Scene before?
Ocean Colour Scene - B-sides, Seasides & Freerides | Paul Weller - Heavy Soul
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Ocean Colour Scene - B-Sides, Seasides & Freerides
MCA 
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There's a mafia-like organisation in UK music at the moment. We all know about it. There's Paul 'The Modfather' Weller, his right hand man, Noel 'Cola' Gallagher, and then there's Ocean Colour Scene. It's an organised crime, of course, but a crime against our ears, and one made so much more criminal when we know they could do so much more. One of them should know better (and occasionally does), one of them should do better, and one of them would be better not to listen to the other two, and it's not hard to work out which is which. It's an almost incestual scene as well. OCS guitarist Steve Cradock, bass player Damon Minchella, and singer Simon Fowler, have all played in Paul Weller's band at some stage. Paul's drummer, Steve White, has his little brother drumming in Oasis, of which Noel has guested on Paul's stuff, and had the favour returned on at least three occasions I can think of. And Noel and Paul, and that Oasis' singer, have all done stuff with OCS. With all this inbreeding, it's no wonder the offspring is sometimes deformed. I guess this is only a filler album of b-sides and such, but there's something about OCS that's gone very wrong. Way back in 1992, on their first self-titled album, this crew showed real promise. A look at the centre sleeve, and the many pics and bits of the band and such, showed they believed in themselves, and that belief showed in the songs. Of course then, they had a different mentor - the Stone Roses be thy name - but hey!, everyone wanted to be them at some stage. Jump forward to 96 and 'Moseley Shoals', the following year and this compilation, and then 'Marchin' Already', and the tables have turned. The gospels according to the Small Faces and The Beatles have been meticulously studied, as is the law imposed from above, and somewhere along the line, they've appeared to have lost themselves. And it's a damn shame, really. But still, it could be worse. The lyrics on this are so bland, they're almost non-existent. "You told so many lies/ your tongue is black with fireflies/ but you spit them out and pretend you're sneezing." - 'Alibis'. Er, what! Still, it's genius stuff compared to Noel's efforts, but if this is the best Simon, a former journalist, can come up with, there may be hope for me yet. The problem for me is I can't sing or play an instrument, and granted this is one problem OCS doesn't have to worry about. They play and sing very well, they just don't write great lyrics, and if that doesn't matter too much, then sure, go right ahead, this is for you. But to be fair, there are a couple of standouts here, but they're the tracks that made it onto 'Moseley Shoals', 'The Day We Caught The Train' and 'Outside Of A Circle' (The Circle on 'Shoals), both done in an acoustic demo-like way. And of course there's the live 'Day Tripper' cover, but even that sounds a bit pedestrian. For those wishing to explore this band and their work, and there is some fine stuff to be had, they should not be directed to start here. This is strictly for completists and diehard fans, of which there doesn't seem to be that many in this country. Keep producing this standard and it won't be hard to see why. - Clem |
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Paul Weller - Heavy Soul
Island/Polygram
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That's obvious to most who know me, but those who really know, know I'm just as hard on him as anyone can be sometimes. This time there is no need. Paul seems to do his best when he's up against it. He did it in The Jam after '...The Modern World', and again after a sorry end to the Style Council. When he finally went solo, many classed the 'Wild Wood' album a masterpiece, and it's successor, 'Stanley Road', as a flop. As it says on the inner sleeve to this, "to anyone whosoever slated me - F**k You!". Indeed! But then Paul Weller is a difficult artist to judge. Does one take into account the 20 plus years he's been in this business - and with his credibility still intact - or do we simply compare him to some upstart who's only had his first demo released last Tuesday? I don't know the answer for sure, but if you're talking 'Rawk 'n' Rawl', I'm afraid I'm going to have to lean a touch to the latter. But for the here and now, this album will do just fine, thanks. Have a listen to tracks like 'Brushed' and you realise Paul's been widening his listening circle a touch. Countering that, however, is 'Golden Sands', which would have to be his most blatant rip-off since 'Start!', almost stealing 'Mustang Sally' bar for bar. Still, it's better than his philandering with that Neil Young/Eric Clapton style he was beginning to become infamous for, and the good news is he's returning to his roots. The man turns 40 this year, though one would be hard pushed to know it looking at him. With this album, one is hard pushed knowing it listening to him. Easily his best work since the Style Council's 'Our Favourite Shop', and a worthy peer of any of the latter albums from The Jam. It's that good. Still, I am a bit biased. - Clem |
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