FUZZED-UP sideburned sparky pop fun from a trio of hyperactive youngsters who seemed to have worked out everything that was great about Cream-era pop and bashed it out in a collection of rapid-fire punky pop-splurge Buzzcocks-meet-Pistols-meet-Madness-meet-Syd’s-Floyd-meet-Bowie-meet-Beach-Boys-meet-Eurotrash-theme thrills. Seemingly beamed in from a universe where ‘quallidy pop’ never happened, Gaz, Danny and Mickey were the toast of 1995 and rightly so; not only were they immeasurably better than any of their Britpop peers (yes, including Oasis and – at least in their circa-The Great Escape incarnation – Blur) and therefore by association enormously more exciting than anything else around at the time, they also made a rather corking album to boot. There’s the surprisingly large hit singles quotient (Caught By The Fuzz, Mansize Rooster, Lenny, Alright, and we’re counting Time and Lose It as well round here thank you very much), the manic singalongs (I’d Like To Know, Strange Ones, She’s So Loose), the are-they-for-real? jokiness (Sitting Up Straight, Time To Go), the lovelorn epic (Sofa (Of My Lethargy)), and the downright oddness (We’re Not Supposed To, and all that “Igor! I can’t find you…” business) that suggested they’d spent a little too long poking around the more unhinged corners of their local independent record shop. For so many reasons it couldn’t last, of course, but even then Supergrass defied all logic and expectation by getting better and better as their star steadily but very very slowly faded.
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Creamguide's Pick of the Day
These shows get their first screening on Fridays but we’re going to carry on billing them here mostly because there’s nothing else on Wednesdays. Having now seen this series, we’re pleased to report it’s great fun, with plenty of Tony Wilson’s links, and these are fantastic – whether he’s slagging off Malcolm McLaren for claiming no TV company wanted to show the Sex Pistols when apparently they’d arranged to film them twice and McLaren pulled them out at the last minute, or refusing to apologise for showing footage of a fight in the audience of a Penetration gig, because “the best rock music has always had an aggressive, violent edge” and the fighting was “no worse than you’d find in a dozen pubs within a mile of the venue”. We like the punk-inspired presentation, too, coping with the irremovable original credits on some of the clips by just scribbling their own credits over them. Well worth a look.
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Points of View
- In 'Dukes of Hazzard, The', Austin Maxi says: "Closing titles usually played over a scene of Rosco’s police cruiser chasing the General Lee Dodge Charger round and round some..."
- In 'Life Without George', Austin Maxi says: "‘Everywhere you look it’s two by two, everyone’s got someone, save for you!’ as the theme song told us...."
- In 'Call Me Mister', Austin Maxi says: "I remember that the Australian lead character’s vehicle of choice was a Mini."
- In 'Break in the Sun', Austin Maxi says: "The theme music to ‘Break In The Sun’ was John Renbourn’s ‘Reflections’."
- In 'Six English Towns/Six More English Towns/Another Bloody Six English Towns', Graham says: "Alec was born in 1907 and died in 1985 at the age of 77. He was a great historian and the..."