Falling between the energetic pop/rock of mod revival and the psychedelic experimentations of Traffic, Ocean Colour Scene came to be one of the leading bands of the traditionalist, post-Oasis British rock of the mid-'90s. Although they had formed in the late '80s and had several hits during the height of Madchester in the early '90s, the band didn't earn a large following until 1996, when their second album, Moseley Shoals, became a multi-platinum success story in the U.K. Their ascent was greatly aided by Paul Weller and Oasis' Noel Gallagher, who both publicly praised Ocean Colour Scene for keeping the flame of real rock & roll burning during the '90s. And, according to one specific definition, they were right, since Ocean Colour Scene was nothing if not rock & roll traditionalists, drawing heavily from British Invasion pop, psychedelia, soul, R&B, and blues-rock to create a reverential homage to classic rock. Their devotion to trad rock may have earned them decidedly mixed reviews, but that was the very thing that earned them a sizable following.
Ocean Colour Scene is comprised of Steve Cradock (lead guitar, keyboards, vocals), Simon Fowler (lead vocals, guitar), Damon Minchella (bass), and Oscar Harrison (drums). Prior to forming in 1990, the members of the band had played in a variety of other groups. During the late '80s, Cradock played in a mod revival band called the Boys. Though they released an independent EP called Happy Days and supported former Small Faces frontman Steve Marriott, the band never gained much of an audience. At the same time the Boys were active, Fowler and Minchella were in a Velvet Underground-influenced group called Fanatics, who released an EP, Suburban Love Songs, on the independent label Chapter 22 in the spring of 1989. Following the release of the single, the group's original drummer, Caroline Bullock, was replaced by Harrison, who had previously played with a reggae/soul band called Echo Base. Shortly after Harrison joined Fanatics, the group split up. Several months after their disbandment, Fowler, Minchella, and Harrison formed Ocean Colour Scene with Cradock, whom they met at a Stone Roses concert.
Appropriately, Ocean Colour Scene was initially heavily influenced by the Stone Roses. After performing a few concerts, the group built a small fan base and signed with a local indie label, !Phfft. Shortly after signing with !Phfft, Ocean Colour Scene became hyped as "the next big thing" by the British music weekly press, as their live shows and debut single, "Sway," earned extremely positive reviews during the first half of 1990. In the spring of 1991, they headed into the studio to record the debut album with Jimmy Miller, who worked on the Rolling Stones' classic albums of the late '60s and early '70s. Instead of concentrating on work, the band essentially drank away their hours in the studio, resulting in a batch of uneven recordings. Unsatisfied by the tapes, the band headed back into the studio with Hugo Nicolson, who had previously worked with Primal Scream.
By the time they completed the record, !Phfft had been acquired by Fontana Records, who bought the indie with the intent of owning the rights to Ocean Colour Scene. Despite their enthusiasm for the band, the label's head of A&R, Dave Bates, rejected the group's first attempt at the album and asked them to re-enter the studio to re-record most of the album with another producer, Tim Palmer, who had previously worked with Tin Machine. Palmer also remixed the remaining cuts, resulting in a slick, over-produced debut album that was delivered belatedly in the spring of 1992. By that time, the music press had abandoned the Madchester scene that the Stone Roses spawned and, in turn, they rejected the return of Ocean Colour Scene. The public also refused to buy the record and it sank upon its release. The band made some headway on an American tour, but tensions with Fontana continued to increase throughout the year.
During early 1996, the hype machine began to go into overdrive for Ocean Colour Scene, as Gallagher proclaimed them the best band in Britain in several interviews and Chris Evans, a DJ on BBC's Radio 1, constantly played OCS's comeback single, "The Riverboat Song," essentially using it as his theme song. "The Riverboat Song" entered the charts at number 15 early in 1996. Moseley Shoals, the band's second album, was released in April of 1996, unexpectedly entering the charts at number two. The album was a fixture in the British Top Ten throughout 1996, spending six months total in the upper regions of the charts. Two subsequent singles from the record, "You've Got It Bad" and "The Day We Caught the Train," reached the Top Ten and the album continued to sell strongly throughout 1996, going multi-platinum in the U.K. Ocean Colour Scene also became a popular live attraction in Britain, selling out concerts during their summer tour. Moseley Shoals was released in America during the summer, but it failed to make much of an impact in the U.S.
Stephen Thomas Erlewine allmusic.com
A four-disc box celebrating the band's 21st birthday, OCS21 is heavy on rarities -- BBC sessions, single versions, edits, live tracks, alternate takes, and demos -- the kinds of things that are full-blown collector bait. Anchoring these oddities are the staples -- album versions of "The Riverboat Song," "The Day We Caught the Train," "Hundred Mile High City" -- but don't think of this set as a way for a somewhat casual fan to get Ocean Colour Scene's 86 greatest songs in one fell swoop. This is a gift for the dedicated fans, the ones who have been with them since the beginning, and they'll find plenty of offbeat gems to cherish here.
86 songs on four discs from two decades. mp3@320
Hope you have fun
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