This CD is still one of the classic late 90s indie albums. They may have split up, Richard Ashcroft may have started to establish what I'm sure will become a hugely lucrative and successful solo career, but no-one can take anything away from Urban Hymns, the Verve's most popular and best album. These songs rank alongside some of the true indie legends, Supersonic by Oasis, The Day We Caught the Train by Ocean Colour Scene, Oh Yeah by Ash, All You Good Good People by Embrace, Alright by Supergrass, Parklife by Blur, Love is the Law by The Seahorses, The Drugs Don't Work/Lucky Man/Bittersweet Symphony/Sonnet by The Verve. Everybody knows them, and still loves them. And apart from Oasis, The Verve are the ones we still hear.
Led by the man Noel Gallagher branded 'a genius', Richard Ashcroft, backed by the sublime guitarring of Nick McCabe, as well as Simon Tong (Guitar/keyboards), Simon Jones (bass) and Peter Salisbury (drums), The Verve's Urban Hymns comprises of thirteen different yet strangely similar and familiar songs. the album kicks off with Bitter Sweet Symphony and Sonnet,two of the most well known, and best tracks. They are followed by The Rolling People (which has grown on me but I still don't really like) and the thought provoking The Drugs Don't Work. Then the album enters its unknown phase, of Catching The Butterfly, Neon Wilderness, Space And Time and Weeping Willow. Cathing The Butterfly is a six-minute epic, a slightly psychadelic blend of guitar effects, droning bass, little sound and a whippy drumbeat. This is another highlight of the album . Unfortunately, it is followed by Neon Wilderness, guitarist's Nick McCabe's most significant contribution. It is by far the worst song on the album. Wailing voices, no chorus, it sounds like a mess, and probably is some sort of major production error. At least Space and Time is a good recovery, particularly the start of the song, and the classic line 'We have existence and it's all we share'. I love it. Then a kind of similar song in Weeping Willow, one fo the forgettable tracks, not because its bad, but more because it is clearly over shadowed by other more famous, better tracks. Following Weeping Willow is the fantastic Lucky Man, which is always on the TV. 'But how many corners do i have to turn, how many times do i have to learn, all the love i have is in my mind'
Tracks Ten and Eleven are also quite forgettable after the genius of Lucky Man, but the album, of course, ends on a high. Live favourite (or it was) Velvet Morning is almost on a par with Lucky Man for its sheer musical magic,a dn lyrical genius. Finally, the album closes, like the live show i saw, with Come On. This is by far the rockiest song on the album, with the bass and drums getting a more prominent role in the six and a half minute epic. Again, McCabe's guitar shines through, first with a great riff, then in the last few minutes with stunning use of effects to really bring this song to a new level. There is a hidden track at the end, with what appears to be the sound of a cat. Peculiar. But then, so are Ashcroft's cheekbones (see inlay)
Not picking up the album, if you don't already have it, at prices of around £6 at most dodgy record outlets, is a crime. This is close to the perfect album, on a par with Oasis's Definitely Maybe (despite differences in production style - i.e. Oasis didnt do production). I have picked out weaknesses, but those would seriously be average songs on any new album by Coldplay or Starsailor - they only seem bad in contrast with the rest of the album, they are in fact, average-good songs. So get out and buy it, or if you already have it, get it out and remind yourself how crap Coldplay really are.