Various Artists: C92 – album review
Cherry Red Records
3 CD box set
Out now available here
1992 might have been the year CDs finally killed off vinyl in records shops but there were still some decent bands around to help launch that shiny new medium.
1992 was the year Factory Record’s rickety DIY approach to releasing records finally came to an end as they went under, Nirvana took grunge to the top of the charts and John Major pulled off an unlikely election win for the Tories.
The music scene in the UK was also in state of flux as the Baggy Movement had petered out leaving a void to fill, which was partly filled in the next few years by Kurt and all the Grungy wannabes. But despite the lack of a unifying scene there was still some decent music being made which this three disc box set brings together.
Some early Radiohead kicks off the first disc and Prove Yourself from their debut EP – Drill, shows some of the imagination that would take them from Oxford to reluctant global stardom. Luke Haines led The Auteurs producing sophisticated pop on Showgirl, and Mark Radcliffe faves Delicious Monster’s Dull Dull Dull has a touch of The Sundays about it.
Ride’s epic Leave Them All Behind with it’s distinctive synth intro and shimmering guitars is probably record of the year, and Swallow’s Tastes Like Honey is classic 4AD of this period. Coventry’s Adorable were on Creation but their plodding Homeboy is plain dull, and Jacob’s Mouse only claim to fame is that they were fronted by two identical twins. White Town hit number one five years later with White Town, but here Bewitched is bouncy C86 inspired pop.
On the second disc Evesham’s Bang Bang Machine were another act who’d clearly been listening to The Sundays, but Geek Love was voted number one on John Peel’s Festive Fifty, which was a massive honour in 1992. The Charlatans made it out of the Baggy movement and the oft kilter Weirdo was driven by the late Rob Collins and his always glorious organ playing.
Scousers The Boo Radleys pop up with some splendid psych pop on Lazy Days and Hull three piece Kingmaker’s Eat Yourself Whole leaves you wondering why they weren’t bigger. Before they became an indie hit making machine Dodgy released songs on their own Bostin label and Worth The Blood hints at their upcoming pop heyday.
On the final CD Inspiral Carpets were another band who loved an organ and Clint Boon proved to be master of the Farfisa on the still sublime Dragging me Down. Sweet Jesus are now only remembered as the band who headlined over Oasis when the Manc five piece made their live debut at Manchester’s Broadwalk.
Kings and Queen of Shoegaze Lush contribute a remix of Superblast and who doesn’t love Cork’s Sultans of Ping F.C. and U Talk 2 Much is bonkers indie pop. Judging by Pink Flower one hit wonders Daisy Chainsaw peaked with Love Your Money and Sarah Records’ Secrets Shine were pure dream pop. Edinburgh’s The Wendys were another band tipped for the big time, but sadly Factory’s implosion derailed a promising career. Indie legend Amelia Fletcher fronted twee popsters Tallulah Gosh but Can You Keep A Secret? sees her turn into a disco diva.
Another Cherry Red mixed bag with plenty of decent songs that helped salve the pain of that Tory win, but you can’t half feel the lack of a competitive national scene that is often the catalyst for bands to push each other much harder.
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Words by Paul Clarke, you can see his author profile here.
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