| | Jesus Jones Doubt CD Jesus Jones Discography of CDs
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Following their debut album, Jesus Jones released a pair of singles in 1990, "Right Here, Right Now" and "Real, Real, Real," which lifted them into the realm of superstardom, in the United States anyway. At home in England, they were grouped in with the so-called "grebo" movement--scruffy young men playing speedy pop songs shot through with humor and adolescent ennui--which consisted of bands like the Wonder Stuff, Ned's Atomic Dustbin, and Pop Will Eat Itself, all of which had devout followings throughout Europe. With "Right Here, Right Now," Jesus Jones secured their place in pop history, albeit as one-hit wonders.
This is a shame, though, as DOUBT, the band's second album, is full of good tracks, among them "International Bright Young Thing," where a hyped-up, shuffling beat gives structure to peals of guitar shrapnel. "Welcome Back Victoria" is a strange, moody track built on a vaguely Eagles-like acoustic guitar line, and sinister, swirling metallic samples, while "Are You Satisfied?" in perfecting the band's "throw it in the blender" approach of their first album, is easily DOUBT's best track. Also of note is "Stripped," a grueling industrial dance workout that substantially improves on Nine Inch Nails' early work.
Principally recorded in London, England in May 1990.
Producers: Mike Edwards, Andy Ross, Martyn Phillips.
Engineers: Clive Goddard, Martyn Phillips.
EMI. 2004.
Rolling Stone (3/21/91) - 3.5 Stars - Good Plus - "...At a time when genre mixing often smacks of trendiness, Jesus Jones offers a whole that is definitely more than the sum of its parts.."
Musician (4/91) - "..Forget Manchester, this is the future of English rock.." Doubt Music Review Average Rating: (5 out of 5 stars)  Doubt no longer, just buy!
if anyone is considering picking this up at all, it's probably because of Right Here, Right Now. this is not the only good song on this album and the description on this site alone will tell you that. well, that's no lie. if there are any songs to be doubtful of they'd be Trust Me, I'm Burning and Nothing to Hold Me, but even then. I often find myself not enjoying these tracks half as much as the rest of the album, but the fact still remains, i never skip over them and i figure there's gotta be a reason for that.
this album is hot from front to back. it's got a very dated sound, IE you can tell it's from the early 90s because by today's standards, it sonically sticks out like dog's balls, but its datedness is, in the end a part of its charm.
Submitted by Trent Wellard (Australia)
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Purchase Doubt CD To buy, Click on price to add to cart | General Public All The Rage CD (1984)
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Musician, composer, and computer programmer Nick Didkovsky seems to have so many projects and possibilities rattling around in his cranium that his guitar-playing abilities tend to get overlooked. He uses interactive computer technology extensively in his Doctor Nerve group, and in their most recent recording, Ereia, he experimented compositionally with a combination of avant-rock band and string quartet. So this stripped-down trio album, recorded with longtime Soft Machine bassist Hugh Hopper and drummer John Roulat, is, in a sense, Didkovsky's equivalent of Frank Zappa's Shut Up 'N Play Yer Guitar series -- a chance for electric guitar enthusiasts to hear a great axeman at work in settings that are designed to bring his guitar front and center. However, Didkovsky's restless imagination would not allow him to settle into a predictable groove no matter what he was doing, so the overall effect of this recording is closer to Fred Frith-style experimentation than standard displays of fretboard dexterity. Musically, it covers a whole lot of territory, even if Didkovsky's instrumental prowess is the intended focus.
Techno-geek that he is, Didkovsky finds a way to indulge his interest in cutting-edge technology by never actually playing with his two fellow musicians on Uses Wrist Grab, but instead exchanging and assembling all 14 pieces on the CD through the use of MP3 and CD-ROM audio files. In fact, Didkovsky and Hopper have never even met, although their mutual interests and sympathies are obvious. Individual pieces of each composition are mixed and stacked in various combinations, with guitar, bass,and drum parts sometimes multi-tracked, and Didkovsky uses his electronic toys occasionally, such as his "Machinecore," which Didkovsky describes as "an interactive software instrument." Didkovsky establishes his credentials early in the program with "Foster Wives, Trophy Hair," with Hopper offering nasty fuzz bass riffs by way of support. On this piece, Didkovsky condenses almost the whole history of the electric guitar into a five-minute slab of controlled dementia, first making his instrument squeal, howl, moan and twitter like a roomful of insects, then layering on ...
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