Introduction
The Jesus and Mary Chain and the play Jesus Hopped the ‘A’ Train may seem like an unlikely pairing at first glance – one is an influential Scottish alternative rock band, the other an acclaimed American drama. However, there are some profound connections between the two works when explored more deeply. Both grapple with themes of spirituality, morality, and redemption, albeit from very different artistic styles and perspectives.
This article will provide an in-depth look at the origins, artistry, and cultural impact of The Jesus and Mary Chain and Jesus Hopped the ‘A’ Train. It will explore the band’s pioneering noise pop sound that blended Beach Boys’ melodies with Velvet Underground feedback. It will also analyze the play’s bold storytelling and complex characters. Along the way, it will draw out comparisons between the two, from their shared existential themes to their contrasting tones. The goal is to showcase how this seminal band and groundbreaking drama provoked audiences and spoke to the human condition, despite coming from wildly different backgrounds. By the end, it will be clear how they both left enduring marks on popular culture.
The Jesus and Mary Chain Origins
The Jesus and Mary Chain formed in 1983 in the town of East Kilbride, Scotland, created by the songwriting partnership of brothers Jim and William Reid. The Reid brothers began playing together as teenagers, crafting pop songs with a distinctive blend of melody and abrasiveness. They played their first gig in 1984, which quickly created buzz in the local music scene for the band’s chaotic live performances. The brothers were known early on for playing short, noisy sets that often ended in violence and arrests at their shows.
Despite the volatility of their live gigs, the band’s demo caught the attention of Alan McGee of Creation Records. He signed them to his newly formed label Blanco y Negro Records, beginning their rapid rise. The Jesus and Mary Chain went into the studio to record their debut album Psychocandy, which would merge their melodic pop sensibilities with the distortion and feedback of Velvet Underground. The album released in 1985, pioneering their signature sound that blended pop and noise.
The Jesus and Mary Chain Musical Style
The Jesus and Mary Chain developed a unique musical style that blended together different influences to create their signature alternative rock sound. One of the most defining elements was their innovative use of guitar feedback and distortion. They took the kind of feedback found in the Velvet Underground’s music and turned it up to more extreme levels to craft what became known as their "wall of sound." The band favored grating, screeching washes of guitar noise and feedback, creating a harsh and chaotic sound.
At the same time, they balanced out the distortion with sweet, melodic pop vocal lines and lyrics. This mixture of melody and mayhem drew from Phil Spector’s famous "Wall of Sound" productions for 1960s girl groups, as well as the Beach Boys’ sunny pop melodies. The contrast between the tuneful pop vocals and the sheets of feedback and noise gave The Jesus and Mary Chain their distinctive identity. While the feedback could be deafeningly loud, Jim Reid’s detached, deadpan baritone grounded the songs with darkly romantic lyrics.
Other influences heard in their unique sound included bands like The Velvet Underground and The Stooges. Their innovative use of distortion and feedback built upon the groundwork laid by The Velvet Underground’s harsh, abrasive guitar work. The Stooges’ raw punk energy was also an inspiration for their similarly aggressive, anarchic live performances. By taking these influences and exaggerating them with increased distortion, The Jesus and Mary Chain pioneered their own original style. Their template went on to inspire countless noise pop, shoegaze, and alt rock bands that followed.
The Jesus and Mary Chain Albums & Songs
The Jesus and Mary Chain cemented their signature sound on their 1985 debut album Psychocandy, which AllMusic described as "one of the landmark albums of the alternative era." Songs like "Just Like Honey," with its iconic Bo Diddley-influenced drum beat and guitarist William Reid’s eloquent use of controlled feedback, and "Never Understand," which exemplifies the band’s ability to pair noise with pop melody, are among the highlights. The album is often listed among the most influential of the 1980s.
The band went in a cleaner, more melodic direction on 1987’s Darklands, though songs like "April Skies" still featured layers of guitars. Automatic (1989) saw them return to the noisier sound of Psychocandy on tracks like "Head On," while also hinting at the bluesy style heard on its follow-up Honey’s Dead (1992). Singles like "Reverence" and "Far Out and Gone" displayed their ability to write 60s-inspired pop gems.
Throughout their career, The Jesus and Mary Chain earned critical praise for their songwriting and ability to fuse noise with hooks. AllMusic declared that "along with the Velvet Underground, the Jesus and Mary Chain did the most to expand the boundaries of guitar pop." Songs like "Upside Down," "Cracking Up" and "I Hate Rock n Roll" exemplify their talent for crafting chaotic yet utterly compelling tracks. Though they rejected the pop conventions of the era, their music was still rooted in strong melodies and songcraft.
The Jesus and Mary Chain Legacy
The Jesus and Mary Chain left an indelible mark on alternative music, directly influencing the shoegaze, indie pop, and alternative rock genres that emerged in the late ’80s and ’90s. Their pioneering guitar sound, described by one critic as a "sheet of noise wrapped around pop songs," inspired bands like My Bloody Valentine, Slowdive, and Ride who took the ethereal layered guitar approach even further.
Though they never achieved huge mainstream success, the band developed a devoted cult following, with many musicians citing The Jesus and Mary Chain as a key influence. Kurt Cobain was a vocal fan, once calling Psychocandy his favorite album ever. Other bands like The Strokes, Black Rebel Motorcycle Club, and The Raveonettes have talked about modeling their sounds after the Reid brothers’ innovative clash of noise and pop.
In recent years, the band has undergone a critical re-evaluation, with Psychocandy in particular being ranked as one of the most important and groundbreaking albums of the ’80s. After splitting in 1999, Jim and William Reid reformed the band in 2007, playing major festivals like Coachella and touring consistently over the last decade. Though they haven’t released a new album since 1998’s Munki, The Jesus and Mary Chain continue to showcase their one-of-a-kind sound to new generations of fans, cementing their legacy as alt-rock pioneers.
Jesus Hopped the ‘A’ Train Background
Jesus Hopped the ‘A’ Train was written by acclaimed American playwright Stephen Adly Guirgis. Guirgis grew up in New York City’s Hell’s Kitchen neighborhood, which exposed him to the gritty urban environment that would later inspire much of his work. After struggling with addiction in his youth, Guirgis found solace in the theater and began writing plays in his early 20s while attending the City College of New York.
Guirgis’ work explores contemporary issues of morality, spirituality, and redemption, often through an urban lens. His characters frequently exist on the fringes of society. Regarding his creative process, Guirgis has said:
"I try to create very difficult circumstances for my characters and then ask them to make impossible choices."
Critics have praised Guirgis’ raw, emotionally honest writing style and his ability to find humor and humanity in unlikely places. He frequently collaborated with the LAByrinth Theater Company, which produced many of his early works.
As a playwright, Guirgis aims to craft bold stories that provoke audiences:
"Theater, at its best, should make people laugh, cry, reflect. Good theater should spur dialogue and discourse."
With his searing insights into the human condition and gift for snappy, authentic dialogue, Guirgis emerged as a defining voice in 21st century American theater. Jesus Hopped the ‘A’ Train, which debuted in 2000, exemplifies his provocative, spiritually-searching dramatic sensibilities.
Jesus Hopped the ‘A’ Train Plot & Characters
Jesus Hopped the ‘A’ Train follows the intersecting stories of Angel Cruz, a young gang member, and Lucius Jenkins, a serial killer and born-again Christian. The play has a nonlinear structure, shifting back and forth in time to reveal each character’s background and moral journey.
The main action takes place on Rikers Island, where Angel and Lucius meet after being arrested for separate crimes. Angel shot and killed the leader of a rival gang in an act of vengeance after his friend was murdered. Now facing 25 years to life in prison, Angel grapples with guilt, faith, and his own role in the endless cycle of urban violence.
Lucius is a deeply religious serial killer who claims he was commanded by God to "chastise" young women. After finding God in prison, Lucius believes he has been forgiven and seeks redemption through preaching. However, he is unable to fully take responsibility for his horrific crimes.
The supporting characters include the guards and prisoners at Rikers as well as Mary Jane Hanrahan, a compassionate legal aid lawyer trying to help Angel. She sees the humanity in Angel but also recognizes the wrongs he committed.
Guirgis uses magical realism, dream sequences, and nonlinear storytelling to explore moral ambiguity. The play raises complex questions about guilt, justice, racism, and the possibility of redemption. While Lucius’ crimes are clearly wrong, Angel’s actions are more understandable within the context of his environment and limited choices. However, the play refuses to excuse his violent acts.
Jesus Hopped the ‘A’ Train Themes
Jesus Hopped the ‘A’ Train explores complex themes of redemption, faith, and moral ambiguity within the context of the prison system. Playwright Stephen Adly Guirgis crafts a thought-provoking narrative that questions traditional notions of guilt, justice, racism, and forgiveness.
The play’s central characters grapple with their faith and search for redemption. Angel is a young man seeking salvation after committing a horrific crime, while Lucius is a born-again Christian who preaches a message of hope and renewal to his fellow inmates. Their moral journeys raise profound questions about sin, punishment, and the possibility of being redeemed.
Guirgis utilizes religious symbolism and magical realism to further probe moral ambiguity. A key motif is the elusive Jesus hopping freight trains, representing the characters’ ongoing spiritual journeys. Dreams and visions blur reality, underscoring the play’s deeper themes.
By exploring the flawed prison system, the play also confronts issues of racial injustice and institutionalized racism. Angel maintains his questionable innocence, while Lucius argues he was wrongfully convicted because of his race. Their imprisonment and repeated plea bargains highlight the inequities that pervade the justice system.
Ultimately, Jesus Hopped the ‘A’ Train is a multifaceted rumination on faith and fallibility. Through richly drawn characters like Angel and Lucius, Guirgis crafts a thought-provoking narrative that defies simple notions of right and wrong. The play leaves audiences to wrestle with questions of guilt, redemption, and forgiveness.
Jesus Hopped the ‘A’ Train Reception
Jesus Hopped the ‘A’ Train premiered off-Broadway in 2000 to widespread critical acclaim. The play was praised for its bold, provocative storytelling and nuanced exploration of complex themes like guilt, redemption and faith.
The New York Times called the play "a rough, profane, darkly funny and moving examination of faith and human frailty." The review highlighted the emotionally charged drama between the central characters Angel and Lucius, saying "the playwright skillfully entwines their fates in this compelling morality tale set in Rikers Island penitentiary."
Other notable critics like Charles Isherwood writing for Variety said the play "packs a walloping dramatic punch" and praised Guirgis’ "finely honed theatrical instincts." Isherwood commended the organic dialogue and fully realized characters, calling it "a penetrating and poetic meditation on the nature of good and evil."
In 2002, a London production of Jesus Hopped the ‘A’ Train won the prestigious Laurence Olivier Award for Best New Play. This cemented its status as a groundbreaking work of theater.
The play’s fearless exploration of life and death themes resonated strongly with critics. As The Guardian review put it: "This is a bold, risk-taking work of art – raw, profane yet undeniably moving. A modern morality tale that compels us to examine our own ideas of guilt, innocence, justice and faith."
Comparing the Band & Play
The Jesus and Mary Chain and Jesus Hopped the ‘A’ Train may seem like very different works on the surface, but they share some key thematic underpinnings related to spirituality and redemption.
Both works grapple with themes of faith and morality against gritty urban backdrops. The Jesus and Mary Chain reference religious ideas through their name and lyrics, with songs like "Never Understand" touching on concepts like sin. Meanwhile, Jesus Hopped the ‘A’ Train centers on characters struggling with guilt, racism, and questions of divine forgiveness. Despite their different settings and genres, each work aims to explore moral ambiguity and the possibility of spiritual transformation.
However, their tones and styles differ dramatically. The Jesus and Mary Chain capture a youthful rebelliousness through their noisy, feedback-drenched sound. Their songs have a dark, chaotic energy. In contrast, Jesus Hopped the ‘A’ Train adopts a more serious dramatic tone. The playwright carefully constructs the moral dilemmas faced by the characters. This thoughtful approach creates a realistic emotional intensity.
Both works were groundbreaking in their respective mediums and left a cultural mark. The Jesus and Mary Chain paved the way for alternative rock with their abrasive, experimental pop. Jesus Hopped the ‘A’ Train revitalized contemporary theater with its bold storytelling and social commentary. Their influence continues today, as they inspire artists aiming to challenge conventions and provoke audiences. Though wildly different, each work displays a creative spirit that refuses to be confined by expectations.