1990 - The Primal Scream is...
Bobby Gillespie
Robert "Throb" Young - Guitar
Andrew Innes - Rhythm Guitar
Henry Raycock Olsen - Bass
Phillip "Toby" Tomanov- Drums
Martin Bernard Duffy – Keyboards

1990

1990 - 3x20 (Colours) Music From British Independent Record Companies 1980-1990
Made in U.K. by Caroline International Ltd. Imported by Omagatoki Co. Ltd. Distributed in Japan by Shinseido Co. Ltd. Design by intro, London. Photography by Michael Banks. Price: Y5,150.
1x20 Disc 1 (Red) Music IND CD1 includes The Stone Roses - Sally Cinnamon & Primal Scream - Ivy, Ivy, Ivy
1x20 Disc 2 (Blue) Music IND CD2
1x20 Disc 3 (Yellow) Music IND CD3 includes The Lightning Seeds - Pure
Notes: Various Artists Compilation.

January 1990 - Andrew Weatherall remixes I’m Losing More Than I’ll Ever Have.
Notes: This second attempt became Loaded. It was finished by Andrew in the studio. Weatherall reworked elements including its house-style piano, and added a sample of a rebellious Peter Fonda from the biker film The Wild Angels (1966).
From The Independent (independent.co.uk) 07 November 2003 01:00 Friday by Steve Jelbert: "I think it was just meant to happen. We just passed Weatherall in the street. It was the second time he'd ever been in a studio - the first was with Paul Oakenfold on a Happy Mondays record." Were you surprised to find yourself adopted by the dance scene? "I was too smashed to notice anything," Gillespie replies. "I just remember going to clubs and people being very nice to us."
23 February 2020 09.30 GMT Sunday - The Observer, Guardian, Bobby Gillespie Interview by Sean O’Hagan: The thing about Andrew was that he was a non-musician - Loaded was only his second time in a recording studio. Because he wasn’t aware of the rules, he broke them. He wasn’t trying to make hit records. That never entered his mind. He just wanted to make interesting tracks that worked on the dancefloor.

22 January 1990 - Le Truck, Venissieux, Lyon, France
Ivy Ivy Ivy / Gimme Gimme Teenage Head / ? (Night Rider?) / Sweet Pretty Thing / I'm Losing More Than I'll Ever Have - "Let The Good Times Roll" / Jesus Can't Save Me / Lonesome Town (Ricky Nelson cover) / She Power / Imperial / I Got You Split Wide Open Over Me / Lone Star Girl
Ramblin' Rose (MC5 cover) / No Fun (The Stooges cover) / Don't Believe A Word (Thin Lizzy cover)
Notes: Broadcast on Zap FM. The first time the band have a concert recorded for broadcast. The unkown song has been previously tagged as 'Knight Rider'.
Broadcast: Zap FM
Bootleg: FM Broadcast
Bootleg: The Lyon Tapes - Pre-FM () Notes from recorder: “All my concerts were recording for Radio-Bellevue and Zap FM, so we have had some technical easynesses to record these shows. Primal Scream were recorded for ZAP FM at Le Truck (Vénissieux). It was a pre FM recording for Zap FM (Lyon). I used a basic system for recording: SDB outputs + ambiance mikes mixed on-the-fly (with headphones) onto a VHS HiFi tape recorder. The master tape was done on a HiFi video recorder and 8 years ago, ai transferred this tape on cd. I've lost the cd ... but i have a help K7 tape done at this moment (ouf!!). The mix and recording quality are not so good as usual for my LTC/pre-FM. Some overloads in B.Gillepsie's voice, for at last 30 min, until the band sound engineer listened to this problem.”

23 January 1990 - Bloom, Mezzago, MB, Italy
Cold Turkey / Ivy Ivy Ivy / Gimme Gimme Teenage Head / ? (Night Rider?) / Sweet Pretty Thing (Give Yourself To Me) / I'm Losing More Than I'll Ever Have - "Let The Good Times Roll" / Jesus Can't Save Me / She Power / Imperial / Lone Star Girl / Ramblin' Rose (MC5 cover)
Notes: After Ivy, Rob plays a few notes of Sweet Home Alabama and Bobby sings a couple lines of "Proud Mary".
Bootleg: Audience Recording

24 January 1990 - Capolinea, San Giorgio di Piano, Italy
Notes: Date changed? See 03 February 1990

25 January 1990 - Le Confort Moderne, 185 Fbg di Pont-Neuf, Poitiers, France
? (Night Rider?) / Gimme Gimme Teenage Head / Sweet Pretty Thing ("She Said, She Said Too Much, She's Dead") / Ivy Ivy Ivy / I'm Losing More Than I'll Ever Have / Jesus Can't Save Me / She Power / 'Tough Girl' / Imperial / Lone Star Girl / Ramblin' Rose (MC5 cover) / No Fun (The Stooges cover) / Did You No Wrong (Sex Pistols cover)
Bootleg: Audience Recording (Aiwa TP-VS450 Recorder. Source: Chacaux. Transfer: Tape > Audacity > WAV > FLAC) Tape

28 January 1990 - Rome, Italy
Cold Turkey (John Lennon & The Plastic Ono Band cover) / Ivy, Ivy, Ivy / Gimme Gimme Teenage Head / ? Knight Rider ? / Sweet Pretty Thing / I'm Losing More Than I'll Ever Have / Jesus Can't Save Me / She Power / 'Tough Girl' / Imperial / Lone Star Girl / Ramblin Rose (MC5 cover)
Notes: Despite a dated VHS in circulation, I cannot find the venue?
Bootleg: Tape (Full Show, sourced from VHS with different EQ) Audience Recording
Video Bootleg: VHS (Full Show) Amateur Audience Recording

29 January 1990 - Hiroshima Mon Amour, Turin, Italy

03 February 1990 Sabato - Capolinea 97 Club (Roxy Cinema), Rockerilla, Via Fariselli, 5 - S. Giorgio Di Piano, Bologna, Italy
Notes: Date taken from poster.

07 February 1990 - Sala KGB Club, Barcelona, Spain * Doors Open: 23:00
Sweet Pretty Thing / Gimme Gimme Teenage Head / Ivy, Ivy, Ivy / ? (Night Rider) / You're Just Too Dark To Care / I'm Losing More Than I'll Ever Have / Jesus Can't Save Me / Lonesome Town (Ricky Nelson cover) / She Power / ? (Tough Girl (I Want A)) / Imperial / Lone Star Girl / Ramblin' Rose (MC5 cover) / Cold Turkey (John Lennon & The Plastic Ono Band cover) / Don't Believe A Word (Thin Lizzy cover) / No Fun (The Stooges cover)
Notes: The unknown song has been previously tagged as 'Knight Rider' too.
The band are broadcast on radio again! Sweet Pretty Thing is usually incomplete on the bootleg recordings, to edit out the DJ announcement. No Fun includes the Radio DJ talking over the end of the track.
Broadcast: FM
Bootleg: FM Recording - Tape (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - London ULU 6/10/89 + Barcelona Sala 7/2/90 (FM)
Bootleg: FM Recording - Riot In Barcelona 1990 (Cat. No. TOTH360) CD-R

08 February 1990 Thursday - Garage, Valencia, Spain * Doors Open: 23:30 * Ticket Price: 1500 PTS (Advance), 2000 PTS (On The Door)

February 1990 - Loaded U.K. Release Date
Produced by Sister Anne (Primal Scream).
7inch Vinyl Creation CRE 070
Loaded (7inch Version) aka (Edit) 4:20 - Written by Gillespie, Innes & Young. Produced by Andy Weatherall.
I'm Losing More Than I'll Ever Have (Pat Collier Mix) - Written by Gillespie, Innes & Young. Produced by Sister Anne (Primal Scream). Remixed by Pat Collier.
12inch Vinyl Creation CRE 070T
Loaded (Extended) - Written by Gillespie, Innes & Young. Produced by Andy Weatherall.
I'm Losing More Than I'll Ever Have (Pat Collier Mix) - Written by Gillespie, Innes & Young. Produced by Sister Anne (Primal Scream). Remixed by Pat Collier.
Ramblin' Rose (MC5 cover) (Live NYC) - Written by Wilkin/Burch/Wilson. Produced by Sister Anne (Primal Scream).
CD CRESCD 070
Loaded - Written by Gillespie, Innes & Young. Produced by Andy Weatherall.
I'm Losing More Than I'll Ever Have (Pat Collier Mix) - Written by Gillespie, Innes & Young. Produced by Sister Anne (Primal Scream). Remixed by Pat Collier.
Ramblin' Rose (MC5 cover) (Live NYC) - Written by Wilkin/Burch/Wilson. Produced by Sister Anne (Primal Scream).
Notes: Charted at number 16 in the UK. Screamadelica was a good two years to go at this point (see 23 September 1991).
Loaded is Andrew Weatherall's remix of I'm Losing More Than I'll Ever Have. Weatherall sampled and edited a snippet of Peter Fonda's dialogue "We wanna be free, we wanna be free to do what we wanna do / And we wanna get loaded and we wanna have a good time / That’s what we’re gonna do, no way, baby, let's go / We're gonna have a good time, we're gonna have a party" from "The Wild Angels", a 1966 film directed by the great Roger Corman. He also sampled the chorus from "I Don't Want To Lose Your Love", by The Emotions.
From March 1990 - Meldoy Maker Magazine: "Ramblin' Rose is what Primal Scream are like live now. We're a total energy zap with lots of speed and noise, the sort of stuff people can really get off on. We've had a few house kids wander into some of our gigs and, on a couple of occasions, they've come up to us after the show and said that although they don't normally listen to rock music, they could appreciate the energy of what we do on stage and that kind of response is very pleasing. "It'd be great to think that somebody who buys a copy of Loaded having heard it in a club will get the record home, flip it over and discover Ramblin' Rose. At first they probably won't know what the fuck's going on, but after a while they might get into it and perhaps even want to pick up an MC5 album when they next go to the record shop. At the same time, those who buy the single just because it's by Primal Scream might realise what dance music can offer. Ultimately, all we're saying is that people should open up their minds a lot more. Some may be pleasantly surprised."
From 31 January 2011 - NME Magazine, article By Sarah Anderson: Primal Scream’s ‘Screamadelica’: An Oral History...However, it was meeting producer Andrew Weatherall that truly set Primal Scream on the path to ‘Screamadelica’. The pivotal meeting took place at a party in Brighton. “It was one of those great nights,” recalls Creation boss Alan McGee. “At the end of the rave, at 11 in the morning, Weatherall came over and introduced himself.”
Initially the track wrong-footed the band’s indie fans (“They just didn’t want to hear,” says Gillespie). But it went down really well when DJs played it at dance nights – and it became the band’s first hit in February 1990, entering the charts at Number 16 and selling around 100,000 copies. “It sounded fucking amazing,” says Gillespie. We’d done it.”...
24 March 2016 18.01 GMT Thursday - The Observer, Guardian Dave Simpson Interview: Andrew Innes (guitar): The first time I heard Loaded in a club, Weatherall played it as the last record in Subterranea [in west London] – 500 people started punching the air, and going ‘whoo whoo’, like in Sympathy For The Devil. I’d never seen any of our songs get a reaction like that, and then Martin Fry from ABC came up and said, ‘Is this your new record? It’s fucking great.’ I phoned Bobby and got him out of bed at about four in the morning. I just said, ‘Bobby. I think we’ve got a hit.’”

23 February 2020 09.30 GMT Sunday - The Observer, Guardian, Bobby Gillespie Interview by Sean O’Hagan: And, of course, he was the first person to play Loaded in a club. I think the reaction completely took him by surprise. It certainly took us by surprise! I remember Innes went to see him DJ at Subterania in west London. Afterwards, he called me in the early hours and said: “Bobby, it was insane. Weatherall played Loaded and the whole place went ballistic.” He told me that Mick Jones (from the Clash) and Kevin Rowland (from Dexys Midnight Runners) had come up to him afterwards and shook his hand.
07 Jul 2020 06.00 BST Tuesday The Observer, Guardian, Joe Muggs article: Shaun Ryder echoes this point: “I used to say to Bobby Gillespie, ‘Fucking Tony Wilson makes me sing on everything. You just do mad tracks with weird sounds and no lyrics. How’d you get away with it?’ It was definitely about what you could get away with.”

February 1990 - Loaded Video Shoot
Notes: The promo was filmed in its director's flat above a takeaway in Stoke Newington, north London. Journalist Steve Jelbert was one of the dancers in the video.
From The Independent (independent.co.uk) 07 November 2003 01:00 Friday by Steve Jelbert: Although this journo has never met Gillespie before, I'm actually one of the anonymous dancers in the video for "Loaded", filmed in its director's flat above a takeaway in Stoke Newington, north London (honestly). As their label, Creation, hadn't actually come up with a copy of the song for us extras (in fact, the director's mates) to jig around to, we were actually swaying to that very Happy Mondays mix. That is the sort of weird coincidence that gives the Scream their lasting resonance....

March 1990 - Loaded (Remix) U.K. Release Date
Remix 12inch Vinyl Creation CRE 070T
Loaded (Terry Farley Remix) - Written by Gillespie, Innes & Young. Produced by Andy Weatherall. Remixed by Terry Farley.
I'm Losing More Than I'll Ever Have - Written by Gillespie, Innes & Young. Produced by Sister Anne (Primal Scream). Remixed by Pat Collier.
Ramblin' Rose (MC5 cover) (Live NYC) - Written by Wilkin/Burch/Wilson. Produced by Sister Anne (Primal Scream).

March 1990 - March 1990 - CATH Vol.1 Fanzine 1990 - Spring
Notes: Includes Primal Scream and The Stone Roses.

10 March 1990 - Primal Scream appear on Hit Studio International, Super Channel
Notes: Loaded
TV Broadcast: 10 March 1990 - Hit Studio International, Super Channel

M - 17 March 1990 - Primal Scream appear in Record Mirror Magazine, Volume 37 - Number 11, 75p

M - March 1990 - Primal Scream appear in Meldoy Maker Magazine
Notes: See Media for the article.

07 April 1990 Saturday - Bobbie Gillespie is spotted at Happy Mondays - This Rave Is On - Wembley Arena, London

1990 - Bobby's Basement Flat Brighton
I'm Coming Down / Come Together
Notes: Bobby wrote Come Together here too in April 1990.
From Demodelica Bobby said "I wrote I'm Coming Down in my basement flat on Brighton seafront looking at the ghostly Victorian West Pier'."

1990 - Primal Scream meet Denise Johnson - Hypnotone - Shoom, London
Notes: Sumner and Marr's Electronic asked Denise Johnson to record some vocals for “Get the Message”. In the studio, Denise met Tony Martin, who asked her to sing on a track for his rave band Hypnotone.
Hypnotone were signed to Creation Records, Tony Martin began doing programming for Primal Scream. Bobby wasn’t convinced he could pull off the vocals for their new song and Martin suggested Denise. The band came to watch Hypnotone perform with Denise at Danny Rampling’s London club 'Shoom' and, as the story goes, guitarist Andrew Innes rang Gillespie and said: “Get down here now, we’ve found the f***ing singer.”

1990 - Andrew's Flat, Isle Of Dogs Home Studio
Higher Than The Sun / I’m Coming Down / Don’t Fight It, Feel It / Don’t Fight It, Feel It (Isle Of Dogs Tony Martin/Hypnotone Mix) / Damaged
Notes: Bobby Gillespie, Andrew Innes & Robert "Throb" Young recordings. Damaged was written during the Isle Of Dogs Sessions.
From Demodelica : These sixteen tracks come from a period of just over a year and a half in 1990/1991. 'Everything was written and recorded post Loaded', as Bobby Gillespie remembers; 'Over springy summer, autumn and winter of 1990. Come Together was written while Loaded was still in the charts. The music is extended as obviously we were going to clubs round then and fully imbibing the ecstasy culture where the records were full of repetition and generally over six minutes in length. We were trying to make tracks that would sound good in the clubs we were going to.' They were recorded in four locations. As Bobby Gillespie explains, the group was 'Bobby, Andrew, and Robert only on most tracks from the Hackney and Isle of Dogs (IOD) demos, while the Eden/Jam tracks are augmented with Martin Duffy on keys and Henry Olson on bass and harmony vocals. Denise Johnson sings on Don't Fight It only. Movin' On Up, Higher Than the Sun, Don't Fight It, Feel It, and Shine Like Stars were written in Hackney, Damaged in Isle of Dogs...'All the tracks were recorded in London. The Isle of Dogs studio was the spare room in Andrews council flat...
As Andrew Innes elaborates, 'The IOD (and earliest stuff) was the 4 track Tascam recorder and Akai SIOOO sampler that I had in my bedroom in my flat. Why we have some of these demos is that we toured Japan for the first time at the start of July 1990 and bought a DAT player. Before that we had put all the demos onto cassettes which we have all lost over the years unfortunately including 'Weatherall's original attempts at Loaded. On these demos it would just be Me, Bobby and Robert with the drums of Don't Fight it programmed by Tony Martin of Hypnotone who was helping me learn the workings of the SIOOO.'...'I cannot stress how important the sampler was to us then. It opened up all sorts of new horizons to us musically. It's not an exaggeration to say we went from grim black and white to glorious technicolour. Suddenly we could have a 'funky drummer', strings, tablas and all sorts of new and psychedelic sounds all in my bedroom and not requiring major record deal levels of money to
experiment with. It was truly liberating. We set about listening to our record collections again and people would turn up with stuff saying "I think we could use this beat or why not lift this string line here". '
'We were converted and a whole new way of writing songs was upon us. Also there seemed to be a fraternity of people you would meet in studios who would give you a set of, say, tabla samples on a floppy disk cos they knew you were into that sort of thing... Others, like Don't Fight It, Feel It - with the sampled riff from the Beatles' Hey Bulldog - are fascinating works in progress. ...As Andrew Innes concludes, 'Looking back on these demos it really brings out just how creative and inspired we were at that point in our lives.
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes:
DON'T FIGHT IT FEEL IT ISLE OF DOGS HOME STUDIO /
ISLE OF DOGS HYPNOTONE MIX / EMI PUBLISHING STUDIO MIX
Andrew Innes: 'This started off as a soul track in a Brighton rehearsal room. You can really hear the acid influence from 1990 with the beeps and 909 drum machine. Obviously we sampled the Beatles for a laugh. That was us just going through our records and 'borrowing' into the sampler. It was really creative and set people off listening to their old stuff with new ears. The brass was one of those floppy discs that was acquired and fortunately was in the right key. You definitely hear the acid house/S'Express influence on us'.
Bobby Gillespie: 'Andrew worked on the IOD edit with a guy named Tony Martin from Hypnotone (he did the 'lights' at Hacienda Acid nights). I wrote the melody and words over Andrew's piano chords and sang it to Denise to copy. We heard her sing with Hypnotone live at a club night called Solaris on Grey's Inn Road. We had already written the song and saw it as a modern electronic acid house version of Northern Soul — we felt it was a very commercial song — the idea was to have another hit single.'
Official: 2022 - Demodelica () CD

April 1990 - Rehearsals, Brighton
Come Together / Don't Fight It Feel It / Shine Like Stars

April / May 1990 - Jam Studios, Tollington (Finsbury Park) Park, London
Come Together - Engineered by Colin Leggett. Gospel Choir - Hackney Quartet: Nicky Brown, Lawrence John, Faye Simpson & Sarah Brown.
Come Together / Higher Than The Sun
Notes: Screamadelica sessions continue.
From Demodelica : 'This version is the one that Terry Farley remixed and put a Balearic 'Baggy' beat under and became the follow up hit single to Loaded summer 1990. As you can hear we recorded strings and gospel choir on it — very much influenced by Chips Moman's American Studios sessions with Elvis 1969 (Suspicious Minds/ Kentucky Rain/Any Day Now) and Dusty In Memphis too. Come Together was written with the full band jamming in a rock way — guitar led — in a major key...in progress. Nevertheless the predominant mooa psycnedelic, as the musicians dig into themselves. For me, the real find comes near the end: anearly seven minute demo of Shine Like Stars that concludes in an extraordinary, blissed out gamelan/sitar/tabla sequences....
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes: COME TOGETHER JAM STUDIO MONITOR MIX - Bobby Gillespie: 'This is the complete original arrangement we recorded on our own with the help of engineer Colin Leggett at JAM Studios Spring 1990. It was written in Brighton during April 1990 with the full band jamming, and then taken into Jam studios to record before the Hackney studio was built. On this song the vocalists other than myself were a gospel quartet who all had worked with stellar outfits such as the London Community Gospel Choir and Inspirational Choir - their names are
Nicky Brown, Lawrence John, Faye Simpson, Sarah Brown.'
Andrew Innes: 'This was recorded after Loaded was a hit and before we went to Japan. It must have been May 1990. We were trying to write another epic with a big repetitive chorus at the end. It was a gospel choir from Hackney that sang on it. They were brilliant although they had to check the lyrics out to check they were acceptable to sing! Great feel to this with the real drums.'
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes:
HIGHER THAN THE SUN ISLE OF DOGS HOME STUDIO / JAM STUDIO MONITOR Mix
Bobby Gillespie: 'On the JAM monitor mix we approximated the sound of a Theremin using an old analogue synth: I think it was the Roland SH-IOI synthesizer. Again, Andrew may remember this as I may have dreamt this up. We absolutely loved harpsichords due to our Brian Jones/Electric Prunes/
Satanic Majesties/Seeds/Psych obsession. On Higher Than The Sun it is, I believe, a synthesized Harpsichord (or sound sample?) and not an old analogue one. Andrew Innes: 'Higher Than The Sun ends quite quietly, ie not 'epic', as I think we were trying to keep it more Pet Sounds/Surf's Up: sad but glorious. It's not a theremin, but a Roland SH2 trying to sound like a theremin. We were learning how to leave space in our recordings by now. The 'harpsichord' was a Sl 000 floppy disk someone gave me. I think it was the low note of a piano that
sounded like a harpsichord when you played it higher up... I wish I still had it!'
Official: Rock The Dock
Official: Burning Wheel CD ?
Official: 2022 - Demodelica () CD

1990 - Jam Studios, Tollington Park (Finsbury Park), London
I’m Coming Down / Inner Flight (Henry Acapella) / Inner Flight / Shine Like Stars
Notes: Bobby Gillespie, Andrew Innes & Robert "Throb" Young, Henry Olsen & Martin Duffy recordings. During the Inner Flight Sessions, the owner of JAM studios abandoned the studio. The Bailiffs came in to collect unpaid rent but the owner had already fled taking as much equipment as possible, including the 24 track tapes to Inner Flight. Fortunately the band saved several sections of the recording on a floppy disk. The band went to Eden Studios to re-record the song with Andrew Weatherall, using some of the JAM studio recordings from the floppy disk.
From Demodelica : These sixteen tracks come from a period of just over a year and a half in 1990/1991. 'Everything was written and recorded post Loaded', as Bobby Gillespie remembers; 'Over springy summer, autumn and winter of 1990. Come Together was written while Loaded was still in the charts. The music is extended as obviously we were going to clubs round then and fully imbibing the ecstasy culture where the records were full of repetition and generally over six minutes in length. We were trying to make tracks that would sound good in the clubs we were going to.' They were recorded in four locations. As Bobby Gillespie explains, the group was 'Bobby, Andrew, and Robert only on most tracks from the Hackney and Isle of Dogs (IOD) demos, while the Eden/Jam tracks are augmented with Martin Duffy on keys and Henry Olson on bass and harmony vocals. Denise Johnson sings on Don't Fight It only. Movin' On Up, Higher Than the Sun, Don't Fight It, Feel It, and Shine Like Stars were written in Hackney, Damaged in Isle of Dogs...Eden and Jam were both professional studios — Elvis Costello and Nick Lowe recorded at Eden. Jam was the old Decca Studio 4 at Tollington Park Rd: it was owned by English session pianist Chris Stainton, who had worked with The Who (on the track 5.15), Joe Cocker on the Mad Dogs and Englishmen tour, as well as Isaac Hayes.'...The Jam and Eden studio 'monitor mixes' and 'demo' are perfect examples of the instrumental arrangement ideas we were experimenting with at the time using sitar/harmonium/synthesizers flute samples/Beach Boys influenced 3-4 part stacked vocal harmonies/gamelan bells and various esoteric sampling ideas (free jazz/funk records and such)'. 'We were definitely repositioning after Loaded. On our second album tour 1989 we were deeply into a twin guitar MC5 total assault on the senses ramalama high energy rock and roll ethos. During the period when Loaded was in the charts Alan McGee told us we had to write a follow up. We booked a practice room in Brighton and wrote Come Together which had a more Monkees/Lovin' Spoonful feel to it. The track that opens Demodelica is the result of that more softer psych approach.'...After recording demos in the Isle of Dogs and Hackney set ups, Primal Scream moved to two further studios. As Andrew remembers, 'the JAM monitor mixes were from JAM studios in Tollington Park, the north side of Finsbury Park. We recorded most of the LP here. It was the old Decca 4 studio, a lovely old London villa rather like Abbey Road. Whiskey in the Jar was recorded there and that was good enough for us!' The band there included Martin Duffy on keys and Henry Olsen (could play a bit of everything).'
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes:
I'M COMING DOWN ISLE OF DOGS HOME STUDIO / JAM STUDIO MONITOR MIX
Bobby Gillespie: 'I'm Coming Down IOD is a very basic guitar/vocal song demo, The Jam monitor mix is a work in progress mix but not entirely sure how much more work was done before Andrew Weatherall and The Orb got their hands on it. I think this is Andrew or Robert's guitar turned backward — we all LOVED psychedelic music and this is an obvious example of that love. When
Weatherall mixed the song he left the backwards guitar off — glad it's here cos it sounds fab.' 'I was in love with Just My Imagination by the Temptations - I wrote about how I felt — I wanted to document the spiritual inertia and post euphoria loneliness of what was increasingly becoming the dark side of Acid House: the feelings of aloneness after the utopian communitarian feelings of
togetherness at the clubs and parties when one was alone again and the drugs were slowly wearing off and feelings of cold existential dread invaded ones's thoughts replacing the utopian visions and transcendental glimpses from earlier in the evening. 'As in the 1960's, heroin was beginning to creep into the scene as a panacea to take the edge off of the Ecstasy comedown. Cocaine was also beginning to make its soulless presence felt in the scene too. As in the 1960's, Ecstasy shared with LSD the possibility of a Utopian cultural breakthrough - but the increasing presence of soul numbing plague drugs such as cocaine and heroin were in complete opposition to the communitarian ethos of Acid House.' 'Ecstasy and LSD are drugs to be taken to OPEN the mind and senses to what is POSSIBLE. Heroin and Cocaine are drugs that close you down emotionally and spiritually creating a vast distance between the user and the rest of the world. We of course, 'experimented' with everything we could get our hands on. A price was paid eventually by certain band members, friends, but that was all to come.' 'At the point when I wrote this song it was mostly speed and ecstasy and times were good and there was a definite positivity around the scene — a time of real possibility and creativity. I still saw the
energy flash of Acid House as one of societal togetherness and cultural revolution. A definite utopian moment for sure: the biggest bieakthrough since Punk rock for me.' Andrew Innes: 'Its very Velvet Underground in the IOD version! I think we were trying to get more electronic so that's why it changed. After Loaded we were trying to go more electronic, be more experimental, use synths, samples and live instruments. Sadly the backward guitar solo never made it to Weatherall's final mix... it is indeed a belter. We'll all be claiming we played that!!'
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes:
INNER FLIGHT HACKNEY STUDIO VOCAL MELODY /
HENRY ACAPELLA JAM STUDIO / JAM STUDIO MONITOR MIX
Bobby Gillespie: 'The Vocal Melody Hackney is a recording in real time, audio verité document of when we wrote the chord sequence/melody that begat the song Inner Flight. The H Acapella we took off of the JAM album sessions recording especially for Demodelica as we felt it's very beautiful. These are Henry Olson's vocals for Inner Flight soloed and very much in tune with You're Welcome or Our Prayer by Beach Boys. Henry was/is a classically trained musician who could read/write musical narration and played with both John Cale and Nico before he joined Primal Scream.' 'The Jam monitor mix sounds to me like it's a work in progress mix from the album sessions but it's not complete: we still haven't added Henry's choral harmonies or changed the top line melody to a flute yet. I think this may be the original track we worked on and never finished because the studio closed whilst we were in the middle of recording the album the owner disappeared with the tapes and we had to rerecord Inner Flight somewhere else (maybe Eden).' Andrew Innes: 'The Vocal Melody is the actual moment when we wrote that...hence it's a bit wobbly but it was nice to include 'the moment' in the demos. Henry was doing his best choirboy/Beach Boys backing vocals on this too. Fortunately when all the masters disappeared with JAM studios we had saved this to a floppy disk and didn't need to re-record this!'
SHINE LIKE STARS JAM STUDIO MONITOR MIX / EDEN STUDIO DEMO - Bobby Gillespie: 'The Monitor mix is from the Jam studio album sessions. This is the original version we recorded. Both Weatherall and The Orb remixed this but we rejected both as we were not sure of the musical arrangement here — it has a George McCrae Rock Your Baby vibe (Andrew's choppy guitar) and we wrote it over a breakbeat of Joy by Isaac Hayes. We felt it was more suited to a ballad arrangement than a funk one and completely re-recorded it at Eden studio with Martin Duffy playing a real harmonium, in total homage to Nico.'
31 January 2011 - NME Magazine, article By Sarah Anderson: Primal Scream’s ‘Screamadelica’: An Oral History... “If the first Primal Scream album was acid,” says the singer, “and the second one was speed, then the third phase was E.” ‘Screamadelica’ came together piecemeal, but the bulk was recorded in six weeks over the summer of 1991 at Jam Studios in London’s Finsbury Park. E wasn’t the only drug involved. “I remember [keyboardist Martin] Duffy when we were doing ‘Inner Flight’,” says Gillespie. “He was tripping on acid. I remember him jumping on the mixing desk going ‘Bob, Bob, I’m pissing in the sky!’. It was beautiful.”
Official: 2022 - Demodelica () CD

1990 - Eden Studios, Acton, London
Shine Like Stars
Notes: From Demodelica : These sixteen tracks come from a period of just over a year and a half in 1990/1991. 'Everything was written and recorded post Loaded', as Bobby Gillespie remembers; 'Over springy summer, autumn and winter of 1990. Come Together was written while Loaded was still in the charts. The music is extended as obviously we were going to clubs round then and fully imbibing the ecstasy culture where the records were full of repetition and generally over six minutes in length. We were trying to make tracks that would sound good in the clubs we were going to.' They were recorded in four locations. As Bobby Gillespie explains, the group was 'Bobby, Andrew, and Robert only on most tracks from the Hackney and Isle of Dogs (IOD) demos, while the Eden/Jam tracks are augmented with Martin Duffy on keys and Henry Olson on bass and harmony vocals. Denise Johnson sings on Don't Fight It only. Movin' On Up, Higher Than the Sun, Don't Fight It, Feel It, and Shine Like Stars were written in Hackney, Damaged in Isle of Dogs...Eden and Jam were both professional studios — Elvis Costello and Nick Lowe recorded at Eden. Jam was the old Decca Studio 4 at Tollington Park Rd: it was owned by English session pianist Chris Stainton, who had worked with The Who (on the track 5.15), Joe Cocker on the Mad Dogs and Englishmen tour, as well as Isaac Hayes.'...'As we were finishing up Inner Flight we left the studio on Friday evening and over the weekend it was cleared out and nothing was there on Monday morning. The owner had disappeared! I think he cleared off with the gear before the bailiffs came. Our Inner Flight 24 track had gone too so we had to start again. Weatherall had been mixing in Eden Studios in Acton and it had a little programming suite there so we went there to re-do Inner Flight and rerecord Shine like Stars. Again the five of us were on these recordings.'
SHINE LIKE STARS JAM STUDIO MONITOR MIX / EDEN STUDIO DEMO
'The Eden Demo sounds to me like the recording we gave to Weatherall to remix. Quite a few of the original recordings had 'esoteric' samples/white noise synth textures: in most cases Weatherall decided to clear the tracks of 'clutter' whilst he re-arranged/remixed/remodelled and we trusted his judgement as we tended to record a lot of sonic information in a 'collage' style - the idea was to provide sounds, ideas and riffs that Andrew could play around with in his own inimitable way.'
'This version has all the elements of the official album mix in place such as the harmonium, the tablas, the sitar, and the weird noises/gamelan bells etc. On our demo version the tablas, sitars and drones go on and on for ages — we were really into this kind of idea — experimental stuff came very naturally
for us. Andrew Weatherall decided to make the track shorter: in the context of the Screamadelica album I feel he made the correct production choice. There are a few 8-9-10 minute songs on the album so shorter ones were needed for balance, variety, and sequential dynamics etc.' 'It's one of my favourites. Very sedate and contemplative. A real love song about watching a lover sleep - and the feelings Of tenderness and protection that one feels in that moment.'
Andrew Innes: 'Both Alex Paterson (the Orb) and Andy Weatherall had done mixes from the JAM monitor mix version. We didn't really like either of them that much so we decided to re-record the song with a different feel, much slower. We used the harmonium so I guess there is a Nico influence but you can really hear how the Sl 000 sampler took us away from the drab and dreary with the tablas and the Gamelan bells and drones. It's almost free jazz in bits. I hadn't heard this for 30 years until we started this project. I'm proud of this one.'
Official: 2022 - Demodelica () CD

August / September 1990 - Eden Studios, Acton, London
Screamadelica
Notes: From Demodelica : SCREAMADELICA EDEN STUDIO DEMO - Andrew Innes: 'Screamadelica was done too late to appear on the LP. We definitely thought we were Isaac Hayes with the string line and disco feel. Sadly it's probably the last track we did where you can hear the ecstasy/club feel. Things in clubland seemed to change and the vibe became different, more cocaine and just not the feel of 89/90.' Bobby Gillespie: 'The track was written and recorded in late August early September 1991. The album had already been sequenced and mastered with artwork finished and was released 23rd September 1991 - the same day as Nevermind - so it was really too late for inclusion. We decided to hold it back and eventually released it as part of the Dixie Narco EP in Feb 1992.'
'This sounds like the recording we gave Weatherall to remix. Everything is in there: the horns/the lazy trombone riff. Andrew's guitar was Hamilton Bohannon funk, string machine riffs matched to Denise's 'oooh ooh ooh' Funkadelic style mantra chant. I sang my parts through one of those voice things that Bootsy Collins and Peter Frampton used • a talk box - I stuck a tube in my mouth and sang through it whilst Andrew played wah wah guitar and the weird underwater effect is achieved.' 'This is a very groovy funky version. If I remember correctly Love's Theme by Love Unlimited Orchestra was a big influence (l was obsessed by that single in summer 1991). Spaced Out Star Child was my Parliament Funkadelic lyrical reference - it was a fun track. I wrote the vocal melody and sparse lyrics and had Denise sing it for me as I felt her powerful voice was more suited to the groove/vibe than mine. I saw myself as a songwriter/producer and I didn't feel that I always had to sing the songs I had written.' 'As I was digging tracks by Eugene Record, Thom Bell, and Gamble and Huff at the time I felt that was an OK thing to do. The complete joy of hearing someone else realise the sound I had in my head/vision for the song was awesome — really empowering. The sample at the beginning of the officially released Weatherall remix version was a tape Andrew Weatherall had recorded on tour summer 1991 of a Martin Duffy extemporization whilst very high: he added that after the fact' 'I think I much prefer this Eden version to the remix, as it captures the utopian promise of those times I hear sunshine and see smiles in it — we were on the UP and felt like we could take on the whole world and win. We were moving at a fast speed creatively speaking and even before Screamadelica was released we were already onto the next thing. Good times!'

03 July 1990 Tuesday - Club Quattro, Shibuya, Japan
Notes: The bands first trip to Japan. A photo of the band at Osaka Train Station would later appear in the 1994 Japanese tour programme.
04 July 1990 Wednesday - Club Quattro, Shibuya, Japan
05 July 1990 Thursday - Club Quattro, Shibuya, Japan

1990 - Denise John features on A Certain Ratio's Won’t Stop Loving You (Bernard Sumner Remix)
1990 - Denise John features on A Certain Ratio's Be What You Wanna Be
Notes: MCR LP track, Initally a B-Side.

July 1990 - Come Together Video Shoot, London
July 1990 - Brighton Photo Shoot, London
Notes: Bobbie in his Hysteria top. Photos from the shoot would appear in NME, Melody Maker and other media at the time.

M - 28 July 1990 - Primal Scream appear on the cover of NME Magazine, 60p
Notes: 'Day Tripper! The hair-raising succes of Primal Scream'

August 1990 - Come Together U.K. Release Date
Written by Gillespie, Innes & Young.
Produced by Primal Scream.
7inch Vinyl Creation CRE 078
Cassette Creation CRE 078
Come Together (7inch Version) (Terry Farley Mix) 4:23 - Additional production and remix by Terry Farley for Boys Own.
Come Together (Andy Weatherall Mix) 4:45 - Additional production and remix by Andy Weatherall for Boys Own.
12inch Vinyl Creation CRE 078T
CD CRESCD 078
Come Together (Terry Farley Mix) 8:02 - Additional production and remix by Terry Farley for Boys Own.
Come Together (Andy Weatherall Mix) 10:17 - Additional production and remix by Andy Weatherall for Boys Own.
Remix 12inch Vinyl Creation CRE 078X
Come Together (The Hypnotone Brain Machine Mix) 5:14 - Remixed by HypnotoneBrainMachine (Tony Martin and Andrew Innes)
Come Together (BBG Remix) 6:27
Notes: Charted at number 26 in the UK.
The 12inch Remix single came in a stickered white generic die-cut sleeve. Poster noted 'Terry Farley, Andrew Weatherall, Boys own mixes'
The 7inch version aka Radio Edit aka Terry Farley Mix included the lyrics “Kiss me, won't you won't you kiss me / Won't you won't you kiss me / Lift me right out of this world / Trip me, won't you, won't you trip me? / Won't you, won't you trip me? / Lift me ride me to the stars / I’m free you’re free / I want you to touch me / Come touch me / Now it’s all too much / All too much"
This time Andrew Weatherall's radical remix would include sample snippets from Ossie Davis 1971 Esteites' presidential election speech "The name of the game is power. If you're not playing power, you're in the wrong place." and Reverend Jesse Jackson's speech from 20 August 1972 - Wattstax, Watts Riots benefit/awareness concert, the improvised speech began with “This is a beautiful day… It is a new day… It is a day of black awareness, it is a day of black people taking care of black people's business… We are together , we are unified… And all in accord… Because when we are together we got power… And we can make decisions… Today on this program you will hear gospel, and rhythm and blues, and jazz. All those are just labels. We know that music is music…”; and continued with his traditional poetic flights: “All of our people have got a soul, our experience determines the texture, the tastes and the sounds of our soul. We may say that we are may be in the slum but the slum is not in us. We may be in the prison, but the prison is not in us”. Weatherall sampled and edited the speech, using “This is a beautiful day… It is a new day… We are together, we are unified… And all in accord… Because when we are together we got power… Today on this program you will hear gospel, and rhythm and blues, and jazz. All those are just labels. We know that music is music…” for the mammoth ten minute remix.
Revisiting: Primal Scream - Come Together (1990), Published 26 October 2016 by Fernando Augusto Lopes http://www.botequimdeideias.com.br :
The day was August 11, 1965. Marquette Frye, a 21-year-old black American, was driving home in his car with his brother, Ronald. He was stopped by police officer Lee Minikus, who was convinced that Frye was under the influence of alcohol. The approach was aggressive, as was customary in those days (and continues to be today).
Ronald, seeing that his brother was going to spill, ran to their house, nearby, and brought his mother, to try to argue with the police that she didn't have bums around.
Officer Minikus didn't want to know. The ruckus increased as the reinforcements required by Minikus arrived. Neighbors began to crowd around the officers who insisted on arresting Marquette.
Police officers began to be targets of objects thrown by locals who were increasingly irritated by the discriminatory approach. The “solution” found by Minikius and his companions in uniform was to arrest the Fryes – brothers and mother. The situation, of course, worsened, so that for the next two days, the Watts district, in the suburbs of Los Angeles, where the case took place, ended up witnessing what became known as the "Watts Riots", which resulted in thirty-four deaths, more than a thousand injured, more than three thousand prisoners and almost a thousand buildings burned, looted, invaded or destroyed.
On account of the “Watts Riots”, seven years later, in 1972, Stax Records organized a great festival with their artists, Wattstax. The festival took place at the Los Angeles Memorial Coliseum on August 20. Names like Albert King, Rufus Thomas and Isaac Hayes were cast.
Among them was the Reverend Jesse Jackson, already famous defender of human rights (and future senator, in the 1990s), who gave one of the most famous speeches of his career.
Just three minutes into the event, with the stadium packed, he quoted a poem unknown at the time, called “I Am – Somebody” and written in the 1950s by the Reverend William Holmes Borders, calling on the audience to recite some passages: “I am … Somebody… I may be poor… But I am… Somebody… I may be on welfare… But I am… Somebody… I may be unskilled… But I am… Somebody… I am… Black Beautiful… Proud… And must be respected … I must be protected…”. The audience responded and reproduced each verse with clenched fists in the air.
But it is the introduction to the poem that ended up even more famous, immortalized in the album that was released with the live recordings of the festival, “Wattstax: The Living Word” (from 1972), and with the documentary film (from 1973 and nominated for the following year's Golden Globe in the category), directed by Mel Stuart.

Jesse Jackson, improvising, even began in a simplistic way:
“This is a beautiful day… It is a new day… It is a day of black awareness, it is a day of black people taking care of black people's business… We are together , we are unified… And all in accord… Because when we are together we got power… And we can make decisions… Today on this program you will hear gospel, and rhythm and blues, and jazz. All those are just labels. We know that music is music…”; and continued with his traditional poetic flights: “All of our people have got a soul, our experience determines the texture, the tastes and the sounds of our soul. We may say that we are may be in the slum but the slum is not in us. We may be in the prison, but the prison is not in us”.

Two years earlier, in 1971, in the primary discussions of the Esteites' presidential elections, Ossie Davies would make one of his most famous sentences, as a human rights activist. Before becoming a famous director, screenwriter and producer in Hollywood, Davis was a personal friend of Malcolm X and fellow soldier Martin Luther King, he had a long journey against racism in his country.
“I appeal to you candidates representing black people: stop chit-chatting and give us a plan of action. Give us the 10 Commandments of Black People – so simple and powerful that we could carry them in our hearts and in our memories and feel the affirmation that despite everything we have a simple, modern and intelligent plan that must be carried out over the course of the year. time. Even if all our leaders one by one succumb in battle, someone will rise again! Someone is going to stand up and say, 'our leaders died while they were on page three of the plan, now that the funeral is over, let's move on to page four... We need our leaders now, our candidates, let them think in our problems, that they think of possible solutions, that they codify the consequences and present them to us, the people, so that we can ratify what they imagined as an action plan. Now, we need a plan because we are at a dangerous yet exciting crossroads in history. (…) We have become a political force and that is why we are here today. This is an exercise in power.
The name of the game is power. If you're not playing power, you're in the wrong place.
The solution is to prepare ourselves to deal with an automated society, to deal with a computerized economy (…). So, I would say our only way out is revolution – to change society in every way we can, before society decides for it, because we are expendable, black and poor and rejected and despised, and society prefers to see us eliminated altogether, than to find the solution in a rational way”.

Look, Bobby Gillespie, a Scotsman who was ten years old in 1972, when the two speeches were already part of history, is nothing black, nor can he claim to have suffered any of the racist atrocities that these people have suffered and suffer. At the age of twenty, in 1984, he joined Hurricane Jesus & Mary Chain by “playing” the drums on his feet and participating in the band's insane lightning shows. In 1986, when he left the Reid brothers' group to dedicate himself exclusively to his Primal Scream, he was able to vent his adoration of the 1960s - from the Rolling Stones, Stooges and girl bands, to American gospel and soul music. Gillespie was a school friend of Alan McGee, the creator of Creation Records, and it was McGee who introduced him to acid house. Gillespie, who wanted to turn the sound and performance of Primal Scream around, was excited by the possibilities. In a rave, between some and other additives, he and guitarist Andrew Innes met DJ Andrew Weatherall, the guy who would give life to the group's greatest work, "Screamadelica", from 1991. Weatherall's first job was to rework "I'm Losing More Than I'll Ever Have", originally released on his second album, 1989's Primal Scream. The rework resulted in the most important turning point in Gillespie's career. "I'm Losing More..." became simply "Loaded", Primal Scream's biggest hit.
What Weatherall did was to take a snippet of Peter Fonda's dialogue in "The Wild Angels", a 1966 film directed by the great Roger Corman (see here), in addition to the chorus "I Don't Want To Lose Your Love", by The Emotions' song of the same title (see here), and put it over the reworked beat of "I'm Losing More..." (the beat came from this well-known pop song). The youth freedom speech given by Fonda (“We wanna be free, we wanna be free to do what we wanna do / And we wanna get loaded and we wanna have a good time / That’s what we’re gonna do, no way, baby, let's go / We're gonna have a good time, we're gonna have a party”) was an open path for what Gillespie had in mind: dealing with… freedom. This included, of course, tons of drugs, mostly ecstasy, but also a little bit of, shall we say, “social conscience”. "Loaded" was released in February 1990, an almost didactic single, which contained the title track and its embryo track, in addition to a stranger in the nest, the live version of "Ramblin' Rose", by the MC5.

But then the fun grew. "Screamadelica" would only appear on the market in 1991, but August 1990 would give another sample of the genius of the union between Primal Scream's rock and Weatherall's acid electronics. It was “Come Together”, the next single.
The original version (or the radio edit) was four minutes long and was a dancing journey of love and drugs: “Kiss me, won't you won't you kiss me / Won't you won't you kiss me / Lift me right out of this world / Trip me, won't you, won't you trip me? / Won't you, won't you trip me? / Lift me ride me to the stars / I’m free you’re free / I want you to touch me / Come touch me / Now it’s all too much / All too much”.
Once again the hand of Weatherall came, who subverted the music, with samplers, pilfered beats and, this time, with a mood of dub and house. The producer took snippets of Ossie Davis and Jesse Jackson's lines quoted at the beginning of this article, put it on a spaced beat, with a space bass, and revamped the entire song.
"Come Together", like "I'm Losing More Than I'll Ever Have", became something else. With more than ten minutes, the listener is transported, based on ecstasy, to the whole racist problem (not just the American one, of course), with Jackson toasting us with his sentences: “This is a beautiful day… It is a new day… We are together, we are unified… And all in accord… Because when we are together we got power… Today on this program you will hear gospel, and rhythm and blues, and jazz. All those are just labels. We know that music is music…”, repeatedly underlining the “gospel”. And with Davis being direct: “the name of the game is power, if you ain’t playing power, you are at the wrong place”. The story, in other words, is: “together we are strong, but we have to act politically, in the bowels of the system”. Nothing more current.
The remix of “Come Together” did not achieve the same commercial strength as “Loaded”, since it was less accessible in terms of thematic, in the slow sound (it seems that the music never gears “to the tracks”, it is only in the “intention”, the beat it's practically just the bass drum) and duration (radio stations still seem to hate songs longer than three or four minutes, with exceptions).
Even so, Japan, always smart, released an EP called “Come Together” uniting the EP with the three songs from “Loaded”, plus the original version and remixes of “Come Together”. They were, after all, all the same, the same musical DNA, the same logic. "Loaded" reached number 16 in the UK charts. “Come Together”, number 26. “Screamadelica”, number 8 and went platinum (almost four million copies worldwide), in addition to winning the 1992 Mercury Prize...

CD U.S.A Sire 21844-2
CD Japan Epic/Sony, ESCA 5954
Come Together (7inch Version) (Terry Farley Mix) 4:22
Loaded (7inch Version) aka (Edit) 4:19
Come Together (12inch Version) aka (Terry Farley Mix) 8:02
Loaded (Extended) aka (Weatherall Mix) 7:00
I'm Losing More Than I'll Ever Have (Pat Collier Mix)
Ramblin' Rose (MC5 cover) (Live in NYC)
Loaded (Terry Farley Remix)

M - 18 August 1990 - Primal Scream feature on the cover of Record Mirror Magazine, Volume 37 - Number 33, 75p
Notes: Cover photo by Grant Fleming Price. Record Mirror closed on the same day, 02 April 1991, as the sister paper Sounds with the last issue, dated 06 April 1991. The owners, United Newspapers, sold off most of their consumer magazines in order to concentrate on their newspaper business. Eleanor Levy, the final editor, believed the decision to close the magazine was "taken by accountants rather than people who understand music. When I explained to one of the management team that our strength was dance music, he thought I meant Jive Bunny." James Hamilton moved to the trade magazine, Jocks, which was changing to a dance magazine as DJ Mag. Record Mirror continued as a four-page supplement in Music Week from the 13 April 1991. In later years the supplement concentrated on dance music: dance charts were later incorporated into Music Week. In 2010, Giovanni di Stafano, bought the rights to the name Record Mirror and re-launched it as an online music gossip website in 2011.

1990 - Shore Road, Hackney Studio Demo
Damaged / Movin’ On Up / Inner Flight (Vocal Mix) / Shine Like Stars
Notes: Bobby Gillespie, Andrew Innes & Robert "Throb" Young recordings. Shine Like Stars was written during the Hackney Sessions.
From Demodelica : These sixteen tracks come from a period of just over a year and a half in 1990/1991. 'Everything was written and recorded post Loaded', as Bobby Gillespie remembers; 'Over springy summer, autumn and winter of 1990. Come Together was written while Loaded was still in the charts. The music is extended as obviously we were going to clubs round then and fully imbibing the ecstasy culture where the records were full of repetition and generally over six minutes in length. We were trying to make tracks that would sound good in the clubs we were going to.' They were recorded in four locations. As Bobby Gillespie explains, the group was 'Bobby, Andrew, and Robert only on most tracks from the Hackney and Isle of Dogs (IOD) demos, while the Eden/Jam tracks are augmented with Martin Duffy on keys and Henry Olson on bass and harmony vocals. Denise Johnson sings on Don't Fight It only. Movin' On Up, Higher Than the Sun, Don't Fight It, Feel It, and Shine Like Stars were written in Hackney, Damaged in Isle of Dogs...We then built our own small studio in Shore Road, Hackney with Loaded royalties...Andrew said: ...In the autumn we got a room built in Hackney in Shore Road near the Creation offices which had a proper mixing desk and Tascam 8-track machine. These are the Hackney demos. Again its Robert, Bobby and I on these demos.'
'The three of us spent a lot of time in the little Hackney studio writing throughout 1990,'
Bobby Gillespie recalls. 'It was a fabulous bonding experience. We would work from the acoustic skeleton ideas of songs like Damaged and I'm Comin' Down which were both written on guitar. Higher Than The Sun, Movin' On Up, Don't Fight It, Feel It, Shine Like Stars and Inner Flight were all written
on piano with Andrew and Robert writing beautiful Carole King/ Brian Wilson influenced chord sequences. From these I would fashion melodies and words. Sometimes Andrew and Robert would help with the melodies. For example Higher Than The Sun is an amalgamation of the three of us writing the top line melody.' 'Some of the tracks on Demodelica are 'work in progress' versions which were the tracks that Andy Weatherall and The Orb would base their remixes on...'Once we built the little Hackney Studio the songs became piano oriented and written in minor keys — using major seventh chords — a more melancholic, gentle approach which in turn influenced my lyrics. The songs became tender and in some cases more introspective. The influence of Brian Wilson was big on us at that point in time. We were all in love with Pet Sounds and also Surf's Up.
Til I Die and Surf's Up were our touchstones in a way. When Robert died in 2014 his family asked Andrew and I to choose music for his cremation and we chose Til I Die. Andrew Innes concurs: 'there was a big Pet Sounds influence on our second album which is normally dismissed as "them trying to be the Stooges and MC5". On the quieter tracks we were trying to expand our use of chords and melodies and this is the music that attracted Weatherall to us.
He was the only one who had anything good to say about that album. That influence can obviously be heard in Higher Than The Sun which starts up like Caroline No but was more Til I Die I think.'...Another unexpected influence on Screamadelica was Nico and John Cale's otherworldly 1968 masterpiece The Marble Index - you can hear an echo both in the demo and the album version of Shine Like Stars: 'I listened to it a lot during this period,' says Bobby; 'l was deeply into The Marble Index and Desertshore — the medievalist emotional desert of The Marble Index was somewhere I could lose myself from time to time — a strangely comforting place to be away from the Acid House madness.'...
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes:
DAMAGED HACKNEY STUDIO DEMO - Bobby Gillespie: 'this is a 'sung in real time' 1990 song demo to remember how it went! Nothing more: we recorded the song properly at Jam studios in Spring 1991, with the full band recorded live on the studio floor just like they did in the 1960's. Robert Young's guitar riff is pure country soul — a melancholic contemplative take on lost love.'
'This recording is very very raw (I'm singing almost at the top of my 'range', very high it's us just as we wrote it in Andrew's spare room studio (TEAC 4 Track) in his Isle of Dogs flat. If I recall correctly we later went to watch My Bloody Valentine play a fabulous gig at ULU on a beautiful warm summer night. All of us basking in the glow of knowing we had just written a very good song.'
MOVIN' ON UP HACKNEY STUDIO DEMO - Bobby Gillespie: 'Again, another rough and ready work-in-progress song demo, Note there are no guitars on it as yet. Andrew hadn't thought up the Bo Diddley/Magic Bus acoustic opening riff at this stage. We later recorded this song properly in JAM studios, and it's from the JAM version that Jimmy Miller mixed for the album opener.' 'Andrew is playing piano over a sampled funk beat and I'm making up the lyrics as I sing in real time. The lyrics are not completed but you can hear the joyful feeling here already in the song. I remember wanting to write spiritually uplifting soul music as I was very much influenced by Curtis Mayfield's work with The Impressions. Soul revol-utionary visionary artists guiding us into the future - I saw us as carrying on the tradition of soulful protest - conscious music for unconscious times.' Andrew Innes: 'It started out as a Plastic Ono vibe to us... not that good. It's funny that what you call the 'baggy beat' was us using funky drummer and hip hop loops. It was another great liberator of the sampler. We didn't have to get our drummer, who was a good punk drummer but not really funky, to play beats real badly! We could use the source from old R&B records. I think every other band did this too...hence it becoming the baggy beat.'...
23 February 2020 09.30 GMT Sunday - The Observer, Guardian, Bobby Gillespie Interview by Sean O’Hagan: By autumn 1990, we had a little studio in Hackney near the Creation offices. For Screamadelica, we gave him tracks and tracks of melodies and songs, loads of stuff that he put together somehow. His skill at arranging was off the scale. No one else would have thought of constructing tracks like he did, arranging our melodies and music into abstract pop songs. I have to mention Hugo Nicholson here, too, because I think maybe his best work was done with Hugo. They were a team. Andrew had the vision and Hugo Nicholson had the studio skills needed to realise his ideas. They just killed it every time.
Official: 2022 - Demodelica () CD

1990 - EMI Publishing Studio, Tottenham Court Rd, London
Don’t Fight It, Feel It (EMI Publishing Studio Mix)
Notes: From Demodelica : These sixteen tracks come from a period of just over a year and a half in 1990/1991. 'Everything was written and recorded post Loaded', as Bobby Gillespie remembers; 'Over springy summer, autumn and winter of 1990. Come Together was written while Loaded was still in the charts. The music is extended as obviously we were going to clubs round then and fully imbibing the ecstasy culture where the records were full of repetition and generally over six minutes in length. We were trying to make tracks that would sound good in the clubs we were going to.' They were recorded in four locations. As Bobby Gillespie explains, the group was 'Bobby, Andrew, and Robert only on most tracks from the Hackney and Isle of Dogs (IOD) demos, while the Eden/Jam tracks are augmented with Martin Duffy on keys and Henry Olson on bass and harmony vocals. Denise Johnson sings on Don't Fight It only. Movin' On Up, Higher Than the Sun, Don't Fight It, Feel It, and Shine Like Stars were written in Hackney, Damaged in Isle of Dogs...'All the tracks were recorded in London...Andrew Innes said: The drum loops on Don't Fight It EMI came from the guy in the next room giving us a disk of new hip hop beats for $50: that was John Coxon (later of drum'n bass duo Springheel Jack and guitarist in Spiritualised)...
Demodelica: Song By Song by Commentary by Bobby Gillespie and Andrew Innes:
DON'T FIGHT IT FEEL IT ISLE OF DOGS HOME STUDIO /
ISLE OF DOGS HYPNOTONE MIX / EMI PUBLISHING STUDIO MIX
'l think this EMI version may be what we gave to Weatherall to remix. I know he took part of the bass line and looped it backwards. The thing was, I felt that the type of vocal needed for the track was out of my range in terms of power and intensity. It was written as a 'soul' song and we thought, why not find a female singer who can really belt it out like a soul diva, and we found Denise Johnson. She came down to EMI demo studio near Tottenham Court Rd and she sang the shit out of it. Fabulous vocal. Just fabulous.' 'We were also thinking that the way George Clinton worked with arliament/Funkadelic - with so many different musicians and singers involved in making his records, but with George still realizing his overall vision for the music with no real fixed band - was a very attractive and interesting concept. So bringing in Denise to sing Don't Fight It, Feel It felt like a completely natural thing to do and very much in tune with the times. And yes, we worshipped Sly!'
From The Independent (independent.co.uk) 07 November 2003 01:00 Friday by Steve Jelbert: "Don't Fight It Feel It" borrowed its "rama-lama-fa-fa-fa" hook from the MC5 ("I must admit I nicked that, but then, that's what they were doing themselves.").
Official: 2022 - Demodelica () CD

1990 - Movin On Up Session
Movin On Up (Jimmy Miller Mix)
From The Independent (independent.co.uk) 07 November 2003 01:00 Friday by Steve Jelbert:... But then, what would we hacks have to write about if there weren't tunes like "Movin' On Up"? "It's a perfect record," laughs Gillespie, "We recorded it in parts and Jimmy Miller [the late Stones producer] sorted it out. When we heard that I thought 'Wow! This is a real record. It's as good as the Rolling Stones or something.' Nobody knew it, so it was a great track to start Screamadelica with. An instant classic, I think."

October 1990 - Primal Scream appear on the Various Artists Compilation - Where The Pyramid Meets The Eye
Slip Inside This House (The 13th Floor Elevators cover)
Notes: Roky Erikson tribute album. The same version would, later, appear on Screamadelica.
From Demodelica : Including the dropped title track (of which more later), Demodelica contains demos of all the songs on Screamadelica except Loaded (unfortunately lost) and Slip Inside This House, which, as Andrew Innes remembers, 'was turned round really quickly; we really wanted to get on the tribute album to Roky Erickson who was a big hero of ours. That's probably why there's no demo. It was mostly done in the sampler. We chopped up an interview with him from the 70's and Weatherall added the drum loops at the last minute.' Not all the demos are fragments. Some, like Come Together, are full group performances...

1991 - The Primal Scream is...
Bobby Gillespie
Robert "Throb" Young - Guitar
Andrew Innes - Rhythm Guitar
Henry Raycock Olsen - Bass
Phillip "Toby" Tomanov- Drums
Martin Duffy – Keyboards
Denise Johnson - Vocals

1991 - Kevin Cummins Photo Session
Notes: Iconic session featuring Bobby on his back in bed. Yellow Boolan Boogie t-shirt, surrounded by books upon a union jack quilt. The photo session would feature on several magazine covers and would be used for media purposes throughout the bands career.

M - 01 April 1991 - A. J. Barratt Photo Shoot, Birling Gap

April 1991 - Sounds Magazine Closes

May 1991 - Higher Than The Sun Video Shoot

14 May 1991 - Promo Higher Than The Sun Promo U.K. Release Date for 17 June 1991
C T P 005
Higher Than The Sun (Dub Symphony featuring Jah Wobble)
Higher Than The Sun (Higher Than The Orb)
Higher Than The Sun (American Spring Mix)
Notes: Power promotions DJ Hype distributed several promos, including a press sheet and the Andrew Weatherall and The Orb remixed vinyl single. Distribution started from 14 May 1991 and the release date was noted as 10 June 1991 CREQ96XT. The three promo was Made In France and initial copies were housed in a Creation Records label sleeve and matching plastic carrier bag.

01 June 1991 - Primal Scream on the cover of Melody Maker Magazine, 60p

10 June 1991 - Higher Than The Sun U.K. Release Date
Written by Gillespie, Innes & Young.
Higher Than The Sun (7inch Mix)
Higher Than The Sun (American Spring Mix) - Produced by Andy Weatherall. Assisted by Hugo Nicholson for Boys Own Productions.
Higher Than The Sun (Higher Than The Orb) - Produced by The Orb (Dr. Paterson and Thrash)
7inch Creation CRE 096
Higher Than The Sun (7inch Mix) 3:36
Higher Than The Sun (American Spring Mix) 6:20
12inch Creation CRE 096T
Higher Than The Sun (12inch Mix) 6:43
Higher Than The Sun (American Spring Mix) 6:20
CD CRESCD 096
Higher Than The Sun (7inch Mix) 3:36
Higher Than The Sun (American Spring Mix) 6:20
Higher Than The Sun (Higher Than The Orb) 5:00
Notes: Charted at number 40. You could hear the single by ringing a premium phone number, costing 45p per minute and 34p cheap rate. 'A Dub Symphony In Two Parts Featuring Jah Wobble Produced By Andrew Weatherall'. Former Public Image Limited bass player Jah Wobble guests on the mix.

17 June 1991 Monday - Higher Than The Sun (Remix with Jah Wobble) U.K. Release Date
Higher Than The Sun (A Dub Symphony In Two Parts) - Featuring Jah Wobble. Produced by Andy Weatherall. Assisted by Hugo Nicholson for Boys Own Productions.
Remix 12inch Creation CRE 096X
Remix Promo 12inch Creation CTP 005
Higher Than The Sun (A Dub Symphony In Two Parts) (Featuring Jah Wobble) 7:34
Higher Than The Sun (Higher Than The Orb) 5:00
U.S. Sire 40133-2
Higher Than The Sun (Single Mix) aka (7inch Mix) 3:36
Higher Than The Sun (12inch Mix) 6:43
Higher Than The Sun (American Spring Mix) 6:20
Higher Than The Sun (Higher Than The Orb) 5:00
Higher Than The Sun (A Dub Symphony In Two Parts) (Featuring Jah Wobble) 7:34
CD Japan Sony COCY-7985
Higher Than The Sun (Single Mix) aka (7inch Mix) 3:36
Higher Than The Sun (12inch Mix) 6:43
Higher Than The Sun (A Dub Symphony In Two Parts) (Featuring Jah Wobble) 7:34
Higher Than The Sun (Higher Than The Orb) 5:00
Notes: Promo and media noted this version as 'Higher Than The Sun (Andrew Weatherall Remix with Jah Wobble)'

July 1991 - Screamadelica Grant Fleming Photo Session
Notes: Photos from the sessions were used for the PR kit photos and inside the Screamadelica sleeve. The photo inside the sleeve was originally intended for the cover of LP.
Band associate Tim Tooher remembered “an 18-month high” leading to Screamadelica, in which the group’s musical values and chemical intake radically changed. “Most affected was Robert,” Tooher recalled. “Where before there had been a poised, careful and cool bass-player, now there was an embryonic guitar hero. The guitar set him free. Robert will die for rock’n’roll, even if he lives to be 100 years old.”

1991 - The Primal Scream is...
Bobby Gillespie
Robert "Throb" Young - Guitar
Andrew Innes - Rhythm Guitar
Henry Olsen - Bass
Phillip "Toby" Tomanov- Drums
Martin Duffy – Keyboards
Denise Johnson - Vocals

July 1991 - Don't Fight It, Feel It Video Shoot

22 July 1991 Monday - Institute, Birmingham * Doors Open: 20:00-02:00am * Ticket Price: * Support Act(s): DJ Andrew Weatherall, DJ The Orb
Notes: promo postcard included a blue background with Screamadelica sun in yellow. The card indicated the date and noted in large letters "> get yer rocks off", three years before Rocks was recorded.

23 July 1991 Tuesday - The Hacienda, Whitworth Street, Manchester * Doors Open: 21:00-02:00 * Ticket Price: £7 (Advance) * Support Act(s): DJ The Orb, DJ Andrew Weatherall
Slip Inside This House / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Higher Than The Sun / Dark End Of The Street (cover) /
Come Together / Loaded
encore: Cold Turkey (John Lennon cover) /
Notes: Mandi James reviewed the gig for a music newspaper (unconfirmed, could be NME). Alan McGee was living in Manchester at the time and attended the show. Paul Mason made a request to Suzanne at Factory/Hacienda for Sandwiches, tea and coffee for 13:00. Hot meals for 18 people (4 vegeterian) off the hot menu from 19:00. A coffee and tea tray in dressing room: 1 cup of salt.

24 July 1991 Wednesday - The Plaza, Eglinton Toll, Glasgow, Scotland * Doors Open: 20:00-03:00am * Ticket Price: £10.00 * Support Act(s): DJ Andrew Weatherall, DJ The Orb
Notes: The band asked her to tour with them, she said no six times. However, it was seventh time lucky, and what followed were five “truly magical, hair-tearing out, raucous years”.
From The Guardian Sunday 23 April 2006 15.06 BST article by James Brown:
When I worked at the NME in the late Eighties, a colleague came back from New York and described a heated debate within the group that he'd witnessed in the street. 'Let's get Vietnamese.' 'No, Chinese.' 'What about Indian?' When he suggested getting a burger, the band turned on him, shocked and said: 'It's heroin we're discussing, not food.' Is that true?
Gillespie laughs. 'Probably. When we were touring Screamadelica we had to meet some record company VIPs. Just as we were sitting down to dinner with them the heroin arrived and we all went off to take it. When we got back it was so strong people were just collapsing face down into their food. This was not a good advert for Primal Scream. Certainly there was a lot of peer group pressure around Primal Scream.... people with prodigious appetites, and that naturally makes for a very harrowing tale. You know, Andrew Innes is a chemist and so's his wife - they've got pharmaceutical degrees. He's an oddball boffin who'll experiment with anything you give him. When computers came out, he got one straight away and learnt how to work them. Oasis call him "Brains".'

25 July 1991 Thursday - Marcus Garvey Centre (Ballroom), Nottingham, Nottinghamshire * Doors Open: 18:00-02:00am * Ticket Price: £8 * Support Act(s): DJ The Orb, DJ Andrew Weatherall
Slip Inside This House (The 13th Floor Elevators cover) / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Higher Than the Sun / Come Together / Loaded / Cold Turkey (John Lennon & The Plastic Ono Band cover)
23 February 2020 09.30 GMT Sunday - The Observer, Guardian, Bobby Gillespie Interview by Sean O’Hagan: I remember Andrew came on the road with us soon afterwards, when we did a short British tour. The Orb would go on first, then we’d play a short set, and afterwards we’d do a few Es, and get on the dance floor with the kids for Weatherall’s set. Great days.
Bootleg: Marcus Garvey Centre, Nottingham, 25.7.91 (Black printing on yellow/green paper. Band photo and text. Noted as 'Quality Rating A+') Cassette - Side1: Trip Inside This House / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Higher Than the Sun / Come Together - Side2: Loaded / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Bootleg: Audience Recording - Cassette (Yellow/Lime Green Camden Market Style Sleeve. TDK D90 Cassette. According to printed sleeve 'Rating A+') Slip Inside This House (The 13th Floor Elevators cover) / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Higher Than the Sun / Come Together - Side2 - Loaded / Cold Turkey (John Lennon & The Plastic Ono Band cover)

July 1991 - Airport Hotel, Norwich
Notes: The band are photographed at the hotel giving the middle finger to a picture of the queen.

26 July 1991 Friday - Corn Exchange, Cambridge * Doors Open: 20:00-02:00am * Ticket Price: £10 * Support Act(s): DJ The Orb, DJ Andrew Weatherall
Slip Inside This House (The 13th Floor Elevators cover) / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Higher Than The Sun / Come Together / Loaded / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Bootleg: Audience Recording - Analogue Cassette Master (Sony TCS 430 with clip on mic)
Bootleg: Audience Recording - Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Cambridge Corn Exchange 27/6/91

29 July 1991 Monday - "Live Just For Today...Don't Care About Tomorrow" Empire Ballroom, Leicester Square, London * Doors Open: 22:00-03:00am * Ticket Price: £8.00 * Support Act(s): DJ Andrew Weatherall & DJ The Orb *
Notes: Sold Out Show, at least 1250 people attended the show. Poster noted 'Get Yer Rocks Off!' & 'Get Loaded!' on the promo poster. 'Get Yer Rocks Off!' was in large lettering on the poster, almost three years before the band would release Rocks. The promo flyers used a blue and yellow screamadelica logo on the front.

Primal Scream - August 1991 - Don't Fight It Feel It U.K. Release Date
Written by Gillespie, Innes & Young.
Don't Fight It, Feel It (7inch Edit), (12inch Version) aka (Whistling Mix) & (Scat Mix) - Produced by Andy Weatherall. Assisted by Hugo Nicholson for Boys Own Productions.
Don't Fight It Feel It (Graham Massey Mix) & (Graham Massey Instrumental) - Production and additional programming Graham Massey.
-
7inch Vinyl CRE 110
Don't Fight It, Feel It (7inch Edit) 4:05
Don't Fight It, Feel It (12inch Version) aka (Whistling Mix)
12inch Vinyl CRE 110T
Don't Fight It, Feel It (12inch Version) aka (Whistling Mix) 7:05
Don't Fight It, Feel It (Scat Mix) 7:54
Cassette CRECS 110
Don't Fight It Feel It (featuring Denise Johnson)
Don't Fight It Feel It (Graham Massey Remix)
Remix 12inch Vinyl CRE 110X
Don't Fight It Feel It (Graham Massey Mix) 4:53
Don't Fight It Feel It (Graham Massey Instrumental) 4:12
CD CRESCD 110
Don't Fight It, Feel It (7inch Edit) 4:05
Don't Fight It, Feel It (12inch Version) aka (Whistling Mix) 7:05
Don't Fight It, Feel It (Scat Mix) 7:54
Notes: Charted at number 41. You could hear the single by ringing a premium phone number, costing 45p per minute and 34p cheap rate.

Primal Scream - 1991 - Don't Fight It Feel It / Movin' On Up U.S. Release Date
Written by Gillespie, Innes & Young.
Don't Fight It Feel It (Hardkiss Remix) (All FuckedUp) - Remix by Scott Hardkiss.
Movin' On Up - Produced by Jimmy Miller.
Screamadelica - Produced by Andy Weatherall. Assisted by Hugo Nicholson for Boys Own Productions.
12inch U.S. White Label. Matrix: HK-1
Hardkiss - The Unreleased Project - All FuckedUp
Don't Fight It Feel It (Scott Hardkiss Remix titled All FuckedUp)
12inch Vinyl CRE 117TP
Movin' On Up 3:47
Screamadelica 10:46
12inch Vinyl U.S Sire 0-40193
Movin' On Up 3:47
Don't Fight It Feel It (Graham Massey Mix) 4:53
Don't Fight It Feel It (Graham Massey Instrumental) 4:12
Don't Fight It, Feel It (12inch Version) aka (Whistling Mix) 7:05
Don't Fight It, Feel It (Scat Mix) 7:54
CD U.S. Sire/Warner Bros. 2-40193
Movin' On Up 3:47
Don't Fight It, Feel It (Single Mix) aka (7inch Edit) 4:05
Don't Fight It, Feel It (12inch Version) aka (Whistling Mix) 7:05
You're Just Too Dark to Care 3:10
Don't Fight It, Feel It (Scat Mix) 7:54
Don't Fight It Feel It (Graham Massey Mix) 4:53
Notes: Double A-Side for the U.S. release. Movin' On Up was released as the main title for the CD promotion.

Primal Scream - 1991 - Movin' On Up Europe Release Date
French CD Creation / Virgin Records
Movin' On Up 3:47
Damaged 5:35
Loaded 7:00

23 September 1991 - Screamadelica U.K. Release Date
Band photography by Grant Fleming.
Cover was initially an abstract from a painting by Paul Cannell, Paul redesigned the concept and painted the sleeve himself. Higher Than The Sun - oil on canvas, 117cm x 149cm, by kind permission of Dick Green.
Produced by Andrew Weatherall and assisted by Hugo Nicholson for Boys Own Productions.
Movin' On Up & Damaged - Mixed by Jimmy Miller. Additional Production by Jimmy Miller.
Slip Inside This House - Produced by Hypnotone and Andrew Innes. Additional Production Andrew Weatherall.
Higher Than The Sun - Produced by the Orb (Dr. Alex Patterson and Thrash)
Mini Disc UK Creation CREMD 076
Vinyl LP UK Creation CRELP 076
CD UK Creation CRECD 076
Movin' On Up
Slip Inside This House
Don't Fight It Feel It (featuring Denise Johnson)
Higher Than The Sun
Inner Flight
Come Together (Andrew Weatherall Extended) 10:17
Loaded 7:00
Damaged
I'm Coming Down
Higher Than The Sun - A Dub Symphony In Two Parts (featuring Jah Wobble).
Shine Like Stars
Notes: Charted at number 8 in the UK, went platinum selling over 4 million copies worldwide and won the band the 1992 Mercury Prize too. The LP was released on the same day as Nirvana's Nevermind LP too. See 17 September 2021 for the 30th Anniversary Edition.
31 January 2011 - NME Magazine, article By Sarah Anderson: Primal Scream’s ‘Screamadelica’: An Oral History...And here’s Mark Ronson, who was 16 when ‘Screamadelica’ came out: “‘Loaded’ is one of those change-your-life type songs. I was only listening to hip-hop at the time, so I knew that drum break from various hip-hop records. It made me start listening to guitar music, because ‘Screamadelica’ proved that so-called ‘indie’ bands were capable of so much more.”...
29 May 2013 Wednesday 18.08 BST The Observer, Guardian, Max Bell article:
In celebration of Creation's first decade, McGee has gathered together his 10 most personal mementoes. It comes as no surprise that what feature most among his choices are items that spark off memories of liaisons with some of rock's greatest mavericks....Screamadelica gold disc - "This is a vindication of what we always spoke about at Creation: artistic development. It took six and a half years for the Primals to have a hit. They were signed to Elevation – a Warners-financed offshoot – and they didn't sell, so Elevation just dropped them. "I thought I'm Losing More Than I'll Ever Have was the first great Primal Scream record. Then they made Loaded and suddenly they became more confident. Higher Than the Sun started a classic run of singles, and Screamadelica is a masterwork that also happens to have sold incredibly well; half a million copies so far. I know if you want to be cynical gold records don't mean anything – I give them to my dad – but in the context of working with someone for so long, this one means a lot to me."

1991 - Screamadelica U.S. Release
CD US Sire 2-26714
Promo CD Sire 2-26714 Limited Edition U.S. Picture Disc
CD Japanese Epic/Sony, ESCA 5946
Movin' On Up
Slip Inside This House (The 13th Floor Elevators cover)
Don't Fight It Feel It (featuring Denise Johnson)
Higher Than The Sun
Inner Flight
Come Together (12inch Terry Farley Mix) 10:17
Loaded 7:00
Damaged
I'm Coming Down
Higher Than The Sun - A Dub Symphony In Two Parts (featuring Jah Wobble).
Shine Like Stars

1991 - Brazilian phone interview with Bobby Gillespie. Night Emissions - FM Radio Notebooks by Fabio Massari
Notes: Taken from the 2003 book 'Emissoes Noturnas' by Fabio Massari which collects several interviews by different bands including Nick Cave, Gun N' Roses, Ramones and loads more. Huge thanks to Lilian Stock Bonzi for the translation.
-> Special Primal Scream (1991) - Phone interview with the nicest superhero Bobby Gillespie, who has a bad flu.
Brazilian release of the (double) album Screamadelica.
FM: Screamadelica is the first Primal Scream album released in Brazil. Do you think it would be important for the public to know about your previous work?
BG: I don't care that the other records haven't been released. Screamadelica seems to me the best start, although it is not a synthesis of our work. It's very different from everything, not only what we've done, but from everything you've heard.

FM: The record can — and should! — to be heard on a dance floor beyond lively, lights, vibrations... but it also serves to walk a beautiful lonely “bad trip”...
BG: It happens because of the way we record the songs. Each one of them received a definitive, total treatment, each one of them is the reflection of a situation. Our idea was not to make one of those records where all the songs are the same.

FM: Do you think music has to have some kind of social role, discuss, address this or that issue?
BG: No, I don't think there should be a specific role for music. I don't think it has to discuss our time or anything like that. It has to have emotion. Emotion makes you erase certain things from your head, emotion makes you get up and dance, scream, swear... emotion is freedom, that's what music has to have. A good record has to have all that, provoke that... it doesn't have to bring up some sort of social discussion.

FM: There are a lot of people (bands!) who do everything to be heir to a certain psychedelic tradition...
BG: I don't see any connection of these bands with the past. There is a problem of orientation, of lack of a less limited vision when thinking about the psychedelic sound. For me, the last true psychedelic music is 70's reggae. I don't think modern rock, alternative or not, benefits from the 60's cult. Besides, the smoky 70's reggae was far more hallucinogenic.

FM: Speaking of hallucinogens, Screamadelica brings a beautiful version of “Slip Inside This House”, by the mythical Roky Erickson.
BG: This Erickson song is really good, I've always liked it and thought it could be handled in an interesting way. I think that's what I did. If I have to name a band, I think I'll go with Pink Floyd, that's the only name that comes to mind. What I never liked in the period was this thing of the great pacifist meetings, looking for political, social changes... you know, all this always seemed confusing and often false. I've always been much more into punk, much more inspired by it than anything else. Punk was a movement that focused on alienating people, helping to unite an entire generation of straying people.

FM: Talk about your relationship with punk. You've recently come to compare, or rather establish some correspondences between your work and the Sex Pistols...
BG: For me, the most important thing about youth culture was the punk movement. I can see myself a few years ago, still a teenager not at all integrated with my so-called generation. I didn't have friends, I couldn't relate... that's when I started to get interested in music, I started buying records. It was the time of the Pistols, the Clash... I was a loner, an outcast. I was the only person in my area to buy these records, to go to these kinds of shows, with the exception of the occasional figure... Alan McGee, the owner of Creation Records, a great friend, was always there. We met and became friends thanks to our interest in punk.

FM: And what is the specific importance of the Sex Pistols to you?
BG: What fascinated me was the fact that they hated the Queen! Many people I knew would love to join the army, fight some kind of battle, all for the Queen's sake. I preferred the challenge, the Sex Pistols sleaze. They were able to unite a certain group of people; marginals uniting anti-social, uniting people who did not conform, who questioned things, the rules. When you say I've traced correspondences between bands, that's it, I just hope Primal Scream helps people, or a group of people, like the Pistols did. Maybe I'm being too idealistic... I think the single “Higher Than The Sun” has the same vibe as “Anarchy In The UK”. It's definitely not like hearing anything from U2.

FM: Do you think Screamadelica will be heard with the same reverence 10, 15 years from now?
BG: I don't know, it's not for me to answer. I can only say that it is a very special record, which deserves to be well explored. Perhaps it will be reverently heard, as a reference!, 20 years from now.

FM: The specialized critics revered it.
BG: It's true, the critics really liked the record. It's a record that works better in certain environments, in certain situations, but with the widespread destitution that plagues rock, I think Screamadelica ends up doing well anywhere.

FM: Do you think you lost any kind of audience by putting more danceable paints on your sound?
BG: No, I think the audience for Primal Scream has grown a lot because of that. In fact, I don't think it was such a radical change. Some elements were already present in previous works.

FM: Even in Sonic Flower Groove?
BG: It's debatable... but from “Loaded” you could predict what would come next. Or not, hahaha!

FM: I always thought Primal Scream had its sad side...
BG: And it is. I think this is something that happens to us, and I don't see it happening to almost anyone: we carry our songs of melancholy, of sadness... Our music is sad, yes, wonderfully sad, and don't tell me you see too many bands doing that kind of thing, singing the sadness, giving themselves viscerally to that kind of feeling.

FM: Not even doing something like that?
BG: No, there is nothing like it.

FM: Which of your contemporaries do you like?
BG: The best thing in recent times, the only one I would mention is Jane's Addiction. “Been Caught Stealing” is badass!

FM: What about Primal Scream live?
BG: We try to play in places that are open late. We play a little bit, then the DJ comes, then we come back... The live band is really powerful, very heavy, I think we are heavier than any Guns N' Roses. We're a great rock'n'roll band.

Primal Scream - 1991 - Damaged Release Date
Promo CD U.S Sire PRO-CD-527
Damaged (Edit) 4:36
Damaged 5:35
CD Japan Sony COCY-5181
Damaged 5:35
Don't Fight It Feel It (Graham Massey Mix) 4:53
Higher Than The Sun (American Spring Mix) 6:20
You're Just Too Dark To Care 3:10

October 1991 - Club Citta, Kawasaki, Japan
Notes: Date taken from 1994 Japanese Tour Programme.

Screamadelica Tour Autumn 1991
12 October 1991 Saturday - University Union, Bradford * Doors Open: 20:00-02:00 * Ticket Price: £7.00 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
Notes: Start of the Screamadelica U.K. Tour

13 October 1991 Sunday - Barrowland Ballroom, Glasgow, Scotland * Doors Open: 20:00-02:00am * Ticket price: £8.00 * Support Act(s): DJ Andy Weatherall, DJ Stuart McMillan (SLAM)
Notes: Tour poster noted 'Plaza, Glasgow' and support from DJ Paul Oakenfold & DJ The Orb but the ticket mentions the above. Media photographs taken by Martyn Goodacre.

14 October 1991 Monday - Mayfair, Newcastle * Doors Open: 19:30 * Ticket Price: £7.00 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold

15 October 1991 Tuesday - International 2 Club, 210 Plymouth Grove, Longsight, Manchester M13 * Doors Open: 19:30 * Ticket Price: £7.00 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
Bootleg: Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Manchester International 15/10/91 + Hollywood Palace, California 92 (FM)

16 October 1991 Wednesday - University, Liverpool * Doors Open: 19:30-02:00 * Ticket Price: £7.50 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
17 October 1991 Thursday - University, Reading * Doors Open: 21:00-03:00 * Ticket Price: £7.00 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
18 October 1991 Friday - U.E.A. Union, Norwich * Doors Open: 18:00 * Ticket Price: £7.50 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold

19 October 1991 Saturday - Institute, Digbeth, Birmingham * Doors Open: 20:00-02:00 * Ticket Price: £7.50 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
Notes: Over 1200 people attended the show.

20 October 1991 Sunday - Polytechnic, Leicester, Leicestershire * Doors Open: 20:00-02:00 * Ticket Price: £7.00 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
Slip Inside This House / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Loaded / Come Together / Higher Than the Sun / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Bootleg: Audience Recording - Tape
Bootleg: Audience Recording - Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Leicester University 20/10/91 + Amsterdam Paradiso 2/92 (FM)

21 October 1991 Monday - Brighton Event (The Event Centre), Brighton * Doors Open: 22:00-02:00 * Ticket Price: £8 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold

22 October 1991 Tuesday - Don't Fight It Feel It, Le Palais, Hammersmith Palais, Shepherd's Bush Road, Hammersmith, London, W6 * Doors Open: 22:00-06:00am * Ticket Price: £8.00 * Support Act(s): DJ Andy Weatherall, DJ The Orb, DJ Paul Oakenfold
Slip Inside This House / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Loaded / Come Together / Higher Than The Sun / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Notes: Screamadelica U.K. Tour Finale. Filmed by Momentum Production Company. 16MM film, the entire show was filmed but only a few clips have been circulated.
Bootleg: Audience Recording - Cassette - Intro - Slip Inside This House / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Side 2 - Loaded / Come Together / Higher Than The Sun / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Bootleg: Audience Recording - All Fall Down on You (1996, CD Made In Japan, Shot of Salvation) - All Fall Down / Spirea X / It Happens / Crystal Cresent / Higher Than The Sun (unreleased version?) / Black Star Carnival / I'm Gonna Gake You Mine / So Sad About Us / Imperial (Demo) / Lone Star Girl (Demo) (B-Side of ltd free single from the "Primal Scream" LP)
(Live 1991, I believe this to be excerpts from 22 October 1991) Slip Inside This House / Movin' On Up / Loaded / Come Together / Higher Than The Sun / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Bootleg: London Le Palais 10/22/91 (ARTISAN ART 7647)

November 1991 - Kevin Westenberg Photo Session

November 1991 - Dixie Narco Sessions, Ardent Studios, Memphis, Tennessee, U.S.A.
Produced by Andrew Weatherall. Engineered by Hugo Nicholson.
Stone My Soul / Carry Me Home (Dennis Wilson cover) / Screamadelica
From 2018 - Give Out But Don't Give Up - The Original Memphis Recordings:
In November of the previous year, the group had recorded three songs for their
Dixie Narco EP in Ardent studios, where the legendary Memphis group, Big
Star, had created their finest work in the early seventies. Now Primal Scream
wanted to dig deeper. "On the Dixie Narco songs, as with Screamadelica, the
rhythm section was basically Andrew (Weatherall) alongside engineer, Hugo
Nicholson," elaborates Gillespie, "This time around, though, we wanted to do things differently. We headed out to Memphis with the best intentions of making a soulful rock and roll record."

1992

TV - January 1992 - Primal Scream on The Word, TV Show, Channel 4, London
Notes: Date taken from 1994 Japanese Tour Programme.

January 1992 - Derek Ridgers interviews Bobby Gillespie about his father in a coffee shop in Amsterdam.
Notes: NME included an article about Bobby's dad and his past.
From 25 January 1992 NME Magazine article by Derek Ridgers: 'He has HATE tattooed across one set of knuckles and LOVE over the other. He wears a steel blue suit and a kipper tie and his strong Glaswegian tones go slashing through the hall - a big contrast to the cords-and-comfy jumper types who normally show up here. He's hard. Bobby Gillespie Senior is a union man, a SOGAT (Society Of Graphical and Allied Tardes) official - and he's got a lot of persuading to do...With his big frame and silvery hair and passionate ways, Gillespie Senior might have made a succesful lay preacher or salesman. But he got socialism deep down instead, and he's stayed with that. One opportunity to furthernhis political career failed when he stood unsuccessfully for a seat in Govan, Scotland, five years ago...jittery party heads had suggested that he cover up his tattoos, Michael Jackson stle, with gloves. But that would have been daft - a deceptive touch that Bob wouldn't have been able to wear so well...'

12 January 1992 Sunday - Ancienne Belgique, Brussels, Belgium
Slip Inside This House / Movin' On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Screamadelica / Loaded / Come Together / Higher Than The Sun / Cold Turkey (John Lennon & The Plastic Ono Band cover)
Bootleg: Audience Recording
Bootleg: Amateur Audience Video Recording - VHS / DVD

16 January 1992 Thursday - Batschkapp, Frankfurt, Germany * Support Act(s): DJ Andrew Weatherall
Notes:

M - 18 January 1992 - Bobby appears on the cover of Melody Maker Magazine
Notes: 'Primal Scream Drugstore cowboys'.

19 January 1992 - Elysee Montmatre, Paris
Notes: Ian Tilton photographed the concert. A fold out poster (92x60cm) was released in Select Magazine.

Primal Scream - 27 January 1992 - Dixie Narco E.P. U.K. Release Date
All written by Gillespie, Innes & Young except Carry Me Home written by Dennis Wilson & Gregg Jakobson (Beach Boys).
Movin' On Up - Produced by Jimmy Miller.
Screamadelica & Stone My Soul & Carry Me Home - Produced by Andy Weatherall. Assisted by Hugo Nicholson for Boys Own Productions.
-
7inch
12inch
Cassette
CD
Movin' On Up 3:47
Stone My Soul 3:03
Carry Me Home 5:12
Screamadelica 10:46
Notes: Carry Me Home is a cover of an unreleased Dennis Wilson track. The song dates back to 1971.

February 1992 - Paradiso, Amsterdam
Notes: Unconfirmed if 1992 or 1994, the band were having an argument when a tour bus parked outside the venue and a man stepped out “with a lady on each arm”. It was the Godfather of Soul: James Brown.
Bootleg: FM Broadcast
Bootleg: Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Leicester University 20/10/91 + Amsterdam Paradiso 2/92 (FM)

06 March 1992 Friday - The Warfield, 982 Market Street, St San Francisco, U.S.A. * Doors Open: 19:00-02:00am
Notes: Poster included 'Primal Scream in live performance extraordinary aural + visual stimulation'

07 March 1992 Saturday - Hollywood Palladium, L.A., U.S.A. * Support Act(s): DJ Andy Weatherall, DJ Justin King
Notes: Andrew spun records before the band came on stage.
18 May 2008 Sunday 11.20 BST The Observer, Guardian, Will Hodgkinson:
Soundtrack of my life: Bobby Gillespie....When I first went to LA: Bubble Gum, Kim Fowley (1968). Kim Fowley came backstage after our first time in LA and told us stories of managing the Runaways, of leaving love bites on Joan Jett's inner thigh when she was 15. He's a wild genius and this is one of my favourite songs, from the album Outrageous. It's a dirty, sleazy rock'n'roll record: he's obsessed with jailbait and is the kind of guy who could be the head of a cult if he hadn't chosen rock'n'roll. I don't think he ever took drugs; his drug was young women. Apparently 'Teenage Head' by the Flamin' Groovies is about Fowley. He's an outsider.

21 March 1992 - Les Nuls L'émission Le, France
No Fun / Movin On Up
Notes: French TV Show?
Broadcast:

100% Pure Dixie-Narco
26 March 1992 Thursday - Guidhall, Portsmouth * Doors Open: 20:00-02:00 * Ticket Price: £10.00 * Support Act(s): DJ Andrew Weatherall, DJ Justin Robertson
27 March 1992 Friday - Hummingbird, Birmingham * Doors Open: 20:00-02:00 * Ticket Price: £10.00 * Support Act(s): DJ Andrew Weatherall, DJ Justin Robertson

28 March 1992 Saturday - Academy, 211 Stockwell Road, Brixton, London, SW99SL * Doors Open: 21:00-06:00 * Ticket Price: £15.00 * Support Act(s): DJ Andrew Weatherall, DJ Paul Oakenfold, DJ The Orb, DJ Norman Jay, DJ Mark Moore
No Fun
Notes: Sold Out Show. All-nighter. Filmed by Momentum Production Company. 16MM film, the entire show was filmed but only a few clips have been circulated.
Bootleg: Tape () Audience Recording
Bootleg: Partial Uncirculated Video Recording

Primal Scream - April 1992 - Screamadelica - The Video
VHS
Notes: VHS 10 track including new promos and previously unseen footage from the 'Memphis' sessions. Our Price music store sold an 'Exclusive Fan Pack' which included two postcards and a pin badge too.

26 April 1992 Dienstag - Metropol, Berlin, Germany * Doors Open: 20:00

1992 - Slip Inside This House Australian Release Date
Slip Inside This House (The 13th Floor Elevators cover) 5:18
Loaded 7:00
Higher Than The Sun (American Spring Mix) 6:20
You're Just Too Dark to Care 3:10

1992 ? - The Palace, Hollywood, L.A., USA
Bootleg: Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Manchester International 15/10/91 + Hollywood Palace, California 92 (FM)

04 June 1992 Thursday - Angel Centre, Tonbridge * Doors Open: 19:30-02:00 * Ticket Price: £10 * Support Act(s): DJ Andy Weatherall, DJ Jamie Bissmira
25 June 1992 Thursday - University, Exeter * Doors Open: 19:30-02:00 * Ticket Price: £10 * Support Act(s): DJ Andy Weatherall, DJ Jamie Bissmira

26 June 1992 Friday - Glatonbury Festival, Second Stage, Farm, Pilton, Somerset
Don't Fight It, Feel It / Call On Me
Notes: Bobby wore a purple shirt, he spent some time sat on the floor during Don't Fight It, Feel It. 20,000 people were watching the second stage (which would later be known as the 'Other' stage).
Bootleg: Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Glastonbury Festival 26/6/92

27 June 1992 - Roskilde Festival, Dyrskuepladsen, Denmark
Slip Inside This House / Movin'On Up / Don't Fight It, Feel It / I'm Losing More Than I'll Ever Have / Damaged / Call On Me / Come Together / Higher Than The Sun / Loaded / No Fun (The Stooges cover)
Bootleg: Audience Recording - Bootleg: Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Roskilde Festival 27/6/92

1992 - Alan McGee sells 49% of Creation Records to Sony
29 May 2013 Wednesday 18.08 BST The Observer, Guardian, Max Bell article: "In September 1992, I got fed up with selling 200,000 Primal Scream records in England and 18,000 in Germany," says McGee. "I got tired of selling only 3,000 Bandwagonesques there. It's all about distribution. If you're signed to some shit fuckin' indie, no matter what it does for your credibility, it does nothing to promote your group. Sony help us get worldwide distribution. At the moment, we're still getting some crap sales, but the potential is there. I've sold Sony 49%, which makes them feel good, but I'm very loyal to our bands. I've got their best interests at heart. The truth is that, without financial backing, it is now very hard to exist in England, but when I've gone in to Sony and said: 'Look, you need to help us with so-and-so,' they've always done it. And they don't talk to me about the music we put out, ever."

September 1992 Tuesday - Screamadelica wins the Mercury Prize for best album
Notes: Members of the band appear at The Mercury Music Awards. A biker was sent on stage to collect the prize, but the £20,000 prize was lost within 20 minutes. The band carry on the celebrations at The Savoy Hotel, London.
Primal Scream beat both U2's Achtung Baby and Simply Red's Stars in the shortlist.
From 21 June 2006 00:00 Wednesday Primal Scream feature in The Independent (independent.co.uk) James McNair interview: But Gillespie walked out of the awards ceremony. "I couldn't be bothered," he says today. "I went to visit a junkie friend of mine and got completely wasted. "Don't get me wrong," he continues. "I'm happy that people still talk about Screamadelica. Not so long ago I stayed up all night with Liam Gallagher, and he was telling me how much he liked that record. He said: 'XTRMNTR and Evil Heat are all hate, Bob, but Screamadelica - there's a lot of love on that record.' I thought about it and I realised he was right. There's a lot of love on our new record, too, and Liam definitely influenced that."

November 1992 - Roundhouse Studios, North London
From 2018 - Give Out But Don't Give Up - The Original Memphis Recordings:
In the studio in wintry, grey November, the post acid-house euphoria of the
late 1980s had long since dissipated and the creative chemistry that had fuelled the making of Screamadelica seemed a distant memory. "We had a few songs, but no energy and no ideas," says Andrew Innes, "Creatively, we were dry. We went into the studio to jam to try to work something out." The ensuing sessions were dogged and directionless, often, according to lead singer, Bobby Gillespie, descending into "the kind of craziness that is not conducive to creativity." At one point, the band even came close to splitting of up, but their long-time friend and Creation records' boss, Alan McGee, intervened. "He summoned us to a meeting in a London hotel room and basically read the riot act," recalls Gillespie, "I remember him saying, 'All you've ever wanted is to make a life in music, and now you're going to throw it away. You're behaving like a bunch of losers."' What followed was a decision as audacious as it was inspired: Primal Scream would make their new album in Memphis, the spiritual home of rock and roll.

November 1992 - Primal Scream give Flowered Up studio time, Roundhouse Studios, North London
14 March 2013 Thursday 16.25 GMT - The Observer, Guardian, Tim Jonze Interview: "Our manager and Creation [the band's label] had just signed to Sony, who wanted another album from Primal Scream … but Primal Scream weren't in any state to make another album. After about two weeks we had nothing to show for it. Then we bumped into Flowered Up, who said they couldn't get their record company to pay for them. We just said: 'Have our studio!' … a bunch of junkies giving another bunch of junkies their studio? As soon as [Creation founder] Dick Green found out he just shut it down. We were just pissing it up the wall." Unsurprisingly, precise details of these session remain hazy. In fact, the band were so out of it at the time it might just have helped them to stay together.

28 November 1992 Saturday - Arena, Broughton Lane, Sheffield * Doors Open: 19:00 * Ticket Price: £15.00 * Support Act(s): The Orb, DJ Paul Oakenfold, DJ Justin Robertson, DJ Lewis
Notes: Charity Concert, according to the posters all proceeds went to the miners families. The Orb and Primal Scream raised £36,000 for jobless miners.
Bootleg: Tape () (IAWS I Am Without Shoes / stoneroses.net (Will Odell). Priced: £7) - Sheffield Arena 28/11/92
Bootleg: Sheffield 11/28/92 (ARTISAN ART 577)

December 1992 - Bondi Beach, Australia
Notes: Bobbie photo shoot on the beach.
14 March 2013 Thursday 16.25 GMT - The Observer, Guardian, Tim Jonze Interview: "We went to Australia and I left the band for a night," says Gillespie. "It was the only time I've ever left Primal Scream. We had a summit crisis meeting, me, Andrew, Alex and Throb … they were screaming at me and I was so appalled that I quit."
Andrew looks up as if to say "You quit? Really?" and sighs: "My memories of those times are sketchy."
"I was back the next day," concedes Gillespie.
Basically, nobody realised he'd even quit? Gillespie: "At the time I don't think they'd have known if a fucking nuclear bomb had landed on their heads."

December 1992 - Roundhouse Studios, North London
Notes: More failed rehearsals for the Give Out LP sessions.