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The Cult Movie Made For Tarantino and Car Enthusiasts

I blame Primal Scream.

The former punk-rockers of Scottish descent discovered ecstasy in the early 90s. They teamed up with a mad producer, signed for Creation Records, and released the seminal album of the decade. Forget about the phony Oasis/Blur wars. Forget about the lad brigade that was sweeping the nation (UK). Who gave a fuck about New Labour and their multiple versions of truth?

It was all Primal Scream.

You don’t.

Primal Scream disappeared up their arses in a blitz of cocaine-fueled days. To their credit, they did manage to release new tunes almost immediately after Screamadelica. Except, the sound that made them infamous, the sound that was celebrated globally, the sound that defined an era…was no more. In its place sat a rock-by-numbers parody of every cock-rock band that had filled the stadiums of the US.

‘Give Out But Don’t Give Up’ wasn’t very well received. The band was accused of selling out to a major corporation. They had lost their edge. They had forsaken their dance vibes. They were traitors to the acid-house movement. It wouldn’t be long before their American tour, supporting Depeche Mode, would also fall apart. On their return from bombing in the US, several band members dropped out.

Months later, the legendary Mani of The Stone Roses joined Primal Scream alongside a new drummer and soon the band began to explore its darker side. As much as Screamadelica was a response to the times, so was ‘Vanishing Point’. This was moodier. This was edgier. This was mean and disturbing. This was a complete 360 to where the previous two albums had sat.

Vanishing Point is a 1971 road-chase movie.

Thanks to lead singer Bobby Gillespie wanting to create an alternative soundtrack for the film, the in-crowd demanded a viewing. These were pre-hipster days. It was also pre-internet days. There wasn’t much information about this movie. But in 1996, it was on everybody's lips.

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