Us and Us Only

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.{{cite web|url=http://www.thecharlatans.net/disco/ts.html|archiveurl=https://web.archive.org/web/20060503111306/http://www.thecharlatans.net/disco/ts.html|title=Tellin' Stories|publisher=The Charlatans|archivedate=3 May 2006|accessdate=8 September 2022}}{{cite AV media notes|title=Tellin' Stories|author=The Charlatans|year=1997|type=booklet|publisher=MCA Records|id=MCAD-11622}} 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.{{cite web|url=https://www.officialcharts.com/artist/6463/charlatans/|title=Charlatans / full Official Chart History|publisher=Official Charts Company|access-date=30 June 2022|archive-date=21 April 2022|archive-url=https://web.archive.org/web/20220421130008/https://www.officialcharts.com/artist/6463/charlatans/|url-status=live}} 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.{{cite web|url=http://www.thecharlatans.net/disco/mp.html|archiveurl=https://web.archive.org/web/20060503111301/http://www.thecharlatans.net/disco/mp.html|title=Melting Pot|publisher=The Charlatans|archivedate=3 May 2006|accessdate=11 September 2022}}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.

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.{{cite web|url=https://www.nme.com/news/music/the-charlatans-203-1390805|title=Charlatans Music Mushrooming|work=NME|date=21 March 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115438/https://www.nme.com/news/music/the-charlatans-203-1390805|url-status=live}} 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.{{cite web|url=https://drownedinsound.com/in_depth/4142104-dis-meets-tim-burgess-from-the-charlatans|title=DiS meets Tim Burgess from The Charlatans / In Depth|work=Drowned in Sound|author=Gourlay, Dom|date=4 March 2011|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912141719/https://drownedinsound.com/in_depth/4142104-dis-meets-tim-burgess-from-the-charlatans|url-status=dead}} 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.{{cite web|url=https://www.nme.com/news/music/the-charlatans-201-1388309|archiveurl=https://web.archive.org/web/20210513060721/https://www.nme.com/news/music/the-charlatans-201-1388309|title=Tellin' Stories|work=NME|date=27 April 1999|archivedate=13 May 2021|access-date=12 September 2022}} 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;{{cite tweet|author=Spence, Jim|user=jimspencermusic|number=1279527380307128322|title=I remember the album was mastered in New York at sterling sound. I asked the mastering engineer , Greg Calbi to try and bring up the melotron strings . He thought it was loud enough but he did it anyway! |archive-url=https://web.archive.org/web/20200704213315/https://twitter.com/jimspencermusic/status/1279527380307128322|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Spence, Jim|user=jimspencermusic|number=1279530740359802883|title=Yes, it was awesome. Greg calbi had a signed letter from John Lennon on the wall.|archive-url=https://web.archive.org/web/20200704214920/https://twitter.com/jimspencermusic/status/1279530740359802883|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} Blunt said it was mastered in that city as "American records sound louder".

File:Bob Dylan and The Band - 1974.jpg said the Charlatans had ditched their British roots in favour of American-focused music, such as the works of Bob Dylan and the Band (pictured in 1974).]]

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.{{cite web|url=http://www.cokemachineglow.com/record_review/1469/charlatansuk-upatthelake-2004|archiveurl=https://web.archive.org/web/20120512231721/http://www.cokemachineglow.com/record_review/1469/charlatansuk-upatthelake-2004|title=Up at the Lake – The Charlatans UK|work=Cokemachineglow|author=Goldstein, David M.|date=1 June 2004|archivedate=12 May 2012|accessdate=9 February 2023}} 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.{{cite web|url=https://www.gaesteliste.de/texte/show.html?_nr=9|title=...und sonst gar nichts!|publisher=Gaesteliste.de|author=Wohlfeld, Carsten|access-date=12 September 2022|language=DE|archive-date=6 January 2022|archive-url=https://web.archive.org/web/20220106213219/https://www.gaesteliste.de/texte/show.html?_nr=9|url-status=live}}

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".{{cite web|url=http://www.mtv.com/mtv/music/reviews/archive/blather/charlatans_99.html|archiveurl=https://web.archive.org/web/20000914191002/http://www.mtv.com/mtv/music/reviews/archive/blather/charlatans_99.html|title=The Charlatans UK Us and Us Only|publisher=MTV|author=Kendall, Dave|archivedate=14 September 2000|access-date=11 September 2022}} 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".

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.{{cite tweet|author=The Charlatans|user=thecharlatans|number=1279521176251969536|title=Forever. Hanging out with JB and Tony after the Tellin' Stories tour is where a lot of this came from with me. The intro still sounds mega, doesn't it?|archive-url=https://web.archive.org/web/20200704210622/https://twitter.com/thecharlatans/status/1279521176251969536|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279520388368785410|title=Forever. Tony and Martin gave me an instrumental based around a drum loop, bass line and Hammond. Inspiration always happens when its least expected |archive-url=https://web.archive.org/web/20200704210541/https://twitter.com/Tim_Burgess/status/1279520388368785410|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} 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.{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279520557994819585|title=We checked into a hotel in Tokyo after being in Los Angeles for a week. We were on the 23rd floor and the windows in the room were big. I looked at the sky and saw a plane taking off heading for a new destination...|archive-url=https://web.archive.org/web/20200704211617/https://twitter.com/Tim_Burgess/status/1279520557994819585|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279520782100594697|title=...I knew what I had left behind in Los Angeles was pulling me back and I knew it would last for a long time. I scribbled words like 'Together Again' 'This could be a myth in the making' 'Your my foundation'|archive-url=https://web.archive.org/web/20200704210428/https://twitter.com/Tim_Burgess/status/1279520782100594697|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279520845573107712|title=I headed to Martin and Tonys room to sing it to them over their cassette. They liked it – I had the verses. The rest of it took a long time but the egg had hatched|archive-url=https://web.archive.org/web/20200704211458/https://twitter.com/Tim_Burgess/status/1279520845573107712|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} Burgess wanted a song with a "big title" and thought "there was nothing bigger than 'forever{{single double}}, 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.{{cite web|url=https://www.shortlist.com/news/lennons-legacy|title=Lennon's legacy|work=ShortList|author=Wolfe, Danielle de|date=1 December 2010|accessdate=28 June 2022|archive-date=27 June 2022|archive-url=https://web.archive.org/web/20220627091612/https://www.shortlist.com/news/lennons-legacy|url-status=live}} Brookes and Spencer wrote the middle eight section; the former wanted to make a drum loop akin to the work of Beastie Boys.{{cite tweet|author=The Charlatans|user=thecharlatans|number=1279521742696984577|title=JB came up with the middle eight. No one did it better. I really miss him x MB x|archive-url=https://web.archive.org/web/20200704211027/https://twitter.com/thecharlatans/status/1279521742696984577|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Spence, Jim|user=jimspencermusic|number=1279520990406590469|title=we all loved the beastie boys and Jon wanted to make his own drum loop. Great swing and personality in his drumming|archive-url=https://web.archive.org/web/20200704210842/https://twitter.com/jimspencermusic/status/1279520990406590469|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Spence, Jim|user=jimspencermusic|number=1279522255123501057|title=Jon sat with me and we cooked up the Middle eight on this , he was so creative|archive-url=https://web.archive.org/web/20200704211807/https://twitter.com/jimspencermusic/status/1279522255123501057|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}

"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.{{cite tweet|author=The Charlatans|user=thecharlatans|number=1279526661852192768|title=Senses. A cross between The Spencer Davis Group and Traffic. Tony working his magic here again. That man knows how to create atmosphere. MB x|archive-url=https://web.archive.org/web/20200704212939/https://twitter.com/thecharlatans/status/1279526661852192768|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} 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.{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279527585551130629|title=Loosely based on RZA feat. Ms. Roxy & Force MD's – My Lovin' Is Digi The lyrics are about moving forward after losing someone close. Lots of Mellotron I never know when it's supposed to end when we play it live|archive-url=https://web.archive.org/web/20200704213021/https://twitter.com/Tim_Burgess/status/1279527585551130629|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} Blunt and Rogers came up with the beat at Brookes' flat in Wednesbury, where all of his drums were located.{{cite tweet|author=The Charlatans|user=thecharlatans|number=1279527699246178304|title=My Beautiful Friend. John had a flat in Wednesbury where he kept his drums. Me and Tim went over and layed down a fat hip-hop style beat. MB x|archive-url=https://web.archive.org/web/20200704213132/https://twitter.com/thecharlatans/status/1279527699246178304|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}

"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.{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279528520578891777|title=I Don't Care where you live. I remember writing the lyrics in Los Angeles |archive-url=https://web.archive.org/web/20200704214030/https://twitter.com/Tim_Burgess/status/1279528520578891777|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279528763521466368|title=I was living in an apartment building on Lanewood in between Orange and LaBrea, behind the Mann's Chinese Theatre. It was a hot day that's all I can remember. Probably influenced by an Elliot Smith show and a Brian Jonestown Massacre show |archive-url=https://web.archive.org/web/20200704214429/https://twitter.com/Tim_Burgess/status/1279528763521466368|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} "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.{{cite tweet|author=Spence, Jim|user=jimspencermusic|number=1279530123616825344|title=On this one we built a drum booth for Jon, with everything enclosed but with 4 bass drums linked up to reach into the big room upstairs. Took a day to setup pretty much!|archive-url=https://web.archive.org/web/20200704214256/https://twitter.com/jimspencermusic/status/1279530123616825344|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} 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.{{cite tweet|author=The Charlatans|user=thecharlatans|number=1279530906508767235|title=Good Witch, Bad Witch 2 I listened to a lot of Enter the Wu-Tang (36 Chambers) and wanted to get those deep, slinky bass lines in. I'm playing my double bass on this. MB x|archive-url=https://web.archive.org/web/20200704215028/https://twitter.com/thecharlatans/status/1279530906508767235|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} With "Watching You", which evolved out of a jam session, Burgess said they wanted a cross between the Beach Boys and the Rolling Stones.{{cite tweet|author=Burgess, Tim|user=Tim_Burgess|number=1279531579103215620|title=Watching You. We went for a Stones meets Beach Boys thang. Was favourite on the album though I have never heard it for years, let's see Album got 10/10 in Melody Maker hiccups and pride tears I cried|archive-url=https://web.archive.org/web/20220912154543/https://twitter.com/Tim_Burgess/status/1279531579103215620|archive-date=12 September 2022|date=4 July 2020|access-date=12 September 2022}}{{cite tweet|author=The Charlatans|user=thecharlatans|number=1279531750897725445|title=Watching You/Tony's Bar and Grill. The last track we recorded for Us And Us Only. Another track we hammered out via a jam session. MB x|archive-url=https://web.archive.org/web/20200704215705/https://twitter.com/thecharlatans/status/1279531750897725445|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}} 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!"{{cite tweet|author=Spence, Jim|user=jimspencermusic|number=1279533558252568583|title=Tony's bar and grill was mark and Tony jamming. Just turned on some room mics and hit record. Jon was going to do some human beatboxing, but just burst into hysterics!|archive-url=https://web.archive.org/web/20200704215847/https://twitter.com/jimspencermusic/status/1279533558252568583|archive-date=4 July 2020|date=4 July 2020|access-date=12 September 2022}}

In the middle of recording, the Charlatans played a one-off show in Japan.Burgess 2019, p. 102 On 15 June 1999, Us and Us Only was announced for release in four months' time.{{cite web|url=https://www.nme.com/news/music/the-charlatans-199-1400739|title=Sorted for Charlie|work=NME|date=15 June 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115405/https://www.nme.com/news/music/the-charlatans-199-1400739|url-status=live}} In August 1999, following a warm-up show in Liverpool, the band headlined the Reading and Leeds Festivals.{{cite web|url=https://www.nme.com/news/music/the-charlatans-204-1391330|title=The|work=NME|date=11 March 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912103706/https://www.nme.com/news/music/the-charlatans-204-1391330|url-status=live}}{{cite web|url=https://www.nme.com/news/music/the-charlatans-198-1400657|title=A Dip in the 'Pool|work=NME|date=23 June 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115409/https://www.nme.com/news/music/the-charlatans-198-1400657|url-status=live}} They were due to play a one-off show at the Glasgow Green the following month, with support from Beth Orton and Cast, but the event was cancelled when they were unable to acquire a licence for it.{{cite web|url=https://www.nme.com/news/music/the-charlatans-202-1389646|title=Charlatans Launch Green Party|work=NME|date=11 April 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912104815/https://www.nme.com/news/music/the-charlatans-202-1389646|url-status=live}}{{cite web|url=https://www.nme.com/news/music/the-charlatans-196-1400148|title=Charlatans – Nothing Glasgowing On|work=NME|date=6 July 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912112212/https://www.nme.com/news/music/the-charlatans-196-1400148|url-status=live}} "Forever" was released as the lead single from the album on 4 October 1999. Burgess said that up to that point they had "five singles [played] on Radio 1 and we thought we'd try and sneak in a seven-minute one!".{{cite web|url=https://www.digitalspy.com/music/a622923/a-beginners-guide-to-the-charlatans-with-tim-burgess/|title=A beginner's guide to The Charlatans with Tim Burgess|work=Digital Spy|author=Nissim, Mayer|date=20 January 2015|accessdate=5 September 2022|archive-date=28 June 2022|archive-url=https://web.archive.org/web/20220628193304/https://www.digitalspy.com/music/a622923/a-beginners-guide-to-the-charlatans-with-tim-burgess/|url-status=live}} Two editions were released on CD: the first had an edit of "Forever" with "A Great Place to Leave" and "When Your Ship Comes In" as its B-sides, while the other features the edit and full-length album versions of "Forever" with "Sleepy Little Sunshine Boy", in addition to the music video for "Forever" (directed by Kevin Godley).{{cite AV media notes|title="Forever"|author=The Charlatans|year=1999|type=sleeve|publisher=Universal|id=MCSTD 40220/156423-2}}{{cite AV media notes|title="Forever"|author=The Charlatans|year=1999|type=sleeve|publisher=Universal|id=MCSXD 40220/156424-2}}Sansone 1999, p. 14 They performed on "Forever" for a Mark Radcliffe session for BBC Radio 1.{{cite AV media notes|title=The Best of the BBC Recordings 1999–2006|author=The Charlatans|year=2008|type=booklet|publisher=Universal/Island Records|id=5307580}}

Us and Us Only was released on 18 October 1999 through Universal, while MCA released it in the US the following day.{{cite web|url=https://www.nme.com/news/music/the-charlatans-193-1396117|title=Burgess Battles on Against Bug|work=NME|date=28 March 2000|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912132729/https://www.nme.com/news/music/the-charlatans-193-1396117|url-status=live}} In the US, MCA and promoter The Syndicate wanted to use the band's historical background as a base for the album's potential success across the country. The Charlatans promoted it with an in-store performance at the flagship HMV branch in London, which had been broadcast online as a webcast.{{cite web|url=https://www.nme.com/news/music/the-charlatans-206-1393843|title=Beautiful Friend of Charlie's|work=NME|date=27 October 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115407/https://www.nme.com/news/music/the-charlatans-206-1393843|url-status=live}} This coincided with the launch of HMV's online store. Conrad Mewton, in his book All You Need to Know About Music & the Internet Revolution (2010), said the webcast was a "pivotal moment, the traditional album launch working hand in hand with a burgeoning new technology to take music promotion to a new level".Mewton 2010 Following this, they embarked on a tour of the UK that ran into November 1999.{{cite web|url=https://www.nme.com/news/music/the-charlatans-194-1398181|title=Tellin' Tour Stories|work=NME|date=31 July 1999|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115406/https://www.nme.com/news/music/the-charlatans-194-1398181|url-status=live}}

After originally being scheduled for 29 November 1999, "My Beautiful Friend" was eventually released as the album's second single on 6 December 1999.{{cite web|url=http://www.thecharlatans.net/singles.html|archiveurl=https://web.archive.org/web/20060501065530/http://www.thecharlatans.net/singles.html|title=Singles|publisher=The Charlatans|archivedate=1 May 2006|accessdate=5 September 2022}} Two editions were released on CD: the first had an edit of "My Beautiful Friend" with "Scorched" and "Your Precious Love" as its B-sides, while the other included the edit and remixes of "My Beautiful Friend" done by Lionrock and Jagz Kooner, as well as the music video for "My Beautiful Friend".{{cite AV media notes|title="My Beautiful Friend"|author=The Charlatans|year=1999|type=sleeve|publisher=Universal|id=MCSTD 40225/156594-2}}{{cite AV media notes|title="My Beautiful Friend"|author=The Charlatans|year=1999|type=sleeve|publisher=Universal|id=MCSXD 40225/156595-2}} Sometime after this, Burgess moved to Los Angeles and got married. In March and April 2000, the band went on a two-week tour of North America with Stereophonics; a week prior to the beginning of the trek, the Charlatans had filmed a music video for "Impossible".{{cite web|url=https://www.mtv.com/news/muzedq/charlatans-stereophonics-to-pair-up-for-outing|title=Charlatans, Stereophonics To Pair Up For Outing|publisher=MTV|author=Ellks, Jennifer|date=14 February 2000|access-date=11 September 2022|archive-date=10 September 2022|archive-url=https://web.archive.org/web/20220910175433/https://www.mtv.com/news/muzedq/charlatans-stereophonics-to-pair-up-for-outing|url-status=dead}} Though Burgess suffered from the flu, which he thought he caught while in the UK, he continued on with the tour. Following this, the Charlatans embarked on a UK tour dubbed Chewing Gum Weekend Tour; it ended with a gig in Ireland with support from Gomez and JJ72.{{cite web|url=https://www.nme.com/news/music/gomez-30-1395063|title=Charlatans & Gomez Kings of the Castle|work=NME|date=6 April 2000|access-date=11 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115422/https://www.nme.com/news/music/gomez-30-1395063|url-status=live}} "Impossible" was released as the third single from the album on 15 May 2000.{{cite web|url=https://www.nme.com/news/music/the-charlatans-207-1393309|title=The Toe Goes on for the Charlatans!|work=NME|date=25 April 2000|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912115419/https://www.nme.com/news/music/the-charlatans-207-1393309|url-status=live}} Two editions were released on CD: the first had an edit and remix of "Impossible" with "Don't Go Giving It Up" as its B-side, while the other featured the edit and full album versions of "Impossible" with "You Got It, I Want It", in addition to the music video for "Impossible".{{cite AV media notes|title="My Beautiful Friend"|author=The Charlatans|year=2000|type=sleeve|publisher=Universal|id=MCSTD 40231/156996-2}}{{cite AV media notes|title="My Beautiful Friend"|author=The Charlatans|year=2000|type=sleeve|publisher=Universal|id=MCSXD 40231/156 997-2}}

In 2011, Universal UMC and Island Records released a two-disc edition of the album, which included B-sides, radio sessions, and remixes.{{cite AV media notes|title=Us and Us Only|author=The Charlatans|year=2011|type=booklet|publisher=Universal UMC/Island Records|id=UMC2904/5332904}} Mark Collins said this was the label's doing, and "as a band we like the album so had no problem with the choice"; he would have preferred their next studio album, Wonderland (2001), to receive the expanded treatment first.{{cite web|url=https://www.godisinthetvzine.co.uk/2011/02/16/interview-the-charlatans/|title=Interview: The Charlatans|work=God Is in the TV|author=Murphy, Emma|date=16 February 2011|access-date=12 September 2022|archive-date=3 July 2022|archive-url=https://web.archive.org/web/20220703174012/https://www.godisinthetvzine.co.uk/2011/02/16/interview-the-charlatans/|url-status=live}} The standard version of the album was re-pressed on vinyl for the 2019 Record Store Day event.{{cite AV media notes|title=Us and Us Only|author=The Charlatans|year=2019|type=sleeve|publisher=Universal|id=7730935}} "Forever", "My Beautiful Friend", and "Impossible" were featured on the band's third compilation album, Forever: The Singles (2006).{{cite AV media notes|title=Forever: The Singles|author=The Charlatans|year=2006|type=booklet|publisher=Island Records|id=1712411}} "Forever", "I Don't Care Where You Live", and "The Blonde Waltz" were included on their fourth compilation album Collection (2007).{{cite AV media notes|title=Collection|author=The Charlatans|year=2007|type=booklet|publisher=Spectrum Music|id=5302599}} Edits of "Forever" and "Impossible" were featured on their fifth compilation album, A Head Full of Ideas (2021).{{cite AV media notes|title=A Head Full of Ideas|author=The Charlatans|year=2021|type=booklet|publisher=Then Records|id=thenCD1/then1CD _1}}

{{Album ratings

| rev1 = AllMusic

| rev1Score = {{Rating|3.5|5}}{{cite web|url=https://www.allmusic.com/album/us-and-us-only-mw0000247667|title=Us and Us Only – The Charlatans|publisher=AllMusic|access-date=13 March 2020|last=Erlewine|first=Stephen Thomas|author-link=Stephen Thomas Erlewine|archive-date=29 October 2020|archive-url=https://web.archive.org/web/20201029115726/https://www.allmusic.com/album/us-and-us-only-mw0000247667|url-status=live}}

| rev2 = Alternative Press

| rev2Score = 4/5{{cite magazine|title=The Charlatans: Us and Us Only|magazine=Alternative Press|issue=137|date=December 1999|page=89}}

| rev3 = The Guardian

| rev3Score = {{Rating|4|5}}{{cite news|title=The unstoppables|newspaper=The Guardian|date=15 October 1999|last=Sullivan|first=Caroline}}

| rev4 = NME

| rev4Score = 8/10{{cite magazine|url=https://www.nme.com/reviews/reviews/19991018112443.html|title=The Charlatans – Us and Us Only|magazine=NME|date=18 October 1999|access-date=13 March 2020|last=Patterson|first=Sylvia|archive-url=https://web.archive.org/web/19991129005911/http://www.nme.com:80/reviews/reviews/19991018112443.html|archive-date=29 November 1999|url-status=dead}}

| rev5 = Pitchfork

| rev5Score = 6.9/10{{cite web|url=http://www.pitchforkmedia.com/record-reviews/c/charlatans-uk/us-and-us-only.shtml|title=Charlatans UK: Us and Us Only|work=Pitchfork|date=October 1999|access-date=21 April 2020|last=DiCrescenzo|first=Brent|archive-url=https://web.archive.org/web/20060107225150/http://www.pitchforkmedia.com/record-reviews/c/charlatans-uk/us-and-us-only.shtml|archive-date=7 January 2006|url-status=dead}}

| rev6 = PopMatters

| rev6Score = 7.6/10{{cite web|url=http://popmatters.com/music/reviews/c/charlatans-us.html|title=The Charlatans Us and Us Only|work=PopMatters|author=Zupko, Sarah|access-date=12 September 2022|archive-url=https://web.archive.org/web/20000903185433/http://popmatters.com/music/reviews/c/charlatans-us.html|archive-date=3 September 2000|url-status=dead}}

| rev7 = Q

| rev7Score = {{Rating|4|5}}{{cite magazine|title=The Charlatans: Us and Us Only|magazine=Q|issue=158|date=November 1999|page=122}}

| rev8 = Rolling Stone

| rev8Score = {{Rating|3.5|5}}{{cite magazine|url=https://www.rollingstone.com/artists/charlatansuk/albums/album/174199/review/5940682/us_and_us_only|title=Charlatans U.K.: Us And Us Only|magazine=Rolling Stone|date=2 March 2000|access-date=13 March 2020|last=Hendrickson|first=Matt|archive-url=https://web.archive.org/web/20080116175849/http://www.rollingstone.com/artists/charlatansuk/albums/album/174199/review/5940682/us_and_us_only|archive-date=16 January 2008|url-status=dead}}

| rev9 = Select

| rev9Score = 4/5Manning 1999, p. 86

| rev10 = Wall of Sound

| rev10score = 77/100{{cite web|url=http://wallofsound.go.com/archive/reviews/stories/charlatansuk_usandonlyusIndex.html|archive-url=https://web.archive.org/web/20010415143448/http://wallofsound.go.com/archive/reviews/stories/charlatansuk_usandonlyusIndex.html|title=Review: Us and Us Only|publisher=Wall of Sound|author=Graff, Gary|author-link=Gary Graff|archive-date=15 April 2001|access-date=30 October 2020|url-status=dead}}

| rev11 = The Rolling Stone Album Guide

| rev11Score = {{Rating|3|5}}{{cite book|last=Berger|first=Arion|chapter=The Charlatans U.K.|pages=[https://archive.org/details/newrollingstonea00brac/page/153 153-4.]|year=2004|editor1-last=Brackett|editor1-first=Nathan|editor2-last=Hoard|editor2-first=Christian|title=The Rolling Stone Album Guide|publisher=Simon and Schuster|isbn=0-7432-0169-8}}

}}

Us and Us Only was met with generally favourable reviews from music critics. Erlewine felt that it was "merely a step below their previous high point of Tellin' Stories", complimenting that each of the tracks "works its charms with subtle grace and considerable muscle". NME writer Sylvia Patterson found it to be the "sound of a band completing their long-promised mission to obliterate, forever, their indie status by entering the widescreen wonderland of eternal Rock'n'Roll Class". Graff said that in addition to the exploration of American music styles on the album, the band had "flavor[ed] it with enough British pop sensibility to make it more than simply sifting through the past". Exclaim!{{'s}} Rob Bolton said it was "great stuff" and praised the band for "keeping their head screwed on well enough to keep their music in focus."{{cite web|url=https://exclaim.ca/music/article/charlatans-us_us_only|title=Charlatans Us and Us Only|work=Exclaim!|author=Bolton, Rob|date=1 December 1999|access-date=11 September 2022|archive-date=26 November 2021|archive-url=https://web.archive.org/web/20211126064427/https://exclaim.ca/music/article/charlatans-us_us_only|url-status=live}}

Hendrickson said that while it was not as "instantly catchy" as their prior releases, it was the "slow-burning work of five men who have injected new life into their sound", cementing the group as "one of the most consistent English bands of the last ten years". Consumable Online writer Chris Hill and CMJ New Music Monthly{{'s}} Jonathan Perry expressed a similar sentiment, with the latter saying that after the previous "string of mediocre efforts", Us and Us Only "sounds remarkably vital".Perry 1999, p. 58{{cite web|url=http://www.westnet.com/consumable/1999/11.15/revcharl.html|archive-url=https://web.archive.org/web/20020623001228/http://www.westnet.com/consumable/1999/11.15/revcharl.html|title=Charlatans UK, Us and Us Only- Chris Hill|work=Consumable Online|author=Hill, Chris|date=15 November 1999|archive-date=23 June 2002|access-date=28 September 2022}} Kendall called the band "quintessential pop craftsmen," as the tracks they offered were "flawless: effortlessly effective key changes and chord progressions". CMJ New Music Report writer Bill Konig referred to it as "perhaps the group's finest effort to date". Zupko shared this thought and added to it by noting that the band "broadened their sound way beyond baggy and well beyond the Britpop of Tellin' Stories".Konig 1999, p. 22

Reviewing the 2011 edition, Jake Kennedy of Record Collector said the only difference between Tellin' Stories and Us and Us Only "perhaps was age – or rather maturity. By Us And Us Only, this band had, tragically, acquired it in spades."{{cite web|url=https://recordcollectormag.com/reviews/album/us-and-us-onlydeluxe-edition|title=Us And Us Only: Deluxe Edition / The Charlatans|work=Record Collector|author=Kennedy, Jake|date=14 April 2011|access-date=11 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912144347/https://recordcollectormag.com/reviews/album/us-and-us-onlydeluxe-edition|url-status=live}} Dead Press! writer Rhys Milsom added to this, saying the tracks were "some of the most musically and lyrically enduring the band have written."{{cite web|url=https://www.deadpress.co.uk/album-the-charlatans-us-and-us-only-deluxe/|archiveurl=https://web.archive.org/web/20210818084450/https://www.deadpress.co.uk/album-the-charlatans-us-and-us-only-deluxe/|title=Album: The Charlatans – Us And Us Only (Deluxe)|work=Dead Press!|author=Milsom, Rhys|date=28 March 2011|archivedate=18 August 2021|access-date=11 September 2022}} Drowned in Sound{{'s}} Dom Gourlay wrote that "few could argue that Us And Us Only represents possibly the last record created by The Charlatans that could boast a fluent level of consistency from start to finish".{{cite web|url=https://drownedinsound.com/releases/16091/reviews/4142305|title=The Charlatans Us And Us Only (Deluxe edition)|work=Drowned in Sound|author=Gourlay, Dom|date=30 March 2011|access-date=11 September 2022|archive-date=10 September 2022|archive-url=https://web.archive.org/web/20220910181908/https://drownedinsound.com/releases/16091/reviews/4142305|url-status=dead}} BBC Music reviewer Ian Wade echoed a similar statement, saying it was "probably the last great, brilliant and fully consistent Charlatans album. It's the sound of a band at ease in their own skins, and was a summation of everything they'd become in their first decade".{{cite web|url=https://www.bbc.co.uk/music/reviews/mb5c/|title=The Charlatans Us and Us Only: Deluxe Edition Review|publisher=BBC Music|author=Wade, Ian|date=2011|access-date=11 September 2022|archive-date=10 September 2022|archive-url=https://web.archive.org/web/20220910181912/https://www.bbc.co.uk/music/reviews/mb5c/|url-status=live}}

Us and Us Only peaked at number two in both Scotland and the UK, being kept off the top spot by Come On Over (1997) by Shania Twain. It was certified gold in the UK by the British Phonographic Industry 11 days after its release. "Forever" charted at number eight in Scotland and number 12 in the UK.{{cite web|url=http://www.officialcharts.com/charts/scottish-singles-chart/19991010/41/|title=Official Scottish Singles Sales Chart Top 100|publisher=Official Charts Company|accessdate=14 September 2022|archive-date=4 June 2016|archive-url=https://web.archive.org/web/20160604062306/http://www.officialcharts.com/charts/scottish-singles-chart/19991010/41/|url-status=live}} "My Beautiful Friend" charted at number 24 in Scotland and number 31 in the UK.{{cite web|url=http://www.officialcharts.com/charts/scottish-singles-chart/19991212/41/|title=Official Scottish Singles Sales Chart Top 100|publisher=Official Charts Company|accessdate=14 September 2022|archive-date=2 June 2016|archive-url=https://web.archive.org/web/20160602105719/http://www.officialcharts.com/charts/scottish-singles-chart/19991212/41/|url-status=live}} "Impossible" charted at number ten in Scotland and number 15 in the UK.{{cite web|url=http://www.officialcharts.com/charts/scottish-singles-chart/20000521/41/|title=Official Scottish Singles Sales Chart Top 100|publisher=Official Charts Company|accessdate=14 September 2022|archive-date=15 June 2018|archive-url=https://web.archive.org/web/20180615220330/http://www.officialcharts.com/charts/scottish-singles-chart/20000521/41/|url-status=live}}

Author Richard Luck, in his book The Madchester Scene (2002), said that after Tellin' Stories, he thought that the follow-up would not be as successful, "and, sure enough, Us & Us Only failed to set the pop world on fire".Luck 2002, p. 62 In 2011, Collins said Us and Us Only and Wonderland "have a certain magic about them as well. For Us and Us Only I think it was a really positive [experience] for us". The following year, Burgess felt it stood up "well, but it was never meant to be commercial", adding that it helped move the band away from their Britpop contemporaries. Though he was satisfied with the promotion that Universal had provided, he went on to compare the album to John Wesley Harding (1967) by Dylan: "detached and a step sideways. Perhaps difficult to promote."Burgess 2013, p. 141

All songs by Martin Blunt, Jon Brookes, Tim Burgess, Mark Collins, and Tony Rogers. The European and US releases swap "Good Witch, Bad Witch 1" for "Good Witch, Bad Witch 3" and remove "Good Witch, Bad Witch 2".{{cite AV media notes|title=Us and Us Only|author=The Charlatans|year=1999|type=sleeve|publisher=Universal|id=MCD 53866/153866-2}}{{cite AV media notes|title=Us and Us Only|author=The Charlatans UK|year=1999|type=sleeve|publisher=MCA Records|id=012 153 866-2}}

1. "Forever" – 7:25
2. "Good Witch, Bad Witch 1" – 0:51
3. "Impossible" – 5:04
4. "The Blonde Waltz" – 4:31
5. "A House Is Not a Home" – 4:50
6. "Senses (Angel on My Shoulder)" – 4:45
7. "My Beautiful Friend" – 4:32
8. "I Don't Care Where You Live" – 2:55
9. "The Blind Stagger" – 4:56
10. "Good Witch, Bad Witch 2" – 3:23
11. "Watching You" (includes hidden track "Tony's Bar & Grill") – 8:48

Personnel per booklet.{{cite AV media notes|title=Us and Us Only|author=The Charlatans|year=1999|type=booklet|publisher=Universal|id=MCD 60069/153865-2}}

{{col-begin}}

{{col-2}}

The Charlatans

• Martin Blunt – bass
• Jon Brookes – drums
• Tim Burgess – lead vocals, harmonica
• Mark Collins – guitars
• Tony Rogers – Mellotron, organ, piano, backing vocals

{{col-2}}

Production and design

• The Charlatans – producer
• James Spencer – recording, mixing
• Tom Sheehan – photography, art direction
• Ben Young – design

{{col-end}}

{{col-begin}}

{{col-3}}

{{col-2}}

{{Certification Table Top|caption=Certifications for Us and Us Only}}

{{Certification Table Entry|region=United Kingdom|type=album|award=Gold|artist=Charlatans|title=Us and Us Only|relyear=1999|certyear=1998|id=7932-551-2|accessdate=14 September 2022|refname=UKcert}}

{{Certification Table Bottom|nosales=true}}

{{col-end}}

Citations

{{reflist}}

Sources

{{refbegin|30em}}

• {{cite book|last=Burgess|first=Tim|title=Telling Stories|date=2013|publisher=Penguin Books|location=London|isbn=978-0-241-97196-3}}
• {{cite book|last=Burgess|first=Tim|title=One Two Another: Line by Line – Lyrics from the Charlatans, Solo and Beyond|date=2019|publisher=Constable|location=London|isbn=978-1-4721-3031-0}}
• {{cite magazine|last=Konig|first=Bill|title=Reviews|magazine=CMJ New Music Report|date=18 October 1999|issue=639|volume=60|issn=0890-0795|url=https://books.google.com/books?id=_gt6mHyi96oC&pg=PA22|access-date=12 September 2022|archive-date=10 September 2022|archive-url=https://web.archive.org/web/20220910180207/https://books.google.co.uk/books?id=_gt6mHyi96oC&lpg=PA22&pg=PA22|url-status=live}}
• {{cite book|last=Luck|first=Richard|title=The Madchester Scene|date=2002|publisher=The Pocket Essentials|location=Harpenden, Hertfordshire|isbn=1-903047-80-3}}
• {{cite magazine|last=Manning|first=Toby|title=The Charlatans: Us and Us Only|magazine=Select|issue=113|date=November 1999|issn=0959-8367}}
• {{cite book|last=Mewton|first=Conrad|title=All You Need to Know About Music & the Internet Revolution|publisher=Music Sales|date=2010|isbn=9780857123589|url=https://books.google.com/books?id=rjzHDgAAQBAJ&pg=PT54|access-date=12 September 2022|archive-date=14 September 2022|archive-url=https://web.archive.org/web/20220914121319/https://www.google.co.uk/books/edition/All_You_Need_To_Know_About_Music_The_Int/rjzHDgAAQBAJ?gbpv=1&pg=PT54|url-status=live}}
• {{cite magazine|last=Perry|first=Jonathan|title=Reviews|magazine=CMJ New Music Monthly|date=December 1999|issue=76|issn=1074-6978|url=https://books.google.com/books?id=bCoEAAAAMBAJ&pg=PA58|access-date=12 September 2022|archive-date=12 September 2022|archive-url=https://web.archive.org/web/20220912122913/https://books.google.co.uk/books?id=bCoEAAAAMBAJ&lpg=PA58&pg=PA58|url-status=live}}
• {{cite book|last=Robb|first=John|author-link=John Robb (musician)|title=The Charlatans: We Are Rock|publisher=Ebury Press|location=London|date=1998|isbn=0-0918-6568-9}}
• {{cite magazine|last=Sansone|first=Glen|title=Charlatans U.K. Persevere on Six Album|magazine=CMJ New Music Report|date=4 October 1999|issue=637|volume=60|issn=0890-0795|url=https://books.google.com/books?id=1tSDxVaPHdIC&pg=PA14|access-date=12 September 2022|archive-date=10 September 2022|archive-url=https://web.archive.org/web/20220910095554/https://books.google.co.uk/books?id=1tSDxVaPHdIC&pg=PA14|url-status=live}}
• {{cite magazine|last=Sexton|first=Paul|title=Charlatans U.K. to Invade U.S. with MCA Set|magazine=Billboard|date=7 June 1997|issn=0006-2510|url=https://books.google.com/books?id=fg8EAAAAMBAJ&pg=PA9|access-date=12 September 2022|archive-date=14 September 2022|archive-url=https://web.archive.org/web/20220914121319/https://books.google.co.uk/books?id=fg8EAAAAMBAJ&lpg=PA93&pg=PA9|url-status=live}}
• {{cite book|last=Taylor|first=Steve|title=The A to X of Alternative Music|publisher=Bloomsbury Academic|date=2006|isbn=9780826482174|url=https://books.google.com/books?id=KPOsu8JOHO8C&pg=PA62|access-date=10 September 2022|archive-date=19 July 2022|archive-url=https://web.archive.org/web/20220719103421/https://www.google.co.uk/books/edition/The_A_to_X_of_Alternative_Music/KPOsu8JOHO8C?gbpv=1&pg=PA62|url-status=live}}
• {{cite book|last1=Wills|first1=Dominic|last2=Sheehan|first2=Tom|title=The Charlatans: The Authorised History|publisher=Virgin Books|location=London|date=1999|isbn=0-7535-0194-5}}

{{refend}}

• [https://www.youtube.com/playlist?list=OLAK5uy_kqD8-Hknt6_0MEsj8-kLjh1GvhCQS62WA Us and Us Only] at YouTube (streamed copy where licensed)
• [https://web.archive.org/web/20021101023644/http://www.dotmusic.com/artists/TheCharlatans/reviews/November1999/reviews11916.asp Live review from November 1999] at Dotmusic
• [https://web.archive.org/web/20010924010529/http://www.dotmusic.com:80/artists/TheCharlatans/reviews/May2000/reviews13910.asp Review of "Impossible"] at Dotmusic

{{The Charlatans}}

{{Authority control}}

Category:1999 albums

Category:The Charlatans (English band) albums

Category:Universal Records albums

Category:Country rock albums by English artists

Category:Folk albums by English artists

Category:Roots rock albums