Album Review | Ocean Colour Scene : A Hyperactive Workout for the Flying Squad (2005, Sanctuary)

In the opening scenes of Lock, Stock and Two Smoking Barrels, Jason Statham tries slyly to sell pilfered goods on a London street corner. As his card playing partner alerts them of the on-coming law, a blistering single note comes on, building into a riff that grows faster as they flee for their freedom. This perfected soundtrack placement of Marchin’ Already’s “Hundred Mile High City” is the only state-side glimpse into the phenomena of Ocean Colour Scene, a band once deemed as the second-coming of rock n’ roll in the United Kingdom.

After following the pre-Parklife path of shuffling dance pop, the group changed their sound and turned heads with 1996’s Moseley Shoals. Mentioned in the same breath as Oasis and Stereophonics (usually in that order), they were more traditionalist than their headline-grabbing contemporaries and were deemed heirs to the mod throne. On their seventh studio album, the Birmingham group (a trio after the departure of founding bassist Damon Minchella early last year) has proved them England’s most consistently splendid (if not most persistent) rock group.

Guitarist Steve Craddock has a reputation as an inventive arranger, as well as one of the world’s finest guitarists. His notoriously meticulous recording habit is the backbone of the group’s sound. Kicking off with a potent Craddock riff, Hyperactive…” shows the signs of the intelligent, focused fury of their early releases most acerbic and catchiest moments. Simon Fowler’s resonant vocals have always walked a fine line between stylistic traits. On “Move Things Over”, he stretches his street urchin drawl into velvet soul honed to a polished stadium glow. Mod icon Paul Weller’s harmony and guitar work blends effortlessly with Folwer and Craddock on “Waving Not Drowning”, as Jools Holland’s nimble piano dances around Oscar Harrison’s steadfast beats.

With violin, banjo and piano bouncing around the inspirationally debauched lyrics, “This Day Should Last Forever” belongs beside The Faces “Ooh La La” on a pub crawl mix tape. The drinking turns to dancehall on “God’s World”, Craddock’s virtuosity carries fragmented funk bass lines over Fowler leading a choir through the verses.

Ocean Colour Scene’s ability to intermingle classic soul, psychadelia and funk with Beatle and Small Faces-derived melody makes them one of the Britain’s most accomplished groups based solely upon repertoire. The volatile shift of interest in the U.K. musical climate has seen them bounce from label to label, despite chart and sales success. With another genuine and impressive record confirming their talents, Ocean Colour Scene is absolutely blissful in their ignorance of trends and passing fancy.

Reviewed for Earlash Music Sight



Ocean Colour Scene Official Site