Yahoo! Music Album Review

Released on 11/07/05
Label: Castle

Oasis were the 90s Beatles right? God, they so wanted to be. This was a theory with no basis in terms of style, sound or ambition, propelled by the band's co-option of the myth - overblown "Let It Be" choruses at the drop of a Ringo - and seen most absurdly in Liam Gallagher - them round shades, his son Lennon etc. No, if any band during that era can profess an authentic affinity with the Beatles, it was The Boo Radleys, a psychedelic, sprawling entity of rare skill and vision.

Quite how four dismal-looking Scousers - yup, that's Liverpool - got to the deep space nine, heavier than mars dub intro to "Lazarus" or the psychotic, mangled car crash of sounds that is "Four Saints", is immediately fascinating. Listen to the first 30 minutes of "Find The Way Out" - a handsome two CD career retrospective - and the My Bloody Valentine minus Kevin Shields sludge of The Boo's sound belies a development nailed-on by the title of their 1993 meisterwork, "Giant Steps".

The smart money on their growth spurt is Martin Carr, a songwriter equal parts McCartney, Lennon and Brian Wilson. As his Brave Captain solo work still frequently attests, Carr is lavishly equipped to work outside the rigid parameters 'set' by modern pop music, minted here on the winning streak of tracks from "Giant Steps", and many times elsewhere.

Initially, The Boo's emerged wielding a six foot club, studded with the word 'SHOEGAZING', Carr's guitar constantly vomiting feedback all over his band. Quickly, however, on tracks such as the mosh frenzy of "Lazy Day", a pop tune as addictive as girls are to sex maniacs, and "Sunfly II", featuring the sample: "I believe in what's happening now. I detest history. Goodnight…" such categorisations became laughable.

By "Giant Steps", with Carr having probably stuffed considerably more LSD into his head than his mother would've liked, The Boo's, moved well beyond the headspace of their peers. Ten years on, "Lazarus" still sounds utterly incredible, the cavernous swell of sound, that bass-line, then the horns flood like a dam exploding. It is one of the finest moments in rock'n'roll history. Elsewhere, "Best Lose The Fear", "Barney (And Me)", "Wishin' I Was Skinny", "From The Bench At Belvedere" and "Almost Nearly There" display a beatific melodic touch allied with a wild and decadent sonic spectrum that is The Boo Radleys' everlasting legacy.

The thrilling/dreadful, intentional sell-out of "Wake Up Boo!", and the decent, clean accompanying album may have seen the band admitted to the Britpop party and a shonk crippled by cocaine, but clearly did no favours for their soul. The trashed noise and go f*ck yourself attitude of follow-up, "C'Mon Kids" was the result, here represented by the title track, the "Four Saints" shoot-out and a majestic "Ride The Tiger".

But as quickly as it arrived, it was a gone. The feeble, resigned campaign and reaction to the really rather ace final LP, "Kingsize", mirrored Martin Carr's strangely beaten sprit and The Boo Radleys were finished. However, across the course of "Find The Way Out" you will experience a group that sought the dream we all dream and actually made it happen. So, we say once again, Boo Forever…

    by Ben Gilbert