Mind Bomb

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recording engineer: Felix Kendall ( UK recording engineer) additional engineer: 'Mini' Matt Howe ( producer and engineer), Stuart James ( UK producer aka "Jammer), Warne Livesey and Roli Mosimann assistant engineer: JP Baptiste, Karen Down, Geoff Foster ( sound engineer), Noel Rafferty and Wellard Walsh producer: Matt Johnson ( English singer/songwriter for “The The”) and Roli Mosimann mixer: Bruce Lampcov bass guitar: James Eller drums (drum set): David Palmer ( drummer (ABC/The The)) electric guitar: Matt Johnson ( English singer/songwriter for “The The”) and Johnny Marr keyboard and melodica: Matt Johnson ( English singer/songwriter for “The The”) percussion: Danny Cummings ( British drummer and percussionist) percussion [water percussion]: Pedro Haldemann trombone: Ashley Slater vocals: Matt Johnson ( English singer/songwriter for “The The”) recording of: Gravitate to Me(from 1988-10 until 1989-05) lyricist: Matt Johnson ( English singer/songwriter for “The The”) composer: Matt Johnson ( English singer/songwriter for “The The”) and Johnny Marr Original release and 1983 reissue credited to Matt Johnson. The 1993 re-release of Burning Blue Soul credits this album to the The. THE THE make powerful brooding music that grapples with the big questions. Mind Bomb is an eloquent rant against organised religion.” The The are an English musical and multimedia group that have been active in various forms since 1979, with singer/songwriter/frontman Matt Johnson being the only constant band member. Releases are fairly few and far between for the band, but over the years The The have sold several million albums internationally and achieved critical acclaim — their 1983 album Soul Mining was voted the third best album of the year by British music magazine Melody Maker. This album featured the song "Uncertain Smile", which at one point was voted the third greatest song ever by Australian Triple J radio listeners.

The Beat(en) Generation": "The The – The Beat(en) Generation (single)" (in German). GfK Entertainment . Retrieved 9 June 2017.Johnson told Uncut magazine in early 2015 that he was starting to write the first new vocal-based The album since 2000's Nakedself. [ citation needed] This has not yet materialised.

Blending dense, tightly-wound music with anguished song writing, Mind Bomb is an eloquent statement of rage. Play it very loud, very late and very alone.” a b "British Band The The Release 'Mrs Mac' – Their First Single in Over Five Years". Billboardpublicitywire.com. Archived from the original on 9 May 2007 . Retrieved 2 April 2011.

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See also: Solitude (EP) which was released in December 1999 and contained remixes of the The songs—most notably, "That Was the Day", a version of their single, "This Is the Day". In early 1981 the The also contributed the composition "Untitled" to the Some Bizzare Album. In September of that year Johnson and Laws signed a recording contract with Some Bizzare Records and released the 7" single "Cold Spell Ahead". By this stage Matt Johnson had begun playing all the instruments himself so Laws left to pursue his studies, leaving Johnson as a solo artist using a group moniker. Offiziellecharts.de – The The – Mind Bomb" (in German). GfK Entertainment Charts. Retrieved 21 October 2022.

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.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. Larkin, Colin (1995). The Guinness Encyclopedia of Popular Music. Vol.3 (2nd reviseded.). Guinness Publishing. p.2190. ISBN 354063293X.

Since 2007, The The have enjoyed a small surge of attention in the United States thanks to an M&M's advertising campaign, which has been using the band's song "This is the Day" as its theme music.In case that doesn't clinch it, he winds up repeatedly keening, "I KNOW YOU! from a previous incarnation." By this time, Marr's trademark shuddering guitar has taken to circling the beat with a measured, sharp-edged funk riff and the entire business has gathered a torpid but terrifying momentum that can only end with it, and its protagonist, rolling unstoppably atop its object of desire. It's like being courted by a Panzer division. Come hither, or else. a b c "This Is The The Day – Library". thethe.com. Archived from the original on 17 July 2011 . Retrieved 2 April 2011. 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 David Roberts, ed. (2006). British Hit Singles and Albums. Guinness World Records Limited. p.555. ISBN 978-1904994107. An experimental album Gun Sluts was recorded in 1997, but it was left unreleased by the band after it was rejected for being too uncommercial by their label. The The severed their 18-year relationship with Sony and moved to Interscope, on Trent Reznor's Nothing Records imprint.