![]() ![]() In a cauldron of pills, crossover experimentation and all-night raving, Screamadelica was cooked. Having relocated from London to Manchester for a year in 1989 to be at the epicentre of one of the biggest youth culture phenomena Britain had witnessed since punk, he began preaching the gospel of E to his old Glasgow school pal Gillespie. Movin’ on UpĪlan McGee, the boss of Primal Scream’s label Creation, was instrumental in the band’s baptism in acid house. ![]() It was included in longer form on Screamadelica, 18 months later. Loaded was released as a single in February 1990, giving Primal Scream their first Top 20 chart success – and their first, very awkward Top of the Pops appearance. The song’s uncomplicated raison d’être, and that of the acid house scene as a whole, is written into its sampled opening lines: “We’re gonna have a good time … we’re gonna have a party.” I’m Losing More Than I’ll Ever Have was reborn as Loaded, and Britain had its first great indie-dance record, a sonic totem for a generation seeking to reconcile its burgeoning fascination with house music, club culture, repetitive beats and ecstasy with its love of good old-fashioned greasy guitar music. 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. Neither record marked the group out as anything particularly special, and they might easily have faded into obscurity, were it not for a remix of I’m Losing More Than I’ll Ever Have, from the second album, by Windsor bricklayer turned acid house DJ Andrew Weatherall. ![]() Two Primal Scream albums preceded the epochal 1991 classic Screamadelica: their 1987 debut Sonic Flower Groove and its self-titled 1989 follow-up. The die was cast for one of the great reinventions of the past 30 years of British music. Gillespie denounced the C86 scene (“They can’t play their instruments and they can’t write songs” – a reputation for diplomacy would never exactly precede this son of a Mount Florida trade unionist) and Primal Scream would soon renounce their softcore beginnings and morph into whacked-out Rolling Stones-channelling rock’n’rollers. But the twee associations would become an albatross for the band in their early days. ![]()
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