Having made some of the most awe inspiring records ever pressed onto vinyl, having played some of the most roof lifting gigs ever witnessed by these eyes, having soundtracked too many lost weekends & lost weeks to mention, having looked like the elegantly wasted last gang in town in every picture you see ... Primal Scream represent all that is great and good about being a rock'n' roll band.

The Primal Scream story proper starts with their 'year one' record, "Screamadelica". Previous to this, the band, a core of singer Bobby Gillespie & Robert Young (the Throb) & Andrew Innes, had made two albums ("Sonic Flower Groove" and "Primal Scream", alternately Byrds'y and hard rockin'), a handful of brilliant singles and earned a reputation as one of the country's most fuck off live rock 'n' roll bands, living, breathing and partaking in the spirit of the greats - The Stones, The Stooges, The MC5, The New York Dolls & Funkadelic.Sucking in the spirit of the times, the band found themselves getting more & more fired up by music & the surrounding culture, popping pills, preaching the acid house gospel. The result, a vinyl soundclash between album track "I'm Losing More Than I'll Ever Have" & producer Andrew Weatherall, "Loaded" was a stoned acid house swagger that offered a blueprint to be ripped off by two bit indie bands the country over for the next couple of years. The shot in the arm that was "Loaded" (and it's Balearic as you like follow up "Come Together') in no way prepared people for what was coming next...

"Screamadelica" was released to universal acclaim in September 1991. "Screamadelica" is one of the few records that you can't over rate and that will probably never date. Everyone loves it, it covers all bases with total unashamed confidence. Put simply, it sums up the time, from the hyper space blues of "Higher Than The Sun" (described at the time by Alan McGee as being "'Anarchy In The U.K.' for the '90's"), to the 'stoned out of my mind' ambience of "Shine Like Stars" to the'Stones'd-out-of-it's-mind rush of "Movin'On Up". "Screamadelica" would go on to be voted 'best album of the decade so far' by Select magazine. Odds on it being in the pole position at the end of the decade are currently evens.

As Primal Scream take "Screamadelica" cross country, the public finally get a chance to see the greatest rock'n' roll circus around. Warming up with Dr Alex Paterson (The Orb), rocking out on stage in front of thousands of pilled up & blissed out acid house kids, peaking with a mash'd up "Higher Than The Sun" and a strung out "Loaded", closing down to the sound of two hours of Andrew Weatherall on the decks. Late night, every night, no support bands, no messing around. The band would roll out of town to an inspirational soundtrack of Sly & The Family Stone and the MC5.

The band, now in full on work machine mode, released the "Dixie Narco" e.p. a couple of months after "Screamadelica". The lead track, "Movin' On Up", saw the band in Top 10 for the first time, while on the flip side two of the Scream's finest recordings were showcased (the edge of sanity version of Dennis Wilson's "Carry Me Home" & the 10 minute disco mantra "Screamadelica"). After a handful more gigs, culminating in a headline show at Glastonbury, the band retired to the studio to start work on the next record.

Two years down the line, "Give Out But Don't Give Up", preceded by one of the greatest party records of all time, "Rocks" (their biggest single to date), was met by cries of "dance traitors". The record, a semi-return to the rock'n' roll roots of "Primal Scream", was recorded in Memphis, produced by Tom Dowd, mixed by George Clinton, George Drakoulias & Brendan Lynch. It sounded like an up all night party that you wanted to be invited to. It rocked. In a "must have seemed like a wise idea at the time" scenario, the band take "Give Out But Don't Give Up" on the road big style, puffing themselves up for a back breaking year long tour (headlining the Reading Festival, supporting the equally rock'n' roll Depeche Mode on a U.S. marathon, playing the Big Day Out in Australia with Ministry & Hole). Their triumphant British tour sees Andrew Weatherall's Sabres Of Paradise support and The Chemical (nee. Dust) Brothers and Kris Needs DJing every night. "Give Out...", although ridiculed by many around its release, came to life on stage. The band recreate the hedonistic party atmosphere of the "Screamadelica" dates, going one stage further at an all nighter at Brixton Academy when joined by George Clinton and a 20 piece Funkadelic Orchestra. By the time the band stagger, battered, out of 1994, a lenghty lay off period is called for to recharge batteries.

Emerging from hibernation in February 1996, the Primal's contribute a slow motion instrumental to the soundtrack of the movie of Irvine Welsh's "Trainspotting". The band's relationship with Irvine goes back to early '94, when he interviewed the band for I-D magazine, shortly after'The Acid House' had been published. The band's first single release in nearly two years is a collaboration with Mr. Welsh and king of all dubheads, Adrian Sherwood. Released to huge critical acclaim, "The Big Man & The Scream Team Meet The Barmy Army Uptown" is made available for one week only, selling out straight away in the run up to the England/Scotland Euro '96 clash. Scotland lose, the single fares better doing one week of service in the charts.

For the bulk of 1996, Primal Scream hole up in a tiny rehearsal studio in Camden. Over the course of the summer, they record 1 0 or so tracks, ranging between Rohypnol paced dub, early 70's New York punk and camp-as-you-like electro throbbing covers of Motorhead songs. Bobby Gillespie describes the work in progress as being like a "Sam Peckinpah film ... slow motion with loads of shooting." He is spot on. Autumn 1996 sees The Stone Roses motor mouth bass player Gary 'Mani' Mounfield join the 'Scream Team in the biggest and best premier league transfer of the season. Mani arrives in time to play on several tracks on the album, adding the ominous rumble to "Kowalski" & the Darth Vader mask to "Motorhead".

And now we've got "Vanishing Point". Inspired by Richard Sarafian's speed fuelled '70's road movie of the same name, co-produced by the band and Brendan Lynch (who worked on a few tracks on "Give Out..."), the album ropes in variously Augustus Pablo, The Memphis Horns, Glen Matlock & Andrew Weatherall, yet, at the end of the day, it's more of a Primal Scream record than any they've made before. In a year when most bands talk about taking risks & making 'avant gar-de' records, Primal Scream have made a record that stands as the natural progression from "Screamadelica" & "Give Out...... although it is as much of a departure from "Give Out..." as that was from it's predecessor. "Vanishing Point" doesn't follow anyone else's path. It leads.

- from the official, Creation Records Biography.