Year of Release: 1993
This is by far the oddest Indie Top 20 sleeve of all, looking rather like a continuity slide for a BBC Television children's programme. (Tim Worthington was the first to point out to me on Twitter the odd way in which the "Independent 20" LP sleeves often look like continuity slides, but this one really takes the cake).
It's one of the best albums in the series, though. I bought this one and played it close to death at home, before it followed me to university later in the year and got spun morning, noon and night as the soundtrack to my earliest months in that new place. I do have to confess that some kind of nostalgia may cause me to over-rate this LP, but the tracklisting tells no lies - there may not be a cohesive strand or dominant musical style throughout, but it does contain some absolute corkers, including some high John Peel Festive Fifty entries for that year.
This was also the very last Indie Top 20 LP to only contain music from independently distributed labels. After this point, Indie got treated as a musical genre by the series. If you're a purist, you could therefore argue that this was the last "proper" Indie Top 20 LP. More on that particular subject and my feelings on it when we get to that point, though.
1. Depeche Mode - I Feel You (Mute)
Depeche Mode's supposedly harder sound and rougher image was actually an enormous shock to many people in 1993, not least a friend-of-a-friend who lived in Basildon near Dave Gahan's parent's house and still glimpsed him on his occasional visits. Gahan's new face fuzz caused him to yell from an upstairs window in a horrified voice: "Dave, why have you grown a BEARD, you twat?" (If this makes Dave Gahan's life sound a bit like Vince's in "15 Storeys High", that might not be inaccurate. Possibly everyone's life in Basildon is a bit like Vince's in "15 Storeys High". Somewhat bizarrely, the main character's full name is also Vince Clarke).
Rude though this person's outburst may have been, I'm inclined to partly agree. Depeche Mode were (and are) one of the world's best electronic bands - their sudden bout of grungey self-consciousness around this point is one of the only times they've swayed to the dominant forces of fashion around them, and as such was a disappointing move.
Musically, though, "I Feel You" may be somewhat distorted and growly, but it's not a million miles away from their last hit with 'Proper Instruments' "Personal Jesus". Driven completely by one repetitive blues riff and some shunting railroad rhythms, it's arguably one of the simplest singles they ever recorded. Dave Gahan's performance manages to convey the lustful message in numerous different ways, though, from subtle and seductive murmerings to downright RAWK hollering, and while this song isn't overtly commercial, it does go to prove that he had become an incredible frontman who could sell any song to the listener. Radio One happily playlisted this without any questions being asked.
Sadly, this would also prove to be a period of disorder and disarray for the group, where endless touring and decadence took its toll on Gahan's health and frayed the nerves of other members. Sometimes there's not a lot to be said for being given the grown up's keys to the dressing up box and cocktail cabinet of rock and roll, as Tommy Vance probably never said.
2. Inspiral Carpets - How It Should Be (Mute)
That said, all was not happiness and light in the Inspiral Carpets world either. While so far as I know none of them were taking speedballs recreationally, "How It Should Be" was a new single, not available on any LP, which failed to enter the Top 40. It was the first fresh Inspiral Carpets track not to be a proper hit since "Move", released on their own Cow label in 1988.
That's not entirely surprising. "How It Should Be" is a fierce sounding single which almost harks back to their stripped back garage days, but it's not an obvious 45, sounding more like something which might be buried halfway through an LP. "You're just a nail I can hammer home/ This is how it is and how it should be!" chants Tom Hingley obsessively, while Clint Boon's keyboards swirl all over the shop. It's a mite psychotic sounding, and it was never going to capture the general public's imagination.
These days, it's a likeable curio in the back catalogue, not to be found on any studio LP (presumably left off their third platter "Revenge of the Goldfish" either due to the poor public response to it, or because it was only ever supposed to be a standalone single). It's a nice burst of noise I like to return to every now and then, but I doubt it would appear in any list I'd make of Top 30 Inspiral Carpets tracks (should I have the inclination to make one) and at the time it felt like a slightly questionable release, a sign the group might be going off the boil.
In the comments on YouTube, someone is getting quite rattled and insisting that the Inspirals ripped the tune for this off him. I can only vaguely hear what he's talking about, but even if his accusations are true, it hardly seems worth bothering the group with a lawsuit over lost royalties. "The Inspiral Carpets stole my idea to produce one of their biggest flops!" is hardly going to gain you much money or push your career any further forward.
3. Saint Etienne - You're In A Bad Way (Heavenly)
And this is an absolute gem. It sounds as if it could have been written and issued in any year from 1966 to 1993, containing the shuffling basslines and digital sheen of a modern 1993 single, but also the deceptively simple sounding chiming melodies and conciseness of a mid-sixties girl-pop track. There's a slight sneer about the central lyrical message - "Don't you know that crew cuts and trainers are out again?" Sarah Cracknell asks the object of her affections - but it's backed up with promises to lift the badly dressed man out of his rut.
The lyrics also mention Bruce Forsyth on the Generation Game, bringing to mind instantly a terrible 9-5 life with solo quiz show watching in the early evenings being the only form of numbing light relief. In doing so, it does actually effectively evoke those shite moments of your life where you temporarily drift off-radar, leaving the television on in the evenings for company, working a job where your colleagues are indifferent to your presence. We've all been there, and probably all wished for a Sarah Cracknell (or her nearest male equivalent) to emerge and promise a definite shift in the routine.
"You're In A Bad Way" still rates as one of the group's finest tracks to me, being near perfect pop - fluid, seamless, with every melody line and element feeling completely effortless. It's one of their biggest hits, and it feels like it could have been a hit at any point in pop history.
4. Pulp - Razzmatazz (Gift)
But then this ups the ante. "Razzmatazz" was greeted with confusion by a few (but admittedly not many) critics at the time for being a 'somewhat depressing' follow-up to "OU" and "Babies". Somehow, the idea had got into some people's heads that Pulp were now some kind of kitsch funtime party band with lots of quirky songs about sex. "Razzmatazz", on the other hand, was actually bloody spiteful.
Throughout, Jarvis points his elongated index digit savagely at an ex-girlfriend and bombards her with insults. Some are childish playground taunts ("The trouble with your brother/ he's always sleeping with your mother" is the actual opening line) others are disturbing home truths. The line "Started getting fatter three weeks after I left you/ Now you're going with some kid/ who looks like some bad comedian" is particularly cutting (and some would argue misogynistic, though the blog "Freaks, Misshapes, Weeds" does a very good job of explaining that away).
In the end, we're given the impression of someone whose life has completely gone awry, in a similar but much more tragic way than the individual in "You're In A Bad Way". Whereas he had a routine to cling on to, the woman in "Razzmatazz" is clearly having an absolute chaotic crack-up - "Your mother wants to put you away" clearly hints at that. This is the noise of someone hectoring an old partner who has completely gone to pieces in his absence.
Well, I say that... but is it really? "Freaks, Misshapes, Weeds" explains that the lyrics "use empathy as a weapon" which is a fantastic description, but to me there's always been a little bit more to it than that. The exaggerated high drama of the single has never wholly convinced me that it's just a piece of straightforward observational spite about one person's misfortune. What it actually sounds like is the noise of someone exaggerating or possibly even imagining or fantasising how badly off an ex partner is without them. It's suspiciously like the words of one jilted, frustrated lover ranting to his friends in the pub and convincing himself that the life he's left his old lover with is pathetic, an endless round of cheap chocolates, weight gain, early nights and ugly boyfriends. Some of the above may be correct, but all of it? I've always thought it's just a scenario the singer desperately wants to believe is true. There's just too much fury between the lines for me, and an overload of spite. The end impression I'm left with is of someone who is just as tormented and screwed up as his ex. Perhaps they should get back together again. It's clearly what he wants, even if he can't quite bring himself to admit it, though the line "I was lying when I asked you to stay" comes damn close to revealing the truth behind the situation.
This is the kind of dark, layered nastiness you would expect to find in a single by The Auteurs, so it's not altogether surprising to learn that it's Luke Haines's favourite Pulp single.
Musically though, "Razzmatazz" is much busier and more complicated than the lyrics might have otherwise let it be. Full of bright synth lines and dramatic interludes, and soaring, almost Gloria Gaynor styled pieces of melodrama and defiance at the end, it's another piece of expertly produced pop. Indie bands - and God knows that Pulp were at one point one of the most low-budget, mend-and-make-do indie groups ever - were now getting incredibly good at this. This packs plenty of drama and so many little flourishes and detours into one song without ever feeling forced or unnatural that it's a marvel. I would also have to say that it's probably my favourite Pulp single, and one that's undeservedly tucked away behind their more obvious anthems.
5. Verve - Blue (Hut)
In which Verve manage to invent those particularly smoky, hazy, guitar overloaded tracks Oasis ended up specialising in a few years down the line. Disorientating, dizzy, psychedelic and riddled with then-unfashionable backwards drum sounds, "Blue" feels more like a representative soundscape in places than a traditional verse/chorus/ middle eight song. Rather than soaring upwards, Ashcroft sounds particularly rattled, paranoid and agitated here.
Verve hadn't broken through to the mainstream yet, and this sure as hell wasn't going to push them up over the line, but "Blue" is still thought of by fans as being a fine early single. I must admit, though, I find it rather messy sounding, inconclusive and dull. Each to their own.