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Apr 14

CORNERSHOP – “Brimful Of Asha (Norman Cook Remix)”

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#785, 28th February 1998

asha In the mid 90s, if you were looking for alternatives to Britpop’s domination of the media you’d find fertile pickings – so fertile, in fact, that it turned into a whole line of attack. Take Britpop’s nostalgic, ironised relationship with the country’s pop past, and contrast it with trip-hop, or drum’n’bass, and their rapid innovation and pace of change. To make the argument even more enticing, Britpop stars were mostly white, while black and Asian British musicians played huge roles in the scenes held up against them. Nostalgic white past versus thrilling multi-cultural futurism: it was an almost irresistible frame.

But it was also too simplistic. One of the things the analysis left out – because Britpop left it out – was the heritage of immigrant communities within Britain – which ran back well beyond the cultural memory of Swinging London. Nostalgia could be a poison, but it could also lead to splendid, resonant music, so why impose conceptual limits on who gets to make that music? Black and Asian Britons had a 60s and a 70s here too. Fight the past with the future, by all means, but other pasts, and other nostalgias, were available, and could be just as vital. “Brimful Of Asha” proved it.

Cornershop came out of an angry, forgotten moment just before Britpop hit. They were Riot Grrrl fellow travellers with a taste for barbed theatre about ‘Britishness’ and the perceptions of where Asians fitted – the name, the “curry-coloured” vinyl, the righteous incineration of Morrissey photos. “Get on the streets and fight! The powers that be” shouted their clattery debut “England’s Dreaming”, whose video showed plenty of Union Jacks – and their scummier wavers.

But the music didn’t catch up to the rhetoric, and I doubt I gave them much of a chance, at least compared to thrilling Wiija labelmates Huggy Bear or the catchier political pop of Chumbawamba. And – as if it needs saying – they seemed as likely to get to Number One as any band in the habit of releasing split singles with Blood Sausage would be. Even less likely, you would say, than a Housemartins bassist becoming the hottest ticket in British dance music.

Some might argue – especially as Norman Cook himself has jokingly conceded it – that Fatboy Slim ruined “Brimful Of Asha”. It’s certainly true that the bits he slices out are some of the song’s most beautiful and important. Gone is the recital of Indian and other touchstones – “Solid State Radio – 45!” and all that – which adds so much texture and emotional weight to “Brimful”. It’s one of the great pop lists, like Kevin Rowland’s furious count-off of Irish writers in “Dance Stance”, or Daft Punk’s tribute to house pioneers on “Teachers”, a personal testament to how culture builds you. Gone also are the gorgeous bloom of strings that ends the song so perfectly.

These are harsh losses, particularly as it’s so easy to imagine Cook fitting them into the single mix – he’d only have to ditch a half dozen “bosoms”. But he keeps a lot of the parts of “Brimful” that matter, and his central idea – speeding it up – is a brilliant one. Cornershop are often a leisurely band – Tjinder Singh is particularly good at setting up friendly, fuzzy, loping grooves to build his ideas around – but sped up, the riff of “Brimful Of Asha” reveals itself as one of the era’s sharpest, a piece of propulsive mod swagger. It’s half-pilfered off “Sweet Jane”, but that had always been part of the point – rock belongs to Cornershop just like any other music they use.

But while it’s mostly a Cornershop record, “Brimful Of Asha” is recognisably a Fatboy Slim track too. Cook had a wonderful streak of remixes and original tracks around this time – this, “The Rockefeller Skank”, “Michael Jackson”, his mix of Wildchild’s “Renegade Master” – almost all of which used the same trick. They’re fast, goofily repetitive, breakbeat-driven dance records, then instead of dropping the beat out for the breakdown, they start cutting it up faster and faster, bringing the track to a delirious head so the drop back into the chorus is a different kind of release. It’s magnificently crass and it works almost every time. On “Brimful” he uses the “bosom for a pillow” line as the repeating core, then works the cut-up trick on “and dancing – and dancing – and dancing” – and it’s a wonderful, surging moment. With that and the amped-up riff, Cook gives back as much as he takes away: this and the original are two brilliant singles, not one spoiled.

What’s more, they’re two brilliant singles with the same emotional centre. “Brimful Of Asha” is one of those occasional number ones about how glorious and liberating music is. “Dancing Queen” is another, so is “Come On Eileen” Unlike those records, “Brimful” was not originally about dancing – it was about music and film not just as communal escape but communal resistance. An unbreakable thread linked the band of 1997 to the band of 1993. “We don’t care about no government warnings, about the promotion of the simple life or the dams they are building”, to quote the record’s most resonant, compact line, one the remix shrewdly keeps. But any song about that can be very easily diverted to dancing, which has a long, intimate relationship with community and resistance.

In either of its versions, “Brimful Of Asha” is wise, exciting pop: in one version slightly more wise, in the other slightly more exciting. It remains an inspiration. I’m writing this in April 2014: two months into what I grimly suspect might be years of Britpop retrospection. England, once again, is looking backwards. But just as then, that’s too simple a diagnosis. There’s no shame in looking backwards, the past is full of treasure – the key is not to hoard it but to use it, to come back out of the past and share what you find. That’s what Cornershop did, building a fragment of their heritage into a part of everyone’s – stepping forward at the dying days of Britpop to show what nostalgia was good for.

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Comments

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  1. 1
    Mark G on 28 Apr 2014 #

    it’s hard to have the britpop-fighting back, it’s only been 6 months since the last revival, it seems, and again it gets reduced to Oasis, blair and drink. This entry comes just in time.

    I’d give a ten here.

    10

  2. 2
    fivelongdays on 28 Apr 2014 #

    The final instalment of the ‘British Asian Number Ones At The Start Of The Year’ trilogy. Not QUITE as good as ‘Your Woman’, but still a corker. If anything I prefer the original – a nice, slow, likeable track, going backwards and forwards (and ridiculously simple to play on the guitar), but the remix doesn’t seem to change the song much, other than make it faster and more danceable.

    I would say more, but I have stuff to do…but for now, I think I’ll give it…9.

  3. 3
    flahr on 28 Apr 2014 #

    “The final instalment of the ‘British Asian Number Ones At The Start Of The Year’ trilogy.” – um what about when Echobelly hit #1 nex- oh :(

    I think Kutner & Leigh suggests that the original is the ‘official’ #1 single because it was the first track on the CD (or something like that). Glorious video which points up the giddy delight the song takes in the existence of music (I knew a “Come on Eileen” comparison would appear somewhere in Tom’s writeup!).

    An [8], I think, nestled in next to “The Sun Always Shines On T.V.”.

    P.S. Embarrassingly, I was under the impression that Cornershop were a Britpop band. After all, they did have guitars.

  4. 4
    Matt DC on 28 Apr 2014 #

    I must admit I had absolutely no idea which way Tom was going to go on this one. I loved it at the time, both versions, but I’m not sure I ever need to hear it ever again.

    I am still not sure I can think of a single other pop song that uses the word ‘bosom’.

  5. 5
    Chelovek na lune on 28 Apr 2014 #

    I have to agree at having been most unimpressed by Cornershop’s earlier music, even if their attitude (evident in the records and interviews) had a fair bit to commend it. I’d bought their debut “The Days of Ford Cortina” EP, I think largely on the basis of a piece in NME from which I recall the line (written round about the time the BNP had just got their first councillor, just down the road from me then in East London, and also about the time that Stephen Lawrence was murdered just over the river: a time when it appeared that there was a real resurgence of racism occurring in a London that was itself in a pretty bad shape, and which, in retrospect, now looks very grey) “We’re not pacifists, we’re paki fists”….but, the line “I was happy in the haze of a drunken hour: Fight the power!” apart, well, I’d rather have been listening to either the Smiths or Public Enemy. A lot of early Cornershop really was kind of anonymous loud-ish-guitar indie drone, the sort of thing that John Peel might have played a couple of times in 1987 but which otherwise would go forgotten: as indeed proved largely to bethe case….

    Later on, they definitely cultivated the art of the loping groove: “Sleep on the left side” is not a great or classic single by any stretch of the imagination, but it does have a almost hypnotic rhythm than is extremely appealing..

    And this… Hmmm. Yeah, it’s pleasant enough, a bit lightweight in some ways (certainly once the more meaningful or pertinent lyrics have been stripped out) – – musically almost a reassuring vestige of post C-86, pre-Madchester (or: post-Velocity Girl, pre-Loaded!?) indie in the original: But still….(even taking into account what he cut or omitted) I really think Norman Cook makes the record, polishes up its shinier edges, strengthens its backbone, and gives it more oomph, far more than anything else Cornershop ever recorded. A fine but not absolutely outstanding combination. 7

  6. 6
    lonepilgrim on 28 Apr 2014 #

    It’s a wonderful piece of music. It’s always a pleasure when different music cultures combine as richly as this and the whole becomes greater than the sum of its parts. It was also refreshing to see those cultures represented on TOTP and other shows.
    Stereotypes of South Asian cultures within and without the UK were being stretched and challenged with ‘Goodness Gracious Me’ on the radio at this time, ‘East is East’ the play in 1996 and the previous success of acts like Apache Indian.

  7. 7
    dorsalstop on 28 Apr 2014 #

    Great song, and some wonderful writing here – I was going to give it an 8, but reading Tom’s last two paragraphs while listening to it convinced me that it should indeed be a little bit higher still.

  8. 8
    Alan not logged in on 28 Apr 2014 #

    very important resource: http://www.lyrics.net/lyrics/bosom

    most pop thing on there (after BoA): Faithless “Insomnia” (lots of others, just mostly album tracks)

  9. 9
    thefatgit on 28 Apr 2014 #

    The late ’90s for me, was Dave Pearce’s Dance Anthems on a Sunday evening and Pete Tong/Judge Jules on a Friday night. Dance seemed so much more vital and exciting compared to the “where do we go from here?” post-Britpop hangover. BoA sort of represented both stances. Radio 1 played the Norman Cook remix, that propelled Cornershop to the top. Our local commercial station, which was Dance music averse, stayed true to the slower original from 1997. The significance of Asha Bhosle outside the British Asian community was presumably negligible, so Tjinder’s nod to Bollywood’s most famous playback singer sailed way over my head. Bollywood is something I still know very little about. So it’s difficult for me to pass any sort of useful judgement on the source.

    So what I’m looking at is Norman Cook’s input. The shot of Norman’s nitrous oxide into the song, elevates BoA into a Saturday night disco floor-filler. This is almost what indie disco is about to become. It’s almost too tempting to suggest Dance + Rock = Pop. The video seems to make that distinction, but I’ve not heard enough Cornershop to confidently make that assumption. Not in the way that equation was applied in Manchester and Birmingham in the ’80s. It seems to me Cook was trying something similar, though. It works for me. (9)

  10. 10
    Kinitawowi on 28 Apr 2014 #

    One of the b-sides is a “Norman Cook Original Full Length Remix”, which preserves the aforementioned central ’45 list and is a much better song for it.

    I heard the unremixed version of this first and didn’t much care for it; this remix was let down by association. Later exposure to the full length mix (by which time he clearly was Fatboy Slim, rather than the Norman Cook credited here) boosted this one back up; I think I’m going for a 9 for the long mix, while this one gets an 8.

    The Rockafeller Skank would have been a 10, mind, although the Full Length Remix of Fatboy Slim’s story will surely come in due course.

  11. 11
    Utter Dreck on 28 Apr 2014 #

    My Britpop summer idyll in New Zealand came about when a local TV channel went bust and someone had the idea of piping in MTV UK with a sprinkling of homemade shows. Now it’d all be utterly groanworthy, but this was my pre-internet existence and the NZ media hadn’t really gotten on the Yoof tip. Suddenly I went from being starved for exposure to the stuff I read in three-week-old magazines being imported from the UK to being able to actually hear the bands I read about in the library’s ragged copies of NME. My fondest memories are of a show called Up for It, hosted by Eddie Temple-Morris. Maybe this was the height of naffness in England, but I was properly dazzled. And that’s where I remember hearing the original Brimful of Asha, chewier lyrics and all. In NZ, Britpop was never the dominant sound, though it was popular, but hip hop was huge (as was what we might as well refer to as ‘American rock’ for the sake of things) and the local music industry was going through a purple patch, so it felt like a time when things were really blooming – you didn’t have to like just one thing, and if you wanted to make music that seemed like it could even be a viable career choice. To me, this song is part of the Britpop import sound, because it sure as hell wasn’t Tupac or Pearl Jam, but that’s partly because I didn’t have the knowledge of how to sift between the lines.

  12. 12
    Tommy Mack on 28 Apr 2014 #

    A real ‘stop what you’re doing and listen’ moment on the radio for me. The references were lost on me at first but I remember reading what it was about fairly early on. This was the peak of my independent local radio listening and I was pretty sick of it after a few months. 10 on first listen, 8 after overexposure, so 9 seems about right.

    V. Dissapointed Rockefeller Skank wasn’t a #1, that was an even bigger WTF radio moment for me. The mix of retro twangy guitars and up to the moment beats definitely did it for me back then.

  13. 13
    Steve Mannion on 28 Apr 2014 #

    Probably my least favourite (90s) Fatboy Slim remix (the others tended to hit harder) – and some novelty aspects aside the original just bored me so reluctantly another 5. At least with this and Talvin Singh’s Mercury win (the ‘OK’ album had some stirring moments although not quite on the level of the 1997 ‘Anokha’ compilation he presented) there seemed a renewed optimism in a greater quantity and wider range of Asian representation and influence throughout the charts.

    Meanwhile Busta Rhymes dropped the superb ‘Fire It Up’ in turn setting up one of the big 00s hits by an British-Indian act (albeit originally recorded not that long after Busta’s itself). If only ‘Mundian To Bach Ke’ could’ve been a hit just after this instead of that much later.

  14. 14
    PurpleKylie on 28 Apr 2014 #

    One of my overriding childhood memories of this was my then 8 year-old little sister innocently asking our mum: “what is a bosom?”

    Very interesting spin on things, on how looking back on nostalgia too much in regards to making music isn’t very productive. We should indeed look to the future of musical sounds more often.

  15. 15
    lmm on 28 Apr 2014 #

    This is not my stork-boy, but perhaps more meaningful: this is the first number 1 I can remember being aware of at the time. And I remember reading an interesting analysis at http://www.kuro5hin.org/story/2003/8/7/12518/77483 .

  16. 16
    Tom on 28 Apr 2014 #

    #5 Yeah, “In The Days Of Ford Cortina” was not that good – I remember hearing “Readers’ Wives” once on the radio and thinking OK, they got a bit better, but then basically forgetting about them until I picked up “6AM Jullander Shere” in the 10p basement in MVE – it had only recently come out so a particularly cruel (tho fortuitous) placement. That record completely stunned me, and I paid a lot more attention by the time “Asha” and the LP came out. I still try and give whatever they do a listen or two – “What Did The Hippie Have In His Bag?” was a gem, from their 2012 album.

  17. 17
    Tom on 28 Apr 2014 #

    Weirdly enough, revisiting “Lessons Learned From Rocky I To Rocky III” just now, I realised I think about Cornershop in the way I feel like a lot of people do about Super Furry Animals – kind of retro sometimes but always imaginative, interesting, groovy…. SFA themselves have never really done it for me (beyond a couple of tracks everyone likes).

  18. 18
    mapman132 on 28 Apr 2014 #

    This was never a big hit in the US – the cultural references didn’t resonate as much here, therefore making this just another alt-rock record – but it did get enough airplay to appear on the modern rock chart. Can’t remember for certain but I think the unremixed version got the bulk of play. Listening to both now, I’m not sure which I actually prefer – enjoy the faster beat of the remix, but think it cuts out too much. Had a feeling Tom would mark it high either way – I’m not quite as gung ho, but I’ll still give it 7/10.

  19. 19
    James BC on 28 Apr 2014 #

    Another vote for the extended mix, with the “Trojan Records, Argo Records” list intact and Norman Cook chucking everything at it. Love it.

    This was possibly the first and certainly the last number 1 single I bought in the week it went to number 1 (until 2014, that is!). Nice to feel part of something.

    As good as this was, the Handcream For A Generation album is even better, and without Cook’s assistance. Should have been an absolute smash.

  20. 20
    anto on 28 Apr 2014 #

    I’m delighted to see this one receive such a high mark and a splendid review which captures a lot this track’s real joy. Personally I could take or leave the Norman Cook version – the original is just magnificent and that ‘Everybody needs a bosom for a pillow’ part was the most engagingly eccentric hooks of 1997-98.
    I don’t think of the lyric so much as a list song as a welcome callback to the cryptic pop hits of thirty years earlier – I’m referring to the likes of ‘Windmills Of Your Mind’ or ‘McArthur Park’ and the kind of post-psychedelic vogue for perplexing songwords.

    As the subject keeps coming up can I just put in a word for those of us who relished a fair amount of Britpop and the alternatives as well. It wasn’t purely a matter of one or the other. Also it’s worth mentioning ‘When I Was Born For The 7th Time’ which is an album that seems to take the idea of a cultural tapestry that Tom refers to in the review even further. It’s a record where you genuinely can’t predict what’s coming next whether it be suburban funk, protest music, Beatles covers or C&W ballads. There is even a recital by Allen Ginsberg on what proved to be one of his last recordings.

  21. 21
    Garry on 28 Apr 2014 #

    The original is a song I would consider giving a 10. The remix also scores highly with me, but I love the Trojan Records, Argo Records bit at the original tempo.

    The original was perhaps the song which I best remember as being of the time I started in radio. Both it and Sleep on the Left Side are still on my car mix, as are Rocky and Staging the Plaguing of the Raised Platform. It’s perhaps my first music gain from my radio times.

    As for Fatboy Slim, I’ve always put him as music I need to be in the mood to enjoy, but if I am in the mood I enjoy it a lot. But his best remix for me is the Beastie Boys Body Movin’, which was the version of choice doing the rounds on Australian radio over and above the original. Both it and Intergalactic were my introduction to the Beasties. I love the Fatboy Slim remix so much when I heard the original of Body Movin the otherness of it tripped me up. I was too used to the Slim groove.

  22. 22
    Tom on 28 Apr 2014 #

    It’s been years since I heard “The Rockefeller Skank” – the CD single had “RIGHT ABOUT NOW THE FUNK SOUL BROTHER” on a big sticker, presumably the marketing team were tearing their hair out about people realising what the record was… anyway, just played it and what an extraordinary single, I’ll definitely talk about it a bit next time we meet Mr Cook.

  23. 23
    Mark M on 28 Apr 2014 #

    I saw Cornershop play at the New Cross Venue in, I presume, early ’93, on an NME ‘bands* we reckon are going to be big this year’ bill, when their combination of agit-prop and Mary Chain-ish noise was far more appealing in theory than in practice. They got a bit better after that, and then – as Tom says – with 6AM Jullandar Shere they got a whole lot better.

    I still really like When I Was Born For The 7th Time – I can’t improve on Anto’s description of its range. What was crucial to me is that this felt like stuff they had absorbed along the way, rather than some deliberate fusion project (Tjinder Singh’s reputation for laziness probably helps there). I think even a fleeting listen to the album would show how far from Britpop they were.

    I don’t hate the remix, but I much, much prefer the original, with its fairly obvious debt to Roadrunner and that lovely list of references – a few of which I got, most I didn’t (I’d guess that ‘the promotion of the simple life’ is to do with the Gandhi-inspired rural policies tried out unsuccessfully by post-independence Indian governments). It still felt strange and pleasing when it got to number one.

    *There were four bands that night, I think, but the only other one I remember is Thieves, David McAlmont’s band.

  24. 24
    AMZ1981 on 28 Apr 2014 #

    I’m probably going to be in a minority but I don’t rate this. I didn’t at the time and I don’t now. I don’t dislike it but I can’t bring myself to particularly like it either.

    Anoraks note BofA dropped to three after a week at the top so I was wondering if somebody might suggest that Cornershop were the first act whose first chart week was at number one but whose second was outside the top two (we’ve had a few acts start their chart life 1 -2). The answer is that they aren’t because the original version spent a week at number 61 (this came up during the Forever Love discussion but Gary Barlow had of course charted previously as part of another act).

  25. 25
    tonya on 28 Apr 2014 #

    I feel like both versions were played on the radio in San Francisco quite a bit. I definitely heard the original first. And actually Googling I see it’s listed on local playlists from both 1997 and 1998.

    #21 I feel the same way about Body Movin’.

  26. 26
    Will on 29 Apr 2014 #

    A brilliant pop record about brilliant pop records. I bought it (on 7 inch, of course) in its first week of release and still love it today. 10!

  27. 27
    Billy Hicks on 29 Apr 2014 #

    Fatboy Slim absolutely owned 1998 and is easily my favourite artist of the year – Renegade Master, The Rockafeller Skank, Gangster Tripping and Body Moving are all utterly monumental tracks with ‘Skank’ perhaps my fave, though Renegade Master would be another easy 10 with the other two very high 9s at the least. Indeed one of my favourite moments IN MUSIC HISTORY happens midway through Skank, which apparently was a mistake by Cook that just got left in – when the track slows down so much it overloads the sampler and this insane loud buzzing sound envelopes you and gives you the most glorious euphoria rush I think I’d ever experienced up to first hearing it.

    This is perhaps the weakest of all his ’98 output and ironically his only #1, but still better I think than the bunny to come next year. Very surprised to see it score so high but it is a great track, and was used for about six months by Sky One on their idents – hearing the opening of this just takes me back to watching ‘The Simpsons’ and later ‘South Park’ over and over again, usually with the visuals of a guy slow-motion on a skateboard with the logo appearing at the end. Then a sponsor ad for Domino’s Pizza for The Simpsons.

    I’d probably give it a 7.5, maybe 8.

  28. 28
    Doctor Casino on 29 Apr 2014 #

    Always really loved the original, heard the remix only once on (US) radio as the DJ revealing an intriguing novelty. I like the things Tom is bringing out about Cook’s intervention, but I just don’t connect to it viscerally. Maybe if I heard it pounding at a big party where everybody was having a good time. Funny, listening to the original directly afterwards it definitely sounds slowed down, a sort of weird feeling for such a familiar song. Now I wonder if the ideal tempo is somewhere in between – less lopey than Cornershop’s, less Chipmunky than Fatboy’s.

    I do think it’s missing something reeeeeeally crucial without the “list.” Its items were baffling but intriguing (and yeah, just cool-sounding) to me as a white American suburbanite teen; for other audiences though they would be touchstones of familiar everyday life, as lived at home but rarely presented as part of Official Culture. I can’t speak for how they would have felt about those names appearing in a #1, but I do have to say it seems a bit odd, not to say dicey, to have systematically cut them out. Yes, better to have omitted a few “bosoms.” (The word, by the way, does feature prominently on Dean Friedman’s minor 1978 hit, “Ariel.”)

  29. 29
    swanstep on 29 Apr 2014 #

    BOA (in either mix) is one those critical consensus records (like ‘MMMBop’) that I’m completely unmoved by. I feel like I know exactly where this is coming from musically and this is just a clumsy version of that naive-but-wise-at-the-same-time tradition. The Chills made this basic record at least 5 times, every time a lot better than BOA. Ditto Luna. Ditto The Magnetic Fields. Ditto Stereo Total and Stereolab. And many others (even The Corrs!). The moderately intriguing lyrics (tho’ not the vocal performance) are the best part here, esp. in the original mix, but while it’s fun to have some relatively obscure references in a pop hit, there’s no poetry here, and the dull backing track and vocal perf. makes one wonder why one should care. Not a #1 (or especially close to it) anywhere other than the UK & Ireland, which suggests that the local pop politics (& the on-going local narratives about multi-culturalism) were decisive. Anyhow, for me a:
    4

  30. 30
    Cumbrian on 29 Apr 2014 #

    As I read this review from Tom, I felt more and more certain that there was going to be a 10 nestling at the bottom of the article – but like Pele shooting from the halfway line in 1970, I’ll just have to be content with a gloriously memorable but close miss.

    Everyone has covered most of the stuff I would have said about this. It probably should be considered alongside the original track in a compare and contrast sort of fashion, as many have done. I do miss the list bit from the original, but the remix has more vim and joy to it for my money than the more blissed out in a bedsit version. Would I have gone up to 10? Maybe not, in the end – but I can see why some would and it was close in my mind too.

    Cornershop lived on in a corner of my subconscious for years afterwards, as Mark and Lard used “Sleep on the Left Side” (I think) as a sound bed on their R1 show right up until they left the station and I always had a somewhat favourable impression of them, despite not owning anything (bar this) by them – that bed always made me think, “I like this, quite dreamy and pleasant” and also “I wonder what Cornershop are up to” even if it didn’t push me towards spending my money on them (back then CDs were comparatively expensive – regularly north of £14 for a new release, so I took very few chances on stuff that I didn’t know I’d like at least a few tracks from – this is one of the things that the recent Britpop nostalgia trip has made me remember and thank the Internet that I can sample stuff much more easily now than then). Tom’s description of them as being a bit like Super Furry Animals, in spirit if nothing else, has actually piqued my interest though. I’ll check them out on that basis, as I am one of those in the tank for SFA.

    I’d also agree that Body Movin’ is probably Fatboy Slim’s best remix – it’s so good, it supplanted the original from Sounds Of Science, the Beastie Boys double album retrospective. At his best – and surely, we’ll get into Fatboy Slim on his own in time – I thought his stuff to be pretty great but I would also say that he had a couple of tricks which he seemed to pummel mercilessly too. Perhaps he’s not quite as great as I remembered and nostalgia is taking over – sort of like some of the Britpop stuff that has been going around recently too. I guess that time to delve more deeply will arrive sooner rather than later (at least on Popular).

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