The Mission: Studio Discography (1986 - 2013)

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The Mission: Studio Discography (1986 - 2013)

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Described by critics as melodramatic and bombastic, the Mission, as they were known in their native U.K. (their name had to be changed in America owing to a Philadelphia R&B band with the same moniker), nonetheless attracted a core audience of goth rock fans. The Mission was formed in 1986 by guitarist/singer Wayne Hussey and bassist Craig Adams, who both left the Sisters of Mercy to do so. (Hussey had also played with the Walkie Talkies and Dead or Alive.) The two recruited Artery guitarist Simon Hinkler and former Red Lorry Yellow Lorry drummer Mick Brown and called themselves the Sisterhood, to which Sisters of Mercy leader Andrew Eldritch objected strenuously. The Mission released two successful independent singles in the U.K. and signed to Mercury in 1986. The group soon completed its debut album, God's Own Medicine, which went on to produce a handful of U.K. hits, while critics found much of the record to be reminiscent of Led Zeppelin and Yes. Although the band toured extensively in the U.K. and America; Adams had to return home from the latter leg after suffering from exhaustion. Produced by Led Zeppelin bassist John Paul Jones, their third album Children, widened the band's audience, reaching number two on the U.K. album charts. 1990's Carved in Sand shed some of the Mission's Zep fascination for more refined songwriting. Hinkler left the band midway through the supporting tour and was eventually replaced permanently by Paul Etchells. Meanwhile, several Mission members backed Slade members Noddy Holder and Jim Lea on the Christmas charity single "Merry Xmas Everybody."

By 1992, Hussey was the only original member left; following the 1994 Sum and Substance retrospective, he recorded the 1995 album Neverland with a new Mission lineup. Blue followed a year later, with the greatest-hits retrospective Resurrection appearing in fall 1999. The 2001 album Aura was followed by a world tour that slowly saw the new line-up dissolving. By the time God Is a Bullet arrived courtesy of the 2007 version of the band, Hussey was living in Brazil. He announced that the Mission would actively promote the album through early 2008, after which he would be focusing on solo work. His first release to fall into this category was Bare, a Hussey album largely made up of cover versions which appeared before the end of that year. Next, an album of outtakes from the God Is a Bullet sessions was issued in 2010, under the name Dum Dum Bullets, before Curios – an album of covers and original material – appeared in 2011 under the Hussey-Regan moniker, re-kindling Hussey's creative relationship with the All About Eve founder Julianne Regan. For much of 2011 and 2012, Hussey appeared live under The Mission name in celebration of their 25th anniversary and by 2013 fans of the band were awaiting a rumored tenth studio album which was expected that September.

by James Wilkinson, AMG

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The Mission: Studio Discography (1986 - 2013)

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The Mission: Studio Discography (1986 - 2013)

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Even though the Cult had already mastered the art of mashing goth with more traditional elements of classic rock, the Mission's debut, God's Own Medicine, was the marker for goth rock's invasion of the U.K. charts for a good chunk of the late '80s. Having already made a serious dent on the top reaches of the indie charts with the singles "Serpent's Kiss" and "Garden of Delight," the Mission were on the precipice of becoming big-name players in mainstream circles. Wayne Hussey and Craig Adams had plenty of goth cred, having played with and acrimoniously left the Sisters of Mercy in 1985, and Hussey's ability to bring in elements of classic rock and English fantasy meant that he had a fan base in place and the added touches to reach the larger listening public. In that light, God's Own Medicine was a hit, broadening the Mission's appeal and establishing them as the flagship for the movement as it was unfolding. Musically speaking, the album isn't really their best, as it suffers from some inconsistencies, a muddled track order, and a mistakenly pap version of the indie single "Garden of Delight." And if one can get past Hussey's rather silly spoken intro "I still believe in God, but God no longer believes in me," then one will find moments worth hearing. "Wasteland," "Severina," and "Stay with Me," all strong tracks and singles lifted off the LP, are key Mission tracks, while "Blood Brother" (an homage to Cult leader Ian Astbury) and "And the Dance Goes On" deserve attention. A bit laborious and over the top in their subjects, the slower tracks are stacked toward the end of the record and make the album end on sort of a "blah" note (Hussey's attempts at songs about sex and romance can either wind up sounding corny or smarmy), but the Mission would eventually get the slower stuff right, so it's interesting to hear these selections as embryonic efforts charting a direction to future successes. True, much of what happened on the charts as far as this sound was concerned was quickly forgotten in the wake of Madchester and such, but God's Own Medicine stands as a good signpost for a misunderstood time.

by Chris True, AMG

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The Mission: Studio Discography (1986 - 2013)

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Mission fans should be thankful. Most bands that come up to the majors the hard way (i.e., on an indie label, releasing singles only) usually ignore their previous output once the big corporate label is buying the drinks. For the Mission, whose reputation was built on those early singles, it was a necessity to make them easy for fans to get their hands on. Polygram was more than willing to saturate the U.K. market with Mission releases, and what better way than to repackage old singles from a minor label and release the collection right after a successful debut? So, on the one hand it feels a bit like cashing in, but on the other The First Chapter is a pretty good collection, more consistent than God's Own Medicine, and containing some of the Mission's better moments. Some may nitpick that the compilation is not set up in a chronological order, but the decision to set up the album in an almost rocker/moody track/rocker pattern keeps the overall project from getting into ruts. The first two singles, "Serpents Kiss" and "Garden of Delight" are the standouts, obviously, but their covers of "Like a Hurricane" (Neil Young), "Wishing Well" (Free), and "Dancing Barefoot" (Patti Smith) are surprisingly solid, proving that the band was interested in taking the rather limited scope of goth rock to more interesting places than just drum machines and moody crooning. The slower, moodier tracks ("Wake [RSV]," "Naked and Savage") feel more like interludes that run a bit long, and the Mission's take on the Beatles' "Tomorrow Never Knows" could have been left behind. An arguably better introduction to the Mission than God's Own Medicine (and not just because this is their initial output), The First Chapter is a sure fan favorite, as well as an interesting piece of history of an oft-forgotten era of English rock.

by Chris True, AMG

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The Mission: Studio Discography (1986 - 2013)

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Most bands usually wait two or three albums before the "big statement," but this is the Mission. Sure, their debut was well received (at least by fans and record buyers) and was full of big, dramatic moments and over the top production, but nothing would equal the band's reach on its follow-up, Children. Kicking off with one of the longest fade-ins in rock history, Children is a sprawling (hell, to not call any album that starts out with a seven-plus-minute "intro" song sprawling is just wrong), larger-than-the-sum-of-its-parts affair, with multi-layered arrangements, numerous strings, vocals, guitars, and other instruments on every track, and a indescribable feel that just makes the album seem much longer than it really is. The rough edges are smoothed out, and Wayne Hussey's 12-string sounds cleaner and more shimmery than before. As for the songs themselves, the singles "Tower of Strength" and "Kingdom Come" obviously stand out, but "Fabienne," "Heat," "Child's Play," and "Wing and a Prayer" still rock (albeit in a rather buried-in-production kind of way) and "Black Mountain Mist" has an unmistakable Led Zeppelin feel. Speaking of Led Zeppelin, it's really no wonder that this time the Mission let their once subdued love of the rock legends runneth over – John Paul Jones was brought in to produce. The man who gave shape to Jimmy Page's more sprawling (there's that word again) epics as bassist and main arranger for Led Zep, Jones not only gives the Mission credibility in the act of bald-faced homage, but gives them a more mature, polished sound, ironing out their changes and shifts, resulting in a sound that is considerably more advanced than that of their previous work. The album is not without flaws, however. "Breathe," an interlude, feels a bit tacked on, and the cover of Aerosmith's "Dream On" is a questionable choice, to say the least. Some versions of the LP didn't have this track, and it's arguable that this one should have been left on the B-side pile. But the biggest flaw of the record is not in the substance as much as in the interpretation of the music itself. On Children, the Mission are big, dramatic, and grandiose: the very things that critics made their names giving the band a hard time for. But, so what? The Mission were a big, dramatic, grandiose band whose members weren't afraid to wear their hearts on their sleeves. Children is the proof of that, for sure.

by Chris True, AMG

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The Mission: Studio Discography (1986 - 2013)

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In 1990, the Mission were primed for the big BIG time, at least in the United Kingdom. Children had been a hit, they were being followed drink for drink and quote for quote in all the music papers, and their next move was being followed with (at least in some circles) bated breath. Given that the Mission had no real trouble doing what they wanted in the face of critical backlash and generally getting a hard time from writers and detractors, it was a bit of a surprise that Wayne Hussey asked his fan club members (also known as the Eskimos) to come in and listen to tapes of the new record and help the band knock out a track listing. Taking that into consideration, it's a bit of a surprise that some tracks made Carved in Sand, but that's a later topic. The leadoff single, "Butterfly on a Wheel," a somewhat schmaltzy ballad (its title a nod to a headline after the bust/release of Jagger and Richards in the late '60s), was a hit, and it looked like the album was going to be the Mission's coronation. And to a certain extent, it was. The band would headline Glastonbury and get even more press attention, and Carved in Sand would become the band's best-selling effort. But Carved in Sand is a bit of an odd creature. Where previous releases were (mostly) lyrically centered on fantasy imagery and gothy romance and sex, Carved in Sand (occasionally) takes on more topical themes. The opener, "Amelia," is a frank – and somewhat off-putting – song against child molestation, and that fades into the musically strong "Into the Blue," which is an environmental lament of sorts. But topical is not really Wayne Hussey's lyrical forte, so when "Butterfly" comes in at track three, it's a bit of a relief. The big barnstormer on Carved in Sand, "Deliverance," may just be one of their best songs: dynamic stadium-ready singalong stuff that is punchy, rollicking, and over the top – just the way a big Mission song ought to be. It's the second half of the album where the questions about fans picking the track listing comes into play, however. "Grapes of Wrath," a misguided ballad about working the land, is pretty and gentle, but it may be the weakest song the Mission ever put to tape. Sure, Hussey has had more than his share of maudlin moments, but this takes the cake. Did the fans pick this track, and if so, why? The "follow-up" of sorts, Grains of Sand, which collected the moments not picked for Carved, had plenty of tracks that would have sufficed nicely in place of this poorly chosen song. Thankfully, it's over fairly quickly, and the album wraps up nicely, albeit rather soon. While Children felt long and epic, Carved in Sand feels epic, but lacks the length. Unfortunately, tracks could have been added that wouldn't have taken away the punch and power of "Deliverance," "Belief," or "Hungry as the Hunter" and would have given the album an even bigger feel. And yet, Carved in Sand still contained some of the strongest moments the Mission ever had.

by Chris True, AMG

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The Mission: Studio Discography (1986 - 2013)

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An interesting collection, Grains of Sand is not a Mission album proper, but rather a chance for the listener to hear the other songs that were recorded for Carved in Sand. The single "Hands Across the Ocean" is a nugget of pop brilliance that hints at what came next for Wayne Hussey. Most of the tracks are solid, but covers of "Love," and "Mr. Pleasant" are better off as B-sides. The strength of songs like "Hands…," "Divided We Fall," and "Mercenary" are good arguments that the sessions for Carved in Sand produced what could have been one hell of a double album.

by Chris True, AMG

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The Mission: Studio Discography (1986 - 2013)

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It's not just that the Mission changed their sound, it's that they changed it numerous times on one album. For bands in the goth-pop genre, 1992 was kind of the breaking point: in England, shoegazer and baggy had changed everything, and in the U.S., Nirvana and grunge added a whole new barrier to Brits trying to break into the States. Some acts like All About Eve tried shoegazer, and to a certain degree, it worked, while others would embrace their Englishness full-on or would turn to America and turn up the angst. The Mission, for some strange reason, went for a little bit of everything. "Never Again," the opener on Masque, sounds like the Mission really trying to go big-league '90s U2-Achtung Baby style, but ending up a bit more like a dance remix of themselves than a multi-styled stadium filler. "You Make Me Breathe" sounds like Cure-with-sax adult contemporary, and "She Conjures Me Wings" and "Who Will Love Me Tomorrow?" are reminiscent of the Wonder Stuff, those Carved in Sand tour openers who had made a big impact on the U.K. charts in 1991. Some of it ("Spider and the Fly," "Shades of Green," and "Even You May Shine") is classic Mission and definitely worth hearing, and "Like a Child Again" is a rather killer pop melody à la "Hands Across the Ocean" from Grains of Sand. It's admirable that Wayne Hussey wanted to broaden the sound of his band, but that's just not his specialty. He was always at his best when he was dramatic, over the top, and overwrought without a thought or concern as to what anyone thought. On Masque, the Mission suddenly sound like a band with an identity crisis (and given the sudden departure of guitarist Simon Hinkler on the U.S. leg of the Deliverance tour, this is no real surprise). If it seems odd that the focus is on the leader and not the band, well, this was originally meant to be Hussey's first solo outing, and given the lack of response the album engendered, it may well have been a better idea to release it as just that – because this doesn't sound like the Mission, but rather like a band trying to find its direction.

by Chris True, AMG

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The Mission: Studio Discography (1986 - 2013)

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After attempting to update the band's sound with 1991's Masque, the Mission abandoned some of the technological influences of that album and concentrated on a more guitar-based sound. However, the same shortcomings continued to appear. In the mid-'80s Hussey and his crew were accused of copying Led Zeppelin, and Neverland provides more ammunition for the band's critics. "Sway" continues their flirtation with Middle Eastern music – ultimately derived from Zeppelin's "Kashmir" – while "Celebration" is a pale copy of the earlier band's "Celebration Day." At times the album drips with cloying sentimentality, with "Cry Like a Baby" and "Swim With the Dolphins" being particularly hard to swallow. All in all, Neverland comes across as a second-rate version of the Mission's first two albums, making it almost entirely pointless.

by Jim Harper, AMG

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The Mission: Studio Discography (1986 - 2013)

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A slight return to form for the Mission, Blue suffers from being too little, too late. The greater part of their fan base had dissolved in the wake of the pedestrian Masque, and goth rock itself had mutated into the more metal-influenced stylings of bands such as Type O Negative. Although the songwriting is a step up from the previous two albums, the sound is still hopelessly dated. Songs like "Drown In Blue" and "Dying Room" might please the diehard Mission fans, but it's unlikely the band will make any new fans with this record.

by Jim Harper, AMG

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The Mission: Studio Discography (1986 - 2013)

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There is a happy land where the Mission never went off the boil, where the desperate maneuverings of Masque and Neverland never sent them spiraling away from what they did best, and where the upheavals and evils of the past ten years never once impacted the gorgeous gleam of post-Zep atmosphere and pre-Hollywood Tolkien-esque fantasy that was the hallmark of their best (first two) albums. It is a land that has been on regular display on-stage since the band's late-'90s reformation, but Aura, a U.K. release in 2001 that finally reached America 12 months later, was its first studio manifestation – and what a joy it is. With the spirit of "Serpent's Kiss" playing around its intro guitars, and an anthemic quality that cannot be ignored, the opening "Evangeline" insists from the outset that the reborn Mission are not here to simply make up the numbers. True, its S&M theme isn't exactly the most inspired lyric Wayne Hussey has ever come up with (the title rhymes with "whiplash queen" – ouch), but ignore the words and the music washes you clean of every year that's elapsed since the golden age of "Severina," "Wasteland," and "Garden of Delight." Neither is it a one-off. Across 14 tracks (an untitled ballad is secreted at the end), Aura sounds like the greatest-hits album that never was, a succession of brilliantly conceived ghosts that reassemble all the Mission's proudest moments, then fashion something dynamically new and pure from them. True, "Cocoon" does glance in the direction of the Cure for its bassline, and "(Slave To) Love" wallows in that same discomfortingly sexually implicit trough as Masque's "Heaven Sends You." But who else than the Mission could even wonder what would happen if you conjoined Radiohead and Uriah Heep ("In Denial")? Who but they could conjure something so undeniably sappy, but achingly pristine as "Dragonfly"? And who but they would dare marry a mock-Morrissey lyric to a proto-Prodigy rhythm, and then cut it off after little more than a minute ("To Die By Your Hand")? From start to finish, it's the Mission back at the starting post, and straining to start the sprint. And, if Aura truly is the rebirth it appears to be, this time they might complete it.

by Dave Thompson, AMG

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The Mission: Studio Discography (1986 - 2013)

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The Mission U.K. began in the late '80s as a more pop-friendly variant on the British goth scene. With members hailing from Sisters of Mercy and Red Lorry Yellow Lorry, they mixed goth's dark visions with post-punk drive and a radio-ready knack for anthemic melodies. Some 20 years down the line, singer Wayne Hussey, having weathered countless personnel changes, keeps the Mission's mission going with GOD IS A BULLET. The faithful won't be disappointed, as the album bears all the hallmarks of vintage Mission: soaring, dramatic vocals; churning, reverb-drenched guitars; and an evocative, atmospheric air of mystery. Original guitarist Simon Hinkler even turns up as a guest, adding some of that old black magic to the 21st-century version of this long-running raincoat-rock institution.

~ AMG

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The Mission: Studio Discography (1986 - 2013)

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