Best tunes of 1992: #8 Inspiral Carpets “Dragging me down”

<< #9    |    #7 >>

“Dragging me down” was definitely my introduction to Manchester’s Inspiral Carpets. In fact, it might’ve even been another of those tracks that came to me via one of those evenings out in my friend Tim’s ride.

It was definitely Tim that loaned me his CD copy of “Revenge of the goldfish”, the band’s third full length album, which I dubbed to cassette and dutifully and thoroughly studied. I remember my friend Andrew Rodriguez trying and failing at convincing a DJ at one of our high school dances to play this very track. And unfortunately, I still don’t believe I’ve had the pleasure to dance to this track at a club to this day, though there’s been a few others by the group (like this one) to which I’ve killed a dance floor or two.

Yes. The Inspiral Carpets were, for me, what “Madchester” was all about. Psychedelics and beats. Driving guitars and good times. Shaking maracas, persistent organs, and dancing to the point of exhaustion. The five-piece weren’t the biggest name from the scene – indeed, a certain one of their roadies (hello, Noel) most definitely eclipsed them in popularity- but man, did they put out some cracking songs.

“Dragging me down” starts off with this percussive beat, very much like the chugging of a train. Then, comes Clint Boon’s wicked keyboard line, evoking the image of some crazed artiste getting a hold of the most magnificent church organ ever and knowing that if he didn’t give it his all at that moment, some Puritan would wisen up and the gig would be over. And that’s just the first few seconds. Things only get better from there. Craig Gill really brings his “A”-game on drums and Boon’s keyboards continue to wash and whirl and zip and crash. All the while, Graham Lambert, who doesn’t get nearly enough credit for his part in creating the Inspirals’ sound, screams away on guitars, driving us all out on the dance floor, daring us to keep up with his pace. And yeah, Tom Hingley delivers the goods in that deadpan, sing/speak that we know and love.

“I would search this world for you, even though you can’t imagine
I want to take you to China, I want to kiss you in Rome
I’d use rocket ships, mine sweepers, transistor radio receivers
I want to hold you, want to hold you too tight
Gonna break every bone of everybody in sight“

Yassss! “Dragging me down”!

For the rest of the Best tunes of 1992 list, click here.

Best albums of 1989: #1 The Stone Roses “The Stone Roses”

So we’ve reached the end of this series and here were at the number one position on my Best Albums of 1989 list. There have already been comments and I’m sure there have been more than a few raised eyebrows at seeing some pretty iconic albums placed lower on this list, like “Doolittle” at number four and “Disintegration” at number three. I did forewarn you at the outset that the year was pretty stacked and I myself had a hard time looking at some of my favourite albums placed lower than number one. But such is the case for 1989 and the fallacy of ranking things in lists is that there should be only be one number one. For me (and a couple of you have already guessed this), that number one is The Stone Roses’ self-titled debut.

The band had originally formed in 1983, six years before this album’s release, but the personnel didn’t stabilize to the lineup we know of Mani, Reni, John Squire, and Ian Brown until a year or two later. Many of this debut’s songs are reworkings of tracks that had been written long before its release and had been demoed in a variety of ways. When it was released by indie label Silvertone Records, it didn’t immediately take the world by storm. Indeed, even the band themselves weren’t super happy with the production on it. However, the press liked it, especially the NME. Single upon single upon single were released and word of mouth spread based on their live shows. And eventually sales increased and they started rocketing up the charts.

“The Stone Roses” is now seen as the album that kickstarted Madchester and ‘Baggy’ culture, alongside The Happy Mondays, and laid the foundations for 90s Britpop. Indeed, the blend of 60s psychedelic guitar rock with a highly danceable rhythm section were highly influential on what would happen in British music for the next decade and onwards, though North American culture would largely ignore them until much later. Unfortunately, this debut, which many argue is the greatest debut ever, would be their only output for half a decade due to record label battles and a host of other problems. Their sophomore album, “Second coming”, would finally be released but was initially seen as disappointment to many and the band would disintegrate within two years of its release.

I heard many of the songs on “The Stone Roses” on the radio and CityLimits and on friends’ stereos long before I ever heard the full album. I distinctly remember hearing it for the first time and thinking it must’ve been a best of compilation because I already knew and loved most of it. An astounding seven singles were released from “The Stone Roses”, which is more than half of its tracks. There is just so much fun and awesomeness on this album that I could’ve chosen any three songs at random to share with you and I would’ve been happy with the picks.

I hope you enjoyed this series as much I did, even if you might’ve disagreed with the rankings. Let me know what your own top albums would’ve been in the comments section below and we can continue the discussion as we play this album one more time.


”I wanna be adored”: This is the track that greets the listener upon putting on the album, an easy introduction that merely foreshadows the crazy ecstasy that’s to come. The album version starts very slowly with hints of Mani’s bass strings being fiddled with, Reni’s cymbal crashes, and John Squire’s guitar scrapings being heard far off in the distance, as if the song is being conjured by a trio of mad scientists who are not really sure of the consequences of their actions. Eventually the bass line that holds the whole song together takes shape and grows in volume, that drum beat for which the Roses are famous kicks in, and so does Squire’s wailing guitars. When Ian Brown adds his hushed, mellowed out vocals to the Petri dish, it’s merely a delicate glaze. The words are hardly deep, I think I counted fifteen different words in the whole song, used in different configurations, but the intonation and the repetition is the key. It makes the song easier to sing or shout along with on the dance floor if the words are easy to remember. I mean, who doesn’t wanna be adored?

”She bangs the drums”: A hiss-to-the-hiss-to-the-hiss tappety-tapping on the closed high hat, a rumbling mumbling bassline, all like the foreboding of the explosive shimmering guitar riff that’s sure to come. Ah. There it is. Yeah. The second single off the record jumps out at you, a high energy dance jam that plays just as well as a singalong number. That bass line continues to climb up and down your spine and Squire does his best Marr impression, jangling down the road like a jester troubadour. But he doesn’t stop there, throwing in some wicked backwards effects and wankering away while Brown sings those words with a crazed grin pasted to his face. How do I know he’s smiling? Just listen to him. And while you’re at it, just take a look at yourself in the mirror as you’re singing along. See? You’re smiling too. How can you not? This song is pure joy. Just like so much of this record. Amazing.

”I am the resurrection”: The final song on the original track listing of the album is an eight minute long, acid house dance club anthem, perhaps one the best examples of its kind, the fusing of 60s psychedelic rock and the early days of rave culture, images of kids in baggy clothing tripping on ecstasy. Reni and his ever-present bucket hat puts on a drumming clinic, keeping perfect time for the duration, but the intro is all his, that cadence he sets puts you in the mood to jump on the dance floor right away. Mani steps in next with his flitting bass line that, while not quite as game-changing as it is on “Fools gold” (the band’s other anthem), is nonetheless integral to the song’s soul. Finally, Ian Brown’s mellow, laissez-faire tones fit in perfectly with the sound. Of course, the track really only digs in after he stops singing about halfway through and John Squire and his guitar noodling takes over, leading the rest of the group into a four and a half minute long freak out jam.


Here are the previous albums in this list:

10. The Jesus And Mary Chain “Automatic”
9. Galaxie 500 “On fire”
8. The Beautiful South  “Welcome to The Beautiful South”
7. The Grapes of Wrath “Now and again”
6. New Model Army “Thunder and consolation”
5. The Wonder Stuff “Hup”
4. Pixies “Doolittle”
3. The Cure “Disintegration”
2. Nine Inch Nails “Pretty hate machine”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Best tunes of 1992: #22 James “Ring the bells”

<< #23    |    #21 >>

Now that Christmas is all wrapped up, I thought I’d remind you all what’s happening with my Best tunes of 1992 list before I wrap up the other two lists I’ve been blitzing this month. And this is one is pure joy.

Those of you that are not new to these pages will know that I’m something of a James fanatic. I first heard them with their hit single, “Sit down”, and really got into them with the album, “Laid”. Between those two was their fourth album, “Seven”, an album the Mancunian alternative rock band struggled with from the beginning. Half of it was produced by Youth, and only half because they ran out of time with him and given the band’s unhappiness with the results of early recordings. The band produced the rest of the album themselves with some help from Steve Chase. It was finally released almost a year late and wasn’t given the time of day by the music press. However, the band was pleased with the final product and I’m right there with them. I picked it up on CD as one of my BMG music club picks shortly after immersing myself in “Laid” and quickly found my favourites on it, of which this tune is but one.

“Ring ring the bells
Wake the town
Everyone is sleeping
Shout at the crowd
Wake them up
This anger’s deeper than sleep”

“Ring the bells” appears as track two on “Seven” and it sounds like it should’ve been the lead off single, picking up with the uplifting joyous energy where “Sit down” left off. However, they waited and released two other singles prior to unleashing this one. It is frantic acoustic guitar strumming, accompanied by an explosion of sound that will pick you right up out of your seat and get you dancing in a way that you can’t possibly sustain for its five minutes in length. I don’t even know how the band does it. But somehow we find the energy deep within ourselves and lose ourselves to the pure joy that the sounds evoke. Meanwhile, Booth is singing on about losing faith in religion and the freedom that brings and wanting to share it with us all.

The fact that such a tune that I obviously love so much is placed low at number twenty-two should serve notice that the rest of this list is going to be great. Prepare yourselves. It’s all coming in the new year.

For the rest of the Best tunes of 1992 list, click here.