 |
 |
 |
The Band The Music The Tour The Press The Goods The Look The Lyrics The Tabs The Mail The FAQ The Links
The Press Article
Single Of The Month
SUPERGRASS
Moving Parlophone 30 Aug
They really are good at this. Making music, that is, which may at first resemble inconsequental fluff but which after a few minutes pumping on your stereo soon reveals why hooks are called hooks.
The song's opening ballardry - with it's satisfyingly cheesy MOR overtones - sees Gaz crooning along with his Ladybird existentialism ("The days all feel the same... no reason to remain"). Then, a minute in, some Hammond organ signals a gloriously loose-limbed blast of funkpop. For the rest of the duration, we're cruising squarely toward Summertime Radio Heaven.
Teetering on the edge of gonzo hokum it may be, but this min-symphony reinforces the fact that while Supergrass may not know much, they certainly know a great deal about pop music. With the self-penned string section suggesting an injection of sophistication, the forthcoming album could be their most embraceable yet.
Supergrass' Danny Goffey on James Bond, ladyboys and album titles
How did the song come about?
"There were basically two bits - it was like The Beatles' 'A Day In The Life', only not as good. we found that the two pieces went together in a bizarrely good way. Gaz wrote the verses, his brother Bob came up with the chorus chords and I helped with melodies."
Where did you record it?
"In this big pink house in Cornwall. It's on this estuary, so you have to wait for the tide to get the gear in. Very James Bond."
Got a title for the album yet?
"We're not going to call it anything. I wanted 'Supergrass Get Lost'. 'Electric Ladyboy' was another. Gaz wanted to call the album 'Monkey Tennis'. For the cover, we've X-rayed our heads so it's this pretty intense image of our skulls. Hopefully people will call it the X-Ray album."
Select - September 1999
SUPERGRASS
Moving Parlophone 30 Aug
They really are good at this. Making music, that is, which may at first resemble inconsequental fluff but which after a few minutes pumping on your stereo soon reveals why hooks are called hooks.
The song's opening ballardry - with it's satisfyingly cheesy MOR overtones - sees Gaz crooning along with his Ladybird existentialism ("The days all feel the same... no reason to remain"). Then, a minute in, some Hammond organ signals a gloriously loose-limbed blast of funkpop. For the rest of the duration, we're cruising squarely toward Summertime Radio Heaven.
Teetering on the edge of gonzo hokum it may be, but this min-symphony reinforces the fact that while Supergrass may not know much, they certainly know a great deal about pop music. With the self-penned string section suggesting an injection of sophistication, the forthcoming album could be their most embraceable yet.
Supergrass' Danny Goffey on James Bond, ladyboys and album titles
How did the song come about?
"There were basically two bits - it was like The Beatles' 'A Day In The Life', only not as good. we found that the two pieces went together in a bizarrely good way. Gaz wrote the verses, his brother Bob came up with the chorus chords and I helped with melodies."
Where did you record it?
"In this big pink house in Cornwall. It's on this estuary, so you have to wait for the tide to get the gear in. Very James Bond."
Got a title for the album yet?
"We're not going to call it anything. I wanted 'Supergrass Get Lost'. 'Electric Ladyboy' was another. Gaz wanted to call the album 'Monkey Tennis'. For the cover, we've X-rayed our heads so it's this pretty intense image of our skulls. Hopefully people will call it the X-Ray album."
Select - September 1999