History Music / PrimalScream

* "Loaded" begins with a clip from the film ''Film/TheWildAngels'' in which Creator/PeterFonda declares that all he and his friends want is to "be free to do what we want to do" and "get loaded."
* "Come Together" samples Jesse Jackson' speech from ''Film/{{Wattstax}}'' "those are all just labels, we know music is music"
* "Kill All Hippies" from ''XTRMNTR'' samples ''Film/OutOfTheBlue'', where the character Gorgeous transmits her thesis

* SpokenWordInMusic: "Loaded" begins with a clip from the film ''Film/TheWildAngels'' in which Creator/PeterFonda declares that all he and his friends want is to "be free to do what we want to do" and "get loaded." Meanwhile, "Come Together" samples Jesse Jackson' speech from ''Film/{{Wattstax}}'' "those are all just labels, we know music is music"

* CoverVersion: "Slip Inside This House" by Music/The13thFloorElevators, "Motörhead" by Music/{{Hawkwind}} / Music/{{Motorhead}}, "Some Velvet Morning" by Lee Hazlewood and Music/NancySinatra, "Over & Over" by Music/FleetwoodMac, "I'm Five Years Ahead of My Time" by The Third Bardo.

* SpokenWordInMusic: "Loaded" begins with a clip from the film ''Film/TheWildAngels'' in which Creator/PeterFonda declares that all he and his friends want is to "be free to do what we want to do" and "get loaded."

Gillespie, Young and Innes regrouped in Brighton and made some more changes - Young moved to guitar, and a new rhythm section of Henry Olsen (bass) and Toby Tomanov (drums) was brought in. The lads also threw out their bright jangle pop for hard-edged, rock that drew from Music/{{MC5}}, Music/TheStooges and Music/{{The Rolling Stones|Band}}. The resulting album, ''Primal Scream'', was greeted with confusion from their older fans and worse reviews. Shortly after the album's release, Music/{{Felt}} keyboardist Martin Duffy, who has guested on their previous albums, joined the band as a full-time member.

Primal Scream's long and slightly complicated history begins in 1982, when [[FaceOfTheBand frontman]], vocalist and chief mastermind Bobby Gillespie joined forces with his guitarist friend Jim Beattie. At first, PS was merely something Gillespie did in his spare time, with his full-time job being drumming for Music/TheJesusAndMaryChain (he's the one who plays drums on ''Psychocandy''). However, the band's lineup quickly expanded to include Robert Young on bass, Stuart May on guitar, drummer Tom [=McGurk=] and tambourine player Martin St. John. PS got a contract with notable alternative label Creator/CreationRecords [[note]]Music/MyBloodyValentine, Music/TheJesusAndMaryChain, Music/SaintEtienne, Music/{{Ride}}, Music/{{Oasis}}[[/note]] and released a single, "All Fall Down". Gillespie was then given an ultimatum to either dissolve Primal Scream and join JAMC full-time or resign, choosing the latter option.

Primal Scream entered the studio with a DreamTeam's worth of producers including Weatherall, ambient house duo The Orb, Hugo Nicholson, Hypnotone and Music/{{The Rolling Stones|Band}} knob-twiddler Jimmy Miller. The result, ''Music/{{Screamadelica}}'', was a massive genre stew, smashing together AlternativeRock, PsychedelicRock, acid house, gospel and dub and including several nods to their influences ("Movin' on Up" borrowed lyrics from [[Music/{{Can}} "Yoo Doo Right"]] from "Monster Movie" (1968) and a cover of "Slip Inside This House" by Music/The13thFloorElevators). With the music's quality strong enough to weather its amateurish-looking cover, ''Music/{{Screamadelica}}'' became the band's first successful album.

Their tenth album ''More Light'' was released 2013, returning the band to dancey psychedelic rock and consistently positive critical reception, as did their 2016 album ''Chaosmosis'', which would be the last to feature Martin Duffy after being fatally injured from a fall down stairs on December 18, 2023.

Gillespie, Young and Innes regrouped in Brighton and made some more changes - Young moved to guitar, and a new rhythm section of Henry Olsen (bass) and Toby Tomanov (drums) was brought in. The lads also threw out their bright jangle pop for hard-edged, rock that drew from Music/{{MC5}}, Music/TheStooges and Music/{{The Rolling Stones|Band}}. The resulting album, ''Primal Scream'', was greeted with confusion from their older fans and worse reviews. Shortly after the album's release, Felt keyboardist Martin Duffy joined the band as a full-time member.

Their tenth album ''More Light'' was released May 13, 2013, returning the band to dancey psychedelic rock and consistently positive critical reception.

* Martin Duffy - keyboards (joined 1989)

* RefrainFromAssuming: The big hit from ''Give Out But Don't Give Up'' is called "Rocks", not "Getcha Rocks Off".

Gillespie, Young and Innes regrouped in Brighton and made some more changes - Young moved to guitar, and a new rhythm section of Henry Olsen (bass) and Toby Tomanov (drums) was brought in. The lads also threw out their bright jangle pop for hard-edged, rock that drew from Music/{{MC5}}, Music/TheStooges and Music/TheRollingStones. The resulting album, ''Primal Scream'', was greeted with confusion from their older fans and worse reviews. Shortly after the album's release, Felt keyboardist Martin Duffy joined the band as a full-time member.

Primal Scream entered the studio with a DreamTeam's worth of producers including Weatherall, ambient house duo The Orb, Hugo Nicholson, Hypnotone and Music/TheRollingStones knob-twiddler Jimmy Miller. The result, ''Music/{{Screamadelica}}'', was a massive genre stew, smashing together AlternativeRock, PsychedelicRock, acid house, gospel and dub and including several nods to their influences ("Movin' on Up" borrowed lyrics from [[Music/{{Can}} "Yoo Doo Right"]] from "Monster Movie" (1968) and a cover of "Slip Inside This House" by Music/The13thFloorElevators). With the music's quality strong enough to weather its amateurish-looking cover, ''Music/{{Screamadelica}}'' became the band's first successful album.

The resulting long tour in support of ''Screamadelica'' was mired by drug abuse, and a quick EP named ''Dixie Narco'' started a move away from dance-rock, towards blues-rock and P-Funk instead. Primal Scream next spent circa two years recording new material in London and Alabama, with an even more eclectic cast of collaborators that included Tom Dowd, George Drakoulias and Music/GeorgeClinton behind the mixing desk, keyboardists Jim Dickinson and Benmont Tench, drummer Roger Hawkins and The Memphis Horns. The new material reverted to the band's traditional method of copying its influences - in this case, Music/TheRollingStones, TheFaces, and numerous {{Funk}} bands. ''Give Out But Don't Give Up'' accordingly received mixed reviews - for every person who liked it despite its derivative nature there was one who agreed with NME's famous review that called them "dance traitors". Its failure on the charts and a long tour led to severe band tension and a long hiatus.

* EarlyInstallmentWeirdness: ''Sonic Flower Groove'' is a jangly, syrupy, Byrds-inspired Indie Pop record. It's gentle and polite, unlike every album they've done since. ''Primal Scream'', influenced by Music/TheRollingStones and Music/{{MC5}}, is also very unlike the Indie Rock/Psychedelia/Dance hybrid music they became known for, though they've recorded two albums since that try to do the straightforward Rock sound correctly.[[note]]''Give Out But Don't Give Up'' and ''Riot City Blues''[[/note]]

Primal Scream are a [[UsefulNotes/{{Scotland}} Scottish]] AlternativeRock band, known for their eclectic, experimental sound, their status as {{Promoted Fanboy}}s (much like Music/{{Oasis}}, come to think of it), their SexDrugsAndRockAndRoll lifestyle and [[LoadsAndLoadsOfCharacters high turnover rate of members]]. Oh, and also [[SugarWiki/AwesomeMusic their really interesting, excellent music.]]

Primal Scream entered the studio with a DreamTeam's worth of producers including Weatherall, ambient house duo The Orb, Hugo Nicholson, Hypnotone and Music/TheRollingStones knob-twiddler Jimmy Miller. The result, ''Music/{{Screamadelica}}'', was a massive [[NeoclassicalPunkZydecoRockabilly genre stew]], smashing together AlternativeRock, PsychedelicRock, acid house, gospel and dub and including several nods to their influences ("Movin' on Up" borrowed lyrics from [[Music/{{Can}} "Yoo Doo Right"]] from "Monster Movie" (1968) and a cover of "Slip Inside This House" by Music/The13thFloorElevators). With the music's quality strong enough to weather its amateurish-looking cover, ''Music/{{Screamadelica}}'' became the band's first successful album.

* CoverVersion: "Slip Inside This House" by Music/The13thFloorElevators, "Motörhead" by Music/{{Hawkwind}} / Music/{{Motorhead}}, "Some Velvet Morning" by Lee Hazlewood and Nancy Sinatra, "Over & Over" by Music/FleetwoodMac, "I'm Five Years Ahead of My Time" by The Third Bardo.

* SiameseTwinSongs: "Higher Than the Sun" and "Higher Than the Sun (A Dub Symphony in Two Parts)" on ''Music/Screamadelica'', even though the latter is a remix of the former.

Primal Scream's long and slightly complicated history begins in 1982, when [[FaceOfTheBand frontman]], vocalist and chief mastermind Bobby Gillespie joined forces with his guitarist friend Jim Beattie. At first, PS was merely something Gillespie did in his spare time, with his full-time job being drumming for Music/TheJesusAndMaryChain (he's the one who plays drums on ''Psychocandy''). However, the band's lineup quickly expanded to include Robert Young on bass, Stuart May on guitar, drummer Tom [=McGurk=] and tambourine player Martin St. John. PS got a contract with notable alternative label Creation Records [[note]]Music/MyBloodyValentine, Music/TheJesusAndMaryChain, Music/SaintEtienne, Music/{{Ride}}, Music/{{Oasis}}[[/note]] and released a single, "All Fall Down". Gillespie was then given an ultimatum to either dissolve Primal Scream and join JAMC full-time or resign, choosing the latter option.

* GenreRoulette: ''More Light'' jumps from Dance Rock to Psychedelic Rock, Shoegazing, RapRock, and back again.
* HouseMusic: Blended Acid House with Rock and Psychedelia in ''Screamadelica''.

** ''Primal Scream'' moved from gentle Jangle Pop to loud Garage Rock
** ''Screamadelica'' was a full-on House/Rock/Psychedelia hybrid
** ''Give Out But Don't Give Up'' tried straightforward British Trad Rock
** ''Music/VanishingPoint'' took heavy dub and techno influence
** ''XTRMNTR'' took Industrial and Noise Rock influence
** ''Evil Heat'' combined the previous two albums' styles together
** ''Riot City Blues'' tried the Rock thing again
** ''Beautiful Future'' combined their electronic side with their bubblegum roots and Krautrock influences
** ''More Light'' returned to the Psychedelic/Indie/Dance hybrid style, with a greater focus on individual songs
* OutOfGenreExperience: "Culturecide" is a RapRock song.

** "Loaded" is Andrew Weatherall's remix of their earlier song "I'm Losing More Than I'll Ever Have", turning the original rock ballad into unrecognizable house.
* RefrainFromAssuming: The big hit from ''Give Out But Don't Give Up'' is called "Rocks" not "Getcha Rocks Off".

** They turned "Slip Inside This House" into a pounding, psychedelic dance song and "Motörhead" into a techno-rock song.
** "Loaded" is Andrew Weatherall's remix of their earlier song "I'm Losing More Than I'll Ever Have", turning the original Rock ballad into unrecognizable Acid House.

For their follow-up ''XTRMNTR'', the band recast themselves as angry-political revolutionaries, matching {{Anvilicious}}, clumsy sociopolitical lyrics with the hardest, harshest songs they ever wrote, drawing inspiration this time from IndustrialMetal. The album featured contributions from [[Music/NewOrder Bernard Sumner]], Brendan Lynch, Adrian Sherwood, The Chemical Brothers and [[Music/MyBloodyValentine Kevin Shields]], the latter of whom continued to work and tour with the band for a while. Shields was never an official member of the band however, since Music/MyBloodyValentine never actually broke up and Primal Scream never actually clarified if he was a member. They carried on with the angry-electro-metal ''Evil Heat'', which boasted a similarly impressive list of contributors - [[Music/TheJesusAndMaryChain Jim Reid]], [[Music/LedZeppelin Robert Plant]], former member Paul Harte and... er, Kate Moss. She was part of the package.

Primal Scream are a [[UsefulNotes/{{Scotland}} Scottish]] AlternativeRock band, known for their eclectic, experimental sound, their status as {{Promoted Fanboy}}s (much like Music/{{Oasis}}, come to think of it), their SexDrugsAndRockAndRoll lifestyle and [[LoadsAndLoadsOfCharacters high turnover rate of members]]. Oh, and also [[CrowningMusicOfAwesome their really interesting, excellent music.]]

Primal Scream returned in 1997 with a new lineup, including former Music/TheStoneRoses bassist Mani and drummer Paul Mulraney. Reuniting with former collaborators/producers Brendan Lynch and Andrew Weatherall, ''Msuc/VanishingPoint'' saw the band return to the electronic-rock fusion they found success with, but this time with a DarkerAndEdgier bent and a bigger influence from {{Krautrock}}, TripHop and dub - quite appropriate for an album inspired by the film ''The Vanishing Point''. With this, Primal Scream [[WinBackTheCrowd Won Back The Crowd]] they lost with ''Give Out''.

* SexDrugsAndRockAndRoll

The resulting long tour in support of ''Screamadelica'' was mired by drug abuse, and a quick EP named ''Dixie Narco'' started a move away from dance-rock, towards blues-rock and P-Funk instead. Primal Scream next spent circa two years recording new material in London and Alabama, with an even more eclectic cast of collaborators that included Tom Dowd, George Drakoulias and GeorgeClinton behind the mixing desk, keyboardists Jim Dickinson and Benmont Tench, drummer Roger Hawkins and The Memphis Horns. The new material reverted to the band's traditional method of copying its influences - in this case, Music/TheRollingStones, TheFaces, and numerous {{Funk}} bands. ''Give Out But Don't Give Up'' accordingly received mixed reviews - for every person who liked it despite its derivative nature there was one who agreed with NME's famous review that called them "dance traitors". Its failure on the charts and a long tour led to severe band tension and a long hiatus.