Supergrass


(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
I Should Coco , 6.5/10
In It For The Money , 6/10
Supergrass , 4.5/10
Life On Other Planets , 4.5/10
Road to Rouen (2005), 4.5/10
Diamond Hoo Ha (2008) , 4/10
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I Supergrass, provenienti da Oxford, furono la tremillesima "next big thing" del Brit-pop degli anni '90.

Nonostante la solita processione di singoli promozionali (Caught By The Fuzz, Man Size Rooster, Lenny e Strange Ones), il gruppo e` leggermente diverso dalla media, per via di un piglio piu` punk, alla Buzzcocks.

Nei momenti migliori di I Should Coco (Parlophone, 1995), come Alright (che entra persino nei Top 100 americani) e She's So Loose, il loro gioviale abbandono e` molto piu` appetibile delle diligenti calligrafie dei concorrenti e Gareth "Gaz" Coombes ha l'esuberanza del miglior Billy Joe (Green Day).

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In It For The Money (Parlophone, 1997) is a decent follow-up, that runs the gamut from glam (Late In The Day is basically a reworking of Bowie's Velvet Goldmine) to hard-rock (Richard III). It includes Going Out (perhaps their masterpiece) and Sun Hits The Sky.

Supergrass (Parlophone, 1999) cannot avoid the Brit-pop syndrome. Brit-poppers tend to evolve towards a more and more refined style and eventually sink under the weight of their arrangements. The Supergrass prove that the disease is contagious. Their teen spirit survives in a syncopated soul-jazz number (Mary) and a mod-rock number (Beautiful People), but capitulates to the orchestral epos of Moving (that sounds very much like Roxy Music) and to the Phil Spector-ish wall of sound of the country shuffle Your Love. Jesus Came From Outta Space, Pumping On Your Stereo and Faraway are, de facto, tributes to three different stages of Bowie's career. Worse: too many of these (mainly) slow songs sound like John Lennon's soporific ballads. The new album is as much an encyclopedia of melody as the previous ones, but the band has lost of the spontaneous, noisy, jovial approach that made it different. As pop goes, the Supergrass now inhabit the adult, languid land, as opposed to the jovial teenage land.

Life On Other Planets (Parlophone, 2002 - Island, 2003) contains Za (the first of three inane songs that pay tribute to T.Rex, the others being Seen The Light and Brecon Beacons), and the singles Grace and Never Done Nothing Like That Before (that recalls the Kinks). All of their albums manage to be irritating by the time you finish them (if you can make it to the end), but this one is built on the program of irritating intelligent listeners.

The Best of 94-04 (Capitol, 2004) is an anthology of the hits.

Road to Rouen (Capitol, 2005) is another hodge-podge of styles dressed up by all the possible cliches of pop arrangement, except that this time the band exceeded all previous pretentiousness by stretching songs with instrumental preludes and codas that borrowed from the history of orchestral pop.

No song stands out on Diamond Hoo Ha (Capitol, 2008), the typical embarrassment by middle-aged musicians who try to sound like they are still teenagers. It's hard to believe that anyone would listen twice to Diamond Hoo Ha Man or 345 (to name the best of the bunch).

(Translation by/ Tradotto da Daniele Meneghel)

In It For The Money (Parlophone, 1997) è un onesto seguito, che passa tutti i generi dal glam (Late In The Day è fondamentalmente un riadattamento di Velvet Goldmine di David Bowie) all' hard-rock (Richard III). Contiene Going Out ( forse il loro capolavoro) e Sun Hits The Sky.

Supergrass (Parlophone, 1999) non riesce ad evitare la sindrome del Brit-pop. I Brit-poppers tendono ad evolversi verso uno stile sempre più ricercato ed alla fine affondano sotto il peso dei loro arrangiamenti. I Supergrass dimostrano che la malattia è contagiosa. Il loro spirito giovane sopravvive in un pezzo di soul-jazz sincopato (Mary) e un brano di mod-rock (Beautiful People), ma si arrende all'orchestrale Moving (che ricorda molto Roxy Music) e al muro di suono philspectoriano della strascicata country Your Love. Jesus Came From Outta Space, Pumping On Your Stereo e Faraway sono, di fatto, dei tributi a tre diverse fasi della carriera di Bowie. Peggio: troppe di queste (principalmente) lente canzoni somigliano alle ballate soporifere di John Lennon. Il nuovo album è un enciclopedia melodica tanto quanto i precedenti, ma la band ha perso quell'approccio spontaneo, rumoroso, gioviale, che la rendeva differente.

Life On Other Planets (Parlophone, 2002 - Island, 2003) contiene Za (la prima di tre banali canzoni che pagano tributo ai T.Rex, le altre sono Seen The Light e Brecon Beacons), e i singoli Grace e Never Done Nothing Like That Before (che richiama i Kinks). Tutti i loro album riescono ad essere irritanti al momento che hai finito di ascoltarli (se ce la fai fino alla fine), ma questo è costruito col programma di irritare gli ascoltatori intelligenti.

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