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River Of Pain Culturecide Hit Void Tenement Kid Invisible City Goodbye Johnny Sideman Elimination Blues Turn Each Other Inside Out Relativity Walking With The Beast It's Alright, It's OK I Want You City Slang CD2 Running Out Of Time Worm Tamer Theme From More Light Trippin' On Your Love Feeling Like A Demon Again I Can Change Private Wars Where The Light Gets In Carnival Of Fools Golden Rope Autumn In Paradise Come Together EP [9 ] Come Together 7'' Version Loaded 7'' Version Come Together Farley Mix Loaded Weatherall Mix Ramblin' Rose Live Loaded Farley Mix Ramblin Rose Live N.

Higher Than The Orb Movin' On Up EP [9 ] Stone My Soul Carry Me Home Screamadelica Funky Jam CDS [visa ] Funky Jam SuperDroog Mix Jailbird EP [ 9] Jailbird Original Mix Jailbird The Dust Brothers Mix Jailbird Sweeney 2 Mix Jailbird Wetherall Dub Chapter 3 Mix Funky Jam Hot Ass Mix Funky Jam Club Mix Rocks Live Rockers Dub Struttin' Back In Our Minds Full Strenth Fortified Dub Electric Soup Dub A Jake Supreme Burning Wheel Chemical Brothers Remix Hammond Connection Higher Than The Sun Original Kowalski EP [9 ] Know Your Rights Kowalski Adrian Sherwood Dub Rebel Dub Darklands Badlands Swastika Eyes Chemical Brothers Mix Swastika Eyes David Holmes Mix Swastika Eyes Spectre Mix Swastika Eyes Edit When The Kingdom Comes Exterminator Massive Attack Remix Exterminator Jagz Kooner Remix Autobahn 66 Album Version Autobahn 66 Instrumental Autobahn 66 Alter Ego Remix Autobahn 66 Alter Ego Instrumental Accelerator Live Jailbird Live Miss Lucifer Panther Girl Miss Lucifer Hip To Hip Miss Lucifer Bone To Bone Can't Go Back Radio Mix Can't Go Back Clean Edit Can't Go Back Album Mix Uptown Calvin Harris Radio Edit Martin Duffy seizes the opportunity to do some great Leslie organ solos, and Young's quick guitar licks betray a distinct Stones influence.

Stuka opens with yet more heavily echoed, distorted drums, and another good dub-influenced bassline again from Marco Nelson, as somehow Mani tends to be underused on the album. A high-tech beat is then layered underneath, the song nicely summoning the atmosphere of a deserted industrial factory at night. But then the vocals come in, and again derail an otherwise fine mood-piece conforming to the pattern already set. This time they're heavily processed and vocoded, and more incoherent, thanks to some rambling about how "Jesus" and "a demon" are "in my head like a stinger" and "move from tree to tree".

Luckily the damage is not severe, as they disappear for most of the midsection. The song ends abruptly with an echoed flute sample. Medication is another expected Stones imitation, but this time it boasts a good guitar riff, a pounding backbeat, and assistance from Glen Matlock on bass.

Sure, everyone knows by now, Bobby's a bad writer. But this time the lyrics are at least coherent, simplified, and meet a minimal level of quality. Oh, and Robert Young drops in just in time to deliver a blistering solo. Primal Scream take what was presumably a heavy metal original, and apply the Screamadelica twist: stiff dance beat plus distorted guitars.

The result is a ragged, chaotic song approaching industrial rock. There are some sore spots: they abuse the white noise generator too much in some parts, and the ending is too sudden and loud.

Don't listen to it at maximum volume. Trainspotting was the Primals' contribution to the eponymous film's soundtrack. The song is obviously influenced by dub and ambient in its monotone construction and emphasis of repetition for hypnotic effect.

Again, the song is anchored by a trip-hop beat, and Mani finally gets to cleanly deliver a great bassline. At the 2-minute point a guitar riff reminiscent of Dr. Dre 's song "Rat-Tat-Tat-Tat" is introduced, and repeated throughout. The rest of the band improvise on this theme, many samples and sounds are added, and the song ends before it can turn into an aimless jam.

Luckily Bobby tunes out quickly, and we're left with the swirling synths, echoed guitars and mechanic drumming. An okay ending for a good album. These two albums have proved once and for all that Primal Scream's best material results from their uncanny ability to synthesise electronic music and rock into an inventive, exciting blend. Sadly they later proved that this is also to a certain extent reliant on the producers who they work with, and that they have an ongoing compulsion to attempt more retro-rock'n'roll albums that nearly always turn out disastrous.

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