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Screamadelica
Screamadelica
Screamadelica
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Screamadelica
Studio album by
Primal Scream
Released23 September 1991 (1991-09-23)
Recorded1990–1991
Studio
Genre
Length62:31
LabelCreation (UK)
Sire/Warner Bros. (US)
Producer
Primal Scream chronology
Primal Scream
(1989) 		Screamadelica
(1991) 		Give Out But Don't Give Up
(1994)
Singles from Screamadelica
  1. "Loaded"
    Released: February 1990
  2. "Come Together"
    Released: August 1990
  3. "Higher than the Sun"
    Released: June 1991
  4. "Don't Fight It, Feel It"
    Released: August 1991
  5. "Movin' On Up"
    Released: October 1991 (United States); January 1992 (as the Dixie-Narco EP; United Kingdom)
  6. "Damaged"
    Released: August 1992 (Japan)

Screamadelica is the third studio album by Scottish dance band Primal Scream. It was first released on 23 September 1991 in the United Kingdom by Creation Records and on 8 October 1991 in the United States by Sire Records. The album marked a significant departure from the band's early indie rock sound, drawing inspiration from the blossoming house music scene and associated drugs such as LSD and MDMA. Much of the album's production was handled by acid house DJ Andrew Weatherall and engineer Hugo Nicolson, who remixed original recordings made by the band into dance-oriented tracks.[11]

Screamadelica, featuring Manchester-born singer Denise Johnson, was the band's first album to be a commercial success, peaking at number eight on the UK Albums Chart upon its release.[12] It received wide praise from critics, and has been frequently named one of the best albums of the 1990s in various polls. It won the first Mercury Music Prize in 1992[13] and has sold over three million copies worldwide.

Background and recording

[edit]

Drawing inspiration from the acid house scene,[14] which was blossoming at the time, the band enlisted house DJs Andrew Weatherall and Terry Farley on producing duties. Weatherall and Gillespie bonded over "Thin Lizzy, dub-reggae, Mott The Hoople, disco music" and they were both attracted by "industrial, experimental funk".[14] The band loved the fact that Weatherall was a DJ who had never been a producer at the helm in a studio before.[14] Gillespie commented on: "It was just this natural talent to make this music and structure and arrange music in a way that we’d never heard before. So he could take our songwriting and our instrumental[s] [...] And the melodies and the gospel singers and the strings and the slate guitars, we played a lot of synthesisers as well. [...]". Weatherall selected the parts he liked and rearranged it: "he was really great at taking all this stuff and rearranging it and making it into this fantastic music". Acid house gave him an opportunity to work with the band.[14]

"Loaded" was the first track on which Weatherall took part.[14] He began remixing "I'm Losing More Than I'll Ever Have", from their previous album, and the resulting track disassembled the song, adding a drum loop from an Italian bootleg mix of Edie Brickell's "What I Am" and a sample from the Peter Fonda B movie The Wild Angels.

Although the band wrote a track also called "Screamadelica", it does not appear on the album. The ten-minute dance track was also produced by Weatherall and sung by Denise Johnson. It appears on the Dixie-Narco EP, released in 1992, and is featured in the opening credits of the now rare Screamadelica VHS video tape.

Music

[edit]

It seemed only natural that house, blues, soul, dub, ambient, rave, and psychedelic rock should come together in 65 minutes of joyful music; it seemed somehow right that a gang of MC5-obsessed rockers on their critical uppers should create a work of ecstasy-blasted euphoria that provided the Day-Glo yin to Nirvana’s turbulent yang. The results were the epitome of unfettered musical instinct, as Primal Scream and their motley crew powered through the history of modern music and into the future, operating on inspiration and too many early mornings.

Ben Cardew of Pitchfork (September 28, 2022) [1]

When asked what his influences were for Screamadelica, singer Bobby Gillespie said that Primal Scream were like a rock'n'roll band who had quite diverse taste. Many genres interested them like free jazz, funk, soul, country, blues, electronic music, post-punk, ambient music and psychedelic music from the 1960s.[14] When naming the post-punk bands he listened to during his formative years, he explained: "a lot of those ideas are entrenched in Primal Scream, and maybe the last great rock bands were Siouxsie and the Banshees, the Buzzcocks and Joy Division. [...] The ideas in the music and the lyrics for those three bands completely influenced Primal Scream".[14] Screamadelica was also influenced by the Beach Boys' album Pet Sounds (1966). Gillespie says that after discovering the album, their songs became much softer.[15] Gillespie has also cited Nico's album The Marble Index as a major influence when they were making Screamadelica, claiming he "listened to [it] all the time."[16] The band were also "big fans of '70s reggae and dub. These 12” sounded like dub records".[14] Ben Cardew of Pitchfork assessed: "Its ragtag bag of influences meant Screamadelica sounded a lot like many people, but no one sounded quite like Screamadelica, an album both ahead of its time and light years ahead of the rock/dance curve."[17]

Artwork

[edit]

The album cover for Screamadelica was painted by Creation Records' in-house artist Paul Cannell.[18] Cannell was inspired by a damp water spot he'd seen on the Creation Records offices ceiling after taking LSD.[19]

Screamadelica was among ten album covers chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.[20][21]

The artwork also inspired a Fender Stratocaster for the album's 30th anniversary.

Release and commercial performance

[edit]

The lead single "Loaded" reached the top 20 in the UK Singles chart in early 1990.

Screamadelica was released on 23 September 1991 in the UK. It reached number 8 on the UK Albums Chart,[22] and was later certified platinum by the British Phonographic Industry.[23] The album has sold 715,000 copies as of September 2020.[24] The single "Movin' On Up" was the band's breakthrough hit in the United States: as it was heavily played on alternative rock radio, it peaked at number 2 on the Billboard Modern Rock Tracks chart. It also reached number 28 on the Billboard Mainstream Rock Tracks chart as it was played on rock radio stations.

Critical reception and legacy

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarStar[25]
Entertainment WeeklyB+[26]
Los Angeles TimesStarStarStar[27]
MojoStarStarStarStarStar[28]
NME10/10[29]
Pitchfork9.0/10[30]
Record CollectorStarStarStarStarStar[31]
The Rolling Stone Album GuideStarStarStar[32]
Select5/5[33]
UncutStarStarStarStarStar[34]
QStarStar[35]

Screamadelica was very well received by critics. In a contemporary review for Spin, Simon Reynolds called it a "totally mind-blowing" record whose best songs were "almost unclassifiable".[36] AllMusic writer Stephen Thomas Erlewine deemed Screamadelica "an album that transcends its time and influence."[25] AllMusic lists the album as the band's best. It was voted number 135 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). Pitchfork praised the album on their 2003 list of the "Top 100 albums of the '90s," saying: "Screamadelica's atmospheric and imaginative hybrid of past, present and future captured its moment in vivid color and splendor, and it still radiates with a kaleidoscopic glow."[37] Robert Christgau of The Village Voice, on the other hand, assigned it a "neither" rating, indicating an album that does not warrant repeated listening despite coherent craft and one or two highlights.[38]

It was Melody Maker's album of the year in 1991.[39] It was also Select's album of the year in 1991,[40] while NME placed it at no. 3 in its "Best Albums of 1991" list.[41] The album won the first Mercury Music Prize in 1992. In 1996, Select named it as the number 1 album of the 1990s. In 2000, Q placed the album at number 18 on their list of the "100 Greatest British Albums."[42] In 2001, Q placed it at number 81 on a list of the "Top 100 Albums of All Time."[43] The album ranked number 2 in Q's "Best 50 Albums of Q's Lifetime" list.[44] In 2003, NME placed it at no. 23 in its "100 Best Albums Ever" list.[45] In 2003, Pitchfork placed it at number 77 in a list of the "Top 100 Albums of the '90s."[37] Also in 2003, the album topped The Scotsman's list of 100 Best Scottish Albums.[46] In 2006, the magazine also placed it at no. 15 in its "Greatest British Albums Ever" list.[47] It appeared in Channel 4's list of the "100 Greatest Albums of All Time."[48] In a 2009 review, the BBC hailed the album as "a solid gold classic."[49] NME also named it the "Druggiest Album Ever" in 2011.[citation needed] It was ranked number 437 in the 2020 revised edition of Rolling Stone's list of the 500 Greatest Albums of All Time,[50] and No. 1 on BrooklynVegan's "Creation Records' 21 Best Records" list.[51]

"Movin' On Up" was used on the previous Telewest Broadband commercials before Virgin Media bought them out. Subsequently, Bacardi spirits used the song on a UK television ad. The song was also featured in the popular game Grand Theft Auto: San Andreas on alternative radio station Radio X. A Northern soul version was also recorded by Edwin Starr for the cult British surfing film Blue Juice. Kellogg's used the song in an advert for their cornflakes in c. 2011.

Guy-Manuel de Homem-Christo of French electronic duo Daft Punk, who drew inspiration from the rock and acid house in the United Kingdom during the early 1990s, referred to Screamadelica as the record that "put everything together in terms of genre".[52]

To commemorate the 20th anniversary of the release of the album, Primal Scream performed the entire album live at Olympia London in West London on 26 and 27 November 2010. The performance included a full gospel choir and horn section.[53] The first of these gigs was broadcast live on BBC 6 Music, presented by Steve Lamacq.[54] These gigs were followed by a UK tour in March 2011, where the band performed the album in full.

For the album's 30th anniversary in 2021, Fender created a limited run of custom Stratocasters depicting the album's artwork on the body.[55] Additionally, Columbia released the Demodelica album on 15 October 2021, with early demos and work-in-progress mixes, accompanied by notes by Jon Savage. "Most of these demos were produced by Andrew Innes at his home studio on the Isle of Dogs and at the band's studio in Hackney in 1990. The Jam and Eden Studio demos were produced by the band in 1991."[citation needed]

In 2022, Ben Cardew of Pitchfork wrote: "Primal Scream made it all sound far too easy on Screamadelica, whose combination of classic songwriting and electronic production left an early high-water mark for forward-thinking rock music in the 1990s."[17]

Track listing

[edit]

All tracks are written by Bobby Gillespie, Andrew Innes and Robert Young, except "Slip Inside This House" written by Roky Erickson and Tommy Hall.

No.TitleProducersLength
1."Movin' On Up" ([C])Jimmy Miller3:51
2."Slip Inside This House" ([A])
5:16
3."Don't Fight It, Feel It"
6:53
4."Higher than the Sun"The Orb3:38
5."Inner Flight"
  • Andrew Weatherall
  • Hugo Nicolson
5:01
6."Come Together" ([B])
  • Andrew Weatherall
  • Hugo Nicolson
10:21
7."Loaded"Andrew Weatherall7:02
8."Damaged"Jimmy Miller5:39
9."I'm Comin' Down"
  • Andrew Weatherall
  • Hugo Nicolson
6:00
10."Higher than the Sun (A Dub Symphony in Two Parts)" (featuring Jah Wobble)
  • Andrew Weatherall
  • Hugo Nicolson
7:38
11."Shine Like Stars"
  • Andrew Weatherall
  • Hugo Nicolson
3:45

20th Anniversary Limited Collector's Edition

[edit]

All tracks are written by Bobby Gillespie, Andrew Innes, and Robert Young, except "Carry Me Home" written by Dennis Wilson and Gregg Jakobson.

Dixie-Narco EP
No.TitleLength
1."Movin' On Up"3:48
2."Stone My Soul"3:02
3."Carry Me Home"5:16
4."Screamadelica"10:49
Mixes
No.TitleLength
1."Loaded" (Terry Farley 12" Mix)6:02
2."Loaded" (7" Mix)4:24
3."Come Together" (Terry Farley 7" Mix)4:26
4."Come Together" (7" Mix)4:56
5."Come Together" (Terry Farley Extended 12" Mix)8:04
6."Come Together" (Hypnotone Brain Machine Mix)5:18
7."Come Together" (BBG Mix)6:28
8."Higher than the Sun" (Higher than the Orb)5:02
9."Higher than the Sun" (12" Mix)6:47
10."Higher than the Sun" (American Spring Mix)6:25
11."Don't Fight It, Feel It" (7" Mix)4:09
12."Don't Fight It, Feel It" (Graham Massey Mix)5:00
13."Don't Fight It, Feel It" (Scat Mix)7:57
14."I'm Losing More Than I'll Ever Have"4:39

All tracks are written by Bobby Gillespie, Andrew Innes, and Robert Young, except "Cold Turkey" written by John Lennon, and "No Fun" written by Dave Alexander, Ron Asheton, Scott Asheton, and Iggy Pop.

Live at the Hollywood Palladium
No.TitleLength
1."Movin' On Up"5:05
2."Slip Inside This House"5:55
3."Don't Fight It, Feel It"5:53
4."I'm Losing More Than I'll Ever Have"4:45
5."Damaged"6:41
6."Screamadelica"6:14
7."Loaded"8:07
8."Come Together"8:11
9."Higher than the Sun"8:54
10."Cold Turkey"5:02
11."No Fun"4:13
DVD 1: The Making of Screamadelica Documentary
No.TitleLength
1."The Making of Screamadelica" 
DVD 2: Screamadelica: The Videos
No.TitleLength
1."Screamadelica" (Promo video) 
2."Movin' On Up" (Promo video) 
3."Slip Inside This House" (Promo video) 
4."Don't Fight It, Feel It" (Promo video) 
5."Higher than the Sun" (Promo video) 
6."Come Together" (Promo video) 
7."Damaged" (Promo video) 
8."Loaded" (Promo video) 
9."Shine Like Stars" (Promo video) 
10."Inner Flight" (Promo video) 

Notes

  • A ^ The lyrics of "Slip Inside This House" were truncated and altered in places in comparison to the song's original recording by the 13th Floor Elevators. A notable example of such modification is in the chorus, where "Slip inside this house" was altered to "Trip inside this house".
  • B ^ On the American pressings of the album, the Terry Farley mix of "Come Together" was featured in place of the original UK mix. The Farley mix runs 8:06.
  • C ^ the piano part on "Movin' On Up" was recorded in Brighton by Les Field.

Samples

Personnel

[edit]

Primal Scream

[edit]

Guests

[edit]

Additional personnel

[edit]

Charts

[edit]
1991–1992 chart performance for Screamadelica
Chart (1991–1992) Peak
position
European Albums (Music & Media)[56] 36
UK Albums (OCC)[57] 8
UK Independent Albums (OCC)[58] 2
US Heatseekers Albums (Billboard)[59] 31
1999–2000 chart performance for Screamadelica
Chart (1999–2000) Peak
position
Irish Albums (IRMA)[60] 57
Scottish Albums (OCC)[61] 19
2004 chart performance for Screamadelica
Chart (2024) Peak
position
Greek Albums (IFPI)[62] 39

Certifications

[edit]
Certifications for Screamadelica
Region Certification Certified units/sales
United Kingdom (BPI)[63] 2× Platinum 600,000‡

‡ Sales+streaming figures based on certification alone.

Release history

[edit]
Release history for Screamadelica
Region Date Label Format Catalogue Ref
United Kingdom 23 September 1991[64] Creation CD CRECD 076
2LP CRELP 076
MD CREMD 076
Japan 1 October 1991[65] Columbia Music CD COCY 7985
United States 8 October 1991[66]
CD 9 26714-2

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Screamadelica

View on Grokipedia
from Grokipedia
Screamadelica is the third studio album by Scottish rock band , released on 23 September 1991 by in the . Produced primarily by alongside Hugo Nicolson and Terry Farley, the album represented a radical shift from the band's earlier raw sound, fusing it with , , , and influences inspired by the emerging ecstasy-fueled club culture of the late 1980s and early 1990s. Key tracks such as the Weatherall-remixed "Loaded" (sampling from ), the euphoric "Higher Than the Sun," and the uplifting "Movin' on Up" exemplified this innovative blend, drawing from sources like The Orb's ambient dub and ' house music. Upon release, Screamadelica received widespread critical acclaim for its bold experimentation and timely capture of the era's musical convergence between rock and dance. It debuted at number eight on the and quickly sold out its initial 60,000-copy pressing, eventually achieving over three million sales worldwide and earning double platinum certification in the UK. The album's success was capped by winning the inaugural in 1992, recognizing it as the outstanding British album of the previous year and solidifying Primal Scream's transition from cult favorites to mainstream influencers. Its lasting impact is evident in its enduring status as a genre-defining work that bridged with , influencing subsequent artists and compilations while inspiring anniversary reissues, including a 30th-anniversary edition in 2021. The iconic sleeve art by artist Paul Cannell, featuring a melting , further cemented its cultural footprint, even appearing on a stamp in 2010 as part of a classic album covers series.

Background and recording

Background

Primal Scream's early work was rooted in , with their 1987 debut album drawing heavily from the psychedelic of and , establishing a fey, chiming sound that earned them inclusion on NME's influential compilation via the single "Velocity Girl." Their follow-up, the self-titled in 1989, shifted toward a grittier style influenced by and , but it received mixed reception and left the band directionless, culminating in a modest tour of small venues. By the late 1980s, began transitioning toward and elements amid the UK's burgeoning scene, which exploded following warehouse parties and club nights like those at Manchester's . Frontman , initially skeptical, attended a warehouse and was introduced to ecstasy by founder in April 1989, an experience that profoundly shifted his perspective and immersed in club culture alongside acts like the . Gillespie's personal encounters with drugs and the euphoric atmosphere of events, including exposure to DJs and producers like and , became central inspirations, fueling a desire to blend rock's raw energy with 's hypnotic grooves. This evolution crystallized with the 1990 single "Loaded," a transformative remix by DJ of the band's earlier track "I'm Losing More Than I'll Ever Have," which incorporated a spoken-word sample from Peter Fonda's monologue in the 1966 film ("We want to be free to do what we want to do... And we want to get loaded"). Released in March 1990, "Loaded" reached No. 16 on the UK charts, marking the band's breakthrough and directly shaping Screamadelica's direction by fusing with rhythms. The success prompted initial collaborations, including Weatherall's involvement in further tracks and the band's decision to enlist ambient duo —specifically —for psychedelic elements, inspired by their track "."

Recording

The recording sessions for Screamadelica took place over approximately nine months, from late 1990 to mid-1991, following the success of the "Loaded" single earlier that year. Initial demos and experimentation occurred in the band's basic studio in , before principal recording shifted to professional facilities including in ; in ; and in . Additional sessions for tracks like "Movin' On Up" and "Damaged" were held at in , produced by to capture a raw, live feel. Production was handled by a collaborative team, with acid house DJ leading on rock-dance hybrid tracks such as "" and overseeing much of the remixing process alongside engineer Hugo Nicolson. The Orb contributed to ambient-leaning pieces, including the psychedelic dub version of "Higher Than the Sun," while Hypnotone Gang (featuring Andrew Innes) produced instrumental interludes like "Inner Flight." , known for his work with , handled the gospel-inflected rock tracks recorded at Jam Studios in . The sessions emphasized remixing and sampling techniques to blend live instrumentation with electronic elements, often drawing on dub methods for spatial effects and echo. Band members and producers used samplers to incorporate loops, such as drum breaks and vocal snippets, while integrating guitars, bass, and horns —Nicolson noted the challenge of synchronizing disparate sections from multitrack tapes using early digital tools like the and MPC 60. This hybrid approach extended traditional rock recording into extended jam sessions, where the band layered improvisations before remixing into cohesive tracks. Challenges arose from the band's immersion in rave culture, including experimentation with substances like ecstasy and speed, which fueled creativity but disrupted schedules with late arrivals and unfocused all-night sessions. recalled the shift from structured recording to these loose jams as both liberating and chaotic, with founder intervening to refocus the project amid delays. A pivotal contribution came from Weatherall, who transformed the raw rock track "I'm Losing More Than I'll Ever Have" from Primal Scream's previous album into the euphoric "Loaded" by stripping back elements, adding a Peter Fonda dialogue sample from The Wild Angels, and layering dub-style echoes and a drum loop from the Emotions' "I Don't Wanna Lose Your Love." This remix, completed in early 1990, set the template for the album's production ethos.

Music and artwork

Music

Screamadelica exemplifies a groundbreaking genre fusion, seamlessly blending with , , , , and dub reggae to create a multifaceted sonic palette. This eclectic mix draws from rock's raw energy and dance music's pulsating rhythms, resulting in tracks that oscillate between gritty guitar riffs and synthetic grooves. The album's sound prioritizes atmosphere over conventional song structures, incorporating bluesy undertones and soulful vocal layers to evoke a sense of communal transcendence. Comprising 12 tracks, Screamadelica eschews a linear in favor of a non-linear listening experience, loosely divided into rock-oriented anthems, high-energy dance numbers, and ambient passages that mirror the ebb and flow of a euphoric night. This structure—beginning with uplifting rockers, peaking in rave-infused grooves, and winding down into reflective interludes—creates an immersive journey akin to a wild weekend's emotional arc. Key compositional techniques include extended intros and outros that build tension, looping samples for hypnotic repetition (such as the choir loops in "Movin' on Up"), and layered psychedelic soundscapes that blur the boundaries between genres. Several tracks highlight the album's innovative elements: "Loaded" unfolds as a track with laid-back grooves and swirling , spanning over seven minutes of escalating intensity. "Don't Fight It, Feel It" pulses with insistent beats, driving a seven-minute exhortation that fuses electronic propulsion with rock swagger. In contrast, "Inner Flight" functions as an ambient interlude, offering ethereal, trippy downbeat vibes that provide a moment of amid the album's exuberance. Thematically, Screamadelica delves into , , and , channeling the utopian spirit of culture through motifs of , physical release, and psychedelic euphoria. influences underscore spiritual dimensions, while dub echoes add layers of dreamy detachment, collectively portraying music as a vehicle for liberation and . Influenced by the scene, Screamadelica distinguished from contemporaries like and by pushing genre fusion further, integrating and more comprehensively than the indie-dance hybrids of their peers. While those bands emphasized groovy, funk-inflected rock, 's approach innovated with boundary-free electronic-rock synthesis, amplifying the scene's hedonistic ethos into a broader sonic exploration.

Artwork

The album cover for Screamadelica features a vibrant, psychedelic sunburst design painted by Paul Cannell, the in-house artist at Creation Records. Rendered in bold primary colors against a red background, the artwork depicts a jagged yellow sun with distorted rays that form a frazzled, ecstatic face, evoking a sense of radiant energy and distortion. This sun face motif was originally a small detail on the sleeve for the band's single "Higher Than the Sun" before being expanded for the full album release. Cannell, an East London-based painter who entered the music industry through the Heavenly Recordings label, drew inspiration for the piece from a damp water spot he observed on a ceiling, transforming it into this iconic, abstract symbol of euphoria. The design reflects influences from culture, with its distorted, sun-like imagery reminiscent of flyers and visuals from the late-1980s rave scene, capturing a "bright, joyful and naïve" aesthetic aligned with the era's communal party spirit. Cannell's broader artistic style also incorporated elements from modernists like Picasso, contributing to the cover's playful yet intense visual impact. This psychedelic sunburst has since become one of the most recognizable album artworks of the , often reproduced on merchandise and posters. Inside the packaging, the original LP edition utilized a gatefold sleeve to house the double vinyl, providing an expansive format that mirrored the album's immersive themes. The accompanying booklet and inner sleeves contain minimal , primarily track credits and a black-and-white band photograph, presented in simple, stylized fonts without extensive text to emphasize a non-commercial, experiential vibe. These elements reinforce the artwork's focus on visual abstraction over narrative detail, inviting listeners into a shared, sensory world.

Release and promotion

Release

Screamadelica was released on 23 September 1991 in the United Kingdom by Creation Records, with the United States edition following on 8 October 1991 via Sire Records. The album marked a significant milestone for Primal Scream, transitioning from their earlier indie rock sound to a fusion of rock, rave, and psychedelia, and was initially distributed primarily in the UK and Europe before a broader international rollout. The album was issued in multiple formats, including a double vinyl LP in a gatefold sleeve, compact disc, and cassette tape. Creation Records, an independent label founded by Alan McGee in 1983, played a pivotal role in the UK indie scene by championing acts like Primal Scream, The Jesus and Mary Chain, and My Bloody Valentine, and handled distribution through independent networks to expand reach beyond the indie market. Pre-release anticipation was built through lead singles such as "Higher Than the Sun," issued in June 1991, and "Don't Fight It, Feel It," released in August 1991, which introduced the album's eclectic sound to audiences and generated buzz within the burgeoning acid house and indie crossover scenes.

Promotion

The promotion of Screamadelica centered on a strategic rollout of singles that gradually unveiled the album's fusion of indie rock, acid house, and psychedelia, creating sustained hype in the UK alternative scene leading up to its September 1991 release. The campaign kicked off with "Loaded" in February 1990, a remix by Andrew Weatherall that incorporated Peter Fonda's narration from The Wild Angels and peaked at number 16 on the UK Singles Chart, establishing Primal Scream's dance-rock credentials. This was followed by "Come Together" in August 1990, a gospel-infused house track that reached number 26, further amplifying the band's shift toward rave culture. In 1991, "Higher Than the Sun" was released in June, peaking at number 40, while "Don't Fight It, Feel It" followed in August, both emphasizing hedonistic and spiritual themes to prime audiences for the full LP; "Movin' on Up" appeared as the album's opening track but was issued as a single in 1992, reaching number 11. These singles, often accompanied by remixes from collaborators like The Orb and Weatherall, were distributed via white-label promos and played at underground dance nights, blending club and rock audiences. Music videos played a key role in visualizing the album's psychedelic ethos, tying directly into its vibrant, otherworldly artwork motifs of suns and cosmic abstraction. , a longtime associate and former member of , directed the video for "Higher Than the Sun," featuring dreamlike sequences of the band in ethereal landscapes that evoked acid trips and countercultural escape. These visuals aired on Europe and UK music shows, broadening the band's appeal beyond live circuits. Live performances during the album's launch emphasized innovative hybrids of rock sets and DJ elements, capturing the rave-rock synergy without a full-scale tour due to the band's exhaustion from prior excess. In July 1991, embarked on a short tour of all-night events, with of opening and Weatherall closing sets, while the band delivered high-energy renditions of new material alongside Denise Johnson's soulful vocals. Launch shows in and other cities included after-parties fueled by the era's club scene, blending live instrumentation with electronic transitions to mirror Screamadelica's sound. A notable appearance came at the in 1992, where the band joined for a chaotic, extended set that highlighted their experimental live approach amid the festival's atmosphere. Band fatigue from drug-fueled recording and prior gigs precluded a major international tour, limiting promotion to select dates that prioritized atmosphere over volume. Press coverage in key UK music publications amplified the album's revolutionary status, positioning as pioneers of rave-rock fusion and Bobby Gillespie's interviews underscoring a defiant ethos. hailed Screamadelica as a "musical benchmark" in reviews, with writer Stuart Bailie praising its boundary-blurring innovation, while a September 1991 cover feature captured Gillespie's raw energy in a bedside that emphasized and the spiritual highs of ecstasy culture. Melody Maker's Steve Sutherland described it as "revolutionary" and "WONDERFUL," spotlighting the rave elements, and an earlier 1990 with Gillespie distanced the band from indie purism, framing "Loaded" as a dub-reggae pivot toward hedonistic freedom. These outlets, central to the alternative press, ran features on the album's creation, with Gillespie articulating a stance against mainstream rock conformity, drawing parallels to and liberation. Merchandise tie-ins were modest but evocative, leveraging the album's iconic sunburst artwork to foster fan connection without extensive commercialization. Limited-edition posters featuring the hypnotic, multicolored design by Paul Cannell were distributed at shows and via mailouts, while T-shirts emblazoned with Screamadelica motifs—such as the radiant sun logo—became subtle symbols of the band's vibe, available through promo packs and independent retailers. A promo in particular circulated among fans and press, capturing the era's DIY aesthetic amid the lack of a major tour. Internationally, promotion targeted the market through ' October 1991 release, focusing on radio airplay and alternative press to penetrate the emerging scene. Tracks like "Loaded" and "Higher Than the Sun" gained traction on campus stations such as KEXP and playlists, building grassroots buzz among indie listeners, while features in outlets like Spin emphasized the album's psychedelic-dance crossover as a fresh from the rave explosion. This low-key push, without a dedicated tour, relied on singles and media exports to establish Screamadelica's stateside.

Commercial performance

Charts

Screamadelica achieved its strongest commercial performance in the , where it became Primal Scream's first top-ten album. Released in September 1991, the album entered the and peaked at number 8 on 5 October 1991, spending a total of 115 weeks on the chart across multiple runs. Its success was bolstered by preceding singles, including "Loaded," which reached number 16 on the UK Singles Chart in February 1990, and "Movin' on Up," which peaked at number 11 in March 1992. In the United States, the album did not crack the but found a niche audience in the alternative scene, peaking at number 31 on the Heatseekers Albums chart in October 1992. Internationally, it saw modest entries on various European and Oceanian charts, reflecting its cult appeal outside the UK market. The following table summarizes key peak positions:
Country/ChartPeak PositionYear
81991
UK Singles Chart ("Loaded")161990
UK Singles Chart ("Movin' on Up")111992
US Heatseekers Albums311992
The album's chart trajectory exemplified a slow-burn success, propelled by word-of-mouth recommendations, extensive play on indie and radio stations, and live performances at festivals rather than immediate pop crossover appeal. This momentum led to re-entries on the in later years, including during the mid-1990s resurgence, sustaining its presence into the top 40.

Certifications

In the , Screamadelica was certified 2× Platinum by the (BPI) for sales exceeding 600,000 units. Subsequent sales pushed the album to an estimated 715,000 copies in the UK as of , though official multi-platinum certifications beyond the initial award are not publicly detailed. Worldwide, the album surpassed 1 million copies sold by the mid-1990s, with estimates reaching over 3 million units by the , driven by enduring catalog demand and reissues. The 20th anniversary edition further boosted sales, contributing to ongoing revenue streams estimated at 10,000–20,000 units annually in recent years. Outside the UK, Screamadelica received no major certifications in the United States from the (RIAA), reflecting its niche appeal in the American market despite international acclaim. The album's commercial performance proved highly profitable for , the independent label that released it, providing crucial financial stability amid the indie scene's challenges and helping sustain the company's operations into the era. Compared to Primal Scream's prior releases—such as their 1987 debut Sonic Flower Groove, which charted modestly and sold under 50,000 copies—Screamadelica outsold previous efforts by at least tenfold initially, marking the band's breakthrough.

Critical reception and legacy

Initial reception

Upon its release on 23 September 1991, Screamadelica garnered enthusiastic acclaim from the UK music press for its bold fusion of rock, rave, psychedelia, and gospel elements. NME hailed it as "one of this era's most beautiful, far reaching pieces of musical adventure; a dreamy, occasionally spooked vision of life on the pop frontier," praising its seamless integration of diverse genres. Melody Maker was equally effusive, declaring that "a new language has been created here" and selecting it as their album of the year. Select magazine also named it album of the year, while NME ranked it third on their end-of-year list, reflecting its immediate impact on the indie and emerging rave scenes. In the US, where the album arrived on 8 October 1991 via , reception was more mixed, though it resonated strongly on college radio stations amid the growing alternative music circuit. offered a lukewarm assessment, questioning its necessity by asking if "the world really need[ed] a funkier ," while acknowledging some innovative moments but criticizing overall inconsistency. Despite this, the album's ecstatic, dance-oriented tracks found favor among underground audiences, bridging enthusiasts and early electronic music fans. However, not all responses were positive; some rock purists dismissed its electronic and dance elements as a betrayal of traditional rock authenticity, viewing the shift from the band's earlier indie sound as overly commercial or inauthentic. The album's overt references to drug experiences, particularly ecstasy, fueled debates about its promotion of hedonistic rave culture at the expense of rock's raw edge. Among fans and the public, Screamadelica quickly became a touchstone in indie and rave communities, where its euphoric energy mirrored the era's club scene and fostered a sense of shared liberation, though mainstream crossover was initially slower outside niche circles. This grassroots enthusiasm culminated in the album winning the inaugural Mercury Prize in 1992, affirming its cultural significance.

Legacy

Screamadelica is widely regarded as a pioneering work that bridged indie rock and electronic dance music, helping to establish the "indie dance" genre through its seamless fusion of guitar-driven rock with acid house, psychedelia, and dub elements. This innovative blending influenced subsequent acts in the big beat scene, including The Chemical Brothers, who drew from its genre-crossing approach to create their own high-energy electronic-rock hybrids, and Fatboy Slim, whose sample-heavy productions echoed the album's rhythmic experimentation. The album's rave-rock synthesis also contributed to the broader evolution of 1990s alternative music, inspiring bands like Oasis in their adoption of ecstatic, anthemic energy. As a , Screamadelica captured the spirit of 1990s British youth culture, embodying the hedonistic ethos of the scene and the "second " movement that emphasized unity, escapism, and Ecstasy-fueled euphoria. Its optimistic lyrics and sonic expansiveness reflected a shift away from indie rock's traditional toward communal celebration, aligning with the countercultural push for transcendence through and drugs. Retrospective critical acclaim has solidified the album's status, with naming the 2016 reissue as Best New Reissue and praising its enduring role as an ambitious, party-ready classic that transcended its era. ranked it at number 437 on its 2020 list of the 500 Greatest Albums of All Time, highlighting its major influence on musicians and fans alike through its bold stylistic risks. To mark the album's 30th anniversary in 2021, released Demodelica, a collection of previously unreleased demos and work-in-progress mixes that offered insight into its creative genesis, alongside a 12-inch set, a edition of the original , and additional . The album's relevance persists in contemporary discussions of psychedelia's revival, where its neo-psychedelic textures continue to resonate in modern indie and electronic acts seeking ecstatic, boundary-pushing sounds. further sustained its legacy through live performances in the , including full-album renditions captured on the 2011 release Screamadelica Live, which reignited audience enthusiasm for its immersive energy. In 2022, the band undertook a major tour performing the album in full, celebrating its enduring live appeal. From an academic perspective, Screamadelica exemplifies practices by eclectically remixing indie traditions with rave's drum loops and influences, challenging authenticity while promoting a countercultural of and collective joy. This fusion not only disrupted indie rock's miserabilist norms but also sparked debates on cultural credibility, positioning the album as a key text in the study of British subcultures.

Track listing and editions

Original track listing

The original 1991 edition of Screamadelica comprises 12 tracks, with songwriting credits primarily attributed to , , and Robert Young for original compositions, except for the cover of "Slip Inside This House" by and Tommy Hall of . Production is largely handled by , with additional contributions on specific tracks by , , and Hypnotone. The LP is a structured as Side A (tracks 1–3), Side B (tracks 4–5), Side C (tracks 6–8), and Side D (tracks 9–12), while the CD presents them sequentially; the total runtime is 62:31.
No.TitleWriter(s)Producer(s)Length
1Movin' on UpGillespie, Innes, Young (additional production and mix)3:48
2Slip Inside This HouseErickson, HallAndrew Innes, Hypnotone (additional production: )5:14
3Don't Fight It, Feel ItGillespie, Innes, Young6:51
4Higher Than the SunGillespie, Innes, Young3:36
5Inner FlightGillespie, Innes, Young4:58
6Come TogetherGillespie, Innes, Young8:58
7LoadedGillespie, Innes, Young4:16
8DamagedGillespie, Innes, Young (additional production and mix)5:37
9I'm Comin' DownGillespie, Innes, Young5:58
10Higher Than the Sun (A Dub Symphony in Two Parts)Gillespie, Innes, Young, 7:37
11Shine Like StarsGillespie, Innes, Young3:44
12Shine a LightGillespie, Innes, Young5:04
Several tracks are remixes derived from earlier singles, including "Loaded" (originally from the 1990 Primal Scream single) and "Higher Than the Sun" (from its 1991 single release). The original packaging omitted printed lyrics, emphasizing the album's immersive, psychedelic aesthetic instead.

Anniversary editions

In 2011, to mark the 20th anniversary of Screamadelica, Primal Scream released a limited collector's edition box set comprising four CDs, two LPs, a DVD, and a 52-page hardcover book with liner notes and photographs. The set featured a remastered version of the original album by My Bloody Valentine's Kevin Shields on CD and double vinyl, alongside the four-track Dixie-Narco EP on CD and a bonus disc of previously unreleased remixes and outtakes, including alternate mixes of "Loaded" and tracks like "Carry Me Home." The DVD included a 30-minute documentary, The Making of Screamadelica, and promotional videos for singles such as "Movin' on Up" and "Loaded." Limited to 500 numbered copies, this edition highlighted the album's production evolution through raw demos and experimental remixes absent from the 1991 release. The 30th anniversary celebrations in 2021 introduced three distinct reissues, emphasizing archival material and tributes to producer , who had died the previous year. Demodelica, a companion album of 18 early demos and monitor mixes recorded between 1990 and 1991, was released on double vinyl, CD, digital, and cassette formats, featuring raw versions without overdubs, such as an home studio take of "Higher Than the Sun" and a Jam Studio monitor mix of "." These tracks showcased the album's creative development, from sketch-like jams to near-complete forms, differing markedly from the polished originals by revealing unrefined structures and instrumentation. Accompanied by new from music journalist , Demodelica underscored the collaborative spirit behind Screamadelica. Also part of the 2021 rollout was the Screamadelica 12" Singles Box Set, a 10-LP collection replicating the original campaign's nine 12-inch singles on 180-gram vinyl, including B-sides, remixes, and a previously unreleased mix of "Shine Like Stars." This set expanded on the core album by incorporating extended versions like the Terry Farley mix of "Loaded" and live recordings such as "" from , providing deeper insight into the era's singles-driven promotion. Additionally, a limited edition reproduced the original double LP with the album's iconic sunshine artwork etched into the vinyl, marking the first official format for Screamadelica. Other notable reissues include a 1995 remastered CD edition by , which enhanced audio quality using 22-bit processing without altering the tracklist, and a 2015 double vinyl reissue on 180-gram pressing, offering a sleeve reproduction of the original artwork for analog listeners. These editions maintained fidelity to the 1991 configuration while improving accessibility across formats.

Personnel

's core lineup for Screamadelica featured as the lead vocalist, along with contributions on and maracas, providing the band's rhythmic and energetic foundation across the album. Andrew Innes handled guitars, , and , infusing the tracks with eclectic textures that blended rock and psychedelic elements. Robert "Throb" Young contributed on bass and guitars, delivering the driving low-end and melodic lines essential to the album's sonic diversity. Phillip "Toby" Tomanov played drums on select tracks, adding propulsion to the more rock-oriented songs like "Movin' On Up." Martin Duffy provided keyboards and organ, enhancing the atmospheric and gospel-inflected layers that defined much of the record's experimental sound. Compared to prior albums such as the 1989 self-titled release, the Screamadelica era saw the addition of Denise Johnson on backing vocals as a semi-core member, whose soulful contributions elevated tracks like "Don't Fight It, Feel It" and helped bridge the band's indie roots with dance influences.

Guest musicians

Denise Johnson provided prominent backing vocals throughout Screamadelica, bringing a soulful influence to several tracks. Her gospel-style delivery is particularly notable on "Damaged," where her impassioned harmonies underscore the song's emotional depth and vulnerability. Johnson also delivered lead vocals on "Don't Fight It, Feel It," infusing the track with a powerful, uplifting energy that bridged rock and dance elements, and on "Come Together," where her commanding performance amplified the song's euphoric, communal vibe. Kris Weston – guitar, keyboards on "Higher Than the Sun" contributed bass to the dub-infused remix "Higher Than the Sun (A Dub Symphony in Two Parts)," adding a distinctive, resonant low-end groove that enhanced the track's psychedelic and experimental texture. The album's standout track "" features uncredited choir members delivering layered gospel vocals, creating a sense of ecstatic unity and contributing to its status as a dancefloor .

Production personnel

The production of Screamadelica involved a collaborative team of producers, engineers, and technical staff who blended rock, , and psychedelic elements across various studios in , Memphis, and elsewhere. served as the executive producer and handled production duties for key tracks such as "Loaded", "", "Higher Than the Sun (A Dub Symphony in Two Parts.)", "Inner Flight", "Damaged", and "I'm Comin' Down", shaping the album's ecstatic, dance-oriented sound. Hugo Nicolson co-produced and mixed several tracks, including "Movin' on Up", "Loaded", and "", while also contributing engineering work that captured the album's raw energy and spatial depth. The Orb (Alex Paterson and Youth)—produced the euphoric "Higher Than the Sun", infusing it with ambient and rave influences recorded at their Bermondsey studio. Jimmy Miller, known for his work with The Rolling Stones, produced and mixed the gospel-tinged "Movin' on Up" and "Damaged" during sessions at Ardent Studios in Memphis. For the house-inflected "Don't Fight It, Feel It", production was led by the Hypnotone Gang (Andrew Innes and Tony Martin), with additional production by Weatherall, emphasizing pulsating rhythms and Denise Johnson's vocals. Terry Farley contributed production to "Higher Than the Sun (A Dub Symphony in Two Parts.)", adding remixing flair from his Boys Own imprint. Engineering credits were distributed across sessions to accommodate the album's experimental nature. Dave Anderson engineered multiple tracks, including those produced by Weatherall at and Ridge Farm Studios. Tony Harris handled engineering for "Slip Inside This House" at Jam Studios, while George Shilling engineered at Black Barn Studios in . Mixing efforts included on "Slip Inside This House" and further contributions from Nicolson on Weatherall's tracks, ensuring cohesive transitions between genres. The album was mastered by Kevin Metcalfe at The Soundmasters in , providing the final polish that enhanced its dynamic range and warmth. , founder of , oversaw the project as executive producer, guiding its release amid the label's burgeoning indie-dance roster. Artwork, including the iconic sunburst cover image, was created by Paul Cannell, with layout by Stylorouge, tying the visual aesthetic to the album's psychedelic theme.

Release history

RegionDateLabelFormatCatalogue
23 September 1991CD, 2×LP, cassetteCRECD 074, CRELP 074, CRETC 074
8 October 1991CD, 2×LP, cassette9 26714-2, 9 26714-1
Various14 March 20114×CD (20th Anniversary Collector's Edition)88697811022
Various17 September 20212×LP (30th Anniversary Picture Disc)19439904541
Various15 October 2021LP (Demodelica, 30th Anniversary demos)19439935021
Various17 September 202110×12" box set (30th Anniversary Singles)19439904541

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