Now, if only Alan McGee could get My Bloody Valentine's Kevin Shields to finish that album he was working on… It won the inaugural Mercury Prize and went on to sell over three million copies, but more than that Screamadelica was the sound of a new decade dawning for Creation.
The resulting record was a genre-blurring landmark, fusing gospel, rock’n’roll, acid house, dub and more. The band, already enamoured by dance culture, saw a new way forward and Weatherall was enlisted to help create the record that would become Screamadelica, collaborating with the band to pull apart and rework their songs. The DJ and writer was brought in to remix a country-ish number from their second record titled I’m Losing More Than I’ll Ever Have and he turned it into the euphoric, era-defining banger Loaded. Their first two records had taken in Byrdsian jangle-pop and Thin Lizzy-inspired rock but both had underperformed and, once regarded as bright young hopes, Primal Scream were in danger of being over before they’d even begun.Įnter Andrew Weatherall. The road to Screamadelica was long for Primal Scream, who only ended up at their psychedelic masterpiece by taking a few accidental diversions on the way. Even loftier climes lay right round the corner. Their label boss, though, was enjoying these dizzying heights.
A band hardly built with an attitude for the limelight, its success was something that Ride couldn’t sustain.
Entering the UK album charts at Number 11, Nowhere became Creation’s highest charting record, signalling the label’s growing standing as an independent label reshaping mainstream music. This debut album lived up to the promise, a dazzling blend of shoegazing ambience and frantic rhythmic surges. Although Creation had established itself as the place to be for a generation of rock ’n’ roll disobedients, it was a polite young quartet from Oxford who took the label to new heights.Ī lot of expectation was already on Ride’s shoulders as they arrived at their debut album, three previous EPs mixing rolling grooves, guitars that veered from looming atmospherics to seething, wiry riffs and sweet '60s harmonies fighting for attention in the middle of it all suggesting they would be the poster boys for indie-rock in the new decade.
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