Pros: Amazing songs, wonderful mix of diverse musical elements...
Cons: The band's only album...
The Bottom Line: Sugar Cane is a great song, though not representative of Space Monkeys music in general. The perfect addition to any collection of Manchester/rock/house/electronica/dance...
lambchops's Full Review: The Daddy of Them All by Space Monkeys
Rarely does one stumble on an act that is absolutely different, completely unexpected, and wholly talented. And even more rarely does such a conglomerate exist for only one album.
Hailing from Manchester and famed label Factory Records (as immortalized in the film 24 Hour Party People), Space Monkeys should have been immensely famous. But as a result of little-to-no public relations from the financially unstable label among other things most people and few Americans were never given the chance to partake in the band’s debut album The Daddy of Them All.
The acid-house-rock-funk fusion employed by the Space Monkeys is brilliant. Never before or since has there been a band so willing to slap electric guitars over rap samples and throw in smooth, funky vocals. The eclectic rock outfit formed in 1994 and soon thereafter performed for the first time in the basement of the Hacienda. Soon they were signed to a six-album deal. It seemed that the Space Monkeys were on the rise. With songs written exclusively by vocalist and guitarist Richard McNevin-Duff, Dom Morrison on bass, Tony Pipes on keyboards, and Cass Morrison on drums the lineup was set and a few years later the band was ready to storm the world of music.
The Daddy of Them All was released by the aforementioned Factory in 1997 and later distributed stateside by Interscope. Produced by Johnny Jay (hip-hop, Madchester bloke who has worked with the likes of The Stone Roses and Norman Cook) the album was awarded a disappointing amount of attention considering the amazing appeal and the band’s connections. The band’s confidence shines through every track. They know what they are doing, and they know that they are doing it well. The Space Monkeys confidence permeates the lyrics, music, and even liner notes marked with the line: "Don't let them say you're not Picasso." And with an album as awe-inspiring as The Daddy of Them All it is hard to imagine anybody not admitting to the band’s creativity.
The debut contains eleven songs, the most mainstream of which is unquestionably the modest 1997/1998 Billboard hit Sugar Cane. It was based on my adoration for this track reminiscent of Fly from Sugar Ray, that I chose to explore Space Monkeys further. What was contained on the disc shocked and pleased me. While Sugar Cane is a smooth, sparse, hip, fun track the other ten songs are markedly heavier with distinct funky rock influences. Needless to say, I was immediately sucked into the band’s vortex.
Don’t remember Sugar Cane? Awww…come on…the song had a video on MTV directed by none other than colorful photographer David LaChapelle. And it was this visual stimulus that also served to peak my interest. With that said good videos obviously don’t always equate to stellar songs…but in the case of Sugar Cane nothing could be further from the truth. A mid-tempo upbeat funk-pop-rap offering, the song is overwhelmingly, genuinely genius. And just one listen to the song will undoubtedly leave listeners with the sense that they’ve just experienced something special and will for the next week be reciting the words:
Yeah, woah I can feel the sugar cane flow
Every time I change my mind
Yeah, woah I can feel the sugar cane flow
Every time I change my mind
As already mentioned, the rest of The Daddy of Them All is surprisingly perfect. After hearing Sugar Cane it would be easy to be deluded into thinking that the Space Monkeys are nothing more than a one-hit-wonder, a band with modest talent, great producers, and the ability to sound like they are having fun. Nothing could be further from the truth as evidenced by the remaining ten songs.
This disc kicks it off with Acid House Killed Rock & Roll. As with most of the songs, it deals (obviously) on some level with drugs. Regardless of purported chemical influences, nothing about the album could be more luminous. Acid House Killed Rock & Roll hits immediately hard with whirring synths paired with electric guitars and thick percussion. Once McNevin-Duff breaks into song, the track becomes whole. It is impossible not to love every beat, every thump, and every yowl of the song.
Continuing strongly, the Space Monkeys follow up with Blowing Down the Stylus. A thick rock song on one level and a grinding, enthusiastic house track on another it shatters barriers. The band has their formula correct…this album is cohesive and concise as a result of eleven different although equally appealing offerings. Blowing Down the Stylus is one of my favorites, if nothing else than for the remarkable guitars.
Inside My Soul is a milder song, absolutely fitting for the era. Sounding more like the band’s Manchester influences, the track is sweetly melodic, lightly evocative. The fact that Space Monkeys is able to so cleanly and effortlessly switch from thumping rock-house to modern Brit-pop proves their versatile talent. Though, I must say that those loud, crazed songs are the most memorable though Inside My Soul will hit home with fans of Oasis and even the song Sugar Cane.
Picking the intensity and pace back up, Ready for the Rampage is a darker, more distorted track. Though the slight change in attitude is welcome. In a barrage of backbeats and wickedly wild guitars, the foursome hits listeners over the head and insists that they listen to their unabashedly brilliant work. Ready for the Rampage begs to be heard.
Once again turning the volume down, Dear Dhinus is an emotionally riveting song. It is light and soft in comparison to the heavier songs that most densely populate The Daddy of Them All, and thusly is able to be memorable. In fact, Dear Dhinus is clearly the best slow song here…but nobody will find that out unless they dig up a copy of this unfortunately out of print disc.
Smile America is the weakest song. It seems to lack the energy and creative spark that makes the other ten tracks so incredible, so special. But with that said, a bad song from this band is a lot better than the best song from a lot of other acts. The pace is fast, the mood is slightly melancholy, and the beats are slick. The problem exists more so in how the elements are put together…Smile America just lacks an identity or the unique Space Monkeys signature. Fortunately, Let It Shine makes up for those minor wrongdoings. Beginning modestly with sparkling guitars, the song boasts one of the (if not “the”) best choruses of this entire album. McNevin-Duff’s vocals are luminous (as is his guitar). He breaks into a guitar solo toward the end of the track, something that proves refreshing in this era when such displays are frowned upon all too often.
As The Daddy of Them All draws to the close, the songs continue to be consistently extraordinary. We Are the Supercool is a smooth, warm, effervescent song. Had the band been awarded with the attention and press that they so deserved, there is little doubt that this song would have been a hit. With everything from a harmonica to horns to traditional rock elements it is dazzling. And while the louder, funky house tracks are just as good (if not better), We Are the Supercool is a great place to start for people not quite adventurous enough to venture further.
Sweetest Dream is absolutely reminiscent of Oasis. The band sounds amazing as usual, but they don’t seem unique (as one would expect from most of the other offerings). In fact, while listening it is difficult to convince oneself that McNevin-Duff isn’t going to break out in the chorus to Don’t Look Back in Anger. This isn’t a good or bad thing, it is just that Space Monkeys is better when they are less derivative.
To wrap things up, Space Monkeys toss in March of the Scarecrows. Few albums end on such a strong point. Once again, the band turns to electronic elements (in addition to the rock ones) to this time assemble something slightly reminiscent of 70’s disco. Of course it is an updated and more appealing sound, but it could have easily gotten play in clubs in the mid 1990’s.
Space Monkeys have yet to release another album. Why you ask? Well…after the lack of promotion the band suffered from at the hands of Factory, they split from the contract. Since then they have recorded another album but it has yet to find a home. Hopefully somebody, somewhere with a kind and accepting heart will welcome the band into their label and allow them to (hopefully) recreate the excellence they showed on their debut. 1998 did see the release of an import remixed album, but aside from that and a few soundtrack appearances the band has been silent. Here’s to hoping they return as strong as ever…
Rating: 5/5 stars
Track Listing:
01. Acid House Killed Rock & Roll | 02. Blowing Down the Stylus | 03. Sugar Cane | 04. Inside My Soul | 05. Ready for the Rampage | 06. Dear Dhinus | 07. Smile America | 08. Let It Shine | 09. We Are the Supercool | 10. Sweetest Dream | 11. March of the Scarecrows
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