Elsewhere, the Passage were spry, crisp and extremely dry; Dick Witts was head and shoulders above most of the lyricists at the label. Felt and the Nightingales, are here, too; clever grown-ups who found a home in the indie slipstream. With the label's latent hippy credentials, it's small wonder that someone like Kevin Coyne pitched up as well.
Of the new acts, because Ben Watt and Tracey Thorn actually had an original idea although it was called bossa nova and used words like 'cochineal', they were clearly above the rest, and really the only ones to enjoy a long-term commercial career. You can hear now just how influenced Paul Weller was by them at this point. By the second compilation, things had got a tad more professional. Although it was largely more of the same, Felt guitarist Maurice Deebank brought instrumental prog complete with fretless bass, the enemy of taste and In Embrace produced that stately, machine-backed dreamy pop so prevalent circa A disc of rarities and a DVD of fey young fellows with at least a chipper attempt at a storyline, are here, too, to complete the experience.
From Morgan Fisher's Casiotone on his muddy reading of "Une Homme et Une Femme", to all the various one-string guitar solos, it's like digging up an indie Blue Peter time capsule from very, very many moons ago. This work is licensed under a Creative Commons Licence. If you choose to use this review on your site please link back to this page. This page has been archived and is no longer updated. Find out more about page archiving. Home Clips. This article needs additional citations for verification.
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