Images and Review by Kevin Cooper

Kula Shaker and Ocean Colour Scene probably make for strange bedfellows. The former are flamboyant, extroverted and a tad camp and the latter are more straight ahead, sensible and unassuming. But on Sunday night at Rock City, a packed crowd delivered a hearty welcome to both bands.

From the moment the stage went black and mystical music swirled throughout the venue, the eerie hypnotic prelude to Radhe Radhe, raised the crowd’s anticipation. And when the four piece band fronted by Crispian Mills, unexpectedly launched into the galvanising classic, 303, the crowd were immediately under their spell.

Delivering a set that was rich in songs from their 1996 classic album, K, they also delivered some surprises. Two brand new songs, Charge Of The Light Brigade and Broke As Folk, added credence and authenticity to the band’s soulful, raw and hazy rock and roll whilst Jerry Was There and Hey Dude showcased the mystic Psychedelia that they are known for.

A highlight was their soulful take on Python Lee Jackson’s In A Broken Dream with its brooding 60s psych-rock shimmer, and their cover of Hush with its squealing guitar solos, juddering keyboards and stomping drums which went down a storm, before finishing with Govinda, a song sung entirely in Sanskrit which included Indian influences and tambura and tabla instrumentation.

As the lights dimmed and the strains of Booker T & The MG’s Green Onions died down, the iconic figures of Brummie band Ocean Colour Scene emerged to thunderous applause and as they opened with one of their classic hits, The Circle, they immediately established a connection with the packed crowd that intensified throughout their set.

Having formed in 1989, the line up has been consistent. Guitarist Steve Cradock demonstrated the dependable musicianship that has made him a long time collaborator with Paul Weller. Front man Simon Fowler’s vocals were as powerful and soulful as ever, effortlessly carrying the weight of the bands extensive catalogue. Oscar Harrison kept it all together with his excellent drumming and Raymond Meade completed the line-up. For this tour Cradock’s son Cas joins the band and it is though he has been there from the beginning.

They delighted with You’ve Got It Bad, One For The Road and Fleeting Mind, lesser known songs from their breakthrough 1996 album, Moseley Shoals, which demonstrated the band’s cohesion and experience. The set list was a journey through the decades blending well loved favourites like July, Profit In Peace, and Mrs Jones which gained a raucous reaction from the crowd.

The momentum surged as they powered into the explosive Hundred Mile High City with its infectious guitar work and the set really came alive as they romped through the second half with classics like Travellers Tune and at the first chords to The Riverboat Song, the crowd went wild.

Fowler later paid tribute to Sandy Denny with a heartfelt dedication of the lovely melodic She’s Been Writing and he sparked a wave of nostalgia with a few lines of Oasis’ Live Forever at the close of Get Away.

For the encore Fowler delivered the opening lyrics to Robin Hood and then stepped back to let the crowd sing the rest back to him, before leaving Nottingham on an incredible high note with a fabulously rousing rendition of The Day We Caught The Train and as the crowd left Rock City their collective chants of ‘Oh-oh La-la’ rang joyously into the night.

Steve Cradock, an English guitarist notable for founding Ocean Colour Scene chats with Kevin Cooper about the part Chris Evans played in the success of the band, working with P.P. Arnold, appearing on Top Of The Pops and their forthcoming December 2023 UK tour.

Steve Cradock is an English guitarist who is most famous for forming and playing in Ocean Colour Scene. He also plays guitar in Paul Weller’s band having appeared on all of Weller’s solo records. He has also released a self titled solo album and also began playing lead guitar for British Ska band The Specials in 2014.

He formed his first band in 1988 called The Boys with school friends from Solihull, who went on to play at various mod events around the Midlands. They released their first three track vinyl EP, Happy Days on their own label. Despite catching the attention of Polydor and CBS the band disbanded and Cradock went on to form Ocean Colour Scene with Simon Fowler, Damon Minchella and Oscar Harrison in 1989.

In the late 80s Cradock met his idol and future mentor Paul Weller. They became friends and Ocean Colour Scene were invited to tour with him. In 1992 Cradock joined Weller’s band and has appeared on all of his studio albums. They still continue their musical relationship and Cradock has co-written material with him.

Within two years of forming Ocean Colour Scene they released their self titled debut album which unfortunately did not reach its full potential and because Cradock had then finished his first full tour with Weller, he was able to self fund their second album, Moseley Shoals, which went on to sell over three million copies worldwide.

Cradock’s other collaborations include The Smokin’ Mojo Filters who released the Help Album which also involved Paul McCartney, Paul Weller, Noel Gallagher, Steve White, Carleen Anderson and Damon Minchella. Other collaborations include P.P. Arnold, Liam Gallagher and Amy MacDonald.

He has also had a successful solo career releasing albums such as The Kundalini Target, Peace City West in 2011 and Travel Wild – Travel Free in 2013.

Whilst busy rehearsing for Ocean Colour Scenes’ forthcoming tour, he took some time out to have a chat with Kevin Cooper and this is what he had to say.

Steve, good afternoon, how are you today?

I’m good thanks Kevin, but more to the point, how are you?

I’m very well thanks and before we move on let me thank you for taking the time to speak to me today.

It is okay, you are very welcome.

And just how is life treating you at this moment in time?

(Laughter) well, what can I say, life is great. In fact, I am trying to think how I can answer that in one sentence (laughter). Life really is big isn’t it? I am currently rehearsing with my boy, Cas, who is now the keyboard player with Ocean Colour Scene, so we have literally been at the coal face so to speak for the last couple of weeks practicing every day for the forthcoming December tour. Life really is something to be grateful for.

You have mentioned the tour, are you looking forward to being back out on the road with Ocean Colour Scene?

Yes, I am, always. If you are a musician that is kind of where it all happens really. It all comes down to the joy of playing. Number one; getting together with your gang and two it’s all about playing your music to people. That should never be overlooked I don’t think.

I personally feel that when you stop getting that buzz from touring, then perhaps it is time to call it a day?

Yes, but really, that’s not for me to say. I personally feel that is where the magic happens, the interaction with the audiences. All of the work behind the scenes, I feel, is industrial and I have to say that it is sometimes like pulling fucking teeth, but it is the thing that needs to be done because there needs to be a confidence within the musicians so that when you play you are never in a position where you have no idea what is going on. Then, you get to that point when you go past thinking and you can feel the music.

It should be a special night when you play at the Tramshed in Cardiff on New Years Eve.

Yes, the Tramshed, that is going to be a fantastic night. After the main gig we are going to do an after show there; Alan McGee is going to be DJing, I will be doing some DJing as well. So it really does sound like it is going to be an all-inclusive evening.

Wouldn’t you rather be at home with the family?

Well, to be totally honest with you, all of the family is going to be there. I always travel with my family as much as I can. My daughter is a make-up artist in London, but she comes out for a lot of my gigs. We all hang out together with the rest of the family as well. Thank God we all enjoy being with each other (laughter). So that’s bollocks that question (laughter).

Ocean Colour Scene are now ten studio albums in. Does that make putting together a set-list for the forthcoming tour that bit harder?

Not really because only five of those albums are great (hysterical laughter). To be honest with you it actually makes it fun. I always put the set-lists together and I find that it is always good to include a few different tunes. I think that this time around we are going to be playing a tune called Huckleberry Grove which is a B-side I think, although I’m not sure which single; but it has got a beautiful trombone solo on it from the late Rico Rodriguez, and he played on the original recording.

Huckleberry Grove, ‘Shirley was a lady whose teeth were made of gold; she danced before the music and everything it told, Huckleberry Grove’ (laughter).

Fucking hell man, leave me your number as we really do need you on our pop quiz team (laughter). There is a song on the Marchin’ Already album called Half A Dream Away which I don’t know what you would describe it as, maybe a Ska backbeat to a Blues guitar thing with some really fantastic lyrics. Go on then smart arse (laughter).

Are you sure (laughter).

Yes, go for it.

Okay, ‘we’re just half a dream away, sitting on our fences, building up defences, making up the rules by which we play.’ Well you did ask (laughter).

(Laughter) you really are either fucking amazing or possibly fucking annoying (laughter). As you can see, we try to do things that are slightly different as well, so I think that we are going to be playing another B-side, a song called Free On The Wind, which before you say anything, it is the B-side to Mechanical Wonder (laughter).

Free On The Wind, ‘Free on the wind, blow, she never feels that way, she hides behind her one mistake’ (laughter).

Enough! (laughter). We try to do something different while also including the favourites which the people want to hear. This time around we are going to have a different stage set; we are going to be using screens for the very first time. So, that’s going to be very different for us.

At least you aren’t doing what everybody else seems to currently be doing, going out on the road with an orchestra.

Is that the new thing, is it?

It appears to be the in thing at the minute.

Simon (Fowler) is doing the guest vocals on the forthcoming orchestra thing, with John Power, together with a couple of the Britpop singers. As you most probably know, I personally like classical music, I really love Bach, I really am into it, and I love it whenever I see a group playing with a string quartet. But we are not doing that, you are right (laughter).

On the subject of music, are there any signs of a new Ocean Colour Scene studio album?

Yes, there is, and we have already started work on it. To date we have demoed three songs, so the ball is currently rolling and hopefully we should be in a position to record it next year.

Have you any idea as to when you will want to be releasing it?

No, we are not too sure as yet. So, the simple answer is, I don’t know (laughter). What’s next year, 2024, in that case I would imagine that we would be looking to release the album in early 2025.

In that case, you will be rubbing shoulders with Mick Hucknall then (laughter).

Really, oh my word. I know that he has announced a tour in 2025. I really don’t want to sound rude against anyone, but I really am not a fan of Mick’s stuff.

Whenever he plays The Motorpoint Arena here in Nottingham, if he is walking down the corridor, I’ve been told that the staff have to turn around and face the wall. They are not allowed to look at him.

Well, there you go. That is the sort of person that I would imagine him to be. I mean, what the fuck is that all about (laughter).

Swiftly moving on, are you and the rest of the Ocean Colour Scene boys currently in a good place?

Yes, we are, we really are.

I recently spoke to Simon, and he told me that his one regret was not having Damon (Minchella) in the band, now that Ocean Colour Scene are moving forward picking up fans along the way. However, I understand that you might just have a different perspective on that?

Listen, we recently played alongside Richard Ashcroft at a large outdoor gig this summer and we saw Damon and he was friendly, really friendly. So, from my point of view, that is all good. I don’t have a different perspective at all, I speak to him, but the problem is, he keeps doing stupid little Facebook things. He really should know better. He had this silly habit of calling Simon and Oscar (Harrison) “the other two” or “the singer and the drummer” and when he does silly things like that then it shows that there is still some bitterness there.

But, having said that, that was before I met him when we were playing with Richard Ashcroft and he was really nice, I have got to be honest. Personally, I don’t feel the need to have him in the group; we have a great bass player called Raymond Meade, a Glaswegian lad so I don’t know why Simon thought that, had he been drinking? I personally wouldn’t want Damon in the group.

(Laughter) I hope not as it was 10.30am and he was in Stratford Upon Avon shopping. Anyway, I personally feel that the band now really is a tight knit five-piece unit.

Yes, it is, now that we have my son Cas on keys and second guitar, we will now be going out as a five-piece. I totally agree with you, we are a very strong five-piece unit so why even think about disrupting that, it’s crazy. We have got everything covered musically, and the set is going to be banging. There is a different intro to the set than we normally play. I don’t know how to expand on it really, but what I will say is that we are all really looking forward to it.

You must have been asked this a thousand times but how did you feel when you got the call to join Paul Weller?

Well, it was my dad who took the call actually; I have no idea where I was. At the time my dad was going through a rough patch, and the four of us used to rehearse in our garage at home. So, my dad tells me, he was sleeping in the garage so he could feel if the vibes of the group were strong enough for him to continue; he was going through one of those moments. That really nicely surprised me that he was into that flow really. He tells me that he was kind of expecting it; it really was amazing to hear from Paul especially as I wasn’t really that good on the guitar.

I wouldn’t say that I am now, but Paul told me that he wanted me, but I had to go down and audition for him. So, off I went to the audition and, as you know, I got through all of that and then from then onwards, I started to become a better guitar player. I had to learn a hell of a lot very quickly. Thirty years later I am still playing with Paul for which I am really thankful. I really do love Paul; I think that he is incredible. He really is truly a one-off.

Ocean Colour Scene, Paul Weller, The Specials, solo artist, DJ, do you sometimes have to take a step back and pinch yourself?

It is kind of what I have always wanted to do but I do realise that I am very fortunate, I do realise that. I just wanted to play music and I still go out and buy records, I really am into my thing. I look at it this way, I have put the work in, and I am still infatuated by it all.

You have been in the music business for over thirty years now, are there any regrets?

Regrets, no, no, no, no (laughter). No, I haven’t, no.

When Ocean Colour Scene were finally beginning to break, just how big a part did Chris Evans and TFI Friday play in that development?

Chris played a huge part. It is often mentioned about Noel (Gallagher) and Paul (Weller) and various other people who were also really helpful but in actual fact it was Chris who broke the group. Chris, as you know, was a BBC Radio 1 DJ long before TFI Friday’s and he played The Riverboat Song twice straight after each other because he really loved that tune. After that he A-Listed the record and every time that we released a single, he would invite us back onto the show. So, Chris Evans is the man who spread the sound of the band throughout the nation.

From your personal point of view, what was it like for you to finally get to work with P.P. Arnold?

That really was a beautiful experience for me. Patricia and I had worked together quite a while ago; she sang on Travellers Tune and obviously Beautiful Thing, and she toured with us back in 1997. After that I didn’t speak or see her for quite a while, for well over ten years maybe. I don’t know why, that was just the way that things panned out. I moved house down in Devon about ten years ago now and I found a box full of old demos that me and Patricia had done back in the Moseley Shoals studio back in the day.

So, I digitised them, sent them over to her saying ‘do you want to pick up where we left off’ and thankfully she said yes. So, she came down here to me and we worked on The New Adventures of…P.P. Arnold. It must have been close to a year demoing, working the songs, seeing exactly where we wanted to go with it. The album was finally released in 2019 and I am really proud of that album. P.P. really is amazing. I think that she is going to be joining us at the London show to perform Beautiful Thing and Travellers Tune as well. She has lived a long road, but she has still got her chops. She really is an amazing singer. She really is charismatic.

I was fortunate enough to photograph P.P. a couple of years ago now at the Cornbury Music Festival and Mavis Staples stood with me and watched her set.

Wow, that really is quite amazing; I would have liked to have been there. .

Needless to say, P.P. stayed behind and watched Mavis’ set. They both were truly amazing. Now I have no doubt that there have been many but, putting you on that spot, what would you say has been the highlight of your career so far?

As you say there have been quite a lot, but I would say that playing Main Road supporting Oasis, I thought that was just spectacular. Even more than Knebworth I think. Doing Top Of The Pops I’ve got to be honest because that was a big thing back in the day, so for me, one highlight would be us playing The Riverboat Song on Top Of The Pops. It was like, ‘what on earth are we doing here’ (laughter). It was so funny seeing how the whole thing worked. It was more theatrical than musical if you know what I mean (laughter).

On that Thursday night Top Of The Pops was a very important show. We would go back home to Birmingham after performing on the show and everyone would be like, ‘oh fucking hell it’s them’ (laughter). Top Of The Pops really was a big social thing back in the day. For years the BBC really did hold the hierarchy on it all, which the more that you get to know exactly how that worked the more I kind of think, ‘well you know, fuck ‘em’ (Laughter).

What was the first record that you bought?

Beat Surrender by The Jam.

Who did you first see live in concert?

That was A Flock Of Seagulls, UB40, and The Style Council. There you go that’s my top three.

What was the last song or piece of music that made you cry?

I’m currently producing a band called Burgh Island and they have got a song called Mother and I have to say that they really are incredible. They are a folk duo, and their song Mother really is exceptional, truly amazing.

What is currently on Steve Cradock’s rider?

Just water, coffee, and that’s about it really. I don’t turn up to drink or eat, I turn up to play. So, not so much these days unfortunately (laughter).

What would be your ideal Christmas?

Simply being with my family, the people I love. For me, every Christmas is ideal, I love it.

Steve, on that note let me thank you once again for taking the time to speak to me today, it’s been absolutely fantastic, and I will see you at The Halls in Wolverhampton.

Nice one Kevin, it’s been lovely to speak to you. Please make sure that you come by and say hi wont you. I will make sure that you have a couple of passes. Take care and speak soon.

Simon Fowler, (seen here on the right), an English singer, songwriter and acoustic guitarist, best known as the front man with Ocean Colour Scene, chats with Kevin Cooper about supporting Oasis on their 1996 (What’s The Story) Morning Glory Tour, the support that Ocean Colour Scene got from Paul Weller and Chris Evans, their first time on Top Of The Pops, and Simon and Oscars forthcoming intimate and acoustic tour of the UK.

Simon Fowler is an English singer, songwriter and acoustic guitarist, best known as the front man of Ocean Colour Scene.

Simon Fowler commenced his music career as the lead singer and songwriter for Birmingham band The Fanatics, which consisted of Simon Fowler (vocals and guitar), Damon Minchella (bass), Paul Wilkes (guitar) and Carolyn Bullock (drums). Future Ocean Colour Scene drummer and former Echo Base band member Oscar Harrison replaced Bullock on drums.

The Fanatics released one record in 1989 before splitting, and later that year Fowler, Minchella and Harrison teamed up with guitarist Steve Cradock to form Ocean Colour Scene. Originally signed to Phffiitt Records in 1990 they released their first single, Sway, during the indie era. When their record label was swallowed up by Phonogram, their eponymous debut album was remixed against the band’s wishes, which was largely deemed a failure.

With no real direction and no outlet for any new music, it was not until 1993 that things improved for them. Paul Weller invited the band to support him on some of his tour dates and they were suddenly in the public eye. Weller also asked Cradock to play guitar on one of his singles and asked Fowler to sing on his album, Wild Wood. With the money that Cradock made from touring with Weller, the band was able to keep afloat.

There were other supporters of Ocean Colour Scene such as Noel Gallagher, who heard a demo that they had made and invited the band to play with Oasis on their 1995 tour, which resulted in a record deal.

Moseley Shoals was released in 1996 and reached number two in the UK albums chart. Other albums followed such as Marchin’ Already in 1997, One From The Modern in 1999, Mechanical Wonder in 2001, A Hyperactive Workout For The Flying Squad in 2005 and On The Leyline in 2007, which continued their trend of releasing new material every two years.

Several live albums were also released as well as Saturday in 2010 and Painting in 2013.

In addition to being kept busy with Ocean Colour Scene, Fowler has toured with Oscar Harrison performing intimate acoustic tours for the past twenty years. They are touring the UK later this spring to celebrate twenty years of performing together.

Whilst busy preparing for their twenty five date tour, Simon Fowler took some time out to have a chat with Kevin Cooper and this is what he had to say.

Simon, good morning, how are you today?

I’m fine thanks Kevin, I’m just getting into my car with my dog Cooper (laughter). My partner and I have got a Cockapoo called Cooper (laughter).

Really (laughter).

Yes, he’s actually named after a new Australian lager (laughter). I found out when we were in Coopers Bar in Melbourne Airport, and they had a sign on the bar welcoming a new brand of Coopers saying, ‘welcome to the new edition to the family’ and I immediately thought, ‘that’s it, that’s his name’ (laughter).

I have got family who actually live out there in Alice Springs.

Blimey O’Reilly, they really are in the middle of nowhere.

Exactly, we have tried to visit them on no less than three times, and every time the trip has been cancelled because the runways in Alice Springs have been too hot for anything to land there (laughter).

Really (laughter) well that really does sound like Australia.

Anyway, before we move on to the more important things, let me firstly thank you for taking the time to speak to me today.

It’s alright and let me thank you for being interested in just what it is that we are currently up to.

And just how is life treating you at this moment in time?

Yes, life is treating me really well thank you for asking. More to the point how are you today?

Well, what can I say, I could complain but who would listen (laughter).

I know exactly what you are saying (laughter).

So, tell me, how did you manage to stay sane during lockdown?

You probably won’t believe this, but I am actually quite used to not doing a great deal (laughter). I used to just go and do some shopping for our elderly neighbours, who live in the village just outside Stratford-upon-Avon, so I got to know the shelves in Waitrose intimately.

I once spoke to Fish and I asked him what he hated about touring, and he said that every time that he was away on tour, his local Waitrose would move everything around so that he couldn’t find what it was that he wanted when he got home (laughter).

(Hysterical laughter) I know exactly what he means.

Right, joking apart, you and I have got to talk about An Evening with Simon and Oscar.

Yes, we have, haven’t we?

Are you looking forward to it?

Yes, I am, it will be really good although I have to be totally honest with you and say that something like twenty-five dates is rather daunting.

That’s right, with twenty-five UK dates you are certainly not pulling any punches.

I can’t remember the last time that we did a tour that big, but at least Oscar and I can sit down.

I have to tell you that I first saw you and Oscar at The Venue in Derby back in 2007.

Blimey, really, well that is a long time ago now. Having said that, Oscar and I have been doing this now for twenty years. The forthcoming tour is to mark the twentieth anniversary of Live On The Riverboat, which obviously we will be re-releasing, with a couple of new songs on it. The new songs were recorded in Glasgow, which seemed quite appropriate really.

You are doing your best for the independent record shops by releasing Live On The Riverboat for Record Store Day. How do you feel when you see an item on eBay five minutes after it has been sold for twenty pounds plus, now selling for a hundred pounds plus?

(Laughter) perhaps we shouldn’t sign them, or perhaps sign them with the wrong names (laughter).

Looking back, whose idea was it initially for you and Oscar to go out on the road together?

To be totally honest with you I can’t really remember. I think that the impetus was that we would do that when Steve (Cradock) was away on tour with Paul (Weller). Oscar and I found ourselves with all of this free time and so we thought ‘why don’t we go out and do our version of the songs’ and it all started from there really. I am more at home doing that because that is more of a reflection of how I originally wrote the songs. The only thing is that we won’t be playing Riverboat, simply because I can’t play it (laughter). I’m not joking either (laughter).

So, if Steve hadn’t had the relationship with Paul, could it have easily been Oscar and Steve?

I don’t know, I don’t think so. I don’t really think that Steve would want to put himself in the centre spot quite like that; he is Britain’s best side man, isn’t he really.

Steve is most certainly a gun for hire.

He most definitely is and I have to say that he is one of the best in the West.

You were recently quoted as saying, “this tour gives me a great chance to look the audience in the eye and interact with them.” Is that really how it makes you feel?

Well, yes, it is because it is more a sort of theatre set and we are obviously playing venues which are a lot smaller than the venues that we usually play. I have always regarded myself as being a semi-professional raconteur I suppose. There are always a lot of stories for me to tell, and to be honest, I quite like that. I recently watched a documentary about Noel (Gallagher) and he does very much a similar thing; he tells stories that are related to the songs and then plays them. As long as you don’t turn the show into too much of that, I really do feel that people enjoy that. I can actually remember seeing Billy Bragg years and years ago, and it was near to when he had first started. I think that it was somewhere in Birmingham, and he was such a brilliant raconteur, he really was naturally funny. I enjoyed the show enormously and I thought ‘what a great performer he is’.

There is a very thin dividing line between it being funny and it turning into a toilet break.

(Laughter) there is absolutely no danger of that because if I do start to go on a bit, Oscar starts playing the piano (laughter).

Do you prefer playing the more intimate venues?

To be honest, and this is not me sitting on the fence, I really do like both. They are both different experiences. I think that the best sort of venue for us as a band is something around a three thousand capacity. I really do like that. Before the pandemic, we played a gig up in Glasgow at The Hydro in front of fourteen thousand people. We managed to sell it out, but Jesus Christ and I think that it is like that for the audience as well, although nowadays you tend to have screens. I remember going back years ago seeing people at The NEC in Birmingham, and it really could be difficult to get any sort of atmosphere going there. The first band that I saw who managed to pull it off was U2. The atmosphere on that particular night was so good that we could have been at Croke Park to be honest. U2 really are that good at playing that type of show.

It’s funny that you mention The Hydro because everyone who I speak to about it really doesn’t have a good word to say about it. They tell me that it’s cold, it echoes and simply that it’s too big.

I have to say that it is pretty impressive when you stand on stage (laughter). I think that, from a punters point of view, I suspect that it is about as interesting as The NEC (laughter). The place that I have always heard that is truly awful, which we have never played, is The Alexandra Palace in London; I am told that the sound really is diabolical.

Whenever you come to Nottingham and play The Royal Concert Hall, we spoil you as it really does sound fantastic (laughter).

Well thank you for that Kevin (laughter).

Back in the day I always wanted to see Ocean Colour Scene and a friend of mine wanted to see Oasis. So, I got us a couple of tickets and we went hurtling across to the NEC only to find the car park deserted. A security guard came over and asked, “are you looking for Oasis” to which I replied “yes, that’s right, has it been cancelled?” to which he said, “no you daft bugger, they are on at the Birmingham Arena in the centre of town”. So, we hot footed it across Birmingham, took our seats, just in time for me to hear you announce to the audience “thank you very much, goodnight” (laughter).

(Hysterical laughter) I remember us supporting Oasis; in fact, I remember it quite well but obviously not quite as well as you do (laughter). Oh, dear me.

The last time that I photographed you was on Saturday 5th August 2017 when you played an After Race event at Doncaster Racecourse.

Oh god, I remember that. You would never have imagined that you were in Doncaster would you. It really is such a beautiful setting (laughter). I really do like those racecourse events. We have also played one of those at the Wolverhampton Racecourse. They really do have the very best back-stage facilities in the world. I really did enjoy those; they are really good.

I have to say that one of the best gigs I have seen was when you played here at Rock City a few years ago now. That was very up-close and personal.

It’s a strange venue isn’t it, Rock City, simply because it really isn’t very big.

The people who I speak to always refer to the lack of height when you are on stage and the fact that they cannot bring a decent lighting rig with them simply because it will not fit inside the venue.

Yes, that’s right; the ceilings are pretty low in there aren’t they. And being perfectly honest with you, the place is not one of my favourites (laughter).

I get shot down in flames whenever I say this, but you look at the musical heritage of places like Birmingham, London, Manchester and Liverpool and they all have produced some fantastic bands. However, when you look at poor old Nottingham, what do you find, Paper Lace and Jake bloody Bugg (laughter). That’s the extent of our musical heritage.

(Hysterical laughter) Billy Don’t Be A Hero and the song that they wrote for the Nottingham Forest division one champions (laughter).

You must be talking about We’ve Got The Whole World In Our Hands.

That’s it, that’s the one with Cloughie, O’Neil and Spider, that’s the one. I remember it well (laughter).

When Paper Lace first toured here in Nottingham back in 1974, hundreds of people would turn up expecting to see Carlos Santana. They had expected him to fly over from Miami to tour with Philip Wright and the rest of the boys. The only problem was that this was Carlo Paul Santanna (laughter).

Crikey, that would have been a show wouldn’t it (laughter).

(Laughter) swiftly moving on. The more albums you release, does it cause you a headache when you are trying to put together a set-list for a tour?

Well, with this set-list that Oscar and I are going to be playing we are going to base it upon the original performance of twenty years ago. With any other set-list when we tour, I have to say that at least half of it actually writes itself. We wouldn’t be able to leave the venues if we didn’t play certain songs (laughter). But yes, we now have a hell of a lot to choose from, that’s for sure.

Whenever you are putting a set-list together, for an acoustic tour, are there any crowd favourites that you feel don’t quite work?

As I said earlier, we don’t do The Riverboat; in fact, we don’t really do any of the electric guitar rock and roll stuff, simply because we can’t do them. Oscar and I don’t feel that we are able to do them justice. Apart from which, do we really want to play The Riverboat again (laughter). We have just finished playing it on the end of the year tour (laughter). I think that it’s good to be able to show a different side to us because people tend to think of us as that Brit Pop band who play The Riverboat and You’ve Got It Bad. I personally have always thought of us as being a folk-rock band really.

Will certain songs on the set-list change as the tour progresses?

They might do, it depends. If we don’t enjoy playing a song, then it will be a case of ‘let’s try something else’. I have been doing this long enough to basically know my way around the set (laughter).

Do you have a favourite Ocean Colour Scene song to sing acoustically?

Well, what can I say, Robin Hood is always good fun, and I can do that almost as a story. That is also one of those must do songs on the night. Also, I love playing The Circle as a ballad, rather than as it was recorded on the record.

I’m an old soulie at heart and I have to say that I really do love For Dancers Only.

Really, ah right, a Paul Weller song.

I think it’s fantastic.

Do you know what, someone was recently talking to me about that track, and I honestly had no idea that Paul and Graham (Coxon) had changed a few things around, and that the song had later developed onto This Old Town. So, what we had in fact was Paul Weller doing a cover of one of his own songs with Graham Coxon (laughter).

The title is actually taken from a Kent label compilation of old Northern Soul tracks.

Really, well, knowing Paul as I do, that makes sense doesn’t it.

So, who is the soulie in Ocean Colour Scene because there is also that connection with Moseley Shoals?

I have to say that we all like that sort of music. However, having said that, Steve is most probably the closest to that part of the band. As you know, we all lived in Moseley and to be honest, it was just a play on words that worked. In all honesty, it doesn’t really sound anything like Muscle Shoals music does it (laughter).

I can’t talk to you without mentioning Ocean Colour Scene, can I?

Of course not, go for it (laughter).

You formed the band back in 1989 some thirty-three years ago now. If someone had told you back then that you, Steve and Oscar would still be together, writing, recording and performing as Ocean Colour Scene, would you have laughed at them?

No, not at all. We all knew that we were in it for the long haul. Don’t get me wrong, I’m not sure about thirty-odd years, simply because we have all graduated from other bands, and to put it bluntly, we were the last four standing (laughter). Everyone else had packed it all in; gone off and got jobs. We all knew that we were all in it for good; we had all made that decision. I was a journalist, and I left my job, blimey, about two years before the band had even started in fact, in order to pursue music.

Do you think that what has helped you continue is the fact that the spine of the band, yourself, Steve and Oscar have never changed, and the fact that it has remained solid throughout all of those thirty-three years?

Yes, I do, I totally agree with you on that. I have to say that it really is a damned shame that we didn’t continue with the original four members, in my book. I look back at that as our purple patch really. Don’t get me wrong, the other people who have been in and out of the band, we have enjoyed working with them too and their company. That has also helped Ocean Colour Scene add different dimensions to the band. Now that we are no longer the original four-piece there are musically more options, but yes, I still rue the day that Damon (Minchella) and Ocean Colour Scene split.

Have you enjoyed the ride so far?

Yes, it’s been my life. So, I guess I have. I’m pretty happy and I’m pretty content. I’ve been with my partner for thirty-four years, we live in a nice place in Stratford, and we have got a dog called Cooper. What else could I want (laughter). We also have three pubs in the village (laughter).

Let me take you back to 1996, Knebworth and Oasis. How was it for you?

(Hysterical laughter) well, I can’t remember a great deal about it in all honesty. However, what I do remember is standing at the side of the stage, waiting to go on, being totally petrified. I looked over and Chris Cradock, Steve’s father who was our manager at the time, had what we used to call a cine camera (laughter). I said to him, “just what do I do with this” and he smiled and said, “you just press that button” (laughter). So, I grabbed it off him, walked up to the front of the stage, and filmed the audience, who all went absolutely mental. I thought to myself, ‘thank Christ for that’ (laughter). The next part that I can remember really is all the hands at the end of The Day We Caught The Train, and everyone singing the chorus. The rest of the gig is a total blur, a total blank.

Just how did Hundred Mile High City come to be on the soundtrack to the Guy Ritchie movie Lock, Stock and Two Smoking Barrels?

I have absolutely no idea (laughter). I have absolutely no idea at all. I really don’t know to be honest (laughter). I actually thought that it was a bit of a farce, to be honest with you. That particular track was used so much; like Lust For Life was used at the start of Trainspotting wasn’t it. I think that it finally ended up with someone running into a car (laughter). They really were almost identical but thanks. They even used our song July when Lock Stock moved over and turned into a TV series. We actually made a video for the song with some of the cast from the TV series (laughter). I really don’t know just how those came about. Perhaps Guy Ritchie liked us; perhaps Madonna had turned him onto us (laughter).

You have mentioned Paul, just how much has he influenced you and the band?

It was Paul who gave the band some self-respect, that what we were doing just wasn’t pissing around, you know, and that we had the best hobby in the world. Apart from which, we really have had some fantastic fun with him over the years, dear me, we really have had some fun with Paul (laughter).

What would you say has been the highlight of your career so far?

Oh, Christ, I really wish that I could say going onto Top Of The Pops but it really was so incredibly boring (laughter). I guess that I would have to say something like Moseley Shoals just suddenly exploding and us becoming residents on the Chris Evans TV show TFI Friday, that really was great. It was Chris really who broke the band, without a shadow of a doubt. Ocean Colour Scene would most definitely not have happened without all of the help and support from Chris. On the subject of Chris, let me tell you that he is another good party guy (laughter). Chris and I actually became good friends, and I have to say that was lovely.

So, in answer to your question, perhaps it would have to be the very first time that we played at the Royal Albert Hall. That was funny because we got to the Albert Hall and our name was there above it. I just looked at it and thought, ‘oh bloody hell’ (laughter).

Taking you back to your time spent on Top Of The Pops, just how bad was it?

(Laughter) well, because we were the new boys, we had to get there at eight o’clock. The first sound check was at ten o’clock and then there was another one in the afternoon. Back in those days you did two sound checks before the show had started. However, what you have to remember is that the rest of the boys would be miming, whilst I was singing live (laughter). Everybody could get on the piss and enjoy themselves, whilst having a walk around the Eastenders set. Then, what did they do, they mixed the lead vocals far too high and made me look like a right twit (laughter).

What was the first record that you bought?

That’s easy, that was Yellow River by Christie.

Who did you first see performing live?

Oh Jesus Christ (laughter). Do you know what, I really don’t know. I really cannot remember.

Swiftly moving on, what was the last song or piece of music that made you cry?

(Laughter) I don’t usually cry at any sort of music to be totally honest with you. I know what, let’s be really pretentious and say Tchaikovsky’s Symphony No. 6 in B minor, which is also known as the Pathétique Symphony. I love that piece of music.

You mentioned earlier that you have just finished a big Ocean Colour Scene tour, are there any thoughts on a new studio album at this moment in time?

To be quite honest with you I think that I will just allow that to happen. At the moment, I am just concentrating on the forthcoming tour, and then I think that the band will be doing something towards the end of the year. I honestly don’t know at the moment but let’s just say maybe next year.

On that note Simon, let me once again thank you for taking the time to speak to me today, it’s been a pleasure.

Thanks a lot Kevin, I have enjoyed that so much, you take care and I hope to catch up with you when we get to The Palace in Newark.

Ocean Colour Scene performing at Doncaster Racecourse on Saturday 5th August 2017.

Images and Review by Kevin Cooper

The 5.35pm horse race had finished at the lovely Doncaster Racecourse, and with the sun high in the sky, it was left to one of Birmingham’s best ever bands, Ocean Colour Scene to round off the day’s entertainment, and they did not disappoint.

On stage behind a green mesh fence, Simon Fowler, Steve Cradock, drummer Oscar Harrison and band mates Ray Meade and Dan Sealey, must have thought that they had gate crashed a wedding reception. Looking out to a sea of smart suits, designer dresses and feather fascinators, they blasted straight into The Riverboat Song, with its famous riff which heralded the start of a 19 song set.

It is over 21 years since OCS’s album, Moseley Shoals entered the charts and The Riverboat Song was loved so much that Chris Evans made it the theme tune to his TFI Friday show, proving that it was an absolute gem of a record, played by a brilliant group of musicians. And last night as the crowd showed their appreciation for a song that hasn’t aged a jot, they shouted back the words to front man, Fowler.

There were other nods to their iconic album with You Got It Bad and the flat out masterpiece that is The Circle, but there were songs from their other releases with Profit In Peace and So Low being given an airing from 1999’s One From The Modern and Up On The Downside from 2001’s Mechanical Wonder.

They launched into Better Day and Get Blown Away, proving that they were never one album wonders, whilst One For The Road earned one of the biggest cheers of the night as Pimm’s and Prosecco were triumphantly held aloft.

OCS stuck firmly to their roots and whilst for some they may have been just the after race entertainment, there was no doubt that many of this appreciative crowd had bought their race cards just so that they could be a part of this OCS performance. Because that is what OCS has; a loyal and faithful following who know all the words to their songs and who belt them back at them with full force.

With Fowler’s vocals remaining as unique as they did when the band first arrived on the scene, and when Cradock closed the set to ecstatic whoops with another blistering solo on Hundred Mile High City, there is no doubt that they still have a dedicated fan base.

For the encore they delved back into Moseley Shoals for Robin Hood and The Day We Caught The Train, which for the dedicated fans, took them straight back to Knebworth in 1996 when OCS were on the same bill as Oasis and starting out on their journey. That band no longer exists but thankfully OCS are still around and entertaining their diehard fans, and on last night’s showing, certainly making new ones along the way.