{** The Coral and Supergrass both perform @ Metro (773/549-0203) March 10
** Mark Gardener (of Ride) @ The Abbey (773/478-4408) April 10
** Coldplay @ UIC Pavilion (312/559-1212) June 9 }
British band dominance of the U.S. pop charts sounds like something from the past (read: the '90s), but that doesn't mean that there aren't any British bands that would enjoy the attention given to Oasis, Blur and others in days gone by.
Coldplay comes closest to being the Great Brit Hope. Their aptly titled second album A Rush of Blood To The Head (Capitol) supplies just that. The songs, beginning with 'Politik,' have the same effect as the ones on Coldplay's stunning debut disc Parachutes in that they cause the listener to sit up and pay attention to the sounds entering their ears. 'In My Place' is gorgeous and the most reminiscent of the promise of Parachutes. 'God Put A Smile On Your Face' is an insurgent country tune of which Jon Langford and the Waco Brothers could be proud. However, the emphasis remains on the sheer beauty of songs such as 'The Scientist,' 'Clocks,' 'Warning Sign' and 'Amsterdam,' which all profit from the presence of Chris Martin's emotive vocals.
Jarvis Cocker, of Pulp, is also in possession of one of the most expressive voices in contemporary British pop. We Love Life (Sanctuary/Rough Trade) contains all the elements of a proper Pulp disc—drama, social commentary, cynicism, and sensibility. From the march of 'Weeds' to the lush string-laden setting of 'The Trees' to the spoken-word mini-epic 'Wickerman' to the chirpy retro-pop of 'The Birds In Your Garden' to the bare-bones 'Roadkill,' Pulp deserves the chance to overcome their cult status and become full-blown superstars.
OX4: The Best of Ride (The First Time) is a thrilling look back at a short-lived band (in existence for less than 10 years) that wrote and recorded some memorable tracks. Shoe-gazing pioneers, Ride rode the wave of noisy-pop introduced by the Jesus and Mary Chain who then passed the torch to My Bloody Valentine, Lush and, of course, Ride. With clashing guitars and a touch of feedback, songs such as 'Dreams Burn Down' and 'Chelsea Girl,' defined Ride's early sound. Towards the end of their existence, the band moved in a light psychedelic direction ('I Don't Know Where It Comes From'), which was both daring and predictable (especially for the times), and ended up costing them their following. Ride could also create melodic pop ('Like A Daydream,' 'Twisterella') which allows them to have more than just flash-in-the-pan status. The bonus disc contains four previously unreleased tracks.
Twenty years after the release of their last studio album The Soft Boys have returned with Nextdoorland (Matador). During that time, front-man Robyn Hitchcock was the most visible with his albums. The songs on Nextdoorland strike a pleasant balance between the past and present Hitchcock, and the band sounds like it picked up where it left off. Standouts include the progressive jam of 'Mr. Kennedy,' the bouncy 'Unprotected Love,' the funky thump of 'Strings,' and the brief roar of 'Lions and Tigers.'
Even though they have outlasted them, Gene will forever exist in the shadow of the Smiths. With the similarities in their sound and their sexually ambiguous front man, Gene never really had a chance to create their own identity, especially after the release of the major label disc Olympian, which bore more than a passing resemblance to a Smiths album. Libertine (Contra/iMusic), Gene's latest, does indicate some growth, especially on songs such as 'Let Me Move On,' the lengthy 'Does He Have A Name?,' 'From Georgia To Osaka,' 'We'll Get What We Deserve,' and 'You.' Echoes of the Smiths' and Morrissey's influence can still be heard on 'Is It Over?,' 'Let Me Rest,' 'Walking In The Shallows,' and 'Somewhere In The World.'
One of the most inventive and interesting full-length debuts in years, the self-titled disc by The Coral (Deltasonic/Columbia) lives up to the promise of the tease of its Skeleton Key EP. Once you get past the noisy stomp of 'Spanish Main,' you are in for a royally retro experience that recalls the moody atmosphere of Eric Burdon and The Animals, as well as other R&B influenced bands of the '60s British invasion. Spirited tracks such as 'Dreaming Of You,' 'Goodbye,' 'Waiting For The Heartache,' 'Wildfire,' and 'Badman.'
When I first heard the Bowie-meets-the-Beatles bang of Supergrass on its 1995 debut disc I Should Coco, I thought that both the future and the past of British pop had arrived. The unbridled energy of 'I'd Like To Know,' 'Caught By The Fuzz,' 'Mansize Rooster,' and the amazing 'Alright,' were a tidal-wave sized splash of cold water in the face. Equally as good, Supergrass's follow-up disc, In It For The Money, found the trio maturing and moving in the right direction. The band's self-titled third disc contained the wicked fun 'Pumping On Your Stereo' which had a music video that was almost as good as the song. Life On Other Planets (Island), Supergrass's fourth full-length album, again borrows from the past and cashes in on the present. 'Za' and 'Rush Hour Soul' are ripe with today's sound, while 'Seen The Light' recalls T. Rex and 'Evening Of The Day' has echoes of vintage Stones. The rubbery 'Grace' bounces off the walls, while slow-moving 'Run' ends things on a mellow note.
Johnny Marr, best known for his guitar work as a member of the Smiths (and, most recently, on the Pet Shop Boys' Release disc) is a busy guy. He produced Between The Senses (Virgin) the debut disc by British quartet Haven, which includes such memorable tracks as 'Say Something,' 'Still Tonight,' 'I Need Someone,' 'Beautiful Thing,' and 'Lately,' all guided by the gorgeous voice of Gary Briggs. Marr's name is also prominent in his new band Johnny Marr + The Healers. The songs on Boomslang (iMusic), the debut by Marr's new band, don't have much in common with the Smiths' sound, as they are more of a blues rock nature. Marr also displays a mellower pop side on 'Down On The Corner' and 'Another Day.'
Released last summer, Free All Angels (Kinetic/Infectious) by Ash burns with a youthful exuberance and energy that has helped it (Ash's third full-length domestic studio disc) have a longer than expected shelf-life. 'Burn Baby Burn,' 'Cherry Bomb' (which uses a gorgeous Walker Brothers sample from 'Make It Easy On Yourself'), the brief bluster 'Pacific Palisades,' and the perfectly lovely 'Sometimes.'
