Rid Of Me
PJ Harvey
1993
Album Summary
Rid of Me is the second studio album by English singer-songwriter and musician PJ Harvey. It was released by Island Records in May 1993, approximately one year after the release of her critically acclaimed debut album Dry. It marked a departure from Harvey's previous songwriting, being more raw and aggressive than its predecessor. The songs on Rid of Me were performed by Harvey's eponymous trio, consisting of Harvey on guitar and vocals, Rob Ellis on drums and background vocals, and Steve Vaughan on bass. Most of the songs on the album were recorded by Steve Albini, and it was the last album they recorded as a trio before disbanding in late 1993. Rid of Me was met with critical acclaim, and is cited as one of the greatest albums of all time, ranking at number 153 on the 2020 version of Rolling Stone's 500 Greatest Albums of All Time (up from 406 on the list's previous edition).
WikipediaThere aren't enough stars in the sky to give this album the recognition it deserves. I love the raw emotion that the music breathes, the live feel of Albini's production, the occasional odd time signatures, and of course Polly Jean Harvey's impressive vocal performance.
5.0 + With stewardship from Steve Albini, this album fully realizes PJ Harvey's explosive potential. Her vocals punch like a fist as she expounds on sexual frustration and deviance, bending genders with violent abandon. The recordings feel raw, like they can come undone at any moment, from the dramatic interplay of soft-loud-soft on the title track, to the jagged string ensemble on "Man-Size Sextet." This album simultaneously defines and typifies an early-90s alternative/grunge sound with more balls than almost all albums of that or any other era. Truly a highlight in an incredible string of albums from her early career.
This is the best case for dynamics in rock I've heard yet. It's produced well enough to overcome my dislike of some of the grungier stylings, and doesn't fall into indulging itself proggishly. After the fifth track, things get more experimental and, for the lack of a better word, sketchy. To the album's benefit. The attitude is immediately catchy, and the return of "man-size" is the formal cherry on top. Easy to see why this is essential, harder to figure out how to move from appreciating it to loving it.
Can you imagine being as bad at your job as the person who mixed this album? Best track: Rub 'Til It Bleeds
Dry was shockingly frank in its subject and sound, as PJ Harvey delivered post-feminist manifestos with a punkish force. PJ Harvey's second album, Rid of Me, finds the trio, and Harvey in particular, pushing themselves to extremes. This is partially due to producer Steve Albini, who gives the album a bloodless, abrasive edge with his exacting production; each dynamic is pushed to the limit, leaving absolutely no subtleties in the music. Harvey's songs, in decided contrast to Albini's approach, are filled with gray areas and uncertainties, and are considerably more personal than those on Dry. Furthermore, they are lyrically and melodically superior to the songs on the debut, but their merits are obscured by Albini's black-and-white production, which is polarizing. It may be the aural embodiment of the tortured lyrics, and therefore a supremely effective piece of performance art, but it also makes Rid of Me a difficult record to meet halfway. But anyone willing to accept its sonic extremities will find Rid of Me to be a record of unusual power and purpose, one with few peers in its unsettling emotional honesty. [Source: https://www.allmusic.com/album/rid-of-me-mw0000096498]
This bitch crazy band the music matches her energy. Really enjoyed this one, punky grunge with a really great thread running throughout
Noisy indie-rock/punk-rock album. Well mixed, but could benefit from being even noisier/bordering on industrial music. 8/10
The transition from near whispering quiet to in your face loud really works on Rid of Me. This is reminiscent of the low to loud technique the Butthole Surfers used on their Locust Abortion Technician album. I hear that in the late 80s PJ worked as a mantis abortion technician so it's no surprise that she would be drawn to that B Surfer's album for inspiration. It's great that the App sent us her albums in order. Rid if Me is better than Dry. The only real personnel change is that Albini produced it. I thought this really worked but Albini never produced for her again and she had a wholesale change of bandmates for her next album. Not sure why such major changes were needed but her third album is even better than this one.
Rid Of Me fait une très belle entrée dans le Top 10 des pochettes les plus moches du générateur. D'un point de vue musical, tous mes espoirs étaient concentrés sur le titre éponyme, apparemment plébiscité par sept millions d'abrutis sur la plateforme Spotify à l'inverse de la suite de l'album quant à elle complètement anonyme. Dans ce premier morceau, PJ Harvey n'a qu'une seule obsession : agresser nos oreilles avec des changements de volume absolument insupportables. PJ aura beau essayer de me récupérer avec la suite, en vain. Le mal était fait. Et ce n'est certainement pas cette punkerie des plus dégueulasses qui aurait pu me convaincre de ne pas accorder la pire des notes. PS: Dans ma critique de Lady in Satin de Billie Holiday, vous avez été nombreux à remarquer la faute que j'ai commise dans le nom propre du premier président de notre Vème République. Je vous prie de m'en excuser.
Surprised on how much I didn't like it. Seemed like atonal rock music with no melody whatsoever. Seem to remember trying to give PJ Harvey a try in the past and having a similar response. 1.5/5
It’s stunning. So raw and powerful. There isn’t much to it, yet it’s everything.
Holy shit, this was recorded at Pachyderm in Cannon Falls! Another masterpiece recorded there by Steve Albini. This album really has room to breathe and feels very natural and three dimensional with some nice production touches in the right places to punch up the drama. Her semi-unhinged performance is breathtaking. Quite a thrill ride and it brings me right back to that era, although, I'm ashamed to say, despite being peripherally aware of her, I slept on this in its time. I regret that now. If this came out today it would still sound as fresh and relevant as ever.
What a fantastic album. Incredibly tough and uncompromising. PJ'S absolutely drips with anger and attitude and ultimately strength and determination. Her emotional range is matched by her vocal range which never hits a wrong note. And the dynamics on this record are incredible, especially on Man Size and of course The title track which absolutely explodes when the full band kicks in. This album is not an easy listen, but once it gets its hooks in you it's impossible to set yourself free. 5 🌟
This one has a special place in PJ Harvey's discography, thanks to Steve Albini recording it. He hates the term "producing", you know, and for fans of his unmistakable drum sound, it's one of his best work ever, iconic in its own right. But all that would be useless if this record wasn't *also* one of the greatest collections of tunes PJ Harvey has ever assembled for an album, and, even more importantly, one of her best studio performances ever. Raw, pure, unburdened by studio production shenanigans (the ones Albini hates so much). You can't beat the emotion that comes out of albums like that when they're good. And this one is very, *very* good. Part succubus, part hysterical wench, Polly Jean teases you with opener "Rid of Me", displaying those nineties quiet-loud-quiet dynamics in quite an extreme understanding of them, and relentless in its obsessive, clearly sexual thump. Then, after that terrific introduction, she piles on inspired swampy blues riffs like it's only a second nature to her, shredding them one after the other until her hands bleed. It's as if the great African American bluesmen of the past were possessing the spirit of a white middle-class British girl, her body shaking with the tremors and emotional scars they left inside her innocent soul. Don't call the exorcist, please, because it's a treat listening to this young woman moaning, yelling, grumbling, hushing, shrieking, or just simply lulling or singing those admirable tunes--that some people complained that the voice was buried in the mix has always seemed mind-boggling to me: actually, given what PJ Harvey sometimes does with said *outré* voice, it would probably have been very awkward to listen to had it been louder. Here, it's just perfect, especially if you add the fact that the lyrics are one of a kind too, filled with suggestive innuendoes, more graphic details, and Freudian slips of the tongue. Check out "Man-Size", "15 ft. Queenie", "Dry", " Legs", "Snake" or "Yuri G" for examples of that. There's an understated S&M / bondage mood hanging over those lyrics and music. But even if you don't get kinky that way, it's a treat, lyrically and musically speaking. To put it in a nutshell, Polly Jean puts on a hell of a freak show here, and yet she is so inspired, and sounds so entranced, that the results are actually nothing short of blissful (see closer "Ecstasy", for instance). Through mud, she digs gold. Through a sense of the grotesque, she reaches sublime skies. This here is the mark of the true Romantic. And it doesn't hurt that said Romantic is also such an insanely great singer and guitar player. One that's raw, pure, unburdened--except by that delta devil whispering devilish things in her ears. You still haven't called that exorcist, I hope. Number of albums left to review or just listen to: less than 780, I've temporarily lost count here Number of albums from the list I find relevant enough to be mandatory listens: approximately a half so far Albums from the list I *might* include in mine later on: a quarter Albums from the list I will certainly *not* include in mine (many others are more important): the last quarter
A powerful, raw, emotional experience. Her voice is otherworldly, and I love the abrasive instrumentation.
Trying to rate this album without knowing the trajectory of her career. Filthy, grungy, garage rock at its core. Unrefined sound. Glimpses of creative risk with Mansized Sextet. This is music that a local band who used to play at the barn at the end of the dirt road is now playing at all the nearby dive bars.
PJ Harvey casts a long shadow, and for a long time from listening to her later work, I never quite got it, but it comes through loud and clear on here. I've put four stars now, but given what this is making me think — that you can put the music on this record up against most of the angriest, noisiest, most cathartically chaotic music of the 90s and it'll win most of the time — it'll probably be a 4.5 to 5 star someday. Great first impression.
One thing I appreciate about Harvey's artistry is how undeniably 'her' each album she makes is. This sophomore effort has all the classic PJisms - gnashing guitars, looming interludes, creeping voices in the background. Things do tend to get a bit homogeneous and too blandly 90s grunge in the middle, but some discordant interludes snap things back into focus sharply for a strong finish.
The first third of the album is swamped in the dirty muddy guitar and falls into the habit of sounding too similar on each track, which ultimately makes all of the songs blend into each other. Using the contrast of quiet and loud for verses and chorus quite a lot, it can sound quite sparse and thin in places. But the choice of chords and solid back beat keeps it interesting. Really like how raw it is, but fuck me the riffs drag on. The songs are quite linear, built around one riff or idea and expanded upon and dragged out for 3 minutes. Wasn’t sure of the album at first, but by the end of it I was a fan. 4/5 - quite liked it, might listen to more PJ
I discovered PJ Harvey over the summer and have listened to several of her albums multiple times. She's a critic's darling. And I think if I had been just a bit older in the 90's I'd have had a massive rock crush on her. She just has such an exotic vibe. Still, I don't know how to rate this album. Tons of grit and ferocity, all done in a minimal, tortured, lo-fi style. So it's kind of repetitive. Like her strumming that sounds cut-off and unusual tempos/timing - it starts with Rid of Me (including soft to hard) and it's in many songs. And I really do like that song and many others (Missed, Rub Til it Bleeds, 50ft Queenie, Yuri-G, Man-Size, Me-Jane) but I wonder if the rest are too similar or if I'm not appreciating their nuances enough. It's for sure a 3 and not a 5 for me. After a few listens I found myself adding more to my "really like" list, with differences in what I liked about them (some muted sound, some wall of sound). So I talked myself into a 4.
PJ doesn't mess around. This is raw, dark, edgy and straight up, like she decided, ok I got my guitar, some songs I gotta get out, I need a bass player and a drummer. Let's go! The songs sound more similar (to each other) than other albums of hers and there isn't one I want to hum along to after listening. I'm giving a half-point bonus for the album cover and the fact she played violin and cello on Man-size Sextet.
Only knew of later PJ Harvey stuff which I liked, but dang this album is punk as fuck, really raw in the best way. Live this would vibe so hard. Rid of Me is great. Legs is intense, love her raw screaming. Hey, another recording at Pachyderm Recording Studios in Cannon Falls, Minnesota. Guess I know where to go and keep it local if need be in the future. The albums starts to drag a bit as it goes on though and never manages to reach the heights of the first tracks as well as going maybe a couple songs too long. Still very good, I never knew this side of PJ Harvey and I'm keen to listen more. 4.5 to 4.
Raw as the uncooked chicken it feels like PJ is slapping me across the face with.
Don't know what to think....I like the Albini production and the quiet/loud dynamics. Needs a few more memorable hooks. It probably needs more listens. I like how she puts everything into the lyrics... 3
Remarkable musician and the production is amazing and sounds modern, but the songs are just not there for me.
Like a cat slowly dying from eating a rat that died from consuming rat poison.
Near perfection. Exactly my taste. Will revisit over and over I’m sure.
for me this is my favourite album so far. vocals and instrumentals fit , experiment alt rock mix between kimya Dawson and Sharon van eton two of my favourite artists
Joyaza. Me alegro mucho de que exista PJ Harvey y aquí está en su mood muy rockera-digo-lo-que-se-me-pega-la-gana. No hay skips, pero entre mis favs están "Rid of Me", "Rub Til' It Bleeds" y "Man-Size Sextet". 10/10
Me gustó mucho. La vibra oscura de muchas letras, la variedad entre rock movidón, dramático y otros shenanigans experimentales. Sin skips, pero me gustaron sobre todo: Rub til it bleeds, Man-size Sextet, y 50ft Queenie. Mood: When I'm fucked up, that's the real me
Nunca fui fan de PJ Harvey, no porque no me gustara, sino que más bien nunca llegó a mí (?) pero supongo que la PJ de este disco es la que la gente iba a ver al Corona y así.
Toll. Bisher nur am Rande wahrgenommen. Das erfordert eine intensivere Befassung
Somehow, I don't think I'd ever listened (or at least known I was listening) to PJ Harvey before. What an interesting album and interesting musician. Absolutely unafraid.
Excellent Album I really enjoyed. Cover of Highway '61 Revisted == FUCK YESSSSSS
riotous, intense, visceral. More familiar with PJH's 00s albums, but this one is superb
My first PJ Harvey album (I've only heard a couple of her songs before this). What an excellent album! Some of the best 90s alt rock that I have heard. Excited to check out the rest of her discography
This is the third PJ Harvey album I've been recommended by the generator, and it made me wonder if the list really needs three PJ Harvey albums? And the answer is yes. Yes, it does.
Album #3 from PJ Harvey for me and... yeah, it kicks so much ass. Surprising, seeing as how her other entries on this list haven't been anywhere near as memorable (to me, at least). Raw, incredible use of dynamics... Just blown away, really. Favorite tracks: "Rid of Me", "Missed", "Rub 'Til It Bleeds", "50ft Queenie"
Calling PJ Harvey a singer songwriter somehow doesn't seem right. It pigeonholes her while being entirely accurate. But her direct, often brutally honest lyrics paired with often raw instrumentation is at the core of her work. This is wonderful and challenging music. Props to the UK fans that put her on the top of the charts. Steve Albini's production is minimalist as usual, which, while polarizing, puts an edge of the music. All of the tracks are strong, although Legs and both versions of Man-Size are tremendous.
Great songs and blistering performances highlighted by Steve Albini's engineering.
I can't believe I missed this record when it came out. Added bonus, has Steve Albini's recording "style" all over it.
5 stars. This is the first PJ Harvey I owned and the only thing I don't like about it is that it was mixed so low and every mixtape I ever put it on, all the energy just dropped out as you futzed with the volume. But then that just led me to listen to this whole album many times. She some other very good stuff, but this is by far my favorite. Rid of Me, Man-Size, 50 Ft. Queenie, Yuri-G. And all the rest. A great album.
PJ Harvey is a source of contention in the imrichb household. While I absolutely love everything about PJ, my wife can't stand her. I can sort of understand - PJ isn't for everyone. She can be weird and dissonant, but man she is also so talented. She's made a lot of really interesting music, but for me this album and her debut album Dry will always be her masterpieces. So raw, raucous, dark and noisy. 5 stars.
She’s a genius. Hard to think of any solo artist with such a diverse and brilliant back catalogue without hitting those absolute all timers (Bowie etc). It’s raw and uncompromising and thrilling. PJH doesn’t get anywhere near the credit she deserves for her influence and her staggering consistency.
Before listening to this album, I think the only PJ Harvey album I've listened to is "Let England Shake," but I really enjoyed "Rid of Me." I thought the sound was raw and energetic, and it sounded like nothing else that was being released at that time. I loved how well this album was produced; even though the sound was raw and full of chaos and emotion, it was clearly well arranged to create its unique sound. I really enjoyed the lyrics as well. I'm not sure if any of the things talked about were autobiographical, but the sexual energy contained in them is something that I don't think anyone else was doing at this point in time. I know PJ Harvey has said that she didn't write this album as a feminist manifesto, but the way she discusses sexuality is still edgy and brilliant, event 30 years after it was recorded. I can see this album becoming a part of my regular rotation.
I saw the PJ Harvey trio live in May 1992 (some months before this album was recorded), and they opened with the title track extending the quiet but menacing intro even further than on the record. Blew me away then and still does 30 years later.
Was familiar with the name but had never listened to this. Was totally my jam and a great entry into the indie rock catalogue.
Genre: Rock, instrumental Review: Really enjoyed this album. Powerful voice, great guitar that reminded me of some other really good female driven rock bands (Heart, Evanescence etc). The opening track started out slow but picked up pace and never let go until the end of the album. Rating: 9/10
Less tuneful than I normally go for but great sound, great performances.
Album med masser af vrede og fede numre. Lidt en an blanding af Nirvana og Green Day med en sangerinde. Jeg 4 stjerner straight
Freakin' great for my first listen to PJ Harvey. Grungy brilliance, up there with Nirvana's best imo
What I like in this album I like a lot. Some of the discordant, vocal wailing wears a bit, but the pros outweigh the cons.
PJ Harvey era una assignatura pendent, així que em va alegrar la proposta d'escoltar un àlbum seu. I m'ha agradat força. La seva personalitat és arrasadora, m'encanta la seva forma de cantar, que voreja la psicosi. Sembla un disc malaltís, ple de canvis d'humor i rampells de fúria. Les guitarres sonen brutals, la producció d'Albini, marca de la casa, afegeix un plus més al total. Potser li manca tenir algun hit, algun single més clar, però tot i així ha estat un descobriment que m'animarà sense dubte a escoltar més àlbums d'ella.
I really like this album. I love the rawness of it. I have it on vinyl
PJ Harvey war bei mir irgendwie etwas in Vergessenheit geraten. Schade eigentlich, denn sie ist richtig gut, hat was von Patti Smith.
да то же самое по сути, что и предыдущий альбом. Вторая часть больше зашла, до этого слишком как-то всё бесструктурно, хотя отдельные элементы доставляли (вот эти распевки в левом ухе в первом треке, такая мьюзовская прям тема, возможно вдохновлялись). Наиболее запоминающиеся треки напомнили джусифер в самые мейнстримные моменты (по типу LED и Lucky One Burns). Угарнул с того, что трек Man-Size в струнной аранжировке в альбоме стоит раньше ориг версии, обычно вроде такое для бонусов сохраняют. Но хорошо, что не сохранили, ибо с этого трека что-то реально интересное начало в альбоме происходить. В целом ну слушабельно, наверное на ту же четвёрку, особенно интересным показалось, что тут есть трек Dry, который называется как предыдущий альбом, хорошее новаторство.
Good solid rock. Somewhat repetitive, but a very fun cover of Highway 61
This was incredible! Loved the guitar work, loved the attitude, loved the rawness. I feel like Jack White owes PJ Harvey a thank you card at least. This record just flat out rocked.
Grungy 90s PJ Harvey is a lot better than milquetoast-alt rock 2000s PJ Harvey. Still not my favorite, and I think it ran a little long, but I thought this was pretty raw and creative and interesting to listen to. 7/10
I might not like this quite as much as To Bring You My Love, but it’s very good. Also, sorry Elvis Costello, I love you, but this album sounds great.
I'd never listened to PJ Harvey before, and I thought this was pretty cool. I think that the mix of the album could have been better in places, since it was sometimes hard to separate out the different instruments/sounds. Overall, though, I liked it. It has that heavy early 90s sound without sounding derivative of the other stuff that was happening at the time 4/5