, intersecting angles, combining the personal with the political, history with memory, and popular accessibility with intellectual attention to the album’s depth and complexity.' In a discussion between the books co-author, Daniel Lukes, and music writer, The Holy Bible was described as 'the most of albums' in that 'it takes the punk idea that ‘everyone can express themselves and they don’t need to be a muso to do that’ and marries it with the intellectualism that saw artists in that movement turn to authors such as for answers'. Mankowski added 'I think the textures on the album are very ‘after punk’- they have the brutality of punk but are more nuanced, to reflect a troubled state of mind.' Track listing All lyrics written by (credited as Richey James) and; all music composed by and. Title Length 1.

NME Award For Best Band

'Yes' 4:59 2. 'Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart' 3:39 3.

'Of Walking Abortion' 4:00 4. 'Archives of Pain' 5:29 6.

'Mausoleum' 4:12 9. 'This Is Yesterday' 3:58 11. 'Die in the Summertime' 3:05 12. 'The Intense Humming of Evil' 6:12 13. 3:59 Japanese bonus tracks No.

Title Length 14. 'Drug, Drug, Druggy' (Live at Glastonbury Festival June 24, 1994; 1994 edition) 3:27 15.

'Roses in the Hospital' (Live at Glastonbury Festival June 24, 1994; 1994 edition) 4:46 16. 'You Love Us' (Live at Glastonbury Festival June 24, 1994; 1994 edition) 3:05 17. 'New Art Riot' (Live at Clapham Grand on March 2, 1994; 2000 edition) 3:00 10th Anniversary Edition bonus tracks No. Title Length 14.

'The Intense Humming of Evil' (Live) 4:58 15. '4st 7lb' (Live) 4:44 16. 'Yes' (Live) 4:30 17. 'Of Walking Abortion' (Live) 3:47 10th Anniversary Edition bonus disc: US album mix plus demos and radio sessions No.

Title Length 1. 'Yes' 5:19 2.

'Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart' 3:43 3. 'Of Walking Abortion' 4:07 4. 'She Is Suffering' 4:57 5. 'Archives of Pain' 5:30 6. 'Revol' 3:05 7.

'4st 7lb' 5:10 8. 'Mausoleum' 4:13 9. 'Faster' 3:53 10. 'This Is Yesterday' 3:58 11. 'Die in the Summertime' 3:07 12.

'The Intense Humming of Evil' 6:14 13. 'P.C.P' 3:57 14. 'Die in the Summertime' (demo) 2:26 15. 'Mausoleum' (demo) 3:29 16. 'Of Walking Abortion' (Radio 1 Evening Session) 3:39 17. 'She Is Suffering' (Radio 1 Evening Session) 4:25 18.

'Yes' (Radio 1 Evening Session) 4:40 20th Anniversary Limited Edition bonus disc: B Sides and Remixes No. Title Length 1. 'Sculpture of Man' (Album Version) 1:54 2. 'New Art Riot' (In E Minor Live from Clapham Grand) 3:01 3. 'Too Cold Here' 3:36 4. 'You Love Us' (Heavenly Version) 4:28 5.

'Love's Sweet Exile' (Live from Bangkok) 3:06 6. 'Drug Drug Druggy' (Live at the Glastonbury Festival) 3:28 7. 'Roses in the Hospital' (Live at the Glastonbury Festival) 4:47 8.

'You Love Us' (Live at the Glastonbury Festival) 3:05 9. 'Love Torn Us Under' 3:43 10. 'The Drowners' (Live from Clapham Grand) 3:18 11. 'Stay with Me' (Live from Clapham Grand) 3:38 12.

'La Tristesse Durera (Scream to a Sigh)' (Vocal Mix) 6:05 13. 'La Tristesse Durera (Scream to a Sigh)' (Dub Mix) 5:50 14. 'Faster' (Dub Mix) 6:42 15. 'Faster' (Vocal Mix) 5:47 16. 'Revol' (Previously Unreleased) 3:14 20th Anniversary Limited Edition bonus disc: BBC: In Concert and Live from Astoria in 1994 No. Title Length 1.

'P.C.P' 3:48 2. 'From Despair to Where' 3:22 3. 'Yes' 4:37 4. 'Faster' 3:36 5. 'She Is Suffering' 4:21 6. 'La Tristesse Durera (Scream to a Sigh)' 3:56 7.

'Slash 'n' Burn' 3:32 8. 'Motorcycle Emptiness' 5:59 9. 'New Art Riot' 2:59 10. 'Life Becoming a Landslide' 3:54 11. 'Revol' 2:36 12. '4st 7lb' 4:53 13.

'This Is Yesterday' 2:59 14. '4st 7lb' (Radio 4 Mastertapes; Excerpt) 1:51 15.

'Faster' (Radio 4 Mastertapes) 3:39 16. 'P.C.P' (Radio 4 Mastertapes) 4:09 17. 'This Is Yesterday' (Radio 4 Mastertapes) 4:12 10th Anniversary Edition DVD. 'Faster' (performed on ).

'Faster' (performed on Butt Naked). 'P.C.P.' (performed on Butt Naked). 'She Is Suffering' (performed on Butt Naked). '4st 7lb' (performed on MTV Most Wanted). 'She Is Suffering' (performed on MTV Most Wanted). 'Faster' (performed at ).

'P.C.P.' 5 August 2005. Retrieved 21 August 2012. ^ ' Melody Maker Top 100 Albums of All Time'. 5 January 2000. 13 September 2001. Retrieved 30 December 2014.

^ 'Readers Best Albums Ever'. Bauer Media Group: 161. February 2006. ^ ' Kerrang! Bauer Media Group. 19 February 2005. ^ Manic Street Preachers (2004).

The Holy Bible: Tenth Anniversary Edition. James, Mandi (August 1994). 'Manic Street Preachers'. ^ 'Interview with Nicky Wire and James Dean Bradfield'. The First Time.

15 August 2010. Pattison, Louis (20 November 2008).

Retrieved 19 August 2012. ^ Manic Street Preachers (1994). The Holy Bible (CD sleeve notes).

'Manic Street Preachers: Their Design for Life Without Richey'.: 30., pp. 106-7. Martin, Dan (16 August 2014). ' NME article'.

Retrieved 30 December 2014. ^ 'Manics New Testament'. IPC Media: 4.

27 August 1994. ' Q article'.: 139. ^ Maconie, Stuart (December 1994). Bauer Media Group: 38. Retrieved 20 August 2012. Patterson, Sylvia (1 August 1998). 'The Secret World of the Manic Street Preachers'.

IPC Media: 31. Mackay, Emily (15 May 2009). Retrieved 1 August 2010. Retrieved 20 August 2012. ^ O'Neil, Tim (19 May 2005). Retrieved 30 December 2014. Legacy Recordings (22 January 2015).

Retrieved 16 September 2015. Retrieved 30 December 2014.

Threndall, Andrew (23 September 2014). Retrieved 30 December 2014. Kuryakin, Ilya (31 March 2014). Retrieved 28 October 2014. Quantick, David.

Retrieved 28 October 2014. Price, Simon (1999). The Holy Bible'.

Everything (A Book About Manic Street Preachers). Virgin Books. In mood as much as message, The Holy Bible was an intensely sombre record, overcast by the same stormy skies which darkened Van Gogh's last works. It was gothic and, quite often, literally goth: more than one song could easily have been early Cure, Sisters of Mercy or Bauhaus. ^ Martin, Dan (12 September 2005).

Retrieved 30 December 2014. ^ Edwards, Mark (14 December 2004). Retrieved 30 December 2014. Johnson, Andy (14 November 2012). Retrieved 30 December 2014.

Manic Street Preachers (2004). The Holy Bible: Tenth Anniversary Edition (DVD content). 16 July 2006. Retrieved 21 August 2012. 17 November 2008.

Retrieved 30 December 2014. 'Interview with Richey Edwards'.

December 1994. Rees, Paul (August 1994). 'Richey Manic: The Truth'. Bauer Media Group., pp. 102, 106., pp. 108–110. 'Manic Depression'. 6 August 1994. 'Oh, Aaah, Street Preach-ah'.

10 December 1994. Evans, Catherine Mary (24 November 2008). Retrieved 21 August 2012. Ewing, Tom (21 September 1999).

Freaky Trigger. Retrieved 23 September 2017.

Retrieved 21 August 2012. Retrieved 30 December 2014. Lynskey, Dorian. Archived from on 3 April 2005. Retrieved 24 September 2016.

Retrieved 24 September 2016. 'Manic Street Preachers: The Holy Bible'. December 2004. ^ Williams, Simon (27 August 1994). Archived from on 13 October 2000. Retrieved 24 September 2016.

^ Tangari, Joe (17 January 2005). Pitchfork Media Inc. Retrieved 9 January 2012. Grundy, Gareth (December 2004).

Bauer Media (221). Archived from on 7 December 2004. Retrieved 21 August 2012. ^ (21 April 2005). Archived from on 12 March 2008. Retrieved 21 August 2012.

^ Wilkinson, Roy (October 1994). 'The Great Leap Sideways'. 'Manic Street Preachers: The Holy Bible'. December 2004. Power, Martin (17 Oct 2010). Manic Street Preachers.

Omnibus Press. access-date= requires url=.

Price, Simon (27 August 1994). 'Manic Street Preachers: The Holy Bible'. Butler, Nick (21 January 2005). Retrieved 30 December 2014.

Rapido TV (producer) (27 June 1994). 'Interview with Richey Edwards and Nicky Wire'. Retrieved 21 August 2012. Petredis, Alexis (8 May 2009). Guardian Media Group. Retrieved 21 August 2012. Jamieson, Natalie (23 September 2014).

Retrieved 23 September 2014. Retrieved 30 December 2014. Patashnik, Ben (25 February 2008). Retrieved 10 January 2013. Robert Dimery; Michael Lydon (23 March 2010).

1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Goddard, Tariq (22 January 2017).

Repeater Books. Retrieved 20 January 2017. 3:am Magazine. (in Japanese). Retrieved 16 July 2014. Enter The Holy Bible in the search field and then press Enter. Sources.

Price, Simon (1999). Everything (A Book About Manic Street Preachers). London: Virgin Books.

Clarke, Martin (1997). Manic Street Preachers: Sweet Venom. London: Plexus. External links. at (list of releases). (deluxe) at (streamed copy where licensed).

of one of three concerts by Manic Street Preachers at the London Astoria in December 1994, referred to in the 'Touring' section of this article (audio is geographically restricted).

Album: #4 Released: Epic Records, 20 May 1996 Peak UK Chart Position: #2 (2x Platinum Certification) Although The Holy Bible had met with a fairly muted commercial response, by the start of 1995 the Manic Street Preachers were full of aspirations and ideas. Edwards was already envisioning that the next album would sound like “Pantera meets Nine Inch Nails meets Primal Scream’s album Screamadelica” and with Bradfield, was scheduled to go on a promotional tour of the United States; the band had written and recorded a song intended for the soundtrack of the 1995 Judge Dredd film, which might also have improved their commercial standing in America.

Given his stay at the Priory which had disrupted the efforts to promote The Holy Bible, some must have thought that Edwards’ mental and physical problems were abating. But as the all-too-familiar history records, Edwards disappeared on February 1st 1995.

It was naturally a shattering event for the band personally, but also creatively – their thoughts of Edwards have come up in interviews countless times over the years, including as they relate to their musical decisions. Most obviously, the horrifying event of Edwards’ disappearance factored enormously into the creation of what became Everything Must Go. Although some expected the Manics to break up, the band decided to continue as a three-piece, and shelved any prior ideas of how the album should sound, deciding that to persist in that specific direction without Edwards would be false. Instead, the album took what could be loosely described as an anti-Holy Bible approach – where that album stripped the band’s sound down, EMG amped it up, including many more orchestral touches such as string arrangements provided by Martin Greene. Meanwhile, the traditional rock band component of the sound was less wiry and more muscular, produced in a clean and contemporary style by Mike Hedges.

The recording locations were also much more salubrious – in addition to Big Noise Productions in Cardiff, the band also worked at Chateau de La Rouge Motte in France and Peter Gabriel’s spacious Real World Studios in Wiltshire. Hedges owns the Chateau and prides himself on his extensive collection of high-quality analogue recording equipment, including some rescued from the vaults of the legendary Abbey Road studios. This must go some way to explaining the altogether richer sound the Manics were able to achieve with Hedges, and which contributes much to the feel of Everything Must Go. Abandoning any original plans for the album did not mean that Wire had to write all of the lyrics himself – in fact the band recorded three songs with lyrics entirely written by Edwards before his disappearance (hit single ‘Kevin Carter’, ‘Small Black Flowers That Grow in the Sky’ and ‘Removables’) and two he had co-written with Wire (the opener ‘Elvis Impersonator: Blackpool Pier’ and ‘The Girl Who Wanted to Be God). Still, the writing task left to Wire was a huge one and marked the beginning of a major increase in his creative contribution to the band. In addition to the seven lyrics he wrote single-handedly, he also earned his first music writing credits on three songs. The workload took its toll – by fourth single ‘Australia’, Wire was exhausted and suffering from writer’s block, so all of the single’s B-sides were covers.

The Holy Bible Manic Street Preachers Lyrics

The commercial response to the more accessible songwriting and production and Wire’s more personal and resonant lyrics was immediate. The lead single ‘A Design For Life’ was a #2 hit on the UK chart in April 1996, giving the band their biggest ever singles success. The album also hit #2, spending a huge 82 weeks on the chart. The Manics won Best British Album and Best British Group at the 1997 Brit Awards, and were nominated for two others (Best British Single and Best British Video, both for ‘A Design for Life’).

Mike Hedges was also nominated for Best Producer. These successes saw the band’s debut album Generation Terrorists shift another 110,000 copies – the Manics had truly arrived as a commercial force and they would be changed as a band forever, although never at the expense of their original ideals. As Simon Price put it, they had achieved “enormous success, artistically and commercially, albeit at a cost they could never have imagined”. With Everything Must Go, the second great phase of Manic Street Preachers began. Track Listing 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12).