GAVIN MARTIN
The Coral are 22 years and nine albums into their marvellous career. And last year’s Move Through The Dawn showed that the class and ingenuity of Merseyside’s Hoylake heroes remains undimmed.
Driving force James Skelly was a teenage football fan before Oasis hit Whatever set him and his pals on a crash course to pop stardom. Skelly has no time for false modesty.
“I think we’re a great British band. When we came out, people forget we were sort of the first post-Oasis band. The Libertines were after us, and I feel like we need to make sure our part in history is being recorded.”
Noel Gallagher was an early fan and worked with the group. They have enjoyed a steady fan base, a Mercury nomination and the respect of their peers – but never a Gallagher-level of celebrity.
“I wouldn’t want to be hassled like that myself, but it becomes your life and you get used to it. I’m sure the money eases the worries,” says Skelly, 38.
In The Coral’s early days, the school friends tried a democratic approach, but Skelly emerged as the natural leader.
He says: “I think one person has to sort of take charge. Everyone has kind of elected me to front it. When we’re doing music, it’s all kind of equal but everyone trusts me to oversee it.
“When we tried to be a democracy it didn’t work as well. Someone has to take charge and I drink a bit less, maybe, than the others.”
Skelly’s solo album and many of The Coral’s side projects feature other band members. “We don’t have many other friends,” he chuckles. He also argues the music industry has transformed since they began, but the songwriting remains constant, and guided by experience.
“When we came out we were closer to the industry The Beatles were in, than the industry we’re in now,” says Skelly.
“I’d say it’s ground zero. This is like a digital revolution. It’s like the industrial revolution. We don’t really know the aftermath.
“When you start writing you don’t know the rules, you’re breaking them by accident. I could always write the songs. I think I used to force songs, try and write them all the time. Whereas now, when they come, they come.” ■ The Coral’s UK tour starts on February 27 at Concorde 2, Brighton. For details see thecoral.co.uk Noel Gallagher worked with the band The Nottingham duo’s facial expressions on the cover of their 11th album tell their own tale. The ‘shifty geezer on verge of being rumbled’ look suits the pair. Good fun up to a point but never as clever as they might think.
Their pound shop grooves and mobile phone riffs have definite limits to their appeal. On one track they dig up the kazoo, possibly the most criminally underused instrument in pop history, but it’s just another underwhelming backdrop to fuel anger. Damp. One of the geniuses of 60s and 70s black American music, soul legend Curtis is a sadly overlooked figure today. This remastered collection released to mark the 50th anniversary of his solo career gathers his first four, near faultless, solo albums and should help redress that oversight. The anthemic Move On Up and (Don’t Worry) If There’s A Hell Below We’re All Going To Go made Curtis an instant star. He expanded the boundaries of black pop with peerless, glass-cutting vocals and dazzling arrangements. Heroic stuff.
I feel like we need to make sure our part in history is being recorded