Two CD edition contains the original 11 track album remastered by Primal Scream and Kevin Shields, plus a bonus CD containing the four track Dixie Narco EP. Digitally remastered 20th Anniversary edition of this classic 1991 album. The first signs of the genesis of Screamadelica came in Spring 1990 when they released 'Loaded'. Initially a throwaway Dance/Rock excursion, Andrew Weatherall took a sample from I'm Losing More Than I'll Ever Have from their previous album, slipped in some acid-fried funk and threw on a Peter Fonda sample and transformed it into a masterpiece of the era. 'Loaded' was the Primal's passport to Top Of The Pops and elevated Bobby Gillespie to Smash Hits poster-boy status. Subsequent singles were equally potent: 'Come Together', 'Higher Than The Sun' and the MC5-meets-Rave-Italo sensation 'Don't Fight It Feel It'. The album was released to widespread critical acclaim, and is still today frequently acknowledged as one of, if not THE, best albums of the 1990s.
Primal Scream always refracted the past through the prism of the present, turning hero worship into something resembling high art. It wasn't always this way, not at the start, when they were part of the delicate, brittle C86 scene, nor was it true when they exploded in a brilliant blast of acid house on Screamadelica. The art came later, after they halted their ascendency via the Stones-aping Give Out But Don't Give Up, a move that in retrospect seems to be an important final foundation within the construction of Primal Scream but at the time seemed odd, halting, flying in the face of Cool Britannia.
There's no overestimating the importance of Screamadelica, the record that brought acid house, techno, and rave culture crashing into the British mainstream – an impact that rivaled that of Nirvana's Nevermind, the other 1991 release that changed rock. Prior to Screamadelica, Primal Scream were Stonesy classic rock revivalists with a penchant for Detroit rock. They retained those fascinations on Screamadelica – one listen to the Jimmy Miller-produced, Stephen Stills-rip "Movin' on Up" proves that – but they burst everything wide open here, turning rock inside out by marrying it to a gleeful rainbow of modern dance textures. This is such a brilliant, gutsy innovative record, so unlike anything the Scream did before, that it's little wonder that there's been much debate behind who is actually responsible for its grooves, especially since Andrew Weatherall is credited with production with eight of the tracks, and it's clearly in line with his work. Even if Primal Scream took credit for Weatherall's endeavors, that doesn't erase the fact that they shepherded this album, providing the ideas and impetus for this dubtastic, elastic, psychedelic exercise in deep house and neo-psychedelic. Like any dance music, this is tied to its era to a certain extent, but it transcends it due to its fierce imagination and how it doubles back on rock history, making the past present and vice versa.
From the outside, Primal Scream seem suitably chaotic, flitting between noise-skronk explorations and dub operas, but there's one truism that applies to the bulk of their career: if they delivered a good album last time around, they'll stumble on the next. More Light, the messy, candy-colored, psychedelic opus they delivered in 2013, found the band at something near their best, so it only follows that 2016's Chaosmosis would be something of a mess – and it is, only in an unexpected fashion.