Manic Street Preachers - Gold Against The Soul (1993)

Whilst self-proclaimed Generation Terrorists Manic Street Preachers may have had more than their fair share of pretensions, particularly in their early days, and their latter-day pseudo-intellectualising lyrics may serve to wind-up some listeners, me included from time to time, there’s no escaping that their second studio album, Gold Against The Soul, is an absolute triumph for hard-hitting, guitar-based rock. It’s one of the few albums that you can listen to from start to finish and every track is a gem with each member of the band giving their strongest performances and I would argue it is the band’s strongest, although the subsequent Holy Bible tends to get the majority of the plaudits.

The album opens with the uptempo riff of Sunflower, a powerful number that belts along with James Bradfield in fine voice and the band managing to combine dominating guitar riffs with melody and hooks: something in which many bands fail miserably. The mellow bridge is also a nice touch and offers some respite before the track kicks back into its bludgeoning riff and guitar solo – a better opener to an album you’d be hard-pressed to find!

From Despair To Where showcases the melancholic, and later we’d learn nihilistic, mindset of rhythm guitarist Richey James who was, back in 1993, chief lyricist for the Manics. The track opens with an understated guitar and vocal proclaiming the classic lines “I write this alone in my bed. I poison every room in the house. The place is quiet and so alone. Pretend there’s something worth waiting for”. The band then kicks-in, along with an organ backing, for a track featuring good use of light and shade with the verses mellow then Bradfield building the intensity to the bridge and into the chorus. Some simple but effective soloing from Bradfield and a string quartet round the track-out nicely.

One of the ‘classic’ Manic’s tracks, Scream To A Sigh (La Tristesse Durera), is next which again starts with a lilting guitar picked melody and Bradfield singing in hushed tones before a drum break and the track is in full swing. Again, lyrically, melodically and vocally, Scream To A Sigh works perfectly and is a standout track on the album – which is difficult as it is in really good company on Gold Against The Soul.

Things then move away from the ‘catchier’ Manics numbers to out and out squealing guitars and an altogether heavier approach with Yourself which again has a memorable chorus but not in a ‘chart frieldy’ kind of way and the overarching riff of the track, played loud by Bradfield, and gently by staccato strings, in places works extremely well.

Life Becoming A Landslide again has a low-level intro before the main body of the track opens but this is a less heavy number than the rest of the tracks – closest to a ballad feel for the first verse and intro. However, guitars suddenly abound as the melody is picked-up by heavy, dampened guitar that provides a razor-sharp riff and Bradfield’s vocals, as ever, are both cutting and melodic simultaneously. The juxtaposition between the verses and the melodic chorus is distinct and the guitar break, chord based, with some powerful phrasing from Sean Moore adds to the texture.

Drug Drug Druggy, track 6, continues in a similar vein (no pun intended!) which is followed by what was a single from the album (reaching 15 in the UK charts), Roses In The Hospital. Again, ‘Roses’ demonstrates the band’s ability to be commercial, melodic and guitar-driven all in one.

Nostalgic Pushhead opens with a Moore drum riff which is built upon by a Bradfield guitar melody which moves into a powerful rock number on which Bradfield vocally is on great form. Symphony Of Tourette moves things up a gear and is a real uptempo riff giving the track a real sense of urgency and contains a great instrumental break and guitar work from Bradfield.

The title track closes the album and features a riff that wouldn’t be out of place on a Judas Priest album! Albeit, being the manics, they manage to cleverly meld the riff with a gentle vocal from Bradfield and provide a catchy hook.

As you can probably tell from the above, I can’t recommend this album highly enough. If you like loud guitars, powerful vocals, choruses you can sing along too, deep but accessible lyrics and riff-based instrumentation . . . and you don’t like your neighbours as you WILL want to play this album very loudly indeed . . . you must give Gold Against The Soul a listen!

• James Dean Bradfield – Vocals/Guitars
• Sean Moore – Drums
• Richey Edwards – Guitar
• Nicky Wire – Bass