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The Verve - Urban Hymns (Album) [itunes AAC M4A]. Released: Sep 29, 1997. ℗ 1997 The copyright in this sound recording is owned by Virgin Records Ltd. Stream Urban Hymns (Remastered 2016) by The Verve and tens of millions of other songs on all your devices with Amazon Music Unlimited. Exclusive discount for.

When Oasis’ feverishly-anticipated third album, Be Here Now, was released in August 1997, it rocketed to the top of the UK charts, becoming the fastest-selling album in British chart history. Yet the celebrations were brief and strangely muted, for it was the record that knocked Be Here Now off the top of the UK Top 40 – ’s Urban Hymns, recently reissued as – that captured the zeitgeist as Britpop went into terminal decline. Fronted by the intensely charismatic Richard Ashcroft and precociously talented sonic foil, lead guitarist Nick McCabe, the idealistic Lancashire quartet had promised something of this magnitude from the moment they signed to Virgin Records offshoot Hut in 1991. Produced by John Leckie (Radiohead, The Stone Roses), The Verve’s 1993 debut,, was an ethereal, psychedelia-streaked beauty of considerable promise, while it’s acclaimed successor, 1995’s, veered closer to the mainstream, eventually peaking inside the UK Top 20. Though contrasting with the hedonism inherent in Britpop, the introspective A Northern Soul had still generated two British Top 30 hits, ‘On Your Own’ and the keening, string-kissed ballad ‘History’, both of which suggested that Richard Ashcroft was rapidly emerging as a songwriter of major significance. Going gold, A Northern Soul left The Verve seemingly all set for crossover success, yet with the band burnt out by the usual rock’n’roll symptoms of excess and exhaustion, Ashcroft rashly split the group just before ‘History’ began climbing the charts.

As events proved, however, the band’s split was only temporary. Within weeks, The Verve were back in business, albeit minus guitarist Nick McCabe, but with the addition of new guitarist/keyboardist Simon Tong, an old school friend who’d originally taught Ashcroft and bassist Simon Jones to play guitar. The band already had working versions of emotive new songs, including ‘Sonnet’ and ‘The Drugs Don’t Work’, with Ashcroft having written the latter on Jones’ beaten-up black acoustic guitar early in 1995. Instead of the exploratory jams that produced The Verve’s earlier material, these vividly and finely-honed songs were the logical extension of A Northern Soul’s plaintive ballads ‘History’ and ‘On Your Own’, and they reflected the direction The Verve tenaciously pursued as they started work on what would become Urban Hymns. “Those two tunes [‘Sonnet’ and ‘The Drugs Don’t Work’] were written in a much more definitive way more of a singer-songwriter approach,” Ashcroft says today. “For me, I wanted to write concise stuff at that point.

That opened up a well of material and melodies.” Urban Hymns came together slowly, with The Verve cutting demos at Peter Gabriel’s Real World studios in Bath, and then with A Northern Soul producer Owen Morris, before the album sessions proper commenced with producers Youth (The Charlatans, ) and Chris Potter at London’s famous Olympic Studios in Barnes. At Richard Ashcroft’s instigation, string arranger Wil Malone (, Depeche Mode) was brought in and his swirling scores added a further dimension to a number of the album’s key tracks, including ‘The Drugs Don’t Work’ and ‘Lucky Man’. Buescher aristocrat trombone serial numbers. During these protracted sessions, The Verve expanded to a quintet after the estranged Nick McCabe was welcomed back into the fold. Among his arsenal of guitars, McCabe brought a Coral electric sitar and a Rickenbacker 12-string to the studio, and his spontaneity was encouraged as he added his inimitable magic to the guitars already precisely layered by Simon Tong. “What [Nick] did was very respectful,” Jones says today. “He made it all intertwine. He embellished what was already there and how it turned out was a beautiful thing.” Assisted further by what Richard Ashcroft enthusiastically refers to as the “loose discipline” of Youth’s production methods, The Verve emerged triumphantly from the painstaking Olympic sessions knowing they had created music that would have a lasting impact.