The Wildhearts, the best band not to come from America.
This is a phrase that is often mentioned by people I talk to about The Wildhearts. At various points in my life, they’ve always seemed to be on the cusp of greatness (and in my eye, achieved it). However, they would explode in a spectacular fashion, which was part of the fun. But I’m getting ahead of myself in a way, so let me set out the premise for this article.
After the wonderful write up about Wilco by Hayley Lewis (which you can read here – check it out, a fantastic read), I started to think about The Wildhearts for some reason. After Frank Zappa, they are the band I’ve followed the most, even their solo works and various side projects/offshoots. To be honest, that is going to be a separate article in its own right. They have made me cry, smile, freeze my arse on a cold Scarborough beach, jump for joy, smack my head and have frustrated the living shit out of me. They are the act (along with the mad jester called Thomas Truax) that I’ve witnessed live the most. But for many years, all I wanted was some new music from the Rock ‘n’ Roll machine that wrote “My Baby Is A Head Fuck”. It looked for a long time that I was not going to get my wish.
In the year of our lord Zappa 2019, The Wildhearts released The Renaissance Men, their 9th studio album (or 8th – more on that later).
Before the release of The Renaissance Men, I was so excited. Honestly, it was a lot of hype for me, a new album by one of my favourite bands ever! At the time, I thought I would revisit their discography. It’s a back catalogue that I can easily listen to at any time of the day/month/year. The result is always the same, a stupid grin plastered all over my face. Yes, I have a preference for how I would listen to them. I’m sure everyone does this with all bands/artists. I think when you love/follow a band with any real devotion, you’re bound to have your own way of doing it. The fact they were originally from my neck of the woods is a bonus for me. Yes, they went to London and got big, but they were originally from South Shields, just over the river from where I’m writing this.
This is a look at the studio discography of The Wildhearts, original material only.
Now, the reason I give that distinction is due to the various compilations, EPs, live albums, unofficial releases, re-releases and the one covers album. Truly, I love Stop Me If You’ve Heard This Before Vol. 1 as much as the next Wildhearts fan. Any album that has a cover of a Super Furry Animals song that is better than the original, I’m there. On my other blog, I’ve written a lot about some of their side project (you can read it here if you want – with articles also composed by my former colleague Luke here), so I do need to cover that again. No, for this article, I have decided to stick to the main studio work. Also, I’ve decided that I’ll be steering away from a blow-by-blow retelling of every little story concerning the making of each record. This has been done so many times before, I really don’t think that needs to be done again. If you’re a fan, you know the dramas and what happened. If not, you can easily find out and it doesn’t need another re-telling.
I think what I’m trying to achieve here is an article that reflects my own feelings towards this band, vocalising the way that their music has impacted on this strange music nerd from North Shields. I hope that someone will read this, find out about a band they’ve been curious about, this band of various misfits, and check out one of the most consistent discographies I’ve ever heard. Now. let’s begin at the beginning…..
Earth Vs The Wildhearts (1993)
At the time, Grunge and Alternative Rock ruled the airwaves in my house. I was listening to some strange bedfellows, something that has been a permanent fixture in my life. The first I’d heard of The Wildhearts was the single “Greetings from Shitsville”. It was released in two shite brown 7″ singles, as well as on cassette and Maxi-CD (which was a big thing at the time). I picked it up after previously reading an article about them supporting Pantera in London. After hearing that the band was formed in the North East of England, I had to hear more.
Earth Vs The Wildhearts was an oddity at the time. It certainly wasn’t Grunge, it was Alternative by default and a throwback in a lot of ways. A little Punk, a little Glam, a ton of Rock and more attitude than you find in your average soap opera. Eleven tracks, eleven simple rock songs that became the most important part of my world. Well, I say eleven, but it was really twelve (as it would become on later releases). The original record was released without “Caffeine Bomb”, a track that was originally released as a stand-alone single then added to the album. Strangely enough, it was added as the fifth track and, to be honest, it would be wrong to hear it without that familiar riff.
I could list each track and make an article on Earth Vs The Wildhearts on its own.
When I think of this album, two songs stand out – “My Baby is a Headfuck” and “Suckerpunch”. “My Baby is a Headfuck” is famous for being one of the last tracks that Mick Ronson performed on, with a fantastic riff and a shit ton of swearing, what other songs would a young kid love! And in comes the “Suckerpunch”! To this day, hearing that pounding drumbeat is one of the best beginnings to a song that this man has ever heard. Each song is dealing with a lover who is a “little” problematic, each is is sonically different and just as important.
They follow each other on the album and they are the Ying to the other’s Yang, you can’t have one without the other. Sure, people might say “Everlone”, “The Miles Away Girl”, “Love U ‘Til I Don’t” or “T.V. Tan” are the best songs here, but that is not the case, it’s these two. Earth Vs The Wildhearts was the beginning of their career after two brilliant EP’s, they had the world at their feet. Maybe that was what went wrong. Part of their charm is their own self-destructive nature that gives it a rock ‘n’ roll thrill. But no matter which way you look at it, this is one of the finest debut albums ever.
Fishing for Luckies (1994)
Now, this is an album that has been released, re-released and then re-re-released again. I toyed with the idea of not including this album on this list, because it was originally released as a mini-album that was a fan club exclusive. However, it’s also been reissued a few times, with tracks added and taken away, some of which are important songs. The original was promoted with the double A-side “If Life Is Like A Love Bank, I Want An Overdraft” and the anthemic “Geordie in Wonderland”. Anyone from the North East of England who considers themselves a Rock fan from that era will start singing the latter at the drop of a hat.
The re-issue contained the song “Red Light, Green Light”.
This lead to the following video:
What a terrible video, it’s got all the fingerprints of a record company decision which was mocked by the band and the fans alike, how could that have been the best idea for that single! I think a video of the band busking at a traffic junction would have been much better. Anyway, I digress. For this album, the deep cuts are the tracks which weren’t released as singles. “Inglorious” is an epic song, one which opened each version of Fishing for Luckies, “Schizphonic” is another song which will have some people “eek” in a very excited manner, “Do the Channel Bop” is another fantastic track. Each of these tracks lasts over seven minutes in length, each one is so epic and wonderful. Listening to any version of this album feels like being let into a big secret, you’re part of a club with a cool collection of theme songs. The band were in flux at this point, so they did the obvious thing to do at this point. They went into the studio…
P.H.U.Q. (1995)
Yes, it does spell out Fuck You! I truly think was probably a mission statement at the time, as they were mired in chaos once again. Original guitarist C.J. was fired from the band during the recording, the band originally wanted to release a double album, but they were told no. Hence the release of Fishing for Luckies, which sort of makes sense why these two albums always felt like long-lost twins.
Despite all of the drama in the background, which was the natural backdrop to any Wildhearts released at that point, P.H.Q.U. was a very popular release. It has two singles (“I Wanna Go Where the People Go” and “Just in Lust”) that make the UK top 30, but once again, I was attracted to the album tracks.
When I first heard “Caprice”, I think I had “a moment”.
There is just something about the way that song builds, about how it sounds like it’s about to head in a million directions at once, but it still feels controlled, yet not tame. There might be songs that gain more attention from the fans, but “Caprice” is my favourite off P.H.Q.U. It’s almost pipped by “V-Day”, a song not to listen to when you have a hangover, even if you want to. That riff at the beginning can trigger migraines at a thousand yards! The album was a commercial success, which was followed up by the re-issue of Fishing for Luckies. It was a great time to be a fan of their music, but the dramas were starting to overshadow the band. They left East/West records, which was not a surprise to anyone. The real surprise was to come on their next record.
Endless, Nameless (1997)
Whilst each album by The Wildhearts is subject to much scrutiny by their fan-base, Endless, Nameless is one that still gets debated and can cause arguments. At the time of its release, the airwaves were being ruled by the likes of The Prodigy and other electronic acts, so their new record label, Mushroom Records, encouraged them to take a new direction. However, in my mind at least, they decided to go with a hybrid of their own sound and the noise of Strapping Young Lad/Devin Townsend.
Endless, Nameless was not named after the Nirvana secret track, but I can see why people might have thought that. It’s a heavy record, one that leaves behind the rock sensibilities of their earlier releases to a certain degree, relying on effects and loops and noise. At the time, I found it to be a strange beast, but not an unlikeable one. I like the idea of trying something new, it keeps things fresh, it adds a different layer to their sound and it stopped things being predictable. Alas, the same cannot be said for the background noise.
Despite great songs like “Anthem” and “Pissjoy”, The Wildhearts were in a downward spiral.
The infighting had become a bigger story than the music. They’d morphed into a soap opera and it was starting to take its toll. As I said, if you want the stories of the break-up’s, you can find them elsewhere. But it seemed to me that the chaos of the band was being matched by the music, listen to “Anthem” and “Nurse Maximum” and tell me otherwise if you dare! I’m still gutted about them canceling a gig at Newcastle City Hall when I had front row tickets! However, as I’ve seen them so many times (including once supporting Motorhead at the City Hall), I’ll forgive them.
The Wildhearts Must Be Destroyed (2003)
Six years would pass before The Wildhearts would release a new album, with a new line-up as well, due to the various break-ups. It was supposed to be a reforming of the original line-up, but due to various issues, bass player Danny McCormack was unable to be in the studio. Which is a shame, as the music of The Wildhearts Must Be Destroyed is amazing! The sound of Endless, Nameless was put to the side, with a return to their familiar anthemic sound.
At the time, The Wildhearts went on tour with The Darkness in the USA.
For me, that would have been a great line-up for the UK as well. The Darkness had previously supported The Wildhearts and clearly influenced by them, lead singer Justin Hawkins appears on “Only Love” and “Get Your Groove On”. Whilst the album yelled three singles, all of which had UK chart success once again, it was the album tracks that once again got my attention. I could sing a tuneless version of “There’s Only One Hell”, “One Life, One Love, One Girl” or “Someone That Won’t Let Me Go” at the drop of a hat! I mean, small rodents and the sounding neighbourhood would hate it, but I would be having a blast.
The Wildhearts Must Be Destroyed for me represents the pop side of The Wildhearts, the anthemic moments that come so naturally to the band. When I say pop, I don’t mean it as an insult, it’s one of those records that’s so easy on the ears, I can play it so easily and it never gets boring. Some people might complain about stuff on this, but not me. I love every second of this wonderful piece of rock, it came at the right time and still gives me a massive grin to this day.
The Wildhearts (2007)
A new album, a new line-up! Also, the only album that I cannot find on any streaming service for some reason (hence the absence of tracks from the Spotify list attached). This album marks the debut of Mr Scott Sorry (ex Amen, Brides of Destruction, Scott Sorry & The Sinatras) on bass. Scott brought a different energy to the band, a little bit more metal than punk/glam rock in my head, or that might just have been the way that Ginger was writing at the time.
Time and time again I find myself picking up this album, putting it on and wondering why have I left it so long to put it on again. The original ten-track release is a near-perfect album, with some of my favourite WH songs ever. Take “Rooting for the Bad Guys”:
In my opinion, this is one of the finest songs that has ever been written. Everything about it just speaks to me: It’s long, sort of funny, it shouts for heels instead of faces and the riffs fall down like water over a waterfall. I get shivers up and down my spine each time I play it.
Each song on The Wildhearts is a stone-cold killer!
Honestly, go back and check it out! Track after track, they just nailed it on this record. And the world didn’t seem to give a shit! I don’t know why, but it just didn’t seem to get any traction and some people seem to skip it. Which is a real shame, because I think it’s one of their strongest. Mainly because it was a grower for me. The Wildhearts went from “yeah, that’s a good record” to “OHMYGOD!OHMYGOD!OHMYGOD!”. If I were to say which album to start people on, I’d probably pick this one, just because it’s such a great record.
¡Chutzpah! (2009)
¡Chutzpah! was the last record by The Wildhearts for roughly ten years. It was followed by an EP called ¡Chutzpah! Jnr. which was made of outtakes that didn’t make the album. You could really class them as one release, but I’m sticking to the traditional releases for this post. Ten tracks long, clocking in at around thirty-seven minutes and mixing in some electronics once again to their sound, this album has an American feel to the music. I’m not sure if Ginger was living over State-side at the time, but it has that feeling to the music (especially “You Took The Sunshine From New York” (unless it’s written about the small village in North Tyneside, which I doubt)).
¡Chutzpah! didn’t feel like an ending, it feels like a new beginning.
They seemed to be a bit of something about it, a little spark and joy that came from a band who sounded tight and on fire. “The Jackson Whites”, “John of Violence”, “Tim Smith” and the title track are some of the best deep cuts you’ll ever hear from The Wildhearts. This record also has the honour of featuring a song that was not written by Ginger, and he’s also not on lead vocals for it. The track in question is “The Only One” and it was written by bass player Scott Sorry. They just nail it on every track and yet again, it’s another which didn’t reach the audience. People where wanting Earth Vs. The Wildhearts once again, which is not what the band was doing at that point. Following its release, Scott Sorry left the band, drummer Ritch Battersby retired, Ginger was working on his solo work and playing as a hired hand with Michael Monroe and Courtney Love, whilst CJ was also releasing solo albums. They would get back together for some reunion shows (always with a different line-up), but nothing new.
It seems that The Wildhearts were destined for memory and the classic album tour circuit.
Whilst you wouldn’t blame them, it always seemed that whilst the tours when they were playing classic albums were fun, I was always hoping for a new album by The Wildhearts. Don’t get me wrong, I love their solo stuff. I think Robot and Mable by CJ, 555% and Ghost in the Tanglewood by Ginger and Mutation 3: Dark Black (Ginger’s noise project) are some of the best work that they’ve done. Scott Sorry released some great albums with Scott Sorry and the Sinatrias and Danny was doing some great stuff with The Main Grains and The Yo-Yo’s. But I was always hoping…..and then it happened!
Renaissance Men (2019)
I have yearned for this album, it was released just before my birthday earlier this month and I’ve savored it. I was thinking of rushing this review to get maximum points with it. But I decided to take my time, enjoy it and see what it was all about. The line-up for this album is what people would consider the classic line-up: Ginger, CJ, Ritch and the return of Danny. I have to say, I would be lying if it didn’t bring a tear to my eye to see these guys back together, it just seems right that these guys are back together.
For a lot of people, RM is the biggest release of 2019. As a man of a certain age, my social media feed has been photos upon photos of this album being hugged, played and in one disturbing photo, Quaigmired (Giggity). For the core audience of The Wildhearts, this has been warmly received, it reached number 11 in the UK main album charts, which gives them their second-highest ever chart position. In their post to their fans, they have been genuinely touched about the response, it’s been heartwarming to watch.
And now, it’s time for my review of Renaissance Men.
The music deals with a lot of things: mental health, moving forward, letting go of shit you don’t need, the basic fight for survival. You get a feeling that they are seeing if they’re still relevant, being a hard rock/punk band in as we approach the ’20s. As a fan, I can be seen as a biased reviewer. But I’m also the sort of person that says if I don’t like something, especially when it comes to a band I love. Going into this album, I did have a bit of trepidation. You can’t help but build up an album in your mind, it’s human nature – even when you say you’re not doing it, you’re doing it.
Over the course of thirty-nine minutes, The Wildhearts play to their first strength – Anthems. The Wildhearts have always been compared to an anthem machine by my wife, and she’s not wrong. Every song is full of a spirit of union, companionship, and camaraderie. You can sense that they are all back on the same page, the battles of the past are behind them (at least between each other) and they are working towards a common goal.
Renaissance Men is a great album by The Wildhearts.
Where it lies on the overall list of WH albums is anyone’s guess, that’s a question that ‘future Eddie’ will have to answer. My initial reaction was one of slight indifference, to be honest, but also wanting to listen to it again. That is usually the sign that it will become a classic in my mind. This seems to be the case, as I’ve been listening to it a lot over the past month. Standout tracks “Let ‘Em Go”, “Fine Art of Deception”, “Diagnosis” and “Pilo Erection” hit the spot each time. But you can say this for every track on this record, it’s all killer with fuck all filler.
So, what is next for The Wildhearts?
Well, it would be hard to say, since they released their last album, they’ve not stopped. There have been loads of shows, a new EP and even time for a solo Ginger album. In January, they’ve toured Europe and the UK with Swedish sensation, Backyard Babies. Hopefully, they will reach the States as well, at least for people who are reading this article. I saw them in Newcastle recently and they were in fine form. It was one of the best shows I’ve seen the band put on, with each song sounding like the best song of your life.
Hopefully, the good times that The Wildhearts are currently experiencing will continue. If any band has ever deserved a break, it’s these guys. They’ve always been a band in conflict, I think that was part of the appeal, to be honest. They seem to have invoked the Rock ‘n’ Roll spirit, even to the determent of their own health. But this time, they seem to be singing as one, moving as one, stepping forward as one. Ginger, CJ, Danny and Ritch, we salute you and wish you well!