HOME.jpg ALBUMS.jpg LYRICS.jpg TV.jpg VIDEOS.jpg

GIGOGRAPHY: 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 | 2020

Generation Terrorists - 20th Anniversary - BBC Wales, 8th February 2012

From MSPpedia
Jump to: navigation, search

Title: Generation Terrorists - 20th Anniversary
Publication: BBC Wales
Date: Wednesday 8th February 2012
Writer: James McLaren

This Friday (10 February) is the 20th anniversary of the release of the first album by Manic Street Preachers, Generation Terrorists.

That simple fact is enough to make a lot of people exclaim something along the lines of, 'cor that makes me feel old'. Including me.

It wasn't their best-selling album, even though prior to its release they expressed a desire for it to sell millions before their imminent split.

Neither was it their most acclaimed album, that honour probably going to the caustic classic of psychological and political malaise, The Holy Bible.

So why celebrate this anniversary? Well, it provided six top 40 singles. It introduced four alien-looking, glammed-up Welsh punks to the world. The album's promotion put these eyeliner- and slogan-smeared young men, barely out of their teens, onto magazine front covers in an era in which 'shoegaze' and 'grebo' were genres of serious critical consideration. They talked antagonistically and passionately through a lens of well-read education.

Of course it was Richey's infamous '4 Real' self-harm incident that brought them to wider public attention; luckily they had the musical and intellectual chops for this not to became their defining career point. It was a journo-baiting stunt of horrifying, cold, calculating clarity that was designed by Richey to prove a point.

That point was that they weren't a joke. Looking as they did, sounding like they did, it would have been easy to write them off as such. But no joke bands ever delivered a double album, 18 tracks long, that included Motorcycle Emptiness, Little Baby Nothing, You Love Us, Slash 'N' Burn and Condemned To Rock 'N' Roll.

As some of our interviewees admit, it's over-long and sometimes overblown, but it holds up as a Welsh classic. That's why, two decades down the line, we're devoting this week to Generation Terrorists.

Simon Price, biographer

If there's one man who knows his Manic Street Preachers, it's former Melody Maker journalist, current Independent music critic and author Simon Price. Simon has written occasionally for us over the years about the band, and now, on the occasion of the 20th anniversary of the release of Generation Terrorists, he gives his thoughts on their début.

"A damaged diamond. That's how, in a review for Melody Maker, I described Generation Terrorists in February 1992, and it's a description which the band themselves readily accepted. 'Everybody knows,' Richey Edwards later admitted, 'the first album would have been better if we'd left out all the crap'.

"Manic Street Preachers had arrived amid an especially moribund era for British youth culture, still dominated by the feckless fag-end of Madchester, the middle class self-indulgence of Shoegaze and the slumming-it slovenliness of Crusty. Their shock-tactic soundbites and their compulsion to distance themselves from other bands ('I'll always hate Slowdive more than I hate Hitler', 'You could go to any Levellers concert, shout "Jeremy" and 75% of the audience would turn around') were thrilling, and made these leopard-clad, eyeliner and spraypaint-covered, eminently quotable Welsh glam-punks feel like a cause to rally behind, rather than a mere rock 'n' roll band.

"Their deliberate desire to be as non-indie as possible was a key factor in shaping Generation Terrorists. Newly-signed to Sony and fond of issuing preposterous boasts to anyone who'd listen that they intended to 'make a double album, sell a million, headline Wembley Stadium then split up after a year', the Manics were on a kamikaze mission to burn brightly and disappear. It's that excess of ambition which drove the best - and the worst - aspects of Generation Terrorists.

"In retrospect, it's easy to see what the Manics should have done: recorded a short, sharp punk rock album, preferably with up-and-coming producer and unofficial fifth Manic Dave Eringa at the controls and probably released on Heavenly, comprising all the early singles and the more adrenaline-filled moments of their live set, presenting the curious with an opportunity to hear these mouthy upstarts they'd been reading about in the papers, and setting the scene for a slicker, more accomplished follow-up.

"Instead, they locked themselves away for 23 weeks in a studio in Guildford with experienced producer Steve Brown, whose varied CV included Wham! and The Cult, and delivered a début which confused everyone and satisfied no-one: a record which, sonically, could be filed alongside airbrushed metal muppets like Little Angels or Thunder, at the exact moment when rock fans were tiring of that stodgy stuff and turning to the raw sounds coming out of Seattle.

"Even if the hair metal brigade had bought into MSP, the lyrics - with opening lines like 'Economic forecasts soothe our dereliction' - were too unsexy and un-rock 'n' roll to fit the medium. Arguably, that was the point. The initial intention may have been entry-ism, the Trojan Horse approach of smuggling difficult ideas past listeners' defences by hiding them inside a commercial sound. But the 80s were over, and that FM-friendly sound wasn't commercial any more.

"Part of the problem with Generation Terrorists was its sheer length. Eighteen tracks on an album is par for the course in the 21st century, but in 1992 it felt like an eternity. Padded out with two versions of the same song (Repeat, remixed by Public Enemy producers The Bomb Squad) and a cover version from one of their favourite cult movies (Damn Dog, from Times Square), it was a case of too few ideas spread too thinly. One has to admire their sheer nerve in stretching GT to four sides of vinyl, its very existence an audacious anti-indie statement, but the quality suffers, averaging out at 7/10.

"There is, unquestionably, a lot of filler. Opening track Slash 'N' Burn may have been a showcase for James Dean Bradfield's impressively fast fingertips, but the clunky lyrics ('worms in the garden more real than a McDonalds') needed more thought, not to mention the knots into which James had to tie himself in order to make them scan ('Third world to the furry-urst', 'Too much comfort to get decaduh-ee-yunt'), and the production feels strangely deadened.

"There are, to be honest, songs that I've always skipped when I listen to Generation Terrorists. NatWest Barclays Midlands Lloyds, Another Invented Disease, Tennessee, So Dead, Condemned To Rock 'N' Roll... Worst of all, they dropped the ball with a horribly sterile, Gn'R-ified re-recording of early single You Love Us which sums up exactly what the Manics got right (with Heavenly) and wrong (on GT).

"Then again, some moments on the album are absolutely immortal. A surprising aspect of Generation Terrorists is that its dominant emotional key is existential ennui rather than firebrand rage, often sounding like a musical representation of the glossy nihilism of Bret Easton Ellis' Less Than Zero (an inscribed copy of which Wire gave me at the time), and the single Stay Beautiful somehow managed to sound both rocket-fuelled and defeated, echoing the spirit of Richey's interview quote 'Our romance is having total power in that we've just got nothing to lose 'cos we're secure in the knowledge we already lost a long time ago'. In a similar vein, live favourite Methadone Pretty, with its defiant opening line 'I am nothing and should be everything', would have made a great single (although the Generation Terrorists recording was peculiarly sluggish).

"And Little Baby Nothing, a Meat Loaf-esque duet with former porn star Traci Lords (who turned out to have an excellent bubblegum pop-rock voice in a Belinda Carlisle vein) about the objectification of women, was almost ridiculously anthemic. This was one of the two instances where the shiny production actually worked. The other was a six minute epic which would become a Manics signature for the rest of their career.

"When Motorcycle Emptiness appears, near the end of side one, it's like the sun coming out from behind the clouds and shimmering off rain-washed streets. An elegant elegy to the soul of a man under capitalism, with a heartbreakingly emotional guitar motif, it encapsulated the inescapable sadness of serfdom ('Drive away, and it's the same' being the killer line), and was in a different class to anything they'd written to date. Motorcycle Emptiness was the song that had even the Manics' detractors saying 'I never used to like them, but...'

"Generation Terrorists was compromised and imperfect in ways which go beyond the music. The band's original ideas for the sleeve included Andres Serrano's controversial Piss Christ and Bert Stern's legendary photos of Marilyn Monroe (defaced by the actress herself), but for various reasons - record company veto, financial prohibitiveness - they all had to be abandoned. Instead, they went with a shot of Richey's bare chest, torso, crucifix and tattooed arm, which came out in a horrible shade of salmon-pink rather than the mustard hue they had hoped.

"However, the array of literary quotations on the inner sleeve, from the likes of Larkin, Orwell, Camus, Rimbaud and Plath, plus the stolen dialogue from A Streetcar Named Desire and the poetry recital from Patrick Jones (Nicky Wire's elder brother and a huge influence on the band's formative years), amounted to an invaluable cultural treasure map, pointing their fans towards the wider world beyond rock 'n' roll in much the same way that, a decade earlier, The Smiths had done with their referencing of James Dean, Oscar Wilde and kitchen sink cinema.

"In so many senses, Generation Terrorists is the album the Manics made to prove that they could. But, for all its faults, it stands up surprisingly well two decades later. The once-daunting duration now seems to fly by, and there's something adorable about hearing what the young Manics were trying, and only partially managing, to do.

Perhaps the most glorious thing about Generation Terrorists is its failure. The fact that it didn't sell by the million meant the Manics were off the hook: their kamikaze mission was aborted, and they were free - they were forced - to carry on, to become the band they always told us they were going to to be. Two albums later, they would relocate their anger and their edge. But Generation Terrorists - the Manics' damaged diamond - still sparkles.

Traci Lords, guest vocalist

Twenty years since the release of Manic Street Preachers' Generation Terrorists, we caught up with Traci Lords, the guest vocalist on Little Baby Nothing, one of the best-known tracks on the album.

"I think it was a record exec by the name of Benjie Gordon whose idea it was to put me together with the Manic Street Preachers. I was 20-something, living in Hollywood and racing from audition to audition trying to launch an acting career and get a music career happening.

"I remember meeting this cool but bizarre man, Kim Fowley, and singing for him. Somehow the word got out that I was interested in music. I met Benjie and then ended up in London with the Manics.

"I remember Richey in particular. He was a very soft spoken sweet boy. It was very weird, later when I heard he had disappeared... makes me sad.

"I still listen to Little Baby Nothing. I love that song and I absolutely love the tone of my voice on that track. I would love to sing it live with the boys one day!"

Steve Brown, producer

As we celebrate the 20th anniversary of the release of Manic Street Preachers' Generation Terrorists, we ask producer Steve Brown about his recollections of the album and its recording.

"I got the job with the Manics because they liked the work I did on the Love album by The Cult. I was working at the time in the States, so I'd not heard anything by them, although I had seen the press. On the record, I wanted to achieve what they wanted to achieve - and they wanted to be the biggest band in the world.

"They had full control of their creative direction, but I steered them on the singles front. Creatively, they were - and I think still are - very unique.

"It's not true that only James [Dean Bradfield] and Sean [Moore] recorded material used on the record. The whole band had a major input into the writing and playing of the album.

"I don't think the double album format detracted from the record; I love everything on Generation Terrorists, and so do a whole lot of other people!

"My favourite track on the record is Condemned To Rock And Roll, I think. There's nothing on the record I'd change and I'm very proud of my work on it. Lots of people have told me it's a classic.

"I'm glad it's regarded as being important in UK music history; we all worked very hard on it. I love the fact that I did it, and I least like the fact I'll never be able to do it again for them."

Dave Eringa, session musician

As we celebrate the 20th anniversary of the release of Manic Street Preachers' Generation Terrorists, we ask session musician Dave Eringa about his role on the album and his friendship with the band.

"I was the assistant engineer on the first couple of Heavenly singles and played a bit of Hammond organ. The band were kind enough to ask me to play on the album too, so I was just an extra musician back then - I didn't start engineering for them until I produced and engineered [second album] Gold Against The Soul.

"It's hard to remember exactly what got used! I know I'm on You Love Us and Spectators Of Suicide and I definitely tried Motorcycle and Little Baby Nothing but wasn't good enough for the piano parts. It's all a bit of a blur because when I went on tour with them in 93-94 I would play organ on a lot of Generation Terrorists songs that didn't have it on the album so it's all a bit hazy.

"The band had this romantic idea that, like the famous Rolling Stones session musicians, I'd be their Ian Stewart and that someone else would be their Nick Hopkins. The truth which they discovered was that when I said I was a bit crap on the keyboards I wasn't being self deprecating, I was being truthful! Luckily they tried me out producing and engineering and the rest was history.

I was the tea boy on Motown Junk and You Love Us and we really hit it off over a shared love of Guns N' Roses. They were so kind to me, sending me postcards from tour and things like that, so I was already a massive fan and a friend by the time they got their deal with Sony. I had never met a band like them - so intelligent but so visceral too - they were a brilliant antidote to a lot of the sessions I was doing at the time and I was hooked.

"The band are always in control of their direction - the manifesto sonically, politically and lyrically has always come from them. The producer Steve Brown obviously had a very big impact too though with his radio sensibilities.

"I'm not normally a fan of double albums but I can't imagine any other way for this band to announce their arrival - what an amazingly over-ambitious statement it is.

"Sonically I guess some of the drum sounds haven't aged so well, but it's a great record anyway and given the choice would I really change any of it? Probably not! Bands these days don't get a chance to develop in the way the Manics did. I like the fact it's imperfect in some ways; it's more romantic that way.

Is it true that only James and Sean actually recorded material that was used on the record? Not at all - Nicky played all the bass. Richey was much more of a lyricist than a guitar player and James is such an astounding musician I guess there seemed no point in Richey playing.

"Two years later I insisted that Richey play one part on Gold Against The Soul, so he did the power chords behind the chorus of La Tristesse Durera and as far as I know I was the only guy to ever get to record him. I'm proud of that.

"It's definitely a classic in that it announced the arrival of a truly important band. Lyrically it's a classic, but I think it wasn't until The Holy Bible and Everything Must Go that you could call them classic albums in all the usual ways.

"I remember Steve Brown writing 'Jon Lord Woz 'Ere' on a bit of masking tape stuck to the Hammond that I did You love Us on. James had tipped him off that John was my favourite keyboard player - I thought it was such a nice thing to do to put me at my ease and make me feel like they wanted me there.

"I always remembered the way he made me feel when I came down to the sessions and have always tried to make musicians that come and play on my sessions feel the same way. Steve Brown is a dude!

"When I heard Motorcycle Emptiness I knew they had a stone cold classic that would prove to people that there was classic song-writing and amazing musicianship behind all the punk proclamations. It wasn't until people heard that song that they got taken seriously as musicians - there was even a ridiculous rumour that went round at the time that Jeff Beck played all the guitar on the album because people couldn't believe that these make up smeared Welsh punks could play so good!

"I didn't know how long they'd last as a band though - they were promising to break up after one album after all.

"My work with the band has continued ever since. What's not to love? They are the most fiercely intelligent band of the last 30 years, they are outrageously inventive musicians and amazing songwriters who have a very specific vision for their music. They are a gift to any producer and it has been an amazing privilege to work with them for so long."

Matthew Olivier, studio engineer

As we celebrate the 20th anniversary of the release of Manic Street Preachers' Generation Terrorists, we ask sound engineer Matthew Olivier about his work on the album at Black Barn Studios in Surrey.

"At the time I was the in-house engineer for Black Barn where the album was recorded. I think the studio must have persuaded [producer] Steve Brown that I was good enough.

"I read the NME at that time and so knew of them and their reputation. I guess I was a bit apprehensive, not knowing quite what to expect and it being just after the photos of Richey were in the magazine. I liked what they were about and the way they were going about it. I had bought Motown Junk so knew their music already.

"I suppose the album is a bit long! But I guess that was part of what they were about, releasing a double album as a début. I remember them wanting it to be a triple album but I think that was a bit too much for Columbia. Oh and there are some great guitar sounds on it.

"I think my favourite track always was Little Baby Nothing but I really like the Bomb Squad remix of Repeat. Being a fan of Public Enemy and the Bomb Squad productions it was great to hear what they would do with one of their tracks.

"It's very difficult for me to comment on whether it's a classic. Having been closely involved in it I think that I listen to it in a different way. I seem to remember that we spent many, many weeks in Black Barn working seven days a week so it's impossible to distance yourself and not hear it without all the stuff that went along with the making of it.

"I am proud of my work on the record. I think I worked hard on it. When you work on something like that you do get very involved and thinking back to it now I certainly have some really good memories of those sessions and that time.

"Being in a residential studio for that amount of time is bound to create certain incidents. One thing I remember very clearly was managing to break the headstock off of James [Dean Bradfield]'s Les Paul Gold Top by knocking it off its stand. A little bit awkward!. He was very good about it but I still remember feeling really bad. It was fixed though and I imagine he still has it.

"Maybe a better memory was driving the band to London to buy Guns N' Roses' Use Your Illusion I and II. They were released during the sessions and Tower records on Piccadilly Circus opened at midnight to allow people to get it as soon as it was out.

"It probably seems a bit silly now as I'm sure the CDs could have been sent down to the studio for the morning but that wasn't really the point. So we drove up to town in whatever old car I had at the time, queued up and bought the CDs. As a thank you they bought me a CD. I think I chose Metallica's 'black album' just to be different. We drove back and immediately listened through to both Illusion albums all the way through. I can't quite remember the reaction. Mixed I think!

"Is it important in UK music history? I guess it is! Personally, as I said, I don't or can't listen to it with any real degree of objectivity. It was certainly important for the band and they have obviously gone on to bigger things with a 20 year career behind them.

"But when I look back at these sessions I just remember it as being a really good time. I was young and working as an engineer in a recording studio with some really nice people. It is difficult to see it or listen to it in any other way. I mean you do hope that everything you work on will be well received and there was obviously a lot of talk and anticipation about the album. Some obviously think it is important and hence this 20 year anniversary thing, but for me I'm just really glad to have been a part of it."

Sally Margaret Joy, journalist

In 1992 Sally Margaret Joy interviewed Manic Street Preachers for Melody Maker. We talked to her about how the group of young, politicised Welsh nascent rock stars seemed to her as they released their début album, Generation Terrorists.

When did you first come across the Manics?
"When I first encountered the band I wasn't a journalist but was in a band called Furniture, on the road, promoting our single Brilliant Mind. Riffling through the press I came across their photos: black spiky hair, smudged eyeliner and attitudinous sneers. Fearfully, I noted they were prettier than our band, and two of us were girls!"

Did any of their qualities or personality traits strike you in particular?
They were un-intimidated by the media. They sported with it it like toreadors. They were irreverent, witty, and traded Nietzsche - the Welsh accents helped endear them, put them within reach. Yes, they shone a little brighter than others. In that sense, they were intimidating.

"But then when I interviewed them in 1992, I realised they had that quality so many apparently rebellious, revolution spouting artists have, which was they could get you to do whatever they wanted by just smiling at you in an amused, conspiratorial way. They had an incongruity about them.

"They were recording their first album in this grand castle - or was it a manor house? - and living like rock stars, yet insisted we do the interview in a bedroom where, plumped down on these little single beds adorned with children's duvet covers (pale blue with little red aeroplanes?), and me sat uncomfortably on a chair, we talked. Burrowing into their duvets, they seemed to me like vulnerable young men, unsure where it was all heading. Or maybe they were just knackered. Who knows?"

How did they differ from other bands of the time? Was there any sense that this band and album were going to be important?
"You know on X Factor when contestants go, 'I really want this!'? Well, the Manics were nothing like X Factor contestants but it was clear that unlike most of the shoegaze-y, depresso type bands of the time, the Manics actually wanted success. We were still in a post-punk, 'kill your idols', morose, grey knitted cardie-infested era of authenticity.

"It felt like they had studied success, its geography, its pitfalls, and were ready to get out there. Perhaps one of their built-in story lines was that success might not turn out to be what it seemed, that under the eyeliner and cool stares, they were a little naïve? That's not a bad thing. If you aren't naïve, you won't try anything."

They were always criticising other bands who were Melody Maker cover stars, like The Levellers, Slowdive, Ned's Atomic Dustbin and so on; was this manna from heaven for music journalists at the time?
"They were very funny criticising other bands for being boring! I think the Manics escaped having a sell by date because they remained peripheral to any scene. They emphasised their differences by slagging other bands off. But they were never mean."

How much was their Welshness a topic for remark?
"As a half Filipino woman in the music press at the time, I was very aware that the music press had its share of racists, sexists and bores. Yes, some of them felt compelled to go into a cod Welsh accent when talking about the Manics. But I don't remember people remarking on the Manics' Welshness very much, because, being primarily a musician, I didn't hang around with music journalists.

Adam Walton: Generation Terrorists and me

I was 20 and living a dissolute student life in Liverpool when Manic Street Preachers' Generation Terrorists came out 20 years ago.

My housemate - a bath-phobic fellow North Walean - and I queued outside HMV in Liverpool that morning, eager for it to open. No one else was queuing. Despite the band coming from a whole other cultural universe from my hometown of Mold, I remember being excited that a Welsh band had managed to create such a kerfuffle. As someone in a Welsh band, it felt like a battlement (of ignorance and petty prejudice) had been breached. Maybe there would be fewer 'Cwm Dancing' jokes from now on.

(There weren't, really.)

So we got the number 80 bus back to our freezing house on Ullet Rd, poring over the quotes on the gatefold sleeve all the way home: Plath, Rimbaud, Camus, Nietzsche... they were appealingly intellectual to a literature student with his head up a hundred different backsides.

We moved enough roach-encrusted plates and empty Thunderbird bottles to find the record player and stuck side one on; put a hooky 50p in the meter and sat back for a fag and a listen.

I remember being excited. Despite my flared trousers and floppy fringe, there was something titillating and rather thrilling about the Manics. They were different. They had an androgynous glamour that reminded me of Bowie. They said more interesting things in interviews than all of their peers sub-edited together.

But I didn't have that Valleys rock background or indoctrination. If you sounded - and looked a bit like - Mötley Crüe or Guns N' Roses, you were already a bit rubbish, to my heinously prejudiced ears.

I wanted more Public Enemy, less Tigertailz.

So, ultimately, it was a disappointment. I played Motorcycle Emptiness a few dozen times and that was it. It's the only track on the vinyl that exhibits any wear. But despite being nonplussed musically, there's no doubt that it changed expectations within Welsh bands. The Manics galvanised everyone. They were the punkest band Wales ever produced, because even - maybe, especially - the bands who couldn't stand them were inspired to give it a go.

So the Situationist message rang true. A phenomenally important Welsh album. Just not a very good one.

John Robb on Manic Street Preachers

John Robb, singer of Goldblade and music journalist of renown, yesterday published an article on his site, Louder Than War, celebrating the career of Manic Street Preachers. It was in memory of Richey Edwards, who went missing 17 years ago.

Here we publish, with kind permission, an excerpt from the piece as we mark the 20th anniversary of the release of the Manics' first album, Generation Terrorists.

The Manics are pop's conscience, except that they are not sniping from the sidelines. They are right in there in the middle of the fray. They have the ability to be hilariously rude and disarmingly polite. They loved The Clash but were smart enough to use Guns N' Roses as the chassis of their sound, adding the Clash's swagger and soul and subtracting the Guns N' Roses crass dumb rhetoric. It's difficult to believe now that they are constantly fêted and groaning under the weight of music-biz awards, that when The Manics burst onto the scene in 1990 they were treated with contempt and a thinly veiled near racism that sneered at their Welsh background.

In the middle of the baggy era they were out of time, they believed in skin-tight punk-rock songs, a vicious attack of socialist slogans and an outright contempt for their contemporaries. They were a long way from the stoned play-dumb of most bands at the time and a long, long way from the 1990 zeitgeist but for a few of us that believed in their dream they were a welcome godsend.

I'd already reviewed them, mentioned them in dispatches, but it was getting them on to the cover of Sounds with their third single the Heavenly released Motown Junk that still gives me the biggest buzz from my journo days.

Interviewing The Manics for their first-ever front cover that was published on 26 January 1991 was a different affair than now. Cooped up with the penniless band in the back of a transit van grabbing quotes, we were round the corner from Jeff Barrett's Heavenly record label who were frantically attempting to sell the band to a sceptical music business...

Instead of having qualms about 'selling out' or cowering under the Indie Law, The Manics were already thinking big. They were also distancing themselves from the crippling indie thinking that was crushing most post-punk guitar hustlers of the time.

'You've got to reach out on a massive level,' claimed guitarist Richey James Edwards in the ice-cold van. A typical tour bus piled with cheap amps and expensive rhetoric, adding 'Once we've done that we will fade away. We want to make ourselves obsolete as fast as possible. It's no good just inspiring groups. People go on about The Stones inspiring the Paris riots in '68 which was fine but they just carried on. That's so obscene.'...

The band itself was a classic mix between two almost earnestly talented musicians, James and Sean, and the two maverick souls of Richey and Nicky- the onstage wingers who wrote the words. Words that James would shoe-horn (occasionally there were just too many words resulting in a few slurred lines!) into his music and bring to life with his powerful rock 'n' roll voice...

The band released two singles on Jeff Barrett's Heavenly label to whom they signed in August 1990. There was the 1991 released fast shots of Motown Junk and the anthemic You Love Us, a response to the music media who felt that the band was cartoon punk. The Manics were meeting the massive wall of indifference head on...

Their first release on Sony was the July 1991 single Stay Beautiful (No. 40 in the UK charts), followed by October 1991′s Love's Sweet Exile (No. 26); the major label backing saw them inching towards the mainstream. The re-release of You Love Us (No. 16) early in 1992 finally saw the band in the top 20. The Manics were on a slow upward curve. That March the crunching, stunning Slash And Burn headbutted its way to No. 20. Their Molotov missive stuffed début album, Generation Terrorists, released in 1992, had scraped the teens of the album charts. This was fine but hardly the multi-million-selling missive that they had boasted they would release and then split up afterwards when their work was done!

The band were hit by the truth, rock 'n' roll was a long, slow grind and their ecstatic fantasy of selling 10 million records and then splitting was starting to look like a pipe dream. Real life is always tougher than the romantic vision. So they started to grind it out, if this was going to be a war of attrition the so be it. Throughout 1992 they were hammering home the mini hits. Their fan base was growing. For all their polemic and at odds defiance of the musical trends they could play great pop music. Track after track was being pulled from the Generation Terrorists album and hitting the Top 20... the powerful Slash And Burn (No. 20), the anthemic Motorcycle Emptiness (No. 17) and then that September they finally scored the big breakthrough with the cover of 'Theme From M.A.S.H.' (number seven) putting them into the Top 10.

At last they had been accepted. Especially by their core fanbase... a coterie of leopard-skin-clad desperadoes who looked like the coolest pop kids on the circuit. The Manics' gigs were a flurry of flamboyance and feather boas. Their fans oozed sex and situationism. The Manics were attracting the same cabal of intense letter writing fanatics as The Smiths had in the eighties but somehow flasher in their intensity.

I interviewed them just before they hit the stage at Birmingham Aston University in the summer of 1993 and the band were as combative as ever. In the tiny motel room before the gig they were still gunning for the same targets as they piled on the pre-show make-up. Already there were signs of the sort of wear and tear that being on the road can etch onto the psyche. Richey was by now drinking and Nicky was relating tales of his partner's post-gig back to the hotel love life... not hard to miss when you're sharing a tiny room.

While Richey threw on his fake leopard print coat, Nicky related that his love of beat literature came from his elder brother Patrick Jones. They piled into the car outside the hotel in a blur of fake furs, make-up and teased hair. They had the star swagger - living out their rock 'n' roll dream as we got lost in the winding roads, crammed in their car, towards the gig.

Jarrad Owens, Amped

As we celebrate the 20th anniversary of the release of Manic Street Preachers' début album Generation Terrorists, Manics-superfan Jarrad Owens of the website Amped gives his thoughts on the album.

"Generation Terrorists (working title Culture, Alienation, Boredom And Despair - the refrain from Little Baby Nothing) was, and still is, a truly incredible album: a double feature, 18 tracks in length and clocking at over 70 minutes. The incredibly ambitious début was released as the antidote to the drugged up and dumbed down 'Madchester' scene; the laddish, lairy early 90s indie movement that was a world away from what was happening in the Welsh valleys.

"1992 saw the Manics cross-pollinate their main influences at the time featuring Sex Pistols sloganeering, Guns N' Roses guitar licks and Public Enemy politics resulting in some sort of Never Mind The Bollocks/Appetite For Destruction hybrid. Aside from the music, perhaps the band's biggest grandiose statement was that they planned to split up upon its release and the album would sell 16 million copies worldwide.

"The subject matter of the album, like any truly great musical work, is still relevant today, questioning work, the economy, education, the media, religion and the human condition. Guitar and bass on the album was recorded in whole by lead singer James Dean Bradfield [something producer Steve Brown denies], with digital drums programmed by Sean Moore and piano accompaniment by Nicky Wire on Little Baby Nothing; this fact is testament to the sheer musicality of Bradfield, a guitar hero in the making.

"The only problems the album presented arose when it came to performing the songs live, probably due to James being the only member who performed on the album. The most extreme case being Motorcycle Emptiness, which was performed for the first time a whole four months after the album was released at the Town and Country Club in London.

"Stand-out tracks include the soaring epic Motorcycle Emptiness, the ironically titled You Love Us (a sarcastic love note to the tabloid newspapers that despised them), rip-roaring first single Slash N Burn, and hidden gem Condemned To Rock n Roll."

What The Papers Said

As we celebrate the 20th anniversary of the release of Manic Street Preachers' Generation Terrorists, we take a look back at what the papers said, some contemporaneous and others written with the benefit of hindsight.

New Musical Express
"What's more important is that the Manic Street Preachers have transcended their sleepy provincial roots and produced something for the Global Everybody. Their enemies expected London Calling:The Remix and they've come up with the Use Your Illusions I and II the Gunners only ever had illusions about."

The Guardian
"Generation Terrorists is stuffed with speedy guitar riffs, spring-loaded hooks, and - in Motorcycle Emptiness and Little Baby Nothing - two potential US hit singles. These boys have a plan. It might work."

The Independent
"Rock'n'roll is our epiphany/Culture, alienation, boredom and despair," sing the Manic Street Preachers on their debut album, a protracted bout of sullen huffing and puffing desperately trying to fan the flames of a punk revival. Except... there's no punk revival happening, as far as I can tell, and I suspect it will take rather more than this tired collection of glam-punk tat and hand- me-down hard rock stylings to create one."

The Daily Telegraph
"Some of the lyrics are clumsy and banal, and many of their targets are predictable: the monarchy, financial institutions, the male psyche (on the LP's finest tune, Little Baby Nothing, featuring porn star Traci Lords on little-girl-victim vocals) and religion. It's their less frantic sentiments that strike the most persuasive tone. 'It's not that I can't find worth in anything,' they sing at one point, 'It's just that I can't find worth in enough' - and suddenly their despair seems rather reasonable."

The Washington Post
"Caught between their 'new Clash' beginnings and an unexpectedly American hard-rock sound, these Welsh neopunks are exceptionally stirring when they're not being too silly or too metal."

"English [sic] quartet stakes out territory as the new Clash with a sometimes caustic brand of guitar-driven rock and politically conscious lyrics. Material here isn't as harshly punk-oriented as early punk material, though, with both producer Brown's commercially oriented work and the slick vocals of James Dean Bradfield lending the music a radio-aware sheen. Numbers like Slash N' Burn may heat some modern rock channels."

"While the album is loaded with a little bit too much unrealized material in retrospect, its best moments - the fiery Slash N' Burn, Little Baby Nothing, the incendiary Stay Beautiful, the sardonic You Love Us, and the haunting Motorcycle Emptiness - capture the Manics in all their raging glory."

And here's a selection of reviews of the album's singles from the NME, which more often than not gave coveted 'single of the week' status to the band:

You Love Us
"The masterstroke that becomes the title is enough on its own to endear it to anyone with their wits about them. Imagine the worst possible reaction an audience could give the Manics... Then chuckle when you realise they've got this song to shove LOUD right in the opposition's faces."

Motorcycle Emptiness
"At last. At long long last! Columbia/The Manics/whoever have finally got round to releasing the one indisputably great moment this band have so far forged. Suddenly, glaringly, all our championing of them, and our indulgence of their... excesses, is explained and repaid. In triplicate. In solid gold."