Artist bio

In 1995, filmmaker Steven Spielberg approached young Supergrass -- who had just released debut album I Should Coco -- about creating a Monkees-esque TV series based on the British trio. While the group turned him down, preferring to work on eventual second album In It For The Money, the gesture says a lot about the band's personality -- one which has stuck with the group throughout its career -- which is basically that of a fun-loving rock group whose undeniable musical talent is sometimes overshadowed by the sheer ebullience of its music.

I Should Coco instantly endeared the band to listeners in the U.K., but it was follow-up In It For The Money that really marked a creative leap forward, meshing wild guitar riffs and soulful keyboard melodies with the group's impassioned vocal harmonies. 1999's self-titled third set was not quite as inventive as its predecessor, but saw the band expand its mastery of soul and rock motifs. 2002's Life On Other Planets simply ingrained the fact that Supergrass could continue to ply its effervescent musical outlook over an extended career. "La Song" and "Run" in particular showed the group still finding new ways to express itself.

While Supergrass isn't by any means the most groundbreaking or innovative rock group of its time, it's one of those bands you love to have around, because they keep things fresh and exciting.

Albums by this artist

Road To Rouen (2005)

Life On Other Planets (2002)

Supergrass (1999)

In It For The Money (Recommended) (1997)

I Should Coco (1995)

Interviews

Prawns, Pranks, And Pop Songs
March 14, 2001

Supergrass

I Should Coco

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» TROY CARPENTER | CO-DIRECTOR

Supergrass I Should Coco Capitol, 1995 RiYL: The Jam, Blur, The Buzzcocks, Elastica

This manic pop gem is one of the defining Britpop statements of the '90s. I Should Coco is an exquisite debut for Supergrass, blending a wide variety of influences with youthful exuberance and talent that defies their years (each member was barely into his twenties upon its release).

The trio's impressive musicianship and decided lack of pretentiousness contribute to the album's mixed-up feel, as they throw all range of song concepts together and execute them all with alarming dexterity. Medium-tempo pop hits "Alright" and "Time" contrast with the lightning rave-up of "I'd Like To Know," the schizophrenic bluster of "Sitting Up Straight" and the hard crunch of "Lenny."

In contrast with the big, righteous star mentality of Britpop's kings at the time (Oasis, Blur, Suede), Supergrass thrive on good-natured humility, showing a sense of humor with tracks like the helium-fueled "We're Not Supposed To," while kicking your ass with the raucous spunk of hit single "Caught By The Fuzz." They certainly show the influence of these modern Britpop bands, but don't waste any energy trying to be "cool." Instead, their seemingly boundless energy is thrown headlong into the songs.

Singer/guitarist Gaz Coombes' elder brother Rob sits in on keyboards on a few tracks, lending an air of wisdom to the calmly melodic epic "Sofa (Of My Lethargy)." This song, the album's ultimate track, best illustrates the band's range, as it floats through four separate modes in six-plus minutes, ranging from distant noodling to spot-on chorus riffs.

This infectious album jumpstarted a career that has blossomed into one of the most interesting in modern rock. It is certainly rare for a band so young to show such prowess, and this is one group you'll want to keep an ear on as its bright future unfolds.

TROY CARPENTER | Troy Carpenter founded NATN from a Chicago apartment during the ambitious winter of 1998 with co-conspirators Ben French and Jonathan Cohen. After a five-year stint in New York, he and wife Lourdes have recently relocated to Indianapolis, where he spends days listening to music and nights in the kitchen at Elements restaurant. Musical heroes: Jimi Hendrix, Bob Marley, Super Furry Animals. What else makes life worth living: Sushi, Phucty, runs in the park, and the Atlanta Braves.