"ocean Colour Scene"

Demon Music kick off an Ocean Colour Scene reissue campaign with Yesterday Today 1992-2018, a massive 15CD box set. The large format package Includes all 10 of their studio albums. They are: Ocean Colour Scene (1992), Moseley Shoals (1996), Marchin’ Already (1997), One For The Modern (1999) , Mechanical Wonder (2001), North Atlantic Drift (2003), A Hyperactive Workout For The Flying Squad (2005), On The Leyline (2007), Saturday (2010), and Painting (2013). Additionally, there’s five bonus discs featuring a very large selection of B-sides and rarities including the Free inspired ‘So Sad’ and ‘Men Of Such Opinion’, ‘Huckleberry Grove’ featuring the Jamaican ska legend Rico Rodriguez, and the more sedate ballads ‘Robin Hood’, ‘I Need A Love Song’ and ‘Mrs Jones’ and a cover of ‘Day Tripper’, featuring Noel and Liam Gallagher. The package offers 230 tracks in total.

Falling between the energetic pop/rock of mod revival and the psychedelic experimentations of Traffic, Ocean Colour Scene came to be one of the leading bands of the traditionalist, post-Oasis British rock of the mid-'90s. Although they had formed in the late '80s and had several hits during the height of Madchester in the early '90s, the band didn't earn a large following until 1996, when their second album, Moseley Shoals, became a multi-platinum success story in the U.K. Their ascent was greatly aided by Paul Weller and Oasis' Noel Gallagher, who both publicly praised Ocean Colour Scene for keeping the flame of real rock & roll burning during the '90s.

Rounding up all the B-sides, demos and rarities Ocean Colour Scene released over the course of 1996, when the band was riding the crest of their popularity, B-Sides: Seasides & Freerides, for all its inconsistency, illustrates the depth of their ambition, as well as their flaws. Primarily comprised of acoustic material, including a demo of "The Circle" and a fine, stripped-down version of "The Day We Caught the Train," the 16 tracks on B-Sides can tend to sound a little samey, but when the group branches out to the neo-prog-rock of the very English "Huckleberry Grove" or to the funky instrumental "Chicken Bones and Stones," they sound better than ever, and a couple of early songs by the pre-Ocean Colour Scene band the Fanatics are interesting.

Part of the problem of being a traditionalist band is that you emerge with a sound that sounds fairly mature from the outset – by emulating classic bands at their peak, you wind up sounding older than your years and, no matter how hard you fight it, a little bit stodgy. Then, because you hold the classic rock tradition so dear, you wind up becoming bound to it, rarely exploring new territory and, even then, it's usually just new tonal, textural, and emotional ground, which is so subtle that only dedicated fans will notice – which, of course, is the only kind of fan that will pay attention through several similar-sounding records. This fate has befallen many bands, both British and American, many lesser than Ocean Colour Scene, who at least were fortunate enough to ride the post-Oasis zeitgeist in the mid-'90s, which meant they not only had some hits, but that they could cultivate a reasonably large fan base and that the best of their songs – "The Riverboat Song," "The Day We Caught the Train," "Hundred Mile High City," "Travellers Tune" – became part of the pop culture of the time.

4CD box set celebrating the new post-Jam era and the mod scene as it progressed after their break up. 92 tracks showing the scene as an underground network and an influence on the mainstream music scene. With rarities on CD for the first time including singles by Wipeout, The Playn Jayn and Steve Cradock’s first band The Boys.