(MCA)
I first heard about Ocean Colour Scene in late November 1990. The band was spotlighted as an indie-breakthrough phenomenon in a London nightlife magazine and the local club date on their first British headlining tour was listed as a must-see. Eager to maximize my semester abroad since it was quickly coming to an end, I set out on a damp Saturday night to find the club and a good time. Happily, I found both and Ocean Colour Scene played a tight, high-energy set which combined the best of the Stones (Rolling and Roses). Despite the success of that tour and sound, Ocean Colour Scene was subsequently forced to ride the faddish shoegazer wave when their independent label hooked up with a major.
The next time I saw Ocean Colour Scene was in mid-October 1992. They were touring Stateside, on my turf this time, in support of the long-delayed self-titled debut disc. As part of the Fontana Records tour, Ocean Colour Scene opened for then-label mates House of Love and Catherine Wheel. While label compromises had softened support for the band in Britain, the well-received Fontana tour suggested that the band might connect with less jaded American audiences. The big splash didn't occur, however, and Ocean Colour Scene returned home to England to decide which course to take the next time out.
It's now late-November 1996, and I'm a few days away from seeing Ocean Colour Scene again. I'm even more excited about the live show this time around, because their latest effort, Moseley Shoals is an amazing release that is much more far-sighted than its predecessor. Finding inspiration in the best of American and British rock, pop and soul,the quartet strips off the shoegazer polish to the essential basics of throaty vocals, McCartneyesque bass, fluid guitar and chord pounding piano. On Moseley Shoals, Simon Fowler (vocals), Steve Cradock (guitar), Damon Minchella (bass), and Oscar Harrison (drums) take the less-travelled Weller/Jam route back through British Rock history, a direction supported by Cradock's other job as Paul Weller's guitarist.
Moseley Shoals, recorded in the Birmingham, England studio of the same name, also taps into the sound of the famous Muscle Shoals, Alabama studio which produced some of the best American soul ever recorded. The combination is a fresh one that is full of raw energy and emotion.
On the twelve tracks that comprise the release, Ocean Colour Scene looks backward in order to move forward. Shades of Sixties soul are evident on "40 Past Midnight" and "The Riverboat Song," and the latter is rounded out by wah-wah guitar and Paul Weller's organ. "The Day We Caught the Train," the current U.S. single, rocks and rolls along with pounding bass and piano. Weller turns up again, contributing guitar on the Brit-meets-American alternapop of "The Circle" and piano and backing vocals on the breezy "One for the Road." And Fowler showcases his soulful vocals on the slow and moving "Lining Your Pockets" and "The Downstream." "You've Got It Bad" is heavy on the tambourine and bluesy lead guitar, with the added touch of psychedelic-inspired keyboards, and epic jam "Get Away" completes the collection
Moseley Shoals has already reached the top of the British album and singles charts. Hopefully, the current popularity of roots-influenced rock and pop music in these parts will provide some space for this fine release. Not only does Moseley Shoals offer American audiences a fuller and richer history of Britpop and English rock, it also highlights the legacy of American and English soul. Fans of Paul Weller will immediately take to Moseley Shoals, and those who dig Counting Crows, the Tragically Hip, the Black Crowes and similar bands will find some familiar grooves here as well. If this isn't enough to turn you on, check out Ocean Colour Scene live. The power and strength of Moseley Shoals guarantees that the live show will be a hot, sweaty conversion experience.
