The Jesus and Mary Chain - Honey's Dead Album Lyrics

Honey's Dead is the fourth studio album by the Scottish alternative rock band The Jesus and Mary Chain, released in 1992 on Blanco y Negro Records. It marked a return to a more abrasive sound for the group, as well as incorporating elements of alternative dance.

The album's title refers to one of the band's early hits, "Just Like Honey", and is intended to demonstrate a complete departure from their earlier musical style. The cover art features a detail from the painting Ophelia (First Version) by the Pre-Raphaelite painter Arthur Hughes.

Honey's Dead peaked at No.14 on the UK Charts. As of May 1998 the album has sold 122,000 copies in United States according to Nielsen SoundScan.

The album's first single, "Reverence", attracted some controversy for the lyrics "I want to die just like Jesus Christ", and "I want to die just like JFK". Banned by Top of the Pops, the track peaked at #10 in the UK charts and received airplay in the United States on alternative radio stations.

Honey's Dead was recorded in the band's London studio, the aptly named "Drugstore", with accomplished engineer Flood and future JaMC producer Alan Moulder on board (not to mention a considerably larger bankroll).

Alternative and campus radio stations picked up "Far Gone and Out" which remains one of the band's most popular singles to date, peaking at #23 in the band's native UK. The Mary Chain shared the bill during parts of Lollapalooza 1992 in the U.S. with Pearl Jam, Soundgarden, Ministry, Lush, Ice Cube and Red Hot Chili Peppers. Anheuser Busch even used the samples of "Sugar Ray" as a background bed for their Bud Ice television commercials in 1993.

Honey's Dead was on the short list of nominees for the 1992 Mercury Prize.

The album posts a close second in sales to their next release, Stoned & Dethroned (1994) (which contains the hit single "Sometimes Always" with Hope Sandoval of Mazzy Star). The Reid brothers alternate between singing duties on tracks (most likely coinciding with songwriting duties).

Jimmy Eat World frontman Jim Adkins has praised the album, stating:

"I like how JAMC were developing their songs, and what they were using, what musical devices they were using, to build dynamics. There are subtle things that really move these songs along - extra percussion loops, or some feedback-y noise appearing halfway through a song. Again, it sounded like nothing else I'd really heard up until then - familiar, but alien too. It was perplexing in a way, because I couldn't work out how they'd done some of it."