September 3, 2020

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The Stonesy guitar and piano chords of Movin’ on Up (the track was produced by Jimmy Miller, who had overseen Beggars Banquet and Let It Bleed) should feel incongruously retro, when opening such a fiercely modern record. To borrow a dictum from another bunch of psychedelic warriors of the age: it’s the sound of young men taking drugs to make music to take drugs to. Volume enhanced by 20% using editing Software. From jangly C86 indie band to generation-defining soundtrackers of the acid house era and paranoid comedown rockers, Bobby Gillespie and co just keep on keeping on, Wed 22 Feb 2017 11.00 GMT Just what is it that you want to do? A fleeting one-and-a-bit minutes of dreamy-eyed jangling, foreshadowing Bobby Gillespie’s interest in the darker side of life by seeming to describe a girl intravenously injecting vodka, it has stood the test of time, and was definitely admired by the Stone Roses, judging by its undeniable similarity to Made of Stone. "Ho Hey" by The Lumineers spent 62 weeks on the Hot 100, tying with Lifehouse's 2005 single "You And Me" for the longest stay on the chart for a song by a rock band. Lee Hazlewood and Nancy Sinatra’s psychedelic classic has been covered every way imaginable, and is still being used to soundtrack surreal moments in shows like Mr. Webb talks about his classic songs "By the Time I Get to Phoenix," "Wichita Lineman" and "MacArthur Park.". A paranoid-sounding Gillespie is beset on all sides by “sick streets full of dead meat” and “empty heads and cancelled eyes”. Like any dance music, this is tied to its era to a certain extent, but it transcends it due to its fierce imagination and how it doubles back on rock history, … All of which probably says a lot more about how Primal Scream were feeling at the time than it does about the film. “I’m beautiful, I wasn’t born to follow,” he drawls. It was Primal Scream’s attempt to superimpose their own paranoia, claustrophobia and drug-induced psychosis on the film, through an industrial-strength fuzz bassline, distressed audio samples, laser-beam synths, sci-fi sonic wibbles and Gillespie’s conspiratorially half-whispered vocal. Despite personnel changes – Shields and Mani returned to My Bloody Valentine and the Stone Roses, respectively, while long-serving guitarist Robert “Throb” Young disappeared from the lineup in 2006, before dying in 2014 – Gillespie and guitarist Andrew Innes keep on keeping on. “It’s like a massive jump on to another planet,” said Gillespie of this sonic approximation of a hallucinogenic experience, upon its release as a single in June 1991. But … Nine minutes of two-chord, psych-rock rudimentals, Stooges saxophone riffing, atmospheric guitar skronk and state-of-the-nation rambling from Gillespie, it was Primal Scream’s most bilious offering since Accelerator. New blood and a new direction were needed by the mid-90s, the British music landscape having been altered inexorably by Britpop and the Scream’s labelmates Oasis. If some fans felt like weeping upon hearing the transformation that had come over Primal Scream post-Screamadelica, (I’m Gonna) Cry Myself Blind gave them the perfect excuse. But Velocity Girl – the 1986 B-side of their second single – was the opening track of the NME’s influential compilation cassette of shambling DIY indie bands. The single was released on their 1991 album Decade of Decadence 81-91, which was the band's first of many greatest hits compilations. In his first experience in a proper recording studio, Weatherall produced a Frankenstein fusion of bluesy miscellanea and trippy good vibes, splicing together source materials as diverse as an audio sample of Peter Fonda from the film The Wild Angels, a vocal sample from The Emotions’ I Don’t Want to Lose Your Love and a bongotastic drum loop from an Italian bootleg remix of Edie Brickell’s What I Am. It’s guided by a classic, fuzzed-out Mani bassline, by turns beautiful and ferociously efficient, which is then matched by drummer Darrin Mooney’s relentless, all-energy-no-feeling playing. That much would be true even if it hadn’t followed an era-defining classic. "Primal Scream" is a song by the American heavy metal band Mötley Crüe. 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