This involvement doesn’t mean it’s a hagiography, acknowledging moments of imperfection like their inability to capture the live energy of Methadone Pretty in the studio, or Nicky Wire describing the lyrics to There By The Grace Of God as ‘flimsy’. Lyrical influences; largely politics and art are mostly unsurprising, but there are still a few surprises, such as finding out that Golden Platitudes began as a lullaby for Wire’s son.
It’s the glimpses behind the scene really catch your eye – yes, the band wrote a manifesto and actively engaged with the press in their early days, but you might be surprised that Nicky Wire still cared enough about chart positions to describe Lifeblood’s failure to reach the top as ‘bleak’ or that Masses Against The Classes was written because of perceived press backlash against the then ‘new’ post- Richey iteration of the Manics. There’s plenty of their thoughts on other bands (“Don’t be U2”), comparing a slump when tours weren’t selling out to The Clash.
For me, it’s a book best enjoyed with YouTube and a streaming service open, investigating as the author mentions that live versions of early B-Side Tennessee are better than the record, understanding what makes a 1996 Later… performance of Australia so special or the differences in the demo of Motorcycle Emptiness. I spent a very pleasant afternoon wandering down the rabbit hole as I read and re-acquainted myself with the catalogue – and yes, reappraised some of the later albums that I hadn’t given as much time to.
If such a thing as a casual Manics fan exists, this probably isn’t for them, taking in as it does the more obscure corners of the Manics’ catalogue, and not being a straight cover-to-cover biography in the usual style. However, for fans seeking a deeper understanding of their songs’ gestation, meaning, and evolution, it’s incredibly rewarding. It burrows deep into the catalogue, featuring Japanese bonus tracks, soundtrack cuts, and even a song released on an EP that was only ever available at a single concert and encourages the reader to do the same.
It’s a book that rewards obsession, one that digs into overlooked corners of the catalogue, and in doing so, makes you want to dive back into the music all over again.

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