When Screamadelica dropped in 1991, people were initially quite confused. It sounded nothing like Primal Scream’s previous two LP’s, was laden with samples and electronic instrumentation and was largely produced by legendary house DJ Andy Weatherall. Was this some sort of crossover attempt? Is this a rock n’ roll record? Sometimes – there are a couple of cuts (Movin’ on Up and Damaged) produced by Rolling Stones engineer Jimmy Miller which brim over with the Stonesy swagger that would be further explored by the chameleonic Primal Scream on their next LP, Give Out But Don’t Give Up. Loaded also borrows the groove from the Stones’ Sympathy For the Devil. The rest of the time Screamadelica isn’t really a rock record at all, but it’s hardly a house or electronic record either. Inspired by the Beach Boys’ masterpiece Pet Sounds and the psychedelic culture that spawned it, Screamadelica uses a kaleidoscopic palette of dance, rock, gospel, jazz and dub bound together by the infectious, loose grooves that made it a landmark party record of the early 90’s and the recipient of the very first Mercury Prize. If a Rolling Stones album got dragged to the club by its mates and steadily fed MDMA, ketamine and Jäger-bombs all night, there is a good chance it would end up sounding a lot like Screamadelica: absolutely wild.
Pete Whelan 