This week, I’ve been listening to Primal Scream’s third album “Screamadelica” from 1991. At the end of the 80s, critics speculated that grebo-baggy music were going to be the sound of the 90s. These genres found new energy in combining psychedelic alternative rock with dance rhythms of acid house. British bands like EMF, Jesus Jones, and the Escape Club brought these sounds to American MTV. This was right before Nirvana’s “Smell Like Teen Spirit” grabbed everybody’s attention and changed things. While I liked some of it, grunge didn’t really catch me as hard as it did others. Had I heard “Screamadelica” when it came out, I probably would’ve loved it. I had the same difficulty with it now that I have with the band Muse, several of the songs sound like direct combinations of two or three other songs. More derivative than inspired.
Movin’ On Up
So, that brings us to the opening track “Movin’ On Up.” It’s a good song on its own; However, to me it sounds like The Rolling Stone’s “Sympathy for the Devil” played like The Who’s “Magic Bus” after listening to George Michael’s “Faith.” The first verse opens with “I was blind, now I can see, you made a believer out of me.” This verse makes an allusion to “Amazing Grace,” where the chorus’s “I’m movin’ on up now, getting out of the darkness; My light shines on.” recalls both The Rolling Stones’ “Shine a Light” and the gospel anthem “This Little Light of Mine.” Screamadelica decidely wrote a rock n roll gospel anthem. I’m not sure what they’re believing in: perhaps it’s rock n roll and perhaps it was ecstasy.
The verses follow a I-I-I-I-V-IV-I-I chord progression, over which lay a gospel-blues melody. A female choir joins for the chorus, with a V-V-IV-IV-ii-IV-I-I progression. This jump up to the fifth for the chorus provides the feel of a key change without actually entering one. In addition to the Who-Stones inspired acoustic guitar riff, piano and choir support the gospel feel of the recording. Then an electric guitar provides an excellent solo that sounds more than a little like the solo in Sympathy for the Devil without the danger and edge.
Primal Scream’s love of The Rolling Stones stands out through much of the album. I definitely cannot blame them; my past few years of listening to the Rolling Stones have had a tremendous influence on my work as well. But sometimes I kept being reminded of specific songs by other artists strongly. The song “Damaged” kept making me want to listen to the much better “Moonlight Mile.” I think most of us as musicians try to avoid that. We might say, “I want to make a song like this one,” but our intentions are to emulate what we like about that song without copying the song itself.
Don’t Fight It, Feel It
After the opening track that blends gospel with 60s rock n roll, band jumps into acid-house track “Slip Inside This House.” This cover of a 13th Floor Elevators song from 1967 provides their sideways step into a seemingly disparate genre. Then they make full plunge into house with the third track “Don’t Fight It, Feel It.” Apparently, their intention was the produce a modern verse of Northern Soul music. Music about dancing, for dancing, with groove and soul.
It’s definitely modern (as of 1991) and makes you dance. It has the house synthetic piano chords that comes and go. It has layered soulful lyrics about getting high and dancing. It has a great bassline and house drums. It has an annoying chirping synth. It goes on and on for seven minutes that I would only find bearable if I was dancing to it in a club, and even then I wouldn’t be sad when it was over.
Loaded
The band update their earlier song “I’m Losing More Than I’ll Ever Had” on the epic middle track “Loaded.” The earlier song, from their 1989 self-titled second album. I prefer the earlier version, of course, with its more guitar-rock sound and “Sympathy For The Devil” inspired bridge.
“Loaded” opens with a sample from the movie “The Wild Angels” with Peter Fonda declaring they “want to be free.. get loaded and have a good time.” This freedom sample is appropriate, considering the song’s strong resemblance to George Michael’s “Freedom 90” from the previous year. Like much of the synth drum patterns of the early 90s, this one dances with the extra hops during the third beat. The synth piano also plays the jazz-inspired chord rhythm patterns heard in a lot of house music of the period. Guitars come and go riffing in a distinctly rock style.
Primal Scream most succeeded in combining house with rock on this track. It proceeds through a journey, with different phases. This keeps the song interesting. While they use house’s tendency towards drawn-out repetition, they’ve found a compromise between what’s appropriate for listening vs. dancing. A dance-club audience thrives on that lengthy repetition, whereas a listener needs variety.
