Stereophonics Albums (7)
'Pull the Pin'
Release Date 1/1/2007
Tracks 12
Label Universal Portugal
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What The Critics Say
Ten years in, Stereophonics sound appropriately settled on their sixth album, 2007's Pull the Pin. Then again, Stereophonics were never the liveliest of rock bands even in their youth. They beat out the likes of Travis to be perhaps the stodgiest of all the post-Oasis bands, aspiring to nothing more than being a solid stadium rock band, borrowing some of the sweeping sonics of U2 but relying more on the revivalism of Oasis with a slight hint of the epic scale of fellow Welsh rockers Manic Street Preachers. Stereophonics soldiered through album after album, aided considerably on their march to popularity by the cinema star good looks of guitarist/vocalist/all-around nice guy Kelly Jones, who was undeniably attractive in photos. Nowhere is that soft center in sharper relief than on Pull the Pin, which sounds bigger and slicker than anything they've ever done -- a large-scale album suited for their large popularity in the U.K. -- but Jones seems to be carried along by the sound instead of driving it. It's not as much that he's overwhelmed as he is...settled. Stereophonics have achieved the maturity they've aspired to all these many years, easily emulating Oasis on "Bank Holiday Monday" while they wash out Nirvana and mellow out the Manics elsewhere, turning out music that's louder than Coldplay (or even Travis' 2007 album) but feels less rock & roll, as everything here is immaculately manicured and mastered; it's a stadium rock album in form, but not in sound. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Live from Dakota captures Stereophonics' 2005 world tour in support of their fifth album, Language. Sex. Violence. Other? The double-disc set marks the band's first live album and it's an appropriate look back on what Stereophonics has achieved in the last 10 years. While they haven't impacted American audiences like they have their British followers, Stereophonics' live performance is what makes them come alive as a unit. They attract millions of U.K. fans for a reason. Frontman Kelly Jones has definitely matured as a vocalist since Word Gets Around. His best moments are when he's tough and brash; his raspy, gritty vocals fit the Stereophonics' blistering, guitar-driven sound like a glove. They're an unapologetic and swaggering band either way. If their last album didn't make that impression obvious, Live from Dakota should definitely do the trick. Stereophonics not only run through some of their biggest career-spanning hits such as "The Bartender and the Thief," "Madame Helga," "Maybe Tomorrow," and their number one U.K. favorite "Dakota," but new song, "Jayne" and the rare b-side, "Carrot Cake and Wine" add to the intensity of this 20-song set. Live from Dakota is a celebration for Stereophonics. They've grown into a reliable band after a decade together. Despite personnel shifts and media gossip, they've survived much like Oasis has. If you haven't discovered Stereophonics' live show yet, Live from Dakota is a good place to start. ~ MacKenzie Wilson, All Music Guide
'Language. Sex. Violence. Other?'
Release Date 1/1/2005
Tracks 11
Label V2
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What The Critics Say
Stereophonics frontman Kelly Jones roars "Cuz all I wanna do/Is make a mess outta you" on "Doorman," one of many white-hot blowouts from the band's fifth album, Language. Sex. Violence. Other? The album title borrows from the classification code used on the backs of DVDs, and its blunt display instantly pulls listeners toward Stereophonics' nonchalant chutzpah. Jones and bassist Richard Jones have never sounded more brash. The punk-inspired spark that made their 1997 debut, Word Gets Around, so impressive is rekindled. This 11-song set, which features quick and curt one-word song titles, is matched with sex appeal and an unshakable confidence. Argentinean-born Javier Weyler, who replaced founding drummer Stuart Cable in 2004, is a great fit with Stereophonics' wicked yet sensitive personality. Songs such as the smoldering bass funk of "Brother," the crunchy drop-kick of "Girl," and the glossy guitar hooks of "Dakota" find Stereophonics' second coming to be a convincing one. Jones' signature vocal grit saunters around the bravado of "Superman" and slow wax of "Pedalpusher" particularly well. This is the studio record they've been dying to make. While their previous four albums all showcased great moments, Stereophonics never fully realized their full-throttled power until Language. Sex. Violence. Other? Previous singles like "Madame Helga" and "The Bartender and the Thief" were mere glimpses into what this Welsh rock threesome could do if they just built upon their thick, merciless riffs and Jones' rough-edged vocals. Language. Sex. Violence. Other? is such an intense studio record. Stereophonics could not have nailed it any better. ~ MacKenzie Wilson, All Music Guide
'You Gotta Go There to Come Back'
Release Date 6/2/2003
Tracks 13
Label V2
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What The Critics Say
Stereophonics frontman Kelly Jones was still licking some serious wounds due to the breakup of his 12-year relationship with his girlfriend and a fallout with a best mate. The band's 2001 release, Just Enough Education to Perform, briefly touched upon his broken heart; however, Jones' darkest period came later as the band played countless sold-out gigs across Europe throughout late 2001 and 2002. Jones found himself personally and professionally isolated -- emotionally distant from his bandmates and best friends, drummer Stuart Cable and bassist Richard Jones, and creatively exhausted. However the fire that had made this band a major force in the post-grunge English rock scene still burned. Stereophonics' fourth album, You Gotta Go There to Come Back captures Jones' soulful journey, and the band's classic rowdy rock style is as sultry as ever. While their three previous albums exuded cockiness just for the sake of being cocky, You Gotta Go There to Come Back doesn't care to be so snide. Sure, the band's classic swagger remains an integral part of its overall appeal, but moving beyond that silly behavior has somehow affected Jones and his band. Cable became a father during the recording of this album while Richard Jones settled down and got married. Perhaps Jones craves a bit of stability as well? His confidence is on par throughout these 13 blues-rock-tinged songs as his life unfolds through words. "Jealousy" and "You Stole My Money Honey" are the album's more vexed moments. "Climbing the Wall," layered in acoustic guitars and horn and string arrangements, and "Nothing Is Precious at All" continue Stereophonics' psychological sifting with warmth. "Madame Helga" is the punch in the face Jones has been waiting to deliver. Heart-pounding musicianship from the band itself makes this swanky gospel number an album standout and a career staple. It's a song that Stereophonics have been wanting to make for years, and the overall fierce presentation finds the band at its best. Stereophonics are consistent with their craft, and You Gotta Go There to Come Back highlights the band's growing talent as musicians, but the fact is that they've only made good records up to this point. They have yet to make a really great record, but that's not to say Stereophonics don't have what it takes. You Gotta Go There to Come Back is a solid rock effort, and in due time, the band will have its epic. ~ MacKenzie Wilson, All Music Guide
'Just Enough Education to Perform'
Release Date 4/17/2001
Tracks 11
Label V2
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What The Critics Say
Prior to releasing their third effort, Stereophonics endured brief controversy under the album's title, Just Enough Education to Perform. Already having dealt with the critics' views of this being a country or acoustic record, frontman Kelly Jones wanted the album to go by the abbreviation of J.E.E.P., which captures the band's opinions of the music industry. Of course, politics played the game and Daimler-Chrysler objected to the use, claming copyright and usage of the word "Jeep." Despite the media drama, Jones isn't entirely disenchanted on Just Enough Education to Perform and the album isn't heavy with needle acoustics or twangy licks either. It's another glassy cast of rock & roll rawness (with slight acoustics) that's made them indie darlings since their inception in the mid-'90s. Performance and Cocktails (1999) was more abrasive with Jones' signature scratchy vocals, and the rough poetics on 1997's Word Gets Around were impressive; however, Just Enough Education to Perform illustrates a more mature Stereophonics. It's a monolith of 11 detailed narratives, each playing with areas of soul, aggro rock, and moody pop/rock. The band from Cwmaman, Wales is trying to be more comfortable with the gradual process of feeling out their own place. The debut single "Mr. Writer" scowls at music journalists for their quick-witted opinions, and twitching riffs carry Jones' heartfelt aggression. The gospel-tinged "Vegas Two Times" is one of the album's more ruffled tracks, but it's the old-fashioned "Step On My Old Size Nines" that makes for an enjoyable transition from rock tune to classic ballad. It's quite endearing, similar to older cuts such as "Hurry Up and Wait" and "Traffic." The Stereophonics appear to be achieving a much-welcomed calamity. Changes within their personal lives shaped the sounds found on this record, most notably "Maybe" and "Watch Them Fly Sundays." Crafted around blues-rock guitars and shimmering percussion, these swan songs reflect the demise of Jones' relationship with his longtime girlfriend. They're gorgeously haunting with emotional depictions, and the Stereophonics are okay with that. No longer into the destructive side of rock & roll, Just Enough Education to Perform exudes a peaceful sect; a charming side is more visible even though Jones has had his row with the press. He can laugh about it while wholeheartedly believing that the Stereophonics have shaped their latest work into their most stunning material yet. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
In December 1998, the Stereophonics released the single "The Bartender and the Thief," which became an unexpected explosion on the charts, peaking at number three in the U.K. In March 1999, the band's sophomore effort, Performance and Cocktails, was released to impressive sales -- it was reportedly outselling Blur's 13 when that album was released. A second single, "Just Looking," also peaked within the U.K. Top Ten, making the first half of 1999 a very unexpectedly busy time for the Stereophonics. Never a favorite to become a hugely successful Brit-pop band, their noisy, raw hard rock came into favor after the more produced and calculated sound of Brit-pop had become passe. Unfortunately, however, this disc isn't quite as consistent as the debut. Part of the reason why Word Gets Around was so appealing is that there was a sense of urgency that, on this release, seems to have disappeared. There are more ballads than before, and some of the rockers don't burn with the intensity that they did on the last album. This doesn't make Performance and Cocktails a bad album, though; fans will be very pleased that the Stereophonics have released another slab of indie-flavored hard rock. Some highlights include "T Shirt Suntan," the acoustic "She Takes Her Clothes Off," and the poppy "Pick a Part That's New." (Japanese versions of this album include three live tracks, but the quality is mediocre and the performances are unspectacular, making this version of the release for hardcore fans only.) ~ Jason Damas, All Music Guide
What The Critics Say
In the late '90s, a rash of Welsh rock bands emerged, among them Catatonia, Super Furry Animals, 60 Ft. Dolls, and the Stereophonics. On the surface, the Stereophonics' gritty rock & roll seems relatively uninspired, but upon close listen Word Gets Around proves to be a very accomplished debut. Vocalist/guitarist Kelly Jones' vocals are raw and rip the songs apart, as his loud, arena-ready guitar assault gives every track a gritty edge. Jones' lyrics are also of note; highly poetic and meaningful, he writes about the underbelly of a small town. The anthemic opener, the outrageously catchy "A Thousand Trees," details how a respected high school athletic coach ruined his career through a lurid sexual encounter with a female student, and the quick, jagged "More Life in a Tramp's Vest" displays the view of the world through the eyes of a supermarket bag boy. Word Gets Around isn't all about hard rockers, though; the hit "Traffic" is a beautifully constructed ballad that works marvelously when a juxtaposition is made between the music and Jones' rough vocal styling. While Word Gets Around occasionally suffers from blandness, it is a remarkably accomplished debut LP. ~ Jason Damas, All Music Guide
