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La Tristesse Durera (Scream To A Sigh) (Gold Against The Soul, 1993) Belatedly joining the baggy party SM: It’s a bit of a hangover from the late 80s – it’s got a groove; we tried to copy an Arrested Development track. I remember programming something similar to what they’d done on a computer and doing the live drum thing and kicking it in. We were trying to mix it up a bit. Even before the deal I’d been listening to Public Enemy, especially Fear Of A Black Planet, which really blew me away. NW: My instigation. I’d written a lot of it. I came up with the title, then Richey had the ‘ Scream to a sigh’ refrain.

I wanted to do something non-trendy, and that was to write about war heroes in a sympathetic way. The title comes from Van Gogh’s suicide note.

Great guitar solo on there, too, one of James’s best. It felt like a leap for us.

And James’s voice is massive. JDB: Select magazine called it the last great baggy single, which we didn’t expect. That lyric felt head and shoulders above everything else Nick and Rich had given us for Gold. It was a bit based on [the Clash’s] Car Jamming and from Arrested Development, and then it became something else.

Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart (The Holy Bible, 1994) Do or die for the Manic Street Preachers. SM: It’s me trying to be Topper Headon, in a strange sort of way.

I remember the quote at the beginning – I did all the samples. Richey would source it and I’d be the one dragging it off old VHS tapes. It’s one of those songs where it just happened, The ideas were there, the little fast tom. I was thinking all the time of London Calling.

For us it was the end – third album, everything’s bombing, fuck it, let’s do what we want. Three weeks and the album [The Holy Bible] was out of the charts after peaking at 75. Flash mind reader crystal ball free download. NW: I think it’s a true classic album track: inspiring drums, great guitar riff, it’s ferocious too. It’s one of those songs that you can only play it live if you feel it. You can’t fake it in front of an audience.

JDB: When I first saw it I was like: “How the fuck do you expect me to write any music to this?!” Then I saw the challenge, and just how great it was – the jump from character to character, the pace of the editing was amazing. It had touches of West Side Story, for me. I’ve no idea how Richey felt when he finished a lyric like that, if he was happy or empty. I’d love to have known. 4st 7lb (The Holy Bible, 1994) Feel the pain.

SM: It’s got that little extra section at the end, about the footsteps in the snow, trying to make it delicate as if you’ve become so light that you’re almost floating. That’s why it goes off at the end and lifts away, and you get all the anguish and the anger at the beginning of it. That’s a really good song. NW: I think it’s incredible. The almost Eton Rifles start, that turns into that brilliant coda which floats on that line: ‘ I’ve long since reached the higher plateau’. A stunning lyric than can only come from someone who feels that kind of pain. It’s actually profound.

JDB: The one song that I didn’t enjoy writing the music to. There are moments of The Bible where I felt as if I was being really precarious about singing the thoughts of other people channelled through Richey, but I felt slightly uneasy doing that song. I was glad when I finished. I felt like I was prying when I wrote it. It was a weird feeling.

Faster (The Holy Bible, 1994) The band’s manifesto writ large. SM: The template for that song was Faith No More’s From Out Of Nowhere. The lyrics weren’t in the form that they ended up in, but just that bit ‘ stronger than Mensa’ was enough for us. NW: All written before the digital age – no mobile, no computer. But Richey just conveyed this feeling of the acceleration of culture – it just speeds up and speeds up. It was a defining moment for us. That song laid it all out.