Ocean Colour Scene was formed in Birmingham in 1989, the Brit-pop band never made noise in the USA and thus their musical high point, 1996’s Moseley Shoals, has gone relatively unheard there. The story was this: after hearing a demo, Oasis' Noel Gallagher invited the band to support his tour. With this recognition, major labels came calling and Moseley Shoals was released to critical acclaim from the famously hypercritical Brit press. The name of the album, of course, was a play on Muscle Shoals, the legendary Alabama town that housed a recording studio which began in 1969 and produced epic soul and rock music. Moseley was the name of a Birmingham suburb where three of the group’s original members were born. This title plays warmly with the music inside, a combination of a little 90s brit-pop, big hearted classic rock, and blue eyed soul.
Immediately kicking things with "The Riverboat Song's" the Zeppelin-esque guitar and bass interplay, the band arrived with intention and a soulful force. This music were different from Oasis's bombast or even Blur's punchy, quirk-pop. However, Moseley Shoals shone with a refined, timeless sound; a deep, melodic accessibility with songs arranged naturally and played with passion. Lyrics were earthy yet poetic, elegant and stylishly grounded. The most alluring element of all may be the understatement with which the band was able to play. Dripping with emotion, staying rooted in traditional song arrangements, they creatively play with melody and make Moseley Shoals a revelation for those of us struggling to remember what exemplary melodic rock sounds like.
Tracks such as "Lining Your Pockets" was one of a few slow burners on Shoals that captivates with a Rod Stewart-era Faces feel. "The Day we Caught the Train" was stylized like Revolver-era Beatles with a gorgeous chorus. It’s no wonder the song reached number 4 on British charts, a place where the appreciation for well played pop rock has never wavered. "One for the Road" was the best Bob Seger ballad he never played. In the vein of "Night Moves", this one focuses on natural production.
The track "40 Past Midnight" was the most obvious overture to Moseley Shoals with bar room piano and agile guitar stabs from Steve Cradock that hook and dive. There was an organic liveliness to the song and all of Moseley Shoals that allows the music to shine and flow naturally, as if it was recorded live and in one take. The album was blessed by iconic Brit Paul Weller's (The Jam, The Style Council) presence on organ, piano, and backing vocals for three songs. With Weller and Gallagher’s stamp of approval Moseley Shoals was afforded an instant loudspeaker to all of Britain. "Policeman and Pirates" was a quintessential example of OCS's ability to created gorgeous blue-eyed soul melodies inside classic rock structures. There is a sweet affection to the song, one that can only come from a labor of love. "You've Got it Bad" used a filtered synth sound for texture, allowing it to play off and with punchy piano runs and a kinetically understated guitar solo. Coupled with Beatles-esque melodies, the band keeps finding gold in every song.
The album finished with "Get Away", the longest song on the album at almost eight minutes. Beginning with harmonica and acoustic guitar for two verses and then voraciously jumping into wah guitar and angry vocals. Cradock played a liquid solo, and the song slows to a crawl again. These organic twists and turns make Moseley Shoals feel warm and welcoming, like the product of a real band full of heart. Soon the song turns into a rambunctious exploration of vibrant drums and refined yet ragged guitar noise. Moseley Shoals breathes to a close with guitar feedback fading.
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