Us and Us Only is the sixth studio album by British rock band the Charlatans, released by Universal on 18 October 1999. After touring for their fifth studio album, Tellin' Stories, wrapped up by the end of 1997, they played minimal shows throughout 1998 and planned its follow-up. They built their own recording studio, aiming to start recording by early 1999; sessions eventually took place in March and April 1999 with the band self-producing. Us and Us Only is a country rock, folk, and roots rock album that strayed from the band's British roots in lieu of American-focused music.
"Forever" was released as Us and Us Only lead single in October 1999, which was followed by a tour of the United Kingdom. "My Beautiful Friend" appeared as the second single from the album in December 1999; in early 2000, the Charlatans toured the United States with Stereophonics. The Charlatans toured the UK again throughout April 2000, leading to the release of the album's third single, "Impossible", in May 2000. A two-disc edition of the album was released in 2011 by Universal UMC and Island Records.
Us and Us Only received generally favourable reviews from music critics, many of whom praised the songwriting and musicianship. Retrospective reviews continued to praise these aspects, with some referring to it as the Charlatan's best work. It peaked at number two on the album charts in both Scotland and the UK. All three of the album's singles peaked within the top 30 in both Scotland and the UK, with "Forever" charting the highest at numbers 8 and 12, respectively. Melody Maker, NME, and Select included the album on their lists of the year's best releases.
Background and development The Charlatans released their fifth studio album, Tellin' Stories, through independent label Beggars Banquet Records in April 1997 in the United Kingdom and through major label MCA Records in the United States. Partway through the recording sessions, keyboardist Rob Collins was killed in a car crash. Nearing the end of the process, the Charlatans had signed a deal with MCA Records and its parent company Universal Music Group for £1 million, though they remained with Beggars Banquet for the UK.Wills; Sheehan 1999, p. 144Sexton 1997, p. 93 It hit number one in the UK Albums Chart; all four of its singles reached the top 20 in the UK Singles Chart, with "One to Another" peaking the highest at number three. They promoted the album with two UK tours, the first of which saw the introduction of keyboardist Tony Rogers, two US tours, and shows in Japan through to the end of the year.Wills; Sheehan 1999, pp. 145, 147, 148, 149
Tellin' Stories appeared high on album of the year lists alongside OK Computer (1997) by Radiohead and Urban Hymns (1997) by the Verve. By 1998, the Charlatans were being cited as an influence on various newer acts, such as Jaguar, Mainstream, and Runston Parva.Wills; Sheehan 1999, p. 151 The Charlatans' contract with Beggars Banquet ended with Melting Pot, a singles collection that was released in February 1998, which they helped organise.Robb 1998, p. 277 Later in the year, they played a warm-up gig leading up to an appearance at V Festival. After this, they flew to Los Angeles, California, for a one-off show and a holiday break, where they planned to follow up on Tellin' Stories. By late 1998, they decided to build their own residential recording studio, which they hoped would help save on the costs of recording at other studios, such as Rockfield and Monnow Valley, both of which they had previously used.
Recording As construction was underway, Burgess returned to Los Angeles to spend time with his girlfriend Michelle for seven weeks across the end of the year and the start of 1999. Upon returning to the UK, he found that their studio was still being built; they had planned to start recording later in the month. He spent time listening to various Chess Records that MCA had sent the band, by the likes of Chuck Berry, John Lee Hooker, and Howlin' Wolf. While this was going on, bassist Martin Blunt's marriage was ending, guitarist Mark Collins was enjoying time with his family, and keyboardist Tony Rogers was spending time with Blunt and drummer Jon Brookes.Wills; Sheehan 1999, p. 152 Burgess toyed with the idea of moving to London with Michelle but realised it would not be worth the effort as he would be on tour often and she had friends in Los Angeles.Wills; Sheehan 1999, pp. 152Burgess 2013, p. 134
NME reported that construction on the studio had been completed by March 1999 and that recording was underway for an album that was expected by late 1999. On the same day the band christened their studio Big Mushroom, they learned that their accountant, Trevor Williams, had stolen £300,000 from their funds, which should have been used for taxes dating back five years. Williams appeared before the magistrates in March 1999, with the band's manager Steve Harrision in attendance while the band was busy with the studio. Sessions were held at Big Mushroom in Middlewich, Cheshire, and at Great Linford Manor in Buckinghamshire, with the band self-producing and James Spencer recording the proceedings.Burgess 2013, p. 135
Spencer had recently finished working on Twisted Tenderness (1999) by Electronic. Throughout the process, Burgess and Spencer would spend time working on either the lyrics, melodies, or vocals separately; Burgess would often write lyrics on Sundays, when he would feel less pressured.Burgess 2019, p. 115 By late April 1999, the recording had almost wrapped up. Tom Rothrock and Rob Schnapf were initially brought in to do some mixes, but the pair had wanted to do it at Abbey Road Studios in London.Burgess 2013, p. 155 The band and Spencer ultimately mixed the album at Electric Lady Studios in New York City until June 1999. It was mastered at Sterling Sound, also in New York City, by engineer Greg Clabi, who was accompanied by Spencer; Blunt said it was mastered in that city as "American records sound louder".
Composition and lyrics Overview
Musically, the sound of Us and Us Only has been described as country rock, folk, and roots rock; PopMatters music editor Sarah Zupko pondered if "they've been listening to Gomez or Beta Band". It lacked the dance beats found in their earlier work. In a review for Wall of Sound, journalist Gary Graff wrote that the Charlatans had largely abandoned their British roots in favour of American-centric music, such as the works of Bob Dylan and the Band, namely the latter's Music from Big Pink (1968). AllMusic reviewer Stephen Thomas Erlewine said in contrast to the "stripped-down, straight-ahead collection" of Tellin' Stories, Us and Us Only "dresses up the band's continually impressive songcraft in a moody atmosphere, borrowed in equal parts" from the work of the Chemical Brothers, as well as Blonde on Blonde (1966) by Dylan and Beggars Banquet (1968) by the Rolling Stones. He added that there was a "haze of keyboards and subdued beats, and this murky veil never really lifts" throughout the album. Burgess said they drew inspiration from music between the 1950s and 1970s.
Matt Hendrickson of Rolling Stone referred to it as if Exile on Main St. (1972) by the Rolling Stones was "remixed by the Chemical Brothers". Burgess said the album's title, which is taken from a line in "Forever", was indicative of their "post-Rob [Collins] set-up; nine months in our own studio with no one else around".Burgess 2019, pp. 101–2Taylor 2006, p. 63 Dave Kendall of MTV theorised that the title referred to the band's "status as sole survivors of the original Madchester mob they were lumped in with". Steve Taylor, in his book The A to X of Alternative Music (2006), said it was full of "personal songs that are shot through with a sense of resolve in the face of adversity and tragedy, with angels and witches [as] a recurring motif".
Tracks The album opens with "Forever", a seven-and-a-half-minute-long track with bass that evokes the sound of Massive Attack. Blunt came up with a rudimentary version of "Forever" after hanging out with Brookes and Rogers, which was then presented to Burgess. Burgess came up with the lyrics while in a hotel in Tokyo, Japan, admiring the view from his window, which he then sang to Blunt and Rogers. Burgess wanted a song with a "big title" and thought "there was nothing bigger than 'forever, which he had lifted from Wu-Tang Clan.Burgess 2019, p. 101 He said the song was influenced by "Tomorrow Never Knows" (1966) and "Strawberry Fields Forever" (1967), both by the Beatles. Brookes and Spencer wrote the middle eight section; the former wanted to make a drum loop akin to the work of Beastie Boys.
"Forever" is followed by the instrumental "Good Witch, Bad Witch 1", which lasts for 51 seconds; Kendall considered it a "trailer for the actual song" towards the album's end. Both parts recall "Venus as a Boy" (1993) by Björk. Kendall said "Impossible" set the standard for the remainder of the album of "impeccably arranged '60s pop songs rich in pedigree and bankrupt in R&D." The track talks about a disintegrating relationship as well as the topic of jealousy, while its name was taken from Wu-Tang Clan. Burgess made an early version of the song with his eight-track recorder; he played it for the Chemical Brothers, who proceeded to alter the instrumentation, bringing it closer to what would eventually appear on the album.Burgess 2019, pp. 107–8 "The Blonde Waltz" is about Blunt being a single parent with his two children and was influenced by the work of Woody Guthrie, whom Burgess had gotten into in 1998.Burgess 2019, p. 112
The guitarwork in "A House Is Not a Home" was reminiscent of that by the Rolling Stones, with one riff being lifted from "I Don't Believe You (She Acts Like We Never Have Met)" (1974) by Dylan. The melancholic and harmonica-centred "Senses (Angel on My Shoulder)" was compared to the work of Nick Cave, which Burgess said dealt with people he knew and had admiration for. Blunt considered it a mix between the sound of the Spencer Davis Group and Traffic. The beat in "My Beautiful Friend" was influenced by "My Lovin' Is Digi" (1998) by RZA; Burgess said it talked about "saying goodbye to something and welcoming something new", highlighting Collins' death, the arrival of Rogers, and moving to the US. Blunt and Rogers came up with the beat at Brookes' flat in Wednesbury, where all of his drums were located.
"I Don't Care Where You Live" features Byrds-esque vocal harmonies. Burgess wrote the lyrics while in Los Angeles, which he said were inspired by performances by the Brian Jonestown Massacre and Elliott Smith. "The Blind Stagger" consists of wind instruments, only interrupted by a guitar solo; when recording the songs, they synched up four bass drums to achieve a particular tone. For "Good Witch, Bad Witch 2", Blunt wanted his bass parts to evoke the tones he heard on Enter the Wu-Tang (36 Chambers) (1993) by Wu-Tang Clan. With "Watching You", which evolved out of a jam session, Burgess said they wanted a cross between the Beach Boys and the Rolling Stones. The hidden track "Tony's Bar & Grill" came from a jam between Blunt and Rogers; Spencer said Brookes was "going to do some human beatboxing, but just burst into hysterics!"
Release